Quranic Calligraphic Styles

When you leaf through my German Amazon book "Kein Standard", you learn a lot about calli­graphic styles, but I hardly write about them. In my German blog I show that ʿUṯmān Ṭāhā is less calli­graphic than the 1924 Egyptian muṣ­ḥaf: his letters stay close to the base­line, there is no point-meem, the next letter is always to the left, so ḥarakāt are always near to the letters ‒ and in his first (Syrian) muṣḥaf there is some space between words, in the version he wrote in Medina often there is no extra space between words.
All in all, ʿUṯmān Ṭahā is very close to the style of the Amiriyya = a simple Ottoman style.
In "Kein Standard" I focus on ortho­graphy, giving most attention to the Maghrebian-Arab and to the Pakistani-Indian ones
and consequently on the new Arab calligraphic style and the new Pakistani-Indian one. Of course, I display examples from Morocco, from the Sudān, from Russia-Tartaristan as well ‒ and the earlier Indian style from Lucknow plus example from Punjab, from Bengal and Kerala.
I show many examples from Turkey and the Mašriq, but from Iran, I show mainly Nastaʿ­liq ones.
Here you see the normal Persian style, taken from old maṣāḥif, but recently reproduced.

although written by three different (famous) writers, they are similar.
Note in the bottom right, that (like sometimes in India) wa is separated from the word to which it "belongs", something for­bidden in Arabic.

Here two more examples of wrong wa- at the end of a line. I find the first example shocking because the silent alif-waṣl is separated from its vowel /a/.

In the book I show images from four Iranian ʿUṯmān Ṭāhā editions.
Here an Arab-Persian version which the original ʿUṯmān Ṭāhā writing, but in 11 lines instead of 15 ‒ and again twice the grave sin against Arab ortho­graphy: wa- at the end of line:

Here a more traditional print: 604 pages, a Persan style close to ʿUṯmān Ṭāhā, mostly with the Persian help signs:
­ ­‒