The vizier dissuades the king of Bahilistan from executing the dervish who asks for his daughter’s hand in marriage, from a Tuti-nama (Tales of a Parrot): Seventh Night

Executed in vivid pigments, the artist employs bold, saturated hues—particularly oranges, golds, and deep blues—to differentiate the elite from the crowd. Intricate patterned robes and meticulous detailing of textiles convey status, while the crowded lower register is rendered with looser brushwork. The composition follows a linear narrative format, with text bands at the top and bottom integrating image and story in a classic Persian miniature fashion.

The miniature is part of a larger illustrated manuscript now held in the collection of the Cleveland Museum of Art. It entered the museum through a mid‑20th‑century acquisition of Persian courtly manuscripts, though the exact donor and date of purchase are not publicly recorded. The work has been displayed in several exhibitions on Islamic art and manuscript illustration.

Tuti‑nama manuscripts, also known as "Tales of the Parrot," were popular in the Safavid and later periods for their moral stories and elaborate illustrations. The scene reflects courtly culture in Bahilistan, a fictional realm used in Persian storytelling, and demonstrates how visual art served to accompany and enhance literary narratives in manuscript production.