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Mohammad Ehsai

Mohammad Ehasayi and the birth of modern calligraphy in Iran

Mohammad Ehasayi was born on July 8, 1318 and graduated from the Faculty of Fine Arts of Tehran University. He is called one of the first professors and introducers of calligraphy in Iran. When he started studying at Tehran University, there was no independent faculty as a visual design department with an approach to modern graphics. His graduation coincided with the establishment of a new department of visual arts, and because of his ability in calligraphy and painting, he was offered to teach in this department. Ehsai had a strong interest in the process, way and method of self-knowledge, and because of this, he had a great desire to create specific, expressive and expressive lines. His favorite style was derived from the Bauhaus style, because in the modern styles of that period, such as the Russian avant-garde or European styles, the Bauhaus style analyzed the forms based on basic geometric elements. This method was very understandable to create the breath of lines because it was very similar to the logic and context of Islamic abstract art.

  • 1337-1357 official membership of the Ministry of Culture, later the Ministry of Education
  • 1339-1344 Cooperation with Pars and Gerdone Institute
  • 1341-1344, calligrapher and graphic director of Iran’s Shir and Red Sun Youth Organization
  • 1341 experiences of “application of line” and the first experiences to invent the style of “line painting”
  • 1343-1353 graphic artist, calligrapher, author, art expert and editor of Textbook Organization (illustrator of elementary and three-year middle school textbooks and art book – part of calligraphy and calligraphy)
  • 1345-1377 participation in cultural-artistic gatherings, individual and group exhibitions in Iran and in 1351 as the selected painting of the year and several times as selected in Iran and once in France.
  • 1349-1377 numerous trips to Asian, European and American countries to study and study and participate in art gatherings and collective and individual exhibitions.
  • 1349, the beginning of research and work at the Institute of Letter Design and Typography Works at the Process Technology Institute of New York
  • 1350 Beginning of teaching in the field of graphics at the Faculty of Fine Arts, University of Tehran and teaching calligraphy for the first time
  • 1351 selected painter of the exhibition of the Ministry of Culture and Art
  • 1357-1354 Execution of four hundred and fifty square meters of pottery relief “Naqashikhat” commissioned by University of Tehran for Faculty of Theology and Islamic Studies – Tehran
  • 1355 received the first prize of Kani Surmer exhibition
  • 1357 until now, official member of Tehran University faculty
  • 1359-1361, writing five pieces of inscriptions in Mohaghegh’s handwriting for the Al-Ghadir Mosque in Tehran, writing and sculpting the relief of the Iranian inscription at the entrance of the National Museum of Iran, ordering the execution of 230 square meters of relief pottery for the Embassy of Iran in the United Arab Emirates in Abu Dhabi.
  • 1364-1366, member of the Supreme Council of the Cultural Revolution in the art department and participating in the planning of calligraphy and graphics courses in the Supreme Council of the Cultural Revolution
  • 1364-1367, two terms as a member of the Supreme Council of Iran Calligraphers Association and the Supreme Council for Determination of Professorship
  • 1367 member of the Supreme Council of Visual Arts of the country
  • 1375 Member of the Board of Trustees of the Iran Calligraphers Association
  • 1376 member of the founding board of the Iranian Painting Artists Association
  • 1379-1377 Member of the Supreme Council of the Graphic Designers Association of Iran
  • 1380-1386, participating in most of the activities of the Museum of Contemporary Art as a member of the artistic advisory board, a member of the selection of works and numerous judging panels and judges in painting and graphic biennials and painting and calligraphy festivals in the Islamic world.
  • 2002 member of the expert expert committee to evaluate calligraphy artists
  • 2013 until now, an honorary member of the Association of Painters
  • 2013 until now, the supreme advisor of the Iranian Graphic Designers Association
  • 2013 continuous membership of Art Culture
  • 2003 selected member of the calligrapher-graphic artist of lasting faces by the Islamic Republic of Iran Radio and Television.
  • 2014-2015 Member of the evaluation council of painting and graphic artists in the Ministry of Culture and Islamic Guidance
  • 2014-2015 member of the final committee of the calligraphic artists evaluation council of the country
  • 2004 received the first degree national medal of culture and art from the president according to the approval of the cabinet

Ehsayi was not only an artist who sought to create an eternal work, but also as a teacher he had to discover direction and technique for his students. His goal was to teach clarity and directness by including cognitive beauty to establish communication with the audience. In order to develop the talent of his students to create special line drawings, he encouraged them to create a new and unique language. Mohammad Ehasayi was always looking for a modern trend. He created his line paintings by combining different colors and materials. Persian and Islamic lines have a strong relationship with abstract art. Ahsai was able to give calligraphy art a new style. The father of Iranian calligraphic painting gave the ancient calligraphy a new atmosphere by using symmetry, contrast and repetition. He always had a special style to convey the content to the audience and he always believed that visual art should convey the content to the audience in a clear and beautiful way. In all his line paintings, he has benefited from the play of lines, shapes, colors, tones, textures along with proportion and movement to create unique line paintings. The use of conceptual and visual elements of unique line drawing has led to Samar. Mohammad Ehasayi, one of the founders of Khat painting, considers himself to be among the painters of Saqqah by “tradition”, “calligraphy” and “calligraphy”. In 1954, he created a collection, most of which were with the word “Allah” and “La Elah Allah”. Among his other works, we can mention the logos of the Nahj al-Balagheh Foundation, the Textbook Organization, the Niavaran Academy, and the Art Academy. He also started Diwan Hafez in Nastaliq script in 1382. In his career, the writing of the Quran in the pen of Reyhan is also visible.