Islamic art
Calligraphic design is omnipresent in Islamic art, where, as in Europe in the Middle Ages, religious exhortations, including Qur'anic verses, may be included in secular objects, especially coins, tiles and metalwork, and most painted miniatures include some script, as do many buildings. Use of Islamic calligraphy in architecture extended significantly outside of Islamic territories; one notable example is the use of Chinese calligraphy of Arabic verses from the Qur'an in the Great Mosque of Xi'an. Other inscriptions include verses of poetry, and inscriptions recording ownership or donation. Two of the main scripts involved are the symbolic "kufic" and "naskh" scripts, which can be found adorning and enhancing the visual appeal of the walls and domes of buildings, the sides of minbars, and metalwork. Islamic calligraphy in the form of painting or sculptures are sometimes referred to as "quranic art".
Indian calligraphy
There was a bigger goal to this style of language than just to communicate with one another. There was no one true form of communication before this was created, and calligraphy helped to guide community members to connect in more than one aspect of life, that was not just language. A rich heritage of calligraphy was embraced as this was a time before printing technology was accessible to Indian counties. This brought people closer together as they began to communicate in the same ways. While it may be used as an art form today, it was essential for communication before the 16th century.
Religious texts are the most frequent vehicle for calligraphy in India. Monastic Buddhist communities had members trained in calligraphy and shared responsibility for duplicating sacred scriptures. Jaina traders incorporated illustrated manuscripts celebrating Jaina saints. These manuscripts were produced using inexpensive material, like palm leave and birch, with fine calligraphy.