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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
The merchant of Tirmiz takes the wise parrot and myna to ‘Ubaid, 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 attr
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 at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold o
The Raja’s daughter and her lover stoned to death for adultery, 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 attri
Repenting his conduct, ‘Ubaid falls at the feet of his parents, 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 attri
The parrot addresses Khujasta at the beginning of the forty-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
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 at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Exp
The parrot addresses Khujasta at the beginning of the forty-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 and
The emir slays the snake after giving it shelter, from a Tuti-nama (Tales of a Parrot): Forty-fifth 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 court of the Raja of Ujjain, from a Tuti-nama (Tales of a Parrot): Forty-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 collection history.
The parrot laughs on hearing the Raja of Ujjain’s wife admire her beauty in a mirror, from a Tuti-nama (Tales of a Parrot: Forty-sixth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's co
The Raja of Ujjain, who is traveling in the guise of a yogi, meets two brothers who ask him to equitably partition their father’s possession, from a Tuti-nama (Tales of a Parrot): Forty-sixth Night at the Cleveland Museum of Art: c. 1560, g
The parrot addresses Khujasta at the beginning of the forty-seventh night, from a Tuti-nama (Tales of a Parrot): Forty-seventh Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, c
The four destitute friends go to a wise man who gives each one of them a magic shell to be placed on top of the turban, from a Tuti-nama (Tales of a Parrot): Forty-seventh Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and
The fourth man digs at the spot where he dropped the shell, expecting jewels, but discovering mere iron, from a Tuti-nama (Tales of a Parrot): Forty-seventh Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper.