Hubbry Logo
Taliq scriptTaliq scriptMain
Open search
Taliq script
Community hub
Taliq script
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Taliq script
Taliq script
Taliq script
View on Wikipedia
from Wikipedia
Taliq
Page of calligraphy in taliq script signed by Ekhtiyar Monshi Gonabadi. Iran, 1541-42 (948 A.H.). Freer Gallery of Art
Script type
LanguagesPersian
 This article contains phonetic transcriptions in the International Phonetic Alphabet (IPA). For an introductory guide on IPA symbols, see Help:IPA. For the distinction between [ ], / / and ⟨ ⟩, see IPA § Brackets and transcription delimiters.

The taʿlīq (Persian: تعلیق, lit. 'hanging') script is a calligraphic hand in Islamic calligraphy typically used for official documents written in Persian. Literally meaning hanging or suspended script it emerged in the mid‑13th century CE and was widely used, especially in chanceries of Iranian states, although from the early 16th century onward it lost ground to another hanging script, the increasingly popular nastaliq.[1][2]

Taliq had a long gestation. The Persian style of writing naskh underwent gradual changes from the 11th century onward, and those changes, together with some borrowings from tawqi and riqa', resulted in the emergence of taliq script in the mid‑13th century CE.[1][3] Taliq shares many peculiarities with these three scripts, "but is more stylized. It revels in curvilinear elements, extraneous loops, extreme contrasts between compression and expansion, and connected letters, all traits that make it difficult for the novice to decipher".[3]

In taliq words and detached letters could be joined, which allowed for speedy writing and made it suitable for official correspondence.[1] By the late thirteenth century taliq had achieved a definitive style, sometimes called taliq-i qadim (old taliq) or taliq-i asl (original taliq), "probably driven in part by the burgeoning Ilkhanid bureaucracy’s need to standardize written Persian".[3] (see firman of Sadr al-Din Zanjani, vizier of ilkhan Gaykhatu). In order to write even faster, chancery clerks (munshi) streamlined the script by increasing the number of unorthodox ligatures and dropping the pointing on many letters. Some letters were reduced in size, while others were written with thinner strokes or in new shapes. This new style known as shikasta taliq (broken, i.e., truncated and simplified taliq) (sometimes also called khatt-i tarassol - "correspondence script") was used systematically from the end of the 14th century.[1][4]

According to Safavid authors (like Dust Muhammad or Qadi Ahmad) shikasta taliq have been invented, or at least defined, by Taj al-Din Salmani, a scribe working in the court of Timur (r. 1370-1405), and perfected by ʿAbd-al-Hayy Astarabadi, chief clerk under Timur's grandson Abu Sa'id (r. 1451-1469). ʿAbd-al-Hayy developed two varieties of taliq – a more flowing style associated with the Timurids in Khurasan and a more linear and solid style associated with Aq Qoyunlu in Iraq and Azerbaijan.[1][5] The biographers mention Darvish 'Abdallah Munshi as the most famous calligrapher in the Khurasan style[6] (see letter by his hand). The most important taliq calligrapher of Safavid period was Ekhtiyar Monshi Gonabadi (d. 1582), after whom "no calligraphers dedicated themselves with the same seriousness to Ta‘liq calligraphy because the same century saw the flowering of the Nasta‘liq script".[7]

Gholam-Hosayn Yusofi stressed that shikasta taliq "is a script devised for rapid writing and therefore one in which intertwining is allowed, that is, unjoinable letters as well as two or more words are joined together. The strokes, except in certain contexts, are predominantly round, and the pen is moved smoothly. The sizes of letters and words are not uniform, and if there is any consistency in the composition, it is very different from the neat symmetry to be seen in other scripts".[1]

In the 15th century taliq was also used in the Ottoman Empire. Following the expansion of imperial chancery after conquest of Constantinople in 1453 Ottoman scribes began to elaborate taliq script, developing the distinctive Ottoman style known as divani.[8] Taliq is also generally used as the name for the nastaliq script in the Turkish language[9] and often in the Arabic language.[10] Traditionally taliq was considered to be the basis of the nastaliq, but more recent research derive this script from the naskh alone.[11]

Bibliography

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Taliq script

View on Grokipedia
from Grokipedia
The Taʿlīq script (also spelled Taliq), meaning "hanging" or "suspension," is a cursive style of Islamic calligraphy primarily developed for Persian-language texts, featuring rounded letters with elongated horizontal strokes and descending elements that create a sense of suspension below the baseline. Emerging in the 11th century to meet the demands of bureaucratic and literary writing in the expanding Persianate world, it became the first distinctly Iranian adaptation of Arabic script, with its oldest surviving samples dating to the fifth/eleventh century AH. Standardized in the 16th century by calligrapher Khawja Tāj Salmāni in Isfahan, Taʿlīq was widely used for official royal correspondence, literary works, poems, and administrative documents during the late medieval and early modern periods, particularly under the Safavids from the late 15th to early 17th centuries. Its interwoven, highly connected letterforms with varying sizes, numerous curves, and extreme spacing contrasts made it elegant yet complex, requiring skilled literacy, though it often omitted diacritical marks for aesthetic flow. Taʿlīq's prominence waned in the 17th century following the Safavid capital's shift to , where socio-political changes, the rise of the more fluid Shikasta-Nastaʿlīq variant, and later the advent of print technology contributed to its recess; it was largely supplanted by Nastaʿlīq, a 14th-century by Mir Ali Tabrizi that blended Taʿlīq's cursive qualities with Naskh's clarity. Despite its decline, Taʿlīq influenced subsequent Persian calligraphic styles and persists in niche artistic and heritage contexts.

Origins and History

Early Development

The Taʿlīq script emerged in mid-13th century Iran as a distinctive cursive style tailored to the needs of the Persian language, evolving primarily from the naskh script while incorporating influences from the tawqī (court script) and riqāʿ (semi-cursive style). This development marked the first major innovation in Islamic calligraphy specifically by Persian scribes, adapting earlier Arabic-based forms to better accommodate Persian phonetics and syntax through more fluid letter connections. During the Mongol Ilkhanid period (1256–1335 CE), Persian scribes in royal chanceries catalyzed the script's creation, driven by the demands of the expanding administration under Ilkhanid rule. These scribes, working in bureaucratic centers like Tabriz, sought a faster writing system for official documents, enabling the joining of letters and words in a hanging, suspended manner that prioritized speed over the angular precision of naskh. The script's initial purpose was thus practical: to expedite the production of correspondence, decrees, and records in Persian, reflecting the Ilkhanids' reliance on Persian as an administrative lingua franca amid their conquests. Earliest known samples of Taʿlīq appear in 13th-century Ilkhanid administrative records, including a 1292 farman () issued by vizier Ṣadr al-Dīn Zanjānī to Ilkhan , granting a and featuring intertwined words in archaic Taʿlīq on paper from northwestern . This document, with its Turkish opening lines transitioning to Persian, exemplifies the script's early fluidity and elegance, though its dense connections often challenged readability. Such examples laid the groundwork for Taʿlīq's later standardization under the Ilkhanids. While traditionally attributed to Khajeh Taj al-Din Salmani around 1400 CE, this 1292 farman demonstrates earlier use.

Standardization and Peak

The standardization of the Taʿlīq script occurred in the , with calligraphers such as Khajeh Taj al-Din Salmani Isfahani playing a pivotal role in this process by establishing proportional guidelines that integrated Persianate aesthetic principles, such as balanced letterforms and rhythmic flow, to enhance readability and elegance in official documents. These guidelines built on earlier influences from naskh and tawqiʿ scripts, adapting them to create a more fluid style suited to bureaucratic demands. During its peak from the late 15th to early , Taʿlīq dominated administrations in the Timurid and Safavid empires, serving as the primary script for decrees, diplomatic letters, and legal texts. This period saw widespread adoption in royal courts, including a key event around 1400–1450 CE when it was integrated into the administrative practices of , facilitating efficient governance amid expanding Persianate empires. The script's design particularly accommodated nuances, such as elongated vowels and compound words, allowing for seamless connection of letters and fluid expression of complex vocabulary in and . Its prominence reflected the cultural and political centrality of Persian as a , with calligraphers refining its proportions to meet the demands of high-volume official correspondence.

Decline and Transition

The decline of the Taʿlīq script commenced in the early , primarily due to the ascendance of Nastaʿlīq, which provided superior elegance and fluidity suitable for literary and poetic compositions. This shift marked a departure from Taʿlīq's established role in administrative and formal writing, as Nastaʿlīq's balanced proportions and graceful curves better aligned with evolving artistic standards in Persian manuscript production. By the , Taʿlīq and its variant Šekasta-Taʿlīq began yielding to Nastaʿlīq's popularity, reflecting broader changes in calligraphic preferences across Persianate regions. In the Persian courts during the Safavid era, particularly between 1500 and 1550 CE, the transition accelerated, with Nastaʿlīq gaining prominence under rulers who favored its refined aesthetic for both official and cultural purposes. Calligraphers such as Solṭān-ʿAlī Mašhadī (d. 926/1520), who perfected the Khorasani style of Nastaʿlīq, exemplified this change, elevating the script to a classical form during the first half of the Safavid period. Despite this, Taʿlīq persisted in formal documents and bureaucratic contexts into the mid-16th century, maintaining its utility in legal and administrative texts before being fully supplanted. Key factors in Taʿlīq's decline included aesthetic preferences under Safavid patronage, where Nastaʿlīq's regularity, firmness, and harmonious stroke distribution were prized over Taʿlīq's slower, less balanced execution associated with earlier bureaucratic traditions. Additionally, cultural exchanges with the in the early 16th century, including the adoption of Nastaʿlīq variants by Ottoman scribes, further diminished Taʿlīq's influence in cross-regional communications. These developments underscored Taʿlīq's transition from a dominant script to a historical precursor, paving the way for Nastaʿlīq's enduring legacy.

Characteristics and Form

Visual Features

The Taʿlīq script exhibits a distinctly curvilinear design, characterized by elongated horizontal strokes, graceful loops, and a between thick horizontals and thin verticals. This contrast, combined with dramatically curved forms, imparts a flowing and elegant aesthetic to the script. The script's name, Taʿlīq, derives from the Arabic term meaning "suspension" or "hanging," which aptly describes its signature "hanging" letter forms; descenders and ending swashes extend below the baseline, creating a suspended effect as if the letters dangle from an upper line, with words often dropping downward from the preceding one. Slanted horizontals and a left-inclined vertical axis further enhance this dynamic, visually suspended quality. Taʿlīq demonstrates fluid connectivity through seamless joining of letters, frequently involving unconventional ligatures and up to four letters per word, which supports rapid writing while maintaining an air of refined elegance. Representative letter shapes highlight these visual traits: the qāf (ق) features a sweeping, elongated that accentuates the hanging , while the bāʾ (ب) incorporates rounded bowls that contribute to the overall curvilinear harmony and rounded letter forms.

Proportions and Rules

While Taʿlīq draws from earlier Arabic calligraphic traditions, its cursive form allows for flexible proportions relative to the height of the alif as a general reference, enabling variations such as extended horizontal strokes and descending loops that extend below the baseline and create the script's characteristic "hanging" appearance. Baseline to ratios are adjusted to accommodate these fluid extensions, ensuring that descenders like those in letters such as ي or ل do not disrupt the overall harmony. Spacing rules prioritize the even distribution of white space between joined letters and words, promoting a sense of rhythm and preventing overcrowding in the connected flow typical of styles. This technique facilitates speedy writing while maintaining , particularly in official correspondence where clarity was essential. Calligraphers aimed for consistent inter-letter gaps that aligned with the script's sloping baseline, derived from influences like the tawqīʿ style. Traditional tools for Taliq include the (qalam), cut and held at a slight incline of approximately 10 degrees to produce varying line thicknesses through subtle shifts in pressure and orientation. This angle allows for the script's rounded forms and exaggerated horizontals, with thicker strokes on downstrokes and thinner ones on upstrokes. Techniques involve diagonal cuts on the pen tip to match the script's dynamic slant. Guidelines emphasized in 15th-century refinements of Taliq focus on achieving through consistent angles and proportional loop sizes, ensuring that the script's loops and arcs flow seamlessly without abrupt transitions. These principles, developed during the script's evolution in , underscore the balance between artistic elegance and practical utility, as seen in contemporary manuals and treatises on Persian calligraphy.

Variants and Adaptations

Shikasta Taliq

Shikasta Nastaʿlīq, literally meaning "broken" Nastaʿlīq, developed in the as a highly cursive and abbreviated variant of Nastaʿlīq, which itself derived from Taʿlīq, primarily to enable faster writing for everyday and informal purposes. This evolution allowed scribes to produce text more rapidly by simplifying forms derived from the elegant, hanging style ultimately rooted in Taʿlīq, while maintaining its fluid aesthetic. It emerged during the Safavid period in , attributed to calligraphers like Mohammad Shafi Heravi, who introduced extreme cursive elements to the script. The key features of Shikasta Nastaʿlīq include distorted and overlapping letters, where individual characters are often fused into intricate, dense clusters through unauthorized ligatures that connect elements not typically joined in standard forms. Abbreviated shapes predominate, with many letters rendered in a single continuous pen stroke to minimize lifts and expedite composition. Specific modifications encompass fused ligatures, such as the lam-alif combination treated as a unified, elongated form, alongside irregular baselines that cause words to rise and fall in a wavy, dynamic pattern, enhancing the script's ornamental yet illegible quality for untrained readers. Historical samples of Shikasta Nastaʿlīq are preserved in personal letters and informal notes, showcasing its practical application in private correspondence where speed outweighed formal legibility. These documents highlight the script's role in daily communication among Persian literati, often featuring the short vertical strokes and diagonal letter placements that contribute to its characteristic "broken" appearance.

Ottoman Divani

The Ottoman Divani script emerged in the Ottoman Empire following the conquest of Constantinople in 1453, as scribes adapted the Persian Ta'liq script to meet the needs of imperial administration. This evolution was driven by the requirements for speed in drafting documents and secrecy to prevent unauthorized reading by non-court personnel, transforming Ta'liq's fluid cursive forms into a more stylized variant suitable for the Ottoman chancery, or diwan. The script's development is attributed to the 16th-century calligrapher Housam Roumi, who invented it, with its height reached under Sultan Suleyman I (r. 1520–1566), building on earlier experiments under Mehmed II. Distinct from its Ta'liq origins, Divani features more angular letter forms with pronounced vertical elongations and ascending lines from right to left, creating a steep upward slant that enhances both aesthetic complexity and illegibility to outsiders. Heavy ornamentation, including intricate ligatures, overlapping strokes, and decorative dots or flourishes, further obscures the text while emphasizing decorative harmony, often executed in gold or colored inks for official prominence. These traits made Divani ideal for conveying authority in a visually impenetrable manner, prioritizing in sensitive communications. A prominent variant is Jeli Divani, a larger and more ornate form used for headings and titles. Divani dominated Ottoman official documentation from the 16th to the 19th centuries, serving as the primary script for sultanic fermans (imperial edicts) and berats (diplomatic commissions and appointments). Its use extended to court correspondence and ceremonial papers, ensuring rapid production in the diwan while maintaining exclusivity among trained scribes. By the late 19th century, it began to yield to simpler scripts like Riq'a amid administrative reforms, though it persisted in diplomatic contexts into the early 20th century. Early Divani-influenced documents appear in the Topkapi Palace archives, illustrating the transitional phase of script adaptation in Ottoman-Persian interactions. These forms in the palace's collection highlight Divani's roots in Ta'liq while showcasing its emerging distinctiveness for imperial secrecy.

Usage and Applications

Administrative Role

The Taʿlīq script served as the primary calligraphic hand for official documentation in Persian chanceries during the 14th to 16th centuries, particularly for drafting royal decrees known as farmans, legal contracts, and tax records essential to state administration. This cursive style was favored by scribes in these bureaucratic settings due to its fluid form, which facilitated rapid production of documents compared to the more rigid naskh script, making it ideal for the high volume of paperwork in imperial offices. While requiring training for full legibility among administrative personnel, its slanted and connected letters ensured efficiency without sacrificing the formal appearance needed for official correspondence. In the Ilkhanid period, Taʿlīq was prominently employed in state offices for issuing imperial farmans, as exemplified by the 1292 decree of Ilkhan Gaykhatu, which addressed administrative and diplomatic matters in this script. During the Safavid era, more cursive variants such as shekasta-nastaʿlīq continued this tradition in governmental and judicial contexts, supporting the empire's expansive bureaucracy through documents such as endowment deeds (waqfs). These applications extended to recording tax assessments and contractual agreements, underscoring the script's role in maintaining the operational framework of Persianate governance. Beyond practicality, Taʿlīq embodied the authority of Persianate empires, its elegant "hanging" letters lending a distinctive imperial prestige to proclamations and records that reinforced the ruler's across regions from to . This symbolic weight elevated routine administrative texts into markers of dynastic legitimacy, distinguishing them from everyday writings and aligning with the cultural norms of bureaucratic formality in Ilkhanid and Safavid courts.

Literary and Artistic Contexts

The Taʿlīq script, with its flowing and suspended letterforms, extended beyond administrative functions into literary domains during the , where it was employed for copying Persian poetry collections known as divans and historical narratives. This style facilitated the fluid expression of poetic verse, allowing scribes to capture the rhythmic quality of texts by poets such as Kamal al-Din Khujandi. A notable example is a royal divan manuscript dedicated to Ottoman Sultan (r. 1451–81), produced in around the mid-15th century, featuring 243 leaves inscribed in neat taʿlīq script with 17 lines per page, showcasing the script's adaptability to lyrical content. In artistic contexts, taʿlīq was integrated into illuminated manuscripts and album pages (muraqqas), often rendered in ink to accentuate its elegant slant and enhance visual . Headings and decorative panels in these works were frequently executed in against hatched grounds adorned with floral motifs, such as leafy sprays and scrolling waves, blending with ornamental elements. As the progressed, taʿlīq's role in literary copying diminished with the rise of nastaʿlīq—a hybrid script blending taʿlīq's cursive flow with naskh's clarity—developed around 1350 by Mir ʿAlī Tabrīzī and favored for its refined aesthetics in and fine manuscripts. Taʿlīq thereby shifted toward decorative applications in muraqqas and artistic compilations, preserving its legacy in calligraphic albums that prized its suspended, hanging quality for aesthetic rather than primary textual purposes.

Legacy and Influence

Impact on Successor Scripts

The Taʿlīq script exerted a profound influence on the development of Nastaʿlīq in the late 14th century, serving as a foundational cursive style that introduced key elements of fluidity and aesthetic suspension. Emerging around 1350 CE in Iran, Nastaʿlīq—often termed naskh-i taʿlīq—blended Taʿlīq's characteristic sloping letters, elongated loops, and dynamic contrasts between thick and thin strokes with features from the Naskh script to create a more refined form suitable for Persian poetry and literature. The calligrapher Mīr ʿAlī Tabrīzī (active ca. 1370–1410) is credited with codifying this synthesis, inheriting Taʿlīq's cursive flow while enhancing its elegance through smoother proportions and rhythmic balance, which elevated the script from administrative utility to an artistic pinnacle. Beyond these direct lineages, Taʿlīq's model of rapid, cursive writing was adopted in regional scripts across and , facilitating the spread of Persianate traditions through administrative and literary channels. By the early , Taʿlīq's hanging letterforms had evolved into Nastaʿlīq's more rounded and lyrical , as seen in manuscripts from and , where the original sharp descents softened into undulating curves for greater visual harmony and readability in poetic texts. This transformation, completed by around 1400 CE, underscored Taʿlīq's role in bridging functional scripts with enduring artistic legacies.

Modern Study and Revival

In the 20th and 21st centuries, scholarly interest in the Taʿlīq script has focused on its historical , stylistic development, and reasons for decline, contributing to a deeper understanding of Persian calligraphic traditions. Researchers have examined its origins in the and standardization in the under figures like Khvāja Taj Salmānī Isfahānī, highlighting its peak during the Safavid era before its recession due to socio-political shifts, the rise of Shikasta-Nastaʿlīq, and the advent of print technology in the . A comparative analysis of Taʿlīq's proportions and objectives has also informed studies on typeface design, emphasizing its , suspended forms tailored to Persian phonetics. While Taʿlīq began to be supplanted by Nastaʿlīq from the 15th century onward and remained in use until the 17th century, it is no longer in everyday use, but elements of its fluid, hanging aesthetic persist in contemporary Persian revivals, particularly through artistic reinterpretations. The broader resurgence of Persian in the , driven by artists blending traditional scripts with abstract and modern techniques, has occasionally incorporated Taʿlīq influences amid in . Modern continue to practice and teach classical scripts, preserving techniques for artistic expression. In , Taʿlīq has experienced niche revivals through innovative installations and mixed-media pieces. For instance, Iranian artist Abbas Sufi Nejad's 2021 "Taʿlīq Script Mirror Artwork" transforms the script into a reflective , earning recognition for merging historical elegance with contemporary . Such efforts underscore Taʿlīq's enduring appeal in poetic and decorative contexts, often exhibited in museums like Tehran's Abgineh Museum. Digital adaptations represent another facet of Taʿlīq's modern revival, enabling its accessibility in and . Typefaces like Ekhtiar Perso-Arabic (2021), inspired by 13th-century Taʿlīq cursive styles, and Mirza (a variant rooted in Taʿlīq aesthetics), facilitate its use in and web applications, bridging traditional with computational tools. These developments, alongside UNESCO's recognition of as in 2021, highlight ongoing efforts to sustain Taʿlīq within global artistic discourses.

References

  1. https://files.eric.ed.gov/fulltext/ED503400.pdf
  2. https://www.academia.edu/12745993/The_Evolution_of_Taliq_Script_and_the_Reasons_for_its_recess_in_Isfahan
  3. https://www.reed.edu/persian-calligraphy/en/ekhtiyar-monshi-gonabadi/index.html
  4. https://asia.si.edu/explore-art-culture/collections/search/edanmdm:fsg_F1929.64/
  5. https://blogs.loc.gov/international-collections/2021/04/on-the-wings-of-a-flight-of-geese-arabic-persian-and-ottoman-calligraphy-sheets-at-the-library-of-congress-part-2/
  6. https://sabapersiancalligraphy.com/about/persian-calligraphy/
  7. https://asia.si.edu/whats-on/exhibitions/nastaliq-the-genius-of-persian-calligraphy/
  8. https://archive.asia.si.edu/exhibitions/online/nastaliq/object.asp?id=LTS1995.2.9
  9. https://istanbultarihi.ist/629-calligraphy-in-istanbul
  10. https://www.iranicaonline.org/articles/calligraphy
  11. https://www.iranicaonline.org/articles/calligraphy/
  12. https://www.typotheque.com/articles/arabic-calligraphy-and-type-design
  13. https://www.smashingmagazine.com/2014/03/taking-a-closer-look-at-arabic-calligraphy/
  14. https://www.calligraphyqalam.com/styles/taliq/
  15. https://ia801907.us.archive.org/29/items/islamicbooksgalerikitabkuning/bookd.pdf
  16. https://www.britannica.com/topic/taliq-script
  17. https://www.reviewofreligions.org/12637/quranic-history-and-the-role-of-islamic-calligraphy-2/
  18. https://notesonpaper.substack.com/p/the-craft-of-the-reed-a-deep-dive
  19. https://www.metmuseum.org/art/collection/search/450714
  20. https://www.emashq.com/wp/the-shekasta-script/
  21. https://www.calligraphyqalam.com/styles/shikaste/
  22. https://islamicartsmagazine.com/magazine/view/diwani_style_-_a_calligraphic_variety_of_arabic_script/
  23. https://www.britannica.com/art/diwani-script
  24. https://www.calligraphyqalam.com/styles/divani/
  25. https://books.google.com/books/about/Islamic_Calligraphy.html?id=m6QxEAAAQBAJ
  26. https://www.ottomansouvenir.com/Calligraphy/Calligraphy.htm
  27. https://www.iranicaonline.org/articles/topkapi-palace/
  28. https://asia-archive.si.edu/wp-content/uploads/2017/06/Qadi-Ahmad-2017-lo.pdf
  29. https://www.sothebys.com/en/buy/auction/2020/arts-of-the-islamic-world-india-including-fine-rugs-and-carpets/diwan-a-royal-collection-of-kamal-khujandis-poems
  30. https://www.loc.gov/collections/selections-of-arabic-persian-and-ottoman-calligraphy/articles-and-essays/calligraphers-of-the-persian-tradition/
  31. https://www.calligraphyqalam.com/styles/history-of-script-development/
  32. https://www.iranicaonline.org/articles/lithography-i-in-persia/
  33. https://www.researchgate.net/publication/337461210_A_Comparative_Study_of_the_Rules_and_Objectives_of_Typeface_in_the_Nastaliq
  34. https://newspaper.irandaily.ir/7710/3/12513
  35. https://competition.adesignaward.com/design.php?ID=140955
  36. https://www.behance.net/gallery/115182343/Ekhtiar-Perso-Arabic-Typeface?locale=en_US
  37. https://arabic-calligraphy-generator.com/fonts/mirza
  38. https://www.unesco.org/en/articles/unesco-adds-arabic-calligraphy-intangible-cultural-heritage-humanity-list
Add your contribution
Related Hubs
User Avatar
No comments yet.