The king gives his daughter in marriage to the pious man’s son, from a Tuti-nama (Tales of a Parrot): Fifty-second Night

Executed in the Indian miniature tradition, the painting employs fine brushwork to render delicate facial expressions, intricate textiles, and ornamental architecture. A limited palette of pink, orange, yellow, blue and green creates visual contrast, while the flattened perspective and decorative borders emphasize narrative clarity over spatial realism, characteristic of courtly manuscript illustration.

Created for a manuscript of the Tuti‑nama, the piece likely originated in a Mughal or regional Indian workshop during the 16th–18th centuries, when Persian literary motifs were adapted to local artistic conventions. Such miniatures were intended for elite patrons, serving both as literary accompaniment and as objects of visual prestige within royal libraries.