Calligraphy Reformation and its Relation with Iranian Identity during Timori Era

Different artistic fields and disciplines including painting, architecture, gild, binding, woodcarving, book polishing, has a significant improvement during Timorian authority (771-912 Hejri-ghamari). This period is called art prospering period. One of the art fields is calligraphy which we try to study using descriptive and analytic method based on remaining documents and resources from Timorian period and current resources. The calligraphy art was also reformed by support and interest of Timorian princess’s, investment of rich society, using experiences of art and science centers of Ilkhani period, necessity of learning that became a culture in Timorian society, the different political, cultural and social functions of calligraphers and different usages of calligraphy were reformed methodologically. But the important achievement of this art in 9th Hejri-ghamari century was its binding with Iranian identity and its coordinates. Extension of poetry in Persian during 7th to 9th centuries was one of the issues that made Iranian in demand of special autography for themselves and independency of Arabic autography. Invention and completion of Taligh autography, Shekasteh-taligh and specially Nastaliqe during 8th and 9th Hejri-ghamari centories and its binding to Iranian and Islamic cultural parameters including poetry, language and literature, Shiite religion (which is known as one of the Iran identity parameters from 10th century) and different artistic disciplines that had Iranian approach, made calligraphy and autography one of the main parameters of Iranian identity and had contributed significantly to its prosper. The objectives of this research are to study this art and the reasons of reformation, studying the relationship of this art with Iranian identity and applications and the position of calligraphers in political and social system of Timorian era.