Match List I with List II

Choose the correct answer from the options given below:

A-IV, B-III, C-I, D-II

The correct answer is Option (1) → A-IV, B-III, C-I, D-II

Explanation:

Hazrat Nizamuddin Auliya and Amir Khusrau: This provincial painting in the collection of National Museum, New Delhi, is from Hyderabad, Deccan. It depicts Hazrat Nizamuddin Auliya, the revered Sufi saint of the thirteenth century, listening to music being played by his disciple, Hazrat Amir Khusrau, a renowned Indian poet and scholar. Even to this day, the dargah of Hazrat Nizamudin Auliya in New Delhi has qawwali by Khusrau in praise of his pir. Devotees from all over the world come here to witness this regular cultural practice. The painting is naive and basic without technical and artistic sophistication of a court painting. However, it is charming and narrative of a popular Indian theme.

Ragini Pathamsika: An intriguing work in the collection of National Museum, New Delhi, titled Ragini Pathamsika of Raga Hindola, an important member of the Ragamala family of the Indian musical mode, dates back to around 1590–95. Some scholars believe it to be from Bijapur, an important state of Deccan. Painting was a highly developed art form in the Deccani states, almost simultaneous with the development of the Mughal School of Painting. Persian influence is obvious in the painting.

Chand Bibi Playing Polo: This painting shows Chand Bibi, the Queen of Bijapur, one of the most prosperous and culturally refined Deccani state. Chand Bibi resisted the Mughal political attempts to overtake the state by Emperor Akbar. A revered and accomplished ruler, Chand Bibi was a great sportsperson. Here, she is showing playing chaugan, the other name for equestrian polo game, a popular royal sport of the time. The painting appears to be provincial of much later period, and is in the collection of National Museum, New Delhi, India.

The Deccani style of Painting was placed under the Indo-Persian art for long. It was considered to be Middle Eastern, Safavid, Persian, Turkish and even Mughal in origin. Art historians acknowledged its uniqueness but failed to recognise it as a full-fledged school, which was sustained by a class of rulers, who had their peculiar political and cultural vision. They hired and nurtured artists and commissioned works that enhanced their artistic sensibilities and specific requirements of governance in their kingdoms.