Mewar Music Through the Ages
Maharana Kumbha
Maharana Kumbha (1433-1468) was the greatest patron of music. He
was also an extremely erudite scholar. He was a cultured and refined
ruler and was dedicated to preserving and developing classical Hindustani
music in an age devoted to violent warfare and rampant destruction
of the Indian heritage. His unflinching commitment to the preservation
of Vedic learning and ancient cultural traditions remains the most
remarkable attribute to his genius. The musical legacy of Rana Kumbha
is endowed with a robust and distinct element of spirituality. Classical
music is no longer confined to the realm of mere scholarly pursuits
or general entertainment; music is elevated to its purist form drawing
the audience toward a spiritual experience - often likened to man's
search for moksha or salvation. Music and dance are sensitive expressions
of the compassion in man and not an expression of his weakness.
More than anything, they have contributed to the promotion and preservation
of man's cultural heritage. Music 'sangeet' is the elixir of life.
It is not simply a part of entertainment. It is essential to develop
sensitivity and compassion, the most important aspects of human
life. Maharana Kumbha was an accomplished musician, and in his time
was considered to be a leading authority on the science of music.
Also acclaimed as 'Sangeet Shiromani', he wrote an outstanding treatise
on Indian music titled 'Sangeetraj'. This magnum opus of the medieval
world, with over 16000 shlokas or couplets. It is considered not
only a pioneering and path breaking scholarly work on Indian classical
music but is often venerated as the fifth Veda. Rana Kumbha also
wrote extensively both on the subject of music and miscellaneous
literary commentaries in Sanskrit. Sangeet-Raj, Geet Govind Rasik-Priya
Tika, Mewari Tika, Sur-Prabhand Sangeetratnakar Tika are some of
the epic works credited to the genius of this outstanding 15th
century ruler of Mewar.
Maharana Kumbha was certainly one of the most distinguished Maharanas
of Mewar. From inscriptions carved on stone, and other empirical
data, we are able to deduce that he was an efficient administrator,
a brave warrior, a great architect building impregnable forts and
palaces, a philanthropist, proficient in arts and music, and a deeply
religious man of letters. He was a patron of excellence, and during
his tenure, the State of Mewar flourished and prospered, growing
both in size and stature. Maharana Kumbha was not only an accomplished
musician but also a great authority on the subject. Till date his
several important and worthwhile treatises on the subject stand
testament to his scholarship. In his quest to preserve the ancient
traditions of classical music, Rana Kumbha devoted himself to learning,
perfecting and codifying Prabandh Gayan, one of the purest
musical forms that has its roots in ancient Vedic ethos. In his
musical works on Prabandh Gayan, Rana Kumbha classifies the sections
of Dhrupad-gayaki as Udgrah, Dhruv, Melapak, Antara and Aabhog.
He further embellishes the Prabandh with six angs or facets that
lend greater depth to the singing of Dhrupad. Today, Dhrupad is
restricted to only four angs, namely Raagalapati, Prabandh Geet,
Laybaat and Bol-Baat.
The classification of Prabandh Gayan, which is Rana Kumbha's greatest
contribution to the world of Hindustani Classical Music, demonstrates
the warrior king's in-depth knowledge and mastery over the genre.
His detailed study facilitates the emergence of the four schools
of Vaaniyon, Vaani, Khandar Vaani, Dagar Vaani and Nauhar Vaani.
Rana Kumbha, the multifaceted ruler of Mewar thus builds the strongest
foundations for Hindustani Classical Music and emerges as one of
the greatest and most valuable proponents of the genus.
Rama Baisa, Maharana Kumbha's learned daughter was also credited
with having a profound understanding and knowledge of music shastra.
She was also musically vibrant, and was hailed as a vageeshwari
- purist scholar.
Maharana Raimal, the son of Maharana Kumbha was a great patron to the arts and music when he was ruler of Mewar. Maharana Raimal introduced Arabeetasha, a musical instrument. The instrument was captured from the army of Babar the Mughal emperor and during the reign of Maharana Sanga, it was introduced into the army of Mewar.
Poet, saint and passionate devotee of lord Krishna, the legendary Meera Bai was the granddaughter of Maharana Sanga. She was a refined musician and composed and sang devotional love songs to Lord Krishna. Meera Bai's 'Padaavali' has a collection of 250 padas (songs) composed in classical Ragas. Meera Bai introduced a new Raga - 'Meera Malhar' which is rendered by artists in Dhrupad and Khayaal schools of music. In her approach towards music, there was a beautiful harmony of all three aspects of music namely- vocal, instrumental and dance, with a unique synthesis of classical and folk. She is said to have written six outstanding books - Raag Sorath, Narsi Ro Mayaro, Raag Govind, Padaavali, Satyabhamaji, Nu Roosan and a commentary on the Geet Govind. Popularly known as the 'mandaakini' of Rajasthan, Meera Bai was a renowned musician. Her intense bhakti - devotion greatly influenced her compositions.
The Raagmala series of paintings belonging to the 1605 period have been found in Chawand in Mewar. These paintings depict the court with its patronage of musicians. Maharana Amar Singh was the presiding monarch. The visual detailing is exquisite and 'Raag Deepka' and 'Raag Maru' have been clearly depicted in this series. The 'Raagmala' series illustrate the auditory capacity of music in the visual form. They are a priceless historical reference to the rich tradition of music in Mewar and indeed, in India.
Maharana Raj Singh
Maharana Raj Singh's (1652-1680) passionate love for music is distinctly visible in the art and specially architecture of his reign. The 'Nauchauki' pavilion, the artistic monuments constructed along the banks of Lake Rajsamand stand testament to the late Maharana's interest in visual depictions. Facial expressions, body postures, and the stylised position of the hands (mudras) in the form of Indian classical dance, along with musical instruments and groups of singers are all carved on the chattris, pillars and arches. The Nauchauki represents the attention and ardent support lent to music at the time. The Maharana himself composed a set of miscellaneous verses known as 'Kutkal Chand'. 'Chappay' a type of metre composed by him can be seen inscribed in the balcony of the Palace at Rajsamand.
Maharana Raj Singh had an indirect thought effective role to play in introducing the tradition of the Temple music of Vallabh Sampradaya. The origins of Temple music are found in the Vedas. The principle source of Vedic Music is found in the Samveda. The one thousand sections of the Samveda provide the main system of classical Indian music. By analysing the origin and later development of Indian classical music, it is amply clear that Chaand singing led to Vishnu Pad singing and ultimately to the singing of Dhrupad music. It is this Prabandh singing which grew to become the rich foundations for the traditions of Dhrupad and Dhamaar gayaki in Mewar.
Carrying the idol of Shrinathji from Mathura to Siyar Village and then to Nathdwara in Mewar (1728) Maharana Raj Singh help protect the idol from the vandalism of Aurangzeb, the Mughal Emperor. This was important in the development of music in Mewar as this occasion introduced the style of Temple music (Haveli sangeet) to the court of Mewar.
Nathdwara is the main centre of Krishna bhakti (devotion of Lord Krishna) of the Vaishnav sect. The lilting melodies and refined notes of music based on the ragas, set in accordance with the seasons and time of day and different Jhankis (displays) according to the code of Pushti Marg, echo in and around the temple. These bhajans (devotional songs) are based on the Padas composed by the Ashtachaap (a group of eight great poets of the Vallabh sect. These poets were in fact singers of devotional songs in praise of Lord Krishna. The Dhrupad legacy is one of the most ancient systems of clan singing. The style was to sing praise to the Gods and Goddesses in Shringaar, Veera and Shant Rasaas. This was a pure form of Bhakti sangeet. The Dhrupad and Dhamaar traditions of music displayed extraordinary dexterity with the musician's vocal techniques such as the 'nom-tom'. Devotional music concentrated on becoming one with God in a natural and serene manner. Originating in the temples, this style of music reached the courts of the Maharana's in the form of Dhrupad and Dhamaar. This then became the pride of Mewar, and from here, India received the remarkable vocalists and instrumentalists along with the Rudra Veena and Sursingar.
Maharana Sajjan Singh
Maharana Sajjan Singh of Mewar (1874-1884) was also blessed with an artistic flair. He was a poet and had a profound knowledge of poetics. Many verses in the form of Dohas, Sorathas, Kavitas, Sawaiyas etc were composed by him. The Maharana's knowledge and devotion to music and poetry are found in his compositions 'Shri Eklingji Stuti' and the padas of Viraah Dasha all of which were set to music. The Maharana was a versatile musician and composed music in the styles of Khayal, Thumri, Folk Music and Ghazals under the musically assumed names - Rasik Snehi and Sajjan Snehi. He composed raags Todi, Malkauns, Des, Gand Malhar, Bhairavi, Asavari, Khamaj, Allaiya Bilawal, Paraz, Kalingda, Yaman, Kafi, Bageshwati and Behag. His compositions depicted the abundant cultural heritage and traditions of Mewar. Maharana Sajjan Singh introduced and patronised the Dhrupad tradition of the Dagar Gharana. Ustad Zakhruddin Khan (1840-1923) and Ustad Allahbande Khan (1845-1927) were appointed as singers in the royal courts of Mewar during his reign. The House of Mewar today continues with this legacy and patronage of the Dagar family in their uninterrupted association with Mewar.
Even after the severance of the states and the merger of the royal House of Mewar with independent India, Maharana Bhagwat Singhji (1921-1984) maintained the tradition of the conservation and perpetuation of the arts and cultural activities in Mewar.
The extraordinarily accomplished Dagar brothers Ustad Naseer Ammenuddin Khan and Ustad Naseer Moinuddin Khan introduced the Jod and Aalaap techniques to the perfectly set Raag and Taal padas of Ashtachaap. They practised this style to great acclaim both within the country and abroad. In this style particular to the Dagar family, the complete circle of the aalaap moves around the Bol of "Antar Taran Taran Tu". The character of the Raag is also contained in this movement. This ancient classical style is retained only in the Dhrupad style.
Maharana Bhagwat Singh Mewar
Maharana Bhagwat Singhji hosted the Dagar brothers in Udaipur in the late 1950's and used the occasion to record their performances. The Maharana then formulated the Maharana Kumbha Sangeet Kala Trust and collected all the recordings of the Dagar family and housed it in the archives of the Trust. A true lover of music, Maharana Bhagwat Singhji held musical performances in the great Durbar Hall of the Palace. Apart from the Dagar family, performances were also held by Pandit Omkar Nath Thakur, Dr. Premlata Sharma (Benaras), Pandit Jaganath Prasad (Udaipur), Pandit Pandit Dharmandhikari (Mumbai), and Shri Purshottamdas Pakhavji (Nathdwara) etc. The late Maharana was a true patron and provided sanctuary and financial assistance to a wide spectrum of artists. The Maharana also lent support to the theoretical side of music. Manuscripts and other treatises were collected under the aegis of the Maharana Kumbha Sangeet Kala Trust.
Shriji Arvind Singh Mewar
In 1999, Shrji Arvind Singh Mewar, the present custodian of Udaipur, put into action, a vast restoration project, whereby all the collection of the Maharana Kumbha Sangeet Kala Trust was to be digitally restored, using the latest technology. This unique collection is perhaps the best collection of the great Dagar Gharana of Music. There are about two hundred mid day, sandhi prakash (early evening) and late night ragas. The collection also contains some rare Achhobw ragas. There are valuable recordings of renowned artists performing Thumri, Instrumental and Rajasthani Folk music. Arvind Singh Mewar has recently sponsored the publishing of a book titled "The Contribution of Maharana Kumbha to Indian Music". It is published in Hindi so as to have a wider public audience. 'Rajasthan ke Rajawadi Geet" a compendium in three volumes has also been published. He is contributing all efforts in order to preserve the rich legacy of his ancestors - the century's long tradition of the Maharana's of Mewar who patronized and protected the arts and music. An ardent lover of music, Shriji Arvind Singh Mewar went on to establish 'Mewar Memorable Millennium Melodic Music' or 5M, a private limited company that promotes new talent and conserves and encourages the old traditions of music. 5M has recently released cassettes of Rajasthani Music and Meera Bai's bhajans. Every year on Kaarthik Purnima (full moon night in the month of Karthik), a cultural music show is held and renowned artists are invited to perform. Last year, Pandit Hari Prasad Chaurasia - flutist and rare talent of the highest reputation performed at the City palace complex, before an audience of over 2000 guests. Other eminent personalities - Mallika Sarabhai and Nirmala Sheshadari (Bharat Natyam), Tripti Bhoopen and Veronique Azan (Kathak) have also performed courtesy the Maharana Kumbha Sangeet Kala Trust.
The Dagar Gharana Samaan Award established in 1981 by the Maharana Mewar Foundation is an outstanding example of conservation of traditions of music particular to the Mewar gharana. Shriji Arvind Singh Mewar has ensured that the musical legacy be kept alive by promoting and encouraging new talent, thereby in keeping with the tradition of the Trust - nurturing centuries old tradition of music, a legacy of Mewar and indeed India.
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