Ibrahim Adil Shah II Hawking
| Support Type: | Paper |
| Paint Type: | Watercolor |
| Current Location: | Institute of Oriental Studies, Russian Academy of Sciences, St. Petersburg, Russia |
| Location History: | The painting was created at the Bijapur court in the Deccan during the reign of Ibrahim Adil Shah II. It later became part of the famous St. Petersburg Album of Indian miniature paintings and is now preserved in the Institute of Oriental Studies of the Russian Academy of Sciences in St. Petersburg. |
Ibrahim Adil Shah II Hawking is one of the finest surviving paintings by the Persian-born artist Farrukh Beg, produced during his time at the court of the Bijapur Sultanate in the Deccan. Created around the early 1590s, the miniature portrays the young Sultan Ibrahim Adil Shah II riding a horse while engaged in the royal pastime of hawking. Rather than presenting a simple hunting scene, the painting emphasizes the ruler's elegance, refinement, and close relationship with nature. The composition balances the figure of the sultan with an expansive landscape filled with carefully rendered plants, rocks, and rolling hills. Every element is meticulously painted, reflecting Farrukh Beg's remarkable technical skill. The work is significant because it combines artistic traditions from multiple regions. Farrukh Beg, originally trained in the Safavid Persian style, introduced delicate landscapes and refined brushwork. During his service under the Mughals he absorbed their interest in naturalism and portraiture, while his years in Bijapur allowed him to experiment with the vibrant colours and poetic atmosphere associated with Deccani painting. These influences come together harmoniously in this artwork, making it one of the earliest masterpieces of Deccani court painting. The painting also reflects Ibrahim Adil Shah II's personality as a cultured ruler who valued music, poetry, and the arts alongside royal pursuits. Instead of emphasizing military power, Farrukh Beg presents the sultan as an ideal prince who lives in harmony with his surroundings. Today, the painting is admired for its innovative blend of Persian, Mughal, and Deccani aesthetics and remains an important example of artistic exchange in late sixteenth-century India.