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Bhairavi (Hindi: भैरवी, Urdu: بَھیرَوی , Sindhi: راڳ ڀيروي, Bengali: ভৈরবী) is a Hindustani Classical heptatonic raga of Bhairavi thaat. [1] In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode , one of the traditional European church modes .
Bhairavi is also called as Shubhankari, which means that she is the doer of auspicious deeds to her devotees who are her children, which means she is a good mother. She also favours violence, punishment and bloodshed to those who are irreligious and cruel, which also means that she is the mother of all violence to them.
Many of the Hindi and Urdu equivalents have originated from Sanskrit; see List of English words of Sanskrit origin. Many loanwords are of Persian origin; see List of English words of Persian origin, with some of the latter being in turn of Arabic or Turkic origin. In some cases words have entered the English language by multiple routes ...
Cast as a discourse between the god Bhairava and his consort Bhairavi it briefly presents 112 Tantric meditation methods or centering techniques . The text is a chapter from the Rudrayamala Tantra, a Bhairava Agama. Bhairavi, the goddess, asks Bhairava to reveal the essence of the way to realization of the highest reality.
Arjuna fights with the Kirata-Shiva. The Kirātārjunīya predominantly features the Vīra rasa, or the mood of valour. [3] [4] It expands upon a minor episode in the Vana Parva ("Book of the Forest") of the Mahabharata: While the Pandavas are exiled in the forest, Draupadi and Bhima incite Yudhishthira to declare war with the Kauravas, while he does not relent.
Kafi (IAST: Kāfi) is a raga in Hindustani classical music.It corresponds to Kharaharapriya in Carnatic music and Dorian mode in Western music. Vishnu Narayan Bhatkhande classified most ragas into ten Thaats.
Ahir Bhairav is a Hindustani classical raga.It is a mixture of Bhairav and the ancient, rare raga Ahiri or Abhiri, [1] or perhaps a mixture of Bhairav and Kafi. [2]Important traditional Compositions
Thumri compositions are mostly in raga-s such as Kafi, Khamaj, Jogiya, Bhairavi, Pilu and Pahadi. A common feature of these and other such raga-s is the free movement they allow the artist, since they do not depend for their identity on rigidly formulated tonal sequences, irrespective of the compositions involved.