Chapter V

The Development
of Raga-Ragini System
 Chapter V

The Development
of Raga-Ragini System

Before Pundarika Vittala many types of classifications existed to analyze the

ragas. These classifications can be divided into two categories, one was rational
types of classification like, grama ragas, bhasha, vibhasha, antra bhasha; then
bhashnga, kriyanga, and uparaga etc., then sudha, chayalaga and sankeerna etc.

The other category to classify these ragas included stri, purusha, ragas
ragini putra, suryavamsha, chandravamsha, madhayana, etc. The earliest
available treatises to discuss these kinds of classifications was Sangita
Makaranda by Narada. The classifications mentioned in Sangita Makaranada
were (Page 18 Verse 67):

(1) 24 stri ragas and 20 pullinga ragas and 23 napumsaka ragas,

(2) 6 purusha ragas and for each 6 wives (this classification appears to
be incomplete),
(3) 3 stri (yosit) for each of the 8 purusha ragas,
(4) suryavamsa, madhyana, and chandramsa,
(5) raganga ragas, 13 in number,
(6) sampurna, shadava and audava.
The Development of Raga-Ragini System

Sangita Makaranada did not mention svaras or any murcanas of the ragas.
His period was controversial (11th century or 14th century). On the basis of a
reference to Matrugupta contemporary of Sailaditya Pratapasila of Malva (556-
600 AD), Mr. Teiang the editor of 'Sangita Makaranada' by Narada (Gaekwad
oriental series No XVi) ascribes this text to a period between seventh and
eleventh centuries. But in Madras Music Academy journal 1935, there was a
reference that a manuscript was copied in Saka 1599 (1677 AD) at Vidyapura
(Vijaynagar) which the edition identified with Vijyayanagar. A new commentary
in Marathi called 'Sangita Makranad' by a muslim by the name of Multoji of Khilji
dynasty, was edited by Sardar G.N. Majumder (Poona). According to the editor
of the above book, 'Sangita Makaranda' was older than Sangita Ratnakara. The
period approximately was fixed at (1435-1550). Whatever the period may be but
the content or the different classifications mentioned in this book seems to be very
old. It seems that the list of classifications given in this book were those which
prevailed during his time and earlier.

5.1 The Influence of Tantric Concept in Raga Classification

In the development of music, tantric period played an important role. The tantric
period was as old as vedic period. In the history of Indian civilization two types
of 'dharma' had prevailed; one was vedic dharma, second was tantric. The fist
one gave importance to the nigama (vedic or upanishad text), and the second one
agama - this gave importance to acquired knowledge for practical purposes (like
rituals). The important texts for agama were Siva Sutra, Shakti Sutra and other
tantric grantas.

According to tantric sidhanta the world was created by the union of Siva and
Sakthi. According to Sankaracharya,

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The Development of Raga-Ragini System

W W-MHIR

iqjERR wwfe i¥3c*T wmt

(B S I - p 230)

So the yoga and agama grantas gave importance to nada and tala.
According to the Sivagama, nada was divided into 3 states, one was mahanada, -
this was like shakti itself. From this bindunada was created, this was in the shape
of anahata nada engulfed around the world. And from this nada came in the shape
of speech, music, etc.

Dr. P.L. [Link] mentions that the vedic deities manifested themselves
in the tantric age in the sound forms or varna bijas. Akasha equaled to Ma and
Sun or mitra to Pa; the earth to Sa etc.

In the later period also the Ardhanari principle in which this the union of Siva
and Parvati, Brahman, and Maya, the male and female principles were
responsible for the creation or manifestation of the cosmos. The five elements
were equated with Siva's face. These were (1) Sadyojata with earth (mathi) (2)
Vamadeva with water (Jalam) (3) Aghora with brilliance (raja) (4) Tat purusha with
air (vagu) and (5) Isana with sky.

Then again these 5 elements were also equated with svaras Sa, Ri, Ga,
Ma, Pa and then were later on equated the purusha ragas. Murcanas came out
or originated from these faces and later authors had mentioned that svara Dha
had sprung from Girija mukam.

Even so, many centuries later, Pundarika Vittala, in his Ragamala and
Damodara in Sangita Darpan analysed the ragas into male and female and they
mentioned that 6 purusha ragas had originated from the five faces of Siva,

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The Development of Raga-Ragir.i System

(ardhanari form) The ragas as given by Pundarika Vittala and by Damodara were
given in Table 5.1:

Table 5.1: Purusha Ragas and the Faces of Siva

Faces of Siva Pundarika Vittala's Ragamala Damodara's Sangita Darpan

(1) Sadjojalha mukam Sudha Bhairava Sri Raga
(2) Vamadeva mukam Hindola Vasanta
(3) Aghora mukam Desikar Bhairava
(4) Tath Purusha mukam Sri Raga Pancama
(5) fsana mukam Sudha Nata Mega
(6) Girija mukam Nattanarayana Nattanarayana

There was agreement between the two authors only in one raga,
Nattanarayana, as having sprung form Girija Mukam. As mentioned above the
svaras Sa, Ri, Ga, Ma, Pa were considered as male and from Dha onwards
female. When Dha and Ni added to the other svaras created ragas. So the
categorization of ragas as male or female started during the time of tantric age.
This also suggests that the sapthak was divided into two, viz, purvanga which
corresponds to male and the uttranga, to female.

In Sangita Raj (Page 71 P.L. Sharma) mentions that the Chandogya

Upanishad defines Bhuman and Alpa.

TR^TOft, wm fpjfr, mm fwnft

m m 3RT TRft,-3Rcr 3RR Rq'HIki

3v$m{m m 3trt
(Chandrodaya Upanished" 1.24.1)

"where a man does not see another, does not hear another, does not know
another there is 'Bhuman' and where he sees another, hears another, knows
another, there is Alpa. That which is Bhuman is immortal and that which is Alpa

105
The Development of Rsga-Ragihi System

is mortal. And according to Brahmasutra [(138) ^ this

Bhuman is 'paravak' beyond the pasyanti."

It was also said that the paravak or nada should be seen, heard and known.
It must have body or form, 'nada' must have a 'tanu', Saint Thyagaraja also
composed a Kriti called 'Nadatanu mani sam’. Now a definition of raga in Indian
sastra is, Nadatanu, that is, it has the body of nada. A raga is therefore really a
Bhuman of the Chandogya Upanisahd and 'amrta' of the vedanta, because having
a body it can be seen, heard and known in the heat."

Hence this kind of philosophical idea might have been given the
ichnographical image to a raga. Panini also used the word shilpa for the lalita
kala. Panini divided the shilpakala into two divisions. One was called charu and
the other, karu. In charu shilpa he included music and other lalita kala, and in the
karu he included pottery, black smithy, gold smithy. [B.S.I. - p.167] Those who
were experts in their respective fields were called as Rajashilpis.

Even Kalidasa called music as shilpa. King Agnimitra's harem had many
ladies who were learned musicians. Kalidasa called them as 'Shiipakari1. Vishnu
Dharmotara Purana mentions about the king who wanted to learn shilpa (icon
making) was advised to learn music. This shows that learning music became the
base for all other arts.

So from the above description, the personification of a raga into Devi,

Devata or male, female concept was evolved in the tantric period itself, but along
with this rational types of classification like grama murcana jati system were also
existing.

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The Development of Raga-Ragini System

5.2 Influence of Rasa theory

Bharata did not classify ragas into male or female. However Prof Sambhamurthi
mentions "Khohala may be the first one who started to classify ragas into Sri and
Pumsaka ragas" (South Indian music by Prof Sambhamurthi book IV Page 97).
This might have been possible (although he may hot be the first one) because in
the ancient days drama and music grew together. Music was very important for
a drama, and Mukund Lath’s study of Dattilam also describes (Page 433) that
kohala was an exponent of rasa theory. He quotes from Abinavabharati on
Natyasastra (18-116) that in rasa such as shringara, hasya, karuna etc., the
suitable vrti (style of acting) was kaisiki. He says that kohala had specified the
names of,particular ragas to be used in different dramatic situations. Hence this
kind of imagination could have been possible only by an expert actor and by an
exponent of rasa theory.

In the later treatises like Sangita Makaranda, refer to the different

sentiments like, admiration or heroism, the masculine melodies should be used.
In interpreting feelings of love, humour and sorrow the feminine melodies should
be employed. In interpreting abhorrence and peace the neutral melodies should
be employed.

Apart from this, there may be two more reasons for this kind of
classification, one was language and another was desi ragas.

After Bharata many desi ragas got evolved. These ragas cannot be
classified under the older system of classification like grama murcana. For this
situation the stri, purusha classification might have become handy to the
musicians. Matanga classified these newly developed desi ragas under bhasha,
vibhasha, antrabasha etc. O.C ganguli says that these bhasas vibhasas, later on
corresponded to raginis. (Ganguli Page 177). But this must be on the other way

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 The Development of Raga-Rsglni System

round as ragas were classified under stri, purusha before Matanga. and Matanga
only classified ragas under a logical system viz., bhasha, vibhasa etc. Groves
dictimary mentions "Bruhaddesi makes a major turning point in South asian
musical theory, firstly, theories of sound based on the metaphysical and
physiological theories of tantric age are propounded for the first time and are
argued with standard logical technique".

Matanga classified ragas as bhasha which were born out of grama ragas
and from this bhasa, vibhasa and then antra bhasha was evolved. Moreover the
. relation between raga and rasa was further worked out by Matanga. He says
Bhrnna class of ragas, like Bhinna Sadja was useful for the entry of hero
.proceeding on a hunt. The Gauda group, Gauda Panchama used in separation
of lovers; of the vesaras, Sauvirika good for quietude and scenes of recluses and
says, of the sadharana ragas, Bhammana Panchama for fatigue enroute in
forests. In the same way Abhinava Gupta points out that the Kashyapa analysis,
when tranquility follows anxious thought, Malavi followed by Gurjari was helpful.
Andhali may be employed when intoxication waxes; when a low character
indulging in the comic scenes Gandhara Panchama was used. A lady's
cogitation, as distinct from a gentelman's may be properly backed up by a Malava
Panchama. (Dr. V. Ragavan Music in ancient Indian Drama JMA Vol. XXV). May
be these kinds of description of ragas gave impetus to evolving raga painting.
Next, Mammata (acarya) author of Sangita Ratnamala as cited in Sangita
Narayana, also classifies ragas as stri and purusha. If his time is taken as 8th
century AD he was the earliest one who classified ragas into stri and purusha
according to O.C Ganguli.

5.3 The influence of language and the development of suddha chatalaga

raga:

It seems history repeats again and again. After Matanga many ragas got

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The Development of Raga-Ragini System

developed. So again a new rational classification was a felt need during that time.

The language spoken in drama may be the indirect cause for this kind of
development. Because,, in the ancient days in a drama many dialects were
spoken depending on the character. Sangita Damodara by Subhankara also
explains that in a drama gods, kings, saints, ministers and other noble characters
used to speak in Sanskrit. Sanskrit language was considered as a sacred
language. In the hierarchy, next came prakrit which was derived from Sanskrit.

Then gandharva women, secondary characters spoke in prakrit and the

language apabramsa was mainly spoken by low bom people and untouchables
foreigners, wicked people, etc. Then came paisac language spoken by barbarians
and sinful persons.

In this way music or ragas set in gitis in different languages were sung or
used according to the character. It was mentioned above that Kasyapa says
gandhara panchama used by low character when they indulge in comic scenes.
So may be ragas were divided into pure, chayalaga and Sankirana. The pure
ragas were considered as those raga which were derived from grama ragas or
which were established from ancient days or those ragas which were bound by
rules and regulations. Then next, was derivative or similar to those of pure ragas.
Then the ragas were developed which were mixed with the newly developed desi
ragas. This suddha, chayalaga and sankima classification later became
raga ragini and parivara system.

The desi ragas which were developed after Matanga and were classified
by Sarangadeva (13th century AD). The aduna prasidha ragas, he classifies into
Raganga, Bhasanga, Kriyanga and Upanga. But even before Sangita Ratnakara
a treatise called Natya Locana (circa 850 AD to 1000 AD) classifies ragas into
sudha ragas, salanka ragas and sandhi ragas (ragas given at the end of this

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The Development of Raga-Ragini System

chapter). From O.C. Ganguly.

Then the next important aspect to be considered was, there were 7 svaras
but the ragas were mentioned as only 6. During the developmental period or even
upto Patanjali 250 BC, five svaras, Sa, Ri, Ga, Ma Pa have been mentioned and
Dha was later accepted as a svara which emerged form Girija mukha, and Ni was
only an extension of Sa (it seems that vocative cases have no independent
identity).

Many books discussed the development of svaras. Bharatiya Sangita Itihas

while describing samasvaras, explains about the first svara as krushta. Then it
explains and quotes from Samavidhana Brahmana iMI4c4l ill 3T 3llR*4HI

WT (B.S.I. foot note P 91). So Krushta means progenitor, like Brahma. From this

svara only all the other svaras originate. The 6 svaras were called as: (1)
pratama (2) dviteya, (3) triteya (4) chaturta (5) pancama and (6) shasta. If Sa gets
included then only there were 7 svaras. Hence during that time only 6 svaras
were considered as svaras and later on only the 7th svara got included.

In the later period Nanyadeva's Bharata Bhashya also refers as follows:

(Written in Hindi)

^Rc$R ^<IWW*JI WRTTT 3Tt Ik:o il

^ ^ wm % fm t n

110
The Development of Raga-Ragini System

wwto topitI ii

“ ^ # pc w w *raf% i w w ^ pt snfpw
pf -W<1 PT PlfefcP ^ f | 3% 3t Mci^dl ^ %<&
^^Rt^TW^fTW^t^Ttl" ^ P WP

3J#T fpfw ffp WIT

(Bharata Bhashya - p.28)

Sangita Ratnakara by Sarangadeva also mentions "Some desivad think that

the nisada had to be taken as sadja."
1%cWt tpw ir^ii

(SR - RK Shnngyl 414)

In the preface to 'Sangita Raj’ by Maharana Kumbha, P.L. Sharma

discusses the practical applications of murcana and the starting point (P127)
"Sarangadeva says 'others', but Kumbha puts this 'others' as 'desivad, desivad
think that Nisada has to be taken as Sadja....accordingly sadja etc., will become
rishabha, etc. He raises an objection on this that if nisada was located on the
string sadja, it becomes identical with sadja and no new svara could be obtained
by this process. He answers this objection by saying that it is not a fact that there
is no svarantara in this case. He says preceding note gets its nomenclature
according to the succeeding note."

3tw fOT irw wm

(S Raj - p.127)

srer: wi^ ^

(S M. - p 9 & 56)

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The Development of Rags-Raglni System

Hence this shows those who were stranch Hindus, and belonged to the
older tradition, and because of their traditarial belief, carried the idea that ragas
emerge from svaras Sa, Ri, Ga, Ma, Pa, Dha.

In the medieval period there was a treatise called 'Sugam Ragamala by

Kalyana Kavi, This book refers to while discussing vamsavarna of Bhairava,
says,

m TZ wm TST
.... wr tft....
towJ^i 3ft ftp# z<p%....

3ft 3R# *1% tistcT....I

WTf RTf .... WT 1I

1 tesnf w

TcR TIf ZFT II TRcf % TFT

(Sagam Ragamala - p.15, SI, 141 to 143)

This shows that each raga emerges from 6 svaras just like the murcana

emerged from the different svaras. Nishada, the author calls as W meaning

'barren'. So nothing came out from this svara. He says Sri Raga came out of its
father, that is, Sa.

Mainly in the Raga-Ragini-Putra classification most of the books mentioned

6 ragas and 5 wives and some others 6 raga and 6 wives. Only few books
mentioned more than 6 purusha ragas. Sangita Makranda describes a
classification which has 8 purusha and with 3 wives and two other treatises called
Raga Sagara by Narada and Dattilam also mention about the classification.

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The Development of Raga-Ragini System

Chatvarinsa Satraga Nirupanam, mentions 10 purusha ragas, 5 wives and 4 sons

for each raga.

Another classification which also should be considered here is the theory

of time and season. As it has been mentioned before Sangita Makaranda by
Narada also gives a classification of ragas under suryamsha, chandramsha, and
madhyana. Just like other classifications, this also started from the vedic period
itself. Yajurveda's sthomas were sung according to the season. Almost all the
ancient texts or mainly those texts classified ragas under Raga Ragini Parivara
System mention the periocular time for singing the raga, and season also
mentioned.

Pundarika Vittala gives seasons for each purusha raga and singing timefor
each raginis and son. Vishnu Narayan Bhathkande gives a rational analysis for
this time theory. Pundarika Vittala was the first one who analysed ragas under
Raga Ragini, Parivara System, along with svaras, seasons, time of singing, colour
of costume ornaments, etc.

Purusha raga season time of singing

(1) Bhairava Hemanta Prabhath

(2) Hindola Vasanta Prathankal
(3) Deshikar Shishitra Madhyan
(4) Sri Raga Geeshma Sayamkal
(5) Suddha Natta Sharad Sandhya
(6) Natta narayana Rainy season all time.

Season, time of singing everything has been described while explaining

ragas, raginis and sons.

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The Development of Raga-Raginl System

The ragas under the suddha - salankya - sandhi categories are as given below,
Salanga must be chayalaga and sandhi could be sankirna ragas.

Suddha Ragas

(1) Panchama Malava (2) Madhavari, (3) Hindola (4) Malasika (5) Velavali (6) Todi
(7) Gandhara (8) Nata

Salamga Ragas

(1) Laiita (2) Narada Bhiravi (3) Bhasa (4) Vasanta (5) Gurjari (6) Koda - Desag
(7) Desa - Varati (8) Vicitra (9) Goundakri (10) Varadi (11) Vangala (12) Karnata
(13) Ramakri (14) Salanka (15) Desaga (16) Malava raga

Sandhi Ragas

(1) Mallara (2) Prathamanjari

(3) Dhanasi (4) Kakubha (?)
(5) Himakiri (6) Savari
(?) Divadi (8) Khamvavati
(9) Takka (10) Kamoda
(11) Devakri (12) Loungirati
(13) Motaki (14) Bhailata
(15) Vahedi (16) Gunakri
(17) Kokarika (18) Madhukiri
(19) Goudi (20) Anuni

114