Beautiful writing is just one aspect of the thousands of elements in the art of calligraphy. Calligraphy requires exceptional attention to observing the principles and aesthetic rules of letters and words. It is an art that has both verbal and visual value and its complex geometric principles and extraordinary systematic nature are entwined with the artist’s own aesthetic and, in my opinion, their soul.

Calligraphy is found in almost all cultures, but in Asia, and especially in Islamic lands such as Iran, it is essential among the visual arts as a representation of culture and history. Islamic and Iranian calligraphy balance a variety of components including meaning, dynamism, and transformation. There is also a critical balance between form and content, which with all its elegance and softness can provide the right shape for different meanings with special significance in poetry.

With respect to Iranian calligraphy, the types of calligraphy most used today are Taliq, Nastaliq, and Shekasteh Nastaliq. Taliq is one of the older versions, though the regulation of calligraphy in the Safavid era—used in writing books and poems—led to the development of Nastaliq which was especially popular because of its balance, flexibility, and ease of reading. Shekasteh Nastaliq script is another Iranian innovation created in connection with Taliq and Nastaliq, known for its beautiful twists and movements that “break and drop” traditional Nastaliq. I find its beauty awe-inspiring with distinctive features in psychography and shorthand.