For those who have heard the legendary tales of Tansen’s Dipak–Malhar—Dipak that could set fire ablaze, and Malhar that summoned clouds to save Tansen from being consumed by the flames—even if one has not directly experienced it, one can perhaps come close to its flavour by listening on a hot summer’s afternoon to Manna Dey’s song “Prokhor Darun Oti Dirgho Dogdho Din”, composed in the framework of Raga Dipak.
Unfortunately, the authentic notations of Tansen’s legendary Dipak have not survived. It is therefore impossible to state with certainty its aroha–avaroha (ascending and descending scale), vadi–samvadi (primary and secondary notes), chalan or movement. What we have today are fragmented impressions passed down through gharana traditions, coloured more by legend than by precision.
In his ragatatva, Pandit Vishnu Narayan Bhatkhande documented two distinct versions of Dipak—
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one set in the Purvi thaat,
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and another in the Bilawal thaat.
Some ancient references also suggest connections with the Khamaj thaat. From this, it becomes evident that Dipak cannot be confined to a single definitive form. Rather, across generations, musicians have rendered diverse interpretations. Each ustad taught his disciples in his own way, and that became their Dipak. Moreover, once learnt, Dipak was rarely performed publicly, which makes finding reliable references even more difficult.
In modern times, Pandit Ramashreya Jha presented a version of Dipak in which the movement from the pancham (Pa) to dhaivat (Dha), with a deliberate thrust before returning to Pa, left a lasting impression on listeners. To my ears, this remains the most convincing and vibrant rendering of Dipak.
It is said that when Dipak was performed, the atmosphere became heated and lamps would spontaneously ignite. While scientifically these accounts remain in the realm of legend, there is no denying that the mood and energy of music can profoundly affect human consciousness. Perhaps for this reason, Dipak is often referred to as the “Raga of Fire”.
Though Tansen’s Dipak can no longer be heard in its original form, the legend still burns bright in our imagination. Across different gharanas and thaats, diverse versions of Dipak continue to intrigue and inspire connoisseurs of music. And in the modern era, artists like Manna Dey bring us fleeting glimpses of that timeless essence through their interpretations.