Net Worth →
Art & Design

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 Ni

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

Published by Pop Culture Files••2 min read•Automatically generated · review not guaranteed
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 (c. 1560; Cleveland 1962.279.221.a)
Cleveland Museum of Art; Gift of Mrs. A. Dean Perry · CC0 1.0 / Public Domain

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 (c. 1560) is in the Cleveland Museum of Art collection.

The work and its context

The museum's open-access catalogue describes the work:

On the right, an ecstatic Ayaz, dressed in the orange tunic, reunites with his lover, Mahmuda, in a cemetery after her unwilling marriage to another man. Despite this separation, their mutual love has remained true. Salim, watching the reunion with Mahmuda’s maid, quickly devises a plan that will allow the couple to remain together.

Object facts

  • Title: 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
  • Date: c. 1560
  • Culture: Mughal India, court of Akbar (reigned 1556–1605)
  • Type: Painting
  • Technique: gum tempera, ink, and gold on paper
  • Dimensions: Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 8.7 x 10.2 cm (3 7/16 x 4 in.)
  • Collection: Indian Art
  • Department: Indian and Southeast Asian Art
  • Accession number: 1962.279.221.a

A detail from the museum

The red fence designates the boundary of a sacred space.

Collection credit

Gift of Mrs. A. Dean Perry

Further reading listed by the museum

  • Chandra, Pramod, and Daniel J. Ehnbom. The Cleveland Tuti-Nama Manuscript and the Origins of Mughal Painting. [Cleveland]: Cleveland Museum of Art, 1976.
  • Seyller, John. “Overpainting in the Cleveland T̤ūtīnāma.” Artibus Asiae 52, no. 3/4 (1992): 283-318.

View the collection record

See the museum's photographs and full catalogue entry. Catalogue text is reproduced from the Cleveland Museum of Art's open-access data, with HTML formatting removed. This object and its supplied image are designated CC0.

Sources

More in Lifestyle