The noble and spiritual personality of Imam Rauf, Hazrat Saman al-Hajj, has been the focus of artistic creation and the cultivation of the taste of many of his devotees. The heart connection with that good Imam has always inspired the artists of Iran. Each of the artists, in any way, has expressed his romantic devotion and sincere attachment by creating works of art related to his dignity and rank. Architects and epigraphers, poets, painters, calligraphers, and several other artists have immortalized their names with artistic creations on the subject of "Imam-e Mehrabani". Suppose at some point, the possibility of uncovering the nature and process of artistic production of these works is provided, without a doubt. In that case, every artist will express the spiritual story and the origin of the influential personality of Imam Reza (peace be upon him) in his artistic work. Master Farshchian's heartfelt belief in the Imams, as well as the influence of his family's religious beliefs on him, has led this artist to create and bring to light remarkable works in this regard. This research examines and explains the concepts of light and color in two works by Mahmoud Farshchian, from the perspective of Islamic mysticism, in light of the ideas of Suhrawardi and Najm al-Din Kobra. The research method in this study falls into the descriptive-analytical category and is primarily purposeful. The method of collecting information is a library study. The question of this research: What spiritual concepts do light and color express in the two works of Master Farshchian's "The Sanctuary of Protection and the Guarantee of the Deer"? The results indicate the semantic correspondence between light and color in the two works under study, as well as the ideas of Suhrawardi and Najm al-Din Kobra. This topic examines the effects of mysticism and mystics' ideas on the artist's works, drawing on studies of the subject. The effect of the studies does not enter the artist's mind immediately; it comes during the work. In fact, mysticism, religious beliefs, and the artist's inner inspirations have influenced the creation of their works. The topic of Farrah's light, the world of imagination, and the light of lights in Suhrawardi's wisdom corresponds to the art of painting, and so does color in the ideas of Najm al-Din al-Kubri. He has always considered colored lights as signs of the manifestation of mystical states and the degree of transcendence of the human soul, and, according to his inner observations, he has listed various lights in a spiritual context. The miniature painting of Guarantor of the Gazelle (Zamen-e Ahoo), the work of Farshchian, a master of painting at the forefront of the art, combines form and meaning and was formed at the peak of the artist's feeling through its extraordinary technique. In the production of works of art, we have always witnessed works in which the power and mastery of technique prevailed. However, there was less of a sense of perception and a spiritual atmosphere resulting from the artist's own personality. Obviously, the contemplative audience, in the first step, seeks to identify with a certain amount of this sense and mood infused in the work of art. In the 6th and 7th centuries AH, Sheikh Shahabuddin Suhrawardi, Najm al-din Kobra, and Najm al-din Razi addressed the concepts of light and color in their belief in illumination. As the influence of these thoughts on the Iranian artist's work is well known, in his work the painter draws an imaginary world without shadows, drowned in light. The colors in the painting are not subservient to the colors of the material world; the narrator is of another world. Suhrawardi's wisdom was the foundation of the light-based institution in the Islamic world. Finally, his light wisdom led to a special attitude about the phenomenon of light and its composition with color in the opinions of "Najm al-din Kobra", "Najm al-din Razi", and "Ala al-Dawlah Semnani". According to Sohrawardi, all levels of existence, degrees of knowledge, beginning and end of the world, happiness and good fortune of man are among the developments of light, and all lights are manifestations of light. Every light manifests a lower light than itself, and the whole world arises from light and is composed of light. In this wisdom, light does not need to be defined and is more visible than anything, and it is inherently the appearance and manifestation of something else. Similarly, in the view of Najm al-din Kobra, who has always considered colored lights to be signs for the revelation of mystical states and the degree of exaltation of the human soul, according to his inner observations, he has listed various lights in a spiritual format, each of which begins to appear with a specific color. The views and opinions of these two mystics can be seen in the two reviewed works of Professor Farshchian, which can be meaningfully matched with the religious works of Professor Farshchian, according to the vision and mystical tendencies of Farshchian.