Prabhupada, D. & Bhaktivedanta, A. Ch. (2001). Swami Bhagavata‑Gītā As It Is (E. Farmani, B. Golbidi & F. Siahpoosh, Trans). Tehran; Dari.
Afzal Tousi, E. S. & Houshmand monfared, N. (2016). Investigating the Differences of Abd-Al-Samad Shirazi’s Paintings in the Courts of Shah Tahmasp and Gurkanis of India. Journal of Subcontinent Researches (JSR), 8 (26), 23-42.
Allami, A. (1879). Akbarnama. Vol. 2. (M.Ahmad Ali & A. Abdul Rahim (Eds.)). India: New Delhi.. India: New Delhi.
Bailey, G. (2010). “Puranas”, Encyclopedia of Hinduism, (D. Cush et al. (Eds.)). London and New York: Routledge.
Chaudhary, Sh. (1991). The influence and effect of Shah Nameh on Punjabi language and literature. Farhang Journal, (7), 415-428.
Dimand, M. S. (1986). Hand Book of Muhammadan (A. Faryar, Trans). Tehran: Scientific and Cultural Publishing Company.
Fakhr al-Zamani Qazvini, A. N. (2013). Taraz al-Akhbar. Tehran: Art Research Institute, Art Academy.
Gharavi, S. M. (1967). Hamzeh Nameh: The greatest Persian illustrated book. Journal of Art and People, (85), 31-34.
Gharavi, S. M. (1997). Hamzeh Nameh, The first institution in the artistic relations between Iran and the subcontinent. Journal of Academic Library and Information Research, (26&27), 5-10.
Gholam Hosenzadeh, Gh. H., Zulfaqari, S. H. & Farokhi, F. (2010). Structure of Hamzeh Nameh Motives. Journal of Literary Review, (11 & 12), 205-232.
Hosseini, A. (2015). The role of the artists of the Safavid school in the formation of the Gurkani school of painting in India (a case study of an example of the works of the Gurkani school: Hamzeh Nameh), Proceedings of the first international conference on the common heritage of Iran and India.Qom: Islamic Reserves Assembly, 391-407.
Hosseini, M., Asarkashani, E. & Moin Eldini, M. (2014). The Tuti Nameh of Cleveland Museum of Art as the Base of the evolution of the Hamzeh Nameh’s Mongol Style in Miniature Painting. Visual and applied arts magazine, 6 (12), 65-75.
Imani, M. R. (2010). Investigating the most important components of The Worldviews of Hinduism in Puranic texts. Journal of Ma'rifat-i Adyān, 1 (4), 165-178.
Jafari Madhab, M. (2005). Manuscript after printed, Journal of Ayeny-ye Miras, 2 (3), 203-210.
Jalali Naini, M. R. & Shukla, N. Sh. (2002). Mahabharata. Mahabharat, Volume III (Gh. A. Qazvini Trans.). Tehran.Tahuri.
Klostermaier, K. (1998). Hinduism: A Short History. Oxford, One World Oxford.
Kosha, K. (2013). Emigration of Iranian artists to India during the Safavid era. Journal of Mirror of Heritage. Ayeny-ye Miras, 2 (3), 3-37.
Lipner, J. (2005). Hindus: Their Religious Beliefs and Practices. London and New York: Routledge.
Mahjoub, M. J. & Zulfaqari, S. H. (2007). Folk literature of Iran. By Hasan Zulfaqari.Tehran: Cheshmeh Publishing.
Pakbaz, R. (2016). Iranian Painting: from Prehistoric Era to the Present Day. Tehran: Zarin and Simin.
Pargiter, F. E. (1919). “Puranas”, Encyclopedia of Religion and Ethics. James Hastings, Edinburgh: T & T Clark, (10), 447—455.
Rocher, L. (1986). A History of Indian Literature: The Puranas. Wiesbaden: Harrassowitz.
Sharafaei Murghaki, M. & Mahmoudi, A. (2016). Study of Purānic literature in Hindu’s popular culture and religion. Journal of Indian Subcontinent Studies, 7 (29), 109-132.
Sharma, A. (2006). The book Farhang Adyan (F. Samavati, Trans.). Tehran: Medhat.
Shiʻār, J. (1968). The story of Hamzeh (Hamzanama), Tehran: University of Tehran.
Smith, V. A. (1969). A History of Fine. India: Art in India & Ceylon.
Tarachand & Jalali Naini, M. R. (1971). Upanishad (Prince M. Darashkoh, son of Shahjahan, Trans). Tehran: Tahuri.
Welch, S. C. (1975). The Art of Mughul. India: Art in India & Ceylon.
Zekavati Qaragozlu, A. R. (2008). Rumoz-e- Hamzeh or Amir Hamzeh Sahibqaran, Journal of Mirror of Heritage. Ayeny-ye Miras, 404-410.