Artwork

Nikfal, the fortune of the prince in the form of a woman, offers to accompany him, from a Tuti-nama (Tales of a Parrot): Eighteenth Night

Nikfal, the fortune of the prince in the form of a woman, offers to accompany him, from a Tuti-nama (Tales of a Parrot): Eighteenth 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 depicts a scene from the Tuti-nama, a collection of stories.

About this work

This scene comes from a *Tuti-nama*, or "Tales of a Parrot," a book of stories Emperor Akbar loved.

A prince and a woman sit in a bright meadow full of deer. The sky is deep blue with gold swirls. She wears flowing Indian clothes; he’s dressed in layered Central Asian robes.

This scene comes from a *Tuti-nama*, or "Tales of a Parrot," a book of stories Emperor Akbar loved. The woman is actually good luck in human form—her name, Nikfal, means just that. The painting mixes Persian and Indian styles, showing how art changed under Mughal rule.

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

Overview

This painting depicts a scene from the Tuti-nama, a collection of stories. It shows a prince and a woman, Nikfal, conversing in a meadow. Nikfal represents the prince's good fortune, which has taken human form.

Subject & Meaning

The story is set in Zabulistan, a region in western Afghanistan. Nikfal, meaning 'Good Fortune', has appeared to the prince, who had previously acquired her. The scene conveys a sense of amity and tranquility between the two figures.

Technique & Style

The painting blends Indian and Central Asian elements, reflecting the cultural exchange that occurred under Mughal rule. The woman wears Indian garments, while the prince is dressed in layered Central Asian robes. The lapis lazuli-blue sky with gold arabesque motifs adds to the work's rich visual texture.

Context

The Tuti-nama was a favored text of Emperor Akbar, who reigned from 1556 to 1605. This painting is part of a broader tradition of Mughal art, which emerged during Akbar's rule and was characterized by the fusion of different cultural influences.