Investigating visual capabilities of Persian writing in calligraphy

Abstract

This research, which was carried out by analytical-historical method and collected information in library and field methods, was carried out with the aim of investigating the pictorial capabilities of Persian writing in calligraphy and painting, and in it, it was tried to examine the scope of writing activities, including the semantic load and visual applications, by examining the formation process of the calligraphy-painting method. Calligraphic style and the presence of Persian writing in the contemporary art of Iran as one of the historical and cultural components have undergone many changes. If we consider the Saqaqhana movement as the most important visual movement and transitional period of the last half century, the major part of the cultural developments was due to the use of calligraphy in painting in the body of modern art of the forties and fifties. Thus, the new wave of contemporary calligraphy in Iran is the result of the scattered efforts of artists who are trying to find common ground and points of connection with world cultures in order to revive calligraphy in a modern format with eastern infrastructure. In this regard, the artist should be familiar with the basics and visual qualities of writing and the principles of the aesthetics of calligraphy and calligraphy and, far from being superficial and tourist-friendly, should create works with the use of form and color and a structural look with a pure and specific Iranian voice. brings and has the ability to compare with other arts such as music, sculpture, photography, cinema and different approaches and tendencies. Contemporary calligraphy has been transformed into a decorative style with the influence of the artist's creative mentality and the use of calligraphy art and mastery of painting techniques. In some works, the writing forms are out of their traditional form and more inclined to use creative forms and personal style and in this way establish a visual connection with the audience beyond readability, hence the reason for the acceptance of this flow in the past decades in the Western auctions is that it has become a global kitsch because it has sacrificed the rules and principles of writing for a new attitude to "modern beauty".

Key words

Saqakhane movement, line-painting, medium, global kitsch

Chapter one

Generalities of the research

1-1 - Definition of the problem

         No correct definition is possible except in the shadow of a comprehensive study and understanding of the past and its adaptation to the contemporary world. In recent decades, modernism in Iranian art could not accept cultural traditions because of their nostalgia. Meanwhile, painters and calligraphers, from the emergence of the Saqaqhana movement and modernism to the contemporary era, have always sought their identity and history in order to be able to express the visual and descriptive-explanatory capabilities of writing, which has become one of the most important methods of visual communication today, by presenting the oriental infrastructure of calligraphy-painting. But so far, there has been no research about the visual capabilities of writing in the context of line-painting and expressing the scope of its activity. Therefore, in this research, we are trying to examine and analyze these capabilities by expressing theoretical and experimental definitions and providing practical solutions. 1-2- Necessity and importance of research One of the most important categories in graphics is the capability of writing messages in graphic work. Considering that in the native Iranian culture, calligraphy-painting is one of the important historical trends that has been formed for years, is developing, and the acceptance of this trend is done by the masters of art, so it is requested that detailed researches be carried out in this regard. Introducing and identifying the image and visual capabilities of writing as a general and broad term that includes all the activities related to calligraphy and painting with regard to culture, history, skill, technique and art, is one of the obligations of this research, because even though this current has received a lot of attention in recent decades, only the general issues and background of this current have been discussed and it has been less of a specialized and scientific research. Therefore, the lack of comprehensive and extensive resources about calligraphy and the capabilities hidden in it are included among the requirements of this research.

Among the other importance of this research, we can mention the discussion of the national graphic identity of Iran, whose roots can be found through research and analysis in this historical flow (calligraphy) and some commonalities between non-functional activities (mostly fine arts) and practical activities (mostly graphic design) can be depicted.

1-3- The main questions of the research

         The most important reasons for the title of this research are the questions that the mentioned research has aimed to achieve convincing answers. These questions were raised separately in the two categories of "visual abilities of writing" and "calligraphy-painting", then by asking questions, the common chapter and their functions on each other have been discussed. Although many questions have been raised in the research process, we will briefly mention some of the most important ones:

What is the origin and the main reason for the appearance of calligraphy?

Can Saqaqhana be considered as an art school by referring to the definitions of local and international styles and schools?

In which lines are the Iranian roots of Persian writing found?

Is it possible in calligraphy? He also talked about modern and postmodern lines?

What effects did the modernism movement have on painting and calligraphy?

What factors caused the combination of painting and calligraphy and led them to calligraphy?

What is the role and origin of the modern pioneers and artists of the last few decades who have worked on calligraphy?

Is the mission of calligraphy in Is line-painting aligned with the readability of words? And does the value of written words disappear with the decrease of readability?

Is there a boundary between the visual functions of letters and writing in messaging?

What is the effect of the basics and visual literacy of Persian writing on calligraphy?

What is the extent of the visual capabilities of modern calligraphy in different fields of visual communication?

Does the creation of a derivative work of art rely on personal or historical identities, or both? And how can writing and native elements be brought closer to the abstract world while preserving identity and culture?

Answers to such questions are the reasons that clarify the importance of addressing this issue.

1-4- Research assumptions

    Considering the assumptions of some artists and critics that calligraphy is considered art and that the artist after learning the visual literacy of writing And during the stages of development, he reaches creativity in his work, so the main hypothesis of this research is based on the knowledge and awareness of the principles and rules of modern calligraphy, one can use their visual capabilities in different fields of visual communication, especially line-painting. How this connection and its solutions should be determined at the end of this research. 1-5- Main and secondary goals The main goal of this research is to achieve visual and visual capabilities and applications of Persian writing in contemporary calligraphy and painting. Also, in the meantime, efforts are made to gain a better understanding of Iran's contemporary artistic status in cultural and historical situations, and by visual expression and analysis of calligraphy-painting works from the time of its formation to the present, we can achieve the effects of visual functions of Persian writing in calligraphy-painting. Also, this research should be a guide to help contemporary artists to create works of art with eastern infrastructure and fit the needs of modern society; And finally, in addition to the semantic and visual analysis of the uses of writing, let us know the range of activities of writing and calligraphy as a medium in the context of line-painting and other fields of visual communication today. In this method, in addition to stating the nature and current situation of the research subject, we will describe and explain the reasons for the state of the problem and the dimensions and scope of its activity, and then proceed to recognize the problem and define it, formulate hypotheses, collect information, organize and classify information and express solutions, and finally draw conclusions. Specialization, review meetings, holding performances and reports on exhibitions have been studied in the past and contemporary times. The information required for the research has been collected from books, authoritative articles, specialized periodicals, theses and newspapers in real and digital libraries.