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The merchant’s daughter gives birth to a son as a result of eating out of the box. The clever child recognizes the false gems from true, from a Tuti-nama (Tales of a Parrot): Twenty-third Night at the Cleveland Museum of Art: c. 1560, gum t
Kamjuy, the wife of the Raja, averts her face from the fishes, from a Tuti-nama (Tales of a Parrot): Twenty-third Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attrib
The forty wives and their secret paramours being punished by stoning to death, from a Tuti-nama (Tales of a Parrot): Twenty-third 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 Twenty-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
Bashir confides his love for Habbaza to an Arab friend, and sends him to her with a message, from a Tuti-nama (Tales of a Parrot): Twenty-fourth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the
Habbaza meets Bashir under a tree, from a Tuti-nama (Tales of a Parrot): Twenty-fourth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and collection histor
The disguised Arab, substituting for Habbaza, is whipped by her husband for refusing a bowl of milk, from a Tuti-nama (Tales of a Parrot): Twenty-fourth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Exp
Habbaza’s sister, who is sent to console her, discovers the disguised Arab in her place, from a Tuti-nama (Tales of a Parrot): Twenty-fourth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the wor
The Parrot Addresses Khujasta at the Beginning of the Twenty-fifth 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
Mukhtar throws his wife Maimuna into the pit, but she saves herself, from a Tuti-nama (Tales of a Parrot): Twenty-fifth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator
The destitute Mukhtar meets his wife Maimuna at a holy shrine, from a Tuti-nama (Tales of a Parrot): Twenty-fifth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attrib
The lover of Hamnaz, who has been hanged from the gallows, bites off her nose when she kisses him, from a Tuti-nama (Tales of a Parrot): Twenty-fifth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explor
In order to falsely implicate her husband, Hamnaz places a knife by his side and lets the blood dripping from her nose stain his clothes, from a Tuti-nama (Tales of a Parrot): Twenty-fifth Night at the Cleveland Museum of Art: c. 1560, gum
The Parrot Addresses Khujasta at the Beginning of the Twenty-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 dethroned frog Shapur seeks the help of the serpent, from a Tuti-nama (Tales of a Parrot): Twenth-sixth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution
The snake enters into an argument with the frog, from a Tuti-nama (Tales of a Parrot): Twenty-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 coll
The Parrot Addresses Khujasta at the Beginning of the Twenty-seventh Night, form 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 Parrot Addresses Khujasta at the Beginning of the Twenty-ninth 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 monkey, serving as the lion’s chamberlain, converses with the lynx and its mate who have arrived with their cubs to settle in the lion’s domain, from a Tuti-nama (Tales of a Parrot): Twenty-ninth Night at the Cleveland Museum of Art: c.
The lion returns to his territory and sees the monkey conversing with the lynx, from a Tuti-nama (Tales of a Parrot): Twenty-ninth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's contex
The monkey advises the suspicious lion to cast off fear and take possession of his territory, from a Tuti-nama (Tales of a Parrot): Twenty-ninth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the
The lion, suspecting treachery on the part of the monkey, slays him and flees, from a Tuti-nama (Tales of a Parrot): Twenty-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 Thirtieth 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 co
A woman with two children, having abandoned her home, goes into the forest where she encounters a leopard, from a Tuti-nama (Tales of a Parrot): Thirtieth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. E
The woman conversing with her children, as the leopard returns, egged on by a fox who is tied to his leg, from a Tuti-nama (Tales of a Parrot): Thirtieth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Ex
Page from Tales of a Parrot (Tuti-nama): text page at the Cleveland Museum of Art: 1558–60, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and collection history.
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