[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources](https://indike.org/pramana/ins.art.gangoly-1935) › c10.103 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.103 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.103 - **Language:** English ### [c10.103](https://indike.org/pramana/ins.art.gangoly-1935.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 - [Previous: c10.102](https://indike.org/pramana/ins.art.gangoly-1935.c10.102) - [Next: c10.104](https://indike.org/pramana/ins.art.gangoly-1935.c10.104) - [Up: c10](https://indike.org/pramana/ins.art.gangoly-1935.c10) --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c10.103](https://indike.org/pramana/ins.art.gangoly-1935.c10.103) · Pramāṇa