Calligraphy in Islamic art

Calligraphy – the art of writing – is a unique feature of Islamic art in that information technology has been used in astonishingly varied and imaginative means. The written word appears not just in pen and newspaper merely across all fine art forms and materials, frequently giving ascent to works of keen beauty.

The genius of Islamic calligraphy lies non only in the endless creativity and versatility, simply also in the residue struck past calligraphers between transmitting a text and expressing its meaning through a formal aesthetic code.

Tray featuring a calligraphic script, 1330 – 60, possibly Syrian arab republic or Egypt, brass. Museum no. 420-1854. © Victoria and Albert Museum, London

Presenting the words of the Qur'an – the central religious text of Islam – with precision and clarity, is of dandy importance to Muslims, as it is believed to be the literal Word of God. For most of Islamic history, the Qur'an has been preserved in manuscript. By the 8th century a distinctive manuscript form had been established and this way connected until the 10th century, when a series of changes in materials, script and format fabricated copies of the Qur'an more like other fine manuscripts.

Qur'an page in Kufic script, 800 – 900 Advertisement, Heart Eastward or North Africa, ink and gilt and on parchment. Museum no. ME.12-2013. © Victoria and Albert Museum, London

From nigh the same time, more fluid styles of script were developed and by the 13th century these had replaced the older easily in the Qur'an product. A gradual procedure of refinement occurred and somewhen gave rise to distinctive regional or dynastic styles. By the late 19th century reproduction of the text by mechanical printing techniques was permitted, merely fifty-fifty then the text to be printed was written out by a scribe working in the traditional mode.

Double spread from a Qur'an, most 1370, Iran. Museum no. MSL/1885/361. © Victoria and Albert Museum, London

Decorating calligraphy

As well as beingness written with great elegance, there were many ways in which calligraphy could be enhanced by adding decoration. The words themselves could be written in golden, or in colours other than black. Letters and words could also be outlined or could prevarication against a background pattern. Calligraphers also combined unlike sizes, colours and styles of text for unlike phrases or sections of text (but e'er sticking to the rules of proportionality within each section). These Qu'ran folios prove how calligraphers could brand functional details of formatting and punctuation into beautifully designed elements.

Interpreted every bit the Word of God, it was important that decorated frames and background patterns of Qur'an manuscripts were advisedly produced then they did not interfere with the clarity of the script, or distract from the content of the text.

Left to right: Al-Wajiz, or an abridged commentary on the Qur'an, 1478, Egypt. Museum no. MSL/1869/7219, folio 2a. © Victoria and Albert Museum, London; Manuscript leaf from a Qur'an, late 15th century, probably Mamluk, Arab republic of egypt. Museum no. 38041800366031. © Victoria and Albert Museum, London

While the Qur'an'southward holy status provides an explanation for calligraphy's importance, past no means is all Arabic calligraphy religious in content. In general, calligraphic inscriptions on works of art can besides include poems, praise for rulers, and aphorisms (general truths or principles).

Despite calligraphic designs appearing in many different materials, they often imitate the technical furnishings of pen on paper.

Explore a pick of objects from our collection that carry calligraphic inscriptions in the slideshow below.

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Groundwork image: Manuscript, Juz 30 from the Qur'an, 1330 – 40, Iran. Museum no. MSL/1876/675. © Victoria and Albert Museum, London