Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c11.14

c11.14

(1) E. Sachau, “Alberuni’s India,” London, 1910, p. 195.
(2) “Ek patra yav khadkhadāye, ham bhāge simhal ka dvīp| Suṅke terā venusvara merā śir diyā vakśīs|| Sing necke kouḍi karanā mās payāyke khāo| Cāmdā leke āsan kijiye venukā svar sunāo”||
(3) Coomaraswamy, Catalogue of Boston Museum, Rajput The practice of visualising musical compositions in pictorial forms is no more confined to India. During the last few years a few European artists have made attempts to set down famous master-pieces of music into visualized pictures. The "Twenty-four Preludes" of Chopin have received pictorial interpretations by Robert Spies, an English artist.¹ A few years earlier, Miss Pamela Colman Smith exhibited in London, a series of pictorial drawings, interpreting famous musical pieces, which included Panderwski's "Chant du Voyage", Chopin's "Prelude No. 4", César Franck's "Symphony", Schumann's "Kinder-scenen" and Debussy's "Granada", and other pieces.² Yet, another series of illustrations of musical master-pieces were exhibited by Miss Juliet Williams at the Aeolian Hall in 1926, which included visualized versions of Bach's 'Concerto in E', Chopin's "Berceuse", Debussy's "L'Après-midi d'un Faune", and Borodin's "Unfinished Symphony."³