The Mystic Aesthetics in Kamran Yusofzadeh's Works

The question of art quiddity, in the eastern thinking, has always been in a close link with metaphysics. Despite the modernist idea regarding subject, the whys of the art emergence in eastern thinking does not lie in artist's gift, but rather she brings the imperceptible to the fore through the perceptible. Because of the metaphysical nature of sacred affairs, imagination and mithal are of the critical clues of this very art. Within this thinking, allegory is the most substantial style of expressing the sensible perceptibly. This paper aims at analyzing Kamran Yusofzadeh's oeuvre which is in a tight concert with mystic and mystical ideas, and Islamic architecture. That said, it will consider the art characteritics in light of mystics, sufism and Islam descriptively, and the muslim sufists', gnostics' and sages' ideas are to be expressed analytically. The analytical consideration of the issue which the artist desires to express, and the structural analysis of his works' color and shape grounds the the major explorations of this paper. As a result, the color and circular structure of Yusofzadeh's works is an expressive allegory of the universe. He has been intensively influenced by the sacred architecture of Isfahan's mosques' domes, the mystics notions in Molavi's poems and sufit thoughts as well. The possibility of addressing his works as modernist ones or not is a controversy between " form-conent" and " form-meaning". Eventually, it draws this conclusion that the artist's style in terms of execution technique and the abstract organisation of the forms is a modernist one, which contrarily, because of the colors' expressive feature and the platonism in circular structure, is not describable in virtue of modern aesthetics. Additionally, reading his works by an addressee is an endeavor to discover the relation between " perceptible-imperceptible " and " signifier-signified" which deals with interpretation.