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Artistic Representation of Women and Music in Medieval India

Received: 11 June 2022    Accepted: 24 June 2022    Published: 5 July 2022
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Abstract

An Artistic styles with a musical flavour, particularly miniature paintings, become tuneful and delightful to look at. A beautiful visual representation of the feminine essence is offered by these artistic musical themes if the concept of women is conveyed in them. Originally regarded by musicians and poets as divine or human representations of Indian musical modes, ragini paintings are a visual expression of those modes. Five, seven, or twelve musical modes are commonly used to portray the various moods depicted in episodic paintings in music. Ragas are the musical creations. Ragamala, or garland of tunes, has six groups of six Ragas, each with a representative man (Raga) and six ladies that are widely used to arrange the Ragas (Raginis). Ragas can be specialized and illustrated in a variety of ways. 'Shakal' refers to a wide range of Ragas in the musical tradition. Indian miniature paintings depict Ragas as melodic forms that relate with the artistic feminine spirit and promote creative activity through the use of Ragamala paintings. The application of certain sets and symbols is an important component of Indian music. They typically depict sensual or spiritual moments in aristocratic settings. The miniature paintings of women as Raginis are full of emotion and splendour. They depict various aspects of feminine life and create beautiful pictures of immense emotions, the spring period, the driving energies of the monsoon, the talents of artists, the reasonable disposition, and knowledge.

Published in History Research (Volume 10, Issue 2)
DOI 10.11648/j.history.20221002.11
Page(s) 78-82
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Art, Deccani, Golconda, Hyderabad, Music, Ragamala, Paintings

References
[1] Archer W. G., 1960, Indian Miniatures, Greenwich, pl. 14.
[2] Mulk Raj Anand, 1989, Chitralakshana, Story of Indian Paintings, National Book Trust, New Delhi, p. 45.
[3] Krishna Chaitanya, 1988, The Ragamala Tradition, Sixty Years of Writing on Art and Crafts of India from Roopalekha 1928 – 1988 ed. Ram Dhamiji. A Sterling Publishers Private Limited, New Delhi, p. 94.
[4] Klaus Ebeling, 1972, Ragamala Painting, Adam Center, New York, p. 13.
[5] Rajendra prasad, The Asif Jahs of Hyderabad (Their rise and decline)– Vikas Publishing House Pvt. Ltd. 1984, Delhi.
[6] Bedekar V. H and Goswamy B. N, 1979, Stylistic Approach to Indian Miniatures, Baroda, pp. 112-120.
[7] Mark Zebrowski, 1983, Deccani Painting, Roli Books International, New Delhi, p. 46.
[8] Sherwani H. K and Joshi P. M, 1974 History of Medieval Deccan, Vol. II, p. 208.
[9] Bedekar V. H and Goswamy B. N, 1979, Stylistic Approach to Indian Miniatures, Baroda, p – 114.
[10] Jagdish Mittal, 1963, Deccani Kalams, Marg (A Magazine of Arts), Marg Publications, Vol – XVI No. 2, Bombay, pp. 19 - 22.
[11] Basil Gray, 1950, Painting in The Art of India and Pakistan, ed. Leigh Ashton, London, p. 148.
[12] Tandan R. K, 1982, Indian Miniature Painting (16th through 19th Centuries), Natesan Publishers, Bangalore, pp. 68-69.
[13] Jagdish Mittal, 1963, Deccani Kalams, Marg (A Magazine of Arts), Marg Publications, Vol – XVI No. 2, Bombay, pp. 22.
[14] Toby Falk. and Mildred Archer, 1981, Indian Miniatures in the India Office Library, Oxford University Press, Delhi, p. 244. It is in the collection of Johnson Album 40 No. 2.
[15] Welch S. C., 1973, A Flower from every Meadow, New York, No. 82. These are in the collection of William Nelson Gallery of Art, Kansas City, Missouri.
[16] Mark Zebrowski, 1983, Deccani Painting, Roli Books International, New Delhi, p. 232. It is in private collection.
[17] Shalini Bharti, Women Attire in Miniature Painting: With Special Reference of Rajasthan, Published by Literary Circle, Jaipur, 2012.
[18] Jagdish Mittal, Islamic Painting of the North and the Deccan, Roopalekha (A Journal of the All India Fine Arts and Crafts Society, New Delhi, Vol. XXXVIII, No. 1 and 2, p. 138.
[19] Francis Brunel, 1982, Splendour of Indian Miniatures, Editions Delroisse, France, pp. 151-159. Pl. 103, It is in the collection of National Museum, New Delhi.
[20] Binney Edwin, 1973, The Mughal and Deccani Schools from the collection of Edwin Binney, 3rd, Portland, No. 162.
[21] Chandraiah K, 1991, Hyderabad 400 Glorious Years, Suraj Printers and Publishers, Hyderabad p. 48.
[22] Krishna Chaitanya, 1979, Manuscript, Mughal and Deccani Traditions, Abinav publications, New Delhi, p. 71.
[23] Randawa M. S, 1981, Indian Miniature Painting, Provincial Mughal Paintings, Oudh and Hyderabad, P. 34.
[24] Francis Brunel, 1982, Splendour of Indian Miniatures, Editions Delroisse, France, pp –.151-159. Pl. 105.
[25] Klaus Ebeling, 1973, Ragamala Painting, New Delhi, p. 235. It is in the collection of Prince of Wales Museum, Bombay.
[26] Jagadish Mittal, 1963, Deccani Painting at the Samsthanas of Wanaparthy, Gadwal and Shorapur, Deccani Kalams. Marg (A Magazine of Arts), Marg Publications, Vol – XVI No. 2, Bombay, March, pp. 58-59.
[27] Toby Falk and Mildred Archer, Indian Miniatures in the India Office Library, O. U. P, Delhi, 1981.
[28] Susheela Mishra, 1982, Ragamala Paintings, Garland of Melodies, Indian Painting through the Ages, Vivekananda Kendra, Prakasan, Madras, p. 3.
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    Bennabhaktula Lavanya. (2022). Artistic Representation of Women and Music in Medieval India. History Research, 10(2), 78-82. https://doi.org/10.11648/j.history.20221002.11

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    Bennabhaktula Lavanya. Artistic Representation of Women and Music in Medieval India. Hist. Res. 2022, 10(2), 78-82. doi: 10.11648/j.history.20221002.11

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    AMA Style

    Bennabhaktula Lavanya. Artistic Representation of Women and Music in Medieval India. Hist Res. 2022;10(2):78-82. doi: 10.11648/j.history.20221002.11

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  • @article{10.11648/j.history.20221002.11,
      author = {Bennabhaktula Lavanya},
      title = {Artistic Representation of Women and Music in Medieval India},
      journal = {History Research},
      volume = {10},
      number = {2},
      pages = {78-82},
      doi = {10.11648/j.history.20221002.11},
      url = {https://doi.org/10.11648/j.history.20221002.11},
      eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.history.20221002.11},
      abstract = {An Artistic styles with a musical flavour, particularly miniature paintings, become tuneful and delightful to look at. A beautiful visual representation of the feminine essence is offered by these artistic musical themes if the concept of women is conveyed in them. Originally regarded by musicians and poets as divine or human representations of Indian musical modes, ragini paintings are a visual expression of those modes. Five, seven, or twelve musical modes are commonly used to portray the various moods depicted in episodic paintings in music. Ragas are the musical creations. Ragamala, or garland of tunes, has six groups of six Ragas, each with a representative man (Raga) and six ladies that are widely used to arrange the Ragas (Raginis). Ragas can be specialized and illustrated in a variety of ways. 'Shakal' refers to a wide range of Ragas in the musical tradition. Indian miniature paintings depict Ragas as melodic forms that relate with the artistic feminine spirit and promote creative activity through the use of Ragamala paintings. The application of certain sets and symbols is an important component of Indian music. They typically depict sensual or spiritual moments in aristocratic settings. The miniature paintings of women as Raginis are full of emotion and splendour. They depict various aspects of feminine life and create beautiful pictures of immense emotions, the spring period, the driving energies of the monsoon, the talents of artists, the reasonable disposition, and knowledge.},
     year = {2022}
    }
    

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Author Information
  • Department of History, University College of Arts and Social Sciences, Osmania University, Hyderabad, India

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