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.