The narrativity of the static image remains one of the most debated issues in narratology. Narrative is commonly regarded as a verbal phenomenon grounded in temporal succession; consequently, painting and photography are often excluded from its domain. Focusing on two miniatures by Kamal al-Din Behzad—“Joseph’s Scape from Zulaykha” and “The Mourning of a Son at His Father’s Death”—this study asks how Behzad’s paintings can be understood as narratives and how the relationship between space and time enables the formation of narrative within these works. The research adopts a qualitative, analytical-descriptive method. Drawing on the narrative theories of Gerard Genette and Mieke Bal, it examines the spatial configuration, the movement of figures, and the spatiotemporal organization of the miniatures. The findings indicate that through circular and spatial compositions, as well as through dynamic figural movement and visual rhythm, Behzad generates a form of narrative temporality within the image itself. In these works, the sequence of actions is not merely the result of the viewer’s subjective experience; rather, it emerges from the internal spatial configuration of the painting. Thus, Behzad’s miniatures embody a dynamic and multilayered narrative structure. By demonstrating how time can be constructed through spatial organization in a static image, these works challenge the assumption that narrative necessarily depends on verbal language and linear temporality, and they call for a reconsideration of classical definitions of narrative within visual culture and art historical discourse more broadly.