An Investigation on Good Adjacency in Mir Emad’s Chalipa Works with Emphasis on Fluid Baselines

Profound contemplation is indispensable in the cognition and achievement of accurate perception in calligraphy. In view of that, what is more worthy than studying the works of eminent and renowned calligraphers? And who else might be more commendable than Mir Emad Hassani? The presence of such amount of visual beauty in Mir Emad’s works is the result of different variables that could be revealed by scrutinizing his works. The present study attempts to examine and analyze Mir Emad’s type and point of view on good adjacency and emphasis on the baseline letters and words by investigating this principle of calligraphy; and to answer the reasons why Mir Emad utilized such special arrangements of words using fluid baselines. Therefore, after elaborating on the basic definitions, some lines from Mir Emad’s Chalipa works and some sections from the lines were selected respectively. Then the baselines, letters and words were depicted and the details were analyzed by the considering the image of shapes, negative spaces and good adjacency of words. Data compilation method is based on field studies in some parts of the article and written and library resources in some other. Moreover, an analytical-descriptive approach is adopted in the analysis of the works in order to follow a fundamental purpose. According to this, the results of the study indicate that, from Mir Emad’s point of view, good adjacency in arrangement of letters and words of the combination plays a significant role and is more or less superior to the principle of baseline.