DETAILED DESCRIPTION

ORIGIN AND DEVELOPMENT

The School of painting which flourished from 15th century onwards and continued to
be 19th century in Deccan is called the Deccan school of miniature painting. With
the decline of Mughal Empire the artists of the imperial atelier dispersed to south and
contributed to flourish in the Deccan school of miniature painting. In the matter of fact
various type of paintings was developed in different centres like Bijapur, Golconda,
Ahmadnaar, Hyderabad and Tanjore.
The Deccan painting has three distinctive phases:
1.The early phase which is related with the Sultan Adil Shah court of Bijapur. Ruler
like Chand Bibifrom Golconda greatly patronised the artist and art.
2.Later generation of Muslim rulers of Deccan states like Bijapur, Golconda,
Ahmadnagar and Hyderabad had their roots in soils with little Iranian and Persian
influence.
3.In early 18th century in Hyderabad another form of Deccan art are evolved. It
blended with the romantic flavour with stylistic elements of refined Mughal art.
 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 hadadifferent 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, boldfeatures,
broad forehead, high neck and slim waist.
5. Elementary colour costumes usually consisting of beautiful embroidery
white coats and precious jewelleries.
 MAIN FEATURES OF DECCAN MINIATURE PAINTING

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 Deccanminiature painting are initiated European
naturalism and succeeded in producing of three-dimensional
effects.
9. Geometry plays asignificant 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.
Artist- Unknown CHAND BIBI PLAYING POLO
School- Deccan school
Sub school- Golconda
Period- 1750 A.D.
Medium- Watercolour on paper
Technique- Tempera
Description
In this painting Chand Bibiis playing polo with her three other companions against a green,
background. Allthe four figures are sitting onthe 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.
Allthe figures are centrally and symmetrically located. Horses are properly decorated; are shown in
fullof 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 symmetricalformation 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 ULIYA ÅND MIR KHUSRO
Artist- Unknown
School- Deccan school
Sub school- Hyderabad
Period- 1750- 1770
Medium- Watercolouron paper
Technique- Tempera
Description
This painting is based on the discussion between Hazrat Nizamuddin Auliyaand his disciple Amir Khusro ona
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.
In this painting on the foreground Hazrat Nizamuddin and Amir Khusro are sittingon arooftop 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