Muslim Stone Gravestones of the 14th Century from the Golden Horde City of Azak by Alexander P. Minaev, Nikita I. Iudin

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ÖDEMİŞ EKİN PAZARI CÂMİÎ YAZILARI by Bilal Sezer

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Yeni Bulunan Bir Selçuklu Kitabesi: İç Karaarslan Mescidi Kitabesi by Zekeriya Şimşir, Ahmet Yavuzyılmaz

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Konya Alâeddin Camii Mihrap Yüzeyindeki Selçuklu Sülüsü Yazıların Hat Sanatı Açısından Değerlendirilmesi by Nihat Kağnıcı

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The Role of Arabic Calligraphy in Displaying the Aesthetics of Linear Configurations in the Kiswah of Kaaba by Duaa Mohammed Alashari

“…The Kiswah of the Kaaba, in the Saudi era, is adorned with Arabic calligraphy, executed in the complex Thuluth calligraphy. These calligraphic formations are compatible with the aesthetic and spiritual function of the Kiswah of Kaaba. …”
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Combining calligraphy and plant motifs as a starting point for achieving a formative vision of the metal work with the students In the Faculty of Art Education by mohamed eisa hasanen

“…This experiment aimed to identify an aspect of the Islamic and Arab heritage represented in the letters of the thuluth calligraphy, along with some Islamic floral decorations, and the combination of the letters of the thuluth calligraphy and plant decorations to achieve a new vision of metalwork and develop the design ability of students of the College of Art Education to achieve compatibility between special manual plastic methods metal works, And between an important part of the national heritage represented in the Arabic calligraphy and Islamic decorations, and after the theoretical study, the researcher prepared a teaching program cons-isting of 6 interviews to apply it to the students of the fifth year of the College of Art Education to arrive at the creation of a metal hanging based on the letters of the Thu-luth calligraphy, and the Islamic floral decorations, The researcher has reached many results, the most important of which is that the Thuluth calligraphy, is a rich and fertile source through the diversity of design methods between overlay, condensation, redu-ction, enlargement and merging, which gives diversity and contrast in artwork in gen-eral and in metalwork in particular, writings and letters are compatible with many formation methods. …”
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THE SPLENDOUR OF ISLAMIC CALLIGRAPHY / by Khatibi, Abdel Kebir, author 228632, Sijelmassi, Mohammad, author 653609

“…Finally, and perhaps most important, it contains outstanding examples of scripts kufic, thuluth, naskhi, and maghribi in a series of magnificent reproductions of manuscript pages, paintings, and other works of art. 232 illustrations, 98 in color.…”

Introduction to ISLAMIC CALLIGRAPHY / by Abd. Rahman Hamzah, author 290961, E-Sentral(Online service)

“…The major calligraphy style, namely Kufi, Naskh, Thuluth, Diwani, Riq ‘ah and Nasta ‘liq (including Ta ’liq and Shikasteh) are clarified besides the tools of a calligrapher and information on a few prominent calligraphers. …”

A Rediscovered Almoravid Qurʾān in the Bavarian State Library, Munich (Cod. arab. 4) by Bongianino, U

“…Among its many interesting features are: its early date; its lavish illumination; its colophon and the information contained therein; its system of notation and textual division; its use of different calligraphic styles, including Maghribī thuluth; and a series of didactic notes written at the beginning and end of the codex. …”

Introduction to Islamic calligraphy by Hamzah, Abd. Rahman

“…The major calligraphy style, namely Kufi, Naskh, Thuluth, Diwani, Riq ‘ah and Nasta ‘liq (including Ta ’liq and Shikasteh) are clarified besides the tools of a calligrapher and information on a few prominent calligraphers. …”
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Visual Features of Gilding of Qurans of the Collection of Sheikh Ahmad Jami (Study of Five Qurans from the Seljuk to the Qajar Periods) by rosa nikzat, alireza sheikhi

“…Ornamental Kufic and Thuluth scripts for heading of Surah, and Rehyan and Thuluth scripts for the body of Quran were applicable and practical until the Safavid era; and, from then on, Naskh script became more prevalent. …”
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An Artistic archaeological study for four new stone inscriptions in Yemen during (11-12 AH / 17-18 AD). by Hassan Lutf Ahmed Al-Rassas

“…The epigraphs of their graves were made of Balaq stone, the writing was carried out on them in Naskh script and the hidden thuluth; The third inscription concerns Al-Hurra: Zakiya bint Muhammad bin Ahmed Al-Rassas (d.1131AH/1718AD), which is made of limestone, and its inscriptions…”
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An examination of the decorations of the wooden door of the tomb of four kings in Lahijan is available in the National Museum of Iran by Mahsa Tondro

“…The most used line in inscriptions is the thuluth. Moreover, the themes of the inscriptions also include historical prayers and poetry. …”
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Malay and Islamic traditions elements through the paintings of Mastura Abdul Rahman, Ruzaika Omar Basareee and Haron Mokhtar by Ahmad Hakim Abdullah, Yuhanis Ibrahim, Mohammed Iqbal Badaruddin

“…The analyses found that these works used Islamic art elements, like the “Thuluth” khat in “Zahir Mosque”, as well as the combination of colour and flora motifs on “Siri Dungun”. …”
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The visual analysis of the motifs of Tal Bakun pottery and their application in fabric design by Mohammad Afrough, Mansoureh Bavanaji

“…The most used line in inscriptions is the thuluth. Moreover, the themes of the inscriptions also include historical prayers and poetry. …”
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The Role of Religious Concepts in the Nastaliq Inscriptions of Safavid Monuments by Farhad Khosravi Bizhaem

“…Problem Definition: The usage of inscriptions in the Safavid monuments has been expanded and diverse, and the initial study of these works shows that the Safavid artists often used Thuluth and Kufic inscriptions to write religious themes and Nastaliq for non-religious inscriptions. …”
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Residual-based approach for authenticating pattern of multi-style diacritical Arabic texts by Hakak, Saqib Iqbal, Kamsin, Amirrudin, Shivakumara, Palaiahnakote, Tayan, Omar, Idris, Mohd Yamani Idna, Abukhir, Khir Zuhaili

“…Due to the different characteristics of the Arabic letters like diacritics (punctuation symbols), kashida (extended letters) and other symbols, it is written and available in different styles like Kufi, Naskh, Thuluth, Uthmani, etc. As social media has become part of our daily life, posting downloaded Qur’anic verses from the web is common. …”

Jenis-jenis seni kaligrafi Arab sebagai hiasan di masjid-masjid daerah di Sabah by Saini Ag. Damit, Bambang Muhamad Rafadi Yusoff, Noorafini Kassim, Nor Ain Manap

“…Antara jenis-jenis kaligrafi atau khat utama yang dikenal pasti dalam masjid-masjid tersebut ialah Khat Thuluth (94.1 peratus), Khat Nasakh (5.8 peratus), Khat Dīwānī (5.8%) dan Khat Kūfī (5.8 peratus). …”
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Typology of Line and Form in the Pattern of Bismillah Bird (Case Study of Professor Reza Mafi’s Work) by Seyed Nezamoddin Emamifar, Farzane Ramezanniay Kinchah

“…These forms are generally drawn using the problematic script of Thuluth (and sometimes Nastaliq). According to the investigated works (symbolic images of bird, drawing of Bismillah to create images) the form of lines and images are drawn alike symbols and meaningful forms, in spite of script drawing in which words are made void of their meanings, and as the form and color elements are superior and words and letters play only aesthetic roles, words in script drawing are used controversially, and the element of script has the main visual role.…”
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A Comparative Analysis of Visual Elements of the Stucco Ornaments in Soltaniyeh Monument, Sayyed Roknaddin Mausoleum and Sayyed Shamsaddin Mausoleum in Yazd by Farnoush Shamili, Zeinab Samadnezhadazar, yaser hamzavi

“…Furthermore, in all three buildings, Islamic motifs, geometric knots, Thuluth and Kufic scripts have been observed.…”
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