A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c20.s1.31

c20.s1.31

This inference, inevitable from a general survey of the facts, is established with certainty by the positive testimony of Abūl Fazl that Daswanth, who disputed with Basāwan the first place among the Hindu painters of Akbar's court, had 'devoted his whole life to the art, and used, from love to his profession, to draw and paint figures even on walls'. He was the son of a poor man, a member of the Kahār or palanquin-bearer caste; and when such a man, in spite of all social disadvantages, could become a professional artist, many others more favourably situated must have done the same. Daswanth's genius was rescued from obscurity by the royal favour. 'One day,' writes the courtly historian, 'the eye of His Majesty fell on him; his talent was discovered, and he himself handed over to the Khājah [*scil.* Abdul Samad]. In a short time he surpassed all painters and became the first master of the age. Unfortunately the light of his talents was dimmed by the shadow of madness; he committed suicide. He has left many masterpieces.' Abūl Fazl goes on to say that the work of Basāwan is so excellent that many connoisseurs preferred him to Daswanth.