his style to his son ʿUbaydallah. The student of Ubaydallah, Jafar Tabrizi (d. 1431) (see quote above), moved to Herat, when he becomes the head of the scriptorium (kitabkhana) of prince Baysunghur (therefore his epithet Baysunghuri). Jafar trained several students in nastaliq, of whom the most famous was Azhar Tabrizi (d. 1475). Its classical form nastaliq achieved under Sultan Ali Mashhadi (d. 1520), a student of Azhar (or perhaps one of Azhar's students) who worked for Sultan Husayn Bayqara (1469 - 1506) and his vizier Ali-Shir Nava'i. At the same time different style of nastaliq developed in western and southern Iran. It was associated with ʿAbd al-Rahman Khwarazmi, the calligrapher of the Pir Budaq Qara Qoyunlu (1456-1466), and after him was followed by his children, ʿAbd al-Karim Khwarazmi and ʿAbd al-Rahim Anisi (both active at the court of Ya'qub Beg Aq Qoyunlu) (1478 - 1490). This more angular western Iranian style was largely dominant at the beginning of the Safavid era, but then lost ground to the more fluid eastern style canonized by Sultan Ali Mashhadi - although it continued to be widely used in the Indian subcontinent. The most famous calligrapher of the next generation in eastern lands was Mir Ali Heravi (d. 1544), who was master of nastaliq, especially renowned for his calligraphic specimens (qitʿa). The eastern style of nastaliq became the predominant style in western Iran, as artists gravitated to work in Safavid royal scriptorium. The most famous of these calligraphers working for court in Tabriz was Shah Mahmud Nishapuri (d. 1564/1565), known especially for unusual choice of nastaliq as script used for the copy of Qur'an. Its apogeum nastaliq achieved in writings of Mir Emad Hassani (d. 1615), "whose style was the model in the following centuries". Mir Emad's successors in the 17th and 18th centuries had developed a more elongated style of nastaliq, with wider spaces between words. Mirza Mohammad Reza Kalhor (d. 1892), the most important calligrapher of the 19th century, reintroduced the more compact style, writing words on a smaller scale in a single motion. In the 19th century nastaliq was also adopted in Iran for litographed books. In the 20th century "the use of nastaliq declined. After World War II, however, interest in calligraphy and above all in nastaliq revived, and some outstandingly able masters of the art have since then emerged". The use of nastaliq very early expanded beyond Iran. Timurids