The Hilya Sharifs (Calligraphics works describing the Prophet’s physical characteristics and moral attributes)

In the Islamic faith, idols and all kinds of artifacts that resemble human beings, including anthropomorphic paintings and sculptures, are forbidden. For this reason, Prophet Muhammad (pbuh), with a few exceptions, has never been depicted or portrayed. Rather he has lived in the imaginations of his followers, the Islamic ummah (community), within the framework of his verbal and written descriptions of those who saw him. Throughout history, Muslims have looked to the written depictions of Prophet Muhammad as an expression of love and respect for him, knowing also that to be acquainted with his physical characteristics and his moral attributes as described in the hadith and shamail books, and to carry these books with them is useful for them in terms of their spiritual and moral improvement. For this reason, books that contain descriptions of Prophet Muhammad were first written by calligraphers in the nasih style so that Muslims could carry them on their persons. Later, these descriptions were composed on plaques and plates for the first time by the leading calligrapher Hafiz Osman (d. 1110/1698) in the 17^th century. ³

The word hilya, which literally means "ornament, decoration, and positive attributes", ⁴ is technically defined in the literature as those works that describe the physical attributes of Prophet Muhammad, as well as his personality, his attitudes towards others and his behavior. ⁵ The significance of the hilya sharif is that they express the love felt for Prophet Muhammad by his followers. While many calligraphers have tried different styles in transposing the descriptions of Prophet Muhammad onto plates or plaques, the style that was started by the above-mentioned Turkish calligrapher Hafiz Osman has been the most widely used one in the Muslim world. The Hafiz Osman type consists of several sections: The first part includes the "basmalah" (the opening sentence of the chapters of the Quran: "In the name of Allah, the most gracious, the most merciful") in the sulus or muhaqqaq styles. The middle of the plate consists of the text of the hilya written in a circular form in the nasih style, and surrounding this circle, there is a crescent-shaped ornamentation. Thus, the middle part of the hilya looks like the sun and the moon coming together, which symbolizes the fact that Prophet Muhammad is likened to both the sun and the moon, for he illuminates this world with the light ("noor") that emanates from him. In addition, the fourth, frame-shaped rectangular part that surrounds the circle in the middle usually contains the names of the Rightly-Guided Caliphs (the first four caliphs: Abu Bakr, Umar, Uthman, and Ali); sometimes it includes the names of Prophet Muhammad, including the names Ahmad, Mahmud, Haamid, and Hameed. The gaps in this frame are filled with gilded decorations. Underneath this rectangular frame there is usually a verse from the Quran about Prophet Muhammad -the most widely inscribed verse is the one that reads, in approximate translation, as: "We sent thee not but as a Mercy for all creatures" (Al -Anbiya, 21/107). Sometimes one of the following two verses is found: "And thou [standest] on an exalted standard of character" (Al-Qalam, 68/4) or "...and enough is Allah for a Witness [that] Muhammad [pbuh] is the apostle of Allah" (Al-Fath, 48/28-29). And sometimes this part is decorated by the Qalima al- Tawhid. Finally, the bottom part of the calligraphic work consists of three sections: the continuation of the hilya with the signature of the calligrapher in the middle, and decorative sections on two sides. In addition, due to the fact that the scent of Prophet Muhammad's skin is usually compared to a rose, the latter flower is often found as a motif in the hilya decorations. ⁶