TEHRAN -- Experts at a forum here highlighted the need for training young artists in Qur’anic calligraphy to keep the art alive.
Several calligraphers addressed the forum “The Need for Synergy Among Contemporary International Quranic Institutions,” which held Saturday on the sidelines of the 32nd Tehran International Holy Qur’an Exhibition at the Imam Khomeini Mosalla. Attendees included artists and calligraphers from Iran, Turkey, Thailand, and Algeria.
Among the speakers were Mohamed bin Qanif, an Algerian calligrapher and president of the Algerian Calligraphy Association; Qader Perdapyat, a Thai calligrapher of the Qur’an; Hulya Asan, president of the Turkish cultural and Qur’anic institute Çoku Anbar; and Morteza Tavakoli, director of Iran’s Center for Qur’an Printing and Publishing.
Opening the session, bin Qanif praised the organizers of the Tehran International Qur’an Exhibition, saying the event reflects the Islamic Republic of Iran’s commitment to the Qur’an.
He said the calligraphy traces its roots to the early scribes of revelation during  Prophet Muhammad’s era. “I am not a specialist in Qur’anic sciences, sociology, or politics, but as a calligrapher, I believe that the art of writing the Qur’an is an integral part of our religious heritage.”
Bin Qanif called for greater collaboration among Qur’anic institutions to support calligraphy. 
“Gathering Qur’anic calligraphers and artists fosters unity in this field. This initiative serves the words of God, strengthens solidarity, and helps prevent division and discord.”
He proposed launching an international Qur’anic calligraphy competition. He said organizations such as the Research Center for Islamic History, Art, and Culture (IRCICA) in Turkey and institutions in Algeria hold calligraphy contests, but a global competition featuring top calligraphers would be highly beneficial.
Hulya Asan described the Qur’an as a fusion of wisdom and art. 
“The Qur’an is a source of mercy and guidance for humanity. Its light has illuminated souls throughout history, manifesting aesthetically through the hands of artists. Islamic arts such as calligraphy, illumination, pottery, and architecture all draw inspiration from the Qur’an,” she said.
“The Qur’an teaches us to think and act as one nation, accepting differences as strengths. Like the soul of an ummah, art unites diverse geographies, cultures, and languages, becoming a powerful medium for bringing people together,” she said.
She highlighted the unifying power of Qur’anic-inspired art. “Islamic calligraphy on mosque domes and illuminated Quranic pages exemplifies the Quran’s ability to connect people through art.”
Perdapyat also praised the Qur’an exhibition and expressed interest in bringing similar events to Thailand. “We do not have such gatherings in Thailand, but we are eager to introduce this idea.”
Perdapyat, who specializes in Qur’anic calligraphy on wood, donates proceeds from his artwork to support orphans.
“I was deeply inspired when I saw non-Muslims appreciating the beauty of calligraphy. This motivated me to dedicate my art to the Qur’an,” he said.
The final speaker, Morteza Tavakoli, provided historical context on the transcription of the Qur’an, noting that its written tradition dates back to the time of revelation.
“Today, many Islamic countries, from North Africa to Southeast Asia, are engaged in Quran printing,” he said.
Tavakoli highlighted Iran’s contributions, stating that following the Islamic Revolution, the Center for Qur’an Printing and Publishing was established under the directive of Ayatollah Khamenei. 
“Since its inception, the center has successfully printed ten handwritten Qur’ans and has produced over one million copies,” he said.