In this context, Mulla Sadra considers art as an imitation of the higher world, referring to it as "subtle crafts." Based on his ontological perspective of unity, the entire universe manifests the Divine and is a reflection of existence, each aspect possessing beauty and elegance to some degree. Nasr, from a traditionalist viewpoint, emphasizes interpreting and understanding art and the role of the artist. According to him, relying on traditional arts is essential for spiritual understanding, viewing sacred art as a medium for divine grace. Traditional art is enigmatic in nature, revealing the sacred in a symbolic manner. Regarding the realm of imagination, Mulla Sadra views it as an intermediary domain between the material world (nature) and the world of intellect or absolute immateriality. Consequently, the characteristics of the forms in this realm are also intermediary. Imaginal forms possess relative abstraction; while devoid of matter, they retain features such as shape, color, scent, taste, and other physical attributes, which, however, are not perceivable through the external senses. In discussing the realm of imagination and imaginal forms, Mulla Sadra presents a system of cognition that enables preservation, continuity, and infinite access to the imaginal world. This system suggests that even within a specific subject, the possibility of existence manifests in higher degrees at every moment, never reaching an end.
From Nasr's perspective, the significance of the imaginal world in the creation of artistic works is far less than the role of tradition. Thus, the traditional artist’s connection with separate imagination .