The wounded monkey bites the hand of the prince, his chessmate, in the presence of guests, from a Tuti-nama (Tales of a Parrot): Fifth Night

Daswanth, the son of a palanquin-bearer, was discovered by Emperor Akbar while drawing on workshop walls and trained under the Persian master Khwāja Abd al-Ṣamad. The Tuti-nama was the only manuscript entirely his own. He went on to work on the Hamzanama and Razmnama as a lead artist. In 1584, he died by his own hand, leaving behind an unfinished career in Mughal art. Although this painting is small, it is extremely intense. The backstory of this painting is a mother parrot narrating a story to its young ones, warning them about interspecies friendships, like theirs with the fox cubs. The story starts with a monkey playing chess with a Royal prince. As the Prince calls for other higher officials to play with them, the monkey makes a bad joke about it. This causes the Prince to feel an intense wave of rage, and he slaps the monkey. Upon this disrespect, the monkey is also filled with the emotion of anger and bites the Prince in return. This miniature catches that exact moment where the monkey’s teeth meet royal flesh, courtiers frozen in shock, food preparation carrying on obliviously to the left. Brightly coloured figures push towards the edges of the picture and leave no space anywhere in it. The artist painted a cool blue underpainting beneath the picture's surface, which is an exceptionally sophisticated use of paint all by itself and adds a special glow to the painting. Wet-on-wet paint application, like many European watercolour painters used, distinguishes this painting from other forms of Mughal painting from the same period.