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The Jameel Noori Nastaleeq is the most widely used printed copy of the Persian alphabet and is a staple of both Urdu and Persian writing. It was built in Iran in the 14th and 15th centuries.

It is commonly used for writing Arabic text (mainly for titles and headings), but its use is recognized in Persian, Urdu, and Turkish spheres of influence. Nastaliq is widely used as a form of poetry and composition in Iran, Afghanistan, Pakistan, India, and other countries.

A shorter version of this app caters to the more refined Kashmiri and Urdu writing styles, while Nasak is used primarily by Pashtis. In Persian, it is used in prose form. Jameel Noori Nastaleeq APK was used to form Ottoman Turkey where it was called tok.

About Jameel Noori Nastaleeq APK

Jameel Noori Nastaleeq APK is a contraction of "Persian Nasq-e Taaliq, meaning Hanging or Hanging Nasq". Almost all Safavid authors (such as Dust Muhammad or Qadi Ahmad) attribute this invention to the Nastaliq Mir Ali Tabrezi, who lived in the late 14th and early 15th centuries.

This tradition has been challenged by Khurram Baig, who traces the development of Nastaliq in fourteenth-century Iran and shows how it gradually evolved among Shiraz writers. Moreover, according to his study, the Gnostic origin is not in the combination of Naska and Taliq, as is commonly believed, but in Naska alone. In addition to studying calligraphy, Alan Wright discovered a document by Jafar Tabrizi. 1430, then:

It should be known that a nose is included. Some Shirazi [writers] have changed it to [Nasak] by removing the plain titles [Akhar] under [Akhar] Sin, Lam, and Nun. From other typefaces, he reproduced variations in curves, elaborate shapes, and weights. Then a new script called Nastalik was created. After some time, Tabrizi [author] Shirazi [author] gradually revised it, simplified it, and set it as canon until Khwaja Mir Ali Tabrizi completed the script. Thus "even our earliest written sources attribute Shirazi authors to the development of Jameel Noori Nastaleeq". Alan Wright's picture of Nastaliq's origins becomes more complex when studying Francis Richard on the basis of several Tabriz manuscripts.

Finally, many authors note that the development of nostalgia was a process that spanned several centuries. For example, Ghulam-Husain Yusofi, Ali Alperslan, and Sheila Blair note a gradual transition to Nastaliq in some 13th-century manuscripts. Hamid Raza traces the first elements of the Afsari style to 11th-century copies of Persian translations of the Qur'an.

Persian differs from Arabic in straight and curved letters. The definite article al- is also absent, the possessors of alf and lem being responsible for the character and rhythm of Arabic writing. Floating scripts such as talaq and Nastaliq were particularly suitable for Persian script – while Tariq was used for court documents, it was developed for Persian poetry "which contradicts the rule of space between semicircular letters".

The first master of Nastaliq was Mir Ali Tabrizi, who passed the style on to his son Ubaidallah. Ubaidallah's disciple Ja'far Tabrizi (d. 1431) (see above reference) moved to Herat when he became head of the scriptorium (library) of prince Besungur (hence his title Besangur).

Its classic form is that of Azhar's disciple (or possibly one of Azhar's disciples), the Nastaliq Sultan Ali Mashadi (d. 1520), who at this time served as Sultan Husain Bakra (1469–1506) and his vizier Ali-Shir Nawai. Studied under At the same time, western and southern regions were developed. Many old styles of Iran.

He was related to the calligrapher Abd al-Rahman Khwarzmi of Pir Budak Qara Kunlu (1456–1466), followed by his sons Abd al-Karim Khwarzmi and Abd al-Rahman Anisi (both active at court). Jacob Beg Kunlu) (1478 - 1490). This more pointed western Iranian style was dominant in the early Safavid era but later lost ground to the more fluid oriental style proposed by Sultan Ali Mashadi, although it was widespread in the Indian subcontinent.

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