Nastaʿlīq, as one of the most significant and authentic Iranian calligraphic styles, reached its peak during the Qajar period, with the chalipa form attaining a distinguished position in Persian calligraphy. This study conducts a visual analysis of long words and circular words in Qajar-era chalipas, based on Gestalt theory. Gestalt, emphasizing holistic perception, introduces laws such as similarity, proximity, continuity, symmetry, parallelism, and common region as foundations for visual organization. The central questions are: how do long and circular words influence the viewer’s perception, and which Gestalt principles most decisively shape chalipa coherence?



Methodologically, the research is fundamental in purpose and descriptive–analytical in approach. Data were collected from library sources and reputable online repositories, covering the Qajar period (1200–1343 AH). From prominent works of this era, 52 pieces were compiled, and two samples from each artist purposively selected for analysis. The data were examined qualitatively through direct observation and comparative evaluation.



Findings show that long and circular words, through structural harmony, kinetic continuity, and rhythmic repetition, generate fluid visual pathways guiding the viewer’s gaze. Principles of similarity, proximity, continuity, symmetry, parallelism, and common region play the strongest role in coherence, balance, and harmony, while connectedness, closure, and figure–ground have limited application due to complex structures and subtle overlaps. Overall, Qajar chalipas align profoundly with Gestalt principles, producing cohesive and aesthetically unified structures that enhance visual integration and harmony.