Key Points

The Deccani school of painting flourished in the Deccan plateau of southern India from the late sixteenth century until the 1680s, primarily under the patronage of the Sultans of Bijapur, Golconda, and Ahmadnagar.

Deccani paintings are distinguished by their unique sensuality, intense and brilliant colors, and dense compositions. They often create a romantic and lyrical atmosphere, setting them apart from Mughal art.

The style is a synthesis of various influences, including Persian traditions for landscapes and high horizons, Ottoman Turkish elements, and indigenous southern Indian aesthetics, such as those seen in the Lepakshi murals.

As one of the earliest centers, Ahmadnagar is known for the manuscript 'Tarif-i-Hussain Shahi' (1565-1569). Paintings from this school feature women in modified northern costumes with southern-style long scarves and a rich, brilliant color palette.

Patronized by rulers like Ibrahim II, the Bijapur school produced the illustrated encyclopedia 'Nujum al-Ulum' (1570). Its paintings often depict tall, slender women and show a blend of Indian and Turkish influences.

Golconda was the wealthiest Deccan kingdom, which is reflected in its paintings through the lavish use of gold and depictions of rich gold jewellery. Early Golconda works show no Mughal influence and were known for their large size, sometimes used as wall hangings.

This painting from Ahmadnagar (1565-1569) celebrates the reign of Hussain Nizam Shah I. It depicts the king seated on his throne and is an important early example of Deccani art.

Meaning 'Stars of the Sciences', this is a richly illustrated encyclopedia from Bijapur (1570). It contains 876 miniatures illustrating subjects like weapons, utensils, and constellations.

A 17th-century Bijapur painting known for its vertical composition. It portrays a tall Yogini, a female ascetic, preoccupied with a myna bird amidst a lush landscape.

This energetic painting from Bijapur shows the Sultan on a galloping horse. It is a masterpiece that blends Persian influence in the horse and rocks with native Indian inspiration for the dense landscape.

From Bijapur (c. 1590-95), this Ragamala painting depicts female musicians in a pavilion. It is noted for its vibrant colors, strong dark outlines, and Persian-influenced arabesque decorations on the domes.

An early 17th-century Golconda painting with a surreal quality. The artwork is formed by multiple intertwined human figures that create the shape of a galloping horse.

This is a royal portrait from Bijapur. The Sultan is shown enthroned holding a sword, which symbolizes his political power, and a halo around his head, which depicts his divinity.

A provincial painting from Hyderabad depicting the famous Sufi saint listening to music from his disciple, Amir Khusrau. The work is valued more for its charming narrative than its technical sophistication.

This painting depicts the revered queen of Bijapur, Chand Bibi, playing chaugan (polo). It is a later provincial work that celebrates the accomplished and respected ruler.

The Deccani style did not end with the Mughal conquest. It continued to be seen in the art of the nineteenth century under the Asafiya dynasty and in the provincial courts of Hyderabad.