This research investigates the symbolic and mystical meanings of colors and patterns in Fatimid textiles through the hermeneutic framework of Henry Corbin, a prominent scholar of Islamic mysticism and Shi’a philosophy. Recognizing that Islamic artparticularly Fatimid textilesis rich in esoteric meanings, the study aims to go beyond aesthetic or historical descriptions to reveal deeper spiritual and metaphysical layers embedded in these artworks. By employing a descriptive-analytical method combined with semiotic analysis, the research explores how colors and motifs serve as carriers of divine knowledge, religious identity, and political legitimacy.In Corbin’s symbolic cosmology, each color has both an exoteric (outer) and esoteric (inner) significance. The color white is linked to water and represents purity, light, and the beginning of a spiritual journey. It corresponds to the Twelfth Imam in Shi’a belief and, in Fatimid symbolism, signifies divine light and spiritual authority. Green, associated with the First Imam (Ali), embodies perfection, union with divine truth, and is widely recognized in Islamic culture as the color of paradise and sanctity. It also serves as a symbol of religious legitimacy in Fatimid ideology.Red symbolizes divine love and passion in Corbin’s system and represents the Third Imam, reflecting sacrifice and mystical intensity. In the Fatimid context, red conveys royal power and the glory of the court. Blue, seen as the color of wisdom and celestial peace, represents a connection to the divine realms and inner knowledge. Yellow, associated with air and the First Imam in its inner dimension, represents spiritual awareness and awakening; in Fatimid use, it also reflects wealth, political authority, and hope. Gold, perhaps the most transcendent color, symbolizes divine illumination, inner transformation, and the ultimate spiritual presenceparadise. For the Fatimids, it signified royal splendor, sacred power, and the caliph’s divine legitimacy.Patterns used in Fatimid textiles are also rich in meaning. Calligraphy is viewed by Corbin as the image of revelationa visual expression of divine communication. In Fatimid art, it often carries Qur'anic verses, prayers, or Shi’a religious texts and is used to assert the caliph’s political and spiritual authority. The tiraz inscriptions reflect the integration of sacred content into everyday and ceremonial objects.Arabesque and floral motifs, from a Corbinian perspective, are reflections of divine order and unity, symbolizing the infinite nature of God and the harmony of the cosmos. In the Fatimid worldview, these patterns evoke paradise and express monotheistic harmony, linking the material and celestial worlds.In conclusion, the study demonstrates that Fatimid textiles are far more than decorative objects; they are complex visual texts that express deep mystical, theological, and political meanings. Interpreted through Corbin’s hermeneutic lens, these artifacts emerge as powerful tools of spiritual communication and cultural identity, revealing the integration of metaphysical symbolism with the material culture of the Fatimid period.