Calligraphy isn’t art; it’s a profession!

"Everyone understands painting, regardless of language or ethnicity, but not calligraphy."

Somayeh Gholami is one of the Iranian calligraphers living in Portugal. Over the years, she has moved beyond the classical rules of calligraphy and reached a stage where she paints based on Persian script. She says:

"When we learn calligraphy, we are learning a craft. Calligraphy is not an art form; it is a profession, one that involves a hierarchical process."

According to an ILNA news report, Somayeh Gholami is among the artists who have used traditional calligraphy as the foundation to create more innovative and expressive works. Although she has lived in Portugal for many years, her academic background is unrelated to art.

Recently, Gholami held an exhibition titled “Where Letters Become Dreams” at Ba Gallery. The exhibition opened on Friday, August 1st and will run through Friday, August 15th.

In an interview with ILNA, Gholami discussed her journey in calligraphy and detailed how her recent works are rooted in calligraphy but are not considered calligraphy per se—perhaps more appropriately categorized as painting.

What initially led you to calligraphy, and when did this interest begin?

I became interested in calligraphy during school. Specifically, in middle school, when calligraphy was introduced as part of our art curriculum. In my first year (I believe it was seventh grade), my teacher noticed my talent and advised my parents to enroll me in calligraphy classes. That same teacher even signed me up for a course in Shiraz.

That’s an interesting discovery, especially considering how art classes in school are often seen more as free time than serious lessons.

Yes, absolutely. I was very lucky to have such a dedicated teacher at the time. I was also fortunate that the instructor in the class was a well-known master: Mojtaba Malekzadeh, a prominent figure in Iran’s calligraphy association. Even though I hadn’t received any prior training, I started learning the shekasteh script directly under him. After some time, he recognized my potential and told me I needed to pursue calligraphy seriously, not just stop at one script.

What happened after that?

He told me to join the Calligraphers Association and start learning from the basics. As you may know, the association accepts students through entrance exams. I joined during middle school and took formal lessons, starting with nastaligh, later moving on to advanced levels. I continued practicing until university, though mostly during summer breaks, as was common at the time. Eventually, I earned my advanced certificate from the Calligraphers Association of Iran. At that stage, students could choose to study additional scripts. I chose naskh and continued practicing. Then, I moved to Arak for university studies. My high school background was in mathematics, so I wasn’t pursuing art academically. But even in Arak, while doing my master’s, I kept attending calligraphy classes.

When did you move to Portugal?

I went to Portugal on a scholarship for my PHD. At the time, I assumed I wouldn’t be able to continue calligraphy there since people didn’t know Persian, or even Arabic scripts. I brought all my calligraphy tools with me but put them aside. I arrived in 2009, and back then, there weren’t many Iranians in Portugal. Even Arabic script was unfamiliar to them, so Persian calligraphy was completely foreign. And my PhD studies didn’t leave much time for art. I basically abandoned calligraphy during that period.

What brought you back to calligraphy?

It was in 2018. I was considering another postdoc but it didn’t work out. One day, while browsing YouTube, I came across a video featuring Ali Shirazi (a contemporary Iranian calligrapher) on a popular TV show. He was talking about his international activities—selling artworks in auctions, displaying calligraphy in museums, and more. That video sparked something in me. It made me realize: one can be Iranian, live abroad, and still work seriously with Persian calligraphy.

When did this new artistic chapter begin?

Right around the start of the COVID-19 pandemic. With my background, I began practicing again.

Did you ever try painting?

Yes, I had taken courses in miniature painting and oil painting, both branches of traditional art. So I started practicing again and observing master artists' works, mostly via Instagram, since I wasn’t in Iran. Eventually, I began posting my own work online—not with the intention of going professional. I had an Iranian friend in Portugal who was involved in installation art and knew the art scene. She helped me a lot.

And that’s how you developed your current style?

Exactly. I realized I needed to focus more on painting, which is universal and can be understood by everyone, regardless of language or background.

Still, your work clearly has calligraphic elements, even if subtly.

Yes, I wanted the works to lean more toward painting than pure calligraphy. If I had continued doing only traditional calligraphy, Portuguese viewers wouldn’t have understood the content or quality. They wouldn’t know whether what I’d written was technically strong or weak. That made me realize: traditional calligraphy has meaning only within its cultural context—in this case, Iran. The lack of understanding was discouraging. But when I shifted toward painting, I felt more engaged and understood.

Do you consider calligraphy an independent art form?

When we learn calligraphy, we’re learning a craft, not an art. It’s a professional skill that requires progression through a structured system.

Many traditional calligraphy masters are hesitant about blending calligraphy with modern or abstract forms. What are your thoughts on that?

I think it depends both on an artist’s life circumstances and personal mindset. Someone living in Iran might never face the kinds of experiences I did abroad—and so they may never imagine working differently. Others may adapt based on where they live.

Are the works in this current exhibition created in Portugal or specifically for this show?

This is my second series. The first series was created over a year in Portugal and exhibited there—and later in Iran at Seyhoun Gallery. The current series, “Where Letters Become Dreams,” was created afterward over a period of about 1.5 to 2 years.

How did Portuguese audiences respond to your earlier exhibition?

They received it very warmly. Since the pieces were more abstract and painterly, they resonated with the viewers. Once I explained my background and artistic journey, they became even more interested.

Are you living in Iran now?

No. I’ve been living in Portugal ever since I moved there 10–15 years ago. I’m only in Iran now for the summer holidays—just for a month or two.

Tell us more about the current exhibition—how many works are shown, and what’s the technique?

There are 13 pieces, all created with acrylic on canvas. Most of them are large-scale—around 80x150 cm or 73x150 cm.

How has the audience reception been so far?

I’m satisfied with the feedback. People have messaged me saying they enjoyed the works. Some experienced artists visited too and said my approach felt fresh. Honestly, I haven’t received any negative feedback so far.

Do you plan to continue in this direction stylistically, or do you see a shift coming?

This path is serious and ongoing for me. I was studying mathematics and didn’t know many artists in Portugal. But since 2018, I’ve focused on art and I’m now starting to see results. For example, the Gulbenkian Foundation in Lisbon—an important institution that includes a section on Islamic art—has contacted me. They have collections of Persian miniatures, Shahnameh, calligraphy, and carpets. They recently asked me to collaborate on a workshop, which will likely happen in the next few months.

Also, the Lisbon School of Fine Arts, a major artistic hub, is holding a group exhibition in October, and I’ll be participating in that as well.

Anything else you'd like to share?

No, just thank you for this interview. I hope that the media gives more attention to visual artists.