Islamic Art of Bidar

Transcription

1 Islamic Art of Bidar Dr. Rehaman Patel Department of Studies in Visual Art, Gulbarga University, Gulbarga, India ABSTRACT Islamic art of Bidar links from the first Bahmani Sultan Alauddin Hasan who founded the dynasty in 1347, with ruling capital of Gulbarga in North Karnataka. Later Firuz Shah Bahamni and Ahmed Shah Wali Bahmani patronized the art, architecture, literature including metal art like Bidri. Apart from this the tile-work, wall painting, and stucco-work also developed during the rule of these two noted kings. Later, Alauddin Bahmani II also supported the art and cultural events which has a great name in the history of Bidar. Today, Bidar monuments are the major attraction in North Karnataka for its beauty of art and architecture. Keywords: Architecture, Art, Bahmani, Bidar, Bidri I. INTRODUCTION During the five hundred years after Prophet Mohammed s (S) death in A.D. 632, Islam spread far beyond its place of origin in the Arabian Peninsula. As Islam spread, a distinctive style of Islamic art gradually developed. It was used mainly for religious architecture, book illustrations, and the decoration of pottery, metal-ware, and other useful objects. Islamic art was influenced by the artistic styles included late Roman, Byzantine, and Persian art [1]. The new chapter which was opened in the Islamic period led to the creation of remarkable religious buildings. Iranian arts such as calligraphy, wall paintings, stucco (Plaster-cut), mirror work, tile work and metal art became closely tied together in this new era. Islamic architecture and building decoration are among the most beautiful means of expression. Decoration does not play such an important role in any other type of architecture II. HISTORY Ahmed Shah ( ), was the ninth king of Bahmani dynasty and ruled for thirteen years. The ceiling and walls of this tomb have been decorated with paintings in Persian Style (Deccani) composed of calligraphic devices or floral designs (Fig.1). These paintings are considered to be the unique in India for their beauty and elegance [2]. The earliest known craftsman was Abdullah bin Kaiser who worked with his students to develop this art. The Bidri works were heavily influenced by typical Islamic features of the time. Swirling silver floral motifs framed by 763 P a g e

2 geometric patterns and set against black background has since becomes the hallmark of the Muslim metal work in India. Ahmed Shah invited him, who was an expert in metal art. He developed Bidri Art with group local artists. Second Alauddin Bahmani ( ), was a cultured prince. Mahmud Gawan, who was familiar with the artisans and craftsmen of Persia, acquired much influence during the reign of Alauddin, being honoured by the rank of one thousand retainers (hazari), and he may have arranged to bring out some clever designs and manufacturers (Fig. 2) from the country to embellish the buildings at Bidar. The beautiful tile-work can be seen on his tombs outer part of the building. The founder of Madarsa, Mahmud Gawan had himself come from Gilan, and as even during his stay in the Deccan he was continually in correspondence with eminent personage in Persia, it is not unlikely that he brought engineers and craftsmen from that country to design the buildings. One of the most respected names in archaeological circles of India is that of the late Padma Bhushan Dr. Ghulam Yazdani (Fig.3), who founded the archaeology department of Hyderabad (Deccan) state in He served as Director of Archaeology, for over thirty years from 1904 to His work for the preservation and excavation of sites, earned him reputation not only in India but also in Europe and United States. Dr. John Forbes Royle, doctor, botanist and chronicler of India s folk wisdom, introduced the Bidri Art to the world in the 1851 Great Exhibition at Crystal Palace in London [3]. The East India Company nominated as organizer Dr. John Forbes Royle (Fig.4), the pioneer of the study of economic botany in India, to source exhibits from artisans. Dr. Royle was keen that India should benefit from the exhibition. He wanted to help the artisans who produced articles of great beauty and value that were not well known outside their country. However, Bidri had to wait till 300 years to become world famous. Tomb of Ahmed Shah Al Wali Bahmanis interior, although somewhat dark, is artistically relieved by splashes of most brilliant colours which have been used in the paintings of walls and vault (Fig.5). Among these gold and vermilion are prominent, but almost every tint in the colour-box of the painter has been used, there being several shades of cobalt and grey. Tile Work, Wood Carving at Rangeen Mahal literally means the Coloured Palace and this name was apparently given to it on account of its wall paintings have being decorated with colours, lovely wood-carvings and mother-of pearls and tiles of different hues, traces of which still exist on the facade of the eastern halls inside the fort. The side walls of Dargah of Hadrat Shah Abul Faid arch are decorated with tile-work representing chiefly floral designs and the front portion of door is fully filled with flower and plants in Persian style using blue, yellow and other vibrant colours. 764 P a g e

3 The written exhibits art of high order and as in tile-decoration the painters and the calligraphist worked out jointly at Mahmud Gawan Madrasa. The design is very simple, but at the same time most effective, and shows the ingenuity of the artist in placing it near an elaborate pattern for the purpose of contrast. The tiny squares are shown in white, yellow, light green, light blue and deep blue, thus producing a kaleidoscopic effect. The beautiful stone engraving inscription of Quran in the Kufic style of writing which begins from the main doorway of Chaukhandi is continued to this side of the octagon. It was designed by a calligraphist of Shiraz called Mughith. This inscription is carved in relief on a black stone tablet the face of which is decorated with a floral scroll of delicate design (Fig.6), the letters being superimposed on it. It is not only the subtleness of the design but also the large size of the letters which impress the lovers of art. The height of the letters is 15 inches and their thickness over an inch, so that the skill of the calligraphist in writing such bold characters can be duly appreciated. Above the arches the gateway has two bands of ornamental Stucco-work (plaster-cut) on the top of a parapet of trefoil design. Inside the dome, geometrical and flower leaf designs are carved in the centre part. Calligraphy also carved surroundings of interior part at Dargah architecture. III. METAL ART Several canons laying in Bidar are engraved in deep cut and inlayed with copper and silver. And some are embossed designs and calligraphy. Bidri art was permanently established during the reign of second Alauddin Bahmani ( ) whose father invited Bidri artisans at Bidar. Over the last 700 years or so, a tradition has developed linking it with the Bahmani dynasty of Deccan. Later, this art spread to Purnea, Murshidabad, Moradabad, Delhi, Jaipur, Faizabad, Benaras, Calcutta, Zawar, Surat, Bombay, Ahmednagar, Golconda, Bijapur, Hyderabad and Lucknow under Mughals and Nawabs in north-eastern parts of India during 1707 AD. Bidar, we know as a centre from Chahar Gulshan it is also known from an illustration to an atlas produced in Faizabad in The atlas is now in the India Office Library, which includes a map of the subah of Bidar [4]. Drawings are included on either side of the map; these show, for the most part, representatives of the different Sufi orders, but also include a Bidri craftsman and the wares produced at Bidar. Artisan at the bottom left of the map is engraving a floral pattern on to the side of a pot shape huqqa, a lady and pet parrot looking on (Fig.7). 765 P a g e

4 IV. FIGURES Fig.1: Ahmed Shah Fig.2: Tile-work of Alauddin s tomb Fig.3: Dr. Yazdani Fig.4: Dr. Royale Fig.5: Wall painting of Ahmed Shah s tomb Fig.6:Stone calligraphy at Chaukhandi Fig.7: Ancient map of Bidar V. CONCULSION The glory of the towns in north Karnataka really waned with the decline of Bahmani dynasty, although Barid Shahi and Adil Shahi kings kept up its beauty during their chequered rule. 766 P a g e

5 Royal patronage played an important role in the making of Islamic art, as it has in the arts of other culture. From fourteenth century onwards, especially in the eastern lands, the books of art provide the best documentation of the courtly patronage. Today, the finest arts are found in India, Turkey, Iran, Syria, Pakistan, Egypt and Morocco, where the legacy of Islamic arts remain live and strong. REFERENCES 1. Gulnar K. Bosch, Islamic Art and Architecture, Florida State University, G. Yazdani, Bidar-Its History and Monuments, published by His Exalted Highness Nizam s Government in 1947, and reprint First Indian Edition by Motilal Banarsidass Publishers, Delhi in Susan Strong, Bidriware-Inlaid Metal Art form India, Victoria and Albert Museum, London, Dr. Rehaman Patel, Karnatakada Bidri Kale (Bidri Art of Karnataka-A Study), published by Indian Royal Academy of Art and Culture Gulbarga financed by Dept. of Kannada and Culture, Govt. of Karnataka in P a g e