Write a note on the development of paintings under the Delhi Sultans.

 Despite Islamic injunctions against anthropomorphic figures in art, the Delhi Sultanate patronized a vast cannon of painting and artistic work. The Delhi Sultanate developed an Indo-Persian style of painting that drew heavily from schools in Iran and Jain paintings. 

Features of Delhi Sultanate paintings that are based on Indian traditions include groups of people standing in rows and identical poses, narrow bands of decoration running across the width of the painting, and bright and unusual colors. The paintings of the Delhi Sultanate represent a period of inventiveness that set the stage for the development of the Mughal and Rajput schools of art, which thrived from the 16th to the 19th centuries.

The early rulers of the Delhi Sultanate are often viewed as iconoclastic pillagers, best known for their indiscriminate destruction of Hindu, Buddhist, and Jain temples. They enacted prohibitions of anthropomorphic representations in art, which had been common at the time.

Scholars previously believed that the Delhi Sultanate did not patronize painting because of this Islamic injunction against the portrayal of living beings in art; however, literary evidence and the discovery of illustrated manuscripts from the period suggests otherwise. Indeed, royal painting workshops appear to have flourished under more liberal rulers.

The painting style of the Delhi Sultanate borrowed heavily from the flourishing traditions of Islamic painting abroad, resulting in the development of an Indo-Persian style. This style was based essentially on the schools of Iran but influenced by the individual tastes of Indian rulers and local styles, including Jain styles of painting.

It is now believed that numerous painters and architects were invited from foreign countries, and illustrated manuscripts, handily transported, must have been easily available. Features of Delhi Sultanate paintings that are based on Indian traditions include groups of people standing in rows and identical poses, narrow bands of decoration running across the width of the painting, and bright and unusual colours that replace the muted hues found in earlier Timurid paintings.

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