The Theory of the Imaginal

Henri Corbin (1903–1978) was a distinguished French philosopher, theologian, and professor of Islamic Studies, introduced the concept of the ‘imaginal realm’ or ‘mundus imaginalis,’ which has profound implications for the artistic process.

Born in Paris, Corbin initially studied philosophy and theology, and his early academic focus was on Heidegger and German phenomenology. However, his direction shifted significantly when he encountered the works of Suhrawardi, a 12th-century Persian philosopher, during a trip to Istanbul. This discovery led him to devote the rest of his life to studying and translating Persian and Neoplatonic-inspired philosophical texts.

Painting by Evelyn DeMorgan

1. The Imaginal Realm: Corbin’s theory posits the existence of an intermediate realm, the ‘imaginal realm,’ which stands between the purely intellectual world of ideas and the sensory world of physical reality. This realm is not imaginary in the sense of being unreal or fictitious; rather, it’s a space where symbolic, spiritual, and deeper meanings are realized and experienced vividly.
2. Role in Artistic Creation: For artists, the imaginal realm serves as a fertile ground for inspiration and creativity. This space allows for the blending of personal, cultural, and spiritual symbols into meaningful artistic expressions. Artists, through their imagination and creativity, access this realm to bring forth images, narratives, and symbols that might not have a direct counterpart in the physical world but are deeply resonant with inner truths and experiences.
3. Symbolism and the Imaginal: In Corbin’s view, symbols are not mere allegories or metaphors but are real presences within the imaginal realm. ‘Tautegorical symbols’ are a special category of symbols that some people like Samuel Coleridge and Schelling have proposed ‘refer to themselves’. They possess their own reality and convey truths that are not accessible through literal or rational means. In the artistic process, engaging with symbols means tapping into this deeper reality, allowing the artist to convey complex and profound human experiences and emotions.
4. The Artist as a Mediator: Within this framework, the artist acts as a mediator or a bridge between the physical world/culture and the imaginal realm. Through artistic practice, artists bring forth elements from this intermediary world into tangible forms, whether it be through painting, sculpture, literature, or other mediums.
5. Transformation and Insight: The process of engaging with the imaginal realm is transformative for both the artist and the audience. It offers a space for exploring and reconciling various facets of one’s inner world and for uncovering deeper dimensions of reality. Artworks created from this place of deep symbolic understanding can offer profound insights and emotional resonance to those who engage with them.
6. Practical Application in Art: Corbin’s theory can be practically applied in the artistic process through techniques like meditation, introspection, and symbolic association. These practices help artists to delve into their subconscious and the collective unconscious, drawing out imagery and ideas that resonate on a deeper, more universal level.

Sophia

To give a specific example of the ‘personification’ of an intelligible within the imaginal sphere, we may take for example the sometimes elusive concept of ‘Sophia’, a feminine personification of divine wisdom.

1. Sophia as an Embodiment of Divine Wisdom: In Corbin’s view, Sophia is not just a symbol but an active, living presence within the imaginal realm. She embodies divine wisdom, which is not merely an abstract concept but a real, dynamic force that can interact with the human soul.
2. The Imaginal Realm as a Meeting Place with Sophia: Corbin saw the imaginal realm as a space where spiritual encounters and visions occur, including encounters with Sophia. This realm is where the spiritual seeker can engage directly with the manifestations of divine wisdom.
3. Sophia as a Guide and Intermediary: For Corbin, Sophia often serves as a guide or an intermediary between the human soul and the divine. In this role, she helps to illuminate the spiritual path and assists the seeker in understanding deeper spiritual truths.
4. Integration with Sufi Mysticism: Corbin’s interpretation of Sophia is heavily influenced by Islamic Sufi mysticism, particularly the works of Ibn Arabi. In this context, Sophia can be seen as akin to the concept of the ‘Perfect Man’ or the ‘Universal Soul,’ serving as a cosmic principle that bridges the divine and the human.
5. Symbolism and Personal Experience: Corbin emphasized the personal, experiential aspect of encountering Sophia in the imaginal realm. This encounter is not just a theoretical understanding but a living, transformative experience that affects the seeker’s perception of reality and their spiritual journey.
6. Sophia as a Cosmic Figure: In some of Corbin’s writings, Sophia transcends religious boundaries, becoming a cosmic figure that represents the unity of all religious traditions in the pursuit of divine wisdom.

Sophia by A.Andrew Gonzalez

Applying the Theory of the Imaginal

Henri Corbin’s concept of the imaginal realm provides a rich and profound framework for understanding the artistic process. It emphasizes the importance of the symbolic, the spiritual, and the transformative power of imagination in creating art that transcends mere physical representation, offering a deeper, more holistic engagement with reality.

Here are some ways a painter might integrate the theory of the Imaginal into art:

1. Exploring the Imaginal Realm:
   • Visualizing the Unseen: The imaginal realm is a space where spiritual truths are symbolically represented. Painters can attempt to visualize and express these truths, using their canvas as a portal to this intermediary world.
   • Transcending Reality: Instead of focusing solely on physical or literal representations, artists can explore themes that transcend the material world, capturing emotions, spiritual experiences, or mystical visions.
2. Symbolism and Metaphor:
   • Rich Symbolism: Corbin emphasized the real presence of symbols in conveying spiritual truths. Painters can incorporate symbolic imagery in their work, drawing on various cultural, spiritual, or personal symbols that resonate with deeper meanings.
   • Personal and Universal Themes: By blending personal experiences with universal themes, artists can create works that speak both to individual journeys and to broader spiritual or mystical experiences.
3. Spiritual and Mystical Themes:
   • Exploring Mysticism: Artists can delve into mystical and spiritual themes, perhaps inspired by Corbin’s study of Sufism, Neoplatonism, or other mystical traditions.
   • Narrative Art: Creating narrative scenes that depict spiritual journeys, encounters with the divine, or allegorical tales can be a way to embody these ideas.
4. Interplay of Light and Color:
   • Ethereal Quality: The imaginal realm is otherworldly; use expressive, hieroglyphic and expansive light, color, and texture to create an ethereal, dream-like quality in their paintings.
   • Color Symbolism: The choice of colors can be symbolic, with each hue representing different aspects of the spiritual or emotional spectrum. This could be based on traditional tables of correspondence or entirely intuitive…
5. Intuitive Process:
   • Following Intuition: The Imaginal is not a concept or idea but based in personal, inner experience.
6. Interfaith and Cross-Cultural Elements:
   • Integrating Diverse Influences: Artists are free to engage in ‘interdialog’ between cultures distinct in space and time, to create a more inclusive and universal spiritual narrative that transcends the limited definitions of the ‘contemporary’.
7. Reflective and Contemplative Art:
   • Creating Spaces for Reflection: Paintings can be designed to invite contemplation and introspection, encouraging viewers to engage with their own spiritual and imaginative faculties.
8. Engaging with Archetypes:
   • Universal Archetypes: Drawing on Jungian psychology, which Corbin was familiar with through his participation in the Eranos Conferences, artists can explore archetypal themes and figures in their work.

Ultimately, the theory of the Imaginal exhorts us to pay attention to the dreams, intuitions, and ‘flights of fancy’ usually sidelined and marginalised in modern technological society. These natural human functions are also part of the universe, and the artist acts as a vital pivot of integration between the sacred and the seemingly mundane.

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