The structure of abstraction is clearly evident in Iranian-Islamic art, rooted in a fundamental unity and manifesting in diverse forms. This research aims to investigate the structure and philosophy of form—the most objective aspect of abstract art—grounded in the principle of *Tawhid* (Divine Unity). It addresses the fundamental question: How can the structure and philosophy of form in Islamic abstract arts be interpreted through the lens of Avicennian *Tajrid* (abstraction)?

Adopting a qualitative, fundamental approach with an interpretative perspective, this study utilizes documentary and library-based research to analyze the structures and functions of these arts. The findings identify seven categories of Islamic abstract art: 1) Geometric, 2) Pattern-based (Khatayi/Eslimi), 3) Calligraphic, 4) Light and color-based, 5) Spatial and architectural, 6) Pictorial, and 7) Symbolic/Spiritual-literary.

The study concludes that abstract art functions as a process of reducing or eliminating direct references to objective phenomena to attain the essence or fundamental structure of form, space, and meaning. Rather than imitating objects, the artwork represents subjective experiences, internal logic, or abstract truths of existence. This process aligns with Avicenna’s theory of *Tajrid*, where the progression from sensory abstraction to imaginative, estimative, and intellectual cognition facilitates the genesis of profound meaning.