Mutthuswamy Dikshithar (Krithis)

nAdopAsaka · Post by **nAdopAsaka** » 27 Apr 2024, 12:05

951 bhurAdi bhuvana bhOktrE – How and more importantly Why the kAmbOji rAga mudra is given in Sri subramanyAya namastE

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The majestic kAmbOji to the subramanya swAmy of “swAmi Saila” sthala bears meditating on again and again.

In the context of the rAga mudra of this major kriti, which is the subject of this post, the previous posts are relevant.

See for example post dated 26 Nov 2021 on this thread (titled ..some notes on the kAmbhOji kritis of the Dikshitar)

The structure of ”subramanyAya namastE” resembles a mountaineer scaling Everest or better yet kailAsa..

First base camp is established with the below ground level SaStAnga “namaste” (the Sri subram starting syllables are the lowermost in the octave of all his kAmbhOjis).

Then this prostration attitude is seen again in anupallavi with the earth dwellers, the bhusurAdi, which then stirs up like the great serpent uncoiling, to stage 1 "vAsuki takSakAdi sarpa" ,

returning for supplies to base camps and also to bring up the more timid ,
then stage 2 "vAsavAdi" ,
encouraged along the way with sporadic glimpses of the peak "sakala dEva vanditAya" !,
subsiding again as he melts with the first clear vision of this effort, "dAsa jana abhiSta"
then emboldened to the final stages "tApatraya harana tatvOpadeSa",
victory with "vijayavalli" and the final fruit "bhuvana bhOktre" and
ending with "bhOgamOkSa" at the peak.

Indeed all the kAmbhoji kritis of the Dikshitar are like a Himalayan massif, with many equally high peaks, that conceal among their shadows, the less heard and less seen heights of his other kAmbOji kritis which are equally spectacular.

So behind the the tatvOpadESa subramanyAya namastE, the kamalAmbikAyai navAvarana gem, the dakSina kASi visweSwara, the tiruvArUr panCalinga Sri valmIka-lingam nestle followed by the kAnCi kailAsanAthena, the virinCipuram marakatavalli, the tiru-kadiyUr sAmba sadASivAya and the dAmOdara krSna kSetra gOpala krSnAya (the order isnot terribly important)

What is useful to see is how the rAga mudra for kAmbOji is delivered in each kriti.

1. kamalAmbikAyai kanakAmSukAyai
sakala saubhAgya dAyakAmbhOja

2. kASiviSwESwara Ehi mAm pAhi
bhadra dAyakAmbhOja kara vibhO

3. SrI valmIka lingam CintayE
sOma kulAmbikAmbhOja madhukaram

4. kailAsa nAthEna samrakSitOham
sadgati dAyakAmbhOja caraNEna

5. marakatavallIm manasA smarAmi
marakatavallIm manasA smarAmi madanajanakAdi dEvapAlinIm
here kAma appears as madana (Cupid)

6. sadA SivAya namastE
sadgati pradAyakAmbhOja padAya

7. gOpAla krSnAya
dAsa jana-abhISta vara pradAya (abhiSta = desired = kAma)
ps. there is no reason to doubt this kriti, the Dikshitar uniformly distributes the rAga across the major deities

which brings us to

8. SrI subramanyAya namastE namastE

The How and the Why of the rAga mudra

How does the kAmbOji mudra appears in this kriti ?

It appears as
bhurAdibhuvana bhOktrE bhOgamOkSapradAtrE

kAma is the totality of desires (bhurAdi bhuvana) that the Experience of the 14 worlds offers.
bhOja appears as bhOktrE – the consumption, the feast i.e. of this EXPERIENCE of all that is in the universe = the 14 worlds

More importantly, WHY does the mudra appear as “bhurAdi bhuvana bhOktrE ?

As seen above almost all the other kAmbOji kritis simply cite the word kAmbhOja.

Why is the tatva-upadESa kriti specifically singled out for this particular mudra delivery ?

Indeed this particular mudra delivery supersedes the "dAsa jana abhiSta" where abhiSta also represents kAma or desire.

The answer comes from observing the CaturdaSa rAgamAlika.

See Post dated 26 Mar 2023, which gives the basis of the rAgas of the CaturdaSa rAgamAlikA

https://www.rasikas.org/forums/viewtopi ... 01#p379001

Not surprisingly bhu (or bhur) is the first of the lOkas of this CaturdaSa universe.
where bhu (or bhur) , bhuvas in order etc are the 14 lOkas = CaturdaSa bhuvana that Siva/viSwanAtha oversees.

But at swAmy Saila sthala, it is the subramanya who TEACHES Siva.

Indeed, at swAmy Saila sthala, swAmi-nAtha is preceptor of viSwa-nAtha.

And in becoming the tatva-upadESa karta for Siva/viSwa-nAtha, he (subramanya) instantly assumes the role of consumer of ALL the desires and experiences (kAma) of the 14 worlds as in

bhurAdi (CaturdaSa) bhuvana bhOktrE !

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

Sri subramanyAya namastE – rAga kambOji

Veena iyer brothers
https://www.youtube.com/watch?v=QaWUoatvp0s

rAji G
https://www.youtube.com/watch?v=8-ScebLrSlg

paSupati D
https://www.youtube.com/watch?v=8X9rCpIj2cg

nAdopAsaka · Post by **nAdopAsaka** » 01 May 2024, 10:02

952 navaratna vilAsa – the Dikshitars navagraha dOSa ni-vAranam with the rAga that is itself ni-vAranam !! (REMOVES niSAda as in niSAda varja )

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The parade of truth exposing the charade of charlatans continues unabated.

How and Why “navaratna vilAsa” is a navagraha dOSa ni-vAranam kriti !

It is a certainty that the content of this post has remained dormant for 200 years, since the song first came from the breath of the Dikshitar.

Certainly the SSP and the Dikshitars immediate family have had absolutely no clue.

And the rest of the cattle have simply followed the herd instinct , TRAMPLING over the Dikshitars musical worship , words and ideas in the head-long rush to anoint the kutChEri performers..

To comprehend this post some facts are made clear up front.

1. The nava-graha are EACH associated with a jewel, hence the name nava-ratna.

The one-to-one match of ratna and graha can be found easily (and it is expected to be known to the Dikshitar who shows his understanding in the horoscopical navagrahas kritis …yes ALL NINE of them)

mAnikya =ruby for surya (Sun)
muktaphala = pearl for Candra (Moon),
vidruma = red coral for mangala (Mars),
marakata = emerald for budha (Mercury),
pushparaja or padmarAga = yellow sapphire for brhaspati (Jupiter),
vajra = diamond for Sukra (Venus),
nila = blue sapphire for Sani (Saturn),
gomedakA = hessonite for rAhu (ascending lunar node)
vaidurya = Cat's Eye for kEtu (descending lunar node).

2. The rAga navaratna-vilAsa omits the ni-SAda in both ArOhana and avarOhana….it is ni-varja = ni-vArana....it REMOVES the “ni”

3. The Dikshitar notably also uses the construct “angArakAdi graha dOSa ni-vArana” in his rasa-manjari (the 72nd mEla) rAga kriti to the kAnCi dEvi “SrngAra rasa manjarim”

(nava) graha-dOSa nivAranam – relieving the flaws of bhava = world/earth by appeasing the “stars”

With the facts listed above, it becomes obvious why the Dikshitar refers repeatedly in the short kriti to “bhava”, the World of existence and bhava-rOga (world of suffering), bhava-mOhana (world of temptation) .

The kriti is invoking the deity (who is the goddess residing in the nava Cakra bindu ) to protect the world (bhava) by appeasing the “stars”(graha) .

Hence the repeated reference also to “boons” as in vibhava pradE, Subha pradE, bahu varadE.

guruguha viSwAsini

The word for belief (viSwAsa) indicates the Dikshitars faith in the Sri Cakra deities ability to remove the flaws in the “stars” = graha dOSa ni-vAranam.

Why else would the Dikshitar use the "ni-vArana" rAga ?

The rAga “nava ratna vilAsa” REMOVES the “ni” = niSAda and becomes the perfect icon for “(nava) graha dOSa ni-vArana”

nava ratna vilAsa vibhava pradE , nata jana Subha pradE
bahu varadE , jaya jaya
bhava rOga parihArini SarvAni
bhava mOhana-kara rUpini , bhavAni -
nava cakra bindu pitha nivAsini nArAyani, guru guha viSwAsini

Summary

The rAga name undeniably influences the choice of a rAga for a kriti and is aligned with the worship built into the kriti.

Words come first, the “musical content” follows the words.

Even though ni-vArana implies removing the niSAda, the rAga is being chosen due to the specific name navaratna vilAsa

Why ?

Because although several rAgas (pentatonics such as mOhana or Suddha sAvEri etc) can be found without the niSAda ..NONE of them has a name linking them to the nava-graha and dOSa ni-vArana , as shown at the start of this post.

Case closed ..again !

Yes, the content of this post has remained dormant for 200 years, since the song first came from the breath of the Dikshitar.

But the vAggeyakAras karma , nAda-upAsana and their legacy of musical worship , cannot and will not be denied.

navaratna vilAsa vibhava pradE – rAga navaratna vilAsa

VV ravi
https://www.youtube.com/watch?v=-ZN5w2-iUPo

sam · Post by **sam** » 02 May 2024, 08:19

May I requsst you to give your scholarly
analysis of 14 raaga raagamaalika viswanatham bajeham? Which version is authentic?..MLV or MS and Musiri?
..
. "Musiri Subramania Iyer & MS Subbulakshmi |
Chaturdasa Ragamalika |
Sri Viswanatham Bhajeham"
..
.https://youtu.be/cg6EnQFn-TM?si=kTFHlLovfVpLXq97
.
"M L Vasanthakumari -
Ragamalika
(Sri Vishwanaatham Bhajeham)"
..
https://youtu.be/1-1dgKw3Ijs?si=7dsRfyM3va6XANbR

.

nAdopAsaka · Post by **nAdopAsaka** » 03 May 2024, 05:13

954 Why the CaturdaSa rAgamAlikA is for the dakSina kASi viSwanAtha – kuSta rOga harana & CaturdaSa tri-kOna Cakra = sarva-saubhAgya-dAya-kamb-ujja (spot destroyer ! )

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Post dated Mar 26, 2023 gives the basis for how EACH and EVERY one of the rAgas of the 14 = CaturdaSa rAgamAlikA to the daksina kASi viSwanAtha is linked to a particular lOka = bhuvana from the list of 14 lOkas.

https://www.rasikas.org/forums/viewtopi ... 01#p379001

also

Post dated Mar 18, 2023 gives the reason why the dakSina kASi viSwESwara is celebrated with the kAmbOji kriti.

https://www.rasikas.org/forums/viewtopi ... 56#p378956

But there HAS to be a reason why the Dikshitar chooses ONLY the dakSina kASi viSwanAtha for the 14 = CaturdaSa rAgamAlikA !

That reason is now given, once and for all.

1. The deity viSwanAtha of this dakSina kASi kSEtra is specifically known for the cure of leprosy – kuSta rOga harana
2. kuSta rOga has the symptoms of spots (speckled skin etc).
3. the word kamb (or kambu ) = spot
4. the word ujja (or ujjas) = destruction /destroyer
5. this kSEtra's Siva/viSwanAtha = kambu-ujjas.
6. In this role the deity bestows saubhAgya = good fortune on ALL (sarva) by relieving the misery of this disease.
7. The deity is “sarva-saubhAgya dAya kambu ujja”

And finally the resounding thunderclap of truth !!

8. But sarva-saubhAgya dAyaka is the 4th Cakra of the Sri Cakra which not surprisingly also has the name CaturdaSa trikOna Cakra ( the Avarana = stage that refers to the 14 triangles !)

Case closed …again !

The Dikshitar seamlessly incorporates the 14 triangles of the 4th Cakra with the kamb-ujjas (SPOT-DESTROYER) which is the absolutely unique identifier for kASi viSwanAtha and the kuSta-rOga harana !

The 14 rAga pujA is seen as iconic of the key feature of the kSEtra.

And this is the nAdayOgi , whose comprehensive worship the vapid masses want to reduce to mere sounds, squeaks, whines and groans…

Or to reduce the kritis to some “foolish competition” between so-called vidwAns/vidUSis = technician playback singers, for “fans and awards” ..

NO !

satyam Eva jayatE

Sri viSwanAtham bhajEham – CaturdaSa rAgamAlikA

Violin kanyakumari
https://www.youtube.com/watch?v=ME2rAJZPuMo

flute jayant
https://www.youtube.com/watch?v=8zZQt_QkeCA

veena mudikondan group
https://www.youtube.com/watch?v=HCHpWgcnbuA

gAyatri girish
https://www.youtube.com/watch?v=mfZPIo29R-Q

sam · Post by **sam** » 03 May 2024, 06:16

"MS Subbulakshmi-
Ranganayakam Bhavayeham -Nayaki-
Adi- ..
.https://youtu.be/ujpoJDrvSck?si=mc-gVhy1wQRh__xO

sam · Post by **sam** » 03 May 2024, 06:49

Kindly educate about raag connection in the following lines of kruthi.
..
विलोम - भूपाळ रागं
गुरु गुहेश सुर नरेशं अनिशम्

विलोम - देव क्रिय रागं
कुज बुधादि ग्रह गति विहितम्

विलोम - काम्भोजि रागं
वरदं अनल रवि शशि नयनम्

विलोम - शङ्कराभरण रागं
वनज चन्द्र सन्निभ वदनम्

विलोम - सारङ्ग रागं
पर हंसं आनन्द नर्तनम्

विलोम - भैरव रागं
पतित पावन-करणं अघ हरणम्

विलोम - ललिता रागं
पर-तरं परम मनो-लय जयम्

विलोम - साम रागं
परादि वाक्प्रकाश आनन्द-मयम्

मोहन रागं
विरिञ्चि विष्णु रुद्र मूर्ति-मयम्

गौळ रागं
विषय पञ्चक रहितं अभयम्

नाट रागं
निरतिशय सुखद निपुण-तरम्

गौरि रागं
निगम सारं ईश्वरं अमरम्

आरभि रागं
स्मर हरं परम शिवं अतुलम्

श्री रागं
सरस सदय हृदय निलयं अनिशं

.
Gayathri Girish's Blog: shri vishvanAtham bhajEham - Part 1

https://gayathrigirish.blogspot.com/200 ... art-1.html

nAdopAsaka · Post by **nAdopAsaka** » 03 May 2024, 16:07

957 Why rAga gauri for the jana-lOka in the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

गौरि रागं
निगम सारं ईश्वरं अमरम्

This post focuses on the choice of rAga gauri within the CaturdaSa rAgamAlikA.

Other lines of the CaturdaSa rAgamAlikA will be taken up in order later to expose the reason for the specific words the Dikshitar is using.

The rAgas of the CaturdaSa rAgamAlikA are mapped one-to-one with the lOka...As shown IRREFUTABLY (and for the first time in 200 years) in post dated Mar 26, 2023

https://www.rasikas.org/forums/viewtopi ... 01#p379001

All the previous blogs/various dignitaries and generally corrupt musicologists are clueless. They DO NOT explain the reasons.

The rAga word/meaning is linked to the meaning of the lOka word/icon !

The content is extracted here again. The numbers refer to the order of appearance in the kriti.

14. bhUpAla - quite simply for bhu-lOka from bhu-pAlana, the world of the earth = bhu

4. nATa- for bhuvas lOka from “Citra viSwa-nAta-ka” , the DRAMA (nAta-ka) of the world of life that happens in the space sky/atmosphere

13 devakriyA – from the world of dEvas = swarga-lOka

8 lalita – the mahar-lOka is accessible only to the lalita hridaya

3. gAuri - jana-lOka is the world of brahmAs children

gauri is sati/dAkSAyani , the daughter of dakSa, the son of brahmA and therefore of the jana-lOka…..

and the Dikshitar in the vilOma section pointedly also gives the word “nigamasAra” – which gives the "mudra" for the sanandana who are associated with the vEdas = nigamasAra and the jana-lOka).

All this completely identifies rAga gauri as the proper choice for the jana-lOka.

Indeed the relevance of gauri to the lOka, also completely knocks off the possibility of using rAga varAli...the missing ghana panCa rAga from this set !

10 sAranga – the tapas-lOka is represented by Siva in the forest who holds the deer attained through the “tapasyA” of the sages of the dArukAvana. As the Dikshitar says “dArukAvana tapOdhana”

7 sAma - the satya-lOka where the key principle is sAma = oneness of Atman with brahman…

12 kAmbOji – the atala lOka is the lower world of lust and desire, filled with wanton women (kAminis) and wanton men unable to control their lust = kAma.

1 SrI – the vitala lOka is where wealth and gold and materialism dominate urges, signified by the word "Sri" which means exactly such wealth

5 gaulA – the sutala lOka is where ignorance can be purified with penance. gaulA is associated with the purification of penance, as the sacrificial ash applied by the Siva.

2 ArabhI the rasA-tala lOka where the heat of fear pervades, given by “sams-Ara bhiti” as well as the three “fires” the tApa traya tyaja.

6 mOhana – the talA-tala lOka is the world of mAyA , illusion , sorcery and charm = mOhana..

11 SankarAbharaNam - mahA-tala lOka is the lOka dominated by serpents and of course Siva/viSwanAtha is adorned with these

9 bhairava – as the motif of pAtAla lOka, bhairava is natural choice, representing the most fearful hell/world, where destruction reigns.

The rAga gauri

Note that rAga gauri is also chosen for the mangalam kriti of the abhayAmbA navAvarana as shown in post dated Jan 21, 2023

https://www.rasikas.org/forums/viewtopi ... 91#p378591

Titled #810 (mangala)-gauri-mayUranAth – Why the Sri rAga “Sri abhayAmbikE” mixed-language kriti is COMPLETELY SPURIOUS

gauri girirAja kumAri gAna vana mayUri – rAga gauri

veena kalpakam S
https://www.youtube.com/watch?v=rJ7JGp3zH0M

sumitra V
https://www.youtube.com/watch?v=KF2cfA9dFcw

sam · Post by **sam** » 04 May 2024, 06:21

Respected Sir,
My dount is very specific. I just want to know if there are any hints about the ragas in the viloma lines which have been given.

nAdopAsaka · Post by **nAdopAsaka** » 04 May 2024, 07:20

959 Why rAga gauri for the jana-lOka in the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The CaturdaSa rAgamAlikA chooses the rAgas with specific relation between rAga name and lOka/bhuvana name.

If this fact has not been understood, then nothing will make sense.

I repeat the reason for the gauri rAga explanation..(perhaps it sinks in this time)

1. gauri is sati/dAkSAyani , the daughter of dakSa, who is descendant of brahmA and therefore gauri belongs to the jana-lOka…..

2. the Dikshitar in the gauri vilOma section pointedly also gives the word “nigamasAra”

3. nigamasAra is the vEda that descends from brahma

4. gauri (and the sanandana) are unambiguous emblems of the jana-lOka which is the world of the descendants of brahma, who constitute this “nigamasAra”.

5. The relation of the vilOma section to rAga gauri is through the word “nigamasAra”….and the relation of gauri to brahma as shown above.

As noted earlier, the other lines of the kriti will be taken up one-by-one…(although a little effort will reveal their origin, now that the essential relationship of lOka meaning & rAga name/icon has been revealed)

nAdopAsaka · Post by **nAdopAsaka** » 04 May 2024, 08:56

960 the mudra and meaning of rAga sAma in the Carana and also in the vilOma = inverted section of the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The CaturdaSa rAgamAlikA chooses the rAgas with specific relation between rAga name and lOka/bhuvana name.

If this fact has not been understood, then nothing will make sense.

the mudra and meaning of rAga sAma in the Carana of the CaturdaSa rAgamAlikA
caraNa - sAma
sadASivam sAma-gAna-vinutam
prakrtyAdi-sapta-rUpa-sAma-gAna-vinutam

The rAga sAma is associated with the satya-lOka, where the key principle is (the word) sAma = oneness/equivalence of Atman with brahman…this is the pinnacle of worlds and the goal of the nAda-yOgi.

Importantly the Dikshitar presents this rAga/lOka at Number 7 in the kriti sequence, the HIGHEST lOka and also as the very last in the vilOma section, ending the majestiuc kriti at this point of equivalence.

In the Carana, the number 7 also appears and the exalted name sadASivam. The word sAma-gAna itself identifies the rAga mudra.

the mudra and meaning of rAga sAma in the vilOma = inverted section of the CaturdaSa rAgamAlikA

विलोम - साम रागं
परादि वाक्प्रकाश आनन्द-मयम्

The sAma-vEda’s special “meter/speech/song” subset, the CAndOgya upAniSad opens with the upAsana of the Om/pranava = the udgita as the essence of all essences, the rasa of all rasas.

It says
Om ityetad akSaram udgItam upAsIta
eSAṃ bhUtAnAṃ pṛthivI rasa - pṛthivyA ApO rasa - apAmoSadhayo rasa- oSadhinAṃ, puruSo rasa- puruSaSya vAgraso - vACarg rasa - ṛCa sAma rasa - sAmna udgIthO rasa

Through its introductory Om, the sAma is the essence of all speech = vAk....As in par-Adi vAk prakASa (where para, etc are the 4 forms of speech)

The mudra (= signature) for rAga sAma in the vilOma section is this vAk-prakASa, that which initiates and illuminates the meaning of speech

As noted earlier, the other lines of the kriti will be taken up one-by-one…(although a little effort will reveal their origin, now that the essential relationship of lOka meaning & rAga name/icon has been revealed)

parvatavarddhanI pAhimAm - rAga sAma (at rAmESwaram)

niSa r
https://www.youtube.com/watch?v=h-xNKjrraUM

sam · Post by **sam** » 04 May 2024, 11:18

Sir, kindly take the viloma lines only ,one by one and enlighten us if there is any textual hint about the corresponding raag. In that line.
Some people, musicians,say that there is no such and it is only paadaanfharam.
May I know which book you are following for the text of kruthi?

nAdopAsaka · Post by **nAdopAsaka** » 04 May 2024, 13:38

962 the mudra & meaning of rAga bhupAla in the Carana and also in the vilOma = inverted section of the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Musicians and generally everyone else also do not even understand why there is vilOma = inverted section in this kriti.
Naturally they (and You) are free to believe whatever you want.

The CaturdaSa rAgamAlikA chooses the rAgas with specific relation between rAga name and lOka/bhuvana name.

If this fact has not been understood, then nothing will make sense.

the mudra and meaning of rAga bhupAla in the Carana of the CaturdaSa rAgamAlikA

CaraNa - bhupAla
vaidyalinga bhupAla pAlanam
SrIpura nirrti bhAga gart tIra sthita vara bhupAla pAlanam

bhupAla is typically king (of the land).

Siva/viSwanAtha who is cure for kuSta rOga here is considered vaidyalinga who protects the kings of this kSEtra (defined as close to the watery cave (garta) southwest of Sripura=tiruvArUr )..

rAga bhupAla is quite natural as this reference to a king (see also “CamatkAra bhupAla” usage in the sadACalESwaram kriti)

-------------------------------------------------------------------------------------------
It will be shown seperately why the word “garta-tira” is only a generic word , always used by the Dikshitar with a qualifying prefix in this kSEtra .., there is indeed a MUCH more specific kSEtra mudra elsewhere in this kriti !

Ditto for “annapurnE viSAlAkSi”…!

And Ditto for “kASi viSwESwara“ !! (stay tuned for this revelation shortly upcoming )
-------------------------------------------------------------------------------------------

the mudra and meaning of rAga bhupAla in the vilOma = inverted section of the CaturdaSa rAgamAlikA

विलोम - भूपाळ रागं
गुरु गुहेश सुर नरेशं अनिशम्

Even the most dim-witted musician or rasika or poster/questioner/reader can (and should) realize that the word “narESa” is synonym (and mudra) for king = bhupAla.

sadACalESwaram bhAvayEham – rAga bhupAlam

Hyd bros
https://www.youtube.com/watch?v=wHY3acnq92A

ranganAtha S
https://www.youtube.com/watch?v=dKdo4AZgXr0

sam · Post by **sam** » 04 May 2024, 15:11

Naresam is not boopaalam

nAdopAsaka · Post by **nAdopAsaka** » 04 May 2024, 19:36

sam wrote: ↑04 May 2024, 15:11 Naresam is not boopaalam

If this is the level of understanding of Words, it will be impossible to comprehend ideas like vilOma, CaturdaSa bhuvana, mudra, rAga etc etc. and the vast landscape of the vAggeyakAras imagination and worship, which is built on Words.

Perhaps you (and all others like you) can find some relief in simple sounds.....good luck.

As I have said before, one can only bring the 4 legged creature to water, it cannot be made to drink.

Lets avoid having any further conversations.

narESa is synonymous with bhupAla as KING, lord of men = lord of lands

narESa = nara-Isa is lord of men = king, same as nara-adhipa

See for example (of course one has to understand these Words)

gita 10.27

Among humans (narA-nAm) I (krSna) am king (narA-dhipa)

उच्चै:श्रवसमश्वानां विद्धि माममृतोद्भवम् |
ऐरावतं गजेन्द्राणां नराणां च नराधिपम्

sam · Post by **sam** » 04 May 2024, 20:56

In the example cited, the ksy word is Nara. So it is correct.
But bhu is earth, land, different from nara.
So, nara esan is leader of people while bhu paalan or pathy is owner or protector of land, country, territory.

nAdopAsaka · Post by **nAdopAsaka** » 04 May 2024, 21:22

the rAga bhupAla is chosen for the bhu-lOka.

bhu-lOka is the world of people AS WELL as their land.

A king is king of the land and also the people in it.

There is NO AMBIGUITY....

bhupAla is narESa and narESa is bhupAla

They are both words for king.

The Dikshitar is using the synonym as "sUCita mudra". ALL the other lines all show either direct or inferred mudra/ signature.

A similar construct "nrpAla" is also used for king ( deriving from nara-pAla)

See the kriti karunA ElAgantE of the tyAgarAja or "vanCi-nrpAla" in mahArAja dEvi navarAtri kriti "pAhi parvatanandini"etc etc

Stick with sounds..

nAdopAsaka · Post by **nAdopAsaka** » 05 May 2024, 02:05

967 mudra & meaning of rAga SankarAbharana in Carana and in vilOma = inverted section of the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The CaturdaSa rAgamAlikA chooses the rAgas with specific relation between rAga name and lOka/bhuvana name.

If this fact has not been understood, then nothing will make sense.

the mudra and meaning of rAga SankarAbharanam in the Carana of the CaturdaSa rAgamAlikA

CaraNa – SankarAbharana
sadA AshrayAmi SankarAbharanam
CintitArtha vitaranam dhurInatara mAnikya maya SankarAbharanam

Why SankarAbharaNam for the mahA-tala lOka

mahA-tala lOka is the lOka dominated by serpents and of course Siva/viSwanAtha is adorned or "borne by" ( = Abharana) with the serpent

the mudra and meaning of rAga SankarAbharanam in the vilOma section of the CaturdaSa rAgamAlikA

विलोम - शङ्कराभरण रागं
वनज चन्द्र सन्निभ वदनम्

vanaja Candra sannibha vadanam

What are some of the ornaments of Siva (= SankarAbharana) other than the serpent..?

Siva bears the bluish-color to his face (due to poison) that resembles the vanaja = the blue-lotus and
As Candra-SEkhara, the moon is borne by him as an ornament !!

The two images are as clear a depiction of the rAga mudra of Sankara-Abharana as any.

Only a special kind of fool will try to deny these words , their meanings and their choice specifically made to indicate the rAga.

As noted earlier, the other lines of the kriti will be taken up one-by-one…(although a little effort will reveal their origin, now that the essential relationship of lOka meaning & rAga name/icon has been revealed)

The Sri viSwanAtham rAgamAlikA cites the sadASiva..so this the following gem is relevant

sadASivam upAsmahE - rAga SankarAbharana

ranjani gAyatri
https://www.youtube.com/watch?v=N-VSWYDNbhE

violin MSG
https://www.youtube.com/watch?v=YYUePcWC4y8&t=1787s

sam · Post by **sam** » 05 May 2024, 06:07

It is not Siva's face that is blue but his neck only. Neelakantan.
.
Vanaja pushpam is a forest flower, not necessarily, blue in color.

nAdopAsaka · Post by **nAdopAsaka** » 05 May 2024, 06:42

There can be no disputing that the rAga mudra for SankarAbharana is given in the vilOma section by “vanaja Candra sannibha vadanam”

nila (for the Sivas neck) is a very dark blue, almost black.

vanaja in the context of Siva and his face is ONLY the blue lotus (which is NOT a dark blue )

Sivas lotus face is well described repeatedly in the literature.

Indeed, the Dikshitar calls him “vanaja vadana” in the vira vasanta kriti as well.

nAdopAsaka · Post by **nAdopAsaka** » 05 May 2024, 06:49

970 mudra & meaning of rAga kAmbhOji in Carana and in vilOma = inverted section of the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The CaturdaSa rAgamAlikA chooses the rAgas with specific relation between rAga name and lOka/bhuvana name.

If this fact has not been understood, then nothing will make sense.

the mudra and meaning of rAga kAmbhOji in the Carana of the CaturdaSa rAgamAlikA

Carana – kAmbhOji
sadgati dAyakAmbhoja Caranam
dharmArthadi nikhila puruSArtha prada samarthatara ambhOja Caranam

Why kAmbhOji for the atala lOka ?

Because ...the atala lOka is the lower world of lust and desire, filled with wanton women (kAminis) and wanton men unable to control their lust = kAma.

The lotus feet word “dAya-kAmbhOja” delivers the rAga mudra in the Carana. (and is used in several other of the Dikshitars kAmbhOjis kritis as well).

The Dikshitar has connected the kAma +bhOja of kAmbhOji with the desire filled wanton orgies/feast of the atala lOka.

Now lets see how this idea emerges in the vilOma.

the mudra and meaning of rAga kambhOji in the vilOma section of the CaturdaSa rAgamAlikA

विलोम - काम्भोजि रागं
वरदं अनल रवि शशि नयनम्

varadam anala ravi SaSi nayanam

1. All one needs to do is focus on the first words "varadam anala"
2. This is first re-organized as varadam anala ----> vara damana la
3. What is a special boon of Sivas fire-eye = anala ? = (i.e. what exactly is "varadam anala")
4. It is the destruction of kAma, (by fire).
5. But how exactly did kAma incur the fire/wrath of Siva..?
6. kAma infiltrates Siva via Sivas “vara” = pArvati !
As told in the Siva purAna, (see rudra samhita Chapter 15-20).. Siva the yOgi is disturbed (by the arrows of kAma) so that his penance is interrupted by “seductive” thoughts of his “vara” = wife.
7. The infuriated yOgi destroys kAma by fire…kAma-dahana
8. The destruction (dahana) by (anala) Sivas fire-eye of kAma is the symbolic destruction (damana) of the seductive nature of Sivas own “vara” = parvati created by kAmas arrows/illusions.
9. dahana and damana are synonyms of destruction
10. vara-damana BECOMES synonymous with kAma-dahana !

11. The iconography is completed when the suffix “bhOja” is interpreted as “consumed” as in overwhelmed/dominated = damana.

vara-damana-la = varadam anala conceals the mudra for kAma-bhOja via kAma-dahana = vara-damana

As clear a depiction of the rAga mudra as any.

One has to ask why the Dikshitar chose anala specifically for the name of the third eye, he could have chosen agni etc.

It is because it allows the word (vara) damana to be embedded/concealed...!

Only a special kind of fool will try to deny these words , their meanings and their choice specifically made to indicate the rAga.

As noted earlier, the other lines of the kriti will be taken up one-by-one…(although a little effort will reveal their origin, now that the essential relationship of lOka meaning & rAga name/icon has been revealed)

marakatavalli - rAga kAmbhOji

ranjani gAyatri
https://www.youtube.com/watch?v=qwiLAKnbve0

nAdopAsaka · Post by **nAdopAsaka** » 05 May 2024, 07:27

971 mudra & meaning of rAga dEvakriya in Carana and in vilOma = inverted section of the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The CaturdaSa rAgamAlikA chooses the rAgas with specific relation between rAga name and lOka/bhuvana name.

If this fact has not been understood, then nothing will make sense.

the mudra and meaning of rAga dEvakriya in the Carana of the CaturdaSa rAgamAlikA

Carana – dEvakriya
vadAnya-dEvakriyA-khelanam
sRSti-sthiti-vilaya-tirodhAna-anugraha-karaNa-kriyA-khelanam

Why dEvakriya for the swarga lOka ?

Because dEvakriyA refers to the world and activities of the dEvas who reside in the heavens = swarga-lOka

The Carana says Siva viSwanAtha organizes the activities (kriyA etc) of the swarga-lOka ..for example he ordains birth, growth and dissolution. And the Dikshitar also gives the mudra directly in the Carana

the mudra and meaning of rAga dEvakriya in the vilOma section of the CaturdaSa rAgamAlikA

विलोम - देव क्रिय रागं
कुज बुधादि ग्रह गति विहितम्

kuja budha Adi graha gati vihitam

1. kuja and budha are planetary deities (dEvas) of the swarga lOka.
2. As graha dEvatas they transit across the heavens.
3. But their progress, their gati is determined and set by the Siva viSwanAtha.
4. kriyA implies a time-based ritual.
5. “graha gati vihita” is EXACTLY Siva regulating/PRESCRIBING the periodic motion (kriyA) of these graha dEvatas.

“graha gati vihita” is the mudra for dEva-kriyA

As clear a depiction of the rAga mudra as any.

lalitAmbikAm – rAga dEvakriya

bombay sisters
https://www.youtube.com/watch?v=pCLl5hI6G80

sam · Post by **sam** » 05 May 2024, 09:40

Sharing an excerpt from an article by Dr.PPN.
https://guruguha.tripod.com/dikshitar-group.html

Navagraha Kriti-s

The Navagraha kriti-s of Dikshitar glorify the nine planets. The first seven of these kriti-s employ (respectively) the seven suladi tala-s, namely, dhruva, matya, rupaka, jhampa, triputa, ata and eka. Further, these compositions contain the essence of Jyotisha (science of astrology). It is said that Dikshitar composed these songs in order to heal a certain type of stomach ailment of his sishya (disciple) Tambiyappan, who played the suddhamelam (a kind of drum). It is believed that the planet Brhaspati has the divine power to heal such incurable diseases; rather than composing one song just to please a single planet, Dikshitar chose to sing in praise of all nine planets.
There is still some dispute regarding the kriti-s for Rahu and Ketu. Some scholars believe that his disciples composed these in order to complete the set of nine.
.
The names of the nine planets in the Sanskrit language are: Surya, Chandra, Angaraka, Budha, Brihaspati, Shukra, Sani, Rahu and Ketu.
The following kriti-s are (respectively) on each of the planets:
suryamurte (saurastram, dhruva), chandram bhaja (asaveri, matya), angarakam (suruti, rupakam),
budham ashrayami (nattakuranji, jhampa),
brihaspate (atana, triputa),

sri sukrabhagavantam (paras, ata), diwakara tanujam (yadukula kambhoji, chaturashra eka)
, smaramyaham sada rahum (ramamanohari, rupakam),
mahasuram ketumaham (chamaram, rupakam).
..
"Madurai Mani Iyer -
Navagraha Krithis Compilation"
..
.
https://youtu.be/s_BtUvxSjcg?si=0oKu0udbVYbj9gRs

nAdopAsaka · Post by **nAdopAsaka** » 05 May 2024, 10:08

973 Why the rAga mudras appear in EVERY Carana and EVERY vilOma section of the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar...

Each rAga whether in Carana or vilOma section of the CaturdaSa rAgAmAlikA has a separate identity, associated with the lOka or with the rAga name.

1. The CaturdaSa pujA of the Dikshitar is a unique OFFERING of musical worship.
2. Simply calling it a magnum-opus, as most do, without comprehending its detailed features is lip-disservice and a disgrace.
3. Although presented as a composite , the pujA requires that each offering be uniquely identifiable, …EVEN the single line vilOma sections.
4. the Dikshitar is giving the rAga mudra directly in the Carana sections (he even repeats it in many cases)
5. Naturally the Dikshitar accords the vilOma sections (single lines) the same recognition as they are also part of the GARLAND but appear by themselves elsewhere in the sequence.
6. His other ragamAlikA kritis also carry rAga mudras just like all his other kritis (mudras being direct or indirect etc)
7. The musical worship was not made for and is NOT LEFT up to musicians/vidwAns etc. in kutchEris, who are generally and uniformly ignorant of the words, ideas and concepts behind the offering.

All the remaining sections of the CaturdaSa rAgamAlikA will also be shown to possess the rAga mudras, beyond any shred of doubt, in upcoming posts.

nAdopAsaka · Post by **nAdopAsaka** » 05 May 2024, 10:16

sam wrote: ↑05 May 2024, 09:40
There is still some dispute regarding the kriti-s for Rahu and Ketu. Some scholars believe that his disciples composed these in order to complete the set of nine.
.

This is part of the "conspiracy of fools"...none of these "scholars" read or understand the Words in the kritis....there is no question all the navagraha kritis are the Dikshitars.

In the footsteps of nAdajyOti Mutthuswamy Dikshitar...

974 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.

nAdopAsaka · Post by **nAdopAsaka** » 05 May 2024, 15:44

975 mudra & meaning of rAga bhairavam in Carana and in vilOma = inverted section of the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The CaturdaSa rAgamAlikA chooses the rAgas with specific relation between rAga name and lOka/bhuvana name.

If this fact has not been understood, then nothing will make sense.

the mudra and meaning of rAga bhairavam in the Carana of the CaturdaSa rAgamAlikA

Carana – bhairavam
cidAkaSa bharavam puraharam
vidhi kapAla triSUladhara bhairavam puraharam

Why bhairavam for the pAtAla lOka ?

Because bhairavam is the natural choice for the most fearful hell/world, where only destruction reigns = pAtAla-lOka

Noticeably, the Dikshitar gives the bhairava mudra twice while ALSO giving the image of the bhairava deity moving around with the skull of brahma. …vidhi kapAla Sula dhara

Why this particular image ? a fool might ask …see below for the answer

the mudra and meaning of rAga bhairavam in the vilOma section of the CaturdaSa rAgamAlikA

विलोम - भैरव रागं
पतित पावन-करणं अघ हरणम्

patita pAvana-karanam agha haranam

The biggest icon of bhairava is his GUILT for cutting (the arrogant) brahma’s 5th head.

bhairava removes the guilt by roaming around with the skull (specifically noted in Carana)

agha = Guilt

agha-harana = bhairavam (when he becomes the icon for removing guilt)

Notice also how much the word pAtala (lOka) influences the Dikshitar…he begins the vilOma with the similar root word patita !

And the analysis shows that any other word like “mada-haranam” etc.. added by FOOLISH paddhatis or corrupt/ignorant musicologists etc is TOTALLY ERRONEOUS.

Summary

How untruth betrays the ignorant and truth exposes the corrupt.

There is another reason beyond the sanctity of the rAga choice and its mudra = signature for a pujA offering in a kriti.

All these mudras were placed deliberately, within the careful organized pujA precisely to protect the Dikshitars intellectual property from the grasping filthy hands of his own family, the SSP and all the other criminals (ignorant and arrogant alike) who would deny his mudras and his words.

Prepare for the wrath of the bhairava.

satyam Eva jayatE

kAlabhairavam bhajEham - rAga bhairavam

triCur ramaCandran
https://www.youtube.com/watch?v=0GwUVUjlrsc

sam · Post by **sam** » 05 May 2024, 18:59

A passage from ravisri monograph -the Eternal Pilgrim,
...
It was during his stay at Tanjavur that DikshiIttar decided to compose songs in all the 72 mELakarta rAgAs....
..
Many of the songs in this genre, especially those in vivAdi rAgAs, were composed in praise of deities in and around Tanjavur. Some of the deities
who received homage from the great composer through song are:
Brihadiswara and Brihannayaki in the Brihadiswara temple,

Prasanna Venkateswara, Goddess Jnanambika at the Konkaneswara temple on the West Main Street and

Goddess Anandavalli on the Vennar bank...
..
Dikshitar utilised rare mELakarta rAgAs like
gAnasAmavarALi,
sEnAgraNI,
vATi vasantabhairavi,
chhAyavati,
kiraNAvaLi,
nAgAbharaNam,
gangAtarangiNi,
bhOgachAyanATa,
nabhOmaNi,
kumbhini,
ravikriyA,
stavarAjam,
jIvantikA,
dhavaLAngam,
bhUShAvati,
santAnamanjari,
rasamanjari etc.,
for his compositions on the Tanjavur deities.

In the song in rasamanjari Dikshitar mentions the 72 rAgAnga rAgAs.
..

Sirs,
May I have the list of all fhe 72 krutis referred to by Sri. Ravi-Sri? and the corresponding ràagas?
.

nAdopAsaka · Post by **nAdopAsaka** » 05 May 2024, 19:12

977 mudra & meaning of rAga gaula in Carana and in the vilOma or SINGLE-LINE “kritis” section of the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The CaturdaSa rAgamAlikA chooses the rAgas with specific relation between rAga name and lOka/bhuvana name.

If this fact has not been understood, then nothing will make sense.

the mudra and meaning of rAga gaula in the Carana of the CaturdaSa rAgamAlikA

Carana – gaula
govindAdi vinuta gaulAngam
kSIra kunda indu karpurAdi vijaya bhasita-uddhULita gaulAngam

Why gaula for the sutAla lOka ?

Because the sutala lOka is where ignorance can be purified with penance. And …gaula is associated with the purification of penance, as the sacrificial ash applied by the Siva.

Indeed the Dikshitar gives all different pale colors of the sacrifice (milk, camphor, moon etc etc and properly ash)

the mudra and meaning of rAga gaula in the vilOma SINGLE-LINE “kriti section” of the CaturdaSa rAgamAlikA

गौळ रागं
विषय पञ्चक रहितं अभयम्

viSaya-panCaka-rahitam abhayam

In the Sri vidya, the kula kaulini or kaula goddess ( a rahasya yOgini) achieves transcendence after penance, as part of the kulACAra = kAula-mArga.

This transcendence places her beyond all material issues = viSaya panCaka rahita (BEYOND the world derived from the five fundamental elements)

The phrase “viSaya panCaka rahita” is the mudra for kaula = gaula rAga

kaula = viSaya panCaka rahita ----> gaula

And so once again, the hammer of truth crushes the puny dim-witted and corrupt.

Yes, The single line kritis ALSO ALL carry the rAga mudra.
But the Dikshitar uses the rAga mudra delivery to TEACH the meaning of the rAga word.
The ignorant might ask..why doesn’t he supply the mudra directly (like he does in the Carana) so our puny minds can merely mumble the words without thinking...

But how does that allow the learning to occur ?
As seen already, 200 years of ignorance still festers, even with fools knowing the mudras in the Carana !

Summary
How untruth betrays the ignorant and truth exposes the corrupt.

There is another reason beyond the sanctity of the rAga choice and its mudra = signature for a pujA offering in a kriti.

All these mudras were placed deliberately, within the careful organized pujA precisely to protect the Dikshitars intellectual property from the grasping filthy hands of his own family, the SSP and all the other criminals (ignorant and arrogant alike) who would deny his mudras and his words.

Please stay far away from the vAggeyakAras and their kritis. Please find other avenues.

satyam Eva jayatE

tyAgarAja pAlayASumAm - rAga gaula

rangan brothers
https://www.youtube.com/watch?v=b1oKEq0nFAo

girish T
https://www.youtube.com/watch?v=oMAfY0x0Nl8

sam · Post by **sam** » 06 May 2024, 06:06

This is a humble attempt to compile the MeLakartha..asampoorna. kritis .composed on deities..at Tanjore. Any blunders may kundly be excused. and corrected. By scholars.

So far there is no such listing available in the web. Hence, this attempt..
Ref. Ravisri monograph cited earlier.
.
..
Tanjore..MeLakarta kruthis-compilation.
1/72
.
"Prof.SRJ -
Shrngara rasamanjarim"

https://youtu.be/j2BV2ctroM8?si=NnBk32yUfhqDjdCN
....
Guru Guha Vaibhavam: Dikshitar Kriti - Srngaara Rasa - Raga Rasamanjari
.
https://guru-guha.blogspot.com/2008/07/ ... -raga.html
.
.
."Amritha Murali -
shrngAra rasamanjarIm -

rasamanjari -

https://youtu.be/ryKtjma3oVY?si=B4bIXMDl2zcoYiK-
.

.Bangaaru Kaamaakshi at Tanjore

72
rasamaHnjari

rasikapriya in SMK system of Govindaacharya

..

nAdopAsaka · Post by **nAdopAsaka** » 06 May 2024, 12:34

979 The tanjAvUr/tanjOre/tanja-nagari kritis of the Dikshitar

In the footsteps of nAdajyOti Muthuswamy Dikshitar…

Contrary to statement above, the ENTIRE set of tanjAvUr kritis of the Dikshitar has been discussed on this very thread.

In fact the brhadAmbA has her own navAvarana , which is revealed ONLY when the kritis are read and their words are UNDERSTOOD…. None of the previous bloggers or compendium makers has any clue. They have NOT BOTHERED to understand the Sri vidyA pujA of the Dikshitar.

the tanjAvUr brhadAmbA/brhannAyaki navAvarana
21 Aug 2021, 17:56
https://www.rasikas.org/forums/viewtopi ... 24#p372824

extracted here

the Dikshitars brhadAmbA navAvarana inferred from the embedded Sri-Cakra mudras

bRhadISvarIM bhaja rE citta Lalita panchamam trailOkya mOhana maha tripurasundari
pAmarajana pAlinI pAhi bRhannAyaki sumadyuti sarva-AshA paripUraka kAmitArttha phaladAyini
pAlayamAm bRhadIshvari tODi sarva-saMkShObhaNa parama-shAnta prakAshini
saindhavI rAgapriyE saindhavi sarva-saubhAgya dAyakA maNgaLa-varadAna-kari
santAnamanjarI shaHNkarI santAna manjari sarva-Artha sAdhaka CintitArtha dAyaki
himagirikumAri Ishvari ravikriya sarva-rakShAkara kriya sakti (which refers to the dEvi as protector i.e as durga/kAli)
shRNgArAdi navarasAHNgI dhavaLANgam sarva-rOgahara bhayabhaNga
bhUSAvatim manjubhASAvatim bhajEham bhUSAvati sarva- siddhi pradAyaka bhASA (from vAk siddhi)
bRhannAyaki varadAyaki AndhALi sarva-Anandamaya sahasradaLa sarasIruha vAsini sadAnanda

Several other posts discuss various aspects of the kSEtra.

The 9th Cakra kriti of the brhadambA navAvarana
Nov 14 , 2022
https://www.rasikas.org/forums/viewtopi ... 18#p378018

The composite set of rare rAga kritis of tanjAvUr
Feb 15, 2021
https://www.rasikas.org/forums/viewtopi ... 87#p369587

What’s in a name ? gAna-sAmavarAli–Yet another surya/chAyA themed rAga at tanjAvUr brhat kSEtra–brhadiSwarO rakSatu
Sep 12, 2023
https://www.rasikas.org/forums/viewtopi ... 79#p380179

ravikriya, AndhAli, tOdi & kiranAvali – some more surya themed rAga names for the Dikshitars tanjAvUr brhat kSEtra
Aug 28, 2023
https://www.rasikas.org/forums/viewtopi ... 01#p380101

rAga gundakriyA and the COlas
Aug 15, 2023
https://www.rasikas.org/forums/viewtopi ... 02#p380002

The nabhOmani kriti at tanjAvUr –the sun-dial , the (non) shadow of the BIG temple, where the sun always rises
Aug. 18, 2023
https://www.rasikas.org/forums/viewtopi ... 16#p380016

brhadiSvarIm bhajarE – Why rAga lalita panCamam is given only to the brahmAnda-svarupa brhadambA of tanjAvUr
07 Dec 2023
https://www.rasikas.org/forums/viewtopi ... 07#p380907

prasanna vEnkatESwaram - vAti-vasantabhairavi (comparing the tyaAgarAja and the Dikshitars kritis)
Sep 21, 2022
https://www.rasikas.org/forums/viewtopi ... 19#p377519

Sri krSnam bhajarE -Why the rAga rupavati kriti is given ONLY to krSna & why this kriti is at vijaya-puri = tanjAvUr
17 Nov 2023
https://www.rasikas.org/forums/viewtopi ... 68#p380768

The ardhanAri of tanjAvUr in the Dikshitar kritis – 2 pairs of brihadiSwara/ brhannAyaki kritis with the ardhanAri mudra
11 Jul 2023
https://www.rasikas.org/forums/viewtopi ... 17#p379717

satyam Eva jayate

a sample kriti
prasanna venkatESwaram – the Dikshitar

OST
https://www.youtube.com/watch?v=fbzyxmcTX7A

purnima r
https://www.youtube.com/watch?v=fUzNi7IbEYU

sam · Post by **sam** » 06 May 2024, 13:52

Ok Sir.
The emphasis is different. Mine is just a simple compendium.
..
Second of 72
...
santAna manjarI SankarI santataM
pAtu mAM bRhadISvarI

samashTi caraNam

cintAmaNi sadanA
SaSi vadanA
cidAnanda ghanA
mRdu gadanA

(madhyama kAla sAhityam)
cintitArtha dAyakI SrI-karI
SrI guru guha gaNa nAyaka jananI
..
In SMk, the corresponding name is

sucaritra
Vivadi
...
TN Sheshagopalan-

Santana Manjari-
Santanamanjari-
Adi-
.
https://youtu.be/qRieZmqWeaQ?si=LNMABZPib2EFoA-c
.

..

nAdopAsaka · Post by **nAdopAsaka** » 06 May 2024, 14:27

981 The vAk in vAk-gEyakAra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar

I think it is dishonest for anyone to try to associate with ANY of the vAk-geyakAras kritis or music when one also holds the view that sounds in Music are greater than Word.

The latter might be true for ALL other systems of music (such as bird-song, whale-calling, mozart etc or khayAl etc.) but NOT for Hindu vAk-geyakAras.

Certainly anyone who thinks the words narESa and bhupAla are NOT synonymous references for a King is completely disqualified from participating in anything to do with vAk-geyakAras

Even for those who repudiate the word-less world of mere sounds/instruments, it is not enough to pay mere “lip service” to the kritis.

The words and choices used must be comprehended, if the Music and kritis are to be respected.

The rAga mudras and kSEtra mudras are intrinsic to the vAk-geyakAras worship.

Denying them or attempting to dilute and marginalize them is a disgrace.

Please find other avenues.

nAdopAsaka · Post by **nAdopAsaka** » 06 May 2024, 15:22

982 mudra & meaning of rAga Arabhi in Carana and in the vilOma SINGLE-LINE “kritis” section of the CaturdaSa rAgamAlikA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The CaturdaSa rAgamAlikA chooses the rAgas with specific relation between rAga name and lOka/bhuvana name.

If this fact has not been understood, then nothing will make sense.

the mudra and meaning of rAga Arabhi in the Carana of the CaturdaSa rAgamAlikA

Carana – Arabhi
Sritajana samsArabhityApaham
AdhyAtmikAdi tApatraya manobhItyApaham

Why Arabhi for the rasA tala lOka ?

the rasA-tala lOka is where fear and heat pervade

and Ara-bhi conceals the word bhi – root for bhiti or bhaya.

The construct “samsAra bhiti hara” is used extensively by the Dikshitar for other Arabhiu kritis as mudra.
The heat of rasA tala lOka is also described by the three “fires” of the tApa traya .

the mudra and meaning of rAga Arabhi in the SINGLE-LINE “kriti section” of the CaturdaSa rAgamAlikA

viloma – Arabhi
स्मर हरं परम शिवं अतुलम्

smara haram paramaSivam atulam

Now the heat of the rasA-tala lOka takes on the meaning of the “heat of Desire”.

smara = Cupid = kAma is the natural emblem for this heat.

smara-haram is Siva/viSwanAtha as kAma-dahana

But MORE IMPORTANTLY "smara haram" ALSO delivers the rAga mudra for Arabhi

Why ? How ?

Because smara is also mAra or mAram

smara haram BECOMES m-Aram-ha ram ...where Aram-ha is the effective mudra for Arambha = Arabhya which MARK a beginning...Arambhana !

No wonder that after the Sri rAga introductory invocation, this is the INITIAL rAga at the start of the CaturdaSa rAgamAlikA

The construct “paramaSivam atulam” is also highly interesting.

Why ?

Because it conceals the word matulam = Maternal uncle

kAma is the off spring of viSnu who is kAma-janaka.
Effectively viSnus consort lakSmi is considered pArvatis sister, symbolically making Siva the maternal uncle of kAma (Siva = kAma matulam).

There can be no question the Dikshitar intended to send the signal (= mudra) using these synonym
smara = kAma = mAram …with the purpose of embedding the rAga mudra as Aram(b)ha…in the “4 word vilOma kriti”

To repeat

"smaraharam paramaSivam atulam" CONCEALS

mAramha-ram paramaSiva matulam

Case closed…again and again.

It will be discussed in a separate post ..WHY the Dikshitar is DELIBERATELY giving these different CONCEALED mudras in ALL 14 vilOma single-line "kritis" of the CaturdaSa rAgamAlikA

gauriSAya namastE rAga Arabhi

MLV
https://www.youtube.com/watch?v=PP5C2H9UB_o

sam · Post by **sam** » 06 May 2024, 16:37

Effectively viSnus consort lakSmi is considered pArvatis sister, symbolically making Siva the maternal uncle of kAma (Siva = kAma matulam).

No. Sir.
Parvathi is Vishnu's sister.
There is no way in which manmathan is
related to Siva.

sam · Post by **sam** » 06 May 2024, 16:46

Tanjore kruthis. AS.MK. ragas illustration. ( 3/ 72 ).
....
Guru Guha Vaibhavam: Dikshitar Kriti - Bhushavatim - Bhushavati
.
https://guru-guha.blogspot.com/2008/03/ ... athim.html
.
kshEtra - tanjAvUr -
bRhadISvara - bRhannAyaki
..
Vedavalli -
bhUSAvatim
manju bhASAvatim -

bhushAvati -
https://youtu.be/qI85-Ke11Ao?si=4uAjMzU8UBUPhGlU

64 bhUSAvati
(vAcaspati)
..
.

nAdopAsaka · Post by **nAdopAsaka** » 06 May 2024, 17:03

It is the iconography of the Dikshitar that must be referred to..

In hiranmayIm lakSmim, the Dikshitar describes lakSmi as “guru guha mAtula kAntAm”

– lakSmi being the spouse (kAntam) of viSnu

In the Dikshitars vocabulary

viSnu is matula of skanda (when skanda is taken as Siva and pArvatis offspring)

similarly

Siva is matula of kAma (when kAma is taken as viSnus and lakSmis offspring)

The relation of kAma to smara and this matulam description specifically in the Dikshitar vilOma CANNOT be questioned.

The denial of the rAga mudras is pathetic.

Please find some other avenues.

sam · Post by **sam** » 06 May 2024, 17:43

Vaak celebrates the 246th birth anniversary of Sri Muthuswamy Dikshitar by sharing a collection of his Panchabhuta Linga Kritis [00:00:00]
.
Kedaram -
Ananada Natana Prakasham -
Misra Chapu -
MD Ramanathan
..
[00:37:37]
Huseni -
Sri Kalahastisha -
Jhampa -
Semmangudi Srinivasa Iyer
..
[00:44:18]
Saranga -
Arunachalanatham -
Rupakam -
Ramnad Krishnan
.
[00:58:19]
Yamuna Kalyani -
Jambupate -
Rupakam -
ML Vasanthakumari
.
[01:06:15]
Bhairavi -
Cintaya Makanda -
Rupakam -
T Brinda & Vegavahini Vijayaraghavan

.
https://youtu.be/rgyJfMo21Tc?si=RtMOh0aW8fso7T_F

sam · Post by **sam** » 07 May 2024, 09:26

Navavarana Krithis -
Mani Krishnaswami
Muthuswami Dikshitar

https://youtu.be/PfdNnuBxn0k?si=j9NvrZnETJy09-bi

Sri Mahaganapati
Raga: Gowla
Tala: Misra Chapu

: Baalasubramanyam
Raga: Suruti
Tala: Adi

: Kamalambike (Dhyaana Kriti)
Raga: Thodi
Tala: Thisra Ekam

: Kamalambaa
Raga: Aanandabhairavi
Tala: Misra Chapu

: Kamalaambaam Bhajare
Raga: Kalyani
Tala: Adi

: Sri Kamalaambikayaa
Raga: Shankarabhanam
Tala: Chaturasra Rupakam

: Sri Kamalaambikaayai
Raga: Kaambhoji
Tala: Kanda Ata

: Sri Kamalaabaayaa
Raga: Bhairavi
Tala: Misra Jhampa

: Kamalaambikaayaaha
Raga: Punnagavarali
Tala: Chaturasra Rupakam

: Sri Kamalaambikaayam
Raga: Sahana
Tala: Tisra Triputa

: Sri Kamalaambike
Raga: Ghantha
Tala: Adi

: Sri Kamalaambaajayati
Raga: Aagiri
Tala: Chaturasra Rupakam

: Sri Kamalaambike (Mangala Kriti)
Raga: Sri
Tala: Kanda Ekam

sam · Post by **sam** » 07 May 2024, 11:58

Tanjore MeLakartha illustration kruthis.
No.4 of 72.
..
Nisha Rajagopalan

- brhadIshvarO rakSatu mAm -

gAnasAmavarALi
..
https://youtu.be/8O21bbcVLus?si=vWdzzN7_rkobI571
.
Brihadiswaro - gAnasAmavarALi

Ganamurti in SMK system
VIVADI

bRhadISvarO rakshatu -
gAna sAma varALi - rUpakam

pallavi

bRhadISvarO rakshatu mAM
hari brahmEndra pUjitassatatam

samashTi caraNam

bRhannAyakI sahitAnanda-
yutO
bhrAnti svarUpa prapancAtItO

(madhyama kAla sAhityam)
sahaja gAna
sAma varALi vinutO
sadA-SivO vinata
gaNESa guruguhO
.

sam · Post by **sam** » 07 May 2024, 19:01

Tanjore set of asampoorna MK kruthis.
5 of 72
..
"Teaching Session
Jnanambike
Senagrani
Tisra Eka
Raganga Raga Bodhini"
.
https://youtu.be/Hrs8-ceckRE?si=evu_rOqArznHtS08
..

.

In Govindacharya scheme, (s.mk)this is MK 7
SENAPATHY.
Hence a vivadi meLa.

kshEtra - jnAnAmikA consort of konkaNESa - on the bank of veNNAR - near tanjAvUr

.
Could not find a simple rendition

sam · Post by **sam** » 07 May 2024, 19:16

Tanjore set of AS-MK kruthis.
6 th of 72

Guru Guha Vaibhavam: Dikshitar Kriti -

Prasanna Venkatesvaram -
Raga Vati Vasanta Bhairavi

Vaati vasantha bairavi
kshEtra - tanjAvUr
.
https://guru-guha.blogspot.com/2008/02/ ... varam.html
.
In Govindacharya SMK scheme, the
Corresponding raagam is vakulaabharaNam.
Saidvk adds
.
Dikshitar's Prasanna Venkatesam is also listed under this ragam.
However there are others who argue that it is pure Vasanthabhairavi.
I am presenting this song by Shri OS Thyagarajan

http://www.sangeethapriya.org/Downloads ... ost/kl2001

.
This is not a vivadi raaga.

nAdopAsaka · Post by **nAdopAsaka** » 07 May 2024, 20:30

991 CaturdaSa rAgamAlikA structure – 2 separate CLOCKWISE Offerings with rAgas chosen specifically aligned with the cardinal Directions of the panCa bhUta

In the footsteps of nAdajyOti Mutthuswamy Dikshitar

1. The CaturdaSa rAgamAlikA is fully explained in previous posts.
see for example
https://www.rasikas.org/forums/viewtopi ... 01#p379001

2. The 14 rAgas are chosen because their very names are aligned with the icons of the 14 worlds.
3. rAga Mudras appear directly AND indirectly in EVERY section, Carana and vilOma, inspite of FOOLISH attempts to deny them.

The only question left is..What is the EXACT basis for the sequence that starts from Sri rAga and ends with bhUpAla ?

The reason for that sequence has been DISCOVERED !! and is shown in this post. Like everything posted here by me it is the first awareness and recognition of the structure of this major kriti of the Dikshitar in 200 years.

4. The rAgamAlikA is a pujA offering (like ALL the other kritis).
5. It was not intended for kutChEri vidwAns and vidUSis or rasikas or insipid/corrupt compendium makers or technical competitons for awards.
6. The pujA is conducted as an arCana, following the typical CLOCKWISE offering positions made in a pujA .
7. There are 2 separate sections. One is led by the Sri rAga, the other by sAma rAga.
8. Each rAga carries a specific bhUta mudra.

9. The sequence is governed by the vAstu SAStra sequence of

prthvi - Center
jala-NORTH
AkASa-EAST
agni-SOUTH
vAyu – WEST

Indeed these cardinal directions are naturally symbolic ...one way of looking at this is...the sun rising in the East exposes the sky, water falls downward , fire flames flicker upward from the South, and the west wind is well known.

10. The positions symbolize a circular clock wise “arCana”, with the intermediate point between the 2 sequences marked by the mOhana, sAma, lalitA and bhairava positions

The first sequence
1. Sri rAga –CENTER with the prthvi mudra (dhara in dhara-Antakarana )from the center
2. Arabhi – NORTH with the jala mudra (Apa in bhity-Apa) the QUENCHING of the heat of fear, tApatraya etc
3. gauri – EAST with the AkASa mudra (as akSa - sky as that which pervades all embedded in viSAla-akSa as well as nigama-sAra, the vEdas are the first Sruti = vAni and AkASa is the medium for this tanmAtra)..Indeed now the wisdom of picking gauri (as the daughter of dakSa and descendant of brahma of jana-lOka and therefore the relation to vAni emerges)
4. nAta – SOUTH with the agni mudra (prAkASa repeatedly)
5. gaula – WEST with the vAyu mudra (dhu in ud-dhu-lita) ... the BLOWING of ASH that dominates ALL other white substances

6. mOhana summarises and cites the "panCa-mahA bhUta" and since it cites the lingam, it returns to the center of the arCana , in the clockwise motion. Notably the choice of mOhana (pentatonic) as a panCaswara kriti for the panCAkSara deity is proper....and mOhana conceals moh-hana the destcution of charm /illusion associated with kAma-dahana.

The second sequence
7. sAma cites the prakrit-yAdi sadASiva and notes the sapta-rupa. The position 7 also identifies sAma with the 7th lOKa (counting up from the bhulOka to the “satya-lOka)
8. lalitA is prakriti ! see lalitA sahasranAma name # 397 and by the Dikshitars introduction in the sAma section is the natural choice for this position
9. bhairava – for the pAtAla lOka is actually the derivative (Siva sanjAta) of Siva and lalitA. The arCana takes the offering position all the way down, in the orientation with the deity/idol/image.

The remaining 5 positions follow the panCa bhUta cardinal directions. The circle begins from the SOUTH position (which is closest to the bhairava pAtAla position established in position 9.

10. sAranga – SOUTH with the agni mudra = tapa in dArukAvana tapOdhana. Of course sAranga is associated with the agni bhUta linga kriti arunACala
11. SankarAbharana – WEST with the vAyu mudra dhu embedded in dhurIna-tara, with the meaning of BLOWING or agitating by wind. See dhu also in the uddhulita of the gaula portion in first sequence.

Notice that San (or Sam) -karana (welfare etc) is ALSO given as dakSina/boons ONLY from the dakSina or RIGHT hand.
The West position is to the RIGHT of the deity (dakSina) when it faces the observer = dakSina (as opposed to vAma)

12. kAmbOji – NORTH with the jala mudra “ambuja”. Here too water QUENCHES the fire of kAma
13. dEvakriya – EAST with AkASa mudras dEva, as well as kuja, budha grahas, heavenly objects of the swarga-lOka . EAST for sky is natural since the sky becomes visible when the sun comes up (…from the East)
14. bhUpAla – CENTER for the prthvi mudra natural for bhU.

Summary

It is clear that the nAdayOgi chose the rAgas to match the lOkas.

And then he chose the sequence to match the panCa bhuta CARDINAL directions.

In doing so he mapped the kriti to the arCana CLOCKWISE position befitting for a pujA.

ABSOLUTELY NO OTHER INTERPRETATION IS POSSIBLE...there is zero chance the rAgas are words are random or that the "mudras" are "coincidences as fools would like to believe...(those with limited or zero understanding of Words should comprehend this...lately some rather foolish statements have been made)

The significance of vilOma in structure and content will be explained separately....that the 14 vilOma sections carry the rAga mudra (ongoing in posts this week) in a way that FORCES meditating on the meaning of the words and choices is a first clue.

The "music industry" has NO CLUE of the structure, neither do the many dignitaries including "pontiffs" or the SSP and its fraudulent proponents !

Why ?

Because they ALL lack the essential respect and understanding of WHY exactly the kritis Exist !

And they have attempted to deny through both ignorance and arrogance the value of Word in the kritis.

The kritis are not for hedonistic rasa "enjoyment" of "so-called rasikas" and fan-clubs ...they are an individuals pujA.

The nAda-upAsaka thanks the rasikas forum visionary founders and managers for the platform to rescue the nAdayOgis truths and worship from all corrupt charlatans.

satyam Eva jayatE

CaturdaSa rAgamalikA - 14 rAgas

veena rEvati s
https://www.youtube.com/watch?v=cOyS7o5RAkc

priyanka n
https://www.youtube.com/watch?v=wjajqLI5HWE