A 1,400-year-old cultural heritage is being reestablished

The art of calligraphy today boasts a history of nearly 1,400 years and is valued as one of the most refined and rich traditions of Islamic culture. It originated from the need to write and disseminate the verses of the Holy Qur’an in a beautiful and orderly manner. Over time, this art became an integral part of the entire Eastern cultural sphere. Calligraphy is cherished not only as the art of beautiful writing, but also as a cultural value that nurtures the human spirit, shapes aesthetic taste, and exalts spiritual beauty.

Even today, calligraphy, while preserving its deep historical roots, is harmonizing with the spirit of the times and gaining new meaning. The school of calligraphy and manuscript arts being established at the Center of Islamic Civilization in Uzbekistan plays an important role in preserving this priceless 1,400-year-old heritage, studying it on a scholarly basis, and passing it on to future generations.

 

Calligraphy is one of the most delicate and elegant art forms in humanity’s cultural heritage. For centuries, the peoples of the East have elevated writing from a simple means of conveying information to the level of art. In Central Asia in particular, calligraphy has long held a special place in the spiritual life of the people, playing a major role in spreading knowledge, reproducing and distributing books, and adorning architectural and artistic monuments.

 

Eastern thinkers described writing as “pleasing to the eye and nurturing to the heart”. Great scholars such as Ibn Sina warned about the harm of poor handwriting to the eyes, while emphasizing that beautiful script was beneficial to health. For this reason, books copied in fine calligraphy were treasured and revered.

 

Over the centuries, schools of fine writing emerged and flourished in major cities of Central Asia Bukhara, Samarkand, Herat, Kokand, Khiva, and Tashkent. Each school had its own style, aesthetic taste, and artistic approach, and they enriched one another, making Eastern calligraphy known throughout the world. The nasta’liq style that blossomed in Herat during the Timurid period, the Bukhara style under the Shaybanids, the local traditions that formed in Kokand and Khorezm, and the traces of the Tashkent school in lithographic works all were among the most important cultural markers of their time.

 

The thousands of manuscripts, Qur’an copies, and historical and literary works that have survived to this day are the result of the dedication of calligraphers. The service of Central Asian calligraphers in passing down the intellectual and spiritual heritage to future generations can never be overpraised.

 

Early styles and development of Arabic script

 

In the Islamic world, calligraphy began with the angular maqali (Kufic) style of Arabic script. During the time of Caliph ‘Uthman ibn ‘Affan (ra), the Qur’an was copied in this Kufic style. Later, as it spread from the city of Kufa, this style came to be known as “Kufic script”, and over time, dots and diacritical marks were added, giving it a more refined form.

 

The Baghdadi calligrapher Abu ‘Ali Ibn Muqla, building upon Kufic, created seven principal styles of Arabic script, taking the art of calligraphy to a new level. His successor, Shaykh Jamal al-Din Yaqut al-Musta‘simi (al-Jaza’iri), further perfected these styles, copying nearly a thousand Qur’ans in the muhaqqaq (Yaqut) style along with their Persian translations. Ibn al-Bawwab later created 17 new script types, making Arabic writing even more beautiful and artistically expressive.

 

Calligraphy schools in Central Asia

 

In Central Asia, the art of calligraphy reached remarkable heights during the Timurid period. In Herat, the capital of Khurasan, a major calligraphy school was established under Sultan ‘Ali Mashhadi, where the nasta‘liq script created in the 14th century by Mir ‘Ali Tabrizi was perfected. This style became widely used for copying historical and literary works and emerged as the leading script of its time.

 

After the Timurid era, the cultural center shifted from Herat to Bukhara. In the 16th–17th centuries, the Bukhara school developed its own style and artistic taste, producing many renowned calligraphers.

 

In Khorezm, an independent calligraphy school formed in the early 18th century and reached great development under Muhammad Rahim I and Muhammad Rahim II. During this period, the copying of books and literary works gained new momentum.

 

During the Kokand Khanate, calligraphy was also highly valued. In the late 18th and 19th centuries, under Muhammad Sharif Dabir, nasta‘liq and shikasta nasta‘liq scripts were widely used in the Fergana Valley, and new stylistic examples were created.

 

By the late 19th century, Tashkent too began to emerge as a cultural and scholarly center. Under Shokhmurod’s leadership, the Tashkent calligraphy school established its own traditions and actively participated in copying lithographic books.

 

The role and legacy of calligraphy schools

 

The calligraphy schools of Central Asia were not simply geographic notions, but artistic phenomena that reflected the cultural, political, and aesthetic development of their time. The schools of Herat, Bukhara, Khorezm, Kokand, and Tashkent produced masterpieces that contributed greatly to Eastern culture.

 

Today, thousands of manuscripts created in these schools are preserved in major libraries and museums around the world. They stand as priceless cultural monuments reflecting our people’s dedication to learning and reverence for spirituality.

 

The art of calligraphy remains relevant today, living on in new spiritual and aesthetic interpretations. While our ancestors developed it not only as artistic beauty but also as a supreme example of knowledge, patience, taste, and faith, today’s generation must continue it in harmony with the spirit of the times.

 

Currently, the school of calligraphy and manuscript arts being established at the Center of Islamic Civilization in Uzbekistan has undertaken this noble mission. This institution provides an opportunity to study ancient calligraphic traditions in depth, teach the younger generation to value them, and enrich them with new artistic explorations. The school’s activities are becoming a modern model for connecting future generations with their historical roots and preserving national identity.

 

In today’s changing and digital era, preserving calligraphy means preserving our culture. In this regard, the Center of Islamic Civilization will serve not only as a place for restoring historical memory but also as a major platform for taking national art to a new level. Thus, calligraphy will remain a living value serving the spirituality and culture of tomorrow.

 

Husan Tursunov

P/S: The article may be used provided that a link to the Center’s official website is included.