Pseudo-Kufic, or Kufesque, also sometimes pseudo-Arabic, [1] is a style of decoration used during the Middle Ages and the Renaissance, [2] consisting of imitations of the Arabic script, especially Kufic, made in a non-Arabic context: "Imitations of Arabic in European art are often described as pseudo-Kufic, borrowing the term for an Arabic ...

Art historians call this style of ornamentation pseudo-Arabic or pseudo-Kufic, although the latter term is confusing since Kufic is a heavy, angular script and the forms produced by European artists resemble the curved thuluth script.

Aug 3, 2014 · Psuedo-Kufic hem embellishes a rich, oriental fabric. By the 16th century, orientalism in religious artwork had all but disappeared, as the Italian churches wanted to emphasize a more Roman context to their history.

The artistic styling of Kufic led to its use in a non-Arabic context in Europe, as decoration on architecture, known as pseudo-Kufic. Calligraphers in the early Islamic period used a variety of methods to transcribe Quran manuscripts. Arabic calligraphy became one of the most important branches of Islamic Art.

Aug 12, 2010 · The European artists who aped the style usually had no knowledge of Arabic writing, and their ‘Pseudo-Kufic’ imitations were thus purely abstract decorations bearing the semblance of Arabic script.

Feb 16, 2023 · This script is referred to as Pseudo-Kufic. Influenced by exotic artifacts brought back from the Middle East through both conflict and trade with the Ottoman Empire, Early Renaissance painters embellished their work with complicated patterns and eastern-style scripts in an effort to create an “oriental” atmosphere, especially with regard to ...

Pseudo-Kufic is a style of decoration that was common in the structures of the Byzantine period located in the south and west of Greece as of the 11th century (Picture 1). 2.

a very specific kind of ornament, the so-called pseudo-kufic inscriptions that rise interesting pivotal questions – hither - to not so much explored – about the “interference” between a formalistic approach and a functionalistic stance, with its semantic and cultural underpinnings. Our …

As ornament, pseudo-kufic script obeys the geometric regularities of ornamental patterns, and thus seems to represent a universal cross-cultural formal “language”, ruled by intrinsic rules and law-like constraints, understandable and appreciable in these terms by any sort of viewers.

The pseudo-kufic, which were seen in Byzantine and Western art in the 9th century, and which were applied in Christian religious structures as of the 10th century, were evaluated by scientists as a purely symbolic form of semantic and visual expression that was borrowed from a foreign language that could not be read.