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Collections

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Sultan Muhammad Adil Shah of Bijapur (r. 1627-1656) and his African Prime Minister Ikhlas Khan (d. 1656) (recto); Calligraphy (verso)circa 1670 (recto), 17th century (verso)

Not on view
Persian or Arabic calligraphic panel, black nasta'liq script on a gold ground with silver-gray cloud-shaped lozenges, surrounded by teal mat and gold-patterned border
Artist or Maker
Unknown
Title
Sultan Muhammad Adil Shah of Bijapur (r. 1627-1656) and his African Prime Minister Ikhlas Khan (d. 1656) (recto); Calligraphy (verso)
Place Made
India, Karnataka, Bijapur (recto); Iran or India (verso)
Date Made
circa 1670 (recto), 17th century (verso)
Medium
Opaque watercolor and gold on paper; border: paper embossed with gold
Dimensions
Sheet: 17 3/8 x 11 3/8 in. (44.13 x 28.89 cm); Image (recto): 9 5/8 x 7 5/8 in. (24.45 x 19.37 cm); Image (verso): 5 7/8 x 2 7/8 in. (14.92 x 7.30 cm)
Credit Line
From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase
Accession Number
M.76.2.35
Classification
Drawings
Collecting Area
South and Southeast Asian Art
Curatorial Notes

Recto: This is a double portrait of Sultan Muhammad Adil Shah of Bijapur (r. 1627-1656) and his African Prime Minister Ikhlas Khan (d. 1656). Muhammad Adil Shah was the seventh ruler of Bijapur in the Adil Shahi dynasty (1490-1686). He signed a peace treaty in 1636 with the Mughal Emperor Shah Jahan (r. 1627-1658) after joining the Mughals in their military campaigns against the Ahmednagar Sultanate (1490-1636). His Prime Minister Ikhlas Khan, also known as Malik Raihan Adil Shah, was a Habshi or African noble of Abyssinian descent who had a long history of serving Bijapur beginning under Sultan Ibrahim Adil Shah II
(r. 1580–1627) and rose to hold several powerful positions at court. Given Muhammad Adil Shah’s alliance with the Mughals, it is not unexpected that the stately portrait is rendered realistically in the contemporaneous Mughal style with the nimbate Sultan holding a floral sprig, a symbol of refinement, and standing against a pale blue sky with several varieties of flowering plants accenting the green ground line. The painting is mounted with 18th-century borders embossed in gold with figural and landscape motifs. See also M.81.8.9.

Verso: A page of nastaliq calligraphy. The poetic verses in cloud bands have been translated as follows:
O my life burns for your wisdom, and from its deed hangs its head in shame before you,
For if you do not accept me, where shall this follower of yours go?
The child of the slave, Muhammad Yar.
(Translation by Z. Faridany-Akhavan.)

Selected Bibliography
  • Overton, Keelan, Ed. Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, 1400-1700. Bloomington: Indiana University Press, 2020.