The study of the basis for the writing of the Quran to the traditionalists in the works of Ahmad Nayrizi

When the world fell into the midst of modernity, and the times went by the selfish demands of modernism, groups attempted to save man and man from the consequences of modernism. Consequences like the decline of humanity with humanism, the decline of altruism with individualism, and the shift of theology to rationalism. The traditionalist movement expressed its claim to the idea that everything should be restored to the truth and the inevitable rule of the world being ruined. French Renén Guénon was the first to set up this movement in the twentieth century. Then people like Fritoof Shuyan, Komarasoami, Martin Lings and Seyyed Hussein Nasr came to the jirga. They worked in various fields of cosmology, anthropology, ontology and religion. Other fields that have expressed their views are art, which they consider to be divided into three areas of traditional art, religious art, and sacred art. In the field of sacred art, which is in the heart of traditional art and deals with religious issues and is the ultimate point of art, they have introduced a number of arts, including the art of calligraphy and its sanctity in the writing and writing of the Qur’an and religious texts. they know. Here, we have tried to collect and examine the material that traditionalists have articulated about the art of calligraphy and the scripture of the Qur’an and adapt it to the famous and famous Qur’anic reader and writer Ahmad Nayrizi in order to determine whether these allegations in the universe with the possible effect of calligraphy Matching or not? The reason for choosing a copy of the manuscript is the writing of the Quranic verses of the last century with this line, and the reason for choosing the name of Ahmad Nayrizi for adapting to traditionalist views is his presence at the peak of the Iranian version of the Iranian version. By examining the traditional and traditional theorems of the traditionalists and the technical and principled implementation of the votes, we find that these opinions are expressed symbolically and metaphysically, and are among the basic principles of calligraphy. In these opinions, the traditionalists, by receiving a similar epistemic to Dariush, have addressed the ethical principles of calligraphy, and in reality, with the fundamental principles of calligraphy, the works of Ahmad Nayrizi are applicable, in particular with the two principles of “dignity” and “safa” in calligraphy, which is one of the cornerstones of calligraphy and epistemology And the internal traits of calligraphy is more adaptable. It is necessary to note that the traditionalist views on calligraphy are not new and original in the calendars and calligraphy because of the existence of these votes, because the watershed is both in the field of mysticism and the soul of the dervish.