Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.1

c10.1

In connection with the various archaic melodies (*grāma-rāgas*, *rāga-gītis*) described in the *Bṛhad-deśī*, the *rasa*-value, and their applications (*viniyoga*) with reference to a situation in a drama, are indicated for each melody described. Unfortunately, the presiding deities for the melodies are not indicated by Matanga, though he cites the presiding deity for each musical note (*svara-devatā*). In the present state of our knowledge of the earlier texts, it is impossible to date the time when the presiding principles of melodies were first revealed, discovered, or recognised. In some of the contemplative verses of prayer-formulas (*dhyānas*) for the melodies, Kohala, (an ancient authority earlier than Matanga and Dattila) is cited as an authority for images, or pictures of particular rāgas.¹ But unless the actual texts of Kohala are discovered and investigated, it is impossible to attach any evidentiary value to this ascription. The earliest avail-