Үнді субконтинентінің жекпе-жекті жүйелері

Fighting systems of the Indian subcontinent

Indian martial arts refers to the fighting systems of the Indian subcontinent. A variety of terms are used for the English phrases "Indian martial arts", deriving from ancient sources. While they may seem to imply specific disciplines (e. g. archery, armed combat), by Classical times they were used generically for all fighting systems. Among the most common terms today, śastra vidyā, is a compound of the words śastra (weapon) and vidyā (knowledge). Dhanurveda derives from the words for bow (dhanushya) and knowledge (veda), the "science of archery" in Puranic literature, later applied to martial arts in general. The Vishnu Purana text describes dhanuveda as one of the traditional eighteen branches of "applied knowledge" or upaveda, along with shastrashāstra or military science. A later term, yuddha kalā, comes from the words yuddha meaning fight or combat and kalā meaning art or skill. The related term śastra kalā (lit. weapon art) usually refers specifically to armed disciplines. Another term, yuddha vidyā or "combat knowledge", refers to the skills used on the battlefield, encompassing not only actual fighting but also battle formations and strategy. Martial arts are usually learnt and practiced in the traditional akharas.

An Indus valley civilization seal shows two men spearing one another in a duel which seem to be centered on a woman. A statue of a spear thrower was also excavated from an Indus valley site. Dhanurveda, a section found in the Vedas (1500 BCE 1100 BCE) contains references to martial arts. Indian epics contain the earliest accounts of combat, both armed and bare handed. Most deities of the Hindu Buddhist pantheon are armed with their own personal weapon, and are revered not only as master martial artists but often as originators of those systems themselves. The Mahabharata tells of fighters armed only with daggers besting lions, and describes a prolonged battle between Arjuna and Karna using bows, swords, trees, rocks and fists. The oldest recorded organized unarmed fighting art in the Indian subcontinent is malla yuddha or combat wrestling, codified into four forms in the Vedic Period. Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to the chest, punches to the head, hair pulling, and strangleholds. Examples include such rulers as Siddhartha Gautama and Rudradaman. The Chinese monk Xuanzang writes that the emperor Harsha was light on his feet despite his advancing age and managed to dodge and seize an assailant during an assassination attempt. Competitions were held not just as a contest of the players' prowess but also as a means of finding a bridegroom. Arjuna, Rama and Siddhartha Gautama all won their consorts in such tournaments. In the 3rd century, elements from the Yoga Sutras of Patanjali, as well as finger movements in the nata dances, were incorporated into the fighting arts. A number of Indian fighting styles remain closely connected to yoga, dance and performing arts. Some of the choreographed sparring in kalaripayat can be applied to dance and kathakali dancers who knew kalaripayat were believed to be markedly better than other performers. Until recent decades, the chhau dance was performed only by martial artists. Some traditional Indian classical dance schools still incorporate martial arts as part of their exercise regimen. Written evidence of martial arts in Southern India dates back to the Sangam literature of about the 2nd century BC to the 2nd century AD. The Akananuru and Purananuru describe the use of spears, swords, shields, bows and silambam in the Sangam era. The word kalari appears in the Puram (verses 225, 237, 245, 356) and Akam (verses 34, 231, 293) to describe both a battlefield and combat arena. The word kalari tatt denoted a martial feat, while kalari kozhai meant a coward in war. Each warrior in the Sangam era received regular military training in target practice and horse riding. They specialized in one or more of the important weapons of the period including the spear (vel), sword (val), shield (kedaham), and bow and arrow (vil ambu). The combat techniques of the Sangam period were the earliest precursors to kalaripayat. The ten fighting styles of northern sastra vidya were said to have been created in different areas based on animals and gods, and designed for the particular geography of their origin. Tradition ascribes their convergence to the 6th century university of Takshashila, ancient India's intellectual capital. Located in present day Panjab, Pakistan, the Ramayana ascribes the city's founding to Bharata who named it after his son Taksha. From the 7th to the 5th centuries BC it was held in high regard as a great centre of trade and learning, It also categorised combat techniques as joint locks, fist strikes, grapples and throws. The Lotus Sutra makes further mention of a martial art with dance like movements called Nara. Another Buddhist sutra called Hongyo kyo (佛本行集經) describes a "strength contest" between Gautama Buddha's half brother Prince Nanda and his cousin Devadatta. of which 64 were classified as being lethal if properly struck with a fist or stick. Around 630, King Narasimhavarman of the Pallava dynasty commissioned dozens of granite sculptures showing unarmed fighters disarming armed opponents. This is similar to the style described in the Agni Purana.

Kalaripayat had developed into its present form by the 11th century, during an extended period of warfare between the Chera and Chola dynasties. Over a period of several centuries, invading Muslim armies managed to occupy much of present day Pakistan and northern India. In response to the spread of Muslim rule, the kingdoms of South India united in the 14th century to found the Vijayanagara Empire. Physical culture was given much attention by both royalty and commoners in the empire, with wrestling being particularly popular with both men and women. Gymnasiums have been discovered inside royal quarters of Vijayanagara, and records speak of regular physical training for commanders and their armies during peacetime. Royal palaces and market places had special arenas where royalty and common people alike amused themselves by watching matches such as cockfights, ram fights, and wrestling. One account describes an akhara in Chandragiri where noblemen practiced jumping exercises, boxing, fencing and wrestling almost every day before dinner to maintain their health, and observed that "men as old as seventy years look only thirty". The Italian traveller Pietro Della Valle wrote of cane fighting in southern India. According to Pietro, it was the custom for soldiers to specialise in their own particular weapon of expertise and never use any other even during war, "thereby becoming very expert and well practised in that which he takes to". As their ancient predecessors, swordplay and wrestling were commonly practiced by the royalty of Vijayanagara. Krishna Deva Raya is said to have arranged a duel between a champion swordsman and the prince of Odisha who was known for being an expert with both the sword and dagger. The prince accepted the challenge until he learned he would be fighting one not of royal blood and so killed himself rather than having to "soil his hands". Fernao Nunes and the Persian envoy Adbur Razzak relate that Deva Raya II survived an assassination attempt "as he was a man who knew how to use both sword and dagger better than anyone in his kingdom, avoided by twists and turns of his body the thrusts aimed at him, freed himself from him, and slew him with a short sword that he had".

After a series of victories, the Central Asian conqueror Babur established Mughal rule in north India during the 16th century. The Mughals were patrons of India's native arts, not only recruiting akhara trained Rajput fighters for their armies but even practicing these systems themselves. The Ausanasa Dhanurveda Sankalanam dates to the late 16th century, compiled under the patronage of Akbar. The Ain i Akbari tells that the Mughal court had various kinds of fighting men from around the empire who would demonstrate their skills every day in exchange for rewards. Among them were said to be both native and Mughal wrestlers, slingers from Gujarat, Hindustani athletes, boxers, stone throwers and many others. "There are several kinds of gladiators, each performing astonishing feats. In fighting they show much speed and agility and blend courage and skill in squatting down and rising up again. Some of them use shields in fighting, others use cudgels. Others again use no means of defence, and fight with one hand only; these are called ek hath. Those who come from the eastern districts of Hindostan use a small shield called "chirwah". Those from the southern provinces have shields of such magnitude as to cover a man and a horse. This kind of shield is called tilwah. Another class use a shield somewhat less than the height of a man. Some again use a long sword, and seizing it with both hands they perform extraordinary feats of skill. There is another famous class called Bankúlis. They have no shield but make use of a peculiar kind of sword which, though curved towards the point, is straight near the handle. They wield it with great dexterity. The skill that they exhibit passes all description. Others are skillful in fighting with daggers and knives of various forms; of these there are upwards of a hundred thousand. Each class has a different name; they also differ in their performances. At court, there are a thousand gladiators always in readiness." Avid hunters, a popular sport among the Mughals was shikar or tiger hunting. While often done with arrows and later even rifles, it was considered most impressive to kill a tiger with a hand to hand weapon such as a sword or dagger. A warrior who managed to best a tiger would be awarded the title of Pachmar. In the 16th century, Madhusudana Saraswati of Bengal organised a section of the Naga tradition of armed sannyasi in order to protect Hindus from the intolerant Mughal rulers. Although generally said to abide by the principle of non violence (ahimsā), these Dashanami monks had long been forming akhara for the practice of both yoga and martial arts. Such warrior ascetics have been recorded from 1500 to as late as the 18th century, although tradition attributes their creation to the 8th century philosopher Sankaracharya. They began as a stratum of Rajput warriors who would gather after harvest and arm peasants into militarised units, effectively acting as a self defense squad. Prevalent in Rajasthan, Maharashtra and Bengal, they would give up their occupations and leave their families to live as mercenaries. Naga sadhu today rarely practice any form of fighting other than wrestling, but still carry trishula, swords, canes and spears. To this day their retreats are called chhauni or armed camps, and they have been known to hold mock jousts among themselves. As recently as the 1950s, it was not unusual for Naga sadhu to strike to kill someone over issues of honour. There is also a 17th century Dhanurveda samhita attributed to Vasistha. The pehlwani style of wrestling developed in the Mughal Empire by combining native malla yuddha with influences from Persian varzesh e bastani. After serving the Dakshin sultanates of the early 17th century, the scattered Marathas united to found their own kingdom under the warrior Shivaji. Having learned the native art of mardani khela from a young age, Shivaji was a master swordsman and proficient in the use of various weapons. He took advantage of his people's expertise in guerilla tactics (Shiva sutra) to re establish Hindavi Swarajya (native [Hindu being a term traditionally applied to the native inhabitants of India throughout antiquity] self rule) at a time of Muslim supremacy and increasing intolerance. Utilizing speed, focused surprise attacks (typically at night and in rocky terrain), and the geography of Maharashtra, Karnataka, & South India; the Maratha rulers were successfully able to defend their territory from the more numerous and heavily armed Mughals. The still existing Maratha Light Infantry is one of the "oldest and most renowned" regiments of the Indian Army, tracing its origins to 1768.

Indian martial arts underwent a period of decline after the full establishment of British colonial rule in the 19th century. Silambam was also banned and became more common in the Malay Peninsula than its native Tamil Nadu. Nevertheless, traditional fighting systems persisted, sometimes even under the patronage of enthusiastic British spectators who tended to remark on the violence of native boxing and the acrobatic movements characteristic of Indian fighting styles. The British took advantage of communities with a heavily militaristic culture, characterising them as "martial races" and employing them in the armed forces. Sikhs – already known among Indians for their martial practices – were particularly valued by the colonists as soldiers and guards, and were posted throughout not only India but Southeast Asia and other parts of the British Empire. Members of the army were allowed to box as a way of settling disputes, provided that they were still able to carry out their duties as soldiers after a match. The particular form of boxing used by the Punjabi soldiers was loh musti, as the kara worn by Sikhs could be wielded like brass knuckles. The resurgence of public interest in kalaripayat began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout south India which characterised the growing reaction against British colonial rule. and paika akhada in Orissa.

One of the earliest extant manual of Indian martial arts is in the Agni Purana (dated to between the 8th and the 11th century). 11 names of techniques of using a rope in fighting, along with 5 names of "acts in the rope operation" along with lists of "deeds" pertaining to the chakram (war quoit), the spear, the tomara (iron club), the gada (mace), the axe, the hammer, the bhindipāla or laguda, the vajra, the dagger, the slingshot, and finally deeds with a bludgeon or cudgel. A short passage near the end of the text returns to the larger concerns of warfare and explains the various uses of war elephants and men. The text concludes with a description of how to appropriately send the well trained fighter off to war.

The Arthashastra, c. 4th century BCE, typically attributed to Chanakya chief advisor of Chandragupta Maurya is one of the earliest treatises on statecraft, including diverse topics such as economics, politics, diplomacy and military strategy.

Nakula and Sahadeva are said to be skilled swordsmen in Mahabharata. Sword fighting is one of the common Indian fighting arts. Varieties include the curved single edge sword, the straight double edge sword, the two handed longsword, the gauntlet sword, and the urumi or flexible sword. Techniques differ from one state to another but all make extensive use of circular movements, often circling the weapon around the user's head. The flexible nature and lightweight of Indian swords allows for speed but provides little defensive ability, so that the swordsman must instead rely on body maneuvers to dodge attacks. Entire systems exist focusing on drawing the sword out of the opponent's body. Stances and forms traditionally made up the early training before students progress to free sparring with sticks to simulate swords in an exercise called gatka, although this term is more often used in English when referring to the Panjabi Sikh fighting style. A common way to practice precision cutting is to slice cloves or lemons, eventually doing so while blindfolded. Pairing two swords of equal length, though considered impractical in some parts of the world, is common and was considered highly advantageous in the Indian subcontinent.

Archery is noted to be one of the noblest form of defense within Indian cultural heritage. As mentioned in Vedic literature, the bow and arrow is the most applauded weapon among Kshatriyas. Siddharta Gautama, Rama, Arjuna, Karna, Bhishma, Drona and Ekalavya were all said to be great archers. Dhanurveda is an ancient treatise on the science of archery. It describes the practices and uses of archery, the craft of bow and arrow making, training of the army, and enumerates the rules of engagement. The treatise also discusses martial arts in relation to the training of warriors, charioteers, cavalry, elephant warriors, infantry etc. It was considered as a sin to shoot a warrior from the back and fight more than one warrior at a time. The bow used in the Vedic period were called danush, and were described in detail in the Vedas. The curved shape of the bow is called vakra in the Artha Veda. The bowstring was called jya, and was strung only when needed. An arrow was called an iṣu, and a quiver was called an iṣudhi which was slung on the back. Archers wore a hastaghna, which was an arm guard or shield usually worn on the left forearm and was used to protect the wearer from friction caused by the bowstring. A dhanushkara was a bowyer, or the profession of bow crafting and arrow making, and it had become a regular profession by the early Vedic period. Others called jyakara specialized in making bowstrings. Composite bows made of horn, sinew, and wood were invented in the Asian Steppes and would have been an integral part of the armory of the Aryan people. As in other civilizations such as the Hittites and Persians, the use of composite bows coincides with chariot warfare. Additionally the smaller size was of the compound bow would have made it preferable on mounted warfare. A type of Indian longbow was five to six feet long and fired a long cane arrow with metal or bone arrow heads. The Cretan chronicler Nearchus who accompanied Alexander the Great into India, had noted that the warriors would use a bamboo bow, which had to rest on the ground and steady with the feet to draw to its full length. The arrow fired from this bamboo bow could penetrate any armor used in antiquity. The Indian long bows were described as the height of their users by Arrian, and Deccan bows in 1518 as "long like those of England". Traditional archery is today practiced mainly in the far northern states of Ladakh and Arunachal. One sport which has persisted into the present day is thoda from Himachal Pradesh, in which a team of archers attempt to shoot blunt arrows at the legs of the opposing team.

right|thumb|Wrestling match in Bharatpur, 2013. Grappling arts (malla vidya), practiced either as sport or fighting style, are found throughout the Indian subcontinent. True combat wrestling is called malla yuddha, while the term malakhra refers to wrestling for sport. Malla yuddha was codified into four forms which progressed from purely sportive contests of strength to actual full contact fights known as yuddha. Numerous styles of folk wrestling are also found in India's countryside, such as mukna from Manipur, Inbuan wrestling from Mizoram and Khomlainai among the Bodos.

Pehlwani is a form of wrestling from the Indian subcontinent. It was developed in the Mughal Empire by combining native malla yuddha with influences from Persian varzesh e bastani. One of the most famous practitioners of pehlwani was The Great Gama (Ghulam Mohammad Baksh Butt), who is considered one of the greatest wrestlers of all time.

Boxing (musti yuddha) is traditionally considered the roughest form of Indian unarmed combat. In ancient times it was popular throughout northern Indian subcontinent, but is rarely practiced today. Boxers harden their fists by striking stones and other hard objects. Matches may be either one on one or group fights. All kinds of strikes and grabs are allowed, and any part of the body may be targeted except the groin.

Many forms of unarmed combat (bāhu yuddha or bhuja yuddha) incorporate too wide an array of techniques to be accurately categorized. In modern times when the carrying of weapons is no longer legal, teachers of the martial arts often emphasise the unarmed techniques as these are seen to be more practical for self defense purposes. A warrior who fights unarmed is referred to as a bhajanh, literally meaning someone who fights with their arms. The bare handed components of Indian fighting arts are typically based on the movements of animals, Hindu deities. Binot, a Central Indian art which focuses on defending against both armed and unarmed opponents, may be the earliest system of its kind. In the Mughal era, such fighters were known as ek hath (lit. "one hand"), so named because they would demonstrate their art using only one arm.

thumb|300px|right|Historic Indosphere cultural influence zone of Greater India for transmission of elements of Indian culture including martial arts. With expansion of Indosphere cultural influence of Greater India, through transmission of Hinduism in Southeast Asia and the Silk Road transmission of Buddhism leading to Indianization of Southeast Asia through formation of non Indian southeast Asian native Indianized kingdoms which adopted sanskritized language and other Indian elements such as the honorific titles, Sanskritised naming of people, Sanskritised naming of places, Sankritised institutional mottos, Sanskritised educational institute names, as well as adoption of Indian martial arts, Indian architecture, Indian music and dance, traditional Indian clothing, and Indian cuisine, a process which has also been aided by the ongoing historic expansion of Indian diaspora. The martial arts influenced by the Indian martial arts include Angampora, Ankam, Bokator, Eskrima, Krabi krabong, Kbachkun Dambong Veng, Khmer traditional wrestling, Pencak Silat, Silat Melayu, Thaing (Burmese), etc.