Considering the connection between mysticism and Iranian culture and the reflection of this connection in mystical works, and the fame of Nowruz as one of the symbols of Iranian identity, it is important to examine Nowruz, its purpose, and attractions in mystical works. In addition, it is worth considering the views of mystics about Nowruz and its attractions, and which aspects of it they paid more attention to. In this article, the reflection of the Nowruz celebration in mystical works and the mystics' views on this celebration are examined, with an emphasis on the poems of three mystic poets, Sana'i, Attar, and Rumi. The research on this subject was conducted using a descriptive-analytical method and a content analysis approach. Studies show that Nowruz, meaning the beginning of spring, has been used as a festival and to express mystical concepts in the poetry of mystic poets. With this assumption, this festival and national ritual of Iranians must have also been considered by them. However, the results indicate that mystics have a mystical and internal view of Nowruz and, like ordinary people, are not satisfied with outward joy. Nowruz, while being used in the works and poems of great mystics in the ranks of sacred themes such as the beloved, the night of destiny, the manifestation of the beauty of God, and as a manifestation of expansion, connection, and stages of conduct, has not been given much attention and importance as a national celebration of Iranians. The existence of doctrinal considerations and religious prejudices, the Sufi conduct, the transnational and transnational nature of mystics, Sufi asceticism, and avoidance of attending the pleasure ceremonies of the sultans' court can be considered as important reasons for the low importance of the Nowruz ritual in mystical poems.