Statement of the Problem:
The noblest visual art in the world of Islam is calligraphy, an aspect of which is founded on Qur’anic thinking, which reveals averting formalism, on the one hand, and the sanctity of words, on the other hand. The present study aimed to investigate the spiritual and heavenly attraction of the art of calligraphy by focusing on the work’s structure, the artist, the observer, and relevant outcomes in the social system. Also, the views of Muslim scholars about the art of calligraphy were presented.
Objectives of the Study:
This study aimed to explain the concept of “purpose”, i.e., the discovery of a non-objective intention, in one of the holiest Islamic arts, i.e., the art of calligraphy by emphasizing the views of philosophers, traditionalists, and Seyyed Hossein Nasr (a traditionalist advocate). It should thus be explored how art originates from Islamic principles so that a relationship between its theoretical foundations is found.
Questions of the Study:
This article aimed to answer the following questions:
- What are the artistic and expressive forms of the art of calligraphy to delve into “purpose”?
-What is the aim of implementing the concept of “purpose”?
-What is the structural and theoretical relationship between writing in the art of calligraphy and geometric forms?
-Which subjects of the wisdom of the art of calligraphy are focused on by the views of thinkers and philosophers?
Study findings suggested that the holy art of calligraphy was founded on and aimed to realize the subjective and non-objective concept of “purpose”, and this could provide useful information based on thinkers’ perspectives.
Method of the study:
The study fell under the descriptive-analytical method, and data were collected by library data.
Conclusion:
The calligrapher and the observe, while seeking to detach from the human world, are both infatuated with the manifestation of the existence of the Truth, i.e., they go beyond symbols in the holy art of calligraphy. In essence, the observer and the “purpose” are the unified witness and the witnessed; a subject that thinkers, relying on the pure origins of Islamic and Shiite mysticism, have reaffirmed. These thinkers have characterized this art with the consistency of this art with spirituality and ethics in the social system, the utilization of a conceptual and symbolic expression instead of a merely decorative application, and the numerical representation of letters and geometry. Therefore, the spiritualized human is a pen by himself at the hand of a great artist, i.e., God, to write and promote spiritual conduct, and this is the same concept of “purpose”.
