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".
Suzuri-bako
The first "suzuri-bako" were developed in 9th century Japan. At the time, calligraphy was an integral part of Japanese society. In order for a writer to produce a high-quality calligraphy script, a set of precise tools was needed. The most important of these tools was the inkstone, which was required to hold and transfer ink onto a writer's brush. Ink sticks, water droppers, and a small knife were also part of a calligrapher's set. Suzuri-bako were designed to ensure that the various tools a calligrapher needed were properly organized and protected. Due to the insoluble nature of resin-based lacquer, the contents of the writing box were relatively safe from moisture. Inside of the square or rectangular boxes rested a number of different trays and holders, the layout of which differed from period to period. Early boxes were large enough to accommodate both the writer's implements and papers, while later boxes only housed tools. A second type of box, the "ryōshibako", were used in later periods to house completed papers.