Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c15.s30.2

c15.s30.2

It is mentioned in the Persian Treatise known as *Tuphet-’ul-Hind* by Mahomed Rezza Khan (1813 A.D.) recently edited by the Viśva Bhāratī, that at the time of this author, four classifications were current, one ascribed to Hanumāna, one ascribed to Bramhā, one ascribed to Bharata, and one ascribed to Kallinātha. The last named is set out in Appendix 14. Bharata has only mentioned certain grāma-rāgas (Appendix 2). and the classification ascribed to him must be by some later authors. As regards the School of Hanumāna, no text which could be ascribed to him appears to have survived. Anjaneya (Hanumāna) as a musical authority is mentioned by Abhinava Gupta (C. 1930) and Śāranga-deva (C. 1247), and quoted by Sāradā-tanaya (C. 1250) and also by Kallinātha (C. 1460). In Govinda Diksīta’s *Sangīta-sudhā*, Anjaneya is described as deriving the principles of Deśī-rāga, from Yāstika, an ancient authority earlier than Matanga. So that undoubtedly he is an ancient writer on music, although his actual work has not survived. The fact that his name is associated by Dāmodara in his *Sangīta Darpana* (Calcutta edition p. 75-76) with the scheme of Rāga-raginīs shows that Hanumāna expounded the Northern, or the Hindusthānī system. He is also referred to by Ahovala, as a commentator on Bharata-nātya. The classification of Hanumāna is followed by Dāmodara, Harivallava, the anonymous author of *Sangīta-mālā* and various other authors, with minor variations and is supposed to be still current.