The primary concern of this study is to examine the possibility of sensory perception of Satan based on the theoretical foundations of the Qur'an and Hadith, and to assess the feasibility of its dramatic representation in artistic works consistent with Islamic theology. Given the growing role of media in shaping audiences' religious beliefs, this research is necessitated by the fact that without a precise understanding of theological principles, a critical evaluation of artistic representations of Satan remains unattainable. The central question is whether the objective vision of Satan by humans is possible in Islamic scriptures; and if so, how this vision is to be explicated, and by what criteria its reflection in dramatic works may be appraised. This article aims to systematically analyze transmitted and rational evidences pertaining to the embodiment and perceptibility of invisible beings, and to extract a conceptual framework for critiquing and creating religious dramatic works. The research adopts a descriptive-analytical method, grounded in qualitative content analysis of Qur'anic verses, prophetic traditions, and authoritative exegetical sources. Findings indicate that the vision of Satan in Islamic sources is not absolutely impossible; rather, it is contingent upon divine permission and realizable through embodiment in tangible forms. Accordingly, the dramatic representation of Satan does not inherently conflict with religious teachings; however, its degree of conformity with theological principles depends on the artistic approach and the observance of doctrinal nuances. The principal contribution of this article lies in underscoring the necessity of interdisciplinary dialogue between theology and the arts, and in furnishing criteria for a more accurate and responsible representation of Satan in dramatic works.