Abstract:

The contemporary Iran image is in a process in which, despite its short history, the search for originality is intense.  In this search, sometimes the Western painting concepts have become a form of learning/historical narration, sometimes the interpretation of historical sources. In this context, the interpretation of Islamic caligraphy in the Iranian picture is valuable in both aspects. Caligraphy is applied in two main forms in the Iranian picture: Writing nature preserved and on the basis of abstraction. When the text is used as a motivation, the caligraphy depends on the subject of the picture. According to researchers, caligraphic trends in the Iranian painting art appeared in the 1950s. Before this trend was recognized as an independent art style, some flames and orders began to be seen, but together with Saghakhaneh school, contemporary abstract caligraphy painting art took its place with all its self. While many artists produced similar works in the process that they reflected in Iran's art, they did not ignore the effects of the rich caligraphic tradition. Contemporary Iranian art historians recognize Hossein Zenderoudi as the founder of this trend.  Sadegh Barirani, Mansoure Hosseini, Sadegh Tebrizi and Mohammad Ehsaie, Nasrollah Afjeyi and other artists mentioned in this work are some directly caligraph, some both caligraph and painter artists and evaluated with their works.

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