Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.6

c10.6

able indication as to the presiding deity of each melody is in the text of the *Sangīta-ratnākara* (13th century). The jāti-rāgas are not assigned to any presiding spirits, but the rāga-gītis described in the rāga-vivekādhyāya are invariably assigned to its protective divinity. Thus the Suddha-sādhārita melody has for its god, the sun (*ravi-daivatā*), the ṣaḍja-grāma rāga has for its god, Bṛhaspati (*guru-daivatā*), Śuddha-kaiśika, has for its lord, the Earth (*bhauma-vallabha*): Mālava-kaiśika is to be sung for the pleasure of Keśava (*Keśava-prītyaye*) its protective deity. Bhinna-ṣaḍja, has for its deity the four-faced god Brahmā (*caturānana daivatā*). Takka (Taṅka) rāga is sung for the pleasure of Rudra (*mude rudrasya*). Hindola has for its lord the god Makara-dhvaja, the Indian Cupid, the dolphin-bannered god (*makara-dhvaja-vallabha*). Kakubha is assigned to the god of Death (*Yama-daivataḥ*); and so on. Though the protective deities are indicated, their pictures, or images are not described in the text of Śārṅgadeva in any prayer-formulas in the shape of descriptive verses (*dhyānas*) such as we find in the later texts.