Interaction of Structure and Style in Cursive Nastaliq Manuscripts of Shafia , Darvish & Golestaneh

 This article seeks to study the interaction of structure and style in Cursive Nastaliq to better recognize the artistic values in cursive writings of masters: Mirza Shafi Hussein (Shfia), Darwish Abdolmajid Taleghani and Seyed Aliakbar Golestaneh. In the process of conducting this research a great deal of published material has been studied and descriptive and analytic methods have been used. The final and narrative evaluation is done through two methods of corresponding similar features in the studied material and comparing dominant factors of structure and style in calligraphy of Cursive Nastaliq, meaning a study into the principles and styles of the outstanding works of these calligraphers. Qualitative method has been used to analyze the data. The results of this article show that although in the era of cursive style formation, the tendency toward the characteristic principles had been dominant, in the works of the master calligraphers in question, new symbols bearing aesthetic sense are apparent, which are obviously extent in the phase of cursive style formation, and despite the stabilization of the main structure of this script, it is refined again in Cursive Nastaliq. This is an indication of the many interactions among characteristics of the principles and styles in this script, revealing visual similarities in the existing works, among which several cases have been selected and analyzed to demonstrate the changes proficiently. Since the author was faced with some instances with different structures and more potential than others because of their more delicate calligraphy, careful and proficient selection of works was required. After the first stage of selection, works were processed with regard to their effectiveness on latter changes in cursive writing.