The art of calligraphy is unique, priceless and it enjoys an eminent status within the framework of our national heritage.  Unfortunately this quintessentially Persian art suffered glaring neglect and decline during the five decades from the 1930s to 1970. There is no need to elaborate on the causes. It will suffice for the scholars and students to compare specimens of calligraphy produced during the 50 years with examples of works from the preceding and succeeding periods. The task of comparison is especially facilitated by the wealth of published calligraphic works.

Years of constant efforts on the part of writers and critics to draw attention of the relevant authorities to the necessity of supporting this art finally bore fruit in the 1980s and 1990s, and the best examples of calligraphy created by masters of the art now wait to be displayed to the admirers.

The glaring lack of attention caused the recluse art to cry out its discontent, and all the array of festivals and competitions had very little effect on improving the lot of calligraphy. Fortunately the true and talented artists were busy with their committed work, devoting their energy and heart to the creation of inspired calligraphy.
Thus it is doubtful whether anything comparable to the present superb collection of calligraphy has been offered during all those five decades – from the 1930s by then ministry of culture and art, and since 1950s by the Free College of Calligraphy and later by the Iranian Society of Calligraphers, although it has to be admitted that what is now being offered is not without its shortcomings of which the organizers of the exhibit are aware and intend to rectify as best as they can.
As it is, the collection of works on display represent what has been done by artist and the relevant authorities and organizations up to the present time. It is a most valuable asset and it is the duty of the artists to try to improve on it and of the critics to evaluate.