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In these painting each raga is personified by a colour, mood, a verse describing a story of a hero and heroine (nayaka and nayika), it also elucidates the season and the time of day and night in which a particular raga is to be sung; and finally most paintings also demarcate the specific Hindu deities attached with the raga, like Bhairava or ...
The title literally means a 'Garland of Raga’, or a ‘Mode of Musical Melodies’ - "mala" means "garland", while "raga" means “musical composition or mode.” This work has inspired the series of Ragamala paintings. The list differs according to the author and the music school it is based upon.
Ragamala or Raga mala ("garland of raga") can refer to: Ragmala, composition of twelve verses in the Guru Granth Sahib; Ragamala Dance Company, Minneapolis-based dance company that showcases the ancient Bharatanatyam dance form; Ragamala paintings, series of illustrative paintings of ragas (modes in Indian music)
A Ragamala series painting based on Malkauns Raga, c. 1735. Malkauns is a serious, meditative raga, and is developed mostly in the lower octave (mandra saptak) and in a slow tempo (vilambit laya). Ornaments such as meend, gamak and andolan are used rather than 'lighter' ornaments such as murki and khatka. Komal Ni is generally considered the ...
Marva or Marwa (IAST: Mārvā) portrays being with one's lover and is often portrayed in Ragamala paintings as two couples kissing. It is a hexatonic Indian raga; Pa (the fifth tone) is omitted. Marva is the eponymous raga of the Marva thaat.
Like all ragas, Raga Bageshri traces its origins to the Samaveda, a sacred Hindu text with roots that likely date back to around 1500 BCE, though its oral tradition could be much older [3]. Raga Bageshri is a night time raga ( madhya raatri Ragsamaya), written in Kaafi thaat , Ma Vadi , Sa Samvadi, 5/7 Jati, Hasya Rasa (associated with joyful ...
Scene depicting the Bhairavi raga, used as cover picture. The Raga Guide is a 1999 Nimbus Records compilation of 74 Hindustani ragas on four CDs.It includes a textbook edited by Joep Bor (of the Rotterdam Conservatory of Music) with information and western-style transcriptions of the ragas and a catalogue of two sets of ragamala plates, dated to c. 1610 and 1650.
The Pattachitra style are mix of both folk and classical elements but leanings more towards folk forms. The dress style has Mughal influences. All of the poses have been confined to a few well-defined postures. These are not free from monotonous repetitions, though at times this is necessary to accentuate the narrative character of the style.