Al Isra' wal Mi'raj 2025-27th Rajab 1446

!!  أتمنى لكم ذكرى طيبة لإسراء والمعراج يا نبينا محمد

 

Желаю вам благочестивого и набожного празднования Исры и Мираджа Пророка Мухаммеда!

 

Je vous souhaite une pieuse et dévote commémoration de l'Isra et du Miraj du Prophète Muhammad!

 

Wishing you a pious and devout commemoration of the Isra and Miraj of Prophet Muhammad!

Miniature from a manuscript (now in the Bibliothèque Nationale de Paris) of the Miraj Nameh (Book of Miraj) found in Herat (currently Afghanistan) and written by Mir Haydar in an Eastern Turkic language and Uyghur script of the Malik Bakhshi type of calligraphy (ملک باشکی); Muhammad (top right), accompanied by Archangel Gabriel, visits Paradise, riding Buraq. The houris of Paradise are depicted riding camels. From Marie Rose Séguy's book, The Miraculous Journey of Mahomet (1977). About:

https://en.wikipedia.org/wiki/Miraj_Nameh

https://www.librarything.com/author/seguymarierose

https://en.wikipedia.org/wiki/Houri

Prophet Muhammad (top right), surrounded by angels, observes the constellations and the celestial spheres. A miniature of a manuscript of the masterpiece Makhzan al-Asrar (مخزن الاسرار /"Treasure of Secrets"), which is part of the Khamsa by Nezami Ganjavi. About:

https://classicalastrologer.com/2015/12/24/thisra-and-miraj/

https://en.wikipedia.org/wiki/Makhzan_ol-Asrar

Miniature from a manuscript of Nizami's Khamsa, dating back to 1540: it depicts the Ascension of Muhammad. About:

https://en.wikipedia.org/wiki/Khamsa_of_Nizami

Prophet Muhammad travels through the seven spheres of the heavenly part of the universe, flying on the Buraq. The figure of Muhammad is here replaced by the representation of fire which symbolizes the unbreachability of the holy. 

Iranian style miniature from the Siyer-i Nabi, which is an Ottoman epic about the life of the Prophet Muhammad; it was written around 1388 by a Mevlevi dervish and it was decorated by the Ottoman calligrapher Lutfi Abdullah in the late 16th century at the behest of Sultan Murad III. The face of the Prophet Muhammad is covered, as is often the case in miniatures of Ottoman manuscripts, by a white veil. Representation of Muhammad leading all the other prophets in a prayer performed in a heavenly mosque. About: https://en.wikipedia.org/wiki/Siyer-i_Nebi

Portrait of Prophet Muhammad riding on Buraq; gouache and gold leaf on paper from Lucknow, Uttar Pradesh (India); it dates back to the early 19th century (the last decades of the Mughal Empire). This art masterpiece is to be found in Adelaide (Australia); it was donated to the Art Gallery of South Australia. Quite indicatively, Prophet Muhammad, the angels, and the Buraq appear to be wearing completely out-of-date clothing that corresponds to the dress habits of the Indians during the times of the Mughal Empire, and not to those of the Arabs of the early 7th century Hejaz.

Early 14th-century miniature on parchment with text by Rashid al-Din Hamadani (رشیدالدین فضل‌الله همدانی), from his work Jami' al-Tawarikh (جامع التواریخ /Jami' al-Tawarikh: Compendium of Histories); depiction of Prophet Muhammad on the Buraq. About: https://en.wikipedia.org/wiki/Rashid_al-Din_Hamadani

https://en.wikipedia.org/wiki/Jami%27_al-tawarikh

Wall decoration from a modern building in Iran; the mural depicts Muhammad during the Israa (night journey) on the Buraq. The depiction encapsulates most of the associated folk traditions, according to which this peculiar animal was white in color, had the appearance of a woman (queen), and featured a peacock's tail. The picture was first published in the Iranian newspaper (Hamshahri/همشهری), which offered also organized cartoon competitions about the Holocaust in Europe. However, this photo was later withdrawn and the web page was deleted entirely – a development that clearly reflects theological polarizations among regime officials. About: https://www.hamshahrionline.ir/

Miniature from the aforementioned Miraj Nameh manuscript, depicting Prophet Muhammad's transcendental journey through the celestial spheres and his visit to the sacred Thoubaa tree; this tree was identified with the aforementioned Sidrat al-Muntaha. The tree is depicted here upside down, i.e. with the roots above and the branches and foliage below - something quite common in the traditions of the heavily mythologized tree in the History of Islamic mysticism.

 

From the same manuscript: miniature depicting Prophet Muhammad surrounded by angels: they observe Zaqqum (زقوم /Zaqqum), i.e. the cursed tree of Hell. On the topic of sacred, extraordinary, and cursed trees in Islamic mythology and mysticism:

https://krapooarboricole.wordpress.com/2010/05/06/les-arbres-dans-le-coran/

https://krapooarboricole.wordpress.com/2020/01/08/larbre-inverse-en-islam/

https://krapooarboricole.wordpress.com/2010/06/26/miradj-nameh-le-livre-de-lascension-du-prophete-de-mir-haydar/

https://en.wikipedia.org/wiki/Zaqqum

Miniature from the aforementioned Miraj Nameh, depicting Prophet Muhammad flying on the Buraq and guided by angels, while visiting the Paradise and observing the Houris which are gathering flowers 

Prophet Muhammad (top right), riding on Buraq and guided by the Archangel Gabriel, is depicted as conversing with the Prophet Ibrahim (Abraham) in Heavenly Jerusalem. Miniature from a 15th century Iranian manuscript

"The Day of Judgment": a 19th century Iranian painting, which belongs to the Collection of the Reza Abbasi Museum (موزه رضا عباسی) in Tehran. There is no signature, but the work has been usually attributed to the Iranian artist Mohammad Modabber (محمد مدبر). Prophet Muhammad is depicted twice in this painting: in the upper left corner, while emitting a luminous aura, he shows to a man to drink water from the fountain of Paradise. The subject echoes Islamic traditions according to which Prophet Muhammad will offer water from a fountain to those among the believers who will meet him in Paradise after the Judgment. Elsewhere, on a ladder in the center of the painting, Prophet Muhammad, having the same facial traits, appears in company of other holy men and prophets.

Manuscript page with an excerpt from the book of poetry Bustan (بوستان) by Saadi Shirazi (سعدی شیرازی) and a miniature depicting Prophet Muhammad flying on the Buraq; Origin: Bukhara, Uzbekistan (now in The Metropolitan Museum of Art). About: https://en.wikipedia.org/wiki/Saadi_Shirazi

https://en.wikipedia.org/wiki/Bustan_(book)

Prophet Muhammad in one of his earthly journeys; from an early 15th century Timurid manuscript of the above-mentioned Jami' al-Tawarikh by Rashid al-Din Hamadani; provenance: Herat (currently in the Metropolitan Museum of Art)

Prophet Muhammad converses with the prophets Idris (Enoch?) and Nuh (Noah), while flying on the Buraq and being guided by Gabriel in the second Heaven. This is one of the sixty (60) miniatures that were created for the famous Miraj Nameh by Mir Haydar (currently in the Bibliothèque Nationale de Paris). The texts were composed in three languages: the actual text is in an Eastern Turkic language (written in Uyghur script), but there are also titles in Arabic and explanations in Farsi and Arabic.

During the Miraj, Muhammad, flying on Buraq, meets the extraordinary angel, who is half fiery and half icy. Miniature from the Tatar epic-religious masterpiece Nahjatü l-farādīs, "The Open Road to the Gardens of Paradise" (Nahjatü l-farādîs / Turkish: Nehcü’l-ferâdîs / نهج الفراديس / Нахдж аль-фарадис), which was composed by the leading Tatar sage, scientist, theologian and poet Mahmud al-Bulgari (full name: Mahmud Ibn Ghali Ibn Ghumar al-Bulgari al-Sarai / Махмуд ибн Гали ибн Гумар аль-Булгари ас-Сараи), who is better known in Turkish as Mahmud bin 'Ali bin es-Serayî, or also el-Bulgarî, and in Western literature as Mahmud ibn 'Ali al-Sarai.

I note that his surname is related to his origin from Bulgar (Болгар, Bolgar), the capital of Volga Bulgaria (today in the Republic of Tatarstan). His other surname (as-Sarai) refers to the place where he lived, namely the wealthy capital of the Tatar-Mongol Empire of the Golden Horde, Sarai.

Nahjatü l-farādīs was written in Chorasmian Turanian in 1358; it includes four sections with ten chapters each. The first section is dedicated to the life example and the deeds of Prophet Muhammad; the second describes the period of the first caliphs up to Ali. The third section deals with the good deeds of the believers, whereas the fourth lists the evil deeds, which force the evildoer to go far from God. And in the eighth chapter (of the first part), Mahmud al-Bulgari narrates the Ascension (Miraj) of Prophet Muhammad and his tour of Paradise and Hell, while he was accompanied by Archangels Gabriel and Michael. About:

https://islamansiklopedisi.org.tr/nehcul-feradis

https://tr.wikipedia.org/wiki/Nehc%C3%BC%27l-Fer%C3%A2d%C3%AEs

https://ru.wikipedia.org/wiki/Нахдж_аль-фарадис

https://en.wikipedia.org/wiki/Mahmud_ibn_%27Ali_al-Sarai

https://tatarica.org/ru/razdely/religiya/islam/personalii/mahmud-bulgari-mahmud-ibn-gali

https://web.archive.org/web/20160305071504/http://ekitap.kulturturizm.gov.tr/Eklenti/13164,mahmudbinalininnehculfedariseseripdf.pdf?0

https://ia802804.us.archive.org/13/items/Nehcl-Ferds/5610-1-Ushtahlarln_Achuq_Yoli-Cennetlerin_Achiq_Yolu-Nehcul_Feradis-323s.pdf

https://dn790000.ca.archive.org/0/items/Nehcl-FeradisTpkbasm/5610-2-Ushtahlarln_Achuq_Yoli-Cennetlerin_Achiq_Yolu-Nehcul_Feradis-458s.pdf

https://en.wikipedia.org/wiki/Sarai_(city)

https://ru.wikipedia.org/wiki/Старый_Сарай

 

 

Another miniature from the famous Miraj Nameh by Mir Haidar, which is currently in the Bibliothèque Nationale in Paris: Prophet Muhammad, guided by Gabriel, meets with the prophets Isaac (إِسْحَاق /Ishaq) and Lot (لوط /Lout). About:

https://www.facsimilefinder.com/facsimiles/miragnama-the-apocalypse-of-mohamed-facsimile

https://www.facsimiles.com/facsimiles/miragnama-the-apocalypse-of-mohamed 

Detail of the aforementioned miniature from the Miraj Nameh and the representation of Prophet Muhammad's approach to Hell, in the presence of the Archangel Gabriel. Focus is made on Prophet Muhammad's observation of the cursed tree of Zaqqum. This hideous plant is depicted as bearing enormous and sharp thorns; in guise of fruits, it has the heads of demons, which take the form of known and unknown animals. The inhabitants of Hell appear to be obliged to eat all these fruits, but for them they are worthless and useless. A completely repulsive, blue-white demon with crimson eyes guards the pernicious tree, being protected by a fiery aura; all the same, he seems to be clearly held captive (as he wears a gold bracelet on his left hand). Finally, all those, who are apologists for this atrocity, appear punished and with their tongues cut out.

Muhammad and Gabriel (bottom right) before a huge angel (?); from a copy of the Miraj Nameh which was crafted in Tabriz around 1370 and is now in the Topkapi Palace Library in Istanbul

Here, Prophet Muhammad is depicted as being carried on the shoulders of Gabriel. As they reach the Gate of Paradise, they encounter the guardian Angel Riḍwan (رضوان ).

This is how it all began. Depiction of the beginning of the Israa with Prophet Muhammad flying over the Kaaba on the Buraq; from the miniature of a manuscript of the Khamsa by Nezami Ganjavi, the national poet of the Azeris. Crafted in the late 15th century, the manuscript is now in the British Museum.

One of the most beautiful miniatures of the Miraj Nameh: the clouds are depicted in gold, the angels with colorful wings, and Prophet Muhammad in a green garment.

Another representation of Prophet Muhammad's Ascension; from a miniature of manuscript of the Jami' al-Tawarikh (compendium of stories) by Rashid al-Din Hamadani

 

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Note - Примечание 1

Фотография на обложке: это фрагмент шедевра иранского искусства XIX в., представленного на стр. 14 (верхняя левая часть)

 

Photo de couverture : il s'agit d'un détail du chef-d'œuvre de l'art iranien du XIXe siècle présenté à la page 14 (partie supérieure gauche)

 

Cover page picture: this is a detail from the 19th c. masterpiece of Iranian art presented on p. 14 (the upper left part)

 

 

 

Note - Примечание 2

Все изображения были использованы, а легенды впервые написаны на греческом языке для нужд моей статьи

 

Toutes les images ont été utilisées et les légendes ont d'abord été écrites en grec pour les besoins de mon article

 

All pictures were used and legends were first written in Greek for the needs of my article

 

"Μιράτζ, η Ανάληψη του Προφήτη Μωάμεθ στους Ουρανούς: μία Ψυχική-Οντολογική Ανάλυση"

 

Мирадж, вознесение пророка Мухаммеда на небеса: духовно-онтологический анализ

 

Mi'raj, the Ascension of the Prophet Muhammad to the Heaven: a Spiritual-Ontological Analysis

 

Mi'raj, l'ascension du prophète Mahomet au ciel : une analyse spirituelle et ontologique

 

Содержание

I. Введение

II. Исраа и Мирадж: основная информация

III. Вариант первый: вознесение с душой и телом

IV. Вариант второй: вознесение только с душой

V. Вознесение Пророка Мухаммеда: кратковременное или долговременное проявление

VI. Исраа, Мирадж и историческая поляризация между христианами и мусульманами

VII. Исраа и Мирадж, и небесные путешествия Мани, Картира и Арда Вирафа согласно манихеям и иранским маздеистам

VIII. Вариант третий: вознесение с эфирным телом

IX. Вариант четвертый: астральная проекция

X. Четыре тела, одно материальное и три духовных, и два пути

XI. Духовная Вселенная и Материальная Вселенная: нет ни одной материальной части творения, которая была бы неодушевленной

 

Contents

I. Introduction

II. Israa and Mi'raj: basic information

III. Option One: Ascension with Soul and Body

IV. Option Two: Ascension with Soul only

V. Ascension of Prophet Muhammad: Momentary or Long-lasting Manifestation

VI. Israa, Miraj & Historical Polarization between Christians and Muslims

VII. Israa & Miraj, and the Heavenly Journeys of Mani, Kartir and Arda Viraf according to the Manichaeans and the Iranian Mazdeists

VIII. Option Three: Ascension with the Etheric Body

IX. Option Four: Astral Projection

X. The Four Bodies, One Material and Three Spiritual, and the Two Paths

XI. Spiritual Universe and Material Universe: there is no Material Part of the Creation that is Inanimate

 

Περιεχόμενα

Ι. Εισαγωγή

ΙΙ. Ισράα και Μιράτζ: στοιχειώδεις πληροφορίες   

ΙΙΙ. Περίπτωση Πρώτη: Ανάληψη με την Ψυχή και το Σώμα

ΙV. Περίπτωση δεύτερη: Ανάληψη μόνο με την Ψυχή

V. Ανάληψη του Προφήτη Μωάμεθ: Στιγμιαία ή Διαρκής Εμφάνιση 

VI. Ισράα, Μιράτζ & Ιστορικές Αντιπαραθέσεις Χριστιανών και Μουσουλμάνων

VII. Ισράα & Μιράτζ, και τα Ουράνια Ταξείδια των Μάνη, Καρτίρ και Αρντά Βιράφ κατά τους Μανιχεϊστές και τους Ιρανούς Μαζδεϊστές

VIΙΙ. Περίπτωση Τρίτη: Ανάληψη με το Αιθερικό Σώμα    

ΙΧ. Περίπτωση Τέταρτη: Αστρική Προβολή 

Χ. Τα Τέσσερα Σώματα, Υλικό και Ψυχικά, και οι Δύο Δρόμοι

ΧΙ. Ψυχικό Σύμπαν και Υλικό Σύμπαν: δεν υπάρχει Υλικό Τμήμα της Δημιουργίας το οποίο να είναι Άψυχο

 

Статью, опубликованную на греческом языке (около 6600 слов), можно найти здесь:

 

Publié en grec, l'article (environ 6600 mots) peut être trouvé ici :

 

Published in Greek, the article (ca. 6600 words) can be found here:

 

https://www.patreon.com/posts/119844018

https://megalommatis.substack.com/p/990?r=iwr0e

https://www.academia.edu/126982614/Μιράτζ_η_Ανάληψη_του_Προφήτη_Μωάμεθ_στους_Ουρανούς

https://megalommatis.blogspot.com/2025/01/blog-post.html

https://megalommatis.livejournal.com/68518.html

https://medium.com/@megalommatis/μιράτζ-η-ανάληψη-του-προφήτη-μωάμεθ-στους-ουρανούς-μία-ψυχική-οντολογική-ανάλυση-90f53e8bda58

 

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https://megalommatis.wordpress.com/wishing-you-a-pious-and-devout-commemoration-of-the-isra-and-miraj-of-prophet-muhammad/

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https://www.academia.edu/127280886/Al_Isra_wal_Miraj_2025_27th_Rajab_1446

https://www.calameo.com/read/0071568974e5d46201233

https://www.4shared.com/web/preview/pdf/QhmObTsZku?

https://figshare.com/articles/figure/Al_Isra_wal_Mi_raj_2025-27th_Rajab_1446/28287614?file=51956030

https://online.fliphtml5.com/qynhg/rdbv/

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