Summary: The Istanbul book, completed in 1430 for Baysunghur Mirza in Herat, clearly shows that it must have derived from the Tehran version due to the reversed figures which indicate a left-handed action instead of the natural position in the other manuscript. The Tehran book is believed to be the earlier version, produced in Isfahan for Iskandar. The Istanbul book opens with a conventional scene of a young prince enthroned in a garden, and later showcases animal subjects distinguishing the Kalila wa Dimna of Tehran. The manuscript demonstrates inventions of the Timurid period, reused in later manuscripts until the 17th century, symbolizing a shift in artistic conventions and influence. Moreover, the manuscript reflects a balance between monumental and naturalistic styles, depicting a heightened harmony and daring allure with a greater color range. The innovations in the manuscript exhibit the fusion of Shiraz vigour, dramatic power, and craftsmanship with the Jala'ir school principles of perspective and view framing. The artworks solely created for these manuscripts and their daring selection of subjects are noteworthy, highlighting the dramatic power achieved with minimal means and the advancement in characterization and landscape representation.