Known as the chahar Muhammad (four Muhammad) in Persian, this pattern is largely associated with the Mamluk marble decoration of the Qalawun family. While it appears in several regions across the Islamic world, most of this pattern’s variations are found in Cairo, particularly in the constructions of al-Nasir Muhammad and his amirs. The Cairene variations are also the most colourful, impressively executed in marble mosaics featuring abstract and geometric borders.

The displayed arrangement of Muhammad and ‘Ali is not the only form of the chahar Muhammad pattern. Some interesting arrangements include a central meem (م) shared by the four repetitions of Muhammad. Others reverse the letter arrangement so that the dals (د) meet at the centre instead of the meems (م). However, not all variations of the chahar Muhammad are as readable as this displayed variation; some are mistaken for purely geometric meanders. One such example is the wooden carving of the chahar Muhammad on the doors of al-Rifa‘i Mosque.

The Qalawunid arrangement of the chahar Muhammad has inspired several Arab artists, most notably the Syrian calligrapher and type designer Mamoun Sakkal. Sakkal is himself an authority on modern square Kufic and its historic development. His study of the different arrangements of the chahar Muhammad pattern has inspired numerous logos currently used by organisations worldwide. Furthemore, Sakkal’s typography, which also builds on other types of Kufic calligraphy, has been incorporated into many digital typefaces for design and writing software.