Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.148

c10.148

cribing Mālaśrī, Rāmkelī and Guṇakelī. ‘Lāla says: she is the rāginī of Malkous’ (“Lāla kahai Mālakosaki rāginī,” P. XXXII). Other examples from this text (not containing the author’s name) are quoted on plates descriptive of Bhairava (Plate III), of Gurjarī (Plate LXXII), of Pañcama (Plate LXXVIII), of Seta-malār (Plate LXX), of Vilāvala (Plate XXXVIII), of Dīpaka (Plate XLI), of Mālaśrī (Plate LIV), of Śrī-rāga (Plate LIII), of Naṭa (Plate XLIV). That Lāl Kavi’s text won some amount of popularity with the illustrators is proved by the fact that his Kavittas are quoted in more than one series of miniatures. Thus, we find, they are quoted on another series of miniatures in the British Museum (Pers. Ms. Or. 8839, bequeathed by Baroness Zoucha and presented by Lord Curzon), late in style, and with oblong panels, flanked with square knob-decorations containing the text, one of which (with an illustration) is cited here (Plate XXIII). Indentity of the texts in the two series is further supported by the verses cited for Kakubha (Plate XXVII). The same text is also quoted in an analogous series, also late in style, in the British Museum (Pers. Ms. Or. No. 8838, presented by Lord Curzon, 13th October, 1917) of which an example, Megha-mallāra (f. 31) is cited here (Plate LXIV, C). Yet a third series appears to quote the same text, as will appear from a stray example, a Kedāra rāginī, cited here, from the author’s collection (Plate CIII—H). As will appear from the last line of the illegible text, it contains the name of the poet.