[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) › c7.33 # Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c7.33 Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c7.33 - **Language:** English ### [c7.33](https://indike.org/pramana/ins.art.gangoly-1935.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, - [Previous: c7.32](https://indike.org/pramana/ins.art.gangoly-1935.c7.32) - [Next: c7.34](https://indike.org/pramana/ins.art.gangoly-1935.c7.34) - [Up: c7](https://indike.org/pramana/ins.art.gangoly-1935.c7) ## Cites (1) - [Saṅgītaratnākara](https://indike.org/pramana/in.art.sangita.sangraha.ratnakara.sangitaratnakara) — Śārṅgadeva, Sanskrit --- Source: [https://indike.org/pramana/ins.art.gangoly-1935.c7.33](https://indike.org/pramana/ins.art.gangoly-1935.c7.33) · Pramāṇa