This article explores the concept of "intuition" in Eastern thought and its reflection in Eastern art and literature. The main questions of the article are: What are the temporal and spatial domains of intuitive art? How is intuitive art related to intuition? And how does intuition blur the boundaries between art and artist?
Artistic inspiration, driven by intuition, is not merely a creative endeavor but a fundamental expression of human existence, serving as the wellspring from which the finest aspects of human life—namely, art—emerge. The role and significance of intuition in art, though not readily demonstrable through the methods of rational science, remain undeniable.
 The concept of intuition has never lost its enchanting and compelling appeal to artists and philosophers across cultures and eras. Indeed, even those thinkers who profess a belief in intuition have often been profoundly influenced by the philosophical traditions and perspectives originating in the East.
Art of the Orient
 In this article, "Eastern art" does not merely refer to art within the geographical boundaries of the East, but rather to art rooted in Eastern thought and culture. This type of art is also known as "traditional art," "sacred art," and "religious art." Traditional art is art that has a direct connection with the universe, in which there is no distinction between religious and secular life. Primitive art is not meant as ignorant and savage art, but as original and pristine art that is a direct manifestation of the sacred, immaterial space.
Artistic inspiration, driven by intuition, is not merely a creative endeavor but a fundamental expression of human existence, serving as the wellspring from which the finest aspects of human life—namely, art—emerge. The role and significance of intuition in art, though not readily demonstrable through the methods of rational science, remain undeniable. Rooted deeply in Eastern thought.
This understanding aligns with Suhrawardi's insights, who viewed the "East" not merely as a latitudinal marker on a map but as an eternal spiritual dawn symbolizing enlightenment, wisdom, and a profound connection to the underlying realities of existence.
Sleep, the Presence of Imagination:
Eastern mysticism believes that wakefulness and sleep are not real boundaries, and that sleep can be a platform for receiving truth.
Aziz al-Din Nasafi elucidates this concept in his mystical treatise, "The Perfect Man," suggesting that during sleep, the senses are effectively dismissed, allowing the inner self to gather and the mirror of the heart to become clear and receptive. In this state, the heart aligns with celestial influences, resembling two clear mirrors facing one another, capable of reflecting profound truths. Thus, sleep and imagination become spaces where truth can emerge and flourish, revealing the interconnectedness between one's inner being and the vast outer universe. Those who possess the qualities of the "perfect human" achieve this level of insight through dedicated self-purification, enabling them to interpret the subtle glimmers of truth through artistic sensibility and intuition. Artistic reception of the invisible world.    
 Existential Unity         
The philosophy of Eastern thought, especially in Taoism, reduces phenomena to a great dream and denies the distinction between reality and dream. Chuang Tzu emphasizes that to perceive the truth, one must abandon conventional self-knowledge and enter a state of "primordial anxiety," in which everything can be transformed into something else.
The Wisdom of Nothingness and Non-Distinction
Knowledge in Eastern thought means abandoning the self and the disappearance of the knower, which eliminates contradictions and dualities (similar to the Indian concept of "Atman"). The philosophy of the unity of multiplicity, as in Lao Tzu's view, emphasizes the inherent relativity of everything and the birth of contradictions from different perspectives.
Haiku:
Haiku art is a manifestation of intuition in the form of unmediated images. Rational translations of these poems distort their pure and inner intuition. The "Eastern soul" is intuitive, and "intuition" is an attitude towards the mystery within the universe. Inner experiences are "flashes of illumination" and have no connection to concepts.
The Artist as a Work of Art
In the East, art is not separate from life and intuition.
Intuition is art, and art is a part of everyday life. Art is ourselves and our existence, which finds a direct connection with the universe. The "Eastern human" and "Eastern art" are repeated in each of the limited images around them. It is in the course of these remembrance-like repetitions that intuition occurs. In the East, intuition is not only artistic creation, but also the viewing of that creation; it is intuition, it is connection, it is becoming part of the whole. The Eastern artist performs a meditation and enjoys himself in the process of creation, of repeating ancient assemblies and forms. For him, artistic creation is performed as a ritual, a ritual in which he gradually approaches the world of intuition and (vision). The "artist" himself becomes the "work of art."
Conclusion:
The term "Orient of Art" refers to art that belongs to the "Orient of Being" and the "Orient of Man." In the intuitive thoughts of Iranian mystics, dreams indicate a truth that is a vague reference and must be deciphered by someone who has a mirror-like heart. According to the doctrine of Chuang Tzu, truth, in the true sense of the word, is different from what reason considers to be truth. In haiku, the poet gives voice and word to his intuition. Art has a secret, and the secrets of life lie in the depths of every work of art. The artist does not find art from the outside; it blossoms from his inner being.