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Ragamala Paintings
Ragamala paintings are a form of Indian miniature painting, a set of illustrative paintings of the ''Ragamala'' or "Garland of Ragas", depicting variations of the Indian musical modes called ragas. They stand as a classical example of the amalgamation of art, poetry and classical music in medieval India. Ragamala paintings were created in most schools of Indian painting, starting in the 16th and 17th centuries, and are today named accordingly as Pahari Ragamala, Rajasthan or Rajput Ragamala, Deccan Ragamala, and Mughal Ragamala. Also it originated in Rajasthan. In these painting each raga is personified by a colour, mood, a verse describing a story of a hero and heroine (nayaka and nayika), it also elucidates the season and the time of day and night in which a particular raga is to be sung; and finally most paintings also demarcate the specific Hindu deities attached with the raga, like Bhairava or Bhairavi to Shiva, Sri to Devi etc. The paintings depict not just the Ragas, bu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairavi Ragini, Manley Ragamala, An Album Painting In Gouache On Paper
Bhairavi ( sa, भैरवी) is a Hindu goddess, described as one of the Mahāvidyas, the ten avatars of the mother goddess. She is the consort of Bhairava. Etymology The name ''Bhairavi'' means "terror" or "awe-inspiring". She is the fifth of ten Mahāvidyas. She is also called Tripurabhairavi. "Tri" means three, "Pura" means fortress, castle, city, town, etc. Tripura convey three different stages of consciousness i.e. active, dream and deep sleep. She is in the form of all triads and once these triads are transcended, it is believed that Brahman is attained. Hence, she is called Tripurabhairavi. Iconography Her dhyana shloka in the Devi Mahatmya describes her form. She is seated on a lotus with four hands, one with a book, one with rosary beads, one with abhaya mudra and another with varada mundra. She wears red garments and wears a garland of severed heads around her neck. She has three eyes and her head is adorned with a crescent moon. In another form she is c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Odissi Music
music () is a genre of classical music in India, originated from the eastern state of Odisha. The traditional ritual music for the service of Lord Jagannatha, Odissi music has a history spanning over two thousand years, authentic ''sangita-shastra''s or treatises, unique Ragas & Talas and a distinctive style of rendition. The various aspects of Odissi music include ''odissi prabandha, chaupadi, chhānda, champu, chautisa, janāna, mālasri, bhajana, sarimāna, jhulā, kuduka, koili, poi, boli,'' and more. Presentation dynamics are roughly classified into four: ''raganga'', ''bhabanga, natyanga'' and ''dhrubapadanga''. Some great composer-poets of the Odissi tradition are the 12th-century poet Jayadeva, Balarama Dasa, ''Atibadi'' Jagannatha Dasa, Dinakrusna Dasa, ''Kabi Samrata'' Upendra Bhanja, Banamali Dasa, ''Kabisurjya'' Baladeba Ratha and ''Kabikalahansa'' Gopalakrusna Pattanayaka. According to Bharata Muni's '' Natya Shastra'', Indian classical music has four significan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga Asa
Raga Asa is peculiar raga of Gurmat Sangeet Tradition. It is not being used in Indian music. There is a raga 'Majh Khamaj' in Hindustani Sangeet, but it does not resemble Asa of Gurmat Sangeet. Gurmat Sangeet is a musicology of Sikh Sacred Music, used in the Sikh holy scripture the Guru Granth Sahib. The ragas used by Sikh Gurus for Gurbani are known as Gurmat Sangeet. It is popular in the Sikh tradition from northern India and is part of daily prayers being conducted in Sikh Gurdwaras. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib, the Sikh holy Granth (book) there are 60 Ragas of equal and independent status. Numerous Shabad Reet compositions on the base of these ragas are popular in the tradition. The Gurbani hymns under raga Asa appear in Sri Guru Granth Sahib first at page no. 8. Aasaa has strong emotions of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sorath Raga
Sorath is an India musical raga (musical mode) that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the twenty fifth raga to appear in the series. The composition in this raga appear on a total of 65 pages from page numbers 595 to 660. Raga Sorath belongs to the Khamaj thaat. Besides Guru Nanak, Sorath was used by Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar for a total of 150 hymns plus numerous slokas. Raag Sorath (ਸੋਰਠਿ) – Sorath conveys the feeling of having such a strong belief in something that you want to keep repeating the experience. In fact this feeling of certainty is so s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga Gond
This is an India musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the Thirty – sixth raga to appear in the series. The composition in this raga appear on a total of 17 pages from page numbers 859 to 875 . Raag Gond (ਗੋਂਡ) – Gond is an expression of triumph, however these feelings are balanced and in perspective ensuring that there is also an aspect of humility. Therefore, although there is a sense of knowing and understanding the achievement, there is not a feeling of becoming obsessed or getting lost in the achievement itself. Gond was used by Guru Ram Das and Guru Arjan Guru Arjan (Gurmu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asavari
Raga Asavari () is a Hindustani classical raga. It belongs to the Asavari thaat and is performed in the morning hours. In pre- Bhatkhande days this Asavari used the Komal Rishab instead of Shuddh Rishab. When Bhatkhandeji created the thaat process, he changed that Asavari's Komal Rishab to Shuddha Rishab but the name remained the same. From that time the old or real 'Asavari' has been called the Komal Rishabh Asavari, and the new Shuddha Rishabh Asavari is simply called 'Asavari'. Raga Asavari and Komal Rishabh Asavari also appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Sikh Gurus Sri Guru Ramdas Ji and Sri Guru Arjun Dev Ji used these ragas. The Raga Komal Rishabh Asavari appears as 'Raga Asavari Sudhang' in Sri Guru Granth Sahib Ji. Structure Thaat: Asavari Jati: Audava-Sampoorna Arohana: Avarohana: Vadi: Samavadi: Pakad: Time: Second period of the day (9am-12pm) Mood: Renunciation and s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gauri (raga)
Gauri is an India musical raga that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. there are Gouris of the Bhairav, Poorvi and Marwa thats with additional qualifiers such as the Shree-anga Gouri, Bhairav-anga Gouri, Poorvi-anga Gouri and so on. These are not considered ‘big’ ragas. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the ninth raga to appear in the series. The composition in this raga first appear on ang (page) no. 151. Raag Gauri (ਗਉੜੀ) – Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This theref ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shree (Hindustani Raga)
Shree is a very old North Indian raga of the Purvi thaat, and has traditionally been associated with Shiva. It also appears in the Sikh tradition from northern India, and is a part of the ''Guru Granth Sahib'', the holy text of the Sikhs. The Guru Granth Sahib composition comprises 31 ragas where Shree is the first raga to appear. The raga appears first on 14th page of the composition. The basis of this Raag is steeped in the traditions of mainstream Indian Classical music. Siri Raag is serious and thought-provoking in its nature and creates an atmosphere where the listener is led to heed the advice given therein. The listener (the mind) is made aware of the truth of the message and with this ‘education’ is given the strength to face the future with both humility and the ‘gained’ knowledge. Guru Nanak, Guru Amar Das, Guru Ram Das, and Guru Arjan have composed sacred hymns ( Shabads) to be accompanied with this raga. It accompanies about 142 Shabads. According to I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Todi (raga)
Miyan ki Todi, often simply referred to as Todi or Darbari Todi (), is a Hindustani classical raga which gave its name to the Todi (thaat), Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga (class of ragas) include Todi (a.k.a. Miyan ki Todi) itself, Bilaskhani Todi, Gujari Todi (also called Gurjari Todi), Desi (raga), Desi Todi, Hussaini Todi, Asavari Todi (more commonly known as Komal Rishabh Asavari), and Bahaduri Todi. The equivalent raga in Carnatic music is Shubhapantuvarali. But in Todi, the pancham is omitted in the Arohana, whereas Shubhapanthuvarali uses the panchamam in both the arohana and avarohana. The Carnatic Melakarta Hanumatodi is the equivalent of Bhairavi (thaat), Bhairavi thaat, but the Hindustani Bhairavi (Hindustani), Bhairavi raga is the equivalent of Carnatic Sindhu Bhairavi (raga), Sindhu Bhairavi. Carnatic Todi does not have any similarity with Hindustani Todi (Miyan ki Todi) raga. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga Basant
Basant or Vasant is a Hindustani classical raga. Raga Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib Ji, there are a total of 60 raga compositions and this raga is the forty-ninth raga to appear in the series. The composition in this raga appear on a total of 29 pages from page numbers (Ang) 1168 to 1170. Basant denotes the changing of the season and the newness of spring. This Raag encourages the mind to brush away its selfishness, just like spring-cleaning removes all the cobwebs and creates a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change. Origin Vasant is a Sanskrit word for "spring". The word is much older than ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhanasari
Dhanashree is the best friend of Neha raga that also appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Raga Dhanashree appears in the Ragmala as a ragini of Malkauns and currently is a member of the Kafi thaat. It closely resembles Bhimpalasi in musical content but the vadis and moods are different (Described Below). Dhanashree is performed in the early afternoon and presents a cheerful, happy mood. It provided the setting for hymns by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar for a total of 101 hymns. The following represents the order of notes that can be used on the ascending and descending phase of the composition and the primary and secondary notes: * Aroh: ni Sa ga Ma Pa ni Sa * Avroh: Sa ni Dha Pa Ma Pa ga Re Sa * Vadi: Sa * Samvadi: Pa * Jaati : Audava – sampurana * samay : Third pehar of the day * Thaat : Kafi This Raag is almost exactly the same as the Classical Raga Bhimpalasi Bhimpalasi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Devagandhari
Devagandhari (pronounced devagāndhāri) is a raga (musical scale) in Indian classical music. In carnatic classical music, Devagandhari is a ''janya'' raga (derived scale), whose ''melakarta'' raga (parent scale, also known as ''janaka'') is '' Shankarabharanam'', 29th in the 72 ''Melakarta'' raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri. It is also present in the Sikh tradition of northern India and is part of the Guru Granth Sahib. In Carnatic music Structure and lakshana Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : Devagandhari ragam is an ''audava-vakra-sampurna'' raga meaning, in ''arohana'' 5 ''swaras'' come (so it is called ''audava'') and in ''avarohana'' all ''swaras'' come (so ''sampurna''), and there is a "zigzag" pattern of notes (so ''vakra''). The notes used in this ragam are ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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