ON THE COVER
(properly) in Egypt, and was written in Istanbul). Turkish calligra-
phers are adept in all calligraphic styles.
Diwani script is a very popular script which was a purely Turkish
invention. The name of this script derives from “Diwan,” the name of
the Ottoman royal chancery. Created by Housam Roumi, this script
was used in the courts to write official documents and reached the
height of its popularity under Suleyman I - The Magnificent in the
16 th century reaching maturity in the 19 th century.
Tughra is a distinctive Turkish invention, highly elaborate and
ornate. The genius of the tughra reportedly was that it was difficult
to forge. From the use of the first tughra in 1324, these forms became
increasingly complex albeit enticing. Tughra contains three vertical
shafts and a number of concentric loops in complex, graceful, flowing
lines. Tughra was used by the Ottoman sultans as their signature as
a stamp of authority and the royal emblem of the sultan.
Many other beautiful scripts are extant including a variation of
Nastaliq called Shikaste used for Persian and Urdu poetry, a gorgeous
script called Moalla invented in the 1990s by an Iranian Hamid
Ajami, and Khatt-e-Raanai by the late Ibn-e-Kaleem of my city of
birth, Multan, Pakistan. Many Pakistani and Indian calligraphers
have produced marvelous pieces of calligraphy including the late
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LOUISVILLE MEDICINE
Sadequain, a prolific calligrapher who developed his own distinctive
style and earned huge acclaim. Khursheed Gauhar Qalam of Lahore
is a highly respected calligrapher of immense repute.
Among the contemporary master calligraphers is the inimitable
and distinguished Turkish calligrapher, Hasan Celebi of Istanbul,
who has taught a large cadre of Islamic calligraphers from all over
the world. Our own American Calligrapher, Mohamed Zakariya
of Washington, DC was a pupil of Hasan Celebi and is a celebrated
master calligrapher and scholar of significant repute. Another pupil
of Hasan Celebi is the Japanese, Honda Koichi, an Islamic calligra-
pher who has produced marvelous pieces.
The spirit of calligraphy can be summed up by a verse from the
famous Persian poet, Hafiz’s lines, “LET THE PEN WRITE FROM
THE HEART THAT IS JOYOUS AND FREE.” Calligraphy is a spir-
itual path that leads to tranquility of the heart. For a calligrapher,
externally, each dot, each stroke should be vibrant, and the writing
should be imbued with beauty, grace and dignity. Internally, callig-
raphy should be a prayer, a blessed and liberating experience that
transmits joy and tranquility to the heart.
Dr. Seyal practices cardiovascular diseases with Floyd Memorial Medical
Group-River Cities Cardiology.