History of shekasta script .
In Iran, where several millennia of artistic activity have given birth to myriad examples of this intelligent and ingenious nation's genius, writing has ever enjoyed a particular status. Writing is the oldest mean through which man's spiritual and cultural acquisitions were transmitted from generation to generation. In the course of time, this art found applications in various domains, appearing as a decorative element on carved stone panels and monument facades, terra cotta vessels, wood, fabric,...
The latest achievement in this domain was the invention by Iranian calligraphers of "Shekasteh Script", as a decorative Nastaliq, in 17th century AD. It was first designed by "Morteza Qoli Khan Shamlou and later systematized by Mohammad Shafi Hosseini, who signed "Shafia", but it reached to the top of its perfection a few decade later, with the advent of great genius Abdolmajid Taleqani (Dervish). He, besides devoting his stupendous creativity to perfect this exquisite script, also manifested considerable literary capabilities, leaving behind valuable works in this domain.
Dervish Abdolmajid Taleqani was born in 1737 AD. This illustrious artist spent his childhood in his native village, Mehran, near Taleqan, where he received his elementary schooling in local traditional school, "Maktab Khaneh".
He left his birthplace to perfect his talent. His childhood coincided with the decline of Safavid rule, when Iran faced with various difficulties in terms of economic stability and social order, which prevented the emergence of artistic creativity or the flourishing of arts.
The country's chaotic situation at the time, compounded by young artist's indigence and lack of a tutor, prevents any rational inquiry to be made about this great man's motive and private developments. Indeed, in an era when, for want of adequate means of transportation and communication, people rarely left their towns, perhaps only for trading purposes with nearby villages, why would Dervish leave his birthplace for Qazvin, then Shiraz, and eventually Isfahan?
Calligraphy has been considered among the artistic symbols, letters and elements, which form the word, always bear undeniable esthetic qualities. Iranian Calligraphic Styles, such as Taliq, Nastaliq, Naskh, Thulth, Reqa, Towqi, Shekasteh, Kufic and decorative scripts, stands proud as charming among those of every other nation; particularly so, when those are adorned with illumination, which bestows hundred-fold prominence to their sublime forms.
Indeed, Iranian calligraphy truly deserves such illuminations, and such a reverence; its masterpieces, when framed and set upon walls, bear all the attraction of great paintings, affecting even foreigners. Thus many of them are now lovingly collecting items of Iranian Calligraphy.
Iranian Kings and Princes have always been fond of penmanship; Soltan Oveis and Soltan Ahmad Jalayer, Ibrahim Mirza and Baisonqor Gourkani, Shah Tahmasb, Bahram Mirza and his brother, Ibrahim Mirza Safavi, Fath Ali Shah and Abbas Mirza, Mohammad Ali Mirza Dolatshah, as well as many personalities and ministers, and also a number of Qajar Princesses, have all been famous in calligraphers.
Iranian masters in Taliq were:
Khajeh Taj, Abdol Hai, Moinoddin, Darvish Abdollah, Khajeh Ekhtiar and Rouhollah Monshi;
and in Nastaliq:
Mir Ali Heravi, Soltan Ali, Mir Mohammad Baqer, Soltan Mohammd Nour, Soltan Mohammad Khandan, Mohammad Abrishami, Mir Jan, Mohammad ebneh Eshaq, Khajeh Ibrahim, Mohammad Qasem Shadi Shah, Abdi, Shah Mahmoud, Moezeddin Mohammad, Mir Seyed Ahmad, Malek Deilami, Mohammad Hossein Tabrizi, Mohammad Zaman, Mir Emad, Shah Mohammad, Baba Shah Mohammad Reza Tabrizi, Alireza Abbasi and Mohammad Saleh;
And in Shekasteh:
Morteza Qoli Soltan, Shafia, Mirza Hassan Kermani, Darvish Abdolmajid, Mirza Kouchak, Mirza Abdolqasem and Motamedoldoleh Neshat, alongside hundreds of other illustrious names of past calligraphers.
Vedio - kakayi-calligraphy collectionکاکه یی
ART MAKE CLEAR WHAT THE ESSENCE OF LIFE. A.schopenhawer 185
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