This study examines the visual representations of the Shaykh San‘ān narrative, as reconfigured by Farīd al-Dīn ‘Aṭṭār in Manṭiq al-Ṭayr, in four different illustrated copies of Majālis al-‘Ushshāq dating from the fifteenth, sixteenth, and seventeenth centuries, through an iconographic approach. The narrative originates from a brief anecdote found in al-Ghazālī’s Tuḥfat al-Mulūk and presents an allegorical structure shaped around the themes of love, trial, and transformation. The analysis focuses on four key scenes depicted in manuscripts held at the Topkapı Palace Library (H. 829 and H. 1086), the Bodleian Library (MS Ouseley Add. 24), and the University of Michigan (Isl. Ms. 235): the first encounter with the Greek maiden, the girding of the zunnār, the herding of swine, and the inner state of Shaykh San‘ān in the face of love.  Employing Erwin Panofsky’s three-stage iconological method, the study analyzes architectural composition, figural arrangement, color usage, and symbolic elements. The findings demonstrate that these images do not merely illustrate the literary text but construct an autonomous visual language that interprets love-centered Sufi thought.