As with many young painters, Irandoust experimented with many styles and media and has evolved from painting in the realist style to what has now become more of his own unique genre; a combination of minimalism based on his attraction towards his grandfather’s Chinese culture and the simplicity characteristic of the mystical philosophy of such renowned Persian poets/philosophers as Rumi and Attar. The conversion of these diverse yet similar ancient ideological movements are clearly apparent in Irandoust’s series, “Tumult of Lovers”. The minimal use of colors combined with the vivid expressions and fluid motions of the whirling dervishes give us a glimpse of two ancient cultures that came to similar philosophical conclusions, based on asceticism, simplicity and devoid of materialism. Through the dispersion of clutter and the implicit purity, neutrality and innocence of predominantly white color with lesser amounts of black or other dark colors, the influence of ancient Chinese philosophy exemplified in the concept of Yin and Yang is apparent in the artist’s work. In ancient Iranian Zoroastrian culture the same interplay of black and white, good and evil, light and darkness played a central role and has metaphorically used in poetry for over a thousand years.