This study aims to explore the connection between meaning and form in the context of Iranian art, investigating the relationship between the structures of Persian literature and the principles of geometry and aesthetics in traditional Iranian architecture. In this approach, art is considered as the manifestation of unity in multiplicity, and the pattern of form emerging from meaning within the Iranian‑Islamic intellectual system is contemplated. This approach demonstrates that interdisciplinary studies are an effective tool for uncovering the hidden layers of connection between poetic language and the spatial organization of architecture, and can provide a new framework for a comprehensive understanding of Iranian art. The research method is qualitative‑analytical and based on the comparison between poetic texts and architectural spatial structures. Accordingly, five prominent examples of traditional Iranian architecture have been selected, along with poetic samples from Rumi, Hafez, Saadi, and Nezami as comparative exemplars. The analyses reveal that the pattern of geometric proportions present in the mentioned architectural works correlates semantically with key concepts of Persian poetry, such as unity and love (in Rumi’s Masnavi), balance and moderation (in Hafez’s ghazals), ascent and perfection (in Nezami’s Khamsa), as well as moral order (in Saadi’s Golestan). The findings emphasize the coexistence of meaning and form systems and the symbolic function of geometry in conveying philosophical and mystical concepts; thus, Iranian art can be regarded as a reflection of the interaction between intellect and intuition, and a blend of poetic language and geometric logic. In addition to explaining the theoretical foundations of the connection between meaning and form, the research outcome paves the way for quantitative‑conceptual analyses in interdisciplinary studies of Iranian art and architecture.