Cultural Developments in Medieval India, Exams of Cognitive Development

Download Cultural Developments in Medieval India and more Exams Cognitive Development in PDF only on Docsity! 224 HISTORY MODULE - 2 Medieval India CULTURAL DEVELOPMENTS IN MEDIEVAL INDIA 14 Notes The Medieval period is considered as an age of great cultural synthesis in India. During this period a new phase of cultural development was initiated. The Turks and Mughals introduced fresh ideas and helped in giving rise to new features in the areas of religion, philosophy and ideas, Language and Literature, Styles of architecture and use of building material, Painting and Fine arts, Music and performing arts. India already had a very rich cultural tradition in all spheres. The synthesis between different cultures gave birth to new philosophical and religious traditions, ideas, forms and styles in almost all spheres‘ of culture. In this lesson you would be introduced to these new cultural developments in some important spheres. We will mainly focus on: new religious movements like Sufism and Bhakti, rise of Sikhism as a new religion, growth of Urdu and Persian language and literature, growth of literature in various Indian languages, the architecture of the Sultanate and Mughals with regional variations, new forms of music, the Mughal painting and other new styles that emerged in India. We hope that the study of this lesson will enhance your understanding about culture during this period. OBJECTIVES After studying this lesson you will be able to: know the philosophy and practices of various orders of Sufis in India; discuss the philosophy, and practices of various orders of Bhakti saints in India; trace the rise of Sikhism, its practices, institution of Gurus and Khalsa panth; describe various styles and forms of painting in medieval India; discuss the rise of new languages and the growth of literature in medieval India; discuss various schools of music and dance styles in medieval India and describe main styles, materials used and techniques adopted in medieval archi- tecture. 225 MODULE - 2 Medieval India Notes HISTORY Cultural Developments in Medieval India 14.1 SUFISM ‘Sufism’ is a term used to refer to mystical religious ideas in Islam. It had evolved into a well developed movement by the 11th century. Sufis, stress on the importance of traversing the path of the Sufi pir enabling one to establish a direct communion with the divine. Sufism or mysticism emerged in the 8th century and among the early known Sufis were Rabia al-Adawiya, Al-Junaid and Bayazid Bastami. Fundamental to sufism is God, Man and the relation between them that is Love. They believe that from man emerged the theories of ruh (soul), qurbat (divine proximity) and hulul (infusion of the divine spirit) and that from relation between God and Man ideas such as Ishq (divine love) and Fana (self annihilation) come into being. The Sufis were regarded as people who kept their heart pure; they sought to communicate with God though their ascetic practices and doctrine of divine love and union with God. The murid (disciple) passes through maqamat (various stages) in this process of experiencing communication with the divine. The khanqah (the hospice) was the center of activities of the various sufis orders. The khanqah was led by shaikh, pir or murshid (teacher) who lived with his mu- rids (disciples). In time the Khanqahs emerged as important centres of learning and preaching. By the twelfth century the sufis were organized in silsilahs (orders). The word silsila meant chain and it represented signifying an unbreakable chain between the pir and the murid. With the death of the pir his tomb or shrine the dargah became a centre for his disciples and followers. In the 10th century Sufism spread across important regions of the Islamic empire. Iran, Khurasan, Transoxiana, Egypt, Syria and Baghdad were important Sufi centers. Al-Ghazali, (1059–1111 A.D.) is among the most venerated of Sufis. He reconciled Islamic mysticism with Islamic orthodoxy, providing Sufi mysticism a secure place in Islam. He stressed on the need for the disciple to follow the guidance of the spiritual master. He also emphasised on the supreme authority of the holy Prophet and the need to obey laws in both letter and spirit The Sufi movement in India commenced in the 11th century A.D. Al Hujwiri, who established himself in north India was buried in Lahore and regarded as the oldest Sufi in the sub Continent. Among the important Sufi Orders in the history of Medieval India were those of the Chishtitiya, Suhrawardiya, Qadiriya and Naqshbandiya. Chisti and the Suhrawardi silsilahs were popular during the Sultanate period. The Suhrawardis were active in Punjab and Sindh while the Chishti’s were active in Delhi, Rajasthan and parts of the western gangetic plains. By the end of the sultanate period they had spread to the eastern regions of the gangetic plain (Bihar and Bengal) and into the Deccan. During the medieval period the Sufis played an important role in interpreting and elaborating on Islamic theological concepts like Wahdat ul Wujud (unity of being) and also encouraged the development of practices like Ziyarat (the practice of visiting tombs). The Sufi movement as it emerged in India had the following features: The Sufis were organized in a number of different silsilahs (orders) Most of these orders were led by some prominent sufi saint or pir. It was named after them and was followed by his disciples. The Sufis believed that for union with God one needs a spiritual guru or Pir. The sufi pirs lived in Khanqahs with their disciples 228 HISTORY MODULE - 2 Medieval India Notes Cultural Developments in Medieval India denounced all innovations or biddat. Sheikh Baqi Billah the successor to Khawaja Bahauddin Naqshbandi settled near Delhi, and his successor Shaikh Ahmad Sirhindi attempted to purge Islam from all liberal and what he believed were ‘un-Islamic’ prac- tices. He opposed the listening of sama (religious music) and the practice of pilgrimage to the tombs of saints. He opposed interaction with Hindus and Shias. He criticised the new status accorded by Akbar to many non-Muslims, the withdrawal of the Jizyah and the ban on cow slaughter. He believed that he was the mujaddid (renewer) of the first millennium of Islam. He maintained that the relationship between man and God was that between the slave and the master and not the relation of a lover and beloved. He emphasised the individual’s unique relation of faith and responsibility to God as creator. He tried to harmonise the doctrines of mysticism and the teachings of orthodox Islam. The Qadri Silsilah The Quadiriyya silsilah was popular in Punjab. Sheikh Abdul Qadir and his sons were supporters of the Mughals under Akbar. The pirs of this Order supported the concept of Wahdat al Wajud. Among the famous Sufis of this order was Miyan Mir who had enrolled the Mughal princess Jahanara and her brother Dara as disciples. The influence of the sheikh’s teachings is evident in the works of the prince. Shah Badakhshani another pir of this silsilah while dismissing orthodox elements, declared that, the infidel who had perceived reality and recognised it was a believer and that a believer who did not recognise reality was an infidel. During medieval period there was constant tension between the liberal and orthodox views in Islam. The sufis featured on both sides, while there were those like the Chishtis who held a liberal view and argued in favour of assimilation of local traditions there were others like sheikh Abdul Haqq of the Qadiriyya silsilah who held the view that the purity of Islam was being diluted. This Orthodox view was represented by the ulema that argued from the perspective of being upholders of the shariat. The liberal opinion found its voice among many sufis who argued against the narrow definition of Islamic laws by the ulema. INTEXT QUESTIONS 14.1 1. Who is a Pir? 2. Who was Al-Ghazali? 3. What do you understand by the term “Sama”? 4. Which famous chishti sufi saint lived during the time of the Khalji’s and Tughlaq’s? 5. Who was Shaikh Abdul Qadir? 14.2 THE BHAKTI MOVEMENT The Bhakti movement in Indian history represents a movement that popularized de- votional surrender to a personally conceived supreme God. Its origins are traced to 229 MODULE - 2 Medieval India Notes HISTORY Cultural Developments in Medieval India the Brahamanical and Buddhist traditions of ancient India. It was in south India that it grew from a religious tradition into a popular movement based on religious equality and broad based social participation. The movement led by popular saints reached its climax in the 10th century A.D. In its attempt to embrace the concept of bhakti the movement in different regions drew from diverse traditions and assumed different forms in different parts of the sub continent. The bhakti movement attempted to break away from orthodox Brahmanism. The movement gathered momentum in the early medieval period. Historians have attempted to associate the origins of the bhakti movement in India with the advent of Islam and the spread of Sufism. They argue that the Turkish conquest paved the way for a reaction against the conformist Rajput-Brahman domination. The rise of bhakti move- ment is considered by some scholars as a reaction against feudal oppression. The anti feudal tone in the poetry of bhakti saints like Kabir, Nanak, Chaitanya and Tulsidas are seen as illustrations of this point. There is no single opinion about the origins of the bhakti movement that can be sustained. It is clear from the poetry and the philosophy of the bhakti saints that they broke away from orthodox Brahmanism. They believed in religious equality and identified themselves with the sufferings of the common people. Some scholars feel that the socio economic changes in the early medieval period provide the necessary backdrop to understand the emergence of the Bhakti move- ment. During the 13th and 14th centuries the demand for manufactured goods, luxuries and other artisanal goods increased leading to a movement of artisans into the cities. The artisans were attracted to bhakti because of its ideas of equality. These groups were dissatisfied with the low status accorded to them by Brahmanical system. The movement gained support from these classes of society. There were also a few varia- tions in places like Punjab where not only Khatris but Jat peasants as were also attracted to this movement. The bhakti movement in the early medieval period represents an important movement of reform and change. After the rise of heterodox movements of the 6th century BC the bhakti movement represents another phase of Indian history in which new ideas and practices emerged influencing the country as a whole initiating reform movements. The Bhakti movement in north India The bhakti movement in the north included socio religious movements that were linked to one of the acharyas from the south and is sometimes seen as a continuation of the move- ment that originated in the south. Though there were similarities in the traditions of the two regions, the notion of bhakti varied in the teachings of each of the saints. The Nirguna Bhaktas like Kabir rejected the varnaashrama and all conventions based on caste distinc- tion and championed new values, helping the emergence of new groups and new unortho- dox/protestant sects. The Saguna Bhaktas like Tulsidas on the other hand upheld the caste system and the supremacy of the Brahmins. They preached religion of surrender and simple faith in a personal god and had a strong commitment to idol worship. Monotheistic Bhakti Kabir (c.1440–1518 A.D.) was the earliest and most influential Bhakti saint in north India. He was a weaver. He spent a large part of his life in Banaras. His poems were included in the Sikh scripture, the Adi Granth. Among those who were influenced by Kabir were Raidas, who was a tanner by caste from Banaras, Guru Nanak who was a Khatri from Punjab and Dhanna who was a Jat peasant from Rajasthan. 230 HISTORY MODULE - 2 Medieval India Notes Cultural Developments in Medieval India There are similarities in the teachings of the various monotheistic Bhakti saints in North India. Most of the monotheists belonged to the low castes and were aware that there existed a unity in their ideas. They were also aware of each other’s teachings and influence. In their verses they mention each other and their predecessors in a manner suggesting ideological affinity among them. All of them were influenced by the Vaishnava concept of Bhakti, the Nathpanthi movement and Sufism. Their ideas seem to be a synthesis of the three traditions. The importance given to the personal experience of Bhakti saint with God was another common feature among the monotheistic bhakti saints. Nirguna bhakti and not saguna bhakti was what they believed in. They had adopted the notion of bhakti from vaishnavaism but they gave it a nirguna orientation. Though they called God using different names and titles their God was non-incarnate, formless, eternal and ineffable. The Bhakti saints refused any formal association with the organized dominant religions of the time (Hinduism and Islam) and criticized what they regarded to be the negative aspects of these religions. They rejected the authority of the Brahmans and attacked the caste system and practice of idolatry. They composed their poems in popular languages and dialects spoken across north India. This enabled them to transmit their ideas among the masses. It helped their ideas to spread rapidly among the various lower classes. Vaishnava Bhakti In the 14th and early 15th centuries Ramananda emerged as a popular vaishnava bhakti saint in north India. Though he was from the south he lived in Banaras because he considered it to be the link between the South Indian bhakti and North Indian vaishnava bhakti traditions. He looked upon Ram and not Vishnu as the object of bhakti. He worshiped Ram and Sita and came to be identified as the founder of the Ram cult in north India. He like the monotheist bhakti saints also rejected cast hierarchies and preached in the local languages in his attempt to popularize the cult. His followers are called Ramanandis. Tulsidas also championed the bhakti cause. In the early 16 century Vallabacharya, a popular bhakti saint popularized the Krishna bhakti. Among those who followed in his footsteps were Surdas (1483–1563) and Mira Bai (1503–1573). The vaishnava bhakti movement in Bengal was very different form its counterparts in north India and the south. It was influenced by the vaishnava bhakti tradition of the Bhagavata purana and the Sahajiya Buddhist and Nathpanthi traditions. These tradi- tions focused on esoteric and emotional aspects of devotion. In the 12th century, Jayadeva was an important bhakti saint in this tradition. He highlighted the mystical dimension of love with reference to Krishna and Radha. Chaitanya was a popular bhakti saint from the region; he was looked upon as an avatara of Krishna. Though, he did not question the authority of the Brahmans and the scriptures. He also popular- ized the sankirtan (group devotional songs accompanied with ecstatic dancing). With him the bhakti movement in Bengal began to develop into a reform movement with the notions of caste divisions that came to be questioned. In Maharashtra the bhakti movement drew its inspiration from the Bhagavata purana and the Siva Nathpanthis. Jnaneswar was a pioneer bhakti saint of Maharashtra. His commentary on the Bhagavad Gita called Jnanesvari served as a foundation of the 233 MODULE - 2 Medieval India Notes HISTORY Cultural Developments in Medieval India During the first half of the medieval period Sanskrit received patronage from the numerous smaller political establishments in central and south India. In western India Hemachandra Suri was an important Jain scholar who composed works in Sanskrit, as was Chaitanya. There were also many dramas written during this period. A new style of writing called the champu also emerged during this period. It was a form that mixed both prose and poetry. Among the Sanskrit works that were written with the patronage of the Rajput kings were their family histories like the Prithvirajavijaya and the Hammirmahakavya. Among the historical poems of the period was the Rajavinoda that was a biography of Sultan Mahmud Begarha of Gujarat written by his court poet, Udayaraja. Another important work was Kalhan’s Rajtarangini, which presented a history of the kings of Kashmir. It was written in the 12th century A.D. The second Rajtaranginni was written by Jonaraja who wrote the history of the kings of Kashmir from Jayasimha to Sultan Zainul Abidin and the third was written by Srivara who wrote the history of the region till 1486. Apart from these there were the prabandhas which were semi historical texts written during the period. After the 15th century the patronage of the Sanskrit language was maintained in the southern courts of the rulers of Vijayanagar, Nayakas of Tanjor and the chiefs of Travancore and Cochin. The various genres of Sanskrit literature like Mahakavyas, Slesh Kavyas, Champu Kavyas, Natakas and the historical Kavyas continued. Among the important writers of this period were Govinda Dikshita (Sahitya Sudha and Sangitsudhanidhi being among his important works); Appaya Dikshita (in the court of the Nayaka ruler of Vellore); Nilanatha Dikshit (who was a minister in the court of the Nayaka of Madurai); Chakrakavi (who was patronized by the rulers of Kozhikode). The historical Kavyas gave a glimpse not just of the exploits of the various rulers but also a glimpse of the social perception of the writers. Some of the Mughals like Dara Shukoh also came to be mentioned in these Kavyas. The Mughal prince is also cred- ited with the composition of a prasasti in honour of Nrisimha Sarasvati of Benaras. There were also a few works composed in the courts of the rulers of Bijapur and Golconda, but Sanskrit literature during this period began to decline. Persian literature With the establishment of the Delhi sultanate a new language and literary style was introduced into the sub continent. The development of Persian literature in the sub continent entered a new era in the writings of Amir Khusrau. He was a poet born in a family of Turkish immigrants and began as a poet in the reign of Sultan Balban. He was a disciple of Nizamuddin Auliya and was patronized in the courts of Jalaluddin Khalji, Alauddin Khalji and Ghiyasuddin Tughluq. He is said to have composed ninety-nine works on different themes and numerous verses of poetry. His poetry was written in the different forms of lyric, ode, epic and elegy. His writing style represents the first instance of Persian styles being composed in the Indian context. This came to be known as the Sabaq-i-Hindi (the Indian style). Among the important works composed by him are, Mutla-ul-Anwar, Shirin Khusrau, Laila Majnun and Ayina-I-Sikandari, these works were dedi- cated to Alauddin Khalji. Amorig his five Diwans (Ghazals) are Tuhfat-us-Sighar, Baqiya Naqiya and Nihayat-ul-Kamal. He also wrote masnavis (narrative poems), which have been of great historical and literary value. Among these are the Qiran-us Sa’dain, Miftah-ul Futuh (dealing with the military success of Jalauddin Khalji), Tughluq Nama (describing Ghiyasuddin Tughluq’s rise to power) and the 234 HISTORY MODULE - 2 Medieval India Notes Cultural Developments in Medieval India Khazain-ul Futuh (giving an account of Alauddin Khalji’s conquest of the South). Among the other important Persian poets was Shaikh Najmuddin Hasan who was also one of the poets in the court of Alauddin Khalji. His ghazals earned him the title, S’aid of Hindustan. The court chronicles were an important feature of the literature during the period of the Delhi Sultanate. Some important of these were, the Tabaqat-I-Nasiri by Minaj-us Siraj, Futuh-us Salatin by Isami and the Futuhat-I Firozshahi by Feroz Shah Tughluq. Ziauddin Barani made the most important contribution to Persian literature during this period. The Tarikh-I Firozshahi and the Fatwa-I Jahandari are his important works. The Sufi literature of the period developed a new form called the malfuzat that was in the form of a dialogue of the Sufi saints. The most famous of these was the Fawaid-ul Fu’ad written by Amir Hassan Sijzi containing the anecdotes of the Shaikh Nizamuddin Auliya and Khair-ul-Majalis containing the anecdotes of Sheik Nasiruddin Mahmud. During this period there were many works that were translated into Persian. The Tuti Nama (book of the parrot) by Zia Nakshabi was the first Persian translation of Sanskrit stories. The Mahabharatha and the Rajtarangini were also translated into Persian during this period. The number of translations of Sanskrit works into Persian grew during the reigns of Feroz Tughluq and Sikandar Lodi. Like that of the sultanate, Persian also continued as the official language of the Mughal court. The Mughal rulers and princes also maintained a tradition of writing. The first Mughal emperor Babur, himself a literary figure, wrote his memoirs in Turkish which was subsequently translated into Persian by Abdur Rahim Khan Khanan. Humayun composed a Persian diwan. Prince Dara Shukoh wrote a biographical account of the Sufi saint Miya Mir and his disciples in the Sakinatul Auliya. He also wrote the Majm’aul Bahrain (Mingling of two Oceans). There was a new genre of Persian literature known as the Sabaq-i-Hindi (the Indian style) created during this period by the Persian poets visiting and living in the sub continent. Writers like Faizi, Urfi, Talib, Ghani Kashmiri and Bedil were among those who benefited from the patronage they received from the Mughals. Among the important works of Faizi was Tabashir al Sabh. He also authored many translations of Hindu religious books. Abdur Rahim Khan Khana a talented scholar and poet lived during the reign of Akbar and Jahangir. Akbar patronized great scholar historian Abul Fazl. He is said to have maintained a library of more than four thousand books. He is known for the patronage he extended to many writers of the period. The poets Ali Quli Salem and Abu Talib Kalim were important poets during the reign of Shah Jahan. The latter is said to have authored the Padshahnama. Persian literature in the south received patronage from the Adil Shahi rulers of Bijapur, here Malik Qummi and Mulla Zuhuri were regarded as important Persian poets. The Qutab Shahis of Golconda patronized poets like Muhammad Hussain Tabrezi. The development of Persian literature in the Mughal court played an important role and influenced the development and growth of regional literature. Languages like Punjabi, Pushtu, Sindhi and Kashmiri were strongly influenced by Persian. Growth and Development of Regional Languages The growth of regional languages like Hindi, Bengali, Assamese, Oriya, Marathi and Gujarati during the medieval period was an important development. These languages can be traced to the 7th and 8th centuries when they seem to have broken away from their Prakrit base. In the south Malayalam emerged as an independent language in the 14th century. The growth of these regional languages coincided with a growing regional sentiment and the emergence of regional polities. This resulted in the decline of Sanskrit that was being replaced by Persian and some of these regional languages as a medium through which the 235 MODULE - 2 Medieval India Notes HISTORY Cultural Developments in Medieval India administrative machinery functioned. The rise of the Bhakti movement and its propagation using these languages also enabled the growth and development of these languages. Hindi and Urdu Regional dialects like Braj bhasa, Haryanvi and other dialects spoken in regions around Delhi and Punjab influenced the development of Urdu during its formative stage. The basic structure of the language consisted of Khari Boli (a mixture of various dialects spoken in the region mentioned above). The language adopted the Persian script and literary tradition. The word Urdu is of Turkish origin referring to an army or camp. It seems to have been a language that emerged from the dialect spoken in the Turkish camp between officials and the soldiers. Hindivi is said to be the language out of which Urdu and Hindi eventually developed. The works of Amir Khusrau are regarded to have laid the foundations of this language. The use of this language in the Deccan from the 14th century onwards led to a literary speech called the Dakhni. The major centres of this language were Gujarat, Bijapur, Golconda, Bidar and Aurangabad. The oldest writer of this tradition was Sayyid Banda Nawaz Gesudaraz who was an important Sufi in the Bahmani kingdom. The sultan of Bijapur, Ibrahim Adil Shah II himself was a great patron and author of a book on music in the Dakhni language. Hindi evolved during the Apabhransa stage between the 7th – 8th centuries and the 14th century. It was characterized as Veergatha Kala (age of heroic poetry) or the Adi Kala (early Period). The various Rajput rulers patronized these poems written in the rajasthani dialect of Hindi and that glorified chivalry and bravery. Among the famous works are the Prithviraja Raso of Chand Bardai, and other poems like the Visaldeva Raso and Hammir Raso. The authenticity of many of these works is doubted because of the various interpolations made to the original draft. There are other works of Buddhists and Jains that can be ascribed to this period. The development of the Hindi language underwent another transformation during the 14th and the 15 centuries with the increasing use of the language in expressing Bhakti traditions and ideas. Kabir adopted a style called the ultabasi, which consisted of paradoxes and enigmas. While bhakti saints like Tulsidas used the Awadhi dialect of Hindi others like Mira Bai used the Marwari dialect of Rajasthan and Surdas used Braj bhasha. The Sufi saints also used the development of the new dialects as a medium to reach out to a larger audience. While the Chishti saints used Hindi while composing and singing their devotional music. Bengali The folksongs called Charyapads composed between the 10 and 12th centuries are the earliest specimen of the Bengali language. The works of Kavindra and Srikaranandi are regarded to be among the important early works in Bengali. The growth of the Bhakti movement and the composition of various hymns associated with Chaitanya further provided a stimulus to the development of this language. Brindabandas’s Chaitanya Bhagavata or Chaitanya Mangal was one such contribution to Bengali literature that not only gave a valuable account of the saint’s death a decade later but is also regarded as being reflective of the social condition prevailing at that time. The Chaitanya-Charitamrita by Krishnadas Kaviraj was another important account. Lochandas is associated with the introduction of a new style of folk songs called Dhamali. Narrative poems called the Mangal Kavyas also grew popular during this period. They propagated the importance of local deities like Chandi and transformed Puranic gods like Siva and Vishnu into household deities. The narrative form of the Mangal Kavyas was derived from the Puranas. 238 HISTORY MODULE - 2 Medieval India Notes Cultural Developments in Medieval India Akbar deputed them to illustrate manuscript of Hamzanama. This manuscript of 1,400 pages was compiled by artists drawn from Gwalior, Gujarat, Lahore and Kash- mir. It is during this period that many features of Mughal painting developed. Many paintings of this period are collaborative efforts with two or even four painters work- ing on one painting. Among the important features of the paintings of this period are restricted movement of the figures, fineness of lines of drawings and flat depiction of architectural columns. The Mughal paintings are also marked with a naturalism and rhythm, the clothing of the objects assumed Indian forms and the use of subsidiary scenes in the background. The two most common themes in Mughal paintings of this period are specific events in the court and the portraits of leading personalities. During the reign of Jahangir there were other changes in the style of Mughal paintings. The paintings of the Jahangir period accentuate a formalist style and have broad mar- gins which are well decorated with the depiction of flora and faces of human figures, the naturalistic representations matured during the reign of Jahangir. The use of trees, birds, streams and rivers in the backdrop of the paintings became very popular. Fig. 14.3 Mughal Painting 239 MODULE - 2 Medieval India Notes HISTORY Cultural Developments in Medieval India There are interesting scenes of love and portraits of women members attached to the royal court in Mughal paintings of the Shah Jahan period, while the paintings of the Aurangzeb period provide glimpses of the Mughal emperor during his campaigns. As in architecture the Mughal paintings also gave way to the growth and development of regional styles that tried to replicate the same features and characteristic decorative designs. Rajput paintings that are also of the same period consist of various different court styles, corresponding to the various Rajput kingdoms. The Rajput paintings during the 16th and 17th centuries used many representations of mythology and of court scenes. The Rajput paintings are spread over a larger geographical region, with each region forming a separate sub topic in the artistic scheme. The other styles that were popular were the regional styles of the Deccan and the regions of Bengal, Gujarat and Orissa. The Rajput paintings further flourished in the eighteenth century when many of the artists shifted to the courts of their new patrons. This also coincided with the emer- gence of many smaller regional styles of paintings. These paintings are known for the intensity of the colours that they use and depict hunting scenes, portraits of individuals and of musical sessions. The main styles of this painting were the Mewar, Bundi and the Kishangarh schools. Fig. 14.4 Rajput Painting 240 HISTORY MODULE - 2 Medieval India Notes Cultural Developments in Medieval India INTEXT QUESTIONS 14.5 1. Name the Musical instrument created by Amir Khusrau? 2. Who played an important role in the development of the dhrupad style? 3. What were the stylistic changes in Mughal Paintings seen during the reign of Jahangir? 4. Mention a few popular themes in Mughal Miniatures? 14.7 ARCHITECTURE Architecture of the Delhi Sultanate New architectural forms and styles were introduced in India during the medieval period. The arch and dome were new architectural additions of the period. The use of lime-mortar in the construction of buildings and houses altered the building techniques. The develop- ment of the true arch was important feature of the architectural style of the period. The true arch required stones and bricks to be laid as voussoirs in the shape of a curve and bound together firmly by a good binding material. The arches were made in different shapes but the dominant one was the pointed form. In the 14th century a variant of the arch, called the four-centred arch was introduced by the Tughluqs in their buildings. There are only a few instances of early Turkish buildings in the sub continent where newly quarried material has been employed. In most of the buildings of the period the richly carved capitals, columns and shafts of older buildings are reused. Stone has been used abundantly in the masonry work of this period. The material commonly used for plastering buildings was gypsum. Apparently lime-plaster was reserved for places that needed to be secured against water leakage as in roofs, canals and drains. In the later period gypsum mortar became popular in buildings. Here we will provide you a brief account of medieval architecture during the Sultan- ate Mughal and the regional styles which developed in India during medieval period. Fig 14.5 Qutab Minar & Alai Darwaja 243 MODULE - 2 Medieval India Notes HISTORY Cultural Developments in Medieval India crowned by a high dome. The dome is a double dome, which is built in two layers one which provides the ceiling to the interior of the building and the other, which provides the outer layer that crowns, the building. During the reign of Akbar many indigenous styles were encouraged leading to the common use of sandstone, the use of arches (mainly in a decorative form) and the decoration that comprised mainly of boldly carved or inlaid patterns complemented by brightly coloured patterns on the interiors. Among the important monumental projects undertaken was the building of Agra fort, within the fort were many structures that were built in the Gujarat and Bengal styles, which were subsequently demolished by Shah Jahan who remodelled the fort and its interiors. The Janangir Mahal conceived as a robust building in red sandstone, is a fusion of Hindu and Islamic building designs. The combination of beam and bracket form the principal structural system, the same styles are seen in the palace fortresses of Lahore and Allahabad. Mughal architecture under Akbar entered a new phase with the construction of Fatehpur Sikri. This city-palace was built entirely of red sandstone between 1571–1585. The buildings could be studied under two categories, religious and secular. Among the religious buildings are, the Jami Masjid, the Buland Darwaza and the tombs of Shaikh Salim Chishti. The secular struc- tures are the palaces, administrative buildings and other structures. The Jama Masjid uses a typical plan of a mosque with a central courtyard, arcades on three sides and a domed skyline. In its courtyard lies the tomb of Salim Chishti. Among the palaces are buildings known as the Jodh Bai palace, the Panch Mahal (the size of this five storey structure that diminishes as one goes higher), the Diwan-i-Khas (is in the form of a rectangle and is two stories from outside) and the Diwan-i- Am. Among the other buildings here are the Hathi Pol and the Karkhana buildings. The important buildings of the reigns of Jahangir include the Tomb of Akbar at Sikandara, and the tomb of Itmad ud Daula. The tomb at Sikandara is designed as a tomb Fig. 14.7 Jama Masjid Delhi 244 HISTORY MODULE - 2 Medieval India Notes Cultural Developments in Medieval India enclosure enclosed by a garden, the tomb itself is three stories high the first being an arcaded platform making the basement the middle portion is in three tiers of red sandstone while the highest one is made of white marble which is open on top with a screen surrounding it. The tomb of Itmad ud Daula built in 1622–28 marks a change in architectural style from the Akbari period. This enclosed tomb with a dome roof is enclosed with a beautiful marble tracery. Jahangir is also known to have laid the famous Mughal gardens in Kashmir. Among the important monuments of the reign of Shah Jahan are the Lal Qila (in Delhi), the Moti Masjid (at Agra), the Jami Masjid in Delhi and the Taj Mahal. The Lal Qila is designed as a rectangle along the banks of the river Yamuna. There are two gates, the Delhi and Lahore gates. There is a moat that runs all along the fort except on the riverside. The important buildings inside the fort are the Diwan-i-Am, Diwan-i-Khas and the Rang Mahal. The Moti Masjid in Agra was an experiment with an alternative scheme of an open prayer hall that had also dispensed with the minarets and replaced them with chhatris on the four coners of the prayer hall. The Jammi Masjid is a larger version of the Jammi Masjid in Fathepur Sikri. It is built on a large platform; within the mosque there are colonnades on three sides with the sanctuary along the fourth. There are three marble domes rising above the sanctuary. The Taj Mahal represents the grandest project of Shahjahan. The construction of the Taj began in 1632 and was completed by 1643. The plan of the complex is rectangle with a high enclosure wall and a lofty gate- way in the middle. The main building of the Taj stands on a high marble platform at the northern end of the enclosure. There is a huge dome that covers the top of this struc- ture, with an inverted lotus finial. The decorative features of the building consist mainly of calligraphy and inlay work in the exterior and pietra dura in the interior. The Moti Masjid at Lal Qila in Delhi, the Badshahi Masjid in Lahore and the mausoleum built for his wife Rabia ud Dauran at Aurangabad are the main examples of Mughal architecture under Aurangzeb. The mausoleum at Aurangabad was modeled on the Taj Mahal. Of archi- tectural monuments after Aurangzeb the tomb of Safdar Jang in Delhi is representative of the continuation of the tradition of the Mughals by the regional governors. Fig. 14.8 Safdarjung Tomb 245 MODULE - 2 Medieval India Notes HISTORY Cultural Developments in Medieval India Decorative Styles Another feature of the art of this period was the decorative art in Islamic buildings that was introduced in the sub continent for the first time. These decorative styles were usually in the form of calligraphy, geometrical figures and foliation. In calligra- phy quranic sayings were inscribed on buildings in an angular, sober and monumental script called kufi. The calligraphy was found on different parts of the buildings as on doorframes, ceilings, wall panels, etc. The geometric shapes on the other hand were used in different variety of combinations. The generating source of these designs was the circle, which was then developed into a square, triangle or polygon. These forms were then elaborated by, multiplication and sub division, by rotating and by symmetri- cal arrangements. Of the flotations, the dominant form of decoration employed in the sultanate buildings was the arabesque. It was characterized by a continuous stem that split regularly, producing a series of leafy secondary stems which split again to reintegrate into the main stem. INTEXT QUESTIONS 10.6 1. Name two important changes in architectural forms made during the Medieval period? 2. What is a true arch? 3. Name a few monuments associated with early forms of Indo Islamic architec- ture? 4. Which type of stone was used in the construction of Fatehpur Sikri? 5. Name some of the decorative styles used in medieval architecture? WHAT YOU HAVE LEARNT The medieval Indian culture represents the synthesis of Indian and Persian philoso- phy, literature art and architecture. In religious sphere Sufism and Bhakti tradition influenced each other. They provided an opportunity for understanding religious tradi- tions of Hindus and Muslims at people’s level. The emergence of Urdu as a new language is a best example of interaction and synthesis. The same is visible in the area of Music and Painting. In the field of archi- tecture, the form, style and decoration take a lot from each other. The medieval period thus represents an important era of dramatic change in the world of religion and art in South Asia. The growing popularity of Sufism played an important role in the popular acceptability of Islam and in the course establishing unique Islamic tradition in the sub continent. The Bhakti movement played a similar role in the development of Hinduism. On one hand it challenged existing religious and