The "Saqakhaneh" movement is the second wave of modernism in modern Iranian painting. A movement consisting of artists who, in their desire to shape a modern and at the same time national art, turned their attention to the visual traditions of the past Iranian art. The element of line was therefore of interest to Saqakhaneh artists. In fact, Saqakhaneh can be considered the beginning of "calligraphy" in modern Iranian art. The effort of these artists was to simultaneously apply the principles of Western painting and elements of traditional art and to shape a kind of indigenous art. The present article seeks to answer the question of what process led to the formation of the Saqakhaneh movement, and what consequences did the application of traditional and decorative elements and the formation of tendencies similar to neo-traditionalism among Saqakhaneh artists and the "calligraphy" movement have for modern art and later for contemporary Iranian art? A study of the historical context of the formation of Saqakhaneh shows that the desire to form a modern national art and the support of art agents were effective in the formation of Saqakhaneh and its continuation in calligraphy. In this regard, the presentation of issues such as decoration or neo-traditionalism as formal evaluative concepts can be interpreted based on the desire of these artists to integrate and achieve a modern and at the same time traditional expression in modern Iranian art. As a result, it can be said that the birth of the Saqqakhaneh and, following it, calligraphy was not only due to an internal necessity, but also the approval and support of government officials played a role in its formation. From a methodological perspective, the present study falls within the scope of qualitative studies and descriptive-analytical methods. The data of the present study have been collected in a library manner.