The Safayid era is one of the historical periods in which a large number of mihrab rugs were woven. These rugs have multiple borders filled with verses and hadiths, and the field is decorated with Khataej and Islamic patterns, as well as an Islamic text on the mihrab's forehead. Since mihrab rugs, due to the verses written on them and with reference to the mihrab form, could function as prayer mats, they are known as prayer rugs. Among these rugs is one kept in the Astan Quds Razavi Museum of Hazrat Masumeh and is recognized as a prayer mat. This research aims to examine the application and meaning of the rug in question through iconography. Given the Islamic Sharia of that period and with reference to the book "Jame Abbasi," which considers it undesirable for a readable text to remain in front of the worshiper, the question arises as to what purpose these rugs could have served during the Safavid, period, with emphasis on the rug of Astan Hazrat Masumeh, given that their production ceased or greatly decreased after the Safayid, era? Also, considering that the rug's text is full of Quranic verses, another question is what is the relationship between the rug's application, the verbal and visual text woven on it? The present qualitative study is fundamental research that seeks to answer the above questions using a descriptive-analytical method. For this purpose, historical documentation is collected, and Erwin Panofsky's iconographic approach is applied. The result is that the combination of verbal and visual text in the rug can refer to ascension, reaching perfection, and rebirth. Considering the rug's appearance and the thinking of that period, this ascension, more than representing a prayer mat for performing daily prayers, suggests the rug as a grave covering and for special ceremonies .