Mutthuswamy Dikshithar (Krithis)

[nAdopAsaka]

1051 A “hari-vakSa sthala” kSEtra kriti – mahAlakSmi karunA rasa

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

As hari-vaksa sthala nivAsini, the goddess presents another aspect that is independent of a geographic kSEtra.

The Dikshitar recognizes this.

mahAlakSmi karunA rasa – rAga mAdhava manOhari

ranjani-gayatri
https://www.youtube.com/watch?v=gKJu0Li-4q4

[nAdopAsaka]

1052 “panCi-karana” & prapanCa as mirror illusion of the Self–Why vilOma sequences in the CaturdaSa rAgamAlikA are also CLOCKWISE offerings

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

Posts linked here give the basis for the rAga choices, aligned with the 14 lOkas as well as the basis for the sequence followed by the CaturdaSa rAgamAlikA.

Post dated Mar 26, 2024, titled
How and Why ALL 14 rAgas of the CaturdaSa rAgamAlikA are chosen !! e.g. why sAma gAna for the satya-lOka
https://www.rasikas.org/forums/viewtopi ... 01#p379001

and post dated May 7, 2024 titled
CaturdaSa rAgamAlikA structure–2 separate CLOCKWISE Offerings of rAgas specifically aligned with CARDINAL directions
https://www.rasikas.org/forums/viewtopi ... 80#p382080

The clockwise offering of rAgas using short (2 line ) kritis as pujA arCana.
The offerings of each of the 2 sets (the one beginning with Sri rAga and the one beginning with sAma) have a first CLOCKWISE offering of the rAgas to the cardinal DIRECTIONS (N-E-S-W) of the corresponding bhUta/elements.
Short 2 line “kriti” are used which carry rAga mudra and lOka mudra, which also influences their very choice (as already shown)

But the question that this post will answer is
Why do the 2 sets have an inverted = reverse = vilOma sequence ?

This post will also answer

Why the vilOma sequences are ALSO CLOCKWISE – even though the simple minded may think the reverse sequence implies an ANTI-CLOCKWISE motion.

The key to understanding the vilOma lies in understanding the panCa bhUta pujA (ALREADY seen in the sequences that precede the vilOma as well as in the choice of rAgas and the Cardinal directions).

Indeed the Dikshitar gives the clue with the mOhana Carana words

guruguha sam-mOhana kara lingam
panCi-krta panCa mahA bhUta prapanCAdi sam-mOhana kara lingam.

panCi-karana

panCi-karana is the deconstructing of all phenomena so that they are seen as deriving from the 5 fundamental elements = the panCa bhUta.

The process involves incorporating HALF of each element with fractions of the other 4 elements to understand the interrelationship between ALL phenomena.

panCi-karana which includes the panCa-bhUta pujA reveals that ALL phenomena (prapanCa) are the mirror illusion of the Self.

The Dikshitar starts the CaturdaSa rAgamAlikA FACING the NORTH, which is the direction of the kASi viSwanAtha of varanAsi. The featureless linga at dakSina kASi offers NO particular direction.

He then arrives at the mOhana rAga (after the first CLOCKWISE offering of rAgas (1-5) in keeping with an arCana/Arati.

At this point, the panCi-karana reveals that the reality is merely a mirror image of the Self. The choice of rAga mOhana for this illusion is appropriate.

The Dikshitar looks inward, effectively FACING SOUTH for the vilOma as this mirror image takes over..

And in a mirror image, left and right are interchanged. So that the vilOma arCana remains CLOCKWISE…(only the upAsaka is now reflecting on himself !

Similarly with the second set where the panCa bhUta pujA begins with the rAga sAma and a North (kASi-varanasi) facing direction. After the CLOCKWISE offering (rAgas 10-14) of the panCa-bhUta, upon arriving at the bhUpAla rAga, panCi-karana invokes the mirror image and the vilOma is performed again as a CLOCKWISE arCana by the reflected Self.

Notice also that the word “linga” appears ONLY in rAga mOhana and rAga bhUpAla sections., where the 2 sets of arCanas end.

Summary

The so-called magnum-opus kritis ??

The CaturdaSa rAgamAlikA is a magnum opus , NOT BECAUSE this-or-that professional musician is trying make their career by showing their technical prowess in singing its many sections.

It is a magnum-opus, because the Dikshitar has condensed the mighty panCi-karana and panCa-bhUta pujA and mapped it to the 14 worlds governed by the Siva/viSwanAtha of dakSina kASi.

It is a magnum-opus because it carefully aligns the 14 rAgas with the lOkas (and their meaning) and it captures in Words the essence of each lOka and in Music the essence of each rAga.

And the vilOma sequences emphasize the realization of prapanCa as the illusory mirror image of the self.

Another magnum-opus, the panCa-bhUta pujA of another nAdayOgi , the tyAgarAjas ghana rAga panCa ratna was revealed for the first time, (after 200 years of lip-(DIS)-service called the ArAdhana ) in post dated May 12, 2024 titled

The tyAgarAjas direct & EMBEDDED mudras in his panCa bhUta pujA in the ghana rAga panCa ratna
https://www.rasikas.org/forums/viewtopi ... 50#p382150

Until today, the essential reason for the existence of these majestic kritis has been ignored and desecrated by the unthinking, unwashed and undeserving generations.

But, thanks to the rasikas forum, the truth of the Hindu vAggeyakAras musical worship can finally be told and their legacy can be rescued from charlatans.

CaturdaSa rAgamAlikA
K anagha
https://www.youtube.com/watch?v=ttlgmjsewDo

[sam]

Sarasvati
NamO namaste gIrvANI i
s set in the 43rd Raganga raga GIrvANI.

Vivadi

Dikshitar describes her as the embodiment of the Vedas. The vAk bija ‘aim’, also known as the Sarasvata bija, is a composite of the first syllables of the Rig, Yajur and Sama Vedas and the bindu.
She is the three-fold form of nAda, bindu and kalA(nAda bindu kalA shreNi) . Expounding in simple terms, nAda is the source of all sound, bindu is the source of all forms and kalA is the expression of these.

GIrvANI has been sometimes mistaken to be the raga kIravANI and there are renditions of this kriti in kIravANi.

GIrvANI is the 43rd Raganga raga and has no connection with kIravANI which is the 21st Melakarta. This is a short kriti with an intricately woven chitta svara passage.

[sam]

"Sanjay Subrahmanyan -

namo namastE gIrvANI -

gIrvANi -

https://youtu.be/r2q5-jUxzbo?si=OFu3FaGAGjszju6J

[sam]

Trying to give video clips for vivadi raaga kruthis (outside Tanjore).
.
MK
Vamsavathy
54

. vamshavati -
vishvambhari

bhaktavatsalaM abhiSEkavallIyutaM -
kshEtra - tirukkaNNa mangai.

Bhaktavatsalam-
Vamsavati-Adi-

Semmangudi Srinivasa Iyer"..


https://youtu.be/x6RnqOEZf-I?si=bzbPLL34YjlYYGgE

[nAdopAsaka]

1056 panCa bhUta to rAma dUta – The Dikshitars 5 kritis to panCa-vaktra AnjanEya with each carrying a bhUta mudra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar…

The panCa bhUta to rAma dUta

The following is observed ( once again, for the first time in 200 years )

There are 5 kritis to hanumAn = AnjanEya = rAma dUta by the Dikshitar.

Each one carries one mudra for a bhUta element, extracted and shown below

1. rAmacandrabhaktam bhaja mAnasa AkASa gEya hEjjajji divAkaram

2. vIra-hanumatE jala karnAtaka kApi sarasIruha

3. pavanAtmajam bhajarE prthvi SankarAbharanam bhUsurAdi

4. pavanAtmajAgaccha vAyu nAta pavana

5. AnjanEyam sadA agniSankarAbharanaanjanaAnandam

(div = sky from root dyo , sarasi as water for the lotus, anjana = agni)

Why does the Dikshitar do a panCa bhUta pujA to rAma dUta = AnjanEya ?

Simple..

AnjanEya is also panCa-vaktra = 5 faced !! like Siva.

satyam Eva jayatE

rAmaCandrabhaktam bhaja – rAga gEya-hEjjaji

sikkil G
https://www.youtube.com/watch?v=7i3p0IZmpzI

[sam]

Came across this priceless article by Ravi Rajagopalan in his site.

https://guruguha.org/balambike-pahi-manoranjani/
.
This kruthi also is on the goddess at a temple at Tanjore.
Brilliant article.
.
"Suguna Purushothaman -
bAlAmbikE pAhi -
manOranjani -

https://youtu.be/SgBN1-7yReM?si=6rcQSHq-mPprtS-d
.
TS Sathyavathi -

bAlAmbikE pAhi -
manOranjani
.
https://youtu.be/fLyo7M2cqe4?si=LLFqflbZL2kDMQmW
.
Ravi Rajagopalan adds.

In the context of the raga of this composition being Manoranjani, the 5th mela we can surmise that:

this kriti was likely composed when Dikshita visited Tanjore ;
And as a part of his endeavor to compose a kriti on the mela ragas, he composed this one as well ( for Mela 5) while at Tanjore :
And therefore Goddess Balambika, the subject matter of this kriti must be deity of a temple somewhere in or around Tanjore.
Fortuitously the perusal of an old publication titled “Siva-Vishnu Ksetra Vilakkam” (Tamil)-see below, provides a reference to a temple in the town of Tanjore where the presiding deity’s name is Lord Sankaranarayana and the name of the Goddess being Balambika.


“Siva-Vishnu Ksetra Vilakkam” (Tamil)-Entry 53 on page 29
The book refers to the temple as being located in Tanjore mEla rAja veedhi at its southern end. Based on the said reference I have marked the same in the Google Maps below.

https://goo.gl/maps/CNVMb9SocHmnf4nL9

The said temple has also been covered in an article in a daily as well- refer the Reference section below. The temple also finds reference in the “Tanjapuri Mahatmiyam”. It is also recorded that during the reign of King Serfoji circa 1805, a consecration ( Kumbabishekam) for the temple was performed. Given that this coincides with the probable period of Dikshita’s visit, one wonders if he composed this kriti and paid his obeisance to Goddess Balambika during the festivities.

Thus, given the preponderance of probabilities and the data points agreeing, it can be deduced, that Dikshitar could have visited this particular temple during his Tanjore sojourn and composed this kriti in raga Manoranjani on Goddess Balambika enshrined there.

.

[nAdopAsaka]

Came across this priceless article by Ravi Rajagopalan in his site.
Ravi Rajagopalan adds.

In the context of the raga of this composition being Manoranjani, the 5th mela we can surmise that:

this kriti was likely composed when Dikshita visited Tanjore ;

1058 bAlAmbikE pAhi the 5th viSuddha Cakra kriti in the Dikshitars bAlAmbikA navAvarana at vaitheeSwaran kOvil

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Indeed, the linked article is "Priceless" because it has NO value.

And it admits its a “surmise”.

In fact, this monographer is part of the "conspiracy of fools" who keep repeating the same "surmises".

Following is NO surmise..it is COMPLETE FACT

Post dated Dec. 9, 2022, reveals the complete 9 kritis of the navAvarana to the balAmbikA, including the basis for all the rAgas used.

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

1. bAlAmbikayA kaTAkSitOham Cakra 1 SrIranjani
2. gIticakrarathasthitAyai Cakra 2 kannada
3. gAnalOlE bAlE Cakra 3 nAgavarALi
4. bAlAmbikAyai namastE Cakra 4 nATakuraNji
5. bAlAmbikE pAhi Cakra 5 manOranjani
6. bAlAmbikAyAH: Cakra 6 kEdAragauLa
7. bAlAmbikAyAh param nahirE Cakra 7 kAnaDa
8. navaratnamAlinIm Cakra 8 gamakakriya
9. bhajarE rE citta bAlAmbikAm Cakra 9 kalyAni

The Dikshitar gives the UNAMBIGUOUS mudra for the 5th Cakra = vi-Suddha Cakra of the Sri vidya yantra as "Suddha vidyE".

The composite pujA at vaithiSwaran kOvil rules out any other kSEtra ....In addition to tanjavUr , other fools have also suggested SankarankOvil for this kriti.

bAlAmbikE pAhi
P: bAlAmbikE pAhi bhadram dEhi dEhi
C: sAlOkAdi mukti sAmrAjyadAyini SankaranArAyani manOranjani dhanini
nIlakantha guruguha nitya Suddha vidyE

Summary

The kritis need to be read and their Words UNDERSTOOD before making any loose , irresponsible and misleading statements.

Unsubstantiated and indefensible SURMISES are part of the "conspiracy" to deny the Dikshitar his composite pujA.

And the Dikshitar has prepared for these knaves. The placement of different mudras protects his worship and iconography.

Again and again, Ignorance of words and ideas and these mudras betrays these conspirators.

It is the nature of Truth to be amplified when seen next to untruth.

bAlAmbikE pAhi – rAga manOranjani

Amruta V
https://www.youtube.com/watch?v=e0_lSMuXQbI

[sam]

As RaviRajagopalan points out, there is no direct reference to any kshetram in the kruthi. He has clearly connected it to a temple at Tanjore. Thus Mk 1,2,3,4,5 follow the vivadi illustration plan.

[nAdopAsaka]

As RaviRajagopalan points out, there is no direct reference to any kshetram in the kruthi. He has clearly connected (concocted) it to a temple at Tanjore.

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RaviRajagopalan (and all others like him), do not read the words of the kritis or understand the Sri vidyA navAvarana pujA. They have NO clue !

In his ignorance, he cannot find any "direct reference" and therefore he concocts some arbitrary location.

It is another example of the centuries long conspiracy to distort the Dikshitars composite pujA.

The opening address to bAlAmbika with the specific 5th Cakra location identified with mudra as the vi-Suddha , as shown, are the necessary and sufficient conditions for the kSEtra to be vaithiSwaran kOvil.

[sam]

As you please.
There is no reason why MD had to choose a vivadi MeLA for such an important and famous goddess. More likely that it is a temple in Tanjore, especially since sankaranarayan also occurs in that kruthi, incogruously.

[nAdopAsaka]

1062 The vi-vAdi (dissonant) playful “manOranjani” child goddess , vaithiSwaran bAlAmbikA transforms to blood thirsty “yuddha rangini”- lalitOpAkhyAna bhanda kumAra vadha.

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

" There is no reason why MD had to choose a vivadi MeLA for such an important and famous goddess. More likely that it is a temple in Tanjore"

There is always an element of uncertainty in the untruthful...see the "likely" and the repeated "surmises"...

One needs to understand the meaning of vi-vAdi (dissonance) before opening their mouth…..and making meaningless lists...

The child goddess (who is playful and pleasing to Sankara and nArAyani = lalitA from the lalita sahasranAma # 298 ) seeks to become a bloodthirsty warrior.

This is the story of bhanda-kumara vadha from the lalitOpAkhyAna.

vi-vAdi-tva of bAlAmbika of vaithiSwaran kOvil

The playful pleasing “manOranjani” child who becomes the bloodthirsty warrior = bhanda kumara mardini.

It is the seeming “dissonance” of the playful child who transforms into the yuddha rangini (see gamaka kriyA 8th Cakra kriti in navaratna mAlini) that justifies the vi-vAdi choice.

One should read lalitOpAkhyAna ( and the kritis etc) etc…..uh...oh wait, the ignorant cannot read….naturally all is lost for the illiterate.

If the cyber world gives any corrupt untruthful ignoramuses with a keyboard a voice, it also gives the truth its place.

Everyone is free to choose whatever they want.

But truth always triumphs.

satyam Eva jayatE

[sam]

From Ravisri monograph
.
Vaideeswaran Koil
---
on the way to Mayavaram is an important kShEtra and is closely connected with Muttuswami Dikshitar's birth. Lord Siva as Vaidyanatha is supposed to cure man of all his ills. The Goddess is Balambika and Lord Subramanya's name here is Muthukumara. Dikshitar was named after Him. He refers to this in his song on

Goddess Balambika in kalyANI, 'bhajarE rE chitta bAlAmbikAm' (guruguha rUpa muttukumAra jananIm).
-
Dikshitar's other compositions at this kShEtra are,
bAlAmbikAyai in nATakuranji,
-
bAlambikAyAh param in Karnataka-kApi
-
shrI vaidyanAtham in praise of the Lord in aThANa.
-
The navagraha kriti
angArakam AshrayAmyaham refers to the planet Mars having worshipped at the shrine here (pUjita vaidyanAtha kShEtram).
..
These are the only kruthis there.

[nAdopAsaka]

1064 the complete bAlAmbikA nAvAvarana

This Oft parroted monograph , llike the SSP's incorrect and misleading listing/historical section etc and all their proponents are corrupt.

They are emblems of the Conspiracy of fools, all of whom are betrayed by their ignorance of Words and Ideas and exposed by the Dikshitars own choices, mudras and Words.

Post dated Dec. 9, 2022, reveals the complete 9 kritis of the navAvarana to the balAmbikA, including the basis for all the rAgas used.

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

1. bAlAmbikayA kaTAkSitOham Cakra 1 SrIranjani
2. gIticakrarathasthitAyai Cakra 2 kannada
3. gAnalOlE bAlE Cakra 3 nAgavarALi
4. bAlAmbikAyai namastE Cakra 4 nATakuraNji
5. bAlAmbikE pAhi Cakra 5 manOranjani
6. bAlAmbikAyAH: Cakra 6 kEdAragauLa
7. bAlAmbikAyAh param nahirE Cakra 7 kAnaDa
8. navaratnamAlinIm Cakra 8 gamakakriya
9. bhajarE rE citta bAlAmbikAm Cakra 9 kalyAni

The Sri Cakra navAvarana pujA (at vaithiSwaran kOvil and at the MANY other kSEtras) cannot be abridged by the ignorant or the corrupt.

[sam]

RaviSri is a direct disciple of Smt.Muktha and an acknowledged authority. Kindly go through all the posts in this thread .

[sam]

Excellent reference.
http://www.medieval.org/music/world/car ... bhaya.html

[sam]

Vivadi meLa krutis outside Tanjore.
.
MK..24
24.
vIravasantaM
- varuNapriya

Amritha Murali-

Viravasanta tyagaraja(raga viravasanta)"

kshEtra - tiruvArUr

.
https://youtu.be/bJq9H3Yme8A?si=79QeziMHnjtYcBkg

.

[nAdopAsaka]

RaviSri is a direct disciple of Smt.Muktha and an acknowledged authority.

1068 The vAk in vAk-geya-kAra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

As far as I am concerned, this RaviSri (and everyone else like him ) , are SCOUNDRELS of the first magnitude.

He (and everyone else like him, including brindA, muktA etc etc, the SSP) have deliberately and without thinking tried to create confusion around the Dikshitars words and choices.

They have in their ignorance, denied the Dikshitar his many navAvarana and panCa bhUta pujA’s...seen in recent posts here.

They are unable to understand the Words and Ideas within the kritis.

The misleading attribution of the vivAdi mela away from the "dissonant" aspect of the balAmbikA of vaithiSwaran kOvil (to some concocted location) is just another sign of the ignorance and corruption.

The kritis are not about technician performers….they are about the vAggeyakAras

[Pratyaksham Bala]

RaviSri is a direct disciple of Smt.Muktha and an acknowledged authority.

1068 The vAk in vAk-geya-kAra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

As far as I am concerned, this RaviSri (and everyone else like him ) , are SCOUNDRELS of the first magnitude.

He (and everyone else like him, including brindA, muktA etc etc, the SSP) have deliberately and without thinking tried to create confusion around the Dikshitars words and choices.

They have in their ignorance, denied the Dikshitar his many navAvarana and panCa bhUta pujA’s...seen in recent posts here.

They are unable to understand the Words and Ideas within the kritis.

The misleading attribution of the vivAdi mela away from the "dissonant" aspect of the balAmbikA of vaithiSwaran kOvil (to some concocted location) is just another sign of the ignorance and corruption.

The kritis are not about technician performers….they are about the vAggeyakAras

Administrator / Moderators :

This is the result of giving a very long rope.
HIGH TIME FOR FIRM ACTION,.

[nAdopAsaka]

1070 The vi-vAdi nature of tanja-puri – Why the Dikshitar has several vivAdi rAgas for kritis at tanjAvUr = brahmAnda kSEtra = brhat kSEtra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

tanja-puri , tanja-bhU, tanja-nagari..these are the mudras of tanjA-vUr that the Dikshitar uses in addition to brhadiSwara, brhadAmbA for the brihat-kSEtra.

As seen several of the kritis (in addition to their rAgas having Solar related themes) belong to the vi-vAdi (dissonant) mElas.

Why ?

There is a very direct reason for why the Dikshitar chooses multiple vi-vAdi rAgas for the tanja-nagari kSEtra.

It has already been pointed out in a previous post of mine, that the word brahmAndA is used for the brhadambA.

brahma-anda is the concept of the emergence of the entire VAST universe fom the anda = cosmic egg.

The contrast of the vastness from the Highly compressed “egg” is the key to understanding the vi-vAdi or dissonant nature of tanja-puri = tanja-bhU = tanja-nagari.

The word tanja

Indeed, the word “tanja” itself derives its meaning from that which has been shrunk or CONTRACTED.

The highly compact egg = anda that gives rise to the brahmAnda or brihat kSEtra is expresed as the tanja-nagari.

There is no question the multiplicity of vi-vAdi mElas used by the Dikshitar results from this understanding of the meaning of vi-vAdi = dissonance.

himagirikumAri ISwari – rAga ravikriyA (aka raghu-priya)

vOlEti V
https://www.youtube.com/watch?v=0FRZ0E3z0vc

[sam]

MK-66
Vivadi meLa krjtis outside Tanjore

caturaHNgiNi
- citrAmbari

EkAmranAthEshvarENa samrakSitOhaM shrI -.
.
"Gayathri Girish -

EkamranAthEshvarENa - caturangiNi -

kshEtra - kAncIpuraM - EkAmra nAtha.

[sam]

MK-61
Vivadi meLa kritis outside Tanjore

shrI sugandhi kuntaLAmbikE-

kuntaLam-
Kantamani

- Gayathri Girish
.
https://youtu.be/aABUWgb-NvI?si=TO8fZOYmOLOxCHr6
.
http://guru-guha.blogspot.com/2008/09/d ... andhi.html

rAja rAja-ISvari - O sovereign empress!
vAsuki kArkOTaka-Adi valaya mAtR bhUta-ISvari - O queen of Shiva (Matrubhuta, who wears great snakes such as Vasuki and Karkotaka as bracelets)!

Kshetram..Trichy
.

[nAdopAsaka]

1073 kAnCis’s vi-vAdi tatva–Why the Dikshitar has vivAdi rAga kritis to the “seeming” dissonances of kAmAkSi, dakSinAmurty & EkAmranAtha

The insipid list making of the last century pays lip-service to the vAggeyakAras sAdhana..especially when the same entities are trying to undermine the Dikshitars composite pujA !

The latter will continue to be dealt with harshly and separately.

For now the Dikshitars kAnCi puja is examined.

Indeed, the Dikshitar at kAnCi is wonderfully organized.

1. He (PROPERLY) gives kAmAkSi her own complete navAvarana (YES ALL NINE kritis corresponding to each Cakra, which the SSP and other nefarious entities have been falsely denying for more than a hundred years)

The kAnCi kAmAkSi navAvarana …see post Nov 28, 2022 and related posts..

the sarva-Anandamaya Cakra kriti of the kAnCi kAmAkSi navAvarana – "nirajAkSi kAmAkSi"
https://www.rasikas.org/forums/viewtopi ... 07#p378107

2. The 3 dakSinAmurti kritis at kAnCi
See post dated Jan 12, 2023 which explains ALL the relevant mudras embedded

why and how all 3 dakSinAmurti kritis of the Dikshitar belong to the kAnCi kSEtra
https://www.rasikas.org/forums/viewtopi ... 24#p378524

There is rather abject ignorance about these 3 kritis in all the textbooks..None of the so-called “devotees” and “musicologists/musicians” has even read the words used..

3. The 5 vEga-vAhini kritis of the Dikshitar form a panCa bhUta puja at kanCi

See post dated Jul 26, 2022
nAda sampradAya pradarSini – the five vEgavAhini kritis of the Dikshitars panCa bhUta pujA at kAnCi

https://www.rasikas.org/forums/viewtopi ... 29#p376929

vi-vAdi tatwa of kAnCi – the “seeming” dissonances of kAmAkSi, dakSinAmurty & EkAmranAtha.

At this time it is relevant to see how and why the Dikshitar regards and celebrates the seeming dissonances of the kAnCi kSEtra.

1. mUka vAk pradAna versus mauna guru

At kAnCi, BOTH the kAmAkSi and the EkAmranAtha are described as “mUka mukhya vAk pradAna nipuna” – that is skilled at giving the dumb the gift of speech.

But also at kAnCi, the dakSinAmurti teaches the value of mauna = Silence as a means of achieving oneself.

Of course the distinction is only on the surface, since “mauna” is a stillness of the mind (which can still use words to form ideas but which are not spoken)

The seeming “dissonance” is celebrated by the Dikshitar with several vivAdi rAga kritis…including the 1st ( kanakAmbari) the 37th ( saugandhini ) and the 72nd ( rasamanjari ) to the kAnCi kAmAksi...as well as kritis to dakSinAmurti and EkAmranAtha

2. Eka-Amra versus the anEka phala

The Eka-anEka phala concept is well known in kAvya and scripture… from the one the many....and especially in the context of fruit = phala.

The mango tree may be solitary at kAnCi, but its fruit are Many.

And therein lies another aspect of the seeming dissonance at kAnCi.

But wait… there is more

3. The nyAgrOdha vrkSa of the phEnadyuti rAga kriti to dakSinAmurti

nyAgrOdha is deliberately chosen by the Dikshitar to match the meaning of phEna-dyuti since it is one of the kSira or milk trees..and phEna of course as amrta icon for kSira.

Why is nyAgrOdha a specific reference to a seeming dissonance ?

Because this famous banyan tree at kAnCi “GROWS DOWNWARD” as opposed to the EkAmra or other typical trees.

Summary

The Dikshitars sAdhana demands a deeper level of understanding, compared to the lip-service of the last centuries.…camouflaged by so-called SiSya paramparAs etc. who have never read the kritis !

Sri dakSinAmurtimiSam – rAga phEnadyuti

Sikkil G
https://www.youtube.com/watch?v=qR1r-B8gROw

[sam]

"MS Subbulakshmi -

kAmAkSi kAmakOTi pIThavAsini -

sumadhyuti /
(simhEndramadhyamam )
.
https://youtu.be/hS3mgZH3X5k?si=ZaHmglFV5ib5ozEK
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