Translating into the language of Colours
Despite the fact that Mansour Khodaveisi’s artistic vision was definitively influenced by his practice of the (Perso-Arabic) calligraphic hands of Nastaʼlīq & Shekasteh Nastaliq (cursive Nastaliq) and in the presence of prominent masters such as Yazdani, Kaboli and Falsafi, in a golden era of the Iranian Calligraphers Association; he stepped out of this closed traditional art circle not long after passing the calligraphy honors exam due to forced migration.
In the early 1980s, a small number of “modern” calligraphers, mostly influenced by the (1960’s) Saqqakhanah movement, made sporadic attempts to bring innovation to this famous traditional style, which ultimately did not go further than certain types of calligraphic painting combinations, commonly referred as “painted calligraphy” in later years. Due to a recession in the use of graphic arts and advertising, Mansour first gained some useful experience working in- popular yet now obsolete – techniques, such as graffiti, stenciling and textile banner writing.
His immigration to France and four decades of living and working in the birthplace of the most important artistic movements of the twentieth century – specifically in the field of painting and fine arts – changed Mansour’s path and vision. Slowly and steadily, colour found its way into his black lines, gradually replacing them and ultimately, transforming his work in a profound manner.
During three consecutive work periods, Mansour gradually reduced the influence of calligraphy in his paintings by disrupting the basic principles of Nasta’liq; combining ink with colours and creating a layer of colored surfaces and complete abstract works.
For centuries, gilding, illumination and illustration had been used as mere borders to celebrate the beauty and composition of calligraphy. But Mansur, with his intuitive perception of colours, gave them a place alongside letters, placing the principles of painting as the basis of his work.
Thereby, every line and drawing was to aid and under the influence of color.

Painting schools of the East were generally designed to accompany the poetry and prose of literature. It was only after the 12th century, they began using finer imagery of humans and animals and natural landscapes in their illustrations under the influence of European art.
Mansour, who was trained as a calligrapher in Iran, began teaching the basic principles of Persian calligraphy to enthusiasts after setting up a workshop in northern France. Although, being self-taught, he took on an “anti-narrative” approach in the field of painting; without following a particular movement or style, he went in search of “concept” and “imagery” with innocent curiosity.
Contrary to the rules that apply to Persian miniatures and illumination, color in his work, is completely liberated, becoming the central theme (text) of the work itself, and in his solitary practice and closeness to nature, Mansour discovers the courage to deconstruct and transform, creating an innovative style in both painting and calligraphy. He seeks a contemporary language without borders and by withdrawing from the principles of Persian calligraphy, he moves beyond the lyrical yet unchanging style of Nasta’liq in search of a language that can translate the impressions of emotion and nature into colours.
Paradoxically however, calligraphy is never absent from Mansour’s paintings and even his most abstract works convey it in its most primitive and simplest form, like signs. In his early works, there is an evident reconstruction of the lines, movements and circles of Persian letters and the simulation to Latin. Gradually in his later works, writing becomes the background for painting.
Throughout his quest, Mansour has accomplished an alternative usage for components of Iranian calligraphy, including dots (measure of letters), basic supplies such as inks and handmade paper, palette knives and thick wooden pens used as painting equipment.
His anti-narrativism and tireless persistence in search of new forms is a minimalist tunnel towards new horizons in his career; The endeavour to understand, pass and transcend Iranian art accompanied by a deep reverence for it.