Perhaps this chap doesn’t realize he is on trial for all the indecent suggestions, incorrect information and half-baked posts.
Fittingly it is the vAggeyakAras music which has brought him to justice.
There is a universal “Miranda law” which protects the “guilty” from further self-incrimination.
You have the right to remain silent.
If you give up this right, anything you say, can and will be used against you in the kutChEri/court of this public forum.
Do yourself a favor and exercise this right..
Krithis on Arthanreeswara
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
Hey,
Why dont you understand that saying that siva is the husband of parvathi is NOT the same as depicting them as in union in icons? As 50,50?
.
Shyama Sastry is very sparingly using that epithet in all his kruthis. So does Thyagaraja swami.
.
Moreover, a composer , has to depict the actual moola vigraham and uyhsava vigraham, of the sthalam.
.
I too have read carefully, the actual wordings and translations, mainly from vgovindan blogs and i find that you are
Twisting, spoiling the short epithet to shore up your pet union theory.
Actually, you are vulgarizing the deities,
The Trinity, and uthsava moorthy traditions in each temple.
..
Here is one of the kruthis . Judge for yourself. Learn from really great souls.
Do not try to bask in your own imagined merit.
.
Gist
O kAmAkshi! O bangAru kAmAkshi!
O Enjoyer of recitation of sAma vEda! O Virtuous by nature!
O Dear Consort of Siva! O Granter of desires! O kalyANI! O kAmAkshI! O Long-Lotus-petal-Eyed! O Mother abiding in triangle(s) of SrI cakra! O Mercy Embodied!
O Sanctifier! O Soft spoken! O Protector of devotees! O Saviour from Worldly Existence! O Golden limbed! O Daughter of Snow Mountain! O mahESvarI! O Embodiment of hrIM-kAra!
O Nourisher of SyAma kRshNa! O SyAmaLA sporting parrot! O Siva SankarI! O Wielder of trident! O Queen Consort of sadA-Siva! O Consort of Siva! O Form of Eternity!
O dEvI! O My Mother! O Mother! O Golden Idol!
Please protect me.
I trusted You alone to be my refuge.
Why delay?
Please come.
Please listen to my plea.
Please quickly show mercy.
Please protect me.
.
Why dont you understand that saying that siva is the husband of parvathi is NOT the same as depicting them as in union in icons? As 50,50?
.
Shyama Sastry is very sparingly using that epithet in all his kruthis. So does Thyagaraja swami.
.
Moreover, a composer , has to depict the actual moola vigraham and uyhsava vigraham, of the sthalam.
.
I too have read carefully, the actual wordings and translations, mainly from vgovindan blogs and i find that you are
Twisting, spoiling the short epithet to shore up your pet union theory.
Actually, you are vulgarizing the deities,
The Trinity, and uthsava moorthy traditions in each temple.
..
Here is one of the kruthis . Judge for yourself. Learn from really great souls.
Do not try to bask in your own imagined merit.
.
Gist
O kAmAkshi! O bangAru kAmAkshi!
O Enjoyer of recitation of sAma vEda! O Virtuous by nature!
O Dear Consort of Siva! O Granter of desires! O kalyANI! O kAmAkshI! O Long-Lotus-petal-Eyed! O Mother abiding in triangle(s) of SrI cakra! O Mercy Embodied!
O Sanctifier! O Soft spoken! O Protector of devotees! O Saviour from Worldly Existence! O Golden limbed! O Daughter of Snow Mountain! O mahESvarI! O Embodiment of hrIM-kAra!
O Nourisher of SyAma kRshNa! O SyAmaLA sporting parrot! O Siva SankarI! O Wielder of trident! O Queen Consort of sadA-Siva! O Consort of Siva! O Form of Eternity!
O dEvI! O My Mother! O Mother! O Golden Idol!
Please protect me.
I trusted You alone to be my refuge.
Why delay?
Please come.
Please listen to my plea.
Please quickly show mercy.
Please protect me.
.
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Krithis on Arthanreeswara
re: O Queen Consort of sadA-Siva! excerpt from the misguided post (should have stayed silent)
re : sadASiva
sadASiva = ardhanAri
the viSuddha Cakra (5th Cakra ) has the sadASiva as deity.
The right half of his body is a white Siva, and the left half of the body is a golden Sakti.
In kAnCI, the usage "sOmaSEkhara pAdi sundari" by SyAmA SAStri is unambiguous and emphatic. Hoping that it is "sparingly used" is pathetic.
This thread is about the "Kritis on ardhanAriSwara" , the kritis meaning the "Kritis of the vAggeyakAras", expressing their words, intent, pujA, ideas, visions, teachings etc.
It is THEIR interpretation (and THEIR WORDS) of whatever their pilgrimages and worship reveal that is being examined , extolled and revered.
Further, none of the vAggeyakAras condemn the ardhanAri as has been done on this thread...(REPEATEDLY AND SHAMELESSLY)
The court finds ALL such criminals guilty and banishes them to a world without the vAggeyakAras music.
re : sadASiva
sadASiva = ardhanAri
the viSuddha Cakra (5th Cakra ) has the sadASiva as deity.
The right half of his body is a white Siva, and the left half of the body is a golden Sakti.
In kAnCI, the usage "sOmaSEkhara pAdi sundari" by SyAmA SAStri is unambiguous and emphatic. Hoping that it is "sparingly used" is pathetic.
This thread is about the "Kritis on ardhanAriSwara" , the kritis meaning the "Kritis of the vAggeyakAras", expressing their words, intent, pujA, ideas, visions, teachings etc.
It is THEIR interpretation (and THEIR WORDS) of whatever their pilgrimages and worship reveal that is being examined , extolled and revered.
Further, none of the vAggeyakAras condemn the ardhanAri as has been done on this thread...(REPEATEDLY AND SHAMELESSLY)
The court finds ALL such criminals guilty and banishes them to a world without the vAggeyakAras music.
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
Hey,Swayambu,
Sadasivam just means Always Auspicious. It has nothing to do with 50.50.
..
Here is the kruthi by Thyagaraja swamy on Dharmasamvardhani of his home place and lifelong residence. Thiruvaiyar.
....
Mother at tiruvaiyAru)! O Spouse of Lord Siva!
O Mother! O Dearest daughter of himavAn! O Mother who has a beautiful personality like crore cupids! O Mother who has eyes like the red lotus petal! O Mother who has peerless auspicious body! O Mother resident in the Holy Seats! O Mother who wears bracelets or bangles in Her sacred hands! O Supremely sacred One! O Mother who bears the burden of protecting the devotees! O Mother who is the chief of powers!
O Mother who is shell necked, found in the charming kadamaba thicket! O Mother with splendour resembling crores of lightnings, having lips like the (red) bimba fruit! O Ocean of mercy! ais Sakti of Lord kumAra (subrahmaNya)! O Mother with sweet voice which surpasses the (sweetness of) music of tumburu and that of sage nArada! O Destroyer of sins!
O Auspicious Mother! O Three-eyed! O Pre-eminent One! O Mother who is honoured in the hearts of supreme ascetics! O Mother who is the refuge of the family of tyAgarAja! O Mother who sanctifies the fallen! O Ocean of mercy! O Mother who is resident on the banks of river kAvEri! O Mother who is beyond everything! O Mother kAtyAyani! O Sister of Lord SrI
Sadasivam just means Always Auspicious. It has nothing to do with 50.50.
..
Here is the kruthi by Thyagaraja swamy on Dharmasamvardhani of his home place and lifelong residence. Thiruvaiyar.
....
Mother at tiruvaiyAru)! O Spouse of Lord Siva!
O Mother! O Dearest daughter of himavAn! O Mother who has a beautiful personality like crore cupids! O Mother who has eyes like the red lotus petal! O Mother who has peerless auspicious body! O Mother resident in the Holy Seats! O Mother who wears bracelets or bangles in Her sacred hands! O Supremely sacred One! O Mother who bears the burden of protecting the devotees! O Mother who is the chief of powers!
O Mother who is shell necked, found in the charming kadamaba thicket! O Mother with splendour resembling crores of lightnings, having lips like the (red) bimba fruit! O Ocean of mercy! ais Sakti of Lord kumAra (subrahmaNya)! O Mother with sweet voice which surpasses the (sweetness of) music of tumburu and that of sage nArada! O Destroyer of sins!
O Auspicious Mother! O Three-eyed! O Pre-eminent One! O Mother who is honoured in the hearts of supreme ascetics! O Mother who is the refuge of the family of tyAgarAja! O Mother who sanctifies the fallen! O Ocean of mercy! O Mother who is resident on the banks of river kAvEri! O Mother who is beyond everything! O Mother kAtyAyani! O Sister of Lord SrI
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
This thread is also for refuting 50.50 being appled in wrong contexts..
neti neti.
.
Here is Shyama Sastry on Akilandeswari of Thiruvanaikka near trichy..
The Devi is prominently mentioned as sister of Vishnu but there is not a single word about siva.
This is thamizh kruthi enneramum.
.Gist
O Mother!
O My Mother!
O Mother!
O akhilANDESvarI! O Delightful Beauty! O Sister of vishNu – SyAma kRshNa!
Always chanting Your names is my only duty.
It is You alone who should always look at me with a smile and forgive me.
Please tell me. Why this delay?
Is it burden-some for You to protect me?
Isn’t Your thought my only task?
Shall I necessarily appeal for Your heart to melt?
I, affectionately, reached You for my refuge.
You alone are the source of all powers who knows everything.
Please cuddle and support me.
Always chanting Your names is my only duty.
neti neti.
.
Here is Shyama Sastry on Akilandeswari of Thiruvanaikka near trichy..
The Devi is prominently mentioned as sister of Vishnu but there is not a single word about siva.
This is thamizh kruthi enneramum.
.Gist
O Mother!
O My Mother!
O Mother!
O akhilANDESvarI! O Delightful Beauty! O Sister of vishNu – SyAma kRshNa!
Always chanting Your names is my only duty.
It is You alone who should always look at me with a smile and forgive me.
Please tell me. Why this delay?
Is it burden-some for You to protect me?
Isn’t Your thought my only task?
Shall I necessarily appeal for Your heart to melt?
I, affectionately, reached You for my refuge.
You alone are the source of all powers who knows everything.
Please cuddle and support me.
Always chanting Your names is my only duty.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Krithis on Arthanreeswara
Both the posts are TOTALLY false, and reveal the ignorance of the guilty.
Flailing around as the noose tightens.
1. sadASiva is always ardhanAri..especially to the dEvi upAsaka.
what does dEvi as "consort of auspiciousness" mean ? It is nonsense.
2. In "akhilAndESwari durusugA" in rAga karnAtaka kApi, (at jambukESwaram = tiruvAnaikkal) SyAmA SAStri clearly says "Sri SambunAthaunarAni".
3. In "ennEramum" in rAga purvikalyAni at jambukESwaram = tiruvAnaikkal, SyAmA SAStri clearly calls the dEvi "AdiShakti". The name AdiShakti is always related to Siva..it derives from the "prakriti-puruSa" description of the ardhanAri.
4. In "Sankari Sankuru" in rAga sAvEri (at jambukESwaram = tiruvAnaikkal) SyAmA SAStri clearly says "jambupati vilAsini" and "hara nAyikE".
Refute that, MORON !
You are in over your head.
Just think a little bit before making ANY posts.
pratyakSam bala is correct...you are not hear for any music, you have some other agenda.
Flailing around as the noose tightens.
1. sadASiva is always ardhanAri..especially to the dEvi upAsaka.
what does dEvi as "consort of auspiciousness" mean ? It is nonsense.
2. In "akhilAndESwari durusugA" in rAga karnAtaka kApi, (at jambukESwaram = tiruvAnaikkal) SyAmA SAStri clearly says "Sri SambunAthaunarAni".
3. In "ennEramum" in rAga purvikalyAni at jambukESwaram = tiruvAnaikkal, SyAmA SAStri clearly calls the dEvi "AdiShakti". The name AdiShakti is always related to Siva..it derives from the "prakriti-puruSa" description of the ardhanAri.
4. In "Sankari Sankuru" in rAga sAvEri (at jambukESwaram = tiruvAnaikkal) SyAmA SAStri clearly says "jambupati vilAsini" and "hara nAyikE".
Refute that, MORON !
You are in over your head.
Just think a little bit before making ANY posts.
pratyakSam bala is correct...you are not hear for any music, you have some other agenda.
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
HEY,,,,swayambu linga.!
.
Sankari samkuru kruthi by Shyama Sastry is very unique as pointed out by srinivasaraos blog on SS.
.
In this kruthi on Akilandewari, SS praises the goddess and seeks her blessing for ALL.
In contrast to a vaggeyajara who is always saying maamava.
.
Sure, the goddess is wife of Siva and sports with the lord. , what is wrong? She is not depicted in icon wjile sporting.
but note carefully that she was the original deity KALI at that kshetram , a fierce goddess, pacified by Sankaracharya by a ear ring chakram.
.
[b]kapAla dhAriN[/b]i – According to above website, akhilANDESvari was a ‘ugra dEvatA’ who was pacified by Adi Sankara by installing SrI cakra in Her ears.
,
O Sankari! O Moon Faced Mother akhilANDESvari! O SAmbhavi! O Mother worshipped by brahmA! O gauri! O amba!
O Reliever of anxiety! O Destroyer of enemies! O kalyANi! O Bestower of results to those who always supplicate! Consort of OSiva! O Generator of this Universe!
O Mother who sports with Siva – jambu pati! O Mother who takes delight in protecting the Universe! O Conch necked, bhavAni! O Mother who carries skull! O Mother who wields trident!
O Mother who brings delight to Siva! O Nourisher of entire Universe! O Mother who bestows auspiciousness! O Consort of Siva – mRDa! O Swan like gaited!
O SyAmaLA - sister of vishNu – SyAma kRshNa! O Slender waisted! O bAlA - enjoyer of sAma gAna! O Mother who is always intent on relieving the problems of devotees!
....
.
Sankari samkuru kruthi by Shyama Sastry is very unique as pointed out by srinivasaraos blog on SS.
.
In this kruthi on Akilandewari, SS praises the goddess and seeks her blessing for ALL.
In contrast to a vaggeyajara who is always saying maamava.
.
Sure, the goddess is wife of Siva and sports with the lord. , what is wrong? She is not depicted in icon wjile sporting.
but note carefully that she was the original deity KALI at that kshetram , a fierce goddess, pacified by Sankaracharya by a ear ring chakram.
.
[b]kapAla dhAriN[/b]i – According to above website, akhilANDESvari was a ‘ugra dEvatA’ who was pacified by Adi Sankara by installing SrI cakra in Her ears.
,
O Sankari! O Moon Faced Mother akhilANDESvari! O SAmbhavi! O Mother worshipped by brahmA! O gauri! O amba!
O Reliever of anxiety! O Destroyer of enemies! O kalyANi! O Bestower of results to those who always supplicate! Consort of OSiva! O Generator of this Universe!
O Mother who sports with Siva – jambu pati! O Mother who takes delight in protecting the Universe! O Conch necked, bhavAni! O Mother who carries skull! O Mother who wields trident!
O Mother who brings delight to Siva! O Nourisher of entire Universe! O Mother who bestows auspiciousness! O Consort of Siva – mRDa! O Swan like gaited!
O SyAmaLA - sister of vishNu – SyAma kRshNa! O Slender waisted! O bAlA - enjoyer of sAma gAna! O Mother who is always intent on relieving the problems of devotees!
....
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Krithis on Arthanreeswara
We are only concerned with the vAggeyakAras words and ideas.
I am not keen on humiliating this poster further or educating him further.
The details here are for any other reader, who might be interested.
They can make up their own minds, whether the repeated disparagement of the vAggeyakAras ideas/words is supported by any facts (or just this posters insecurities)
At jambukESwaram, the akhilAndESwari is exactly "Sri mAtah Siva vAmAnkE", the ardhanAri who is also "jambupati sahita", and "akhilAnda-nAyikE" ...noted by the Dikshitar in his bEgada.
And in the kriti jambupatE (yamunA kalyani) this Siva is also "akhilAndESwari ramana".
In "akhilAndESwari (jujAvanti) she ia nitya-AtmikE, the soul of Siva who is "nitya".
All the skull/trident etc. icons are borne by this ardhanAri deity.
As "AdiSakti" = akhilAndESwari in "ennEramum", SyAmA SAStri confirms this.
There is no AdiSakti without Siva. They are 2 halves of one.
No...There is NO disconnecting the dEvi from Siva at this kSEtra.
This poster tried this at kAnCi and tanjAvUr, and failed , rather miserably.
Having failed, he looks around , hoping to find something at jambukESwaram now ,
He is flailing around, but it is hopeless. All that is happening is confirmation of his lack of understanding and bitterness. Poor chap.
Absolutely no reading of any of the kritis (and the WORDS CHOSEN by the vAggeyakAras) gives any different picture or image.
I think this poster has difficulty understanding these words, much less the ideas behind them.
As a result he is unable to refute any of these facts.
Yet he persists with lewd imagery and bitter, veiled denigration (50/50 etc) , to make up for this inadequacy and dis-enfranchisement from the music.
I am not keen on humiliating this poster further or educating him further.
The details here are for any other reader, who might be interested.
They can make up their own minds, whether the repeated disparagement of the vAggeyakAras ideas/words is supported by any facts (or just this posters insecurities)
At jambukESwaram, the akhilAndESwari is exactly "Sri mAtah Siva vAmAnkE", the ardhanAri who is also "jambupati sahita", and "akhilAnda-nAyikE" ...noted by the Dikshitar in his bEgada.
And in the kriti jambupatE (yamunA kalyani) this Siva is also "akhilAndESwari ramana".
In "akhilAndESwari (jujAvanti) she ia nitya-AtmikE, the soul of Siva who is "nitya".
All the skull/trident etc. icons are borne by this ardhanAri deity.
As "AdiSakti" = akhilAndESwari in "ennEramum", SyAmA SAStri confirms this.
There is no AdiSakti without Siva. They are 2 halves of one.
No...There is NO disconnecting the dEvi from Siva at this kSEtra.
This poster tried this at kAnCi and tanjAvUr, and failed , rather miserably.
Having failed, he looks around , hoping to find something at jambukESwaram now ,
He is flailing around, but it is hopeless. All that is happening is confirmation of his lack of understanding and bitterness. Poor chap.
Absolutely no reading of any of the kritis (and the WORDS CHOSEN by the vAggeyakAras) gives any different picture or image.
I think this poster has difficulty understanding these words, much less the ideas behind them.
As a result he is unable to refute any of these facts.
Yet he persists with lewd imagery and bitter, veiled denigration (50/50 etc) , to make up for this inadequacy and dis-enfranchisement from the music.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
Akilandeswari is the original KALI of Thiruvaanaikka. And one of the sakthi peetams like kanchi . The devi has her own sannarhi in fourth prakaaram. But sivalingam is in a separate sannadhi in fifth prakaaram. I hope that the significance is not lost .
.
Much more impoftant. In the famous kruthi by sri.MD himself on Akilandeswari, he COMPLTELY OMITS any reference to siva though he mentions vishnu and ganesa.
...
These posts by me are just to caution discerning rasikas about blabbering boors.
.
Here is the kruthi by MD
WHERE IS SIVA HERE..?
..
http://guru-guha.blogspot.com/2007/07/d ... aksha.html
..
Meaning
pallavi
SrI akhila-aNDa-ISvari - O mistress of the entire universe!
raksha mAM - Protect me!
Agama sampradAya nipuNE - O expert in the tradition of the Vedas!
anupallavi
nikhila lOka nitya-AtmikE - O one who is eternally embodied as all the worlds,
vimalE - O pure one!
nirmalE - O unsullied one!
SyAmaLE - O dark-hued one!
sakala kalE - O one who personifies all the arts!
caraNam
lamba-udara guru guha pUjitE - O one worshipped by Ganesha (the one with a long belly) and Guruguha,
lamba-alaka-udbhAsitE - O one shining with long, hanging curls,
hasitE - O smiling one!
vAg-dEvatA-ArAdhitE - O one adored by Sarasvati (the goddess of speech),
varadE - O giver of boons!
vara Saila rAja nutE - O one extolled by the eminent Himavan (king of mountains),
SAradE - O Sarada (another name of Durga)!
jambhAri sambhAvitE - O one venerated by Indra (slayer of the demon Jambha)!
janArdana nutE - O one praised by Vishnu!
jujAvanti rAga nutE - O one celebrated with the Jujavanti Raga,
jhallI maddaLa jharjhara vAdya nAda muditE - O one delighted with the sounds of the instruments Jhalli, Maddala and Jharjhara,
jnAna pradE - O giver of enlightenment!
.
Much more impoftant. In the famous kruthi by sri.MD himself on Akilandeswari, he COMPLTELY OMITS any reference to siva though he mentions vishnu and ganesa.
...
These posts by me are just to caution discerning rasikas about blabbering boors.
.
Here is the kruthi by MD
WHERE IS SIVA HERE..?
..
http://guru-guha.blogspot.com/2007/07/d ... aksha.html
..
Meaning
pallavi
SrI akhila-aNDa-ISvari - O mistress of the entire universe!
raksha mAM - Protect me!
Agama sampradAya nipuNE - O expert in the tradition of the Vedas!
anupallavi
nikhila lOka nitya-AtmikE - O one who is eternally embodied as all the worlds,
vimalE - O pure one!
nirmalE - O unsullied one!
SyAmaLE - O dark-hued one!
sakala kalE - O one who personifies all the arts!
caraNam
lamba-udara guru guha pUjitE - O one worshipped by Ganesha (the one with a long belly) and Guruguha,
lamba-alaka-udbhAsitE - O one shining with long, hanging curls,
hasitE - O smiling one!
vAg-dEvatA-ArAdhitE - O one adored by Sarasvati (the goddess of speech),
varadE - O giver of boons!
vara Saila rAja nutE - O one extolled by the eminent Himavan (king of mountains),
SAradE - O Sarada (another name of Durga)!
jambhAri sambhAvitE - O one venerated by Indra (slayer of the demon Jambha)!
janArdana nutE - O one praised by Vishnu!
jujAvanti rAga nutE - O one celebrated with the Jujavanti Raga,
jhallI maddaLa jharjhara vAdya nAda muditE - O one delighted with the sounds of the instruments Jhalli, Maddala and Jharjhara,
jnAna pradE - O giver of enlightenment!
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Krithis on Arthanreeswara
Not only is this chap DUMB, he is also BLIND..
What he should be is MUTE.
The Dikshitar UNAMBIGUOUSLY gives the name = nitya for Siva ..in "akhilAndESwari rakSamAm"
And the dEvi is "nitya AtmikE"...noted in the post I made earlier.. she is Sivas Atma
nitya = Siva comes from the Siva purAna ( among others)..
śivassarvasvakartā hi bhartā hartā parātparaḥ
parabrahma pareśaśca nirguṇo nitya eva ca.
The universality (nikhila lOka)of Siva is also found in this purAna.
There is ABSOLUTELY NO WAY the dEvi is disconnected from the Siva at any of these kSEtras in the vAggeyakAras words or music or pujA.
The foolish ignorance comes from the basic disrespect for the vAggeyakAras, and lack of understanding of the words. (as has been noted again and again).
All to support a lewd theory only in his own mind.
I repeat..not only is he DUMB...he is also BLIND...
but what he should be is MUTE.
The bitter pervert is caught in a vise of his own making.
What he should be is MUTE.
The Dikshitar UNAMBIGUOUSLY gives the name = nitya for Siva ..in "akhilAndESwari rakSamAm"
And the dEvi is "nitya AtmikE"...noted in the post I made earlier.. she is Sivas Atma
nitya = Siva comes from the Siva purAna ( among others)..
śivassarvasvakartā hi bhartā hartā parātparaḥ
parabrahma pareśaśca nirguṇo nitya eva ca.
The universality (nikhila lOka)of Siva is also found in this purAna.
There is ABSOLUTELY NO WAY the dEvi is disconnected from the Siva at any of these kSEtras in the vAggeyakAras words or music or pujA.
The foolish ignorance comes from the basic disrespect for the vAggeyakAras, and lack of understanding of the words. (as has been noted again and again).
All to support a lewd theory only in his own mind.
I repeat..not only is he DUMB...he is also BLIND...
but what he should be is MUTE.
The bitter pervert is caught in a vise of his own making.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Krithis on Arthanreeswara
I've said enough on this subject. Should move on to better things.
Case is closed.
Case is closed.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
Meaning based on guruguha.org
Authoritative and scholarly, with great details on kruthis, historical background, plenty of information on the evolution of ragas, .the great site is a mine of information on all aspects of MUSIC. and is maintained with regular contribution by Sri.Ravi Rajagopalan.
..
The one who is the eternal lifeforce of the various worlds
...
Nikila loka
Nithya aathmike
..
Nithya means everlasting
Contrasted with anithyam , impermanent , perishable
Aathma in this context means soul of, essence of , .life force
....
Eternal essence of all the worlds
.
MD kruthis use simple and common sanskrit words generally.
...
We do not need siva puraanam for this
Word. So, there is no Siva in this kruthi.
Authoritative and scholarly, with great details on kruthis, historical background, plenty of information on the evolution of ragas, .the great site is a mine of information on all aspects of MUSIC. and is maintained with regular contribution by Sri.Ravi Rajagopalan.
..
The one who is the eternal lifeforce of the various worlds
...
Nikila loka
Nithya aathmike
..
Nithya means everlasting
Contrasted with anithyam , impermanent , perishable
Aathma in this context means soul of, essence of , .life force
....
Eternal essence of all the worlds
.
MD kruthis use simple and common sanskrit words generally.
...
We do not need siva puraanam for this
Word. So, there is no Siva in this kruthi.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
the multiple akhilAndESwari kritis each with the Siva mudra
I was hoping to set this aside, but a couple of additional items merit attention.
It is a certainty the Dikshitar has read the “Siva purAna”.
It is a certainty the Dikshitar has NOT READ ANY translations given by this lewd pervert.
Question: Who/what should a reader believe ?
Answer: whatever they want to…
Siva purAna gives the name of Siva as “nitya”
Chapter 10
Book 2.2 - Rudrasaṃhitā (2): Satīkhaṇḍa
Stanza 35
Siva sarvasva kartA hi bhartA hartA parAtpara
parabrahma pareSaS ca nirguṇo nitya eva ca
Siva is sarvasva (Siva is the creator of everything)
Siva is kartA (Siva is sustainer)
Siva is bhartA (Siva is destroyer)
Siva is parAtpara (Siva is greater than great)
Siva is parabrahma (Siva is the supreme Brahman)
Siva os parESas (Siva is the greatest lord )
Siva is nirgunO (Siva is attributeless)
Siva is nitya (Siva is eternal)
Siva is nitya !
And dEvi is “nitya-AtmikE”, she is the Atma of Siva.
Conclusion
In jambukESwaram
The reference “nitya-AtmikE” in “akhilAndESwari rakSamAm” is exactly this Siva.
The dEvi is the ardhanAri who is also "Sri mAta Siva vAmAnkE"
There are 2 other “akhilAndESwari” kritis of the Dikshitar that are lesser known but still on the records. Notice that this pervert is not citing them.
In the Suddha sAvEri “akhilAndESwarO rakSatu mAm”, the Siva = akhilAndESwara is described as “akhilAndESwari-sahita”.
In the Arabhi Sri Cakra kriti “akhilAndESwaryai namastE” , the name “sarva” appears 8 times for Cakras 2-9.
sarva = Siva , it is also a name for Siva, just like nitya.
And as “sarva-Anandamaya CakrESwaryai”, the 9th Cakra name, the Siva-Sakti union is complete.
The same "akhilAndESWari" dEvi is “AdiSakti” in the SyAmA SAStri kriti “ennEramum”, AdiSakti derives from prakriti-puruSa ardhanAri.
Readers can choose to believe whatever they want.
But NO ONE CAN dispute the purAnas texts (shown above) or that these texts are used by the Dikshitar.
When ALL the evidence is examined as shown above, the conclusion of anyone who is sane (and not guilty of some other agenda) is that In jambukESwaram = tiruvAnaikkal (just like kAnCI and tanjAvUr and the many other kSEtras shown in posts here), the vAggeyakAras celebrate the ardhanAri and the Siva-Sakti union with their words and their music.
It is a certainty the Dikshitar has read the “Siva purAna”.
It is a certainty the Dikshitar has NOT READ ANY translations given by this lewd pervert.
Question: Who/what should a reader believe ?
Answer: whatever they want to…
Siva purAna gives the name of Siva as “nitya”
Chapter 10
Book 2.2 - Rudrasaṃhitā (2): Satīkhaṇḍa
Stanza 35
Siva sarvasva kartA hi bhartA hartA parAtpara
parabrahma pareSaS ca nirguṇo nitya eva ca
Siva is sarvasva (Siva is the creator of everything)
Siva is kartA (Siva is sustainer)
Siva is bhartA (Siva is destroyer)
Siva is parAtpara (Siva is greater than great)
Siva is parabrahma (Siva is the supreme Brahman)
Siva os parESas (Siva is the greatest lord )
Siva is nirgunO (Siva is attributeless)
Siva is nitya (Siva is eternal)
Siva is nitya !
And dEvi is “nitya-AtmikE”, she is the Atma of Siva.
Conclusion
In jambukESwaram
The reference “nitya-AtmikE” in “akhilAndESwari rakSamAm” is exactly this Siva.
The dEvi is the ardhanAri who is also "Sri mAta Siva vAmAnkE"
There are 2 other “akhilAndESwari” kritis of the Dikshitar that are lesser known but still on the records. Notice that this pervert is not citing them.
In the Suddha sAvEri “akhilAndESwarO rakSatu mAm”, the Siva = akhilAndESwara is described as “akhilAndESwari-sahita”.
In the Arabhi Sri Cakra kriti “akhilAndESwaryai namastE” , the name “sarva” appears 8 times for Cakras 2-9.
sarva = Siva , it is also a name for Siva, just like nitya.
And as “sarva-Anandamaya CakrESwaryai”, the 9th Cakra name, the Siva-Sakti union is complete.
The same "akhilAndESWari" dEvi is “AdiSakti” in the SyAmA SAStri kriti “ennEramum”, AdiSakti derives from prakriti-puruSa ardhanAri.
Readers can choose to believe whatever they want.
But NO ONE CAN dispute the purAnas texts (shown above) or that these texts are used by the Dikshitar.
When ALL the evidence is examined as shown above, the conclusion of anyone who is sane (and not guilty of some other agenda) is that In jambukESwaram = tiruvAnaikkal (just like kAnCI and tanjAvUr and the many other kSEtras shown in posts here), the vAggeyakAras celebrate the ardhanAri and the Siva-Sakti union with their words and their music.
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
The ardhanAri of vaitheeSwaran-kOvil/pulirukkuvel in the Dikshitar kritis – the kalyAni & the athAna
The ardhanAri of vaitheeSwaran-kOvil/pulirukkuvel in the Dikshitar kritis – the “bhajarE re Cita bAlAmbikA” kalyAni and the “Sri vaidyanAtham” athAna
vaitheeSwaran kOvil also has an ardhanAri and it is acknowledged by both the tEvAram and the Dikshitar
tEvAram and the ardhanAri of vaitheeSwaran kOvil
The tEvAram poets reference the ardhanAri of vaitheeSwaran kOvil = tiru-pulirukkuvel in the 2nd tirumurai, 2nd stanza, about a 1000 years ago
thaiyalaa 'lorupaakagn sadaimaelaa 'lava'loadum
Translation: having on one half a lady by name taiyal
The Dikshitars navAvarana to the bAlAmbikA of vaitheeSwaran kOvil
Post 804 of the Mutthuswamy Dikshitar thread dated Dec. 9, 2022, revealed the complete 9 kritis of the navAvarana to the balAmbikA, including the basis for all the rAgas used.
https://www.rasikas.org/forums/viewtopi ... 83#p378283
The 9 kritis are collected here INCLUDING the manner in which they refer to the consort = vaidyapati
It will be seen that in 8 kritis the connecting word is generic.
But in the 9th balAmbikA kriti (and the corresponding male kriti ) is where the unmistakeable ardhanAri mudras are embedded.
Since there is only one kriti to the male deity, it is understandable there is only one female deity kriti with the mudra, given the BALANCE the ardhanAri idea represents.
The 9 bAlAmbikA kritis , their Cakra, rAga and mode of consort address are collected here. All rAga choices are explained in post noted above
1. bAlAmbikayA kaTAkSitOham Cakra 1 SrIranjani
nIlakantha guruguha mOditayA
2. gIticakrarathasthitAyai Cakra 2 kannada
nata bhairavAdi
3. gAnalOlE bAlE Cakra 3 nAgavarALi
guru-guhAtmakE
4. bAlAmbikAyai namastE Cakra 4 nATakuraNji
vaidyapati manOllAsa karyai
5. bAlAmbikE pAhi Cakra 5 manOranjani
SankaranArAyani manOranjani (the bAla child goddess charms both Siva and nArAyani)
Note on SankaranArAyana versus SankaranArAyani
(MANY FOOLISH MUSICOLOGISTS INCORRECTLY write this as SankaranAraya-na EVEN THOUGH IT VIOLATES THE ending -ni sound required by the other words in the anupallavi…But the Dikshitar has prepared for these fools. He gives the additional 5th Cakra = viSuddha Cakra reference as (Suddha Cakra nilayE) RULING OUT any other kSEtra for this bAlAmbikA, especially SankarankOvil !)
6. bAlAmbikAyAH: Cakra 6 kEdAragauLa
vaidyapati mohinyA
7. bAlAmbikAyAh param nahirE Cakra 7 kAnaDa
vaidyapatISvara sukha karyA
8. navaratnamAlinIm Cakra 8 gamakakriya
bhavAnISa (where Siva is bhava and the goddess is = bhavAni, therefore Siva is bhavAniSa )
AND FINALLY, The ardhanAri PAIR of kritis and their unique ardhanAri mudras.
The Dikshitar identifies the ardhanAri in the final Cakra kriti and the corresponding solitary male deity kriti.
9. bhajarE rE citta bAlAmbikAm Cakra 9 kalyAni
This kriti has MULTIPLE mudras of the ardhanAri
C: SrI vAg bhava kUta jAta caturvEda svarUpiNIm SRngAra kAmarAjOd bhava sakala vaidya pati hRdaya vihAriNIm
Siva is bhava
bhava kUta is dEvi “dwelling” in Siva
bhava sakala is dEvi “united” with Siva
And of course vaidyapati hrdaya vihArini is the statement of her abode in the Siva.
“bhajarE rE Cita’ kalyAni is an important kriti especially the phrase “nija rupa dAna” and the reference to the 3 sections of the panCadaSAkSari the 15 syllable mantra divided in to 3 kutas.
It is also the ONLY kriti carrying the exact “muthu-kumAra” signature.
This kriti was also discussed in post dated 25 Mar 2022 in post #734 of the Mutthuswamy Dikshithar thread
Sri vaidyanAtham bhajAmi Cakra 9 aThAna
This has the classical ardhanAri mudra.
kamanIya nAdabindu Aspadam
Aspada being site or seat, the nAdabindukalA “seat” is the expression of the Siva-Sakti union.
The dEvi is “parAdi catvAri vAksvarUpiNi “ …of the four forms of speech like para etc..
The conjoined Siva-Sakti union = nAda bindu kalA, transcends even this aspect…it is beyond words and speech. The bindu is the culimation of the transit through the Cakras, reaching the “dot” within the final triangle of the Sri Cakra.
The athAna rAga explanation is useful to repeat here.
The “bhandakumAra mardini bAlAmbikA” goddess (the child form of lalitA) was given help by the ganapati, the elephant headed deity , upon the Sivas instruction, in her victory over the sons of bhanda....elephant leads to hAthana = hAthi, hasti, atti etc
(as an aside, the abhayAmbA form of lalitA took the help of janArdana to defeat bhanda , this is why the aSwArudha abhayAmbA goddess is given the rAga “yadukula kAmbOji”).
Unerringly, once again, the Dikshitar acknowledges the ardhanAri aspect of the deities at vaitheeSwaran kOvil.
He does it by using the mudras in a pair of kritis… one addressing the male and one addressing the female.
What he is teaching is that in the pujA of this kSEtra, the Sri Cakra worship of bAlAmbikA leads to Sri vaidyanAtha.
In the vision of the vAggeyakAra, the two kritis BALANCE each other.
It is the musical poets way of acknowleding the ardhanAri that the tEvAram cited 1000 years before the Dikshitar.
Unerringly, once again the nAdayOgis message has survived the untruth of 200 years.
It overwhelms the lewdness of bitter perverts who have no idea what this music is about, the wilful misrepresentations and the pathetic parroting of insipid translations without meaning.
No dimwitted musicologist or clue-less translator is even aware of the bAlAmbikA navAvarana even though the kritis have been around for 200 years. (ditto for abhayAmbA, tiruttani and the other navAvaranas cited in earlier posts)
And it is only when the balAmbikA navAvarana is comprehended that one can see the ardhanAri of vaitheeSwaran kOvil represented by the kalyAni/athAna pair of kritis.
There is a reason these mudras are embedded/hidden in this manner.
The vAggeyakAra protects his creations and also demands the nAda-upAsaka’s introspection into his reasoning and his vision.
He has succeeded and all nAda-upAsakas are enriched.
bhajarE rE Cita – rAga kalyAni
MDR
https://www.youtube.com/watch?v=9Qhk0dD9uHI
Sri vaidyanAtham – rAga athAna
mallAdi bros.
https://www.youtube.com/watch?v=vk14q3zcAis
vaitheeSwaran kOvil also has an ardhanAri and it is acknowledged by both the tEvAram and the Dikshitar
tEvAram and the ardhanAri of vaitheeSwaran kOvil
The tEvAram poets reference the ardhanAri of vaitheeSwaran kOvil = tiru-pulirukkuvel in the 2nd tirumurai, 2nd stanza, about a 1000 years ago
thaiyalaa 'lorupaakagn sadaimaelaa 'lava'loadum
Translation: having on one half a lady by name taiyal
The Dikshitars navAvarana to the bAlAmbikA of vaitheeSwaran kOvil
Post 804 of the Mutthuswamy Dikshitar thread dated Dec. 9, 2022, revealed the complete 9 kritis of the navAvarana to the balAmbikA, including the basis for all the rAgas used.
https://www.rasikas.org/forums/viewtopi ... 83#p378283
The 9 kritis are collected here INCLUDING the manner in which they refer to the consort = vaidyapati
It will be seen that in 8 kritis the connecting word is generic.
But in the 9th balAmbikA kriti (and the corresponding male kriti ) is where the unmistakeable ardhanAri mudras are embedded.
Since there is only one kriti to the male deity, it is understandable there is only one female deity kriti with the mudra, given the BALANCE the ardhanAri idea represents.
The 9 bAlAmbikA kritis , their Cakra, rAga and mode of consort address are collected here. All rAga choices are explained in post noted above
1. bAlAmbikayA kaTAkSitOham Cakra 1 SrIranjani
nIlakantha guruguha mOditayA
2. gIticakrarathasthitAyai Cakra 2 kannada
nata bhairavAdi
3. gAnalOlE bAlE Cakra 3 nAgavarALi
guru-guhAtmakE
4. bAlAmbikAyai namastE Cakra 4 nATakuraNji
vaidyapati manOllAsa karyai
5. bAlAmbikE pAhi Cakra 5 manOranjani
SankaranArAyani manOranjani (the bAla child goddess charms both Siva and nArAyani)
Note on SankaranArAyana versus SankaranArAyani
(MANY FOOLISH MUSICOLOGISTS INCORRECTLY write this as SankaranAraya-na EVEN THOUGH IT VIOLATES THE ending -ni sound required by the other words in the anupallavi…But the Dikshitar has prepared for these fools. He gives the additional 5th Cakra = viSuddha Cakra reference as (Suddha Cakra nilayE) RULING OUT any other kSEtra for this bAlAmbikA, especially SankarankOvil !)
6. bAlAmbikAyAH: Cakra 6 kEdAragauLa
vaidyapati mohinyA
7. bAlAmbikAyAh param nahirE Cakra 7 kAnaDa
vaidyapatISvara sukha karyA
8. navaratnamAlinIm Cakra 8 gamakakriya
bhavAnISa (where Siva is bhava and the goddess is = bhavAni, therefore Siva is bhavAniSa )
AND FINALLY, The ardhanAri PAIR of kritis and their unique ardhanAri mudras.
The Dikshitar identifies the ardhanAri in the final Cakra kriti and the corresponding solitary male deity kriti.
9. bhajarE rE citta bAlAmbikAm Cakra 9 kalyAni
This kriti has MULTIPLE mudras of the ardhanAri
C: SrI vAg bhava kUta jAta caturvEda svarUpiNIm SRngAra kAmarAjOd bhava sakala vaidya pati hRdaya vihAriNIm
Siva is bhava
bhava kUta is dEvi “dwelling” in Siva
bhava sakala is dEvi “united” with Siva
And of course vaidyapati hrdaya vihArini is the statement of her abode in the Siva.
“bhajarE rE Cita’ kalyAni is an important kriti especially the phrase “nija rupa dAna” and the reference to the 3 sections of the panCadaSAkSari the 15 syllable mantra divided in to 3 kutas.
It is also the ONLY kriti carrying the exact “muthu-kumAra” signature.
This kriti was also discussed in post dated 25 Mar 2022 in post #734 of the Mutthuswamy Dikshithar thread
Sri vaidyanAtham bhajAmi Cakra 9 aThAna
This has the classical ardhanAri mudra.
kamanIya nAdabindu Aspadam
Aspada being site or seat, the nAdabindukalA “seat” is the expression of the Siva-Sakti union.
The dEvi is “parAdi catvAri vAksvarUpiNi “ …of the four forms of speech like para etc..
The conjoined Siva-Sakti union = nAda bindu kalA, transcends even this aspect…it is beyond words and speech. The bindu is the culimation of the transit through the Cakras, reaching the “dot” within the final triangle of the Sri Cakra.
The athAna rAga explanation is useful to repeat here.
The “bhandakumAra mardini bAlAmbikA” goddess (the child form of lalitA) was given help by the ganapati, the elephant headed deity , upon the Sivas instruction, in her victory over the sons of bhanda....elephant leads to hAthana = hAthi, hasti, atti etc
(as an aside, the abhayAmbA form of lalitA took the help of janArdana to defeat bhanda , this is why the aSwArudha abhayAmbA goddess is given the rAga “yadukula kAmbOji”).
Unerringly, once again, the Dikshitar acknowledges the ardhanAri aspect of the deities at vaitheeSwaran kOvil.
He does it by using the mudras in a pair of kritis… one addressing the male and one addressing the female.
What he is teaching is that in the pujA of this kSEtra, the Sri Cakra worship of bAlAmbikA leads to Sri vaidyanAtha.
In the vision of the vAggeyakAra, the two kritis BALANCE each other.
It is the musical poets way of acknowleding the ardhanAri that the tEvAram cited 1000 years before the Dikshitar.
Unerringly, once again the nAdayOgis message has survived the untruth of 200 years.
It overwhelms the lewdness of bitter perverts who have no idea what this music is about, the wilful misrepresentations and the pathetic parroting of insipid translations without meaning.
No dimwitted musicologist or clue-less translator is even aware of the bAlAmbikA navAvarana even though the kritis have been around for 200 years. (ditto for abhayAmbA, tiruttani and the other navAvaranas cited in earlier posts)
And it is only when the balAmbikA navAvarana is comprehended that one can see the ardhanAri of vaitheeSwaran kOvil represented by the kalyAni/athAna pair of kritis.
There is a reason these mudras are embedded/hidden in this manner.
The vAggeyakAra protects his creations and also demands the nAda-upAsaka’s introspection into his reasoning and his vision.
He has succeeded and all nAda-upAsakas are enriched.
bhajarE rE Cita – rAga kalyAni
MDR
https://www.youtube.com/watch?v=9Qhk0dD9uHI
Sri vaidyanAtham – rAga athAna
mallAdi bros.
https://www.youtube.com/watch?v=vk14q3zcAis
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
I had hoped that the silly and senseless posts by unionist swayambu had come to an end . Alas! Hopes belied.
.
All puraanàs are a mixture of good and bad things. These numerous puraanaas have been continuously added , adulterated and altered over fourteen centuries.
Besides siva puraanaa, there are about 35 other puraanaas. Afterall, baagavatham also is a puraana.
If you read vishnu puraana, vishnu is extolled as the ultimate origin. Atleast it has the reference in the earliest veda Rug veda. Like Rudra. Possibly, vishnu is a proxy imagery of suryaNaarayanan.
There is no reference to any devi like
Girija, lakshmi . But there are some fine mentions about the saraswathi both as river and goddess of vaak and poetry.
.
There is no idol worship in rugveda.
.
Rudra is described as having rishaba vahana, matted hair, archery and blue throat and fiery sword. Much of that is retained in iconography.
.
There is no lingam icon in rugveda. It is definitely a phallic symbol. It is said to be yagna stambam but it does not explain the full yagnya. Tradition.
It is a later day addition possibly influenced by indus culture which abounds in icons.
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It is not at all a thamizh tradition of pre 600 AD.
. Pre mahendra varman and appar. But the earlier period had kaaLi definitely.
.
I am convinced that siva, parvathi, kailash imagery is alien to sangam thamizh lore except for a lone poem which talks of raavaña trying to lift the sacred mountain.
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Kamakshi temple is built by very early thondai mandlam king of later sangam period..200 AD..400 years prior to mahendra pallavan in the same sacred sthalam of kanchipuram.
..
In sangam literature, KaaLi , kumara and maayon..krushna are very prominently mentioned and extolled....
Paripaapdal is almost absolutely lovely translation of GITA.
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If you read Devi puraanaa, devi is the ultimate source of the universe and there are sickening passages about siva in lustful rut chasing mohini avatar of vishnu. Both siva and vishnu are ridiculed.
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Brammaanda puraana says, saraswathi is daughter of visbnu.!and another puraanam says, brahma created saraswathy and married his own daughter. Are these worth studying?
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Likewise kandapurana has terribly different versions. I understand that there are 18 major puraanaas and 18 minor puraanaas. They have a lot of absurdities and contradictions.
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I am not aplogetic about not having read all the puraanaas. Who has ?
We as rasikas are mostly technology professionals and we have very wide range of interests like sociology, history, literature and many more.
.
You are accusing me of an agenda. Yes. My agenda is that most if not all siva temples in thamizh country were originally KAALI temples , appropriated by pallava, chozha, paandya kings.
I am still trying to locate a siva temple without lingam but there are quite a few kaaLi templès aĺl over thamizh land even today and i may even surmise that the worship of kaaLi and muruga is much more alive in this land fhan that of siva.
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Later day, vijayanagar, and maratta kingdoms revived the vaishnavite traditions. And so closer to ancient pre 600 AD thamizh culture.
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Vaishnavites also are more especially among the people in western tamizhnaadu. Raama worship is very limited even among brahmins! In thamizhnadu today.
And even among carnatic musicians.
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. Who reads valmiki? Kamban? Which vocalist has sung all the kruthis if Thyagaraja?
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Akilandeswari kruthi does not mention Siva,
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There are other MD kruthis about this devi which mentions her as spouse of siva in that sthalam but there is no pooja vigraham there which shows them side by side. That is the main criterion.
They have separate sañnadhis.
The same is true of many siva.sakthi shrines.
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Even if the pooja vigraham shows them side by side, it is just sametha , sahitham and not ardhanaari. ..the idol showing right half as siva and left half as devi.
It just means that the devi as consort is standing or seated on the left of the urchava moorfhy. Most often, the male deity is a lingam in the moola moorthy.
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You are debunking great scholars like in guruguha.org, vgovindan, govindarao, ssp, vedavalli, srinivasaraos.especially his blogs on the Trinity, prof. PPN, karnatik site and almost all the stalwart musicians of the golden era.
You forget that CM is not at all about srividya upaasanaa though unlike HM it is hindu relgion oriented intentionally
to counter the court music culture of post 1300 Ad.of north india and north deccan.
..
The bakthi tradition of CM does not depend on tantra, and rituals. It is essentially centred around chanting, smaranam, devotion and surrender. So wonderfully shown by Shyama Saastry and thyagaraja swami.
It stresses austere and dharmic life as advised by GITA.
I wonder if Ss ever sang about any deity except devi and if Thyafaraja sang about other deities like siva except for about 50 in lalgudi, kovoor, thiruvaiyaru,. He did however sing about devi paarvathi as she is vishnu s sister.
..
I am not dumb, blind to good things, though slightly deaf to prattlers like you.
Why dont you listen and absorb the message of the divine poetry, music and rendition of Smt.MS in the following link? If you do, you can say that you are having, ears,eyes, and tongue ,put to proper use.
https://sites.google.com/site/homage2ms ... authuser=0
But, unless you have exposure to real thamizh literature, you may miss everything there.
.
.
All puraanàs are a mixture of good and bad things. These numerous puraanaas have been continuously added , adulterated and altered over fourteen centuries.
Besides siva puraanaa, there are about 35 other puraanaas. Afterall, baagavatham also is a puraana.
If you read vishnu puraana, vishnu is extolled as the ultimate origin. Atleast it has the reference in the earliest veda Rug veda. Like Rudra. Possibly, vishnu is a proxy imagery of suryaNaarayanan.
There is no reference to any devi like
Girija, lakshmi . But there are some fine mentions about the saraswathi both as river and goddess of vaak and poetry.
.
There is no idol worship in rugveda.
.
Rudra is described as having rishaba vahana, matted hair, archery and blue throat and fiery sword. Much of that is retained in iconography.
.
There is no lingam icon in rugveda. It is definitely a phallic symbol. It is said to be yagna stambam but it does not explain the full yagnya. Tradition.
It is a later day addition possibly influenced by indus culture which abounds in icons.
.
It is not at all a thamizh tradition of pre 600 AD.
. Pre mahendra varman and appar. But the earlier period had kaaLi definitely.
.
I am convinced that siva, parvathi, kailash imagery is alien to sangam thamizh lore except for a lone poem which talks of raavaña trying to lift the sacred mountain.
.
Kamakshi temple is built by very early thondai mandlam king of later sangam period..200 AD..400 years prior to mahendra pallavan in the same sacred sthalam of kanchipuram.
..
In sangam literature, KaaLi , kumara and maayon..krushna are very prominently mentioned and extolled....
Paripaapdal is almost absolutely lovely translation of GITA.
.
If you read Devi puraanaa, devi is the ultimate source of the universe and there are sickening passages about siva in lustful rut chasing mohini avatar of vishnu. Both siva and vishnu are ridiculed.
.
Brammaanda puraana says, saraswathi is daughter of visbnu.!and another puraanam says, brahma created saraswathy and married his own daughter. Are these worth studying?
.
Likewise kandapurana has terribly different versions. I understand that there are 18 major puraanaas and 18 minor puraanaas. They have a lot of absurdities and contradictions.
.
I am not aplogetic about not having read all the puraanaas. Who has ?
We as rasikas are mostly technology professionals and we have very wide range of interests like sociology, history, literature and many more.
.
You are accusing me of an agenda. Yes. My agenda is that most if not all siva temples in thamizh country were originally KAALI temples , appropriated by pallava, chozha, paandya kings.
I am still trying to locate a siva temple without lingam but there are quite a few kaaLi templès aĺl over thamizh land even today and i may even surmise that the worship of kaaLi and muruga is much more alive in this land fhan that of siva.
.
Later day, vijayanagar, and maratta kingdoms revived the vaishnavite traditions. And so closer to ancient pre 600 AD thamizh culture.
.
Vaishnavites also are more especially among the people in western tamizhnaadu. Raama worship is very limited even among brahmins! In thamizhnadu today.
And even among carnatic musicians.
.
. Who reads valmiki? Kamban? Which vocalist has sung all the kruthis if Thyagaraja?
.
Akilandeswari kruthi does not mention Siva,
.
There are other MD kruthis about this devi which mentions her as spouse of siva in that sthalam but there is no pooja vigraham there which shows them side by side. That is the main criterion.
They have separate sañnadhis.
The same is true of many siva.sakthi shrines.
.
Even if the pooja vigraham shows them side by side, it is just sametha , sahitham and not ardhanaari. ..the idol showing right half as siva and left half as devi.
It just means that the devi as consort is standing or seated on the left of the urchava moorfhy. Most often, the male deity is a lingam in the moola moorthy.
.
You are debunking great scholars like in guruguha.org, vgovindan, govindarao, ssp, vedavalli, srinivasaraos.especially his blogs on the Trinity, prof. PPN, karnatik site and almost all the stalwart musicians of the golden era.
You forget that CM is not at all about srividya upaasanaa though unlike HM it is hindu relgion oriented intentionally
to counter the court music culture of post 1300 Ad.of north india and north deccan.
..
The bakthi tradition of CM does not depend on tantra, and rituals. It is essentially centred around chanting, smaranam, devotion and surrender. So wonderfully shown by Shyama Saastry and thyagaraja swami.
It stresses austere and dharmic life as advised by GITA.
I wonder if Ss ever sang about any deity except devi and if Thyafaraja sang about other deities like siva except for about 50 in lalgudi, kovoor, thiruvaiyaru,. He did however sing about devi paarvathi as she is vishnu s sister.
..
I am not dumb, blind to good things, though slightly deaf to prattlers like you.
Why dont you listen and absorb the message of the divine poetry, music and rendition of Smt.MS in the following link? If you do, you can say that you are having, ears,eyes, and tongue ,put to proper use.
https://sites.google.com/site/homage2ms ... authuser=0
But, unless you have exposure to real thamizh literature, you may miss everything there.
.
Last edited by RSR on 15 Jul 2023, 18:28, edited 2 times in total.
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Pratyaksham Bala
- Posts: 4165
- Joined: 21 May 2010, 16:57
Re: Krithis on Arthanreeswara
.
.
Came across this old post !
.
Came across this old post !
RasikasModerator2 wrote: ↑14 Dec 2019, 23:41 Ok gentlemen, that will do. First of all this is a place to celebrate music and art forms, not to preach moral science from the so called high pulpit. All your opinions are your personal views and tastes, and differences are one thing. But this need to present your selective choices as gospel truth and throw mud on both our composers and each other is regrettable. Pretence of objectivity while airing all your subjective notions is dishonest. And If you all do not want a discussion to erupt over your preferred choice of words, it would be better to avoid fuelling a fire in the first place. This applies to all of you, whether young or old.
Also it would be better to refrain from passing verdicts on matters that one is not the expert in. You may not like it or be interested in it, but If you do make such statements someone else who does know better may be compelled to respond. And then it just goes downhill. So if we want to avoid that, all of you, kindly handle your differences with more sensitivity. Or be willing to discuss and accept.
With that it would be better to stick to topic without derailing the thread into other matters. Kindly continue the discussion ... more fruitfully without both further moralizing, ad hominem attacks and inflammatory remarks. Thank you.
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
All my posts in this thread are very respectful to established forumites and recognized scholars in the field.
I am just pointing out the grave blunder in equating sametha and sahitam with 50,50.
I am also pointing out that 50,50 is not applicable to vaishnavite deities and even saakthas.
I am protesting that Shyama Sastry and Thyagaraja swami are never srividya upaasakas.
I am tfying to speak of the unique religeius traditionns of thamizhnadu where kaali, murugan and above all, krushna had the primary place in sangam era and 50,50 is a late arrival not to be applied indiscriminately to all deities.
Thank you
I am just pointing out the grave blunder in equating sametha and sahitam with 50,50.
I am also pointing out that 50,50 is not applicable to vaishnavite deities and even saakthas.
I am protesting that Shyama Sastry and Thyagaraja swami are never srividya upaasakas.
I am tfying to speak of the unique religeius traditionns of thamizhnadu where kaali, murugan and above all, krushna had the primary place in sangam era and 50,50 is a late arrival not to be applied indiscriminately to all deities.
Thank you
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arasi
- Posts: 16789
- Joined: 22 Jun 2006, 09:30
Re: Krithis on Arthanreeswara
PBala,
Thank you.
Being no scholar, I kept my mouth shut but it was painful to see the way the thread was going. nalladOr vINai seidE (apt in MD's case) adai nalangeDa puzhudiyil eRivaduNDO? came to mind. A sanctuary was becoming a brawl house
I felt sad, especially for RSR, considering his age. If lofty music and minding the dignity which goes with enlightening others with our bright minds are forgotten for the sake of our own strong opinions, then, it's really sad. There are no levels among us in exchanging what we know at Rasikas.org because we come in all shapes and sizes, different experiences and background in our musical knowledge.. We should give (greatly appreciated when it comes from scholarly sources) and receive without prejudice. Anyhow, a pleasant outlook when it comes to exchanging valuable material is simply civil. Such great material and the sources which are mined here is something many of us admire. seivadai ellam seidu viTTu kazhu nIril kai viDuvadu pOl--after cooking a great feast, like dipping your hands in waste water...is really sad.
Rasikas.org had (has) decorum. Not being merely an outward expression of it, but its being the result of our appreciating good music and being in debt to all the saintly composers who gave us their treasures to sing, play and find peace and joy in them.
There is so much here to learn--for the old and the young in age and at their many levels of understanding music. Let's not be petty when others irk us (it happens) and forget why we all come together here. Well, the old lady has spoken enough.
Once again, P Bala, thanks for your good guidance...
Thank you.
Being no scholar, I kept my mouth shut but it was painful to see the way the thread was going. nalladOr vINai seidE (apt in MD's case) adai nalangeDa puzhudiyil eRivaduNDO? came to mind. A sanctuary was becoming a brawl house
I felt sad, especially for RSR, considering his age. If lofty music and minding the dignity which goes with enlightening others with our bright minds are forgotten for the sake of our own strong opinions, then, it's really sad. There are no levels among us in exchanging what we know at Rasikas.org because we come in all shapes and sizes, different experiences and background in our musical knowledge.. We should give (greatly appreciated when it comes from scholarly sources) and receive without prejudice. Anyhow, a pleasant outlook when it comes to exchanging valuable material is simply civil. Such great material and the sources which are mined here is something many of us admire. seivadai ellam seidu viTTu kazhu nIril kai viDuvadu pOl--after cooking a great feast, like dipping your hands in waste water...is really sad.
Rasikas.org had (has) decorum. Not being merely an outward expression of it, but its being the result of our appreciating good music and being in debt to all the saintly composers who gave us their treasures to sing, play and find peace and joy in them.
There is so much here to learn--for the old and the young in age and at their many levels of understanding music. Let's not be petty when others irk us (it happens) and forget why we all come together here. Well, the old lady has spoken enough.
Once again, P Bala, thanks for your good guidance...
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arasi
- Posts: 16789
- Joined: 22 Jun 2006, 09:30
Re: Krithis on Arthanreeswara
RSR,
Our posts crossed, I see.
Our posts crossed, I see.
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SrinathK
- Posts: 2477
- Joined: 13 Jan 2013, 16:10
Re: Krithis on Arthanreeswara
This is the same problem in the composers section. The vakkgeyakaras thread has become impossible to have any sort of discussion or music sharing in it these days. And the line between translation, interpretation and imagination of the Trinity's lyrics is completely gone now. One can stretch any conclusion if one is imaginative enough, taking passive aggressive jibes and mocking remarks at anyone else who dares to participate.
It's insensitive and obnoxious how nadopasaka is simply hijacking every single thread to make it off topic about all about his flights of lyrical fancy. This was about kritis on ardhanareeshwara and not about every single word in the repertoire containing any perceived hint of "fusion" -- like vardhana can be twisted into aradha because it has ardha in it.
@arasi There is a difference between a blog and a forum right? Blogs are personal territory. Forums are supposed to encourage sharing and participation. All us rasikas have completely stopped participating in those composer threads. There's no place for us to share anything there anymore. I don't know why more rasikas haven't called out our good doctor on his parasitic and honestly very demeaning and insulting behaviour. Meh!
It's insensitive and obnoxious how nadopasaka is simply hijacking every single thread to make it off topic about all about his flights of lyrical fancy. This was about kritis on ardhanareeshwara and not about every single word in the repertoire containing any perceived hint of "fusion" -- like vardhana can be twisted into aradha because it has ardha in it.
@arasi There is a difference between a blog and a forum right? Blogs are personal territory. Forums are supposed to encourage sharing and participation. All us rasikas have completely stopped participating in those composer threads. There's no place for us to share anything there anymore. I don't know why more rasikas haven't called out our good doctor on his parasitic and honestly very demeaning and insulting behaviour. Meh!
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Krithis on Arthanreeswara
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The Dikshitar ROUTINELY uses similar “phonetic” constructs to deliver his rAga mudras.
e.g. umA-rudra darSi-tAt for the rAga ArdradEShi used only for the elephant-headed /human bodied deity
or
bE-gala for rAga bEgada (in a variety of contexts).
Along these lines..and completely relevant to this very thread, is the usage in the “Sri rAjagOpAla” sAvEri of the word, “nA-rI-vE-sa dhara vAma bhAga” for the mannArgudi “Sri vidyA rAjagOpAla”.
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).
But the reason for the use of “nAri-vesa vAma bhAga” CANNOT be disconnected from the significance of the word “ardha-nAri” for this particular aspect of the mannArgudi “SrividyA rAjagOpAla”.
And the reverse mudra delivery (i.e. the inverted syllables) is also the Dikshitars message on the uniqueness of the deity.
One can of course choose not to listen to the kriti, if offended for whatever reason.
But the Dikshitar cannot be faulted for his choice of words or their phonetic counterparts tailored to the different kSEtras (as he observes it and chooses to report it).
Over several decades I have found the routine dismissal of the sAhitya and word choices of the Dikshitar not in keeping with the traditions of the vAggeyakAras. It might even be called obnoxious and insensitive.
The 1950’s v. rAghavan compendium of the tyAgarAja kritis attempted to correct the matter for the tyAgarAja.
All the vAg-geyakAras words and music are multi-dimensional and supremely integrated.
They should be, indeed they have to be, discussed along with any technical music content.
ps.
Any statements questioning the authencity of the akhilAndESwari rakSatu mAm” jujAvanti show a complete lack of understanding of the Dikshitar and his music.
jambukESwaram = tiruvvAnaikkal is the water linga kSEtra.
The Dikshitar shows the water theme in the choice of rAga jujAvanti for this kriti.
The word jujAvanti derives from the word meaning the cooing of the cuckoo (kujanam), which is ALSO the warbling, bubbling sound of water.
For good measure the Dikshitar ALSO uses the word “jhar jhar vAdya nAdamuditEna”, in this kriti.
“jhar”is root of the word “jharnA” used for waterfall.
The sound of the particular drum (vAdya) that makes this rustling as well as the water-fall sound and the warbling bird-song ALL unify the rAga choice and the sAhityam.
The kriti is very much ONLY the Dikshitars, and it uses the “nitya-AtmikE” word to point to the Siva.
No ! There is ABSOLUTELY no recourse to those who would condemn the ardhanAri.
I say it again…(and again)… as many times as needed…
The vAggeyakAras music forces EVERYONE to make a choice…regardless of age or ideology.
You are either with the vAggeyakAra or you are against them.
There is no half truth, there is only Sruti or apa-Sruti.
You cannot listen to the vAggeyakAras music while also having contempt for their ideas.
The Dikshitar ROUTINELY uses similar “phonetic” constructs to deliver his rAga mudras.
e.g. umA-rudra darSi-tAt for the rAga ArdradEShi used only for the elephant-headed /human bodied deity
or
bE-gala for rAga bEgada (in a variety of contexts).
Along these lines..and completely relevant to this very thread, is the usage in the “Sri rAjagOpAla” sAvEri of the word, “nA-rI-vE-sa dhara vAma bhAga” for the mannArgudi “Sri vidyA rAjagOpAla”.
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).
But the reason for the use of “nAri-vesa vAma bhAga” CANNOT be disconnected from the significance of the word “ardha-nAri” for this particular aspect of the mannArgudi “SrividyA rAjagOpAla”.
And the reverse mudra delivery (i.e. the inverted syllables) is also the Dikshitars message on the uniqueness of the deity.
One can of course choose not to listen to the kriti, if offended for whatever reason.
But the Dikshitar cannot be faulted for his choice of words or their phonetic counterparts tailored to the different kSEtras (as he observes it and chooses to report it).
Over several decades I have found the routine dismissal of the sAhitya and word choices of the Dikshitar not in keeping with the traditions of the vAggeyakAras. It might even be called obnoxious and insensitive.
The 1950’s v. rAghavan compendium of the tyAgarAja kritis attempted to correct the matter for the tyAgarAja.
All the vAg-geyakAras words and music are multi-dimensional and supremely integrated.
They should be, indeed they have to be, discussed along with any technical music content.
ps.
Any statements questioning the authencity of the akhilAndESwari rakSatu mAm” jujAvanti show a complete lack of understanding of the Dikshitar and his music.
jambukESwaram = tiruvvAnaikkal is the water linga kSEtra.
The Dikshitar shows the water theme in the choice of rAga jujAvanti for this kriti.
The word jujAvanti derives from the word meaning the cooing of the cuckoo (kujanam), which is ALSO the warbling, bubbling sound of water.
For good measure the Dikshitar ALSO uses the word “jhar jhar vAdya nAdamuditEna”, in this kriti.
“jhar”is root of the word “jharnA” used for waterfall.
The sound of the particular drum (vAdya) that makes this rustling as well as the water-fall sound and the warbling bird-song ALL unify the rAga choice and the sAhityam.
The kriti is very much ONLY the Dikshitars, and it uses the “nitya-AtmikE” word to point to the Siva.
No ! There is ABSOLUTELY no recourse to those who would condemn the ardhanAri.
I say it again…(and again)… as many times as needed…
The vAggeyakAras music forces EVERYONE to make a choice…regardless of age or ideology.
You are either with the vAggeyakAra or you are against them.
There is no half truth, there is only Sruti or apa-Sruti.
You cannot listen to the vAggeyakAras music while also having contempt for their ideas.
Last edited by nAdopAsaka on 16 Jul 2023, 17:32, edited 2 times in total.
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
SrinarhK
thank you.
.
Though i despise nado approach, still, for people who think there is some profound insights there,and as i amsure that the forum will notsurvive long,
I volunteered to create a free google website for all the posts by nado on the Trinity and Swathi, free of cost.
It will be easier for him to locate his posts and give reference. It will also enable CRITICAL refutations from authoritarive sources.
I hava many such free websites for ideas and comentary.
Nado can then begin a post with just 10 first sentences and give a link to his continuation link in his own website.
He can disable comments in his site.
.. @arasi.. i think i have explained the relevance. My ideas are all taken from renowned scholars so, when nado or anyone insults me, he is insulting them, and not me.
The forum uses psudonyms. Neither age nor gender matters here. Ideas and integrity do,
thank you.
.
Though i despise nado approach, still, for people who think there is some profound insights there,and as i amsure that the forum will notsurvive long,
I volunteered to create a free google website for all the posts by nado on the Trinity and Swathi, free of cost.
It will be easier for him to locate his posts and give reference. It will also enable CRITICAL refutations from authoritarive sources.
I hava many such free websites for ideas and comentary.
Nado can then begin a post with just 10 first sentences and give a link to his continuation link in his own website.
He can disable comments in his site.
.. @arasi.. i think i have explained the relevance. My ideas are all taken from renowned scholars so, when nado or anyone insults me, he is insulting them, and not me.
The forum uses psudonyms. Neither age nor gender matters here. Ideas and integrity do,
Last edited by RSR on 16 Jul 2023, 17:35, edited 2 times in total.
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
For all the attempt to decode the famous Akilandeswari kruthi, and probe the mind of MD, it seems that is not really of MD. Funny indeed.
Justice T.L.Venkatarama Iyer and Sm.
D.K.P. a direct disciple of Ambi dheekshitar and Tlv, reject this kruthi as spurious.
Justice T.L.Venkatarama Iyer and Sm.
D.K.P. a direct disciple of Ambi dheekshitar and Tlv, reject this kruthi as spurious.
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Krithis on Arthanreeswara
An excerpt from a blog onMD kruthis at Mannargudi
..
that makes it stand out from all the others? The significance here is that the deity here is worshipped not just as Sri Rajagopalaswamy, but also worshipped as Sri Vidya Rajagopala (the unison of both Sri Lalita and Sri Rajagopala). You can see that this is reflected in the feminine posture of Krishna (look at the first picture) with an ear-ring on one ear and a kundalam on the other.
..
that makes it stand out from all the others? The significance here is that the deity here is worshipped not just as Sri Rajagopalaswamy, but also worshipped as Sri Vidya Rajagopala (the unison of both Sri Lalita and Sri Rajagopala). You can see that this is reflected in the feminine posture of Krishna (look at the first picture) with an ear-ring on one ear and a kundalam on the other.
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SrinathK
- Posts: 2477
- Joined: 13 Jan 2013, 16:10
Re: Krithis on Arthanreeswara
nAdOpasaka is someone who thought mAyE as notated by Subbarama Dikshitar was spurious and khaNDam was a mudra of raga ghaNTA. And on and on. That was the day I decided there was no hope of having any sort of discussion in vakkgeyakaras any more. Though he makes many good points, often he overstretches his logic to ridiculous extremes. Ironically it is he who goes well against the real nadopasakas.
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arasi
- Posts: 16789
- Joined: 22 Jun 2006, 09:30
Re: Krithis on Arthanreeswara
RSR,
Yes, I said age deserves some respect. For that matter, when the topic is about the divinity and beauty in MD's compositions, it should all evoke the finest in us, not that of the mood of a street brawl. Above all, culture goes hand in hand with goodwill--not with a stuck-up sense of superiority! I have read the thread here and there, and it was enough at some point to be turned off--with all the animosity the devout and aesthetic expressions of MD's creations were presented with in this thread.
As for you, I have always been amazed by your knowledge and diligent perusal of things musical, cultural , national and more. You are not old, but very young indeed in your thirsting to know more. You have also been very contained in your responses to rude remarks in this thread that you don't deserve at all...
Srinath,
You are one of the youngest and wisest among us! Yes, we are not a blog but a forum--of music lovers young and old, experts and young learners and those in between. What a rich variety of music enthusiasts we have here! Yes, we always felt like a family here, those of us who were here from the beginning and those who have joined us later. Of course, differences in opinions at times flared up, but as in a family, soon quenched and we carried on merrily. As for you, we thought what an asset we have in a young rasika like you! Please do post more, since what you contribute is valuable. There are more and more young music students visiting the forum too, as they learn music. They shouldn't be turned off, instead of finding all the rich resources we have at Rasikas.org. Music, by any culture is considered precious, and let that continue here.
The one thing which can bring it all down, is kalvi cherukku (being vain about one's knowledge). And, speaking with a sense of superiority. Hoping and praying for more spirit and friendliness among us, so that we can flourish as ever:)
Yes, I said age deserves some respect. For that matter, when the topic is about the divinity and beauty in MD's compositions, it should all evoke the finest in us, not that of the mood of a street brawl. Above all, culture goes hand in hand with goodwill--not with a stuck-up sense of superiority! I have read the thread here and there, and it was enough at some point to be turned off--with all the animosity the devout and aesthetic expressions of MD's creations were presented with in this thread.
As for you, I have always been amazed by your knowledge and diligent perusal of things musical, cultural , national and more. You are not old, but very young indeed in your thirsting to know more. You have also been very contained in your responses to rude remarks in this thread that you don't deserve at all...
Srinath,
You are one of the youngest and wisest among us! Yes, we are not a blog but a forum--of music lovers young and old, experts and young learners and those in between. What a rich variety of music enthusiasts we have here! Yes, we always felt like a family here, those of us who were here from the beginning and those who have joined us later. Of course, differences in opinions at times flared up, but as in a family, soon quenched and we carried on merrily. As for you, we thought what an asset we have in a young rasika like you! Please do post more, since what you contribute is valuable. There are more and more young music students visiting the forum too, as they learn music. They shouldn't be turned off, instead of finding all the rich resources we have at Rasikas.org. Music, by any culture is considered precious, and let that continue here.
The one thing which can bring it all down, is kalvi cherukku (being vain about one's knowledge). And, speaking with a sense of superiority. Hoping and praying for more spirit and friendliness among us, so that we can flourish as ever:)
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srkris
- Site Admin
- Posts: 3497
- Joined: 02 Feb 2010, 03:34
Re: Krithis on Arthanreeswara
Locking the thread for some time until tempers cool down.