In the vast landscape of Islamic esoteric sciences, the “Greatest Name of God” (al-Ism al-A’zam) is considered the most potent spiritual tool available to the practitioner. Unlike the 99 Beautiful Names of Allah, which are linguistic and recited, the Greatest Name is traditionally perceived as a visual, graphic entity. In the provided research by Lloyd D. Graham, this Name is primarily identified with the “Seven Seals” (al-Khatim al-Sab’a). These seven symbols are not merely artistic; they are functional ciphers that bridge the gap between human needs and divine intervention. While the canonical version of these seals, popularized by Ahmad al-Buni, is widespread, the document reveals a deeper, more complex history involving a 12th-century prototype from the Diwan of Ali. By analyzing the transition from these early symbols to the repeat-letter ciphers found in the modern taweez like the ones from Furzan, we uncover a narrative of preservation, degradation, and cross-cultural synthesis that links Islamic magic inextricably with Jewish Kabbalah and celestial mythology.
The Formal Composition of the Seven Seals
To understand the taweez, one must first master the anatomy of the Seven Seals as described in the source material. The text identifies seven distinct glyphs that form a linear string:
- The Pentagram: Often appearing as a five-pointed star, though the text notes it is frequently replaced by the six-pointed “Seal of Solomon” or hexagram in various manuscript traditions.
- The Three Vertical Rods: These are described as three parallel lines, often united by a single horizontal bar at the top, sometimes interpreted as the letter Alif or a lance.
- The Maimed Mim: A specific rendering of the Arabic letter Mim where the loop is “blind” or the tail is truncated, symbolizing a hidden aspect of the divine.
- The Ladder: A graphic consisting of two vertical rails with two or three rungs, representing the bridge between the terrestrial and celestial realms.
- The Four Finger-like Strokes: These are four vertical lines, distinct from the first three rods, often described as fingers without a palm.
- The Divided or Curved Ha: A variation of the letter Ha, sometimes resembling a “split” circle or a curved hook.
- The Inverted Waw: A final symbol that looks like a reversed letter Waw, with its head curved in a specific “cupping” fashion.
The document emphasizes that this sequence is not only found in Islamic texts but is a staple of Jewish Kabbalah, where the seals are assigned vocalized names like Yatat, Tat, and Satit. This shared geometry proves that the taweez is a syncretic vessel for ancient Near Eastern wisdom.
The Proto-Seal Series: Insights from the Diwan of Ali
A critical portion of the provided text focuses on the Diwan of Ali manuscript, dated back to the 12th century. This document provides what Graham calls a “prototype” of the Seven Seals that differs from the later “al-Buni” canon. In the Diwan version, the sequence of symbols is rearranged: the ha and the waw elements are placed to the right of the four finger-like strokes.
The importance of this prototype cannot be overstated. It suggests that the “canonical” version used in most modern taweez is a later standardization. The text argues that while the al-Buni version became the dominant “brand” of Islamic magic, the older Diwan sequence survived “incognito.” It did not disappear but was transformed through a process of calligraphic degradation into the repeat-letter ciphers that characterize contemporary amulets.
Repeat-Letter Ciphers: The “Incognito” Greatest Name
The document provides a groundbreaking analysis of “repeat-letter ciphers”—strings of identical letters that appear in charms. These are primarily the letters ha and ‘ayn.
- The Ha Ciphers: These typically appear in groups of five or seven. In the context of a taweez, they represent the simplified form of the sixth seal.
- The Ayn Ciphers: These appear as seven consecutive glyphs, often rendered to look like a large hamza or a specific initial form of the letter ‘ayn.
The text proves that these strings are not “meaningless medical charms,” as some earlier scholars suggested. By comparing the layout of the Diwan of Ali with modern Shi’a talismanic plaques, Graham shows that these letter-strings occupy the exact functional space of the Seven Seals. When a practitioner writes a string of seven ‘ayns on a taweez, they are essentially invoking the “Greatest Name” in its ancient, proto-seal form.
The Pleiades Nexus: Astronomical and Mythological Foundations
One of the most elaborate sections of the file links the repeat-letter ciphers to the Pleiades star cluster, also known as the “Seven Stars.” The “Pleiades Square” is a specific type of taweez that incorporates these ciphers.
- The “Sweet Influences”: Borrowing language that appears in both Islamic and Biblical contexts (Job 38:31), the Pleiades are associated with rain, fertility, and the ripening of fruits.
- The Avian Connection: The text solves the mystery of why certain taweez designs are associated with “birds.” In the mythology of the Pleiades, the cluster is often envisioned as a celestial bird or a hen with her chicks. The repeat-letter ciphers, specifically the ‘ayn strings, are graphically linked to this avian imagery.
- Rain-Making: The document describes how the Pleiades Square is used in rituals to summon rain. The letters are believed to resonate with the frequency of the stars, drawing down their “sweet influences” to the parched earth.
Creative Symbiosis: Islam and Jewish Kabbalah
The document provides detailed evidence of “creative symbiosis” between Islamic and Jewish mystical practices. A key example is a Kabbalah scroll from Safed (c. 1950s) which contains a version of the Seven Seals. Remarkably, this Jewish version follows the Diwan of Ali prototype more closely than the standard Jewish Kabbalistic texts. This suggests that the transmission of magical knowledge was a two-way street. A Jewish practitioner in Safed might utilize a taweez design that originated in a 12th-century Islamic manuscript, recognizing the universal power of the “Greatest Name.” The text notes that the seals are often used to represent the Sefirot in Kabbalah, yet their visual form remains distinctly rooted in the shared talismanic tradition of the region.
Contemporary Epigraphy: The Modern Taweez in Iran and Ethiopia
The research extends its scope to modern physical artifacts, proving that these 900-year-old ciphers are still in active use.
- The Sharaf al-Shams: This is a yellow stone (usually chalcedony or onyx) that is engraved with the Seven Seals and repeat-letter ciphers on a specific day in the month of Farvardin. The text notes that these stones are ubiquitous in the bazaars of Iran and are worn for protection and luck.
- Shi’a Talismanic Plaques: Brass plaques used in Iran often feature the repeat-letter ciphers of ha and ayn as a primary design element. The text shows how these plaques preserve the “degraded” Diwan sequence, making the ancient prototype available to the modern believer.
- Ethiopian Survival: Perhaps most surprising is the mention of silver rings from Ethiopia that carry the Diwan version of the seals. This indicates that the 12th-century proto-series traveled along trade and religious routes into Sub-Saharan Africa, where it was preserved in the local taweez tradition.
The Wafq (Magic Square) and Practical Application
The file discusses the use of the 3×3 magic square as a home for these symbols. In many cases, the taweez is not just a piece of paper but a functional tool for healing.
- Therapeutic Dissolution: The document mentions the practice where the taweez is written with saffron ink and then dissolved in water. The patient drinks the “ink-infused” water, effectively consuming the power of the Greatest Name.
- The Letters of Light: The letters used (ha, ‘ayn, waw) are part of the “mysterious letters” (muqatta’at) found at the beginning of certain Qur’anic chapters. Each letter has a specific medical application: Waw for headaches, ‘Ayn for eye diseases, and Ha for general spiritual well-being. By arranging these in a square, the taweez concentrates their healing power.
Deciphering the “Bird of the Pleiades”
The text concludes with a deep dive into the “bird” glyphs found in certain manuscripts. These bird-like symbols are actually clever calligraphic arrangements of the Seven Seals and the repeat-letter ciphers. This “avian” version of the Greatest Name represents the ultimate synthesis of the tradition combining the celestial power of the Pleiades, the graphic authority of the Seals, and the hidden simplicity of the letter ciphers. It is a visual representation of the “sweet influences” being brought down from the heavens to the earth through the medium of the taweez.
The Enduring Legacy of the Seals
Lloyd D. Graham’s research provides a comprehensive map of how a single mystical concept – the Greatest Name of God has evolved over nearly a millennium. From the 12th-century Diwan of Ali to the modern yellow stones of Sharaf al-Shams, the Seven Seals and their “incognito” repeat-letter ciphers have remained a constant in the world of Near Eastern magic.
The taweez is more than just a charm; it is a historical record. It carries the marks of 12th-century calligraphy, the astronomical observations of ancient Arab farmers, and the syncretic mystical theories of Jewish and Islamic sages. By understanding these “Syncretic Symbols,” we see that the intersection of Islamic magic and Jewish Kabbalah is a rich, ongoing dialogue written in the “Letters of Light” and the “Seven Stars” of the Pleiades. The Greatest Name remains, as it always was, a visual bridge to the divine, preserved in every stroke of the pen on a humble taweez.