Artwork

Kamjuy, the wife of the Raja, averts her face from the fishes, from a Tuti-nama (Tales of a Parrot): Twenty-third Night

Kamjuy, the wife of the Raja, averts her face from the fishes, from a Tuti-nama (Tales of a Parrot): Twenty-third Night is an unspecified painting by the Mughal Painting artist Unknown. It dates from 1560 and is held in the collection of the Cleveland Museum of Art. The work illustrates a scene from the Tuti‑nama, a collection of parrot stories associated with the Mughal court.

About this work

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

A woman in a rich red robe turns her face away from a bowl of fish. Her veil hides her expression, but her body language says she’s embarrassed. The fish, though, aren’t just swimming—they’re laughing.

This painting comes from a book of parrot tales told in the Mughal court. The story pokes fun at Kamjuy’s extreme modesty, making even the fish react. It’s a small moment, but it shows how humor and daily life appeared in royal art.

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

Overview

The work illustrates a scene from the Tuti‑nama, a collection of parrot stories associated with the Mughal court. In the composition, a woman in a vivid red garment averts her gaze from a bowl of fish, concealing herself behind a veil while the fish appear to laugh. The image captures a brief, humorous episode that comments on courtly modesty.

Subject & Meaning

The figure is identified as Kamjuy, the senior among the Raja’s forty wives. She declares that allowing any male, even a fish, to see her would be sinful, prompting the fish to respond with laughter. The narrative uses the absurd reaction of the fish to satirize the extremes of her modesty, highlighting a playful critique within royal storytelling.

Technique & Style

Rendered in a miniature painting tradition, the piece employs fine brushwork and a rich palette dominated by reds and blues. The delicate line work defines the veil and the fish, while the composition’s tight framing focuses attention on the interaction between the veiled figure and the animated bowl.

History & Provenance

The painting originates from a manuscript of the Tuti‑nama, a text circulated in the Mughal court during the reign of Akbar (1556–1605). It reflects the court’s patronage of illustrated literature that blended moral instruction with entertainment.

Context

Mughal court culture prized both refined artistic production and the moralizing tales told by parrots, a popular literary device. This scene exemplifies how everyday court life and ethical commentary were merged in visual form, offering insight into the values and humor of the period.