Decorations in Islamic architecture are full of meanings and symbols. The Muslim artist has tried to fulfill the thought of the times or the wishes of rulers and jurists by making these decorations. In this view، the artist، relying on mystical teachings، jurisprudence، or rulings، observes the symbols with tools such as geometry، color، hierarchy of expression، motifs، etc. Hikmat al-ishraq، with special attention to the meanings and symbols of light، has created a method to represent light in architecture. it can been see the emergence of this method in the way of using light and geometry، as well as some motifs taken from divine verses، such as mesh and glass. The essential meaning of ishraq is "rising", specifically referring to the sunrise, though "illumination" is the more common translation. Suhrawardi utilized the ordinariness of the word in order to encompass the all that is mystical along with an array of different kinds of knowledge, including elham, meaning personal inspiration. Muqarnas is a distinctive form of architectural ornamentation used in Islamic art and architecture, particularly in domes, half-domes, entrances, and niches. Often referred to as “honeycomb” or “stalactite” vaulting, muqarnas consists of a complex, three-dimensional arrangement of niche-like elements that cascade down in tiers. It serves both decorative and symbolic purposes, creating a transition between structural elements and enhancing the spiritual and aesthetic experience of a space. Originating in the 10th century in the Middle East—possibly in Iran or North Africa—muqarnas became widespread throughout the Islamic world, appearing in mosques, madrasas, palaces, and mausoleums from Morocco to India. Constructed from plaster, wood, stone, or brick, the intricate patterns reflect the Islamic emphasis on geometry, unity, and the infinite nature of creation. Beyond its visual beauty, muqarnas symbolizes the connection between the earthly and the divine. The layered, downward-pointing shapes are often interpreted as a metaphysical descent of heavenly order into the material world. As such, muqarnas remains a hallmark of Islamic architectural identity, blending art, faith, and geometry in a uniquely spiritual expression. In the current research, muqarnas is analyzed as one of the most significant structural and ornamental features in post-Islamic architecture. Beyond its aesthetic and geometric complexity, the study investigates the symbolic meanings embedded in its form, interpreting these symbols through the lens of Hikmat al-Ishraq (Illuminationist philosophy) founded by Shihab al-Din Suhrawardi. The research explores how the layered, ascending arrangement of geometric units in muqarnas reflects metaphysical concepts such as the gradation of lights, the soul’s ascent toward the divine, and the manifestation of higher realities in material form. Light and shadow interplay within the structure is also examined as a metaphor for the journey from darkness (ignorance) to light (knowledge), a core theme in Illuminationist cosmology. The question is that "How does the arrangement and geometric configuration of elements in muqarnas reflect the philosophical concepts of Suhrawardi’s Illuminationist wisdom?" The research methodology employed in this article is a comprehensive and integrated approach that combines multiple analytical techniques to ensure a thorough investigation of the subject matter. It includes a combination of analytical and simulation-based methods, detailed shape and geometric analysis, as well as in-depth case study discussions. Furthermore, a comparative framework is applied to bridge the gap between theoretical concepts and their physical manifestation in architectural structures. Data for this study have been collected through both primary and secondary sources. Primary data were obtained through direct field observations, allowing for firsthand examination of architectural elements in their actual context. Secondary data were gathered from extensive library research and the analysis of relevant documentary sources, including academic publications, historical texts, and architectural records. This multifaceted methodology enables a holistic understanding of the relationship between architectural theory and built form, supporting the study's objectives with a strong foundation of qualitative and quantitative evidence. The findings of this research indicate that muqarnas possesses meanings and functions that go far beyond its physical or decorative use in architecture. It is not merely an ornamental feature but a profound symbolic element embedded with layers of philosophical and metaphysical significance. In particular, muqarnas resonates with the conceptual framework of light as articulated in the Hikmat al-Ishraq (Philosophy of Illumination) by Shihab al-Din Suhrawardi, where light is viewed as the fundamental principle of existence and the medium through which knowledge and divine presence are conveyed. Within this philosophical context, the structure of muqarnas can be interpreted as a spatial metaphor for the descent of light from the divine realm to the material world. Moreover, the symbolic form of muqarnas evokes the presence of a Nabi (prophet) and a Vāseṭ-e-Fayz (intermediary of divine grace), emphasizing its role as a bridge between the transcendent and the earthly. Thus, muqarnas is not only a geometric or decorative element, but also a spiritually charged structure that embodies profound theological and cosmological meanings in Islamic thought.