Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.103

c10.103

This musical poet is represented by an elaborate treatise which he himself describes as a vernacular version of *Sangīta Darpaṇa*, written in an obscure form of old Hindī. The work survives in four manuscripts, the earliest, in the collection of the British Museum¹ and bearing a dated colophon: ‘Finished vernacular version of *Sangīta darpaṇa* by Harivallabha Saṃvat (1710 (=1643 A.D.), the second day of the black fortnight of Phālgun (February-March) written by copyist Sāraṅga”.² The second manuscript written by Khemankar Miśra at Shāhajahānāvād (Delhi) is in the collection of the Sarasvatī-bhavan Library, Benares, and bears a colophon which purports to bear date Vaiśākh Sudi 7, Saṃvat year 1748 (=1691 A.D.)³ The third manuscript, undated, is in the collection of the Asiatic Society of Bengal.⁴ The fourth manuscript is a magnificent *editio princeps*, finally written and illustrated with numerous pictures of the rāgas, now in the collection of Mr. P. C. Nahar, Calcutta. It contains a dated colophon which runs as follows: ‘Finished