Analyzing the mystical meanings of patterns and colors in Islamic art, particularly in Fatimid textiles, is considered one of the most challenging forms of artistic analysis. This is because the analyst must guide the audience toward an understanding of the symbolic and inner layers of these elements. One of the most effective methods to address this challenge is to use analytical approaches based on mystical concepts, particularly those derived from Henry Corbin’s thoughts. The primary goal of the present study is to move beyond superficial interpretations and attain a deeper understanding of the symbolic meanings embedded in these textiles. This research adopts a descriptive-analytical method and a semiotic approach to examine how mystical concepts of pattern and color are reflected in the textiles of this era. From Corbin’s perspective, the outer dimension of the color white is associated with water, one of the four elemental qualities, while its inner dimension corresponds to the upper right pillar of the sky of Walayah, representing the Twelfth Imam. White symbolizes absolute light, purity, and the beginning of the spiritual journey. In Fatimid thought, it is associated with purity, divine light, and the earthly embodiment of divine intellect, as well as the color of governance, emphasizing spiritual purity and sanctity. Green, in Corbin’s view, corresponds to the upper left pillar of the sky of Walayah and represents the Second Imam. It symbolizes perfection, the attainment of truth, and unity with the absolute reality. For the Fatimids, green represents Islam, paradise, eternal life, sanctity, and religious legitimacy. Red, in its outer symbolism, is the symbol of the red ruby that unites all four primary qualities (water, earth, fire, and air). In the inner dimension, the second level of red is associated with Imam Hussein (PBUH). In the third level, red symbolizes the inner nature of the world, where Gabriel, the angel of nature, is present. The fourth level takes us to the inner Imam, the secret guide within each believer, who leads them to their Lord—a relationship central to each devout individual. Red, therefore, symbolizes divine love and mystical ecstasy. Corbin speaks of mystical experiences in which the seeker encounters red light, signifying the manifestation of burning love for the Divine that consumes the seeker in spiritual passion. In Fatimid ideology, red is the color of power and life, used to emphasize the grandeur of court garments. Blue symbolizes wisdom and residence in the higher realms. It reflects serenity and deep understanding from Corbin’s perspective. The Fatimids saw blue as calming, associated with the sky and knowledge, and representative of wisdom and peace. Yellow, in its outer sense, corresponds to air, and in its inner symbolism, to the lower right pillar of the sky of Walayah, representing Imam Ali (PBUH). It represents spiritual awareness, enlightenment, and mental clarity. Corbin refers to yellow as playing a key role in the seeker’s inner transformation, marking it as a sign of intellectual and spiritual awakening. For the Fatimids, yellow also symbolized wealth, the caliph’s power, political and religious authority, magnificence, and a ray of salvation, carrying meanings of liberation, hope, and forgiveness. The color yellow signifies the inner transformation of the seeker, the light of the divine, and paradise. According to Corbin, yellow reflects the presence of God. In Fatimid thought, yellow symbolizes wealth, splendor, authority, divine light, and sanctity. A study of Fatimid textiles reveals recurring patterns, such as calligraphy. In Corbin’s hermeneutic framework, calligraphy is a manifestation of revelation and the transmission of divine messages. In combination with other patterns, calligraphy conveys political and religious messages and establishes the legitimacy and authority of the caliphate. The inscriptions in Taraz (inscribed strips) often include religious themes, supplications, hadiths, and verses that reference Shia beliefs. Arabesque and floral motifs, in Corbin’s interpretation, symbolize the heavenly realm and divine order, representing unity and the infinite nature of the Divine Essence. They mirror cosmic structure and reflect celestial order in the material world. In Fatimid ideology, they represent life and paradise, divine harmony, and monotheism, especially in ceremonial fabrics and the caliph’s attire, symbolizing the bond between materiality and spirituality. The human figure symbolizes the spiritual journey of the soul toward perfection and union with Absolute Truth. Unlike Sunni traditions, Fatimid Shia artists incorporated human images into their taraz designs. From Corbin’s perspective, the lion image represents divine power and the guardian of truth along the spiritual path. In Fatimid thought, the lion symbolizes the caliph’s power and bravery, conveying political strength. Though Corbin does not directly discuss the rabbit, it is interpreted as reflecting cleverness and swift spiritual perception. In Fatimid ideology and Islamic literature, the rabbit symbolizes prosperity, fertility, divine favor, and religious teachings. In Corbin’s vision, the bird is a symbol of the soul and its spiritual journey toward divine realms—a manifestation of the spirit flying toward truth. In Fatimid thought, paired bird motifs represent cosmic harmony and order. The peacock symbolizes eternity and beauty. Among geometric and medallion motifs, Corbin sees the circle as representing unity, timelessness, and eternity; the square as stability, balance, and materiality; the lozenge as movement, transformation, and the ascent from the material to the spiritual world; and the star as a symbol of light, guidance, and the luminous realm. In Fatimid art, geometric shapes such as stars, circles, squares, and lozenges symbolize divine unity and order and represent the centralized power of the caliphate. According to Corbin, composite motifs are visual reflections of the imaginal world and the philosophical and spiritual ideas of the artist’s active imagination. Fatimid art combines calligraphic, vegetal, animal, and geometric elements in these composite motifs, representing the era’s complex, multilayered style. These patterns not only create visual beauty but also reflect the interconnection between religion, philosophy, and power. In his hermeneutic system, Corbin defines symbolic interpretation (ta’wil) as the return of phenomena to their original source. He argues that this return is possible only through understanding. Symbolic interpretation, according to Corbin, involves preserving both the outer and inner meanings of symbols, and such experiences occur only within the realm of imaginal perception. Based on these theoretical foundations, Corbin views both the outer and inner dimensions of artistic elements, especially color. In his analysis of red, for instance, he moves through a multilayered process that ultimately leads to a spiritual recognition of the Imam as the inner guide of the human soul. Along this path, the Shia Fatimid artist connects with the inner Imam, who serves as a personal guide toward God. In Corbin’s thought, artistic components such as color and motif are powerful intermediaries for conveying elevated spiritual meanings. Therefore, Islamic art is inherently symbolic and allegorical, because only through symbolism can inner truths be expressed. From Corbin’s perspective, the ultimate aim of Islamic art is not merely to express the artist’s emotions but to manifest metaphysical truths in sensory forms. In this framework, every element carries codes of divine meaning. The study of Fatimid textiles clearly demonstrates how Shia Fatimid artists, using tangible elements, sought to communicate revelatory and celestial messages. Through the use of symbols and signs, they successfully translated the imaginal world into a visual language that portrayed a hybrid realm of the natural and spiritual. In conclusion, all patterns, colors, and symbols used in Fatimid textiles carry profound and timeless meanings rooted in Shia intellectual traditions. This art is not merely the product of aesthetic concerns, but rather, it is a manifestation of the spiritual and religious thoughts of the Fatimid artist. Through material elements, the artist aimed to point to a higher reality and draw the viewer’s attention to the hidden dimensions of existence.