Nasta'liq script, which was first developed in the Azarbaijan region of Iran and spread from there to the neighboring regions, reached Anatolia in the 15th century. Political interactions, and in particular the fact that Sultan Mohammed II was a patron of the arts who invited many Iranian artists and artisans to his court, played an important role in this.

Until 1009 A.H. (1600 C.E.) Nasta'liq was generally used in Anatolia for manuscript writing rather than as an art form. However, the spread of Emad's fame in Iran and the wide circulation of his calligraphy caused a change in the use of Nasta'liq in Anatolia as well.

Turkish calligraphers used the examples of his works to beautify their own writings. Starting in the 17th century, this script became an art form in its own right.

Emad's style became popular in Istanbul with the arrival of his student Dervish Abdi. Later his student Mahmoud and other Turkish calligraphers continued his style in Turkey. Emad's style reached a new height with the works of Esad Yesari. Later, with Yesari's son Yesarizadeh, Nasta'liq entered a new period of development.

Dr. Ali Alparslan, a professor of calligraphy at the University of Mimar Sinan in Istanbul and a member of the jury of the International Calligraphy Competition of the Research Center for Islamic Art, Culture and History in Istanbul, was one of several foreign guests who were invited to the International Congress on Islamic Arts and Crafts held in Isfahan from October 4 to 9.

He studied Persian literature at Tehran University 40 years ago and currently teaches Persian and Turkish literature. In an exclusive interview with the TEHRAN TIMES, he expressed his ideas on the Iranian influence on Turkish Nasta'liq, which was also the subject of his presentation at the congress.

To the question of what is the relationship of the art of calligraphy to literature and Islam, he explained that the two are very close to one another, and this art, especially the Nasta'liq style, is highly respected among Turks. He added that there are almost 20 students at the Faculty of Fine Arts in Istanbul who study and practice the art and display their works at different congresses.

The spirit of calligraphy helps the artist reach the spiritual world. When asked if calligraphy teachers teach only technique to their students or techniques and spirituality, Alparslan replied, "These two are the same. The one who creates calligraphy knows the technique quite well and enjoys writing as well and is inspired highly through writing. The Islamic spirit is present in calligraphy and is conveyed to the viewers.

Whether one is aware of the technique or not, one can easily enjoy the art and feeling of the artist.

Muslims are influenced by the modernity of the West and their techniques, but Eastern spirituality has a high status in the world.

Asking for his suggestions on what to do to revive the religious and national arts and handicrafts of the Muslims, Prof. Alparslan stated that he believes modernity is good, but the past and one's roots should not be forgotten.

"The Islamic spirit of handicrafts is preserved in Turkey, and there should be more efforts to keep them as they were," he added. When asked about changes in art which are only meant to attract tourists and the fact that its originality is slowly fading away, he said, "Calligraphy has been preserved and not changed in Turkey, and the styles are continuing as before." When asked about whether innovation is needed in calligraphy, as is evident in other Islamic arts, he replied, "I like a little changes in the art, but other Turkish artists do not. It should be preserved as it was from the beginning. I am trying to add some slight changes, that is to add painting or illumination into the frame in which calligraphy is written, as I have seen in Iranian calligraphy. I am teaching my students to do some illumination. Perhaps we could make some slight changes, but there are no calligraphy paintings as we see in Iran."