Payman Hamed was born into what he calls “the mystic world of Persian calligraphy.”
His father taught him the art of writing beautifully with a reed pen and ink. When he was six, Hamed learned to inscribe his first words in the Nas’taliq style of Persian calligraphy, which originated in 14th-century Iran.
For Hamed, calligraphy is an important daily ritual. “Just like people who work out every day or those who meditate every morning, we as calligraphy artists enjoy the therapeutic healing power of pen and ink,” he says.
In addition to his own practice, Hamed is part of a broader effort to keep this art form alive as a maker, calligraphy teacher, and active member of the Iranian Calligraphers Association.
Determined to keep this tradition alive, the Iranian Calligraphers Association (established in 1951) took to the task of safeguarding this ancient artform. They developed a program to expand formal public training in calligraphy. They published books and pamphlets, held art exhibitions, and developed academic curricula. Their efforts were recognized by UNESCO in 2021, when the “National programme to safeguard the traditional art of calligraphy in Iran” was inscribed on the Register of Good Safeguarding Practices.
We caught up with Hamed to discuss his love for the written word.
Photo courtesy of Payman Hamed
Payman Hamed creating name artwork in Persian Calligraphy demonstration at the Getty Villa. May, 2022
Emilia Sánchez González: You started practicing calligraphy at a very young age and have continued to this day. What do you think is behind your dedication to the art of calligraphy?
Payman Hamed: When one gets deep enough into Persian calligraphy and gets exposed to the literature behind it, then they never quit. They would just want more and more of it. Persian calligraphy not only inspires us by the words of wisdom behind the poems and quotes we write, it also helps us center ourselves, feel good, and release all the tension and stress that daily life might present to us.
Words can influence our lives in a magical way. Having a sophisticated spoken language is what sets us apart from all other species on the planet. People are becoming more and more aware of the heavenly power of the written word. Wonderful things happen when you have an inspiring quote written as an art piece that you see every day. That daily reaffirmation reshapes our identity and impacts our lives positively in a tremendous way.
ESG: Are there specific kinds of utensils, ink, and surfaces that you prefer to work with?
PH: Yes. Traditional Persian calligraphy pens are made out of reed, but not every type of reed can become a quality calligraphy pen. Ink, paper, and writing pads are the other important components of this whole equation. Of course, a Persian calligraphy artist needs to have a solid understanding of the ways these different components interact with each other and the kind of relationship they establish with one another.
Speaking of the surfaces to work on, there is a new one that makes us believe we are at the beginning of a golden era for the art of Persian calligraphy. Throughout the past centuries, Persian calligraphy has been presented on paper traditionally. In the past three decades, however, the art of Persian calligraphy has pivoted toward a new surface: canvas. In the early ’90s, the idea of creating a Persian calligraphy painting on canvas seemed bizarre; nowadays, we see that writing Persian calligraphy on canvas is more popular than ever.
The contemporary works of some of the Iranian grand masters are being auctioned in international markets for more than a million dollars! This is unprecedented in the whole history of the written word.
ESG: The art of calligraphy is becoming increasingly popular in Iran and abroad, and we see a myriad of new styles being born. How do you choose to approach the question of tradition and style in your classes?
PH: I have always believed in innovation and in being bold enough to come up with new ideas. However, I’m also a firm believer that the classic training rituals are the framework that’s essential to follow. There are no shortcuts in Persian calligraphy; the shortest way is the straightest one. Classic training is the solid foundation that we have to stand on to be able to come up with new ideas and create modern art; we would need to know the rules to be able to break them. In our classes, our approach is a carefully designed blend of traditional Persian calligraphy training and modern educational materials and methods.
ESG: Any exciting projects on the horizon?
PH: Yes. My calligraphy course books are going to be published this coming September. There will be three books, one for each year of the program, and all the lessons come with detailed supporting videos, translation, and transliteration.
There is a myth that one needs to be Persian or speak the Persian language to be able to learn Persian calligraphy, but this is just not true. Our courses are designed for an English-speaking audience and for non-Iranian students as well as second-generation Iranian Americans who do not speak or read Farsi. The goal is to serve a greater number of students while keeping the quality of education at the highest level.
