| Every culture of the world develops from
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| | dynasties that succeeded one another
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| the beliefs, practices and customs,
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| | erected many monuments in varying styles.
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| traditions and values of its people.
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| | The most notable structures in this phase
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| Through their lifestyle they develop
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| | are found in the capital, Ahmadabad. The
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| systems of moral codes and norms, which
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| | Mughal phase of the Indo-Islamic style,
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| they enrich with their activities and
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| | from the 16th to the 18th century,
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| customs, of, which the arts, music,
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| | developed to a high degree the use of
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| architecture, literature etc. have been a
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| | such luxurious materials as marble. The
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| very majorly integral component. To
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| | culminating example of the style is the
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| understand a kind of people the most
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| | Taj Mahal in Agra. This domed mausoleum
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| important thing to study is their
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| | of white marble inlaid with gemstones was
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| literature, and art. In case of India,
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| | built (1632-1648) by the Mughal emperor
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| the cultures that have developed are not
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| | Shah Jahan as a tomb for his beloved
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| one but many. The subcontinent has been a
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| | wife. It stands on a platform set off by
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| rich base for the cultivation of an even
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| | four slender minarets and is reflected in
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| richer set of cultures, which have been
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| | a shallow pool.
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| influenced by different settlers of over
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| | Building in India since the 18th century
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| thousands of years. The multitude of
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| | has either carried on the indigenous
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| languages spoken and the mix of religions
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| | historical forms or has been modelled
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| present have further enriched the land
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| | after European models introduced by the
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| and its people. This paper in particular
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| | British. Numerous examples of Western
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| focuses on the visual arts and
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| | styles of the 18th, 19th, and 20th
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| architecture in relation to their
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| | centuries may be seen in public
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| influence on Indian music.
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| | buildings, factories, hotels, and houses.
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| Indian art is highly symbolic. The
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| | The most outstanding example of modern
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| much-developed ritual-religious symbolism
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| | architecture in India is the city of
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| presupposes the existence of a spiritual
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| | Chandîgarh, the joint capital of Haryana
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| reality that, being in constant touch
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| | and Punjab; the city was designed by the
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| with phenomenal reality, may make its
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| | Swiss-born French architect Le Corbusier
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| presence and influence felt and can also
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| | in collaboration with Indian architects.
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| be approached through the symbols that
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| | The broad layout of the city was
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| belong to both spheres. The art and
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| | completed in the early 1960s. Notable
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| architecture produced on the Indian
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| | architectural features include the
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| subcontinent dates back to the 3rd
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| | vaulted structure, topped by a huge,
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| millennium BC. Therefore from that alone
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| | concrete dome, and the use of concrete
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| it can be determined as to how culturally
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| | grille and bright pastel colours in the
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| influenced it must have been. To Western
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| | Palace of Justice; the arrangement of
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| eyes, Indian art can appear strikingly
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| | concrete cubes topped by a concrete dome
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| ornate, exaggeratedly sensuous, and
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| | that is the Governor's Palace; and the
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| voluptuous. A strong sense of design is
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| | use of projections, recesses, stair
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| also characteristic of Indian art and can
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| | towers, and other contrasting elements to
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| be observed in its modern as well as in
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| | break the monotony of the long façades
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| its traditional forms.
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| | of the secretariat building, which are
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| Indian art is religious inasmuch as it is
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| | 244 m (800 ft) long. Modern Indian
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| largely dedicated to the service of one
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| | architecture has incorporated Western
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| of several great religions. It may be
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| | styles, adapting them to local traditions
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| didactic or edificatory as is the relief
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| | and needs-as in the design of the railway
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| sculpture of the two centuries before and
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| | station at Alwar, Rajasthan State.
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| after Christ; or, by representing the
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| | The next most important aspect of Indian
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| divinity in symbolic form (whether
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| | culture is Indian Music. It is an
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| architectural or figural), its purpose
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| | element that forms an integral part of
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| may be to induce contemplation and
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| | their religion in addition to the
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| thereby put the worshipper in
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| | culture. Dance in fact is an expression
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| communication with the divine. Not all
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| | of that music and that too has religious
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| Indian art, however, is purely religious,
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| | importance in Hinduism. However one other
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| and some of it is only nominally so.
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| | important issue to consider is that the
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| There were periods when humanistic
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| | art and the architecture of the land were
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| currents flowed strongly under the guise
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| | greatly influenced by religious beliefs
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| of edificatory or contemplative imagery,
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| | and customs, as has been seen especially
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| the art inspired by and delighting in the
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| | by the Buddhist and Islamic religions.
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| life of this world.
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| | The same is true for the music. That too
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| Although Indian art is religious, there
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| | was greatly influenced by religion. In
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| is no such thing as a sectarian Hindu or
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| | fact the first forms of music were
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| Buddhist art, for style is a function of
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| | religious hymns and ballads called
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| time and place and not of religion. Thus
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| | bhajans. They were songs sets to musical
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| it is not strictly correct to speak of
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| | instruments such as the sitar and table
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| Hindu or Buddhist art, but, rather, of
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| | and they were stories about religion and
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| Indian art that happens to render Hindu
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| | mythology.
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| or Buddhist themes. For example, an image
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| | Just as there is no such language as
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| of Vishnu and an image of Buddha of the
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| | Indian, but instead many hundreds of
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| same period are stylistically the same,
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| | languages, with over a dozen considered
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| religion having little to do with the
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| | major, so there is no single entity as
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| mode of artistic expression. Nor should
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| | Indian music. The range of musical styles
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| this be surprising in view of the fact
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| | and traditions in the subcontinent of
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| that the artists belonged to
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| | South Asia, which comprises modern India,
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| nondenominational guilds, ready to lend
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| | Pakistan, Bangladesh, Nepal, and Sri
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| their services to any patron, whether
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| | Lanka, is in proportion to the vastness
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| Hindu, Buddhist, or Jaina.
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| | of the geographical area and the density
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| The religious nature of Indian art
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| | of population. This is most obviously the
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| accounts to some extent for its
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| | case with folk and tribal music. Given
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| essentially symbolic and abstract nature.
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| | that India is predominantly rural, it
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| It scrupulously avoids illusionistic
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| | could be claimed that such categories of
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| effects, evoked by imitation of the
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| | music are those of the majority. On the
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| physical and ephemeral world of the
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| | other hand, the rapid development of
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| senses; instead, objects are made in
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| | communications and wider access to the
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| imitation of ideal, divine prototypes,
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| | mass media have helped to create what is
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| whose source is the inner world of the
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| | almost, despite the language differences,
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| mind. This attitude may account for the
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| | a pan-Indian popular music, recorded and
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| relative absence of portraiture and for
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| | disseminated electronically. This
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| the fact that, even when it is attempted,
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| | emanates from the Indian film industry,
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| the emphasis is on the ideal person
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| | the largest in the world, of which the
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| behind the human lineaments rather than
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| | products tend to adhere to formulaic
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| on the physical likeness.
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| | devices, including many songs and dances.
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| To be properly understood, the art of
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| | What is usually understood by the term
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| India must be placed in the ideological,
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| | Indian music refers to the classical
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| aesthetic, and religious framework of
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| | tradition, based on the melodic system of
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| Indian civilization. This framework was
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| | raga and the rhythmic system of tala.
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| formed as early as the 1st century BC and
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| | This music is traced back thousands of
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| has shown a remarkable continuity through
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| | years to the vedic chants of the early
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| the ages. The Hindu-Buddhist-Jain view of
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| | Hindu settlers, though it has reached its
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| the world is largely concerned with the
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| | present form in the last four or five
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| resolution of the central paradox of all
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| | hundred years. Its development over
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| existence, which is that change and
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| | almost the last two thousand years has
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| perfection, time and eternity, immanence
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| | been documented in a series of
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| and transcendence, operate dichotomously
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| | theoretical treatises, mostly written in
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| and integrally as parts of a single
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| | Sanskrit, which enhance its status,
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| process. In such a situation creation
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| | whether they elucidate or obscure its
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| cannot be separated from the creator, and
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| | actual practices. The word commonly found
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| time can be comprehended only as
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| | in Sanskrit for music is sangit, which
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| eternity. This conceptual view, when
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| | denotes the primacy of vocal music, with
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| expressed in art, divides the universe of
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| | instrumental music largely derived from
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| aesthetic experience into three distinct,
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| | it, and dance as a further integral
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| although interrelated, elements-the
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| | element. Although it is not expected that
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| senses, the emotions, and the spirit.
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| | musicians will be dancers, it is still
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| These elements dictate the norms for
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| | vital that dancers be musicians. Muslim
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| architecture as an instrument of
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| | invasions and the establishment of the
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| enclosing and transforming space and for
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| | Delhi Sultanate in the 13th century and
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| sculpture in its volume, plasticity,
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| | the Mughal Empire in the 16th century in
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| modeling, composition, and aesthetic
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| | the northern part of the subcontinent
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| values. Instead of depicting the
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| | greatly contributed to a bifurcation of
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| dichotomy between the flesh and the
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| | classical music by the 16th century into
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| spirit, Indian art, through a deliberate
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| | a northern tradition of Hindustani music,
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| sensuousness and voluptuousness, uses one
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| | and a southern tradition of Carnatic
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| with the other through a complex
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| | music, and a gradual shift in both from
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| symbolism that, for example, attempts to
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| | religious application to a courtly
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| transform the fleshiness of a feminine
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| | entertainment. Both retain their basis in
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| form into a perennial mystery of sex and
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| | raga and tala and share many other
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| creativity, wherein the momentary spouse
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| | general features, though they are
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| stands revealed as the eternal mother.
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| | sufficiently different in detail to
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| The Indian artist deftly uses certain
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| | necessitate separate training. Since
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| primeval motifs, such as the feminine
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| | independence from British rule in 1947
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| figure, the tree, water, the lion, and
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| | and the demise of the princely courts,
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| the elephant. In a given composition,
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| | Indian music has moved to the concert
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| although the result is sometimes
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| | hall, the recording studio, and the world
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| conceptually unsettling, the qualities of
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| | stage.
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| sensuous vitality, earthiness, muscular
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| | Hindustani Music is the classical
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| energy, and rhythmic movement remain
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| | tradition of the northern part of the
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| unmistakable.
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| | Indian subcontinent, including Pakistan,
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| The form of the Hindu temple; the
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| | Bangladesh and, to some extent,
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| contours of the bodies of the Hindu gods
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| | Afghanistan. It also corresponds to the
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| and goddesses; and the light, shade,
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| | area of Indo-Aryan languages and the
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| composition, and volume in Indian
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| | greatest concentrations of Muslims within
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| painting are all used to glorify the
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| | a predominantly Hindu region. Many of its
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| mystery that resolves the conflict
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| | characteristics are traced back to the
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| between life and death, time and
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| | court poet and musician, Amir Khusrou, at
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| eternity.
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| | the end of the 13th century. From his
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| The arts of India expressed in
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| | accounts, and from treatises by other
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| architecture, sculpture, painting,
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| | authors, it is clear that the Indian
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| jewelers, pottery, metalwork, and
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| | music of that time was already highly
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| textiles, were spread throughout the Far
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| | sophisticated, and he is said to have
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| East with the diffusion of Buddhism and
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| | introduced several Arabic and Persian
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| Hinduism and exercised a strong influence
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| | elements. This process continued under
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| on the arts of China, Japan, Myanmar
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| | subsequent rulers, especially the Mughal
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| (formerly Burma), Thailand, Cambodia, and
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| | Emperor Akbar in the late 16th century,
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| Java. These two religions with their
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| | whose court boasted the legendary singer,
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| various offshoots were dominant in India
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| | Tansen, and the later Mughals and
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| until Islam became powerful from the 13th
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| | regional rulers in the 18th and 19th
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| to the 18th century. With Islam, which
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| | centuries.
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| forbids the representation of the human
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| | Under their patronage music became a
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| figure in religious contexts, geometrical
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| | matter of prestige, and there was intense
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| patterns became the most common form of
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| | rivalry between courts and between the
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| decoration in art and architecture
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| | musicians themselves. Repertoires were
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| created under India's Muslim rulers,
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| | often jealously guarded, and much of the
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| especially the Mughals.
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| | teaching was kept strictly within the
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| The earliest surviving Indian
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| | family. This helps to explain the rise of
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| architecture consists of brick buildings.
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| | gharanas, traditions associated with
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| While early wooden structures have
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| | different families, usually of Muslim
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| generally not survived, later stone
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| | court musicians and named after the city
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| buildings, built in a similar style, are
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| | in which they were employed. Although
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| known. The oldest traces of architecture
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| | gharanas are still talked about as a
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| in India are the vestiges of buildings of
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| | means of indicating a musical pedigree,
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| burnt brick found at Mohenjo-Daro and
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| | they have been dying out since the demise
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| Harappa (now in Pakistan), dating from
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| | of the courts and the advent of
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| about 2500-1750 BC. The subsequent Vedic
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| | recordings and rapid communication, and
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| period, which precedes the beginning of
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| | also because of the greater mobility and
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| historical styles, is represented by
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| | independence of the musicians.
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| burial mounds at Lauriya Nandangarh, in
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| | When the great theorist, Bhatkhande,
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| Bihâr State, and rock-cut tombs in
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| | collected music from court musicians in
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| Malabar, Kerala State.
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| | the early years of the 20th century, he
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| The establishment of historical styles
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| | found not only a huge range of
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| began about 250 BC in the time of the
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| | compositions but also of performing
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| Indian king Ashoka, who gave imperial
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| | styles. As part of his effort to classify
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| patronage to Buddhism. Accordingly, the
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| | Hindustani music and reconcile theory
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| monuments of this time were built for
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| | with practice, he grouped the thousands
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| Buddhist purposes. A characteristic
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| | of melodic types, ragas, under ten
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| Buddhist construction was the tope, or
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| | scales, or thats. Only a fraction of the
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| stupa, a hemispherical or bell-shaped
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| | ragas in existence are in common use. The
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| masonry monument, typically surrounded by
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| | priority in Hindustani music is the
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| a railing, and with four entrances marked
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| | maximum development of the minimum
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| by gateways, and designed as a shrine or
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| | material, so a musician needs to know a
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| reliquary. Buddhism waned after the 5th
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| | few ragas in depth, rather than a large
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| century as Hinduism and Jainism became
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| | number superficially.
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| dominant. The Jain and Hindu styles
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| | However the most important relation of
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| overlapped and produced the elaborate
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| | Indian music to art is through the raga.
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| allover patterns carved in bands that
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| | Raga is the melodic basis of Indian
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| became the distinguishing feature of
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| | classical music. Each raga has infinite
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| Indian architecture. The Jains often
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| | possibilities of variation, and a skilful
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| built on a gigantic scale, a marked
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| | performer can extend improvised and
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| feature of their architecture being
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| | composed material from a few minutes to
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| pointed domes constructed of level
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| | well over an hour. The origin of the
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| courses of corbelled stones.
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| | word, from a Sanskrit root meaning color,
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| The Hindu style is closely related to the
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| | suggests that a raga is more than a
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| Jain style. It is divided into three
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| | musical idea. Its correct rendition must
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| general categories: northern, from AD 600
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| | instill a certain mood in its listeners,
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| to the present; central, from 1000 to
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| | creating aesthetic delight (rasa), and
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| 1300; and southern, or Dravidian, from
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| | ragas have been associated with paintings
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| 1350 to 1750. In all three periods the
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| | and poetic aphorisms in the thousand or
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| style is marked by great ornateness and
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| | so years of their existence. Therefore
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| the use of pyramidal roofs. Spire-like
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| | the visual arts through the paintings and
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| domes terminate in delicate finials.
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| | their rendition into architecture have
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| Other features include the elaborate,
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| | influenced music through the development
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| grand-scale gopuras, or gates, and the
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| | of the ragas. There are many and they in
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| choultries, or ceremonial halls. The next
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| | turn form the basis for all kinds of
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| style that remained dominant was that of
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| | musical interpretations.
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| the Islamic era. Islamic architecture in
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| | In the North Indian tradition of
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| India dates from the 13th century to the
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| | Hindustani music, ragas are also assigned
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| present. Brought to India by the first
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| | to particular times of the day or night,
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| Muslim conquerors, Islamic architecture
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| | and, in many cases, also to seasons of
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| soon lost its original purity and
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| | the year. Each raga must be
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| borrowed such elements from Indian
| |
| | distinguishable from all others, whether
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| architecture as courtyards surrounded by
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| | in the Hindustani or the southern
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| colonnades, balconies supported by
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| | tradition of Carnatic music.
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| brackets, and above all, decoration.
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| | The development of the raga will normally
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| Islam, on the other hand, introduced to
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| | continue with one or more compositions,
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| India the dome, the true arch, geometric
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| | set in particular talas, or time cycles.
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| motifs, mosaics, and minarets. Despite
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| | In vocal music, which is always
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| fundamental conceptual differences,
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| | pre-eminent in Indian music, the main
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| Indian and Islamic architecture achieved
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| | Hindustani song forms are the khyal and
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| a harmonious fusion, especially in
| |
| | dhrupad, and there are several shorter
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| certain regional styles.
| |
| | forms, usually of a lighter nature, such
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| Indo-Islamic style is usually divided
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| | as thumri, and tarana.Khyal, as its name
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| into three phases: the Pashtun, the
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| | suggests, has strong Muslim influences,
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| Provincial, and the Mughal. Examples of
| |
| | while dhrupad, a term from Sanskrit, is
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| the earlier Pashtun style in stone are at
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| | older and regarded as essentially Hindu,
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| Ahmadabad in Gujarat State, and in brick
| |
| | although it developed to its present form
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| at Gaur-Pandua in West Bengal State.
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| | in the Mughal courts.
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| These structures are closely allied to
| |
| | Conclusively it can be said that the
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| Hindu models, but are simpler and lack
| |
| | development of music descended for art,
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| sculptures of human figures. The dome,
| |
| | in the sense that the basis of Indian
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| the arch, and the minaret are constant
| |
| | music the ragas, were musical expressions
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| features of the style. The Provincial
| |
| | of the existing art, and architectural
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| style reflected the continued rebellion
| |
| | depictions of the periods and styles that
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| of the provinces against the imperial
| |
| | they were developed in. In addition it
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| style of Delhi. The best example of this
| |
| | can also be determined that Indian music
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| phase is in Gujarat, where for almost two
| |
| | is the soul of the Indian culture whose
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| centuries until 1572, when Emperor Akbar
| |
| | body is the art of the subcontinent.
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| finally conquered the region, the
| |
| |
|
