Nasta'liq: A Language for Experience and Exploration

My introduction to calligraphy began within my family, before I ever attended classes or received formal instruction. My father and brother practised calligraphy, while my sister worked professionally in painting and drawing. Growing up in an environment where calligraphy and art were part of everyday life drew my attention from an early age to letterforms, images, and the beauty of writing.

When I started school and became more seriously engaged with writing, this interest became clearer to me. In first grade, I had my first experiences with Persian handwriting under the guidance of Ms. Nasrin Dashti and with the support of my mother, who was also my teacher that year. Her support played an important role in sustaining this interest.

In 1392, I began my formal calligraphy education at the Iranian Calligraphers Association. I later continued studying Nastaliq with Ali-Asghar Salmani and Ali Ganji, as well as in private courses with Hossein Gholami and Mehdi Fallah.

My early years were devoted mainly to understanding the structure and principles of classical Nastaliq. Later, my interest in painting, colour, and composition expanded my path toward calligraphic painting and freer visual experimentation.

At the same time, my curiosity about the history and culture of Iran led research and writing to become a serious part of my work, from the history of Nastaliq and approaches to teaching it to materials, techniques, and subjects that have received less attention in writing.