Islamic Calligraphy Cad Blocks Free Download

Islamic blocks are a type of building block that is used to create Islamic-inspired structures. They are typically made of wood or plastic and are decorated with geometric patterns or Islamic calligraphy. Islamic blocks can be used to create a variety of structures, from simple towers to elaborate mosques.

Islamic blocks were first developed in the Middle East in the 10th century. They were originally used to create simple structures, such as houses and shops. However, over time, Islamic blocks became more elaborate and were used to create more complex structures, such as mosques and palaces.

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Similarly, the flag of Iran (1980) has the takbir written in white square kufic script a total of 22 times on the fringe of both the green and red bands. Kufic inscriptions were important in the emergence of textiles too, often functioning as decoration in the form of tiraz bands. According to Maryam Ekhtiar, "tiraz inscriptions were written in Kufic or floriated Kufic script, and later, in naskhi or throughout the islamic world".[20] Those inscriptions include the name of God or the ruler. As an example, the inscription inside the Dome of the Rock is written in Kufic. Throughout the text, we can notice the calligraphic line created by the reed pen which is usually a steady stroke with various thicknesses based on the changes in direction of the movement that has created it.[21] Square or geometric Kufic is a very simplified rectangular style widely used for tiling. In Iran sometimes entire buildings are covered with tiles spelling sacred names like those of God, Muhammad and Ali in square Kufic, a technique known as banna'i.[22] Moreover, there is "Pseudo-Kufic", also "Kufesque", which refers to imitations of the Kufic script, made in a non-Arabic context, during the Middle Ages or the Renaissance: "Imitations of Arabic in European art are often described as pseudo-Kufic, borrowing the term for an Arabic script that emphasizes straight and angular strokes, and is most commonly used in Islamic architectural decoration".[23]

In recent years, this calligraphy form has been receiving more popularity for use in ornaments (such as in decorated clocks, frames, stickers), logos (that usually implies Islamic enterprises in government and private sectors), and even in freestyle Arabic calligraphy competitions. There has been a disciplined approach of creating Square Kufic calligraphy. This controlled method of creation preserved basic and accurate features of Arabic letters with little compromises, if any. A finished work can then be qualitatively judged rather than only appreciated as an abstract piece.

While the name suggests a radial or circular form, they are usually presented in a square or rectangular shape. The 1 pixel space applies between the letters here as well. The major differences between a linear and a spiral Square Kufic calligraphy are

The genius of Islamic calligraphy lies not only in the endless creativity and versatility, but also in the balance struck by calligraphers between transmitting a text and expressing its meaning through a formal aesthetic code.

As well as being written with great elegance, there were many ways in which calligraphy could be enhanced by adding decoration. The words themselves could be written in gold, or in colours other than black. Letters and words could also be outlined or could lie against a background pattern. Calligraphers also combined different sizes, colours and styles of text for different phrases or sections of text (but always sticking to the rules of proportionality within each section). These Qu'ran folios show how calligraphers could make functional details of formatting and punctuation into beautifully designed elements.

While the Qur'an's holy status provides an explanation for calligraphy's importance, by no means is all Arabic calligraphy religious in content. In general, calligraphic inscriptions on works of art can also include poems, praise for rulers, and aphorisms (general truths or principles).

In addition to main lesson content, with my last class we visited a mosque and this time around we have an opportunity to have an Islamic calligrapher come teach the class. At Rudolf Steiner College it was recommended to explore Islamic calligraphy after learning English calligraphy as part of the European portion of the Middle Ages block, but I plan to take advantage of this opportunity anyway.

It is supposed to have three art components by giving an Islamic identity: geometric, floral, and Islamic calligraphy. Putrajaya is created to present the Islamic city in Malaysia. The Islamic art components are highly applied to the buildings' motif and ornamentations. However, the element of calligraphy is missing in the overall features of the Islamic city patterns. Therefore, this study aims to identify the Islamic components in Putrajaya's administrative public buildings. Then, to analyze the Islamic decorative elements and highlight the importance of calligraphy in determining the building's character and identity as one of the main elements that should be applied to Putrajaya's administrative public buildings. This paper is analyses a few important buildings in the city of Putrajaya. Most of the required data were collected by doing photographic documentation and on-site studies besides semi-structured interviews with the government. The researcher chose Putrajaya city to be the selected research area, focusing on the public and administrative buildings. The researcher had picked a few examples of public buildings for the study. In each building, the researcher recognizes the applied Islamic element that can found in it. These buildings are the Moroccan pavilion, Putra Mosque, The Ministry of Finance, Masjid Tuanku, Mizan Zainal Abidin, and Complex Islam Putrajaya. The analyses determine several types of elements and components with the tangible and intangible qualities that articulate their compositional order. Each type of component carries a special meaning and symbolization of Islamic culture. It is essential to apply calligraphy to represent the complete form of Islamic heritage. Further research is essential to create a guideline to help the designers and architects by providing the Islamic city's best image.

Arabic calligraphy is an artistic form of handwriting and calligraphy based on the Arabic alphabet. That (Arabic: ), which is derived from the terms 'line', 'plan', or 'building'. It was associated with a variety of fields within the Arab culture, including religion, sculpture, architecture, education, and handicraft, all of which had a significant role in its growth. Calligraphy is used to decorate religious and secular structures in a variety of mediums, including pottery, glass, carpets, gems, woodcarving, and metalwork (George 2017). The calligraphy style is determined by the text's content, the shape of the surfaces, and the purpose for which it is intended. Thus, each script took on a variety of forms and materials depending on its location (Fragment 2018).

The first phase of the Putrajaya Islamic Complex was completed in October 2011 in Precinct 3, Putrajaya. The building was completed in July 2016 and operations began on 1 December 2016. Properties constructed the Putrajaya Islamic Complex on a 2.21-hectare land. The Putrajaya Islamic Complex is comprised of four blocks, namely Blocks A, B, C, and D. It is inspired by modern Islamic architecture. This facility houses nine religious organizations that fall under the Religious Affairs portfolio of the Prime Minister's Department. Blocks A, C, and D are joined via a bridge located on each block's second floor. Additionally, the structure features an underground amphitheater that seats approximately 773 people (Ghani 2018) (Fig. 1).

Recently, cultural values became the focus for the identical and sustainable modern buildings, giving a special effort to apply the Islamic decorative elements in the design of the administrative and public buildings in Putrajaya. Strong visual images borrowed for public art in Putrajaya help to facilitate a unique structure and give the city its identity (Bunnell 2002; King 2007). This paper discusses the application of the Islamic decorative elements in chosen public administrative buildings in Putrajaya and the percentage of elements usage in Putrajaya overall. Therefore, this research aims to analyze the Islamic decorative elements and highlight the importance of calligraphy in determining the character and identity of the building as one of the main elements that should be highly applied to the public buildings in Putrajaya.

This section analyses several buildings decorations in Putrajaya regarding the three Islamic decorative elements: floral design, geometrical design, and calligraphy, with more focus on Islamic calligraphy as one of the main elements of the Islamic building design (Bunnell 2002; Moser 2010). This section contains relevant recent researches and studies that support the subject area and its analysis. In the meanwhile, the paper aims to spot the light on the research gap in this research field.

The dissemination of Arabic calligraphy dates all the way back to the Phoenician Empire, which was divided into Aramaic, Greek, Hamiri, and Hebrew languages (Gacek 2009). Aramaic calligraphy evolved into Tigris, Indian, Persian, Phahlawi, Hebrew, Murabah, and Syriac. Later on, Syriac handwriting evolved into two distinct styles: Hamari and Nabataean calligraphy (Waterman 2009). Arabic calligraphy evolved from Nabataean calligraphy. Thus, Arabic calligraphy evolved from the Nabataeans, Arabs who lived in the northern Arabian Peninsula's capital Petra (George 2009). As a result, Arabic calligraphy evolved from Nabataean calligraphy (Gacek 2009).

Islamic buildings are covered with types of decorations and colors (Kamarudin et al. 2020). They are usually ornamented from their exterior and interior, while the building's internal part got more decoration than the exterior. The external decoration can mostly be seen on the structural element, such as the domes, arches, and gates. There are three different components of Islamic design (King 2007). These three components include calligraphy that comes with different scripts, organic or floral patterns that come into vegetal abstract patterns, and geometric design in an angular and linear form for repeated patterns. All three types of designs are usually distinguished from the arabesque, a term used to describe decoration in Islamic Art (Moser 2013). These components started to be used in mosques and architectural buildings as art and appreciation of Islam as a religion and culture. They were applied as decoration and expression elements with other various purposes such as shading or breathing envelope. Hence, the three Islamic art components are significant to be utilized to create a complete cultural and Islamic identity for the buildings of Putrajaya. 2351a5e196