<p>In this study, the Hilye-i Saadet plate, which is oneof the hidden treasures of the Antalya Museum and stands out with itsdepiction of the Al-Masjid an-Nabawi, has been examined in the contextof its content, form and ornamental features. The Hilye-i Saadet plate,registered with the inventory number 26.75.75, was purchased from theAlanya Museum in 1975 and acquised in the Antalya Museum collection.The hilye, which was kept in the museum storage, was illuminated withcalligraphy on paper and pasted on wood. The Hilye-i Saadet plate havingthe date of 1801 has survived to the present day in good condition. Thiswork (Hilye) gains importance not only because of the richness of thecomposition of illumination, but also because it is an authorazition(icazetname). The fact that the hilye has the qualifications of a qualificationcertificate/diploma given to the student by the master makes this work aprivilege among its counterparts. In the ornaments of the hilye, which wasprepared in a classical form, influence of westernization prevailing in theillumination style of the 19th century is observed. The motifs used in theornaments of the hilye attract attention with their vivid colors. In motifsmade on gold, dark blue and sometimes brick red backgrounds; pink, blue,red, gold, green and white colors were used by painting in tone. At the parton the top of the hilye, a depiction of architectural elements of the AlMasjid an-Nabawi, accompanied by sand dunes in the background. In thedepiction, where the sand dunes, which are marked with black contour,create a perspective effect, it is seen that the ground is painted with earthcolor and gold, while shades of gray and black are used in the architectural324texture. The inscriptions in the middle part of the hilye were written innaskh calligraphy with beyn es-sutur, while the other inscriptions werewritten in black soot on a gold background.Throughout the history of Islam, poets wrote na’t-i serif, siyer, hilyesemâil, miracnâme, mevlid, esmâ-i Nebî, mu’cizât-ı Nebî, forty hadiths,hundred hadiths and various works in the genres that developed dependingon them, to show their love to prophet Hz Muhammad. One of theseliterary genres, "hilye", deals with the physical and character traits of theHz. Muhammad. By its dictionary meaning, “Hilye”, which meansornament, decoration, characterization, creation, image, adjective,ornament made with precious stones and metals, and the externalappearance of human, is a word of Arabic origin. In Turkish, the word hilyehas found its meaning in the form of "ornaments, ornaments, gems,beautiful adjectives, beautiful face, and a poetic or prose work describingthe blessed qualities and beauties of the Hz. Muhammad." Hilye-i Saadetfiguratively means the portrait of the Hz. Muhammad made in calligraphy.Hilye, also known as Hilye-i Şerif, Hilye-i Saadet and Hilye-i Nabawi, isthe general name given to works that describe the physical characteristics,character, human and moral qualities, attitudes and movements of the Hz.Muhammad in Islamic literature and calligraphy. In time, the word gaineda special meaning, denoting a plate with a literary genre and its own form,in relation to its meanings. The writing and illumination o f the hilye in theform o f a plate is an art tradition that is not seen in other Islamic countries,but only found in the Ottoman and later Republican period culturalapproach. The hilyes in the form of plates, prepared as a manifestation ofdevotion and love to the Hz. Muhammad, had an exceptional place inOttoman calligraphy. Hilyes function as a means o f contemplation,providing the viewer with the opportunity to visualize the Hz. Muhammadin his mind, to get closer and to integrate with him. Hilye goes beyondfigurative depiction and invites the audience to contemplate the Hz.Muhammad through visual and cognitive ways that activate abstractthought and the eye of the heart. In the beginning, portable size verbaldescriptions describing the characteristics of the Hz. Muhammad were firstarranged by Hafiz Osman in the 17th century in the form of an illuminatedand plate. The form and ornamentation concept used in the first hilye byHafız Osman, in which Hakani praised the Hz. Muhammad and wasinspired by the Hilye-i Şerif masnavi, was adopted by calligraphers andilluminators, and these features were repeated in later works.Hilye illuminations were formed in compositions in which traditionalmotifs were used in the first period, but they took their share from thewestern-based cultural interaction that emerged in the 18th century.Eroğlu Bilgin, S., Direr Akhan, A. A. (2022). 19.Yüzyıldan Tasvirli Bir Ahşap HilyeÖrneği. ANKARAD, 3(6), 323-347.325Western motifs, which entered Turkish art after this interaction broughtabout by westernization, were effective in illumination as well as in otherOttoman arts. In this period, the discovery of the folds which arecharacteristic in Baroque and Rococo folds of Europe by the illuminatorsled to the enrichment of the compositions. In general, motifs in style ofbaroque and rococo characters, painted with tones, and made in a naturaliststyle with a light effect with white, were used in harmony with traditionalmotifs. The rose motif, which is believed to symbolize the Hz. Muhammad,is frequently encountered in religious art works produced between the 17thand 19th centuries. The rose motif, called "Rose of Muhammad", hasbecome one of the most important metaphors that developed within the lateOttoman mystical worship traditions and expresses the supernatural beautyof the Hz. Muhammad. For this reason, single or bouquet-shaped rosesexpressing the rose metaphor are frequently repeated in hilyeilluminations. The fact that Mecca and Medina depictions began to appearon hilye illuminations in the 18th and 19th centuries is another example ofmetaphor. These depictions, which can be said to be the product of an effortto embody the invisible Hz. Muhammad with symbols about him, are likethe complement of hilye illuminations. Of course, the visual portrait of theHz. Muhammad is not a one-to-one description, on the contrary, it is amental image created in the world o f imagination and directed by a strongbond of love. When evaluated in this context, Hilye-i Saadet plates shouldbe accepted as art productions that emerged as a result of the effort tovisualize the indescribable mental and sacred image by means ofcalligraphy<br></p>