The young man of Baghdad joins the Hashimi’s boat as a sailor to find his slave-girl on board, from a Tuti-nama (Tales of a Parrot): Forty-eighth Night

The miniature originates from a 16th-century Tuti-nama manuscript, specifically the forty-eighth night, and was created circa 1560 in the Mughal Empire. It entered the collection of the Cleveland Museum of Art, where it remains on view as part of their South Asian painting holdings. The work was produced by an anonymous painter active during the Mughal period, reflecting the stylistic conventions of courtly manuscript illumination of the era.

The painting is held in the collection of the Cleveland Museum of Art, where it is catalogued under accession number 1962.279.307.a. It was created in 1560 in the Mughal Empire and is classified as a miniature from the Tuti-nama (Tales of a Parrot), forty-eighth night, depicting a sailor joining the Hashimi's boat. The work has been included in exhibitions at the Cleveland Museum of Art focusing on Indian miniature painting and South Asian artistic traditions.

The work depicts a river scene in which a group of figures occupy a boat amid verdant hills. A man in an orange robe stands on a balcony above the vessel, while passengers in vivid yellow and red garments fill the deck. Musicians and seated travelers suggest a narrative moment, rendered with swirling water and lively detail.

Narrative paintings such as this were used to visually accompany literary texts, enhancing the storytelling experience for readers. The depiction of a river journey reflects the cultural significance of travel and trade routes in the Islamic world, while the presence of musicians underscores the role of music in courtly and popular entertainment.