Jameel Noori Nastaleeq APK لالروبوت تحميل مجاني

Jameel Noori Nastaleeq Apk is a Kashida truetype font. It has been downloaded 1448300 times. 1983 users rated the font 3.73 out of 5. You can read more about Jameel Noori Nastaleeq App and his character card in the following paragraphs. Make sure you are human to download fonts for free. It is the main calligraphy used to express Persian characters and Urdu characters and is the most widespread style in Persian calligraphy.

It was built in Iran in the 14th and 15th centuries. It is commonly used to compose Arabic text (mainly for headings and titles) but is increasingly used in Persian, Urdu, and Turkish languages. It is used as composite verse and handicrafts in Iran, Afghanistan, Pakistan, India, and other countries.

A less refined version of Nastaleeq meets the style supported for writing Kashmiri and Urdu and is used primarily for Pashto to Nasakh. In Persian, it is used as verse. Nastalik was used to create Ottoman Turkey which was known as Talik.

About Jameel Noori Nastaleeq Apk

Jameel Noori Nastaleeq Apk is one of the main calligraphic hands used to write Persian script and is traditionally the dominant style of Persian calligraphy. It developed in Iran in the 14th and 15th centuries. It is sometimes used to write text in Arabic (where it requires teletransmission) or in Persian mainly for headings and headings), but it is always used in Persian. The influence of Turkish and Urdu is more pronounced in this region. Nastaleeq was (and still is) practiced as written poetry and as an art form in Iran, Pakistan, India, Afghanistan, and other countries.

A less elaborate version of Nastaleeq serves as the preferred style for writing Kashmiri, Punjabi, and Urdu, and is often substituted for Naskh for Pashto. In Persian, it is only used for poetry. It was historically used to write Ottoman Turkish, where it was known as talk (an entirely different Persian style, also called talk; to distinguish between the two, talk").

It is the primary script of the post-Sasanian Persian script tradition and is equally important in the areas under its cultural influence. Languages of Iran (West Persian, Azerbaijani, Balochi, Kurdish, Luri, etc.), Afghanistan (Dari, Pashto, Uzbek, Turkmen, etc.), Pakistan (Punjabi, Urdu, Kashmiri, Saraiki, etc.) and China's Xinjiang Province. Uyghur is based on the Turkic language Nastalik. Going by the name talk (literally "to expose [the script]"), it was also popular with Ottoman calligraphers, who developed the Diwani (Diwani) and Ruka (Reka) styles.

Jameel Noori Nastaleeq App is one of the most linear styles of calligraphy in the Arabic alphabet. It has short vertical bars and long horizontal sans-serif bars. It is written with a stick of cane with a 5–10 mm (0.2–0.4 in) tip, kalam ("pen", قلام in Arabic and Persian), and carbon ink called a quill pen. . The pen tip can be split in the middle to make ink absorption easier.

Two important types of Nastalik tablets are the chalupa and the siya-mashka. A Chalisa ("cross" in Persian) usually consists of four diagonal lines (half-lines) of poetry, which clearly represent a moral, ethical, or poetic concept. However, the siyah-mashka ("dark forest") tablets communicate through composition and form rather than content. In ink painting, the repetition of certain letters or words (sometimes just one) covers virtually the entire color field. So the content is of little value and obviously inaccessible.

History

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

This tradition was challenged by Ellen Wright, who traces the development of Nastaliq in 14th-century Iran and shows how it gradually developed among the writers of Shiraz. Also, according to his study, Gnostic does not have its origin in the combination of Nasak and Taliq, as is commonly believed, but only in Nasak. In addition to studying calligraphy, Alan Wright found a document by Jafar Tabrizi. 1430, after:

It should be known that Nastik is derived from Nasak. Some Shirazi [scribes] modified the [Nasak] by removing the flat titles [letters] at the bottom right of the [letters] Sin, Lam, and Nun. From other typefaces, they reintroduced a curved, wide form and variations in line thickness. Then a new script was created called Nastalik. After some time, Tabrizi [author] Shirazi [author] gradually modified it, softening it and defining it as canon until Khwaja Mir Ali Tabrizi perfected the script.

Thus "our earliest written source also attributes the development of Nastaliq and Mir Ali Tabrizi to the Shirazi scribes". The picture of Nastaliq's origins presented by Ellen Wright is further complicated by the study of Francis Richard who, based on some Tabriz manuscripts,

argues that its early development was not limited to Shiraz. Finally, many authors note that the development of Nastalik was a process that lasted several centuries. For example, Ghulam-Husain Yusofi, Ali Alperslan, and Sheila Blair have noted a gradual transition to Nastaliq in some 13th-century manuscripts. Hamid Raza Afsari traces the earliest elements of the genre to 11th-century copies of Persian translations of the Qur'an.

Persian differs from Arabic in the relationship between straight and curved letters. Also missing is the definite article al-, whose authorities Alaf and Lam are responsible for the character and rhythm of the Arabic text. Floating scripts such as Talik and Nastaliq were particularly suited to Persian writing—while Talik was used for court documents, It was developed for Persian poetry "whose semicircular letter-intercolumn rules contradict". 

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

Jafar trained many disciples in Nastaliq, the most famous of whom was Azhar Tabrizi (d. 1475). Its classical form is Azhar's disciple (or possibly one of Azhar's disciples) Nastaliq Sultan Ali Mashadi (d. 1520), who studied under Sultan Husayn Bakara (1469–1506) and his vizier Ali-Shir Nawai, who simultaneously developed in western and southern Iran multiple Nastaliq styles.

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-Rahim Anisi (both active at court). Jakub Beg Kunlu) (1478 - 1490). This more pointed western Iranian style was dominant during 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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