One of the most important aspects of an artistic expression in a work of art is the hidden form of its infrastructure. This item is especially noteworthy in Iranian painting. Symbolic and artistic expression in the works of the Safavid period are manifested in a well-organized manner in many paintings. Among the paintings depicted in the school of Tabriz II, the painting of Worldly and Otherworldly Drunkenness by Sultan Mohammad has many hidden semantic and symbolic layers. The aim of this study is to explain the mystical meanings in the form and structure of this painting and its relationship with the whole collection in order to answer this question: How are mystical aspects reflected in the structure and composition of the painting? The available findings are descriptive-analytical and the method for collecting data is library-based. The results indicate that the process of miniature formation follows an organized structure and contains a spiritual attitude with various mystical manifestations which in turn reveals the principle of “plurality in unity”.