Iranian miniature painting has employed diverse approaches to organizing visual and semantic elements in the representation of religious and literary narratives, shaped by the historical and visual context of each period. This study examines the differences in the visual and semantic organization of the narrative of Solomon and Bilqis in a Safavid miniature from the Mashhad school and a contemporary work by Mahmoud Farshchian. It aims to identify and compare their visual characteristics, formal relationships, and semantic significations based on Feldman’s four-stage model of description, analysis, interpretation, and evaluation. The research adopts a qualitative approach and a descriptive-analytical and comparative method. The selected works were purposefully chosen and analyzed according to shared visual and narrative criteria. The findings show that the Mashhad-school miniature has a multilayered organization characterized by a fragmented frame, multiple figures, architectural and decorative elements, and the juxtaposition of several narrative scenes. In contrast, Farshchian’s work presents a more fluid organization through a vertical frame, greater emphasis on the principal figures, curved lines, and animal and vegetal elements. The results indicate that, despite their thematic connection to Solomon and Bilqis, the two works reconstruct the narrative within distinct visual systems.