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Tutinama
Tutinama ((ペルシア語:طوطینامه)), literal meaning "Tales of a Parrot", is a 14th-century Persian series of 52 stories. An illustrated version containing 250 miniature paintings was commissioned by the Mughal Emperor, Akbar in the later part of the 16th century. The work redacted in 14th century AD in Iran derives from an earlier anthology ‘Seventy Tales of the Parrot’ in Sanskrit compiled under the title Śukasaptati (a part of ''katha'' literature) dated to the 12th century AD. In Iran, as in India, parrots (in light of their purported conversational abilities) are popular as storytellers in works of fiction.
The adventure stories narrated by a parrot, night after night, for 52 successive nights, are moralistic stories to persuade his owner not to commit any adulterous act with any lover, in the absence of her husband. The illustrations embellishing the stories created during Akbar’s reign were created in a span of five years after Akbar ascended the throne,〔Beach p.34〕 by two Iranian artists named Mir Sayyid Ali and Abdus Samad working in the court of the Mughal Emperor Akbar.〔Beach p.28-29〕
==History==
The authorship of the text of the ''Tutinama'' is credited to Ziya'al-Din Nakhshabi or just Nakhshabi, an ethnic Persian physician and a Sufi saint who had migrated to Badayun, Uttar Pradesh in India in the 14th century, who wrote in the Persian language. He had translated and/or edited a classical Sanskrit version of the stories similar to ''Tutinama'' into Persian, around 1335 AD. It is conjectured that this small book of short stories, moralistic in theme, influenced Akbar during his formative years. It is also inferred that since Akbar had a harem (of women siblings, wives and women servants), the moralistic stories had specific orientation towards the control of women.〔〔〔
The two artists Mir Sayyid Ali and Abd al-Samad were invited by Humayun (1530–1540 AD) to teach this art to himself and to his son Akbar. Initially, the artists came to Kabul with Humayun (where he was in exile) and in later years shifted to Delhi when he won back his empire from the Suri Dynasty. The artists then moved to Fatehpur Sikri with the Mughal Emperor Akbar, where a huge workshop of artists were engaged in producing miniatures. This type of painting came to be known as Mughal painting, during Akbar's reign from 1556 to 1605 AD (when under Emperor Akbar’s leadership the Mughal empire became most powerful). Akbar provided personal patronage to promote this form of miniature paintings, not only through Iranian artists but also involved a large number of Indian artists who were also well versed in local styles of such miniature paintings that were produced in the imperial workshops. It thus developed as a unique blend of Indian, Persian and Islamic styles. Most of the paintings are now in the Cleveland Museum of Art; some are also in the British Library. This became the precursor for many more refined forms of Mughal miniature painting portfolios such as the Hamzanama (Adventures of Amir Hamza), Akbarnama (Book of Akbar), Jahangirnama (Tuzk-e-Jahangiri an autobiography of Mughal emperor Jahangir) and so forth, which were created during the reign of subsequent Moghul rulers (16th century to 19th century) as Mughal paintings, but also with distinct Indian, Hindu, Jain and Buddhist influences. The Mughal style covered mainly portraits of Mughal emperors, Queens, court scenes, hunting scenes, special ceremonies, battle scenes, love scenes and various activities of royal rulers. This format of miniatures was also widely adopted by Rajput and Malwa rulers.〔〔〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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