( fl c. 1580–c. 1605). Indian miniature painter. A Hindu, he was 13th of the 17 artists listed in the Ayin-i Akbari, a contemporary account of the administration of the Mughal emperor Akbar (reg 1556–1605) as it was c. 1590. As he was established by the 1580s, probably having worked on the Hamzanama (‘Tales of Hamza’; c. 1567–82; alternatively dated 1562–77), his fine composition in the Darabnama (‘Story of Darab’; c. 1580–85; London, BL, Or. 4615, fol. 89v) qualified him to work in several capacities on the Razmnama (‘Book of wars’; 1582–6; Jaipur, Maharaja Sawai Man Singh II Mus., MS. AG. 1683–1850): as sole artist (fols 27, 53 and 107), as designer (fol. 28) and as colourist (fols 78 and 165). Perhaps he was a poor teacher, or a slow worker, for in the other manuscripts produced by teams of artists his few illustrations were sole compositions: Timurnama (1584; Bankipur, Patna, Khuda Bakhsh Lib.; fols 205v, 230r and 276r); Akbarnama (‘History of Akbar’; c. 1590; London, V&A, I.S. 2.1896 117/15, 73, 105); Jami` al-tavarikh (‘Compendium of histories’, known as the Chinghiznama; 1596; Tehran, Gulistan Pal.; fols 222v, 227v and 269r); Baburnama (‘History of Babur’; 1598; New Delhi, N. Mus., MS. 50.326; fols 65 and 115). In literary works, which offered greater scope for artistic expression, his style was conservative: in Anvari’s Divan (collected poems; 1588; Cambridge, MA, Fogg, 1960.117.15; fol. 243r) and Nizami’s Khamsa (‘Five poems’; 1595; London, BL, Or. 12208; fol. 117r). His last work is in the later Akbarnama (begun c. 1597; alternatively dated 1602–5; London, BL, Or. 12988, fols 128r, 134r and 142r; and Dublin, Chester Beatty Lib., Ind. MS. 3, 227r, 252, 255r–256r) and Jami’s Nafahat al-uns (‘Fragrant breezes of fellowship’; 1605; London, BL, Or. 1362; fol. 315r).