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The parrot addresses Khujasta at the beginning of the thirty-first night, from a Tuti-nama (Tales of a Parrot) at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and
The donkey, in a tiger’s skin, reveals his identity by braying aloud, from a Tuti-nama (Tales of a Parrot): Thirty-first Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator
The parrot addresses Khujasta at the beginning of the thirty-second night, from a Tuti-nama (Tales of a Parrot) at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution an
Kaiwan sends a message of love to Khurshid, wife of his brother Utarid who is away on a journey, from a Tuti-nama (Tales of a Parrot): Thirty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore
Latif, who has murdered his brother, falsely accuses Khurshid of the deed, from a Tuti-nama (Tales of a Parrot): Thirty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, c
Kaiwan, Latif, and Sharif arrive at a house of worship, where they seek help from Khurshid who has become a mystical healer, from a Tuti-Nama (Tales of a Parrot): Thirty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink
The tale of the three men trapped in a cave by a rolling boulder, from a Tuti-nama (Tales of a Parrot): Thirty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator at
Khurshid reunited with her husband Utarid, from a Tuti-nama (Tales of a Parrot): Thirty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and collectio
The parrot addresses Khujasta at the beginning of the thirty-third night, from a Tuti-nama (Tales of a Parrot) at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and
Preparation for the marriage of Mahmuda to the Young Vizier, from a Tuti-nama (Tales of a Parrot): Thirty-third Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribut
Hearing her declaration of love, Ayaz falls at the feet of Mahmuda at the holy shrine. The scene is witnessed by Salim, Ayaz’s friend, and a maid, from a Tuti-nama (Tales of a Parrot): Thirty-third Night at the Cleveland Museum of Art: c. 1
The two couples reach a foreign city where they make their home, from a Tuti-nama (Tales of a Parrot): Thirty-third Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attr
The two couples reach a foreign city where they make their home, from a Tuti-nama (Tales of a Parrot): Thirty-third Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attr
The parrot addresses Khujasta at the beginning of the thirty-fourth night, from a Tuti-nama (Tales of a Parrot) at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution an
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 at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on
The third suitor, who is an archer, shoots the wicked fairy who has imprisoned Zuhra. He rides on a magic horse prepared by the second suitor and is led to the spot by the divining prowess of the first, from a Tuti-nama (Tales of a Parrot):
The Raja’s son vows to sever his head and offer it to the image if he is united with the princess he has seen in the temple, from a Tuti-nama (Tales of a Parrot): Thirty-fourth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink
The princess discovers the dead bodies, with heads severed, of her husband and his Brahman friend, from a Tuti-nama (Tales of a Parrot): Thirty-fourth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explo
The Brahman gives an account of his falling in love with the king of Babylon’s daughter to his friend, the magician, from a Tuti-nama (Tales of a Parrot): Thirty-fifth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gol
The magician, disguised as a Brahman, visits the king of Babylon, from a Tuti-nama (Tales of a Parrot): Thirty-fifth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator att
The son of the king of Babylon sees the Brahman transformed into a woman bathing and falls in love with her, from a Tuti-nama (Tales of a Parrot): Thirty-fifth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on pap
The magician disguised as a Brahman returns to claim his “daughter-in-law,” from a Tuti-nama (Tales of a Parrot): Thirty-fifth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, c
The parrot addresses Khujasta at the beginning of the thirty-sixth night, from a Tuti-nama (Tales of a Parrot) at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and
The king dreams of a lady, the personification of wealth, departing from him on account of his purchasing a bowl and a staff from a yogi, from a Tuti-nama (Tales of a Parrot): Thirty-sixth Night at the Cleveland Museum of Art: c. 1560, gum
Mahrusa’s marriage to the prefect of the city, from a Tuti-nama (Tales of a Parrot): Thirty-sixth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and collec
The king of Zabul sees Mahrusa from his palace balcony, from a Tuti-nama (Tales of a Parrot): Thirty-sixth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution a
Mahrusa kills herself at the tomb of the king of Zabul, and her husband does likewise, from a Tuti-nama (Tales of a Parrot): Thirty-sixth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's
The parrot addresses Khujasta at the beginning of the thirty-seventh night, from a Tuti-nama (Tales of a Parrot) at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution a
The prince, a son of the ruler of Sistan, enters the service of a snake, from a Tuti-nama (Tales of a Parrot): Thirty-seventh Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, cr
The parrot addresses Khujasta at the beginning of the thirty-eighth night, from a Tuti-nama (Tales of a Parrot) at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution an
The queen of Rum watches the peahen prefer to burn rather than abandon her eggs while the peacock flees the nest, from a Tuti-nama (Tales of a Parrot): Thirty-ninth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold o
The painting made by the vizier of the emperor of China for the queen of Rum, from a Tuti-nama (Tales of a Parrot): Thirty-ninth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context,
The parrot addresses Khujasta at the beginning of the fortieth night, from a Tuti-nama (Tales of a Parrot) at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and col
Shahr-Arai and her lover dallying on a bed beneath which is concealed her husband, from a Tuti-nama (Tales of a Parrot): Fortieth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context
Shahr-Arai’s husband bends to kiss his wife who feigns sleep, from a Tuti-nama (Tales of a Parrot): Fortieth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution
Shahr-Arai and her husband adopt her lover as a brother in the family, from a Tuti-nama (Tales of a Parrot): Fortieth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator at
The parrot addresses Khujasta at the beginning of the forty-first night, from a Tuti-nama (Tales of a Parrot): Forty-first Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creat
The gardener seizes and beats a donkey who insisted on braying, while the deer, its companion flees to safety, from a Tuti-nama (Tales of a Parrot): Forty-first Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on pa
The parrot addresses Khujasta at the beginning of the forty-second night, from a Tuti-nama (Tales of a Parrot) at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and
The marriage of ‘Ubaid, son of a merchant of Tirmiz, from a Tuti-nama (Tales of a Parrot): Forty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and