Artwork
The parrot addresses Khujasta at the beginning of the forty-first night, from a Tuti-nama (Tales of a Parrot): Forty-first Night
The parrot addresses Khujasta at the beginning of the forty-first night, from a Tuti-nama (Tales of a Parrot): Forty-first Night is an unspecified painting. It dates from 1560 and is held in the collection of the Cleveland Museum of Art. The work portrays a seated woman in a blue blouse and yellow skirt, adorned with jewelry, standing before an architectural façade.
About this work
Overview
The work portrays a seated woman in a blue blouse and yellow skirt, adorned with jewelry, standing before an architectural façade. A caged parrot perches nearby, its presence central to the composition. The background features a wall decorated in red and blue patterns, punctuated by a window and a doorway, creating a refined interior setting.
Subject & Meaning
The scene derives from the forty‑first night of the Persian literary collection known as the Tuti‑nama, in which a parrot delivers a message to the character Khujasta. The painting visualises this narrative moment, emphasizing the dialogue between the bird and the female figure, and reflects themes of courtly communication and poetic storytelling.
Technique & Style
Executed in a detailed, figurative manner, the artist employs a balanced palette of cool blues and warm yellows for the figure, contrasting with the vivid red‑blue motifs of the wall. Fine brushwork renders the jewelry and the parrot’s feathers, while the architectural elements are rendered with linear precision, underscoring a decorative yet realistic approach.
History & Provenance
The piece is catalogued as a painting titled “The parrot addresses Khujasta at the beginning of the forty‑first night, from a Tuti‑nama (Tales of a Parrot): Forty‑first Night.” Its origins trace to a tradition of illustrating Persian literary manuscripts, though specific details of its creation date, artist, and ownership history remain undocumented in the available record.
Context
Illustrations of the Tuti‑nama were common in Persian art, serving both literary and decorative purposes within elite households. The inclusion of a parrot—a symbol of eloquence and messenger—aligns with the text’s emphasis on poetic discourse, while the architectural backdrop reflects contemporary interior design motifs.
Artist & collection
The parrot addresses Khujasta at the beginning of the forty-second night, from a Tuti-nama (Tales of a Parrot)
The parrot addresses Khujasta at the beginning of the thirty-first night, from a Tuti-nama (Tales of a Parrot)
The parrot addresses Khujasta at the beginning of the thirty-fourth night, from a Tuti-nama (Tales of a Parrot)
The parrot addresses Khujasta at the beginning of the thirty-third night, from a Tuti-nama (Tales of a Parrot)
The parrot addresses Khujasta at the beginning of the thirty-eighth night, from a Tuti-nama (Tales of a Parrot)
The parrot addresses Khujasta at the beginning of the thirty-sixth night, from a Tuti-nama (Tales of a Parrot)
The Parrot Addresses Khujasta at the Beginning of the Twentieth Night, from a Tuti-nama (Tales of a Parrot)
The Parrot Addresses Khujasta at the Beginning of the Twenty-fifth Night, from a Tuti-nama (Tales of a Parrot)
The Parrot Addresses Khujasta at the Beginning of the Eleventh Night, from a Tuti-nama (Tales of a Parrot)
The parrot addresses Khujasta at the beginning of the forty-third night, from a Tuti-nama (Tales of a Parrot)