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