PAINTING and MUSIC

PAINTING The Sultanate painting shows an attempt to arrive at a fusion of the newly-introduced Persian and Indian traditional styles. The illustrated manuscript of Ni'mat Namat of the early 16th century, for instance, shows the fusion of Persian and Jaina styles. Many of the illus­trated manuscripts show the influence of Jain and Rajasthani painting styles. Out of the Sultanate painting tradition emerged three major sub-styles-Mughal, Rajasthani and Deccani schools, all of which displayed an individuality while bearing some common elements.

MUSIC When the Turks came to India, they brought with them a number of new musical instruments, such as the rabab and sarangi, and new musical modes and regu­lations. Most of the Sultanate rulers also patronised music. Balban encouraged the setting up of a society of dancers and musicians. Ala-ud-din Khalji patronised musicians such as Gopal Nayak and Amir Khusrau, who were conferred the title of nayak, or master. Khusrau introduced many Perso-Arabic ragas such as aiman, ghora, sanam, iman, zilb and sazagiri. He is also credited with having invented the sitar. Though music was banned in Ghiyas-ud-din's time, it was encouraged by Muhammad Tughlaq. Firuz Shah TugWaq is said to have been very fond of music. He got the Indian classical work Ragadarpan translated into Persian.