{"id":97662,"date":"2026-04-10T17:44:11","date_gmt":"2026-04-10T12:14:11","guid":{"rendered":"https:\/\/vajiramandravi.com\/current-affairs\/?p=97662"},"modified":"2026-04-10T17:44:11","modified_gmt":"2026-04-10T12:14:11","slug":"classical-music-of-india","status":"publish","type":"post","link":"https:\/\/vajiramandravi.com\/current-affairs\/classical-music-of-india\/","title":{"rendered":"Classical Music of India, Evolution, Hindustani, Carnatic Music"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Indian classical music, also known as <\/span><i><span style=\"font-weight: 400;\">Marg Sangeet<\/span><\/i><span style=\"font-weight: 400;\"> or <\/span><i><span style=\"font-weight: 400;\">Shastriya Sangeet<\/span><\/i><span style=\"font-weight: 400;\">, refers to the traditional music system based on strict rules of <\/span><b>Raga (melody)<\/b><span style=\"font-weight: 400;\"> and <\/span><b>Tala (rhythm)<\/b><span style=\"font-weight: 400;\">. Its origins can be traced back to ancient texts like the <\/span><b><i>Natyashastra<\/i><\/b> <span style=\"font-weight: 400;\">by <\/span><b>Bharata Muni<\/b><span style=\"font-weight: 400;\">. Over time, Indian classical music evolved into two major traditions: Hindustani Classical Music (North India) and Carnatic Classical Music (South India).<\/span><\/p>\n<h2><b>Classical Music of India Evolution<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">Indian classical music evolved over thousands of years, beginning with Vedic chants and gradually developing into a sophisticated system of <\/span><b>Raga and Tala<\/b><span style=\"font-weight: 400;\">. Influenced by religion, royal patronage, and cultural exchanges, it eventually divided into Hindustani and Carnatic traditions.<\/span><\/p>\n<p><b><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/vedic-period\/\" target=\"_blank\">Vedic Period<\/a> (Ancient Origins)<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The roots lie in the <\/span><b><i>Samaveda<\/i><\/b><span style=\"font-weight: 400;\">, where hymns were chanted in musical tones.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Music was primarily devotional and used in religious rituals.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Early concepts of <\/span><b>swara (notes)<\/b><span style=\"font-weight: 400;\"> and chanting styles developed.<\/span><\/li>\n<\/ul>\n<p><b>Natyashastra Period (200 BCE \u2013 200 CE)<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The <\/span><i><span style=\"font-weight: 400;\">Natyashastra<\/span><\/i><span style=\"font-weight: 400;\"> by Bharata Muni formalized music theory.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Introduced concepts like <\/span><b>rasa (emotion), raga, and tala<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Music became part of drama, dance, and performance arts.<\/span><\/li>\n<\/ul>\n<p><b>Gupta &amp; Early Medieval Period (4th\u201310th Century)<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Considered the \u201cGolden Age\u201d of Indian arts and music.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Development of structured ragas and musical instruments like <\/span><b>Veena<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Music was patronized by temples and kings.<\/span><\/li>\n<\/ul>\n<p><b>Medieval Period &amp; <a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/bhakti-movements-in-south-india\/\" target=\"_blank\">Bhakti Movement<\/a> (10th\u201315th Century)<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Rise of devotional music through saints like Mirabai and Tulsidas.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Emergence of <\/span><b>Bhajans and Kirtans<\/b><span style=\"font-weight: 400;\"> focusing on devotion.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Music became more accessible to common people.<\/span><\/li>\n<\/ul>\n<p><b>Persian Influence &amp; <a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/mughal-empire\/\" target=\"_blank\">Mughal Era<\/a> (13th\u201318th Century)<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Interaction with Persian culture led to evolution of <\/span><b>Hindustani music<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Introduction of new instruments (Sitar, Tabla) and styles.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Contribution of Amir Khusrau in blending Indian and Persian music.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Royal patronage under rulers like Akbar boosted classical music.<\/span><\/li>\n<\/ul>\n<p><b>Division into Two Traditions<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Around the 14th century, Indian classical music split into:<\/span>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><b>Hindustani Music (North India)<\/b><span style=\"font-weight: 400;\"> \u2013 influenced by Persian styles<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><b>Carnatic Music (South India)<\/b><span style=\"font-weight: 400;\"> \u2013 remained closer to original traditions<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><b>Carnatic Music Development (16th\u201318th Century)<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Systematized by Purandara Dasa.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Flourished under the <\/span><b>Trinity of Carnatic Music<\/b><span style=\"font-weight: 400;\">: Tyagaraja, Muthuswami Dikshitar, and Syama Sastri.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Strong emphasis on compositions and devotional themes.<\/span><\/li>\n<\/ul>\n<p><b>Gharana System &amp; Modern Era (18th Century onwards)<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Development of <\/span><b>Gharanas<\/b><span style=\"font-weight: 400;\"> in Hindustani music (e.g., Gwalior, Kirana).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Music passed through <\/span><b>Guru-Shishya tradition<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Emergence of new forms like Khayal and Thumri.<\/span><\/li>\n<\/ul>\n<p><b>Colonial &amp; Post-Independence Period<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Decline of royal patronage but rise of public concerts and institutions.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Efforts by musicians and scholars to preserve classical traditions.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Recording technology helped spread music globally.<\/span><\/li>\n<\/ul>\n<h2><b>Hindustani Classical Music<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">Hindustani Classical Music is the traditional music system of North India, known for its emphasis on raga-based improvisation and melodic expression. It evolved from ancient traditions and was later enriched by Persian and Mughal influences, making it highly expressive and diverse.<\/span><\/p>\n<p><b>Basic Concepts (Raga and Tala)<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Based on <\/span><b>Raga (melodic framework)<\/b><span style=\"font-weight: 400;\"> and <\/span><b>Tala (rhythmic cycle)<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Uses <\/span><b>Saptak (seven notes)<\/b><span style=\"font-weight: 400;\">: Sa, Re, Ga, Ma, Pa, Dha, Ni.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Each raga is associated with a specific mood, time, and emotion.<\/span><\/li>\n<\/ul>\n<p><b>Importance of Improvisation<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Gives artists freedom to creatively expand a raga.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Includes <\/span><b>Alap (slow, non-rhythmic introduction)<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Followed by compositions with rhythm and tempo variations.<\/span><\/li>\n<\/ul>\n<p><b>Main Vocal Styles<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Dhrupad<\/b><span style=\"font-weight: 400;\"> \u2013 oldest, devotional and serious form<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Khayal<\/b><span style=\"font-weight: 400;\"> \u2013 most popular, romantic and flexible<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Tarana<\/b><span style=\"font-weight: 400;\"> \u2013 fast-paced, rhythmic syllables<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Thumri<\/b><span style=\"font-weight: 400;\"> \u2013 semi-classical, emotional and lyrical<\/span><\/li>\n<\/ul>\n<p><b>Gharana System<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Musical traditions passed through <\/span><b>Guru-Shishya parampara<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Each Gharana has a unique style of singing and interpretation.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Famous Gharanas: Gwalior, Kirana, Agra, Patiala, Jaipur-Atrauli.<\/span><\/li>\n<\/ul>\n<p><b>Role of Great Musicians<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Flourished under Mughal patronage, especially during Akbar\u2019s reign.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Legendary musicians like Tansen contributed immensely.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Amir Khusrau is credited with innovations in music.<\/span><\/li>\n<\/ul>\n<p><b>Musical Forms and Compositions<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Bandish (fixed composition) is central in Khayal.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Use of <\/span><b>Bada Khayal (slow)<\/b><span style=\"font-weight: 400;\"> and <\/span><b>Chhota Khayal (fast)<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Emphasis on melodic expansion and ornamentation (Alankar, Taan).<\/span><\/li>\n<\/ul>\n<p><b>Instruments Used<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Sitar, Sarod, Tabla, Sarangi, Santoor, Flute<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Tanpura provides continuous background drone.<\/span><\/li>\n<\/ul>\n<p><b>Performance Structure<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Begins with <\/span><b>Alap<\/b><span style=\"font-weight: 400;\"> (slow introduction).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Followed by <\/span><b>Jor and Jhala<\/b><span style=\"font-weight: 400;\"> (faster improvisations).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Ends with composition in rhythm (with tabla accompaniment).<\/span><\/li>\n<\/ul>\n<h2><b>Gharana System in Hindustani Music<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The term \u201c<\/span><b>Gharana<\/b><span style=\"font-weight: 400;\">\u201d is derived from the Hindi word <\/span><i><span style=\"font-weight: 400;\">ghar<\/span><\/i><span style=\"font-weight: 400;\">, meaning house, and signifies a musical family or school that follows a specific style and tradition in performance and teaching.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The Gharana system developed prominently during the medieval period when musicians received patronage from royal courts, leading to the formation of distinct regional styles.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">It is deeply rooted in the <\/span><b>Guru-Shishya Parampara<\/b><span style=\"font-weight: 400;\">, where disciples learn directly under a guru through years of dedicated training, ensuring the continuity of musical traditions.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Each Gharana has its own characteristic way of presenting ragas, including variations in voice culture, note emphasis, improvisation techniques, and rhythmic patterns.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The identity of a Gharana is often linked to a particular geographic region, such as Gwalior, Kirana, Agra, or Jaipur, reflecting local cultural influences.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The system plays a crucial role in maintaining diversity in Hindustani classical music while still adhering to the fundamental principles of raga and tala.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The differences between Gharanas are most evident in the treatment of swaras (notes), use of ornamentation (<\/span><b>alankar<\/b><span style=\"font-weight: 400;\">), and the balance between melody (<\/span><b>swara<\/b><span style=\"font-weight: 400;\">) and rhythm (<\/span><b>laya<\/b><span style=\"font-weight: 400;\">).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Prominent Gharanas include Gwalior, known for its simplicity; Kirana, famous for its melodic precision; Agra, which blends Dhrupad and Khayal styles; <\/span><b>Patiala<\/b><span style=\"font-weight: 400;\">, known for fast taans; and <\/span><b>Jaipur<\/b><span style=\"font-weight: 400;\">&#8211;<\/span><b>Atrauli<\/b><span style=\"font-weight: 400;\">, recognized for complex ragas.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Over time, the rigid boundaries of Gharanas have become more flexible, and modern musicians often incorporate elements from multiple Gharanas to create a blended style.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Legendary musicians like <\/span><b>Bhimsen Joshi <\/b><span style=\"font-weight: 400;\">and <\/span><b>Bade Ghulam Ali Khan<\/b><span style=\"font-weight: 400;\"> have played a significant role in popularizing their respective Gharanas globally.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The Gharana system not only influences performance but also shapes the teaching methodology, aesthetic values, and interpretation of music.<\/span><\/li>\n<\/ul>\n<h2><b>Carnatic Classical Music<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">Carnatic Classical Music is the traditional music system of South India, known for its highly structured compositions and strong theoretical foundation. It emphasizes devotion, precision, and a systematic approach to <\/span><b>Raga (melody) and Tala (rhythm)<\/b><span style=\"font-weight: 400;\">.<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Carnatic music is primarily practiced in the southern states of India including Tamil Nadu, Karnataka, Andhra Pradesh, and Kerala, and is deeply rooted in temple and devotional traditions.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">It has a highly developed theoretical system based on <\/span><b>Ragam (melody)<\/b><span style=\"font-weight: 400;\"> and <\/span><b>Thalam (rhythm)<\/b><span style=\"font-weight: 400;\">, which form the backbone of all compositions and performances.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Unlike Hindustani music, Carnatic music gives more importance to <\/span><b>fixed compositions<\/b><span style=\"font-weight: 400;\"> rather than improvisation, though controlled improvisation is still an important element.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Purandara Dasa<\/b><span style=\"font-weight: 400;\"> is regarded as the father of Carnatic music as he systematized teaching methods and composed thousands of devotional songs.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The modern form of Carnatic music was shaped in the 18th century by the Trinity, <\/span><b>Tyagaraja<\/b><span style=\"font-weight: 400;\">, <\/span><b>Muthuswami Dikshitar<\/b><span style=\"font-weight: 400;\">, and <\/span><b>Syama Sastri<\/b><span style=\"font-weight: 400;\">, who created numerous kritis.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The basic structure of a Carnatic composition includes sections like <\/span><b>Pallavi, Anupallavi, and Charanam<\/b><span style=\"font-weight: 400;\">, which together form a complete musical piece.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">A <\/span><b>Kriti<\/b><span style=\"font-weight: 400;\"> is the most important form of composition in Carnatic music, combining lyrics, melody, and rhythm in a highly refined manner.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Carnatic performances usually begin with a <\/span><b>Varnam<\/b><span style=\"font-weight: 400;\">, which serves as a warm-up piece and introduces the raga to the audience.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Improvisational elements such as <\/span><b>Ragam, Tanam, and Pallavi<\/b><span style=\"font-weight: 400;\"> allow artists to creatively explore ragas within a structured framework.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The system of <\/span><b>Melakarta ragas<\/b><span style=\"font-weight: 400;\"> classifies Carnatic ragas into 72 fundamental parent scales, providing a scientific basis for musical organization.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Rhythm plays a crucial role, and complex tala patterns are maintained with precision using percussion instruments like the <\/span><b>mridangam<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Common instruments used in Carnatic music include <\/span><b>Veena, Mridangam, Violin, Flute, and Ghatam<\/b><span style=\"font-weight: 400;\">, with a strong emphasis on vocal music.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The language of compositions is often Sanskrit, Telugu, Tamil, or Kannada, reflecting the cultural diversity of South India.<\/span><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Indian classical music is based on raga and tala, evolving from Vedic chants into Hindustani and Carnatic traditions, reflecting rich heritage, devotion and artistry.<\/p>\n","protected":false},"author":25,"featured_media":97681,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[786],"tags":[6775,5126,5127,5420],"class_list":{"0":"post-97662","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-general-studies","8":"tag-classical-music-of-india","9":"tag-history","10":"tag-history-notes","11":"tag-indian-history","12":"no-featured-image-padding"},"acf":[],"_links":{"self":[{"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/posts\/97662","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/comments?post=97662"}],"version-history":[{"count":2,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/posts\/97662\/revisions"}],"predecessor-version":[{"id":97671,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/posts\/97662\/revisions\/97671"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/media\/97681"}],"wp:attachment":[{"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/media?parent=97662"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/categories?post=97662"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/tags?post=97662"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}