NCERT Textbook - The Deccani Schools of Painting | Fine Art for Class 12 - Humanities/Arts PDF Download

 Page 1


The Deccani Schools of Painting
4
T
he 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 is 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.
The Deccani style of Painting was placed under 
the Indo-Persian art for long. 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, who had their peculiar 
political and cultural vision. They hired and 
nurtured artists and commissioned works 
that enhanced their artistic sensibilities 
and specific requirements of governance in 
their kingdoms.
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 the Asian 
Islamic art as also in the Mughal art in India.
In the plateau region of southern India, 
beyond the Vindhya mountain range, an 
endearing school of painting, which was 
distinct and strong, was nurtured and 
expanded under various Sultans of the Deccan 
in the sixteenth and seventeenth centuries. 
Sultan Adil Shah II 
playing Tambura, Farrukh 
Beg, Bijapur, 1595–1600, 
National Museum, 
Prague, Czech Republic
1_4.The Deccani School of Painting.indd   55 01 Sep 2020   02:21:44 PM
Rationalised 2023-24
Page 2


The Deccani Schools of Painting
4
T
he 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 is 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.
The Deccani style of Painting was placed under 
the Indo-Persian art for long. 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, who had their peculiar 
political and cultural vision. They hired and 
nurtured artists and commissioned works 
that enhanced their artistic sensibilities 
and specific requirements of governance in 
their kingdoms.
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 the Asian 
Islamic art as also in the Mughal art in India.
In the plateau region of southern India, 
beyond the Vindhya mountain range, an 
endearing school of painting, which was 
distinct and strong, was nurtured and 
expanded under various Sultans of the Deccan 
in the sixteenth and seventeenth centuries. 
Sultan Adil Shah II 
playing Tambura, Farrukh 
Beg, Bijapur, 1595–1600, 
National Museum, 
Prague, Czech Republic
1_4.The Deccani School of Painting.indd   55 01 Sep 2020   02:21:44 PM
Rationalised 2023-24
56 An IntroductIon to IndIAn Art —PArt II
The kingdoms of Bijapur, Golconda and Ahmadnagar 
developed highly sophisticated and distinct school of court 
painting. Its unique sensuality and intense colours have 
strong affinity to regional aesthetics. The school preferred 
dense composition and attempted to create an aura of 
romance, which invariably expressed itself in an idiom that 
was eloquently natural and vivid.
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 
interestingly, those depicting the queen and her marriage 
delight us with gorgeous colours and sensuous lines. The 
woman represented in it belongs to the northern tradition 
of pre-Mughal painting, which was flourishing especially 
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 round the body below 
the hips, is a southern fashion, which is seen in the Lepakshi 
frescoes. The palette is different from paintings 
of northern manuscripts, coming largely from 
the Mughal atelier, as they are more rich and 
brilliant. Paintings of the Deccan have similar 
characteristics. The high circular horizon and 
gold sky have Persian influence. We may see 
the debt of all Deccani kingdoms, which they 
owe to Persia for their landscape idiom.
These feminine dress, present in a series 
of Ragamala paintings, are 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 painting, disappears and is replaced 
by a neutral coloured ground patterned all 
over with small stylised plants, or occupied 
by symmetrical architectural domes over 
the archades. All these features, except the 
hairstyle, have traces of north India or Persia. 
Tarif–i–Hussain Shahi: 
King sitting on the Throne, 
Ahmadnagar, 1565–1569, 
Bharata Itihasa Samshodaka 
Mandala, Poona
1_4.The Deccani School of Painting.indd   56 01 Sep 2020   02:21:45 PM
Rationalised 2023-24
Page 3


The Deccani Schools of Painting
4
T
he 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 is 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.
The Deccani style of Painting was placed under 
the Indo-Persian art for long. 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, who had their peculiar 
political and cultural vision. They hired and 
nurtured artists and commissioned works 
that enhanced their artistic sensibilities 
and specific requirements of governance in 
their kingdoms.
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 the Asian 
Islamic art as also in the Mughal art in India.
In the plateau region of southern India, 
beyond the Vindhya mountain range, an 
endearing school of painting, which was 
distinct and strong, was nurtured and 
expanded under various Sultans of the Deccan 
in the sixteenth and seventeenth centuries. 
Sultan Adil Shah II 
playing Tambura, Farrukh 
Beg, Bijapur, 1595–1600, 
National Museum, 
Prague, Czech Republic
1_4.The Deccani School of Painting.indd   55 01 Sep 2020   02:21:44 PM
Rationalised 2023-24
56 An IntroductIon to IndIAn Art —PArt II
The kingdoms of Bijapur, Golconda and Ahmadnagar 
developed highly sophisticated and distinct school of court 
painting. Its unique sensuality and intense colours have 
strong affinity to regional aesthetics. The school preferred 
dense composition and attempted to create an aura of 
romance, which invariably expressed itself in an idiom that 
was eloquently natural and vivid.
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 
interestingly, those depicting the queen and her marriage 
delight us with gorgeous colours and sensuous lines. The 
woman represented in it belongs to the northern tradition 
of pre-Mughal painting, which was flourishing especially 
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 round the body below 
the hips, is a southern fashion, which is seen in the Lepakshi 
frescoes. The palette is different from paintings 
of northern manuscripts, coming largely from 
the Mughal atelier, as they are more rich and 
brilliant. Paintings of the Deccan have similar 
characteristics. The high circular horizon and 
gold sky have Persian influence. We may see 
the debt of all Deccani kingdoms, which they 
owe to Persia for their landscape idiom.
These feminine dress, present in a series 
of Ragamala paintings, are 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 painting, disappears and is replaced 
by a neutral coloured ground patterned all 
over with small stylised plants, or occupied 
by symmetrical architectural domes over 
the archades. All these features, except the 
hairstyle, have traces of north India or Persia. 
Tarif–i–Hussain Shahi: 
King sitting on the Throne, 
Ahmadnagar, 1565–1569, 
Bharata Itihasa Samshodaka 
Mandala, Poona
1_4.The Deccani School of Painting.indd   56 01 Sep 2020   02:21:45 PM
Rationalised 2023-24
t he d eccAnI SchoolS of PAIntIng 57
Male costume is also decisively northern. The jama with 
pointed tails is frequently seen in early Akbari miniatures 
and probably originated in the area somewhere between 
Delhi and Ahmedabad. The small pagri is close to the 
form found in the earliest Akbari miniatures. The original 
paintings in the Gulistan of 1567 have been attributed by art 
historians to the Bukhara artists. Another interesting fact 
is that such painters may also have worked in the Deccan. 
This supported by a manuscript is now in the collection of 
Bankipore Library, Patna. It is signed by a scribe, Yusuf, 
and is dedicated to Ibrahim Adil (1569), presumably Ibrahim 
Qutb Shah of Golconda, who ruled from 1550–1580. This 
manuscript contains seven miniatures that are completely 
in the Bukhara idiom of that date.
Bijapur School of Painting
Paintings from Bijapur in the sixteenth century have a 
richly illustrated encyclopaedia known as the Nujum al-Ulum 
dated 1570. Among the 876 miniatures, which adorn this 
remarkable little volume, many illustrate weapons and 
utensils, while others the constellations. The 
women are shown in south Indian dress, tall 
and slender as those in the Ragamala paintings. 
The school of Bijapur was patronised by Ali 
Adil Shah I (1558–1580) and his successor 
Ibrahim II (1580–1627), both patrons of art 
and literature. The latter was also an expert 
in Indian music and author of a book on this 
subject, Nauras-nama. He was the owner of 
Nujum al-Ulum manuscript and might have 
commissioned the Ragamala series in the 
1590s. Bijapur had a close connection with 
Turkey and astronomical illustrations in Nujum 
al-Ulum may have been derived from Ottoman 
Turkish manuscripts. The Ragamala are, as 
we have seen, Indian in their connections, 
with definite echoes of the Lepakshi style. They 
exemplify the luxuriant aestheticism of the 
Adil Shah court in their daring and brilliantly 
successful colouring and vigour of simplified 
compositions. The Throne of Prosperity is a 
symbolic diagram of an auspicious throne of 
Nujum al-Ulum: The Throne 
of Prosperity, Bijapur, 1570, 
The Chester Beatty Library, 
Dublin, Ireland
1_4.The Deccani School of Painting.indd   57 01 Sep 2020   02:21:45 PM
Rationalised 2023-24
Page 4


The Deccani Schools of Painting
4
T
he 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 is 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.
The Deccani style of Painting was placed under 
the Indo-Persian art for long. 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, who had their peculiar 
political and cultural vision. They hired and 
nurtured artists and commissioned works 
that enhanced their artistic sensibilities 
and specific requirements of governance in 
their kingdoms.
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 the Asian 
Islamic art as also in the Mughal art in India.
In the plateau region of southern India, 
beyond the Vindhya mountain range, an 
endearing school of painting, which was 
distinct and strong, was nurtured and 
expanded under various Sultans of the Deccan 
in the sixteenth and seventeenth centuries. 
Sultan Adil Shah II 
playing Tambura, Farrukh 
Beg, Bijapur, 1595–1600, 
National Museum, 
Prague, Czech Republic
1_4.The Deccani School of Painting.indd   55 01 Sep 2020   02:21:44 PM
Rationalised 2023-24
56 An IntroductIon to IndIAn Art —PArt II
The kingdoms of Bijapur, Golconda and Ahmadnagar 
developed highly sophisticated and distinct school of court 
painting. Its unique sensuality and intense colours have 
strong affinity to regional aesthetics. The school preferred 
dense composition and attempted to create an aura of 
romance, which invariably expressed itself in an idiom that 
was eloquently natural and vivid.
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 
interestingly, those depicting the queen and her marriage 
delight us with gorgeous colours and sensuous lines. The 
woman represented in it belongs to the northern tradition 
of pre-Mughal painting, which was flourishing especially 
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 round the body below 
the hips, is a southern fashion, which is seen in the Lepakshi 
frescoes. The palette is different from paintings 
of northern manuscripts, coming largely from 
the Mughal atelier, as they are more rich and 
brilliant. Paintings of the Deccan have similar 
characteristics. The high circular horizon and 
gold sky have Persian influence. We may see 
the debt of all Deccani kingdoms, which they 
owe to Persia for their landscape idiom.
These feminine dress, present in a series 
of Ragamala paintings, are 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 painting, disappears and is replaced 
by a neutral coloured ground patterned all 
over with small stylised plants, or occupied 
by symmetrical architectural domes over 
the archades. All these features, except the 
hairstyle, have traces of north India or Persia. 
Tarif–i–Hussain Shahi: 
King sitting on the Throne, 
Ahmadnagar, 1565–1569, 
Bharata Itihasa Samshodaka 
Mandala, Poona
1_4.The Deccani School of Painting.indd   56 01 Sep 2020   02:21:45 PM
Rationalised 2023-24
t he d eccAnI SchoolS of PAIntIng 57
Male costume is also decisively northern. The jama with 
pointed tails is frequently seen in early Akbari miniatures 
and probably originated in the area somewhere between 
Delhi and Ahmedabad. The small pagri is close to the 
form found in the earliest Akbari miniatures. The original 
paintings in the Gulistan of 1567 have been attributed by art 
historians to the Bukhara artists. Another interesting fact 
is that such painters may also have worked in the Deccan. 
This supported by a manuscript is now in the collection of 
Bankipore Library, Patna. It is signed by a scribe, Yusuf, 
and is dedicated to Ibrahim Adil (1569), presumably Ibrahim 
Qutb Shah of Golconda, who ruled from 1550–1580. This 
manuscript contains seven miniatures that are completely 
in the Bukhara idiom of that date.
Bijapur School of Painting
Paintings from Bijapur in the sixteenth century have a 
richly illustrated encyclopaedia known as the Nujum al-Ulum 
dated 1570. Among the 876 miniatures, which adorn this 
remarkable little volume, many illustrate weapons and 
utensils, while others the constellations. The 
women are shown in south Indian dress, tall 
and slender as those in the Ragamala paintings. 
The school of Bijapur was patronised by Ali 
Adil Shah I (1558–1580) and his successor 
Ibrahim II (1580–1627), both patrons of art 
and literature. The latter was also an expert 
in Indian music and author of a book on this 
subject, Nauras-nama. He was the owner of 
Nujum al-Ulum manuscript and might have 
commissioned the Ragamala series in the 
1590s. Bijapur had a close connection with 
Turkey and astronomical illustrations in Nujum 
al-Ulum may have been derived from Ottoman 
Turkish manuscripts. The Ragamala are, as 
we have seen, Indian in their connections, 
with definite echoes of the Lepakshi style. They 
exemplify the luxuriant aestheticism of the 
Adil Shah court in their daring and brilliantly 
successful colouring and vigour of simplified 
compositions. The Throne of Prosperity is a 
symbolic diagram of an auspicious throne of 
Nujum al-Ulum: The Throne 
of Prosperity, Bijapur, 1570, 
The Chester Beatty Library, 
Dublin, Ireland
1_4.The Deccani School of Painting.indd   57 01 Sep 2020   02:21:45 PM
Rationalised 2023-24
58 An IntroductIon to IndIAn Art —PArt II
seven stages, each supported by different inhabitants — from 
elephants and tigers to palm trees, through storeys of 
peacocks and primitive tribes. The basic structures recall 
the wood carved doorways and facades of Gujarati homes 
or perhaps remind us of the temples of the Deccan. The 
colouring of this page is in Islamic Persian tradition, 
especially, the arabesques on the top of the throne. We see it 
is surmounted by a Deccani foliage against amazingly deep 
blue sky. The stylised plants on either side of the throne have 
visual reference to margin decoration in Gujarati manuscript 
of say early sixteenth century. There is, thus, a strong Indian 
visual tradition that structure this miniature.
The theme of another Deccani painting is Yogini — one 
who believes in yoga, leads a disciplined life of physical 
and emotional training, pursues spiritual and intellectual 
explorations, and is famous for renunciation of worldly 
attachments. But such an attitude was 
not usual, and therefore, extraordinary 
in practice.
This work is attributed to an artist, about 
whom we do not have any record. It is to 
be noted that the artist prefers a vertical 
composition, where the long standing figure 
of the Yogini is complimented by a group of 
white structures right at the top, as a tapering, 
visual note. The Yogini is preoccupied with a 
myna bird as if in conversation. The Yogini 
is adorned with jewellery and her hair bun 
elongates her visual presence. The long 
scarves swirl in rhythmic circle around her 
body, which has exquisite flora surrounding 
it in exquisite landscape. 
Golconda School of Painting
Golconda became an independent state in 
1512. By the end of the sixteenth century, it 
was the wealthiest of the Deccan kingdoms. 
This was largely due to brisk trade from the 
ports along the east coast, from where iron 
and cotton goods were shipped to South East 
Asia. Meanwhile expansive trade continued 
with Persia, which became a rage in Europe 
Yogini, Bijapur, seventeenth 
century, The Chester Beatty 
Library, Dublin, Ireland
1_4.The Deccani School of Painting.indd   58 01 Sep 2020   02:21:45 PM
Rationalised 2023-24
Page 5


The Deccani Schools of Painting
4
T
he 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 is 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.
The Deccani style of Painting was placed under 
the Indo-Persian art for long. 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, who had their peculiar 
political and cultural vision. They hired and 
nurtured artists and commissioned works 
that enhanced their artistic sensibilities 
and specific requirements of governance in 
their kingdoms.
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 the Asian 
Islamic art as also in the Mughal art in India.
In the plateau region of southern India, 
beyond the Vindhya mountain range, an 
endearing school of painting, which was 
distinct and strong, was nurtured and 
expanded under various Sultans of the Deccan 
in the sixteenth and seventeenth centuries. 
Sultan Adil Shah II 
playing Tambura, Farrukh 
Beg, Bijapur, 1595–1600, 
National Museum, 
Prague, Czech Republic
1_4.The Deccani School of Painting.indd   55 01 Sep 2020   02:21:44 PM
Rationalised 2023-24
56 An IntroductIon to IndIAn Art —PArt II
The kingdoms of Bijapur, Golconda and Ahmadnagar 
developed highly sophisticated and distinct school of court 
painting. Its unique sensuality and intense colours have 
strong affinity to regional aesthetics. The school preferred 
dense composition and attempted to create an aura of 
romance, which invariably expressed itself in an idiom that 
was eloquently natural and vivid.
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 
interestingly, those depicting the queen and her marriage 
delight us with gorgeous colours and sensuous lines. The 
woman represented in it belongs to the northern tradition 
of pre-Mughal painting, which was flourishing especially 
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 round the body below 
the hips, is a southern fashion, which is seen in the Lepakshi 
frescoes. The palette is different from paintings 
of northern manuscripts, coming largely from 
the Mughal atelier, as they are more rich and 
brilliant. Paintings of the Deccan have similar 
characteristics. The high circular horizon and 
gold sky have Persian influence. We may see 
the debt of all Deccani kingdoms, which they 
owe to Persia for their landscape idiom.
These feminine dress, present in a series 
of Ragamala paintings, are 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 painting, disappears and is replaced 
by a neutral coloured ground patterned all 
over with small stylised plants, or occupied 
by symmetrical architectural domes over 
the archades. All these features, except the 
hairstyle, have traces of north India or Persia. 
Tarif–i–Hussain Shahi: 
King sitting on the Throne, 
Ahmadnagar, 1565–1569, 
Bharata Itihasa Samshodaka 
Mandala, Poona
1_4.The Deccani School of Painting.indd   56 01 Sep 2020   02:21:45 PM
Rationalised 2023-24
t he d eccAnI SchoolS of PAIntIng 57
Male costume is also decisively northern. The jama with 
pointed tails is frequently seen in early Akbari miniatures 
and probably originated in the area somewhere between 
Delhi and Ahmedabad. The small pagri is close to the 
form found in the earliest Akbari miniatures. The original 
paintings in the Gulistan of 1567 have been attributed by art 
historians to the Bukhara artists. Another interesting fact 
is that such painters may also have worked in the Deccan. 
This supported by a manuscript is now in the collection of 
Bankipore Library, Patna. It is signed by a scribe, Yusuf, 
and is dedicated to Ibrahim Adil (1569), presumably Ibrahim 
Qutb Shah of Golconda, who ruled from 1550–1580. This 
manuscript contains seven miniatures that are completely 
in the Bukhara idiom of that date.
Bijapur School of Painting
Paintings from Bijapur in the sixteenth century have a 
richly illustrated encyclopaedia known as the Nujum al-Ulum 
dated 1570. Among the 876 miniatures, which adorn this 
remarkable little volume, many illustrate weapons and 
utensils, while others the constellations. The 
women are shown in south Indian dress, tall 
and slender as those in the Ragamala paintings. 
The school of Bijapur was patronised by Ali 
Adil Shah I (1558–1580) and his successor 
Ibrahim II (1580–1627), both patrons of art 
and literature. The latter was also an expert 
in Indian music and author of a book on this 
subject, Nauras-nama. He was the owner of 
Nujum al-Ulum manuscript and might have 
commissioned the Ragamala series in the 
1590s. Bijapur had a close connection with 
Turkey and astronomical illustrations in Nujum 
al-Ulum may have been derived from Ottoman 
Turkish manuscripts. The Ragamala are, as 
we have seen, Indian in their connections, 
with definite echoes of the Lepakshi style. They 
exemplify the luxuriant aestheticism of the 
Adil Shah court in their daring and brilliantly 
successful colouring and vigour of simplified 
compositions. The Throne of Prosperity is a 
symbolic diagram of an auspicious throne of 
Nujum al-Ulum: The Throne 
of Prosperity, Bijapur, 1570, 
The Chester Beatty Library, 
Dublin, Ireland
1_4.The Deccani School of Painting.indd   57 01 Sep 2020   02:21:45 PM
Rationalised 2023-24
58 An IntroductIon to IndIAn Art —PArt II
seven stages, each supported by different inhabitants — from 
elephants and tigers to palm trees, through storeys of 
peacocks and primitive tribes. The basic structures recall 
the wood carved doorways and facades of Gujarati homes 
or perhaps remind us of the temples of the Deccan. The 
colouring of this page is in Islamic Persian tradition, 
especially, the arabesques on the top of the throne. We see it 
is surmounted by a Deccani foliage against amazingly deep 
blue sky. The stylised plants on either side of the throne have 
visual reference to margin decoration in Gujarati manuscript 
of say early sixteenth century. There is, thus, a strong Indian 
visual tradition that structure this miniature.
The theme of another Deccani painting is Yogini — one 
who believes in yoga, leads a disciplined life of physical 
and emotional training, pursues spiritual and intellectual 
explorations, and is famous for renunciation of worldly 
attachments. But such an attitude was 
not usual, and therefore, extraordinary 
in practice.
This work is attributed to an artist, about 
whom we do not have any record. It is to 
be noted that the artist prefers a vertical 
composition, where the long standing figure 
of the Yogini is complimented by a group of 
white structures right at the top, as a tapering, 
visual note. The Yogini is preoccupied with a 
myna bird as if in conversation. The Yogini 
is adorned with jewellery and her hair bun 
elongates her visual presence. The long 
scarves swirl in rhythmic circle around her 
body, which has exquisite flora surrounding 
it in exquisite landscape. 
Golconda School of Painting
Golconda became an independent state in 
1512. By the end of the sixteenth century, it 
was the wealthiest of the Deccan kingdoms. 
This was largely due to brisk trade from the 
ports along the east coast, from where iron 
and cotton goods were shipped to South East 
Asia. Meanwhile expansive trade continued 
with Persia, which became a rage in Europe 
Yogini, Bijapur, seventeenth 
century, The Chester Beatty 
Library, Dublin, Ireland
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t he d eccAnI SchoolS of PAIntIng 59
and was greatly valued among painted cottons. Early in the 
seventeenth century, diamonds were discovered, expanding 
the source of revenue. The visuals from Golconda draw 
one’s attention to the gold jewellery worn by both women 
and men. Besides, the themes of Golconda paintings gained 
exceptional fame.
Golconda’s art became popular as Dutch merchants 
carried the portraits of sultans in the late seventeenth 
century to Europe. These were probably done for the bazaar 
and had references to royal paintings. The earlier Golconda 
paintings, dated 1635–1650, at times as large as eight 
feet high, were made to be used as wall hangings. These 
paintings are covered with pictorial designs, 
generally, figures in architectural settings of 
varied origin.
The earliest five miniatures, identified as 
Golconda work, were bound up in Diwan of 
Hafiz, dated 1463. These paintings represent 
court scenes of a young ruler, who is depicted 
seated enthroned, holding a typically long and 
straight Deccani sword, in the centre of one of 
the painting folios. The Prince is seen wearing 
a white coat with embroidered vertical bands. 
All five painted pages are lavishly enriched 
with gold, touching deep azure sky. Dancing 
girls are seen entertaining the royal gathering. 
The symmetrical and apparently unfunctional 
architecture has several registers of flat 
screens one above the other. The ground 
appears covered with elaborately patterned 
carpets. It is important to note here that the 
painting suggests no Mughal influence. Purple 
hue is amply applied, and at times, animals 
become blue, so you see blue foxes.
There is a portrait of Muhammad Qutb 
Shah (1611–1626) as he sits on a diwan 
early in his reign. He wears this typical 
Golconda dress and an elegant tight-fitting 
cap. The composition has gained increased 
sophistication and skill, while the strict 
symmetry of the 1590 pages is retained. 
One may say there is adequate reference to 
Dancing before Muhammad 
Quli Qutb Shah, Golconda, 
1590. British Museum, 
London, UK
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