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The Louvre's collection of Islamic art highlights the importance of writing in the Islamic world, where the written word was used not just for inscriptions, but also to create works of art.
Writing played an essential role in Islamic art. As the vehicle for the divine word as revealed by the Qur'an, it quickly became used to disseminate sacred texts, while very early on assuming a decorative role as well. The text of the Qur'an was initially copied on parchment "codices" and—after 751, in imitation of the Chinese—on paper. But writing could also be seen on monuments and various objects, where Qur'anic suras and verses showed the piety of the faithful. Both religious and secular texts were copied, and on many monuments, verses from the Qur'an were combined with inscriptions in Arabic, Persian, or Turkish.
Over the centuries, various calligraphic styles emerged, the most famous of which were given names. These include Kufic, hijazi, and the "six classic styles": riqa', tawqi', thuluth, muhaqqaq, naskhi, and rayhani. In the 14th century, other scripts emerged, including ta'liq, Iranian nasta'liq, Ottoman diwani, and shikasta, which was used in Iran and India. The origins of these names vary, and are based on the place where the script was invented, and the height and appearance of the letters. Each style is characterized by the distinct shapes and dimensions of each letter. Calligraphy was a venerated art, which required a long apprenticeship and brought fame to many calligraphers. Objects were decorated with religious phrases or poems in Arabic, Persian, or Ottoman Turkish. They could also bear dedications, dates, a signature, or a commemorative text such as an epitaph or an account of an event.
In the last display case in room 5 you will find a certain number of objects that illustrate the work of the calligrapher.
