According to Ruhrdanz, "The revival of Central Asian painting", the miniatures have nothing in common with any of the illustrated mss produced about 1600 and the time of their execution cannot be deduced directly from the date the copy was completed. She dates one group done by an artist who also worked on a copy of the Zafarnama in Tashkent (ms. 4772) to the second or third decade of the 17th c. and notes the influence of Indian models of a sub-imperial level. In this eclectic style, we see a synthesis of Iranian and Indian elements.
The sample page shown is f. 3r, which is not characteristic in its use of gold. The ms. as a double-illuminated title page on ff. 1v-2r, with the start of the poem; there is no prose preface.