Tughra of Sulaiman the Magnificent (r. 1520–66), 16th century; Ottoman.

What is a tughra? Official signature used by the Ottoman sultans and later came to mean an emblem done in calligraphy. Tughra originally referred to the official mark of a ruler used at the beginning of a document. The tughra was elaborated into a highly sophisticated motif,and each emperor had his own. It consisted of high shafts and two ovals protruding to the left, with the names of the ruler and his father in the lower center. This arrangement has been sometimes explained as representing the middle fingers and thumb (the prints of which formerly may have been used for signatures). A tughra could be any kind of unusual elegant way of joining words into decorative shapes, including flowers, animals, or architectural forms.

The tughra was the collaboration of a calligraphy and an illuminator. Calligraphers were the most highly esteemed artists in the Islamic world. Trained in writing flawlessly and elegantly the various Arabic, Persian, and Turkish languages, Islamic calligraphers copied text onto the pages of a manuscript, leaving appropriate spaces for the illustrations when needed. The calligrapher prepared his own ink, and wrote with a reed pen (a qalam) whose nib he carefully cut himself since the style of writing is largely dependent on the angle at which the pen is cut. The illuminator was responsible for the addition of the ornaments and patterns. As seen in the tughra of Sulaiman the Magnificent, Islamic illuminators favored interlacing foliate forms and arabesques painted in various colors, as well as in gold.

The sweeping curves in the main part of the tughra say, in Turkish: "Sulaiman, son of Selim Khan, ever victorious." At the lower left, in gold, is inscribed: "This is the noble, exalted, sign-manual, the world- illuminating and adoring cipher of the Khakan [may it be efficient by the aid of the Lord and the protection of the Eternal]. His order is that..."

The heart and soul of a Muslim is constantly made aware of the majesty, harmony, rhythm and flow of calligraphic forms, which surround all spheres of his existence, unveiling their beauty upon the pages of the Quran, on walls of mosques and other forms of architecture, on carpets and curtains, and even upon objects of daily use from dress to plates and bowls in which food is taken.

Handwriting is jewelry fashioned by the hand from the pure gold of intellect. - Abu Hayyan al-Tawhidi Calligraphy is believed to be the visual embodiment of the sacred word. Islamic tradition states that Ali, the son-in-law of Prophet Muhammad, was the first calligrapher. The origins of Islamic calligraphy are traced all the way back to god, who is believed to have written the celestial archetype of the Quran.

Islamic calligraphy reflects through the symbolism of its very forms the intertwining between permanence and change that characterize creation itself. Hence the horizontal movement of the script, which is a rippling movement as in weaving, corresponds to change, whereas the vertical movement represents the permanent divine essence.

Another important element in the appraisal of Islamic calligraphy is the concept of a tree. A tree is but a manifestation of a seed's potential to derive sustenance from earth and water, and produce one of the most beautiful sights in the world, namely that of a flowering tree complete with branches and leaves.