This is a muraqqa' (album) containing valuable specimens of Persian penmanship in a variety of scripts: nasta‘līq, naskh, rayḥān, tawqī‘, muḥaqqaq, riqā‘, and thuluth. They are pasted, large ones in the centre and small ones on the margins, and bear the following signatures, which are all in nasta‘līq: Mīr ‘Alī, Mālik, Aḥmad al-Ḥusaynī, Mu‘izz al-Dīn Muḥammad al-Ḥusaynī, Muḥammad Ḥusayn al- Tabrīzī, Sulṭān Muḥammad Nūr, Sulṭān Muḥammad "Khandān", and Shāh-Maḥmūd Nīshapūrī, many of whom are famous fifteenth and sixteenth-century Persian calligraphers. The earliest calligraphic sample included in the volume is by Maqsud Tabrizi (featured on fols. 24v–25r). It was completed on Ramadan 2nd, 978 A.H. (February 2nd, 1571 C.E.) in Isfahan, Iran.

Vibrantly coloured marbled paper forms the margins of each page, the vivid colours of which had led some to speculate that it was a later addition. However, recent scholarship has shown that the marbled paper is, in fact, the underlying suppport to which all other papers have been pasted.

In addition to calligraphy, the album contains two drawings of Deccani youths, finely tinted (fols. 12–13r). It also features two (European) woodcuts on folios 22v and 23r.

Jake Benson has identified the marbling as being likely to be the work of Muḥammad Ṭāhir, a Persian master of his craft who had emmigrated to India, and whose name is cited in the album's preface (fol. 4v). The album is undated but Benson suggests that Ṭāhir's biography suggests a compliation date of around 1600 C.E., in South Asia, location unknown.

See: Benson, J, "The Qit‘at-i Khushkhatt Album: Authenticity and Provenance" in Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, 1400–1700. Overton, K. (ed.). Bloomington, Indiana : Indiana University Press 2020, p. 337–365.