Between the 14th and the 17th century, the Deccan plateau of south-central India was home to a series of important and highly cultured Muslim courts. Subtly blending elements from Iran, West Asia, southern India, and northern India, the arts produced under these sultanates are markedly different from those of the rest of India and especially from those produced under Mughal patronage. This publication, a result of a 2008 symposium held at The Metropolitan Museum of Art, investigates the arts of Deccan and the unique output in the fields of painting, literature, architecture, arms, textiles, and carpet.

A glimpse at the political situation in the Deccan which was marked by political conclusion and disintegration during the last two decades, it is necessary to follow the trend of events which was contributed to the evolution of the Adil Shahi Kingdom of Bijapur. The murder of Khwajah Imaduddin Mahmud Gawan, the savior of Bahmani dynasty and the architect of a grand empire on the 5th April 1481 A.D. struck a fatal blow to the Kingdom. Mahmud Gawan’s dying words “the death of an old man is of little moment, but to your Majesty Sultan Muhammad Shah-III it will mean the loss of your character and the ruin of your Empire”, proved to be prophetic. Within a decade, the vast empire of the splendid edifice of the Bahmani dynasty presented a chequered scene. His death removed a dominating personality and let loose the forces of disintegration. It signaled the beginning of the decline and fall of the mighty empire

Focusing on the Deccan Sultanates of 16th- and 17th-century central India, Local States in an Imperial World promotes the idea that some polities of the time were not aspiring to be empires. Instead of the universalist and hierarchical vision typical of the language of empire, the sultanates presented another brand of state - one that prefers negotiation, flexibility and plurality of languages, religions and cultures. Building on theories of early modernity, empire, cosmopolitanism and vernaculars, Roy Fischel considers the components that shaped state and society: people, identities and idioms. He presents a frame for understanding the Deccan Sultanates as a rare case of the early modern non-imperial state, shedding light both on the region and on the imperial world surrounding it.

Naẓar: Vision, Belief, and Perception in Islamic Cultures offers multiple perspectives on how the Islamic visual culture and aesthetic sensibility have been enabled and shaped by common conceptual tools, consistent socio-spatial practices, and unifying beliefs and moral parameters.