Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 10 36 2022 06 22 Structural Comparison of Mohammad Ibrahim Ibn Mohammad Nasir Qomi’s Naskh and Hafiz Osman Effendi’s Naskh (Based on the Layl Surah of Quran Calligraphy Style) Structural Comparison of Mohammad Ibrahim Ibn Mohammad Nasir Qomi’s Naskh and Hafiz Osman Effendi’s Naskh (Based on the Layl Surah of Quran Calligraphy Style) 15 24 150534 10.22034/jaco.2022.336051.1242 FA Khashayar Ghazi Zadeh Assistant Professor in Art Faculty, Shahed University, Tehran, Iran. Delaram Kardar Tehran Master of Codicology, Independent Researcher, Mashhad, Iran. 0000-0001-5867-6327 Ali Karimi Ph.D. Student in Art Studies, Art Faculty, Shahed University, Tehran, Iran. Journal Article 2022 04 04 Naskh script is quite common in writing and calligraphy in Islamic countries.  Iran and the Ottoman Empire have been two important territories in which the use of Naskh, and there are many texts with this type of script in the libraries and museums of the two countries. However, there are some differences between Iranian Naskh and Ottoman Naskh in a special historical period by studying more carefully the stylistics of this kind of script. Ahmad Neyrizi, the outstanding Naskh calligrapher, turned it into an independent style called “Iranian Naskh”. In this research, a comparative study of two Qurans by two prominent calligraphers of these two styles is presented to introduce the Iranian Naskh before Neyrizi from the Ottoman Empire, and some characteristics are mentioned. The main purpose of the research is to become familiar with the stylistics of these two items to distinguish them from each other. Therefore, the following questions can be asked: What are the features of the style of writing the Iranian Naskh and the Ottoman Naskh before Neyrizi?What are the similarities and differences between the styles of Mohammad Ibrahim Qomi and Hafiz Osman Effendi? The data for this descriptive-comparative study was gathered using a library method, and the writings of the two calligraphers were digitally analyzed. Examining the images of the Quranic versions of these two calligraphers showed that the Iranian Naskh is different from the Ottoman one, and to distinguish these two methods, the characteristics such as the angle of vertical letters in comparison to the horizontal position, the slope of the position in combinations, the slope in tilde and intensified signs, the proportions between diacritics and the size of the teeth have been presented.   Naskh script is quite common in writing and calligraphy in Islamic countries.  Iran and the Ottoman Empire have been two important territories in which the use of Naskh, and there are many texts with this type of script in the libraries and museums of the two countries. However, there are some differences between Iranian Naskh and Ottoman Naskh in a special historical period by studying more carefully the stylistics of this kind of script. Ahmad Neyrizi, the outstanding Naskh calligrapher, turned it into an independent style called “Iranian Naskh”. In this research, a comparative study of two Qurans by two prominent calligraphers of these two styles is presented to introduce the Iranian Naskh before Neyrizi from the Ottoman Empire, and some characteristics are mentioned. The main purpose of the research is to become familiar with the stylistics of these two items to distinguish them from each other. Therefore, the following questions can be asked: What are the features of the style of writing the Iranian Naskh and the Ottoman Naskh before Neyrizi?What are the similarities and differences between the styles of Mohammad Ibrahim Qomi and Hafiz Osman Effendi? The data for this descriptive-comparative study was gathered using a library method, and the writings of the two calligraphers were digitally analyzed. Examining the images of the Quranic versions of these two calligraphers showed that the Iranian Naskh is different from the Ottoman one, and to distinguish these two methods, the characteristics such as the angle of vertical letters in comparison to the horizontal position, the slope of the position in combinations, the slope in tilde and intensified signs, the proportions between diacritics and the size of the teeth have been presented.   http://www.jaco-sj.com/article_150534_6835795797a9990627be38cde838532f.pdf