Artwork

The Parrot Addresses Khujasta at the Beginning of the Twentieth Night, from a Tuti-nama (Tales of a Parrot)

The Parrot Addresses Khujasta at the Beginning of the Twentieth Night, from a Tuti-nama (Tales of a Parrot) 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 miniature illustrates a scene from a Tuti‑nama, a collection of parrot stories narrated over fifty‑two nights.

About this work

The parrot distracts Khujasta, a wife waiting for her husband, by spinning stories—like this one about a devout woman who refused marriage.

A woman in a green robe stands outside a room, holding a book. A parrot perches on a stand beside her, beak open as if talking. Inside, a low table holds red water jugs, a golden ewer, and a dish with betel leaves.

This painting comes from a book of parrot tales told over 52 nights. The parrot distracts Khujasta, a wife waiting for her husband, by spinning stories—like this one about a devout woman who refused marriage. The tiny details—stacked jugs, the glint of gold—show how Mughal artists made everyday life feel rich and alive.

To see more of these intricate miniatures, look up Mughal India, court of Akbar (reigned 1556–1605).

Overview

The miniature illustrates a scene from a Tuti‑nama, a collection of parrot stories narrated over fifty‑two nights. In this episode, the parrot Tuti addresses Khujasta, a woman awaiting her husband, by recounting a tale of a pious daughter who rejects three suitors to devote herself to religious practice.

Subject & Meaning

The central figure is a woman in a green robe standing before a doorway, a book in her hand, while the parrot perches on a nearby stand, its beak open as if speaking. The narrative she hears emphasizes spiritual dedication over marital alliance, reflecting moral themes common in Mughal court literature.

Technique & Style

Rendered in the delicate brushwork of Mughal miniature painting, the composition balances interior and exterior spaces. Fine lines define the low table laden with red‑glazed water jugs, a golden ewer, and a dish of betel leaves, while subtle gold highlights convey the sheen of metal objects, characteristic of the period’s attention to material richness.

History & Provenance

The work originates from a Mughal manuscript produced under the patronage of Emperor Akbar (1556–1605). Such books were compiled for courtly entertainment, employing artists trained in Persianate traditions who adapted them to Indian subjects and courtly tastes.

Context

Mughal miniatures often merged literary and visual culture, using intricate detail to bring everyday scenes to life. The inclusion of domestic items—water vessels, a paan dish, hand‑washing implements—situates the moral tale within a recognizable, affluent household, underscoring the court’s interest in moral instruction through familiar settings.