Parody constitutes one of the most enduring methods of textual production and reproduction. Since Aristotle first characterized it as a literary genre, diverse meanings and definitions have been ascribed to this concept. Expanding upon the discourse of intertextuality, Gérard Genette introduced the concept of hypertextuality to investigate the derivational relationships between texts and their typology. In Genette's taxonomy, hypertextuality encompasses six primary categories: pastiche, charge, forgery, parody, travesty, and transposition. Among these, parody is formed through the derivation of a hypertext (posterior text) from a hypotext (anterior text)—a relationship which, in its strictest sense, is predicated on playfulness rather than satire. This study aims to examine the visual system with a specific focus on Iranian painting, while elucidating parody and its associated concepts originated within the verbal semiotic system. Consequently, utilizing a descriptive-analytical and applied methodology grounded in Genette’s conceptualization, selected instances of parody in the works of contemporary Iranian painters are analyzed. The findings suggest that by comprehending various modes of derivation and adaptation, and by explicating intertextual relationships, one can attain a profound understanding of literary and artistic texts and analyze their pluralistic semantic layers.