Cleveland Museum of Art
The Raja’s son vows to sever his head and offer it to the image if he is united with the princess he has seen in the temple, from a Tuti-nama (Tales of a Parrot): Thirty-fourth Night
- Date
- c. 1560
- Medium
- gum tempera, ink, and gold on paper
- Culture
- Mughal India, court of Akbar (reigned 1556–1605)
- Department
- Indian and Southeast Asian Art
- Institution
- Cleveland Museum of Art
The raja’s son, wearing orange, stands with his hands raised in supplication before an enshrined golden image. When he entered the temple for worship, he encountered a princess and instantly became deeply enamored by her beauty. Upon arriving home, his father ensured that the two would be married, although the promised self-sacrifice remained unfulfilled. In this painting, intended for a Muslim patron, the sculpture of a Hindu deity lacks a face and hands.
The authoritative record is held by Cleveland Museum of Art. LinkedCulture surfaces this object and its connections; it does not alter institutional metadata.
Related across collections
Semantically similar works from Cleveland Museum of Art and other institutions.
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
Cleveland Museum of Art
The Raja’s daughter, born with three breasts, accompanies her blind husband and his hunchback guide on a journey, from a Tuti-nama (Tales of a Parrot): Forty-second Night
Cleveland Museum of Art
The Raja’s daughter and her lover stoned to death for adultery, from a Tuti-nama (Tales of a Parrot): Forty-Second Night
Cleveland Museum of Art
The princess discovers the dead bodies, with heads severed, of her husband and his Brahman friend, from a Tuti-nama (Tales of a Parrot): Thirty-fourth Night
Cleveland Museum of Art
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
Cleveland Museum of Art
The three suitors again begin to quarrel among themselves for the hand of the devotee’s daughter, from a Tuti-nama (Tales of a Parrot): Twentieth Night
Cleveland Museum of Art
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
Cleveland Museum of Art
The Raja of Ujjain, who is traveling in the guise of a yogi, meets two brothers who ask him to equitably partition their father’s possession, from a Tuti-nama (Tales of a Parrot): Forty-sixth Night
Cleveland Museum of Art
The young prince is crowned and the wicked handmaiden is executed, from a Tuti-nama (Tales of a Parrot): Eighth Night
Cleveland Museum of Art
Shahr-Arai and her husband adopt her lover as a brother in the family, from a Tuti-nama (Tales of a Parrot): Fortieth Night
Cleveland Museum of Art
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
Cleveland Museum of Art
The prince rejects the amorous advances of the king’s handmaiden, from a Tuti-nama (Tales of a Parrot): Eighth Night
Cleveland Museum of Art