Attempt is made in this study to investigate the aesthetic embellishment inherent in the Arabic calligraphy of mosques in Kano, Nigeria. Attention on the research was stimulated by the way scholars overlooked this expressive art form particularly amongst the non-Arab speaking Muslim Ummah. In the course of doing that, the study traced the historical evolution of Arabic calligraphy, the arrival of Islam into Kano, and what informed its usage on the mosque‟s inner and outer walls. The study also appreciated its usage within the context of aesthetic. Literature was therefore available on the subject in such regions within the stated periods and was thus reviewed. This is coupled with oral interview conducted, visits paid to certain mosques, questionnaire administered on the artists and Mallams/Imams. Basically, the study adopted and utilized the qualitative and historical method of research. Data collected for the study were analysed based on Feldman‟s recommendation to be taken in analyzing artworks. The steps are descriptive, formal analysis, interpretation and judgment. From the findings it was discovered that out of the six renown Arabic calligraphic styles, (Kufic, Thuluth, Nasakh, Riq‟a, Farsi and Deewani) only three of the Arabic calligraphic styles were frequently used by the Arabic calligraphers within the studied areas. The Arabic styles include Kufic, Farsi and Nasakh. Based on the findings of the study, recommendations were given as to how Arabic calligraphic embellishment will be better understood and appreciated, especially among the non-Arabic speaking Muslim Ummah.