Nasiruddinの名作として知られるのはA Woman Plucks Leaves While Awaiting Her Lover: Gunakali Ragini of Malkos, from the “Chawand Ragamala” (1605)で、クリーブランドのクリーブランド美術館に所蔵されています。 当カタログに含まれるNasiruddinの全1作品のうち、特に高く評価されている1作品をご紹介します。各作品には制作年、所蔵美術館、そしてその作品ならではの特徴が添えられています。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：11月 2026
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Nasiruddinの作品 | このリストの絵画 |
|---|---|---|---|
 クリーブランド美術館 |
クリーブランド | 1 | A Woman Plucks Leaves While Awaiting Her Lover: Gunakali Ragini of Malkos, from the “Chawand Ragamala” |
このページに掲載されているNasiruddinによる年代別の傑作はすべて1605年の作品です。一覧はこちら。
A Woman Plucks Leaves While Awaiting Her Lover: Gunakali Ragini of Malkos, from the “Chawand Ragamala” (1605)
Nasiruddinによる1点の作品を掲載しています。
その多くはクリーブランド美術館 (クリーブランド)に所蔵されています。上記の表に各美術館を一覧で記載しています。
In the quiet, rugged landscape of the Kingdom of Mewar, a painter named Nasiruddin began to leave a permanent mark upon the history of Indian art. He lived during a time of great movement, working in the small village of Chawand, a place that offered refuge when the imperial forces of the Mughals had seized the great fort of Chittor. It was here, amidst the shadows of exile, that his brush found its purpose. He was not merely a craftsman but a chronicler of emotion and melody, working within the Rajput school to capture the very essence of sound and longing.
His presence in the historical record is marked by a rare clarity. Unlike many artists of his era whose names were lost to the passage of centuries, Nasiruddin was bold enough to sign his work. This act of inscription ensures that his identity remains tethered to the paper, allowing us to look back at the year 1605 and see his hand at work. He likely served a court in transition, perhaps under the patronage of Rana Pratap Singh or his son Amar Singh, finding a way to preserve the dignity of the Mewar tradition even when the political tides were shifting.
The work of Nasiruddin is most famously understood through the Chawand Ragamala, a series of paintings that translate the complex structures of Indian classical music into visual form. These works do not merely depict scenes; they personify the moods of specific ragas. Through his use of opaque watercolor on paper, he gave shape to the invisible, turning a musical mode into a living, breathing moment of human experience.
His compositions often focused on the intersection of the divine and the earthly, frequently using the following elements to build his narratives:
In one notable depiction, a lord sits upon a throne, his red turban a sharp contrast against a white jama, as he listens to musicians. The scene is set within a red-walled chamber, under a starry sky, capturing a moment of winter in the late afternoon. Such details reveal a mind deeply attuned to the nuances of atmosphere and the subtle ways light and color can evoke the feeling of love or devotion.
Nasiruddin’s contribution to the Rajput tradition is anchored by the fact that he produced some of the earliest dated sets of Rajasthani miniature paintings. His ability to weave together the strict requirements of musical theory with the fluid grace of painting helped define a genre. He worked in a style that was both disciplined and deeply personal, ensuring that the Chawand Ragamala would remain a vital reference for those studying the evolution of the Mewar Court style.
Even as the centuries passed, his images remained. From the terraces where women pluck leaves in anticipation of lovers to the quiet chambers of listening princes, his work survives in collections from the Freer Gallery of Art to the Cleveland Museum of Art. He remains a vital link to a period of intense creativity, a man who used the small scale of a miniature to capture the vastness of human emotion.