Sri.PB,
I think the Thamizh term is 'thuRavi'.
In Sanskrit, the four aasramas are respectivey, brahmahari( student),
Gruhasthan ( wedded family life).
Vanaprastham ( life in secluded forest area with wife) and finally sanyaasam
( presumably, after the demise of the wife). The duty of a gruhasthan is to teach and maintain his students , his own students being taught and maintained by another gruhasthan.
.
KuRaL holds that the gruhastha is the fulcrum of ideal society as it is he that feeds and meets the minimum needs of pilgrims, students, and guests.
.
Some mystics skip these stages,
.
A typical example is Sadaasiva BrammendraaL.
All sanyasins are not saints.
There is no exact sanskrit word for mystics and saints, to the best of my knowledge.
In our own times, Sri.NaarayaNa Guru comes to mind.
So does RamaNa maharishi.
Swathi Thirunal
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal
No lewd person is in a position to judge the vAggeyakAras..
“sant” ( ~~saint) in Hindu thinking derives from “sat-ya”…
The vAggeyakAras sing this truth = Sruti…
And they have ABSOLUTELY become this truth.
They also give several illustrations of exponents of “truth”, whose heart is engulfed with the divine
The Dikshitar
buddha Suddha satva hrt bhAvitam – Sri sundararAjam – rAga kAmavardhani
nAradAdi muni hrt sanCArini – SyAmalAngi – rAga SyAmalam
yamAdyaStAngayOga nirata samyamidhyEya hrt kamalE vimalE = Sri mAta – rAga bEgada
the mahArAja
chadmakalita muni mAnasa pankaja - padmanabha pAhi dvipapa – rAga hindOla
chadmarahita sanakAdi hrdayAbja – padmanAbha pAhi padmavilOcana– rAga Arabhi
ALL the tyAgarAja’s mahAnubhAva’s - “endarO mahAnubhAva” in rAga Sri
parama bhAgavata, maunivara digiSa ..kanakakaSipasuta prahlAda, nArada etc. etc. etc.
Summary
No lewd person is in a position to judge the vAggeyakAras
satyam Eva jayatE
padmanAbha pAhi – rAga hindOlam
surabhi p
https://www.youtube.com/watch?v=Lav9k6OUEnQ
“sant” ( ~~saint) in Hindu thinking derives from “sat-ya”…
The vAggeyakAras sing this truth = Sruti…
And they have ABSOLUTELY become this truth.
They also give several illustrations of exponents of “truth”, whose heart is engulfed with the divine
The Dikshitar
buddha Suddha satva hrt bhAvitam – Sri sundararAjam – rAga kAmavardhani
nAradAdi muni hrt sanCArini – SyAmalAngi – rAga SyAmalam
yamAdyaStAngayOga nirata samyamidhyEya hrt kamalE vimalE = Sri mAta – rAga bEgada
the mahArAja
chadmakalita muni mAnasa pankaja - padmanabha pAhi dvipapa – rAga hindOla
chadmarahita sanakAdi hrdayAbja – padmanAbha pAhi padmavilOcana– rAga Arabhi
ALL the tyAgarAja’s mahAnubhAva’s - “endarO mahAnubhAva” in rAga Sri
parama bhAgavata, maunivara digiSa ..kanakakaSipasuta prahlAda, nArada etc. etc. etc.
Summary
No lewd person is in a position to judge the vAggeyakAras
satyam Eva jayatE
padmanAbha pAhi – rAga hindOlam
surabhi p
https://www.youtube.com/watch?v=Lav9k6OUEnQ
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Swathi Thirunal
Sainthood is not unique to any particular religion.
St.Francis of Assissi, is well known. There are quite a few sufi saints and Sikh saints.
Saints always stress and feel Unity of all beings and even inanimate world.
Saints are mostly sanyasins and are outside the pale of family life. But as in the case of Ramakrushna Paramahamsa , they remain just nominally, wedded. ..not by choice but due to the then prevailing social custom.
Sai Baba of Shirdi is another example of a mystic.
He was a raama bhaktha.
' hum sab ko maalik aek hai'.
Saints are always mystics .
Somehow, such mystics are able to transcend the common limitations of time, space and sensory perceptions.
,
There is a lovely passage in Silappathikaaram, where Kavundhi adikal, a lady buddhist monk, gets the dharsan and advice of divine messengers and siddhas. who are persons , able to 'see' the future. ILango adikaL calls them ' saaraNar'. The saaranars fly. 'Seeers'.
Perhaps, 'sidddha' is the word for saints and mystics?
.
avadhutha may be the Sanskrit term.
.
It is not by hata yoga or raaja yoga that one can become a mystic. It may be pre-ordained,
.
When Thyaagaraaja swami says that he has seen God, are we to assume tjat he is lying?
.
A strict agnostic like Bertrand Russell, admits the possibilty of mystic perception by a few. Ref. MYSTICISM AND LOGIC.
.
Ego , self-consciousness, is certainly a block.
.
Thyaagaraaja swami says that when one loses oneself in pure music, it is possible to feel bliss.
.
St.Francis of Assissi, is well known. There are quite a few sufi saints and Sikh saints.
Saints always stress and feel Unity of all beings and even inanimate world.
Saints are mostly sanyasins and are outside the pale of family life. But as in the case of Ramakrushna Paramahamsa , they remain just nominally, wedded. ..not by choice but due to the then prevailing social custom.
Sai Baba of Shirdi is another example of a mystic.
He was a raama bhaktha.
' hum sab ko maalik aek hai'.
Saints are always mystics .
Somehow, such mystics are able to transcend the common limitations of time, space and sensory perceptions.
,
There is a lovely passage in Silappathikaaram, where Kavundhi adikal, a lady buddhist monk, gets the dharsan and advice of divine messengers and siddhas. who are persons , able to 'see' the future. ILango adikaL calls them ' saaraNar'. The saaranars fly. 'Seeers'.
Perhaps, 'sidddha' is the word for saints and mystics?
.
avadhutha may be the Sanskrit term.
.
It is not by hata yoga or raaja yoga that one can become a mystic. It may be pre-ordained,
.
When Thyaagaraaja swami says that he has seen God, are we to assume tjat he is lying?
.
A strict agnostic like Bertrand Russell, admits the possibilty of mystic perception by a few. Ref. MYSTICISM AND LOGIC.
.
Ego , self-consciousness, is certainly a block.
.
Thyaagaraaja swami says that when one loses oneself in pure music, it is possible to feel bliss.
.It is treat to hear the kRti of SrI tyAgarAja ‘inta saukhyamani nE ceppa jAla’ – rAga kApi where he tries to describe the ecstasy he experiences
.
Last edited by RSR on 09 Oct 2023, 10:01, edited 1 time in total.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
sAdhu tadA - The vAggeyakAras CANNOT be judged by anyone who is ignorant of their words & opposed to their ideas
sAdhu tadA - The vAggeyakAras CANNOT be judged by anyone who is ignorant of their words & opposed to their ideas
As usual, Words and their meaning completely elude this poster….flailing about in vast ignorance..
“sant” derives from “sat”…it is UNQUESTIONABLY the synonym for TRUTH = sat-ya.
And it represents the Hindu truth of the self-realized.
Christian metaphors are unnecessary and actually confusing. “Sainthood” in the Christian sense is a ceremonial consecration, whereas in the Hindu view it is the truth of self-realization.
Even the English/French etc. word “saint” has its roots via the Latin words “consecrate”, “sanctify” and “sac-red” in the root Sanskrit “sac”.
Indeed, the rig vEda 2.18.2 gives the word “sac-atE” as a sacrificial ceremony.
The sacrifice is sufficient for Indra whether offered first, second, or the third time; it is the bearer of good; priests (= hOta) perform different rites, this sacrifice combines with other ceremonies (anyEbhih sacatE) and showers benefits.
सास्मा अरं प्रथमं स द्वितीयमुतो तृतीयं मनुषः स होता
अन्यस्या गर्भमन्य ऊ जनन्त सो अन्येभिः सचते जेन्यो वृषा
sAsmA aram prathamaṃ sa dvitiyam uto trtiyam manuSa sa hotA
anyasyA garbham anya u jananta sO anyEbhiḥ sacatE jEnyO vrSa
In fact this root word for a worship/ceremony... “sac” lends itself also to the tribe of the SAkyas who performed ceremonial worship of the Saka tree.
Notably the “SAkya-muni”, the Gautama Buddha, was self-realized centuries before Christ.
The “sants” of the vAggeyakAras (AND the vAggeyakAras themselves) derive from the truth = Sruti of self-realization….distinct from any Christian principle.
The principle of “satya-gyAna-Ananda”..or “paripurna niSkalanka niravadhi sukha” is explored in most of the kritis of the Dikshitar and the tyAgarAja. It is also the cornerstone of the SoundaryaLahari.
Since this is the mahArAja thread…a kriti to yet another such “sant” = self-realized = kuCEla is illustrative (of course only to those who are not brain-dead...).
The vakula tree , the sAdhu = sant = kuCEla and the vakulAbharana kriti “sAdhu tadA”
This is the story of the famous “darSana” granted to kuCEla in the forest of vakula trees !
In “sAdhu tadA”, for the mahArAja it is the emblem of SridAma = sudAma = kuCEla receiving the blessing of krSnA , after their time together under the vakula tree (as told in the kuCElOpAkhyAna).
As can be seen , the rAga is chosen because it carries the name of famous tree of the kuCEla legend.
The vAggeyakAras CANNOT be judged (as "near"-saints or anything else) by anyone who is opposed to their ideas and is also ignorant of their languages.
sAdhu tadA – rAga vakulAbharana
sanjay S
https://www.youtube.com/watch?v=gdFKQ6Xyjhs
sankaranarayanan v
https://www.youtube.com/watch?v=zAdW4HAcr-g
As usual, Words and their meaning completely elude this poster….flailing about in vast ignorance..
“sant” derives from “sat”…it is UNQUESTIONABLY the synonym for TRUTH = sat-ya.
And it represents the Hindu truth of the self-realized.
Christian metaphors are unnecessary and actually confusing. “Sainthood” in the Christian sense is a ceremonial consecration, whereas in the Hindu view it is the truth of self-realization.
Even the English/French etc. word “saint” has its roots via the Latin words “consecrate”, “sanctify” and “sac-red” in the root Sanskrit “sac”.
Indeed, the rig vEda 2.18.2 gives the word “sac-atE” as a sacrificial ceremony.
The sacrifice is sufficient for Indra whether offered first, second, or the third time; it is the bearer of good; priests (= hOta) perform different rites, this sacrifice combines with other ceremonies (anyEbhih sacatE) and showers benefits.
सास्मा अरं प्रथमं स द्वितीयमुतो तृतीयं मनुषः स होता
अन्यस्या गर्भमन्य ऊ जनन्त सो अन्येभिः सचते जेन्यो वृषा
sAsmA aram prathamaṃ sa dvitiyam uto trtiyam manuSa sa hotA
anyasyA garbham anya u jananta sO anyEbhiḥ sacatE jEnyO vrSa
In fact this root word for a worship/ceremony... “sac” lends itself also to the tribe of the SAkyas who performed ceremonial worship of the Saka tree.
Notably the “SAkya-muni”, the Gautama Buddha, was self-realized centuries before Christ.
The “sants” of the vAggeyakAras (AND the vAggeyakAras themselves) derive from the truth = Sruti of self-realization….distinct from any Christian principle.
The principle of “satya-gyAna-Ananda”..or “paripurna niSkalanka niravadhi sukha” is explored in most of the kritis of the Dikshitar and the tyAgarAja. It is also the cornerstone of the SoundaryaLahari.
Since this is the mahArAja thread…a kriti to yet another such “sant” = self-realized = kuCEla is illustrative (of course only to those who are not brain-dead...).
The vakula tree , the sAdhu = sant = kuCEla and the vakulAbharana kriti “sAdhu tadA”
This is the story of the famous “darSana” granted to kuCEla in the forest of vakula trees !
In “sAdhu tadA”, for the mahArAja it is the emblem of SridAma = sudAma = kuCEla receiving the blessing of krSnA , after their time together under the vakula tree (as told in the kuCElOpAkhyAna).
As can be seen , the rAga is chosen because it carries the name of famous tree of the kuCEla legend.
The vAggeyakAras CANNOT be judged (as "near"-saints or anything else) by anyone who is opposed to their ideas and is also ignorant of their languages.
sAdhu tadA – rAga vakulAbharana
sanjay S
https://www.youtube.com/watch?v=gdFKQ6Xyjhs
sankaranarayanan v
https://www.youtube.com/watch?v=zAdW4HAcr-g
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Swathi Thirunal
There is a continuity in the evolution of religious/spiritual thought.
.
From the Egyptian , rebellion by the priests promoting Sun worship(3000 Bc) ( will durant- our oriental heritage),
then the mesapotamian (present day Iraq)( sumerian, chaldean,assyrian) (pandyan, chola and chera , respectively) [ A.C.DAS), where we find iconic representations of Devi with Simha vaahanam and also 'chandrasekara ',
All the present day continuity of suprabhatham, shodasa upacharam in our temples,(2500 bc) ,
and also in Thyaagaraaja kruthis
,
the aryan vedic nature worship and battle hymns, ,2500 from central asia into persia (iran..'aarzaanaam')..
Fire worship common to vedic and zorastrian people.
Evolution into upanishadic thought around 700 bc,
the precursor of Jainism and Buddism, with maximum stress on non-violence,
and jeeva kaaruNyam, but non- -theistic,
.
further Evolution into Christian gospel according to St.Mathew , its arrival in kerala coast right after the martyrdom of Jesus ( who is said to have been a student in Taxila university in far north-west India) , combining absolute non-violence of buddhist-jain thought with theism]
and finally the rise of Islam in 600 Ad, once again peaceful arrival in the reign of an Azhvaar king of Kerala who welcomed them and encouraged their idea of equalty..
.
.Emergence of Sikhism around 1500 AD,
An attempted synthesis of revulsion to idol worship, perhaps shared with vedic culture, and call for equality and re assertiin of the idea of the only formless God , monotheistic,
dheen ilahi of Akbar ,sufi saints,
..perhaps the endpoint, is with corruption of all the religions and institutions the world over.
Brahmo samaj in Bengal , an attempt to clean the society of deadwood
We can however learn about the best of all the streams of thought and absorb the finer elements in each.
.
Christian missionaries have done and are still doing tremendous work among the poor. , in
education, healthcare, reforms,
It was under the Company administration that Travancore saw social advance to some extent. Even then , it was that land which drove vivekananda to condemn the mad social oppression and rules of that kingdom.
In our own times, Mother Therssa , shines as a beacon.
.
The best reformers in India have been deeply influenced by the Gospel.
Perhaps, it may come as a surprise to learn that Dhwaitham of Maadhwaacharya and the bhakthi movement of daasar and mahratta saints itself is but adoption of the core gospel ideas in indian conditions,
But scholarship, artistic creations, language expertise are not to be equated with mystical Grace.
.
That is why mere vak geyakaras cannit be saints
but neither daasar poets and Thyaagaraja swami were, mere vakgeya karas.l
.
Pandits are not poets.
Mutt heads are not saints.
.
.
From the Egyptian , rebellion by the priests promoting Sun worship(3000 Bc) ( will durant- our oriental heritage),
then the mesapotamian (present day Iraq)( sumerian, chaldean,assyrian) (pandyan, chola and chera , respectively) [ A.C.DAS), where we find iconic representations of Devi with Simha vaahanam and also 'chandrasekara ',
All the present day continuity of suprabhatham, shodasa upacharam in our temples,(2500 bc) ,
and also in Thyaagaraaja kruthis
,
the aryan vedic nature worship and battle hymns, ,2500 from central asia into persia (iran..'aarzaanaam')..
Fire worship common to vedic and zorastrian people.
Evolution into upanishadic thought around 700 bc,
the precursor of Jainism and Buddism, with maximum stress on non-violence,
and jeeva kaaruNyam, but non- -theistic,
.
further Evolution into Christian gospel according to St.Mathew , its arrival in kerala coast right after the martyrdom of Jesus ( who is said to have been a student in Taxila university in far north-west India) , combining absolute non-violence of buddhist-jain thought with theism]
and finally the rise of Islam in 600 Ad, once again peaceful arrival in the reign of an Azhvaar king of Kerala who welcomed them and encouraged their idea of equalty..
.
.Emergence of Sikhism around 1500 AD,
An attempted synthesis of revulsion to idol worship, perhaps shared with vedic culture, and call for equality and re assertiin of the idea of the only formless God , monotheistic,
dheen ilahi of Akbar ,sufi saints,
..perhaps the endpoint, is with corruption of all the religions and institutions the world over.
Brahmo samaj in Bengal , an attempt to clean the society of deadwood
We can however learn about the best of all the streams of thought and absorb the finer elements in each.
.
Christian missionaries have done and are still doing tremendous work among the poor. , in
education, healthcare, reforms,
It was under the Company administration that Travancore saw social advance to some extent. Even then , it was that land which drove vivekananda to condemn the mad social oppression and rules of that kingdom.
In our own times, Mother Therssa , shines as a beacon.
.
The best reformers in India have been deeply influenced by the Gospel.
Perhaps, it may come as a surprise to learn that Dhwaitham of Maadhwaacharya and the bhakthi movement of daasar and mahratta saints itself is but adoption of the core gospel ideas in indian conditions,
But scholarship, artistic creations, language expertise are not to be equated with mystical Grace.
.
That is why mere vak geyakaras cannit be saints
but neither daasar poets and Thyaagaraja swami were, mere vakgeya karas.l
.
Pandits are not poets.
Mutt heads are not saints.
.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Swathi Thirunal
Wiki gives a fairly good explanation..
.
[
[color=#BF0080]Many people conflate the terms "saint" and "sant", because of their similar meanings. The term sant is a Sanskrit word "which differs significantly from the false cognate, 'saint'...[/color]
" Traditionally, "sant" referred to devotional Bhakti poet-saints of two groups: Vaishnava and a group that is referred to as "Saguna Bhakti".[2][3]
Some Hindu saints are given god-like status, being seen as incarnations of Vishnu, Shiva, and other aspects of God, sometimes many years after their deaths. This explains another common name for Hindu saints, "godmen".[4]
....
Vinoba 's Discourse on Gita, explains the important tenets of Bhakthi and karma yogam.
Such things are best understood by studying the lives of holy men rather than by dissecting and in the process ,killing the word..a typical disease of mere grammarians..
Yagnya meant offering things to the celestial 'gods' to cajole them to offer boons. ..very often animal sacrifice.
Typical primitive practice.
A really spiritual person, does not ask anything except grace and prays for the welfare of all. And tries to bring emotional, material and spirituarl relief and solace to people who seek them.
'Hari! Thum haro jan ki peer'.
.
Cuddalore vaLLalaar Ramalinga swamy was a mystic. He was against icon wodship. He advised us to worship just a jothi..flame of a lamp.
.
The quoted passage from rugveda is laughably ridiculous.
Mumbo-jumbo passing for wisdom.
.
Except that swathi composed on his deity, there is no instance cited of any spiritual experience in his life.
.
Are all composers on deities then ,Holy people.?
.
.There is no formal canonization process in Hinduism, but over time many men and women have reached the status of saints among their followers and among Hindus in general
[
.[1][/color]color=#BF0080]Hindu saints have often renounced the world, and are variously called Gurus, sadhus, rishis, swamis, and other names
[color=#BF0080]Many people conflate the terms "saint" and "sant", because of their similar meanings. The term sant is a Sanskrit word "which differs significantly from the false cognate, 'saint'...[/color]
" Traditionally, "sant" referred to devotional Bhakti poet-saints of two groups: Vaishnava and a group that is referred to as "Saguna Bhakti".[2][3]
Some Hindu saints are given god-like status, being seen as incarnations of Vishnu, Shiva, and other aspects of God, sometimes many years after their deaths. This explains another common name for Hindu saints, "godmen".[4]
....
Vinoba 's Discourse on Gita, explains the important tenets of Bhakthi and karma yogam.
Such things are best understood by studying the lives of holy men rather than by dissecting and in the process ,killing the word..a typical disease of mere grammarians..
Yagnya meant offering things to the celestial 'gods' to cajole them to offer boons. ..very often animal sacrifice.
Typical primitive practice.
A really spiritual person, does not ask anything except grace and prays for the welfare of all. And tries to bring emotional, material and spirituarl relief and solace to people who seek them.
'Hari! Thum haro jan ki peer'.
.
Cuddalore vaLLalaar Ramalinga swamy was a mystic. He was against icon wodship. He advised us to worship just a jothi..flame of a lamp.
.
The quoted passage from rugveda is laughably ridiculous.
Mumbo-jumbo passing for wisdom.
.
Except that swathi composed on his deity, there is no instance cited of any spiritual experience in his life.
.
Are all composers on deities then ,Holy people.?
-
Pratyaksham Bala
- Posts: 4165
- Joined: 21 May 2010, 16:57
Re: Swathi Thirunal
Here is a short list of Sants :-
Sant Venkata Kavi
Sant Muthuswami Dikshitar
Sant Subbarama Dikshitar
Sant Shyama Sastri
Sant Thyagaraja
Sant Arunagiri Nathar
Sant Marimutha Pillai
Sant Gopalakrishna Bharati
Sant Tiruvottiyur Thyagayyar
Sant Vallalar
Sant Venkata Kavi
Sant Muthuswami Dikshitar
Sant Subbarama Dikshitar
Sant Shyama Sastri
Sant Thyagaraja
Sant Arunagiri Nathar
Sant Marimutha Pillai
Sant Gopalakrishna Bharati
Sant Tiruvottiyur Thyagayyar
Sant Vallalar
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (dEvi navarAtri – 1 – dEvi jagatjanani – rAga SankarAbharanam)
dEvi navarAtri – 1 – dEvi jagatjanani – rAga SankarAbharanam
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness, contempt for the ardhanAri, inability to understand the words or any fool/s who thinks the mahArAja worshipped only padmanAbhA)
dEvi navarAtri is formally next week…
dEvi of course, is the original Sankara-Abharana , the first ornament of Siva..
So the sequence begins with dEvi jagatjanani – rAga SankarAbharanam
dEvi jagat janani – rAga SankarAbharana
veena rendition
https://www.youtube.com/watch?v=Rc3SWUzTuyw
SSI
https://www.youtube.com/watch?v=eIiVUlRC-0g
KVN
https://www.youtube.com/watch?v=P7E1b8Gxsew
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness, contempt for the ardhanAri, inability to understand the words or any fool/s who thinks the mahArAja worshipped only padmanAbhA)
dEvi navarAtri is formally next week…
dEvi of course, is the original Sankara-Abharana , the first ornament of Siva..
So the sequence begins with dEvi jagatjanani – rAga SankarAbharanam
dEvi jagat janani – rAga SankarAbharana
veena rendition
https://www.youtube.com/watch?v=Rc3SWUzTuyw
SSI
https://www.youtube.com/watch?v=eIiVUlRC-0g
KVN
https://www.youtube.com/watch?v=P7E1b8Gxsew
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Swathi Thirunal
Any number of composers have created fine compositions on the deities of hindu pantheon. Are they all saints? To the best of my knowledge, even among the TRINITY, ThyAgarAja swami alone has been known as a saint, besides Purandara dasa and Kanakadasa.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (dEvi navarAtri – 2 – pAhi mAm Sri vAgiSwari – rAga kalyAni)
dEvi navarAtri – 2 – pAhi mAm Sri vAgiSwari – rAga kalyAni
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness, contempt for the ardhanAri, inability to understand the words or any fool/s who thinks the mahArAja worshipped only padmanAbhA)
dEvi navarAtri Day 2/Night 2 is given the rAga kalyAni
In this kriti the lotus mudra of the vAggeyakAra does not appera as “padma”-nAbha but by the word “sArasa” in "sArasa-garbha dalAyata lOCana"…Of course only a fool/knave would try to misattribute these kritis.
pAhi mAm Sri vAgiSwari – rAga kalyAni
amrita V
https://www.youtube.com/watch?v=XNRDVhlWe0E
sreedEv
https://www.youtube.com/watch?v=TjrX4cUa9eg
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness, contempt for the ardhanAri, inability to understand the words or any fool/s who thinks the mahArAja worshipped only padmanAbhA)
dEvi navarAtri Day 2/Night 2 is given the rAga kalyAni
In this kriti the lotus mudra of the vAggeyakAra does not appera as “padma”-nAbha but by the word “sArasa” in "sArasa-garbha dalAyata lOCana"…Of course only a fool/knave would try to misattribute these kritis.
pAhi mAm Sri vAgiSwari – rAga kalyAni
amrita V
https://www.youtube.com/watch?v=XNRDVhlWe0E
sreedEv
https://www.youtube.com/watch?v=TjrX4cUa9eg
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Swathi Thirunal
Even among the Trinity, it was only Thyagaraja swamy who took to sanyaasam.-total renunciation.
Sri.MD was trained by a sanyasin. And had mystical experience of Guruguha .
Shyaama Saastry was a priest like Ramakrushna paramahamsa. .ever in the contemplation of mother-goddess.
Srinivasaraos has given us a wonderful blogpost on Sadasiva brammendraaL.
Negative comments are being carefully avoided, so as not to degrade oneself.
Sri.MD was trained by a sanyasin. And had mystical experience of Guruguha .
Shyaama Saastry was a priest like Ramakrushna paramahamsa. .ever in the contemplation of mother-goddess.
Srinivasaraos has given us a wonderful blogpost on Sadasiva brammendraaL.
Negative comments are being carefully avoided, so as not to degrade oneself.
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (dEvi navarAtri – 3 – dEvi pAvanE – rAga sAvEri)
dEvi navarAtri – 3 – dEvi pAvanE – rAga sAvEri
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness). No amount of "pious posturing" can unring-the-bell of what has been heard from those who deny the words of the vAggeyakAras.
dEvi navarAtri Day 3/Night 3 is given the rAga sAvEri
The rAga sAvEri mudra (for those who can follow these things) is given via the words
bhImAnanta-agyAna-timira bhEdana mihirAyitE
The sun that sweeps away the MASSIVE darkness of ignorance
bhima-ananta – massive, without end
timira – darkness
bhEdana – destroy/sweep away
mihira – the sun
Is there a better image for the word sAvEri for this rising sun that ushers in the new day of enlightenment ?
No ! (except if one is unable to understand the words/idioms/ideas/icons)
dEvi pAvanE – rAga sAvEri
rk murthy
https://www.youtube.com/watch?v=MqDbXDUDDzE
veena saranya
https://www.youtube.com/watch?v=TmnUT5hBHXk
vasantamAdhavi
https://www.youtube.com/watch?v=Z1uCdpeqrb4
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness). No amount of "pious posturing" can unring-the-bell of what has been heard from those who deny the words of the vAggeyakAras.
dEvi navarAtri Day 3/Night 3 is given the rAga sAvEri
The rAga sAvEri mudra (for those who can follow these things) is given via the words
bhImAnanta-agyAna-timira bhEdana mihirAyitE
The sun that sweeps away the MASSIVE darkness of ignorance
bhima-ananta – massive, without end
timira – darkness
bhEdana – destroy/sweep away
mihira – the sun
Is there a better image for the word sAvEri for this rising sun that ushers in the new day of enlightenment ?
No ! (except if one is unable to understand the words/idioms/ideas/icons)
dEvi pAvanE – rAga sAvEri
rk murthy
https://www.youtube.com/watch?v=MqDbXDUDDzE
veena saranya
https://www.youtube.com/watch?v=TmnUT5hBHXk
vasantamAdhavi
https://www.youtube.com/watch?v=Z1uCdpeqrb4
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Swathi Thirunal
One striking feature of the kruthis of The Trinity is that they never gave us any jaavaLi type of compositions, in the guise of praising the GOD. In fact, Thyaagaraaja swami, explicitly reprimanded his disciples if they showed interest in such things.
.
Even the kruthi in kedaragowla by Thyyagaraja ' venugaana' said to be composed by the sathguru for the family deity of his disciple veenai kuppier, is so uncharactristic of the saint, though, it may refer to boy balakrushnan and the ladies treat him just as a talented and charming boy.
.
It may be a spurious kruthi.
.
Even the kruthi in kedaragowla by Thyyagaraja ' venugaana' said to be composed by the sathguru for the family deity of his disciple veenai kuppier, is so uncharactristic of the saint, though, it may refer to boy balakrushnan and the ladies treat him just as a talented and charming boy.
.
It may be a spurious kruthi.
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (dEvi navarAtri – 4 – bhArati mAmava – rAga tOdi)
dEvi navarAtri – 4 – bhArati mAmava – rAga tOdi
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness).
Language-challenged cretin/s develop an awareness of words…. when it comes to describing the lewd imagery and filth of their own visions.
Are the much-maligned jAvalis/padams (so-called “filthy” words) rendered better by the much-maligned “dEvadAsis” (so-called “filthy” actions) …since they are both in the “guise of god” ? Indeed a whole separate thread (on the nations gems), has been devoted to the foremost of such proponents, showing the inconsistency and ignorance of the dim-witted.
There is NO dis-guising the contempt being shown here for the vAggeyakAras, (by those embittered and alienated by the languages) , during the time of dEvi navarAtri on this mahArAja thread.
bhArati mAmava
This is the ONLY kriti of the mahArAja to use the exact words “karAnguli jAlE” for the vinA playing goddess.
The word tOdi derives from tOdah, as in the sun...and the tOdi rAga mudra is delivered by the icon for the sun =
Sata bhAsura bhUSana lasitE..= saraswati/bharati shines with the brightness of a hundred suns
bhArati mAmava – rAga tOdi
rAdhikA k
https://www.youtube.com/watch?v=Z7ptxs4aHuU
gAyatri V
https://www.youtube.com/watch?v=xwBG4hr24_U
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness).
Language-challenged cretin/s develop an awareness of words…. when it comes to describing the lewd imagery and filth of their own visions.
Are the much-maligned jAvalis/padams (so-called “filthy” words) rendered better by the much-maligned “dEvadAsis” (so-called “filthy” actions) …since they are both in the “guise of god” ? Indeed a whole separate thread (on the nations gems), has been devoted to the foremost of such proponents, showing the inconsistency and ignorance of the dim-witted.
There is NO dis-guising the contempt being shown here for the vAggeyakAras, (by those embittered and alienated by the languages) , during the time of dEvi navarAtri on this mahArAja thread.
bhArati mAmava
This is the ONLY kriti of the mahArAja to use the exact words “karAnguli jAlE” for the vinA playing goddess.
The word tOdi derives from tOdah, as in the sun...and the tOdi rAga mudra is delivered by the icon for the sun =
Sata bhAsura bhUSana lasitE..= saraswati/bharati shines with the brightness of a hundred suns
bhArati mAmava – rAga tOdi
rAdhikA k
https://www.youtube.com/watch?v=Z7ptxs4aHuU
gAyatri V
https://www.youtube.com/watch?v=xwBG4hr24_U
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Swathi Thirunal
What is the use of trying to twist history? A whole set of families were set apart forcibly by kings , big and small, as dancers and singers and were not allowed to lead a normal married life. Were given a glorified name. In reality, they were just preyed upon by the rich and powerful.
A few of them were honoured for their great musical gifts. But, remember, that it was all, post-british reform.
.
It is a fact that a sacred art like classical music was misused for Narasthuthi and profanity.
.
There are any number of Thyagaraja kruthis , condemning such preoccuoation with sensual pursuits.
'Half's never tire of claiming to follow the footsteps of Sri.MD, but can the 'tyre'
give any jaavali by the Trinity?
A few of them were honoured for their great musical gifts. But, remember, that it was all, post-british reform.
.
It is a fact that a sacred art like classical music was misused for Narasthuthi and profanity.
.
There are any number of Thyagaraja kruthis , condemning such preoccuoation with sensual pursuits.
'Half's never tire of claiming to follow the footsteps of Sri.MD, but can the 'tyre'
give any jaavali by the Trinity?
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (dEvi navarAtri – 5 – janani mAmava – rAga bhairavi )
dEvi navarAtri – 5 – janani mAmava – rAga bhairavi
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness).
On the 5th day/night of the dEvi navarAtri, the question arises....
Why should "saraswati" be adorned with the rAga bhairavi ?
Because in the mahArAjas vision of the SArada navarAtri, “bhairavi” the word derives from “bha-ra”-na , as in Filling, which happens to be the very idea of the rasa-FILLED goddess = saraswati, known, not coincidentally as bhArati.
Case closed !
The kritis, the music, the ideas & the pujA of the vAggeyakAras is NOT for those who deny their words and choices.
Anyone unfit and undeserving for their messages can and should find other avenues.
janani mAmava – rAga bhairavi
triCUr V ramachandran
https://www.youtube.com/watch?v=qUf4ZOGfjLo
veena r subbalakShmi
https://www.youtube.com/watch?v=KPY-xQAX3AY
vECUr harihara S.
https://www.youtube.com/watch?v=8PSbBOL88wc
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness).
On the 5th day/night of the dEvi navarAtri, the question arises....
Why should "saraswati" be adorned with the rAga bhairavi ?
Because in the mahArAjas vision of the SArada navarAtri, “bhairavi” the word derives from “bha-ra”-na , as in Filling, which happens to be the very idea of the rasa-FILLED goddess = saraswati, known, not coincidentally as bhArati.
Case closed !
The kritis, the music, the ideas & the pujA of the vAggeyakAras is NOT for those who deny their words and choices.
Anyone unfit and undeserving for their messages can and should find other avenues.
janani mAmava – rAga bhairavi
triCUr V ramachandran
https://www.youtube.com/watch?v=qUf4ZOGfjLo
veena r subbalakShmi
https://www.youtube.com/watch?v=KPY-xQAX3AY
vECUr harihara S.
https://www.youtube.com/watch?v=8PSbBOL88wc
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (dEvi navarAtri – 6 – sarOruhAsana jAyE – rAga kAmavardhani/kASi-rAmakriya)
dEvi navarAtri – 6 – sarOruhAsana jayE – rAga kAmavardhani/kASi-rAmakriya
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…
The 6th day/night of the 9 day dEvi navarAtri set of the mahArAja marks the last of the kritis on the “saraswati/bhArati” aspect.
The remaining 3 kritis are on the durgA/pArvati aspect.
The rAga mudra for “kAma-vardhani” is embedded in the word “kAma-manju” found in the rarely heard 1st Carana.
However it will be shown in a separate post why the rAga name kAsi-ramakriya is more relvant to the choice made.
sarOruhAsana jAyE – rAga kAmavardhani
gAyatri V
https://www.youtube.com/watch?v=KPkefSGanVc
veena Saranya m
https://www.youtube.com/watch?v=eSAOPuJ83sI
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…
The 6th day/night of the 9 day dEvi navarAtri set of the mahArAja marks the last of the kritis on the “saraswati/bhArati” aspect.
The remaining 3 kritis are on the durgA/pArvati aspect.
The rAga mudra for “kAma-vardhani” is embedded in the word “kAma-manju” found in the rarely heard 1st Carana.
However it will be shown in a separate post why the rAga name kAsi-ramakriya is more relvant to the choice made.
sarOruhAsana jAyE – rAga kAmavardhani
gAyatri V
https://www.youtube.com/watch?v=KPkefSGanVc
veena Saranya m
https://www.youtube.com/watch?v=eSAOPuJ83sI
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (dEvi navarAtri – 7 – janani pAhi sadA – rAga devakriyA )
dEvi navarAtri – 7 – janani pAhi sadA – rAga devakriyA
The Spiritual Heritage of the mahArAja is well illustrated in the dEvi navarAtri kritis…
The 7th day/night of the 9 day dEvi navarAtri set of the mahArAja begins the set of 3 kritis to the durgA/pArvati aspect.
saraswati = good cop, durgA = bad cop
Whereas saraswati destroys (untruth etc) with knowledge, durgA is far less forgiving.
Signaling this transition to the blood-thirsty vengeful dEvi, the asurAs Canda/munda and mahiSAsura are all cited in this kriti.
And the descriptor “padmanAbha sahOdari” makes its appearance.
It will be shown in a separate post why the rAga name dEvakriya is more relevant than Suddha sAvEri.
It is also NOT a coincidence that the rAga dEvakriya is similar to …(you guessed it )…rAga durgA !! of the Hindustani style).
janani pAhi sadA – rAga dEvakriyA
KVN
https://www.youtube.com/watch?v=6QMiTYOmRUo
The Spiritual Heritage of the mahArAja is well illustrated in the dEvi navarAtri kritis…
The 7th day/night of the 9 day dEvi navarAtri set of the mahArAja begins the set of 3 kritis to the durgA/pArvati aspect.
saraswati = good cop, durgA = bad cop
Whereas saraswati destroys (untruth etc) with knowledge, durgA is far less forgiving.
Signaling this transition to the blood-thirsty vengeful dEvi, the asurAs Canda/munda and mahiSAsura are all cited in this kriti.
And the descriptor “padmanAbha sahOdari” makes its appearance.
It will be shown in a separate post why the rAga name dEvakriya is more relevant than Suddha sAvEri.
It is also NOT a coincidence that the rAga dEvakriya is similar to …(you guessed it )…rAga durgA !! of the Hindustani style).
janani pAhi sadA – rAga dEvakriyA
KVN
https://www.youtube.com/watch?v=6QMiTYOmRUo
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Pratyaksham Bala
- Posts: 4165
- Joined: 21 May 2010, 16:57
Re: Swathi Thirunal
What a certification !saraswati = good cop, durgA = bad cop
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (dEvi navarAtri – 8 – pAhi janani santatam – rAga nAtakuranji)
dEvi navarAtri – 8 – pAhi janani santatam – rAga nAtakuranji
The Spiritual Heritage of the mahArAja is well illustrated in the dEvi navarAtri kritis…
The 8th day/night of the 9 day dEvi navarAtri set of the mahArAja is the auspicious durgA-aStami.
The kriti “pAhi janani santatam” refers to the ceremony of kanyA puja via “kanyA kubja vAsini”…performed on the aStami.
"kubjikA" is an 8 year old girl and the "kanyA pujA" celebrates the durgA aspect that resides in these young girls who will grow into their roles in later life.
The "8 years old" kanyA's pujA occurs on the aStami = 8th day.
pAhi janani santatam – rAga nAtakuranji
viSnudEv N
https://www.youtube.com/watch?v=HVMAb3HV6ak
dhanyA
https://www.youtube.com/watch?v=tdPZxLcwvaI
The Spiritual Heritage of the mahArAja is well illustrated in the dEvi navarAtri kritis…
The 8th day/night of the 9 day dEvi navarAtri set of the mahArAja is the auspicious durgA-aStami.
The kriti “pAhi janani santatam” refers to the ceremony of kanyA puja via “kanyA kubja vAsini”…performed on the aStami.
"kubjikA" is an 8 year old girl and the "kanyA pujA" celebrates the durgA aspect that resides in these young girls who will grow into their roles in later life.
The "8 years old" kanyA's pujA occurs on the aStami = 8th day.
pAhi janani santatam – rAga nAtakuranji
viSnudEv N
https://www.youtube.com/watch?v=HVMAb3HV6ak
dhanyA
https://www.youtube.com/watch?v=tdPZxLcwvaI
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (dEvi navarAtri – 9 – pAhi parvatanandini – rAga Arabhi)
dEvi navarAtri – 9 – pAhi parvatanandini – rAga Arabhi
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…
The 9th and final day/night kriti of the dEvi navarAtri set of the mahArAja is “pAhi parvatanandini” .
Although addressed to pArvati as parvatanandini , the durgA aspect is preserved as the kEsari-vAhanE ..the lion rider.
The kriti deploys the dwitiya akSara rule, including even within each line as shown
pallavi
pA-hi-parvatanandini! mAmayi pArvanEndu samavadanE
anupallavi
vA-hi-nI taTa nivAsini kEsari vA-ha-nE ditijALi vitaranE
caraNam 1
jam-bha-vairi mukhanatE kari kum-bha-bhIvAkuSa vinatE vara
Sam-bhu-lalAta vilOcana pAvaka sam-bha-vE samadhika vasanE
caraNam 2
kan-ja-daLa nibhalOcanE madhu man-ju-tara mrdubhASaNE mada
kun-ja-ra nAyaka mrdugati manjima bhan-ja-nA Cana mandaragamanE
caraNam 3
Can-Ca-dali lalitAngE tila kAn-Ci-ta SaSadhara kalAnikE nata
van-Ci-nrpAlaka vamsha SubhOdaya san-Ca-yaika krti satata gunAnikE
pAhi parvatanandini – rAga Arabhi
savitA n group
https://www.youtube.com/watch?v=sOuA5l-md-s
The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…
The 9th and final day/night kriti of the dEvi navarAtri set of the mahArAja is “pAhi parvatanandini” .
Although addressed to pArvati as parvatanandini , the durgA aspect is preserved as the kEsari-vAhanE ..the lion rider.
The kriti deploys the dwitiya akSara rule, including even within each line as shown
pallavi
pA-hi-parvatanandini! mAmayi pArvanEndu samavadanE
anupallavi
vA-hi-nI taTa nivAsini kEsari vA-ha-nE ditijALi vitaranE
caraNam 1
jam-bha-vairi mukhanatE kari kum-bha-bhIvAkuSa vinatE vara
Sam-bhu-lalAta vilOcana pAvaka sam-bha-vE samadhika vasanE
caraNam 2
kan-ja-daLa nibhalOcanE madhu man-ju-tara mrdubhASaNE mada
kun-ja-ra nAyaka mrdugati manjima bhan-ja-nA Cana mandaragamanE
caraNam 3
Can-Ca-dali lalitAngE tila kAn-Ci-ta SaSadhara kalAnikE nata
van-Ci-nrpAlaka vamsha SubhOdaya san-Ca-yaika krti satata gunAnikE
pAhi parvatanandini – rAga Arabhi
savitA n group
https://www.youtube.com/watch?v=sOuA5l-md-s
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Swathi Thirunal (The mahArAjas dEvi navarAtri kritis – Why and How each of the 9 rAgas are chosen.)
The mahArAjas dEvi navarAtri kritis – Why and How each of the 9 rAgas are chosen.
There is a logical basis for EACH AND EVERY rAga chosen for the corresponding dEvi navarAtri kriti. This post will show the details. The icons are linked to the Number sequence from 1 to 9.
The first 6 kritis of the dEvi navarAtri are to saraswati = bhArati = vAg-dEvi. The last 3 are to the pArvati/durgA.
prathama
FIRST day/night = rAga 1 Sankara-Abharanam – dEvi jagatjanani
Sankar-Abharana is typically used for the goddess..as a representation of the goddess as Sivas ornament.
But there is a more specific reason the mahArAja applies it to saraswati = bhArati in the first kriti of the navarAtri.
In the scripture, Om is the very first sound that fills (bharana) the universe with welfare (Sankara)
Om = Sankara-bharana ! ..
Sankarabharana (the rAga) as Om = the first sound, is the fitting choice to start the pujA of the goddess of sound and speech, the saraswati/vAk-dEvi.
dwitiya
SECOND day/night = rAga 2 kalyAni – “pAhi mAm Sri vAgiswari”
In the mEla scale classes, there is a PRATHAMA/FIRST half of 1-36 mElas called the pUrvAnga mEla , followed by the DWITIYA/Second half called the uttarAnga mElas 37-72. .
For the second day, the mahArAja has applied the dwitiya/ uttarAnga counterpart of the prathama/purvAnga mElas.
Therefore kalyAni, being the prati-madhyama mEla counterpart of SankarAbharana. is the rAga for second day
tritiya
THIRD day/night = rAga 3 sAvEri - “dEvi pAvanE”
sAveri (the word) derives from sAvitri and therefore from savitur, the sun.
savitur gives the surya-gAyatri mantra, ....recited 3 times a day aka the sandhyAvandana,
This emblem of 3 = tritiya fixes the choice of sAvEri for the third day.
Caturthi
FOURTH day/night – rAga 4 tOdi - “bhArati mAmava”
The word tOdi derives from "tOdaha" an epithet for surya.
In rig vEda 4.58.3, the four horns of agni (CatvAri Srnga) represent the four cardinal directions illuminated by the Sun..They are also interpreted to represent the 4 vEdas.
चत्वारि शृङ्गा त्रयो अस्य पादा द्वे शीर्षे सप्त हस्तासो अस्य
catvāri SrngA trayo asya pAdā dve śīrṣe sapta hastāso asya
saraswati through her “pustaka” icon and as CatvAri vAk swarupa (of the 4-fold speech) is naturally associated with the 4 vEdas.
tOdi, surya, the 4 vEdas and saraswati come together in the Caturthi pujA.
panCami
FIFTH day/night – rAga 5 bhairavi – “janani mAmava”
bhairavi applies to saraswati since both words bhArati and bhairavi share the motif of bhara-na.
But the word “bhairav” ALWAYS signifies the 5 faced deity, the panCa-Anana..
Therefore rAga bhairavi is meaningful for the panCami.
SaSti
Sixth day/night – rAga 6 kASi-rAmakriyA - "sarOruhAsana jAye"
Although the hidden mudra for kAma-vardhani (kAma-manju) appears in the kriti “saOruhAsana jAye”, the more meaningful name driving the choice is kASi- rAmakriyA.
Why ?
Because the number 6 (for SaSti = Sat) also represents the Sat-krama kriyA = the six-fold kriyA, a stringent purification kriyA that is associated with breathing technique in hatha yOga.
The choice of (kASi)-rAma-kriyA becomes clear for the 6th night of saraswati who is also the throat Cakra goddess, controlling breath..…notice also that the word Sat-k-ramakriya embeds the rAga word.
Start of the durgA aspect kritis
saptami
seventh day.night – rAga 7 dEvakriyA – “janani pAhi sadA”
In the scripture, durgA is tasked (kriyA) by her brother viSnu (dEva) to transfer the 7th child (= balarAma) from dEvaki to rOhini etc..
The kriti gives the UNMISTAKEABLE mudra “mahita bAhu bala” indicating this role of durgA in the birth of the SEVENTH child of dEvaki = balarAma.
This SEVENTH child fixes the saptami as well as the rAga dEvakriyA , inaugurating the durgA aspect
Noticeably dEvakriyA is the equivalent of the rAga durgA from the Hindustani style.
aStami
eight day/night – rAga 8 nAtakuranji – “pAhi janani santatam”
The 8th day/night celebrates the kanyA pujA.
Indeed, the UNMISTAKEABLE mudra “kanyA-kubja vAsini” appears.
The reference is to the 8 year old kubjikAs who IMPERSONATE the durgA dEvi and are worshipped as her image.
This IMPERSONATION is a drama = nAtaka (the young girls are acting)
Only a fool (or a knave) can think that the choice of nAtaka-ranji is NOT linked to the aStami for this EXACT reason.
navami
ninth day/night – rAga 9 Arabhi - “pAhi parvatanandini”
Here the lion riding goddess (kEsari-vAhana) might indicate the roar of the lion as well, as in rambhana.
But the rAga Arabhi is chosen because it derives from the word Arambhana = beginning or start or dawn.
The dawn/start mudra appears via “vamSa SubhOdaya” where Subha udaya = auspicious dawn , the nava (= new) day.
Notably “nava” is also the numeral Nine = navami as well as “new”.
It signals the START of the victory celebration that will commence with the next day = the vijaya-daSami.
Summary
There is no reason NOT to expect a careful exercising of rAga choice, especially for a well-planned and meditated navarAtri pujA.
Previously it has been shown that the kAnda-mAlikA “bhAvayAmi raghurAmam” has all 7 rAgas carefully chosen in alignment with the vAlmiki rAmAyana kAndas
See post dated Oct 30, 2021
https://www.rasikas.org/forums/viewtopi ... 95#p373695
And the daSAvatAra rAgamAlika is also shown to have its rAgas chosen aligned with each avatAra name/aspects in post dated Oct 7, 2022
https://www.rasikas.org/forums/viewtopi ... 22#p377722
That the industry, the Travancore institution/school/principals, musicologists, vidwAns, and other academicians of last 200 years are unaware of such organization suggests the following.....
-Understanding the rAga choice is COMPLETELY UNIMPORTANT to the general music “industry”.
-The “industry”, including the kutChEri and music teaching industry lacks the imagination to try to understand the motivations of the vAggeyakAras.
-The words used are simply not comprehended. The “ideas” behind the words are lost.
But this apathy and ignorance does not change the fact that the kritis are Organized, and that there is a definite connection between the rAga used by the kriti and the theme of the kriti, its words and its intent, as visualized by the vAggeyakAra.
And for the nAda-upAsakas, it is understanding this intent that protects the spiritual heritage of the vAggeyakAra.
The nAda-upAsaka thanks the rasikas forum founders and managers for the forum to bring forward these aspects of the kritis of the vAggeyakAras.
satyam Eva jayatE
All 9 kritis of the dEvi navarAtri
Bombay sisters
https://www.youtube.com/watch?v=bgpkejhufVw
There is a logical basis for EACH AND EVERY rAga chosen for the corresponding dEvi navarAtri kriti. This post will show the details. The icons are linked to the Number sequence from 1 to 9.
The first 6 kritis of the dEvi navarAtri are to saraswati = bhArati = vAg-dEvi. The last 3 are to the pArvati/durgA.
prathama
FIRST day/night = rAga 1 Sankara-Abharanam – dEvi jagatjanani
Sankar-Abharana is typically used for the goddess..as a representation of the goddess as Sivas ornament.
But there is a more specific reason the mahArAja applies it to saraswati = bhArati in the first kriti of the navarAtri.
In the scripture, Om is the very first sound that fills (bharana) the universe with welfare (Sankara)
Om = Sankara-bharana ! ..
Sankarabharana (the rAga) as Om = the first sound, is the fitting choice to start the pujA of the goddess of sound and speech, the saraswati/vAk-dEvi.
dwitiya
SECOND day/night = rAga 2 kalyAni – “pAhi mAm Sri vAgiswari”
In the mEla scale classes, there is a PRATHAMA/FIRST half of 1-36 mElas called the pUrvAnga mEla , followed by the DWITIYA/Second half called the uttarAnga mElas 37-72. .
For the second day, the mahArAja has applied the dwitiya/ uttarAnga counterpart of the prathama/purvAnga mElas.
Therefore kalyAni, being the prati-madhyama mEla counterpart of SankarAbharana. is the rAga for second day
tritiya
THIRD day/night = rAga 3 sAvEri - “dEvi pAvanE”
sAveri (the word) derives from sAvitri and therefore from savitur, the sun.
savitur gives the surya-gAyatri mantra, ....recited 3 times a day aka the sandhyAvandana,
This emblem of 3 = tritiya fixes the choice of sAvEri for the third day.
Caturthi
FOURTH day/night – rAga 4 tOdi - “bhArati mAmava”
The word tOdi derives from "tOdaha" an epithet for surya.
In rig vEda 4.58.3, the four horns of agni (CatvAri Srnga) represent the four cardinal directions illuminated by the Sun..They are also interpreted to represent the 4 vEdas.
चत्वारि शृङ्गा त्रयो अस्य पादा द्वे शीर्षे सप्त हस्तासो अस्य
catvāri SrngA trayo asya pAdā dve śīrṣe sapta hastāso asya
saraswati through her “pustaka” icon and as CatvAri vAk swarupa (of the 4-fold speech) is naturally associated with the 4 vEdas.
tOdi, surya, the 4 vEdas and saraswati come together in the Caturthi pujA.
panCami
FIFTH day/night – rAga 5 bhairavi – “janani mAmava”
bhairavi applies to saraswati since both words bhArati and bhairavi share the motif of bhara-na.
But the word “bhairav” ALWAYS signifies the 5 faced deity, the panCa-Anana..
Therefore rAga bhairavi is meaningful for the panCami.
SaSti
Sixth day/night – rAga 6 kASi-rAmakriyA - "sarOruhAsana jAye"
Although the hidden mudra for kAma-vardhani (kAma-manju) appears in the kriti “saOruhAsana jAye”, the more meaningful name driving the choice is kASi- rAmakriyA.
Why ?
Because the number 6 (for SaSti = Sat) also represents the Sat-krama kriyA = the six-fold kriyA, a stringent purification kriyA that is associated with breathing technique in hatha yOga.
The choice of (kASi)-rAma-kriyA becomes clear for the 6th night of saraswati who is also the throat Cakra goddess, controlling breath..…notice also that the word Sat-k-ramakriya embeds the rAga word.
Start of the durgA aspect kritis
saptami
seventh day.night – rAga 7 dEvakriyA – “janani pAhi sadA”
In the scripture, durgA is tasked (kriyA) by her brother viSnu (dEva) to transfer the 7th child (= balarAma) from dEvaki to rOhini etc..
The kriti gives the UNMISTAKEABLE mudra “mahita bAhu bala” indicating this role of durgA in the birth of the SEVENTH child of dEvaki = balarAma.
This SEVENTH child fixes the saptami as well as the rAga dEvakriyA , inaugurating the durgA aspect
Noticeably dEvakriyA is the equivalent of the rAga durgA from the Hindustani style.
aStami
eight day/night – rAga 8 nAtakuranji – “pAhi janani santatam”
The 8th day/night celebrates the kanyA pujA.
Indeed, the UNMISTAKEABLE mudra “kanyA-kubja vAsini” appears.
The reference is to the 8 year old kubjikAs who IMPERSONATE the durgA dEvi and are worshipped as her image.
This IMPERSONATION is a drama = nAtaka (the young girls are acting)
Only a fool (or a knave) can think that the choice of nAtaka-ranji is NOT linked to the aStami for this EXACT reason.
navami
ninth day/night – rAga 9 Arabhi - “pAhi parvatanandini”
Here the lion riding goddess (kEsari-vAhana) might indicate the roar of the lion as well, as in rambhana.
But the rAga Arabhi is chosen because it derives from the word Arambhana = beginning or start or dawn.
The dawn/start mudra appears via “vamSa SubhOdaya” where Subha udaya = auspicious dawn , the nava (= new) day.
Notably “nava” is also the numeral Nine = navami as well as “new”.
It signals the START of the victory celebration that will commence with the next day = the vijaya-daSami.
Summary
There is no reason NOT to expect a careful exercising of rAga choice, especially for a well-planned and meditated navarAtri pujA.
Previously it has been shown that the kAnda-mAlikA “bhAvayAmi raghurAmam” has all 7 rAgas carefully chosen in alignment with the vAlmiki rAmAyana kAndas
See post dated Oct 30, 2021
https://www.rasikas.org/forums/viewtopi ... 95#p373695
And the daSAvatAra rAgamAlika is also shown to have its rAgas chosen aligned with each avatAra name/aspects in post dated Oct 7, 2022
https://www.rasikas.org/forums/viewtopi ... 22#p377722
That the industry, the Travancore institution/school/principals, musicologists, vidwAns, and other academicians of last 200 years are unaware of such organization suggests the following.....
-Understanding the rAga choice is COMPLETELY UNIMPORTANT to the general music “industry”.
-The “industry”, including the kutChEri and music teaching industry lacks the imagination to try to understand the motivations of the vAggeyakAras.
-The words used are simply not comprehended. The “ideas” behind the words are lost.
But this apathy and ignorance does not change the fact that the kritis are Organized, and that there is a definite connection between the rAga used by the kriti and the theme of the kriti, its words and its intent, as visualized by the vAggeyakAra.
And for the nAda-upAsakas, it is understanding this intent that protects the spiritual heritage of the vAggeyakAra.
The nAda-upAsaka thanks the rasikas forum founders and managers for the forum to bring forward these aspects of the kritis of the vAggeyakAras.
satyam Eva jayatE
All 9 kritis of the dEvi navarAtri
Bombay sisters
https://www.youtube.com/watch?v=bgpkejhufVw
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
The celestial cowherd and the yamunA - The mahArAjas tribute to the naukA Caritra
The celestial cowherd and the yamunA - The mahArAjas tribute to the naukA Caritra
Aaj AyE SyAm mOhana - rAga yaman kalyAn
The kriti is properly only in yaman kalyAn , set on the banks of the yamunA in vrndAvana..
…which is the forest of the mind where each cow finds its cowherd, each gOpi their krSna, each sitA her rAma and each upAsaka their guru.
The nAda-sampradAya finds its expression in the words and ideas of the vAggeyakAras.
Only a degenerate will try to malign this kriti as lewd.
Aaj AyE SyAm mOhana – rAga yaman kalyAn
ganapati bhat
https://www.youtube.com/watch?v=5BKjW3Csvic
Aaj AyE SyAm mOhana - rAga yaman kalyAn
The kriti is properly only in yaman kalyAn , set on the banks of the yamunA in vrndAvana..
…which is the forest of the mind where each cow finds its cowherd, each gOpi their krSna, each sitA her rAma and each upAsaka their guru.
The nAda-sampradAya finds its expression in the words and ideas of the vAggeyakAras.
Only a degenerate will try to malign this kriti as lewd.
Aaj AyE SyAm mOhana – rAga yaman kalyAn
ganapati bhat
https://www.youtube.com/watch?v=5BKjW3Csvic
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
The para-lalita panCama “parama puruSa” that is beyond the bhUta panCama
The para-lalita panCama “parama puruSa” that is beyond the bhUta panCama
In the Dikshitars kriti “brhadiSwarim bhajarE”, “lalita panCama” refers to the “panCa brahma swarupa lalitA”, from the 250th name in the sahasranAma.
See https://www.rasikas.org/forums/viewtopi ... 07#p380907
In contrast, the 949th name in the sahasranAma is “panCa bhUtESi”, by which lalitA represents the 5 fundamental elements that together constitute all that is animate and inanimate.
For the mahArAja, “lalita panCama” derives its meaning (and the basis of the rAga choice) from this 949th name.
How ?....Why ?
In fact, the mahArAja reveals his intention in the very first lines of the kriti.
parama-puruSa hrdaya bhAvaya tam, murali nAda vivrta-tara para lalita panCama
Notably the prefix “para” implies the OTHER or what is different (as in para-dESi etc.)
It is not a coincidence that ALL five of the panCa bhUta , the 5 fundamental elements, appear in the first Caranam of the kriti…in almost the same breath !
dEvakI vasudEvAdi divya punya nicayam ,amarAvana niratam ajitam ambu dAkrtim, pAvana tarani tanayOpAnta viracita
vasu – prthvi = Earth (from vasudhA, vasundhara etc)
divya – AkASa
ambu – jala
pAvana – vAyu (from “pavana” the purifying wind)
tarani – agni (from “tarani tanaya” = draupadi born from fire/yagna)
parama puruSa = “para-lalita panCama” is para-bhUta-panCama…
parama puruSa is OTHER than the 5 elements…
The idea is found in the gitA.
gitA 13.23 describes the existence of the paramAtma as the puruSa who is para = OTHER
उपद्रष्टानुमन्ता च भर्त्ता भोक्ता महेश्वरः परमात्मेति चाप्य् उक्तो देहेऽस्मिन् पुरुषः परः
upadraStAnumantA Ca bhartA bhoktA mahESvaraḥ, paramAtmEti Ca api uktO dEhasmin puruSa para
paramAtma is witness, bearer and enjoyer within the dEha ( the body of 5 elements including dahara AkASa the inner space ) but which is puruSa para..as in different..
Naturally the kriti is to the krSna avatAr, given the connection with the gitA.
The kritis, rAgas, choices and words of the vAggeyakAras communicate messages that cannot be limited to or diluted as mere sound-frequency variation exercises.
parama puruSam hrdaya bhAvaya tam muralI nAda vivrta tara para lalita panCamam
bombay jayaSri
https://www.youtube.com/watch?v=UHOM8zU0G_I
In the Dikshitars kriti “brhadiSwarim bhajarE”, “lalita panCama” refers to the “panCa brahma swarupa lalitA”, from the 250th name in the sahasranAma.
See https://www.rasikas.org/forums/viewtopi ... 07#p380907
In contrast, the 949th name in the sahasranAma is “panCa bhUtESi”, by which lalitA represents the 5 fundamental elements that together constitute all that is animate and inanimate.
For the mahArAja, “lalita panCama” derives its meaning (and the basis of the rAga choice) from this 949th name.
How ?....Why ?
In fact, the mahArAja reveals his intention in the very first lines of the kriti.
parama-puruSa hrdaya bhAvaya tam, murali nAda vivrta-tara para lalita panCama
Notably the prefix “para” implies the OTHER or what is different (as in para-dESi etc.)
It is not a coincidence that ALL five of the panCa bhUta , the 5 fundamental elements, appear in the first Caranam of the kriti…in almost the same breath !
dEvakI vasudEvAdi divya punya nicayam ,amarAvana niratam ajitam ambu dAkrtim, pAvana tarani tanayOpAnta viracita
vasu – prthvi = Earth (from vasudhA, vasundhara etc)
divya – AkASa
ambu – jala
pAvana – vAyu (from “pavana” the purifying wind)
tarani – agni (from “tarani tanaya” = draupadi born from fire/yagna)
parama puruSa = “para-lalita panCama” is para-bhUta-panCama…
parama puruSa is OTHER than the 5 elements…
The idea is found in the gitA.
gitA 13.23 describes the existence of the paramAtma as the puruSa who is para = OTHER
उपद्रष्टानुमन्ता च भर्त्ता भोक्ता महेश्वरः परमात्मेति चाप्य् उक्तो देहेऽस्मिन् पुरुषः परः
upadraStAnumantA Ca bhartA bhoktA mahESvaraḥ, paramAtmEti Ca api uktO dEhasmin puruSa para
paramAtma is witness, bearer and enjoyer within the dEha ( the body of 5 elements including dahara AkASa the inner space ) but which is puruSa para..as in different..
Naturally the kriti is to the krSna avatAr, given the connection with the gitA.
The kritis, rAgas, choices and words of the vAggeyakAras communicate messages that cannot be limited to or diluted as mere sound-frequency variation exercises.
parama puruSam hrdaya bhAvaya tam muralI nAda vivrta tara para lalita panCamam
bombay jayaSri
https://www.youtube.com/watch?v=UHOM8zU0G_I
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
“dEva mAmayi” in rAga kEdAragaula - SadAnana of harigitapura/haripAd kSEtra – subramanya as the kEdAra-guru
“dEva mAmayi” in rAga kEdAragaula - SadAnana of harigitapura/haripAd kSEtra – subramanya as the kEdAra-guru
“dEva mAmayi pAhi SadAnana” is the only kriti of the mahArAja to the skanda deity.
And the rAga for this solitary choice is also carefully chosen.
Why ?
kEdAra is the abode of Siva.
gaulA = gaura derives from “guru”….as in the swAmi who en-lightens nAtha = Siva.
( light is associated with the color white, also the emblem of gaulA…see the Dikshitars gaula portion in the Sri viSwanAtham rAgamAlika for example )
Of course the kriti and the rAga word is the reference to the tatva-upadESa of skanda as guru, to the Siva of kEdAra.
The haripAda/harigitapura subramania swAmi kSEtra celebrates precisely this swAmi.
dEva mAmayi pAhi SadAnana – rAga kEdAragaula
BMK
https://www.youtube.com/watch?v=R7eFu-X-ZRM
“dEva mAmayi pAhi SadAnana” is the only kriti of the mahArAja to the skanda deity.
And the rAga for this solitary choice is also carefully chosen.
Why ?
kEdAra is the abode of Siva.
gaulA = gaura derives from “guru”….as in the swAmi who en-lightens nAtha = Siva.
( light is associated with the color white, also the emblem of gaulA…see the Dikshitars gaula portion in the Sri viSwanAtham rAgamAlika for example )
Of course the kriti and the rAga word is the reference to the tatva-upadESa of skanda as guru, to the Siva of kEdAra.
The haripAda/harigitapura subramania swAmi kSEtra celebrates precisely this swAmi.
dEva mAmayi pAhi SadAnana – rAga kEdAragaula
BMK
https://www.youtube.com/watch?v=R7eFu-X-ZRM
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
dEvan kE pati indra, rAga pati kAnhara, indras sabhA and mahArAjas darbAri kAnhara
dEvan kE pati indra, rAga pati kAnhara, indras sabhA and mahArAjas darbAri kAnhara
The mudra = indication/lakSana of darbAri kAnhara is given by the mahArAja in the very first phrase of this superb kriti.
indras sabhA or court = darbAr is known from literature.
Hence the start as dEvan ke pati indra (lord of the dEvas).
Indeed, the Hindi dialect for this kriti is chosen to deliberately emphasize this “darbAri” aspect.
And the rAga name itself implies that which “captures the ear” = kAn-hara. ( Cf. manO-hara etc)
Which is why the mahArAja also says “rAga pati kAn-hara”.
The usage “kAnada” or "kAn-hada" is easily seen as crude, colloquial expressions of the purer “kAn-hara”(or kAnhra).
In fact the Dikshitar “bAlambikAyA param nahi rE” delivers the kAn-hara mudra with the word "kal-hara".
But that will be the subject of another post.
Similarly, the mahArAjas fantastic dEvi kriti “mAmava sadA janani”, will be dealt with in a separate post.
dEvan kE pati – rAga darbAri kAnhara
anurAdha K
https://www.youtube.com/watch?v=nsM3OWiUPag
The mudra = indication/lakSana of darbAri kAnhara is given by the mahArAja in the very first phrase of this superb kriti.
indras sabhA or court = darbAr is known from literature.
Hence the start as dEvan ke pati indra (lord of the dEvas).
Indeed, the Hindi dialect for this kriti is chosen to deliberately emphasize this “darbAri” aspect.
And the rAga name itself implies that which “captures the ear” = kAn-hara. ( Cf. manO-hara etc)
Which is why the mahArAja also says “rAga pati kAn-hara”.
The usage “kAnada” or "kAn-hada" is easily seen as crude, colloquial expressions of the purer “kAn-hara”(or kAnhra).
In fact the Dikshitar “bAlambikAyA param nahi rE” delivers the kAn-hara mudra with the word "kal-hara".
But that will be the subject of another post.
Similarly, the mahArAjas fantastic dEvi kriti “mAmava sadA janani”, will be dealt with in a separate post.
dEvan kE pati – rAga darbAri kAnhara
anurAdha K
https://www.youtube.com/watch?v=nsM3OWiUPag
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
mAmava sadA janani – the kAn-hara kriti where dEvi is the bee that hums in the ears (kAn) of Siva = hara
mAmava sadA janani – the kAn-hara kriti where dEvi is the bee that hums in the ears (kAn) of Siva = hara
The usage “kAnada” is easily seen as colloquial expression of the purer “kAn-hara” .
Not surprisingly, the mahArAja assigns the dEvi kriti “mAmava sadA janani” in accordance with this idea..
He sings in the very first Carana
pura vimata vadana pankEruha madhupE
dEvi is the honey-bee (madhupE) that buzzes around the face of “pura vimata” = pura-hara
mAmava sadA janani and the 2 tyAgarAja “kAnada” kritis
Indeed the honey-bee idea is common to another kAnada kriti (by the tyAgarAja !)
SrI nArada nAda sarasIruha bhrnga SubhAnga..where nArada is the bee that dances around the source of nAda
In fact the mahArAja also shows the influence of the other kAnada masterpiece of the tyAgarAja.
1. The anupallavi of mAmava sadA janani gives “sOma bimba manOhara sumukhi”
and
the tyAgarAja asks “sukhi EvvarO sumukhi evvarO !”
2. And the unending constancy of the vision flows in both vAggeyakAras kritis
In “mAmava sadA janani” - niravadhi bhava khEda nivArana
In “sukhi EvvarO” - nityamaina susvarapu gAnamutO nirantaramu tyAgarAjanuta
In fact the colloquial word usage “kAnada” is also not lost on the mahArAja..
He gives the suCita (inferrable) mudra ( in the style of the Dikshitar ) via
sEvakAkhila kAma dAna nirata katAkSa vilAsini
Why ? How ?
As kAmadA-na – dEvi is fulfiller of wishes and kAmadA is phonetic proxy for word kAnadA.
Case closed.
Again and again, the vAggeyakAras assert their inspiration, their sAdhana , their ideas , their words and their worship through the auspices of this forum and the adoration of the nAda-upAsaka.
It is their destiny. It cannot be denied. It will not be denied.
satyam Eva jayatE
mAmava sadA janani – rAga kAnada
flute KSG
https://www.youtube.com/watch?v=-s0DAlKbeOs
bangalore shankar
https://www.youtube.com/watch?v=lho-bbllZU8
The usage “kAnada” is easily seen as colloquial expression of the purer “kAn-hara” .
Not surprisingly, the mahArAja assigns the dEvi kriti “mAmava sadA janani” in accordance with this idea..
He sings in the very first Carana
pura vimata vadana pankEruha madhupE
dEvi is the honey-bee (madhupE) that buzzes around the face of “pura vimata” = pura-hara
mAmava sadA janani and the 2 tyAgarAja “kAnada” kritis
Indeed the honey-bee idea is common to another kAnada kriti (by the tyAgarAja !)
SrI nArada nAda sarasIruha bhrnga SubhAnga..where nArada is the bee that dances around the source of nAda
In fact the mahArAja also shows the influence of the other kAnada masterpiece of the tyAgarAja.
1. The anupallavi of mAmava sadA janani gives “sOma bimba manOhara sumukhi”
and
the tyAgarAja asks “sukhi EvvarO sumukhi evvarO !”
2. And the unending constancy of the vision flows in both vAggeyakAras kritis
In “mAmava sadA janani” - niravadhi bhava khEda nivArana
In “sukhi EvvarO” - nityamaina susvarapu gAnamutO nirantaramu tyAgarAjanuta
In fact the colloquial word usage “kAnada” is also not lost on the mahArAja..
He gives the suCita (inferrable) mudra ( in the style of the Dikshitar ) via
sEvakAkhila kAma dAna nirata katAkSa vilAsini
Why ? How ?
As kAmadA-na – dEvi is fulfiller of wishes and kAmadA is phonetic proxy for word kAnadA.
Case closed.
Again and again, the vAggeyakAras assert their inspiration, their sAdhana , their ideas , their words and their worship through the auspices of this forum and the adoration of the nAda-upAsaka.
It is their destiny. It cannot be denied. It will not be denied.
satyam Eva jayatE
mAmava sadA janani – rAga kAnada
flute KSG
https://www.youtube.com/watch?v=-s0DAlKbeOs
bangalore shankar
https://www.youtube.com/watch?v=lho-bbllZU8
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nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
the other “mAmava sadA” kriti which is also the other “nAtakuranji” – the (ardhanAri) durgA who adorns Sivas tAndava
the other “mAmava sadA” kriti which is also the other “nAtakuranji” – the (ardhanAri) durgA who adorns Siva in the tAndava dance of dissolution
mAmava sada varadE (the nAtakuranji) is the twin kriti to mAmava sadA janani (the kAn-hara).
Both kritis are to the mahiSAsura mardini/durgA.
Notably, the mahArAjas other nAtakuranji “pAhi janani santatam” is also to the “Canda munda nASini” durgA.
It will be shown now that 2 key aspects of durgA are covered by the choice of rAga nAtakuranji for these 2 kritis, one in each of these 2 kritis.
“pAhi janani santatam…” is, of course, the celebrated dEvi navarAtri 8th night kriti.
Post dated 19 Oct 2023 on this thread shows that on this 8th night , also known as durgA aStami , young girls IMPERSONATE durgA and are worshipped in her image.
The “kanyA-kubja vAsini” mudra in this dEvi navarAtri kriti is quite clear (unless one is ignorant, blind, deaf , and/or corrupt or all of the above !!).
The “impersonation” gives the = nAtaka = drama = the “act”.
The post is linked here so there is no escape from the truth.
https://www.rasikas.org/forums/viewtopi ... 60#p380460
The Oct 2023 post gives the basis for ALL 9 of rAga choices of the mahArAjas dEvi navarAtri….which (along with several other facts such as the "bhAvayAmi raghurAmam" kAnda mAlikA rAga choice shown in posts here) has ELUDED the establishment, the industry, the “grasping” and ignorant so-called families (royal or otherwise) and paramparAs. The ignorance has even led to confusion about authorship and misattributions.
For "bhAvayAmi rAghurAmam" see post dated Oct. 30, 2021
https://www.rasikas.org/forums/viewtopi ... 95#p373695
Back to “mAmava sadA varadE” and the other key aspect of durgA.
natita nata-ardha - The ardhanAri durgA who adorns Sivas half in the dance of dissolution
Siva (the dancer) does NOT DANCE ALONE in his tAndava at the end of the universe (for asurAs and untruthful).
durgA and Siva always dance as a unified ardhanAri in the dance of dissolution..
Why ?
No less an authority than the Adi Sankara’s mahiSAsura mardini stOtra gives in stanza 10
जय जय जप्य जयेजयशब्द परस्तुति तत्परविश्वनुते
झणझणझिञ्झिमि झिङ्कृत नूपुरशिञ्जितमोहित भूतपते
नटित नटार्ध नटी नट नायक नाटितनाट्य सुगानरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते
jaya jaya japya jaye jaya Sabda para stuti tat para viSwa nutE
Jhana Jhana Jhinjhimi Jhingkrta nupura Sinjita mOhita bhUta patE
natita nattArdha nati nata nAyaka nAtita-nAtya sugAna ratE
jaya jaya hE mahiSAsura mardini ramya kapardini Saila sutE
And this is why "mAmava sadA varadE" is in rAga nAtakuranji... Siva the dancer (the nata) is adorned (ranjita) on one half – nata-ardha by durgA.
The mahiSAsura mardini stOtra line bears repeating for the corrupt and ignorant who might think these are all mere coincidences..(and who would plot to misattribute and disgrace the legacy of the vAggeyakAras)….
natita natArdha nati nata nAyaka nAtita-nAtya sugAna ratE
satyam Eva jayatE
mAmava sadA varadE – rAga nAtakuranji
veena niSa
https://www.youtube.com/watch?v=CL95kN-LC8g
s mahati
https://www.youtube.com/watch?v=nTUkMQ3wuHo
bangalore brothers
https://www.youtube.com/watch?v=vS7HMbxikSs
violin parasuram
https://www.youtube.com/watch?v=t7aW0eDdUO8
mAmava sada varadE (the nAtakuranji) is the twin kriti to mAmava sadA janani (the kAn-hara).
Both kritis are to the mahiSAsura mardini/durgA.
Notably, the mahArAjas other nAtakuranji “pAhi janani santatam” is also to the “Canda munda nASini” durgA.
It will be shown now that 2 key aspects of durgA are covered by the choice of rAga nAtakuranji for these 2 kritis, one in each of these 2 kritis.
“pAhi janani santatam…” is, of course, the celebrated dEvi navarAtri 8th night kriti.
Post dated 19 Oct 2023 on this thread shows that on this 8th night , also known as durgA aStami , young girls IMPERSONATE durgA and are worshipped in her image.
The “kanyA-kubja vAsini” mudra in this dEvi navarAtri kriti is quite clear (unless one is ignorant, blind, deaf , and/or corrupt or all of the above !!).
The “impersonation” gives the = nAtaka = drama = the “act”.
The post is linked here so there is no escape from the truth.
https://www.rasikas.org/forums/viewtopi ... 60#p380460
The Oct 2023 post gives the basis for ALL 9 of rAga choices of the mahArAjas dEvi navarAtri….which (along with several other facts such as the "bhAvayAmi raghurAmam" kAnda mAlikA rAga choice shown in posts here) has ELUDED the establishment, the industry, the “grasping” and ignorant so-called families (royal or otherwise) and paramparAs. The ignorance has even led to confusion about authorship and misattributions.
For "bhAvayAmi rAghurAmam" see post dated Oct. 30, 2021
https://www.rasikas.org/forums/viewtopi ... 95#p373695
Back to “mAmava sadA varadE” and the other key aspect of durgA.
natita nata-ardha - The ardhanAri durgA who adorns Sivas half in the dance of dissolution
Siva (the dancer) does NOT DANCE ALONE in his tAndava at the end of the universe (for asurAs and untruthful).
durgA and Siva always dance as a unified ardhanAri in the dance of dissolution..
Why ?
No less an authority than the Adi Sankara’s mahiSAsura mardini stOtra gives in stanza 10
जय जय जप्य जयेजयशब्द परस्तुति तत्परविश्वनुते
झणझणझिञ्झिमि झिङ्कृत नूपुरशिञ्जितमोहित भूतपते
नटित नटार्ध नटी नट नायक नाटितनाट्य सुगानरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते
jaya jaya japya jaye jaya Sabda para stuti tat para viSwa nutE
Jhana Jhana Jhinjhimi Jhingkrta nupura Sinjita mOhita bhUta patE
natita nattArdha nati nata nAyaka nAtita-nAtya sugAna ratE
jaya jaya hE mahiSAsura mardini ramya kapardini Saila sutE
And this is why "mAmava sadA varadE" is in rAga nAtakuranji... Siva the dancer (the nata) is adorned (ranjita) on one half – nata-ardha by durgA.
The mahiSAsura mardini stOtra line bears repeating for the corrupt and ignorant who might think these are all mere coincidences..(and who would plot to misattribute and disgrace the legacy of the vAggeyakAras)….
natita natArdha nati nata nAyaka nAtita-nAtya sugAna ratE
satyam Eva jayatE
mAmava sadA varadE – rAga nAtakuranji
veena niSa
https://www.youtube.com/watch?v=CL95kN-LC8g
s mahati
https://www.youtube.com/watch?v=nTUkMQ3wuHo
bangalore brothers
https://www.youtube.com/watch?v=vS7HMbxikSs
violin parasuram
https://www.youtube.com/watch?v=t7aW0eDdUO8