Artwork

The bird of seven colors brings a sable to the pious man, from a Tuti-nama (Tales of a Parrot): Fifty-second Night

The bird of seven colors brings a sable to the pious man, from a Tuti-nama (Tales of a Parrot): Fifty-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 scene from the Tuti-nama, a collection of tales told by a parrot, specifically from the Fifty-second Night.

About this work

Look up more paintings from Mughal India, court of Akbar (reigned 1556–1605) to see how artists pictured these tales.

You see a man and woman staring up at a giant, rainbow-feathered bird in their home. The bird clutches a dark fur pelt in its claws.

This painting comes from a book of parrot tales told in Mughal India. The bird isn’t just pretty—it’s a magical helper that brings wealth. Every day it flies off and returns with a sable pelt, which the man sells to become rich. The story was meant to entertain and teach lessons.

Look up more paintings from Mughal India, court of Akbar (reigned 1556–1605) to see how artists pictured these tales.

Overview

This painting illustrates a scene from the Tuti-nama, a collection of tales told by a parrot, specifically from the Fifty-second Night. It depicts a pious man, his wife, and a fantastical bird with seven colors.

Subject & Meaning

The scene shows the man and his wife reacting in surprise to the bird, which has brought a sable pelt. The bird's daily delivery of such pelts enables the man to become a prosperous merchant, symbolizing the arrival of unexpected wealth.

Technique & Style

The painting features a vibrant, rainbow-feathered bird dominating the domestic scene, indicating a blend of realism and fantasy characteristic of Mughal Indian art.

Context

Created for the Mughal court, likely during Akbar's reign (1556–1605), this work is part of a tradition of illustrating entertaining and instructive tales.

History & Provenance

The painting is from a Tuti-nama manuscript, a text known for its stories told by a parrot, suggesting it was produced for an elite audience interested in such literary works.