Khalis repays the prince for his kindness by changing into a snake and sucking the poison from the king’s daughter, from a Tuti-nama (Tales of a Parrot): Eighteenth Night

Executed in the flat, vivid palette typical of Persian miniature painting, the work employs bold, unmodulated colours—orange, green, white, red and gold—without modelling shadows. Linear outlines define figures and decorative elements, while the background’s patterned blue field provides a stylised setting rather than a realistic space.

The scene is taken from a manuscript of the Tuti‑nama, a 15th‑century anthology of stories illustrated for elite patrons. The particular folio belongs to a later copy produced in the eighteenth century, reflecting the continued popularity of the text in Persianate courts. Its current location is recorded in the collection of the Cleveland Museum of Art.

Illustrated manuscripts such as this served both literary and didactic functions, pairing text with visual narration to aid comprehension among aristocratic audiences. The story’s emphasis on loyalty and the transformative power of the snake aligns with broader themes in Persian folklore, where animals often embody moral virtues.