A line can be legible, beautiful and historically revealing—and those are three different things to explain. This guide teaches 100 calligraphy vocabulary words through Turkey, from the shape of a stroke to the material of a manuscript and the evidence behind a museum caption.
Turkey offers a rich context through particular Ottoman manuscript traditions, museum collections and the living practice recognised by UNESCO as Hüsn-i hat. These traditions do not stand for every language, script or community in the country. Most entries are English learning words; the few script and tradition names carry language labels and explanations.
Begin with an object description, then follow the route that interests you: letterforms, tools, composition or museum reading. Cover a definition and explain its meaning before writing your own sentence. “Top 100” is a curated learning list, not a measured frequency ranking. All example sentences and classroom objects are invented unless a passage explicitly identifies a documented museum object.
Turkey · Calligraphy vocabulary
Choose your reading route
- Find your starting point — check the distinction that matters first.
- Learn the first ten words — follow a meaningful group, then retrieve it.
- Read a worked example — see the terms doing real explanatory work.
- Try the practice and answers — check meaning before increasing difficulty.
- Move into speaking and writing — use a fresh scene and preserve evidence.
Browse the complete chapter index · Sources and checking · Further learning
Complete chapter index
Start here and word groups 1–5
Word groups 6–10
Context, examples, practice and next steps
- A Turkish context: a living practice and particular objects
- Worked description: from vague praise to checkable detail
- Meaning boundaries: a letterform is not a translation
- Practice: describe, distinguish and qualify
- Transfer: write a caption that respects its evidence
- Questions readers often ask
- Your next route: look closely, then explain clearly
Picture an invented museum panel with dark ink, a wide margin and a short caption. Try describing three visible features without using beautiful, ancient or mysterious. “The heading uses larger letterforms than the main text” is more informative than “The writing is amazing.” Appreciation becomes stronger when it has something specific to notice.
Now separate three questions: What script is used? What language does the text express? What does the text mean? A script is a system of written signs; a language is not the same thing as its writing system. A viewer may identify visual features while still needing expert transcription and translation.
If script and language become tangled, start with group 1 and group 9. If you recognise an object but struggle to describe it, use groups 2–3 and 6. Students can annotate a non-sacred invented practice sheet. Parents can ask which features support a description. Teachers can assess observation before historical interpretation.
CHAPTER 2 OF 18 · WORD GROUP 1 OF 10
Distinguish writing, script and language
The same script can serve different languages. General English terms come first, with a small number of clearly labelled tradition and script names.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 1. calligraphy | The art of expressive, carefully formed writing. | calligraphic writing | The museum label describes calligraphy as writing and visual form together. |
| 2. lettering | Drawing or designing letters for a particular work. | hand lettering | The poster exercise distinguishes lettering from selecting a ready-made font. |
| 3. handwriting | Writing formed by hand, whether everyday or artistic. | clear handwriting | Everyday handwriting and a formal calligraphic work can have different aims. |
| 4. script | A system or style of written letterforms, according to context. | calligraphic script | The caption identifies the script before discussing its language. |
| 5. language | A system of communication; not identical to the script used to write it. | written language | The reader asks which language the inscription records. |
| 6. letterform | The visual shape of a written or designed letter. | curved letterform | The close-up describes the letterform without inventing a translation. |
| 7. character | A written sign within a writing system. | written character | The diagram separates a character’s identity from its decorative shape. |
| 8. Hüsn-i hat | Turkish name for measured, proportioned calligraphy using letters of Arabic origin; the Roman spelling is shown directly. | Hüsn-i hat practice | UNESCO’s record gives Hüsn-i hat a particular living-heritage context. |
| 9. naskh | Arabic script name, commonly transliterated naskh; a rounded calligraphic style used extensively for texts. | naskh script | The artwork record identifies naskh rather than the viewer guessing from its size. |
| 10. thuluth | Arabic script name, commonly transliterated thuluth; a calligraphic style often used for prominent inscriptions or headings. | thuluth heading | The label distinguishes a thuluth heading from smaller text lines. |
A dot, diacritic and flourish can have different functions. Describe the visible form before supplying a reading or translation.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 11. stroke | A mark made through a writing-tool movement. | controlled stroke | One stroke changes width as the tool’s direction changes. |
| 12. line | A continuous mark or an arranged row of writing, depending on context. | line of text | The caption specifies a line of text rather than a drawn guide. |
| 13. curve | A smoothly bending form or movement. | flowing curve | The learner follows the curve with a pencil on paper. |
| 14. stem | A principal stroke within a letter’s structure, in the relevant lettering vocabulary. | vertical stem | The exercise compares the stem with the adjoining curve. |
| 15. terminal | The end of a stroke or letterform. | stroke terminal | The close-up shows a terminal shaped differently from the preceding line. |
| 16. loop | A curved stroke enclosing or nearly enclosing a space. | rounded loop | The drawing includes a loop without identifying its language from that alone. |
| 17. ligature | A joined form combining two or more characters or letter elements. | joined ligature | The label explains the ligature rather than counting it as one spoken sound automatically. |
| 18. dot | A small mark used in writing, decoration or measurement under the chosen convention. | letter dot | The student asks what function the dot has in this work. |
| 19. diacritic | A mark added to a character to indicate a linguistic distinction. | diacritical mark | A diacritic is not automatically a decorative flourish. |
| 20. flourish | An ornamental extension or stroke beyond the basic letter structure. | decorative flourish | The flourish changes the visual rhythm without supplying a new translation. |
Proportion, alignment and spacing explain how parts work together. They are useful even before a viewer can read the text.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 21. proportion | The relative size of parts within a letter or composition. | letter proportions | The exercise compares proportions rather than simply copying the overall size. |
| 22. ratio | A stated relationship between quantities or dimensions. | height-to-width ratio | The caption states which dimensions define the ratio. |
| 23. angle | The relationship between directions, including the tool’s orientation. | pen angle | The diagram names pen angle without prescribing one for every script. |
| 24. slant | The inclination of a stroke or writing relative to a reference direction. | letter slant | The repeated slant gives the practice line a coherent appearance. |
| 25. alignment | The positioning of elements along a defined relation or reference. | text alignment | The design aligns the lines without making their lengths identical. |
| 26. baseline | A reference line used to organise the position of letterforms. | writing baseline | The learner marks a baseline beneath the Latin-letter exercise. |
| 27. spacing | The distances between letters, words or lines. | word spacing | The reader checks spacing before calling the passage difficult to follow. |
| 28. rhythm | The visual pattern created by repetition and variation. | calligraphic rhythm | Repeated curves create rhythm across the panel. |
| 29. balance | The relationship of visual weight among parts. | compositional balance | The design balances a large heading with smaller lines. |
| 30. consistency | Similarity within a defined set of forms or results. | stroke consistency | Consistency concerns the chosen pattern, not identical marks in every tradition. |
A reed pen, nib, ink and inkwell are different objects. These are vocabulary explanations, not instructions for cutting a tool or preparing materials.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 31. pen | A tool used to apply ink in writing or drawing. | calligraphy pen | The record identifies the pen used for the work. |
| 32. reed pen | A writing tool made from a cut reed, used in several calligraphic traditions. | reed-pen writing | The museum account connects the reed pen with a documented technique. |
| 33. nib | The writing tip of a pen. | broad nib | The paper diagram shows how a broad nib relates to the stroke. |
| 34. broad-edged | Having a wide writing edge that influences stroke shape. | broad-edged pen | The illustration distinguishes a broad-edged pen from a fine point. |
| 35. ink | A liquid or paste used to form writing or images. | black ink | The catalogue identifies black ink on paper. |
| 36. inkwell | A container holding ink for writing. | small inkwell | The object label distinguishes the inkwell from the pen. |
| 37. brush | A tool using bristles or fibres to apply material. | writing brush | The general comparison includes a brush without assigning it to every Turkish tradition. |
| 38. tool preparation | Making a writing tool ready for its particular use. | careful tool preparation | The source names tool preparation as part of the craft account. |
| 39. pressure | Force applied over an area; in writing, the tool’s applied contact force. | writing pressure | The exercise describes pressure without assuming every tool responds alike. |
| 40. ink flow | The movement and supply of ink from tool to surface. | steady ink flow | The writer records uneven ink flow in the practice note. |
Paper treatment and surface properties influence marks. The catalogue’s material record is stronger evidence than colour alone.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 41. paper | A sheet material used as a writing or artistic support. | writing paper | The label identifies paper rather than parchment. |
| 42. parchment | Prepared animal skin used as a writing support. | parchment folio | The record names parchment instead of inferring it from colour. |
| 43. support | The material carrying the writing or decorative layers. | writing support | The caption separates the support from the ink. |
| 44. surface | The outer area receiving or carrying a mark. | smooth surface | The student describes the surface before discussing the stroke. |
| 45. sizing | Treatment of paper or another support to influence absorption and handling. | paper sizing | The technical account explains sizing without treating it as the page’s dimensions. |
| 46. burnishing | Smoothing or polishing a surface by rubbing under an appropriate method. | paper burnishing | The conservation account distinguishes burnishing from colouring. |
| 47. absorbency | The extent to which material takes in liquid. | paper absorbency | The paper comparison discusses absorbency as a material property. |
| 48. bleeding | Unwanted spread of ink or colour through or across a support. | ink bleeding | The note records bleeding near the edge of the stroke. |
| 49. texture | The actual or apparent surface character of material. | paper texture | The close-up distinguishes texture from a printed pattern. |
| 50. marbling | Making patterns associated with floating and transferring colours onto a support under the relevant method. | marbled paper | The catalogue identifies marbling around the written panel. |
Headings, borders, margins and unoccupied space help organise attention. Not every visible form belongs to the readable text.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 51. composition | Arrangement of elements within the work. | calligraphic composition | The guide explains the composition through heading, text and border. |
| 52. panel | A bounded work or section displayed as a unit. | calligraphic panel | The viewer compares a panel with a bound manuscript page. |
| 53. heading | A title or prominent line introducing text. | large heading | The record separates the heading from the main text. |
| 54. border | A frame or decorative area along an edge. | decorative border | The border surrounds the text without becoming part of its translation. |
| 55. margin | Space between the main content and the edge of the support. | wide margin | The margin gives the composition breathing room. |
| 56. negative space | Unoccupied visual areas contributing to a composition. | balanced negative space | The design treats negative space as part of the arrangement. |
| 57. symmetry | Correspondence of forms across a line or around a centre. | mirror symmetry | The viewer describes symmetry without assuming the text reads identically in both directions. |
| 58. asymmetry | An arrangement without mirrored or evenly corresponding parts. | deliberate asymmetry | The panel uses asymmetry while retaining visual balance. |
| 59. hierarchy | Differences in prominence directing a viewer’s attention. | visual hierarchy | The heading establishes hierarchy through its scale. |
| 60. ornament | Decorative material or forms within or around a work. | calligraphic ornament | The caption separates ornament from readable text. |
Folio, recto, verso, binding and colophon support museum and library reading. State the applicable convention rather than assume every book has one layout.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 61. manuscript | A handwritten document or book, especially in a historical collection context. | calligraphic manuscript | The museum record identifies the manuscript’s language and date. |
| 62. folio | A leaf of a manuscript or book, with two sides. | manuscript folio | A folio is a leaf, not automatically one written side. |
| 63. recto | The front or right-hand side of a leaf under the applicable book convention. | folio recto | The catalogue states which side is the recto. |
| 64. verso | The back or reverse side of a leaf under the applicable convention. | folio verso | The note locates the inscription on the verso. |
| 65. binding | The structure joining and protecting a book’s leaves. | book binding | The record describes the binding separately from the text. |
| 66. album | A collection of works or pages assembled into a book or organised sequence. | calligraphy album | The album brings separate written works into a shared arrangement. |
| 67. illumination | Decorative work, often involving colour and gold, within a manuscript. | manuscript illumination | The caption distinguishes illumination from the words’ meaning. |
| 68. gilding | Applying gold or a gold-like material under a stated method. | manuscript gilding | The record establishes gilding rather than the viewer assuming every yellow area is gold. |
| 69. colophon | A statement in a manuscript or book giving information such as production, copying or authorship. | manuscript colophon | The researcher uses the colophon as one source of evidence. |
| 70. inscription | Writing marked on an object or surface. | recorded inscription | The label supplies an inscription transcription before its translation. |
Copying, feedback and mentorship involve different forms of participation. A completed object is one part of living knowledge.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 71. practice sheet | A support carrying exercises or repeated writing for learning. | calligraphy practice sheet | The learner compares two practice sheets after feedback. |
| 72. exemplar | A model used for study or comparison. | writing exemplar | The teacher explains what feature the exemplar demonstrates. |
| 73. copying | Reproducing a supplied form or text for an identified purpose. | practice copying | Copying the shape does not establish understanding of the language. |
| 74. repetition | Doing or presenting an action or form again. | stroke repetition | Repetition helps the class compare the chosen stroke pattern. |
| 75. correction | A change intended to address a specified error or weakness. | guided correction | The correction identifies one spacing issue. |
| 76. feedback | Information used to understand performance and improve a further attempt. | specific feedback | The teacher’s feedback names the relation that needs attention. |
| 77. mentorship | Guidance through an ongoing learning relationship. | craft mentorship | The heritage account gives mentorship a context of skill transmission. |
| 78. transmission | Passing knowledge or skill between people or generations. | skill transmission | Transmission includes explanation and practice, not only preserving finished objects. |
| 79. craftsmanship | Skill and care evident in making a work. | calligraphic craftsmanship | The student supports the craftsmanship claim with a visible detail. |
| 80. tradition | Knowledge or practice passed on within communities over time. | living calligraphic tradition | The source describes a tradition without assigning it to every person. |
Transcription, transliteration and translation do different jobs. Attribution and dating require evidence beyond aesthetic resemblance.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 81. attribution | An evidence-based identification of a maker or origin. | calligrapher attribution | The label marks attribution as uncertain where appropriate. |
| 82. provenance | The documented history of a work’s origin, ownership or custody. | manuscript provenance | The catalogue distinguishes provenance from a family anecdote. |
| 83. dating | Determining or recording when a work was made. | manuscript dating | The researcher states the evidence used for dating. |
| 84. signature | A maker’s identifying written mark or name, whose interpretation requires evidence. | calligrapher’s signature | A signature claim follows the record rather than the shape alone. |
| 85. transcription | Rendering the written text into another written representation, preserving the relevant wording. | inscription transcription | The caption separates transcription from interpretation. |
| 86. transliteration | Representing characters from one writing system using another system’s characters under a convention. | stated transliteration | The record names its transliteration convention. |
| 87. translation | Expressing a text’s meaning in another language. | English translation | A translation needs language knowledge, not just an attractive letterform. |
| 88. interpretation | An explanation of a work’s meaning or significance based on evidence. | supported interpretation | The paragraph links its interpretation with the source. |
| 89. context | Circumstances helping explain the work or practice. | historical context | The guide identifies context without inventing a patron. |
| 90. documentation | Records describing evidence, methods and decisions. | collection documentation | Documentation lets the reader distinguish an observation from a conclusion. |
CHAPTER 11 OF 18 · WORD GROUP 10 OF 10
Describe care and public understanding
A condition report and a display caption answer different questions. A viewer can appreciate the work while keeping its language and history open for further learning.
| Vocabulary word | Meaning in this context | Natural collocation | Original example sentence |
|---|---|---|---|
| 91. conservation | Careful preservation and management of a work and its significant attributes. | manuscript conservation | Conservation questions differ from classroom pen practice. |
| 92. condition | The current physical state of an object. | condition report | The report records the paper’s condition. |
| 93. fading | Loss or change of colour intensity over time or exposure. | ink fading | The caption identifies fading without guessing its entire cause. |
| 94. abrasion | Wear through rubbing or contact. | surface abrasion | The record describes abrasion near the edge. |
| 95. mounting | Arranging and supporting a work for display or storage. | panel mounting | The account identifies the mounting separately from the original support. |
| 96. display | Presentation of a work for viewing. | museum display | The display’s arrangement influences the viewer’s approach. |
| 97. caption | A concise text identifying or explaining a work. | museum caption | The caption distinguishes script, language and material. |
| 98. accessibility | The ability of different users to encounter and understand a display or its information. | exhibition accessibility | The proposal includes an accessible description of the panel. |
| 99. heritage | Inherited cultural knowledge, objects or practices valued across generations. | calligraphic heritage | Heritage includes living practice as well as museum works. |
| 100. appreciation | Thoughtful recognition or enjoyment of a work’s qualities. | calligraphy appreciation | Appreciation can begin with careful looking and an honest question. |
UNESCO placed Hüsn-i hat, traditional calligraphy in Islamic art in Turkey on its Representative List in 2021. Its account emphasises measured proportions, tools, learning and transmission. Recognition of this named practice does not imply that all Turkish writing is calligraphy or that every community participates in one tradition.
The Sakıp Sabancı Museum’s collection account offers an object-based route into manuscripts, albums, panels and tools. These are useful categories because an album and a bound manuscript do not necessarily organise material in the same way. A tool display can also prompt questions about making, rather than treating a finished page as an effortless flourish.
A specific comparison comes from the Metropolitan Museum of Art’s album attributed to Shaikh Hamdullah, around 1500. Its catalogue identifies Turkey, probably Istanbul, and describes different scripts and decorated presentation. Keep “probably” when reporting that place: an elegant sentence must not erase the catalogue’s qualification.
Calligraphy, illumination and marbling can appear together, yet they name different kinds of work. Calligraphy concerns the formation of writing; illumination adds painted or gilded decoration; marbling creates patterned surfaces through its own process. A single object can invite several kinds of expertise without making those terms synonyms.
The country context here is historical and cultural, not a claim about every contemporary classroom or workplace. Source review: 15 October 2026. The UNESCO inscription year is historical; no claim is made about present participation numbers or a national ranking.
An invented practice sheet contains a short heading, two lines of text and a plain border. First describe it: “The heading sits above two aligned lines. The border leaves a broad margin. Repeated curved strokes create a visible rhythm.” These sentences identify features someone else could inspect.
Next interpret cautiously: “The larger heading appears to establish a hierarchy.” Appears marks an interpretation of the arrangement. It does not weaken the observation about relative size; it keeps the explanation separate from the visible fact.
Now consider a caption: “A practice sheet in an unidentified script; ink on paper; maker unknown.” A learner rewrites it as “A famous Turkish master wrote this ancient prayer.” The rewrite adds an artist, nationality, date and meaning that the caption does not supply. Fluent writing can still be inaccurate.
Try this short dialogue. Visitor: “Can I read the letters without understanding the language?” Guide: “Possibly, if you know the script, but transcription and translation answer different questions.” Visitor: “Then my caption should say which step I have actually completed.” That is a useful museum habit and a useful classroom habit.
Improve your own description in two passes. In the first, replace vague praise with spatial or material vocabulary. In the second, check every historical claim against a source. Precision need not make the writing cold: a well-observed margin can carry more interest than a parade of extravagant adjectives.
Naskh and thuluth are Arabic script names commonly used in English discussions of calligraphy. They identify script styles, not two languages. Hüsn-i hat is the Turkish name of the tradition discussed here; Turkish already uses a Latin-based writing system, so that spelling is not an extra transliteration invented for this list.
A diacritic is a mark associated with a character to indicate a distinction such as pronunciation. A decorative flourish serves a different purpose. Do not classify every small mark as decoration because it looks delicate: a small sign may affect how text is read.
Transcription records the written text in a readable form; transliteration represents one writing system using another; translation expresses meaning in another language. Their boundaries can require specialist decisions, but their aims remain different. A museum caption should not imply translation when it supplies only a name in Roman letters.
Paper sizing means treating paper to alter properties such as absorbency. It does not mean measuring the sheet’s width. Burnishing smooths or polishes a surface. These words help explain preparation; this article does not provide a conservation treatment recipe.
Provenance concerns an object’s history of ownership or custody. Attribution concerns who made it. Dating concerns when it was made. A signature may inform these questions, but it does not remove the need to assess the evidence. A confident claim and a well-supported claim are different achievements.
Copying can be purposeful practice, especially when it directs attention to proportion and spacing. Copying a form does not confer the ability to read the language, reproduce a historical tradition competently or claim a master’s authorship.
1. Choose the word for empty space within a composition: negative space or provenance. 2. Does naskh name a language or a script style? 3. A catalogue converts Arabic-script names into Roman letters. Which process is this: transliteration or translation?
4. Replace “Every small mark is ornament” with a more accurate sentence. 5. A source says “probably Istanbul.” Should a summary retain probably? Explain why.
6. A sheet has two sides. Which word names the leaf: folio, recto or verso? 7. Replace “Sizing means making the paper larger” with a correct definition. 8. Write an observation and a separate interpretation about a heading that is larger than the main text.
Answers and checking notes. 1. Negative space. 2. A script style. 3. Transliteration. 4. For example: “Some marks may be diacritics or parts of letterforms rather than ornament.” 5. Yes; the location is qualified in the source. 6. Folio; recto and verso distinguish sides under a relevant convention. 7. Sizing treats paper to alter properties such as absorbency. 8. Observation: “The heading’s letterforms are larger.” Interpretation: “This may make the heading the first element a viewer notices.” Other accurate examples are welcome.
Retrieve five terms without looking: script, proportion, margin, transcription and attribution. Define them aloud, then use three in a description of an invented practice sheet. The sheet can contain ordinary Latin letters. The task is to practise descriptive English, not to claim training in a particular calligraphic tradition.
Write a 100–140-word museum-style caption with three visible features, one documented fact and one clearly labelled uncertainty. If you use the Met object, read its actual catalogue before writing. If you use your invented sheet, state that it is invented and leave maker, date and language unknown unless your scenario supplies them.
Ask a partner to underline observations and circle interpretations. Then exchange one question each. “What supports this attribution?” is a better question than “Is it old?” because it names the evidence problem precisely.
The English Tuition | Türkiye guide uses careful comparison to preserve shared requirements and differences between sources. Apply that reading discipline to two museum captions: what do both establish, and where does only one provide evidence? This is a learning connection, not a claim that eduKate operates a centre in Turkey.
Teachers can mark precision, evidence and readability separately. Parents can invite a child to explain one revised sentence. Students can keep a before-and-after caption so that improvement remains visible rather than disappearing into a final polished paragraph.
Do I need to read Arabic or Turkish? You can learn the English descriptive vocabulary without doing so. Reading and interpreting a specific historical text may require language and script expertise.
Is calligraphy simply neat handwriting? Careful handwriting can be attractive, but calligraphy involves deliberately formed writing with attention to artistic principles and conventions. The categories can overlap without being identical.
Does UNESCO recognition cover every script in Turkey? The cited inscription concerns a named practice. It is not a description of all written traditions or all contemporary Turkish society.
Can I use a signature as proof of authorship? A signature is evidence to assess, not an automatic conclusion. Attribution may also involve materials, style, documentation and specialist study.
Should I reproduce sacred texts for this exercise? That is unnecessary. Invented neutral practice text supports the descriptive task without pretending to interpret religious content.
Are conservation and decoration interchangeable? No. Conservation concerns preserving objects; ornament concerns decorative elements. Knowing the distinction helps readers understand a museum’s work.
For a visual-description route, start with groups 1–3 and 6. For a making-and-materials route, add groups 4–5. For museum reading, use groups 7–10 and keep transcription, translation, attribution and provenance separate.
Return to the diagnostic panel and write five sentences: three observations, one sourced fact and one question. Remove any adjective that does the work of unsupported history. Keep the details that make another reader want to look.
Use the eduKate vocabulary hub for your next learning route. Transfer these words into a fresh caption or comparison rather than repeating the same sheet until the answers feel familiar.
Sources and checking
Sources reviewed on 15 October 2026. The definitions and examples are original learning explanations. Dictionary and specialist sources support meanings; cultural and technical sources support the specific context. This selection is not a complete professional glossary or a statistical ranking.
- UNESCO: Hüsn-i hat inscription
- Sakıp Sabancı Museum: collection context
- Metropolitan Museum of Art: Shaikh Hamdullah album
- Cambridge Dictionary: calligraphy
- Cambridge Dictionary: transliteration
Further learning
Choose a relevant published learning route, read its task carefully, and connect the words to a new explanation.