They are few …
or almost nonexistent — the calligraphic specimens written in the Diwani script in general, or the Ghazlani Diwani in particular. The use of this artistic script is among the most prominent features of the art of the era of the Muhammad Ali dynasty (1805–1952), which chose for itself a distinctive artistic bouquet (a refined artistic synthesis — to be discussed later).
The influence of the Diwani script is clear and evident, mixed with a blend of Baroque, Rococo, and neo-Islamic ornament.
What is strange is the choice by Mustafa Ghazlan Bey (d. 1938) to write the tombstone of King Fuad (d. 1936) in the Diwani script …
By customary convention the choice is somewhat strange …
A tombstone in the Diwani script — the script reserved for the writing of joys and beautiful nights …
the script of patents and decorations … strange …
Why so, Master Ghazlan??
My belief is that he went to that vision in order to preserve for history his unique experience as calligrapher to His Majesty King Fuad. He developed the Diwani script — in its Ottoman version used in the official chancelleries — into a distinctive royal version; but it would inevitably vanish and decay, because it was on paper …
Yet carving it on the marble of a royal tomb would, without doubt, be a “preserver.”
Thus Ghazlan Bey thought with the mind of an “artist” more than with the mind of an “official” who knows the artistic traditions, conventions, and expected protocol.
In any case, had the matter been put to King Fuad himself, he would have chosen the artistic style that distinguished his official correspondence and engraved his name in the history of art.
The image is of the cylindrical tombstone of King Fuad in the royal tomb at the al-Rifaʿi Mosque.
