Ragamala - the Amalgamation of Music, Poetry and Painting

Aarti Iyer Research scholar Department of Sanskrit and Indian Culture Sri Chandrasekarendra Saraswathi Vishwa Mahavidhyalaya Enathur, Kanchipuram

Abstract

Painting and music are primarily considered as a form of romantic art. As a union of painting and music comes poetry. Music, painting, and poetry are associated with different fields of arts and are also operated and approached through different senses, i.e., through ears and eyes, which in modern terms can be called audiovisual art. We find a close link between them in Ragamala style of painting. This paper highlights the conglomeration of three distinct forms of art, i.e., Indian Classical Music, Painting, and poetry, that developed into a unique style among miniature paintings called the Ragamala painting during early 16th century C.E. to 19th century C.E. It is considered to be one of the distinguished subjects among the large number of miniature painting subjects found in different regions of India. Among these regions, Rajasthan state is considered to be an epicentre for the foundation of Ragamala style of miniature painting. The study provides an abstract understanding tangible and intangible approach towards the impression of musical Ragas and Raginis as personified as Nayaka and Nayika in the Ragamala Painting. The artist tries to interpret the psychological emotions and sentiments, that has to be exhibited through the characters played by the Nayaka and Nayika, which is completely based on the essence of the particular Raga or Ragini. Each Raga have their own indigenous moods, timing, season and emotions which is beautifully described in the painting through their verses or small poetry mention above the painting. The importance of creating such a diverse platform has come to fore in the course of this study on documenting oral narratives about the life of legendary rulers of Rajput state, folk music and their artists, classical music and musical instruments and interviewing the contemporary miniature artist and the overall cultural literacy that enables appreciation of the cultural material

Introduction In our Indian traditions, from time immemorial, art has always remained an integral part of human life and has not only been engraved through social, religious, and cultural barriers within the country but has escorted humans in their movement across the frontiers. It is the similar approach of nature that creates accordance amid the diverse streams of Arts. The Indian ethnicity deals with an illustrious position of art and significantly holds both the artist and the aesthete in equal esteem1. Arts have existed and have been used to display mans' life, struggles, tales, traditions, Etc. Indian culture is always represented as an amalgamation of several cultures spanning the Indian subcontinent and has been influenced by history and archaeology that is several million years old. It is said that the term Chatu Shasti Kala is a commonly known phrase mentioned in ancient Indian literature, defining the 64 kinds of fine arts. There is a reference of the Chatu Shasti Kala mentioned in many literary sources such as Kavyas, Kadambari of Bana, Champu Ramayana of Bhoja Raja, literature named Sritattvanidhi, Sukranitisara also describes the 64 fine arts.2.

In Indian tradition, the highest philosophical concept of art is Satyam, Shivam, Sundaram, i.e., truth, benevolence, and beauty. This philosophical concept of art is accepted in one way or the other by all the Indian artists throughout the ages of history3. Originally almost all the fine arts were dedicated to the supreme deities whose abodes were the temples. Moreover, that is how the foundation of fine arts such as Music, Dance, Drama, Paintings, and Instrumentals began to be associated with the cultural stigma of Indian society and its religious ideologies.4

1 Dwivedi, B. Rathore, M S, Essence of Rajasthani Miniature: Ragamala Painting. Journal of Arts. IISUniversity Vol.3. 2014. p 115-124. 2 Vyas, Ramnarayan., Nature of Indian Culture. Concept Pub House. New Delhi, 1992

3 Sharma, N. A Critical Study of Ragamala Paintings of Gujarat, Rajasthan, and Central India. Shodhganga. 2015 4 Dwivedi, B. Rathore, M S, Essence of Rajasthani Miniature: Ragamala Painting. Journal of Arts. IISUniversity Vol.3. 2014. p 115-124

I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala In Indian miniature paintings, we find an excellent example of this in Ragamala paintings. The idea of associating music with painting is unique in Indian art. Musical ragas expressed in poetic verses were written on the top of the folio just above the picture. In turn, they illustrated below the Raga and Ragini as the Nayaka and Nayika5.

Ragamala paintings are visual interpretations of Indian musical modes previously envisioned by divine or human forms by musicians and poets. They show most frequently romantic or devotional situations in somewhat stereotyped, aristocratic settings. These paintings were formed in a module containing most often 36 or 42 folios organised in a system of families. Each family comprises a male Raga and five or six Raginis with their several Ragaputras (son) and their Ragabharyas (wife). Many paintings are inscribed with their title or even a poem, which renders a verbal interpretation of the theme more or less closely related to the painted version.

It has been long said that one can feel an emotional response from the characters of varying degrees found in music. It can affect one's mood, get them excited or make them calm and relaxed. Music also allows us to feel nearly or possibly all emotions that we experience in our lives. The possibilities are endless.

Aims and Objectives This research aims to study the intangible aspects of music and musical instruments depicted in the Ragamala style of a miniature painting belonging to a different school of Rajasthan, which is dated between the early 16th Century C.E. and late 19th Century C.E. Understanding the evolution and development of Indian miniature paintings under the influence of music, poetry, and painting became a central theme that was primarily represented in miniature paintings in almost all the regions of India, majorly in Rajasthan. This research is based primarily on studying the Ragamala- (Garland of Melodies) style of a miniature painting belonging to carefully selected five centres in Rajasthan, namely Kota, Bundi, Udaipur, Jodhpur, Bikaner, Jaipur.

5 Sharma, N. A Critical Study of Ragamala Paintings of Gujarat, Rajasthan, and Central India. Shodhganga. 2015

Map 1 showing the selected regions in Rajasthan for the study of Ragamala

style of miniature paintings

Methodology This exploratory research study was carried out in Rajasthan as it has been considered to be the main centre for the origin of the Ragamala style of miniature paintings, which is rooted in the history of Rajasthan. Miniature paintings are among the few indigenous artworks, which have the very essence of depicting Rajasthan's folklore, culture, traditions, and ethnicity through its artwork. Moreover, the impact of Indian classical music, which is broadly reflected in the artist's creativity, has made the painting look so familiar for the viewer to understand the particular Raga depicted in the Ragamala paintings without having any prior knowledge about Ragamalika.

Various measures have been carried out for procuring the primary data and references related to Indian miniature paintings and Indian classical music and musical instruments as subjected to the topic. Digital copies of Indian miniature paintings belonging to different

I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala regions of India and their sub-schools were procured from the archival collection owned by Government Museums, Private museums, and art collectors. The author also conducted personal interaction with the artist, who still practices making and replicating the Rajasthani miniature paintings.

The data collection followed three stages: Background literary research and plotting the locations for procuring the Ragamala paintings through already published datasets, field visit and later data analysis. Then, on-field data collection involved photographing the Ragamala paintings exhibited at various museums, palaces or Haveli, and from the archival sections at govt libraries. Finally, in understanding the richness and cultural traditions, semi- structured interviews and recordings were conducted to understand the local folklores explained by the royal custodian.

The case study of Ragamala paintings has helped to highlight the broad concept of Raga and Raginis of Indian classical music. The importance and significance of the Ragamala concept have been broadly studied to understand the miniature paintings of Rajasthan. Brief research on the role played by the musical instruments which are depicted on the Ragamala miniature paintings has paved the way for an extensive understanding of the aesthetics sync between tangible music and intangible music.

Provenance Rajput/ Rajasthani painting is a conceptual art composed of naturalism or illusionism, which occurs through the distribution of colours and forms. Several schools of miniature paintings flourished between the late 16th to the early 19th Century C.E. in various principalities of Rajasthan. Inheriting diverse traditions, they displayed a rich range of expression. The Rajasthani style of Indian miniature painting developed several different schools, their boundaries seemingly coinciding with the various states of Rajasthan, notably Mewar, Bundi, Kota, Jaipur and Kishangarh in eastern Rajasthan and Jodhpur, Bikaner and Jaisalmer in the western region became the important centres of painting. Artists or Chiteras moved from one Rajput principality to the other. Illustrated manuscripts were often exchanged as marriage gifts or formed precious items as dowry. This led to a beautiful fusion of painting style from various centres of Rajasthan6.

6 Chakravarty, A. Indian Miniature Painting Roli & Jenssen BV New Delhi. P.16 2008

Inspired by the royal and romantic lives of the Mughals, these paintings were done with the utmost care and in minute details with strong lines and bold colours set in rhythmic patterns. The court artists, who captured the moments on canvas, painted scenes from everyday life. Elements of the distinctive landscape were often presented, subject to solid stylisation. Each school worked out a particular facial type, invariably a profile. Traditional Rajasthani costumes and elaborate headgear, made of dyed or woven fabrics, were seen in vibrant primary colours.

The Rajasthani miniature school showcased its unique signature and individuality adapted by their regions influenced by various scenarios happening around them, politically, socially or religiously. A vast concept of love literature-inspired Rajput artistic composition includes the Rasikapriya, a 16th century C.E. poem by Keshavdas that explores the stages of love between Krishna and Radha. He also wrote the Kavipriya, based on the Baramasa, a poetry genre that depicts the 12 different seasons and how it impacts human nature. The Rasamanjari, composed by the 15th century C.E. poet Bhanudatta, one of the best-known Sanskrit works in this genre, categorises and describes the various types of romantic Nayaka and Nayika according to their age, personalities, and circumstances.

Music in Ragamala In Bharata's Natyasastra, the earliest work on theatre, dance, and music was written either in the 2nd Century B.C. or A.D. The word Raga was not known, but Jati was used in the modern sense of Ragas. Bharata's Jati was not a melody but bare scaffolding. Nevertheless, when it came to be sung, it was subjected to variation and ornamentation. The transformation it underwent was affected by the moods of the moment, which gave it a unique character. This came to be called Raga. The word Raga, in Indian classical music, is derived from the Sanskrit root 'Ranj,' denoting colour or atmosphere. It is a product of permutation and a combination of Swaras which creates a sweet and soothing impression.7

In its musical connotation, the concept of Ragas appeared for the first time in the Brhaddesi, a work of Sanskrit scholar Matanga who lived sometime between the 5th and the

7 Sharma, N. A Critical Study of Ragamala Paintings of Gujarat, Rajasthan, and Central India, Pp-48

I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala 7th century. Matanga defines Raga as a combination of notes, illustrated by audible patterns and designs capable of being formed by different arrangements of notes capable of producing pleasant sensations8. Raga Dhyanas or contemplative prayer formulas were devised for the purpose, passed on from the master to the students9.

Similarly, Sarangadeva, in his work Sangeeta Ratnakara, defines Raga as ‘that which colours the minds of the people is called Raga’ by the wise. Narada, the author of Sangeeta Makaranda, composed during the 9th century C.E., introduced the system of Raga Ragini Vargikaran instead of the Graam Mochana and Jati system of ancient times. This system was prevalent during the medieval period for the classification of the Hindustani classical Ragas.

Medieval Musicologist Damodar Misra, the author of Sangeet Darpan, which is dated to the 15th century C.E., has been credited to popularise this concept of classification of Ragas on a family-based system. They classified the Ragas into Raga- Ragini, Ragaputra, and Ragabharya categories. Mesakarna or Ksemakarna, a 16th century C.E. a rhetorician from Rewa (Central India), in his treaties, Ragamala compiled the elaborate system of Six Ragas, each with five Raginis, eight Ragaputras and Ragabharya.10.

Each Raga has a particular sentiment, mood, and passion associated with a specific time, season and occasion. It is considered, for instance, that particular Raga should be sung in the morning and sure others in the evening time; some are to be sung in the evening hours and others only in winters. Theorists have divided the 24 hours of the day and night into eight praharas, and each praharas consist of three hours.11

8 Sodha, R. Rajasthani Ragamala Painting. Ratan Parimoo Rajasthani, Central Indian, Pahari, and Mughal Painting. N.C. Mehta Collection, Vol. II, Gujarat Museum Society. Pp: 146 . 2013 9 Chakraverty, A.. Jnana-Pravaha, Journal no 21 Part 10(2017) Pp: 120 10Ibid, p-120 11 Sharma, N. A Critical Study of Ragamala Paintings of Gujarat, Rajasthan, and Central India

Fig: 1 Samay Chakra of Ragas in Hindustani Classical Music, Credited to ITC

Sangeet Research Acadamy.

The distinction between the Ragas and Raginis is also based on their emotional value. The Ragas, according to Narada, express wonder, courage, and anger, while Ragini evokes love, laughter, and sorrow. The neuter ones portray fear, disgust, and peace12. These Ragas, when appropriately played, have the potential of evoking a particular Rasa in both the listener and the musician when their mind is tuned to the performance and performer and become stimulated and excited by the dramatic poetical or musical representation. The primary emotion, Bhava, inherent in the work itself and the response created in the spectator in the

12 Sodha, R. Rajasthani Ragamala Painting. Ratan Parimoo Rajasthani, Central Indian, Pahari, and Mughal Painting. N.C. Mehta Collection, Vol. II, Gujarat Museum Society. Pp: 149. 2013

I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala form of Rasa is considered to be two different emotional phenomena. However, particularly in music, the term Rasa represents both the primary and responding emotions13.

POETRY IN RAGAMALA The poems illustrate the creative genius of a poet gifted with an unusual talent for combining words and reveal the work of a poet simultaneously sensitive to the musical aesthetic. It is reasonable to assume that the subtle and arresting rhythmic pattern present in the poems, which became manifest even within the limitation of the poet choosing to include prescribed names of musical modes, were fully discerned and enjoyed in recitation by the elite patrons who owned these paintings14.

In between Ragamala music and Ragamala painting, another noteworthy medium is poetry, which is generally known as the Dhyana formula or abstract form, which describes in detail the Ragas. This helped the painters to illustrate them.15 The Ragamala poems are related to poetry such as Rasikapriya of Kesava Dasa or Vasantha Vilasa, Bihari Satsaiya, and as these works are far more than description. Painting and poetry (verses) alike are traditionally and profoundly imagined pictures of human passion, and the more they are studied, the more they reveal their content of experience.16.

The poems or the prayer formulas were initially described in Sanskrit in ancient times, and later Sharada, Devnagri, Braja Basha or other regional languages were adapted in the medieval phase. These poems are presumed to be memorisation devices for the singer/ musician who traditionally associated the Ragas and Raginis with respective deities. Formulated for such contemplation, poets became intrigued with the deification and spun elaborate configuration and situation around the character. These verbal descriptions became sources for pictorial representation in Ragamala painting.17.

13 Kaufmann, W. “Rasa, Raga-Mala, and Performance Times in North Indian Ragas”.University of Illinois Press Ethnomusicology Sep. 1965. Vol.9. No.3. pp. 272-291 14 Flora, R. “Unique Poetry on Five Ragamala Paintings in the National Gallery of Victoria: Rhyme, Alliteration, and Rhythm in Couplets of Great Intensity and Charm”. Context, 32, pp. 5:5-30 (2007). 15 Sharma, N. A Critical Study of Ragamala Paintings of Gujarat, Rajasthan, and Central India, p-74. 16 A.K. Coomaraswamy. “Hindu Ragamala Text”. Journal of the American Oriental Society, (New Haven, Conn.), Vol. 43(1923), pp. 396-409 17 Sodha, R. Rajasthani Ragamala Painting. Ratan Parimoo Rajasthani, Central Indian, Pahari, and Mughal Painting. N.C. Mehta Collection, Vol. II, Gujarat Museum Society. pp: 150.145-178. 2013

I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala Painting in Ragamala Ragamala paintings are visual interpretations of Indian musical modes previously envisioned by divine or human forms by musicians and poets. They show most frequently romantic or devotional situations in somewhat stereotyped, aristocratic settings. These paintings were formed in a module containing most often 36 or 42 folios organised in a system of families. Many paintings are inscribed with their title or even a poem, which renders a verbal interpretation of the theme more or less closely related to the painted version.

The depiction of six multi-armed deities labelled as Raga, and thirty-six female Ragini on the back of the Kalpasutra folios are the earliest known Ragamala Painting to have survived (Kalpasutra image). These are dated to 1475 C.E. on the stylistic ground and were formally in the collection of the late Jaina Acharya Jayasimha Suriji of Ahmadabad. These small title paintings are dominated by the anthropomorphic presence of the melodic form, personified as God and Goddess18. The centre portion of each folio is occupied by the Kalpasutra text written in gold ink, and the margin consists of these Ragamala with their name above each picture19.

Sri Vasant Bhairav Pancham Megha

Dravidi Bhasa Ramagiri Bhasa Abhiri Debala

18 Chakraverty, A.. Jnana-Pravaha, Journal no 21 Part 10(2017) pp: 118-128 19 Sharma, N. A Critical Study of Ragamala Paintings of Gujarat, Rajasthan, and Central India , Pp:85

watercolour, gold, and ink on paper. Ebeling C48, p. 121

In terms of Ragamala iconography, these paintings acquire a unique position as no other Kalpasutra manuscripts with Ragamala paintings are known. Also, the main Ragas depicted in the manuscript are Sri, Vasanta, Bhairava, Panchama, Megha, and Nata Narayana, as a group never presided over any Ragamala system. Strangely, many of the Raginis depicted on this Kalpasutra were never mentioned in the later depiction of Raga Ragini paintings.20

The next surviving Ragamala painting comes from a place called Palam (Delhi) Uttar Pradesh, dated 1540-1570 C.E. The Ragamala series was formerly in the collection of the late Jaina Muni Vijayendra Suri21. Iconographically they belong to the Rajasthani tradition. All known surviving works of this art were painted during the late 16th through early 19th Century in Rajasthan, Madhya pradesh, Deccan, in the North Central area, or in the Pahari regions22.

The painters of Ragamala were skilful craftsmen, working more or less expertly in many subjects. Still, they lacked the quality of many of their patrons and of the poets whose verses they illustrated following the painting of the subject.23 The exhaustive research in Ragamala miniature and musical text led Klaus Ebeling to conclude with a Painters System. In approximately 2000 inscribed paintings, he could locate the continuity of this particular model of an obscure origin. The painters' system in its detailed breakdown, documented by Klaus Ebeling, is as follow24.

20 Chakraverty, A.. Jnana-Pravaha, Journal no 21 Part 10(2017) pp: 120

21 Chakraverty, A.. Jnana-Pravaha, Journal no 21 Part 10(2017) pp: 118-128 22 Ebeling, Klaus. Ragamala Paintings. Published by Ravi Kumar, Basilius Presse Switzerland 1973. P:13 23 Ibid, p.14 24 Chakraverty, A.. Jnana-Pravaha, Journal no 21 Part 10(2017), Pp: 122. 118-128

Table 1: Painter's System. Credit to Rita Sodha's Rajasthani Ragamala Painting 2013

Ragamala The content of these paintings was based on the personification or deification of a musical mode. These paintings come under specific categories such as Religious and aristocratic imagination in the action and appearances of human characters and architecture and paraphernalia. Poetic symbolism is visualised. The Rasa and the performance time of the

I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala musical mode, the patron's personal or religious preference, painter's technical and stylistic limitations, and the local character of flora, fauna, and landscape25.

Fig: 4 Deepak Rag of Bundi Kotah region of Rajasthan dated around the 18th century

CE, Michigan Museum of Arts.

Raga Deepak

25 Ebeling, Klaus. Ragamala Paintings. Published by Ravi Kumar, Basilius Presse Switzerland 1973, Pp. 28.

Date: late 18th -19th century CE

Medium: Ink, opaque water colour and gold on paper

Size: 31.1*21.5 cm

Dipak Raga is said to be the forth male Raga, whose consorts are Dhanashri, Vasantha, Kanada, Bairadi, and Desavarati (Purvi). In Indian classical music, Raga Dipak is traditionally to be performed in the evening hours; identically a time when lamps are lit in the houses. The word Dipak means “flame”. The Rajasthani Ragamala painting depicts Deepak Raga as a pair of lovers in an amorous dalliance with lamps in their surroundings26. Prof. Rita Sodha, in her literature "Rajasthani Ragamala Painting", describes Raga Dipak as an old Raga that has now become obsolete27.

26 Sharma, N. A Critical Study of Ragamala Paintings of Gujarat, Rajasthan, and Central India. Shodhganga. (2015). Pp 79 27 Sodha, R. Rajasthani Ragamala Painting. Ratan Parimoo Rajasthani, Central Indian, Pahari, and Mughal Painting. N.C. Mehta Collection, Vol. II, Gujarat Museum Society. Pp: 163:145-178. 2013

Fig: 5 Pancham Ragini of Bundi Rajasthan, dated to 17th century C.E. from Klaus Ebeling Ragamala Painting Research collection. Cornell University.

Ragini Pancham Bundi Ragamala Painting Date: Early 17th-century C.E. Medium: Ink, opaque watercolour on paper Size: 4.5*7.5 inches

Raga Pancham is one of the oldest ragas known to have been the sixth principal Raga. Once upon a time, it became less popular and was replaced by Raga Malkauns. Usually performed late after midnight in the months of summer and autumn, it is a rich and delicately feminine Raga28. As elucidated in the poem, Ragini Pancham is portrayed as an elegant Nayika. She is charming and fascinatingly beautiful and endowed with all the graces. Here she is sitting along with her beloved Sri Raga, who is in their bed chamber inside their palace. Maid waits by making them comfortable. Pleased with the performance of the two musicians, king Sri has ordered the maid to reward them with generous remuneration. The older one is playing the Sitar among the musicians, and the younger is accompanying him with a pair of Manjira.

28 Sodha, R. Rajasthani Ragamala Painting. Ratan Parimoo Rajasthani, Central Indian, Pahari, and Mughal Painting. N.C. Mehta Collection, Vol. II, Gujarat Museum Society. pp. 171:145-178. 2013

Fig: 6 Raga Sri of Jaipur Rajasthan dated to 17th century C.E. from Ragamala series painting from the Albert hall museum, Jaipur, Rajasthan.

Sri Raga: Region: Jaipur Rajasthan Date: 1760 CE Acc No: 31 Size: 7.5*12.5 Inches Medium: Ink, opaque water colour and gold on paper

Raga Sri is considered to be the sixth male Raga in the Ragamala system, whose consorts are Pancham, Kamod, Setmalhar, Asavari, and Kedar. In Indian musical context, Sri Raga is said to be performed in the first phase of evening, i.e. between 4pm to 6pm. In Ragamala painting, Raga Sri is characterised with mysterious, gentle, and often depicts the spirituality of love and the nostalgic and prayerful mood of early evening. (Sodha, 171)29 This Raga is anthropomorphised as a particular deity seated with or without his consort hearing music played by the Kinnaras and Gandharvas30. Here in the Jaipur school of Ragamala painting, Raga Sri has been illustrated as a royal couple enjoying music in their palatial ambience, with female attendance fanning them with a flywhisk by their side. The couple is enthralled by the tunes being played by the Sage Narada on his Veena. He is accompanied by two male musicians, one is on Mridangam and other one is playing Manjira.

29 Ibid, p. 171. 30 Ibid, p. 171

Fig: 7 Ragini Vasanti of Raga Deepak Mewar Rajasthan dated to the late 16th century, from Klaus Ebeling Ragamala Painting Research collection, Cornell University.

Region: Mewar Ragamala Date: 1680 CE Acc No: RM_B3_13_09. SS: 3698556 Dimension: 8.6*16 inches Medium: Opaque water colour and gold on paper. .

Ragini Vasanth is said to be one of the wife of Raga Dipak. The word Vasant is associated with “Vasanth Ritu” the season of spring. This is the season, where the whole nation eagerly waits to celebrate the festival of Holi. The Ragini Vasanta is regarded as the best Ragini imaginatively, verbally, pictorially31. Ragini Vasanta is sung during any time in spring and otherwise in the second quarter of the morning32. The paintings describes about a beautiful event taking place, where the Nayaka and Nayika who are personified as Krishna and Radha are celebrating the festival of Holi along with other Gopis. Ragini Vasanth is shown being embraced by her lord (Nayaka), who is holding her by right hand and his left hand is reaching out to receive a pot fully decorated by flowers offered by one of the Gopis. In this picture, the natural background of the sky and trees with foliages add to the atmosphere. He is surrounded by women playing instrumental music of Pakhawaj, Manjira, and Flute.

31 Sharma, N. A Critical Study of Ragamala Paintings of Gujarat, Rajasthan, and Central India. Shodhganga. (2015), Pp. 219 32 Sodha, R. Rajasthani Ragamala Painting. Ratan Parimoo Rajasthani, Central Indian, Pahari, and Mughal

Painting. N.C. Mehta Collection, Vol. II, Gujarat Museum Society. pp: 169.145-178. 2013

Fig: 8 Ragini Bhairavi of Rag Bhairav Bundi Kotah, dated to 1590 C.E. from Klaus Ebeling Ragamala Painting Research collection. Cornell University.

I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala Bhairavi Ragini Bundi Kotah Ragamala Painting Medium: Ink and opaque watercolour on paper Size: 4.75 *8 (inches) Access Id: RM_B2_28_61

Ragini Bhairavi is considered as the first wife of Raga Bhairava. She is shown worshipping Lord Shiva in his phallic form in a small shrine. The Shiva lingam is decorated with flowers and garlands around it. She is performing prayer by chanting sacred verses along with playing the cymbals to tune it to the rhythm of her prayers33. The shrine is depicted in an oblique perspective, and on the left side is the mainly hidden plantain tree and a peacock with fully spread out feathers standing on the roof next to the temple shikhara. 34It is a melody of love and devotion. It is essentially an early Morning Raga.35

Conclusion The study of Ragamala paintings through tangible and intangible aspects has opened a new approachable method in understanding and identifying some of the rarest of the rare Ragas and Raginis and their origin in the prominence of Indian classical music. Among numerous themes and various stylisation adapted by the miniature painting artist of Rajasthan, Ragamala stands out as one such unique style of miniature painting that has an ability, or to put it in this way, as it has some hypnotic capability of generating a specific psychological emotion (Rasa) in the mind of the viewer. The Raga in the Ragamala concentrates upon a balance of human feelings, (Bhava) and their moods. This music vibrates between man and his natural environment.

This study has helped understand the similarities between the forms of Ragas and Raginis of Indian classical music and the Ragas and Raginis depicted in the miniature paintings of Rajasthan, which up to an extent, is quite vague. Interesting factors regarding how certain Ragas and Raginis were characterised as Nayaka and Nayika or a specific God or Goddess, like Krishna and Radha or Shiva and Parvathi, produced by different painters at a

33 Ebeling. Klaus. Ragamala Painting. Pp. 32 34 Sodha, R. Rajasthani Ragamala Painting. Ratan Parimoo Rajasthani, Central Indian, Pahari, and Mugha, Painting. N.C. Mehta Collection, Vol. II, Gujarat Museum Society. pp: 169.145-178. 2013 35 Sharma, N. A Critical Study of Ragamala Paintings of Gujarat, Rajasthan, and Central India. Shodhganga. (2015). Pp: 83

I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala different time in other localities under various royal patrons provokes the required methods, elements and principles of the melodic Ragas in Indian classical music.

Through oral narratives and documentation of contemporary miniature painting artists, it will be fair enough to state that the miniature artists of medieval time would have been highly trained in all the aspects of aesthetic art associated with music, painting and poetry. Without knowing these specific arts, the painter wouldn't have been able to produce or create Ragamala painting, which is the combination of Rasa, Sringara and Dhyana, literally represented as an amalgamation of music, painting and poetry. "By moving away from that iconography of religion into a realm of human passion, these artists made the first exploratory steps towards abstraction, led by the sound of music." 36

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Klaus Ebeling http://digital.liberary.cornell.edu/catalog/ss:3797376

3. Ragini Bhairavi from Rahamala series, Bundi Kotah Rajasthan India. Credited to

Klaus Ebeling http://digital.liberary.cornell.edu/catalog/ss:3797338

4. Ragini Vasanta from Ragamala series, Mewar Rajasthan India. Credited to Klaus

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Music. https://www.itcsra.org/SamayRaga.aspx