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Majestic Kamboji

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Evidence exists that the ancient Kambojas were lovers of music. As a matter of fact, their free constitutions seem to have given rise to free philosophies. But philosophy, politics, and military training did not combine to develop a non-human type of humanity. Rather all ancient republics including those of the Kambojas were noted for their love of music, dance and art. Arrian Anabasis, IV.3. calls these ancient republicans from north-west whom Alexander had met as Lovers of music and dance. Invasion of Alexander, p 136, Dr J. W. McCrindle; Hindu Polity, Part I & II, 1978, p 74, Dr K. P. Jayswal: Every nation regards the singing and dancing of every foreign nation as wild. It is true now; it was true 23 centuries ago. Kautilya's Arthashastra Arathashastra Ch XI, p 376, Trans. Dr. Shamasastry also supposes disputation on science (vidya) and art (silpa) to be well known weakness in these (nort-western) republics.

Contents

Mediaeval era references to Kamboji or Kambhoji

There are numerous references to Raga or Ragini called Kamboji or Kambhoji in ancient Indian musical traditions. Narada's Sangita Makarand (7th to 8th century AD) broadly classifies Ragas into eight subsets and includes three raginis in each subset. In this scheme of classification, Narda accepts raga Kamboji as a mode of Shri raga, the first subset of his scheme of classification Ragas and Raginis, Appendix 4, pp 179-80, O.P Ganguli. Ramaditya, the author of Swara-Mela Kalanidhi (1550 AD) has accepted 20 melas and has accommodated 64 Jana-ragas among the melas. In this scheme of classification, the twentieth mela is Kambhoji under which come the Jana-ragas like Kambhoji. Ibid., Appendix 17, pp 197-98, O.P Ganguli Ragamala of Pundrikavitthala classifies ragas into six divisions with each group having several raginis and ragas imagined to be their spouses and sons. Thus the ragini Kambhoji is assumed to be one among the several spouses of raga Nat-Narayana Ibid., Appendix 18, pp 199-200, O.P Ganguli. Chatravarishach.chhat-Raga Nirupanam authored by Narada (1525-50 AD) lists ten main ragas and accepts the Kambhoji as the spouse of seventh raga called Raga Nata-Narayana. Ibid., Appendix 19, pp 201-04, O.P Ganguli. Chaturdandi-Prakashhika authored by Vyankatmakhi (also known as Vyankateshwara Dikshit, ~1660 AD) assumes 19 melas and lists the Kamboji, Kedar-gaula and Narayan-gaula as the Jana ragas under mela Kambhoji Ibid., Appendix 24, p 209, O. P. Ganguli.. The Anupa-Sangit-Ratanakar by Sangit Acharya Bhava-Bhata lists 20 ragas as being foundamental ragas. The third raga of his scheme, called Kedar Raga, includes more than a dozen of raginis----the seventh being the well known Kambhoji Ibid, Appendix 26, p 211, O. P. Ganguli. Raja Tulaji, the ruler of Tanjore (1763-87 AD) has written a well known book on musicology known as Sangit-Saramritoddhar. Raja Tulaji assumes 21 Janakmelas and includes Kambhoji and Yadukul-Kambhoji as the Jana ragas under the eighth Janaka-mela of his scheme of classification. Ibid., Appendix 26, p 213, O.P. Ganguli

Matanga’s ancient reference to raga Kamboji

It is noticeable that most of the references presented above are comparatively recent but this fact should not be taken to mean that raga Kambhoji is also of recent origin. Brihaddesi authored by Sangit Acharya Matanga Muni (500-700 AD) is the most important work between Natyashastra (2nd century BC) and Sangita Makarand (7th to 8th century AD) Ibid., pp 16-18, O. P. Ganguli. Sage Matanga probably hailed from south India. This Brihaddesi work is dated between 6th and 7th century AD but unfortunately it is incomplete. Portions of it appear to have lost down the road. Matanga's Brihaddeshi is the first major and available text to describe the Ragas as we understand them today. Sangit Acharya Matanga informs us that "a Maraga (Raga) can not contain less than five swaras. But the ragas of the Sabara, Pulinda, Kamboja, Vanga, Kirata, Vahlika, Andhra, Dravida and the Vanachra (forest dwelling) clans or tribes are an exception which may contain five or less swaras".

See the evidence below:

Chatu:swraat prabhuti na maragah, shavara-pulinda-kamboja-vanga-:kirata-vahlika-dravida-vanadishu prayajuyate| (Mutangamuni, Brihaddesi). Trivandraum Sanskrit Series, 1928, No VI., p 50; Ancient Kamboja, People and the Country, 1981, p 232, Dr J. L. Kamboj; The Kambojas Through the Ages, 2005, p 93-94, S Kirpal Singh
This evidence by Sangit Acharya Matanga indisputably attests the existence of Kamboji Raga before 5th/6th century AD.

Origin of raga Kamboji or Kambhoji

Now, raga Kambhoji is stated to be deshi raga and a jana raga. According to ancient references, the name of deshi ragas originated from the name of the countries or deshas (of their origin). The author of Sangit-Ratnavali also attests that:

Deshi-Ragah……….deshnamsamudbhavah | (Sangit-Ratnavali)
Encyclopædia Britannica also observes: "The author of the Brihaddeshi claims to be the first to discuss the term raga in any detail. The ragas of this period seem to have been named after the different peoples (janas) living in various parts of the country, suggesting that their (ragas’) origin might lie in (regional) folk music" 
cf: "One of Sage Matanga's major contributions to musicology is his scholarly focus on the regional element in music. 'Deshi' has to be understood in contrast to 'Margi' music, which is sacred and pan-Indian in its scope. According to Matanga, "Deshi is that which is sung voluntarily and with delight and pleasure by women, children, cowherds and kings in their respective regions". Deshi music captured the flavour of a range of human emotions from different regions (i.e. Deshas/Povinces/Countries)". 


Narada, the author of Sangit-Makarand also hints on the uniqueness of the raga-nomenclaturing. On close study of Narada's Sangit Makrand, one learns of three distinct stages on the nomenclaturing of the Indian ragas. 







Classification according to Gender

Sangit-Makrand also classifies the ragas according to their gender i.e Male Ragas, Female Ragas (i.e. Raginis) and Neuter Ragas. According to Narada, the Male Ragas depict emotions of Raudra (anger), Veera (heroic) and Bhayanaka (fearful);  the Female Ragas represent sentiments of Shringara (romantic and erotic), Hasya (humorous) and Karuna (pathetic); while the Neuter Ragas represent emotions  of Vibhatsa (disgustful), Adbhuta (amazement) and Shanta (peaceful). 


Each raga is principally dominated by one of these nine rasas or sentiments, although the performer can also bring out other emotions in a less prominent way. The more closely the notes of a raga conform to the expression of one single idea or emotion, the more overwhelming the effect of the raga.


Since the  Raga Kambhoji or Kamboji has been classified as Female Raga (i.e. Ragini), this Raga is particularly suitable in conveying  the sentiments of Shringara (romantic and erotic), Hasya (humorous) and Karuna (pathos).   



Basic Kamboji tune enters Indian mainland

From the foregoing discussion we clearly notice that raga or ragini Kambhoji (or Kamboji) which is now extremely popular in southern India was connected, in its  original or basic form, with  Kamboja or Kambhoja land. It had originated in the ancient Kamboja jana or  janapada located in north-west India. It is very difficult to speak with confidence about the period when this basic Kambhoji tune had first entered Indian mainland. It is  highly probable, though, that when the Kamboja, Saka, Yavana, Pahlava and Rishika tribes had entered Indian mainland during second/first century BCE and spread into Sindhu, Sauvira, Rajasthan, Punjab, Gujarat and southern India, the Kambojas might have carried the basic Kamboji (or Kambhoji) tune into these regionsAncient Kamboja, People and the Country, 1981, p 234, Dr J. L. Kamboj. Or alternatively, the wandering Indian musicians & minstrels travelling through various regions of the north-west might have heard of the Kambhoji, adopted its basic tune and modified & evolved it further. Thus, we see that there are various forms of this ancient raga prevalent in the north, western and southern India.
For Migration of Kambojas to SW/Southern India, see: [link]



Variants of Kamboji or Kambhoji

Kamboji is a sort of parent scale (mode) much like Bilawal or Kalyan. According to some writers, it is one of the earliest known modes dating back to the Samaveda and its original name was Kamboja described by Matanga (400-500 AD). Later authors refer to it variously  as Kambhoji, Kambodi, Kambhodi, Khambodi, Khambhodi, Kamodi, Kamoda,  Khambaj (also Khamaj or Khamach) etc etc.  In the south it is now variously called Kambhoji, Khambhoji, Kambhodi, Khambhodi etc while in the north it is also known as Kamboji, Khambaj or Khamajcf: P. J. Narayanan, rec.music.indian.classical. Linguistically, the names Kambodi, Khambodi and Khambaj (or Khamaj, Khamach) can all be derived from Kamboji or Kamboja. 


One critic remarks cryptically that raga Khamaj not only turns flower red with passion, but also makes the antelopes musty.  Khamaj is still a popular and sensual raga, which is performed mainly in thumri and other genres, including hori-dhamar. [link].  


Other related raga is Khambavati connected with the port of Kambavati (or Cambay) in Gujarat. As Cambay or Kambati or Kambavati is said to have been connected with the Kambojas.Commenting on  name Kamboja, Dr  H. H. Wilson says that we have part of the  name Kamboja i.e.  Kambi, in the Cambistholi of Arrian (Archosia): the last two syllables, no doubt, represent the Sanscrit Sthala,  Sthana or 'place…. and the word denotes the dwellers in the Kamba or Kambis country:  so the Kámbojas may be explained those born in Kamba or Kambas. (See: Vishnu Purana,  p 194, fn 146,  DR H. H. Wilson). Similarly, the  name Khambavati, Kambhavati or Kambavati  means the residence of  Kamba/Kambha (-vati means = Pura = residence).  Many other scholars also connect syllable Kambi or Kamba  of  Kambhavati with the  Kambojas (see: Glossary of tribes, pp 443-444,  H. A. Rose; Kambojas Through the Ages, 2005, p 416, S  Kirpal Singh;  See entry at Kamboh, Punjabi Mahankosh, Bhai Kahn Singh Nabha; Vanger Jatya Itihaas, (Bangla), Rajyakanda, Nagendra Nath; Epigraphia Indiaca, XXIV, pp 45-46; Ancient Kamboja, People and the Country, 1981, p 332, Dr J. L. Kamboj). There was  place name called Kambhavati in  Maharashtra. And we have also Kambhavati in southern Gujarat. [link], obviously, this Khambavati is also a modified form of ancient Kamboja Raga Raga Khambavati is commonly portrayed as a lady worshipping the four-headed Brahma by performing an ancient fire ritual.


In Punjab and northern India, the variant of Kambhoji is also called Kamodi or Kamoda. The raga is also referenced as such in Sri Guru Granth Sahib (S.G.G.S), the Shabad Guru of the Sikhs SGGS page 1430-10: gaavahi saras basant Kamodaa. (Trans: and the thrilling songs of  raga Basant and Kamodaa);
(SGGS page 1430-11: Kamodee a-o goojree sang deepak kay thaap. (Trans: Kamodee and Goojaree accompany deepak). See Also Punjabi Mahankosh, p 1038, Bhai Kahn Singh Nabha.  

Besides the above version of Kambhoji, the other forms like Hari-Kamboji (Hari-Kambhoji), Yadukula-Kamboji (Yadukula-Kambhoji), Dombuli-Kamboji (Dombuli-Kambhoji), Gopi-Kamboji (Gopi-Kambhoji) and Senchu or Chencho-Kamboji (Chencho-Kambhoji), Erugala-Kambhoji, Siva Kamboji (Siva Kambhoji) etc are also in currency.



Sanskrit Kamboja vs Cambodia and the raga Kambhoji

It is often stated by some writers that ancient Sanskrit name Kamboja refers to Cambodia. This is not true. The earliest attestation of term Kambuja for Cambodia appears in the Baksei Chamkron Inscriptions of Cambodia date 869 AD. But the Kamboja  country and people located in north-west India as referred to in our ancient Sanskrit texts go back to remote antiquity. 


Based on the similar misconception, some people also attribute the origin of raga Kamboji (or Kamboji) to Cambodia. This again is wrong. Raga Kamboji being a jana raga is now believed by numerous scholars to have originated during the jana (tribal) stage which stage had preceded the janapada stage in Indian history. Thus basic tune of raga Kamboji or Kambhoji must have originated in the epic stage which had preceded the Buddhist period. On the contrary, the Indian colonisation of Kambuja had occurred not earlier than 5th century ADE. Hence it is wrong to assume that raga Kamboja or Kambhoji had originated in Kambuja or Cambodia and it got its name from that country.  


Here are some opinions from the scholars.


Scholars like O. P. Ganguli and Dr J. L. Kamboj believe that the Kambhoji raga or ragini had originated in the jana rather than the janapada stage Ancient Kamboja People and the Country, 1981, p 233, Dr J. L. Kamboj, cf: Ragas and Raginis, pp 72-77, O. P. Ganguli, The Kambojas Through the Ages, 2005, p  94, S Kirpal Singh. This implies that the basic tune of raga Kamboji or Kambhoji must have evolved during epic or even pre-epic times. Hence its origin must be attributed to the ancient Kamboja jana and janapada known to have been located in north-east Afghanistan.


Dr V. V. Srivatsa wrote the following in his notes on Raga Surati:


"The names of some ragas are indicative of the region from where they originated, e.g., raga Kambhoji from Kambhoja desha (Cambodia), Gurjari from Gujara desha (N.W.F.P.), Sindhubhairavi from Sindh, Malavi from Malwa etc" (See Notes on Raga Suratii, by Dr. V V SRIVATSA, CAC Newsletter)


But a little later, Dr V. V. Srivatsa wrote the following in his notes on Raga Yadukula-Kambhoji:


"Names of some ragas indicate the region of their origin. Examples are Gurjari, Malavi, Kannada Gowla, Gowda Mallar, Sindhubhairavi and some others. Even in one raga, different versions can be found in different regions, as can be visualised from names like Kannada Gurjari, Dravida Gurjari etc. Bharat, our land, comprised 56 confederation in days bygone, one of which was the territory Kambhoji. The raga that originated here was Kambhoji". (See Notes on Yadukula-Kambhoji, by Dr. V V Srivatsa, CAC Newsletter) [link].


It needs to be remembered here that the Puranic list of  56 countries of the Bhuvana-kosha spanned seven divisions of ancient Indian subcontinent. The Uttarapatha was one of these seven divisions and had extended from Pehova in Haryana to as far as deep into the Central Asia. The Kamboja was one of the Buvana-kosha countries and it adjoined the Daradas, Chinas, Tusharas, Pahlavas, Shakas etc which were all included in the Uttarapatha division.W. Kirfel's text of the Uttarapatha countries of the Bhuvankosha, p 44, Also: Markendeya Purana (57.32-58); Brahamanda Purana (1/16.60-69); Matsya Purana (114.34-57); Vayu Purana (45.109-137); Brahama Purana (27.4-70); Vamana Purana (13.36-58) etc  This shows that Kambhoji of Dr V. V. Srivatsa refers to the Kamboja of Uttarapatha located between river Kabol and the Hindukush mountain ranges.


It is therefore, fair that Dr Srivatsa had soon corrected his mistake.


Another musicologist, Shri Ashwin Batish, writes on the Raganet: Even the ragas are named after regions of their origin such as Bhoopali (from Bhoopal), Pahadi (Of the mountains), Kaambhoj (from Cambodia).....[link]


It is quite obvious from the above that Shri Ashvin Batish also seems to be ignorant of our ancient Sanskrit traditions and the history of ancient Indian subcontinent. Hence he has erroneously confused the ancient Kamboja or Kambhoja of our Sanskrit texts with the Kambuja or Cambodia of South-East Asia.    

Shri Chandrasekarendra Saraswati, Paramacharya of Kanchi has given his scholarly views on the origin of raga Kambhoji. And he correctly connects it with north-western Kamboja rather than with Cambodia. "Then why the name 'Kambhoji'? "I have a thought here - there is another place called 'Kambhojam along India's northern border. Kalidasa, no ordinary poet and quite knowledgeable too, tells Yasha to go this way and that in his 'mEgha SandEsam' - good enough to plot a map! In his Raghuvamsam, describing Raghu's invasions and victories, he has mentioned one 'Kambhojam', beyond the Indus and along the Himalayas. From this, we deduce that, within the extended India (akand Bharat), there was one Kambhojam near the Hindukush mountains. May be our Kambodhi raga was from this place? "Many ragas are named after places, right? Sourashtram, Navarasa kannada, even Kannada, Sindhu Bhairavi, Yamuna Kalyani, like this Kambodhi might have come from Kambhojam region." (Sri Chandrasekarendra Saraswati) [link]  
Cf: "However, its child Kaambhoji is much more popular among performers and  the raga Is supposed to have originated In the Kambhoja region of ancient India" (Article 280 of rec.music.indian.classical: Newsgroups: rec.music ). [link]
.  ''Kambodhi or Kambhoji origin from north-west Kambhoja’’  (Discussion Forum)  [link]


Another noted musicologist from Carnatica, Shri P. P. Narayanaswami,
also rejects the Kambhoji connection with Cambodia. Rather he likes to connect it with the Indian Kamboja located in north or north-west of India. His views on the precise location of Kamboja however seem to be in little error. "What is the origin of the name kAmbhOji?  Did it derive from Cambodia (kampucia), where there was a flourishing Hinduism during the 13th century (the famous Vishnu temple at Angkor)? The first ever mention of the location "KAmbhOja" appears in the vaMsha brAhmaNa of the sAma vEdam, where the Rsi  "Aupamanyava kAmbhOja" is mentioned.  Mahabharatam (udyOga paRvam 4/15, and sAnti paRvam 207/43) mentions kAMbhOja giving the location as “uttara patha” (norrthern region).  Ramayana (bAlakANdam 6/22, kiSkindA kANDAm 43/11-12) refer to a region called "kAmbhOja", again  located in the north-west region.  Also, we find this geographical name mentioned in various sanskrit kAvyams of the Kalidasa era.  In Raghuvamsam, there is a reference to a kAmbhoja ruler whom Raghu conquered (4th sargam verse 69). It is quite possible that some location near ayOdhya might be the "kAmbhOja"  region" (P. P. Narayanaswami). [link] Also Cf: "For instance, Chencho Kambhoji was indicative of its relation to the Chenchus tribe of Andhra Pradesh which lived around the Kamboja area," Prof. Prasad. [link] 


Numerous instances like the above from scholars can be presented here which now rightly accept that raga Kamboji or Kambhoji, which is a deshi as well as a jana raga, had originated in the Kamboja janapada located in north-west India. This is the same Kamboja which finds numerous references in a host of ancient Sanskrit and Pali texts and in numerous ancient inscriptions including those of Mauryan king Ashoka. Therefore, the name should not be connected with Kambuja (Cambodia) of South-East Asia which name is of belated origin, much later than the attested origin of Raga Kamboji.



Concluding remarks

The Kamboji or Kambhoji (and its variants like Khamaj) is indeed a majestic raga-- majestic in its regal attire, its  royal gait, sublime moods, enriching in charms, of heart-soothing melody and of sensuous glamors. It is considered a superb raga-- the glorious and splendrous, and is employed for conveying or expressing the Karuna Rasa (finer sentiments of tenderness, pathos), Haas Rasa (finer sentiments of humor) and Shangaar Rasa (finer sentiments of love, ornamentation and glamour etc). It is accepted by Sangeet Acharyas as a great gift from ancient Kambojas to the world of music. Kambhoji is recommended to be best played at early parts of night or early morning hours



  • Sangitacharya Pundrikavitthala, the author of Ragamala and Shadraga-Chandodiya recommends raga Kambhoji to be played in early parts of the night or early morning (See: Ancient Kamboja, People and the Country, 1981, p 233, Dr J. L. Kamboj).


  • Cf: "Kamboji is an old raga that is sung in the first part of the night" [link].


  • Cf: "..Kamboji and Nilambari at night are considered suitable [link]..

Cf also: The correct time to play this raga is the first quarter of the night. The mood created evokes memories of joy, contentment, hope, and desire as expressed in the 'Siva-tattva-ratnakara' Siva.tattva.ratnakara 6.8.99.: "A lovely girl in the flower of youth, robed in yellow, Kambhojika   A maiden from Kambhoja or Kamboja of the beautiful hair, searching everywhere in the forest with her maids, the thought of her lover makes her weep with tenderness!"[link]


It is considered an auspicious raga.



References





External links

Majestic Kambhoji: [link]


Khambaj Raga: [link]


Commentary on Sri Subrahmanyaya Namaste: [link]


CAC Newsletter Notes On Yadukulakambhoji by Dr. V V Srivatsa: 
[link]


An Introduction To Indian Classical Music - Ancient History: [link]


KAMBOJA/KAMBOJI RAGA AND THE KAMBOJA PEOPLE(Discussion Forum): [link]



Books and Megazines



  • Ragas and Raginis, O. P. Ganguli
  • Ancient Kamboja, People and the Country, 1981, Dr J. L. kamboj
  • The Kambojas Through the Ages, 2005, S Kirpal Singh.
  • Kamboj Itihaas, 1972, H. S. Thind
  • Hindu Polity, Part I & II, 1978, Dr K. P. Jayswal
  • Invasion of Alexander, J. W. McCrindle
  • Natyashastra by Bharata Muni.
  • Sangit Makrand by Narada
  • Swara-mela Kalanidhi by Ramaditya
  • Ragamala by Pundrikavitthala
  • Chatravarishach.chhat-Raga Nirupanam by Narada
  • Chaturdandi-Prakashhika by Vyankatmakhi (also known as Vyankateshwara Dikshit).
  • Anupa-Sangit-Ratanakar by Bhava-Bhata
  • Sangit-Saramritoddharby  Raja Tulaji of Tanjore
  • Trivandrum Sanskrit Series, 1928, No VI.
  • CAC Newsletter Notes On Yadukulakambhoji by Dr. V V Srivatsa (Raga Yadukulakambhoji)










 




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