[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries](https://indike.org/pramana/ins.art.bhatkhande-comparative) › c13 # A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c13: Chatur Dandi Prakasika A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c13 - **Language:** English ### Chatur Dandi Prakasika ### [c13.1](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.1) We shall now take up for discussion the Chaturdandi Prakasika written by Pandit Vyankata Makhi. The work was written about the shaka year 1560, that is to say about thirty years after Somnath's Raga Vibodha. Vyankata Makhi is admittedly a Southern writer. Chatur dandi prakasika is still respected as a great authority in the southern presidency. Pandit Subrama Dixit of Etayyapuram, who died only five or six years ago was the last exponent of the Chaturdandi system. Vyankata Makhi claims to have finally decided the twelve note-system in the South. It is also his claim that he was the first to lay down the seventy-two mela-kartas or melody-types for Raga classification. You are aware that in the Swara Mela Kalanidhi and in the Raga Vibodha, the vikrita swaras recognised were more than five. It is true that Rama Amatya knew of the school which was ready to accept "mrdu" or "chyuta" ma and "mrdu" or "chyuta" sa as representing the antara ga and kakali ni, but the "mrdu" notes were not definitely discarded. ### [c13.2](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.2) Vyankata Makhi definitely does it as follows:— ### [c13.3](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.3) चतुश्चतुश्चैव षड्जमध्यमपंचमाः । द्वे द्वे निपादगधारौ त्रीस्री रिपमधैवौ ॥ ### [c13.4](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.4) This is the usual rule which we have discussed more than once. ### [c13.5](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.5) विकृतास्तु स्वराः पंचत्यस्माभिरवधार्यते । रत्नाकरे तु निःशंको विक्रतान् द्वादशस्वरान् ॥ ### [c13.6](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.6) अत्रवीर् केचन पुनः सप्ताहुर्विकृतस्वरात् । सर्वमेतन्ममालोच्य लक्ष्यमार्गानुसारतः ॥ स्वराः पंचैव विहृता इति सिद्धातितं मया । तत्र पंच स्वरान् सम्यग् विविष्य व्याहरामहे ॥ साधारणध गंधारो गंधारंतरामिधः । द्वौ तौ च मध्यमक्षयमभूतौ विकृतौ स्वरौ ॥ वराळीमध्यमैकः पंचमक्षेत्रसंभवः । षड्जक्षेत्रसमुद्भूतौ कैशिकाकाकलीस्वरौ ॥ एवमेते स्वराः पंच विकृता इति निर्णयः । आहत्य शुद्धविकृताः स्वरा द्वादश कीर्तिताः ॥ ### [c13.7](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.7) The five vikrita swaras acknowledged by Vyankat Makhi therefore, are (१) साधारण गंधार (२) अंतर गंधार (३) वराळी म (४) कैशिक नि (५) काकली नि Of these five notes, वराळी म is a new name and requires explanation The Pandit says :— ### [c13.8](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.8) चतस्रः श्रुतयः प्रोक्ताः पंचमे गीतवेदिभिः । आदायाद्या द्वितीया च तृतीयामपि तच्छ्रुतिम् । वराळीमध्यमः प्रोक्तः श्रुतित्रयसमन्वितः ॥ ### [c13.9](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.9) This shows that the वराळी म of Vyankata Makhi was the मृदु प of Somnatha. It stood on the third sruti of the panchama The tivratama 'ma' of the Raga Vibodha was one sruti lower There were some other swara names in general use at Vyankat Makhi's time, and these may also be noted. ### [c13.10](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.10) तथाहि शुद्धरिषभशुद्धधैवतयोः पुनः । त्रिधश्रुत्येकमात्रेण सर्वदाप्यकरूपता ॥ ### [c13.11](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.11) Translation — Shuddha 'ri' and shuddha 'dha' are never allowed to change the character of three sruti notes, and hence never assume other names. They always remain shuddha 'ri' and shuddha 'dha'. ### [c13.12](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.12) यदा तु शुद्धगंधारे गंधारत्व प्रपद्यते । तदा द्विश्रुतिको ज्ञेयो मुखारीरागके यथा ॥ ### [c13.13](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.13) Translation — When the shuddha gandhara retains its name "gandhara" unchanged it is always a "dwi-shrutic" or shuddha gandhara, as in the case of the Mukhari ragam यदा स एव जायेत ऋषभस्तु तदा पुनः। पंचश्रुतिरिति ज्ञेयः श्रीरागोऽत्र निदर्शनम्॥ ### [c13.14](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.14) Translation.—When the gandhara is described in terms of the 'ri' as in Sri Raga, its two srutis are added to those of the preceding rishabha, with the result that the gandhara is then called पंचश्रुतिऋषभ (3 plus 2 srutis rishabha). ### [c13.15](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.15) एवं शुद्धनिषादस्य निषादत्वं यदा भवेत्। तदाहिद्विश्रुतित्वं स्यात् मुखार्यत्र निदर्शनम्॥ स एव यदि जायेत धैवतस्तु तदा पुनः। पंचश्रुतिरिति ज्ञेयः शंकरभरणे यथा॥ ### [c13.16](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.16) The same reasoning applies to the shuddha nishada, when it remains shuddha nishada, it is of two srutis, and when it becomes a dhaivata, it is पंचश्रुति धैवत as in the Shankarabharana raga. ### [c13.17](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.17) Observation.—This change of names is made to avoid the necessity of having two notes of the same denomination in the same mela or raga. ### [c13.18](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.18) तथैव शुद्धधारानिपादौ द्वौ द्विरूपिणौ। साधारणाख्यगांधारः शुद्धर्षभयुतो यदि॥ तदा त्रिश्रुतिकोऽज्ञेयो भूपालोऽत्र निदर्शनम्। तस्यैव पंचश्रुतिना ऋषभेणान्वयो यदि॥ तदैव श्रुतिता ज्ञेया श्रीरागोऽत्र निदर्शनम्। यदा ऋषभसंज्ञोऽयं तदा षट्श्रुतिको भवेत्॥ ### [c13.19](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.19) Translation.—Then again the two notes shuddha 'ga' and shuddha 'ni' have some other characters assigned to them according to their distance or position in relation to the preceding notes. Thus take the case of the sadharana gandhara. This is the normal three sruti gandhara above shuddha rishabha. It is used in the Bhupala raga. If this sadharana gandhara is taken in connection with or used after a पंचश्रुति रि (the preceding note) then it is only an एकश्रुति ग as in the Shri Raga. But if this sadharana 'ga' is described in terms of rishabha, then the three srutis of 'ri' will be added to the three srutis of 'ga', and the resulting note will be called the षट्श्रुति ऋषभ. ### [c13.20](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.20) Observation.—This process is very clear and needs no further explanation. It is also applicable to shuddha ni and kaishika ni. These last mentioned notes will optionally become पंचश्रुति ध and षट्श्रुति ध respectively. ### [c13.21](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.21) Before proceeding to the "mela" chapter of the Chaturdandi Prakasika, I would like to draw your attention to the Pandit's description of the vadi samvadi swaras He says:— ### [c13.22](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.22) चतुर्विध स्वरेष्वेपु वादी राजा प्रकीर्यते । संवादीत्वमारितवदस्यामात्यो विधीयते ॥ विवादी विपरीतत्वाद् धिरैरुक्तो रिपुवमः । स्वरूपमर्दनं तेन प्रयोगस्यादिवादिना ॥ स्वरूपमर्दनामावे गीते रक्तिर्नलभ्यते । शत्रुमर्दने ह्यस्याज्ञा लोके प्रकाशनम् ॥ नृपामत्यानुमारित्वादनुवादी तु मृत्यवत् ॥ ### [c13.23](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.23) Observation.—The pandit obviously advises the use of the proper vivadis in their proper places He says that this use will enhance the attractiveness of the raga. In their absence गीतेरक्तिर्नलभ्यते. This is something like the Western "dissonances" theory. ### [c13.24](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.24) I do not think I ought to take you through the laborious process of the construction of the seventy two thatas of Vyankata Makhi. The process is well known in the Southern presidency. I have fully explained it in my own works, the Laksya Sangeeta and the Hindusthani Sangeeta Paddhati It may be noted that Vyankata Makhi does not use all the seventy two melas in classifying his janya ragas. He uses only nineteen of them. These are:— ### [c13.25](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.25) आदिमः सर्वमेलानां मुखारीमेल उच्यते । मेलः सामवराळ्याख्यरागस्यातः परं मतः ॥ ततो भूपालमेलोडथ हेज्जीमेल ईरितः । बसतभैरवीमेलौ गौळमेलस्ततः परम् ॥ मैरवीमेल आहीर्या मेलः श्रीरागमेलकः । कांभोजी मेलकोडथ स्यात् शंकराभरणस्य च ॥ सामतमेलो देशाक्षीमेळो नाटरयमेलकः । मेलः शुद्धवराळ्याख्यरागस्यातः परं मतः ॥ मेलः पंतुवराळ्याख्य शुद्धरामक्रियायुतः । मेलः सिहंवारस्यात्मरागमेळरागमेलकः ॥ कल्याणरागमेलभेलाह्येकोनविंशतिः ॥ ### [c13.26](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.26) | १ मुखारी | सा | री शुद्ध | ग शुद्ध | म शुद्ध | प शुद्ध | ध शुद्ध | नि शुद्ध | | २ सामवराळी | सा | ,, | साधारण | ,, | ,, | ,, | काकली | | ३ भूपाल | सा | ,, | ,, | ,, | ,, | ,, | कौशिक | | ४ हेजुझी | सा | ,, | अंतर | ,, | ,, | ,, | शुद्ध | | ५ वसंतभैरवी | सा | ,, | ,, | ,, | ,, | ,, | कौशिक | | ६ गौळ | सा | ,, | ,, | ,, | ,, | ,, | काकली | | ७ भैरवी | सा | पंचश्रुति | साधारण | ,, | ,, | ,, | कौशिक | | ८ आहीरी | सा | ,, | ,, | ,, | ,, | ,, | कौशिक | | ९ श्री | सा | ,, | ,, | ,, | ,, | पंचश्रुति | कौशिक | | १० कांभोजी | सा | ,, | अंतर | ,, | ,, | ,, | कौशिक | | ११ शंकराभरण | सा | ,, | ,, | ,, | ,, | ,, | काकली | | १२ सामंत | सा | ,, | ,, | ,, | ,, | षट्श्रुति | ,, | | १३ हेशाशी | सा | पट्श्रुति | ,, | ,, | ,, | पंचश्रुति | ,, | | १४ नाट | सा | ,, | ,, | ,, | ,, | षट्श्रुति | ,, | | १५ शुद्धवराळी | सा | शुद्ध | शुद्ध ग | वराळी | ,, | शुद्ध | ,, | | १६ पंतुवराळी | सा | ,, | साधारण | ,, | ,, | ,, | ,, | | १७ शुद्धरामक्री | सा | ,, | अंतर | ,, | ,, | ,, | ,, | | १८ सिंहरव | सा | पंचश्रुति | साधारण | ,, | ,, | पंचश्रुति | कौशिक | | १९ कल्याणी | सा | ,, | अंतर | ,, | ,, | ,, | काकली | ### [c13.27](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.27) These are really interesting thatas. Nearly all the ten thatas of the Hindusthani Paddhati are to be found among them. सिंहरव मेल is a new introduction by Vyankata Makhi Pandit. He says :— ### [c13.28](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.28) मेल: सिंहरवे रागे वेंकटाध्वरिकल्पिते ### [c13.29](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.29) This is a new Raga introduced by the Pandit in the Hindusthani Sangeeta, tivra 'ma' does not come in suitably in a raga which takes the 'ga' and 'ni' komala The Pandit had to invent one for the mela ### [c13.30](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.30) Here there is an interesting problem before the scholars If Vyankata Makhi has invented the Sinharava Raga, and put it under the 58th mela, how is it that the raga appears in the Sangeet Parijat of Ahobala Pandit? Ahobala puts it under his Bhairavi thata, that is our modern Asavari Thata. Was Parijat written after the Chaturdandi? It is quite true this raga does not appear in any of the other works of the southern system. There was a very old raga called "Ghantarava" in existence Even the Ratnakara mentions the "Ghantarava" It is quite possible that Ahobala took it from the Chaturdandi, and changed its thata in deference to the northern rule of avoiding tivra 'ma' in combination with the komala 'ga' and komala 'ni' Again, Chaturdandi has नतुना रितस्वरश्रुत्योर्मेदो नादिकरूपयोः। अरितमेदलयोर्द्वत्वस्वरटंकविटयोः। and Parijata has धुनय.रपु.स्वरामिधाः श्रावणत्वेन हेतुना। अहिकुंडल्यथभमेदीतिः शामसमता. ### [c13.31](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.31) The idea is the same Has Ahobala taken his idea from the Chaturdandi Prakasika? Ahobala made it a northern "Sinharava", we shall say by the कामवारप्रवर्तनन्याय. It is also possible that Ahobala saw Somnath's Raga Vibodha That would explain his calling tivratara 'ma', tivratama 'ma', also. But we need not go into a prolonged discussion of those points because that will be an unjustifiable digression. ### [c13.32](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.32) Vyankata Makhi classified his ragas under his nineteen thatas as follows :— ### [c13.33](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.33) | जनक मेलनाम | अन्य रागाः | | १ मुखारी | १ मुखारी | | २ सामवराळी | २ सामवराळी | | ३ भूपाल | ३ भूपाल, ४ मिपवइञ | | ४ वसंत भैरवी | ५ वसंत भैरवी | | ५ गौळ | ६ गौळ, ७ गुंडक्रिया, ८ सालगनाट, ९ मालामलिका, १० मलिजा, ११ पाडी, १२ गुर्जरी, १३ बहुली, १४ महरी, १५ सावेरी, १६ नटाटैय, १७ पूर्वगौळ, १८ कर्नाटकबंगाल, १९ सौराष्ट्र. | | ६ आहरी | २० आहरी | | ७ भैरवी | २१ भैरवी | ### [c13.34](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.34) | जनक मेलनाम | जन्य राग: | | ८ श्रीराग | १ श्री, २ सालंगमैत्री, ३ धन्यासी, ४ मालवश्री, ५ देवगांधार, ६ अंधाली, ७ बेलावली, ८ फनडगौल. | | ९ रेगुजी | १ रेगुजी, २ रेगुसि | | १० कामोजी | १ कामोजी, २ केदारगौल, ३ नारायणगौल. | | ११ शंकराभरण | १ शंकराभरण, २ आरभी, ३ नागध्वनि, ४ साम, ५ शुद्धवसंत, ६ नारायण-देशाक्षी, ७ नारायणी. | | १२ सामंत | १ सामंत | | १३ देशाक्षी | १ देशाक्षी | | १४ नाट | १ नाट | | १५ शुद्धवराळी | १ शुद्धवराळी | | १६ पंतुवराळी | १ पंतुवराळी | | १७ शुद्धरामक्रिया | १ शुद्धरामक्रिया | | १८ सिहरव | १ सिहरव | | १९ कल्याणी | १ कल्याण | ### [c13.35](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13.35) We shall not go into the special characteristics of these janya ragas because that is beyond the province of this paper. ## Linked texts (6) - [Saṅgītaratnākara](https://indike.org/pramana/in.art.sangita.sangraha.sangitaratnakara) — Śārṅgadeva, Sanskrit - [Caturdaṇḍīprakāśikā](https://indike.org/pramana/in.art.sangita.raga.caturdandiprakasika) — Veṅkaṭamakhin 1620, Sanskrit - [Svaramelakalānidhi](https://indike.org/pramana/in.art.sangita.raga.svaramelakalanidhi) — Rāmāmātya 1550, Sanskrit - [Bhūpālapaddhati](https://indike.org/pramana/in.niti.dharma.prayoga.bhupalapaddhati) — Bhoja, Sanskrit - [Saṅgītapārijāta](https://indike.org/pramana/in.art.sangita.sangraha.sangitaparijata) — Ahobilasūri 1600, Sanskrit - [Rāgavibodha](https://indike.org/pramana/in.art.sangita.raga.ragavibodha) — Somanātha 1584, Sanskrit --- Source: [https://indike.org/pramana/ins.art.bhatkhande-comparative.c13](https://indike.org/pramana/ins.art.bhatkhande-comparative.c13) · Pramāṇa