In the realm of visual arts, scientific illustration functions as a vital instrument for representing scientific concepts, natural phenomena, and visual aspects of knowledge. It bridges the gap between science and art by translating complex ideas and invisible realities into tangible and perceivable images. This study focuses on exploring the philosophical foundations of presential knowledge (ʿilm ḥuḍūrī) and acquired knowledge (ʿilm ḥuṣūlī) in shaping the distinct methods of scientific illustration developed within the Islamic and Western civilizations. By investigating these two epistemological approaches, the research seeks to clarify how different worldviews and scientific perspectives have influenced the visual language of science across cultures. The main problem addressed in this study is the identification of the factors that shape the similarities and differences in scientific illustration practices between these two intellectual traditions. In many cases, Islamic visual artworks have been undervalued or misinterpreted because of insufficient understanding of their historical, philosophical, and cultural contexts. The study assumes that divergent approaches to knowledge in these civilizations have deeply affected how artists perceive, conceptualize, and represent the natural world. Thus, a comparative analysis can reveal the underlying philosophical orientations that determine the form, content, and function of scientific illustration. The objective of this research is to gain a deeper understanding of how philosophical and cultural foundations have influenced artistic methods in depicting scientific subjects. It aims to analyze how artists have employed the two epistemic modes—presential and acquired knowledge—to visualize truth in different ways. In the Islamic tradition, artistic creation often arises from an intuitive and inward perception of reality, while in the Western context, scientific art has been shaped by empirical observation and external representation. Recognizing these differences contributes to a more comprehensive appreciation of the artistic and intellectual legacy of both civilizations. The research questions guiding this study are twofold. The fundamental question asks: What are the similarities and differences in scientific illustration between Islamic and Western civilizations, based on the epistemological approaches of each? The secondary question investigates: How do the roots of presential and acquired knowledge influence the artistic methods of scientific illustration in each civilization? Addressing these questions helps clarify the distinct mental frameworks through which artists have perceived knowledge and transformed it into visual form. This study employs a descriptive-analytical method with a comparative approach. Data collection was conducted through extensive examination of primary and secondary sources, including scholarly articles, books, and visual documentation. More than fifty illustrated scientific manuscripts, covering topics such as botany, zoology, and astronomy, were reviewed from both Islamic and Western traditions. Among these, seven pairs of comparable illustrations—each depicting the same plant species and dating from similar periods—were selected for detailed comparison. The analysis focused on identifying formal and conceptual patterns that reflect the artists’ epistemological orientation. The research is qualitative in nature, relying on interpretive methods to uncover how underlying concepts of knowledge have informed artistic choices. Findings from this comparative analysis indicate that Islamic artists, guided by presential knowledge, emphasize the inner essence and spiritual truth of depicted objects. Their illustrations tend to reflect not only physical forms but also metaphysical dimensions, suggesting a deep engagement with the inner reality (ḥaqīqa) of nature. The process of artistic creation in this context is considered a means of unveiling and participating in the divine act of creation. The artist acts as a mediator who perceives the truth of things directly, without relying solely on sensory or conceptual intermediaries. In contrast, Western scientific illustration, grounded in acquired knowledge, is primarily concerned with external accuracy and empirical fidelity. It reflects an epistemology rooted in Aristotelian logic, where truth is defined as the correspondence between mental representation and external reality. Hence, Western artists have prioritized observational precision, proportion, and measurable resemblance to the physical world. This epistemological divergence results in two distinct visual paradigms. The Islamic approach, informed by presential knowledge, aspires to reveal the unseen essence behind appearances. It values symbolic expression and spiritual resonance over material exactness. The Western approach, by contrast, seeks to represent nature as it appears to the senses, valuing clarity, empirical detail, and descriptive realism. While both traditions aim to communicate knowledge, their means of doing so reflect their differing conceptions of truth and reality. In the Islamic worldview, knowledge is illumination—a direct encounter with being—whereas in the Western worldview, knowledge is acquisition, obtained through observation, categorization, and reasoning. The philosophical implications of these findings are significant. In Islamic thought, particularly within the framework of Illuminationist (Ishrāqī) and Peripatetic philosophies, presential knowledge denotes a form of awareness in which the knower and the known are united. This unity manifests in artistic practice as an attempt to “recreate” the inner nature of things rather than merely to imitate their outward forms. Thus, the artistic act becomes a process of revelation (kashf) and existential participation, aligning with the metaphysical belief that true knowledge is presence, not representation. Conversely, Western epistemology, shaped by Aristotle’s theory of truth and later empiricism, separates subject and object, defining knowledge as a mental construct that corresponds to external reality. This separation leads to a visual tradition centered on representation rather than revelation, emphasizing mimesis and observable precision. From a methodological perspective, this study demonstrates how epistemology directly influences artistic style and purpose. In Islamic manuscripts, illustrations often integrate ornamental design, symbolic color use, and stylized forms, suggesting that the artist’s goal is not to replicate but to manifest meaning. Natural elements such as plants and animals are depicted with conceptual clarity rather than optical realism. In Western manuscripts, however, attention to anatomy, proportion, and perspective underscores a scientific ambition to describe nature objectively. The result is a visual system that serves as a didactic instrument, closely aligned with the development of modern science. The conclusion drawn from this research affirms that scientific illustration is not a neutral act of depiction but a philosophical expression of how each civilization conceives knowledge and truth. In Islamic civilization, rooted in presential knowledge, the purpose of illustration extends beyond representation—it becomes a means of contemplation, a visual reflection of inner realities. In Western civilization, governed by acquired knowledge, illustration functions as a tool of investigation, aiming to render the external world visible and comprehensible. Both approaches have contributed uniquely to the history of science and art, offering complementary insights into the relationship between knowledge, perception, and creativity. Ultimately, the study concludes that understanding the epistemic foundations of scientific illustration enables a more nuanced reading of visual heritage. It underscores the importance of recognizing how philosophical doctrines, cultural beliefs, and scientific paradigms shape the visual articulation of knowledge. By acknowledging these differences, scholars can better appreciate the diverse pathways through which human civilizations have sought to visualize truth, bridging the realms of science, art, and metaphysics.