Tuti-nama: The hunter offers the mother parrot to the king of Kamapura (Tale V) - attributed to Basawan



Cleveland Museum of Art
Photographer: Arthur Llewellyn Basham

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A Persian inscription on the right margin assigns the picture to Basawan, an attribution clearly supported by the style, for even at this early stage we see all those qualities which in a more developed form are associated with the later works of the master - extremely rich, mellow colouring, soft glowing brushwork, never crisp or hard, the constant attempts to give roundness and depth to objects by means of modelling in colour, noticeable here particularly in the figure of the fowler, and in the swelling, expansive treatment of the bodies, making them seem imbued with the breath of life itself. The picture also reveals clearly that, before coming to the Mughal atelier, Basawan was originally trained in a style similar to that of the Bombay Lor Chanda. The names Basawan etc. are still typical in rural areas of eastern Uttar Pradesh. If the painter did come from this part of the country, it would be yet another argument for assigning a manuscript like the Bombay Lor Chanda to Uttar Pradesh. -- Folio 36 verso.


Mughal Miniatures: Tuti-nama (Cleveland), paintings, miniatures, photograph





Archives Series

Date created

April, 1978

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This item is provided for research purposes. Contact the Australian National University Archives at butlin.archives@anu.edu.au for permission to use.


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