Abstract
The square kufıc (ma’ qıli) calligraphy, frequently employed as early as the 11th
 century in the architecture of the Great Seljuks and Anatolian Seljuks periods, gradually
 yielded its place to other calligraphic styles and penwork embellishments in Ottoman
 constructions. Conversely, compared to other script forms, an insufficient body of
 scientific research is dedicated to the accurate comprehension and thorough recognition of
 ma’qili calligraphic art. This unique calligraphic style, which is not traditionally imparted
 within conventional calligraphy education and is currently witnessing renewed interest in
 Islamic architecture and art across various countries, necessitates comprehensive studies
 to elucidate its nuanced reading and compositional logic.
 This article undertakes a detailed exploration of some Square Kufıc calligraphy from
 the era of Mimar Sinan in Istanbul to the period preceding Sinan’s time. In addition
 to analyzing the content and compositions of the inscriptions, specific errors and
 interpretations are also addressed.
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