Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c7.54

c7.54

In the illustrations, and in the descriptive plates, these pairs of "opposites", masquerading under similar names have been juxtaposed, and their different pictorial portraits have been exemplified. It will be sufficient to cite here the groups of the analogous names: thus Toḍī (Plate XV) and Tuḍī (Plate XXI) represent differing conceptions Kānoḍā, wife of Dīpaka (Plate L) is different from Kānoḍā, wife of Mallāra (Plate LI): Rāmakirī, wife of Bhairo (Plate XXXII) differs in conception from Rāmakirī, wife of Mālava (Plate XXXIII), Fig. A), and also from Rāmakeli, wife of Karṇāṭa (Plate XXXIII, Fig. B): Deśākh (Plate XXXIV), Deśī (Plate XLIII) and Deśakāri (Plate LXXV) represent different melodies; two different melodies are indicated under the analogous names of Lalita (Plate XXXVI) and Lalitā (Plate XXXVII, Fig. D); the verses and pictures illustrating Kedārikā (Plate XLVI) and Kedārī (Plate XLVII) offer divergent portraits; Naṭa (Plate XLIV), Naṭikā, Nāṭa (Plate XLV) and Naṭṭa-nārāyaṇa (Plate LXXIX) embody divergent personifications, and differing emotive values; Sāvirī (Plate LXLVI) and Sāverikā (Plate LXLVII) under analogous names conceal different identities.¹