HINDI BUKU YANG BERKAIT DENGAN «नक्शनिगार»
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नक्शनिगार dalam pilihan bibliografi berikut. Buku yang berkait dengan
नक्शनिगार dan ekstrak ringkas dari yang sama untuk menyediakan konteks penggunaannya dalam kesusasteraan Hindi.
1
The garden tomb of Humayun: an abode in paradise - Page 154
Usually used in the same reference as naqsh-nigar, and was also responsible for the maintenance of garden. A person well versed with accountancy and should be able to assess and procure bricks and other building material. This was ...
Neeru Misra, Tanay Misra,
2003
2
Composite Culture in a Multicultural Society - Page 171
He is attributed with the introduction of new modes or airs in Indian classical music, such as Qan, Qalbana, Naqsh, Nigar, Aiman, KJiiyal, Saham, Ghanam, etc, although in his own writings Khusrau makes no such mention. The Rag Darpan ...
Bipan Chandra, Sucheta Mahajan,
2007
3
Kavivara Najīra Akabarābādī ke Hindī Kāvya kā ālocanātmaka ...
इन सभी से जियादा खराब हैं ६ रंग-ओ-कलम हो गए नक्श/निगार बंद | गु०न० | पुत अज ( ३. नक्काश पर भी जोर जब आ मुफलिसी करे हैं तस्वीर और नक्श में क्या रंगबो भरे | वही है पुरा २का है ४. पाया जो रंग ...
Dāmodaraprasāda Vāsiṣṭha,
1973
4
Hindustani music: a study of its development in ... - Page 15
a study has also been made of Tarana, Qawwali, Qaul, Qalbana, Naqsh-Gul, Naqsh-Nigar, Sohela and several other forms which were in vogue during the seventeenth and eighteenth centuries, as described in the manuscripts of that period.
Najma Perveen Ahmad,
1984
5
Random Harvest - Page 52
He also introduced many new forms of singing like Qual, Qalbana, Naqsh, Nigar, Quwwali, Madhan, Tarana and Tirwat. The full name of Amir Khusro was Yaminuddin Muhammed Hassan. According to Cowell, he was born in 651 A.H. (1325.
Asadul Haque Shaidai,
1992
6
Music and its study - Page 3
Moreover, he drew applause by singing the Muslim styles such as 'qawali', 'qalbana', 'tarana', 'naqsh', 'nigar', 'hawa' and 'basit', most of which were his own inventions. So the reign of Sultan Alauddin Khilji saw the emergence of a new style ...
Mobāraka Hosena Khāna,
1988
7
A critique of Hindusthani music and music education - Page 24
In the remaining ragas he has made some alterations and given them new names : QAWL, TARANA, KHAYAL, NAQSH, NIGAR, BASEAT, TALANA, SUHLA— all these, as well, are Amir Khushru's inventions. Some of these are specially his ...
8
Sufism and Bhakti Movement: Eternal Relevance - Page 266
Amir Khusrau combined all his knowledge in the forms of qaul, tarana, naqsh, nigar, basit* tillana,farsi,fard and sohla.16 In these musical forms he blended Indian and Persian lyric genres and musical techniques (s)aut-u naqsh-i Farsi-u Hindi) ...
9
The Making of Indo-Persian Culture: Indian and French Studies
e traditional style of Delhi.31 QAWWALl Qaul, Tarana, Khayal, Naqsh, Nigar, Basit, Tillana and Sohla were the musical styles associated with Qawwals. Mirza Khan informs us that those Gandharps and Gunkars who excelled ...
Muzaffar Alam, Françoise Delvoye Nalini, Marc Gaborieau,
2000
10
امير خسرو: هفت صد ساله جشن، 11 تا 13 فبرورى 1976 عيسوى - Page iii
Zilaf, Farghana, Sarparda, Bakharz, Pherdost, Munam. In other ragas he has made some alterations and given them new names such as, Qaul. Tarana, Khayal, Naqsh Nigar Basit, Talana, Suhla. These may also be considered as the invention ...
Amīr Khusraw Dihlavī,
1976