Purpose –Gérard Genette’s narratological discourse theory (1930–2018), with its focus on five fundamental components—order, duration, frequency, mood, and voice—stands as one of the most effective narrative frameworks for analyzing narrative structures; structures that can be traced and interpreted not only in written texts but also within the realm of imagery.Accordingly, the present study aims to examine in detail how the discourse of monarchy is reproduced, reinforced,and symbolically sustainedthrough narrative elements within the pictorial structure of the aforementioned mural, and to identify its broader symbolic function as a visual genealogy of political power.This research is grounded in the understanding that in the Qajar ear, visual arts particularly royal murals served not merely as decorative forms but as intentional instruments for narrating political legitimacy and dynastic continuity. Based on this, the research seeks to address three fundamental questions: 1. What kind of perspective on the status of human beings (especially the king) can be inferred from the narrative structure of the image? 2. How is the representation of human figures in the Nowruz Salutation of Fath-Ali Shah mural organized within the narrative structure of the image? 3. How can Gérard Genette’s narratological concepts be applied to analyze the representation of humans in this painting?

Methodology –The present research adopts an analytical–descriptive approach, combining theoretical analysis with empirical examination of the mural. Data collection has been carried out through documentary methods, drawing upon an extensive range of library resources, museum archives, and published scholarly works on Qajar art, Iranian court painting, and narrative theory. The study employs a human-centered narratological lens, situating the visual analysis firmly within the conceptual framework of Gérard Genette’s theory of narrative discourse. Special attention is paid to Genette’s structural categories, which are here adapted for the reading of visual texts. The focal case is the Fath-Ali Shah Qajar Nowruz Salutation mural (1813 CE) and preserved in the Soleimanieh Palace in Karaj a monumental work that embodies both ceremonial grandeur and dynastic symbolism. In addition to textual analysis of the mural’s composition, iconography, and figure arrangement has been conducted to correlate narrative structures whit visual strategies. This methodological design not only ensures fidelity to narratological theory but also accommodates the specificities of Iranian visual culture.

Findings – The narratological analysis reveals that the mural can be interpreted simultaneously as an invaluable historical document and as a carefully constructed visual genealogy of Qajar political and cultural authority. Through the deliberate spatial arrangement of figures, the careful orchestration of hierarchical scale, and the recurrent deployment of symbolic motifs—such as the crown, ceremonial regalia, and the formalized gestures of courtiers—the composition achieves a coherent and purposeful narrative structure. Its focalized layout directs the viewer’s gaze toward the central figure of the monarch, thereby reinforcing the centrality of royal power in the visual storyworld. From a Genettian perspective, the mural’s use of order emphasizes ceremonial precedence; its frequency underscores the cyclical renewal of dynastic legitimacy through Nowruz rituals; and its mood reveals a controlled narrative distance that elevates the king’s image above that of all other figures. Furthermore, the interplay between Genette’s narratological categories and the indigenous conventions of Iranian mural painting produces multiple interpretive layers. These include the work’s alignment with Persian literary traditions of courtly praise, its integration of visual paratexts such as inscriptions or architectural framing, and its capacity to function as a hypertext to earlier visual and textual sources. The research also identifies that the mural’s genealogy is not merely symbolic but performative—its very public presence in the palace space continually enacted and reaffirmed royal authority. Consequently, the work emerges as a systematic model for analyzing the interrelations of art, power, and political will in Iran’s visual heritage, with potential applicability to broader interdisciplinary inquiries in art history, political anthropology, and cultural studies.

Conclusion –The findings demonstrate that the mural lends itself to a nuanced narratological reading grounded in Gérard Genette’s framework, particularly in relation to the categories of order, frequency, and mood. Beyond depicting a singular historical moment, it narrates the principle of crown princely succession, embedding political ideology within its visual form. The integration of visual narrative with narratological structures renders the piece an exemplary instance of how theoretical models can illuminate the compositional logic and ideological function of royal artworks. Moreover, the detailed examination of compositional strategies—such as spatial hierarchy, figure placement, and symbolic ornamentation—shows that the mural transcends mere historical record to operate as a multilayered text. In doing so, it offers insight into how Iranian court painters employed narrative strategies to secur