The Art of Iranian Calligraphy in Monuments of Central Asia
(Citing Inscriptions of Bukhara)
Arasteh Mallakin
The present article deals with the impact of Iranian calligraphy in
monuments of Central Asia in Islamic era which has always been
considered. Silk Road is the geographical realm of the present
research. However, due to its extension some inscriptions of
Bukhara in the Central Asia are surveyed.
Although at the beginning inscriptions were used to record events, the art of calligraphy
launched a new phase of inscriptions. Meanwhile, calligraphy as the noblest visual art in Islamic
world grew and flourished gradually. Innovation of scripts such as Naskh ,Thuluth ,Reyhan,
Nasta’liq and the spread of this art across the geographical realm of Islamic- Iranian civilization
accompanied with construction of thousands of monuments like mosques, Madrasahs (schools) and
mausoleums which were decorated by different inscriptions resulted in unique level of quality and
quantity in inscription under the influence of Iranian calligraphy. Inscriptions exist along the Silk
Road and in the cities of Istanbul, Baku, Samarkand, Bukhara, Khiva, Merv, Isfahan, Yazd, Herat
and Delhi proof this claim.
To consider the impact of calligraphy we describe this art and elaborate its evolution and
then some inscriptions in Bukhara are investigated and the influence of calligraphy on them
are explained.
Genesis and Evolution of calligraphy
A brief consideration of foundations of Farsi alphabet as the axis of Iranian calligraphy
assists us to reach a better understanding of Iranian calligraphy and its evolutions.
1-The foundations of Farsi alphabet
Due to some researcher’s opinion Nabataean script is the derivation of Arabic script
from which Farsi is originated.
Umm el-Jimal inscription, Jordan, 250 AD/In Nabataean script that implies the
certain forms of Arabic letters
Emergence of Calligraphy
The emergence of calligraphy as an art in west of Asia coincided with the appearance of
Kufic script. Since, the primitive Kufi in spite of its simplicity and absence of diacritic dots
and accents consists of the foundations of visual art. Consequently, it could be considered
from aesthetic point of view.
The last page of Quran related to Imam Ali (A.S.)/Primitive Kufi/1st AH (8th AD)/National Museum
of Iran
The Evolution of Calligraphy
Due to the growing influence of Islam, Kufi arrived in different lands and under the
effect of culture, civilization and local scripts of conquered countries new forms of Kufi
were emerged. Each of these forms of Kufic script was known by the name its city or
country. Hence, in the term of diversity of forms Kufi is a unique amongst all scripts of
the world.
Kufi in general category could be divided in to two main branches of east and west.
Each of which is written in different manners.
Iranian Kufi is one of the eastern Kufic Forms. It emerged from eastern Kufi after
the great extent of alteration and evolution.
Western Kufi
Aramic script
Nabataean script
Kufic script
Eastern Kufi
Iranian Kufi
Kufic script due to its rigidity and slowness and difficulty in reading gradually lost its
common practical role since the third century AH (10th century AD). However, inscription
usage -which are concerned here -preserved its importance, and we can witness its climax
in the monuments of Iranian cultural realm during the 4th and 5th AH (11th &12th
centuries AD).
The six scripts:
In the third century AH (10th century AD) a genius named Abu 'Ali Muhammad ibn
'Ali Farsi known as ibn Muqla was born in the village of Beyza near Shiraz.
He established a comprehensive system of rules and designed new geometrical figures
for letters based on the proportion of Sath and Dour. Accordingly, he created six scripts
including Nask, Thuluth, Reyhan, Mohaghegh, Riqa,Toughi.
1-Sath: The strait stroke of letters is called Sath.
2-Dour: The cursive stroke of letters is called Dour.
Indeed, six mentioned scripts (Agleam –e Seta) didn’t created suddenly; likewise, any
other phenomenon some forms of it had existed earlier. Nevertheless, ibn Muqla Beyzai
Farsi introduced and regulated these scripts and is known as the creator of the six scripts.
Ta'liq script
Ta'liq script was a ubiquitous handwriting used in official documents and
correspondents. However, its virtual beauty of the form of letters, words and lines
altered it to an artistic subject used by calligraphers.
Ta'liq script/ Khajeh Ekhtiar Monshi Gonabadi/10th
century AH (17th century AD)/Library of Golestan Palace,
Iran.
That Ta'liq scrip was used merely in writing court documents by governmental
secretaries and scribes is a significant point. Protecting their job security, they preserved it
as a confidential knowledge which was not thought to the others. Besides, difficulty in
reading caused by complexity of words and numerous connections declined Ta'liq script
and a more readable script was innovated called Nasta'liq.
Nasta'liq script: Nasta'liq is a combination of Naskh and Ta'liq while some experts
believe that by the appearance of Nasta'liq the script of Ta'liq become obsolete, so the
recent script is called Naskh-ta'liq and gradually adapted to Nasta'liq. In addition to the
beauty of previous scripts, Nasta'liq was most regulated one consists of twelve principles
including:composition,seat,ratio,strength,weakness,Sath,Dour,virtual climb, real fall,
principles, Safa and Sha'an.
Safa: The characteristic of a script which causes spiritual pleasure for
the audience.
Sha'an: The state which makes an identity for the script.
Piece of Nasta'liq/ Mir Emad-e Hassani Seifi Qazvini
/11th century AH, 17th century AD/National museum
of Iran
Shikasta Nasta'liq: Shikasta Nasta'liq is the last script considered in the evolution
process of calligraphy. Primary –early 11th century AH, 18th AD - Shikasta script was
similar to Nasta'liq .However, over the time it found an independent identity by addition
of strokes of Tali'liq and new innovative flourishes. The mentioned script with its
numerous cursive forms interweaved letters and words, high speed in writing and
exquisite compositions established its position as a type of calligraphy.
Shikasta Nasta'liq/ Seyed Ali Akbar
Golestaneh/1316AH, 1899 AD
The impact of calligraphy on inscriptions
Different types of calligraphy in accordance with their specific characteristics and
evolutions found various applicants. In fact, some of them are multifunctional while some
types are only used in one or several applied formats. In addition some scripts have merely
decorative aspect and play a random exhibited role in the realm of calligraphy. Meanwhile,
Kufi, Naskh, Thuluth, Mohaghegh and Nasta’liq are applied in various forms such as
scripts, art works and inscriptions. Consequently, they dynamically existed beside the
scripts of Reyhan and Shikasta not used in inscriptions.
Inscriptions
Indeed, consideration of inscriptions indicates to different epochs: before appearance of
Islam, and after the spread of Islam. Scrutinizing the impact of calligraphy on inscriptions
relates specifically to Islamic era. Its reasons are discussed later.
Pre-Islamic inscriptions
The history of inscriptions dates back to the 4th millennium BC.
Pre-Islamic inscriptions mostly have been executed on slabs of rock and stone pillars
which make their implementation a hard work. On the other hand, the context of
inscriptions included royal rules, description of king’s families or illustrations of historic
events like wars and conquers..
Inscriptions in Islamic era
After spread of Islam, inscriptions have applied the art of calligraphy and altered to a
decorative element in architecture to convey valuable concepts and messages. Inscription
as an aesthetic work with a multidimensional flourish has based on cultural context of
Islamic era.
From qualitative point of view, inscriptions applied various arts specifically calligraphy
which bring them an artistic richness. In terms of conceptual view, inscriptions were applied
to convey valuable messages and concepts which are related to their places. On the other
hand, Quran verses, traditions, mythic concepts, lyrics and construction date of monuments
provided a conceptual diversity in the context of inscriptions. To sum up, the cited reasons
increased the amount of inscriptions in Islamic era.
Inscriptions in Bukhara
Bukhara is an ancient city located in Transoxiania. Never the less, an evidence to indicate
the presence of pre- Islamic inscriptions in Bukhara has not been found among
documents considered in present study. Inscriptions after the entrance of Islam to
Bukhara around the first century AH (650-675 AD) have not been flourished yet. Actually,
the boom in inscriptions of Bukhara occurred in third century AH (10th century AD) that
coincided with the majestic period of Samanid dynasty when Bukhara as the capital of
government become the hub of art and literature and attracted lots of calligraphers and
painters. Presence of masters of calligraphy, spread of Islam and strategic location of
Bukhara on the Silk Road coincided with thriving economy and culture in the capital city
of Bukhara increased the number of Madrasa (schools), mosques and mausoleums in the
city around 350AH (961AD).
One of the oldest inscriptions is a wooden epigraphy in Bukhra which is placed on the
entrance of Isamil Samani Mausoleum in an elegant Kufic script.
Inscription in Kufic Script/ The entrance of Isamil Samani Mausoleum
The Isamil Samani Mausoleum/Bukhara
Bukhara since Achaemenid dynasty till 1881 AD when it segregated from Iran - due to
the treaty of Akhal signed by Iran and imperial Russia - and even later when the last emir
of Bukhara was still in power affected by the art and culture of Iranian civilization.
Presence of various scripts such as Kufi, Thuluth, Naskh, Reyhan and Nasta’liq in
inscriptions of monuments like Kalan mosque and minaret, Mir Arab Madrasah, the
citadel of Bukhara, Bolo Hauz mosque, Abdulaziz Khan Madrasah and hundred mores
illustrates the impact of Iranian calligraphy on the inscriptions of Bukhara.
The Kalan minaret/Bukhara
Inscription in Kufic script/ the Kalan minaret
Inscription in Kufic script, Platform of Kalan mosque/Bukhara
Platform of Kalan mosque/Bukhara
age 14: Inscription in Nasta’liq/ the gutter Bolo Hauz mosque
Image 15: the gutter Bolo Hauz
mosque/Bukhara
Image16: Inscription in Nasta’liq/, the citadel of Bukhara
Image 17: The citadel of Bukhara,
Great Thanks!