Mosques, due to their mission, possess numerous symbols and apparent indicators. Contemplation and reflection on each of the constituent elements of their architecture evoke Islamic identity. For instance, pondering the existence of inscriptions with themes from Hadiths and Quranic verses, integrated with the concepts of various forms used in the architectural components of mosques, is of significant importance. Specifically, in mihrabs, which are considered the essential elements of mosques, the spirituality directed towards the heavens in the essence of their architecture warrants investigation. This matter, fundamentally transitioning from appearance to essence, plays a crucial role in accessing the effects of divine truths amidst the complexities of contemporary individual and social life. Thus, the perception of thought and the form of divine themes emerge in the context of purity and clarity, with the connection of expression and contemplation, intellect, and emotions. Therefore, the present study aims to harmonize this significance in both inner and outer aspects by examining the iconography of the mihrab of Urmia Jameh Mosque as an archetype of the Ilkhanid period. In this regard, by posing the question, “What is the meaning of the forms used in the mihrab of Urmia Jameh Mosque?” Erwin Panofsky’s iconology method was studied with a qualitative research approach, of a descriptive-analytical (inductive) type, the levels of description, analysis, and interpretation. Using the iconology method, which resembles a semi-formal analysis, the study examined patterns and forms that contain meanings. In this context, Erwin Panofsky’s approach was utilized in reading, narrating, and interpreting the work in three stages: pre-iconographic description, analysis, and interpretation. Thus, after initial findings, with the assumption of transitioning from the material world to absolute spirituality behind the appearance of two pilasters and two arches accompanied by verses and Hadiths, the analysis proceeds at the secondary level. What emerges is the recognition of conventional signs in line with the deterrence of notable tangible and spiritual functions. Finally, at the third level, the study interprets the continuity of certain forms in the mihrab of Urmia Jameh Mosque in confrontation with infinite elements. It claims the existence of human pattern concepts behind the Ilkhanid vegetal motifs used, in the realm of transitioning from appearance to essence, representing the convergence of material status in the position of spirituality. The repetition of patterns indicates an encounter behind these forms with eternal elements. The results of reading the appearance of the mihrab components indicate the concepts of primary human propositions; love for the Creator, sanctification of the self in returning to inner nature, the confrontation of good and evil, etc., following the use of natural motifs (plants); which are metaphors for paradise and reminders of the Creator.