Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.50

c10.50

Verses from this text are quoted in describing Praja (Plate CVII) and Devakri (Plate CIII). Images of some melodies not described elsewhere, are given in this text e.g. Vāhulī, Suhavi, Jijāvanta (jhijhit ?) and Takka. The last melody is visualised as follows:—‘Addicted to dancing, patient (?), with the notes ‘ga’ and ‘ni’ in vikṛta or sharpened forms, with two additional śrutis,¹ a full-toned melody, having the note ‘sa’ as its initial, medial, and terminating notes. Dressed in patterned robes, wearing a be-jewelled string on his breast, and a fine crown on his head, Takka is a passionate person, of white complexion, and his body besmeared with sandal-paste, carrying flower globes in his hand, like a clever messenger of love, he roams (i.e. sung) at all times.’