Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Books
  3. Architecture and Art of the Deccan Sultanates
  • Cited by 19
Publisher:
Cambridge University Press
Online publication date:
March 2008
Print publication year:
1999
Online ISBN:
9781139053433
DOI:
https://doi.org/10.1017/CHOL9780521563215
Subjects:
Non-Western Art, Area Studies, Art, South Asian History, Asian Studies, History
Series:
The New Cambridge History of India
Collection:
Cambridge Histories - Asian History
Information

Book description

The Muslim kingdoms of the Deccan plateau flourished from the fourteenth to eighteenth centuries. During this period, the Deccan sultans built palaces, mosques and tombs, and patronised artists who produced paintings and decorative objects. Many of these buildings and works of art still survive as testimony to the sophisticated techniques of their craftsmen. This volume is the first to offer an overall survey of these architectural and artistic traditions and to place them within their historical context. The links which existed between the Deccan and the Middle East, for example, are discernible in Deccani architecture and paintings, and a remarkable collection of photographs, many of which have never been published before, testify to these influences. The book will be a source of inspiration to all those interested in the rich and diverse culture of India, as well as to those concerned with the artistic heritage of the Middle East.

Reviews

‘ … a book into which you will be drawn - and at some points will almost drown - in the powerfully and sumptuously exotic works of art which are discussed. It would be difficult to imagine two scholars better suited to present the architectural and artistic heritage of this huge region, for George Michell and Mark Zebrowski have made this subject their own.’

Richard Blurton Source: British Museum Magazine

‘In this jointly authored work Michell is mainly responsible for the discusiions on architecture, while Zebrowski deals with the visual arts, including the arts of the book and miniature painting as well as metal work and other minor arts. Discussions on these topics are clear and informative and are supposed by illustrations, many in colour.’

Source: The Times Higher Education Supplement

‘ … analyses the architecture and art that flourished in western, central and southern India between the fourteenth and eighteenth centuries. The book’s subtitle Architecture and Art of the Deccan Sultanate is misleading because the book also incorporates the artistic creations of several non-Sultanate kingdoms such as the Mughals and the Marathas. The authors have taken a very broad view of both ‘architecture’ and ‘art’: ‘architecture’ includes not only palaces, forts, gateways, tombs, mosques and temples but also the plans and layouts of the urban and semi-urban settlements housing the above buildings. Similarly, ‘art’ includes within its fold, wall and miniature paintings, painted wall and floor tiles, sculptures and textiles, besides artifacts in stone, wood and metal … The authors have painstakingly visited and photographed the various Sultanate sites and buildings. In addition, they have also identified and examined, for the first time ever, the Sultanate artifacts in the collection of libraries and museums in UK, France, Germany and USA … The most interesting and informative sections of the book are those dealing with the Middle Eastern influences on the art and culture of the Deccan.’

Source: Indian Review of Books

‘To the non-specialist, even with some knowledge of the art and architecture of the Mughals in North India, the individuality, variety and exuberance of Deccani art and architecture, admirably surveyed in the present handbook, will come as a delightful surprise.’

Source: Burlington Magazine

‘In this scholarly desert, The Art and Architecture of the Deccan Sultanates in the New Cambridge History of India is a major landmark. It is also one of the most beautifully written works of Indian art history published for many years, combining rigorous scholarship with an aesthetic sensitivity and a feeling for language all too rare in modern academia. One of the authors, Mark Zebrowski, died shortly after finishing it. The power of his prose and the perception of his eye are amply demonstrated by the remarkable chapters he has contributed to this book. As scholars of the period are already discovering, his death has created a gap it will be very difficult to fill.’

Source: The Times Literary Supplement

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

Contents

Contents
  • 1 - Historical framework
    pp 4-22
  • View abstract

    Summary

    The turbulent events of the sixteenth and seventeenth centuries are explained to some extent by the unique location of the Deccan plateau as a meeting place of forces from both North and South India, the promise of boundless land and wealth inspiring repeated invasion. In the first decades of the fourteenth century, the Deccan was subjugated by the Khaljis and Tughluqs, the first Muslim rulers of Delhi. Resistance to these assaults from Delhi occurred in three waves. The first was the military thrust of the mighty Hindu Vijayanagara kingdom south of the Tungabhadra-Krishna rivers in the fifteenth and first half of the sixteenth centuries. The second was the opposition of the Shia Muslim sultans such as the Shahis, throughout most of the seventeenth century. The third was the guerilla tactics of the Hindu Maratha warriors in the second half of the seventeenth and first half of the eighteenth centuries.
  • 2 - Forts and palaces
    pp 23-62
  • View abstract

    Summary

    The seemingly unending cycle of raids, sieges and invasions on the Deccan region helps explain why its defensive works were accorded architectural importance. This chapter describes, with illustrations, several forts and palaces in the Deccan Sultanate period such as the royal residence, Balakot in Daulatabad; the audience hall in Firuzabad; Sharza gate, Diwan-i Am with Takht Mahal, and Takht-i Kirman in Bidar; the entry gate in Sholapur; the fort walls of Parenda; Farah Bagh in Ahmadnagar; Chini Mahal in Daulatabad; the city walls and Gagan Mahal in Bijapur; Bala Hisar Gate, and the palace zone in Golconda; Char Minar in Hyderabad; the fortifications of Rajgad; Bala Qila towers in Raigad; Vijaydurg fort; and the ramparts in Janjira. These were built during the reigns of the Tughluqs; the Bahamanis; the Nizam Shahis, Imad Shahis, Adil Shahis, and the Qutb Shahis; the Mughals; Shivaji; the Sidhis and the Angres; and the Peshwas.
  • 3 - Mosques and tombs
    pp 63-114
  • View abstract

    Summary

    This chapter describes, with illustrations, an array of Jami mosques and other places of prayer and several tombs in the Deccan region. Personal ambition on the part of sultans, their ministers and commanders accounts for a funerary tradition that often represents the finest architectural achievements of the period. The chapter includes the Jami mosque and Chand Minar in Daulatabad, Solah Khamba mosque in Bidar, Jami mosque in Gulbarga, the tombs of Alauddin Hasan Bahman Shah, Muhammad I and Tajuddin Firuz, the Langar-ki mosque in Gulbarga, and the tombs of Ahmad I, Alauddin Ahmad II in Bidar. It also includes the tombs of Ahmad Bahri Nizam Shah and Salabat Khan, and Damri mosque in Ahmadnagar, the tomb of Malik Ambar in Khuldabad, the dargah of Shaykh Sirajuddin Junaydi in Gulbarga, the Jami and Anda mosques, the tomb of Ibrahim Adil Shah II, and the Gol Gumbad in Bijapur, and Bibi-ka Maqbara and Shahi mosque in Auranga.
  • 4 - Architectural decoration
    pp 115-144
  • View abstract

    Summary

    Plaster decoration is at first restricted to bands around arched openings and recesses, and to medallions in the spandrels. The most refined plasterwork of the era is the delicately incised calligraphy and foliation of the mihrab in the Langar-kimosque just north of Gulbarga. With the development of carved stonework in later Adil Shahi architecture, plaster decoration tends to be confined to cartouches and medallions on sinuous brackets. Wooden decoration in Deccani architecture can only be studied from the scantiest remains. Metal cladding still remains on some of the doors in the defensive entryways to Deccan forts, for example the geometric designs in iron strapwork on the inner door of the Fateh gate at Golconda. In Bidar, architectural tilework conforms to the mosaic technique. Wall panels in the Moti Baug at Wai are of greater merit. The paintings are framed by graceful floral borders typical of the Maratha idiom.
  • 5 - Miniature painting: Ahmadnagar and Bijapur
    pp 145-190
  • View abstract

    Summary

    The briefest and most mysterious phase of Deccani painting occurred at the late sixteenth-century court of Ahmadnagar. Two portraits of the sultan of Ahmadnagar, both inscribed Nizam Shah, painted in about 1575, one in the Bibliotheque Nationale, Paris, the other in the State Library, Rampur, encapsulate this new sophistication. At present, circumstantial evidence suggests a provenance but cannot prove it. The lyrical but uncomplicated style implies the work of a brilliant innovator working at a provincial centre far from the courtly atmosphere of the Ahmadnagar and Bijapur capitals. A related style of painting, usually with Hindu subject matter and ever increasing Mughal influence, continued throughout the seventeenth century in northern Deccani centres. The mystical temperament of Sultan Ibrahim Adil Shah II, the patron of the greatest of these works, gave a strong imprint to the production of the school.
  • 6 - Miniature painting: Golconda and other centres
    pp 191-225
  • View abstract

    Summary

    Golconda art was always less humanistic than other Deccani schools, figures are closer to the glorious dolls of Safavid illustration and possess less mass and naturalistic expression than is usual in the arts of India. The earliest miniature paintings probably date from the reign of Ibrahim Qutb Shah, all in variants of Persian styles and not one equal to the masterpieces of the following reign. Aurangzeb's conquest of Bijapur and Golconda was not as inimical to the arts as is generally assumed. He was an orthodox Muslim, but his only overtly hostile act in regard to art was to command all figural murals to be erased in the Adil Shahi palace in Bijapur. There are close links between Deccani painting and the Rajasthani school of Bikaner, but the precise nature of the relationship has never been satisfactorily explored.
  • 7 - Textiles, metalwork and stone objects
    pp 226-245
  • View abstract

    Summary

    Several factors suggest that the best painted cottons were produced on the Bay of Bengal coast of the kingdom of Golconda. The vibrant tone of red most prized in Europe was produced by the root of the chay plant when grown in the calcium-rich soil of the Krishna river delta. Deccani metalwork is more plentiful and better known than that from any other region of India. The Deccan produced marvellously designed daggers and swords, their hilts composed of entwined animal shapes, usually lions, elephants, simurghs and dragons locked in furious combat. The green serpentine marble out of which this object is cut is found on the Deccan plateau. Its local Persian and Urdu name is zahr muhra, or poison stone, following the belief that a vessel of serpentine marble, like one of celadon, will discolour or crack if food containing poison is placed inside.
  • 8 - Temples
    pp 246-267
  • View abstract

    Summary

    The earliest Maratha temples, such as Shivaji's shrine at Raigad and his memorial at Sindhudurg, are built of stone and mortar, with repeated use of pointed arches as well as vaults and domes supported on pendentives and squinches. Hindu religious architecture under the Marathas was initiated at Raigad where Shivaji erected a linga shrine to Jagadishvara in 1674, the year of his coronation. The temple stands in a walled compound with an arched entrance on the east leading to Shivaji's cremation site. The dilapidated Yadava temple here was entirely reconstructed by Wnanciers from Pune, the tower itself being the responsibility of Nana Phadnavis, minister of the later peshwas. The Holkars of Indore built extensively in the Deccan, Malwa and other parts of Central India, especially under the capable direction of Ahilyabai and hergeneral Tukoji. Bhonsale projects overlook Ambala lake at the foot of Ramtek hill.
  • 9 - Conclusion
    pp 268-272
  • View abstract

    Summary

    This conclusion presents some closing remarks discussed in the preceding chapters that have defined a profusion of distinctive artistic modes emerged between the fourteenth and eighteenth centuries. This stylistic multiplicity may be singled out as an overriding characteristic of Deccani art. Each dynasty of Deccani kings, from the Bahmanis to the Asaf Jahis and Marathas, promoted a highly individualistic idiom which they employed for their courtly and religious buildings and, in later times, for paintings, metalwork and textiles. The process of transformation by which the first genuinely Deccani style was created was completed towards the end of the fourteenth century, by which time innovative tendencies were already apparent in religious architecture. A synthesis of Persian Safavid models with indigenous taste is apparent in the finest early seventeenth-century Deccani paintings. Mughal architecture in the Deccan had a greater impact on temples than on mosques and tombs.
  • Bibliographic Essay
    pp 278-281
  • View abstract

    Summary

    This bibliography chapter presents an overview of historical framework, architecture as well as miniature painting and the fine arts of the Deccan. The Sultanate period is surveyed by Haig, Briggs, Venkataramana and Sherwani and Joshi, the last with excellent historical chapters by various authors concentrating on the different Sultanate kingdoms. Deccani palaces are described in Reuthe, still impressive for its clear photographs and accurate drawings. A few of these monuments are covered in Michell. Until the 1930s, the Deccani school of painting was hardly known, its great masterpieces usually described as Persian, Indo-Persian or Mughal. The study of miniature painting under the Marathas is still in its infancy, but sees Banerji and Doshi. Pioneer research on Deccani resist-dyed cottons is provided by Irwin and Brett. Deccani bronze vessels decorated with Arabic script, among the greatest masterpieces of Islamic metal work, have long been assigned to either Iran or North India.
References
Bibliography
Ahmad, N. 1953. Zuhuri, Life and Works. Allahabad.
Ahmad, N. ed. and trans. 1956. Ibrahim Adil Shah II: Kitab-i Nauras. New Delhi.
Alavi, R. A. 1977. Studies in the History of Medieval Deccan. Delhi.
Aruni, S. K. 1996–7. ‘Sagar: provincial headquarters of the Islamic Deccan’. Bulletin of the Deccan College Post-Graduate and Research Institute 56–7: 219–29.
Asher, C. 1992. The New Cambridge History of India. I.4. Architecture of Mughal India. Cambridge.
Banaji, D. R. 1932. Bombay and the Sidis. Bombay.
Banerji, A. 1956. ‘An illustrated Hindi manuscript of Shakuntala dated 1789’. Lalit Kala 1–2: 46–54.
Barrett, D. and Gray, B. 1963. Painting of India. Lausanne.
Barrett, D. 1958. Painting of the Deccan. London.
Barrett, D. 1960. ‘Some unpublished Deccan miniatures’. Lalit Kala 7: 9–13.
Barrett, D. 1969. ‘Painting at Bijapur’. In Pinder-Wilson, R. H. ed. Paintings from Islamic Lands. Oxford.
Begley, W. E. 1985. Monumental Islamic Calligraphy from India. Villa Park.
Bhatt, S. K. 1979. ‘A cenotaph of Ahilya Bai Holkar at Maheshwar’. In Bhatt, S. K. ed. Studies in Maratha History, Proceedings of the 4th All India Maratha History Seminar. Indore.
Bilgrami, S. A. A. and Willmott, C. 1884. Historical and Descriptive Sketch of His Highness the Nizam’s Domains. 2 vols. Bombay.
Bilgrami, S. A. A. 1927. Landmarks of the Deccan: A Comprehensive Guide to the Archaeological Remains of the City and Suburbs of Hyderabad. Hyderabad.
Binney, E. 1973. The Mughal and Deccani Schools from the Collection of Edwin Binney, 3rd. Portland.
Bredi, D. 1993. ‘Shiism’s political valence in medieval Deccan kingdoms’. In Dallapiccola, A. L. ed. Islam and Indian Regions. Stuttgart.
Briggs, J. trans. 1909–10. History of the Rise of the Mahomedan Power in India till the year A. D. 1612 translated from the original Persian of Muhammad Qasim Ferishta, II–III. Calcutta.
Brown, P. 1942, reprinted 1968. Indian Architecture (Islamic Period). Bombay.
Burgess, J. 1878. ‘Temple of Ahilyabai at Ellora’. In Report on the Antiquities in the Bidar and Aurangabad Districts. London.
Burton-Page, J. 1986. ‘Daulatabad’ and ‘Bijapur’. In Michell, (1986).
Chandra, M. 1951. ‘Portraits of Adil Shah’. Marg 5/1:22–8.
Choudhury, A. K. 1961. Bidri Ware. Salar Jang Museum, Hyderabad.
Cohen, S. 1986. ‘Textiles’. In Michell, (1986).
Cousens, H. 1916, reprinted 1976. Bijapur and its Architectural Remains. Bombay.
Crill, R. 1988. ‘Indian painted cotton’. Hali 40/10:28–35.
Crowe, Y. 1986a. ‘Coloured tilework’. In Michell, (1986).
Crowe, Y. 1986b. ‘Some glazed tiles in 15th-century Bidar’. In Skelton, R. et al. eds. Facets of Indian Art: A Symposium Held at the Victoria and Albert Museum, etc. London.
Curatola, G. 1991. ‘Un percorso di lettura sulle arte decorative nel Deccan’. In Amoretti, B. S. ed. Glances on Shiite Deccan Culture. Rivista delgi Studi Orientali 64/1–2:195–234.
Desai, R. 1987. Shivaji: The Last Great Fort Architect. New Delhi.
Desai, Z. A. 1974a. ‘Architecture (i) The Bahmanis’. In Sherwani, and Joshi, (1974).
Desai, Z. 1974b. ‘Architecture (ii) Bahmani Successor States’. In Sherwani, and Joshi, (1974).
Desai, Z. 1974c. ‘Mughal architecture in the Deccan’. In Sherwani, and Joshi, (1974).
Desai, Z. 1989. A Topographical List of Arabic, Persian and Urdu Inscriptions of South India. New Delhi.
Desai, Z. n. d. ‘A Topographic List of Arabic, Persian and Urdu Inscriptions of North India’. Manuscript.
Deshmukh, S. B. 1992. Maratha Painting. Aurangabad.
Deshpande, P. N. 1982. ‘Maratha forts and siege tactics’. In Doshi, (1982).
Doshi, S. 1972. ‘An illustrated manuscript from Aurangabad’. Lalit Kala 15:19–28.
Doshi, S. ed. 1982. Shivaji and Facets of Maratha Culture. Bombay.
Duff, J. G. 1912. A History of the Mahrattas. 2 vols. Calcutta.
Eaton, R. M. 1978. Sufis of Bijapur, 1300–1700 Princeton.
Eaton, R. M. 1993. ‘The Khuldabad-Burhanpur axis and local Sufism in the Deccan’. In Dallapiccola, A. L. ed. Islam and Indian Regions. Stuttgart.
Eaton, R. M. 1998. The New Cambridge History of India. I.7. Social History of the Deccan: Profiles and Processes. Cambridge.
Ernst, C. W. 1992. Eternal Garden: Mysticism, History and Politics at a South Asian Sufic Center. Albany.
Fass, V. 1986. The Forts of India. Calcutta.
Fischer, K. 1955. ‘Firozabad on the Bhima and its environs’. Islamic Culture 29: 246–55.
Fischer, K. 1974. Dächer, Decken und Gewölbe indischer Kultstätten und Nutzbauten. Wiesbaden.
Gadre, P. B. 1986. Cultural Archaeology of Ahmadanagar during the Nizam Shahi Period (1494–1632). Delhi.
Garg, R. S. 1987. ‘Report on the paintings in the Rangmahal Palace at Chandore’. In Batt, S. K. ed. Studies in Maratha History, Proceedings of the 4th All India Maratha History Seminar. Indore.
Ghani, M. A. 1930. History of the Persian Language and Literature of the Mughal Court, III. Allahabad.
Gittinger, M. 1982. Master Dyers to the World. Washington DC.
Goetz, H. 1935. ‘La peinture indienne: les écoles du Dekkan’. Gazette des Beaux Arts 13:275–88.
Goetz, H. 1936. ‘Notes on a collection of historical portraits from Golconda’. Indian Art and Letters 10/2:10–21.
Goetz, H. 1940. ‘The fall of Vijayanagar and the nationalization of Muslimart in the Dakkan’. Journal of Indian History 19:249–55.
Goetz, H. 1944. ‘A unique early Deccani miniature’. Bulletin of the Baroda State Museum 1/1: 37–41.
Goetz, H. 1946. The Art of the Marathas and Its Problems. Baroda.
Goetz, H. 1949. ‘Purandhar: its monuments and their history’. Annals of the Bhandakar Oriental Institute. 30:215–40.
Goetz, H. 1950. The Art and Architecture of Bikaner State. Oxford.
Goetz, H. 1952–3. ‘An early Mughal portrait of Sultan Abdullah of Golconda’. Bulletin of the Baroda State Museum 9/9:9–24.
Goetz, H. 1963. ‘Indo-Islamic Wgural sculpture’. Ars Orientalis 5:235–41.
Gokhale, B. G. 1988. Poona in the Eighteenth Century: An Urban History. Delhi.
Gordon, S. 1938. ‘Deccani paintings: the school of Bijapur’. Burlington Magazine 53:74–6.
Gordon, S. 1993. The New Cambridge History of India. II.4. The Marathas 1600–1818. Cambridge.
Gordon, S. 1994. ‘Forts and social control in the Maratha state’. In Gondon, ed. Marathas, Marauders and State Formation in Eighteenth-Century India. Delhi.
Gray, B. 1937. ‘Portraits from Bijapur’. British Museum Quarterly 11:183–4.
Haig, T. W. 1907. Historic Landmarks of the Deccan. Hyderabad.
Haig, T. W. 1918. ‘The Faruqi dynasty of Khandesh’. Indian Antiquary 47: 113–24, 141–9, 178–86.
Haig, T. W. 1920–3. ‘The history of the Nizam Shahi kings of Ahmadnagar’. Indian Antiquary. 49:66–75, 84–91, 102–8, 123–8, 157–67, 177–88, 197–204, 217–24; 50:1–4, 25–31, 73–80, 101–6, 141–6, 93–8, 205–10, 229–34, 261–8, 277–83, 321–7; 51:29–36, 66–73, 125–31, 198–203, 235–42; 52:29–39, 159–62, 250–62, 287–300, 331–46.
Haig, T. W. 1928. ‘The five kingdoms of the Deccan, 1527–1599’. In The Cambridge History of India III, ch. 17. Cambridge.
Haig, T. W. 1937. ‘The kingdoms of the Deccan during the reigns of Jahangir, Shah Jahan and Aurangzeb, and the rise of the Maratha power’. In The Cambridge History of India IV, ch. 9.
Harle, J. C. 1986. The Art and Architecture of the Indian Subcontinent. Harmondsworth.
Hasan, T. 1995. ‘Ceramics of Sultanate India’. South Asian Studies 11:83–106.
Husaini, S. A. Q. 1966. Bahman Shah: The Founder of the Bahmani Kingdom. Delhi.
Hussain, A. A. 1996. ‘Qutb Shahi garden sites in Golconda and Hyderbad’. In Hussain, M., Rehman, A. and Wescoat, J. L. eds. The Mughal Garden: Interpretation, Conversation and Implications. Lahore.
Hutt, A. 1981. ‘A Bijapuri mosque in Goa: the Safa Masjid’. Art and Archaeology Research Papers 15:45–7.
Irwin, J. and Brett, K. 1970. Origins of Chintz. London.
Irwin, J. 1959. ‘Golconda cotton painting of the early seventeenth century’. Lalit Kala 5:11–48.
Ivanov, V. A., Grek, T. V. and Akimushkin, O. F. 1962. Album of Indian and Persian Miniatures of the XVI–XVIIIth Centuries. Moscow.
Jamkhedkar, A. P. 1982. ‘Religious and funerary monuments of Nagpur’. In Doshi, (1982).
Joshi, P. M. 1948. ‘The reign of Ibrahim Adil Shah of Bijapur’. Bharatiya Vidya Bhavan 9:284–309.
Joshi, P. M. 1950. ‘Asad Beg’s mission to Bijapur, 1603–1604’. In Sen, S. ed. Prof. D. V. Potdar’s 61st Birthday Commemoration Volume. Pune.
Joshi, P. M. 1955. ‘Ali Adil Shah I of Bijapur (1558–80) and the royal librarian: two ruqas’. In Sardhasatabdi Commemorative Volume. Bombay.
Joshi, S. K. 1985. Defence Architecture in Early Karnataka. Delhi.
Kanhere, G. K. 1982a. ‘Maratha wadas, a way of life’. In Doshi, (1982).
Kanhere, G. K. 1982b. ‘Traditional motifs in home ornamentation’. In Pieper, J. and Michell, G. eds. The Impulse to Adorn: Studies in Traditional Indian Architecture. Bombay.
Kanhere, G. K. 1989. The Temples of Maharashtra. New Delhi.
Khalili, O. 1985. Haydarabad State under the Nizams, 1724–1948: A Bibliography of Monographic and Periodical Literature Haydarabad Historical Society, Wichita.
Khalili, O. 1987. Dakan under the Sultans, 1296–1724: A Bibliography of Monographic and Periodical Literature. Haydarabad Historical Society, Wichita.
Khandalavala, K. 1955–6. ‘Identification of the portraits of Malik Ambar’. Lalit Kala 1–2:23–31.
Khare, G. H. 1982. ‘Maratha manors’. In Doshi, (1982).
Kincaird, C. A. and Parasnes, R. B. D. B. 1931. A History of the Maratha People. Oxford.
King, J. E. 1900. History of the Bahmanis. London.
Knizkova, H. 1986. ‘Notes on the portrait of Ibrahim Adil Shah II of Bijapur in the Naprstek Museum, Prague’. In Skelton, R. et al. eds. Facets of Indian Art: A Symposium Held at the Victoria and Albert Museum, etc. London.
Koch, E. 1991a. Mughal Architecture: An Outline of its History and Development (1526–1858). Munich.
Koch, E. 1991b. ‘The Copies of the Qutb Minar’. Iran, 29:95–107.
Kramrisch, S. 1937. A Survey of Painting in the Deccan. London.
Krishna Sastry, K. K. 1983–4. ‘Historical mosques of Hyderabad’. Salar Jung Museum Bi-Annual Research Journal, 19–20:11–22.
Krishna Sastry, K. K. 1983. Select Monuments of Hyderabad. Archaeological Series 59. Government of Andhra Pradesh.
Leach, L. V. 1995. Mughal and Other Paintings from the Chester Beatty Library. London.
Losty, J. P. 1995. ‘The development of the Golconda style’. In Guy, J. ed. Indian Art and Connoisseurship: Essays in Honour of Douglas Barrett. Ahmedabad and New Delhi.
Maheshvari, K. K. and Higgins, K. W. 1989. Maratha Mints and Coinage. Nashik.
Marg, . 1963. Deccani Painting. Marg 16/2. Bombay.
Martin, F. R. 1912. The Miniature Painting and Painters of Persia, India and Turkey. London.
Mate, M. S. and Pathy, T. V. 1992. Daulatabad (A Report on the Archaeological Investigations). Deccan College, Pune.
Mate, M. S. 1959. Maratha Architecture (1650 A.D. to 1850 A.D.). Pune.
Mate, M. S. 1961–2. ‘Islamic architecture of the Deccan’. Bulletin of the Deccan College Research Institute 22:1–91.
Mate, M. S. 1982. ‘Temple architecture’. In Doshi, (1982).
Mate, M. S. 1989. ‘Daulatabad: an archaeological interpretation’. Bulletin of the Deccan College Post-Graduate and Research Institute 47–8:207–26.
Meadows Taylor, P. and Fergusson, J. 1866. Architecture at Beejapore. London.
Mehta, N. C. 1926. Studies in Indian Painting. Bombay.
Melikian-Chirvani, A. S. 1982. Islamic Metalwork from the Iranian World, 8th–18th Centuries. London.
Merklinger, E. S. 1975. ‘Seven tombs of Holkonda: a preliminary study’.Kunst des Orients 10/1–2:198–7.
Merklinger, E. S. 1976. ‘The madrasa of Mahmud Gawan in Bidar’. Kunst des Orients. 1/1–2:146–57.
Merklinger, E. S. 1977. ‘The mosques at Raicur: a preliminary classification’. Kunst des Orients. 12/17–2:79–94.
Merklinger, E. S. 1978. ‘Possible Seljuq influence on the dome of the Gol Gumbad in Bijapur’. East and West 28/17–4:257–61.
Merklinger, E. S. 1981. Indian Islamic Architecture: The Deccan 1347–1686. Warminster.
Merklinger, E. S. 1986. ‘Gulbarga’. In Michell, (1986).
Merklinger, E. S. 1994. The Royal Palaces of India. London.
Merklinger, E. S. 1996. ‘Monuments of the Deccan. Islamic architecture of the Central Indian Plateau’. In Tilden, J. ed. Silk & Stone: The Art of Asia. London.
Michell, G. and Eaton, R. 1992. Firuzabad, Palace City of the Deccan. Oxford Studies in Islamic Art 8. Oxford.
Michell, G. ed. 1986. Islamic Heritage of the Deccan. Bombay.
Minorsky, V. 1955. ‘The Qara-Qoyunlu and the Qutb Shahs’. Bulletin of the School of Oriental and African Studies 17:50–73.
Mittal, J. 1966. ‘Deccani painting: Golconda and Hyderabad schools’. In Sherwani, H. K. ed. Dr Ghulam Yazdani Commemoration Volume. Hyderabad.
Mittal, J. 1968. ‘Some Deccani paintings in the Baroda Museum’. Baroda Museum Bulletin 20:19–25.
Mittal, J. 1971. ‘Painting’. In Sherwani, and Joshi, (1974).
Morwanchikar, R. S. 1982. ‘Mansions and monasteries of Paithan’. In Doshi, (1982).
Naqvi, S. 1987. Qutb Shahi Ashur Khanas of Hyderabad City. 2nd edition. Hyderabad.
Naqvi, S. 1993. Muslim Religious Institutions and their Role under the Qutb Shahis. Hyderabad.
Nayeem, M. A. 1974. External Relations of the Bijapur Kingdom. Hyderabad.
Nayeem, M. A. 1985. Mughal Administration of Deccan Under Nizamul Mulk Asaf Jah (1720–48 AD). Bombay.
Nayeem, M. A. 1987. The Splendour of Hyderabad: Last Phase of an Oriental Culture (1591–1948 AD). Bombay.
Nizami, K. A. 1974. ‘Sufi movement in the Deccan’. In Sherwani, and Joshi, (1974).
Orientalis, Via. 1991. An Exhibition Held in Brussels at the Gallery of the CGER Europalis 91 Portugal.
Paddayya, K. 1990. ‘Towards the archaeology of the medieval Shorapur doab, Deccan’. Islamic Culture, 61/2–3:75–112.
Petruccioli, A. 1991. ‘Hyderabad: un’ipotesi urbanistica Deccana’. In Amoretti, B. C. ed. Glances on Shiite Deccan Culture. Rivista degli Studi Orientali 64/1–2:171–93.
Pieper, J. 1984. ‘Hyderabad: a Quranic paradise in architectural metaphor’. Environmental Design:46–51.
Porter, V. 1995. Islamic Tiles. London.
Ramachandra Murthy, N. S. 1996. Forts of Andhra Pradesh (from the Earliest Times up to the 16th C. A.D.). Delhi.
Ranade, U. 1983. Manuscript Illustrations of the Medieval Deccan. Delhi.
Rani, A. 1991. Tughluq Architecture. Delhi.
Rawlinson, H. G. 1963. reprint. ‘The rise of the Maratha empire’. In The Cambridge History of India, IV, ch. 14. Delhi.
Reuther, O. 1925. Indische Paläste und Wohnhäuser. Berlin.
Richards, J. F. 1975. Mughal Administration in Golconda. Oxford.
Richards, J. F. 1995. The New Cambridge History of India, i.5. The Mughal Empire. Cambridge.
Rocco, S. 1920. Golconda and the Qutb Shahs. Lahore.
Rötzer, K. 1984. ‘Bijapur: alimentation en eau d’une ville musulmane du Dekkan aux xvie–xviie si`cles’. Bulletin de l’Ecole Française d’Extreme-Orient 73: 125–95.
Safrani, S. H. ed. 1992. Golconda and Hyderabad. Bombay.
Sardesai, G. S. 1946–9. New History of the Marathas. 4 vols. Bombay.
Sarkar, J. 1937. ‘Aurangzeb’ and ‘The Hyderabad State (1724–62)’. In The Cambridge History of India, IV, chs. 10, 12. Delhi.
Sen, S. 1928. Military System of the Marathas. Calcutta.
Seth, D. R. 1957. ‘Life and times of Malik Ambar’. Islamic Culture 31:142–55.
Seyller, J. 1995. ‘Farrukh Beg in the Deccan’. Artibus Asiae 55/3–4:319–41.
Sherwani, H. K. 1942. Mahmud Gawan: The Great Bahmani Wazir. Allahabad.
Sherwani, H. K. 1943–4. ‘Taju’l-din Firoz and the synthesis of Bahmani culture’. New Indian Antiquary 6/4:75–89.
Sherwani, H. K. 1953. The Bahmanis of the Deccan. Hyderabad.
Sherwani, H. K. 1957. ‘Cultural and administration set-up under Ibrahim Qutb Shah (1550–1580)’. Islamic Culture 31:235–48.
Sherwani, H. K. 1958. ‘The foundation of Haidarabad’. Journal of the Pakistan Historical Society 6:224–53.
Sherwani, H. K. 1967. Muhammad Quli Qutb Shah. London.
Sherwani, H. K. 1974. History of Medieval Deccan (1295–1724), 11. Hyderabad.
Sherwani, H. K. 1974. History of the Qutb Shahi Dynasty. Delhi.
Sherwani, H. K. 1976. ‘Town planning and architecture of Haidarabad under the Qutb Shahis’. Islamic Culture 50/2:61–80.
Sherwani, H. K. 1997. ‘The Safa Masjid at Ponda, Goa – an archaeological hybrid’. South Asian Studies 13:71–85.
Sherwani, H. K. and Joshi, P. M. eds. 1973. History of Medieval Deccan (1295–1724), I. Hyderabad.
Shokoohy, M. and Shokoohy, N. 1994. ‘Tughluqabad, the earliest surviving town of the Delhi sultanate’. Bulletin of the School of Oriental and African Studies 57:516–50.
Shokoohy, M. 1994. ‘Sasanian royal emblems and their reemergence in the fourteenth-century Deccan’. Muqarnas 2:65–78.
Shorey, S. P. 1993. In Search of Monuments: An Atlas of Hyderabad’s Protected Monuments. Hyderabad.
Shyam, R. 1966. The Kingdom of Ahmadnagar. Delhi.
Shyam, R. 1968. Life and Times of Malik Ambar. New Delhi.
Shyam, R. 1981. The Kingdom of Khandesh. Delhi.
Siddiqi, A. M. 1956. History of Golconda. Hyderabad.
Siddiqi, M. S. 1989. The Bahmani Sufis. Delhi.
Sinha, S. K. 1964. Mediaeval History of the Deccan, I (Bahmanids). Andhra Pradesh Government Archaeological Series 18. Hyderabad.
Skelton, R. 1957. ‘The Mughal artist Farrukh Beg’. Ars Orientalis 2:393–411.
Skelton, R. 1958. ‘Documents for the study of painting at Bijapur’. Arts Asiatiques 5/2:97–125.
Skelton, R. 1971. ‘Early Golconda painting’. In Hartel, H. and Moeller, V. eds. Indologen-Tagung. Wiesbaden.
Smart, E. S. 1987. ‘A preliminary report on a group of important Mughal textiles’. The Textile Museum Journal 1986 5–23.
Soundara Rajan, K. V. 1983. Islam Builds in India (Cultural Study of Islamic Architecture). Delhi.
Sreenivasachar, P. n. d. Aurangabad. Hyderabad.
Stronge, S. 1985. Bidri: Inlaid Metalwork from India. London.
Stronge, S. 1986. ‘Metalwork: Bidri ware’. In Michell, (1986).
Stronge, S. 1990. ‘The Sultanates of the Deccan’. In Guy, J. and Swallow, D. eds. Arts of India: 1500–1900. London.
Tamaskar, B. G. 1978. The Life and Work of Malik Ambar. Delhi.
Toy, S. 1957. The Strongholds of India. London.
Toy, S. 1965. The Fortified Cities of India. London.
Venkataramana, N. 1942. The Early Muslim Expansion in South India. Madras.
Verma, D. C. 1974. History of Bijapur. Delhi.
Verma, D. C. 1990. Social, Economic and Cultural History of Bijapur. Delhi.
Welch, A. and Crane, H. 1983. ‘The Tughluqs: master builders of the Delhi Sultanate’. Muqarnas 1:123–66.
Welch, S. C. 1985. Indian Art and Culture 1300–1900. New York.
Welch, S. C. ed. 1997. Gods, Kings and Tigers: The Art of Kotah. New York.
Wilbur, D. 1939. ‘The development of mosaic faience in Islamic architecture in Iran’. Ars Islamica 6:16–50.
Wink, A. 1993. ‘Islamic society and culture in the Deccan’. In Dallapiccola, A. L. ed. Islam and Indian Regions. Stuttgart.
Yazdani, G. 1928. ‘The Great Mosque of Gulbarga’. Islamic Culture 2:14–21.
Yazdani, G. 1935. ‘Two miniatures from Bijapur’. Islamic Culture 9/2:211–17.
Yazdani, G. 1947. Bidar: Its History and Monuments. Oxford.
Zebrowski, M. 1981a. ‘Transformations in seventeenth-century Deccani painting at Bijapur’. Chhavi 2:170–81.
Zebrowski, M. 1981b. ‘Decorative arts of the Mughal period’. In Gray, B. ed. The Arts of India. London.
Zebrowski, M. 1982a. ‘Bidri: metalware from the Islamic courts of India’. Art East 1:26–9.
Zebrowski, M. 1982b. ‘Indian lacquerwork and the antecedents of the Qajar style’. Percival David Foundation Colloquy 11:333–45.
Zebrowski, M. 1983. Deccani Painting. London and Berkeley.
Zebrowski, M. 1986a. ‘Painting’. In Michell, (1986).
Zebrowski, M. 1986b. ‘The Indian ewer’. In Skelton, R. et al. eds. Facets of Indian Art. London.
Zebrowski, M. 1995. ‘The Butler brass ewer’. In Islamic Art in the Ashmolean Museum. Oxford Studies in Islamic Art 10/2. Oxford.
Zebrowski, M. 1997a. Gold, Silver and Bronze from Mughal India. London.
Zebrowski, M. 1997b. ‘Glamour and restraint: gold, silver and bronze from Mughal India’. In Tilden, J. ed. First under Heaven: the Art of Asia. London.

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.