The article explores the little-known tradition of figurative Islamic art depicting the prophet Muhammad, which has existed since at least the 13th century in Persian and Turkish cultures. It notes that while a ban on such imagery is widely observed in Arab countries, no explicit prohibition appears in the Quran, and devotional images—often in miniature form—have been created by Muslims for personal and religious use. Examples include a mural in Tehran and a work at the Metropolitan Museum of Art. Scholars like John Esposito, Omid Safi, and Christiane Gruber are quoted to contextualize this tradition in the wake of the Charlie Hebdo attacks, which reignited debate over depictions of Muhammad.
This matters because it challenges the widespread assumption that all Islamic art forbids representation of the prophet, revealing a nuanced historical practice that is often overlooked in public discourse. By highlighting these devotional images, the article argues for a distinction between sacred art and offensive caricatures, and calls for greater awareness and publication of such works as a form of cultural restitution. The piece directly addresses tensions between free speech, religious sensitivity, and artistic expression in a post-Charlie Hebdo world.