The Jarī fragment in the upper division is a facsimile of the formula which accompanies the seal of the Sultān, and runs as follows:—
نشان شريف عاليشان سامى مكان وطغراى غراى جهان اراى ستان خاقان نفذ بالعون الربانى والصون الصمدانى حكمى اولدر كه
Nishāni sharīfi ʿālīshān sāmī makān wa tug͟hrāʾī g͟harrāʾī jihān arāʾī sitāni k͟hāqān nufiẕa bi ʾl-ʿaun ar-rabbānī wa ʾṣ-ṣaun aṣ ṣamadānī ḥukmī oldur ki.…
“This is the noble, exalted, brilliant sign-manual, the world-illuminating and adorning cipher of the K͟hāqān (may it be made efficient by the aid of the Lord and the protection of the Eternal). His order is that, etc.”
The beauty of this style is considered to consist in its being written either diagonally from the top to the bottom of the page, or ascending elliptically from the bottom to the top.
The Dīwānī style, of which the lower division gives an example, is used in the official correspondence of the Turkish administration. The final letters, and even words, are placed on the top of one another, and in its more intricate varieties the letters run together in a fanciful manner, which renders the decipherment of this writing frequently very difficult.
Finally, we present in No. 10 a specimen of the Persian T̤aʿlīq writing:—
No. 10.
TAʿLIQ CHARACTER.
همين چشم دارم ز خوانندگان كه نامم به نيكو برند بر زبان
Hamīn chashmi dāram zi k͟hwānandagān Ki nāmam ba nīkū barand bar zabān.
“Such hope I cherish that in minstrel’s lay, With right fair fame my name will live for aye!”
(Firdausī.)
From this style of writing the Shikastah is derived, and bears the same relation to it which the Dīwānī bears to Nask͟hī. While in general preserving the peculiar outline of the T̤aʿlīq, it superposes finals and words, and joins letters in a similar way to the Dīwānī, with which, however, it contrasts favourably by a far more elegant and graceful delineation of the characters.