English: Portrait of young Miran Shah in Zafarnama of 1435-36, according to art historian Pricilla Soucek.

References:

• Seattle Museum of Art interprets the subject of the painting as his brother Miran Shah (21 years oold at the time), but aleady active in his father's army.

• "A posthumous manuscript image of Saray Molk Khanom from Timur's biography Zafarnamah (Book of vistory, early c.1424) shows her greeting one of Timur's sons whom art historian Pricilla Soucek believes is the youg Shahrokh (r.1405-47) who will become the husband of Goharshad. The fifteenth-century miniature is probably not a portrait in the traditional sense but an idealized queen, yet so would be Shahrokh's countenance, considering the tendancy to idealize figures in Iranian painting, but the image is roughly 30 years after Saray Molk Khanom's death. The painting shows Saray Molk Khanom sitting astride a horse, her position above that of Shahrokh (and also farther from the viewer), giving her a certain dignity and respect over her stepson as chief wife." in (en anglès) (1 December 2016) Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies, Taylor & Francis, p. 34 ISBN: 978-1-315-51212-9.

• "Events involving women described in historical sources are also occasionally depicted in manuscript illustrations. A copy of Sharaf al-Din Ali Yazdi's Zafarnama, dated to Dhul-Hijia 839/ June-July 1436, depicts events from the lives of both Saray Mulk Khanim and Khanzada Begam. Saray Mulk Khanim's role as "foster mother" to Timur's sons and grandsons is epitomized in a painting from this manuscript, now in the Seattle Art Museum, which illustrates her journey with Shah Rukh b. Timur and Khalil Sultan b. Miranshah from Samarkand to Timur's encampment in northwestern Iran (fig.4). According to its location in the text, this painting should illustrate the moment when Saray Mulk Khanim's party meets a group of horsemen sent from Timur's encampment to welcome them, but it actually seems to depict the journey itself. Mounted women on the left must be Saray Mulk Khanim and her attendants, whereas the male figures on the right are probably Shah Rukh, then ten years of age, and an attendant. Three-tear old Khalil Sultan is not depicted." in «Timurid women: a cultural perspective» en (1998) Women in the medieval Islamic world : power, patronage, and piety, New York : St. Martin's Press, p. 218−220 ISBN: 978-0-312-21057-1.

According to Pricilla Soucek, the scene occured in 1387, when Saray Mulk Khanim rejoined Timur in northwestern Iran, where he was campaigning. At that time Miran Shah was 21 and already campaigning with his father in Azebaijian. Shah Rukh was 10, and still accompanying his step-mother on her travels. Khalil Sultan was a 3-year old child.

• The Zafarnama relates this story for the year 1387: "The arrival of the empress Serai Mule Canum, and the princes her sons. When the court was at Gheuctche Tenghiz, the emperor had advice that Serai Mule Canum was coming thither with the young princes, the Mirza Charoc and the Mirza Calil, his sons, from Samarcand. He was so overjoyed, that leaving his court at Gheuctche Tanghiz, he took horse, and went with expedition to meet them. He met his charming company at Merend, where the princes, with their mother, sprinkled, according to custom, gold and precious stones upon his head, in so great quantity that the officers were fatigued in gathering them up; and they then spread out their rich presents, composed of the most singular rarities."

The young Timurid prince in the painting has no beard, and therefore cannot be Timur himself, who is always shown with a beard. Miran Shah was 21 and campaigning with his father, but is not mentionned in the text, but he may be pictured welcoming his mother-in-law.