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Deccani Painting by Mark ZebrowskiReview by: Sheila CanbyArs Orientalis, Vol. 15 (1985), pp. 148-149Published by: Freer Gallery of Art, The Smithsonian Institution and Department of the Historyof Art, University of MichiganStable URL: http://www.jstor.org/stable/4543056 .

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BOOK REVIEWS BOOK REVIEWS

to Bengal as the explanation. She credits itinerant artists with the dissemination of specific stylistic and iconographic types in Bengal (p. 155), a notion I think correct; groups of Bengali artists, the painters of pats, for example, remained itinerant until moder times. Important in this notion is that the movement of artists is the explanation for the transmission of style, and not simply the vague notion of influence, all too often invoked without adequate explanation of how that influence was transmitted.

Huntington is too modest when she states in conclusion that her book "has dealt with stylistic trends" and that "By studying style, it has been possible to demonstrate chronological developments, regional and local trends, as well as some sectarian preferences." A great many more provocative issues are raised, at least by allusion, and therein lies part of the book's considerable importance as well as the substance that distinguishes it from the thesis from which it grew.

FREDERICK M. ASHER

Deccani Painting. By Mark Zebrowski. 296 pp., 24 color plates, 263 black and white figures, map, appendix, bibliography, index of artists, general index. London: Sotheby Publications, 1983. £75.00.

For those who could never hope to buy an actual Deccani painting, owning Mark Zebrowski's book, Deccani Painting, is a fine consolation. For those who collect, curate, teach, or simply enjoy the Islamic painting of India, Dr. Zebrowski's book represents the most thorough survey of Deccani painting available today. The splendid production of the book, with its many excellent color and black and white reproductions, high quality paper, and manageable dimensions, complements the clarity and order of Dr. Zebrowski's text.

While Zebrowski takes an essentially stylistic approach to his subject, he includes quite a bit of historical information about the states in which and patrons for whom the paintings were made. Each of the twelve chapters of the book focuses on works from one of the Deccani sultanates-Ahmadnagar, Bijapar, Golkonda, and Bidar-and the individual patrons from these regions. Zebrowski not only outlines stylistic developments within the particular sultanate and period under discussion, but also isolates major masters and their oeuvres, a welcome advance in the study of Deccani painting.

Zebrowski's review of the literature on Deccani painting in the introduction reminded this reader of the frustrations of studying this school of painting, and, for that matter, much of Islamic painting. Either because broad surveys of Islamic art include few examples of Deccani painting or because authors have been limited by the format of their books and articles, only two or three scholars have previously attempted to make sense of the whole three-hundred-year sweep of Islamic painting in the Deccan. Stella Kramrisch's admirable Survey of Painting in the Deccan, published in 1937, is by now outdated. The 1973 catalogue of Mughal and Deccani Painting from the Collection of Edwin Binney 3rd contains much useful information and a remarkable range of paintings, but the reproductions are restricted to works in the Binney Collection. Scholars such as Hermann Goetz, Douglas Barrett, Basil Gray, Robert Skelton, and Jagdish Mittal have greatly increased our knowledge of the field, but the scope of their efforts has been somewhat narrower than that of Dr. Zebrowski's.

to Bengal as the explanation. She credits itinerant artists with the dissemination of specific stylistic and iconographic types in Bengal (p. 155), a notion I think correct; groups of Bengali artists, the painters of pats, for example, remained itinerant until moder times. Important in this notion is that the movement of artists is the explanation for the transmission of style, and not simply the vague notion of influence, all too often invoked without adequate explanation of how that influence was transmitted.

Huntington is too modest when she states in conclusion that her book "has dealt with stylistic trends" and that "By studying style, it has been possible to demonstrate chronological developments, regional and local trends, as well as some sectarian preferences." A great many more provocative issues are raised, at least by allusion, and therein lies part of the book's considerable importance as well as the substance that distinguishes it from the thesis from which it grew.

FREDERICK M. ASHER

Deccani Painting. By Mark Zebrowski. 296 pp., 24 color plates, 263 black and white figures, map, appendix, bibliography, index of artists, general index. London: Sotheby Publications, 1983. £75.00.

For those who could never hope to buy an actual Deccani painting, owning Mark Zebrowski's book, Deccani Painting, is a fine consolation. For those who collect, curate, teach, or simply enjoy the Islamic painting of India, Dr. Zebrowski's book represents the most thorough survey of Deccani painting available today. The splendid production of the book, with its many excellent color and black and white reproductions, high quality paper, and manageable dimensions, complements the clarity and order of Dr. Zebrowski's text.

While Zebrowski takes an essentially stylistic approach to his subject, he includes quite a bit of historical information about the states in which and patrons for whom the paintings were made. Each of the twelve chapters of the book focuses on works from one of the Deccani sultanates-Ahmadnagar, Bijapar, Golkonda, and Bidar-and the individual patrons from these regions. Zebrowski not only outlines stylistic developments within the particular sultanate and period under discussion, but also isolates major masters and their oeuvres, a welcome advance in the study of Deccani painting.

Zebrowski's review of the literature on Deccani painting in the introduction reminded this reader of the frustrations of studying this school of painting, and, for that matter, much of Islamic painting. Either because broad surveys of Islamic art include few examples of Deccani painting or because authors have been limited by the format of their books and articles, only two or three scholars have previously attempted to make sense of the whole three-hundred-year sweep of Islamic painting in the Deccan. Stella Kramrisch's admirable Survey of Painting in the Deccan, published in 1937, is by now outdated. The 1973 catalogue of Mughal and Deccani Painting from the Collection of Edwin Binney 3rd contains much useful information and a remarkable range of paintings, but the reproductions are restricted to works in the Binney Collection. Scholars such as Hermann Goetz, Douglas Barrett, Basil Gray, Robert Skelton, and Jagdish Mittal have greatly increased our knowledge of the field, but the scope of their efforts has been somewhat narrower than that of Dr. Zebrowski's.

In such a survey the author necessarily sacrifices depth at times in order to present as much material as possible. Nonetheless, Dr. Zebrowski has shied away neither from bold, new attributions of single pages or series of works nor from speculations on the impact of Shi'ism and various ethnic groups on the art of the Deccan. A typical chapter in Deccani Painting starts with a summary of historical events in the period under discussion and a description of the main patron, usually the sultan of one of the Deccani states. If the patron was especially brilliant, such as Ibrahim 'Adil Shah II of Bijapur, Zebrowski cites contemporary sources that shed light on the character of the sultan. He then proceeds to the works themselves, discussing each one in terms of its style and its relation to other works of the same school and period. In so doing, the author builds up a corpus of works attributable to specific hands, for example "the Bodleian painter," and their followers. His stylistic arguments are aided immeasurably by the wealth of new material he introduces, consisting of scores of previously unpublished paintings and works in private collections and little-known Indian museums and libraries.

Since so much of the book concentrates on questions of style in Deccani painting, iconographic problems receive only passing attention. For the most part Zebrowski uses the literary and historical information available to him to identify the subjects of portraits and the circumstances in which paintings were executed. However, the odd distortions, juxtapositions, and details of many Deccani paintings remain a mystery. Perhaps too much of Deccani poetry and painting has been lost for us ever to understand fully the meaning of such works as the Yogini (fig. 82, color pl. XII) or the Jain Nobleman Worshipping a Thirthankar (fig. 189). Yet, one suspects that a thorough review of Deccani literature would uncover important clues to the elusive symbolism found in so many works of the sixteenth and seventeenth centuries. Moreover, in the discussion of the illustrated Kulliyat of Muhammad Quli Qutb Shah (figs. 121-33) the contents of the text are not mentioned, much less discussed in relation to the illustrations. Such an approach is not without precedent. Art historians from F. R. Martin onward have focussed single- mindedly on pictures and artists, with lesser regard for the narrative that the paintings illustrate. While their work and that of Dr. Zebrowski have contributed unquestionably to the understanding of stylistic matters, one is still pestered by questions of the artist's success in conveying the narrative, the extent to which details from the story are incorporated into the painting, and the degree to which the composition of a painting is influenced by the text. One hopes that in his continuing work on the art of the Deccan Dr. Zebrowski will tackle these questions.

Throughout his book Zebrowski explains and demonstrates the myriad "foreign" inflfuences at work in Deccani painting. The interplay of Mughal and Deccani art is perhaps the most complex of these relationships because of Mughal military pressure and political sway in the Deccan, on the one hand, and the divergence of Mughal and Deccani world views, on the other. Dr. Zebrowski makes many stimulating points in this regard including the suggestion that the Mughal artist Mir Sayyid 'Ali (who had come to India from the court of Shah Tahmasp the Safavid) might have worked at Ahmadnagar after he left the court of Akbar for Mecca. As one would expect, Dr. Zebrowski also takes up the question of the Mughal artist Farrukh Beg, who, according to Robert Skelton and others, traveled to the Deccan "and then returned to the Mughal atelier imbued with Deccani stylistic elements" (p. 116, n. 59). Suggesting that Farrukh Beg came from the

In such a survey the author necessarily sacrifices depth at times in order to present as much material as possible. Nonetheless, Dr. Zebrowski has shied away neither from bold, new attributions of single pages or series of works nor from speculations on the impact of Shi'ism and various ethnic groups on the art of the Deccan. A typical chapter in Deccani Painting starts with a summary of historical events in the period under discussion and a description of the main patron, usually the sultan of one of the Deccani states. If the patron was especially brilliant, such as Ibrahim 'Adil Shah II of Bijapur, Zebrowski cites contemporary sources that shed light on the character of the sultan. He then proceeds to the works themselves, discussing each one in terms of its style and its relation to other works of the same school and period. In so doing, the author builds up a corpus of works attributable to specific hands, for example "the Bodleian painter," and their followers. His stylistic arguments are aided immeasurably by the wealth of new material he introduces, consisting of scores of previously unpublished paintings and works in private collections and little-known Indian museums and libraries.

Since so much of the book concentrates on questions of style in Deccani painting, iconographic problems receive only passing attention. For the most part Zebrowski uses the literary and historical information available to him to identify the subjects of portraits and the circumstances in which paintings were executed. However, the odd distortions, juxtapositions, and details of many Deccani paintings remain a mystery. Perhaps too much of Deccani poetry and painting has been lost for us ever to understand fully the meaning of such works as the Yogini (fig. 82, color pl. XII) or the Jain Nobleman Worshipping a Thirthankar (fig. 189). Yet, one suspects that a thorough review of Deccani literature would uncover important clues to the elusive symbolism found in so many works of the sixteenth and seventeenth centuries. Moreover, in the discussion of the illustrated Kulliyat of Muhammad Quli Qutb Shah (figs. 121-33) the contents of the text are not mentioned, much less discussed in relation to the illustrations. Such an approach is not without precedent. Art historians from F. R. Martin onward have focussed single- mindedly on pictures and artists, with lesser regard for the narrative that the paintings illustrate. While their work and that of Dr. Zebrowski have contributed unquestionably to the understanding of stylistic matters, one is still pestered by questions of the artist's success in conveying the narrative, the extent to which details from the story are incorporated into the painting, and the degree to which the composition of a painting is influenced by the text. One hopes that in his continuing work on the art of the Deccan Dr. Zebrowski will tackle these questions.

Throughout his book Zebrowski explains and demonstrates the myriad "foreign" inflfuences at work in Deccani painting. The interplay of Mughal and Deccani art is perhaps the most complex of these relationships because of Mughal military pressure and political sway in the Deccan, on the one hand, and the divergence of Mughal and Deccani world views, on the other. Dr. Zebrowski makes many stimulating points in this regard including the suggestion that the Mughal artist Mir Sayyid 'Ali (who had come to India from the court of Shah Tahmasp the Safavid) might have worked at Ahmadnagar after he left the court of Akbar for Mecca. As one would expect, Dr. Zebrowski also takes up the question of the Mughal artist Farrukh Beg, who, according to Robert Skelton and others, traveled to the Deccan "and then returned to the Mughal atelier imbued with Deccani stylistic elements" (p. 116, n. 59). Suggesting that Farrukh Beg came from the

148 148

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BOOK REVIEWS BOOK REVIEWS

Deccan originally and traveled from there to the Mughal court, Zebrowski disputes the textual reference in the Akbar namah to Farrukh Beg's migration in 1585 from Kabul to Akbar's court. Zebrowski believes that Farrukh Beg could have gone from his birthplace in the Deccan to the court of Muhammad Hakim, Akbar's half-brother, at Kabul and then to Akbar's court. However, the Akbar namah also mentions that Farrukh Beg was a Kalmuk, that is, a member of a tribe living in and around Bukhara. If Farrukh Beg himself came from Bukhara, he would have been exposed to the highly refined, brilliantly colored ornamental style of that city's paintings in the mid- sixteenth century. Since Deccani elements appear to be the least pronounced in Farrukh Beg's earliest works (i.e. in the Khusrau and Shirin manuscript in the Keir Collection), the artist most likely came into contact with Deccani painting slightly later in his career. Whether or not he traveled to the Deccan remains a question that further documentation might help to answer.

In discussing emigre Iranian artists, Zebrowski states (p. 68) that the poet "Zuhuri arrived in the Deccan from the court of Shah Abbas in 988 A.H./1580-81 A.D." This would have been impossible since 'Abbas did not become Shah until 1587. His father, Muhammad Khudabandah, was Shah, albeit an embattled one, in 988. The late seventeenth century Sleeping Girl (fig. 168) with her female attendant, cat, and refreshments recalls various Renaissance depictions of Venus, both sleeping and awake. One wonders if the painting of Venus, by Cornelius Heda, a Czech artist who worked at the court of Sultan Ibrahim 'Adil Shah II of Bijapur (p. 95), was not copied or brought to Golkonda in the seventeenth century and if it did not inspire the Sleeping Girl.

Throughout, Deccani Painting stimulates the reader to ask deeper questions about the works, the artists, and their patrons. After reading it one has a sense of how the great variety of Deccani painting fits into the history of the region. Thanks to Mark Zebrowski, we are freed from hunting in fifty different places for valid historical information and for examples of paintings from particular areas or periods. Deccani Painting is not only the best resource for this field; it also sets an example for scholars attempting to write similar regional surveys of Islamic painting.

SHEILA CANBY

Nishapur: Metalwork of the Early Islamic Period. By James W. Allan. 120 pp., many photographs and drawings. New York: Metropolitan Museum of Art, 1982. $19.95.

Islamic Metalwork. The Nuhad Es-Said Collection. By James W. Allan. 128 pp., many illustrations in black and white, and color. London: Sotheby Publications, 1982. £47.50.

Metalwork in Medieval Islamic Art. By Eva Baer. 371 + xxiv pp., 232 figures in text. Albany: State University of New York Press, 1983. $38.50.

Islamic Metalwork from the Iranian World, 8th-18th Centuries (Victoria and Albert Museum Catalogue). By Assadullah Souren Melikian-Chirvani. 445 pp., many illustrations in text, color frontispiece, appendix, bibliography, 2 annexes and 8 indices. London: H.M.S.O., 1982. £60.00.

Deccan originally and traveled from there to the Mughal court, Zebrowski disputes the textual reference in the Akbar namah to Farrukh Beg's migration in 1585 from Kabul to Akbar's court. Zebrowski believes that Farrukh Beg could have gone from his birthplace in the Deccan to the court of Muhammad Hakim, Akbar's half-brother, at Kabul and then to Akbar's court. However, the Akbar namah also mentions that Farrukh Beg was a Kalmuk, that is, a member of a tribe living in and around Bukhara. If Farrukh Beg himself came from Bukhara, he would have been exposed to the highly refined, brilliantly colored ornamental style of that city's paintings in the mid- sixteenth century. Since Deccani elements appear to be the least pronounced in Farrukh Beg's earliest works (i.e. in the Khusrau and Shirin manuscript in the Keir Collection), the artist most likely came into contact with Deccani painting slightly later in his career. Whether or not he traveled to the Deccan remains a question that further documentation might help to answer.

In discussing emigre Iranian artists, Zebrowski states (p. 68) that the poet "Zuhuri arrived in the Deccan from the court of Shah Abbas in 988 A.H./1580-81 A.D." This would have been impossible since 'Abbas did not become Shah until 1587. His father, Muhammad Khudabandah, was Shah, albeit an embattled one, in 988. The late seventeenth century Sleeping Girl (fig. 168) with her female attendant, cat, and refreshments recalls various Renaissance depictions of Venus, both sleeping and awake. One wonders if the painting of Venus, by Cornelius Heda, a Czech artist who worked at the court of Sultan Ibrahim 'Adil Shah II of Bijapur (p. 95), was not copied or brought to Golkonda in the seventeenth century and if it did not inspire the Sleeping Girl.

Throughout, Deccani Painting stimulates the reader to ask deeper questions about the works, the artists, and their patrons. After reading it one has a sense of how the great variety of Deccani painting fits into the history of the region. Thanks to Mark Zebrowski, we are freed from hunting in fifty different places for valid historical information and for examples of paintings from particular areas or periods. Deccani Painting is not only the best resource for this field; it also sets an example for scholars attempting to write similar regional surveys of Islamic painting.

SHEILA CANBY

Nishapur: Metalwork of the Early Islamic Period. By James W. Allan. 120 pp., many photographs and drawings. New York: Metropolitan Museum of Art, 1982. $19.95.

Islamic Metalwork. The Nuhad Es-Said Collection. By James W. Allan. 128 pp., many illustrations in black and white, and color. London: Sotheby Publications, 1982. £47.50.

Metalwork in Medieval Islamic Art. By Eva Baer. 371 + xxiv pp., 232 figures in text. Albany: State University of New York Press, 1983. $38.50.

Islamic Metalwork from the Iranian World, 8th-18th Centuries (Victoria and Albert Museum Catalogue). By Assadullah Souren Melikian-Chirvani. 445 pp., many illustrations in text, color frontispiece, appendix, bibliography, 2 annexes and 8 indices. London: H.M.S.O., 1982. £60.00.

Scholarship on Islamic metalwork has been slow to branch out from the iconographic-stylistic approach described by Scholarship on Islamic metalwork has been slow to branch out from the iconographic-stylistic approach described by

James Allan as "the basic sorting of objects; dating them by comparison with pieces whose origins are certain" (Nuhad Es- Said Collection, p. 11). Probably it is because Rice's studies were so well conceived that his traditional method has been so much followed. But except for periods from which a good deal of material has survived this method leads rapidly to dead ends for lack of the confirming evidence it requires. We now have impressive examples of the results that different though not entirely new approaches can provide.

James Allan's Nishapur reflects the technical study that went into his Persian Metal Technology, 700-1300 A.D. (London, 1979). Nishapur follows the format of Charles K. Wilkinson's volume on the ceramics of the site, which was excavated a half-century ago (Nishapur: Pottery of the Early Islamic Period, New York, [1974]). The 209 silver, bronze, lead, and iron objects include many hard-to-identify items of the sort that appear only in archaeological reports. But it is precisely for these objects that Allan's expertise is most useful, and its deployment makes interesting reading here. There is also valuable comparative material and historical background, not least for the "Nishapur sword."' Allan's use of technical vocabulary is careful and he defines his terms clearly. In the context of this review it is noteworthy that not all the inscriptions have been read or transcribed (e.g. nos. 104, 165), but all else is in order. One identification is controversial: the inlaid bronze hand (no. 186, discussed p. 54) is surely a talisman, not part of a human figure.

Allan's Nuhad Es-Said Collection is a much different under- taking. The auction house-sponsored catalogue of a relatively new collection formed at auction sales has become a fixture of publication in the art world. At times, as here, this expensive and somewhat dubious genre succeeds in presenting the objects better than any of our other genres. Every piece in this collec- tion is illustrated in color, sometimes from several angles, in well printed plates. The lengthy historical introduction, which sets the collection in its several contexts, is well written and concentrates on the major technical and economic points. Al- lan adheres to the theory that there was a "silver famine" in the Islamic east in the fifth/eleventh century. While apparently supported by the evidence, this view still leaves some unset- tling economic problems unresolved. Allan uses it to explain the rise of the inlaying of bronze vessels in the Islamic east as a substitute for solid silver vessels, but concedes forthrightly that it cannot explain the spread of inlaid bronze or brass metal- work to the Islamic west. This knotty topic still needs some unravelling, but Allan has loosened many threads.

The twenty-seven objects are described at length in the catalogue, their inscriptions are read, and their aesthetic merits evaluated. Despite an obvious unevenness in quality, some of these objects are splendid-a twelfth century inkwell possibly from Herat, an east Persian ewer, a well preserved fourteenth century Syrian pen case, and, beyond compare, the incense burner made for the Mamluk Sultan Muhammad b. Qala'un (r. 1294-1340), which is the subject of a discerning iconographic study. Very little information on provenance is provided; the information on provenance in Melikian-Chirvani's book is both interesting and useful, and it is missed here.

Eva Baer's book is a compilation and filling-out of the body of information accumulated by the Ricean line of investigation. She concentrates her attention on sequences of shape, on decoration and iconography, and on style. Only four full pages are devoted to materials and techniques; the content of inscriptions is treated in eleven pages. Methodologically there is no advance here, and much of the information seems quite

James Allan as "the basic sorting of objects; dating them by comparison with pieces whose origins are certain" (Nuhad Es- Said Collection, p. 11). Probably it is because Rice's studies were so well conceived that his traditional method has been so much followed. But except for periods from which a good deal of material has survived this method leads rapidly to dead ends for lack of the confirming evidence it requires. We now have impressive examples of the results that different though not entirely new approaches can provide.

James Allan's Nishapur reflects the technical study that went into his Persian Metal Technology, 700-1300 A.D. (London, 1979). Nishapur follows the format of Charles K. Wilkinson's volume on the ceramics of the site, which was excavated a half-century ago (Nishapur: Pottery of the Early Islamic Period, New York, [1974]). The 209 silver, bronze, lead, and iron objects include many hard-to-identify items of the sort that appear only in archaeological reports. But it is precisely for these objects that Allan's expertise is most useful, and its deployment makes interesting reading here. There is also valuable comparative material and historical background, not least for the "Nishapur sword."' Allan's use of technical vocabulary is careful and he defines his terms clearly. In the context of this review it is noteworthy that not all the inscriptions have been read or transcribed (e.g. nos. 104, 165), but all else is in order. One identification is controversial: the inlaid bronze hand (no. 186, discussed p. 54) is surely a talisman, not part of a human figure.

Allan's Nuhad Es-Said Collection is a much different under- taking. The auction house-sponsored catalogue of a relatively new collection formed at auction sales has become a fixture of publication in the art world. At times, as here, this expensive and somewhat dubious genre succeeds in presenting the objects better than any of our other genres. Every piece in this collec- tion is illustrated in color, sometimes from several angles, in well printed plates. The lengthy historical introduction, which sets the collection in its several contexts, is well written and concentrates on the major technical and economic points. Al- lan adheres to the theory that there was a "silver famine" in the Islamic east in the fifth/eleventh century. While apparently supported by the evidence, this view still leaves some unset- tling economic problems unresolved. Allan uses it to explain the rise of the inlaying of bronze vessels in the Islamic east as a substitute for solid silver vessels, but concedes forthrightly that it cannot explain the spread of inlaid bronze or brass metal- work to the Islamic west. This knotty topic still needs some unravelling, but Allan has loosened many threads.

The twenty-seven objects are described at length in the catalogue, their inscriptions are read, and their aesthetic merits evaluated. Despite an obvious unevenness in quality, some of these objects are splendid-a twelfth century inkwell possibly from Herat, an east Persian ewer, a well preserved fourteenth century Syrian pen case, and, beyond compare, the incense burner made for the Mamluk Sultan Muhammad b. Qala'un (r. 1294-1340), which is the subject of a discerning iconographic study. Very little information on provenance is provided; the information on provenance in Melikian-Chirvani's book is both interesting and useful, and it is missed here.

Eva Baer's book is a compilation and filling-out of the body of information accumulated by the Ricean line of investigation. She concentrates her attention on sequences of shape, on decoration and iconography, and on style. Only four full pages are devoted to materials and techniques; the content of inscriptions is treated in eleven pages. Methodologically there is no advance here, and much of the information seems quite

149 149

This content downloaded from 91.229.229.205 on Sat, 14 Jun 2014 11:27:51 AMAll use subject to JSTOR Terms and Conditions