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Ganga–Jamuni Tehzeeb (Hindustani forGanges–Yamuna Culture),[1] also spelled asGanga-Jamni Tehzeeb or justHindustani Tehzeeb, is the compositehigh culture of the central plains of northern India,[2][3][4][5] especially thedoab region ofGanges andYamuna rivers, that is asyncretic fusion ofHindu cultural elements withMuslim cultural elements.[2][3][6][7][8] The composite Ganga-Jamuni culture emerged due to the interaction between Hindus and Muslims in the history of South Asia.[9][6][7]
Thetehzeeb (culture) includes a particular style of speech, literature, recreation, costume, manners, worldview, art, fashion, architecture and cuisine which more or less pervades theHindustan region of the plains,Northern South Asia as a whole and theold city ofHyderabad in South India.[10][11] Ganga Jamuni culture manifests itself as adherents of different religions in India celebrating each other's festivals, as well ascommunal harmony in India.[12][13]
Ganga-Jamuni tehzeeb, is a poeticAwadhi phrase for the distinctive and syncretic Hindu-Muslim culture, is reflected in thefused spiritual connotations, forms, symbols, aesthetics, crafts and weaves, for example, Kashmiri Muslim carpet makers featureDurga in their patterns, Muslim sculptors makingidols of Durga, and Hindu craftsmen create theMuharramtazia.[14][8]
Ganga-Jamuni is a combination of twoHindi words that means, literally, "mixed", "composite", or "alloy".[15][16][17] The term additionally references theGanga andJamuna rivers, that merge to form one entity, just as two cultures come "together to form a seamless single culture that draws richly from both traditional Hindu and Islamic influences", creating "a vibrant, multidimensional, peerless and syncretic culture."[1]
Tehzeeb is anUrdu term meaning civilisation, culture, politeness, or progress/development.[18]
Nawabs of Awadh were fore-runners of this culture.[19] The region ofAwadh in the state ofUttar Pradesh is usually considered to be the center of this culture.[20][21]Allahabad,Lucknow,Kanpur,[22][23][24]Faizabad-Ayodhya,[21][25] andVaranasi (Benares)[26][27] are a few of the many centers of this culture. In Lucknow, one prominent example of this culture is that not onlyShias but alsoSunni Muslims andHindus participate, both historically and today, in themourning and religious customs during the Islamic month ofMuharram.[28][29] The Hindu festival ofBasant and Persian tradition ofNowruz were also patronised by the Shia rulers of Awadh.[30]
Hyderabad, the capital city ofTelangana in south-central part of the India, is also a big example of communal harmony where the localTelugu Hindus andHyderabadi Muslims live with peace and brotherhood, where Hindu temples serve thedry dates fruits to mosques forIftar Muslim festival.[31][13]
With theTurko-Afghan conquests over theIndo-Gangetic plains in medieval India,Delhi and its surrounding plains along the riverYamuna became the political and cultural capital of thesePersianate dynasties. Delhi came to prominence because of its strategic location, the west of which was the fertile but open Indus plains and east of which began the populous Gangetic plains. The local language ofDelhi arose intoHindavi or Hindustani, the eventualsociolect of the descendants of the conquerors, the nobility, the courtiers, and hence the cultured. The official language of these empires wasClassical Persian and the usual mother tongue of these upper echelons was an Indian language albeit with heavy Persian influence, hence Hindavi or Hindi was the word used which still impliesIndian in Persian. As the empire enlarged, persianisedOld Hindi, popularly known asHindavi andHindustani, became the basis for thelingua franca differentIndo-Aryan speakers on the plains and beyond used to communicate. Among the many Hindustani varieties that arose,Deccani being the major one, a form of Old Hindi that migrated from the banks of Delhi and mixed withMarathi,Telugu andKannada in theDeccan.[citation needed]
The literary tradition inHindustani really began in theMughal North with the appreciation of poetry inDeccani Hindi, a medium of literary exchange in the Pre-Mughal Deccan South. Until then Hindavi was not a court language of the Mughals as was previously during the Delhi sultanate. This event laid the foundation towards the first standardisation of the Hindi language, this polished courtly speech begun to be specifically called "Urdu" which is today the national language ofPakistan and an official language inIndia. The second standardisation of the Hindi language took place during theBritish Raj, which is now one of the two official languages ofGoI, along withEnglish. This second standardisation, though in the Sanskritized register has retained the inevitable name Hindi instead and hence Hindi refers both to the official sanskritised standard as well as thecolloquial Hindi and the many related dialects of theHindi languages.[citation needed]
The first Deccani author was Khwaja Bandanawaz Gesudaraz Muhammad Hasan.Bahamani Sultanate were the pioneers, writers such asBande Nawaz, Shah Miranji and Shah Buran. SultanMuhammad Quli Qutub Shah ofGolconda, SultanIbrahim Adil Shah II ofBijapur, andWali Mohammad Wali were important writers in Deccani. Influenced by this, Urdu Prose and Poetry, as is now called also began in theHindustan region, chief writers being, Ghalib, Khaliq, Zamir,Aatish,Nasikh, Zauq, Momin and Shefta.Malik Muhammad Jayasi'sPadmavat in Awadhi and the Works ofKabir Das. An age of tremendous integration between the Hindu and the Islamic elements in the Arts with the advent of many Muslim Bhakti poets likeAbdul Rahim Khan-I-Khana who was a minister toMughal emperorAkbar and was also a great devotee of Krishna. The Nirgun School of Bhakti Poetry was also tremendously secular in nature and its propounders like Kabir and Guru Nanak had a large number of followers irrespective of caste or religion.[32][11]
One of the best examples of syncretic faith is captured in one of Kabir'sdoha (verse),"some chantAllah, some chantRam, Kabir is a worshiper of true love and hence reveres both."[4][failed verification]
| Devanagari | Nastaliq | Roman | Translation |
|---|---|---|---|
| कोई जपे रहीम रहीम कोई जपे है राम दास कबीर है प्रेम पुजारी दोनों को परनाम | کوئی جپے رحیم رحیم | Koi jape rahim rahim Koi jape hai ram Das Kabir hai prem pujari Dono ko parnaam | Some chant O Merciful [Allah] Some chant Ram Kabir is a worshiper of true love And reveres them both |
_-_Prince_Azim-ud-Daula_(1775%25E2%2580%25931819)%2c_Nawab_of_the_Carnatic_and_His_Son_Azam_Jah_(1800%25E2%2580%25931874)_-_1180953_-_National_Trust.jpg)
Awadh has a special place in the etiquette of this culture along with Delhi and Hyderabad; in fact Lucknowi Urdu still retains the polished and polite language of Ganga-Jamuni Tehzeeb.[20][33][26][19]Delhi Sultanate,Bahamani Sultanate,Deccan Sultanates,Mughal Empire,Nawabs of Awadh,Bhopal,Carnatic and theNizams of Hyderabad were forerunners of thistehzeeb. The greetingAadaab from the Arabic word آداب, meaningrespect and politeness, is a handgesture and expression used in theIndian subcontinent forgreeting, especially between Muslims and non-Muslims.[34] It is associated with the Ganga-Jamuni culture because it originated out of a necessity for a more non-religious greeting from the ArabicAssalamu Alaikum and SanskritNamaste.
Sherwani, Jama, Topi, Dupatta, Shawls, Pajama, Kurta and Socks are few of the major attire still present in India.
A blend of Hindu and Muslim traditions are showcased in recreational activities. For example, both communities celebrate Diwali and Eid with equal enthusiam.[35] Qawwali's, which is rooted in Sufism, is a commonality between Hindus and Muslims. Performances typically attract diverse audiences.[36]
Dishes such asbiryani blend Hindu and Muslim culinary traditions. Biryani combines Persian influence with Indian spices and it is known to be enjoyed by both communities.[37] Another example iskebabs, which originate from Turkish culture, but people of both backgrounds enjoy.[38] The sweets likephirni andkheer are common in both Hindu and Muslim households.[39]
_in_early_1820%2527s_(Hyderabad_India).jpg)
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Paintings showcase a blend ofMughal andRajput styles which utilizes intricate detailing and vibrant colors.[40] For example, paintings from the Mughal era depict themes from theRamayana andMahabharata along with Persian-inspired aesthetics.[41] Artists such asBasawan andDaswanth created work that integrated Islamic and Hindu iconography.[42]
Banarasisarees exemplify designs that blend Persian and Indian patterns and designs.[43]Chikan andzardozi embroidery of Lucknow show a mix of Mughal aesthetics and local techniques.[44]
Mughal architecture, characterized by its intricate designs and use of both Islamic and Hindu motifs, stands as a testament to this cultural confluence.[45] Monuments like theTaj Mahal,Fatehpur Sikri, andHumayun's Tomb exemplify this synthesis, showcasing elements such as domes, minarets, and balconies.[46]
The culture (tehzeeb) that has evolved in the Great Plains is called Ganga-Jamuni Tehzeeb. The idea of the two rivers joining to form one great entity, Ganga, symbolises how two disparate cultures coming together to form a seamless single culture that draws richly from both traditional Hindu and Islamic influences. The result is a vibrant, multidimensional, peerless and syncretic culture. People from different religions share elements and ideologies to bring together all aspects of life to prosper, making society a bouquet of many hues and fragrances. The leitmotif of this culture is pluralism.
Ganga-Jamuni Tehzeeb compares the Hindu-Muslim harmony and friendship to the holy confluence of India's major rivers - the Ganga and Yamuna. It assumes a peaceful merging of Hindu and Muslim culture and lifestyle in Banaras as expressed in their friendships, joint festivities and interdependence. As such, theGanga-Jamuni Tehzeeb reminds people of the incomparable unison they share across religious communities. This in turn sets a parameter for the people to uphold the religious peace. The metaphor is especially popular in the intellectual discourse as it coincided well with the Nehruvian rhetoric of a composite culture.
The composite culture of northern India, known as the Ganga Jamuni tehzeeb was a product of the interaction between Hindu society and Islam.
During their political rule, over a period of about 1000 years, both Hindus and Muslims lived together, shared each other's culture and gave rise to the emergence of a new type of Hindu-Muslim culture (Ganga-Jamuni Tahzib).
... the ganga-jamuni tehzeeb (composite culture) regarded both religious communities as two eyes of a beautiful bride and their long history witnessed 'give-and-take', at many levels ...
Sometimes this trend brings a new culture of integration. It is evident in Indian Hindu-Muslim culture popularly known asGanga Jamuni Tehzeeb, manifesting the values and belief systems of the two.
... the continuing joint Muslim and Hindu participation in public festivals, relating it to "Ganga-Jamun Tahzeeb," the attitude of refined hospitality and harmonious relations that historically characterized this region ...
"Ganga-Jamuni Tehzeeb" is a poetic Awadhi phrase that implies the distinct and syncretic fusion of Hindu-Muslim culture and it is primarily the ethics of central plains in North India.
गंगाजमुनी (p. 1190) गंगाजमुनी— वि० [हिं० गंगा + जमुना] १. मिलाजुला । संकर । दो- रंगा । २. सोने चाँदी, पीतल ताँबे आदि दो धातुओं का बना हुआ । सुनहले रूपहले तारों का बना हुआ । जिसपर सोने चाँदी दोनों का काम हो । ३. काला उजला । स्याह सफेद । अबलक ; 2) गंगाजमुनी (p. 1190) गंगाजमुनी २— संज्ञा स्त्री० १. कान का एक गहना । २. वह दाल जिसमें अरहर और उर्द की दाल मिली हो । केवटी दाल । ३. जरतारी का ऐसा काम जिसमें सुनहले और रुपहले दोनों रंग के तार हों । ४. अफीम मिली हुई भाँग । अफीम से युक्त भाँग की सरदाई (बनारस)
... developed in Awadh as a genre of composite creativity. ... of multiple Indian cultural traditions and provided glimpses of the Ganga-Jamuni tehzeeb of north India with Lucknow as its centre ...
Originating from a North Indian Islamicate high culture, "adaab" as a form of greeting was imbued with a certain class hierarchy. It was a familiar greeting even in many elite non-Muslim households in North India.
