A very similar example is published in Ruyin Pakbaz and Yaghoub Emdadian, Pioneers of Iranian Modern Art: Charles-Hossein Zenderoudi, Tehran, 2001, p.
 
Neglecting the rules of calligraphy, Zenderoudi concentrated on the visual aspects of the Arabic-Farsi letterform to achieve complex unified compositiions, covering the entire surface with letters and symbols to create a fusion of painting and writing. This he did in a number of different styles, as shown in the next three lots.