This article analyzes the chronotope of the city of Hamedan in Seyyed Mousa Nasri Hamedani’s novel Tarikh-e Gheyrat—a historical-literary narrative that, within the framework of late-Qajar national imagination, reconstructs the spatial memory of Hamedan during the late Safavid era. The central research problem is to examine how the novel represents Hamedan as a dynamic chronotope: a space in which historical time (the Ottoman invasions) and urban place (gates, squares, and neighborhoods) interact dialectically to shape narrative progression, collective identity, and social action. The aim of the study is to propose an interdisciplinary model for analyzing spatial organization in historical narratives, with a focus on the interrelation of memory, space, and storytelling, and by employing chronotopic cartography. The necessity of this research arises from two factors: the absence of visual or cartographic documentation of Safavid Hamedan, and the lack of systematic attention in Persian literary studies to the representation of urban space. The main research question asks: How does Tarikh-e Gheyrat, through the fusion of time and space, represent the spatial organization and urban identity of Hamedan in the late-Qajar imagination? The hypothesis suggests that urban spaces in the novel are not passive backdrops but active agents in advancing the narrative and reflecting social resistance. Methodologically, the study applies qualitative content analysis within Bakhtin’s theory of the chronotope, validated through comparative examination of historical sources, urban maps, and Safavid urban scholarship. Findings indicate that places such as Sangzar Square and the gates of Bahar, Sangshir, and Mokhtaran simultaneously possess narrative, social, and symbolic functions, acting as “chronotopic cores” (time–space knots) that organize collective memory and urban identity. Moreover, the tension between historical time and urban space transforms the city into a “palimpsest of memory,” a multilayered site of experience, action, and meaning. The conclusion emphasizes that the city chronotope in this novel is not merely reflective of historical conditions but actively generative of urban meaning and memory.