Daswanth tarafından yapılmış en sevilen eser, Cleveland şehrindeki Cleveland Museum of Art içinde sergilenen The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot) (1560) adlı tablodur. Okurların en iyi bildiği tuvaller arasında sıradaki isimler 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) ve The parrot mother cautions her young on the danger of playing with foxes, from a Tuti-nama (Tales of a Parrot): Fifth Night (1560)'tür. Kataloğumuzda Daswanth tarafından yapılmış 4 eser bulunmaktadır: İşte her biri yapıldığı yıl, sergilendiği müze ve onu unutulmaz kılan özellikleriyle birlikte en ünlü 4 eser.
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Kasım 2026 tarihinde güncellenmiştir. Bu sayfadaki her bir tablo, keten kanvas üzerine elle boyanmış bir yağlı boya reprodüksiyon olarak veya seçtiğiniz boyutta hazırlanan bir sanat baskısı olarak sipariş edilebilir.
Bu sayfadaki tabloların çoğuna ev sahipliği yapan 2 müze.
| Müze | Şehir | Daswanth Eserleri | Bu listedeki tablolar |
|---|---|---|---|
| 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 | |
| Viyana | 1 | Umar Defeats a Dragon |
Daswanth şövalesinin başında 18 yıl boyunca, 1560 ile 1577 arası: her yılın en sevilen tuvalleri, sırasıyla.
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. Ardından 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) ve The parrot mother cautions her young on the danger of playing with foxes, from a Tuti-nama (Tales of a Parrot): Fifth Night (1560) geliyor.
1500 yılında doğan Daswanth, 60 yaşındayken: The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot), 1560 tarihine aittir.
Daswanth tarafından yapılan 4 eser, 1560 ile 1577 tarihleri arasında katalogumuzda yer almaktadır.
Çoğunlukla Cleveland Museum of Art (Cleveland) ve MAK – Uygulamalı Sanatlar Müzesi (Viyana) bünyesinde yer alan; yukarıdaki liste her bir müzeyi ve o müzedeki tabloları belirtmektedir.
Bu sayfadaki 4 eserin 3 tanesi 1560 dönemine aittir ve bunlar arasında The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot) bulunmaktadır.
Buradaki en eski tuval The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot) (1560); en yenisi ise Umar Defeats a Dragon (1577).
Cleveland Museum of Art, Cleveland, bu sayfadaki eserlerden 3 tanesine ev sahipliği yapmaktadır; bunlar arasında 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 ve The parrot mother cautions her young on the danger of playing with foxes, from a Tuti-nama (Tales of a Parrot): Fifth Night bulunmaktadır.
Evet. Bu sayfadaki her tablo, kendi sayfasından seçtiğiniz boyutta, elle boyanmış bir yağlı boya reprodüksiyon veya bir sanat baskısı olarak sipariş edilebilir.
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.