The article examines the chronicle model as one of the leading ways of artistic organization of documentary narration in Russian and Uzbek prose of the early twenty-first century. The relevance of the study is determined by the growing interest of contemporary literature in the issues of historical memory, documentary representation, and the reconstruction of the past. The aim of the research is to identify the specific features of the chronicle principle in documentary works and to determine its role in the correlation between biographical and historical time. The research material includes Dmitry Likhachov by V. G. Popov, Maksud Shaykhzoda by Naim Karimov, and The Last Abode of Muhammad Khorezmi by Pirmat Shermukhamedov. The study employs comparative-typological, structural-narrative, and historical-literary methods of analysis. Particular attention is paid to the organization of the temporal sequence and the interaction of documentary sources, testimonies, memoirs, and authorial commentary within the narrative structure. The findings demonstrate that the chronicle model functions not only as a means of arranging factual material but also as an important mechanism for reconstructing historical memory. Differences in the principles of chronicle construction in Russian and Uzbek documentary prose are revealed, ranging from biographical chronicle to reconstructive narrative models. The study concludes that chronicle organization ensures the integrity of documentary texts and contributes to the artistic interpretation of historical experience.