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".
Epigraphy
Most of the forms of writing known to us originated in some system of picture-writing (cf. also pictography, which developed into a hieroglyphic system. Such systems appear to have originated independently in different parts of the world — in Egypt, Mesopotamia, Crete, among the Hittites and in China and America. The evidence for all of these is mainly to be found in inscriptions. The development from Ideographs (or direct representation of an object or idea) to symbols of phonetic value, and so to syllabaries or alphabets, took place in many different systems to various degrees. But the first people to invent a completely alphabetic system of writing were the Phoenicians, from whom the Greeks borrowed (some scholars believe, but with no proving) it with certain modifications and improvements. From the Greeks was derived the Latin, and from the two all the alphabets of European peoples. It is still a matter of dispute whether the Phoenician was derived from the Egyptian.
The hieroglyphic symbols naturally tended to be conventionalised and simplified for convenience of cutting, in accordance with the materials and tools employed. In many cases they developed from a pictorial to a linear form. It is possible that some of these linear forms may not be derived from hieroglyphs, but from purely conventional geometrical forms. such as widely used at all periods and places as owners' or masons' marks. The tendency of linear forms to become wedge-shaped is most conspicuous in cuneiform, but as has been noticed, the same tendency occurs in Greek inscriptions incised on bronze.