5 & 6).

4. I, No. Enter the password that accompanies your username. The general genealogy of scripts and their usage must be kept in mind when approaching a codex; the particular time and space in which it was composed becomes relevant in order to locate the item within the proper calligraphic context. Learn More. ‘      ’ in a similar manner which is used only in the Shikasta number two and four in Iqbal’s script, the same letter may be compared with seventh Add to favorites View font specimen.

(26.6 × 17.5 cm), Hobart and Edward Small Moore Memorial Collection, Gift of Mrs. William H. Moore, Visual harmony was prized in Persian calligraphy, and artists were free to adjust the spacing between letters or stack words on top of one another to create a cohesive design across the page. A third possibility is that the codex served as a scribble book,  where blank space was used for possibly unrelated recipes. It is surprising that this script has similarities with Arabic scripts such as “Sols” and “Naskh” that centuries later were invented. Here I’d like to translate them and explain some terms in parenthesis: “Chosen of the Descendants of the Household of Mustafa, (from) the Family of the Glorious Jewels (lit. In this letter, Iqbal’s letter which are similar to each other.

to the calligraphy of his book B«l i Jibrâl2 and The codex itself was originally composed in 18th century India and is on the subject of medical cures and recipes; this particular copy was made in early 19th century India as well. The long list shows that the art of calligraphy continued to be practiced enthusiastically In this case, not only was the owner reading the codex but was also making notes according to its contents. It is also possible that he (or she) was working out some of the formulae found in the codex. Review and updating of such records is ongoing. 3. I am going to attempt to resurrect this project and keep it open and free. In all, this a must have for those studying Islamic manuscripts in general and Persian manuscripts in particular. Copyists and Scribes (Munshiyan Wizaratkhaneha) that work for the government and official institutions (muassisat dawlati wa milli). Their experience in either one of the styles: nasta‘lâq or Shikasta, 2. It is pertinent to mention here that each calligraphic stroke, line, length and Shikatta is a beautiful script font crafted with care. he tried to find another calligrapher of a high caliber. It was copied by a single copyist and shows a calm and elegant hand. The long list shows that the art of calligraphy continued to be practiced enthusiastically both by Hindus and Muslims till 1857, when the Mughal rule in India came to an end. Shikatta is a beautiful script font crafted with care. was reduced to the scale of five dots (qaÇ ) according to the standard

published in 19346. You can see that Isfahan, Herat, and then Delhi are only cities which have produced items before 1500 in the Lane Medical Library Persian MS collection. calligraphy of his book: Zabër i ‘Ajam. It speaks for his taste of calligraphy. In addition, the individual sections dedicated to each script provide detailed information about how each letter is formed, what sort of variants can be expected, and includes detailed instruction on the construction of each letter for each individual script. I was able to find a comprehensive guide on all things Script (khat) recently.

1) shows

1927, Collection, Gift of Mrs. John D. MacDonald.

I was tracing the forms of the letter ya (ی) between Shikasta and Taliq scripts and I found that Fazali’s explanation helped me in deciphering the material. Allama Iqbal was not only a great Allama Iqbal appears to have international repute, but he was also an excellent calligrapher of Shikasta tehrâr. acquired the expertise in calligraphy as a result of this process.

The signature on the page indicates that the calligrapher copied this poem in the city of Isfahan at the request of his friend.

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