Word art has always been of great importance to Iranians. The existence of calligraphic decorations in places as different as historic buildings, ancient or new ceramics and pottery, carpets, utensils and more generally all objects of daily or symbolic use attests that word art is almost an art of the daily in Iran. Thus, in particular in important cities like Shirâz, Isfahan, Tabriz or Herât, this art developed jointly with other arts with which it was intimately involved, including the pictorial arts such as painting, illumination, miniature and other similar arts.
The Fundamental Evolution
But the fundamental evolution of Iranian word art took place from the second half of the 14th century, when it took on a strong mystical tint, without losing any of the eminence it possessed within ancient Persia. As you choose the Custom Word Art for creating beautiful messages or presentations, you need to be aware of this.
Today, the question of the place of word art in society does not arise. However, that of his role is of prime importance. Business, advertising, media, books, film arts, mass social events, etc. all express new visual needs. It is believed in Iran that writing and word art have the capacity to meet these new needs. It is the visual obligation of this art that prevails in this field over its dimension of exchanges and informational transmission, while it simultaneously fulfills its role of vector of information and knowledge. Thus, calligraphic writing has the possibility of responding simultaneously to an aesthetic demand and to the basic utilitarian demand of writing, which is to allow the transmission of information.
The Traditional Worlds
In the traditional world, the role of writing was to transcribe meaning in the simplest, fastest and most comprehensible way so that form, meaning, content and meaning were conveyed to the reader at first sight. Today, the role devolved to writing through graphics is that of the transmission of beauty in the context of visual communication. It is therefore impossible to separate these two arts, inextricably linked in Iran. Taken together, images and writing have an informative role. Placed alongside a product image or a cultural symbol, writing, as a necessary complement to the transmission of information through images, plays a decisive role.
- One of the important characteristics of Iranian graphic design is the emphasis placed on expressing a graphic Iranian identity that takes shape when writing and word art enter the realm of graphic design, in an opposition movement to the mainstream. who believed that it was impossible to integrate word art, as a traditional art, into the realm of modern graphic art. For the first defenders of a modernity enriched by tradition, the insertion of traditional writings in graphic art, modern and especially come from the West in its modern definition, was difficult to achieve, but today, the The use of traditional word art in Iranian design is an accepted thing that goes without saying. How such an evolution was made possible, since the graphics,like most of the newspaper industry, was imported?
Conclusion
In Iran, the first newspapers began to be published from the reign of Mohammad Shâh Qâdjâr using the stone printing technique. At that time, the news texts of these newspapers were written in Nasta’ligh script and the headlines, in soil calligraphic script. Thus, after the entry of the press in Iran, the traditional writing styles of the scribes and calligraphers of the time were still used for these newspapers. At that time and for quite a long time, the form of newspapers, despite their European character, was still totally permeated and influenced by traditional Persian layout, illumination and word art. The magazines were also published with classic calligraphic scripts such as Naskh,the soils, the nasta’ligh, the ta’ligh, etc.
