Artwork

The prince sent back to the place of execution for the sixth time, from a Tuti-nama (Tales of a Parrot): Eighth Night

The prince sent back to the place of execution for the sixth time, from a Tuti-nama (Tales of a Parrot): Eighth Night is an unspecified painting by the Mughal Painting artist Suraju. It dates from 1560 and is held in the collection of the Cleveland Museum of Art. This painting illustrates a scene from the Tuti-nama, a collection of tales about a parrot.

About this work

You see a king on a throne, a handmaiden pleading, and a bound prince kneeling below, about to be executed—again.

You see a king on a throne, a handmaiden pleading, and a bound prince kneeling below, about to be executed—again.

This is the sixth time the king has ordered the prince’s death in this story. The artist shows every try in one frame: the handmaiden’s lies, the vizier’s delay, the prince’s quiet fear. It’s like a comic strip from 1560, packed into one small painting.

To see more stories like this, look up Mughal India, court of Akbar (reigned 1556–1605).

Overview

This painting illustrates a scene from the Tuti-nama, a collection of tales about a parrot. It depicts a dramatic moment from the Eighth Night's story, where a prince is about to be executed for the sixth time.

Subject & Meaning

The scene shows a king on a throne, a deceitful handmaiden pleading with him, and the prince kneeling below with bound hands, awaiting execution. The king's vizier, dressed in orange, attempts to stall the execution.

Technique & Style

The artist has condensed multiple elements of the story into a single frame, showcasing the handmaiden's deceit, the vizier's intervention, and the prince's fear. This composition is characteristic of Mughal Indian art from the court of Akbar.

Context

The painting is associated with the Mughal Indian court of Akbar, who reigned from 1556 to 1605. It reflects the artistic style and narrative techniques prevalent during his rule.