![]() There is no apparent evidence linking Amir Qaratay to the Khalwati order but it is well-known that Khalwati shaikhs had close relationships with the Mamluk ruling classes in the fourteenth century. An identical Kufic octagon is also found in the Mamluk Qartawiyya Madrasa, built by the governor of Tripoli, Amir Qaratay, between 13. Its patron, Sultan Ahmed I, belonged to the Khalwati Sufi order and the octagonal form of the inscription closely resembles the octagonal Khalwati rose, a symbol of the order. Published in Art, Trade and Culture in the Islamic World and Beyond From the Fatimids to the Mughals - Studies Presented to Doris Behrens-Abouseif Edited by Alison Ohta, Michael Rogers and Rosalind Wade Haddon Series Edited by Melanie Gibson and George Manginis, Gingko Library, London, 2016 An octagonal Kufic inscription with the names of the Prophet, the four righteous caliphs and six of the ṣahāba (Companions of the Prophet) is found on the left side of the mihrab of the Sultan Ahmed Mosque in Istanbul. In addition to analyzing the content and compositions of the inscriptions, specific errors and interpretations are also addressed. ![]() This article undertakes a detailed exploration of some Square Kufıc calligraphy from the era of Mimar Sinan in Istanbul to the period preceding Sinan's time. This unique calligraphic style, which is not traditionally imparted within conventional calligraphy education and is currently witnessing renewed interest in Islamic architecture and art across various countries, necessitates comprehensive studies to elucidate its nuanced reading and compositional logic. ![]() 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. 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. Keywords: Square Kufic tessellation geometry Arabic calligraphy Islamic architecture Timurid architecture Samarkand Bibi Khanum mosque pattern In this article, I question this assumption and endeavor to find out if other forms of this design are possible with the same name, or with any other words. ![]() It has been suggested that the name ‘Ali’ in the ‘Six Ali’ tessellation found on the façade of an early thirteenth century Islamic building in India is the only possible word that can be tessellated so that the text and its background are the same. In the ‘Six Ali’ motif, the same word is used for the text and its background. One of the most common examples of this type of design is the ‘Four Muhammad/Ali’ motif where the name Ali is spelled out in the space between the letters of the name Muhammad, and the two names are interlocked to form one cohesive design. This article deals with tessellations where words are written in Square Kufic calligraphy and their shape manipulated in such a way to make the space or background area between the letters also read as text. ![]()
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