In 642 AD, Islamic calligraphy was introduced into Persia with the conquest of Islam. Since then, calligraphy has gradually become the core of Persian art and culture, and it has also become a self-cultivation course for princes and nobles. Persian artists' concern for calligraphy gave birth to two main native style fonts, Nastaliq and Shekastee, which are the contribution of Persian artists to Islamic culture and the pride of Persians. Nastaliq, in particular, has almost become a symbol of the Persian vein of Islamic calligraphy and is called the "Persian bride" of Islamic calligraphy.
In addition to Nastaliq and Shekastee, Persian calligraphy has also produced many distinctive font schools, such as majestic Muhaqqaq style, rich Rihani style and solemn Thuluth style. Calligraphy has become a real art because of its pursuit of writing quality and style. The pens of Persian calligraphers are made of reed stalks according to strict regulations, and are called "cypress branches in the garden of knowledge".
Like China, calligraphy in Iran is not only regarded as the expression of the writer's spirit, but also the expression of the Muslim mind. As the Islamic sage Ali said, this is a "natural and pure writing process". Therefore, every great Islamic calligrapher must have a pure and firm mind like a saint after long-term cultivation and soul smelting.
Mr. Ehsaey's works are divided into traditional style and modern style. In his own words, his works "transcend tradition and modernity", which is the common pursuit of many non-western artists and deserves our reflection. These works are directly related to abstract art. At the beginning of the 20th century, roger fry and Lawrence Penn, the promoters of modern European art, had a new understanding of the words "linearity" and "abstraction" after appreciating oriental calligraphy. Calligraphy has greatly influenced the creation of modern artists through their writing. Interestingly, a few years later, whether in Iran or China, the concept of "abstraction" in modern western art in turn became the theoretical basis for calligraphy to explain itself and establish its legitimacy in this increasingly integrated world. Indeed, the semantic environment of contemporary calligraphy has changed, and the conditions that constitute its meaning have also changed. Behind this change is a story of homogeneity and modernity: it is presented and expressed on the cross-cultural platform of modern art, but it is also covered and destroyed in an otherized display mechanism.
In the contemporary cross-cultural context, calligraphy needs the responsibility of the viewer more than any art form. Calligraphy, as a unique ideographic form reflecting words, needs to be recognized and explained. Although it is also an image, it is the object of evaluation and appreciation. In cross-cultural interpretation, calligraphy is often regarded as an image, while writing seems to be regarded as something that can be observed and described. However, the relationship between writing and writing is subtly different from that between painting and objects. Just like in the most primitive singing, tone and rhetoric are integrated. Singing is not for expression, but for singing. In singing, tone and meaning reflect each other. Timbre is by no means a technology, nor is it a simple medium. It is closer to the root of singing than the meaning of words.
Whether in China or Iranian, calligraphy has maintained this primitive identity and the mutual brilliance between writing and writing. In the process of writing, the experience of words extends beyond the meaning of words, and the power of words arises from this.
Persian calligraphy has a strong ability to create images. In fact, every Iranian calligrapher is also a graphic designer. China's calligraphy not only pays attention to writing with a pen, but also organizes strokes and glyphs into a whole, while Iranian calligraphers only organize words into numbers and even badges. This kind of practice is especially suitable for shaping characters' idols, which is closely related to the worship of characters in Islam. The taboo of images in Islamic culture makes artists devote themselves to the exploration of patterns, and the worship of God and Prophet's words in their teachings directly promotes this sculpture function. People who become idols have totem-like spiritual strength. Every word has a speaker, and the words of mortals and speakers can be questioned. Only what God says is absolute and unquestionable, and it seems that it is also done by "nature-of course". Characters are idolized under the reflection of calligraphy, just like nature, that is, things that exist. When Khomeini's words "Islamic revolution is an explosion of light" are written-designed as a flame totem, even if the speaker is as great as Khomeini, it will be immediately overshadowed by the glory of miraculous text idols. Islamic culture prohibits idolatry, but the word idol produced by Persian calligraphy has become a mockery of this ban.