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Line 27: He refined and codified six basic calligraphic styles of the [[Arabic script]].<ref>{{cite book|last=Sözen|first=Metin|title=The evolution of Turkish art and architecture|year=1987|publisher=Haşet Kitabevi|author2=İlhan Akşit}}</ref> [[Naskh (script)|Naskh script]] was said to have been revealed and taught to the scribe in a vision. He improved on [[Ibn Muqla]]'s style by replacing the straight cut reed pen with an oblique cut, which resulted in a more elegant script.<ref>Bloom, J. and Blair, S.S., ''Grove Encyclopedia of Islamic Art & Architecture'', Vol. 1, Oxford University Press, 2009, p. 442; Sajoo, A.B., ''A Companion to Muslim Cultures'', I.B.Tauris, 2011, p. 148</ref> He developed ''Yakuti'', a handwriting named after him, described as a [[thuluth]] of "a particularly elegant and beautiful type."<ref name="efendi">{{cite book|last=Efendi|first=Cafer|title=Risāle-i miʻmāriyye: an early-seventeenth-century Ottoman treatise on architecture: facsimile with translation and notes|year=1987|publisher=Brill|isbn=978-90-04-07846-8|pages=36|url=https://books.google.com/books?id=dJk3AAAAIAAJ&pg=PA36|author2=Howard Crane |accessdate=26 July 2010}}</ref> He taught many students, both Arab and non-Arab. His most celebrated students are Ahmad b. al-Suhrawardi and Yahya al-Sufi.<ref>Sajoo, A.B., ''A Companion to Muslim Cultures'', I.B.Tauris, 2011, p. 148; Bloom, J. and Blair, S.S., ''Grove Encyclopedia of Islamic Art & Architecture'', Vol. 1, Oxford University Press, 2009, p. 442</ref> He became a much-celebrated calligrapher across the Arab-speaking world. His school became the model followed by Persian and Ottoman calligraphers for centuries. In the second half of the 13th-century, he gained the honorific, ''quiblat al-kuttab'' [cynosure of the calligraphers]. <ref>Türk ve İslâm Eserleri Müzesi, ''The Art of the Qurʼan: Treasures from the Museum of Turkish and Islamic Arts'', Smithsonian Institution, 2016, p. 80</ref> | |||