id:			137716
accession number:	1962.279.27.a
share license status:	CC0
url:			https://clevelandart.org/art/1962.279.27.a
updated:		

The soldier receives a garland of roses from his wife which will remain fresh as long as she is faithful, from a Tuti-nama (Tales of a Parrot): Fourth Night, c. 1560. Mughal India, court of Akbar (reigned 1556–1605). Gum tempera, ink, and gold on paper; painting only: 3.8 x 10.6 cm (1 1/2 x 4 3/16 in.); overall: 20 x 14.3 cm (7 7/8 x 5 5/8 in.). The Cleveland Museum of Art, Gift of Mrs. A. Dean Perry 1962.279.27.a

title:				The soldier receives a garland of roses from his wife which will remain fresh as long as she is faithful, from a Tuti-nama (Tales of a Parrot): Fourth Night
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: Painting only: 3.8 x 10.6 cm (1 1/2 x 4 3/16 in.); Overall: 20 x 14.3 cm (7 7/8 x 5 5/8 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

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CURRENT EXHIBITIONS

	title:		Supernatural Love - Indian Gallery 242 Rotation
	opening date:   2019-04-01T04:00:00
	<i>Supernatural Love - Indian Gallery 242 Rotation</i>. The Cleveland Museum of Art (organizer) (April 1-September 9, 2019).

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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:
This work is attributed to the same unnamed artist who painted folio 45r (1962.279.45.a).

digital description:


wall description:
Possibly the earliest surviving manuscript from the reign of the Mughal emperor Akbar, many of the illustrations were painted by Indian artists accustomed to working in a horizontal format derived from the use of palm leaves. They also chose to depict scenes without spatial depth, making use of patterns on blocks of color and angular gestures, all characteristic of indigenous, pre-Mughal painting styles.
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RELATED WORKS

	id: 		137894
	The dervish brings in as dowry an elephant laden with gold, from a Tuti-nama (Tales of a Parrot): Seventh Night, 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: 4.2 x 9.9 cm (1 5/8 x 3 7/8 in.). The Cleveland Museum of Art, Gift of Mrs. A. Dean Perry 1962.279.45.a
	relationship: 	

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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, 87
	url:		

	Seyller, John. “Overpainting in the Cleveland T̤ūtīnāma.” <em>Artibus Asiae</em> 52, no. 3/4 (1992): 283-318.
	page number: 	p. 309
	url:		https://www.jstor.org/stable/3249892

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1962.279.27.a/1962.279.27.a_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1962.279.27.a/1962.279.27.a_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1962.279.27.a/1962.279.27.a_full.tif