Nasta'liq script

''Nastaliq'' (; fa, , ), also romanized as ''Nastaʿlīq'', is one of the main calligraphic hands used to write the Perso-Arabic script in the Persian and Urdu languages, often used also for Ottoman Turkish poetry, rarely for Arabic. ''Nastaliq'' developed in Iran from '' naskh'' beginning in the 13th century and remains very widely used in Pakistan, Iran, Afghanistan and as a minority script in India and other countries for written poetry and as a form of art.

History

The name ''nastaliq'' "is a contraction of the Persian , meaning a hanging or suspended '' naskh''". Virtually all Safavid authors (like Dust Muhammad or Qadi Ahmad) attributed the invention of to Mir Ali Tabrizi, who lived at the end of the 14th and the beginning of the 15th century. That tradition was questioned by Elaine Wright, who traced evolution of ''nastaliq'' in 14th century Iran and showed how it developed gradually among scribes in Shiraz. Moreover, according to her studies ''nastaliq'' has its origin not in combining ''naskh'' and '' taliq'', as was commonly thought, but from ''naskh'' alone. In addition to study of the practice of calligraphy Elaine Wright also found a document written by Jafar Tabrizi c. 1430, according to whom:

Thus "our earliest written source also credits Shirazi scribes with the development of ''nastaʿliq'' and Mir ʿAli Tabrizi with its canonization". The picture of origin of ''nastaliq'' presented by Elaine Wright was further complicated by studies of Francis Richard, who on the basis of some manuscripts from Tabriz argued that its early evolution wasn't confined to Shiraz. Finally, many authors point out that development of ''nastaʿliq'' was a process which takes few centuries. For example, Gholam-Hosayn Yusofi, Ali Alparslan and Sheila Blair recognize gradual shift towards ''nastaliq'' in some 13th century manuscripts. Hamid Reza Afsari traces first elements of the style in 11th-century copies of Persian translations of the Qur'an.

Persian differs from Arabic in its proportion of straight and curved letters. It also lacks the definite article ''al-'', whose upright ''alif'' and ''lam'' are responsible for distinct verticality and rhythm of the text written in Arabic. Hanging scripts like ''taliq'' and ''nastaliq'' were particularly suitable for writing Persian - when ''taliq'' was used for court documents, ''nastaliq'' was developed for Persian poetry, "whose hemistiches encourage the pile-up of letters against the intercolumnar ruling. Only later was it adopted for prose".

The first master of ''nastaliq'' was aforementioned Mir Ali Tabrizi, who passed his style to his son ʿUbaydallah. The student of Ubaydallah, Jafar Tabrizi (d. 1431) (see quote above), moved to Herat, when he becomes the head of the scriptorium (''kitabkhana'') of prince Baysunghur (therefore his epithet Baysunghuri). Jafar trained several students in ''nastaliq'', of whom the most famous was Azhar Tabrizi (d. 1475). Its classical form ''nastaliq'' achieved under Sultan Ali Mashhadi (d. 1520), a student of Azhar (or perhaps one of Azhar's students) who worked for Sultan Husayn Bayqara (1469 - 1506) and his vizier Ali-Shir Nava'i. At the same time different style of ''nastaliq'' developed in western and southern Iran. It was associated with ʿAbd al-Rahman Khwarazmi, the calligrapher of the Pir Budaq Qara Qoyunlu (1456-1466), and after him was followed by his children, ʿAbd al-Karim Khwarazmi and ʿAbd al-Rahim Anisi (both active at the court of Ya'qub Beg Aq Qoyunlu) (1478 - 1490). This more angular western Iranian style was largely dominant at the beginning of the Safavid era, but then lost ground to the more fluid eastern style canonized by Sultan Ali Mashhadi - although it continued to be widely used in the Indian subcontinent.

The most famous calligrapher of the next generation in eastern lands was Mir Ali Heravi (d. 1544), who was master of ''nastaliq'', especially renowned for his calligraphic specimens (''qitʿa''). The eastern style of ''nastaliq'' became the predominant style in western Iran, as artists gravitated to work in Safavid royal scriptorium. The most famous of these calligraphers working for court in Tabriz was Shah Mahmud Nishapuri (d. 1564/1565), known especially for unusual choice of ''nastaliq'' as script used for the copy of Qur'an. Its apogeum ''nastaliq'' achieved in writings of Mir Emad Hassani (d. 1615), "whose style was the model in the following centuries". Mir Emad's successors in the 17th and 18th centuries had developed a more elongated style of ''nastaliq'', with wider spaces between words. Mirza Mohammad Reza Kalhor (d. 1892), the most important calligrapher of the 19th century, reintroduced the more compact style, writing words on a smaller scale in a single motion. In the 19th century ''nastaliq'' was also adopted in Iran for litographed books. In the 20th century "the use of ''nastaliq'' declined. After World War II, however, interest in calligraphy and above all in ''nastaliq'' revived, and some outstandingly able masters of the art have since then emerged".

The use of ''nastaliq'' very early expanded beyond Iran. Timurids brought it to India and ''nastaliq'' became favorite script at the Persian court of the Mughals. For Akbar (1556-1605) and Jahangir (1605-1627) worked such famous masters of ''nastaliq'' as Muhammad Husayn Kashmiri (d. 1611/1612) and Abd al-Rahim Anbarin-Qalam. Another important practitioner of the script was Abd al-Rashid Daylami (d. 1671), nephew and student of Mir Emad, who after his arrival in India became court calligrapher of Shah Jahan (1628-1658). During this era ''Nastaliq'' became the common script for writing in Urdu.

''Nastaliq'' was also adopted in Ottoman Empire, which has always had strong cultural ties to Iran. Here it was known as ''taliq'' (Turkish ''talik''), which shouldn't be confused with Persian ''taliq script''. First Iranian calligraphers who brought''nastaliq'' to Ottoman lands, like Asadullah Kirmani (d. 1488), belonged to the western tradition. But relatively early Ottoman calligraphers adopted eastern style of ''nastaliq''. In 17th century student of Mir Emad, Darvish Abdi Bokharai (d. 1647), transplanted his style to Istanbul. The greatest master of ''nastaliq'' in 18th century was Mehmed Yasari (d. 1798), who closely followed Mir Emad. This tradition was further developed by son of Yasari, Mustafa Izzet (d. 1849), who was a real founder of distinct Ottoman school of ''nastaliq''. He introduced new and precise proportions of the script, different than in Iranian tradition. The most important member of this school in the second half of the 19th century was Sami Efendi (d. 1912), who taught many famous practitioners of ''nastaliq'', like Mehmed Nazif Bey (d. 1913), Mehmed Hulusi Yazgan (d. 1940) and Necmeddin Okyay (d. 1976). The specialty of Ottoman school was ''celî nastaliq'' used in inscriptions and mosque plates.

Nastaliq

' or ' ( fa, , , "cursive " or literally "broken ") style is a "streamlined" form of . Its development is connected with the fact that "the increasing use of nastaʿlīq and consequent need to write it quickly exposed it to a process of gradual attrition". The ''shekasteh nastaliq'' emerged in the early 17th century and differed from proper ''nastaliq'' only in so far as some of the letters were shrunk (shekasta, lit. “broken”) and de­tached letters and words were sometimes joined. These unauthorized connections "mean that calligraphers can write ''shikasta'' faster than any other script". Manuscripts from this early period show signs of the influence of ''shekasteh taliq''; while having the appearance of a shrunken form of nastaliq, they also contain features of '' taliq'' "due to their being written by scribes who had been trained in taʿlīq". ''Shekasteh nastaliq'' (usually shortened to simply ''skehasteh''), being more easily legible than ''taliq'' gradually replaced the latter as the script of decrees and documents. Later it also came into use for writing prose and poetry.

The first important calligraphers of ''shekasteh'' were Mohammad Shafiʿ Heravi (d. 1670–71) (he was known as Shafiʿa and hence ''shekasteh'' was sometimes called ''shafiʿa'' or ''shifiʿa'') and Mortazaqoli Khan Shamlu (d. 1688–89). Both of them produced works of real artistic quality, which doesn't change the fact that in this early phase ''shekasteh'' still lacked consistency (it is especially visible in writing of Mortazaqoli Khan Shamlu). Most modern scholars consider that ''shekasteh'' reached its peak of artistic perfection under Abdol Majid Taleqani (d. 1771), "who gave the script its distinctive and definite form". The tradition of Taleqani was later followed by Mirza Kuchek Esfahani (d. 1813), Gholam Reza Esfahani (d. 1886–87) and Ali Akbar Golestaneh (d. 1901).

The added frills made ''shekasteh'' increasingly difficult to read and it remained the script of documents and decrees, "while ''nastaʿliq'' retained its pre-eminence as the main calligraphic style". The need for simplification of ''shekasteh'' resulted in development of secretarial style (''shekasteh-ye tahriri'') by writers like Adib-al-Mamalek Farahani (d. 1917) and Nezam Garrusi (d. 1900). The secretarial style is a simplified form of ''shekasteh'' which is faster to write and read, but less artistic. Long used in governmental and other institutions in Iran ''shekasteh'' degenerated in the first half of the 20th century, but later again engaged the attention of calligraphers. ''Shekasteh'' was used only in Iran and to a small extent in Afghanistan and Ottoman Empire. Its use in Afghanistan was different from the Persian norm and sometimes only as experimental devices (''tafannon'')

Nastaliq typesetting

Typography first started with attempts to develop a metallic type for the script, but all such efforts failed. Fort William College developed a Type, which was not close enough to and hence was never used other than by the college library to publish its own books. The State of Hyderabad Dakan (now in India) also attempted to develop a Typewriter but this attempt failed miserably and the file was closed with the phrase “Preparation of on commercial basis is impossible”. Basically, in order to develop such a metal type, thousands of pieces would be required.

Modern typography began with the invention of ''Noori Nastaleeq'' which was first created as a digital font in 1981 through the collaboration of Ahmed Mirza Jamil (as calligrapher) and Monotype Imaging (formerly Monotype Corp & Monotype Typography). Although this was a ground-breaking solution employing over 20,000 ligatures (individually designed character combinations) which provided accurate results and allowed newspapers such as Pakistan's ''Daily Jang'' to use digital typesetting instead of an army of calligraphers, it suffered from two problems in the 1990s: (a) its non-availability on standard platforms such as Microsoft Windows or Mac OS, and (b) the non- WYSIWYG nature of text entry, whereby the document had to be created by commands in Monotype's proprietary page description language.

InPage

In 1994, InPage Urdu, which is a fully functional page layout software for Windows akin to QuarkXPress, was developed for Pakistan's newspaper industry by an Indian software company Concept Software Pvt Ltd. It offered the ''Noori Nastaliq'' font licensed from Monotype Imaging. This font, with its vast ligature base of over 20,000, is still used in current versions of the software for Windows. As of 2009 InPage has become Unicode based, supporting more languages, and the ''Faiz Lahori Nastaliq'' font with Kasheeda has been added to it along with compatibility with OpenType Unicode fonts. Nastaliq Kashish has been made for the first time in the history of Typography.

Cross platform Nastaliq fonts

* Windows 8 was the first version of Microsoft Windows to have native Nastaliq support, through Microsoft's "Urdu Typesetting" font.

* Google has an open-source Nastaliq font called Noto Nastaliq Urdu. Apple provides this font on all Mac installations since macOS High Sierra. Likewise, Apple has carried this font on iOS devices since iOS 11.
* Awami Nastaliq features a more extensive character set than most Nastaliq typefaces, supporting: Urdu, Balochi, Persian, Khowar, Palula, Saraiki, Shina.
* Amar Nastaleeq was created for web embedding on Urdu websites in 2013. The font was announced by Urdu poet Fahmida Riaz.

Letter forms

For the Arabic alphabet, and many others derived from it, letters are regarded as having two or three general forms each, based on their position in the word (though obviously Arabic calligraphy can add a great deal of complexity). But the Nastaliq style uses more than three general forms for many letters, even in non-decorative documents. For example, most documents written in Urdu.

In Unicode

For Unicode, Nastaliq is considered to be merged into the Arabic script.

See also

* Islamic calligraphy
* Persian calligraphy
* Shahmukhi script
* Urdu alphabet
* Ruqʿah script

References

Bibliography

*

External links

Rumicode
Online Service For Calligraphy

Nastaliq Online
Online Service For Calligraphy

Iranian Calligraphers Association

Nastaliq Writer
for Macintosh by SIL

InPage Urdu
Official InPage Urdu DTP software site

Faiz Nastaliq
Official Faiz site

Profiles and works of World Islamic calligraphy




Awami Nastaliq
A Nastaliq font by SIL International

{{DEFAULTSORT:Nastaliq Script
Islamic calligraphy
Persian calligraphy
Persian orthography
Urdu calligraphy
Iranian inventions