The young man of Baghdad reveals his true identity to the Hashimi, from a Tuti-nama (Tales of a Parrot: Forty-eighth Night

The artist employs the traditional Persian miniature technique, layering finely ground mineral and plant pigments to achieve luminous blues, greens, and earthy browns. Delicate brushwork renders intricate patterns on the garments and the boat’s hull, while subtle gradations of light and shadow create a sense of atmospheric depth uncommon in earlier manuscript illustrations. The careful delineation of facial features and gestures reflects the courtly aesthetic of the late Safavid period.

The miniature originates from a 17th‑century illustrated manuscript now housed in the Cleveland Museum of Art. The manuscript was likely produced in a workshop associated with the Persian court, where *Tuti‑nama* was a popular literary source. The painting entered the museum’s collection through a mid‑20th‑century acquisition, documented in the museum’s accession records as part of a larger purchase of Persian illustrated books.

*Tuti‑nama* belongs to a genre of Persian storytelling that blends moral instruction with entertainment, often featuring animal narrators like the titular parrot. The depicted episode reflects the text’s focus on identity, loyalty, and the complexities of social hierarchy in an imagined Baghdad. Such illustrations served both decorative and didactic purposes, guiding readers through the narrative while showcasing the visual sophistication of courtly art.