Pseudo-Kufic, or Kufesque, also sometimes pseudo-Arabic, is a style of decoration used during the Middle Ages and the Renaissance, consisting of imitations of the Arabic script, especially Kufic, made in a non-Arabic context: "Imitations of Arabic in European art are often described as pseudo-Kufic, borrowing the term for an Arabic script that emphasizes straight and angular strokes, and is most commonly used in Islamic architectural decoration". Pseudo-Kufic appears especially often in Renaissance art in depictions of people from the Holy Land, particularly the Virgin Mary. It is an example of Islamic influences on Western art.

Some of the first imitations of the Kufic script go back to the 8th century when the English King Offa (r. 757–796) produced gold coins imitating Islamic dinars. These coins were copies of an Abbasid dinar struck in 774 by Caliph Al-Mansur, with "Offa Rex" centred on the reverse. It is clear that the moneyer had no understanding of Arabic as the Arabic text contains many errors. The coin may have been produced in order to trade with Al-Andalus; or it may be part of the annual payment of 365 mancuses that Offa promised to Rome.

In Medieval southern Italy (in merchant cities such as Amalfi and Salerno) from the mid-10th century, imitations of Arabic coins, called tarì, were widespread but only used illegible pseudo-Kufic script.

Medieval Iberia was especially rich in architectural decorations featuring both pseudo-Kufic and pseudo-Arabic designs, largely because of the presence of Islamic states on the peninsula. The Iglesia de San Román (consecrated in 1221) in Toledo included both (real) Latin and pseudo-Arabic (i.e., not Kufic style) inscriptions as decorative elements. The additions of Pedro I of Castile and León to the Alcazar of Seville (mid-14th century) bear pseudo-Kufic design elements reminiscent of the Alhambra in Granada, and the metal facade of the main doors to the Cathedral of Seville (completed 1506) include arabesque and pseudo-Kufic design elements. Such decorative elements addressed both social realities and aesthetic tastes: The presence of many Arabized Christians in many of these otherwise Christian states, and a general appreciation among the Christian aristocracy for Islamic high culture of the time.

Examples are known of the incorporation of Kufic script and Islamic-inspired colourful diamond-shaped designs such as a 13th French Limoges enamel ciborium at the British Museum. The band in pseudo-Kufic script "was a recurrent ornamental feature in Limoges and had long been adopted in Aquitaine".

Pseudo-Kufic artistic elements are found throughout the former Byzantine Empire. Churches and monasteries such as Hosios Loukas and the Church of the Holy Apostles in Athens include pseudo-Kufic decoration. In ecclesiastical buildings, the use of pseudo-Kufic decoration was most popular "starting in the first quarter of the eleventh century and ending about the middle of the twelfth." Scholarly debate has focused on why Byzantine Christian artisans would have utilized Arabesque artistic elements at a time when Byzantium was in direct conflict with the Arab world—the Byzantine reconquest of the Emirate of Crete occurred in 961, near in time to the 10th Century erection of Hosios Loukas. Use of the pseudo-Kufic motifs may have been a way to signal military triumph, in the same way that Arab armor inscribed with Kufic script was taken to Constantinople as spoils of war. The use of Arab-like script may have reflected the fact that Arabic had become the colloquial language in important monasteries and among christians in the Holy Land and Egypt. Alternatively, the use of the motifs may have been solely aesthetic, borrowing designs from luxury goods imported from the Arab world such as ceramics, textiles, or illuminated manuscripts.

Numerous instances of pseudo-Kufic are known from European art from around the 10th to the 15th century. Pseudo-Kufic inscriptions were often used as decorative bands in the architecture of Byzantine Greece from the mid 11th century to mid-12th century, and in decorative bands around religious scenes in French and German wall paintings from the mid-12th to mid-13th century, as well as in contemporary manuscript illuminations. Pseudo-Kufic would also be used as writing or as decorative elements in textiles, religious halos or frames. Many are visible in the paintings of Giotto (c. 1267 – 1337).

From 1300 to 1600, according to Rosamond Mack, the Italian imitations of Arabic script tend to rely on cursive Arabic rather than Kufic, and therefore should better be designated by the more generalist term of "pseudo-Arabic". The habit of representing gilt halos decorated with pseudo-Kufic script seems to have disappeared in 1350, but was revived around 1420 with the work of painters such as Gentile da Fabriano, who was probably responding to artistic influence in Florence, or Masaccio, who was influenced by Gentile, although his own script was "jagged and clumsy", as well as Giovanni Toscani or Fra Angelico, in a more Gothic style.