Reza Mafi is regarded as one of the leading neo-traditionalist artists and a pioneer of the calligraphic painting movement in Iran. His engagement with art took shape early in life, fostered within a family environment deeply connected to visual culture: an older brother active in the visual arts and a father who worked as an engraver and goldsmith. From childhood, Mafi began studying calligraphy under Jalaloddin Etezadi, one of the most prominent calligraphers in Mashhad. His experiences working in the bazaar and his involvement with embroidery further shaped his artistic sensibility, familiarizing him with ornamental structures and decorative motifs that later became integral to his visual language.

At the age of eighteen, Mafi moved to Tehran. After three years of diverse and exploratory activity in both calligraphy and painting, he joined the Iranian Calligraphers Association, where he studied under the supervision of Hossein Mirkhani. Upon completing this training, he dedicated himself fully to calligraphy, with particular focus on the works of Mirza Reza Gholamhossein Esfahani, a prominent Qajar-era calligrapher. This period proved decisive, leaving a lasting imprint on the rhythm, tone, and expressive quality of Mafi’s script. Concurrently, the Sagha Khaneh movement and broader neo-traditionalist tendencies were emerging within Tehran’s art scene, and Mafi became actively involved in this intellectual and artistic milieu. He was among the first calligraphers to systematically experiment with the integration of calligraphy and painting. These early explorations were presented at Seyhoun Gallery in Tehran, generating significant attention and debate within the contemporary art community of the time.

Mafi’s mastery of Nasta‘liq calligraphy formed the foundation of his calligraphic paintings, while his deep familiarity with Persian literature informed his selection of poetic texts—an aspect widely regarded as one of the strengths of his practice. Drawing inspiration from the plasterwork of mosques and its historical relationship with calligraphy, he developed his well-known three-dimensional works. Through the use of materials such as Styrofoam, combined with glazing techniques, he expanded modern calligraphy toward spatial and volumetric experimentation. Despite his progressive and experimental approach and his engagement with unconventional materials, Mafi remained committed to the traditional spirit of calligraphy, particularly in his restrained chromatic choices. He deliberately avoided bright or unfamiliar colors, favoring earthy tones such as brown, ochre, and dark green.

Mafi’s first exhibition experience took place in 1967 in a group exhibition at the National Museum of Iran. Thereafter, he participated in numerous exhibitions both in Iran and internationally, including the Islamic Art Festival in London in 1976. His works have since been exhibited in major cultural centers such as Paris, Switzerland, Bologna, and other cities in Italy.