Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 22 148 2025 09 23 A Critique of Traditionalist Views on Islamic Calligraphy A Critique of Traditionalist Views on Islamic Calligraphy 79 84 226962 10.22034/bagh.2025.526550.5828 FA Hojatollah Amani Department of Painting, Faculty of Art & Architecture, Tarbiat Modarres University, Tehran, Iran 0000-0002-1096-9566 Journal Article 2025 05 27 Problem statement: The opinions and conclusions of traditionalists regarding Islamic art and architecture are often cited without adequate references to historical examples and documentation. Calligraphy, considered by traditionalists as the most noble and distinguished form of Islamic art, has similarly been accepted and applied by researchers without historical verification. <br />Research objective: This critique examines how traditionalist views, especially those of Seyyed Hossein Nasr, align with the historical development and surviving examples of Islamic calligraphy and illumination (Tezhib). It argues that in many cases, these views conflict with the documented history of the art.<br />Conclusion: It seems that some of these perspectives, conveyed in generalized and symbolic (abstract) language, aim more at legitimizing the spiritual and civilizational role of calligraphy as the turning point from oral tradition to written revolution in Islamic civilization, rather than reflecting historical accuracy. Problem statement: The opinions and conclusions of traditionalists regarding Islamic art and architecture are often cited without adequate references to historical examples and documentation. Calligraphy, considered by traditionalists as the most noble and distinguished form of Islamic art, has similarly been accepted and applied by researchers without historical verification. <br />Research objective: This critique examines how traditionalist views, especially those of Seyyed Hossein Nasr, align with the historical development and surviving examples of Islamic calligraphy and illumination (Tezhib). It argues that in many cases, these views conflict with the documented history of the art.<br />Conclusion: It seems that some of these perspectives, conveyed in generalized and symbolic (abstract) language, aim more at legitimizing the spiritual and civilizational role of calligraphy as the turning point from oral tradition to written revolution in Islamic civilization, rather than reflecting historical accuracy. https://www.bagh-sj.com/article_226962_feb308f89e99ff3da99965e023ba70b0.pdf