Dr. Shrikaanth K Murthy

cmlover · Post by **cmlover** » 25 Feb 2006, 22:52

In fact I had originally thought KR Ramaswamy's 'neethaan allaamal' (from the blockbuster 'vElaikkaari' which shotup Annaththurai into movieworld) was carukesi the way he rendered it. GS Mani does bring in GM into it by the proper emphasis!

drshrikaanth · Post by **drshrikaanth** » 25 Feb 2006, 23:24

Thanks for the film song CML. Neither the kannaDa nor the tamizh version is available to listen on any of the websites. "gauri manOhariya kaNDE" is from the same movie taken in kannaDa- "makkaLa sainya".

There is also this song "deivam tanda vIDu vIdi irukku" from " avaL oru toDarkadai" which starts nicely in gaurimanOhari but changes completely later and comes back at the end of tha stanza again to GM.

Coolkarni
Thanks for G.S.Mani`s clip. Nice one. However he sings kIravAni`s scale for GM (sings D1 for D2) initially.

Going back to kApi, here is a fine kApi served from KFM.(Film-amRtavarShiNi)

http://www.musicindiaonline.com/p/x/Xqb ... As1NMvHdW/

ANyway, as CML said, lets not get lost in GM. Lets get back to vELAvaLi.

drshrikaanth · Post by **drshrikaanth** » 25 Feb 2006, 23:51

gaurivELAvaLi is the 23rd asampUrNa mELa. Its scale

"SR2G2,SRM1,PD2,S* | S*N3DPMG,RS||

SSP gives jaNTi swaras for G, M and D in the scale which I have elongated. Needless to say they are the jIva swaras. M, D and to a lesser extent, R can be used as resting notes. M is sung as a steady note as in gaurimanOhari. D has a characteristic swing in the rAga. The oscillation is wide and takes it up to the tAra ShaDja.(like in kannaDa).

"SRM," and "PD~,S" are the set phrases that differentiate it from gaurimanOhari. Rarely "SNS" does occur. It is a tristhAyi rAga. "PGRS" is a phrase that adds beauty to the rAga.

srkris · Post by **srkris** » 26 Feb 2006, 00:47

CML,

Here is the song u asked (Parashakti Ishvari)
http://www.musicindiaonline.com/l/1/s/album.1699/

cmlover · Post by **cmlover** » 26 Feb 2006, 01:09

>>SSP gives jaNTi swaras for G, M and D in the scale which I have elongated. Needless to say they are the jIva swaras. M, D and to a lesser extent, R can be used as resting notes,...<<

This is what I was really looking for...

Sangraha ChUDAmaNI of GovindAcArya gives for GM
"sampUrNaArOhavarOhA ShadjanyAsAMshakagrahA..
gaurImanOharItyuktA trayOrvimshO'dhikArakaH"
(Gaurimanohari is the 23rd (meLa) with complete aro/avaro having Shadja as the nyAsa,amShaka and graha swara..)

That shows the basic difference between GM and GV!

I am surprised BMK chose to sing Kaumari in GM with the lyric clearly calling for GV!

cmlover · Post by **cmlover** » 26 Feb 2006, 01:13

Thanks chembai!

Shucks! KJY chose to sing it in GM! Feeling cheated!

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:21

And the notation for my kRti

http://rapidshare.de/files/14067752/pAl ... h.pdf.html

cmlover · Post by **cmlover** » 26 Feb 2006, 01:31

Thanks DRS! That is very helpful!

kiransurya · Post by **kiransurya** » 26 Feb 2006, 03:03

Thanks for notation DRS. Can I also request full notation for u r krithi in Jhankaarabhramari, if thats not a trouble for you?
Many thanks

drshrikaanth · Post by **drshrikaanth** » 27 Feb 2006, 05:12

CML
Am posting a kRti in pUrNacandrike to coincide with the oDeyar thread. Will help in discussion and comparison between MD school and the tyAgarAja school.

http://rapidshare.de/files/14222718/mud ... h.wma.html

drshrikaanth · Post by **drshrikaanth** » 27 Feb 2006, 05:17

And a mahASivarAtri bonus. May ISvara bless us all and protect this forum.

http://rapidshare.de/files/14223351/dor ... h.wma.html

Will discuss this after pUrNacandrike. Bear with my uncooperative voice. The effect of the London Saravana Bhavan food is showing clearly.

cmlover · Post by **cmlover** » 27 Feb 2006, 05:21

A Capital idea!
And thanks Sahana...

cmlover · Post by **cmlover** » 27 Feb 2006, 05:37

shrIkAntaM bhajati shrIkaNTaM
sharavaNa kim karkashati kaNTaM?
(shrIkAnta (the beloved of Goddess LakShmi) venerates shrIkaNTa(Siva, the one with venom in his throat). Why does sharavaNa (muruga, the one born in the reed-forest) roughen the throat?)

drshrikaanth · Post by **drshrikaanth** » 27 Feb 2006, 06:06

Lets complete gaurivELAvaLi first. I composed the kRti on 07/06/2004. The divine Mother has come to my rescue when I rendered this kRti.

The rAga is beautiful and very lilting and not difficult to elaborate. I will just mention the use of swarAkShara at the beginning of pallavi and anupallavi. I will leave the rest off them for you as I have provided the notation. I have tried to bring out the essence of the rAga by showing its jIva sancAras and also to show its distinction from gaurimanOhari.
And of course there is the rAgamudre.

cmlover · Post by **cmlover** » 27 Feb 2006, 06:13

Moral
With Gods nindAstuti always works compared to prashaMsAstuti

drshrikaanth · Post by **drshrikaanth** » 27 Feb 2006, 07:24

kiran
Here is tne complete notation for the jhEnkArabhramari kRti(before you ask a third time

).

http://rapidshare.de/files/14229532/SrI ... h.pdf.html

Post the gIte and anything else you have practised. It will be helpful as I can guide/correct and others can learn as well.

kiransurya · Post by **kiransurya** » 27 Feb 2006, 14:41

Thats grand DRS..
Will try my luck at your composition. I am all excited as I have never learnt anything in that Raaga...
Cheers
Kiran

drshrikaanth · Post by **drshrikaanth** » 28 Feb 2006, 01:06

mAtu for mudam dEhi

rAga- pUrNacandrike, khaNDacApu tALa

mudam diSa ambikE |mukha pUrNacandrikE ||P||

kadambavana nilayE | kamra ratnavalayE ||AP||

sankaShTa samharaNa | caturatara caraNE |
sangIta sAhitya | sakalakalAbharaNE |
Sankara kumArAdi | santOShakaraNE |
saccidAnandamaya | swaprakASakiraNE ||
hrImkAra bOdhitE | hrIm padArAdhitE |
hrImkAravEditE | SrIkAnta mOditE ||C||

ciTTEawara
P , P M | R ,- P M G M || R , S , | ,- N# S R G M ||
P M G M | R ,- S R S , || N# P# D# D# | R S R ;- G ||
M R- S S | ,- P P ,- S* S* || , N- P P | R* S* R* ;- R* ||
G* M* R* S* | ,- N R* S* N P || ,- M G M | R S ,- R G M ||

cmlover · Post by **cmlover** » 28 Feb 2006, 02:05

The ciTTaswaram just flows like molasses. As usual sahana stole my heart by the elegant presentation. Was it you taming her flight upwards at times

I thought the pUrNacandrika discussion can continue here instead of at JC. One of us should post it for information there! I have seen a variety of arohana for this raga. I guess Thyagaraja's is nishaadaa varjyam in aro. I don't know about MD. But I have not heard of SR,GMPDPS'NS' Of course the prolongation of the rishabha is a characteristic. Need your scholarly discussion.

There a few sahitya grey areas! But I will hold my tongue till you post your interpretation!

drshrikaanth · Post by **drshrikaanth** » 28 Feb 2006, 02:47

Thanks CML
Heres the meaning. Please do poin of those gray areas if any.

mudam diSa- Show me joy/gladness; ambikE;
mukha pUrNacandrikE- You with the face that is the full moon.

kadamba vananilayE- You Who reside in th e kadamba forest;
kamra- beautiful/desirable/attractive;
ratna valayE- You with the gemstudded bracelet.

sankaShTa samharaNa( destrucion of difficulties) caturatara caraNE- You with feet very able to destroy difficulties;
sangIta sAhitya sakalakalA AbharaNE- You Who is bedecked withmusic, dance and all the other fine arts as jewels;
Sankara kumARAdi- Sankara, kumAra et al;
santOShakaraNE- You Who gladden;
saccidAnandamaya swaprakASakiraNE- You Who have an innate effulgence of sat, cit and Ananda;

hrImkArabOdhitE- You Who is taught/instructed through the letter hrIm;
hrIm pada ArAdhitE- You Who is worshipped by the letter hrIm;
hrImkAravEditE- You Who is understood from the letter hrIm;
SrIkANtamOditE- You Who is pleased by SrIkAnta.

drshrikaanth · Post by **drshrikaanth** » 28 Feb 2006, 04:28

pUrNacandrike is a popular rAga and a janya of dhIraSankarAbharaNa, the 29th mELa. Now there is a difference in the treatment of the rAga by MD and T. MD uses the older(for want of a better word) version (not entirely though!) which has given rise to both T`s pUrNacandrike and janaranjani.

Thus MD`s version combines qualities of both the rAgas. Now SRJ and others credit tyAgarAja with the discovery of janaranjani. Now SyAmA SAstri also composed in janaranjani. Scholars go on to conjencture that SyAmASAstri was attracted to this rAga discovered by T and composed in the same. Now this is entirely possible but I cannot see why the reverse could not have happened i.e SS discovered and T composed in it too! Now I can already hear arguments in favour of T being more likely etc etc. But my point is that there is no proof AFAIk to say that it was indeed that way.

Be that as it may, the scale is best represented as

SR2G3M1PD2PS*N3S* | S*NPMGMRS ||

Now I have only added "S*NS*" at the end as it is a very valid usage in both schools. It only makes the scale more representative. The usage can be seen in the ciTTeswara of telisi rAma apart from numerous other places. Th scale is valid for both the versions. But one must bear in mind that there are viSESha prayOgas( read as usages that do not fall in line with the scale above. )

Coming to MD`s version, we see the use of dirgha gAndhAra and dIrgha dhaivata. This does not necessarily mean realy elongated swaras. Singing D and G in the 1st kAla itself shows the effect clearly. T only uses them in madhyamakAla. In contrast, these long swaras do occur in janaranjani. Also the usage "PMRS" is not seen/allowed in T`s version but only in janaranjani. It does clearly figure in MD`s version. Also we have dhaivata and RShabha (vAd-samvAdi pair) paired together as "DRR" in MD`s version. This never occurs in T`s version. Notably, this also does not figure in janaranjani. "SRGRS" also figures in MD`s portrayal but not in T`s.

Another significant distinction is that the rAga is bhAShAnga as MD has portrayed it. In "SNS" (and in "SDNP" which MD never uses),
N is kaiSikI and not kAkali. Now this does not alter the way it sounds in the 2 version, as in "PNP", the N automatically gets lowered in Sruti and is nearer to N2. Also, in T`s version, "PDP" sounds very much like "PN2P" as D is sung with a characteristic gamaka.

Now even MD has modified the older version in tune with his days. The original mUrchane is thus

SRGMPDNS* | S*NPMGMRS ||

Now I find (muddu)venkaTamakhi`s gites chalenging as they cannot possibly be rendered by the human voice as notated in the SSP. The range goes to the atitAra. Were they meant to be played only the vINe? Some evidence suggests otherwise. Anyway, without getting lost here, the gIte features usages such as "MGRS" and "PDNS" as also "SDNP" which MD has clearly eschewed. "MGRS" appears only in madhyasthAyi in rAmaswAmi dIkShitar`s(MD`s father) composition. He does not se "PDNS"
(not even in mandra sthAyi) or "SDNP". But oddly, subbarAma dIkShitar (Who is post MD) uses all thse in his aTatALa varNa with the restriction that "PDNS" occurs only in mandra, "MGRS" occurs only in madhyasthAYi. The tAra sthAYi usages are pretty much in keeping with the newer version.

With this I end the saga of pUrNacandrike.

cmlover · Post by **cmlover** » 28 Feb 2006, 08:59

DRS

You should keep 'dEhi ambikE' as separate and not apply sandhi. Sahana sings 'dEhyambikE' which is incorrect. Perhaps you have to adjust the notes (and conequently taaLam) here.

Note that the word 'kamra' is a taddhita compound indicating that the object has the habit(tat shIlya) of being attractive. Since a gemstudded bracelet is always attractive, the usage though acceptable is somewhat funny!

The word 'sankaShTa' (sam+kaShTa) is an oxymoron, meaning 'good difficulties'. Note that the affix generally is used to denote 'auspiciousness' and 'dur' is the opposite. Perhaps you could use 'sa^NkaTa' (litterally a difficult passage = difficult situations)

Otherwise it is a well-meaning well-constructed lyric that goes nicely with the raga.
(Of course notations will be appreciated to learn the special prayOgams!)

The essay on pUrNacandrika is quite impressive. it is still not clear how janaranjani evolved from it! Do I understnad that the S'NS' prayogam is introduced by you (meaning adding one more bone to the controversy

. At any rate it is not worth discussing elaborately and let us simply enjoy this beautiful raga! Incidentally does JC use T's or MDE's version?

drshrikaanth · Post by **drshrikaanth** » 28 Feb 2006, 09:10

CML
Thanks for the clarifictions. sakaShTa meaning distress/trouble/problems is a commonly used word in kannaDa of sanskrit origin. It is given in sanskrit dictionaries. (samyak kaShta? - as a myriad/group of problems. I have not written sankaTa as it will be too short for the tALa. Now if dEhi and ambikE cannot be combined by sandhi, I will have to come up with an alternative word. Thanks

"SNS" is certainly not introduced by me in the rAga but only in the scale to make it more representative. Lets park this bit here.

cmlover · Post by **cmlover** » 28 Feb 2006, 09:28

DRS
sakaShTa = saha +kaShTa = with difficulties is a perfectly acceptable bahuvrIhi.

Perhaps you could use durita kaala elewhere to adjust for 'dEhi ambikE' without sacrificing taaLa! ambikE nicely rhymes with candrikE!

drshrikaanth · Post by **drshrikaanth** » 28 Feb 2006, 20:21

CML
sorry for misleading you by a typo. Imeamt sankaShTa only when I typed sakaShTa. N has gone missing. I mean "sankaShTa caturdaSi", "sankaShTa hara gaNapati" are so commonly in use.

As for the pallavi, how about "mudam diSa ambikE"? Would fit the tALa nicely too.

cmlover · Post by **cmlover** » 28 Feb 2006, 21:07

DRS

The dravidian languages tend to introduce anuswarmas and extraneous characters as colloquialisms of sanskrit. They would not be strictly acceptable in the classical writings. However they can't be faulted in lyrics as long as they are santified by local usage. Recall in this context kambar justifying his verse in RamAyaNa to oTTakkUthtthar!

mudam diSa ambikE looks fine to me if it fits the swara pattern and maybe the song can be rendered accordingly.

kiransurya · Post by **kiransurya** » 28 Feb 2006, 21:29

Just a tiny contribution to this colossal discussion. Its true that SSP has got tarasthayi Sancaharas because most of MD krithis are more oriented to fit vainika sangeetham. Best examples would be Meenakshi in Gamakakriya and Subramanyo in todi..

drshrikaanth · Post by **drshrikaanth** » 01 Mar 2006, 01:05

DRS-----
Incidentally does JC use T's or MDE's version?

JC uses T`s version to all practical purposes. ANd AFAIK, he did compose ciTTEswaras for his compositions. As you said, it is best to copy this discussion onto the oDeyar thread.

Suji Ram · Post by **Suji Ram** » 01 Mar 2006, 03:58

drshrikaanth,
Could you please post the notations for your Des composition.
Thanks

drshrikaanth · Post by **drshrikaanth** » 01 Mar 2006, 08:46

srding of you umram
Will post notations But it might take some time as Im busy. Please post a recording of ourself rendering the vsantabhairavi kRti.

Suji Ram · Post by **Suji Ram** » 01 Mar 2006, 14:19

srding of you umram
Will post notations But it might take some time as Im busy. Please post a recording of ourself rendering the vsantabhairavi kRti.

Here is the malahari gitam you composed on violin. Excuse my talam...I am a beginner. i just started the journey...
http://rapidshare.de/files/14405548/Mal ... 3.mp3.html

drshrikaanth · Post by **drshrikaanth** » 01 Mar 2006, 15:21

suji ram
neat work. gamakas have come out well. With practise, your tALa should be fine too. The volume of the recording was minute though.

vasanthakokilam · Post by **vasanthakokilam** » 01 Mar 2006, 15:35

Suji, really nice. As drshrikaanth mentioned, the gamakams have come out very good.

rshankar · Post by **rshankar** » 01 Mar 2006, 20:54

And a mahASivarAtri bonus. May ISvara bless us all and protect this forum.
http://rapidshare.de/files/14223351/dor ... h.wma.html

DRS,
NOT sure if the pUrNachandrikA discussion is over or not, so pardon my anxiety to get to your gift on the 'pAdhi madhi aNiyum paraman' as bonus! And I know I am moving from the full to the half in shukLa paksham...
kEdhAragowLai was absolutely fantastic...forget about the Saravana Bhava food! I am sure paravathavarDHinI herself would be proud of that offering from you! I assume it is in sankEthI...will await your posting on the meaning.
My first intro to kEdhAragowLai was listening to AK's 'vittuvidadA sIthayai, ada rAvaNA' by Smt. MSS (on a dinky old spool player of my dad's) - I was sold!
Here is a young MSS singing Poochi's equally lovely 'saraguNapAlimpa':
http://rapidshare.de/files/14427560/04_ ... i.m4a.html
Ravi

vasanthakokilam · Post by **vasanthakokilam** » 01 Mar 2006, 22:28

Thanks Ravi on the MSS KedaraGowla piece. Lovely.

May ISvara bless us all and protect this forum.

I missed the above drshreekanth's quip. Quite appropriate and timely to invoke the divine graces, given the state of affairs at sangeetham.com .

Suji Ram · Post by **Suji Ram** » 01 Mar 2006, 23:44

suji ram
neat work. gamakas have come out well. With practise, your tALa should be fine too. The volume of the recording was minute though.

DRS, VK
Thank you for the encouraging words!

rshankar · Post by **rshankar** » 02 Mar 2006, 01:10

Thanks Ravi on the MSS KedaraGowla piece. Lovely.
May ISvara bless us all and protect this forum.
I missed the above drshreekanth's quip. Quite appropriate and timely to invoke the divine graces, given the state of affairs at sangeetham.com .

VK,
You are welcome!
Since DRS invoked Ishwara kripA with his kEdharagowLa offering, I thought of invoking srIkAntha kripA with saraguNa pAlimpa samayamu rA in the same rAga.
Ravi

drshrikaanth · Post by **drshrikaanth** » 02 Mar 2006, 02:02

I composed the pUrNacandrike kRti on 12/07/2000. I have composed in hte version used by MD. This may not be obvious immediately as the khaNDacApu tALa masks it by its innate fast tempo. Here are the notations.

http://rapidshare.de/files/14451021/mud ... h.pdf.html

Thanks Ravi

drshrikaanth · Post by **drshrikaanth** » 02 Mar 2006, 02:30

Photos of rAmESvara of rAmanAThapura, Hassan Dt, Karnataka.

drshrikaanth · Post by **drshrikaanth** » 02 Mar 2006, 04:08

kRti in praise of the above deity

dora rAmESvaru

rAga- kEdAragauLa; rUpaka tALa

dora rAmESvaru rANA~n | tOLbalamavanAhANA~n |
koraya pOkiyakE dAra | kOLaradU ini vANA ||P||

dharayuL (dharevuL) dakShiNakASiye | tAnaNiyara rAmanAtha- |
purattISu darahAsu | puLa kAVEri taTavAsu ||AP||

sAnurAgu indrAkShi viSAlAkShiku kATinavu~n |
mInAkRti koNDa surA | mecca kIrti cUTinavu~n |
tAnE ellAma^NNara tattva vaLiya kATinavu~n |
dAnavamardanu SrikANtande dOShu tOTinavu~n ||C||

rshankar · Post by **rshankar** » 02 Mar 2006, 10:06

DRS,
Is the Devi at Ramanathapura also parvathavarDHinI?
Ravi

drshrikaanth · Post by **drshrikaanth** » 02 Mar 2006, 18:54

Word for word meaning of dora rAmESvaru

rAga- kEdAragauLa; rUpaka tALa

dora- king/Lord; rAmESvaru; rANA~n- He is there;
tOLbalu- Strenght of Shoulders/ reliable support;
avanAhANA~n- He Will be;
koraya- Any faults/sins/unfulfilled needs;
pOkiyakE- Just for the sake of removing; dAra- anyone;
kOLaradU- To ask; ini vANA- There is no need now.

dharayuL (dharevuL)- In this world; dakShiNakASiye- The hallowed southern kASi;
tAnaNiyara- It is called ; rAmanAthapuratte ISu- Lord of rAmanAthapura;
darahAsu- Him with a gentle smile;
puLa kAVEri taTavAsu- Him residing on the banks of the river kAvEri.

sAnurAgu- affection/love; indrAkShi viSAlAkShiku- To indrAkShi and viSAlAkShi, His two consorts;
kATinavu~n- He Who showed;
mInAkRti- Form of fish; koNDa- taken; surA- suras/dEvas;
mecca- To praise; kIrti- fame; cUTinavu~n- Him That bore;
tAnE- He Himself; ellA a^NNara tattva vaLi- The principle/path/light that says that He is everything(advaita);
kATinavu~n- He That showed/enlightened;
dAnavamardanu- vanquisher of dAnavas;
SrikANtande dOShu- The sin/ stain of SrIkAnta;
tOTinavu~n- Him That wiped it off.

cmlover · Post by **cmlover** » 03 Mar 2006, 02:58

DRS

running a bit behind schedule. Only now had the time to listen to that magnificent Kedaragowlai. It is indeed a major concert piece and you have done a superb job. The three sthaayi aalaapana itself is a grand accomplishment. The cittasvarm stole my heart. Pl provide it as also the notations. Most definitely the neravel spot 'sAurAgu..' which is a wonderful launching pad for the sparkling swarajaalaM. As a onetime harikatha enthusiast this raga was my favourite and shankar has already given my favourite (MS's saraguNa..).

I am sure there are gems buried in the sthalapuraaNa that you have excavated. What is the connection to kASi and rAmEshvarm? What is the story behind the display of matsyavatara of vishn to his consorts? What is that stain on SrikaNTa? Lots of questions here. Let us get the sahityam appreciated before proceeding to raga appreciation! By the by what does '~n' represent? Is it same as the nasal '~jna'?

drshrikaanth · Post by **drshrikaanth** » 03 Mar 2006, 04:56

Running meaning (the kRti is in the first vibhakti/vETRumai)

There is Lord rAmESvara who will be a reliable support/aid(tOLbalam). Hence there is no need to ask/beg anyone else just for the sake of fulfilling our needs/removing our sins.

He, Who rules in the hallowed kShetra rAmanAthapura that is renowned as the kASi of the south. He with a gentle smile Who resides on tne banks of the river kAveri.

He Who showers affection on His consorts indrAkShi and viSAlAkShi; He Who bears fame, much to the happiness of all the dEvas that worship Him in the forms of fishes.; He Who Showed the light/path of advaita that proclaims that He is verily Everything; He Who removed the stain/sin that stuck to rAma after he slayed tthe king of dAnavas, rAvaNa(brahmahatyAdOSha).

drshrikaanth · Post by **drshrikaanth** » 03 Mar 2006, 05:33

CML
~n represents the anunAsika sound which is common at the end of words in spoken n tamizh as well as kannaDa of north karnataka. I did not know how else to represent it. I could not leave it out as that would not convey the right prnunciation. It is equivalent to the candra and bindu at the end 0f words in hindi ( hA~n meaning yes, yahA~n meaning here etc).

Will post a brief sthaLapurANa next. here is a link to the photo of the temple

http://hassan.nic.in/htmls/pic5big.htm

Ravi, the consorts are indrAkShi and viSAlAkShi.

cmlover · Post by **cmlover** » 03 Mar 2006, 06:07

DRS

That link says SubramaNya temple at Ramanathapura!

drshrikaanth · Post by **drshrikaanth** » 03 Mar 2006, 06:33

DRS

That link says SubramaNya temple at Ramanathapura!

eh? I clicked again and it surely says rAmESvara temple. And whatever it says, it IS rAmESvara temple only.

drshrikaanth · Post by **drshrikaanth** » 03 Mar 2006, 06:55

rAmanAthapura is a hallowed and purANaprasiddha sthaLa. I will here present only a brief sthaLa purANa as the mahime is too great and voluminous to be written here. The village has many temples of various deities, all famous and revered. Let me stick here to prasanna rAmESvara or rAmanAtha from whom the kShEtra derives its name.

The temple is on the left bank of kAvEri. The Lord and his consorts- indrAkShi and viSAlAkShi bless the devout. He is called the caturyugamUrti as He has been worshipped by various Gods and holy people in all the 4 yugas. He is a swayambU linga and has been called samvartakESvara, vAsukISvara, vahnISvara and rAmESvara in the 4 respective yugas.

agni, afflicted by the curse of Sage bhRgu, discovered this mahimANvita linga and worshipped it by singing the vahnisUkta and was freed from the curse. Assenting to agni`s request, He agreed to stay in the kShEtra for good and bless the devout. He Himself stated that the place will later be
revered as vahni puShkariNi when kAvEri innundates the area. The place is celebrated as vAsavapuri in the purANas. Thus, this is the vahnipuShkariNi, arka puhkariNi being krishnarAjanagara(K.R.Nagara or eDatore) and the candra puShkariNi being SrIrangam in tamiznADu.

Following the slaying of rAvana, rAma is plagued by the brahmahatyA dOSha-sin of killing a brAhmaNa. To get rid of the curse, he is advised to consecrate and offer worship to ISvara in the form of linga. First he offered worship in rAmESvaram(sEtu). This mitigated the effect but does not fully remove the sin. He next offered worship in tiruvAnaikkAval and this mitigates further but rAma was still left with some of the sin. He then arrived at vahnipuShkariNi rAmanAthapura where he was advised by Sage vaSiShTa to worship vahnISvara. this removed the sin of rAma completely and the linga itself came to be known as rAmESvara.

All the dEvas are believed to have assumed the form of fish and taken permanent residence in the kAvEri here to pay their respects to rAmESvara in this sacred kShEtra. The river here is home to innumerable large multi-coloured fish which are not found in th kAvEri upstream or downstream even in the neighbouring villages.

The day of vaiSAkha Suddha tadige(tRtIya) or akShaya tadige as it is popularly known, is the day of the tEru(rathOtsava) of SrI rAmESvara apart from several other festivals. This event was made into a grand jAtre/mElA and anna santarpaNe by my Grandfather. He started it more than 60 years and later formed a trust to continue the puNyakArya.

In the river, there is also the gOgarbha which is kAmadhEnu turned to stone by the curse of SukrAcArya who performed penance here for the mRtasanjIvani. rAma is believed to be the first one to go through this rock. Devotees do the same today.

The kShEtra has been made holy by the 3 AcAryas-Sankara, rAmAnuja and madhva. indrAkShi and viSAlAkShi dEvis were consecrated by Adi Sankara who also placed a copper SrIcakra in front of the indrAkShi sannidhi. SrI vyAsarAyaru and rAghavEndraswAmi are some of the others who worshipped the Lord here.

The village is also home to sveral other revered temples- agastyEvara, paTTAbhirAma and subrahmaNya.
The kShEtra mahAtmya has been celebrated in the purANas including bhaviSyOttara and skanda(?)
purANa. HHJC oDeyar also wrote the vahnipuShkariNi mahAtmya.

cmlover · Post by **cmlover** » 03 Mar 2006, 06:59

It says RAMESHWARA TEMPLE AT RAMANATHAPURA on the title but the webpage (also saving link) title (at the blue bar) says Subramanya Temple... Perhaps they couldn't make up their mind

The temple does look quite ancient!

cmlover · Post by **cmlover** » 03 Mar 2006, 11:17

DRS

Thanks for the sthalapuraNa. The whole lyric makes good sense in the light of it. This must have been a special inspiration due to your family connection!

I look forward to your scholarly comments on Kedaragowlai and highlight the distinction from suraTi which has similar note and the same arohana!I guess kedaragowlai was sung by the Tamil trios (appar, sambandar, sundarar) and was very ancient indeed!