THE DECCAN SCHOOL �or DAKHANI OF ART�(CIRCA 1560-1800 A.D.)

Dr. Neeru Bharti Sharma

Department of Fine Arts

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• The influence of Mughal style of Painting on the already existing early styles of Deccan Paintings, introduced by several Mughal painters who migrated to the Deccan during the Period of Aurangzeb and sought patronage there, was responsible for the development of various styles of painting in the Deccanat Ahmed Nagar, Bizapur, Golconda and Hyderabad.

• Although no pre-Mughal miniature paintings from the Deccan are so far known to exist, yet it can safely be presumed that sophisticated schools of painting flourished there, making a significant contribution to the development of the Mughal style in North India. Early centres of painting in the Deccan.

• During the 16th and 17th centuries were Ahmednagar, Bijapur and Golconda. In the Deccan, painting of the Mughal style continued to develop independently in the beginning. However, later in the 17th and18th centuries, it was increasingly influenced by the Mughal style.

AHMADNAGAR School

• The earliest examples of the Ahmadnagar painting are contained in a volume of poems written in praise of Hussain Nizam Shah(I) of Ahmadnagar(1553-1565) and his queen. This manuscript known as the 'Tarif-in-Hussain Shahi, assigned to a period 1565-69 is preserved in the Bharat Itihas Samshodaka Mandala, Poona. One of the illustrations depicts the king sitting on the throne and attended by a number of women. The female appearing in the painting belongs to the northern tradition of Malwa.

• The female appearingin the painting belongs to the northern tradition of Malwa. The Choli (bodice)and long pigtails braided and ending in a tassel are the northern costume. But the long scarf passing round the body is in the southern fashion. The colours used in the painting being rich and brilliant are different from those used in the northern paintings.

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• The Persian influence can be seen in the high horizon, golden sky and the landscape. Some other fine examples of the Ahmadnagar painting are the "Hindola Raga" of about 1590 A.D. and portraits of Burhan Nizam Shah (I) of Ahmadnagar (1591-1596 A.D.) and of Malik Amber of about 1605 A.D. existing in the National Museum, New Delhi and other museums.

• NAME : RAGINI PAT-HAMSIKA
• ARTIST : UNKNOWN
• SCHOOL :AHMADNAGAR (BIJAPUR) DECCANI SCHOOL
• PERIOD :APPROXIMATE 1595 A.D.
• MEDIUM :WATER COLOUR (TEMPERA) ON PAPER
• COURTESY:THE NATIONAL MUSEUM, NEW DELHI

• SUBJECT MATTER :This is a vertical painting of Ragini Pathamsika. It has been drawn from Raga Hans-Dhwani. In this painting artist has shown his keen attachment to Art which is found only in the Anwar-e-sunaheli (a book of fables) books. Out of them, there is Ragini Pathamsika.

• DESCRIPTION : In this painting a lady is sitting in the centre having a veena in her hands. On her both left and right sides, one lady is shown. Both are listening to the Veena. Right below a liquor pot can be seen. An elephant having his trunk upward can be seen on the right side below on the right side of the lady. The foreground is painted in red and orange colors.

• To balance it, more than half part of painting is covered with green and yellow colour. On the above, an umbrella is shown with same colours. Ladies are shown thin and in profile (EK-chasm) faces which is the part of Mughal & Deccani Art.In the background, orangish-red and yellow colour tombs are there.

• In the centre, one blue colour tomb can be seen on which some Persian art can be seen. Two dark green colour tombs can also be seen on left and right sides of background. In the centre, an umbrella and some green and yellow coloured flowers and plants with leaves can be seen. The umbrella is hanged on two pillars which are of yellow colour.

• Ladies‘ garments are transparent which is all from Mughal Art, lines are thin, hard and rhythmic. Full painting shows the Raga Hans-Dhwani's Ragini Pathamiska. It is to be assumed that this painting is successor of Mughal artist Usuf- Athil Shah.

BIJAPUR

• In Bijapur, painting was patronised by Ali Adil Shah I (1558-80 A.D.)and his successor Ibrahim I (1580-1627 A.D.). An encyclopaedia known as the Najum-al-ulum (Starts of Sciences), preserved in the Chester Beatty sLibrary, Dublin, was illustrated in 1570 A.D. in the reign of Ali Adil Shah(I).

• This manuscript contains 876 miniatures. The ladies appearing in the illustrations are tall and slender and are wearing the South Indian dress. One of the miniatures illustrated here shows the "Throne of Prosperity“ There is influence of the Lepakshi mural painting on the female depiction of the rich colour scheme, the palm trees, animals, men and women all belong to the Deccani tradition. The profuse use of golden colour, some flowering plants and arabesques on the top of the throne are derived from the Persian tradition.

SULTAN ABDULLAH QUTB SHAH

• An important portrait of Sultan Abdullah Qutb Shah of Bijapur is in the collection of National Museum, New Delhi, India. There is an inscription on the top in Persian. Sultan Abdullah Qutb Shah was an able ruler of the famous Deccani state of Bijapur, which attracted scholars and artists from various parts of the world. Here, he is enthroned and we can see him holding the sword in one hand, symbolising his political sovereignty. Besides, a halo is seen around his head, which depicts his divinity.

GOLCONDA

• The earliest paintings identified as Golconda work are a group of five charming paintings of about 1590 A.D. in the British Museum, London, painted in the period of Mohammad Quli Quta Shah (1580-1611 A.D.)Golconda. They show dancing girls entertaining the company. One of the miniatures illustrated show the king in his court watching a dance performance. He wears the white muslim coat (shervani) with embroidered vertical band, a typical costume associated with the Golconda court. Golden colour has been lavishly used in painting the architecture, costume, jewellery vessels etc.

• Other outstanding examples of the Golconda painting are Lady with the Myna bird, painted in near about 1605 A.D. in the Chester Beatty Library, Dublin, illustrated manuscript of a Sufi pome ( 1605-15 A.D.) in the British Museum, London and a couple of portraits showing a poet in a garden and an elegantly dressed young man seated on a golden stool and reading a book, both signed by a certain artist Muhammad Ali in the Museum of Fine Arts, Boston. Tradition of the early Deccani painting continued long after the extinction of the Deccan Sultanates of Ahmednagar, Bijapur and Golconda.

• NAME : CHAND BIBI PLAYING POLO (CHAUGAN)
• ARTIST :UNKNOWN
• SUB-SCHOOL : DECCAN GOLKONDA
• PERIOD :18TH CENTURY (1750 A.D. Appro.)
• MEDIUM :TEMPERA (Water Colour) ON PAPER
• SIZE : 36.5 × 23 cm.
• COURTESY T : THE NATIONAL MUSEUM, NEW DELHI

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• SUBJECT MATTER : This miniature shows Chand Bibi playing Polo with her companions. This painting provide views to the general life-style of the Deccan and depicts the interest of the royal women of that time in the field of Sport.

• DESCRIPTIONAND COLOR RENDITION: It is said that Chand Bibi was a great horse rider and a fine polo player. She was one of the great historic Indian women who fought battles with the Mughal forces of Emperor Akbar. She was the sister of Nizam I of Ahmadnagar and the widow of Ali Adil Shah I, the Sultan of Bijapur. In this painting, Chand Bibi and her companions are shown playing Polo against a green background. The princesses are mounted on beautifully decorated horses of white, black, dark brown and pale yellow colours. Horses are stout, sturdy and well decorated with uplifted foot of horses showing a dynamic movement. The colourful costumes and Jewel covered head dresses of all the princesses are painted delicately.

• The dresses comprise of Ghagra- Choli and the slacks can be seen underneath the transparent ghagra. In the foreground, there is a silvery-grey lotus lake with white aquatic birds and the background has a receding plain depicting rocks, huts, hills and trees. Ground is uneven with green mounds. There are three uneven lines of rocks with some greenery, sand and a few white buildings in between in the upper part of the painting. Chand Bib is riding the white horse and her companions are riding the other horses. All faces are beautiful and in profile with big open eyes and well defined features-sharp nose, full lips and softly curving chin. The interest of artists for feminine beauty ideals has resulted in almost all faces looking identical. One lady is standing in the middle of the painting directing the game, her hands are extended sideways.

• The ball is in white colour. Two players are trying to possess the ball with polo sticks forming a cross in the centre of the painting. Persian delicateness can be seen in the border illustrated above and below. Pale Green, Yellow, Brown and Blue colours have been used in the background whereas figures and horses are bright and colorful. Sun is also shown in yellow colour in the deep blue sky. Light shading in all areas gives three dimensionality to the whole composition. A sense of depth is successfully achieved with receding landscape from mounds in the front to rocky lines and sand leading to a deep blue sky. The Persian inscription in the background reads Chaugan-bazi-Chand Bibi.

COMPOSITE HORSE

• The painting is a curious mix of many artistic devices, which culminate as Composite Horse. The painting includes human figures intertwined in a manner that emerges as an extraordinary form of a galloping horse superimposed on a decorated background. Flying cranes and lions, Chinese clouds and plants with large leaves enhance the surreal element of this painting from Golconda, which is of early seventeenth century.
• When everything appears to be airy and flying, the eyes unexpectedly encounter two corners in the bottom of the painting, which have rocky formulations that anchor the painting on a solid ground. A certain dislocation of sense of space happens, making this painting a memorable visual experience.
• All actions happen with in limited colour schema, which remains largely in the shades of brown and some blue.

HYDERABAD

• Painting in Hyderabad started with the foundation of Asafjhi dynasty by Mir Qamruddin Khan (Chin Qulick Khan) Nizam-ul-Mulk in 1724 A.D
• Influence of Mughal style of painting on the already existing early styles of Deccan paintings, introduced by several Mughal painters who migrated to the Deccan during the period of Aurangzeb and sought patronage there, was responsible for the development of various styles of painting in Deccan at Hyderabad and other centres. Distinetive features of the Deccan paintings of the 18th and 19th centuries are observed in the treatment of the ethnic types, costumes, jewellery, flora, fauna, landscape and colours.

• A miniature showing a princess in the company of maids in a garden, in the collection of the National Museum, is a typical example of the Hyderabad School of Painting. The princess is reclining on richly furnished terrace covered with a canopy. In the background are seen trees and a pool of water with aquatic birds. The style of painting is decorative. Typical characteristics of the Hyderabad painting-_like the flower-beds, rich colours, the Deccani facial types and costumes can be observed in the miniature. It belongs to the third quarter of the 18th century.

NAME : HAZRAT NIZAMUDDIN AULIYAAND AMIR KHUSRO

ARTIST :UNKNOWN

SCHOOL :HYDERABAD SCHOOL (DECCAN SCHOOL)

PERIOD :1750-1770 A.D.

MEDIUM :WATER COLOUR (TEMPERA) ON PAPER

COURTESY :THE NATIONAL MUSEUM, NEW DELHI

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SUBJECT MATTER : This painting is based on the discussion between Hazrat Nizamuddin Aaliya and Amir Khusro on a religious subject. Amir Khusro was the student of Nizamuddin Auliya.

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DESCRIPTION : This painting of Hazrat Nizamuddin Auliya andAmir Khusro can be divided into two parts.In foreground Hazrat Nizamuddin Auliya and Amir Khusro are sittingon roof and discuss on a religious subject. The roof has orange carpet.Both are wearing Muslim dress. Amir Khusro has a red colour musicalinstrument in his hand. Amir Khusro's dress is of brown and green colour,decorated with embroidery. Same way Hazrat Nizamuddin Auliya shownwith green dress. Both have different types of turban on heads.Amir Khusro's turban is like Muslim, while Hazrat Auliya's turban is roundwith red and green colour. Hazrat Auliya's head has a yellow colourring at the back which gives orange rays

• A big white beard is of Hazrat Auliva's and Amir Khusro's beard is black. In front of them, there are two gardens which are having two steps going up to the roof. On the roof, there are red wooden grills.In the background, we can see the plants of flowers. Right back of Hazrat Nizamuddin Auliya is a big tree of brown colour which is full of green leaves and yellow, orange flowers. Background is of light and dark blue colour. In some places we can see violet colour also. Both faces are in profile (Ek-chasm) and (ded-chasm). In the centre, a white coloured lamp is there. Hazrat Auliya has a red colour book and a bookstand of brown colour can also be seen. Full painting is religious.In the 18th century, Deccani Art has new era in Deccan. It is an example of that. It has been drawn from Mughal art.

Characteristics of The Deccani Schools

• Deccani Schools continued to develop independently of the Mughal style in the beginning. The colours used in the painting being rich and brilliant are different from those used in the northern painting. The Persian influence can be seen in the high horizon, golden sky and the landscape. The profuse use of golden colour, some flowering plants and arabesques on the top of the throne are derived from the Persian tradition.

• Golden colour has been lavishly used in painting the architecture,costume, jewellery, vessels etc. Influence of the Mughal style of painting already existing in early styles of Deccani paintings, introduced by several Mughal painters who migrated to the Deccan.
• Mostly paintings are decorative, a typical characteristic of the Hyderabad Painting like the flowerbeds, rich colour, the Deccani facial types and costumes can be observed in the miniature.
• Bold Drawings, techniques of shading and use of pure and brilliantcolours flourished at Tanjore.Distinctive feature of the Deccan Paintings are observed in the treatment of the ethnic types, costumes, jewellery, flora and fauna,landscape and colours.