The “Khamsa” of Nizami Ganjavi is recognized as one of the most significant and influential works in Iranian and global literature, consistently attracting the attention of numerous scholars and enthusiasts. Among the notable manuscript versions derived from this masterpiece is manuscript AddMS25900, housed in the British Museum, which occupies a prominent position in art history studies. This significance is partly due to the likelihood of Behzad's involvement in illustrating some of its miniatures. The present study examines the relationship between the story illustration “Majnun Seeking Refuge in the Kaaba” and the text “Manazil al-Sa'irin” by Abdullah Ansari. Its goal is to uncover the latent connections between the concept of “yaqzah” (spiritual awakening) as understood by the Master of Herat and its representation within the narrative and character actions. The importance of this research lies in identifying explicit and implicit links between Persian mystical texts and miniature painting, offering insights that may contribute to further scholarship. This study employs a descriptive-analytical approach utilizing library resources, focusing on a miniature attributed to Behzad. The primary research question seeks to determine how the concept of “yaqzah,” as the first stage of spiritual wayfaring according to the Master of Herat, manifests within the visual narrative of the artwork? Among the valuable treasures of practical mysticism, “Manazil al-Sa’irin” by Abdullah Ansari stands out for its unique qualities. This book, drawing upon profound spiritual experiences and presenting the stages and states of the mystical journey in a structured and interconnected manner, while incorporating mystical sayings and traditions, holds a special place among Sufi texts. At the outset of this work, the Sage of Herat explains his motivation for writing the book. He mentions that some seekers, particularly the impoverished from Herat and surrounding regions, requested a guide to understanding the stages and signs of the path. They also sought a concise and clear categorization that would present the sequence of these stages in an understandable and memorable way. Evidently, the concerns of readers of mystical texts in the 5th century AH bear similarities to those of contemporary readers, as both express a preference for brevity and clarity over excessive elaboration. “Manazil al-Sa’irin,” the result of Abdullah Ansari’s 27 years of spiritual and scholarly efforts, was composed at the request of his followers to elucidate the stages of the spiritual path while emphasizing moral guidance. Written in Arabic, he begins by acknowledging his concern that overly extended discussions on mystical states might tire both himself and his audience. Thus, he presents the principles of these stages succinctly, with clear indicators. The book is organized into 100 stations across 10 broader sections, effectively eliminating ambiguity and minimizing the need for additional inquiries. Drawing from personal experiences and beliefs, Abdullah Ansari offers a nuanced perspective on attaining the initial station, “Yaqzah” (awakening). He guides his disciples gradually, step by step, through the journey of spiritual progression. This sequential approach highlights the fundamental role of order in Islamic mysticism progression; subsequent stages rely on successfully passing through earlier ones. Moreover, he believes that after completing a station, seekers gain deeper insights into preceding stages and can address any shortcomings they may have had. The journey of spiritual wayfaring, as depicted by Abdullah, consists of 10 sections, each containing 10 subsections, culminating in 100 stages from “Yaqzah” to “Tawḥīd” (unity with the Divine/monotheism). The present study focuses exclusively on the first station (Yaqzah) and its diverse dimensions in relation to artistic miniatures. Based on the conducted analysis, it is evident that among the majority of the positive characters depicted in the artwork, several significant qualities and actions are emphasized. These include heartfelt gratitude for the innumerable blessings of God, hope for divine favors, learning from the afflicted, recognizing the greatness of God as the primary means to avoid sin, acknowledging divine punishment in the afterlife as a deterrent to wrongdoing, appreciating the value and consequences of life’s fleeting time, avoiding idleness, seizing the remaining moments of life, and seeking the companionship of the righteous. Conversely, the negative characters in the artwork illustrate a focus on actions leading to their detriment. These include neglecting the internal preacher (reason), overlooking divine mercy and spiritual inspirations, failing to honor truth, ignorance of the self, rejecting divine warnings, refusing to seek or listen to knowledge, avoiding association with righteous individuals, disregarding inner callings toward guidance, undervaluing life’s precious opportunities, refraining from seeking virtuous companionship, neglecting to compensate for lost opportunities, and failing to learn lessons from the plight of the afflicted. The research findings indicate that, based on the poetry of Nizami, accompanying Majnun's family and father on a pilgrimage to the Kaaba symbolizes a heartfelt acknowledgment of divine blessings, a hope for divine bounties, and an anticipation of divine mercy. This interpretation aligns closely with the teachings of the Sage of Herat. Similarly, in various writings, the depiction of the Kaaba's veil by the illustrator serves as a reminder of seizing time and performing acts of worship, such as prayer. This emphasis on valuing opportunities is fully consistent with the perspective advocated by the Sage of Herat. The research findings indicate that, based on the poetry of Nizami, accompanying Majnun's family and father on a pilgrimage to the Kaaba symbolizes a heartfelt acknowledgment of divine blessings, a hope for divine bounties, and an anticipation of divine mercy. This interpretation aligns closely with the teachings of the Sage of Herat. Similarly, in various writings, the depiction of the Kaaba's veil by the illustrator serves as a reminder of seizing time and performing acts of worship, such as prayer. This emphasis on valuing opportunities is fully consistent with the perspective advocated by the Sage of Herat.