Calligraphy and Architectural Heritage Converge at Alaeddoleh Historic Mansion in Tehran

Leila Sedki, a senior art research expert, wrote in a note: The 21st of October, the National Day of Calligraphy, is an opportunity to preserve one of the most original manifestations of Iranian art and to remember the role of artists, professors and cultural institutions in preserving and passing this art to future generations. An art that has formed an important part of Iran's visual and cultural identity in the link between words, thought and beauty.

In the north of Tehran and in the historical neighborhood of Dezashib, Alaa al-Sultaneh mansion and garden is an example of the link between architectural heritage and contemporary cultural activities. This complex, which is known today for the activity of the Iranian Calligraphers Association, in addition to having architectural and historical values, has provided a platform for holding educational, artistic programs and gatherings related to calligraphy.

Calligraphy in Iran, beyond calligraphy, is an art based on proportion, composition, visual rhythm and deep knowledge of letters. Over the centuries, this art has been present in writing literary and religious texts, writing manuscripts, inscriptions of historical monuments, documents and exquisite works of art, and has played a lasting role in the formation of the visual identity of Iranian and Islamic art.

Lines such as Nastaliq, Shakete-Nastaliq, Naskh and Thuluth, each with their own structural and aesthetic characteristics, represent a part of this valuable heritage. Among them, Nastaliq has a special place in the artistic culture of Iran due to the appropriateness of the letters, the fluid movement of the words and the harmony with the Persian language and literature.

The 21st day of October has been designated as the National Calligraphy Day and the Calligraphy Week is an opportunity to introduce the capacities of this art, display the works of teachers and students, hold specialized meetings and expand the relationship between society and the art of calligraphy.

Iran Calligraphers Association is one of the most important non-governmental institutions active in the field of calligraphy education and promotion in the country. The formation of this collection goes back to 1329; When, with the efforts of Dr. Mehdi Bayani and the support of professors such as Seyed Hossein Mirkhani, Seyed Hasan Mirkhani, Ali Akbar Kaveh and Ebrahim Bouzari, the activity of free calligraphy classes began.

This cultural movement was formed with the aim of providing the basic education of calligraphy and transferring the knowledge and experience of the professors to those who are interested, and then, with the official registration of the Iranian Calligraphers Association on the 19th of September 1346, its structure and activities expanded.

During its activity, the association has played a role in expanding calligraphy education and nurturing artists at various levels by establishing numerous branches, holding training courses and staged tests, introducing professors, and setting up specialized exhibitions and meetings.

One of the most important functions of such an institution is to preserve the original ways of writing, transfer the practical knowledge of calligraphy, provide a path for the development of students and create communication between different generations of artists. These activities help to perpetuate the legacy, an important part of which is transmitted not only in the written works, but also in the skill of the hand, the method of teaching and the relationship between the teacher and the student.

Dezashib neighborhood in the north of Tehran is one of the old neighborhoods of Shemiran, which has preserved a part of its historical identity in gardens, old houses, passages and buildings left over from past periods. Among these works, Alaa al-Sultaneh mansion and garden are among the examples of historical residential architecture in this area.

This collection has a background related to the Qajar period. This property once belonged to Hossein Alaa, one of the political figures of Iran and the prime minister of the Pahlavi period. The mansion is located in the green space of the garden and the brick facade, wooden doors, large windows, vaulted ceilings and columns are some of its described features. The combination of the building with the old trees and the surrounding open space presents an image of the pattern of the historical gardens of Shemiran; A model in which the relationship between living space, nature and architecture has been particularly important.

What distinguishes Dezashib Mansion from many historical houses is its continued cultural use. For more than two decades, this collection has become the place of activity of the Iran Calligraphers Association, and its name is associated with education, gathering of artists and holding programs related to the art of calligraphy.

Turning a historical monument into an active cultural space is an example of exploitation compatible with heritage values; An approach that can help maintain the social function of the building, increase public attention to historical architecture, and strengthen people's connection with cultural heritage.

In such a collection, architecture is not only the background of artistic activities, but also a part of the audience's cultural experience. Being in a space with a historical background, observing works of calligraphy and learning about different ways of writing, provides the possibility of simultaneously experiencing two types of heritage: tangible heritage in the form of buildings and gardens, and intangible heritage in the form of skills, knowledge and artistic traditions.

One of the prominent elements of Dezashib complex is the old garden and its old trees, which have created a distinct atmosphere next to the brick building. The presence of a pond, flower pots, calligraphy panels and the famous sculpture "Nothing" by Parviz Tanavoli and the Art Center collection, which always hosts outstanding works of art in the exhibition section and artists' handiwork in the gallery and art shop section, as well as a store for calligraphy essentials, are among the features of this collection.

The Hitch statue, with its contemporary language, is placed next to the historical architecture and the traditional art of calligraphy and gives the collection a multi-layered atmosphere; A space where tradition and contemporary art can be seen side by side. There is also a teahouse in the garden, which was previously used as a coffee shop. The existence of such elements and spaces, if confirmed in the historical documentation of the collection, can be considered in the narrative of architecture and the introduction of its cultural values.

The activity of the Iranian calligraphers' association in Dezashib can be seen as an example of the connection between the preservation of a historical monument and its continuous cultural use. Holding specialized meetings, teachers' gatherings, calligraphy exhibitions and educational programs are among the activities that have been reflected in the association and the Dezashib collection.

In different periods, this collection has hosted meetings of the Supreme Council, meetings related to educational and evaluation matters, and exhibitions of artists' works. Such activities show that the capacity of the building is not limited to the historical value and architectural beauty and can also play a role in the formation of cultural and artistic interactions.

From the perspective of cultural tourism, this type of use provides a good opportunity to simultaneously introduce the history of Dezashib neighborhood, the architecture of Shemiran gardens and the art of calligraphy. Linking the visit to the building with programs to introduce Iranian calligraphy, display artworks, and learn about the process of teaching calligraphy can create a deeper experience than just visiting a historical building.

In the new approaches of cultural tourism, the direct experience of native arts and familiarity with the way of producing works of art has an important place. Iranian calligraphy also has a suitable capacity for designing creative tourism experiences due to its historical background, variety of lines, connection with Persian literature and practical training.

In this framework, Dezashib Mansion can be a platform for introducing the art of calligraphy to different groups of audiences, from art enthusiasts and students to domestic and foreign tourists. Holding short workshops to learn calligraphy, showing traditional writing tools, introducing examples of calligraphy works and narrating the history of the building are among the suggestions that can be reviewed with specialized planning and coordination of the curators of the collection.

Also, documenting the oral history of artists, preparing digital content about the history of the mansion and introducing the link between calligraphy and Iranian architecture can help to increase audience access and strengthen the place of this collection in the cultural tourism map of Tehran.

National Calligraphy Day is an opportunity to pay attention again to the value of arts whose transmission to future generations depends on continuous education, support of artists and availability of cultural spaces.

The historic Alaa Al-Sultaneh mansion in Dezashib, with its architectural background and old garden and hosting the activities of the Iran Calligraphers Association, is a remarkable example of the coexistence of architectural heritage and artistic heritage in Tehran. This collection is a reminder that the protection of cultural heritage is not limited to the restoration of the body of buildings; Continuity of cultural life, preservation of appropriate functions and creation of communication between people and authentic arts are also part of the path of preservation of heritage.

The introduction of such collections on occasions such as the National Day of Calligraphy can provide a basis for the society to become more familiar with the cultural capacities of the capital and increase attention to the value of historical gardens, traditional arts and the role of cultural institutions in the transmission of this heritage.