The text of the address of the Vice President of India Shri M. Hamid Ansari at the “International Seminar on Islamic Art and Culture” at Maulana Azad National Urdu University, Gachibowli, Hyderabad.
The Art and Culture of Islam in India
“I
stand here with mixed emotions: happy to be amongst you, honoured by
the invitation to speak on so weighty a subject, daunted by the enormity
of the task, sobered by my own inadequacy. I therefore seek sustenance
in two couplets that have remained a sound preamble down the ages:
Ba naam-e-Khudawand jaan aafarein
Hakim-e-sukhan dar zubaan aafarein
Khudawand bakhshanda-e-dastgeer
Karim–e-khata bakhsh pozish pazeer
In the name of the Lord, soul-creating
Wise One, speech-creating in the tongue!
Lord forgiving, apt to help
Generous, fault-forgiving, excuse accepting
The
subject is vast, almost nebulous. The best that can be attempted is to
touch upon some overarching themes. Islam has been a part of the Indian
landscape for well over a millennium and has impacted on, and been
impacted upon, in very many layers. A very good reason for it is the
unique nature of Indian culture. The doyen of historians of an earlier
era, Dr. Tara Chand of revered memory, delineated it with some
precision:
Indian
culture is synthetic in character. It comprehends ideas of different
orders. It embraces in its orbit beliefs, customs, rites, institutions,
arts, religions and philosophies belonging to strata of society in varying stages of development. It eternally seeks to find a unity for the heterogeneous elements which make up its totality. At worst its attempts end in mechanical juxtaposition, at best they succeed in evolving an organic system.
Historical
record makes evident the absence of mechanical juxtaposition. Islam as a
faith, as a body of ideas and practices, came to India through human
interaction in different ways in different parts of the Sub-continent.
This took place over time, and ‘in a manner that was beyond social and
political control’. The unifying factor for the adherents of the new
faith was a common allegiance to Islam. Beyond it, variations in
doctrine and observances, and diversity in regional terms, remained; nor
were the differences in rural–urban practices erased. Each left its
imprint on art and culture.
II
A
discourse on culture necessarily confronts definitional impediments.
How do we define culture? One study compiled 164 definitions! For our
purpose today we could accept the anthropologist Edward Taylor’s
definition and consider culture to be ‘that complex whole which includes
knowledge, belief, art, law, morals, custom, and any other capabilities
and habits acquired by man as a member of society’. Emanating from
this, the art and culture of Islam in India could be taken to mean such
contributions inspired, made, or cause to be made, by persons or groups
living here and professing to belong to Islamic faith.
It
is known that within a few centuries from its inception Islam became a
world religion with its adherents living in different countries
imbibing, and shaping, the local environment. The historian Ira Lapidus
has neatly characterized this interaction as ‘a dialogue between the
realm of religious symbols and the world of everyday reality…of
interaction between Islamic values and historical experiences of Muslim
peoples that has shaped the formation of a number of different but
interrelated Muslim societies’.
The
nature of this interaction also depended on the type of contacts and
the cultural level of the societies concerned. In regard to the first,
there is sufficient evidence to show that Indians, particularly those
all along the west coast, were familiar with various communities in
western Asia in the period before the advent of Islam. There were
extensive trading ties with and through the lands of Arabia, Persia, the
Red Sea, the Persian Gulf, and beyond. Transient traders as well as
settled communities were a frequent occurrence. The rise of a
centralized state in the wake of the early Islamic expansion gave a
considerable impetus to existing interaction.
India,
therefore, was a known land, sought after for its prosperity and
trading skills and respected for its attainments in different branches
of knowledge. Baghdad became the seeker, and dispenser, of Indian
numerals and sciences. The Panchatantra was translated and became Kalila wa Dimna.
Long before the advent of Muslim conquerors, the works of Al-Jahiz, Ibn
Khurdadbeh, Al-Kindi, Yaqubi and Al-Masudi testify to it in ample
measure. Alberuni, who studied India and Indians more thoroughly than
most, produced a virtual encyclopedia on religion, rituals, manners and
customs, philosophy, mathematics and astronomy. He commenced his great
work by highlighting differences, but was careful enough ‘to relate, not
criticize’.
For
our purpose today and given the time constraints, I shall opt for some
selectivity in the choice of impact areas, and restrict my observations
to the most noticeable ones: to architecture and painting in the realm
of art proper and to history, literature, religious and philosophical
speculation and Sufism in the wider area of culture.
This
discourse took shape through rulers and the ruling class, scholars and
intellectuals, and all those who interacted with and influenced the
masses in general.
III
Historians
have shed much light on the essential features of the Muslim rule and
the ruling classes. In the first place, the State was not theocratic
notwithstanding the fact that throughout the medieval period the rulers
in Delhi and in many other kingdoms were Muslim; they however ‘paid
scant attention to Islamic concepts of the State’. Kingship was absolute
rather than conditional; governance was conducted through state-made
regulations (zawabit) and not on the principles of sharia.
The nobility (with a few exceptions) was a hierarchy of salaried
officials. Over time, the imprint of Indian social organization was
clearly visible. Social interaction at different levels, and within
those levels, diluted rigid norms and induced adaptability. Creativity
followed.
One
unavoidable consequence of the capture of authority anywhere is to
reflect it physically. The mosque and the tomb in the religious domain
and the palace, pavilions, town gates, gardens and landscape
architecture in the secular domain thus became reflective of the new,
changing, reality. So towards the close of the twelfth century India saw
the arrival of a totally distinct tradition of architecture. Its major
characteristics, in the words of Professor Irfan Habib were:
“…the
use of arch, vault and dome, and the application of lime cement; it
could achieve in consequence a lightness and grace that the earlier
trabeate construction could not easily match. Its love of light and
space and ‘simple severity’ seems to stand in sharp contrast to ‘plastic
exuberance’ of the earlier Indian tradition”.
This
tradition of distinctive style evolved over a period of four centuries
and produced regional variants. Competent observers have noted that in
the Moghul period “the combination of scale, detail and good taste was
sometimes breadth-taking and has seldom been surpassed.” The mosques and
tombs of that era, as also the landscape architecture in the shape of
ornamental gardens, are too well known to be mentioned individually;
their grandeur immortalizes the architectural and building skills of the
planners, engineers and craftsmen.
Provincial
styles in architecture also blossomed. Ahmadabad and Mandu were
distinctive. The Qutubshahi forts, mosques and monuments in the vicinity
of the city of Hyderabad, and the Charminar, are too well known to this
audience to be dilated upon. Scholars like Percy Brown have dwelt in
detail on the stylistic evolution in this period.
Painting
was another area of excellence. The Ajanta frescos are reflective of
the high technical and artistic quality attained in the pre-Muslim
period. Humayun, during his exile in Persia, developed a taste for
Persian paintings and was able to bring back masters like Abdus Samad.
The Moghul style, in the words of Annemarie Schimmel, “developed from
the interaction of the refined Persian style and the strong, lively,
vision of the Hindu artists”; its evolution is well reflected in the
miniatures of the Tutinama and the Hamzanama.
It reached its peak in the reigns of Jahangir and Shahjahan. They, like
Akbar, regarded painting as a means of bringing historical and romantic
texts vividly to life. Jahangir in particular used paintings as a guide
to physiognomy, to enable him recognize and assess nobles and as a
scientific instrument to study flora and fauna. He mentions in his
Memoirs the names of Abul Hasan and Ustad Mansur; their respective
titles, Nadir-uz-zaman and Nadir-ul-Asr, speak for themselves. He also dwells on his own expertise on the subject in words that need to be quoted without abridgement:
“As
regards myself, my liking for painting and my practice in judging it
have arrived at such a point that when any work is brought before me,
either of deceased artists or of those of present day, without the name
being told me, I say on the spur of the moment that it is the work of
such and such a man. And if there be a picture containing many
portraits, and each face by the work of a different master, I can
discover which face is the work of each of them. If any other person has
put in the eye or the eyebrow of a face, I can perceive whose work the
original face is, and who has painted the eyes and the eyebrows.”
Yet
another area of excellence was calligraphy. Suspicion of figurative art
as idolatrous led to it; thus abstract depictions become a major form
of artistic expression in Islamic cultures, especially in religious
contexts. Fine handwriting was also regarded as an essential
accomplishment for a noble man and “aesthetics was made an aspect of
sovereignty.” The emperors were not merely admirers of calligraphy, they
were also practitioners. The Moghal artists like their Ottoman
counterparts, developed new variations and formed pictures and figures
out of words.
An
impetus to the writing of history is particularly noticeable. In the
period prior to the twelfth century there was, in the words of Narayanan
Bandyopadhyaya, “a lack of recorded history”, an exception to it being
Kalhana’s history of Kashmir. In the subsequent five centuries
historical writings flourished. The names are too many to be mentioned
here. An early example is Ali bin Hamid Kufi’s Chachnama.
Much more followed, in the pre-Moghal and Moghal periods. The wealth of
material compiled by Jjuzjani, Barani, Abul Fazl, Badauni, Qazwini,
Khafi Khan and others have made possible comprehensive study of that
period. Equally significant are the autobiographies of rulers; the most
prominent of these were the Babur Nama and Tuzk-i-Jahangiri. Gul Badan Begum’s Humanyun Nama could be counted in the proximate category.
Belief,
consciousness and practice became a particularly rich area of
interaction. On one side high value was placed on orthodoxy “because it
maintained the identity of a community against other communities and
prevented an assimilation that could lead to the community
disintegrating and being absorbed by others.” On the other, and living
in a non-homogenous social milieu, the pious often communicated values
through personal practice. In this sense the values of faith, though not
its theological content, reached a wider circle of the public. The
popularity of different sufi
personalities is evidence enough of their reach. Thus there is merit in
Professor Mujeeb’s observation that “Sufism took Islam to the masses
and in doing so it took over the enormous and delicate responsibility of
dealing at a personal level with a baffling variety of problem.”
Scholars have analyzed the socio-cultural role of the sufi dargahs in the cultural integration of the religious communities. The sufi trends sought commonalities in spiritual thinking. One example of it is Dabistan-i-Mazahib,
a mid-seventeenth century work believed to have been written in
Srikakulam (present day Andhra Pradesh) and described by an eminent
scholar as “the greatest book ever written in India on comparative
religion.” Dara Shukoh went further in his Majmu’-al Bahrain,
gave a Vedantic view of Universe and Truth and concluded “that the
differences between Islam and Hinduism were merely verbal.”
Alongside, the influence of Islam can be discerned in the vocabulary of preachers and saints of other faiths and Bhakti traditions.
The
pattern of convergence or parallelism has been traced with precision by
many scholars; their judgment is that some Islamic precepts and many
Muslim practices seeped into the interstices of the Indian society and
gave expression to a broader and deeper unity of minds expressive of the
Indian spiritual tradition.
This tradition was aptly summed up by Allama Iqbal in his poem Hindustani Bachon Ka Qaumi Geet.
IV
To conclude, I can do no better than to go back to Dr. Tara Chand’s classic work Influence of Islam on Indian Culture written in 1922 and cite a telling passage:
“It
is hardly possible to exaggerate the extent of Muslim influence over
Indian life in all departments. But nowhere else is it shown so vividly
and so picturesquely, as in customs, in intimate details of domestic
life, in music, in the fashion of dress, in the ways of cooking, in the
ceremonial of marriage, in the celebration of festivals and fairs, and
in the courtly institutions and etiquette of Marathi, Rajput and Sikh
princes. In the days of Babar the Hindu and Muslim lived and thought so
much alike that he was forced to notice their peculiar “Hindustani way”;
his successors so gloriously adorned and so marvelously enriched his
legacy that India might well be proud today of the heritage which they
in turn left behind.”(pp 141-142)
One last
word about this venue; perhaps accidental, but altogether appropriate, a
seat of learning, associated with the name of a personality who
embodied in his person and his work the ethos and apogee of Indo-Islamic
culture.
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