مهران بهزادی - PhD Student in the field of Comparative and Analytical History of Islamic art, Faculty of Arts,Shahed University of Tehran, Tehran, Iran.
سید رضا حسینی - Assistant Professor, Department of Painting, Faculty of Arts, Shahid University, Tehran, Iran.
امین ایرانپور - Assistant Professor, Department of Islamic Art, Faculty of Arts, Shahed University, Tehran, Iran.
محمدصادق میرزاابوالقاسمی - Associate Professor, Faculty of Art and Architecture, Shiraz University, Shiraz, Iran.

Introduction: Seyyed Ali Akbar Golestaneh is one of the prominent Shikasta scriptwriters whose works and place in the history of calligraphy have been the focus of calligraphy artists and researchers. Considering the importance of the position of this Shikasta-Nastaliq calligrapher, identifying the artistic features and styles of his works still seems necessary. Accordingly, the present research deals with the typology and visual analysis of Seyyed Ali Akbar Golestaneh's Shikasta script works in terms of the beauty of disposition (ḥosn-e ważʿ) and composition (tarkīb). Identifying the typological and stylistic features of Seyyed Ali Akbar Golestaneh's Shikasta Script works with an emphasis on the beauty of disposition (ḥosn-e ważʿ) and composition (tarkīb) is the primary goal of this research.Research Method: The data for the present research has been collected using a library-based method, and relying on the original images of the works in Murrqqas as well as calligraphic and printed pieces. The analysis in this research is conducted qualitatively using a visual analysis method based on the components of visual analysis of visual works and specialized concepts related to the principles and rules of calligraphy (observing Shikasta-Nastaliq script).Findings: Golestaneh's Shikasta script works include two types of prose and verse texts. Multiple baselines or seating (korsī) and mounted letters and words are the characteristics of his Linear Script (Satr Nevisi), which are directly related to the length of the line. Examples of Golestaneh's Shikata script writings, which include a smaller number of his works, include pieces in Dang Khafi (small), which are executed in a Chalipa and multilateral form. From the beauty of disposition (ḥosn-e ważʿ) perspective, the trend towards the horizontal frame and seating (korsī), at the same time multiple sub-seatings in most of the works, as well as multilateral writing in some works, are the characteristics of Golestaneh's Shikasta Scriptwriting.Conclusion: The dominant aspect of Golestaneh's works is the type of linear script (Satr Nevisi) and the tendency to write in Jali script. The inclination towards horizontal frames and seating (korsī), and at the same time, multiple sub-seating are the dominant characteristics of his works. Two-Dang writing (Khafi and Jali) can also be seen in several Golestaneh's works. Regarding simple-letter combination, the features of complex writing, the system of composition and distribution of elongations (Mads), the tendency to alliance of circular and curved forms in both horizontal and stepped ways, and the combination of micro-elements (including repetition of similar and aligned movements, proximity, intrusion, and merging of letters with each other) in Golestaneh's works can be expressed.

Shikasta Scriptwriting, Shikasta Nastaliq, Ali Akbar Golestaneh, Beauty of Disposition (ḥosn-e ważʿ)