Explore the Deccani School of Painting, which fuses Persian and indigenous artistic styles. Discover royal portraits, cultural symbolism, and vibrant landscapes from Bijapur, Golconda, and Hyderabad.

History of Deccani painting

• The History of Deccani Painting
  • The history of Deccani Painting can largely be constructed from the late sixteenth century until the 1680s, the time when the Mughals conquered the Deccan.

    

  • It continued to be seen in the art of the nineteenth century, as well as under the Asafiya dynasty, and finally in paintings in the provincial courts of Rajas and Nawabs, ruling various lands in the State of Hyderabad under the Nizam.
• Deccani Style of Painting
  • The Deccani style of Painting was placed under the Indo-Persian art for a long time.
  • It was considered to be Middle Eastern, Safavid, Persian, Turkish, and even Mughal in origin.
  • Art historians acknowledged its uniqueness but failed to recognise it as a full-fledged school, which was sustained by a class of rulers with their peculiar political and cultural vision.
  • These rulers hired and nurtured artists and commissioned works that enhanced their artistic sensibilities and specific requirements of governance in their kingdoms.
• Portraiture and Representation
  • The art of portraiture and representation of historical and religious figures are seen elsewhere in other contemporary schools of painting.
  • Mughal portraiture, in this sense, was not wholly unique.
  • We see such artistic inclinations in the Safavid and Ottoman Schools of Painting.
  • The highly documentary nature of portraits is a singularly unique development seen extensively in Asian Islamic art, as well as in Mughal art in India.
• The Deccani School of Painting
  • In the plateau region of southern India, beyond the Vindhya mountain range, a distinct and strong school of painting was nurtured and expanded under various Sultans of the Deccan in the sixteenth and seventeenth centuries.
  • Kingdoms like Bijapur, Golconda, and Ahmadnagar developed a highly sophisticated and distinct school of court painting.
  • Its unique sensuality and intense colours have a strong affinity to regional aesthetics.
  • The school preferred dense composition and attempted to create an aura of romance, which expressed itself in an idiom that was eloquently natural and vivid.
• Example of Deccani Art
  • Sultan Adil Shah II playing Tambura, Farrukh Beg, Bijapur, 1595–1600, National Museum, Prague, Czech Republic.

Ahmadnagar School of Painting

• Ahmadnagar School of Painting
  • The earliest examples of Deccani painting are in a volume of poems, celebrating the reign of Hussain Nizam Shah I of Ahmadnagar (1553–1565).
  • Most of the 12 miniatures that illustrate battle scenes are of no artistic interest, but those depicting the queen and her marriage delight with gorgeous colours and sensuous lines.
  • The woman represented in the paintings belongs to the northern tradition of pre-Mughal painting, particularly flourishing in Malwa and Ahmedabad during this period.
  • The women in the paintings of Ahmadnagar wear a modified northern costume with choli (bodice) and long braided pigtails, ending in a tassel.
  • Only a long scarf, passing around the body below the hips, is a southern fashion seen in the Lepakshi frescoes.
• Palette and Influence
  • The palette used in Ahmadnagar paintings is richer and more brilliant than the northern manuscripts, which were influenced by the Mughal atelier.

    

  • The Deccani paintings share similar characteristics, with a high circular horizon and a gold sky, reflecting Persian influence.
  • The Deccani kingdoms owe much to Persia for their landscape idiom.
• Feminine Dress and Ragamala Paintings
  • The feminine dress seen in a series of Ragamala paintings is one of the most striking and moving examples of the sixteenth-century Deccan Schools of Painting.
  • The women's hair is rolled up in a bun on the nape of the neck, similar to the Lepakshi murals.
  • The horizon in the paintings disappears and is replaced by a neutral coloured ground patterned with small stylised plants or occupied by symmetrical architectural domes over the arcades.
  • All these features, except the hairstyle, show traces of north India or Persia.
• Tarif–i–Hussain Shahi
  • King sitting on the Throne, Ahmadnagar, 1565–1569, Bharata Itihasa Samshodaka Mandala, Poona.
• Male Costume
  • The male costume in Ahmadnagar paintings is decisively northern, with the jama featuring pointed tails, often seen in early Akbari miniatures.
  • The small pagri is similar to the form found in the earliest Akbari miniatures.
• Influence of Bukhara Artists
  • The original paintings in the Gulistan of 1567 have been attributed by art historians to the Bukhara artists.
  • These painters may have also worked in the Deccan, supported by a manuscript now in the collection of Bankipore Library, Patna.
  • The manuscript, signed by scribe Yusuf and dedicated to Ibrahim Adil (1569), contains seven miniatures that follow the Bukhara idiom of that date.

Bijapur School of Painting

• Bijapur School of Painting
  • Paintings from Bijapur in the sixteenth century are found in the Nujum al-Ulum, a richly illustrated encyclopaedia dated 1570.
  • The Nujum al-Ulum contains 876 miniatures, many illustrating weapons, utensils, and constellations.

    

  • The women in these paintings are shown in south Indian dress, tall and slender, similar to those in the Ragamala paintings.
• Patrons of Art
  • The Bijapur School was patronized by Ali Adil Shah I (1558–1580) and his successor Ibrahim II (1580–1627), both notable patrons of art and literature.
  • Ibrahim II was also an expert in Indian music and author of Nauras-nama. He was the owner of the Nujum al-Ulum manuscript and might have commissioned the Ragamala series in the 1590s.
• Connections with Turkey
  • Bijapur had a close connection with Turkey, and the astronomical illustrations in Nujum al-Ulum may have been derived from Ottoman Turkish manuscripts.
• Characteristics of Ragamala Paintings
  • The Ragamala paintings are Indian in their connections, with echoes of the Lepakshi style.
  • They exemplify the luxuriant aestheticism of the Adil Shah court, with daring and brilliantly successful colouring and simplified compositions.
• The Throne of Prosperity
  • The Throne of Prosperity is a symbolic diagram of an auspicious throne, depicted in Nujum al-Ulum (1570, Bijapur).
  • This miniature is in the Chester Beatty Library, Dublin, Ireland.
  • The throne is supported by seven stages, each inhabited by different figures, from elephants and tigers to palm trees, peacocks, and primitive tribes.
  • The basic structures in the miniature recall wood-carved doorways and facades of Gujarati homes or Deccan temples.
  • The colouring follows the Islamic Persian tradition, with arabesques on the top of the throne and Deccani foliage against a deep blue sky.
  • The stylised plants on either side of the throne have visual reference to margin decoration in early sixteenth-century Gujarati manuscripts.
• Yogini Painting
  • Another Deccani painting depicts a Yogini, one who believes in yoga, leads a disciplined life, and pursues spiritual and intellectual explorations.

    

  • The painting shows the Yogini in a vertical composition, with a long-standing figure complemented by a group of white structures at the top.
  • The Yogini is preoccupied with a myna bird, as if in conversation.
  • She is adorned with jewellery, and her hair bun elongates her visual presence. Long scarves swirl around her body.
  • The Yogini is surrounded by exquisite flora, contributing to the overall landscape.

Golconda School of Painting

• Golconda School of Painting
  • Golconda became an independent state in 1512 and was the wealthiest of the Deccan kingdoms by the end of the sixteenth century.
  • Its wealth was due to brisk trade from the east coast ports, which exported iron and cotton goods to Southeast Asia, and trade with Persia, which was highly valued in Europe.
  • Diamonds were discovered early in the seventeenth century, further expanding revenue.
• Golconda's Art and Jewellery
  • The visuals from Golconda paintings often highlight the gold jewellery worn by both women and men.
  • The themes of Golconda paintings gained exceptional fame, especially when portraits of sultans were carried to Europe by Dutch merchants in the late seventeenth century.
• Golconda Paintings of the Seventeenth Century
  • Golconda paintings from the late sixteenth century and early seventeenth century were often large (up to eight feet high) and made as wall hangings.

    

  • These paintings were characterized by pictorial designs, often featuring figures in architectural settings of varied origin.
• Early Golconda Paintings
  • The earliest known Golconda paintings, dated 1463, are found in the Diwan of Hafiz. These paintings depict court scenes of a young ruler seated on a throne, holding a Deccani sword.
  • The paintings are lavishly enriched with gold and set against a deep azure sky.
  • The royal gathering is entertained by dancing girls, and the architecture in the paintings features several registers of flat screens.
  • The painting suggests no Mughal influence and includes the use of purple hues, with animals such as foxes appearing blue.
• Portrait of Muhammad Qutb Shah
  • There is a portrait of Muhammad Qutb Shah (1611–1626) in his early reign, sitting on a diwan in typical Golconda dress with a tight-fitting cap.
  • The composition shows increased sophistication and skill, retaining the symmetry of earlier paintings from 1590.

    

• Unique Features in Golconda Art
  • Golconda paintings feature a marked plastic rendering, especially in the drapery of court figures and the attire of the courtesans and groom.
  • A manuscript of a Sufi poem, richly illustrated with over 20 miniatures, also features gold and blue skies, as well as men’s and women’s costumes reflecting the fashion trends of Ibrahim II of Bijapur.
  • The landscapes depict Deccani trees, richly coloured with tinted edges and plants silhouetted against dark foliage, which is a prominent feature in Deccani painting.
• Popular Themes in Golconda Painting
  • Golconda art includes portraits of rulers, court scenes, and depictions of royalty and court life, often highlighted by intricate gold jewellery.
  • These paintings gained significant popularity both locally and internationally, especially after they were introduced to Europe by Dutch merchants in the late seventeenth century.

Other Adorable Paintings

• Composite Horse Painting
  • This painting is a curious mix of many artistic devices, forming a Composite Horse. The painting includes human figures intertwined to create the form of a galloping horse.

    

  • Flying cranes, lions, Chinese clouds, and plants with large leaves enhance the surreal element of the painting.
  • The scene seems airy and flying, yet the two corners of the painting have rocky formations that anchor it on solid ground, creating a dislocation of the sense of space.
  • The colour palette remains largely in shades of brown and some blue.
• Sultan Ibrahim Adil Shah II
  • This painting exudes energy and sensibility, with the brilliant red on the horse’s limbs and tail and the flowing garment of Sultan Ibrahim Adil Shah II.

    

  • The dark dense forest foliage, along with cranes in the background and a sunlit golden blue sky, enhances the visual experience of the painting.
  • The painting brings the white hawk to the centre, highlighting the delicately portrayed face of the sultan.
  • Persian influence is evident in the treatment of the horse and rocks, while the plants and dense landscape are of native inspiration.
  • The galloping horse generates energy, visually activating the entire panoramic landscape.
  • This painting is in the collection of the Institute of the Peoples of Asia, Academy of Sciences, Leningrad, Russia.
• Ragini Pathamsika of Raga Hindola
  • This painting, from the collection of the National Museum, New Delhi, dates back to around 1590–95 and is associated with the Ragamala family of the Indian musical mode.

    

  • Persian influence is seen in the arabesque decoration on the surface of the two domes in the upper part of the painting.
  • The scene shows two beautifully dressed and bejewelled women in a pavilion, with a third outside, and a female musician playing the veena.
  • The vibrant colours, especially red and green, dominate the scene, with the figures stylized in a formulaic manner.
  • A dark elephant in the left-hand corner creates visual interest and breaks the architectonic structuring.
• Portrait of Sultan Abdullah Qutb Shah
  • This portrait of Sultan Abdullah Qutb Shah is in the collection of the National Museum, New Delhi, India.
  • The painting shows the sultan enthroned, holding a sword in one hand, symbolising his political sovereignty, with a halo around his head depicting his divinity.
• Hazrat Nizamuddin Auliya Listening to Amir Khusrau
  • This provincial painting from Hyderabad, Deccan, depicts Hazrat Nizamuddin Auliya, the revered Sufi saint of the 13th century, listening to music played by his disciple, Amir Khusrau.

    

  • Though naive in style, the painting is charming and narrates a popular Indian theme.
• Chand Bibi Playing Chaugan
  • This painting shows Chand Bibi, the Queen of Bijapur, playing chaugan (equine polo), a popular royal sport.

    

  • Chand Bibi was a revered ruler who resisted Mughal attempts to overtake Bijapur during Emperor Akbar’s reign.
  • The painting, which appears provincial and from a later period, is in the collection of the National Museum, New Delhi, India.