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was either veiled or blanked. Because of the prohibition on drawing the face of
Muhammad, the need to represent Muhammad was satisfied by writing his name and characteristics. Many authors have commented that another reason is the affection that Muslims feel for Muhammad, which leads them to read about his physical and moral beauty. The (apocryphal) hadith that those who memorize his ḥilya and keep it close to their heart will see Muhammad in their dreams would have been another reason. Muslim people's love for Muhammad is considered to be one of the reasons for the display of ḥilya panels at a prominent place in their homes (see
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852:) on doomsday and to receive a prayer from willing readers. Other ḥilya writers express, usually at the end of the ḥilya, their desire to be commended to the esteem of Muhammad, the other prophets, or the four caliphs. One ḥilya writer, Hakim, wrote that he wishes that people will remember Muhammad as they look at his ḥilya. Hakani's Hilye-i Şerif has been an object of affection to many Turkish people. His poem has been copied on paper as well as on wooden panels by many calligraphers and has been read with the accompaniment of music in
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1296:) after completing a ḥilya panel as their final assignment. The art of ḥilya flourishes in Turkey. Contemporary artists continue to create ḥilān in the classical form as well as to innovate. Modern ḥilān maintain the essence of a ḥilya, even while the appearance of the elements of the ḥilya is customized or calligraphy is used to create abstract or figurative works. Contemporary ḥilān are exhibited in major exhibitions in Turkey as well as outside the country.
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happy. God gave me the good news that whoever looks at my ḥilya and gets delight from it, presses it to his chest and protects it like his life, will be protected from hellfires on
Doomsday; he will not suffer in this world nor in the other. You will be worthy of the sight of my face, and even more, of my holy lights." It has become customary for other ḥilya authors that followed Hakani to mention in the introduction of their ḥilya (called
1351:, it has had a fundamental effect on the development of the ḥilya genre. This hadith has been repeated by most other ḥilya writers. Hakani states another hadith, also attributed to Ali. This hadith of unknown origin is said to have been in circulation since the 9th century but is not found in the reliable hadith collections. Repeated in other ḥilān after Hakani's, this hadith has been influential in the establishment of the genre.:
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1382:) the hadith that seeing Muhammad in one's dream is the same as seeing him. The Harun Al-Rashid story has also been mentioned frequently by other authors as well. These elements from Hakani's ḥilya have established the belief that reading and writing ḥilān protects the person from all trouble, in this world as well as the next.
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as a literary genre, calligraphers and illuminators developed it into a decorative art form. Because of their supposed protective effect, a practice developed in
Ottoman Turkey of the 17th century of carrying Muhammad's description on one's person. Similarly, because of the belief that a house with a
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below). Hakani has said in his poem that a house with a ḥilya will be protected from trouble. Another motivation would have been the hadith given by Hakani in the Hilye-i Şerif, which states that those who read and memorize
Muhammad's ḥilya will attain great rewards in this and the other world, will
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There are several reasons given for the popularity of graphic ḥilān. Islam prohibits the depiction of graphic representations of people that may lead to idols. For this reason, Islamic art developed in the forms of calligraphy, miniatures and other non-figurative arts. In miniatures, Muhammad's face
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effect, capable of protecting a house, a child, a traveller, or a person in difficulty. In addition, the purpose of the ḥilya is to help visualize
Muhammad as a mediator between the sacred and human worlds, to connect with him by using the viewing of the ḥilya as an opportunity to send a traditional
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and presenting him a piece of paper on which
Muhammad's ḥilya is written. Al-Rashid is so delighted to see this that he regales the dervish and rewards him with sacs of jewelry. At night, he sees Muhammad in his dream. Muhammad says to him "you received and honored this poor man, so I will make you
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time before
Muhammad's death, when his crying daughter Fatima said to him: "Ya Rasul-Allah, I will not be able to see your face any more!" Muhammad commanded, "Ya Ali, write down my appearance, for seeing my qualities is like seeing myself." The origin of this hadith is not known. Although probably
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In Turkey, giving a ḥilya panel as a marriage gift for the happiness of the union and safety of the home has been a tradition that is disappearing. Covering such panels with sheer curtains was part of the religious folklore in
Istanbul households. Since Osman's time, every Turkish calligrapher has
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would be placed there, together or separately. Ottomans commissioned scribes to write ḥilān in fine calligraphy and had them decorated with illuminators. Serving as a textual textual portraits of prophets, ḥilya panels have decorated homes for centuries. These calligraphic panels were often framed
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have praised Hakani and stated that they were following in his footsteps. The poem contains several themes detailed below that underscore the importance of reading and writing about the attributes of
Muhammad. In his ḥilya, Hakani mentions the following hadith, which he attributes to Ali: A short
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and shrines, fulfilling an equivalent role to that played by images of Jesus in the
Christian tradition. As symbolic art, they provided an aesthetically pleasing reminder of Muhammad's presence without involving the type of "graven image" unacceptable to most Muslims' sensitivities. Although not
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to be displayed on a wall were prepared on paper mounted on wooden panels, although in the 19th century, thick paper sheets became another medium. The top part of ḥilān that were laid on wooded panels were carved and cut out in the form of a crown. The crown part would be richly illuminated and
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script and has dimensions of 22x14 cm. It consisted of a description of Mohammad in Arabic, and below that its Turkish translation, written in diagonal, to create a triangular block of text. A characteristic feature of the texts shown at the centre of ḥilān is their praise for the beauty of
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see Muhammad in their dreams, will be protected from many disasters, and will receive Muhammad's esteem. In the "sebeb-i te'lîf" ve "hâtime" section of the ḥilya, the writer gives the reasons to write the ḥilya. Hakani wrote that his reason was to be worthy of Muhammad's holy intercession (
676:, which in turn was based on the possibly spurious hadith according to which Muhammad has said "... Whoever sees my hilye after me is as though he has seen me... ". If so, a ḥilya might have been meant not to be not read but seen and contemplated because it is an image made of plain text.
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A ḥilya (1712) meant to be folded and carried on one's person (the crease lines are visible). The two crescents above and below the large circle in the middle contain the description of Muhammad. The central circle describes the protective powers of the ḥilya. The protective hand of
396:ḥilya will not see poverty, trouble, fear or the devil, such texts came to be displayed prominently in a house. The term of 'ḥilya' was used for the art form for presenting these texts. Thus, the ḥilya, as a vehicle for Muhammad's presence after his death, was believed to have a
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blessing upon him, and to establish an intimacy with him. The pocket ḥilān were written on a piece of paper, small enough to fit in a breast pocket after being folded in three. The folding lines were reinforced with cloth or leather. Other pocket ḥilān were made of wood.
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section above), then comments on each of them in 12-20 verses. Although some have found it to be of not great poetic merit, it was popular due to its subject matter. The poem is significant for having established the genre of ḥilya. Later ḥilya writers such as
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naming makes it clear that the ḥilya represents a human body, whose purpose is "to recall semantically the Prophet's presence via a graphic construct". It has been suggested that Hafiz Osman's ḥilya design might have been inspired by the celebrated
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are listed. In the 19th century, some Iranian ḥilān combined the traditional ḥilya format with the Iranian tradition of pictorial representation of Muhammad and Ali. There are contemporary exponents of the art outside this region, such as the
267:, but it is not about Muhammad. For this reason, the ḥilya is considered one of Turkey's national literary genres. Turkish literature has also some early works that may have inspired the appearance of the ḥilya as a literary genre. The
315:. Although the ḥilya tradition started with descriptions of Muhammad, later ḥilān were written about the first four Caliphs, the companions of the Prophet, Muhammad's grandchildren Hasan and Husayn, and walis "saints" such as
1312:), ḥilya panels are works of art, but hanging them in the home has no religious value. That is, they provide no merit to those who hang them or carry them on their persons, and those who do not possess them have no deficit.
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Behiery, Valerie, "Hilya", in Muhammad in History, Thought, and Culture: An Encyclopedia of the Prophet of God (2 vols.), Edited by C. Fitzpatrick and A. Walker, Santa Barbara, ABC-CLIO, 2014, Vol I, pp. 258–263.
635:, of the type usual for the period, often with a border framing the whole in a contrasting design to the main central field that is the background of the text sections. The "verse" and "corners" normally use a larger
436:(1468–1556), may have created one ḥilya panel about a century before. Hafız Osman was known to have experimented with pocket ḥilān in his youth, one of these dates from 1668. Its text was written in very small
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Muhammad's physical appearance and character. While containing a verbal description of what Muhammad looked like, a ḥilya leaves picturing Muhammad's appearance to the reader's imagination, in line with the
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The standard hilye-i șerif composition has been followed by calligraphers since its creation in the late 17th century. Some examples from the 19th century and two made by Hafiz Osman can be seen below.
100:, there was a belief that reading and possessing Muhammad's description protects the person from trouble in this world and the next, it became customary to carry such descriptions, rendered in fine
651:. Unlike the literary genre of ḥilya, the text on calligraphic ḥilān is generally in prose form. The names in Turkish of the central structural elements of the ḥilya are, from top to bottom,
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that typically contain ornamentation – sometimes illuminated – but no text, although occasionally the names of some of the ten companions of Muhammad are found there.
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2149:"From the Literal to the Spiritual: The Development of the Prophet Muhammad's Portrayal from 13th Century Ilkhanid Miniatures to 17th Century Ottoman Art"
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lists the physical and spiritual characteristics of Muhammad in detail, in ḥilān these are written about in a literary style. Among other descriptive
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with foldable side panels. The first recorded instance of Hilye-i Sherif panels is generally believed to have been prepared by the notable scribe
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187:"appearance" to mean Muhammad's fine morals and unique physical beauty. As they contained hadiths describing Muhammad's spirit and physique,
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119:, ḥilān developed into an art form with a standard layout, often framed and used as a wall decoration. Later ḥilān were written for the
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For him who sees my ḥilya after my death, it is as if he had seen me myself, and he who sees it, longing for me, for him God will make
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432:(1642–1698). He was one of earliest scribes known to make such works, although it has been suggested that another famous scribe,
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474:. This layout is generally considered to be the best and has come to be the classical form. It contains the following elements:
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307:(d. 1606–07) is considered the finest example of the genre (see section below). The first ḥilya written in prose form was the
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As an art form, ḥilya has mostly been restricted to Ottoman lands. A small number of instances of ḥilya panels were made in
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is also drawn on the lower crescent, as another sign against evil. The circle and the edges of the sheet are bordered with
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2011:
Abdulkadiroğlu, A. (1991). "İlk Hilye Hattatı Ahmed Karahisari mi? (Is Ahmed Karahisaru the first hilye calligrapher?)".
195:. The sources of ḥilān have been the six main hadith books along with other hadith sources, attributed to people such as
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have been the source of ḥilān. The best known and accepted of these hadith are attributed to his son-in-law and cousin
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179:, the study of Muhammad's appearance and character. The best source on this subject is considered to be al-Tirmidhi's
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The challenge of the silver screen: an analysis of the cinematic portraits of Jesus, Rama, Buddha and Muhammad
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However, deviations from the standard model do occur and many innovative designs have been produced as well.
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died in 1562. This is believed to be the earliest ḥilya in verse form in Turkish literature. However, the
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Although many ḥilān exist in Turkish literature, Persian literature does not have many examples of the
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Hilye (19th century). Circling around the name of Muhammad, is a five-fold repetition of the phrase, "
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scripts. It is a common tradition for masters of calligraphy to obtain their diploma of competency (
323:(1630), about the physical appearance of the first four caliphs. Another important ḥilya writer is
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about the attributes of Muhammad, written by a writer with the penname of Şerifi, was presented to
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adaptation of the form: there is a Persian translation below the Arabic text and the names of the
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The Islamic manuscript tradition: ten centuries of book arts in Indiana University collections
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The Islamic manuscript tradition: ten centuries of book arts in Indiana University collections
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Poyraz, Yakup (2007). "Hâkim Seyyid Mehmed Efendi'nin "Nazire-i Hilye-i Hâkanî" Adlı Eseri".
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1962:
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1451:. Metropolitan Museum of Art (New York, N.Y.); Los Angeles County Museum of Art. p. 36.
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form). They can also be part of two other forms of Turkish Islamic literature, a
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The type of calligraphy: Writing, print, and technologies of the Arabic alphabet
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Letters in gold: Ottoman calligraphy from the Sakıp Sabancı collection, Istanbul
627:"inner and outer frame", an ornamental border in correct proportion to the text.
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2021:"Seyyid Şerîfî Mehmed Efendi ve Hilyesi (Seyyid Sherîfî Efendi and His Hilye)"
1577:"Seyyid Şerîfî Mehmed Efendi ve Hilyesi (Seyyid Sherîfî Efendi and His Hilye)"
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influenced religious foundation in Turkey that publishes religious opinions (
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339:(hilye of the prophet and his four caliphs), Nahifi's (d. 1738) prose ḥilya
183:. The acceptance and influence of this work have led to the use of the term
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The standard layout for the Ottoman ḥilya panel is generally attributed to
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1793:. Zaytuna Institute: 13–22. Archived from the original on December 2, 2010
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175:, both as the literary genre and as the graphic art form, originates from
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586:("And God is significant witness that Muhammad is the messenger of God").
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and a religious genre of Ottoman-Arabic literature each dealing with the
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493:("belly"), a round shape containing the first part of the main text in
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26:(1642–1698), who established the standard layout used for this type of
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Shick, I.C. (2008). "The Iconicity of Islamic Calligraphy in Turkey".
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Grabar, O (2003). "The Story of Portraits of the Prophet Muhammad".
1720:"Mustafa Fehmi Gerçeker'in Hilye-i Fahr-ı Âlem İsimli Eseri Üzerine"
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2444:(in Turkish and English). Antik A.Ş. Kültür yayınları. p. 35.
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2492:"The Hilya, or the Adornment of the Prophet – A Calligraphic Icon"
612:("empty spaces"), two alleys or side panels on either side of the
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2401:"The Theory and Practice of Portraiture in the Persian Tradition"
1665:"Türk Edebiyatında Hilye ve Cevri'nin "Hilye-i Çâr Yâr-ı Güzin"i"
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350:Ḥilān can be written as standalone prose or poems (often in the
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Hakani's ḥilya includes a story about a poor man coming to the
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Following Muhammad: Rethinking Islam in the Contemporary World
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Atatürk Üniversitesi Türkiyat Araştırmaları Enstitüsü Dergisi
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been expected to produce at least one ḥilya, using the three
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777:. 19th century, Ottoman Turkey. Black-and-white reproduction.
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543:"corners", usually four rounded compartments surrounding the
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82:, the study of Muhammad's appearance and character, based on
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2359:"Hilye-i Şerif nedir? Bunu üzerimizde taşımak sevap mıdır?"
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593:"skirt" containing the conclusion of the text begun in the
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283:, referred to Muhammad's characteristics. A 255-verse long
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2334:"Masterpieces of calligraphy art on view at Yıldız Palace"
528:, with its thick middle part at the bottom. Together, the
96:"The Sublime Characteristics of Muhammad". In Ottoman-era
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Hat sanatında hilye-i şerife: Hz. Muhammed'in özellikleri
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2076:. University of California, San Diego. pp. 236–239.
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Hilye combined with blocks of text in the form of famous
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prohibited, and he will not be resurrected naked on the
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Hilye (1848) by Kazasker Mustafa İzzet Efendi (d. 1876).
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The remainder of the space is taken up with decorative
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2158:. EJOS (Electronic Journal of Oriental Studies): 1–24.
2034:: 1026–1044. Archived from the original on 2014-04-13.
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Calligraphic representations of the Prophet Muhammad
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1991:"Triptych with 'hilya-i-sherif' (noble description)"
1990:
520:", an optional section with no text, which is often
295:, at an unknown date that was presumably before the
2310:"Vatican to host Turkish exhibition at Cancellaria"
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Jesus and Muhammad: Parallel Tracks, Parallel Lives
497:. It often contains the description of Muhammad by
415:and came to be used as wall decorations in houses,
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1531:Cumhuriyet Üniversitesi İlahiyat Fakültesi Dergisi
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2044:: CS1 maint: bot: original URL status unknown (
1987:Another example of a triptych-like ḥilya is at:
1811:: CS1 maint: bot: original URL status unknown (
761:," meaning "For God hath power over all things."
3857:Islamic world contributions to Medieval Europe
1623:. Indiana University Press. pp. 131–133.
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335:. Other notable ḥilān are Dursunzâde Bakayi's
263:genre. Abu Naeem Isfahani wrote a work titled
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1932:. Oxford University Press. pp. 160–161.
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1838:Memories of Muhammad: why the Prophet matters
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1759:"Hilye-i Şerifler ve Medeniyetimizdeki Yeri"
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1478:. Cambridge University Press. p. 130.
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482:"head station", a top panel containing the
3841:Islamic Art: Mirror of the Invisible World
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830:A ḥilya from 1718, similar to a Christian
740:Hilye (c. 1853) by Niyazi Efendi (d. 1882)
641:script, while the "head" section with the
505:), with minor variations(see quote in the
2536:Foundation for the Classical Turkish Arts
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2018:
1946:
1896:
1873:
1871:
1869:
1867:
1865:
1863:
1861:
1859:
1752:
1750:
1662:
1574:
1513:
1511:
1509:
1507:
1505:
1503:
1501:
1499:
1497:
1495:
1392:
570:and crescent containing a verse from the
420:common, some ḥilān show the influence of
3894:Oriental carpets in Renaissance painting
2440:Taşkale, Faruk; Gündüz, Hüseyin (2006).
2238:. Encyclopaedia Islamica. Archived from
1819:
1769:
1653:
1601:
1524:"Hâkim Mehmed Efendi'nin Manzum Hilyesi"
1471:
1325:("The Noble Description", 1598–1599) by
825:
454:
373:
152:
17:
3814:Heaven on Earth: Art from Islamic Lands
2576:
2377:
2375:
2139:
2137:
1988:
1729:(in Turkish) (2): 21–36. Archived from
1708:
1675:
1570:
1568:
1566:
1564:
1562:
1560:
1558:
704:Hilye by Hafiz Osman Efendi (1642–1698)
692:Hilye by Hafiz Osman Efendi (1642–1698)
424:icon-making because they are made like
341:Nüzhet-ûl-Ahyar fi Tercüment-iş-Şemîl-i
3924:
2392:
2213:
2183:
2090:
2069:
2052:
1925:
1856:
1747:
1616:
1492:
1444:
1398:
1330:
1304:According to the Süleymaniye Vakfı, a
1299:
716:Hilye by Mehmed Tahir Efendi (d. 1848)
506:
2919:
2869:Al-Furqan Islamic Heritage Foundation
2550:
2385:A history of Ottoman poetry, Volume 3
1957:
445:mainly aniconic nature of Islamic art
2372:
2266:
2134:
1830:
1555:
1316:A key hilye in poetry: Hilye-i Şerif
859:
142:
3821:Hajj: Journey to the Heart of Islam
2505:"The Hilye of the Prophet Muhammad"
1967:. UNC Press Books. pp. 76–78.
1784:"The Hilye of the Prophet Muhammad"
1475:The Cambridge companion to Muhammad
45:
13:
2476:
2382:Elias John Wilkinson Gibb (1904).
2357:Süleymaniye Vakfı (3 March 2011).
2275:Écriture, Calligraphie et Peinture
804:Hilye in free form (18th century).
582:("Truly, you are tremendous") or
450:
358:(account of Muhammad's life) or a
14:
3963:
3722:Museum for Islamic Art, Jerusalem
2879:Society of Iranian Calligraphists
2874:Museum of Turkish Calligraphy Art
2485:
337:Hilye'tûl-Enbiya ve Çeyar-ı Güzîn
309:Hilye-i Celile ve Şemail-i 'Aliye
250:
3167:
2720:
2104:RES: Anthropology and Aesthetics
1201:
1189:
809:
797:
782:
766:
750:
733:
721:
709:
697:
685:
76:physical description of Muhammad
70:) denotes both a visual form in
3947:Cultural depictions of Muhammad
2945:
2433:
2350:
2326:
2302:
2281:
2253:
2228:
2004:
1981:
1890:
465:Turkish and Islamic Arts Museum
343:and Arif Süleyman Bey's (1761)
167:Turkish and Islamic Arts Museum
163:Yesarizade Mustafa Izzet Efendi
2762:Islamic illuminated manuscript
2193:Gruber, Christiane J. (2010).
1637:
1617:Gruber, Christiane J. (2010).
1472:Brockopp, Jonathan E. (2010).
1267:and the American calligrapher
822:Popularity of the graphic form
759:Inna Allah ala kull shay qadir
1:
2818:List of Persian calligraphers
2813:List of Ottoman calligraphers
2532:Many examples of ḥilya panels
2289:"Conoscere la Turchia a Roma"
1880:"Hat Sanatında Hilye-i Şerif"
1385:
1274:
233:Al-Wafāʾ biFaḍāʾil al-Muṣṭafā
3879:Mathematics and architecture
2224:(in Turkish) (2/3): 449–484.
2199:. Indiana University Press.
1901:(in Turkish). Archived from
1693:(in Turkish). Archived from
524:. A crescent encircling the
7:
1691:Klasik Türk Sanatları Vakfı
1671:(in Turkish) (12): 111–131.
1590:: 1026–1044. Archived from
1101:Hadith of the pen and paper
369:
207:, and Hasan ibn Ali. While
127:, Muhammad's grandchildren
10:
3968:
2399:Soucek, Priscilla (2000).
2106:. 53–54 (53/54): 211–224.
2028:Journal of Turkish Studies
1584:Journal of Turkish Studies
406:miniatures of Medina, the
146:
3862:Influences on Western art
3830:
3798:
3674:
3636:
3592:
3562:
3489:
3456:
3447:
3382:
3361:
3320:
3272:
3227:
3183:
3176:
3165:
3089:
2962:
2953:
2903:
2887:
2861:
2826:
2805:
2729:
2718:
2700:
2677:
2649:
2591:
2584:
2420:10.1163/22118993-90000008
2015:(in Turkish) (82): 48–52.
1537:: 317–357. Archived from
1399:Bakker, Freek L. (2009).
321:Hilye-i Çihar-Yar-ı Güzin
125:Companions of the Prophet
3932:Islamic arts of the book
2458:copy on author's website
2112:10.1086/RESvn1ms25608818
1993:. Museum With No Borders
1445:Derman, M. Uğur (1998).
845:Graphic art form section
391:While writers developed
293:Suleiman the Magnificent
181:Shama'il al-Muhammadiyya
149:Shama'il al-Muhammadiyya
93:Shama'il al-Muhammadiyya
1647:of the 1898 edition at
910:After Conquest of Mecca
86:accounts, most notably
3852:Indo-Saracenic Revival
2171:Cite journal requires
2070:Osborn, J. R. (2008).
1926:Peters, F. E. (2010).
1718:İspirli, S.A. (2010).
1405:. BRILL. p. 209.
1365:
1096:Companions of Muhammad
934:Milestones and records
839:
467:
388:
229:Abu Nu'aym al-Isfahani
169:
66:
61:
31:
3807:Empire of the Sultans
1878:Derman, M.U. (2000).
1353:
996:Splitting of the Moon
829:
458:
377:
291:, one of the sons of
275:(1351–1422), and the
156:
21:
3770:Arab World Institute
3580:Ottoman illumination
2777:Ottoman illumination
2737:Arabic calligraffiti
1522:Erdoğan, M. (2007).
1208:Biography portal
633:Ottoman illumination
313:Hoca Sadeddin Efendi
3952:Islamic terminology
3942:Islamic calligraphy
2797:Islamic zoomorphism
2578:Islamic calligraphy
2338:Hürriyet Daily News
2314:Hürriyet Daily News
1884:Diyanet: İlmî Dergi
1757:Bayçöl, H. (2007).
1300:Theological opinion
1250:and they reflect a
1152:Al-Masjid an-Nabawi
917:Farewell Pilgrimage
362:or accounts of the
277:Kitab-i Muhammediye
217:Dalāʾil al-Nubuwwah
121:four Rashid caliphs
3847:Aniconism in Islam
3785:Toronto (Aga Khan)
3742:Khalili Collection
3607:Geometric patterns
3015:Bahmani and Deccan
2516:, by Faruk Taşkale
2463:2012-04-25 at the
2019:Yazar, S. (2007).
1765:(in Turkish) (37).
1663:Erkal, A. (1999).
1575:Yazar, S. (2007).
1054:Medieval Christian
840:
775:Relics of Muhammad
468:
422:Orthodox Christian
389:
170:
112:. In 17th-century
32:
3919:
3918:
3588:
3587:
3443:
3442:
3415:Hardstone carving
3312:Chinese influence
3163:
3162:
3149:Stucco decoration
2913:
2912:
2787:Persian miniature
2782:Ottoman miniature
2716:
2715:
2451:978-975-7843-07-8
2206:978-0-253-35377-1
2083:978-0-549-51769-6
1974:978-0-8078-5577-5
1939:978-0-19-974746-7
1849:978-0-06-123134-6
1842:. HarperCollins.
1780:Zakariya, Mohamed
1630:978-0-253-35377-1
1485:978-0-521-71372-6
1458:978-0-87099-873-7
1412:978-90-04-16861-9
1244:
1243:
860:Non-Ottoman forms
836:99 names of Allah
566:"belt" below the
281:Yazıcıoğlu Mehmed
143:Origins in hadith
3959:
3758:Majorelle Garden
3454:
3453:
3287:Hispano-Moresque
3181:
3180:
3171:
2980:Anatolian Seljuk
2960:
2959:
2940:
2933:
2926:
2917:
2916:
2767:Mughal miniature
2742:Arabic miniature
2724:
2589:
2588:
2571:
2564:
2557:
2548:
2547:
2528:
2514:"Hilye-i Şerife"
2509:Mohamed Zakariya
2470:
2469:
2455:
2437:
2431:
2430:
2428:
2422:. Archived from
2405:
2396:
2390:
2389:
2379:
2370:
2369:
2367:
2366:
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1998:
1985:
1979:
1978:
1955:
1944:
1943:
1923:
1914:
1913:
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1910:
1899:"Hilye-i Şerife"
1894:
1888:
1887:
1875:
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1853:
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1828:
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1489:
1469:
1463:
1462:
1442:
1417:
1416:
1396:
1361:Day of Judgement
1269:Mohamed Zakariya
1236:
1229:
1222:
1206:
1205:
1204:
1196:Islam portal
1194:
1193:
1192:
1176:History of Islam
981:First revelation
864:
863:
813:
801:
791:Esmâ Ibret Hanim
786:
770:
754:
737:
725:
713:
701:
689:
655:(head station),
459:Hilye copied by
434:Ahmed Karahisarî
408:tomb of Muhammad
364:Isra' and Mi'raj
269:Vesiletü'n-necat
265:Hilyetü'l-Evliya
69:
47:
3967:
3966:
3962:
3961:
3960:
3958:
3957:
3956:
3922:
3921:
3920:
3915:
3884:Moorish Revival
3832:
3826:
3794:
3711:Calligraphy Art
3677:
3670:
3632:
3584:
3558:
3485:
3449:
3439:
3405:Enamelled glass
3378:
3357:
3316:
3268:
3223:
3184:Regional styles
3172:
3159:
3085:
3056:Sudano-Sahelian
2963:Regional styles
2949:
2944:
2914:
2909:
2899:
2883:
2857:
2836:
2822:
2801:
2725:
2712:
2696:
2673:
2645:
2580:
2575:
2526:
2488:
2479:
2477:Further reading
2474:
2473:
2467:
2465:Wayback Machine
2452:
2438:
2434:
2426:
2403:
2397:
2393:
2380:
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2364:
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2355:
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2316:
2308:
2307:
2303:
2294:
2292:
2287:
2286:
2282:
2271:
2267:
2263:for an example.
2258:
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2229:
2222:Turkish Studies
2218:
2214:
2207:
2191:
2184:
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2100:
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2053:
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2023:
2009:
2005:
1996:
1994:
1986:
1982:
1975:
1956:
1947:
1940:
1924:
1917:
1908:
1906:
1897:Faruk Taşkale.
1895:
1891:
1876:
1857:
1850:
1829:
1820:
1804:
1803:
1796:
1794:
1786:
1777:
1770:
1755:
1748:
1739:
1737:
1733:
1727:Turkısh Studies
1722:
1716:
1709:
1700:
1698:
1687:"Hilye-i Şerif"
1685:Velioğlu, A.K.
1683:
1676:
1661:
1654:
1643:Hilye-i Şerif,
1642:
1638:
1631:
1615:
1602:
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1375:Harun al-Rashid
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1009:
1001:
1000:
989:Isra and Mi'raj
972:
962:
961:
947:
939:
938:
921:Farewell Sermon
888:
862:
824:
817:
814:
805:
802:
793:
787:
778:
771:
762:
755:
741:
738:
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705:
702:
693:
690:
669:anthropomorphic
509:section above).
453:
451:Standard layout
372:
345:Nazire-î Hakânî
289:Şehzade Bayezid
273:Süleyman Çelebi
253:
225:Tariḥ-i Isfahān
151:
145:
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11:
5:
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3911:Topkapı Scroll
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3718:Islamic Museum
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2486:External links
2484:
2478:
2475:
2472:
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2450:
2432:
2429:on 2012-05-11.
2391:
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2227:
2212:
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2182:
2173:|journal=
2133:
2089:
2082:
2051:
2030:(in Turkish).
2003:
1980:
1973:
1959:Ernst, Carl W.
1945:
1938:
1915:
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1848:
1818:
1768:
1746:
1707:
1674:
1652:
1645:Digitised copy
1636:
1629:
1600:
1597:on 2014-04-13.
1586:(in Turkish).
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1533:(in Turkish).
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706:
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696:
694:
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684:
667:(skirt). This
645:is written in
629:
628:
617:
606:
605:may be absent.
587:
556:
537:
510:
501:(according to
487:
452:
449:
371:
368:
285:Risale-i Resul
252:
251:Literary genre
249:
215:texts are the
147:Main article:
144:
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9:
6:
4:
3:
2:
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3420:Ivory carving
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2893:
2892:
2890:
2886:
2880:
2877:
2875:
2872:
2870:
2867:
2866:
2864:
2862:Organizations
2860:
2854:
2851:
2849:
2846:
2844:
2841:
2840:
2838:
2832:
2829:
2828:
2825:
2819:
2816:
2814:
2811:
2810:
2808:
2806:Calligraphers
2804:
2798:
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2790:
2788:
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2778:
2775:
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2699:
2693:
2690:
2688:
2685:
2684:
2682:
2680:
2676:
2670:
2667:
2665:
2664:Tawqi (Tevki)
2662:
2660:
2657:
2656:
2654:
2652:
2648:
2642:
2639:
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2634:
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2587:
2583:
2579:
2572:
2567:
2565:
2560:
2558:
2553:
2552:
2549:
2543:(Shick, I.C.)
2542:
2539:
2537:
2533:
2530:
2525:
2521:
2518:
2515:
2512:
2510:
2506:
2503:
2501:
2497:
2496:Carl W. Ernst
2493:
2490:
2489:
2483:
2466:
2462:
2459:
2453:
2447:
2443:
2436:
2425:
2421:
2417:
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2409:
2402:
2395:
2387:
2386:
2378:
2376:
2360:
2353:
2339:
2335:
2329:
2315:
2311:
2305:
2291:. Piu Culture
2290:
2284:
2276:
2269:
2262:
2256:
2242:on 2014-05-24
2241:
2237:
2231:
2223:
2216:
2208:
2202:
2198:
2197:
2189:
2187:
2178:
2165:
2157:
2150:
2146:
2140:
2138:
2129:
2125:
2121:
2117:
2113:
2109:
2105:
2098:
2096:
2094:
2085:
2079:
2075:
2074:
2066:
2064:
2062:
2060:
2058:
2056:
2047:
2041:
2033:
2029:
2022:
2014:
2007:
1992:
1989:Paola Torre.
1984:
1976:
1970:
1966:
1965:
1960:
1954:
1952:
1950:
1941:
1935:
1931:
1930:
1922:
1920:
1905:on 2012-04-25
1904:
1900:
1893:
1886:(in Turkish).
1885:
1881:
1874:
1872:
1870:
1868:
1866:
1864:
1862:
1860:
1851:
1845:
1840:
1839:
1833:
1827:
1825:
1823:
1814:
1808:
1792:
1785:
1782:(2003–2004).
1781:
1775:
1773:
1764:
1760:
1753:
1751:
1736:on 2015-01-28
1732:
1728:
1721:
1714:
1712:
1697:on 2010-11-10
1696:
1692:
1688:
1681:
1679:
1670:
1666:
1659:
1657:
1650:
1646:
1640:
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1609:
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1605:
1593:
1589:
1585:
1578:
1571:
1569:
1567:
1565:
1563:
1561:
1559:
1544:on 2021-11-27
1540:
1536:
1532:
1525:
1518:
1516:
1514:
1512:
1510:
1508:
1506:
1504:
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1433:
1431:
1429:
1427:
1425:
1423:
1414:
1408:
1404:
1403:
1395:
1391:
1383:
1381:
1380:havas-i hilye
1376:
1373:
1370:
1364:
1362:
1358:
1352:
1350:
1345:
1341:
1337:
1332:
1328:
1327:Mehmet Hakani
1324:
1323:
1322:Hilye-i Şerif
1313:
1311:
1307:
1297:
1295:
1291:
1287:
1283:
1272:
1270:
1266:
1263:calligrapher
1262:
1257:
1253:
1252:Twelver Shi'a
1249:
1237:
1232:
1230:
1225:
1223:
1218:
1217:
1215:
1214:
1209:
1199:
1197:
1187:
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1170:
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1127:
1125:
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1115:
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1102:
1099:
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1067:
1064:
1062:
1059:
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1051:
1048:
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1040:
1038:
1035:
1034:
1028:
1027:
1020:
1017:
1015:
1012:
1011:
1005:
1004:
997:
994:
993:
990:
987:
986:
982:
978:
975:
974:
971:
966:
965:
958:
955:
953:
950:
949:
943:
942:
935:
932:
930:
927:
926:
922:
918:
915:
914:
911:
908:
907:
904:
901:
899:
896:
894:
891:
890:
887:
882:
881:
878:
875:
874:
870:
866:
865:
857:
855:
851:
846:
837:
833:
828:
812:
807:
800:
795:
792:
785:
780:
776:
769:
764:
760:
753:
748:
747:
746:
736:
731:
724:
719:
712:
707:
700:
695:
688:
683:
682:
681:
677:
675:
674:Hilye-i Şerif
670:
666:
662:
658:
654:
650:
649:
644:
640:
639:
634:
626:
622:
618:
615:
611:
607:
604:
600:
596:
592:
588:
585:
581:
577:
573:
569:
565:
561:
557:
554:
550:
546:
542:
538:
535:
531:
527:
523:
519:
515:
511:
508:
504:
500:
496:
492:
488:
486:or a blessing
485:
481:
477:
476:
475:
473:
466:
462:
461:Mustafa Râkim
457:
448:
446:
441:
440:
435:
431:
427:
423:
418:
413:
409:
404:
399:
394:
386:
382:
376:
367:
365:
361:
357:
353:
348:
346:
342:
338:
334:
330:
326:
322:
318:
314:
310:
306:
305:Mehmet Hakani
302:
301:Hilye-i Şerif
298:
294:
290:
286:
282:
278:
274:
270:
266:
262:
258:
248:
246:
242:
238:
234:
230:
226:
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218:
214:
210:
206:
202:
198:
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190:
186:
182:
178:
174:
168:
164:
160:
155:
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140:
138:
134:
130:
126:
122:
118:
115:
111:
107:
103:
99:
95:
94:
89:
85:
81:
77:
73:
68:
63:
59:
55:
51:
43:
39:
38:
29:
25:
20:
16:
3903:
3899:Pseudo-Kufic
3839:
3819:
3812:
3805:
3728:Kuala Lumpur
3626:
3574:
3153:
3005:Indo-Islamic
2995:Great Seljuk
2955:Architecture
2907:Islamic arts
2895:Pseudo-Kufic
2853:Word heaping
2756:
2606:Jeli Thuluth
2527:(in Turkish)
2522:of ḥilān on
2500:Rasheed Butt
2480:
2468:(in English)
2441:
2435:
2424:the original
2411:
2407:
2394:
2384:
2363:. Retrieved
2361:(in Turkish)
2352:
2341:. Retrieved
2337:
2328:
2317:. Retrieved
2313:
2304:
2293:. Retrieved
2283:
2274:
2268:
2255:
2244:. Retrieved
2240:the original
2236:"حِليهنويسى"
2230:
2221:
2215:
2195:
2164:cite journal
2155:
2103:
2072:
2040:cite journal
2031:
2027:
2013:Milli Kültür
2012:
2006:
1995:. Retrieved
1983:
1963:
1928:
1907:. Retrieved
1903:the original
1892:
1883:
1837:
1807:cite journal
1795:. Retrieved
1790:
1762:
1738:. Retrieved
1731:the original
1726:
1699:. Retrieved
1695:the original
1690:
1668:
1639:
1619:
1592:the original
1587:
1583:
1546:. Retrieved
1539:the original
1534:
1530:
1474:
1467:
1447:
1401:
1394:
1379:
1366:
1354:
1320:
1319:
1303:
1293:
1289:
1285:
1281:
1278:
1265:Rasheed Butt
1256:Twelve Imams
1245:
1091:Ghadir Khumm
1031:Perspectives
856:ceremonies.
849:
841:
758:
744:
678:
664:
660:
656:
652:
646:
642:
636:
630:
624:
620:
613:
609:
602:
598:
594:
590:
567:
563:
559:
553:names of God
544:
540:
533:
529:
525:
513:
490:
479:
469:
437:
402:
392:
390:
359:
355:
349:
344:
340:
336:
320:
308:
300:
284:
276:
268:
264:
260:
256:
254:
240:
237:ibn al-Jawzi
232:
224:
216:
212:
208:
188:
184:
180:
176:
172:
171:
91:
79:
53:
49:
36:
35:
33:
28:calligraphic
15:
3937:Turkish art
3831:Principles,
3799:Exhibitions
3752:Marrakech (
3748:Los Angeles
3716:Jerusalem (
3678:collections
3629:Calligraphy
3509:Indo-Muslim
3491:Calligraphy
3425:Mosque lamp
3383:Other media
3302:Mina'i ware
3191:Bangladeshi
2947:Islamic art
2145:Ali, Wijdan
1649:archive.org
1159:Possessions
1106:Ahl al-Bayt
1061:Historicity
663:(belt) and
549:Sunni Islam
472:Hâfiz Osman
430:Hâfiz Osman
329:14 prophets
205:Abu Hurayra
139:or saints.
106:illuminated
102:calligraphy
88:al-Tirmidhi
72:Ottoman art
24:Hâfiz Osman
22:A ḥilya by
3926:Categories
3905:Stilfragen
3833:influences
3705:Istanbul (
3638:The garden
3594:Decoration
3563:Other arts
3458:Miniatures
3343:Embroidery
3297:Lustreware
3156:Decoration
3119:Mashrabiya
3027:Indonesian
2888:Influences
2833:Techniques
2414:: 97–108.
2365:2012-01-19
2343:2012-01-23
2319:2012-01-23
2295:2012-02-23
2261:this image
2246:2012-01-20
1997:2012-01-27
1909:2012-01-20
1832:Safi, Omid
1797:August 22,
1740:2012-01-19
1701:2012-01-18
1548:2012-01-16
1386:References
1349:apocryphal
1294:icazetname
1275:Traditions
1079:Succession
1019:Christians
957:Diplomatic
625:dış pervaz
574:, usually
398:talismanic
360:Mirʿajname
221:al-Bayhaqi
98:folk Islam
64:, plural:
48:, plural:
3867:Grotesque
3780:Singapore
3764:Melbourne
3602:Arabesque
3031:Malaysian
2687:Nasta'liq
2611:Kairouani
2520:Slideshow
2128:192229397
2017:cited by
1261:Pakistani
1066:Criticism
789:Hilye by
659:(belly),
643:bismallah
610:koltuklar
480:baş makam
463:in 1791.
426:triptychs
245:Qadi Iyad
201:ibn Abbas
159:nastaʿlīq
157:Hilya in
34:The term
3872:Moresque
3732:London (
3676:Museums,
3661:Paradise
3646:Charbagh
3627:See also
3529:Nastaliq
3519:Muhaqqaq
3450:the book
3362:Woodwork
3321:Textiles
3282:Fritware
3154:See also
3139:Muqarnas
3134:Mocárabe
3091:Elements
2905:Part of
2843:Kasheeda
2626:Muhaqqaq
2621:Maghrebi
2461:Archived
2408:Muqarnas
2388:. Luzac.
2277:: 19–38.
2147:(2001).
2120:25608818
1961:(2004).
1834:(2009).
1282:muhaqqaq
970:Miracles
952:Military
877:Muhammad
869:a series
867:Part of
832:triptych
653:başmakam
648:muhaqqaq
584:48:28–29
518:crescent
503:Tirmidhi
387:verses.
370:Art form
257:shama'il
241:Al-Shifa
213:shama'il
209:shama'il
189:shama-il
185:shama'il
177:shama'il
165:, 1822,
80:shama'il
67:hilyeler
3889:Mudéjar
3790:Tripoli
3768:Paris (
3738:V&A
3666:Persian
3656:Ottoman
3570:Muraqqa
3549:Thuluth
3534:Persian
3481:Persian
3476:Ottoman
3448:Arts of
3433:Shabaka
3307:Persian
3274:Pottery
3259:Turkish
3254:Persian
3229:Carpets
3218:Ottoman
3214:Turkish
3208:Safavid
3196:Persian
3129:Minaret
3104:Banna'i
3076:Umayyad
3071:Timurid
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