Artwork

The three young men present themselves as suitors for the hand of Zuhra, the daughter of the merchant of Kabul, from a Tuti-nama (Tales of a Parrot): Thirty-fourth Night

The three young men present themselves as suitors for the hand of Zuhra, the daughter of the merchant of Kabul, from a Tuti-nama (Tales of a Parrot): Thirty-fourth 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 work illustrates a scene from the thirty‑fourth night of a Tuti‑nama, a collection of parrot‑told tales.

About this work

The men show off their skills—one reads fortunes, another brings wooden horses to life, and the third is a sharp shooter.

You see three young men standing before a merchant, each trying to win his daughter’s hand. Above them, two women peek through a lattice, listening. The men show off their skills—one reads fortunes, another brings wooden horses to life, and the third is a sharp shooter.

This painting comes from a book of stories told by a parrot to keep its owner from sneaking out at night. The tales were meant to entertain, but the art also shows how people dressed, talked, and lived in Mughal India.

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

Overview

The work illustrates a scene from the thirty‑fourth night of a Tuti‑nama, a collection of parrot‑told tales. Three young men stand before a Kabul merchant, each presenting a distinct talent in hopes of winning the hand of his daughter, Zuhra, while two women observe the proceedings from behind a lattice.

Subject & Meaning

The narrative shows the first suitor demonstrating divination, the second animating carved wooden horses, and the third displaying expert archery. Their demonstrations serve as tests of worthiness, yet the story takes a turn when an evil fairy abducts Zuhra before she can choose a husband, underscoring themes of fate and supernatural interference.

Technique & Style

Rendered in the refined Mughal miniature tradition, the painting combines delicate line work with a rich, flat colour palette. Figures are depicted in contemporary court attire, and the composition employs a shallow spatial depth, focusing attention on the interaction between the suitors, the merchant, and the concealed onlookers.

History & Provenance

The image originates from a manuscript of the Tuti‑nama, a literary genre that used a parrot’s narration to entertain nocturnal listeners. The manuscript was produced during the reign of Emperor Akbar (1556–1605), a period noted for the flourishing of illustrated books in the Mughal court.

Context

The scene offers visual documentation of Mughal‑era dress, courtly etiquette, and storytelling practices. It reflects the broader cultural milieu of Akbar’s empire, where Persian literary forms were adapted to Indian settings, and where illustrated manuscripts served both didactic and decorative purposes.