Curated collection
A curated view of original paintings and calligraphy.
âThe Cookâ is a calligraphic piece based on a hemistich by Rumi. With an emphasis on elongated letterforms and a horizontal composition, it creates a calm and continuous space for the presence of the poem.
â Advisorâ is a calligraphic piece based on a passage from Imam Aliâs letter to Malik al-Ashtar. The text reflects on restraining personal desires and approaching oneself with fairness, presented in a calm and legible composition on a simple background.
âWaitingâ presents two verses by Hafez in the form of a chalipa, a composition in which the elongated letters and the quiet space between the lines carry the poemâs mood of longing and anticipation into the visual structure of the work.
âSattarâ is a visual reworking of part of the thirteenth supplication of Sahifa Sajjadiya in the form of siyah-mashq. The density of the letters and the aged texture of the paper create a contemplative atmosphere around concealment and veiling.
âWhiteâ is a visual interpretation of Hafezâs hemistich âThe end of the dark night is white.â Through the contrast between a dark ground and the bright movement of the pen, the composition reflects the idea of transition and transformation.
âSurah Al-Kawtharâ is a visual reinterpretation of Quranic verses in the form of siyah-mashq, where the repetition and density of letters create a continuous and interwoven structure on the page. The brown ink enhances the workâs calm and traditional atmosphere.
âMoonâ is a composition of poetry and form, shaped by the presence of a red phrase within a background of repeated âؚشŮâ (love). The contrast between bold calligraphy and dense fine writing creates a space between reading and seeing.
âMÄh-e Man Shoâ is shaped around a line by Hafez. Against a dark field, a luminous crescent emerges among delicate, scattered traces of calligraphy, creating a quiet and suspended presence.
âAfsaneh-ye Majnunâ is built around a verse by Saadi, combining red calligraphy with pale, luminous forms that evoke the story of Layli and Majnun through color and composition.
âLabkhandâ is a portrait constructed through repeated forms of the name âQasem.â Variations in density shape the contours of the face and gradually reveal the expression of a smile.
âShafaqâ is a calligraphic composition based on Rumiâs line âLove is something that comes, not something learned.â Long golden strokes extend across a deep green and dark background, making the calligraphic form the central presence of the work.
âAsheghâ emerges from a search for the idea of love within cycles of repetition and human experience. Its twisting, continuous form moves the word beyond direct reading and turns it into a visual structure.
âPayizâ was inspired by fallen leaves along Valiasr Street in Tehran. Black calligraphic lines and layers of brown create a dense yet scattered surface that evokes ground covered with autumn leaves.
âFatemehâ moves away from the familiar structure of Nastaliq and takes inspiration from a burning candle. The name of Fatimah al-Zahra is transformed into an elongated, fluid form shaped by black lines and soft pink shading.
âVladimirâ is a horizontal composition built from large, continuous calligraphic forms in shades of green, blue, and turquoise against a warm-toned background, creating a sustained rhythm across the work.
âAngurâ takes shape through the repetition of the word eshq (âloveâ) and draws inspiration from the deep red color and clustered structure of grapes. Here, the written word moves beyond legibility and becomes a unit for constructing form.
âYÄ Bi-Meshkâ is one of Ali Bagheriâs early explorations of calligraphic painting in a devotional context. Built through layers of blue and green, the work was shaped in remembrance of Abbas ibn Ali and the event of Alqama on the day of Ashura.
âBi-Khabarâ is a calligraphic composition on a verse by Rumi, where long sweeping strokes and the continuous movement of the letters extend the poem into an open, flowing visual structure.