This single panel praises Prophet Muhammad’s son-in-law ‘Ali and his famous double-edged sword Dhu al-Fiqar.

This calligraphic sheet states that “whoever writes the bismillah (“in the name of God, the Beneficent, the Merciful”) in a beautiful writing enters Paradise without judgment.” This saying is quite popular in Ottoman calligraphic panels, as “good handwriting” (husn-i khatt) was considered an outward manifestation of the religious and moral values cultivated by calligraphers.

This découpage panel in the shape of a closed altar piece includes a central roundel decorated with interlacing letters whose stems form a central six-pointed star. The round inscription is difficult to decipher, and may comprise a wise saying or a verse from the Koran. In the middle of the upper arch, a round hook suggests that it was used as a wall hanging.

This calligraphic panel includes a letter exercise combining the letter “h” with all other letters of the alphabet starting with the letter “a” (alif) and ending with the letter “y” (ya). This particular exercise shows how an initial “h” letter must be connected to any number of subsequent letters or letter combinations.

This 18th-century Ottoman levha, or calligraphic panel, depicts a Shi’i phrase in obverse and reverse, creating an exact mirror image. Today, scholars accept mirror writing as a standard form of Arabic script calligraphy, and have given it various names suggestive of its function: some refer to the script as specular, bi-fold (muthanna), duplicate writing (cift yazi), or reflecting (mutanathir) itself.

This fragment contains on the top line the last two verses of the last chapter of the Koran, entitled Surah al-Nas (chapter of Mankind). Immediately below the last verse of the Koran appears a prayer in five lines praising God, the Prophet Muhammad, and all Prophets of Islam. The prayer is beautifully written in large Ottoman naskh in alternating gold and blue ink.

This ijaza, or diploma of competency in Arabic script calligraphy, was written by ‘Ali Ra’if Efendi in 1791. In the two lowermost panels appear the signed approvals of two master calligraphers, Mustafa al-Halimi and Husayn Hamid.

Muhammad Shafiq (died 1879 AD) was a major Ottoman calligrapher, who excelled in his instructional calligraphic pieces. This particular work is one of them. The shown pictures exhibit intricate arabesque floral design, typical of the late Ottoman period.

Muhammad Shafiq (died 1879 AD) was a major Ottoman calligrapher, who excelled in his instructional calligraphic pieces. This particular work is one of them. The shown pictures exhibit intricate arabesque floral design, typical of the late Ottoman period.

Arabic MSS 346. 22.5 x 15.5 cm. Courtesy of the Beinecke Rare Book and Manuscript Library, Yale University

22.5 cm. Arabic MS 198. Courtesy of the Beinecke Rare Book and Manuscript Library, Yale University

Overlapping inscriptions such as this one usually used standard texts because of the difficulty of executing them. This style was particularly popular in 19th century Turkey as a way of demonstrating a calligrapher’s virtuosity.

These compositions are signed by several of the most highly reputed Ottoman calligraphers: Seyh Hamdullah, Hafiz Osman, Hafiz Yusuf, Mehmed Rasim and Mahmud Celaluddin.

These compositions are signed by several of the most highly reputed Ottoman calligraphers: Seyh Hamdullah, Hafiz Osman, Hafiz Yusuf, Mehmed Rasim and Mahmud Celaluddin.

Turkey. Courtesy of the Nasser D Khalili Collection of Islamic Art.

This inscription reads, “Oh integrity,” and is written in the form of a pear, with ribbons at the stalk.

This page features seven lines of the nasta’liq script written in gold on a ground of fine brown applique scrolling, and white on a ground of fine gold applique scrolling, all on a dark blue background.

This large inscription states that sultan Abdulmecid I (“Sultan of the two continents and of the two seas”) undertook the repair of a rain spout (made of pure gold) for the Kabba at Mecca.

The lion figure is formed from invocations to Ali. Invocations to Ali are a feature of Sunni as well as Shi’i piety.

This large inscription states that sultan Abdulmecid I (“Sultan of the two continents and of the two seas”) undertook the repair of a rain spout (made of pure gold) for the Kabba at Mecca.

This large inscription states that sultan Abdulmecid I (“Sultan of the two continents and of the two seas”) undertook the repair of a rain spout (made of pure gold) for the Kabba at Mecca.

These roundels were designed as models for architectural inscriptions to decorate the sides of a dome; they bear the names of God, Muhammad, Abu Bakr, ‘Umar, ‘Uthman and ‘Ali, all with the customary pious invocations.

This “hilye,” or description of the Prophet Muhammad, was copied by Ottoman calligrapher Mehmed Tahir Efendi. It features 16 lines written in the thuluth and naskh scripts.

The inscription, written in gold in the form of a pear, may perhaps be read as “Industry is next to godliness.” The leaf stalk is also gold.

This panel is signed, inside a laurel-wreath painted in gold, by sultan Mahmud II, a prolific calligrapher.

Ferman (imperial decree) of Sultan Mehmed II.

Calligrapher: Mustafa Vasıf. Turkey. 19th century. 22.3 x 16.4 x 1.4 cm. Courtesy of the Sakıp Sabancı Museum.

The top of this hilye (description of the Prophet Muhammad) features the bismillah, written in Thuluth. The central feature, circling around the name of the Prophet, appears to be a quintuple ‘Ali, but is in fact a five-fold repetition of the phrase, “Inna Allah ala kull shay qadir,” meaning “For God hath power over all things.”

Calligrapher: Derviş Ali. Turkey. 1664 A.D. 20.4 x 21.3 x 1.3 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: Hafız Osman Efendi. 1669 A.D. 28.1 x 19.3 x 2.4 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: İsmail Zühdi. 18th century. 15.6 x 22.7 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: İsmail Hakkı Altunbezer. 20th century. 70 x 70 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: Kadı Mahmud Efendi. 1559 A.D. 28.1 x 19.6 x 1 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: Kadıasker Mustafa İzzet Efendi. 1849 A.D. 26.5 x 18.7 x 4.8 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: Mustafa Rakım. 1809 A.D. 48 x 58 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: Mahmud Celaleddin Efendi. 19th century. 53.5 x 41.5 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: Sami Efendi. 1900 A.D. 60.5 x 126.5 cm. Courtesy of the Sakıp Sabancı Museum.

Tuğra (imperial monogram) of Sultan Abdülhamid II.

Calligrapher: Sultan II. Mahmud. Early 19th century. 53.7 x 86.6 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: Şeyh Hamdullah. 16th century. 30 x 21.7 x 1.7 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: Şekerzade Mehmed Efendi. 1745 A.D. 26.4 x 20.4 x 1.8 cm. Courtesy of the Sakıp Sabancı Museum.

Calligrapher: Yedikuleli Seyyid Abdullah. 18th century. 14 x 21.7 cm. Courtesy of the Sakıp Sabancı Museum.

Hilye-i Şerif (Description of the Prophet).

Karalama (calligraphy exercise).

Levha (framed inscription).

This ferman (imperial edict) includes a magnificent rendering of the tughra (the offical, yet stylized, signature of the reigning sultan) of Ahmed II. This was executed by one of the leading court calligraphers, in blue and gold with touches of orange.

A section ( juz’) of the Koran (Chapters LXVII-LXXVII). Text is arranged in alternations of naskh and thuluth scripts in black ink; the titles are in gold, green, or blue thuluth.

The text of this album, which bears the signature of the famous calligrapher Seyh Hamdullah, features proverbs and tradition of the Prophet Muhammad.

The text in this album consists of sayings attributed to the Sasanian King Kisra Anushirvan. The bold scripts are all written horizontally, but on each opening the naskh is also written diagonally.

These pages from the book, “Life of Muhammad” by Mustafa Darir, feature a caravan bringing back booty to Medina from a raid by the companions of the Prophet.

This hilye (description of the Prophet Muhammad) is written in Arabic and continued with an Ottoman Turkish translation. It is a talisman, made for a certain Mustafa ibn Ibrahim.

The letters on these pages are outlined in red dots, indicating how they should be written in proportion to other letters. The album features one line each in the thuluth, naskh and riqa’ scripts.

This royal decree, or ferman, features 24 lines of divani script written in sefine (“boat”) form, in black ink powdered with gold. It bears the seal, or tugra, of sultan Suleyman the Magnificent.

This document features 15 lines of divani script written in sefine (“boat”) form. It bears the seal, or tugra, of sultan Murad III.

This document features 15 lines of divani script written in sefine (“boat”) form. It bears the seal, or tugra, of sultan Murad III.

Turkey. 1609 A.D. 24.5 x 14.9 cm. Naskh script. Courtesy of the Nasser D Khalili Collection of Islamic Art.

his set of twelve pouring vessels are each inscribed, “Imperial Chamber,” on the outside, and on the inside, “A gift for His Excellency Abraham Lincoln.” The circumstances surrounding this gift are unknown, but the vessels are of Ottoman Turkish origin.

This set of twelve pouring vessels are each inscribed, “Imperial Chamber,” on the outside, and on the inside, “A gift for His Excellency Abraham Lincoln.” The circumstances surrounding this gift are unknown, but the vessels are of Ottoman Turkish origin.

This blade bears topical inscriptions in praise of ‘Ali and his sword Dhu’l-Faqar. The scabbard is tipped with a dragon’s head with ruby eyes.

This set of twelve pouring vessels are each inscribed, “Imperial Chamber,” on the outside, and on the inside, “A gift for His Excellency Abraham Lincoln.” The circumstances surrounding this gift are unknown, but the vessels are of Ottoman Turkish origin.

This set of twelve pouring vessels are each inscribed, “Imperial Chamber,” on the outside, and on the inside, “A gift for His Excellency Abraham Lincoln.” The circumstances surrounding this gift are unknown, but the vessels are of Ottoman Turkish origin.

This panel bears two inscriptions in a bold rounded script, on a blue background. Tiles of this type decorate a number of mosques in Damascus built or restored by the Ottoman authorities between 1575 and 1600.

This Koran was written by the greatest Ottoman calligrapher of the 17th century, Hafiz Osman.

The inverted tear-drop shaped colophon states that the text was copied by Mustafa Izzet, a fine Ottoman calligrapher.

This opening spread of the Koran is illuminated in different tones of gold, with the headings and verse-counts in white and the text, in fine naskh, enhanced by thin interlinear ornament.

This Koran was copied in 13 lines of naskh script per page, with headings in muhaqqaq.

This Koran was copied in 13 lines of naskh script per page, with headings in muhaqqaq.

This Koran features pages with 15 lines of naskh script.

Such miniature Korans were often made to be attached to the tip of Ottoman battle standards, and held high when charging into battle.

This Koran features pages with 15 lines of naskh script.

This script was originally devised to write Turkish for the late Ottoman bureaucracy. It is now used broadly across the Arab and Ottoman world for personal correspondence and handwriting.

This Koran has 11 lines to the page which are written in either rayhani or muhaqqaq script; the headings are in thuluth.

Calligrapher: Sayyid-Ali al-Hamdi. Turkey. 1715 A.D. 23.5 x 41.1 cm. Courtesy of the Arthur M. Sackler Gallery, Smithsonian Institution.

As one of the most sophisticated cultural and artistic centers of the medieval Islamic world, southern Spain (Andalusia) and northern Africa developed their own distinct script, known as maghribi.

Textiles have always played a central role in the arts of the Islamic world. Decorated primarily with floral, geometric, or figural designs, they were used in a variety of ways-cut into sumptuous clothing; transformed into rich furnishings or movable architecture; exchanged as valuable commodities; or bestowed as tokens of honor and rank. Among the more unusual types of textiles are Turkish brocaded silk-satins such as this one, embellished with bold, repeat zig-zagging patterns of inscriptions.

Turkey. Late 16th century. 35.4 x 22.9 cm. Courtesy of the Arthur M. Sackler Gallery, Smithsonian Institution.

This cloth was called a burqa’ (curtain) and was used to cover the door of the Kabba. It was manufactured annually in Cairo.Egypt. 19th century. 85 x 233 cm. Thuluth script. Courtesy of the Nasser D Khalili Collection of Islamic Art.

Two folios from a book of prayers.North Africa. 19th century. 11.5 x 9 cm. Maghribi script. Courtesy of the Arthur M. Sackler Gallery, Smithsonian Institution.

Calligrapher: Sayyid Ahmad. Turkey. 1746 A.D. 24 x 15.6 cm. Courtesy of the Arthur M. Sackler Gallery, Smithsonian Institution.

The repeating inscriptions in the narrow bands consist of prayers for the four Orthodox caliphs, the Companion of the Prophet and all prophets, as well as all prophets and messengers.