ارزیابی نظریۀ هنر و معنویت اسلامی سید حسین نصر؛ با تکیه بر نگارگری ایرانی عصر صفوی (از آغاز تا دوران شاه‌عباس اول)

Seyyed Hossein Nasr is among the most prominent contemporary traditionalist figures, whose works predominantly defend tradition and critique modernity. For Nasr, the scope of tradition is so comprehensive that nothing in traditional civilizations falls outside its domain—including art. He attributes numerous characteristics to traditional art, with spirituality being paramount. His book *Islamic Art and Spirituality* specifically explores this relationship across various art forms. In this and other works, Nasr interprets Persian miniature painting as intrinsically linked to spirituality, considering it a reflection of the imaginal world ( alam al-khayal ). 
This study's central question examines the extent to which Nasr's perspective on the connection between Islamic spirituality and art can be traced in Persian miniature painting. Given the broad scope of this theory, the authors focus temporally on the early Safavid period (from its inception to Shah Abbas I's reign), employing a historical-analytical approach. The primary objective is to determine the relationship between miniature painting and spirituality in early Safavid art. 
The findings reveal that historical evidence presents inconsistent conclusions: while some painters' biographies may attest to their personal spirituality, travelogues from the period remain silent on this matter. Content analysis of prefaces to  muraqqa  (albums),  Qanun al-Suwar  (Canons of Painting), and other key Safavid sources yields divergent results. The research adopts an analytical-descriptive methodology, relying on library-based data collection.