As it is obvious, this artwork, like many calligrams, which were created with emphasis on visual values of text, regardless of its meaning, is backboned by Siahmashgh (a kind of calligraphy, which is created from mixing and repeating alphabets, in which, meaning is not important, instead the composition and the balance between black and white are the key factors). The presence of subtle and long strings and their connection to each other, which presents a wavy ocean from the alphabets, is noticeable in this collection by Afjehei. These strings, which have been calligraphed, using calligraphy’s small and large pens, are compressed and twisted, now engaging in drawing of something other than themselves.
Afjehei, in this artwork, cares only about the metaphysical nature of the calligraphy. According to this fact, he keeps the line of the rows in shadow, as the nature of the calligraphic alphabets is linked to the principle of sequence. The aggregation and density of the twisted strings, helps him to shape the surfaces, that by benefitting from them, fluidity, which is a rule in calligraphic lines, can be used for representing sliding and smoothness. He prefers the sequence, like metaphysics of the line, to the letters and words, which are the physics of the line, and he turns this sequence to whatever direction that he wishes. The other artists from the same generation of him, and later, have benefitted from this attitude and created the fluidity in animated forms or circular motions.
Afjehei but, in these artworks, is involved with an inner romanticism that enchants him with rhythmic movements. Although this artist, same as artists in the same generation as him, he owes the courage for distancing from tradition, to the changes in contemporary art. However, the attention that the pioneers like him, pay to the classical aesthetics paradigm, has an undeniable presence in their artworks in a way that the main reason for the success and popularity of their experiences, might be considered as an interconnection with tradition.
“When Nasrollah Afjehei began to create Calligram, this art did not have any acceptable place, even it had many opponents. The calligraphy community, was often strictly opposed to this style. The art of calligraphy has a traditional source, and one of the specifications of traditional arts, is that it inherits the traditions and historical traits of a nation, for the future. Afjehei’s artworks, although had been created in a fresh style in calligraphy, were still rooted in tradition and history and its innate kindness was rooted in that.
The master Afjehei, has reached to the calligram, from calligraphy. Afjehei has worked with a variety of broken scripts, Nastaliq and so forth and in the calligram, presents the traditional calligraphy in a modern form. The forms and material that he presents in his artworks, make him an outstanding artist. Imitation in calligraphy, from the old eras, was prevalent and even the artists were explaining from which mater they had imitated, but there was no imitation in calligram and the artist must achieve his own style and language for expressing the concepts.”