The works of this Exhibition consist of two parts:
1 – Part one : Designing a special kind of typeface and using that in these works witch is explained as follows:
• I have experimented designing of typeface and combination of letters as one of the experience centers to develop its graphic capabilities at function of farther up writing in lettering and script from passage of innovation about new forms. So I have tried to increase its graphic capabilities.
• But it must be mentioned that there are differences between Persian and Latin letters In their structure forms. There is not consideration in designing of division of positive and negative space in Persian lettering and script as we see in Latin letters. Latin letters in the cause of being situated between two parallel lines in a square structure has more balance engineering. Instead of that, Persian letters let us to have the power of maneuver and making different forms of combination of letters- in such a manner that are found too many varieties with innovation of designer-but Latin letters in the cause of their own fixation, are lacking necessary qualifications.
• I have tried to achieve a new pattern by composing these two together, that among consideration of sizes in division of positive and negative spaces, enjoy these creative possibilities of Persian script too and unconsciously it has a trace of "Kufic" script as the oldest heritage in it, which has some motif and pattern mood in itself indeed.
2 – part two: using of Iranian calligraphy in the form of image, which its explaining is as follows:
•The history of Iranian manuscript and Persian calligraphy and script, Has an ancient bonding with
“Reed Pen “.This tool found a symbolic and allegory-abstraction place more farther up its own mean face
In Iranian gnosis, literary and tradition. In addition, calligraphy with the “ Reed Pen “. is carrier of customs and rituals.
The usage origin of Reed pen can not be specified certainly and surely, but it is clear that, the “Naskh script (style of script used
In typography) was current only until has had spread until before Safavieh period and it appeared in the Nasta’aligh Writing after Combination with Ta’aligh Nasta’aligh handwriting and basically the tradition of Iran calligraphy should not be summarized in its Instrumental and technical form. Its deep bonding with the gnosis and old literature will reach the “calligrapher”
To the excellent private moral features and spirits. Reaching to excellent arrangement guides in a kind of spiritual sightseeing, refining, soul single and individual mortification. Moreover, there has been a kind of deep heart relation beyond than the training aspect and has been accounted as the Moral and spiritual growth of trainer.
Processing of handwriting’s in the works, which will come after this and a landscape of combination of writing with contemporary
Symbol Recognition trends, symbolic gaining from suitable receiving image- writing with the traditional and custom sense.
From the other side, has tried until to be used from “seyamashgh “capacities as it is possible too, which to be an association
In a rhythmic and flowing of values, meanwhile the picture to be found its meaning deepness and has had pride in this cultural bed.
The sequence, symmetry and complexity that is similar to single, to make current the sense of “ holiness “, “ secret mode “ and “ meaning “ in its own self and sometimes it refers to the place and text field of work.
My image had been that the handwriting should draw for human due to having ancient holiness in Iranian culture that to transfer the essence of soul and sense of calligrapher with the same primary virginity and innovation that the famous calligraphers have
Had in their hand the “ Reed Pen “ with the private decoration and customs. It is in the direction of the same route
That all •writing’s of these works have been written without interface of instrument but by hand.