Inscriptions as Decorative Composition in Central Asian Applied Arts

Estimated reading time: 4 minutes

Letters as decorative motifs in Islamic art play a central role in shaping architectural and applied decoration. In Inscriptions in Decorative Composition, Alijon Turdaliev shows how calligraphy operates not only as text but also as ornament. Rather than serving a secondary role, epigraphy becomes a primary design system that organises surface, proportion, and visual rhythm in Central Asian architecture and applied arts.

Letters as Decorative Motifs in Epigraphic Design

Turdaliev argues that inscriptions function as decorative structures rather than simple textual additions. In Islamic art, letters as decorative motifs shape space and guide the viewer’s eye. Designers compose scripts to create rhythm, balance, and hierarchy across walls, domes, doors, and objects.

Moreover, calligraphy acts as a visual system. It links architecture, ornament, and meaning into a unified whole. This approach aligns with broader traditions of Islamic architectural ornament, where writing and pattern work together.

Religious Context and Letters as Decorative Motifs in Islamic Art

The rise of letters as decorative motifs in Islamic art followed the spread of Islam in Central Asia from the eighth century. Over time, religious attitudes limited figurative imagery. As a result, artists focused on calligraphy, geometry, and vegetal forms.

Arabic scripts such as Kufic, Thuluth, and Naskh became key tools of decoration. Craftspeople integrated verses, dedications, and names into architecture. However, these inscriptions did not interrupt ornament. Instead, they merged with it and formed visual patterns.

Compositional Strategies Using Letters as Decorative Motifs

Turdaliev explains that inscriptions adapt to surface geometry. Circular objects carry ring-shaped texts, while columns display horizontal bands. Square panels, by contrast, use structured grids or stacked lines.

Furthermore, artists vary letter height, stroke width, and spacing. These choices control emphasis and balance. Decorative frames and vegetal scrolls often surround inscriptions, which strengthens the link between text and pattern.

Letters as Decorative Motifs Beyond Text

The article shows that letters as decorative motifs extend beyond meaning. Tall letters such as alif and lam become visual anchors. Artists stretch, thicken, or stylise them to create structure.

In some cases, letters form floral or architectural shapes. Consequently, script and ornament become inseparable. Calligraphy gains visual independence while still carrying meaning.

Letters as Decorative Motifs in Applied Arts and Material Culture

Turdaliev also studies inscriptions on metal vessels, lamps, doors, and fittings. Here, writing often sits within patterned borders. This structure directs attention and creates unity.

Therefore, epigraphy appears at every scale. From monumental buildings to portable objects, letters as decorative motifs unify Central Asian material culture. You can compare this approach with other examples discussed in our article on Islamic architectural ornament.

Scholarly Significance of Letters as Decorative Motifs

For scholars of decorative and applied arts, the article reframes epigraphy as design knowledge. It explains how inscriptions shape order, proportion, and space rather than serving language alone.

As a result, this study supports wider debates on ornament as knowledge. It complements research published by institutions such as the Victoria and Albert Museum and contributes to discussions on Islamic ornament and architecture.

Source

Turdaliev, A. (2022). Inscriptions in decorative composition. JournalNX, 8(11), 289–292. https://doi.org/10.17605/OSF.IO/ZXNQF