Analysis of form and composition in the Nastaliq Calligraphy based on the principles of Gestalt Theory

Calligraphy is one of the few traditional arts that, according to its geometric features, has experienced various forms and formats and while being one of the noble traditional arts it has been linked to modern contemporary art. Studying the works of calligraphy and its subset Nastaliq's Calligraphy, using the principles of Gestalt theory, has been paid less attention by researcher in the field of calligraphy. This paper analyzes the relations of the Nastaliq Calligraphy and its composition based on the process of Gestalt perception and has attempted to answer the following question: how can we use the principles of Gestalt theory to introduce a systematic method that allows us to measure different forms and compositions of calligraphy works with Nastaliq's Calligraphy? The data of this research are collected and classified through bibliographic studies of books, articles, treatises and available published pieces in libraries and museums, and evaluated by descriptive, analytical and statistical methods. The topic intended by Gestalt is the relation between the whole and the component and the preference of the whole on the component, and that a calligrapher how to change the gestalts and to produce a correct gestalt proposition in the structure of the letters and simple elements and the structure of the words in relation to each other indicates the pivotal importance. In this research, we show that the works of calligraphy of Nastaliq with the principles of Gestalt theory, such as similarity, proximity, continuity and Closure, can be analyzed, and these principles are in analysis and evaluation of the Nastaliq works in various formats, along with the foundations of visual arts complementing the twelve calligraphy principles. Therefore, to illustrate the relationship between the form of letters and the composition in the Nastaliq Calligraphy with the principles of Gestalt's theory, one sample was chosen from the three Chalipa, Siah-mashgh and the combined-component templates, and were analyzed using these principles; Since the perception of the audience of calligraphy works is mostly a generalist conception in accordance with the principles of Gestalt's theory. In the next step, using a questionnaire, a combined-component with four different gestalt was presented and by referring to a 100-member statistical population, assessment and comment were made. As a result of this survey, it will be determined which percentage of the audience of the Nastaliq Calligraphy  has a correct understanding of a good gestalt; The result of this judgment has shown that more than half of the calligrapher and non-calligrapher users participating in the survey, has chosen the same composition and gestalt which has been created by a well-known calligraphist from among the four different gestalt as provided by a single text, hence the two-way communication between performance and the evaluation of the calligraphic work is determined by the principles of Gestalt's theory. Also we came to the conclusion that to criticize a piece of calligraphy, it’s necessary to be used a combination of traditional and Gestalt methods.