Artwork
The third suitor, who is an archer, shoots the wicked fairy who has imprisoned Zuhra. He rides on a magic horse prepared by the second suitor and is led to the spot by the divining prowess of the first, from a Tuti-nama (Tales of a Parrot): Thirty-fo
The third suitor, who is an archer, shoots the wicked fairy who has imprisoned Zuhra. He rides on a magic horse prepared by the second suitor and is led to the spot by the divining prowess of the first, from a Tuti-nama (Tales of a Parrot): Thirty-fo is an unspecified painting. It dates from 1560 and is held in the collection of the Cleveland Museum of Art. The work depicts a nocturnal combat tableau drawn from a narrative in the Persian illustrated manuscript *Tuti‑nama* (Tales of a Parrot).
About this work
Overview
The work depicts a nocturnal combat tableau drawn from a narrative in the Persian illustrated manuscript *Tuti‑nama* (Tales of a Parrot).
The work depicts a nocturnal combat tableau drawn from a narrative in the Persian illustrated manuscript *Tuti‑nama* (Tales of a Parrot). Central to the scene is an archer, identified as the third suitor, who releases an arrow at a winged, grey monster that represents a malevolent fairy imprisoning the heroine Zuhra. The composition is crowded with rocks, trees and a dark sky, rendered in vivid, saturated hues.
Subject & Meaning
The painting illustrates a moment of rescue: the archer, aided by a concealed magical horse, confronts the fairy that has captured Zuhra. A second suitor supplies the horse, while the first suitor guides the archer to the fairy’s location using divination. A figure in a white robe with red sleeves holds a fan, suggesting a supportive role in the mythic episode.
Technique & Style
Executed in a bold palette, the artist employs strong contrasts of red, white and grey to emphasize the conflict. The figures are outlined with fluid lines, and the night setting is suggested by a deep, uniform sky. The script at the top, rendered in an Arabic‑style calligraphy, integrates text and image in the traditional illustrated manuscript fashion.
History & Provenance
The painting originates from a folio of the *Tuti‑nama*, a Persian storybook that blends folklore with moral instruction. Though the precise date and workshop are not specified, the work reflects the manuscript illustration conventions of the early modern Persianate world. It now belongs to the collection of the Cleveland Museum of Art.
Context
In the *Tuti‑nama*, the tale of the three suitors and the captive Zuhra serves as an allegory of perseverance and cleverness. The archer’s triumph over the fairy underscores themes of heroic virtue and the power of magical assistance, common motifs in Persian narrative art.
Artist & collection
Isfandiyar slays Arjasp, the king of Turan, from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934–1020)
Bijan killing the wild boars of Irman, from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934–1020)
The lion, suspecting treachery on the part of the monkey, slays him and flees, from a Tuti-nama (Tales of a Parrot): Twenty-ninth Night