The Art of Calligraphy

Calligraphy from Iran dated 1603-4.
Holland Cotter writes:
In the hands of artists over the centuries the Koran became a devotional object of surpassing beauty.


A pen case with hinged inkwell inscribed with a prayer from Turkey, circa 1850.
“Traces of the Calligrapher: Islamic Calligraphy in Practice, circa 1600-1900”and “Writing the Word of God: Calligraphy and the Qur’an,” both at the Asia Society, are perfect in size and proportion, gorgeous, and worthy of the book they honor.


A set of calligrapher's tools from Turkey, Iran, and India.
“Traces of the Calligrapher” is a manual of the techniques of fine handwriting and luxury book making, illustrated by superb examples of tools of the trade and finished products.


A pen case with inkwell from India.
No tool was more essential than the ink pen. The pen was an emblem for the creation of the world, when primal matter issued forth from God like ink on a page. The skill with which a calligrapher trimmed the nib – ideally with a single, deft knife stroke – was assumed to say everything about his force of character.


The pen came with sumptuous accoutrements. Small flat objects, called maktas, originally bits of stone on which the pen rested when cut, were transformed into miniature sculptures of walrus tusk and gold.


Paper scissors from Iran and Turkey.
Parchment was used for early Korans. Then paper became common and inspired yet another line of ornate instruments. The finger holes of a large pair of scissors made in Ottoman Turkey form calligraphic characters that spell out one of the names of God. With every slice, the idea is, you say a prayer.


A calligrapher's table from Turkey.
Over time, an entire industry of calligraphic accessories flourished, including calligrapher’s tables as ornate as altars.