S. R. Faruqi:

To address the beloved as 'oh you who are near to the heart', and to tell her, 'come into the eyes', is very fine. There's also the implication that the beloved is of course in the heart, but is far from the gaze. In the second line, the word dikhāʾo (meaning 'the distance that the eye can see') is very fresh and eloquent. Mir has written it in one more place as well, in dar bayān-e holī :

thā jahāñ tak āb-e daryā kā bahāʾo
thā vuhīñ tak us chirāġhāñ kā dikhāʾo

[as far as there was the flow of the water of the ocean
only/emphatically that far was the view of that lamp-show]

The question is, what is the point of saying that even/also from the lover's eye, there is a view to a great distance? The most interesting explanation is that since the beloved has been said to be far from the eyes, we can assume that she is off somewhere, absorbed in some pleasure trip. Thus in order to allure her, he has said, 'come sit in the eyes-- from here too there's a sweeping view'.

A second idea is that the lover, in his wildness/madness, sees many kinds of things; in every thing he sees some new shape/form. Thus if one would look through the lover's eyes, then the world will seem to be of quite another kind. A third idea is that if one sits in any high place, then the horizon widens out. If one sits in the lover's eye, even then this will be the case.

The wordplay of 'near' and 'far' is also enjoyable; it's an interesting verse.

FWP:

SETS
MOTIFS == EYES
NAMES
TERMS

Though a manz̤ar can be a face, more commonly it's a scene, or some kind of show or spectacle, so to speak of lovers' eyes as in manz̤aroñ invites reflection. And dikhāʾo too has strong overtones of 'show, ostentation, disguise' (see the definitions above). So even though the meanings about viewing and distance are to the forefront, there also hovers a sense of possible show, spectacle, fakery, disguise.

The lover may thus be obliquely hinting to the beloved that he knows how she operates, and that he has some resources of his own as well. Do those resources involve acute vision, or special insight, or dramatic staging, or some kind of contrivance or fakery? As usual, it's up to us to decide.