The Dikshitars dEvagAndhAri kritis – How/Why ONLY this rAga word name represents the icons of EACH of the six kritis 1 SAlivAtiSwaram bhajEham
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
This is the first of a series of 6 posts on the origin and basis for the Dikshitars 6 "dEvagandhAri" rAga kritis (including the dEvagAndhAram and karnAtaka dEvagAndhari)
It should be obvious (joyfully to the nAda-upAsakas and painfully to the SSP etc./grammarians/musicologists) that the nAdayOgi is choosing the rAga based on the relationship of the rAga word name with prominent icons of the kSEtra where the pujA is occurring.
The discoveries reaffirm the source of the music..which is the nAda-sampradAya.
The music of the vAggeyakAras was NOT constructed for kutChEris or talent competitions of vocal or instrumental gymnastics with medal ceremonies.
The kritis are the deepest resonance of the INDIVIDUAL nAdayOgis vision, anxieties, sAdhana and pujA with the kSEtra and its deities.
At tirunElvEli = SALIvAti-nagara, SAlivAti-iShwaram is the deity who protects the rice-grain = kana.
SAli = RICE
vAti = a protected garden ( cf. the vatican !, ankur vAt = seed garden !! (instead of the ridiculuous “Angkor vat” )
RICE = grains = kana ( cf. “kana kana rUCira” the varAli where every grain = atom of the tyAgarAja trembles with joy)
The Siva of tirunElvEli is exactly this DEITY (dEva) who is the RICE GRAIN (kana) PROTECTOR/SUPPORTER (dhara)
The combination “dEva-kana-dhara” leads naturally to the rAga “dEva-gAna-dhAri”….multiple phonetic mudras are known where the Dikshitar extracts the word from the similar “sound”….(though this fact has not dawned on some fools)
There can be ZERO doubt, the kSEtra icon of SALI-vAti-iSwaram is exactly linked to the rAga choice of dEva-gAndhAri, as shown above.
It only remains to listen to decent audio of this rare kriti.
SAlivAtiSwaram bhajEham SAlivAti nagara vihAram – rAga dEvagAndhAri
rAdhA V
https://www.youtube.com/watch?v=em_Hv6LQgxI
Mutthuswamy Dikshithar (Krithis)
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nAdopAsaka
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 852 The Dikshitars dEvagAndhAris –How/Why ONLY this rAga word represents the icons of the 6 kritis 2. kSiti-jA ramanam
Post # 852 The Dikshitars dEvagAndhAri kritis – How/Why ONLY this rAga word name represents the icons of EACH of the six kritis 2. kSiti-jA ramanam
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
Only the first part of the very first word is needed to establish the relevance of rAga dEvagAndhari for this famous kriti.
Why ?
Because the word kSiti = earth
and
gandha is the characteristic of earth
For example, the tarka samgraha gives the tan-mAtra = essence of the earth as gandha , “tatra gandhavati prthvi"
The Dikshitar is known to use phonetic as well as embedded mudras that span different words…samsAra bhi-tyApahE (for Arabhi), Or umA-rudra-darSitAt (for ArdradEsi), Or bE-gala for (bE-gada) etc. etc. . (though this fact is lost on the dim-witted)
"gandha" and "dEva-gAndha-ri"
So identifying the word “gandha” within the syllables of dEva-gAndh-ari is expected for the poet , just like he identifies “kana” as the rice grain for the SAlivAtiSwara.
But "gandha" for the quality of the earth, is also particularly applicable to sitA.
Why ?
Because sitA is not just daughter of the earth…she is the ESSENCE of the earth.
Without her there is
no "bhavataranam" (ocean crossing)
no "sEva by vibhiSana"
no "cintAmani"
and therefore
no illustration of the dharma-code of rAma...no rAmAyana
Once again, the wondrous child of the union of vAggeyakAra and deity , who fled the cacophony of the kutChEris, peeps out from behind the Mother and bestows her shy smile.
The kritis are the deepest resonance of the INDIVIDUAL nAdayOgis vision, anxieties, sAdhana and pujA.
No one can say that their kritis are created on a whim or that their rAgas are randomly chosen.
For the nAda-upAsakas, the “music” lies also in understanding these choices.
kSitijA ramanam – rAga dEvagAndhAri
vOlEti V
https://www.youtube.com/watch?v=WZPOXMdI3Iw
veena shAnti rao
https://www.youtube.com/watch?v=RSrVkkiYGHk
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
Only the first part of the very first word is needed to establish the relevance of rAga dEvagAndhari for this famous kriti.
Why ?
Because the word kSiti = earth
and
gandha is the characteristic of earth
For example, the tarka samgraha gives the tan-mAtra = essence of the earth as gandha , “tatra gandhavati prthvi"
The Dikshitar is known to use phonetic as well as embedded mudras that span different words…samsAra bhi-tyApahE (for Arabhi), Or umA-rudra-darSitAt (for ArdradEsi), Or bE-gala for (bE-gada) etc. etc. . (though this fact is lost on the dim-witted)
"gandha" and "dEva-gAndha-ri"
So identifying the word “gandha” within the syllables of dEva-gAndh-ari is expected for the poet , just like he identifies “kana” as the rice grain for the SAlivAtiSwara.
But "gandha" for the quality of the earth, is also particularly applicable to sitA.
Why ?
Because sitA is not just daughter of the earth…she is the ESSENCE of the earth.
Without her there is
no "bhavataranam" (ocean crossing)
no "sEva by vibhiSana"
no "cintAmani"
and therefore
no illustration of the dharma-code of rAma...no rAmAyana
Once again, the wondrous child of the union of vAggeyakAra and deity , who fled the cacophony of the kutChEris, peeps out from behind the Mother and bestows her shy smile.
The kritis are the deepest resonance of the INDIVIDUAL nAdayOgis vision, anxieties, sAdhana and pujA.
No one can say that their kritis are created on a whim or that their rAgas are randomly chosen.
For the nAda-upAsakas, the “music” lies also in understanding these choices.
kSitijA ramanam – rAga dEvagAndhAri
vOlEti V
https://www.youtube.com/watch?v=WZPOXMdI3Iw
veena shAnti rao
https://www.youtube.com/watch?v=RSrVkkiYGHk
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nAdopAsaka
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- Joined: 20 Jul 2020, 17:05
# 853 ravikriya, AndhAli, tOdi & kiranAvali – some more surya themed rAga names for the Dikshitars tanjAvUr brhat kSEtra
# 853 ravikriya, AndhAli, tOdi & kiranAvali – some more surya themed rAga names for the Dikshitars tanjAvUr brhat kSEtra
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
Previously post #477 dated 15 Feb 2021 showed all the Dikshitar tanjAvUr kSEtra kritis, most of which are in rare rAgas.
But their unifying Solar theme as surya/chAya was only revealed in recent posts.
For e.g. post dated 20 Aug 2023 on the rAga bhOga-chAya-nAta describes an aspect of the eclipse of the brhat kSEtra chOlas. In Hindu astronomy (and astrology) the brhat samhita is the first & last word on eclipses, documenting varAhamihiras record of observations more than a millenia ago. It is clear the Dikshitar connects the brhat kSEtra to the brhat samhita with his image of the sun setting on the chOla dynasty. see below
https://www.rasikas.org/forums/viewtopi ... 21#p380021
Absolutely No one is in a position to refute this finding , just like no one has recognized it in the last 200 years.
As noted in these recent posts, rAgas like ..
nabhOmani,
bhAnumati,
chAyavati
bhOga-chAya-nAta
are clear examples of these surya/chAya-themed rAga names.
To the dismay of all corrupt and ignorant musicologists and their agents, the Dikshitar gives several other such surya/chAya themed rAga kritis at the brhat kSEtra.
These rAga names are now given here
ravikriya (which should be obvious, except to the brain-dead)
AndhAli (who is the demon of darkness = shadow)
tOdi (which derives from the insistent goad of the sun = todah)
kiranAvali (the rays of the sun = kirana)
Yes..the nAda-upAsaka asserts again (and again)..The Dikshitar sees the tanjAvUr brhat kSEtra as the surya kSEtra.
A related discovery
The panCa bhUta embedded in the pancabhUta kiranAvaLim kriti
Another feature of the kiranAvali kriti is revealed here (also for the first time in 200 years)
All the 5 fundamental elements are embedded within the words of this kriti.
The kriti is reproduced here for those who are interested (and for those who are ignorant of these things and also for those who have no regard for the vAggeyakAras words)
pancabhUta kiranAvaLim candra maulim bhAvayAmi guruguha tAtam santatam
pancIkrta prapanCAtItam aganitam phanirAjAbharanam pallava jaya Caranam
vAnCita phalapradam brhannAyakIsham brhadIsham jagadIsham svayamprakASam
bhU for prthvi (the earth element)
iranA for vAyu (the wind element)
Ata for gagana/AkAsa (the sky element)
nira for jala (the water element)
swayam-prakASam for agni (the fire element)
note the similar fire element mudras usage in the WELL-KNOWN linga kritis of the Dikshitar …swa-prakASa in - arunACalanAtham and chAya rahita dipa prakaSa in sadACalESwara)
Summary
The ignorance of the words and their meaning/context is compounded by shady characters pushing agendas extraneous to the music , including the SSP distortions hiding behind swara-notations.
himagirikumAri ISwari – rAga ravikriyA (aka raghu-priya)
vOlEti V
https://www.youtube.com/watch?v=0FRZ0E3z0vc
brhannAyaki varadAyaki – rAga AndhAli
t brinda
https://www.youtube.com/watch?v=ZnlPt8uQVZo
pAlaya mAm brhadiSwari – rAga tOdi
prEma R
https://www.youtube.com/watch?v=d5uNUiAgq00
pancA bhuta kiranAvalim – rAga kiranAvali
ratnaprabha
https://www.youtube.com/watch?v=YKn7b3vF5mg
SRJ
https://www.youtube.com/watch?v=Lohrix0nna0
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
Previously post #477 dated 15 Feb 2021 showed all the Dikshitar tanjAvUr kSEtra kritis, most of which are in rare rAgas.
But their unifying Solar theme as surya/chAya was only revealed in recent posts.
For e.g. post dated 20 Aug 2023 on the rAga bhOga-chAya-nAta describes an aspect of the eclipse of the brhat kSEtra chOlas. In Hindu astronomy (and astrology) the brhat samhita is the first & last word on eclipses, documenting varAhamihiras record of observations more than a millenia ago. It is clear the Dikshitar connects the brhat kSEtra to the brhat samhita with his image of the sun setting on the chOla dynasty. see below
https://www.rasikas.org/forums/viewtopi ... 21#p380021
Absolutely No one is in a position to refute this finding , just like no one has recognized it in the last 200 years.
As noted in these recent posts, rAgas like ..
nabhOmani,
bhAnumati,
chAyavati
bhOga-chAya-nAta
are clear examples of these surya/chAya-themed rAga names.
To the dismay of all corrupt and ignorant musicologists and their agents, the Dikshitar gives several other such surya/chAya themed rAga kritis at the brhat kSEtra.
These rAga names are now given here
ravikriya (which should be obvious, except to the brain-dead)
AndhAli (who is the demon of darkness = shadow)
tOdi (which derives from the insistent goad of the sun = todah)
kiranAvali (the rays of the sun = kirana)
Yes..the nAda-upAsaka asserts again (and again)..The Dikshitar sees the tanjAvUr brhat kSEtra as the surya kSEtra.
A related discovery
The panCa bhUta embedded in the pancabhUta kiranAvaLim kriti
Another feature of the kiranAvali kriti is revealed here (also for the first time in 200 years)
All the 5 fundamental elements are embedded within the words of this kriti.
The kriti is reproduced here for those who are interested (and for those who are ignorant of these things and also for those who have no regard for the vAggeyakAras words)
pancabhUta kiranAvaLim candra maulim bhAvayAmi guruguha tAtam santatam
pancIkrta prapanCAtItam aganitam phanirAjAbharanam pallava jaya Caranam
vAnCita phalapradam brhannAyakIsham brhadIsham jagadIsham svayamprakASam
bhU for prthvi (the earth element)
iranA for vAyu (the wind element)
Ata for gagana/AkAsa (the sky element)
nira for jala (the water element)
swayam-prakASam for agni (the fire element)
note the similar fire element mudras usage in the WELL-KNOWN linga kritis of the Dikshitar …swa-prakASa in - arunACalanAtham and chAya rahita dipa prakaSa in sadACalESwara)
Summary
The ignorance of the words and their meaning/context is compounded by shady characters pushing agendas extraneous to the music , including the SSP distortions hiding behind swara-notations.
himagirikumAri ISwari – rAga ravikriyA (aka raghu-priya)
vOlEti V
https://www.youtube.com/watch?v=0FRZ0E3z0vc
brhannAyaki varadAyaki – rAga AndhAli
t brinda
https://www.youtube.com/watch?v=ZnlPt8uQVZo
pAlaya mAm brhadiSwari – rAga tOdi
prEma R
https://www.youtube.com/watch?v=d5uNUiAgq00
pancA bhuta kiranAvalim – rAga kiranAvali
ratnaprabha
https://www.youtube.com/watch?v=YKn7b3vF5mg
SRJ
https://www.youtube.com/watch?v=Lohrix0nna0
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 854 The Dikshitars dEvagAndhAris –How/Why ONLY this rAga word represents the icons of the 6 kritis 3. kAyArOhanESam
Post # 854 The Dikshitars dEvagAndhAri kritis – How/Why ONLY this rAga word name represents the icons of EACH of the six kritis 3. kAyArOhanESam
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
kAyArOhanESam bhajarE – rAga dEvagAndhAram
Here the rAga is noted as dEvagAndhAram (as opposed to conventional dEvagAndhAri).
The distinction is correct since this is the male deity at nAgapattinam..the kAyArOhanESA
kAyArOhanESa has been discussed in the context of the ardhanAri in post Jul 8, 2023
https://www.rasikas.org/forums/viewtopi ... 77#p379677
Why is the rAga dEvagAndharAm given to the male deity ?
Because the female consort is the "navamAnikya vallaki vAdini ",... the nilAyatAkSi !
dEvagAndhAri translates to celestial singer/musician....and nilAyatAkSi plays the gem studded vallaki , a synonym for the vina.
The goddess at nAgapattinam is exactly this dEvagAndhAri and she is also described as “Siva-kAyArOhanESa-ullAsini” in her nilAmbari kriti.
And so the male deity at nAgapattinam is properly given the rAga dEvagAndhAram.
(..and there are still fools who think the rAga name/word has no bearing on the kriti or the vAggeyakAra)
Case closed…game over...
Note that dEvagAndhAram is quite different from dEvagAndhAri. ….(dEvagAndharAm is also called “karnAtaka dEvagAndhari”)
No rAga mudra is given or needed for “kAyArOhanESam bhajarE” , ... the deity itself is the rAga mudra , being the male consort of the dEvagAndhari = nilAyatAkSi..(who of course is celebrated separately with the stupendous nilAmbari)
Indeed, the ongoing journey in the footsteps of nAdajyOti Mutthuswamy Dikshitar is meaningful.
Yet again, another ripple of the nAda-sampradAya has washed up at the feet of the nAda-upAsaka.
satyam Eva jayatE
kAyArOhanESam bhajarE – rAga dEvagAndhAram (note…. this is NOT dEvagAndhari)
r kauSik
https://www.youtube.com/watch?v=kyWQ9pYuA7Y
r suryaprakASa
https://www.youtube.com/watch?v=SQACYWb0-CI
dikshita v
https://www.youtube.com/watch?v=nppMTTtITB8
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
kAyArOhanESam bhajarE – rAga dEvagAndhAram
Here the rAga is noted as dEvagAndhAram (as opposed to conventional dEvagAndhAri).
The distinction is correct since this is the male deity at nAgapattinam..the kAyArOhanESA
kAyArOhanESa has been discussed in the context of the ardhanAri in post Jul 8, 2023
https://www.rasikas.org/forums/viewtopi ... 77#p379677
Why is the rAga dEvagAndharAm given to the male deity ?
Because the female consort is the "navamAnikya vallaki vAdini ",... the nilAyatAkSi !
dEvagAndhAri translates to celestial singer/musician....and nilAyatAkSi plays the gem studded vallaki , a synonym for the vina.
The goddess at nAgapattinam is exactly this dEvagAndhAri and she is also described as “Siva-kAyArOhanESa-ullAsini” in her nilAmbari kriti.
And so the male deity at nAgapattinam is properly given the rAga dEvagAndhAram.
(..and there are still fools who think the rAga name/word has no bearing on the kriti or the vAggeyakAra)
Case closed…game over...
Note that dEvagAndhAram is quite different from dEvagAndhAri. ….(dEvagAndharAm is also called “karnAtaka dEvagAndhari”)
No rAga mudra is given or needed for “kAyArOhanESam bhajarE” , ... the deity itself is the rAga mudra , being the male consort of the dEvagAndhari = nilAyatAkSi..(who of course is celebrated separately with the stupendous nilAmbari)
Indeed, the ongoing journey in the footsteps of nAdajyOti Mutthuswamy Dikshitar is meaningful.
Yet again, another ripple of the nAda-sampradAya has washed up at the feet of the nAda-upAsaka.
satyam Eva jayatE
kAyArOhanESam bhajarE – rAga dEvagAndhAram (note…. this is NOT dEvagAndhari)
r kauSik
https://www.youtube.com/watch?v=kyWQ9pYuA7Y
r suryaprakASa
https://www.youtube.com/watch?v=SQACYWb0-CI
dikshita v
https://www.youtube.com/watch?v=nppMTTtITB8
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 855 The Dikshitars dEvagAndhAris –How/Why ONLY this rAga word represents the icons of the 6 kritis 4. panCASat pitha
Post # 855 The Dikshitars dEvagAndhAri kritis – How/Why ONLY this rAga word name represents the icons of EACH of the six kritis 4. panCASat pitha rupini
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
panCASAt pitha rupini – rAga dEvagAndhAra
This is the second of the two kritis of the Dikshitar in rAga dEvagAndhAra.
The kriti is to the pAndyakumAri = the madurai minAkSi…(aka padmanAbha sOdari)
But the question is...why does the Dikshitar use the rAga dEvagAndhAra (instead of dEvagAndhAri)..?
After all isn’t the female rAga (the gAndhAri) name more apt for the dEvi..
And isn't she also “bhAva rAga tAla viSwASini” indicating the goddess who is the celestial musician, the dEvagAndhAri who trusts in the nuances of bhAva, rAga and tAla.
No ! the key to the choice of the specific rAga name dEvagAndhAra is in the Dikshitars opening words !!
panCASat pitha rupini (= she who takes her form in the 51 Sakti pithas)
The madurai shrine is of course one of the 51 Sakti pithas ( 51 = the number “panCASat” ).
In the legend of Sakti, the sati dEvi is first borne by the distraught Siva and then dispersed into 51 portions at each of the 51 Sakti pithas. And each Sakti pitha is the reconstituition of the Siva-Sakti union.
As the very first line of the Adi Sankaras soundarya-lahari says “Siva-SaktyA yuta yadi bhavati Sam prabhAvitam”
Sakti and Siva only have effect when they are together.
And so in each Sakti pitha, Sakti reunites with Siva/bhairava.
Immediately the choice of dEvagAndhAra as the male counterpart to the celestial musician goddess = the dEvagAndhAri who is bhAva rAga tAla viSwAsini becomes clear.
None of the nAdayOgis pujAs is random or done on a whim.
And it is clear that the rAga name for the Dikshitar is dEvagAndhAra… AND NOT karnataka dEvagAndhAri.
As can be seen, the name “karnAtaka dEvagAndhAri” is NOT ALIGNED with the ideas of BOTH the Dikshitars kritis, which are now fully explained in these 2 posts (posts # 854 and # 855)
dEvagAndhAra rAga tOSini
And because the Dikshitar is aware of the distorting scoundrels waiting in the coming generations, he explicitly gives the rAga mudra in this kriti as well..
pancASat pitha rupini – rAga dEvagAndhAra
Cinmaya sisters
https://www.youtube.com/watch?v=fb6R-RDAUcI
ranjani-gAyatri
https://www.youtube.com/watch?v=aBllQwPxBYM
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
panCASAt pitha rupini – rAga dEvagAndhAra
This is the second of the two kritis of the Dikshitar in rAga dEvagAndhAra.
The kriti is to the pAndyakumAri = the madurai minAkSi…(aka padmanAbha sOdari)
But the question is...why does the Dikshitar use the rAga dEvagAndhAra (instead of dEvagAndhAri)..?
After all isn’t the female rAga (the gAndhAri) name more apt for the dEvi..
And isn't she also “bhAva rAga tAla viSwASini” indicating the goddess who is the celestial musician, the dEvagAndhAri who trusts in the nuances of bhAva, rAga and tAla.
No ! the key to the choice of the specific rAga name dEvagAndhAra is in the Dikshitars opening words !!
panCASat pitha rupini (= she who takes her form in the 51 Sakti pithas)
The madurai shrine is of course one of the 51 Sakti pithas ( 51 = the number “panCASat” ).
In the legend of Sakti, the sati dEvi is first borne by the distraught Siva and then dispersed into 51 portions at each of the 51 Sakti pithas. And each Sakti pitha is the reconstituition of the Siva-Sakti union.
As the very first line of the Adi Sankaras soundarya-lahari says “Siva-SaktyA yuta yadi bhavati Sam prabhAvitam”
Sakti and Siva only have effect when they are together.
And so in each Sakti pitha, Sakti reunites with Siva/bhairava.
Immediately the choice of dEvagAndhAra as the male counterpart to the celestial musician goddess = the dEvagAndhAri who is bhAva rAga tAla viSwAsini becomes clear.
None of the nAdayOgis pujAs is random or done on a whim.
And it is clear that the rAga name for the Dikshitar is dEvagAndhAra… AND NOT karnataka dEvagAndhAri.
As can be seen, the name “karnAtaka dEvagAndhAri” is NOT ALIGNED with the ideas of BOTH the Dikshitars kritis, which are now fully explained in these 2 posts (posts # 854 and # 855)
dEvagAndhAra rAga tOSini
And because the Dikshitar is aware of the distorting scoundrels waiting in the coming generations, he explicitly gives the rAga mudra in this kriti as well..
pancASat pitha rupini – rAga dEvagAndhAra
Cinmaya sisters
https://www.youtube.com/watch?v=fb6R-RDAUcI
ranjani-gAyatri
https://www.youtube.com/watch?v=aBllQwPxBYM
-
Pratyaksham Bala
- Posts: 4165
- Joined: 21 May 2010, 16:57
Re: Mutthuswamy Dikshithar (Krithis)
Minor correction:51 = the number “panCASat”
pancAshat = 50
EkapancAshat = 51
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Mutthuswamy Dikshithar (# 857 panCASat and the poet)
post # 857 panCASat and the poet
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
panCASat pitha
The correction is noted and appreciated…yes.. the number 50 is exactly panCASat and the number 51 is eka-panCASat.
See also for example https://www.rasikas.org/forums/viewtopi ... 33#p368133
Indeed, the slip is Freudian.
A more careful examination of 50 vs. 51 leads to other considerations.
Naturally, the usage “eka-panCASat” is “klunky” …panCASat works much better with the dwitiya akSara prAsa rule…. especially when followed in the second line by panCadaSAkSari = 15. (notwithstanding that numerically 15 is the inverse of 51)
The vAggeyakAras always balance their internal poetic rhythms with their pujA and vision.
The reference to the panCASat = 50 (other pitha) at madurai pitha accounts also for the important aspect of the Sakti pithas….
Every Sakti pitha represents every other Sakti pitha, each being formed as a portion of the original dis-membered sati.
This is the unification of the worship of the goddess across the sub-continent.
At madurai pitha, the Dikshitar signals the unity of all the (other) Sakti pithas.
panCASat-varnE – the letter goddess mAtrkA
It can be observed that as mAtrkA, the goddess also has a similar numerical description ..i.e. 50 (or sometimes 51) alphabets.
The usage panCASat-varnE appears for the annapurna at kASi in the Dikshitars “Ehi annapurnE”, the punnAgavarAli.
Fittingly kASi-vArAnasi is also a Sakti pitha.
Ehi annapurnE – rAga punnAgavarAli
veena kalpakam S
https://www.youtube.com/watch?v=J4Owlgpzeqg
sadASivam
https://www.youtube.com/watch?v=NI4lknsojSg
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
panCASat pitha
The correction is noted and appreciated…yes.. the number 50 is exactly panCASat and the number 51 is eka-panCASat.
See also for example https://www.rasikas.org/forums/viewtopi ... 33#p368133
Indeed, the slip is Freudian.
A more careful examination of 50 vs. 51 leads to other considerations.
Naturally, the usage “eka-panCASat” is “klunky” …panCASat works much better with the dwitiya akSara prAsa rule…. especially when followed in the second line by panCadaSAkSari = 15. (notwithstanding that numerically 15 is the inverse of 51)
The vAggeyakAras always balance their internal poetic rhythms with their pujA and vision.
The reference to the panCASat = 50 (other pitha) at madurai pitha accounts also for the important aspect of the Sakti pithas….
Every Sakti pitha represents every other Sakti pitha, each being formed as a portion of the original dis-membered sati.
This is the unification of the worship of the goddess across the sub-continent.
At madurai pitha, the Dikshitar signals the unity of all the (other) Sakti pithas.
panCASat-varnE – the letter goddess mAtrkA
It can be observed that as mAtrkA, the goddess also has a similar numerical description ..i.e. 50 (or sometimes 51) alphabets.
The usage panCASat-varnE appears for the annapurna at kASi in the Dikshitars “Ehi annapurnE”, the punnAgavarAli.
Fittingly kASi-vArAnasi is also a Sakti pitha.
Ehi annapurnE – rAga punnAgavarAli
veena kalpakam S
https://www.youtube.com/watch?v=J4Owlgpzeqg
sadASivam
https://www.youtube.com/watch?v=NI4lknsojSg
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
http://www.medieval.org/music/world/car ... ashat.html
.
Sri.V.Govindan's
http://guru-guha.blogspot.in/2008/01/di ... eetha.html
पञ्चाशत्पीठ रूपिणि - रागं देव गान्धारम् - ताळं आदि
पल्लवि
पञ्चाशत्पीठ रूपिणि
मां पाहि श्री राजराजेश्वरि
अनुपल्लवि
पञ्च दशाक्षरि
पाण्ड्य कुमारि
पद्म नाभ सहोदरि
शङ्करि
चरणम्
देवि जगज्जननि
चिद्रूपिणि
देवादि नुत
गुरु गुह रूपिणि
देश काल प्रवर्तिनि
महा देव मनोल्लासिनि
निरञ्जनि
(मध्यम काल साहित्यम्)
देव राज मुनि
शाप विमोचनि
देव गान्धार
राग तोषिणि
भाव राग ताळ
विश्वासिनि
भक्त जन प्रिय
फल प्रदायिनि
pallavi
pancASatpITha rUpiNi mAM
pAhi SrI rAjarAjESvari
anupallavi
panca daSAkshari pANDya kumAri
padma nAbha sahOdari Sankari
caraNam
dEvi jagajjanani cidrUpiNi
dEvAdi nuta guru guha rUpiNi
dESa kAla pravartini
mahA dEva manOllAsini niranjani
(madhyama kAla sAhityam)
dEva rAja muni SApa vimOcani
dEva gAndhAra rAga tOshiNi
bhAva rAga tALa viSvAsini
bhakta jana priya phala pradAyini
kshEtra - madurai
pallavi
pancASat-pITha rUpiNi - O one who embodies the fifty dwelling seats!
mAM pAhi - Protect me!
SrI rAjarAja-ISvari - O Supreme Empress!
anupallavi
panca daSa-akshari - O one having the fifteen-lettered Mantra!
pANDya kumAri - O daughter of the Pandya King (Malayadhvaja)!
padma nAbha saha-udari - O sister of Vishnu (who has a lotus springing from his navel)!
Sankari - O wife of Shiva (Shankara)!
caraNam
dEvi - O goddess!
jagat-janani - O mother of the universe!
cit-rUpiNi - O embodiment of consciousness!
dEva-Adi nuta - O one praised by the Devas and others!
guru guha rUpiNi - O one who takes the form of Guruguha!
dESa kAla pravartini - O one who brings time and space into operation!
mahA dEva mana-ullAsini - O causer of delight to the heart of Shiva (the great god)!
niranjani - O blemish-less one!
dEva rAja muni SApa vimOcani - O liberator of the curse on Indra (king of Devas) by a Rishi!
dEva gAndhAra rAga tOshiNi - O one pleased with the Devagandhara Raga!
bhAva rAga tALa viSvAsini - O one in charge of sentiment, melody and rhythm!
bhakta jana priya phala pradAyini - O giver of desired benefits to devout people!
.
https://sites.google.com/site/dkpattamm ... authuser=0
.
Sri.V.Govindan's
http://guru-guha.blogspot.in/2008/01/di ... eetha.html
पञ्चाशत्पीठ रूपिणि - रागं देव गान्धारम् - ताळं आदि
पल्लवि
पञ्चाशत्पीठ रूपिणि
मां पाहि श्री राजराजेश्वरि
अनुपल्लवि
पञ्च दशाक्षरि
पाण्ड्य कुमारि
पद्म नाभ सहोदरि
शङ्करि
चरणम्
देवि जगज्जननि
चिद्रूपिणि
देवादि नुत
गुरु गुह रूपिणि
देश काल प्रवर्तिनि
महा देव मनोल्लासिनि
निरञ्जनि
(मध्यम काल साहित्यम्)
देव राज मुनि
शाप विमोचनि
देव गान्धार
राग तोषिणि
भाव राग ताळ
विश्वासिनि
भक्त जन प्रिय
फल प्रदायिनि
pallavi
pancASatpITha rUpiNi mAM
pAhi SrI rAjarAjESvari
anupallavi
panca daSAkshari pANDya kumAri
padma nAbha sahOdari Sankari
caraNam
dEvi jagajjanani cidrUpiNi
dEvAdi nuta guru guha rUpiNi
dESa kAla pravartini
mahA dEva manOllAsini niranjani
(madhyama kAla sAhityam)
dEva rAja muni SApa vimOcani
dEva gAndhAra rAga tOshiNi
bhAva rAga tALa viSvAsini
bhakta jana priya phala pradAyini
kshEtra - madurai
pallavi
pancASat-pITha rUpiNi - O one who embodies the fifty dwelling seats!
mAM pAhi - Protect me!
SrI rAjarAja-ISvari - O Supreme Empress!
anupallavi
panca daSa-akshari - O one having the fifteen-lettered Mantra!
pANDya kumAri - O daughter of the Pandya King (Malayadhvaja)!
padma nAbha saha-udari - O sister of Vishnu (who has a lotus springing from his navel)!
Sankari - O wife of Shiva (Shankara)!
caraNam
dEvi - O goddess!
jagat-janani - O mother of the universe!
cit-rUpiNi - O embodiment of consciousness!
dEva-Adi nuta - O one praised by the Devas and others!
guru guha rUpiNi - O one who takes the form of Guruguha!
dESa kAla pravartini - O one who brings time and space into operation!
mahA dEva mana-ullAsini - O causer of delight to the heart of Shiva (the great god)!
niranjani - O blemish-less one!
dEva rAja muni SApa vimOcani - O liberator of the curse on Indra (king of Devas) by a Rishi!
dEva gAndhAra rAga tOshiNi - O one pleased with the Devagandhara Raga!
bhAva rAga tALa viSvAsini - O one in charge of sentiment, melody and rhythm!
bhakta jana priya phala pradAyini - O giver of desired benefits to devout people!
.
https://sites.google.com/site/dkpattamm ... authuser=0
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 859 The Dikshitars dEvagAndhAris –How/Why ONLY this rAga word represents the icons of the 6 kritis 5. Sri minAmbikAyAh
Post # 859 The Dikshitars dEvagAndhAri kritis – How/Why ONLY this rAga word name represents the icons of EACH of the six kritis 5. SrI mInAmbikAyAh param nahi rE
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
The 5th kriti of this series on dEvagAndhAri/dEvagAndhAra kritis of the Dikshitar should be relatively easy to understand (except for the unusually dim-witted).
The Dikshitar celebrates the madurai minAkSi unmistakeably as the celestial musician, the vinA/vallaki playing goddess.
Why ? How ?
Because she is
“mAnikya vallakI pAni” in the varAli kriti “mAmava minAkSi”
And she is
“vinA gAna daSa gamakakriyE” in the pUrvi-kalyAni kriti “minAkSi mEmudam”
And so naturally the Dikshitar completes the vision by also having a kriti specifically in rAga dEvagAndhAri
SrI mInAmbikAyAh param nahi rE – rAga dEvagAndhAri
The Dikshitar’s minAkSi of this kriti is “navaratna vinA vAdinyA” = the celestial musician = dEvagAndhAri who plays the gem-studded vinA.
Yes..it can be asserted with complete confidence…there was absolutely zero chance that the rAga dEvagAndhAri would not be chosen by the Dikshitar for this iconic vinA playing aspect of the minAkSi/madurAmbA.
The vAggeyakAras choices reveal their teaching, priorities, anxieties, worship and visions. For the nAda-upAsakas, the kritis are only fully comprehended when the meaning and context of the words and rAgas chosen is understood.
Of course, the kritis have zero meaning for those who deny the very value of the kritis words, and those who have contempt for the very ideas/pujA of the vAggeyakAras.
SrI mInAmbikAyAh param nahi rE – rAga dEvagAndhAri
nandini/rOshan etc.
https://www.youtube.com/watch?v=aXiAxyijogM
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
The 5th kriti of this series on dEvagAndhAri/dEvagAndhAra kritis of the Dikshitar should be relatively easy to understand (except for the unusually dim-witted).
The Dikshitar celebrates the madurai minAkSi unmistakeably as the celestial musician, the vinA/vallaki playing goddess.
Why ? How ?
Because she is
“mAnikya vallakI pAni” in the varAli kriti “mAmava minAkSi”
And she is
“vinA gAna daSa gamakakriyE” in the pUrvi-kalyAni kriti “minAkSi mEmudam”
And so naturally the Dikshitar completes the vision by also having a kriti specifically in rAga dEvagAndhAri
SrI mInAmbikAyAh param nahi rE – rAga dEvagAndhAri
The Dikshitar’s minAkSi of this kriti is “navaratna vinA vAdinyA” = the celestial musician = dEvagAndhAri who plays the gem-studded vinA.
Yes..it can be asserted with complete confidence…there was absolutely zero chance that the rAga dEvagAndhAri would not be chosen by the Dikshitar for this iconic vinA playing aspect of the minAkSi/madurAmbA.
The vAggeyakAras choices reveal their teaching, priorities, anxieties, worship and visions. For the nAda-upAsakas, the kritis are only fully comprehended when the meaning and context of the words and rAgas chosen is understood.
Of course, the kritis have zero meaning for those who deny the very value of the kritis words, and those who have contempt for the very ideas/pujA of the vAggeyakAras.
SrI mInAmbikAyAh param nahi rE – rAga dEvagAndhAri
nandini/rOshan etc.
https://www.youtube.com/watch?v=aXiAxyijogM
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Pratyaksham Bala
- Posts: 4165
- Joined: 21 May 2010, 16:57
Re: # 859 The Dikshitars dEvagAndhAris –How/Why ONLY this rAga word represents the icons of the 6 kritis 5. Sri minAmbik
Such repeated shadow fighting is avoidable.... (except for the unusually dim-witted) ...
Of course, the kritis have zero meaning for those who deny the very value of the kritis words, and those who have contempt for the very ideas/pujA of the vAggeyakAras ...
It does not add value to the post; but only degrades the quality of the whole exercise.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 861 Why “Sri madurApuri vihArini” is in rAga bilahari at the OdyAna pitha = garden seat = kadambavana kSEtra
# 861 Why “Sri madurApuri vihArini” is in rAga bilahari at the OdyAna pitha = garden seat = kadambavana kSEtra
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
Two question will be raised in this post and BOTH will be answered.
Why does “Sri madurApuri vihArini” uniquely refer to the OdyAna pitha ?
And
Why is “Sri madurApuri vihArini” (= the 3rd Cakra kriti of the madurAmbA navAvarana) in rAga bilahari ?
ALL the insipid parroted translations of the last 200 years , mindlessly repeated on these threads, do not bother (or lack the imagination) to raise such questions, let alone try to answer them.
The “OdyAna pitha stitha” dEvi
The textbooks record the word “OdyAna” variously as
1. a geographical location (considered by some to be in Orissa) OR
2. or a golden girdle= mEkhala worn around the waist OR
3. associated in the tantra with a particular Cakra or even a nerve center OR
4. a Sakti pitha OR
5. the 379th name from the lalitA sahasranAma = the goddess is “OdyAna pitha nilaya”
For the nAda-upAsakas it ONLY matters what meaning the Dikshitar gives this word. All the rest is irrelevant and extraneous.
OdyAna derives from the word for garden = udyAna
And the Dikshitar uses it to describe the specific garden/park which is the kadamba-vana. Notably the flowers of this garden make kAdambari, the wine, the insignia of the minAkSi goddess.
Indeed the Dikshitar further identifies the unique kSEtra when he adds the words “sakala kalE”
“OdyAna pitha stitha sakala kalE”
sakala kalE refers to sakala (= ALL) the arts , i.e. the 64 arts .
kadamba-vana = hAlAsya kSEtra is well known as the playground for the Siva and Sakti, especially the dEvi as the madurambA intoxicated by the kadamba of the Siva. (see also tiruvilaiyAdal etc).
Which brings us to the second question
Why is “Sri madurApuri vihArini” in rAga bilahari ?
Sri madurApuri vihArini, is the 3rd Cakra kriti of the madurambA navAvarana, reached at the samkShObhana Cakra stage, where LUST is quelled.
The maduramba navAvarana was first described in post # 568 of this thread dated 7 Aug 2021.
https://www.rasikas.org/forums/viewtopi ... 66#p372766
Each kriti of the 9 rAga set carries an unmistakeable Cakra mudra as shown in the post linked above.
For e.g. The 9th Cakra kriti of the madurAmba navAvarana is described in post # 803 dated 9th Dec 2022 https://www.rasikas.org/forums/viewtopi ... 16#p378216
Sri madurApuri vihArini carries the samkShObhana Cakra mudra, the subduing of lust, expressed by the words “kAma dahana”.
And Immediately the second question is answered !
Because the destruction of kAma ( = manmatha) occurs after kAma disturbs Siva who is immersed in meditation , in his CAVE = bila.
bila = CAVE, hara = Siva as destroyer, giving bila+hara = bilahari.
But wait… there is more !!
kAma dahana mOhini !
In the very same breath as Dikshitar describes Siva as “kAma dahana”, Siva becomes subject to the charms of the goddess.
Why this sharp contrast ?
Here too the scripture is indicative..
In the Siva purAna’s Section 2.3 - Rudra-saṃhita, pArvatī-khaṇḍa, Chapter 19 stanza 48 gives the key statement
Siva uvAca
he devAs suprasannOsmi jIvayiSyAmi cAmtarE kAma
Translated as
Siva states
48. O gods, I am delighted. I shall resuscitate kAma within myself.
Desire (not lust) is resurrected within the sanctum (guha) of the Siva’s heart.
And this desire is filled by minAkSi dEvi who is none other than the kAdambari – she who is intoxicated with the Siva/hAlAsya.
Summary
The kritis of the vAggeyakAras are NOT mere songs.
The kritis have been degraded for 200 years by lack of attention, comprehension and respect for the vAggeyakAras words & motivations in preference for the worship of the kutChEri exercises of technical mortals.
The purpose of the nAdayOgis sAdhana and kritis is to ALWAYS expose Sruti = truth.
In doing so it reveals and teaches the presence of apa-Sruti (untruth, corruption and evil) that lurks in the shadows.
All such revelation and learning comes with pain. This pain is NOT avoidable.
satyam Eva jayatE
Sri madurApuri vihArini – rAga bilahari
S rAjam
https://www.youtube.com/watch?v=qY3wC2HJZGo
TR Balasubramaniam
https://www.youtube.com/watch?v=zzR0rEqrhj0
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
Two question will be raised in this post and BOTH will be answered.
Why does “Sri madurApuri vihArini” uniquely refer to the OdyAna pitha ?
And
Why is “Sri madurApuri vihArini” (= the 3rd Cakra kriti of the madurAmbA navAvarana) in rAga bilahari ?
ALL the insipid parroted translations of the last 200 years , mindlessly repeated on these threads, do not bother (or lack the imagination) to raise such questions, let alone try to answer them.
The “OdyAna pitha stitha” dEvi
The textbooks record the word “OdyAna” variously as
1. a geographical location (considered by some to be in Orissa) OR
2. or a golden girdle= mEkhala worn around the waist OR
3. associated in the tantra with a particular Cakra or even a nerve center OR
4. a Sakti pitha OR
5. the 379th name from the lalitA sahasranAma = the goddess is “OdyAna pitha nilaya”
For the nAda-upAsakas it ONLY matters what meaning the Dikshitar gives this word. All the rest is irrelevant and extraneous.
OdyAna derives from the word for garden = udyAna
And the Dikshitar uses it to describe the specific garden/park which is the kadamba-vana. Notably the flowers of this garden make kAdambari, the wine, the insignia of the minAkSi goddess.
Indeed the Dikshitar further identifies the unique kSEtra when he adds the words “sakala kalE”
“OdyAna pitha stitha sakala kalE”
sakala kalE refers to sakala (= ALL) the arts , i.e. the 64 arts .
kadamba-vana = hAlAsya kSEtra is well known as the playground for the Siva and Sakti, especially the dEvi as the madurambA intoxicated by the kadamba of the Siva. (see also tiruvilaiyAdal etc).
Which brings us to the second question
Why is “Sri madurApuri vihArini” in rAga bilahari ?
Sri madurApuri vihArini, is the 3rd Cakra kriti of the madurambA navAvarana, reached at the samkShObhana Cakra stage, where LUST is quelled.
The maduramba navAvarana was first described in post # 568 of this thread dated 7 Aug 2021.
https://www.rasikas.org/forums/viewtopi ... 66#p372766
Each kriti of the 9 rAga set carries an unmistakeable Cakra mudra as shown in the post linked above.
For e.g. The 9th Cakra kriti of the madurAmba navAvarana is described in post # 803 dated 9th Dec 2022 https://www.rasikas.org/forums/viewtopi ... 16#p378216
Sri madurApuri vihArini carries the samkShObhana Cakra mudra, the subduing of lust, expressed by the words “kAma dahana”.
And Immediately the second question is answered !
Because the destruction of kAma ( = manmatha) occurs after kAma disturbs Siva who is immersed in meditation , in his CAVE = bila.
bila = CAVE, hara = Siva as destroyer, giving bila+hara = bilahari.
But wait… there is more !!
kAma dahana mOhini !
In the very same breath as Dikshitar describes Siva as “kAma dahana”, Siva becomes subject to the charms of the goddess.
Why this sharp contrast ?
Here too the scripture is indicative..
In the Siva purAna’s Section 2.3 - Rudra-saṃhita, pArvatī-khaṇḍa, Chapter 19 stanza 48 gives the key statement
Siva uvAca
he devAs suprasannOsmi jIvayiSyAmi cAmtarE kAma
Translated as
Siva states
48. O gods, I am delighted. I shall resuscitate kAma within myself.
Desire (not lust) is resurrected within the sanctum (guha) of the Siva’s heart.
And this desire is filled by minAkSi dEvi who is none other than the kAdambari – she who is intoxicated with the Siva/hAlAsya.
Summary
The kritis of the vAggeyakAras are NOT mere songs.
The kritis have been degraded for 200 years by lack of attention, comprehension and respect for the vAggeyakAras words & motivations in preference for the worship of the kutChEri exercises of technical mortals.
The purpose of the nAdayOgis sAdhana and kritis is to ALWAYS expose Sruti = truth.
In doing so it reveals and teaches the presence of apa-Sruti (untruth, corruption and evil) that lurks in the shadows.
All such revelation and learning comes with pain. This pain is NOT avoidable.
satyam Eva jayatE
Sri madurApuri vihArini – rAga bilahari
S rAjam
https://www.youtube.com/watch?v=qY3wC2HJZGo
TR Balasubramaniam
https://www.youtube.com/watch?v=zzR0rEqrhj0
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 862 Why “bAlagOpAla” at dakSina dwArka = mannArgudi is in rAga bhairavi - kAli/bhairavi of the ORIGINAL dwArka pitha
# 862 Why “bAlagOpAla” at dakSina dwArka = mannArgudi is in rAga bhairavi - the relationship to the kAli/bhairavi of the ORIGINAL dwArka pitha
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of krSna janmAStami, it becomes relevant to ask ….
… Why is the kriti “bAlagOpAla pAlayASu mAm” at mannArgudi in the rAga bhairavi.
Unerringly, once again, the Dikshitar rewards the nAda-upAsaka.
The answer comes from the relationship of dakSina dwArkA = mannArgudi to the original dwArka.
Post # 758 dated 16 Jun 2022 gives the basis for the Dikshitars 4 kritis at each of the Adi Sankaras 4 AmnAya pitha kSEtras...linked here
https://www.rasikas.org/forums/viewtopi ... 48#p376648
Each of the 4 kritis was shown in that post to have the specific mahAvAkya of the particular vEda (mahAvAkya being the terse summary of the vEda).
In particular, the Western AmnAya pitha associates the dwArka (SArada) pitha with the goddess kAli in the Adi Sankara doctrine. ...dwArka of course is on the Gujarat coast.
Indeed the goddess of this pitha is also known as “dwArka kAlikA”.
rAga bhairavi is the NATURAL and OBVIOUS choice for the dwArka goddess.
And since mannArgudi is the dakSina dwArkA, at least one kriti in rAga bhairavi is ALSO quite natural.
Indeed given the Sri vidyA status of the kSEtra at mannArgudi, the rAga bhairavi applies quite naturally also for the dakSina dwArka.
Notice that the Dikshitar gives the kriti “dEvi jagadISwari” at the dwArka pitha ALSO in rAga bhairavi.
And because this is the sAmavEda mahAvAkya sthala as per the Adi Sankara, the musical reference ‘bhAva rAga tAla” appears in the kriti "dEvi jagadiSwari !.
And because it is dakSina dwArka, the musical reference “vainika gAyaka” appears in the bAlagOpAla bhairavi kriti.
Case closed…
The bhairavi rAga mudra is ALSO embedded ..in the ending line via words "guruguha nuta pur-avairavi hita"
It has already been shown (in connection with the SrividyArAjagOpAla ardhanAri nAri-vEsa sAvEri form) how the connection between dwArkA and dakSina dwArka is lost on the foolish, including some musicians who "think" they have read the kritis !!)
see post dated 10 Aug, 2023
https://www.rasikas.org/forums/viewtopi ... 43#p379943
After 200 years finally the truth pierces through the confusion and cacophony created by kutChEri vidwAns, and also viduSiS, and their thoughtless agents, who have NOT comprehended the Dikshitars words, choices or the context of his pujA.
bAlagOpAla pAlayASu mAm – rAga bhairavi
KVN
https://www.youtube.com/watch?v=UwYLebUiNO4
GNB
https://www.youtube.com/watch?v=NznBtiFRib0
MDR
https://www.youtube.com/watch?v=Tbnn5Gbk3ow
KSG flute
https://www.youtube.com/watch?v=-hkoCMuESwU
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of krSna janmAStami, it becomes relevant to ask ….
… Why is the kriti “bAlagOpAla pAlayASu mAm” at mannArgudi in the rAga bhairavi.
Unerringly, once again, the Dikshitar rewards the nAda-upAsaka.
The answer comes from the relationship of dakSina dwArkA = mannArgudi to the original dwArka.
Post # 758 dated 16 Jun 2022 gives the basis for the Dikshitars 4 kritis at each of the Adi Sankaras 4 AmnAya pitha kSEtras...linked here
https://www.rasikas.org/forums/viewtopi ... 48#p376648
Each of the 4 kritis was shown in that post to have the specific mahAvAkya of the particular vEda (mahAvAkya being the terse summary of the vEda).
In particular, the Western AmnAya pitha associates the dwArka (SArada) pitha with the goddess kAli in the Adi Sankara doctrine. ...dwArka of course is on the Gujarat coast.
Indeed the goddess of this pitha is also known as “dwArka kAlikA”.
rAga bhairavi is the NATURAL and OBVIOUS choice for the dwArka goddess.
And since mannArgudi is the dakSina dwArkA, at least one kriti in rAga bhairavi is ALSO quite natural.
Indeed given the Sri vidyA status of the kSEtra at mannArgudi, the rAga bhairavi applies quite naturally also for the dakSina dwArka.
Notice that the Dikshitar gives the kriti “dEvi jagadISwari” at the dwArka pitha ALSO in rAga bhairavi.
And because this is the sAmavEda mahAvAkya sthala as per the Adi Sankara, the musical reference ‘bhAva rAga tAla” appears in the kriti "dEvi jagadiSwari !.
And because it is dakSina dwArka, the musical reference “vainika gAyaka” appears in the bAlagOpAla bhairavi kriti.
Case closed…
The bhairavi rAga mudra is ALSO embedded ..in the ending line via words "guruguha nuta pur-avairavi hita"
It has already been shown (in connection with the SrividyArAjagOpAla ardhanAri nAri-vEsa sAvEri form) how the connection between dwArkA and dakSina dwArka is lost on the foolish, including some musicians who "think" they have read the kritis !!)
see post dated 10 Aug, 2023
https://www.rasikas.org/forums/viewtopi ... 43#p379943
After 200 years finally the truth pierces through the confusion and cacophony created by kutChEri vidwAns, and also viduSiS, and their thoughtless agents, who have NOT comprehended the Dikshitars words, choices or the context of his pujA.
bAlagOpAla pAlayASu mAm – rAga bhairavi
KVN
https://www.youtube.com/watch?v=UwYLebUiNO4
GNB
https://www.youtube.com/watch?v=NznBtiFRib0
MDR
https://www.youtube.com/watch?v=Tbnn5Gbk3ow
KSG flute
https://www.youtube.com/watch?v=-hkoCMuESwU
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
Composer : Muthuswami Dikshithar
Raga : Kamas
Language : Sanskrit
(From sujamusic blog)
https://youtu.be/upZn5NVcPco?si=NfcYZRGVe9eNNiqB
पल्लवि
सन्तान गोपाल कृष्णं उपास्महे श्री
अनुपल्लवि
सन्तान सौभाग्य वितरण निपुण तरम्
(मध्यम काल साहित्यम्)
सन्ततं सद्-गुरुगुह सन्नुतं सारस करम्
चरणम्
श्री रुक्मिणी सत्यभामा समेतम्
अर्जुन प्रेमास्पदं आश्रित जन फलदम्
(मध्यम काल साहित्यम्)
नर्तन मुरळी धरं नत शुक सनक नारदम्
नीरजासनादि नुतं नील मेघ जित गात्रम्
Transliteration
pallavi
santAna gOpAla kRshNaM upAsmahE shrI
anupallavi
santAna saubhAgya vitaraNa nipuNa taram
santatam sad-guruguha sannutam sArasa karam
charaNam
shrI rukmiNI satyabhAmA samEtam
arjuna prEmAspadam ASrita jana phaladam
nartana muraLI dharam nata shuka sanaka nAradam
nIrajAsanaAdi nutam nIla mEgha jita gAtram
Translation
pallavi
I worship (upAsmahE) Krishna, the cowherd (go-pAla) child (santAna).
anupallavi
I worship Him who is (implied) the master of (nipuna-taram) of bestowing (vitaraNa) the good-fortune (saubhAgya) of progeny/continued succession (santAna), who is praised (sannuta) by the good (sat) Kartikeya (guruguha, also signature of the composer), who has lotus-like (sarasa) hands (karam).
charaNam
I worship Him who is (implied) together with (samEta) Rukmini and Satyabhama, who is the object (Aspadam) of Arjuna’s love, who rewards (phaladam) those who seek refuge in him (Ashrita jana), who is the dancer (nartana) holding (dharam) a flute (murali), who is bowed to (nata) by Shuka, Sanaka and Narada, who is praised by Brahma (nIraja Asana – One seated on a lotus) etc (Adi) and the beauty of (implied) whose body (gAtram) surpasses (jita) that of blue (nIla) clouds (mEgha) (rain-clouds).
Raga : Kamas
Language : Sanskrit
(From sujamusic blog)
https://youtu.be/upZn5NVcPco?si=NfcYZRGVe9eNNiqB
पल्लवि
सन्तान गोपाल कृष्णं उपास्महे श्री
अनुपल्लवि
सन्तान सौभाग्य वितरण निपुण तरम्
(मध्यम काल साहित्यम्)
सन्ततं सद्-गुरुगुह सन्नुतं सारस करम्
चरणम्
श्री रुक्मिणी सत्यभामा समेतम्
अर्जुन प्रेमास्पदं आश्रित जन फलदम्
(मध्यम काल साहित्यम्)
नर्तन मुरळी धरं नत शुक सनक नारदम्
नीरजासनादि नुतं नील मेघ जित गात्रम्
Transliteration
pallavi
santAna gOpAla kRshNaM upAsmahE shrI
anupallavi
santAna saubhAgya vitaraNa nipuNa taram
santatam sad-guruguha sannutam sArasa karam
charaNam
shrI rukmiNI satyabhAmA samEtam
arjuna prEmAspadam ASrita jana phaladam
nartana muraLI dharam nata shuka sanaka nAradam
nIrajAsanaAdi nutam nIla mEgha jita gAtram
Translation
pallavi
I worship (upAsmahE) Krishna, the cowherd (go-pAla) child (santAna).
anupallavi
I worship Him who is (implied) the master of (nipuna-taram) of bestowing (vitaraNa) the good-fortune (saubhAgya) of progeny/continued succession (santAna), who is praised (sannuta) by the good (sat) Kartikeya (guruguha, also signature of the composer), who has lotus-like (sarasa) hands (karam).
charaNam
I worship Him who is (implied) together with (samEta) Rukmini and Satyabhama, who is the object (Aspadam) of Arjuna’s love, who rewards (phaladam) those who seek refuge in him (Ashrita jana), who is the dancer (nartana) holding (dharam) a flute (murali), who is bowed to (nata) by Shuka, Sanaka and Narada, who is praised by Brahma (nIraja Asana – One seated on a lotus) etc (Adi) and the beauty of (implied) whose body (gAtram) surpasses (jita) that of blue (nIla) clouds (mEgha) (rain-clouds).
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 864 The Dikshitars dEvagAndhAris –How/Why ONLY this rAga word represents the icons of the 6 kritis 6. vadAnyESwaram
Post # 864 The Dikshitars dEvagAndhAri kritis – How/Why ONLY this rAga word name represents the icons of EACH of the six kritis 6. vadAnyESwaram
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
vadAnyESwara is the GENEROUS = "vadAnya" Siva.
But at the vadAnyESwara/vallalAr temple, the key object of Sivas generosity is the SINGING celestial bull, nandi.
The kSEtra legend notes the verses sung by the nandi bull to the Siva.
Indeed , the Dikshitar also uses the reference to "paSu" not once but TWICE (including even before naming the consort !)
paSu-pASa moCanam
paSu-patim gyAnAmbikApatim
And the singing celestial bull is exactly the dEvagAndhAri , the celestial musician, that makes the rAga choice natural.
The reputed dakSinAmurty of the vadAnyESwara shrine is also noted via the words = “abhaya varada-karam”, the abhaya hasta mudra = RIGHT HANDED gesture ….dakSina is also the RIGHT hand as opposed to vAma (the left)
Summary
All 6 of the dEvagAndhAri/dEvagAndhara kritis of the Dikshitar show the influence of the word meaning linked to the icons of the different kSEtras.
Just like a masterly food preparation is much more than the individual ingredients of its recipe... Just like a house/home is more than its individual bricks, walls or rooms, the Kritis are much, much more than the individual words or the swaras/notations.
None of the insipid, unimaginative musicologists or translators (or their foolish agents/trolls) of the last 200 years has any clue what is transpiring with the nAdayOgis musical worship.
The vAggeyakAras music (and the rasikas forum) has exposed the apa-Sruti, the untruth, the rotten sectarian falsehoods and ignorant , inconsistent ideologies.
Yes..the Truth is relentless…there is NO hiding behind age or gender or language from this truth and its consequences.
satyam Eva jayatE
vadAnyESwaram bhajEham – rAga dEvagAndhAri
SSI
https://www.youtube.com/watch?v=kIzkZrVYkBA
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
vadAnyESwara is the GENEROUS = "vadAnya" Siva.
But at the vadAnyESwara/vallalAr temple, the key object of Sivas generosity is the SINGING celestial bull, nandi.
The kSEtra legend notes the verses sung by the nandi bull to the Siva.
Indeed , the Dikshitar also uses the reference to "paSu" not once but TWICE (including even before naming the consort !)
paSu-pASa moCanam
paSu-patim gyAnAmbikApatim
And the singing celestial bull is exactly the dEvagAndhAri , the celestial musician, that makes the rAga choice natural.
The reputed dakSinAmurty of the vadAnyESwara shrine is also noted via the words = “abhaya varada-karam”, the abhaya hasta mudra = RIGHT HANDED gesture ….dakSina is also the RIGHT hand as opposed to vAma (the left)
Summary
All 6 of the dEvagAndhAri/dEvagAndhara kritis of the Dikshitar show the influence of the word meaning linked to the icons of the different kSEtras.
Just like a masterly food preparation is much more than the individual ingredients of its recipe... Just like a house/home is more than its individual bricks, walls or rooms, the Kritis are much, much more than the individual words or the swaras/notations.
None of the insipid, unimaginative musicologists or translators (or their foolish agents/trolls) of the last 200 years has any clue what is transpiring with the nAdayOgis musical worship.
The vAggeyakAras music (and the rasikas forum) has exposed the apa-Sruti, the untruth, the rotten sectarian falsehoods and ignorant , inconsistent ideologies.
Yes..the Truth is relentless…there is NO hiding behind age or gender or language from this truth and its consequences.
satyam Eva jayatE
vadAnyESwaram bhajEham – rAga dEvagAndhAri
SSI
https://www.youtube.com/watch?v=kIzkZrVYkBA
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
#865 What's in a name ? gAna-sAmavarAli–Yet another surya/chAyA themed rAga at tanjAvUr brhat kSEtra–brhadiSwarO rakSatu
# 865 What's in a name ? - gAna-sAmavarAli – Yet another surya/chAyA themed rAga for the tanjAvUr brhat kSEtra – “brhadiSwarO rakSatu”
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The tanjAvUr brhat kSEtra is UNQUESTIONABLY the solar (and shadows) kSEtra…the surya and chAya kSEtra
See recent posts for this…
nabhOmani
https://www.rasikas.org/forums/viewtopi ... 16#p380016
bhOga-chAya nAta
https://www.rasikas.org/forums/viewtopi ... 21#p380021
ravikriya, AndhAli etc
https://www.rasikas.org/forums/viewtopi ... 01#p380101
Indeed there is yet another rAga/kriti that symbolizes this theme.
brhadiSwarO rakSatu mAm – rAga gAna-sAma-varAli = mEla # 3
mEla # 3 is known as both gAna-murti (in the sampurna classification) as well as gAna-sAmavarAli (in the Dikshitars asampurna scheme).
Short Background (on the ka-ta-pa-ya Adi scheme)
The ka-ta-pa-ya Adi scheme “codes” the alphabet with numerals , assigns a number based on the starting syllables of the rAga name, then FLIPS that number to produce the number in the sequence of the 72 mEla rAga names.
Some examples are shown to illustrate this (the full table can be found easily enough for anyone interested)
mEla 1
So for example ka = 01 and na = 00, produces the number 10 for the combination kana….leading to kana-kAmbari = kanakAngi as the mEla 1 STARTING SYLLABLES , AFTER flipping 10 to 01.
mEla 71
Similarly kosalam = kusu-mAkaram has the syllables ka and sa…
ka = 01, sa = 07, producing the number 17, which is FLIPPEd to get mEla number 71.
mEla 72
Similarly rasikapriya = rasamanjari has the syllables ra and sa.
ra = 02, sa = 07, producing the number 27, which is FLIPPED to get the mEla number 72.
The pair of names in the cases above comes from the sampurna/asampurna classifications.
The katapayAdi scheme unifies the 7 note scales within the 72 mEla scheme so that the names carry the sampurna (or asampurna) nomenclature.
gAna-sAma-varAli - mEla # 03
So the syllables ga and na (found in both sampurna and asmpurna classification names gAna-murti and gAna-sAma-varAli), produce the numerals 03 and 00, which give the number 30, which on FLIPPING gives the mEla number 03.
Why all this detail ?
Because the purpose of this post is to point out the rAga word name associated with the second part of the gAna-“sAma-varAli” !
It is this understanding that confirms that this rAga COULD ONLY HAVE BEEN chosen for the tanjAvUr brhat kSEtra.
Why ? (ask the dimwits, corrupt musicologists and distorting grammarians and other “speculative” scoundrels)
Why is the word “sAma-varAli” iconic of tanjAvur as the surya/chAya kSEtra in the Dikshitar musical legacy ?
Because…
sAma (vEda) derives from the sun (as will be shown below from the scripture)
AND
varAli is synonym for the moon, indicating the night-time chAya/shadows
manusmriti 1.23 gives the famous relation between sAma and surya !
अग्निवायुरविभ्यस्तु त्रयं ब्रह्म सनातनम् ।
दुदोह यज्ञसिद्ध्यर्थं ऋच्।यजुस्।सामलक्षणम्
agni vAyu ravi bhyastu trayaṃ brahma sanAtanam
dudOha yagna siddhyArtham rik yajus sAma lakSanam
From out of (the three deities) Agni, Vāyu and Ravi, he extracted (literally milked !) , for the due fulfilment of sacrifices, the eternal Brahman, threefold, in the forms of ‘rik’ ‘yajuṣ’ and ‘sAman’ - 23
simply put ... rik from agni, yajus from vAyu and sAma from surya.
gAna-sAma-varali is EXACTLY the song of the sun and moon, the song of day and night, equivalent to the bhOgachAya nAtaka play of life, and the other dozen or so surya/chAya themed rAga names.
There can be no question rAga gAna-sAma-varAli was ALSO deliberately chosen by the Dikshitar for the brhat kSEtra..
And once again, the nAda-sampradAya asserts itself.
The messages of the vAggeyakAras , embedded in their words and choices, expressing their deepest ideas are heard above the cacophony of meaningless word-for-word translations peddled by parrots and the air-pressure variation exercises the kritis have been reduced to by clueless notation-mongers for 200 years.
satyam Eva jayatE
brhadiSwarO rakSatu mAm – rAga gAna-sAma-varali
KBMK
https://www.youtube.com/watch?v=qaN3CWWIftw
nishA r
https://www.youtube.com/watch?v=cfdCY8hFVZo
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The tanjAvUr brhat kSEtra is UNQUESTIONABLY the solar (and shadows) kSEtra…the surya and chAya kSEtra
See recent posts for this…
nabhOmani
https://www.rasikas.org/forums/viewtopi ... 16#p380016
bhOga-chAya nAta
https://www.rasikas.org/forums/viewtopi ... 21#p380021
ravikriya, AndhAli etc
https://www.rasikas.org/forums/viewtopi ... 01#p380101
Indeed there is yet another rAga/kriti that symbolizes this theme.
brhadiSwarO rakSatu mAm – rAga gAna-sAma-varAli = mEla # 3
mEla # 3 is known as both gAna-murti (in the sampurna classification) as well as gAna-sAmavarAli (in the Dikshitars asampurna scheme).
Short Background (on the ka-ta-pa-ya Adi scheme)
The ka-ta-pa-ya Adi scheme “codes” the alphabet with numerals , assigns a number based on the starting syllables of the rAga name, then FLIPS that number to produce the number in the sequence of the 72 mEla rAga names.
Some examples are shown to illustrate this (the full table can be found easily enough for anyone interested)
mEla 1
So for example ka = 01 and na = 00, produces the number 10 for the combination kana….leading to kana-kAmbari = kanakAngi as the mEla 1 STARTING SYLLABLES , AFTER flipping 10 to 01.
mEla 71
Similarly kosalam = kusu-mAkaram has the syllables ka and sa…
ka = 01, sa = 07, producing the number 17, which is FLIPPEd to get mEla number 71.
mEla 72
Similarly rasikapriya = rasamanjari has the syllables ra and sa.
ra = 02, sa = 07, producing the number 27, which is FLIPPED to get the mEla number 72.
The pair of names in the cases above comes from the sampurna/asampurna classifications.
The katapayAdi scheme unifies the 7 note scales within the 72 mEla scheme so that the names carry the sampurna (or asampurna) nomenclature.
gAna-sAma-varAli - mEla # 03
So the syllables ga and na (found in both sampurna and asmpurna classification names gAna-murti and gAna-sAma-varAli), produce the numerals 03 and 00, which give the number 30, which on FLIPPING gives the mEla number 03.
Why all this detail ?
Because the purpose of this post is to point out the rAga word name associated with the second part of the gAna-“sAma-varAli” !
It is this understanding that confirms that this rAga COULD ONLY HAVE BEEN chosen for the tanjAvUr brhat kSEtra.
Why ? (ask the dimwits, corrupt musicologists and distorting grammarians and other “speculative” scoundrels)
Why is the word “sAma-varAli” iconic of tanjAvur as the surya/chAya kSEtra in the Dikshitar musical legacy ?
Because…
sAma (vEda) derives from the sun (as will be shown below from the scripture)
AND
varAli is synonym for the moon, indicating the night-time chAya/shadows
manusmriti 1.23 gives the famous relation between sAma and surya !
अग्निवायुरविभ्यस्तु त्रयं ब्रह्म सनातनम् ।
दुदोह यज्ञसिद्ध्यर्थं ऋच्।यजुस्।सामलक्षणम्
agni vAyu ravi bhyastu trayaṃ brahma sanAtanam
dudOha yagna siddhyArtham rik yajus sAma lakSanam
From out of (the three deities) Agni, Vāyu and Ravi, he extracted (literally milked !) , for the due fulfilment of sacrifices, the eternal Brahman, threefold, in the forms of ‘rik’ ‘yajuṣ’ and ‘sAman’ - 23
simply put ... rik from agni, yajus from vAyu and sAma from surya.
gAna-sAma-varali is EXACTLY the song of the sun and moon, the song of day and night, equivalent to the bhOgachAya nAtaka play of life, and the other dozen or so surya/chAya themed rAga names.
There can be no question rAga gAna-sAma-varAli was ALSO deliberately chosen by the Dikshitar for the brhat kSEtra..
And once again, the nAda-sampradAya asserts itself.
The messages of the vAggeyakAras , embedded in their words and choices, expressing their deepest ideas are heard above the cacophony of meaningless word-for-word translations peddled by parrots and the air-pressure variation exercises the kritis have been reduced to by clueless notation-mongers for 200 years.
satyam Eva jayatE
brhadiSwarO rakSatu mAm – rAga gAna-sAma-varali
KBMK
https://www.youtube.com/watch?v=qaN3CWWIftw
nishA r
https://www.youtube.com/watch?v=cfdCY8hFVZo
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
44-VINAYAKA VIGNA NASAKA-DHIKSHITHAR- (VEGAVAAHINI
.
Smt.N C,VASANTHAKOKILAM
https://youtu.be/Eo2RTdn8m8k?si=ug_3uVntk4DGTMwE
pallavi
vinAyaka
vighna nASaka
mAM tAraya
dayA nidhE
anupallavi
anAtha rakshaka
ArUDha mUshika
(madhyama kAla sAhityam)
daksha Sikshaka
caraNam
Siva guru guha vidhi pUjita
ASrita jana paripAlaka
dEva rAja pura tOshita
vEga vAhinI vardhita
(madhyama kAla sAhityam)
rati pati sannuta Subha gAtra
pavanAtmajAnanda-kara
rAma mitra vara pavitra
...
rAma mitra – O friend of Rama!
vara pavitra – O best among the purifiers!
..
vinAyaka –
O Vinayaka ,
vighna nAshaka –
O destroyer of obstacles,
mAM tAraya –
save me /take me across.
dayA nidhE –
O treasure-house of mercy!
anupallavi
anAtha rakShaka –
O guardian of the destitute!
ArUDha mUShika –
O one who has ascended a
rodent!
daksha shikShaka -
O one who punished Daksha!
caraNam
shiva guru guha vidhi pUjita
– O one worshipped by Shiva, Guruguha and Brahma!
Ashrita jana paripAlaka –
O protector of people seeking
refuge!
dEva rAja pura tOshita -
O one pleased with the
Devarajapura (Kanchipuram)!
vEga vAhinI vardhita –
O one nourished by the river
Vegavahini!
(madhyama kAla sAhityam)
ravi SaSi vahni nEtra –
O one having the sun, moon
and fire for eyes!
rati pati sannuta Subha gAtra –
O one with a lovely form praised by Manmatha( the husband of Rati)!
pavanAtmajAnanda-kara –
O giver of joy to Hanuman( the
son of Vayu)!
rAma mitra –
O friend of Rama!
.
.
Smt.N C,VASANTHAKOKILAM
https://youtu.be/Eo2RTdn8m8k?si=ug_3uVntk4DGTMwE
pallavi
vinAyaka
vighna nASaka
mAM tAraya
dayA nidhE
anupallavi
anAtha rakshaka
ArUDha mUshika
(madhyama kAla sAhityam)
daksha Sikshaka
caraNam
Siva guru guha vidhi pUjita
ASrita jana paripAlaka
dEva rAja pura tOshita
vEga vAhinI vardhita
(madhyama kAla sAhityam)
rati pati sannuta Subha gAtra
pavanAtmajAnanda-kara
rAma mitra vara pavitra
...
rAma mitra – O friend of Rama!
vara pavitra – O best among the purifiers!
..
vinAyaka –
O Vinayaka ,
vighna nAshaka –
O destroyer of obstacles,
mAM tAraya –
save me /take me across.
dayA nidhE –
O treasure-house of mercy!
anupallavi
anAtha rakShaka –
O guardian of the destitute!
ArUDha mUShika –
O one who has ascended a
rodent!
daksha shikShaka -
O one who punished Daksha!
caraNam
shiva guru guha vidhi pUjita
– O one worshipped by Shiva, Guruguha and Brahma!
Ashrita jana paripAlaka –
O protector of people seeking
refuge!
dEva rAja pura tOshita -
O one pleased with the
Devarajapura (Kanchipuram)!
vEga vAhinI vardhita –
O one nourished by the river
Vegavahini!
(madhyama kAla sAhityam)
ravi SaSi vahni nEtra –
O one having the sun, moon
and fire for eyes!
rati pati sannuta Subha gAtra –
O one with a lovely form praised by Manmatha( the husband of Rati)!
pavanAtmajAnanda-kara –
O giver of joy to Hanuman( the
son of Vayu)!
rAma mitra –
O friend of Rama!
.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 867 gandha- the essence of Sandalwood - Why the Dikshitar gives the rAga mAlava-Sri to BOTH SrivAnCiyam and Cidambaram
# 867 gandha- the essence of Sandalwood - Why the Dikshitar gives the rAga mAlava-Sri to BOTH SrivAnCiyam and Cidambaram kSEtras
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The word mAlaya is synonym for sandal-wood..
And the word “kanaka” is ALSO a synonym for the sandal-wood tree/plant.
The Dikshitar registers this meaning of the word sandal-wood in BOTH his mAlava-Sri kritis.
mangalAmbAyai namastE at SrivAnCiyam
Not surprisingly, Sandal-wood is the sthala-vrkSa at SrivAnCiyam.
But for good measure the Dikshitar also uses the word “candanAlepanE” …..Candana = Sandal-wood.
There is zero ambiguity that the choice of rAga mAlava-Sri at SrivAnCiyam is associated by the Dikshitar with the sandal motif and its word meaning.
kanaka sabhApatim bhajarE at Cidambaram
The “kanaka-sabhA pati” is of course the dancing Siva of Cidambaram..known more widely as the natarAja (and also via the “Ananda natana prakASa” bhuta linga kriti).
At Cidambaram, sandal-wood is part of the worship practices.
But it is the word “kanaka” as a synonym of sandal-wood and hence of mAlaya, that is the reason this kriti is in rAga mAlava-Sri.
the fragrance of Sandal and the rasa of SrngAra
kAlidAsa in the classic "raghuvamSa" gives the fragrance of Sandal its essence as the messenger of Cupid..
Candanau stanAviva diSaStaSyA Sailau malaya-dardurau
Is is any surprise that in the SrivAnCiyam mAlavaSri, the Dikshitar uses the word “SrngArAdi yutE”
Or that at Cidambaram, his kalyAni says “SivakAmESwari CintayEham SrngAra rasa sampurna karim”.
Yet again, the relationship between rAga word/name , kSEtra, kriti and vAggeyakAras vision is made clear.
Only a monumental fool can think that the rAgas of the nAdayOgis kritis are randomly chosen or that the rAga names are not participating in the kriti and pujA.
satyam Eva jayatE
mangalAmbAyai namastE – rAga mAlavaSri
aruna s
https://www.youtube.com/watch?v=fNKWEIaZTM8
kanaka sabhApatim bhajarE – rAga mAlavaSri
veena s venkatEsa
https://www.youtube.com/watch?v=gdCgcBQMUTE
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The word mAlaya is synonym for sandal-wood..
And the word “kanaka” is ALSO a synonym for the sandal-wood tree/plant.
The Dikshitar registers this meaning of the word sandal-wood in BOTH his mAlava-Sri kritis.
mangalAmbAyai namastE at SrivAnCiyam
Not surprisingly, Sandal-wood is the sthala-vrkSa at SrivAnCiyam.
But for good measure the Dikshitar also uses the word “candanAlepanE” …..Candana = Sandal-wood.
There is zero ambiguity that the choice of rAga mAlava-Sri at SrivAnCiyam is associated by the Dikshitar with the sandal motif and its word meaning.
kanaka sabhApatim bhajarE at Cidambaram
The “kanaka-sabhA pati” is of course the dancing Siva of Cidambaram..known more widely as the natarAja (and also via the “Ananda natana prakASa” bhuta linga kriti).
At Cidambaram, sandal-wood is part of the worship practices.
But it is the word “kanaka” as a synonym of sandal-wood and hence of mAlaya, that is the reason this kriti is in rAga mAlava-Sri.
the fragrance of Sandal and the rasa of SrngAra
kAlidAsa in the classic "raghuvamSa" gives the fragrance of Sandal its essence as the messenger of Cupid..
Candanau stanAviva diSaStaSyA Sailau malaya-dardurau
Is is any surprise that in the SrivAnCiyam mAlavaSri, the Dikshitar uses the word “SrngArAdi yutE”
Or that at Cidambaram, his kalyAni says “SivakAmESwari CintayEham SrngAra rasa sampurna karim”.
Yet again, the relationship between rAga word/name , kSEtra, kriti and vAggeyakAras vision is made clear.
Only a monumental fool can think that the rAgas of the nAdayOgis kritis are randomly chosen or that the rAga names are not participating in the kriti and pujA.
satyam Eva jayatE
mangalAmbAyai namastE – rAga mAlavaSri
aruna s
https://www.youtube.com/watch?v=fNKWEIaZTM8
kanaka sabhApatim bhajarE – rAga mAlavaSri
veena s venkatEsa
https://www.youtube.com/watch?v=gdCgcBQMUTE
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 868 “rakta ganapati” of tiruanantapuram –pArvati priya-karam mOhanakaram, the deity formed by the hands of the goddess
# 868 the “rakta ganapati” of tiru-anantapuram – pArvati priya-karam mOhana karam, the deity formed by the hands of the goddess
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of ganESa Caturthi, the kriti "rakti-ganapatim" (at tiru-anantapuram kSEtra) is particularly relevant.
Why ?
Because…
The rudra samhita of the Siva purAna in the kumAra khanda says.
vicAryEti Ca sA dEvi vapuSo mala sambhavam
puruSam nirmamau sA tu sarvalakSana samyutam
Translation
After thinking, the goddess created the (ganapati’s) body (vapuSa) from dirt (mala) and it had all the characteristics of a human.
Some legends consider this dirt as mud or clay, reddish in color. Others see the red color from the goddesses own kumkuma /saffron hue. The decapitation of the human head of the deity prior to the elephant head is also noteworthy for the blood-red image.
pArvati priya-karam mOhana karam
Indeed, the Dikshitar records the “hand-fashioned” ganapati by the goddess with the reference to her “karam”..(hands)
mOhana karam
And at once the wondrous rAga mOhana gets yet another dimension - this time it is the charm of the Mother for her creation and vice versa !
The red-hued ganapati is installed in tiru-anantapur (kErala).
But the “rakta ganapati” kriti is installed by the Dikshitar in the heart of all nAda-upAsakas.
rakta ganapatim – rAga mOhana
vasudha R
https://www.youtube.com/watch?v=JJ43Mcqz7wM
veena mallika
https://www.youtube.com/watch?v=Nnccn_SGc4M
lalita V
https://www.youtube.com/watch?v=V_Q-ivohpFk
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of ganESa Caturthi, the kriti "rakti-ganapatim" (at tiru-anantapuram kSEtra) is particularly relevant.
Why ?
Because…
The rudra samhita of the Siva purAna in the kumAra khanda says.
vicAryEti Ca sA dEvi vapuSo mala sambhavam
puruSam nirmamau sA tu sarvalakSana samyutam
Translation
After thinking, the goddess created the (ganapati’s) body (vapuSa) from dirt (mala) and it had all the characteristics of a human.
Some legends consider this dirt as mud or clay, reddish in color. Others see the red color from the goddesses own kumkuma /saffron hue. The decapitation of the human head of the deity prior to the elephant head is also noteworthy for the blood-red image.
pArvati priya-karam mOhana karam
Indeed, the Dikshitar records the “hand-fashioned” ganapati by the goddess with the reference to her “karam”..(hands)
mOhana karam
And at once the wondrous rAga mOhana gets yet another dimension - this time it is the charm of the Mother for her creation and vice versa !
The red-hued ganapati is installed in tiru-anantapur (kErala).
But the “rakta ganapati” kriti is installed by the Dikshitar in the heart of all nAda-upAsakas.
rakta ganapatim – rAga mOhana
vasudha R
https://www.youtube.com/watch?v=JJ43Mcqz7wM
veena mallika
https://www.youtube.com/watch?v=Nnccn_SGc4M
lalita V
https://www.youtube.com/watch?v=V_Q-ivohpFk
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 869 The 2 “mangala” rAga kritis at SrivAnCiyam – Why the kalyAni and Why the surati
Post # 869 The 2 “mangala” rAga kritis at SrivAnCiyam – Why the kalyAni and Why the surati
In the footsteps of nAdajyOti Mutthusamy Dikshitar..
As is now obvious (painfully to some) the rAga choices of hundreds of the Dikshitar kritis are properly linked to icons/names/ideas of kSEtras, including aspects of Sri-Cakra worship and other scriptures/stOtras relevant to the kSEtra.
At SrivAnCiyam, post # 867 shows the example of rAga mAlavaSri deriving from the (mAlaya) sandal-wood tree and theme unique to kSEtra.
It remains to explain the rAgas of the other 2 kritis of the Dikshitar at SrivAnCiyam.
And in this case the explanation is easier done than said…
BOTH kritis derive their rAgas quite simply from the names of the 2 deities..
SrI mangalAmbikE SrI vAnCiSa nAyikE – rAga kalyAni
mangala-ambA gives the word mangala
And
mangala = WELFARE = kalyAna
Indeed even the male deity as vAnCa-iSa is the one fulfilling wishes (vAnCa) and therefore granting this welfare.
SrI vAnCanAtham bhajEham – rAga surati
mangala-ambA gives the word mangala
And surati is exactly the “mangalam” rAga , denoting an auspicious moment.
Summary
Yet again, it is seen that the rAga name dominates its selection for a kSEtra, rather than the swara-scale content of the rAga.
Why is this conclusion profound ?
Because it is reveals the priorities of the vAggeyakAras , where Word always dominates mere Sound.
Because it separates the vAggeyakAras from all vidwAns and musicologists.
Because it has hidden in plain sight for 200 years, eluding the language & idiom challenged cult-of-the performer.
Because for all nAda-upAsakas…to understand the nAdayOgis..., WHY the kritis exist is more important than HOW the kritis are reproduced.
satyam Eva jayatE
SrI mangalAmbikE SrI vAnCiSa nAyikE – rAga kalyAni
veena kgv
https://www.youtube.com/watch?v=RaxI1krcYqk
G ravikiran
https://www.youtube.com/watch?v=ArfQdkZyPcM
SrI vAnCanAtham bhajEham – rAga surati
mAmbalam sisters
https://www.youtube.com/watch?v=GuDqV7XsGeQ
triCUr rAmaCandran
https://www.youtube.com/watch?v=ETfC5KsOAGI
In the footsteps of nAdajyOti Mutthusamy Dikshitar..
As is now obvious (painfully to some) the rAga choices of hundreds of the Dikshitar kritis are properly linked to icons/names/ideas of kSEtras, including aspects of Sri-Cakra worship and other scriptures/stOtras relevant to the kSEtra.
At SrivAnCiyam, post # 867 shows the example of rAga mAlavaSri deriving from the (mAlaya) sandal-wood tree and theme unique to kSEtra.
It remains to explain the rAgas of the other 2 kritis of the Dikshitar at SrivAnCiyam.
And in this case the explanation is easier done than said…
BOTH kritis derive their rAgas quite simply from the names of the 2 deities..
SrI mangalAmbikE SrI vAnCiSa nAyikE – rAga kalyAni
mangala-ambA gives the word mangala
And
mangala = WELFARE = kalyAna
Indeed even the male deity as vAnCa-iSa is the one fulfilling wishes (vAnCa) and therefore granting this welfare.
SrI vAnCanAtham bhajEham – rAga surati
mangala-ambA gives the word mangala
And surati is exactly the “mangalam” rAga , denoting an auspicious moment.
Summary
Yet again, it is seen that the rAga name dominates its selection for a kSEtra, rather than the swara-scale content of the rAga.
Why is this conclusion profound ?
Because it is reveals the priorities of the vAggeyakAras , where Word always dominates mere Sound.
Because it separates the vAggeyakAras from all vidwAns and musicologists.
Because it has hidden in plain sight for 200 years, eluding the language & idiom challenged cult-of-the performer.
Because for all nAda-upAsakas…to understand the nAdayOgis..., WHY the kritis exist is more important than HOW the kritis are reproduced.
satyam Eva jayatE
SrI mangalAmbikE SrI vAnCiSa nAyikE – rAga kalyAni
veena kgv
https://www.youtube.com/watch?v=RaxI1krcYqk
G ravikiran
https://www.youtube.com/watch?v=ArfQdkZyPcM
SrI vAnCanAtham bhajEham – rAga surati
mAmbalam sisters
https://www.youtube.com/watch?v=GuDqV7XsGeQ
triCUr rAmaCandran
https://www.youtube.com/watch?v=ETfC5KsOAGI
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
It is accepted by all scholars that Sri.MD's kruthis are carefullv crafted musical compositions in all aspects.
.
But Shyaama Saastry and Thyaagaraaja Swamy kruthis were spontaneous outpourings.
.
Sometimes, their kruthis may not even conform to rules of prosody. They were primarily creating devotional poems in the best traditions of musicology .
.
They were not intent on creating literary pieces. Their focus , subconsciously , was on how best to create and propogate devotional theme in the best music. Even in this combination, their emphasis was on MUSIC.
.
.
Thyagaraja swami himself has defined in one of his kruthis, the characteristics of a good kruthi. .a musical composition.
.
Indian classical music system associates some raagams with some moods. Roughly 'rasam'.
Great composers instinctively choose the raagam which suits the mood of the song. That is widely accepted concept in Indian musicology.
.
But it cannot be asserted that Shyaama Saastry and Thyaagaraja Swamy, consciously cared to give any raaga mudraa and hints about the raagam through any words or phrases in their lyrics.
Where such associations are perceived, it is a unintended coincidence.
.
Even in good literature, of great masters, ornate rhyming and things like alliteration are spontaneous and not afterthoughts,
.
That is why, such writers are known as .vara kavis'. And great stylists.
.
To this day, musicology, has not tried to probe why a particular raagam is known by a particular name.
.
Nor does it consider it to be an appropriate domain of concern to musical system.
.
It just accepts the name of a particular pattern of swaras and sancharams as given, to be the raaga swaroopam and creates music on that basis.
.
Neither SS nor Thyaagaraja swamy were primarily interested in raagams alone as such , dissociated from their equally important message of piety and devotion.
.
They were more particular about the devotional theme.
.
Given their background , scholarship ,training and the then prevalent cultural ambience at their home towns and place of residence, subconsciously, the raagam name may find some association with some word or phrase in the kruthi. Even that , just occasionally.
. (..continued)
.
But Shyaama Saastry and Thyaagaraaja Swamy kruthis were spontaneous outpourings.
.
Sometimes, their kruthis may not even conform to rules of prosody. They were primarily creating devotional poems in the best traditions of musicology .
.
They were not intent on creating literary pieces. Their focus , subconsciously , was on how best to create and propogate devotional theme in the best music. Even in this combination, their emphasis was on MUSIC.
.
.
Thyagaraja swami himself has defined in one of his kruthis, the characteristics of a good kruthi. .a musical composition.
.
Indian classical music system associates some raagams with some moods. Roughly 'rasam'.
Great composers instinctively choose the raagam which suits the mood of the song. That is widely accepted concept in Indian musicology.
.
But it cannot be asserted that Shyaama Saastry and Thyaagaraja Swamy, consciously cared to give any raaga mudraa and hints about the raagam through any words or phrases in their lyrics.
Where such associations are perceived, it is a unintended coincidence.
.
Even in good literature, of great masters, ornate rhyming and things like alliteration are spontaneous and not afterthoughts,
.
That is why, such writers are known as .vara kavis'. And great stylists.
.
To this day, musicology, has not tried to probe why a particular raagam is known by a particular name.
.
Nor does it consider it to be an appropriate domain of concern to musical system.
.
It just accepts the name of a particular pattern of swaras and sancharams as given, to be the raaga swaroopam and creates music on that basis.
.
Neither SS nor Thyaagaraja swamy were primarily interested in raagams alone as such , dissociated from their equally important message of piety and devotion.
.
They were more particular about the devotional theme.
.
Given their background , scholarship ,training and the then prevalent cultural ambience at their home towns and place of residence, subconsciously, the raagam name may find some association with some word or phrase in the kruthi. Even that , just occasionally.
. (..continued)
Last edited by RSR on 21 Sep 2023, 11:37, edited 1 time in total.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
(In continuation of the preceding post)
We cannot negate the role of MUSICIANS, especially vocalists, in preserving MUSIC of the CM kruthis. The message of the lyrics gets added
strength , when associated with music,
Still, unless this 'lyric plus tune' is SUNG by vocalists in melodious and captivating voice, it will remain just in paper. The music would have been totally lost for ever.
.
If so, a Raama devotee may as well read Valmiki and Kamban , of much greater fervour and literary grace, instead of Thyaagaraaja swamy.
.
In a sense, Thyaagaraaja swami, by combining music and devotion and poetry , has done more for the devotees, not without some exqusite flights of poetic imagination. ( for, literature is not entirely a matter of prosody but needs emotion,albeit, ennobling and uplifting emotion, imagination and picturization, as well, ).
.
With all that, how does the message reach the people? Only by the vocalists. The music may be taken to the people through instrumental musicians but the message will be lost.
That is the great contribution of CM vocalists of the 'carnatic summer'.
Plate music also played a role.
.
A CM musician is not just a professional. He / She, is a messenger of divinity , who takes the message of the inspired composer to the common people. A musician , ill equipped in voice culture/ naturally endowed, may do more harm to the message, its tune, the composer and ultimately to the people and their culture.
.
So, let us desist from mocking at musicians and rejecting their PRIMARY
contribution in keeping CM alive.
.
Instrumentalists, like violin and Naagaswaram players,have done equally great service to society and culture, .
In fact, they take the pure music , unrelated to compositiins,to the people.
.
With that perspective, we should not
criticize SSP overmuch. For, it is an attempt to preserve the music tradition in staff notation. ( even with 'gamakam').
.
Famous musicians, both vocalists and instrumentalists,have consistently, lauded the attempt, as a very valuable support to the oral tradition.
.
The history of CM is nothing if not the contribution of great CM vocalists and instrumentalists.
.
So, let us tone down the sweeping attack on CM vocalists, instrumentalists, SSP , devotees sans manthra/thanthra, but devotees nonetheless, and just share good music, fresh perceptions about lyrics and melody, .
We cannot negate the role of MUSICIANS, especially vocalists, in preserving MUSIC of the CM kruthis. The message of the lyrics gets added
strength , when associated with music,
Still, unless this 'lyric plus tune' is SUNG by vocalists in melodious and captivating voice, it will remain just in paper. The music would have been totally lost for ever.
.
If so, a Raama devotee may as well read Valmiki and Kamban , of much greater fervour and literary grace, instead of Thyaagaraaja swamy.
.
In a sense, Thyaagaraaja swami, by combining music and devotion and poetry , has done more for the devotees, not without some exqusite flights of poetic imagination. ( for, literature is not entirely a matter of prosody but needs emotion,albeit, ennobling and uplifting emotion, imagination and picturization, as well, ).
.
With all that, how does the message reach the people? Only by the vocalists. The music may be taken to the people through instrumental musicians but the message will be lost.
That is the great contribution of CM vocalists of the 'carnatic summer'.
Plate music also played a role.
.
A CM musician is not just a professional. He / She, is a messenger of divinity , who takes the message of the inspired composer to the common people. A musician , ill equipped in voice culture/ naturally endowed, may do more harm to the message, its tune, the composer and ultimately to the people and their culture.
.
So, let us desist from mocking at musicians and rejecting their PRIMARY
contribution in keeping CM alive.
.
Instrumentalists, like violin and Naagaswaram players,have done equally great service to society and culture, .
In fact, they take the pure music , unrelated to compositiins,to the people.
.
With that perspective, we should not
criticize SSP overmuch. For, it is an attempt to preserve the music tradition in staff notation. ( even with 'gamakam').
.
Famous musicians, both vocalists and instrumentalists,have consistently, lauded the attempt, as a very valuable support to the oral tradition.
.
The history of CM is nothing if not the contribution of great CM vocalists and instrumentalists.
.
So, let us tone down the sweeping attack on CM vocalists, instrumentalists, SSP , devotees sans manthra/thanthra, but devotees nonetheless, and just share good music, fresh perceptions about lyrics and melody, .
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 872 The Dikshitar at kumbhakOna –How each of the 4 kritis rAgas are based on kSEtra icons 1. ghantA- Sri mangalAmbikAm
Post # 872 The Dikshitar at kumbhakOna – How each of the 4 kritis rAgas are selected based on unique kSEtra icons 1. The ghantA of Sri mangalAmbikAm
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The deities of kumbhakOna are kumbhESwara and mangalAmbikA ( note kumbhakOna kSEtra is distinct from SrivAnCiyam kSEtra although the goddess has the same name in both locations).
It will now be shown in a series of posts how each of the 4 kritis of the Dikshitar at kumbhakOna has rAgas chosen in EXACT accordance with key kSEtra icons.
The “ghantA” rAga of “SrI mangalAmbikAm”.
ghantA or BELL is always used to signal an auspicious moment in a pujA or in general. It also is a symbol of time, being used to toll the passing of the day or the passing of humans or the passing of events.
ghantA in the kamalAmbA navAvarana
In the kamalAmbA navAvarana, ghanta is the rAga for 8th Cakra kriti, signaling the upAsaka (or the dEvi) reaching the threshold of the 9th Cakra = nAda-bindu stage.
The completion of 8 stages of the Sri-Cakra pujA is a momentous occasion and the Dikshitar marks it with the tolling of the bell.
All that remains is the 9th Cakra final offering = Aharanam for which the Ahiri rAga is used.
These and all the rAgas of other Cakra kritis for the kamalAmbA navAvarana are explained in post # 564/565 dated Aug 1, 2021.
See here
https://www.rasikas.org/forums/viewtopi ... 85#p372585
https://www.rasikas.org/forums/viewtopi ... 86#p372586
The foolish (and criminal) SSP and all vidwAns/musicologists have completely missed the essential pujA of the nAdayOgi. In addition they have attempted to distort the unified output of the Dikshitar. The same corrupt attitudes have been used for the other vAggeyakAras, to dilute the messages of the kritis in preference for the idolatry of performers.
There is no middle ground between Sruti and apa-Sruti....between truth and untruth. This is the choice the music of the vAggeyakAras offers and exposes. It is the choice everyone has to make.
Anyone with contempt for the ideas of the vAggeyakAras is unfit for and undeserving of their kritis or music. Find some other avenues.
The legend of kumbhakOna
At kumbha-kOna, the so-called “pot with a corner”, the “pot” = kumbha (kOna = corner) holds the seed of all life.
Indeed, the linga at kumbhakOna is not the traditional cylindrical shape but TAPERS to a corner.
In this manner the very shape of the linga at kumbhakOna resembles a bell !
But there is an even more iconic representation of the bell at kumbhakOna.
This ancient sculpture at kumbhakOna depicts the goddess mangalAmbA as holding a bell.
See https://www.wisdomlib.org/gallery/sculp ... kOnam/2930
Sculptures in temples in kumbhakOna - photo 498 extracted here
The lower left hand of the mangalAmbika of kumbhakOna holds this bell.
What is the relevance and significance of the ghantA kriti at kumbhakOna ?
The goddess tolls the ghantA = bell as the kalaSa = kumbha = pot renews All life after the pralaya/deluge.
And her name itself denotes this auspicious moment.
Sri mangalAmbikAm cidgagana CandrikAm – rAga ghantA
vijayalakSmi S
https://www.youtube.com/watch?v=MSAlECJizC4
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The deities of kumbhakOna are kumbhESwara and mangalAmbikA ( note kumbhakOna kSEtra is distinct from SrivAnCiyam kSEtra although the goddess has the same name in both locations).
It will now be shown in a series of posts how each of the 4 kritis of the Dikshitar at kumbhakOna has rAgas chosen in EXACT accordance with key kSEtra icons.
The “ghantA” rAga of “SrI mangalAmbikAm”.
ghantA or BELL is always used to signal an auspicious moment in a pujA or in general. It also is a symbol of time, being used to toll the passing of the day or the passing of humans or the passing of events.
ghantA in the kamalAmbA navAvarana
In the kamalAmbA navAvarana, ghanta is the rAga for 8th Cakra kriti, signaling the upAsaka (or the dEvi) reaching the threshold of the 9th Cakra = nAda-bindu stage.
The completion of 8 stages of the Sri-Cakra pujA is a momentous occasion and the Dikshitar marks it with the tolling of the bell.
All that remains is the 9th Cakra final offering = Aharanam for which the Ahiri rAga is used.
These and all the rAgas of other Cakra kritis for the kamalAmbA navAvarana are explained in post # 564/565 dated Aug 1, 2021.
See here
https://www.rasikas.org/forums/viewtopi ... 85#p372585
https://www.rasikas.org/forums/viewtopi ... 86#p372586
The foolish (and criminal) SSP and all vidwAns/musicologists have completely missed the essential pujA of the nAdayOgi. In addition they have attempted to distort the unified output of the Dikshitar. The same corrupt attitudes have been used for the other vAggeyakAras, to dilute the messages of the kritis in preference for the idolatry of performers.
There is no middle ground between Sruti and apa-Sruti....between truth and untruth. This is the choice the music of the vAggeyakAras offers and exposes. It is the choice everyone has to make.
Anyone with contempt for the ideas of the vAggeyakAras is unfit for and undeserving of their kritis or music. Find some other avenues.
The legend of kumbhakOna
At kumbha-kOna, the so-called “pot with a corner”, the “pot” = kumbha (kOna = corner) holds the seed of all life.
Indeed, the linga at kumbhakOna is not the traditional cylindrical shape but TAPERS to a corner.
In this manner the very shape of the linga at kumbhakOna resembles a bell !
But there is an even more iconic representation of the bell at kumbhakOna.
This ancient sculpture at kumbhakOna depicts the goddess mangalAmbA as holding a bell.
See https://www.wisdomlib.org/gallery/sculp ... kOnam/2930
Sculptures in temples in kumbhakOna - photo 498 extracted here
The lower left hand of the mangalAmbika of kumbhakOna holds this bell.
What is the relevance and significance of the ghantA kriti at kumbhakOna ?
The goddess tolls the ghantA = bell as the kalaSa = kumbha = pot renews All life after the pralaya/deluge.
And her name itself denotes this auspicious moment.
Sri mangalAmbikAm cidgagana CandrikAm – rAga ghantA
vijayalakSmi S
https://www.youtube.com/watch?v=MSAlECJizC4
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 873 The Dikshitar at kumbhakOna –How the 4 kritis rAgas are based on kSEtra icons -The 2 kalyAni rAga kritis
Post # 873 The Dikshitar at kumbhakOna – How each of the 4 kritis rAgas are based on unique kSEtra icons = 2. & 3. Two kalyAni rAga kritis to kumbhESwara
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
In continuation of post # 872, this post describes the 2nd and 3rd kritis of the set of 4 by the Dikshitar at kumbhakOna.
Generally the Dikshitar does not repeat a rAga at a kSEtra ..although there are a few examples of such repetition..(e.g. the 2 kamAs kritis at mannArgudi shown on this thread in an earlier post to be related to the 2 major pujAs during mAgha mAsa)
At kumbhakOna these are the two kalyAni kritis by the Dikshitar
1. kumbhEshwarENa samrakSitOham
2. kumbhESwarAya namastE
And they are both completely authentic.
How do we know this beyond a shred a doubt ?
Because…kumbhakOna has 2 special tirthas (tanks) the “mahA makham” and the “pOtramarai” (= golden lotus) where devotees take the ceremonial dip in EACH and fulfill their pilgrimages.
In return the deity grants welfare = kalyAna.
2 celebrated temple tanks THEREFORE 2 kalyAni rAga kritis
But just to make sure the facts sink in (to the casual rasika and also the dim-witted one)..the Dikshitar carefully gives the relevant mudras for the tirthas/tanks, ONE in each kriti, as will now be shown
1. kumbhEshvarENa samrakSitOham kumbhajAdi muni pUjita varENa
kumbha mAsa makha mahOtsavEna kAmakOTi pITha yati nutEna
Here the words “kumbha mAsa makhA mAhOtsava” enshrines the tank name “mahA makha” where the bathing/dip occurs during the kumbha festival.
The visit of Adi Sankara to this kSEtra is also noted (kAmakOti pitha yati)
2. kumbhESwarAya namastE
The Dikshitar gives the pointed phrase hEmagiri pitha stithAya
It is now shown how these words are the mudra for the second major temple tank, the pOtramarai = golden lotus tank
SivapurAna rudra-saṃhita satī-khaṇḍa Chapter 22 Section 2.2 gives the connection between kailAsa & sumEru (mountains) which are supposed to be in proximity and the golden lotus
Verse 38 describes the golden (swarna) slopes of the kailAsa and sumEru mountains (shining with crystals, gold and silver) , = hEma-giri
sphaṭika swarṇava prādyai rājataiśca virājitam
Verse 39 describes the golden lotus (hiranmayi pankaja) growing on the (hEmagiri) mountains kailAsa and sumEru
hiraṇmayi ratnanAlai pankaja nirnmukulainrvṛtam
Verses 48-51 describe the kailAsa and sumEru mountains which have the gangA river and hundreds of lotus lakes..
athavA mama kailAsE parvatEndrE sadASrayE
nAnA mṛga gaṇairyukte padmAkara Satavṛte |
sarvairguṇaiśca sadvastu-sumEro-rapi sundari
It becomes clear from these verses that “hEmagiri pitha stitha” is a mudra/reference to the golden lotus lake/tank = pOtramarai ! of kumbhakOna
Summary
Why is all this detail being shown and Why is it necessary ?
Because No interloper like the distorting SSP and other corrupt fools can cast aspersions on the authencity of these kritis or any other kritis of the Dikshitar noted in hundreds of posts on this thread.
The mudra placement , relating it to key icons of the kSEtra and the rAga choice of kalyAni – denoting the welfare and prosperity conferred upon bathing in the 2 important tanks of kumbhakOna are irrefutable.
The dip in the temple tank is itself symbolic of the kumbha = pot status of the kSEtra – where the pot = kalaSa protects and revives all life after the pralaya (an auspicious moment for which the mangalambA rings the bell in the ghantA kriti in post # 872).
The modus operandi of the Dikshitar (his indelible signature) is crystal clear just as it is crystal clear in the hundreds of the other kritis pointed out. The SSP and all other corrupt/ignorant musicologists do not have the imagination to create these mudras. And they have shown no understanding of the relation between the iconography , pujA aspects and the words and rAgas chosen by the Dikshitar.
Why are the Words of the kritis important ?
Apart from expressing the deepest pujA of the vAggeyakAras, their Words are their personal signature….which cannot be diluted, denied, distorted or stolen.
kumbhEshwarENa samrakSitOham – rAga kalyAni
audio will be updated in a later post
kumbhESwarAya namastE - rAga kalyAni
vasudhA kESav
https://www.youtube.com/watch?v=gObnG7E2Zqk
triCur rAmaCandran
https://www.youtube.com/watch?v=xF4mDlhvLUY
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
In continuation of post # 872, this post describes the 2nd and 3rd kritis of the set of 4 by the Dikshitar at kumbhakOna.
Generally the Dikshitar does not repeat a rAga at a kSEtra ..although there are a few examples of such repetition..(e.g. the 2 kamAs kritis at mannArgudi shown on this thread in an earlier post to be related to the 2 major pujAs during mAgha mAsa)
At kumbhakOna these are the two kalyAni kritis by the Dikshitar
1. kumbhEshwarENa samrakSitOham
2. kumbhESwarAya namastE
And they are both completely authentic.
How do we know this beyond a shred a doubt ?
Because…kumbhakOna has 2 special tirthas (tanks) the “mahA makham” and the “pOtramarai” (= golden lotus) where devotees take the ceremonial dip in EACH and fulfill their pilgrimages.
In return the deity grants welfare = kalyAna.
2 celebrated temple tanks THEREFORE 2 kalyAni rAga kritis
But just to make sure the facts sink in (to the casual rasika and also the dim-witted one)..the Dikshitar carefully gives the relevant mudras for the tirthas/tanks, ONE in each kriti, as will now be shown
1. kumbhEshvarENa samrakSitOham kumbhajAdi muni pUjita varENa
kumbha mAsa makha mahOtsavEna kAmakOTi pITha yati nutEna
Here the words “kumbha mAsa makhA mAhOtsava” enshrines the tank name “mahA makha” where the bathing/dip occurs during the kumbha festival.
The visit of Adi Sankara to this kSEtra is also noted (kAmakOti pitha yati)
2. kumbhESwarAya namastE
The Dikshitar gives the pointed phrase hEmagiri pitha stithAya
It is now shown how these words are the mudra for the second major temple tank, the pOtramarai = golden lotus tank
SivapurAna rudra-saṃhita satī-khaṇḍa Chapter 22 Section 2.2 gives the connection between kailAsa & sumEru (mountains) which are supposed to be in proximity and the golden lotus
Verse 38 describes the golden (swarna) slopes of the kailAsa and sumEru mountains (shining with crystals, gold and silver) , = hEma-giri
sphaṭika swarṇava prādyai rājataiśca virājitam
Verse 39 describes the golden lotus (hiranmayi pankaja) growing on the (hEmagiri) mountains kailAsa and sumEru
hiraṇmayi ratnanAlai pankaja nirnmukulainrvṛtam
Verses 48-51 describe the kailAsa and sumEru mountains which have the gangA river and hundreds of lotus lakes..
athavA mama kailAsE parvatEndrE sadASrayE
nAnA mṛga gaṇairyukte padmAkara Satavṛte |
sarvairguṇaiśca sadvastu-sumEro-rapi sundari
It becomes clear from these verses that “hEmagiri pitha stitha” is a mudra/reference to the golden lotus lake/tank = pOtramarai ! of kumbhakOna
Summary
Why is all this detail being shown and Why is it necessary ?
Because No interloper like the distorting SSP and other corrupt fools can cast aspersions on the authencity of these kritis or any other kritis of the Dikshitar noted in hundreds of posts on this thread.
The mudra placement , relating it to key icons of the kSEtra and the rAga choice of kalyAni – denoting the welfare and prosperity conferred upon bathing in the 2 important tanks of kumbhakOna are irrefutable.
The dip in the temple tank is itself symbolic of the kumbha = pot status of the kSEtra – where the pot = kalaSa protects and revives all life after the pralaya (an auspicious moment for which the mangalambA rings the bell in the ghantA kriti in post # 872).
The modus operandi of the Dikshitar (his indelible signature) is crystal clear just as it is crystal clear in the hundreds of the other kritis pointed out. The SSP and all other corrupt/ignorant musicologists do not have the imagination to create these mudras. And they have shown no understanding of the relation between the iconography , pujA aspects and the words and rAgas chosen by the Dikshitar.
Why are the Words of the kritis important ?
Apart from expressing the deepest pujA of the vAggeyakAras, their Words are their personal signature….which cannot be diluted, denied, distorted or stolen.
kumbhEshwarENa samrakSitOham – rAga kalyAni
audio will be updated in a later post
kumbhESwarAya namastE - rAga kalyAni
vasudhA kESav
https://www.youtube.com/watch?v=gObnG7E2Zqk
triCur rAmaCandran
https://www.youtube.com/watch?v=xF4mDlhvLUY
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 874 The Dikshitar at kumbhakOna –How the 4 kritis rAgas are based on kSEtra icons-4. kumbhESwarAya - rAga kEdAram
Post # 874 The Dikshitar at kumbhakOna –How the 4 kritis rAgas are based on kSEtra icons -4. kumbhESwarAya in rAga kEdAram
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
It remains to complete the basis for the rAga used in the 4th kriti at kumbhakOna..
kumbhESwarAya namastE in rAga kEdAram
The word kEdAram conceals the word dAra as “kE-dAra-m”, where dAra implies cleaving/destruction.
In this kriti, the rAga derives from the legend of the kumbhakOna, created by the destruction of the kumbha (at this kSEtra) by Siva, releasing its contents and rejuvenating life, after the pralaya.
The cleaving = dAranam of the pot is the exact basis for the choice of this rAga for this kriti.
The mahAmakha temple tank (noted also in the kalyAni rAga kriti, see Post # 873) is also part of this legend.
One of its areas is known as the kubEra tirtha. Not surprisingly, the kubEra icon word also appears in this kriti.
Herein lies the value in understanding the words/choices of the vAggeyakAras.
-All 4 kritis of the Dikshitar at kumbhakOna have rAgas whose names are linked to the icons of the kSEtra.
-The discovery confirms the authencity of the kritis as constructs of the Dikshitar imagination and vision.
-The choices are NOT random or disconnected from the kSEtras.
-They cannot be casually treated by the lazy or ignorant, simply because the language eludes and alienates them.
-The fraudulent SSP (and all other swara practitioners) do not have the imagination or the sAdhana to fuse word, idea, kSEtra icon, pujA and music like the Dikshitar.
-The words/choices are the indelible mudras/signatures of the vAggeyakAras.
kumbhESwarAya namastE Sri mangalAmbA sahitAya - rAga kEdAram
to be updated
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
It remains to complete the basis for the rAga used in the 4th kriti at kumbhakOna..
kumbhESwarAya namastE in rAga kEdAram
The word kEdAram conceals the word dAra as “kE-dAra-m”, where dAra implies cleaving/destruction.
In this kriti, the rAga derives from the legend of the kumbhakOna, created by the destruction of the kumbha (at this kSEtra) by Siva, releasing its contents and rejuvenating life, after the pralaya.
The cleaving = dAranam of the pot is the exact basis for the choice of this rAga for this kriti.
The mahAmakha temple tank (noted also in the kalyAni rAga kriti, see Post # 873) is also part of this legend.
One of its areas is known as the kubEra tirtha. Not surprisingly, the kubEra icon word also appears in this kriti.
Herein lies the value in understanding the words/choices of the vAggeyakAras.
-All 4 kritis of the Dikshitar at kumbhakOna have rAgas whose names are linked to the icons of the kSEtra.
-The discovery confirms the authencity of the kritis as constructs of the Dikshitar imagination and vision.
-The choices are NOT random or disconnected from the kSEtras.
-They cannot be casually treated by the lazy or ignorant, simply because the language eludes and alienates them.
-The fraudulent SSP (and all other swara practitioners) do not have the imagination or the sAdhana to fuse word, idea, kSEtra icon, pujA and music like the Dikshitar.
-The words/choices are the indelible mudras/signatures of the vAggeyakAras.
kumbhESwarAya namastE Sri mangalAmbA sahitAya - rAga kEdAram
to be updated
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 875 gunijanAdi nuta – How this kriti in the rAga gurjari (deriving from gOCara) is in the kadamba vana of madurai
Post # 875 gunijanAdi nuta – How this kriti in the rAga gurjari (deriving from gOCara = cow pasture) is in the kadamba vana at madurai
In the footsteps of nAdajyOti Mutthuswamy Dikshitar.
.
In his short kriti “gunijanAdi nuta" in rAga gurjari the Dikshitar gives 2 important mudras
1. The word madhura-bhASini
2. The rAga name (as gurjari)
It is now shown how both these conditions are together NECESSARY and SUFFICIENT to locate the kSEtra of this kriti.
The NECESSARY condition
The Word madhura-bhASini indicates the madurAmbika of madurai.
The SUFFICIENT condition
The rAga name gurjari derives from the word gO-Cara = cow pasture or cow field. It ca also refer to the celestial COWHERD krSna, as gO-carA, one who looks after the cows .
A more apt name for the cowherd is of course ….gOpAla
And the gOpAla stOtra (from the nArada panCarAtra), describes the gOpAla as “kadamba pAdapa chAyE”
gOpAla (and obviously his cows) reside in the shade of the kadamba trees.
The kadamba vana is therefore the “gO-Cara” = the cow pasture
And kadamba vana is also the Dikshitar mudra for madurai.
So along with the mudra “madhura-bhASini”, the rAga name gurjara deriving from “gO-Cara” fixes the kriti at madurai.
Case closed !
It will be shown on the tyAgarAja thread, how the kriti “varAlandukOmmani” in this same rAga also carries a mudra of the gO-CarA = krSna !
See that post here https://www.rasikas.org/forums/viewtopi ... 42#p380342
Summary
It has taken 200 years to arrive at the reasons for why this rAga is chosen for these kritis by both the vAggeyakAras…(just as hundreds of their other kritis)
There is nothing random or unconnected in the choices made for this kriti by both the vAggeyakAras.
Only the foolish can consider these as mere coincidences. To compound matters these fools are not reading the kritis or are unable to understand the words used.
The lack of imagination , ignorance of words/languages and vapid technical-performer-worship has almost ruined the legacy of the vAggeyakAras.
But thanks to the rasikas forum, the facts of this musical worship and heritage are now made known and preserved.
gunijanAdinuta guruguhOdayE gurjari rAgapriyEnA shivE – rAga gurjari
ramyA N
https://www.youtube.com/watch?v=gEZvPpjAtKw
DKJ
https://www.youtube.com/watch?v=zRVvnvE5VlY
In the footsteps of nAdajyOti Mutthuswamy Dikshitar.
.
In his short kriti “gunijanAdi nuta" in rAga gurjari the Dikshitar gives 2 important mudras
1. The word madhura-bhASini
2. The rAga name (as gurjari)
It is now shown how both these conditions are together NECESSARY and SUFFICIENT to locate the kSEtra of this kriti.
The NECESSARY condition
The Word madhura-bhASini indicates the madurAmbika of madurai.
The SUFFICIENT condition
The rAga name gurjari derives from the word gO-Cara = cow pasture or cow field. It ca also refer to the celestial COWHERD krSna, as gO-carA, one who looks after the cows .
A more apt name for the cowherd is of course ….gOpAla
And the gOpAla stOtra (from the nArada panCarAtra), describes the gOpAla as “kadamba pAdapa chAyE”
gOpAla (and obviously his cows) reside in the shade of the kadamba trees.
The kadamba vana is therefore the “gO-Cara” = the cow pasture
And kadamba vana is also the Dikshitar mudra for madurai.
So along with the mudra “madhura-bhASini”, the rAga name gurjara deriving from “gO-Cara” fixes the kriti at madurai.
Case closed !
It will be shown on the tyAgarAja thread, how the kriti “varAlandukOmmani” in this same rAga also carries a mudra of the gO-CarA = krSna !
See that post here https://www.rasikas.org/forums/viewtopi ... 42#p380342
Summary
It has taken 200 years to arrive at the reasons for why this rAga is chosen for these kritis by both the vAggeyakAras…(just as hundreds of their other kritis)
There is nothing random or unconnected in the choices made for this kriti by both the vAggeyakAras.
Only the foolish can consider these as mere coincidences. To compound matters these fools are not reading the kritis or are unable to understand the words used.
The lack of imagination , ignorance of words/languages and vapid technical-performer-worship has almost ruined the legacy of the vAggeyakAras.
But thanks to the rasikas forum, the facts of this musical worship and heritage are now made known and preserved.
gunijanAdinuta guruguhOdayE gurjari rAgapriyEnA shivE – rAga gurjari
ramyA N
https://www.youtube.com/watch?v=gEZvPpjAtKw
DKJ
https://www.youtube.com/watch?v=zRVvnvE5VlY
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 876 Why the Dikshitars kriti “pavanAtmajam bhajarE” is in rAga SankarAbharanam
Post # 876 Why the Dikshitars kriti “pavanAtmajam bhajarE” is in rAga SankarAbharanam
In the footsteps of nAdajyOti Mutthuswamy Dikshitar...
The AnjanEya kritis of the Dikshitar ALL have rAgas chosen in deliberate alignment with icons of the deity.
vira hanumatE – rAga karnAtaka kapi
Here, kar-nAta-ka kApi is obviously chosen for the word "kapi", synonymous with the ape/monkey as well as the word nAtaka, representative of the whole rAma-nAtaka.
It is also noticeable that the Dikshitar gives the rAga mudra with the words "para mantra vinASa karana kapi vinuta"
pavanAtmaja Agaccha – rAga nAta
Here nAta is chosen because the kriti also refers to the “rAma-nAta-ka” of which hanumAn is a big part.. The rAga mudra is also given via “kapata vAnaravESa kAvya nAtaka tOSa”
rAmaChandra bhaktam – rAga gEya-hEjjaji
hejj-eji ( =hej-ja-eji) derives from “born (=ja) of the trembling wind (= eji)” , so EXACTLY = "pavan-Atma-ja".. (gEya is merely the prefix from the katapayAdi scheme for this 13th mEla )
But the question that is answered in this post is ...
Why is “pavanAtmajam bhajarE” in rAga SankarAbharanam !
Why is a deity from the rAmAyana connected to Siva by the Dikshitar..?
The answer comes from BOTH the Siva purAna And the anuSAsana parva of the mahAbhArata.
hanumAna is considered an incarnation of Siva !
Indeed Siva purAna , Book 3 – Sata rudra samhita Chapter 20 verse 7 gives
tataSca samaye tasmād hanumAn iti nAmabhAk - Sambhurj ajnE kapita nurmah Abala parAkrama
translation
In due course, Siva was born of in the form of a monkey named hanumAna who had great strength.
How is the rAga mudra for "San-kara-bharana" deivered in this kriti ?
Note that the word "San-kara" is within the words “san-jivani auSadha-karam”…..
…the sanjivani cure-all is BORNE = abharana by Anjaneya !
The meaning of the rAga word SankarAbharana is EXACTLY captured by the Anjaneya (who is considered the incarnation of Sankara), by his bearing the welfare-giving medicine = "san-jivani auSadha karam" !!
And once again, the nAda-upAsaka travels “in the footsteps of nAdajyOti Mutthuswamy Dikshitar”…recognizing his EXACT choices, his sources , his imagery and his pujA…
Shame on all the scoundrels (including SSP and corrupt academicians etc.) who with their illiteracy and ignorance, have tried to create confusion about the vAggeyakAras musical legacy.
The nAda-sampradAya always triumphs.
pavanAtmajam bhajarE – rAga SankarAbharanam
vivek sadAsivam
https://www.youtube.com/watch?v=cFwY7FJcuXc
n sundararAjan
https://www.youtube.com/watch?v=JKZoxoCQo9c
In the footsteps of nAdajyOti Mutthuswamy Dikshitar...
The AnjanEya kritis of the Dikshitar ALL have rAgas chosen in deliberate alignment with icons of the deity.
vira hanumatE – rAga karnAtaka kapi
Here, kar-nAta-ka kApi is obviously chosen for the word "kapi", synonymous with the ape/monkey as well as the word nAtaka, representative of the whole rAma-nAtaka.
It is also noticeable that the Dikshitar gives the rAga mudra with the words "para mantra vinASa karana kapi vinuta"
pavanAtmaja Agaccha – rAga nAta
Here nAta is chosen because the kriti also refers to the “rAma-nAta-ka” of which hanumAn is a big part.. The rAga mudra is also given via “kapata vAnaravESa kAvya nAtaka tOSa”
rAmaChandra bhaktam – rAga gEya-hEjjaji
hejj-eji ( =hej-ja-eji) derives from “born (=ja) of the trembling wind (= eji)” , so EXACTLY = "pavan-Atma-ja".. (gEya is merely the prefix from the katapayAdi scheme for this 13th mEla )
But the question that is answered in this post is ...
Why is “pavanAtmajam bhajarE” in rAga SankarAbharanam !
Why is a deity from the rAmAyana connected to Siva by the Dikshitar..?
The answer comes from BOTH the Siva purAna And the anuSAsana parva of the mahAbhArata.
hanumAna is considered an incarnation of Siva !
Indeed Siva purAna , Book 3 – Sata rudra samhita Chapter 20 verse 7 gives
tataSca samaye tasmād hanumAn iti nAmabhAk - Sambhurj ajnE kapita nurmah Abala parAkrama
translation
In due course, Siva was born of in the form of a monkey named hanumAna who had great strength.
How is the rAga mudra for "San-kara-bharana" deivered in this kriti ?
Note that the word "San-kara" is within the words “san-jivani auSadha-karam”…..
…the sanjivani cure-all is BORNE = abharana by Anjaneya !
The meaning of the rAga word SankarAbharana is EXACTLY captured by the Anjaneya (who is considered the incarnation of Sankara), by his bearing the welfare-giving medicine = "san-jivani auSadha karam" !!
And once again, the nAda-upAsaka travels “in the footsteps of nAdajyOti Mutthuswamy Dikshitar”…recognizing his EXACT choices, his sources , his imagery and his pujA…
Shame on all the scoundrels (including SSP and corrupt academicians etc.) who with their illiteracy and ignorance, have tried to create confusion about the vAggeyakAras musical legacy.
The nAda-sampradAya always triumphs.
pavanAtmajam bhajarE – rAga SankarAbharanam
vivek sadAsivam
https://www.youtube.com/watch?v=cFwY7FJcuXc
n sundararAjan
https://www.youtube.com/watch?v=JKZoxoCQo9c
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 877 Why is the Dikshitar kriti “SyAmalAngi mAtangi” in rAga SyAmalam ONLY to minAkSi of madurai
Post # 877 Why is the Dikshitar kriti “SyAmalAngi mAtangi” in rAga SyAmalam ONLY to minAkSi of madurai
In the footsteps of nAdajyOti Mutthuswamy Dikshitar...
The short kriti “SyAmalAngi mAtangi” in the 55th mEla rAga SyAmalam is given by the Dikshitar to the madurai minAkSi for the simple reason that the minAkSi stOtra of Adi Sankara describes minAkSi with the name SyAma-Abha,
In contrast, neither the kAmAkSi stOtra or the lalitA sahasranAma carry the word/name SyAma.
minAkSi stOtra stanza 4 (Adi Sankara)
Srimat sundara nAyikAm bhayaharAm gyAnapradAm nirmalAm
SyAma-AbhAm kamalAsana ArCita padAm nArAyanasya anujAm
vinA vEnu mrdanga vAdya rasikAm nAnA vidhAm ambikAm
minAkSim pranatOSmi santatam aham kArunya vArAm nidhim
But wait, ..there is more..
It is NOT a coincidence that the kriti also refers to “saraswati” ..see short kriti reproduced here...
P:
SyAmalAngi mAtangi namastE Sankari saraswati vinutE
C:
nAmarUpa prapanCa vihAriNi nAradAdi munihrt sanCArini
sOmasundarESa manOranjani sundari mInAkSi guruguha janani
Why ?
Because the minAkSi stOtra also says that the SyAmAlangi minAkSi is fond of the vinA , (vinA vEnu mrdanga rasikAm) and the vinA of course is the icon of saraswati.
And this reference is found in the same stanza 4 of the stOtra , indeed in the Very NEXT line following the SyAma name !
The rAga name coincides with a unique deity name at madurai in this case.
Case closed..
Yet again, the EXACT relationship between the rAgas used, the language of the kritis and the icons of the kSEtras has eluded ALL the foolish, unimaginative and insipid translators of the last 200 years.
But Truth cannot be subdued by the corrupt and the ignorant.
Thanks to the rasikas forum, the truth of the vAggeyakAras musical legacy can be told.
SyAmalAngi mAtangi – rAga SyAmalam
mangalam and sundari
https://www.youtube.com/watch?v=Eug_AqP_2PI
In the footsteps of nAdajyOti Mutthuswamy Dikshitar...
The short kriti “SyAmalAngi mAtangi” in the 55th mEla rAga SyAmalam is given by the Dikshitar to the madurai minAkSi for the simple reason that the minAkSi stOtra of Adi Sankara describes minAkSi with the name SyAma-Abha,
In contrast, neither the kAmAkSi stOtra or the lalitA sahasranAma carry the word/name SyAma.
minAkSi stOtra stanza 4 (Adi Sankara)
Srimat sundara nAyikAm bhayaharAm gyAnapradAm nirmalAm
SyAma-AbhAm kamalAsana ArCita padAm nArAyanasya anujAm
vinA vEnu mrdanga vAdya rasikAm nAnA vidhAm ambikAm
minAkSim pranatOSmi santatam aham kArunya vArAm nidhim
But wait, ..there is more..
It is NOT a coincidence that the kriti also refers to “saraswati” ..see short kriti reproduced here...
P:
SyAmalAngi mAtangi namastE Sankari saraswati vinutE
C:
nAmarUpa prapanCa vihAriNi nAradAdi munihrt sanCArini
sOmasundarESa manOranjani sundari mInAkSi guruguha janani
Why ?
Because the minAkSi stOtra also says that the SyAmAlangi minAkSi is fond of the vinA , (vinA vEnu mrdanga rasikAm) and the vinA of course is the icon of saraswati.
And this reference is found in the same stanza 4 of the stOtra , indeed in the Very NEXT line following the SyAma name !
The rAga name coincides with a unique deity name at madurai in this case.
Case closed..
Yet again, the EXACT relationship between the rAgas used, the language of the kritis and the icons of the kSEtras has eluded ALL the foolish, unimaginative and insipid translators of the last 200 years.
But Truth cannot be subdued by the corrupt and the ignorant.
Thanks to the rasikas forum, the truth of the vAggeyakAras musical legacy can be told.
SyAmalAngi mAtangi – rAga SyAmalam
mangalam and sundari
https://www.youtube.com/watch?v=Eug_AqP_2PI
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 878 saraswati vidhi yuvati – Why the Dikshitar gives the hindOla rAga to the saraswati/vAgdEvi
Post # 878 saraswati vidhi yuvati – Why the Dikshitar gives the hindOla rAga to the saraswati/vAgdEvi
In the footsteps of nAdajyOti Mutthuswamy Dikshitar...
On the occasion of dEvi navarAtri, the short gem “saraswati vidhi yuvati” is worthy of contemplation.
saraswati vidhi yuvati samrakSatu mAm Sri
Caranam:
murali vinA gAna vinodini samvEdini, CAru Candra hAsini sarasiruha loCani
murAri guruguha tOSini SabdArtha swarupini, hamsini brahmAni Arakta varna rupini
It is a short kriti yet manages to raise several important issues…
1. hindOla rAga
Why is hindOla rAga used for this kriti and where is its rAga mudra (direct or indirect) ?
2. "murali vinA gAna vinOdini"
Why is the flute noted (along with the vinA) as a favorite instrument of this particular saraswati ?
Both questions are now answered.
The hindOla rAga word derives from the word dOlanam = swaying or hindOla = the swing.
This Swaying is a type of fluctuation or oscillation !
And what better representation for oscillation, than the sound waves, produced by the goddess of speech.= vAgdEvi.
Indeed this saraswati = vAg-dEvi is also noted in the kriti as Sabda-artha swarupini,i.e. of the form of Sound and its Word meaning.
Sabda-artha are the disturbances = oscillations created by thought and transferred to speech as the sound of words.
Sabda as oscillation is the tanmAtra = essence of both the elements (bhUtas) AkAsa/ether and vAyu/prAna.
Sabda is the hidden mudra for the dOlanam = the oscillation that travels in the ether and as vAyu.
And at once both the rAga mudra and the reason for the hindOla rAga applied to the speech/sound goddess becomes clear.
murali vinA gAna vinOdini
The rAga word hindOla has a definite connection to krSna.
Why ?
Because the krSna jhUlA, is the celestial swing (= HINDOLA) upon which the wondrous cowherd practises his (hypnotic) charms including playing his flute = murali.
As the overseer of ALL sound, saraswati/vAgdEvi is not just limited to the vinA… she must also account for the murali of the viSnu avatAra.
And the Dikshitar diligently gives the goddess her due.
Verily has the navarAtri pujA commenced.
All nAda-upAsakas are enriched forever by the vision of the vAggeyakAras.
saraswati vidhi yuvati – rAga hindOla
rAji G
https://www.youtube.com/watch?v=7_kf-syVy1I
TRS
https://www.youtube.com/watch?v=49CKGNyASF8
In the footsteps of nAdajyOti Mutthuswamy Dikshitar...
On the occasion of dEvi navarAtri, the short gem “saraswati vidhi yuvati” is worthy of contemplation.
saraswati vidhi yuvati samrakSatu mAm Sri
Caranam:
murali vinA gAna vinodini samvEdini, CAru Candra hAsini sarasiruha loCani
murAri guruguha tOSini SabdArtha swarupini, hamsini brahmAni Arakta varna rupini
It is a short kriti yet manages to raise several important issues…
1. hindOla rAga
Why is hindOla rAga used for this kriti and where is its rAga mudra (direct or indirect) ?
2. "murali vinA gAna vinOdini"
Why is the flute noted (along with the vinA) as a favorite instrument of this particular saraswati ?
Both questions are now answered.
The hindOla rAga word derives from the word dOlanam = swaying or hindOla = the swing.
This Swaying is a type of fluctuation or oscillation !
And what better representation for oscillation, than the sound waves, produced by the goddess of speech.= vAgdEvi.
Indeed this saraswati = vAg-dEvi is also noted in the kriti as Sabda-artha swarupini,i.e. of the form of Sound and its Word meaning.
Sabda-artha are the disturbances = oscillations created by thought and transferred to speech as the sound of words.
Sabda as oscillation is the tanmAtra = essence of both the elements (bhUtas) AkAsa/ether and vAyu/prAna.
Sabda is the hidden mudra for the dOlanam = the oscillation that travels in the ether and as vAyu.
And at once both the rAga mudra and the reason for the hindOla rAga applied to the speech/sound goddess becomes clear.
murali vinA gAna vinOdini
The rAga word hindOla has a definite connection to krSna.
Why ?
Because the krSna jhUlA, is the celestial swing (= HINDOLA) upon which the wondrous cowherd practises his (hypnotic) charms including playing his flute = murali.
As the overseer of ALL sound, saraswati/vAgdEvi is not just limited to the vinA… she must also account for the murali of the viSnu avatAra.
And the Dikshitar diligently gives the goddess her due.
Verily has the navarAtri pujA commenced.
All nAda-upAsakas are enriched forever by the vision of the vAggeyakAras.
saraswati vidhi yuvati – rAga hindOla
rAji G
https://www.youtube.com/watch?v=7_kf-syVy1I
TRS
https://www.youtube.com/watch?v=49CKGNyASF8
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 879 SarAvati tata vAsini – Why the Dikshitar gives the SarAvati rAga to the saraswati/vAgdEvi
Post # 879 SarAvati tata vAsini – Why the Dikshitar gives the SarAvati rAga to the saraswati/vAgdEvi
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of the dEvi navarAtri, the kriti “SarAvati tata vAsini” merits attention.
SarAvatI tata vAsinI hamsinI sarasvatI vidhi yuvatI samrakSatu mAm SrI
CarACarAtmaka prapanCa rUpiNi SabdArttha svarUpiNi brahmANi
murAri purAri guruguha mOdinI samvEdinI muraLI vInA gAna vinOdinI gIrvANI
The Dikshitar does NOT give the rAga SarAvati to the saraswati dEvi because of any phonetic similarity in the 2 words.
A relevant specific saraswati shrine that the Dikshitar might have visited on the banks/shores of any river named SarAvati cannot be found...although the river of same name is known.
It will now be shown how the rAga name is iconic of a key attribute of the saraswati/vAgdEvi...(and that she is in everyone)
It will help to first list different words and their meanings that will describe the attribute.
Sara = arrow
avata = cavity (opening/hole etc)
Sara + avata = SarAvat = arrows that are present in a cavity
tata = shore/bank/edge (of a water body)
tira = shore/bank/edge ( of a water body)
jihva-Agra – tip of the tongue (tip is Agra), jihva is tongue
jihva-Agra stithaya – saraswati resides at the tip of the tongue – see “saraswatyA bhagavatyA” (ChAyAgaula)
After deconstructing the words, now we reconstitute their combined meaning to realize what the Dikshitar intended !
The goddess of speech resides at the tip of the tongue, as Words/speech.
Words/speech are delivered as Arrows that emerge from the opening/cavity of the mouth/throat.
Words/speech are SarAvat
The goddess is "SarAvat tata vAsini" – resident at the tip/edge of these arrows.
Notably the word “tira” is BOTH edge/bank/shore AS WELL as arrow !
And pointedly the Dikshitar gives the LAST word of the kriti as girvAni !
Why pointedly ?
because..
gir is speech/sound
And vAna = bAna = arrow.
girvAni is the "speech arrow" goddess.
SarAvAti tata vAsini = girvAni = jihva-Agra vAsini = vAgdEvi = saraswati
Case closed.
Summary
-The speech goddess resides within everyone, provided one understands Words and how to use them.
-Words are like arrows, irreversible.
-The nAda-sampradAya pradarSini cannot be denied or distorted.
-The words and choices of the vAggeyakAras are not random, “artistic” impetuousness.
-The kritis are the result of sAdhana, sacrifice, pujA and devotion.
-They cannot and should not be squandered on the undeserving.
SarAvati tata vAsini – raga SarAvati
AtrEyi K
https://www.youtube.com/watch?v=97zgAyK4kCw
Sruti rAvali
https://www.youtube.com/watch?v=imzfEM8UuXQ
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of the dEvi navarAtri, the kriti “SarAvati tata vAsini” merits attention.
SarAvatI tata vAsinI hamsinI sarasvatI vidhi yuvatI samrakSatu mAm SrI
CarACarAtmaka prapanCa rUpiNi SabdArttha svarUpiNi brahmANi
murAri purAri guruguha mOdinI samvEdinI muraLI vInA gAna vinOdinI gIrvANI
The Dikshitar does NOT give the rAga SarAvati to the saraswati dEvi because of any phonetic similarity in the 2 words.
A relevant specific saraswati shrine that the Dikshitar might have visited on the banks/shores of any river named SarAvati cannot be found...although the river of same name is known.
It will now be shown how the rAga name is iconic of a key attribute of the saraswati/vAgdEvi...(and that she is in everyone)
It will help to first list different words and their meanings that will describe the attribute.
Sara = arrow
avata = cavity (opening/hole etc)
Sara + avata = SarAvat = arrows that are present in a cavity
tata = shore/bank/edge (of a water body)
tira = shore/bank/edge ( of a water body)
jihva-Agra – tip of the tongue (tip is Agra), jihva is tongue
jihva-Agra stithaya – saraswati resides at the tip of the tongue – see “saraswatyA bhagavatyA” (ChAyAgaula)
After deconstructing the words, now we reconstitute their combined meaning to realize what the Dikshitar intended !
The goddess of speech resides at the tip of the tongue, as Words/speech.
Words/speech are delivered as Arrows that emerge from the opening/cavity of the mouth/throat.
Words/speech are SarAvat
The goddess is "SarAvat tata vAsini" – resident at the tip/edge of these arrows.
Notably the word “tira” is BOTH edge/bank/shore AS WELL as arrow !
And pointedly the Dikshitar gives the LAST word of the kriti as girvAni !
Why pointedly ?
because..
gir is speech/sound
And vAna = bAna = arrow.
girvAni is the "speech arrow" goddess.
SarAvAti tata vAsini = girvAni = jihva-Agra vAsini = vAgdEvi = saraswati
Case closed.
Summary
-The speech goddess resides within everyone, provided one understands Words and how to use them.
-Words are like arrows, irreversible.
-The nAda-sampradAya pradarSini cannot be denied or distorted.
-The words and choices of the vAggeyakAras are not random, “artistic” impetuousness.
-The kritis are the result of sAdhana, sacrifice, pujA and devotion.
-They cannot and should not be squandered on the undeserving.
SarAvati tata vAsini – raga SarAvati
AtrEyi K
https://www.youtube.com/watch?v=97zgAyK4kCw
Sruti rAvali
https://www.youtube.com/watch?v=imzfEM8UuXQ
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 880 “saraswati chAyAtarangini” – saraswati as The light of knowledge that traverses all darkness and untruth
Post # 880 “saraswati chAyAtarangini” – saraswati as The light of knowledge that traverses all darkness and untruth
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of the dEvi navarAtri, the kriti “saraswati chAyAtarangini” is of interest.
P: sarasvatI chAyAtarangini sakala kalA svarUpini rakSatu mAm sakala durita bhanjanI vidhi ranjanI niranjanI
C: purandarAdi pUjita Abja mukhI budha janOpAsita saccit sukhI
garuda vrSaturaga hari hara kari mukha guruguha mukha mati vitarana guninI
There are kritis by the Dikshitar in rAgas tarangini and gangA-tarangini (which will be taken up later) but the rAga chAyAtarangini is reserved for saraswati by the Dikshitar.
Why ?
Simple enough.
As is obvious by now (joyfully to most yet painfully to some), the Dikshitars choices
1. are not random
2. connect deity/icon to rAga word name
3. protect his intellectual property from grasping relatives and all distortionists
4. were meant to be comprehended (not glossed over/diluted by technical notation concerns or worse or dismissed as “coincidences” by the lazy and unimaginative)
Indeed the choices /mudras are discerned with modest effort but only with complete adoration.
saraswati is the icon of knowledge – always represented as the shining white of light that combats the darkness of untruth, apa-Sruti and agyAna.
The rAga word name delivers this exact meaning…
chAya – shade or darkness
chAya-tar – that which dispels chAya (“tar” is root of tAra (also tAraka etc.) = traversing or getting past..
chAyatar-angini – She (whose very body/arms etc) that dispels this darkness
For good measure, the Dikshitar emphasizes the light icon by adding “Abja mukhi” as the white lotus face of the deity. And she is also described as niranjani – blemishless.
And she gifts this understanding/knowledge (“mati vitarana”) to all the other deities named
sarasvatI chAyAtarangini – rAga chAyAtarangini
bombay jayaSri
https://www.youtube.com/watch?v=BOBXIUHOrxY
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of the dEvi navarAtri, the kriti “saraswati chAyAtarangini” is of interest.
P: sarasvatI chAyAtarangini sakala kalA svarUpini rakSatu mAm sakala durita bhanjanI vidhi ranjanI niranjanI
C: purandarAdi pUjita Abja mukhI budha janOpAsita saccit sukhI
garuda vrSaturaga hari hara kari mukha guruguha mukha mati vitarana guninI
There are kritis by the Dikshitar in rAgas tarangini and gangA-tarangini (which will be taken up later) but the rAga chAyAtarangini is reserved for saraswati by the Dikshitar.
Why ?
Simple enough.
As is obvious by now (joyfully to most yet painfully to some), the Dikshitars choices
1. are not random
2. connect deity/icon to rAga word name
3. protect his intellectual property from grasping relatives and all distortionists
4. were meant to be comprehended (not glossed over/diluted by technical notation concerns or worse or dismissed as “coincidences” by the lazy and unimaginative)
Indeed the choices /mudras are discerned with modest effort but only with complete adoration.
saraswati is the icon of knowledge – always represented as the shining white of light that combats the darkness of untruth, apa-Sruti and agyAna.
The rAga word name delivers this exact meaning…
chAya – shade or darkness
chAya-tar – that which dispels chAya (“tar” is root of tAra (also tAraka etc.) = traversing or getting past..
chAyatar-angini – She (whose very body/arms etc) that dispels this darkness
For good measure, the Dikshitar emphasizes the light icon by adding “Abja mukhi” as the white lotus face of the deity. And she is also described as niranjani – blemishless.
And she gifts this understanding/knowledge (“mati vitarana”) to all the other deities named
sarasvatI chAyAtarangini – rAga chAyAtarangini
bombay jayaSri
https://www.youtube.com/watch?v=BOBXIUHOrxY
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
Gems Of Muthuswami Dikshitar
M.S. Subbulakshmi
SAREGAMA
https://youtu.be/Qn_yNugVIWI?si=AD8iLaRK8YfWi17m
00:00:00 - Start
00:00:05 - Angaarakam
00:04:49 - Sri Kaantimathim
00:21:34 - Gange Maampaahi
00:24:52 - Kamalaambike
00:55:20 - Maaye
00:58:02 - (Nee Saati Daivamu ?)
01:02:49 - Sri Moolaadhara
01:09:26 - Veenaberi
01:11:53 - Sadasivam Upaasmahe
01:39:21 - Thyagaraja Yoga Vaibhavam
-
M.S. Subbulakshmi
SAREGAMA
https://youtu.be/Qn_yNugVIWI?si=AD8iLaRK8YfWi17m
00:00:00 - Start
00:00:05 - Angaarakam
00:04:49 - Sri Kaantimathim
00:21:34 - Gange Maampaahi
00:24:52 - Kamalaambike
00:55:20 - Maaye
00:58:02 - (Nee Saati Daivamu ?)
01:02:49 - Sri Moolaadhara
01:09:26 - Veenaberi
01:11:53 - Sadasivam Upaasmahe
01:39:21 - Thyagaraja Yoga Vaibhavam
-
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 882 gir-vAna – Path of the Sound Arrow – “nAda-bindu-kalA SrEni” & the atharva vEda mahAvAkya “ayam AtmA brahmA”
Post # 882 gir-vAna – Path of the Sound Arrow – “nAda-bindu-kalA SrEni” & the atharva vEda mahAvAkya “ayam AtmA brahmA”
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of the dEvi navarAtri, the Dikshitars kriti to saraswati “namO namastE girvAni” must be contemplated.
Why ?
Because it uses the potent construct “nAda-bindu-kalA” SrEni.
What exactly is this particular “SrEni” ?
Background
SrEni (the word) occurs in only one other kriti of the Dikshitar..in “dandAyudhapAni dandita daitya SrEni.”
See post # 720, dated Jan 27, 2022 on the quintessential skanda--panCa bhUta in the Dikshitars worship of palani murugA”
https://www.rasikas.org/forums/viewtopi ... 49#p374849
In both the palani kriti and this saraswati kriti, “SrEni” implies a string or a row, a progression, a succession.
The palani dandAyudhapani destroys row-upon-row of successive hostiles/daityas.
But in the saraswati kriti “namO namastE girvAni” the SrEni /succession represents the stepped path = the Sri-vidyA progression through the Avaranas.
How ? Why ?..
In the Sri-vidyA, the dEvi (or the upAsaka) employs Sabda (speech/words) to create nAda, ascending linearly through the Avaranas/stages, describing different Cakras/attributes that culminate in the final bindu stage.,
Upon reaching the bindu, the dEvi/upAsaka becomes part of ( = kalA) of Siva/ (the guru or the self).
This attainment of self is also summarized as “Ayam AtmA brahmA”, the mahAvAkya of the atharva-vEda.
Indeed the phrase “kAma-kalA pradarSini” represents "Ayam AtmA brahma"
(where agni is described in the atharva vEda as the fire of the kAma-kalA)
सर्वं ह्येतद् ब्रह्मायमात्मा ब्रह्म सोऽयमात्मा चतुष्पात् ॥ २ ॥
sarvam hyOtad brahmAyam AtmA brahma sOyam AtmA CatuSpAt
This mahAvAkya appears (along with the other 3 mahAvAkyas) in the kamalAmbA navAvarana 9th Cakra kriti.
See post #795 dated Oct 8, 2022 on The sarva-Anandamaya Cakra Ahiri, the kamalAmbA navAvarana and the mahAvAkyas)
https://www.rasikas.org/forums/viewtopi ... 23#p377723
Which brings us to the reason for the use of the rAga girvAni for this saraswati.
girvAni is a synonym for the saraswati/vAgdEvi.
But the name derives from girvAna i.e. the sound arrow,
It is no ordinary arrow ..and it no ordinary sound..It is the Sabda-brahma.
the girvAni kriti emphasizes the path of that arrow (the Sri-vidyA) through the line/row = “nAda-bindu-kalA SrEni”
The girvAni kriti describes the path of the Sri-vidyA, from nAda---> bindu ---> kalA (to Ayam AtmA brahma).
Unerringly, for all nAda-upAsakas, the arrow of the Sabda-brahma streaks forth and travels to its final destination… the kAma-kalA.
And once again the rAga word name delivers the entire meaning of the pujA and the kriti.
The karma of the vAggeyakAras CANNOT be denied.
Their messages were made to be received, not belittled by the language-challenged nor swept under a dusty carpet of notations and insipid translations or drowned in the cacophony of self-congratulatory vidwAns/vidUSis etc.
The nAda-sampradAya created the rasikas forum and it created the nAda-upAsaka/s, precisely to bring forth the musical and spiritual legacy of the vAggeyakAras.
satyam Eva jayatE
namO namastE girvAni – rAga girvAni
pranati v
https://www.youtube.com/watch?v=HJlfp0GEZQ0
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of the dEvi navarAtri, the Dikshitars kriti to saraswati “namO namastE girvAni” must be contemplated.
Why ?
Because it uses the potent construct “nAda-bindu-kalA” SrEni.
What exactly is this particular “SrEni” ?
Background
SrEni (the word) occurs in only one other kriti of the Dikshitar..in “dandAyudhapAni dandita daitya SrEni.”
See post # 720, dated Jan 27, 2022 on the quintessential skanda--panCa bhUta in the Dikshitars worship of palani murugA”
https://www.rasikas.org/forums/viewtopi ... 49#p374849
In both the palani kriti and this saraswati kriti, “SrEni” implies a string or a row, a progression, a succession.
The palani dandAyudhapani destroys row-upon-row of successive hostiles/daityas.
But in the saraswati kriti “namO namastE girvAni” the SrEni /succession represents the stepped path = the Sri-vidyA progression through the Avaranas.
How ? Why ?..
In the Sri-vidyA, the dEvi (or the upAsaka) employs Sabda (speech/words) to create nAda, ascending linearly through the Avaranas/stages, describing different Cakras/attributes that culminate in the final bindu stage.,
Upon reaching the bindu, the dEvi/upAsaka becomes part of ( = kalA) of Siva/ (the guru or the self).
This attainment of self is also summarized as “Ayam AtmA brahmA”, the mahAvAkya of the atharva-vEda.
Indeed the phrase “kAma-kalA pradarSini” represents "Ayam AtmA brahma"
(where agni is described in the atharva vEda as the fire of the kAma-kalA)
सर्वं ह्येतद् ब्रह्मायमात्मा ब्रह्म सोऽयमात्मा चतुष्पात् ॥ २ ॥
sarvam hyOtad brahmAyam AtmA brahma sOyam AtmA CatuSpAt
This mahAvAkya appears (along with the other 3 mahAvAkyas) in the kamalAmbA navAvarana 9th Cakra kriti.
See post #795 dated Oct 8, 2022 on The sarva-Anandamaya Cakra Ahiri, the kamalAmbA navAvarana and the mahAvAkyas)
https://www.rasikas.org/forums/viewtopi ... 23#p377723
Which brings us to the reason for the use of the rAga girvAni for this saraswati.
girvAni is a synonym for the saraswati/vAgdEvi.
But the name derives from girvAna i.e. the sound arrow,
It is no ordinary arrow ..and it no ordinary sound..It is the Sabda-brahma.
the girvAni kriti emphasizes the path of that arrow (the Sri-vidyA) through the line/row = “nAda-bindu-kalA SrEni”
The girvAni kriti describes the path of the Sri-vidyA, from nAda---> bindu ---> kalA (to Ayam AtmA brahma).
Unerringly, for all nAda-upAsakas, the arrow of the Sabda-brahma streaks forth and travels to its final destination… the kAma-kalA.
And once again the rAga word name delivers the entire meaning of the pujA and the kriti.
The karma of the vAggeyakAras CANNOT be denied.
Their messages were made to be received, not belittled by the language-challenged nor swept under a dusty carpet of notations and insipid translations or drowned in the cacophony of self-congratulatory vidwAns/vidUSis etc.
The nAda-sampradAya created the rasikas forum and it created the nAda-upAsaka/s, precisely to bring forth the musical and spiritual legacy of the vAggeyakAras.
satyam Eva jayatE
namO namastE girvAni – rAga girvAni
pranati v
https://www.youtube.com/watch?v=HJlfp0GEZQ0
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 883 saraswatyA bhagawatyA –the CatuS-SaSti (64) kalAtmikA saraswati & the CatuS-SaSti ghAts of tiruvArUr kamalAlaya
Post # 883 saraswatyA bhagawatyA – the CatuS-SaSti (64) kalAtmikA saraswati and the CatuS-SaSti ghAts of the kamalAlaya at tiruvArUr
In the footsteps of nAdajyOti Mutthuswamy Dikshitar...
On the occasion of the dEvi navarAtri, the kriti “saraswatyA bhagawatyA” comes into focus.
It will now be shown that the kriti “saraswatyA bhagawatyA” is to the saraswati of tiruvArUr (just like the parallel kriti “bhArati maddiSana” - dEvamanOhari).
1. The CatuS-Sasti kalAtmikA saraswati
There is only one kriti of the Dikshitar describing the “CatuS-SaSti kalA” = the 64 arts.
Fittingly it is to saraswati, the promulgator of ALL arts, speech , music, words…and the 64 arts reference appears in “saraswatyA bhagawatyA”.
Notably the tiruvArUr temple tank also has 64 ghAts (access points etc).
Of course saraswati is also "SwEta-pankajAsana"…residing on the lotus aka kamala..i.e. she is kamalAlaya.
Notably the tiruvArUr temple tank is known as kamalAlaya.
It is fairly natural to expect the rasa filled goddess = sa-rasa-wati to be associated with a water body (in the vEgavAhini "vinApustaka dhArini" it is the kanCi river).
But only the Dikshitar establishes the connection via the one-time use of the number 64 !
But wait..there’s more..much more !
2. The chosen rAga chAyA-gaulA for this kriti it itself a mudra for the tiruvArUr kSetra !
The name gaulA in tiruvArUr is reserved for the nilOtpalAmbA/kamalAmbA , the pArvati aspects of the supreme goddess.
Both lakSmi and saraswati serve this kamalAmbA..as in “kamala vAni sEvita pArsvAm” of the “kamalAmbAm bhajarE” kalyAni.
pArSvAm is she who stands beside (pArSva) ..and one aspect of the service is holding an umbrella etc. to provide shade..(the fly-swatter = CAmara is another aspect of such chAyA).
At once it can be seen that the choice of rAga is indicative of this saraswati serving the gaulA/pArvati/kamalAmbA of tiruvArUr.
Why ?
Because chAyA-gaula (given as “chAyA-gaura-tarayA”) – is she who provides shade/service to the gaulA dEvi.
3. The bhUpala of tiruvArUr
To emphasize the kSetra, the Dikshitar embeds yet another icon of tiruvArUr in the kriti.
The reference “sEvaka bhUpAla-kaya” cites the bhUpala of tiruvArUr (also noted in the sadACAlESwaram kriti)
Case closed.
Summary
Why is all this excrutiating detail necessary ?
Any number of scoundrels are always itching to dilute and destroy the legacy of the vAggeyakAras, in the name of notations, worship of technical performers , alienation from words/languages and contempt for the Sri-vidyA tantra.
While everyone can hold whatever views they want to, the posts here establish aspects of the vAggeyakAras that cannot be refuted.
The only way to deal with these facts is to either accept them or walk away from the vAggeyakAras.
Again and again, the nAda-upAsaka revels in the fountain of the vAggeyakAras vision.
saraswatyA bhagawatyA – rAga chAyAgaulA
veena kalpakam S
https://www.youtube.com/watch?v=g0g1QC1rrlI
mAmbalam sisters
https://www.youtube.com/watch?v=lMWsYkEWjJk
rAman and lakSmanan
https://www.youtube.com/watch?v=T60BbH1PspY
In the footsteps of nAdajyOti Mutthuswamy Dikshitar...
On the occasion of the dEvi navarAtri, the kriti “saraswatyA bhagawatyA” comes into focus.
It will now be shown that the kriti “saraswatyA bhagawatyA” is to the saraswati of tiruvArUr (just like the parallel kriti “bhArati maddiSana” - dEvamanOhari).
1. The CatuS-Sasti kalAtmikA saraswati
There is only one kriti of the Dikshitar describing the “CatuS-SaSti kalA” = the 64 arts.
Fittingly it is to saraswati, the promulgator of ALL arts, speech , music, words…and the 64 arts reference appears in “saraswatyA bhagawatyA”.
Notably the tiruvArUr temple tank also has 64 ghAts (access points etc).
Of course saraswati is also "SwEta-pankajAsana"…residing on the lotus aka kamala..i.e. she is kamalAlaya.
Notably the tiruvArUr temple tank is known as kamalAlaya.
It is fairly natural to expect the rasa filled goddess = sa-rasa-wati to be associated with a water body (in the vEgavAhini "vinApustaka dhArini" it is the kanCi river).
But only the Dikshitar establishes the connection via the one-time use of the number 64 !
But wait..there’s more..much more !
2. The chosen rAga chAyA-gaulA for this kriti it itself a mudra for the tiruvArUr kSetra !
The name gaulA in tiruvArUr is reserved for the nilOtpalAmbA/kamalAmbA , the pArvati aspects of the supreme goddess.
Both lakSmi and saraswati serve this kamalAmbA..as in “kamala vAni sEvita pArsvAm” of the “kamalAmbAm bhajarE” kalyAni.
pArSvAm is she who stands beside (pArSva) ..and one aspect of the service is holding an umbrella etc. to provide shade..(the fly-swatter = CAmara is another aspect of such chAyA).
At once it can be seen that the choice of rAga is indicative of this saraswati serving the gaulA/pArvati/kamalAmbA of tiruvArUr.
Why ?
Because chAyA-gaula (given as “chAyA-gaura-tarayA”) – is she who provides shade/service to the gaulA dEvi.
3. The bhUpala of tiruvArUr
To emphasize the kSetra, the Dikshitar embeds yet another icon of tiruvArUr in the kriti.
The reference “sEvaka bhUpAla-kaya” cites the bhUpala of tiruvArUr (also noted in the sadACAlESwaram kriti)
Case closed.
Summary
Why is all this excrutiating detail necessary ?
Any number of scoundrels are always itching to dilute and destroy the legacy of the vAggeyakAras, in the name of notations, worship of technical performers , alienation from words/languages and contempt for the Sri-vidyA tantra.
While everyone can hold whatever views they want to, the posts here establish aspects of the vAggeyakAras that cannot be refuted.
The only way to deal with these facts is to either accept them or walk away from the vAggeyakAras.
Again and again, the nAda-upAsaka revels in the fountain of the vAggeyakAras vision.
saraswatyA bhagawatyA – rAga chAyAgaulA
veena kalpakam S
https://www.youtube.com/watch?v=g0g1QC1rrlI
mAmbalam sisters
https://www.youtube.com/watch?v=lMWsYkEWjJk
rAman and lakSmanan
https://www.youtube.com/watch?v=T60BbH1PspY
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Post # 884 “sandhyA dEvim sAvitrim vara gAyatrim saraswatim” – the dEvakriyA of the sandhyAvandana
Post # 884 “sandhyA dEvim sAvitrim vara gAyatrim saraswatim” – the dEvakriyA of the sandhyAvandana
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of dEvi navarAtri and saraswati pujA, the auspicious kriti “sandhyA dEvim” is the proper invocation.
Why ?
Because In “sandhyA dEvim sAvitrim”, the Dikshitars “dEvakriyA” rAga is chosen for the sandhyAvandana rite = kriyA used to propitiate dEva’s in all ceremonies and worship.
sandhyA (the idea) can be considered the “sandhi” (= joining) of day and night (which occurs at both morning and evening) and also the “sandhi” of the first half of the day with the second half of the day (the mid-day sandhyA)
Naturally the sun plays a big role…..(there is no such thing as a midnight sandhyA..that is the ardhayAma)
Accordingly, the sandhyAvandana (mantra) recited 3 times a day kriyA is also known as the (suryA) gAyatri.
There are some interesting features of the kriti
-The word “sandhyA” occurs ONLY this one time in the entire Dikshitar collection.
-Although saraswati is described as “sapta svara mAtrkA rUpinIm” the mother of the 7 swaras , the rAga dEvakriyA itself is panCa-svara ( a pentatonic).
(this is similar to how the tyAgarAja uses the pentatonic hindOla in “sAmaja vara gamana” to describe the light in “matrja sapta swara nAdACala dipa”)
When the two supreme nAdayOgis think of the same idea, it merits closer examination !
nAdACala & vindhyACala
Neither space nor time bound the vAggeyakAras limitless imagination.
vin-dhya derives from “that which oppose”s …and various legends around the geographic location of a mountain-range with the same name are known.
But for the kriti, vin-dhya is the “mountain-in-the mind” that creates shadows opposing the movement (a-Cala) of sun-light
What creates shade, what creates night, what opposes knowledge, what welcomes light..
It is this welcoming of saraswati, the goddess of knowledge that is the true vandana in “sandhyA dEvim”.
On this day of saraswati pujA, the goddess is fully announced…
satyam Eva jayatE
sandhyA dEvim – rAga dEvakriyA
sangita S
https://www.youtube.com/watch?v=4VjAs7Zbmhg
SrikAnt
https://www.youtube.com/watch?v=riOXBR6M4K0
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of dEvi navarAtri and saraswati pujA, the auspicious kriti “sandhyA dEvim” is the proper invocation.
Why ?
Because In “sandhyA dEvim sAvitrim”, the Dikshitars “dEvakriyA” rAga is chosen for the sandhyAvandana rite = kriyA used to propitiate dEva’s in all ceremonies and worship.
sandhyA (the idea) can be considered the “sandhi” (= joining) of day and night (which occurs at both morning and evening) and also the “sandhi” of the first half of the day with the second half of the day (the mid-day sandhyA)
Naturally the sun plays a big role…..(there is no such thing as a midnight sandhyA..that is the ardhayAma)
Accordingly, the sandhyAvandana (mantra) recited 3 times a day kriyA is also known as the (suryA) gAyatri.
There are some interesting features of the kriti
-The word “sandhyA” occurs ONLY this one time in the entire Dikshitar collection.
-Although saraswati is described as “sapta svara mAtrkA rUpinIm” the mother of the 7 swaras , the rAga dEvakriyA itself is panCa-svara ( a pentatonic).
(this is similar to how the tyAgarAja uses the pentatonic hindOla in “sAmaja vara gamana” to describe the light in “matrja sapta swara nAdACala dipa”)
When the two supreme nAdayOgis think of the same idea, it merits closer examination !
nAdACala & vindhyACala
Neither space nor time bound the vAggeyakAras limitless imagination.
vin-dhya derives from “that which oppose”s …and various legends around the geographic location of a mountain-range with the same name are known.
But for the kriti, vin-dhya is the “mountain-in-the mind” that creates shadows opposing the movement (a-Cala) of sun-light
What creates shade, what creates night, what opposes knowledge, what welcomes light..
It is this welcoming of saraswati, the goddess of knowledge that is the true vandana in “sandhyA dEvim”.
On this day of saraswati pujA, the goddess is fully announced…
satyam Eva jayatE
sandhyA dEvim – rAga dEvakriyA
sangita S
https://www.youtube.com/watch?v=4VjAs7Zbmhg
SrikAnt
https://www.youtube.com/watch?v=riOXBR6M4K0
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 885 bhArati maddiSana -Why saraswati holds the vallaki (and not the vinA) & Why it is in dEvamanOhari–nAradas pujA
# 885 bhArati maddiSana - Why saraswati holds the vallaki (and not the vinA) & Why the rAga is dEva-manOhari – the pujA of nArada
In the footsteps of nAdajyOti Mutthuswamy Dikshitar
On the occasion of dEvi navarAtri and saraswati pujA, it is important to also consider the pujA of nArada.
The Dikshitar does !
vallaki , vinA, vipanCi etc
the vallaki is a stringed instrument considered similar to the vinA (but not identical).
There are other similar instruments such as the vipanCi. They find separate mention in the scripture including in the mahAbhArata (anuSAsana parva) etc.
At tiruvArUr (see post # 884), in the chAyagaulA kriti “saraswatyA bhagawatya”, the dEvi holds the vinA (vinA-vAdanaOtsukayA).
"bhArati maddiSana-jAdyApahE" also worships the tiruvArUr deity (she is “Sripura sva-pitha”) but in this kriti she holds the vallaki !
vallakI pustakAbhaya varada kOmalatara karE
Why the difference ?
Because in “bhArati maddiSana-jAdyApahE” the Dikshitar is specifically referring to the pujA by nArada of saraswati.
The EXACT reference is found in the nAradOpAkhyAna section of the garga samhita 5.21.43
varabhayam pustaka vallaki yutam
param dadhanam vimale kara-dvayE
namAmi aham tvam subhadam sarasvatim
jaganmayim brahmamayim manOharam
Why the rAga dEvamanOhari ?
It can be seen immediately from the last words of the stanza that the rAga choice is NOT random or coincidence..
“brahma-mayim manOharam” is EXACTLY “kanjaja-dEva manOhari” where kanjaja-dEva = brahma.
And both the rAga mudra as well as the nArada pujA are evident.
Summary
A simple query regarding the distinction between vinA and vallaki reveals the origin of this gem of a kriti.
The music-industry & establishments and herds of vapid rasikas (through ignorance and arrogance) lack the imagination to ask such questions AND also do not want anyone to consider such questions ! Their focus is vidwAn pujA and viduSi pujA.
nArada, who is a major musical preceptor and closely related to brahma, cannot be ignored in the week of saraswati !
see also the tyAgarAjas "nAradaguruswAmi" kriti https://www.rasikas.org/forums/viewtopi ... 69#p380469
The journey “In the footsteps of nAdajyOti Mutthuswamy Dikshitar” continues unabated.
Again and again, pebbles of truth wash up on the banks of the river of light and sound that is the nAda-sampradAya.
The words and karma of the vAggeyakAras cannot be denied , diluted or distorted.
satyam Eva jayatE
bhAratI maddhiSanajAdyApahE – rAga dEva-manOhari
rEvati
https://www.youtube.com/watch?v=XS-0U8IFxBE
sumitra v
https://www.youtube.com/watch?v=ugrHrL_hHv4
In the footsteps of nAdajyOti Mutthuswamy Dikshitar
On the occasion of dEvi navarAtri and saraswati pujA, it is important to also consider the pujA of nArada.
The Dikshitar does !
vallaki , vinA, vipanCi etc
the vallaki is a stringed instrument considered similar to the vinA (but not identical).
There are other similar instruments such as the vipanCi. They find separate mention in the scripture including in the mahAbhArata (anuSAsana parva) etc.
At tiruvArUr (see post # 884), in the chAyagaulA kriti “saraswatyA bhagawatya”, the dEvi holds the vinA (vinA-vAdanaOtsukayA).
"bhArati maddiSana-jAdyApahE" also worships the tiruvArUr deity (she is “Sripura sva-pitha”) but in this kriti she holds the vallaki !
vallakI pustakAbhaya varada kOmalatara karE
Why the difference ?
Because in “bhArati maddiSana-jAdyApahE” the Dikshitar is specifically referring to the pujA by nArada of saraswati.
The EXACT reference is found in the nAradOpAkhyAna section of the garga samhita 5.21.43
varabhayam pustaka vallaki yutam
param dadhanam vimale kara-dvayE
namAmi aham tvam subhadam sarasvatim
jaganmayim brahmamayim manOharam
Why the rAga dEvamanOhari ?
It can be seen immediately from the last words of the stanza that the rAga choice is NOT random or coincidence..
“brahma-mayim manOharam” is EXACTLY “kanjaja-dEva manOhari” where kanjaja-dEva = brahma.
And both the rAga mudra as well as the nArada pujA are evident.
Summary
A simple query regarding the distinction between vinA and vallaki reveals the origin of this gem of a kriti.
The music-industry & establishments and herds of vapid rasikas (through ignorance and arrogance) lack the imagination to ask such questions AND also do not want anyone to consider such questions ! Their focus is vidwAn pujA and viduSi pujA.
nArada, who is a major musical preceptor and closely related to brahma, cannot be ignored in the week of saraswati !
see also the tyAgarAjas "nAradaguruswAmi" kriti https://www.rasikas.org/forums/viewtopi ... 69#p380469
The journey “In the footsteps of nAdajyOti Mutthuswamy Dikshitar” continues unabated.
Again and again, pebbles of truth wash up on the banks of the river of light and sound that is the nAda-sampradAya.
The words and karma of the vAggeyakAras cannot be denied , diluted or distorted.
satyam Eva jayatE
bhAratI maddhiSanajAdyApahE – rAga dEva-manOhari
rEvati
https://www.youtube.com/watch?v=XS-0U8IFxBE
sumitra v
https://www.youtube.com/watch?v=ugrHrL_hHv4
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
#886 kalAvati & vinApustakadhArini – SrngEri & kAnCi –the dakSina AmnAya pitha saraswati & the AkASa bhUta saraswati
# 886 kalAvati & vinApustakadhArini – SrngEri & kAnCi –the dakSina AmnAya pitha saraswati and the AkASa bhUta saraswati
In the footsteps of nAdajyOti Mutthiswamy Dikshitar..
On the occasion of dEvi navarAtri, the pujA of the Dikshitar reaches its zenith with the saraswati kritis at SrngEri and kAnCi.
kalAvati kamalAsana yuvati – rAga kalAvati (aka yAgapriya)
“kalAvati kamalAsana yuvati” in rAga kalAvati is to the SAradA dEvi of SrngEri.
The following facts were were revealed in post dated Dec. 4, 2020. https://www.rasikas.org/forums/viewtopi ... 93#p368193
1.The rAga choice is natural since kalAvati is the saraswati of the arts.
2.The SAradA idol was brought to SrngEri (the dakSina AmnAya pitha) from kASmira by the Adi Sankara.
3.“bhArati mAtrkA Saririni” describes the legend of the “ubhaya bhArati”, a “dual” form of the body of the mother goddess, the saraswati dEvi. This “bhArati” is considered the spiritual consort of the first SankarACarya of SringEri, surESvarACArya, the foremost disciple of Adi Sankara. The Dikshitar adds the name “surArCita padAmbujA” in this regard.
4. Sarat-jyOsnAshubhrAkArA echoes the Adi Sankaras soundaryalahari (stanza 15)
5. In the sampurna-paddhati naming scheme the rAga kalAvati (the 31st mEla) takes the name yAgapriya.
It is no coincidence that the dakSina AmnAya pitha celebrates the mahAvAkya of the “yajurvEda” = yagna = yAga.
All 4 AmnAya pitha kSEtra kritis are described in post # 758 dated Jun 6, 2022
https://www.rasikas.org/forums/viewtopi ... 48#p376648
5. the mahAvAkya of the yajur-vEda is “aham brahmAsmi”, which the Dikshitar denotes as “kala-ya-tu saraswati” i.e. meditating/contemplating on identifying with the goddess = brahman. Notably the word “kalA” also means “part of”.
vinApustakadhArini – rAga vEgavAhini
This is the AkASa bhuta vEgavAhini kriti.
The five vEgavAhini kritis (ALL at kAnCi) form the Dikshitars panCa bhUta pujA at kAnCI first revealed in post dated
https://www.rasikas.org/forums/viewtopi ... 29#p376929
AkASa, vAni and Sabda
The 17th century “tarka-samgraha” of annambhatta summarises the nyAya treatises and their commentaries e.g. praSaStapAda bhASya etc. from more than a thousand years ago.
annambhatta says in Stanza 2 of the tarka
tatra dravyAni prithviy-ap-tEjO-vAy-AkASa-kAla-diga-Atma-manas- nava iva
translation
the nine dravyas (SUBSTANCES) consist of the five elements prithvi/apa/tEja/vAyu/AkASa plus the four
kAla/diga/Atma/manas (time/place/soul and mind)
annambhatta says also in Stanza 64
samskAra tri vidhihi vEgO bhAvanA stithisthapAka
vEgaha prithvyAdi Catustaya manOvritti
translation
samskAra consists of 3 types vEga, bhAvanA and stithisthapAka
vEga is the quality of the elements prithvi/apa/vAyu/tEja plus a fifth which is manas
Therefore (as defined in the nyAya school), four of these bhUta (elements) possess the QUALITY of vEga = vEgatva , which is approximately translated as a “velocity” or sometimes as “momentum”.
The fifth bhUta /element which is AkASa ( = gagana = space = sky etc.) is not grouped with the first 4 bhUta in the definition of “vEga”. Howvever its connection comes from the fact that AkASa is considered in the nyAya school as the medium for the transmission of “Sound” = “Sabda” = vAni.
The tanmAtra of AkASa is Sabda/vAni
And then it becomes apparent why this “quality” of AkASa as the basis of vAni , merits the usage of rAga vEga-vA(hi)ni. Pointedly, the Dikshitar says “vEgavAhini vAnim”.
AkASa, Sabda and vAni
All 3 aspects appear in a single phrase
pArAdyakhila Sabda swarupa-av-akASa vAni-mASrayE
Indeed the Dikshitar adds the word “vilOka” which as "vi-lOka" is exactly a mudra for the sky, the world (lOka) of birds (vi)
And now the nAda-upAsaka is in a position to comprehend the vAggeyakAras inspiration and intent.
satyam Eva jayatE !
kalAvati kamalAsana yuvati – rAga kalAvati
tv rAmprasAd
https://www.youtube.com/watch?v=7ZoucplrW-s
shrEya S
https://www.youtube.com/watch?v=1t6RKRJlcrg
vinApustakadhArini – rAga vEgavAhini
gottuvAdyam ravikiran
https://www.youtube.com/watch?v=H96O6upAe58
gitA rAja and students
https://www.youtube.com/watch?v=QzrsfBuG39U
In the footsteps of nAdajyOti Mutthiswamy Dikshitar..
On the occasion of dEvi navarAtri, the pujA of the Dikshitar reaches its zenith with the saraswati kritis at SrngEri and kAnCi.
kalAvati kamalAsana yuvati – rAga kalAvati (aka yAgapriya)
“kalAvati kamalAsana yuvati” in rAga kalAvati is to the SAradA dEvi of SrngEri.
The following facts were were revealed in post dated Dec. 4, 2020. https://www.rasikas.org/forums/viewtopi ... 93#p368193
1.The rAga choice is natural since kalAvati is the saraswati of the arts.
2.The SAradA idol was brought to SrngEri (the dakSina AmnAya pitha) from kASmira by the Adi Sankara.
3.“bhArati mAtrkA Saririni” describes the legend of the “ubhaya bhArati”, a “dual” form of the body of the mother goddess, the saraswati dEvi. This “bhArati” is considered the spiritual consort of the first SankarACarya of SringEri, surESvarACArya, the foremost disciple of Adi Sankara. The Dikshitar adds the name “surArCita padAmbujA” in this regard.
4. Sarat-jyOsnAshubhrAkArA echoes the Adi Sankaras soundaryalahari (stanza 15)
5. In the sampurna-paddhati naming scheme the rAga kalAvati (the 31st mEla) takes the name yAgapriya.
It is no coincidence that the dakSina AmnAya pitha celebrates the mahAvAkya of the “yajurvEda” = yagna = yAga.
All 4 AmnAya pitha kSEtra kritis are described in post # 758 dated Jun 6, 2022
https://www.rasikas.org/forums/viewtopi ... 48#p376648
5. the mahAvAkya of the yajur-vEda is “aham brahmAsmi”, which the Dikshitar denotes as “kala-ya-tu saraswati” i.e. meditating/contemplating on identifying with the goddess = brahman. Notably the word “kalA” also means “part of”.
vinApustakadhArini – rAga vEgavAhini
This is the AkASa bhuta vEgavAhini kriti.
The five vEgavAhini kritis (ALL at kAnCi) form the Dikshitars panCa bhUta pujA at kAnCI first revealed in post dated
https://www.rasikas.org/forums/viewtopi ... 29#p376929
AkASa, vAni and Sabda
The 17th century “tarka-samgraha” of annambhatta summarises the nyAya treatises and their commentaries e.g. praSaStapAda bhASya etc. from more than a thousand years ago.
annambhatta says in Stanza 2 of the tarka
tatra dravyAni prithviy-ap-tEjO-vAy-AkASa-kAla-diga-Atma-manas- nava iva
translation
the nine dravyas (SUBSTANCES) consist of the five elements prithvi/apa/tEja/vAyu/AkASa plus the four
kAla/diga/Atma/manas (time/place/soul and mind)
annambhatta says also in Stanza 64
samskAra tri vidhihi vEgO bhAvanA stithisthapAka
vEgaha prithvyAdi Catustaya manOvritti
translation
samskAra consists of 3 types vEga, bhAvanA and stithisthapAka
vEga is the quality of the elements prithvi/apa/vAyu/tEja plus a fifth which is manas
Therefore (as defined in the nyAya school), four of these bhUta (elements) possess the QUALITY of vEga = vEgatva , which is approximately translated as a “velocity” or sometimes as “momentum”.
The fifth bhUta /element which is AkASa ( = gagana = space = sky etc.) is not grouped with the first 4 bhUta in the definition of “vEga”. Howvever its connection comes from the fact that AkASa is considered in the nyAya school as the medium for the transmission of “Sound” = “Sabda” = vAni.
The tanmAtra of AkASa is Sabda/vAni
And then it becomes apparent why this “quality” of AkASa as the basis of vAni , merits the usage of rAga vEga-vA(hi)ni. Pointedly, the Dikshitar says “vEgavAhini vAnim”.
AkASa, Sabda and vAni
All 3 aspects appear in a single phrase
pArAdyakhila Sabda swarupa-av-akASa vAni-mASrayE
Indeed the Dikshitar adds the word “vilOka” which as "vi-lOka" is exactly a mudra for the sky, the world (lOka) of birds (vi)
And now the nAda-upAsaka is in a position to comprehend the vAggeyakAras inspiration and intent.
satyam Eva jayatE !
kalAvati kamalAsana yuvati – rAga kalAvati
tv rAmprasAd
https://www.youtube.com/watch?v=7ZoucplrW-s
shrEya S
https://www.youtube.com/watch?v=1t6RKRJlcrg
vinApustakadhArini – rAga vEgavAhini
gottuvAdyam ravikiran
https://www.youtube.com/watch?v=H96O6upAe58
gitA rAja and students
https://www.youtube.com/watch?v=QzrsfBuG39U
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
#887 mahiSAsura mardini in the Dikshitars kritis and the Adi Sankaras mahiSAsura mardini stOtra
#887 mahiSAsura mardini in the Dikshitars kritis and the Adi Sankaras mahiSAsura mardini stOtra
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of durgA pujA and dEvi navarAtri, “mahiSAsura mardini” is the relevant icon.
There are several kritis of the Dikshitar using this description..
kamalAmbA samrakSatu mAm , sAranga rAgapriyE , mOhana nAta rAgapriyE lalitE, tripura sundarI namOstutE & mahA tripura sundari .
But only 2 address her with the initial word..
mahiSAsura mardini mAm pAhi – rAga gaulA
Here the Dikshitar indicates “madhya dESa vAsini” and the rAga is gaulA.
BOTH the “madhya dESA” location and the rAga choice originate from the Adi Sankaras mahiSAsura mardini stOtra.
jaya jaya hE mahiSAsura mardini ramya kapardini Saila sutE
stanza 3 extract
शिखरि शिरोमणि तुङ्गहिमलय शृङ्गनिजालय मध्यगते
Sikhari SirO-mani tunga-hima-laya Srnga nijaAlaya madhya gatE
The stOtra places the durgA dEvi at the center of the snow-white peaks of the himAlaya.
The gaulA choice derives from this white = gaura of the himalaya snows.
The white is also a symbol of purity. The word “amala” (= pure) appears several times in the stOtra.
mahiSAsura mardinIm namAmi – rAga nArAyani
kapardini
The “kapardini” of this kriti echoes the “kapardini” from the mahiSAsura mardini stOtra line.
SankarArdhaSarIrinIm
The ardanAri form is cited, also seen in the mahiSAsura mardini stOtra relevant portion extracted here
नटित नटार्ध नटी नट नायक नाटितनाट्य सुगानरते
natita natArtha nati nata nAyaka nAtitanAtya sugAnaratE
Post # 819 dated May 4, 2023 revealed why this kriti is at dEvi-pattinam
see "guhAm-purAni" for durgA-nArAyani- the ancient underwater cavern in https://www.rasikas.org/forums/viewtopi ... 65#p379265
And nArAyani, is a synonym of durgA, so the rAga choice is understandable.
mahiSAsura mardini mAm pAhi – rAga gaulA
mangalam S
https://www.youtube.com/watch?v=LKQ22RH8JoQ
mahiSAsura marddinIm namAmi – rAga nArAyaNi
Vid bhArati r
https://www.youtube.com/watch?v=VSJQu83vIIw
shivi
https://www.youtube.com/watch?v=z1L2qDhjgLY
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
On the occasion of durgA pujA and dEvi navarAtri, “mahiSAsura mardini” is the relevant icon.
There are several kritis of the Dikshitar using this description..
kamalAmbA samrakSatu mAm , sAranga rAgapriyE , mOhana nAta rAgapriyE lalitE, tripura sundarI namOstutE & mahA tripura sundari .
But only 2 address her with the initial word..
mahiSAsura mardini mAm pAhi – rAga gaulA
Here the Dikshitar indicates “madhya dESa vAsini” and the rAga is gaulA.
BOTH the “madhya dESA” location and the rAga choice originate from the Adi Sankaras mahiSAsura mardini stOtra.
jaya jaya hE mahiSAsura mardini ramya kapardini Saila sutE
stanza 3 extract
शिखरि शिरोमणि तुङ्गहिमलय शृङ्गनिजालय मध्यगते
Sikhari SirO-mani tunga-hima-laya Srnga nijaAlaya madhya gatE
The stOtra places the durgA dEvi at the center of the snow-white peaks of the himAlaya.
The gaulA choice derives from this white = gaura of the himalaya snows.
The white is also a symbol of purity. The word “amala” (= pure) appears several times in the stOtra.
mahiSAsura mardinIm namAmi – rAga nArAyani
kapardini
The “kapardini” of this kriti echoes the “kapardini” from the mahiSAsura mardini stOtra line.
SankarArdhaSarIrinIm
The ardanAri form is cited, also seen in the mahiSAsura mardini stOtra relevant portion extracted here
नटित नटार्ध नटी नट नायक नाटितनाट्य सुगानरते
natita natArtha nati nata nAyaka nAtitanAtya sugAnaratE
Post # 819 dated May 4, 2023 revealed why this kriti is at dEvi-pattinam
see "guhAm-purAni" for durgA-nArAyani- the ancient underwater cavern in https://www.rasikas.org/forums/viewtopi ... 65#p379265
And nArAyani, is a synonym of durgA, so the rAga choice is understandable.
mahiSAsura mardini mAm pAhi – rAga gaulA
mangalam S
https://www.youtube.com/watch?v=LKQ22RH8JoQ
mahiSAsura marddinIm namAmi – rAga nArAyaNi
Vid bhArati r
https://www.youtube.com/watch?v=VSJQu83vIIw
shivi
https://www.youtube.com/watch?v=z1L2qDhjgLY
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
# 888 vijaya-daSami at vijaya-wAda – “Sri dum durgE” – the “Siva-samsarga” ardhanAri of the kanaka durgA kSEtra
# 888 vijaya-daSami at vijaya-wAda – “Sri dum durgE” – the “Siva-samsarga” ardhanAri of the kanaka durgA kSEtra
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
The Dikshitar records his tirtha to the kanaka durgA kSEtra at vijayawAda with 2 kritis - Sri dum durgE (in rAga Sri-ranjani) and nilACala nAtham (the (ku-) sumadyuti rAga to the flower motif mallESwara Siva).
Both these kritis are discussed in previous posts # 758 dated 16 Jun 2022 and post # 754 dated 8 Jun, 2022.
But the message of truth ALWAYS bears repeating…this is why the kritis are sung again and again over the centuries…
Why does the message of truth need repeating ?
Because Scoundrels , disenfranchised by their ignorance of Words and languages, are always lurking to distort and dilute the musical and spiritual legacy of the vAggeyakAras.
Annual celebrations around various events (navarAtri, rAma navami, janmAStami etc etc). are also repeated to remain vigilant against ever-present untruth of the hina-jAti’s.
Therefore, on the occasion of vijayadaSami, the kriti “Sri dum durgE Siva samsargE” becomes relevant.
Many facts of this kriti and kSEtra are collected here (to be meditated upon on this vijayadaSami) using the exact words of the kriti
1. Sthira-iha apavargE
At the vijayawAda kanaka durgA kSEtra, a Sri-Cakra was installed by the Adi Sankara. “Sthira-iha apavargE” is reference to this Sri-Cakra.
Why ?
Because Sthira = fixed , iha = here. And the Siva-Sakti culmination of the Sri-Cakra pujA grants “apavarga” = final bliss.
2 “Siva samsargE” (the dEvi is united with Siva).= ardhanAri
This of course is the ardhanAri , noted in the mahiSAsura mardini stOtra. The ardhanAri sculptures in CAVES close to the temple are also well known.
The ardhanAri is referenced (repeatedly) by the vAggeyakAras, ..it is a sacred icon.
No disparagement by lewd perverts should be tolerated, however senile or deranged they are.
The mahA-lakSmi and the SAkambari = vana durgA = vana Sankari aspects of the vijayawAda kanaka durgA
At vijayawAda, the kSEtra is dominated by the goddess kanaka-durgA, who is worshipped in two major aspects , as mahA-lakSmi and as the “SAkambari vana durgA”
3. To denote mahA-lakSmi , the word Sriranjani appears in the kriti which is also the natural rAga as noted above.
4. vana-durgA
As SAkambari the vana-durgA is “protector of plants”, vegetables, fruits, and the like. Of course “vana” is the forest where such green-plant life abounds.
The SAkambari festival is one of the major events of the vijayawAda kSEtra.
In the SAkambari mahAtmayam stOtra (from the dEvi bhAgavatam purAna), the following phrases appear
durgam-Asura-hantrim-tvAd-durgE-ti mama nAmayah
nilAnjana-sama-prakhyam nila-padmA-ya-tEkSanam
And in the vana Sankari stOtra there are seen the following phrases
prAtar-vadAmi tava Sankari divya-nAma SAkambari-iti laliteti SatEksanneliti
durgEti durgama-mahAsura-nASini-Iti Sri-mangaleti kamaleti maheshvariti
tasmai dadAti SivadA vana Sankari sAvidyAm prajAm Sriyam UdAramati sukirtim
kalyAna-dhAma manava nirada nila-bhAsAm panCAsyaya anala SitAm paramArti hantrim
(the nilA references highlighted are to clue the ignorant to the nilACala nAtham kriti to the mallESwara)
5. durgA as “vinA vAdini”
At the kanaka-durgA temple, a durga idol also holds a veena which is reported in the kriti as “vinA vAdini”
6. cAmIkara valayE
The Dikshitar gives an indication of the kanaka = golden ornaments by referring to her golden bangles as “cAmikara valayE”
7. surucira malayE
malaya is associated with hills as well as with sweet smelling breezes (surucira) of such hill country.
The connection with the suma = flower = jasmine = mallikA of the brahmAs puja of the Siva = mallESwara (the consort on this same hill) is undeniable.
Case closed…again.
Summary
On this vijayadaSami, a unique “durgA” kriti of the Dikshitar , at a unique kSEtra is re-visited.
For all those who have contempt for the different ideas expressed in the kritis (including the Sri-Cakra, the ardhanAri , the rAma dharma or the krSna karma) a warning is issued.
saraswati may be forgiving, but durgA is not.
The kritis are not for you.
satyam Eva jayatE
Sri dum durgE – rAga Sri ranjani
Sriram P & S mahati
https://www.youtube.com/watch?v=SD2d6ERJUM8
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
The Dikshitar records his tirtha to the kanaka durgA kSEtra at vijayawAda with 2 kritis - Sri dum durgE (in rAga Sri-ranjani) and nilACala nAtham (the (ku-) sumadyuti rAga to the flower motif mallESwara Siva).
Both these kritis are discussed in previous posts # 758 dated 16 Jun 2022 and post # 754 dated 8 Jun, 2022.
But the message of truth ALWAYS bears repeating…this is why the kritis are sung again and again over the centuries…
Why does the message of truth need repeating ?
Because Scoundrels , disenfranchised by their ignorance of Words and languages, are always lurking to distort and dilute the musical and spiritual legacy of the vAggeyakAras.
Annual celebrations around various events (navarAtri, rAma navami, janmAStami etc etc). are also repeated to remain vigilant against ever-present untruth of the hina-jAti’s.
Therefore, on the occasion of vijayadaSami, the kriti “Sri dum durgE Siva samsargE” becomes relevant.
Many facts of this kriti and kSEtra are collected here (to be meditated upon on this vijayadaSami) using the exact words of the kriti
1. Sthira-iha apavargE
At the vijayawAda kanaka durgA kSEtra, a Sri-Cakra was installed by the Adi Sankara. “Sthira-iha apavargE” is reference to this Sri-Cakra.
Why ?
Because Sthira = fixed , iha = here. And the Siva-Sakti culmination of the Sri-Cakra pujA grants “apavarga” = final bliss.
2 “Siva samsargE” (the dEvi is united with Siva).= ardhanAri
This of course is the ardhanAri , noted in the mahiSAsura mardini stOtra. The ardhanAri sculptures in CAVES close to the temple are also well known.
The ardhanAri is referenced (repeatedly) by the vAggeyakAras, ..it is a sacred icon.
No disparagement by lewd perverts should be tolerated, however senile or deranged they are.
The mahA-lakSmi and the SAkambari = vana durgA = vana Sankari aspects of the vijayawAda kanaka durgA
At vijayawAda, the kSEtra is dominated by the goddess kanaka-durgA, who is worshipped in two major aspects , as mahA-lakSmi and as the “SAkambari vana durgA”
3. To denote mahA-lakSmi , the word Sriranjani appears in the kriti which is also the natural rAga as noted above.
4. vana-durgA
As SAkambari the vana-durgA is “protector of plants”, vegetables, fruits, and the like. Of course “vana” is the forest where such green-plant life abounds.
The SAkambari festival is one of the major events of the vijayawAda kSEtra.
In the SAkambari mahAtmayam stOtra (from the dEvi bhAgavatam purAna), the following phrases appear
durgam-Asura-hantrim-tvAd-durgE-ti mama nAmayah
nilAnjana-sama-prakhyam nila-padmA-ya-tEkSanam
And in the vana Sankari stOtra there are seen the following phrases
prAtar-vadAmi tava Sankari divya-nAma SAkambari-iti laliteti SatEksanneliti
durgEti durgama-mahAsura-nASini-Iti Sri-mangaleti kamaleti maheshvariti
tasmai dadAti SivadA vana Sankari sAvidyAm prajAm Sriyam UdAramati sukirtim
kalyAna-dhAma manava nirada nila-bhAsAm panCAsyaya anala SitAm paramArti hantrim
(the nilA references highlighted are to clue the ignorant to the nilACala nAtham kriti to the mallESwara)
5. durgA as “vinA vAdini”
At the kanaka-durgA temple, a durga idol also holds a veena which is reported in the kriti as “vinA vAdini”
6. cAmIkara valayE
The Dikshitar gives an indication of the kanaka = golden ornaments by referring to her golden bangles as “cAmikara valayE”
7. surucira malayE
malaya is associated with hills as well as with sweet smelling breezes (surucira) of such hill country.
The connection with the suma = flower = jasmine = mallikA of the brahmAs puja of the Siva = mallESwara (the consort on this same hill) is undeniable.
Case closed…again.
Summary
On this vijayadaSami, a unique “durgA” kriti of the Dikshitar , at a unique kSEtra is re-visited.
For all those who have contempt for the different ideas expressed in the kritis (including the Sri-Cakra, the ardhanAri , the rAma dharma or the krSna karma) a warning is issued.
saraswati may be forgiving, but durgA is not.
The kritis are not for you.
satyam Eva jayatE
Sri dum durgE – rAga Sri ranjani
Sriram P & S mahati
https://www.youtube.com/watch?v=SD2d6ERJUM8
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
#889 The Dikshitars rAga vamSa-vati kritis – vamSa as family/lineage & vamSa as family/grAma of the 22 Srutis
# 889 The Dikshitars rAga vamSa-vati kritis – vamSa as family/lineage & vamSa as family/grAma of the 22 Srutis
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
The word “vamSa-vati” carries the unmistakeable idea of vamSa = family/clan/dynasty/lineage/kula etc
For example raghu-vamSa == raghu-kula is widely known (as the solar dynasty)
Notably, in musical terms, vamSa as a “family” also represents the grAma/community of Srutis/swaras
It is now shown how Each OF THESE IDEAS IS preserved in the Dikshitars 2 kritis in this rare rAga, the 54th mEla
vamSa & vatsa
"bhaktavatsalam abhiSEka vallIyutam" at krSna mangala kSEtra /tirukannamangai
Here vatsa is the keyword, connecting the choice of vamSa-vati to the kriti/deity.
vatsa = offspring = descendants that generate the family line = vamSa
vatsa-la is the deity who loves his children & treats his devotees like his children with affection
viSnu is this deity bhakta-vatsa-la at tirukannamangai in the tiruvArUr district
The Dikshitar has applied the meaning of vamSa to this “bhakta-vatsa-la” deity
No explicit rAga mudra/word is needed because the embedded word vatsa implies the lineage = vamSa.
vamSa & the family of 22 Srutis
In the kriti “vamSavati Sivayuvati”, the remarkable phrase appears
dvAvimSat Sruti swara swarupini
The goddess is visualized as of the form of the 22 Srutis (dvAvimSat = 22).
Because the 22 Srutis are treated as a “family” , the name vamSa correctly applies.
Indeedl, there is another unique family ( of 22 no less ! ) that the goddess belongs to…the 22 downward pointing triangles of the Sri Cakra.
In the Sri-Cakra yantra, as prescribed by the Adi Sankara in the soundarya lahari, there are 22 free-standing down-ward pointing triangles for the female, 20 free-standing up-ward pointing triangles for the male plus 2 shared/overlapping triangles (including the bindu) forming a total of 44.
The soundarya lahari verse 11 gives the exact descriptor of these 44 triangles
Catus-CatvArimSat vasu-dala-kalasra-trivalaya-tri-rEkhAbhih Sardham tava Sarana-kOnah parinatah
In either case, the 22 Srutis or the 22 triangles, the goddess is part of a “family” as voice or form , she is “vamSa-vati”.
And there is no specific kSEtra associated with this kriti, since the musical Srutis (or the Sri-Cakra) apply everywhere there are nAda-upAsakas.
Yet again, the vAggeyakAras choice of rAga is seen/shown to be influenced by the relationship of the rAga word name to the icons of the deities.
satyam Eva jayatE
bhaktavatsalam abhiSEkavallIyutam – rAga vamSavati
SSI
https://www.youtube.com/watch?v=ASw7RpvhksQ
vamSavati Sivayuvati – rAga vamSavati
sarOja nilayam sisters
https://www.youtube.com/watch?v=nQqWwK-EcZI
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
The word “vamSa-vati” carries the unmistakeable idea of vamSa = family/clan/dynasty/lineage/kula etc
For example raghu-vamSa == raghu-kula is widely known (as the solar dynasty)
Notably, in musical terms, vamSa as a “family” also represents the grAma/community of Srutis/swaras
It is now shown how Each OF THESE IDEAS IS preserved in the Dikshitars 2 kritis in this rare rAga, the 54th mEla
vamSa & vatsa
"bhaktavatsalam abhiSEka vallIyutam" at krSna mangala kSEtra /tirukannamangai
Here vatsa is the keyword, connecting the choice of vamSa-vati to the kriti/deity.
vatsa = offspring = descendants that generate the family line = vamSa
vatsa-la is the deity who loves his children & treats his devotees like his children with affection
viSnu is this deity bhakta-vatsa-la at tirukannamangai in the tiruvArUr district
The Dikshitar has applied the meaning of vamSa to this “bhakta-vatsa-la” deity
No explicit rAga mudra/word is needed because the embedded word vatsa implies the lineage = vamSa.
vamSa & the family of 22 Srutis
In the kriti “vamSavati Sivayuvati”, the remarkable phrase appears
dvAvimSat Sruti swara swarupini
The goddess is visualized as of the form of the 22 Srutis (dvAvimSat = 22).
Because the 22 Srutis are treated as a “family” , the name vamSa correctly applies.
Indeedl, there is another unique family ( of 22 no less ! ) that the goddess belongs to…the 22 downward pointing triangles of the Sri Cakra.
In the Sri-Cakra yantra, as prescribed by the Adi Sankara in the soundarya lahari, there are 22 free-standing down-ward pointing triangles for the female, 20 free-standing up-ward pointing triangles for the male plus 2 shared/overlapping triangles (including the bindu) forming a total of 44.
The soundarya lahari verse 11 gives the exact descriptor of these 44 triangles
Catus-CatvArimSat vasu-dala-kalasra-trivalaya-tri-rEkhAbhih Sardham tava Sarana-kOnah parinatah
In either case, the 22 Srutis or the 22 triangles, the goddess is part of a “family” as voice or form , she is “vamSa-vati”.
And there is no specific kSEtra associated with this kriti, since the musical Srutis (or the Sri-Cakra) apply everywhere there are nAda-upAsakas.
Yet again, the vAggeyakAras choice of rAga is seen/shown to be influenced by the relationship of the rAga word name to the icons of the deities.
satyam Eva jayatE
bhaktavatsalam abhiSEkavallIyutam – rAga vamSavati
SSI
https://www.youtube.com/watch?v=ASw7RpvhksQ
vamSavati Sivayuvati – rAga vamSavati
sarOja nilayam sisters
https://www.youtube.com/watch?v=nQqWwK-EcZI
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
Bhaktha-vathsalan -Mahaa VishNu.
..one who showers affection on devotees.
-
vaathsalyam..affection.
-
vathsalaa- one who is affectionate
-
vamsam - lineage, heredity
.
vamsam has a different meaning from vaathsalyam.
( sanskrit words as often used in thamizh country..to avoid 'ha").
..one who showers affection on devotees.
-
vaathsalyam..affection.
-
vathsalaa- one who is affectionate
-
vamsam - lineage, heredity
.
vamsam has a different meaning from vaathsalyam.
( sanskrit words as often used in thamizh country..to avoid 'ha").
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
891 More examples of the challenge of language and ideas
Post # 891 As usual, some more foolishness from knaves challenged by the languages and the ideas of the vAggeyakAras
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
As shown in post # 889 “vatsa-la” (the word) derives from vatsa and ALWAys carries the embedded meaning of child/offspring.
“bhakta vatsala” is applied when the devotees are treated as if they are children
Indeed, the Dikshitar's “bAlagOpAla pAlaya Ashu bhaktavatsala krpA jalanidhE” ..brings together the meaning of the word "vatsala" IRONICALLY with the (mannArgudi) CHILD deity form
But in the vamSavati kriti the krSnamangala kSEtra deity is named exactly “bhakta-vatsala” (NOT bhakta vAtsalya).
And (again as already explained) the words vamSa and vatsa BOTH relate to lineage/offspring/clan/descendants etc etc
The Words and choices and Ideas of the vAggeyakAras CANNOT be understood by anyone who has shown contempt for their ideas.
bAlagOpAla pAlaya – rAga bhairavi
ambikApuram S
https://www.youtube.com/watch?v=vC2LAPUfZ58
rk murthy
https://www.youtube.com/watch?v=jxg9CXam_oI
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
As shown in post # 889 “vatsa-la” (the word) derives from vatsa and ALWAys carries the embedded meaning of child/offspring.
“bhakta vatsala” is applied when the devotees are treated as if they are children
Indeed, the Dikshitar's “bAlagOpAla pAlaya Ashu bhaktavatsala krpA jalanidhE” ..brings together the meaning of the word "vatsala" IRONICALLY with the (mannArgudi) CHILD deity form
But in the vamSavati kriti the krSnamangala kSEtra deity is named exactly “bhakta-vatsala” (NOT bhakta vAtsalya).
And (again as already explained) the words vamSa and vatsa BOTH relate to lineage/offspring/clan/descendants etc etc
The Words and choices and Ideas of the vAggeyakAras CANNOT be understood by anyone who has shown contempt for their ideas.
bAlagOpAla pAlaya – rAga bhairavi
ambikApuram S
https://www.youtube.com/watch?v=vC2LAPUfZ58
rk murthy
https://www.youtube.com/watch?v=jxg9CXam_oI
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
892 the Dikshitars lesser heard amrta-varSini kriti “himagiri kumAri iSa priyakari” and its hidden mudras
# 892 the Dikshitars lesser heard amrta-varSini kriti “himagiri kumAri iSa priyakari” and its hidden mudras
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The kriti “Anand-Amrita-karSini amrta-varSini” is widely heard and iconic of the shower of blessing = amrta-varSa.
What exactly is this amrta-varSa ?
amrta-varSa is a far deeper concept than merely rain to a parched land.
amrta-varSa is the boon of fearlessness, it is the boon of enlightenment ( that triumphs over mrtyu)
And these boons are always given by the hand of the deity !
Indeed the word “varSa” itself derives from the root “vrS” = giving with fingers = e.g. sprinkle , associated with putting ghee etc. by hand into the sacrificial fire/hOma
There are numerous scriptural references to this ceremonial “shower” = vrSanam and its esoteric significance.
For example the rig vEda gives
9.64.1
vrSa sOma dyumAm asi vrSa dEva vrSavrata vrSA dharmAni
The giving of sOma = amrta sustains the rites
9.64.2
वृष्णस्ते वृष्ण्यं शवो वृषा वनं वृषा मदः
vrSnas tE vrSnyam SavO vrSA vanam vrSa madah
Whereas the kriti “Ananda-amrta” carries the more obvious rain-bearing aspect, IT IS THE OTHER kriti by the Dikshitar in this rAga that illustrates this deeper meaning of the shower of blessings..
P: himagiri kumAri iSa priyakari hEmAmbari pAhimAm ISwari
C: umAmahESwari kumAra guruguha janani Sankari sadA Siva-kari
vAmamArga priyakari sukha-kari varadAbhaya-kari paramESwari SrI
Why ?
Because the short kriti delivers the “hand-given” boon mudra 3 times including the unmistakeable varada hastam and abhaya hastam.
Siva-kari, sukha kari, varada-abhaya-kari
It is noticeable that the repeated hand-gesture in “himagiri kumAri iSa priyakari”matches the repeated showering phrase “salilam varSaya varSaya varSaya” in “Ananda-amrtakarSini”
Yet again, the vAggeyakAras messages and pujA , embedded in both his rAga choices and his words, survive through the centuries…(inspite of concerted attempts to dilute and deny them by an assortment of miscreants ! )
himagirikumAri iSa priyakari – rAga amrta-varSini
vandana
https://www.youtube.com/watch?v=9NJ82XhNaFc
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The kriti “Anand-Amrita-karSini amrta-varSini” is widely heard and iconic of the shower of blessing = amrta-varSa.
What exactly is this amrta-varSa ?
amrta-varSa is a far deeper concept than merely rain to a parched land.
amrta-varSa is the boon of fearlessness, it is the boon of enlightenment ( that triumphs over mrtyu)
And these boons are always given by the hand of the deity !
Indeed the word “varSa” itself derives from the root “vrS” = giving with fingers = e.g. sprinkle , associated with putting ghee etc. by hand into the sacrificial fire/hOma
There are numerous scriptural references to this ceremonial “shower” = vrSanam and its esoteric significance.
For example the rig vEda gives
9.64.1
vrSa sOma dyumAm asi vrSa dEva vrSavrata vrSA dharmAni
The giving of sOma = amrta sustains the rites
9.64.2
वृष्णस्ते वृष्ण्यं शवो वृषा वनं वृषा मदः
vrSnas tE vrSnyam SavO vrSA vanam vrSa madah
Whereas the kriti “Ananda-amrta” carries the more obvious rain-bearing aspect, IT IS THE OTHER kriti by the Dikshitar in this rAga that illustrates this deeper meaning of the shower of blessings..
P: himagiri kumAri iSa priyakari hEmAmbari pAhimAm ISwari
C: umAmahESwari kumAra guruguha janani Sankari sadA Siva-kari
vAmamArga priyakari sukha-kari varadAbhaya-kari paramESwari SrI
Why ?
Because the short kriti delivers the “hand-given” boon mudra 3 times including the unmistakeable varada hastam and abhaya hastam.
Siva-kari, sukha kari, varada-abhaya-kari
It is noticeable that the repeated hand-gesture in “himagiri kumAri iSa priyakari”matches the repeated showering phrase “salilam varSaya varSaya varSaya” in “Ananda-amrtakarSini”
Yet again, the vAggeyakAras messages and pujA , embedded in both his rAga choices and his words, survive through the centuries…(inspite of concerted attempts to dilute and deny them by an assortment of miscreants ! )
himagirikumAri iSa priyakari – rAga amrta-varSini
vandana
https://www.youtube.com/watch?v=9NJ82XhNaFc
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
57 l SRUTI March 2011
VEDAVALLI[/b] SPEAKS
Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also
among the foremost thinkers in Carnatic music today, with a mind as insightful and uncluttered as her
music. Sruti is delighted to share her thoughts on a variety of topics with its readers.
.
Dikshitar in Mannargudi
Among the hundreds of kshetra-
s Dikshitar visited, Mannargudi
was one, and he composed some
very beautiful kriti-s on the deity Rajagopala, the processional deity
seen standing in front of a cow,
with Rukmini and Satyabhama. This
idol is considered to be the most
handsome and attractive among
the images of Vishnu. Seeing this,
Dikshitar was inspired to sing the
beautiful piece Sree Rajagopala
in Saveri.
Along with
Sreevidya Rajagopalam in Jaganmohanam,
and
Rajagopalam in Mohanam,
it makes the Mannargudi triad.
A few other compositions are
ascribed to Mannargudi, but these
kriti-s contain no concrete references
to the kshetra or the deity.
.
In Sree Rajagopala in Saveri, he captures the beauty of the features of the idol at Mannargudi.
In the pallavi, the composer
introduces Krishna, the luminescent
hero of this song.
In the anupallavi,
Mannargudi, the place where he
dwells is described and
in .the charanam
he sings beautifully about
the special significance of the place
and the leela-s of the Gopalamoorti.
Pallavi: Sree Rajagopala – baala –
sringara leela- srita jana paala.
.
Sringara leela in the first line has many interpretations.
In Krishnavatara there are endless instances of Krishna leela.
In one of them, Krishna returns from
a swim with the gopi-s and one of
his ear studs is exchanged for a gopi’s
ear ring. As a sign of this incident,
the utsava moorti in Mannargudi is
decorated with one stud and one ring
in each of the ears.
VEDAVALLI[/b] SPEAKS
Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also
among the foremost thinkers in Carnatic music today, with a mind as insightful and uncluttered as her
music. Sruti is delighted to share her thoughts on a variety of topics with its readers.
.
Dikshitar in Mannargudi
Among the hundreds of kshetra-
s Dikshitar visited, Mannargudi
was one, and he composed some
very beautiful kriti-s on the deity Rajagopala, the processional deity
seen standing in front of a cow,
with Rukmini and Satyabhama. This
idol is considered to be the most
handsome and attractive among
the images of Vishnu. Seeing this,
Dikshitar was inspired to sing the
beautiful piece Sree Rajagopala
in Saveri.
Along with
Sreevidya Rajagopalam in Jaganmohanam,
and
Rajagopalam in Mohanam,
it makes the Mannargudi triad.
A few other compositions are
ascribed to Mannargudi, but these
kriti-s contain no concrete references
to the kshetra or the deity.
.
In Sree Rajagopala in Saveri, he captures the beauty of the features of the idol at Mannargudi.
In the pallavi, the composer
introduces Krishna, the luminescent
hero of this song.
In the anupallavi,
Mannargudi, the place where he
dwells is described and
in .the charanam
he sings beautifully about
the special significance of the place
and the leela-s of the Gopalamoorti.
Pallavi: Sree Rajagopala – baala –
sringara leela- srita jana paala.
.
Sringara leela in the first line has many interpretations.
In Krishnavatara there are endless instances of Krishna leela.
In one of them, Krishna returns from
a swim with the gopi-s and one of
his ear studs is exchanged for a gopi’s
ear ring. As a sign of this incident,
the utsava moorti in Mannargudi is
decorated with one stud and one ring
in each of the ears.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
894 Sri-vidyA-rAjagOpAla -the “nAri vESa dhara vAma bhAga” sAvEri kriti to the ardhanAri of dakSina dwArka = mannArgudi
# 894 Sri-vidyA-rAjagOpAla - the “nAri vESa dhara vAma bhAga” sAvEri kriti to the ardhanAri of dakSina dwArka = mannArgudi
In the footsteps of nAdajyOti Mutthuswamy Dikshitar.
The Language challenged and Idea challenged have been trying to deny the Dikshitars Sri-vidyA for 200 years.
None of these fools reads the words used by the Dikshitar (or understands them).
It bears repeating that the ”nAri vESa dhara vAma bhAga” is the vAggeyakAras icon for the "ardha-nAri"…which is the icon for contrast and balance.
1. The Dikshitar makes many references in the kriti to this Contrast/Balance (that the ignorant …INCLUDING THIS vidUSI are unaware of.)
nArAyana tAraka divya nAma – the SrividyArAjagOpAla kSEtra invokes both “nArAyana” and the Om
viSISta-advaita advaita -Alaya – the SrividyArAjagOpAla kSEtra celebrates both contrasting advaita themes
vAma and dakSina - which words appear simultaneously
nAri-vEsa dhara vAma bhAga - deliberate rAga mudra in reverse, for the “inverted” nature of the unconventional deity.
2. the SrividyA-rAjagOpAla sAvEri kriti is the only kriti of the Dikshitar that refers to dakSina dwArka.
In the SrividyA , vAma and dakSina have particular meaning as left and right.
And dwAr-kA as the gateway also has particular meaning. For the SrividyA upAsaka, the worship of krSnA as SrividyArAjagOpAla is unquestionably also the worship of the conjoined goddess.
Why ?
krSnA is the dakSina dwAra (gate) to the vAma bhAga nAri, the right-side gateway to the left side dEvi, unique only to mannArgudi.
It is NOT a coincidence that dwArka (in gujarat) is the common kSEtra to both krSna as well as the western AmnAya pitha of Adi Sankara…to the Sri-vidyA goddess !!
To the SrividyA upAsaka, the icon of krSnA dancing with the SriCakra yantra at mannArgudi, is the dance of the ardhanAriSwara. The sacred dance should not and cannot be disparaged with some prurient images, conjured up by perverse minds.
Sri rAjagOpAla - rAga sAvEri
KVN
https://www.youtube.com/watch?v=nsPztsFEF2I
In the footsteps of nAdajyOti Mutthuswamy Dikshitar.
The Language challenged and Idea challenged have been trying to deny the Dikshitars Sri-vidyA for 200 years.
None of these fools reads the words used by the Dikshitar (or understands them).
It bears repeating that the ”nAri vESa dhara vAma bhAga” is the vAggeyakAras icon for the "ardha-nAri"…which is the icon for contrast and balance.
1. The Dikshitar makes many references in the kriti to this Contrast/Balance (that the ignorant …INCLUDING THIS vidUSI are unaware of.)
nArAyana tAraka divya nAma – the SrividyArAjagOpAla kSEtra invokes both “nArAyana” and the Om
viSISta-advaita advaita -Alaya – the SrividyArAjagOpAla kSEtra celebrates both contrasting advaita themes
vAma and dakSina - which words appear simultaneously
nAri-vEsa dhara vAma bhAga - deliberate rAga mudra in reverse, for the “inverted” nature of the unconventional deity.
2. the SrividyA-rAjagOpAla sAvEri kriti is the only kriti of the Dikshitar that refers to dakSina dwArka.
In the SrividyA , vAma and dakSina have particular meaning as left and right.
And dwAr-kA as the gateway also has particular meaning. For the SrividyA upAsaka, the worship of krSnA as SrividyArAjagOpAla is unquestionably also the worship of the conjoined goddess.
Why ?
krSnA is the dakSina dwAra (gate) to the vAma bhAga nAri, the right-side gateway to the left side dEvi, unique only to mannArgudi.
It is NOT a coincidence that dwArka (in gujarat) is the common kSEtra to both krSna as well as the western AmnAya pitha of Adi Sankara…to the Sri-vidyA goddess !!
To the SrividyA upAsaka, the icon of krSnA dancing with the SriCakra yantra at mannArgudi, is the dance of the ardhanAriSwara. The sacred dance should not and cannot be disparaged with some prurient images, conjured up by perverse minds.
Sri rAjagOpAla - rAga sAvEri
KVN
https://www.youtube.com/watch?v=nsPztsFEF2I
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
Sangitha kalaanidhi Smt.Vedhavalli is both a scholar in musicology and a very renowned vocalist.
.
She is also a native-born of Mannaarkudi.
...
Wiki
Vedavalli served in the Teacher's College of Music of the Madras Music Academy for several years before becoming Professor of Vocal Music in the Government College of Music Adyar.
She has thus shared her deep knowledge and extensive repertoire with numerous students at these institutions apart from training some privately.
She is also trained in playing the veena, and has a good command over Tamil, Sanskrit, Kannada, Telugu, which helps her sing with greater understanding or artha bhava (meaning and emotion).
She lived in Chennai with her husband D. R. Santhanam and mother Padmasani Ammal, at the turn of the century. Later she and her husband moved to Pune to be with their daughter,
.
Tribute to musicologist M.B. Vedavalli - The Hindu
..
https://www.thehindu.com/entertainment/ ... 557189.ece
.
https://www.thehindu.com/entertainment/ ... 557189.ece
https://www.rasikas.org/forums/viewtopic.php?t=863
.
.
She is also a native-born of Mannaarkudi.
...
Wiki
Vedavalli served in the Teacher's College of Music of the Madras Music Academy for several years before becoming Professor of Vocal Music in the Government College of Music Adyar.
She has thus shared her deep knowledge and extensive repertoire with numerous students at these institutions apart from training some privately.
She is also trained in playing the veena, and has a good command over Tamil, Sanskrit, Kannada, Telugu, which helps her sing with greater understanding or artha bhava (meaning and emotion).
She lived in Chennai with her husband D. R. Santhanam and mother Padmasani Ammal, at the turn of the century. Later she and her husband moved to Pune to be with their daughter,
.
Tribute to musicologist M.B. Vedavalli - The Hindu
..
https://www.thehindu.com/entertainment/ ... 557189.ece
.
https://www.thehindu.com/entertainment/ ... 557189.ece
https://www.rasikas.org/forums/viewtopic.php?t=863
.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
896 Sri-vidyA rAjagOpAla - The words and ideas of the Sri-vidyA upAsaka CANNOT BE refuted or denied.
896 Sri-vidyA rAjagOpAla and the Sri-vidyA upAsaka
SO WHAT ?
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The words and ideas of the Sri-vidyA upAsaka CANNOT BE refuted or denied.
There is no question the kriti by the Dikshitar is referring to the Sri vidyA rAjagopAla as this unique conjoined ardhanAri deity.
The Dikshitars detailed navAvarana pujA and other pujA has ALSO eluded all these "performers"...as evident from the hundreds of kritis shown on this thread.
Performers have reduced the words to sounds.
Naturally they are challenged by the languages and the ideas.
ps..
regarding musical experts etc..
See https://www.rasikas.org/forums/viewtopi ... 63#p380563
for the SAVAGE denunciation of merely sensory musical gyAna by none other than the tyAgarAja.
SO WHAT ?
In the footsteps of nAdajyOti Mutthuswamy Dikshitar..
The words and ideas of the Sri-vidyA upAsaka CANNOT BE refuted or denied.
There is no question the kriti by the Dikshitar is referring to the Sri vidyA rAjagopAla as this unique conjoined ardhanAri deity.
The Dikshitars detailed navAvarana pujA and other pujA has ALSO eluded all these "performers"...as evident from the hundreds of kritis shown on this thread.
Performers have reduced the words to sounds.
Naturally they are challenged by the languages and the ideas.
ps..
regarding musical experts etc..
See https://www.rasikas.org/forums/viewtopi ... 63#p380563
for the SAVAGE denunciation of merely sensory musical gyAna by none other than the tyAgarAja.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
Body without life is a corpse.
Lyrics without music is text..
.
But life cannot exist without body.
Music can exist without lyrics.l.
Flute, Nagaswaram , VeeNa .
.
What sathguru means is that mere music without devotion is useless.
Sangita gnaanamu bhakthi vina..
Is not the right path.
.
Savages / living corpses, harp on text and miss the music. Self evident.
Even animals are sensitive to tunes.
Was it by text that cows and calfes listen to the famed cowherd?
Lyrics without music is text..
.
But life cannot exist without body.
Music can exist without lyrics.l.
Flute, Nagaswaram , VeeNa .
.
What sathguru means is that mere music without devotion is useless.
Sangita gnaanamu bhakthi vina..
Is not the right path.
.
Savages / living corpses, harp on text and miss the music. Self evident.
Even animals are sensitive to tunes.
Was it by text that cows and calfes listen to the famed cowherd?
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Mutthuswamy Dikshithar (Krithis)
898 In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
There are NO kritis by the tyAgarAja, the Dikshitar, the mahArAja and SyAmA SAStri that do not have words.
They are vAk-geya-karas , those who invest Word with Song.
This so-called “pure music” (or word-less music or whatever it is) does not apply to these vAggeyakAras.
A separate thread should be started for this “pure” music, preferably very distant, light years away, from these vAggeyakAras threads.
There are NO kritis by the tyAgarAja, the Dikshitar, the mahArAja and SyAmA SAStri that do not have words.
They are vAk-geya-karas , those who invest Word with Song.
This so-called “pure music” (or word-less music or whatever it is) does not apply to these vAggeyakAras.
A separate thread should be started for this “pure” music, preferably very distant, light years away, from these vAggeyakAras threads.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
899 The Dikshitars 3 kritis in rAga dESi-simhA-ravam (aka hEmavati)..the rAga/deity/kSEtra icons 1. Sri kAntimatim
899 The Dikshitars 3 kritis in rAga dESi-simhA-ravam (aka hEmavati)..the rAga/deity/kSEtra icons 1. Sri kAntimatim
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
Sri kAntimatim addresses the goddess , the consort of Sankara at the (Suddha) tAmraparni kSEtra, aka tirunElvEli.
The Sri-vidyA aspect is noted at the outset of the Carana hrimkAra bijAkAra..
In alignment with this is the additional reference “paraSurAma nata”…(the paraSurAma kalpasutra is one compendium of Sri-vidyA practices, attributed to paraSurAma, worshipping aspects of the dEvi)
The simhA/lion mudra for the rAga is delivered by the word “hira”, embedded in the phrase “hira-nya manimaya SObhAsadanam”
But why is the rAga dESi-simhA-ravam chosen for this kriti ?
The answer lies in the very same phrase that delivers the lion mudra..
hiranya manimaya SObhAsadanam
rig vEda 1.79.1 gives for hiranya-kESa (the golden maned, a synonym for the lion = kESari etc) the description
हिर॑ण्यकेशो॒ रज॑सो विसा॒रेऽहि॒र्धुनि॒र्वात॑ इव॒ ध्रजी॑मान्
hiranya kESO rajasO viSarEhir dhunir vata iva dh-raji mAn
translation:
The golden-maned (lion) shines with a bright radiance. (raji-ta)
kAnti-mati is also one who shines with this radiance = kAnti…
kAnti-mati and the golden-maned lion ( hiranyakESa) are synonymous.
And this explains why this rAga dESi simhA-ravam is chosen for “Sri kAnti-matim”.
Sri kAntimatim - - rAga dESi-simhAravam
Flute ramani
https://www.youtube.com/watch?v=UMN4TKgLgxo
triCUr bros.
https://www.youtube.com/watch?v=UbVrwFFOyE0
bombay jayaSri
https://www.youtube.com/watch?v=SSqWSUNVQbQ
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
Sri kAntimatim addresses the goddess , the consort of Sankara at the (Suddha) tAmraparni kSEtra, aka tirunElvEli.
The Sri-vidyA aspect is noted at the outset of the Carana hrimkAra bijAkAra..
In alignment with this is the additional reference “paraSurAma nata”…(the paraSurAma kalpasutra is one compendium of Sri-vidyA practices, attributed to paraSurAma, worshipping aspects of the dEvi)
The simhA/lion mudra for the rAga is delivered by the word “hira”, embedded in the phrase “hira-nya manimaya SObhAsadanam”
But why is the rAga dESi-simhA-ravam chosen for this kriti ?
The answer lies in the very same phrase that delivers the lion mudra..
hiranya manimaya SObhAsadanam
rig vEda 1.79.1 gives for hiranya-kESa (the golden maned, a synonym for the lion = kESari etc) the description
हिर॑ण्यकेशो॒ रज॑सो विसा॒रेऽहि॒र्धुनि॒र्वात॑ इव॒ ध्रजी॑मान्
hiranya kESO rajasO viSarEhir dhunir vata iva dh-raji mAn
translation:
The golden-maned (lion) shines with a bright radiance. (raji-ta)
kAnti-mati is also one who shines with this radiance = kAnti…
kAnti-mati and the golden-maned lion ( hiranyakESa) are synonymous.
And this explains why this rAga dESi simhA-ravam is chosen for “Sri kAnti-matim”.
Sri kAntimatim - - rAga dESi-simhAravam
Flute ramani
https://www.youtube.com/watch?v=UMN4TKgLgxo
triCUr bros.
https://www.youtube.com/watch?v=UbVrwFFOyE0
bombay jayaSri
https://www.youtube.com/watch?v=SSqWSUNVQbQ
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
900 The Dikshitars 3 kritis in rAga dESi-simhA-ravam (aka hEmavati)..the rAga/deity/kSEtra icons 2. hariyuvatim
900 The Dikshitars 3 kritis in rAga dESi-simhA-ravam (aka hEmavati)..the rAga/deity/kSEtra icons 2. hariyuvatim
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
The kriti “hariyuvatIm haimavatIm” is ALSO located in the tAmraparni kSEtra.
How do we know this ?
The Dikshitar gives the kSEtra mudra via the word niranjani..which combines the words nir and ranjani !
nir is river and ranjani is the orange/red color notably the color of copper = tAmra
The kriti refers to the lakSmi who resides with the nara-hari of the temple adjacent to the kAntimati shrine.
The choice of the rAga dESi-simhA-ravam is linked to the lion aspect of the nara-hari.
The rAga mudra for simhA as lion appears in the word “hari”.
Case closed…
P: hariyuvatIm haimavatIm ArAdhayAmi satatam akhila lOka jananIm
C: narahari hrdaya nivAsini nAmarUpa prakAshini guruguha mAnasa ranjani gunijananutE niranjani
hariyuvatim haimavatim – rAga dESi-simhAravam
Hyd bros.
https://www.youtube.com/watch?v=d8TMzn-G_88
samrddhi sisters
https://www.youtube.com/watch?v=K8jNWiLiATQ
In the footsteps of nAdajyOti Mutthuswamy Dikshitar…
The kriti “hariyuvatIm haimavatIm” is ALSO located in the tAmraparni kSEtra.
How do we know this ?
The Dikshitar gives the kSEtra mudra via the word niranjani..which combines the words nir and ranjani !
nir is river and ranjani is the orange/red color notably the color of copper = tAmra
The kriti refers to the lakSmi who resides with the nara-hari of the temple adjacent to the kAntimati shrine.
The choice of the rAga dESi-simhA-ravam is linked to the lion aspect of the nara-hari.
The rAga mudra for simhA as lion appears in the word “hari”.
Case closed…
P: hariyuvatIm haimavatIm ArAdhayAmi satatam akhila lOka jananIm
C: narahari hrdaya nivAsini nAmarUpa prakAshini guruguha mAnasa ranjani gunijananutE niranjani
hariyuvatim haimavatim – rAga dESi-simhAravam
Hyd bros.
https://www.youtube.com/watch?v=d8TMzn-G_88
samrddhi sisters
https://www.youtube.com/watch?v=K8jNWiLiATQ