In this narrative from Farid al-Din Attar's Mosibat-Nameh, Zulaykha builds a house where every surface—the walls, floor, and ceiling—is adorned with her portrait, ensuring that Joseph sees her wherever he looks. Attar uses this story as a Sufi allegory for the world of forms (surat). It represents how the material world and sensory desires encompass the seeker from all sides, and highlights that the spiritual seeker, like Joseph, must look beyond these physical manifestations to the formless Divine (ma'na) to attain true spiritual liberation.