Artwork

The king places the talisman on his sleeping wife, from a Tuti-nama (Tales of a Parrot): Fiftieth Night

The king places the talisman on his sleeping wife, from a Tuti-nama (Tales of a Parrot): Fiftieth 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 miniature depicts a scene from a fiftieth night of the *Tuti‑nama*, a collection of tales narrated by a parrot.

About this work

You see a king in a richly decorated room, pressing a small object to his wife’s forehead while she sleeps.

You see a king in a richly decorated room, pressing a small object to his wife’s forehead while she sleeps.

This painting comes from a book of stories told by a parrot to delay its owner’s meeting with her lover. The talisman isn’t magic—it’s a trick to prove the wife’s innocence. The king thinks she’s been unfaithful, but the truth is kinder than he expects.

Look up *Mughal India, court of Akbar (reigned 1556–1605)* to see more of these vivid, detailed miniatures.

Overview

This miniature depicts a scene from a fiftieth night of the *Tuti‑nama*, a collection of tales narrated by a parrot. In a lavishly appointed chamber, a king presses a small talisman to the forehead of his sleeping queen, an act intended to compel her to speak truthfully about an alleged affair.

Subject & Meaning

The narrative behind the image reveals that the monarch suspects his wife of infidelity with a slave. The talisman, however, is not magical; it serves as a ruse designed to elicit a confession that ultimately clears the queen, who discloses that the young man is her son from a previous marriage rather than a lover.

Technique & Style

Executed in the Mughal miniature tradition of the late sixteenth century, the painting combines fine brushwork with intricate detailing of textiles, architecture, and jewelry. The rich palette and delicate line work reflect the courtly aesthetic cultivated under Emperor Akbar, emphasizing realism within a decorative framework.

History & Provenance

The work originates from a manuscript produced in the Mughal court during the reign of Akbar (1556–1605). Such illustrated books were commissioned for elite patrons and circulated among the aristocracy, serving both literary and visual functions within the imperial cultural milieu.

Context

Mughal court art frequently illustrated moral and didactic stories, often drawn from Persian and Indian sources. The *Tuti‑nama* belongs to this genre, using the parrot’s storytelling device to explore themes of trust, deception, and the complexities of royal marriage.

Legacy

Miniatures like this one exemplify the synthesis of Persian artistic conventions with Indian motifs that defined Mughal visual culture. They continue to inform scholars about the narrative strategies and aesthetic preferences of the period, as well as the role of illustrated manuscripts in courtly education and entertainment.