Islamic mysticism is firmly linked to calligraphy, and in some historical periods, the manifestation of mysticism in art has been emphasized. In the view of "badanushi" by Reza Abbasi from the Hafez court, Islamic mysticism is manifested. This study examines Reza Abbasi's loyalty to the mystical concepts of Hafez's poetry in the writing of the wind and the methods of conveying these concepts in the visual structure of the work. For this purpose, Pierce's semiotics have been used as an analytical framework. The research raises two key questions: how much does Reza Abbasi adhere to the mystical concepts of Hafiz's poetry? What signs and symbols are used in this view to convey mystical concepts? Finally, this research attempts to clarify the relationship between mystical poetry, calligraphy and semiotics and examine the way mystical meanings are reflected in Iranian visual art. This research is of the fundamental type and method of analytical-descriptive research and information has been collected into Russian documents. The findings show that Reza Abbasi, by consciously and artistically choosing visual cues, managed to translate Hafiz's mystical worldview into the image language and created a visual space that evokes concepts such as divine love, salvation, mystical behavior and unity in the mind of the audience. A deep commitment to the mystical and literary concepts hidden in Hafiz's poems shows that Reza Abbasi has artistically translated Hafiz's mystical worldview into the language of the image by carefully choosing the symbols and combining them with each other.