The study of the changes in the form of the Prophet's covering in the Ascension paintings from the Ilkhanid period to the contemporary based on Gerard Genet's theory of hypertextuality.

The Ascension of the Prophet has always been the focus of artists and researchers. In the current research, how to display the clothes of the Prophet is the main issue that has not been addressed in previous researches. T it is intended to study the evolution of the Prophet's covering form in the time period of Ilkhanid era to contemporary era with qualitative method and descriptive-analytical nature. The question of the current research is, what factors have played a role in the evolution of the Prophet's clothing in terms of imitation or imitation? Two examples of paintings from the contemporary period were selected as extra text and three examples from Ilkhani to Safavid period were purposefully selected as pretext. Analytical codes include headgear, color, and tunic, and the results showed that: the structure of the Prophet's (PBUH) clothes in the pictures and paintings has still maintained its structure. But there have been changes in the width of tunics or the volume of headgear according to different periods. Tragungi has been done in the form of color in the contemporary era, and the symbolic green color of the Prophet's robe is replaced by brown, and the turbans have changed from white to green, and the use of green in the Prophet's headdress as a color be preserved symbolically. In the contemporary era, there was a gap between the clothes of the Prophet (PBUH) and the common clothes of the era, which was not the case in the previous periods.