Thuluth (Arabic: ثُلُث, Thuluth or Arabic: خَطُّ الثُّلُثِ, Khaṭṭ-uth-Thuluth; Persian: ثلث, Sols; Turkish: Sülüs, from thuluth "one-third") is an Arabic script variety of Islamic calligraphy. The straight angular forms of Kufic were replaced in the new script by curved and oblique lines. In Thuluth, one-third of each letter slopes, from which the name (meaning "a third" in Arabic) comes. An alternative theory to the meaning is that the smallest width of the letter is one third of its widest part. It is an elegant, cursive script, used in medieval times on mosque decorations. Various calligraphic styles evolved from Thuluth through slight changes of form.
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👉 Thuluth in the context of Ottoman decoration
Decoration in Ottoman architecture takes on several forms, the most prominent of which include tile decoration, painted decoration, and stone carving. Beginning in the 14th century, early Ottoman decoration was largely a continuation of earlier Seljuk styles in Anatolia as well as other predominant styles of decoration found in Islamic art and architecture at the time. Over the course of the next few centuries, a distinctive Ottoman repertoire of motifs evolved, mostly floral motifs, such as rumî, hatayî, and saz styles. Calligraphic inscriptions, most characteristically in a thuluth script, were also a mainstay. From the 18th century onward, this repertoire became increasingly influenced by Western European art and architecture and went as far as directly borrowing techniques and styles from the latter.
Ottoman tiles attained a prominent role in decoration. Starting in the early 15th century, cuerda seca tiles in vivid colours were widely used in various buildings, using mostly vegetal arabesque motifs, of which the most dramatic early example is the Green Mosque and Green Tomb in Bursa (circa 1424). Various examples of tilework from this century seem to show possible Iranian influence and connections to Timurid art. A distinctive style of blue-and-white fritware, influenced by Chinese motifs and often attributed to an early stage of Iznik tilework, is evidenced by the late 15th century and characterizes the early 16th century. Iznik tiles became highly favoured during the rest of the 16th century and reached their artistic peak in the second half of the century. They featured stylized floral and vegetal motifs in blue, white, red, and green colours. The Iznik industry declined by the end of the 17th century, with production of lower-quality tiles shifting to Kütahya. In the early 18th century, a revival of tile art was attempted through the establishment of a new workshop at Tekfursaray in Istanbul, but ultimately the industry faded after this and tile decoration lost its importance.
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Thuluth in the context of Allāh
Allah (/ˈælə, ˈɑːlə, əˈlɑː/ A(H)L-ə, ə-LAH; Arabic: الله, IPA: [ɑɫˈɫɑːh] ) is the Arabic language term for God, specifically the monotheistic God of Abraham. Outside of Arabic languages, it is principally associated with Islam (in which it is also considered the proper name), although the term was used in pre-Islamic Arabia and continues to be used today by Arabic-speaking adherents of any of the Abrahamic religions, including Judaism and Christianity. It is thought to be derived by contraction from al-ilāh (الاله, lit. 'the god') and is linguistically related to other semitic God names, such as Aramaic (ܐܲܠܵܗܵܐ ʼAlāhā) and Hebrew (אֱלוֹהַּ ʾĔlōah).
The word "Allah" now conveys the superiority or sole existence of one God, but among the pre-Islamic Arabs, Allah was a supreme deity and was worshipped alongside lesser deities in a pantheon. Many Jews, Christians, and early Muslims used "Allah" and "al-ilah" synonymously in Classical Arabic. The word is also frequently, albeit not exclusively, used by Bábists, Baháʼís, Mandaeans, Indonesian Christians, Maltese Christians, and Sephardic Jews, as well as by the Gagauz people.