brought it to India and nastaliq became favorite script at the Persian court of the Mughals. For Akbar (1556-1605) and Jahangir (1605-1627) worked such famous masters of nastaliq as Muhammad Husayn Kashmiri (d. 1611/1612) and Abd al-Rahim Anbarin-Qalam. Another important practitioner of the script was Abd al-Rashid Daylami (d. 1671), nephew and student of Mir Emad, who after his arrival in India became court calligrapher of Shah Jahan (1628-1658). During this era Nastaliq became the common script for writing in Urdu. Nastaliq was also adopted in Ottoman Empire, which has always had strong cultural ties to Iran. Here it was known as taliq (Turkish talik), which shouldn't be confused with Persian taliq script. First Iranian calligraphers who brought nastaliq to Ottoman lands, like Asadullah Kirmani (d. 1488), belonged to the western tradition. But relatively early Ottoman calligraphers adopted eastern style of nastaliq. In 17th century student of Mir Emad, Darvish Abdi Bokharai (d. 1647), transplanted his style to Istanbul. The greatest master of nastaliq in 18th century was Mehmed Yasari (d. 1798), who closely followed Mir Emad. This tradition was further developed by son of Yasari, Mustafa Izzet (d. 1849), who was a real founder of distinct Ottoman school of nastaliq. He introduced new and precise proportions of the script, different than in Iranian tradition. The most important member of this school in the second half of the 19th century was Sami Efendi (d. 1912), who taught many famous practitioners of nastaliq, like Mehmed Nazif Bey (d. 1913), Mehmed Hulusi Yazgan (d. 1940) and Necmeddin Okyay (d. 1976). The specialty of Ottoman school was celî nastaliq used in inscriptions and mosque plates. Nastaliq or (, , "cursive " or literally "broken ") style is a "streamlined" form of . Its development is connected with the fact that "the increasing use of nastaʿlīq and consequent need to write it quickly exposed it to a process of gradual attrition". The shekasteh nastaliq emerged in the early 17th century and differed from proper nastaliq only in so far as some of the letters were shrunk (shekasta, lit. “broken”) and de­tached letters and words were sometimes joined. These unauthorized connections "mean that calligraphers can write shikasta faster than any other script". Manuscripts from this early period show signs of the influence of shekasteh taliq; while having the appearance of a shrunken form of nastaliq, they also contain features of taliq "due to their being