Painting during the Timurid period is one of the most important manifestations of Iranian visual art, which reached its peak in the 9th century AH in cities such as Samarkand, Herat, and Shiraz, continuing the traditions of the Ilkhanids and within the framework of royal workshops. The artistic creations of that era, beyond aesthetic values, played an important role in representing and reproducing the power and political legitimacy of the Timurid sultans in the social context of Iran. The question of the present research is how the painting of the Timurid and Shahrukh eras not only represents, but also actively produces and consolidates political power through visual structures, symbolism, spatial organization, and visual narrative. This research, with a qualitative approach based on the analysis of visual semiotics, examines examples of prominent illustrated manuscripts such as Khamseh Nizami and Majma' al-Tawarikh in order to reveal the semantic and ideological mechanisms behind the representation of the image of power. The research hypothesis is that Timurid painting is not simply a reflection of royal authority, but rather, by employing royal symbols, highlighting the status of the king, depicting court rituals, visual narration of historical events, and using cosmic and divine elements, it functions as an active device in producing a discourse of political legitimacy. Timurid painting, between the eras of Timur and Shah Rukh, evolves from a tool for displaying victorious power to a medium for producing cultural and historical legitimacy.