| 词条 | Nastaʿlīq | |||||||
| 释义 |
}}{{Infobox writing system | name = Nastaliq | type = Abjad | languages = Urdu, Punjabi, Hindustani, Persian, Arabic and many more. | sample = Welcome to Persian Wikipedia.svg | imagesize = 200px | iso15924 = Aran | note = none }}{{Calligraphy}}Nastaʿlīq ({{lang-fa|{{Nastaliq|نستعلیق}}}}, from {{lang|fa|{{nq|نسخ}}}} Naskh and {{lang|fa|{{nq|تعلیق}}}} Taʿlīq) is one of the main calligraphic hands used in writing the Persian alphabet, and traditionally the predominant style in Persian calligraphy.[1] It was developed in Iran in the 14th and 15th centuries.[2] It is sometimes used to write Arabic-language text (where it is known as Taʿlīq or Persian and is mainly used for titles and headings), but its use has always been more popular in the Persian, Turkic and Urdu sphere of influence. Nastaʿlīq remains very widely used in Iran, Pakistan, and Afghanistan and other countries for written poetry and as a form of art. [3] A less elaborate version of Nastaʿlīq serves as the preferred style for writing in Kashmiri, Punjabi and Urdu, and it is often used alongside Naskh for Pashto. In Persian it is used for poetry only. {{transl|fa|Nastaʿlīq}} was historically used for writing Ottoman Turkish, where it was known as {{lang|ota-Latn|tâlik}}[4] (not to be confused with a totally different Persian style, also called taʿlīq; to distinguish the two, Ottomans referred to the latter as {{transl|ota|taʿlīq-i qadim}}, "old {{transl|ota|taʿlīq}}"). {{transl|fa|Nastaʿlīq}} is the core script of the post-Sassanid Persian writing tradition, and is equally important in the areas under its cultural influence. The languages of Iran (Western Persian, Azeri, Balochi, Kurdi, Luri, etc.), Afghanistan (Dari Persian, Pashto, Uzbek, Turkmen, etc.), Pakistan (Punjabi, Urdu, Kashmiri, Saraiki, etc.), and the Turkic Uyghur language of the Chinese province of Xinjiang, rely on {{transl|fa|Nastaʿlīq}}. Under the name {{transl|ota|taʿliq}} (lit. “suspending [script]”), it was also beloved by Ottoman calligraphers who developed the Diwani ({{transl|ota|divanî}}) and Ruqah ({{transl|ota|rık’a}}) styles from it.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}}{{transl|fa|Nastaʿlīq}} is amongst the most fluid calligraphy styles for the Arabic script. It has short verticals with no serifs, and long horizontal strokes. It is written using a piece of trimmed reed with a tip of {{convert|5|–|10|mm|in|1|abbr=on}}, called {{transl|ar|qalam}} (pen-قلم, in Arabic and Persian {{lang|ar|قلم}}), and carbon ink, named “siyahi”. The nib of a {{transl|ar|qalam}} can be split in the middle to facilitate ink absorption.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}}Two important forms of {{transl|fa|Nastaʿlīq}} panels are {{transl|fa|Chalipa}} and {{transl|fa|Siyah mashq}}. A {{transl|fa|Chalipa}} ("cross", in Persian) panel usually consists of four diagonal hemistiches (half-lines) of poetry, clearly signifying a moral, ethical or poetic concept. {{transl|fa|Siyah Mashq}} ("black drill") panels, however, communicate via composition and form, rather than content. In {{transl|fa|Siyah Mashq}}, repeating a few letters or words (sometimes even one) virtually inks the whole panel. The content is thus of less significance and not clearly accessible.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}} HistoryAfter the Islamic conquest of Persia, the Iranian Persian people adopted the Perso-Arabic script, and the art of Persian calligraphy flourished in Iran as territories of the former Persian empire. Apparently, Mir Ali Tabrizi (14th century) developed {{transl|fa|Nastaʿlīq}} by combining two existing scripts of {{transl|fa|Nasḫ}} and {{transl|fa|Taʿlīq}}.[5] Hence, it was originally called {{transl|fa|Nasḫ-Taʿlīq}}. Another theory holds that the name {{transl|fa|Nastaʿlīq}} means "that which abrogated (naskh) Taʿlīq".{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}} {{transl|fa|Nastaʿlīq}} thrived, and many prominent calligraphers contributed to its splendor and beauty. It is believed{{By whom|date=July 2010}} that {{transl|fa|Nastaʿlīq}} reached its highest elegance in Mir Emad's works. The current practice of {{transl|fa|Nastaʿlīq}} is, however, heavily based on Mirza Reza Kalhor's technique. Kalhor modified and adapted {{transl|fa|Nastaʿlīq}} to be easily used with printing machines, which in turn helped wide dissemination of his transcripts. He also devised methods for teaching {{transl|fa|Nastaʿlīq}} and specified clear proportional rules for it, which many could follow.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}}The Mughal Empire used Persian as the court language during their rule over South Asia. During this time, {{transl|fa|Nastaʿlīq}} came into widespread use in South Asia. The influence continues to this day. In Pakistan, almost everything in Urdu is written in the script, constituting the greatest part of {{transl|fa|Nastaʿlīq}} usage in the world. The situation of {{transl|fa|Nastaʿlīq}} in Bangladesh 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 Bangladesh.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}} {{transl|fa|Nastaʿlīq}} is a descendant of {{transl|fa|Nasḫ}} and {{transl|fa|Taʿlīq}}. {{transl|fa|Shekasteh Nastaʿlīq}} (literally "broken {{transl|fa|Nastaʿlīq}}") style is a development of {{transl|fa|Nastaʿlīq}}.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}}Notable {{transl|fa|Nastaʿlīq}} calligraphers
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.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}} And among contemporary artists: Hassan Mirkhani, Hossein Mirkhani, Keikhosro Khoroush, Abbas Akhavein and Qolam-Hossein Amirkhani, Ali Akbar Kaveh, Kaboli.[6] EtiquetteIslamic calligraphy was originally used to adorn Islamic religious texts, specifically the Qur'an, as pictorial ornaments were prohibited in sacred publications and spaces of Islam. Therefore, a sense of sacredness was always implicit in calligraphy.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}} A {{transl|fa|Nastaʿlīq}} disciple was supposed to qualify himself spiritually for being a calligrapher, besides learning how to prepare {{transl|ar|qalam}}, ink, paper and, more importantly, master {{transl|fa|Nastaʿlīq}}. For instance see Adab al-Mashq, a manual of penmanship attributed to Mir Emad.[7] {{transl|fa|Nastaʿlīq}} typesetting{{transl|fa|Nastaʿlīq}} Typography first started with attempts to develop a metallic type for the script, but all such efforts failed. Fort William College developed a {{transl|fa|Nastaʿlīq}} Type, which was not close enough to {{transl|fa|Nastaʿlīq}} 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 {{transl|fa|Nastaʿlīq}} Typewriter but this attempt failed miserably and the file was closed with the phrase “Preparation of {{transl|fa|Nastaʿlīq}} on commercial basis is impossible”. Basically, in order to develop such a metal type, thousands of pieces would be required.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}}Modern {{transl|fa|Nastaʿlīq}} typography began with the invention of Noori Nastaleeq which was first created as a digital font in 1981 through the collaboration of Mirza Ahmad Jamil TI (as Calligrapher) and Monotype Imaging (formerly Monotype Corp & Monotype Typography).[8] Although this was a ground-breaking solution employing over 20,000 ligatures (individually designed character combinations) which provided the most beautiful results and allowed newspapers such as Pakistan's Daily Jang to use digital typesetting instead of an army of calligraphers, it suffered from two problems in the 1990s: (a) its non-availability on standard platforms such as Windows or Mac OS, and (b) the non-WYSIWYG nature of text entry, whereby the document had to be created by commands in Monotype's proprietary page description language. Windows 8 was the first version of Microsoft Windows to have native {{transl|fa|Nastaʿlīq}} support, through Microsoft's "Urdu Typesetting" font.[9] Google has an open-source Nastaliq font called Noto Nastaliq [10]. Apple provides this font on all Mac installations since Mac OS X High Sierra. Similarly, Apple has carried this font on iOS devices since iOS 11 [11]. InPageIn 1994, InPage Urdu, which is a fully functional page layout software for Windows akin to Quark XPress, was developed for Pakistan's newspaper industry by an Indian software company Concept Software Pvt Ltd. It offered the Noori Nastaliq font licensed from Monotype Corporation. This font, with its vast ligature base of over 20,000, is still used in current versions of the software for Windows. As of 2009 InPage has become Unicode based, supporting more languages, and the Faiz Lahori Nastaliq font with Kasheeda has been added to it along with compatibility with OpenType Unicode fonts. Nastaliq Kashish{{clarify|date=November 2013}} has been made for the first time{{clarify|date=November 2013}} in the history of {{transl|fa|Nastaʿlīq}} Typography.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}} {{transl|fa|Shekasteh Nastaʿlīq}}{{transl|fa|Shekasteh}} or {{transl|fa|Shekasteh Nastaʿlīq}} ({{lang-fa|{{Nastaliq|شکسته نستعلیق}}}}; "cursive {{transl|fa|Nastaʿlīq}}", or literally "broken {{transl|fa|Nastaʿlīq}}") style is a successor of {{transl|fa|Nastaʿlīq}}.{{Citation needed|reason=there is no reference / citation given for these statements |date=June 2017}} GallerySee also
References1. ^The Cambridge History of Islam. By P. M. Holt, et al., Cambridge University Press, 1977, {{ISBN|0-521-29138-0}}, p. 723. 2. ^{{cite web|url=http://www.persiancalligraphy.org/Famous-Calligraphers.html|title=Famous Calligraphers - Persian Calligraphy- All about Persian Calligraphy|first=Payman|last=Hamed|website=www.persiancalligraphy.org}} 3. ^{{Cite journal|last=Gulzar,Rahman|first=Atif,Shafiq|date=2007|title=Nastaleeq: A challenge accepted by Omega|url=https://www.tug.org/TUGboat/tb29-1/tb91gulzar.pdf|journal=TUGboat|volume=29|pages=1-6|via=}} 4. ^{{cite web|url=http://www.zakariya.net/history/scripts.html|title="The Scripts"|publisher=}} 5. ^{{cite web |title=Famous Calligraphers |url=http://www.persiancalligraphy.org/Famous-Calligraphers.html |work=Persian Calligraphy |access-date=12 January 2012 }} 6. ^Nastaliq Script – Persian Calligraphy {{webarchive |url=https://web.archive.org/web/20100928182912/http://www.wegoiran.com/iran-information/iran-culture/nastaliq-script-persian-calligraphy.htm |date=September 28, 2010 }} 7. ^{{Cite journal|last=Ernst|first=Carl W.|date=April-June 1992|title=The Spirit of Islamic Calligraphy: Bābā Shāh Iṣfahānī's Ādāb al-mashq|journal=Journal of the American Oriental Society|volume=112|issue=2|pages=279–286|doi=10.2307/603706|jstor=603706}} 8. ^{{cite web |last=Khurshiq |first=Iqbal |title=زندگی آگے بڑھنے کا نام اور جمود موت ہے: نوری نستعلیق کی ایجاد سے خط نستعلیق کی دائمی حفاظت ہوگئی |url=http://www.express.pk/story/197175/|publisher=Express|access-date=24 November 2013}} 9. ^{{cite web|url=http://www.siao2.com/2011/11/16/10237715.aspx |title=The evolving Story of Locale Support, part 9: Nastaleeq vs. Nastaliq? Either way, Windows 8 has got it! |publisher=MSDN Blogs |date= |access-date=2013-03-24}} 10. ^https://www.google.com/get/noto/#nastaliq-aran 11. ^https://tribune.com.pk/story/1514433/apple-finally-enables-nastaleeq-typeface-urdu-keyboard-ios-11/ Further reading
External links{{Commons category|Nastaliq}}
4 : Islamic calligraphy|Persian calligraphy|Persian orthography|Urdu calligraphy |
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