Krithis on Arthanreeswara

RSR · Post by **RSR** » 04 Jul 2023, 08:29

Evidently losing your mental balance.
Thyagaraja sŵami is considering tulasi as Lakshmi amsam in one of the kruthis cited above..
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There is no temple sculpture or vigraham in thamizh country which depicts tulasi às consort of Vishnu.
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Thyagaraja rarely travelled outside his home town,as he was very particular about his daily pooja routine.
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He did not believe much in thirtha yaathras. I wonder if he already knew about the eternal pilgrim and had him in mind when he sang the karaharpriya kruthi, Nadchi nadachi.!
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Only after his 70 th year, he travelled to places outside his home. To Lalgudi, srirangam, kanchipuram,kovur and thiruvotriyur only because his guru and disciples invited him there.
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He was a prolific composer with nearly 700 kruthis and more than a dozen devoted disciples.
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Except in thiruvotryoor, he did not sing about parvathi or thripura sundary.
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But he paid a GLORIOUS complment to Sita devi, in his ever famous kruthi, Maa Jàanaki, without bringing in any silly balance stuff.
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There is reason to believe that saamaja vara gamana kruthi on krishna is an interpolation. His other kruthi Manasuloni is considered by scholars as his original version of hindolam,
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It will be instructive to analyze his famous thiruvotriyur kruthis to understand his attitude to parvathi.

nAdopAsaka · Post by **nAdopAsaka** » 04 Jul 2023, 10:17

One needs to understand the words used by the tyAgarAja..

mA jAnaki CEta battaga mahArAju vaitivi

It takes only these 6 words of the tyAgarAja to establish this “vigraha” of the ardhanAri.

Why ?

Because only the sitA dEvi “completes” rAma. Without sitA , rAma does NOT attain his destiny.

And rAmas destiny is establishing the state of dharma , the ultimate BALANCE.

The tyAgarAjas quest for this state is described here

https://www.rasikas.org/forums/viewtopi ... 22#p379222

The hand-taking (CEta battaga) is this symbolic union (not some lewd image conjured up by perverts = Mr. khajurAho)..

The bride always takes the left side. The parallels to the Siva-Sakti union are obvious.

ps. The tiruvOtriyUr panCa-vAra pujA of the tyAgarAja is fully described here

https://www.rasikas.org/forums/viewtopi ... 75#p376075

mA jAnaki – rAga kambOji

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

nEdunUri K
https://www.youtube.com/watch?v=hhx0A3gSSuc

RSR · Post by **RSR** » 04 Jul 2023, 13:06

No. It is highly surprising that Thiruvotryur, the home town of one of the famous disciples of Thyagaraja swamy, has to this day , a famous Siva temple, named as Thyagaraja temple
And yet Thyagaraja sang five famous kritis on the tripura sundari temple only ánd not a single kruthi on the siva temple there.
.home in Thiruvottiyur, a nearby village, where he composed and sang another set of five songs on the presiding deity of the temple there , Devi Tripurasundari: Kanna-thalli (Saveri); Sundari naninnu (Arabhi); Sundarinee divya roopamu (Kalyani); Sundari nannindarilo (Begada) and Dharini thelusu konti (Sudha Saveri). It is also said; here, Sri Tyagaraja sang a song in praise of Sri Venugopalaswami , the family deity of Kuppayyar.

This shows that originally, thiruvotriyur was a sakthi peedem and only in pallava times, sivan temple, separate, was added to the place.
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If we go through the meaning of the devi kruthis there, it is just a normal devi sthuthi, especially, Daruni kruthi.

The

nAdopAsaka · Post by **nAdopAsaka** » 04 Jul 2023, 23:40

“tripurasundari samEta AdipuriSwaram linga” – the ardhanAri of tiruvOtriyUr – its mudras in the Dikshitar kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

It will be shown in this post and the next post how the ardhanAri manifests in the kritis of the Dikshitar and the tyAgarAja at Adipuri/tiruvOtriyUr.

This of course is in keeping with the theme of the thread “kritis on the ardhanAriSwara”.

We will return to the tyAgarAjas “mA jAnaki” ardhanAri and the lakSmi sahasranAma name “Sripati-ardhAnga nandini” after that.

The ardhanAri of tiruvOtriyUr is known from the tEvAram as

3rd tirumurai, 6th stanza “umaiyodung koodi:nin'raa”
4th tirumurai, 5th stanza “umaiyoru paakar”

And naturally the “ardhanAri” reference appears in BOTH the Dikshitars kritis.

The kritis and the rAgas are explained in post dated Apr. 30 , 2022 on the Mutthuswamy Dikshitar thread

https://www.rasikas.org/forums/viewtopi ... 53#p376053

AdipuriSwaram – in Arabhi
AdipurISwaram sadA bhajEham tripura sundarI samEta

In Carana is seen the following line
prakASa lingam nandi pUjita svayambhu lingam nAga kavaCa dhara saikata-lingam

The multiple references to the linga of the kSEtra are notable.

Notice also the usage “tripurasundari samEta”

The exalted name “tripurasundari” is ALWAYS the Sakti half of the Siva-Sakti union.

Indeed the Adi Sankaras “soundarya lahari” which is to the tripurasundari form of the goddess begins with the words “Siva SaktyA yuktO yadi bhavati”.

The soundarya-lahari is exactly about the tripura-sundari.

In fact the ardhanAri aspect is given stanzas 19 and 23 of the soundaryalahiri.

The Dikshitars kriti to the AdipuriSwara leads naturally to his kriti to the “tripurasundari” of this kSEtra

“tripurasundari Sankari” in rAga sAma

The mudra for the ardhanAris male half in this kriti comes from the word “tripura-asura-Adi bhanjani”....since "tripura haram" is the synonym of Siva.

And this goddess also grants the male half the universe as “sAmrAjya-pradakari”, The dEvi completes the Siva.

the rAga sAma choice is not random, as some fools might think.

It represents the equivalence of the two halves “Siva and Sakti” that form the tripurasundari ardhanAri.

sAma is synonym for “equivalence” from the root “sama”

The details of this tiruvOtriyUr ardhanAri are not expected to be known or comprehended by any perverts who denigrate the Dikshitar.

Do NOT listen to the Dikshitar kritis if you have ANY sectarian agenda.

AdipuriSwaram – rAga Arabhi

unknown
https://www.youtube.com/watch?v=5Frxgd3XUYs

tripurasundari Sankari– rAga sAma

vid. sowmya
https://www.youtube.com/watch?v=wNjCxpKxRfg

nAdopAsaka · Post by **nAdopAsaka** » 04 Jul 2023, 23:50

The crescent-moon bearing tripurasundari ardhanAri of tiruvOtriyUr, “rAjaSEkharundagu” of the tyAgarAjas “dArini telusu” and “kutila SaSi” of Adi Sankaras soundarya-lahari

There are 5 kritis by the tyAgarAja at tiruvOtriyUr to the tripura-sundari.

See post dated May 2 , 2022 on the tyAgarAja thread for their vAra mudras.

https://www.rasikas.org/forums/viewtopi ... 75#p376075

The choice of 5 is not just for the 5 days ending in the Sukra-vara sEva pujA of the “sundari ni divya rupam” kalyAni.

The five (panCa) kritis also acknowledge the panCa-akSara (Siva) deity who is inseparable from the tripura-sundari.

As noted in the post above on Dikshitars Adipuri kritis, the name tripura-sundari is itself synonymous with the ardhanAri of the Siva-Sakti union, noted in the soundarya lahari of the Adi Sankara.

The 23rd stanza of the soundarya lahari gives the exact basis..

tvayA hritvA vAmam vapu apari triptEna manasA
SarirArdham SambhO aparam api hritam abhut
yad Etat tvad rupam sakalam arunAbham trinayanam
kuCabhyam anamram kutila-SaSi-Cudala-makutam.

kutila-SaSi is this crescent-moon...and Sarira-ardha identifies the ardhanAri.

Similarly in the Suddha sAvEri kriti “dArini telusukontini”, the ardhanAri tripurasundari is described by the tyAgarAja as

rAja SEkharundagu SrI tyAgarAja, manOhari gauri parAtpari

She bears the rAja (a portion of the moon i.e. the crescent , on her head (rAja-SEkharundagu),
She who is gauri , Sri tyAgarAja manOhari, who transcends everything .

The transcendental goddess “gauri parAtpari” (aka paramESwari) is the Siva-Sakti union of the ardhanAri of tiruvOtriyUr.

The tyAgarAja shows his understanding of the kSEtra and the relevant icons, regardless of any sectarian agenda.

The nAdayOgis are individuals, their pujA is for individuals, by individuals and of individuals. Please refrain from listening to any of his kritis if you have any political agenda etc.

dArini telusukontini tripurasundari – rAga Suddha sAvEri

bombay J
https://www.youtube.com/watch?v=tuFhXtvkcMA

RSR · Post by **RSR** » 05 Jul 2023, 09:09

Mr.union, obsessed with 50,50,, sametha just mean associated and accompanied by.
ArdhaNari means half,half depiction as in thiruchngode.
Kindly note that even MD has not used that word anywhere else.
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Your explanation for cjetta bettka i màa janaki, will make all gents married according to tradion, ardhaNaris!
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Do not vulgarize things. Pay attention carefully, that there are siva temples where siva is not in linga form atall.
Wherever, siva is in linga form,, it means, the original shrine was of goddess KAli.
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See if you can locate nonlinga siva temples among thousands of shrines in tamilnadu. There are a few . But most of them are sakthi peetams and so lingam associated.
Siva is not native to thamizh country. That is the reason.
The majesty of Rudra ,,Siva of Rigveda is compromised and vulgarized by linga depiction by dirty puraanaas and its purveyors.

Read Sivananda Lahari, if you can follow its majestic poetry and philosophy.

Stop eqating divine consorts as 50,50 robbing the literary excellence and meaning.
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Lord vishnu does not derive his greatness from Lakshmi. .
That is why your 50,50 is not found in any vaishnavite temple, vigraham, sculpture or poem.
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What boneheaded boors!

nAdopAsaka · Post by **nAdopAsaka** » 05 Jul 2023, 15:28

“mA jAnaki CEta battaga mahArAja” – the ardhanAri Part 2

The name ardhanAriSwara (at tiruCengOdE) does NOT limit the IDEA/CONCEPT of the “ardhanAriSwara”.

As is now clear from scores of kritis, the mudras for the ardhanAriSwara IDEA appear at several kSEtras and for all four of the vAggeyakAras discussed so far.

But one should NOT quote the Dikshitar (or the mahArAja) anymore, after disrespecting them !!

No !, …the music of the vAggeyakaras cannot and should not penetrate any self-created sectarian prison with its lewd imagery.

This “banishment” holds true for the tyAgarAja kritis as well.

Why ?

Because the tyAgarAjas own words and choices contradict this sectarian rant.

“mA jAnaki CEta battaga” and the exaltation of sitA

The equivalence of sitA with lakSmi and rAma with viSnu is cited in none other than the vAlmiki rAmAyana- yuddha kAnda 6-117-28

sitA lakSmirbhavAn viSnurdEvaḥ krSnah prajApatih
vadhArtham rAvanasyeha praviSto mAnuSim tanum

translation
"sitA is no other than Goddess lakSmi (the divine consort of Lord viSnu), while you (rAma) are Lord viSnu.

And of course the vAlmiki rAmAyana is central to the tyAgarAjas kritis.

“mA jAnaki CEta battaga” deserves a more careful examination, than the lewd imagery given to it by these perverts.

In fact the exaltation of sitA is also seen in the AdhyAtma rAmAyana , which the tyAgarAja has obviously read and incorporated.

Why ?

Because he describes the mAyA-AkAra sitA in the kAmbOji kriti, the illusory sitA, who is central to the AdhyAtma rAmAyana.

The tyAgarAja reference to tulasi-dAsa

Notably tulasi-dAsa is an adherent of this AdhyAtma-rAmAyana exaltation of sitA and describes it in his rAmaCaritamAnas.

Yes, the same tulasi-dAsa of the tulasi name ! (cf. the balance/scales/tarAju).

And the tyAgarAja refers to this same tulasi-dAsa in his own “prahlAda bhakti vijayam”..that begins with
Sri jAnakI manOhara, rAjIva bhavAdi vandya raghu kula tilaka

specifically in the 5th opening stanza as

tuLasI kAnanamanduna vilasita muga harini jUci vismaya yutudai pulakI kRta tanudagunA
tulasI dAsa varu sannutulu sEtu madin

the inseparability of the divine parents

The divine parents are always considered inseparable and since they are “equal” to each other, they embody the “ardhanAriSwara” concept.

It’s the same idea when the Dikshitars sings “Sri pArvati paramESwarau” and builds his sOpAna.

It’s the same idea when the tyAgarAja sings “sitamma mAyamma Sri rAmudu mA tandri”.

And it is exactly this idea when the mA jAnaki = "MOTHER" sitA holds the hand of rAma/viSnu.

The plaintive call to restrict the pujA or the vAggeyakAra to any one area (like deccan or TN etc etc) is also nonsense.

As can be seen, the vAggeyakAras derive their inspiration from a wide area and wide variety of sources.

You can try to dismiss these sources (including vAlmiki rAmAyana, AdhyAtma rAmAyana, purAnas, soundaryalahari etc etc) because they are not from some particular region of your choosing/liking…..but that’s your problem…,since they are the exact sources chosen by the vAggeyakAra for his words.

And the nAda-upAsakas are only concerned with the choices being made by the vAggeyakAras..

No …the music, ideas, words and kritis of the vAggeyakaras cannot enter the confines of the narrow-minded.

I say again....everyone has a choice.

Simply walk away from ALL these kritis and ALL these vAggeyakAras, if you cannot agree with or understand what they are saying.

Certainly there is other music you can follow.

RSR · Post by **RSR** » 05 Jul 2023, 17:19

Where does Lakshmi reside in Thiruvananthapuram vishnu temple? In Srirangam? In Thiruppathy?
Why Md has not mentioned about Lakshmi in his famous krutji sri satjyanaarayanam..
Why no mention about her consort in pancha shat peeta roopini?
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MD never travelled beyond kallidaikkurichi. He never visited sabarimalai, thiruvananthapuram and guruvaayoor. He just sang about the deities,
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Why there are so few temples of siva without lingam, though Rudram extols him?
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Rudram reads like the prayer of homesteaders against the apache chief!
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Avatars of MahaVishnu should never be equated with vishnu himself.
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Thyagaraja did transgres in that respect but it is a very common error
We respect the Trinity for their music and idealism, not for literature or puranic stuff.
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nAdopAsaka · Post by **nAdopAsaka** » 05 Jul 2023, 17:44

I think you have ZERO respect for ANY vAggeyakAra. The repeated sectarian nonsense is unseemly for these threads.

You are also NOT reading the kritis (and you invariably transmit incorrect/incomplete information).

In "Sri satyanArAyanam upAsmahE", the dEvi is addressed via her name "Sri", indeed with the opening word.

And in "panCASat pitha" she is "Sankari" as well as "mahAdEva manOllAsini".

Your "education" and humiliation is bound to continue, though.

RSR · Post by **RSR** » 05 Jul 2023, 18:11

https://sites.google.com/site/dkpattamm ... authuser=0
Read this.
Why special mention about vaaman avataaram?
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How about other questions?
Empty can?

nAdopAsaka · Post by **nAdopAsaka** » 07 Jul 2023, 18:16

The balances within the “BALANCE” kriti – a closer look at the “ardhanAriSwari priyakara ardhanAriSwaram”

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The vAggeyakAras music , like water, always finds its depth.

And just like water, the vAggeyakAras music, first exposes, and then washes away all pretense, leaving only the supremacy of Sruti over apa-Sruti, truth over untruth.

2 decades ago the rasikas forum was itself created as an instrument of this great tradition.

Many thanks and blessings to the visionary founders and managers who tirelessly hold up this mirror and canvas.

And on this important platform someone innocently asks “what are the kritis on ardhanArISwara” ?

It is the nAda-upAsakas duty to understand the teaching in the nAdayOgis kritis …what are the VALUES they communicate through their pujA, their words , the details in their kritis and their music.

Along these lines, the Dikshitars kriti to the tiruCengOdE ardhanAriSwara deserves a much closer examination.

That examination is shown in this post.

First the short kriti is reproduced here, so there is no ambiguity about what will be revealed..

Pallavi
ardha nAriSwaram ArAdhayAmi satatam, atri bhrigu vaSiStAdi muni brinda vanditam
Anupallavi:
ardhayAma alankAra viSESa prabhAvam, ardhanAriSwari priyakaram abhayakaram Sivam
Caranam:
nAgEndra mani pujitam nandi turagArOhitam , Sri guruguha pujitam kumudakriyA rAganutam
AgamAdi sannutam ananta vEda ghOSitam, amarESAdi sEvitam Arakta varna SObhitam

MULTIPLE contrasts and balances are SEEN IN EVERY LINE

There are several remarkable balances/contrasts built into the "ardhanAriSwaram" kumudakriya kriti.

1. atri bhrigu vaSiSta muni brinda vanditam

The inclusion of bhrigu muni (who is of a different generation of saptariSis) simultaneously with atri/vaSiSta is a huge indicator of a contrast.

Why ?

First note that “ardhanAriSwaram ArAdhayAmi” is the ONLY kriti of the Dikshitar to mention this bhrigu riSi.

for e.g. And atri and vaSiSta are mentioned together in the manirangu “mAmava pattAbhirAma” but bhrigu is noted ONLY in the kumudakriya kriti.

What is the significance of this mention of “bhrigu” ?

Because bhrigu is uniquely renowned for also CURSING Siva, in contrast to the other riSis "vandana".

2. ardha-yAma = the middle of the night which represents the end of the previous day and the beginning of a new day

3. ardhayAma alankAra - the midnight worship simultaneously with ArAdhayAmi satatam

The Dikshitar indicates he does the ArAdhana ALWAYS (= satatam) but also says that the pujA is performed at the midnight hour ardhayAma.

4. ardhanAriSvari priya karam -abhaya karam Sivam – The Dikshitar is meticulous – the dEvi is specifically mentioned as ardhanAriSvari – he does not ignore the consort even though the deity is conjoined..

5. But there is a deeper reason to the above line !

At first (to the amateur) it might appear there is no right-left mudra....the vAma placement).

But the Dikshitar has concealed the right-handedness of the Siva by giving him the “abhaya hasta” , gesture of fearlessness , made ONLY by the right hand.

In contrast the female form , called “ardhanAriSwari” is noted in the same breath, because she is on the LEFT side (not on the abhaya-karam side). kara = hasta also.

6. nAgEndra mani pujitam - the red ruby jewel associated with the King of serpents is contrasted by nandi turagArOhitam - the white of the nandi bull

7. kumudakriya rAganutam – The White color (of the Siva half) is emphasized by the white flower of kumuda/lily. As noted earlier, a flower possesses both male and female aspects simultaneously. And it blooms at night , suitable for the midnight pujA.

8. AgamAdi sannutam – ananta vEda ghOSitam

“Agamas” are scripture that are “AA-gama”, that which have “arrived” and which therefore have a “beginning”.

Whereas the “ananta vEda” are timeless , infinite, non-ending and without beginning.

9. amarESAdi sEvitam Arakta varna Sobhitam

In the last line too, the Dikshitar shows the contrasting White vs. Red Color …How ?

Because amarESa = Indra is associated with the full (white ) moon as well as rides the White elephant (airAvata), in contrast to the Arakta varna (red color).

The vAggeyakAra and the nAda-sampradAya has now been satisfied, with this full exposition of the intent of this BALANCE kriti.

It was bound to happen.

It is the nature of Sruti/truth to dominate apa-Sruti (untruth), in all things.

satyam Eva jayatE

ardhanAriSwaram ArAdhayAmi – rAga kumudakriya

RK Murthy
https://www.youtube.com/watch?v=5EJi2TIJDuU

veena m. ramESa
https://www.youtube.com/watch?v=Do9Dbllx8C0

RSR · Post by **RSR** » 07 Jul 2023, 20:31

https://lh3.googleusercontent.com/VPaVu ... bHAj=w1280

This is a famous depiction of Meenakshi kalyaanam. Note that lord somasundara is to the left of Meenakshi.
Vishnu is performing the mariage of his sister .
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I think somasundarar is not depicted in this sakthipeetam as the usual linga.
.
https://sites.google.com/site/dkpattamm ... authuser=0

nAdopAsaka · Post by **nAdopAsaka** » 08 Jul 2023, 06:06

The ardhanAri mudras in the Dikshitar kritis at jambukESwaram/tiruvAnaikal and hAlAsya kSEtra/tiruvAlavai/madurai

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

jambukESwara/tiruvAnaikal – the water linga kSEtra

The 3rd tirumurai, 1st stanza at this kSEtra asserts the ardhanAri icon ,

thaenaikkaavi linmozhith thaevipAka mAyinAn, AnaikkAvil .

The Dikshitar gives the pair of kritis....

1. Sri mAtah Siva vAmAnkE – rAga bEgada

where the mudra is obvious “Siva vAmAnkE” = left half of Siva.

Notably the kriti ALSO gives the words “jambupati sahita”

2. jambupatE mAm pAhi – rAga yamunA kalyAni

Here the mudra is “anirvaCaniya nAda bindO”.

The dEvi is “parAdi CatvAri vAksvarUpiNi “ ...of the four forms of speech like para etc..

Yet the conjoined Siva-Sakti union = the “indescribable” nAda bindu, transcends even this aspect…anirvaCaniya = beyond words and speech.

The 2 kritis form the pair that illustrate the BALANCE.

hAlAsya kSEtra/tiruvAlavai – the madurai minAkSi kSEtra

The Adi Sankaras “minAkSi panCaratna stOtra” is OBVIOUSLY known to the Dikshitar.. and it gives the unambiguous ardhanAri icon.

It starts as
“udyad bhAnu sahasra kOti sadrSam kEyura hArOjjwalAm

And then gives in the 3rd stanza the description

SrividyAm Siva vAma bhAga nilayAm hrimkAra mantrojjvalAm
SriCakra ankita bindu madhya vasatim
Srimat sabhA nAyikAm Srimat Sanmukha vighnarAja jananim
Srimaj-jaganmOhiniim minAkSim prannatOsmi santatam Aham kAruny varAm nidhim

Separately the tEvAram also records the ardhanAri for the tiru-Alavai = madurai kSEtra in the 4th tirumurai, and 6th tirumurai etc.

How the Dikshitars delivers the ardhanAri icons of madurai.

The idea of the “inseparable” Siva-Sakti union at madurai is embedded in the very name “sa-umA” sundarESwara = sOma-sundarESwara…he who is conjoined with umA.

The Dikshitar uses it but registers additional mudras as well..

1. hAlAsyanAtham smarAmi – rAga darbAr

the ardhanAri mudra is “ mInAkSI samEtam”

2. SrI madhurAmbikE SrI SivE avAva – rAga kalyAni

The first mudra is ““sOmasundarESwara hRdaya vilAsini”

But he also gives the mudra for the LEFT position ! (as noted by and required by the Adi Sankara minAkSi stOtra)

The minAkSi dEvi is described UNIQUELY as "kAdi hAdi sAdi mantra rUpiNi !"

Which is the exact description of the lalitA , the panCadaSAkSari dEvi.

(this exact word name carrying the 3 words “kAdi hadi sAdi mantra rupini” is NOT USED in any other kriti by the Dikshitar)

And notably # 469 of the lalitA sahasranAma is “vAmadEvi” !

Therefore “kAdi hAdi sAdi mantra rupini” = lalitA = vAmadEvi which places this minAkSi in her position as the left half of Siva (at madurai) as noted by the Adi sankara minAkSi stOtra.

It is notable that the Dikshitar also sees and describes the parrot that is ALWAYS carried in the left hand of the dEvi as “Suka pAni” in this kriti, emphasizing her left-side position in the “ardhanAri” icon he is conveying.

Of course this kalyAni kriti is the sarva-Anandamaya Cakra kriti of the madurAmbA navAvarana.

See post #803 of the Mutthuswamy Dikshitar thread dated 09 Dec 2022 for details of this 9th Cakra kriti.

https://www.rasikas.org/forums/viewtopi ... 16#p378216

The full 9 kritis of the madurAmbA navAvarana were revealed in post # 568 of the Mutthuswamy dikshitar thread dated Aug 17, 2021.

Again the 2 kritis form a pair that illustrate the BALANCE of the ardhanAri at hAlAsya kSEtra.

Summary

Absolutely No pictures or other images are needed.

The Adi Sankara stOtra and the Dikshitars choice of words are UNAMBIGUOUS in their depiction of the madurai ardhanAri..

Unerringly , once again, the nAdayOgis pujA has found its mark.

the nAda-upAsakas cup (huge as it is ) still runs over.

jambukESwaram

Sri mAtah Siva vAmAnkE – rAga bEgada

RK Murthy
https://www.youtube.com/watch?v=rGUWTT-T_2g

jambupatE mAm pAhi – rAga yamunA kalyAni

seeta rAjan bAla brinda
https://www.youtube.com/watch?v=dJAm3hYH9Io

hAlAsya kSEtra

hAlAsyanAtham smarAmi – rAga darbAr

rAjEswari S
https://www.youtube.com/watch?v=Yi4BGgrdxj0

SrI madhurAmbikE SrI SivE avAva – rAga kalyAni

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

RSR · Post by **RSR** » 08 Jul 2023, 08:26

Soma means Moon.
Siva wears the crescent moon.
Sa uma is not appropriate here.
.
Readers can easily find nice translation of ardhanareeswarar kruthi in
Guruguha vaibavam blogspot of sri.v.govindan and forum member rajani.
Nado is just beating about the bush.

RSR · Post by **RSR** » 08 Jul 2023, 08:39

There is a rare imàge of sita devi on the right side of raama, in srinivasarao blog series on Thyagàraja swami.

RSR · Post by **RSR** » 08 Jul 2023, 09:31

In this Todi kruthi by Thyagaraja swami, on Neelaayathaakshi at Nagapatnam, the devi stands alone, no ardha stuff here.
She is so beautiful that she made siva dance here and there to court her!
..jGist

O Dark haired Mother who is the Consort of Lord Siva!
O Spouse of Lord Siva who is the fortune for devotees!

Whoever has understood Your greatness!

Whoever has understood even a little of the prowess of Mother nIlAyatAkshi!
But, in this Earth, in the sacred town of nAga pura (nAgappaTTinam), I beheld Her prowess.

Wearing pure golden garments,
tying pArijAta flowers around the whole chignon,
holding parrot in the hand, very elegantly, and,
making Siva dance hither and thither -

RSR · Post by **RSR** » 08 Jul 2023, 10:31

Lord Shiva is one of the main Gods of Hinduism. Ardhanareeswar, one of 64 manifestations of Lord Shiva, has half-man and half-female to represent the unity of Shakti and Shiva. though Ardhanareeswara is a well knownvenmanifestation of Shiva, you cannot find a temple or shrine for Ardhanareeswara. As far as I know, the only temple dedicated for Ardhanareeswara in the form of half man and half woman is located only in Tiruchengode. (There are temples for Ardhanareeswara where the idol is in the form of Shiv Linga). Thus, Tiruchengode Ardhanareeswarar temple is considered as a rare temple.
..see the image of main deity for yourself.
That is why MD màde a special trip to thiruchengode and gave uß a special kruthi.
https://images.app.goo.gl/EZDqoUdkGpyQRd4W7

..you can get a nice and stright lyrics and translation at v.govindan..rajani blog at guruguha bligsot.

RSR · Post by **RSR** » 08 Jul 2023, 11:00

arddhanArIshvaraM ArAdhayAmi satatam
Abstracted from: Compositions of Muddusvami Dikshitar by Sangeetha Kalanidhi T. K. Govinda Rao, published in Chennai 1997 (No. 396). English edited by me.

Raga: kumudakriya / Tala: rUpakam

P: arddhanArIshvaraM ArAdhayAmi satatam atri bhRgu vasiSThAdi munibRnda vanditam shrI

A: arddhayAma alaHNkAra vishESaprabhAvam arddhanArIshvarI priya karam abhayakaram shivam

C: nAgEndra maNi bhUSitam nandituragArOhitam shrI guruguhapUjitam kumudakriyA rAganutam AgamAdi sannutam anantavEda ghOSitam amarEshAdisEvitam AraktavarNashObhitam

English
I offer my prayers to Lord Arddhanarishvara incessantly. He is surrounded by a host of eminent sages, such as Atri, Bhrigu, and Vasishta.

He has the glory of being exceptionally decorated during the time of Arddha Jama worship. He delights Arddhanarishvari. He is Shiva, offering refuge to his devotees.

He is adorned with the precious gem Nagendramani, and is mounted upon the sacred bull. He is worshipped by the prosperous Guruguha, and is extolled by the melody of Kumudakriya. He is praised by all the Agamas, and is proclaimed by all the Vedas. He is venerated by Indra and others, and his form shines with the red hue.

To Ganamandir Trust

To Dikshitar composition list

Todd M. McComb

nAdopAsaka · Post by **nAdopAsaka** » 08 Jul 2023, 14:41

kAyArOhana - The ardhanAri mudras of nAgapattinam = tiru-nAgai-karOnam in the kritis of the Dikshitar, the tyAgarAja , SyAmA SAStri and the tEvAram

nAgapattinam (where nilAyatAkSi resides) takes its ancient tEvAram name “nAgai-karOnam” from the very word that means “united body” = karOnam.

Why ?

Because “karOnam” derives from the word “kAya-Arohanam”, meaning ascending/acquiring the body (kAya = body).

One should read (and try to understand) the words.

kAyArOhanam is exactly the ardhanAri described in different stanzas of the tEvAram

Tirumurai 1, stanza 2
pe'n'naa 'nena:nin'ra pemmaan pi'raissenni, ka'n'naar kadanaakaik kaaroa 'naththaanae.
The great god who is both female and male., is in nākaikkārōṇam on the shore of the sea pleasing to the eye

Tirumurai 1, stanza 5
aa'num pe'n'numaa yadiyaark karu'nalkis
being male and female.

or as in tirumural 5, stanza 6, the more common pAka (bhAga) reference
Tirumurai 5 stanza 6
alangkal saersadai yaathipu raa'nanai
vilangkal melliyal paakam viruppanaik
kalangka'l saerkadal :naakaikkaa roa'nanai
valangko'l vaarvinai yaayina maayumae.

The name kAyA-rOhana = kAya + ArOhana implying this ardhanAri union appears in

In ALL the Dikshitars kritis at this kSEtra

ambA nilAyatAkSi – Siva-kAyArohan-Esa- rAga nilAmbari
kAyArOhanESam- rAga karnAtaka dEvagAndhari
Siva kAyArOhanESam - rAga rudrapriya

Here Siva-kAyArOhana is the Siva acquiring/embracing the dEvis body (kAya)

In addition, as shown in post # 405 of the Mutthuswamy Dikshitar dated 27 Sep. 2020, “ambA nilAyatAkSi” is all about “reflection”.

As “Cit pratibimbAdhari” in the nilAmbari she is EXACTLY the reflected half of the Siva (same as the Cit bimba of the bauli kriti where the Dikshitar builds his sOpAna)..

In the tyAgarAjas sAvEri kriti at nAgapattinam

“karmamE balavantamAyA talli kAyArOhaNa jAyA” – rAga sAvEri

kAyArOhana-jAya where the dEvi is spouse of the Siva whose body she has acquired/ascended.

And in the tOdi “evaru tEliya” , the words appear "nAgabhuSana (nuki) rAni" or “nAgabhuSana-rAni” deriving from “nAgabhuSan-ara-ani” = she who is half of Siva nAgabhUsana , the Siva of nAgapattinam.(ara being half)

Indeed SyAmA SAStri agrees in his kriti "nilAyatAkSi" at the same kSEtra in rAga pharaj

He uses the word "phAlAkSu (na)-rAni" which derives from “phAlAkSun-ara-ani “, she who is half of the Siva with the 3rd eye .

All 3 vAggeyakAras agree with the tEvAram description of the ardhanAri in their usage of embedded icons for this unique aspect of the tirunAgaikarOnam = nAgapattinam kSEtra.

The continued ignorance about kSEtra names/meanings and older texts like tEvAram or soundaryalahari or purAnas or sahasranAmas etc. is a sign of the disrespect for the vAggeyakAras and their sources of inspiration.

All the "parroted text regurgitated thoughtlessly" over the decades does NOT teach the reasons for WHY the words are used or the rAgas chosen, or the context.

It is in those meanings/choices that the vAggeyakAras upAsana is found, not in these insipid word-for-word translations, which this "clueless" chap keeps on posting.

The ardhanAriSwaram kriti as an emblem of "BALANCE" intended by the Dikshitar is a prime example as seen on this thread but there are hundreds others., as now shown on these threads.

karmamE balavantam - rAga sAvEri

https://www.youtube.com/watch?v=1X5ZEj8K6iI

RSR · Post by **RSR** » 08 Jul 2023, 19:29

Here is the explanation given by sri.v.govindan.
See how decent. Dont touch and defile Thyagaraja.
Only union lunatic will sèe deha ,kaaya aarohanam and avarohanam in everything. What an insufferablel vulgar mind!
.....

kAyArOhaNa - The term ‘kAyArOhaNa sthalaM’ means 'a shrine where all beings become one with Lord Siva during the great deluge'. The name kAyArOhaNa is associated with the Lakulisa Pasupata Saiva sect which originated in Gujarat. This sect of saivism is said to have been widespread in Tamilnadu during the days of Mahendravarma Pallavan. There is a temple with the same name at Gujarat - kArvAn - kAyArohaNa svAmi (barODa). Please refer to - Legend of kAyArOhaNa and Lakulisa

nAdopAsaka · Post by **nAdopAsaka** » 08 Jul 2023, 19:59

"a shrine where all beings become one with Lord Siva"

Nothing else becomes "one with Siva" before the dEvi unites with Siva.

There is NO QUESTION the deity is conjoined.

This is what the tEvAram is also referring to.

kAya = body, ArOhAna = ascent /union... .

ps. the thread shows clearly who introduced the lewd imagery/khajurAho etc. into this discussion and who keeps bringing it up. Such lewdness is solely in the minds of perverts. It should not be brought up in the context of any kritis.

RSR · Post by **RSR** » 09 Jul 2023, 08:26

Just filthy poison in the pretext of pedantic analysis.
Do us a favour. Create your own blog and load it with all your baggage. Give us the option to avoid your climbing and descending.
Shame on your croocked mind. Leave shyaama saastry and Thyagaraja swami, from your vulgar view. They were among the purest souls among the composèrs.

nAdopAsaka · Post by **nAdopAsaka** » 09 Jul 2023, 22:42

The kAnCi ardhanAri in the kritis of the trinity of kAnCi arCakas – How 3 generations of SAStri’s describe the “vAma bhAga kAmAkSi”

The ardhanAri of kAnCi is defined by the authority of Adi Sankara.

Absolutely No ones misleading picture, image, story or idol is needed.

In his kAmAkSi stOtra to the “kAnCi puri nAyikA” the Adi Sankara gives in stanza 10 the unmistakeable ardhanAri mudra.

kAntA kAma-dudhA kariindra gamanA kAmAri vAmAnkA

where the Siva is “kAma-ari” = kAma-dahana.

The Trinity of vAggeyakAras agrees..

with their own words and with their kritis. as shown on a post on this very thread dated Jun 7, 2023.

https://www.rasikas.org/forums/viewtopi ... 40#p379440

A Trinity of kAnCI arCakas also agrees.

Along with SyAmA SAStris “sOmaSEkhara pAdi sundari kaumAri” in his rAga gaulipantu kriti “tarunamidammA” both his son and grand-son preserve the icon in their own kritis.

subbarAya SAStri calls her “pannagAbharan-arAni = which conceals the word “pannagAbharan-ara-ani" (where ara is this half = ardha) in his tOdi kriti “nannu brOCutaku”

And

annAswAmi SAStri calls her “EkAmrESwara vAma bhAgasthE” in his “vAnCita varadE paradEvatE”, in ..what else..... “madhyama-AvAti” rAga.

Clearly the family/trinity of dEvi arCakas of kAnCi, sees the ardhanAri as an important aspect of the kAmAkSi dEvi, (not as just some “ardha stuff” or “ardha rubbish”).

It is so important it is embedded in their pujA and their kritis, COMPLETELY REGARDLESS OF ANY PERVERTS CONJURINGS.

The parade of truth continues unabated.

tarunamidammA – rAga gaulipantu – SyAmA SAStri

Hyd. Bros.
https://www.youtube.com/watch?v=8kQtN7QCV2A

nannu brOCutaku – rAga tOdi - subbarAya SAStri

the incomparable brinda
https://www.youtube.com/watch?v=dTlx0sEk_NM

vAnCita varadE – rAga madhyamAvati – annAswAmi SAStri

BMK
https://www.youtube.com/watch?v=DkpkskFXmLs

RSR · Post by **RSR** » 10 Jul 2023, 07:00

Shyama Sastry as you know is a devi upasaka, especially,of Kamakshi amman.of Kanchipuram.Kanchipuràm Kaamakshi is a sakthi peetam. Devi does not derive her glory and sacredness from her consort. Though she is tradionally considered as the spouse of siva.
.it may be notèd that Kamakshi has an anciènt, independent shrine and huge temple in Kancjipuram, without any consort.
It is just conventional to depict the goddess as a consort of siva standing on the left side of the lord siva usually a linga. Just a convention, nothing more.
In most of the Durga temples, the goddess is NOT shown with Siva.
The vigraham of Kamakshi is STAND ALONE.

So the idol worshipped by Shyama Sastry is stand alone. She is not shown with siva atall.
.
Srinivasaraos has written a superb blog
, a eleven part series on Shyama Sastry.
Covering the spirituàl and music aspects of most kruthis of SS. Links have been given in the earlier posts of the thtrad on Ss.
Must read for all swayambulingàns.
Read the classic by SS RAO carefully.
Without skipping any portion.
Give up your arrogance and self styled fake expertise.
https://sreenivasaraos.com/2020/06/27/s ... part-four/

RSR · Post by **RSR** » 10 Jul 2023, 07:21

Bangaru Kamakshi

This most pleasing and lovely looking Bangaru Kamakshi , the golden Utsava–Vigraha of Kanchi Kamakshi, very dear to the devotees, was praised with many epithets, such as: Svarnangi, swarnambika Shukahastha, Suthlinga-vallabha and Dharma-Devi, etc.

The Devi is depicted as holding a parrot in her right hand (Shukahastha), while her left hand is slightly over her hip, is standing (Sthanaka) gracefully assuming a Tri-bhanga posture with her right leg turned slightly inward.

Bangaru Kamakshi 2

nAdopAsaka · Post by **nAdopAsaka** » 10 Jul 2023, 15:50

The ardhanAri of kAnCi in the Dikshitars kritis – kAmAkSi sahita EkAmranAtha & kAmAkSi samEta EkAmranAtha

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

At kAnCi, the dEvi NEVER stands alone in any of the vAggeyakAras vision..

Following the Adi Sankara kAmAkSi stOtra ardhanAri icon, “kAmAri vAmAnkA”,

She is
“tyAgarAjuni hrdaya sarOja” and “parASakti” in the tyAgarAjas kriti – vinAyakuni valEnu – rAga madhyamAvati
“sOmaSEkhara pAdi sundari kaumAri” in the SyamA SAStri kriti – tarunamidammA – rAga gaulipantu
‘EkAmrESwara vAma bhAgastE” in the annAswami SAStri kriti “vAnCita varadE” – rAga madhyamAvati
“bhairavi-pras-anga” in the Dikshitars prthvi linga kriti in rAga bhairavi

But the Dikshitar doesn’t stop with the linga kriti.

He UNAMBIGUOUSLY gives the ardhanAri mudra in another 2 pairs of kAnCi kritis.

saraswati manOhari - rAga saraswati manOhari

The ardhanAri mudra is found in “saraswati manOhari sadAsiva sa-AkSi”

AkSi is “dwelling in”, (refer to the “nArAyana dESAkSi” SankarankOvil discussion in this thread) …she who is “sadASiva -sa” - AkSi, dwelling with “sadASiva”

For good measure, the Dikshitar also calls her “parama-advaita rupini” , the one whose form is inseparable from the “parama-Siva”

The rAga choice derives from this union as in “mana-hara”, where Siva as “hara” who charms and acquires the dEvi = “saraswati-mana”

EkAmranAtham bhajEham - rAga gamakakriya/pUr-vi kalyAni

The ardhanAri mudra appears as “kAmakOTi pIthasthitam prasiddha mUkAdinuta kAmAkSI sahitam”

Here the rAga choice is based on the dEvi (as kalyAni) completing (= pUr-ita) the Siva

nIrajAkSi kAmAkSi – rAga hindOLam

The ardhanAri mudra is “Siva Saktimaya navAvaranE”…the 9th Cakra SivaSakti union of the kAmAkSi navAvarana.

The conjoined deities swing together on the “celestial swing” the hindOla, which also gives the rAga.

EkAmranAthAya namastE – rAga mukhAri (mUka-Ari)

The ardhanAri mudra appears as “kAmAkSi samEtAya”

Here the rAga is from the “defeat of dumbness” = mUka = dumb , ari = enemy

Summary

The reference to “dumb” ness is quite appropriate.

The repeated ignorance and denial of the vAggeyakAras words and choices is of course a sign of monumental dim-wittedness.

The ignorance is further compounded by lewd perversions associated with the Siva-Sakti union..repeatedly called “ardha-rubbish” by this holier-than-thou pervert.

The vAggeyakAras music exposes all pretense.

EkAmranAtham bhajEham - rAga gamakakriya/pUrvi kalyAni

rAmnAd K
https://www.youtube.com/watch?v=vsTnO9EXcbs

EkAmranAthAya namastE – rAga mukhAri (mUka-Ari)

mangalam S
https://www.youtube.com/watch?v=JOoRTDZLza4

nIrajAkSi kAmAkSi – rAga hindOLam

BMK
https://www.youtube.com/watch?v=s6NsM_xPnwg

saraswati manOhari - rAga saraswati manOhari

DKP/DKJ
https://www.youtube.com/watch?v=VSZyQcuqvFM

RSR · Post by **RSR** » 10 Jul 2023, 17:50

We respect the Trinity for their music and purity of life. Not necessarily for their perçeptions.
.
There is no need to quote non.composers.
.
If 50,50 is such a universal concept, why is not accepted by vaishnavites and even saakthaas?
.
You are an incorrible idi if you ignore the actual vigrahams in Kanchi.
No hopes for such nicompoops.

nAdopAsaka · Post by **nAdopAsaka** » 10 Jul 2023, 21:09

We ?

who is this “We” ? that is claimed to be represented ?!

God forbid there are more like this !

If there are (which I doubt ) , then to ALL such I say….

The vAggeyakAras perceptions form their words and their music.

Their sources of inspiration which appear in their kritis/words/choices and which are integral to the kSEtra history cannot be disrespected.

Idols can be painted over or even blown up, (like those desperate "sects" did with the buddhAs).

But the ideas are always preserved. So to with the ardhanAri.

Whether any other groups or individuals share these beliefs , is completely irrelevant. I couldn't care less.

It only matters that the vAggeyakAras believe in this idea, and repeatedly refer to it.

It is the height of insecurity and inconsistency to continue to cling to any of these vAggeyakAras, while also disrespecting their perceptions and denying their words !

And it is inconsistent to deny the words of so-called “non-composers” , yet repeatedly parrot only such words in posts here.

Just walk away from the music and these threads with whatever dignity you have left.

nAdopAsaka · Post by **nAdopAsaka** » 10 Jul 2023, 23:55

The ardhanAri mudras in the Dikshitars SriSailam jyOtirlinga kSEtra kritis & the Adi Sankaras umAmahESwari stOtra and SivAnandalahari

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

At SriSailam, the Dikshitar has two kritis..”himACala kumAri” in the rAga jhankArabhramari and “paranjyOtiSmati” in the rAga jyOti.

It has been shown in post dated Jun 16, 2022 of the Mutthuswamy Dikshitar thread that both kritis are connected to the jyOtirlinga kSEtra of SriSailam, consecrated by the Adi Sankara in his SivAnandalahari.

https://www.rasikas.org/forums/viewtopi ... 48#p376648

It will be shown in this post that both kritis carry the ardhanAri mudra.

“himACalakumarim” in rAga jhankAra-bhramari the 19th mEla

The rAga itself is chosen to describe the “buzzing bee” (jhankAra = buzzing/murmuring, bhramara = bee), signifying the goddess of SriSailam (the same "bee" and the goddess as bhramarambikA is described in the SivAnandalahari stanza # 51-52 etc. ).

Noticeably in the SivAnandalahari the ardhanAri form is also cited in stanza # 82 as “ardha vapuSa bhAryA tvam”, where the dEvi is the “wife” who occupies half the body (vapuSa) of Siva.

But the specific ardhanAri mudra comes from ANOTHER WORD = umAmahESwarim.

The names “umAmahESa” is noted in stanza 81 of the SivAnandalahari.

“umAmahESwara” is the synonym for the “ardhanAriSwara” in the umAmahESwari stOtra (also of the Adi Sankara).

In stanza 7 of the umAmahESwara stOtra the contrasting depiction is given of the deity whose body bears the famished Siva as one half and the pretty goddess as the other half ,

kankAla kalyAna vapurdharAbhyAm

“paranjyOtiSmati” in rAga jyOti the 68th mEla

rAga jyOti is the natural choice for the jyOtirlinga kSEtra.

The ardhanAri icon derives from multiple usages found in the kriti.

The goddess is “niramSa tatva lakSani”, i.e. she is the symbol of the indivisible tatva = the (jyOti) linga here.

Additionally the usage “pArvati paramESwara yuva-ti” cleverly gives the union since yuva is connected (as opposite of ayuva = disconnected).

It has already been seen how "parvatiparamESwara" reflects the ardhanAri in the bauli rAga kriti.

Whether one likes it or not, the history of the SriSailam kSEtra is found in the pujA of the Adi Sankara and it is repeated in the kritis of the Dikshitar , a 1000 years later.

Whether one likes it or not, the ardhanAri aspect is integral to this kSEtra.

Whether one likes it or not, the Dikshitar gives two mEla rAgas to this kSEtra.

Whether one likes it or not, without these 2 kritis, these 2 mEla rAgas do not see the light of day.

One CANNOT denigrate the pujA conducted by those who consecrate this kSEtra (or any other kSEtra) simply because they have a different set of “values”.

You have a choice. If you don’t like the ideas (or if you have some unfortunate sectarian or other hang-ups) simply do not listen to these kritis and by extension to any kritis.

All nAda-upAsakas existence is enriched by following in the footsteps of the nAdajyOti Mutthuswamy Dikshitar and tracing his sources, reasoning and choices.

himACalakumarim - rAga jhankArabhramari

hEmalata
https://www.youtube.com/watch?v=Hicm5c9ScMI

paranjyOtiSmati - rAga jyOti

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

RSR · Post by **RSR** » 11 Jul 2023, 08:39

Hi,
Kamakshi amman temple is very special. You dont understand that vishnu, KaaLi, murugan, are the chief deities of thmizh country of sangam era. 200 BC to 200 AD.
.
Siva even as a lingam finds no mention in sangam literature. Similarly, Madurai is mentioned even by Megasthanes, the greek ambassador to chandragupta mourya 300BC.
.
Poet Maamoolanar mentions even about nandan empire which ruled over the entire India except far south thamizh land. That was in 450 BC.
.
Siva idea came to thamizhnadu only in 600 Ad. Do you have any sense of history?
.
Srinivasaras blog page on shyama sastry cited has a picture even of bangaru kamakshi.
Do have a look.
.
Here are some excerpts from wiki on kaamaakshi amman.
Read it carsfjlly line by line.
........

RSR · Post by **RSR** » 11 Jul 2023, 08:45

The Kamatchi Amman Temple is an ancient Hindu Temple dedicated to the goddess Kamakshi, one of the highest aspects of Adi Shakti in Shaktism. It is located in the historic city of Kanchipuram, near Chennai, India. Its construction is credited to the Pallava kings, whose capital was in the same city. This temple, along with the Meenakshi Temple in Madurai and the Akilandeswari temple in Thiruvanaikaval near Tiruchirappalli are the important centers of Goddess worship in the state of Tamil Nadu.The present temple with goddess seated in padmasana was once known as Kaamakotta Nayaki shrine, where Lalitha Tripura Sundari has settled in this temple after the destruction of the demon called Bhandasura. This ancient temple got mentioned in Perunaraatrupadai, an ancient Tamil sangam literature which praises the renowned sangam era king Thondaiman Ilanthiraiyan who ruled whole Thondai mandalam during sangam era with Kanchipuram as capital city

. [color=#BF0000]The [color=#FF40BF]original golden statue was seen with two hands adorning a parrot in her right hand is called as Bhangaru Kamakshi was replaced with the current panchaloha idol to avoid ruins of invasion. Now the golden goddess is residing in the West masi veedhi of Tanjavore with aseparate shrine, as escorted by Shyama Shastri.[/color][/color]

nAdopAsaka · Post by **nAdopAsaka** » 11 Jul 2023, 14:39

No post on the dEvi etc. or any other subject , from a lewd pervert who sees parents (or divine parents) only as physical congress , can have ANY credibility.

But rasikas forum in its wisdom tolerates all views, which only amplifies the truth.

In the ardhanAri icon, the dEvi carries the parrot in the LEFT HAND (which is the obviously the left side of the deity).

It is ONLY what is in the vAggeyakAras kritis that is relevant.

RSR · Post by **RSR** » 11 Jul 2023, 16:32

None of us are born without parents union. But do we hang portraits in our homes in their state of union?

RSR · Post by **RSR** » 11 Jul 2023, 16:52

Image of bangaru kamakshi at tanjore

nAdopAsaka · Post by **nAdopAsaka** » 11 Jul 2023, 17:14

Its pretty certain, that when the Dikshitar says “Sri pArvatiparamESwarau vandE” he’s not thinking abiut this.

Or when the tyAgarAja says “mElukO rAma sitA samEta” he’s not thinking about this.

Or when SyAmA SAStri says “sOmaSEkhara pAdi sundari” he’s not thinking about this.

No … the vAggeyakAras (and likely most of the readers of this forum) are not guilty of this lewd imagery you have conjured up.

You have introduced it to these threads here due to whatever pathetic inadequacy you have with the vAggeyakAras music/words/kritis/icons.

Just walk away from the music..you do not deserve it.

The vAggeyakAras music has a way of exposing the truth/Sruti....and it prevails every time.

nAdopAsaka · Post by **nAdopAsaka** » 11 Jul 2023, 19:48

The ardhanAri of tanjAvUr in the Dikshitars kritis – 2 pairs of brihadiSwara/ brhannAyaki kritis with the ardhanAri mudra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

At tanjAvUr, the deities are brhadISwara and brhannAyaki.

(bangAru kAmAkSi is NOT the main deity at tanjAvUr …..yet another misleading notion of Mr. khajurAho)

The ardhanAri is the conjoined brhadISwara/brhannAyaki, also seen in the ancient sculpture of this kSEtra..

As expected, the Dikshitar celebrates this ardhanAri of tanjAvUr.

The idol and his mudras are UNMISTAKEABLE.

No physical act can be inferred from image or words (except by the lewd pervert).
Naturally All such perverts are denied entry to this kSEtra and to the music.

As part of the ardhanAriSwara concept, the Dikshitar BALANCES the male kriti with a female kriti. There are 2 such pairs..

brhadISvarO rakSatu – rAga gAnasAmavarALi
as “bRhannAyakI-sahita”

SrngArAdi navarasAngi - rAga dhavalAngam
As “ bRhadamba-alingita” = enveloped by

nabhOmaNi candrAgni nayanam – rAga nabhOmaNi
as “nagajA-sahita bRhadIshvaram”

saindhavi rAgapriyE - rAga saindhavi
as “sAdhujanAvana santOSakari”..she who completes (from san-tuSta etc) Siva = sadhujana-Avana , the protector of sAdhus.

Case closed.

brhadIshvarO rakSatu – rAga gAnasAmavarALi

KBMK
https://www.youtube.com/watch?v=qaN3CWWIftw

SrngArAdi navarasAngi - rAga dhavalAngam

amrita murali
https://www.youtube.com/watch?v=hyMnwTXRD_g

nabhOmaNi candrAgni nayanam – rAga nabhOmaNi

swarAtmika S
https://www.youtube.com/watch?v=ExauTvcD3fg

saindhavi rAgapriyE- rAga saindhavi

sunajA A
https://www.youtube.com/watch?v=mf01LD16fIM

Pratyaksham Bala · Post by **Pratyaksham Bala** » 11 Jul 2023, 20:06

The drift seems purposeful.

The thread is about kritis on ardhanari, but there seems to be an agenda to discredit and denigrate the Saivaite concept.

Shouting at the ardhanari concept as filty, etc. and then adding words of praise for Shiva here and there, comes out as a clever malicious attempt to camouflage the hidden agenda.

RSR · Post by **RSR** » 11 Jul 2023, 20:34

Mr.PB,
1. Ardha concept is not accepted either by vaishnavites or by saakthas.
2. Rudra Siva is a rugvedic deity . I have studied Rudram and there is no lingam stuff there. It is majestic. As you know rudra was an ascetic. And burnt manmatha to ashes. That is the saivam that is clean and inspiring.
3.
During 600 AD, so many KaaLi temples were converted into siva temples with lingam.
4.
Nataraja temple is an exception.
5.
I welcome information about standalone siva temples in thamizhnadu ..without consort.

Pratyaksham Bala · Post by **Pratyaksham Bala** » 11 Jul 2023, 20:55

The purpose of this thread is not for discussing religious beliefs and practices. All the above statements are extraneous to the topic of this thread.

As a staunch sectarian believer, it is better to stick to the related sectarian deities without denigrating other deities.

RSR · Post by **RSR** » 12 Jul 2023, 07:18

Sri.PB,
1.
I have not denigrated any of the chief deities of hindu religion, be it vishnu, siva, devi, ganesa or muruga, saraswathi and lakshmi anywhere.
2.
I have quoted from very respected scholars like sri.v.govindan, rajani, dr.p.p.narayanaswamy, nilakanta sastry , srinivasarao s and scriptures like rudram and sivananda lahari. All of which i have really studied.

3.
I have not spoken ill of SSP , subbararama dikshitar and their family repeatedly almost in every post as done by swayambulingan..i hava not brushed off so many revered vocalits as ignorasmus , just because they concentrated more on the music of the MD rather than on the thanthric tips of his lyrics.

4
I have never spoken ill of the TRINITY.nor have i ever twisted the plain words and meaning of their lyrics.
....
5.
I have definitely condemned the reliance on the numerous puraanaas with their incogruities and absurdities.and even vulgarities. Condeming silly passages and stories in puraanaas is not the same as attack on religion.
6.
I have definitely objected to vulgarization of the concept of affection between siva and gowrii.
7.
Definitely objected and condemned the half baked show of sanskrit grammar and word separation just to push the indecent portrayal of divine consorts, even in kruthis of thyagaraja and shyama sastry.
8
I definitely scoff at the arrogant attempt to find the reason for the names of raagaas. Fools rush in where angels fear to tread.
I can only laugh when an upstart debunks aĺl the respected musicologists for not exploring the rationale of raaga names. Very height of conceit.
9
So, i feel that i have saveð the sanctity of hindu religeous pantheon from crude aberrations and purveyors of such obscenity in the name of sanskrit knowledge rather than denigraring hindu pantheon.

I have raised some doubts and these have not been answered by swayambu except with invectives.
.

10
I request forum members to google for words like mohini ,ardhanarèwara , hari hara and such and note the abnoxious versions in puraanaas.
11

all swayamulingan psudo scĥolarly posts are better placed in a blog and links may be given in the forum.
12.
I reject his interpretation of common words like sametha, sahita . I hate his chicanery when proper examples are left un answered.
.
He began with claiming that swathi has better command over sanskrit than that of Md.
It is evident that he has no knowledge of thamizh country and its kshetrams and tradiotions. His only source is the books.
.
I refrained from posting the sculpture of real ardhanaareeswara of gupta period
as i did not consider it as decent and proper in this forum.
.

RSR · Post by **RSR** » 12 Jul 2023, 08:52

Hey swayambulingan,
You dont even know that when you prattle about the idol of bangaru kamakshi, the idol was long back shifted from thiruvaarur to Tanjore.

nAdopAsaka · Post by **nAdopAsaka** » 12 Jul 2023, 13:49

I appreciate pratyakSam bala stepping in to re-assert the basis and sanctity of all these threads.

samayACAra and the ardhanAri

The samayACAra aspect of the Dikshitars Sri-vidyA which governs the ascent through the Sri-Cakra towards the Siva-Sakti union is key to understanding why the ardhanAri mudras are being embedded by the Dikshitar.

The Dikshitar is meticulous in his depictions and choices.

His complete legacy has been denied by the SSP (which is really only a notation-book of a partial set of kritis), and by his own family and defaced since then by those who do not realize the nature of the pujA.

That matter has been resolved on the other threads.

But the ardhanAri thread has brought out another aspect of his organized pujA (as well as an ignorance and narrow-mindedness of a different kind) .

It is the Dikshitars respect of the ESSENTIAL BALANCE of male and female aspects, inherent in the Sri-vidyA.

His embedded ardhanAri mudras force one ( at least those who care) to contemplate this balance.

They are “hidden” because the vAggeyakAra is demanding that the nAda-upAsaka follow the bread-crumbs and find them on his/her own.

The other vAggeyakAras also agree with him though they have fewer examples.

The nAda-upAsaka thanks the rasikas forum founders and managers again for holding up this invaluable canvas.

Pratyaksham Bala · Post by **Pratyaksham Bala** » 12 Jul 2023, 17:39

@nAdopAsaka
Best wishes to you in all your endeavours!

nAdopAsaka · Post by **nAdopAsaka** » 12 Jul 2023, 18:06

The ardhanAri of mAyavaram/mAyilAduturai in the Dikshitar kritis – 2 pairs of mayuranAtha/abhayAmba kritis with the ardhanAri mudra

This post is dedicated to the poets that have inspired this forum and nurtured it....especially arasi and pratyakSam bala. Many thanks.

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The ardhanAri at mAyavaram/mAyilAduturai has been enshrined for more than a 1000 years.

The tEvAram on the ardhanAri of mAyilAduturai

The tEvAram poets extol the ardhanAri specifically in..the 1st tirumurai, 7th stanza and in the 5th tirumurai, 9th stanza

The Dikshitars mayuranAtha panCa-bhuta set of 5 kritis and the abhayAmbA navAvarana (set of 9 kritis)

It has already been shown conclusively that the 5 kritis to the mayuranAtha form a specific , UNMISTAKEABLE panCa-bhuta pujA, where each fundamental element (prthvi, AkASa, anila, jala and agni) is associated uniquely with one of the 5 kritis.

This was revealed on the Mutthuswamy Dikshitar thread in post dated Feb. 6, 2023

One doesn’t get this from the SSP or any vidwAn..

It has also been shown conclusively that there exists an abhayAmbA navAvarana ( complete set of 9 kritis with its own additional dhyAna and mangala kritis for a total of 11 kritis).

This was revealed on the Mutthuswamy Dikshitar thread in post dated Aug. 13, 2021.

One doesn’t get this from the SSP or any vidwAn..

The discovery of the MANY composite navAvarana structures in the Dikshitars kritis

The abhayAmbA navAvarana is completely consistent with the Sri Cakra pujA of the Dikshitar and ALL the rAgas/choices emanate from the Cakra stage names as shown in the post noted above.

The 1. abhayAmbA navAvarana discovery overwhelms the (puny) vibhakti (set of 8) description maintained by unimaginative musicologists and other dim-witted historians/academicians of the last 150 years.

Its recognition acknowledges the complete pujA of the Dikshitar (just like the discovery of the complete navAvaranas to 2. bAlAmbikA-of-vaitheeSwaran kOvil, 3. the tiruttani guruguha, 4. kanCi kAmAkSi, 5. madurai madurAmbikA, 6. tanjAvUr brhadAmba 7. the tirUvArUr tyAgarAja, 8. nilOtpalAmbA and the 2 navAvaranas (yes..2) to the 9/10. tiruvArUr ganapati.

The tiruvArUr tyAgarAja and nilOtpalAmbA navAvaranas have also suffered from the short-sighted vibhakti classification in past 150 years, led by the SSP, but that cloud of ignorance has also lifted, with the scores of posts on the Mutthuswamy Dikshitar thread.

But the subject of this thread is “Kritis on ardhanISwara”.

The Dikshitars ardhanAri at mAyavaram/mAyilAduturai

At mAyavaram/mAyilAduturai, the deities are mayuranAtha and abhayAmbA.

It is well known that every Dikshitar kriti ALWAYS names the consort. This naming is itself an emblem of BALANCE.

But what the series of posts on THIS thread have discovered (MOTIVATED BY THE ORIGINAL QUESTION) is that the Dikshitar is adding the ardhanAri mudras to one or more PAIRS of kritis in a kSEtra. At tiruvArUr there are 6 such pairs, noted in a post above. At mAyilAduturai (like kAnCi and tanjAvUr), 2 such pairs are observed.

The 2 sets at mAyavaram with ardhanAri mudras in red are

1A. girijayA ajayA abhayAmbikayA – rAga SankarAbharanam

samayACAranOpayOga pUjA sAmagrI sangrahAntakarana

1B abhayAmbA nAyaka harisAyaka - rAga Ananda bhairavi

nAgalinga bhaktAbhISTaprada nAdabindu kalArUpAspada AgamAdi sannuta
and pallavapada AnandabhairavI yuta pada (where yuta is exactly this union)

-------------------------------------------------------------------------------------------
2a tArakEshvara dayAnidhE- rAga SankarAbharanam

SarIra sOma sundara (sOma is sa-uma)…the Sarira emphasizes the “body” shared

2b AryAm abhayAmbAm bhajarE rAga bhairavi

AryAm abhayAmbAm bhajarE
Adi madhya anta rahitAm SivasahitAm and
svacchanda Siva-sAlOkyadAyaka Ananda laharIm

In 1b and 2b, there are 2 references to the ardhanAri mudra each.

It is remarkable how the rAga choice is flipped between the male and female in the 2 sets !!

And the rAga choices are perfect , naming the dEvi and the Siva. Absolutely nothing random about this.

The ardhanAri mudras appear ONLY in specific kritis (generally in PAIRS).

At the kSEtras where there are several kritis by the Dikshitar, the appearance in TWO PAIRS is also interesting.

This second pair may be related to circum-ambulation (parikrama)of the idols, that is typical of any pujA. It will be examined in later posts. (i.e. contemplating the idols from “behind” instead from “front” ).

The repeated appearance of the ardhanAri mudra in the Dikshitars kritis emphasizes that he NEVER loses sight of the ESSENTIAL BALANCE of male and female deities, central to the Sri-vidyA.

girijayA ajayA abhayAmbikayA – rAga SankarAbharanam
sowmya
https://www.youtube.com/watch?v=yzM333GG9Wo

abhayAmbA nAyaka harisAyaka - rAga Ananda bhairavi
jayarAman s
https://www.youtube.com/watch?v=dM30PG63EuA

tArakEshvara dayAnidhE- rAga SankarAbharanam
P UnnikrSnan
https://www.youtube.com/watch?v=F7P2HfqEIo8

AryAm abhayAmbAm bhajarE - rAga bhairavi
Cinmaya sisters
https://www.youtube.com/watch?v=IpVSqh9OZrI

RSR · Post by **RSR** » 12 Jul 2023, 19:46

abhayAmbA navAvarana discovery overwhelms the (puny) vibhakti (set of 8) description maintained by unimaginative musicologists and other dim-witted historians/academicians of the last 150 years.

So, lingasamy is the greatest analyst.

nAdopAsaka · Post by **nAdopAsaka** » 12 Jul 2023, 21:02

I have no desire to engage this chap but It needs to be pointed out…

For SyAmA SAStri (and also for any of the other vAggeyakAras), there is NO-SUCH-THING as a stand-alone kAmAkSi or brhannAyaki, either at tanjAvUr or at kAnCI.

In the tanjAvUr varAli kriti to “kAmAkSi bangAru” the dEvi is described in EVERY stanza by SyAmA SAStri as the consort/spouse/queen of Siva

caraNam 1
kAma kAla priya bhAminI
caraNam 2
mahESa-vari
caraNam 3
sadA-Sivunika rAnI

And it is sadASiva in the last line.

sadASiva is the particular name of the viSuddha Cakra deity that is ALWAYS associated with the ardhanAri.

And as brhannAyaki in tanjAvUr in the Anandabhairavi “mahilO ambA” she is both “ahi bhuSana-rAni and purAri-va rAni”.

Notice that the word “ahi bhuSanarAni” also embeds the words bhUSan-ara-ani implying the “half” of the Siva. Same with the word “sadASivunikarAni”.

In the kAnCi kriti “tarunamidammA” she is of course the ardhanAri “sOmaSEkhara pAdi sundari”

The vAggeyakAras pay tribute to the overarching BALANCE that the Sri-vidyA teaches.

This is the problem with not reading/understanding the vAggeyakAras kritis and their words.

“Mumbling the rudram” without knowing what it means or teaches is another example.

It results in the incoherent, inconsistent and indefensible statements that are being made..and the shrill, derisive tone of a loser…..… all hallmarks of failed values.

kAmAkSi bangAru – rAga varAli
ranjani gAyatri
https://www.youtube.com/watch?v=NB1xm_CGhjA

mahilO ambA – rAga Anandabhairavi
ranganAtha S
https://www.youtube.com/watch?v=qpSv_4fRZOQ

RSR · Post by **RSR** » 12 Jul 2023, 21:50

There is just a single refer3nce to uma as a consort , in rudram. Theee is no 50,50,very decent. No lingam stuff either.

nAdopAsaka · Post by **nAdopAsaka** » 12 Jul 2023, 23:03

8.1.1
namaha sOmAya Ca rudrAya Ca

sOmAya = sa-umA-ya = conjoined (cannot be clearer)

umA itself is from Om, OmkAri, in Om, of Om

ps.. how would this chap know anything "decent" ?!

RSR · Post by **RSR** » 13 Jul 2023, 17:55

soma refers to moon.
soma sekaran. -example
it should not be always read as sa-uma
----
Bangaru Kamakshi is DEFINITELY standalone.
it is being maintained by Kamakoti peetam.
By your irresponsible statenment, you are debunking the sacred sakthi peetam . Kamakshi temple is a huge complex quite independent of the other two siva temples at kanchipuram.

nAdopAsaka · Post by **nAdopAsaka** » 13 Jul 2023, 18:43

kAnCi temple arCaka SyAmA SAStri DOES NOT AGREE

In his kritis, dEvi is ALWAYS associated with the Siva..Indeed he describes the ardhanAri in kAnCi gaulipantu kriti.

SyAmA SAStris kAnCi kritis (just a few examples, there are many more)

kAmAkSi ambA – yadukula kAmbOji – pAvani puraharuni-rAni

tarunamidammA – gaulipantu – “sOmaSEkhara pAdi sundari”
which is also the ardhanAri and also sa-umA, (don’t keep on being obtuse)

should read kritis and posts more carefully..

previous post reproduced here for the brain-dead

For SyAmA SAStri (and also for any of the other vAggeyakAras), there is NO-SUCH-THING as a stand-alone kAmAkSi or brhannAyaki, either at tanjAvUr or at kAnCI.

In the tanjAvUr varAli kriti to “kAmAkSi bangAru” the dEvi is described in EVERY stanza by SyAmA SAStri as the consort/spouse/queen of Siva

caraNam 1
kAma kAla priya bhAminI
caraNam 2
mahESa-vari
caraNam 3
sadA-Sivunika rAnI