Herat has documented one of the most thriving Iranian art courses during the Shahrokh period. Understanding the motives for the flourishing of paintings of this period necessitates this research. The success of painting in any given period is a consequence of two significant factors. First, external causes such as government support and economic prosperity, and second, internal influences that include the relationships between the constituent elements of the painting. This paper, with an analytical and descriptive approach, will study the internal factors, namely the structural performance of the works of two painters from Herat School. Herat's paintings seem to have their splendor and brightness due to the painters whose visual structure is one of the most important and enduring points of their work. Herat's paintings seem to have their splendor and brilliance due to the painters whose visual structure is one of the most imperative and enduring points of their work. Rhythm, balance, geometry and motion are four important elements of the visual structure whose quality of performance forms the specific space of each painting. Obviously, these four elements do not have the same function in the paintings, and some of them have the most visual impact on the audience through rhythm and balance. As some other works do, it is through geometry and motion that this is important. The results of this study show that the visual structure is one of the most important factors in the flourishing of the works of Mirkhali Mosavar and Molana Ali and endures a different function in the works of these two painters. The purpose of this article, which is based on Giorgio Copch's theories of visual structures and is carried out via library research, is to analyze and explain the basic structures of three works by two Herat painters; thereby to emphasize the importance of the function of the structure of painting which is less discussed today in the field of this art.