Mukhtar throws his wife Maimuna into the pit, but she saves herself, from a Tuti-nama (Tales of a Parrot): Twenty-fifth Night

Executed with bold, saturated colors—green and red for the female figure, orange and white for the male—the artist employs a dynamic diagonal composition that heightens the sense of movement. The stark contrast between the illuminated figures and the shadowy backdrop creates depth, while the simplified forms and exaggerated gestures reflect a narrative illustration tradition rather than a naturalistic approach.

The painting belongs to a series illustrating individual nights from the twenty‑fifth story of the Tuti‑nama, a medieval Persian collection of moral tales narrated by a parrot. Such visual adaptations were used to accompany manuscript copies, serving both decorative and didactic purposes within courtly or scholarly settings.

Works derived from the Tuti‑nama have informed later Persian and South Asian visual storytelling, influencing miniature painting and folk art that depict moral anecdotes. This particular scene continues to be referenced in studies of narrative art for its clear portrayal of tension and its use of color to delineate character roles.