مروری بر منابع و رویکردها در گونه‌شناسی آثار جنبش خوشنویسانه‌ در هنر معاصر خاورمیانه

Calligraphy as a most prominent art of Muslims, has been continued by many calligraphers until the contemporary era. Calligraphy, which has always followed certain rules, had many functions in the Islamic world, from writing the Qur'an and manuscripts and other works of art. So prominent calligraphers such as Ibn Muqla, Ibn al-Bawwab, Yaqut al-Musta'simi and many others, gradually improved this art and handed it over to future generations. Therefore, Islamic calligraphy traveled a long and winding path and became a symbol of creativity and cultural distinction of Muslims. But in the developments of the modern world, although traditional calligraphy is still practiced by many artists, it has lost many of its previous functions. From the second half of the 20th century, in the movements that are known in Iran by the titles such as Saqakhaneh, Naghashi-Khat and Khat-Naghashi, and in Arab countries by the titles such as Huruffiya and Calligraphic School of Art, this art found new functions in combination with modern art. In these art movements, which started almost simultaneously among the artists of the Middle East, artist such as Hossein Zende Rudi, Faramarz Pilaram, Madiha Umar, Rachid Kuraichi and others, used calligraphy and letters to new forms in modern painting.In this new approach, letters were deconstructed in modern paintings and new media were used instead of traditional and also new concepts and topics were transmitted in them, some of which had identity references and some of which had only literary aspects, but still the aesthetic features of calligraphy could be recognized in them. Therefore, some experts such as Hojjat Amani named these new methods as “calligraphic movement“or “Khoshnevisaneh”. Gradually, the number of artists who turned to this trend increased and new calligraphy became one of the most important artistic trends in Arab countries and Iran. Therefore, in order to solve the problem of the formation of challenges that have arisen around the types and scope of contemporary calligraphy works in Iran and the Arab countries of the Middle East, it is necessary to carry out a research work with the aim of understanding the evolution of various contemporary calligraphy works, and to answer the research questions about how to recover and read calligraphy in the text of contemporary art? And how have artists used calligraphy as a basis for creating new works? And in this regard, what topics and concepts have been taken into their attention? This research is based on the descriptive-analytical method, and the method of collecting information is library-based, purposeful and informed. The method of data analysis is as follows: First, the works of some prominent researchers of the Arab world and Iran, in recent decades, whose works are closer to the research objectives, have been studied. in Arab world Abdelkebir Khatibi, Mohammed Sijelmassi, Nada Shabout, Wijdan Ali, Venetia Porter, Rose Issa and Charbel Dagher and in Iran Hamid Keshmirshekan. These researchers dealt with the typology of works from different aspects, and their opinions overlapped in some aspects. Khatibi & Sijelmassi divided the works into four categories: geometric, abstract, decorative, and symbolic, and in their classification, there is no clear border between traditional and modern calligraphy.Wijdan Ali presented a complex classification that includes both form and content. Dagher focused on the linguistic indications of letters and signs. And Porter called a group of works abstract and classified other works from the point of view of content.
Among the research works in Persian language, no significant researches were found in line with the typology of the works (except for one example of a master's thesis: Torabi, Mohammad Mohsen, “Typology of Calligraphic painting in Iran” which is only limited to Iranian artists works.). But Hamid Keshmirshekan in his outstanding work, “An Introduction in to Contemporary Iranian Art”, has followed this trend in the history of contemporary Iranian art and has identified various types of works in New Calligraphy Movement. In this work, he has attributed three types of: letteristic, Naqashi-Khat (some Kind of Neo Traditional approaches) and New letteristic approaches to Iranian calligraphy in modern era.
The results of approaches led us to the conclusion that the experts have so far classified calligraphic works with formalistic and content approaches. The content of the works covers a wide range of literary, political, social and historical topics. Sometimes the works have approach to tradition and sometimes they have approach to the future. Two distinct views can be found in the attitude of this art towards the future, modern art and avant-garde art. The modern approach in this artistic movement is the same approach that, along with new materials and themes, has a tendency to analyze the form in traditional calligraphy. Regarding avant-garde works, a fundamental and complete transformation is taking place in the art of calligraphy, which requires more time and more research to make further comments about it.