He was a teacher, a calligrapher, and a religious scholar. His hand was immersed in the fire of calligraphy, and his pen case was as vast as his passion for writing, leaving behind works that became his legacy. These legacies can sometimes be found adorning the courtyards of village sanctuaries, mosques, and hussainiyas in towns and cities, bearing the signature of Habibollah Fazaeli Semiromi.
Habibollah was born in a picturesque region where the people’s livelihoods revolved around farming and animal husbandry. Yet, he sought something beyond, a missing piece that led him to Isfahan. There, he pursued knowledge as vast as the art of teaching, calligraphy, and theology, embarking on a path of devotion to religion, learning, and humility.
Having migrated from Semirom to Isfahan, he immersed himself in religious studies and, not long after, delved into modern sciences. In the realm of Islamic calligraphy, he achieved unmatched mastery, excelling in the art of writing various scripts.
The book “The Manifestation of Virtues” delves into the life of Habib of the Land of Calligraphy, the Imam of the art of calligraphy and a devoted follower of the Imam of faith. It is filled with reflections, writings, and insights that reveal the dedication of a master calligrapher of the Islamic world—an artist who poured his life and time into an art form, burning and enduring in the pursuit of its elevation.
Master Fazaeli, who served as the head of the Calligraphy Association of Isfahan after the revolution, had over sixty meetings with the late Imam Khomeini. During one such meeting in 1360 (1981), he presented a precious calligraphic artwork to the Imam and penned this verse: “I am the Imam of calligraphy, and a devoted follower of the Imam.”
His devotion and discipleship toward the Imam, the science of religion, and the art of calligraphy shaped a multifaceted persona. So much so that Shamsuddin Abulvafa Hosseini, a professor at the University of Isfahan, introduced the sheikh of calligraphy from Semirom through three lenses: Fazaeli the scholar, Fazaeli the calligrapher, and Fazaeli the teacher—all united in Habib, the master of the art of writing, epitomizing his unmatched expertise.
The late Fazaeli, who joined the University of Isfahan in 1366 (1987), believed that the first teacher of every artist is their God-given talent. It was he who, inspired by the domes, inscriptions, and azure patterns of Isfahan’s masterpieces, discovered his passion for calligraphy. That passion carried him to the pinnacle of the art, from the subtleties of inscription to the grandeur of monumental calligraphy.
He masterfully penned his art while simultaneously transforming his treasure trove of knowledge into written legacies—creating timeless works like The Atlas of Calligraphy, The Teaching of Calligraphy, and The Garden of Calligraphic Art.
Mohammad Hossein Riyahi, himself the author of The Manifestation of Virtues, states, “Master Habibollah Fazaeli is one of the prides of the Islamic world and Islamic Iran. Alongside his significant and noteworthy writings, he trained numerous students in the realm of calligraphic art.”
The compiler of The Manifestation of Virtues continues: “The Atlas of Calligraphy by Master Fazaeli is an unparalleled treasure of Islamic art and an encyclopedic masterpiece of calligraphic artistry. It reviews and introduces various styles of calligraphy in the most comprehensive and exceptional manner. Beyond his calligraphic transcription of the Quran, the master’s works adorn the sacred shrines of Imam Hussein (AS), Hazrat Zainab (SA), Hazrat Ruqayyah (SA), Imam Reza (AS), Imam Al-Hadi (AS) and Imam Al-Askari (AS). His manuscripts proudly illuminate these sanctified spaces, embodying the artistry of Iran and Isfahan.”
Riyahi highlights Fazaeli’s unique tradition: choosing the holy month of Ramadan to begin his works. This personal ritual was more than symbolic; it was a testament to the artist’s devotion. Through this practice, Fazaeli elevated his craft into a sacred act, ensuring that the divine presence and spiritual light of his work would adorn the holiest corners of the Earth, immortalizing his artistry and faith.
He chose the holy month of Ramadan to begin his writing of the Quran, based on his deep religious beliefs. Thus, starting on the first day of Ramadan, he wrote the first verse and by the end of the following Ramadan, he completed the final verse. These images of his works, as he described them, are born from the suffering of man and true art is the reflection of a sincere and spiritual search by a faithful soul—one that, without suffering, cannot come into being, and without faith, remains incomplete and unattainable. The dawn of this faith arose in the blessed month of Ramadan, and its sunset occurred in the month of Rajab, leading the master at the age of 75 to join his Creator. May his soul rest in peace, and may his unparalleled inscriptions remain eternal.
What has been shared reflects the capacity and creativity inherent in the art of Persian carpets. Persian carpets sometimes spread out as practical everyday pieces; at other times, they become a beautiful adornment on the wall and occasionally, they transform into a graceful prayer rug, offering a sacred space for reflection. This marvelous art of carpet-making simultaneously reflects other arts, such as calligraphy, literature, and mysticism.
The boundless power of Persian carpet art is a vast corner of our identity, one that embraces other arts. As long as the world stands, it will continue to provide its creator with the opportunity for growth and reinvention, adapting to each era.
