CLASS 12 : FINE ARTS

UNIT : 2 - DECCAN SCHOOL OF MINIATURE PAINTING

ORIGIN AND DEVELOPMENT

The history of Deccani Painting can largely be constructed from the late sixteenth century until
the 1680s. 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.

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.

AHMEDNAGAR SCHOOL OF PAINTING

Deccani painting are in a volume of poems, celebrating the reign of Hussain Nizam Shah I of
Ahmadnagar (1553–1565).
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.
Paintings of the Deccan have similar characteristics. 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 high circular horizon and gold sky have Persian influence.
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.
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.
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.

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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 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. He was also an expert in Indian
music and author of a book on this subject- NAURAS-NAMA, and was the owner of Nujum
al-Ulum manuscript and might have commissioned the Ragamala series in the 1590s.

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.
The earlier Golconda paintings, dated 1635–1650, at times as large as eight feet high, were
made to be used as wall hangings.
The earliest five miniatures, identified as Golconda work, were bound up in Diwan of Hafiz,
dated 1463.
All five painted pages are lavishly enriched with gold, touching deep azure sky. Dancing girls
are seen entertaining the royal gathering.

SUBJECT MATTER

Illustration of Raga-mala paintings are found in almost all the Deccan states. Painters are
composed with natural background, realistic plant with symmetrical domes. The Deccani
artists were influenced by the Mughal’s to draw the portrait paintings large in numbers. Hindu
religious themes like Ramayana, Mahabharata and Krishna leela are drawn very less in Deccan
miniature.

MAIN FEATURES OF DECCAN MINIATURE PAINTING

1. The Deccan school had a different style with warmer colour, composed of decorative elements
and have definite relationship with local tradition.

2. Deccan paintings are distinctly a south Indian ornamentation with influence of Persian,
Mughal and Iranian style of miniature art.

3. Tall fair complex and emotionally charged male and sensuous looking female are popularly
drawn in Deccan miniature painting.

4. Figures are rendered with lovely faces, large open eyes, bold features, broad forehead, high
neck and slim waist.

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5. Elementary colour costumes usually consisting of beautiful embroidery white coats and
precious jewelleries.

6. The blue colours used in Deccan miniature painting are typically Persian in style.

7. The harmonious colour in Deccan miniature painting are not only referred various forms but
also various modes.

8. Artist of Deccan miniature painting are initiated European naturalism and succeeded in
producing of three-dimensional effects.

9. Geometry plays a significant role in symmetrical arrangement of Deccan miniature.

10. The hi-horizon filled with Deccani hills and little foliage along with small forts is an
important feature of Deccan miniature painting.

PAINTINGS

CHAND BIBI PLAYING POLO

Artist- Unknown

School- Deccan school

Sub school- Golconda

Medium- Watercolour on paper

Technique- Tempera

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Description-

In this painting Chand Bibi is playing polo with her

three other companions against a green background. All
the four figures are sitting on the horses, which are
drawn in four different colours; brown, yellow, white
and black. There is another figure at the centre on the
ground is directing the game.

All the figures are centrally and symmetrically located.

Horses are properly decorated; are shown in full of
dynamic movement. Heads of all the female are cover
with decorative headgear. They are wearing multi
coloured ghagra and choli.On the foreground a lake
with flowers and six white water birds are in
symmetrical formation has been drawn. The flowers are
red blue and white in colour. In the background the sky
has been painted in dark blue with a yellow moon.
There is a fort on the hi-horizon with typical Deccani hills on the background rendered with
trees has been painted in bright contrast colour.

Collection- National museum, New Delhi

HAZRAT NIZAMUDDIN AULIYA AND AMIR KHUSRO

Artist- Unknown

School- Deccan school

Sub school- Hyderabad

Medium- Watercolour on paper

Technique- Tempera

Description-

This painting is based on the discussion between Hazrat Nizamuddin Auliya and his disciple
Amir Khusro on a religious subject. Hazrat Nizamuddin was one of the famous saint of medieval
India, teach people to love and practice to get closer to the God.

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In this painting on the foreground Hazrat Nizamuddin
and Amir Khusro are sitting on a rooftop and
discussing about the religious subject. Roof is covered
with orange carpet. Amir Khusro is playing a musical
instrument Sarangi. He is wearing brown coloured
Kurta decorated with embroideries and a turban is
bended on his waist. His black beard is suggesting
that he is young.

Similarly Hazrat Nizamuddin is shown in green dress

having a large white beard. He has a halo behind his
head showing his divinity. Hazrat Nizamuddin has a
reddish book in his hand. Both have different types of
turban on their heads. There is a lamp, which is
placed in between both of them.

In front of them there is a garden which is growing up to the roof. A garden is also painted at
the backside of the roof with full of red rose plant. Right back of Hazrat Nizamuddin a large size
tree is painted with full of green leaves and yellow mangos on bunches. Single coloured fruits
and flowers are seen contrast on the blue background.

Collection- National museum, New Delhi

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