摘要: Justification of Outstanding Universal Value　　The ‘Monuments of the Deccan Sultanate’ constitute the representative examples of Deccan Sultanate monuments in India. The series demonstrates the exempla

Justification of Outstanding Universal Value

　　The ‘Monuments of the Deccan Sultanate’ constitute the representative examples of Deccan Sultanate monuments in India. The series demonstrates the exemplary convergence of national and international styles of Islamic architecture and their intersections with the prevalent Hindu architecture of the period southern Indian in present day Karnataka and Andhra Pradesh.

　　Criterion (ii): 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 influences from Iran, West Asia, southern India, and sometimes Europe, as well as southern and northern India, the arts produced under these Deccan sultanates are markedly different from those of the rest of India and especially from those created under the Mughal patronage. Following the conquest of the powerful Vijaynagara empire in 1565 these Sultanate kingdoms emerged as the new force. They developed a unique mélange of Sultanate architectural idioms as a result of their cultural exchange. There was considerable movement of craftsmen and artists between the Muslim and Hindu domains, that contributed to shared cultural and architectural traditions. Such interaction embraced the borrowing of building techniques, architectural forms, and decorations that contributed to the development of a unique Deccani Architectural style. Further influences from Islamic traditions of Western and Central Asia as well as East Africa.

　　The association of monumental, tripartite palaces structures with water, first seen in Bidar and then imitated in later capitals, is evidence of the influence of local traditions. By moving his capital to Bidar, Ahmad Shah tried to distance his rule from different Muslim factions that seem to have prevailed in Gulbarga. This distance from the past, and his intention to create a new identity from his kingdom, was further expressed in his choice of new architectural power-symbols, reflecting the political pragmatism the Deccani sultans, being as they were a Muslim elite ruling a Hindu majority.

　　The Qutb Shahi monuments provide a unique testimony to the vibrant cosmopolitanism that characterized the medieval period in India and in the Deccan region in particular. Given that the founder of the dynasty and key nobles were immigrants from Iran, their integration with the Deccani Muslims, and the local Telugu-speaking Hindu elite was reflected in the innovative and inspired blending of Persianate and Indic cultures that flowed from the successful integration of this multi-ethnic society.

　　Criterion (iii): The Monuments of the Deccan Sultanante are outstanding examples of military architecture, with an impregnable defense mechanism, unique water supply and distribution system, as well as unique sewage disposal mechanisms and extraordinary acoustical system unparalleled in the architectural history of the Deccan and the military architecture of South Asia. The fortifications of the Bahmanis and their successors can be classified according to their location into frontier, territorial and metropolitan forts. Forts were more or less permanent military camps, while walled cities were intended for the protection and prestige. Thus, they came to erect impressive stone forts and palaces and to promote ceremonials that could project them as agents of divine power in the imagination of their subjects. Five types of courtly structures are recorded at these localities, suggesting a conscious gradation of importance in early Bahmani ceremonial practices. Private complexes of the ruler and his representatives are marked with edifices distinguished by tripartite plans and facades.

　　The monuments and citadels provide a unique testimony to the social, economic, cultural, political and technological landscape of the period as well as unique expressions of the religious and artistic flowering of the Islamic Sultanate in Southern India. The monuments were also accompanied by the development syncretic forms of art, architecture, language, literature, music, cuisine and costume reflected subtly but perceptibly in the miniature paintings architecture and the Shi'a culture of the period.

　　The close associations of Bahmani hammams with the rectangular, transverse-arched halls that have already been noted indicate that these bath houses may have had more formal functions. Later in Bidar and Bijapur, another device, generally termed the “Persian wheel”, was introduced and applied at some water bodies. A third device was also invented during the 17tf century at Bijapur. This device was invented to bring water under high pressure to fountains. During the second half of the 16th century another innovation was introduced in the Deccan to supply water to a palace or city over long distances.

　　Bijapur and their palaces or gardens were partly provided with water from reservoirs or springs located some kilometers away.  Until the 15th century water bodies were set within architectural frames made of dressed stone. Water specialists coming from Iran and other regions introduced novel techniques with an almost scientific approach to geological and physical realities. These specialists already had experience in obtaining more water from renewable sources. The use of lime mortar allowed them to build waterproof dams and to transport water over long distances.

　　Unique in its architectural typology, the Charminar remains an acknowledged masterpiece of Islamic architecture. Qutb Shahi architecture began with Bahmani moorings and evolved a sophisticated architectural aesthetic within the Deccani paradigm, symbolising the zenith of Islamic Sultanate architecture in South India. Charminar's most compelling quality is the originality of its unprecedented design that was to stylistically exercise a profound impact on the subsequent development of Deccani architecture. Functionally, it does not conform to any of the familiar building types from the Indo-Islamic world, but serves as a monumental marker for the central node in Hyderabad's four-quartered design. Charminar is the archetype of the chaubara or "four-fold house" marking the intersection of four cardinal avenues, affording a series of impressive vistas. It is a singular monument as it embodies a singular design and ideas not seen in earlier structures.