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  2. Islamic geometric patterns - Wikipedia

    en.wikipedia.org/wiki/Islamic_geometric_patterns

    In 2013 the Istanbul Center of Design and the Ensar Foundation ran what they claimed was the first ever symposium of Islamic Arts and Geometric Patterns, in Istanbul. The panel included the experts on Islamic geometric pattern Carol Bier, [ g ] Jay Bonner, [ h ] [ 66 ] Eric Broug, [ i ] Hacali Necefoğlu [ j ] and Reza Sarhangi.

  3. Naskh (script) - Wikipedia

    en.wikipedia.org/wiki/Naskh_(script)

    The Naskh style of writing can be found as early as within the first century of the Islamic calendar. [2] The Naskh script was established in the first century of the Hijri calendar by order of Abd al-Malik ibn Marwan due to the presence of defects in the Kufic script. [1]

  4. Arabic typography - Wikipedia

    en.wikipedia.org/wiki/Arabic_typography

    Arabic typography is the typography of letters, graphemes, characters or text in Arabic script, for example for writing Arabic, Persian, or Urdu. 16th century Arabic typography was a by-product of Latin typography with Syriac and Latin proportions and aesthetics.

  5. Islamic calligraphy - Wikipedia

    en.wikipedia.org/wiki/Islamic_calligraphy

    [3] [4] It is known in Arabic as khatt Arabi (خط عربي), literally meaning 'line', 'design', or 'construction'. [ 5 ] The development of Islamic calligraphy is strongly tied to the Qur'an , as chapters and verses from the Qur'an are a common and almost universal text upon which Islamic calligraphy is based.

  6. Arabic calligraphy - Wikipedia

    en.wikipedia.org/wiki/Arabic_calligraphy

    Arabic calligraphy serves as a major source of inspiration for Arabic type design. For example, the Amiri typeface is inspired by the Naskh script used at the Amiri Press in Cairo. [15] The shift from Arabic calligraphy to Arabic typefaces presents technical challenges, as Arabic is essentially a cursive script with contextual shapes. [citation ...

  7. Islamic ornament - Wikipedia

    en.wikipedia.org/wiki/Islamic_ornament

    In his book,The Meditation on Ornament, Oleg Grabar departs from Gombrich's European-influenced position to show how ornament can be the subject of a design. He differentiates between filling a space with design, and transforming a space through design. Iran, Kharraqan, mausoleum, 1087, back. Grabar calls attention to the "iconophoric quality ...

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