In Islamic thought, beauty is not merely a sensory or subjective phenomenon, but an ontological reality rooted in the Divine Essence. From this perspective, every being is a sign (āyah) of Absolute Beauty and a locus of manifestation (maẓhar) of God’s names and attributes. Within this metaphysical and aesthetic framework, tajalli (divine self-disclosure or manifestation) occupies a central position as a spiritual and intuitive mode through which beauty becomes perceptible. In other words, true aesthetic perception arises only when truth becomes unveiled within the realm of manifestation; without such disclosure, beauty remains inaccessible at the level of authentic knowledge and experience. This study seeks to interpret the concept of tajalli in Ibn Arabi’s practical mysticism and to explain its relation to the aesthetic dimensions of Ta’ziyyah performance and the mourning ritual for Imam Hussein (AS). The findings indicate that mourning in this context is not limited to a ritual or dramatic enactment, but constitutes a sacred space in which hidden divine lights are revealed to the heart of the believer and spiritual traveler. In this form of sacred art, all constituent elements—text, speech, color, music, temporal structure, and spatial setting—participate in a symbolic network that reflects the manifestation of divine beauty and mercy. This harmony between form and meaning generates a ritual experience in which both performer and audience participate in the process of fanā’ (annihilation of the self), namely the effacement of individual ego in the presence of Divine reality. Accordingly, Ta’ziyyah in the framework of Islamic aesthetics is not merely a dramatic representation of sorrow, but a mode of unveiling divine جمال (jamāl) through symbolic expression, remembrance, and spiritual affect. The main question of this research is how Ta’ziyyah, beyond its inherently mournful narrative, can manifest the symbolic beauties of God in the public encounter with the martyrdom of their Imam. The results show that the art of Ta’ziyyah transforms theological abstraction into a lived mystical experience within Shi‘i devotional culture. The audience’s weeping over the martyrdom of the Imam as the embodiment of absolute goodness becomes an expression of love, a recognition of divine beauty and goodness, and a gesture of hope for the Imam’s intercession in the hereafter. This study adopts a qualitative approach, using a descriptive-analytical method and library-based sources, to examine how the capacities of tajalli are understood in the Islamic aesthetic reading of Imam Hussein’s Ta’ziyyah performance.