This calligraphic fragment is executed in gold ink on brown leather. The text is written in shikastah-nasta'liq and comprises a selection of Persian excerpts in both nazm (poetry) and naskh (prose). These passages are written diagonally and are framed by cloud-band motifs. The text is framed by a blue border decorated with flowers and pasted to a pink sheet ornamented with gold leaf and flower motifs. There is a small hole in the brown leather, below which a note states that this calligraphic piece was finished in the subh (morning) of Shambah, Jumadah II 5, 1156 (Saturday, July 27, 1743). Close to the date appears a note specifying that the work was commissioned by a certain Mawlana [...]. The name of the calligrapher, apparently inscribed in red ink in the center of the composition, unfortunately is illegible. The script is typical of calligraphic work executed in 18th-century Iran, which witnessed the gradual development of shikastah script from its nasta'liq roots.
This calligraphic fragment is executed in gold ink on brown leather. The text is written in shikastah-nasta'liq and comprises a selection of Persian excerpts in both nazm (poetry) and naskh (prose). These passages are written diagonally and are framed by cloud-band motifs. The text is framed by a blue border decorated with flowers and pasted to a pink sheet ornamented with gold leaf and flower motifs. There is a small hole in the brown leather, below which a note states that this calligraphic piece was finished in the subh (morning) of Shambah, Jumadah II 5, 1156 (Saturday, July 27, 1743). Close to the date appears a note specifying that the work was commissioned by a certain Mawlana [...]. The name of the calligrapher, apparently inscribed in red ink in the center of the composition, unfortunately is illegible. The script is typical of calligraphic work executed in 18th-century Iran, which witnessed the gradual development of shikastah script from its nasta'liq roots.