He fights with her tribe, but even after his victory, Layla's father refuses Majnun, considering him insane. This plot was known in Herat and Shiraz miniatures even before Behzad. For example, in an early Herat miniature dated to 1431 kept in the collection of the State Hermitage, Naufal's warriors pursue the enemy, forcing them to go beyond the sheet onto the field. The light background of the hill covered with flowers, at the foot of which the battle is taking place, clearly distinguishes each character, and the bright and multi-colored clothes, the major coloring of the depicted nature give the scene a fabulous character.
Behzad, on the other hand, creates a picture of the battle that evokes a sense of the reality of what is happening. In this battle taking place in a desert area, nothing distracts from the battle. There are no trees there, much less flowering shrubs. The sandy hill conveys the flavor of the desert where the inhabitants of Arabia live, and the golden sparkling sky further emphasizes the heat of the battle. To convey the fierce battle on camels, the intensity of the passions of a serious fight, Behzad finds an ingenious compositional solution, placing opponents in a circle, creating a whirlwind swift movement, reinforced by the rhythm of swords and spears, the movement of heated animals and people. This in turn makes Behzad a master of the combat genre, and this miniature is called "Battle of the Tribes". This work, created around 1490, is one of the most famous subjects in miniature art and is kept in the British Library.
You can learn more about the topic in the book-album "The legacy of Kamal ud-din Behzad in the World Collections" (L volume) in the series "Cultural Legacy of Uzbekistan in the World Collections".
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