The inscription was written with a brush or wooden pen and then after the bowl was fired, the plaiting was done by scratching through the black glaze to the white beneath. Iran, Circa 1860 AD Calligraphy on a decorated background Ink and gouache on paper stuck on cardboard. The background of this page is so extensively decorated that the animals, plants and human figures merge into an all-embracing pattern of green and gold. Many examples of Ismail Jalayir work exist, though none is dated. He studied calligraphy under Mirza Ghulam Riza, on of the leading masters of the day, and this perfectly composed piece shows the heights he reached in that art.
Arabic alphabet is entirely intrinsic.
It can be appreciated for its formal and rhythmic qualities alone and needs no embellishment or decoration. But both Iranian and Ottoman tastes, particularly in the 9th century, put the Arabic alphabet through some strange contortions. Scripts were covered with representations of people, animals and even tiny scenes. A good example can be seen here. The script is decorated with animals, people and landscape in a griasille technique on a plain background.