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Mohammad Reza Amouzad, calligrapher, sculptor, and graphic designer, was born in 1974 in Behshahr, Iran. He began his artistic career in 1988 by learning calligraphy. Shortly afterward, together with several friends, he began gaining experience in the fields of graphic design and advertising. In 1999, Amouzad turned to calligraphic painting (Naqqashi-khat) in order to explore new creative spaces beyond traditional calligraphy. In addition to mastering the Nasta‘liq script, he also learned the early Kufic style and sought to incorporate its compositional qualities into his calligraphic works. After meeting masters such as Rahim Molaeian and Mohammad Taghi Sedaghaty and learning from their experiences, Amouzad developed a strong interest in painting and sculpture. In 2001, he began his Bachelor’s degree in Painting, while continuing to refine his calligraphic painting practice. Although the painting discipline did not appear to have a direct impact on his creative process, its teachings can be sensed in the subtle layers of his artworks. His acquaintance with Dr. Arman Yaghoubpour introduced him to several contemporary painters and global artistic movements that resonated with his calligraphic sensibilities. Some of his works from this period were influenced by those artistic contexts and figures. However, certain experiences during his university years eventually led him to shift his focus from painting to sculpture. In 2006, Amouzad began pursuing a Master’s degree in Visual Communication (Graphic Design) at Shahed University. His encounter with Dr. Hamidreza Gholichkhani during this period encouraged him to engage in research and academic study on calligraphy, manuscript analysis, and the history of script. During and after his studies, he dedicated much of his time to investigating Iranian visual arts—particularly calligraphy and epigraphy. Teaching these experiences at universities, mentoring students, authoring several books and numerous articles, and delivering multiple lectures are among his scholarly achievements from this period. In recent years, while continuing his research as a serious scholar of Iranian art, Amouzad has resumed his artistic practice—creating relief artworks centered on script and calligraphy. His current works can be seen as the culmination of his theoretical studies, deep understanding of Iranian art, and practical experience across various artistic disciplines, which together have shaped his multifaceted artistic identity.
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Exhibitions
Organized three solo exhibitions and participated in over thirty group exhibitions, including
2015, Tehran, Art Workshop, Group Exhibition of Calligraphy-Painting
2014, Tehran, Lajvardi Collection, International Peace Exhibition
2014, Tehran, Raad Exhibition and Auction, Raad Charity Institute
2014, Tehran, 12th “Bismillah” Festival, Niavaran Cultural Center
2013, Tehran, Sarban Gallery, Calligraphy and Calligraphy-Painting Exhibition
2013, Lithuania, Calligraphy and Calligraphy-Painting Exhibition
2012, Tehran, Art Expo
2011, Shiraz, Art Expo
2011, Malaysia, Art Expo
2011, Malaysia, Group Exhibition of Calligraphy-Painting
2010, Shiraz, Art Expo
2010, Tehran, 6th Fajr-Afarinan Visual Arts Festival
2010, Qazvin, First Iranian Calligraphy Biennale
2009, Tehran, Sooreh va Al-Asr Spatial Design Festival, Azadi Tower
2009, Yazd, New Art Exhibition
2007, Tehran, Solo Exhibition of Three-Dimensional Calligraphy, Negarestan-e Shahed
2007, Tehran, First Student Poster Call, Palestine Museum
2006, Mashhad, Students’ Exhibition of Neyshabur Faculty of Art, Ferdowsi University
2002, Neyshabur, Solo Calligraphy Exhibition
2001, Sari, Calligraphy Exhibition, 2nd Alavi Poetry Festival
2000, Sari, Opening Exhibition of Khaneh-Sooreh Gallery
2000, Sari, Neyash Calligraphy Festival, Mazandaran Art Center
1998, Behshahr, Solo Calligraphy Exhibition
Publications and Contributions
- Beynaazir Khate Khat: A review of the life and works of Mir Emad Hasani
- Member of the editorial team for the Nasta’liq workbook (educational book)
- Member of the editorial team for the Taḥriri workbook (educational book)
- Member of the editorial team for the Kufi workbook (educational book)
- Member of the editorial team for the Thuluth workbook (educational book)
- Member of the editorial team for the Shekasteh workbook (educational book)
- Member of the editorial team for the Naskh workbook (educational book)
- Lecture: “Comparative Writing of the Word ‘Muhammad (PBUH)’ in Nasta’liq Script from the Timurid to Qajar Periods”
- Introduction to the Decorations and Ornaments of Qur’an No. 90, Malek Museum
- Co-authored article with Seyed Amir Rajaei Baghserkhi: “Examining Social and Religious Themes in Graffiti of Pirbakran Tomb”
- Shahnameh of Ferdowsi, Berlin Manuscript No. 894
- Co-authored article with Dr. Hamidreza Qolich-Khani: “Calligraphy and Page Layout of the Baysonqor Shahnameh”
- Specialized session (with Seyed Amir Rajaei Baghserkhi): “Influence of Timurid Era Epigraphy on Earlier Periods and Its Impact on Later Historical Periods in Isfahan”
- Critical review of From Mir Emad to Hejab Shirazi
- Critical review of the article by Professor Amir Ahmad Falsafi
- Calligraphy and page layout of Shahnameh of Ferdowsi, Cairo Manuscript No. 796
- 2009, Co-authored article with Dr. Seyed Abolghasem Naqibi: “Introduction, Analysis, and Page Layout of Two Shahnameh Manuscripts in Shahid Motahhari Higher Education Institute (Former Sepahsalar School)”
