Artwork
The parrot laughs on hearing the Raja of Ujjain’s wife admire her beauty in a mirror, from a Tuti-nama (Tales of a Parrot: Forty-sixth Night
The parrot laughs on hearing the Raja of Ujjain’s wife admire her beauty in a mirror, from a Tuti-nama (Tales of a Parrot: Forty-sixth Night is an unspecified painting. It dates from 1560 and is held in the collection of the Cleveland Museum of Art. The work illustrates a narrative from the medieval Persian collection known as the Tuti‑nama, or "Tales of a Parrot.
About this work
Overview
The work illustrates a narrative from the medieval Persian collection known as the Tuti‑nama, or "Tales of a Parrot." In the scene, a man in vivid orange robes sits on an elaborately carved platform, clutching a pink bowl, while a woman in a red garment stands beside him holding a child. A parrot, implied by the title, reacts to the woman’s admiration of her reflection in a mirror.
Subject & Meaning
The composition captures a moment from the forty‑sixth night of the tale, where the Raja of Ujjain’s wife gazes at her own beauty in a mirror, prompting the parrot’s amused response. The narrative underscores themes of vanity and the playful commentary of the bird, reflecting the moralistic storytelling tradition of the Tuti‑nama.
Technique & Style
Rendered in bold pigments—rich reds, deep blues, and gold accents—the painting employs a decorative, miniature‑like style typical of Persian manuscript illustration. Intricate patterns adorn the interior space, and a stylised balcony with a tower can be seen through an open doorway, emphasizing a luxurious, courtly atmosphere.
History & Provenance
The piece originates from a manuscript tradition that flourished in the Persianate world between the 13th and 15th centuries, when illustrated storybooks were popular among elite patrons. The Arabic inscription at the top identifies the source text, linking the image to the broader corpus of Tuti‑nama manuscripts.
Context
The Tuti‑nama, a collection of moral anecdotes featuring a talking parrot, was widely copied across the Islamic world, influencing visual culture in Persia, India, and Ottoman territories. This illustration reflects the cross‑cultural exchange of literary motifs and artistic conventions during the medieval period.
Legacy
Images from the Tuti‑nama continue to inform scholars of medieval Persian narrative art, illustrating how storytelling, moral instruction, and decorative painting were intertwined. The work remains a valuable example of the genre’s visual vocabulary and its transmission across regions.
Artist & collection
The Parrot Addresses Khujasta at the Beginning of the Twenty-sixth Night, from a Tuti-nama (Tales of a Parrot)
Kamjuy, the wife of the Raja, averts her face from the fishes, from a Tuti-nama (Tales of a Parrot): Twenty-third Night
The parrot addresses Khujasta at the beginning of the forty-third night, from a Tuti-nama (Tales of a Parrot)
The daughter-in-law of the king of Banaras, charmed by the music of a vagabond, comes down to meet him, from a Tuti-nama (Tales of a Parrot): Sixteenth Night
The Parrot Addresses Khujasta at the Beginning of the Tenth Night, from a Tuti-nama (Tales of a Parrot)
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
The eldest brother explains the reason for his youthful appearance, from a Tuti-nama (Tales of a Parrot): Forty-ninth Night
The old procuress conveys the young man’s message of love to Mansur’s wife, from a Tuti-nama (Tales of a Parrot: Seventeenth Night
The young prince recounts his experiences to his father, the king, from a Tuti-nama (Tales of a Parrot): Eighth Night