P nar Kasapoğlu Akyol
172
deep relationship with the child through the lullabies she performs and starts to develop him
about the desired behaviors in all areas of life.
Therefore, lullabies are the answer for emotional and physical needs for both babies
and mothers. Because of this reason, to be able to keep the lullabies the common language of
love through the world, new generations need to be educated about cultural elements of the
world. If this awareness is accomplished, emotionally healthy and happy people and societies
form in the world and lullabies and such cultural heritages can be passed on to the future.
6. References
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From Tradition to the Future Universal Language of Love: Lullabies
173
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Cumhuriyeti.
Pseudo-Kûfic Ornament in Byzantine Art
Erkan Kaya
1. Introduction
The etymological concept of the word pseudo-kufic is in Greek “pseudo” means “liar” and
“kufic” (kûfi) is used as a writing font in the Arabic alphabet. These verses because of not
providing a meaningful text mostly have taken their places in architecture as wall
decorations. Besides the front part they also have seen in frescoes. Not only in architecture
pseudo-kufic decoration also encountered in samples of handicrafts, textiles, glass,
ceramics and metals. It requires us to question in which points and the ways that the
interaction has become as the examples of these ornaments used as meaningless texts are
having similarities to the letters of the Arabic alphabet and even some of them have been
exactly copied from letters. Therefore, in this study, the pseudo-kufic applications in
Byzantine architecture will be explained with a statement of how the
kufi letters have come
to Byzantine architecture from different regions. Pseudo-Kufic is a style of decoration that
was common in the structures of the Byzantine period located in the south and west of
Greece as of the 11
th
century (Picture 1).
2. Examples of Pseudo-Kufic
In the late 19
th
century,
the works of some scholar
like Alois Riegl who was a pioneer in art and
history directed the further research in this area
(Pedone & Cantone, 2013, p. 121).
In 1846,
Longperier showed that some of the examples
made of the Arabic alphabet had quite a
similarity between them (Spittle, 1954, p. 136)
(Longperier, 1846). Archibald H. Christie
then
published an article on this issue, and Walter Leo
Hildburgh cited this work many times (Spittle,
1954, p. 136) (Christie, 1922) (Hildburgh, 1936).
The first consistent information about the style of
architectural decoration known as pseudo-kufic is
known to have been provided by Strzygowski
who encountered the flowery kufic in the Islamic
decoration art in 1905 (Megaw, The Chronology
of Some Middle-Byzantine Churches, 1931, p.
103) (Strzygowski, 1905, p. 312). On the other
hand, in recent studies, the similarity of
i
d
e
ological and cultural interests has been discovered in decoration works (Pedone &
Cantone, 2013). It is known that pseudo-kufic is found in the south of Italy, and in Greece,
Sicily and Spain (Spittle, 1954, p. 136). However, most of the studies focused on the
Hosios Loukas Monastery where the first architectural examples are located in Greece
(Picture 2).
Picture 1. Latsoudi, Greece
(
https://maps.google.com/)
Picture 2. Hosios Loukas Monastery
(
https://maps.google.com/)