Miniature pasted on an album leaf. ‘Portrait of Sultan Ibrahim Adil Shah II of Bijapur’
India, Deccan, Bijapur; c. 1590
Portrait: 27 × 16.3 cm
Inventory number 105/2007
This impressive three-quarter-profile portrait of Ibrahim Adil Shah at about 19 years of age is a unique masterpiece in every way. Portraiture was only in its infancy in Mughal India at this point, and such a monumental depiction from the Deccan must undoubtedly be attributed to the direct influence of printed European models.
Ibrahim (1579-1626) ascended the throne as a boy, but did not begin to rule until around 1590. He was a great patron of all the fine arts in Bijapur, and the inscription on the splendid turban extols the young man to the heavens, comparing him to the patriarch Abraham and to King Solomon.
Ibrahim (1579-1626) ascended the throne as a boy, but did not begin to rule until around 1590. He was a great patron of all the fine arts in Bijapur, and the inscription on the splendid turban extols the young man to the heavens, comparing him to the patriarch Abraham and to King Solomon.
Published in
Published in
Marie-Christine David and Jean Soustiel: Miniatures orientales de l'Inde. 2, Galerie Jean Soustiel, Paris 1974, cat. 25;
Mark Zebrowski: “Transformations in seventeenth century Deccani painting at Bijapur” in Anand Krishna (ed.): Chhavi, vol. 2: Rai Krishnadasa felicitation volume, Varanasi 1981, fig. 412;
Mark Zebrowski: Deccani painting, London 1983, fig, 49 and p. 54, pl. VI;
Stuart Cary Welch: India: art and culture 1300-1900, Metropolitan Museum of Art, New York 1985, cat. 193, p. 291;
Francesca Galloway and J. P. Losty: Paintings from the royal courts of India: exhibition held at the Peter Findlay Gallery, Fuller Building, 41 East 57th Street, New York 18-27 March 2008, London 2008, cat. 20;
Rosemary Crill and Kapil Jariwala (eds.): The Indian portrait: 1560-1860, National Portrait Gallery, London 2010 [2009], cat. 31;
Keelan Hall Overton: A collector and his portrait : book arts and painting for Ibrahim 'Adil Shah II of Bijapur (r. 1580-1627), Dissertation, University of California, Los Angeles 2011, fig. 14 and p. 160;
Navina Najat Haidar and Marika Sardar: Sultans of Deccan India, 1500-1700: opulence and fantasy, Metropolitan Museum of Art, New York, New Haven 2015, cat. 27;
Kjeld von Folsach, Joachim Meyer: The Human Figure in Islamic Art – Holy Men, Princes, and Commoners, The David Collection, Copenhagen 2017, cat. 35;
Joachim Meyer, Rasmus Bech Olsen and Peter Wandel: Beyond words: calligraphy from the World of Islam, The David Collection, Copenhagen 2024, cat. 90, pp. 248-249;
Mark Zebrowski: “Transformations in seventeenth century Deccani painting at Bijapur” in Anand Krishna (ed.): Chhavi, vol. 2: Rai Krishnadasa felicitation volume, Varanasi 1981, fig. 412;
Mark Zebrowski: Deccani painting, London 1983, fig, 49 and p. 54, pl. VI;
Stuart Cary Welch: India: art and culture 1300-1900, Metropolitan Museum of Art, New York 1985, cat. 193, p. 291;
Francesca Galloway and J. P. Losty: Paintings from the royal courts of India: exhibition held at the Peter Findlay Gallery, Fuller Building, 41 East 57th Street, New York 18-27 March 2008, London 2008, cat. 20;
Rosemary Crill and Kapil Jariwala (eds.): The Indian portrait: 1560-1860, National Portrait Gallery, London 2010 [2009], cat. 31;
Keelan Hall Overton: A collector and his portrait : book arts and painting for Ibrahim 'Adil Shah II of Bijapur (r. 1580-1627), Dissertation, University of California, Los Angeles 2011, fig. 14 and p. 160;
Navina Najat Haidar and Marika Sardar: Sultans of Deccan India, 1500-1700: opulence and fantasy, Metropolitan Museum of Art, New York, New Haven 2015, cat. 27;
Kjeld von Folsach, Joachim Meyer: The Human Figure in Islamic Art – Holy Men, Princes, and Commoners, The David Collection, Copenhagen 2017, cat. 35;
Joachim Meyer, Rasmus Bech Olsen and Peter Wandel: Beyond words: calligraphy from the World of Islam, The David Collection, Copenhagen 2024, cat. 90, pp. 248-249;
