(For mainly persian or urdu) How do you learn to write nastaliq? It is really hard to see where each part in the word corresponds to each letter. I can only see by the dots. Like for letters like . Like in the picture for the word when it is written normally like this for the p and y it's just a straight line and dots below, but in the nastaliq it's hard to tell where each part in the character belongs to each.
Thus, "our earliest written source also credits Shirazi scribes with the development of nastaliq and Mir Ali 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 nastaliq was a process which takes a 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]
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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 (qita). 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.[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 cel nastaliq used in inscriptions and mosque plates.[18][16][19]
Shekasteh or Shekasteh Nastaliq (Persian: , , "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 nastalq 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 talq".[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 nastaliq 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]
The recognition of cursive script is regarded as a subtle task in optical character recognition due to its varied representation. Every cursive script has different nature and associated challenges. As Urdu is one of cursive language that is derived from Arabic script, thats why it nearly shares the same challenges and difficulties even more harder. We can categorized Urdu and Arabic language on basis of its script they use. Urdu is mostly written in Nastaliq style whereas, Arabic follows Naskh style of writing. This paper presents new and comprehensive Urdu handwritten offline database name Urdu-Nastaliq Handwritten Dataset (UNHD). Currently, there is no standard and comprehensive Urdu handwritten dataset available publicly for researchers. The acquired dataset covers commonly used ligatures that were written by 500 writers with their natural handwriting on A4 size paper. We performed experiments using recurrent neural networks and reported a significant accuracy for handwritten Urdu character recognition.
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The shaddah or tashdeed can be used to indicate geminate "long" consonants, but this is rarely done in Urdu and it is convention to omit it from the writing of verb forms. However, in Punjabi, long consonants are the basis for some very important word distinctions, such as and not being the word. Many writers would typically write those the same and pronounce those differently by interpreting the context, but there are situations where it makes sense to clarify which would not work the same way in Urdu. Punjabi verbs have forms which have been described as "phases" which come from the initial meaning of the verb which allow for different constructions suited to different contexts. There is a common phonetic tendency in verb phases where the geminate consonant following the first vowel in the "basic" phase of the verb is unstressed in its causative phases. So the verb "to laugh" becomes in its causative phase. In Muhammad Salahuddin's Punjabi Shahmukhi dictionary, you can see the shaddah/tashdeed included on the head words for verb entries where applicable. This is an example of where Urdu writing conventions would be poorly suited for clarifying Punjabi words.
I tend to use legal pads most of the time because of their convenience and price. Don't worry, I'm moving to bagasse paper as soon as I run out! This pad has narrower lines than most and as such, wet writers or pens with medium nibs aren't as functional. This isn't to say that the Parker 51 (medium nib/Noodler's Polar Black) that I used or the Pilot Petit1 (wet writer/Noodler's Polar Blue with a drop or two of Polar Black) aren't great for this writing, but they most certainly need more line space than this legal pad allows. Other pens I used were my Lamy Safari with EF nib (filled with Noodler's Polar Black and my Noodler's Piston Filler (filled with my favorite ink, Noodler's Red-Black). Both the Lamy Safari and Piston Filler were too scratchy for a comfortable flow that is necessary for the lines prevalent in Arabic. The Sheaffer Italic F was used as a dip pen in Noodler's Russia Series .
Learning to read a new script is always a challenge. But in the case of Urdu, even more so. With a form so malleable that it often succumbs to the whims of writers, calligraphers, and even painters, Nastaliq, as the script is called, is difficult to grasp for beginners. When I picked up my first book to learn the script eight years ago, I felt clueless. And for three years I remained disoriented until I fell upon the Urdu Script Course at Zabaan Language Institute. ff782bc1db