The Structure of Thought in Imaginative Painting based on the Concept of Traditional Art

In the face of the promotion of modern art schools in Iran, Khiali-Negari painting was formed as a continuation of the miniature tradition and its combination with the artistic methods of its time, and attempted to find its method of expression appropriate to popular and religious art. The origin of the identity and originality of these works refer to the inner principle of the artist and is manifested through symbolism and cryptography in a material form. Based on Coomaraswamy's views and the link between his views on the concept of traditional art and the works of this school, it is possible to explain the structure of thought and artistic method in Khiali-Negari painting so that the position and value of Khiali-Negari painting among the schools of art and traditional arts can become more noticeable.

 This article intends to explain the structure of thought school of Khiali-Negari painting based on the definition and function of traditional art based on the Coomaraswamy point of view.

 The research method in this article is theoretical and based on qualitative analysis and data collection has been performed in the form of desk study and using library resources.

 Coomaraswamy sees art as the physical expression of a pre-conceived form that refers to something beyond itself, and this art is always symbolic. In this regard, the traditional artist goes through two areas: one is the area of ​​liberation and the other is the area of worship. Traditional art is understood on the basis of the intuition of exemplary forms based on intuitive reason. In addition, regarding the basis of this concept, the thought, as well as the ultimate goal ofthe  Khiali-Negari painting, is nothing but the expression of truth and the attainment of truth. As a result, it was discovered that the structure of thought and artistic method in the school of Khiali-Negari painting was formed in the shadow of Islamic tradition and spirituality, Shiite b,eliefs and a theological worldview; moreover, the artist relied on rationality and deep thinking to create the artworks. This is considered a form of worship by the artist. When the theological and Sufi view is an important concern for the Iranian artist, creating a copy of the world of immortal material is considered useless, so he/she depicts a world that is the product of her/his belief and imagination