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NCERT Class 12 Fine Art Chapter 4 The Deccani Schools of Painting
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The Deccani Schools of Painting
Chapter: 4
| SHORT QUESTION ANSWER |
1. What historical period did the Deccani Schools of Painting flourish in?
Ans: Deccani painting flourished in the late 16th and 17th centuries.
2. Name two prominent Deccani Schools of Painting and their distinguishing features.
Ans: Two prominent Deccani schools of panting and their distinguishing feature are mentioned below:
(i) Deccan Sultanate School: This school emerged during the rule of various sultanates in the Deccan region, such as the Bahmani Sultanate and the Deccan Sultanates. It is known for its fusion of Persian, Indian, and indigenous influences, characterised by bold colours, detailed patterns, and a focus on portraiture and court scenes.
(ii) Hyderabad School: Flourishing under the Qutb Shahi dynasty in Hyderabad, this school is noted for its refinement and elegance. It often depicted themes of romance, nature, and courtly life, with delicate brushwork, intricate details, and a soft colour palette dominated by pastel shades.
3. How did regional influences shape the development of Deccani painting styles?
Ans: The style is a sensitive, highly integrated blend of indigenous and foreign art forms. The elongated figures are seemingly related to Vijayanagar wall paintings, while the floral-sprigged backgrounds, high horizons, and general use of landscape show Persian influence.
4. What themes and subjects were commonly depicted in Deccani paintings?
Ans: The presentation of ethnic kinds, clothing, jewellery, flora, animals, terrain, and colours are distinguishing elements of Deccani paintings from the 18th and 19th centuries. The style is a delicate, well-integrated fusion of indigenous and western art forms.
5. How did Deccani painting techniques differ from other contemporary Indian painting traditions?
Ans: Deccan painting exceeds in “the brilliance of their colour, the sophistication and artistry of their composition, and a general air of decadent luxury”.
| EXERCISE |
1. What are the unique features of Deccani painting of Yogini? Find out about artists doing similar works nowadays.
Ans: The unique features of Deccani painting of Yogini are mentioned below:
(i) Iconography: Yoginis are depicted with attributes such as skulls, tridents, and sometimes with animal companions, symbolising their mystical powers and association with tantric practices.
(ii) Dynamic Poses: Yoginis are often shown in dynamic and vigorous poses, reflecting their active engagement in yoga, meditation, or ritualistic activities.
(iii) Rich Symbolism: These paintings incorporate rich symbolic elements drawn from Hindu mythology, tantric traditions, and the esoteric aspects of yoga. Symbolism may include lotus flowers, snakes, and various ritual objects.
(iv) Colour Palette: Vibrant and bold colours are used to enhance the mystical and divine nature of Yoginis, often with contrasting backgrounds to highlight their presence.
2. What were the popular themes painted in the Deccani School? Describe some of them.
Ans: The Deccani School of Painting, which thrived from the late 16th to early 19th centuries in the Deccan region of India, featured several popular themes. Court scenes were a prominent subject, showcasing the luxury and grandeur of the royal courts, with rulers and courtiers depicted in opulent attire. Portraits of rulers, nobles, and influential figures were also common, emphasising their authority and splendour. Religious and mythological themes included depictions from both Islamic and Hindu traditions, such as scenes from the Quran and episodes from the Ramayana and Mahabharata. Musical and dance scenes reflected the courts’ love for the arts, capturing musicians and dancers in action. Nature and landscape themes displayed detailed and imaginative portrayals of flora, fauna, and grand landscapes. Literary themes illustrated popular works like the Persian Shahnameh and the Indian love story of Layla and Majnun. Additionally, Sufi and mystical themes depicted Sufi saints, spiritual gatherings, and mystical experiences. The Deccani School is characterised by its bold colours, intricate details, and a unique blend of Persian and indigenous styles.
3. Write a note in 100 words on two paintings you like from the Deccani School.
Ans: Two paintings you like from the Deccani School are mentioned below:
(i) Ahmednagar School of Painting: The earliest examples of Deccani painting are in a volume of poems, celebrating the reign of Hussain Nizam Shah I of Ahmadnagar (1553–1565). Most of the 12 miniatures that illustrate battle scenes are of no artistic interest, but interestingly, those depicting the queen and her marriage delight us with gorgeous colours and sensuous lines. The woman represented in it belongs to the northern tradition of pre-Mughal painting, which was flourishing especially in Malwa and Ahmedabad during this period. 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. The palette is different from paintings of northern manuscripts, coming largely from the Mughal atelier, as they are more rich and brilliant. Paintings of the Deccan have similar characteristics. The high circular horizon and The gold sky has Persian influence. We may see the debt of all Deccani kingdoms, which they owe to Persia for their landscape idiom. These feminine dresses, present in a series of Ragamala paintings, are the most striking and moving examples of the sixteenth century Deccan Schools of Painting. The women’s hair is rolled up in a bun on the nape of the neck, similar to the Lepakshi murals. 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. All these features, except the hairstyle, have traces of north India or Persia. The earliest examples of Deccani painting are in a volume of poems, celebrating the reign of Hussain Nizam Shah I of Ahmadnagar (1553–1565). Most of the 12 miniatures that illustrate battle scenes are of no artistic interest, but interestingly, those depicting the queen and her marriage delight us with gorgeous colours and sensuous lines. The woman represented in it belongs to the northern tradition of pre-Mughal painting, which was flourishing especially in Malwa and Ahmedabad during this period. 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. The palette is different from paintings of northern manuscripts, coming largely from the Mughal atelier, as they are more rich and brilliant. Paintings of the Deccan have similar characteristics. The high circular horizon and gold sky have Persian influence. The hairstyle has traces of north India or Persia.
(ii) 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 women are shown in south Indian dress, tall and slender as those in the Ragamala paintings. 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. The latter was also an expert in Indian music and author of a book on this subject, Nauras-nama. He was the owner of Nujum al-Ulum manuscript and might have commissioned the Ragamala series in the 1590s. Bijapur had a close connection with Turkey and astronomical illustrations in Nujum al-Ulum may have been derived from Ottoman Turkish manuscripts. The Ragamala are, as we have seen, Indian in their connections, with definite echoes of the Lepakshi style. They exemplify the luxuriant aestheticism of the Adil Shah court in their daring and brilliantly successful colouring and vigour of simplified compositions.
4. How is the Deccani style of painting different from the Mughal style of painting?
Ans: Mughal miniatures, Deccan painting exceeds in “the brilliance of their colour, the sophistication and artistry of their composition, and a general air of decadent luxury”.
5. What are the imperial symbols in a Deccani royal painting?
Ans: In Deccani royal paintings, several imperial symbols convey the authority and grandeur of the rulers. These include the umbrella (chhatri), symbolising sovereignty, often positioned above or near the ruler. The fly whisk, made of yak tail or feathers, signifies dignity and is depicted near the ruler or held by attendants. The throne (singhasan), ornate and often adorned with jewels, symbolises the seat of power. Courtiers, soldiers, and attendants surround the ruler, reinforcing hierarchy and loyalty. Elaborate jewellery and regalia, such as crowns and ceremonial attire, highlight wealth and status. Occasionally, symbolic animals like lions denote royalty and strength, enriching the visual narrative of power and prestige in Deccani art.
6. Which were the centres of painting in Deccan? Show them on a map.
Ans: Imagine a map of the Deccan Plateau in Central India, adorned with colorful pins marking the vibrant centers of Deccani painting:
(i) Bijapur: Flourished under Ibrahim Adil Shah II, known for its bold colors and mystical themes. Think vibrant gardens and captivating Yogini figures. (Pin near Karnataka’s capital, Bengaluru)
(ii) Golkonda: Renowned for its intricate brushwork and courtly scenes, often depicting lavish ceremonies and portraits of rulers. Imagine delicate gold details and grand architecture. (Pin near Hyderabad, Telangana)
(iii) Ahmadnagar: Famed for its dynamic compositions and dramatic narratives, including scenes from Hindu epics and battles. Think swirling figures and intense mythology. (Pin near Mumbai, Maharashtra)
(iv) Bidar: Specializes in portraits and literary illustrations, showcasing graceful figures and delicate depictions of scenes from love poems and Sufi themes. Imagine soft colors and lyrical compositions. (Pin near Karnataka border with Maharashtra)
(v) Berar: Known for its blend of Deccani and Mughal styles, featuring refined brushwork and courtly elegance alongside mystical elements and vibrant colors. Imagine a fusion of grandeur and fantasy. (Pin near Aurangabad, Maharashtra)
