A World of Calligraphy
Art of the written word as seen in the collection at Salar Jung Museum, Hyderabad.
What is Islamic calligraphy?
Islamic calligraphy is a significant and beautiful aspect of Islamic culture, with a rich history that spans over 1,400 years. It is known for its artistic and spiritual depth, often used to express sacred texts, particularly the Holy Quran.
Part of a Quran with text and opening page (9th or 10th century) by UnknownPergamonmuseum, Staatliche Museen zu Berlin
Origin of calligraphy
Islamic calligraphy began with the rise of Islam in the 7th century. The Prophet Muhammad (PBUH) encouraged the preservation of the Holy Quran through writing. Early Islamic calligraphy was influenced by the Arabic script, which was developed in the 4th century.
Sassanid Empire
The origins of Persian calligraphy can be traced to the Sassanid Empire(224–651 CE), which laid the foundation for Islamic Persian script. During this period, Persian script was derived from Aramaic and Middle Persian (Pahlavi) writings, which were used for inscriptions on coins.
Styles of writing
The Islamic Arabic language had two styles of writing; monumental and cursive. During the late 7th century, tendency of writing and to preserve the Quranic verses and Hadith was very popular among the Muslims. Mecca, Medina, Basra, Kufa, Taif and Damascus became main centres.
Role and beauty of scripts
Islamic calligraphy flourished through Arabic and Persian script of the medieval period. It reflects the beauty of the Arabic script and the importance of written language in preserving religious and cultural heritage. The first Islamic script used was Kufic, to write the Quran.
Golden Age of Calligraphy
After the rise of Islam in the 7th century and the subsequent spread of the Arab empire, Persian calligraphy became intertwined with Islamic artistic traditions. The Arabic script, adapted to the Persian language, was refined and developed into several distinct styles.
The Abbasid period
During the Abbasid period (750-1258), Islamic calligraphy flourished, especially in cities like Baghdad and Cairo. This period saw the development of more sophisticated scripts like the Naskh script. Slowly, calligraphy diversified and the elegant Thuluth script developed.
Safavid Persia (1501 - 1736)
In Persia (Iran), the Safavid dynasty (1501-1736) also saw a flourishing of calligraphy. Persian calligraphy was heavily influenced by both Islamic and pre-Islamic Persian traditions. Scripts like Nastaliq, a flowing, cursive style, became widely used in Persian manuscripts.
Tughra of Suleiman the Magnificent (1520/1566)British Museum
Ottoman empire (16th -18th century)
Both Ottoman and Persian empires provided patronage to calligraphers, who often worked in royal courts to produce ornate manuscripts, prayer books, and other important works. The Ottomans introduced new scripts, and calligraphy became an important element of palace decoration.
Album Page with Calligraphy Exercise (siyah mashq) by Muhammad Shah Qajar (3rd Ruler of the Qajar Dynasty) Album Page with Calligraphy Exercise (siyah mashq) by Muhammad Shah Qajar (3rd Ruler of the Qajar Dynasty) (dated Shawwal A.H. 1260/A.D. October 1844) by Muhammad ShahThe Metropolitan Museum of Art
The Qajar Era (1789–1925)
Under the Qajar dynasty, Persian calligraphy underwent a transformation as it adapted to new royal and cultural needs. Calligraphy became closely associated with the Qajar court, and calligraphers were highly valued.
Persian Calligraphy in India
Persian calligraphy has a rich and fascinating history in India, largely influenced by the Mughal Empire, which was founded in the early 16th century. The Mughals brought with them Persian culture, including the Persian language and art forms, especially calligraphy.
Styles of Islamic Calligraphy
Kufic- Blocky, angular script used in early manuscripts and inscriptions.
Naskh- Rounded, more legible script used for Quran manuscripts and everyday writing.
Muhaqqaq andThulth -Larger, ornamental script with sweeping curves, used to write Quran and architectural inscriptions.
Styles of Islamic Calligraphy
Diwani: A cursive script developed in the Ottoman Empire, known for its fluidity and complexity.
Nastaliq : A Persian script with flowing, elegant curves, often used in Persian poetry and manuscripts.
Ruqah: A simple, everyday script commonly used in modern Arabic writing.
Styles of Islamic Calligraphy
Shikasta : A cursive, flowing form of Nastaliq, known for its ornamental style, often used for artistic compositions.
Taliq: A style characterized by its fluidity and elegance, historically used for poetry and correspondence.
Calligraphy in the Museum
The Salar Jung Museum houses rich and interesting specimens of calligraphy. Discover some of Salar Jung Museum's exquisite calligraphy collection. Explore diverse scripts and styles across various artifacts, from panels to textiles and vessels.
Embark on a calligraphic journey!
Calligraphic panel (1700/1799)Salar Jung Museum
Kufic Quranic panel
This calligraphic panel features Sura Alam Nashrah and Ayat al-Kursi from the Holy Quran, written in classic Kufic script.
Crane catching fish (calligraphy) (1700/1799)Salar Jung Museum
Bismillah
Miniature painting of a crane holding a fish. A Mughal copy of calligraphy in Tughra script from the 18th century- Bismillah ar Rahman nir Raheem, verse of Sura Nam'l from the Holy Quran.
Folio from a Panjsura (1600/1699)Salar Jung Museum
Folio from a 'Panjsura'
A stunning folio from a 'Panjsura', written in gold Naskh script by Mughal emperor Aurangzeb in the 17th century. This page features Sura Yaseen, showcasing exquisite gold embossing and blue margins.
Choga with Quranic verses (1501/1599)Salar Jung Museum
Choga with Quranic verses
This 16th-century choga displays the entire Holy Quran in elegant Naskh script, showcasing the artistry of Islamic calligraphy.
Nawab of Bahawalpur riding on an elephant (1875/1899)Salar Jung Museum
Nawab of Bawahalpur
See the Nawab of Bahawalpur on an elaborately decorated elephant, a unique 19th-century painting from British India showcasing intricate calligraphy in Tughra script. A bowing figure adds to the scene's regal atmosphere.
Portrait of bird (1800/1899)Salar Jung Museum
Portrait of bird
A 19th-century Deccan miniature depicts a bird, its form interwoven with calligraphy in Tughra script. The script includes the verse from the Holy Quran's Sura Nam'l - Bismillah Ar-Rehman nir Raheem.
Calligraphic panel (1800/1899)Salar Jung Museum
Calligraphic panel
Calligraphic panel from 19th century Deccan (india) written in Persian in Shikasta-Nastaliq script.
Calligraphic panel (1800/1899)Salar Jung Museum
Calligraphic panel
Calligraphic panel from 19th century Deccan with Quranic verse written in Arabic language in Thuluth script.
Calligraphic panel (1800/1899)Salar Jung Museum
Calligraphic panel
Calligraphic panel from 19th century Deccan (India) with Quranic verse in Thuluth script in Arabic language.
Calligraphic panel (1800/1899)Salar Jung Museum
Calligraphic panel
Calligraphic panel of Persian verses from 19th century Deccan (India) in excellent Nastaliq script.
Calligraphic panel (1800/1899)Salar Jung Museum
Calligraphic panel
A beautiful 19th-century calligraphic panel from the Deccan region of India, showcasing elegant Nastaliq script and gold detailing. The pink floral border enhances its beauty.
Calligraphic panel (1800/1899)Salar Jung Museum
Calligraphic panel
Calligraphic panel from 19th century Deccan with floral scroll pattern in Tughra script with the name of the Prophet (PBUH).
Folio from a Masnavi Eulali written in Nastaliq script by Mohammad Murad Kashmiri in 1044 H, bearing the seals and autographs of Emperor Shahjahan. The calligraphy on each page is on a gold sprinkled background with golden borders, containing 238 folios.
Calligraphic panel (1800/1899)Salar Jung Museum
A medley of scripts
Calligraphic panel in Arabic and Persian with different scripts like Thulth, Kufic, Nastaliq, Naskh of Quranic verses and traditions of the Prophet (PBUH) from 19th century Deccan (India).
Calligraphic panel (1700/1799)Salar Jung Museum
Calligraphic panel
Calligraphic panel with poetry in Shafiya script from 19th century Deccan in Persian language.
A double-sided calligraphic panel from the 19th century Deccan showcases both Arabic Naskh and Thuluth scripts, beautifully framed by floral designs.
Calligraphic panel (1800/1899)Salar Jung Museum
Calligraphic Lion
Calligraphy panel from 19th century Deccan (India) in the form of a lion with Arabic inscriptions in Tughra script.
Calligraphic panel (1800/1899)Salar Jung Museum
The Throne verse
Mirza Kuchak Shirazi's 19th-century Persian calligraphy rendering 'The Throne Verse' and four others beautifully rendered in Naskh script with gold wash between lines. The hashiya (border) has gold and blue foliage adding to the composition.
Calligraphic panel (1800/1899)Salar Jung Museum
Ten Persian couplets
Ten Persian couplets, a 19th-century masterpiece of Nastaliq calligraphy from India by Muhammad Muzaffaruddin. Intricate gold detailing and vibrant colors showcase the art of calligraphic design.
Calligraphic muraqqa (album) is adorned with a gold and lapis-lazuli star and painted with flower branches; perched & flying birds in different colours, bearing the inscription in Persian. The muraqqa is a presentation to one Mirza Mohammad Nasrullah in 1161 H. The other side of the panel of the panel from the album is richly illuminated; inscribed in Nastaliq script with an Arabic prayer in verse bearing the Persian translation as well under each line under smaller Nastaliq script.
Calligraphic panel (1600/1699)Salar Jung Museum
A Persian quatrain
This 17th-century rubai (quatrain), transcribed by Muhammad Muzaffaruddin, exemplifies the beauty of Persian calligraphy and its decorative flourishes of gold and pigments.
Calligraphic panel of proverbs in two folios in different scripts such as Nastaliq, Naskh, Thuluth, Raihan (a finer variant of Muhaqqaq script, likened to flowers) and Shikasta with floral designs around, from Deccan, India, dated to the 17th/18th century,
Jahangir and Noorjahan (1675/1699)Salar Jung Museum
Jahangir & Noorjahan
A 17th-century Mughal miniature painting depicts the emperor Jahangir and his wife Noorjahan. Persian verses adorn the painting's borders, adding to its elegance.
Persian verses in decorative panels on top, bottom and either side of the painting add mystique.
Text and Curation: Soma Ghosh, Fareedullah Shareef and Dr. Sajeeda Begum
Photography: M. Krishnamurthy and Bahadur Ali
Research Assistance: Dinesh Singh and E. Rajesh
Special thanks to : Shri Ashish Goyal, IIS, Director, Salar Jung Museum, Hyderabad, India.
Dr. G. Kusum, Curator, Salar Jung Museum, Hyderabad, India.
References –
1. Siddiqui, Atiq R. (1990)- The story of Islamic calligraphy – Delhi: Sarita Book House.
2. https://www.metmuseum.org/essays/calligraphy-in-islamic-art(accessed
24.03.2025)
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