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Similar to religious reverse glass paintings, Gilan's holy shrine paintings are also religious art from the Qajar period. Among these paintings in the matter of religious beliefs and artists' origins, a unity in the style of narration and illustration can be found. Transtextuality, introduced by Gérard Genette, is one of the most important theories in literature and art. He addresses different ways of how a text can remind the reader of a previous one and guide the reader towards it. The main question of the research is which factors that have been used in reverse glass paintings and holy shrine paintings have transtextuality and similarity. The research method is descriptive and analytic and the library collecting content method is taking fiche notes and reading pictures text; the data analyzing is qualitative. Findings are indicative of a similarity and transtextuality relation between holy shrine paintings and reverse glass paintings. Forgery similarity is the application of visual elements and semantic implications, with functioning and imitating form and pretext content. Transposition Transtextuality in the visual structure and semantic implications has a critical role in hypertextuality. Artists have created a new concept by modifying elements and changing the concept in Gilan's holy shrine painting.
 

Keywords: Transtextuality, Gilan's holy shrine painting, reverse glass painting, forgery, transposition.

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