Emperor Jahangir prefers the Sufi Shaikh over kings. The meeting of Emperor Jahangir and Shah Abbas of Persia as the two masters of the world. It was the Arab-Muslim conquest of Iran that brought different meanings to an old context, which in its turn led to the emergence of a new, synthetic art. A new art language cannot arise out of nowhere-Muslim art, for example, was influenced by the Sassanian, Hellenistic, and Christian traditions. In the second half of the 7th century, the Arabs conquered the Sasanian Empire (226–651), which existed on the site of modern Iraq and Iran, whose population was mainly Zoroastrian. Islam originated in the 7th century on the territory of Western Arabia and quickly became a state religion of the Caliphate, formed after the death of Muhammad. Here are just a few examples of the use of the nimbus as a part of this tradition. Like any generalization, the word combination “Islamic art” is problematic, since in almost every instance representatives of different Muslim cultures have brought something of their own, something local into their arts. But you can also come across the nimbus in Islamic art. , where it most often indicates holiness (in some cases it was used to emphasize a high position of its owner, for example, a princely or royal status). Europeans are familiar with it due to its presence in Christian iconography iconography From the Greek eikon (“image”) and grapho (“write”)-a system of depicting protagonists or stories characterized by the creation of art forms with a permanent meaning.
Like other basic forms in visual arts and architecture, the nimbus (from the Latin nimbus-“cloud”) is found in different cultures. Circa 1650sĪ folio from a Muraqqa album at the Museum of Islamic Art in Doha, the capital of Qatar, depicts the Mughal Padishah Shah Shuja (1616–1660): a profile similar to that of Roman coins, bright colors, beautiful robes, and a thin strip of golden glow around his head.
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