As indicated by the title, this is an introductory work on Iranian calligraphy.

Although it is not the first of its kind, fresh material from traditional collective

biographies (Tazkere), literary texts and classical treatises as well as from

contemporary studies has been helpful in raising the bibliographical source

material on the history of Iranian calligraphy from the 7th century to the end

of the 13th century (13th-early 20th c. AD) to a new level.

The first chapter gives a brief account of the scripts prevailing in Iran in the

pre-Islamic era. These include the cuneiform script used in the inscriptions

of Achaemenian dynasty, Manichaean scripts as well as the Pahlavi scripts of

the Parthian and Sassanid periods.

The second chapter deals with the history of the development of Iranian calligraphy

after the advent of Islam, beginning with the introduction of Arabic

script known as Kufi, which later developed into what is commonly called

‘the six scripts or pens’ (naskh,thulth, muhaqqaq, rayhani, reqa, and tauqi’).

The next three scripts, ta‘liq, nasta‘liq and shekasteh-ye nasta‘liq, are purely

Iranian inventions. The chapter concludes with a short review of contemporary

calligraphy.

The third chapter addresses the training to become a calligrapher. The spirituality

in Iranian calligraphy is discussed and then principles and methods of

learning this art. Finally, calligraphic tools are introduced.

The fourth chapter is an examination of the correlation between calligraphy

and Persian poetry, followed by an inventory of calligraphic terms utilized in

Persian poetry.

The fifth chapter, which is the first of the two major sections of the book, offers

an annotated bibliography of thirty treatises in Persian on the art of calligraphy

dating from the 6th century to the end of 13th century (12th-early

20th century AD).

The sixth chapter, which is also the second major chapter, is a biographical

catalogue of about nine hundred Iranian (and non-Iranian) calligraphers beginning

with Ibn Muqla, who is known as the father of Iranian calligraphy

(d. 328 / 940). Almost half of the entries are introduced here for the first time,

that is, they are entirely absent from the similar texts on the subject, including

Mehdi Bayani’s influential The Lives and Works of Eminent Calligraphers.

Most of the photographs in this book have been produced from the originals

preserved in the museums, libraries and private collections in Iran and

abroad under the careful supervision of the present author. In addition, unless

otherwise stated, the inscriptions have also been personally photographed by

the author.

A select general and reference bibliography of Iranian calligraphy in various

languages (Persian, English, Arabic, Urdu, Turkish and French) can be found

at the end of the book as an aide to students of the field.

Finally, I wish to express my sincere gratitude to those who consistently supported

and encouraged me, especially to the late Iraj Afshar (who regretfully

passed away before the publication of this book) and to Professor Ehsan Yarshater.

Also, I would like to express my deep gratitude on behalf of all Iranian

calligraphers, to those non-Iranian scholars, past and present, who have

untiringly devoted their life and energy to the study of Persian calligraphy.

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