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171:, the grand vizier of Akbar, mentions in his writings that Daswanth left many masterpieces, but some of the details of Akbar's workshops were not recorded. In the four-volume manuscript, Daswanth drew outlines for fifteen of seventy-four miniatures in the first volume, nine out of seventeen miniatures in the second volume, and six out of sixty miniatures in the third volume. At least thirteen of the paintings he contributed to were in a horizontal format, which is the most in a major Mughal manuscript. This is probably due to that the scenes are of battles.
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Chakravyuha (pictured right). It is a double page composition with thousands of figures including soldiers, cavalry, and elephant and chariot riders. They are all arranged in a maze formation and cover the whole page. This was very unique and was not attempted in Mughal art. This is probably due to
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have been attributed to him. Two works show partly damaged inscriptions naming him as the artist while a third work has been attributed to him. One of these works is titled the
Wounded Monkey Bites the Hand of the Prince, and depicts the monkey's action and response of the prince and other subjects
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He tends to pay special detail to nature and the specific moods of figures. Similarly to other painters of his time, he tends to focus on the storytelling aspect of art. Many of his works depict gory violence and battles, but are still composed with attention paid to diagonals, circles, and other
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His art also shows a familiarity with some
Chinese and western painting techniques. Works in the Razmnama called Arjuna shooting the arrow and the seventh adventure of the white horse show western technique and idiom while "Arjuna fells Karna" has Chinese style clouds.
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shapes, in balance with the natural surroundings. He often drew gods, demigods, important courtly figures, and warriors. There is also a beautiful understanding of perspective, based on the size of characters, architecture details, and background.
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One of his works is an equestrian portrait of
Muhammad Shah from the Impey Album. It is a watercolor with gold detailing and a part of three folios and signed by Daswanth.
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61:, a document recording the administration of the Mughal empire, as one of the top three most important artists in this period, and again in the
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where he created multiple paintings, still under the guidance of 'Abd al Samad, and then a singular illustration in the
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His behavior was considered erratic in his life time and he wounded himself with a dagger in 1584 which ended his life.
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In
Daswanth's illustrations, his chaotic, creative style distinguishes him from other artists of his time, like
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of the scene. His work had a technique of free application of wet pigment which was distinctive.
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While not much is known of his early life, it is known that he was Hindu, and the son of a
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master painter. Abd al-Samad's work was fairly traditional and conservative.
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He drew and composed as many as 31 full-page miniatures in the
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The largest collection of
Daswanth's work is found in the
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Equestrian portrait of
Muhammad Shah from the Impey Album
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The Grove encyclopedia of
Islamic art and architecture
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His next important artistic contribution was to the
448:. Oxford ; New York: Oxford University Press.
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412:. Marg publications. Mumbai: Marg Publications.
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442:Bloom, Jonathan; Blair, Sheila, eds. (2009).
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271:"The Mughal Painter Daswanth"
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608:16th-century Indian painters
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