Seyed Mohammad Ehsai: The Painter with a Refined Sense for Words

Seyed Mohammad Ehsaei, a renowned and accomplished artist in the field ofNaqashi-Khat(calligraphic painting), was born in 1939 (1318 in the Iranian calendar) in Qazvin. In 1966, he entered the University of Tehran to study fine arts and traditional calligraphy, graduating from the Faculty of Fine Arts. Ehsaei began his professional artistic career through collaboration with a youth magazine, and later joined the School Textbook Organization. Initially, he worked on book layout and design in this organization, then advanced to become the head of the graphic studio. Before long, he continued his work as the art expert for the visual arts textbooks used in the three-year guidance school program (middle school). The experiences he gained through collaboration with the Pars Institute and interaction with other graphic designers brought him closer to graphic art as a painter and calligrapher. Gradually, his presence in the field of graphic design—particularly in letterform design (huruf-negari) and aesthetic experimentation with Persian and Islamic scripts—became more prominent than his activities in painting. Due to this extensive experience in graphic design, Ehsaei played a significant role in establishing the graphic design program at the Faculty of Fine Arts at the University of Tehran.

Ehsaei the Calligrapher

Seyed Mohammad Ehsaei, as he himself has acknowledged, began his artistic journey in the field of calligraphy by copying the works of Mir Emad and Emad al-Kottab. He later studied under Master Hassan Mirkhani and became deeply drawn to inscriptions and the expressive qualities of Thuluth, Reyhan, and Mohaqqaq scripts. Although he briefly studied Nastaʿlīq script under Seyed Hossein Mirkhani, his more serious reference point in calligraphy remains Mir Emad, with a stronger focus on Mirza Gholamreza Esfahani and the calligraphic style of the late Qajar period.

"Eternal Alphabet (Alfabā-ye Azalī)", 1975

It should be noted that despite all of Ehsai’s efforts to follow the style of Mirza and certain other Qajar-era calligraphers, his style in nastaliq is by no means free from the influence of Emad al-Kottab. From an aesthetic point of view, Emad al-Kottab’s calligraphy possesses a reserved and modest character, influenced by the ketabat (book-writing) tradition. This stands in direct contrast to the passionate spontaneity and informality of Mirza Gholamreza Esfahani’s work, which stems from the siah-mashq (black practice sheet) tradition. This sense of restraint is quite evident in Ehsai’s calligraphy as well, and it seems to represent a personal dimension that has also permeated his overall approach to calligraphy in the mohaghegh, reiḥan, and thuluth scripts. With remarkable mastery and self-confidence, Ehsai achieved proficiency in many calligraphic styles in a largely self-taught manner, without direct mentorship from a master. He had a deep understanding of the traditional rules and principles of calligraphy and was equally skilled in the graphic techniques and craftsmanship associated with them. Thus, guided by a distinctive sensibility and an innovative spirit rooted in the Persian calligraphic tradition, he experimented across many styles of calligraphy and produced flawless works. His siah-mashqs, chelipas (diagonal compositions), and other calligraphic panels stand as clear testimony to this claim.

Ehsai also paid full attention to the conceptual essence of calligraphy in relation to his chosen format. He is an artist emerging from tradition who also mastered modern graphic art, intertwining the discourse and craftsmanship of classical calligraphy with the modern visual language of art. Although Ehsai does not identify himself as one of the so-called Saqqakhaneh artists in Iran, his art and aesthetic discourse affirm his affinity with that movement. Ehsai was among the first artists to bring calligraphic painting (naqashi-khat) from the traditional into the modern era. He organized his calligraphic paintings in the same disciplined manner as his classical works, adhering to all the principles and rules of calligraphy. One of the most striking characteristics of Ehsai’s art is his inclination toward liberation. In a broad sense, it can be said that Seyed Mohammad Ehsai, in his classical calligraphy, sought to move from form to formlessness—from structure to expression. Beyond the Persian scripts such as nastaliq and shekasteh, Ehsai also devoted special attention to thuluth, mohaghegh, and reiḥan. In these scripts as well, he demonstrated a profound understanding of the history of calligraphy and achieved a unique, synthesizing style.

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In relation to Thuluth script, it should be said that Ehsai is not particularly mannerist in his approach; without a doubt, he can be described as a pragmatic reviver of the Aqlām-e Setteh (the six classical styles of Islamic calligraphy). To enrich his artistic expression, he drew upon the entire visual and structural potential of Islamic calligraphy, making use of various scripts, formats, and materials — thus creating a truly unique form of art. Ehsai mastered multiple calligraphic styles, and his approach to contemporary calligraphy was largely self-taught. He also experimented with less conventional compositions within traditional forms such as Chelipa (diagonal compositions) and Ketabat (manuscript writing). However, Seyed Mohammad Ehsai’s greatest fame stems from the unique innovation he introduced to Iranian Naqqashi-Khat (calligraphic painting). He was the first artist to use words as a medium for personal artistic expression, with his 1968 work “Knot of Khayyam” (Gerehaye Khayyam) marking this breakthrough. A skilled calligrapher by training, Ehsai considered himself closer to the traditions, scripts, and essence of calligraphy than to the painters of the Saqqakhaneh movement. He attributed this closeness to his faithfulness to the authentic traditions of calligraphy and his connection to the true form of letters. In this sense, Ehsai’s artistic journey was a movement from calligraphy toward painting — integrating visual and conceptual elements of painting into his calligraphic works. This approach, which came a few years after the Saqqakhaneh painters, was at first met with resistance, but later led to a wave of imitation among calligraphers. Ehsai showed greater perseverance and dedication than any of his contemporaries in advancing and defining Naqqashi-Khat as a distinct art form. To this day, he continues to shine through his diverse and innovative works on both the national and international stages.

“Surah Al-Hamd,” Nasta‘liq script, 1998

Ehsai the Painter

Ehsai’s entry into the circle of painters and graphic artists took place in the early 1960s at the Pars Institute, where he became acquainted with the new environment and the field of modern art. Yet, although Ehsai created modern works, his mindset never became modern in the strict sense of the term. This marks one of the key distinctions between him and certain other Iranian modernists. Ehsai was a spiritual seeker, consistently bound to meaning — but a meaning rooted in traditional spirituality, not the abstract mysticism that preoccupied theorists of abstract art. One of the most important aspects of Ehsai’s modern works — which should be evaluated within the context of Iranian modern painting — is the fluid presence of geometry, a strong and dynamic element that seems to keep Ehsai grounded as a calligrapher. The influence of classical calligraphy in his paintings can thus be interpreted from this perspective. The geometry in Ehsai’s works is alive and mobile, finding room to move within a firm structure. Even when painting, Ehsai remains a calligrapher experimenting with new experiences. His paintings should be understood as a continuation of his calligraphic consciousness, for he never breaks free from the dominance of letters and words. In some of his works, his technique approaches that of Chinese calligraphy. The letters in Ehsai’s art are not reduced to mere visual elements — they constitute the very essence of the work. Although his paintings make effective use of color and form to enhance expression and completeness — qualities worthy of contemplation in their own right — these are not the intrinsic elements of his art. Undoubtedly, Ehsai’s thoughtful use of color and form has played a vital role in giving his works a transcultural identity, making his artistic language more accessible to a global audience.

“Flower, Hyacinth, Nowruz,” oil on canvas, 2015

A Reflection on Ehsai’s Artistic Style and Approach

The works of Seyed Mohammad Ehsai can be broadly divided into two main tendencies: traditional calligraphy and modern calligraphic expression. He is an artist who spent many years practicing calligraphy within the traditional educational system, yet his maturity and artistic flourishing took place during the modern art period. In creating traditional works, Ehsai shows no inferiority to the great masters before him, skillfully reviving many classical calligraphic forms. However, his art never stagnated in repetition; rather, it became the foundation for innovative works that invite the viewer into a world rich with the beauty and originality of Naqqashi-Khat (calligraphic painting). Throughout his artistic life, Ehsai devoted a period to traditional calligraphy, producing works within its classical structures. After this phase, his artistic journey transitioned into a modern period, during which he began creating compositions resembling knots and interwoven clusters of letters. In these works, Ehsai presented a creative structure of calligraphic painting, employing visual elements to convey the spiritual and semantic essence of words, letters, hadiths, Quranic verses, and similar sacred expressions. From 1975 onward, Ehsai began producing canvases often centered around the divine name “Allah” or the sacred phrase “La ilaha illallah” (“There is no god but God”). These works marked a significant evolution in his career, uniting spiritual meaning and modern visual expression within a uniquely Iranian artistic language.

“La ilaha illallah” (There is no god but God), offset print

Logo of the Academy of Arts, 1998

Seyed Mohammad Ehsai has also participated in dozens of solo and group exhibitions to date, held both inside and outside Iran. Among these are the 60th Venice Biennale, the Annual Art Exhibition in Basel, Switzerland, exhibitions in Bologna, Hangzhou, and the Asia Society in New York. Ehsai’s work in graphic design carries a distinctly calligraphic quality. From posters to logos, all of his creations begin with letters and structural games, carefully composed, and ultimately serve a graphic function. By blending tradition with innovation, his works establish a strong connection with audiences, which may explain why they have consistently drawn attention in artistic circles. In addition to critical acclaim, Ehsai has been highly successful in the art market, both domestically and internationally. In April 2008, one of his works sold for $1,180,000 at the Christie’s International Modern and Contemporary Art Auction in Dubai. In subsequent auctions at Sotheby’s and Christie’s in London, Dubai, and Doha, his works sold for $650,000 and $500,000 respectively. In 2020, one of his works sold for 6 billion Iranian tomans at the Iran Contemporary Art Auction. Ehsai has also created significant relief works, in which calligraphy and creative letterplay remain the central element. His most famous and beloved relief is located in the auditorium of the Faculty of Theology at the University of Tehran, executed in 1977. This monumental piece uses letters and the interplay of words to visually convey the essence of Attar’s poetry in The Conference of the Birds, depicting the ascents and descents of the Simurgh. Another notable relief by Ehsai is at the Iranian Embassy in Abu Dhabi, UAE, where the artistic approach is entirely different from the Tehran university piece. In this work, single-colored letters appear on a seemingly aged, geometric and abstract background, yet the letters retain the narrative and shared qualities of traditional Iranian calligraphy, such as Thuluth and Mohaghegh scripts with diacritics, captivating viewers with their elegance and harmony. 

Ehsai’s art can be classified as religious art, insofar as its aim is to evoke a spiritual response in the human soul and guide it toward transcendence and elevation. To understand the religious dimension and its transformation in Ehsai’s works, it is important to note that religious faith has always been a fundamental premise in his artistic endeavors. With the aim of spiritual elevation and its inherent nature, there is always an impersonal element in the creation of religious art. One of the defining characteristics of this art is the submission of the self to divine power. In Ehsai’s works, a deep and distinctive process unfolds in the act of creation, through which he approaches the divine essence of the Quranic word, conveying its message according to the capacity of each individual viewer.

Overview of Works

Among the notable works of Seyed Mohammad Ehsai are: the “Eternal Alphabet” series, Surah Al-Hamd, Surah Yasin, Hu al-Fattah al-‘Alim, Hu al-Sami’ wa al-‘Alim, Hafez Asrar-e Elahi, Three Leaves of Love, That Heart Which You Have Seen, This Flower Comes from a Kindred Soul, O How We Are Not and the World Will Be, Whoever Keeps Faith with the Loyal, Good and Evil in Human Nature, The Foundation of Work Comes from Planning, At the Threshold of the Beloved, If One Can Submit, We Are Beggars of the Tavern of Love, In the Eyes of the Dawn, I Rejoice in That, O Lord, Make the End Auspicious, Since Nothing Exists from What Exists, Sit with Someone Who Knows the Heart, and many others. 

Untitled, 2018

In 2023, Seyed Mohammad Ehsai was recognized as a Living Human Treasure and officially registered in the national list of “Masters of Intangible Cultural Heritage.”