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^In the Near East and Eastern Mediterranean, see for example the 'Ur-Nammu stela' of ca. BCE: "Over the king's head, at the top of the stela, is a very large star or radiant sun-disc, floating free within a crescent." Jeanny Vorys Canby, The "Ur-Nammu" Stela, University of Pennsylvania Museum of Archaeology, , p18; In Central Asia and India see, for example, a coin issue of Chashtana (probably dating to the late first or early second century AD): "A rare type with crescent and star alone on the reverse is probably Chashtana's earliest issue, struck before he extended his power into Malwa." H.H. Dodwell (Ed.), The Cambridge Shorter History of India, Cambridge University Press, , p83; early Mesopotamian and, much later, Sassanian examples of the 'star and crescent' motif are of course well known.
^Irving L. Finkel, Markham J. Geller, Sumerian Gods and Their Representations, Styx, , p71
^André Parrot, Sumer: The Dawn of Art, Golden Press,
^A.H. van Zyl, The Moabites, Brill, , pp , pp
^Othmar Keel, Christoph Uehlinger, Gods, Goddesses, and Images of God in Ancient Israel, Fortress Press, , p
^^a^bJohn Hansman, "The great gods of Elymais" in Acta Iranica, Encyclopédie Permanente Des Etudes Iraniennes, v.X, Papers in Honor of Professor Mary Boyce, Brill Archive, , pp
^Michael R. Molnar, The Star of Bethlehem, Rutgers University Press, , p78
^Andrew G. Traver, From Polis to Empire—The Ancient World c. B.C.–A.D. , Greenwood Publishing Group, , p
^Yulia Ustinova, The Supreme Gods of the Bosporan Kingdom, Brill, , pp
^B.C. McGing, The Foreign Policy of Mithradates VI Eupator, King of Pontus, Brill, , p 97
^Deniz Burcu Erciyas, "Wealth, Aristocracy, and Royal Propaganda Under The Hellenistic Kingdom of The Mithradatids in The Central Black Sea Region in Turkey", Colloquia Pontica Vol, Brill, , p
^"The star and crescent are common Persian symbols, being a regular feature of the borders of Sassanian dirhems." Philip Grierson, Byzantine Coins, Taylor & Francis, , p
^Habibollah Ayatollahi (trans. Shermin Haghshenās), The Book of Iran: The History of Iranian Art, Alhoda UK, , pp
^"In B.C., however, the Byzantines, with the aid of the Athenians, withstood a siege successfully, an occurrence the more remarkable as they were attacked by the greatest general of the age, Philip of Macedon. In the course of this beleaguerment, it is related, on a certain wet and moonless night the enemy attempted a surprise, but were foiled by reason of a bright light which, appearing suddenly in the heavens, startled all the dogs in the town and thus roused the garrison to a sense of their danger. To commemorate this timely phenomenon, which was attributed to Hecate, they erected a public statue to that goddess []" William Gordon Holmes, The Age of Justinian and Theodora, p ; "If any goddess had a connection with the walls in Constantinople, it was Hecate. Hecate had a cult in Byzantium from the time of its founding. Like Byzas in one legend, she had her origins in Thrace. Since Hecate was the guardian of "liminal places", in Byzantium small temples in her honor were placed close to the gates of the city. Hecate's importance to Byzantium was above all as deity of protection. When Philip of Macedon was about to attack the city, according to he legend she alerted the townspeople with her ever-present torches, and with her pack of dogs, which served as her constant companions. Her mythic qualities thenceforth forever entered the fabric of Byzantine history. A statue known as the 'Lampadephoros' was erected on the hill above the Bosphorous to commemorate Hecate's defensive aid." Vasiliki Limberis, Divine Heiress, Routledge, , p
^Vasiliki Limberis, Divine Heiress, Routledge, , p 15
^"In Byzantium had a number of operative cults to traditional gods and goddesses tied to its very foundation eight hundred years before. Rhea, called "the mother of the gods" by Zosimus, had a well-ensconced cult in Byzantium from its very foundation. [] Devotion to Hecate was especially favored by the Byzantines [] Constantine would also have found Artemis-Selene and Aphrodite along with the banished Apollo Zeuxippus on the Acropolis in the old Greek section of the city. Other gods mentioned in the sources are Athena, Hera, Zeus, Hermes, and Demeter and Kore. Even evidence of Isis and Serapis appears from the Roman era on coins during the reign of Caracalla and from inscriptions." Vasiliki Limberis, Divine Heiress, Routledge, , sf. 16
^B.C. McGing, The Foreign Policy of Mithradates VI Eupator, King of Pontus, Brill, , p 58
^Michael R. Molnar, The Star of Bethlehem, Rutgers University Press, , p 48
^Orta Asya'dan Osmanlıya Türk Sanatında İkonografik Motifler, Emel Esin, Kabalcı Yayınevi, , sy
^Utku Bolulu (9 Mart ). " yıllık ay-yıldızlı TL". funduszeue.info 20 Şubat tarihinde kaynağından arşivlendi. Erişim tarihi: 6 Aralık &#;
^Gaybullah Babayarov, "The Catalogue of the coins of Turkic Qaghanate", TIKA, , p 91
^John Denham Parsons, The Non-Christian Cross, BiblioBazaar, , p 69
^Angeliki E. Laiu, Roy P. Mottahedeh, The Crusades From the Perspective of Byzantium and the Muslim World, Dumbarton Oaks, , p
^Ernst Benz, The Eastern Orthodox Church, Aldine Transaction, , pp
^"It is reported that Theodosius forbade the use of coins (noummia) of Julian for public purposes, but the report is a late one, and the supposed grounds for the action unclear, although possibly iconographical and religious, which would be plausible enough. The report may in any case represent a misattributed but genuine measure of Valens." in Michael F. Hendy, Studies in the Byzantine Monetary Economy C. , Cambridge University Press, , p ; in a note for this passage on the same page (Note 27): "The law of Valens cited above would most of all have affected Julian's large billon coins with a representation of a bull, a pagan symbol, offensive to the Christians." And on page , "The main element of Julian's own reform, which took place at the end of his short reign (), was a large billon coin, the reverse design of which comprised the figure of a bull [] and seems to have caused the offence that was doubtless intended."
^"Despite Julian the Apostate's attempt to return to older practices, the historical process presented here in outline continued to follow a uniform trend: restrictive measures directed against individual groups or particular practices gave way to general prohibitions of the previously-customary religions. In this way, the victory of Christianity over the so-called pagan religions harmonized with the totalitarian tendencies of late antique politics. The imposition of a monotheistic state religion accompanied the suppression of the identity-creating symbols and behavioral structures of subordinate civic centers." Dorothea Baudy, "Prohibitions of religion in antiquity: Setting the course of Europe's religious history" in Clifford Ando, Jörge Rüpke (Eds.), Religion and Law in Classical and Christian Rome, Franz Steiner Verlag, , p
^"Pentanummia under Justin I and the early years of Justinian have on the reverse the seated figure of the Tyche of Antioch under an arch, one of the rare examples of a definitely pagan type in sixth-century coinage but presumably tolerated because it represented a specific work of art, a statue by the Hellenistic sculptor Eutychides, a pupil of Lysippus." Philip Grierson, Byzantine Coins, Taylor & Francis, , p 66
^William Ridgeway, "The Origin of the Turkish Crescent", in The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 38 (Jul. - Dec. ), pp. (p )
^Mehmet Fuat Köprülü, Gary Leiser (Trans.), Some Observations On The Influence Of Byzantine Institutions On Ottoman institutions, Türk Tarih Kurumu, , p
^Franz Babinger (William C. Hickman Ed., Ralph Manheim Trans.), Mehmed the Conqueror and His Time, Princeton University Press, , p
^Speros Vryonis, Jr., "The Byzantine Legacy in Folk Life and Tradition in the Balkans", in Lowell Clucas (Ed.), The Byzantine Legacy in Eastern Europe, East European Monographs, Boulder, , pp
^Bayrağın ortasındaki armanın sol üst ucunda ay yıldız vardır.
^Bu bayrak aynı zamanda Doğu Türkistan Bağımsızlık Hareketi tarafından da kullanılmaktadır. Ancak Çin tarafından kullanımı yasaklanmıştır.

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Bugün kullanılan ay yıldıza benzeyen ve gökte gün ile ayın kavuşumunu temsil eden bir motif, MÖ 1. binyılda, proto-Türk olarak bilinen Chouların (MÖ ) baş bayrağında görülüyordu. Gündüz ve gece, aralıksız devam eden parlaklığın simgesi olan astral motifler, o devirden beri daima proto-Türk, Türk ve akraba milletlerin simgeleri arasında yer almış ve astral tanrıların alameti olmalarının dışında, devlet başkanlarının ve önemli şahısların da alameti olmuşlardır.^[19]

Kırgızistan, Özbekistan ve Tacikistan'da yapılan kazılarda ortaya çıkarılan ve yıllarına ait olduğu saptanan Göktürk paraları içinde üzerinde ay-yıldız motifi bulunan para olması, ay-yıldız simgesinin İslam öncesinde de Türk toplulukları tarafından kullanıldığı görüşünü ispatlamıştır.^[20] Türklerde kültürel olarak etkileşimde bulundukları Sogdlar gibi bu sembolü kullanmaya başladılar. Hilâl ve yıldız Türkler arasında sık kullanılan bir sembol haline geldi.^[21]

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