Identification of Postmodern Characteristics in Contemporary Iranian Calligraphy Artworks.

Postmodernism, as a dominant intellectual and artistic current since the latter half of the 20th century, has brought about fundamental transformations in various fields of knowledge and art. This paradigm, by critiquing fixed concepts, paved the way for pluralistic and eclectic approaches. In art, postmodernism broke down genre boundaries, emphasized concepts such as "play," "return to the past" (neo-traditionalism), and "synthesis" (eclecticism), and challenged modernist elitism by valuing popular culture. In Iranian art too, this movement led to the formation of new approaches, with "calligraphy-painting" (Naqqashi-Khat) being its most prominent manifestation. Calligraphy-painting, deeply rooted in authentic Iranian calligraphy and the Saqqakhaneh school, symbolizes the fusion of tradition and innovation. This style, while preserving the essence of Persian calligraphy, has transformed it into a tool for painterly and visual expression. Therefore, examining the reflection of postmodern characteristics in calligraphy-painting is of particular importance; as this art creates a bridge between indigenous identity and global visual language. The emergence and widespread appeal of calligraphy-painting necessitate a fundamental analysis of its artists' approaches from a postmodern perspective.
Research Problem and Aim: The main problem of this research is to study and analyze the characteristics of postmodernism in the calligraphy-painting works of contemporary Iranian artists. To this end, the works of three groups of active artists in the field of calligraphy-painting have been examined with the aim of identifying indigenous and local identities, the application of Iranian subcultures, and also studying and tracing the relationship between the calligraphy-painting movement and the issues of tradition and postmodernism. The research questions are: A) What creative methods have calligraphy-painting artists employed to represent indigenous identity in their works? B) What are the characteristics of postmodernism in contemporary Iranian calligraphy-painting works?
Methodology: This research is fundamental-theoretical in terms of its objective and has been conducted using a descriptive-analytical method. Data collection methods included documentary review, library research, and field observation through direct examination of artworks. Generally, the research population comprises 150 samples of calligraphy-painting works by innovative Iranian artists that possess postmodern art components. Samples were selected purposefully, covering works from the 1940s and 1950s until the 1979 Revolution, as well as from 1979 to the present. The statistical population of this study includes all calligraphy-painting works from this period, from which 12 prominent works were chosen as the statistical sample. These 12 works belong to 6 active artists in this field, with two works selected from each artist. For this purpose, three target groups among calligraphy-painting artists have been examined. Accordingly, to answer the research questions, images were first analyzed and categorized by theme. Then, considering the structure of the selected works and their conformity with postmodern components, the final categorization was performed.
Results: The results of the present study clearly indicate that contemporary Iranian calligraphy-painting, particularly in the works of the studied artists, provides a rich ground for postmodern characteristics. In response to how indigenous identity is represented (Question A), artists adopt a neo-traditionalist and eclectic approach, re-creating Iranian calligraphic elements and visual forms in a contemporary and global framework. Methods such as inspiration from traditional Nasta'liq and Shekasteh (Ahsaei), utilizing authentic Iranian forms (Jabari), reinterpreting ancient visual patterns (Fathi), and blending Persian scripts with popular literature (Rezaei) lead to novel expressions. These methods, while maintaining a deep connection with rich Iranian heritage, enable trans-local and global communication, avoiding mere imitation of tradition or imported modernity.
In response to postmodern characteristics (Question B), findings confirm their strong presence in contemporary Iranian calligraphy-painting. These include:
Deconstruction: Liberation of script from literal meaning, emphasizing visual/formal function (e.g., illegibility or abstraction).
Return to the Past (Neo-traditionalism) and Eclecticism: Blending authentic calligraphic roots with modern painting elements and innovative compositions.
Local and Trans-local: Displaying indigenous authenticity while establishing broad international communication.
Playfulness and Humor: Creating dynamic visual effects and employing humor or colloquial language.
Attention to Layers and Superficial Concepts (Kitsch and Schlock): Tendency towards more superficial aesthetic aspects or selection of popular themes.
Discursivity: Providing a platform for ongoing dialogue between tradition, modernity, identity, and concept.
Use of Allegory and Innuendo: Altering script function or legibility to add ambiguity or multi-layered meaning.
Overall, with calligraphy-painting's entry into global art markets and its international presence, postmodern characteristics have become increasingly evident. These new approaches enable the convergence of concepts and help attract diverse audiences. Notably, for a work to be categorized as postmodern, it does not necessarily need to include all components of this movement; the presence of some is sufficient.