Several examples are presented here.
Several examples are presented here. Other artists of the era drew Mohammed, but left his face blank so as to technically comply with a sporadically enforced Islamic ban on depicting the Prophet; these faceless images are shown in the second section of the Archive.
InIslamic art expert Wijdan Ali wrote a scholarly overview of the Muslim tradition of depicting Mohammed, which can be downloaded here in pdf format. Until comparatively recently in Islamic history, it was perfectly common to show Mohammed, either in full as revealed on this pageor with his face hidden as shown on the next page.
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.
Illustration showing Mohammed on the right preaching his final sermon to his earliest converts, on Mount Arafat 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 fol.
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. Detail of Mohammed from the picture above.
The image shown above was censored by the French textbook company Belin Editions in As explained and illustrated on this French-language Web site an English translation of which you can find herethe April edition of their history and geography textbook had this original picture of Mohammed with his face visible; but the subsequent edition, from Augusthad his face blotted out by the editors, in a misguided attempt to be politically sensitive.
This classic image of Mohammed riding Buraq on his "Night Voyage" to Paradise has been reproduced frequently in the West over the years; this version was taken from the cover of the book The Miraculous Journey of Mahometby Marie-Rose Seguy.
This illustration is one of several similar Islamic illustrations from the Medieval period showing the same scene; the exact provenance of this one is as of this writing unknown. Mohammed is the figure dressed in red entering the cave.
The original postcard is in a private collection. To see a high-resolution version of the postcard which has a watermark visible, click here. The Art Gallery of South Australia, Adelaide has on display this vivid portrait of Mohammedwhich was donated to the museum in The catalog listing says "Portrait of the Prophet Muhammad riding the Buraq.
Gouache, gold leaf on paper. Mohammed, the angels and Buraq are all wearing anachronistic clothing and accoutrements typical of the Mughal period in India, from when the painting was made, rather than historically accurate 7th-century Arabian garb. A cropped version of the full painting, seen here, circulates online without attribution and is sometimes used to illustrate articles about Islam or the Middle East, such as this one.
Mohammed receiving his first revelation from the angel Gabriel. Now in the collection of the Edinburgh University Library, Scotland. A young Mohammed being recognized by the monk Bahira. Detail of the young Mohammed from the image above. 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.
This image can be found online here. Detail of the baby Mohammed from the painting above. Mohammed on the far right and Abu Bakr on their way to Medina while a woman milks a herd of goats. Mohammed on his deathbed.
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 peacockwhich this creature is and does carrying a figure who could therefore only be Mohammed.
Yet the newspaper itself is currently displaying this depiction of Mohammed. 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.
On the stamp is depicted a man in ancient garb taking a journey, whom one can only assume is therefore Mohammed, since the stamp specifally commemorates a journey that Mohammed took.
However, various online stock photo services such as this one feature an image of the stamp along with a caption that claims the stamp "shows Salman Farsi follower of Mohammad. More likely, this intentional misidentification was retroactively claimed for the figure on the stamp to cover up for the embarrassing fact that even a strictly Islamic regime had no problem with publishing an image of Mohammed, fatally undermining the recent claim that depicting Mohammed is and always has been "forbidden" in Islam.
The second image is a high-resolution close-up of Mohammed on the stamp, taken from the first image above it. Depicted on the left is Mohammed visiting the "Thoubaa tree," and on the right he observes the "infernal tree. 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.The Office of Public Affairs (OPA) is the single point of contact for all inquiries about the Central Intelligence Agency (CIA).
We read every letter, fax, or e-mail we receive, and we will convey your comments to CIA officials outside OPA as appropriate. Link to University Teachers for Human Rights (Jaffna) Online copy of "The Broken Palmyra - The Tamil Crisis in Sri Lanka: An Inside Account".
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When some selected media take sides on behalf of the hegemony, or Australia’s “allies”, and offend moderate Australian Muslims, the media’s claim of “free speech” or “freedom of expression” remains highly questionable.
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