Muhammad - Appearance

Appearance

Ali gave the following description of Muhammad's physical appearance:

Muhammad was middle-sized, did not have lank or crisp hair, was not fat, had a white circular face, wide black eyes, and long eye-lashes. When he walked, he walked as though he went down a declivity. He had the "seal of prophecy" between his shoulder blades ... He was bulky. His face shone like the moon. He was taller than middling stature but shorter than conspicuous tallness. He had thick, curly hair. The plaits of his hair were parted. His hair reached beyond the lobe of his ear. His complexion was azhar . Muhammad had a wide forehead, and fine, long, arched eyebrows which did not meet. Between his eyebrows there was a vein which distended when he was angry. The upper part of his nose was hooked; he was thick bearded, had smooth cheeks, a strong mouth, and his teeth were set apart. He had thin hair on his chest. His neck was like the neck of an ivory statue, with the purity of silver. Muhammad was proportionate, stout, firm-gripped, even of belly and chest, broad-chested and broad-shouldered.

The "seal of prophecy" between the Prophet's shoulders is generally described as having been a type of raised mole the size of a pigeon's egg. Another description of Muhammad was provided by Umm Ma'bad, a woman he met on his journey to Medina:

I saw a man, pure and clean, with a handsome face and a fine figure. He was not marred by a skinny body, nor was he overly small in the head and neck. He was graceful and elegant, with intensely black eyes and thick eyelashes. There was a huskiness in his voice, and his neck was long. His beard was thick, and his eyebrows were finely arched and joined together.

When silent, he was grave and dignified, and when he spoke, glory rose up and overcame him. He was from afar the most beautiful of men and the most glorious, and close up he was the sweetest and the loveliest. He was sweet of speech and articulate, but not petty or trifling. His speech was a string of cascading pearls, measured so that none despaired of its length, and no eye challenged him because of brevity.

Descriptions like these were often reproduced in calligraphic panels (hilya or, in Turkish, hilye), which in the 17th century developed into an art form of their own in the Ottoman Empire.