A Study of the Relationship between Myth and Art based on Aesthetic Imagination in the Final Output of the Components of Mythical Consciousness

Myth, in its nature, have an undeniable relationship with artistic forms. Cassirer considers the structure of myth and art to be very similar, but he believes that the forms that serve the myth become a function, and in this position, such images cannot and should not be analyzed from an aesthetic point of view. Therefore, the question that arises is how to explain the relationship between myth and art in the formation of the final output of the components of mythological consciousness? With this aim, our paper deals with the case analysis of the painting "Salaman and Absal on the Island of Happiness" from Ibrahim Mirza’s Haft awrang and tries to examine Cassirer's opinions about mythological consciousness. Salaman and Absal is a myth that has its roots in Greek civilization. Ibn Sina is the first person who used the secret capabilities of Salaman and Absal, and some thinkers after him, such as Jami discovered the esoteric concepts of this narration and "Mirza Ali Tabrizi" is a painter who has illustrated this story. The research method is comparative-analytical and the library method was used to collect information. Findings show that in the cognitive components of mythic distinction and contrast, mythic causality, mythic perceptual mediators and mythic embodiment in this painting, it is the aesthetic imagination that serves the mythic imagination; But in mythological unity and qualitativeism, the painter's mythological imagination serves his aesthetic imagination. In fact, the output of the components of mythological consciousness is a result of the relationship between art and myth with an emphasis on aesthetic imagination, which is caused by the continuous relationship of image capabilities in the representation of mythological imagination.