Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c7.33

c7.33

Of other examples of the Sanskritization of names of non-Indian or non-Aryan melodies, the most important is Velāvalī. In its original form, which we find twice mentioned in the *Abhilāṣārtha-cintāmaṇi* (Ch. 66, 67), it is *vela-ūllī*, apparently a Dravidian word. Toḍi, sanskritized as Tuḍikā (Toḍikā), is originally derived from Tuḍḍī. Āśāvarī, and Dhannāsikā (Dhanāśrī), meaningless as Sanskrit terms, probably conceal within their modern forms, their original non-Aryan names. Similarly, ‘Bhāvanā-pañcama’ mentioned as an upa-rāga in *Saṅgīta-ratnākara*, is a respectable form of Khammāj rāgiṇī), to be distinguished from ‘Khamvātī’, (see notes on Plate CXIV) is first described by Śāraṅga-deva as ‘Khambhā-itī’ (Vol. I, p. 212) and, then under the respectable name of ‘Stambha-tīrthikā’ ‘the sanctified water from the pillar.’² Names which had no chance to put on respectable garbs of Sanskrit names, are exemplified in Chevāṭī,