Hz Muhammed’in Fiziği Ve Resimleri

I – Cübbeli Ahmet Hoca: Hz Muhammed’i Rüyamda Görmek Nasip Oldu

II – Hadislere Göre Hz Muhammed’in Fiziki Görünüşü Nasıldı?  Hz Muhammed’in Tanımlanan Fiziksel Özellikleri

III – Hz Muhammed’in Fiziksel Görünüşü:

IV – İslami Kaynaklarda Hz Muhammed Resimleri

V – Kitaplarda Hz Muhammed’in Görünüşü

VI - Islamic Depictions of Mohammed with Face Hidden 

VII – European Medieval and Renaissance Images

VIII – Miscellaneous Mohammed Images 

IX - Islamic Depictions of Mohammed in Full 

X –  Canım, Hz muhammed O Şekildedir Demek İstemiyorki O Şekilde Göründü Demek İstiyor, Bunda Abartılacak Ne Varki? 

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I – Cübbeli Ahmet Hoca: Hz Muhammed’i Rüyamda Görmek Oldu

Al-i İmran, 3/78

“Kitap ehlinden öyle bir güruh da vardır ki, siz onu kitaptan sanasınız diye, dillerini kitaba doğru eğip bükerler. Halbuki o, kitaptan değildir. “Bu, Allah katındandır.” derler; oysa o, Allah katından değildir. Allah’a karşı, kendileri bilip dururken, yalan söylerler.”

 

Cübbeli’nin rüyası: “Peygamberimizin yüzü Mahmud Efendisi’nin yüzünün ‘aynısıymış’!!!”

 

Butür Cematler Kendi Vaaz Video’larını Sürekli İnternet Ortamından Kaldırdıkları İçin Eğer Video Çalışmazsa Cübbeli Ahmet Hoca Tam Olarak Şunları Diyor

“Hz Muhammed’i Evvelcede gördüm fakat bu sefer net gördüm. Ama sorsanız ki şukadar insandan en çok kime benziyor, aynı efendi hazretlerinin (Mahmut Efendi) yüzü, bizim efendi hazretlerinin yüzü varya, kaldır onu koy onu.” 

 

Peki Mahmud Efendi Hazretleri Görünüş Olarak Neye Benziyor?

http://www.mahmudelofi.com/2011/08/22/mahmud-efendi-hazretlerimizin-gencliginden/

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II – Hadislerda Hz Muhammed’in Tanımlanan Fiziksel Özellikleri

Hazreti Muhammed’in (S.A.V) fiziki özellikleri nasıldı? Vefat ettiği zaman saçı ve sakalı ne durumdaydı? Peki Hz. Peygamber, ne renk elbise giyerdi?

Kanal 7 ekranlarından tanıdığımız Doç. Dr. Mustafa Karataş, Yeni Şafak Gazetesi’ndeki ‘Rahmet Damlaları’ adlı köşesinde “Hz. Peygamberin Şemaili”ni yazdı. Peygamber efendimizin fiziki olarak dengeli bir vücuda sahip olduğunu, Hz. Ali (r.a) ve Ahmet Cevdet Paşa’dan örnekler vererek, kaleme aldı.

İşte Karataş’ın bugünkü yazısı:

Allah Rasulü Hz. Muhammed (a.s)’in sîreti kadar sûreti de güzeldi. Hz. Peygamber dengeli bir vücuda sahipti. Onun görünüşünde insanı rahatsız edecek bir şey yoktu. Boyu, saçları, başı, burnu, gözleri, sakalı, dişleri, boynu vs. her şeyi düzgün ve dengeliydi. Hz. Ali (r.a) kendisine Rasulullah (a.s)’ın beden yapısı sorulduğunda Sevgili Peygamberimizin fizikî özelliklerini şöyle anlatmaktadır:

Rasulullah (a.s) ne son derece uzun ne de son derece kısaydı, o, orta boyluydu. Saçları, tam düz olmayıp, biraz kıvrımlıydı. Şişman olmadığı gibi yüzü tamamen yuvarlak da değildi ve rengi kırmızıya çalan beyazdı. Gözleri kara, kirpikleri uzundu. Mafsal kemikleri ve omuzlarının arası iriydi. Avuçları ve ayakları dolgundu. Yürüdüğü vakit, yamaçta yürüyormuş gibi sert adımlar atardı. Bir tarafa döndüğünde bütün vücuduyla dönerdi. İki omuzu, arasında Peygamberlik mührü vardı; zira o, Peygamberlerin sonuncusuydu. Gönlü cömert ve aksanı en düzgün kişiydi. Gayet yumuşak tabiatlı, muaşereti de soylu idi. Ansızın gören (heybetinden) ilk anda ondan çekinir, fakat tanıdıkça onu daha çok severdi. Kendisini tanımlayan kimse, ‘Ne ondan önce ne de ondan sonra asla bir benzerini görmedim’ derdi.’ ‘

Hz. Peygamber’in şemâiliyle ilgili rivayetleri en güzel bir biçimde derleyen Ahmet Cevdet Paşa onun fiziki özelliklerini şöyle anlatıyor:

‘Rasulullah (a.s)’in mübarek vücudu güzel, her azası birbirine uygun, boy ve posu gayet düzgün, alnı, göğsü, iki omuzlarının arası ve avuçları geniş, boynu uzun ve her şeyi ölçülü; gümüş gibi saf; omuzları, pazuları ve baldırları iri ve kalın, bilekleri uzun, parmakları uzunca, elleri ve parmakları kalınca idi. Mübarek cildi ise ipekten yumuşaktı.

Aşırı olmamak üzere büyük başlı, hilal kaşlı, çekme burunlu, oval yüzlü idi. Kirpikleri uzun, gözleri kara ve güzel, büyücek ve iki kaşının arası açık, fakat kaşları birbirine yakındı.

O Yüce Peygamber, parlak gül renginde, yani ne çok beyaz ne de esmer olmayıp, bu iki rengin ortası gül kırmızısına benzer beyaz, nurani ve berrak olup, mübarek yüzünden adeta nur parlardı. Dişleri, inci gibi parlak ve ışıl ışıl olup, söylerken ön dişlerinden nur saçılır; gülerken mübarek ağzı, şimşek gibi ışıklar saçarak açılırdı.

Vefat ettiği zaman saçı ve sakalı henüz ağarmaya başlamış; saç ve sakalında yirmi kadar beyaz kıl vardı.

Duyu organları fevkalade sağlam ve kuvvetli idi. Pek uzaktan işitir ve kimsenin göremeyeceği yerden görürdü. Hülasa en güzel ve müstesna surette yaratılmış bir mübarek varlık idi. Onu ansızın gören kimseyi bir sevgi kaplar, O’nunla sohbet eden ve görüşen kimse, O’na can-ı gönülden tutulur ve âşık olurdu. İnsanlardan kim hangi derecede saygıya layıksa ona göre davranır; akrabalarını da görür ve gözetir, onlara da ikram eylerdi. Ancak akrabası da olsa onları, diğer ashabından ayrı tutmaz ve farklı muamele etmezdi.

Hizmetçilerini pek hoş tutar; Kendisi ne yer ve ne giyerse, onlara da onu yedirir ve onu giydirirdi. Son derece cömert, eli açık, herkese iyilik eder, ikramda bulunur, şefkat ve merhametle davranır, affetmeyi ve bağışlamayı sever, hem cesur hem de yumuşak huylu idi. Verdiği sözde durur, her zaman doğruyu söylerdi. Sözün özü, ahlakının güzelliği, zekâsının keskinliği ile bütün insanlığın üzerinde ve her türlü övgüye layık idi. Yeme ve giyme hususunda yoksulluk derecesinde yaşar, her şeyde aşırı olmaktan uzak dururdu.’

Hz. Peygamber çeşitli renk ve desenlerde elbiseler giymiştir. Ancak onun daha çok beyaz renkli elbiseleri tercih ettiğini biliyoruz. O toplumda diğer insanların giydiği kıyafetleri giymiş, elbisenin temiz ve yırtıksız olmasına dikkat etmiştir. Ayrıca kendisine getirilen hediye giysileri de kullanmıştır. Yün, keten ve pamuklu giysiler giymiş ancak ipek kumaştan yapılmış elbiseleri kullanmamıştır.

Resûlullah (a.s) daima güzel kokar, saç ve sakalının bakımına son derece dikkat ederdi. Sakalını hiçbir zaman dağınık bırakmamış, bunu başkaları için de hoş karşılamamıştır. İtikafta olduğu zamanlarda bile başını mescidden odasına uzatarak hanımlarına saçlarını yıkatmıştır. O saçını ve sakalını kontrol etmek için ayna kullanmış, gözlerine sürme çekmiştir. Öte yandan çirkin olacağı için sadece tek ayağa ayakkabı giyilmesini de yasaklamıştır.

Kaynak: Yeni Şafak

http://ramazan.haber7.com/oruc/haber/906559-mustafa-karatas-hz-peygamberin-semailini-yazdi

 

Hz Muhammed’in Robot Resmi Çizilebilinirmi?

Tarif üzerine Robot resim çizebilenlere Muhammed’in tanımını yapan Siyer veya İslam tarihi ansiklopedisi vs… gibi bir çok kaynaklarda yapılan tarifleri üzerine resmedilmeye kalksa nasıl bir görünüş (profil) ortaya çıkar hiç düşündünüz mü?

Bu soruya yanıt aslında sitemizde mevcuttu ancak okuma merakı olmadan inanmak moda olduğundan ve birileri bunu özellikle İslam dini için tavsiye ettiğinden küçük bir açıklama yapmakla yetinelim.

Çünkü okumayı bilen-sevenler zaten sorunun yanıtını da sitemizdeki kaynaklardan bulmuş olmaları gerek.

Muhammed, İbrahim doğduğunda 60 yaşlarında yaşlı ve ihtiyar bir adamdı.
Mariye çok genç ve güzel bir kadın olmasına rağmen Muhammed hiç bir zaman onunla evlenmedi. Çünkü hakkında çıkan dedikodular ve içindeki şüphe Muhammed’i her zaman rahatsız etmiştir. Mariye ile neden evlenmediğinin sebebi gün gibi aşikârdır.

Yine İbni Sad’in Tabakat adli eserine baktığımızda, İbrahim bebek iken Muhammed onu kollarına almış ve Ayşe’ye söyle demiştir; Bak, bana ne kadar benziyor değil mi?

Ayşe Muhammed’in sorusuna su cevabi verir; Ben pek bir benzerlik görmüyorum.

Muhammed ise Tombul yanaklarını görmüyor musun diye cevap verir. Ayşe bu sefer Yeni doğan her çocuk süt içtiği için tombul yanaklıdır cevabini verir.

…/…

Muhammed genç yaslarında yakışıklı biri olarak anılırdı. Fakat ileriki yıllarında etrafındaki kişiler Muhammed’in görünümünde gariplik hissetmeye başlamışlardı.

Müslümanlar peygamberlerinden bahsederken gerçek ve mantık dışı benzetmelerde bulunurlar.
Örneğin güldüğünde dişlerinin güneş gibi parlaması veya yürürken ona gölge etmek için devamlı üzerinde bir bulutun onu takip etmesi gibi hayal ürünü bir sürü söylemleri birçok kere duymuşuzdur.

Tüm bunlar mantık dışı ve bilime aykırı olduğu için bu örneklerden söz etmeyeceğim. Aşağıda Muhammed’in fiziksel özelliklerini ve görünüşünü liste halinde sağlam kaynaklara dayanarak yazıyorum;

El ve ayakları iri, dolgun ve kalındı
Hz. Ali şunu söylemiştir Rasulullah’in (s.a.v.) elleri iriydi.
Osman İbn Abdilmelik şöyle dedi Hz. Ali’nin arkadaşlarından olan dayım, bana, Hz. Ali’nin şöyle dediğini anlattı.
Rasulullah’ın (s.a.v.) el ve ayakları dolgundu (kalındı).

Avucu geniş ve yumuşaktı.
El-Hasen, dayısı Hind’in şöyle dediğini rivayet etti. Rasulullah’ın (s.a.v.) avuçlarının içi genişti.

Enes şöyle demiştir. Ben, Rasulullah’ın (s.a.v.) avucunun yumuşaklığını atlasta ve ipekte görmedim.

Mariye şunu söyledi. Peygamber’e (s.a.v.) beyat ettiğimde, o güne kadar onun elinden daha yumuşak bir ele dokunmamıştım.

Kafası büyüktü.
El-Hasen İbn Ali, dayısı Hind Ibn Ebi Hale’nin şu sözünü rivayet etti.
Rasulullah’ın (s.a.v.) başı büyüktü.
Nafi Ibn Cübeyr şöyle dedi Ali İbn Ebu Talib, bize, Peygamber’i (s.a.v.) tarif ederken şöyle dedi. Onun başı büyüktü.

İri kemik ve iri eklemliydi
Hind şöyle demiştir Rasulullah’ın (s.a.v.) bilekleri uzun, mafsalları (eklemleri) kalındı.

Derisinde et parçacıkları (peygamberlik mührü)
Ben Resulullah Efendimizin kürek kemikleri arasında bulunan nübüvvet mührünü gördüm. O, güvercin yumurtası büyüklüğünde kırmızımtırak bir yumru idi (Et-Tirmizi İmam Ebu İ’sa Muhammed, Şemail-i Şerife, 1. cilt, Hilal Yayınları, Ankara,1976, s. 36) .

Geniş göğüs ve omuzlar.
El-Bera İbn Azib şunu söyledi Rasulullah’ın (s.a.v.) omuzları genişti.
El-Hasen, dayısı Hind’in şöyle dediğini anlattıRasulullah’ın (s.a.v.) göğsü enli, göğsü ve karnı bir seviyedeydi, çıkık değildi.

Vücut kasları geniş (enli)
Et-Teveme’nin mevlası (azatlı kölesi) Salih şöyle dedi Ebu Hureyre, Rasuhıllah’ı (s.a.v.) tarif ederken şöyle dedi Rasulullah’m (s.a.v.) pazıları enliydi.

Parmaklar kalın ve uzun
Hz. Ali şunu anlattı Rasulullah’ın (s.a.v.) avuç ve ayaklan dolgundu, parmakları uzundu.

Kavisli burun
Hind İbn Ebi Hale şöyle dedi Rasulullah’m (s.a.v.) burun kemiğinin ortasında bir kavis vardı. Burnunda, ona güzellik veren bir parlaklık vardı. Dikkat etmeyen kimse onun burun kemiğinin uzun olduğunu zannederdi.

Geniş ağız.
Cabir İbn Semura şöyle dedi.
Rasulullah (s.a.v.) geniş ağızlıydı. Gözler iri Mübarek gözleri büyük idi. (Imam-ı Ahmed Kastalani, (Mevahib-i ledünniyye)

Dişler seyrek ve aralıklı.
Cumey’ şöyle dedi.  Rasulullah (s.a.v.) geniş ağızlı ve seyrek dişliydi.
İbn Abbas şöyle dedi. Rasuhıllah’m (s.a.v.) Ön dişleri seyrekti.

Uzun Boyun
Ummu Ma’bed Rasulullah’ı tarif ederken şöyle demiştir Onun boynunda uzunluk vardı.

Yüzünde ve ciltte parıltı (yağlanma)
El-Hasen, dayısı Hind’in şöyle dediğini rivayet etti. Her türlü büyüklük Rasulullah’ta (s.a.v.) toplanmıştı. Onun yüzü, ayın on dördü gibi parlardı.

Kalın saçlar.
Hz. Aişe şöyle demiştir Peygamber (s.a.v.) tarakla saçlarını taradığında sanki kumlan kazırcasına tarardı.

Sık Sakal.
El-Hasen İbn Ali, dayısı Hind’in şu sözünü söyledi Rasulullah’ın (s.a.v.) sakalı sıktı.
Ali Ibn Ebi Talib şunu söyledi Rasulullah’m (s.a.v.) sakalı sıktı.
Ummu Ma’bed Rasulullah’m (s.a.v.) sakalı sıktı demiştir,

Gür Ses
Mübarek sesi, kimsenin sesinin yetişemediği yere yetişirdi. ( İmam-ı Ahmed Kastalani, (Mevahib-i ledünniyye)

Vücudunda sertlik ya da kireçlenme belirtileri.
Yana ve geriye bakacağı zaman bütün bedeni ile dönüp bakardı ( İmam-ı Ahmed Kastalani, (Mevahib-i ledünniyye)

Yürürken öne doğru eğilme.
Peygamberimiz önüne bakarak, süratle yürürdü. ( İmam-ı Ahmed Kastalani, (Mevahib-i ledünniyye)
Yürüdüğü zaman adeta yukarıdan aşağı iniyormuş gibi kuvvetli adımlarla yürürdü. (Tirmizi, Es-semailul Muhammediye)

Cildinin rengi beyaz ve kırmızımsı.
Hz. Ali şunu söyledi Rasulullah’ın (s.a.v.) rengi, kırmızılığı bulunan beyazdı.

Korkunç görünüm.
Resulullah efendimizi ansızın gören kimseyi korku kaplardı. ( İmam-ı Ahmed Kastalani, (Mevahib-i ledünniyye)

Parfüm düşkünlüğü
Gerçekten ben Resulullah (aleyhissalatu vesselam)’i misk sürünürken gördüm. Yoksa o koku değil miydi Nesai, Hacc,231, (5, 277); Ibnu Mace,Menasik 70, (3041).
Hz. Aise (radiyallahu anha) anlatıyor. Resulullah (aleyhissalatu vesselam)’a, ihrama gir(ece)ği zaman (ihramı için), keza ihramdan çıktığı zaman da Kâbe’yi tavaftan önce hill’i için, içinde misk bulunan sürünme maddesini şu iki elimle surdum. Buhari, Hacc 18, 143,

Baş ağrısı.
Hz. Peygamber’in baş ağrısı ve şiddetli ateşi vardı.
(httpwww.diyanet.gov.tr)

Yâ Âişe! Senin değil, asıl benim vay başım. Senin başının ağrısı geçer gider. Baş ağrısı, benimkidir.
httpwww.menzil.net

Kaynaklar
http://www.dinimizislam.com/detay.asp?Aid=405
www.egitimhane.blogcu.com12643581
www.islah.desiretsir00004.pdf

http://www.toplumsalbilinc.org/forum/index.php?topic=18806.0

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III – Hz Muhammed’in Fiziksel Görünüşü:

FAHRİALEM’İN FİZİĞİ ve RESİMLERİ

Muhammed hazretlerinin Danimarka’da yayımlanan çirkin karikatürleri büyük tepki toplamıştı. O karikatürlerde resmedilen görüntülerin gerçek olmadığını biliyoruz. Peki ama hiç resmi çizilmemiş miydi? Fiziği, görüntüsü nasıldı?

Halife Ali’nin resimleri var da neden peygamberin resmi yok?

O dönemlerde yaşayanların hiçbirinin resmi yok. Ali’nin resimleri tabi ki gerçek değil. Çizilmiş bir portresi yok ki ona benzetilerek yapılmış olsun. Resimlerin tümü temsili resimler. Tasvirlere göre çizildiği söylense de aslına benzer bir yanı olduğunu düşünmek yanlış olur. Tabi ki bu temsili resimlerde güzel bir görüntü verilecek, fiyakalı bir resim çizilecektir. Aşağıdaki resim de bunlardan biridir ve Muhammed ile Ali böyle bir imajla temsil edilmişlerdir.

hzmuhammedhzalib9sl

Rivayete göre; Muhammed yaşarken bir Müslüman tüccar, Hindistan’a yaptığı yolculuklar sırasında bir kabileye İslam’dan ve peygamberden bahseder. Kabile mensuplarının merakı ve isteği üzerine, döndükten sonra Muhammed’in resmini çizdirir. Kabileye götürüp gösterdikten sonra resim imha edilir.

Bu rivayetin doğru olup olmadığını da bilmiyoruz. Muhammed’in yaşamadığı bile iddia edilirken, birbiriyle tezat fiziki özelliklerini anlatan hadisler ve bu özelliklerine göre düzenlenmiş resimler ne derece doğru olabilir?

Osmanlı minyatürlerinde Muhammed’in yer aldığı bir sürü resmin olduğunu biliyoruz. Bu resimlerde yüzüne yer verilenler olduğu gibi yüzü boş bırakılanlar da var. Âli’nin resimleri ise ortalıkta satılıyor. Muhammed’in yüz resimleri birbirini pek tutmazken, Ali’nin resimleri genelde aynı yüze sahip.

İstenseydi elbette yaşadığı dönemde peygamberlerinin de, halifelerinin de resimlerini çizebilirlerdi. Ama İslam’da canlı insan ve hayvan tasvirleri haramdı, yasaktı. Kur’an’a yazılmamış sözleri ve hayat hikayesi bile yaşadığı iddia edilen dönemden 200-300 yıl sonra yazıya döküldü. Daha önce çizilip saklanmış bir resmi yoksa, o kadar uzun zamandan sonra kim resmini yapabilir ve bu yaptığı resim ne kadar doğru olabilir. Aynı şekilde Ali’nin resimleri de..

Hadislerde ve kitaplarda Muhammed şöyle resmedilir:

“Allah Resulü sallallahu aleyhi ve sellem çok yakışıklı ve alımlı idi. Mübarek yüzü ayın on dördündeki dolunay gibi parlardı… Burnu gayet güzel idi… Gür sakallı, iri gözlü, düz yanaklı idi. Ağzı geniş, dişleri inci gibi parlaktı… Boynu sanki bir gümüş hüzmesi idi… İki omuzu arası geniş, omuz kemik başları kalın idi…”

“Resulullah Efendimizin boyu; ne çok uzun, ne de fazla kısa idi. Teni de ne duru beyaz, ne de koyu esmerdi. Saçları ise ne düz, ne de kıvırcık idi.”

“Peygamber Efendimiz (sav), ne aşırı derecede uzun, ne de kısa idi; O bulunduğu topluluğun orta boylusu idi. Saçları, ne kıvırcık ne de dümdüzdü; hafifçe dalgalı idi. Mübarek yüzlerinin rengi kırmızıya çalar şekilde beyaz; gözleri siyah; kirpikleri sık ve uzun; omuz başları iri yapılı idi.”

“Allah Resulünün alnı geniş olup hilal kaşlıydı, kaşları gürdü. Iki kaşı arası açık olup, halis bir gümüş gibiydi. Gözleri pek güzel, bebekleri simsiyahtı. Kirpikleri birbirine geçecek şekilde gürdü. Güldüğünde dişleri çakan şimşek gibi parıldardı. Iki dudağı da emsalsiz şekilde güzeldi. Sakalı gürdü. Boynu pek güzeldi, ne uzun ne kısaydı. Boynunun güneş ve rüzgar gören kısmı altın alaşımlı gümüş ibrik gibi gümüşün beyazlığı ve altının da kırmızılığını yansıtır şekilde parıldardı. Göğsü genişti, göğsünün düzlüğü aynayı, beyazlığı da ayı andırırdı. Omuzları genişti. Kol ve pazuları irice idi. Avuçları ipekten daha yumuşaktı.”

. Mübarek cismi güzel, hep azası mütenasip (uygun, aralarında muntazam bir nisbet bulunan), endamı gayet matbu, alnı ve göğsü ve iki omuzlarının arası ve avuçları geniş, boynu uzun ve mevzun (yakışıklı, her bir vasfı ölçülü) ve gümüş gibi saf, omuzları ve pazuları ve baldırları iri ve kalın, bilekleri uzun, parmakları uzunca, elleri ve parmakları kalınca idi. Mubarek cildi ise ipekten yumuşak idi.

Kemal-i itidal üzere büyük başlı, hilal kaşlı, çekme burunlu, oval yüzlü idi.

Kirpikleri uzun, gözleri kara ve güzel, büyücek ve iki kaşının arası açık, fakat kaşları birbirine yakın idi,

“Ben Resulullah Efendimizin kürek kemikleri arasında bulunan nübüvvet mührünü gördüm. O, güvercin yumurtası büyüklüğünde kırmızımtırak bir yumru idi (Et-Tirmizi İmam Ebu İ’sa Muhammed, Şemail-i Şerife, 1. cilt, Hilal Yayınları, Ankara,1976, s. 36) .”

Simak b. Harb (ra) aktarıyor:

“Cabir b. Semüre’den işittim. Ona, Hazreti Peygamber (sav)’in saçlarının ağarma durumu sorulmuştu. O da: Mübarek başlarını yağladıkları zaman saçlarının akı gözle farkedilmez; fakat başlarına yağ sürmedikleri anlarda beyazları görünürdü (İbn Adiyye el-Kamil; Huccetü’l İslam İmam Gazali, İhya’u Ulum’id-din, 3. cilt, Çeviri: Dr. Sıtkı Gülle, Huzur Yayınevi, İstanbul 1998, s. 679) ” dedi.

İbn Abbas rivayet ediyor:

Peygamber Efendimiz: “Gözlerinizi ismid ile sürmeleyiniz. Zira ismid ile sürmelemek göze cila verir ve kirpik bitirir.” buyurmuşlardır. İbn Abbas der ki: “Hatta Rasûlullah Efendimiz’in bir sürmedanı olup, her gece yatmadan önce bu sürmedandan üç kere sağ gözlerine, üç kere de sol gözlerine sürme çekerlerdi.”

Kaynakça:

Büyük Hadis Külliyatı, Cem’ul-fevaid min Cami’il-usul ve Mecma’iz-zevaid, İmam Muhammed Bin Muhammed bin Süleyman er-Rudani, 5. cilt, İz Yayıncılık, s. 31

Et-Tirmizi İmam Ebu İ’sa Muhammed, Şemail-i Şerife, 2. cilt, Hilal Yayınları, Ankara, 1976, s. 7-8) .”

http://www.zombietime.com/mohammed_image_archive/islamic_mo_face_hidden/

http://www.alevilerbirligi.com/showthread.php?t=11131

http://panteidar.wordpress.com/2011/03/26/muhammedin-fizigi-ve-resimleri/

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Hz. Muhammed fotoğrafı olay yarattı

İTÜ Sözlük’te Hz. Muhammed’i resmettiği iddia edilen bir fotoğrafın yayınlanması sanal alemi birbirine kattı.

hz-muhammed

‘İslamiyet öncesi dönemde hanif olduğu bilinen allah’ ın resulü’ şeklinde bir not düşülerek paylaşılan fotoğraf sanal alemde binlerce kez görüntülenirken, fotoğrafın İslam’a hakaret olduğunu savunan internet kullanıcıları yazdıkları yorumlarla fotoğrafa büyük tepki gösterdi.

http://www.habera.com/haber/Hz-Muhammed-fotografi-olay-yaratti/152736

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İSLAMİ TASVİRLER

Muhammed’in Veda Hutbesi sirasindaki tasviri (Muhammed sagdaki)
El-Birûni”nin El-Âsâr’il-Bâkiye an’il-Kurûni’i-Hâli-ye isimli kitabindan alinmistir. Sergilendigi yer: The Bibliotheque Nationale, Paris (Manuscrits Arabe 1489 fol. 5v).

Ayni tasvirin bir baska versiyounu
Bulundugu yer: Edinburgh University Library, Scotland

Yukaridaki resimlerde tasvir edilen Muhammed’in yüz detaylari

1920 veya 1930″lu yillara ait oldugu sanilan ve Muhammed’in Medine’ye hicretini tasvir eden Cezayir’e ait bir kartpostal

Tebrizli Reşidüddin Hamedani’nin 14. yy’da yazdigi Cami’üt-Tevarih isimli kitabindan Muhammed tasviri

Bir yukaridaki tasvirde gösterilen Muhammed’in detaylari

Tebrizli Reşidüddin Hamedani’nin yine Cami’üt-Tevarih adli kitabindan baska bir Muhammed tasviri. Muhammed karsilanirken sagdaki pencerede Hristiyan bir rahip tarafindan ragbet görmüyor. Bulundugu yer: Edinburgh University Library, Scotland.

Bir yukaridaki tasvirde gösterilen Muhammed’in detaylari

Reşidüddin Hamedani’nin kitabinda baska bir Muhammed tasviri: Genc yaslardaki Muhammed’i Kabe’deki Hacer ül Esvad tasini yerine yerlestirirken tasvir eden cizim…

Bir yukaridaki resmin detaylarinda Muhammed

Reşidüddin Hamedani’nin yine Cami’üt-Tevarih adli kitabinda Muhammed’in dogumunu tasvir eden cizim. Bulundugu yer: Edinburgh University Library, Scotland

Reşidüddin Hamedani tarafindan Muhammed’in Burak isimli mitolojik canli üzerinde Mirac’a yükselirken resmedildigi tasvir

Yukaridaki resimde Burak üzerinde oturan Muhammed’in detaylari

Reşidüddin Hamedani’nin yine Cami’üt-Tevarih adli kitabinda Muhammed (en sagdaki) ve Ebu Bekir Medine’ye giderken solda bir kadin onlara keci sütü sagiyor..

Reşidüddin Hamedani’nin yine Cami’üt-Tevarih adli kitabinda Muhammed ölüm yatagindayken..

BU VE ALTTAKI DIGER 5 RESIM 15.YÜZYILDAN KALMA OLUP IRAN KÖKENLIDIR

http://muhammedkarikaturleri.wordpress.com/islami-tasvirler/

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IV – İslami Kaynaklarda Hz Muhammed Resimleri

Islamic Depictions of Mohammed with Face Hidden

In order to sidestep the prohibition against actually depicting Mohammed, artists in Muslim societies sometimes showed him with his face blank or hidden. This way it could be claimed that they never actually drew Mohammed — only his clothes. 

(Note: Several art historians and scholars have written in to say that some of the faceless Mohammeds shown here were likely to have been originally drawn with faces that were later scratched out.) 

longsleeves5 
The Prophet Mohammed in a Mosque. Turkey, 16th century, painting on paper. Museum of Fine Arts, Boston. The artist depicted Mohammed in very long sleeves so as to avoid showing his hands, though his neck and hints of his features are visible. 
(Hat tip: Brett K.) 

siyer-i-nebi-beheading1 
This is a miniature from Siyer-i Nebi, a Turkish religious biography of Mohammed completed in 1388 and later lavishly illustrated with 814 miniatures under the reign of Ottoman ruler Murad III, being completed in 1595. Many of the miniatures depict Mohammed, and this particular one shows Ali bin Abu Taleb beheading Nasr bin al-Hareth in the presence of Mohammed and his companions. 

dre1823 
Mohammed Splits the Moon. Illustration taken from a “Falnameh,” a sixteenth century Persian book of prophesies. Artist unknown; watercolor painting; Mohammed is the veiled figure on the right. Currently housed in The Saxon State Library, Dresden, Germany, part of an exhibition that was displayed at The Library of Congress in 1996. The original image can be seen here
(Hat tip: Martin H.) 

NewbornMohammed3 
Newly born Mohammed in his mother’s arms being shown to his grandfather and Meccans. From a Turkish book illustration (date unknown). University of California, San Diego. 
(Hat tip: Brett K.) 

nizami_24 
Persian miniature from the mid-1500s depicting Mohammed ascending to Paradise astride the miraculous horse Buraq, surrounded by angels. In Islamic lore, this event is called the “Miraj,” or the Night Journey. From a miniature made to illustrate a copy of the poems of Nizami, called Nizami’s Khamsa (Five Poems). Tabriz, Persia, 1539-43. Currently housed in the British Library, London. 

nizami_detail1 
A close-up from the same picture as above, only showing the Mohammed figure. 

muhammad_mirajbig1 
Mohammed (head engulfed in sacred fire) returning from the Miraj. Persian. Date unknown

mo_fatima_aisha1 
16th-century version of a 14th-century original painting showing Fatima (foreground), on her way to a Jewish wedding party, receiving a parcel of the green cloak brought by the Angel Gabriel from Paradise, in the presence of Mohammed (on the right), his young wife Aisha (next to him), and family members. Currently in the Chester Beatty Library, Dublin. 
(Hat tip: Martin H.) 

mo_fatima_aisha21 
Detail of Mohammed from the picture above. 

Maometto_portato1 
Mohammed carried to heaven (“Maometto portato in cielo”) from the Kaaba. Persian miniature, reproduced early 1800s. A page from the book Il costume antico e moderno, o, storia del governo, della milizia, della religione, delle arti, scienze ed usanze di tutti i popoli antichi e moderni by Giuli Ferrario (published sometime between 1823 and 1838). In the collection of the New York Public Library
(Hat tip: Raafat) 

mouhud1 
The Prophet Muhammad and the Muslim army at the battle of Uhud: illustrated leaf from a manuscript of the Siyar-i-Nabi, made for Sultan Murad III, copied by the scribe Mustafa bin Vali, Ottoman, Constantinople, c.1594. Sold by auction at Sotheby’s in 2001. 
(Hat tip: Kilgore Trout.) 

102735521 
Islamic image of the Koran being revealed to Mohammed during a battle. Source unknown. 

Angels_Ishra1 
The Angel Gabriel cleansing Mohammed’s heart of impurities in preparation for his ascent to heaven, while the other angels watch. From the 16th-century manuscript The Progress of the Prophet, from Turkey. Image taken from this site which not only features other images of Mohammed but also has a very informative essay about the folkloric and mythological origins of the “miraj,” which is not actually described in the Koran. 

buraqflame1 
Another image of Mohammed riding Buraq up to heaven. Provenance unknown; taken from the same site as above. 

mahomet_al-buracq_prophecy1 
Allegorical scene of Mohammed riding Buraq during his “Night Voyage.” Origin unknown. 

S31B-5Me_00_il9_428x6901 
Mohammed at the Kaaba. Miniature from the Ottoman Empire, c. 1595. In The Topkapi Museum, Istanbul
(Hat tip: Jos.)


S31B-9MG_00_il9_00_422x6901 
Mohammed with the Angel Gabriel. Miniature from the Ottoman Empire, c. 1595. In The Topkapi Museum, Istanbul
(Hat tip: Jos.)


m-kaaba1 
Mohammed praying at the Kaaba in Mecca. From the Siyer-i Nebi, a Turkish epic about Mohammed written by Mustafa, son of Yusef of Erzurum; original manuscript completed in 1388 A.D.; illustrated during reign of Murad III and completed in 1595 A.D. Currently housed in the Topkapi Palace Museum, Istanbul. 
(Hat tip: S. and Martin H.) 

Siyer-i_Nebi_11 
Mohammed, on a blue donkey, touching hands with the Archangel Gabriel, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_21 
Detail from the picture above. 

Siyer-i_Nebi_31 
Mohammed standing before the Kaaba in Mecca, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_41 
Mohammed receiving a vision near Mecca, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_51 
The Archangel Gabriel giving the Annunciation to Mohammed, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_61 
Mohammed and his followers having a rendezvious with soldiers, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_71 
Mohammed on his deathbed; his face is covered, and another man’s face is over his. From the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_81 
Mohammed with his daughter Fatima and son-in-law, Ali, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_91 
Mohammed and his followers travel to Mecca, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Mo_on_rug1 
The unattributed image of Mohammed sitting on a rug at a banquet was posted on the blog of a Dutch-Iranian academic. 

lastjudgment301 
Mohammed is depicted in this painting at the upper right, riding on a camel. The painting is called “The Day of the Last Judgment”; unsigned but attributed to the artist Mohammad Modabber. Undated, but likely from the late 19th century. In the Reza Abbasi Museum Collection (Iran). Published in the book Coffee-House Painting, by Hadi Seyf (published by the Reza Abbasi Museum). 

lastjudgment30D1 
Detail of the painting above, showing Mohammed on a camel overseeing the judgment of mankind, with other prophets on a staircase to the left. 

lastjudgment251 
Mohammed is depicted in the center of this painting, with his face covered. The painting is also called “The Day of the Last Judgment”; signed by the artist Mohammad Modabber, from 1897. In the Sa’d-Abad Cultural Collection (Iran). Published in the book Coffee-House Painting, by Hadi Seyf (published by the Reza Abbasi Museum). 

lastjudgment25D1 
Detail of the painting above, showing Mohammed in the lower center with his face covered, observing angels using the scales of justice. Other holy men, also with their faces covered, can be seen on the left. 

Muhammad_Hubal1 
Mohammed at the Kaaba, supervising the removal of pagan idols, including Hubal, the chief diety of Mecca prior to Mohammed’s introduction of Islam. 
(Hat tip: Luuk) 

mo_aisha_daughter1 
Mohammed and his wife Aisha freeing the daughter of a tribal chief. From the Siyer-i Nebi. In the Topkapi Palace Library, Istanbul. 

mo_fatima_ali1 
Mohammed giving his daughter Fatima in marriage to his cousin Ali. From the Siyer-i Nebi. In the Topkapi Palace Library, Istanbul. 

mo_uhud1 
Mohammed (in green, lower left) marching to the Battle of Uhud. From the Siyer-i Nebi. In the Museum of Turkish and Islamic Art, Istanbul. 

gabapptomo1 
The Angel Gabriel appearing to Mohammed, on Mount al-Noor (a hill near Mecca where Mohammed received his first visions; you can find it on this map of Mecca as “al-Nour,” upper right). A miniature illustration from the biography of Mohammed entitled Siyar-i Nabi, by Ahmed Nur Ibn Mustafa, published in Turkey, 18th century. 

miraj1517scratch1 
Mohammed on the “Miraj,” or Night Journey, riding on Buraq amidst angels. From the Khamsa of Nizami, Shirazi style of painting, Persia, 1517 AD. This is one of the clearest examples of Mohammed being painted originally with his face visible, but having it later scratched out by a religious zealot. Published in the book Islamic Art

ascent1 
The Ascent of Mohammed to heaven on Buraq. From a Persian manuscript, c. 1570. Opaque watercolor and gold on paper. From the collection of the Fine Arts Museums of San Francisco. A full-size image of the full painting can be viewed here. A catalog listing gives the specifics of the work here
(Hat tip: Brett K.) 

alicalif1 
Mohammed (top, veiled) and the first four Caliphs. From the Subhat al-Akhbar. Original in the Austrian National Library (Österreichische Nationalbibliothek) in Vienna. 

prorok21 
Mohammed enthroned in heaven, attended by angels. Likely Persian, but date and location unknown. 

Mahometgrotte1 
Mohammed (with face not visible) lying (possibly dead) in a grotto, with anachronistic Mongol warriors looking on. 

mahomet-11 
Indian or Asian painting of Mohammed receiving visions. 

M85_237_441 
Mohammed flying over Mecca during the miraj, his ascent to heaven. Turkey, early 17th century. From the Los Angeles County Museum of Art

Mo_Kaaba_BNF1 
Mohammed (seated on a white horse, head shrouded in sacred fire) destroying the idols at the Ka’aba in Mecca. From an 11th-century Persian miniature, housed in the Bibliotheque Nationale, Paris. 

ascension_mahom1 
Mohammed ascending to Paradise. 16th century painting, currently housed in the Seattle Art Museum. 

louvre_gab_mo1 
The Archangel Gabriel appearing to Mohammed. An illustration from a 1594-5 Turkish edition of the Siyer-i-Nabi. In the Louvre Museum, Paris. 

gabriel_medina1 
The Archangel Gabriel inspiring Mohammed in the Medina Mosque. 18th century Ottoman painting, purportedly a copy of an image in an 8th century Koran (though that seems unlikely). In the Museum of Turkish and Islamic Art, Istanbul. 

moparadise1 
“Mohammed’s Paradise,” a rare supposedly 11th-century miniature from the volume The History of Mohammed, produced in Persia in 1030. (Though the style seems much later than 11th century.) It is not clear which figure is Mohammed — see detail below. Now in the Bibliotheque Nationale, Paris. 

moparadise21 
Detail from the picture above. Mohammed is likely the figure entirely engulfed in gold flame; the man with the green turban is most probably the semi-mythological figure Khidr, or Abu Bakr. Mohammed may also be one of the other figures elsewhere in the picture. 

WorcesterMo1 
Mohammed riding Buraq up to Paradise. Date unknown. Currently housed in the Worcester Art Museum, Massachusetts. 

KhamsaMo1 
Mohammed riding Buraq up to Paradise. 1504 A.D. illustration from the Khamsa of Elyas Nezami. Original in a private collection. 

dossier_mahomet1 
Mohammed (face not visible) in an illustration of an episode from the Koran. 

hilye-i_serif1 
The Hilye-i Serif, by Hafiz Osman, 17th century. This is a calligraphic verbal description of Mohammed, as opposed to an actual representation of him. Such “word pictures” began to supplant visual depictions starting in the 1600s. In the Topkapi Palace Library, Istanbul. 

259554.imgcache1
This graphic taken from an Islamic Web site features a depiction of Mohammed with his face obscured by a numinous glow. 
(Hat tip: Raafat.) 

n2daqe1 
This contemporary Iranian image apparently shows Mohammed and Ali from the back. 
(Hat tip: Raafat.) 

T.AS_.MID.0521 
This photo, taken recently by Andrew Stern at the Al-Huda squatter’s camp in Baghdad, shows Iraqi children with a poster that includes what at first appears to be a portrait of Mohammed (at the lower left, with his face whited out). However, according to the author of this page, this poster — the original of which can be viewed here – actually shows the 12 Imams of Shi’ite Islam, starting with Mohammed’s son-in-law Ali (who is also the figure depicted in the larger portraits) and culminating with the hidden “12th Imam,” who is shown with a blank face (because he has not yet appeared). Even though this picture therefore probably does not depict Mohammed (as originally thought), it will remain on this page for informational purposes. 
(hat tip: Rune) 

Additional links to online images of Mohammed with his face hidden: 
Ascent of the Prophet to Heaven. Persia, 1550. 
(Another) Ascent of the Prophet to Heaven. Persia, 1550. 
Muhammad on Buraq. Persia, mid-16th century. 
Muhammad and Abu Bakr visit poor Bedouins. 
Another picture of Mohammed on Buraq from the Los Angeles County Museum of Art. 
Four small reproductions of the faceless Mohammed can be found on this academic site. 
A simplified, stylized rendering of Mohammed’s standard “Ascent to Heaven” scene is posted on this Ukrainian site. 
http://www.zombietime.com/mohammed_image_archive/islamic_mo_face_hidden/

Ogden_Mohammed 
cigarette card showing an artist’s impression of Mohammed, manufactured by the Ogden Cigarette company, printed sometime around the turn of the 20th century. 

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V – Kitaplarda Hz Muhammed’in Görünüşü

Book Covers 


Several books about Islam (mostly published in Europe within the last 20 years) have unabashedly depicted Mohammed on their covers. None of the book covers shown here caused any uproar in the Muslim world. 


 
Mahomet: la parole d’Allah, by Anne-Marie Delcambre. 


 
Andrew Bostom’s book The Legacy of Jihad is one of the very few English-language books to show Mohammed on the cover. The illustration shows Mohammed (sitting alone, to the right, his face covered) observing the massacre of the Jewish tribe the Banu Qurayzah; from a 19th-century Kashmiri illustration in the British Library (see link for full attribution and a detailed explanation of the historical incident). 

 
Spanish-language edition of Mahoma: La vida del Profeta, by Roger Caratini

 
This drawing, entitled “Christus oder Muhammed” (“Christ or Mohammed”) was made in 1904 by German artist Sascha Schneider. It was used as the cover of the adventure novel Orangen und Datteln (“Oranges and Dates“) by Karl May. As such, it is the earliest known book cover to depict Mohammed. 
(Hat tip: Greg V.) 

 
The cover of the 1911 Danish biography called Profeten Muhammed written by Johannes Østrup shows Mohammed riding on a stylized flying horse — as discovered by the Uriasposten blog
(Hat tip: Politically Incorrect Lib.) 

 
Why We Left Islam (published by WND books in 2008) is the only book published in the United States and currently in print that features an unveiled Mohammed on the cover. 

 
Mohammed und Seine Zeit (Mohammed and His Era), by Enzo Orlandi (German edtion of a book originally in Italian). The cover depicts Mohammed receiving ambassadors in Medina. 
(Hat tip: A.L.) 

 
The recent book Muhammed, by Eliot Weinberger (September 2006, Verso Books) was orignally designed with a picture of Mohammed on the cover, as this picture released by the company in their catalog shows. But as the book’s page at Amazon now reveals, Verso Books subsequently changed the spelling to Muhammad, and more importantly changed the design to no longer feature a depiction of Mohammed, most likely out of fear of offending anyone. 

 
Mahomet, by Salah Stétié. 

 
Mahomet, by Maxime Rodinson. You can download a pdf that contains part of the contents of this book by right-clicking (or control-clicking) on this link; the pdf includes five small historical Islamic pictures of Mohammed. 

 
In September of 2006, French publisher Editions Privé released L’Affaire des Caricatures: Dessins et Manipulations by Mohamed Sifaoui, featuring a cartoon of Mohammed on the cover by artist Ramo. Sifaoui is a journalist who exposed the three Danish imams who had circulated fraudulent Mohammed cartoons in the Middle East to stir up resentment amongst Muslims against Denmark and the West. The cover illustration shows 3 imams on the left picking an image of Mohammed as a pig, as one says, “I have one that will cause trouble.” On the right is Mohammed saying, “The first ones to insult the Muslim religion are those who kill innocent people in the name of Islam.” Interestingly, both the author Sifaoui and the artist Ramo are themselves Muslim. 
(Hat tip: Martin.) 

 
Mahomet le Prophète, by Gabriel Mendel Khan (Éditions Acropole, 2002). 

 
Mahomet, by Umberto Rizzitano (Éditions Somogy, 1973). 

 
La Vie de Mahomet, by Virgil Gheorghiu (Éditions Plon, 1962). 

 
A different edition of Mahomet, by Anne-Marie Delcambre. 

 
Mahoma, a biography of Mohammed in the Spanish Credencial Historia series

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VI – Islamic Depictions of Mohammed with Face Hidden

Islamic Depictions of Mohammed with Face Hidden 


In order to sidestep the prohibition against actually depicting Mohammed, artists in Muslim societies sometimes showed him with his face blank or hidden. This way it could be claimed that they never actually drew Mohammed — only his clothes. 

(Note: Several art historians and scholars have written in to say that some of the faceless Mohammeds shown here were likely to have been originally drawn with faces that were later scratched out.) 

longsleeves6 
The Prophet Mohammed in a Mosque. Turkey, 16th century, painting on paper. Museum of Fine Arts, Boston. The artist depicted Mohammed in very long sleeves so as to avoid showing his hands, though his neck and hints of his features are visible. 
(Hat tip: Brett K.) 

siyer-i-nebi-beheading2 
This is a miniature from Siyer-i Nebi, a Turkish religious biography of Mohammed completed in 1388 and later lavishly illustrated with 814 miniatures under the reign of Ottoman ruler Murad III, being completed in 1595. Many of the miniatures depict Mohammed, and this particular one shows Ali bin Abu Taleb beheading Nasr bin al-Hareth in the presence of Mohammed and his companions. 

dre1824 
Mohammed Splits the Moon. Illustration taken from a “Falnameh,” a sixteenth century Persian book of prophesies. Artist unknown; watercolor painting; Mohammed is the veiled figure on the right. Currently housed in The Saxon State Library, Dresden, Germany, part of an exhibition that was displayed at The Library of Congress in 1996. The original image can be seen here
(Hat tip: Martin H.) 

NewbornMohammed4 
Newly born Mohammed in his mother’s arms being shown to his grandfather and Meccans. From a Turkish book illustration (date unknown). University of California, San Diego. 
(Hat tip: Brett K.) 

nizami_25 
Persian miniature from the mid-1500s depicting Mohammed ascending to Paradise astride the miraculous horse Buraq, surrounded by angels. In Islamic lore, this event is called the “Miraj,” or the Night Journey. From a miniature made to illustrate a copy of the poems of Nizami, called Nizami’s Khamsa (Five Poems). Tabriz, Persia, 1539-43. Currently housed in the British Library, London. 

nizami_detail2 
A close-up from the same picture as above, only showing the Mohammed figure. 

muhammad_mirajbig3 
Mohammed (head engulfed in sacred fire) returning from the Miraj. Persian. Date unknown

mo_fatima_aisha3 
16th-century version of a 14th-century original painting showing Fatima (foreground), on her way to a Jewish wedding party, receiving a parcel of the green cloak brought by the Angel Gabriel from Paradise, in the presence of Mohammed (on the right), his young wife Aisha (next to him), and family members. Currently in the Chester Beatty Library, Dublin. 
(Hat tip: Martin H.) 

mo_fatima_aisha22 
Detail of Mohammed from the picture above. 

Maometto_portato2 
Mohammed carried to heaven (“Maometto portato in cielo”) from the Kaaba. Persian miniature, reproduced early 1800s. A page from the book Il costume antico e moderno, o, storia del governo, della milizia, della religione, delle arti, scienze ed usanze di tutti i popoli antichi e moderni by Giuli Ferrario (published sometime between 1823 and 1838). In the collection of the New York Public Library
(Hat tip: Raafat) 

mouhud2 
The Prophet Muhammad and the Muslim army at the battle of Uhud: illustrated leaf from a manuscript of the Siyar-i-Nabi, made for Sultan Murad III, copied by the scribe Mustafa bin Vali, Ottoman, Constantinople, c.1594. Sold by auction at Sotheby’s in 2001. 
(Hat tip: Kilgore Trout.) 

102735522 
Islamic image of the Koran being revealed to Mohammed during a battle. Source unknown. 

Angels_Ishra2 
The Angel Gabriel cleansing Mohammed’s heart of impurities in preparation for his ascent to heaven, while the other angels watch. From the 16th-century manuscript The Progress of the Prophet, from Turkey. Image taken from this site which not only features other images of Mohammed but also has a very informative essay about the folkloric and mythological origins of the “miraj,” which is not actually described in the Koran. 

buraqflame2 
Another image of Mohammed riding Buraq up to heaven. Provenance unknown; taken from the same site as above. 

mahomet_al-buracq_prophecy2 
Allegorical scene of Mohammed riding Buraq during his “Night Voyage.” Origin unknown. 

S31B-5Me_00_il9_428x6902 
Mohammed at the Kaaba. Miniature from the Ottoman Empire, c. 1595. In The Topkapi Museum, Istanbul
(Hat tip: Jos.)


S31B-9MG_00_il9_00_422x6902 
Mohammed with the Angel Gabriel. Miniature from the Ottoman Empire, c. 1595. In The Topkapi Museum, Istanbul
(Hat tip: Jos.)


m-kaaba2 
Mohammed praying at the Kaaba in Mecca. From the Siyer-i Nebi, a Turkish epic about Mohammed written by Mustafa, son of Yusef of Erzurum; original manuscript completed in 1388 A.D.; illustrated during reign of Murad III and completed in 1595 A.D. Currently housed in the Topkapi Palace Museum, Istanbul. 
(Hat tip: S. and Martin H.) 

Siyer-i_Nebi_12 
Mohammed, on a blue donkey, touching hands with the Archangel Gabriel, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_22 
Detail from the picture above. 

Siyer-i_Nebi_32 
Mohammed standing before the Kaaba in Mecca, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_42 
Mohammed receiving a vision near Mecca, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_52 
The Archangel Gabriel giving the Annunciation to Mohammed, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_62 
Mohammed and his followers having a rendezvious with soldiers, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_72 
Mohammed on his deathbed; his face is covered, and another man’s face is over his. From the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_82 
Mohammed with his daughter Fatima and son-in-law, Ali, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Siyer-i_Nebi_92 
Mohammed and his followers travel to Mecca, from the 1595 illustrated edition of the Siyer-i Nebi. Topkapi Palace Museum, Istanbul, Turkey. 

Mo_on_rug2 
The unattributed image of Mohammed sitting on a rug at a banquet was posted on the blog of a Dutch-Iranian academic. 

lastjudgment302 
Mohammed is depicted in this painting at the upper right, riding on a camel. The painting is called “The Day of the Last Judgment”; unsigned but attributed to the artist Mohammad Modabber. Undated, but likely from the late 19th century. In the Reza Abbasi Museum Collection (Iran). Published in the book Coffee-House Painting, by Hadi Seyf (published by the Reza Abbasi Museum). 

lastjudgment30D2 
Detail of the painting above, showing Mohammed on a camel overseeing the judgment of mankind, with other prophets on a staircase to the left. 

lastjudgment252 
Mohammed is depicted in the center of this painting, with his face covered. The painting is also called “The Day of the Last Judgment”; signed by the artist Mohammad Modabber, from 1897. In the Sa’d-Abad Cultural Collection (Iran). Published in the book Coffee-House Painting, by Hadi Seyf (published by the Reza Abbasi Museum). 

lastjudgment25D2 
Detail of the painting above, showing Mohammed in the lower center with his face covered, observing angels using the scales of justice. Other holy men, also with their faces covered, can be seen on the left. 

Muhammad_Hubal2 
Mohammed at the Kaaba, supervising the removal of pagan idols, including Hubal, the chief diety of Mecca prior to Mohammed’s introduction of Islam. 
(Hat tip: Luuk) 

mo_aisha_daughter2 
Mohammed and his wife Aisha freeing the daughter of a tribal chief. From the Siyer-i Nebi. In the Topkapi Palace Library, Istanbul. 

mo_fatima_ali2 
Mohammed giving his daughter Fatima in marriage to his cousin Ali. From the Siyer-i Nebi. In the Topkapi Palace Library, Istanbul. 

mo_uhud2 
Mohammed (in green, lower left) marching to the Battle of Uhud. From the Siyer-i Nebi. In the Museum of Turkish and Islamic Art, Istanbul. 

gabapptomo2 
The Angel Gabriel appearing to Mohammed, on Mount al-Noor (a hill near Mecca where Mohammed received his first visions; you can find it on this map of Mecca as “al-Nour,” upper right). A miniature illustration from the biography of Mohammed entitled Siyar-i Nabi, by Ahmed Nur Ibn Mustafa, published in Turkey, 18th century. 

miraj1517scratch2 
Mohammed on the “Miraj,” or Night Journey, riding on Buraq amidst angels. From the Khamsa of Nizami, Shirazi style of painting, Persia, 1517 AD. This is one of the clearest examples of Mohammed being painted originally with his face visible, but having it later scratched out by a religious zealot. Published in the book Islamic Art

ascent2 
The Ascent of Mohammed to heaven on Buraq. From a Persian manuscript, c. 1570. Opaque watercolor and gold on paper. From the collection of the Fine Arts Museums of San Francisco. A full-size image of the full painting can be viewed here. A catalog listing gives the specifics of the work here
(Hat tip: Brett K.) 

alicalif2 
Mohammed (top, veiled) and the first four Caliphs. From the Subhat al-Akhbar. Original in the Austrian National Library (Österreichische Nationalbibliothek) in Vienna. 

prorok22 
Mohammed enthroned in heaven, attended by angels. Likely Persian, but date and location unknown. 

Mahometgrotte2 
Mohammed (with face not visible) lying (possibly dead) in a grotto, with anachronistic Mongol warriors looking on. 

mahomet-12 
Indian or Asian painting of Mohammed receiving visions. 

M85_237_442 
Mohammed flying over Mecca during the miraj, his ascent to heaven. Turkey, early 17th century. From the Los Angeles County Museum of Art

Mo_Kaaba_BNF2 
Mohammed (seated on a white horse, head shrouded in sacred fire) destroying the idols at the Ka’aba in Mecca. From an 11th-century Persian miniature, housed in the Bibliotheque Nationale, Paris. 

ascension_mahom2 
Mohammed ascending to Paradise. 16th century painting, currently housed in the Seattle Art Museum. 

louvre_gab_mo2 
The Archangel Gabriel appearing to Mohammed. An illustration from a 1594-5 Turkish edition of the Siyer-i-Nabi. In the Louvre Museum, Paris. 

gabriel_medina2 
The Archangel Gabriel inspiring Mohammed in the Medina Mosque. 18th century Ottoman painting, purportedly a copy of an image in an 8th century Koran (though that seems unlikely). In the Museum of Turkish and Islamic Art, Istanbul. 

moparadise3 
“Mohammed’s Paradise,” a rare supposedly 11th-century miniature from the volume The History of Mohammed, produced in Persia in 1030. (Though the style seems much later than 11th century.) It is not clear which figure is Mohammed — see detail below. Now in the Bibliotheque Nationale, Paris. 

moparadise22 
Detail from the picture above. Mohammed is likely the figure entirely engulfed in gold flame; the man with the green turban is most probably the semi-mythological figure Khidr, or Abu Bakr. Mohammed may also be one of the other figures elsewhere in the picture. 

WorcesterMo2 
Mohammed riding Buraq up to Paradise. Date unknown. Currently housed in the Worcester Art Museum, Massachusetts. 

KhamsaMo2 
Mohammed riding Buraq up to Paradise. 1504 A.D. illustration from the Khamsa of Elyas Nezami. Original in a private collection. 

dossier_mahomet2 
Mohammed (face not visible) in an illustration of an episode from the Koran. 

hilye-i_serif2 
The Hilye-i Serif, by Hafiz Osman, 17th century. This is a calligraphic verbal description of Mohammed, as opposed to an actual representation of him. Such “word pictures” began to supplant visual depictions starting in the 1600s. In the Topkapi Palace Library, Istanbul. 

259554.imgcache2 
This graphic taken from an Islamic Web site features a depiction of Mohammed with his face obscured by a numinous glow. 
(Hat tip: Raafat.) 

n2daqe2 
This contemporary Iranian image apparently shows Mohammed and Ali from the back. 
(Hat tip: Raafat.) 

T.AS_.MID.0522 
This photo, taken recently by Andrew Stern at the Al-Huda squatter’s camp in Baghdad, shows Iraqi children with a poster that includes what at first appears to be a portrait of Mohammed (at the lower left, with his face whited out). However, according to the author of this page, this poster — the original of which can be viewed here – actually shows the 12 Imams of Shi’ite Islam, starting with Mohammed’s son-in-law Ali (who is also the figure depicted in the larger portraits) and culminating with the hidden “12th Imam,” who is shown with a blank face (because he has not yet appeared). Even though this picture therefore probably does not depict Mohammed (as originally thought), it will remain on this page for informational purposes. 

.

VII – European Medieval and Renaissance Images

European Medieval and Renaissance Images 


Medieval and Renaissance Christian and secular artists had no religious restrictions regarding depictions of Mohammed, and were free to show his face and body in their entirety. 


Mahumeth 
Illustration depicting a schematized Mohammed from an early medieval Latin translation of the Koran, from a manuscript in la Bibliotheque de l’Arsenal, in Paris. This may be the earliest known depiction of Mohammed, possibly dating from the mid-12th century. This reproduction is from the book Naissance de l’Europe, by Robert S. Lopez (published 1962) (taken from Deux traductions latines du Coran, by Marie-Therese D’Alverny [published 1948]). 
(Hat tip: joker-x.)


c_14_bnf 
Mohammed preaching, with historically inaccurate landscape and clothing (a common problem in medieval and Renaissance paintings, which usually showed fashions contemporary with the time the painting was made, rather than costumes of the era depicted). Illustration ca. 1400-1425, taken from Boccaccio’s De Casibus Virorum Illustrium (early 15th-century French translation by Laurent de Premierfait); drawn by the “Master of Rohan.” The manuscript is currently in the Bibliothèque Nationale de France. The same illustration in the context of its manuscript page can be seen here. According to the iconography of the time, the dove on Mohammed’s shoulder indicates that he is a false prophet trying to convince his listeners that he is associated with the Holy Spirit (of which the dove is a symbol). 

mohameddemons2 
This picture is of an early Renaissance fresco in Bologna’s Church of San Petronio, created by Giovanni da Modena and depicting Mohammed being tortured in Hell. 
(Hat tip: brenda.) 

ITALY ATTACKS CHURCH PLOT 
In 2002, Islamic extremists plotted to blow up the church in order to destroy the image. 

machomet 
The fresco is in an inaccessible part of the church and is now only visible at an angle from a distance; this old black-and-white image is one of the few official photos ever taken that shows a straight frontal view of the figures. 

Dendermonde1 
This wooden sculpture in the Church of Our Dear Lady in Dendermonde, Belgium depicts Mohammed on the ground, clutching the Koran, being trampled on by angels. As first reported at The Brussels Journal, “The sculpture represents the triumph of Christianity over Islam.” It was carved by the 17th-century sculptor Mattheus van Beveren. 
(Hat tip: Matthias and foreign devil.) 

Dendermonde2 
This photo shows the entire sculptural group, with the angels holding up the pulpit as they stand on Mohammed. 

0144v HoraePrintHHCpic10b 
An earlier scene of Mohammed being trampled was depicted in this ca. 1500 woodblock print, which was used and reused in various liturgical books of the era. It shows the allegorical Faith (“Foy”) stepping on Mohammed (“Machomet”) who presumably represents heresy or disbelief. The image on the left shows a closeup of the print, while the one on the right shows another version of it in context on a manuscript page. A full series of images showing the traditional Virtues stepping on historical tyrants can be found here (including Faith stepping on Mohammed), here (Justice stepping on Nero), here (Force steps on “Holoferne”) and here (Temperance steps on Tarquin). 
(Hat tip: Martin H.) 

Leyden_Mo_Sergius 
This 1508 engraving by Dutch artist Lucas van Leyden illustrates a legend about Mohammed that circulated in Europe during the medieval era; according to a 1908 New York Times article which reprinted this image, “The famous print of the year, 1508, is an illustration of the story of the Prophet Mohammed and the Monk Sergius. Mohammed, when in company with his friend Sergius, drank too much wine and fell asleep. Before he awakened a soldier killed Sergius and placed the sword in Mohammed’s hand. When the prophet wakened the soldier and his companions told him that while drunk he had slain the monk. Therefore Mohammed forbade the drinking of wine by his followers.” A high-resolution reproduction of this engraving can be viewed here, and a museum catalog listing giving all its specifics ishere, which states the current location of the print as the Fine Arts Museums of San Francisco. 
(Hat tip: Martin H.) 

Leyden_Mo_Sergius_detail 
Here’s a close-up detail of the same picture, showing Mohammed asleep on the left and the soldier on the right placing the sword on his lap. Notice, as usual, Mohammed’s anachronistic and culturally inaccurate clothing. 

. 
gothem_muhammed 
The church in the town of Gothem on the Swedish Island of Gotland features this wall painting, which depicts (from left to right) the Pope, St. Christopher, baby Jesus, and Mohammed. According to this scholarly paper (pdf file), “An early example of how Muhammad was used in the early reformation comes from a wall painting in the Gothem church on Gotland (an island situated on the East coast of Sweden) from the middle of the 16th century. The painting depicts St Christopher, Jesus as a child, the Pope and Mohammad. St Christopher caries the child on his shoulder, saving it from the water in which the Pope and Muhammad perish. How do we understand this painting? The propaganda is directed towards Catholicism. The drowning, nameless pope is humiliated by being associated with Muhammad and Islam; the false prophets perish together.” 
The photos seen here were taken by a Danish photographer and originally posted on a site that is no longer online. 
(Hat tip: Martin.)

Link directly to this section about the Gothem church paintings.

gothem_muhammed_detail 
Here is a close-up detail of the Mohammed figure. According to these two Swedish articles, the Gothem church paintings were undergoing renovation when the Danish cartoon controversy broke, and local experts, fearful that Islamists would attack the church, began to claim that the painting depicts not Mohammed the Prophet, but instead the Ottoman Sultan Mohammed IV (better known as Mehmed IV), who had a similar style of mustache. But Mehmet IV was Sultan during the failed Seige of Vienna in the late 17th century, which was over a century after the painting is thought to have been created. More likely is that the artist drew Mohammed the Prophet sporting the type of mustache that was popular at the time the painting was made. Interestingly, these wall paintings were probably made during the period that Gotland was part of Denmark, making this the original Danish Mohammed cartoon. 
(Thanks to Martin for the translations.) 

xxah4 
This mezzotint print by German artist Johan-Jacob Haid was made in the mid-1700s, and is almost certainly a portrait of Mohammed. A larger-size image can be seen here
(Hat tip: Martin.)


Chroniques_martiniennes 
Mohammed preaching, while wearing European-style Renaissance attire; an illustration from the book Chroniques martiniennes (ca. 1475). In the collection of the New York Public Library

Mohammed_Machometus_CLIv 
Colored Renaissance print showing Mohammed at court, with wildly inaccurate fashions. From The Nuremberg Chronicle, originally published in 1493. This illustration is from the Morse Library, Beloit College edition. 
(Hat tip: Jheka.) 

The following two peculiar line drawings show Mohammed dressed in Renaissance-era German garb and not behaving as one might expect: 

drunkenmohammed 
“His Wife Scolding the Drunken Mohammed,” German woodcut print, c. 1481. Source (for this image and the one below): The Illustrated Bartsch. Vol. 83, German Book Illustration before 1500: Anonymous Artists, 1481-1482. Series title: Reysen und Wanderschaften durch das Gelobte Land / Travels and Wanderings Through the Holy Land
(Hat tip for this image and for the following image: Brett K.) 

Vines 
“Mohammed Cursing the Vines,” German woodcut print, c. 1481. Presumably Mohammed is cursing the vines for producing the grapes that got him drunk. 

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VIII – Miscellaneous Mohammed Images

There have been depictions of Mohammed in every era and in nearly every country in the world. This “Miscellaneous” section of the Archive encompasses Mohammed depictions from periods and locations not covered in other categories: 


scotusnfrieze 
The North Frieze on the Supreme Court building in Washington, DC features a bas-relief sculpture of Mohammed, among several other historical law-givers. He is in the center of this image holding a curved scimitar; on the left is Charlemagne, and on the right is Byzantine Emperor Justinian. You can download a detailed pdf of the Supreme Court friezes here. The urban legend site Snopes.com has info about the frieze in this entry. A slightly less clear photo of Mohammed in the frieze can be found here, as part of this article which gives some background on the sculpture. (See below for a different courthouse Mohammed that met a less happy fate.) 
(Hat tip: js, C. Reb, and Matt R.) 

clifford0104 
In 1928, Liebig’s Extract of Meat Company (a German firm which had developed concentrated beef extract and bouillon cubes) issued a series of advertising trading cards to promote its canned beef extract products. The 1928 card set (one of hundreds of different designs issued by the company over the years, on various themes) illustrated six different pivotal points in Mohammed’s life. The most beautiful of the cards was the second one, seen here, which showed the Archangel Gabriel escorting Mohammed up to the presence of Allah in Paradise — the climax of his legendary “Night Journey.” The full set of all six cards are visible near the bottom of this page. 
(Hat tip: karmic inquisitor.) 

Ogden_Mohammed1 
cigarette card showing an artist’s impression of Mohammed, manufactured by the Ogden Cigarette company, printed sometime around the turn of the 20th century. 
(Hat tip: Martin.) 

LSE7298ffgf LSE7298 
On August 18, 1925, the British newspaper The Star published this cartoon by illustrator David Low showing cricket sports hero Jack Hobbs towering over other historical figures — including Mohammed (spelled the old-fashioned way, “Mahomet,” on his pedestal). A 2006 article in the London Times stated, “According to a Calcutta correspondent, when [this cartoon] appeared in the Indian version of theMorning Post, it ‘convulsed many Muslims in speechless rage. Meetings were held and resolutions of protest were passed’.” In contrast to the “cartoon controversies” of the 21st century, however, the fury in the Muslim world over this cartoon was almost completely ignored by the Europeans. The picture on the right is a close-up detail of the Mohammed figure in the original cartoon. From The British Cartoon Archive, University of Kent
(Hat tip: Martin H.) 

mohammed-at-mecca 
Mohammed at Mecca, by Andreas Muller, late 19th century; this is a photogravure reproduction printed in 1889; the original is in the Maximilianeum Gallery, Munich. Mohammed is the one on the camel, and is depicted casting the idols out of the Kaaba. 
(Hat tip: little old lady and Andrew.) 

1139698802_0 
Certain towns in southern Spain hold an annual festival called “Moros y Cristianos” (“Moors and Christians”), which celebrates theReconquista – the recapture of the Iberian Peninsula by Christian Spaniards from the Muslim colonizers who had invaded centuries earlier. In some locales, at the climax of the festival, townspeople burn Mohammed in effigy. The Mohammed figure, called La Mahoma, is usually bigger than life-size and in full costume. The picture here shows La Mahoma from the 1920 Moros y Cristianos festival in the town of Biar, near Alicante. But according to this site, some of the villages are planning to tone down their celebrations this year by not having La Mahoma at all. And artists in the city of Valencia are now afraid to make sculptures that mock Mohammed in their annual satirical Fallas festival. 
(Hat tip: foreign devil.) 

image6 
A photo essay on this site shows La Mahoma of Biar being paraded through the town in the 2000 Moros y Cristianos

image3 
A municipal fraternal organization maintains the tradition of La Mahoma from year to year. 

Deutsche Oper setzt Mozart-Oper "Idomeneo" ab 
On September 25, 2006, the Berlin opera house Deutsche Oper cancelled scheduled performances of Mozart’s opera “Idomeneo” out of fear that Muslim extremists might commit acts of terror in response to the production. The original Mozart score made no mention of Mohammed or Islam, but the contemporary German version — first performed without incident in 2003 — shows a character displaying the severed heads of four religious figures: Poseidon, Buddha, Jesus and Mohammed. The picture shown above comes from a 2003 rehearsal of the opera

mozart1 mozart3 
These two additional images of Mohammed’s head in “Ideomeneo” come courtesy of the Drinking From Home blog; the photo on the left shows an actor playing Mohammed before his head is removed; and the other picture shows Mohammed’s head sitting on a chair on the right. 

mohammedfresco 
This contemporary drawing of Mohammed is a thoughtful attempt to show what he might have actually looked like in real life, based on scholarly research into the earliest known descriptions of him, and into the type of clothing worn in Arabia during his lifetime. 
(Hat tip: Rob.) 

muhammadfactology 
This unusual drawing of a dark-skinned Mohammed comes from a site about Factology, an obscure messianic Islamic-themed schismatic religious group which is based on the teachings of Dr. Malachi Z. York
(Hat tip: Raafat.) 

confutopia 
This advertisement for Taiwan’s “Confutopia Church” (a combination of “Confucius” and “utopia”) shows Mohammed holding hands with a pantheon of historical spiritual leaders. The figures, from left to right, are: A Taiwanese aborigine, Mohammed, Confucius, Jesus, Buddha, Socrates, and Lao-Tzu. (The first figure might instead be Krishna — it’s not clear). 
(Hat tip: David B.) 

confu_mo_actor_2 confu_mo_actor 
Zombietime reader David B. also sends these photos of Confutopia members performing at Hsuan Chuang University in 2008. The group photo features students portraying (from left to right): Lao-Tzu, Buddha, Socrates (with question mark), a fan, Confucius, Jesus, and Muhammad. The large photo on the left is a close-up of the actor portraying Mohammed; notice the golden crescent and star (the symbol of Islam) on his chest, despite his odd headgear. 

confu_mo_dancing_2 confu_mo_dancing 
The second photo shows the same actors doing a hip-hop dance performance; the photo on the left is a close-up of Mohammed dancing. 

scientology1 
This picture from a Scientology book for volunteer ministers is quite similar to the Confutopia image (seen above); both show Mohammed as one among several famous spiritual leaders throughout history. In this picture, a Scientologist (on the left) towers over (in order, left to right) Mohammed, Jesus, Confucius, Buddha, Lao-Tzu, Zoroaster, Moses and Abraham. (The last figure is not named, but may be Adam.) Higher level Scientology materials explain how Scientology is superior to all other religions (including Islam), because they are nothing more than “engrams” falsely implanted in our minds. 
(Hat tip: Anonymous Japan.) 

scientology2 scientology3 
On the left is a close-up of Mohammed (along with Jesus and a Scientologist) taken from the picture above; and on the right is another version of the same photo, this time with a different Scientologist and different background colors. This second image was found at theRefund and Reparation site, and was originally taken from The Scientology Handbook
(Hat tip: Anonymous Japan.) 

02_01_mahoma 
This Chilean scholastic site features a modern veiled portait of Mohammed — a rarity in a non-Islamic country. 

VargaTriptychMo 
New York artist Christina Varga created this neo-Byzantine portrait of Mohammed (with Arabic calligraphy instead of a face) in 2002 as part of a triptych showing Mohammed, Jesus and Buddha which was displayed at The Cathedral Church of Saint John the Divine in New York City. The artist’s caption for her Mohammed portrait says, “Mohammed the Prophet (peace be upon him) stands before the green domed mosque of Medina called the Prophet’s Mosque. Because it is forbidden to represent his face calligraphy commanding all to maintain a pure body and spirit and declaring the greatness of Allah the one True God covers it. Mohammed’s hands are in a position of Surrender – the definition of Islam. His halo represents the flames surrounding his body in Islamic iconography.” 
(Hat tip: Raafat.) 

Dmohammed 
Contemporary Marxist artist Erin Currier created this portrait of Mohammed; it now resides in a private collection. 
(Hat tip: Raafat.) 

class1 
This 1930s-era glass painting from Senegal shows Mohammed’s flight from Mecca to Medina in 622 A.D. It’s currently for sale at this online African art gallery
(Hat tip: Leigh F.) 

MoBeard1 MoBeard2 
The Mevlana Museum in the Turkish City of Konya houses an extremely rare relic from Mohammed’s body itself: this antique box contains what is said to be Mohammed’s beard. Tour guides at the museum say that such relics were taken from across the Middle East by Ottoman Sultans and brought back to Turkey to preserve them from fundamentalist Islamic sects (such as the Wahhabis of Saudi Arabia) that sought to destroy idolotrous Mohammed relics even centuries ago. These photos were taken and submitted by Archive reader “HypnoToad.” (More photos of the museum can be seen here.) The museum also has a reliquary which supposedly houses one of Mohammed’s teeth. 

NYcourthouse 
The courthouse of the Appellate Division, First Department of the New York State Supreme Court used to feature a statue of Mohammed (seen here on the right) on its roof balustrade, among several other historical figures. The statue stood unchallenged between 1902 and 1955, when, as reported by Daniel Pipes, the Muslim community demanded its removal. Unlike with the United States Supreme Court Mohammed depicted at the top of this page, the New York Courthouse Mohammed was dutifully removed in 1955 as a result of Muslim complaints, and the remaining statues repositioned. The photo shown here is the only known surviving picture of it. 
(Hat tip: Daniel Pipes.) 

pelmet 
Allegorical depiction of the Rebirth of Greece above a representation of Constantinople; Mohammed (lower right), awestruck, drops a Turkish-style sword (known as a “yataghan“). Though the man is identified as “Mohammed,” he is wearing 19th-century clothes, so either it’s an unintentional anachronism on the artist’s part, or it’s meant to depict some other historical figure named Mohammed. A 19th century “pelmet” (a window decoration made of wood) from the island of Syros, Greece. Currently housed in the Benaki Museum, Athens, Greece.

pelmet2 
Detail of Mohammed from the picture above. 

Morelli 
The Sermon of Mohammed. Oil painting on canvas by Italian artist Domenico Morelli, late 19th century. In the Museo Civico Revoltella, Trieste, Italy. 

Jay_Darling_Mo_large 
This political cartoon from 1919 shows Mohammed as an allegorical figure representing inflationary price levels. (Click on the image to see a larger version of it.) It was drawn by artist Jay Darling, and can now be found at the University of Iowa Libraries, which has a page for the cartoon with full attribution. 
(Hat tip: Martin H.) 

Jay_Darling_Mo_1 
This is a close-up of the first Mohammed shown in the 1919 Jay Darling cartoon. 

Jay_Darling_Mo_2 
And this is a close-up of the second Mohammed shown in the 1919 Jay Darling cartoon. 

Sooreh_Hera_gay-mohammed 
Sooreh Hera, a Dutch-Iranian artist, had his piece “Adam & Ewald,” which depicted “two gay men wearing masks of the Muslim prophet Mohammed and his son-in-law Ali” rejected by The city museum of The Hague, in December of 2007. In this picture, Mohammed is apparently the one on the left. 

cruzadas2 
This modern drawing of Mohammed was used in public school instructional materials in Spain. 

mahoma-1 
The Spanish newspaper El Mundo has this mohammed portrait on their Web site in a section about the history of Islam. 

MsoftMoscreenshot 
On one of the pages for its game Age of Empires II, Microsoft features a portrait of Mohammed as part of its description of “the Saracens.” 
(Hat tip: Martin.) 

c_xxsaracens2 
So far, pressure groups seem not to have noticed the portrait; the Archive has preserved this original .gif file in case Microsoft ever takes it down. 

mural10 
This 20th-century painting from a Shriners’ Hall in Maine shows Mohammed receiving a vision. 

mural11 
Another Shriners’ painting showing Mohammed (in the red robe on the right) being comforted by his uncle as he hides from Meccans during his flight to Medina. 

IMG_0279 IMG_0287 
The former Aladdin Casino in Las Vegas, Nevada had a Middle-Eastern design theme; among its many Islamic decorations was this ceiling painting of a large figure that some employees claim represents Mohammed. The Aladdin was bought by Planet Hollywood in 2006 and at the time of this writing is being converted into the Planet Hollywood Casino. The original Middle-Eastern decorations, including this painting, are to be removed or destroyed. The second picture shows the painting’s location, on the ceiling above the slot machines near the casino’s main Las Vegas Boulevard entrance. 

islam_nobs 
Recent issue of French magazine Le Nouvel Observateur with Mohammed on the cover. The magazine has extensive coverage of the Muslim reaction to the Danish cartoons but make no mention of its own Mohammed cover. 

pmoham 
This reproduction is a bit small, but it shows Mohammed destroying the idols at the Kaaba in Mecca. It is taken from Manly P. Hall’s occult guide The Secret Teachings of All Ages, which incorporates ideas from many religions, Christianity and Islam among them. 
(Hat tip: MikalM.) 

Mohammed 
This painting was originally done by Russian symbolist painter and Theosophist Nicholas Roerich in 1932, and is entitled “Mohammed the Prophet,” showing Mohammed receiving a vision. It has appeared in the literature of various Christian groups. 
(Hat tip: David B., Aquarius, and Nicholas.) 

Roerich-10527 
Roerich also made an almost identical painting called Mohammed on Mount Hira that is much less well-known. 
(Hat tip: Raafat.) 

grigory-gagarin-big 
Painting of Mohammed preaching. By Russian artist Grigory Gagarin, painted sometime in the 1840s or 1850s. Source: Wikimedia Commons

1928_1ExercisesDeCourage 
As mentioned near the top of this page, in 1928 Liebig’s Extract of Meat Company issued a series of six advertising trading cards illustrating important moments in the life of Mohammed. The cards came in both German and French (and possibly other languages as well). A collector has uploaded these images of all six of the French-language cards to the Internet Archive. All six are presented here. 
(Hat tip: Martin H.) 

1928_2GabrielConduitMahomet 
1928_3MahometAccuse 
1928_4MahometAbatLesIdoles 
1928_5MahometConvertit 
1928_6MahometASaMort 

   mohammed4C  mohammed6C mohammed7C mohammed8C 
The Humanist site “Freethunk” features this page of eight Mohammed clip-art images (as well as a few Mohammed cartoons that are included on the “Recent Responses” page of the Archive). 

15229111 
This online clip-art gallery also offers several copyright-free line drawings of Mohammed, including the one shown here. 
(Hat tip: Raafat.) 

mohammed-prophet 
Modern-era painting showing Mohammed. Artist unknown. 

Mohammed 
Contemporary stylized drawing of Mohammed. 

prophet-2 
This modern line drawing apparently of Mohammed can be found on this site
(Hat tip: Raafat.) 

Prophet_Mohammad 
Iranian woman artist Oranous (who is a Muslim and lives in Tehran) created this iconic painting of a young Mohammed and is selling it online. Though this would seem to violate Islamic and Iranian law, an expert in Iranian Shi’ite customs writes in to say that this particular painting is not forbidden because it depicts a young Mohammed before he was visited by the Angel Gabriel and started receiving his visions, which means that at this stage in his life he is not yet the Prophet. Oranous apparently based her painting on this old photograph of a young man portraying the young Mohammed. 
(Hat tip: baldy and Raafat.) 

Mohammad_Muhamed 
Artist Irena Mandich recently painted this portrait of Mohammed crying (entitled “Mohammad, Salaam”). This attempt to show Mohammed as sad about the violent Muslim response to the controversy could itself be seen as being even more offensive to Islamic sensibilities. 

MuhammadFahey 
Artist William Fahey painted this picture entitled Muhammad and the Angel, as part of a series depicting various holy figures. Mohammed is the one looking up into the sky, but the angels also look like Mohammed. 
(Hat tip: Raafat.) 

Mo_painting_Berk 
This apparent portrait of Mohammed was part of an artwork displayed for a short period in 2007 in the window of a framing store in Berkeley, California. 

krisen

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IX – Islamic Depictions of Mohammed in Full

On this page are many examples of full-faced Mohammed portraits produced by Muslim artists across the centuries. Attributions for each image are given where known. 


0_015 
Illustration showing Mohammed (on the right) preaching his final sermon to his earliest converts, on Mount Ararat near Mecca; taken from a medieval-era manuscript of the astronomical treatise The Remaining Signs of Past Centuries by the Persian scholar al-Biruni; currently housed in the collection of the Bibliotheque Nationale, Paris (Manuscrits Arabe 1489 fol. 5v). This scene was popular among medieval Islamic artists, and several nearly identical versions of this drawing (such as this one [shown in detail below] and this one) were made in the Middle Ages. 

Mohammed_Edinb_13thC 
Another version of the previous drawing (almost exactly the same, but with minor differences) , this one taken from a 13th-century Persian manuscript (most likely a different edition of al-Biruni’s The Remaining Signs of Past Centuries) housed at the Edinburgh University Library, Scotland. 

Mohammed_Edinb_detail 
Detail of Mohammed from the picture above. 

The image shown above was censored by the French textbook company Belin Editions in 2005. As explained and illustrated on this French-language Web site (an English translation of which you can find here), the April 2005 edition of their history and geography textbook had this original picture of Mohammed with his face visible; but the subsequent edition, from August 2005, had his face blotted out by the editors, in a misguided attempt to be politically sensitive. 
(Hat tip: Gilles C.) 

Algerian_postcard 
Mohammed’s Flight from Mecca in 622 AD; Algerian color postcard from the 1920s or ’30s. Mohammed is the figure entering the cave. The original postcard is in a private collection. 
(Hat tip: Martin H.) 

ea60a61e9df71830e6733cdc8a3602cd 
Mohammed receiving his first revelation from the angel Gabriel. Miniature illustration on vellum from the book Jami’ al-Tawarikh(literally “Compendium of Chronicles” but often referred to as The Universal History or History of the World), by Rashid al-Din, published in Tabriz, Persia, 1307 A.D. Now in the collection of the Edinburgh University Library, Scotland. 

094c28fec2c2678c14174c03a5ca8abf 
Detail of Mohammed from the picture above. 

cc344d75689cdb6806207725b9a1c81c 
A young Mohammed being recognized by the monk Bahira. Miniature illustration on vellum from the book Jami’ al-Tawarikh (literally “Compendium of Chronicles” but often referred to as The Universal History or History of the World), by Rashid al-Din, published in Tabriz, Persia, 1307 A.D. Now in the collection of the Edinburgh University Library, Scotland. 

00da61d4c1f82485f1162e11d3ff84f4 
Detail of the young Mohammed from the image above. 

037ad92b99ea2eaddda48129333655cc 
Mohammed solves a dispute over lifting the black stone into position at the Kaaba. The legends tell how, when Mohammed was still a young man, the Kaaba was being rebuilt and a dispute arose between the various clans in Mecca over who had the right rededicate the black stone. (The Kaaba was at that time still a polytheistic shrine, this being many years before Islam was founded.) Mohammed resolved the argument by placing the stone on a cloth and having members of each clan lift the cloth together, raising the black stone into place cooperatively. Miniature illustration on vellum from the book Jami’ al-Tawarikh (literally “Compendium of Chronicles” but often referred to as The Universal History or History of the World), by Rashid al-Din, published in Tabriz, Persia, 1307 A.D. Now in the collection of the Edinburgh University Library, Scotland. 
(Hat tip: Brett K. and Martin H.) 

aad7fad484d4bb3843ad87ccbca776b2 
Detail of Mohammed from the picture above. 

5ac8835cb58a5ca264a31d25a069e85c 
Mohammed’s birth. Miniature illustration on vellum from the book Jami’ al-Tawarikh (literally “Compendium of Chronicles” but often referred to as The Universal History or History of the World), by Rashid al-Din, published in Tabriz, Persia, 1307 A.D. Now in the collection of the Edinburgh University Library, Scotland. (This image can be found online here.) 
(Hat tip: Jos.) 

bf5c772f42513fa67aedb1f6d3489963 
Detail of the baby Mohammed from the painting above. 
(Hat tip: Nils.) 

458b4bcd25aaff2b635e69de2c586256 
The Mi’raj (also called the “Night Ride”) of Mohammed on Buraq. Miniature illustration on vellum from the book Jami’ al-Tawarikh(literally “Compendium of Chronicles” but often referred to as The Universal History or History of the World), by Rashid al-Din, published in Tabriz, Persia, 1307 A.D. Now in the collection of the Edinburgh University Library, Scotland. 

02d83e2d09732e4bc5fdc63dd954fab2 
Detail of Mohammed from the picture above. 

ca6a2706786b922687fe83194c8075aa 
Mohammed (on the far right) and Abu Bakr on their way to Medina while a woman milks a herd of goats. Miniature illustration on vellum from the book Jami’ al-Tawarikh (literally “Compendium of Chronicles” but often referred to as The Universal History or History of the World), by Rashid al-Din, published in Tabriz, Persia, 1307 A.D. Now in the collection of the Edinburgh University Library, Scotland. 

528d68ae8046e27115e01d689114059a 
Mohammed on his deathbed. Miniature illustration on vellum from the book Jami’ al-Tawarikh (literally “Compendium of Chronicles” but often referred to as The Universal History or History of the World), by Rashid al-Din, published in Tabriz, Persia, 1307 A.D. Now in the collection of the Edinburgh University Library, Scotland. 

025029 
This Iranian site contains a photograph of a mural which appears to depict Mohammed (sixth picture down) on a contemporary building in Iran. The mural shows Buraq (the animal that carried Mohammed on his Night Voyage, described as being white and having the face of a woman and the tail of a peacock, which this creature is and does) carrying a figure who could therefore only be Mohammed. A word-for-word transliteration of the Farsi caption to that picture is (according to this automated translation site), “The Messenger mounted mainland shiny door village (yzdlaan) (kvyry) village blinds to ascension wine river,” which obviously doesn’t translate well but which does make mention of “The Messenger,” a traditional epithet for Mohammed (as the messenger of Allah). Note: this image is hosted on the Web site of the Iranian newspaper Hamshahri, which is sponsoring a contest of cartoons about the Holocaust as an outraged reponse to the publication of the Mohammed cartoons in the West. Yet the newspaper itself is currently displaying this depiction of Mohammed. (This image also on the newspaper’s site appears to be a different modern image of Mohammed as well.) [UPDATE: All the images linked to in this caption have now been taken offline by the Hamshahri newspaper, apparently after having been exposed here; the search-engine caches for the pages have also now expired, meaning that the small photo shown above is the only known surviving image of this unusual contemporary Mohammed depiction.] 
(Hat tip: Kilgore Trout.) 

0129_001 
Mohammed (upper right) visiting Paradise while riding Buraq, accompanied by the Angel Gabriel (upper left). Below them, riding camels, are some of the fabled houris of Paradise — the “virgins” promised to heroes and martyrs. This image and the following five images are Persian, 15th century, from a manuscipt entitled Miraj Nama, which is in the Bibliotheque Nationale, Paris. Taken from The Miraculous Journey of Mahomet, by Marie-Rose Seguy. 

houris1 
Mohammed, flying over Paradise, looks at the houris harvesting flowers and enjoying themselves. Persian, 15th century. 

burning1 
Mohammed, along with Buraq and Gabriel, visit Hell, and see a demon punishing “shameless women” who had exposed their hair to strangers. For this crime of inciting lust in men, the women are strung up by their hair and burned for eternity. Persian, 15th century. 

tongues1 
Next, Mohammed sees women strung up by hooks thrust through their tongues by a green demon. Their crimes were to “mock” their husbands and to leave their homes without permission. Persian, 15th century. 

hooked1 
Further on, Mohammed sees a red demon that is torturing women by hanging them up by hooks through their breasts, as they are engulfed in flames. The women are being punished for giving birth to illegitimate children whom they falsely claimed were fathered by their husbands. Persian, 15th century. 

minbar 
Mohammed (on the right, astride Buraq) and the Angel Gabriel (center) talk with Abraham (left) in Paradise. Persian, 15th century. 

Another illustration apparently from the same series in this manuscript can be seen here

mo_coin_big 
According to the “Taboo Numismatics” site, this early Islamic coin — a gold dinar issued during the reign of the caliph Abd al-Malik in 693 A.D. — most likely depicts Mohammed himself. The author of the site makes a strong case that the central figure is Mohammed and that the figures on either side of him are Abu-Bakr (Mohammed’s companion) on his left and Aisha (his young wife) on his right. Also suggesting that these now-extremely-rare coins (all now housed in the British Museum) depict Mohammed is the fact that they were all ordered to be destroyed shortly after being minted, which may have been the first instance of an image of Mohammed being seen as inappropriate. The coin was made only 67 years after Mohammed’s death (the year 77 of the Islamic era, which dates to his arrival in Medina from Mecca), which would make it far and away the earliest depiction of Mohammed ever made, and possibly even modeled after memories of people who knew him during his lifetime. 
(Hat tip: Ted K.) 

mo+byz_coins_comp 
The large head and wide mustache of Mohammed in this portait may have been modelled after this coin of Byzantine Emperor Constans II(seen on the right) which was struck decades earlier. The Islamic coin also seems to be emulating Byzantine coin designs of the same era which show Jesus on the obverse, in the place where the male figure is on the Islamic coin. 

To follow the full argument, start at the first image in the series and click through to read the full captions for each coin. 

hb_1974.294.2 
The Night Journey of Muhammad on His Steed, Buraq; leaf from a copy of the Bustan of Sacdi, dated 1514. From Bukhara, Uzbekistan. InThe Metropolitan Museum of Art
(Hat tip: Jos.)


hb_57.51.37.3 
Muhammad’s Call to Prophecy and the First Revelation; leaf from a copy of the Majmac al-tawarikh (“Compendium of Histories”), ca. 1425; Timurid. From Herat, Afghanistan. In The Metropolitan Museum of Art
(Hat tip: Jos.)


hb_57.51.9 
Journey of the Prophet Muhammad; leaf from a copy of the Majmac al-tawarikh (“Compendium of Histories”), ca. 1425; Timurid. Herat, Afghanistan. In The Metropolitan Museum of Art
(Hat tip: Jos.)


Mo_Muttalib 
Mohammed presented to the monk Abd al Muttalib and the inhabitants of Mecca. 18th century Ottoman copy of a supposedly 8th century original. Now located in the Topkapi Palace Museum, Istanbul. 

Mo_Muttalib2 
Detail of Mohammed from the picture above, in Paradise with beautiful females. 

chargeoflion 
Mohammed in a cavern, in a painting entitled “The Charge of the Lion.” The painting possibly depicts Mohammed (along with Abu Bakr, not depicted) hiding from pursuers in the Cave of the Bull during the Hijra in 622. Unknown provenance, now in the Bibliotheque Nationale, Paris. 

chargeoflion2 
Detail of Mohammed from the picture above. He seems to have two left arms. 

buraq_col 
Another miniature showing Mohammed astride Buraq. Provenance unknown. 
(Hat tip: Martin.) 

moburaqgab 
Mohammed, Buraq and Gabriel encountering a multi-headed figure in heaven. From the same unknown manuscript as the image above. 
(Hat tip: Martin.) 

prophet_on_rug_large 
Mohammed on his prayer rug; Persia, late medieval (date unknown). 

0123_001 
Mohammed meets the prophets Ismail, Is-hak and Lot in paradise. From the Apocalypse of Muhammad, written in 1436 in Herat, Afghanistan (now in the Bibliotheque Nationale, Paris). 
(Hat tip: A.L. and Buck.) 

0123_001detail 
Detail of Mohammed from the picture above. 

0126_001detail 
Detail of Mohammed from yet another picture in the Apocalypse of Muhammad, written in 1436 in Herat, Afghanistan (now in the Bibliotheque Nationale, Paris). 
(Hat tip: A.L.) 

prophet_1486 
Mohammed arrives on the shores of the White Sea. Also from the Apocalypse of Muhammad, written in 1436 in Herat, Afghanistan (now in the Bibliotheque Nationale, Paris). 
(Hat tip: Buck.) 

DVC01365 
Mohammed greeting ambassadors from Medina. Likely of central Asian origin, though the site on which the image was found does not give an exact date or location. 
(Hat tip: A.L.) 

0130_001detail 
Detail of Mohammed from the same painting as above, which was also used as the cover of the book Mohammed und Seine Zeit (see theArchive’s “Book Covers” page for the full version). 
(Hat tip: A.L.) 

mo_gabriel_giant 
Mohammed (far right) and the Archangel Gabriel standing in front of a giant angel. From the Miraj-name, Tabriz (c. 1360-70). In the Topkapi Palace Library, Istanbul. 

mo_gabriel_ridwan 
Mohammed borne on Gabriel’s shoulders, arriving at the gate of paradise guarded by the angel Ridwan. From the Miraj-name, Tabriz (c. 1360-70). In the Topkapi Palace Library, Istanbul. 

mo_mini-city 
An angel presenting Mohammed (upper left) and his companions with a miniature city. In the Topkapi Palace Library, Istanbul. 

mo_gabriel_angel_flames 
The Archangel Gabriel carries Mohammed on his shoulders over mountains where angels are shown among golden flames. In the Topkapi Palace Library, Istanbul. 

moabovemecca 
Mohammed flying over Mecca, at the beginning of his “Night Journey.” The square building in the center is the Ka’aba. From the manuscript entitled Khamseh, by Nezami, 1494-5. Currently in the British Museum. (A picture of the full manuscript page containing this painting can be seen here.) 

detalle_g 
Mohammed (right) and the Angel Gabriel (left) in a building with three domes. Provenance unknown. 

Mohammed9 
Mohammed with (apparently) the Angel Gabriel. Origin unknown; image found on this Sufi site
(Hat tip: Raafat.) 

MahometMedine 
Mohammed at Medina, from an Arab or central Asian medieval-era manuscript. 

ZUBDAT2 
The Ascension of the Prophet, also from Jami’al-Tawarikh (“The Universal History”). 

archangels_large 
Mohammed Received by the Four Angels; Persia, 1436. 

mo_banu_nadir 
Mohammed (riding the horse) receiving the submission of the Banu Nadir, a Jewish tribe he defeated at Medina. From the Jami’al-Tawarikh, dated 1314-5. In the Nour Foundation’s Nasser D. Khalili Collection of Islamic Art, London. This image was found here, and another version can be found here
(Hat tip: Martin.) 

091 
Another version of the same image as above, also likely from Rashid al-Din’s Jami’al-Tawarikh. This image is likely a redrawn lithograph of the original, and was printed in the book History of Egypt, by S. Rappoport, which contains the caption, “The original of the illustration is to be seen in a finely illuminated MS. of the ninth century, A. D., preserved in the India Office, London. The picture is of peculiar interest, being the only known portrait of Muhammed, who is evidently represented as receiving the divine command to propagate Muhammedanism.” Obviously, the caption is in error; the style of drawing appears to come from later than the ninth century, and needless to say this is not “the only known portrait of Muhammed.” 
(Hat tip: Raafat.) 

mo_family_badr 
Mohammed exhorting his family before the battle of Badr. It is not immediately apparent which figure in this drawing is Mohammed. From the Jami’al-Tawarikh, dated 1314-5. In the Nour Foundation’s Nasser D. Khalili Collection of Islamic Art, London. 

mo_hamza_banu 
Mohammed (on the left) leading Hamza and the Muslims against Banu Qaynuqa’. From the Jami’al-Tawarikh, dated 1314-5. In the Nour Foundation’s Nasser D. Khalili Collection of Islamic Art, London. 

mo_hilye 
Portrait of Mohammed from a 19th century Iranian hilye (a single-page description of Mohammed and his attributes). In The Nasser D. Khalili Collection of Islamic Art). Taken from a reproduction published in the paper entitled “The Story of Portraits of the Prophet Muhammad,” by Oleg Grabar, in Studia Islamica, No. 96

cr017a 
A medieval illustration showing Mohammed (on the right). Source unknown. 

muhammad1 
Mohammed with head emanating flames (a sign of holiness). Source unknown. 
(Hat tip: Steve N.)


mahomet_mort 
Mohammed’s death. Source unknown. 

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X – Canım, Hz muhammed O Şekildedir Demek İstemiyorki O Şekilde Göründü Demek İstiyor, Bunda Abartılacak Ne Varki?

Problemi Tekrar Ediyorum;

“Kitap ehlinden öyle bir güruh da vardır ki, siz onu kitaptan sanasınız diye, dillerini kitaba doğru eğip bükerler. Halbuki o, kitaptan değildir. “Bu, Allah katındandır.” derler; oysa o, Allah katından değildir. Allah’a karşı, kendileri bilip dururken, yalan söylerler.”(Al-i İmran, 3/78)

Bu kişiler toplantılarda öyle bir konuşuyorlar ki, insanlarda öyle bir algı meydana getiriyorlar ki, sanki sadece kendileri gaybı biliyorlar, Allah ve Hz Muhammed ile araları çok iyi ve aktif olarak daha cennete gitmeden görüşüyor ve konuşuyorlar. Hz Muhammed Ençok Mahmut efendiye benziyor, sizde ne algısı oluşturuyor? Çok açık konuşuyorum, bu iddia bende “Hz Muhammed =  Mahmut Efendi”  ve “Mahmut Efendiye Uyarsam Hz Muhammed’e uymuş olurum” algısı oluşturuyor.

Adamların bu “Bakan tanıdığım var, sırtın yere gelmez” felsefesini benimsemiş “Sen benim kim olduğumu biliyormusun?” tavırlar ,Doğal olarak insanlarda “Ulan bunlar doğru yoldalar, uysam cennete girmek garanti” gözüyle kişilere bakmalarına, ne olursa olsun, ne görürlerse görsünler bulundukları tarikatın fikirlerini koşulsuz takip etmelerine sebep oluyor.

Gayb bilinemeyeceği için, gayb konusun da da bol bol atıp tutuyorlar, neyseki teknoloji günümüzde o kadar gelişti ki adamların “Hz Muhammed’i gördüm, aynı mahmut Efendi” yalanları anlaşılabiliniyor.

Hz Muhammed’e ilk Kur’an indiği dönemi bir düşünün; müslümanlığı kabul eden sahabe bu adamlar gibi “Doğru yoldayım, ne olursa olsun müslüman olmayacağım” deseydi müslüman olabilirmiydi? İnançlarındaki sağlamlık sebebiyle cennetemi yoksa cehennememi giderlerdi? Bugünkü eleştirdiğiniz Hristiyanlar, putperetler veya x dinine sahip kişiler ile bu Tarikat cemaati arasında ne fark var?

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