Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v6.c39.192

v6.c39.192

Muhammadanism grew up in the Arabian desert. It is not a religion of renunciation, but it is non-idolatrous; hence there is no need for a temple; prayer could be said anywhere. Consequently the mosque does not represent any symbolic idea. It has been rightly stated that the Muhammadans ‘designed like giants and their Hindu workmen finished like jewellers; but from the giant killed by Jack, right through the whole genus, giants have hitherto been noted for . . . immense strength.’¹ There is no room for any sculpture. Worship is congregational, but there is no need for music, which is considered to be a disturbance rather than an incentive to the worshippers in concentrating the mind upon one object. Priests are householders, but the God of daily worship is impersonal. Thus it is not a religion of love, rather one of obedience. The sensual love, however, embodies in itself beauty and youth without which no fine art can grow. Hence Muhammadanism could not give rise to many fine arts. It is, however, a fact that the Muslims have later on developed many arts, but that is due to their war-like spirit, their militarism, and not to their religion. The wonderful Taj Mahal is a secular monument of love for a beautiful wife. The great forts at Agra, Delhi, and other places were but military settlements. The famous Mughal paintings have no religious tinge about them. The *Quran* is composed in prose and is not a book of poetical hymns like the *Bible* or the *Vedas*. In fact, both Arabic and Persian poetry is predominantly secular.