A comparative study of the light aura symbol in Tahmasbi's and Sir al-Nabi's divination paintings with an emphasis on the image of the Prophet (PBUH)

The study of iconography in Iranian and Ottoman painting is full of works in which artists have used various methods to depict the faces of the pure Imams and saints. The halo of light has appeared in the paintings of different countries, and the use of this element for religious figures is among the cases that are abundantly seen in the paintings of the two lands. The aim of this research is to identify and compare the halo of light in the paintings of Falnameh Tahmasbi and Siran-Nabi in the image of the Prophet (PBUH). Now the question arises: in what ways has the symbol of halo of light appeared in the paintings of Falnameh Tahmasbi and Siran-Nabi in the image of the Prophet (PBUH)? What are the similarities and differences of halo of light in the paintings of Falnameh Tahmasbi and Siran-Nabi? The method of conducting the present research will be descriptive-analytical. The results show that Ottoman painting has been significantly influenced by the achievements of Iranian painters, including the fact that Ottoman painting has been largely influenced by Safavid painting in using the veil and covering the face of the Prophet (PBUH) and drawing a luminous halo for him. Ottoman illustrators tried to distinguish the main character of the subjects in the Naskh painting by adding visual elements, which can also be considered influenced by Iranian painting and under the influence of Shiite supporters as well as artists with Shiite thoughts