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Deccani Painting – UPSC Indian Art & Culture Notes

Deccani painting, a vibrant and distinctive school of Indian art, originated in the Deccan plateau region of South India during the 16th to 19th centuries. It is characterized by a rich fusion of diverse cultural influences, including Persian, Mughal, and indigenous traditions, resulting in a unique and eclectic artistic style. Deccani painting is best known for its intricate and detailed miniature paintings, which often feature vibrant colors, intricate patterns, and intricate depictions of royal courts, landscapes, and mythological scenes. The art form flourished in various Deccan kingdoms, including Golconda, Bijapur, and Ahmadnagar, each contributing its unique flavor to the overall style.

One of the most notable aspects of Deccani’s painting is its keen attention to detail and the use of vivid and bold colors, which set it apart from the more subdued Mughal style. The artists often employed gold and silver leaf, creating a luminous effect in their works. Deccani paintings are also known for their depictions of regional culture and religious diversity, showcasing scenes from Hindu, Islamic, and Persian traditions. The blend of these influences makes Deccani painting a testament to the rich and diverse cultural tapestry of the Deccan plateau and an important chapter in the history of Indian art.

Table of Contents

Sub-schools in the Deccani school of painting 

Ahmednagar .

• The earliest examples of the Ahmednagar painting are contained in a volume of poems written in praise of Hussain Nizam Shah I of Ahmednagar (1553-1565) and his queen.
• This manuscript known as the ‘Tarif-in-Hussain Shahiand assigned to a period 1565-69 is preserved in the Bharat ltihas Samshodaka Mandala, Poona.
• Some other fine examples of the Ahmednagar painting are the “Hindola Raga” of about 1590 A.D . and portraits of Burhan Nizam Shah II of Ahmednagar (1591-96 A.D.) and of Malik Amber of about 1605 A.D . existing in the National Museum, New Delhi and other museums. 

Bijapur 

• In Bijapur, the painting was patronized by Ali Adil Shah I and his successor Ibrahim II.
• An encyclopedia known as the Najum-al-Tulum (Stars of Sciences), preserved in the Chester Beatty Library, 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.
• The rich color scheme, the palm trees, animals, and men and women all belong, to the Deccani tradition. The profuse use of gold color, some flowering plants, and arabesques on the top of the throne are derived from the Persian tradition. 

Golconda 

• The British Museum in London houses a group of five charming paintings, believed to be the earliest identified Golconda work, dating back to about 1590 A.D . during the reign of Muhammad Quli Qutb Shah (1580-1611) of Golconda.
• These paintings portray dancing girls entertaining their company.
• Another noteworthy example of Golconda’s painting is the “Lady with the Myna bird” created around 1605 A.D.
• This style of painting incorporates influences from the pre-Mughal northern tradition, which flourished in Malwa, and the Vijayanagar murals of the southern tradition, as reflected in the portrayal of female figures and attire. There is also an evident influence of Persian painting in the depiction of the golden sky and landscape on the horizon. The use of vibrant colors distinguishes it from northern painting.

Hyderabad 

• The origin of painting in Hyderabad dates back to the establishment of the Asafjhi dynasty by Mir Qamruddin Khan.
• The painting style is predominantly decorative.
• The miniature from the third quarter of the 18th century exhibits typical characteristics of Hyderabad painting, including rich colors and the use of Deccani facial types and costumes.

Tanjore 

• During the late 18th and 19th centuries, a distinct style of painting characterized by bold drawing, shading techniques, and the use of pure and brilliant colors thrived in Tanjore, South India .
• The dense composition, surface richness, and vibrant colors of Thanjavur Paintings distinguish them from other painting styles .
• These paintings also feature embellishments such as semi-precious stones, pearls, and glass pieces that add to their appeal , and their relief work gives them a three-dimensional effect. The origin of Tanjore Painting can be traced back to the 16th century.
• Indian Thanjavur Paintings were patronized by Maratha princes, Nayakas, Rajus communities of Tanjore and Trichi, and Naidus of Madurai from the 16th to the 18th century.
• The majority of these paintings depict Hindu Gods and Goddesses, along with saints, as their main subjects.
• The main figure in a Thanjavur Painting is always placed at the center of the painting. Because these paintings are primarily executed on solid wood planks, they are colloquially known as ‘Palagai Padam’ (palagai meaning wooden plank and padam meaning picture) in the local language.

FAQs on Deccani Painting

Q: what is the historical significance of deccani paintings.

A: Deccani paintings hold historical significance as they represent a unique blend of cultural influences in the Deccan region of South India during the 16th to 19th centuries. They provide valuable insights into the art, culture, and society of the Deccan kingdoms, showcasing a rich amalgamation of Persian, Mughal, and indigenous artistic traditions.

Q: What are the key characteristics of Deccani paintings?

A: Deccani paintings are known for their intricate details, vibrant colors, and the use of gold and silver leaf. They often depict royal courts, landscapes, and religious or mythological scenes. The bold and vivid color palette, as well as the attention to regional culture, set them apart from other Indian painting traditions.

Q: Who were the prominent artists and patrons of Deccani paintings?

A: Deccani painting flourished under the patronage of various Deccan kingdoms, including Golconda, Bijapur, and Ahmadnagar. While many artists from these regions contributed to this art form, specific names are not as well-documented as in the Mughal or Rajput traditions.

Q: What is the subject matter of Deccani paintings?

A: Deccani paintings cover a wide range of subjects, including courtly scenes, romantic narratives, hunting scenes, and religious themes. They often depict stories from Hindu, Islamic, and Persian literature, reflecting the region’s diverse religious and cultural influences.

Q: How does Deccani painting differ from other Indian painting styles?

A: Deccani paintings distinguish themselves from other Indian painting styles, such as Mughal or Rajput, through their distinctive use of color, intricate patterns, and regional cultural elements. They have a unique regional identity that reflects the Deccan’s rich historical and cultural context, setting them apart from the more widely known painting traditions of India.

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Decanni School of Painting

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Home » Indian Heritage & Culture » Indian Paintings » Decanni School of Painting

Early centres of painting in the Deccan, during the 16th and 17th centuries were Ahmednagar, Bijapur and Golconda. In the Deccan, painting continued to develop independently of the Mughal style in the beginning. However, later in the 17th and 18th centuries it was increasingly influenced by the Mughal style.

Some of the features of this school of painting are:

• Its unique sensuality and intense colours have a 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.
• A style of painting characterised by bold drawing, techniques of shading and the use of pure and brilliant colours flourished at Tanjore in South India during the late 18th and 19th centuries.
• Gold colour has been lavishly used in painting
• Deccani costumes were richly depicted in this school of art

Sub-schools in the Deccani school of painting

• The earliest examples of the Ahmednagar painting are contained in a volume of poems written in praise of Hussain Nizam Shah I of Ahmednagar (1553-1565) and his queen
• This manuscript known as the  ‘Tarif-in-Hussain Shahi and assigned to a period 1565-69 is preserved in the Bharat ltihas Samshodaka Mandala, Poona
• Some other fine examples of the Ahmednagar painting are the “Hindola Raga” of about 1590 A.D. and portraits of Burhan Nizam Shah II of Ahmednagar (1591-96 A.D.) and of Malik Amber of about 1605 A.D. existing in the National Museum, New Delhi and other museums.
• In Bijapur, painting was patronized by Ali Adil Shah I and his successor Ibrahim II
• An encyclopedia known as the Najum-al-ulum (Stars of Sciences), preserved in the Chester Beatty Library, 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.
• The rich colour scheme, the palm trees, animals and men and women all belong, to the Deccani tradition. The profuse use of gold colour, some flowering plants and arabesques on the top of the throne are derived from the Persian tradition.

Figure: Prince of Bijapur, Deccani School of painting

• 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 Muhammad Quli Quta Shah (1580-1611) Golconda.
• They show dancing girls entertaining the company.
• Other outstanding examples of the Golconda painting are “Lady with the Myna bird”, about 1605 A.D.
• This school of painting absorbed influences of the northern tradition of the pre-Mughal painting which was flourishing in Malwa, and of the southern tradition of the Vijayanagar murals as evident in the treatment of female types and costumes. Influence of the Persian painting is also observed in the treatment of the horizon gold sky and landscape. The colours are rich and brilliant and are different from those of the northern painting.

Figure: A painting in the Golconda style

• Painting in Hyderabad started with the foundation of the Asafjhi dynasty by Mir Qamruddin Khan
• The style of the painting is decorative .
• Typical characteristics of the Hyderabad painting like the rich colours, the Deccani facial types and costumes can be observed in the miniature. It belongs to the third quarter of the 18th century.
• A style of painting characterised by bold drawing, techniques of shading and the use of pure and brilliant colours flourished at Tanjore in South India during the late 18th and 19th centuries
• The dense composition, surface richness and vibrant colors of Indian Thanjavur Paintings distinguish them from the other types of paintings.
• Then, there are embellishments of semi-precious stones, pearls and glass pieces that further add to their appeal. The relief work gives them a three dimensional effect. Tanjore Painting of India originated during the 16th century
• Maratha princes, Nayakas, Rajus communities of Tanjore and Trichi and Naidus of Madurai also patronized Indian Thanjavur Paintings from 16th to 18th century.
• Most of these paintings revolve around the theme of Hindu Gods and Goddesses , along with saints.
• The main figure is always painted at the center of the painting. Since Tanjore paintings are mainly done on solid wood planks, they are locally known as ‘Palagai Padam’ (palagai meaning wooden plank and padam meaning picture).

Figure: An example of Tanjore School of painting

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Deccan School of Painting: Bijapur’s Vibrant Tradition, & Golconda Flourishing Prosperity

Deccan School of Painting: Bijapur’s Unique Artistic Tradition

The Deccan School of Painting, specifically the Bijapur School, originated in the Deccan region during the 16th and 17th centuries , embodies a unique artistic tradition. Characterized by vibrant colors, intricate detailing, and a fusion of Persian and indigenous styles, it flourished under the Adil Shahi Sultanate , leaving behind a distinctive mark on Indian art history.

Bijapur School’s Artistic Splendor: Illuminating the Deccan School of Painting

• The volume comprises 876 miniatures. 
• Themes range from depicting weapons and utensils to constellations.
• The school thrived under the patronage of Ali Adil Shah I (1558–1580), Ibrahim II (1580–1627) , who was also an Indian music enthusiast and penned Nauras-nama.
• Bijapur’s artistry was influenced by its ties with Turkey , evident in the astronomical illustrations in Nujum al-Ulum, possibly inspired by Ottoman Turkish manuscripts.
• The Ragamala paintings are predominantly Indian, with traces of the Lepakshi style.
• They encapsulate the opulent aesthetics of the Adil Shah court with vibrant colouring and dynamic compositions.

Deccan School of Painting: Symbolism in Art – “The Throne of Prosperity”

• Each level is supported by varying entities, from elephants, tigers, and peacocks, to primitive tribes.
• Gujarati Architectural Inspirations: Gujarati homes have wood-carved doorways and facades.
• Deccani temples .
• Islamic Persian Influence: The colour scheme and arabesques reflect the Islamic Persian tradition.
• Distinctive Features: It include Deccani foliage set against a deep blue sky and stylized plants that resemble margin decorations in early sixteenth-century Gujarati manuscripts.

Deccan School of Painting: The Uncommon Spiritual Subject – “Yogini”

• The Uncommon Subject: The Yogini, an embodiment of spiritual discipline and renunciation, is an uncommon and extraordinary subject.
• Its vertical composition.
• The Yogini’s engagement with a myna bird suggests a dialogue.
• Rich adornments and a distinct hair bun that accentuates her stature.
• Flowing scarves and surrounding flora enhance the visual appeal.

Golconda School of Painting: Flourishing Prosperity and Artistic Influence in the Deccan School of Painting

• Golconda became an autonomous state in 1512 and by the late sixteenth century emerged as the wealthiest Deccan kingdom.
• Trade from ports along the east coast, exporting iron and cotton to South East Asia.
• Extensive commerce with Persia , especially painted cottons, became sought-after in Europe.
• Discovery of diamonds in the early seventeenth century.

Deccan School of Painting: Characteristics and Artistic Elements in Golconda School

• Distinctive Gold Jewellery: A noticeable feature in Golconda’s art is the gold jewellery adorned by both genders.
• Global Recognition: The school’s artistry gained popularity when Dutch merchants transported sultan portraits to Europe in the late seventeenth century.
• Early Golconda paintings, from around 1635–1650, were grand, often eight feet tall, intended as wall hangings, and typically showcased figures within architectural backdrops.

Deccan School of Painting: Golconda Artworks and Their Unique Features

• These depict courtly scenes with a young ruler, characterised by his long Deccani sword.
• These paintings are rich in gold, often against a deep blue sky, and feature entertainment in the form of dancing girls.
• The paintings notably lack Mughal influence , evident in their use of the colour purple and occasionally blue-toned animals, such as blue foxes.
• This artwork combines the strict symmetry of earlier works with evident Mughal influences, particularly in the detailed drapery.
• A manuscript of a Sufi poem , embellished with over 20 miniatures, exhibits lavish use of gold.
• Distinctive elements include skies painted in gold and blue bands, costumes reflecting trends under Ibrahim II of Bijapur, and uniquely coloured Deccani trees.

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Indian Miniature Paintings: The Deccani and Paithan Schools

By Academy of Fine Arts and Literature

Rama, Sita, Lakshman (1801/1900) by unknown Academy of Fine Arts and Literature

The tradition of Indian Miniature Painting

The tradition of Indian miniature painting can be traced from the 9th-10th century in the Buddhist Pala period palm leaf manuscript of eastern India and in the western India in the Jaina palm leaf manuscript. With the introduction of paper in 12th century in India, illustrations on paper manuscript of larger format than the narrow palm leaf, began to come into vogue. But apart from such manuscripts still there were no schools of Miniature Paintings in India. There came into existence in the Lodi period (1451-1526 AD) a Sultanate bourgeois school of manuscript. The Sultanate illustrated manuscript represented the court style. The full flowering of miniature painting began when India came into direct contact with the civilization of Islam. With Mughal Empire, (1526-1757 AD) the studios were established at the Imperial court and Indian painting began a new phase in its evolution. It was from there that illustrated manuscripts, album miniatures, portraits, celebratory or genre scenes and various other paintings made their way allover India. Indian miniature painting was subjected to a strong initial Persian influence, but it was short lived since the Indian artists soon recovered their own independence and originality. 

A Sufi (1875/1900) by Unknown, Mughal School Academy of Fine Arts and Literature

The new patrons of paintings with the decline of the Mughal Empire were the provincial governors of Rajasthan and Pahari kingdom (c. 1700-1900 AD). Unlike Mughal artists, Rajput artists were anonymous and did not enjoy the high status of their Mughal counterparts. Thus while the stylistic evolution of the Mughal School is traced by the patronage of the respective emperors, geographical categories are used to explain the evolution of styles of Rajput painting. Miniatures were profoundly influenced by Indian literature and were executed as illustrations to texts or as individual paintings. They were small-scale, highly detailed pictorial compositions, often providing a true record of the social and cultural life of the time. As the Renaissance masters turned to the Bible, Indian painters turned to our epics, and saw as their task bringing these stories into visual reality for those who may not be able to read. They flourished only under generous and sensitive patrons.

Sivaji making 'bhang' (intoxicant) (1801/1900) by unknown Academy of Fine Arts and Literature

Deccani Painting The Deccani painting, with Ahmednagar, Golkonda, Bijapur, and subsequently Hyderabad as its centres, evolved during the later half of the 16th century, almost contemporaneously to Mughal art. Most of the painters working at these courts were immigrants of Turkey, Iran and Europe, and had brought with them their art idioms and skills that their lands had acquired by then. Hence, in almost no time, Deccani art attained considerable maturity of form, subtle refinement and great merit on par with the Mughal painting. The volume of Islamic elements in Mughal and Deccani painting was almost similar but their chemistry was completely different. In Mughal art, these elements blend, dissolve and undergo a chemical transformation and acquire a new elemental status, while in the art of Deccan, they retain their identity, distinguishable from their Indian counterparts. It was a sort of physical compounding. Deccani art is like a combination of two sets of elements. The two sets do not so blend that from them is born a third.

This initial form which was more or less the Turkish or Persian idiom transplanted on Indian soil apart, what defined the Deccani painting to most minds was its subsequently evolved form that blended with the Islamic the elements of indigenous art traditions folk or otherwise, and the characteristic Deccani landscape with rich vibrant nature, which gave to Indian art some excellent miniatures. This Deccani art, with its highly charged compositions, fine line-work, great sense of geometry, pleasing perspectives, faces and eyes brimming with sensuality, well defined nature and landscape and intense colours, reveals a kind of moody romanticism, which even the Mughal paintings often lack.

Snakecharmer (1875/1900) by unknown Academy of Fine Arts and Literature

An excellent portrayal of a professional snake-charmer displaying his skill in streets. He is holding a snake's hood in his left hand, while its rope-like long body passes to his feet from around his back.

An excellent portrayal of a professional snake-charmer displaying his skill in streets.

Shiva Parvati on Nandi and 'Ganga' (1801/1825) by unknown Academy of Fine Arts and Literature

The holy family, which generally depicts Shiva Parvati with both Ganesha and Kartikeya, has obvious absence of Ganesha in this painting. Shiva is holding Parvati and Kartikeya appears frightened of something and is trying to climb up to Nandi for protection. The Ganga falling from the jatta of Shiva is painted right in the center of the painting divided it into two halves. The tiger, vahan of Parvati is shown as a small figure behind the seated couple. The colours are strong and the green hillock is peculiar of late Deccan style.

The Ganga falling from the jatta of Shiva is painted right in the center of the painting divided it into two halves.

Holy man with disciples (1801/1825) by unknown Academy of Fine Arts and Literature

On a patterned ground, the holy man reads the text from a manuscript and facing him are four disciples. Three of the disciples seem to take interest in the discussion and the fourth is completely lost in his own thoughts.

On a patterned ground, the holy man reads the text from a manuscript and facing him are four disciples.

Raga-putra Deshakha (1801/1900) by unknown Academy of Fine Arts and Literature

In the form of acrobatic performance the painting represents Raga-putra Deshakha, one of the offshoots of main Ragas. In visual transform Deshakha is represented as three acrobats, one, turning clubs, second, climbing a pole, and third, lifting a weight.

Noble Man standing with halo around his head on a floral carpet (1801/1825) by unknown Academy of Fine Arts and Literature

A big halo encircle the head of the man symbolizing his high position.

The two sons of Siva fight with each other (who will inherit the kingdom) as their Mother Parvati admonishes them. The colonial style had begun to cast its influence as is evident from the two worshippers with caps / hats.

The colonial style had begun to cast its influence as is evident from the two worshippers with caps / hats.

Noble Man with turban holding a staff wearing an elaborate royal costume (1701/1800) by unknown Academy of Fine Arts and Literature

A detailed drawing of a man of high status as apparent in his posture and costume. The green colour of the ground is very typical of the Deccan style of painting.

The green colour of the ground is very typical of the Deccan style of painting.

Soldier meeting his ladylove under a Cyprus tree (1701/1800) by unknown Academy of Fine Arts and Literature

A lady with shy expressions on her face stands holding the branch of the tree as a soldier approaches her with a feeling of admiration. The branch of the tree is as sensuous as her delicate body of the lady. The tree and the lady seem to merge in the same spirit. Very fine painting with intricate details in drapery leaves and border.

The branch of the tree is as sensuous as her delicate body of the lady. The tree and the lady seem to merge in the same spirit.

A Sadhu (1801/1900) by unknown Academy of Fine Arts and Literature

The old Sadhu is depicted with grey hair and beard. Except for a Kaupin his body is bare. In spite of its somewhat unfinished look, an air of immediacy is seen in the work.

In spite of its somewhat unfinished look, an air of immediacy is seen in the work.

Lady with a pet dog reclining on an easy chair (1801/1900) by unknown Academy of Fine Arts and Literature

Extravagance of the lady who is attended by a maid is accentuated by the pose and comfort in which she is seated. She is surrounded by items of luxury like perfume bottles and has a very dramatic headgear. There is a hookah in fore ground, as some Indian painting shows ladies smoking hookahs.

She is surrounded by items of luxury like perfume bottles and has a very dramatic headgear. There is a hookah in fore ground, as some Indian painting shows ladies smoking hookahs.

This seems to be the return of Rama to the kingdom of Ayodhya after 14 years of exile.

Rama's Rajasuya-yajna : an episode from Ramakatha (1801/1900) by unknown Academy of Fine Arts and Literature

With both sides joined, the painting depicts the Rajasuya-yajna performed by Rama to become Chakravertin. On one side the blue-complexioned Rama is giving instructions to Lakshmana who was to conduct and guard the sacred horse of the yajna across different lands. The folio portrays splendidly saddled horse with royal umbrella over it. On Rama's side is seated sage Vashishtha and behind are Hanuman, Bharata and Shatrughna. On the reverse, led by a flag-bearer Rama's army begins it victory march. It uses Paithan technique of Gujarat.

On Rama's side is seated sage Vashishtha and behind are Hanuman, Bharata and Shatrughna.

Indian Miniature Paintings: The Pahari School

Academy of fine arts and literature, folk and tribal paintings: the gond school, folk and tribal paintings: the godana and madhubani schools, indian miniature paintings: the company school and popular prints, tantric paintings, indian miniature paintings: the mughal and persian schools, folk art: objects from across the world, folk and tribal paintings: the bhil and orissa schools, indian miniature paintings: the rajasthan school, folk art from india: sculpture and decorative objects.

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• Deccan School Painting For UPSC Exam

Deccan School of Painting for UPSC Exam

Art and culture is a part of Indian History. This subject in the IAS exam talks about art, literature, painting, architecture, etc.  UPSC Art and culture is an important segment for Civil Service Examination . One important topic mentioned in paintings is ‘Deccan Painting’ and it primarily incorporates the inspirations of the southern tradition of the Vijayanagar school of painting and of the northern tradition of the pre-Mughal painting of Malwa.

This article will give details about the Deccan School of Painting and its sub-parts.

Deccan School of Painting:- Download PDF Here

Overview of Deccan School of Painting for IAS

The colours of the Deccani School paintings are rich and brilliant. It is different from the northern paintings. Unique features of the Deccani paintings of the 18th and 19th centuries are witnessed in the treatment of the ethnic types, landscape costumes, jewellery, flora, fauna, and colours. This topic might be helpful in the UPSC 2022 examination and you may check the upcoming exam in the linked article.

The types of Deccani paintings are given below:

• This school was patronized by Hussain Nizam Shah I of Ahmednagar.
• The significant illustrated manuscript is ‘Tarif-i-Hussain Shahi’.
• Colours used for Ahmednagar school of Painting are brilliant and rich.
• Females appearing in such paintings belong to the northern tradition of Malwa.
• Choli, long pigtails, braids with tassels, in the end, were seen in the northern costume.
• These paintings exhibited Persian influences like the landscape, gold sky, and high horizon.
• The Bijapur School of Painting was patronized by Ali Adil Shah I and his successor Ibrahim II.
• Notable work is Najum-al-ulum (Stars of Sciences).
• The painting exhibit a rich colour scheme, animals, palm trees, men, and women belong to the Deccan tradition.
• The paintings showcase a generous use of gold colour.
• The patrons of the Golconda School of Paintings were the Qutb Shahi rulers.
• The first notable work was done during the times of Muhammad Quli Qutab Shah.
• These paintings show dancing.
• There is a deep impact of Iranian art on the Golconda miniature paintings.
• Two more notable paintings among the Golconda paintings are the ‘Lady with the Myna bird’ and the ‘Lady smoking Hookah’.
• Hyderabad School of Painting belongs to the 3rd quarter of the 18th century.
• It was developed in 1724 after the foundation of the Asaf Jahi dynasty by Nizam-ul-Mulk Chin Qilij Khan.
• “Princes in the company of maids” is a famous painting that belongs to the Hyderabad School of Painting.
• These paintings used Deccan facial types, rich colours, and costumes.
• This belongs to the era between the 2nd and 7th century.
• Mysore paintings are known for their elegance, muted colours, and attention to detail.
• Delicate lines, intricate brush strokes, graceful delineation of figures and the discreet use of bright vegetable colours and lustrous gold leaf are the characteristics of Mysore Paintings .
• More than mere decorative pieces, the paintings are designed to inspire feelings of devotion and humility in the viewer.
• One can see the various emotions of the painter through his skills expressed in the painting which is very important to this style.
• Originated in the Thanjavur region during the reign of the Marathas in the 16th century. It existed from the 17th to 19th Century.
• It generally consists of one main figure- a deity, with a well-rounded body & almond-shaped eyes. This figure would be housed in an enclosure created by means of an arch, curtains, etc.
• The painting would be made by the gilded and gem-set technique – a technique where gold leaves & sparkling stones are used to highlight certain aspects of the painting like ornaments, dresses etc.
• Most of them depicting child Krishna, the paintings would be bright & colourful and breathtakingly beautiful. They’re intended to have a glowing presence even in a low lit room or a dark place.
• The art was practised mainly by two communities namely – the RAJUS in THANJAVUR and TRICHY and NAIDUS in MADURAI.

IAS aspirants who find Art and Culture for UPSC difficult and have one question on How to Study Arts & Culture of India may find an answer to it in the linked article.

Difference Between Mysore & Thanjavur Paintings

A major difference between these two styles is the significant iconography and the way these art pieces are made or created. These topics can be best covered from NCERT Notes also which you may find in the linked article.

The basic differences between these two are given in the table below:

To know more about Rajput Paintings , visit the linked article.

Frequently Asked Questions on Deccan School of Painting

Q 1. what is the deccan school of painting, q 2. from which period is the deccan school of painting.

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The Deccani Schools of Painting - Fine Art for Class 12 - Humanities/Arts - Notes, Videos & Tests

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Heilbrunn Timeline of Art History Essays

Islamic art of the deccan.

Dagger with Zoomorphic Hilt

Calligraphic Roundel, inscribed "Ya 'Aziz" (Oh Mighty)

Calligraphic Dish

Garden Fountain

Emaciated Horse and Rider

Kalamkari Rumal (Cover)

The House of Bijapur

Painting by Kamal Muhammad

Base for a Water Pipe (Huqqa) with Irises

Lacquered Pen Box (Qalamdan)

Panel of a Tent Lining

Marika Sardar Institute of Fine Arts, New York University

October 2003

The “Deccan” (derived from Dakshina) is a geographical term that refers to the plateau in south central India still ruled by Hindu kings when the first Muslim sultanates of India were established in Delhi. The Khaljis (1290–1320) and the Tughluqs (1320–1414) after them both tried to conquer the Deccan but were ultimately unsuccessful. The officers of Muhammad ibn Tughluq rebelled against him and an independent sultanate was declared under the leadership of the general Zafar Khan. His descendants, known as the Bahmanids (1347–1528), ruled from a capital located first in Gulbarga and later in Bidar.

In the late fifteenth century, the provinces of the Bahmanid dynasty broke off into separate states, each with a vibrant and distinct culture flourishing mainly in the late sixteenth and early seventeenth centuries. The art, poetry, and music of the Deccani courts were marked by an affinity for Persia ; many rulers of this area were of Persian descent or were Shi‘i and thus felt stronger ties to the west than to the Sunni rulers in northern India . These courts, namely Bijapur, Golconda, Ahmadnagar, Bidar, and Berar, were known for their unique techniques of casting metal, carving stone, and painting. Each respective capital was developed with the addition of citadels and tombs and a distinctive style of architecture evolved as well.

Bijapur was ruled by the ‘Adil Shahis from 1489 to 1686. Sultan Ibrahim II ‘Adil Shah (r. 1579–1626), a poet, calligrapher , and musician himself, was the dynasty’s greatest patron of the arts. He attracted artisans, writers, and thinkers from all over the Islamic world to his court, and during his reign the city became the most important center of painting in the Deccan. Bijapur-style paintings are characterized by subject matter deriving largely from Mughal painting , but distinctively treated with a vivid palette and somewhat fantastic backgrounds. Rulers are portrayed in intimate moments, strolling through gardens or relaxing with a lover. Painting continued to flourish under Ibrahim’s successor Muhammad ‘Adil Shah (r. 1626–56), but this ruler’s greatest commission was architectural. Known as Gol Gumbad , his tomb has a dome 43.9 meters in diameter, at the time of its construction the largest space covered by a single dome.

The Qutb Shahis (1496–1687) of Golconda had very close ties to the Safavids of Iran , who exported many artists to this court. The close working relationship of the Persian and Indian artists can be seen in the unique painting style of such manuscripts as the Kulliyat , a collection of verses in Urdu penned by Muhammad Quli Qutb Shah (r. 1580–1612), a contemporary of Ibrahim ‘Adil Shah and, like him, a poet, statesman, and important patron of the arts.

The Nizam Shahis were based in Ahmadnagar from 1490 to 1636, but after 1600 ruled under the Mughals. Their brief moment of patronage produced an illustrated history, the Tarif-i Husain Shahi , celebrating the king who led the victory over the Hindu Vijayanagar state, and various royal portraits.

After the fall of the Bahmanids, their viziers the Barid Shahis (1504–1619) continued to rule in the city of Bidar, famed for a metalworking technique invented there. So-called bidri ware is cast from an alloy of zinc mixed with copper, tin, and lead and inlaid with silver or brass. It is then covered with a mud paste containing sal ammoniac, which turns the base metal black, highlighting the color and sheen of the inlaid metal.

It was only after a Mughal military presence was established in Ahmadnagar in 1600 that the imperial Mughal aesthetic exerted an influence on painting of the Deccan. After this time there grew a greater interest in accurate portraiture and hieratic court scenes, and colors became more restrained. The typical portraits of sultans and court members against plain backgrounds, durbar scenes, and wedding processions were all produced at workshops in the Deccan. Such changes were made by artists at Hindu courts under the aegis of the Mughals at this time as well.

The Mughals conquered the last of the Deccani sultanates in 1686, but were only able to control the area until 1724, when the Asaf Jahis asserted their independence. They continued to rule in the former Qutb Shahi capital of Hyderabad until India itself gained its independence, and their court carried Persianate culture of the Deccan well into the twentieth century.

Sardar, Marika. “Islamic Art of the Deccan.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/decc/hd_decc.htm (October 2003)

Further Reading

Michell, George, and Mark Zebrowski. Architecture and Art of the Deccan Sultanates . New York: Cambridge University Press, 1999.

Zebrowski, Mark. Deccani Painting . Berkeley: University of California Press, 1983.

Additional Essays by Marika Sardar

• Sardar, Marika. “ Modern and Contemporary Art in Iran .” (October 2004)
• Sardar, Marika. “ The Later Ottomans and the Impact of Europe .” (October 2004)
• Sardar, Marika. “ The Metropolitan Museum’s Excavations at Nishapur .” (originally published October 2001, last revised July 2011)
• Sardar, Marika. “ Carpets from the Islamic World, 1600–1800 .” (October 2003)
• Sardar, Marika. “ Indian Textiles: Trade and Production .” (October 2003)
• Sardar, Marika. “ Shah ‘Abbas and the Arts of Isfahan .” (October 2003)
• Sardar, Marika. “ Company Painting in Nineteenth-Century India .” (October 2004)
• Sardar, Marika. “ The Art of the Mughals after 1600 .” (October 2003)
• Sardar, Marika. “ The Art of the Ottomans after 1600 .” (October 2003)
• Sardar, Marika. “ The Arts of Iran, 1600–1800 .” (October 2003)
• Sardar, Marika. “ The Arts of the Book in the Islamic World, 1600–1800 .” (October 2003)
• Sardar, Marika. “ The Greater Ottoman Empire, 1600–1800 .” (October 2003)
• Sardar, Marika. “ Art and Nationalism in Twentieth-Century Turkey .” (October 2004)
• Sardar, Marika. “ Europe and the Islamic World, 1600–1800 .” (October 2004)
• Sardar, Marika. “ Nineteenth-Century Court Arts in India .” (October 2004)
• Sardar, Marika. “ Nineteenth-Century Iran: Art and the Advent of Modernity .” (October 2004)
• Sardar, Marika. “ Nineteenth-Century Iran: Continuity and Revivalism .” (October 2004)
• Sardar, Marika. “ Astronomy and Astrology in the Medieval Islamic World .” (August 2011)

Related Essays

• The Art of the Mughals after 1600
• The Art of the Mughals before 1600
• The Arts of Iran, 1600–1800
• Indian Textiles: Trade and Production
• The Art of the Ottomans after 1600
• The Arts of the Book in the Islamic World, 1600–1800
• Astronomy and Astrology in the Medieval Islamic World
• Carpets from the Islamic World, 1600–1800
• Early Modernists and Indian Traditions
• The Greater Ottoman Empire, 1600–1800
• Jain Sculpture
• Modern Art in India
• Modern Art in West and East Pakistan
• The Nature of Islamic Art
• Nineteenth-Century Court Arts in India
• Postmodernism: Recent Developments in Art in India
• Shah ‘Abbas and the Arts of Isfahan

List of Rulers

• List of Rulers of the Islamic World
• South Asia, 1400–1600 A.D.
• South Asia, 1600–1800 A.D.
• 14th Century A.D.
• 15th Century A.D.
• 16th Century A.D.
• 17th Century A.D.
• 18th Century A.D.
• Architectural Element
• Architecture
• Calligraphy
• Floral Motif
• Islamic Art
• Islamic Art in the Later Period
• Literature / Poetry
• Plant Motif
• Religious Art
• Safavid Art

Artist or Maker

• Chand Muhammad
• Kamal Muhammad

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NCERT Book Class 12 | An Introduction to Indian Art | Chapter 4 The Deccani Schools of Painting

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The Rajasthani School of Miniature Painting

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