What Is Noori Nasta In Inpage
Olegario Benford
It must be known that nastaʿliq is derived from naskh. Some Shirazi [scribes] modified it [naskh] by taking out the flattened [letter] kaf and straight bottom part of [the letters] sin, lam and nun. From other scripts they then brought in a curved sin and stretched forms and introduced variations in the thickness of the line. So a new script was created, to be named nastaʿliq. After a while Tabrizi [scribes] modified what Shirazi [scribes] had created by gradually rendering it thinner and defining its canons, until the time when Khwaja Mir ʿAli Tabrizi brought this script to perfection.[7]
Thus "our earliest written source also credits Shirazi scribes with the development of nastaʿliq and Mir ʿAli Tabrizi with its canonization".[7] 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 was not confined to Shiraz.[7] 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.[4][8][9] Hamid Reza Afsari traces first elements of the style in 11th-century copies of Persian translations of the Qur'an.[10]
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".[11]
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.[14] Its apogeum nastaliq achieved in writings of Mir Emad Hassani (d. 1615), "whose style was the model in the following centuries".[10] 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.[15] 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".[4]
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 should not 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.[18][16][19]
Shekasteh or Shekasteh Nastaliq (Persian: شکسته نستعلیق, شکسته نستعلیق, "cursive Nastaliq" or literally "broken Nastaliq") style is a "streamlined" form of Nastaliq.[20] 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".[4] 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 (shekasteh, lit. "broken") and detached letters and words were sometimes joined.[4] These unauthorized connections "mean that calligraphers can write shekasteh faster than any other script".[21] 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".[4] 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.[4][21]
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".[26] 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.[4][27] 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)[4][19]
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