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The paper aims to study a collection of Ottoman ceramic tiles in the mihrab of Al-Muradiyya Mosque in Edirne archaeologically and artistically. These tiles were decorated with various decorative elements, including inscriptions, floral ornaments, geometric shapes, and architectural elements. They were the best Ottoman ceramic tiles in terms of the industrial and decorative style in the first half of the 9th H./15th G. century. The methodology of the paper included three domains: The descriptive study, analytical study, and comparative study. It was followed by the conclusion and results.

One of the ambiguities in the history of Islamic calligraphy is the determination of the regions where each script prevailed in the first three Hijri centuries. This ambiguity is due to the dispersion of book leaves and the lack of reliable colophons in early copies. The J. Paul Getty Museum preserves a few leaves of a Qur'an that is one of the significant examples of Early Abbasid style. This Qur'an was discovered in Kairouan, Tunisia, so historians have attributed its origin to that place. Yet, evidence proves it was produced in Central Iran. This evidence includes the eastern-system diacritic and the Abjad script used in the sign for the numeral ten āyahs; moreover, its script resembles the monumental script of some of the signed New Style Qur'ans copied in Isfahan and Rayy. Because the Getty Qur'an is copied in D.I script (the subgroup described by codicologist and paleographer François Déroche), the D.I script can be attributed to Central Iran.

This paper investigates square Kufic scripts, a type of architectural decorative art in Islamic culture, as a visual pattern. Considerable research has been carried out previously on the subject, treating the square Kufic scripts as text. In contrast, the visual approach of this paper proposes that the pattern generation in Kufic scripts needs to be investigated. The main contribution of this research is presenting a novel algorithm to create square Kufic patterns that can totally cover a planar shape. In traditional definitions, such a pattern is called mushkil (‘complicated’) being special because of the “readability” of both black and white words, by its own criteria. The design principles implemented in the algorithm are adopted from original written sources. Also, some new principles are proposed here to make up for the limited availability of sources. In comparison to other methods, the proposed method is much simpler and more effective in terms of formal analysis and generation.