Pictorial carpets of the Qajar period constitute one of the artistic forms in which narrative design is prominently manifested, with a wide range of stories conveyed through woven visual representations. By depicting narrative scenes, employing symbolic imagery, and integrating diverse visual elements, these carpets construct multilayered narratives that rely on the viewer’s cultural knowledge and interpretive competence. Beyond their decorative function, such narratives reflect the social, political, and artistic transformations of the Qajar era. This study aims to examine the correspondence between the visual narration of the story of Bahram Gur Taking Admonition from the Shepherd, derived from Nizami Ganjavi’s Khamsa, and Gérard Genette’s narratological framework. Employing a descriptive-analytical approach, the research analyzes a Qajar pictorial carpet depicting Bahram Gur and the Shepherd through the lens of Genette’s theory of narrative. Data were collected using library-based research methods. The study seeks to answer two principal questions: How is the story of Bahram Gur and the Shepherd visually narrated in this pictorial carpet, and which episode of the narrative was selected for pictorial representation? The findings indicate that, despite the static nature of the woven image, the visual narrative achieves a multilayered temporal structure through the integration of the climactic scene with the marginal poetic inscriptions. While focalization in the literary text is predominantly variable internal focalization, the pictorial composition is characterized mainly by zero and fixed focalization. The marginal verses play a crucial role in bridging temporal discontinuities and reinforcing narrative continuity. Consequently, the carpet functions not merely as a visual representation of a literary text but also, within the historical context of the late Qajar period, as an allegorical and critical commentary on political authority.