Tabrizi employs miniature painting techniques and incorporates Persian and religious motifs in large-scale paintings which are warmly received by the public. These paintings feature pure gold, orange, azure, turquoise, green, and other colours along with black complementary lines. Large-scale works of this kind were mounted on the walls of Nour Auditorium at the Hilton Hotel in 1969 to celebrate 2500 years of Persian history. These works can be considered to constitute the eighth period of Tabrizi's work. They are mostly images of riders on calm horses facing each other, or of lovers found in Persian paintings recast in a fresh form in his work. Instead of saturating his work with illumination and page decoration, Tabrizi hints at Persian miniature painting by using inscriptions in the form of broken Nasta'liq to fill the negative space of the paintings. Here, he realizes an important innovation in creating abstract forms in free compositions through calligraphy. Looking at the suspended calligraphy-based motifs of previous works, Tabrizi comes up with the idea of an abstract use of them in individual compositions. This is perhaps the most successful period of his career