1680 by the artists Kamāl Muḥammad and Chand Muḥammad, depicts eight of the ʿAdil Shahi rulers of Bijapur seated together in an imaginary dynastic meeting.This article closely analyses the painting, as well as later iterations of its imagery, to examine how historical memory of Bijapur and its Muslim rulers developed.Simultaneously, by engaging with the intricacies of regional political networks in the Deccan, it addresses the crucial position occupied by the Marathas and problematises existing historical understandings of this theme.
1680 by the artists Kamāl Muḥammad and Chand Muḥammad, depicts eight of the ʿAdil Shahi rulers of Bijapur seated together in an imaginary dynastic meeting.
It was the royal residence and darbar hall of Ali Adil Shah I.
The palace is situated on the top floor, while the Durbar Hall is located on the ground floor. It is completely open on one side so that the audience can avail an unobstructed view of the proceedings from outside the hall.
Enfin une immense ligne de fortification est construite sur la crête au nord pour en interdire l'accès et pour rejoindre la fortification urbaine dans la vallée et protéger ainsi la ville.
Le site de Torgal est très bien conservé en raison d’un tissu urbain non-dense qui n’a pas altéré les monuments anciens.
D'une ville commerciale, Torgal devient un puissant verrou de la frontière entre empire de Vijayanagara et sultanat Adil Shahi au XVIème siècle en raison de son emplacement sur une route militaire.
La fortification s’étend d'abord en fond de vallée afin de délimiter le village sur la rive ouest de la rivière Malaprabha, puis une seconde fortification en noyau clôture toute la vallée afin d’interdire la circulation en fond de vallée.Keywords: patronage networks, Deccan, Mughal, Bijapur, Persianate, Dakkani, literary cultures, Iranians The well-known Deccan painting, The House of Bijapur, completed c.1680 by the artists Kamāl Muḥammad and Chand Muḥammad, depicts eight of the ʿAdil Shahi rulers of Bijapur seated together in an imaginary dynastic meeting. more The well-known Deccan painting, The House of Bijapur, completed c.However, Dayal turns to Persian chronicles and a maṣnavī or narrative poem written in the courtly vernacular to understand Mustafa Khan’s role as a literary patron, especially of history writing across two languages in the seventeenth-century Deccan.This literary circle of poets and chroniclers—along with their patron—circulated across Safavid Iran, Mughal Hindustan, and the Deccan; they forged new allegiances and affinities during a period of conquest and chose to observe the world around them in new tongues.1648), using a largely neglected versified history in Dakkani Urdu.An earlier generation of historians drew on Persian materials, as well as Dutch and Portuguese archives, to illustrate the role of Iranians as statesmen and merchants.Historical scholarship in this direction, particularly the works of Stewart Gordon, Andre Wink and Richard Eaton, have highlighted the emergence of the Marathas as a distinct social category in the Deccan.These studies have located their rise within the contextual framework of military service in early modern South Asia, exemplified in their unique style of warfare bargir-giri that was successfully deployed in the region.more The Nizam Shahi Sultanate of Ahmadnagar was the first political entity to face the wrath of Mughal expansionism in the Deccan.Sustained military pressure from the Mughals ensured that by the early seventeenth century a substantial portion of the Sultan's territories was yet to be annexed to their domains.