Signs of the Safavid school of Tabriz in the illustration of the Khamseh Nezami of Akbar Shah in India with Yuri Lutman’s Semiosphere Approach

Sharing and exchange of cultural traditions between Iran and India reached its peak during the Gurkhani period. The main field of objectification of cultures should be sought in art and literature. The main area offind objectivityculturesshould be sought in art and literature. This paper focuses upon one of the examples of this cultural connection, namely painting and the illustrated version of Khamseh Nezami, which was illustrated by the painters of the Iranian HinduSchool during the Gurkhani period in India, and also deals with the effects of Tabriz school painting features on this version. Indeed, to this end, the question raised here is how the system of painting of the Safavid school of Tabriz was translated in Semiosphere as a sign of the Gurkhans of India? What is the effect of this translatability on the illustrations of the Khamseh Nezami versions illustrated during the reign of Akbar Shah? Being qualitative in nature, the present study adopts a descriptive approach to content analysis with the Semiosphere approach is a sign based on Yuri Lutman''s views and the aim of the article is to read the influential signs of Safavid painting on Gurkhani Indian painting and how this effect is in illustrating the Khamseh Nezami paintings during the reign of Akbar Shah. In this context the results of the study indicate that the illustration of the Khamseh Nezami version in India, due to the migrations of Iranian painters to India, is influenced by the painting of the Tabriz Safavid School. The effects of these characteristics are clearly seen in most of the five military drawings, including composition, characterization,decorative motifs, forms, and textures.