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Journal articles on the topic 'Square Kufic'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Abdul Rahim, Sarah Asyikin, and Nor Azlin Hamidon. "Literary Element Order of Square Kufic in Malaysian Modern Paintings." International Journal of Art and Design 6, no. 2 (2022): 54–70. http://dx.doi.org/10.24191/ijad.v6i2.1148.

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The paper focuses on Square Kufic, a historical classification system for Arabic writing styles. The researchers expected a complete record of the Square Kufic inscriptions with the appearance of essential collections of symbols of the Muslim world. Religious inscriptions, such as Square Kufic, have been neglected or recorded inconsistently. While fundamentally defined by its geometric and angular features, there is no universally accepted norm or standardisation regarding the use of Square Kufic. This research aims to study the types of Kufic in Islamic civilization, explore the characteristi

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2

Alfalah, Adib, and Asep Sopian. "Heuristic and Hermeneutic Reading of 75 Kufic Towards Ramadan FOKS Indonesia: a Study in Riffaterre’s Semiotics." International Journal of Emerging Issues in Islamic Studies 4, no. 2 (2024): 1–18. https://doi.org/10.31098/ijeiis.v4i2.2865.

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In the current era of digital development, Muslim societies have unique and impactful ways of welcoming Ramadan; for instance, "75 Kufic Towards Ramadan" was initiated by the Friends of Kufic Square Indonesia (FOKS Indonesia) community. This welcome enhances the daily posting of Kufic works on social media for 75 days leading up to Ramadan. However, sometimes ordinary people find reading and understanding posts difficult, even though they contain meaning. Therefore, based on this issue, this research aims to describe the heuristic and hermeneutic reading of the collection of calligraphic works

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3

Sabetfard, Mojtaba, and Hadi Nadimi. "Generating Square Kufic Patterns Using Cellular Automata." Nexus Network Journal 22, no. 2 (2019): 275–90. http://dx.doi.org/10.1007/s00004-019-00454-3.

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4

Wichmann, Brian, and John Rigby. "Yemeni Squares." Leonardo 42, no. 2 (2009): 156–62. http://dx.doi.org/10.1162/leon.2009.42.2.156.

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Having noted the simple but elegant design of a tiling pattern in a Yemeni mosque based on the division of a square into 10 × 10 small squares or cells, the authors have created Yemeni squares by generalizing the design to a square consisting of 2n × 2n cells. They prove an algebraic property of such squares and enumerate by computer all such squares up to n = 6. The original Yemeni square spells out the name Ali in square Kufic script; the reader may be able to find other examples of words in the figures provided in the article.

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5

KHAMIS, ELIAS. "Two wall mosaic inscriptions from the Umayyad market place in Bet Shean/Baysān." Bulletin of the School of Oriental and African Studies 64, no. 2 (2001): 159–76. http://dx.doi.org/10.1017/s0041977x0100009x.

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This article reports the discovery by the Hebrew University Expedition to Bet Shean of two unique wall mosaics with Arabic inscriptions under the ruins of the entrance gate to the Umayyad market in the south-eastern part of the excavated city centre. This gate consisted of two stone piers; on the front of each of these was a rectangular decorated stone frame and a mosaic inscription in square Kufic script executed in gilded tesserae on a deep blue background. The first inscription contains four lines of prayer, including the Basmallah and the testimony of al-Shahāda. The lower part of the insc

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6

Mammaev, Misrikhan M., and Abdulgamid M. Nurmagomedov. "STONE RELIEFS-DETAILS OF ARCHITECTURAL DECOR OF THE 14th–19th centuries with ARABIC INSCRIPTIONS AND PLANT ORNAMENT, REVEALED in 2022 in the village. KUBACHI." History, Archeology and Ethnography of the Caucasus 20, no. 4 (2024): 871–85. https://doi.org/10.32653/ch204871-885.

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The article describes the stone reliefs-architectural details of the XIV-XIX centuries. with Arabic inscriptions and floral ornaments, some of which (Nos. 1–4,7,9–10) are in the Kubachi Tower Museum, located in the upper quarter of the old part of the village. Kubachi. Reliefs in the museum, taken from the ruins of old buildings of quarter mosques, residential buildings and the palace-type building "Khwalla Khulbe" (Large Houses), brought from the lower quarter of the village. Two reliefs (Nos. 5–6) with Late Kufic Arabic inscriptions combined with floral ornaments, dated to the 14th century,

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7

Muhaemin, Muhammad. "Tinjauan Estetika Bentuk Gestalt pada Kufi Square (Kufi Murabba) Karya FOKS Indonesia." JURNAL PAKARENA 8, no. 1 (2023): 49. http://dx.doi.org/10.26858/p.v8i1.46970.

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Penelitian ini mengkaji Kufi Square anggota FOKS Indonesia dari sudut pandang estetika bentuknya sebagai bagian dari penelitian identitas desain. Metode yang digunakan yaitu deskriptif analisis dengan menggunakan teori Gestalt. Kufi square karya anggota komunitas FOKS Indonesia ditinjau dari estetika bentuknya berdasarkan teori Gestalt menggunakan empat prinsip utama yaitu keseragaman (similiarity), kelengkapan (closure), kontinuitas (continuity), dan simetri (symmetry), namun penggunaan prinsip kedekatan (proximity) masih kurang sedikit. This research examines the Kufi Square, a member of FOK

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8

T. Abd Al Abdullah, Mahamed. "SQUARE KUFI ARABIC CALLIGRAPHY AS A DECORATIVE UNIT AND UTILIZING IT FOR MODERN." Route Educational and Social Science Journal 8, no. 62 (2021): 255–70. http://dx.doi.org/10.17121/ressjournal.2999.

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9

Faturrahman, Irvan. "PENGENALAN POLA HURUF HIJAIYAH KHAT KUFI DENGAN METODE DETEKSI TEPI SOBEL BERBASIS JARINGAN SYARAF TIRUAN BACKPROPAGATION." JURNAL TEKNIK INFORMATIKA 11, no. 1 (2018): 37–46. http://dx.doi.org/10.15408/jti.v11i1.6262.

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ABSTRAK Khat kufi memiliki bentuk huruf hijaiyah yang unik berbentuk kotak. Banyak penelitian yang membahas pengenalan huruf hijaiyah namun untuk spesifik khat belum ada. Pada penelitian ini penulis melakukan simulasi pengenalan pola huruf hijaiyah khat kufi menggunakan deteksi tepi sobel dan jaringan syaraf tiruan backpropagation dengan menggunakan parameter uji learning rate dan epoch. Simulasi dilakukan 28 target huruf hijaiyah dengan learning rate 0.01, 0.05, 0.1, 0.5, dan epoch 25, 1000, 3000, 5000, 10000. Akurasi terbaik didapatkan pada learning rate 0.01 dan epoch 10000 yaitu 100%. Pene

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10

‫أمين‬, ‫أحمد محمود‬. "‫كتابات البيوت الدمشقية في العصر العثماني‬ (The Inscriptions of the Damascene Ottoman Residences)". Abgadiyat 6, № 1 (2011): 105–20. http://dx.doi.org/10.1163/22138609-90000008.

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The extensive use of inscriptions characterizes Islamic art and architecture. In fact, calligraphy is one of the most characteristic features distinguishing the Islamic civilization among the other cultures. Islamic buildings generally, and the residential ones in particular, have an abundant number of inscriptions. These inscriptions have, in addition to their ornamental role, an important significance represented in the meaning of their contents. This paper will shed light on the Arabic inscriptions of the Damascene Ottoman residences in order to discuss the inscription styles of script, as

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11

Şimşek, Onur. "The Analysis of Square Kufic Calligraphy at Some Historical Buildings of Istanbul After the Classical Period of Mimar Sinan Until the Republic Era." FSM İlmî Araştırmalar İnsan ve Toplum Bilimleri Dergisi, April 1, 2024, 331–54. http://dx.doi.org/10.16947/fsmia.1499525.

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Since the dissemination of Islamic art in Central Asia, square kufic calligraphy has held a significant place in the identity of Islamic architecture. Despite its earlier usage in Anatolia, it was rarely employed in Ottoman structures. Consequently, the square kufic script failed to become a prominent feature in mainstream calligraphy education or certification culture. Due to the lack of an education tradition and the abstract nature of the script, square kufic calligraphy poses challenges to readability. Nonetheless, there has been a growing interest in square kufic calligraphy in contempora

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12

"Constructivism in the square Kufic script." Al-Academy, no. 100 (June 15, 2021). http://dx.doi.org/10.35560/jcofarts100/423-444.

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13

Sarah, Asyikin Abdul Rahim, and Azlin Hamidon Nor. "Literary Element Order of Square Kufic in Malaysian Modern Paintings." September 10, 2022. https://doi.org/10.5281/zenodo.7104109.

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14

Salehi, Amirhossein, Javad Neyestani, Ali Reza Hejabri, and Seyed Mehdi Mousavi. "RELIGIOUS ARCHITECTURAL ELEMENTS ON ĪL-KHĀNID COINS." September 25, 2014. https://doi.org/10.5281/zenodo.15004.

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Coins of Islamic period are primary sources that have been referred frequently by researchers. Designers of the coins along with rituals and titles always tried to decorate the circular space on the coins. One of these decorations is geometrical decoration, which was common prior to Īl-Khānids (658–735 AH/1260-1335 AD)[1]. In Īl-Khānids era, coins widely had geometric designs, especially during Abū Saīd period which architectural elements and architectural scripts were largely used. Base lines that previously had been used only in the building patron name, for the first time were used on

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15

Coşkun, Hamit, Abdullah Durakoğlu, and İpek Beyza Altıparmak. "Andalusian and Classical Ottoman Mosque Architecture Features." Kalem Uluslararasi Egitim ve Insan Bilimleri Dergisi, December 13, 2024. http://dx.doi.org/10.23863/kalem.2023.275.

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Cultures have met and influenced each other throughout history, and new and original products have emerged. Andalusian works, which were formed under the influence of Islamic and Christian architectural culture in history, and Ottoman architectural works, which were put forward by considering aesthetics and symmetry, are worth examining and are the subject of many scientific studies. In this study, the characteristics of Andalusian and Ottoman mosque architectures, which represent two peaks in Islamic civilization, were examined and compared. There is a perfect harmony between the multi-column

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16

ŞİMŞEK, Onur. "İstanbul’daki Bazı Tarihi Yapıların Ma’kılî Hatları Üzerine." FSM İlmî Araştırmalar İnsan ve Toplum Bilimleri Dergisi, October 16, 2023, 407–33. http://dx.doi.org/10.16947/fsmia.1408527.

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The square kufıc (ma’ qıli) calligraphy, frequently employed as early as the 11th century in the architecture of the Great Seljuks and Anatolian Seljuks periods, gradually yielded its place to other calligraphic styles and penwork embellishments in Ottoman constructions. Conversely, compared to other script forms, an insufficient body of scientific research is dedicated to the accurate comprehension and thorough recognition of ma’qili calligraphic art. This unique calligraphic style, which is not traditionally imparted within conventional calligraphy educati

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17

Nicolyna, Enriquez. "Church of St. George, Sklavopoula." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12573186.

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The church of St. George in the village of Sklavopoula (Selino) is a single nave church with a modern belfry and a restored roof. Located just outside the main area of the village, the church is dated to 6799 Indiction 4 (1290-91) based on an inscription in the middle of the half cylinder of the apse. The eastern section (including the apse, the gallery of saints on the north wall inside the sanctuary, the busts of saints and the image of the Archangel Michael in the naos immediately outside the modern wooden iconostasis) were painted by Nikolaos, named in the inscription. The remainder of the

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