[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources](https://indike.org/pramana/ins.art.gangoly-1935) › c6.246 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.246 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.246 - **Language:** English ### [c6.246](https://indike.org/pramana/ins.art.gangoly-1935.c6.246) of Rājā Mān’s musicians, Naik, Mukshoo, and Bhanau formed a collection of songs suited to the tastes of every class of people.” According to Sir W. Ouseley (\*Anecdotes of Indian Music\*)¹ Rājā Mān Simha’s work was translated into Persian by Fakur Ullah. Three of these masters patronized by Rājā Mān, viz. Bikshoo, Dhondee and Charjoo, contributed a new type of Mallāra, to the stock of Indian melodies, called after them, “Mukshoo-ki-mallār,” “Dhondia Mallār,” and “Charjoo-ki-mallār.” Bukshoo’s name is also associated with a new variety of Velāval, and the melody ‘Bāhādurī-Toḍī.’ These artists subsequently passed into the service of Sultan Bāhādur of Gujerat. - [Previous: c6.245](https://indike.org/pramana/ins.art.gangoly-1935.c6.245) - [Next: c6.247](https://indike.org/pramana/ins.art.gangoly-1935.c6.247) - [Up: c6](https://indike.org/pramana/ins.art.gangoly-1935.c6) --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c6.246](https://indike.org/pramana/ins.art.gangoly-1935.c6.246) · Pramāṇa