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Arian S. (2024). Investigattion of Calligraphy Works of Chalipa and the Inscriptions of Mohammad Saleh Esfahani, Based on the Three Systems of Baseline, Composition and the Visual Weight. Parseh J. Archaeol. Stud.. 7(26), 313-338. doi:10.22034/PJAS.7.26.313
URL: http://journal.richt.ir/mbp/article-1-773-en.html

Abstract
Mohammad Saleh Esfahani was one of the prominent calligraphers and inscription writers of the Safavid period, under the rule of Shah Suleiman and Shah Sultan Hussein. According to the findings, a significant number of Nastaliq inscriptions in the buildings of Isfahan belong to him. In addition, there are several Chalipas by Mohammad Saleh. Based on this, it is important to explore his works in the field of calligraphy studies for finding methods of analysis of other works in this field. The purpose of this research is to investigate the differences between the pieces of Chalipa and the inscriptions of Mohammad Saleh Esfahani in three systems of baseline, composition and the visual weight. The question is, what are the differences between the Chalipa pieces and the inscriptions of Mohammad Saleh Esfahani according to the principles (which was mentioned)? And what are their reasons? The hypothesis of this research indicates that there are differences between the Chalipa and inscriptions of Mohammad Saleh, which can be recognized and investigated by three mentioned calligraphy systems. This descriptive-analytical research is done by use of library resources in order to analyses some of Mohammad Saleh Isfahani’s works, including the inscriptions  were found in three buildings in the city of Isfahan (Chaharbagh School, Imamzadeh Ismail, and the tombstone of Saeb Tabrizi Tomb) and some Chalipa pieces (available in museums and libraris). The results of the research show that there are differences in the application of calligraphy principles in the three systems of baseline, composition and the visual weight in pieces of Chalipa and inscriptions because of various reasons such as: text content, limitations of design , pen Dang. , the appropriate level of the works  and  etc. based on these reasons, it can be found that Mohammad Saleh Esfahani has adopted different methods and principles for the calligraphy of Chelipa and inscriptions.
Keywords: Principle of Calligraphy, Mohammad Saleh Isfahani, Chalipa, Inscription, Nastaliq Script, Safavid Period.

Introduction
Understanding the rules, discerning the structure, and grasping the principles that govern the Nastaliq script are essential aspects for a comprehensive comprehension of the development and evolution of this script. The Nastaliq script is employed in various formats tailored to its specific applications and purposes. Among the noteworthy calligraphers and epigraphers during the Safavid era, particularly under the reigns of King Suleiman and King Sultan Hossein, Mohammad Saleh Esfahani stands out. He has been associated with a considerable number of Nastaliq inscriptions adorning buildings in Isfahan, alongside his contributions to the creation of Chalipa pieces. Thus, it is imperative to closely examine his artistic works in the realm of calligraphy studies and adopt suitable methods of analysis. The primary objective of this research endeavor is to investigate the distinctions between Chalipa pieces and Mohammad Saleh Esfahani’s inscriptions across three key systems: Baseline, Combination, and Visual Weight.
This research endeavors to explore the dissimilarities between Chalipa’s pieces and Mohammad Saleh Esfahani’s inscriptions within the context of calligraphic principles, specifically in the three systems of Baseline, Combination, and Visual Weight. The underlying inquiry revolves around identifying the reasons behind these disparities. The working hypothesis of this study postulates that distinct variations exist between Chalipa’s pieces and Mohammad Saleh’s inscriptions, and such distinctions can be examined through the application of the principles governing the calligraphy above systems.
Research Method: This research is structured into three main parts, preceded by examining the research background and collecting relevant library information. The initial two parts entail a comprehensive study and scrutiny of the principles above, as evidenced in the works of Mashakhi and Mohammad Saleh Esfahani’s inscriptions, respectively. The third part aims to analyze the gathered information to address the research questions. The descriptive-analytical research method has been employed in this article to achieve a precise and thorough response. The data is primarily derived from an exploration of Mohammad Saleh Isfahani’s works, including inscriptions discovered in various buildings within Isfahan City (such as Chaharbagh School, Emamzadeh Ismaeil, and the tombstone of Saeb Tabrizi) and certain handwritten pieces sourced from museums and libraries. Ultimately, a qualitative analysis has been performed to interpret the findings.

Discussion and Analysis
This research delves into the investigation of the principles governing Mohammad Saleh Esfahani’s works, focusing on the three systems of Baseline, Combination, and Visual Weight. The study involves a separate examination of these systems in both Chalipa’s pieces and his own inscriptions. The research findings reveal that Mohammad Saleh employed distinct techniques to achieve the desired outcomes in each of the three systems. Specifically, in Chalipas, the consistent slope contributes to proportion, balance, and overall aesthetic harmony. To achieve these effects, Mohammad Saleh employed a subtle curve at the beginning and end of each line while carefully observing the ratio between them.
Additionally, the presence of identical rhymes played a significant role in harmonizing the Baseline curvature of the calligraphic pieces. In cases where identical rhymes were absent, Mohammad Saleh achieved proportional and balanced combinations by adjusting the positioning of letters and altering the degree of inclination of the stanzas. The meticulous selection and utilization of strokes emerged as another vital factor in the combination system, which Mohammad Saleh adeptly employed in conjunctive writing to achieve this artistic aim. As observed in Mohammad Saleh’s works, creating a hypothetical perpendicular line stands out as another pivotal factor in forming the Combination system. This hypothetical line becomes apparent through the careful selection of words and the establishment of rhythm, achieved by employing isomorphism in Chalipa’s pieces.
Moreover, the strategic utilization of dots, in accordance with the principle of ownership, as well as the positioning and direction of punctuation on letters and words, play influential roles in creating positive and negative spaces, ultimately achieving a balanced visual weight - techniques skillfully employed by Mohammad Saleh. When examining the three governing systems in calligraphic inscriptions, it becomes crucial to consider several principles. The initial principle revolves around the proportionality of inscriptions, focusing on the relationship between the width of the pen and the dimensions of the inscription’s length and width. Calligraphers ensure that the text is written so that its length and width exhibit uniformity and consistency from the beginning to the end. Another significant aspect involves acknowledging the distinction between forms of exercises and books, which are typically written by calligraphers themselves, and the execution of calligraphic pieces for inscriptions by various artisans such as tilers, plasterers, and stonemasons. This disparity can lead to unregulated variations in implementing letters and words.
Furthermore, in examining and analyzing inscriptions, considering three factors, namely color, light, and pattern, holds significant importance. Incorporating color alongside light as a contributing element plays a pivotal role in establishing the Visual Weight of the inscription. The color contrast achieved through distinct implementation techniques exerts a considerable influence on the visual arrangement for the audience and enhances the inscription’s legibility. For instance, in the sculpting technique applied to the inscriptions on Saeb’s tombstone, the monochromatic and uniform lighting choice relegates the inscription’s visual priority to the audience. Another aspect to consider is the motifs strategically placed around or between the lines of each inscription, which often serve as decorative elements. These motifs are among the various influential factors impacting the readability of inscriptions and the principles of combination, encompassing elements like Calligraphic Strokes and Lacuna, punctuation, and so forth.

Conclusion
The investigation aimed to address the research question concerning the disparities between Chalipa’s works and Mohammad-Saleh Esfahani’s calligraphy in terms of the principles of calligraphy, specifically focusing on the three systems of Baseline, Combination, and Visual Weight. The study also sought to understand the underlying reasons behind their respective utilization. The findings demonstrate that the calligrapher employed these principles in both Chalipa’s pieces and his inscriptions. However, distinctions in the form of Chalipa and inscriptions led to variations in how these principles were applied in their respective works. Notably, the choice of surface played a significant role, with paper being the preferred medium for Chalipa pieces, while materials like stone, tile, or wood were used for inscriptions.
Additionally, the constraints imposed by the customer, including limited space and frame for inscriptions, exerted a noteworthy influence, restricting the calligrapher’s application of the principles governing Baseline, Combination, and Visual Weight compared to the more flexible format of Chalipa. For instance, regardless of word count, the uniform size frame for all stanzas limited the calligrapher’s ability to achieve optimal combinations, baselines, and visual weight, a limitation not present in Chalipa pieces. Other factors contributing to these differences included adjustments in surface size for Chalipa or inscriptions and the limitations inherent in inscription implementation, such as using a dang pen. Taking into account the reasons identified in the research, Mohammad Saleh employed distinct methods and principles in applying the Baseline, Combination, and Visual Weight systems in his works.