The Kufic Calligraphy
Kufic Calligraphy, a heavy monumental Arabic Calligraphy suited to stone carving, appears in the earliest surviving Koran manuCalligraphys. In these, the diacritical marks over the letters are painted in red sometimes, and the gold decorations between suras contrast with the heavy black Calligraphy handsomely. In the Seljuk time period, a more cursive moving Calligraphy, Naskhi, developed. Both styles were useful for contrast in architecture and ornamental contexts often.
The Naskh Calligraphy
Naskh, this means "copying, " originated in the 10th century, and refined into an artwork form in Turkey in the 16th century. Since then it became generally accepted for writing the Quran. Naskh is legible and obvious and was adapted as the preferred style for typesetting and printing. It is a small Calligraphy whose lines are thin and letter designs are round.
The Thuluth Calligraphy
Thuluth was the medieval Islamic style of handwritten alphabet. Thuluth (Arabic: "one- third ") is written on the principle that one-third of each letter slopes. It is a large and elegant, cursive Calligraphy, used in medieval occasions on mosque decorations. It took on some of the functions of the early Kufic Calligraphy; it was used to write surah headings, spiritual inCalligraphyions, and titles and epigraphs princely. It was also useful for many of the huge copies of the Koran created from the 13th century.
The Ta'liq / Nasta'liq / Farsi Calligraphys
Ta'liq is really a cursive design of lettering developed inside Iran inside the 10th century. It really is thought to have already been the development of Hasan ibn Husain Ali of Fars, but , because Khawaja Abdul Mali Buk produced such vast improvements, the invention is related to him. The rounded types and exaggerated horizontal strokes that characterize the Ta'liq letters had been derived mainly from the Riqa' Calligraphy. The ornateness and sloping high quality of the composed line acquired roots in the Towqi Calligraphy of Ibn Muqla (died 940). Made to meet the requirements of the Persian vocabulary specifically, Ta'liq was used broadly for royal in addition to daily correspondence before 14th century, when it had been replaced by Nasta'liq.
Nasta'liq was the predominant design of Persian calligraphy through the 16th and 15th centuries. The inventor had been Mir 'Ali of Tabriz, probably the most well-known calligrapher of the Timurid period (1402-1502). A cursive Calligraphy, Nasta'liq has been a combination of the Naskh and Ta'liq styles, featuring elongated horizontal strokes and exaggerated rounded forms. The diacritical marks were casually placed, and the ranges were flowing rather than straight. Nasta'liq was frequently integrated into the paintings of the early Safavid period (16th century) and is traditionally considered to be the most stylish of the Persian Calligraphys.
The Riq'a Calligraphy
Riq'a, the simpler style of everyday writing is very economical and easy to write. It is popular for composing both Turkish and Arabic.
The Diwani Calligraphy
The Diwani Calligraphy is a cursive style of Arabic calligraphy created through the reign of the first Ottoman Turks (16th-early 17th century). It had been created by Housam Roumi and achieved its height of reputation under Süleyman I theMagnificent (1520-66). As ornamental as it had been communicative, Diwani had been distinguished by the complexity of the series within the letter and the shut juxtaposition of the letters within the term.
A new variation of the Diwani, the Diwani Al Jali, is seen as a its abundance of ornamental and diactical marks.
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