Mystical thought has long held a special place in Iranian art. In fact, the underlying foundation of the structured visual system in these works is rooted in profound mystical concepts. The illustration of valuable books such as Khamsa of Nizami, Shahnameh of Ferdowsi, Bustan of Saʿdi, and others not only played a major role in explaining Quranic, didactic, and spiritual concepts, but also revealed the latent aesthetic capacities of Iranian painting. Among the valuable examples of illustrated manuscripts is the Miʿrajnameh of Mir Heydar.In the illustrations of this manuscript, intrinsic elements of art—such as light and color—have been employed in an appropriate and effective manner. Using a descriptive–analytical case study method and library-based data collection techniques, this article seeks to conduct a comparative examination of the ranks of light and color in the views of Muslim mystics and to uncover their visual language in the Miʿrajnameh of Mir Heydar.Accordingly, the main research questions are as follows: Are the color propositions used in the Miʿrajnameh of Mir Heydar influenced by the views of Muslim mystics? Has the painter used color and light purposefully and in service of narrating the subject matter of the work?The results of the comparative analysis indicate that: