A champion jockey is about to enter an important race on a new horse. The horse’s trainer meets him before the race and says, “All you have to remember with this horse is that every time you approach a jump, you have to shout, ‘ALLLLEEE OOOP!’ really loudly in the horse’s ear. Providing you do that, you’ll be fine.”

The jockey thinks the trainer is mad but promises to shout the command. The race begins and they approach the first hurdle. The jockey ignores the trainer’s ridiculous advice and the horse crashes straight through the center of the jump.

They carry on and approach the second hurdle. The jockey, somewhat embarrassed, whispers ‘Aleeee ooop’ in the horse’s ear. The same thing happens–the horse crashes straight through the center of the jump.

At the third hurdle, the jockey thinks, “It’s no good, I’ll have to do it,” and yells, “ALLLEEE OOOP!” really loudly. Sure enough, the horse sails over the jump with no problems. This continues for the rest of the race, but due to the earlier problems the horse only finishes third.

The trainer is fuming and asks the jockey what went wrong. The jockey replies, “Nothing is wrong with me–it’s this bloody horse. What is he–deaf or something?”

The trainer replies, “Deaf?? DEAF?? He’s not deaf–he’s BLIND!”

Painting as an art form has flourished in India from very early periods as is evident from literary sources and also from the remnants that have been discovered.   

Indian Paintings can be broadly classified as the murals & miniatures. Murals are huge works executed on the walls of solid structures. Classic examples are the paintings in Ajantha & Kailasantaha temple.   

Miniature paintings are those executed on a very small scale on perishable material such as paper, cloth, etc., Though this style had been perfected by artisans under the various rules, not many remain today. Prime examples are the Rajasthani & Mughal miniatures.   

Contemporary artists have kept up to the times & excel in their modern works, giving free expression to their imagination & artistic liberty.
Some of the Indian Painting Styles are
1.Tanjore Paintings
2.Miniature Paintings
3.Cave Paintings
4.KalamKari Paintings
5.Madhuban Paintings. etc…..
India is a full of Art and cultured Country.

During the twentieth century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. In the United States, a handful of photographers spent their lives advocating for photography as a fine art. Alfred Stieglitz, Edward Steichen, John Szarkowski, and Edward Westonthe most prominent among them.

At first, fine art photographers tried to imitate painting styles. This movement is called Pictorialism, often using soft focus for a dreamy, ‘romantic’ look. In reaction to that, Weston, Ansel Adams, and others formed the f/64 Group to advocate ’straight photography’, the photograph as a (sharply focused) thing in itself and not an imitation of something else.

The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images “written with light”: Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if it met the definitions and purposes of art.

Clive Bell in his classic essay Art states that only “significant form” can distinguish art from what is not art.

Indian classical music is based on the ragas (”colors”), which are scales and melodies that provide the foundation for a performance. Unlike western classical music, that is deterministic, Indian classical music allows for a much greater degree of “personalization” of the performance, almost to the level of jazz-like improvisation. Thus, each performance of a raga is different. The goal of the raga is to create a trancey state, to broadcast a mood of ecstasy. The main difference with western classical music is that the Indian ragas are not “composed” by a composer, but were created via a lengthy evolutionary process over the centuries. Thus they do not represent mind of the composer but a universal idea of the world. They transmit not personal but impersonal emotion. Another difference is that Indian music is monodic, not polyphonic. Hindustani (North Indian) ragas are assigned to specific times of the day (or night) and to specific seasons. Many ragas share the same scale, and many ragas share the same melodic theme. There are thousands of ragas, but six are considered fundamental: Bhairav, Malkauns, Hindol, Dipak, Megh and Shree. A raga is not necessarily instrumental, and, if vocal, it is not necessarily accompanied. But when it is accompanied by percussion (such as tablas), the rhythm is often rather intricate because it si constructed from a combination of fundamental rhythmic patterns (or talas). The main instrument of the ragas is the sitar, although historically the vina zither was at least equally important. Carnatic (Southern Indian) ragas constitute one of the oldest systems of music in the world. They are based on seven rhythmic cycles and 72 fundamental ragas. The founder of the Karnataka school is considered to be Purandara Dasa (1494). Carnatic music is mostly vocal and devotional in nature, and played with different instruments than Hindustani music (such as the mridangam drum, the ghatam clay pot, the vina sitar as opposed to sitar, sarod, tambura and tabla). The fundamental format of Carnatic songs is the “kriti”, which are usually set in the style of a raga (the raga serves as the melodic foundation). The golden age of Carnatic music was the age of Syama Sastri, who died in 1827, of Tyagaraja, who died in 1847 and who composed the Pancharatna Krithis as well as two “operas”, Prahalada Bhakti Vijayam and Nauca Charitam, and of Muthuswami Dikshitar, who died in 1835 after composing the Kamalamba Navavarnams and the Navagraha krithis.

Indias famous Musicians As per my knowledge arer listed below:
Ustad Bismilla Khan,
Pankaz Udas,
Tansen
M.S.SubbaLakshmi.
Ilayaraja
LataMAngeshkar.
S.P.Balasubramaniam………etc.

The Indian film industry is the largest in the world in terms of the number of films produced annually (877 feature films and 1177 short films were released in the year 2003 alone).In contrast, 473 films were produced in the US in 2003. Movie tickets in India are among the cheapest in the world. India accounts for 73% of movie admissions in the Asia-Pacific region, and earnings are currently estimated at US$2.9 billion.The industry is mainly supported by the vast cinema-going Indian public. The Central Board of Film Certification of India cites on its website that every three months an audience as large as India’s billion-strong population visits cinema halls.Indian films are popular in various parts of the world, especially in countries with significant Indian communities.

The first feature film made in India was a narrative named Pundalik, by N.G. Chitre and R.G. Torney. The first full-length Indian feature film was Raja Harischandra(3700 feet as compared to 1500 for Pundalik), made in 1913 and released commercially in May that year, by Dadasaheb Phalke. Phalke had attended a screening of The Life of Christ at P.B. Mehta’s American-Indian Cinema and was inspired to make films himself. He was convinced of the possibility of establishing an indigenous film industry by focussing on Indian themes. In this regard, he said Like the life of Christ, we shall make pictures on Rama and Krishna. The film was about an honest king who for the sake of his principles sacrifices his kingdom and family before the gods, who are impressed with his honesty and restore him to his former glory. The film was a success, and Phalke went on to make more mythological films till the advent of talkies, and commercialization of Indian films lessened his popularity.

In 1916, Universal Pictures set up Hollywood’s first Indian agency (see Hollywood meets India, below). The first South Indian feature was Rangaswamy Nataraja Mudaliar’s Keechaka Vadham, released in 1918. The following year, he made the film Draupadi Vastrapaharanam, featuring Anglo-Indian actress Marian Hill who played the role of Draupadi.