Artwork

The snake, hidden in a basket of flowers, reveals himself to the Raja who has just sent away his wife, from a Tuti-nama (Tales of a Parrot): Forty-third Night

The snake, hidden in a basket of flowers, reveals himself to the Raja who has just sent away his wife, from a Tuti-nama (Tales of a Parrot): Forty-third 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. The painting depicts a richly attired ruler seated in a palace chamber, his gaze fixed on a black cobra coiled at the foot of his bed.

About this work

The snake is there to kill the king—but when the king explains why he hurt the snake’s wife, the snake spares him and gives him a gift instead.

You see a richly dressed king in a palace, staring at a black cobra coiled beside his bed while a basket of flowers tips over.

This painting comes from a book of parrot tales told to Emperor Akbar’s court. The snake is there to kill the king—but when the king explains why he hurt the snake’s wife, the snake spares him and gives him a gift instead.

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

Overview

The painting depicts a richly attired ruler seated in a palace chamber, his gaze fixed on a black cobra coiled at the foot of his bed. A basket of flowers has tipped over nearby, adding a sense of sudden movement. The scene captures a moment of tense dialogue between monarch and serpent, drawn from a narrative in a Mughal manuscript.

Subject & Meaning

The composition illustrates a tale in which the king, having harmed the cobra’s mate after suspecting infidelity, confronts the vengeful snake. By explaining his motives, the ruler persuades the cobra to spare his life. In gratitude, the serpent bestows upon the king the power to understand animal speech, underscoring themes of remorse, negotiation, and the exchange of knowledge.

Technique & Style

Executed in the miniature tradition of Mughal painting, the work combines fine brushwork with a luminous palette of reds, golds, and deep blacks. Delicate line work defines the king’s garments and the serpent’s scales, while the surrounding architecture is rendered with precise perspective, reflecting the court’s sophisticated aesthetic.

History & Provenance

The image originates from a Tuti‑nama, a collection of parrot stories compiled for the court of Emperor Akbar (1556‑1605). Such manuscripts were produced in imperial workshops, intended for elite audiences and often circulated among royal patrons.

Context

Mughal court culture prized literary and visual storytelling that blended Persian, Indian, and Islamic motifs. Tales involving animals served both entertainment and moral instruction, illustrating the ruler’s capacity for justice and the value of compassion toward all creatures.