THE MINIATURES OF MUSIC – RAGAMALAS

A Raag (or Rāga) is the foundation of Indian classical music. It is not simply a musical scale or seqeunce of sounds,  but a structured melodic pattern containing precise rules, an emotional atmosphere, and even a specific time of day when it should be performed.

A Raag defines:

• A specific sequence of notes (ascending and descending can be different);
• Main notes (vadi and samvadi) that have greater importance like the finalis or the repercussa of Gregorian Modes;
• Characteristic melodic phrases;
• Rules for moving between notes.

It is therefore not a simple scale: it is a living melodic grammar.

Time and Nature

Each Raag is associated with:

• A specific time of day (dawn, noon, sunset, night),
• A season,
• A natural atmosphere.

For example, Raag Todi (Miyan ki Todi), that we find in this miniature, is traditionally performed in the morning and has an introspective, meditative, and slightly melancholic character.

Emotion (Rasa)

Each Raag expresses a dominant emotion: Love, Devotion, Heroism, Sadness, Serenity, Desire.

Its purpose is to evoke a deep emotional state, not just produce pleasant sounds.

Tansen and Miyan ki Todi

According to tradition, the great musician Tansen, at the court of Emperor Akbar in the 16th century, made this Raag famous.

For this reason, it was called Miyan ki Todi (“the Todi of Miyan,” an honorific title given to Tansen).

Todi is the name of a melotype (a specific family of melodic structures or scales). It identifies a particular combination of notes and characteristic movements  associated with the morning (usually late morning). It has an introspective, melancholic, meditative character.

Musically the Todi family uses lowered notes (komal) that create tension and delicacy, a sinuous progression, with very subtle micro-intonations and so the result is an almost contemplative atmosphere, sometimes charged with sweet uneasiness.

Over time, Tody has become a musical category encompassing several variations, including:

Miyan ki Todi

Gujari Todi

Multani (related to the same family)

Miyān is a term of respect of Persian/Urdu origin, that means “lord,” “master,” or “authoritative person.”

It was used to indicate someone of great artistic or spiritual value.

Miyan ki Todi: “ki” means “of.”

So the name means “the Todi of Miyan.” The “Miyan” in question is Tansen, the great musician of Emperor Akbar’s court in the 16th century. According to tradition, Akbar bestowed this title on him to honor him. This is why some Raags associated with him carry the prefix “Miyan,” for example: Miyan ki Todi or Miyan ki Malhar.

Raags and Painting: Ragamalas

In the eighteenth century, Raags were not only performed but also visualized. Instead of being written down in notation, their essence was expressed through painting. These miniature artworks translated music into imagery, capturing every subtle detail of mood, time, season, and emotion.

This particular painting represents a bright summer morning, somewhere between 5 a.m. and noon.

At the center stands an enchantress dressed in rose pink — a color traditionally associated with dawn. The Raag depicted here is Śudh, meaning “pure,” indicating that it is not a mixture of other Raags but a complete and independent melodic form.

Its purity is symbolically reflected in the generous pomegranate tree. Just as red and white pomegranates cannot be sown together without losing their integrity, this Raag preserves its distinct identity.

Nearby, a pair of birds francolins appear, each wearing a small bell around its leg.

Francolins are ground-dwelling birds belonging to the pheasant family, commonly found across the Indian subcontinent. They are known for their rhythmic, repetitive calls at dawn, their alert posture and sensitivity to sound, their strong association with the natural soundscape of early morning.

Because this Raag is performed in the morning, the francolins situate the scene within the correct time cycle (samay) — an essential concept in Indian classical music, where each Raag belongs to a specific hour of the day.

 This detail is deeply symbolic.

In Indian classical tradition, rhythm (taal) and melodic discipline require immense practice. The bells so evoke training and repetition, measured rhythm and audible precision.

Just as a dancer wears ankle bells (ghungroo) to mark rhythmic accuracy, the francolins’ bells suggest that this Raag demands rigorous refinement and technical control.

This delicate detail suggests discipline and rigorous practice, reminding us that mastering the sweet, flowing tones of the Raag requires dedication and refinement.

On a symbolic level, francolins represent, awakening (as birds that call at dawn), alertness and attentiveness and devotion to sound.

Their pairing may also suggest balance — between melody and rhythm, discipline and expression, technique and emotion.

In Ragamala paintings, animals are never random additions. They embody qualities of the Raag itself. Here, the francolins mirror the nature of Miyan ki Todi: subtle, controlled, requiring internal concentration rather than dramatic flourish.

In the background stands a large banana tree, representing the khayaal — the imaginative, improvised aspect of the Raag that is often hummed rather than fully articulated. The scene becomes complete as the lady plays her three-stringed sitar, while a graceful blackbuck listens attentively, enchanted by the melody.

According to tradition, this Raag gained great popularity when the legendary musician Tansen performed it at Emperor Akbar’s court. Akbar was so impressed that he named the Raag in Tansen’s honor, calling it Miyan ki Todi, also known simply as Raag Todi.

This miniature, created by talented artists of the Kangra school, beautifully embodies one of the most celebrated Raags of its time, transforming sound into a vivid and poetic visual narrative.

In the 18th century, Raags were also painted in miniatures called Ragamalas (“Raag garlands“).

Each Raag was personified as a woman (ragini) or a hero. They have natural symbols (trees, animals, seasonal colors), and they hide poetic and spiritual references.

In the miniature in the pictures, for example:

The pomegranate represents purity.

The francolins (the little brids) with bells indicate discipline and practice.

The banana tree evokes khayaal (imagination).

The black deer listens to the sound of the sitar.