Artwork

Mukhtar throws his wife Maimuna into the pit, but she saves herself, from a Tuti-nama (Tales of a Parrot): Twenty-fifth Night

Mukhtar throws his wife Maimuna into the pit, but she saves herself, from a Tuti-nama (Tales of a Parrot): Twenty-fifth 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 dramatic episode from the *Tuti‑nama*, a Mughal collection of parrot‑told stories presented to Emperor Akbar.

About this work

This painting comes from a *Tuti-nama*, a book of parrot tales told to Emperor Akbar.

A woman dangles from a tree branch inside a dark pit. Her husband stands above, arms crossed, watching as she escapes his trap. The scene glows with rich reds and deep shadows.

This painting comes from a *Tuti-nama*, a book of parrot tales told to Emperor Akbar. The stories were meant to teach lessons—here, luck saves the innocent. The artist used bright colors and sharp lines to make the drama clear.

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

Overview

The work illustrates a dramatic episode from the *Tuti‑nama*, a Mughal collection of parrot‑told stories presented to Emperor Akbar. In the scene, a woman clings to a tree branch within a shadowy pit while her husband, standing above, watches her struggle. The composition is dominated by intense reds and deep chiaroscuro, emphasizing the tension between peril and escape.

Subject & Meaning

The narrative depicts Mukhtar casting his wife Maimuna into a pit in an effort to seize her belongings. Maimuna’s survival, attributed to her innocence, conveys a moral lesson that virtue is protected by fortune. The story functions as a didactic parable, reinforcing the belief that the righteous are ultimately shielded from unjust harm.

Technique & Style

Executed in the Mughal court’s painting tradition, the piece employs vivid pigments and precise, linear drawing to delineate figures and architecture. Strong contrasts of scarlet and black create a theatrical atmosphere, while the crisp outlines highlight the characters’ gestures, reinforcing the moment’s emotional intensity without reliance on elaborate background detail.

Context

Created for the *Tuti‑nama*, a manuscript compiled during the reign of Akbar (1556–1605), the painting reflects the emperor’s patronage of illustrated literature intended to educate and entertain. The work exemplifies the synthesis of Persian artistic conventions with Indian motifs that characterized Mughal visual culture in the late 16th century.

History & Provenance

The painting remains part of the surviving *Tuti‑nama* manuscript, which was produced in the imperial workshops of Akbar’s court. It has been preserved in collections of South Asian art and is occasionally exhibited to illustrate the narrative illustration practices of Mughal India.