The relationship between the content and the form of art is organic one. It is comprised of the unity of its form and content, the content determining the form.
The Indian rural aesthetic culture includes various regional rural cultures reflects different shades of style, patterns and modes. To point out as example, we have such varied forms as Sorathas, Dohas, Chaupais, and Chhappas, Kirtans, Bhajans, Abhhngas, Pavadas, Deshies, Horis, Kajaris, Kawalis and others in the domain of poetry and song; Rasas, Garbas and others in the sphere of dance; and Bhaviais, Ramlilas, Tamasas and other in the field of dramas. Similarly the words of other rural arts also reveal a rich diversity of forms. The study of different forms of the art cultures of different regional rural communities will help us to distinguish them as distinct culture units. Further, since the agrarian life possesses certain common characteristics, though with local and regional variations, such a study will also reveal how basically the same life content has been variously handled in the sphere of art by different communities.”
There exist a substantial amount a specialization in the agrarian arts particularly cause the art is mixed with concrete activities like “sowing, reaping, harvesting and others or with such articles of utility as ornaments and earthen ware’. There is a thematic continuity, in art creations and the arts dealing with them are enriched from generation to generation. There exists ‘continuous improvements of agrarian arts, their forms, styles and patterns”.
The rural people in Indian have a ‘long and rich history of aesthetic culture’. History is full of description of the concerts and dramas of the rural life during the Maurya period and have been, as A.S.Altekar states, described as “Preksha,” by Chanakya and “Samaja” by Ashoka.
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