id:			137476
accession number:	1962.279.154.a
share license status:	CC0
url:			https://clevelandart.org/art/1962.279.154.a
updated:		2023-03-10 19:42:34.378000

The Parrot Addresses Khujasta at the Beginning of the Twenty-second Night, from a Tuti-nama (Tales of a Parrot), c. 1560. Mughal India, court of Akbar (reigned 1556–1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 10.1 x 9.8 cm (4 x 3 7/8 in.). The Cleveland Museum of Art, Gift of Mrs. A. Dean Perry 1962.279.154.a

title:				The Parrot Addresses Khujasta at the Beginning of the Twenty-second Night, from a Tuti-nama (Tales of a Parrot)
title in original language:	
series:				
series in original language:	
creation date:			c. 1560
creation date earliest:		1555
creation date latest:		1565
current location:		
creditline:			Gift of Mrs. A. Dean Perry
copyright:			

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culture:	Mughal India, court of Akbar (reigned 1556–1605)
technique:	gum tempera, ink, and gold on paper
department:	Indian and Southeast Asian Art
collection:	Indian Art
type:		Painting
find spot:	
catalogue raisonne: 

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CREATORS

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measurements: Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 10.1 x 9.8 cm (4 x 3 7/8 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

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CURRENT EXHIBITIONS

	title:		Indian Gallery 242b Rotation – November 2016
	opening date:   2016-11-07T05:00:00
	<i>Indian Gallery 242b Rotation – November 2016</i>. The Cleveland Museum of Art (organizer) (November 7, 2016-April 10, 2017).

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LEGACY EXHIBITIONS

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PROVENANCE

	Estate of Breckenridge Long, Bowie, MD, 1959; Harry Burke Antiques, Philadelphia, PA; Bernard Brown, Milwaukee, WI;
	date: 
	footnotes: 	
	citations: 	


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fun fact:
The parrot’s story is set in Kerman, a province of southeast Iran.

digital description:


wall description:
On the 22nd night after her husband’s departure, the parrot advises his mistress Kujastha that when she meets her lover that night she should use her best judgment and manners and not allow herself to be laughed at like the wife of the amir, a local ruler. When Khujasta asked about what happened to her, the parrot related a story about the amir, his jester, and their unfaithful wives. This artist continued to use flat planes of colors and patterns characteristic of Indian painting before the Mughals. Experimentation with techniques to indicate depth and spatial recession––a new trend early in the reign of Akbar––can be seen in the tilted planes of the birdcage and the shading at the edges of the doorways.
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RELATED WORKS

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CITATIONS

	Chandra, Pramod, and Daniel J. Ehnbom. The Cleveland Tuti-Nama Manuscript and the Origins of Mughal Painting. [Cleveland]: Cleveland Museum of Art, 1976.
	page number: 	pp. 79, 122
	url:		

	Seyller, John. “Overpainting in the Cleveland T̤ūtīnāma.” <em>Artibus Asiae</em> 52, no. 3/4 (1992): 283-318.
	page number: 	p. 316
	url:		https://www.jstor.org/stable/3249892

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1962.279.154.a/1962.279.154.a_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1962.279.154.a/1962.279.154.a_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1962.279.154.a/1962.279.154.a_full.tif