Pseudo-Kufic - Renaissance Painting

Renaissance Painting

Numerous instances of pseudo-Kufic are known from European art from around the 10th to the 15th century. Pseudo-Kufic inscriptions were often used as decorative bands in the architecture of Byzantine Greece from the mid 11th century to mid-12th century, and in decorative bands around religious scenes in French and German wall paintings from the mid-12th to mid-13th century, as well as in contemporary manuscript illuminations. Pseudo-Kufic would also be used as writing or as decorative elements in textiles, religious halos or frames. Many are visible in the paintings of Giotto (c. 1267-1337).

From 1300 to 1600, according to Rosamond Mack, the Italian imitations of Arabic script tend to rely on cursive Arabic rather than Kufic, and therefore should better be designated by the more generalist term of "Pseudo-Arabic". The habit of representing gilt halos decorated with pseudo-Kufic script seems to have disappeared in 1350, but was revived around 1420 with the work of painters such as Gentile da Fabriano, who was probably responding to artistic influence in Florence, or Masaccio, who was influenced by Gentile, although his own script was "jagged and clumsy", as well as Giovanni Toscani or Fra Angelico, in a more Gothic style.

From around 1450, northern Italian artists also started to incorporate pseudo-Islamic decorative devices in their paintings. Francesco Squarcione started the trend in 1455, and he was soon followed by his main pupil, Andrea Mantegna. In the 1456-1459 San Zeno Altarpiece, Mantegna combines pseudo-Islamic script in halos and garment hems (see detail), to depiction of Mamluk book-bindings in the hand of San Zeno (see detail), and even to a Turkish carpet at the feet of the Virgin Mary (see detail).

The exact reason for the incorporation of pseudo-Kufic or pseudo-Arabic in Medieval or early Renaissance painting is unclear. It seems that Westerners mistakenly associated 13-14th century Middle-Eastern scripts as being identical with the scripts current during Jesus's time, and thus found natural to represent early Christians in association with them: "In Renaissance art, pseudo-Kufic script was used to decorate the costumes of Old Testament heroes like David". Another reason might be that artist wished to express a cultural universality for the Christian faith, by blending together various written languages, at a time when the church had strong international ambitions.

Pseudo-Hebrew is also sometimes seen, as in the mosaic at the back of the abse in Marco Marziale's Circumcision, which does not use actual Hebrew characters. It was especially common in German works.

Finally pseudo-Arabic elements became rare after the second decade of the 16th century. According to Rosamond Mack: "The Eastern scripts, garments, and halos disappeared when the Italians viewed the Early Christian era in an antique Roman context.".