Visual representation of the point and space relationship in the Nastaliq line graphics, Safavid and contemporary practices (With emphasis on the works of Mir’jamad and Gholamhossein Amirkhani)

Nastaʿlīq (also anglicized as Nastaleeq) script has had continuity for centuries for its close relations
with literature and showing the special visual effects. This type of script can be broken up into primary
elements, the first and most important of which is the element of “point”. In addition to requiring them
in reading, points have important roles in coordination and contrasts between visual energies in a word
and in a line. Thus, the importance of the visual role of “points” is quite apparent. The considered aim
in this article is analyzing the role of “points” from the viewpoints of visual principles and basis. It
is also to compare the works done by Mir Emad Al-Hassani (Safavid era artist) and Gholam Hossein
Amirkhani (contemporary dominant style), with regards to the components such as 1) the axis of the
point, 2)the point slope (in two or three points), 3) the visual weight of the point. It is tried herewith
to answer the following questions:
- In which of the mentioned styles has placement of points been considered more, in
accordance with the visual principles and basis?
- What differences have the point axis, the point slope and the visual weight of the point in the
styles used by Mir Emad Al-Hassani and Gholam Hossein Amirkhani?
- To what extent is the basis and principle knowledge of visual arts important in placement of
“points” in a calligraphy?
The applied technique in this article is descriptive/analytical, and it is an applied study for its aim.
Collection of the data is done by library method, and the author’s analysis is done by comparison of
the works by the above-mentioned artists.
The results of the present studies show that the allocations of points’ axes, the points’ slopes in two or
three point basis, and their visual weight of the points in Mir Emad’s style are exactly in conformity
with the visual aesthetics principles. This causes the increasing presence and effects of points in the
letters and the words, as compared to Amirkhani’s style. In other words, “points” in MirEmad’s scripts
have equivalent importance and status with letters and words.