In her abstract compositions, Mansoureh Hosseini inclines towards traditional Iranian visual elements, including calligraphy and rhythmic curves. What differs her approach from those of other Iranian painters who tend to apply calligraphic strokes is her poetical sentiments, knowledge of the language of painting and her commendable ability to select harmonious colours.
 
 In the late 1950s, Mansoureh Hosseini showed a growing fascination in using simple shapes and curves and angular lines that were faintly similar to Kufic elements in her abstract pictures. By the early 1960s, she was preoccupied with the art and tradition of calligraphy depicting Kufic elements in her works, which were becoming increasingly adhered to the time tendency of neo-traditionalism. Hence, she is widely regarded as one of the pioneers of the style. About the same time she wrote:
 'What I have obtained from Kufic script is not the exact script or even imitationI have wanted the movement, repetition, silence and composition and the colours framing the script to show a tranquility, or run away in fright a terrifying revelation; to enter the domain of darkness and disappear from sight, or swim in an hazy atmosphere of lights; to depict a moment of prayer or that of a sad dance. I am not an abstract painter. I have only attempted to change my creatures.'