PAINTINGS OF INDIA A) WALL PAINTINGS OF INDIA Painting - expresses human thoughts and feelings through the media of line

and colour. METHOD OF PAINTINGS 1)True Fresco Method- the paintings are done when the surface wall is still wet so that the pigments go deep inside the wall surface. 2)Tempora or Fresco-Secco- method of painting on the lime plastered surface which has been allowed to dry first and then drenched with fresh lime water. Ca e d!e""er painted rock shelters to satisfy his aesthetic sensitivity and creative urge primitive records of wild animals, war processions, birds marine creatures human images, dancing images and hunting scenes. !himbetka caves in the "aimur #ange, $P. A#ANTA CA$E PAINTING% exclusively !uddhist, excepting decorative patterns on the ceilings and the pillars. associated with the %atakas, recording the previous births of the &ord !uddha. Principal characters in most of the designs are in heroic proportions. ELLO&A CA$E PAINTING% out in rectangular panels with thick borders. most important characteristic features sharp twist of the head, painted angular bents of the arms, concave curve of the close limbs, sharp pro'ected nose and long drawn open eyes WALL PAINTINGS IN SO'TH INDIA (an'ore, (amil )adu wide open eyes of all the figures as compared to *'anta tradition of half closed drooping eyes dancing girl from !rihadeshwara temple of (an'ore ()MINIAT'&E PAINTING THE M'GHAL SCHOOL +1,-.-1/.. *.0.) synthesis of the indigenous 1ndian style of painting and the 2afavid school of Persian painting. marked by supple naturalism based on close observation of nature and fine and delicate drawing. high aesthetic merit. primarily aristocratic and secular. Tuti-nama - first work of the $ughal 2chool.

Hamza-nama( illustrations on cloth)- more developed and refined than Tuti-nama. 3nder %ahangir, painting ac4uired greater charm, refinement and dignity. 3nder 2hah %ahan - painting maintained its fine 4uality. 3nder *urang5eb- Painting declined and lost much of its earlier 4uality.

THE DECCANI SCHOOLS +61#6* 1,-.-1/.. *.0.)

1. AHMEDNAGA&

female appearing in the painting belongs to the northern tradition of $alwa. Choli +bodice) and long pigtails braided and ending in a tassel are the northern costume. colours used are rich and brilliant Persian influence - high hori5on, gold sky and the landscape.

2. (I#AP'& ladies - tall and slender and are wearing the 2outh 1ndian dress. rich colour scheme, the palm trees, animals and men and women all belongs to the

0eccani tradition. profuse use of gold colour some flowering plants and arabes4ues on the top of the throne are derived from the Persian tradition.

3. GOLCONDA 7&ady with the $yna bird7, about 1-., *.0

colours are rich and brilliant continued long after the extinction of the 0eccan 2ultanates of *hmednagar, !i'apur and 8olconda.

4. H)DE&A(AD belongs to the third 4uarter of the 1/th century. introduced by several $ughal painters who migrated to the 0eccan during the

period of *urang5eb and sought patronage there. 0istinctive features - treatment of the ethnic types, costumes, 'ewellery, flora, fauna, landscape and colours. style of the painting is decorative. typical characteristics - rich colours, the 0eccani facial types and costumes

5. TAN#O&E works on cloth stretched over wood.

style of painting - bold drawing, techni4ues of shading and the use of pure and brilliant colours flourished during the late 1/th and 19th centuries. style is decorative and is marked by the use of bright colours and ornamental details. conical crown - a typical feature of the (an'ore painting. more subtle and done on paper, while the (an'ore works on cloth stretched over wood. deal mostly with sacred icons painted for devotional purposes. theatrical framing of the iconic paintings should be particularly noted.

6. M)SO&E

&A#ASTHANI AND CENT&AL INDIAN SCHOOLS *+,TH-+-TH CENT'&IES)

deeply rooted in the 1ndian traditions, taking inspiration from 1ndian epics, Puranas, love poems 1ndian folk-lore. $ughal artists of inferior merit who were no longer re4uired by the $ughal :mperors, migrated to #a'asthan #a'asthani style - bold drawing, strong and contrasting colours. treatment of figures is flat without any attempt to show perspective in a naturalistic manner. surface of the painting is divided into several compartments of different colours in order to separate one scene from another. each school of painting has its distinct facial type, costume, landscape and colour scheme.

1. MALWA

use of contrasting colours, refinement of drawing due to the influence of the $ughal painting ornaments and costumes consisting of black tassels and striped skirts.
2.

MEWA& drawing is bold and the colours are bright and contrasting. text of the painting is written in black on the top against the yellow ground.

3. ('NDI

very close to the $ewar style rich and glowing colours, the rising sun in golden colour, crimson-red hori5on, overlapping and semi-naturalistic trees $ughal influence is visible in the refined drawing of the faces

4. .OTAH

very much akin to the !undi style (hemes of tiger and bear hunt were very popular at "otah.

most of the space is occupied by the hilly 'ungle which has been rendered with a uni4ue charm.
5.

AM(E& / #AIP'& this school of painting originated at *mber but later shifted to %aipur, the new capital. (here is a fairly large number of portraits of the %aipur rulers MA&WA&

6.

executed in a primitive and vigorous folk style completely uninfluenced by the $ughal style. * large number of miniatures comprising portraits, court scenes, series of the #agamala and the !aramasa, etc. were executed from the 1;th to 19th centuries at several centres of painting like Pali, %odhpur and )agour etc. in $arwar. ;. (I.ANE& !ikaner had close relations with the $ughals. 2ome of the $ughal artists were given patronage by the !ikaner court responsible for the introduction of a new style of painting having much similarity with the $ughal and the 0eccani styles.

/.

.ISHENGA&H

developed under the patronage of #a'a 2avant 2ingh +1;</-1;,; *.0.) , who wrote devotional poetry in praise of "rishna master painter )ihal 6hand who, in his works, has been able to create visual images of his master=s lyrical compositions

PAHA&I SCHOOL *+,TH TO +-TH CENT'&IES) comprises the present 2tate of >imachal Pradesh, some ad'oining areas of the Pun'ab, %ammu and 8arhwal in 3P. this area was ruled by the #a'put princes and were often engaged in welfare. centres of great artistic activity from the latter half of the 1;th to nearly the middle of the 19th century.

+0(ASOHLI

characterised by vigorous and bold line and strong glowing colours. (here is a change in the facial type which becomes a little heavier and also in the tree forms which assume a somewhat naturalistic character, which may be due to the influence of the $ughal painting. general features - use of strong and contrasting colours, monochrome background, large eyes, bold drawing, use of beetles wings for showing diamonds in ornaments, narrow sky and the red

10G'LE& *#ammu) consisting of portraits of #a'a !alwant 2ingh of %asrota +a small place near %ammu) by $aster )ainsukh. >e worked both at %asrota and at 8uler. paintings are in a new naturalistic and delicate style marking a change from the earlier traditions of the !asohli art. colours used are soft and cool. inspired by the naturalistic style of the $ughal painting.

20.ANG&A third phase of the Pahari painting in the last 4uarter of the 1/th century. developed out of the 8uler style. the faces of women in profile have the nose almost in line with the forehead, the eyes are long and narrow and the chin is sharp. (here is, however, no modelling of figures and hair is treated as a flat mass.

30.'L' / MAND" a folk style of painting, mainly inspired by the local tradition. style is marked by bold drawing and the use of dark and dull colours. (hough influence of the "angra style is observed in certain cases yet the style maintains its distinct folkish character.

INDEPENDENT PAINTINGS +0.ALIGHAT PAINTINGS- .OL.ATTA "alighat painting was a product of the changing urban society of the nineteenth century 6alcutta. group of artists evolved a 4uick method of painting on mill-made paper. 3sing brush and ink from the lampblack, these artists defined figures of deities, gentry and ordinary people with deft and vigorously flowing lines. romantic depictions of women.

satirical paintings lampooning the hypocrisies of the newly rich and the changing roles of men and women after the introduction of education for women.

10MADH'(ANI PAINTINGS- MITHILA4(IHA& ?omen +$ithila region,!ihar) have painted colorful auspicious images on the interior walls of their homes on the occasion of domestic rituals since at least the 1<th century. (his ancient tradition, especially elaborated for marriages, continues today. used to paint the walls of room, known as .OH(A& GHA& in which the newly wedded couple meet for the first time. 20PHAD% SC&OLL PAINTINGS *(HILWADA4 &A#ASTHAN) Phad is a painted scroll, which depicts stories of epic dimensions about local deities and legendary heroes. !hopas+local priests) carry these scrolls on their shoulders from village to village for a performance represents the moving shrine of the deity and is an ob'ect of worship. most popular and largest Phad belong to local deities 0evnarayan'i and Pabu'i.

30.ALAM.A&I PAINTINGS *ANDH&A P&ADESH) "alamkari +lit. pen-work) is primarily used for the temple festivals or as wall hangings. stories from the epics #amayana, $ahabharata and the Puranas are painted as continuous narratives relevant (elugu verses explaining the theme are also carried below the artwork. colors are obtained from vegetable and mineral sources. gods are painted blue, the demons and evil characters in red and green. @ellow is used for female figures and ornaments. #ed is mostly used as a background. 50.OLAM "olam is a ritualistic design drawn at the threshold of households and temples. drawn everyday at dawn and dusk by women in 2outh 1ndia "olam marks festivals, seasons and important events in a woman=s life such as birth, first menstruation and marriage. "olam is a free-hand drawing with symmetrical and neat geometrical patterns. PE&FO&MING A&T DIFFE&ENT FO&MS OF T&ADITIONAL THEAT&E
1. +0(HAND PATHE&*#ASHIN) - .ASHMI&

uni4ue combination of dance, music and acting.

2atire, wit and parody are preferred for inducing laughter. music is provided with surnai, nagaara and dhol. 2ince the actors are mainly from the farming community, the impact of their way of living, ideals and sensitivity is noticable. mainly music-based. 8radually, prose too, played its role in the dialogues. softness of emotions, accomplishment of rasa along with the development of character can be seen two important styles are from #ohtak and >aathras. 1n the style belonging to #ohtak, the language used is >aryanvi +!angru) and in >aathras, it is !ra'bhasha. most popular centres - "anpur, &ucknow and >aathras. (he meters used in the verses areA 0oha, 6haubola, 6hhappai, !ehar-etabeel. nowadays, women have also started taking part

2. SWANG - HA&)ANA

3. NA'TAN.I - 'TTA& P&ADESH

4. &AASLEELA

based exclusively on &ord "rishna legends believed that )and 0as wrote the initial plays based on the life of "rishna. dialogues in prose combined beautifully with songs and scenes from "rishna=s pranks.

5. (HA$AI - G'#A&AT

$ain centers of - "utch and "athiawar. instruments used areA bhungal, tabla, flute, pakhaawa', rabaab, sarangi, man'eera, etc. there is a rare synthesis of devotional and romantic sentiments.

6. #AT&A - (ENGAL Bairs in honour of gods, or religious rituals and ceremonies have

within their framework musical plays are known as #atra. "rishna %atra became popular due to 6haitanya prabhu=s influence. earlier form of %atra has been musical dialogues were added at later stage. (he actors themselves describe the change of scene, the place of action, etc. cultural glimpses of *ssam, !engal Crissa, $athura and !rindavan can be seen. (he 2utradhaar, or narrator begins the story, first in 2anskrit and then in either !ra'boli or *ssamese.

7. (HAONA+AN.IA NAAT) - ASSAM0

8. MAACH - MADH)A P&ADESH

$aach is used for the stage itself as also for the play. songs are given prominence in between the dialogues. (he term for dialogue in this form is bol and rhyme in narration is termed vanag. (he tunes of this theatre form are known as rangat.

9. TAMAASHA - MAHA&ASHT&A

evolved from the folk forms such as 8ondhal, %agran and "irtan. female actress is the chief exponent of dance movements in the play. 2he is known as $urki. 6lassical music, footwork at lightning-speed, and vivid gestures make it possible to portray all the emotions through dance. personify the ten incarnations of &ord Dishnu-the god of preservation and creativity. (he ten incarnations are $atsya +fish), "urma +tortoise), Daraha +boar), )arsimha +lion-man), Daman +dwarf), Parashuram, #ama, "rishna +or !alram), !uddha and "alki. *part from styli5ed make-up, the 0ashavatar performers wear masks of wood and papier mache. came into existence in the middle of 1;th century *.0. under the patronage of "ing $anavada of 6alicut. "rishnattam is a cycle of eight plays performed for eight consecutive days. (he plays are *vataram, "aliamandana, #asa krida, kamasavadha, 2wayamvaram, !ana @udham, Divida Dadham, and 2wargarohana. episodes are based on the theme of &ord "rishna - his birth, childhood pranks and various deeds depicting victory of good over evil. celebrated in the month of Drischikam +)ovember-0ecember). performed only in the "ali temples of "erala, as an oblation to the 8oddess. depicts the triumph of goddess !hadrakali over the asura 0arika. seven characters in $udiyettu-2hiva, )arada, 0arika, 0anavendra, !hadrakali, "ooli and "oimbidar +)andikeshvara) are all heavily madeup.

10. DASHA$ATA& - .ON.AN AND GOA

11. .&ISHNATTAM - .E&ALA

12. M'DI)ETT' - .E&ALA

13. THE))AM - .E&ALA

=(heyyam= derived from the 2anskrit word =0aivam= meaning 8od. >ence it is called 8od=s dance. performed by various castes to appease and worship spirits. distinguishing features colourful costume and awe-inspiring headgears +mudi) nearly , to - 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.
14. .OODI)AATTAM - .E&ALA

based on 2anskrit theatre traditions. characters of this theatre form areA 6hakyaar or actor, )aambiyaar, the instrumentalists and )aangyaar, those taking on women=s roles. (he 2utradhar or narrator and the Didushak or 'esters are the protagonists. Didushak alone delivers the dialogues. :mphasis on hand gestures and eye movements makes this dance and theatre form uni4ue. based on mythological stories and Puranas. most popular episodes are from the $ahabharata i.e. 0raupadi swayamvar, 2ubhadra vivah, *bhimanyu vadh, "arna-*r'un yuddh and from #amayana i.e. #aa'yaabhishek, &av-kush @uddh, !aali2ugreeva yuddha and Panchavati. literally means 7street play7. mostly performed at the time of annual temple festivals of $ariamman +#ain goddess) to achieve rich harvest. there is a cycle of eight plays based on the life of 0raupadi. "attiakaran, the 2utradhara gives the gist of the play to the audience "omali entertains the audience with his buffoonery. deals with serious 4uestion of life death briefly and with simplicity of expression diction, all enveloped in humour. 1ndeed, audience is given essence of our cultural heritage of viewing the world as a stage and as an unsubstantial pageant which is to be negotiated and lived by rising above it. (here is often stylistic diversity, which strengthens their identity from 2wang, )autanki, !hagat, etc..

15. )A.SHAGAANA - .A&NATA.A

16. THE&'.OOTH' - TAMIL NAD'

17. .A&)ALA- HIMACHAL P&ADESH

INDIAN A&CHITECT'&E
IND'S $ALLE) CI$ILI6ATION traced as far back as third millennium !6.

on the banks of the river 1ndus particularly at the bends that provided water, easy means of transportation of produce and other goods and also some protection by way of natural barriers of the river . consisted of walled cities which provided security to the people. rectangular grid pattern of layout with roads that cut each other at right angles. used standardised burnt mud-bricks as building material. (here is evidence of building of big dimensions which perhaps were public buildings, administrative or business centres, pillared halls and courtyards. (here is no evidence of temples. Public buildings include granaries which were used to store grains which give an idea of an organised collection and distribution system. E8reat !athF - public bathing place shows the importance of ritualistic bathing and cleanliness in this culture. 1t 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.

0holavira , #angpur, #o'di, &othal , 2arkotada , "untasi, Padri +8u'arat) "alibangan +#a'asthan), !hagwanpura, !anawali +>aryana), 0iamabad +$aharashtra), *lamgirpur +3.P.), and $auda +%ammu).
THE MA'&)AN PE&IOD

*shoka, first $auryan to 7think in stone7. most of the shapes and decorative forms employed were indigenous in origin, some exotic forms show the influence of 8reek, Persian and :gyptian cultures. beginning of the !uddhist 2chool of architecture in 1ndia. monolithic *shokan pillars are marvels of architecture and sculpture. (hese were lofty free standing monolithic columns erected on sacred sites. Criginally 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 "olhua and &aurya )andangarh respectively. 2arnath pillar - finest pieces of sculpture of the *shokan period. (wo *shokan edicts - found at &aghman, near %alalabad + *fghanistan). most important ones are located at !harhut, !odhgaya, 2anchi, *mravati and )agar'unakonda. (he 6hinese traveller Ba-hien was so impressed by *shokaFs palace near Patna that he stated that 7it was made by spirits7 and that its carvings are so elegantly executed 7which no human hands of this world could accomplish7. 1ts existence was pointed out during the excavations at "umrahar, near Patna, where its ashes have been found preserved for several thousand years. $egasthenes, the 8reek ambassador of 2elucas )ikator who visited the $auryan court described 6handragupta $auryaFs palace as an excellent architectural achievement.

 THE ST'PAS

SANCHI ST'PASA hemispherical in shape with a low base. symboli5ed the cosmic mountain. inscription by the ivory carvers of Didisha on the southern gateway throws light on the transference of building material from perishable wood and ivory to the more durable stone. AMA&A$ATI ST'PAA built in 2nd or 1st century !6 was probably like the one at 2anchi but in later centuries it was transformed from a >inayana shrine to a $ahayana shrine. GANDHA&A ST'PAA further development of stupas at 2anchi and !harhut. the base, dome and the hemisphere dome are sculpted. stupas of Nagarjunakonda in "rishna valley were very large. $aha 6haitya of Nagarjunakonda has a base in the form of 2wastika, which is a sun symbol. THE SCHOOLS OF A&T THE GANDHA&A SCHOOL OF A&T *57 (0C0 TO 577 A0D0)A region extending from Pun'ab to the borders of *fghanistan was an important centre of $ahayana !uddhism up to the ,th century *.0. imbibed all kinds of foreign influences like Persian, 8reek, #oman, 2aka and "ushan. origin can be traced to the 8reek rulers of !actria and )orthwest 1ndia. during the reign of "anishka that the art received great patronage. also known as the 8raeco- !uddhist 2chool of *rt since 8reek techni4ues of *rt were applied to !uddhist sub'ects. most important contribution- evolution of beautiful images of the !uddha and !odhisattavas, which were executed in black stone and modelled on identical characters of 8raeco-#oman pantheon. G8andhara artist had the hand of a 8reek but the heart of an 1ndian.7 most characteristic trait - depiction of &ord !uddha in the standing or seated positions. seated !uddha is always shown cross-legged in the traditional 1ndian way. typical feature - rich carving, elaborate ornamentation and complex symbolism. tallest rock-cut statue of &ord !uddha - !amiyan +*fghanistan) - H-< century *0.

THE MATH'&A SCHOOL OF A&T* 57 (0C0 - 577 A0D0)% at the holy city of $athura between 1-H *.0. established tradition of transforming !uddhist symbols into human form. !uddhaFs first image can be traced to "anishkaFs reign +about ;/ *.0.). earliest sculptures of !uddha were made keeping the yaksha prototype in mind.

 strongly built - right hand raised in protection and left hand on the waist. (he figures do not have moustaches and beards as in the 8andhara *rt. seated figures are in the padmasana posture. not only produced beautiful images of the !uddha but also of the %ain (irthankaras and gods and goddesses of the >indu pantheon. although of indigenous origin, but greatly influenced by the 8andhara 2chool of *rt. 8uptas adopted, further improvised perfected $athura 2chool of *rt. observed at - 2arnath, 2ravasti and even as far as #a'gir in !ihar. THE AM&A$ATI SCHOOL OF A&T*177 (0C0 - 177 A0D0)% on the banks of the "rishna #iver in modern *ndhra Pradesh. largest !uddhist stupa of 2outh 1ndia. construction began in 2.. !.6. and was completed in 2.. *.0. stupendous stupa could not withstand the ravages of time its ruins are preserved in the &ondon $useum.

TEMPLE A&CHITECT'&E OF INDIA P&ATHIHA&AS- '##AIN *8TH - -TH CENT'&IES AD)

$ahakaleshwar temple, one of the 12 %yotirlingas of 1ndia, "al !hairava temple, finds a mention in the 2kanda Purana, and $angalnath temple, regarded as the birthplace of $ars, according to the $atsya Purana.

PALAS- (ENGAL AND (IHA& *8th -+2TH CENT'&IES AD) flourished in !engal and !ihar under the Pala and the 2ena rulers. )alanda was its most active centre, whose influence was spread to )epal, $yanmar and even 1ndonesia. CHANDELAS- ('NDEL.HAND *+7TH -++TH CEN AD)

"ha'uraho 'ustly famous for their graceful contours anderotic sculptures. (hese 22 temples +out of the original /,) are regarded as one of world=s greatest artistic wonders. "ha'uraho (emples were built within a short period of hundred years from 9,.-1.,. *.0. "endriya $ahadev temple is the largest and most beautiful of the "ha'uraho (emples. 2hiva (emple at Disvanath and Dishnu (emple at 6haturbhun' are other important temples at "ha'uraho. CA$E A&CHITECT'&E OF INDIA A#ANTA CA$ES *19d Ce9 (C to ,th Ce9 AD) were first mentioned by 6hinese pilgrim >uen (sang - visited 1ndia between -29 - -<, *0.

discovered by the !ritish officers while hunting a tiger in 1/19 *0. thirty cave temples at *'anta are set into the rocky sides of a crescent shaped gorge in the 1nhyadri hills of the 2ahyadri ranges. , caves are 6haitya-grihas, rest are Diharas+monasteries) caves depict a large number of incidents from the life of the !uddha +%ataka (ales).

ELLO&A CA$ES*5th -+2th Ce9 AD) representing H ma'or religion of india- >induism, !uddhism &ies on ancient trade route- dakshinpatha. 12 !uddhist caves+1-12) 1; >indu 6aves+1H-29) , %aina 6aves+H.-H<) !est example of #eligious >armony %ainism.

(HIM(ETA.A CA$ES located in the #aisen 0istrict -$adhya discovered in 19,/ by D.2. ?akanker, is the biggest prehistoric art depository in India. *top the hill a large number of rock-shelters have been discovered, of which more than 1H. contain paintings. :xcavations revealed history of continuous habitation from early stone age +about 1.... years) to the end of stone age +c. 1.,... to 2,... years) ELEPHANTA CA$ES -th century 2hiva temple in the :lephanta caves is one of the most ex4uisitely carved temples in 1ndia. central attraction here is a twenty-foot high bust of the deity in three-headed form. (he $aheshamurti is built deep into a recess and looms up from the darkness to fill the full height of the cave. image symboli5es the fierce, feminine and meditative aspects of the great ascetic and the three heads represent &ord 2hiva as *ghori, *rdhanarishvara and $ahayogi. *ghori is the aggressive form of 2hiva where he is intent on destruction. *rdhanarishvara depicts &ord 2hiva as half-manIhalf-woman signifying the essential unity of the sexes. $ahayogi posture symbolises the meditative aspect of the 8od. Cther sculptures in these caves depict 2hiva=s cosmic dance of primordial creation and destruction and his marriage to Parvati. MAHA.ALI CA$ES rock-cut !uddhist caves situated in 3dayagiri hills, $umbai. excavated during 2.. !6 to -.. *0 and are now in ruins. comprise of < caves on the southeastern face and 1, caves on the northwestern face. 6ave 9 is the chief cave and is the oldest and consists of a stupa and figures of &ord !uddha.

#OGESHWA& AND .ANHE&I CA$ES second largest known cave after the "ailasa cave in :llora houses a !rahmanical temple dating a!k to the -th century *0. :xcavated between the 1st and 2nd centuries *0 "anheri is a 1.9-cave complex located near !orivili )ational Park in !ombay. (he "anheri caves contain illustrations from >inayana and $ahayana !uddhism and show carvings dating a!k to 2.. !6. .A&LA AND (HA#A CA$ES *bout ,.--. kms away from Pune, these are rock-cut !uddhist caves dating back to the 1st and 2nd centuries !6. consist of several viharas and chaityas. &A#P'T A&CHITECT'&E
#a'put palaces - built as inner citadels surrounded by the city and enclosed by a fortified wall as at

6hittorgarh and %aisalmer. 2ome forts, such as those at !haratpur and 0eeg, were protected by wide ditch filled with water surrounding the fort.
"an $andir, the largest palace in 8walior, was built by #a'a $an 2ingh (omar +1</--1,1-). $an $andir has two storeys above, and two below ground level overhanging a sandstone cliff. (his

gigantic cliff is punctuated by five massive round towers, crowned by domed cupolas and linked by delicately carved parapets.
palaces of %aisalmer, #ikaner, %odhpur, 3daipur and "ota represent the maturity of the #a'put style. *ll of these palaces were built predominantly in the 1;th and early 1/th centuries. city of !ikaner is encircled by ,.-H km long stone $all in rich pink sandstone. (here are five gates and

three sally ports.

%odhpur Bort dominates the city, which is surrounded by a huge wall with 1.1 bastions

$eherangarh fort stands on a cliff with a sheer drop of over H- metres.

!uilt by %ai 2ingh, %aipur represents a fusion of :astern and ?estern ideas of town planning. (he city is

enclosed by a wall and has bastions and towers at regular intervals. 6ity Palace is at the center of the walled city and is a spectacular synthesis of #a'put and $ughal architectural styles.
>awa $ahal, or Palace of ?inds, +1;99) has a five-storeyed symmetrical facade composed of 9,H small

casements in a huge curve each with a pro'ecting balcony and crowning arch.
%antar $antar, the largest of five observatories built by %ai 2ingh 11 in the early 1/ th century, others being

3''ain, $athura, Daranasi

)ew 0elhi.

 #AIN A&CHITECT'&E only variation - fre4uent chamukhs or four-faced temples. four (irthankars are be placed back to back to face four cardinal points. :ntry into this temple is also from four doors. 6hamukh temple of *dinath +1-1/ *0) is a characteristic example of the four-door temple. most spectacular of all %ain temples are found at #anakpur and $ount *bu in #a'asthan. 0eogarh +&alitpur, 3.P.), :llora, !adami and *ihole also have some of the important specimens of %ain *rt.

INDO-ISLAMIC A&CHITECT'&E
concept of arch or dome was not invented by the "uslims but was, in fact, borrowed and was further

perfected by them from the architectural styles of the post-#oman period. used ceme9t:9; a;e9t in the form of mortar for the first time. use of scientific principles helped not only in obtaining greater stre9;th a9d sta<:":t= of the construction materials but also provided greater flexibility to the architects and builders. 1slamic elements of architecture had already passed through different experimental phases in other countries like E;=pt4 Ira9 a9d Ira> before these were introduced in 1ndia. typical mortar-maso9r= works formed of dressed sto9es0

$os4ues and (ombs - religious architecture Palaces and Borts - secular 1slamic architecture. MOS?'ES%

basically an open courtyard surrounded by a pillared verandah crowned off with a dome m:hra< indicates the direction of the 4ibla for %ra&er. (owards the right of the mihrab stands the m:m<ar or pulpit from where the 1mam presides over the proceedings. &arge mos4ues where the faithful assemble for the Briday prayers are called the %ama $as'ids.

DELHI ST)LE OF A&CHITECT'&E

(he 0elhi or the 1mperial 2tyle of 1ndo-1slamic architecture flourished between 1191-1,,; '( and

covered $uslim dynasties vi5., S"a e *++-+-+1-7)4 .h:"@: *+1-7-+217)4 Tu;h"a> *+217-+3+3)4 Sa==:d *+3+3-+333) a9d Lodi *+35+-+55A)0

 earliest construction work was began by Jutubuddin *ibak, who started erecting monumental buildings

of stone on ?:"a &a: P:thora, the first of the seven historical cities of 0elhi associated with Prithvira' 6hauhan. (he Jutub $os4ue +1192 *0) is one such building, whose arcaded aisles were composed of pillars carved in the >indu style. )amed as the Juwwat-ul-1slam $as'id, it is considered as the earliest mos4ue in 1ndia. Jutub-ud-din *ibak also started the construction of Jutub $inar in 1192 +which was eventually completed by 1ltutmish in 12H.). (he Jutub $inar, built to commemorate the entry of 1slam, was essentially a victory tower, decorated with several calligraphic inscriptions. *dhai-din-ka-%hopra, located beyond the *'mer darga in #a'asthan. 1t was constructed in 11,H *0 and converted into a mos4ue in 119/ *0. *llauddin "hil'i established the second city of 0elhi at S:r:, built the *lai 0arwa5a near the Jutub $inar and dug a vast reservoir at >au5 "has around 1H11*0. 8hiyasuddin (ughla4 +1H2.-1H2, *0) built (ughla4abad, the third city of 0elhi. (omb of 8hiyasuddin (ughla4, built of red sandstone, is an irregular pentagon in its exterior plan and its design is of the pointed or 7(artar7 shape and is crowned by a finial resembling the kalasa and amla of a >indu temple. 0elhi=s fourth city %ahanpanah was built by $ohammad-bin-(ughla4 in mid-1<th century. Biro5 2hah "otla ground is the only remnant of its past glory. >e is also credited with founding the fortified cities of %aunpur, Bathabad and >issar. "ali $as'id, "hirki $as'id and "alan $as'id also belong to this period, the last two being raised on a tahkhana or substructure of arches. (he (ombs of $ubarak 2ayyid +d. 1<H< *0), $uhammad 2ayyid +d.1<<< *0) and 2ikander &odi +d.1,1; *0) are all of the octagonal type. (he s4uare tombs are represented by such monuments as the !ara "han "a 8umbad, 6hota "han "a 8umbad, !ara 8umbad +1<9< *0), 2hish 8umbad, 0adi "a 8umbad and the Poli ka 8umbad. (he (omb of 1sa "han +1,<; *0), the (omb of *dham "han +1,-1 *0), $oth ki $as'id +c.1,., *0), %amala $as'id +1,H- *0) and the Jila-i-"uhna $as'id +c.1,,. *0) belong to the final phase of the 0elhi style of architecture.

THE P&O$INCIAL ST)LE OF A&CHITECT'&E #A'NP'&%)nder the 2har4i d&nast& %aunpur became a great centre of art, culture and architectural activity.

*tala $as'id was built by 2hamsuddin 1brahim in 1H;/.

G'#A&AT % 8u'arat witnessed significant architectural activity for over 2,. years starting from $u5affar 2hah=s de!laration of inde%enden!e from (el*i and the formation of the 2ultanate of 8u'arat in 1H.; *0 until the con4uest of 8u'arat by the $ughal :mperor *kbar in 1,.. *0. *hmedabad is a city full of architectural masterpieces which include 2ayyid *lam=s mos4ue +1<12), (een 0arwa5a +1<1,), (omb of *hmed 2hah +1<<.), #ani-ka->u'ra +1<<.), the %ami $as'id +built by the cityFs founder 2ultan *hmed 2hah in 1<2H), Jutubuddin=s mos4ue +1<,<), #ani 2ipri $os4ue +1,.,), 2idi !ashir=s $os4ue +1,1.), which is famous for its Gshaking minaretsK, and the "ankaria &ake, constructed in 1<,1 by 2ultan Jutub-ud-0in. DECCAN %

earliest period of architectural development started in 1H<; when *llauddin !ahman 2hah constructed the 8ulbarga Bort and the %ami $as'id at 8ulbarga. (he second phase is represented by the architecture of !idar initiated by *hmed 2hah +1<221<H-), which includes the !idar Bort, $ahmud 8awan=s $adrassa and the *li !arid=s (omb. H)DE&A(AD% (he Jutub 2hahi and )i5am 2hahi dynasties contributed greatly towards the development of the 0eccan style of architecture. 6harminar +1,91) - $ohammed Juli Jutb 2hah. $ecca $as'id- started in 1-1< by *bdullah Jutub 2hah and completed in 1-/; by *urang5eb.

8olconda Bort +1,2,)- $ohammed Juli Jutb 2hah, was an impregnable fort of great strategic importance to most of the rulers. Balaknuma Palace+1/;.) by )awab Dikar-3l-3lmara, is a rare blend of 1talian and (udor architecture. (I#AP'&% .ASHMI&%

8ol 8umba5 built by $ohammad *dil 2hah, which is largest masonry dome in the world.

typified by use of woodwork.

log construction using deodar trees for the construction of wooden bridges called kadals or the wooden shrines called 5iarats mos4ue of 2hah >amdan in 2rinagar and the %ami $as'id at 2rinagar built by 2ikandar !utshikan +1<.. *0) - examples of the wooden architecture Bort of >ari Parbat, the Pattar $as'id +1-2H) and the *khun $ulla 2hah=s mos4ue +1-<9) are illustrations of art of stone building in "ashmir.

(IHA&%

2asaram in !ihar - 2her 2hah=s (omb, tomb of his father, >asan 2ur "han built in 1,H,, tomb of his son 2alim 2hah and tomb of *lwal "han, the !*ief ar!*ite!t of 2her 2hah. completion of the sixth city of 0elhi called the 2hergarh or 0illi 2her 2hai around the Purana Jila area in 1,<.s. Purana Jila has three main gates - the >umayun darwa5a, (ala4i darwa5a and !aradarwa5a. Jila-i-kuhna mas'id built by 2her 2hah 2uri in 1,<1 *0 in the Purana Jila. THE M'GHAL ST)LE OF A&CHITECT'&E (A(A&%

mos4ue at "abuli !agh at Panipat and %ami $as'id at 2ambhal near (el*i

H'MA)'N% Persian influence - result of >umayun=s observance at the court of 2hah (ahmasp during the period of his exile. >umayun=s (omb at 0elhi, +1,-<) built by his widow >a'i !egum as a mark of devotion, eight years after his death. A.(A&% 3se of red sandstone. 6onstruction of a huge fort at *gra. $assive sandstone ramparts of the #ed Bort, )ew 0elhi.

!uildings at Batehpur 2ikri blended both 1slamic and >indu elements in their architectural style. !uland 0arwa5a, Panch $ahal and 0argah of 2aleem 6histi are the most imposing of all the buildings of Batehpur 2ikri. 0iwan-e-"has in the complex which was designed for private audiences. #EHANGI&%

2halimar !agh on the banks of &ake 0al in +as*mir. *kbar=s (omb at 2ikandra near *gra, which was completed in 1-1H. %ahangir=s (omb at 2hadera near &ahore, built by his $ife )ur $ahal

SHAH#AHAN% 2ubstitution of marble for the red sandstone. $arbli5ed 0iwan-i-*m and 0iwan-i-"has build by *kbar at #ed Bort, 0elhi.

2hah %ahan built the %ami $as'id at *gra in 1-</ in honour of his daughter %ahanara !egum ?a5ir "han=s mos4ue in &ahore,1-H<.

,aj "a*al - a memorial to his beloved wife, $umta5 $ahal.

A'&ANG6E(% !ibi-ki-$a4bara, tomb of *urang5eb=s wife !egum #abia 0urani, a poor replica of the famous (a' $ahal

a fine example of $ughal architecture in the (e!!an region.

POST-M'GHAL ST)LE OF A&CHITECT'&E A$ADH *O'DH) ST)LE% 2afdar %ung=s tomb, built in the honour of 2afdar %ung +1;H9-1;,H), who was the nephew of the first )awab of Cudh. !ara 1mambara built by the )awab in 1;/<. *bsence of pillars in the main hall and simplicity of style and symmetry are its uni4ue features. 6hattar $an5il - main attractions are the underground rooms and a beautiful dome surrounded by a gilt umbrella.

"aiser !agh is a 4uadrangular park with a baradari +pavilion) and yellow-coloured buildings on three sides. #oshanwali "oti and !egum "oti at >a5ratgun' - Italian style is more prominent.

P'N#A( ST)LE%

developed under the influence of the $ughal style.

characterised by certain indigenous features like the multiplicity of chattris or kiosks, use of fluted dome generally covered with !o%%er or rass-gilt and enri!*ment of arches by numerous foliations.

8olden ,em%le at *mritsar+1;-<) built by the fourth -ik* .uru #amdas.

COLONIAL A&CHITECT'&E PO&T'G'ESE% Portuguese adapted to 1ndia the climatically appropriate 1berian galleried patio house and the !aro4ue churches of 8oa.

2e 6athedral and *rch of 6onception of 8oa were built in the typical Portuguese-8othic style. 2t. Brancis /*ur!* at 6ochin+ 1,1.) is believed to be the first church built by the :uropeans in

India.

fort of 6astella de *guanda near $umbai and added fortifications to the !assein fort built by !ahadur 2hah, the 2ultan of 8u'arat, in 1,H2 *0. !assein fort is famous for the $atri5 +6athedral of 2t %oseph), the 6orinthian pillared hall and the Porte da $er +sea gate). F&ENCH%

Brench gave a distinct urban design to its settlement in Pondicherry by applying the 6artesian grid plans and classical architectural patterns. 6hurch of 2acred >eart of %esus +:glise 0e 2acre 6oeur 0e %esus), :glise de )otre 0ame de *ngesand, :glise de )otre 0ame de &ourdes at Pondicherry have a distinct Brench influence. (&ITISH% !ritish followed various architectural styles L 8othic, 1mperial, 6hristian, :nglish #enaissance and Dictorian being the essentials. 6hurch of 2t. %ohn at 6alcutta +1;/;) inspired by 2t. 2tephens 6hurch at ?albrooks. 2t. $ary=s 6hurch in Bort 2t. 8eorge in 6hennai. &aw 6ourts, Presidency 6ollege and 2enate >ouse of 6hennai. Dictoria $emorial >all in 6alcutta +1921), designed by 2ir ?illiam :merson.

8ateway of 1ndia in $umbai, $ahara'a=s Palace at $ysore and $.2.3niversity and &akshmi Dillas Palace at !aroda.

)ew 0elhi as a systematically planned city after it was made t*e !a%ital in 1911.

S:r Ed!ard Lut=e9s made responsible for the overall plan of 0elhi and constructed 1ndia 8ate and #ashtrapati !hawan. Her<ert (aBer added 2outh !lock and )orth !lock, which flank the #ashtrapati !hawan. :nglishman called #obert (or (ussell built the 6onnaught Place. 2ender- 2*)01P @*0*D #efrencesA httpAIIccrtindia.gov.inIwallM2.paintings.html httpAIIen.wikipedia.orgIwikiIBileA6holaNfresco.png httpAIIccrtindia.gov.inIminiaturepainting.htm httpAIIwww.sangeetnatak.gov.inIsnaIinventory.htm