Category Archives: Hyderabad

Delight in design : floral motifs in Bidri craft

    Man is very much a part of nature and what he sees around him influences him deeply. This is more true for artists and craftsmen who are always inspired to create what they have visualised in their imagination. Flora and fauna abounds on this planet and have found their way into artworks. Vegetal and animal motifs are commonly seen in plastic arts, textiles and metalcrafts. We see surreal forms and stylised varieties of flowers, creepers, trees and animals. The designs create a magic of their own and hint at a greater reality beyond space and time.

 Introduction : the beginnings of Bidri

     The art of inlaying one metal on the other to make objects of art and utility is a very old one. It was used for making metal images of the Buddha with copper and silver inlay work in the 6th and 7th centuries, during the Gupta rule in India. The bronzes of Kashmir and Himachal Pradesh from 7th to 10th century and the Jaina bronzes of Eastern India, Central India and Deccan from 6th to 10th century  had  inlay work.  The origin of Bidri craft is  a bit of a mystery; the craft is believed to have been born in Persia. In Safavid Persia (750 -1258A.D) rulers and rich merchants used copper inlaid objects. Later gold ans silver was used and the art practised in many Central Islamic lands. The craft was brought to India by a nobleman. Khaja Moinuddin Chishti and his followers to Ajmer in Rajasthan. Much later a craftsman by name Abdullah-bin-Khaiser migrated to Bijapur in the Deccan and taught the craft to local artists. Bidar became a province of the Bahmani kingdom when it established its rule in South India. Sultan Alauddin II Bahamani (1434 -1457 A.D) of Bidar was gifted metal objects during his coronation and he was much impressed. He gave the craft the name Bidari or Bidri. He invited the craftsmen to settle at Bidar itself. They were provided with facilities and comforts so that they could carry on their craft. Thus with royal patronage the craft flourished under the Bahmanis and the later Baridis who ruled from Bidar. It travelled to other centres  from 1770 A.D, of which Lucknow, Purnea and Murshidabad are noteworthy.

Bidar Fort view, Bidar, Karnataka.

 By Tirumala Nalla – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51144313

  Techniques of Bidri making : creativity and skill set

     The karigars or craftsmen used metals in a very imaginative way. The alloy was made out of copper, zinc and lead. The mixture of zinc and copper in of the ratio 16:1. Copper is added to make zinc take the polish better. On this silver or gold was used to make the design by inlaying in different ways. The techniques have Persian terms; tarkashi which means inlay of wire, taihnishan; inlay of sheet, zarnishan; low relief, zarbulund; high relief and aftabi; cut out designs in overlaid metal sheet. The beauty is created through contrast of the silver against a dark background. Silver is white , shiny after polish and malleable and ductile making it suitable for using during  crafting.  The process involved in the production of a Bidri item of art involves casting, polishing, engraving, inlaying and blackening the alloy. Designs are drawn with a fine point and pure silver is hammered into the pattern. The final polish is achieved with sand paper, charcoal and coconut oil. A way of blackening the Bidri object was by using a type of clay found at Bidar fort. A combination of techniques are used to make the final object. The craft is likened to Damascene work or koftgiri  where gold or silver is encrusted on iron objects.

Designs on Bidri : vegetal and floral  inspirations

    The early Bidriware had beautiful Persian motifs. Designs of Middle Eastern origin and Egyptian floral designs were also incorporated. The ashrafi ki booti and teenpatti ki booti patterns are well known. Also kairi or mango, star patterns, vine creepers, poppy plant with flowers, mahi-pusht or fish scale pattern.

Bidar Fort garden, pool has an ornate pattern, Bidar, Karnataka.

By Santosh3397 – Own work, CC0, https://commons.wikimedia.org/w/index.php?curid=36533037

 There are some awesome specimens of Bidriware now housed in different places across the world. The objects made include huqqa (hubble bubble)  bases, afatabas or ewers, huqqa  mouthpieces, mir-e-farsh or floor-weights, shamadan or candelabras, chilam or firecups,trays, goblets, pandan or  betel boxes, ittardan or perfume boxes, gulabpash or rose water sprinklers, basins, plates and spittoons. More recently there is jewellery, ashtrays, walking sticks, paperweights and USB covers. The craft has gone through ups and downs but rulers across time have always encouraged and revived the craft. It thrives with exports, retailers and online sales. The workshops are now at Hyderabad and Bidar.

   The skilled craftsmen have used Persian motifs on the alloy; local idioms like the lotus and swastika are found too. French influence is seen from the 18th century. Egyptian design also embellished the objects. Thus not only a combination of techniques but also design happened during the journey of the craft. However the main inspiration for designs on Bidriware are flowers and vegetal patterns like the creepers and leaves.

    A beautiful poem by Ernestine Northover captures the essence of the flower in nature and its effects.

Oh, Flower

‘’Oh, flower, open wide your fragrant maze,

Curl back your petals, and greet the sun,

Look up and drink in its glorious rays,

Which will enhance your beauty, just begun.

Oh, flower, with colours of pure rich fire,

You will always radiate a warmth in me,

And your artistry ignites such desire,

That with truth you could be no parody.

Oh, flower, when raindrops touch your face,

And wild winds dictate your waving head,

Your stance will always sustain your grace,

And resplendence be found in your blossoms spread.’’

Woman with flowers, painting, Safavid Persia/Iran, 1575 AD, Freer Gallery of Art, Smithsonian, Washington D.C,U.S.A

By Unknown / Smithsonian Institution [Public domain], via Wikimedia Commons

           Ceiling design, Rangeen Mahal, 16th century, BIdar Fort, Bidar,Karnataka.

Source : https://www.flickr.com/photos/aloshbennett/4347383785

        The images showcased highlight the different patterns and the brilliant effect on the ware created painstakingly by the Bidri artist and craftsman. In many places a combination of motifs can be seen which enhance the final effect.

  Vine creeper -A farsh-i-huqqa or huqqa base from 18th century depicts vine creepers all over the body of the object to create a brilliant effect.

   Huqqa base, tarkashi and tehnishan technique, Bidar, 18th century.

 Los Angeles County Museum of Art [Public domain], via Wikimedia Commons

Grape vine, image.

 By Lori (Flickr: That’ll need to age a bit yet…) [CC BY-SA 2.0  (https://creativecommons.org/licenses/by-sa/2.0)%5D, via Wikimedia Commons

   Poppy plant and flower : the huqqa bases shown below depict a stylised poppy plant against a dark background. The poppy flower motif has been put to prolific use in Bidricraft.

 

Huqqa base, Bidar or Hyderabad, 18th century.

 Los Angeles County Museum of Art [Public domain], via Wikimedia Commons

 

 Poppy flowers,images.

 

       In the image below the technique has been reversed. The dark base is made to stand out and the pattern is etched on the sliver sheet. The huqqa base has stylised poppy flowers with circular decorative scrolls towards the top and bottom.

 

 Huqqa base, aftabi and taihnishan technique, Bidar or Hyderabad, 19th Century.

            Los Angeles County Museum of Art [Public domain], via Wikimedia Commons

 

Huqqa base, gold work on alloy, Bidar, Mughal period, Dallas Museum of Art, U. S. A,17th century.

 By Daderot – Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=68723894

 

Huqqa base, Bidar, Karnataka, late 17th century.

By Unknown – Marie-Lan Nguyen (2006), ಸಾರ್ವಜನಿಕರಿಗೆ ಸೇರಿದ್ದು, https://commons.wikimedia.org/w/index.php?curid=828340

Pandan or betel-box,  tarkashi technique, stylised poppy and leaf patterns in circles on top, Bidar or Hyderabad,1800.

Los Angeles County Museum of Art [Public domain], via Wikimedia Commons

Cypress tree and flowers : the cypress motif is used in some huqqa bases. The flowers and the tree are depicted in stylised forms. The cypress is group of ceratin kind of trees or plants with similar characters. The plant has been often mentioned in poetry too.

 

Huqqa base, Bidar, between circa 1600 and circa 1800.

By © Marie-Lan Nguyen / Wikimedia Commons, CC BY 2.5, https://commons.wikimedia.org/w/index.php?curid=20355115

                                                                          Cypress tree.

 By pellaea (Flickr) [CC BY 2.0  (https://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

 

Cypress flowers.

 

 

 

 Huqqa base, Bidar, Karnataka, 18th century.

http://www.columbia.edu/itc/mealac/pritchett/00glossarydata/terms/bidri/bidri.html

 Lotus in a pond : The sight of a lotus in a pond is one of nature’s most beautiful sights.             The Bidri artists have captured this in their creations. A salver below depicts the lotus motif; blooming lotuses, lotus buds and lotuses floating on a pond. The border also made of lotuses enhances the beauty of the artwok as does the waterbody depicted as wavy lines.

 

         Salver, Bidri ware, tarkashi and taihnishan technique, Bidar, 17th century.

 

                                                                  Lotus flower, image.

 

Lotus flowers and buds in a pond, image.

 Combination of star and flowers : The salver below depicts a starry concentric pattern with poppy design in the inner circle with alternating leaf motifs.

Salver, Bidri ware (tarkashi and tehnishan techniques),Bidar,17th century.

Los Angeles County Museum of Art [Public domain], via Wikimedia Commons

Concentric star pattten.

Huqqa with irises, late 17th century, MET Museum, USA. 

By This file was donated to Wikimedia Commons by as part of a project by the Metropolitan Museum of Art. See the Image and Data Resources Open Access Policy, CC0, https://commons.wikimedia.org/w/index.php?curid=57856153

Iris flower, image.

Plate, Bidar, 17th century.

 By Hiart – Own work, CC0, https://commons.wikimedia.org/w/index.php?curid=17606820

Aftaba or ewer, Met Museum, New York, 18th century.

By This file was donated to Wikimedia Commons by as part of a project by the Metropolitan Museum of Art. See the Image and Data Resources Open Access Policy, CC0, https://commons.wikimedia.org/w/index.php?curid=61138268

Ugaldan or spittoon, tarkashi and tehnishan techniques, Hyderabad, 1850.

Los Angeles County Museum of Art [Public domain], via Wikimedia Commons

  Bidriware cup and lid, Bidar, Karantaka, 1850, V&A Museum, U.K

By VAwebteam at English Wikipedia – http://images.vam.ac.uk/indexplus/page/Home.html, GFDL, https://commons.wikimedia.org/w/index.php?curid=8500029

     The earliest Bidriware of the 16th centuries are not available, mostly 17th century onwards one gets to study the various types. Over time the ware has changed according to the demands of the people. After the huqqa base, ugladans, sailabchis and aftabas one can see ashtrays, salvers and trays and now small decorative gift itms, jewellery, vases and boxes of different sizes. The craft has seen many ups and downs during its journey but due to the constant efforts of its revival and support by the rulers right from the beginning it still lives ! At present workshops are there at Bidar and Hyderabad. The magic of the objects created seem to be timeless. Only the forms on which the designs have been made have changed and adapted to changing times. Long live Bidri !

Bidriware, various floral motifs, 21st century.

 By Shivapriya Sulgante [CC BY-SA 4.0  (https://creativecommons.org/licenses/by-sa/4.0)%5D, from Wikimedia Commons

Bidriware, different stylised motifs, 21st century.

 By Manjunath Doddamani Gajendragad at en.wikipedia – Source and Author : Manjunath Doddamani, Gajendragad / Hubli, Karnataka(North), India., Public Domain, https://commons.wikimedia.org/w/index.php?curid=17256729

Bidri craftsman, cypress leaf motif on USB,  21st century.

http://www.thehindu.com/news/national/karnataka/bidri-art-form-gets-modern-twist/article6292645.ece, August 2014

Kairi (mango) shaped Bidri dibba, 21st century.

Source :  Jaypore.com.

Mango, image.

 

 

References :

  1. Narayan Sen, Catalogue on Damascene and Bidri Art, Indian Museum Calcutta, 1983.
  2. Krishna Lal, Catalogue, National Museum Collection Bidri Ware, National Museum of India, New Delhi, 1990.
  3. Jagdish Mittal, Bidriware and Damascene work in Jagdish and Kamla Mittal Museum of Indian Art, JKMMIA, Hyderabad, 2011.
  4. http://granthaalayah.com/Articles/Vol4Iss3/19_IJRG16_B03_27.pdf
  5. org
  6. Census of India 1961 :Vol II – Andhra Pradesh, Delhi : Manager of   Publications,1967.
  7. Sultans of Deccan India : Opulence and fantasy/Navina Najaf Hyder andMarika Sardar, New York : Met Museum, 2015.

 

Posted by :

 

Soma Ghosh

 

 

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Hyderabad school of painting : depictions of Deccan

 

       The Hyderabad school of Deccani painting had started evolving in early 18th century with the foundation of the Asaf Jahi dynasty. They were the Nizams of Hyderabad; seven rulers have governed the region. Mir Qamaruddin Khan, Nizam-ul-mulk a Viceroy or subedar of the Deccan under the Mughals declared independence in 1724 A. D. He being a patron of the arts along with the rich influence of the Golconda school and Mughal styles; helped in creating many works of art under the Hyderabad-Deccani genre in Aurangabad and Hyderabad.

       The school was influenced by other styles but  had its own charcteristics.  They can be seen in its treatment of subjects,costumes, landscape, flora, fauna and the general colouring have Deccani influence. Scenes from gardens and courtyards have been captured other than the main themes which included portraits of the rulers and their families,noblemen, women on terraces, saints and Raga-raginis.

After the death of the first Nizam and subsequent rulers like his son Nasir Jung and Muzaffar Jung, grandson and another son Salabat Jung, Mir Nizam Ali Khan became ruler as Asaf Jah II in 1762. He too was a patron of the arts and during his reign poets, musicians and artists came to his court. His biography Tuzuki-Asafi was written and illustrated by Tajalli Ali Shah in 1793. His court painter was Rai Venkatachalam. Raja Chandulal also patronised the arts and many works were made for Raja Nanak Ram, Rai Rayan and other Hindu noblemen. The political condition during the 18th century was not very stable and this affected the character of the paintings. However lot of portraits were made between the fall of Golconda in 1687 and the beginning of the Asaf Jahi rule in 1724, when the area was under the Mughal governors.

 

    Paintings of the Hyderabad school depict flowers and trees like the palm tree, coconut,plumeria, champa etc. Flowering plants, terraces and parapets made of marble with jaali (trellis) work, doors in brown are seen. Some paintings depict peacocks, ducks and fishes. The sky is blue or blue-green with touches of indigo  to depict clouds. Carpets and rugs are seen in some works. The human figures are tall and have sharp features. Women are shown wearing stringed pearl necklaces. 

     Sikandar Jah succeeded Nizam Ali Khan as Asaf Jah III(1803-1829) and paintings were still being made. Under Asaf Jah IV and Asaf Jah V paintings depicting gardens and harem scenes were made. By the mid-nineteeth century the demand for these paintings reduced and the paintings went into history but give us a glimpse into the life of that time.File:Woman and Attendants with a Bird.jpg

Woman with  her attendant, Hyderabad, late 18th century.

By Deccan School [Public domain], via Wikimedia Commons

 

 

File:Ladies on a Terrace.jpg

.Women on a terrace,18th century, Hyderabad.

See page for author [Public domain], via Wikimedia Commons.

 

References :

  • Mittal, Jagdish/Deccani Kalams/Bombay : Marg Publications, Vol XVI,No : 2, 1963.

  • Zebrowski, Mark/Deccani painting, New Delhi : Roli Books,1983.





Posted by :


Soma Ghosh

© author

 

Bygone splendour : a history of the Qutub Shahi dynasty

The Qutub Shahi dynasty of the Deccan is remembered for many contributions. The Golconda Fort,Charminar, various monuments and founding of the city of Hyderabad in the Deccan region of India.

The Bahmani kingdom ruled the Deccan between 1347-1525 from Gulbarga initially and then from Bidar. However it disintegrated and five independent kingdoms evolved . The Qutub Shahis with capital at Golconda, the Imad Shahis with capital at Ellichpur, the Adil Shahis with capital at Bijapur, the Nizam Shahis with capital at Ahmednagar, The Barid Shahis with capital at Bidar.

The founder of the Qutb Shahi kingdom was Sultan Quli, an immigrant whose paternal home was in Hamadan, Iran. The Bahamani empire had many afaqis or immigrants from Iran,Iraq,Turkistan, Arabia,Africa,etc. These afaqis gradually dominated society and occupied important posts. The society of Deccan was a cultural synthesis and included people of different ethnic origin,races,religion and culture etc. This lead to evolution of “Deccan culture” and later “Hyderabadi culture”which continues to this day.

Sultan Quli came along with his uncle Allah Quli to Deccan and Bahmani ruler Sultan Mahmud Shah Bahmani received them well and appointed  Sultan Quli as one of his courtiers.He was given  horses, a jagir of Kurangal. He earned the title Qutb-ul-mulk beacause of his military and literary talent.He was appointed tarafdar(governor) of Telangana in 1495. and the fort at Golconda hill was added to his existing jagir. From this jagir evolved the Golconda fort-city and the capital which got densely populated with time.

Sultan Quli rebuilt the mud fort which was originally built by the Kakatiyas and called Mankal. He renamed it as Muhammadnagar. In 1518, he declared independence and made Golconda his capital. He strengthened the defences of the hill and built strong ramparts. The fort-city included public buildings, mosques, offices, palaces, rest-rooms,gardens, baths etc.

 

image004

Fort view; pic by Isha Vatsa

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Fort view; pic by Isha Vatsa

image008

Fort view; pic by Isha Vatsa

image006

Fort views; pics by Isha Vatsa

image033

 

image012

Cannon balls at fort; pic by Isha Vatsa

Sultan Quli ruled for 50 years, 24 as governor and 26 as ruler before his assassination in 1542. The Golconda kingdom extended from Warangal to the Masulipatnam(now Machilipatnam) coast. His son Jamsheed Quli succeeded him who ruled for seven years.

After him Sultan Ibrahim Qutb Shah,sixth son of Sultan Quli ruled after brief rule of few months of rule by Subhan Quli; for  30 years ie. 1550-80. Along with other Sultans of the Deccan subdued Vijayanagara, issued coins and patronised Telugu literature. He also had a great fondness for Persian and was responsible for the rise of Dakhni, precursor to Urdu.

He built the bridge over the Musi river in 1578 in order to expand his capital. His son-in-law Hussain Shah Wali built the Hussain Sagar Lake. A new town Ibrahimpatnam was named after him.He was succeeded by his son, Muhammad Quli Qutub Shah who was only fifteen and the administration was handed over to Rai Rao and Mir Momin Astrabadi.

Muhammad_'Alî_001

 Sultan Muhammad Quli Qutub Shah

By Muhammad ‘Alî – The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH., Public Domain, https://commons.wikimedia.org/w/index.php?curid=155956

Since Golconda was large, prosperous and densely populated, its fame of diamonds and printed cloth attracted traders from Europe and Asia, the need for a new city was submitted via a petition to the Sultan by the nobility. This was accepted and the plan for construction of a new city was prepared by Mir Momin Astrabadi. The Sultan laid the foundation in 1591 and named it Hyderabad, after Hyder, the title of the fourth caliph of Islam. Since the city had many gardens it has also been referred to as Baghnagar by historians and travellers. Hyderabad was built on the gridiron system in the form of a large double cross. The Charminar stands at the city centre, completed in 1592 and four roads extend from its portals. The city was divided into 12,000 muhallas(precincts). The city’s main roads were lined with shops, buildings, mosques etc. The Charminar is the most famous Qutb Shahi monument.The Sultan built many public buildings and beautiful gardens. The Charminar is flanked by four arches, the Charkaman at a distance of 375 feet from the centre. The gates are called Sher-e-ali kaman or Sher-e-batil , Kali kaman, Machli kaman, Charminar ki kaman.

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Charminar, Hyderabad

By Ramnath Bhat from PUNE, India – Charminar, Hyderabad.(_MG_8622), CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=46768370

The Qutub Shahis built many palaces like Khudadad mahal, Chandan Mahal,Sajan Mahal, Lal Mahal, Nadi Mahal and pavillions like Naubat Pahad and Koh-i-tur etc. Muhammad Quli Qutab Shah built the Badshahi Ashura Khana in 1595, where alams similar to the ones carried by Imam Hussain are kept. He also built commercial complexes around the Charminar including the Lad Bazaar. After Muhammad Quli Qutb Shah, his nephew Mohammad Qutub Shah, son of Mohammad Amin, succeeded him  in 1612 since he had no male heir. He ruled for 14 years. He laid out a few more gardens and continued work on the Mecca Masjid after getting sand from Mecca in Arabia. The mosque has huge dimensions with a prayer hall of 225 feet length and is 75 feet in height.Sultan Mohammad maintained a  fleet of ships and Golconda had good trade with Europe.He was succeeded by his eldest son Abdullah who supported trade with the British. The Golconda kingdom produced a variety of products and Masulipatnam was an important port city in its territory.

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Sultan Abdullah Qutub Shah

By Unknown (production) – http://collections.vam.ac.uk/item/O73982/painting-sultan-abdullah-qutb-shah/, Public Domain, https://commons.wikimedia.org/w/index.php?curid=17712775

Abdullah Qutub Shah had no male heir and his son-in-law Abul Hasan Tana Shah was made Sultan in 1672. Golconda fell to the Mughals after along seige in 1687 and along with the plunder of Hyderabad, the Mughals took away the accumulated wealth of Sultan Abul Hasan who spent his remaining life at Daulatabad.

image018

Sultan Abul Hasan Tana Shah

By Minuchihr – http://www.brooklynmuseum.org/opencollection/objects/124863/Portrait_of_Abul_Hasan_the_Last_Sultan_of_Golconda/set/f6607578453e6ad0c407265b3ac89cfa?referring-=Portrait+of+Abu%27l+Hasan%2C+the+Last+Sultan+of+Golconda#http://www.brooklynmuseum.org/opencollection/labs/splitsecond/painting.php?id=132, Public Domain, https://commons.wikimedia.org/w/index.php?curid=17115478

 

Golconda was famous for its diamonds and there were many mining sites within the kingdom. The Kohinoor, Hope Diamond, Pitt-regent, Idol’s eye,Dariya-e-noor, Noor-al-ayn are a few famous diamonds.

The Qutub Shahi architecture was unique and included arches,pillars, arches, domes and minarets. The rulers originally came from Persia or Iran and were patrons of art and learning. They invited scholars, artists and craftsmen to their courts. Their architecture was originally a mix of Persian and Deccan styles. Later Turkish influences were seen. Their architectural structures include the fort,mosques,palaces, tombs and public utility buildings.  A very important building was the Darushifa which was  a general hospital and  attached to it was a college for Unani medicine. Qutub Shahis had their own coinage, patronised learning and the languages Persian and Dakhni. Many books were written in Persian in various subjects with their support. Sultan Muhammad Quli himself composed 15,000 couplets in Urdu.

The fort stands on a hill, 400 feet above the plains around and is a large Deccani fort. Sultan Quli replaced the original mud fort and built a new stone structure with large gates. Many structures were built within and it became a fort with three fortifications. There were palace, gardens and mosques. The fort complex is in the shape of an irregular rhombus having a crenallated granite wall, a moat and a citadel called Bala Hissar. The Fateh Darwaza is the outermost gate. The other gates include Bala Hissar Darwaza, Banjari Darwaza, Jamali Darwaza, Naya Qila Darwaza and Moti Darwaza. Bahmani, Badhi, Mecca and Patancheru are the other gates. The fort has 87 bastions and 52 posterns. The Petla Burj, Musa Burj and Madina Burj are well known bastions. A cannon Fateh Rahbar is kept on Petla Burj. Structures inside the fort include Shamshir Kotha, Telka kotha,Dhan ka kotha,Jabbar Kotha, Jami Masjid, Ashur khana,Guard rooms, Hathirath mahal, Katora hauz,, Aslah khana,Ambar khana, Bahmani mosque. a Hindu temple, a throne for the Sultan ascended by ten steps. Palaces of Tarmati and Pemamati , ladies from the royal harem, were also built.

Mushk Mahal was a palace built in 1673 by Miyan Mishk. Toli Masjid was built by Musa Khan, a mahaldar of Abdullah Qutub Shah in 1671. Mosques at Saidabad and Mirpet, which has calligraphy by Hussain b.Mahmud Shirazi were  built by Mohd Quli Qutb Shah. Mosques exist at Khairatabad, Musheerabad and near Puranapul at Hyderabad from the time of the Qutub Shahis.

To the north west of the fort are situated the Qutub Shahi tombs in a garden ambience built in their typical architectural style.

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Qutub Shahi tombs, view from the fort.

By Unknown – http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/g/019pho0000752s5u00021000.html, Public Domain, https://commons.wikimedia.org/w/index.php?curid=8039174

Deccani qalam is the style of painting which evolved under the Qutub Shahis. The kalamkari techniques of Pallakolu. Masulipatnam, Kalahasti flourished in their reign. Picchwais were also produced during the Qutb Shahi rule, expressing themes from Lord Krishna’s life.

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Miniature painting during Qutub Shahi rule

By (Deccan, Golconda), – http://www.brooklynmuseum.org/opencollection/labs/splitsecond/painting.php?id=122, Public Domain, https://commons.wikimedia.org/w/index.php?curid=17115143

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Ragamala painting, Golconda school

By Deccan School – http://www.harekrsna.com/sun/features/12-11/features2319.htm, Public Domain, https://commons.wikimedia.org/w/index.php?curid=21077970

References :

H.K. Sherwani/History of the Qutb Shahi dynasty, New Delhi ; Munshilal Manoharlal,1974
H.K. Sherwani/Muhammad Quli Qutb Shah founder of Haidarabad, New Delhi : Asia Publishing House,1967.
M.A.Nayeem/The heritage of the Qutb Shahis of Golconda and Hyderabad,Hyderabad: Hyderabad Publishers,2006
M.A.Nayeem/The splendour of Hyderabad, Hyderabad Publishers: Hyderabad,2002.

 

 

Posted by: Soma Ghosh