Deccani paintings, under the patronage of the Adil Shahis and Qutb Shahis, developed a distinct style reflecting the amalgamation of native Rajput and Mughal, Persian, Turkish and Western painting traditions. The recognizable Persianate character of Bijapur and Golconda paintings is attributed to the close cultural and political links with Safavid Iran. Their love for opulent patterns and rich colors is a defining characteristic. Deccani artists' oeuvre seems to echo an inward journey, with mythical and fantastic overtones, reflected in the intricately worked borders with animate birds perched in the dense foliage, as seen in the present and following two examples. For further discussion see M. Zebrowski, Deccani Painting, 1983 and S. Kossak, Indian Court Paintings: 16th-19th Century, 1997.

A pair of red, black and gold folios

INDIA, DECCAN, BIJAPUR OR GOLCONDA, CIRCA 1600

细节

A pair of red, black and gold folios
India, Deccan, Bijapur or Golconda, circa 1600
Richly decorated in red, black and gold, the central panel of the first page with an elaborate tree and the second with foliage and birds, each surrounded by identical borders filled with wild animals frolicking in the forest, with calligraphy and stamps on the verso
Pen, ink, ground pigment, gold on wasli
6 7/8 x 4 3/8 in. (17.5 x 11.1 cm.) (2)

来源

Private collection, New York, before 1979

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Hugo Weihe

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拍品专文

Deccani paintings, under the patronage of the Adil Shahis and Qutb Shahis, developed a distinct style reflecting the amalgamation of native Rajput and Mughal, Persian, Turkish and Western painting traditions. The recognizable Persianate character of Bijapur and Golconda paintings is attributed to the close cultural and political links with Safavid Iran. Their love for opulent patterns and rich colors is a defining characteristic. Deccani artists' oeuvre seems to echo an inward journey, with mythical and fantastic overtones, reflected in the intricately worked borders with animate birds perched in the dense foliage, as seen in the present and following two examples. For further discussion see M. Zebrowski, Deccani Painting, 1983 and S. Kossak, Indian Court Paintings: 16th-19th Century, 1997.