Mutthuswamy Dikshithar (Krithis)

Carnatic composers (other than performing vidwans)
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nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Dikshithar (sarva-Anandamaya Cakra kriti of the abhayAmbA navAvarana –"sadASraye abhayAmbikE" in rAga CAmaram )

Post by nAdopAsaka »

the sarva-Anandamaya Cakra kriti of the abhayAmbA navAvarana – "sadASraye abhayAmbikE" in rAga CAmaram

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The tide of truth of the nAda-sampradAya rolls on…shattering the traditions of inherited ignorance, that have dangled by flimsy threads.

This post on the abhayAmbA navAvarana is the logical sequel to the previous post # 800 on the tiruttani guruguha navAvarana’s ninth Cakra kriti (and the previous posts on the ninth Cakra kritis of the Dikshitar at tiruvArUr and tanjAvUr).

First some background.

The discoveries of the Dikshitars many navAvaranas have now been revealed on this thread in several posts.

They are discovered by first asking the seemingly innocent question…..

Why is a rAga picked by a nAdayOgi for a particular kriti ?

and then..

Answering this question by examining the words/context of that kriti.

No vidwAn or musicologist or notation-monger or "academician" has bothered to raise this question in 200 years !

Yet it is only from this “rosetta stone”, that it has become possible to decode and to distinguish the many colors in the spectrum of the vAggeyakAras pujA and teaching.

The conclusion is stunning for most of the kritis of the Dikshitar and also many of the tyAgarAja’s kritis as is now amply clear.

The swara-content of a rAga does NOT intrude on the choice..rather it is the meaning of the rAga word/name that is central to the context of the theme of the kriti.

Hundreds of kritis of these nAdayOgis can now be comprehended in a consistent and coherent way.

For the Dikshitar, the theme is governed largely by the Sri-vidyA and the Sri-Cakra, especially in his navAvarana pujA group kritis.

A music “industry” and academies infatuated by performers is completely blind and tone-deaf to this essential aspect of the nAdayOgi.

And this cess-pool of ignorance has bred criminal notation-mongers and their bogus histories, starting with the SSP !

Exposing the SSP and the heinous character of all its proponents

In many societies, criminals are finally caught and arrested not for their major/principal crime, but because their character-flaws show up in other transgressions, such as traffic violations or shop-lifting or other petty thievery.

In the case of the SSP the situation is reversed.

As post # 786 shows indisputably, the Dikshitar family and the SSP has deliberately and cynically FALSIFIED the legacy of the sAdhu who happened to be born into the family. (there can be no family dynasty of such sAdhus or poets or vAggeyakAras)

The question therefore arises…If they are capable of this horrendous distortion, what other untruths, mis-appropriations and false claims within the SSP remain to be exposed !

Indeed, the shameless defense of this darkness and untruth, has even been seen in the past year on this forum. These rats and roaches may have gone into hiding for now….but they cannot and will not escape the long arm of Hindu karma and justice.

Post # 567 and post # 746 give the entire basis for all 9 rAgas of the abhayAmbA navAvarana.

In keeping with the theme of recent posts, the sarva-Anandamaya Cakra kriti is discussed here, reproduced from post # 569.

Avarana 9 "sadASraye abhayAmbikE" in rAga CAmaram

Cakra name is sarva-Anandamaya and the Cakra mudra is given via “mudA-ASraye”, (abode of bliss denoting sarvAnanda)

The added reference to the “nAda bindu” in the kriti emphasizes this too.

A stanza from the “yogini hrdayam” mantra text (from 11-12th century) also gives this connection between the sarvAnanda Cakra and the nAda-bindu.

vishAnI dUtarI Caiva sarvAnandA kramAt sthitAH
niraMSau nAdabindU cha kalA chechChA svarUpakam


In parallel with the Ahiri ninth Cakra kriti of the kamalAmbA navAvarana, the dEvI is also resting on the Siva manCa..

And of course the last phrase captures the classical hand mudra of abhayam via “varadAbhaya hastE”

why is CAmaram the rAga ?

This comes from the 99th stanza (penultimate stanza) of the Adi Sankara's SoundaryaLahari excerpted here.

Stanza 99 of SoundaryaLahari

saraswatyA lakshmyA vidhi hari sapatnO viharatE
ratEh pAtivrityam Sithi layathi ramyEna vapushA
Ciram jivan nEva kshapitha paSu pASa vyatikarah
par-Ananda-bhikhyam rasayati rasam twad bhajanavAn.


According to this stanza, both saraswati (vAni) and lakShmi (ramA) are performing worship/service with vidhi and hari to the dEvi.

This type of "service" is typically operating the “fan” aka the fly-whisk waved etc. from both sides !!!

Indeed the Dikshitar says in the kriti " vAnI mA karadhrta cAmara sEvAsaktE" !!

We have previously seen (post # 499/500) how the Dikshitar used this fly-whisk or fan idea to describe the periodic motion of the eclipse-graha in the kEtu CAmaram kriti.

Because the 614th name of the dEvI from the lalitA sahasranAma is “Sa-CAmara ramA vAni savya dakSina sevita”..there is only one rAga which captures this image !...i.e. CAmaram..

No !!! ...."sadASrayE abhayAmbikE" is NOT the so-called dhyAna kriti espoused by the corrupt SSP and most others.

It is the crowning sarva-Anandamaya Cakra kriti of the abhayAmbA navAvarana , the Dikshitars pujA to the mAyavaram dEvi.

sadASraye abhayAmbikE in rAga CAmaram

vanamAla center group

https://www.youtube.com/watch?v=uICXDAqZUdI

DKJ

https://www.youtube.com/watch?v=5zOQIiliL-I

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Dikshithar (the sarva-Anandamaya Cakra kriti of the kAnCi kAmAkSi navAvarana – "nirajAkSi kAmAkSi" in rAga hindOla )

Post by nAdopAsaka »

the sarva-Anandamaya Cakra kriti of the kAnCi kAmAkSi navAvarana – "nirajAkSi kAmAkSi" in rAga hindOla

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The sequence of posts on the ninth Cakra kritis that crown the Dikshitars many navAvaranas , continues (to the further and eternal dismay of the distortionists)

There is zero doubt or question that a complete navAvarana is offered by the Dikshitar at kAnCi.

Only a fool and/or criminal will deny or ignore this…and there are certainly a few of these villains as we have seen already. (that concludes the asurA moment of this post)

That “nirajAkSi kAmAkSi” is the sarva-Anandamaya Cakra kriti of this kAmAkSi navAvarana is apparent from the following key mudras ( = signatures) given by the Dikshitar

1. Siva-Sakti maya navAvaranE – this is the only kAnCi kriti of the Dikshitar that uses the words “Siva-Sakti”, which is the unquestionable symbol of sarva-Ananda, at the completion of the 9 stages = navA-varanE.
2. nava-nAdAnta karanE – the pinnacle of the Sri-Cakra, culminating in the nAda-bindu
3. SAradA-ramA nayanE -Just like the penultimate stanza of the Adi Sankaras SoundaryaLahari and the mayavaram CAmara (which is also a sarva-Anandamaya Cakra kriti) says, the supreme goddess acquires the attributes and worship of both SAradA and ramA , when she arrives at the union of Siva-Sakti.

and finally

4. The rAga choice of hindOla, the celestial swing where the deities are united, is also the swing where lord krSnA woos his consort.

This post also corrects the list first presented in post # 568.

kAnCi and the Adi Sankara

Indeed it can be stated with certainty that the first Cakra kriti of the kAmAkSi navAvarana is “kanakAmbari kArunyAmrta-lahari” where the first Cakra mudra trailokya Mohana Cakra appears unambiguously.

Why ?

Because with the words in “kArunya-amrta Lahari” the Dikshitar mirrors the wave of joy of the Adi-Sankaras epic vision - the soundarya-Lahari.

Of course, there is no question of the influence of the Adi Sankara at kAnCi as well as on the Dikshitar !

Fittingly this rAga kanakAmbari, is the very first in the mEla scheme and is logically used to start the Sri-Cakra pujA at kAnCi, which is then completed in the ninth Cakra hindOla kriti.

The first Cakra kriti in rAga kanakAmbari as well as the other 7 kritis of this important Cakra/kSEtra will be discussed in upcoming posts.

The nAda-upAsaka rejoices in the sacred pujA of the mother goddess.

For this post, and for all nAda-upAsakas, it only remains to hear and absorb the gently swaying hindOla at the climax of the sarva-Anandamaya Cakra at kAnCi.

nirajAkSi kAmAkSi - rAga hindOla

ranjani-gAyatri
https://www.youtube.com/watch?v=AlIHSUX90jA

r kauShik
https://www.youtube.com/watch?v=FMVMBl0p1Uc

musiri SI
https://www.youtube.com/watch?v=qgQrarNALSQ

nAgaratna S
https://www.youtube.com/watch?v=jimVmql8NVA

MSG
https://www.youtube.com/watch?v=n2LQcW0AbXM

rAmAjunam flute
https://www.youtube.com/watch?v=U2_k5pP_WGA

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re:Dikshithar (sarva-Anandamaya Cakra kriti of the madurAmbA navAvarana–“Sri madurAmbikE”-the “kaivalya dAyini" kalyAni)

Post by nAdopAsaka »

the sarva-Anandamaya Cakra kriti of the madurAmbA navAvarana – “Sri madurAmbikE Sri SivE” .. the “kaivalya dAyini” kalyAni

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

There are some absolute certainties in the world. The sun rises every dawn. Death descends on every mortal.

It is also a complete certainty that the Dikshitar gives the madurai minAkSi her own navAvarana.

For all nAda-upAsakas, there is an aural garden, just behind the minds eye, an empire of the senses of hearing and smell.

The garden takes different names and has different flowers. In this magical garden, blooms the fragrant kamala and the delicate nilOtpala.

And when the garden is the “kadamba kAnana”, here too is the goddess madurAmbA.

Once again the deities assert the truth and completeness of the Dikshitar pujA, denied him by his own “shawl-gathering” family and by the hordes of conniving panderers led by the SSP, masquerading as notation-peddlers.

This post will show the emblems = mudras = signatures relevant to this particular discovery, in keeping with the theme of the recent ongoing series on the sarva-Anandamaya Cakra, the last (ninth) stage of the sacred navAvarana pujA.

Brief asurA moment
Both the Dikshitar and the tyAgarAja knew of the corruption within their own families !

The tyAgarAja has many kritis attesting to the torment from his brother and cousins, who threw his pujA idols in the river, when the sAdhu refused to “commercialize” his kritis.

And Post # 786 shows beyond a shred of doubt, how the Dikshitar family tried to falsify the origin and kSEtra of two kritis, in order to appease the scoundrel zamindars of EttAyapuram. This heinous 100 year “cold-case” was solved only recently.

The enormously sensitive vAggeyakAras also sensed the untruth to come in the centuries after them, as language-politics and communal-politics and misguided “scholars” and illiterate historians and musicologists have attempted to ruin their legacy.

The vAggeyakAras embedded in their kritis special signatures, not just for their own name, but for all manner of “indicators”. These mudras protect their identity and their ideas. The choice of the rAga itself is a “unique watermark”, which has eluded the “duffers” and distortionists.

And it is these mudras that have trapped and exposed the ignorance, arrogance and deception of generations of fools, hiding behind notations and so-called scholarliness of the SSP and other such distortions.

But just like Japanese fish-mongers are swept away by tsunamis, the distorting notation-mongers of the so-called “sangita sampradAya” are washed away by the tide of the nAda-sampradAya.

Did these criminals think their flimsy tissue of lies could stand against the tide of truth and Sruti ?!

NOT-A-CHANCE !

The madurAmbA navAvarana

Post # 568 first revealed the status of the madurai kSEtra and deity as recipients of the supreme Sri-Cakra pujA of the vAggeyakAra.

That the madurai minAkSi is special to the Dikshitar should not be a surprise to anyone (except to the criminals).

Indeed, he picks the famous gamaka-kriyA to her as his own “kriyA”, upon his passing (see post # 595).

The minAkSi of madurai and her icons

the madurai minAkSi is in every way the ‘mA”.

Why ?

She is mA-dhava-sOdari

She is mA-dhurya-vAk pradAyini

And

She is mA-dyati

( excessively intoxicated on kAdambari - NO ! she is not an alcoholic, rather she is drunk on the nectar of the madurai Siva/hAlAsya, symbolized by the kadamba sap)

Before the ninth Cakra kriti is discussed some features of some of the other kritis of the madurAmbA navAvarana are highlighted. (All the other kritis will be discussed in later posts)

Her name as mAdhava-sOdari is particularly relevant at madurai.

Why ?

Because she is given away by her brother, the azhagar viSnu to the sOmasundarESwara during the famous Citirai festival at madurai.

Yes, that same azhagar viSnu of the azhagar hill = vrSabhACala = kanka-Saila ! see post # 786.

Indeed it can be asked …

Why is paraj (= faras) the first Cakra kriti rAga for “madurAmbA jayati” ?

We have already seen how paraj = paras = faras being derived from the Arabic “faras” for horse, is used by the Dikshitar for the horse-riding Sukra in the Friday navagraha kriti. (post # 735).

At madurai, the dEvi’s journey to uniting with sOmasundarESwara begins with her horse-driven chariot being pulled towards the river !

The Dikshitar naturally captures the first icon of the minAkSi dEvi relevant to the start of the Sri-Cakra pujA. In fact he calls her “mAdhava-sOdari” in this kriti.

And out of all the madurai kritis, this paras kriti is the only one to use the word “tri-pura”, synonym of “trailOkya”, the first Cakra name “trailOkya mOhana”.

The seventh Cakra rOgaharana kriti "Sri madurAmbikayA rakSitOham" uses the words sanjivana OuSadha, which appears nowhere else at madurai. Naturally OuSadha is the word for medicine, to relieve disease and is associated with the rOgaharana aspect of this Cakra.

The eight Cakra siddhi-pradAyaka kriti "madurAmbikAyAm sadA bhaktim karOmi" is the only one at madurai to use the word “yOginyAm”.

The yOgi or yOgini refers to the achievement of “siddhis” after sAdhana and the eight Cakra marks this stage in the majestic navAvarana.

And now we have made our way to the ninth Cakra of the madurAmbA navAvarana, the sarva-Anandamaya Cakra, where Sakti meets Siva, SiSya meets guru, and the self meets self-realization.

The Dikshitar, ever formal, introduces her union with Siva as “Sri SivE , sOmasundarESvara hRdaya vilAsini kAma giripIthAdhi vAsini”

And then he uses the iconic word “kaivalya”, a key synonym for the eternal bliss of the sarva-Anandamaya Cakra. No other Dikshitar madurai kriti carries this potent word.

The kriti ends with the words “SukapAni alivEni !”

Even the formality of the Dikshitar and the language cannot hide the wondrous image of union captured by these two words !!

The goddess is like the parrot held in the palm of the Siva and the Siva is the bee trapped in the dEvis thick black tresses !!!

kaivalya and the ultimate fulfillment

In the kamalAmbA and abhayAmbA navAvaranas , kalyAni is symbolic of the fulfilling of wishes relevant to the sarva-AshA paripuraka Cakra, the second Cakra.

But for the minAkSi dEvi who bestows kaivalya, kalyAni is the fulfillment of the eternal desire, and so merits the ninth Cakra.

The differences between the Cakras , between the deities and their names can be subtle and also profound in bringing forth the panorama of the imagination, just as small differences in notes that create the kaleidoscope of the rAgas.

It is the deployment of rAga for the sole purpose of this subtle and profound pujA that is the essence of the nAda-sampradAya and nAda-upAsana.

The nAda-upAsaka always thanks the rasika forum founders and managers for providing the platform where the truth of the sacred music of the Hindus can be disseminated.

satyam Eva jayatE

Sri madurAmbikE Sri SivE – rAga kalyAni

Sri ranjani K
https://www.youtube.com/watch?v=C93uF5XwT3c

bharat sundar
https://www.youtube.com/watch?v=TDYI6u-func

sarvatha S
https://www.youtube.com/watch?v=0PvSe6f6sOE

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re:Diksithar(sarva-Anandamaya Cakra kriti of the bAlAmbikA navAvarana–“nija rupa dAna” kalyAni “bhajarE rE Cita")

Post by nAdopAsaka »

sarva-Anandamaya Cakra kriti of the bAlAmbikA navAvarana – “nija rupa dAna” of the kalyAni “bhajarE rE Cita”

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

nAda-sampradAya pradarSini

For 200 years, the bAlAmbA of vaitheeSwaran kOvil has hid behind her mother, the transcendent lalitA dEvi, to avoid the caco-phonies of the kutChEris.

But today the wondrous child-goddess peeps out and again casts her shy smile on the nAda-upAsaka.

And this is what she asserts, through the sacred Sri-Cakra pujA of the Dikshitar.

There is a complete navAvarana ( = 9 kritis EACH aligned with a specific Cakra ) to the bAlAmbA.

In addition, there is also a unique 10th kriti to the male deity of vaitheeSwaran kOvil, the athAna “Sri vaidyanAtham bhajAmi”.

The proper sequence and completion of this pujA, (DERIDED by some fools on these threads as "just another list") , is a necessary part of the worship inherent in all the vAggeyakAras music.

But no wisdom should come easily, particularly for the deluded performer-cults.

asurA moment

Therefore an asurA moment is required, to spotlight the distortionists , the SSP and other self-appointed (and illiterate) historians…yes you, the buffoon with the smiley icons hiding behind notations and you the ignorant, lost “researcher”, and all the other deluded defenders of “dwaya-artha”, of dubhAsya double-speak. If you “criminals” read further, you should tremble with fear.

Why ?

Because the inexorable irreversible arc of Hindu karma has begun to punish your defilement of the Dikshitar legacy, just as surely as the truth of his pujA is finally being revealed in these posts.

You have regurgitated decades of unthought-out nonsense about the Hindu vAggeyakAras, inherited from your equally illiterate and ignorant fathers, mothers, families, gurus, vidwAns, musicologists, academies and sabhAs.

And to these established “fools” you have added your own filth !

You have tried to make child-like innocent sAdhus like the Dikshitar and the tyAgarAja mere tunesmiths for other mortals, or groveling, shawl-gathering, boot-licking court-musicians, or duplicitous dwaya-artha double-speakers like your own chosen mediocre notation-mongers.

You have done this simply because you have a keyboard, without reading or understanding any of the kritis or their context or Hindu scripture or the Sri-vidyA.

You are silenced now, hiding like roaches in the dark, but know this.. You have been fully exposed to anyone who reads this forum.

Most kritis of the Dikshitar repeatedly carry reference to asurAs and evil-doers, even though they have been fully vanquished in the scriptural stories.

The reason is to remind us that these criminals are always in our midst, then and now.

Which concludes the asurA moment, somewhat extended this time, since the punishment must fit the crime.

The bAlAmbikA and the story of bhanda-kUmAra vadha (the destruction of the sons of bhanda)

Indeed, the saga of asurAs and the battle of truth versus untruth is central to this very post.

Why ?

Because the bAlAmbA, is simultaneously the sweet child , the kUmAri, of less than 10 years age, AND ALSO the red-faced blood-thirsty battlefield heroine of the lalitOpAkhyAnas bhanda-kUmAra vadha chapter.

The lalitOpAkhyAna , the panCadaSAkSari bAlA and the Sri-vidyA

Along with the SoundaryaLahari of the Adi Sankara, the lalitOpAkhyAna is central to the Sri-vidyA expressed in the Dikshitar kritis and central to the nAda-sampradAya.

Importantly, the lalitOpAkhyAna carries also the lalitA sahasranAma.

The lalitOpAkhyAna describes the many exploits of the mother goddess and other deities against all manner of forces of untruth (named as different asuras and rakSaSas).

The “battles” are not limited by any place or time, ..they are cerebral battles of choices and conduct…Indeed we are waging one even now on this very thread, in defense of the sAdhu !!

One of the key Sri vidyA mantras is the panCadaSAkSari, the 15 syllable hymn, specified in 3 sets of 5, the so-called tri-kuta, for the three “divisions”/sets.

We will now see how all these icons translate into the complete navAvarana.

Post # 568 revealed the existence of the bAlAmbikA navAvarana, but it did not give the individual kritis.

All 9 kritis are now given here, with individual details.

Additionally, the very basis for EACH rAga choice is given.

Yes…again… absolutely NONE of the rAgas for the kritis of the bAlAmbA navAvarana are random, each is rooted in the associated Cakra.

Of course we have already seen that rAgas are not randomly chosen , for the 72 kritis of the kSEtras noted in posts # 795, 796, 797, 798, 799, 800 and 801. (and for several scores of other kritis as well )

The 9 kritis of the bAlAmbikA navAvarana

Each kriti is now described in detail, including the reasons for the rAga chosen.

bAlAmbikayA kaTAkSitOham Cakra 1 – trailOkya mOhana

“trikUTa varayA” – identifies the panCadaSAkSari three kutA mantra

"bhaNDakUmAra harayA" - identifies the villains of the relevant chapter of the lalitOpAkhyAna (for example just like SSP and its buffoon proponents are identified as villains nowadays)

"cakrAdi SObhita karayA" – the child dEvi adorned with the Sri-Cakra

Cakra mudra
tri-kUta is also synonym for tri-lOka or trailOkya

Why rAga Sriranjani ?
The bAlA is the apple of the SridEvis eye and therefore naturally Sri-ranjani.

gIti-cakra-ratha-sthitAyai Cakra 2 – sarva-AshA paripuraka

Background
Some background is needed, since the word “bAla” does not appear directly in this kriti.

What is the giti-Cakra ratha ? and who is riding it ?

“giti-Cakra ratha” is the dEvis chariot, borrowed by the child for her use in the bhanda-kUmAra vadha.

First the word is “gi-t-i-Cakra (NOT giri-Cakra ) since the dwitiya akSara prAsa links to the next line which is “gi-t-Amrta”

giri-Cakra (or kiri-Cakra) applies to the Sakti’s dandAnAthA, mantrini, vArAhi, which are other non-bAlA embodiments of the lalita dEvi.

Indeed the word “giti" which refers to a prayer song is a reference to the hundred swans that are yoked to the dEvis chariot

How do we know this ?

Because the lalitOpAkhyAna Stanza 49 Chapter 22 (bhandaputra vadha) gives the unambiguous line

“hamsa-yugya Sata -ir yuktama-arOruha”

A 100 swans draw the lalitAs dEvis special chariot (the CakrarAja-ratha), which is borrowed for use by the child goddess.

It is the sound of these swans that is the “giti” which accompanies the CakrarAja ratha, the supreme vehicle of the dEvi and in this case her daughter.

As if to make certain he gets his message across, the Dikshitar says in the Cakra 4 nAtakuranji, that the bAlAmbikA is also “hamsa-nAda muditAyai

Cakra mudra
lOka-upakArAyai – she who gives boons and fulfills wishes as in sarva-AshA paripuraka

Why rAga kannaDa ?

From the word kar-nata, the action of the dEvis hand in casting several arrows , a special feature of the bhanda-kUmAra vadha (see also nava-nava vidha bAna karAyai)

gAnalOlE bAlE panCadaSAkSarI Cakra 3 - sarva samkSHObahana

This Cakra is the quelling of desire and lust.

Cakra mudra
CAruCandra hAsitE – she who is able to laugh at and mock the moon..The moon is considered the emblem of Cupid and therefore of “desire”

Why rAga nAgavarAli ?

Here nAga , the serpent "consumes" the moon as in "cArucandra hAsitE sanakAdi samArAdhitE nAgavarALi vENiyutE"

bAlAmbikAyai namastE varadAyai Cakra 4 -sarva saubhAgyadAyaka

Cakra mudra
“varadAyai” for the saubhAgya or good fortune associated with “boons” = vara given by the goddess of this Cakra.

nateSvaryai refers to the goddess of dance.this is # 734 in the Lalita sahasranAma

Why rAga nAtakuranji ?

In the “story= play = nAtaka” of the bhanda-kUmAra vadha, the essence is the child-goddess shining ( = ranjita) on the battlefield.

Indeed as the natESwari, the supreme dancer, the bAlAmbikA also adorns the “nAtaka” or "story”" being told. Noticeably, no other kriti of this set refers to this dancing aspect of the goddess

bAlAmbikE pAhi Cakra 5 - sarva-Artha sAdhaka (also known as viSuddha)

Cakra mudra
sAmrAjyadAyini and dhanini both give the emblems of providing ALL materials – sarva-artha sAdhaka

Suddha vidyE is also indicator for the fifth Cakra since this Cakra is known as viSuddha Cakra.

Why rAga manOranjani ?

The child pleases the mind of her parents Sankara and nArAyani, so the rAga choice is easily understood .

Almost ever book (and foolish scholar) assigns this kriti to Sankaran kOvil by misreading

Sankara-nArAyana instead of Sankara-nArAyani !

In fact the ending syllable of the line ALSO confirms it should be nArAyani ! where the mother goddess is the sister of nArAyana.

sAlOkAdi mukti sAmrAjyadAyini SankaranArAyani manOranjani dhanini

bAlAmbikAyA tava bhaktOham Cakra 6- sarva-rakSa
The dEvi here is uniquely holding a spear “vElAyudhadhara”

Cakra mudra
Universal protection (sarva-rakSa) is evident from vElAyudhadhara

It is noted also in this kriti that the Saktis bhagamAlini and nakuli are in service of the child goddess

bhagamAlinI nakulinI pUjitAyA

This will be useful when we look at the Cakra 8 kriti below.

Why rAga kEdAra-gaula ?

kE-dAranam (dArana = digging etc.) with the vEl , the spear is a useful digging and cleaving tool, to dig out untruth and destroy it.

The goddess who wields this vEl is naturally “kEdAra-gaula”

bAlAmbikAyAh param nahirE Cakra 7 – sarva-rOgahara

Cakra mudra
bhava-rOgahara as well as vaidyapurIshvaryAh

niranjanyAh is additional indicator of the spotless and hence disease-free goddess of this Cakra.

Since this particular shrine = vaidyapuri = vaitheeSwaran kOvil is especially linked to relief from disease, or vaidya, it will be more fully discussed in a separate post.

Note that the angAraka navagraha kriti is also associated with vaitheeSwaran kOvil and has clear features of relief from disease.

Why rAga kAnada ?

The word kAnada derives from the deSya word kAn-hada which is a colloquial corruption of the word kAn-hara.

In this meaning, it is the sound/music that captivates (hara) the ear (karna = kAn)

But the Dikshitars vision and concentration is deeper. The kSEtra being vaidyapuri, the rOgaharana Cakra is particularly important.

Now is explained how this aspect determines the specific rAga chosen.

kAla-hara-na is representative of the defeat of disease or afflictions = kAla.

kAn-hara can be seen to be phonetically linked to kAla-hara and hence rOga-hara. The transition is illustrated by the sequence…

rOga-hara - kAla-hara - kAn-hara - kAn-hada – kAnada.

Phonetic linkages appear in the Dikshitar rAga mudra technique…bE-gala for bE-gada or bAdhi for pAdi (the rOgaharana of the tiruttani navAvarana), kam-nala for kan-nada ..etc. etc. etc. all these examples are given in the many posts made already.

But the Dikshitar doesn’t stop there.

Notably the word kal-hAra (the flower) is mentioned in the kriti.

This flower of the white-lily plant, kal-hAra is known in ayurvEdic treatments !

Can any sane person think these are coincidences, imagination or speculative extrapolation ?

navaratna mAlinIm Cakra 8 - sarva-siddhi pradAyaka

As the siddhi Cakra, the kriti must define “attainments”.

The child-goddess distinguishes herself on the battlefield ! and earns her rank as a siddhiSwari.

Therefore the kriti calls her “yuddha-rangini”, DECORATED on the battlefield, proven for her attainments.

The kriti does not refer to bAla directly, but gives the following reference to bhagamalini and nakuli noted in Cakra 4 above.

bhagamAlI nakulIbhih pUjita jananIm

Cakra mudra
She is “yuddha-rangini”.

Why rAga gamakakriya ?

There is no better example of the deliberate choice of rAga !

The child goddess subdues (and destroys) the evil sons of bhanda on the battlefield.

The act (kriyA) of this domination is LITERALLY damana = damaka = damaka-kriyA…leading to gamaka-kriyA.

The nAda-upAsaka who adores the vAggeyakAras has followed the Dikshitars footsteps , and the Dikshitars cerebral pathway.

The final reward is the Cakra 9 sarva-Anandamaya kriti

bhajarE rE citta bAlAmbikAm Cakra 9 sarva-Anandamaya

Cakra mudra
nija rupa dAna” is the embodiment of the gift of self-realization.

All three kUtas of the panCadaSAkSari are described...vAgbhava, kAmarAja & Sakti

Post # 734 gives the details of this supreme kalyAni. (Previously a vibhakti approach was examined and didn't succeed in unifying the pujA....Post # 459)

Why rAga kalyAni ?

Just like the madurAmbA navAvarana, the boon of "nija rupa" is the ultimate kaivalyam, the totality of wish-fulfillment, which is the essence of the word kalyAni.

SrI vaidyanAtham bhajAmi -rAga athAna

The Dikshitar re-affirms reaching the ninth Cakra where Siva and Sakti are united.

Why rAga athAna ?

Because in her battle against the forces of bhanda, the ganapati is deployed extensively !

In fact the elephant headed deity (who defeats also elephant formed asuras the gajAsurAs ) is required as seen in the lalitOpAkhyAna chapters.

As noted several times in posts here, the word athAna is inferred from "hAthi" also "hasti".

He gives in “SrI vaidyanAtham bhajAmi” to the bAlAmbikESam the following as clear Ananda mudras.

kaivalyAdi pradam Anandakara mUlAdi pradam sOmAskandam kamanIya nAdabindu kalAspadam

And this is the sAdhu the SSP and notation-mongers want to turn into a tunesmith and a shawl-gathering businessman like themselves.

There is no punishment or abuse that is enough for these conniving panderers.

The whip that flogs them relentlessly now in this public kutChEri, will also strangle them mercilessly later.

For these modern versions of the bhanda and bhanda-kUmAra criminals, the bAla panCadaSAkSari demands no less.

It was bound to happen.

The nAda-upAsaka rises to the service of the deities and the vAggeyakAra and stands for ever against such evil and untruth.

The nAda-sampradAya , that eternal river of truth, sound and light flows on.

satyam Eva jayatE

bhajarE rE Cita - rAga kalyAni

nAgaratna S

https://www.youtube.com/watch?v=30lOgPL7y3o

Sri vaidyanAtham bhajAmi – rAga athAna

bombay jayaSri
https://www.youtube.com/watch?v=u-P88vwEXg0

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Just curious..
- Who are the Devas., asuras and raakshasas?
-Mahabali was an asura and a noble character.
and a great devotee of Hari.
viewtopic.php?p=363930#p363930
from NaarayaNeeyam

https://guruvaayoorkshethram.blogspot.c ... aaram.html

https://guruvaayoorkshethram.blogspot.c ... ge_10.html
-----
sanskrit, english and thamizh - with illustrations
and rendition by Thrisur Ramnachandran - audio clips

-
Churning of the ocean was done by devas and asuras only.
-
Who then were the raakshasas?

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (“mAtula kAntAm lalitAm, Srita CintAmani sadanAm” – the sAdhus sanctuary )

Post by nAdopAsaka »

“mAtula kAntAm lalitAm, Srita CintAmani sadanAm” – the sAdhus sanctuary from the torment of tyrants/rAkSasAs

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The nAda-upAsaka relies on the teachings and singings of the sAdhus/vAggeyakAras themselves for an answer to this question.

The Dikshitar says, in the famous kriti “hiranmayIm lakSmim”, to the lakSmi dEvi aspect of lalitA (in none other than rAga lalitA) with the goddess herself the product of the churned ocean balancing the poison produced….

“ (lalitAm) hiranmayIm lakSmIm sadA bhajAmi, hIna mAnava ASrayam tyajAmi”

. It is this “hina mAnava” that is the everpresent “rAkSasA”

The lore (lalitOpAkhyAna, rAmAyana etc. and of course other traditions beyond the sub-continent) describes tyrants, (including child-molesters) with stories of varying veracity.

But for the vAggeyakAras (and by extension, the nAda-upAsakas) the idea of a rAkSasA is not just a story ..it is quite real.

A tyrant/zamindar/family trying to force the sAdhu to give up his vow…that is a sure rAkSasA of the highest magnitude, greater than or equal to a child-murderer. The defenders of these zamindars are also rAkSasA’s.

Any proponents of a notion of duplicity or duality of the sAdhus words or vows are also the worst rAkSasAs.

Indeed, the tyAgarAja and SyAmA SAStri have the same sentiment for such modern tyrants.

For the tyAgarAja, he names his own family repeatedly as such villains, resisting their desire to “sell” his kritis…..”prArabdha mittundaga” in swarAvali, “anyAyamu sEyakurA” in kApi, “nidhiCAla sukhamA” in kalyAni etc. etc.

SyAmA SAStri similarly says in the classic “O jagadambA” Ananda bhairavi “manavini vinuma, mariyAdaga dUSprabhula kOri vinutimpaga varamosagi”…begging for the boon of being free from the torment of these “low Kings” = duS-prabhu.

Notably the Dikshitar kriti also gives the desired abode for the one seeking relief from the rAkSasA.

He calls it ““(guruguha) mAtula kAntAm lalitAm, Srita CintAmani sadanAm”, the torment-free sanctuary, the musical refuge in the heart of the lord.

It is fitting that this lalitA dEvi kriti comes after the lalitOpAkhyAna’s bAlAmbA navAvarana revealed in post # 804.

hiranmayim lakSmim – rAga lalitA

Veena sai harini

https://www.youtube.com/watch?v=EW5VNR-IkUw

vid. gAyatri
https://www.youtube.com/watch?v=3JqQWSIP1Ug

s rAjam
https://www.youtube.com/watch?v=McT7erTiI3A

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Dikshithar (The other lalitA rAga kriti – to the Siva/agastISwara and the “sound” of the kundalini at tanjapuri)

Post by nAdopAsaka »

The other lalitA rAga kriti – to the Siva/agastISwara and the “sound” of the kundalini at tanjapuri

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

After post # 806, it becomes necessary to complete the lalitA rAga offerings of the Dikshitar.

Why ?

Because the exalted goddess demands it (and because this other lalitA rAga kriti is also subject to the ignorance and distortion of clue-less criminals).

This post will set the record straight ONCE and FOR ALL.

The kriti “agastiSwaram ArAdhayEham” is indisputably at tanjapuri (= tanjAvUr).

Several other kritis of tanjapuri ALSO SUBJECT TO CONFUSION SO FAR by the criminals WILL ALSO be clarified in this post.

We begin with the lalitA rAga kriti.

Why is “agastiSwaram ArAdhayEham” so undeniably at tanjapuri ?

For starters, the Dikshitar cites the “Anandavalli” consort in this lalitA kriti.

He also gives this consort name and place much more clearly in the CAyAvati kriti “CAyAvatim AnandavallIm CArutara tanjapurIshvarIm bhajEham”

The Dikshitar does NOT mix his idols just like he does not mix his rAgas.

It is the nature of his dhyAna, and the sAdhana, the concentration and the pujA.

But this fact is not enough to keep the fools and criminals (= SSP etc) at bay.

A special hammer is needed to crack their thick numb skulls.

And so the Dikshitar gives an additional unmistakeable mudra of tanjore !

It is the very first word !

agastiSwara = the Siva who rules the ANCIENT constellation Argo = Ardra = tiruvAthirai .

The star “agasti” = Canopus was considered within this constellation.

The 27 nakSatras of Hindu astrology each have a ruler/deity. Siva as rudra is associated ONLY with Ardra.

It does not need to be repeated that the Dikshitar , with the navagraha kritis etc. shows his grip on the “heavens” and the stars.

And....here is the clincher.

tiruvAthirai is also the birth-constellation (nakSatra) of more than one important COla king , who oversaw the tanjAvUr temple complex.

In fact, nowhere in the Dikshitar kritis is the sage/muni agastya referred to directly as “agastya”…he is always “kumbha sambhava muni” , “kumbhaja” or “kalaSa-ja” or lOpa-mudrESa.

The use of the reference to the star “agasti” is the exact connection to the kSEtra.

Naturally the influence of the sage is represented by the very choice of the rAga.

The story (and the 1000 names) of the exalted supreme mother lalitA, emanate from the lalitOpAkhyAna , the fabled “dialogue” between agastya and hayagriva.

Indeed the # 647th name of lalitA is lOpamudra-arCita. lOpa-mudra of course is the name of agastya’s spouse. Notably the word itself means “lacking mudras”.

No…The Dikshitars vision does not miss much.

The COla kings are considered to have fought battles all the way to the banks of the gangA. Which is also analogous to the “bringing of the gangA” by the pot-born sage.

And the “tanjapuri mahAtmyam” is one of the dozen of kSEtras whose story is told in….what else…the “brahmAnda purAna” related by hayagriva to …who else….agastya.

The tanjapuri mahAtmyam gives two ancient names of tanjapuri, one is alakA-puri, connecting to kubEra.

And naturally the kriti carries the words “rakSita dhanikam”, also referring to this prosperous kubEra !

The nAda-upAsaka was planning to end this post with the above points, pertaining to this other lalitA rAga kriti of tanjAvUr, since its story has now been fully revealed.

But the nAda-upAsaka is now “dEvi -ASliSta”, fully in Her embrace.

And the goddess says ....Why stop here ?

Gently she whispers

....Ask why is the word “naga-ja” used in multiple tanjapuri kritis ?

…Ask why is "naga-ja" used in exclusion of the name “brhannAyaki” (which is the formal name of the tanjapuri goddess)

and

…Ask why does "naga-ja" appear even by itself , in one case, where even the name “Anandavalli” does not appear ?

And with the answers to these questions, the supreme mother gives the overjoyed nAda-upAsaka yet another glimpse of the Dikshitars majestic vision and teaching.

First the enumeration , then the esoteric underpinning.

The word naga-ja appears in the following kritis

1. In “agastiSwaram ArAdhayEham” as nagaja-ahlAda-karam

2. In “nAgAbharaNam nagajAbharaNam”, which also ends with the words ”tyAgarAjarUpam bRhadIsham”

3. In “nabhOmaNi candrAgni nayanam” as “nagajasahita bRhadIshvaram” - here the ardhanAri aspect (seen in the sculptures and murals at tanjore) is described.

The above three are clearly marked with “tanjapuri” icons.

Next is

4. In “nAgaliNgam bhajEham” (the SankarAbharana) as “nAgavallI prasaNgam nagajArddhANgam

Although the Dikshitar also refers here to “nandituraHNgam” and one of the biggest nandis as well as biggest lingas is at tanjAvUr (after all it is the brhad kSEtra, the grand , colossal complex) , the fools and criminals might say “Oh, these are generic emblems”.

But then the Dikshitar adds the following words

munigaNa aSTa nAga arCita liNgam

Uniquely at tanjAvUr, eight elephants are associated with the aSta dikpAlas that guard the giant linga. The word nAga here represents these elephants.

viji tanaNgam”.

In the very last word , the Dikshitar signals the ancient name of tanjapuri = vijaya-puri ! = (given in the tanjapuri mahAtmyam, along with alakA-puri)

This "victory" is related to the defeat of the demon of this location.

Which brings us to final kriti of this subject, which is in rAga nAga-gAndhAri

5. nAgagAndhArI rAganutE nagajAnanditE mAmava

which also says

nAgarAja vinutE parama tatvArttha bOdhitE SivE

To comprehend what will now be said, one must first take notice of another kriti of tanjAvUr

The nAgadhvani to the brhadiSwara "bRhadIshvaram bhajarE rE"

which says

nAgarAjavinutam nAgadhvani nAdabindu kalAspadam .

and now it can be said, unhesitatingly..

naga-ja = The sound born of the kundalini

The coiled serpent that represents the awakening kundalini Sakti (“nAgarAja vinuta”) is associated with the sound known as nAga-dhwani.

nAga-gAndhAri is also the same sound, since gAndhari derives from the word “gandharva" , a synonym for celestial song.

While "naga-ja" is on the face of it merely the daughter of the mountain = pArvati, in these two kritis, the Dikshitar is unambiguously referring to the awakening of the sound of the kundalini serpent, signaling the Siva-Sakti union, the ardhanAri, the nagajArdhAngam of tanjAvUr, the nAgadhvani nAdabindu kalAspadam

And once again the unimaginative charlatans, and all the lazy, ignorant and corrupt distortionists/SSP are put on notice…..

The kritis are not mere arrangements of air-pressure variations for collateral amusement of an audience while snacking at kutChEris gossiping about this-or-that meaningless award and ogling the looks and attire of attendees.

That they have been reduced by clueless paramparAs to mere platforms for technical gymnastics (like a “talent” competition) and narcissistic crooning is bizarre.

The kritis are nAda-upAsana.

They are the sAdhus deepest thoughts, anxieties, hopes and worship.

The sacred music of the Hindus is a mirror , it is the Cit-bimba of the vAggeyakAra.

satyam Eva jayatE

Fine renditions are available.

agastiSwaram ArAdhayEham – rAga lalitA

Veena m k saraswati
https://www.youtube.com/watch?v=WDJAXNoUgjw

sAnthala rAju
https://www.youtube.com/watch?v=MqKl92r-GIo


nAgagAndhari – rAga nAgagAndhAri

sAketarAman
https://www.youtube.com/watch?v=ASuwDpvfV-Y

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Diksitar (dakSina dwArkA “rAja-gOpAla”, kuCEla of dwArkA & vEnugOpAla aStakam–kSEtra mudras for ALL 9 mannArgudi kritis)

Post by nAdopAsaka »

dakSina dwArkA “rAja-gOpAla”, kuCEla of dwArkA and the vEnugOpAla aStakam – kSEtra mudras for ALL 9 mannArgudi kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

This post will reveal why and how ALL 9 of the Dikshitars kritis at mannArgudi carry unique “rAjagOpAla” kSEtra mudras and rAga mudras.

The icons and the reasoning that will be given here, leave ZERO doubt about the kSEtra mudra for each of the 9 kritis and consequently the path followed by the Dikshitar.

Previously, the mannArgudi kSEtra sAvEri kriti “Sri rAjagOpAla” was revealed in post # 745 to carry the rAga mudra reversed = “nA-ri-vE-Sa”, the word itself meaning “disguised female” , referring to the Sri vidyA goddess uniquely associated with this shrine.

As will now be shown, the Dikshitar maintains the same subtle and hidden approach to placing the kSEtra mudras in the other kritis of this kSEtra (thereby protecting his identity from the thieves in his own family ! and other crooks to come later !!! )

asurA moment

In revealing all this, the nAda-upAsaka further tightens the noose strangling the wretched distortionists/SSP who have been disfiguring the Dikshitar legacy with their false misattributions and bogus history.

Even recently, the music “industry” has also been in confusion on several of the Dikshitar kritis of the mannArgudi kSEtra

As seen for example in this vidUSi’s statements !

https://dhvaniohio.org/wp-content/uploa ... _apr11.pdf

The deeper question that can be asked is

Why is it that after 200 years there is still this total ignorance , (even among so-called vidwAns and vidUSis) of the core reasons/motivations and pujA of the Hindu nAdayOgis …..whereas all the technical/swara details of the kritis have been exhaustively pursued by these “play-back” singers ??

By creating confusion about kSEtras, through this cess-pool of ignorance, the intent appears to be to create confusion also about the identity of the vAggeyakAra.

Thereby to support some nefarious scheme to justify "double-speak" = "dwaya-artha" and the lack of integrity of Hindu sAdhus vows...??!!

How cynical and disgusting is that !

But as we are seeing now with the last 200 posts here as well as on the tyAgarAja thread, the situation has changed.

The nAda-sampradAya has asserted itself.

The legacy of the vAggeyakAras guiding pujA is being discovered and restored.

Clear logical connections have been established between the worship of the nAdayOgi, their musical/rAga choices and the words they use to express themselves.

The kritis themselves give the clues..no one need look to bogus tales from any charlatan paramparA or egotistical performer-cult “schools”.

mannArgudi is the ancient place name for the “mannAr” = “rAja” , where the krSna avatAr is this king-cowherd = rAja-gOpAla

The Dikshitars 9 kritis of the mannArgudi kSEtra

1. Sri rAjagOpAla – rAga sAvEri
2. Sri vidyA-rAjagOpAla – rAga jaganmOhanam
3. rAjagOpAlam bhajEham – rAga mOhanam
4. santAna gOpAlakrSnam – rAga khamAs
5. bAlagOpAla - rAga bhairavi
6. CEta sri bAlakrSnam - rAga jujAvanti
7. Sri vEnugOpAla Sri rukminilOla – rAga kuranji
8. Sri vEnugOpAlam – rAga SankarAbharanam
9. sArasa dala nayana – rAga khamAs


The first three kritis of this set are quite clear in their emblems and kSEtra icons. (i.e. the references to Campaka-aranya, dakSina dwArkA, haridrA-nadi , Sri-vidyA rAjagOpAla)

It can also be asserted that the first three kritis rAga choices are ALL related to the associated Sri-vidyA/viSnu idols unique to mannArgudi.

1. Sri rAjagOpAla – sAvEri
The rAga choice is specifically aligned to deliver (in reverse) the female disguise word = ‘nA-ri-vE-Sa” !

2. Sri vidyA-rAjagOpAla – jagan-mOhanam
The rAga choice derives from viSnu who is associated with and charms the Sri-vidyA dEvi herself. In doing so he captivates the universe.

3. rAjagOpAlam bhajarE - mOhanam
This rAga choice is a fairly direct link to the krSna avatAr.

4. santAna gOpAlakrSnam - khamAs
There is a also separate idol to the “santAna gOpAlakrSna” at mannArgudi, distinct from the Sri-vidyA rAjagOpAla.
It can be noted that the idea of “santAna” is also tied to the idea of “rAja” since “santAna” implies the succession line, typically used for kings.

This kriti does not carry the typical Sri-vidyA emblems found in all the others, because the idol itself is separate.
The rAga mudra appears as “arjuna prEmAspa-dam AS-rita jana phaladam”

5. bAlagOpAla - rAga bhairavi
This is counterpart to the "santAna gOpAla" as well as "Sri rAjagOpAla bAla". The child deity is bedecked in the type of flower garland worn by the goddess also as in "vaijayantI vana mAlA dhara".

What is necessary and What is sufficient…

For the nAda-upAsaka, the more interesting aspect is the Dikshitars statement “vainika gAyaka guruguha nuta pura vairi vihita” which conceals the phrase “guruguha nuta pura” .

The reference is to the dwArkA mahAtmaya, which is praised extensively (nuta) in ….what else …the skanda purAna !!

skanda of course is the synonym for guruguha.

And

An entire section of the skanda purAna is devoted to dwArkA.

So the unique usage “guruguha nuta pura” is effectively “skanda praising dwArkA”, and therefore a reference to dwArkA and for the Dikshitar, the hidden mudra for dakSina dwArkA = mannArgudi !

The word “bAlagOpAla” is only the NECESSARY condition for this kriti being at mannArgudi.

The added phrase “guruguha nuta pura “ (interpreted as the skanda purAna praising dwArkA with its separate “dwArka mahAtmayam” Chapter) is the SUFFICIENT condition to link “bAlagOpAla pAlayASu” unmistakeably to dwArkA and hence to mannArgudi as dakSina dwArkA.

It must be noted again this is the same vAggeyakAra who also embeds the sAvEri rAga mudra as “nA-ri-vE-Sa”…discovered in post # 745.

It surely is a thrill for all nAda-upAsakas to “look over the shoulder” as the ideas and intent of the vAggeyakAra becomes clear.

The Dikshitar applies his rigorous pujA uniquely at kSEtras….like the Pauli Exclusion principle, invariably ONLY ONE kSEtra applies to one kriti/deity name.

The rAga mudra for "bhairavi" is phonetic from the words "vairi-vi" (embedded in "pura vairi vi-nuta")

6, CEta Sri bAlakrSnam - rAga jujAvanti

This is also a counterpart to the bAlagOpAla/santAna gOpAlakrSnam kritis.

But the word "bAla-krSnam" is only the "necessary" condition.

What makes "CEta Sri" unique to mannArgudi , i.e. the "sufficient" condition... is the "Campaka" mudra identifying with the "Campaka-aranya" of mannArgudi, found in the word "nava-Campaka nAsikam"

vEnugOpAla aStakam

To fully comprehend the details for the next 3 kritis one needs to first note the “vEnugOpAla aStakam”, an ancient stOtra, written centuries before the Dikshitar.

The first lines of stanza 1, stanza 3 and the concluding stanza of the vEnugOpAla aStakam are given here

Stanza 1 (first line)
kalita kanaka CElam khandita Apat kuCElam

Stanza 3 (first line)
ghana tara karunA Sri kalpa valli AlavAlam

Last stanza (first line)
Sri vEnugOpAla krpAlavAlam Sri rukmini lOla suvarna cElam

There is absolutely NO DOUBT the vEnugOpAla aStakam is central to the Dikshitar kritis at mannArgudi !!

Why ?

Because the ummistakeable link is established to (dakSina) dwArkA through the kuCEla-dwArkA story.


Each of the remaining 3 kritis will now be taken up to show this connection.

the two “Sri vEnugOpAla” kritis, one in rAga kuranji and the other in rAga SankarAbharanam.

7. Sri vEnugOpAla Sri rukmini lOla – rAga kuranji

Even someone with only one eye can see that the last stanza of the aStakam has these exact same words !

The vEnugOpAla aStakam which links the name “vEnugOpAla” to kuCEla and therefore dwArka is the NECESSARY AND SUFFICIENT link to the dakSina dwArkA location of BOTH kritis.

Indeed in the last 200 years, no one has realized that all the other icons given in the kritis are not necessarily exclusive to mannArgudi.

It is only the vEnugOpAla aStakam that gives the unambigouous connection to the vEnugOpAla name and the kSEtra.

The Dikshitar gives a synonym for rAjagOpAla via “gOkulAmbudhi sOma”, where krSnA is the moon over the ocean of gOkula, where this sOma refers to the king of the lunar dynasty. However although this suggests “rAja-gOpAla” it is NOT exclusive.

Similarly the word “kOkanada pada sOma” suggests the red-lotus feet of both this viSnu and the goddess (refer the kamalAmba SankarAbharana).
Indeed, sOma here suggests also sa-umA, the nature of the associated Sri-vidyA and the viSnu of mannArgudi.

But neither of these descriptors are as absolute as the vEnugOpAla/kuCEla/dwArkA connection established by the aStakam to the word vEnugOpAla.

Further the flute-playing cowherd = vEnugOpAla is not necessarily unique to mannArgudi (he could well be in vrndAvan or guruvAyUr !!)

8. Sri vEnugOpAlam bhaja – rAga SankarAbharana

Countless illiterate musicologists have not had the imagination to see the kSEtra of this kriti as being none other than mannArgudi.

In fact rAgas SankarAbharana and its close niSAdanta subset kuranji are traditionally indicative of the mother-goddess (which should itself have been a clue to the location for both places = Sri vidyA rAjagOpAla kSEtra)

Once again it is the vEnugOpAla aStakam which solves the puzzle.

Notably also the second stanza (first line) carries the reference “Sri-kalpavalli-alavAlam”, whereby the vEnugOpAla is the abode of Sri-kalpavalli

Notably the name “Sri kalpavalli” is the 353rd name in the lalitA sahasranAma aka “bhakti-mat kalpa latikA”.

Incidentally, the word “vEnu” is itself associated with “kings” = rAja in the SiSupAla-vadha chapter of the mahAbhArata, paing tribute to yudhiStira. (Mbh. Book/Chap./Stanza 2.48.2)

But it is only the vEnugOpAla aStakam (with its very first line reference to kuCEla/dwArkA) that gives the absolute link to “dakSina dwArkA” = mannArgudi.

The inferrable (sUCita) rAga mudra in this kriti comes via the word “divya-ratna bhUSana”, where the heavenly ornaments are themselves adorning (Abharana) the deity

And finally we come to the second khamAs kriti.

The fact that there is a second khamAs kriti is itself confirmation of the authencity of this kriti and its kSEtra.

We will get to this stupendous fact at the end of this post.

9. sArasa dala nayana – rAga khamAs

sArasa daLa nayana sankata harana harE gOvinda mAm pAhi

nIrajAsanAdi pUjitAnga SrI ramAntaranga SubhAnga
murahara abhaya prada mukunda yAda va kula bhUSaNa mAdhava

mAghamAsOtsava prabhAva mAnitaguruguha vandita bhava
gOkula janapAla gOpikA manOhara gOvarddhana dhara


The kriti is shown in full above to highlight the points to be made below.

Stanza 1 line 1 of the aStakam cites kuCEla and the relieving of his “fear” by krSna/vEnugOpAla as

khandita-Apat kuCElam

The reference is to the dwArkA based story of kuCEla honoring his childhood friend (the krSna avatAr) for his boon of prosperity and fearlessness.

And the Dikshitar embeds this idea in the “sArasa dala nayana” kriti !!

He first uses the somewhat generic “sankata harana” as well as “abhaya vara prada” references to introduce this idea.

And then he invokes the unique vakula flower pujA done by kuCEla at dwArkA to honor krSna !

This appears via the line “yAda va kula bhUSana mAdhava”

Post # 535 in the tyAgarAja thread on the rAga vakulAbharana discussed this vakula flower used in the pujA of both krSna and rAma.

There can be no doubt that this dwArkA reference via the vakula flower mudra given is the connection of this khAmAs kriti to the dakSina dwArkA status of mannArgudi.

‘mAgha mAsa pujA... the two deities rAjagOpAla and Sri vidyA and the two khamAs kritis

Yes !.. there are 2 khamAs kritis because in the month of mAgha....BOTH vidyA = saraswati (as vasant panCami) and krSna/arjuna (as part of the bhiSma ekAdaSi) are celebrated.

bhiShma is part of viSnus celebration associated with his role in the viSnu sahasranAma as well as the exploits of arjuna.

And of course both the goddess and viSnu are unique to mannArgudi simultaneously.

And so in the month of mA-gha-mAs, both deities are given their due with these kha-mas kritis !

Summary
It can be asked… why all this minute detail and excrutiating litany of facts.

The answer is simple.

The rats and roaches who have defiled the Dikshitar with their inherited ignorance based on flimsy bogus cobweb “threads” and with their inherited arrogance based on so-called swara-gyAna technicalities, may have gone into hiding, but are always itching to spread untruth.

The thread posts in the last year have shown how these disgusting specimens are still in our midst.

Two centuries of layers of untruth (hiding behind swara technicalities) has to be over-ridden, dug up, exhibited and then buried under the avalanche of truth.

In the approaching mAgha month, the nAda-upAsaka rejoices in the gift of the vAggeyakAras, and becoming an instrument of this truth.

The nAda-upAsaka also wishes grievous harm for the distortionists and their families.

Long before Newton, the Hindu scripture prescribed the laws of karma, for every action of untruth, there is an overwhelming reaction of truth.

yadA yadA hi dharmasya glanirbhavati bhArata
abhuythAnam adharmasya tadAtmAnam srijAmyaham
paritrAnAya sAdhunanAm vinASAya Ca duSkritAm
dharma sansthApanArthAya sambhavAami yugE yugE


The nAda-upAsaka thanks the rasikas forum founders and managers for their role in spreading this truth/Sruti and beating back the untruthful.

Sri vEnugOpAlam bhaja – rAga SankarAbharanam

Baby SrirAm
https://www.youtube.com/watch?v=-g4HauoAwyo

santhAlu rAju
https://www.youtube.com/watch?v=0uYM-Aq18nw

Sri vEnugOpAla Sri rukmini lOla – rAga kuranji

MDR
https://www.youtube.com/watch?v=5Ew4ZOxZRPU

KVN
https://www.youtube.com/watch?v=VF4l2zJh8yg

sankari K
https://www.youtube.com/watch?v=-zx7REo-c5Q

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re:Diksithar (“vAsudEva kUmAra mAra hara” = kAmakOti, why and how all 3 dakSinAmurti kritis belong to the kAnCi kSEtra)

Post by nAdopAsaka »

“vAsudEva kUmAra mAra hara” = kAmakOti, why and how all 3 dakSinAmurti kritis belong to the kAnCi kSEtra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Today is guru-vAra and so this post is to the supreme guru, who is ,…. of course ….Sri dakSinAmurti.

nAda-sampradAya pradarSini

“guru” is about teaching and (hopefully) also learning.

The nAda-sampradAya on this guru-vAra, teaches the following..

1. All the 3 Dikshitar dakSinAmurti kritis are to the kAnCi dakSinAmurti.

2. The puny vibhakti/grammar and notation minded musicologists (SSP etc distortionists) & vidwAns (TKG et al) are again COMPLETELY WRONG in their (unsubstantiated) attributions of the kSEtras of these kritis.

3. The rAga choices of the three kritis are also aligned with the kAnCi kSEtra and the unique pujA to this particular deity.

And the nAda-sampradAya emphasizes the following teachings as well…

4. The Dikshitar shows with these 3 kritis that the Adi Sankara is most definitely connected to kAnCi .

5. For some time now, misguided fools/criminals have been trying to undermine kAnCi versus SrngEri.

Although SrngEri has its position as the dakSina-AmnAya pitha of the Adi Sankara (see post # 758) , kAnCi is the undeniable hub of the paramACArya Adi Sankara’s vEdAnta institution.

6. Like the kAmAkSi stOtra, the Adi Sankara’s dakSinAmurti stOtra is also based in kAnCi.

This stOtra has also been put under a cloud by various ignorant and nefarious entities.

How wonderful, that the nAda-sampradAya protects itself through the centuries from untruth.

The Dikshitar protects the Adi Sankara.

And the nAda-upAsakas protect the Dikshitar.

The sound of silence - dakSinAmurti – the “mAuna” guru, who faces “south” and also sits to the “right”

The dakSinAmurti represents the supreme deity who teaches with silence (mAuna).

By its etymology, dakSina-amurti, is the formless-one (amurti) who is considered to be facing south = dakSina.

In the stillness and calm of complete wisdom, attributes like gender etc. fall away.

And the word “dakSinA-amurti” reminds us also of the ever-present Sakti/mother.

Why ? and How ?

Because the word “dakSina” is also the opposite of “vAma” ( = left), and the name therefore also applies when viewed from the dEvis seat, i.e. the formless one to HER right.

Indeed, the Dikshitar (ever in the Sri-vidyA dEvis embrace) refers also to the dakSinAmurti as “akhandaika rasa purna-Arudha SaktE”

The potent word “SaktE” of course is indicative of this formless/genderless super-union = parA-Sakti.

The dakSinAmurti stOtra (at kAnCi) of the Adi Sankara

In the nAda-sampradAya, there is no doubt this stOtra is written at kAnCi by the Adi Sankara.

Why ?

Because this famous stOtra is also the subject of a unique commentary by surESwara, the second AcArya of kAnCi and the first student of the Adi Sankara.

Several words and ideas of this stOtra are embedded in the 3 dakSinAmurti kritis of the Dikshitar.

The first stanza of this stOtra is extracted here

mauna-vyAkhyA prakatita para-brahma-tatvam yuvAnam
varsiSthAm-tE vasad rSiganaih Avrtam brahma-niSthaih
ACAryEndram kara-kalita Cin-mudram-Ananda-murtim
svAtmArAmam mudita-vadanam dakSinAmurti-midE


This first stanza gives key emblems and ideas (mauna , ACAryEndra, Cin-mudrAnkam, mudita-vadanam etc) that find their way into the Dikshitars kritis here.

The 3 dakSinAmurti kritis of kAnCi

1. Sri daksinAmurtim sadA – rAga athAna

2. Sri dakSinAmurtimiSam – rAga phEnadyuti

3. dakSinAmurtE vidalita dAsArtE – rAga SankarAbharana


The nAda-upAsaka chooses to present this most recent discovery in the order shown, starting with the rAga athAna kriti because this kriti immediately gives both Necessary and Sufficient conditions for the kAnCi kSEtra ! (the other two kritis follow naturally after this first kriti is comprehended)

Sri daksinAmurtim sadA – rAga athAna

What is necessary and What is sufficient…

The rAga athAna in the Dikshitar vocabulary is strongly linked to the elephant, via the words hAthi = hasti.

Several other kritis e.g. vAmAnkasthita to the elephant-headed tiruvArUr ganapati (post # 774), or brhaspatE to the elephant-riding navagraha deity (post # 500) show this connection.

In the case of “Sri dakSinAmurtim sadA”, the rAga name itself is one of the kSEtra mudras !!

Why ?

Because kAnCi is also “hasti-giri” (or hAthi-giri or atti-giri in other phonetic manglings).

vAsudEva kumAra mAra hara

“Sri dakSinAmurtim sadA” is the ONLY Dikshitar kriti where this unique phrase appears.

What is special about this choice of words ?

It signifies the ‘End of the Desire of Cupid himself”.

The supreme wisdom of the dakSinAmurti, does not just Destroy the Lord of Desire (the merely generic “mAra-hara”) , he goes beyond that to Destroy the Desire that lurks within the Lord of Desire (vAsudEva-kUmAra mAra hara).

And since this final DESTRUCTION/END = kOti and kAma = DESIRE , there is no more striking or clearer emblem for the word kAmakOti !...and therefore kSEtra kAnCi.

Case closed…game over.

Other “necessary” signatures of kAnCi in the athAna kriti

In this rather short kriti, the Dikshitar also notes the profound “mauna guru” with the words “nAdAnta vEditam”, the guru who knows and teaches what is beyond nAda (nAdAnta), what is beyond all sound.

And he refers to the vEdAnta of the Adi Sankara with the words “vEdAnta bodhakam”, also a signature of the kAnCi advaita institution.

The word “dAnta” (concealed in vE-dAnta) also is mudra for the athAna elephant, since the word “danta = dantin” is the signature emblem of the tusker.

So far the dakSinAmurti stOtra has not needed to be invoked, other than the idea of “nAdAnta vEditam”, to establish the kSEtra

The dakSinAmurti stOtra’s connection will be more evident in the next two kritis.

Sri dakSinAmurtimiSam – rAga phEnadyuti

The word phEna-dyuti derives from milk or amrta spray/foam (phEna) that shines (dyuti).

The Dikshitar captures exactly this idea when he says “ SrI dakSinAmurtimISam Cit-prakASam…. vallakI nAdAnubhava mOdam amrta phEna dyuti “

The Cit-prakasa/wisdom of the deity shines like the spray of nectar = phEnadyuti.

Nothing random about the rAga chosen !

Indeed, the Dikshitar specifically uses the word for the kSira-tree (milk/nectar) aspect of the famous banyan (vata-vrkSa).

He calls it “nyagrOdha vrkSa” , which is the term for the “downward growing roots” of this ancient banyan tree from the scripture . (vEdAnta vEdyam nyagrOdha vRkSa mUlavAsinam)

The Necessary Conditions for the phEnadyuti “Sri dakSinAmurtimisam” being at kAnCi

The references the Dikshitar makes to “vEdAnta, mandasmita mukhAmbujam , jananAdi khEda bhanjana Caturam , (jnAna) mudrA-karam , manOvAgagOCara mauninam” are also all seen in the (kAnCi) dakSinAmurti stOtra.

The Dikshitar also notes the “kAmakOti” aspect as “madana-haram”.

The Sufficient Conditions for the phEnadyuti “Sri dakSinAmurtimisam” being at kAnCi

But the sufficient condition for this kritis location in kAnCi is given by the words “ACArya SEkharam”, referring to the kAnCi stOtra where the daksinAmurti is effectively the supreme teacher. (AcAryEndra)

In fact “ACArya SEkhara” can also be seen as the Adi Sankara himself, the author of the stOtra.

The kriti also carries a reference to Indra (jagat Indra jala), where Indra as “lord of the gods” is also a synonym for surESa and therefore the mudra for the first student/successor at kAnCi, surES-warACArya, who commented specifically on the dakSinAmurti stOtra in his bhASya “mAnasollAsam”.

It is a matter of historical accuracy that the particular sculpted idol of the dakSinAmurti at kAnCi (within the kAmAkSi complex) has a wonderful slight smile ! captured in the kriti as “mandasmita mukha”.

Notice that the Adi Sankara’s dakSinAmurti stOtra describes this same smile as “mudita vadanam” !

And here is yet another tid-bit from the mEla rAga ordering scheme.

mEla rAga 1 is “kanakAmbari” to the golden goddess of kAnCi, and mEla 2 = phEnadyuti is naturally to the supreme teacher dakSinamurti also of kAnCi.

Here too…Case closed…game over..

dakSinAmurtE vidalita dAsArtE – rAga SankarAbharana

The rAga SankarAbharana is natural for this important aspect of Siva.

In fact if there was not a kriti to dakSinAmurti in SankarAbharana, something would be completely amiss (as well as wrong, amoral and criminal).

The term “akhandaika rasapUrnArUDa SaktE” has already been noted.

Indeed Sakti is the “ornament” = Abharana of the Siva, and is seen as the rAga mudra as well.

The Necessary Condition for “dakSinAmurtE” being at kAnCi kSEtra

The Dikshitar gives several references traceable to the dakSinAmurti stOtra (just like he does for the phEnadyuti kriti).
And so we get ….”cidAnanda pUrtE sadA mauna kIrtE…rAja yOgi stutE akSarAnuraktE avidyA viraktE…akhandaika rasapUrnArUDa SaktE svaguruguhOtpatE svAnubhOga trptE…”

But the criminals could argue these are “generic”..so the Dikshitar gives the sufficient condition to crack their villainous skulls.

The Sufficient Condition for “dakSinAmurtE” being at kAnCi kSEtra

The Sufficient condition in this kriti is the specific reference “suvarna vata vrkSa”.

The banyan tree (as vata vrkSa) is well known in many Siva shrines.

And it is noted in the dakSinAmurti stOtra as well.

But what makes this the sufficient indicator of kAnCi is the word “suvarna”, referring to the golden emblem of kAnCi.

Indeed kAnCi the word itself derives from “kAnCana-puram” and its goddess is properly referred to as “bangAru kAmAkSi”.

This is also why the kanakAmbari (mEla # 1) kriti (the word means the golden envelope/atmosphere) is only offered to this kAmAkSi by the Dikshitar.

The banyan tree of the scripture (and also the stOtra) is known as the “vata-vrkSa” because it “surrounds” = vata.

The alternate word “nyagrOdha” also implies this “enveloping” tree which puts down aerial roots.

The Dikshitar uses this same idea to bring forward the golden aura of kAnCi.

He calls it the ‘suvarna vata”

But the sufficient condition will now be revealed in SrOtOvAha (expanding) pattern !

vrkSa - tree

vata vrkSa – the sacred banyan tree representing the surrounding envelope of wisdom of dakSinAmurti

suvarna vata (vrkSa) – the golden surroundings of kAnCi representing the dakSinAmurti of kAnCi

akSaya suvarna (vata vrkSa)

And finally we come to the teaching which is linked to the word “akSaya” = unbreakable.

The Dikshitar is describing the unbreakable (akSaya) tradition of the nAda-sampradAya, represented by this shining, golden aura of the "elephant-city" , preserved from the times of the Adi Sankara (and before) and lasting through the centuries, rising above conspiracies and falsehoods.

The pujA to the kAnCi dakSinAmurti is done in the morning with the shining rAga phEnadyuti, then the midday vigorous ebullient rAga athAna (in the elephant-town hasti-giri no-less) and finally it completes adornment of the deity with the calm majesty of the evening rAga SankarAbharana.

Summary

The sacred music of the Hindu vAggeyakAras offers everyone a choice.

If you say these are “just songs”, nice packages of air-pressure variation..good for testing voice and instrument skills..…fine….just walk away from any further discussion/engagement or understanding of their context and esoteric depth. The vapid banter in the kutChEris/cafeterias should keep you preoccupied.

If however these are more than just songs, then there is only one choice.

You are either with the vAggeyakAra/nAda-upAsaka.

OR

You are against the vAggeyakAra/nAda-upAsaka.

There is absolutely no middle ground, there is no half-truth, no dual-truth, no dwaya-artha.

There is only Sruti versus apa-Sruti, truth versus un-truth.

The Dikshitar and the tyAgarAja (like the Adi Sankara a thousand years ago and like all the nAda-upAsakas to come) have always waged this battle against ignorance and apa-Sruti… in their words, in their ideas and in the integrity of their vows and in their music and pujA.

The Dikshitar, my Dikshitar is niS-kalanka, blemishless and pure.

On this guru-vAra, the nAda-upAsaka submits completely to the dakSinAmurti, the guru of that silent wisdom that is reached through the nAda of the Dikshitar and which lies beyond nAda.

Sri dakSinAmurtimiSam – rAga phEnadyuti

Sikkil G
https://www.youtube.com/watch?v=qR1r-B8gROw

Sri daksinAmurtim sadA – rAga athAna
Nothing found so far …will update later

In its place short extract from the dakSinAmurti stOtra extract by the peerless MSS

Om namah pranavArthAya Suddha-Jnanaika mUrtayE
nirmalAya praSAntAya dakSinAmurtayE namah


MSS
https://www.youtube.com/watch?v=85WLkkxd1TU

dakSinAmurtE vidalita dAsArtE – rAga SankarAbharana

ranjani-gAyAtri (with an introductory stanza from the dakSinAmurti stOtra)
https://www.youtube.com/watch?v=KdB5nxvE7TA

d rAdhikA
https://www.youtube.com/watch?v=zyxhda3MKjk

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re:Diksitar ( mangala-gauri-mayUranAtha–Why the Sri rAga “Sri abhayAmbikE” mixed-language kriti is COMPLETELY SPURIOUS)

Post by nAdopAsaka »

(mangala)-gauri-mayUranAth – Why the Sri rAga “Sri abhayAmbikE” mixed-language kriti is COMPLETELY SPURIOUS

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The gauri of mayUranAtha who is none other than the abhayAmbA of mAyil-Adu-turai, bestows on the nAda-upAsaka another brilliant gem.

In doing so, she also asserts the supremacy of the nAda-sampradAya, the completeness of the Dikshitar Sri-vidyA pujA and DENOUNCES the distortionists.

What is this latest nail-in-the-coffin for those who have attempted to ruin the Dikshitars legacy ?

Read on to rejoice ! (or weep if you are a distortionist who is now exposed )

The true mangala-kriti of the abhayAmbA navAvarana

First, however, the required asurA moment

The abhayAmbA navAvarana is one of the most desecrated of the Dikshitars musical monuments !

The defacement (ongoing over the last 100 plus years) is more sinister than the vandalizing of noses and limbs of classical sculptures by animalistic hordes or the blowing-up-of-the Buddhas.

Why ?

Because the Dikshitar family and all other SSP proponents (and clueless musicologists) attempt to hide this monstrous crime behind the claim that their “service” is in “preserving” the swara-notation of a limited/distorted number of the Dikshitar kritis !

What a disgrace !

First they discarded the essence of the nAda-yOga for mere swara/frequency-variations.

Then they discarded the nAdayogi sAdhus fundamental vows for a few shawls !

And they have even concocted a bizarre double-speak world of dwaya-artha , where everthing is supposed to have two meanings, and no one is expected to have integrity or resolve or values.

From this cess-pool has arisen other malignant tumors , whose grotesque suggestions have been seen even recently on these very threads.

Enough !

In the world governed by karma, it is readily seen that the nAda-sampradAya created this forum and the nAda-upAsaka precisely to fight this untruth.

Brief overview of the abhayAmbA navAvarana

Avarana versus vibhakti, nAda versus sangita, bhakti versus grammar

Yes…there is a complete abhayAmbA navAvarana (see posts # 567 and # 801)..And this navAvarana DOES NOT rely on vibhakti/grammar, as the foolish and corrupt SSP and countless ignorant vidwAns/musicologists have been trying to fabricate.

It is instead completely dependent on the Sri Cakra, just like all the other navAvaranas revealed in recent posts on this forum. ( Out of the 10 navAvaranas, only the kamalAmbA navAvarana sequences the vibhakti (grammatical declension) to align also with Avarana sequence)

That grammar is unworthy and without merit is well proclaimed by the Adi Sankara in his famous “bhaja gOvindam” SlOka

bhaja gOvindam bhaja gOvindam
gOvindam bhaja mUdhamatE
samprAptE sannihitE kAlE
nahi nahi rakSati dukrnkaranE


And the Dikshitar echoes this exact same idea in his eastern AmnAyA pitha hindOla kriti “govardhana giriSam” at puri-jagannAtha when he says “gOvinda nAma sAram” ...(see post # 758).

But none of this means anything to the heathens, who have destroyed the sarva-Anandamaya Cakra, when “sadASrayE abhAyAmbikE" is defined as the so-called dhyAna kriti.

Indeed as shown (irrefutably) in posts # 567, and # 801 , “sadASrayE abhayAmbikE” in rAga CAmaram carries all the mudras of the ninth Cakra.

In fact ALL the kritis of this complete navAvarana carry individual Cakra mudras.

The sequence of the 9 kritis follows the 9 Cakras…the vibhakti group is merely a by-product .

The foolish and corrupt author/s of the SSP (and all its ignorant/corrupt proponents since then) have denied the Sri vidyA pujA of the Dikshitar, in exchange for a few shawls. They have squandered the Dikshitar legacy to pander to corrupt zamindars.

The desecration of the abhayAmbA navAvarana has extended to its mangala kriti as well !!

This post is concerned with the mangala kriti, the so-called “auspicious” conclusion that is typical of a pujA/ritual, or used to commemorate an achievement/attainment etc.

The spurious nature of the Sri rAga kriti “Sri abhayAmbikE”

For about 100 plus years !!! , illiterate (and criminal) entities have been suggesting that the “mixed-language” kriti in Sri rAga “Sri abhayAmbikE” is the mangala kriti.

The scoundrels who concocted this kriti and criminally misattribute it to the Dikshitar think that as a kriti in Sri rAga, perhaps this “sneaks” in as an understandable choice for a mangala rAga, given its relation to rAga madhyamAvati.

There puny understanding of vibhakti has misled them into using the abhayAmbA name in this spurious kriti as well…which betrays their ignorance even further.

These fools have not asked themselves…

Why should the Dikshitar SUDDENLY feel the need to express his pujA (at mAyavaram) in a kriti with multiple languages completely out-of-character (and language) with the rest of the kritis at mAyavaram or any of the rest of his ALL other 450-odd kritis.

Unerringly (again) the nAda-sampradAya bestows on the nAda-upAsaka the formidable weapon of truth buried in the Dikshitars own kritis/words and choices.

The true mangala-kriti of the abhayAmbA navAvarana

Indeed there is a “mangala” kriti at mAyavaram, given to the nAda-sampradAya by the Dikshitar himself, that summarizes the auspicious ending of the abhayAmbA navAvarana.

The kriti is “gauri girirAjakumAri gAna vana mayUri” in rAga gauri.

And now the nAda-upAsaka gleefully wields the hammer to crack the villainous skulls of the wretched untruthful.

1. The use of the single word “mayUri” is both necessary and sufficient to identify uniquely the kSEtra of “gauri girirAjakumAri” as mAyavaram = the “gAna vana”"..the forest of song , where the peacock and peahen sing and dance.

2. Indeed in the “mAyuranAtham bhajAmi” dhanyAsi, the Dikshitar calls the kSEtra “kEki-pujita Amra-vana”", the (mango) forest where the peahen sings (kEki is also peacock sound).

As an aside, the mango itself is often also called “rasa”, so the confluence of gAna and Amra, both involving “rasa” is quite suitable. No one can say the Dikshitar is not a poet of the first magnitude.

3. The gauri name as a synonym of the abhayAmbA goddess appears in several of the other mAyavaram kritis.

4. While it is true that “gauri” is also generic to many other shrines, the name is inextricably linked to the Siva performing the gauri-tAndava at mAyavaram, the unique SrngAra dance, mimicing the duet of the peacock/peahen where the mAyilAduturai Siva unites with the abhayAmbA and the union is called “gauri-mayUranAtha”.

But wait there is more, much much more.

As I have noted, there is an entrenched conspiracy of fools and criminals, (abetted by corrupt vidwAns and musicologists and foolish academicians for decades) that has to be fought aggressively.

The Dikshitar himself supplies the tools, to defend his ideas and the nAda-sampradAya.

5. The word gauri bears a unique scriptural relation with the word “mangala”.

Why ? and How ?

Because it is found in the “mangala-gauri aStakam”

And

Because it is also found in the hallowed “mangala-gauri” mantra

The mangala-gauri aStakam

Stanza 62 from the skanda purAna, Chapter 49 - Description of DraupadAditya and mayUkha-Aditya defines the “mangala-gauri”

gauri tvameva SaSimaulini vEdasi tvam sAvitryasi tvamasi cakrini cArulakSmi
kASyam tvama syamala rUpiṇi mokṣa lakṣmī stvam mE Saranyamiha mangalagauri mAtah

The exalted “mangala-gauri” mantra

sarva mangala mAngalyE
SivE sarvArtha sAdhikE
SaranyE tryambakE
gauri nArayani namostutE

This mantra is often used also for durgA.

Notably, “gauri girirAjakumAri” is the only kriti at mAyavaram which refers to “durgA” !!

There is no question, the reason for the choice of rAga gauri is precisely the Dikshitar celebrating the mangala-gauri uniting with the Siva in the gauri-tAndava, at the culmination of the abhayAmbA navAvarana.

6. The word “abhayAmbA” has become redundant after the completion of the 9 Cakras. She is gauri who is ardhanAri with the mayUranAtha.

But wait..there’s more !!.

The spurious Sri rAga kriti and its crooked practitioners have ABSOLUTELY no idea of the depth of the true mangala that the Dikshitar is offering at mAyavaram.

Why ?

Because EACH ONE of the 9 Cakras are embedded via their unique mudras in this mangala kriti.

The mudras are given in blue with explanations in red below

“gauri girirAjakumAri gAna vana mayUri”

Pallavi
gauri giri (Cakra 1 for bhUpura via giri or earth=mountain ) rAjakumAri gAna vana mayUri gambhIra kaumAri

anupallavi
dUrIkRta duritE (Cakra 7 for rOgaharana via dUrita”) atilalitE
durgA
(Cakra 5 for Artha-sAdhaka via durgA who removes all obstacles = dur-gA) lakSmI sarasvatI sahitE
SaurISa virincAdi mahitE
SAmbhavI (Cakra 4 for saubhAgya via SAmbhavi literally meaning “of Sam-bhu” who bestows Sam = welfare) namastE paradEvatE

Caranam
navaCakra svarUpAvatArE
nAdabrahma vAcaka tArE
Siva paramAnand AmRtadhArE
(all these words are Cakra 9 sarva-Ananda mudras)
SrngArAdi navarasAdhArE
bhava guruguha gaNapati samsArE
bhaktiprada vEdAgamasArE
pavana dhArana yOga viCArE (Cakra 8 for sarva-siddhi, the yOgas such as breath control etc. leading to siddhi)
pAlita bhaktajana mandArE (Cakra 6 for sarva rakSA (pAlita bhakta) and Cakra 2 for AshA paripurna via the mandAra tree reference)
tava caraNa pankajOdbhava tatva samaStyAgArE
suvarNa maNimayAdi panCavimSati prAkArE sudhA sindhumadhyE
cintA-maNyAgArE (Cakra 3 for sam-kSObhana, the removal of anxiety and agitation = CintA)
SivAkAra mancE paraSiva paryanka vihArE (concluding again with multiple sarva-Anandamaya Cakra 9 mudras )

Compare this massive edifice now fully described with the insipid Sri rAga kriti contruct put together by distorting and foolish crooks....and ask yourself..

Are you with the vAggeyakAra ? or Are you against the vAggeyakAra !

The answer will tell you a lot about yourself and whether you are worthy of the sacred music of the Hindu vAggeyakAras.

Summary

At the conclusion of the abhayAmbA navAvarana pujA, the abhayAmbA has become the gauri , the ardhanAri worn like the neck ornament (mani-gala) of the Siva.

Absolutely No Other Kriti can replace “gauri girirAjakumAri” as the true mangala kriti at mAyavaram.

An extensive conspiracy spanning many generations and decades, and abetted by conniving , pandering vidwAns and other SSP touting swara-frequency based distortionists and language politicians has met its end.

The conspiracy is exposed through the ignorance of the conspirators ! These fools have been betrayed by their lack of understanding of and respect for the Sri vidyA and the core idea behind all the kritis.

The nAda-sampradAya reclaims its supremacy, through the truth found in the Hindu vAggeyakAras outpourings.

The nAda-upAsaka thanks the rasikas forum founders and managars for their vision in organizing this important platform.

It does not matter whether any of the many revelations of the nAda-upAsakas posts are ever heard over the cacophony of kutChEri echo-chambers.

It only matters that a choice can be made.

Can you handle that truth ?

satyam Eva jayatE

gauri girirAja kumAri gAna vana mayUri – rAga gauri

veena kalpakam S
https://www.youtube.com/watch?v=rJ7JGp3zH0M

sumitra V
https://www.youtube.com/watch?v=KF2cfA9dFcw

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Dikshitar (Why “kari-kalabha mukham” (elephant calf faced) is the dhyAna kriti for the abhayAmbA navAvarana )

Post by nAdopAsaka »

girijA tanujam vijita manasijam - Why “kari-kalabha mukham” (elephant calf faced) is the dhyAna kriti for the abhayAmbA navAvarana

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

dhyAna precedes gyAna.

In all Hindu literature, scripture, yOga and upAsana, dhyAna (i.e. meditation= mental focus ) is the first key step.

And conquering the mind , especially of wayward desires, is necessary for dhyAna.

Cupid = man-matha = manasi-ja who is born out of the “lusts” of the mind is the prime symbol of such distraction.

girijA tanujam vijita manasijam

In “kari-kalabha mukham” , the famous sAvEri kriti to the ganapati of mAyavaram, when the Dikshitar says “vijita manasijam” it is precisely this mudra for dhyAna which implies one who has conquered this desire.

But (as usual with the Dikshitar) the story is far deeper, than merely this (suCita = inferrable ) “mudra” for dhyAna.

Why ?

Because the story lies also in the words “girijA tanujam” and in the concept of abhayAmbA, as the mother who grants “fearlessness”.

dhyAna and mangala – book-ends of the navAvarana pujA

Just like the mangala (kriti) is a review of the completed pujA (navAvarana), the dhyAna (kriti) is a preparation of the mind for the coming pujA (the ascent through the 9 Cakras).

The major navAvaranas such as kamalAmbA and tiruttani guruguha display clear dhyana AND mangala kritis.

For example, Posts # 723 and # 724 show why “Saravana bhava” in rEvagupti is the dhyAna kriti and Sri guruguha tArayA in dEvakriya is the mangala kriti of the tiruttani guruguha navAvarana.

For the many other navAvaranas , revealed on this thread, the existence of introductory and summary kritis will be dealt with in later posts.

The current post is concerned with the abhayAmbA navAvarana for which the mangala kriti is established (beyond any doubt) in post # 810 as “gauri girirAja kumAri.”

brief asurA moment
Naturally, the ugly distortionists of the Dikshitar pujA, some of whom raised their vile heads recently on this thread must not be forgotten.

Therefore to tighten the noose strangling these villains (including the SSP and all its clueless proponents) it is important to also spell out the dhyAna kriti of the abhayAmbA navAvarana.

So that they have nowhere to hide from the facts.

No puny swara-notation ( = air-pressure frequency table) is going to shelter these wretched crooks from the truth.

And the completeness of the Dikshitar pujA to the goddess at mAyavaram is now seen, for the first time, in its full glory.

dhyAna (= focus) on the abhaya-ambA

dhyAna on abhayAmbA naturally reveals "abhaya = fearlessness" as the key aspect of the mAyavaram goddess (distinct from… say… the flower motifs of the tiruvArUR kamala or nilOtpala, or the golden hued kAnCi kAmAkSi or the kadamba-intoxicated madurAmbA or the colossal brhannAyaki).

Notice that although the male consort is also addressed here as mayuranAtha , he is also described as abhayAmbA nAyaka.

The many aspects of abhaya

There are many different aspects of the mAyavaram abhayAmbA that carry the concept of “fearless-ness”.

abhayAmbA as sati/dAkSAyani

As dAkSAyani (daughter of dakSa) abhayAmbA immolated herself in shame from attending the dakSa yagna, where Siva was insulted.

The goddess enters the fire of her own will and also out of her own “shame”.

abhayAmbA as bhandAsura mardini (from the lalitOpAkhyAna )

As ”garva bhanda khandAyai” she is the lalitA aspect of vengeance from the lalitOpakhyAna, destroying the bhandAsura.

But she required “janArdana (hence the yadukula-kAmbOji !!! to BOTH the horse riders, the aSvArudhAyai ) to complete the victory (see post # 746).

However , none of these aspects of “abhaya” are as compelling as the abhaya crystallized by the ganapati !

Why ?

Because the story of the creation of the ganapati by the goddess as her fearless sentinel, is central to his decapitation (by Siva).

It is wonderful to see how the Dikshitar assembles all these facts , legends and ideas into a seamless dhyAna on the concept of “abhaya”.

“girijA tanujam” and the dhundi (= found) ganESa near mAyavaram

The following facts should be comprehended.
1. A shrine to the Adi-ganapati , i.e. the human-headed or nara-mukha ganapati is known very near mAyavaram.

2. Out of the 28 odd ganapati kritis of the Dikshitar ONLY one refers to the “elephant calf” i.e young elephant.
And it is to the mAyavaram ganapati. The mudra “nilA griva”" kumAram is used to identify with the peacock/peahen legend.

3. The decapitation of the fearless sentinel guarding pArvati (she who is of the mountain parvata) = girijA is a wonderful tale from the scriptures.

Note that the abhayAmbA is also called girijA in the SankarAbharana “girijayA ajayA” .

4. Before he got his elephant head, the ganapati was fashioned out of the clay of the earth, by the goddess (see post # 766 on this with regard to “hastivadanAya”) to be her sentinel/guardian.

The full significance of the phrase “girijA tan-uja” is now seen.

5. The Adi-ganapati obeyed his instruction faithfully and fearlessly to prevent entry into the goddess’ chambers.

6. As told in the purAnas, he even repelled Siva many times, before ultimately provoking Siva to decapitate him.

7. The outraged goddess demanded a replacement and a young elephant is found to provide the head of the now-accepted “kari-kalabha mukha” deity !

8. The usage “dhundi” ganESa applies ONLY in “kari-kalabha mukham”. The young elephant is “found” to restore the decapitated original sentry fashioned by the goddess herself.

9. And the Dikshitar recognizes this “fearlessness” when he says in the end of the kriti ..“dhiram apAram”, one of infinite courage !

10. But the courage issues from the goddess who created the ganapati, who is “girijA tanuja”, merely her manifestation.

And therein lies the dhyAna on abhaya, ideal for the start of the abhayAmbA navAvarana.

Why rAga sAvEri for this kriti ?

The word kAvEri is seen in more than one kriti at mAyavaram, so an argument purely on the basis of phonetics is reasonable.

Indeed such phonetic mudras (words that carry most of the sound/syllables of the rAga name) are used frequently by the Dikshitar, as shown in many posts here.

But the word sAvEri also relates to the dawn.

And the ganapati is ushered into his own reign, with the new day ! This is also why “navarOz” is used for the hastivadanAya kriti.

The Dikshitar has seamlessly connected the ganapati legend, with the abhaya legend and it is reflected also in the rAga choice.

Talk about focus !

Summary

The majesty of the Dikshitar kritis is only comprehended when they are seen in their totality.

Like the Great Pyramids, each navAvarana monument of the Dikshitar has interconnections between the 9 Cakras and also to the dhyAna and mangala kriti.

And just like the Pyramids, the navAvaranas have also been desecrated by vandals and criminals (hiding behind swara-notations and SSP distortions).

The universe is not large enough to hold all the contempt and loathing the nAda-upAsaka has for these corrupt fools and their falsehoods.

But thanks to the rasikas forum, the truth of the Dikshitar pujA can now be spread far and wide.

The Dikshitar pujA CANNOT be denied , suppressed, abridged, misattributed or fragmented.

This is the karma of the niS-kalanka Dikshitar….it was bound to happen.

satyam Eva jayatE

kari-kalabha mukham – rAga sAvEri

multiple renditions bring out the full scope of the kriti which is the “gateway” to the abhayAmbA navAvarana pujA

TS kalyAnarAman
https://www.youtube.com/watch?v=JoQe7xcyaRQ

veena kalpakam S
https://www.youtube.com/watch?v=GRY-Hq--NdA

v SankaranArAyanan
https://www.youtube.com/watch?v=R7lzYJ2W08w

kauSik R
https://www.youtube.com/watch?v=M0mKml6vBaQ

rAji G
https://www.youtube.com/watch?v=B6T11onnBGg

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Dikshithar (The 5 mayura-nAtha panCa-bhUta pujA kritis – sati/abhayAmbA reconstituted as mayuri from the 5 elements)

Post by nAdopAsaka »

The 5 mayuranAtha panCa-bhuta pujA kritis – sati/abhayAmba is reconstituted as the mayuri/peahen from the 5 fundamental elements at mAyavaram = mAyilAduturai

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The Dikshitars “Great Pyramid pujA” at mAyavaram is not complete without reference to the EXACTLY 5 kritis he offers as the panCa-bhUta pujA to the male deity, the mayuranAtha.

panCa-bhUta pujA of the nAdayOgis - summary of recent discoveries

Just like they understand the essence of swaras, the nAdayOgis recognize the essential elements, the panCa-bhUta.

The Dikshitars panCa-bhUta pujA has been seen in the kSEtras at palani-Avinankudi ( post # 720 ) and at Srirangam ( post # 751 ). At kAnCi, post # 763 shows how this same panCa-bhUta idea is linked to the 5 “vEgavAhini” kritis.

Of course at tiruvArUr not only does the Dikshitar do this pujA , he also links each element/linga of the tiruvArUr kSEtra to the 5 panCa linga kSEtras (in logical pairs !) see posts # 536 and 537)

Indeed even the tyAgarAja conducts the auspicious 5 element pujA to the kOvUr sundarESa (post # 538 of the tyAgarAja thread) and also at Srirangam (post # 511 of the tyAgarAja thread).

The fact that this important pujA of the nAdayOgis has eluded the corrupt music establishment for 200 years is yet another sign of how much the “music” has strayed from Sruti = the truth.

Which brings us to the asurA moment of this post.

The nAdayOgi versus Conniving Panderers Inc.

What better sign of an individuals pujA than a carefully developed theme through the navAvaranas and related offerings like the panCa-bhUta at different shrines, each on the tirtha trail = the kSEtra itinerary of the singing sAdhu.

The unity and completeness of the nAdayOgis pujA is of course what the Conniving Panderers Incorporated has been trying to dilute and destroy for the last 200 years.

No !....the corrupt Dikshitar family and all the proponents of the flawed SSP with its bogus historical notes and half-baked collection of kritis cannot be allowed to defile the nAdayOgis legacy.

None of these mediocre mortals has the imagination, humility, integrity or inspiration to assemble the concerted and carefully orchestrated pujA , unique to each kSEtra.

Instead these Conniving Panderers, starting from the author of the SSP (and most certainly including his adoptive father , the fiddler !) have groveled and boot-licked the zamindars, trading the Dikshitars inspiration for a few shawls.

Not only are the kritis of the azhagar hill (see post # 786) , deliberately falsified by these criminals, so that they can be “misattributed” to wrong kSEtras and mortal “deities”, the author of the SSP shows he is completely ignorant of the Sri vidyA

Why ?

Because the fool proclaims bombastically in the SSP that he is a "great Sri-vidya exponent" yet he fails to recognize the navAvaranas at many kSEtras and especially to the abhayAmbA at mAyavaram.

The existence of the panCa-bhUta kritis to the mayuranAtha (and the total ignorance of these organized kritis by the corrupt “music” establishment/academy) is yet more evidence of the extent of the conspiracy of these fools.

As will be shown now, not only does the Dikshitar link this panCa-bhUta pujA to the abhayAmbA legend at mAyavaram, he also places “mudras” = signatures, that show the kritis are his and his alone.

As has now been seen in scores of posts here for hundreds of kritis, these 5 kritis also have rAga choices linked to the specific theme of the pujA.

And now to the essence of the 5 essences to the mayuranAtha.

The panCa-bhUta kritis to the mayuranAtha

Why the panCa-bhUta pujA was chosen at mAyavaram ?

The sati/dAkSAyani enters the fire of her own will (out of shame at the dakSa yagna that insults Siva) and is incinerated.

The fire reduces her to the five elements.

The Siva who is lord of the fundamental elements restores the goddess as a peahen and unites with her as a peacock, in the Siva-Sakti form called “gauri-mayuranAtha” at the mAyavaram shrine.

And now each of the 5 kritis are described including the reasons why the rAgas are chosen as well as the mudras for the elements and the mudras for the rAgas.

1. mAyUranAtham aniSam - rAga dhanyAsi – prthvi bhUta

In “mAyuranAtham aniSam”, the Dikshitar unambiguously says “mEdinyAdi pujita panCa-bhUtAvakASam”, but until this post, no one has recognized the significance of this usage and choice.

mEdini is also a name for the earth.

But the Dikshitar wants to make sure we get the message so he also says “mAyUranAtham aniSam bhajAmi mAyAmaya dharaNIsham tyajAmi” where the word “dharani” is also mudra for the earth/prithvi element.

Why rAga dhanyAsi for the prithvi element at mAyavaram

Indeed the rAga choice itself is linked to the prithvi element.

Why ?

Because the word “dhana” and even “dhAnya” is originally used for denoting wealth as in property, principally land = earth !

The embedded rAga mudra

Both in meaning and also phonetically “dharaniSa” is the inferrable mudra for the rAga word “dhanyAsi”

The peacock mudra

Obviously mAyura-natha captures the unmistakeable peacock aspect of mAyavaram.

2. tArakEshvara dayAnidhE - rAga SankarAbharana - water /jala bhUta

The name “tArakESwara” for the mayuranAtha is most definitely a play on both the peacock and skanda.

Why ?

Because the peacock is also the vehicle of skanda (skanda = SikhivAhana).

And the Dikshitar refers to this confluence in this kriti when he says in this kriti “SrngAra SivAvatara guruguha tAropadESa” !

Why rAga SankarAbharana for the water/Apa/jala element at mAyavaram

SankarA-bhara-na, is also the one filled (Abhara/bharita) with the juice/essence of Samkara or welfare.

It is precisely this ocean of mercy that is noted as “dayAnidhE”

The embedded rAga mudra

This appears via the word “Sankara”

The peacock mudra

Here the word SEkhara captures the meaning of the peacock, which is also called Sikhi. SEkhara derives from Sikhi, implying crown or pinnacle. The peacock has a charasteristic crest on its head which gives it this name as well.

3. abhayAmbA nAyaka varadAyaka - rAga kEdAragaula – vAyu bhUta

The Dikshitar gives the word “Omkara” in this kriti, signaling the first sound, and also signaling the first breath. Breath is always carried on the wings of vAyu ( see post 751 for why Om is the emblem for vAyu/prAna)

Why rAga kedAragaula for the vAyu element at mAyavaram

The throat is the opening leading to the heart, and opening = dAra (aka dwAra/gateway).

The embedded rAga mudra

The OmkAra reference is precisely the sUCita rAga mudra as well..

Why ?

Because it is given as “Atmaka prapanCa vyApaka OmkAra svarUpa” = the sound (Om) that enters through (ke-dAra) the throat and then illuminates (gaulA) the soul (Atma prapanCa vyApaka)

The peacock mudra

The word “nila-kantha” is the exact synonym for the peacock. For good measure, the Dikshitar also embeds the word ‘SEkhara” in this kriti.

4. abhayAmbA nAyaka harisAyaka- rAga Ananda bhairavi – agni bhUta

light = prakASa is a symbol of agni (see also sadACalESwaram for the tEjOmaya linga where the light of the lamp flickers without stopping)

The Dikshitar also gives the word “dinakara swarupa” as this synonym for the light of the sun.

Why rAga Ananda bhairavi for the agni element at mAyavaram

The reference “harisAyaka” implying where viSnu is used as an arrow is undoubtedly reference to the janArdana, integral to the victory of the abhayambA in her role as bhandAsura mardini (see post # 746)

At mAyavaram, abhayAmbA is conjoined with gauri-mayuranAtha and the fire/agni of the bhairavi aspect of the lalitOpAkhyAna story is also the reason for the rAga chosen as Ananda-bhairavi.


The embedded rAga mudra

Notice that the word “abhaya” is embedded within the word Anand-abhaya-ravi.

The peacock mudra

This is given via the word “gauri-mayura-nAtha”

5. gaurIshAya namastE - rAga Arabhi – gagana bhUta

Here the word “ambara” is used (via “carma-ambara dhara”) for the link to the bhUta/element.

Why rAga Arabhi for the gagana/ether element at mAyavaram

The rAga word Arabhi is phonetically related to the word “nAbhi” which in turn is the mudra for the sky/gagana/ambara element.

stanza 26 from Chapter 49 Siva purAna, Book 2.3 – Rudrasamhita’s pArvatikhanda gives

vAsAmsi sAgarAssapta diSaSCaiva mahAbhujAḥ
dyaurmurddhA tE vibhor nAbhi kham vAyurnAsikA tataḥ


translated to

The seven oceans are your clothes. The directions are your long arms. The firmament is your head. The sky is your navel. The wind is your nose.

The Siva is being described as having the sky (gagana) as his navel = nAbhi .

The embedded rAga mudra

The word “pravartaka” implies starting or beginning or initiating..ALL of which also mean the word Arabhi = Arambha = Arambhanam = beginning..

The peacock mudra

Both mayura and SEkhara satisfy the peacock aspect of mAyavaram

Summary

A complete panCa-bhUta pujA in 5 kritis to the male deity of mAyavaram accompanies the abhayAmbA navAvarana. (which is 11 kritis ( 9 Cakra kritis (see post # 567) plus one dhyana kriti plus one mangala kriti )

The goddess (dAkSAyani/abhayAmbA) who was consumed by the fire of her sati, is reconstituted by the Siva from the five elements as the peahen = mayuri, the consort of the mayura-nAtha.

A cesspool of ignorance has been created by the Dikshitar family, the SSP and generations of foolish and corrupt vidwAns/musicologists, who have no clue regarding these aspects of the Dikshitars pujA.

The leading scoundrel is of course the author of the SSP !

Merely recording/jotting down the swara-notation (that too of a limited number of kritis) does not make any of these villains any kind of nAdayOgi or vAggeyakAra.

They lack the fundamental honesty and integrity that is central to Sruti, the core truth that is always underlying the sacred music of Hindu vAggeyakaras.

No wonder they have been eliminated by “darwinian” rules of selection.

The mudras placed by the Dikshitar (and being revealed now, after 200 years) are the Dikshitars way of protecting the sanctity of his pujA and his identity.

The nAda-upAsaka is overjoyed to be the instrument of truth bringing to light this failed, monstrous conspiracy.

The nAda-upAsaka thanks the rasika forum founders and managers for their role in spreading the essential truth.

mAyUranAtham anisham - rAga dhanyAsi

deepika J
https://www.youtube.com/watch?v=4Cj-xvVpWj4

tArakEshvara dayAnidhE - rAga SankarAbharana

p unnikrSnan
https://www.youtube.com/watch?v=F7P2HfqEIo8

abhayAmbA nAyaka varadAyaka - rAga kEdAragaula

prEma R
https://www.youtube.com/watch?v=IR7l3mLfimA

abhayAmbA nAyaka harisAyaka- rAga Ananda bhairavi

s jayarAman
https://www.youtube.com/watch?v=dM30PG63EuA

gaurIshAya namastE - rAga Arabhi

neela R
https://www.youtube.com/watch?v=mUOFdovaH28

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (the jyOti-linga and the light of the mahASivarAtri)

Post by nAdopAsaka »

the jyOti-linga and the light of the mahASivarAtri

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

mahASivarAtri is not just about rAtri = night but also jyOti = light..

Is it possible that the nAdajyOti Dikshitar can overlook this ?

Utterly impossible.

Is it possible that the nAda-upAsaka can forget this ?

Also utterly impossible.

And so we get this post....celebrating mahASivarAtri with three jyOti-linga kSEtra kritis of the Dikshitar at kASi, SriSailam and rAmESwaram.

kASi

At kASi, the Siva dances the ajapA nata (see post # 797 for this dance at tiruvArUr ), where ucchvAsa = breath control is used but no words are uttered.

And properly, the rAga referring to dance = natAbharanam is offered !

viSvanAtham bhajEham – rAga natAbharanam

tyAgarAjan T
https://www.youtube.com/watch?v=u-RuTDvYRXc

SriSailam

Can the Siva shine without the dEvi ?

Of course not !

Siva and Sakti are always intertwined in the tAndava, as seen also in the ardhanAriSwara stOtra.

The Dikshitar worships the jyOti linga at SriSailam with ..what else… the jyOti rAga kriti to the goddess. (see also post # 758)

paramjyOtiSmati – rAga jyOti

hEmalatA
https://www.youtube.com/watch?v=tHHZG3FGC7Y

and finally the tirtha takes us to…

rAmESwaram – the jyOti-linga that casts light on the vast ocean

On the precipice of the battle with untruth, on the edge of a continent, on the top of the gandha-madana mountain, the lord rAma takes his vow and his blessing from the Siva/rAmanAtha.

There is no more worthy kriti or rAga than “rAmanAtham bhajEham” in kASi-rAmakriya for celebrating the jyOti of the mahASivarAtri.

rAmanAtham bhajEham – rAga kASi-rAmakriya

pattaAbhirAma pandit
https://www.youtube.com/watch?v=asGiTgrMaVc

flute narasimha murthy
https://www.youtube.com/watch?v=3V1wUUf3F5k

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Diksitar (The sAma kriti at jyOtilinga kSEtra rAmESwaram– equivalence of two goddesses & peace after the rAmakriyA)

Post by nAdopAsaka »

The sAma kriti at the jyOtilinga kSEtra rAmESwaram – the equivalence of two goddesses and the peace after the rAmakriyA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Why is sAma rAga offered by the Dikshitar to the “parvatavardhani” goddess of rAmESwaram ?

The choice of a rAga for a kriti in a particular kSEtra is an immediate window into the soul of the vAggeyakAra at the moment of his communion with the deity.

What is the origin of such an enquiry ?

Until now the vapid listening masses have not asked this question, or have been prevented from asking it.

Why should such a question be asked ?

Because the Shameless Scoundrels and Panderers = SSP and ALL its fraudulent proponents (vidwAns, musicologists, academy reps. , bogus historians and the like) have been trying to bury the sAdhus vows, intent and motivations under a mudslide of swara technicalities.

Because the cess-pool of ignorance created by these villains undermines the reasons the sacred music of the Hindu vAggeyakAras exists.

Because the kritis were not made so that "technicians" can try to impress their “fans” in grotesque kutChEris and “talent” competitions and give each other meaningless awards.

Because NOTHING the vAggeyakAra does is random …

Because every aspect of the kriti is tailored to the kSEtra…this is the sAdhana, the specific focus and purity of the nAdayOgis worship.

Which concludes the asurA moment of this post.

And which brings us to the jyOtilinga kSEtra of rAmESwaram.

kASi-rAma-kriyA is the proper rAga chosen for the act of rAma worshipping the rAmanAtha (the rAma- kriyA)….and this of course results in the electric “rAmanAtham bhajEham”, noted in post # 813.

One may ask, why not rAga sindhu-rAma-kriyA ?

But at once it is realized that Siva is also “kAma-vardh-ana”, he who destroys kAma , and the Dikshitar is meticulously tailoring his choice of kASi-rAma-kriyA as an offering to the Siva ….

And….kAma-vardhani is just the other name for the rAga kASi—rAma-kriyA.

Not surprisingly the goddess at rAmeSwaram bears the name “parvata-vardhani”.

So what is the logic and basis behind the sAma rAga offered to the “parvata-vardhani” ?

At the heart of this choice, is the very essence of the rAmanAtha temple !

upa-Asana at rAmESwaram – sitting alongside the Dikshitar

Let us undertake the same journey taken by the Dikshitar as he made his choices (and sit with him = upa-Asana) as he receives the candy-in-his-mouth.

The sole reason rAma arrives in rAmESwaram is…the sitA dEvi !

The sole reason Siva arrives in rAmESwaram is…the dEvi parvata-vardhani” !!

The first statement is self-evident…..without sitA, there is no rAmAyana and no rAma-nAtha or kapi-brinda or rAmalinga etc. etc. etc.

It is the search for his sitA that brings rAma to rAmESwaram.

The second statement is also self-evident, the jyOtilinga kSEtra of rAmESwaram enshrines the Siva-Sakti union.

The Sri-Cakra at rAmESwaram was installed by the Adi Sankara a millenia ago.

The Siva finds his soul in the dEvi of the Sakti pitha.

And now the upAsana bears fruit.

sAma as embodiment of “sama” = “sameness” = sAmarasya

The Dikshitars magical lens sees this equivalence of the goddesses to each deity, rAma and rAmanAtha at rAmESwaram.

The sAma choice for the rAga at this unique intersection of rAma and rAmanAtha begins to make complete sense.

It is the sameness of the search for the goddess for rAma or Siva that the Dikshitar enshrines with this sAma gana.

sAma as a measure of calmness and peace = tranquility

sAma also means that “welfare” which bestows among other things tranquility and peace = SAntam, sukham, saukhyam, shubham, shubhagam etc etc etc synonymous with good fortune...

No less an authority than the tyAgarAja connects rAga sAma to SAnta, in his magnificent “SAntamu lEka saukhyamu lEda” !

The purpose of the rAma-kriya is the pujA of rAma at rAmESwaram to receive the blessing of Siva, to strenghten his resolve in the cause of dharma and to absolve him of the sin of hatyA…(hatyAdi-pApa-haram).

And the success of this pujA is seen in the peace that rAma receives, fittingly granted by the dEvi aspect of the ardhanAri of the Siva-Sakti union..

Indeed, the Dikshitar calls the parvata-vardhani as “paraSiva tatva swarupini

Could there have been any other choice other than sAma rAga for the kriti to the dEvi at rAmESwaram ?

No.

Can there be any possibility that the music can be disconnected from the ideas and words of the kriti ?

No.

Could there be any doubt that the charlatans and villains (e.g. SSP etc) would be exposed for their falsifications of the Dikshitar legacy ?

No.

Can there be any shred of a chance that the nAda-sampradAya would not assert itself ?

Absolutely No.

“parvata vardhani pAhimAm paraSiva tatva swarupini Sri” – rAga sAma

dilipkUmar
https://www.youtube.com/watch?v=i5Ykt3OM5Gg

rAman/lakSmanan
https://www.youtube.com/watch?v=160OtxYz8lY

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re:Diksitar(Post#815- kambu (= spots !) & the kAmbOji at kuSta-rOga-Apa kSEtra (leprosy curing) dakSina kASi =kuzikarai)

Post by nAdopAsaka »

Post # 815 - kambu (= spots !) & the kAmbOji at the kuSta-rOga-Apa kSEtra (leprosy curing) dakSina kASi = kuzikarai the dakSina kASi kAmbOji kriti - kASi viSwESwara Ehi

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Following post # 814 above , the Dikshitars story of the first sound, = the udgita of the sAma gAna and the OmkAra, is not complete without reference to the way in which he matches the kSEtras at vArAnasi kASi and dakSina kASi.

But before we get to the sAma rAga and the sAmanta rAga kritis, the massive dakSina kASi kAmbOji “kASi viSwESwara” deserves individual attention.

While kASi viSwanAtha, kASi viSAlAkSi and kASi annapurna are individual deities at kASi vArAnasi and also worshipped at dakSina kASi, the name and kriti “kASi viSwESwara” is reserved for one kriti at dakSina kASi.

Why ?

Because this kriti cites the major UNIQUE icon of the kuzikarai kSEtra !

kuzikarai = dakSina kASi gartA tira is the kuSta-rOga Apa site, where the tirtha is supposed to cure leprosy.

Not only does the Dikshitar cite this unique feature only in this kriti, he also chooses the rAga to fit the theme !

Why ?

Because the word “kambu” means speckled or spotted, EXACTLY the symptoms of the kuSta-rOga = leprosy.

And “kambu” is seen as phonetically related to the word kAmb-Oji.

Indeed the very word ‘kuSta” means “of a particular color” referring to this same “spotted” = kambu discoloration associated with leprosy.

The choice of the rAga is not some “cute” coincidence, as the corrupt and unimaginative would like to believe.

It is a direct link to the focus of the pujA of the Dikshitar to the main distinguishing feature of the kSEtra.

Summary

Just like hundreds of other kritis of the Dikshitar have been revealed (in the many recent posts on this thread) to have their rAga choices in icons of kSEtra and pujA, so too does the kriti kASi viSwESwara have its rAga origin in the leprosy curing aspect of the kSEtra.

The relationships between the rAga choices and the kritis/kSEtras of the Dikshitar cannot be found in the distorting SSP with its fraudulent histories or in the modern music academies of technical gymnasts and self-promoting vidwAns/vidUSis .

Why ?

Because these entities lack the essential devotion and respect for the nAda-sampradAya and the sAdhus pujA.

The rosetta stone that cracks the code governing the Dikshitars rAga choice, is not linked to any swaras or rAga scales/notes and cannot be found in any notation-book.

It derives from comprehending the underpinning of the sAdhus musical offering and pujA.

All the clues are in the Dikshitars kritis embedded in his own words.

It was bound to happen. The nAda-sampradAya cannot be denied.

The nAda-upAsaka always thanks the rasika founders and managers (who tirelessly keep the site functioning) for the ability to bring forward these truths.

satyam Eva jayatE


kASi viSwESwara Ehi – rAga kAmbOji

b rAjam I.
https://www.youtube.com/watch?v=cGeN4uESwmg

SRJ
https://www.youtube.com/watch?v=4boVcxRldd0

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Dikshithar (sAma (= same-ness) of dakSina kASi and vArAnasi kASi - sAma at kuzikarai and the sAmanta at kASi)

Post by nAdopAsaka »

sAma (= same-ness) of dakSina kASi and vArAnasi kASi - sAma kriti/s at kuzikarai and the sAmanta (plus other rAgas) at vArAnasi kASi

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

In this post, the story of the Dikshitars pujA at the two kASi viSwanAtha kSEtras is completed (following the kuSta-rOga kAmbOji of the previous post)

As usual, several corrupt musicologists, self-appointed historians, so-called “word-for-word translators” and other sundry scoundrels (including some on this thread) have been busy trying to deface this particular legacy of the Dikshitar with mis-attributions.

The facts of the Dikshitars kritis at these two kSEtras will now be set straight, FOR THE FIRST TIME & ONCE AND FOR ALL.

Just as has been shown for hundreds of the Dikshitars kritis on this thread, each rAga of these 2 kSEtras is chosen based on the relevance of its word-meaning to a specific relationship with a feature of the specific deity.

The swara-scales/notes are completely secondary, if not entirely immaterial to the choice.

Those, like all the nAda-upAsakas rejoice in the discoveries.

Conniving panderers/SSP etc notation mongers and other criminals should weep.

kASi viSwanAtha, kASi viSAlAkSi, kASi annapurna and kASi gangA

At vArAnasi kASi, each of these deities has a separate shrine.

Ehi annapurnE – rAga punnAgavarAli

kASi “annapurna” is worshipped with the punnAgavarali kriti “Ehi annapurnE”.

Why rAga pu-nAga-varAli ?

Because the annapurna deity is draped in serpents (note she is pannaga-Abharana also in the parallel dakSina kASi “annapurnE” kriti).

Indeed, the Dikshitar signals this right away with the first word “E-hi”…which masks the word “a-hi” = serpent.

gangE mAm pAhi – rAga janjUti

Also at kASi vArAnasi , gangA has a separate kriti , the janjUti kriti “gangE mAm pAhi”.

Why rAga janjUti ?

Because ganga is jahnAvi as in daughter of jahnu leading naturally to janjUti ! This feature has been described in a prior post.

But it is the viSwanAtha and viSAlAkSi that are the focal deities of kASi and of this post.

kASi viSwanAtha at vArAnasi - there are 2 kritis

viSwanAthEna – rAga sAmanta

Why rAga sAmanta ?

The choice of rAga sAmanta is driven by the Dikshitar establishing the same-ness / equivalence of this kSEtra with dakSina kASi (where the rAga sAma is used to start and end the Carana/vilOma section of the CaturdaSa rAgamAlika. More on that a bit later in this post)

viSwanAtham bhajEham - rAga natAbharana

Why rAga natAbharana ?

The rAga comes from the “ajapa nata” – the dance with no words iconic of vArAnasi kASi, where the control of breath, uchvAsa is practised as part of the yOgic siddhis. Note that this breath control is as much emblematic of vArAnasi as it is of tiruvArUr.

kASi viSAlAkSi at vArAnasi - there are 2 kritis

viSAlAkSim viSwESim – rAga kASi-rAmakriyA

Why rAga kAsi-rAmakriya ?

Even asking this question is foolish…the word kASi and kriyA in the rAga say it all..

kASi viSAlAkSi – rAga gamakakriyA

Why rAga gamakakriyA ?

Now the wonderful extent of the dhyAna and pujA of the Dikshitar becomes visible !

the Siva Purana and the names viSAlAkSi and kalyAni !

kASi-vArAnasi is mentioned extensively as an ancient Siva shrine in the purAnAs.

Indeed, the Siva Purana specifically gives both the names viSAlAkSi and kalyAni for the goddess (independent of the lalitA sahasranAma or the SoundaryaLahari)

Section 2.3 - Rudra-samhita (3) of the pArvati-khanda Chapter 29 stanza 28 gives the words

ittham jnAtva tu kalyAni kimasmAkaṃ vadasyatha
kAryyaṃ tvadAjnayA bhadre yathecchasi tathA kuru

translated as
O benevolent lady, after knowing this what is it that you say is our duty?

And Chapter 45 stanza 7 gives the words

mEnE paSya viSAlAkSi Sivarupama nuttamam, kṛtA SivEna tEnaiva sukrpA karunAtmanA

translated as
O Mena of wide eyes, see the excellent features of Śiva.

Emerging from the purAna, that ancient text, the viSAlAkSi is identified as kalyAni.

Can there be ANY doubt the choice of gamakakriyA to this viSAlAkSi is based on the rAga name being also purvi-kalyAni !!!!!!

The Dikshitar has already shown with the "purvi" rAga choice how the tiruttani guruguha first cAkra kriti is apt for its reference to the skanda purAna. (see posts on the tiruttani guruguha navAvarana in this thread)

In contrast to the above 4 kritis, there are 2 kritis at dakSina kASi to the (kuzikarai) viSwanAtha and viSAlAKsi.

The dakSina kASi viSwanAtha

Sri viSwanAtham – CaturdaSa rAgamAlikA

The gigantic CaturdaSa rAgamAlikA conceals the unique nature of the sAma rAga by beginning the Caranas and then ending the inverse = vilOma section !

There is no question this application of sAma is a reference to the similarity of the deity here with that in vArAnasi kASi.

Of the 14 rAgas, 4 are the so-called ghana rAgas with the fifth ghana rAga varAli replaced by rAga gauri. The details of these 14 choices for the lord of the 14 worlds (CaturdaSa bhuvana bharana) will be taken up in a later post.

The dakSina kASi viSAlAkSi/annapurna

annapurnE viSAlAkSi – rAga sAma

The kriti "annapurnE viSAlAkSi" makes clear the following

1. It combines the two separate deities annapurna and viSAlAkSi at vArAnasi into a single entity at kuzikarai.
2. It gives the name OmkArini to this deity and thereby cites the emblem of the udgita of the sAma gAna, namely the OmkAra.
3. It uses the sAma rAga for exactly the reason to establish the relationship with the vArAnasi kASi deity.
4. It gives the pAyasam prasadAm mudra unique to kuzikarai – so that the “unnata garta” is not confused with the garta (watery cave ) also at kASi vArAnasi.

asurA moment

The obligatory asurA reference needs to be emphasized.

Why ?

At every instance, the forces of untruth and apa-Sruti, represented in this case by the conniving panderers of the SSP, other notation mongers, musicologists and academicians who have put themselves ahead of the pujA of the vAggeyakAras must be identified, reviled and cursed.

For a 150 years their lies and falsehoods about the Dikshitar have created a cess-pool of ignorance and arrogance.

And in this cess-pool, has floated up steaming lumps of untruth….the most shameless being the “dwaya-artha” revisionism of the Hindu sAdhus vows.

This is the horrendous legacy of the SSP, hiding behind so-called swara-notations, but with the intent to assassinate the vAggeyakAras character.

All that is ended now.

No ! the kritis were not made so that narcissistic vidwAns/vidUSis could compete with each other in talent competitions and give each other awards in bizarre kutChEris.

Thanks to the rasikas forum and the nAda-sampradAya, the irrefutable truth of the vAggeyakAras musical pujA is now on full display, not just how they do the pujA but more importantly why they do this pujA.

satyam Eva jayatE

many thanks for the audio to artistes and agencies

kASi (= vArAnAsi kASi)

viSwanAthEna – rAga sAmanta

prEma R
https://www.youtube.com/watch?v=jutoejgLMaI

viSwanAtham bhajEham - rAga natAbharana

TM tyAgarAjan
https://www.youtube.com/watch?v=u-RuTDvYRXc

viSAlAkSim viSwESim – rAga kASi-rAmakriyA

nityaSri
https://www.youtube.com/watch?v=0mHIP4biyCs

kASi viSAlAkSi – rAga gamakakriya

KNRS
https://www.youtube.com/watch?v=6Paq4RBATrc

dakSina kASi (kuzikarai)

Sri viSwanAtham – CaturdaSa rAgamAlikA

Sikkil G
https://www.youtube.com/watch?v=Q9nnt3rCLio

flute jayant
https://www.youtube.com/watch?v=8zZQt_QkeCA

annapurnE viSAlAkSi – rAga sAma

ranjani gAyatri
https://www.youtube.com/watch?v=f80vIACBk2g

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Diksitar (How and Why ALL 14 rAgas of the CaturdaSa rAgamAlikA are chosen !! e.g. why sAma gAna for the satya-lOka )

Post by nAdopAsaka »

How and Why ALL the 14 rAgas of the CaturdaSa rAgamAlikA are chosen !! e.g. why the sAma gAna for the satya-lOka !

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The tide of truth of the nAda-sampradAya cannot be stopped or deviated.

Thousands of years before Twitter , in less than 20 words, the Gita summarizes the ancient and timeless Hindu principle

yadA yadA hi dharmasya glAnir bhavati bhArata
abhyutthAnam adharmasya tadAtmAnam srjAmyaham
paritrAnAya sadhunAm vinASAyaCa duSkritAm
dharma sansthApanArthAya sambhavAmi yugE yugE


Truth always asserts itself, especially when unchecked untruth becomes unbearable. The cycle is ceaseless, since apa-Sruti is always lurking as we know from these very threads. But the nAda-upAsakas will always rise to protect the truth and their own.

If it was not me, it would be another.

If it was not the rasikas forum, it would be another equally wide platform.

nAda-sampradAya pradarSini

It is the sacred duty of the nAda-upAsaka to identify the rAga with the lOka, that is at the core of the Dikshitars massive pujA to the dakSina kASi viSwanAtha.

Why ?

Because it is the true teaching of the great kriti.

and

Because, the scoundrels (the SSP, the shawl-gathering , zamindar-boot-licking Dikshitar family and the entire corrupt music industry of vidwAns, vidUSis, musicologists, language politicians and “talent award winners” ) have attempted to bury the legacy of the Dikshitar musical pujA in so-called swara-gyAna and notation.

And they have been abetted in this crime by generations upon generations of foolish listeners, some of them most certainly also villains.

Which concludes the asurA moment of this post.

The basis of the 14 rAga = CaturdaSa rAgamAlikA

It will be shown in this post how and why all the 14 rAgas of the gigantic CaturdaSa rAgamAlikA are chosen !

Each rAga is related to the corresponding lOka = bhuvana.

Indeed the Dikshitar opens the kriti with exactly this statement..i.e. that he will conduct the pujA by adorning the dakSina kASi viSwanAtha with a garland of rAgas each representing one of the 14 worlds.

For he says with his first breath…

Sri viSwanAtham bhajEham, CaturdaSa-bhuvana-rUpa-rAgamAlikAbharaNa-dharaN-Antah-karaNam.

To fully understand what is going to be shown in this post, one needs to, of course, become aware of exactly what these 14 bhuvanas = lOkas are.

Yes, it is true, intelligent people always make better rasikas, lovers of music (or just plain lovers).

Unfortunately there are a lot of fools (and worse) on these threads. Indeed, one such “dignitary” was questioning the idea of a list in connection with the vAggeyakAras. The ignorant have to be clued in, unless of course they are completely brain-dead. Is the navAvarana not a list ordering a great pujA ? Is the 14 rAga kriti itself not a list of items that are orchestrating a majestic composite pujA ?

Back to the rAgamAlikA…

I list first the upper or urdhva lOkas in typical order starting upwards from the earth = bhu.

Some generic descriptions of each world/universe/lOka/bhuvana are also given.

1. bhu – the earth
2. bhuvas – the sky/atmosphere which is between the earth and the heavens
3. swarga – the heavens = the abode of dEvas, gods
4. mahar- the world of attained riSis
5. jana- the world of brahmAs offspring
6. tapas-the world of supreme sAdhus and tapasyA
7. satya-lOka (aka brahma)- the merging of Atman and brAhman

and the worlds below (these are nether-worlds or pAtAla’s )

8. atala - the world of lust and physical desire
9. vitala - the world of wealth and materialism
10. sutala - the world of ignorance, but which can be redeemed through penance, characterised by the story of bali (who rules this lOka) and the 3-steps of the vAmana avatAr of viSnu
11. rasA-tala – the world of fear and of the heat of suffering ( note that the hot, dead planet (and element) mercury being close to the sun is also called rasA ! )
12. talA-tala – the world of mAyA = illusion
13. mahA-tala - the world of serpents
14. pAtAla (naraka = yama-lOka) – the final hell where only destruction and chaos reign

It is not the aim of this post to discuss other features of Hindu cosmogony (grahas/planets etc) which are also implicit in the Hindu view of the “worlds”.

As visualized in the nAda-sampradAya, the lOkas are not “distant” universes, they are realms of “consciousness”.

It is these worlds, it is these bhuvana/lOka that the great nAda-yOgi is pointing to and teaching about in the CaturdaSa rAgamAlikA.

And now to the rAga choices … (many of which will have become obvious by looking at the list and descriptions given above).

It can be seen that the sequence sung in the kriti is not the same as the typical ordering of the lOkas presented in the 1-to-14 list of lOkas shown above.

Indeed the application of the nested looping vilOma section in both pallavi and Caranam (a unique inverted feature seen in this rAgamAlikA) scrambles any such formal ordering.

In this sense the structure of this rAgamAlikA differs from the navAvarana or the ArupAdai (six skanda) sthala pujA, where in the latter, the worship builds to a final end in linear fashion through the stages/enclosures/Avarana/sthalas.

ps. the numbers shown in the list below are for the sequence taken when the rAgamalikA is sung.

14. bhUpAla - quite simply for bhu-lOka from bhu-pAlana, the world of the earth = bhu

4. nATa - for bhuvas lOka from “Citra viSwa-nAta-ka” , the drama of the world of life that happens in the space between the earth and the "heavens" i.e. the sky/atmosphere

13 dEvakriyA – again quite simply from the world of dEvas = swarga-lOka

8 lalita – the mahar-lOka is accessible only to the lalita hridaya = the riSis and sages whose innocence, sAdhanA, character and integrity of vows allows them to survive “mahas” the end of the world..the Dikshitar calls them “kAma-krodhAdi-rahita” in the kriti

3. gAuri - jana-lOka is the world of brahmAs children and also the sanandana sanatkumAra etc., the dwarfs who spread the vEdas.

Of course gauri is sati/dAkSAyani , the daughter of dakSa, the son of brahmA and therefore she is of the jana-lOka…..

and the Dikshitar in the viLOma section pointedly also gives the word “nigamasAra” – which gives the "mudra" for the "sanandana" traditionally associated with the vEdas and the jana-lOka...since nigamasAra is a synonym for the vEda).

All this completely identifies rAga gauri as the proper choice for the jana-lOka.

Indeed the relevance of gauri to the lOka, also completely knocks off the possibility of using rAga varAli...the missing ghana panCa rAga from this set !

In fact the Dikshitar does NOT offer the rAga varAli to the Siva deity anywhere..(it is only given to minAkSi, SESACalanAyaka and lambOdara..more on that in a later post)

10 sAraNga – the tapas-lOka is represented by Siva in the forest who holds the deer attained through the “tapasyA” of the sages of the dArukAvana. As the Dikshitar says “dArukAvana tapOdhana

7 sAma - the satya-lOka where the key principle is sAma = oneness of Atman with brahman…this is the pinnacle of worlds and the goal of the nAda-yOgi

12 kAmbOji – the atala lOka is the lower world of lust and desire, filled with wanton women (kAminis) and wanton men unable to control their lust = kAma. Can there be a more appropriate choice than kAmbOji ? ...NO !

1 SrI – the vitala lOka is where wealth and gold and materialism dominate urges, signified by the word "Sri" which means exactly such wealth

5 gaulA – the sutala lOka is where ignorance can be purified with penance. gaulA is associated with the purification of penance, as the sacrificial ash applied by the Siva.

Indeed, the Dikshitar says in this section:
“govindAdi-vinuta-gaulANgam, kSIra-kunda-indu-karpurAdi-vijaya-bhasita-uddhULita-gaulANgam

The reference to gOvinda is intriguing, because gOvinda is the deity who “teaches” bali by suppressing his ignorance with the vAmana story

2 ArabhI – the rasA-tala lOka where the heat of fear pervades, given by “samsAra bhiti” as well as the three “fires” the tApa traya tyaja. Arabhi is embedded in the words “sams-Ara-bhi-ti” as anyone with even only one eye can see..

6 mOhana – the talA-tala lOka is the world of mAyA , illusion , sorcery and charm = mOhana..case closed..game over

11 SankarAbharaNam - mahA-tala lOka is the lOka dominated by serpents and of course Siva/viSwanAtha is adorned with these as d Indeed the nagamani is considered also a jewel adornment and the Dikshitar notes this as “mANikya-maya-SankarAbharaNam”

9 bhairava – as the motif of pAtAla lOka, bhairava is natural choice, epresenting the most fearful hell/world, where destruction reigns..ideal for the fiery incarnation of the world destroying siva…puraharam bhairavam..as the Dikshitar sings.

Summary

The nAda-sampradAya is the tsunami of truth sweeping away the flimsy falsehoods of the SSP , its villainous proponents and the entire corrupt music establishment.

Again and again, the nAda-yOgis will assert their teachings over the puny , grammar and notation minded technicians, who have abetted and created falsehoods under cover of the arrogance of “swara-gyAna” and self-adulatory sabhAs, darbArs and “award” ceremonies.

The dakSina kASi viSwanAtha rAgamAlikA displays the structure of the Hindu view of the 14 worlds/lOkas, with each rAga chosen specific to the realm of consciousness associated with the lOka.

The CaturdaSa rAgamAlikA is not a magnum opus just for its musical content.

The CaturdaSa rAgamAlikA is a magnum opus because it distills through carefully chosen rAga offerings, the highest form of pujA and meditation.

For the contributions of the nAda-yOgis to have been ignored for 200 years, even denied and defaced by the so-called music industry/SSP, under garb of advancing technical “prowess” of mere egotistical and narcissistic mortals is beyond belief.

The nAda-upAsaka thanks the rasikas forum founders and managers for the platform to spread the truth about the sacred music of the Hindu nAda-yOgi vAggeyakAras.

satyam Eva jayatE

Sri viSwanAtham bhajEham – CaturdaSa rAgamalikA

K anagha
https://www.youtube.com/watch?v=ttlgmjsewDo

K vandana
https://www.youtube.com/watch?v=i6f86b_k-9Y

violin ensemble kanyAkumari
https://www.youtube.com/watch?v=edp8FcZm6YY

veena mudikondan school
https://www.youtube.com/watch?v=HCHpWgcnbuA

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Dikshithar ( “Sri ganESAt param” ArdradESi at dhundi tirtha & “SadAnanE” khamAs at skanda tirtha of kASi-vArAnasi)

Post by nAdopAsaka »

ganESa & skanda at kASi, “Sri ganESAt param” ArdradESi at dhundi tirtha & “SadAnanE” khamAs at skanda tirtha of kASi (vArAnasi)

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

In the current ongoing series of posts dealing with the Dikshitars kASi (vArAnAsi) kritis, the kritis to the ganESa at the dhundi tirtha and the skanda/SadAnana at the skanda tirtha remain to be exposed.

Here too the arrogant yet poorly-informed, poorly-read, and fundamentally corrupt musicologists and their protégé vidwAns/academicians etc. have attempted to ruin the true legacy of the Dikshitar pujA !

There is an UNQUESTIONABLE source of the EXACT names, words and rAga-names being used in these two kritis !! (just as in many other of the Dikshitar kritis already shown in about 150-200 posts here)

There is no room or scope for “dwaya-artha” impurity and nonsense in the innate pujA of the nAda-yOgi, just like a rAga is always unique and unmistakeable and pure.

And the source proves beyond any doubt that both kritis are set in the kASi vArAnasi kSEtra (NOT at vaitheeswaran kOvil or mAyavaram etc. as foolish and deluded musicologists etc. have thought)

The skanda purAna and its kASi khanda ( = kASi chapter)

The skanda purAna particularly extols the status of kASi (vArAnasi), giving it a separate chapter, the kASi khanda.

And the influence of the skanda purAna as well as the ancient city of kASi on the Dikshitar cannot be disputed (even by the criminals of the SSP/Dikshitar family).

After all, kASi is where the Dikshitar acquired his Sri-vidyA inculcation.

It will now be shown with mathematical certainty how these two kritis also belong to the kASi kSEtra.

Indeed the skanda purAna gives both the ganESa and the skanda each their separate tirthas at kASi (vArAnasi).

Why and How ?

For this one has to emerge from blind stupor and read the scripture (before merely submitting to the language politicians and other criminals – some on this very thread but who have recently scurried off like rats and cockroaches )

skanda purAna -Section 2 - UttarArdha Chapter 61 - The Greatness of VaiSṇava Tirthas gives
the following details for the skanda tirtha and the dhundi tirtha unambiguously !

The relevant verses and their translations are given here.

Verse 120
tatrAbhyASe skanda tirthaṃ tatrAplutya narottamah
drStvA SadAnanaṃ caiva jahyAtSAt kauSikim tanum

translation
120. Very near is Skanda Tīrtha. An excellent man who plunges therein and visits the Six-faced Lord eschews the (physical) body having six Kośas (sheaths i.e. skin, flesh, blood, semen, bone and marrow).

Verse 121
tArakeSvara pUrvEna drStvA devaṃ SadAnanam
vasEt SadAnanE loke kaumAraṃ vapurudvahan


translation
121. By visiting the Six-faced Lord to the east of tArakESvara, a devotee can assume the body of Lord Kumāra and stay in the ṢaḍAnana world.

Verse 122
dhundhi tirthaṃ tataḥ puṇyaṃ narastatra krtodakaḥ
dhundhiṃ gaṇapatim stutvA na vighnair abhibhUyate


translation
122. Beyond that is the meritorious Ḍhuṇḍhi Tīrtha. A man should perform all the rites in water there and eulogize Ḍhuṇḍhi Gaṇapati. He is never assailed by obstacles.

The basis for the choice of the rAgas of SadAnanE and Sri ganESAt param

First the khamAs kriti

As seen above the skanda of kASi is given the name SadAnana.

Indeed the basis for the choice of rAga khamAs is also given in verse 37 of the same chapter.

Because in Verse 37, the month of mAgha is described as the proper one for the ritual bathing at kASi.

Verse 37
kASyAm mAghaḥ prayAge yairna snAto makar-Arka-gah
aruṇodayamAsAdya tESAṃ nihSreyasam kutah


translation
If people do not take their holy baths at dawn in the month of mAgha at Kāśī and in Prayāga when the Sun is in Capricorn, how can they attain salvation?

And mAgha-mAs is the automatic selction for ghamAs = khamAs relevant to kASi (the Dikshitar also uses khamAs at other skanda sites to celebrate the magha month)

And now for the Ardra-dESi

The rAga name (and choice) is itself a kSEtra mudra !

Why ?

Because Ardra-dESa is the synonym of kASi, which is = rudra-dESa, where Ardra is the constellation/nakSatra of Siva as rudra. (aka tiru-vAdirai)

No other kSEtra but kASi is considered the prime Siva sthala in all of the sub-continent by the skanda purAna.

But why is Ardra-dESi applied to the ganapati ?

Here too the imagery of the Dikshitar cannot be denied.

The ganapati is part elephant and part human, he is ardha-dEhi. (and the Dikshitar preserves the meaning via the phonetics). And it is this unique feature that selects this deity for this rAga (at kASi).

But wait, there is more.

Here are additional icons that identify the kriti with kASi.

1. The Dikshitar goes as far as to say he knows of no other like this ganapati “Sri ganESAt Citta param nahi rE”

Why is the ganapati of kASi considered as “param” or prime = major.

There is only one kSEtra where ganapati = dhundi ganESA = arka vinAyaka is considered as the guardian with a supreme exalted status rivaling even Siva and dEvi.

For this too the skanda purAna gives the reason !

In the skanda purAna Section 2 - UttarArdha, Chapter 57 - Manifestation of Dhudii VinAyaka and Fifty-six VinAyakas describes the (56) vinAyakas starting from the arka-vinAyaka that are distributed over the kASi complex.

Verse 59 of this chapter says

kASyAm gangAsi saṃbhEdE nAmata- arka vinAyaka
drSta-arka-vAsare pumbhih sarvatApapraSAmtayE


translation
At the confluence of Gaṅgā and Asi at kASi is the Vināyaka named ArkavinAyaka. If he is visited on Sundays by people, he will subdue all distresses.

The arka-vAsara = Sun-day is also mudra to the sun-flower with which the pujA is peformed.

2. As ganapati, the newly minted = “mAtanga-vadanat” observed (and found ) by umA and rudra (umA-rudra darsitAt) is the basis for the dhundi ganESa legend.

In contrast, at mAyavaram, in the sAvEri, the dhundi ganESa reference is clearly marked with the kAvEri kSEtra mudra by the Dikshitar and this cannot be confused with kASi.

But the origin of the dhundi ganapati is at kASi-vArAnasi as also shown in verse 122 of the skanda purAna given above.

3. The deities of the form of the 36 tatvas starting with Siva = "SivAdi Sat trim Sat swarupa"

Each of the kritis to the three deities of kASi namely annapurna, SadAnana and ganapati carry the unique name “SivAdi Sat trim Sat”

In “Ehi annapUrnE” the Dikshitar says the goddess is “punnAgavarAlI prakAsini Sat trim Sat tatva vilAsini

In “Sri ganESAt param citta nahi rE rE” the very next phrase is “SivAdi SaT triM Sat tatva svarUpiNah

And
in “SaDAnanE sakalam arppayAmi” the Caranam gives

SaDAdhArAdi shaktyAtmakE SaT trimshat tatva kalAtmakE SaDaHNgashrutivicitrAtmakE SaTkONamaddhya sthitAtmakE IDyamAnAri nAshAtmakE IshvarAdi nuta guruguhAtmakE dhuNdi gaNEsh AnandAtmakE DamarushUlAdidharakarAtmakE

Notice too the reference to the SatkOna yantra, an unmistakeable icon also of kASi, as well as the dhundi ganESA reference.

By linking the three kritis the Dikshitar has also protected his intellectual property, from the ignorant thieves and mis-representers , within his family , the SSP as well as the scoundrels trying to erode his legacy nowadays.

None of these criminals has been successful in their nefarious schemes.

Truth cannot be denied or avoided.

Once again the nAda-sampradAya asserts itself.

satyam Eva jayatE

Sri ganESAt param – rAga ArdradeSi

KNRS
https://www.youtube.com/watch?v=_M8Qwap-_ts

vivEk sadASivam
https://www.youtube.com/watch?v=fetrQQUn75Q

SadAnanE sakalam – rAga khamAs

TRS
https://www.youtube.com/watch?v=UsZnvIY9T_8

sikkil G
https://www.youtube.com/watch?v=Q34EWeAZOYA

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Diksitar (Post # 819 "guhAm-purAni" for durgA-nArAyani – why dEvi-pattinam is the kSEtra for “mahISAsura mardinim")

Post by nAdopAsaka »

guhAm-purAni for durgA-nArAyani – why the kSEtra of the kriti “mahISAsura mardini” is “dEvi-pura” = dEvipattinam

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The name “mahiSAsura mardinim” is of course a fairly common and widely-used name of the goddess in her form as durgA, the destroyer of the asura mahiSa.

In fact the goddess durgA is enshrined in the Adi Sankaras “mahiSAsura mardini” stOtra…. the repeated chant from this being

“jaya jaya hE mahiSAsura mardini ramya kapardini SailasutE”

Indeed, many icons of durgA devi found in the stOtra also appear in the Dikshitars kriti “mahiSAsura mardinim”.

e.g. “mahaniya kapardinim”, “SankarArdhaSaririnim, “SankhACAkraSulAnkuSa” = the weapons used by durgA to subdue the asurA etc. etc.

The purpose of this post is to ask and answer the following question/s.

Why is dEvi-pura = dEvipattinam the location of the Dikshitars kriti “mahiSAsura mardinim” ?

What are the necessary and sufficient aspects embedded by the Dikshitar that prove beyond any doubt the origin of this kriti ?

The ancient shrine dEvi-pura ( dEvi-pattinam) which is located RIGHT on the coast near rAmESwaram….also has a deity worshipped as “mahiSAsura mardini”.

But the name of the deity at dEvi-pura is only the necessary condition.

There is another embedded feature provided by the Dikshitar which firmly asserts the location as dEvi-pura !

To comprehend what this feature (= mudra) is, one has to recognize, that inspite of being called dEvi-pura =
dEvi=pattinam, the location has a hugely iconic rAma legend, associated with the nava-pASana, the nine stones.

These nine stones representing the nava-graha pujA conducted as the legend goes by rAma while in the area close to rAmESwaram, around the time of battling rAvana asura.

At first sight there appears to be ABSOLUTELY NO MENTION of this highly iconic rAma legend in the kriti to the dEvi.

Until one observes the line in the Carana “pAlita guruguhAm purAnim” which conceals the word “guhAm-purani”.

guhAm-purAni – the hidden mudra for the dEvi-pura kSEtra

That dEvi-puram/dEvi-pattinam is older than the rAma nava-pASanam legend is not in question.

Indeed , dEvi-pura/dEvi-pattinam is not called nava-pASanam-pattinam

Therefore historically it is properly ancient = purAni !

But the Dikshitar has wonderfully also brought out the key indelible aspect of the nava-pASana legend.

They are stones embedded underwater, essentially in a water cave, and which are typically submerged !

Pilgrims have to wade into the tank around them, to perform the navagraha pujA to the nine stone idols !

And now we see the choice of guhAm-purAni, identifying this “guha” with the “water cave” that holds the base of the navagraha stones.

guhAm-purAni is the sufficient condition identifying dEvi-pura in the kriti.

This kriti and post is about asurAs …mahiSa, rAvana etc. And therefore it can also be about modern asurAs in our midst.

Modern asurA moment

Keeping in tune with the more ancient ( = purAni) dEvi-pura durgA temple, (without dwelling on the rAma aspect) , the Dikshitar has expressed the essence of the dEvi kSEtra !

Indeed, the construct "guhAm purAni" does not appear anywhere else in the entire Dikshitar collection.

Additionally, and naturally, the rAga nArAyani is chosen, since this word is merely a synonym for the durgA dEvi.

The focus of the nAdayOgi, the sAdhana of the vAggeyakAra, the sanctity of the worship, ….all these have been relegated, denied, desecrated, disgraced and defiled by the distorting SSP and the fraudulent Dikshitar family, even as they “sold” the legacy of the Dikshitar to the scoundrel Ettayapuram zamindars, under the pretext of “sangita sampradAya”.

What a horrific conspiracy, abetted for decades by the academies and other corrupt political and commercial agencies.

The nAda-upAsaka despises All criminal SSP proponents and all corrupt musicologists and vidwAns/vidUSis who have put their swara-gyAna, notation and grammar above the pujA of the nAdayOgis.

May the wrath of the “mahiSAsura mardini” durgA descend on these criminals. May substantial harm come to them and all their kin.

mahiSAsura mardinim – rAga nArAyani

A good rendering of the nArAyani kriti is available at time marker 1.57.35 by

Vid bhArati r
https://www.youtube.com/watch?v=VSJQu83vIIw

shivi - excellent rendering by a youngster !!
https://www.youtube.com/watch?v=z1L2qDhjgLY

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Dikshitar (Post # 820 - “ardhanAri/ardhanara” at tiruvArUr & the 4th Cakra of tyAgarAja & nilOtpalAmbA navAvaranas)

Post by nAdopAsaka »

Post # 820 - “ardhanAri/ardhanara” at tiruvArUr How & Why only the 4th Cakra kritis of EACH of the tyAgarAja & nilOtpalAmbA navAvaranas cite the male-female deity

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Introduction

In T-nAdu did the Dikshitar, the tiruvArUr music dome decree !

It is not known widely that Coleridge and the Dikshitar lived pretty much over the same 60 year period, from 1770’s to 1830’s.

It is probably not known at all, that of the 50 odd kritis of the Dikshitar in tiruvArUr, only 3 kritis refer to the ardhanara/ardhanAri, the half-male/half-female conjoined deity.

One is the kAmbOji “valmikalingam”, (one of the five tiruvArUr panCalinga kritis) where the reference appears as
“SrI valmIkalingam CintayE SivArdhAngam CintayE”

Indeed, the valmikalinga Siva is synonymous with the tiruvArUr tyAgarAja...the Dikshitar uses the term in this kriti "divya vItIvitankam”.

In the gaula kriti “tyAgarAja pAlayASu mAm” , as well, the names “valmIkalinga” and “vitivitankam” appear.

But it is the OTHER 2 kritis that refer to the tiruvArUr ardhanAri that are the subject of this post.

These two kritis are one each from the tyAgarAja navAvarana and the nilOtpalAmbA navAvarana.

Background

Yes that is tyAgarAja navAvarana and nilOtpalAmbA navAvarana
...….navAvarana as in nine stages , navAvarana as in greater in number, concept and meaning than mere vibhakti.

The mills of Hindu karma may grind slow but they grind exceedingly well.

After 200 years, the sanctity of the nAdayOgis worship has been rescued from the ignorant criminals led by the SSP and the corrupt conniving and pandering Dikshitar family.

The true purpose of the vAggeyakAras music as pujA has been restored.

The overarching navAvarana pujA of the Sri-vidyA upAsaka has finally been revealed in a hundred or so of the Dikshitars kritis.

It has been shown in hundreds of posts in the past 2 years on this thread, how upto 9 different deities at different major kSEtras have been worshipped by the Dikshitar with these composite Cakra-based sequential kritis.

The evidence is within the Dikshitars own words and extends also to the rAga choices made, each name of which has a unique relationship to the name of the Cakra.

Recently a series of posts (post # 795, 796, 797, 798, 799, 800, 801, 802, 803 and 804) on the unique ninth Cakra = sarva-Anandamaya Cakra kritis of 10 navAvarana sets was also presented.

No musicologist or technician vidwAn/vidUSi or corrupt academician has been needed in this discovery. (their priorities are anyway quite different from the nAdayOgi)

Indeed some of these scoundrels have even tried to obstruct the search in their pathetic defense of the criminal SSP distortions, as seen in some posts on this thread last year… Fittingly, these villains have perished in the light of truth.

Denying the abhayAmbA navAvarana and tiruttani guruguha navAvarana is the most egregious, horrific sin.

But the other deities , especially those at tiruvArUr are also important in the Dikshitars Sri-vidyA pujA …..although overshadowed by the tiruvArUr kamalAmbA set, but each hold their sacred place in the pujA.

The foolish author of the SSP, in his haste to sell the Dikshitar legacy to some zamindArs for a few shawls , reveals his lack of comprehension of the Sri-vidyA (apart from revealing his criminality in falsifying some kritis !!), when he places vibhakti (mere grammar) above the Avarana pujA.

And a legion of mindless lemmings over several generations has followed this fool and knave down this path, none of them reading the kritis or trying to understand the utterances…instead reducing the nAdayOga to notation and merely the techniques of varying air pressure.

What a mockery and what a travesty ! …

But the nAda-sampradAya CANNOT be thwarted nor avoided, as the last hundreds of posts show.

In the current post, an additional facet embedded by the Dikshitar is uncovered, which again confirms the navAvarana structure in both tyAgarAja and nilOtpalAmba navAvaranas.

the tiruvArUr tyAgarAja navAvarana and the nilOtpalAmbA navAvarana

The Dikshitars tiruvArUr tyAgarAja navAvarana was first revealed in post #572 of this thread, dated 03 Sep 2021

In addition the basis for the rAga choices as well as the Cakra mudras for each and every one of the nine kritis was given.

Shown here are the kriti starting words, rAga and Cakra name
1. tyAgarAjam bhajarE yadukula kAmboji trailOkya mOhana
2. tyAgarAjO virAjitE athAna sarva-AshA paripUraka
3. Sri tyAgarAjasya bhakto bhavAmi rudrapriya sarva-saMkShObhaNa
4. tyAgarAjAya namaste bEgada sarva-saubhAgyadAyakA
5. tyAgarAja pAlayASu mAm gaulA sarva-Artha sAdhaka
6. tyAgarAjAdanyam nA jAne darbAr sarva-rakShAkara
7. tyAgarAjEna samrakshitOham sAlaga bhairavi sarva-rOgahara
8. tyAgarAjE krtyAkrtyamarpayAmi sAranga sarva- siddhi pradAyaka
9. tyAgarAja yogavaibhavam Ananda bhairavi sarva-Anandamaya

The Dikshitars nilOtpalAmbA navAvarana was first revealed in post #568 of this thread dated 17 Aug 2021.
The unique ordering of these gaula-anta rAgas has also been discussed in previous posts, with regard to sequence in prahara, the evening to morning sequence.
,
1. nIlOtpalAmbikE nitya chAyAgauLa trailOkya mOhana
2. nIlOtpalAmbikAyai namaste kEdAragauLa sarva-AshA paripUraka
3. nIlOtpalAmbam bhajarE nAri rIti gaulA sarva-saMkShObhaNa
4. nIlOtpalAmbikAyAstava dAsOham mAyAmALavagauLa sarva-saubhAgya dAyakA
5. nIlOtpalAmbikayA nirvana kannadagaula sarva-Artha sAdhaka
6. nIlOtpalAmbikAyAm bhaktim karOmi pUrvagauLa sarva-rakShAkara
7. nIlOtpalAmbA jayati nArAyaNa gauLa sarva-rOgahara
8. nIlOtpalAmbikAyAh param gauLa sarva- siddhi pradAyaka
9. SrI nIlOtpala nAyikE ritigaula sarva-Anandamaya

The following itemized statements will be used to bring out the latest discovery.

1. The tyAgarAja and the nilOtpalAmbA are each others natural consorts at tiruvArUr.

While the kamalAmbA (the day-lotus) represents the day-time goddess, the true consort of the viti-vitanka tyAgarAja is only the night flowering goddess, namely nilOtpalAmbA !

2. The ardhanara-ardhanAri represent fully distinguishable male-female halves, indeed carrying contrasting properties, unlike the Siva-Sakti union of the ninth Cakra, where Siva and Sakti are fully united in all ways.

The dEvi is “vAma bhAga” (= left half /left side) in the ardhanAri but there is no left side or right side in the Siva-Sakti union of the sarva-Anandamaya Cakra.

The individual deities evolve from this 4th Cakra referencing the half-male/half female towards the complete union of the 9th Cakra.

Why is the 4th Cakra specifically unique to this reference ?

The answer lies in the name/structure of the 4th Cakra !

3. The 4th Cakra is also known as the “CaturdaSa trikOna” Cakra signifying the 14 triangles of this Avarana/stage/enclosure in the Sri Cakra yantra. It represents the 14 worlds that are supported/borne by both Siva and pArvati.

4. In the Sri-Cakra sequence that starts from the first Avarana, it is the 4th Cakra where the first indication of half-and-half nature appears.

Why ?

5. Because this Cakra/Avarana has 7 triangles pointing up (for the Siva) and 7 triangles pointing down (for the goddess).

6. Both the goddess and Siva are associated with encompassing the 14 worlds = all consciousness in the Sri-vidyA. This 14 world dominance appears also as ”CaturdaSa bhuvana bharanAyai” (referred to in the (what else !) 4th Cakra kAmbOji of the kamalAmbA set) or via the “CaturdaSa bhuvana” rAgamAlika. See post # 817 dated Mar. 26, 2023 for why ALL 14 rAgas of this rAgamAlika were chosen.

7. The later Cakra stages e.g. the bahirdaSa and antara-daSa do not have the significance of the universe that the 14 triangles possess. The count of daSa = 10 in those Cakras refers to different Saktis etc.

And now after laying out the above facts the 4th Cakra kritis (shown in red in the two lists above) are examined.

8. In the bEgada, “tyAgarAjAya namastE”, the line appears “vAma bhAga stitha SailajAya” identifying the ardhanAri aspect.

9. In the mAyAmAlavagaula, “nilOtpalAmbikAyAstava dAsOham”, the line appears “nilakantha ardha SaririnyAh” identifying the ardhanAri aspect.

10. By choosing uniquely the 4th Cakra kriti in each navAvarana, the Dikshitar signals not only the 14 world interpretation of the CaturdaSatrikOna concept within the Sri-vidyA, he also confirms the sanctity of each of the navAvaranas !

11. That they were further constructed with reference to each other is beyond a shred of doubt !

12. The puny vibhakti touted by the foolish SSP has absolutely no place in the far deeper pujA that evolves through the ascent of the Cakras towards the Siva-Sakti union.

Some other aspects

13. The rAga mudra for the bEgada kriti appears in the phrase “t-yAgad-hvajAya ajAya”. Indeed in certain vernacular, the word “byAgada” is a known phonetic equivalent of bEgada !

14. Notice that the rAga bEgada is used also in the 4th Cakra ganapati kriti (vallabhAnAyaka) referring to his long trunk.

15. And it is a sign of a feminine long neck in the “SrimAta Siva-vAmAnkE” bEgada itself suggestive of the ardhanAri.

16. The sweet voice “madhurAmbA” also has a bEgada for the same reason, the feminine throat controlling speech.

17. The valmikalinga tiruvArUr panCalinga kriti is in fittingly kAmbOji, noting that the 4th Cakra is often described with the words sarva-saubhAgya-dAya-kAmbOja in the other 4th Cakra dEvi navAvaranas

18. The choice of rAga mAyAmAlavagaula for the 14 world goddess is also tailored.

The mudra itself appears via “mAyAmAlavagaulAdi dESa” jananyAh, signifying the goddess as giving birth to the “worlds of Siva, brahmA and viSnu” represented by mAyApuri, mAlava and gaula dEsa = to the entirety of consciousness. What other rAga merits the goddess who is “CaturdaSa bhuvana bharana”.

Conclusion

The tyAgarAja nAvAvarana and the nilOtpalAmbA navAvarana are both complete composite pujA at tiruvArUr, along side the kamalAmbA navAvarana (and the 2 tiruvArUr ganapati navAvaranas…see post # 573 dated Sep. 8, 2021).

The Dikshitar has embedded connections between these navAvaranas, to [1] perform a complete pujA and [2] to protect his intellectual property from the conniving , ignorant SSP and clueless Dikshitar family members and generations of scoundrels bent on distorting his worship.

The nAda-upAsaka thanks the rasikas forum founders and managers for the platform to bring forward the true legacy of the Dikshitar.

satyam Eva jayatE

the 4th Cakra kriti of the tyAgarAja nAvAvarana

tyAgarAjAya namastE – rAga bEgada

L SrividyA
https://www.youtube.com/watch?v=jcwYUXzXR94

LGJ
https://www.youtube.com/watch?v=fGbFH-dRTxw

KVN
https://www.youtube.com/watch?v=n8khgo-gU3w

the 4th Cakra kriti of the nilOtpalAmbA nAvAvarana

nIlOtpalAmbikAyAstava dAsOham – rAga mAyAmalavgaula

vid. sowmya
https://www.youtube.com/watch?v=Gq68u-3479s

bhuvanESwari rAjagOpalan
https://www.youtube.com/watch?v=DVWFkFsFri4

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Diksitar (Post # 821 "bhuvanOdaya stithi laya vinOdini"-dEvi of dawn & dissolution –nilAyatAkSi & samudra manthana )

Post by nAdopAsaka »

Post # 821 "bhuvanOdaya stithi laya vinOdini" – the dEvi of dawn as well as dissolution nilAyatAkSi, samudra manthana and nAgapattinam kSEtra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

What’s in a name ?

kAyArOhana vs. kAyArOhana-ISa vs. kAyArOhana-jAya

For the tyAgarAja at nAgapattinam, nilAyatAkSi is kAyArOhana-jAya.

And Siva is therefore kAyArOhana.

But for the Dikshitar, at nAgapattinam, nilAyatAkSi is Siva-kAyArOhana.

And Siva is strictly kAyArOhana-ISa.

Why is the kriti “ambA nilAyatAkSi” in rAga nilAmbari ?

This post answers this esoteric question, along with giving the basis for the other 5 kritis , of ALL 3 vAggeyakAras, who have graced this kSEtra.

Understanding the difference in the two names given above allows comprehension of the basis for the rAga choice of nilAmbari for the kriti “ambA nilAyatAkSi”.

For the Dikshitar, it is the nilAyatAkSi who ascends to Sivas body who is called “Siva-kAyA-rOhana”

Where kAyA = body and arOhana = ascent or embrace.

And after acquiring Sivas body upon embracing him, that leaves, naturally, Sivas throat and head !

Fittingly, the Dikshitar captures this image as nilAmbari ! where the dEvi is enveloped in this blue color of the nila-kantha.

It will now be shown how EACH of the 6 kritis of the nAgapattinam , is related to the key icon of the kSEtra, namely the Ocean either through the great deluge (pralaya) or the samudra-manthana legend.

ambA nilAyatAkSi – rAga nilAmbari

This majestic kriti is worthy of repeated introspection.

Post #405 of this thread dated 27 Sep. 2020 showed all the dozen reflective elements of “ambA nilAyatAkSi”

Indeed, the “reflection” inverts the traditional lullaby rAga, where a mother sings to her child, into the call to the Mother.

As “nilAyatAkSi lOka sAkSi” she is the blue eye of the sky, witness to the exterior universe.

As “Cit-pratibimbAdhari” she is the mirror , the reflection and witness to the “Cit”, the interior universe.

As “nava yOgini Cakra vikAsini” she acquires the Siva.

But it is as “ bhuvanOdaya stithi laya vinOdini” that the nAgapattinam dEvi shines in her role as both cause of dawn and dissolution.

Why ?

Because as “bhuvana-udaya” she is the cause of the dawn of all life.

As “stithi vinOdini” she is responsible for and enjoys the sustenance of all life.

And

As “laya vinOdini” she is the reason for and revels in “laya” = dissolution of all life.

Noticeably, the word “laya” is also associated with pra-laya, the great flood.

And nAgapattinam-on-the-coast is also traditionally associated with the great flood.

But the dEvi as both creator and dissolver is the subject of another important Hindu Ocean legend, enshrined in the viSnu purAna (and also the mahAbhArata)…..i.e. the samudra-manthana (aka kSira-sAgara manthana)

samudra-manthana and nila-kantha

It has been shown above how the nila-kantha influences the Dikshitars choice of the rAga nilAmbari for the nAgapattinam dEvi.

Even to the criminal dullards who have attempted to dilute and deface the Dikshitar legacy through their ignorance and arrogance (some on these very threads !), it should be clear that it is the samudra-manthana that creates the poison leading to the nila-kantha of Siva.

Or that nAga-pattinam is an abode of the king of nAgas, (vAsuki) who is deployed as the rope of this legendary churning.

The viSnu purAna Book 1, Chap. 9 gives the story of the samudra-manthana.

Like so many (indeed ALL ?) of the ancient Hindu scriptures, “samudra-manthana” applies everywhere and at all times, not just as an abstract legend in some distant historical setting..

Action (karma) invariably has both positive and negative consequences. Balance is needed to deal with the negative, the poison.

In the legend, while amrita, pArijAta etc. are derived as good, hAlAhala/poison is emitted as bad, Siva’s sAdhana and sacrifice consumes the poison.

Notably the viSnu purAna Chapter on the samudra-manthana ends with Indra performing “Sri-lakSmi” stuti !

Why ?

Because it is this goddess “Sri” who is recognized as responsible for all consequences, positive and negative..all birth and all dissolution.

And that is why the Dikshitar calls nilAyatAkSi

“bhuvanOdaya stithi laya vinOdini”

Indeed the turmoil of the oceans/samudra-manthana legends also give the basis for the rAgas of the Dikshitars 2 Siva-kAyArohanESa kritis at nAgapattinam.

kAyArOhanESam bhajarE – rAga dEva-gAndhAram

Why the rAga dEva-gAndhAram for this coastal Siva, ask the lazy, swara-and-notation besotted fools ?

Because by consuming the poison churned up from the ocean, Siva supports (= AdhAra) and protects the dEva-gana as in …dEva-gana AdhAram.

In fact the (sUCita = inferred) rAga mudra itself appears in the kriti via the word “jagad-AdhAram” !

There are also other “mudras’ of samudra-manthana in this kriti.

samudra-manthana originates with Indra, being cursed by dUrvAsa (..because Indras elephant Airavata trampled the garland designed for the Sri dEvi).

Ultimately, Siva as nila-kantha consumes the poison, and becomes the object of Indras worship.

Indra of course is one of the 8 dikpAlakas…guardians of the 8 cardinal directions.

And this reference appears in the kriti as

dikpAlakAdi vinuta mahESwaram

Siva kAyArOhaNESAya namastE – rAga rudrapriya

rudra is the aspect of Siva associated in particular with storms and wind !

The choice of rudra-priya is therefore natural for the storm beseiged coastal shrine of nAgapattinam.

It now becomes possible to also see the basis for the rAga choices of the other 2 vAggeyakAras who have graced the nAgapattinam kSEtra.

The tyAgarAjas sAvEri to the nilAyatAkSi “karmamE balavantamAya”

This kriti begins as “ karmamE balavantamAya talli kAyArOhana jAya”

For the tyAgarAja, nilAyatAkSi is “kAyArOhana-jAya”, as noted at the start of this post.

He also says

“ vAridhi madi garvinci I vasudhaku tA rAnEnCi ninnu”

referring to the dEvi stopping the advance of the raging ocean ( = “vAridhi”) into “nAgapattinam” bhUmi in the second stanza.

Why the rAga sAvEri ?

As “bhuvanOdaya”, explained by both the Dikshitar and the viSnu purAna (as shown above), the dEvi is the reason for the dawn of all creation.

No better kriti to represent the dawn than sAveri.

The tyAgarAjas tOdi to the nilAyatAkSi “evaru teliya”

Notice that in this tOdi kriti, the reference to the pArijata flower of the samudra manthana appears as

“nirjara taru virulanu koppu ninda jutti”

Where the “ageless tree flower” is the fabled prijAta flower churned up from the kSira-sAgara manthana.

Why the rAga tOdi ?

tOdi derives from “tOdah” which of course is the driving force of the sun.

and the sun is naturally also associated with dawn.

Case closed.

And finally SyAmA SAStris pharaj kriti “nilAyatAkSi”

As already shown in the Mutthuswamy Dikshitar thread (post # 735 dated Mar. 28, 2022 and post # 500 dated Mar. 29,l 2021 ) , in the context of the Sukra kriti, pharaj is a word that derives from the Arabic faras for horse.

Sukra (= Venus) rides a horse and as a graha kriti, pharaj is natural for this planet. Unfortunately, a legion of scoundrels over several generations has attempted to abbreviate the navagraha 9 kritis to a set of 7, denying the importance of the ChAya grahas in the pujA of the Dikshitar. This heinous sin has been noted in post # 500.

But the sun also rides a 7 horse chariot (e.g. the divyatara-saptASwa-rathinE” noted in the Dikshitars saurAStra kriti).

Why the rAga pharaj ?

And it is these horses = pharas, that usher in the dawn sun which is the “bhuvanOdaya” nilAyatAkSi in the SyAmA SAStris pharaj kritis.

Again... Case closed.

Absolutely none of the rAgas for the 6 kritis at nAgapattinam are random.

Each is chosen based on the key icon of the kSEtra.

Brief asurA moment

Once again, to the dismay of the distortionists and musicologists/ vidwAns etc., the kritis of the vAggeyakAras at nAgapattinam are seen as the tools for pujA, not as tools for the “aggrandizing” of technician performers in hollow chambers varying air-pressure and congratulating each other.

nAda-sampradAya pradarSini

The ceaseless pulsing of the Ocean is the constant reminder of the Sri dEvis omni-presence, bringing flood as well as fertility.

For the nAda-upAsaka, it is the vision of the Dikshitar that illuminates the meaning of these waves.

And the wonderfully resonant gottuvAdyam brings this out as the cascade known as the rAga nilAmbari.

satyam Eva jayatE !

ambA nilAyatAkSi – rAga nilAmbari

ravikiran (gottuvAdyam)
https://www.youtube.com/watch?v=Bg3HZHI1Uf8

sikkil g
https://www.youtube.com/watch?v=C0P6BG4VEqE

kAyAROhanESam bhajarE – rAga dEva-gAndhAram

mallAdi bros.
https://www.youtube.com/watch?v=UkltTjE4XWc

kauSik R
https://www.youtube.com/watch?v=kyWQ9pYuA7Y

Siva kAyArOhaNESAya namastE – rAga rudrapriya

prEma R
https://www.youtube.com/watch?v=4FG07NC ... J2MMf8IiMg

karmamE balavantamAya - the tyAgarAjas sAvEri

manOj D
https://www.youtube.com/watch?v=N1Di0RuUWHM

evaru teliya - the tyAgarAjas tOdi

So far this kriti is itself “evaru teliya” i.e. unknown/unavailable

nilAyatAkSi - SyAmA SAStris pharaj

vijayalakSmi S
https://www.youtube.com/watch?v=GOTEa2X6BkI

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Diksitar (Post # 822 bAhulEya’s bA(h)uli-“Sri pArvati paramESwarau”– sOpAna/ladder to vEdAranyam's ardhanAri)

Post by nAdopAsaka »

Post # 822 bAhulEya’s bA(h)uli to “Sri pArvati paramESwarau” – The sOpAna /ladder built into the vEdAranyam ardhanAri kriti

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

This post deals with the rAga bAuli kriti “Sri pArvati paramESwarau” to the ardhanAri of vEdAranyam.

The details identifying how the Dikshitar embeds the icons for the ardhanAri and the vEdAranyam kSEtra are given in post dated Jun 12, 2023 on the “Kritis on ardhanAriSwara” thread and linked here ….

https://www.rasikas.org/forums/viewtopi ... 61#p379461

The purpose of this post is to point out an intriguing construction feature, built like a ladder into this kriti

The word sOpAna implies ladder or steps. The word sOpAna is used ONLY in this bAuli kriti.

As such a ladder always represents “BALANCE” and therefore it is an excellent symbol of the balance of the ardhanara-ardhanAri.

Indeed if a ladder is not stable/balanced, it cannot be used to ascend.

As shown in a dozen examples in the ardhanAriSwara stOtra of Adi Sankara, the ardhanara-ardhanAri is exactly this emblem of balance.

The sOpAna of the kriti consists of seven steps.

Every stanza carries a numerical reference, stepping in order from # 1 to # 7.

================================
Sri pArvati paramESwarau ONE (I worship the 1 deity) vandE
--------------------------------------------------------
cid bimbau TWO (who consists of 2 reflected halves) lilA-vigrahau mamAbhiSta siddhayE
================================
ApAda -mastaka -alankArau AdimadhyAnta-rahitAkArau THREE ( who is beyond the 3 epochs of beginning , middle or end) the ardhanAri who is of infinite form
===============================
sOpAna-mArga FOUR (4 ASramas in the sOpAna ladder/steps of life ) mukhyAdhArau the ardhanAri who is the ladder and basis for the 4 ASramas and the 4 vEdas

sukhapradau gandharasAdhArau FIVE (5 panCa-tanmAtra, sparSa, rUpa, gandha, rasa, Sabda ) the deity who provides bliss and the 5 subtle essences
=================================
lOpAmudrESArCita CaraNau lObha-mOhAdi-vAraNa-karaNau SIX (6 Sadripu the 6 evils of kAma. krOdha, lObha, mOha, mada, matsarya) the deity who wards off the 6 deadly evils
=================================
pApa apaha- panditatara guru-guha karaNau bhayaharaNau bhavataraNau SEVEN (7 oceans /worlds - the samsAra-sAgara that has to be crossed) the deity who permits crossing the 7 worlds/oceans
=================================

The essence of the kriti is this sOpAna/ladder of 7 steps summarized as below

1. The Dikshitar worships that 1 deity (of vEdAranyam)
2. who consists of 2 reflected halves , the ardhanAri
3. who is of infinite form beyond the 3 epochs of beginning , middle & end
4. who is the ladder and basis for the 4 ASramas and the 4 vEdas
5. who provides bliss with the 5 subtle essences
6. who wards off the 6 deadly evils
and in doing so
7. who permits crossing the trials of the 7 worlds/oceans

Several descriptions of the ardhanAri found in the sOpAna structure shown above appear in the skanda purAna nagara khanda , tirtha mahatmya Chapt 254, stanzas 94-102

For example
Stanza 98 - the ardhanAri is infinite

ananta vaibhavO anantOnantanantadhAmsyanantakah ananta sarvabhangAya


which corresponds to the third rung of the ladder

or
Stanza 104 - where the oceans/trials of the seven worlds are crossed with the deity as the boat/pOtam


tad divya rupam atulam bhuvi ye manuSyA, samsArasAgara samuttaranaika pOtam
which corresponds to the seventh rung.

Summary

“sOpAna-mArga” is the key word in the bAuli kriti that gives the emblem of balance central to a ladder and therefore central to the ardhanAri concept.

In the “sOpAna panCaka” of the Adi Sankara, the phrase “vEdo nityam adhiyatam” is used, indicating that the 4 ASramas of the sOpAna ladder/steps/rungs are always to be accompanied by the study of the vEdas.

Through the linkage of the word ASrama (as hermitage/refuge) found in aranya (forest), the vEdAranyam kSEtra acquires its status as the abode of the vEdAs.

Not only does the Dikshitar refer to the sOpAna marga, he has also built the kriti to produce a sOpAna by itself, representing a sequence (from 1 to 7 ) of steps that enumerate the evolution of the pujA

bAhulEyas bAhuli to his inseparable parents (like kAlidasas SlOka) teaches the inseparable union of Word and Meaning and nAda.

The nAda-upAsaka revels in the ascent of the Dikshitars wondrous sOpAna song-ladder.

satyam Eva jayatE

Sri pArvati paramESwarau - rAga bauli

mAvelikkara subramaniam
https://www.youtube.com/watch?v=wn_TUnEyoew

ranjani gAyatri
https://www.youtube.com/watch?v=dYWiiqSystk

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

According to the story, Siva-Parvathy, gave a vision of their divine wedding in Himalayas ,to the sage at Vedaranyam.
What is special in their being clad in their best garments?
Every wedding - couple are in their full splendour.
Where is ardhanari here? just because they stand side by side?
The word has a definite meaning - the icon-should show half-siva and half-parvathi.
-------
The four aasrama's - presumably prescribed for dwijas- more particularly to brahmnins , is meant for males. It is ok upto vaanaprastham.\
but what happens to the wife , left all alone in the forest hermitage ,when the husband takes to sanyaasam? who will support her?
Is it ethical ? i presume that he takes to sanyaasam only after the demise of wife.
I think, Thyagaraja swami took to sanyaas only after his second wife passed away.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (# 824 sOpAna mArga mukhyAdhArau- the vEdAranyam ardhanAri)

Post by nAdopAsaka »

sOpAna mArga mukhyAdhArau

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

I will try once more to make the facts sink in.....after that you are on your own..

One needs to pay attention to the specific words the Dikshitar is using, and the reasons "Why" he uses these particular words.

For those who attempt to deny the value of words in the kritis of the vAggeyakAras, it becomes much harder to see the basis for the choices.

Note that the exact vEdAranya kSEtra mudra itself is suCita (inferred) ....and is ONLY possible from the sOpAna-ASrama /aranya connection noted in my previous posts. (lOpAmudraESa = agastya worships deities at many other kSEtras so is not enough).

In contrast, idols in most kSEtras are always fully decorated so a wedding ceremony CANNOT be unambiguously inferred from the "alankAra" reference.

Indeed the ardhanAri is ALWAYS fully decorated to bring out the many contrasts of male and female. Notice that the Dikshitar also uses the "alankAra" word in the "ardhanAriSwaram" kriti (of tiruCengOde).

The ardhanAri mudra in the bauli rAga kriti is also delivered as suCita (inferred) with the words carefully chosen...not surprisingly the kSEtra icon and ardhanAri icon are also linked via the sOpAna construct.

As explained more than once, there are multiple icons for this ardhanAri in the Dikshitar kriti.

1. The name “Sri pArvati paramESwarau” at vEdAranyam refers to the paramESwara who is conjoined/blended-into-one (samprkta as noted by kAlidAsa) with pArvAti.

They are NOT standing side by side, they are fully conjoined, ALSO NOTED by the tEvAram poets at vEdAranyam/tirumaraikAdu as the ardhanAri (umA pAkam etc). of this kSEtra.

The tEvAram poets descriptions are unquestionably also part of the kSEtra lore.

2. The usage of the word for “mirror” in “Cid bimba” gives pArvati and paramESwara as the 2 “halves” of this conjoined deity reflected in each other.

3. The Dikshitar calls this conjoined deity, the ardhanAri of vEdAranyam as “sOpAna mArga mukhyAdhArau”.

the sOpAna = ladder emphasizes the balance provided by the 2 halves of the ardhanAri.

Without “balance” , a ladder cannot be used.

To the poet/nAdayOgis, Word and Meaning are inseparable just like pArvati and paramESwara are inseparable, as the two halves of the (single) ardhanAri at vEdAranyam.

Like scores of other kritis of the Dikshitar, the simple-minded word-for-word translations given in the last 150 years lack a complete understanding of the Dikshitars motives and imagery, the Dikshitars SrividyA upAsana, the Dikshitars own sources of information (including the purAnas, and Adi Sankara etc writings and tEvAram poets and kAlidAsa/bAna etc) and most likely because the language/idiom itself has eluded them.

There is no question the SSP has contributed to this cess-pool of ignorance, by reducing the kritis to notation and sound, with no regard for the words.

This is also the reason why the Dikshitars rAga choices (which are abundantly NOT random) or his extensive , detailed navAvarana pujA's at ~ 10 kSEtras have not been comprehended.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (Post # 825 kAlidAsa and the Dikshitar)

Post by nAdopAsaka »

Post # 825 kAlidAsa and the Dikshitar

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

In addition to everything noted in previous post # 824 , it can be seen that the specific names of the deities of vEdAranyam are vEdAranyESwara and vEdanAyaki.

But the Dikshitar DELIBERATELY discards these names in the bauli rAga kriti.

Instead he uses the kAlidAsa SlOka names…."Sri pArvati paramESwarau".

And of course the kAlidAsa SlOka is to "An inseparable" ardhanAri.

Case closed.

kAlidAsa’s Syamala dandakam, and the Dikshitars 5 akhanda kAvEri kritis..at 3 linked kSEtras/shrines

Another connection between kAlidAsa, agastya and the Dikshitar was also noted in Post 718 dated Jan. 9, 2022 linked here

https://www.rasikas.org/forums/viewtopi ... 08#p374608

In this triad of kSEtras the pujA is conducted in a sequence in one day, and culminates in the evening with the agastya muni as the bee entering the tiru-ingO-malai sanctum.

The relationship of kAlidAsa’s “SyAmala dandakam” to this triplet was described in detail in the linked post.

Appropriately, the rAga vasanta (for the spring time bee in the mahA bilva vana forests) was chosen.

The kriti is “marakata lingam CintayEham mAnikyavalyAmbA samEtam”

Not surprisingly, at the tiru-ingOmalai, along with the lingam , an ardhanAri (from the tEvAram) is also known.

The words the Dikshitar uses are "mAnikyavalyAmbA-samEtam”…where samEtam is the synonym for the conjoined deity (just as samprkta is used by kAlidAsa)

Here the green of the marakata lingam is balanced by the red (ruby) of the mAnikya-valyAmbA...balance being the key to the ardhanAri

However much anyone tries, the fidelity and the accuracy and unambiguity of the vAggeyakAras words and pujA cannot be denied or distorted.

In the nAda sampradAya pradarSini, the nAdayOgis kritis are shining examples of Sruti = truth.

satyam Eva jayatE

“marakata lingam CintayEham” – rAga vasanta

rAji gOpalakrsnan
https://www.youtube.com/watch?v=QaREC4ieR_A

nAdopAsaka
Posts: 878
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Diksitar (# 826 pArvatI-patim –Why & How this kriti is in SrikAlahasti kSEtra !-hidden mudras in the other hamsadhwani)

Post by nAdopAsaka »

Post # 826 pArvatI-patim pranaumi – Why & How this kriti is in the SrikAlahasti kSEtra ! - The hidden mudras of the Dikshitars other hamsadhwani kriti

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The other hamsadhwani kriti of the Dikshitar , “pArvatI patim pranaumi satatam” does not get much attention compared to that “elephant (head) in the room ”.

Naturally “vAtApi ganapatim” steals all the thunder with its many esoteric underpinnings, discussed previously in this thread in post #532 dated 06 Jun 2021 and linked here
https://www.rasikas.org/forums/viewtopi ... 53#p371753

But “pArvatIpatim pranaumi satatam” which has only about 15 words and no anu-pallavi, has its own interesting features embedded by the Dikshitar.

One can ask :

Is there any rAga mudra in “pArvati patim” ?

Is there any kSEtra mudra in “pArvati patim” ?

(richly deserved) asurA moment

ALL the textbooks (written by plodding musicologists and notation-mongers with no imagination) ignore these questions, not just for this kriti, but universally.

In fact some of them actually actively desist from even asking such questions, and try to prevent such questions being asked (as seen on this thread) ….

Here the woeful lack of imagination is replaced by a much more sinister and ominous attempt to deliberately distort , create ignorance and misattribute the kritis in total disrespect for the nAdayOgis pujA.

Fortunately the rasikas forum was created where the nAda-upAsaka can rescue the nAdayOgis deserved legacy.

“Cometh the hour, cometh the man”.

or as we say

yadA yadA hi dharmasya glAnir bhavati bhArata
abhyutthAnam adharmasya tadAtmAnam srjAmyaham
paritrAnAya sadhunAm vinASAyaCa duSkritAm
dharma sansthApanArthAya sambhavAmi yugE yugE

Truth always asserts itself, especially when unchecked untruth becomes unbearable.

For the nAda-upAsaka EVERYTHING the Dikshitar does (and does not do) is of immense interest.

Both the questions above will now be answered !

Indeed answering the kSEtra mudra question leads to the rAga mudra as will be shown.

The kSEtra mudra in “pArvati patim”

The phrase “bhadra prada kailAsa virAjam” is the key.

prada = dakSina ! (as in “bestow”)

Indeed the “right” hand (dakSina) is usually also synonymous with the act of granting/bestowing of the boon as in “vara prada"

Immediately “dakSina kailAsa” = the SrikAlahasti kSEtra is identified !

Post # 743 on “the vAyu lingam = prAna-maya kOSa anila and the huSAni/husEni linga kriti dated 17 Apr 2022, discusses this vAyu linga kSEtra.

https://www.rasikas.org/forums/viewtopi ... 22#p375822

Which instantly brings us to the rAga mudra !!

The rAga mudra for vAyu in the pArvati patim kriti

When the Dikshitar uses the word “prana” in pArvati patim pranaumi satatam, it is exactly this vAyu (breath control) he is indicating.

prana and dakSina kailAsa in the same kriti are unquestionably about the vAyu linga kSEtra.

the supporting evidence from the tEvAram

The points above DO NOT need further proof.

However it is useful to note that in the tEvAram some rather pointed icons appear.

In fact No one in their right mind can argue that the tEvAram (or any other relevant classical poetic etc. literature) does not form part of the sthala purAna for any kSEtra.

With kAlatthi = SrikAlahasti the tEvAram 6th tirumurai gives the following (the relevant words of the kriti are shown in red )

5th stanza
kanaththakaththaan kayilaayath thussi yu'l'laan

Translation:
He dwells at the crest of Kailas; --> prada (dakSina) kailAsa virAjam
kaa'laththi yaanavanen ka'n'nu 'laanae. (the deity of kAlahasti)

7th stanza

thiripurangka'l theeyidda theeyaa dikaa'n
translation
He is the Dancer in the fire Who burnt the triple citadels; -> tripuraharam

8th stanza
malaimaka'lthan ma'naa'lankaa'n makizh:nthu munnaa'l
kallaalin keezhiru:ntha kaapaa likaa'n
kaa'laththi yaanavanen ka'n'nu 'laanae.

translation
He is the Consort of the Daughter of the Mountain; ---> pArvati -patim
He is happily seated under the Banyan tree -> banyan like the mandAra of ASritajana mandAram

So far we have answered the How ...

And now we come to the Why !

Why the concealed mudras ?

Because SrikAlahasti itself is a inferred kSEtra !!

Why ?

Because the presence of the vAyu = breath = life breath = prAna is revealed only by the flickering of a lamp…!

Finally…...Why the rAga hamsa-dhwani for the prana/vAyu element ?

At tiruvArUr, the hamsadhwani kriti is the ganapati launching the ascent through the Sri Cakra, to reach his own “so ham”

Note that vAtApi ganapatim is the starting first Cakra kriti for one of the 2 navAvaranas to the tiruvArUr ganapati (the other first Sri-Cakra kriti is the rAga Sri - Sri mulAdhAra Cakra vinAyaka)

Note also the post on the tyAgarAja thread regarding garuda-dhwani vs hamsa-dhwani dated Jun 19, 2023, relating to the mahAvAkya in these dhwanis !

Post #573 dated 08 Sep 2021, gives ALL the 18 = tiruvArUr aSta daSa ganapati kritis and is linked here

https://www.rasikas.org/forums/viewtopi ... 33#p373033

Just like the” so ham” mantra is visualized as the “pranava AkAra” in vAtApi ganapatim it is seen as the vAyu/breath control of the hamsa = "so ham" mantra at Sri kAlahasti.

Unerringly once again, the wondrous message-in-a-bottle cast into the river of truth that is the nAda-sampradAya finds its mark.

Let a thousand flowers bloom....my vAggeyakAra has come home to me..


pArvati patim pranaumi satatam, ASritajanamandAram SaSidharam
parvatarAjanuta padAmbujam bhadra prada kailAsavirAjam
garvita tripurAdiharacaturam guruguhavandita SivaSaNkaram


rAga hamsadhwani

triCur rAmaCandran
https://www.youtube.com/watch?v=mGatQ1tNrcA

ratnaprabha
https://www.youtube.com/watch?v=xwyN9E-Ww9Y

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Sundara kaandam dhyaana slokam, author unknown ,
Vaidehi saitham...
Gives the correct meaning.
See the lyrics , image and immortal rendition by smt dkp
At
sites.google.com dkpattammalsongs

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (# 828 sitOpEta sitAsamEta etc. )

Post by nAdopAsaka »

Post # 828 sitOpEta sitAsamEta

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Notice in particular the usage “vai-dEhi sahita” ( you HAVE to pay attention to the words ! )

In this case too “sahita” is same as “samEta” as in inseparable.

Because vai-dEhi = the (sitA) goddess derives from vi-dEha, as in beyond body/without body.

Her form/body is inseparable/absorbed into the lord rAma as impled also by “samEta”.

In this regard the usage “sitOpEta” = “sita-upEta” as in “rAma who is endowed with sita” is also similar.. see for e.g. gunOpEta.

“sitOpEta” appears in the Dikshitars nArAyana gaula kriti. Post #737 of this thread dated , 10 Apr 2022 gives the details of this kriti and its relation to rAma navami and the waxing moon tilaka.

Sri rAmam ravikulAbdhi sOmam – rAga nArAyana-gaula

Vid. sowmya
https://www.youtube.com/watch?v=5kXL0pfFEdQ

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

No.
Videha was famous janapadha. The king was janaka. Sita was his foster daughter. Hence she is known as Vaidehi.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

So what ?

janaka/sitA/vai-dEhi are from vi-dEha (the region where janaka is king)

mithi/sitA/maithili are from mithi-la (the capital of vi-dEha,)

Both words vi-dEha and mithi-la carry the extra-body or extra-corporal meaning and apply to sitA (maithili) and also janaka (mithi) who are associated with that region. (Note mithi derives mathana = churning)

vai-dEhi is especially relevant for sitA as she transcends even the agni-parikSa.

The context of "vai-dEhi sahita" is the inseparability of sitA from rAma

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

# 831 "rAmaCandrAd anyam na jAnE"- The Dikshitars knows NOTHING ELSE but the rAmaCandra who is “Sri hari hara Atma rupa”

Post by nAdopAsaka »

Post # 831 rAmaCandrAd anyam na jAnE ham - The Dikshitars knows NOTHING ELSE but the rAmaCandra who is “Sri hari hara Atma rupa” – all three deities in one

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The danyAsi kriti to rAmaCandra by the Dikshitar “rAmacandrAd anyam na jAnE ham” carries the interesting description of rAma as simultaneously “SrI hari hara Atma rUpiNO

200 years before Twitter, it takes the Dikshitar less than 20 words to destroy meaningless and petty divisions.

It mirrors the “dwaitamu sukhamA advaitamu sukhamA” question resolved equally elegantly by the tyAgarAja discussed on post dated Apr. 25, 2022

https://www.rasikas.org/forums/viewtopi ... 55#p375955

The short danyAsi kriti is shown here so that the full impact of its words can be seen at once.

P: rAmaCandrAdanyam na jAnE ham , SrI hari hara Atma rUpinO
C: kAmajanakAt kathina subAhu mArICa khara dUSanAdi mada hara nAntaka rUpinO
samasta surasannuta SaraCApa pAninO sarasa guruguha sangIta tatva bOdhinO


1. That rAma is hari = viSnu rupam is asserted further by the descriptor “kAma-janakAt”.

Notably the “Sara CApa pAninO” can be seen as related to this flower-arrow bearing Cupid image.

2. That rAma is hara = Siva rupam is asserted by the “hara-nAntaka rupa”..

Notice that 4 rAkSaSAs are separately mentioned, emphasizing the “destroyer” Siva in contrast to the love-god creator viSnu.

And finally

Can the nAdayOgi ignore his musical preceptor ?..

No !

3. That rAma is of dEvi = Sri rupam is asserted by the descriptor “sangita tatva bOdhinO”.

The goddess is the promulgator of all music.

Where is the rAga mudra embedded ?

The rAga mudra for this “danyAsi” is easily seen embedded in the word “rAmacAndrA- danyam – na jAnE ham

Why the rAga dan-yAsi ?

Because it combines the “dhana” of viSnu/lakSmi with the san-yAsi that is Siva

dhana + (san) yAsi = danyAsi.

And that is the alloy of the 3 deities that the Dikshitar sees and worships in this united rAmacAndra kriti.

It bears repeating !!

rAmacAndrad (anyam na jAnE ham) I know NOTHING ELSE but this rAmaCandra who is “Sri hari hara Atma”

And once again bells are ringing and flowers are blooming as the nAdayOgis message is received.

rAmacAndrad anyam na jAne ham – rAga danyAsi

rAji G
https://www.youtube.com/watch?v=lsfDB7aOFMc

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Dikshitar (Post # 832 The “panCa-mukhi” arrow/message in the panCa bhuta elements of the “gOvindarAjam" mukhAri)

Post by nAdopAsaka »

Post # 832 The “panCa-mukhi” arrow/message in the panCa bhuta elements of the “gOvindarAjam upAsmahE” mukhAri kriti at Cidambaram

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

At Cidambaram, the dancing Siva/natarAja is the backdrop to the Dikshitars examination of the ethereal AkASa bhuta rAga kEdAra kriti.

But the Dikshitar does NOT restrict the “elemental” pujA to the Cidambaram Siva.

In fact ALL five elements are noted simultaneously in the “gOvindarAjam upAsmahE” mukhAri kriti of the Cidambaram kSEtra.

How ?

The kriti is reproduced with the relevant words/mudras in red.

P: gOvindarAjamupAsmahE nityam SrI guruguhavinuta cid AkAsa grhE
A: dEvarAjAdipUjita divyagAtram dInArtti bhanjana nipunatara kSEtram dEvakI vasudEva putram dEva kanaka sabhESa mitram dESikanuta ramA kaLatram
C: nRgarAjasya kRkalAsa janmApaham nRpatim rukmiNI satyabhAmAbja madhulOlam bhagavantam bhaktakalpaka dharanI ruham bhadrapradOdyukta pANi sarOruham uraga shayanam anghri sarasIruham Anana jala ruham naga dharam gOpikAmOham nata bhAgavatAdi samUham khaga rAja turagArOham karuna amrta rasa pravAham


1. cid AkASa grhE – delivers also the kSEtra mudra or cid-ambara and is the ether/sky etc. element

2. bhAma is synonym for the Sun, = aruna, (e.g. arunACala nAtham, the agni bhuta linga kriti)

3. dharani of course is prthvi

4. jala is the Apa or water element.

5. Most interestingly is the usage of the “garuda” = khaga rAja turaga ArOham” for the vAyu element.

Here the relationship is established by the legend/saga of the mEru mountain protected by the mythical bird (i.e. garuda) from wind = vAyu.

The panCa-bhuta pujA of the Dikshitar appears at many kSEtras.

Post #751 dated May 14, 2022 establishes how the Dikshitars Srirangam panCa-ratna set associates one element each with one kriti of that set of 5.

And post # 720 dated 27 Jan 2022, shows how the one kriti to the dandAyudhapAni/skanda of palani embeds all the 5 elements.

At Cidambaram (which is the AkAsA bhuta linga kSEtra) the Dikshitar pujA of all 5 elements to the gOvindarAja is notable.

Clearly the vAggeyakAra is aware of the proximity of the shrines at Cidambaram (he refers to the kanaka sabhESa mitram for e.g.), regardless of the individual vigraha at each location.

panCamukha – the primordial message/messenger and the rAga choice and the rAga mudra for “gOvindarAjam upAsmahE”

mukhAri for the hari = gOvinda is natural.

But it is the use of the 5 elements (the panCa ) that conceals the rAga mudra.

Why ?

Because the panCamukha is the prototypical “message”, the 5 pronged arrow (associated with AnjanEya as the rAma-duta, the “messenger”).

At Cidambaram, the panCa bhuta pujA of the Dikshitar to the gOvindarAja, is the message of hari = the panCamukha of hari .

No explicit rAga mudra is needed and therefore none is given.

The kriti/words and the rAga convey the complete “message”.

The nAda-upAsaka rejoices in the gifts of the vAggeyakAras.

gOvindarAjam upAsmahE – rAga mukhAri

veena rEvati S
https://www.youtube.com/watch?v=mgORFIVWsUo

lakSminArayan
https://www.youtube.com/watch?v=KoWSqQB-1fg

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Watch "Muthuswami Dikshithar 265th Birthday special - Shri Mathrubhootham - Kanada - T Brinda & T Muktha" on YouTube
..
https://youtu.be/IJX02GgfUSc

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Post # 833 hari & nara-hari =2 viSnu avatAras , 2 hamiras =2 princes (arjuna & prahlAda) & the 2 “parimala ranga" kritis

Post by nAdopAsaka »

Post # 833 hari & nara-hari = 2 viSnu avatAras , 2 hamiras = 2 princes (arjuna & prahlAda) & the 2 “parimala ranganAtham” hamira-kalyAni kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

To make clear what this post will reveal it is useful to note that the word “hamira” is the arabic/dESya word for prince (also amira) and has been discussed in previous posts

see Post # 549 dated 20 Jun 2021 on the Mutthuswamy Dikshithar thread
https://www.rasikas.org/forums/viewtopi ... 75#p371975

and in Post dated 22 Jun 2022 on the thyagarAja thread
https://www.rasikas.org/forums/viewtopi ... 99#p376699

hari and nara-hari – 2 closely related avatArs of viSnu (i.e krSna and narasimha)

There is a close relationship between the hari avatAr ( a name commonly attributed to krSna) and the nara-hari avatAr (which is the “un-natural” man-lion avatAr = narasimha)

No less an authority than the Gita stanza (10.30) states that the lord krSna (aka mOhana) describes himself as

prahlAdaS Casmi daityAnAm , mrgAnAm Ca mrgEndro ham

translation
Of the daityas I am prahlAda, of the beasts I am the lion.

At SOlingur/ghatikACalESwaram, the Dikshitar makes the connection by picking rAga mOhana for the “narasimha Agaccha” kriti.

But at tiru-induluri he produces TWO SEPARATE KRITIS celebrating these particular two avatAras of viSnu.  

The 2 kritis have
1. Same rAga/tAla, i.e. hamir kalyAni and rUpaka,
2. Same pallavi, exactly the same words which deliver also the rAga mudra via "ham vira"
3. One kriti is a full-scale large one with anu-pallavi and Caranam plus madhyama-kAla portions. The other , much shorter kriti has no anu=pallavi and features a gOpuccha , collapsing “cows tail” pattern.
4. Both kritis cite “hari” and “nara-hari”
5. Both kritis refer to the moon (since the kSEtra is connected to the legend of the CandraSApa vimOcAna, relieving the curse on the moon)
6. Both kritis refer to the legend of the retrieving of the vEdas by the matsya avatAr, associated with the fragrance (parimala)

Although the matsya avatAr is central to the fragrance of the “parimala ranganAtha”, the 2 avatArs of viSnu that are relevant to the 2 kritis are specifically hari = krSna and nara-hari = narasimha.

Why ? How ?

Read on to rejoice or weep, depending on who you are.

Both kritis are reproduced here so that the revelations of this post are inescapable (and beyond any distortions from the SSP, the corrupt Dikshitar family/notation-mongers, and any other proponents of narrow-minded sectarian agendas)

The bigger kriti (to the krSna avatAr)

pallavi
parimala ranga nAtham bhajE-aham vIra nutam
paripAlita bhaktam pundarIka vallI nAtham
anupallavi
harim ambarIsha SItAmSu vEdAdi pUjitam
mura haraM bhaya haram nara hariM dhRta girim
(madhyama kAla sAhityam)
sura nara muni jana muditam
pura hara guru guha viditam
Caranam
sugandha vipinAntaranga Sayanam ravi SaSi nayanam
Suka SaunakAdi hRtsadanam
sarasija vadanam khaga rAja turangam kamanIya SubhAngam
kanakAmbara kaustubha maNi dharam kambu kandharam
(madhyama kAla sAhityam)
gagana sadrSam abja karam
gaja rAja kSEma-karam
naga pati sutA sOdaram nara varada dAmOdaram


The shorter kriti (to the narasimha avatAr)
pallavi
parimala ranga nAtham bhajE-aham vIra nutam
paripAlita bhaktam pundarIka vallI nAtham
samaSti caranam
harim
aprAkrta-Akrtim
matsya-Adi daSa-Akrtim, antaranga Sayanam
abja nayanam , nArAyanam
guru guha viditam satatam guni jana muditam satatam
parama-ISvaram ramA-ISvaram mE-ISvaram Isvaram


The “moon” mudras of the tiru-induluri-(CandraSApavimOCana) kSEtra.
The moon reference appears via the words “SitAmSu” in the larger kriti and "abja" in the shorter kriti.

The fragrance mudras of the tiru-induluri kSEtra
Naturally the word “parimala” (which means fragrance) appears in both kritis.
Additionally “sugandha vipina” in the larger kriti gives also the kSEtra mudra.

Why the rAga is hamir-kalyAni for BOTH kritis ?

And now we come to the crux of the post.

Once again, the Dikshitar uses the rAga word meaning to influence his choice of rAga.

hamira – is a dESya word, just as hamira-kalyAn is a dESya rAga.

The word hamira ( or amira) means prince.

And without question the two princes , are arjuna and prahlAda, each the beneficiary of an avatAr (hence kalyAn)

arjuna and the krSna avatAr of the larger kriti
As prince of the pAndavas, arjuna is the recipient of the Gita's instruction from krSna.
This is why the specific words “nara varada dAmodaram” appear in this kriti.

And krSna belongs to the LUNAR dynasty , so the relationship with the "indu" kSEtra is affirmed.

prahlAda and the narasimha avatAr of the shorter kriti
As prince of the daityas (his father being the “vivAdi” dissonant King hiranyakAShipa out to kill his own “child”) , prahlAda beseeches “nArAyana” with the nArAyana mantra.

Naturally the word “nArAyanam” appears i the shorter kriti.

But it is the usage ‘aprAkrita Akriti”, the unnatural form, that confirms the “man-lion” avatAr = narasimha.

Why did the Dikshitar create two kritis with the same rAga and same pallavi ?

Because he is emphasizing the close relationship of the hari and nara-hari avatArs (noted also in the Gita 10.30)
AND
Because he is emphasizing the unique status of both arjuna and prahlAda as PRINCES = hamira.

And if any fool (or worse, a criminal) has any other thoughts, the Dikshitar gives his third hamir-kalyAni to YET ANOTHER prince, the “kUmAra” of “purahara nandana” !

Indeed , not far from tiru-induluri (the “moon” kSEtra) , in the mAyilAduturai region, he also celebrates the
"moon” with ..what else a nighttime aSAvEri to this third prince in “kUmAraswAminam”.

Case closed.

Summary
There is ABSOLUTELY no possibility to cast aspersions on the authencity of the two “parimala ranganAtha” kritis of the Dikshitar.

The (crooked) SSP or any other corrupt Dikshitar family/musicologist does not have the imagination to bring the kSEtra and pujA together, at tiru-induluri and also shown in hundreds of the Dikshitars kritis.

The rAga choice itself is the identity protecting “mudra” that preserves the sanctity of the nAdayOgis worship, from grasping, criminal and ignorant distortionists.

The nAda-upAsaka thanks all rasikas forum founders and managers for the platform to present the essential truth of the Dikshitars musical legacy.

satyam Eva jayatE

The arjuna/krSna avatAr kriti – rAga hamir-kalyAni
parimaLa ranga nAthaM bhajE-ahaM vIra nutaM
paripAlita bhaktaM puNDarIka vallI nAtham anupallavi
hariM ambarIsha SItAMSu vEdAdi pUjitaM

KNRS
https://www.youtube.com/watch?v=DrJ4Fp98d88

The prahlAda/narasimha avatAr kriti – rAga hamir kalyAni
parimaLa ranga nAthaM bhajE-ahaM vIra nutaM
paripAlita bhaktaM puNDarIka vallI nAtham
hariM aprAkRta-AkRtiM

prema r
https://www.youtube.com/watch?v=kop6StqzXsk

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Post # 834 Why & How “purahara nandana” in rAga hamira-kalyAni is to the “prince” = kumAra-swAmy of vaithiSwaran kOvil

Post by nAdopAsaka »

Post # 834 Why & How “purahara nandana” in rAga hamira-kalyAni is to the “prince” = kumAra-swAmy of vaithiSwaran kOvil

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

This post is a natural follow-up to the previous post # 833 , completing the basis/description of all 3 hamira-kalyAnis kritis of the Dikshitar.

Background
vaithiSwaran kOvil = vaidyanAtha kSEtra has already been shown to be the kSEtra for the “bAlAmbikA” dEvi’s FULL navAvarana.

This vaithiSwaran kOvil dEvi navAvarana was first signaled (AFTER 200 years of denial and ignorance by the SSP and ALL other corrupt vidwAns/viduSis) in post # 568 on this thread dated 17 Aug 2021.

Full details including rAga choice basis for ALL 9 kritis were revealed in post #804 dated 19 Dec 2022 of this thread..linked here

https://www.rasikas.org/forums/viewtopi ... 83#p378283

Old duffers and young duffers and all other not-so-old duffers should note…ALL the rAga choices emanate logically from their meaning as “words” and the relationship of these words to various aspects of the scripture e.g. the lalitOpAkhyAna (which is key to the bAlAmbika = bAla paramESwari panCa-daSAkSari, the child version of the lalitA dEvi)

But the vaidyanAtha kSEtra has a deeper essence inherent to its very name – it is the ocean of compassion for the sick and diseased.

The siddha-amrita tirtham of the vaidyanAtha kSEtra

The tirtha of this kSEtra is known as siddha-amrita-tirtham, where a dip in this water is part of the curative legend of the temple.

Curing of disease is merely another sign of compassion, expressed by words such as dayA and karunA.

The Adi Sankaras vaidyanAtha aStakam at the vaidyanAtha kSEtra

No less an authority than the Adi Sankara, makes the reference to the dayA = compassion of the Sri vaidyanAtha kSEtra , in the VERY FIRST stanza of his vaidyanAtha aStakam.

Sri rAma soumitri jatAyu vEda, SadAnana Aditya kuja arCitAya,
Sri nilakanthAya dayA mayAya, Sri vaidyanAthAya nama SivAya.


Further, in his athAna rAga kriti “Sri vaidyanAtham bhajAmi” the Dikshitar identifies this exact "dayA" icon with the mudra-phrase “dhavalita vaidyanAtha kSEtram dayA sudhA sAgaram

The kumAraswAmi of vaithiSwaran kOvil is also a healer

In the Dikshitars asAvEri kriti to the kumAraswAmi of vaidyanAtha kSEtra “kumAraswAminam guruguham” the phrase appears “Artti bhanjanam” signifiying the skanda = kumAra also as destroyer of disease = Artti.

In SyAmA SAStris bEgada kriti "sAmi ninnE nammiti” this same “muddukumAra’ of “vaidyESa” is addressed with the words ‘nAmida dayA juCi” and the name “nikhila santApa harana

Which brings us to the “purahara nandana” hamira-kalyAni.

The rAga itself is the kSEtra mudra

As noted earlier, hamira is prince, so the kSEtra mudra for kumAra = kumAraswAmi is being delivered by the rAga choice !

But the Dikshitar is aware of the unthinking, unimaginative duffers (old and young), itching with their every stinking breath to erode his legacy, with their contempt for his pujA and his ideology.

So he gives additional mudras of the kSEtra in the short kriti.
pallavi
purahara nandana ripukula bhanjana
Sikhindra vAhana mahEndra pAlana

samaSti Caranam
karunAmrita rasa sAgara
tarunAmrita dhara SEkara-puravairi bAla suravairi kAla
guruguha sarasija kara skanda lila


The camphor = kar-pura mudra
the appearance of the word kar-pura , embedded as shown, signifing the karpuram = camphor used in the specific pujA of the skanda deity (distinct from the bAlAmbikA or Sri vaidyanAtha) of this kSEtra.

ps. Just about all music texts INCORRECTLY give the phrase as "suravairi kAla puravairi bAla". There is no question that after describing the white crescent moon on the forehead, (tarunAmrta dhara SEkara) the poet ONLY sees the white camphor (karpura) in the sequence of the pujA.

How do we know this with total certainty ?

Because In the anupallavi gaula portion of the majestic "Sri viSwanAtham" rAgamAlika, the Dikshitar says of different kinds of "white" (milk etc)

kSIra-kunda-indu-karpurAdi-vijaya-bhAsita-uddhULita-gaulAngam

Notice how indu = moon is followed by karpura = camphor

The tirtha mudra for the “siddha-amrita” tirtha of vaithiSwaran kOvil

karunA amrita rasa sAgaram – the ocean of compassion

karunA is synonymous with the vaidyanAtha kSEtra as compassion of healing as seen in the vaidyanAtha aStakam of the Adi Sankara, quoted at the start of this post.

It is the nature of truth = Sruti to assert itself when untruth = apa-Sruti is at its loudest.

satyam Eva jayatE

purahara nandana - rAga hamir-kalyAni

sowmya
https://www.youtube.com/watch?v=3YkKOdRGw54

sruti b
https://www.youtube.com/watch?v=liHtnh7YCFI

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Post # 835 “bhinna-panCama” = rAga for panCa-pAndavas “break-up” ,“matsya avatAra mAmava” & krSna = vatsala vivAhakArana

Post by nAdopAsaka »

Post # 835 “bhinna-panCama” = rAga for the panCa-pAndavas “break-up” , “matsya avatAra mAmava”- How the family of arjuna/subhadra/abhimanyu/vatsala ends the draupadi-sharing arrangement of the 5 pAndavas

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The word “bhinna” = separation/separating/break-up/splitting.

There can be no better rAga as an icon for the break-up of the panCa pAndavas.

i.e. bhinna–panCama = break-up of the 5 (pAndavas) !

Naturally, the Dikshitar recognizes this feature !! (although the corrupt music industry/SSP and all trolls/translators are clueless for last 200 years)

In “matsya avatAra mAmava” to the viSnu avatAras (krSna etc), the Dikshitar specifically places the reference to vatsala, (the spouse of abhimanyu, the son of arjuna and subhadra)

pallavi
mat-syAvatAra mAmava madhusUdana guruguhAdinuta
Caranam
mat-sya kUrmAdi dashAvatAra mAdhurya sudhAkara dayAkara
vat-salA vivAhakArana Subhakara SArangadhara bhinna-panCama priyakara


(the dwitiya akSara is the "ts" sound neatly captured)

As the mahAbhArata tells it, arjuna is first exiled from the 5 pAndavas (who were SHARING draupadi), then goes on a pilgrimage and finds his own spouse subhadra.

There is no better icon for the break-up of the panCa-pAndava than the rAga “bhinna-panCamam”.

And the birth of abhimanyu from the "alternative to draupadi" = subhadra , proves there is no going back to the original 5.

As this key emblem of the break-up of the pAndavas, vatsala is wedded to abhimanyu, is also effectively a “bhinna-panCama” (more so than subhadra even)

Note that vatsala is “given away” (to abhimanyu) by krSna (= vatsala-vivAhakArana) and is an object of krSnas affection.

krSna is therefore also “bhinna-panCama priya kara” .

The rAga choice of the vAggeyakAra is unmistakeably linked to his pujA of a particular aspect of the deity (in this case viSnu/krSna as vatsala vivAhakArana)

Unerringly, once again, the nAda-sampradAya asserts itself, against the ignorance of unimaginative trolls (old and young) and the corruption of the SSP etc. distortionists.

satyam Eva jayatE

matsya avatAra mAmava – rAga bhinna-panCama

TM krSna
https://www.youtube.com/watch?v=9kSGcFHvxLA

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Smt.Vedavalli has written about sri.MD kruthis at Mannargudi. Here are some excerpts.
...,
Among the hundreds of kshetra-
s Dikshitar visited, Mannargudi
was one, and he composed some
very beautiful kriti-s on the deity
Rajagopala, the processional deity
seen standing in front of a cow,
with Rukmini and Satyabhama. This
idol is considered to be the most

handsome and attractive among
the images of Vishnu. Seeing this,
Dikshitar was inspired to sing the
beautiful piece Sree Rajagopala
in Saveri. Along with Sreevidya
Rajagopalam in Jaganmohanam, and
Rajagopalam in Mohanam, it makes
the Mannargudi triad.


A few other compositions are
ascribed to Mannargudi, but these
kriti-s contain no concrete references
to the kshetra or the deity.


Pallavi: Sree Rajagopala – baala –

sringara leela- srita jana paala.
Sringara leela in the first line has many
interpretations. In Krishnavatara there
are endless instances of Krishna leela.
In one of them, Krishna returns from
a swim with the gopi-s and one of
his ear studs is exchanged for a gopi’s
ear ring. As a sign of this incident,
the utsava moorti in Mannargudi is
decorated with one stud and one ring
in each of the ears.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Post # 837 - dakSina dwArka = mannArgudi , and the sAvEri to the nAri-vESa vAma bhAga ardhanAri

Post by nAdopAsaka »

Post # 837 - dakSina dwArka = mannArgudi , and the sAvEri to the nAri-vESa vAma bhAga ardhanAri

In the footsteps of nAdajyOti Mutthuswamy Dikshitar.

1. the SrividyA-rAjagOpAla sAvEri kriti is at dakSina dwArka ..NOT dakSina vrndAvana !!

It is important to note that the Dikshitar refers ONLY in his sAvEri kriti to mannArgudi as dakSina dwArka..

None of the foolish translations or other commentaries by EQUALLY CLUELESS viduSis/academicians pays attention to this important aspect of the Dikshitars kriti as well as the origin of the kSEtra itself !

At dwArkA (the original one on the Gujarat coast), hundreds of miles from vrndAvana, the krSnA is fully established as king, with his queens well defined. He is always nanda-gOpa's child, but his SrngAra in dwArka is reserved for these consorts.

His days as an amorous cowherd in vrndAvana (mathura) are OVER and his dalliances with the gOpis on the yamunA are a distant memory , distant in both space and time.

As SrividyArAjagOpAla, krSnA is this king (rAja) of dakSina dwArkA.

For the bAlagOpAla or vEnugOpAla or bAlakrSnam icons of mannArgudi which are distinct from SrividyArAjagOpAla, there is no "vAma bhAga nAri" aspect described in the Dikshitars kritis.

Therefore the solitary earring icon being erroneously proposed for the child/amorous cowherd cannot apply as a correct descriptor of the “vAma bhAga nAri” at dakSina dwArkA.

Neither does the mOhini avatAra explain the "vAma bhAga nAri” because the mOhini is obviously not a split half male/half female.

2. ..”nAri vESa dhara vAma bhAga” is the vAggeyakAras icon for the "ardha-nAri", REGARDLESS of any other imagery

The Dikshitar is not dyslexic !!..he deliberately puts the rAga mudra in reverse, responding to the “inverted” nature of the unconventional deity. It is the only kriti out of 500 odd kritis to do this.

Indeed, this is why the rAga sAvEri itself was chosen..because it offers the ability to deliver this inverted meaning when used within “nAri vESa dhara vAma bhAga”.

The (reverse) mudra for the rAga sA-vE-ri , i.e. ri-vE-sa could also have been delivered by the equally correct
“st-ri-vE-sa dhara” (indeed this word is used elsewhere for e.g. in the “Sri mAtrbhutam” kannada rAga kriti).

No !

It is the deliberate usage of the word "nAri" and the words "vAma bhAga" that is intended to illustrate the "ardha-nAri" that is the SrividyA-rAjagOpAla.

3. The kriti is replete with important contrasts (that the ignorant are unaware of)

nArAyana tAraka divya nAma – the SrividyArAjagOpAla kSEtra invokes both “nArAyana” and the Om
viSISta-advaita advaita -Alaya – the SrividyArAjagOpAla kSEtra celebrates both contrasting advaita themes
vAma and dakSina - which words appear simultaneously

4. The sAvEri is the ONLY Dikshitar kriti where the words vAma, dakSina and dwArkA appear simultaneously.

In the SrividyA , vAma and dakSina have particular meaning as left and right.

And dwAr-kA as the gateway also has particular meaning.

5. For the SrividyA upAsaka, the worship of krSnA as SrividyArAjagOpAla is unquestionably also the worship of the goddess.

krSnA is the dakSina dwAra (gate) to the vAma bhAga nAri, the right-side gateway to the left side dEvi, unique only to mannArgudi.

To the SrividyA upAsaka, the icon of krSnA dancing with the SriCakra yantra at mannArgudi, is also representative of the dance of the ardhanAriSwara as “ramA sahita” conjoined with the ramA dEvi.

6. The sacred dance should not and cannot be disparaged with some prurient symbolisms, conjured up by perverse minds.

Sri rAjagOpAla - rAga sAvEri

KVN
https://www.youtube.com/watch?v=nsPztsFEF2I

Pratyaksham Bala
Posts: 4164
Joined: 21 May 2010, 16:57

Re: Mutthuswamy Dikshithar (Krithis)

Post by Pratyaksham Bala »

.
Repeated negative expressions hardly affect anyone. Usually people are irritated initially, but soon they start laughing at them, and finally they just ignore.

But, the negative expressions would boomerang to affect the personality, image and credibility. Is it worthwhile taking such a risk?

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

CEta SrI bAlakrSnam –How the rAga choice and the sAhityam affirm the kritis authencity–the duality of the dwijAvanti

Post by nAdopAsaka »

CEta SrI bAlakrSnam – How the rAga choice and the sAhityam affirm the authencity of the kriti – the duality of the dwijAvanti

The wondrous contrasting dual theme (dwijA) of the jujAvanti (aka dwijAvanti) kriti “CEta Sri bAlakrSnam”.

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Various erroneous statements have been made about the Dikshitars mannArgudi kritis over the decades. This post shows how the kriti “CEta Sri bAlakrSnam” carries a message far beyond the mere swaras patterns it has been analysed for in the past century. Not only is the rAga choice inspired by the inherent duality of the unique deity, every line of the kriti carries this imagery ..noted in this post dated 8 May 2023.

and the nava-Campaka nAsikam locates the kSEtra correctly (see CAru-Campaka aranya in the ardhanAri sAvEri)

https://www.rasikas.org/forums/viewtopic.php?t=36062

All the vAggeyakAras kritis should be read more carefully, including by professional musicians.

CEta Sri bAlakrSnam – rAga jujAvanti
ranjani-gAyatri
https://www.youtube.com/watch?v=5SgB3nQ6Q2g

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Post # 840 The 5th Cakra ardhanAri kriti pair of the tyAgarAja & nilOtpalAmbA navAvaranas – their mudras and their basis

Post by nAdopAsaka »

Post # 840 The 5th Cakra ardhanAri kriti pair of the tiruvArUr tyAgarAja & nilOtpalAmbA navAvaranas – their mudras and their basis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Post dated 02 Jul 2023 on another thread, gave the outline for ALL 10 ardhanAri mudras discovered in 5 pairs of kritis across the Dikshitars tyAgarAja/nilOtpalAmbA navAvaranas. It is linked here..

https://www.rasikas.org/forums/viewtopi ... 15#p379615

Each pair of that set of 5 will now be taken up (in a series of posts) to describe the ardhanAri mudra, deliberately inserted by the Dikshitar.

There is no coincidence.

There is zero ambiguity or doubt that the mudra placement is deliberate by the Dikshitar and consequently that the navAvarana structure discovered (of all 9 x2 = 18 kritis ) is correct.

This of course is revelation, since the 8 kriti set of vibhakti based classification, propagated erroneously by the SSP and all others for last 150 years is superseded and properly repudiated.

And all revelation brings some pain, mortal pains to some, growing pains to others. The cancer has threatened the vAggeyakAras musical legacy.

The nAda-upAsaka is not concerned if the medicine is too strong for some.

rasikas forum has the intellectual "bandwidth" to absorb the findings and grow from it, a few unworthy stragglers will succumb, no doubt (as they should)

One has to try to cure the diseased, whatever the risk, or else they will most certainly perish.

Earlier the 4th Cakra pair of this set has also been described in post # 820 dated 8 May 2023...
https://www.rasikas.org/forums/viewtopi ... 76#p379276

The 5th Cakra pair of kritis and their ardhanAri mudras are described now

The tyAgarAja navAvarana 5th Cakra kriti
5. tyAgarAja pAlayASu mAm gaulA sarva-Artha sAdhaka nagarAjasutArdhAnga

Here the ardhanAri mudra is rather obvious – the word nagarAjsuta-ardhAnga is used.

The nilOtpalAmbA navAvarana 5th Cakra kriti
5. nIlOtpalAmbikayA nirvAna kannadagaula sarva-Artha sAdhaka h-allISa lAsya santuStayA

Here the mudra is delivered by the phrase “h-alliSa lAsya santuStaya

halliSa is a specific form of dance but the ardhanAri mudra is buried in the word “alliSa” embedded in “h-alliSa”.

allA is the mother goddess = ambA and therefore alla-iSa = alliSa is Siva.

santuStaya implies “fulfilled” as in “completed”.

The nilOtpAlAmbA as ardhanAri is “completed” by the dance of Siva = “alliSa lAsya”

Indeed, Sivas tAndava dance = lAsya and pArvatis lAsya dances combine in the ardhanAri stOtra (of the Adi Sankara in the very last stanza).

Notice that dance (ajapa-nata) is itself a very big aspect of the vithi-vitanka tyAgarAja of tiruvArUr.

satyam Eva jayatE

tyAgarAja pAlayASu - rAga gaula
MDR
https://www.youtube.com/watch?v=wvlNDvXTorg

nilOtpalAmbikayA – rAga kannada gaula
AlatUr bros.
https://www.youtube.com/watch?v=3ZAQ0U-UeeM

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Repeated negative expressions hardly affect anyone. Usually people are irritated initially, but soon they start laughing at them, and finally they just ignore.

But, the negative expressions would boomerang to affect the personality, image and credibility. Is it worthwhile taking such a risk?
..
How is rishi connected with rishabam?

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Story of the sEnAgrani – Why the kriti “gyAnAmbikE” is [1] at the chOla empire capital & [2] Why is it to the gyAnAmbikA

Post by nAdopAsaka »

Story of the sEnAgrani – Why the kriti “gyAnAmbikE” is [1] at the chOla empire capital – tAnjAvUr & [2] Why is it to the gyAnAmbikA instead of brhannAyaki

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

tanjAvUr is the brhat kSEtra, with upwards of 25 kritis (or so) by the Dikshitar, matching the grandeur of the huge chOla installations. The brhat kSEtra kritis have been discussed on this thread in posts # 569 dated 21 Aug 2021, or post # 477 15 Feb 2021. brhadISwara and brhannAyaki are the major deities.

There are however some associated smaller temples that have made it to the Dikshitar vision.

One of these is the kOnkanESwara temple, a stones throw away from the main complex of tanjAvUr.

In this post, answers to the following qyestions are revealed.

Why does the Dikshitar pick the rAga sEnAgrani for this particular smaller “kOnkanESwara” temple goddess ?

The answers are not too complicated.

sEnAgrani ( aka sEnapati ) implies the commander in chief.

Note that the kriti notes the “kOnkanESa” as well.

The name "gyAnambika" applies at other locations, for e.g. at vEdAranyam. But the kriti can ONLY be in the tanjAvUr area.

Why ?

Because the chOla empire at its height stretched as far as the kOnkan region. And the chOlas did not make their empire by ahimsa = non-violence. The rAga name denoting a military effort / commander is indeed apt for the chOlas capital city.

But the “real battle” in the Dikshitars vision for this kriti is from the scripture and it comes from the lalitOpAkhyAna !

Which brings us to the second question.

Why does the Dikshitar pick the goddess gyAnAmbika of this tanjAvUr area kSEtra to offer this unique rAga ?

Why not the brhannAyaki ? or Why not the male deity kOnkanESa ?

The answer to this comes from additional names he uses in the kriti.. gyAnAtrgyAnagynEya svarUpini deriving from the 981st name of the lalitA sahasranAma = gyAna gnyEya swarupini, she is who is knowledge/thought as well as she who is the object of knowledge/thought

But what has gyAna have to do with “battle”...a fool might ask.

It is the destruction of the asurA bhanda, described in the lalitOpAkhyAna, that gives the clue to this choice.

The bhandAsura vadha is the classic tale of good versus evil with the twist that it is the goddess who wages the war.

In the bhandAsura vadha chapter 21 of the lalitOpAkyAna, there is an exchange in sequence of multiple astras = missiles/weapons.
bhandAs- astras countered by the lalitA dEvis astras are given great detail in the lalitOpAkhyAna
1. andha-tAmmisraka (great darkness) countered by mahAtarani (the great sun)
2. pAkhanda (Heresy) countered by the gAyatri
3. andhAstra (Blindness) by CakSusmattA (Possession of eye-sight)
4. SaktinASa (Destruction of Saktis) countered by viSwavAsu
5. antaka (god of Death) countered by mahA-mrtyunjaya-astra
6. sarvAstra-smrtinASa (Destruction of memory of Astras) countered by dhArana (Retention of memory)
7. bhaya (Fear) countered by indrAstra
8. mahArogas (great diseases) countered by the vaiSnavAstra
9. Ayur-nASana (Destructive of Longevity) countered by kAla-samkarSin
10. mahAsurAstra (creating great Asuras) countered by durgA and her weapons.
11. mUkAstra (causing dumbness) countered by mahAvAgvAdini
12. mahAmOha astra countered by the nArAyanAstra and the mahAkAmESastra.

What the list teaches in the lalitOpAkhyAna /bhandAsura vadha is the improvisations of both evil and good in the progress of the ancient fight of truth versus untruth.

gyAna Sakti is key to this victory in terms of knowing how to respond to each different threat.

More so than merely "icchA Sakti" and "kriyA Sakti", the other two Sakti aspects.

And the gyAnAmbika word/name is this embodiment of the gyAna Sakti for the Dikshitar.

It is this “gyAnAmbikA” from the 981st name of the lalitA sahasranAma that is applied correctly and directly by the Dikshitar ONLY to the gyAnAmbikA of the kOnkanESwara temple. (and not to the brhannAyaki).

And that is the story of the Dikshitars sEnAgrani kriti , its rAga choice, its deity choice and its kSEtra choice.

The always lurking untruth = apa-Sruti and ignorance.

Just like every year asurAs are burnt in effigy and nearly every kriti of the nAdayOgis refers to asurAs, a note must be made about ever-present-untruth. ( a fitting takeaway from the gist of the bhandAsura vadha tale)

The kritis have NOT been read with care in 200 years including by various viduSiS and other vidwAns. Foolish questions are raised where a little diligent self-study can make some items clear. Of course a certain amount of imagination is also needed.

gyAnAmbikE – rAga sEnAgrani

nishA r
https://www.youtube.com/watch?v=J0m6N6FT_7k

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Post # 843 gunda-kriyA – the drum beat of the inauguration of the brhat kSEtra by the chOla empire

Post by nAdopAsaka »

Post # 843 gunda-kriyA – the drum beat of the inauguration of the brhat kSEtra by the chOla empire

In the footsteps of nAdajyOti Mutthuswamy Dikshitar

gunda-kriyA the word derives from the sound of rhythmic pounding typically associated with a drum (the gunda-la , a drum like the madda-la).

Is there a better rAga for depicting the fanfare of the grand chOla installation of the brhat kSEtra !

No !

And elegantly, in less than 20 words, the Dikshitar gives the rAga gundakriyA its proper, historical context, a 1000 years after the brhadiSwara temple was inaugurated. (A drum-beat is also a highly appropriate icon for the conquests of the chOla armies, as in war-drums)

Once again, (to the utter dismay of the ignorant) the rAga choice of the Dikshitar is tailored to the meaning of the rAga word and its relation to the imagery/icon of the kSEtra.

The kriti is also interesting because the DikShitar gives the lotus eye to the brihadiSwara/Siva as in rAjivalOCanam. (More commonly this is given to the viSnu or the dEvi deities). the rA-jiva word of course nicely fits into the dwitiya akSara driven by the rA-ja syllable in all 4 lines.

Pallavi
rA-jarAjEndra chOla pratiSthitam brhadIswaram bhajarE SrI
caranam
rA-jAdhirAja samArCitam ramanIya hrdaya virAjitam
rA-jIvalOCanam guruguha ranjita gundakriyA priyam
rA-jarajendrachOladharam rAjadharam brhadISwaram bhaja

rAjarAjEndra chOla pratiSthitam – rAga gundakriya

prEma r
https://www.youtube.com/watch?v=35tYOO7L6Io

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

# 844 The nabhOmani kriti at tanjAvUr –the sun-dial , the (non) shadow of the BIG temple, where the sun always rises

Post by nAdopAsaka »

Post # 844 The nabhOmani kriti at tanjAvUr – the sun-dial , the (non) shadow of the brhat kSEtra big temple and where the sun ALWAYS rises

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The 2 nabhOmani rAga kritis of the Dikshitar will be described in this post and the next one.

Once again, the Dikshitars pujA emerges from a contemplation of his words and choices….denied by generations upon generations of “so-called rasikas” for 200 years.

None of the word-for-word translators, academicians, viduSis or their agents has had the respect, curiosity or imagination to ask why a rAga is being chosen by the vAggeyakAras.

And the rAga being the vehicle of the vAggeyakAras inspiration and worship, is the most important choice they make next to the words they use.

The 2 nabhOmani rAga kritis that will be described in this post (and the next one), are the latest in the tide of truth now sweeping away the cobwebs piled on the legacy of the Dikshitar by these disgraceful attitudes.

The nabhOmani rAga kriti that begins with the word "nabhOmani"

nabhOmani Candra agni nayanam at the brhat kSEtra of tanjAvUr

nabhOmani is obviously the jewel (mani) of the sky (nabha)..= the sun

Naturally the Dikshitar picks the rAga for the brhat kSEtra and offers it to the brhadISwara.

Why ?......read on to rejoice (or weep) depending on who you are.

The tanjAvUr temple complex has 2 key solar icons. Both are related to shadows.

1. The BIG temple is believed NOT to cast a shadow.
2. There is a sun-dial (which tells time using a shadow) installed by the chOlas more than a 1000 years ago.

Beyond the brhadiSwara name , he gives additional wonderful clues via his mudras.

1. The pallavi ends with the phrase “satatam satatam” (satatam = ALWAYS/constantly)
2. The Carana begins with the word “SubhOdaya-karana”

When the 2 appear in sequence, the phrase “satatam satatam SubhOdaya karana” implies the sun as day-maker and ALWAYS the time-giver.

Notice that the ancient “sun-dial” of tanjAvUr tells time using a shadow…and is obviously ALWAYS at work , in the day time.

And the Dikshitar says “satatam” TWICE, emphasizing the constancy of the sun.

Can there be any doubt that the choice of rAga nabhOmani at tanjAvUr is completely deliberate, designed to capture a key aspect of the kSEtra ?

nagajAsahita brhadiSwaram - The ardhanAri of tanjAvUr

In the kriti the Dikshitar also celebrates the ardhanAri of tanjAvUr, discussed in a post on another thread dated Jul 11, 2023

https://www.rasikas.org/forums/viewtopi ... 17#p379717

The kritis are ABSOLUTELY NOT for those who promote divisive, sectarian agendas.

The vAggeyakAras offer everyone a choice..if anyone has contempt for their words/choices/images , such as the ardhanAri (and also many other ideas) simply do not listen to their kritis.

nabhOmani Candra agni nayanam – rAga nabhOmani

swarAtmika S
https://www.youtube.com/watch?v=ExauTvcD3fg

ravikiran
https://www.youtube.com/watch?v=jqGcC8fxFI0

Pratyaksham Bala
Posts: 4164
Joined: 21 May 2010, 16:57

Re: Mutthuswamy Dikshithar (Krithis)

Post by Pratyaksham Bala »

Thanjavur Big Temple:-
(1) The shadow of the main vimana does fall on the ground.
(2) AFAIK there is no sun-dial in the Temple.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

“SrinAtha sOdarim”= “jagannAtha nArAyani”, nabhOmani kriti at puri to “tiraskarini”=viSnu's sister veiled by the sun

Post by nAdopAsaka »

“SrinAtha sOdarim” = “jagannAtha nArAyani”, the nabhOmani kriti at puri AmnAya kSEtra to “tiraskarini” durgA , the sister of viSnu veiled by the radiance of the sun

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

“SrinAtha sOdarim” - The nabhOmani kriti that ENDS with the word nabhOmani.

Compared to post # 844 above where the kriti BEGINS with the word “nabhOmani”, this nabhOmani kriti ends with the word nabhOmani.

That itself is an indication of the “teaching” behind this particular kriti, its kSEtra and its deity.

It is now revealed in this post , how the Dikshitar embeds the mudras for this kSEtra in this particular kriti.

The eastern AmnAya pitha of the Adi Sankara is located in puri-jagannAtha, on the Orissa coast.

The AmnAya pitha kritis are fully described in post # 758 dated Jun 16, 2022
https://www.rasikas.org/forums/viewtopi ... 48#p376648

At puri, the Dikshitar has another kriti, “gOvardhana girisam” in hindOla rAga (why hindOla...answer: BECAUSE the “dOla gOvinda” is the name of the swing festival at puri) . The mahAvAkya of the rig-vEda (= pragyAnam brahma) is given in “gOvardhana giriSam” by the words "gOvinda nAma sAram" whereby "everything is produced by Caitanya = gOvinda" and Caitanya is another name for everything"

“SrinAtha sOdarim tiraskarinim” celebrates another aspect of the puri AmnAya pitha..the aspect that brings forth the sun-kSEtra aspect.

The puri-jagannAtha temple is close to the sun-temple of kOnArk, from where the aruna stambha was acquired and installed. aruna is also associated with the chariot (= ratha) that pulls the sun across the sky.

And of course the ratha yAtra at puri is also a chariot festival, where BROTHER and SISTER, namely jagannAtha and nArayAni/durgA ride in the procession.

And right with the opening words, the Dikshitar signals this brother+sister pair.

Of course, (knowing the generations of numbskulls to come later), he also places the words “divya ratha sanCArini”, so that the puri-jagannAtha ratha yAtra icon is fully on display.

Naturally, nabhOmani is precisely the jewel that travels across the sky, in a chariot.

The name “tiraskarini” for the durgA dEvi
This name is ONLY used in this one kriti..nowhere else in the 500 odd kritis of the Dikshitar.

That itself makes it special..

It will now be shown how this is ALSO a mudra for the sun-kSEtra of puri.

To understand this, one needs to also comprehend ANOTHER word that the Dikshitar uses in this kriti

Urdhva-AmnAya – the exalted pitha

What is Urdhva-AmnAya and why does it appear in this kriti ?
The words “Urdhva-AmnAyA” and “anuttara AmnAya” described the SECRETIVE and COVERT pithas that are observed when one looks UP (Urdhva) or looks DOWN (anuttara).

In addition to the 4 directions (north, south, east and west), UP and DOWN signify in the tantra, the 6 directions.

Notably the Urdhva-Asana is a particular aspect of the surya-namaskAr, where one looks heavenward. One also looks to the East = purva , when conducting the surya-namaskAr, further emphasizing the puri-eastern AmnAya pitha kSEtra.

The radiance of the sun, produces a dazzling effect, that conceals the durgA dEvi as “tiraskarini”.

“tiraskarini” is the one who is concealed and rendered invisible. Not only is the durgA herself concealed, by the bright nabhOmani, she is also the destroyer of illusions = mAya. This is why the kriti itself ends with the word “nabhOmani”.

The secret of the kriti is revealed only in the last word.

Not surprisingly the goddess at puri also holds the pitcher in her hand = pAna-pAtra dhArini mentioned in the kriti.

SrInAtha sOdarIm tiraskariNIm namAmi – rAga nabhOmani

vanamAla group
https://www.youtube.com/watch?v=zXE-N4sWqH8

ps
https://timesofindia.indiatimes.com/tra ... boast%20of.

reference to the sun-dial in tanjAvUr can also be found..the vimAna acts as the sundial..but the shadow does not fall on the ground...as per the legend.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

The mudra for the mudra…How the Dikshitar gives a different mudra for his signature “guruguha” in "nabhOmani Candra"

Post by nAdopAsaka »

The mudra for the mudra…How the Dikshitar gives a different mudra for his signature “guruguha” in the nabhOmani rAga kriti at tanjAvUr

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

In the nabhOmani kriti at tanjAvUr (nabhOmani Candra agni nayanam) the Dikshitar gives his mudra = guruguha in a concealed form. It is the only example of its kind.

How is the alternate mudra given ?

The words “muni-hrt” appear within the phrase “muni-hrt sadanam” of this kriti.

The word muni = guru
“muni” is traditionally associated with wisdom, typically sages, rSis who are almost always gurus !
In fact the tyAgarAja has 2 kritis nArada-guru (in darbAr) and nArada-muni (in pantuvarAli) that illustrate how muni and guru are equivalent/interchangeable.

The word hrt = heart = guha
The scripture gives several examples of this exact equivalence..

In the SvEtASvatara upAniSad 3.20, the line appears
anOr aniyAn mahatO mahiyAn Atma guhAyAm nihitosya jantO
The Self, smaller than the small, greater than the great, is hidden in the hearts = caves = guha of creatures

In the bhAgavata purana, 2.9. 21 the line appears
भगवान्सर्वभूतानामध्यक्षोऽवस्थितो गुहाम्
bhagavAn sarva bhutAnAm madhyakSOvastitha guhAm
The lord resides in the heart = cave = guha of all beings.

So muni-hrt = guru-guha.

The question of interest is always is WHY ? …Why is the Dikshitar using this alternate mudra ?!
It is well known the Dikshitar has 20 plus kritis at tanjAvUr kSEtra which all carry his “guruguha”mudra, unconcealed.

Why is he doing this ONLY in this “nabhOmani” kriti and Why only in tanjAvUr ?

The answer is in the dazzling/blinding nature of the sun !

Solar icons of tanjAvUr are found not just in the legend of the so-called “non-shadow” of the BIG temple.

The 9th tirumurai stanza 9 authored by karuvurar (supposedly a key advisor to rAjarAja chOla) , gives the sun as a key emblem of the tanjAvUr brhat kSEtra)

மங்குல்சூழ் போதின் ஒழிவற நிறைந்து
வஞ்சகர் நெஞ்சகத் தொளிப்பார்;
அங்கழற் சுடராம் அவர்க்கிள வேனல்
அலர்கதி ரனையர் வா ழியரோ
பொங்கெழில் திருநீ றழிபொசி வனப்பிற்
புனல்துளும் பவிர்சடை மொழுப்பர்
எங்களுக் கினியர் இஞ்சிசூழ் தஞ்சை
இராசாரா சேச்சரத் திவர்க்கே.

Approx. translation is
Lord tanjai rAjarAjESwaram is in his fort like temple, He is hidden from the sun (in shadow) , and is INVISIBLE to evil ones. But to the proper devotees, He SHINES LIKE THE SPRING SUN effulgent with rays vivid.

The Siva of karuvurar’s tirumurai at tanjAvUr is “tiraskara”, CAMOUFLAGED by the shining sun.

It seems reasonable that the Dikshitar, in identifying with the male aspect of the tanjAvUr deity, has “borrowed” this concealment idea from the tirumurai and applied it to his own mudra in the tanjAvUr kriti. Conversely, in the puri-jagannAtha goddess kriti he keeps his mudra intact.

Shadows and sun-dials in the chOla kingdom
The idea of “shadows” which is key to the sun-dial is also seen in the tirumurai stanza above.

Indeed, the Dikshitar gives another kriti “chAyavati Anandavalli” (in rAga chAyAvati = suryakAntam) to the goddess of another temple in the tanjAvUr area not far from the brhat kSEtra. chAya of course is synonym for shadow. Not surprisingly the Dikshitar calls chAyavati as ‘mArajanaka sOdari” similar to the “SrinAtha sOdari” usage at puri.

The blazing sun noted in the tirumurai stanza emphasizes why the rAga nabhOmani is picked for this kSEtra/kriti.,,beyond the “non-shadow” legend.

But the word nabhOmani is also a synonym for “surya-yantra” = sun-dial
nabhOmani carries the vernacular word “mani” which means “time”.
So that nabhOmani is the mudra for “the sky-jewel that tells time” (as in the surya-yantra = sun-dial).

Sun-dials at the other chOla sites based on Cakras = spokes of wheels (of chariots etc) are also well known in sculptures..darAsuram etc. Similar wheel-spoke based sun-dials are seen in kOnArk sun temple, the sun-site close to the puri-jagannAtha kSEtra.

“chAyavatim Anandavallim caturatara tanjapuISwarim”- rAga chAyAvati at tanjApuri
bAla t sundari
https://www.youtube.com/watch?v=YSv_XMja14o

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

# 848 “brhadambA madambA” – rAga bhAnumati - another solar themed tanjAvUr brhat kSEtra kriti

Post by nAdopAsaka »

# 848 “brhdambA madambA” – rAga bhAnumati - another solar themed tanjAvUr brhat kSEtra kriti

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

rAga bhAnumati is the Dikshitars offering of the 4th mEla to the brhadambA of tanjAvUr in the short kriti “brhadambA madambA”.

Once again the solar theme is seen in rAga name (bhAnu = sun) and in the kriti.

The goddess is also described as “brahmAnda swarupa” …of the form of the cosmic egg…= brahma + anda

Notably an egg is typical ellipse-like shape, which is also the shape of the earths orbit around the sun = bhAnu. (and many other cosmic tracks)

The usage of the goddess’ name “rAjarAjESwari” in the short kriti is of course motivated by the name also of the chOla king, responsible for installing the kSEtra.

brhadambA madambA – rAga bhAnumati

Rk padmanAbha
https://www.youtube.com/watch?v=32sBB32YrxA

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

bhOga-chAya-nAtaka priyE (brhadambA who enjoys the shadow play ) – yet another sun & shadows themed tanjAvUr kriti

Post by nAdopAsaka »

bhOga-chAya-nAtaka priyE (brhadambA who enjoys the shadow play ) – yet another sun & shadows themed tanjAvUr kriti –the brhat kSEtra & the brhat samhita

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

bhOga-chAya-nAtaka-priyE is the Dikshitars offering of the 34th mEla ( aka vAgadiSwari) to the brhadambA of tanjAvUr.

It is YET another kriti that reflects the solar theme of tanjAvUr, seen also in the 9th tirumurai of karuvurar, noted in a previous post.

But instead of focusing on the sun, it focuses on chAya = shadow.

The surya-siddhAnta (classic Hindu astronomy text) gives the meaning of “bhOga” as portion.

These “portions” divide the ecliptic, the path that the sun follows around the earth (or vice versa).

“bhOga-chAya” is literally the “divisions of shadows” that are produced as the sun travels around the earth. It is a sun-dial with a deeper meaning.

Why ?

bhOga-chAya nAtaka is the play/drama of life that results from the progress of time, marked by the motion of the sun.

Just like nabhO-mani , bhOga-chAya-nAtaka is also a synonym for the surya-yantra = sun-dial, marking the passage of time. But it is not the individual hours/minutes/seconds in a day that pass,

Instead it is the events of lives that occur during those hours that measure time.

And the goddess “enjoys” and “feasts” on this play of all life.

As seen in the last few posts the following solar/shadow named rAgas are being employed at tanjAvUr.

nabhOmani
chAyavati
bhAnumati
bhOga-chAya-nAta

The question arises which must be answered..

….What is it about the brhat kSEtra that the Dikshitar chooses to commemorate the “passage of time” with all these solar and shadow, surya and chAya themed rAgas/kritis..?

The answer lies in the brhat samhita !

The brhat kSEtra and the brhat samhita

The brhat samhita is the first Hindu document of the astronomer varAhamira’s record of Total Solar eclipses viewed over the Indian sub-continent.

Naturally the Dikshitar who had deep understanding of astrological calculations (see the Sukra bhagavantam paras kriti post on this thread) can be expected to be aware of the brhat samhita (like so many other classical documents shown in the hundreds of posts here).

As chAya-graha, Total Solar eclipses represent the capability to block out even the great Sun.

Similarly, despite the magnificent temples of the brhat kSEtra, the chOla dynasty was also eclipsed.

The Dikshitar recognizes the same shadow-play of fate , the chAya-nAtaka in the brhat samhita’s record of eclipses and at the brhat kSEtra remnants of the sun-worshipping chOlas.

Indeed, the only thing that is constant through the ages is the nAda-sampradAya and its Sruti, regardless of the rise and fall of ALL human endeavor.

satyam Eva jayatE

bhOga-chAya-nAtaka priyE- rAga bhOga chAyanAta

BMK
https://www.youtube.com/watch?v=DrO_709o99w

rAji G ?? not sure
https://www.youtube.com/watch?v=aZHhbc5MFFI

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