Artwork

Latif, who has murdered his brother, falsely accuses Khurshid of the deed, from a Tuti-nama (Tales of a Parrot): Thirty-second Night

Latif, who has murdered his brother, falsely accuses Khurshid of the deed, from a Tuti-nama (Tales of a Parrot): Thirty-second 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. This painting illustrates a dramatic scene from the *Tuti-nama* (Tales of a Parrot), a narrative book read at the Mughal court.

About this work

The artist shows guilt and innocence in one scene—Latif accuses Khurshid, but the knife in her hand gives him away.

A man stands over a dead body, hands raised in shock. A woman kneels beside him, holding a bloody knife. Outside, another man watches through a window.

This painting tells a story from the *Tuti-nama*, a book of parrot tales read aloud at the Mughal court. The artist shows guilt and innocence in one scene—Latif accuses Khurshid, but the knife in her hand gives him away. The bright colors and fine details were meant to impress Emperor Akbar.

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

Overview

This painting illustrates a dramatic scene from the *Tuti-nama* (Tales of a Parrot), a narrative book read at the Mughal court. The composition captures a moment of accusation and deception following a murder.

Subject & Meaning

Latif, standing over his brother's corpse with raised hands, falsely accuses Khurshid, who kneels beside the body holding a bloody knife planted on her. The scene juxtaposes guilt (Latif) and innocence (Khurshid), with the knife serving as a visual clue to the truth.

Technique & Style

Characterized by bright colors and meticulous details, the painting reflects the opulent aesthetic of Mughal art under Emperor Akbar, intended to impress the imperial patronage.

History & Provenance

Created during the reign of Emperor Akbar (1556–1605), this work was part of a *Tuti-nama* manuscript, suggesting its production within the Mughal court's artistic workshops.

Context

The painting's context is the Mughal court, where illustrated manuscripts like the *Tuti-nama* were valued for entertainment and their artistic merit, often reflecting the court's literary and visual sophistication.

Legacy

This work contributes to the legacy of Mughal miniature painting, influencing subsequent Indian and Islamic art forms with its blend of narrative depth and intricate, colorful design.