Analyzing the Position of the Holy Matter in Contemporary Iranian Calligraphy Considering the Concept of Globalization in Calligraphy

Contemporary Iranian calligraphic art emerged from the Saqakhane school following the modernization process’s expansion. The Saqaqhana school tried to connect the traditional visual culture of Iran with modern approaches in the field of visual arts on the path of globalization with western art. Since the art of calligraphy follows the principles of spiritual and sacred geometry, there is a fear that the modernity and globalization of this art will be contradicted by the eternal matter in the mortal system and the center in the environment (sacred matter). Therefore, this research aims to measure the contradiction or harmony of the sacredness in calligraphy with the globalization of this art through a descriptive-analytical method. The statistics and information of this research have been collected through the library-document process. The study’s central question is, considering the concern of globalization in calligraphy, where is the sacred place in contemporary Iranian calligraphy and calligraphic works? After analyzing, applying, and studying the sanctity in five examples of calligraphy works of the 80s and 90s, we concluded that true sanctity is caused by the shadow and divine spirit that exists in the art of calligraphy and that these works with modern techniques And if they have been produced in the world or with essential tools such as pen and ink, it has no effect on expressing its sanctity.