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Ragamala paintings are a form of Indian miniature painting, a set of illustrative paintings of the Ragamala or "Garland of Ragas", depicting variations of the Indian musical modes called ragas. They stand as a classical example of the amalgamation of art, poetry and classical music in medieval India.
These raga appear in the saroops of Guru Granth Sahib, after the compositions of Guru Arjan entitled Mundavani (ਮੁੰਦਾਵਣੀ; meaning "The Royal Seal".) The title literally means a 'Garland of Raga ’, or a ‘Mode of Musical Melodies’ - "mala" means "garland", while "raga" means “musical composition or mode.”
The ragas of this thaat are full of Shringara Rasa (romantic) hence this raga is mostly rendered in the form of light classical thumris, tappas, horis, kajris etc. Its pictorial descriptions in the existing texts are sensuous and even today, the raga Khamaj is considered to be a 'flirtatious' raag. There is a theory which assumes that in the ...
The Kalyan Thaat consists of an important group of early afternoon, late evening, early night, and early morning ragas. Characterised by the Teevr Madhyam (M') in the stead of the standard Shuddh Madhyam of the Bilawal Thaat, the name of this Thaat literally means good luck/ fortune (कल्याण).
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.
Malahari is a Carnatic raga. This raaga is a janya of the 15th Melakarta raga Mayamalavagowla. This raga is known to be a morning raga which brings out a sense of calmness. [1] It is associated with the rainy season. [2]
All the swaras in the thaat are shuddha or all swaras in the natural scale. Bilaval as a raga is not rendered these days however a small variation of the raga called Alhaiya Bilaval is very common. This is a morning raga and its pictorial descriptions create a rich, sensuous ambience in consonance with its performance.
Raja Balwant Singh’s Vision of Krishna and Radha by Nainsukh. Jasrota, c. 1745-1750. Metropolitan Museum of Art. The Kangra art style originated in Guler State, a small hill princely state in the Lower Himalayas in the first half of the 18th century when a family of Kashmiri painters trained in the Mughal painting style sought shelter at the court of Raja Dalip Singh (r. 1695–1741) of Guler.