Triptych with 'hilya-i-sherif' (noble description).

İsim	Triptych with 'hilya-i-sherif' (noble description).
Basım Tarihi:	Hegira 12th century / AD 18th century.
Basım Yeri	Turkey. -
Konu	Ottoman period — Wood, gilded and illuminated parchment paper.
Tür	Kitap
Dil	Belirlenmemiş dil
Dijital	Evet
Yazma	Evet
Fiziksel Boyutlar	Height 95.5 cm, width (doors open) 65 cm, width (doors closed) 36 cm.
Kütüphane:	Museum With No Frontiers
Demirbaş Numarası	4054
Kayıt Numarası	ISL_it_Mus01_3
Lokasyon	Museum of Civilisations \| Museum of Oriental Art “Giuseppe Tucci”
Tarih	Hegira 12th century / AD 18th century.
Notlar	This triptych is a typical product of Ottoman religious art of the AH 12th / AD late 18th century. It is made of wood covered with a thin layer of paper painted with various motifs and consists of three parts. The central panel, the most important part, contains ahilya-i-sherif, a noble description of the physical and moral qualities of Muhammad. The two side panels contain thehilyasof the first fourcaliphsand the sons of Ali, Hasan and Husayn. This piece is of particular interest as, in the lower part of the central panel, there is a mention of the illuminator, who signed Halil Kamili, disciple of Mehmed Qalyunt, and the calligrapher, Mahmud son of Mustafa, pupil of Baqqal-zade Ahmed Efendi, who died in the month of Rejeb 1200. In terms of the decoration of the triptych, its three leaves are embellished with inscriptions in various different characters, such asthuluth,naskhiandta'liq, while the actual decorative motifs used include classical shoots with stylised floral motifs in thehatayistyle, andrumimotifs, arabesques dominated by palmettes. The pointed pediment of the triptych shows in its centre panoramas of Islam’s two pre-eminent sacred sites: Mecca, with the Ka'ba in the foreground, andMedina, with itsmosque. Particularly notable is the small, central vase from which flowers shoot, symbolising the distribution of the charismatic virtues of the prophet. The description of the physical and moral qualities of Muhammad are part of a long literary tradition that started withIbnIshaq’ssira(biography of the Prophet). Triptychs such as this one were the object of real worship and veneration, relating to the magical powers that, according to the calligrapher, could be attributed to the triptych and to belief in the magical powers of the writing.
Örnek Metin	Triptychs were a common and important part of Ottoman religious art. This example includes the ‘noble description’ of Muhammad’s physical and moral qualities, as well as representations of Islam’s two pre-eminent holy sites: Mecca andMedina. — Purchase. — From the identification of the calligrapher. — Similar pieces are common in Turkish religious art in the 12th / late 18th century.
Bu sayfanın künyesi	Prepared by:Paola TORREResponsabile del Dipartimento di Archeologia e Arte Islamica e del Servizio Educativo presso il Museo Nazionale d'Arte Orientale “Giuseppe Tucci” di Roma.Laureata in Arte islamica, ha svolto per anni attività di docenza presso l'Istituto Universitario Orientale di Napoli ed è autrice di numerose pubblicazioni e studi scientifici riguardanti soprattutto la ceramica del mondo islamico, con particolare riferimento alla produzione dipinta a lustro metallico, dalla Mesopotamia alla Spagna.
Seçili bibliyografya	Arseven, Esad C.,Les Arts Décoratifs Turc, Istanbul, 1952.Atil, E.,Turkish Art of the Ottoman Period, Washington, 1973.Gallotta, A., “Un Trittico Ottomano conhilye -i serifnel Museo Nazionale d'Arte Orientale di Roma”,Arte Orientale in Italia: Miscellaneous Writings of the Museo Nazionale d'Arte Orientale di Roma, Rome, 1973, pp.25–79.

Kaynağa git Museum With No Frontiers

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Museum With No Frontiers

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Triptych with 'hilya-i-sherif' (noble description).

Basım Tarihi Hegira 12th century / AD 18th century.

Basım Yeri Turkey. -

Konu Ottoman period — Wood, gilded and illuminated parchment paper.

Tür Kitap

Dil Belirlenmemiş dil

Dijital Evet

Yazma Evet

Fiziksel Boyutlar Height 95.5 cm, width (doors open) 65 cm, width (doors closed) 36 cm.

Kütüphane Museum With No Frontiers

Demirbaş Numarası 4054

Kayıt Numarası ISL_it_Mus01_3

Lokasyon Museum of Civilisations | Museum of Oriental Art “Giuseppe Tucci”

Tarih Hegira 12th century / AD 18th century.

Notlar This triptych is a typical product of Ottoman religious art of the AH 12th / AD late 18th century. It is made of wood covered with a thin layer of paper painted with various motifs and consists of three parts. The central panel, the most important part, contains ahilya-i-sherif, a noble description of the physical and moral qualities of Muhammad. The two side panels contain thehilyasof the first fourcaliphsand the sons of Ali, Hasan and Husayn. This piece is of particular interest as, in the lower part of the central panel, there is a mention of the illuminator, who signed Halil Kamili, disciple of Mehmed Qalyunt, and the calligrapher, Mahmud son of Mustafa, pupil of Baqqal-zade Ahmed Efendi, who died in the month of Rejeb 1200. In terms of the decoration of the triptych, its three leaves are embellished with inscriptions in various different characters, such asthuluth,naskhiandta'liq, while the actual decorative motifs used include classical shoots with stylised floral motifs in thehatayistyle, andrumimotifs, arabesques dominated by palmettes. The pointed pediment of the triptych shows in its centre panoramas of Islam’s two pre-eminent sacred sites: Mecca, with the Ka'ba in the foreground, andMedina, with itsmosque. Particularly notable is the small, central vase from which flowers shoot, symbolising the distribution of the charismatic virtues of the prophet. The description of the physical and moral qualities of Muhammad are part of a long literary tradition that started withIbnIshaq’ssira(biography of the Prophet). Triptychs such as this one were the object of real worship and veneration, relating to the magical powers that, according to the calligrapher, could be attributed to the triptych and to belief in the magical powers of the writing.

Örnek Metin Triptychs were a common and important part of Ottoman religious art. This example includes the ‘noble description’ of Muhammad’s physical and moral qualities, as well as representations of Islam’s two pre-eminent holy sites: Mecca andMedina. — Purchase. — From the identification of the calligrapher. — Similar pieces are common in Turkish religious art in the 12th / late 18th century.

Bu sayfanın künyesi Prepared by:Paola TORREResponsabile del Dipartimento di Archeologia e Arte Islamica e del Servizio Educativo presso il Museo Nazionale d'Arte Orientale “Giuseppe Tucci” di Roma.Laureata in Arte islamica, ha svolto per anni attività di docenza presso l'Istituto Universitario Orientale di Napoli ed è autrice di numerose pubblicazioni e studi scientifici riguardanti soprattutto la ceramica del mondo islamico, con particolare riferimento alla produzione dipinta a lustro metallico, dalla Mesopotamia alla Spagna.

Seçili bibliyografya Arseven, Esad C.,Les Arts Décoratifs Turc, Istanbul, 1952.Atil, E.,Turkish Art of the Ottoman Period, Washington, 1973.Gallotta, A., “Un Trittico Ottomano conhilye -i serifnel Museo Nazionale d'Arte Orientale di Roma”,Arte Orientale in Italia: Miscellaneous Writings of the Museo Nazionale d'Arte Orientale di Roma, Rome, 1973, pp.25–79.