Artwork

The Raja’s daughter, born with three breasts, accompanies her blind husband and his hunchback guide on a journey, from a Tuti-nama (Tales of a Parrot): Forty-second Night

The Raja’s daughter, born with three breasts, accompanies her blind husband and his hunchback guide on a journey, from a Tuti-nama (Tales of a Parrot): Forty-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 Mughal painting illustrates a narrative scene from the Tuti-nama (Tales of a Parrot), specifically the Forty-second Night.

About this work

The story was meant to distract him from his wife—each night, the parrot spun another tale, and this scene is one of them.

You see a woman with three breasts walking beside a blind man who holds her arm and a hunchback’s staff. The hunchback leads them toward a distant city under a flat, golden sky.

This painting comes from a book of parrot tales told to a lovesick merchant’s son. The story was meant to distract him from his wife—each night, the parrot spun another tale, and this scene is one of them.

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

Overview

This Mughal painting illustrates a narrative scene from the Tuti-nama (Tales of a Parrot), specifically the Forty-second Night. It depicts a unique family group on a journey: a raja’s daughter with three breasts, her blind husband, and his hunchbacked guide.

Subject & Meaning

The scene conveys a story-within-a-story, where a parrot tells tales to ‘Ubaid, a merchant’s son, to cure his obsessive love for his wife. This particular tale may symbolize overcoming personal challenges and journeys, as embodied by the protagonists’ physical attributes and their path towards a distant city.

Technique & Style

Characterized by Mughal artistic traditions under Akbar’s court (1556–1605), the painting features a flat, golden sky, minimalistic landscape, and detailed, expressive figures. The composition emphasizes the interdependence of the trio through their physical connections.

History & Provenance

Originating from the court of Emperor Akbar, this painting is part of a Tuti-nama manuscript. While specific provenance details are not provided, its style and theme place it within the 16th-century Mughal illustrated book tradition.

Context

Created during Akbar’s reign, known for its cultural and artistic flourishing, this work reflects the period’s interest in Persian and Indian folktales. The Tuti-nama’s stories, including this one, were likely chosen for both entertainment and moral instruction.

Legacy

As part of the Tuti-nama illustrations, this painting contributes to the enduring legacy of Mughal art’s blend of Persian and Indian aesthetics. It influences subsequent illustrated manuscripts and remains a window into 16th-century Mughal storytelling and values.