Islamic depictions of angels resemble winged Christian angels, although Islamic angels are typically shown with multicolored wings.[1] Angels in Islamic art often appear in illustrations of stories from the Qur'an. Other common depictions of angels in Islamic art include angels with Adam and Eve in the garden of Eden, angels discerning the saved from the damned on the Day of Judgement, and angels as a repeating motif in borders or textiles.[1][2] Angels, such as Gabriel, are typically depicted as masculine, which is consistent with God's rejection of feminine depictions of angels in several verses of Quran.[3] Nevertheless, later depictions of angels in Islamic art are more feminine and androgynous.[1]

The Arabic book The Wonders of Creation by Zakariya al-Qazwini describes Islamic angelology, and was often illustrated with many images of angels. The angels are depicted with bright, vivid colors, giving them unusual liveliness and other-worldly translucence.[4]

Angel with animals from The Wonders of Creation, circa 1650-1700



Angels in heaven and hell

The Qur’an makes multiple references to angels. These angels take on both active and passive roles in Quranic stories. In the story of the Creation of Adam, Allah announces to the angels that he intends to create man. The angels act as witnesses to this announcement and subsequent creation of Adam. Although there are many versions of the story, Islamic sources relate that Allah used the creation of Adam as a punishment or test for the angels. Therefore, the role of angels is often described as in opposition to man.[5]

Another angel-like creature mentioned in the Qu’ran (4:97, 32:11) is the zabāniya. A zabāniya is a black angel of hell that brings souls of sinners down to hell to punish them. It is believed that there are nineteen zabāniya, led by Mālik, an angel considered to be the master of fire or the gatekeeper of hell.[6] Mālik's and zabāniya's categorizations as angels are debated as some believe they are better described as spirits or demons.[7] As seen in the illustrations of The Timurid Book of the Prophet Muhammad’s Ascension (Micrajnama) of ca. 1436 A.D, Muhammad is greeted by Mālik and later witnesses the torture of sinners carried out by the zabāniya.

Angels associated with Muhammad

Depictions of Muhammad are forbidden in Islam, but the few that exist often show Muhammad surrounded by angels or with the archangel Gabriel.[1] For example, in The Timurid Book of the Prophet Muhammad’s Ascension, Archangel Gabriel appears to the Prophet Muhammad in Mecca to announce his ascension. Kneeling before Muhammad, Gabriel is shown with colorful wings and a crown.[8] Later in The Timurid Book, Muhammad, with Gabriel, is shown meeting a group of angels in heaven.[8] In the Jami' al-tawarikh, a Persian history from the 14th century, Muhammad is depicted beside the Buraq, whose tail is transformed into an angel, while two other angels approach.[9] In a Turkish 16th century illustrated text about the life of Muhammad by Darir, appear many images of the prophet alongside angels.[1]


Carpet fragment depicting angels
Carpet fragment depicting angels, Safavid dynasty, early 16th century.Cite error: The opening <ref> tag is malformed or has a bad name (see the help page).
  1. ^ a b c d e S., Blair, Sheila (1991). Images of paradise in Islamic art. Hood Museum of Art, Dartmouth College. ISBN 0944722083. OCLC 611668403.{{cite book}}: CS1 maint: multiple names: authors list (link)
  2. ^ citation needed, find in library
  3. ^ Ali, Maulana Muhammad. The Holy Qur'an. chapter 37:149-150.
  4. ^ "The Wonders of Creation". www.wdl.org. 1280. Retrieved 2019-03-09.
  5. ^ Chipman, Leigh N. B (2002). "Adam and the Angels: An Examination of Mythic Elements in Islamic Sources". Arabica. 49: 429–455 – via JSTOR
  6. ^ Lange, Christian (2016). "Revisiting Hell's Angels in the Quran". Locating Hell in Islamic Traditions: pp. 74–100 – via JSTOR.
  7. ^ citation needed, zabinaya
  8. ^ a b citation needed
  9. ^ Gruber, Christiane J. (2008). The Timurid “Book of Ascension” (Micrajnama): A Study of the Text and Image in a Pan-Asian Context. Patrimonia. p. 254.