Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.243

c6.243

The next stage in the development of the rāgas is represented by the contributions made by Rājā Mān Siṃha Tomar of Gwalior (not to be confused with Rājā Mānsingh of Amber). Rājā Mān, who succeeded Kalyāṇa Malla in 1486, died in 1517 A.D. According to Cunningham,¹ Rājā Mān was a “proficient composer, as well as a munificent patron, and many of his compositions still survive to justify the esteem in which they are held by his contemporaries. He was specially fond of the saṅkīrṇa rāgas, or mixed modes of which no less than four specimens are named after his favourite Gujarni (Guzeratī) queen, Mṛga-nenā (Mṛga-nayanā), or the “fawn-eyed.” These are Gujari, Bahul-Gujari, Māl-Gujari, and Maṅgal Gujari.” Cunningham thinks that the lady had a hand in their composition. Rājā Mān’s love of mixed rāgas is particularly noteworthy. Rājā Mān’s valuable contribution to Indian music is represented by a Hindi treatise known as “Mān-Kutūhala” (Curiosities of Mān).² It is said to contain the records of the proceedings of a great conference of musical experts assembled under the order of the Rājā. This seems to be corroborated by Abdul Fazl (Gladwin, Āīn-i-Akbarī, p. 730) who states that three