meaning and the organization of collective experience. Whenever an image is reproduced or reinterpreted within a new cultural context, a translational process emerges in which semiotic boundaries are transformed and meaning is organized within a new network of cultural relations. Yuri Lotman’s theory of the cultural semiosphere provides a theoretical framework for understanding this process; according to this perspective, meaning undergoes transformation through the interaction between “self” and “other” and in its movement from the cultural center toward the sphere of popular culture.The present study has been conducted using a qualitative approach and a comparative method, and the data have been collected from library sources and the analysis of visual texts. In this study, the reinterpretation of Leonardo da Vinci’s Last Supper in the works of Andy Warhol is examined as the transfer of a sacred image from classical cultural memory to contemporary visual culture. The main issue is how the translation of pictorial spaces between two non-synchronous semiospheres transforms the semantic structure of the image, the perceptual experience of the audience, and the position of the sacred. The findings indicate that in Da Vinci’s work meaning is stabilized within a center-oriented, faith-based structure, whereas in Warhol’s works the image enters media circulation and sacred meaning shifts from a fixed state to a fluid, multi-centered condition. In this transition, aesthetic experience moves from individual contemplation to collective consumption, and the image transforms from cultural memory into a circulating sign within visual culture.