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The young man of Baghdad solicits advice from a friend as his slave girl, who is adept at music, awaits, from a Tuti-nama (Tales of a Parrot): Forty-eighth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper.
The bag of gold which he received for the slave girl being stolen in a mosque, the young man of Baghdad tears his cloths and is about to fling himself into the Tigris, from a Tuti-nama (Tales of a Parrot): Forty-eighth Night at the Clevelan
The young man of Baghdad joins the Hashimi’s boat as a sailor to find his slave-girl on board, from a Tuti-nama (Tales of a Parrot): Forty-eighth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore th
The young man of Baghdad reveals his true identity to the Hashimi, from a Tuti-nama (Tales of a Parrot: Forty-eighth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator att
The young man of Baghdad reunited with his slave-girl, from a Tuti-nama (Tales of a Parrot): Forty-eighth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution an
The parrot addresses Khujasta at the beginning of the forty-ninth night, from a Tuti-nama (Tales of a Parrot): Forty-Ninth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creat
The eldest brother explains the reason for his youthful appearance, from a Tuti-nama (Tales of a Parrot): Forty-ninth 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 fiftieth night, from a Tuti-nama (Tales of a Parrot): Fiftieth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator att
The king’s emissary being provided with gifts for his mission to Rum in order to seek the hand of the emperor’s daughter in marriage, from a Tuti-nama (Tales of a Parrot): Fiftieth Night at the Cleveland Museum of Art: c. 1560, gum tempera,
The merchant returns bringing a young slave who is really the son of the princess of Rum, now married to the king, from a Tuti-nama (Tales of a Parrot): Fiftieth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on p
The guard spares the life of the slave when he learns that he is the son of the princess of the Rum, from a Tuti-nama (Tales of a Parrot): Fiftieth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore
The king places the talisman on his sleeping wife, from a Tuti-nama (Tales of a Parrot): Fiftieth 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 guard restores the son who falls at his mother’s feet, from a Tuti-nama (Tales of a Parrot): Fiftieth Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution an
The parrot addresses Khujasta at the beginning of the fifty-first night, from a Tuti-nama (Tales of a Parrot): Fifty-first Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creat
Khulasa, a vizier, sees the daughter of Khassa, another vizier, and covets her, from a Tuti-nama (Tales of a Parrot): Fifty-first Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context
King Bahram, who has married Khassa’s daughter, has her tied to a camel to be abandoned in the desert as a result of false accusations made by Khulasa, from a Tuti-nama (Tales of a Parrot): Fifty-first Night at the Cleveland Museum of Art:
Khusrau, the King of Kings, pays homage to the pious daughter of Khassa, from a Tuti-nama (Tales of a Parrot): Fifty-first Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creat
The parrot addresses Khujasta at the beginning of the fifty-second night, from a Tuti-nama (Tales of a Parrot): Fifty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, cre
The bird of seven colors brings a sable to the pious man, from a Tuti-nama (Tales of a Parrot): Fifty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution
The pious man’s wife offers the seven-colored bird as food to her lover, but not finding its head, he breaks the pot and bowl in anger, from a Tuti-nama (Tales of a Parrot): Fifty-second Night at the Cleveland Museum of Art: c. 1560, gum te
The son of the pious man slays the dragon, from a Tuti-nama (Tales of a Parrot): Fifty-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 collection
The pious man’s son presents the slain dragon to the king, from a Tuti-nama (Tales of a Parrot): Fifty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper. Explore the work's context, creator attributio
The king gives his daughter in marriage to the pious man’s son, from a Tuti-nama (Tales of a Parrot): Fifty-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 pious man’s son, now a king, reveals himself to his father; his nurse upbraids his unfaithful mother, from a Tuti-nama (Tales of a Parrot): Fifty-second Night at the Cleveland Museum of Art: c. 1560, gum tempera, ink, and gold on paper.
Tripod (Ding) at the Cleveland Museum of Art: c. 1250–1046 BCE, bronze. Explore the work's context, creator attribution and collection history.
Female Bust at the Cleveland Museum of Art: c. 1470–1500, Painted and gilded lindenwood. Explore the work's context, creator attribution and collection history.
Female Bust at the Cleveland Museum of Art: c. 1470–1500, painted and gilded lindenwood. Explore the work's context, creator attribution and collection history.
Standing Cup at the Cleveland Museum of Art: mid- to late 1500s, gilt silver. Explore the work's context, creator attribution and collection history.
The Gotha Missal at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 1r, Trinity and Resurrection at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 1v, Text at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 10r, Text at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 10v, Text at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 11r, Offering of the Souls; Bas-de-Page, Lions at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection hi
The Gotha Missal: Fol. 2r, Text at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 2v, Text at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 3r, Text at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 3v, Text at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 4r, Text at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.
The Gotha Missal: Fol. 4v, Text at the Cleveland Museum of Art: c. 1375, ink, tempera, and gold on vellum; blind-tooled leather binding. Explore the work's context, creator attribution and collection history.