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Calligraphy is a visual art related to writing. It is the design and execution of lettering with a pen, ink brush, or other writing instrument. Contemporary calligraphic practice can be defined as "the art of giving form to signs in an expressive, harmonious, and skillful manner".
Nastaliq, also romanized as Nastaʿlīq or Nastaleeq, is one of the main calligraphic hands used to write the Perso-Arabic script, and it is used for some Indo-Iranian languages, predominantly Classical Persian, Urdu, Kashmiri, and Punjabic languages such as Punjabi and Lahnda varieties (Shahmukhi). It is often used also for Ottoman Turkish poetry, but rarely for Arabic. Nastaliq developed in Iran from naskh beginning in the 13th century and remains very widely used in Iran, Afghanistan, India and Pakistan and other countries for written poetry and as a form of art.
Mir Emad is perhaps the most celebrated Persian calligrapher. He was born in Qazvin, Iran. It is believed that the Nastaʿlīq style reached its highest elegance in Mir Emad's works. These are amongst the finest specimens of Nastaʿlīq calligraphy and are kept in several museums in the world.
Islamic calligraphy is the artistic practice of handwriting and calligraphy, in the languages which use Arabic alphabet or the alphabets derived from it. It includes Arabic, Persian, Ottoman, and Urdu calligraphy. It is known in Arabic as khatt Arabi, which translates into Arabic line, design, or construction.
Hatef Esfahani was an 18th-century poet based in Isfahan during the collapse of the Safavid dynasty of Iran and the chaos that followed. He was one of the earliest and leading members of the literary movement Bazgasht-e adabi, which advocated for a return to the fundamentals of classical Persian poetry in protest against the excessively "unnatural" nature of the Indian style that dominated poetry in Iran and Persian-speaking India.
Lonban, one of the oldest quarters of Isfahan, is famous for its mosque. Its current structure is rebuilt in the contemporary era, but some of the plaster works and paintings are from the Safavid age. Some of the inscriptions on the portal are the art works of Mohammad Reza Emami. Besides there is an extraordinary wooden minbar which is one of the most exquisite artworks from the time of the Safavid dynasty.
Maghsoudbeyk Mosque is near the northeastern corner of Naqsh-e Jahan Square. It was built in 1601 by the order of Maghsoudbeyk, who was one of the very rich stewards of Abbas I. There is an inscription in the mihrab of this mosque, which is one of artworks of the famous calligrapher of the Safavid era Ali Reza Abbassi. It's said, after that Shah Abbas was very satisfied with this inscription, he ordered Ali Reza Abbassi to work on the inscriptions of Sheikh Lotfollah Mosque. Behind the entrance hall of the mosque in a small chamber, there's a tomb which is the tomb of Mir Emad, the art rival of Ali Reza Abbassi. Maghsoudbeyk mosque was a very glorious and beautiful mosque in Isfahan in the Safavid era.
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Takht-e Foulad is a historical cemetery in Isfahan, Iran. The cemetery is at least 800 years old. In the 13th century in the Ilkhanid era Takht-e Foulad was the most important cemetery in Isfahan and all of the famous personalities have a mausoleum in this cemetery. Unfortunately all of the mausoleums from the Ilkhanid era, except Baba Rokn ed-Din mausoleum, which is the oldest structure in Takht-e Foulad, have been destroyed. In the Safavid era there were 400 mausoleums in Takht-e Foulad, but there are now only 8 mausoleums from the Safavid era. In the Qajar era a large part of the cemetery was destroyed, but the cemetery hasn't lost its importance and by the end of Pahlavi era it was the most important cemetery in Isfahan. There are 20 structures from the Qajar era and 17 structures from the Pahlavi era in the cemetery. Before the Safavid age the cemetery had been known as Lessan ol-Arz and Baba Rokn ed-Din, but from the Safavid age until now its name is Takht-e Foulad.
Mirza Gholam Reza Esfahani, known as Khoshnevis, was a late 19th-century Iranian calligrapher and epigraphist. He was one of the masters of Persian calligraphy, in particular the Nastaliq, Shekasteh-Nastaliq and Shekasteh scripts.
Aboutorab Esfahani, pseudonym: Toraba, (1581–1662) was a prominent Persian calligrapher of the Nastaliq script and one of the most important calligraphy students of Mir Emad.
Ali Reza Abbasi Tabrizi was a prominent Persian calligrapher and calligraphy teacher, who flourished in 16th-17th century Safavid Iran. He was titled by Abbas I as Šāhnavāz Xān. Abbasi was a master of Naskh and Thuluth scripts and the initiator of his own style of Nastaʿlīq script. Besides he was an expert of various other scripts like Muhaqqaq, Reqa, Reyhan, Tevki and Taʿlīq scripts.
Mohammad Reza Emami was a Persian calligrapher in the 17th century. He lived from the era of Abbas I until the era of Suleiman I. He was Ali Reza Abbassi's student and was known as the Imam of calligraphers.
Mir Ali Heravi, also known as Mir Ali Hossein Heravi and Mir Jan, titled as Kateb-e Soltani, was a prominent Persian calligrapher and calligraphy teacher of Nastaʿlīq script in the 16th century. He was the second significant Persian calligrapher after Mir Emad. He had artistic influence on the later calligraphers.
Mohammad Mohsen Emami was a famous Persian calligrapher of the Thuluth script in the Safavid era. He was Mohammad Reza Emami's son and Ali Naghi Emami's father, who were also the famous calligrapher of the Thuluth script.
Nour ed-Din Mohammad Esfahani was a prominent Persian calligrapher. He lived in the 17th century. He was from Isfahan. He was Aboutorab Esfahani's son and Mohammad Saleh Esfahani's brother, who were both also famous calligraphers. He died in 1683.
Ahmad Monshi Ghomi, also known as Ghazi Ahmad, was a Persian author and calligrapher. He was the son of Sharaf ed-Din Hossein Ghomi, who was the scrivener of Sam Mirza Safavi in Herat. Ghazi Ahmad was born in 1547 in Qom. When he was 11 years old, he moved with his father to Mashhad and spent 20 years in that city. Under protection of Ibrahim Mirza, he took lessons from the famous masters like Shah Mahmud Nishapuri, Mir Ahmad Mashhadi and Malek Deylami until the age of 31. Ebrahim Mirza was a well-educated man in the field of art and science and some of prominent poets, calligraphers and painters worked in his library. Ghazi Ahmad spent his youth in the art circles of Ebrahim Mirza's court. He had also relations with many painting and calligraphy masters out of Ebrahim mirza's library and because of this he could recounted many details about the artists' lives in the Safavid era. His works, Golestan-e Honar, introduces artists, whom he knew personally or knew about them by other trusted persons. He has other books like Kholassat ot-Tavarikh, which is the history of Safavid dynasty from Safi-ad-din Ardabili to the early period of Abbas I, and also Majma osh-Shoara and Managheb of-Fozala. In 1599, Abbas I got angry at Ghazi Ahmad and ordered his dismissal. After he was dismissed he went to Ghom. In 1607, he met Molana Mohammad Amir Aghili Rostamdari Ardebili, who was a well-known calligrapher in that time. Ghazi Ahmad wrote about him in Golestan-e Honar.
Molana Malek Deylami was a Persian scrivener and calligrapher in the 16th century. He was a skillful Nastaliq calligrapher, who wrote bold and fine script skillfully.
Abdol Majid Taleqani was an eminent Iranian calligrapher of the 18th century. He was the most celebrated 18th-century calligrapher of the Shekasteh form of Nastaliq, and is also credited with turning the Shekasteh script into its definitive form.
References
- ↑ Mehdi Bayani Yassavoli (1984), Ahvâl o Âsâr e Xošnevisân (The Biographies and Works of Calligraphers) (in Persian), Elmi, p. 771
- ↑ Habibollah Fazael (1983), Atlas e Xat (Calligraphy Atlas) (in Persian), Mashal, pp. 542–546