(Note: Some later Ottoman lists substitute Tawqi with , but the classical Jawahir Khamsa firmly includes Tawqi as the fifth jewel.) The Six Pens vs. The Five Jewels Students of Islamic calligraphy will be familiar with the Aqlam al-Sitta (Six Pens): Thuluth, Naskh, Muhaqqaq, Rayhani, Tawqi, and Riq’a . So, why the “Five Jewels”?
In the rich tapestry of Islamic art, few concepts are as revered and technically refined as the Jawahir Khamsa (الجواهر الخمسة) — an Arabic term meaning “The Five Jewels.” While the name might evoke images of gemstones, in the world of classical calligraphy and manuscript illumination, it refers to a specific set of five distinct scripts or ornamental styles. Understanding the Jawahir Khamsa is essential for anyone seeking to appreciate the pinnacle of Ottoman and Persian penmanship. What Does “Jawahir Khamsa” Mean? Literally translated, Jawahir (جواهر) means “jewels” or “precious stones,” and Khamsa (خمسة) means “five.” Thus, Jawahir Khamsa translates directly to “Five Jewels.” The term metaphorically underscores that these five writing styles are not merely functional scripts but treasured, radiant forms of art — each with its own unique brilliance, discipline, and aesthetic value. The Origin of the Term The codification of the Jawahir Khamsa is most famously attributed to the Ottoman calligrapher and scholar Shaykh Hamdullah (1436–1520), who is often regarded as the founder of the Ottoman school of calligraphy. Building upon the principles established by the Abbasid era calligrapher Ibn Muqla and refined by Yaqut al-Mustasimi, Shaykh Hamdullah standardized six major scripts ( Aqlam al-Sitta — the Six Pens). However, within the Ottoman tradition, a specific grouping of five became celebrated as the Jawahir Khamsa due to their harmony, versatility, and ornamental use. The Five Jewels: The Scripts Defined While minor variations exist between different schools, the classical Jawahir Khamsa almost universally consists of the following five scripts: 1. Thuluth (ثلث) – “One-Third” Thuluth is the majestic jewel of the set. Known for its large, elegant, and flowing curves, it features dramatic ascending verticals and deep, sweeping descenders. Thuluth was used for the opening chapters of Qur’ans, mosque inscriptions, and monumental architectural panels. Its grandeur gives it the status of a “royal ruby” among the five. 2. Naskh (نسخ) – “Copying” If Thuluth is the king, Naskh is the diligent scribe. This small, legible script was perfected for copying the Qur’an and secular books. Its clarity, horizontal baseline, and precise proportions make it the “pearl” of the group — luminous, orderly, and endlessly useful. Today, Naskh is the standard Arabic script used in digital fonts and print. 3. Muhaqqaq (محقق) – “Accomplished” or “Clear” Muhaqqaq is a stately, elongated script often described as a more vertical cousin of Thuluth. It was favored for large-format Qur’ans and royal decrees. Its letters are sharp, well-defined, and spaced with aristocratic elegance. Among the five jewels, Muhaqqaq is the “emerald” — regal and transparently beautiful. 4. Rayhani (ريحاني) – “Basil-like” or “Delicate” The name Rayhani evokes the sweet scent of basil, and this script lives up to its name. It is essentially a smaller, finer, and more delicate version of Muhaqqaq. Rayhani was used for marginal notes, elegant certificates, and intimate manuscripts. It is the “violet sapphire” of the five — subtle, aromatic, and deeply refined. 5. Tawqi (توقيع) – “Signet” or “Signature” Tawqi is a compact, bold, and somewhat angular script. Originally developed for official signatures, edicts, and court documents, it combines the curves of Thuluth with tighter, more compressed forms. Its strength lies in its dignified brevity. Among the jewels, Tawqi is the “diamond” — small but unbreakably hard and authoritative. jawahir khamsa in english
To study the Five Jewels is to hold a mirror to a world where beauty and meaning are one. Are you interested in learning how to distinguish these scripts visually, or would you like a list of resources for practicing them? (Note: Some later Ottoman lists substitute Tawqi with
For contemporary artists, reviving the Five Jewels is an act of cultural preservation. Workshops in Turkey, Iran, and the West now teach these scripts using traditional reed pens ( qalam ) and handmade ink. The Jawahir Khamsa is not merely a technical term; it is a philosophy. It teaches that the written word, especially the sacred word, deserves the finest possible vessel. Each script — from the thundering majesty of Thuluth to the whisper-fine elegance of Rayhani — is a jewel cut by decades of discipline, polished by devotion, and set into the firmament of Islamic civilization. In the rich tapestry of Islamic art, few
The difference is contextual. The Jawahir Khamsa typically excludes Riq’a, which was a more cursive and practical script for daily correspondence. The Five Jewels were deliberately selected as the most scripts — the ones suitable for illuminating the Word of God and adorning royal commissions. They are the gems, while Riq’a is the utilitarian tool. Legacy and Practice Today The Jawahir Khamsa remains a cornerstone of traditional Islamic calligraphy training. A master calligrapher ( hattat ) must achieve ijazah (certification) in all five scripts to fully master the art. Museums such as the Topkapı Palace Museum in Istanbul and the British Library house breathtaking examples of the Jawahir Khamsa in centuries-old Qur’ans and albums.