印度是东方文明古国之一。印度文化是多民族、多宗教的混合文化，与希腊文化、中国文化并列为世界三大文化体系。印度本土的主要民族达罗毗荼人基于生殖崇拜的农耕文化与外来的雅利安人基于自然崇拜的游牧文化互渗交融，形成了印度文化的主体。印度本土的主要宗教──印度教、佛教、耆那教文化与外来的伊斯兰教等异质文化互相影响，使印度文化呈现多样统一的特征。
尽管印度历史上外族入侵频繁，小国林立，长期分裂，但印度文化仍具有印度本土传统精神上的连续性和统一性。印度美术是印度文化的重要组成部分，已有5000余年的历史，内容深奥，形式丰富，独具特色，自成体系，对亚洲诸国的美术曾产生过巨大影响。印度美术不仅具备印度文化的一般特点，而且与印度的宗教、哲学关系极为密切。就其原初意义而言，印度美术往往是宗教信仰的象征或哲学观念的隐喻，而非审美观照的对象。19～20世纪，西方各国和印度的学者才逐渐发现了印度美术的审美价值，并参照欧洲美术史的风格分类法，把印度美术风格的演变划分为古风、古典主义、巴洛克、罗可可等发展阶段。当然，由于文化背景不同，这种风格分类在年代上与欧洲并不对应，在内涵上也不尽相同。印度美术风格的演变不仅受形式美自律性法则的支配，而且更受印度宗教、哲学嬗变的制约。
以印度美术的两大系统──佛教美术和印度教美术为例：佛教伦理学注重沉思内省，佛教美术便强调宁静平衡，以古典主义的静穆和谐为最高境界；印度教宇宙论崇尚生命活力，印度教美术便追求动态、变化，以巴洛克风格的激动、夸张为终极目标。而晚期大乘佛教被印度教同化蜕变为密教，密教美术也倾向于巴洛克的繁缛绚烂。同时，印度的古典主义并不完全摒弃华丽的装饰（酷爱装饰是印度美术的传统特色之一）；印度的巴洛克风格也并不完全排斥静态的表现（“寂静”是印度教吠檀多哲学的宇宙精神“梵”的本义之一）。因此，只有深入了解印度宗教、哲学的奥义，才能准确把握印度美术乃至印度文化的特质和精髓。

史前时代美术
印度史前时代主要包括旧石器时代(约公元前50万～前1万年)、新石器时代(约前6000～前3500)、印度河文明时代(约前2300～前1700)、吠陀时代(约前1700～前600)。史前时代的美术基本上属于前美术或准美术的范畴。
旧石器时代美术
印度旧石器时代的工具多系粗糙的石英石器物。早期索安文化的砍斫器和马德拉斯文化的手斧，中期石片文化的刮削器，晚期印度中、西部的细石器（亦称中石器时代文化）和南部的石片，从简陋到精致，从单调到丰富，逐渐显示出次大陆原始居民审美意识萌芽的最初迹象。
新石器时代美术
印度新石器时代的工具，材料已不限于石英石，器物也不仅是切削打制而成，而且刻槽、磨光，形制多样。70年代以来在印度中央邦皮姆贝德卡等地发现的岩画，多描绘狩猎、舞蹈、战争场面。有些学者认为最古的印度岩画年代约在前5500年。约前4500年印度次大陆出现陶器，并彩绘花纹。在德干南部和安得拉邦发现的巨石古墓，具有世界新石器时代文化的普遍特征，可能是历史时代印度宗教建筑□堵波的起源。
印度河文明时代美术　
印度河流域是印度文明的发祥地。以印度河流域发掘出土的哈拉帕和莫亨朱达罗等古城遗址为代表的印度河文明，亦称哈拉帕文，据推测是印度土著居民达罗毗荼人创造的农耕文化。达罗毗荼人盛行母神、公牛、阳物等生殖崇拜。印度河文明城市遗址出土的母神、祭司、舞女、公牛等小雕像，瘤牛、独角兽、兽主、菩提树女神等印章，红底黑纹陶器上描绘的各种动植物花纹和几何形图，多属于祈愿土地丰产、生命繁衍的生殖崇拜的形象化或抽象化的符号。构成印度本土传统艺术最显著特征的强烈的生命感，似可从达罗毗荼人的生殖崇拜文化中追溯渊源。作为印度本土传统艺术特色的奇特的想像力和浓厚的装饰性，亦可在印度河文明时代的艺术中窥见端倪。莫亨朱达罗著名的大浴池可能曾用于某种原始宗教沐浴仪式，表明印度美术自古便与宗教结下了不解之缘。约前1700年印度河文明突然中断了（中断的原因至今不明），但历史时代的印度美术在精神上仍然与印度河文明时代的美术传统遥相呼应。
吠陀时代美术
《吠陀》是来自中亚的游牧民族雅利安人的圣典。伴随着雅利安人的入侵和东进，印度文明的中心逐渐转移到恒河流域，史称吠陀时代文化或恒河文化。雅利安人崇拜太阳、雷雨、火焰、河川等自然现象人格化的吠陀诸神。吠陀时代，植根于自然崇拜的雅利安人的游牧文化，开始与植根于生殖崇拜的达罗毗荼人的农耕文化互相渗透、融合，逐渐形成了统一的印度文。同时，达罗毗荼人在南印度更多地保留了土著文化的传统。从吠陀时代到孔雀王朝约1500年间，目前尚未发现造型艺术遗品，但吠陀后期和后吠陀时代相继产生的婆罗门教（印度教的前身）、耆那教和佛教，却成为历史时代印度美术的主题。

印度早期王朝主要包括孔雀王朝(约前322～前185)、巽伽王朝(约前185～前73)、安达罗（萨塔瓦哈纳）王朝(约前3世纪～公元3世纪)。早期王朝的美术处于佛教美术的草创阶段，古风风格占主导地位。
孔雀王朝美术
从恒河下游摩揭陀（今比哈尔邦一带）崛起的孔雀王朝，是印度历史上第一个统一的大帝国。孔雀王朝第3代皇帝阿育王（约前273～前232在位）统治时期，是印度文化与伊朗、希腊文化最初交流的时代，印度的建筑、雕刻吸收了伊朗阿契美尼德王朝和希腊塞琉古王朝的影响，出现了印度美术史上的第一个高峰。孔雀王朝都城华氏城（今巴特那）的壮丽宫殿曾受到希腊使节的赞美，华氏城百柱厅可能受有波斯波利斯王宫的影响。阿育王征服羯陵伽（今奥里萨），战后皈依佛教，□令在印度各地树立了30余根独石纪念圆柱，柱身镌刻诰文，柱头雕饰兽类，铭记征略，弘扬佛法，是为有名的阿育王石柱。阿育王时代草创了□堵波、支提、毗诃罗等佛教建筑形制，萨尔纳特□堵波和桑奇大塔覆钵的核心相传始建于阿育王时代。比哈尔邦巴拉巴尔丘陵的7座石窟亦开凿于此际。孔雀王朝的雕刻引进了伊朗、希腊的石雕技术，普遍采用砂石作为雕刻材料，以砂石表面高度磨光为特色。萨尔纳特的阿育王狮子柱头是象征性、写实性与装饰性完美结合的雕刻杰作。兰布瓦尔的《瘤牛柱头》令人联想起印度河文明时代的瘤牛印章。迪大甘吉的《持拂药叉女》虽属于正面直立的古风式雕像，但造型浑朴温雅，丰腴圆润，已孕育着印度标准女性美的雏形。马图拉地区帕尔卡姆的《药叉》雕像是贵霜时代马图拉佛像的范本。
巽伽王朝与安达罗王朝美术
当时印度政治和艺术活动的中心已转移到今中央邦一带，早期佛教美术日臻繁荣。孔雀王朝草创的佛教建筑形制渐趋完备。帕鲁德□堵波、佛陀伽耶□堵波和桑奇大塔成为印度早期佛教建筑的三大范例。巴雅石窟、贝德萨石窟、阿旃陀石窟(第10窟)、纳西克石窟、加尔利石窟、根希里石窟的支提和毗诃罗陆续开凿。帕鲁德围栏浮雕、佛陀伽耶围栏浮雕和桑奇大塔塔门雕刻，是印度早期佛教雕刻的代表作。浮雕题材多取自本生经和佛传故事，构图密集紧凑，往往一图数景。在佛传故事浮雕中从不雕刻出人形的佛像，仅以菩提树、台座、法轮、足迹等象征符号暗示佛陀的存在。这种表现佛陀的象征主义手法已形成印度早期佛教雕刻的通例和程式。帕鲁特浮雕的人物和药叉、药叉女等守护神雕像造型质朴粗拙，姿态僵直生硬，是典型的古风风格。桑奇大塔的人物雕刻则大有进步。桑奇东门的《树神药叉女》托架像，初创了表现印度标准女性人体美的三屈式，为后世所沿袭。
贵霜时代美术
贵霜人原系中国西部的游牧民族(中国史籍称大月氏)，公元1世纪在中亚大夏(巴克特里亚)一带建立了贵霜王朝（约公元1～3世纪），领土从阿姆河流域扩展到恒河流域。贵霜国王迦腻色迦(约78或128～144即位)统治时期，国势极盛，促进了东西方的贸易往来与文化交流，发展了印度、希腊、罗马、伊朗诸文化因素融合的贵霜文化。贵霜时代早期佛教（小乘）向中期佛教（大乘）转变，引起了佛教美术的变革。迦腻色迦崇信佛教，在其治下印度西北部的犍陀罗和北印度的马图拉，打破了印度早期佛教雕刻只用象征手法表现佛陀的惯例，创造了最初的佛像。南印度的阿默拉沃蒂的佛教雕刻自成一派，与犍陀罗、马图拉并为贵霜时代的三大艺术中心。贵霜时代的艺术处于佛教艺术的繁盛阶段，总的风格趋向于从古风风格向古典主义风格过渡。
犍陀罗美术
犍陀罗地区是贵霜王朝的政治、贸易与艺术中心，东西方文化荟萃之地。犍陀罗美术的外来文化色彩十分浓郁。贵霜王朝都城布路沙布逻（今白沙瓦）的迦腻色迦大塔和□叉始罗的佛塔寺院多已倾圮，大量遗存的是装饰佛塔的佛传故事浮雕。犍陀罗雕刻主要吸收了希腊化美术的影响，仿照希腊、罗马神像创造了希腊式的佛像──犍陀罗佛像。雕刻材料采用青灰色片岩；造型高贵冷峻，衣褶厚重，风格倾向于写实主义，强调人体解剖学细节的精确。犍陀罗美术衍生出印度-阿富□派美术（见巴米扬石窟），影响远达中国新疆与内地，并东渐朝鲜和日本。
马图拉美术
马图拉是贵霜王朝的宗教与艺术中心之一，也属于东西方文化交汇的地区。与犍陀罗相比，马图拉美术的印度本土文化传统更为深厚。马图拉建筑遗迹有马德的贵霜王室神殿，布台萨尔的佛教、耆那教□堵波等。马图拉雕刻的贵霜王侯肖像，是游牧民族王权神化的化身；肉感丰美的裸体药叉女雕像，则是印度农耕文化的产物。究竟是犍陀罗还是马图拉首先创造了佛像，近百年来各国学者一直争论不休。贵霜时代的马图拉佛像，最初是参照马图拉本地传统的药叉雕像创造的。雕刻材料采用黄斑红砂石；造型雄浑伟岸，薄衣透体；风格倾向于理想主义，追求健壮裸露的肉体美和力量感。马图拉美术经由克什米尔传播到中亚和中国。
阿默拉沃蒂美术
阿默拉沃蒂是南印度与贵霜王朝对峙的安达罗国萨塔瓦哈纳王朝的都城。阿默拉沃蒂美术比马图拉美术的印度本土文化传统更加纯粹。阿默拉沃蒂大塔和那伽尔朱纳康达、贾加雅佩特等地□堵波的雕刻，都属于阿默拉沃蒂风格。雕刻材料采用白绿色石灰石，造型柔美活泼，肢体细长，风格介于古风与古典主义之间，并透露出巴洛克风格的朕兆。阿默拉沃蒂式的佛像曾传至斯里兰卡和东南亚诸国。
笈多美术
笈多王朝(320～600)是继孔雀王朝之后从摩揭陀崛起的又一个大帝国。印度历史上只有这两个由印度人建立的王朝实现了短暂的统一。笈多美术在继承贵霜时代具有强烈外来色彩的文化同时，更致力于高扬印度本土的文化传统，把印度古典文化推向巅峰。笈多时代，佛教美术鼎盛，印度教美术勃兴，被誉为印度古典主义的黄金时代。
笈多佛教美术
笈多诸王大多信奉印度教，但对佛教、耆那教等异教采取宽容政策，后期笈多诸王甚至赠金筹建佛教学府那烂陀寺。笈多时代佛教哲学家无著、世亲把大乘佛教瑜伽行派哲学发展到极峰，浸透了唯识玄想精神的佛教古典主义艺术亦臻于鼎盛。萨尔纳特的达迈克□堵波，阿旃陀石窟第16、17、19诸窟，桑奇第17号祠堂、第51号精舍，佛陀伽耶大菩提寺等，都是笈多古典主义风格的佛教建筑遗构。奥兰加巴德石窟开凿于后笈多时代，已偏离了古典主义的规范。笈多佛教雕刻的两大中心马图拉和萨尔纳特，在继承贵霜时代犍陀罗和马图拉雕刻传统的基础上，遵循笈多时代的古典主义审美理想，创造了纯印度风格的笈多式佛像──马图拉式佛像和萨尔纳特式佛像，代表着印度古典主义艺术的最高成就。马图拉式佛像比犍陀罗佛像更加印度化，比贵霜马图拉佛像更加理想化，脸型是印度人的，眼神是冥想式的，螺发整齐，身材颀长，背后圆光硕大精美，而最典型的特征则是半透明的湿衣效果，代表作有《马图拉佛陀立像》。萨尔纳特式佛像与马图拉式佛像造型类似，充满了宁静、内向、和谐的基调，最典型的特征是显露裸体的全透明衣纹效果，代表作有《鹿野苑说法的佛陀》。笈多式佛像对南亚、东南亚、中亚和远东佛教美术的影响比犍陀罗佛像更为深远。印度古代的绘画遗品极少，阿旃陀石窟和巴格石窟的壁画便显得格外珍贵。笈多时代阿旃陀壁画的风格处于从古典主义的高贵单纯向巴洛克的豪华绚丽过渡期间，印度雕刻传统的表现标准女性美的三屈式，也被许多壁画所采用，代表作有《须大□本生》、《持莲花菩萨》等。巴格石窟的壁画约作于后笈多时代，世俗化、程式化倾向的增加反映了佛教在印度本土的衰微。
笈多印度教美术
笈多时代古婆罗门教向新婆罗门教即印度教转化，印度教美术随之勃兴。笈多印度教建筑的遗构有蒂哥瓦神庙、皮得尔冈神庙、代奥格尔十化身神庙、乌德耶吉里石窟等，提供了以后数世纪印度建筑的雏形和范式。笈多印度教雕刻的代表作有马图拉的《毗湿奴立像》、乌德耶吉里的《毗湿奴的野猪化身》、代奥格尔的《毗湿奴卧像》等，风格已逐渐从古典主义向巴洛克风格演变。笈多印度教美术拉开了中世纪印度教美术全盛时期的壮丽序幕。

印度中世纪(约7～13世纪)是印度教美术的全盛时期。自笈多时代以降，佛教在印度本土日渐衰微，印度教跃居统治地位。中世纪印度南北各地历代地方性王朝大多信奉印度教，兴起了建造印度教神庙的热潮，持续数百年而不衰。印度教神庙被看作印度教诸神在人间的住所。神庙的高塔悉卡罗通常象征着诸神居住的宇宙之山。神庙的圣所“子宫”(宇宙的胚胎)中往往供奉着印度教宇宙大神毗湿奴、湿婆及其化身、象征或仙侣的雕像，尤以湿婆生殖力的象征林伽(男根)最为常见。神庙的外壁往往也雕满了男女众神、人物、动物、花卉等装饰浮雕，建筑与雕刻浑然一体，密不可分。
印度教神庙的型式大体可分为3种：①南方式（达罗毗荼式），悉卡罗呈角锥形;②北方式（雅利安式或城市式），悉卡罗呈曲拱形；③德干式（中间式），介乎南方式与北方式之间。印度教诸神基本上是自然力量的化身，宇宙精神的象征，生命本质的隐喻，因此印度教艺术必然追求动态、变化、力度，呈现动荡、繁复、夸张的巴洛克风格。这种巴洛克风格带有印度传统文化的显著特色，生命的冲动、想像的奇特和装饰的豪奢似乎都超过欧洲的巴洛克艺术。
南印度诸王朝美术　
中世纪南印度诸王朝保持着纯正的达罗毗荼文化传统，发展了达罗毗荼人的艺术。帕拉瓦王朝（约600～897）的都城建志补罗的凯拉萨纳特神庙与海港摩诃巴里补罗的五车神庙、石窟神庙和海岸神庙，是印度南方式神庙的滥觞，几乎提供了所有南方式神庙的原型。摩诃巴里补罗神庙的岩壁浮雕《恒河降凡》是帕拉瓦雕刻的杰作，体现了初期印度巴洛克风格的特征。朱罗王朝(846～1279)的都城坦焦尔的巴利赫蒂希瓦尔神庙和□伽贡达朱罗补罗的同名神庙，沿用帕拉瓦神庙的平面设计，角锥形的悉卡罗更加巍峨。朱罗王朝的铜像，例如名作《舞王湿婆》，造型优雅，动态灵活，是南印度巴洛克风格盛期雕塑的典范。潘地亚王朝(1100～1331)的都城马杜赖的神庙群因袭朱罗样式，门楼（瞿布罗）高于主殿，装饰雕刻繁杂缭乱，属晚期巴洛克风格。中世纪后期的维查耶那加尔王朝(1336～1565)的神庙群以及纳耶卡王朝(1564～1600)在马杜赖修建的神庙，柱廊（曼达波）的地位突出，装饰雕刻繁琐靡丽，流于罗可可风格。
德干诸王朝美术
中世纪德干地区诸王朝处于雅利安文化与达罗毗荼文化混杂的中间地带，频繁的战争导致南北方美术风格的交流。早期遮卢迦王朝(535～753)在迈索尔的3座都城巴达米、阿胡尔和帕德达伽尔的神庙群，最初的形制由佛教支提堂演变而来，中世纪接受了南方式印度教神庙的影响，同时渗入了北方式神庙的成分。帕德达伽尔的维卢巴克夏神庙是建志补罗的凯拉萨纳特神庙的仿制品。拉施特拉古德王朝(753～949)继续开凿埃洛拉石窟。埃洛拉第16窟凯拉萨神庙，是仿照帕德达伽尔的维卢巴克夏神庙设计的，镂空整块山岩凿成，不愧为举世无匹的巨构杰作。凯拉萨神庙的雕刻，综合了笈多时代的典丽、遮卢伽王朝的浑厚与帕拉瓦王朝的秀逸，动态强烈，变化丰富，活力充沛，代表着印度巴洛克美术的最高成就。约在同时期开凿的象岛石窟湿婆神庙，雕刻也富有印度巴洛克美术的特色，其中的巨岩雕刻《湿婆三面像》集优美、崇高、狞厉于一身，寓创造、保存、毁灭之奥义，堪称世界雕刻名作。后期遮卢迦王朝（10～12世纪）的神庙群，外壁壁龛密集，装饰渐趋繁琐。曷萨拉王朝(1100～1300)在德干西南的贝卢尔、赫莱比德、索姆纳特普尔修建的神庙，平面设计呈星形，悉卡罗较低，外壁装饰浮雕更加细密纤巧，亦流于罗可可风格。
北印度诸王朝美术
中世纪北印度诸王朝奉为正统的雅利安文化，愈来愈多地吸收了达罗毗荼文化的因素。孟加拉、阿萨姆流行的□多罗教(性力崇拜)，同时影响了印度教、佛教、耆那教及其美术。巴拉王朝(约750～1150)是佛教在印度本土的最后庇护所。波罗诸王扩建增修了那烂陀寺和佛陀伽耶大菩提寺等寺院。佛陀伽耶的金刚宝座塔分层立龛的角锥形高塔形制，可能与印度教神庙的悉卡罗有关。那烂陀等地出土的波罗石雕或铜像，如宝冠佛、多臂观音、密教女神多罗菩萨等雕像，受有笈多古典雕刻与南印度铜像的双重影响，感染了巴洛克的豪华、繁缛、怪诞，被称作火焰式的艺术。巴拉美术对尼泊尔、中国西藏、缅甸、爪哇等地的佛教美术影响较大。东恒伽王朝（8～13世纪）在奥里萨境内营造了宏伟的神庙群。奥里萨神庙是北方式神庙的亚种之一，曲拱形的悉卡罗呈玉米状，代表作有布巴内斯瓦尔的林伽罗□神庙、布里的扎格纳特神庙、康那拉克的太阳神庙等。奥里萨雕刻装饰繁丽、动态夸张，属于烂熟期的印度巴洛克风格。康那拉克太阳神庙的巨大的浮雕车轮富丽堂皇，被视为印度文化的象征。金德拉王朝(950～1203)的都城卡朱拉侯的印度教、耆那教神庙群可与奥里萨神庙群比肩。卡朱拉侯神庙也是北方式神庙的亚种之一，悉卡罗呈竹笋状，主塔周围环峙多层小塔，代表作有根达利耶·摩诃提婆神庙等。卡朱拉侯雕刻以神庙外壁高浮雕嵌板带上千姿百态的女性雕像和爱侣（密荼那）雕像著称，变形极美，性感极强，亦属于烂熟期的印度巴洛克风格。卡朱拉侯出土的雕刻珍品《情书》是印度雕刻的压卷之作。北印度西部拉贾斯坦奥西亚的苏利耶神庙和阿布山的毗摩罗塔楼，古吉拉特的苏利耶神庙，也属于北方式神庙，比例匀称，装饰华丽。克什米尔地区仍然营造着犍陀罗传统的寺庙，重要的有摩尔坦德和阿万蒂普尔的庙宇。

13世纪，突厥人、阿富□穆斯林入侵印度，德里苏丹国建立以后，开始出现了印度伊斯兰美术。14世纪，各地方穆斯林王国纷纷独立，印度伊斯兰美术随之普及。16世纪，北印度莫卧儿王朝兴起，印度伊斯兰美术盛极一时。印度伊斯兰美术不仅是伊斯兰教美术在印度的变种，也不仅是印度本土艺术的改造形式，而且是伊斯兰文化与印度文
化这两种异质文化的不同特点的融合（融合的基因之一是对装饰性的共同爱好），结果形成了一种新颖独特的文化模式与艺术风格。
德里诸王朝美术
德里苏丹国诸王朝(13～16世纪)的建筑以中亚传入的伊斯兰风格为主，同时也混合了某些印度因素。德里苏丹国奴隶王朝（1206～1290）在德里兴修的库巴特·乌勒·伊斯兰清真寺和库特卜尖塔，高华丰丽，是印度伊斯兰建筑的最早范例。卡尔吉王朝（1290～1320）建造的贾马阿特·哈纳清真寺和阿来门，则纯属伊斯兰风格。图格卢克王朝（1320～1413）的建筑简朴而刻板。赛义德王朝（1414～1451）和洛提王朝(1451～1526)的建筑试图复兴卡尔吉风格。
地方诸王国美术
地方穆斯林独立的诸王国（14～16世纪）的建筑更多地受到各地印度传统建筑的影响，呈现印度文化地方色彩强烈的多样化混成风格。江普尔王国(1400～1478)的阿塔拉清真寺，明显受有印度教神庙的影响。孟加拉王国（1336～1576）的阿迪纳清真寺、小黄金清真寺和大黄金清真寺，采用了印度教神庙的结构与装饰。古吉拉特王国（1401～1537）的都城艾哈迈达巴德的大清真寺，以当地传统方式砌成15个圆拱屋顶。马尔瓦王国(1401～1531)的都城曼杜的大清真寺，则谨守伊斯兰传统风格。德干的巴曼王国(1347～1527)的建筑混合了印度、突厥、埃及、伊朗的风格，吉尔伯加的大清真寺、道拉塔巴德的金德塔、比德尔的马茂德·加万学院，都是这种混成风格的范例。
莫卧儿王朝美术
莫卧儿王朝（1526～1859）是察合台系突厥人──莫卧儿人在印度次大陆建立的伊斯兰帝国。莫卧儿王朝第3代皇帝阿克巴开明的宗教融合政策，加速了伊斯兰文化与印度传统文化融合的进程，为印度伊斯兰美术的充分发展开辟了道路。莫卧儿建筑主要吸收了波斯伊斯兰建筑的影响，同时融合了印度传统建筑的因素，形成了一种既简洁明快又装饰富丽的莫卧儿风格，代表着印度伊斯兰美术的最大成就。莫卧儿建筑集中分布于莫卧儿帝国的都城德里、阿格拉与陪都拉合尔等地，16世纪后半叶阿克巴时代主要以红砂石修筑。17世纪中叶沙·贾□时代主要以白色大理石建造，代表作有胡马雍陵、阿格拉城堡、法特普尔·西克里城堡、拉合尔城堡、阿克巴陵、伊蒂马德·乌德·道拉墓、德里红堡、德里大清真寺、泰姬陵。泰姬陵被公认为世界建筑艺术的奇迹之一。莫卧儿细密画的成就仅次于建筑，胡马雍、阿克巴、贾汉季等莫卧儿皇帝都热心赞助绘画。从伊朗、印度延聘宫廷画家制作大量细密画，描绘朝觐、宴乐、狩猎、战争场面、王室肖像和后宫生活。莫卧儿细密画基本上属于宫廷艺术，线条细腻，笔法纯熟，设色富艳，注重写实，擅长刻画人物心理。莫卧儿时代印度本土诸邦的拉杰普特绘画，与莫卧儿细密画并行发展，互相影响。拉杰普特绘画主要分为拉贾斯坦尼派(平原派)和帕哈里派(山区派)，帕哈里派的佼佼者为康格拉派。拉杰普特细密画题材多取自印度史诗、神话，尤其是关于牧神黑天克利希那（毗湿奴的化身之一）与牧女拉达恋爱的民间传说。作品往往常有田园诗的色彩、牧歌式的情调和音乐旋律之美，线条粗犷，构图生动，用色大胆，对比鲜明，人物造型朴实自然。

1858年印度沦为英国的殖民地以后，印度的传统文化艺术濒临灭绝。继而许多西方的有识之士和印度的爱国学者，致力于重新发掘、整理和阐释印度的文化艺术遗产，印度美术日益引起国际学术界的重视。自古以来中国与印度之间的文化艺术交流史不绝书，中国古代赴印求法高僧法显、玄奘、义净等人的记载现已成为研究印度文化艺术的宝贵文献。

India is one of the ancient civilizations of the orient. India culture is a multi-ethnic, multi religious mixed culture, and Greek culture, Chinese culture tied for the world's three major cultural systems. The main ethnic Dravidian local India based on Aryan reproductive worship farming culture and exotic nature worship of nomadic culture penetration based on forming the main culture of India. The main religions in local India, Hinduism, Buddhism, Jainism, Islam culture and foreign cultures influence each other, so that India culture has the characteristics of diversity and unified.
Although the history of India frequent invasions, many small countries, long-term split, but India still has the cultural continuity and unity of the spirit of the traditional India native. India fine arts is an important part of India culture, has a history of 5000 years, the esoteric content, form rich, unique, self-contained, the Asian countries of art had a huge influence. India art not only has the general characteristics of India culture, but also closely related to India's religious and philosophical relations. For its original meaning, India art is often a symbol of religious beliefs or philosophical concepts of metaphor, rather than aesthetic object. From 19 to twentieth Century, the western countries and India scholars gradually found the aesthetic value of India art, style classification and referring to the European art history, divides the evolution of India art style for the ancient, classical, Baroque, Rococo and other development stages. Of course, due to different cultural backgrounds, this style of classification in the age and Europe does not correspond, in the connotation is not the same. The evolution of India art style is not only controlled by the law of formal beauty, but also restricted by the evolution of religion and philosophy in India.
In the two India art system, Buddhist art and Hindu art for example: Buddhist Ethics Thought on introspection, Buddhist art will be stressed in the classical quiet balance, the quiet harmony as the highest realm of Hindu cosmology; advocating life, art is the pursuit of Hindu dynamic changes, with the baroque style of excitement, exaggerated as the ultimate goal. Late Mahayana Buddhism was assimilated into Hindu Tantra, Tantric art also tend to elaborate gorgeous baroque. At the same time, India does not completely abandon the classical ornate decoration (one of the traditional characteristics of the art of India is fond of decoration); India baroque style is not completely excluded from the static performance ("Silence" is a Hindu Vedanta philosophy of the universe spirit "Brahma" the original meaning of). Therefore, only in-depth understanding of the religion of India, the esoteric philosophy, in order to accurately grasp the nature and essence of India art and culture of India.Prehistoric art
India prehistoric times including the old stone age (about 500 thousand BC to 10 thousand BC), Neolithic (BC 6000 ~ 3500), the India River civilization (BC 2300 ~ 1700), Vedic times (BC 1700 ~ 600). Prehistoric art basically belongs to the category of pre art or quasi art.
The old stone age art
India Paleolithic tools more than coarse quartz stone artifacts. Early Sok An culture and culture of Madras cut chop axe, stone scrapers middle culture, in Western India, the late Paleolithic (also known as the Stone Age Culture) and south of the stone, from rough to fine, from monotonous to rich, gradually showing the first signs of the original inhabitants of subcontinent of germination of aesthetic consciousness.
New Stone Age Art
India New Stone Age tools, materials have been limited to quartz stone artifacts, also is not only making a cutting, polishing, and groove shapes. Rock paintings found in central India and other places of Bong Pim Bade C since 70s, depicted the hunting dance scenes of war. Some scholars believe that the most ancient rock paintings in India in about 5500 years ago. About 4500 years before the emergence of the subcontinent of India pottery and painted pattern. Found in the Degannan Department of Andhra Pradesh and megalithic tombs, with common features of Neolithic cultures in the world, may be the historical religious buildings in India - blocking wave origin.
The art of India River
India river basin is the birthplace of India civilization. Taking the India River Basin excavated in Harappa and Mohenjo Daro, the ruins of the ancient city as the representative of the India River civilization, also known as Hara Pavon, presumably India indigenous Dravidian created farming culture. The prevalence of Dravidian Mother God and bulls, such as penis reproductive worship. India river city ruins unearthed civilization of mother of God, the priests, dancers, bull, figurines, zebu, unicorn, beast, the bodhi tree goddess seal, all black and red figure pottery depicted on the animal and plant pattern and geometric figure, belongs to the land, life may yield images of reproductive worship Abstract symbol. A India local traditional art the most significant features of the strong sense of life, like the Dravidian reproductive worship culture origin. As a native of India traditional arts features peculiar imagination and strong decoration, it can be found in the India River civilization art shape. Mohenjo Daro famous baths may be used to some primitive religious ablutions, show India art with the ancient religious indissoluble bound. About 1700 before the India River civilization suddenly interrupted (interruption of unexplained), but the history of art in India and the India river is still in the spirit of civilization art tradition echoes.
The art of the times
"Veda" is from the nomads of Central Asia Aryan canon. Along with the Aryan invasion of India and the East, the center of civilization gradually transferred to the Ganges RIver River, known as the Vedic culture or the culture of Ganges RIver. The Aryans worshipping the sun, thunderstorm, flame, rivers and other natural phenomena, the personification of the Vedic gods. Vedic times, rooted in the nature worship of Aryan nomadic culture, and rooted in Dravidian began reproductive worship farming culture of mutual penetration, integration, and gradually formed a unified India paper. At the same time, Dravidian in southern India retains more indigenous cultural traditions. From the Vedic era to the Maurya Dynasty about 1500 years, has not yet found the artistic legacy products, but the late Vedic and post Vedic Brahmanism produced (Hindu predecessor), Jainism and Buddhism, has become a historical era of India art theme.

India early Dynasty mainly includes the Maurya Dynasty (BC 322 ~ 185), sunga Dynasty (BC 185 ~ 73), Luo anda (Sa Tarra Hannah) Dynasty (BC third Century to third Century ad). Early Dynasty art in the development stage of Buddhist art, antique style dominant.
Peacock Dynasty Fine Arts
The lower reaches of the Ganges RIver River from Magadha (Bihar this area) the rise of the Maurya Dynasty, is the first history of India unified empire. The third generation of the Mauryan emperor Ashoka (BC 273 ~ 232 reign, reign) is the first exchange of India culture and Iran, Greek culture era, India architecture and sculpture absorption influence of Iran Achaemenid Dynasty and the Greek Seleucid Dynasty, appeared the first peak in India art history. The Mauryan capital of Pataliputra (now Patna) the magnificent palace had praised Greek envoys, Pataliputra hundred columns hall may be affected by a palace of persepolis. Ashoka conquest of Kalinga (Modern Orissa), the Buddhist, - make everywhere in India set up more than 30 single root stone Memorial column, column engraved paper tomorrow, stigma carving animals, mind syndrome slightly, the spread of Buddhism, is famous for the Ashoka pillar. The initial - blocking King time wave, Zhiti, Vihara Buddhist architecture, core - blocking wave and Sarnath Sanchi covered bowl was founded in the legend of Ashoka era. 7 Bihar Grottoes Bala Barr hills also dug in the meantime. The Peacock Dynasty sculpture introduced the Iran, Greece's stone carving technology, generally uses the sand and gravel as the carving material, takes the sand and gravel surface highly polished as the characteristic. Sal Nat the lion is a symbol of Ashoka stigma combination, realistic and perfect decorative carving masterpiece. Lan Bouvard's "stigma" zebu reminiscent of India River civilization zebus seal. Di A Gangi's "girl" is to brush Yaocha positive upright type and other ancient statues, but Wen Ya, is pregnant with the rudiment of plump rounded, India standard of female beauty. Palca, Mathura area "" Yaocha statue is template Kushan Mathura buddha.
Sunga Dynasty and anda Luo Dynasty art
At that time, the center of political and artistic activities in India had been transferred to the area around the central state. Early Buddhist Mauryan architecture become complete. Bharhut - blocking wave, blocking wave and Buddha Gaya - Sanchi has become the three largest example of early Buddhism in India building. Baja, Beidesa grottoes, Ajanta Grottoes Cave (cave tenth), Nasik caves, grottoes, and Karli caves root Zhiti and Vihara in succession cut. Bharhut fence, fence relief and relief Buddha Gaya Sanchi pylon carving, India early Buddhism sculpture masterpiece. Relief theme mostly from the life and Buddha biography story, compact compact composition, often a figure king. In the Buddhist story in relief never carved out human statues, only the bodhi tree, pedestal, Falun, footprint symbol implies the presence of the buddha. The Buddha's symbolism has formed India early Buddhism sculpture practice and application. In the relief of the characters and Yaocha, female patron saint of rustic style statue Yaocha coarse, stiff posture stiff, is typical of the antique style. Sanchi figure carving has made great progress. Sanchi east gate of the "female" like God Yaocha bracket, the performance of the three India start-up bend type standard female body beauty, followed by later generations.
Kushan Art
The Kushans formerly Western nomads (China Chinese historical records, darouzhi) in first Century in the Central Asian Summer (Bactria) area established Kushan Dynasty (C. 1 - third Century), the territory from the Amu Darya basin extended to Ganges RIver basin. The Kushan king Kanishka (about 78 or 128 to 144 during the reign of the golden throne), to promote trade and cultural exchanges between the East and the west, the development of the integration of India, Greece, Rome, Iran various cultural factors of the Kushan culture. Early Buddhism (Theravada) to the middle age Kushan Buddhist (Mahayana), caused by the change of Buddhist art. Kanishka Buddhism in Chongxin, under his rule in northwestern India Gandhara and Mathura in northern India, India broke the early Buddhist symbolism Buddha carved with practice, created the first buddha. In southern India the Amaravati Buddhism sculpture a faction, and Gandhara and Mathura and Kushan three art center. Kushan art at the prosperous stage of Buddhist art, the general style tends to from the archaic style to the classical style transition.
Gandhara art
Gandhara area is the political, trade and Art Center of the Kushan Dynasty wheree, Eastern and Western culture. Gandhara art foreign culture is very rich. Kushan dynasty capital of cloth Lu Luo Sabu (now Peshawar), and Shaijiadata - fork was greasy Luo Pagoda Temple has collapsed, a large number of relics is decorated stupa Buddhist story relief. Gandhara sculpture mainly absorbed the influence of Greek art, after Greece and Rome gods created Greek statues of Gandhara buddha. The carving material grey schist; other noble hearts, pleats thick, style tends to emphasize realism, the precise details of human anatomy. Gandhara art derived from the India - Afghanistan - School of Art (see Bamiyan Grottoes), as far as the influence of China Xinjiang and the mainland, and eastward to Korea and japan.
The art of MathuraMathura is one of religion and Art Center of the Kushan Dynasty, also belong to the intersection of the East West cultural area. Compared with the Gandhara and Mathura art India local cultural tradition more profound. There are ma de the ruins of Mathura Kushan royal temple, cloth Taiwan Buddhism, Jainism Sal - blocking wave. The princes of Mathura carved portraits, is the incarnation of nomadic deified kingship; lush Yaocha naked female statue of sensuality, is a product of India farming culture. What is the Gandhara and Mathura first created Buddha, nearly 100 years scholars have been arguing. Kushan Mathura Buddha, originally referring to Mathura local traditional Yaocha created the statue. The macular red sandstone carving material; other powerful stalwart, thin clothing through the body; style tends to idealism, the pursuit of strong bare physical beauty and sense of power. Art spread to Central Asia via Mathura Kashmir and Chinese.
Amaravati Art
The capital of Amravati is southern India and Kushan Empire confrontation anda Luo Dynasty Guosa Srivastava hanna. Amaravati art Bima local culture of India traditional Tula art more pure. Amolawodidata and Naga M Giulia Na, Jia Gaya, Tat - wave blocking pate carving, belong to Amaravati style. The white limestone carving material green, elegant and lively, slender body, style between antiquity and classicism, and revealed signs of Baroque style. The Buddha had to Amaravati in Sri Lanka and Southeast asia.
Gupta art
The Gupta Dynasty (320 ~ 600) is the second Mauryan after exposing a great empire and Morocco Tuo rise. Only two Indian dynasties established in India have achieved a temporary unity. With a strong external color Gupta art inheritance in the Kushan culture at the same time, more committed to advocating India local cultural tradition, the pinnacle of classical culture in India. The Gupta era, Buddhist art heyday, Hindu art development is regarded as the India classical golden age.
Gupta Buddhist art
The Gupta kings are mostly Hindu, Buddhist, Jain etc. but the pagan tolerant policy, the late Gupta kings even grants to build Buddhist universities of nalanda. No, the Gupta Dynasty Buddhist philosopher Vasubandhu the Mahayana Yogacara Buddhist philosophy to the peak, the classical art with the spirit of consciousness also become vigorous fantasy. Sal Nat Mike - blocking wave, sixteenth, 17, 19 Ajanta caves in the grottoes, Sanchi No. seventeenth, No. fifty-first, ancestral temple, Buddha Gaya Great Bodhi temple, Buddhist architecture is the classical style of surviving gupta. The Aurangabad caves dug in the post Gupta era, has deviated from the standard of classicism. The two center Gupta Buddhist sculpture and Sarnath in succession of Mathura, Kushan Gandhara and Mathura carved on the traditional aesthetic ideal, follow the classical Gupta era, creating a India style for Buddha statues and multimodal - Mathura type special salna Buddha, represents the highest achievements of classical art in India. Mathura Buddha style of Gandhara Buddha more than India, Mathura Buddha is more ideal than the face, Indians, eyes is meditation, spiral hair neat, tall, light behind the large and beautiful, and the most typical feature is the wet clothes effect translucent, the representative of "the Buddha statue" mathura. Sarnath Buddha and statues in Mathura style type similar, full of quiet, introverted, harmonious tone, the most typical characteristic is transparent stripes effect of exposure of naked, representative of Sarnath Buddha "is". Effect of Gupta Buddha in South and South East Asia, Central Asia and the Far East Buddhist art of Gandhara Buddha is more profound. India ancient painting legacy products rarely, Ajanta grottoes and Bagh caves murals will be more precious. Gupta era Ajanta murals in style from classical to noble pure luxury and beautiful Baroque during the transition period, the traditional India carving performance standards of female beauty three bent, was used by many of the murals, the representative of the "big -" must, "Bodhisattva with a lotus" etc.. The murals about Bagh caves in post Gupta era, secular, stylized tendency of increase reflects the decline of Buddhism in India native.
Gupta Hindu Art
The ancient Gupta era to the new transformation of Brahmanism Hinduism Brahmanism, Hindu art will flourish. Gupta of Hindu architecture structure left a Digewa temple, Pideergang temple, Auger temple, Uhde Jerzy Gio on behalf of the ten incarnation in the caves, and provides a prototype after centuries of India architectural paradigm. Gupta Hinduism sculpture of the representative of the "Mathura Vishnu statue", Uhde Jerzy Jiri's "Vishnu's incarnation, Auger" wild boar "Vishnu lying like", the style has gradually changed from classical to Baroque style evolution. Gupta Hinduist art opened the medieval Hindu art heyday of the magnificent prelude.Medieval India (7 to thirteenth Century) is a Hindu art heyday. Since the Gupta era Dynasty, Buddhism in India native is declining, Hindu dominant status. Medieval northern and Southern Dynasties throughout India local dynasties mostly believe in Hinduism, the rise of the construction of the Hindu temple craze, continued for hundreds of years and not bad. The Hindu temple is regarded as Hindu gods in the world of the home. The temple tower Xikaluo usually symbolizes the universe of the mountain gods. The temple's sanctuary "womb" (cosmic embryo) often dedicated to the Hindu universe of Vishnu, Shiva and incarnation, symbol or Xianlv statue, especially the symbol of Shiva Linga fecundity (male root) is the most common. The outer wall of the temple is often carved all the gods and goddesses and figures, animal, flower and other decorative reliefs, architecture and sculpture are all blend into one harmonious whole.
The Hindu temple type can be divided into 3 types: type (Southern Dravidian style), a Xikaluo pyramid; the north way (Aryan type or city type), Xika Luo Chengqu arch; the German dry (intermediate type), between the South and North type. Hindu gods basically is the natural power of incarnation, a symbol of the universe spirit, the nature of the metaphor of life, therefore, must pursue the dynamic changes of Hindu art, showing strength, instability, complicated and exaggerated Baroque style. The baroque style with distinct characteristics of India traditional culture, the impulse of life, imagine the strange and decorative luxury seems to exceed European Baroque art.
Art of the various dynasties in southern India
The Middle Ages in southern India Dynasty maintained a pure Dravidian culture tradition, the development of Dravidian art. Pallava Dynasty (600 to 897) the capital of kanchipura Kayla cernat temple with harbor Romania five car Maha Barry temple, temple and temple Grottoes is the origin of India coast, southern style temple, provides almost all southern style temple prototype. Barry Romania Maha temple wall "Ganges RIver" is a relief that fell paraoa carving masterpiece, reflects the characteristics of the early baroque style in India. The chola (846 ~ 1279) of the capital city of TANJORE Temple of Barry Hendy Shiva M and Zhu Luo - Gagongda Romania Temple of the same name, graphic design used paraoa temple, pyramid towering more Xikaluo. The chola bronze statue, such as "the dance king" Masterpieces of Shiva, elegant, dynamic and flexible, is a model of South India Baroque period of sculpture. Pandya Dynasty (1100 ~ 1331) of the capital city of Madurai Temple group inherited Zhu Luo style gatehouse (Qu Brochu) higher than that of the main hall, decorative sculpture complex too, belonging to the late Baroque style. The late medieval Vee Char Jerzy Naga M Dynasty (1336 ~ 1565) of the Temple group and Nayeka Dynasty (1564 ~ 1600) in Madurai to build the temple colonnade (Man Dabo) the prominent position, decorative Rococo style luxury cumbersome, too.
Germany and the fine arts
The medieval Deccan region of Dynasty in the Aryan culture and mixed Dravidian culture center, the frequent war led to the north and South art style communication. The early Chalukya Dynasty (535 ~ 753) in 3, Mysore, capital of badami huor and the temple of Padma Da Gal group, the original shape by the Buddhist chaitya hall evolved, influenced by medieval Southern Hindu temple, and into the northern temple composition. Padma Da Gal Vee Ruback Natsu temple is an imitation kanchipura Kayla cernat temple. The Rashit Lago de Dynasty (753 ~ 949) to build Ellora grottoes. Ellora Lhasa Kai sixteenth cave temple, the temple of Vee Ruback Natsu Padma Da Gal is modeled on the design of hollow block, rock hewn, worthy of the mega peerless masterpiece. Lhasa Kai Temple sculpture comprehensive Gupta era elegance, covering Lu Dynasty and Pallava Dynasty and gamma Xiuyi, dynamic change of strong, rich, vibrant, represents the highest achievement of Baroque art in India. About digging in the same period as the island grotto Temple of Shiva, carving of India rich Baroque art features, including rock carving "three" like Shiva beautiful, noble, ferocious in a body, lodges the creation, preservation, destruction of the Upanishads, the world sculpture works. The later Chalukya Dynasty (10 ~ twelfth Century) of the Temple group, the outer wall decoration is niche intensive, tedious. When the Sara Dynasty (1100 ~ 1300) in the Deccan built southwest of Belul, Beh Leibe de Poole, Somnath temple, graphic design is the star, Xikaluo low wall decorative relief fine and dainty, also flow along cocoa style.
Northern India Dynasty Fine Arts

The medieval North India Dynasty regarded as orthodox Aryan culture, more and more absorption factors Dravidian culture. Bangladesh, Assam - more popular Luojiao (force worship), while the impact of Hinduism, Buddhism, Jainism and art. Barak Dynasty (about 750 ~ 1150) is the last refuge in India local buddhism. The kings of the Baltic expansion of the upgrading of Nalanda and Mahabodhi Temple Buddha Gaya temple. The pyramid tower shape Buddha Gaya diamond throne tower shrines and vertical stratification, the relevant Xikaluo Hindu temple. Such as the Baltic Nalanda unearthed stone or bronze statue, such as crown Buddha, Guanyin, the goddess of Dobby Tantrism Bodhisattva DORO statue, influenced by a classical sculpture Gupta and South India statue, infected Baroque luxury, elaborate, grotesque, known as the flame of art. Influence of Buddhist art art of Nepal, Chinese Bala Tibet, Burma, and other places of large java. Easthigh Jia Dynasty (8 ~ thirteenth Century) in the territory of Orissa created the great temple group. Is a subspecies of the northern Orissa temples temple, song Xikaluo arched was the representative of Bhubaneswar corn, the lingaraja temple - the temple, Khanna Lark, Bree Zage Nath Temple of the sun. The last Orissa carved decoration and dynamic exaggeration, belonging to the India Baroque period by. Khanna Lark Sun Temple great relief wheel magnificent, is regarded as a symbol of the culture of India. The Jindra Dynasty (950 ~ 1203) capital card Hou Zhu La Hindu, Jain Temple group and Orissa temples group par. A subspecies of Khajuraho temples is the northern temple, Xikaluo is like bamboo shoots, the main tower around the multi ring Zhi representative Gandaliyah Mahan tower, Deva temple etc.. C Jura Hou carving in high relief panels with the outer wall of the temple statues and women in different poses and with different expressions (dense tea lovers that statue) is known, deformation of beautiful and sexy strong, also belongs to the Baroque period in India by. Zhu Hou unearthed card pull carving treasures "love letter" is India carved the most outstanding masterpiece. North Western India Rajasthan osiya Sulye temple and Mount Abu bhimasena Luo tower, Gujarat Surya temple, also belong to the northern temple, well proportioned, ornate. Kashmir is still creating a Gandhara traditional temple, the Moertande and Awandi's temple.In thirteenth Century, the Turks, Afghanistan - Muslim invasion of India, Delhi, Sultan after China established, began to appear in India Islamic art. Fourteenth Century, the local Muslim Kingdom have independence, India Islamic Art popularization. In sixteenth Century, the rise of Mughal North India, India, Islamic Art flourished. Islamic Art in India is not only a variation of Islamic Art in India, but also a transformation form of India native art, as well as an example of Islamic culture and India culture.
The integration of these two different cultures (one of the fusion genes is a common hobby of decoration), results in a new and unique cultural model and artistic style.
Delhi Art
The architecture of the Sultan Dynasty (13 ~ sixteenth Century) in Delhi was mainly based on the Islamic style introduced by Central Asia, but also mixed some India factors. Sultan's Delhi Slave Dynasty (1206 ~ 1290) to build the Cobut Ule Islam mosque in Delhi and kutb pinnacles, Gao Huafeng Li, is the earliest example of Islamic architecture in India. Khilji Dynasty (1290 - 1320) built Jamal art Hanna mosque and Alai gate, are purely Islamic style. The field of the Luke Dynasty (1320 ~ 1413) building simple and rigid. The Saeed Dynasty (1414 ~ 1451) and Lodi Dynasty (1451 ~ 1526) of the building to revive Kargi style.
Local realm of Art
Local independent Muslim Kingdoms (14 ~ sixteenth Century) of the building are more affected by around the India traditional architecture, showing strong local color of India cultural diversity hybrid style. Jumple Kingdom (1400 ~ 1478) of the mosque of Atalay, obviously affected by the Hindu temple. The kingdom of Bengal (1336 ~ 1576) the ADINA mosque and small golden mosque and the golden mosque, the structure and decoration of the Hindu temple. The kingdom of Gujarat (1401 ~ 1537) the capital of the Great Mosque in Ahmedabad, to the local traditional brick 15 arched roof. The kingdom of Marwa (1401 ~ 1531) the capital of the Great Mosque in Mandu, is to keep the traditional Islamic style. The Deccan Bauman Kingdom (1347 ~ 1527) building mix India, Egypt, the Turks, Iran style, Gelb Fagafaga mosque, Daulatabad gold, Beadle's horse, delta promos are Gavan college, this hybrid style paradigm.
The art of the mo
The Mughal Dynasty (1526 ~ 1859) is the Department of the Turks, Mughals in the subcontinent of India established Islamic empire. The third Mughal emperor Akbar liberal religious integration policy, accelerate India traditional Islamic culture and cultural integration, paved the way for the full development of Islamic Art in India. Mughal architecture mainly absorbed the influence of Persian Islamic architecture, combines the India traditional architecture factors, form a kind of both simple and bright and richly decorated Mughal style, represents the greatest achievement of India Islamic art. The Mughal buildings on the capital distribution of Mo of Mughal Empire Delhi, Agra and the capital of Lahore, the second half of the sixteenth Century era mainly in red sandstone building akbar. In seventeenth Century, Sha Jia - age leaf mainly in white marble building, the representative of the Mausoleum of Humayun, Agra castle, Fatlepool Sikri castle, Lahore castle, Chris Itimad Uhde Daraj, baling, red fort, Delhi mosque, Taj Mahal. Taj Mahal is recognized as one of the wonders of architectural art in the world. The Mughal miniature painting achievements after construction, Humayun, Akbar, the Mughal emperor Jia Hanji is keen to sponsor painting. From Iran, India to court painter and made a lot of miniatures, depicting the pilgrimage, feasting, hunting and war scenes, portraits and harem life. Mughal Miniatures basically belong to the palace of art, delicate lines, rich colors, good style, pay attention to realism to portray the psychology at. Mughal India native states of the Rajput paintings, and Mughal Miniatures parallel development, mutual influence. Raj Fpoter's painting is divided into Rajasthan (plain Sunni faction) and pakhar faction (mountain school), school leader pakhar for ConAgra pie. Rajput miniature painting subjects taken from the India epic, mythology, especially on the pastoral God Krishna Krishna (one of the incarnations of Vishnu) and Munv love LADA folklore. Often works often idyllic color, pastoral sentiment and the beauty of music melody, rough lines, vivid picture, bold colors, contrasting characters, simple and natural.After India became a British colony in 1858, the traditional culture and art of India was endangered. Then many western people of insight and patriotic scholars of India, are committed to re excavation, collation and interpretation of India's cultural and artistic heritage, India art increasingly attracted international academic attention. Since ancient times between the China and India cultural and artistic exchanges in India for Chinese History is full of such instances., ancient law monk Faxian, Xuan Zang, Yi Jing's records has become a valuable literature on the arts and culture in India.