section_path: Legacy/Islamic tradition/Appearance and depictions
section_name: Appearance and depictions
paragraph_text: Appearance and depictions
  
  Various sources present a probable description of Muhammad in the prime of his life. He was slightly above average in height, with a sturdy frame and wide chest. His neck was long, bearing a large head with a broad forehead. His eyes were described as dark and intense, accentuated by long, dark eyelashes. His hair, black and not entirely curly, hung over his ears. His long, dense beard stood out against his neatly trimmed mustache. His nose was long and aquiline, ending in a fine point. His teeth were well-spaced. His face was described as intelligent, and his clear skin had a line of hair from his neck to his navel. Despite a slight stoop, his stride was brisk and purposeful. Muhammad's lip and cheek were ripped by a slingstone during the battle of Uhud. The wound was later cauterized, leaving a scar on his face.
  
  However, since the hadith prohibits the creation of images of sentient living beings, Islamic religious art mainly focuses on the word. Muslims generally avoid depictions of Muhammad, and instead decorate mosques with calligraphy, Quranic inscriptions, or geometrical designs. Today, the interdiction against images of Muhammad—designed to prevent worship of Muhammad, rather than God—is much more strictly observed in Sunni Islam (85%–90% of Muslims) and Ahmadiyya Islam (1%) than among Shias (10%–15%). While both Sunnis and Shias have created images of Muhammad in the past, Islamic depictions of Muhammad are rare. They have mostly been limited to the private and elite medium of the miniature, and since about 1500 most depictions show Muhammad with his face veiled, or symbolically represent him as a flame.
  
  The earliest extant depictions come from 13th century Anatolian Seljuk and Ilkhanid Persian miniatures, typically in literary genres describing the life and deeds of Muhammad. During the Ilkhanid period, when Persia's Mongol rulers converted to Islam, competing Sunni and Shi'a groups used visual imagery, including images of Muhammad, to promote their particular interpretation of Islam's key events. Influenced by the Buddhist tradition of representational religious art predating the Mongol elite's conversion, this innovation was unprecedented in the Islamic world, and accompanied by a "broader shift in Islamic artistic culture away from abstraction toward representation" in "mosques, on tapestries, silks, ceramics, and in glass and metalwork" besides books. In the Persian lands, this tradition of realistic depictions lasted through the Timurid dynasty until the Safavids took power in the early 16th century. The Safavaids, who made Shi'i Islam the state religion, initiated a departure from the traditional Ilkhanid and Timurid artistic style by covering Muhammad's face with a veil to obscure his features and at the same time represent his luminous essence. Concomitantly, some of the unveiled images from earlier periods were defaced. Later images were produced in Ottoman Turkey and elsewhere, but mosques were never decorated with images of Muhammad. Illustrated accounts of the night journey (mi'raj) were particularly popular from the Ilkhanid period through the Safavid era. During the 19th century, Iran saw a boom of printed and illustrated mi'raj books, with Muhammad's face veiled, aimed in particular at illiterates and children in the manner of graphic novels. Reproduced through lithography, these were essentially "printed manuscripts". Today, millions of historical reproductions and modern images are available in some Muslim-majority countries, especially Turkey and Iran, on posters, postcards, and even in coffee-table books, but are unknown in most other parts of the Islamic world, and when encountered by Muslims from other countries, they can cause considerable consternation and offense.