English: Fig. 12: Double-page frontispiece. Firdawsī, Shāh-nāma. Probably Shiraz, 753/1352–53 or slightly earlier, leaf: 29.1 x 21.0 cm. ‘Stephens Shāh-nāma’, Arthur M. Sackler Gallery, Smithsonian Institution, Washington/DC (lent by Mr. and Mrs. Farhad Ebrahimi, LTS1998.1.1.2 and 1.1.3), ff. 4b, 5a.

• "In the so-called Stephens Shahnama dated 1352–3 and attributed to Shiraz, the frontispiece is divided into an interior and an exterior scene (Washington, DC, Arthur M. Sackler Gallery, lent by Mr and Mrs Farhad Ebrahimi, LTS1998.1.1.2 and 1.1.3; Simpson, 2006, figure 36). On the left, the ruler is enthroned with his spouse. They are surrounded by rows of figures, including a group of musicians playing before them. The right folio represents a scene of hunting. The king is aiming at a pair of deer. In the foreground, galloping in the opposite direction, mounted riders are chasing their prey. At the top, a man is struggling against a cheetah or a leopard. Separating each horizontal layer is a row of mountain peaks." in (2019) The making of the artist in late Timurid painting, Edinburg: Edinburgh University Press, p. 70, note 12 ISBN: 978-1474437431.

• "Elaine Wright argues that Abu Ishaq purposefully appropriated imagery associated with Ilkhanid rulership in order to proclaim his dynastic lineage as he was the “first of the Injuids to see himself as a ruler in his own right, fully independent of the Ilkhanids”. One of the ways he did this “…was his apparent appropriation of Ilkhanid dynastic imagery, through the production of images of enthroned couples, used outside the traditional context of the Tarıkh-i ghazān̄ı ̄text”. Wright stresses how firmly entrenched the imagery of the Khan and Khatūn enthroned together was as a legitimising iconography, so much so that an Injuid prince purposefully appropriated it to convey his right to the throne. This is visible on several items associated with the patronage of Abu Ishaq: a candlestick, now in the Museum of Islamic Art, Doha, and two manuscript frontispieces, one from the Munis al-ahrar̄ in the al-Sabah Collection, Kuwait, and the other from the 1352–53 Stephens Shahnamā , on longterm loan to the Arthur M. Sackler Gallery, Washington D.C. There is also a tray in the Museum of Fine Arts, Tbilisi which features an enthroned couple; this is undated but Linda Komoroff has attributed it to Injuid Shiraz." Power and Politics of Representation: Picturing Elite Women in Ilkhanid Painting, p.778-779