Vaziri’s calligraphy paintings reflect a transient experience within the different periods of his artistic practice which demonstrates his enquiring spirit. It should be noted that the artist almost entirely avoided ornamental motifs and indigenous decorative elements throughout his career instead, adhering to the principle of universalism in modern art. This approach sets him apart from many modern artists and traditions of visual arts in non-Western countries, including the popular Saqqakhaneh School practiced at the time in Iran which was heavily reliant on the use of decorative and mystical qualities of the Iranian indigenous arts. The present pieces are among the few examples in which Vaziri has experimented with the aesthetic qualities of Persian calligraphy and specifically explored its visual potential. He has done this experiment freely and playfully, cutting the reed pen at the right angle to achieve the desired effects.