A critical Reading of the Imaginal World in Persian Traditional Painting and its Relation to the Hidden Orientalist Theory

In addition to its role in mysticism and especially the Islamic mysticism of Iran, the Imaginal World has important implications in Islamic philosophy. Considering that the most important feature of the Imaginal World is its inbetween role, this world has overcome some of the ambiguities and problems of Peripatetic philosophy and theology. But it seems that the necessities of presenting the Imaginal World in Islamic philosophy and mysticism are not reliable as the source of Persian traditional painting. Introducing the Imaginal World as a model and source of inspiration is a reason for the special space of Iranian traditional painting; however this opinion not only respond to many of the doubts and ambiguities in this issue, but also, it seems that many of the features of Iranian traditional painting are also ignored, which is associated with history and its visual media. The extension of this view by Traditionalists and some Orientalists can be reconciled with the theory of hidden Orientalism. Nevertheless, it seems that Persian traditional painting can be considered as a part of pictorial arts which is influenced by formal qualities and its cultural and social traditions instead of Imaginal World.