Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.131

c6.131

(3) *Vira-roudrādhbhūta-rase tāna jīvana samjnake* *Abhi saḍja tāyām mūrccha-grayam (?) madhyama śruto* *Ārṣadhyām rsabha amśa nyāsayoh||* *Saḍja-varjita-jita-saṃgrāma-gupten Reva-gupta prakīrttitah|* *Tathāca Kaśyapah:* *Ārsbhi-jāti sambhūto rsabhāmta staddāmtakah||* *Sampūrno Reva-gupta stu vidvadbhiḥ saḍja-ṣaḍvah||* ern and southern streams of art and culture. Śārṅgadeva’s work undoubtedly bears signs of this contact with the music of the Northern and as well as the Southern School. “It is possible,” as Popely has suggested, “that he (Śārṅgadeva) is endeavouring to give the common theory which underlies both systems.” After considering the texts of Bharata, Dattila, Mataṅga, and Nārada, one can have no doubt that Śārṅgadeva, gives an elaborate résumé of the general system of Indian music in theory and practice as had been developed in the centuries previous to the thirteenth. He gives detailed exposition of th jātis, and the grāma-rāgas, accompanied by actual notations. He devotes a large section of his chapter on melodies (*rāga-vivekādhyāya*) to the deśī melodies famous in ancient times (*prāk-prasiddha-deśī-rāgāḥ*). He gives an historical survey of rāgas according to Yāṣṭika and Mataṅga. He then gives a preliminary list of 8 uparāgas : Tilaka, Śaka, Takka-saindhava, Kokila, Pañcama, Revagupta, and Pañcama-ṣāḍava. Next he gives a general list of 20 rāgas namely: Bhāvanā-pañcama, Nāga-gāndhāra, Nāga-pañcama, Śrī-rāga, Naṭṭa, Vaṅgāla, Bhāsa, Madhyama-ṣāḍava, Raktahaṃsa, Kollahāsa, Prasava, Bhairava-dhvani, Megha-rāga, Somarāga, Kāmoda, Ābhra-pañcama, Kandarpa-deśākhya, Kakuba, Kaiśika, Naṭṭa-nārāyaṇa (Appendix 9).