Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.330

c6.330

very little to record by way of new developments. Thus the treatise called *Saṅgīta-nārāyaṇa*¹ composed by Puruṣottama Miśra under the patronage of Nārāyaṇa Deva of Parlakimedi of the Southern Gajapati dynasty about the years 1730-1750 freely uses the earlier texts.² The most interesting of the citations in this work are the verses from Nārada’s *Pañcama-sāra-saṃhitā*, and Mammaṭā-carya’s *Saṅgīta-ratnamālā*, the original text of the latter being not yet traceable. The principal feature of the work is contributed by the descriptive prayer-formulas from various earlier authors. The author follows the six-rāga system with the following major rāgas: Bhairava, Vasanta, Mālava-kauśika, Śrī-rāga, Megha-rāga, and Naṭṭa-nārāyaṇa.