Kufic calligraphy is the most exciting script in the Islamic world. From the very beginning of its emergence and development, it deeply permeated the layers of Islamic culture and civilization. A mere trace of Kufic in Granada, Spain, on Fatimid inscriptions in Egypt, or in the Jameh Mosque of Isfahan—from Greater Khorasan to the Indian subcontinent—carries with it a strong mark of art, architecture, and spirituality.
The forms created through Kufic originate from an unseen realm, yet they flow into the world with clarity and deep meaning. No other script brings the earth and sky closer together as Kufic does. Each letter resembles a monumental architecture, holding a mysterious and extraordinary beauty. As Martin Lings once said, early Kufic seems to foretell a secret, divine event and looks upon us from another world: “Its letters aim to convey the finality of divine command; there is something mysterious and concealed in Kufic, a message not yet fully revealed.”
Nevertheless, due to its inherent graphic potential, Kufic also offers boundless worldly possibilities. As we know, various styles of Kufic were used extensively—at least until the 6th century AH—on a multitude of everyday objects. In addition to its cosmopolitan legacy, it also carried distinct regional differences. These fundamental qualities of Kufic have allowed its range of application and creativity to remain broad and expansive. It simultaneously engages with pure script, the traditions of calligraphy, and highly decorative or ornamental design.
I have been following the work of the esteemed artist Somayeh Gholami for some time. It is promising that in recent decades, a wave of Kufic-based calligraphy—both traditional and in the form of calligraphic painting—has led to a revival and re-examination of this civilizational heritage in Iran, Arab countries, and Turkey. However, especially in the realm of calligraphic painting, many works have become overwhelmed by unnecessary colors, excessive techniques, and fleeting trends.
Gholami’s Kufic imagery, to a great extent, rises above these superfluous and, at times, superficial elements. Her work arrives at a refined simplicity and calm. A clear example is her use of only two colors (never more), and her bold or deconstructed use of the Kufic script. Her black-and-white Kufic compositions exemplify a thoughtful transition from complexity to clarity—a mature gesture that comes only after experimentation, repetition, and artistic growth.
Due to her solid theoretical studies in mathematics, Gholami possesses a keen understanding of how Kufic script can be applied to represent the world around her. It is well known that Kufic letters harmonize remarkably with architecture. The history of grand architectural ornamentation in Iranian-Islamic design—whether in Kufic Bannai style (where bricks form rhythmic patterns of words) or decorative Kufic (which incorporates elements from nature into the script)—attests to the great expressive potential of this script.
This has provided a rich foundation for Gholami to smartly engage with urban landscapes and modern architecture, reinterpreting them through Kufic. Moreover, her avoidance of unnecessary embellishments, her consistent and conscious presence both in Iran and Europe, and the honesty of her artistic expression distinguish her work.
The landscapes and perspectives chosen in her pieces are intelligently selected—fusions of natural scenery and everyday environments with the “mortar” of traditional Kufic. Viewers unfamiliar with calligraphy might not even realize that the material of these bridges, buildings, streets, and pavements is made up of Kufic letters. Yet, the result is a fresh and striking reimagining of familiar forms.
This East-West back-and-forth creates a valuable opportunity and model for others to move beyond repetitive, exaggerated uses of Kufic and instead, create in line with tradition while adopting a new perspective.
Another important, yet less visible, aspect of her work is her cultural presence in Portugal—organizing exhibitions and events centered around Kufic and Iranian heritage. These efforts have brought attention to Iranian calligraphy traditions in regions where such traditions are not widely known or practiced. This kind of work, in cultural territories lacking the foundational calligraphy tradition, is difficult and demanding. But from the standpoint of cultural migration, its significance is immense.