top of page

The rejuvenated old man and the daughter of the king of the jinns take leave of the King of Kings, from a Tuti-nama (Tales of a Parrot): Seventh Night

247259-200.png
June 30, 1556
gold-medal-vector-816269_edited.png
subject-icon-1_edited.png
People
Untitled-2.png
Akbar 1556–1605

The rejuvenated old man and the daughter of the king of the jinns take leave of the King of Kings, from a Tuti-nama (Tales of a Parrot): Seventh Night

IMG100866

DESCRIPTION

The rejuvenated old man and the daughter of the king of the jinns take leave of the King of Kings, from a Tuti-nama (Tales of a Parrot): Seventh Night c. 1560 Part of a set. See all set records India, Mughal, Reign of Akbar, 16th century Gum tempera, ink, and gold on paper Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 11.3 x 10.1 cm (4 7/16 x 4 in.) Gift of Mrs. A. Dean Perry 1962.279.50.b DID YOU KNOW? The old man emerges from the boiling oil eighteen years old and beardless. DESCRIPTION The artist who painted the first two scenes rendered the pit as a structure made of bricks. Peering over the edge is a Brahmin, a member of the Hindu priest class, wearing white. In the first painting he holds the bracelets given to him by the jinn princess to pay off his gambling debts; in the second he holds a text. In the pit, the jinn princess has been waiting for 70 years for her beloved to find the courage to pass through the cauldron of boiling oil in order to become purified enough to be with her––a jinn, who is a being of light, like a genie. Hearing of this predicament from the Brahmin, the King of Kings, wearing orange, provided a salve that protects the wearer from the harm of the hot oil, so the old man could safely pass through the boiling cauldron, which restored his youth. The artist Banavari, whose name is inscribed on the margin of the third page, went on to become a prominent artist in Akbar’s atelier. This painting may be the earliest surviving example of his work. INSCRIPTION banwāri INSCRIPTION TRANSLATION (by) Banavari PROVENANCE Estate of Breckenridge Long, Bowie, MD, 1959; Harry Burke Antiques, Philadelphia, PA; Bernard Brown, Milwaukee, WI; CITATIONS Chandra, Pramod, and Daniel J. Ehnbom. The Cleveland Tuti-Nama Manuscript and the Origins of Mughal Painting. Cleveland, OH: The Cleveland Museum of Art, 1976. p. 97 Nakhshabī, Z̤iyāʼ al-Dīn, and Muhammed Ahmed Simsar, translator and editor. Tales of a Parrot = The Cleveland Museum of Art's Ṭūṭīnāma. Cleveland, OH: The Museum, 1978. pp. 48–54 EXHIBITION HISTORY Main gallery rotation (Gallery 245). The Cleveland Museum of Art, Cleveland, OH (November 2, 2015-April 4, 2016).

Rate This BookDon’t love itNot greatGoodGreatLove itRate This Book

Your content has been submitted

Post Comment
Ratings & Review
Click To Close Comment Box
Click To Post Your Comment
Show Reviews

Ismail Mazari

average rating is null out of 5

Very good information.

MUGHAL IMAGES

The Mughal Images immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were the main subject of many miniatures for albums and were more realistically depicted. To upload your images click here.

The
Mughal Library brings readers of our history and related subjects on one platform. our goal is to share knowledge between researchers and students in a friendly environment.


 

bottom of page