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Persian Chalipa panel,In print:?????In simplified typeface:?????After the, the Iranian Persian people adopted the and the art of flourished in Iran as territories of the former Persian empire. Apparently, (14th century) developed Nastaliq by combining two existing scripts of and Ta?l?q. Hence, it was originally called Nas?-Ta?l?q. Another theory holds that the name Nastaliq means 'that which abrogated ( naskh) Ta?l?q'.Nastaliq thrived and many prominent calligraphers contributed to its splendor and beauty. It is believed that Nastaliq reached its highest elegance in 's works.
The current practice of Nastaliq is, however, heavily based on 's technique. Kalhor modified and adapted Nastaliq to be easily used with printing machines, which in turn helped wide dissemination of his transcripts. He also devised methods for teaching Nastaliq and specified clear proportional rules for it, which many could follow. The used as the court during their rule over. During this time, Nastaliq came into widespread use in. The influence continues to this day.
In India and Pakistan, almost everything in Urdu is written in the script, constituting the greatest part of Nastaliq usage in the world. The situation of Nastaliq in used to be the same as in Pakistan until 1971, when Urdu ceased to remain an official language. Today, only a few people use this form of writing in. Nastaliq is a descendant of and Ta?l?q. (literally 'broken Nastaliq') style is a development of Nastaliq. Notable Nastaliq calligraphers.
Example showing:?( Nastaliq script) written in Nastaliq.In a simplified font:?.And others, including Mirza Jafar Tabrizi, Abdul Rashid Deilami, Sultan Ali Mashadi, Mir Ali Heravi, Emad Ul-Kottab, Mirza Gholam Reza Esfehani, Emadol Kotab, Yaghoot Mostasami and Darvish Abdol Majid Taleghani. And among contemporary artists: Hassan Mirkhani, Hossein Mirkhani, Abbas Akhavein and Qolam-Hossein Amirkhani, Ali Akbar Kaveh,Kaboli. Etiquettewas originally used to adorn Islamic religious texts, specifically the, as pictorial ornaments were prohibited in sacred publications and spaces of. Therefore, a sense of sacredness was always implicit in calligraphy. A Nastaliq disciple was supposed to qualify himself spiritually for being a calligrapher, besides learning how to prepare qalam, ink, paper and, more importantly, master Nastaliq. For instance see Adab al-Mashq, a manual of penmanship attributed to.
An example of the Nastaliq script used for writingNastaliq Typography first started with attempts to develop a metallic type for the script, but all such efforts failed. Developed a Nastaliq Type, which was not close enough to Nastaliq 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 Nastaliq Typewriter but this attempt failed miserably and the file was closed with the phrase 'Preparation of Nastaliq on commercial basis is impossible'. Basically, in order to develop such a metal type, thousands of pieces would be required. The Cambridge History of Islam.
Holt, et al., Cambridge University Press, 1977, p. 723. Hamed, Payman.
Www.persiancalligraphy.org. Gulzar,Rahman, Atif,Shafiq (2007). Archived from on 2013-12-14. Retrieved., Wikipedia, 2020-02-15, retrieved.
KTEA-II Comprehensive Form Manual (item number 32201), which provides information on the administration and scoring, interpretation, and technical properties KTEA-II Comprehensive Form Norms Book (item number 32202), which contains the conversion tables for age-based and grade-based standard scores, percentile ranks, normal curve equivalents, stanines, and grade equivalents and age equivalents. Kaufman Test of Educational Achievement Second Edition (KTEA™-II) is an individually administered battery for in-depth assessment and evaluation of key academic skills. KTEA-II also measures progress or response to intervention, and supports identification of learning disabilities. 
Persian Calligraphy. Retrieved 2012. Retrieved. September 28, 2010, at the. Ernst, Carl W. (April-June 1992).
'The Spirit of Islamic Calligraphy: B?b? Sh?h I?fah?n?' S?d?b al-mashq'. Journal of the American Oriental Society. 112 (2): 279-286. Khurshiq, Iqbal. Retrieved 2013.
Software.sil.org. Riaz, fahmida (21 November 2013). Twitter.com.Further reading. Sheila Blair, Islamic Calligraphy, Edinburgh: Edinburgh University Press, 2005.External links.: Online Service For Nastaliq Calligraphy.: Online Service For Nastaliq Calligraphy. for Macintosh by.: Official InPage Urdu DTP software site.: Official Faiz Nastaliq site.
(in French).: A Nastaliq font by SIL International.