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No. 292 | May 202535Characteristics of the New (Post-Qajar) or Kalhor StyleMirza Mohammad Reza Kalhor created a peaceful coexistence between the tradition of calligraphy and the needs of the day. Due to the choice of a small format for words in his style of calligraphy, Mirza Mohammad Reza Kalhor wrote the dots with fewer than six pen strokes, to the extent that it seemed that he had written the line with a larger pen and placed the dots with a smaller pen. Calligraphers following Mir-Emad%u2019s style considered thin and sharp writing to be a necessary condition for beautiful scripts, but in the Kalhor method, the sharpness of the letters was adjusted by adding more strength to the thinner parts of the words.Concluding RemarksThe trend of following new paths and experimentation in new fields began a long time ago in Iran, and now a wide range of artists%u2019 efforts have attracted the attention of many art lovers. Depending on his/her perspective, background, and talent, every artist has chosen his/her own path and created a model that can be studied and examined independently. In the process of innovative creativity, artists have achieved such innovations in calligraphy that can be referred to as a series of breaking traditions. Perhaps it can be said that the most important breaking tradition occurred in the relationship between form and content. In the traditional world, calligraphy had the task of expressing the concept in the easiest, fastest, and most legible way, so that the form and content could be conveyed to the viewer and reader at first glance. The last decades of the twentieth century witnessed profound changes in the concept of art and the structure of beauty, and through this, a wide and diverse realm of new artistic tools and methods of expression was experienced. The use of letters in art has been one of the experiences existing in the modern era and has taken on new dimensions in the postmodern era; even though the use of the art of calligraphy in the history of Eastern and Western art has a long history.Sources:Amani, Hojjat; Bolkhari Ghahi, Hassan; Jabbari, Sedaghat (2021), Changing Meaning in Contemporary Iranian Calligraphy, Journal of Eastern Art and Civilization; Volume 9, Issue 31, PP. 51-62.Allahyari, Fereydoun; Abedinpour, Vahid (2011), Causes of the Evolution of Calligraphy and Its Connection with Iranian Identity in the Safavid Era; Quarterly Journal of National Studies, Volume 43, Number 3, PP. 159-184.Kaspour, Hoda; Charei, Abdolreza (2013), Comparative Study of the Calligraphy Styles of Influential Calligraphers in the Production of Calligraphy Software with Common Styles in Nastaliq Script (Kalhor and Mir-Emad Styles) and Thuluth Script (Turkish and Arabic style), Negareh Scientific Research Quarterly; No. 25, PP. 51-63.Fazayli, Habibollah; Calligraphy Teaching and Calligraphy Atlas. Tehran: Soroush Publications; 2008 and 2011. Rashvand, Zeinab (2012): A Glance at the Visual Capabilities of Nastaliq Siyah Mmashq (lit. black practice) in Contemporary Typography; Aban Publications, Tehran.Eshaqzadeh, Rouhollah; Sadeghian, Hamid; Rouhani Esfahani, Elham (2018), Visual Study of the Relationship between Dot and Space in Nastaliq Calligraphy, Safavid and Contemporary styles: with Special Emphasis on the works of Mir Emad and Gholam Hossein Amirkhani; Quarterly of Visual and Applied Arts; Volume 11, Number 21, PP. 5-19.