مقایسه تعادل بصری در گرافیک خط نستعلیق؛ شیوه صفوی و معاصر با تکیه بر آثار میرعماد و غلامحسین امیرخانی

Nasta'liq is a clear indication of the nature and aesthetic taste of Iranians and undoubtedly the most beautiful and finest line between Islamic lines as far as the "bride of the Islamic lines" called. In writing hieroglyphics, the attention is mostly paid to the arrangement of word to reinforce and develop a sense of beauty and tranquility in the viewers. In this regard, balance is one of the line graphics in nastaliq. The visual quality is of utmost importance, as there hieroglyphics balance or lack of it in a work, it is very impressive to see the final. In this paper, the balance has been studied in works of two famous calligrapher of the Safavid style (Mir'emad) and contemporary (Amirkhni) in the form of letters, rearranging words and combining them into rows and cross, from the different aspects. The visual quality between the two periods, using the library and see the works of comparison and analysis, the questions such as; How to create balance in hieroglyphics, the balance of this line and use the quality in two ways Safavid and put contemporary reflection and scrutiny. The results indicate that the balance in the composition, in addition to the visual beauty and strength, can be studied in hieroglyphics from the two aspects: 1) based on the measurement of the horizontal line perpendicular to the base 2) based on the energy exchange letters and words of rotational, vertical, horizontal, inclined and concentrated. The overall balance of Mir'emad Calligraphic works is more important than Amirkhni works, Mir'emad put more emphasis on its existence in any combination.