The Prophet as a Sacred Spring: Late Ottoman Hilye Bottles

Abstract

Among its vast collection of manuscripts, the Topkapı Palace Library in Istanbul preserves four large glass bottles filled with devotional objects and ornaments. Three of these bottles contain hilyes, or verbal descriptions of the Prophet Muḥammad, while a fourth contains a miniature Qurʾān displayed on a wooden stand decorated with colorful beads (Figure 18.1). Executed by the under-glass painter Muḥammad Rifʿat and dated 1308/1891, the Qurʾān bottle has at least four companion pieces held in two other museums in Istanbul.1 Although Qurʾān bottles will not be discussed in the present essay, their production alongside hilye bottles suggests that these glass containers were intended to house both the icons of God (via His holy book) and the Prophet (via his verbal icon). At present, hilye bottles remain understudied. While about a dozen exist in international collections,2 one bottle emerged on the art market some years ago under the title “lodge hilye” (tekke hilyesi)3 and another hilye bottle dated 1219/1804–5 is currently on display in the Mevlevihane Museum in Galata, Istanbul.4 As is evident from the Topkapı Palace materials, however, hilye