This comparison examines the different symbolic interpretations of blackness in the Sufi poetry of Sanai and Rumi. In the Hadiqat al-Haqiqah, Sanai reinterprets the maxim 'poverty is the blackness of the face' as a positive state of spiritual stability and ego annihilation, arguing that black is superior as it cannot be dyed. Conversely, in Book Three of the Masnavi, Rumi uses the narrative of a black slave whose face is miraculously whitened to contrast transient physical form with eternal inner essence. Together, these works illustrate how Sufi literature employs blackness both as an absolute state of spiritual poverty and as a physical veil to be transcended.