Comparative reading of the Painting "The Entry of Zuleikha and Aziz into Egypt and Their Reception" in two versions of Jami's Yusuf and Zuleikha during the Safavid and Mughal periods based on Gérard Genette's transtextuality approach

The Safavid era in Iran and the Mughal era in India are considered two of the most illustrious periods in Islamic history. These periods stand out not only for their political and cultural achievements but also for their profound interactions in art and literature. With a shared cultural heritage and Persian as the official and literary language, these dynasties created a fertile ground for artistic and literary connections. One of the most significant outcomes of these interactions was the influence of Iranian art on Indian art, especially the way Mughal artists were inspired by Safavid art. This influence is most evident in the field of manuscript illustration, where Mughal artists produced works based on Iranian texts and paintings. This study focuses on the depiction of the narrative "The Entry of Zuleikha and Aziz into Egypt and Their Reception" from Yusuf and Zulaikha in Jami’s Haft Awrang. The research examines two versions of this illustration: one from the Safavid period and one from the Mughal period, housed in the Freer Gallery and Walters Museum, respectively. The main goal of this study is to analyze the intertextual and hypertextual relations of these paintings based on Gérard Genette’s transtextual approach, exploring how the representation, type of adaptation, and absorption are articulated, as well as the common and different elements between them. The study uses a qualitative methodology, employing a comparative approach and descriptive-analytical methods for data analysis. Data were collected through library research and visual analysis of available digital resources. The central research question is: How are representation, type of adaptation, and absorption, Also the common and different elements in the paintings based on Genette’s transtextual approach? The results show that intertextual relations between these paintings can be identified in explicit, hidden and implicit forms. Adaptations and absorption occurred in two main forms Imitation and transformation. Transformations involved changes such as reduction, increase, and replacement and is type within the form of Transposition in the narrative structure and visual elements. The Safavid and Mughal Paintings, with the same symbolic system (painting with painting) had intertextual relationships of an intersemantic type. The Safavid version is characterized by intricate visual details and vivid color schemes that reflect the rich style of Iranian artists. In contrast, the Mughal version incorporates decorative elements and spatial arrangements influenced by Indian tastes. These differences highlight a cultural synthesis resulting from intercultural interactions between Iran and India. Additionally, the paintings exhibit intertemporal relations. The Mughal version, inspired by the Safavid one, continuity of artistic style over time. Mughal artists borrowed from the Safavid tradition, they infused the artwork with their own unique cultural influence. The representation in both versions reflects a fusion of textual fidelity and visual creativity, using a shared visual language but reflecting distinct cultural identities. In conclusion, this study emphasizes art of illustration during the Safavid and Mughal periods facilitated intertextual, intercultural, and intertemporal interactions. By analyzing these interactions through the lens of transtextuality, valuable insights into the artistic and cultural exchanges of Islamic history are gained, opening new avenues for comparative studies in art and literature.