: 3 : History of Ragas and Raginls. From the dawn of civilization, when the savage man started his culture,

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1 : 3 : History of Ragas and Raginls From the dawn of civilization, when the savage man started his culture, music had a special charm in his life. Music can be described as the miracle of sound and has remained very important element in the culture of classes and masses. Moods and temperaments of the people are reflected in their music. The history of Indian music is fundamentally the cultural history of her people. History cannot be constructed without documents. There is a popular dictum floated by the modern historians: No documents, no history. The historical documents of Ragas and Raginis of North Indian music consists of two sources: (1) Literary sources, and (2) Archaeological sources. Literary sources consist of texts and treatises on music, such as Natyasastra of Bharata, Sangitaratnakara of Sarahgadeva, Brhaddesi of Matahga, Pancamasarasarhhita (author is not known), Sangitamakaranda of Narada, Naradasiksa of Narada, Sangitaparijata of Ahobala, Sangitasamayasara of Parsvadeva, Ragadarpana of Somesvara, Sangitopamisatsaroddhar of Gani Sudhakalasa, Sangitadarpana of Damodar Misra, Ragavibodha of Somanatha, Sangitasudha of Govind Diksit, etc. We also get references to vocal and instrumental music in Pali-Buddhist. Jain canonical and classical Sanskrit literature. Archaeological sources consist of epigraphical records, coins, paintings and sculptures. From all these sources history of Indian music is broadly divided into three periods: (1) Ancient, (2)Medieval, and (3) Modern. Pandit V.N. Bhatakhande divides history of 47

2 Indian music into (1) Hindu period, (2) Mohammedan period, and (3) British period1. Each of this period he divides into two divisions (1) the earlier and (2) the later. In regards to these divisions of ages, Swami Prajanananda says: As the range of history of music is wide, it will be convenient to divide it into different units or periods, so as to enable a historian to arrange and represent the facts and records of developments and culture of music, so that one may adequately and easily grasp the significance and value of music. The history of Indian music can, therefore, be divided into three broad periods, viz., (1)'From the most ancient times to the end of the twelfth century, A.D., (2) from the thirteenth century A.D. to the eighteenth century A.D. ; and (3) the subsequent period. So the periods may be enumerated as: (1) Ancient, (2) Medieval, and (3) Modern2. From the sources of the Indian music described above, history of Ragas and Raginis can be constructed thus: The word Raga, in Indian music, is derived from the Sanskrit root R anj\ denoting colour or atmosphere. It is a product of permutation and combination of Svaras which creates sweet and soothing impressions. It is not mentioned in the Natyasastra of Bharata, a treatise on dance, drama and music. It is defined by Matanga, in his Brhaddesi for the first time. He says: Svara-varna visesena dhvani-bheden va punah I Rajyate yenayah kascit sa ragah summatah satam II 3 1 Bhatakhande, V.N., A historical survey of the North Indian music, p. 4 * Swami Prajnaftananda, A history of Indian music, p Brhaddesi : Verse 290 p. 81 (Trivandrum edition) 48

3 OfifLj i.e. A Raga is called by the learned a kind of sound composition, which is adorned with musical notes in some peculiar stationary or ascending or descending or moving values which have the effect of colouring the hearts of men. i.e. that which colours or pleases is called Raga. Similarly Sarangadeva defines Raga as: Ranjako jana cittdndm sa Ragah kathito budhaih*4 * i.e. that which colours or pleases the minds of the people is called Raga by the wise. In a composition of Raga, we find the practice of Vad! svara - Sonant tone, Samvadi svara - consonant tone, Anuvadi svara - assonant tone and Vivadi. svara - dissonant tone. Of these notes, Vadi is the King, Samvadi is the Minister, Vivadi is the enemy, Anuvadi is in the position of a vassal*. It is very interesting to note that the seven svaras of Indian music are connected * with the voices of birds and animals. Narada in his Siksasutra says: Sadajarh vadati mayuro gdvo rarhbhati carsabham I Ajdvike tu gandharam kraunco vadati madhyamarh II Puspasandharane kale kokila vakti Pancamarh I Asvastu dhaivatam vakti nisadam vakti kunjarah II 6 The first note of the scale Sadja (sa) corresponds to the call of the peacock, * Sangjtaratnakara, edited by Pt. Subramanya Sastri, Vol. II, Adh. 24, p. 2 4 Matnga, Op. cit. p. 28. NSradIyaaik?a cf, Matanga: war w r?por i arsrr jtrctt ssmft ^rsfcr m*nt# 6 y q - < bi!w : i 9 W 5 ^ " st<r i w %f*r Pror sfr w : 1 Brhaddessi, p

4 Rsabha (Ri), the second scale corresponds to the sound of the Cataka, the fever bird, which can be heard during the rainy season. The third scale Gandhara,(Ga) to the call of the goat; Madhyama (Ma) to the fourth note of the scale refers to the call of the crane, Paficama (Pa) to the sound of the Kokila, Dhaivata (Dha) to the Indian woodpecker or horse. Nisada (Ni) the seventh note of the scale to the call of the elephant. The six main Ragas are Bhairav, Malakausa, Hindol, Dipak, Sri and Megha, few though there are^differences according to various authors. Some of the texts state that the five Ragas have been derived from the union of Siva and Sakti (female energy). At the beginning of the dance came out the five Ragas from the * five mouths of Siva - Bhairav from his mouth Aghore, Vasanta from his mouth Sadjoyata, Paficama from his mouth Tatpurusa, Megha from his mouth Isana, Natanarayana, the remaining Raga, originated from the mouth of Parvati, when she performed the elegant Lasya. These Ragas were to be sung in specific seasons and specific hours of the day. It is believed that a performance of the Ragas at wrong time and wrong occasions would bring disaster. Theorists have divided the twentyfour hours of the day and night into eight Praharas or divisions, each Prahara consisting of three hours. The cycle of Kala i.e. time - normally begins at 6 a;m., the time of sunrise in India. Names of the main Ragas, names of the five wives of each Raga, their dominant Svara, season, and the time of singing is mentioned in Appendix II. Firstly the conception itself of Ragini as a graceful and dimunitive phase of a Raga and designated.with feminine endings appears to be a peculiarity of the North Indian system. Sarangadeva does not recognize Raginis, but only 50

5 Bhasas Vibhasas and Antarbhasas. We come across the mention of female melody for the first time in the Sangita Makaranda of Narada, He assigns sentiments of wonder, courage or anger to the male melodies; love, laughter and sorrow to the female melodies and terror, tear, disgust and peace to the neutar ones. Narada does not use the word Ragini but the term tri or Yosit (wife) of a Raga 7. Acccording to Sangita Makaranda of Narada there are two systems mentioned: in the first system the major melodies are eight in number and the minor melodies twentyfour, which sums upto thirtytwo melodies. The main melodies are Bhupali, Bhairava, Sri Raga, Padamanjari, Nata, Vangala, Vasanta and Malava, three minor melodies are ascribed to each. They are Velavali, Malahari, Vahuli, Devakriya, Pourali, Kambhari, Kambhoji, Bhallati, Kuranjika, Desi, Manohari, Tundi (Saranga, Natakhya, Ahiri, Narayani, Gandhari) Ranji, Parati (Varati), Dravadi, Harhsi, Gunda-kriya, Dhurjari (Gujarari) and Goudi. According to the second scheme, the major melodies are six in number, and the minor melodies thirty six, aggregating to forty two. Owing to a lacuna in the text the second scheme is not available in its entire form. The available ones are: Main Ragas - Sri, Pancama, Megha, Nat-Narayana, Vasanta and Bhairava. The minor meloldies ascribed are six each, though of the last two are not available. They are Goudi, Kolahali, Dravali Andoliki, Madhavi, Devgandhari, Suddha Nata, Saveri, Saindhavi, Malati, Troti, Koumodaki, Saurastrl, Kambhari, Vangali, Madhumadhavi, Devakri, Bhupali, Vallabha, Madhavi, Vidagdha, Abhisarika, Triveni, Megharanji. 7 Gangoly, O.C., Ragas and Raginls, p

6 Gurjari, Saindhavi, Gandhari, Abhiri are some of the earliest feminine melodies designated by M atahga under the name of Bharya. According to Mamma{a (Acarya ), who flourished about the 11th century A.D., the author of Sangita -Ratnamala stated in the Sahgita Narayana in which it is stated that there are six Ragas and thirty six Raginis. The main Ragas are Karnata, Nata, (Megha)-Mallara, Desakh, Malava and Vasahta. The Raginis of Karnata are: Vandhani Malavasri, Sindhu Velavali, Prapatini, Vibhasa. The Raginis of Nata are: Kambhoji, Natabhasa, Tudika, Gunamanjari (Gunakriya), Sekhari, Mukhari; The Raginis of Megha Mallara are: Mallari, Lalita, Patam anjari, Madhukiri, Bhasa-kari and Desi. The Ragiiiis of Desakh are: Gunjari (Gujjari), Ramakiri, Gunakiri, Sutodika, Dhanasi and Varati. _ * A The Raginis of Malava are: Sivi Kedara, Mesama, Jivika, Kandusrita, Travana and the Raginis of Vasanta are: Bhairavi, Regahari (Revagupta), Meghatali, Supancami, Amvatoji (Ambhoji), Totka-(Tanka). Here we find the absence of Bhairava Raga but the presence of Bhairavi Ragini. Somesvara, the son of Vikramaditya of western Calukya dynasty (circa 1131 A.D.) in his work Sangita-ratnavali, describes six main Ragas with six Raginis each: The main Ragas are: Sri Raga, Vasanta, Bhairava, Pancama, Megha raga and Natta-Narayana. Their minor melodies or Raginis are also described. Raginis of Sri Raga Malasri, Trivani, Gouri, Kedari, Madhu Madhavi and Pahadika, that of Vasanta Raga the Raginis are: Desi, Devagiri, Varati, Todika, Hindoli and Lalita. The Raginis of Bhairava Raga are Bhairavi, Gujjari, Ramakiri, Guna-kiri, Vangali and Saindhavi; Raginis of Pancama Raga are: Vibhasa, Bhupali, Karnati, Vadahamsika, Malavi and P atam an jari; that 52

7 A A A of Megha Raga the Raginis are Mallari, Sourathi, Saveri, Kousiki, Gandhari and Hara Srngara; that of Natta-Narayana the Raginis are Kamodi, Kalyani, Abhiri, Natika, Sarangi and Natta Hamvira. Sarangdeva ( A.D.) in his Sangita Ratnakara gives a historical survey of the Ragas according to Kasyapa, Yastika and Matahga. He enumerates thirty Grama Ragas. He also mentions a group of seventeen Ragas and fifteen Janaka or parent Ragas. Raga Sagara written jointly by Narada and Dattila states another system of classification. The main Ragas are eight and the minor melodies are three attributed to each which sums up to the total of thirtytwo. The main Ragas are Bhairava, Bhupala, Sri Raga, Patamanjari, Vasahta, Malava Raga, Vangala- Raga and Nata-Raga. The Raginis of Bhairava are: Devakriya, Megha- Ranjani and Kuranji, that of Bhupala are: Vilahari, Malhari, Subhandi; that of Sri-Raga are: Mandali, Sahuli and Bhallati; that of Patamanjari are: Desi, Mukhari and Lalita; that of Vasanta are: Rama-Kriya, Varali and Gouli; that of Malava-Raga are Gundakriya, Ghurjari and Pali; that of Vangala-Raga are Kalyani, Ahiri and Saveri; that of Nata-Raga are Ghanta-rava, Kambhoji and t Sahkarabharana. The Ragarnava (circa 1300 A.D., quoted in the Sarangadhara Paddhati) describes six main Ragas and with five wives each with a total of thirty six. The main Ragas are Bhairava, Pancama, Nata, Mallara Gouda-Malava and Desakh. The Raginis of Bhairava are: Vangapala, Gunakri, Madhyamadi. A A A A Vasanta and Dhanasri; that of Pancama are: Lalita, Gurjari, Desi, Varati and Rama-Krit; that of Nata are: Nata -Narayana, Gandhara, Salaga (Salamka), 53

8 Kedara and Karnata; that of Mallara are Megha, Mallarika, Malava-Kousika, Pratimafijari (Patam anjari) and Asavari; that of Gouda-Malava are: Hindola, A A A Triguna, Dhani, Goudi and Kolahala; th a t of Desakh are Bhupali, Hari-pala, A A A Kamodi, Dhorani Velavali. Narada in his Pancama Samhita (dated Saka 1362 i.e A.D.) mentions a classification of the Ragamalas. Here Narada states six main Ragas with six wives each with a total of forty two. A The main Ragas are Malava, Mallara, Sri Raga, Vasanta, Hindola and Karnata. The Raginis of these Ragas are: Malava: Dhanasi, Malasi, Ramkiri, Sindhuda, Asavari and Bhairavi. A A Malhara: Velavali, Puravi, Kanada, Mayuri, Koda and Kedarika. Sri Raga : Gandhari, Gouri, Subhaga, Kumarika Velavari, Vairagi. Vasanta : Tudi, Pancami, Lalita, Patam anjari, Gujjari and Vibhasa. Hindola : Madhavi, Dipika, Desakari, Pahida, Varadi and M arahati. K arnata : Natika, Bhupali, Gayda, Ramakeli, Kamodi, Kalyani. According to Kallinatha (circa 1460 A.D.) the famous commentator of Sangitaratnakara, the classification of Ragas is as follows: He states six main Ragas with six wives each. The main Ragas are: Sri, Pancama, Bhairava, Megha, Nata -Narayana and Vasanta. The Raginis of these Ragas are as follows: 54

9 ri R aga: Gauri, Kolahala, Dhavala, Varoraji or Radarangi, Malakousa, Deva- Gandhara. Pancama : Triveni, Hastarhtarelaha, Stambhatirthika-Khama-cci, Abhiri or Ahiri, Kokabha, Verari, Asavari. A A A Bhairava: Gujari, Vilavali, Vihagi or Vadahamsi. Karnata and Kanada (or Bhasa): Megha - Vangali, Madhura (or Mudra), Kamodi, Dhanasri (or Rahamasri), Devatirthi, Devali (or Tirthaki). N ata-n arayana: Tara-vanki (or Devali), Tilamgi (or (Tilaki), Purvi, Gandhari, Rama or (Virama), Sindha-mallari (Sidda-mallari-Suddha-mallari). Vasanta : Andhali, Gumakali (or Gamaki), Patamanjari, Goundagiri, Dhanki (Tanki) (Tanka- or Dhamaki), Deva-Saga (Deva-Sakha). Mesakarna (V.S i.e A.D.) classifies Ragamala into six main Ragas, five wives each and eight sons each. The main Ragas are Bhairava / A _ Mala-Kousika, Hindola, Dipaka, Sri Raga and Megha Raga. The Raginis and Ragaputras of each Raga are as follows: Raginis of Bhairava are: Vangali, Bhairavi, Velavali, Punyaki, Snehaki; and sons are Vangala, Pancama, Madhu, Harsa, Desakh, Lalit, Velaval, Madhava. Raginis of Malakousika are: Gundagri (Goudakri), Gandharini, Malasri, Srihathi, Andhreyaki or Dhanasri; and sons are - Maru, Mevada, Varvali, Mistanga, Candra-kaya, Bhramara, Nandana, Kokkara (Khokhara). Raginis of Hindola are: Tiiangi or Bhupali, Devagiri, Vasanti, Sindhuri, Abhiri, 55

10 and sons are: Mangala, Candra Vimva, ubhranga, Ananda, Vibhasa, Vard- hana, Vinoda and Vasanta. Raginis of Dipaka axe: Kamodini, Patamanjari, Todi, Gujjari, Kaheli or Sarangi and sons are: Kamala, Kusuma, Rama, Kuntala, Kalinga, Vahula, Campaka and Hemala. Raginis of Sri Raga are: Vairati, Karnatika, Saveri, Goudi, Ramagiri; and sons are: Sindhava, Malava, Gouda, Garhbhira, Guna-Sagara, Vigada, Kalyana and Kurabha. Raginis of Megha Raga are: Mallari, Sorathi, Suhavi, Asavari, Kokani; and sons arcn ata, Kanara, Saranga, Kedaxa, Gunda Mallara, Gunda, Jalandhara, Sankara. Pundarik Vittala s Ragamala (Sake 1498 i.e A.D.) describes a system of classification wherein six Ragas, five Raginis and five sons of each Raga has been given. The main Ragas are: Suddha-Bhairava, Hindola Desikar, / A» Sri Raga, Suddha-Nata and Nata -Narayana. The sons and wives of these Ragas are as follows: Raginis of Suddha Bhairava are: Dhannasi, Bhairavi, Saindhavi, Maravi and Asavari; and sons are Bhairava, Suddha-Lalita, Paficama, Paraja Vangala. Raginis of Hindola are: Bhupali, Varali, Todika, Prathama-manjari, Todi; and sons are Vasanta, Suddha-Vangala, Syama, Samanta and Kamoda. Raginis of Desikar are: Ramakri, Vahuli, Desi, Jayalasri, Gujjari; and sons are Lalita, Vibhasa, Saranga, Ravana and Kalyana. 56

11 - /& A A Kaginfe of Sri Riga are: Goudi, Padi (Pahadi), Gunakari, Nadaramakri, Gundkri; and sons are Takka, Deva-gandhaara, Maiava, Suddha-Gouda, Karnata -Vangala. Raginis of Suddha-Nata are: Malasri, Desaksi, Devakri, Madhu-Madhavi and Abhlri; and sons are Jijavanta, Salanga-Na^a, Karnata -Raga, Caya-nata and Hamira-nata. Raginis of N atta Narayana are: Velavali, Kamvoji, Saveri, Suhavi, Sourastri; / and sons are Malhara, Gounda Raga, Kedara, Sankarabharana, Vihagada. In the Catvarimsaechata Raga Nirupanam by Narada (Circa A.D.) ten Ragas, five wives, four sons each and each son with four wives are described. According to O.C. Gangouly, there is a possibility that the scheme of ten Ragas could be earlier than that of six male Ragas. More probably this could be an attem pt to amalgamate two alternative schemes8. The ten male t A Ragas are Sri Raga, Vasanta Pancama, Bhaira.va, Kousika, Megha Raga, Nata -Narayana, Hindola, Dipaka and Hamsaka-Raga. Raginis of Sri Raga are: Goudi, Kolahali, Andhali, Dravidi and Malu-kousiki; and sons are: Suddha-Gouda, Karnata, Maiava, Purvika; sons wives are: Varati, Voulika, Madhyamadi, Arabhi. Raginis of Vasanta are: Nilamvari, Dhanasri, Ramakri, Patamaiijari, Gouda- kri; and sons are: Syama, Soma, Riti-Goula, Sankarabharana; sons wives are: Kalyani, Duhkha-Vairati, Saveri and Tarangini. 8 Gangoly, O.C., Ragas and Raginis, p

12 Raginis of Pancama are: Trivali, Vallaki, Khamvavati, Kakubha, Ahiri; and. sons are: Valaharhsa, Gandhara, Deva-Hindola, Pavaka; sons wives are: Narayani, Bhupali, Maru, Nava-rouka. Ragiixis of Bhairava are: Velavali, Bhairavi, Gurjari, Lalita, Karnatika; and sons are: Panca-vaktira, Kalhara, Lalita, Candra-sekhara; sons wives are: Kuranga-malika, Vici, Mangala-Kousiki and Mahuli.. A A / Raginis of Kousika are: Todi, Devagandhari, Desakhya, Guna-kriya, Suddha- Saverika; and sons are: Vidun-mala, Modaka, Saranga, Kamoda; sons wives are: Nata-Tarangini, Purna-Candrika, Palika, Jayanta-Seni. Raginis of Megha Raga are: Tro^aki, Motaki, Apara, Brhan-nata, Aham-nata; and sons are: Ghaula-Kantha, Kamala, Ghantarva, Rohaka; sons wives are: ^udhamayi, Dombakri, Mrta-Sanjivani, Megha-dhvani. Raginis of N ata Narayana are: Vangali, Suddha-Salanka, Kambhoji, Madhu- Madhavi, Devakri; and sons are: Suddha-vangala, Nata, Garuda, Mohana: A A A sons wives are: Trailingi, Langali, Surata, Hamvari. * Raginis of Hindola are: Desi, Siva-kri, Lalita, Mallari, Suhaihsika, and sons are: Ramaniya, Mukhari, Udaya-Pancama, Suddha-Vasanta ; sons wives are: Sindhu-Ramakriya, Vega-Vahini, Dharani, Chaya-Tarangini. A A A Raginis of Dipak are: Asaveri, Natika, Dehali, Karnati, Kedari, and sons are: Kedara-Goula, Vairanji, Holi, Sourastra; sons wives are: Kuranja-manjari, Naga-varali, Devaranjani, Sura-Sindhu. Raginis of Hamsaka Raga are: Sri-ranjani, Malasri, Sarasvati-Manohari, Gouri, 58

13 Isa-Manohari; and sons are: Naga-dhvani, Samanta, Bhinna-Pancama, Takka; sons wives are: Malavi, Syama-Kalyani, Desaksi, Vilahari. Damodara Misra (circa 1625 A.D.) in his Raga Darpana mentions the following classification: six main Ragas with six Raginis each. The main Ragas are Ssri Raga, Vasanta, Bhairava, Pancama, Megha and Vrhan-Nata-Nata Narayana. The Raginis are as under:. / A A A A A A Raginis of Sri Raga : Malasri, Trivani, Gouri, Kedari, Madhumadhavi and Pahadi. Raginis of Vasanta are: Desi, Devagiri, Varati, Todi, Lalita and Hindoli. Raginis of Bhairava are: Bhairavi, Gurjjari, Ramakiri, Gunakiri, Vangali and A Saindhavi. Raginis of Pancama are: Vibhasa, Bhupali, Karnati, Vadahamsika, Malavi and Patam anjari _ A' A A A A Raginis of Megha Raga are: Mallari, Sourathi, Saveri, Kousiki, Gandhari and * A A Hara Srngara; Raginis of Vrhan-Nata Nata Narayana are Kamodi, Kalyani, Abhiri, Natika, Sarangi and Nata -Hamvira. Bhavabhatta.(circa A.D.) in his Anupa-Sangitankusa mentions a classification of Ragamala. The author who belongs to the Northern School utilises Southern and Northern texts both. He accepts Sangita -Parijata and Sanglta -Ratnakara as the leading authorities. He states six main Ragas with five wives each. The main Ragas are: Bhairava, Malava-Kousika, Hindola, Dipaka, Sn -Raga and Megha. The Raginis of these Ragas are: 59

14 A A A A A Raginis of Bhairava : Madhyamadi, Bhairavi, Vangali, Varati, Saindhavi; that of Malava Kousika are: Todi, Khamvavati, Goudi, Gunakiri, Kakubha; that of Hindola are: Velavali, Ramakiri, Desaksi, Patam anjari and Lalita; th at of A A A A # A Dipaka are Kedarika, Desi, Kamodi, Natika and Karnati; that of Sri Raga are: Vasanti, Malavi, Malairi, Saveri and Dhanasri; and that of Megha Raga are Mallari, Desakari, Bhupali, Gurjari and Takka. Purusottama Misra, a court poet of Narayana Deva of the Gajapati dynasty (circa 1730 A.D.), in his Sahgita Narayaija has quoted different views of the Ragas given by Narada in his Pancama -Sara-Sarhhita and Mammata in Sahgita -ratna-maia and gives the system of Ragas existing of his time. The text available of the MS of Asiatic Society of Bengal is corrupt and cannot be deciphered at various places. He states six main Ragas with five wives each. The main Ragas are Bhairava, Vasahta, Malava-Kousika, Sri Raga, Megha-Raga and Nata -Narayana. Ragiips of Bhairava : Bhairavi, Kaisiki, Bhasa, Velavali and Vangali; that of Vasahta are: Anonita, Desakhya, Nona, Prathamamanjari and Masravi, Mallari; that of Malava - Kousika are: Saivi, Todi, Gundkiri, Varadi, Khamvavati, Karnati; th a t of Sri Raga are Gandhari, A f A A A Deva-gandhari, Malava-Sri, Saveri, Rama-kiri; that of Megha-Raga are: Lalita, Malasi, Gouri, Nati and Devakiri; that of Nata -Narayana are: Saramani, Abhasa, Kamodi, Gunjari and Kakubha. Radha Krishna Kavi, in his Raga -Kutuhala, a treatise on music in Hindi composed in V.S i.e A.D. also mentions classifications of Ragamala9. He mentions six main Ragas in his classification and five wives 9 This MS is in the possession of Kunwar Brajendra Siihha, Dliolapur and described by him in Hindi Monthly Saraswati, Nov. 1933, p

15 each. The main Ragas are: Bhairava, Malkosa, Hindola, Dipak, Sri and Megha. Their Raginis are as under: Raginis of Bhairava are: Bhairavi, Saindhavi, Bairari, Madhumadhavi (Mad- hyamadi) and Bangali; that of Malkousa are: Gouri, Todi, Gunakali, Khamvavati and Kukabha; that of Hindola are: Vilaval, Ramakeli, Lalit, Desakh and Patamanjari ; that of Dipak are: Kanada, Desi, Kamod, Kedara and Nat; * * A «* that of Sri Raga are: Vasanta, Malasri, Asavari, Marva and Dhanasri; and that of Megha Raga are: Bhupali, Mallara, Gujari, Tanka and Desakari. In the Sangitasara compiled by Maharaja Savai Pratapasimha Deo of Jaipur ( A.D.) classification of Ragamala is given. According to O.C. Gangoly, Maharaja Sawai Pratapasimha Deo of Jaipur purports to follow the school of Hanumana. In his work Sangitasara, he mentions six Ragas and and thirty Raginis according to Hanumana, he adds the names and descriptions of the respective sons of the six Ragas, each having eight sons10. The main Ragas are Bhairava, Malakousa, Hindola, Dipak, Sri Raga and Megha Raga and their sons are eight each except Malkousa which has two. The sons of Bhairava are: Vangala Pahcama, Madhura, Har a, Desakh, Lalita, Vilaval and Madhava; that of Malkousa are: Nandan and Khokar; that of Hindola are: Vangal, Candravimva, Subhranga, Ananda, Vibhasa, Vardhana, Vananta and Vinoda; that of Dipak are: Kusuma (Kusum), Rama, Kuhtala, Kalinga, Vahula, Campaka and Hema; that of Sri Raga are: Saindhava, Malava, Gouda, Gambhira, Gunasagara, Vigacla, Kalyana and Gada; and that of Megha Raga are: Naga, Kanharo, Sarahga, Kedara, Goda, Mallara, 10 Op. Cit. p

16 Jalandhara and Sankara. According to the traditions, Gandharva Vedasaram, a musical lore is ascribed to Brahma. Brahma in SahgTta Makaranda is mentioned as an ancient authority but no authentic work ascribed to him has been traced. The classification of melodies ascribed to him could be the opinion of some later authorities. The system of classification of melodies currently under his name, is probably the opinion of some later authorities who ascribe it to Brahma, in order to gain prestige and respectability. His system is followed by several authors. His classification states six main Ragas and six wives each. The main / A Ragas are Bhairava, Sri Raga, Megha Raga, Vasanta, Pancama -Raga and Nata Raga. The wives of Bhairava are Bhairavi, Gujjari, Ramakeli, Gunakell, Saindhavi and Vangali. The Raginis of Sri Raga are Malasri, Trivani, Gouri, Kedari, Madhu Madhavi and Pahadi. The Raginis of Megha Raga are Mallari, Sourati, Saveri, Kousiki, Gandhari and Harasrngara, those of Vasanta are: Desi, Devagiri, Varati, Todi, Lalita and Hindola. Those of Pancama Raga are: Vibhasa, Bhupali, Karnati, Vadha-Hamsika, Malavi and Patamanjari. Those of N ata Ragas are Kamodi, Kalyani, Abhiri, Natika, Sarangi and Hamvira. Radha Mohan Sen s Sangita Taranga (Calcutta, circa 1818 A.D.) states a system of Ragamala of school of Bharata, O.C. Gangoly states that this Bharata should be a later musical authority other than that of the Natyaiastra as it is understood that at the time of Bharata (earlier) all the mentioned Ragas had not evolved or it may be a list ascribed to him by way of courtesy, in order to acquire authority by association with a great name famous in the history of music. In this classification are mentioned six main Ragas, five wives each, five 62

17 sons each and five sons of each wife. The main Ragas are Bhairava, Malakousa, Hindola, Dipaka, Sri -Raga, Megha. The sons, sons wives and wives sons are as follows: Bhairava s wives: Madhumadhavi, Bhairavi, Vangali, Varari, Saindhavi; sons are: Velaval, Pancama, Desakh, Deo-gandhara and Vibhasa. Sons wives are: Ramakali, Suho (Suhai), Sugharai, Patamanjari and Todi. Malakousa wives are: Gunakali, Khamvavali, Gujari, Bhupall, Gouri; sons are: Soma, Parasan, Vada-harhsa, Kakubha and Vaiigala; son s wives are: Sorathi, Triveni, Karnati, Asavari, Goda-giri. Hindola wives: Velavali, Desaki, Lalita, Bhima-Patasi, Malavi; sons are: Rehavhamsa, Vasahta, Lokhasa, Gandharbha and Lalita. Sons wives are: Kedara, Kamodi, Vehagara, Kaphi, Paraja. Dipaka wives are: Nata, Mallari, Kedari, Kanara and Bhareka. Sons are: Sudda-Kalyana, Soratha, Desakara, Hamira and Maru; sons wives are: Vada-Hamsi, Des-Varati, Vairati, Deogiri and Saindhava. ^ri Raga s wives are: Vasahti, Malavi Malasri, Sahana and Dhanasri; sons are: Nata, Chayanata, Kanada, Iman, ^ankarabharana; sons wives: Isyama, Puriya, Gujari, Hamiri and Adana. Megha wives are: Saranga, Vanka, Gandharva, Mallari and Multani, sons are; Bahaduri, Nata Narayana, Malava, Jayanti, Kamod; sons wives area: Pahadi, Jayanti, Gandhari, Puravi, Jaya-Jayanti. According to the School of Hanumana (H anum at): Tuphet- ul-hind - a Persian creative by Mohamed Rezza Khan (1813 A.D.), edited by Visva-Bharati, mentions that during the time of Hanumana - four classifications of Ragas were current, one ascribed to Bharata, other to Brahma, third to Kallinatha and forth to Hanumana. No text ascribed to Hanumana appears to have survived. Anjaneya (Hanumana) as a musical authority is mentioned by Abhinava Gupta and Sarangadeva and quoted by Sarada-tanaya and also by Kallinatha. His 63

18 classification states six main Ragas and five wives each. They are Bhairava, Kousika, Hindola, Dipaka, Sri -Raga and Megha Raga and their Raginis are: Raginis of Bhairava are Madhyamadi, Bhairavi, Vangali, Varatika, Saindhavi, Kousika Raga ; Raginis : Todi, Khamvavati, Gouri, Gunakri and Kakubha; Hindola Ragas Raginis are: Velavali, Ramakiri, Desakhya, Patamanjari and Lalita. Raga Dipak s Raginis are Kedari, Kanada, Desi, Kamodi and Natika, / A. * A A ~. A Sri Raga s Raginis are: Vasanti, Malavi, Malasri, Dhanasika and Asavari and Raga Megha has Raginis as Mallari, Desakari, Bhupali, Gurjari and Tanka. (According to the list cited in Radhamohan Sen s Saiigita - Taranga (p. 123, Calcutta, 1818), Ramva is substituted for Gauri, and Malini for Malavi). There are a number of classifications of various authors as cited by O.C. Gangoly in his work Ragas and Raginis \ In the illustrated sets of Ragamala paintings only a few systems have been applied, hence it is not necessary for this work to mention all of them. Amongst the various classifications mentioned earlier of various authors, the most used in paintings is the Hanuman s classification, Mesakarna s classification and a classification whose origin is obscure and cannot be traced to any ancient musical authority, Klaus Ebling calls it the painter system11. Since this work is concerned with paintings of Gujarat, Rajasthan and Central India, it is observed that this painter s system has been used in a large number of paintings of these regions. It is interesting to note that the names of the Ragas and Raginis are derived 11 Klaus EbUng, Ragamala Painting, p

19 from the various sources. The classification of these sources can be listed as under: (1) Tribal, (2) Geographical, (3) Seasonal-Floral, (4) Divine, (5) Individual Singers or Composers, and (6) Foreign Influence. 0 _.. _ t The Sakas, the Pulindas, the Abhiras, the Andhras, the Sabaras, the Malavas and the Gurjaras, etc. are the ancient tribes who entered into India probably in the beginning of the Christian Era and were gradually Indianised12 gave their names to the Ragas and Raginis. These are ^aka-tilaka, Saka-Misrita, Pulindaraga, Abhiri, Saveri, Bhairava, Malava, Malavasri, Malava-Pancama, Malava-vesara, Malava-Kaisika, Malkausa, Andhri and Gurjari. The other names of the Ragas and Raginis are derived from geographical places, names and regions. Sindhudo, Saindhavi from modern Sind; Gur- jar, Gurjari, Bhal Gurjari, Gurjari Todi from Gurjar Desa; Sauviraka Sauviri from Sauvir a region in the South-West; Taku or Tanka from Takka Desa; Soratha, Sorathi from Surastra Desa; Karnata from Karnataka; Kambhoji, Haxi Kamboji from Kamhuja Desa; Vairati from Varar or Virata region: Gauda, Gauda Malhar, Ganda Saranga from Gauda, Bangal, Bangali a region in the Eastern part of Bengal; Purvi, Puriya Dhanasri from Purva Desa i.e. Eastern region; Kakubha from the name of the ancient village Kahayuri; Khambhavati from Kambhat, a taluka town of Kheda District in Gujarat; Bilaval from Velakula or Belaul in Saurastra; Maru, Maru Gurjara from Marawada in Rajasthan ; etc. Some of the Ragas and Raginis derived their names from their association with the seasons and seasonal rites. These are Megha, Vasanta, Malhara, 12 Bhandarkar, D.R., Foreign Elements in the Hindu Population, Indian Antiquary, Vol. XI,

20 Sahara, Pancam a, Amra-Pancama, Patam anjari, Cuta-Manjari, Hori, There are Ragas and Raginis connected with the names of the flowers. These are: Kusuma, Kamala, Kumuda, KaumudikJ, Kuranga-malika, Malati, Madhumalati, Madhu-madhavi, etc. Names of the Hindu gods and goddesses are also connected with the names of Ragas and Raginis. These are Bhairava, BhairavT, Ramakin, Sivakiri, * w * Sivarahjani, Kedara, Sankarabharana, Hara Srngara, Kanad; is connected with f A Krsna, Nata, Nata -Narayana, Durga, Sri, Deva-Gandhari, etc. We have names of the Ragas and Raginis connected with the names of the singers and composers. It was a practice of master musicians to name melodies after their own names. These are: Bukshoo-ki-mallar, Charjoo-kimallar, Dhondee-ki-mallar - all these three musicians were patronised by Raja. Man Thomar of Gwalior; Bahaduri-Todi is connected with Sultan Baz Bahadur Sharqui, Kings of Jaunpur popularised - Jaunpuri Todi. Miyan Tansen, a celebrated musician of Akbar s court floated two melodies: Miyan-ki-Mallar and Darabari. Tansen s son Bilaskhan sang in Ahmedabad a Todi Raga which is known as Bilaskhan-ki-Todi, Salivahana, Revagupta, Ramakriti, Husaini Todi, etc. W ith the establishment of the Muslim rule in India during the year 1300 A.D. by Ala-ud-din Khalji, Delhi Sultans started their suzerainty. Muslim Sultans of Khalji, Tughluq, Sayyad and Lodi dynasty ruled for about 225 years. Cultural renaissance started with the Mughal rule in India. It was 66

21 Akbar the Great who started fusion of Hindu and Muslim culture. This cultural diffusion is very well mirrored in architecture, poetry, painting and music. History tells us that fusion of Persian and Hindu systems of music was started by Amir Khusrau, a celebrated poet and musician popularly known as Tuti-i-Hind or Parrot of India. He combined Persian and Indian music and composed melodies like Mujir, Sazgari, Aiman, Ushshaq, Muwafiq, Zilaf, Farghana, Sarparda,Bakharz, Firodast, etc.13. The genius of Amir Khusrau left an indelible mark in the cultural life of North India. In the development of Hindustani music, he played an important role by the assimilation of Arabic, Persian, Turkish and Hindu tunes. Hm-e-Mausiki is an important work of Iranian music, which was composed by one Hakim of Iran. In this work, 12 Mukamats - Ragas are described, like the six main Ragas of Hindustani music. It is interesting to note that he has assigned four sons to each Mukamat, like Ragaputras of the Hindustani music. Under the inlfuence of Iranian music, we find names of the Ragas as Hejaj, Irak, Zila, Iman, Isfahan, Shahana, etc., which is a sound proof of foreign influence. The above names of the Ragas and Raginis reveal emotional and devotional nature of Indin music and supply geographical, tribal, ethnical and religious data for the cultural history of India. 13 Mirza, M.H., The life and works of Anur Khusrau', p