{"id":85600,"date":"2024-11-09T16:06:05","date_gmt":"2024-11-09T16:06:05","guid":{"rendered":"https:\/\/surfiran.com\/mag\/?p=85600"},"modified":"2026-01-08T11:30:52","modified_gmt":"2026-01-08T11:30:52","slug":"persian-calligraphy","status":"publish","type":"post","link":"https:\/\/surfiran.com\/mag\/persian-calligraphy\/","title":{"rendered":"The Evolution of Persian Calligraphy"},"content":{"rendered":"\n

Persian Calligraphy<\/strong> is famous all around the world for its elegance and fluidity and holds a special place in the Iranian culture<\/a><\/strong>. Its history goes back to centuries ago, from ancient scripts to the Islamic influence and eventually the unique Persian styles<\/strong> that emerged.<\/p>\n\n\n\n

Persian calligraphy<\/a> is more than just writing, it\u2019s a form of expression, devotion, and pride for the Persian culture. In this article, we\u2019ll explore the history of Persian calligraphy and how each style has developed.<\/p>\n\n\n\n

The Old Scripts and Arabic Alphabet<\/h2>\n\n\n
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\"Ancient
Old Persian Language, Pahlavi Script<\/figcaption><\/figure>\n<\/div>\n\n\n

The roots of Persian calligraphy<\/strong> are as ancient as the history of Iran<\/a> itself, with the first scripts being the Old Persian cuneiform<\/strong> and the Pahlavi<\/strong>. However, the Islamic conquest of Persia<\/strong> in 651 AD made a tremendous change with the introduction of the Arabic script<\/strong> to replace older scripts. Simultaneously, Persian scribes adapted the Arabic alphabet, adding four extra letters to the original 28 so it could better fit the sounds of the Persian language<\/strong>. This led to the 32-letter Persian alphabet<\/strong> we know today, a foundation for the many styles of Persian calligraphy to come.<\/p>\n\n\n\n

The Kufic Script<\/h2>\n\n\n
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\"The
The Kufic Script<\/figcaption><\/figure>\n<\/div>\n\n\n

After adopting the Arabic script in the 7th<\/sup> century, early Persian calligraphers<\/strong> mainly used Kufic<\/strong>, known for its angular shapes and bold lines. Kufic was ideal for religious and monumental inscriptions: it is found on mosques, coins, and important buildings. Iranian calligraphers soon added their own touches to the Kufic script, making the lines softer and adding beautiful symmetry, fitting the Persian sense of art and balance.<\/p>\n\n\n\n

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The Development of the Six Styles of Calligraphy<\/h2>\n\n\n\n

As Persian calligraphy<\/strong> developed, the famous Persian calligrapher Ibn Muqlah<\/strong> and his brother crated six main styles: Mohaqqaq<\/strong>, Reyhan<\/strong>, Sols<\/strong> (also known as Thuluth), Naskh<\/strong>, Toqi<\/strong>, and Reqa<\/strong>. These styles defined for the first time rules to calligraphy, with specific proportions for each letter to create harmony and beauty.<\/p>\n\n\n\n

Ibn Muqlah\u2019s system, known as \u201cproportional script<\/strong>,\u201d transformed Persian calligraphy from a simple writing skill into an art form, where each line and curve had a meaning and followed specific rules. For nearly four centuries, these six styles were practiced by all calligraphers across Persia<\/strong>.<\/p>\n\n\n\n

Among those new styles, two specific types of calligraphy became popular during the 11th<\/sup> century<\/strong>: Naskh, derived from the Kufic script and mostly used in books and manuscripts, and Thuluth, popular for decorations and larger inscriptions on mosques and public spaces.<\/p>\n\n\n\n

The Ta\u2019liq<\/h2>\n\n\n
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\"The
The ta\u2019liq script<\/figcaption><\/figure>\n<\/div>\n\n\n

During the 12th<\/sup> century<\/strong>, the Ta\u2019liq script<\/strong> appeared as a new combination of the Naskh<\/strong> and the Reqa<\/strong> scripts. Known as \u201csuspension<\/strong>\u201d because of its flowing, connected letters, it soon became a flexible and expressive style. Ta\u2019liq was mostly used for Persian poetry<\/strong> and bureaucratic documents, as it was well suited for writing Persian. By the end of the 13th<\/sup> century<\/strong>, Ta\u2019liq was used in all the chanceries of Persian states.<\/p>\n\n\n\n

Nasta\u2019liq: The Jewel of Persian Calligraphy<\/h2>\n\n\n
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\"The
The Nasta\u2019liq Script<\/figcaption><\/figure>\n<\/div>\n\n\n

In the 14th century<\/strong> appeared what would then be named the \u201cbride of calligraphy<\/strong>\u201d and the most famous Persian calligraphy<\/strong> style: Nasta\u2019liq<\/strong>. Developed by Mir Ali Tabrizi<\/strong>, this style combines elements of Naskh and Ta\u2019liq into an elegant and fluid form that seemed to dance across the page.<\/p>\n\n\n\n

Perfect for Persian poetry, Nasta\u2019liq captures the rhythm and beauty of Persian language like no other script. That\u2019s why it has been used by poets like Hafez<\/a><\/strong> and Rumi<\/a><\/strong>, and quickly became the favored style for literature. Nowadays, it remains the most famous form of Persian calligraphy and is admired for its refined, delicate strokes that take years of practice to master.<\/p>\n\n\n\n

Shekasteh, the \u201cBroken Script\u201d<\/h2>\n\n\n
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\"The
The Shekasteh Script<\/figcaption><\/figure>\n<\/div>\n\n\n

In the 17th century<\/strong>, Persian calligraphy<\/strong> took a new step with Shekasteh<\/strong>, or \u201cbroken script<\/strong>.\u201d Created as a faster, more practical style of Nasta\u2019liq<\/strong>, Shekasteh is known for its overlapping letters and compact strokes. Even though Shekasteh was first developed for administrative documents, it soon also became appreciated for its beauty. Darvish Abdolmajid Taleqani<\/strong> is considered one of the masters of Shekasteh<\/strong>, bringing creativity and freedom to the style.<\/p>\n\n\n\n

Modern Persian Calligraphy<\/h2>\n\n\n
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\"Modern
Modern Persian Calligraphy<\/figcaption><\/figure>\n<\/div>\n\n\n

In the 20th century<\/strong>, Persian calligraphy<\/strong> experienced a revival. Artists like Mohammad Ehsai<\/strong> and Reza Mafi<\/strong> brought new life to traditional scripts, combining them with modern abstract art techniques. Today, Persian calligraphy is seen in galleries around the world, sometimes as \u201ccalligraffiti<\/strong>\u201d: a mix of calligraphy and street art that introduces Persian calligraphy to a new generation.<\/p>\n\n\n\n

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Persian Calligraphy in Art and Architecture<\/h2>\n\n\n\n

Persian calligraphy<\/strong> is not just used on paper. It also became a major part of Persian art and architecture<\/strong>, as a way to decorate the walls of mosques, palaces, and public buildings. The Shah Mosque<\/a><\/strong> in Isfahan<\/a><\/strong> is a beautiful example, with intricate Thuluth<\/strong> and Nasta\u2019liq<\/strong> inscriptions in blue and gold tiles<\/strong>.<\/p>\n\n\n\n

Calligraphy<\/strong> is also used on ceramics<\/strong>, metalwork<\/strong>, textiles<\/strong>, and even everyday objects, showing the love of Iranians for the written and for the calligraphy as an art. These pieces, that you can find in the bazaars of Isfahan<\/a><\/strong>, Shiraz<\/a><\/strong> and other Iranian cities, turn ordinary objects into an expression of art and beauty.<\/p>\n\n\n\n

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