Among the illustrated manuscripts preserved in the Razavi Collection, the manuscript of Layli and Majnun by Maktabi, dated 1232 AH (Registration No. 4926), contains romantic-themed poetry and includes 10 narrative illustrations. In this context, developmental criticism in the analysis of illustrations, with a focus on the creative process, enables a deeper understanding of the pathway of idea formation, the artist’s decision-making, and the influence of external factors. This approach, rather than providing a final judgment, emphasizes uncovering the pivotal moments of creativity and the rationale behind changes throughout the illustration production process. The present study, relying on a descriptive-analytical method, aims to answer the following question: Based on genetic criticism of this manuscript, to what extent do the images, as text, converge or diverge with the poems, as pre-text, and how has the interaction between pre-text and text manifested itself? According to the findings, the anonymous illustrator of this manuscript was well-versed in the visual principles of their era and utilized all the characteristics and nuances of the period in their illustrations. On the other hand, the text generally maintains a complementary relationship with the pre-text. In instances where the pre-text lacked detailed explanations—such as in depictions of clothing and environmental settings—the artist adopted an additive approach based on prevailing norms and personal beliefs, introducing elements into the text. This process resulted in a predominant trend of convergence, with occasional instances of divergence.