Natanarayani Raga

I am delighted to present the sixth and final figurative form of Indian classical music, Natanarayan Raga. Over time, I have observed several notable distinctions in this musical cadence and its associated form that have deeply piqued my interest. While many contemporary Indian vocalists suggest that this rhythm has lost its efficacy and relevance in Indian classical music, a captivating mythological tale connected with it has inspired me to delve further into this melody and share my reflections with you. 

Natanarayani is a classical melody documented in several important musical treatises. It is notably mentioned in the works of Pundarika Vittala from the 17th century, whose writings provide valuable insights into its structure, aesthetic, and place within the broader tradition of Indian classical music.

According to tradition, Lord Shiva's mouth is regarded as the primordial source of all music, while Raag Natanarayan is believed to emanate from the mouth of his consort, Goddess Parvati. Symbolic of immense power and divine energy, this raag is said to evoke strength, courage, and a readiness for battle. In various accounts, it is described as having six spouses—Pahari, Deshi, Kedari, Kamodi, Natika, and Humberi—each representing a related melodic form or emotional shade. Magnificent and heroic in nature, the raag is personified as a radiant warrior figure with a golden body, blood adorning its form as it rides fearlessly across the battlefield on horseback, an unsheathed sword in hand, embodying valor and unyielding spirit.

As I have mentioned in my earlier articles, the original musical rendition of this raga was most likely lost in the great conflagration of London. To date, no antique miniature paintings that can be definitively identified as representations of this Raag have been discovered. Nevertheless, during my research, I came across a painting of what is believed to be this Raga, probably created between 1650 and 1660 CE, and published by the National Museum in Delhi. Upon careful observation, I noticed that this painting does not fully adhere to the description found in the musical scriptures. It appears that the unknown artist chose to follow his own artistic imagination and interpretive vision rather than strictly conforming to the traditional textual description.

Nata (and its related melodic forms) is frequently depicted in Rajasthani and Pahari miniature paintings as a vigorous, energetic, or martial scene. These artworks often portray a hero (nayaka) or a warrior in a dynamic pose—sometimes in mid-action, astride a horse, or brandishing a weapon—visually reflecting the vibrant, bold, and combative mood associated with the raga. Through these artistic depictions, painters sought not only to illustrate the raga’s external attributes but also to capture its inner emotional essence, or rasa, thereby creating a powerful bridge between music, mythology, and visual art.

The discussion of Indian Raga Mala Paintings is now finished. Let me know how you enjoy it.

Next, I will discuss the world's first grammatical concept of painting. So, stay tuned to this blog to discover something unique! Thank you.