Science Article: Spiritual Features of Iranian Islamic Calligraphy in the Gurkani Period of India (Nastaliq Script)

Spiritual Features of Iranian Islamic Calligraphy in the Gurkani Period of India

(Nastaliq Script)

By: Dr.Hamed Momken (Bank Melli IRAN)

Persian literature is the strongest literature in the world in that it expresses all the highest aspects of material and spiritual life. It is of the highest order in its mystical, philosophical, psychological and even epic aspects. Sometimes a poet has expressed more than one book with one verse, and there are many examples of this. A high percentage of calligraphers of the Timurid period also had the art of poetry, which is why the connection between Persian poetry and Nastaliq calligraphy was raised as one of the characteristics of Iranian culture.

The adoption of many Iranian architectural elements and designs in Muslim-related buildings, as well as the deep and extensive cultural relations between Iran and Indian society, and especially its administrative and cultural system in the 10th to 13th centuries AH, led to the use of Persian script and language in many administrative and cultural fields.

The art of calligraphy was used to decorate buildings such as mosques, schools and tombs. Wooden objects such as coffins and ceramics such as tiles and bowls. Inscriptional decorations can also show more political or religious messages through the choice of the textual program of the inscriptions. Calligraphy can perhaps be considered the most important achievement of Islamic culture. “Therefore, in the Islamic world, the writing of the Quran has the highest amount of cultural and artistic importance” (Hagedorn, 2015, 14).

Calligraphy is a way to convey great moral concepts. Prophet Muhammad was the first person in Islam who strongly recommended calligraphy and learning it. In addition to the high character it gives to an individual, calligraphy can be one of the important ways to convey great moral concepts and religious hadiths to individuals. The special advantage of the world of calligraphy that it is accompanied by a knowledge that automatically takes the calligrapher towards balance with every word and to express aesthetic. Step by step, along with the perfection he goes through, that perfection is internalized in his own being. That is, the text he writes also affects his soul. Now, if, as stated in Islamic teachings, a legacy of great human and moral qualities and special talent has been transmitted to the essence and nature of the artist, Which is very good.

Among the Persian and Arabic inscriptions written in the Nastaliq, Naskh, and Thuluth scripts in India, the following can be mentioned:

Quba-ul-Islam Mosque, Delhi

The oldest Persian inscription in India is in the Quba-ul-Islam Mosque in Delhi. It was written in 587 AH (1191 AD), the same year that Qutb-ud-Din Aibak conquered Delhi. It is located on the inner lintel of the eastern gate of the mosque. “The first line is verses 92 and 96 of Surah Al-Imran, and the second line is written in a very complex script in the Persian language of that period” (Hekmat,1957, 17).

Akbar’s Tomb

The best example of the appearance of Persian works in the tombs of kings is the tomb of King Akbar, the famous Babri Gurkani emperor of India. It is located in the town of Sekendra outside the city of Agra and is now one of the best historical monuments of India and is also a complete example of the architecture of the Mughal era. Akbar ascended the throne in 1556 AD corresponding to 963 AH and died in Agra in 1605 AD corresponding to 1014 AH and was buried in that building. A description of the architectural details of this impressive building is beyond the scope of this article, it will suffice to mention only some Persian verses inscribed on the entrance gate and in the tomb in the delicate Nastaliq script by a scribe named Abdul Haq Shirazi in 1022 AH. On the outer gate is a detailed ode, from which this verse is taken:

Red fort

The Red Fort (Lal Qala) in Delhi, one of the most prominent historical monuments in India, was built in 1638 by the Mughal Emperor, Shah Jahan from red sandstone and served as the Mughal seat of government until 1857. An example of Mughal architecture with a fusion of Persian, Indian and Islamic styles, the building includes sections such as the Diwan-e-Aam (for public meetings), the Diwan-e-Khas (with marble and stonework decorations for private meetings), and the Mughal-designed Hayatbakhsh Garden. At both ends of the Diwan-e-Khas of this building, Persian poems in beautiful Nastaliq calligraphy by Khosrow Dehlavi can be seen.

Its main court is made of white and delicate marble, surrounded by hedges and luxurious carvings, and has two northern and southern mihrabs. In these two mihrabs, beautiful writing is written on white marble in Nastaliq script and gold leaf (Picture 1).

Picture 1. Persian inscription of Red Fort of Delhi in Nastaliq script

Delhi Grand Mosque

This building is one of the most important and beautiful mosques in India, located in the part known as Old Delhi, and is known to have been built during the reign of ShahJahan with red stone and white marble over a period of six years. Its construction began in 1060 AH (corresponding to 1650 AD) and its inscription reads in the name of ShahJahan in the Shabestan in a beautiful script. These stone inscriptions are written in eloquent Persian in Naskh script and consist of ten rectangular squares. The writing language is Persian of the Safavid period, with sentences mixed with Quranic verses. Each square has four lines.

Persian inscription above the porches of the Jama Masjid in Delhi in Naskh script

Conclusion

Investigating and exploring the spiritual capabilities of Islamic art can be effective both in educating the artist and the viewer of his work, and in its circulation in the culture of society. During the long period of Islamic architecture in India, factors have always been influential in the changes and developments of architectural decorations. Among them, the role of human resources, materials, governments, religion and sects can be mentioned. Among them, religious beliefs, especially Islamic beliefs, which are based on Islamic theoretical teachings in Iran and other Islamic countries, play a more prominent role. Of course, patterns with Western content are also seen. The findings show that all the decorative elements are based on the principles of infinity, abstraction, symmetry and repetition, and have a strong and deep spiritual connection with art and architecture that cannot be ignored.

Reference

1. Hagedorn, Annette. (2009). Islamic Art, Translated By: Ardeshir Eshraqi, Tehran: Rovzaneh Publisher (in Persian).
2. Hekmat, Ali Asghar. (1958). Persian Inscriptions on Indian Stones, Ibn Sina Library Publications, Tehran (in Persian).