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# Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c8.67

Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c8.67

- **Language:** English

### [c8.67](https://indike.org/pramana/ins.art.gangoly-1935.c8.67)

Since, \*rāgas\* connote different and differentiated states of feelings, or emotive flavours (\*rasas\*), Indian theorists lay great stress on their relative difference in note-structures, corresponding to their relative emotive significances. A correct apprehension of the form of an individual \*rāga\*, therefore, involves an accurate understanding of its differences from cognate and other forms of related \*rāgas\*. The grouping and classification of \*rāgas\*, according to some principles or other, have, therefore, provided important chapters in all ancient text-books. These principles have varied from time to time, and have led to a bewildering variety of catalogues, groups, and classifications. For the purpose of convenient comparisons, we have set out a large variety of groups, or classifications in tabulated forms, arranged as far as practicable in a chronological sequence in the Appendices, (a list of which is summarised on the page opposite). It is not always possible, without accurate informations as to the note-structures of \*rāgas\* current at different periods of evolution, to discover the principles on which \*rāgas\* have been grouped, or classified. Various principles of

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Source: [https://indike.org/pramana/ins.art.gangoly-1935.c8.67](https://indike.org/pramana/ins.art.gangoly-1935.c8.67) · Pramāṇa
