HILYE-I HAKANI PDF

The term hilya (Arabic حلية (plural: ḥilan, ḥulan), Turkish: hilye (plural: hilyeler) denotes both a The second most important hilye, after Hakani’s, is considered to be Cevri İbrahim Çelebi’s hilye, Hilye-i Çihar-Yar-ı Güzin (), about the. –) to write his famous poem Hilye-i Şerif (The Noble Description), also known as Hilye-i Hakani The principal goal of Hakani’s poem consists in. – Buy Hilye-I Hakani book online at best prices in India on Read Hilye-I Hakani book reviews & author details and more at

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Hilye-i Hakani ( edition) | Open Library

The art of hilye flourishes in Turkey. Is Ahmed Karahisaru the first hilye calligrapher? The Islamic manuscript tradition: For this reason, Islamic art developed in the forms of calligraphy, miniatures and other non-figurative arts.

CS1 Turkish-language sources tr CS1 maint: Hakani wrote that his reason was to be hile-i of Muhammad’s holy intercession shefaat on doomsday and to receive a prayer from willing readers.

Diwani Tawqi Tevki Ruq’ah. 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. In other projects Wikimedia Commons. In miniatures, Muhammad’s face was either veiled or blanked. Part of Islamic arts.

I’d like to read this book on Kindle Don’t have a Kindle? As an art form, hilye has mostly been restricted to Ottoman lands. From Wikipedia, the free encyclopedia. Share your thoughts with other customers. For him who sees my hilye 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 Hell prohibited, and he will not be resurrected naked on the Day of Judgement.

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If so, a hilye might have been meant to be not read but seen and contemplated, because it is really an image made of plain text.

This anthropomorphic naming makes it clear that the hilye represents a human body, whose purpose is “to recall semantically the Prophet’s presence via a graphic construct”. Archived from the original on Since Osman’s time, every Turkish calligrapher has hiye-i expected to produce at least one hilyeusing the three muhaqqaqthuluth and naskh scripts.

You will be worthy of the sight of my face, and even more, of my holy lights. Contemporary artists continue to create hilyes in the classical form as well as to innovate.

Hilye-I Hakani (Turkish, Hardcover)

Hilya literally means “ornament”. Muhammad says to him “you received and honored this poor man, so I will make you happy. Its text was written in very small naskh script and has dimensions of 22×14 cm.

This hhakani a reproduction of a book published before 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. Rethinking Islam in the Contemporary World. The term of hilye was used for the art form for presenting these texts.

Hilye-i Hakani | Open Library

Journal of Turkish Studies in Turkish. Related Mosque of the prophet Possessions Relics. Visit our Help Pages. Retrieved August 22, There are several reasons given for the popularity of graphic hakaani.

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Whoever sees my hilye after me is as though he has seen me Museum With No Borders. This hadith of unknown origin is said to have been in circulation since the hxkani century [33] but is not found in the reliable hadith collections.

A small number of instances of hilye panels were made in Iran, [25] and hakanu reflect a Shiite adaptation of the form: In his hilyeHakani mentions the following hadith, which he attributes to Ali: It has become customary for other hilye authors that followed Hakani to mention in the introduction of their hilye called havas-i hilye the hadith that seeing Muhammad in one’s dream is the same as seeing him.

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 Mawlid ceremonies. The remainder of the space is taken up with decorative Ottoman illuminationof 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.

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