Who painted Parasurama, the sixth avatar of Vishnu?

Parasurama, the sixth avatar of Vishnu was painted by Unknown in 1780.

Where can I see Parasurama, the sixth avatar of Vishnu?

Parasurama, the sixth avatar of Vishnu is held by Victoria and Albert Museum.

What movement is Parasurama, the sixth avatar of Vishnu?

Parasurama, the sixth avatar of Vishnu is associated with Rococo painting.

Artwork

Parasurama, the sixth avatar of Vishnu

Unknown , 1780

Parasurama, the sixth avatar of Vishnu is a paint painting by the Rococo painting artist Unknown. It dates from 1780 and is held in the collection of the Victoria and Albert Museum. Created in 1780, this work is an opaque watercolor on paper portraying Parasurama, the sixth incarnation of the Hindu deity Vishnu.

About this work

Overview

Created in 1780, this work is an opaque watercolor on paper portraying Parasurama, the sixth incarnation of the Hindu deity Vishnu. The figure is presented as a regal warrior, holding an axe in his right hand and a bow in his left, set against a uniformly green field that accentuates his vivid attire.

Subject & Meaning

Parasurama is shown in traditional Indian dress—a red‑yellow dhoti, purple sash, and a red‑gold upper garment—topped with an elaborate jeweled crown. The combination of weaponry and regal costume underscores his mythic role as a divine protector and a martial avatar who wields both axe and bow to restore order.

Technique & Style

The artist employed opaque watercolor, allowing for saturated pigments that render the figure’s clothing and crown with a luminous quality. The flat green background, devoid of perspective, focuses attention on the central figure, a compositional choice reminiscent of late‑eighteenth‑century Indian court paintings that blend realism with stylized iconography.

Context

Produced during a period when Indian visual culture was interacting with European artistic currents, the painting reflects Romantic sensibilities in its emphasis on dramatic expression and vivid color. Yet it remains rooted in indigenous iconographic conventions, illustrating the synthesis of local devotional art with broader aesthetic trends of the era.