Calligraphic Portrait of the Prophet Muhammad (recto); Geneaology of the Prophet Muhammad (verso) , left-hand side of a bifolio from a manuscript c. 18th century

Curator: This manuscript page, a "Calligraphic Portrait of the Prophet Muhammad," attributed to Ismail bin Ibrahim Bosnavi, speaks volumes about the intersection of faith, art, and power in the 18th century. What strikes you most about it? Editor: The circular script really draws my eye. It feels almost like a face in its design, but I'm not sure I understand the implications. Curator: The circular format is deliberate. How does it relate to the historical suppression of figurative representations of Muhammad? Consider how calligraphy here becomes a form of veiled portraiture, a powerful act of devotion and cultural expression. Editor: So, it's not just art, it's a statement? Curator: Precisely. This piece invites us to question the boundaries between representation and reverence, challenging conventional notions of Islamic art history. What new perspectives does this open for you? Editor: I see now how deeply connected art can be to religious and cultural identities. Curator: Indeed, and by studying its historical and social setting, we gain a more nuanced understanding of art's function.