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An Exam Oriented Guide on Indian Art and Culture

An Exam Oriented Guide on Indian Art and Culture

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An exam oriented guide on and Culture

1 Specially designed for CSAT and IAS mains MyNotesAdda.Com MyNotesAdda.Com

INDEX

• Puppet forms 3 • Painting Styles 16 • Dance forms 27 Classical 29 Folk 38 Tribal 54 • Theater forms 59 • Music 78 • Indian Architecture 83

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Puppet Forms of

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• A form of theatre or performance involving manipulation of puppets. • The process of animating inanimate performing objects. • Used both as entertainment – in performance – and ceremonially in rituals and celebrations such as carnivals. • Originating in India 4000 years ago, where the main character in plays was known as “Sutradhara”, “the holder of strings”. • Stories mainly from puranic literature, local myths and legends

String Puppet

Shadow Puppet

Glove Puppet

Rod Puppet 4

MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 1. String PuPPets

• Jointed body and limbs that allow movement. • Made of wood, or wire, or cloth stuffed with cotton, rags or saw dust and are usually small. • Manipulated by operating the control as well as by loosening or pulling the relevant string • Regional variations: (Koyya Bommalata), (Putala Nach), (Sutrada Gombeyata), Maharashtra (Kalasutri Bahulya), (Kathputli), Orissa (Gopalila), (Bommalatam) and (Tarer or Sutor Putul).

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MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 1. String PuPPets Kathputli, Rajasthan • Carved from a single piece of wood, • Large dolls that are colorfully dressed. • Costumes and headgears are designed in the medieval Rajasthani style • Uses highly dramatized version of the regional music. • Oval faces, large eyes, arched eyebrows and large lips. • Wear long trailing skirts and do not have legs. • Manipulated with strings attached to puppeteers fingers Kundhei, Orissa • Made of light wood, • Have no legs but wear long flowing skirts. • Have more joints and are, therefore, more versatile, articulate and easy to manipulate. • Music of dance. • Puppeteers hold a wooden prop, triangular in shape, to which strings are attached. 6

MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 1. String PuPPets Gombeyatta, Karnataka • Styled and designed like the characters of , have joints at the legs, shoulders, elbows, hips and knees. • Music is dramatic; blends folk and classical elements • Manipulated by five to seven strings tied to a prop. Bommalattam, Tamil Nadu • Techniques of both rod and string puppets. • Made of wood • Strings are tied to an iron ring which the puppeteer wears like a crown on his head • Are the largest, heaviest and the most articulate of all. (A puppet may be as big as 4.5 feet) • Manipulation Jointed arms sometimes manipulated by rods (because heavy)

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MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 2. Shadow puppet

• Flat figures cut out of leather, treated to make it translucent. • Pressed against the screen with a strong source of light behind it. • The manipulation between the light and the screen make silhouettes or colourful shadows, as the case may be, for the viewers who sit in front of the screen. • Prevalent in Orissa. , Andhra Pradesh, Karnataka, Maharashtra and Tamil Nadu.

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MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 2. Shadow puppet

Togalu Gombeyatta, Karnataka • Small in size. • Regional music used. • The puppets differ in size according to their social status, for instance, large size for kings and religious characters and smaller size for common people or servants.

Tholu Bommalata, Andhra Pradesh • Large in size and have jointed waist, shoulders, elbows and knees. • The classical music of the region • Coloured on both sides. Hence, throw coloured shadows on the screen.

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MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 2. Shadow puppet

Ravanachhaya, Orissa • Small in size and are in one piece with no joints. • Made of deer skin and are conceived in bold dramatic poses. • Not coloured, hence throw opaque shadows on the screen. • Apart from human and animal characters, many props such as trees, mountains, chariots, etc. are also used

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MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 3. Glove puppet

• The head is made of either papier mache, cloth or wood, with two hands emerging from just below the neck. • The rest of the figure consists of a long flowing skirt. • The movements are controlled by the human hand the first finger inserted in the head and the middle finger and the thumb are the two arms of the puppet. • Popular in , Orissa, West Bengal and Kerala. • Dialogues play an important role here

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MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 3. Glove puppet

Pavakoothu, Kerala

• The height varies from one foot to two feet. • The head and the arms are carved of wood and joined together with thick cloth, cut and stitched into a small bag • The musical instruments used during the performance are , Chengiloa, Ilathalam and • The face are decorated with paints, small and thin pieces of gilded tin, the feathers of the peacock. • Has resemblance with that of dance. • The manipulator puts his hand into the bag and moves the hands and head of the puppet.

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MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 4. Rod puppet

• Extension of glove-puppets, but often much larger and supported and manipulated by rods from below. • Found mostly in West Bengal and Orissa.

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MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 4. Rod puppet Putul , West Bengal • Costumed like the actors of Jatra, a traditional theatre • Carved from wood and follow the various artistic styles of a particular region. • Used to be of human size, but existing puppets vary from 3 to 4 feet in height • Music of Jatra theatre (drum, harmonium and cymbals) • Puppeteers themselves sing and deliver the stylized prose dialogues along with a group of musicians • Manipulated by a bamboo-made hub tied firmly to the waist of the puppeteer on which the rod holding the puppet is placed. • Puppeteers move and dance imparting movements to puppets.

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MyNotesAdda.Com MyNotesAdda.Com Puppet Forms of India 4. Rod puppet Rod puppets, Orissa • Much smaller in size, sbout twelve to eighteen inches. • Hands are tied to strings instead of rods. (because they are small) • The music blends folk tunes with classical Odissi tunes • Most of the dialogues are sung. • The Orissa rod-puppeteers squat on the ground behind a screen and manipulate. Yampuri, • In one piece and have no joints. • Describes Yampuri (the house of Death). • The show begins with appearance of the death-god Yama and his messenger, followed by their record-keeper . One by one, the people (supposedly after death) are marched in front of Yama to receive their doles of punishment. • The narrative is meant primarily to put the fear of heaven and hell in people for their current deeds 15

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Painting Styles in India

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Painting styles in India

• Paintings are basically two types: Murals: large scale paintings generally attached to the floor of palaces and caves. Miniatures: small scale which are done on mainly cloth or paper • Can be categorized into seven special group:  Rajasthani painting  Madhubani painting  Tanjore painting  Mughal painting  Benhal style of art  Patta chitra  Warli art

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Painting styles in India

Madhubani

• Also known as Mithila painting. • Originated in Madhubani village in Bihar. • According to mythology, this tradition commenced when Janakraj, father of rani asked his painters to paint the moments of marriage ceremony of Sita with Lord • Traditionally done by Madhubani’s women on mud walls, later started on cloth, canvas and handmade papers. • Also depict other Hindu devotional stories. • Natural objects like moon, sun, tulsi etc is also found as theme. • No empty space is left, gaps are filled by different geometrical motifs, floral, animals, and bird pictures. • Are of three kinds : style, Tatoo style and style. • Done with twigs, brushes, fingers, matchsticks, and nib pens using natural dyes and colors. • Eye-catching geometrical patters. 18 MyNotesAdda.Com MyNotesAdda.Com

Painting styles in India

Tanjore

• Originated form Thanjavur, Tamil Nadu around 16th century. • Widely popular as home décor item. • A unique art-form where precious stones and gold foils were used. • Initially used to depict Hindu Gods and Goddesses in grandeur. • Figures are large and the faces are round and divine. Lace or thread is also used to decorate the jewellery. • A mixture called "muk" is prepared using chalk powder and African gum in a ratio of 2:1 and applied in places around the stones and other areas to give an embossed look. • Most of the paintings would depict the Child and his various pranks, paintings of other deities were also created. • Changing with time - for example, the figures are no longer round. • Presiding deities of various famous temples are also being depicted in the paintings.

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Painting styles in India

rajasthani

• Developed and flourished during the 18th century in the royal courts of Rajasthan. • The most important themes are from the life of Lord Krishna, the Great epics of and the , landscapes and human beings. • Also used on the walls of palaces, interior chambers of the forts, havelis and the like. Schools of Rajput Painting: Bikaner School has more Mughal elements than other. Also reflect marked influence of Deccan paintings. Influenced by the surroundings, have their own unique style the hills and valleys, deserts, places and forts, gardens, court scenes, religious processions. Bundi-Kota Kalam School started originating in Bundi around the late 16th century and reflected heavy Mughal influence. Jaipur School, because of its architectural charm, pleasant combination of colors and specially laid out plan, is called the Pink City of India. Jaipur and surrounding regions of Alwar and Tonk are famous for the Jaipur style paintings

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Painting styles in India

mughal

• Exclusive combination of Indian, Persian and Islamic styles. • Evolved as well as developed during the rule of Mughal Emperors in India, between 16th to 19th century. • Themes like battles, court scenes, receptions, legendary stories, hunting scenes, wildlife, portraits, etc. are used. • Developed when Humayun returned to India from exile, and brought great Persian artists; Abd-us-samad and Mir-Sayyid Ali. • Most famous example of the Mughal style of art is the Tutinama Painting; `Tales of a Parrot`, which is presently in the Cleveland Museum of Art. • Under Akbar it experienced growth on a large-scale. Since Akbar was interested in tales, the paintings were based on Ramayana, Mahabharata and Persian epics. • Under Jahangir it saw more and more refinement in brushwork, along with the use of much lighter and subdued colors. The main themes of the Mughal paintings revolved around the events from Jahangir's own life, along with portraits, birds, flowers, animals, etc. • One of the most popular examples of Mughal paintings of this time include the pictorial illustrations of the Jehangir-nama, the biography of Emperor Jahangir. 21 MyNotesAdda.Com MyNotesAdda.Com

Painting styles in India Bengal Style of art

• Flourished during the British Raj in the early 20th century. • Was associated with Indian nationalism, but also promoted by many British arts administrators. • Started in reaction reacting against the academic art styles previously promoted in India, by Indian artists such as Ravi Varma and in British art schools. • Due to influence of Indian spiritual ideas in the West, the British art teacher Ernest Binfield Havell encouraged students to imitate Mughal miniatures. • This led to a strike by students and complaints from the local press, including from nationalists who considered it to be a retrogressive move. • Havell was supported by the artist Abanindranath Tagore. • Tagore's best-known painting, Bharat Mata (Mother India), depicted a young woman, portrayed with four arms in the manner of , holding objects symbolic of India's national aspirations

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Painting styles in India

• Traditional painting of Orissa, India. • Based on and inspired by and Vaishnava cult. • Natural colours are used in fully old traditional way by Chitrakaras that is Oriya Painter • Is painted on canvas (Patta). Carefully done craftsmanship, rich colors, unique designs & creative motifs, & simple themes, which are chiefly mythological in origin on canvas. • Paintings on the cave walls of Khandagiri and Udayagiri, temple, and many other temples in Orissa.

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Painting styles in India

Warli

• Warli is the name of a tribe, which resides in Thane district of Maharashtra on the northern outskirts of Mumbai and extends up to the border. • This art was eventually discovered in the early seventies, and became popular for its unique simplicity and fervor for life. • Helical shapes of men and women and concentric circular designs in Warli Paintings are symbols of the circle of life. • The harmony and balance portrayed is thought to mean the harmony and balance of the universe of discourse.

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Painting styles in India

kalamkari

• Done by using kalam (pen). • Has two subtypes:  Mausalipatnam style paintings focus on the Islamic aesthetics and the ripe fruits is used to color the paintings.  Srikalahasti style draes paintings on the hindu mythology and the color is drawn from raw fruits.

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Painting styles in India

pahari

• Developed and flourished during 17th-19th centuries stretching from Jammu to Almora and Garhwal, in the sub-Himalayan India, through , and each creating stark variations within the genre, ranging from bold intense Basohli Painting, originating from Basohli in Jammu and Kashmir, to the delicate and lyrical Kangra paintings, which became synonymous to the style before other schools of paintings developed, which reached its pinnacle with paintings of and Krishna, inspired by Jayadev's Gita Govinda. • Gave birth to a new idiom in Indian painting, and grew out of the Mughal painting. • Though this was patronized mostly by the Rajput kings who ruled many parts of the region.

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Classical Dance - - Tribal Dance 27 MyNotesAdda.Com MyNotesAdda.Com

Dance forms in India

• Dance is a form of art, where the body is used as a medium of communication. • The dance heritage of India is at least 5000 years old. • The wall paintings of Ajanta and Ellora, the sculptures of stand ample evidence for popularity of Indian dances from ancient times. • , the dancing Lord , is the supreme manifestation of Indian dance.

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Classical oBharatnatyam - Tamil Nadu oKathak - Uttar Pradesh oKathakali – Kerala oKuchipudi- Andhra Pradesh oManipuri – Manipur oMohiniattam – Kerala oOdissi – Orissa oSattriya - Assam

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Classical Dance in India

Bharatanatyam • Bhava (expression), (music), Tala (rhythm) and Natya (classical theater). • It originates in South India. • It consists of multiple items: Nritta– pure dance movements Abhinaya– dramatic art of storytelling – combination of nritta & abhinaya • Performed on . • Costume are made of silk with gold embroidery and has a lot of pleats. • Necklace, Bangles and head ornaments are used as jewelry. • Bells mounted on woven pads are worn on the feet 30

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Classical Dance in India

Kathak • Name is derived from Katha (story) and Katthaka (who tells stories). • It originates from . • There are three main gharanas or schools: ,  Jaipur Benares • Dance progresses from slow to fast pieces. Has Footwork & spins and includes abhinaya- expression • Performed on Hindusthani music provided by , , • Costume includes  or bells on the ankles  Female- lehenga choli or chudidaar kameez  Male- bare chest and or

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Classical Dance in India Kathakali • It originates from Kerala state. • Attractive make-up of characters and elaborate costumes are used. • Performance is a combination of five elements: Natyam (expression), Nritham (dance), Nrithyam (enactment), Geetham (vocal) and Vadyam (instruments) • Carnatic music is used with Manipravalam as language of songs. • Elaborate makeup is used: Green face color- noble characters (Pacha) Green with red streaks- characters with evil streaks Red face color- excessively evil characters Women have yellow face color 32 • Costumes are elaborate and differ according to character. MyNotesAdda.Com MyNotesAdda.Com

Classical Dance in India

Kuchipudi • It originates from Andhra Pradesh. • It shares many common elements with . • In Tarangam (a unique dance)- dancer dances on plate with diyas in the hands and vessel of water on the head. • Carnatic music is used. • Costumes are similar to Bharatanatyam. • Costume also include ‘Katcham’ (long fold) at the back of the costume. • Female characters wear ornaments and jewelry.

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Classical Dance in India

Manipuri • It originates from Manipur state. • Few features in its performance are:  Movements are subtle and aim at devotion and grace  Rounded movements without jerks and sharp lines  Dancers feet never strike the ground hard • Music is provided by a singer, ‘Pung’ (drum), cymbals and flute. • Costume includes:  Female- dress called patloi and lehenga called kumin. Transparent odni is worn on the head and covers the face.  Male- usually saffron dress depicting Lord Krishna • Dancers do not wear ankle bells in this dance form. 34

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Classical Dance in India

Mohiniattam • Its name is derived from: Mohini- temptress and Attam- dance • It’s a graceful dance performed only by women. • It has influences from Bharatanatyam and Kathakali • Music includes Vocal (called chollu), , flute, Maddalam & . • It is characterized by realistic makeup and simple dressing. • Costume includes white or cream with gold border and is profusely pleated. • Mainly gold ornaments are used as jewelry. 35

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Classical Dance in India

Odissi • It originates from Orissa. • Consists of three schools: Mahari, Nartaki  • Main feautres of performance are: Tribhangi- independent movement of head, chest and pelvis Chauka- basic square stance • is used. • Costume feautres Sari- beautiful cloth wrapped around body in traditional style in bright shades of orange, purple, red or green. • Jewelry includes: Tikka (forehead ornament) Allaka (headpiece where tikka hangs) Ear covers in intricate shapes with jumkis (bell shaped earrings) hanging from them Chains Two sets of bangles (thin bracelets) worn on upper arm 36 & wrist. MyNotesAdda.Com MyNotesAdda.Com

Classical Dance in India

Sattriya • It originated in Assam state. • Performances are based on mythological stories and is performed by both men and women. • It is recognized as one of the classical dance forms of India in 2000. • Devotional songs called are used. • Instruments used are (drums), taals (cymbals) and flute. • Costume are made of pat (type of silk). • Ornaments are based on traditional Assamese designs.

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Folk Dance

• Indian culture includes a treasure of a variety of folk dances. • The diversity in culture and tradition is reflected in the variety of Indian folk dances.

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Folk Dance in India (Kerala) • One of the most colourful and enchanting dances of Southern Kerala. • Associated with the festival of certain temples. • These temples are formed in the districts of Alleppey, Quilon, Pathanamthitta and Kottayam districts. • The main kolams (huge masks) presented in Padayani are , Kalan , Yakshi (fairy), Pakshi (bird), etc. • The literal meaning of Padayani is military formations or rows of army. • The performers consist of dancers, singers and instrumentalists.

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Folk Dance in India

Kaikottikali, Kerala • Also known as Thiruvathirakali • Dance performed by women, in order to attain everlasting marital bliss, on day in the month of Dhanu (December- January). • The sinuous movements executed by a group of dancers around a nilavilakku, embody '' or the amorous charm and grace of the feminine. • The dance follows a circular, pirouetting pattern accompanied by clapping of the hands and singing.

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Folk Dance in India

Karakattam, Tamil Nadu • One of the most essential parts of a ritual, dedicated to Mariamma, the goddess of health and rain. • It is performed by men, wherein they balance pots filled with uncooked rice, surrounded by a tall conical bamboo frame covered with flowers. • Drums and long pipes form the musical instruments accompanying the dance. • is popular in villages during temple festivals.

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Folk Dance in India , Tamil Nadu • Kummi means to dance while clapping hands to a rhythm, accompanied by songs in popular tunes. • Women form a circle and dance during the Maariamman and Kaanum festivals for ten consecutive days.

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Folk Dance in India Yakshgana, Karnataka • Yakshgana is a folk theatre form of Karnataka and it is an ancient art. • The original form of Yakshgana involves the use of recitative modes of poetry, melodies of music, rhythm and dance techniques, colourful costumes and graceful make up.

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Folk Dance in India Chhau, West Bengal • Originated from the Purulia distrct . • Mostly performed in the open space or ground field during the night. • It is a mask dance performed only by the male dancers. • The masks are made up from the clay and paper. • It is mythological, as it is mainly based on various episodes of the epics Ramayana and Mahabharata. • As the singer complete the invocation song, a host of drummers and musicians start beating the and the Dhamsa.

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Folk Dance in India , Orissa • The 'Dalkhai' is a dance performed by women of the tribes from the Sambalpur district of Orissa. • It is quite a virile dance rendered during the time of festivals. • The men generally play the musical instruments and the drummers often join the dance.

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Folk Dance in India Namagen, Himachal Pradesh • The autumnal hue is celebrated in September by a dance performance called Namagen. • The most striking dance amongst these is the Gaddis. • The costumes are largely woollen and richly studded ornaments of silver are worn by women.

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Folk Dance in India , • One of the most popular dances of India. • Performed during Baisakhi usually by the men in Punjab. • It includes tricks and acrobatic feats. • The songs include recitation of meaningless 'bolis', words, such as hoay, hoay. • The drummer usually in the centre of the circle, is surrounded by men dressed in and turbans. • The dance performed by the women folk of Punjab is called the 'Gidha'. • In the Gidha, at a time a woman or a pair of women dance while the others clap in rhythm. The dance is performed in the festival of Teeyan to welcome the rains.

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Folk Dance in India Ghoomer Dance • Famous and a community dance of women in Rajasthan. • It is performed on various auspicious occasions like fairs & festivals. • It is called as `Ghoomer`, from the `ghoomna` of Ghaghra i.e. the flowing of Ghaghra, a long skirt of the Rajasthani women. • Women from any age group, may it be the young or old can participate in Ghoomer dance. • While dancing, the dancers move in a circular direction with clockwise and anti-clockwise steps.

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Folk Dance in India , Assam • The is performed in the Bihu festival, celebrated for the arrival of spring in the Assamese New Year. • The dance is performed in an open space during daytime.

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Folk Dance in India Burra Katha Dance, Andhra Pradesh • Burra' is a special instrument used by two performers who dance encourage the main story teller by exclamation and questions. • Demands oratory as well as dancing skills on the part of the performers. • Three people to enact the story telling. • Main artiste is dressed in a colourful attire with a garland round his neck and a tambura slung across his shoulder, the other two artistes dressed similarly question the narration to alert a sleepy audience. • The two accompanying artistes have a drum and hand . • The theme of the story could be anything that has happened or is happening.

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Folk Dance in India

Garba Dance, Gujrat • This dance form has connection with -. • It is played in a circular form performed by ladies on the nine nights of festival, Sharad , , etc. • The word is derived from the word `Garbha Deep` (a lamp inside a perforated earthen pot). • In this folk dance, the women place the pot known as Garba with the lamp on their heads and move in circular direction, singing and clap at the same time. 51 MyNotesAdda.Com MyNotesAdda.Com

Folk Dance in India

Dandia-Ras, Gujrat • Also known as the `stick` dance. • This dance is also a feature of most welcomed festival, Navratri. • The Ras is simple and is generally performed by a group of young people who move in typical style in measured steps around a circle, accompanied by a singing chorus and a host of musical instruments like the dhol, cymbals, zanz and .

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Folk Dance in India Cheraw (Bamboo) Dance, Mizoram • The most popular and colourful dance of the Mizos. • Long pair of horizontal bamboo staves are tapped open and close in rhythmic beats by people sitting face to face on the ground. • Because bamboos are used for the dance, people sometimes call it the BAMBOO DANCE.

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Tribal Dance in India

• Performed by tribal people/, who possess a culture, distinct from the pan Indian population. • Completely different from Indian folk dances. • Each tribe possesses its own distinguishable dance traditions interwoven with the life of the people who dance it.

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Tribal Dance in India

Kaadar Nritham • Only women take part. • Primitive dance of Kaadar tribes of the forest of area. • The performers arrange themselves in a semicircle. They hold the tip of their cloths in their hands to the level of the waist and wave it to various rhythms of the dance. • It is a very simple but elegant tribal dance in slow steps.

Elelakkaradi • A highly heroic group – dance. • Almost the whole community of men, women and children participate. • Very common with the tribal called Irular of Attappadi in Palakkad district. • The dance brings out the fight of the people against the wild bears which often attack their tribal hamlets. • Dancers move out in rhythmic steps, with vociferous shouts and war cries and keep time to the beatings of the primitive drums

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Tribal Dance in India

Kaanikkar Nritham • Group dance of the kanikkar tribes from Tamil Nadu. • Performed as a ritual offering. • The steps of the dancers perfectly synchronize with the waving of the hands and beating of drums.

Paravalli Kali • Mixed dance of the aboriginals of dense forest of Travancore area. • Both men and women participate. • They dance holding arms together, or shoulder to shoulder, linked in a backlock posture. • The men and women change their positions which amazing speed. • The entire group of dancer sings songs and move swift rhythm in a circle. • The linked arms swing to the rhythm in a fascinating wavelike movement.

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Tribal Dance in India

Man Kali • It is mainly of two kinds  The Ramayana episode in which Sita is being enchanted by Maricha in the guise of a golden deer is enacted in graceful movements.  One man takes the role of a deer while another that of a hunter. The deer hopes about and jumps around. The hunter follows in close steps and his movements and gestures suggest drawing the bow, aiming it, hurling the spear, brandishing some wooden log, etc. • The whole dance is performed to the rhythm of wild percussion instruments

Paniyar Kali • Performed by tribal in hilly forests of Wayand district. • Highly masculine and only men participate. • Around eight or ten dancers stand in a circle with hands linked together. • They have around with rhythmic flexions of the body and while moving stamp the ground in perfect rhythm to the loud beat of the primitive percussion instruments called Karu, Para, , etc. • As the dance gathers momentum the circle is swiftly expanded and contracted and the dancers utter peculiar cries which gradually run up to a high pitch. 57

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Tribal Dance in India

THAVALA KALI • Boys jump one above the other in succession, imitating the leaps of the frog.

EDAYA NRITHAM • Dance of the tribal shepherds. • Both men and women participate. • One of the shepherds sing. This is repeated in chorus by all the rest. • As the singing is going in, one of them imitate the special sounds of shepherds driving their sheep. • Someone of the group crying successively to imitate the wild animals that try to attack the sheep and also the thief who tries to robe them while the other members of the group very adeptly bring out the terror on the faces of the lamps and their mournful walings.

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Theatre forms in India

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Theatre forms in India

• At least 5000 years old tradition in India. • According to legend the very first play was performed on heaven when the gods, having defeated the demons, were enacting their victory. • Hindu theorists conceived of plays in two types of production: Lokadharmi (realistic), which involved the reproduction of human behavior on the stage and the natural presentation of objects, Natyadharmi (conventional), which is the presentation of a play through the use of stylized gestures and symbolism and was considered more artistic than realistic. • Indian theatre can be divided into three distinctive kinds: the Classical or the Sanskrit theatre, the Traditional or the Folk theatre and the Modern theatre. 60

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Theatre forms in India

Bhand Pather, Kashmir • Unique combination of dance, music and acting. • Biting satire, wit and parody characterize the form. • Music is provided with surnai, nagaara and dhol. • The actors are mainly from the farming community and the impact of their way of living, ideals and sensitivity in the drama is discernible. • Sometimes masks are also used in the performance

Nautanki, Uttar Pradesh • Important centres are Kanpur, Lucknow and Haathras. • The meters used in the verses are: Doha, Chaubola, Chhappai, Behar-e-tabeel. • Initially only men acted in Nautanki but nowadays, women have also started taking part in the performances. • Among those remembered with reverence is Gulab Bai of Kanpur.

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Swang, and Western UP • Musical folk-drama evolved in 18th century. • Has stories in verse sung in various mode (classical, semi-classsical, folk). However gradually prose has been included in it too enacted as dialogues. • The softness of emotions, accomplishment of rasa alongwith the development of character can be seen in this theatre form. • Two important styles of Swang are from Rohtak and Haathras. In the style belonging to Rohtak, the language used is Haryanvi (Bangru) and in Haathras, it is Brajbhasha. • Initially cast was all male but women have started participating. • Swang means impersonation. The Nautanki of UP, Khyal of Rajasthan are in this tradition

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Naqal, Punjab • Continues the Swang tradition. • Naqal translates as mimicry or imitation and the naqalchi is the mimic. Relies heavily on improvisation by the naqalchi. • Centuries-old village tradition, very popular at weddings. • Solo performance of group of 2-3 dressed in rustic clothes. • Perform a series of skits, in a small space, each lasting 10 mins or so. Made up of quick repartee, gentle satire. • Subject-matter is purely social, like hilarious situations from the everyday. This form is purely secular.

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Bhavai, Gujrat • Traditionally performed during Navratri before the shrine of Amba Mata or before a lamp symbolizing the deity. • Important centres are Kutch and Kathiawar. • Instruments used in Bhavai are: bhungal, tabla, flute, pakhaawaj, rabaab, , manjeera, etc. • In Bhavai, there is a rare synthesis of devotional and romantic sentiments.

Rasleela, Uttar Pradesh • Based exclusively on legends of Lord Krishna • Believed that Nand Das wrote the initial plays based on the life of Krishna. • The dialogues in prose combined beautifully with songs and scenes from Krishna's pranks.

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Theatre forms in India Jatra • Born and nurtured in Bengal • Performed at fairs in honour of gods, or religious rituals and ceremonies • Krishna Jatra became popular due to Chaitanya's influence. Later, however, worldly love stories too, found a place in Jatra. • The earlier form of Jatra has been musical. Dialogues were added at later stage. • The actors themselves describe the change of scene, the place of action, etc

Nachya, , Vidarbha • Influenced by Ganda musicians and entertainment form Gammat • Select a situations from life of agricultural community and improvise. No written text is followed. • Treatment is humourous and satirical • Play begins with invocation of Ganesh and . • In one form of nachya, the Jokkad Pari, the performers dance with flaming torches. 65 MyNotesAdda.Com MyNotesAdda.Com

Theatre forms in India

Maach, • The term is used for the stage itself as also for the play. • Songs are given prominence in between the dialogues. • Dialogues are called bol and rhyme in narration is termedvanag. • Tunes of this theatre form are known as ranga.

Tamaasha, Maharashtra • It has evolved from the folk forms such as Gondhal, Jagran and . • The female actress is the chief exponent of dance movements in the play, (unlike other theatre- forms). She is known as Murki. • Classical music, footwork at lightning-speed, and vivid gestures make it possible to portray all the emotions through dance

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Bhaona, Assam • Cultural glimpses of Assam, Bengal Orissa, Mathura and Brindavan can also be seen. • Bhaona is a presentation of Ankia Naat. • The Sutradhaar, or narrator begins the story, first in Sanskrit and then in either Brajboli or Assamese. • Ankiya naat are one-act plays interspersed with Sanskrit verses. They were composed for common people in simple language. A close link with Sanskrit theater can be seen.

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Theatre forms in India Dashaavtar, Konkan & Goa • The performers personify the ten incarnations of Lord -the god of preservation and creativity. • The ten incarnations are Matsya (fish), Kurma (tortoise), Varaha (boar), Narsimha (lion-man), Vaman (dwarf), Parashuram, Rama, Krishna (or Balram), Buddha and Kalki. • Apart from stylized make-up, the Dashavatar performers wear masks of wood and papier mach.

Krishnattam, Kerala • Came into existence in the mid17th century A.D. in Calicut. • Krishnattam is dance-drama presenting the story of Krishna in a cycle of eight plays performed for eight consecutive days. The plays are Avataram, Kaliamandana, Rasa krida, kamasavadha, Swayamvaram, Bana Yudham, Vivida Vadham, and Swargarohana.

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Theatre forms in India Mudiyettu, Kerala • Celebrated in the month of Vrischikam (November-December). • Usually performed only in the Kali temples of Kerala, as an oblation to the Goddess. • It depicts the triumph of goddess Bhadrakali over the asura Darika. • The seven characters in Mudiyettu-Shiva, Narada, Darika, Danavendra, Bhadrakali, Kooli and Koimbidar (Nandikeshvara) are all heavily made-up. • In 2010, Mudiyettu was included in the UNESCO Intagible Cultural Heritage List.

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Theyyam, Kerala • Word '' is derived from 'Daivam' meaning God. Hence it is called God's dance. • Theyyam is performed by various castes to appease and worship spirits of ancestors, folk-heores, deities of diseases etc. • Distinguishing features is the colourful costume and awe-inspiring headgears (mudi) nearly 5 to 6 feet high made of arecanut splices, bamboos, leaf sheaths of arecanut and wooden planks and dyed into different strong colours using turmeric, wax and arac. • Face is always painted in an orange base- colour. 70

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Koodiyaattam / Kutiyattam, Kerala • Based on Sanskrit theatre traditions. • Characters of this theatre form are: Chakyaar (actor), Naambiyaar (instrumentalists) and Naangyaar (those taking on women's roles). The Sutradhar (narrator) and the Vidushak (jesters) are the protagonists. • Vidushak alone delivers the dialogues. • Emphasis on hand gestures and eye movements makes this dance and theatre form unique. • Koodiyaattam was included in the UNESCO Intagible Cultural Heritage List as a Masterpieces of the Oral and Intangible Heritage of Humanity.

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Theatre forms in India Yakshagaana, Karnataka • Based on mythological stories and • Most popular episodes are from the Mahabharata i.e. Draupadi swayamvar, Subhadra vivah, Abhimanyu vadh, Karna-Arjun yuddh and from Ramayana i.e. Raajyaabhishek, Lav-kush Yuddh, Baali-Sugreeva yuddha and Panchavati.

Burrakatha • A storytelling technique used in villages of Andra Pradesh, Karnataka and Tamil Nadu. The troupe consists of one main performer and two co- performers. • It is a narrative entertainment that consists of prayers, solo drama, dance, songs, poems and jokes. • The topic will be either a Hindu mythological story or a contemporary social problem. • , also known as Katha Kalakshepa, is a variant which narrates tales of Lord Krishna, other Gods and saints. 72

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Therukoothu, Tamil Nadu • Literally means "street play". It is mostly performed at the time of annual temple festivals of (Rain goddess) to achieve rich harvest. • There is a cycle of eight plays based on the life of Draupadi.

RAMMAN, • Combining theatre, music, historical reconstructions, and traditional oral and written tales, the Ramman is a multiform cultural event • Celebrated every year in Baisakh month (april) in the courtyard of the temple of Bhumiyal Devta situated in Chamoli district, Uttarakhand. • Mask dance performed exclusively by the Bhandaris (Ksatriya caste). • Included in the UNESCO Representative list of Intangible Cultural Heritage of Humanity.

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Theatre forms in India • Chattisgarh and in the neighboring tribal areas of Orissa and Andhra Pradesh. • Musical narration of tales from the Mahabharata with one lead narrator-singer, enacting and singing with an . • No use of stage props or settings, it mainly relies on mimicry and rousing theatrical movements. Sometimes the singer-narrator breaks into an impromptu dance, at the completion of an episode or to celebrate a victory with the story being retold. • During a performance, as the story builds, the tambura becomes a prop, sometimes it becomes to personify a gada, mace of Arjun, or at times his bow or a chariot, while others it becomes the hair of queen Draupadi or Dushshasan thus helping the narrator-singer play all the characters of story. • is most renowned singer to this style.

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Theatre forms in India Khyal, Rajasthan • Derived from khel (play), khyal probably took shape as a musical dance-drama in the early eighteenth century. • Based on mythological, historical, or popular romantic tales, emphasizing qualities of heroism, self-sacrifice, and nobility. • Types of khyal are identified by the kind of stage used or the musical variations selected. In the Turra Kilangi khyal is performed on an elaborately decorated stage, while the Kuchamani khyal is simpler in presentation but has specific music and dance steps. • Highly improvisatory in nature, with loosely structured plots and witty dialogue, khayal requires an intimate audience–actor relationship. • Its primary attraction is its soulful singing, accompanied by the nakkara and (both percussion), sarangi (bowed instrument), and sometimes shehnai (wind instrument). • Prompters with a copy of the dramatic text are always on the stage. This is a convention that Khyal shares with Maach of MP where they are known as pustakji. • [Note: Not to be confused with 'Khayal' - a type of hindustani classsical vocal rendition].

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Bhagat, Uttar Pradesh • Mainly in Agra and Mathura. • Considered as a parent form of Nautanki and is 400 yrs old. • Initially consisted of dramatized devotionaal singing by devotees of the Vaishnava sect. Later tales of romance, valour and kings added. • Religious rituals at the beginning and end provide a frame for the performance. At the beginning an actor playing Ganesh dances on the stage, who is then worshipped by the other actors. • Language of the bhagat is a mix of Hindi, Urdu, Braj.

Veedhi Natakam, Andhra Pradesh • Presented during the religious festivals in praise of 'Bhagavan'. Thus the performances were called 'Bhagavathams'. • Veedhi in Telugu means street; an open place. So Veedhi Natakam is any dramatic performance presented in a street.

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Theatre forms in India GENERIC FEATURES of TRADITIONAL THEATRE-FORMS • Songs and the art of singing have an important role to play. • There is a classical element in these theatre forms too, which takes on regional, local and folk coloring. • There are certain conventions of presentations depending upon and changing according to the form and size of the stage or the platform and other available situations. • There is no such thing as episodes. There is always continuity in its theme, structure and presentation. • There is direct and intimate communication between the actors and the audience. • Characters keep changing their place on the stage to be more impressive and to give the situation a greater significance. This technique also reduces the chance of boredom through repetition and stillness. • Dialogue delivery is usually carried out in a high pitch. This helps the actors in reaching out to a larger audience. The artists always add something or the other to the original dialogue on their own. The changes brought through improvisations, make the spectators ecstatic and help in building a rapport with the audience

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Music of India

• Includes multiple varieties of folk, popular, pop, classical music and R&B. • India's classical music tradition, including Carnatic and Hindustani music, has a history spanning millennia and developed over several eras. • It remains fundamental to the lives of Indians today as sources of spiritual inspiration, cultural expression and pure entertainment.

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Classical Music in India Hindustani (North Indian) Music Carnatic (South Indian) Music  Continuity back to Vedic times (6,000 BC)  Of more recent origin  Codified in a large number of ancient and  Codified in medieval texts written by musicologists, medieval music treatises the influential ones among whom studied in North  Developed independently of folk music, albeit India and thereafter returned to South India to occasionally importing folk or regional elements, fashion Carnatic music out of the prevalent metamorphosing them suitably regional musical forms to be found in South India  Raga based, mostly improvised  Composition based, mostly fixed  Capable of intense expression in very slow speeds  A fairly quick tempo from the start, so lacks the intensity, introspection, microtones and several  Vast range of ornaments, particularly during slow ornaments found in Hindustani music passages  Notes are not held for long and are mostly quitted  Subtle use of microtones in slow passages by a characteristic oscillation using indeterminate  Steady, long-held notes, mostly approached and/or pitch quitted by little ornamental phrases  Constant and fairly fast tempo throughout  Gradual building up of tempo from very slow to  No convention of time or season very fast  Percussion accompanist does not enunciate  Convention of time and season rhythmic cycle clearly, so a second percussionist  Clear enunciation of rhythmic cycle by percussion and/or a timekeeper showing and/or clapping out accompanist (in dominant present day forms like beats (in which the audience joins) is necessary Khayal, Sadra, , etc.)  Contrary to advocated argument, has Muslim  True to Hindu traditions: so-called “Persian influences influences” fully integrated within its essential and ancient grammatical format 80

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Music of India

Uttarakhandi folk music • On subjects related to nature. • Primarily related to the various festivals, religious traditions, folk stories and simple life of the people of Uttarakhand. • Musical instruments include the dhol, damoun, turri, ransingha, dholki, daur, thali, bhankora and masakbhaja. Tabla and harmonium are also used, but to a lesser extent. • The main languages are Kumaoni and Garhwali.

Lavani • Lavani comes from the word Lavanya which means beauty. • Originated in the arid region of Maharashtra and Madhya Pradesh. It has in fact become a necessary part of the Maharashtrian folk dance performances. • Traditionally, the songs are sung by female artistes, but male artistes may occasionally sing Lavanis. • The dance format associated with Lavani is known as Tamasha. • Lavani is a combination of traditional song and dance, which particularly performed to the enchanting beats of 'Dholak', a drum-like instrument. • Women wears nine-yard saris. They sings in a quick tempo.

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Music of India Rajasthani • Rajasthan has a very diverse cultural collection of musician castes, including Langas, Sapera, Bhopa, Jogi and Manganiyar (lit. the ones who ask/beg). • Rajasthan Diary quotes it as a soulful, full-throated music with Harmonious diversity. • The haunting melody of Rajasthan evokes from a variety of delightfully primitive looking instruments. • The stringed variety include the Sarangi, Rawanhattha, Kamayacha, and Ektara. • Percussion instruments come in all shapes and sizes from the huge Nagaras and to the tiny Damrus. • The Daf and Chang are a big favourite of Holi (the festival of colours) revellers. Flutes and bagpipers come in local flavours such as Shehnai, Poongi, Algoza, Tarpi, Been and Bankia. Ganasangeet • Eg: Apni Azadi Ko Hum Hargis Mita Sakte Nahin, ajadee hoyni tor, Kadam kadam badhaye jaa, etc. • Generally sung in chorus carrying some social message. • The songs are usually about Freedom, community strength, patriotism. • Due to the British occupation in India, a lot of protest songs about anti-imperialism/pro-socialism

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Indian Architecture

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Indian Architecture

INDUS VALLEY CIVILIZATION • Third millennium BC. • On indus river bank. • Walled cities for security. • Rectangular grid pattern of layout with roads cutting at right angles. • Burnt mud-bricks as building material. • Evidence of big building which perhaps were public buildings, administrative or business centres, pillared halls and courtyards. • No evidence of temples. • Public buildings include granaries to store grains. • ‘Great Bath’ - public bathing place shows the importance of ritualistic bathing and cleanliness in this culture. It is still functional and there is no leakage or cracks in the construction. • Most of the houses had private wells and bathrooms. • Dominant citadal - treated as evidence of some kind of political authority ruling over the cities. • Evidence also of fortifications with gateways enclosing the walled cities which shows that there may have been a fear of being attacked.

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Indian Architecture

The Mauryan Period • , first Mauryan to "think in stone". • Mostly indigenous in origin, some exotic forms show the influence of Greek, Persian and Egyptian cultures. • Beginning of the Buddhist School of architecture in India. • Ashokan pillars were lofty free standing monolithic columns erected on sacred sites. Originally there were about thirty pillars but now only ten are in existence, of which only two with lion capitals stand in situ in good condition at Kolhua and Laurya Nandangarh respectively. • pillar - finest pieces of sculpture of the Ashokan period. • The Chinese traveller Fa-hien was so impressed by Ashoka’s palace near Patna that he stated that "it was made by spirits" and that its carvings are so elegantly executed "which no human hands of this world could accomplish". • Its existence was pointed out during the excavations at Kumrahar, near Patna, where its ashes have been found preserved for several thousand years. • Megasthenes, the Greek ambassador of Selucas Nikator who visited the Mauryan court described Chandragupta Maurya’s palace as an excellent architectural achievement

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THE STUPAS • STUPAS:  hemispherical in shape with a low base.  symbolized the cosmic mountain.  inscription by the ivory carvers of Vidisha on the southern gateway throws light on the transference of building material from perishable wood and ivory to the more durable stone.

• AMARAVATI STUPA:  built in 2nd or 1st century BC was probably like the one at Sanchi  but in later centuries it was transformed from a Hinayana shrine to a Mahayana shrine.

• GANDHARA STUPA:  further development of stupas at Sanchi and Bharhut.  the base, dome and the hemisphere dome are sculpted.  stupas of Nagarjunakonda in Krishna valley were very large.  Maha Chaitya of Nagarjunakonda has a base in the form of Swastika, which is a sun symbol.

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THE SCHOOLS OF ART The Gandhara School Of Art (50 B.C. TO 500 A.D.): • From Punjab to the borders of Afghanistan was an important centre of Mahayana Buddhism up to the 5th century A.D. • Imbibed all kinds of foreign influences like Persian, Greek, Roman, Saka and Kushan. • Origin can be traced to the Greek rulers of Bactria and Northwest India. • During the reign of that the art received great patronage. • Also known as the Graeco- Buddhist School of Art since Greek techniques of Art were applied to Buddhist subjects. • Most important contribution- evolution of beautiful images of the Buddha and Bodhisattavas, which were executed in black stone and modelled on identical characters of Graeco- Roman pantheon. • “Gandhara artist had the hand of a Greek but the heart of an Indian." • Most characteristic trait - depiction of Lord Buddha in the standing or seated positions. • Seated Buddha is always shown cross-legged in the traditional Indian way. • Typical feature - rich carving, elaborate ornamentation and complex symbolism. • Tallest rock-cut statue of Lord Buddha - Bamiyan (Afghanistan) - 3-4 century AD. 88

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The Mathura School Of Art( 50 B.C. - 500 A.D.): • At the holy city of Mathura between 1-3 A.D. • Established tradition of transforming Buddhist symbols into human form. • Buddha’s first image can be traced to Kanishka’s reign (about 78 A.D.). • Earliest sculptures of Buddha were made keeping the yaksha prototype in mind. • Strongly built - right hand raised in protection and left hand on the waist. • The figures do not have moustaches and beards as in the Gandhara Art. • Seated figures are in the padmasana posture. • Not only produced beautiful images of the Buddha but also of the Jain Tirthankaras and gods and goddesses of the Hindu pantheon. • Although of indigenous origin, but greatly influenced by the Gandhara School of Art. • Guptas adopted, further improvised & perfected Mathura School of Art. • Observed at - Sarnath, Sravasti and even as far as Rajgir in Bihar.

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The Amravati school of art(200 b.C. - 200 a.D.): • On the banks of the Krishna River in modern Andhra Pradesh. • Largest Buddhist stupa of South India. • Construction began in 200 B.C. and was completed in 200 A.D. • Stupendous stupa could not withstand the ravages of time • Its ruins are preserved in the London Museum.

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TEMPLE

• India's architecture is developed from the creativity of Sthapathis and Shilpis, both of whom belong to the larger community of craftsmen and artisans called Vishwakarma (caste). • A small Hindu temple consists of an inner sanctum, the garbha graha or womb-chamber, in which the idol or deity is housed, often called circumambulation, a congregation hall, and sometimes an antechamber and porch. The garbhagriha is crowned by a tower-like shikara. • All the Hindu temples in India follows the architecture defined in Shilpa . • However, there are artistic variations in terms of construction of shikara depending on regional culture

SHIKHARA

MANDAPA

VIMANA garbha-griha 91

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Indian Architecture History of Temple Architecture

• Representation of the macrocosm (the universe) as well as the microcosm (the inner space). • The Ashtadhyayi of Panini, the great grammarian of the 5th century BCE speaks of images that were used in Hindu temple worship. The ordinary images were called pratikriti and the images for worship were called archa. • , the 2nd-century BCE author of the Mahabhashya commentary on the Ashtadhyayi, tells us more about the images. • Deity images for sale were called Shivaka etc., but an archa of Shiva was just called Shiva. Patanjali mentions Shiva and Skanda deities. • There is also mention of the worship of (Krishna). • Some images could be moved and some were immoveable. • Panini also says that an archa was not to be sold and that there were people (priests) who obtained their livelihood by taking care of it. • Panini and Patanjali mention temples which were called prasadas. • The earlier Shatapatha of the period of the , informs us of an image in the shape of Purusha which was placed within the altar. • The Vedic books describe the plan of the temple to be square. This plan is divided into 64 or 81 smaller squares, where each of these represent a specific divinity.

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Indian Architecture TEMPLE ARCHITECTURE OF INDIA architecture • Nagara temples have two distinct features : . In plan, the temple is a square with a number of graduated projections in the middle of each side giving a cruciform shape with a number of re- entrant angles on each side. . In elevation, a Sikhara, i.e., tower gradually inclines inwards in a convex curve. • The projections in the plan are also carried upwards to the top of the Sikhara and, thus, there is strong emphasis on vertical lines in elevation. • Style is widely distributed over a greater part of India, exhibiting distinct varieties and ramifications in lines of evolution and elaboration according to each locality. • An example of Nagara architecture is the Kandariya Mahadeva Temple. (detailed image on next page).

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Indian Architecture TEMPLE ARCHITECTURE OF INDIA • Four following parts, differing only according to the age in which they were executed: . The principal part, the temple itself, is called the Vimana (or Vimanam). It is always square in plan and surmounted by a pyramidal roof of one or more stories; it contains the cell where the image of the god or his emblem is placed. . The porches or Mandapas (or Mantapams), which always cover and precede the door leading to the cell. . Gate-pyramids, Gopurams, which are the principal features in the quadrangular enclosures that surround the more notable temples. . Pillared halls or Chaultris—properly Chawadis -- used for various purposes, and which are the invariable accompaniments of these temples. • Contains temple tanks or wells for water (used for sacred purposes or the convenience of the priests), dwellings for all grades of the priesthood are attached to it, and other buildings for state or convenience.

Structure of a typical Drvaidan viman

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Indian Architecture TEMPLE ARCHITECTURE OF INDIA

Badami Chalukya architecture • Originated during 450 CE in and perfected in and . • Between 500 and 757 CE, Badami Chalukyas established the foundations of cave temple architecture, on the banks of the Malaprabha River. Those styles mainly include Aihole, Pattadakal and Badami. • Built out of sandstone cut into enormous blocks from the outcrops in the chains of the Kaladgi hills. • At Badami, Chalukyas carved some of the finest cave temples. Mahakuta, the large trees under which the shrine nestles. • In Aihole, known as the "Cradle of Indian architecture," there are over 150 temples scattered around the village. • Pattadakal is a (World Heritage Site), where one finds the Virupaksha temple; it is the biggest temple, having carved scenes from the Ramayana and the Mahabharata. Other temples at Pattadakal are Mallikarjuna, Kashivishwanatha, Galaganatha and Papanath.

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MyNotesAdda.Com MyNotesAdda.Com Indian Architecture TEMPLE ARCHITECTURE OF INDIA Gadag Architecture style • Also called Western Chalukya architecture. • Flourished for 150 years (1050 to 1200 CE); in this period, about 50 temples were built. • Some examples are the Saraswati temple in the Trikuteshwara temple complex at Gadag, the Doddabasappa Temple at , the Kasivisvesvara Temple at , and the Amriteshwara temple at . which is marked by ornate pillars with intricate sculpture. • This style originated during the period of the Kalyani Chalukyas (also known as Western Chalukya) Someswara I.

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MyNotesAdda.Com MyNotesAdda.Com Indian Architecture TEMPLE ARCHITECTURE OF INDIA style • The design which flourished in eastern Indian state of and Northern Andhra Pradesh are called Kalinga style of architecture. • The style consists of three distinct type of temples namely Rekha , Pidha Deula and Khakhara Deula. • Deula means "temple" in the local language. The former two are associated with Vishnu, and Shiva temple while the third is mainly with and temples. • The Rekha deula and Khakhara deula houses the sanctum sanctorum while the Pidha Deula constitutes outer dancing and offering halls.

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MyNotesAdda.Com MyNotesAdda.Com Indian Architecture TEMPLE ARCHITECTURE OF INDIA Māru-Gurjara temple architecture • Originated somewhere in 6th century in and around areas of Rajasthan. • Shows the deep understanding of structures and refined skills of Rajasthani craftmen of bygone era. • Has two prominent styles: Maha-Maru and Maru-Gurjara. • Scholars believe that Māru-Gurjara temple architecture is entirely Western Indian architecture and is quite different from the North Indian temple architecture. • This further shows the cultural and ethnic separation of Rajasthanis from north Indian culture. • There is a connecting link between Māru-Gurjara architecture and Hoysala temple architecture. In both of these styles architecture is treated sculpturally.

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AJANTA CAVES • Located near village of Ajintha in Aurangabad. • Discovered by the British officers while hunting a tiger in 1819 AD. • 30 cave temples at Ajanta are set into the rocky sides of a crescent shaped gorge in the Inhyadri hills of the Sahyadri ranges. • 5 caves are Chaitya-grihas, & rest are Viharas(monasteries). • Caves were constructed in two phases, first group around 200 BC and second group around 600 AD. • Depicts a large number of incidents from the life of the Buddha (Jataka Tales).

103 MyNotesAdda.Com MyNotesAdda.Com Indian Architecture CAVE ARCHITECTURE OF INDIA (5th -13th Cen AD) • Located in Aurangabad city. • 3 major religion of india- Hinduism, Buddhism & Jainism. • Buddhist Caves: Built around 5th-7th century AD Cave 10 is famous and known as Carpenter’s Cave or Cave with a 3.3m high seated Buddha at the far end. Cave 11 has the images of Durga and Ganesh also a Buddha shrine, it is belived that it was converted in to hindu temple after being deserted by buddhist. • Hindu Caves: 6th and 8th century AD. Cave 16 also known as Kailasa Temple which is a multi storeyed temple carved out of a single rock, built by Rashtrakuta emperor Krishna I. • Jain Caves: Belongs to Digambara faction. Total 5 caves. Most notable are cave 30 (Chotta Kailash), cave 32 ( Sabha), and cave 33 (Jagannath Sabha). 104

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ELEPHANTA CAVES • Network of sculpted caves located on Elephanta Island, or Gharapuri (literally "the city of caves") in Mumbai Harbour. • The island, located on an arm of the Arabian Sea, consists of two groups of caves—the first is a large group of five Hindu caves, the second, a smaller group of two Buddhist caves. • The Hindu caves contain rock cut stone sculptures, representing the Shaiva Hindu sect, dedicated to the god Shiva. • Dated to between the 5th and 8th centuries, although the identity of the original builders is still a subject of debate. • Hewn from solid basalt rock. All the caves were also originally painted in the past, but now only traces remain. • The island was called Gharapuri and was a Hindu place of worship until Portuguese rule began in 1534. • The Portuguese called the island Elephanta on seeing its huge gigantic statue of an at the entrance. The Statue is now placed in the garden outside the Bhau Daji Lad Museum at Byculla in Mumbai. • This cave was renovated in the 1970s after years of neglect, and was designated a UNESCO World Heritage Site in 1987 to preserve the artwork. It is currently maintained by the Archaeological Survey of India.

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BHIMBETAKA CAVES • Located near Bhopal in the Raisen District - Madhya Pradesh. • First referred in the archeological records in 1888 AD as Buddhist site. Later discovered by Dr Vishnu Wakankar in 1957-58. • More than 700 shelters. Bhimbetka group (243) & Lakha Juar group (178). • Rock paintings can be traced back to the Stone Age era, closely 30000 years old. • Excavations revealed history of continuous habitation from early stone age (about 10000 years) to the end of stone age (c. 10,000 to 2,000 years).

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Sources:

• Wikipedia • http://www.ccrtindia.gov.in/theatreforms.htm • http://news.bbc.co.uk/2/shared/spl/hi/pop_ups/05/south_asia_india0s_changin g_folk_theatre/html/1.stm • http://hyd-n-spook.blogspot.in/ • ignca.nic.in/ICH/ich_detail/ich00022.pdf • http://www.unesco.org/culture/ich/index.php?RL=00281 • www.civilsprep.in • http://search.library.wisc.edu/catalog/ocm56034074 • http://en.wikipedia.org/wiki/Pandavani • http://www.answers.com/topic/khayal-1 • World Encyclopedia of Contemporary Theatre: Aisa. books.google.co.in/books?isbn=041505933X... • www.brainykey.com • http://www.nrityanjali.org/th_vee.asp • McGraw Hill Encyclopadeia of World Drama: books.google.co.in/books?isbn=0070791694... • ccrtindia.gov.in • puppetryindia.org

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