The Deccani Schools of Painting
1. Time Period and Origin
The Deccan school of painting developed mainly from the late 16th century to the 1680s and continued into the 19th century under the Asafiya dynasty and the provincial courts of Hyderabad's Rajas and Nawabs. However, it gradually declined after the Mughal conquest of the Deccan region.
2. Earlier Misclassification
Initially, the Deccan school of painting was considered a branch of Indo-Persian art, influenced by Safavid (Persian), Turkish, and Mughal styles. Although art historians recognized its distinct features, it was not initially regarded as a fully developed independent school.
3. Royal Patronage
The Deccan school of painting flourished under the patronage of the Deccan Sultanates—Bijapur, Golconda, and Ahmadnagar. The rulers of these kingdoms actively supported and commissioned artworks that reflected their political ambitions and cultural preferences.
4. Key Features
Portraiture of historical and religious figures was a popular feature in Deccan and Islamic Asian art, not unique to the Mughals. Similar styles were also seen in Safavid and Ottoman traditions. However, the emphasis on documentary-style portraits marked a significant development in the broader Islamic artistic tradition.
5. Unique Characteristics of Deccani Art
The Deccan school of painting developed in the southern plateau beyond the Vindhyas and is known for its distinct, bold, and romantic style. It featured vibrant, intense colours, dense compositions, strong regional aesthetics, and naturalistic expressions, creating an aura of romance and vivid storytelling in its artworks.
Ahmadnagar School of Painting
1. First Known Example
A notable example of early Deccan painting is found in a volume of poems from the reign of Hussain Nizam Shah I of Ahmadnagar (1553–1565). It contains 12 miniatures, primarily depicting battle scenes. However, the scenes portraying a marriage and the queen are especially remarkable for their use of gorgeous colours and sensuous, flowing lines.
2. Representation of Women
Deccan painting was inspired by northern pre-Mughal traditions, particularly from Malwa and Ahmedabad. The costumes in these artworks reflect a blend of regional styles—choli (bodice) and long braided pigtails with tassels show North Indian influence, while the scarf wrapped below the hips and the bun hairstyle at the nape of the neck resemble features seen in South Indian Lepakshi frescoes and murals.
3. Colour & Composition
The Deccan painting palette was richer and more brilliant compared to North Indian manuscripts like those of the Mughals. It showed strong Persian influences, such as golden skies, high circular horizons, and landscapes filled with stylised plants or intricately patterned backgrounds.
4. Architecture and Background
Deccan paintings often featured neutral backgrounds filled with stylised small plants, symmetrical domes, and arched structures. These elements reflected a harmonious blend of North Indian and Persian artistic influences.
5. Male Costume
Deccan paintings show a strong northern influence in costume and style. The jama with pointed tails, as seen in early Akbari art, and the small turban (pagri) resemble features from the earliest Mughal styles. These elements likely drew inspiration from regions like Delhi to Ahmedabad.
6. Persian/Bukhara Connection
Some Deccan paintings are attributed to artists from Bukhara (Central Asia). The Gulistan manuscript (1567) displays similar stylistic features. Supporting this connection is a manuscript from the Bankipore Library in Patna, signed by the scribe Yusuf and dedicated to Ibrahim Qutb Shah of Golconda (r. 1550–1580). It contains seven miniatures rendered in pure Bukhara style, highlighting the Central Asian influence on Deccan art.
Bijapur School of Painting
1. Nujum al-Ulum (1570) – An Illustrated Encyclopaedia
One notable Deccan manuscript contains 876 miniatures depicting a wide range of subjects, including weapons, utensils, and constellations. Some of the miniatures feature women in South Indian dress, portrayed as tall and slender figures, resembling the style seen in Ragamala paintings.
2. Royal Patronage
Ali Adil Shah I (1558–1580) was a notable patron of art and literature in the Deccan. His successor, Ibrahim Adil Shah II (1580–1627), was a great music enthusiast and the author of Nauras-nama. He owned the illustrated manuscript Nujum al-Ulum and is also believed to have commissioned the famous Ragamala painting series in the 1590s.
3. Artistic Influences
Deccan paintings show an Ottoman Turkish connection through astronomical illustrations influenced by Turkish manuscripts. At the same time, they have strong Indian roots—Ragamala paintings reflect the Lepakshi style with bright, bold colours and simplified yet dynamic compositions, blending diverse cultural aesthetics.
4. The Throne of Prosperity (Symbolic Painting)
A unique Deccan painting features a diagram of a seven-tiered symbolic throne supported by elements like elephants, tigers, palm trees, peacocks, and primitive tribes. The design draws inspiration from Gujarati carved wooden doorways and Deccani temple structures. Visually, it combines Persian-style colouring with arabesque patterns, a blue sky filled with Deccani foliage, and side margins resembling early 1500s Gujarati manuscript designs.
5. The Painting of a Yogini
The Yogini painting depicts a female ascetic devoted to yoga and spiritual or intellectual pursuit—a rare theme in royal art, focused on renunciation. The artwork features a vertical composition with a tall, standing figure engaged in a symbolic or meditative conversation with a myna bird. The Yogini is adorned with jewellery, has an elongated hair bun, and swirling scarves that echo a rhythmic grace, all set against a lush natural landscape filled with rich flora.
6. Key Characteristics of Bijapur Painting
Golconda School of Painting
1. Historical Background
Golconda became an independent kingdom in 1512 and, by the late 16th century, emerged as the wealthiest among the Deccan states. Its economic prosperity was driven by active trade through eastern ports, exporting goods like iron and cotton to Southeast Asia. Trade with Persia also flourished, with Golconda’s painted cottons gaining popularity in Europe. The discovery of diamonds in the 17th century further boosted the kingdom's immense wealth.
2. Royal Patronage & Art Promotion
During the mid-17th century, portraits of Deccan Sultans became popular export items through Dutch merchants. These artworks were likely adapted from royal paintings and produced for sale in local bazaars. A notable trend from 1635–1650 was the creation of large wall-hanging paintings, sometimes up to 8 feet high, featuring regal figures set within grand and richly detailed architectural backgrounds.
3. Early Miniatures – Diwan of Hafiz (dated 1463)
The earliest five miniatures attributed to Golconda feature court scenes with a young ruler seated on a throne. These paintings are notable for their use of gold detailing, deep blue skies, and vibrant elements like dancing girls, intricately patterned carpets, and flat, layered architectural settings. The ruler is depicted with a traditional Deccani sword and an embroidered white coat. Notably, these works show no influence of Mughal art, highlighting a distinct Deccani style.
4. Artistic Characteristics of Golconda Paintings
5. Notable Example
The portrait of Muhammad Qutb Shah (1611–1626) depicts him seated on a diwan, dressed in traditional Golconda attire. This artwork marks a transition toward more refined and sophisticated compositions in Golconda painting. Subtle Mughal influences begin to emerge, seen in the realistic rendering of fabric folds and a sense of volume or plasticity in the figure.
6. Manuscript Illustration Tradition
A Sufi poem accompanied by prose featured over 20 miniatures, showcasing the rich artistic style of the Deccan. These paintings made extensive use of gold, banded skies, and characteristic Deccani trees. One standout artwork from this set depicts a tall woman engaged in conversation with a bird—a striking image that reflects both spiritual symbolism and the distinct visual aesthetics of the region.
Composite Horse
This early 17th-century painting from Golconda, titled Composite Horse, is a fascinating blend of artistic elements. It shows a galloping horse made up of intertwined human figures, set against a richly decorated background. Surreal details like flying cranes, lions, Chinese-style clouds, and large-leafed plants add to its dream-like quality. Interestingly, while most of the scene feels airy and floating, two rocky corners at the bottom ground the image. The limited colour palette—mainly browns and some blues—adds to its unique and striking visual impact.
Sultan Ibrahim Adil Shah II hawking
This vibrant painting depicts Sultan Ibrahim Adil Shah II riding a galloping horse, full of energy and grace. The red highlights on the horse's limbs and tail, along with the Sultan’s flowing garment, create a powerful visual impact. The lush background includes dark green forests, cranes, and a glowing golden-blue sky. A white hawk stands out at the center, adding to the scene’s richness, while the Sultan’s delicate facial features reflect sensitivity. Persian influence can be seen in the style of the horse and rocks, while the plants and landscape show local Indian inspiration. This artwork is housed in the Institute of the Peoples of Asia, Leningrad, Russia.
Ragini Pathamsika of Raga Hindola
