Najbardziej cenionym obrazem Daswanth jest The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot) (1560), który znajduje się w Cleveland Museum of Art w Cleveland. Następne w zestawieniu płócien najlepiej znanych czytelnikom są The wounded monkey bites the hand of the prince, his chessmate, in the presence of guests, from a Tuti-nama (Tales of a Parrot): Fifth Night (1560) oraz The parrot mother cautions her young on the danger of playing with foxes, from a Tuti-nama (Tales of a Parrot): Fifth Night (1560). Nasz katalog zawiera 4 dzieł autorstwa Daswanth: oto 4 najsłynniejszych z nich, z podaniem roku powstania, muzeum oraz tego, co czyni je wyjątkowymi.
Ranking oparty na naszym wskaźniku popularności, który łączy liczbę wyszukiwań, wizyt oraz zamówień dla każdego dzieła. Aktualizacja: Listopad 2026. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną na płótnie lnianym lub jako wysokiej jakości wydruk artystyczny, wykonany w wybranym przez Ciebie formacie.
2 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Daswanth | Obrazy z tej listy |
|---|---|---|---|
| Cleveland | 3 | The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot), The wounded monkey bites the hand of the prince, his chessmate, in the presence of guests, from a Tuti-nama (Tales of a Parrot): Fifth Night, The parrot mother cautions her young on the danger of playing with foxes, from a Tuti-nama (Tales of a Parrot): Fifth Night | |
| Wiedeń | 1 | Umar Defeats a Dragon |
Daswanth przy sztalugach przez 18 lat, od 1560 do 1577: najukochańsze płótna każdego roku, w kolejności chronologicznej.
The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot) (1560), Cleveland Museum of Art, Cleveland. Następują po nim The wounded monkey bites the hand of the prince, his chessmate, in the presence of guests, from a Tuti-nama (Tales of a Parrot): Fifth Night (1560) oraz The parrot mother cautions her young on the danger of playing with foxes, from a Tuti-nama (Tales of a Parrot): Fifth Night (1560).
Daswanth, urodzony/a w 1500, miał/a 60 lat: The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot) pochodzi z 1560.
W naszym katalogu znajduje się 4 dzieł artysty Daswanth, datowanych od 1560 do 1577.
Większość znajduje się w Cleveland Museum of Art (Cleveland) i MAK – Muzeum Sztuki Dekoracyjnej i Projektowania w Wiedniu (Wiedeń); powyższa lista wymienia każde muzeum oraz jego płótna.
W 1560, który obejmuje 3 z 4 dzieł na tej stronie, wśród nich znajduje się The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot).
Najwcześniejsze płótno pochodzi z The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot) (1560), a najpóźniejsze z Umar Defeats a Dragon (1577).
Muzeum Cleveland Museum of Art, Cleveland posiada 3 dzieł widocznych na tej stronie, w tym The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot), The wounded monkey bites the hand of the prince, his chessmate, in the presence of guests, from a Tuti-nama (Tales of a Parrot): Fifth Night i The parrot mother cautions her young on the danger of playing with foxes, from a Tuti-nama (Tales of a Parrot): Fifth Night.
Tak. Każdy obraz na tej stronie można zamówić z jego własnej podstrony jako ręcznie malowaną reprodukcję olejną lub jako wysokiej jakości wydruk artystyczny w wybranym przez Ciebie rozmiarze.
Daswanth was a Mughal-era painter serving under the emperor Akbar. Born the son of a palanquin-bearer, he was a Hindu who demonstrated a natural talent for painting and drawing on walls. This talent led him to be taught by the Persian master painter Khwāja 'Abd al-Samad. While 'Abd al-Samad's work was traditional and conservative, Daswanth's own works were noted for being imaginative and original. He was recognized in the Ain-i-Akbari as one of the three most important artists of his period, and the Akbarnama also credited him with great artistic talent.
His artistic style was characterized by a chaotic and creative energy that distinguished him from his contemporaries. His illustrations often appeared otherworldly, sometimes described as scary, with figures that were proportionally inconsistent and weightless. He possessed a unique technique involving the free application of wet pigment and a beautiful understanding of perspective through the use of character size, architectural details, and backgrounds. His work often focused on storytelling, depicting gods, demigods, courtly figures, and warriors, frequently portraying scenes of battle and gory violence.
Daswanth contributed significantly to several major works, including the Hamzanama and the Tarikh e Khandan e Timuriyah. He is also associated with the Razmnama, a Persian translation of the Hindu epic the Mahabharata, where he drew as many as 31 full-page miniatures. His work in this collection included diverse compositions, such as:
His repertoire also included illustrations for the Tūtīnāma, such as The Wounded Monkey Bites the Hand of the Prince. His style occasionally incorporated elements from other traditions, such as Chinese-style clouds or Western techniques and idioms. His life ended in 1584 after he wounded himself with a dagger.