Abstract
Literature has always inspired Iranian artists, and there is an undeniable connection between them. This research has explored the connection between Iranian poetry and painting in the intertextual and intersemiotic translation of the paintings of Sultan Ibrahim Mirza and Haft Orang Jami.
Prince Ibrahim Mirza (April 1540 - 23 February 1577) was a Persian prince of the Safavid dynasty, He brought together a group of talented artists to illustrate the Haft Awrang, including seven Masnavi of Jami's most enduring poetic poems, which led to the creation of a collection of twenty-eight magnificent Masnavi paintings.
The main purpose In this study, the author intends to examine the story of the prophet Muhammad Miʿraj in kerad nameh eskandary by drawing it from the Haft Awrang of Sultan Ibrahim Mirza Examine from the perspective of intertextual studies and relying of Genette Hypertextuality by Descriptive-analytical method and answer this main question.
A critique of the issues of similarity and convergence in poetry and drawing, and accuracy in substitutions, shows that the painter did not oblige herself to illustrate all the verses.
According to a comparative study between the painting and Muhammad Miʿraj
Mostly dominant from the perspective of Genette is variation, And among the moving cases, Decreasing and increasing is the most reliance on increasing that is based on the painter's imagination.



Keywords: prophet Muhammad Miʿraj، kerad nameh eskandary, Jami, Sultan Ibrahim Mirza, Haft Awrang, intersemiotic translation, Genette
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