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Babak Rashvand Hamamlo

Babak Rashvand Hamamlo

Babak Rashvand Hamamlo

Tehran, Iran

Calligrapher, artist, illustrator, teacher

Contemporary Persian Calligraphy Painting

Typography, Calligraphy and Calligraphy Painting:

In my opinion words and letters can appears in 3 positions or categories:


  • For textual inform (to send a message in the written way), in this category the only attempt is for the letters to be written correctly.
  • Aesthetics is a subcategory of textual usage of the letters shape and character (Typography).
  • Finally, words and sentences are created by different typefaces.


  • Calligraphy of letters, words or sentences, which convey a message or object to the readers or the audience in a form of beauty. (By beautiful composition).
  • Aesthetics of the letters and their shapes are on the same level of importance with their textual usage.
  • In the end a beautiful piece of calligraphy artwork is created for visual pleasure of the reader and viewer.


  • In this category, letters and words make connection with the audience and viewers in a visual work aspect.
  • The only important thing is concept, aesthetics and creativity and not informative and textual usage.
  • In the end an abstract piece like a painting art work is created to merely make a two-way connection with the viewer.

History of Contemporary Persian Calligraphy Painting:

The Contemporary Persian Calligraphy Painting was founded in 1961 by Iranian vanguard artists and painters. This group of painters created modern and creative painting and sculpture artworks based on Iranian-Islamic symbols and calligraphies. Finally they created an international art style by the title of: “Saqakhaneh”. It is because the painters of this style used symbols, visual elements, icons, pictograms, illustrations, scripts and calligraphies from that place “Saqakhaneh” and holy ceremonies, that the title of this style is inferred from holy places in Iranian-Islamic culture.

My work style:

My area of specialty is Persian calligraphy painting and I have my own style. The main idea behind my work comes from the visual power and form of the Persian letters.

Shape, meaning and textual clarity of words is not important for me. What I care about is the visual and graphical feature of those elements.

I use the inborn and visual power of the alphabet and letters, to convey my emotions to my audience, what I do is to deform and disarrange the shape of letters, make them dance, break them to create a different space with a variety of colours composition to show, happiness, silence, sorrow, depth, love and ….

I want to create an abstract piece of painting which emerges from those elements. the subject and the idea can be anything, a poem, a memory, a song and … and I do my best to relate with my audience through my emotion, it doesn’t matter whether my viewer can read Persian words or not, where they are from, but only to understand and enjoy my work and to be able to relate to it.

The letters and typefaces contain a large visual power that can create a very strong connection with the viewer. These shapes have the ability to act as a visual element in the form of a complete composition and make a creative artwork.

Considering the visual applications of letters and scriptures, they can exceed the borders and nationalities and turn into a visual language. And this is the international language of art without borders or limits with which the artist can easily reflect all his/her emotions and feelings outside the writing applications of the language.

This happens with the skill to recognize the structure of the letters and reaching creativity and innovation in a Calligraphy Painting piece. The art of Calligraphy Painting can connect with any of its viewers as a work of art while communicating particular ethnic and cultural characteristics of its own nationality. And how beautiful and vibrant is the dance of forms and letters on the canvas...

Author works

Light and Darkness
Persian modern poem

Acrylic on canvas, 100x100 cm, 2011
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