Kevalaodhi Buddhist And Jaina History Of Deccan Vol 2

Author(s): Aloka Parasher Sen, B Subrahmanyam, E Siva Nagi Reddy
Publisher: Bharatiya Kala Prakashan

Page 140

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Kevala-Bodhi-Buddhist and Jaina History of the Deccan
sway in the western, north-western and northern part of the Deccan till 1818 AD, when the British defeated the Peshwa, the last Maratha ruler and annexed their territory.
In our search to discover miniature paintings with Jaina themes produced by the Deccani painters, it is necessary to understand them against the background of the styles of painting prevailing in this region, their content and the preference of the patrons.
The Deccani Sultans mainly of Ahmadnagar, Bijapur and Golkonda patronized painters from about the mid-16th century AD.1 In the beginning, the paintings produced at these Sultanates looked alike and stylistically were almost an offshoot of the Persian school. In some cases, even the themes were inspired by Persian literature. All these kingdoms had their own painters who, in the course of time developed distinct regional styles. They shared a similar approach to painting and the works produced were lyrical and mystical in overall feeling. The preference of the patrons was for illustrations to Persian or Deccani literary texts, depictions of Rāgamālas (musical modes), and portraits of the rulers, nobles and saints. Distinct regional characteristics in the Deccani paintings became marked only by the second half of the 16th century AD. From about the late 16th century AD, we find in them influence of the Vijayanagara and European painting, especially in the Bijapur works. Later on, from about 1636 AD, some features of Mughal painting start appearing in the painting of Bijapur and Golkonda, because at that time the two Sultanates became tribute-paying states of the Mughals, whose envoys and others started staying at these capitals. Apart from these, influence of Rajasthani painting is also seen in the works produced in the north Deccan, on account of the presence of several Rajput chieftains in the Mughal army stationed at Aurangabad.
When the Mughals annexed the Bijapur and Golkonda kingdoms, paintings in a mixed idiom with Mughal, Rajasthani and Deccani traits were created during the hegemony of Mughal governors (16871724 AD). Deccani painters got a fresh lease of life with the foundation of the Asaf Jahi dynasty. The paintings of the early Asaf Jahi period (1724-62 AD) were mostly executed at Aurangabad, but when Nizam Ali Khan shifted the seat of government from Aurangabad to Hyderabad in 1763 AD, the painters found substantial patronage. Works of the Asaf Jahi period are known as the 'Hyderabad School of painting
Several local schools emerged under the feudatories of the Asaf Jahi rulers, especially the Nawabs of Kurnool, Cuddapah and Arcot in southern Deccan, Ellichpur in Berar (Vidharba); and under the Rajas of Shorapur, Gadwal and Wanaparthy, as well as under the officials and zamindars of Rajahmundry. The Maratha rulers, the Peshwas at Pune, the rajas of Satara and Kolhapur and their feudatory chieftains especially the Bhonsle rajas of Nagpur, actively patronized the painters living in their territory to produce paintings for them with Hindu themes. Apart from these patrons, the well-to-do merchants of the Deccan also employed painters. Painters were also active at some temple-towns and trading-centres like Nirmal (in Adilabad), Nossam and Banganapalli (in Kurnool), Vemulawada (in Karimnagar) and Udgir (near Bidar). These centers of painting came into existence early in the 18th century AD and continued to be active until the late 19th century AD.
From the above account, we have evidence that the artists of the Deccan found ample patronage from the rulers as well as from the nobles and merchants, both Muslims and Hindus, and produced works of a variety of themes, both single paintings and manuscript illustrations. But the chief patrons being Muslims and Hindu rajas, the themes of their works were according to their religious preferences,