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In the late fifteenth and sixteenth centuries, courtliness was crucial to the political and cultural life of the Deccan. Divided between six states competing for territory, resources and skills, the medieval and early modern Deccan was a region of striking ethnic, linguistic and religious diversity. People used multifaceted trans-regional networks - mercantile, kinship, friendship and intellectual - to move across the Persian-speaking world and to find employment at the Deccan courts. This movement, Emma J. Flatt argues, was facilitated by the existence of a shared courtly disposition. Engagement in courtly skills such as letter-writing, perfume-making, astrological divination, performing magic, sword-fighting and wrestling thus became a route to both worldly success and ethical refinement. Using a diverse range of treatises, chronicles, poetry and letters, Flatt unpicks the ways this challenged networks of acceptable behaviour and knowledge in the Indo-Islamicate courtly world - and challenges the idea of perpetual hostility between Islam and Hinduism in Indian history.
The briefest and most mysterious phase of Deccani painting occurred at the late sixteenth-century court of Ahmadnagar. Two portraits of the sultan of Ahmadnagar, both inscribed Nizam Shah, painted in about 1575, one in the Bibliotheque Nationale, Paris, the other in the State Library, Rampur, encapsulate this new sophistication. At present, circumstantial evidence suggests a provenance but cannot prove it. The lyrical but uncomplicated style implies the work of a brilliant innovator working at a provincial centre far from the courtly atmosphere of the Ahmadnagar and Bijapur capitals. A related style of painting, usually with Hindu subject matter and ever increasing Mughal influence, continued throughout the seventeenth century in northern Deccani centres. The mystical temperament of Sultan Ibrahim Adil Shah II, the patron of the greatest of these works, gave a strong imprint to the production of the school.
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