MirʿAli Tabrizi; The Creator of the Nastaʿlīq Script

MirʿAli Tabrizi is considered one of the most prominent calligraphers of the era of Amir Timur Gurkani. He was born in 762 AH in the city of Tabriz. His father, MirʿAli Soltani, was himself a renowned calligrapher of the 8th and 9th centuries AH. Little is known about the details of this master calligrapher’s life, except that he spent some time living in Tabriz and passed away around 803–805 AH. The significance of MirʿAli Tabrizi’s work as a skilled calligrapher lies in his historic and valuable efforts to systematize and refine the Nastaliq script. Through establishing specific rules unique to the Nastaliq script, this artist was able, for the first time, to present the script in an independent style and endow it with a distinct identity and character. These rules were largely based on delicacy and subtle movements, such that Nastaliq, even after many centuries, continues to reflect the artistic sensibility and aesthetic taste of Iranians more vividly than other scripts. In old calligraphy treatises, there is a story that MirʿAli Tabrizi, one night in a dream, observed the flight of geese, and the fluid movements of Nastaliq were inspired by the graceful motion of these birds in flight. The Nastaliq script was further refined and enriched by MirʿAli’s son, ʿAbdullah, who added new details and completed its development.

MirʿAli was a discerning, sensitive, and highly skilled calligrapher who captured the finest expressions of Iranian and Islamic culture with elegance and subtlety. His fame transcended the geographical boundaries of Iran, establishing him as a prominent calligrapher of international renown.

This distinguished figure in the art of calligraphy can be credited with initiating a cultural movement from two perspectives: First, MirʿAli Tabrizi’s unique style revitalized calligraphy among the people, fostering not only its popularity but also the appreciation of aesthetic writing and artistic beauty. Second, through the formalization and organization of the Nastaliq script, a portion of forgotten and endangered cultural heritage—including classical poetry—was revived and transcribed, prompting contemporary rulers to support and patronize it. Consequently, although MirʿAli Tabrizi’s style has undergone many changes over the centuries, the foundational principles he established remain distinct and enduring. On this basis, it must be stated clearly that the Nastaʿlīq script, often called the “bride of Islamic scripts,” owes its existence and refinement forever to the diligent efforts of MirʿAli Tabrizi. The most prominent and well-known student of MirʿAli Tabrizi was his son, MirʿAbdullah, who devoted great effort to preserving and spreading the Nastaʿlīq script. He trained numerous students to ensure the continuity and transmission of this valuable artistic heritage to future generations, the most famous of whom were Jaʿfar Tabrizi, known as Jaʿfar Bāysangari, and Aẓhar Tabrizi, known as Ustād al-Ustādh. Regarding the date of MirʿAli Tabrizi’s death, Mirzā Sanglākh reported that he passed away in old age, and according to calligraphy scholars, this master calligrapher likely died around 803 to 805 AH.

Artistic Works of MirʿAli Tabrizi
Among the works attributed to MirʿAli Tabrizi by experts are: a twelve-page Muraqqaʿ (album) of the Supplications of Imam Ali ibn Abi Talib (peace be upon him), a manuscript of Khamseh of Nizami and Amir Khusro Dehlavi, a manuscript of Saʿdi’s Kulliyāt, a manuscript of Būstān of Saʿdi, a manuscript of the Masnavis of Homāy and Homāyūn, Kamāl-nāmeh, Rawḍat al-Anwār by Khwaju Kermani, and a manuscript of Diwān Jalāyir. However, the Khusrow and Shirin manuscript of Nizami, which contains the full signature of MirʿAli Tabrizi, is the only work that can be confidently attributed to this calligrapher.