This article presents a comparative analysis of Sayyed Hossein Nasr’s and Sayyed Morteza Avini’s perspectives on spiritual art. Nasr, a leading figure in the Traditionalist school, defines “sacred art” as the manifestation of divine truths through symbols and forms derived from a higher realm. For him, authentic art must reflect eternal principles of beauty and cosmic harmony—not only in content but also in form, structure, and style. Sacred art, in his view, serves as a symbolic language of tradition, aiming to recall and embody metaphysical realities within the material world.

Conversely, Avini, influenced by the Sadrai philosophical tradition and thinkers like Mulla Sadra and Imam Khomeini, conceptualizes pure art as “intuitive” (Ishraqi). This form of art radiates spiritual light upon the artist’s soul and perceives reality through a divine lens. Even in its bitter aspects, intuitive art reveals the spiritual dimension of existence and seeks to represent religious and metaphysical truths.

Both approaches aim to express spirituality and cosmic truth through art, yet they diverge in emphasis. Nasr focuses on the historical and symbolic aspects of sacred art, viewing it as exclusive to traditional religious figures. Avini, however, emphasizes the inner transformation of the artist, suggesting that intuitive art is attainable through personal purification and spiritual insight.

The study explores these convergences and divergences, offering insight into how the Traditionalist and Sadrai schools shape distinct yet overlapping visions of spiritual art in contemporary discourse.