The study of Mir Ali Tabrizi’s Orthography, Based on the version of Khusraw va Shirin by Nizami (Protected in Freer Gallery 808 A.H-1406 A.D)

Author

Shiraz university

Abstract

Mir Ali ibn Hasan Tabrizi known as "Qudwat al-Kuttab Moala", one of the greatest calligraphers of the Timurid era and the composer of Nastaliq script, established a distinct rule and form for this writing style for the first time. The only credible signed work of Mir Ali is a version of Nizami’s Khusraw u Shirin (808A.H-1406A.D) in Freer gallery of art which is of great importance in terms of writing and orthography. Accordingly, the subject of this article is investigating the Mir Ali Tabrizi’s orthography, based on this manuscript.
This study aims at identifying the style and rules used in Mir Ali’s calligraphy as the primary samples of Nastaliq. Also, it is tried to answer these questions: 1. How is the good-formation in Mir Ali Tabrizi’s writing? 2. How is the good-establishment in Mir Ali’s Nastaliq writing style?
This study was carried out through a descriptive-analytical method and the data collection methods were a library (written documents) and field (direct observation).
Good-formation in Mir Ali’s writing shows that elongations follow certain and relatively stable rules and are often short and sharp. The form and proportions of the second movement of the circles are similarly repeated in all letters. Dots have the same slope, with no sharp corners and less wide than the pen’s width. Good-establishment in Mir Ali’s writing appears as at least one elongation in most hemistiches and the elimination of the final letters and some essential dots of the letters. Adding some dots follow the old tradition of writing, and joining some letters likely influenced by the Taliq script. Diacritic and decorative motions are limited to a few instances.

Keywords

References

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The Monthly Scientific Journal of Bagh-e Nazar
Volume 15, Issue 61
July 2018
Pages 65-76

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