A warrior brandishing a sword, attributable to Dasavanta, Mughal, circa 1570-75

gouache heightened with gold on paper, laid down on an album page with inner borders of red and blue decorated with scrolling leafy flowers in gold

Hagop Kevorkian, New York (1872-1962)
Hagop Kevorkian Fund
Sotheby's London, 2 May 1977, lot 97

In generally good overall condition, some paint loss to figure, light cracking to background, album page trimmed, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This monumental figure of a warrior (the figure itself, from foot to tip of sword measures 17cm.) brandishing a sword and shield is of the type associated with the large-scale figures of the Hamzanama, the epic series of illustrations on cotton that occupied Emperor Akbar's atelier from circa 1560 to circa 1575. Not only is the scale akin, but the baggy pantaloons, accoutrements, sword, shield, facial type and combat pose are all of a style encountered in Hamzanama illustrations (see, for example, Seyller 2002, nos.27, 29, 65, 79, 82). The present work, however, is painted on paper and therefore cannot originate from the Hamzanama itself, which is painted on cotton cloth. The style is close to several of the earliest artists active in Akbar's atelier, the closest perhaps being Dasavanta (Daswanth), whose promising career was cut short by suicide in 1584. A figure of a warrior brandishing a sword, similar in almost every way to the present figure, including the particular type of sword but save for the scale, can be found in an illustration by Dasavanta in the Jaipur Razmnama (see Das 1998, p.58, fig.5, lower right). Abu'l Fazl placed the artist Dasavanta third in importance after Mir Sayyid 'Ali and 'Abd al-Samad in his listing of the eminent artists of the royal atelier:

"Then there was Daswant, the son of a palanquin-bearer (kahar), who was in the service of this workshop and, urged by a natural desire, used to draw images and designs on walls. One day the far-reaching glance of His Majesty fell on those things and, in its penetrating manner, discerned the spirit of a master working in them. Consequently, His Majesty entrusted him to the Khwaja. In just a short time he became matchless in his time and the most excellent (sar-amad-i ruzgar), but the darkness of insanity enshrouded the brilliance of his mind and he died, a suicide. He has left several masterpieces." (Revised translation of the A'in-i Akbari by Prof. C.M. Naim, text, I, pp.116-8, quoted in Das et al 1998, p.53).

Dasavanta worked on the Cleveland Tutinama, the Hamzanama, the Tarikh-i Khandan-i Timuriyya in the Khuda Bakhsh Library, Patna, the Jaipur Razmnama and possibly the 1570 Anwar-i Suhayli (SOAS Library, London). For discussions of his life and work see Das 1998, pp.52-67 and Seyller 2002, p.48, fig.17, pp.51-52. See also, Beach 1982, pp.121-133.