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

This study explores illustrated manuscripts from the Safavid and Mughal periods, focusing on Jami’s Haft Awrang to analyze artistic, cultural, and literary exchange. Using Gérard Genette’s transtextuality framework, it examines how representation, adaptation, and absorption occur through imitation, transformation, and reinterpretation. The exact visual comparison reveals both continuity and divergence, highlighting explicit and implicit intertextual relationships. Ultimately, the research uncovers how Persianate aesthetics shaped a shared yet distinct visual language across Islamic artistic traditions. The Safavid period in Iran and the Mughal period in India represent two of the most culturally and artistically significant eras in Islamic history with rich heritages. Notable for their political power and rich cultural output, both dynasties shared a Persianate heritage that fostered deep artistic and literary interconnections. A key manifestation of these interactions is evident in manuscript illustration, where Mughal artists drew inspiration from Safavid aesthetic and Iranian literary sources. This study focuses on the depiction of the episode The Entry of Zuleikha and Aziz into Egypt and Their Reception in Jami’s Haft Awrang, as portrayed in two illustrated manuscripts: one from the Safavid period (housed in the Freer Gallery) and one from the Mughal period (held in the Walters Art Museum). The main objective is to analyze the transtextual, intertextual, and hypertextual relationships between these paintings using Gérard Genette’s transtextuality framework. Specifically, the study examines modes of representation, types of adaptation and absorption, and the shared or divergent visual elements between the two. Employing a qualitative, comparative, and descriptive-analytical method, the research draws upon library sources and visual analysis of digitized versions of the artworks. The central research question is: How are representation, adaptation, and absorption articulated in the two versions, and what common and distinct elements emerge between them through the lens of Genette’s transtextual theory? Findings indicate that intertextual relations between the two works appear in explicit, implicit, and latent forms. Adaptation and absorption occur primarily in two modes: imitation and transformation. The transformations involve reductions, augmentations, and substitutions, aligning with the concept of ‘transposition’ in both narrative structure and visual design. The Safavid painting, marked by intricate detailing and vivid coloration, reflects the ornate style of Iranian miniature art, while the Mughal version integrates spatial organization and decorative motifs aligned with Indian aesthetic preferences. These visual distinctions reflect a cultural synthesis born of Iran–India artistic dialogue. Moreover, the artworks exhibit intertemporal connections, with the Mughal painting building upon and reinterpreting the Safavid model. While it preserves aspects of Safavid style, it also introduces distinct cultural elements, exemplifying both continuity and transformation. The representation in both versions maintains textual fidelity while expressing unique visual creativity, ultimately demonstrating a shared visual language marked by divergent cultural inflections. In conclusion, the comparative analysis reveals how manuscript illustration during the Safavid and Mughal periods facilitated intertextual, intercultural, and intertemporal exchanges. Through the lens of Genette’s transtextuality, this study uncovers valuable insights into the mechanisms of artistic and cultural transmission across Islamic societies, offering a fertile framework for future comparative research in art and literature.