Studying the Evolution of Naskh Script in Iran: From Abdolah Tabakh to Alaedin Tabrizi

Yaqout style of Naskh script through the Iranian followers of Yaghout, influenced by the aesthetic understanding of the Iranians, first in Tabriz (Abdolah Seyrafi) and Shiraz (Yahya Sufi) and then in the early 15^th century A.D. went through the stages of evolution In Herat ( Shams Baysonghori, etc.). In the second half of the 15^th century A.D. the active centers of Naskh script are Herat, Shiraz, Baghdad and to some extent Tabriz. Important calligraphers like Ghotb Moghaysi, Zeynolabedin Shirazi, Sheykh Mahmoud Heravi, Abdolah Heravi (Tabakh) are in effective centers. Of course, Herat is the most important center and these calligraphers are somehow influenced by the current formed in Herat. We are facing a number of calligraphy centers by the fall of the Timurid dynasty and the transfer of the center to Tabriz. Herat, Shiraz and Tabriz are no longer as closely linked as they were during the Timurid period. The multiplicity of centers with almost independent approaches is one of the factors in the formation of regional methods in Naskh script. Another important factor is the strengthening of the Nasta'liq script through the appearance of the movement for the manuscripts productions of Persian literary works, which draws the attention of transcribers from Naskh to Nasta’liq script. Lack of attention to Mohaghagh and Reyhan scripts is also effective in Naskh evolution in the second half of the 16^th century. Due to these factors and the decline of Herat as an influential center of the classical Yaghout style, the Naskh script is no longer the dominant style after Abdolah Tabakh. In Shiraz which there was an independent tradition from ex-eras, new styles are appearing in calligraphers’ artworks such as Rouzbehan, Fakhar etc. Tabriz is an important center of calligraphy in the 16^th century A.D. and Alaedin Tabrizi is the most important Naskh calligrapher. First, he is transcribing in Yaghout style but later, he is approaching his independent style. This period is an end to the classical Yaghout style in Iran. However, the deviation from Yaghout style had started before him in Shiraz calligraphers. The new method, in the first step, distances itself from Yaghout style in characteristics such as pen’s size ratio to letters’ bodies, strengths and weaknesses, and also the effectiveness of Tholoth script. Of course, this opinion is presented while doubting the authenticity of some works attributed to Alaedin because he also had a name that provides the basis for this doubt. It seems that Iranian Naskh was born by combining his style with the tradition of Shiraz Naskh transcribers about a century later in Isfahan.