Diwani line

Turkish Ottoman font, which is distinguished from other fonts by its great flexibility, and the accuracy of its rounding, and it is part of the circles of different countries. As for its points, they can be written related to the letters or separated from them, and they do not differ from each other. The second, whose letters overlap and whose lines are straight from the bottom and top, and consists of movements and probes them with dots so that it is one piece.

This line was officially known after Sultan Mehmed the Ottoman conqueror of Constantinople in 857, and it is said that the first to set the rules was the calligrapher Ibrahim Munif, who lived during the reign of Sultan Mehmed II, and his first rank was secret. Mansions as they are, her image was extremely complex and chaotic. Words, letters, and lines are cluttered, leaving no room for adding a word or letter, and this complexity was intended by itself so that the texts in these official papers did not change, and their various examples dating back to past eras are numerous, and their first use was in the days of the Seljuks, until the era of Sultan Muhammad Al-Fateh came Ottoman, and his letters were a mixture of Thuluth, Naskh and even Rihani texts, and they continued to be used. In this style until the tenth century, when it came to Al-Diwani Al-Mutlaq who specialized in writing for the staff of the Royal Court to write royal blessings and patents. Diwaniya writing is characterized by complete flexibility and a high degree of inclination, superior to the degree of inclination of any other type of font. It is free from image and slander contrary to the evidence that abounds in it and is decorated with dots that fill the entire surface of the writing. Among the good Turkish calligraphers, the Grand Vizier Shahla Pasha during the reign of Sultan Ahmed III, Al-Hafiz Othman, and the famous calligrapher Muhammad Ezzat, who put a balance of letters in the number of points, and then finished his recitation by the calligrapher Sami Effendi, Nasih, Haji Kamel, Rajaee, Haqqi, Farid and Soraya, and these are the last of them that he wrote within their time, and its use was not recorded after the coup of Ataturk's state in modern Turkey.