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asocial history of the deccan
being firmly nested within any single linguistic region, Bidar was ideally suited
as the capital of an aspiring transregional sultanate on the model of Timur’s
own sprawling empire. The Bahmani state in its post-1424 phase thus marked
the Deccan’s first truly imperial formation since the eclipse of the Chalukyas
in the late twelfth century.
10
Indeed, with Delhi’s last capital, Tughluqabad,
largely ruined by Timur’s raids just several decades earlier, fifteenth-century
Bidar could lay claim to being India’s most imposing imperial center.
The new capital consisted of a city, a fort, and within the latter, a citadel.
11
Completed in 1432, the citadel measures some 300 by 500 yards and rests
on the southern edge of a spacious plateau about two-and-a-half miles in
circumference, bounded by natural escarpments to the north and east. The
plateau is entirely enclosed by the fort’s walls, with their thirty-seven bastions
and seven gates. On its southern side, the citadel is entered from the town by a
series of gates and draw-bridges (see Plate 4). The latter span three moats that
are thirty feet deep, hewn from solid laterite rock.
Architecturally, Ahmad I’s palaces clearly reflect the influence of Timur,
whose capital at Samarqand projected an image of awesome splendor and
might. Bidar’s citadel included a Royal Chamber (Takht Mahal), a Hall of
Public Audience, the Naubat Khana, the Lal Bagh, and the Tarkash Mahal,
together with mosques, pavilions, kitchens, courtyards, gardens, cisterns, and
ditches. Breaking from the tradition of low, squat, and stilted arches found
in Gulbarga, architects at Bidar, influenced by the more sweeping vision of
Timurid Samarqand and Herat, built structures reaching a height of over
100 feet. Timurid influence is especially clear in the entrance to the citadel’s
Royal Chamber, whose tall arches (thirty-five feet) and graceful spandrels with
lion and sun motifs recall Timur’s own Aq Saray palace at Shahr-i Sabz (1379–
96), where the spandrels of the entrance-way arches also portrayed lion and
sun images.
12
Similarly, the adjacent Hall of Public Audience, which measures
166 feet by 133 feet and housed the Turquoise Throne, was covered with a
10
It is no coincidence that Kalyana, capital of the Chalukya empire whose boundaries roughly cor-
responded to those of the Bahmanis, is located on the same fault line, only forty miles west of
Bidar.
11
The classic architectural survey is G. Yazdani, Bidar: its History and Monuments (Oxford, 1947).
12
ForTimur’s Aq Saray palace, see Thomas W. Lentz and Glenn D. Lowry, Timur and the Princely
Vision: Persian Art and Culture in the Fifteenth Century (Los Angeles, 1989), 42–43. Appearing later
than Timur’s palace, but before Bidar’s Royal Chamber, was another lion/tiger motif on the gateway
spandrels of the entrance of the palace area at Firuzabad, built between 1399 and 1406 by Ahmad
I’s brother Sultan Firuz. Clearly, both brothers were under Timur’s aesthetic spell. Though only
faintly visible today, the artwork on the Firuzabad spandrel presents the earliest known use of an
animal motif in all Indo-Islamic architecture. See George Michell and Richard Eaton, Firuzabad:
Palace City of the Deccan (Oxford, 1992), 80–82.
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