Isfahan in the Safavid era, especially during the reign of Shah Abbas I, is the center of the meeting of conflicting ideas. What has created such a free space for presenting different ideas is the cultural atmosphere and relative stability in the economy and politics prevalent in that period. During this period, the foundations of the philosophical school of Isfahan were established by Mirdamad (1040-969) in Isfahan, and later on, it was supported by Mulla Sadra and the transcendental wisdom. One of the fundamental effects of this school on the atmosphere of thought in this era is the changes presented in the definitions of the world of example. The world of example in this period is intermediate between the world of imagination and the world of the senses, of course with a tendency towards the world of the senses. The influence of this theory can be clearly seen in the painting works of the Isfahan school. The world depicted by Reza Abbasi Mabeh is the image of a world described in the Fasfi school of Isfahan. Accordingly, in the art school of Isfahan, we see paintings with fundamental changes compared to the previous periods. Using his personal style, Reza Abbasi made major changes in the painting of Isfahan school. What is very impressive in Reza Abbasi's works is his use of calligraphy with the same power and quality of coloring. One of the concepts presented in the philosophical field of Isfahan is the theory of substantial motion. This theory was proposed by Mulla Sadra using extensive sources and sources, and it is one of the most important theories that created a great revolution in the field of Islamic philosophy. Until Mullah Sadra, Iranian thinkers, following Aristotle's point of view, attributed any changes and transformations to symptoms and considered the essence as a fixed thing. Mulla Sadra proved by relying on the proofs that were taken from various intellectual, religious and mystical sources that the movement in the symptoms follows the movement that is created in the essence. One of the sources that Mulla Sadra used in presenting his theory is the theory of continuous creation, which was presented by mystics, especially Muhyiddin Ibn Arabi. The rule of substantial motion is the most important view of Mulla Sadra in the intellectual structure of transcendent wisdom. The aim of the present research is to analyze the works of Reza Abbasi from this point of view by reviewing the definitions related to the physical movement. Based on this and considering what was mentioned, we can ask: How can we imagine a relationship between the movement in Reza Abbasi's works with the existing definitions of physical movement? It is assumed that the artist has succeeded in inducing movement by using symbolic language, and through gentle movement of figures, curved lines, non-static design. In this regard, while examining the way of presenting movement, as a visual element, it has been presented mystical foundations in the works of Reza Abbasi. The results show that the artist depicts symbolic movement in two ways; First, by creating the figures and arranging the elements in the composition, it has created a gentle movement. It also depicts movement in detail, using the capabilities of the line and the direction of the look and pointing of the fingers. The approach of this article is descriptive-analytical. How to collect content is in the form of online libraries.