Mutthuswamy Dikshithar (Krithis)

nAdopAsaka · Post by **nAdopAsaka** » 02 Nov 2023, 06:01

901 The Dikshitars 3 kritis in rAga dESi-simhA-ravam (aka hEmavati)..the rAga/deity/kSEtra icons 3. madhurAmbikAyAm

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

Why is rAga dESi-simhAravam /hEmavati chosen for this minAkSi kriti ?

The question answers itself !

The bangAru minAkSi is well known.

In the varAli “mAmava mInAkSI rAjamAtaNgi” the Dikshitar calls the madurai dEvi as “hEma-ratnAbharaNa-bhUSaNi” namely gold ornament bedecked.

The specific “bangAru bomma” descriptor for the madurai minAkSi appears also in SyAmA SAStri’s Ahiri rAga kriti “mAyammA yani nE pilaCitE”. (hEma = gold = bangAru)

hEma-vati = bangAru minAkSi

At once the choice of the rAga hEmavati (aka dESi-simhA-ravam) becomes clear. Here the rAga name is derived from the sampurna paddhati.

But the rAga mudra delivered in the kriti is based on the lion = simhA of dESi-simhAravam.

The word vibhavAyAm conceals the words “ibha-avayA”
where ibha is the elephant and avayA is averting/preventing/opposing

Traditionally the lion is ibham-Acala, that which opposed elephants

Post # 568 dated Aug 17 2021 revealed the madurAmbA navAvarana and placed “madurAmbikAyAm” as the Cakra 8 sarva-siddhi pradAyaka Cakra kriti.

https://www.rasikas.org/forums/viewtopi ... 66#p372766

This Cakra/Avarana has meaning for the rAga choice as well.

Why ?

Because, upon attaining the siddhis, the goddess is “siddhiSwari”, a synonym for durgA, who is….the lion rider !.

See post #803 of the Mutthuswamy Dikshitar thread dated 09 Dec 2022 for details of the 9th Cakra kriti and some other aspects of the madurambA navaAvarana

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

Summary

The vAggeyakAras words cannot be diluted and their choices cannot be defiled.
The karma of the vAggeyakAras cannot be denied.
The nAda-sampradAya cannot be denied.

madhurAmbikAyAm sadA bhaktim karOmi – rAga dESi simhAravam

s rAjam
https://www.youtube.com/watch?v=ZDu4UJMNPg0

dikshita v
https://www.youtube.com/watch?v=wff-Y-ZA2fc

rAji G
https://www.youtube.com/watch?v=PCIo8T_GYjw

kmrasika · Post by **kmrasika** » 12 Nov 2023, 09:35

śrī muttusvāmi dīkṣita pañcaratna composed by Y Srinivasa Sharma and rendered by Malladi Sreeram Prasad: https://www.youtube.com/watch?si=0gPol2 ... e=youtu.be

nAdopAsaka · Post by **nAdopAsaka** » 12 Nov 2023, 17:07

# 903 rAmakrSnEna samrakSitOham - The kriti in rAga SahAna to saha-ja = rAma-krSna deity

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

Background

vi-Sa-hana and the rOga harana of the 7th Cakra

In the kamalAmbA and abhayAmbA navAvaranas, rAga SahAna applies to the 7th Cakra krits the sarva-rOga harana, based on the vi-Sa-hana, the destruction of poison (viSa = the icon for rOga, all manner of disease).

Of course this discovery is already more than 2 years old, having been first revealed in posts # 564, 565 and 568 in Aug. 2021

See here
https://www.rasikas.org/forums/viewtopi ... 85#p372585
https://www.rasikas.org/forums/viewtopi ... 86#p372586
https://www.rasikas.org/forums/viewtopi ... 17#p372717

It is now shown that the rAga SahAna is also deliberately chosen for the kriti “rAmakrSnEna samrakSitOham” .

And that the choice is determined by the unique nature of the deity being extolled.

The deity is rAmakrSna – the combined aspects of the 8th and 9th avatAras of viSnu.

The Dikshitar CAREFULLY enumerates dual characteristics, matching them one-for-one..

And he maintains the chronological order of the avatAras when he used the traditional rAmakrSna (there is no such thing as krSna-rAma ! )

P: rAmakrSnEna samrakSitOham
rAmAyana bhAgavatapriyEna
A: umApati vANIpati mahitEna
kausalyA yaSOdA bAlEna
C: ayOdhyA dvArakA susadanEna
amarESa guruguhAdi viditEna
jayasItA lakSmI mOhitEna
jananAdi muktiprada CaranEna
mAyAmArIca kam sa hatEna
mAnita vibhISanAkrUrEna payOnidhi CandrEna
bharata balarAmasOdarEna
prakata kIrtanEna

The word saha-ja

Saha-ja denotes association. It is the relatioship of 2, see also saha-dEva the twin of nakula.

It is easy to see why it applies to the simultaenous name …rAma and krSna, they being the closely allied avatAras the dharma icon and karma icon.

And immediately it becomes clear why the rAga SahAna is used for the combined deity name.

SahAna for this kriti derives the word saha-ja for the Association of rAma and krSna.. and…their common origin in the viSnu pantheon.

The SahAna rAga mudra is given TWICE !

Indeed, the Dikshitar further celebrates the dual aspect by giving the rAga mudra TWICE.

Embedded in the word “kam-sa hatena and in “vibh-iSana”.

Case closed.

Yet again, the nAda-sampradAya asserts itself and the choices and motivations of the vAggeyakAras are discovered (in spite of centuries of neglect and corrupt denial)

satyam Eva jayatE

rAmakrSnEna samrakSitOham – rAga SahAna

ms deepak
https://www.youtube.com/watch?v=6ixMZZAIZxA

RSR · Post by **RSR** » 16 Nov 2023, 15:00

http://carnatica.in/special/raganubhava-todi-ppn.htm

puzzle

MuttusvAmi DIkSitar, who carefully introduced rAga mudra in many of his compositions through the art of shlEsham (double meaning), and other clever devices, has not inserted the rAga mudra for all of his eight k.rtis in rAgam tODi. This is puzzling. There is no single phrase in any of these 8 k.rtis, even to suggest that he employed a different rAga name (like janatODi). Since it is a common belief that he always inserted the rAga mudra for the very first composition in each rAgam, perhaps one such k.rti in tODi might have existed with a built-in rAga mudra, and it is currently lost to us.

nAdopAsaka · Post by **nAdopAsaka** » 16 Nov 2023, 15:51

# 905 The suCita rAga mudra for tOdi in the Dikshitars kritis “vEdAranyESwara namastE” and “mahAganapatim vandE”

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

As usual a foolish and inaccurate parroted post of an equally clueless article..

None of these clowns are reading the kritis, let alone try to understand what the words may mean..

The ignorance comes from basic illiteracy AND is compounded by contempt for the vAggeyakAras sAdhana.

tOdi is too important a rAga for its mudra NOT to manifest in the Dikshitars sAdhana.

The Dikshitar gives it in at least 2 of his kritis…in his typical sUCita fashion (as in embedded/inferrable)

vEdAranyESwarAya namaste – in the word bOdhi

P. vEdAranyESvarAya namastE vinAvAdana viduSyAmbikA samEtAya
A: vEdAgamavinuta vaibhavAya vEdAntArttha tatva bOdhitAya

And in

mahAganapatim vandE (which is one of the aStadaSa tiruvArUr ganapati kritis, see other posts on this subject) in the word ahantAdi

P: mahAganapatim vandE mAdhavAdyamara brndam
A: ahantAdi rahitam Saktivihitam Anandadantam Ekadantam

In this kriti the mudra points to the asampurna jantOdi (as hantAdi) name which is counterpart for hanumatOdi.

For the clueless, note the mudras bE-gala for bEgada or ardrA-darSi for ardrAdESi.

The purpose of the nAda-sampradAya (and the rasikas forum) is to always expose apa-Sruti and the dishonesty of the untruthful.

satyam Eva jayatE

vEdAranyESwarAya namaste – rAga tOdi

prEma r
https://www.youtube.com/watch?v=q6VlcyZHktk

mahAganapatim vandE - rAga tOdi

s gattu et al
https://www.youtube.com/watch?v=1eF_DVoGQmo

RSR · Post by **RSR** » 16 Nov 2023, 16:10

The site is of Dr.P.P.NaaraayaNaswamy,

RSR · Post by **RSR** » 16 Nov 2023, 18:24

ahantAdi
bOdhitAya
...
In what way are these related to raaga mudra?
Nonsense.

nAdopAsaka · Post by **nAdopAsaka** » 16 Nov 2023, 21:23

# 908 sUCita rAga mudras in the Dikshitar kritis for the clueless

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

For the language-challenged everything has to be explained more than once..(and even then highly unlikely to register)

As noted many time, the rAga mudras are often given as suCita (inferred)
samipa rju for rAga paras
bE-gala for rAga bEgada
umA rudra darSitat for rAga ArdradESi
tatvab-Odhi for rAga tOdi - vedAranyESwarAya
ahantAdi – for rAga tOdi particularly as janatOdi – mahAganapatim vandE
arjuna prEmAspa-dam AS-rita jana phaladam for kamAs in santAna gOpAlakrSnam
pura-vaira-vi for rAga bhairavi in bAlagOpAla
kOSha-anil-AkASa- for huSEni in Sri kAalhastiSa

There is no need to listen to the vAggeyakAras if one has contempt for their ideas and ignorance of their words.

One should stick to so-called “pure wordless music” when there is lack of understanding of words and ideas.

RSR · Post by **RSR** » 16 Nov 2023, 21:43

Just beating about the bush to defend some nonsense. I am quoting axxlaimed scholar in language. The scholar who has brought out the SSP web edition. He himself says that MD strangely has not given any raaga mudra for his todi kruthis. I would follow real scholars rather than empty tincans.

nAdopAsaka · Post by **nAdopAsaka** » 18 Nov 2023, 07:03

910 Sri krSnam bhajarE - Why the rAga rupavati kriti is given ONLY to krSna & why this kriti is at vijaya-puri = tanjavUr

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

rupavati, krSna and the gOpis in the garga samhita

rupavati (the name) appears in the garga samhita (an ancient text) in the mathurA khanda , chapter 17 verse 13 where the gOpis describe their memory of Sri krSna.

sri-rama-yutha uvaCa kubja-puradyarju-samana-vigraha dasi tv idanim tu kulinatam gata ku-rupini rupavati babhav

According to this verse, the kubja or warped ku-rupa gOpis are transformed into beauties = rupavati by their adoration of krSna

And the Dikshitar applies the same idea when he says uniquely only in this kriti

rupavati gOpastrijAram

nowhere else is the word "rupavati" used by the Dikshitar.

victory = vijaya in the mahAbhArata yuddha and the sudarSana Cakra

Why is “Sri krSnam bhajarE” associated with the tanjAvUr kSEtra ?

For this one has to first comprehend the older name of tanjApuri as vijayapuri.
This ancient name is given in the tanjApuri mahAtmyam.

The Sun is central to tanjAvUr (seen in the dozen or so sun-themed rAga names for the Dikshitars brhat deity kritis ...see the many posts on this topic earlier in this thread)

The Sun is also a key feature of the “rupavati” kriti, where the Discus of krSna = the sudarSana Cakra is described as it blocks the Sun to allow arjuna to kill jayadrata..as the legend goes.

As the Dikshitar says

CakranivArita bhAskara prakASam

And the killing of jayadrata is a key point in the mahAbhArata yuddha, ensuring the victory = vijaya of the pAndavas as in vijaya.

The Dikshitar enshrines the krSnA of this victory = vijaya with the kriti at tanjApuri = “vijaya-puri”.

It is worthwhile noting that the Dikshitar also describes another wielder of the (sudarSana) Cakra the “prasanna venkatESwara”..of the “prasiddha tanjA nagari” in his vasantabhairavi kriti.

And yet again, the confusion of the last 200 years created by unimaginative and poorly-informed and poorly-read musicologists and other corrupt, ignorant academies/entities is vaporized by the truth.

Sri krSnam bhajarE – rAga rupavati

RK murty
https://www.youtube.com/watch?v=666o8N60fzs

nAdopAsaka · Post by **nAdopAsaka** » 26 Nov 2023, 06:41

911 kOdandarAmam of dhanuS-koti –kOkilAravam /cuckoo song when rAmas bow ploughs the unploughed (a-halyam) & upholds the truth (a-kautilyam)

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

kOdanda is the synonym for the famous dhanuS = bow of rAma and the name of the deity at the dhanuSkOti kSEtra (the kOdandarAma temple)

This is also the bow that under viSwAmitra’s auspices brings sitA and rAma together (the swayamvara legend).

Therefore it is not surprising that viSwAmitra is also mentioned in this short kriti.

The Dikshitar sees all…...and he also sees the yuddha kAnda sarga 24 verse of the vAlmiki rAmAyana

sa krtva sAgarE sEtum tirrtvA Ca lavanOdadhim
Esa rakSaSi nirdhUya dhanvi tiSthati rAghava 6-24-32
paSya matta vihangani pralin bhramarAni Ca
kokilA kula khandAni dOdhaviti SivOavila 6-24-12

In one breath, vAlmiki presents the bow-wielding rAma as fashioning the sEtu (at dhanuSkOti) in the middle of the ocean, and also rAma hearing the kOkila bird song reminding him of sitA being nearby.

There is no better rAga than kOkilAravam for this moment, as the yuddha kAnda begins to reach its conclusion.

But the kritis of the vAggeyekAras always carry deeper meaning, than mere recitation of historical/scriptural events.

The meaning emerges from the rAga choice and the word choices made.

a-halyam and a-kautilyam

The deity and kSEtra and legend of this kriti is rAma at dhanuSkOti …about 10 km from the rAmanAtha/Siva temple.
Which fool can say this kriti is at dEvipattinam, when it clearly is at dhanuSkOti…on the rAma sEtu …land bridge.

And in particular it is that bow-wielding rAma who has reached the edge of the great ocean of uncertainty, on the verge of fulfilling his dharma, and rescuing his sitA and himself from untruth.

a-halyam
viSwAmitra is connected to rAma not just by the kOdanda/sitA-swayamvara. He is also essential to the story of ahalyA.

It is not surprising that the Dikshitar thinks of rAma and ahalyA while on the sandy land-bridge of the dhanuSkOti rAma-sEtu where the beach soil is easily crushed under-foot.

But ahalyA is merely a metaphor for all that is a-halyam (the unploughed = a-hala), until they are touched by the lords feet =, his mercy and grace.

a-kautilyam
The story of ahalyA’s seduction is itself one of deceit/dishonesty = kautilyam.

rAma the dharmayOgi is synoymous for all that is moral and honest and truthful, a-kautilyam.

And the two words carry the essential message of the rAmAyana.

And properly, taking the kOkila = cuckoo from vAlmikis imagery, the Dikshitar gives the rAga kOkilAravam to this kOdandarAma.

Which fool is going to say this rAga choice of kOkilAravam is “coincidence” !? …
Shame on all those who would try to dilute and deny the pujA of the vAggeyakAras.

satyam Eva jayatE

P: kOdandarAmam anisham bhajAmi kOkilArava jAnakI ramanam
C: pAdaja pAmsu pAlita a-halyam , paramEsvara guruguha vAtsalyam
vEdAnta vEdyam ati kauSalyam , viSwAmitra hitam a-kautilyam

kOdandarAmam aniSam bhajAmi - rAga kOkilAravam

TRS
https://www.youtube.com/watch?v=hmuLoiUkInM

Hyd bros.
https://www.youtube.com/watch?v=_1fN8JxHOsE

nAdopAsaka · Post by **nAdopAsaka** » 01 Dec 2023, 23:37

912 rahasya/secret of the Suka rahasya in “sAdhujana Citta”-Why is the rAga “purna panCamam” & how the rAga mudra is given

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The kriti “sAdhujana Citta” in rAga purna panCamam presents the rAga mudra in rahasya form.

Indeed it is given with the very word "rahasya = secret !"

Read on to rejoice (or weep if you are a criminal)

purna-panCamam literally means the “Completely fulfilling Five”.

However the word “purna-panCamam” does NOT appear in the kriti “sadhujana Citta”.
Instead what appears is the word “Suka rahasya” !

The Suka rahasya is the upAniSad that summarizes 5 important mantras..

The pranava mantra (the Om) and the 4 mahAvAkyas .

It is these 5 teachings that are imparted through the Suka-Siva discussion of the upAniSad.

The word "Suka rahasya"(representing the 5 mantras) is itself the rAga mudra for purna-panCamam = the Completely fulfilling 5 mantras/teachings

And the mudra appears in the phrase of the Carana

“prasiddha AmnAyAnta vEdyam Suka rahasya pratipAdyam”

Not only is the rAga mudra given, the REASON for the choice of this rAga for the kriti “sAdhujana Citta” also becomes clear !

Why ?

Because it is these 5 teachings that capture the essence of a sAdhu, (sAdhujana Citta) which the young Suka acquired in his childhood.

Along these lines note how the rAga “bhinna-pancAmam” is used to describe the feature that breaks up the pAndavas (from the meaning of the word “bhinna”)
See post dated Aug. 8, 2023
https://www.rasikas.org/forums/viewtopi ... 31#p379931

Summary
The Dikshitar FULLY intended the secret of the “Suka rahasya” to be decoded to illustrate the purna-panCama (the 5 mantras)

The Dikshitars rAga mudra process (just like the rAga mudra process of the tyAgarAja being shown on the tyAgarAja thread) is DELIBERATE and intended to make all nAda-upAsakas meditate on the words, choices and the meaning of the choices.

It can be asserted again..…The connection between the 5 mantras of the Suka rahasya and the purna-panCamam rAga kriti is a “SECRET” = rahasya that was intended by the Dikshitar to be SOLVED…

That secret is now resolved by this post.

The rAga word/name is the crux of the kritis !

Thanks to the rasikas forum yet another of the teachings of the vAggeyakAras can be disseminated.

None of the dot.org fools and their ignorant parrots of the last 200 years has any clue or understanding what the words of the kritis and rAga names mean and why they are chosen by the vAggeyakAras.

But the karma of these sAdhus/nAdayOgis does not allow their inspiration to be squandered on the undeserving and the unworthy.

The nAda-sampradAya , the eternal river of light, sound and truth ALWAYS prevails.

sAdhujana Citta – rAga purna panCamam

a murali
https://www.youtube.com/watch?v=D4S6B9sx7Xk

nAdopAsaka · Post by **nAdopAsaka** » 04 Dec 2023, 16:45

913 When ”mAtangi marakatAngi” of madurai extols her silver consort – the dhauta-panCAnana - Why is the rAga “dhauta-panCamam” for this kriti

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Each of the 5 (panCa) kritis in the “panCamam anta” rAgas of the Dikshitar shows the influence of the rAga word/name meaning.

bhinna-panCamam – the break up of the panCa pAndavas – already explained
purna-panCamam – the 5 complete mantras of the Suka rahasya – already explained.

That leaves

dhauta-panCamam
lalita-panCamam
mAlava-panCamam

One by one these remaining 3 will also be delineated.

mAtangi marakatAngi – the madurai minAkSi and her silver consort..

dhauta is the classical name for “silver” , indicating the polished, clean, pure white of the precious metal.

One of the madurai kSEtras iconic images is the dhauta = silver stage that madurai sOmasundarESwara occupies.

And of course sOmasundareSwara is the panCa-Anana (the 5 faced deity).

The choice is natural…the rAga “dhauta-panCama” for the “dhauta-panCa-Anana” that the dEvi adores..

“dhauta-panCama priyE tryambaka mOditE”

Summary
Why is this level of detail and understanding necessary ?
1. Because these are the facts….
2. Because there are no coincidences involved and there is NOTHING random about the sAdhana
3. Because the vAggeyakAras have made these choices, signaling their intent and their pujA
And
4. Because any number of scoundrels are always lurking in the shadows, intent on diluting and denying the vAggeyakAras pujA
5. Because their puny, pathetic and feeble attempts to remain ignorant and also keep everyone ignorant cannot survive
Why ?
6. Because when the locomotive of truth runs into the jackal of untruth, only one outcome is possible..
....satyam Eva jayatE

mAtangi marakatAngi – rAga dhauta-panCamam

harini S
https://www.youtube.com/watch?v=Qyl02wVQ_v0

violin dwAram durgA prasAd
https://www.youtube.com/watch?v=O0DKvbxuhA8

nAdopAsaka · Post by **nAdopAsaka** » 08 Dec 2023, 00:47

914 brhadiSvarIm bhajarE – Why rAga lalita panCamam is given only to the brahmAnda-swarupa brhadambA of tanjAvUr

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The descriptor “brahmAnda-swarupa” (for the dEvi) is found ONLY in the Dikshitars kritis to the tanjAvUr brhadambA.

It appears ONLY in 3 kritis
brhadiSvarim bhajarE - rAga lalita panCamam
brhadambikAyai namastE – rAga vasanta
brhadambA madambA – rAga bhAnumati

No other dEvi is given this title.

The only other occurrence of brahmAnda is “brahmAnda-AkAra” in “guruguhAdanyam na jAnEham” - rAga balahamsa - the sarva-Anandamaya (9th ) Cakra kriti of the tiruttani guruguha navAvarana,
arunOdayAnanta kOti brahmAndAkAra SivAdi dharAnta tatva svarUpinO

Why is the name “brahmAnda-swarupa” reserved (by the Dikshitar) only for the brhadambA ?
The question is reasonable…

Indeed its answer leads also to the reason why the rAga is lalita panCamam for the kriti “brhadiSvarim bhajarE” !

Notably this is also the first Cakra kriti of the tanjAvUr brhadAmbA navAvarana, first revealed in post # 569 dated 21 Aug 2021 on this thread...see

https://www.rasikas.org/forums/viewtopi ... 24#p372824

brahmAnda , brhadambA and the 250th name of lalita = panCabrahma-swarupini

The very definition of brahmAnda implies that which is COLOSSAL, UNIVERSAL, and Vast.

And the notion of the cosmic egg = andA, that leads to the Entire world = brahmAnda naturally implies the nurturing of the dEvi/Mother

In the lalita sahasranAma (which originates in the brahmAnda purAna) the 250th name = panCa-brahma swarupini.

Here the panCa-brahma are the brahma, viSnu, Siva, aghOra/ISa and sadAsiva.
The transcendent lalita assumes all these 5 forms.

And at once the choice of rAga lalita panCamam for the first Cakra kriti of the brhadambA navAvarana is comprehended.

Why ?

Because...

As brhadambA , the (tanjAvUr) dEvi is brhat, vast and all-encompassing
As brahmAnda , the dEvi is also universal and all-encompassing.
As lalita the dEvi is “panCabrahma swarupini”

Is there a more appropriate rAga than “lalita-panCamam” for initiating the tanjAvUr brhadambA navAvarana with the first Cakra kriti “brhadiSvarim bhajarE”.

No.

Summary

It is being shown beyond a shred of doubt that the rAgas are CAREFULLY chosen by the vAggeyakAras as tools in their pujA.

The ignorant and the arrogant have attempted to deny the composite pujA of the vAggeyakAras.

But the locomotive of truth ALWAYS runs over the jackals of untruth.

brhadiSvarIm bhajarE citta - rAga lalita panCamam
P: brhadISvarIm bhajarE citta brahmEndrAdinuta jagat jananIm
A: brhadISa manOllAsakArinIm brahmAnda-svarUpAkArinIm mahA tripurasundarIm SrIkarIm lalita panCamarAgOdayakarIm
C: nIrajadala nayanIm mrduCaranim niranjanIm tanjabhU vihArinim niratiSaya sukha pradAyinIm nityAnanda guruguha rUpinIm

ramA ravi
https://www.youtube.com/watch?v=QfRJvk4Z1yE

nAdopAsaka · Post by **nAdopAsaka** » 12 Dec 2023, 05:34

915 “vAsudEvam upAsmahE”–Why rAga m-Alava panCamam for krSna & How the rAga mudra is buried in the web/net = j-Alava-ndita

In the footsteps of nAdajyOti Mutthuswamy Dikshitar...

The origin and basis of the fifth and final "panCamam anta" rAga kritis is now given…

mAlava panCamam for “vAsudEvam upAsmahE vasudEva Atmajam”

vasudEva – of the yAdava-kula is considered father of krSna, with dEvaki as the mother.

The legends give the “geographical” regions of mAlava, kuru (kSEtra) and pAnCAla as related to this yAdava-kula..along with of course.. vrndAvana. And the legend cannot be disconnected from the “yuddha” of the mahAbhArata..

Background
The yuddha & the Suddha mAlavi
Indeed, in his kriti in rAga Suddha mAlavi to the narahari, the Dikshitar gives the phrase
parama bhAgavata prahlAda varadam jaya Suddha mALavi kuru pAnCAlAdi vihAram

This kriti “naraharim” has already been explained in post # 778 dated Sep 14 2022
https://www.rasikas.org/forums/viewtopi ... 76#p377476

And its vivAdi basis in post #781 …(The dissonant deity, the dissonant devotee and the vivAdi mEla # 18)
https://www.rasikas.org/forums/viewtopi ... 86#p377486

krSna identifies himself with both prahlAda and narahari (narasimha) as noted in the gitA 10.35.

The Suddha mAlavi invokes the yuddha at kurukSEtra = the iconic battle of the mahAbhArata....
why ?
Because just like prahlAda is saved by the narasimha avatAra, arjuna is “saved” by the krSna avatAra.

Yes…It can be asserted again…mAlava, panCAla and kurukSEtra are intimately associated with krSna/vAsudEva , his father vasudEva..and the yadava-kula.

Can there be any question, that this is why the rAga bearing the name “mAlava panCa-mam” is given to the krSna deity with the opening words...

vAsudEvam upAsmakE vasudEva-Atmajam

But the Dikshitar goes further than this rAga choice !

He also gives the rAga mudra !

vAsav-Adi dEva jAla vandita

The intriguing phrase conceals the word Alava which is the sufficient mudra for "mAlava panCamam."

Sufficient because the mAlava-panCa are already explained by the kSEtras of the yadukula ...noted above.

Indeed the use of the word jAla for multitude (of dEvas) is inspired…
Why ?.
Because…
vAsava is Also related to the vasu’s (like vasu-dEva and vAsudEva) but refers to indra.

And naturally the word jAla is associated with vAsava = indra through the indra-jAla.

What is this wonderful web/net that is being woven ?

Why is this word "jAla" used ?

Quite simply… because... it allows the Dikshitar to conceal the word "Alava"…the mudra/signature/sign of m-Alava panCamam.

Yet again, the vAggeyakAras message-in-a-bottle cast into the river of the nAda-sampradAya reaches its intended recipients .....all nAda-upAsakas..

satyam Eva jayatE

vAsudEvam upAsmahE vasudEvAtmajam – rAga mAlava panCamam

b sreerAm
https://www.youtube.com/watch?v=vG3QPmvS_8Y

nAdopAsaka · Post by **nAdopAsaka** » 13 Jan 2024, 06:25

916 “SrilakSmi varAham” – the nurturing (= “AbhOgi”) varAha avatAra that lifts the earth out of the ocean

In the footsteps of nAdajyOti Mutthuswamy Dikshitar...

The rAga word name/meaning is central to the Dikshitars choice of rAga for a kriti and kSEtra.

This AXIOM is, of course, the central theme of the hundreds of posts already made on this thread (and the theme resisted by all those who are ignorant-of-words and essentially corrupt)

The latest example of this axiom is “Sri lakSmi varAham”, as will now be shown.

There is ONLY this ONE kriti in rAga AbhOgi by the Dikshitar.

Indeed, particularly because it is the solitary example , the alignment of its rAga with deity/kSEtra tailored by the vAggeyakAra absolutely CANNOT be random.

AbhOgi and nurturing sustenance

The words “AbhOgi” (and bhOga or bhOjana etc.) imply that which gives “enjoyment” or that which gives sustenance that leads to enjoyment/happiness etc. .. All life, provided it is sustained, strives for this enjoyment, whether it is from consuming food or consuming music or consuming ideas.

It is this nurturing sustenance that is key to the choice of rAga AbhOgi for the Dikshitars “Sri lakSmi varAham”.

Why ?

Because the varAha avatAra of viSnu lifts the earth goddess, bhUdEvi from the depths of the ocean.

In doing so, the boar = varAha sustains, nurtures and nourishes all life.

The varAha avatAra is "AbhOgi" .

The Dikshitars carefully chosen rAga and kriti illuminates the “Adi varAha kSEtra” of kallidaikuriCi, on the banks of the tAmraparni, near tirunElveli.

And, yet again, to the dismay of the corrupt, the Words and choices of the vAggeyakAras cannot be denied or diluted.

satyam Eva jayate

SrilakSmi varAham – rAga AbhOgi

lakSmi r
https://www.youtube.com/watch?v=izEvESGGVLs

SSI
https://www.youtube.com/watch?v=I1hDQBDmpA4

narasimhamurty flute
https://www.youtube.com/watch?v=KXUGNJjawRU

veena pudukottai
https://www.youtube.com/watch?v=5AmHTm589wY

nAdopAsaka · Post by **nAdopAsaka** » 18 Jan 2024, 00:06

917 “varadarAja avAva”– Apa bhUta (water element) kriti of the Dikshitars Srirangam panCa bhUta pujA – dakSina gangA at Sriranga is kavEri

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

“varadarAja avAva” in rAga gangA-tarangini is one of the 5 kritis constituting the Dikshitars panCa bhUta pujA at Srirangam.

Cluless generations have ignored and denied the Dikshitars panCa bhUta pujA at Srirangam (it is foolishly known as a panCa ratna, an insipid description for what is a deeper meditation on the 5 elements by the Dikshitar)

But the vAggeyakAras karma does NOT allow their teachings to be lost or squandered on the undeserving and the ignorant.

See post # 751 dated May 14, 2022, on the Mutthuswamy Dikshithar thread (The Dikshitars telescope - The Dikshitars Srirangam panCa-ratna and its panCa bhuta pujA)

https://www.rasikas.org/forums/viewtopi ... 47#p376247.

Like hundreds of his other kritis, the Dikshitars panCa bhUta kritis at Srirangam are also aligned specifically with the rAga choice.

gangA-tarangini and the Apa bhUta (water element)

The Dikshitar gives the mudra for the Apa bhUta via both gangA and tarangini (water and waves).. (note that each of the other 4 Srirangam bhUta kritis carries the proper bhUta mudra..see the post linked above)

Why Apa bhUta for this deity at Srirangam ?

Because the kAvEri passes right around the ranganAtha temple, which is on an island.

dakSina gangA = kAvEri at Sriranga

The choice of gangA-tarangini for the water element kriti of the Dikshitars panCa bhUta puja at Srirangam is at once obvious , natural and proper (except to those who are corrupt or challenged by Words)

varadarAja avAva - rAga gangA-tarangini

amruta m
https://www.youtube.com/watch?v=C24mIgsKFe8

nAdopAsaka · Post by **nAdopAsaka** » 22 Jan 2024, 06:13

918 “Sri bhArgavi ”–prthvi bhUta (earth) kriti of the Dikshitars Srirangam panCa bhUta pujA –mangala is bhUmi kumAra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The underlying panCa bhUta pujA of the Dikshitar at Srirangam is unfolding.

The nAda sampradAya cannot be denied or diluted by the corrupt and the ignorant.

Following post # 917 above, It will be shown in this and the next 3 posts how the rAga itself (based on its name) is iconic of NOT JUST the deity/kSEtra BUT ALSO the bhUta (element).

Post # 917 shows BEYOND a shred of doubt, that the water = Apa mudra appears in the kriti and the rAga itself is chosen to represent water = gangA-tarangini. Of course the location of the Srirangam temple on an island surrounded by the dakSina gangA = kAvEri, is itself indicated by the rAga.

prthvi bhUta (earth element) and Sri bhArgavi

The Dikshitar enshrines the prthvi bhUta (earth element) in the kriti “Sri bhArgavi bhadram mE diSatu” with the mudra via the words “dharani-vara”……dharani being this earth.

Naturally, the Dikshitar picks the bhUdEvi = bhArgavi as the deity for this kriti.

Why “mangala-kaiSiki” for this deity and this bhUta = element ?

the bhU aspect is not limited to the dEvi.

Indeed it is central to the very name of the rAga = mangala-kaiSiki !

The anupallavi gives the line “saubhAgya lakSmi satatam”

Anyone (who is not a fool) is aware that “saubhAgya” is synonym of good fortune = welfare = mangalam.

But this is not the only reason, the rAga chosen is “mangala kaiSiki”.

Why ?

The clue to the prthvi element comes from another important kriti of the Dikshitar..the “mangala vAra “ kriti angArakam..where mangala (Mars) is described ….as “bhUmi-kumAra”.

The word “mangala” is inextricable linked to the earth in Hindu scripture, cosmology and astrology.

Is there any doubt that the rAga name “mangala-kaiSiki” is chosen by the Dikshitar not only because it captures the “saubhAgya” of the deity but also the prthvi element via this “bhUmi” reference to “mangala”.

No !

Yet again, the foolish are kept at bay, from denying the words and choices of the vAggeyakAras.

Yet again, the corrupt are kept at bay, from desecrating the pujA of the nAdayOgis, in the name of glorifying technicians/vidwAns etc. who are adept at merely manipulating air-pressure or swara frequencies.

satyam Eva jayatE

Sri bhArgavi – rAga mangala kaiSiki

p ramA
https://www.youtube.com/watch?v=_O2Qs77kgXw

rk murty
https://www.youtube.com/watch?v=rxRphq0emZU

nAdopAsaka · Post by **nAdopAsaka** » 23 Jan 2024, 02:30

# 919 “ranganAyakam ”–vAyu bhUta (wind/prAna) kriti of the Dikshitars Srirangam panCa bhUta pujA – where vAyu is dikpAla = guardian = nAyaka

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The tide of the nAda sampradAya rolls on, sweeping away the cacophony of untruth, and the cobwebs of falsehoods peddled as “coincidence” by the ignorant and the corrupt.

Post # 751 dated May 2022 has already shown that, as part of the panCa bhUta pujA, the Dikshitar deliberately places in the kriti, “ranganAyakaM bhAvayE” , the vAyu bhUta mudra as

prana-vAkAra divya vimAnam

vAyu is the element of wind, including the wind of life-breath = prana, which in turn sustains all life as prAna.

In keeping with the theme of this unfolding series of 5 posts, (see posts # 917 and # 918 above ) …the relevant question, that will be asked (AND ANSWERED) is…

Why is rAga nAyaki chosen for “ranganAyakam bhavayEham” = the vAyu bhUta kriti at Srirangam ??

The choice of rAga nAyaki for the vAyu bhUta kriti at Srirangam is not merely because the deities can be addressed as ranga-nAyaka or ranga-nAyaki.

Indeed, the Dikshitar pujA and vision is meticulous and careful and all-seeing.

vAyu is a dikpAla, the “guardian” of one of the 8 cardinal directions (the Northwest).

dikpAla as guardian is synonymous with nAyaka = a protector, and a guide.

And therein lies the reason for the choice of rAga nAyaki for the vAyu bhUta kriti.

There is absolutely no coincidence or randomness.

By diluting and even denying the value of the words used by the vAggeyakAras, the nefarious and the dishonest are trying to erase the key reason for why the kritis exist…...which is the sAdhana of the nAdayOgis.

Truth always triumphs.

ranganAyakam bhAvayEham – rAga nAyaki

priya sisters
https://www.youtube.com/watch?v=9ShszfNgxJI

veena gAyatri
https://www.youtube.com/watch?v=wQXKwgXl9fs

bombay jayaSri
https://www.youtube.com/watch?v=Oyqv6AJW26M

nAdopAsaka · Post by **nAdopAsaka** » 27 Jan 2024, 00:15

#920 “Sri ranganAthAya”–AkASa bhUta (sky) kriti of the Dikshitars Srirangam panCa bhUta pujA–dhanyASi for dhanuSa –viSnu’s bow = sAranga

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

SrI ranganAthAya namastE – rAga dhanyASi

P: SrI ranganAthAya namastE namastE
C: SrI rangapuri vilasita SrIramAntarangAya SrIranga nAyakI samEtAya guruguha nutAya

200 years before Twitter, it takes less than 20 words for the Dikshitar to convey the AkASa bhUta pujA of his panCa bhUta pujA at Srirangam.

The depth of the sAdhana is revealed by asking 2 questions.

Why is this kriti in rAga dhanyASi ?
Why is this kriti to the AkASa bhUta (sky element) ?

Both these questions are now answered.

As a first clue the Dikshitar gives the bhuta/element mudra for gagana/sky with the word “antara”.

It appears via “Sri-ramA-antaranga" where the lord fills the “space” "between" Sri and ramA ….Sri-dEvi (the spiritual lakSmi) and bhu-dEvi = ramA dEvi (the material/earth/sensual lakSmi).

Of course the sky is what separates (antara) the firmament of the celestial from the earth.

Note that “antara” has same root as “antarikSa”.

But obviously there is more..…much more.

dhanyASi and dhanuSa – the celestial bow of viSnu = the sAranga

The vAlmiki rAmAyana yuddha kAnda sarga 75 (and other sargas too) describes the celestial sAranga of viSnu , wielded by rAma as the kOdanda.

aSObhata tadA rAmO dhanur viSphArayan mahat ,
bhagavAniva samkruddhO bhavO vEdamayam dhanuh 6-75-37
rAma draws his majestic bow, that shines as if it were the Source of the universe

udguStAm vAnarAnAm Ca rAkSasAnAm Ca nihsvanam, jyA SabdastAvubhau SabdAvati rAmasya SuSruvE 6-75-38
The roar of the bow-string could be heard above the cries of the monkeys and demons.

In other words, the celestial bow fills visual space and aural space.

There can be no doubt that the choice of rAga dhanyASi derives from “dhanuSa”, this space filling bow, both conceptually and phonetically. It is no coincidence.

Why the dhanuSa for the ranga-nAtha kSEtra ?

Indeed, another dhanuSa, the indra-dhanuSa, is the colorful (= sA-ranga) rainbow that also fills the sky/space = AkASa/gagana.

And the word “dhanyASi” is uniquely appropriate for ranga-nAtha who is the benevolent lord of the prosperity-giving-goddess "saubhAgya lakSmi" of Srirangam.

Why ?

Because dhana + ASa ==> dhanyASa. ...and ranganAtha is this Fulfiller of wishes (ASa) for Wealth/prosperity (dhana)

The dishonest and the untruthful have unsuccessfully tried to dilute and corrupt the Hindu vAggeyakAras legacy/ideas/words as mere sounds and swara-based frequency and air-pressure variations.

But the kritis and words of the supreme nAdayOgis do NOT emerge from mere swara technicalities and adding or subtracting notes.

The kritis are worship, they are upAsana..…they must be understood and protected.

satyam Eva jayatE

Sri ranganAthAya namastE – rAga dhanyASi

TVS
https://www.youtube.com/watch?v=HtqSEbpYjak

veena bhAgyalakSmi C
https://www.youtube.com/watch?v=QHOjy-6DIQo

nAdopAsaka · Post by **nAdopAsaka** » 30 Jan 2024, 05:28

921 rangapura vihAra–agni bhUta kriti of Srirangam panCa bhUta–agni astra = fire arrows of (brndAvana) sAranga = kOdanda bow

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

A bow is only as good as the arrows it delivers.

And that fact is the essence of why “brndAvana sAranga” is the rAga for Dikshitars agni bhUta pujA kriti at Srirangam = rangapura vihAra.

At arunACala , the Dikshitar chooses rAga sAranga signifying the sacrificial ash (sAra) on the limbs (anga) of the fire purified Siva/tyAgarAja in the famous agni bhUta linga kriti “arunACala nAtham smarAmi”. (ps. indeed ALL the rAgas of the panCa bhUta linga kritis are chosen with the "element" in mind.. this fact has also NOT dawned on the clueless hordes)

At arunACala, the sAra of sAranga is the residue/essence = ash after fire.

But at Srirangam the Dikshitar applies the rAga “brndAvana sAranga” to the agni element.

Indeed the Dikshitar gives the clue when he delivers the rAga mudra in this kriti

dEva brnda avana sArangEndra

Why ?

Because sAranga is also the name of viSnus bow which in rAmas hands takes the name kOdanda.
And
Because rAma rescues/shelters (avana) the multitude of dEvas (the dEva brnda) as the wielder of this bow (sArang-Endra).

But... a bow is only as good as the arrows it delivers.

The agni astra = fire arrows are the kOdanda bows special delivery missiles.

For example the vAlmiki rAmAyana bAla kAnda sarga 30 verse 22 describes the destruction of demon subAhu with this fire arrow/missile.

iti uktvA lakSmanam Ca ashu lAghavam darSayan iva,
samgrhya sumahat Ca astram AgnEyam raghunamdana
subAhu urasi CikSEpa sa viddha praapatat bhuvi 1-30-22

And with the kOdanda = sAranga and its agni astra, rAma protects the multitude of dEvas as "dEva brnda avana sArangEndra"

Can the karma and pujA and sAdhana of the vAggeyakAras be denied and diluted by the corrupt and the ignorant ?

Impossible !!

The river of truth, light and sound unfolding as the nAda sampradAya pradarSini CANNOT be distorted by any puny sangita sampradAya pradarSini.

satyam Eva jayatE

rangapura vihAra – rAga brndAvana sAranga

viSnudEv N
https://www.youtube.com/watch?v=PKUMgSYhSL8

veena priyadarSini
https://www.youtube.com/watch?v=Es5QVgwvezg

sikkil sisters
https://www.youtube.com/watch?v=b0DWiMa6aU0

nAdopAsaka · Post by **nAdopAsaka** » 04 Feb 2024, 09:09

# 922 “vinAbhEri” & “nagumOmu kanalEni” - 2 AbhEri kritis , 2 drum-beats of war and 2 vAggeyakAras

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

bhEri, the word, is at the heart of AbhEri, the rAga.

bhEri is the war-drum..its drum beat is auspicious and portends the arrival of deities pursuing demons.

Why ?

Because both the vAggeyakAras agree and say so !!

For the tyAgarAjas “nagumOmu kanalEni”, it is rAma vs rAvan-Asura…

See parallel post dated Feb 4, 2024 on the tyAgarAja thread..linked here

https://www.rasikas.org/forums/viewtopi ... 27#p381327

For the Dikshitars “vinAbhEri” it is the lalitA dEvi that destroys bhand-Asura.

Why ?

Because lalitA is “indirESa sahOdari” in the brahmAnda purAna and in the lalitA sahasranAma.

And

Because the bhEri (drum) sounds repeatedly in the bhandAsura vadha , the culmination of the lalitOpakhyAna

And also …

Because each of the dEvis and their consorts.. saraswati, durgA-parvati and lakSmi worship lalitA tripura sundari with their individual iconic musical offering…

vinA – saraswati and brahma
bhEri – durgA/pArvatis “dundubhi” and Sivas damaru
vEnu – lakSmi and viSnu as krSna the flute icon

And

Because “kOni vadana” = boar-faced vArahi destroys viSukra, one of bhandAsura’s brothers.

Indeed, the 76th name of lalitA enshrines this vArAhi as "viSukra prAnaharaNa vArAhi virya nanditA".

Summary

The core idea in the kriti “vinAbhEri” is the drumbeat of the war waged on bhandAsura by lalitA (and her sub-goddesses).

As the celestial drumbeat, bhEri (the word) is the source of the Dikshitars selection of rAga A-bhEri, in this worship of the lalitA dEvi.

Can there be any doubt about the careful choice and pujA of the vAggeyakAra in this case…just as in the hundreds of kritis already shown ?

Absolutely, categorically NOT..

Truth always triumphs.

pallavi
vInA bhEri vEnu vAdya vinOdinI mOdinI rakSa mAm
Carana
kOnI vadanAdi vinuta CaritE guna rahitE vidhi guruguha mahitE
yEni lOCani pASa vimOCani indirESa sahOdarI talOdari

vinAbhEri – rAga AbhEri

veena kalpakam S
https://www.youtube.com/watch?v=5rdesC585xk&t=307s

KNRS
https://www.youtube.com/watch?v=rVna0bK1Mts

r rAja
https://www.youtube.com/watch?v=Zr6k7Fzac4s

nAdopAsaka · Post by **nAdopAsaka** » 16 Feb 2024, 05:52

# 923 rAjagOpAlam bhajEham - krSna as "hatyAdi pApaharam" – the all-forgiving mOhana of mannArgudi (dakSina dwArkA) & its origins in the dwArkA khanda of the garga samhita

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

There is only one kriti of the Dikshitar where krSna is described as “hatyAdi pApaharam”.

All the other all-forgiving deities are at Siva shrines.

There is a reason why this kriti “rAjagOpAlam bhajEham”, is applied specifically to the mannArgudi mOhana.

Asking this question, and finding its answer, reveals the origins , not only of the kriti but also of iconography specific to the "haridrA nadi" name...of the temple tank at mannArgudi (= dakSina dwArkA)

Background

The mOhanas of the Dikshitar
Post # 765 dated 30 Jul 2022 describes the different charms that each of the Dikshitar mOhana rAga kritis portray.
https://www.rasikas.org/forums/viewtopi ... 53#p376953

The mOhana at mannArgudi “rAjagOpAlam bhajEham” and the 9 mannArgudi kritis of the Dikshitar

There are 9 kritis of the Dikshitar at mannArgudi, celebrating different aspects of krSna.
See post # 808 dated 07 Jan 2023 (dakSina dwArkA “rAja-gOpAla”, kuCEla of dwArkA & vEnugOpAla aStakam–kSEtra mudras for ALL 9 mannArgudi kritis)
https://www.rasikas.org/forums/viewtopi ... 67#p378467

There is bAlagOpAla, santAna-gOpAla, rAjagOpAla, vEnugOpAla and SrividyA-rAjagOpAla. Each aspect is different and each kriti is different, and each rAga choice is also iconic, as shown in the above linked post.

mannArgudi as dakSina dwArkA

dwArkA (in gujarat) has a relationship with dakSina dwArkA = mannArgudi.

The Dikshitar gives a first clue in his sAvEri to the ardhanAri form “Sri-vidyA-rAjagOpAla” , describing this unique deity as “nAri vESa dhara vAma bhAga stitha” discussed THOROUGHLY in previous posts.

It bears repeating…

The Dikshitars unique reverse sAvEri mudra placement ( via the words “nA-ri-vE-Sa” ) gives also the indication of the unique dEvi+krSna aspect central to the Sri-vidyA rAjagOpAla deity.

Of course dwArka (in gujarAt) is home also to the dEvi pitha, the western AmnAya matha of the Adi Sankara, the foremost Sri-vidyA exponent.

Naturally, the Dikshitar pays attention to the kSEtra name as well as the combined entity = Sri-vidyA-rAjagOpAla in the sAvEri kriti Sri rAjagOpAla.

Repeated previous posts have also highlighted the CLUELESSNESS of the hordes including so-called vidUSiS and musicologists to the specific words and their meaning/context.

Which brings us to the mannArgudi mOhana.

The dwArka khanda of the garga samhita

The ancient text “garga samhita” gives the basis for key words of the Dikshitars mOhana kriti at mannArgudi.

Indeed, its 6th Canto is known as the dwArkA khanda.

In Chapter 10 of this Canto is given - the Description of the Gomatī River which flows in gujarAt into the ocean
Verse 6.10.7
तन्-नेत्र-बिन्दु-सम्भूता गोमती स महा-नदी यस्य दर्शन-मात्रेण ब्रह्म-हत्या प्रमुच्यते
tan-netra-bindu-sambhūtā gomatī sa mahA-nadi yasya darśana-mātreṇa brahma-hatyA pramucyate
translation
From one of the Lord's teardrops the great Gomatī river was created. Simply by seeing this river one becomes freed from the sin of killing a brAhmaṇa.

At once krSna at dwArkA (and therefore also as dakSina dwArkA) is “hatyAdi pApaharam” !!

But there is more.

gOmati nadi, hari-dwAra, haridrA-nadi and the yellow of turmeric

Notably “hari” is root of the word for the color yellow and dwAra is gateway.

In the Sri-vidyA, krSna is the dakSina (RIGHT HAND SIDE) gateway to the vAma bhAga (LEFT HAND SIDE) nAri = dEvi !
Foolish (and clueless) sectarian etc. biases have attempted to ruin the Dikshitars Sri-vidyA puA and iconography through both ignorance and arrogance.

Cows, gOpis and the celestial cowherd-rAja-gOpAla

The turmeric anointed cows that play in the gO-mati river at dwArkA give it the yellow color, known as the haridrA nadi.

Once again the garga samhita gives the desription.

In the start of the garga samhita in the gOlOka khanda (Canto 1) we find in Chapter 1, verse 29
Verse 1.1.29
श्री-बहुलाश्व उवाच परिपूर्णतमह् साक्षाच् छ्री-कृष्णो केन हेतुना आगतो भारते खण्डे द्वारवत्यां विराजते
Srī-bahulASva uvACa - paripUrnatamah sAkSAc Shrī-kṛSnO kEna hEtunA Agato bhArate khandE dwAravatyAṃ virAjatE
translation
Sri bahulASva asks : Why did Sri krSna, the original, paripUrnatama form of the Lord, come to the land of bhArata and gloriously appear in dwArkA ?

In the same opening Canto, Chapter 12 Verse 8 gives
Verse 1.12.8
पीत-पुच्छा स-वत्साश् च तरुणी-कर-चिह्निकाः
हरिद्र-कुअकुमैर् युक्तास् चित्र-धातु-विचित्रिताः

pita-pucchA sa-vatsAS Ca taruni-kara-CihnikA
haridra-kumkumair yuktAs Citra-dhAtu-viCitritA

translation
Their tails were yellow, their calves were by their sides, they were decorated with taruṇī-karas, they were anointed with turmeric and kumkuma, and they were decorated with designs and pictures drawn in mineral colors.

At dakSina dwArka = mannArgudi, the Dikshitar preserves the image when he invokes in the mOhana kriti

“haridrA nadi tiram hatyAdi pApharam”

Case closed !

But wait there is even more….

The sAveri kriti of the Dikshitar rings out the unique status of Sri-vidyA rAjagOpAla sthala as
“dakSina dwArkA purI nilaya viSiStAdvaita advaita Alaya” denoting the site where both doctrines are unified..

The unification is actually a reaffirmation that these “different” ideas emerge from the same fundamentals.

And what is more fundamental than the panCa bhUta ( aka panCa tatva), the five fundamental elements.

Wonderfully, the Dikshitar builds into the “seemingly simple” mOhana, the mudras of ALL five elements of the panCa bhUta.
,
Notice that in the mOhana “nAgalingam namAmi” the Dikshitar refers to ALL 10 lingas (5 of the panCa bhUta linga shrines and 5 of the tiruvArUr panCa linga icons)...See post # 537 on this thread dated Jun 12, 2021

https://www.rasikas.org/forums/viewtopi ... 45#p371845

panCa bhUta mudra - The five fundamental elements embedded in “rAjagOpAlam bhajEham”

tEjo – agni bhUta
(In “vIra vasanta tyAgarAja” the fire eye is “dinakara SaSi tEjOmaya lOCana”, also in the “arunACalanAtham” agni bhUta kriti as “tEjOmaya lingam”

ambara – AkASa bhUta

pArijAta taru-mUlam – vAyu bhUta
the (inspired !) mudra for vAyu as gandha-vAha the bearer of fragrance comes from the pArijAta..

gandha is the the essence of fragrance and pArijAta is the iconic fragrant tree

The purAnic reference is to krSna wresting this perfumed tree from Indra and placing it in dwArkA .
The usage “mUlam” reinforces the “elemental” nature of this mudra !

Apa – jala bhUta

dhara – prthvi bhUta (from the root of dharA)
of course the word “ramA” who is the bhU -dEvi is also mudra of the earth element

The panCa bhUta mudras are given in red in the kriti text shown here
P: rAjagOpAlam bhajEham ramA lIlam
A: tEjOmaya mOhanakaram divyAmbarAdi dharam
gajarAja pUjita padam gunijana nata gOvindam
C: nAradAdi kRta bhajanam nAdalaya yuta sadanam
haridrA nadI tIram hatyAdi pApaharam
pArijAta tarumUlam pankaja nayana viSAlam
guruguha hita vanamAlam gOpIjana mAlOlam

And finally..

panCa swaras for the panCa bhUta

The Dikshitars placement of the panCa swaras of mOhana for each of the bhUta is also notable.
Each of the five swaras of mOhana is associated with a bhUta, in typical notations, shown below

riSabha - tEjo – agni bhUta
Sadjam (upper)- ambara – AkASa bhUta
gAndhAram - pArijAta taru-mUlam – vAyu bhUta
panCamam - Apa – jala bhUta
dhaivata - dhara – prthvi bhUta

Summary

The seemingly simple pentatonic scale of mOhana at dakSina dwArkA carries a deeper meditation of the Dikshitar into the scripture associated with krSna (mOhana = gOpAla).

Conclusion

Yet another pebble washes up on the bank of the nAda-sampradAya, that river of sound, light and truth.

Indeed the hidden mudras and not-so-hidden mudras were designed by the vAggeyakAras to be found.

The nAda-upAsaka revels in the gifts of the vAggeyakAras.

rAjagOpAlam bhajEham – rAga mOhana

kamala d
https://www.youtube.com/watch?v=VNu1fU2RTPE

ramya n
https://www.youtube.com/watch?v=Dz58D68qgg8

OST
https://www.youtube.com/watch?v=1yi5vkOSJ00

nAdopAsaka · Post by **nAdopAsaka** » 24 Feb 2024, 05:54

# 924 The virinCipuram panCa bhUta kritis of the Dikshitar and the basis of the rAga choices for each of the 5 kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

Introduction

As usual the clueless hordes of the last 200 years, trampling like cattle in a flower garden, are unaware of the Dikshitars complete panCa bhUta pujA at virinCipuram.

Naturally the hordes include also the corrupt family members producing fraudulent history under the camouflage of “notations” in the so-called “sangita sampradAya pradarSini” = SSP.

But truth/Sruti always asserts itself. The rise of the rasikas forum and the nAda-upAsaka is precisely to correct this hitherto woeful situation and re-assert the legacy of the vAggeyakAras.

At virinCipuram, the basis for the panCa bhUta is laid down (among others) by arunAgirinAtha in his tiruppukal
See verses
# 670 nigaril panja bhUtamam
# 672 maruvum anju bhUta

And the Dikshitar faithfully assigns one of the 5 virinCipuram kritis to subrahmanya namely “pArvati kumAram” in rAga nAta-kurinji !

But lets begin at the beginning…

The Dikshitars 5 kritis at virinCipuram

The 5 kritis (all having only 1 Caranam and no anu-pallavi) are reproduced here , so there is NO ESCAPE from the conclusions.

In each kriti, key-words that are MUDRAs ( signs etc.) of different aspects are also HIGHLIGHTED.

It will be shown in this post that NOT ONLY are the bhUta mudras given and unique, the rAga choice for each kriti is traceable to either the bhUta icon or the specific deity of the kSEtra.

mArgasahAyESwaram bhajEham- rAga kASi-rAma-kriya
P: mArgasahAyESwaram bhajEham marakatavalli manOllAsakaram
C: durgA lakSmI bhAratIbhih pUjitam dInajanAdi brndasEvitam dIrghAyuSprada krpAlavAlam nirguna rasa purna Sariram nitya guruguhAnandavaram virinCipura madhyavihAram virasima tIrttha upaCAram

mArgahindOla rAgapriyE – rAga mArgahindOlam
P: mArgahindOLa rAgapriyE marakatavalli mAm kalaya
C: mArgasahAyEshvara pranayini madhukaiTabha damani madashamani durgAdyakhila Sakti paripAlini duhkhadhvamsini guruguha janani

marakatavallim manasA smarAmi – rAga kAmbhOji
P: marakatavallIm manasA smarAmi madanajanakAdi dEvapAlinIm
C: harahRdayA vESnIm mOhinIm harihara putra jananIm nalinIm krUra daityAdi brnda marddinIm guruguhAdinuta vahni vAsinIm

Note that the Carana begins with "hara-hrdaya, often sung erroneously as "hari-hrdaya"

mangaladEvatE paradEvatE – rAga mArgadESi
P: mangaladEvatE paradEvatE mangalam bhavatu nata dEvatE
C: angajapura kAlavairisahitE anAdyavidyA prapanCa rahitE pungava guruguhAdi mahitE satsanga mArga darSitE surasahitE

Note that..angaja-pura is mudra for virinCi-pura , anga-aja is that which is born from the body (anga) of, which applies to brahma’s family

pArvatIkumAram bhAvayE – rAga nAtakuranji
P: pArvatIkumAram bhAvayE satatam Sarava na bha va guruguham SrI
C: mArga sahAya priyasutam mAdhavAdyamarAdinutam mAnikya makuta SObhita mAnita guna vaibhavam

The dwitiya akSara prAsa is not employed here like the other 4 kritis of this set.....also the focus of the kriti is the subrahmanya (instead of mArgasahAya/Siva or marakatavalli) and the AkASa bhUta

The embedded bhUta mudras and the basis for the rAgas in the virinCipuram panCa bhUta kritis

mArgasahAyEshvaram bhajEham- rAga kASi-rAma-kriya - Apa bhUta (water)
Apa bhUta via the mudras – rasa purna & tirtha (mudras for water)
rAga mudra – tirtha upacAra = kASi (rAma) kriyA
rAga basis – “tIrtth OpaCAram” is the mudra for the kriyA performed at the final tirtha namely kASi, where Siva delivers the tAraka mantra . Here tAraka is the ferryman for the souls final voyage.

tAraka is synonymous with mArgabandhu = mArgasahAya, the companion and guide over the path.
tAraka automatically carries the image of water, (ferry/ferryman..etc)

mArgahindOla rAgapriyE – rAga mArgahindOlam - vAyu bhUta
vAyu bhUta via the mudra “prana-yini”..prana being the life-wind/breath.
rAga basis – hindOla-nam is the fluttering/oscillation produced by wind (see also trembling as in AndOlanam)
mArga merely confirms the name of Siva of this kSEtra

marakatavallim manasA smarAmi – rAga kAmbhOji - agni bhUta
agni bhUta via the mudra – vahni vAsini (vahni = fire)
rAga mudra – madana for kAma (an indirect mudra)
rAga basis – kAma-bhOji – one consumed by the fire of passion= kAma

mangaladEvatE paradEvatE – rAga mArgadESi - prthvi bhUta
prthvi bhUta via “mArga-darSi” (darSi is phonetic for dESi, where dESi = land /earth/prthvi….the use of phonetic mudras like this by the Dikshitar has even now NOT dawned on many brain-dead !! )
rAga basis – mArga derives from the kSEtra name, dESi is for the prthvi bhUta

A reasonable question is..

Why is the goddess of this kriti addressed as “mangaladEvata” and not “marakatavalli”.
The answer lies in the emphasis of this kriti which is on the prthvi mudra..
“mangala” as Mars is derived from the earth ..indeed it is known as “bhUmi-kumAra”.
Therefore “mangala-dEvata” is the goddess who represents this earth.
The name marakatavalli is unnecessary for the purposes of this panCa bhUta pujA kriti.
And the kSEtra mudra remains in place with the “mArga” word.

pArvatIkumAram bhAvayE – rAga nAtakuranji - AKASa bhUta

AkASa bhUta = nabha embedded via “Sarava-na bha va “ ( for kArtikEya who derives from the krittika nakSatra in “space” and descends to and is found in the bamboo reeds = Saravana bhava)
rAga basis – nAta kurinji from the Tamil word kurinji = “hill country”, skanda/muruga who “dances in the hill country
In this kriti, the reference to this “kumAra” of the “kurinji” country is itself an indirect mudra for the rAga.

Conclusion

Again and again, it is being shown, with zero possibility of argument, that the Dikshitar kritis are assembled as a composite organized pujA.

The kritis carry direct, hidden and/or indirect mudras/lakSanas/signatures that have been placed by the vAggeyakAra to identify his worship.

The rAgas are chosen as tools of this worship….their very names &/name-meanings are intertwined with the ideas of the kriti and kSEtra. The swara scales by themselves are not the driving force.

The unfolding mosaic of HUNDREDS of KRITIS is a wonder to behold, whether for the numerous panCa bhUta (sets of 5) or the many navAvaranas (sets of 9 ) fully established in previous posts.

And equally , it is important to not lose sight of the fact that this majestic musical meditation has been ALMOST ruined by the ignorant and the arrogant... , including notation mongers like the SSP peddling falsehoods without reading the kritis and everyone in the kutchEri business/industry.

Indeed, it is the SSP with zero understanding of the Sri vidyA which has criminally abridged the many navAvaranas into puny grammar exercises called vibhakti.

How long was the karma of the vAggeyakAras going to be denied ?

The nAda-upAsaka is overjoyed to be the messenger of truth....however... it was bound to happen….whether by this nAda-upAsaka or another, whether on this forum or another.

Why ?

Because…

satyam Eva jayatE !

mArgasahAyESwaram bhajEham- rAga kASi-rAma-kriya - Apa bhUta (water)

prEma r
https://www.youtube.com/watch?v=aB0cz69hCg4

mArgahindOla rAgapriyE – rAga mArgahindOlam - vAyu bhUta

prEma R
https://www.youtube.com/watch?v=4SCjj8eidr0

meena
https://www.youtube.com/watch?v=eJI3FsJV5mk

marakatavallim manasA smarAmi – rAga kAmbhOji - agni bhUta

Sruti ranjani
https://www.youtube.com/watch?v=W7nuftEnZqw

KVN
https://www.youtube.com/watch?v=ldULvn77raU

mangaladEvatE paradEvatE – rAga mArgadESi - prthvi bhUta

SRJ
https://www.youtube.com/watch?v=_tb2meuW8eg

gAyatri g
https://www.youtube.com/watch?v=InMFUuV8ZUo

pArvatIkumAram bhAvayE – rAga nAtakuranji - AKASa bhUta

mallAdi bros.
https://www.youtube.com/watch?v=pHrKmaJpRVo

veena jayanti
https://www.youtube.com/watch?v=vun7n-asV44

sam · Post by **sam** » 25 Feb 2024, 06:20

'durgA, lakSmI ,bhAratIbhih pUjitam'
Does it mean ' worshipped by Durga, Lakshmi and Saraswathy' ? Is she then the supreme devi?

nAdopAsaka · Post by **nAdopAsaka** » 25 Feb 2024, 14:48

# 926 nirguna rasa purna Sariram – mArgasahAyESwara/Siva and lalitA at the heart of virinCipurams advaitic legacy and the Water element = Apa bhUta

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The kritis should be read with care and understood with even more care..

In the head-long rush to anoint vidwAns/viduSIS/playback singers, there is a tendency to relegate the words of the kritis to mere vehicles for air-pressure variation exercises/kutchEris.

mArgasahAyESwaram bhajEham- rAga kASi-rAma-kriya = Apa bhUta (water element)
P: mArgasahAyESwaram bhajEham marakatavalli manOllAsakaram
C: durgA lakSmI bhAratIbhih pUjitam dInajanAdi brndasEvitam dIrghAyuSprada krpAlavAlam nirguna rasa purna Sariram nitya guruguhAnandavaram virinCipura madhyavihAram virasima tIrttha upaCAram

the kriti states “durgA lakSmi bhArati-bhih pujitam” – indicating all 3 aspects of lalitA offer their worship TO mArgasahAyESwara..

the kriti also says “nirguna rasa purna Sariram”

Through the worship of her 3 sub-entities, lalitA fills the body of Siva with this nirguna rasa ..

Notably the 139th name of lalitA dEvi from the sahasranAma is itself “nirguna”.

Summary

virinCipura madhyavihAram –mArgasahAyESwara/Siva and lalitA are at the heart of virinCipurams advaitic legacy

virinCipuram takes its place-name from virinCi = brahma but its place- value derives from the concept of nirguna-brahma-n..

How ? Why ??

virinCipuram is an ancient site of both Adi Sankara consecration as well as the advaitic scholar appayya.

The cornerstone of their advaitic teaching is the attribute-less being also known as “saguna-nirguna”

The Dikshitar condenses this key concept as “nirguna rasa purna Sariram”, the body (which typically carries identifiable corporal elements) with the formless rasa that is attribute-less.

It bears repeating….The kritis should be read with care and understood with even more care..

The Apa bhUta , indicating water is the perfect element for this aspect of the panCa bhUta at virinCipuram.

Why ?

Because, water, which is by itself formless, takes the shape of the container = Sarira it fills.

Indeed, the very opening of the soundarya-lahari resounds with this union !

Siva SaktyA yuktO yadi bhavati SaktAh prabhAvitum

Now the dEvi is fully announced.

satyam Eva jayatE

mArgasahAyESwaram bhajEham – rAga kASi-rAmakriyA

prEma r
https://www.youtube.com/watch?v=Z9ZwusbR57g

sam · Post by **sam** » 25 Feb 2024, 17:30

Quora says that Goddess Lalitha is different from Parvathi, Lakshmi and Saraswathi. Supreme to all of them.
..
Lalītā Tripurasundarī is Ādyā Śaktī personified. She is the supreme ruler of the multi-universe, the undisputed supreme power. From Her emerge trillions of planets, stars, galaxies, universes, Devatās like Īndra, Agnī, Varuna, Śiva, Viṣṇu and Brahmā, jīvas like humans, animals and microbes. She resides in Manidvīpa along with Śrī Kāmeśvara and Her other subjects. Lalītā Parabhattārikā is 4 handed holding Goad (Āṅkuśa), Noose (Pāśa), Flower-arrows (Puśpa-bāna) and Sugarcane bow (Īkśukodana).

Her beauty is unparalleled. She is red in hue, with three eyes full of compassion, Her jewel-encrusted crown is adorned with the crescent moon, She is wearing a red saree and golden ornaments, is adorned with various freshly harvested flowers and is shining like thousands of suns. She is served and worshipped by Śrī Lakṣmī, Śrī Sarasvatī and Śrī Umā. Lalītāmbikā is seated on the Ciṇtāmaṇī throne along with Her consort Kāmeśvara Śiva. She is worshipped by great sages like rṣi Agastya and Lopāmudrā Devī.

oṁ śrī mātre namaḥ
oṁ namaṣ tripurasundarī
śrī lalītā mahātripurasundarīyai namaḥ

nAdopAsaka · Post by **nAdopAsaka** » 25 Feb 2024, 23:32

928 the supreme attributes & supreme names of the supreme goddess

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The words used and the choices made by the vAggeyakAras are more relevant and more important than anything on Quora or anywhere else.

The lalitA sahasranAma gives the dEvi different aspects denoted by her many names..

Indeed, the Dikshitar considers each of these “supreme” names separately and applies the overarching name to the individual goddesses in specific kritis..

lalitA sahasranAma # 210 = mahAlakSmi
lakSmi as lalitA noted in “hiranmayim lakSmi”

lalitA sahasranAma # 633 = umA , # 246 = pArvati , # 190 = durgA
kamalAmbika/pArvati/umA as lalitA is addressed in “Sri kamalAmbikE”

lalitA sahasranAma # 704 = saraswati , # 611 = kalAtmikA, # 640 vAgadhiSwari, 123 SAradArAdhya
kalAvati as lalitA is addressed in “kalAvati kamalAsana yuvati”

Of course lalitA is supreme but her specific aspects are NOT ignored or denied.

for example as the goddess of knowledge/speech nothing is more supreme than the “lalitA” name of saraswati/vAgadhiSwari !

similarly as the goddess of wealth the first name that arises is lakSmi .

The vAggeyakAras are always deeply sensitive to the aspects of Name that delineate different attributes of the supreme goddess.

The tyAgarAja also shows the same approach….see post dated Oct 5, 2022 and related posts.

https://www.rasikas.org/forums/viewtopi ... 90#p377690

hiranmayim lakSmim – rAga lalitA
rk murthy
https://www.youtube.com/watch?v=ki4WQCMmGy8

Sri kamalAmbikE – rAga Sri
bAlAji Sankar
https://www.youtube.com/watch?v=kaDcAUvfib0

kalAvati kamalAsana yuvati – rAga kalAvati
https://www.youtube.com/watch?v=1t6RKRJlcrg

nAdopAsaka · Post by **nAdopAsaka** » 02 Mar 2024, 11:55

929 “rEnukA dEvi” – why & how “kannada bangAla” is actually “kar-nata vanga-Alla” ! ..the lineage & pedigree of the Hand Actors

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

Background

The Dikshitar does not hesitate to use the rAga word meaning from other languages in his unique mudra and icon delivery method.

For example..
In “hamira kalyAni”, he invokes the hamira = amira = prince of the Arabic language, when he addresses either kumAra (purahara nandana) or arjuna (parimala ranganAtha) or prahlAda (the other parimala ranganAtha)…

see posts 833 and 834
Aug. 1, 2023 post 833 hari & nara-hari =2 viSnu avatAras , 2 hamiras =2 princes (arjuna & prahlAda) & the 2 “parimala ranga" kritis
https://www.rasikas.org/forums/viewtopi ... 95#p379895
Aug 4, 2023, post 834 Why & How “purahara nandana” in rAga hamira-kalyAni is to the “prince” = kumAra-swAmy of vaithiSwaran kOvil
https://www.rasikas.org/forums/viewtopi ... 18#p379918
Or
https://www.rasikas.org/forums/viewtopi ... 75#p371975

Even the tyAgarAja agrees !
see this post on the thyagaraja thread

22 Jun 2022 The dESya rAga “hamir kalyAni” and the dESya word “hamir”
https://www.rasikas.org/forums/viewtopi ... 99#p376699

Here is another example..

In “paras = paraj” , the Dikshitar invokes the faras = horse of the Arabic language, when he addresses Sukra in the Friday navagraha kriti “Sri Sukra bhagavantam”, the deity who rides the horse. …see

29 Mar 2021 #500 (navagraha kriti rAga basis summary)
https://www.rasikas.org/forums/viewtopi ... 22#p370422
30 Mar 2021 #501 (angArakAdi navagraha vanditasya)
https://www.rasikas.org/forums/viewtopi ... 75#p370475
28 Mar 2022 # 735 (the Sukra kriti – of horoscopes and birthdays and destiny)
https://www.rasikas.org/forums/viewtopi ... 65#p375565

rEnukA dEvi samrakSitOham aniSam
C: vEnuvAdyAdiyuta vijayanagarasthitE mAnikyabhUSani madhura rasa bhASini
bAnasadrshAkSini paraSurAma janani kOnatraya vAsini guruguha viSvAsini
kannada bangAlE gAndharva bhanjani

Why and How “rEnukA dEvi samrakSitOham” is in rAga kannada bangAla = kar-nata vanga-Alla !

It is now shown in this post, how the Dikshitar derives the meaning of “kan-nada” from kar-nata (= HAND ACTOR or HAND ACTIONS) and the meaning of “bangAla” from the vernacular “vanga-Alla”.

Indeed, it has already been shown that vanga-Alla is the root of the rAga/words bangAla/Suddha bangAla as in lineage/group/dynasty…in not one but SIX of the tyAgarAjas kritis

see post dated Oct. 30, 2023..on the tyAgarAja thread
https://www.rasikas.org/forums/viewtopi ... 53#p380553

In fact, the meaning of kannada bangAla = kar-nata vangAlla is VITALLY RELEVANT for the unique deity = rEnukA dEvi..

Why ?

To understand this discovery, one needs to comprehend the following questions ?

1. Just who exactly is rEnukA dEvi ?
2. Why is she elevated in the kriti to the location “kOna-traya vAsini” , effectively the sahasra-dala padma = (1000 petalled lotus within the innermost triangle of the Sri Cakra), by the Sri-vidyA upAsaka Dikshitar ?
3. What is the role and meaning of paraSurAma (the 6th viSnu avatAra) in the kriti and in the legend ?
4. Who (or what) is the gAndharva, that is destroyed by the “kar-nata vanga-Alla” – described by the words “kannada bangAlE gAndharva bhanjani”

The story of rEnukA dEvi

rEnuka is the spouse of muni jamAdAgni, and mother of paraSurAma. (paraSurAma janani) .
The kSEtra of the kriti is believed to be in tiruvArUr area, with the name vijayapura.

rEnukA dEvi is symbolic of kar-nAta, the HAND-ACTOR.

As the Dikshitar says , rEnukA is fond of and adept in playing musical instruments (vEnu vAdya Adi yuta), usually played by the hands !

She was beheaded by her son paraSurAma and subsequently also revived by paraSurAma

The story goes that rEnukA was enticed by Citra-ratha (a gAndharva) for which she was punished by her husband to be beheaded !

The act of beheading was carried out promptly by one of the 5 sons, none other than parasurAma (the viSnu avatAra).

Of course, paraSurAma, the Ax-wielder, is iconic of the HAND-ACTOR (kar-nata) …( the Ax is always wielded by the hand , not by feet or elbows)

paraSurAma’s promptness to obey the father , allowed him a boon, with which he brought rEnukA back to life.

Now the wheel comes full-circle !

Citra-ratha (the gAndharva) is responsible for the seduction of rEnukA.

Citra-ratha is really a symbol of temptation, a role taken on by krSna , in his teaching of arjuna !

Why ? How ?

Because krSna, that most iconic of Hand Actors, the primeval “karma-yOgi” , (who is in the lineage of paraSurAma, both being avatAras of viSnu) asserts in the sacred gitA , 10.26

Of the gAndharvas, I am Citra-ratha..
अश्वत्थ: सर्ववृक्षाणां देवर्षीणां च नारद: गन्धर्वाणां चित्ररथ: सिद्धानां कपिलो मुनि:
aSvattha sarva-vrkSAnAm dEvarSinAm Ca nArada gAndharvAnAm Citraratha

Why is this relevant to this kriti and to the rEnukA dEvi ?

The purification of rEnukA

The beheading by the hand of paraSurAma of rEnukA symbolizes the destruction of this un-natural union of rEnukA and Citra-ratha.

“kannada bangAlE gAndharva bhanjani”

In reviving his mother (after purifying her) , paraSurAma reaffirms his own identity !

The gitA teaches that temptation is everyones “Citra-ratha”..and that one must not lose ones head to temptation.

Indeed, a closely intertwined legend of paraSurAma involves another Hand Actor, none less than the 1000 handed kArtavirya.

kArtavirya is supposed to have stolen the cow of jamAdAgni (= kAmadhEnu) for which he was beheaded by paraSurAma.

kAmadhEnu/kArtavirya and rEnukA/Citraratha represent the negative effects of temptation.

The cure for such temptation is restraint and self-purification, which is within everyone, just as the son who beheads and restores the head of his own mother.

Summary

rEnukA is the mother of the manifestation of viSnu known as paraSurAma.

rEnukA is NOT the conventional lalitA or any of the lalitAs conventional aspects (durgA, pArvati, lakSmi , saraswati).

Yet she ascends to the innermost triangle of the Sri Cakra yantra....in the pujA and vision of the Sri-vidyA upAsaka !

Why ?

In the Sri-vidyA, realizing oneself is the essential goal.

In one stroke, with his brilliant choice of “kar-nata vangAlla”, linking the Hand-Actor entities of rEnukA, paraSurAma, krSna and also the sahasra-kara kArtavirya, the Dikshitar has illuminated the teaching of self-purification, which lies at the heart of the Sri vidyA and also the gitA.

Are there still any fools out there who can think these are all coincidences or some puny exercise in grammar/vibhakti or swara-frequency/air-pressure variations ?

If so, this music, this nAda-upAsana is not for you.

satyam Eva jayatE

rEnukA dEvi samrakSitOham – rAga kannada bangAla

rAji g
https://www.youtube.com/watch?v=3WgKbZG_l6c

OST
https://www.youtube.com/watch?v=kCncPYInalM

veena gAyatri
https://www.youtube.com/watch?v=3fFJwrFG1nE

nAdopAsaka · Post by **nAdopAsaka** » 12 Mar 2024, 19:06

930 Candram bhaja - SO-daSa kalAdharam - How the 16 phases of the Moon rule the 10 digits of the Crab.

In the footsteps of nAdajyOti Mutthuswamy Dikshitar

The notion that the crab = karkataka rASi is missing in “Candram bhaja” is COMPLETELY WRONG. (This is yet another example of how ignorance leads to corruption of the kritis)

The Dikshitar gives the LORDSHIP of the MOON over the CRAB = CANCER = karkataka within the existing kriti.

There is ZERO possibility (or need) for any additional line.

Any such addition is spurious and a figment of some deluded, misguided and ignorant paddhati (of which there are quite a few)

The method of this rASi delivery in “Candram bhaja” is similar to how the rASis (constellations) are delivered by the Dikshitar for the other 6 grahas.. …as shown here

sUryamUrte - simharASyAdhipati
Candram bhaja – SOdaSa kalAdharam
angArakam – mESa vrSCika rASyAdhipatim
budham ASrayAmi - mithuna-kanyAdhipam
brhaspatE – dhanur minAdhipatE
Sri Sukra bhagavantam – vrSa tulAdhiSa
diwAkara tanujam – makara kumbha rASi nAtham

Observe the usages A-dhipa, A-dhipatim, A-dhiSa and also A-dharam (as dhara, the lord is the support, basis, protector)

SOdaSa kalAdharam conceals daSa kalA-dharam

How the 16 phases of the Moon rule the 10 digits of the Crab.

The formal word for the Cancer constellation is the Crab defined by its digits (claws or hooks) = karkataka

The Crab ALWAYS has 10 digits = daSa kalA

There can be no question SOdaSa kalAdharam is the reference for the ,lordship of the moon over the karkataka = CRAB.

”indrAdi-lokapAlEdi tArESam indum SO-daSa kalAdharam"

In fact the starting phrase ”indrAdi-lokapAlEdi tArESam” itself lays the groundwork by asserting that the moon is also lord of the stars of the lunar mansions= tAra-iSa..

Why is the nighttime aSAvEri kriti carrying this "hidden" descriptor for the rASi (compared to the other 6 kritis)

Because even though the moon goes thru many dimly lit phases, including amAvasya... the moon ALWAYS REMAINS the lord of the HOUSE of the CRAB.

And by highlighting this dominance using SO-daSa kalAdharam to simultaneously describe the moons phases that circumscribe the 10 digits of the CRAB, the Dikshitar illuminates and propitiates the moons power.

The COMPOSITE NATURE of the navagraha set of the Dikshitar

The entire navagraha set is a composite set in horoscopy, intimately connected to the MOVEMENT of the planets ..and the shadow planets (the ChAyA graha).

Foolish musicologists and corrupt vidwAns have attempted to ruin this composite navagraha pujA of the Diklshitar by falsely suggesting that the rAhu and kEtu kritis are spurious.

Nothing could be further from the truth.

None of these fools has bothered to read or understand the kritis , the words, the ideas or the choices made.

Post # 500 and 501 of the Dikshitar thread give the essential details.

29 Mar 2021 #500 (navagraha kriti rAga basis summary)
www.rasikas.org/forums/viewtopic.php?p=370422#p370422

30 Mar 2021 #501 (angArakAdi navagraha vanditasya)
www.rasikas.org/forums/viewtopic.php?p=370475#p370475

MOST of the rAgas of the navagraha kritis are themselves chosen from the names/icons of the deities vehicles (vAhana) or some aspect of the TRAVEL of these grahas.

After all, it is the MOVEMENT of the planets that allows the horoscopical studies to apply to the transit of life and fate.

The Dikshitar is well versed in different types of composite pujA (refer to his numerous navAvaranas or panCa bhUta etc sets) .

There is ABSOLUTELY NO WAY the particularly important nature of rAhu/kEtu could be ignored by the Dikshitar when constructing this horoscopically oriented kritis set.

Summary

Foolish and corrupt additions/subtractions to the kritis conducted over the last 200 years , by “academicians" and musicologists arise from lack of understanding of the words used, lack of respect for and basic ignorance of the motivations (e.g. Sri vidyA etc) of the vAggeyakAras.

Candram bhaja mAnasa – rAga asAvEri

MDR
https://youtu.be/fUMAjSW7iBk

preeti S
https://youtu.be/Yn5q0r-s0Gg
Top

nAdopAsaka · Post by **nAdopAsaka** » 13 Mar 2024, 20:25

931 The Super kSEtra – tiruvidaimarudur - How “CintayE mahAlingamurtim” celebrates the panCa bhUta along with 4 surrounding kSEtras ( tiruvArUr, Cidambaram, sirkAzhi & swAmimalai)

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

For 200 hundred years, the kriti, that offspring of the union of vAggeyakAra with deity, has fled the cacophony of the kutChEris to hide behind the Mother.

Now this wondrous child peeps out and bestows its shy yet all-knowing smile on a grateful nAda-upAsaka.

kriti by kriti, word by word, brick by brick, a Great Wall is being erected.

This Great Wall, (like the other one) is also a fence. No one can “sit on this fence”…. Its top is unreachable...

This fence, this great wall… offers only two sides….truth versus untruth, Sruti vs. apa-Sruti..

A choice has to be made.

The truth of the vAggeyakAras upAsana is inherent in their words.

The truth cannot be denied , either by ignorance or arrogance.

The truth of the Super kSEtra

tiruvidaimarudur = madhyArjunapuri is a focal kSEtra considered as the central hub of several important kSEtras that surround it.

The history and legends of this focal nature are of several hundred years vintage.

The Dikshitar registers this important aspect of the madhyArjunapuri shrine in his paras rAga kriti CintayE mahAlingamurtim. He says…

Sri kamalApura sOmAskandam CidambarESwara natanAnandam SrI kAlISa bhairava spandam Siva swAmiSaila guruguhaskandam

Why does the Dikshitar refer in this kriti to ONLY 4 of the surrounding kSEtras ?

(Indeed, there are as many as 8 shrines in the traditional descriptions)

There are 2 important reasons !

First, the 4 chosen kSEtras represent the MAXIMUM spread in the North-South-East-West directions. This is symbolic of the spread and influence of the COla kingdom, which of course is the basis for the importance of the Super kSEtra that has madhyArjunapuri as its center. The map shown in picture attached makes it clear !! ( it is a reasonable transcribing of typical position and distance of the 9 shrines )

1....................................................................................................................................................................Cidambaram
1.............................................................................
1.............................................................................
1 ....................................................................................................................................................................................................sirkAzhi 1.............................................................................
1.............................................................................
1............................................................................. senganur
1......................................................................................................................... tiruvavaduturai
1............................................................................. suryanAr
1............................................................................. tiruvidaimarudur
1. swAmimalai
1.............................................................................
1........................................................Alangudi
1.............................................................................
1......................................................................................................................................................... tiruvArUr

The Dikshitar may not have had GPS and google maps but he had a keen understanding of distance, having traveled to all the locations.

But the more important reason why there are 4 additional kSEtras noted is that the 5 kSEtras each propitiate one element of the panCa bhUta set !

One-by-one, the 5 elements are enumerated using the words chosen by the Dikshitar

tiruvArUr

Sri kamalApura sOmAskandam – Apa/Water element

The lotus (kamala) grows in water.
sOma is the original rasa = liquid , representative of life-giving amrta..note for example, the amrta-bOdha in the jambupatE masterpiece ..

Cidambaram

CidambarESwara natanAnandam – AKASa element

ambara the word is sufficient evidence (Cidambaram is the AkASa bhUta kSEtra)

sirkAzhi

Sri kAliSa bhairava spandam - agni/fire element

kAli and bhairava are distinguished by their “fire-power”...in the destructive state of vengeance and the third-eye..no deity is more iconic of agni than kAli/bhairava.

Notice how wonderfully, the Dikshitar even gives the (phonetic) mudra for the location sirkAzhi with the usage Sri-kAli
These phonetic mudras have even now not dawned on some brain-dead

swAmimalai

Siva swAmiSaila guruguhaskandam – prana/vAyu element

In his brilliant way, the Dikshitar amplifies the meaning of the word “prana” as life-wind (or life-breath) as the emblem of vAyu.

Why ?

Because at swAmimalai, the subrahmanya gives the tatva-upadESa = pranavOpadESa which is the essence of the pranava or Om to Siva.

Is there a better way to give a “hidden" mudra for vAyu ?! NO !

And finally, the surrounding kSEtras are GROUNDED by the focal point, which is the Earth at

tiruvidaimarudur = madhyArjunaapuri

CintayE mahAlingamurtim – prthvi bhUta

The linga always emerges from the Earth
Fittingly the super kSEtra is centered at the ground-zero of madhyArjunapuri.

In a sequence of upcoming posts EACH of the rAgas of the 4 kritis by the Dikshitar at this super kSEtra will be explained.

The Great Wall of Truth.

The musical legacy and worship of the vAggeyakAras cannot be denied or diluted by notations or hero-worship of technicians/performers .

The kritis emerge not from notations but from the deepest thoughts of the nAdayOgis.

satyam Eva jayatE

CintayE mahAlingamurtim – rAga paras

bAlAji S
https://youtu.be/DghkeEDRBEI

sugandha K
https://youtu.be/1eLIEwV6vH8

nAdopAsaka · Post by **nAdopAsaka** » 17 Mar 2024, 19:19

932 The Super kSEtra –tiruvidaimarudur – part 2. The horse legends of madhyArjunapuri & the 2 paras rAga kritis of the Dikshitar at this kSEtra

In the footsteps of nAdajyOti Mutthuswamy…

The horse has a strong and unmistakable connection to tiruvidaimarudur.

Why ? How ?

1. aSwamEdha prAkAram
The very entrance precinct is known as the aSwamEdha prAkAram.

2. brahmahatyA pApaharana
brahmahatyA pApaharana, forgiveness of the crime of murder is central to mahAlinga of tiruvidaimarudur .

At tiruvidaimarudur, it is a horse ridden out of control supposedly by a COla king that is responsible for this killing ( according to the legend)

The two aspects are separately celebrated by the Dikshitar with 2 kritis in the rAga whose name that itself derives from the Arabic word for horse = paras = faras.

CintayE mahAlingamurtom & mahAlingESwaram madhyArjuna

It is useful to observe the 3rd paras rAga kriti of the Dikshitar at this point.

The third paras rAga kriti Sri Sukra and its horse motif

Previously it has been shown (beyond a shred of any doubt) that the Dikshitar invokes the rAga paras when he addresses the Sukra deity in his navagraha kriti “Sri Sukra bhagavantam”…BECAUSE the horse is Sukras vehicle/vAhana,.and the navagraha kritis are about horoscopy, intimately related to the TRAVEL OF THE GRAHAS.

See the posts

29 Mar 2021 #500 (navagraha kriti rAga basis summary)
https://www.rasikas.org/forums/viewtopi ... 22#p370422
30 Mar 2021 #501 (angArakAdi navagraha vanditasya)
https://www.rasikas.org/forums/viewtopi ... 75#p370475
28 Mar 2022 # 735 (the Sukra kriti – of horoscopes and.,, birthdays and destiny)
https://www.rasikas.org/forums/viewtopi ... 65#p375565

CintayE mahAlingamurtim – the super kSEtra kriti

The role of the horse in the COla army march across the region.

Previous post # 931 discusses the super kSetra kriti.

Here the horse is the natural motif for how the COla kings established their influence over the region ( with madhyArjunapuri as their spiritual center …)

And it is a COla king riding roughshod whose horse results in the killing noted by the temple legend “brahmahatyA “

Finally in

mahAlingESwaram madhyArjuna it is the aSwamEdha yagna (that is inherent in the prAkAram name) that is celebrated.

Why ?
Because the word "haya harana" appears via “bhava bhayaharanipunam “ !!!

Notice that the Dikshitar gives the rAga mudra in each of these 3 paras kritis..

1. Sri Sukra bhagavantam

pArijAtAmSa conceals the mudra pArija , sufficient phonetic mudra ( except for the brain-dead , of course )

2. CintayE mahAlingamurtim

ati samIpa Rju mArga darSitam

3. mahAlingESwaram madhyArjuna

The Dikshitar gives the literal translation for the word horse = haya via the word

bhavabhaya harana

CASE CLOSED !!

Summary

The deconstruction of the rAga paras kritis shows the dominance of the horse motif, whether for the vAhana of the navagraha deity or the madhyArjunapuri kSEtra iconography.

The explanations have to be true, because no one , not even the nAda-upAsaka, has the imagination to make it all up.

The words given in the kriti by the vAggeyakAras are sufficient to arrive at the conclusions ..nothing else is needed.

This series of 300 plus posts is titled

In the footsteps of nAdajyOti Mutthuswamy Dikshitar.

Verily have these footsteps of the nAdayOgi been recreated…and his legacy rescued and restored.

satyam Eva jayatE

CintayE mahAlingamurtim – rAga paras

brindA M
https://youtu.be/jYIDZqzN-u8

mahAlingESwaram madhyArjuna – rAga paras
upcoming

sam · Post by **sam** » 03 Apr 2024, 11:04

I was wrong in my understanding and query about the virinchipuram margasahayam krithi.
.
The lord is worshiped by all the fhree goddesses, namely, parvathy, lakshmi and saraswathy.
mArga sahAyESvaraM bhajE(a)haM
marakata vallI manOllAsa-karam

samashTi caraNa

durgA lakshmI bhAratIbhiH pUjitaM
dIna janAdi bRnda sEvitaM
dIrghAyuHprada kRpAlavAlaM
..
About the kruthi on the ellaiyamman goddess at thiruvarur, it is just a kruthi on village deity.

Indeed, what is there to admire about renuka devi? After her chalanam?

It seems that the deity was an import from karnataka / maharashtra region.
.
Is there any sthala purana of that isolated temple which connects the deity to renuka devi, parasurama's mother?
Kindly explain.

On googling, i got this info.

.Legend Story of Renuka Devi Temple in Maharashtra – Hindu Temple Blog

:https://hindutemplesblog.wordpress.com/ ... harashtra/ .

Another story says that when Parasurama tried to behead his mother, she escaped into a low- caste locale. However, Parasurama found her and while slashing her head, he killed a low-caste woman, who tried to protect her.

When they came alive, Renukas head was attached to the other woman and vice versa. Since Jamadagni accepted the body of Renuka with the head of other woman, Renuka remained there as a Goddess and is being worshipped by the low-caste people as Yellamma.

nAdopAsaka · Post by **nAdopAsaka** » 03 Apr 2024, 23:12

934 rEnukA and the vijayapuram sthala

In the footsteps of Mutthuswamy Dikshitar…

Indeed, what is there to admire about renuka devi? After her chalanam?

It’s a good thing the Dikshitar does not share this notion…for it his vision and pujA and admiration that produces the karnata vangAla gem….rEnukA dEvi samrakSitOham.

It HAS to be said…

There is no need or compulsion to listen to or understand any of the kritis of any of the vAggeyakAras.
Please find some other avenue/s…

rEnukA is inseparable from the vijayapuram sthala, which is close to tiruvArUr.

Indeed, the vijayapuram sthala is also NAMED IN the Dikshitar kriti “rEnukA dEvi samrakSitOham”…given by “vijayanagara”..

The proximity is not merely geographic….to the Sri vidyA upAsakas the two sthalas are both Sri vidyA sanctums.

The term “vijaya-puram” represents the victory of the Sri-vidyA goal of self – achievement and over temptation, symbolized by the rEnukA legend.

This is fully described in the post # 929 dated Mar 2 2024, using the specific rAga kar-nata vangAla….( beheading by the axe-wielding son and her subsequent revival at his behest)

https://www.rasikas.org/forums/viewtopi ... 18#p381418

Note on the tiruvArUr sthala

tiruvArUr is the kSEtra of MANY navAvaranas not just the kamalAmbA navAvArana ( also fully described in several posts on this thread.).

See posts on tyAgarAja navAvaranA, nilOtpalAmbA navAvarana and also the 2 separate navAvaranAs to the tiruvArUr ganapati.

The Dikshitars tiruvArUr tyAgarAja navAvarana was first revealed in post #572 of this thread, dated 03 Sep 2021
1. tyAgarAjam bhajarE yadukula kAmboji trailOkya mOhana
2. tyAgarAjO virAjitE athAna sarva-AshA paripUraka
3. Sri tyAgarAjasya bhakto bhavAmi rudrapriya sarva-saMkShObhaNa
4. tyAgarAjAya namaste bEgada sarva-saubhAgyadAyakA
5. tyAgarAja pAlayASu mAm gaulA sarva-Artha sAdhaka
6. tyAgarAjAdanyam nA jAne darbAr sarva-rakShAkara
7. tyAgarAjEna samrakshitOham sAlaga bhairavi sarva-rOgahara
8. tyAgarAjE krtyAkrtyamarpayAmi sAranga sarva- siddhi pradAyaka
9. tyAgarAja yogavaibhavam Ananda bhairavi sarva-Anandamaya

The Dikshitars nilOtpalAmbA navAvarana was first revealed in post #568 of this thread dated 17 Aug 2021.
1. nIlOtpalAmbikE nitya chAyAgauLa trailOkya mOhana
2. nIlOtpalAmbikAyai namaste kEdAragauLa sarva-AshA paripUraka
3. nIlOtpalAmbam bhajarE nAri rIti gaulA sarva-saMkShObhaNa
4. nIlOtpalAmbikAyAstava dAsOham mAyAmALavagauLa sarva-saubhAgya dAyakA
5. nIlOtpalAmbikayA nirvana kannadagaula sarva-Artha sAdhaka
6. nIlOtpalAmbikAyAm bhaktim karOmi pUrvagauLa sarva-rakShAkara
7. nIlOtpalAmbA jayati nArAyaNa gauLa sarva-rOgahara
8. nIlOtpalAmbikAyAh param gauLa sarva- siddhi pradAyaka
9. SrI nIlOtpala nAyikE ritigaula sarva-Anandamaya

The 18 ganapati kritis constitute 2 separate navAvaranas and are also fully described in previous posts.

Everyone i.e . each and every one of the 27 kritis to kamalAmbA, tyAgarAja and nilOtpalAmbA as well as the 18 tiruvArUr ganapati kritis of these navAvarana kritis has its rAga chosen in alignment with the associated Cakra as shown in the previous posts.

None of this composite musical pujA has been COMPREHENDED IN 200 YEARS BY the kutChEri industry and its thoughtless performers OF ALL ILKS.

These include the air-pressure variation experts who are known by their 2 letter, 3 letter and 4 letter names and the older as well as newer charlatans hell-bent on corrupting a legacy they simply do not understand.

But truth always triumphs..and the legacy of the Hindu nAdayOgis asserts itself.

rEnukA dEvi samrakSitOham – rAga kannada bangAla

mandolin SrinivAs
https://youtu.be/pS8-hL3FPnw

selvamuthu et al
https://youtu.be/r8esweFnk-o

sam · Post by **sam** » 04 Apr 2024, 13:04

While Parasurama according to Naarayaneeyam was an incarnation,to root out rowdy kings , his mother Renuka is nowhere elevated to the status of goddess equivalent to either parvathi or lakshmi.
.
That is why, we wonder, how she is worshiped. The cited kruthi is just a kshetra kruthi .
..
rENukA dEvi saMrakshitO(a)haM aniSa

vENu vAdyAdi yuta
vijaya nagara sthitE

mANikya bhUshaNi
madhura rasa bhAshiNi

bANa sadRSAkshiNi
paraSu rAma janani
.
kONa traya vAsini
guru guha viSvAsini
.
kannaDa bangALE gAndharva bhanjani
.
What is the significance of kona traya vaasini?
...
Is she the protector of paaNar folk musicians?

nAdopAsaka · Post by **nAdopAsaka** » 10 Apr 2024, 19:37

936 Super kSEtra–tiruvidaimarudur – 3. Why rAga athAna for mahAlingESwarAya & the elephant motif of ALL 8 of the Dikshitar athAna kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The horse is not the only 4 legged creature symbolic of the COla empire.

The elephant is equally significant....see for example the darAsuram airAvatESwara temple installed by this dynasty.

And at their super-kSEtra tiruvidaimarudur, the Cola’s named one of the important temple tanks as the… airAvata tirtha…

airAvata is, of course, the legendary white elephant.

Indeed, the elephant headed ganESa deity is also well represented in the many sanctums of madhyArjunapuri.

So a kriti in a rAga bearing the elephant name at tiruvidaimarudur = madhyArjunapuri is entirely expected from the Dikshitar.

Why ?..ask the ignorant and/or the arrogant….who have so far denied the Dikshitar ( and the tyAgarAja ) their words and their worship , preferring instead the vapid hero-worship of mere performers and “playback singers”.

Necessary asura moment

The foolish hostility between the so-called sects as well as the so-called non-sects, all of whom are completely illiterate and incapable of understanding the meaning, ideas and words of the kritis has attempted to dilute and marginalize the musical legacy of the vAggeyakAras by reducing it to wordless , air-pressure variations.

And this bizarre exercise in corruption is regularly anointed with equally bizarre awards….dangled as a merit badge by the awardees and their vacuous “fans”.

Why , these charlatans may ask, is a kriti in rAga athAna, fully expected from the Dikshitars worship at tiruvidaimarudur = madhyArjunapuri ?

As shown by now, irrefutably, in HUNDREDS of kritis, the rAga word name meaning is itself central to the worship !

It is no different for this athAna kriti at tiruvidaimarudur.

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

the elephant in the room…aka the elephant in the rAga athAna

…the elephant and the 8 rAga athAna kritis of the Dikshitar.

All 8 of the Dikshitars athAna rAga kritis carry the icon of the elephant ..

1. vAmAnkasthita to the elephant-headed tiruvArUr ganapati (post # 774)
2. brhaspatE to the elephant-riding navagraha Thursday deity (post # 500)

3. In the case of “Sri dakSinAmurtim sadA”, set in kAnCi, the rAga name itself is one of the kSEtra mudras !!

Why ?

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

4. Sri vaidyanAtham – vaithiSwaran kOvil
This is fully explained in post dated Jul 14, 2023 in connection with the bAlAmbikA navAvarana.

https://www.rasikas.org/forums/viewtopi ... 57#p379757

The “bhandakumAra mardini bAlAmbikA” goddess (the child form of lalitA) was given help by the ganapati, the elephant headed deity , upon the Sri vaidyanAthas instruction, in her victory over the sons of bhanda....elephant leads to hAthana = hAthi, hasti, atti etc

5. Sri madurAmbikayA – madurai
A kriti in rAga athAna to the minAkSi deity that is known as rAja- mAtangi is natural and befitting, where mAtangi is this grand elephant.

Why rAga athAna is chosen for the 7th Cakra or sarva-rOga harana Cakra of the madurAmbA navAvarana is a separate teaching that will be explained in an upcoming post. ..(…and Yes..that is the madurAmba navAvarana as in 9 kritis of the Sri vidyA …not the puny, misleading and corrupt vibhakti set spread by thoughtless notation mongers starting from the “criminal” SSP )

The madurAmbA navAvarana was first revealed in post # 568 dated Aug 17, 2021.

6. hErambAya namastE - properly another athAna kriti to who else….the elephant headed deity
7. tyAgarAjO virAjatE - this is the 2nd Cakra kriti of the tiruvArUr tyAgarAja navAvarana…described in post # 572 dated Sep. 3, 2021.

The choice of athAna derives from the 2nd Cakra name swadiS-thAna.

But here too the Dikshitar does not ignore the elephant !

WHY ?

Because the ORDINARILY BULL RIDING viti vitanka tyAgarAja ALSO RIDES THE ELEPHANT as part of the chariot festivities in the month of vasanta/spring under the ASlESa constellation.

Indeed, the Dikshitar gives the clue in the other tiruvArUr kriti in Sri rAga “tyAgarAja mahAdhwaja” Carana

srSti svarUpa vasanta vaibhavam aStadhvajEndra vimAna bhUta samaSti gaja vrSabha kailAsa vAham AslESamahA ratha sthitam

Which brings us to tiruvidaimarudur and

8. mahAlingEshwarAya namastE

AS noted already, airAvata tirtha is a prominent icon of this kSEtra and enforces the elephant motif.

But wait..there is more..!

brahma-hatyA – the key feature of this kSEtra itself carries the word “hatha” at its root.. where this hatha or Killing by the horse riding Cola king is forgiven by the mahAlingESwara.

The Dikshitar delivers the sUCita (inferred) rAga mudra for rAga athAna with the word brahma-hatyA = brahma-hatha , easily seen also as brahma-hathana !!

Case closed !

Summary

The Supremacy of Word

Absolutely no rAgas are chosen randomly by the Hindu nAdayOgi vAggeyakAras.

rAga is but one tool in the musical worship of these sAdhus.

WORD and names are other tools, so is meter, so is idea, so is quoted scripture and careful iconography…..for the Dikshitar in particular, it is the Sri vidyA’s guiding inspiration that is overarching.

The central question that has eluded the performer-crazed kutChEri industry is…

Why is a rAga chosen for a kriti by the Hindu vAggeyakAra…

It is this profound question and its answer that is the rosetta stone which deciphers the hitherto hieroglyph of the vAggeyakAras choices.

It is this profound question and its logical answer ( confirmed in each of the hundreds of kritis) which is the prism that produces the entire spectrum of the vAggeyakAras vision and rescues their worship from the charlatans.

Truth always triumphs..

mahAlingEshwarAya namastE - rAga athAna
TO BE UPDATED LATER

The athAna to the tiruvArUr vitanka tyAgarAja is a suitable alternative

tyAgarAjo virAjatE – rAga athAna

Kamala d
https://youtu.be/lflFJroJ_K8

Veena kalpakam s
https://youtu.be/neulmRnz10o?list=OLAK5 ... 2A0lu5TNis

sam · Post by **sam** » 11 Apr 2024, 06:42

Ftom the famous monograph on MD by RaviSri.

There is a temple dedicated to Goddess Renuka Devi, popularly known as Mariyamman in Tamil, in the Vijayapuram area of Tiruvarur. On this deity, Dikshitar wrote the kannaDa bangaLa song
rENukAdEvi samrakShitOham. This raga is again a very rare one and we have only the above Dikshitar kriti as reference.

nAdopAsaka · Post by **nAdopAsaka** » 14 Apr 2024, 19:11

938 Super kSEtra–tiruvidaimarudur 4. dhanyAsi for the dhanini ..brhat-kuCAmbA & Mothers milk ..stanza 75 of the Adi Sankara’s soundarya -lahari

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The Adi Sankara is intimately related to the tiruvidaimarudur kSEtra.

Indeed, the Dikshitar marks this kSEtra legend with the line….ati samipa rju mArga darSitam..in the paras rAga masterpiece "CintayE mahAlingamurtim”…(describing how the Adi Sankara tried to stay in the proximity of the deity, who illuminated his path …see also part 1 of the super kSEtra set of posts)

But it is in the dhanyAsi dEvi kriti “paradEvata brhat kuCAmbA” where the influence of the Adi Sankara and in particular the “soundaryalahari” becomes clear.

Read on to learn the truth of yet another kriti of the vAggeyakAras that has eluded not just the foolish but also the corrupt, the monographers & the musicologists, the kutChEri vidwAns and the “academicians”.

paradEvatA brhat kuCAmbA rAga dhanyAsi
P: paradEvatA brhat kuCAmbA samrakSatu mAm SrI jagadambA
A: SAradA ramA sannuta sakaLE SaraccAmbEya puSpa padayugaLE
varaguruguha jananI cinmAlinI sthiratara sampatpradAna dhaninI
C: carAcarAtmaka prapanCa jananI CAruCandrahAsinI suvAsinI CidAnanda mahAlinga mOhinI CidrUpiNI bhakta viSvAsinI
karunA rasa pravAhinI kaulinI kalikalmaSa nASinI hamsinI kalAmAlinI kAtyAyanI kanjalOCani bhava pASamOCanI

para-dEvata – the transcendent goddess beyond all deities

Every line of every stanza in the Adi Sankaras soundaryalahari, extols the mother goddess.

And naturally the Dikshitars dhanyAsi kriti to the dEvi begins with the transcendent name.

para-dEvata brhat kuCAmbA

But..what is the significance of the name brhat kuCAmbA..deriving from the combination kuCa + ambA ?

It is ONLY the Dikshitars choices and words that illuminate this exalted name and its relevance at tiruvidaimarudur.

The soundaryalahari and the first sustaining liquid / rasa

In several stanzas of the soundaryalahari, the attribute of the Mother supplying sustaining liquid, whether as milk or the milk of wisdom ( as sa-ras-wati ) is found.

Stanza 75 in particular is notable

तव स्तन्यं मन्ये धरणिधरकन्ये हृदयतः
पयःपारावारः परिवहति सारस्वतमिव ।
दयावत्या दत्तं
tava stanyam manyE dharanidhara kanyE hridayataha
payah paraabhaara parivahati sAraswatam iva
dayAvatyA dattam

As kuCa ambA, the goddess is the provider (from her stanya) of the torrent of liquid (parivahati sAraswatam)..which liquid the nAdayOgi ( and the Adi Sankara ) consider variously as…nectar, amrta, milk, wisdom and also mercy !!

Indeed the words kuCa and stanya are synonyms !

the Dikshitar goes further..

He gives also

karunA rasa pravAhini– which shares the root word of vahati in the soundaryalahari
And of course pravAham is always linked with a Wave, or a tidal wave which is the synonym of “lahar “.

And he gives the rAga mudra for the word dhanyAsi via “sampat pradAna dhanini”

The usage is apt..

Why ?

Because stanza 75 of the soundaryalahari ALSO describes the goddess as “dayAvatya dattam” = She who grants mercy = daya ( which is this karunA rasa)

And now the choices and icons become clear..

When the upAsaka seeks his sampat = “wealth” (dhana ASa) from the “dhanini”, the “wealthy” brhat kuCAmbA goddess who is the ocean repository overflowing with this “wealth”..which issues from her kuCa = stanya in the poets eye as a torrent of Mothers milk…..

Could any other rAga but dhanyAsi be the vehicle for this plea ??

Absolutely, categorically .. not !!

Indeed the wondrous kriti shows that not only has the deity heard the plea, she has met the vAggeyakAra/upAsaka halfway , “put the candy in his mouth” and fulfilled the wish…..sampat pradAna dhanini

Naturally dhana ( wealth or sampat ) here is the imaginative idea of the individual nAdayOgis/sAdhu as…
wisdom, mercy, enlightenment..not any property or jewelry or worse yet some ridiculous “award”.

Summary

nAda sampradAya pradarSini

Again and again, unerringly, the millenial old unbroken tradition of truth and Sruti asserts itself.

It will Always expose the apa-Sruti, untruth and corruption of charlatans… of every era.

The nAda-upAsaka thanks the rasikas forum founders and managers for their role in disseminating this important legacy.

paradEvata brhatkuCAmbA – rAga dhanyAsi

priya sisters
https://youtu.be/gQcfmsZNyS4

veena rEvati s
https://youtu.be/kbU2RexBjiI

another Veena ..aswathi A
https://youtu.be/-sIf5ljfpv0

sam · Post by **sam** » 16 Apr 2024, 08:42

"Sri Saraswathi -
Aarabhi
Madurai Mani Iyer
| Muthuswami Dikshithar"
...
https://youtu.be/8GadEziBB1Q?si=0hZY-ePT9pvoEHnD
.

SrI sarasvati namO-astu tE
varadE para dEvatE

SrI pati gaurI pati
guru guha vinutE
vidhi yuvatE

vAsanA traya vivarjita -
vara muni bhAvita mUrtE
.
vAsava-Adi-akhila nirjara -
vara vitaraNa bahu kIrtE dara -.
hAsa yuta mukha-ambu-ruhE
adbhuta caraNa-ambu-ruhE
.
saMsAra bhIti-apahE
sakala mantra-akshara guhE
.
The three Vasanas (innate tendencies) that control us are :
Loka Vasana, or the desire to win approval from everyone,
.
Deha Vasana, or identification with the body and indulging its desires and lastly, .

Shastra Vasana or being satisfied with the mere intellectual understanding of scriptures.

.

nAdopAsaka · Post by **nAdopAsaka** » 16 Apr 2024, 21:03

940 Sri saraswati & the vidyArambham Arabhi from A to Z. ..from saraswati namastubhyam to sakala mantrAkSara..

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

Like the hundreds of examples already seen where rAga name and choice are interwoven with deity, the pristine Arabhi of the Dikshitar is dedicated to ..the FIRST goddess of learning and wisdom..

FIRST because this goddess initiates the quest (and later satisfies it..)

From A
There is NO QUESTION the Arabhi is chosen for "Sri saraswati namOstutE varadE", because vidyArambham begins with …saraswati namastubhyam varadE kAmarupini…the ancient SlOka

Arabhi derives from Arambhana/Arabhyam.

To Z
And fittingly, the kriti ends with the reference to letters..= akSara

sakala mantrAkSara guhE

Yes..letters that form the words of the mantras, the ancient ones and the modern ones, which the nAda-upAsakas call the kritis..

Yes..the same akSaras and Sabda, that CHARLATANS wish to dilute with vain, narcissistic wordless air-pressure disturbance.

In Hindu consciousness, even the primeval instruments… the music of the flute of krSna and the vinA of saraswati are NEVER considered without WORDS ( refer to the gitA or the vinA–pustaka dhArini ).

No..!!..The khayAl (of the muezzin or anyone else ) cannot undermine the supremacy of Word and name, central to nAma-sankirtana and the music of the vAk-geya-kAras.

A separate post will REITERATE the basis for the vEga -vAhini chosen for the saraswati of kAnCi.. (here too, ignorance and scoundrels have attempted to ruin the Dikshitars composite pujA)

The five vEgavAhini kritis (ALL at kAnCi) form the Dikshitars panCa bhUta pujA at kAnCI first revealed in post 763 dated Jul 26, 2022

www.rasikas.org/forums/viewtopic.php?p=376929#p376929

See also post #886 on the kalAvati & vinApustakadhArini – SrngEri & kAnCi –the dakSina AmnAya pitha saraswati & the AkASa bhUta saraswati

Summary
The wondrous goddess creates a “teaching” moment through her messenger , the Dikshitar and his apostles… the nAda-upAsakas.

But, of course, it is not the intention of these posts to either lead anyone to the water, or force anyone to drink it.

There is no compulsion or need to listen to or understand any of the kritis.

All those who are repelled by the words and ideas of the vAggeyakAras music, can and should find other avenues.

Sri saraswati namOstutE – rAga Arabhi

Veena p rAmaCandra
https://youtu.be/lnBt7rPFcfk

OST
https://youtu.be/gzcK2myTvXQ

nAgaratna S
https://youtu.be/bGf2VaRn70E

nAdopAsaka · Post by **nAdopAsaka** » 21 Apr 2024, 19:09

941 tira-kOti-iSwaram , Siva’s 1000 fold arrow missile– paSupatAstra..purvi-kalyAni for puri-kAlana city destroyer– tiru-vati-iSwaram’s 200 year corruption ENDS TODAY

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

A conspiracy of fools
The Dikshitars purvi-kalyAni kriti “tiru-vatiSwaram namAmi” has been INCORRECTLY worded/recorded for 200 years.

The usage of the word “tiru-vatiSwaram” is COMPLETELY incompatible with the Dikshitars choice of language….

Along these lines, notice that the words tiru-vArUr, tiru-mAyilAduturai, tiru-vOtriyUr, tiru-CEndur, tiru-ingOmalai, tiru-pati, tiru-induluri, tiru-Alavai etc. etc. etc. DO NOT appear in his kritis.

Indeed, it is now shown that the CORRECT word is “tira-kOti-iSwaram, which is accurate for two important reasons/rules

1. “tira-kOti-iSwaram” reflects the proper kSEtra legend from the mahAbhArata of the Siva, arjuna and the paSupatAstra arrow missile.

2. “tira-kOti-iSwaram” is correctly aligned with “mAra-kOti-iSwaram of the kritis Carana, obeying the dwitiya akSara prAsa rule.

Fools who ignore the kSEtra legend of the first rule, are also betrayed by their ignorance of the second rule !

First some exact facts based on Words and their meanings
1. tira = arrow (pronounced as teera)
2. tira-kOti = 1000 fold arrow missile = paSupat-Astra
3. tira-kOti-iSwara = Siva of tiru-vatiSwaram kSEtra
4. tiru-vatiSwaram kSEtra legend – from the mahAbhArata where arjuna and Siva collide
5. Campaka-valli is the consort of this kSEtra’s Siva and is also noted in the kriti

paSupatAstra and the mahAbhArata

paSupatAstra is the "kOti tira" – 1000 fold arrow described in mahAbhArata anuSASana parva Chapter 14, stanzas 124 to 126

Notice the repeated mention of 1000 = sahasra for the missile !…and kOti = crore = 10 thousand thousands !

śaraśca sūryasaṃkāśaḥ kālānalasamadyutiḥ |
yattadastraṃ mahāghoraṃ divyaṃ pāśupataṃ mahat || 124 ||

advitīyamanirdeśyaṃ sarvabhūtabhayāvaham |
sasphuliṅgaṃ mahākāyaṃ visṛjantamivānalam || 125 ||

ekapādaṃ mahādaṃṣṭraṃ sahasraśirasodaram |
sahasrabhujajihvākṣa mudgirantamivānalam || 126 ||

translation
And there was a shaft whose splendour looked like that of the sun or of the fire that appears at the end of the Yuga.
Verily, that shaft was the excellent Pasupata that mighty and terrible weapon, which is without a second, indescribable for its power, and capable of striking every creature with fear.
Of vast proportions, it seemed to constantly vomit sparks of fire.
Possessed of one foot, of large teeth, and a thousand heads and thousand Stomachs, it has a thousand arms, a thousand tongues, and a thousand eyes. Indeed, it seemed to continually vomit fire.
(details extracted from wisdomlib site)

The Dikshitar properly synthesizes the legend of the kSEtra with the icon of tira-kOti, the 1000 fold arrow missile !

Pallavi

Incorrect (200 year old conspiracy)
ti-ru-vatiSwaram namAmi santatam CintayAmi SrI

Correct
ti-ra kOti-iSwar-am namAmi santatam CintayAmi Sri
Carana
mA-ra kOti-iSwar-upinam marakatamani bhUSanam

Cam-paka vallI ramanam Campaka puSpAbharanam sampatpradAnanipunam suguruguhAntahkaranam

The rAga choice (purvi kalyAni) is itself the rAga mudra via the word “tira-kOti” = puri-kAlana

The rAga purvi kalyAni (aka gamakakriyA) is particularly suitable for the “city destroyer” , the puri-kAlana Siva.
In fact the paSupatAstra = tira-kOti is iconic of Siva’s “tripura bhanjana” status….often cited as the most destructive of Siva’s weapons,

And the phonetic equivalent “puri-kAla-na” stems from the kAla (death time) of the “puris”, the cerebral or geographical cities of sin, temptation and excess.

The foolish notion that the rAgas are chosen randomly by the nAdayOgis is exposed, again.

Case closed..game over..again !

Summary

tiru-vati-iSwaram’s 200 year corruption ENDS TODAY

Why is all this happening ?
Why is the upending of falsehoods propagated by a conspiracy of fools necessary ?
Why is the truth of HUNDREDS of kritis of the vAggeyakAras being revealed in excrutiating detail ?
Why ?

Because the cacophony of untruth is also reaching a crescendo.

And because Corrupt academies, musicians , musicologists (starting from the SSP !) and vapid so-called rasikas are attempting to rewrite and distort the legacy of the vAggeyakAras.

It hasn’t worked and it cannot work.

What is the punishment for these heinous crimes against the nAdayOgis ?

Millenia before Newton, the Hindu law of karma prescribes the consequences of actions and inactions.
The litany of posts assembled on these threads is the evidence against the multitude of criminals.

But there is no question that the Judge, Jury and Executioner who hears all in the super-kutChEri/court will undoubtedly carry out the sentencing.

Prepare for the wrath of the paSupatAstra.

ti-ra kOti-iSwar-am namAmi – rAga purvi kalyAni (aka gamakakriyA)

prEma r
https://www.youtube.com/watch?v=xWDSPi_qMQI

vgovindan · Post by **vgovindan** » 24 Apr 2024, 20:47

Please refer to your post 941. The kshetra of this kRti is 'tiruvETTISvaram' near Tiruvallikkeni - Chennai. Please refer to the link (in Tamil) given below for details - https://chennaitemples.wordpress.com/%E ... %E0%AF%8D/
I hope you are able to read Tamil. If so, the contents of the website itself is sufficent to explain the background.

It is possible that the name 'tiruvETTISvara' could have become corrupted as 'tiruvaTISvara' or that is how MD had worded it. However, your explanation is very much off the mark. Just because MD has written the kRtis in Sanskrit, it does not mean that he would have changed the name of the sthala to suit his kRti or because the word 'tiru' being Tamil, he would have Sanskritised it. In fact in Tiruppati, the word 'tiru' is Tamil. Annamacharya uses the same in all his Telugu language kRtis; he did not change it to Sanskrit. For example, in the kRti 'annapUrNE viSAlAkshi' (sAma) MD calls Mother as 'unnata garta tIra vihAriNi'. Here 'garta tIra' refers to the sthala kuzhikkarai (குழிக்கரை) - a literal translation, without changing the name of the sthala. There are many kRtis where he has begun the kRti with the name of the sthala - agastISvara' etc.

Unless you want to call the kRti itself a fake, there seems to be no reasonable justification for 'tira-kOTISvaram'. Even in this case, it is not 'tira' but 'tIra'. Therefore, let us not make unreasonable modifications to the kRti without proper verification from the books. For my blog (guruguha vaibhavam) I have tried to check many sources - books and websites.
It would also be prudent to use words of moderation when referring to others. 'Conspiracy of fools' is too strong a language, and no one would like to respond to such posts. In fact, one of my friends - a Sanksrit Scholar - whom I refer frequently, declined to give views in this thread for this very reason of 'negativity'.

nAdopAsaka · Post by **nAdopAsaka** » 24 Apr 2024, 22:15

943 tira-kOti-iSwara and the legend of the paSupatAstra...the 1000 fold arrow

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The attempted erosion of the ideas and icons built into the kritis of the nAdayOgis has to be met harshly.

Yes.. it is a conspiracy
and
Yes.. it is foolish to ignore...
1. The choice of rAga purvi-kalyAni (for the puri-kAlana) iconic of the pasupat-Astra.
2. The specific kSEtra idenitified by this 1000-fold arrow as the tira-kOti, with its basis in the anuSASana parva (as already shown).
3. The dwitiya-akSara followed by tira-kOti and mAra-kOti (as already shown)

The Dikshitar does not use kSEtra names from the vernacular..see the kriti “SAlivAti-Iswaram” instead of tirunElvEli for the rice-grain protector..fittingly in rAga deva-kAndhAri for the kana of rice…(just an example)

See post # 851 dated Aug 2023
https://www.rasikas.org/forums/viewtopi ... 22#p380022

Similarly, hundreds of posts on this thread now show the Dikshitars choice of rAga is itself iconic of the kSEtra.

There is no compulsion to listen or try to understand the kritis of the vAggeyakAras.

Similarly, there is no compulsion to read or respond to any posts.

It has to be said again..

The attempted erosion of the ideas and icons built into the kritis of the nAdayOgis has to be met harshly.

sam · Post by **sam** » 25 Apr 2024, 12:42

The following links about thiruvettiswarar temple may be useful.
.
https://milliongods.com/chennai-temples ... riplicane/,
.
https://tamilnadu-favtourism.blogspot.c ... ennai.html

From Ravisri monograph..The Eternal pilgrim.
.

Nearby is the shrine dedicated to Lord Siva as Tiruvateesvara. Dikshitar sang on Him the kriti
tiruvaTIshvaram in the raga gamakakriya.

.
तिरुवटीश्वरं नमामि
सन्ततं चिन्तयामि श्री

मार कोटि स्वरूपिणं
मरकत मणि भूषणं

चम्पक वल्ली रमणं
चम्पक पुष्पाभरणं

सम्पत्प्रदान निपुणं
सु-गुरु गुहान्तःकरणम् .?

nAdopAsaka · Post by **nAdopAsaka** » 25 Apr 2024, 16:20

945 tira-kOti-iSwara , Siva of the ARROW kSEtra …ARROW = tira

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The word “tiru” has no place in the Dikshitar vocabulary.

The “conspiracy” (also seen clearly in the posts above, which cite various other equally unsubstantiated and thoughtless statements) intends to mask even the legend of the ARROW kSEtra.

But the Dikshitars fidelity to the kSEtra icons and legend is unmatched.

It is a measure of the Sruti (truth) in the Dikshitar musical worship.

The very first word (tira-kOti) in the kriti summarizes the ARROW icon and when sung in rAga purvi-kalyAni summarizes the paSupatAstra (the puri kAlana weapon, explained patiently and clearly in post # 941).

Why is the ARROW the principal (and eponymous) emblem of tira-kOti kSEtra ?

Read on to get a clue..

arjuna (who wields the gAndiva bow) is the warrior-prince , adept at archery, = discharge of ARROWS
Siva (who wields the pinAka bow) is disguised as a kirAta = hunter, who is also an expert in the discharge of ARROWS

The kSEtra legend enshrines the interaction of arjuna with Siva….2 archers using ARROWS.

Subsequently, Siva as tira-kOti iSwara grants the paSupat-Astra (the 1000 fold ARROW) to arjuna.

But wait ..there is more..

tira-kOti…mAra-kOti

Even the reference to mAra is arrow driven since mAra is Cupid, he who shoots the flower-ARROW !

The nAda-upAsaka asserts again..

Yes.. it is a conspiracy
and
Yes.. it is foolish to ignore the choices and words of the Dikshitar.

The attempted erosion of the ideas and icons built into the kritis of the nAdayOgis has to be met harshly.

The nAdayOgis kritis and music will ALWAYS expose untruth/apa-Sruti.

sam · Post by **sam** » 25 Apr 2024, 17:19

Plausible.
But where is the question of conspiracy?

tiruvaTIshvaram namAmi
by Sangeetha Kalanidhi T. K. Govinda Rao, published in Chennai 1997 (No. 405).

Raga: gamakakriya / Tala: rUpakam

P: tiruvaTIshvaram namAmi santatam cintayAmi shrI

C: mArakOTi shvarUpiNam marakatamaNi bhUSaNam campakavallIramaNam campaka puSpAbharaNam sampatpradAnanipuNam suguruguhAntahkaraNam

..
May I know the signuficance of suguruguha in the last line?

nAdopAsaka · Post by **nAdopAsaka** » 25 Apr 2024, 21:24

947 tira-kOti-iSwara , Siva of the ARROW kSEtra ..and “antahakarana” – the final ARROW that pierces the heart

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

Sometimes truth needs untruth to amplify its meaning and relevance..

And therefore we arrive at these questions
What conspiracy ?
What is “suguruguha” ?

Both questions are addressed here.

Indeed it not suguruguha but “suguruguha antaha-karana” which is meaningful.

Why ?

Because even the last words of the Dikshitars kriti carry the arrow icon.

antahakarana is the “heart” in Hindu scripture…the inner (antara) being or sense
AND
The ARROW in Hindu consciousness has only one target ....the heart.

it PIERCES the heart (of asuras etc) and ENDS (anta) evil and untruth…as the pasupat-Astra
it ENTERS the heart and gives infinite peace – suguruguha antaha-karana

At tira-kOti-Iswara sthala, “antahakarana”…is the fitting final icon of the ARROW kSEtra.

The conspiracy..
For the last 200 years, a concerted effort has been made to dilute, deny and distort the kritis of the vAggeyakAras.

The following are named in this heinous and deliberate endeavor.

1. SSP (and all its authors, proteges, proponents) - the emphasis on notations and vibhakti and the incomplete and erroneous historical detail has almost ruined the very reason the kritis exist
2. All musicologists including V rAghavan, V Srivatsa etc. etc. and all their proponents/surrogates etc (all of whom have completely missed the role of rAga word and choice in the kritis) and who have also parroted the SSP
3. Various bloggers/monographers including kriti compendium makers , including the monographers quoted above and the secretaries of so-called academies of last 100 plus years .
4. Various 2 letter, 3 letter and 4 letter vidwAns and viduSiS who would reduce the kritis in their playback singing to mere sounds and air-pressure disturbances to display their technical abilities.

Repeated thoughtless quoting of the unimaginative, insipid , clueless and sometimes downright erroneous statements by these various entities consitutes this conspiracy.

The “tira-kOti” sthala is but one example of the exposure of these falsehoods.

The MANY navAvarana and also panCa-bhUta features discovered at MULTIPLE kSEtras and shown in several posts here are other examples.

sam · Post by **sam** » 25 Apr 2024, 21:48

Excuse me but my doubt was whether it is suguruguha or sri guruguha

sam · Post by **sam** » 27 Apr 2024, 08:24

I googled for the meaning of suguru and got the following.
.
Suguru (सुगुरु).—[adjective] very heavy (guilt).
.
Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary
1) Suguru (सुगुरु):—[=su-guru] [from su > su-ga] mfn. very heinous (as a crime), [Manu-smṛti xi, 256]

2) [v.s. ...] a good teacher, [Jaina literature
.
Hence my query

nAdopAsaka · Post by **nAdopAsaka** » 27 Apr 2024, 12:02

950 navaratnamAlinim- 8th Cakra kriti of bAlAmbikA navAvarana, damaka-kriyA –conquering “yuddha rangini” battlefield bAlAmbikA of lalitOpAkhyAna

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

navaratna-mAlinim - The “purvi kalyAni” which derives instead from the name damaka-kriyA

Post dated Dec 19, 2022 revealed the bAlAmbikA navAvarana and the basis for each rAga chosen..

https://www.rasikas.org/forums/viewtopi ... 83#p378283

In that post, the 8th Cakra kriti is “navaratnamAlinim natajana” to the yuddha rangini..who is the blood-thirsty avenging child clone of lalitA, the bAlAmbikA.

The 8th Cakra is the sarva-siddhi dAyaka Cakra and fittingly bAlAmbikA becomes “siddhiSwari” i.e. attains her siddhis by defeating the sons of bhandA (she is bhanda kumAra mardini )

And she is supported in this by the bhagamAli and nakuli, which is why they are noted in the kriti as well.

Why gamaka-kriyA for the kriti "navaratna mAlinim" ?

Because the conquering act of the bAlAmbikA is damaka- kriyA ( damaka = conquer…. kriyA = act )

There can be NO question the rAga gamaka-kriya is chosen by the Dikshitar for this damaka-kriyA of the bAlAmbikA achieving her siddhi ( on the battlefield ) , the siddhi of the 8th Cakra.

The rAga mudra from the battlefield ACT

yuddha-rangini summarizes the rAga mudra where yuddha is emblem of damaka ( the conquering) and rangini is the coloring acquired due to this kriyA ( referring to the blood thirsty avenging bAla…see bhanda-kumAra vadha chapter of lalitOpAkhyAna for this description )

But wait !..there is more…

9 Plus 1 = daSa

The Dikshitar is sensitive ( as vainika) to the nature and extent of gamaka.

To the goddess who is herself a jewel, he adds the 9 gems !

on her chariot (navamani rathA rOhita)

And in her garland (navaratna mAlini)

And the subjugation of the 9 poisons (nava vidha viSa ) along with the poison ALREADY in her throat (the hAlAhala of nilakantha) completes the message of the dASa damaka kriyA.

navaratna mAlinIm natajanapAlinIm namAmyaham nija guruguhAdyArAdhinIm
C: bhavAnISa bhaktajana dukha dhvamsinIm bhagamAlI nakulIbhih pujita jananIm
navavidha viSAdyAbhiCArAdi nASinIm navamaNi rathArOhita yuddharangiNIm

navaratna mAlinim – rAga gamaka kriyA

veena rEvati S
https://www.youtube.com/watch?v=YNc7RDxzRQQ

vijayalakSmi S
https://www.youtube.com/watch?v=lkE5k5212po