This research employs a descriptive analytical method with a comparative approach to investigate the nature of intuition and self consciousness in the process of artistic creation within the two paradigms of Hegelian aesthetics and Islamic wisdom. The fundamental objective of this study is to explain the transition from the sensible manifestation of the Idea in the context of history according to Hegel to the manifestation of imaginal forms in the realm of eternity or Dahr according to Islamic philosophers. In the theoretical section, the study demonstrates that in Hegelian philosophy self consciousness traverses a dialectical path from sensory perception to conceptual thought, and art serves as the initial stage where the absolute spirit recognizes itself in matter. In contrast, Islamic wisdom emphasizes presential knowledge where the artist attains an immediate connection with the truth of existence without the mediation of mental concepts.
In the practical analysis section, the triptych The Garden of Earthly Delights by Hieronymus Bosch and the works of Pieter Bruegel are compared with the miniatures of Sultan Muhammad. The findings indicate that Bosch and Bruegel represent the Hegelian perspective by accepting the element of time and history. Bosch depicts the metaphysical anxiety and emptiness of the modern subject, while Bruegel brings the idea down from heaven to earth by focusing on peasant life and social reality. Sultan Muhammad creates a timeless realm by eliminating shadows and realistic perspective. The study concludes that Western art, driven by Hegelian intuition, seeks to express concepts and critique the human condition within historical change, whereas Eastern art which is born from mystical intuition aims to unveil the immutable truth and the eternal presence of light beyond the constraints of material time.