The rejuvenated old man and the daughter of the king of the jinns take leave of the King of Kings, from a Tuti-nama (Tales of a Parrot): Seventh Night

Executed in a flat, decorative manner, the painting employs bold, saturated pigments and stylized patterns typical of Persian miniature traditions. The use of linear perspective is minimal; instead, emphasis is placed on ornamental surfaces, intricate clothing folds, and the decorative arabesques that border the image. The composition balances narrative clarity with elaborate visual embellishment.

The piece originates from a manuscript illustrating the “Tuti‑nama,” a collection of Persian tales. It reflects the artistic conventions of courtly book illustration, likely produced in the late medieval period for a wealthy patron. The work now forms part of the Cleveland Museum of Art’s collection of Persian miniatures, acquired through museum acquisition policies.

Within the broader tradition of Persian illustrated manuscripts, scenes of royal and supernatural encounters were common, serving both decorative and didactic purposes. The inclusion of jinn royalty and the King of Kings aligns with the era’s fascination with mythic hierarchies and the moral themes embedded in the “Tuti‑nama.”