Analysis of the concept of creativity in the Sultan Mohammad’s painting of Worldly and Otherworldly Drunkenness

Nizamuddin Sultan Mohammad Tabrizi or Nizamuddin Sultan Mohammad Iraqi was one of the Iranian painters who lived during the Safavid period. His painting style is known as the second period of Tabriz school. His works in the first half of his career were influenced by the pre-Safavid artistic style in western Iran, but after that, it reflects the new currents prevalent in the Safavid court. Painting of Masti-e Lahuti va Nasuti is one of the paintings of Hafiz Divan of Prince Sam Mirza and is considered as one of the prominent and valuable works of Sultan Mohammad in Persian painting. Also Persian painting has features and specifications that distinguish it from other painting styles i.e. pointist (point), line (how to draw and use the line), waq (landscape or landscaping) and at the same time as avoidance of nature, idealism and symbolism, color features and method of painting, being a narrative while abstracting, using the fourth dimension (time), simultaneous space (combined), absolute motif (Khatai and Arabesque  motifs), golden proportions, axial and symmetrical composition with curved and circular infrastructure, and Dagh or Recreating or Practising by copying the works of ancient Persian masters and painters. It should also be noted that the creation of works of art depends on the creativity of artists and creativity plays an important role in a variety of arts. Creativity includes several definitions and concepts, i.e. 1- creativeness, 2- Innovation, initiative and innovation, 3- Imagination and the use of imagination and prolepsis, 4- A way to respond to psychological stress and life ambiguities, 5- Sudden discovery, 6- Using the abilities of the mind to create a new thought and idea, 7- Creating new and up-to-date concepts or using it in a new way, 8- The ability of the human to cross the border of the known to the border of the unknown. The importance of the specifications of the Persian painting art and Sultan Mohammad’s painting of Masti-e Lahuti va Nasuti and thus the various definitions of creativity and the position of creativity in art, has made this research necessary. Therefore, identifying the specifications of Persian painting, the characteristics of the painting mentioned before, and recognizing the reflection of the concept of creativity in it, are the purposes of this research. Thus the research questions include: 1- What are the specifications of Persian painting and how are these features used in Sultan Mohammad’s painting of Masti-eLahuti va Nasuti? 2- How is the concept of creativity reflected in it? In order to answer the questions, library and documentary information have been studied with a descriptive-analytical approach and inductive reasoning and a case study is painting of Masti-e Lahuti va Nasuti, and the component of creativity has been analyzed in the visual structure of the painting. The results show that in this painting, the feature of landscaping is less used compared to other works of Persian painting and in reflecting the concept of creativity in the structure. it should be noted that the following elements has been used in the structure of this painting: creativity in the meaning of creativeness, innovation, imagination and the use of imagination and prolepsis, a way to respond to psychological stress and life ambiguities, sudden discovery, using the abilities of the mind to create a new thought and idea, creating new and up-to-date concepts or using it in a new way and The ability of the human to cross the border of the known to the border of the unknown. Only the concept of creation cannot be attributed to this painting, because the Property of creation and creativeness in Islamic art are specific to the Divine and God quiddity and assigning this feature to an Islamic artist and an Islamic work of art is equivalent to blasphemy and polytheism in Islamic thought and culture.   Key Words: Creativity, Persian painting, painting of Masti-eLahuti va Nasuti  SultanMohammad Naqash.