Art & Culture Compilation Notes - PDF ONLY

1
Compilation of
Daily Class Notes
Art and Culture

1
INDEX
1. Introduction .............................................................................................................................. (3 to 5)
2. Architecture in India (Part - 01) ........................................................................................... (6 to 10)
3. Architecture in India (Part-02) ........................................................................................... (11 to 15)
4. Architecture in India (Part-03) ................................................................................. ……. (16 to 20)
7. Architecture in India (Part-06) ................................................................................. ……. (33 to 42)
8. Architecture in India (Part-07) .......................................................................................... (43 to 49)
9. Architecture in India (Part-08) ................................................................................ ……. (50 to 55)

10. Sculpture in India ................................................................................................................ (56 to 62)
11. Sculpture in India (Part-2) ........................................................................................ ……. (63 to 67)
12. Sculpture in India (Part-3) .................................................................................................. (68 to 73)
13. Paintings in India (Part - 1)....................................................................................... ……. (74 to 79)
14. Paintings in India (Part - 2)................................................................................................. (80 to 86)
15. Paintings in India (Part - 3)....................................................................................... ……. (87 to 93)
16. Indian Music ......................................................................................................................... (94 to 98)
17. Indian Music and Dance.......................................................................................... ……. (99 to 103)
18. Indian Dance, Martial Arts and Drama ........................................................................ (104 to 113)
19. Indian Theatre, Puppetry, Sufism ........................................................................ ……. (114 to 123)
20. Bhakti Movement ............................................................................................................. (124 to 127)
1
DAILY
CLASS NOTES
Art and Culture
Lecture – 01
Introduction
2
Introduction
Art and Culture Syllabus for UPSC Civil Service Examination is Divided into Two Parts:
1. Static
2. Dynamic
Static Part Includes:
1. Visual Art
2. Performing Art
3. Language and Literature in India
4. Miscellaneous Topics
Visual Art Includes:
❖ Architectures in India
❖ Sculptures
❖ Paintings
Performing Art Includes:
❖ Music in India
❖ Dance in India
❖ Indian theater
❖ Puppetry
❖ Indian cinema
❖ Martial arts
Language and Literature in India includes:
❖ Sanskrit literature
❖ Buddhist literature
❖ Jain literature
❖ Sangam literature
Miscellaneous topics include
❖ Religion
❖ Philosophy
❖ Crafts
❖ Science and tech based questions
Indian Architecture includes:
❖ Ancient Architecture
❖ Medieval Architecture
❖ Modern Architecture
3
Ancient Architecture:
❖ Earliest evidence of Indian architecture was found in Harappan period.
❖ Then, there was a gap up to the Mauryan period and in this period evidence of many architectures have
been found. These include Royal palaces, pillars, Stupas, caves etc.
❖ Post Mauryan architecture includes Stupa, cave, Chaitya, vihara etc.
❖ The Gupta period saw evidence of temple architecture. These temple architecture includes Nagara,
Dravida and Vesara temple of architecture.
❖ Nagara style of temple architecture is generally found in North India, Dravidian style of temple architecture
is generally found in South India and Vesara style of temple architecture have been found in Karnataka and
Maharashtra.
Medieval Architecture:
❖ Medieval architecture includes Indo-Islamic architecture which includes Indo-Islamic architecture during
Delhi sultanate, Indo-Islamic architecture of regional schools and Indo-Islamic architecture during Mughal
period.
❖ Indo-Islamic architecture reached its zenith during the Mughal period and especially during Shahjahan
period hence Shahjahan period in Indian history is known as the golden period of Indian architecture.
Monuments like the Taj Mahal were built during the Shahjahan period.
Modern Architecture:
❖ The Indo-Saracenic style of architecture emerged when the initial European impacts began to shape Indian
architectural trends.
❖ Indo-Saracenic architecture had the influence of Mughals, Rajputs and Europeans and many buildings were
built in Madras, Calcutta and Delhi under this architecture.
   
1
DAILY
CLASS NOTES
Art and Culture
Lecture – 02
Architecture in India
(Part - 01)
2
Architecture in India (Part - 01)

Ancient Indian Architecture:
Architecture during the Harappan Period:
General Features:
❖ They represent the earliest remains of Indian architecture.
❖ The architecture of Indus Valley Civilisation is known for well-planned cities.
❖ They used a grid pattern of planning. Main roads and smaller lanes intersecting at right angles are called a
grid pattern.
❖ Cities were divided into two sections namely citadel and lower town.
❖ For construction, the Harappans used standardized dimensions of burnt mud bricks.
❖ Some of the houses have stairs, indicating that they were possibly double-storied.
❖ They used different types of buildings:
➢ Public buildings: Assembly halls, granaries
➢ Public bath: Great bath
➢ Residential building: It was there in the citadel and lower town.
❖ Harappan town is also known for its fortification.
❖ Well developed drainage system was found here.
Analysis of Harappan Architecture:

❖ Buildings were known for dull plainness. There was no art and decoration in the building.
❖ Buildings of the Harappan period were constructed for utility purposes only. They were not built for
aesthetic purposes.
3
❖ It emphasized personal and public hygiene.

❖ It provided inputs to present-day urbanization.
Important Points:
❖ Grid pattern planning gives an assemblage of highly planned cities that India tries to incorporate in new
urban centers like Chandigarh and Raipur.
❖ No building was allowed to be constructed arbitrarily and encroaching upon a public highway.
❖ Well-established drainage systems can very well be attributed to the drainage system of Indus Valley
Civilisation.
❖ Segregation of city areas of modern times looks highly motivated from Indus Valley Civilization. It was
divided into residential areas and public places.
❖ The water conservation strategy of Harappan period gives high input to present urbanization. Dholavira is
the best example of this technique.
In this manner, IVC had a great impact on the urban planning and culture of India.
Mauryan Architecture:
Features:
❖ It was the beginning of imperial architecture.
❖ It was the beginning of stone tradition.
❖ It was the beginning of court art but popular art also survived.
❖ It symbolized the political ideology of rulers.
❖ It was influenced by Buddhism. So, there was the development of Buddhist architecture.
❖ It was also characterized by foreign influence.
❖ It is also considered as monumental architecture.
Examples of Mauryan Architecture:
❖ Royal palace
❖ Pillars
❖ Stupas
❖ Rock cut caves
4
Royal palace:
❖ We are getting the evidence of the royal palace from Kumrahar containing 80 pillared hall. Probably
Ashoka’s palace was there. Spooner worked on the royal palace. It was compared with the building of
Persepolis in Iran.
❖ We also have some excavations going on in Bulandi Bagh and Bahadurpur.
❖ We have literary evidence of the royal palace in the account of Megasthenes, who was a Greek ambassador.
Arrien and Fa-hien also gave evidence of the Royal palace. Fa-hien suggested they were made by god.
❖ Even Arthashatra talks about some royal palaces.
Mauryan Pillars:
❖ It is the best example of Mauryan architecture.
❖ This pillar comprises the crowning animal, Abacus (Flat slab), Inverted Lotus, Shaft (Bare).
❖ An inverted Lotus is sometimes called capital and crowning animal is called capital animal.
5
Some of the Features of Mauryan Pillar:

❖ We have evidence of more than 40 pillars in India.
❖ The height of the pillar is 40 to 50 feet and the weight of the pillar is around 50 tons.
❖ Mauryan pillars are made of Chunar sandstone.
❖ They are highly polished pillars.
❖ They were different from Persian pillars (Achemenian pillars).
➢ Achaemenid pillars were some part of some buildings but Mauryan pillars are free-standing pillars.
➢ Mauryan pillars are monolithic but Persian pillars are joint pillars.
➢ The Mauryan pillar's surface is smooth but the Persian pillar's surface is ridged.
➢ Mauryan pillars have pictures of only animals but not humans but Persian pillars have humans in their
structure.
➢ Mauryan pillars are tapering but Persian pillars have the same width.
   
1
DAILY
CLASS NOTES
Art and Culture
Lecture - 03
Architecture in India (Part-02)
2

Examples of Mauryan Pillars:
❖ Lauria Nandangarh Pillar: It is present in Champaran, Bihar. It has a lion as its capital.
❖ Rampurva Pillar: It has a bull as the capital.
❖ Vaishali Pillar (Bihar): It has a lion as the capital.
❖ Sanakirja Pillar: It has an elephant capital. It is present in Uttar Pradesh.
❖ Sarnath Pillar: It has 4 lions sitting in four directions. It is also considered as the national emblem of India.
It is present in Varanasi.
Sarnath Pillar:
❖ In the original, there are four lions, standing back to back, mounted on an abacus with a frieze carrying
sculptures in high relief of an elephant, a galloping horse, a bull and a lion separated by intervening wheels
over a bell shaped lotus.
❖ There are four wheels with 24 spokes on the abacus.
❖ In the state emblem, adopted by the government of India on 26th January 1950, only three lions are visible,
the fourth being hidden from view.
❖ The wheel appears in relief in the center of the abacus with a bull on right and a horse on left and the outlines
of other wheels on extreme right and left.
Significance of Lion:
❖ Lion is considered as the king of animals and in Hindu mythology the lion is considered as the vehicle of
Durga and it symbolises her fears.
❖ Lion is also associated with Vishnu Narasimha.
❖ And even in Buddhist mythology, Buddha is called Sakya Sihma.
❖ And in Jain mythology, the lion is the symbol of Mahavira.
❖ In art and Architecture the lion is used for power, courage and confidence. Lion is a prominent feature in
Ashok’s pillar. The Sun temple in Konark also represents lions.
3
Significance of Bull:
❖ In hindu mythology, bulls are related as the vehicle of Shiva (Nandi).
❖ In Jaina mythology, it is used as the symbol of the first Tirthankar Rishab dev.
❖ In Buddhist mythology, it is related to the birth of Buddha.
❖ In art and architecture bull, is used as the symbol of strength and fertility.
❖ In Rampurva, the Ashokan pillar has a bull as its capital.
❖ In IVC, it is used in seals, and terracotta figures.
Mauryan Stupas:
❖ Stupa is a sanskrit word meaning mound and vedic literature talked about one stupa called Hiranya stupa.
❖ In Pali, for stupa the word Thupa or Thuba is used.
❖ In Buddhism the word stupa is associated with the death of Buddha and it stood for Axis mundi (Center of
universe).
❖ At the time of the death of Buddha, Annad asked him to preserve his body and after his death remains of
Buddha’s body were divided.
❖ And it is said that in these 9 places stupas are found.
➢ Rajgriha
➢ Vaishali
➢ Kapilvastu
➢ Allakappa
➢ Ramagrama
➢ Vetha Dwipa
➢ Pava
➢ Kushinagar
➢ Pippalivana
❖ According to Mahaparinirvana Sutt at 8 places stupas were created.
❖ Original stupas were predicted to be found in these 9 places but they were actually not found here because
either they were destroyed or lost their shape.
❖ Ashoka constructed 84000 stupas according to buddhist literature throughout his dominion and according to
Buddhist tradition we have many categories of stupas:
➢ Sarir stupa or Dhatu stupa: Here, body parts and mortal bones are found
➢ Paparibhojika stupa: Here objects used by Buddha are found.
➢ Nirdeshika stupa: Events associated with Buddha are found here.
➢ Votive Stupa or Sankalpit stupa: These are miniature stupas. These are only symbolic in nature.
Parts of Stupa:
❖ It consists of Chhatra, Yashti, Harmika, Dome-like structure called Anda, Gateway is called Torana and
Pradakshina path, and the railing called Vedika.
❖ Chhatra is an umbrella-like structure, 3 chatras represent Buddha, Dharma and Sangha.
4
❖ Yashti is a wooden rod.

❖ Pradakshina Path is situated in Medhi.
❖ Medhi is a circular tower.
Examples of Stupa of Mauryan period:

❖ Piprahwa (Uttar Pradesh): It is the Oldest surviving stupa.
❖ Sanchi Stupa: It is also called as Kakanava stupa. It is present in Raisen district in Madhya Pradesh.
❖ Bharhut Stupa: It is present in Madhya Pradesh.
❖ Taxila Stupa: This stupa was constructed by Ashoka on the relics of Buddha in Taxila.
❖ Now findings in Madhya Pradesh in Rewa district have invented the Deur Kothar stupa.
Cave Architecture:
❖ The Mauryan Cave Architecture is known for the beginning of rock cut architecture.
❖ The caves of the Mauryan period were distinguished by a highly polished finish on the interior walls and
decorative gates.
❖ Example: Mauryan emperor Ashoka built the seven caves (Satgarva) in the Makhdumpur region of Jehanabad
district, Bihar, for the Ajivika Sect.
❖ This period's cave architecture is highly polished.
❖ This architecture is known for decorative gates.
❖ Barabar caves and Nagarjuni caves in Gaya are an example for it. These are found in Jehanabad district.
These caves were constructed for Ajivikas.
➢ Lomar Rishi is the best cave known for elaborate decoration in the gate. It is like a wooden hut.
Barabar Caves Karna Chaupar, Sudama Cave, Lamarshi (Lomas Rishi) Cave, Vishwamitra
(Vishva Zopri) Cave.
5
(Four Caves)
Nagaragunja Caves (Three Gopi Cave, Bahayak Cave, and Vedantika Cave were formed in Bihar during
Caves) the time of Dasharath, grandson of Ashoka.
   
1
DAILY
CLASS NOTES
Art and Culture
Lecture - 04
2

Post-Mauryan Trends in Architecture: (200 BCE-300 BCE)
Stupa:
 In this period, Stupa construction continued.
 Stupa now became enlarged and now it is called Mahastupa.
 It was more decorative.
 Now, jataka stories are depicted on stupas.
 During this period, Sanchi stupa became more decorated and elaborated. And now there was an upper and
lower Pradakshina path. It now had four beautifully decorated toranas.
 The Torans were elaborately carved with figures and patterns, indicating Hellenistic influence.
 Many stupas were also present in Andhra as well mainly in Guntur areas called Amaravati and
Nagarjunakonda and Bhattiprolu stupas.
 Amaravati stupa is also called as Dhanyakataka stupa.
 In Vishakhapatnam area, Thotlakonda stupa is also present. Andhra pillars are called Ayaka pillars found
in Anga stupa.
 Ayaka pillars were found in four directions. They were set of five pillars and they symbolize five events.
These five events were birth, renunciation, enlightenment, first sermon and parinirvana.
 Now, stone was also used.
Cave Architecture:
 In this architecture, Chaityas and Viharas were found. Chaityas are prayer halls and Viharas are known for
residential purposes.
 In Chaityas, stupa and nave were present. Nave is a place where monks gather.
 Semicircular end of the cave is known as apse.
 Aisle was a prayer path in Chaityas.
 We have many examples of this cave in the post Mauryan period and most of them are in Maharashtra.
 Examples of Cave:
 Bhaja
 Pitalkhora
 Karle
 Kanheri
 Bedsa in Pune
 Nasik
 Ajanta caves consisting of 29 caves
 Some Jaina caves include Udayagiri and Khandagiri. They were constructed by king Kharvela.
3
Pillars of Post Mauryan Period:

 Construction of the pillar continued but it was declining.
 Heliodorus pillars are present in Vidisha in Madhya Pradesh. Heliodorus was a Greek ambassador and he
visited the court of the Shunga ruler.
 This pillar is associated with god Vasudeva and locally it was called as Kamba Baba.
Temple like Structure:

 Some temple-like structures were found in the post Mauryan period.
 These structures were found from Vidisha Madhya Pradesh.
 Examples: Chittorgarh in Rajasthan, Atranjikhera in Uttar Pradesh, Sonkh near Mathura, Gudimallam in
Andhra Pradesh in Chittoor district, Nagarjunakonda.
Architecture of the Gupta Period:

 This period is known as the golden period of Indian Architecture.
 In the Gupta period, stupa architecture also continued but there was decline.
 The most popular stupa of Gupta period was the Dhamekha stupa in Sarnath. It is made up of some stones
and some bricks.
 In the Gupta period, pillars also continued but it also declined.
 The important feature of this period is the origin of temples.
 In this period, even the cave architecture continued and in cave architecture the focus was on sculptures
making and painting (mural painting).
 The caves are present in Ajanta on the bank of Waghora river, Bagh caves, Nasik caves called Pandavleni,
34 caves in Ellora, Mandapeshwar cave in Mumbai, Udagiri caves in Vidisha in Madhya Pradesh and Junagad
caves.
Temple Architecture:
 The development of temples is believed to have occurred through five distinct stages.
 It gave rise to a new school of architecture called Northern architecture which is popularly called as Nagara
School of Architecture.
States of Temple Architecture:

 Stage I: It was a flat-roof square temple and there was a low platform.
 Example: Temple number 17 at Sanchi.
4
 Stage II: In the second stage, we see a storey temple and now in this stage the flat form was also highlighted
and this phase now there was some Pradakshina path also.
 Example: An Example of this stage is Parvati temple of Nachna Kuthara. It is known for
Chaturmukha Linga. It is present in Madhya Pradesh.
 Stage III: It is known for the emergence of Shikhara. In this stage, mandapa was also added and some
subsidiary shrines were also added. In this stage we will also see the rise of the panchayatana style of temple.
 Example: Dashavatara temple at Deogarh
 Stage IV: It is similar to the third stage. The only thing added was that the main shrine became rectangular.
 Example: Trivikram temple in Maharashtra dedicated to Vishnu. This temple is considered as the
earliest structural temple of Maharashtra.
 Stage V: Fifth stage was last, which was a declining stage; it had a circular base.
 Example: Maniyar Math temple
5
Features of Nagara School of Architecture:

 Temple is visualized as Vastu Purusha.
 It consists of Jagathi at the bottom above this Pitha is situated, on this Adhisthan, on this Janga is situated,
above this shikara is situated and on this Amalak is situated and kalasa is situated on the top.

1
DAILY
CLASS NOTES
Art and Culture
Lecture – 05
2
Features of Nagara School of Architecture:

❖ It has Vastu purusha.
❖ It has garbhagriha which is called Sanctum Sanctorum.
❖ It features Antarala. It connects mandapa with garbhagriha.
❖ It features Pradakshina path. Temple which does not possess the Pradakshina path is called Nirandhar.
❖ It possesses a mandapa which is a prayer hall.

❖ Outside the garbhagriha there would be images of goddesses of Ganga and Yamuna.
❖ Temple is generally on a high platform.
❖ Generally, there were no elaborate boundary walls or gateways on the premises of the temple.
❖ Generally, they follow Panchayatan style.
❖ There would be a presence of shikhara which is a curvilinear tower. These Curvilinear tower are of three
types:
➢ Latina type or Rekha type: This is the most basic and widely used kind of shikhara. Its walls curve or
slope inward to a point at the top, and its base is square.
3
➢ Phamsana type: Compared to the Latina type, they are shorter and wider. Shikhara of North Indian
Temples in the Phamsana style.
➢ Vallabhi type: Compared to the Latina type, they are shorter and wider. Shikhara of North Indian
Temples in the Phamsana style.
Types of Nagara School of Architecture:

Regional Variation in Odisha School of Architecture (Kalinga Architecture):
❖ The outer walls were lavishly decorated but interior walls were plain.
❖ The shikhara of this school architecture is duel. Three types of duel were:
4
➢ Rekha duel: It was a straight duel.

➢ Pidha duel: It had a pyramid shape.
➢ Khakra duel: It was in a rectangular structure.
❖ Mandap of this architecture is called Jagmohan.
❖ Generally, there was no use of pillars in the porch and the ground plan was always square.
Examples of this School of Architecture:

❖ Jaganath Temple Puri: It was called as white pagoda by Europeans. It was constructed by Anantavarman
Chodaganga in the 12th century.
❖ Sun temple Konark: It was called as black pagoda. It was constructed in the 13th century by Narasimha
Dev. The temple is in the shape of a chariot and this temple is known for carved wheels and galloping horses.
5
❖ Lingaraj temple in Bhubaneswar: It was built in red sandstone and constructed by Somavanshi king Yayati
in 11th century.
❖ Bhog mandir and Nat mandir were features of this architecture.

❖ Part of this architecture from bottom to top were Bhada, Gandi and Mastak.
Khajuraho School of Architecture:
❖ It is also called Chandela school of architecture.
❖ This is present in Chattarpur of Madhya Pradesh.
❖ These were completely decorated both internally and externally.
❖ Sculpture used for this architecture was erotic (Kama sutra).
❖ This was inspired by the kamasutra of Vatsyayana.
❖ These were made of sandstone.
❖ They followed the panchayatana style of architecture.
❖ They were also on a high platform.
❖ Jain temples were also present in Khajuraho alongside the Hindu temples.
6
Examples of this Architecture:

❖ Kandariya Mahadeo Temple Kajuravo: This temple follows nagara school of architecture like high
platform, shikhar and mandap. It was built in the 10th century.
❖ Lakshmana Temple: This temple was constructed in 10th century by Yashovarman. It is a hindu temple.
❖ Chaturbhuja Temple: This temple is an epithet of Vishnu Constucted by Yashovarman during the
Chandella rule in 10th century.
❖ Parshwanath Jain Temple: It is a 10th century jain temple in Khajuraho in Madhya Pradesh. It is dedicated
to Parshwanath.
❖ Chausath Yogini Temple: It was a part of Chausath yogini architecture, it had the influence of tantra and
it had a circular mandir consisting of 64 rooms. In tantric cult, divine power is generated by worshiping devi
like Kali, Durga, Tara etc. These types of temples are present in Khajuraho, Morena in Madhya Pradesh,
jharkhand, Odisha etc. It influenced our parliament building.
Westen Indian Architecture or Maru Gurjara Style of Architecture:
❖ This is also called Solanki style of architecture.
❖ These are also present in Gujarat, Rajasthan and they were patronized by Solakki Rajputs.
❖ In these temples, wooden carvings can be seen.
❖ Sandstone, black basalt, and soft marble were just a few of the materials the Solankis used to construct
their temples.
❖ This school is also famous for Surya kund which is a tank beside a temple.
Examples of this Architecture:
❖ Modhera Sun temple: It was built in the 11th century by Bhima I and is present in Gujarat. This temple is
also known for Surya kund.
7
❖ Temples in Rajasthan: Dilwara Jain temple in Mount Abu. Temple of Osian in Jodhpur.
❖ Temples in Bengal: These were made up of bricks and have bangla and sloping roofs. These were
constructed by Pala and Sena rulers. Example of these temples is Siddaswer Mahadev temple in Burdwan
(West Bengal).
Other Important Information:

❖ Brick Temples: The earliest brick temple of India is Bhitargaon temple in Kanpur and this belongs to the
Gupta period. Besides this, brick temples are found in Sirpur in Chhattisgarh, Bhumra in Madhya Pradesh.
❖ Temples in Hills: Temples were also constructed in hills. The most important temple representing hills is
Marthand temple which was constructed by Lalitadith Muktapid in the 8th century.
❖ Famous Sun Temples: The famous sun temples are in Konark, Modhera, Marthand Sun temple in
kashmir, Arasavalli in Andhra Pradesh etc.
   
1
DAILY
CLASS NOTES
Art and Culture
Lecture – 06
(Part - 05)
2

Dravidian Temple Architecture:
Dravida style of temple architecture

Development in Pallava Period:
❖ In Pallava period, temple architecture evolved in 4 stages:
➢ Mahendra Style: This style is known for rock cut temples called Mandapam. Mandapam were called
Shaila mandapam. These were made up of hard rock. These temples were found at many places of
south India called Dalavanur, Tiruchinapalli etc.
➢ Narasihma Style: It is also called Mamalla style. Rock cut temples were decorated with sculpture.
Mahisasur Mardini was used for decorating temples. Durga idol was used on mandapam. Monolithic
Rath was developed in this period in Mahabalipuram. There were 5 monolithic free standing rathas
called Pandava rathas in Mahabalipuram. These Pandava rathas were Dharmaraj Rath (Bigger One),
Draupadi ratha (Smaller one), Arjun ratha, Bhima ratha, Sahadev ratha. Dharmaraj Rath is similar to a
temple and it has open porches. It is very close to temples.
3
➢ Rajasihma Style: This stage is known for the beginning of free standing temples or real structure
temples. Soft rocks were used in this period. Examples of this temple are Shore temple at
Mahabalipuram, Kailasanath temple at Kanchipuram.
➢ Nandi Varman Style: This style is known for small temples hence known as declining temples.
Examples are Vaikuntha Perumal temple at Kanchipuram, Mukteshwar temple in Kanchipuram.
Chola Temples:
❖ They were known as the best dravidian temples.
❖ They were divided into 3 phases:
➢ Early Temples: Vijayalaya chola temple at Narthamalai and Koranganatha temple at Srinivasanallur
are the examples for it.
➢ Mature Temples: Brihadeswar temple at Thanjavur built by Rajaraja Chola is the example for it. It
is known for having the tallest Vimana around 200 feet. It is made up of granite stone. It has Cupola
on its structure which is a dome like structure. Gangaikonda Cholapuram temple is also known as a
mature temple.
4
Brihadeswara Temple in Tanjore

➢ Late Temples: Airatashwera temple at Darasuram near Tanjore is considered as the late chola temple.
Kampahareswarar temple at Thirubhuvanam is also an example for it.
Features of Dravidian Style of Temples:
❖ It features Pyramid shaped tower called Vimana.
❖ It has high boundary walls.
❖ It consists of gateways called Gopuram.
❖ There will be garbhagriha. Outside garbhagriha, images of Dwarapala are present.
❖ It has a connecting chamber called Antarala.
❖ It has different types of mandapas called Ranga mandapa, Abhishek mandapa, Alankara mandapa,
Bhog mandapa and later Kalyan mandapa.
❖ It features a water tank.
❖ It would be a complex temple because there are many smaller temples within this temple.
Madurai Style of Temple (Nayaka style):
❖ Meenakshi temple at Madurai is the best example for this style. It was constructed by Pandyas.
❖ It is known for gopuram.
❖ It is known for its decoration.
❖ It is known for its intricate carving.
❖ It is considered as the last stage of Dravidian architecture.
❖ It also had the influence of Islamic style of architecture.
Meenakshi Temple in Madurai

5
Vesara Style of Temple Architecture:

❖ Generally, Karnataka region temples are called as Vesara style of architecture.
❖ It is called the hybrid school of architecture because it consist of mixture of both Dravida and Nagara
temple characteristics.
❖ These temples are found in Chalukya (Badami or Vatapi) temples, Rashtrakuta temples, Hoysala
temples.
Chalukya Temples:
❖ They are found at Aihole, Badami, Pattadakal.
❖ Aihole consists of more than 70 temples. It is called a temple town.
❖ Some important temples in Aihole are Lad Khan temple, Durga temple, Huchimalligudi temple, Meguti
temple which is a jain temple.
➢ Durga temple has a Buddhist influence.
➢ In Badami, Mukteshwar temple is present.
➢ In Pattadakal, 10 temples are present. Virupaksha temple is an important temple here.
   
1
DAILY
CLASS NOTES
Art and Culture
Lecture - 07
(Part-06)
2

Examples of Kalyani Chalukya Temple:
❖ Doddabasappa Temple, Dambal
❖ Mahadev Temple, Itagi
❖ Trikuteshwara Temple, Gadag
Doddabasappa Temple in Dambal

Rashtrakuta Temples:
Kailashnath Temple in Ellora:
❖ The Kailasa Temple, also known as the Kailashnath Temple or Kailasanatha Temple, is a
significant Hindu temple located in the Ellora Caves complex in Maharashtra, India.
❖ It was built during the 8th century under the rule of the Rashtrakuta dynasty and is considered
one of the most remarkable architectural wonders of India.
❖ It is a monolithic rock-cut temple that was carved out of a single massive rock.
❖ The temple is 276 feet long, 154 feet wide, and 109 feet tall, making it one of the largest monolithic
structures in the world.
❖ It was built by Krishna I.
3
Kailashnath Temple in Ellora:

❖ Rashtrakutas were also known for the Navalinga temple complex. It was constructed during the
period of Amoghavarsha. Navaling temple is present in Kukanur in Karnataka.
Hoysala Architecture:
❖ They constructed temples in Belur and Halebid.
❖ Dwarasamudra was their capital city.
4
❖ Examples of their temples are:

➢ Hoysaleswara Temple, Halebid
➢ Chennakeshava Temple, Belur
Hoysaleswara Temple, Halebid

❖ Features of these Temples:
➢ These temples are constructed on raised platforms.
➢ They contain vimana, figures and the base of these temples is star shaped.
➢ This type of planning is called the Stellate plan.
➢ They were known for decoration and different use of sculptures.
➢ They represent typical Vesara style.
5
Vijayanagar Architecture:
6
❖ Vijayanagar rulers continued temple architecture and they adopted certain Dravidian features
but they also added certain distinctive elements and therefore Vijaynagar architecture represents
Provida style.
❖ It represents a harmonious blend of Hindu and Islam architecture.
Features of the Vijayanagar Architecture:
❖ Their temples were highly decorated and it was a fort-like structure.
❖ They were known for a big gateway called Raigopurum. It means Royal Gopuram. These are
curved colossal towers at the entrance.
❖ Presence of Amman shrines in temples.
❖ This architecture was known for monolithic rock pillars and they were also decorated and curved.
The most popular theme in the pillar was Horse.
❖ The temple pillars had a mythical creature and it was called Yali.
❖ Vijayanagar period architecture is also known for stone chariots.
❖ This period is also known for different kinds of mandapa and the most important feature of this
period was Kalyana mantapa. This was related to divine marriage.
7
Some Secular buildings of Vijayanagar:

❖ Lotus Mahal:
8
➢ It has a Vimana.
➢ It consists of a cupola.
➢ It consists of arches.
❖ Queen’s Bath: Achyuta Raya is thought to have built the Queen's Bath for the female members
of the Vijayanagara royal family.
❖ Elephant Stables: The magnificent Elephant Stable at Hampi served as a sanctuary for the
imperial elephants of the Vijayanagara Empire.
❖ Mahanavami Dibba:
➢ It was a grand platform.
➢ It was constructed by Krishnadevaraya.
➢ It also features a water tank.
Examples of Temples:
❖ Vithalswami Temple: The Vittala Temple or Vitthala Temple in Hampi is an ancient monument
that is well-known for its exceptional architecture and unmatched craftsmanship. It is considered to
be one of the largest and the most famous structures in Hampi.
❖ Hazar Ramaswamy Temple: It is a dominant shrine in Karnataka. It was built in the early 15th
century by King of Vijayanagara, Devaraya II, and was constructed as a simple structure. It
comprised of only a sanctum, pillared hall, and an Ardha mandapa. However, later it was revamped
for an open porch and beautiful pillars.
❖ Virupaksha Temple: It is an ancient temple located in the city of Hampi in the southern Indian
state of Karnataka. The temple is dedicated to Lord Shiva and is considered to be one of the
oldest and most significant temples in India. It was built in the 7th century AD by the Chalukya
dynasty.
Virupaksha Temple, Hampi

9
Examples of Temples Outside India:

❖ They were constructed in temples in South-East Asia, Sri Lanka and Pakistan.
❖ In South-East Asia, Angakorvat temple is present and it also has Preah Vihear temple. These two
are in Cambodia.
❖ Angakorvat temple is the largest temple constructed by Suryavarman II.

❖ Munneswaram temple in Sri Lanka and Katas Raj temple in Pakistan are other examples.
❖ Katas Raj temple is dedicated to Shiva.
Indo -Islamic Architecture:
❖ Use of arch and dome become important. Now, Arcuate style of architecture developed and it
replaced Trabeate style (old) of architecture.
10
❖ Now, there is the use of Minar.

❖ Now, a new cementing agent called Mortar was used.
❖ Now, a new decoration technique was used called Calligraphy and Arabesque.
❖ Now, there was use of Jali Work in building and use of water in building for cooling and
decorative purposes.
❖ Use of colorful stone called the Pietra Dura technique developed.
❖ There was use of the Char Bagh style of architecture.
Indo-Islamic Architecture can be Divided into three Parts:
1. Imperial School
2. Regional School
3. Mughal School
Imperial School of Architecture:
❖ It was developed under the Delhi Sultanate during called Slave, Khilji, Tughlaq and Lodhi
Dynasties.

PW Web/App: https://smart.link/7wwosivoicgd4
1
DAILY
CLASS NOTES
Art and Culture
Lecture – 08
2
Indo-Islamic Architecture:
 The use of arches and domes became important. Now, the Arcuate style of architecture developed and it
replaced the Trabeate style (old) of architecture.
 Now, there is the use of Minar.

 Now, a new cementing agent called Mortar was used.
 Now, a new decoration technique was used called Calligraphy and Arabesque.
 Now, there was use of Jali Work in building and use of water in building for cooling and decorative
purposes.
3
 Use of colorful stone called the Pietra Dura technique developed.
 There was use of the Char Bagh style of architecture.
 Foreshortening (appear to be closer than they really are) was the most important feature of this architecture.
 Importance of water: Water was extensively used in the buildings of this architecture.
Indo-Islamic Architecture can be Divided into three Parts:
 Imperial School
 Regional School
 Mughal School
Imperial School of Architecture:
4
 It was developed under the Delhi Sultanate called Slave, Khilji, Tughlaq and Lodhi Dynasties.
Phase I (Slave/ Mamluk period):
 This phase was the initial phase and the existing structures were remodeled.
 Each ruler added some of his own flavors, but the overall stylization remained the same.
 Quwwat-ul-Islam mosque in Delhi: It was not an original Islamic building, it was actually a Jain temple.
 Adhai-din-Ka-Jhopda: It is present in Ajmer.
 Qutub Minar: It is in Delhi.
Purpose of this Building was:

 It was a victory tower.
 It was meant for Ajan.
 It was constructed in the memory of Sufi saint called Bakhtiyar Kaki.
 It was started by Qutubdin Aibak (ground floor) and the next 3 floors by Iltutmish and 5th floor by
Firoz Shah Tughlaq.
 Largely it is built of red sandstone.
 Marble was used in the 5th storey of Qutub Minar.
 Tower of this architecture is tapering.
 Balconies were also decorated very well.
 Tomb of Sultan Ghari:

 Sultan Ghari was the son of Iltutmish.
 It is also present in Delhi.
 Atarkin Darwaza:
 It is present in Jodhpur, Rajasthan.
 It was constructed by Iltutmish.
 Hauz-e-Shamsi:
 It is present in Bardayan in Uttar Pradesh.
 It was constructed by Iltutmish.
 Balban's Tomb:
5
 It is present in Delhi.
 For the first time True Arch was used in this Tomb.
Phase II: Khilji dynasty (Seljuk architecture).

 In this dynasty, there was also some outside influence.
 Use of arch and dome started here.
 This period is known for its use of red sandstone.
 Pointed horseshoe arch was also constructed here.
Some Important Constructions during this Period were:
 Alai Darwaza:
 It was constructed by Ala-ud-din Khilji.
 For the first time here, red sandstone and a true arch and dome was found.
 A pure Islamic mosque called Jamat Khana mosque was constructed during this period.
 Water tank called Hauz-i-Alai was built here which later turned into Hauz-e-Khas.
Alai Darwaza
Phase III (Tughalaq):
 In this period gray sandstone was used.
 Now focus was more on strength and less on decoration.
6
 Many cities were developed in this period like Firozabad, Jaunpur, Tughlaqabad, Feroz Shah Kotla etc.
 Many mosques like Khirki, Kali masjid were built.
 Most typical feature of this period is sloping walls (Batter).
 Dome became pointed in this period.
Phase IV: (Lodhi Period):
 This period is known for Tomb making.
 Tomb was built on a raised platform and the known tomb appeared huge.
 Lodhi’s tomb was an octagonal tomb.
 Best example is Sikander Lodhi's tomb.
 Generally there was no decoration.
 Use of double domes started here and gardens were constructed around them.
 Lodhi’s were also known for the development of Agra. Sikandar Lodhi developed Agra.
Provincial Architecture:
Bengal School of Architecture:
 In Bengal school, bricks and black marble were used.
 Bengal roofs also continued.
 Adina mosque in Pandua was the most important mosque in Bengal which was constructed by Sultan
Sikandar Shah.
 There was no use of Minar.
 Famous mosque called Atala mosque was constructed here.
Malwa School of Architecture:
 In Mandu, there is a lot of architecture.
 It is also called Pathan school.
Typical Features:
 Minar was present here.
 The Structure consists of a large window.
 Stairs were present.
 Use of colored stone.
 Use of artificial reservoirs called Baulies.
 In Mandu, Hindola Mahal, Jahaz Mahal, Ashrafi mahal are present.
7
 In Gaur, Qadam Rasul mosque and Barsona mosque were constructed.

Gujarat School:
 The Chalukya Rajputs were constructing many temples.
 Rani ka Vab was constructed in the 11th century. Vab is a stepwell.
 There was much construction in Ahmedabad like Teen Sipri mosque, Jama masjid etc. all these were
Indo-Islamic architecture.
Jaunpur School of Architecture:
 They were patronized by Sharqi rulers, hence it is called the Sharqi School of Architecture.
Bijapur School of Architecture:
 They were patronized by Adil Shahi rulers.
 It is known for Bulb like dome.
 Use of cornices: It is a decoration below the ceiling.
 It is also known for its whispering gallery.
 Examples: Gol Gumbaz is the most important example of this school constructed by Ibrahim Adil Shah in
the 17th century. It is the largest dome and constructed without any support.

1
DAILY
CLASS NOTES
Art and Culture
Lecture – 09
2

Mughal School of Architecture:
 This age represents the second classical age.
 It was a mixture of Turkish, Persian and Local influence.
 Indo-Islamic architecture reached its climax in this period.
Development of Architecture in the Mughal Period (1526-1707):
Under Babar’s Period:
 He had no time to develop architecture except for some construction of mosques in Panipat and Sambhal.
 He was also fond of gardens.
Under Humayun’s Period:
 Mosque building continued in places like Hisar.
 In this period, some Persian influence has been seen in terms of decoration.
 In his period, a city called Dinpanah was developed but it could not be completed.
Under Sher Shah’s Period:
 It was a link between Lodhi style and Mughal style.
 In this period, there was the use of red and gray stone.
 In this period, there was the use of a latticed screen.
 In this period, there was the use of decorative turrets.
 There was development of painted ceilings in this period.
 They also started using coloured tiles.
Examples:
 Qila-i-Kuhna Mosque in Delhi: In Delhi, the capital of India, there is a mosque called Qila-i-Kuhna
Mosque that is a part of Purana Qila. Sher Shah Suri took control of Purana Qila after defeating Humayun.
He constructed a mosque there for his own use, and it later served as a "symbol of his royal aspiration".
 Old Fort in Delhi: Many believe it to be situated where the historic city of Indraprastha once stood. The fort
serves as the city of Dinpanah's inner citadel.
 Tomb at Sasaram: This is situated inside a lake. This is considered as the first good example of
architecture.
3
 Shershah Suri's Mosque in Patna: It is an illustration of Afghan architectural design. In order to honour
his reign, Sher Shah Suri erected this mosque between 1540 and 1545. It is located next to Dhawalpura on
the southwest corner of Purab Darwaza.
Under Akbar’s Period:
 Red sandstone was frequently used during this period.
 He also made the “Tudor arch” (a four-centered arch) popular.
 Fort making on a grand scale happened during this period like Fort at Agra, Fatehpur Sikri, Allahabad,
Ajmer and Lahore.
Agra Fort:
 Agra fort is one of the best forts and it was a royal citadel.
 The following are some of the notable structures on the site:
 Moti Masjid by Shah Jahan.
 Diwan-i-aam (Hall of Public Audience) and Diwani-khas (Hall of Private Audience) by Shah Jahan.
 The Jahangiri Mahal.
 Sheesh Mahal (Turkish Bath).
4
Fort at Fatehpur Sikri:

 He constructed Buland Darwaza after the victory of
Gujarat.
 He built Salim Chisti’s tomb in Fatehpur Sikri. There
was use of white marble here. It was also known for
jali work.
 Panch Mahal is the highest structure present here.
 Ibadat Khana and Jodhabai Palace are present here.
 Hiran Minar was built for its elephant in Fatehpur Sikri.
 He constructed the Pachisi court for playing chess.
 His approach was inclusive which included Buddhist,
Islam and Hindu religion cultures.
 He was also known for constructing temples in Vrindavana.
 The most popular structure in this period was Humayun’s Tomb.
 It was built by the widow Begha Begum also known as Haji Begum. It was raised on a vast platform.
It had char bagh style. It had a double dome. It had a massive gateway. It had an octagonal plan. Use
of Kiosks (Chhatris) was prevalent in this period. Architect of this structure was Mirja Gyas. Pink
sandstone was also used here.
Under Jahangir’s Period:
 Two important tombs during his period were Akbar’s Tomb at Sikandra and Itimad Ud Daulah tomb at
Agra.
Akbar’s Tomb at Sikandra:
 Its construction was started by Akbar in 1605 and completed by Jahangir.
 There was no dome here.
 It was a 5 storey building.
 Shape of this structure is pyramidal.
5
Itimad Ud Daulah tomb at Agra:

 It was completely made up of white marble.
 Pietra Dura work was made here.
Moti Masjid:
 Moti Masjid in Lahore was constructed during his period.
 Gardens were also present in this period.
Under Shahjahan’s Period:
 It is considered a golden phase.
 According to one historian “As against the sturdy, robust and plain construction of Akbar, Shahjahan’s
buildings are highly sensuous, delicate and feminine. Instead of the earlier simple relief work in red
sandstone used by Akbar, Shahjahan’s buildings are full of delicate carvings in marble”.
 Examples of Shahjahan’s period:
 In Agra fort he added Sheesh Mahal, Nagina Mosque, Moti Masjid.
 The tomb, best in India and Agra Taj Mahal was constructed by him.
Taj Mahal:
 It was the culmination of construction of the Garden Tomb.
 It was constructed in the memory of his wife Mumtaj Mahal.
 It was called Rauza-e-Mannawara meaning illuminated tomb.
 Architect of Taj Mahal was Ustad Ahmad Lahori and Isa Khan.
 Initially it was believed that some Italian and French architects were also used like Geronimo.
 Calligrapher for this structure was called Amanat Khan.
 Finial, Onion shaped dome, Lotus decoration, drum, Charbagh, Minar, Spandrel (Upper panel
decoration), Dado (Lower panel decoration), Chhatri are the features of the Taj Mahal.
6
Other Notable Architects:

 In 1638, he shifted his capital to Delhi and in Delhi he constructed Shahjahanabad. He was known for
constructing a red fort in Delhi.
 In Diwan-e-Khas, in the red fort there is a statement of Amir Khusrau called “If there be a paradise on
earth, it is this, it is this, it is this”.
 In Delhi, he constructed Jama Masjid. Qibla Liwan is the wall here which is facing Mecca.
 He was known for constructing Mosques and big forts.

Under Aurangzeb’s period:
 This period was a period of decline.
 He is also known for a tomb called Bibi ka Maqbara or Rabia ud Daurani. It is present in Aurangabad.
 Moti Masjid in Delhi and BadShahi Mosque in Lahore was constructed by him.

1
DAILY
CLASS NOTES
ART AND CULTURE
Lecture – 10
Sculpture in India
2
Sculpture in India
 Anangpal Tomas established Dhillika in 8th century AD which was later called Delhi.
 Seven City of Delhi:
1. Qila RaiPithora: It was developed by Chauhan.
2. Mehrauli: It was developed by Slave rulers.
3. Siri: It was developed by Alauddin khilji.
4. Tughlaqabad: It was developed by Ghiyasuddin Tughlaq.
5. Firozabad: It was developed by Firozshah Tughlaq.
6. Shergarh (Purana Qila): It was developed by Sher Shah.
7. Shahajabad: It was developed by Shah Jahan.
8. New Delhi: It was developed after 1911.
Development of Architecture after Mughals:
 In the 18th century, Rajput style, Sikh style and Awadh style architecture originated.
 After the Mughals, these schools of architecture continued.
Rajput style:
 It is found in Jaipur.
 It was influenced by Mughals.
 Jharokha or hanging balcony is a prominent feature of this style.
 They were also using decorated borders called Cornices.
 Hawa Mahal in Jaipur is the most popular example for it.
Sikh Style:
 Gurudwara were constructed here.
 They used multiple Chattris or Kiosks.
 Fluted dome was used here.
 Metal guilds were used to cover.
 Example: Harvinder Saheb, Golden temple.
3
Awadh Style:
 In Lucknow in the 18-19th century, Nawab of Awadh constructed some buildings.
 The most important one was Bara Imambara constructed by Asaf-Ud-Daula.
 Rumi Darwaza in the 18th century was constructed by Nawab Asaf-Ud-Daula.
Modern Architecture:
 It was influenced by Europeans.
 Portugues, French and British constructed churches and offices in India.
 Modern architecture can be divided into 2 phases:
Phase 1: Indo-Gothic style (Victorian Style):
 It was generally a British style.
 Before this there was the influence of Portuguese and French style.
 There was development of many churches during this phase.
 Example:
 Victoria memorial in Kolkata which is called Taj of kolkata.
 Gateway of India in Mumbai is called Taj of Mumbai.
 They also represent Indo-Sarasenic style or Indo-Gothic style.
4
Phase 2: Neo-Roman Architecture:

 After 1911 this phase started.
 Circular buildings were constructed in this phase.
 Edwin Lutyens and Herbert Baker developed many structures till the 1930s.
 Example: Rashtrapati Bhavan, Parliament building.
After Independence:
 There were individual architect after independence like:
 Le Corbusier: He was known for Chandigarh planning.
 Laurie Baker: He was called the Gandhi of architecture because he talked about mass housing and
locally available material.
 Charles Correa: He talked about many apartments. He was known for urban housing.
 Balkrishna Dashi: He was a great architect after independence. He recently died in 2023.
Sculpture in India:
 Some texts that talked about sculpture:
 Aparajit Pricha written by Bhuvandev which talked about sculpture.
 Samranga Sutradhar written by Raja Bhoj talks about sculpture.
 Vastu Shastra by Mandana talks about sculpture.
 Mayamata by Mayashur also talks about sculpture.
 Vishnu Purana and Matsya Purana talk about sculpture.
 Buddhist and Jain texts also mention the tradition of sculpture making.
5
Mudras:
 Abhaya Mudra: It tells about fearlessness and protection.
 Gyan Mudra: It tells that knowledge comes from within.
 Dhyan Mudra: It is also called Yoga Mudra.
 Tarpana Mudra: It talks about paying homage.
 Bhumisparsha Mudra: It mentions earth touching.
 Dharmachakra Mudra: It talks about turning the wheel of Dharma.
 Varada Mudra: It signifies clarity and compassion.
 Vitarka Mudra: It mentions debate and discussion.
 Anjali Mudra: It is called Namskar.
Use of Symbols in Images:

 Dhanush (Bow)
 Gada (Club)
 Ghant (Bell)
 Murali (Flute)
 Trisula (Trident)
 Damru (Small Dram)
 Veena (String instrument)
 Chauri (Flywhisk)
6
Development of Sculpture in India:

Sculpture in Harappa Period:
 These are divided into 4 parts:
 Metal Sculpture
 Stone Sculpture
 Terracotta Sculpture
 Images in Seals
Metal Sculpture:
 Bronze dancing girl is found in Mohenjo Daro.
 It is a naked girl wearing only ornaments.
 It has bangles in the left arm.
 It is in a Tribhanga position because Neck, Waist and Knee have been bent.
 Right arm is on the hip.
 Bronze dancing girl was constructed by cire perdue process or lost wax technique.
 Bronze bull is found in Kalibangan.
7
Cire Perdue Process:

 The cire perdue process also known as the lost wax casting method is a traditional metal casting technique
used to create intricate and detailed metal sculpture Jewellery and other objects.
 It has been used for centuries and is still utilized by artisans today.
How it Works?
 Creating the wax model.
 Creating a mold around the wax.
 Melting out the wax.
 Pouring the molten metal.
 Cooling and breaking the mold.
 Cleaning and polishing.
Stone Sculpture:
Examples:
 The bearded priest is found in Mohenjo Daro.
 Red sandstone figure (male Torso) is found in Harappa. It has socket holes without head and arms.
Terracotta figure:
 It is a fire baked clay.
 Some terracotta toys and mother goddesses are the best examples for terracotta figures.
 They were using a pinching method.
Images on Seals:
 They used Yogic figures and different animals like Elephant, Tiger, Buffalo, Rhino are present.
 Engravings on seals have been found.

1
DAILY
CLASS NOTES
Art and Culture
Lecture – 11
Sculpture in India
(Part - 2)
2
Sculpture in India (Part - 2)

Development during the Mauryan Period:
❖ Mauryan rulers, particularly Ashok, started making extensive use of stone for sculpture.
❖ We have evidence of human and animal sculptures in this period.
Animal Sculptures:
❖ Lion – It has been found from Four lions of Sarnath, Lauria Nandan and Vaishali.
❖ Elephant - It is found in Sankisha.
❖ Bull- It is found in Rampurva.
Human Sculpture:
❖ Yaksha and Yakshini are probably folk gods and goddess but they are
related to all religion.
❖ The first literary reference can be traced back to the Sangam text known as
Silappadikaram.
❖ Yaksha has been found in Parkham near Mathur.
❖ Yakshini has been found in Sultanganj near Patna. It is known for wearing
jewellery and headdresses.
Post- Mauryan Period:
❖ This period is known for 3 schools of Sculptural Art:
1. Gandhara School of Art
2. Mathura School of Art Yakshani of Dildarganj
3. Amaravati School of Art
Gandhara School of Art:
❖ The Gandhara school of Art arose in modern-day Peshawar and
Afghanistan on Punjab's western boundaries.
❖ The main centers of this school of architecture were Taxila, Jalalabad,
Bermeran.
❖ It was influenced by Greek and Roman art.
❖ Because of Greek art, Buddha was presented as a Greek god.
❖ There was Roman influence which presented Buddha as Royal and
Real and as mythological hero.
❖ In Gandhara art, the theme is generally Bhuddist.
❖ It was patronized by Kushana rulers.
3
❖ In Gandhara art, Grey sandstone was used.

❖ In Gandhara art, Buddha is shown in a spiritual state. He is sitting in Yogic posture , Eyes are half closed
and wearing loose garments and protuberance in the head.
❖ Buddha is sitting in Padmasana.
❖ Protuberance is also seen here.
❖ Buddha is shown surrounded by images of Bodhisattva.
Amaravati School of Art:
❖ It is totally Indian art.
❖ It is developed on the bank of Krishna river.
❖ Some places associated with this art are Nagarjunakonda,
Goli and Ghantasala.
❖ It was patronized by Satavahana rulers.
❖ It was mainly Buddhist.
❖ They were using white color stone and their art is called
Narrative art.
❖ They depict Jataka stories of Buddha.
❖ There was the use of the Tribhanga position.
Mathura School of Art:
❖ It was totally indigenous or Indian.
❖ They were also patronized by Kushanas.
❖ It was developed on the bank of Yamuna river.
❖ Places associated with this school of art are Sonkh, Konkali Tila
which is known for Jain images.
❖ Mathura school is known for its use of red sandstone.
❖ It is related to Buddhism, Jainism and Brahmanism.
❖ In Mathura school, Buddha is shown in a delighted mood and
sometime smiling face also.
❖ A Buddha wearing a tight dress has been seen here.
❖ Buddha's right hand has been seen in Abhaya Mudra.
❖ Post Mauryan period is also known for decoration of Stupa and
use of sculpture in caves.
❖ For Example: Stupa in Bharhut, Yakshini in Bharhut, Narrative
art in Amaravati, even in Ajanta caves sculptural panels are found.
4
Gupta Period:
❖ It was influenced by Mathura school and Amaravati school.
❖ There was a new school of architecture called Sarnath school.
❖ Sarnath school used cream colors, sandstone and metal.
❖ Halo was decorated and had no nudity.
❖ Use of sculpture in caves continued.
Important Examples of Sculpture of Gupta Period:
❖ Image of Vishnu:
➢ It is present in Deogarh temple.
➢ It is called Shesha Shayana Vishnu. In
this image, four armed Vishnu is reclining
on a coil of a serpent called Sheshnag and
7 hood formed a canopy.
➢ Goddess Lakshmi along with attendance
are at the feet of Lord Vishnu.
➢ Two demons Madhu and Kaitava are
about to attack.
❖ Images of Gajendra Moksha
❖ Images of Pandavas and Draupadi Sheshashayana Vishnu, Dashavatara temple, Deogarh
❖ Images of Govardhan Krishna
❖ Images of Ganga and Yamuna
❖ Images of standing Buddha from Sultanganj and Sarnath
➢ Sultanganj Buddha:
✓ It is made up of metal.
✓ It is a standing Buddha.
✓ It has Abhay Mudra in Right hand.
✓ It has Sanghati which is called Monks Robe.
❖ Ajanta cave number 26 has the Mahaparinirvana image of Buddha. Sultanganj Buddha
❖ In Vidisha (Madhya Pradesh), found an image of Varaha (Vishnu).
❖ More Bronze images from Phophnar in Maharashtra. They were developed by Vakatakas.
➢ Vakataka bronze images of the Buddha from Phophnar, Maharashtra, are contemporary with the
Gupta period Bronzes
5
Buddha granting protection
   
1
DAILY
CLASS NOTES
Art and Culture
Lecture - 12
Sculpture in India (Part-3)
2
Sculpture in India (Part-3)

Development of Sculpture during Post Gupta Period:
❖ Sculpture making continued as a part of the temple architecture and some of the temples have sculptures
on their walls. For example: Khajuraho temple.
➢ On the walls of Khajuraho temples, erotic sculptures are present but they were not only erotic
sculptures but there were other sculptures also like sculptures related to heaven nymphs (Apsaras).
Dance class, Lakshmana Temple, Khajuraho
➢ These Apsaras are shown in dancing poses. They are also shown as playing with pets.
➢ They are also shown as playing musical instruments like Veena and they are also
shown as writing letters.
❖ Sculptures of some animals are also shown on the walls like sculptures of elephants,
sculptures of lions and sculptures of Parrots.
❖ Even Nandi bulls related to Shiva are found here.
❖ On the walls, some other themes like teacher and student, musicians are found.
❖ In some temples of Odisha and Karnataka that are in Halebidu, sculptures are present.
❖ Sculpture-making continued in Gujarat and Rajasthan. In Gujarat, a Hoard of Bronze sculpture has been
discovered at Akota near Vadodara.
3
❖ Jain Tirthankara seated on the throne in Mount Abu is found in this period.
Jain sculpture, Mount Abu
❖ In Gujarat and Rajasthan, some female images are found. They were called Yakshinis or Shashanadevis.
Example: Related to Adinath, there was a Shashanadevi called Chakreshwari.
❖ Development of sculptures continued in Himachal and Jammu areas called Vaikunta Vishnu, Images of
Ganesh and images of Buddha.
❖ The tradition also continued in Bengal under Pala rulers and Palas were known for lost wax technique.
➢ Palas were also known for metal sculpture.
➢ The most typical feature of Palas was the use of Ashtadhatu.
❖ Pala school of Bronze has been found at Kurkihar near Nalanda in the 9th century.
❖ Image of Tara is a popular image found in this period.
Sculptures at Kurkihar Tara
Development of Sculptures in South India:

During Pallavas:
❖ They were known for stone and metal sculpture.
❖ Pallava school of sculpture influenced by Amaravati school.
❖ The most important sculpture of this period was the descent of Ganga and Arjuna's penance.
4
❖ In this period, the sculpture of Nandi bull is present and sculpture of Shiva is shown in Ardhaparyanka
Asana (here one leg kept dangling).
❖ The right hand of Shiva is shown in Achamana mudra.
Shiva in Ardhaparyanka
During Rashtrakuta’s Period:

❖ Here also sculpture-making continued.
❖ In cave 16, Ellora called Ravana shaking Mount Kailash is found.
5
During Cholas:
❖ It is known for its best sculptures.
❖ Here Bronze casting technique reached its climax.
❖ The most important example is Nataraja, which is Shiva's dancing Tandava.
➢ Example: Temple number 17 at Sanchi.
Nataraja Sculpture
❖ Main points of Nataraj
➢ Shiva is shown balancing himself on right leg.
➢ Nataraj is suggesting suppression of Apasmara (The demon of ignorance).
➢ In the upper right hand, he holds Damaru and it represents the creation of sound.
➢ Lower right hand has Abhaya Mudra.
➢ Upper left hand has fire which represents destruction.
➢ Lower left hand indicates towards raised leg which represents salvation.
➢ His hair is adorned with a crescent moon and the Ganges river.
➢ One ear of Shiva has male earring and another ear has a female earring. It is the concept of
Ardhnarishwar.
➢ In his hand the snake is twisted around the arm and it symbolizes Kundalini power.
➢ Shiva is surrounded by a cycle of fire and raised leg denotes Salvation.
Examples of Chola Sculpture:

❖ Nataraj
❖ Images of Devi
❖ Images of Kaliya daman
❖ Kalyan Sundar Murti representing Panigrahana (Marriage)
6
Kalyan Sundaram Murti
❖ Vishnu image from Kongu area.
Vishnu of Kongu
After the Chola period, the tradition of sculpture continued in Vijayanagara period. Here we get a life size image
of Krishna Devaraya and his queen.
Examples of Some Modern Sculpture Artists:
❖ Ramkinkar Baij - He is called the father of modern sculpture.
❖ D P Roy Choudhary - He is known for Triumph of labour.
❖ Sankho Chaudhari: His themes have included the female figure and wildlife.
❖ Nek Chand Saini - He is known for Rock Garden.
❖ Ram Sutar - He sculpted the Statue of unity.
❖ Naresh Kumar Kumavat - He is associated with sculptures of Ayodhya temples.

1
DAILY
CLASS NOTES
Art and Culture
Lecture – 13
Paintings in India
(Part - 1)
2
Paintings in India (Part-1)

Pre -Historic Paintings:
❖ They are also called Petroglyphs meaning rock engravings.
❖ The Earliest evidence of pre-historic paintings is found in the upper
Paleolithic Period.
❖ The first discovery of prehistoric painting in 1867-68 was discovered
by Archibald Carlyle in Mirzapur (Sohagighat).
❖ Now, we are getting a lot of evidence from different places like-
Lakhudiyar near Almora meaning one Lakh caves.
❖ Here we are getting paintings of man, animals and geometrical
patterns. Here we have some dancing figures and wavy lines also. The Use of red and green color is also
seen in this painting.
Mesolithic Rock Art:

❖ More than 150 sites were found in this period.
❖ The Most important is Bhimbetka in Madhya Pradesh. It was discovered by V. S Wakankar in 1957.
❖ Apart from Bhimbetka, Mesolithic rock art is found in Madhya Pradesh at different places like Adamgarh,
Charwar, Lakhajoar, Narsing garh.
❖ In Chattisgarh, Jogimara caves are found.
❖ In Uttar Pradesh, Morhana Pahar is found.
❖ These paintings are found in Sambalpur district of Odisha.
❖ In Kerala, prehistoric paintings are found in Ezhuthu in Idukki district.
❖ In Karnataka, in Kupa gallu, these are found.
3
Features of Mesolithic Paintings:

❖ Nearly 16 colors or shades are used in this painting.
❖ Different types of animals are shown in this painting. Around 29 species are shown.
❖ Dominating scenes in these paintings are hunting scenes.
❖ The dancing scene is also very popular in this painting.
❖ Division of labor is also noticed in these paintings.

❖ According to some historians, these paintings represent the X-ray style of painting.
Gupta Period:
❖ Kamasutra listed paintings as of the 64 Kala (art).
❖ Mudrarakshasa of Visakhadatta mentioned many words related to paintings.
❖ In this period, other literature also talked about Sadanga, which are 6 limbs of Indian paintings.
❖ These are:
1. Rupabheda - The knowledge of looks and appearance.
2. Sadrushya - Resemblance, portrayal of likeliness of the subject.
3. Bhava - The feeling of forms.
4. Varnika Bhanga - An artistic way of making use of the brush and colors.
5. Pramana - Accuracy and precision of measurement and structure.
6. Lavanya Yoganam - Blending grace in an artistic representation.
❖ In the Gupta period, we have some archeological evidence of paintings. For Example: Ajanta painting in
Ajanta caves.
➢ It is the beginning of the Mural tradition of painting.
➢ We have 29 caves in Ajanta.
➢ Ajanta paintings are called Fresco (on wet plaster) paintings.
4
➢ These are also called the Tempera style of painting (Use of pigment).
➢ The theme of this painting is related to Buddhism and Jataka stories. We have some female figures
with unique hairstyles called Apsaras.
Bagh Painting:
❖ Bagh is present in Madhya Pradesh near Gwalior.
❖ Here we have 9 caves but cave number 4 is very important. It is called Rang Mahal.
❖ These consist of Bhuddhist themes but some secular paintings are also present and Royal procession and
dance sequence are also present.
❖ We also have Mural traditions in Tamilnadu. The most popular painting here is Sittanavasal painting of
the Pandya period. It has mainly a Jain theme.
❖ In Tamilnadu, Mural tradition also continued in Pallava and Chola periods.
❖ Recently, the Armamalai cave found in Tamilnadu represents the Mural tradition of Tamilnadu. It was
discovered in 1970. It has a Jain theme.
5
Kerala Tradition of Mural Painting:

❖ Recently, the Kerala tradition of Mural painting was also discovered in temples and churches.
❖ One important example of Kerala tradition is Krishnapuram and the theme is Brahminical.
❖ Most famous here is Gajendra Moksha Mural.
Karnataka Tradition of Mural Painting:
❖ The most important of this tradition is Badami caves. Here we have paintings of Shiva, Parvati.
❖ Chronologically it is considered as the earliest Brahmanical tradition of paintings.
In Maharashtra:
❖ In Ellora's painting, Brahminical, Bhuddhist and Jainism paintings are also found.
Andhra Tradition:
❖ Lepakshi temple is considered as the last stage of wall painting.
❖ Here also we have a Brahminical theme.
Miniature Tradition:
❖ It is considered a small painting of perishable material.
❖ The term “miniature” comes from the Latin word “Minium,” which means “red lead paint.”
❖ During the Renaissance period, this paint was frequently utilised in illuminated manuscripts.
6
Parts of two Parts:

❖ Eastern Tradition:
➢ It is represented by Palas.
➢ It has a mainly Buddhist theme.
➢ It is present on Palm leaves.
❖ Western Tradition:
➢ It is called the Gujarat tradition of painting.
➢ It is called Apabhramsa school.
➢ It has a Jaina theme.
➢ Two important books of this tradition were Kalpa Sutra and Kalka Charya Katha.
Later on, Indian painting was influenced by Persian painting.
   
1
DAILY
CLASS NOTES
Art and Culture
Lecture – 14
Paintings in India
(Part - 2)
2
Paintings in India (Part - 2)

Isolated Painting Style of 15th-16th Century:
❖ These paintings came under outside influence that is Persian influence.
❖ Persian facial type, hunting scene and persian bright colours were used in miniatures.
❖ Some Examples of these Paintings are:
➢ Nimatnama Style of Painting: Nimatnama was a book on Cookery. It was a book of Malwa.
➢ Kuladhar Style: Kulha means conical caps. Chaurapanchasika is a famous painting of this style. It is
actually a book written by Bilhana.
➢ Laur Chanda: It is a romantic book written by Mulla Dawod. This book contains miniature paintings
which are a mixture of Indigenous and Persian style. It is found in Awadi.
➢ Mahapurana: It is a Jain text which has a mixture of indigenous and Persian painting.
❖ Under the Delhi Sultanate, the Persian impact continued in the painting.
Mughal Painting:
General Features:
❖ It is the best miniature painting.
❖ It is a synthesis of Persian and Indian styles.
❖ Mughal painting depicts court painting.
❖ It is having secular and ruler based theme.
❖ It portrayed natural animals and birds.
❖ It used bright colors.
❖ It has European influence.
❖ It was a result of combined effort.
❖ Mughal painting was known for realism.
Development of Mughal Paintings:
Rulers Artistic Work
Babur ❖ Babur had no time for painting but it is said that he patronised one persian painter
called Bihzad.
Humayun ❖ He stayed at Shah Talmesq court. From this court he brought two painters, Abdur
Samad and Mir Sayyid Ali.
❖ These painters started the painting from books in Mughal court.
Akbar ❖ He established a separate department called Tasvir Khana.

❖ He began hiring Indian painters in the Tasvir Khana, primarily based on their
salaries, leading to a transformation of the paintings with a distinct Indian influence.
❖ He accepted some European features also called technique of foreshortening.
3
❖ During his period, perspective painting was developed.

❖ 3D painting was also developed during the Akbar period.
❖ Calligraphy was used during his period.
❖ Some popular books were illustrated. For example: Tutinama, Hamzanama,
Anwar-e-Suhaili.
❖ Some famous painters of this period were Daswanth, Basawan and Kesu.
Jahangir ❖ Jahangir's period is considered the Golden age of painting.

❖ He himself was a good painter.
❖ His period was known for nature-based painting.
❖ He was a keen naturalist so paintings of animals, birds and trees started. The most
famous painting was Zebra and cock painting.
❖ In this period, portrait painting started and court scenes were dominated.
❖ The most famous painter of this period was Ustad Mansoor.
❖ The tradition of decorated margins started in this period.
❖ Ayar-e-Danish (Touchstone of Knowledge), the book written on animals and
illustrations of animals is done.
Shahjahan ❖ Decorated margin continued and it was more decorated.

❖ Golden color was used substantially in this period.
❖ Pencil drawing also started in this period.
❖ More album-based paintings were done in this period.
❖ European influence on painting continued.
❖ His painting was more artificial painting which was dominated by artificial
elements.
Aurangzeb ❖ He had no interest in painting so regional painting started.

❖ In this period, there was decline of mughal painting.
Regional Painting:
❖ Rajput Paintings
❖ Pahari Paintings
❖ South or Deccani Paintings
Rajput Painting:
❖ About:
➢ It is a court painting.
➢ It is devotional or religious in nature.
➢ Hindu symbols were used in this painting like swan, lotus, peacock.
➢ Nature based painting
4
➢ Female face paintings like Radha were used.

➢ Bright colour were used in this period.
➢ Ragamala painting was the special painting of this period.
➢ This painting has no outside influence.
❖ Examples:
➢ Marwar Painting: It was developed before the Mughal period in the 15-16 th century. It is one of the
most widespread schools of painting since it covers the Rathods’ Jodhpur and Bikaner, as well as the
Bhatis’ Jaisalmer.
Marwar School of Painting

➢ Mewar: It was dominated by the outstanding painter Sahibdin. This Mewar painting period centers on
Sahibdin’s representation of literary classics such as the Ragamala, Ramayana, and Bhagavata Purana.
➢ Dhundar Painting: The Amber school, also known as the ‘Dhundar’ school, is based on wall paintings
found in Bairat, Rajasthan. The most important man who promoted this painting was Sawai Pratap
Singh.
5
Amber-Jaipur School
➢ Bundi Painting: This painting is known for painting of local vegetation. Hadoti is the collective name
for the twin kingdoms of Bundi and Kota, whose monarchs were Krishna worshippers.
Bundi Painting
➢ Kishangarh painting: It is the best example of Rajput painting. It was developed under Raja Sawant
Singh. He was also called Nagari Das. The best painting of this school is Bani Thani painting. Nihal
Chand is the best painter of this school.
6
Bani Thani Painting:

Bani Thani painting is called as Monolisa of Indian painting as it represent
the Indian beauty.
❖ Female in the painting has elongated eyes, thin lips and Odhani.
❖ It has a sharp nose.
❖ It has hindu symbols, flowers, ornaments etc.
Pahari School of Paintings:

❖ About:
➢ It has bright colors.
➢ The most dominating theme of this painting is the Radha
Krishna theme.
❖ Two Important Category of this School is:
❖ Basohli Painting:
➢ It is an early painting developed in the 17 th century.
➢ It is mainly related to Jammu and Kashmir.
➢ It is known for expressive faces and big eyes.
➢ Raja Kirpal was the patron of this school.
Basohli Painting
7
❖ Kangra Painting:
➢ It was developed in the 19th century.
➢ It is generally related to Himachal Pradesh.
✓ Guler school is associated with this type of painting.
✓ It was popularized by Europeans and it is known for its
sensuality or romantic theme.
✓ Love scene of Krishna was the important scene of this painting.
✓ The Barh Mash theme was important here.
✓ One promoter of this painting was Raja Sansar Chand.
Miniature Painting of South India: Kangra Painting
Deccani Painting:
❖ Examples of this in Deccani style are the painting of Ahmad Nagar, painting of Golkonda and the painting
of Bijapur.
❖ Painting of Hindola Rag was continued here.
❖ Tanjore painting is painted on glass. Smiling Krishna is one theme of this painting. Some events of life are
also painted here.
❖ In south India, Mysore painting is known for Hindu gods and goddesses.
   
1
DAILY
CLASS NOTES
Art and Culture
Lecture – 15
2

Folk Painting/ Tribal Painting/ Local Painting Style:
Madhubani Painting:
 It is also called Mithila painting.
 It is from Bihar.
 The origin of this painting is the marriage between Ram and
Sita.
 It was initially a wall painting but now it is done on card or cloth.
 This painting is a symbolic painting.
 The theme of this painting is marriage with eye-catching
geometrical patterns.
 Natural colours were used in this painting like rice paste, and
vegetable colours.
 It is also known for the exclusive monopoly of women artists
like Sita Devi and Jagadamba Devi.
 It is also known for its double-line border.
 Now, it is internationally recognised.
Tikuli Painting:
 It is also from Bihar from Patna area.
 Tikuli are bindi or colourful dots.
 In Patna, it is found in Digha and Danapur.
 It has a history of 800 years old.
 It is also women-centric painting.
Patna Kalam painting:
 It is a miniature and male-dominated painting.
 It depicts daily life.
 The focus of this painting is common man.
 It saw British and Mughal influence.
Warli Painting:
 It is found in Gujarat and Maharashtra.
 It is mainly a wall painting.
 It is considered as tribal painting.
 There is the use of dots and triangles and circles in this painting.
 It carries no mythological themes or figures.
 The base of this painting is red ochre color.
3
Saura Painting, Odisha:

 It is also a tribal painting.
 It is similar to Warli's painting.
 It is like a prehistoric painting.
 Stick-like creatures are seen in this painting.
 It is essentially a ceremonial wall mural painting.
 The Saura wall murals are primarily devoted to Idital, the
Sauras’ chief god.
Thangka Painting:
 It is a Buddhist-influenced painting.
 It is seen in the Tibet area and Nepal area.
 It is a Tantra-influenced painting.
 The use of a mandala (Circle) is seen in this painting.
Manjusha Painting:
 It is from Bhagalpur district of Bihar.
 It is also called Angika Art.
 These arts are done on the boxes of Jute and paper.
 Snake painting (Vishahahri painting) is another name for it.
4
Phad Painting:
 It is related to the Rajasthan area.
 Depiction of heroic deeds is the theme of this painting.
 It is a scroll type of painting.
 Some local deities (Pabuji) were depicted in this painting.
Cheriyal Painting:
 It is also a scroll-type painting.
 It is found in Telangana.
 The theme of this painting is Purana and Hindu epics.
Pithora Painting:
 It is seen in Gujarat and Madhya Pradesh.
 It is a tribal painting.
 It is mainly a wall painting.
 The depiction of animals, particularly horses, is an important feature of this painting.
5
Kalamkari Painting:
 It is seen in the Andhra area.
 The term is derived from kalam, which is a pen used to create these
magnificent artworks.
 The base of this fabric is cotton fabric.
 Kalamkari art existed even under the Vijayanagara dynasty and has
been designated as a GI.
 There are 2 schools of Kalamkari Painting:
 Srikalahasti Painting: This school of painting was influenced by
Hinduism.
 Machilipatnam School: Itl drew inspiration from Islamic influences.
Paitkar Painting:
 It is related to the Jharkhand area.
 It is a tribal painting.
 The main theme of this painting is life after death.
 A goddess called Ma Mansa is depicted in this painting.
Patua Painting in Bengal:
 It is a scroll type.
 Even Muslims use this painting.
 The theme of this painting is general life.
Pattachitra of Odisha:
 It became popular after the 12th century AD.
 This painting is related to Lord Jagannath.
 The theme of this painting is Vaishnavism.
6
Modern Painting:
 It has some European influence.
 Modern painting had the freedom to choose subjects and they could do
experiments.
 It is a painting from the 19th century onwards.
 Example: Company School:
 It has mainly British influence.
 It saw paintings of exotic flora and fauna.
 There was a rise of Independent painting in this period.
 First modern painter of India was Raja RaviVarma from Kerala.
 He started experimenting with some new themes.
 For Example: ladies in the moonlight, Ravana kidnapping Sita,
Shakuntala. Recently, Rang Rasia is a movie made about him.
Bengal School of Painting:
 Bengal School of painting started in this phase.
 There was an influence of the Swadeshi movement on painting.
 Paintings in the 20th century saw the depiction of nationalism.
 Prominent artists of the Bengal School of Art:
Abandindranath Tagore  Painting of Bharat Mata became popular by Abandindranath Tagore.
Nandlal Bose  Nandlal Bose was also an important painter and known for nationalist
themes.
 He is most known for his white-on-black Gandhi doodle of the Dandi
March, which became a cult classic. During the 1930s, it was iconic.
 He was also connected to Santiniketan.
 He is also known for lightening the original document of constitution of
India.
Rabindranath Tagore  Rabindranath Tagore as a painter depicted black dominant lines. His
paintings were distinct in
 that he employed dominating black lines to make the subject appear
smaller. He painted in tiny sizes.
7
Contemporary Style Painting:

 After the 1950s and 1960s, the contemporary style of painting rose.
 It was influenced by the Cubist style of painting.
 The most important painter of this style is M.F. Hussain.
 Under the Cubist style, objects are broken, they are analyzed and they are reassembled.
 Some contemporary painters formed a progressive artist group and it was led by M.F. Hussain.
 It saw the influence of European modernism and Cubism.

1
DAILY
CLASS NOTES
Art and Culture
Lecture – 16
Indian Music
2
Indian Music
Indian Music:
Long Tradition of Music in India:
 The origin of Indian music can be traced back to the vedic period and Samveda is considered as the origin
of Indian music.
 The science of music is called the Gandharva Veda, a Upaveda of the Sama Veda in Indian tradition.
 Narada Muni learnt the music first.
 A musical instrument, a sevenholed flute, etc, have been recovered from the sites of Indus Valley
Civilisation. Also, the Sama Veda helps us to attain spiritual evolution through music.
Famous Ancient Indian Text on Music:
Name of Text Features
 Natyashahstra  It is written by Bharat Muni and is the most authentic source of Indian music. It
was written between 220 BC and 200 AD.
 Brihaddeshi  It is written by Matanga and is based on music. Raga was used and defined for
the first time in this book.
 Sangit Ratnakara  It is written by Sarangdev during the 13th century and is also an important book
on music.
 Swaramela  It is written by Ramamatya in the 16th century and is also an important source of
Kalanidhi music.
Terms related to Music:

Rag:
 The primitive sound called Nada gave rise to Swaraa and there are 7 shuddha swara and 5 vikrit swara.
 The 7 shuddha swara are:
 Sa - Shadaj
 Re - Rishabh
 Ga - Gandharva
 Maa - Madhyama
 Pa - Panchama
 Dha - Dhaivata
 Ni - Nishada
 Arrangement of these 7 swaras are called Ragas.
 There are three type of ragas based on swaras:
3
 Oudhava: It had 5 swaras.

 Shoudhava: It had 6 swaras.
 Sampurna: It had 7 swaras.
 Raga is also defined as Ranjayati Iti Raga means the one which colours the mind. It means raga should be
melodious.
 It is generally accepted that there are 6 main ragas but gradually numbers increased but Sangeet Ratnakara
suggested 264 ragas and now these are more than 1000.
 Raga are classified on the basis of mood, season, time etc.
Tala:
 It is the basis of rhythm.
 The rhythmic grouping of beats is called Tala.
 These rhythmic cycles range from 3 to 108 beats.
 Music composers usually use teen-tal that has sixteen beats.
Thaat:
 It is also a kind of rag which is a sampoorna rag.
 It is not melodious and can be arohi only that it can be sung only in ascending order which is opposite to
Raga that is both ascending and descending.
 There are 10 thaats called Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Poorvi and
Todi.
Forms of Indian Music:
 Classical Music: This music is law based.
 Folk Music: This is not based on law.
 Semi Classical Music: It is mixed music.
 Modern Music: It is fusion music.
Classification of Indian Music

4
Classical Music:
 There are two types of Music:
 Hindustani Music: Initially, there was no difference between North and South Indian music. The
differentiation started to happen during the Delhi Sultanate period. Amir Khusrau is considered the
Pioneer figure of Hindustani classical music. There are many styles of singing hindustani music and the
oldest style is Dhrupad.
 Carnatic Music: The sangitsara of vidyaranya is considered a forerunner of Carnatic music. In the
middle of the 17th century, Venkata Mukhi wrote Chaturdandi Prakasika which became the bedrock
of Carnatic Classical music.
Classical Music:
Dhrupad:
 Dhrupad is essentially devotional.
 It became popular under Raja Mansingh of Gwalior. But, it reached its climax under Akbar.
 Akbar patronized many singers related to Dhruad like Gopal Das, Hari Das but the most popular was Tansen.
Tansen's original name was Ramatanu and he was given the title Mian by Akbar.
 Tansen was known for introducing many new ragas like Mian ki Todi, Mian ki Malhar.
 After the decline of Mughals, Dhrupad was promoted by many Gharanas.
 It was sung in four Vanis like Dagar Vani of Jaipur, Darbhanga of Bihar, Bettiah of Bihar and Talawandi of
present Pakistan.
Khayal:
 It is the most popular form of Hindustani music.
 It is said that Amir Khushrou contributed to the development of Khayal.
 It is faster (Drut).
 It is known for its Tan.
 It is romantic also.
 Later, Mughals like Muhammad Shah Rangeela patronized some musicians of Khayal like Adrang and
Sadranga.
 Here, also many Gharanas are present like the oldest Gharana Gwalior, Kirana Gharana, Agra Gharana,
Patiala Gharana, Bhendi Bazar Gharana.
 Bhimshen Joshi and Gangubai Hangal are the famous musicians belonging to Kirana Gharana.
Semi Classical Hindustani:
 Semi-classical Hindustani singers use a lighter version of tala and madhyam or dhrut laya, which means they
have a faster tempo.
 They put a greater emphasis on bhava and lyrics than on alap-jod-tan-jhala.
 Some of the most well-known semi-classical styles are thumri, tappa, and ghazal,tarana, dhamar.
 Thumri: It is sung in Varanasi and Lucknow. There are two types of Thumri called Purva Thumri and
Paschima Thumri.
 Tappa: It is sung in the northwestern side like Punjab.
5
 Dhamar: It is sung in Mathura.

 Tarana: It also evolved from North India and it was very popular among the Aristocratic class of North
India.
 Ghazal: It is primarily romantic poetry but many times they exist with an underlying Sufi element with
God as the beloved.
Difference between Hindustani and Carnatic Music:
Hindustani Music Carnatic Music
 It is present in North India.  It is present in South India.
 It has seen outside influence.  It is totally indigenous.
 It has more freedom to experiment.  It is rigid.
 Vocal music and instrument music both are  Here, vocal music is more important.
important in this music.
 This is more emotional music.  This is more spiritual.
 It consists of 6 main ragas.  It has 72 main ragas.
 It has the Gharana system which is a family  It does not have a Gharana system.
tradition.

1
DAILY
CLASS NOTES
Art and Culture
Lecture - 17
Indian Music and Dance
2
Indian Music and Dance
Development of Carnatic Music:

❖ 14th Century: The development of Carnatic Music started during the Vijayanagar empire.
❖ 15th Century: In the 15th century, Annamacharya contributed to the development of Carnatic music. She is
known as the first known composer of Carnatic music.
❖ 16th century: In the 16th century, Purandara Dasa contributed to Carnatic music. He is called the Pitamaha
or the Grandfather of Carnatic music. He was a devotee of Lord Krishna.
❖ 17th Century: In the 17th century, Venkatamakhin wrote a book called Chaturdandi Prakashika. It is called
the basic book of Carnatic music and in this book 72 Melakarta Ragas was discussed.
❖ 18th Century: In the 18th century, Shyama Shastri, Tyagaraja and Muthuswami Dikshitar contributed to
Carnatic music.
❖ Carnatic Songs: Carnatic songs called Kritis generally consist of three units -Pallavi (First part), Anu Pallavi
(second part) and Charanam which (concluding part).
➢ Sometimes the opening item is called Varnam.
Examples of Folk Music:
Pandavani ❖ It is sung in Chhattisgarh. Well known artist of this music is Teejanbai.
Sohar ❖ It is from Bihar. North India has a strong tradition of singing Sohar songs on the
occasion of a son’s birth in the family.
Baul ❖ It is from Bengal. Well known artist of this music is Thakur Baul.
Panihari, Maand ❖ These are from Rajasthan.
Wanawan ❖ It is sung in Jammu and Kashmir.
Alha and Udal ❖ It is from Madhya Pradesh.
Jhoori ❖ It is from Himachal Pradesh.
Lavani, Ovi, Powda ❖ Lavani, Ovi, and Powda are from Maharashtra.
Dollu Kunita ❖ It is from Karnataka.
Fusion of Classical and Folk music:

❖ Bhakti Sangeet: These are devotional in nature. Ex: Bhajan, Kirtan, Qawwali, Shabad, Abhangas, Tevaram
and Bhatiali.
❖ Ravindra Sangeet: It is a collection of songs sung by Rabindranath Tagore. These are around 2000 in
numbers.
❖ Gana Sangeet: It is sung in groups, hence the name Gana Sangeet.
❖ Haveli Sangeet: It is related to Bhakti. It is popular in Gujarat and Rajasthan. It is generally related to
Pushti Marg Sampradaya.
3
Musical Instruments:
❖ Natyashatra talks about four musical instruments:
➢ Solid Based Instrument, Membrane Based Instrument, Wind or Air Based Instrument and String Based
Instrument.
❖ Different Vadyas of Music are:
➢ Ghana Vadya: It is also called Idiophone which is sound based. Ex: Manjira, Jaltarang, Ghungroo,
Ghatam, Khartal, Chimta and Andelu.
➢ Avanadda Vadya: It is a membrane-based phone or percussion instrument. Ex: Tabla, Drum, Dhol,
Congo, and Mridangam.
➢ Sushira Vadya: It is called the wind instruments or the Aerophones. Ex: Basuri (Flute), Shehnai, Pungi,
Been, Algoza and Ninkirns.
➢ Tata Vadya: It is a Chordophone or string instrument. Ex: Santoor, Sanangi, Violin, Tampura, Veena.
Works done to Preserve our Musical Tradition:

Institutions Related to Music:
❖ Gandharva Mahavidyalaya: It was established in 1901 by V.D.Paluskar. It was initially opened in Lahore
and it was transferred to present-day Mumbai in 1915.
❖ Prayag Sangeet Samiti: In Prayagraj, there is a school called Prayag Sangeet Samiti that teaches Carnatic
music.
❖ Kamaladevi Sangeet Mahavidyalaya: It is present in Raipur.
❖ Marris College of Music: It was established in Lucknow. It was later renamed as Bhatkhande Music
Institute Deemed University.
❖ Sangeet Natak Academy: It was established in 1952. The main focus of the academy was to create a set-up
for music, drama, and dances in India. It was supposed to be the primary body for showcasing the performing
arts in the county.
❖ Spic Macay: It was established in 1977 which stands as “Society for promotion of Indian classical music and
culture amongst the youth”. It has 200 branches.
❖ All India Musical Conference: The All India musical conference was held in 1916 in Baroda.
Indian Dances:
1. In India, we have a long tradition of dance in Prehistoric paintings.
2. We have evidence of dance in Indus Valley Civilisation in the form of Dancing girl.
3. In the south, we have many evidence like image Nataraja of the Chola period.
4. Even in medieval India, on the walls of temples there is evidence of dance.
5. Even Natyashashtra of Bharat Muni talked about dance. They are called Tandava and Lasya dances.
4
Aspects and Components of Dance:

❖ The Indian classical dances have two basic aspects:
1. Tandava (movement & rhythm): The masculine, is heroic, bold, and vigorous. It was related to Shiva.
2. Lasya (grace, bhava & rasa): The feminine is soft, lyrical, and graceful. It is related to Parvati.
❖ The three main components:
1. Natya: Highlights the dramatic element i.e. the imitation of characters.
2. Nritta: Dance where body movements do not express any mood (bhava), nor do they convey any
meaning.
3. Nritya: Essentially expressional, performed specifically to convey the meaning of a theme or idea. i.e.
mudras or gestures. It has 9 emotions called Navrasa.
✓ These 9 emotions are Shringara rasa, Hasya rasa, Karuna rasa, Adbhuta rasa, Bibhatsa rasa, Veera
rasa, Raudra rasa, Bhayanak rasa and Shanta rasa. A perfect dance expresses all 9 rasas.
Eight Classical Dances of India:

According to Sangeet Natak Academy, there are 8 classical dances of India. They are:
❖ Bharatanatyam from Tamil Nadu
❖ Kuchipudi from Andhra Pradesh
❖ Kathakali from Kerala
❖ Mohiniattam from Kerala
❖ Odissi from Odisha
❖ Kathak of North India
❖ Manipuri of Manipur
❖ Sattriya from Assam
5
Bharatnatyam (Tamil Nadu):

❖ It is the oldest dancing tradition in India.
❖ It is considered a devotional dance.
❖ It is generally performed by women.
❖ This dance is called Sadir because it is a solo dance.
❖ It is also called Dasiattam because the Devadasi system was used in the temple dancing.
❖ It is also called a fire dance because it is suggested that it is the manifestation of fire in the human body.
❖ It is mainly Lasya type but some features of Tandava also can be seen.
❖ It is also called Tanjore Natyam because four Thanjavur teachers contributed to the evolution of this dance.
They were Chinnayya, Ponnayya, Sivanandam and Vadivelu.
Poses of Bharatnatyam Dance
   
1
DAILY
CLASS NOTES
Art and Culture
Lecture – 18
Indian Dance, Martial Arts and
Drama
2
Indian Dance, Martial Arts and Drama

Bharatnatyam (Tamil Nadu):
 Some elements of Bharatanatyam recital are:
 Alarippu: The Idea of this element is to seek ideas from the god.
 Jatiswaram: Expressions start from these elements.
 Shabdam: Expressions and words start from this element.
 Varnam: Use of tala is seen here.
 Padam: Use of foot movement.
 Jawali: Fast tempo is described here.
 Thilana: It is the last point.
 Artists visualize her body as made up of triangles. Therefore, Bharatnatyam is known for sculptured poses
where knees are mostly bent. Body weight is equally distributed across both the feats.
 Generally, there are 3 basic positions of Bharatnatyam:
 Sampada: It means relaxed.
 Aramandi: It means half sitting.
 Mulu Mandi: It means sitting down on toes, back erect and thighs are stretched.
 One of the principle mudra of Bharatnatyam is Katakamukha Hasta. Here, 3 fingers are joined to form Om.
Kuchipudi (Andhra Pradesh):
 It originated in a village.
 It was influenced by Bhaktism and Vaishnavism.
 It was initially male dominated.
 It is said that Siddhendra Yogi systematized it.
 It is faster than Bharatnatyam.
 Bharatnatyam is known for sculpture pose but Kuchipudi is
known for rounded pose.
 Kuchipudi is performed in teamwork.
 It is also known as Plate Dance called Tarangam. Here, the
performer dances on the edge of a plate balancing a pot of water.
 In Kuchipudi, the dressing pattern is different. The dress of
Kuchipudi is called Burugu.
Kathakali (Kerala): Kuchipudi dancer in “Tribhanga”
 It is a special dance from Kerala where Katha means story.
 It is the most refined dance and called as Ballet of the east.
 It is known for eyebrow movement.
 Generally, an all-male group performance with few props but intricate facial make-up and headgear. Each
hue has its own meaning:
3
 Head gear is used in this dance.

 Theme of Kathakali is a mythological theme. It is generally performed in open air. Generally the theme is
good Vs evil.
Hanuman in Kathakali (Jayadeva Varma)

Mohiniattam (Kerala):
 The meaning of this dance is one who attracts.
 It is a Lasya dance known for grace.
 It is performed by women only.
 It is a solo dance.
 It is Shringara based.
 It borrows features from both Bharatanatyam and
Kathakkali.
 It is known for very attractive costumes.
 It is associated with vishnu. Mohiniattam performer
4
Odissi Dance (Odisha):

 Origin of this dance is King Kharvela in Udayagiri and Khandagiri
caves.
 It is similar to Bharatnatyam.
 There are 3 system of Odissi:
 Mahari System: It is called as devadasi system.
 Gotipua System: It is developed from Vaishnavism. Here, boys
were dressed as females.
 Nartaki System: It is developed in the Royal Court.
 It is known for its Tribhanga pose.
 In Odissi the main theme is Jayadev’s Geet Govinda which has Radha
Krishna theme.
 It is known for the creation of geometrical shapes. The most important
pose is Chauka.
 It is very graceful and Odissi dancers personify Lord Jagannath
Philosophy. Odissi Classical dance
Kathak (North India):
 It is all about the narration of the story.
 It is a beautiful blend of Hindu and Muslim culture. It was patronised by
Mughals. They were using Persian costumes.
 It is a very dynamic dance where footwork is very important. It is known
for jumps, spins, salami and Jugal bandi.
 It is also known for eyebrow movement.
 Birju Maharaj is called as the god of the Kathak.
 The origin of Kathak is Rasleela of Brijbhumi.
Manipuri (Manipur):
 Origin of Manipur dance is Vaishnavism of the 16th century. Kathak Dance
 The theme of this dance is Radha-Krishna.
 It is a devotion-based dance.
 It is known for being slow and graceful.
 Hand gestures are important but not facial expressions
here.
 Women wear long skirts in this dance.
 Rabindranath Tagore popularised this dance in Shanti
Niketan.
 They always use a drum called pung.
Manipuri Dance
5
Sattriya (Assam):
 It was popularised by Shankardeva in the 15th century.
 A white dress and white turban is used in this dance.
 It is also devotional and has mythological teachings as
theme.
 Dancers were called Bhokots.
Sattriya Dance
Folk Dance:
Chhau dance  It is a mask dance. It is popular in Jharkhand, Odisha and West Bengal.
Ottamthullal  It is called poor man’s Kathakkali. It is performed in Kerala.
Kummi  It is performed in Tamil Nadu and Kerala. It is performed during Pongal.
Hulivesha  It is from karnataka. It is performed by local youth during the Navratri

Festival.
Garba  It is from Gujarat. Held at the time of Navratri.
Tarangmel  It is from Goa. Celebrates the youthfulness of the region. It is performed

during Dussehra and Holi.
Fugdi  It is performed in Konkan region of Maharashtra and Goa.

 Performed during festivals by women.
 They dance in varied formations, mostly in circles or rows.
Ghoomar or Gangore  It is performed by the women of the Bhil tribe in Rajasthan.
Tera Tali  It from Rajasthan. It is performed by the Kamar Tribe.
Kalbelia  It is from Rajasthan. Performed by the women of the Kalbelia Community.

 The costumes and dance movements are similar to that of the serpents.
Charba  It is from Himachal Pradesh. Folk dance performed during the Dussehra
festivities.
Bangar Giddha  It is from Punjab. Giddha is the female counterpart of the male Bhangra.
Jawara  It is from Madhya Pradesh. It is performed during the Dussehra festivities.
Matki  It is from Malwa.

6
 It is performed by the women on the occasions of weddings and other

festivities. It is mainly performed solo.
Gaur Muria (Bison Horn)  It is from the Bastar region of Chhattisgarh.
Alkap  It is from Raajmahal hills of Jharkhand and Murshidabad and Malda regions
of West Bengal.
 Performed in the group.
Jhumair  It from Jharkhand and Odisha.
Biraha and Jat Jatin  It from Bihar. It is a portrayal of the pain of the women, whose partners are
away from home.
Rangma  It is the war dance of the Nagas. Weapons and warfares tactics are an
important part of their culture.
Paika  It is the martial dance of Odisha.
Padayani  It is a martial dance performed in the Bhagavati temples of southern Kerala.
Dalkhai  It is from Odisha.
Bagurumba  It is performed by the Bodo tribe of Assam.
Bihu  It is from Assam. It is performed generally during the Bihu festival.
Cheraw  It from Mizoram.
Hojagiri  It is from Tripura. It is performed by the Reang people.
Garadi  It from Puducherry. It is performed mostly in the local festivals.
Dhumal  It is performed in Jammu and Kashmir by the Wattal tribe.
Tradition of Martial Arts in India:

 The tradition of martial arts in India has a rich and diverse history that dates back thousands of years.
 These martial arts were developed for various purposes, including defense, games, health and fitness,
entertainment, and ritualistic practices.
 One of the most ancient and influential traditions of martial arts in India is the Kalari tradition, often
referred to as the "mother of martial arts" in the country.
7
Some Example of Martial Art in India:
Martial Art Region Notable Information
Kalaripayattu  Kerala  Known as the "mother of martial arts."

 Kalari refers to a specific type of
training hall where martial arts are
practised and taught.
Silambam  Tamil Nadu  Traditional martial art from Tamil

Nadu.
 The record of its origin can be traced to
Lord Murugan and Sage Agastya who
created the art of Silambam.
Kuttu Varisai  Tamil Nadu  Mentioned in Sangam literature.

 It means ‘empty hand combat’.
Gatka  Punjab  Weapon-based martial forms.

 Performed by Sikhs of Punjab.
 The name Gatka refers to someone
whose freedom is due to grace.
8
Sqay  Kashmir  Traditional martial art from Kashmir.

 Sqay is a Kashmiri martial art style,
similar to sword fighting.
Thang Ta  Manipur  Associated with Manipuri dance.

 Created by the Meitei people of
Manipur
Thoda  Himachal Pradesh  It is a mixture of martial arts, sports

and culture.
Mardani Khel  Maharashtra  It is traditional Maharashtrian Armed

martial art.
 Widely practised in the district of
Kolhapur.
9
Musti Yuddha  Uttar Pradesh  It is an unarmed martial art form

resembling boxing.
 It used techniques like kicks, punches,
and knee and elbow strikes.
Pari Khanda  Jharkhand  It entails fighting with a sword and

shield.
Paika  Odisha  It is a peasant military training school

in Odisha.
 It is a combination of dance and
combat.
Indian Theatre/Drama:
 Earliest evidence of drama is seen in the vedic period.
 Classical tradition is seen in sanskrit literature.
 Nayak, Nayaki, Vidhushak, Sutradhara and Happy ending are the important features of sanskrit tradition of
drama.
 Theater tradition of drama (Folk Drama) includes areas of north, east, west and south traditions.
 Modern theater started in 19th century.
 Neel Darpan by Dinbandhu Mitra started the awareness of theater. Then, it saw the influence of Parsi.
 In the 1940s, Prithvi theater was started.
10
 IPTA theater was developed.

 In 1959, the National school of Drama was started.
 The 1960s and 70s are considered the Golden age of theater.
 After 1980 theaters started declining.

1
DAILY
CLASS NOTES
Art & Culture
Lecture - 19
Indian Theatre, Puppetry, Sufism
2
Indian Theatre, Puppetry, Sufism.

Classical Sanskrit Theatre:
 It is an art form that includes music, dance, acting, recitation, etc.
 Rupaka, Drishyakavya, and Preksakavya are used to describe drama.
 Ancient history talks about two types of dramas.
 Lokadharmi: A realistic depiction of daily life events.
 Natyadharmi: Conventional art forms which use a better-stylized narration and symbolism.
 Anka, Bhana, Dima, Ithamgra, Nataka, Prahasana, Prakarana, Svakarna, Vithi and Vyayog are the terms
used for theater.
Different Playwrights by Prominent Personalities:
Dramatists Book Theme
Bhasa Svapnavasavadatta  Romantic narrative about the king Udayana and

Vasavadatta.
Ashvaghosh Sariputra Prakarna  Conversion of Sariputra by the Buddha.
Sudraka Mricchakatikam  Love affair of a rich merchant with the daughter of a

courtesan.
Kalidasa Malavikagnimitra,  Love affair of Malavika and Agnimitra.

Vikramorvashi, and  Love affair of Urvasi and Purarva.
Shakuntalam  Love affair of Shakuntala and Dushyant.
Bhavabhuti Malati Madhava  Love and horror
Vishakhadatta Mudrarakshasa  Court politics
Harsha Ratnavali, Priyadarsika,  About a beautiful princess named Ratnavali, and a

Nagananda great King named Udayana.
 Romantic theme, contains a play within a play,
called Garbhanka.
 Popular story of Jimutavahana’s self-sacrifice to
save the Nagas.
Regional Drama (Rural):

 These dramas are present in the region of east, west, north and southern India.
3
Regional Theater in the North:
Regional Drama Features
Bhand Pather  It is from Jammu and Kashmir.

 It is depicted through social satire and even mythical stories.
Nautanki  It is from Uttar Pradesh.

 It is mentioned in Ain-i-Akbari.
 It is a type of Swang art form.
Ramlila  It is from Uttar Pradesh and North India.
Ramman  It is from Uttarakhand.
Kariyila  It is from Garhwal region of Uttarakhand.

 It is performed at village fairs and at the time of festivals.
Maach  It is from Madhya Pradesh.

 It was based on mythological themes which later included romantic folk tales as
well.
Swangs  Two types of swang are Rohtak style and Hathras style. It is also from North India.
Naqal  It is from Punjab.
Regional Theater in the East:
Jatra It is from Bengal and is related to Chaitanya. It is generally related to music. It is known
for stylised delivery and oration.
Sumang Leela It is from Manipur. It is performed by men dressed as ladies. It is normally referred to as
courtyard play.
Ankia-nat (Bhoana) It is from Assam. It was popularized by Shankardev. The plays usually combine live
instruments and singers, dance and elaborate costumes in production.
Ojapali It is also from Assam. The repertoire of this performance consists of songs, dialogues,
gestures, improvised acting and dramatization etc.
4
Daskathia It is from Odisha. Prahlad Natak is famous in Odisha. In the performance, the
performers use a pair of wooden instruments to create music.
Theater Tradition from Western India:
Regional drama Features
Bhavai  It is from Gujarat. It has a rare synthesis of devotional and romantic

sentiments.
Tamasha  It is from Maharashtra. It is known for Humor and erotic content.
Garoda  It is from Gujarat.

 A popular art form of the ‘Garoda’ community of Gujarat.
Dashavatar  It is from Konkan area like Goa, Maharashtra.

 A popular art form of the ‘Garoda’ community of Gujarat.
Powada  Here heroic deeds of Shivaji are presented. It is also from Maharashtra.
Theatre Tradition of South India:
Regional Dance Features
Yakshagana  It is from Karnataka. It was popular in Vijaynagar court.
Tal Maddale  It is from Karnataka.

 It is popularly known as the predecessor of Yakshagana.
Bhuta Aradhana  It is from Karnataka
Bayalata  It is from Karnataka.

 It is performed in an open-air theatre, a tradition in Karnataka during the
worship of the local deity.
Therukoothu  It is a street theater in Tamilnadu.

 Mahabharata and Ramayana are the theme of this dance.
Koodiyattam  It is India’s oldest continuing form of theater.

5
Burrakatha  It is from Andhra Pradesh.

 It is performed by the main artists or narrator and two vanthas or co-
artists who helped with the rhythm as well as in the chorus.
Villu Paatu  It is from Tamilnadu.
Theyyam  It is from Kerala.
Krishnattam  It is a colourful dance-drama tradition of Kerala that originated in the 17th

century
Pagati Veshalu  It is from Telangana.

 It consists of a role-playing act involving the main character known as
vesham (disguise) and other sub-characters.
Indian Puppetry:
 The earliest reference to the art of puppetry is found in Tamil classic ‘Silappadikaram’ written around
the 1st or 2nd century B.C
 Natyashastra, written during 2nd century BC to 2nd century AD., does not refer to the art of puppetry but
the producer- cum-director of the human theatre which has been termed as Sutradhar meaning the holder of
strings.
String Puppetry:
 About:
 String puppets, also known as marionettes, have a long and illustrious history in India.
 Marionette: A marionette is a puppet controlled from above using wires or strings depending on
regional variations. A marionette’s puppeteer is called a marionette.
6
 Examples:
Kalasutri of Bahuliya  The performers of kalasutri bahulya (kalasutri, string, and bahulya,
(Maharashtra) puppet), are descendants of puppeteer families who originally came from
Rajasthan and Gujarat.
Kathputli (Rajasthan)  It is the most popular form of puppetry.

 Its name is derived from the words ‘Kath’ (wood) and ‘putli’ (doll).
 The puppets are dressed in traditional Rajasthani garb.
Gombeyaata (Karnataka)  They are modelled after the various characters from the Yakshagana
theatres.
 This puppetry is distinguished by the use of more than one puppeteer to
manipulate the puppets.
Bommalattam (Tamil Nadu)  It is the largest puppetry form.

 It combines rod and string puppetry elements. The strings are attached to
an iron ring that the puppeteer wears on his head.
7
Glove Puppets:
 Glove puppets are also known as sleeve, hand, or palm puppets.
 The head is made of papier mache, cloth, or wood, and it has two hands that emerge from just below the
neck. The remainder of the figure is made up of a long flowing skirt.
Example:
Pavakoothu (Kerala)  Here manipulation of fingers happens.

 It came into existence during the 18th century due to the influence of
Kathakali, on puppet performances.
Rods Puppets:
 Rod puppets are an extension of glove puppets but are often much larger and supported and manipulated by
rods from below.
Examples:
Yamapuri in Bihar  It depicts death, the hindu god of death and the Heaven of Hindu
tradition.
Putul Nach in Benga  It literally means doll dance and spread across some of the north
eastern states like Tripura also.
8
Shadow puppets:
 India has the most diverse range of shadow puppet types and styles. Shadow puppets are two-dimensional
figures.
Examples:
Togalu Gombeyatta from Karnataka  Gombe means Doll. The performance usually starts
with an invocation to the Hindu god Ganesha placed
under a tree, surrounded by peacock, rooster and
parrots accompanied by Hindu goddess of learning
Saraswati, clowns Killikyeta and his wife Bagarakka
Ravana Chhaya from Odisha  Rabana Chhaya performances are held at night, the
shadow of the puppets being projected onto a white
curtain against the light of an oil lamp.
Tholu Bommalattam from Andhra  The performance begins with a series of sung
invocations and a line of ornate, strikingly stylized
puppets pinned in overlapping fashion onto the sides
of the screen.
9
Tribal Puppetry:
Chadar Badni - Santhals  Chadar Badar is a traditional puppet of Santhal which was in news recently.
Of Jharkhand  Chadar Badar, also known as Santhal Puppetry, is a tribal performing art
practised primarily by the Santhal people in the Indian states of Jharkhand,
West Bengal, Odisha, Bihar, and Assam.
Bhakti and Sufi Movement:

Sufism/Tasawwuf:
 Sufism or Tasawwuf means spiritual and mystic movements in Islam.
 Sufi mystic traditions became more visible during the 14th century of the Delhi Sultanate and after it to the
rest of India.
 It believed in the direct connection between man and God.
 It followed the Islamic law-Sharia.
 In Sufism, Pir means Saint and Mureed means Disciple.
 Sufism emphasizes the importance of self-discipline to gain knowledge.
 They preached the unity of God and self-surrender unto him in almost the same way as the votaries of
the Nïrgun Bhakti movement did.
Sources to Construct the Story of Sufism:
 Kashf-ul-Mahjub of Ali bin Usman Hujwiri.
 Malfuzat- Conversations of Sufi saints.
 Maktubat- collection of letters.
 Tazkiras- Biographical accounts of saints.
Growth of Sufism:
 The 8th century was the first stage which was a formative stage. Rabia of Basra played an important role
in this century.
 In the 10th century, Mahsur Alhallaj played an important role. He called himself as Anal Haq means ‘I am
the God’.
 There was organised sufi movement and Ibul Arabi developed a theory or principle called Wahdat-ul-
Wujud that is unity of being men and god.
 In India, Sufism started in the 11th century and 12th century and was divided into 12 orders. They started
living in Silsilah.
 Most popular order in India was Chisti Silsilah. Orders were of two types Beshara and Bashara.
 Beshara did not believe in Sharia law.
10
 They believe in Wahdat-ul-Wujud and devotional music.

 They believed in Pir-Murid(Gur-Student relation), Sama (Musical gathering), Fana (identity with god).
 They also believed in devotion, tolerance and love.
Popular Chishti Saints:
 Khwaja Muiddin Chisti of Ajmer.
 Qutubuddin Bhaktiyar Kaki of Delhi.
 Sheikh Nizamuddin Auliya (Sidh Mahboob-e-Ilahi).
 Sheikh Nasiruddin Mahmmud (Chirag-e-Delhi).
 Sheikh Hamiduddin of Nagaur.
Types of Silsila:
 Suhravardi Silsila: It was founded by Sheikh Shihabuddin Suhrawadi in Baghdad. The silsila was spread in
India by Sheikh Bahauddun Zakariya in the 11th to 12th century period, who was known as Sheikh-ul-
Islam by Sultan Iltutmish.
 Qadaria Silsila: It was founded by Abdul Qadir Gilani (Pir dastagir). The silsila in India was introduced by
Shah Namatullah who made it popular in Punjab and Sindh region. It followed the idea of Wahadut-al-
Wajid.
 Naqshbandia Silsila: It was founded by Khwaja Bahauddin Naqshbandi in India and the famous saint of the
silsila was sheikh Ahmed Sarhindi who gave himself the title of Mujeddid Ali Saffani (Reformer of the new
millennium).
 Shattari and Firdusia Silsila: It was founded by Sheikh Sirajuddin Abdullah Shattar during the 14th century
AD. The silsila gained importance in Malwa, Jaunpur and Bengal.
Impact and Significance of Sufism:
 They showed the spirit of toleration.
 They were known for their liberal approach.
 Their efforts led to the religion of fanaticism.
 They influenced the politics of the time, like liberal policies of the ruler, Sulh-e-Kul of Akbar.
 They criticised many social evils.
 Cultural impact, new literature and Hindu-Muslim unity started here.

1
DAILY
CLASS NOTES
Art and Culture
Lecture - 20
Bhakti Movement
2
Bhakti Movement
Bhaktism:
 The seeds of Bhakti are found in Vedas and Upanishads.
 Bhakti is an ancient concept, and it means devotional surrender to a personally conceived god to attain
salvation.
 Bhakti started gaining popularity between 7-10th centuries A.D. in South India because of the contributions
of Alvar and Nayanar saints.
 Alvars were the total of 12 Vaishnav saints, namely Nammalvar, Thitumangai Mannan, and Andal. Some
people call Andal the Meera of the South.
 Nayanars were the total of 63 Shaiva saints, namely Appar, Sambandar, Sundaramurti, Karaikal, Ammaiyar,
and Manikkavachakar.
Sources to reconstruct the Bhakti tradition:

1. Composition attributed to Poet-Saints:
 Vachanas of Basavanna
 Bijak of Kabir
 Jnaneshwar of Jnanadeva
 Abhang of Eknath.
2. Tirumaurai and Nalayira Divyaprabhandam are the very important sources for Tamil devotionalism.
3. Biographies of saints are called hagiographies.
General Features of the Bhakti Movement:

 All the Bhakti saints were monotheists, meaning they all believed in one god.
 They all believed in only one way of establishing communication with God, and this was personally
experienced communication. They all believed in direct connection with God.
 They all rejected the authority of priestly class and religious scriptures.
 They all rejected rituals.
 It was inclusive in nature.
 They rejected the caste system. They rejected discrimination.
 They used popular languages to connect people.
 They were also against idol worship.
 They believed in worldly life.
 They believed in equality and brotherhood.
 They believed in love, respect, and tolerance.
 They travelled widely to propagate their ideas.
Examples:
 In South India, Bhakti movement was continued by Veerashaiva tradition in Karnataka. Veerashiva
tradition in Karnataka developed in the 12th century, and it was led by Basavanna.
3
 He was initially Jain, and he was also a minister, and his followers were called Veerashaiva. They were also
called Jangama (Wandering Aesthetics). They used Kannada language. They were also called the Lingayat
movement.
 They also rejected the idea of caste and pollution.
Ramanujacharya (11th-12th century):

 He is considered the most respected Bhakti saint in Tamil Nadu.
 He is known for his philosophy of Vishistadavita.
 Shankaracharya talked about Advaita and Jnana Marg, but Ramanujacharya talked about Bhakti.
 Recently, there was a statue of equality in Hyderabad, which is considered the second tallest statue.
Madhvacharya:
 He was also born in Karnataka.
 He proposed Dvaita philosophy.
Nimbarkacharya:
 He was a Telugu teacher from Andhra area.
 He was known for Dvaita-Advaita.
Vallabhacharya:
 He was very popular in the Andhra area in the 15th and 16th centuries.
 He was known for Shudha Advaita.
 He was also known for Pushtimarg Sampradaya.
Ramananda:
 He was born in Allahabad in the 15th century.
 He was known for use of Bhakti.
 He was a link between South Indian and North Indian Bhakti.
 He was known for his 12 students, namely Bhavanand, Sukhanand, Anantananda, Susrsurananada,
Aasananda, Raidas, Pipa (Rajput King), Kabir, Sen, Dhanna, Ravidas, Sursuri or Pradnyawati.
 All these students popularised Bhaktism.
 Two types of Bhakti traditions, called Sagun Bhakti and Nirguna Bhakti, started.
 Kabir and Guru Nanak belonged to Nirguna Bhakti, which talks about formless Bhakti, and Meerabai
and Tulsidas belonged to Saguna Bhakti, which talks about Bhakti in the form of Krishna or Rama.
Kabir:
 He was a Nirguna Bhakti saint.
 He was the most famous student of Ramanand.
 There is no clear idea about his early life, but he probably belongs to a family of weavers.
 He spent a greater part of his life in Varanasi.
 He was also influenced by Yogis like Nath Panthis.
 His ideas are compiled in Bijak.
 He was known for speaking his mind fearlessly.
4
 He never differentiated between Hinduism and Islam.

 He suggested that without love, religion is meaningless.
Guru Nanak:
 He was born in Punjab.
 He also believed in one god.
 He also rejected caste.
 He conceived god as Nirankar.
 He believed in service to humanity.
 He also believed in purity of character.
 He became so popular that it led to the development of Sikh religion.
Chaitanya Mahaprabhu (Bengal):

 He popularised Krishna Bhakti.
 He was considered as the avatar of Krishna, and he popularised Kirtana.
 His followers belong to all castes.
 He was associated with the Gossain sect.
 His original name was Vishwambar.
 He didn't give up traditional Brahminic values.


Art & Culture Compilation Notes - PDF ONLY

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Art & Culture Compilation Notes - PDF ONLY

Uploaded by

Copyright:

Available Formats

1

Art and Culture

2. Architecture in India (Part - 01) ........................................................................................... (6 to 10)

3. Architecture in India (Part-02) ........................................................................................... (11 to 15)

4. Architecture in India (Part-03) ................................................................................. ……. (16 to 20)

5. Architecture in India (Part-04) ........................................................................................... (21 to 27)

6. Architecture in India (Part-05) ........................................................................................... (28 to 32)

7. Architecture in India (Part-06) ................................................................................. ……. (33 to 42)

8. Architecture in India (Part-07) .......................................................................................... (43 to 49)

9. Architecture in India (Part-08) ................................................................................ ……. (50 to 55)

Architecture in India (Part - 01)

Analysis of Harappan Architecture:

❖ It emphasized personal and public hygiene.

Some of the Features of Mauryan Pillar:

Architecture in India (Part-02)

❖ Yashti is a wooden rod.

Examples of Stupa of Mauryan period:

Architecture in India (Part-03)

Pillars of Post Mauryan Period:

Temple like Structure:

Architecture of the Gupta Period:

States of Temple Architecture:

Features of Nagara School of Architecture:

Architecture in India (Part-04)

Features of Nagara School of Architecture:

❖ It possesses a mandapa which is a prayer hall.

Types of Nagara School of Architecture:

➢ Rekha duel: It was a straight duel.

Examples of this School of Architecture:

❖ Bhog mandir and Nat mandir were features of this architecture.

Examples of this Architecture:

Other Important Information:

Architecture in India (Part - 05)

Dravida style of temple architecture

Brihadeswara Temple in Tanjore

Meenakshi Temple in Madurai

Vesara Style of Temple Architecture:

Architecture in India (Part-06)

Doddabasappa Temple in Dambal

Kailashnath Temple in Ellora:

❖ Examples of their temples are:

Hoysaleswara Temple, Halebid

Some Secular buildings of Vijayanagar:

Virupaksha Temple, Hampi

Examples of Temples Outside India:

❖ Angakorvat temple is the largest temple constructed by Suryavarman II.

❖ Now, there is the use of Minar.

Architecture in India (Part-07)

 Now, there is the use of Minar.

 Use of colorful stone called the Pietra Dura technique developed.

 There was use of the Char Bagh style of architecture.

Purpose of this Building was:

 Tomb of Sultan Ghari:

Phase II: Khilji dynasty (Seljuk architecture).

 In Gaur, Qadam Rasul mosque and Barsona mosque were constructed.

Architecture in India (Part - 08)

Fort at Fatehpur Sikri:

Itimad Ud Daulah tomb at Agra:

Other Notable Architects:

 He was known for constructing Mosques and big forts.

Phase 2: Neo-Roman Architecture:

Use of Symbols in Images:

Development of Sculpture in India: