The Visual Language in Qajar Siyah Mashq and the Analysis of Cultural and Artistic Influences on Contemporary Iranian Graphic Design (Based on Gérard Genette’s Theory)

Abstract

In recent years, contemporary Iranian art—particularly graphic design—has undergone remarkable and extensive transformations, as artists have strived to create an innovative visual language. One of the most significant of these efforts is the deliberate use of Qajar Siyah Mashq calligraphy in the creation of contemporary graphic works. This practice not only draws upon the rich traditions and culture of Iran but also forges a link between the past and the present, leading to the emergence of a multilayered, autonomous, and dynamic identity in art. As a form of visual art, graphic design employs traditional elements such as calligraphy to reinterpret cultural, historical, and social concepts in a contemporary framework. In this study, drawing specifically on Gérard Genette’s theory of Transtextuality—which builds upon the earlier notion of Intertextuality proposed by Julia Kristeva—the influence of Qajar calligraphy on contemporary Iranian graphic design is examined. The aim is to explain how traditional written elements are transformed into a new and inspiring visual language that, while preserving cultural authenticity, also aligns with contemporary artistic and communicative needs. The study concludes that the interaction between tradition and modernity can provide a foundation for the emergence of a creative visual language that distinguishes contemporary Iranian graphic design from other styles and imbues it with a unique cultural depth.