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Line 32: 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 suitable for writing Persian – when ''taliq'' was used for court documents, ''nastaliq'' was developed for Persian poetry, "whose [[hemistich]]es encourage the pile-up of letters against the intercolumnar ruling. Only later was it adopted for prose."{{sfn\|Blair\|p=276}} 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~~became 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 [[Maulana Azhar\|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]].{{sfn\|Blair\|p=277-280}} At the same time a 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 Khwarazmi Anisi\|ʿAbd al-Rahim Anisi]] (both active at the court of [[Yaqub Aq Qoyunlu\|Ya'qub Beg]] [[Aq Qoyunlu]]; 1478–1490). This more angular western Iranian style was largely dominant at the beginning of the [[Safavid Iran\|Safavid era]], but then lost to the style canonized by Sultan Ali Mashhadi – although it continued to be used in the Indian subcontinent.<ref name="Hamid Reza Afsari"/>{{sfn\|Blair\|p=284, 430}} 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 the court in Tabriz was Shah Mahmud Nishapuri (d. 1564/1565), known especially for the unusual choice of ''nastaliq'' as a script used for the copy of the Qur'an.{{sfn\|Blair\|p=430-436}} Its apogeum ''nastaliq'' achieved in writings of [[Mir Emad Hassani]] (d. 1615), "whose style was the model in the following centuries."<ref name="Hamid Reza Afsari"/> 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.{{sfn\|Blair\|p=446-447}} 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."<ref name="Iranica"/>

Nastaliq: Difference between revisions