Experts review process of change in Iran’s calligraphy
A session reviewing the process of change in the art of Iranian calligraphy was held at the Niavaran Cultural Center, where a collection of 20 works by masters of calligraphy was on display.
Precious works by Iranian masters of calligraphy including
Mir Emad,
Mirza Gholamreza,
Mir-Ali Heravi,
Mirza Kalhor,
Mir-Ali Tabrizi and
Darvish Abdolmajid Taleqani were displayed at the session and discussed by a group of artists.
Esrafil Shirchi, whose exhibition of calligraphy-paintings is being shown at the Niavaran, was the first who made a speech and said, “An artist must be a child of his own time and he must be clear about his origin and identity as well. Works by our masters serve as examples for us and remind us to be aware of this and not to forget our past.”
Expert of calligraphy Ahmad Abutalebian was the next who continued, “The ornate inscription is a manifestation of the spiritual world and depicts the lofty position of inscriptions in our beliefs.
Taaliq style is the first of the Iranian calligraphy styles that was invented during the Deylamid era, and we can see this style on tiles and earthenware in Kashan and Khorasan.”
“Then starting in 1383 (2004) and afterwards, the Nastaliq style evolved as a result of the mixing of Naskh with Taaliq style,” he said, adding, “Iranian Nastaliq style was supported by the Mogul emperors and was later exported to all the countries across the globe.”
“The Safavid era was the time when experienced masters such as Mir Emad appeared and the Arabic Naskh was transformed into Persian Naskh by Ahmad Neyrizi,” he explained.
He also emphasized that the Qajar period was the golden era of Iranian calligraphy, which came to an end with the death of Emad al-Ketab Qazvini.
Musician Fazel Jamshidi was the next who talked about the relationship between music and calligraphy.
other link:
History of Persian Calligraphy
