Mohammad Reza Shajarian began learning Nastaliq calligraphy seriously in 1965, at a time when he was already establishing himself as a promising vocalist. His teachers included Ebrahim Bouzari and later Hossein (Hassan) Mirkhani, two highly respected masters of Iranian calligraphy. Under their guidance, Shajarian immersed himself in the rigorous discipline of letter formation, proportion, spacing, and rhythm.
Calligraphy, unlike spontaneous drawing, demands absolute control of the hand, breath, and mental focus. A single misplaced stroke can disrupt the harmony of an entire composition. This demand for precision resonated deeply with Shajarian, who believed that true artistry begins with self-discipline.
Shajarian’s dedication to calligraphy was not casual. After years of study and practice, he achieved an excellent degree (Darajeh-ye Momtaz) in Nastaliq calligraphy—an honor granted only to those who demonstrate mastery of form, balance, and stylistic integrity.
Those familiar with his calligraphic works often note that they reflect the same qualities present in his singing: elegance without excess, emotional depth without sentimentality, and a profound respect for tradition combined with personal expression.
For Shajarian, calligraphy was not merely a visual art; it was a meditative practice. He once suggested that writing a single perfect letter could be more spiritually demanding than singing an entire concert. In both arts, intention mattered as much as technique.
