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Since the early twentieth century Khowar has been written in the Khowar alphabet, which is based on the Urdu alphabet and uses the Nasta'liq script. Prior to that, the language was carried on through oral tradition. Today Urdu and English are the official languages and the only major literary usage of Khowar is in both poetry and prose composition.
Note that Hindi–Urdu transliteration schemes can be used for Punjabi as well, for Gurmukhi (Eastern Punjabi) to Shahmukhi (Western Punjabi) conversion, since Shahmukhi is a superset of the Urdu alphabet (with 2 extra consonants) and the Gurmukhi script can be easily converted to the Devanagari script.
The name Urdu was first introduced by the poet Ghulam Hamadani Mushafi around 1780. [30] [31] As a literary language, Urdu took shape in courtly, elite settings. [77] [78] While Urdu retained the grammar and core Indo-Aryan vocabulary of the local Indian dialect Khariboli, it adopted the Perso-Arab writing system, written in the Nastaleeq style.
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The Urdu Dictionary Board (Urdu: اردو لغت بورڈ, romanized: Urdu Lughat Board) is an academic and literary institution of Pakistan, administered by National History and Literary Heritage Division of the Ministry of Information & Broadcasting. Its objective is to edit and publish a comprehensive dictionary of the Urdu language.
The Urdu alphabet (Urdu: اُردُو حُرُوفِ تَہَجِّی, romanized: urdū ḥurūf-i tahajjī) is the right-to-left alphabet used for writing Urdu. It is a modification of the Persian alphabet, which itself is derived from the Arabic script. It has co-official status in the republics of Pakistan, India and South Africa.
Urdu literature (Urdu: ادبیاتِ اُردُو, “Adbiyāt-i Urdū”) comprises the literary works, written in the Urdu language. While it tends to be dominated by poetry , especially the verse forms of the ghazal ( غزل ) and nazm ( نظم ), it has expanded into other styles of writing, including that of the short story, or afsana ...
A ghazal is composed of five or more ashaar (singular she'r), which are complete texts even when pulled from the rest of the ghazal. [4] In the vast majority of ghazals, there is not logical connection or flow between ashaar in terms of content or theme.