Branfoot, Crispin

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Journal of the Royal Asiatic Society of Great Britain & Irelandhttp://journals.cambridge.org/JRAAdditional services for Journal of the Royal Asiatic Society of Great Britain & Ireland:Email alerts: Click hereSubscriptions: Click hereCommercial reprints: Click hereTerms of use : Click hereThe New Cambridge History of India: Architecture and Art of the Deccan Sultanates. By George Michell and Mark Zebrowski. pp. xxiv, 297, 200 figs., 16 col. plates. Cambridge, Cambridge University Press, 1999.Crispin BranfootJournal of the Royal Asiatic Society of Great Britain & Ireland / Volume 11 / Issue 01 / April 2001, pp 91 ­ 93DOI: 10.1017/S1356186301410157, Published online: 26 January 2001Link to this article: http://journals.cambridge.org/abstract_S1356186301410157How to cite this article:Crispin Branfoot (2001). Review of George Michell, and Mark Zebrowski 'The New Cambridge History of India: Architecture and Art of the Deccan Sultanates' Journal of the Royal Asiatic Society of Great Britain & Ireland, 11, pp 91­93 doi:10.1017/S1356186301410157Request Permissions : Click hereDownloaded from http://journals.cambridge.org/JRA, IP address: 212.219.238.14 on 21 Jun 2013Su are several centuries older. Ah is a lengthy text in verse form, which, as its title suggests, presentsthe essence of the eight branches of medicine as taught in Ca and Su. It has been an importantmedical textbook throughout the ages, and is still considered as the most important aÅyurvedic medicalbook by the A¡¢avaidya Nambudiri Brahmans of Kerala.1 By all accounts, Ah is a central treatise ofaÅyurveda, and like Ca and Su, has never been critically edited and studied.R. E. Emmerick and R. P. Das have now made up for this lack by publishing this voluminouswork on Ah with support from the Deutsche Forschungsgemeinschaft. The grant which extendedover a decade (1982±92) has also covered indexes to Ca and Su, as well as the index to theA¡¢aÅnÇgasa§graha (As), which is a roughly contemporary verse with prose version of the Ah. These willbe published in the future. R. P. Das was responsible for indexing all but a small part of the Ah(Emmerick began the work). The original index cards were transferred to a computer databasedesigned by Emmerick.Taking advantage of the currently available electronic technology, Emmerick and Das haverendered a valuable service to aÅyurvedic textual scholarship by giving ``help in ®nding correspon-dences between individual texts and individual parts of the same text with regard to lines and words''(p. x). Although a grammatical word index to Ah already exists,2 the index under review isconsiderably more comprehensive. It includes a line index, a word index, and a reverse word index,along with a romanised version of the root text and a detailed guide on how to use the work. The1939 edition of Ah with the commentaries of Arun. adatta and HemaÅdri, published by Nirn. aya SaÅgarPress, was the sole basis of the edition and indexes. Misprints have been corrected and orthographystandardised.The utility of this work cannot be questioned. However, it must be borne in mind that theultimate desideratum is the generation of critical editions of the Sanskrit medical literature. Theindexes provided by Emmerick and Das will de®nitely aid that endeavour. As for the (corrected andstandardised) romanised version of the 1939 edition contained in this work, it is not a critical editionand yet occupies a little over a third of the entire book (351 pages). It is, therefore, a needlessembellishment, since the original edition is easily available in reprint (via Chowkhamba). Moreover,there are plenty of more or less similar editions that one can consult. A book of this size andproduction quality surely costs more than most students and scholars can afford. In light of thisconcern, unless substantial improvement to existing editions can be offered, I would suggest that onlythe indexes should be printed in the subsequent volumes planned in this project.The indexes of Ah given in this book are de®nitely the ®rst steps toward bring aÅyurvedic textualstudies in line with other ®elds of Indology, such as Vedic studies. It is hoped that it will encourageessential work on critical editions of the Sanskrit medical classics.Kenneth G. ZyskThe New Cambridge History of India: Architecture and Art of the Deccan Sultanates. ByGeorge Michell and Mark Zebrowski. pp. xxiv, 297, 200 ®gs., 16 col. plates. Cambridge,Cambridge University Press, 1999.George Michell and Mark Zebrowski have written a valuable book surveying the art and architectureproduced in the Deccan over ®ve centuries from the fourteenth to the eighteenth century. The widechronological span is matched by the geographical spread of the material, covering the plateau region1 Cf. Francis Zimmermann, Le discours des remeÁdes au pay des eÂpices (Paris, EÂditions Payot, 1989), 40f.2 Publication information is not available, but a copy of this index exists in the Library of the SocieÂteÂ Asiatiquein Paris.91Reviews of Booksof peninsular India, corresponding to modern Maharashtra, northern Karnataka and parts of AndhraPradesh. The period covered spans the Muslim invasions of the Deccan from Delhi in the latethirteenth century, the establishment of the independent Bahmani sultanate and its early sixteenth-century fragmentation into further sultanate kingdoms, through to the Mughal invasions underAurangzeb and the rise of the Marathas in the late seventeenth century.Both authors have a long-standing connection with the art of the region. George Michell is wellknown for his extensive research and proli®c publications on the Hindu architecture and sculpture ofthe Deccan and southern India. This is embodied in another volume for the Cambridge series,Architecture and Art of Southern India: Vijayanagara and the successor states (Cambridge, 1995). He has alsopreviously written on Deccani Sultanate architecture as editor of Islamic Architecture of the Deccan(Bombay, 1986). Mark Zebrowski similarly has a long connection with the art of this region of India,from his doctoral research on painting at the Sultanate courts, published in 1983 as Deccani Painting,and subsequent work on the textiles and decorative arts of both the Deccan and the Mughal North.Both authors are thus well placed to provide a scholarly survey of the wide range of artistic activity inthis relatively neglected region.Their respective interests and areas of expertise are re¯ected in the division of the book betweenthem. Following an introduction, the ®rst chapter provides a historical framework for the subsequentchapters on architecture and art. The book's format is that of an introductory survey, adopting achronological approach to the main monuments and representative examples of paintings and otherarts. Descriptive surveys, such as this one, are valuable in areas where the existing literature isscattered. If the reader is left wanting to know more about the ``how'' and ``why'' of Deccani artrather than the more straightforward ``what'' of much of this survey, then the Architecture and Art of theDeccan Sultanates has served its purpose. For the Cambridge History's volumes ``are intended to give aview of the subject as it now stands and to act as a stimulus to further research'' rather than be the lastscholarly word on it (p. xix).Art-historians of the Islamic world have generally been reluctant to venture beyond the vast areafrom Spain to Iran and Central Asia to study the art and architecture of Islamic South Asia, andindeed Indonesia, despite the wealth of material. This volume is an excellent example of thecomparable riches to be discovered there. A recurring theme in this book is the Deccan's connectionto the Middle East, for the Deccani Sultanates were more closely connected culturally to the Islamicheartland than any other Muslim state in India, including the Mughals. This connection is throughtrade and the migration of Turks, Arabs, Persians and East Africans to the Deccan courts, and thedeliberate political and religious alignment of many Deccani rulers towards the Middle East, especiallyShia Iran under Safavid rule.The forging of a distinctive Deccani artistic identity went alongside the often strong in¯uence ofthe Islamic heartland on Deccani architecture and material culture. In chapters two and three,surveying the military architecture, palaces, mosques and tombs of the Deccan, Michell repeatedlydraws attention to the stylistic connections between the Deccani monuments and those in Iran orother areas of the Middle East. This relationship is embodied in monuments such as the madrasaerected at Bidar by Mahmud Gawan in 1472, cited as evidence of direct architectural transposition ofa well-known Central Asian building type (p. 71). Similarly Safavid Persian in¯uence is seen in thecity-planning of the new Qutb Shahi capital, Hyderabad, founded in 1591 though with the famousdistinctively Deccan Char Minar at its centre (p. 51). Tombs are a signi®cant Islamic contribution toIndian architecture, and this tradition is well represented by the many royal mausoleums at theDeccani Sultanate capitals. The Gol Gumbad at Bijapur of 1656 is striking for its size, but it is thequality of the architectural decoration that makes Deccani mausoleums the ®nest monuments of theregion. Chapter four, jointly written by the authors, surveys the incised plasterwork, carved92 Reviews of Booksstonework with crisply carved Arabic inscriptions, woodwork, wall paintings and glazed tile workused to decorate mosques and tombs.Zebrowski's two chapters on painting survey the evidence for court painting: the brief ¯owering ofthe art at Ahmadnagar in the late sixteenth century, the greater volume of paintings from Bijapurthrough the seventeenth century, and the paintings from the court at Golconda and other smallercentres. The discussion is enlivened with quotations from contemporary literature, which illuminatesthe study of paintings from the reign of Ibrahim II of Bijapur (1580±1627), for example, a patron ofnotable mystical temperament who was fascinated by Hinduism like his older Mughal contemporaryAkbar. Setting Deccani arts within the wider Islamic world is a theme equally evident in the chapterson court painting: Zebrowski, for example, favourably compares the Deccani use of marbled paperwith the better-known Turkish and Iranian examples (p. 183). Qutb Shahi painting at Golcondademonstrate close ties with Safavid Persian painting, in part because the ruling house itself descendedfrom Qara Qoyunlu (Black Sheep) Turkman sultans from western Iran and Anatolia (p. 191). It wasfrom Golconda kingdom that the highly regarded painted and dyed cottons, that so impressed earlyEuropean traders, derived. These and other decorative arts of the Deccan, such as the distinctive bidriware are surveyed in chapter seven by Zebrowski.Chapter eight, again by George Michell, on Hindu temples is a rather curious addition to a bookentitled the Architecture and Art of the Deccan Sultanates, but a very welcome and stimulating section itis. Later Hindu architecture from the sixteenth century and later is not well documented, with theexception of the sixteenth and seventeenth-century bhakti temples of the Mathura region and thebrick temples of eighteenth and nineteenth-century Bengal, and so this chapter discussing the majorMaratha-period temples of the later seventeenth and eighteenth centuries is a signi®cant step forward.Ellora, for example, is well known for the eighth-century Hindu and Buddhist cave temples, butMichell is to be commended for drawing attention to the late eighteenth century Ghrishneshvaratemple at the site, one of many temples discussed that were built in this period in the Deccan. Thesetemples are striking for both the stylistic borrowings from much earlier eleventh-century Yadavatemples as well as contemporary Sultanate and Mughal architecture. The funerary architecturesurveyed in the chapter on mosques and tombs is re¯ected in the notable introduction of thememorial shrine as a distinctive Hindu building type in the Deccan in the eighteenth century, apractice Michell suggests derives from Rajasthan (p. 247). The two authors conclude their surveywith a broader study of the overall stylistic character of Deccani art and architecture.Overall, this is a good introduction to an understudied area of the Indian Subcontinent. The bookis produced to a characteristically high standard and is illustrated throughout with black-and-whitephotographs and sixteen architectural plans. A further sixteen colour photographs of paintings andarchitectural details are placed together at the centre, for both are ill-served by monochromephotographs. No doubt the authors wished they could have included more colour plates to re¯ect thefull glory of Deccani painting. The book concludes with a very useful bibliographic essay guidingthose wishing to pursue the ®eld further to relevant scholarly literature.Crispin BranfootThe Artificial Empire. The Indian Landscapes of William Hodges. By Giles Tillotson,pp. viii, 162. 8 plates, 60 ®gures, bibliography, index. Richmond, Curzon Press, 2000.This work is a welcome addition to the ever-growing scholarship on British painters in India. On theone hand it is a detailed study of a single artist, William Hodges; while, on the other, it presents abroad discussion, of the complex cultural and historical setting which played a part in the formation93Reviews of Books

The New Cambridge History of India: Architecture and Art of the Deccan Sultanates. By George Michell and Mark Zebrowski

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The New Cambridge History of India: Architecture and Art of the Deccan Sultanates. By George Michell and Mark Zebrowski. pp. xxiv, 297, 200 figs., 16 col. plates. Cambridge, Cambridge University Press, 1999.

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The New Cambridge History of India: Architecture and Art of the Deccan Sultanates. By George Michell and Mark Zebrowski.

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