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Born in 1949 in Tehran, Iran
The 3rd award winning in calligraphy at age 16, in a contest for students in Tehran, encouraged him to improve his skills and learn more about the spirit of calligraphy as his grandfather, Seyed Abolghasem Parnianpour, his first master, wanted him to learn both His backgrounds and skills in calligraphy drew his interest to learn more about history of calligraphy after graduation from university in Tehran while he was learning Nastaliq from other masters and practicing the early Nastaliq masters works.
In 1990, an unexpected serious family medical problem forced him to move to the United State due to the urgent care. In the first few years of staying in the States, he got known and his art works recognized and welcomed by the community. He got different invitations from different educational and art organizations to set exhibition, presenting lectures, and demonstrations.
Some of his activities regarding calligraphy especially Nastaliq From 1993 to 2017:
Exhibitions and demonstration/workshop: Seattle Folk Life Festival, Kirkland Art Festival, Redmond Library, Sufism and Islamic Symposiums in California and Washington, Children Museum in Seattle Keywan Gallery in Bottle, Windermere Gallery, South Seattle College Gallery, Bellevue College Gallery, Bellevue Art Museum, Iranian annual festivals, MAPS in Redmond.
Lectures: International School and other departments at the University of Washington, Seattle University, Everett College, Olympia College, Portland Art Museum, South Seattle College, Muslims Association of Puget Sound in Redmond, Washington, University of Washington in regards to relation between Nastaliq and Urdu language.
Teaching Research and Publications: Ali started teaching Manuscript Reading course at the Middle Eastern Language and Civilization Department of the University of Washington in 2000. He expanded his teaching to students at different organizations and private classes such as Islamic Educational Center of Seattle,
Along with his calligraphy teaching and in relation to the academic perspective, he has been researching 2 major subjects: 1) a new methods of teaching Nastaliq, 2) the spiritual language of Nastaliq calligraphy and its effectiveness on meditation and daily life as he mentioned in his interview with Bellevue College for broadcasting (available on U-Tube).
I use many different mediums, such as clay, acrylics, and pastels. I believe that working in a single medium is restrictive to my artistic process. Each idea manifests in its own individual style.
I have observed and learned that moves of pen, curves and strokes stro
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