Which was one of the main centre of deccan art style

• • • • • • • • • • • • (–3300 BCE) • (c. 3300–c. 1800 BCE) • (1800–200 BCE) • (c. 200 BCE–c. 500 CE) • • (c. 500–1200 CE) • (c. 1200–1757) • (c. 1757–1857) • (c. 1857–1947) • (c. 1947–) • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Deccani Manuscript Painting%newline%[mapeiacarousel id=8255] Comprising the manuscript illustration traditions patronised by the sultanates of Ahmadnagar, Bijapur and Golconda, Deccani manuscript painting flourished between the sixteenth and late seventeenth centuries. It also includes the manuscripts and muraqqas commissioned by Maratha emperors and peshwas in the eighteenth century, though these were fewer in number. Manuscript painting in the Deccan grew steadily until the Mughal conquest of the region between 1600–87 resulted in the annexation of the Deccan sultanates, after which a combination of puppet governments and appointed governors kept the practice alive, but with a heavy emphasis on emulating the Mughal aesthetic. The Deccan plateau, which extends over most of the land between the eastern and western coasts of the Indian peninsula, has enjoyed a long history of trade and artistic exchange because of its many ports, which linked it to the Indian Ocean trade routes. Further, the royal families of several Deccan sultanates also had ancestral or cultural links with Persia and Turkey. As a result, Deccan manuscript ...

Stele with a standing figure of Vishnu, 12th century, Pala dynasty, 162.56 cm, Bengal, eastern India © Trustees of the British MuseumVishnu is one of the most popular gods of the Hindu pantheon. His portrayal here is standard: a royal figure standing tall, crowned and bejeweled, in keeping with his role as king and preserver of order within the universe. He carries a gada (mace) and chakra (disc) in his hands. The other two hands, which would have held a lotus and conch, are broken. On his forehead he wears a vertical mark or tilak, commonly worn by followers of Vishnu. In keeping with his iconography as the divine king, he is heavily bejeweled, wears a sacred thread that runs over his left shoulder and a long garland that comes down to his knees. He stands flanked by two attendants, who may be his consorts Bhu and Shri, on a double lotus. The stele has a triangular top unlike earlier examples which were usually in the shape of a gently lobed arch. On either side of his crown are celestial garland bearers and musicians, the Vidyadharas and Kinnaras. A kirtimukha, or auspicious face of glory, is carved on the top centre of the arch. Shiva is a powerful Hindu deity. He has a female consort, like most of the gods, one of whose names is Parvati, "the daughter of the mountain." Shiva and Parvati may appear as a loving couple sitting together in a form called Umamaheshvara. In this example two separate bronze images have been designed as a group. Both Shiva and Parvati wear elab...

The “Deccan” (derived from Dakshina) is a geographical term that refers to the plateau in south central India still ruled by 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 Bijapur was ruled by the ‘Adil Shahis from 1489 to 1686. The Qutb Shahis (1496–1687) of Golconda had very close ties to 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 tha...

Deccan, the entire southern peninsula of daksina (“south”). The The Deccan’s early history is obscure. There is evidence of prehistoric human habitation; low rainfall must have made farming difficult until the introduction of irrigation. The plateau’s mineral wealth led many lowland rulers, including those of the bce) and ce)

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. 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 counterpart...