Artwork

The magician disguised as a Brahman returns to claim his “daughter-in-law,” from a Tuti-nama (Tales of a Parrot): Thirty-fifth Night

The magician disguised as a Brahman returns to claim his “daughter-in-law,” from a Tuti-nama (Tales of a Parrot): Thirty-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. This painting illustrates a scene from the Tuti-nama, a collection of parrot tales presented to Emperor Akbar's court.

About this work

You see a crowded palace scene: a man in a white robe kneels before a king, while guards and courtiers watch.

You see a crowded palace scene: a man in a white robe kneels before a king, while guards and courtiers watch. A woman in a red dress stands nearby, her face calm.

This painting comes from a book of parrot tales told to Emperor Akbar’s court. The story is a trick—what looks like a holy man is really a magician helping two lovers escape. The bright colors and flat figures make it feel like a comic strip from 1560.

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

Overview

This painting illustrates a scene from the Tuti-nama, a collection of parrot tales presented to Emperor Akbar's court. It depicts a pivotal moment in a story of love and deception, showcasing the artistic style characteristic of Mughal India during Akbar's reign.

Subject & Meaning

The scene shows a magician, disguised as a Brahman, kneeling before a king, demanding compensation for a supposed 'daughter-in-law' entrusted to the royal harem. The narrative revolves around the magician's ruse to secure funds for the escape of two lovers.

Technique & Style

The painting features bright colors and flat, two-dimensional figures, creating a narrative-driven visual style. The artist's use of vibrant hues and composition emphasizes the story's unfolding drama.

History & Provenance

Created around 1560 for Emperor Akbar's court, this work is part of a larger manuscript. The artist did not reference the preceding page, indicating a distinct interpretation of the narrative.

Context

The Tuti-nama was a significant literary work in Mughal India, reflecting the cultural and artistic tastes of Akbar's court. This painting exemplifies the artistic production of that era.