![]() ![]() Shekasteh Nastaliq - literally: broken Nastaliq - style (below) is a development of Nastaliq. Today, only a few people use this form of writing in Bangladesh. The situation of Nastaliq in Bangladesh used to be the same as in Pakistan until 1971, when Urdu ceased to remain an official language. In India and Pakistan, almost everything in Urdu is written in the script, constituting the greatest part of Nastaliq usage in the world. He also devised methods for teaching Nastaliq and specified clear proportional rules for it, which many could follow.ĭuring this time, Nastaliq came into widespread use in South Asia. Kalhor modified and adapted Nastaliq to be easily used with printing machines, which in turn helped wide dissemination of his transcripts. ![]() The current practice of Nastaliq is, however, heavily based on Mirza Reza Kalhor s technique. It is believed by whom that Nastaliq reached its highest elegance in Mir Emad s works. In Siyah Mashq, repeating a few letters or words (sometimes even one) virtually inks the whole panel.Īpparently, Mir Ali Tabrizi (14th century) developed Nastaliq by combining two existing scripts of Nas and Talq.Īnother theory holds that the name Nastaliq means that which abrogated ( naskh ) Talq. Siyah Mashq (black drill) panels, however, communicate via composition and form, rather than content. ![]() A Chalipa (cross, in Persian) panel usually consists of four diagonal hemistiches (half-lines) of poetry, clearly signifying a moral, ethical or poetic concept. ![]()
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