Similarities with inscribed brick panels at Susa advocate a 12th-century BC date for the first two reliefs (SSI and SS II), depicting royal families and probably carved in connection with cultic activities pursued by the Shutrukid House in the open-air highland sanctuaries.

Last in line is the woman, who holds the right arm flexed at the elbow with hand raised and index finger extended in an upward-pointing gesture.

The short-sleeved garment shirt molds over small breasts and the long, bell-shaped, floor-length skirt covers the feet and flares into two triangular tips at the hemline.

A small band at the forehead follows the line of the hair, which extends upward in a large mass and bulges at the back.

A band above the left wrist extends along the length of the forearm to the elbow (perhaps straps related to archery paraphernalia).

The narrow waist is girded by a wide band and the bell-shaped skirt flares out above the knee into a fringed hemline.

The well-preserved face is round, with a double chin, a small, slightly smiling mouth, a thick monobrow and a large eye.

The other two, one on the boy's skirt (IIB) and the other above the fringed hemline of the female's long dress (IIC), were read by Hinz, respectively, as Zashehshi(?

The closest parallels are in the ruler's distinguishing pair of long, braided side-locks that curl at the ends, the short-sleeved garment with fringes crossing the chest in a V-shape, the wide shoulders, and the clasped-hands gesture.

along the arm, an open right hand (rather than gripping the left wrist or pointing the index finger), and a slightly shorter garment with feet visible below.

Though not identical, the similarities with the inscribed brick panels at Susa advocate a 12th-century BC date for the SSI and II.

Relief carved inside the mouth of the cave depicting a man standing in profile oriented toward its interior.

He wears a short-sleeved garment with a short bell-shaped skirt and raises the hands in front of the face with index fingers extended in a pointing gesture.

Much like royal inscriptions, official elite art was by nature archaizing and, consequently, besides honoring tradition and keeping the memory of ancestors alive, the ability to replicate the masterpieces of the past must have been a mark of artistic excellence.