Chapter 6 examines how later stories about artistic competition, related by al-Maqrizi, Mustafa ‘Ali, and Qadi Ahmad, consider painting in the context of deceptive rhetoric in pursuit of truth, as advocated in Plato’s Phaedrus. The chapter concludes by comparing this understanding of painting with that rooted in a similar story, the competition of Zeuxis and Parrhasius. Adopted from antiquity by German Enlightenment thinkers as the paradigm for representation and the disinterested observer, this story establishes paradigms of artistry and mimesis in the Western tradition that cannot account for opposite premises established in Islamic discourses. The comparison between the two narratives underscores the antique tradition as part of a shared Islamic and European heritage diverging through distinct histories of interpretation. Comparison with European theorization of the image uncovers the bias inherent to normative art-historical premises about the social and psychological functions of the image that obscure alternative modes of perception, whether in cultures whose alterity is determined by being in the past or by being elsewhere. The story of the competition of the artists outlines an alternative paradigm, rooted in spiritually trained subjectivity rooted in the heart and resisting the rationalist exteriority of representation presumed in dominant modern models.