Mutthuswamy Dikshithar (Krithis)

Carnatic composers (other than performing vidwans)
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ajaysimha
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#551 Re: Mutthuswamy Dikshithar (Krithis)

Post by ajaysimha »

well put, Nadopasaka. these extrapolation of thoughts opens up many views.

dikshitar also brings in concept of nava vida bhakthi in the krithi - AnandESvarENa saMrakshitO(a)haM

the line from charana, speaks for itself -

SravaNa manana nididhyAsana samAdhi
nishThA-aparOksha-anubhava sva-mAtra-avaSEshita-
prakASamAna mahESvarENa


SravaNa manana nididhyAsana samAdhi nishThA-aparOksha-anubhava - realized after the direct (aparOksha) experience (anubhava) of Samadhi attained through listening (SravaNa), reflecting (manana) and repeated meditating (nididhyAsana),
prakASamAna mahESvarENa - the resplendent great lord

DKP amma used to sing this krithi soulfully.
https://youtu.be/9ie65HCgRkE

Regards,
Ajay Simha

nAdopAsaka
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#552 Re: Mutthuswamy Dikshithar (the rAga selection of the Dikshitar’s tyAgarAja vibhakti aka “nava-vidha-bhakti/vibhakti )

Post by nAdopAsaka »

on the rAga selection of the Dikshitar’s tyAgarAja vibhakti (or henceforth to be known as the “nava-vidha-bhakti/vibhakti !” )

In the footsteps of nAdaJyoti Muthuswamy Dikshitar....

It is indeed a great privilege and blessing to utter the names of the Dikshitar and the tyAgarAja in the same breath !

There is no greater worship of nAda and nAma than their kritis.

The great vAggeyakAras also were not in hermetically sealed echo-chambers, but living and breathing the same tiruvArur air and turning it into song.

The post I made ( post # 550) above identifying the Dikshitars tyAgarAja vibhakti with their specific nava-vidha bhakti themes indicates evidence of the intersection of their nAda-spheres.

I now show below how it is possible to “assert with some confidence” that the rAga selection of the Dikshitar for this particular vibhakti is linked to the rAgas chosen by the tyAgarAja for each corresponding bhakti-mode.

I say “assert with some confidence” because the statistical odds of all 9 kritis matching up , as shown, for both bhakti-theme AND rAga, purely by coincidence, is beyond astronomical !!

I reproduce the list from the above post below and add each particular tyAgarAja kriti with its “bhakti-mode specific” reference in each rAga.

Yadukula kAmbOji
KIRTANA as "tyAgarAjam bhajare" where bhajan = kirtana

In “adi kAdu bhajana”, the tyAgarAja defines bhajana by what it is not !

sAlaga bhairavi
SMARANA as "guruguha smaraNEna" in tyAgarAjena Samrakshitoham

in padavi ni sadbhakti, the tyAgarAja sings “japa tapAdi aNimAdi siddhulacE”, where japa is the repetitive remembrance aka smarana of the Lord

athAna
SEVA as “guruguha gaNEsha rAjO samsEvita” in tyAgarAjO VirAjite

in his “rAra raghuvira”, the tyAgarAja accepts the duties of seVA when he says “kArya-mAye dayALO”

gaulA
ARCHANA/PUJA as “shrI guruguha pUjita” in tyAgarAja pAlayASu mAm

In the famous “duduku gala”, the tyAgarAja similarly wants to awaken and alert the Lord to his rescue, by enumerating instead his lengthy list of defects. Of course this formally became an ArAdhana kriti some hundred years later…

begada
VANDANA as “vAgIshAdyakhila dEva vandita” in tyAgarAjAya namaste

Notice the similar salutation appears as “tyAgarAja vandyulu svatantrulu” in nAdopAsanACe

rudrapriya/purna shadja
DASYAM as “bhakto bhavAmi” in Sri tyAgarAjasya bhakto bhavAmi

in lAvanya rAma purnashadjam the tyAgarAja uses kanulAra Cudu which is a very unique type of request from a bhakta (see also the usage kanulAra sEvinCi for the great bhakta Sabari in the mukhAri)

purna-shadja is very similar to rudrapriya, though not identical

vira-vasanta
SAKHYAM as “vIra vasanta tyAgarAja mAm tArayAshu

this is the Lord as companion/ferry-man/sustainer

in emani pogadudu when the tyAgarAja says “Sivuniki tAmasa guNam kamala bhAvuniki rAjasa guNam” he is by default assigning rAma the role of “sattva guNam” as the “sustainer” /companion

sAranga
ARPANAM in "tyAgarAjE kRtyA-kRtyam arpayAmi"

in his sA-ranga, (i.e. with ranga) the tyAgarAja says with no ambiguity that he is nothing without the Lord, his everything is the Lord, his everything is with the Lord as in ni vAda ne gAna, nikhila loka nidAna,

darbAr
SHRAVANAM “rAgAdi vritti rahita” in tyAgarAjAd anyam Na jAne

Reminding ourselves that this is the Hearing or Sruti bhakti-vidha, we see that..

in nArada guruswami the tyAgarAja refers to Sruti as veda using "yoga naigama" (note also the famous “vyAsO naigama” shloka)

So, the question arises , perhaps only for the upAsaka....did the Dikshitar independently arrive at the idea of using these rAgas with these bhakti-vidhas or did he somehow become aware of these specific kritis of the tyAgarAja,...thus influencing his rAga choice for this tyagarAja vibhakti set..

especially rarer rAgas like vira-vasanta, and sAlaga bhairavi (each has only one kriti in these) are too esoteric for both vAggeyakAras to have “independently” converged on them for the same themes !

A nice rendition of vira-vasanta is available

https://www.youtube.com/watch?v=D0QtzNFbRX8

It can be compared to rAdha-jayalakshmi doing the emani pogadudu in vira-vasanta

https://www.youtube.com/watch?v=pog0S0_5o9Q

Excellent observation !! ajaysimha..

RSR
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#553 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

ref-p-552
---------
Really surprising find!
Grand!
As Thyagaraja Swami was the senior, his composition should have been mentioned first and then the corresponding MD kruthi with the same theme and Ragam. next.
Particularly , pertaining to the same 'sthalam'. Your presentation is unique.
Thank you

RSR
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#554 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

MS Subbulakshmi
Muthusvami Dikshitar bicentenary celebrations, Shanmukhananda Hall, Bombay - March 1975

Vocal: M S Subbulakshmi
Vocal Support: Radha Viswanathan
Violin: V V Subramanyam
Mridangam: Karaikudi Mani
Ghatam: V Nagarajan
----
Information provided by the uploader Vaak
The Bombay concert list makes impressive reading with familiar and unusual songs alike, including ‘Vatapi’/Hamsadhwani, the luminous ‘Veena pustaka dharini’/Vegavahini, a learning from T. Brinda sung as it is in the traditional style of that school,
‘Minakshi’ in Gamakakriya,
both the Anandabhairavi and Todi navavarana kritis,
‘Sadasivam upasmahe’/Sankarabharanam,
‘Hariharaputram’/Vasanta,
the appropriate vaara kriti for the day, ‘Divakara tanujam’/Yadukulakambhoji,
‘Ranganayakam’/ Nayaki,
‘Sri Parvati’/Bauli,
the evergreen ‘Rangapura vihara’/ Brindavanasaranga,
‘Gange mam pahi’/Jenjuti and
‘Mamava Pattabhirama’/ Manirangu."

This is the concert presented here.

=====.

Muthuswami Dikshitar bicentenary recital sponsored by the National Centre for the Performing Arts at the Shanmukhananda Hall, Bombay, Saturday 15 March 1975

https://youtu.be/d3UmMOEeisg

00:00:00 - Vatapi/ Hamsadhwani/Adi
00:09:45 - Veena pustaka dharini/ /Vegavahini/Jhampa
00:17:41 - Meenakshi/ Gamakakriya/Adi
00:41:04 - Kamalamba /Anandabhairavi/Misrachapu
00:52:39 - Sadasivam upasmahe/ Sankarabharanam/Adi
01:24:59 - Hariharaputram/ Vasanta/Khanda Eka (Incorrectly labelled in the video)
01:32:18 - Divakara tanujam/ Yadukulakambhoji/Eka
01:39:18 - Ranganayakam/ Nayaki/Adi
01:49:24 - Kamalambike/Todi/Rupaka
02:25:00 - Tani Avarthana
02:32:54 - Sri Parvati/ Bauli/Adi
02:37:07 - Rangapura vihara/ Brindavanasaranga/Rupaka
02:43:19 - Gange mam pahi/ Jenjuti/Khanda Eka (Incorrectly labelled in the video)
02:47:19 - Mamava Pattabhirama/ Manirangu/Misrachapu

lyrics and meaning can be obtained from
guruguhavaibavam.blogspot of Sri.Govindan

nAdopAsaka
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#555 Re: Mutthuswamy Dikshithar (the dva-daSa-vidha bhakti (the 12 bhakti modes) of the nilOtpalAmbA vibhakti set !)

Post by nAdopAsaka »

the dva-daSa-vidha bhakti (the 12 bhakti modes) of the nilOtpalAmbA vibhakti set !

In the footsteps of nAdaJyoti Muthuswamy Dikshitar....

I do remember this particular MSS kutcheri. I also remember that , in rather poor humor, it was pointed out at the time that the SankarAbharanam kriti was chosen also as a tribute to her own husband.

RSR, Thank you for your interest and comments.

I rank the finding of ALL 9 bhakti-vidha modes in the Dikshitar tyAgarAja vibhakti kritis (post # 550 and post # 552) alongside the discovery of his rAga choices for the Navagraha (post # 500) , the discovery of the subrahmanya-sthala vibhakti kriti set (posts # 542 & 546) , the connection between panCalinga-panCabhuta linga via the nAgalingam Mohana (post # 537) , the asAveri-mAyavaram kritis (post # 549) and the upadeSa in the Guruguha vibhakti ( post # 528).

Various other meaningful patterns in the Dikshitar kritis can be seen based on the 100 or so posts I have made on this subject in the last 9 months.

As I see it, this dimension of the Dikshitar, revealed by my posts, was almost extinguished over the last 200 years in contrast to the emphasis made on his technical and musicological contributions. But it is an absolutely undeniable and important aspect of his unique legacy.

In my opinion, any fact or any detail or any aspect that can put the upAsaka closer to or even at the scene (not just the physical sthalas) of the Dikshitar receiving his divine inspiration is of immense value. The choice of rAga or the choice of words the Dikshitar makes is only part of these aspects.

With the help of this forum/web-site, it is now possible to illuminate many of these features for all in future.

It is indeed a stark and bleak realization that entire generations of musicians, MSS included , as well as most rasikA’s and their parents/grandparents/great-grandparents etc etc., have “gone to the five elements” without realizing, for example, that the nAgalingam Mohanam connects the tiruvArUr panCalingas with the panCa-bhuta linga kritis, indeed by complete design, as seen in my post # 537.

The learnings I am posting are based on about a half-century of “listening”, and I do not consider them “easy” to have come by.

One of the laws of nature paraphrased is “anything at rest prefers to stay at rest”. The conventional thinking about the Dikshitar in regard to this aspect of his legacy seems to follow this law.

Fortunately there is also a related law of nature where “something in motion prefers to remain in motion”.

In the tradition of this second law and my 100 odd posts, I move now to show that the Gaula-antya Vibhakti set called the nilOtpalAmbA vibhakti ALSO carries every one of the nava-vidhi bhakti mudrAs,… in fact an additional 3 bhakti-vidha’s also prescribed in the ancient texts are noticeable !!..making the nilOtpalAmbA vibhakti set the dva-daSa-vidha bhakti set (12 bhakti modes) .

I list first the kriti set/rAgas for clarity. The detailed texts can be found in many sources.

nIlOtpalAmbikE nitya shuddhAtmikE mAmava DHYANA in chAyAgauLa
nIlOtpalAmbA jayati Vib.1 in nArAyaNa gauLa
nIlOtpalAmbam bhajarE 2 Vib.2 in nAri rIthi gaulA
nIlOtpalAmbikayA nirvana 3 Vib. 3 in kannaDa gauLa
nIlOtpalAmbikAyai namaste 4 Vib. 4 in kEdAragauLa
nIlOtpalAmbikAyAh param 5 Vib. 5 in gauLa
nIlOtpalAmbikAyAstava dAsOham shrI 6 Vib. 6 in mAyAmALavagauLa
nIlOtpalAmbikAyAm bhaktim karOmi Vib. 7 in pUrvagauLa
shrI nIlOtpala nAyikE Vib. 8 in rItigauLa (this nAri-ritigaula is also described as nata-bhairavE in the kriti)

Previously in post # 420 I have pointed to an anomaly in the rAga naming of this set.

For about 200 years this Gaula-antya nature of the nilotpalAmbA set as listed above, has been observed and commented on by all honest rasikA’s, web-sites, forums, “gawkers” and vidwAns/viDUSi’s alike etc., but no one has really bothered to examine this massive Great Pyramid any further. This is that same first law of nature at work.

There has also been little comprehension in the past about the interconnected-ness of these Great Pyramids of the Dikshitar particularly those that are concentrated in one sthala. We will of course discuss the mighty kamalAmbA set separately in this regard.

For now I want to focus on the nilOtpalAmbA set.

In post # 552 the connection of the tyAgarAja vibhakti set to the vAggeyakAra tyAgarAja has already been indicated thru the rAgas used.

More careful attention to the tyAgarAja vibhakti set leads to the following..

It is immediately noticeable that the so-called dhyAna kriti of this tiruvArUr tyAgarAja vibhakti set is in the Gaula rAga and that the (tiruvArUr) nilOtpalAmbA Devi is specifically mentioned in the first and second vibhakti kritis (the athAna and the yadukula kAmboji) of this tyAgarAja set.

The bread-crumbs are indeed in place !

And, unerringly, once again, the ocean of mercy rises !!

I list below in bold/black the bhakti-vidha and next to it the particular reference/words made in the specific vibhakti kriti.

KIRTANA bhajarE in Vib. 2 and upAsita in Vib. 7

SMARANA/Smriti the multiple references to the purAnas/Siva-purana etc. (the purAnas are known as part of Smriti ) in Vib. 1,Vib. 2 and Vib. 3

SEVA sevita in Vib. 3 and Vib. 5

ARCHANA/PUJA as ArAdhita or pujita in Vib. 3 , Vib. 4, Vib. 6 and Vib. 8

VANDANA vandita in Vib. 3

DAASYAM dAsOham in Vib. 6

SAKHYAM/trust-confidence as viSwASini in both dhyAna and Vib. 2

ARPANAM/dissolution-into as “Cittam vilaya-tu” in Vib. 1. and sAloka in Vib. 5

SHRAVANAM/hearing as vANI in Vib.1, Vib. 3 and Vib. 4

another beautiful illustration of Shravanam/Hearing is also given via the Devi gently nodding her head on hearing the Sruti ! sAma gAna Sira kampini in Vib. 2

KAANTAM (attachment as a beloved) “SrngAra” noted in Vib. 1

AAVIRAHA (pain of separation) as “kAmitArttha” in Vib. 4

TANMAYAM (absorption in /UNION with) "sAyujya: in the dhyAna kriti

I consider it a sacred duty to share any and all such learnings and findings to pay this unique vAggeyakAra the total respect that he commands and deserves.

Like the petals cast during any puja, I continue my practice of adorning these findings with suitable renditions ..many thanks to singers and upload agencies..Thanks of course to the rasikAs forum.

An excellent rendition of the purvA gaula kriti is given by the mallAdi brothers

https://www.youtube.com/watch?v=iPuyS4MdjKY

Likewise vidWAn sandhyAvandana SRao does the kedAragaulA

https://www.youtube.com/watch?v=GaaZTy_VQfQ

So does viDUSi B. Kalyanaraman

https://www.youtube.com/watch?v=KRH7BOSwTXY

We will take up the other majestic kritis of this set in due course.

nAdopAsaka
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#556 Re: Muthuswamy Dikshithar (from evening to morning–nilOtpalAmbA vibhakti Gaula-anta rAga’s adhere to rAga kAlam/prahara)

Post by nAdopAsaka »

from evening to morning – how the nilOtpalAmbA vibhakti Gaula-anta rAga’s adhere to rAga kAlam/prahara

In the footsteps of nAdaJyoti Muthuswamy Dikshitar....

There can be no doubt that the Dikshitar intended the majestic nilOtpalAmbA kriti-mAlikA as a continuously evolving prayer/worship of this “night-time deity”, starting from the early evening and culminating at dawn/day-break, and following the sequence of the vibhakti invocations (i.e. from Vib. 1 to Vib. 7).

The night-time motif is quite important given the nature of the niLOtpala flower. (see for example post # 483 on the kumuda-kriya , for the midnight or ardha-yAma alankAra). Elsewhere the moon is described as kumuda-mitram in the Dikshitars Candram asAveri.

Only from a comprehension of the fidelity of the Dikshitars worship, is it possible to glimpse the logic of the rAga selections made for the kriti-mAlikA sequence that is the niLotpalAmbA set, even if they are all of the somewhat “narrow” gaulA-anta regime !

Generally kAlam/prahara (time of singing) has been ignored or bypassed in Carnatic music , but in terms of the Dikshitars worship, it is actually quite reasonable to expect an adherence to this.

After all, to the upAsaka, the rAga’s and their vehicles, the kritis, are offerings to the deities , (not merely clever combinations of svaras and gamakas/tAlas, as most musicologists would have us believe)

The night-time aspects begin right away with the two sambodhana vibhakti 8 kritis.

0-A. dhyAna sambodhana nIlOtpalAmbikE nitya shuddhAtmikE in chAyA-gaula

This is in rAga chAyA-gaula where “chAyA” quite literally means the advent of dusk/darkness or the shade of twilight.

0-B. “Sri nilOtpala nAyikE” in nAri-ritigowla

Next in the sequence is the sambodhana kriti “Sri nilOtpala nAyikE” in nAri-ritigowla which is also traditionally a late-evening /night rAga.

Interestingly mudras for both riti-gowla and nata-bhairavi appear in this kriti.

This kriti is important since it cites the Vithanka tyAgarAja , also referred in the tyAgarAja vibhakti gaula dhyAna kriti and also effectively introduces the upcoming 7 rAgas/kritis via the phrase “padma-rAga manimAlE

Next we have the Vibhakti 1 to Vibhakti 7 kritis.


1. nIlOtpalAmbA jayati in nArAyaNa-gauLa

Vib. 1 in nArAyana-gaula is an evening/early night rAga.

In fact in his other masterpiece in this rAga, “Sri rAmam”, the Dikshitar is quite explicit with the rising moon motif..via “ravi-kulAbdhi sOmam” even going so far as to calling lord rAma “the rising moon of the solar-race”

2. nIlOtpalAmbAm bhajarE in rIti-gowla

Vib. 2 in riti-gaula as noted above for the sambodhana vibhakti kriti is a late-evening/early night rAga.

3. nIlOtpalAmbikayA nirvana in kannaDa-gauLa

This kriti in Vib. 3 in rAga kannada-gaula goes further into the night.

In the kriti the words “halliSa lAsya” are given which indicate a specific form of “rAsa-lila” dance performed in the late night hours.

4. nIlOtpalAmbikAyai namaste in kEdAra-gauLa

Vib. 4 in kedAra-gaula. This rAga is also later in the night perhaps even towards mid-night… Indeed the rAga desh, the deshya equivalent of kedAra-gaula has a late-night/midnight prahara.

In his other kedAragaula kriti “nilakantham” the Dikshitar also notes the appearance of the crescent-moon quite explicity as “bAlaCandra sevitaya” which emphasizes the time of night.

5. nIlOtpalAmbikAyAh param in gauLa

Vib. 5 in gaula which is also rendered preferably late into the night. ..in this kriti too the crescent moon is specifically noted as bAlaCandrasEvita.

In the gaulA anupallavi of the "Sri viSwanAtham" rAgamAlikA the brilliance of the gaula dominates even the moon as in “kSIra-kunda-indu-karpurAdi-vijaya-bhasita-uddhULita-gaulANgam”.

Quite interestingly the other immortal bard also refers to the moon in the very first charana ‘shrI vanitA hrtkumudAbjA vAngmAnasa gOcara” of his fantastic "duduku-gala"

6. nIlOtpalAmbikAyAstava dAsOham in mAyAmALavagauLa

Vib. 6 in mAyA-mAlava-gaula. This is traditionally an early morning rAga in parallel with the bhairava thaat.

Tellingly, the Dikshitar notes the appearance of “prakASa” for the first time in the entire kriti sequence !

We see the beginnings of day-break !!


7. nIlOtpalAmbikAyAm bhaktim karOmi in pUrvA-gauLa


Vib. 7 in purvA-gaula..,,No question this choice is based on several indications of dawn including the time period aka “purva-anha” , the rising sun of the east/purva and the unique reference made by the Dikshitar to “surya-kOti prakASa” !

Day has broken and the nilOtpalAmbA pujA is concluded !

May the infinite mercy of the Dikshitar forgive me for intruding on and revealing his pujA details, particularly to the unready and the uninitiated, as well as the unworthy and the undeserving, all of which I have been.

excellent kannada-gaula renditions are available

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

AlatUr bros.
https://www.youtube.com/watch?v=kPu6Qil0BC0

rajeshnat
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#557 Re: Mutthuswamy Dikshithar (Krithis)

Post by rajeshnat »

Nadpasaka
Great post . More than centering on the raga for the time of the day, Dikshitar possibly adding even the meaning of the word associating with the raga was bit new to me For eg chaya means advent of dusk slipped to me . Do we possibly morph that word chaya and in tamil we call it sayankalam.

All said I am wondering if Dikshitar indeed ever repeatedy sang in ragas that he had put as mudra in krithis whenever he composed , for eg could that have been a case of initially writing with a raga mudra validating with he singing with krithis whenever he visits temple OR is that a case may be his sishya paramparas sang looking at krithi manuscripts 50 years later . I am not saying that would have happened to all krithis , say for eg shree natadi in maayamalavagowlai that may have not happened , but some krithis there is a chance that was just sung by a 2nd or 3rd sishya parampara of MD for the first time ,then advent of 4th generation of Poochi Iyengar and his disciple Ariyakudi more practioners polished and reaffirmed the paddhati.

If some artist can just for the sake of it take a krithi say ananda natana prakasam in kedaram may be just carefully morph it to some other ragam say ananda natana vasantham and sing in vasantha, i am assuming that would be even be beautiful as possibly the prasa Dikshitar could have abstracted even away for most ragas.

All said the most analytic vaggeyakkara is Muthuswami Dikshitar,how he toured temples, how he recollected what he had already composed and most importantly logically grouping with dieties and krithis- certainly there is divinity right there , it is just we are born 400 years late- our bad luck.

RSR
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#558 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

reg-p-557
This is an excerpt from a Shodhganga paper on Muthuswami Dikshitar
https://sites.google.com/site/ncvasanth ... hikshithar
------
This may be helpful to students to better appreciate the nice post of @nAdopAsaka .The emphasis is more on info about the raagams used.
-----
<quote>
Nilotpalamba Vibhakti kritis
<
Nilotpalamba is the consort of Lord Tyagaraja of Tiruvarur. She is the bhogini while Kamalamba is the yogini. Muthuswami Dikshitar has composed a set of eight kritTs on Nilotpalamba in the eight vibhaktTs. In
the Ritigaula raga kriti, Dikshitar has mentioned Devi as the one who
resides in the heart of Tyagaraja as, 'Tyagaraja Antarangam'.

In the Kannadagaula kriti, Dikshitar says that he is protected by Nilotpalamba. She is capable of granting 'Nirvana' or 'moksha'.
'Nilotpalambikaya nirvanasukhapradaya rakshithoham'

A peculiar form of dance 'Hallishalasya' finds mention in this kriti.

Dikshitar has also given the raga name and sthala name through the phrase
'Kasi Kannadagauladi desa'.
The Chayagaula raga kriti has the avarana chakra name woven
into the sahitya as 'Trailokyachakravasini'. The Devi wears blue clothes,
'NTlambara' and she is adorned by blue flowers. 'Nllapushpa malavrita'

All the kritTs are composed in ragas which have names ending in
Gaula and thus these kritTs are often called 'Gaula kritTs'. The kritTs
included in this group are.
---------------------------------------------
1 . NTlotpalambajayati
2. NTlotpalambambhajare
3. NTlotpalambikaya
4. NTlotpalambikayai
5. NTlotpalambikayah param
6. NTlotpalambikayah
7. NTl5tpalambikayam
8. NTlotpalambike

1-Narayanagaula
2-Nariritigaula
3-Kannadagaula
4-Kedaragaula
5-Gaula
6-Mayamalavagaula
7-Purvagaula
8-Chayagaula

Since all these kritis begin on the term 'Nllotpalamba' ,Dikshitar has cleverly commenced all these kritis in the swara 'Ni' which naturally gives a literary beauty.

</quote>

Trying to locate renderings of the left-out kruthis in this set

nAdopAsaka
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#559 Re: Mutthuswamy Dikshithar (My “ratha-kalpana” continues at tiruvArUr….. the tiruvArUr Ganapati vibhakti kritis ! )

Post by nAdopAsaka »

My “ratha-kalpana” continues at tiruvArUr…..how the gaula kriti leads off the tiruvArUr Ganapati vibhakti kritis !

In the footsteps of nAdaJyoti Muthuswamy Dikshitar....

I thank RSR and rajeshnat for their comments and interest.

My “ratha-kalpana” detoured from mAyavaram these last few posts, lingers at tiruvArUr.

One might have wondered based on my last few posts focused on the SivA and the Devi at tiruvArUr, what happened to that happy , elephant headed deity ?

Naturally he is never far from the Dikshitars thinking ! and, indeed adjacent to the Great Pyramid of the nilOtpalAmbA and the Great Pyramid of the tiruvArUr tyAgarAja, sits the great (or mahA) Ganapati complex !

As I have pointed out repeatedly, the Great Pyramids of the Dikshitar are interconnected. I examined the Ganapati kritis in post # 421 previously.

Much has been said in the last 200 years about the so-called shodaSa Ganapati kritis, supposedly aligned with 16 different idols of this unique sthala.

I am however quite doubtful if the following items have ever been comprehended !!

1. There is a complete vibhakti ( 1 to 8 ) arrangement for the Ganapati kritis at tiruvArUr.

2. The first 4 of these Ganapati vibhaktis are in the first 4 ghana rAgas.

3. The 5th ghana rAga kriti is in rAga Shri which is in the 8th vibhakti and acts like a Mangalam of sorts.

4. The only first vibhakti kriti to the Ganapati is in the ghana rAga gaula !....and what else could it be , given the dhyAna kriti to the adjacent tyAgarAja and the whole gaula-anta saga of the nilOtpalAmbA, which has been unraveled in my few posts above.

It is only with the boundless grace and mercy of the Dikshitar that I list below his organized adoration of the tiruvArUr Ganapati.

The ghana rAga kritis are shown in bold red. The vibhakti is bold black.

By my count there could be more than sho-daSa (16), perhaps even an aSta-daSa Ganapati tiruvArUr kriti collection (18).

Vibhakti 1
1 SrI mahAganapati ravatumAm in Gaula

Vibhakti 2
2. mahAgaNapatim manasA smarAmi in nAta
3 vAtApi gaNapatim bhajEham
4 siddhi vinAyakam anisham
5 mahAgaNapatim vandE
6 vighnESwaram
7 gaNanAyakam bhajEham bhajE
8 vAmANka sthitayA

Vibhakti 3
9. gaNarAjEna rakSitOham in ArabhI
10 paHncamAtaHNgamukha gaNapatinA

Vibhakti 4
11. lambOdarAya namastE in varAli
In this kriti the reference to kumbhajapUjitAya is the same as in the tiruvArur vAtApi kriti to the kumbha muni
12 hErambAya namaste
13 hastivadanAya namastubhyam

Vibhakti 5
14. shrI gaNEshAtparam
The puja by the yOgirAja (described in multiple tiruvArUr tyAgarAja kritis ) confirms this location of this kriti (yOgirAjarchitAt)

In addition it can be seen that the usage “bhuta bhautika” is reserved for only this Ganapati and one other kriti.. the vAtapi Ganapati also of tiruvArUr.

Vibhakti 6
15. vallabhA nAyakasya

Vibhakti 7
16. ucchiSTa gaNapatau

Vibhakti 8
17. SrI mUlAdhAra cakravinAyaka in rAga Sri

these two are also in the 8th or sambodhana vibhakti
18 mahAgaNapatE pAlayAshu mAm
19 gaNESa kumAra pAhimAm

Once again we see the Dikshitar's painstaking attention to detail. Just like his care with the wielding of svara and laya and his nuances of rAgas, each deity and name is uniquely worshipped.

With all his grammar and his meter and his vocabulary, the Dikshitar has done his best to tame the giant flood of his inspiration.

It is only proper for the upAsaka to pause and wonder …What is the depth of imagination needed !, what is the degree of worship ! that can bring forth the 40 odd gems just at tiruvArUr (and of course the many others)..

To paraphrase another great seer, the most incomprehensible thing about the Dikshitar is that he is somewhat comprehensible...

The gaula kriti
AlatUr bros.
https://www.youtube.com/watch?v=utxtYC_Xn8I

veena and violin viDUSi's jayanti and Akkarai S
https://www.youtube.com/watch?v=6P4G2pyUzv8

nAdopAsaka
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#560 Re: Mutthuswamy Dikshithar (rAga selection of the 8 tiruvArUr Ganapati vibhaktis )

Post by nAdopAsaka »

rAga selection of the 8 tiruvArUr Ganapati vibhaktis – why the ghana rAgas, why ardradeshi, why bEgada and why kASi-rAmakriya plus an embedded upadESa

In the footsteps of nAdaJyoti Muthuswamy Dikshitar....

We are still in tiruvArUr ! and we haven’t even got close to the mighty kamalAmbA complex..

It is absolutely necessary to meditate further on the 8 tiruvArUr Ganapati vibhakti kritis.. and of course all the other ones too .

Noticing that there are only solitary kritis in Vibhaktis 5, 6 and 7 (post # 559), it is completely logical to assert the following.

The First 8 tiruvArUr Ganapati vibhakti kritis are in order ! the 4 ghana rAgas kritis followed by the Vibhakti 5, 6 and 7 kritis and culminating in the Vibhakti 8 kriti in ghana rAga Sri.

There can be no doubt that ALL the rAga selections are deliberate !!

The “ghana” rAgas for the “gana”-pati is a quite natural choice and easily comprehensible except to the ultra-dim-witted.

The real lesson is in the choice of the remaining 3 rAgas , each of which explanation, I have given in the list below.

The full list is shown below.
Vibhakti 1
1 SrI mahAganapati ravatumAm in Gaula

Vibhakti 2
2. mahAgaNapatim manasA smarAmi in nAta

Vibhakti 3
3. gaNarAjEna rakSitOham in ArabhI

Vibhakti 4
4. lambOdarAya namastE in varAli
The similarity to the tiruvArUr hamsadhwani "vAtApi" kriti via "kumbhajapujita" has already been noted. In addition this kriti also carries the unique and iconic Ganapati offering reference "jambu kadali phala sAra bhaksita" also made only in the "mAhAganapatim vandE" tiruvArUr todi.

Vibhakti 5
5. shrI gaNEshAtparam in Ardradeshi

This rAga choice is based on the dual physical appearance of the deity, its elephant head and its human body, i.e. ardha-dehi, (Ardra implying portion of)

Vibhakti 6
6. vallabhA nAyakasya in bEgada

This rAga choice is based on the extended trunk of the elephant-headed deity, and comes from the “long” throat/neck/gullet as in “brh-gala” morphed into “bE-gala” and then “bE-gada” by generations of slurred (conversational etc.) impurities.

In fact in the “Sri mAtah” begada (see my post # 516 ), bE-gala is the chosen way to deliver the mudra.

Vibhakti 7
7. ucchiSTa gaNapatau in kASi-rAmakriya

The rAma-kriya is linked to a specific puja performed by lord rAma (including at rAmanAthapuram, see for example the other kAmavardhani kriti) as part of cleansing/purification at a critical moment of the rAmAyana.

This “ucchiSTa” Ganapati kriti is also undoubtedly a purification ritual, so this is indeed the proper choice.

Vibhakti 8
8. SrI mUlAdhAra cakravinAyaka in Sri

Arriving at this plateau of realization does not go unnoticed.

Unerringly the ocean of mercy of the Dikshitar swells and bestows further enlightenment !

Once these kritis are assembled in the above ordered sequence from Vibhakti 1 to Vibhakti 8, another set of revelations can be made.

1. Each kriti carries one unique word from the previous one in the sequence.

2. The 8th vibhakti kriti in Sri rAga, carries one word from each of the preceding 7 kritis of the list.

3. The 8th kriti also cycles one word back to the first vibhakti kriti.

The list below shows these words.

(bold red for the ones shared with the successive and preceding one and bold black for the ones donated to Vib. 8 kriti)

Vibhakti 1
mula (from Vib. 8)
mahAganapathi (for Vib. 2)
vinAyakO (for Vib. 8)

Vibhakti 2
mahAgaNapatim (from Vib. 1)
kOTi prakAsham (for Vib. 3)
dEvAdi (for Vib. 8)

Vibhakti 3
kOTi prakAshEna (from Vib. 2)
pUjita (for Vib. 4)
siddha (for Vib. 8)

Vibhakti 4
pUjitA (from Vib. 3)
shivAtmajA (for Vib. 5)
lambOdarA (for Vib. 8)


Vibhakti 5
shivAtmajA (from Vib. 4)
pada (for Vib. 6)
SaT (for Vib. 8)

Vibhakti 6
pada (from Vib. 5)
bhakthO (for Vib. 7)
dAyaka (for Vib. 8)

Vibhakti 7
bhakthim (from Vib. 6)
shabaLIkRta (for Vib. 8)

A phrase is also observable upon collecting the 8 shared words
mula, mahAganapathi , kOTi prakAsham , pUjita , shivAtmajA , pada , bhakthO

We have already seen in post # 528 that the Guruguha tiruttani vibhakti carried a similar upadESa embedded across those 8 kritis.

In the Vibhakti 8 kriti the following 7 words are contributed by each of the first 7 kritis.

vinAyaka from Vib. 1
dEvAdi from Vib. 2
siddha from Vib. 3
lambodara from Vib. 4
SaT from Vib. 5
dAyaka from Vib. 6
shabaLIkRta from Vib. 7

And this word “mula” completes the cycle back to Vib. 1.

tiruvArUr is the kSetra where the Dikshitar has emphasized the “group” kritis.

As shown by my many posts these group kritis are “connected” by a variety of deeper themes and methods. (see for e.g. post # 537 nAgalingam Mohana connecting the tiruvArUr panCa-lingAs or the bhakti-vidha’s of the nilotpalamba-post # 552, post # 555 or tyAgarAja post # 550).

These connections and their embedded meanings are the treasures that a proper musical archaeology of these Great Pyramids unearths.

It is only with the infinite mercy of the Dikshitar that I am able to make these posts.

Here MSS describes the Ganapati reaching the mulAdhAra cAkra

https://www.youtube.com/watch?v=FRJbobuTK3Y

A very nice violin exposition is also available vidWAns M Sarma/rAjaSri

https://www.youtube.com/watch?v=xOIXJnR-VIM

nAdopAsaka
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#561 Re: Mutthuswamy Dikshithar (Nava-vidha bhakti mudrAs in the tiruvArUr Ganapati vibhakti kritis)

Post by nAdopAsaka »

Nava-vidha bhakti mudrAs in the tiruvArUr Ganapati vibhakti

In the footsteps of nAdaJyoti Muthuswamy Dikshitar....

As expected, ALL the Nava-vidhi bhakti mudrAs are also observable in the tiruvArUr Ganapati Vibhakti set described in my post above # 560.

This is understandable since this frame-work has already been noted for the tyAgarAja and nilOtpalAmbA sets in my recent posts.

I do not believe this has been comprehended in the past.

I list below these mudrAs similar to previous posts made and the kritis they are observed in.
The vib. 1 gaula kriti carries two of the bhakti modes.

KIRTANA vib. 5 "upAsitAt" in Sri ganeSAt param nahi

SMARANA vib 2 "manasa smarAmi" in the nAta

pAdasEvA vib. 7 "bhaktim krtva unnata-pada vim vrajarE" in ucchiSta ganapatau

ARCHANA/PUJA vib 4 "pujitAya" in lambOdaraya

VANDANA vib. 3 "vanditEna" in ganarajEna

DAASYAM vib. 6 "bhakto bhavAmi" in vallabha nAyakasya

SAKHYAM vib. 1 "bhava jala nAvo" in Sri mahAganapati ravatu mAm, same as the cosmic ferryman noted earlier

ARPANAM vib. 1 "kaivalyam" in Sri mahAganapati ravatu mAm

SHRAVANAM vib. 8 "vaikhari svAbhava" in sri mulAdhAra Cakra, being an embodiment of sound/speech that is “heard”

A couple of minor corrections are needed for the SMARANA and PAADASEVA aspects in the tyAgarAja vibhakti/vidha-bhakti (per my post # 550)

SMARANA “purANa pratipAdita” in tyAgarAjO VirAjite , the athAnA refer to what are known as “smriti” or memory

The corresponding tyAgarAja kriti in athAnA is still "rAra raghuvira" with the reference “anudinamunu ninu manasuna kanugoni “ indicating the constant/daily memory or dhyAna on the lord (per my post # 552 regarding rAga selection of the tyAgarAja vibhakti)

pAdasEvA "shrI ramaNAdi pUjita caraNEna" in tyAgarAjena Samrakshitoham, (the sAlaga-bhairavi) is the proper mudra. This is aligned with “padavi ni sad bhakti: of the corresponding unique tyAgarAja kriti in sAlaga-bhairavi.

In addition, In the nilOtpalAmbA vibhakti set, the Vib. 3 kriti "nIlOtpalAmbikAyAh param nahi" gives the pAdasEvA mudra quite clearly as "guruguha sannuta caraNAyAh" which I had forgotten to point out in post # 555.

The appearance of unique nava-vidha bhakti mudrAs in the tiruvArUr vibhakti kritis of the Dikshitar , particularly in the linked sets of the tyAgarAja, nilOtpalAmbA and now the Ganapati indicates considerable premeditation.

Perhaps these realizations are all a required preamble, at least for the upAsaka, like the "foothills" before trying to ascend the peaks of the even more esoteric kamalAmbA navAvarana. That journey may well be a lifetime in the making.

Fortunately there are a multitude of kritis of the Dikshitar that can illuminate the path in the interim.

excellent Ardradeshi renditions are available

vidWAn V. sadAsivam
https://www.youtube.com/watch?v=fetrQQUn75Q

vidwAn S. Gursharan
https://www.youtube.com/watch?v=H6AkcDTOLBc

rajeshnat
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#562 Re: Mutthuswamy Dikshithar (rAga selection of the 8 tiruvArUr Ganapati vibhaktis )

Post by rajeshnat »

nAdopAsaka wrote: 19 Jul 2021, 20:01
6. vallabhA nAyakasya in bEgada

This rAga choice is based on the extended trunk of the elephant-headed deity, and comes from the “long” throat/neck/gullet as in “brh-gala” morphed into “bE-gala” and then “bE-gada” by generations of slurred (conversational etc.) impurities.

In fact in the “Sri mAtah” begada (see my post # 516 ), bE-gala is the chosen way to deliver the mudra.
1.Could this morph all the way from brh-gala to bE-gala to bE-gada is all done just to suit our pre drawn conclusion that we have to put raga mudra for every Dikshitar krithi. In short is that all conjecture and fiction by you and many before you. ?? Just asking not really confronting your viewpoints?

2.In your experience are there any popular krithis of Dikshitar where you could not trace raga mudra??

nAdopAsaka
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#563 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdaJyoti Muthuswamy Dikshitar..

I am certain the use of bE-gala is deliberate on the part of the Dikshitar and is motivated by the connection to the neck/gullet etc. The Sri mAtah kriti makes this quite clear, where he also fixates on the Cakra-rupa ear-rings , adjacent the neck.

Regarding “popular” kritis this can of course be relative but it is a good question..

I suggest following..

“annapurne visAlAkSi” in sAma (although the less heard “tripurasundari Sankari” gives the sAmagAna mudra clearly).

“shrI rAjagOpAla bAla” in sAveri is another such (with “karikalabha” giving the sAveri mudrA)

“gaNarAjEna rakSitOham” in Arabhi

“bAlagopala pAlaya” in bhairavi is another ..the last line is quite famous for other reasons and intriguing but I do not think is about the raga mudrA “vaiNika gAyaka guruguha nuta pura vairi vihita” although intriguing

most glaring example however is “diwAkara tanujam” in yadukula kamboji (this choice of this rAga for this kriti is undoubtedly linked to the vehicle of the Sani deity the vulture/raven etc. ( per my post # 500 for example) however the word/s (yadukula kAmboji) for the mudrA do not appear in any way , directly or indirectly , in this or the other 2 YK kritis

“bRhaspatE tArApatE” in athAnA is another such widely heard kriti (but as I note in post # 500 this is the elephant vehicle of the Thursday deity derived from the word for the elephant). “vAmAnka sthitAya” Ganapati kriti gives the rAga mudrA and is appropriate for the elephant deity.

Since its Thursday good to hear brhaspatE kriti

s rAjam
https://www.youtube.com/watch?v=mVv_9VIwXjA

MMI
https://www.youtube.com/watch?v=gVq6VDgQEds

a fine effort is made here on the rarely heard "vAmAnka stithayA" kriti

https://www.youtube.com/watch?v=eq2BGs5rIhQ

nAdopAsaka
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#564 Re: Mutthuswamy Dikshithar (the kamalAmbA navAvarana rAga selection and it’s nava-vidha bhakti mudrA)

Post by nAdopAsaka »

the kamalAmbA navAvarana rAga selection and it’s nava-vidha bhakti mudrA

In the footsteps of nAdaJyoti Muthuswamy Dikshitar..


In T-nAdu hath Dikshitar
the tirvArUr music dome decreed !

It is not known widely (or even at all ? ) that Coleridge and the Dikshitar lived pretty much over the same the same 60 year period, from 1770’s to 1830’s !
But while Xanadu and the Alph (and the drunken sailor/mariner etc. ) are but fables, tiruvArUr and the kAveri are real.
We have been parked in the “tirvArUr music dome” these past few posts, working up towards the supreme kamalAmbA navAvarana, after proper puja to the other deities under this dome, i.e. the tyAgarAja, the nilOtpalambA and the Ganapati.

By the inexhaustible grace and mercy of the Dikshitar, I say that the following are also real.

1. Every mudrA of nava-vidha bhakti can be found in the kamalAmbA navAvarana.

I use the word Avarana instead of vibhakti in the list below, since Avarana is the proper term for the enclosures in the Sri-vidyA theme..i.e. these are not merely grammatical nuances.

KIRTANA in Ava 2 bhajarE
SMARANA in Ava 1 nigama purAna (aka smriti)
pAdaSEVA in Ava 4 dAyakAmbhOja caraNAyai
ARCHANA/PUJA in Ava 5 samAradhita
VANDANA in Ava 9 jayati
DASYAM in Ava 6 tava bhaktOham
SAKHYAM in Ava 8 santApa hara
ARPANAM in Ava 3/Ava. 9 paripurna brahmAsmi/macittam vilayatu
SHRAVANAM in Ava 7/Ava. 3 vAgdevata/mUka vAkprada

That the kamalAmbA navAvarana is also a nava-vidha bhakti should not be too surprising …..we have already shown the same aspect for ALL three of the other major tiruvArUr deities.

2. Every rAga mudra of the kamalAmbA navAvarana set can also be inferred from the kritis. This has already been shown in my post # 530.

finally and most interestingly

3. Every rAga selection of the kamalAmbA navAvarana can be explained logically.

In 6 of the 9 kritis the selection is made by deriving the rAga name/meaning from the corresponding Cakra information/kavaCam and/or the corresponding dEvI’s names from the lalitA sahasranAma.
The combinations are unique and in my opinion, irrefutable.

For the last 3 kritis, other overriding aspects are used to select the rAga, which will immediately be seen to also be irrefutable.

It is important to remember that the texts I note below like the lalitA sahasranAma, mArkandeyA purAna, dEvi stuti, various Sri vidyA scriptures and kavaCams on the different CakrAs, as well as different yoga and horoscopical texts have been part of the Dikshitars vocabulary and studies , just as much, or even more so than his musical training.

I list below in order of Avarana each explanation for each kriti/rAga.

Avarana 1 kamalAmba samrakshatu mAm in Ananda-bhairavi

Cakra name
The Cakra is trailOkya mOhana.

The tripura trailokya mOhana kavaCam has the following excerpt...
. “tathA tripura-bhairavya bIjAnnamapi nAmatah
vAgbhavah kAma-rAjasca tathA trailokya-mohanah”

This supplies one aspect i.e. bhairavya of the rAga name.

The second aspect comes upon noting that this is the first Avarana and the start of the joyous journey that will ultimately culminate in the union of Sakti and Shiva (aka the upAsaka and wisdom/self-knowledge several Avaranas later in the sarva-Ananda maya Cakra) . It is this joy/bliss aka cit-Ananda or brahm-Ananda that drives the choice of the second aspect/word Ananda.

dEvI name
Notably several names of dEvI in the lalitA sahasranAma invoke the word Ananda such as paramAnanda (252), yogAnanda (656), brahmAnanda (676), satCitAnanda (700) etc. and can she can also be interpreted as Ananda-bhairava, she who pleases Siva

(it should be noted that one name of dEvI is also ranjani (309) and this while is also the name of a rAga and although this word appears also in the kriti, there is no mention of the word “ranjani” in the kavaCam, so it is eliminated as a possible rAga for this Avarana)

Conclusion
The only choice of rAga that combines at once the relevant Cakra/kavaCam , the dEvI name and the concept of the joy of wisdom is Ananda-bhairavi.

Avarana 2 kamalAmbAm bhaja rE in Kalyani

Cakra name
The Cakra is sarv-AshA paripUraka – which means the fulfillment of good/desires

dEvI name
kalyAni is also the 324th name of dEvI in the lalitA sahasranAma and obviously means she who does good and who also fulfills such good desires.

Conclusion
Therefore there is no question this rAga is the proper one for this Avarana.

Avarana 3 Sri kamalAmbikaya katAkshitOham in Sankar-Abhara-nam

Cakra name
The Cakra is saMkShOb-haNa – which means the removing (hana) of agitation/tensions and in particular excitement/exciting urges… (ananga Sakti)

dEvI name
SankarI is also the 126th name of dEvI in the lalitA sahasranAma.
As consort of Sankara, she keeps him calm and reduces his agitation.

In addition, phonetically the word “kSobhana” is very similar to “shobhana” which means adding luster or adornment, aka “Abharana”

Conclusion
The dEvI as Sankar-Abharana is the symbol of the removal of agitation. Therefore this rAga is the only proper choice for this Avarana.

nAdopAsaka
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#565 Re: Mutthuswamy Dikshithar (the kamalAmbA navAvarana rAga selection and it’s nava-vidha bhakti mudra part 2)

Post by nAdopAsaka »

the kamalAmbA navAvarana rAga selection and it’s nava-vidha bhakti mudra part 2

In the footsteps of nAdaJyoti Muthuswamy Dikshitar..

In T-nAdu hath Dikshitar, the tirvArUr music dome decreed !

Remaining Avaranas to complete previous post # 564


Avarana 4 Sri kamalAmbikAyai kanakAmSukAyai in kAmbhOjI

Cakra name
The Cakra is saubhAgya-dAyaka – which means the giver of good fortune and prosperity.

More significantly one should note that one of the Sakti names of this Cakra is samkShobhinyA ! ( a legacy of the 3rd Avarana)

To understand the choice of kAmbhoji, one has first to comprehend that the Sri-Cakra navAvarana is a staged sequence, a highly organized evolution towards the final sarva-AnandaCakra/Bindu. Each stage has to be passed in sequence.

Therefore, to reach the “14 triangles” of the fourth Avarana, the upAsaka has to pass first through the 8-petalled “lotus” periphery of the third Avarana (i.e. symbolically conquering the “agitation” and “excitement” noted in the 3rd Avarana, principally emanating from excitement due to kAma etc urges).

dEvI name
kAma-pUjita 375 or kAma-sevita 486 are the names of the dEvI from the lalitA sahasranAma, that are relevant for this Avarana.

Because it is in this mode that we see that kAma has been subjugated (has become the servant (bhaja) of the dEvI or has been “consumed”/bhoja and not the other way around ) as a prerequisite for reaching the 4th Avarana !

The Dikshitar further reminds us of this when he sings in the charana “samkshObhinyAdi Sakti yuta” wherein this “exciting Sakti” is formally incorporated into the 4th Avarana emphasizing the subjugation of this Samkshobana/kAma.

Of course the Dikshitar also takes advantage of the 117th name of dEvI , “bhakta saubhAgaya dAyiNi” to simultaneously bring forward the Cakra name, dEvI name and the rAga name via the transit across the “lotus” periphery of the 3rd Avarana as in “saubhAgya dAya-kAm-bhoja caranEna”

But the choice of the rAga itself is independent of the use of this phrase and depends solely on the reasoning as shown.

Conclusion
The rAga kAmbhoji is the ONLY meaningful choice that can be made for this Avarana.


Avarana 5 Sri kamalAmbikAyA Param Nahi in bhairavi

Cakra name
The Cakra is “sarvArtha sAdhaka” or the attainment of all goals and wishes, the universal provider.

dEvi name

It is noted that in the very first Avarana, the Dikshitar introduced the word “nigama-purAnAdi samvEdini”.

In fact, the dEvI in the mArkandeyA purAna devi stuti is known as “sarva mangala mangalyE SivE sarvArtha sAdhikE

In another section of this same stuti/purAna the Devi is also referred to as “mahA vidyE”.

The tenth mahA vidyA is of course the name bhairavi (the so-called laghna deity) , distinguished from the 9 other vidyAs that correspond to the nine grahas
And Bhairavi is itself the 276th name of the dEvI from the lalitA sahasranAma.

The Dikshitar also makes reference to this “dasha” or tenth aspect of the “bhairavi “ mahA-vidyA nature several times in this kriti (bahir-dashara, daSa-SaktyAradhita, dasha-karana, dasha-dhwani )

Conclusion
Obviously, nothing more need be said about this suitability and exactness of this rAga choice for this Avarana.

We have come this far following the Dikshitar’s footsteps on his majestic journey towards the sarva-Anandamaya Cakra/Bindu.

The idea linking the rAga choice to the specific Cakra/dEvI is consistent and coherent for the first 5 Avaranas.
What has eluded entire generations of rasikAs and musicians for the last 200 years now begins to make sense.

None of this happens without the infinite benevolence of the Dikshitar. Indeed it is as if the great serpent adorning the nAgalinga of tiruvArUr has loosened its grip.

Now the great serpent uncoils further as the ocean of mercy surges towards the upAsaka.

Avarana 6 kamalAmbikAyAstava Bhaktoham in punnAgavarAli

Cakra name
The Cakra is “sarva rakSAkara” which signifies the universal protector/protection/shelter.

This protection motif undoubtedly is linked to the great serpent that churned the milky ocean in the iconic ‘sAgara manthana” when the very fate of the universe was in the balance (sarva-rakSA indeed) , and the many gifts received as a result !…punnaga-vara where punnaga is a synonym for the serpent and “vara” are boons/gifts.

dEvI name
Although “punnAga-sowgandhika” is the 13th name for dEvI in the lalitA sahasranAma., the reference of interest for the 6th Avarana is not to the punnAga flower/ tree but to the great serpent/nAga for which the 110th name dEvI name Kundalini is known.

It can be seen that this is the only Avarana to carry the word “kundalinyA” by which Dikshitar is emphasizing the serpent motif.

Conclusion
punnAgavarAli is the proper rAga that expresses the 6th Avarana Cakra idea of protection as well as one of the iconic names of the dEvI.


Avarana 7 Sri kamalAmbikAyAm Bhaktim Karomi in shahAna

Cakra name
The Cakra is “sarva roga-hara” implying the destruction of all disease.

In the sarva rOgahara kavaCam, one of the iconic symbols for disease is “poison” known also as “vi-sha” .

We also know that the suffix “hana” describes destruction.

Conclusion
Immediately it can be observed that the word “vi-sha-hana” which means destruction of poisonous disease is the only proper basis for the use of rAga sha-hAna.

Coming right after the 6th Avarana which also had a serpent motif, there is little doubt this is exactly the path followed by the Dikshitar for this choice.

Avarana 8 Sri kamalAmbike Avava in ghanTA

Cakra name
The Cakra name is “sarva siddhi pradAyikE

Upon reaching any objective, especially such as completing a prayer or completion of achieving “siddhi” , ringing of a bell is customary in Hindu religious practice.

The choice of ghanTA for this Avarana is because this is the 8th vibhakti and the penultimate one before the final step.

In fact the Dikshitar signals the bell-ringing to herald the arrival at the doorstep of the final Cakra, which is the culmination of the journey, “ghanTA mani ghOShAyamAna kavATa-dvArE"

dEvi name
Although the dEvI has names implying the tinkling of bells "Rathna kinkinika ramya rasana dhama bhUSita" # 38..also "ranat kinkini mekhala # 312", in this Cakra the driving motif for the ghanta rAga choice is the heralding of the completion of the siddhi and penance of the first 8 Avaranas that constitute the approach to the final/next Cakra, the Bindu Cakra.

Conclusion
There can be no doubt the imagery of the bell tolling the approach to the Anandamaya Cakra is the reason for the ghanTA rAga choice.

Avarana 9 Sri kamalAmbA Jayati in Ahiri

Cakra name
The Cakra name is “sarva Anandamaya

With the Dikshitar holding our hand, we have been led through the 8 majestic kritis of the first 8 vibhakti/Avarana/enclosures and are now completely immersed in the ocean of Ananda and nAda.

The Dikshitar salutes the dEvI with the Vandana “jayati”.

More importantly he also says “pritiyukta ma-Cittam vilayatu”, whereby he is dissolved (vilayana) into the very spirit and bliss of this Cakra and dEvI/Siva union !

This is the arpanam vidha-bhakti mode signifying complete surrender.

The synonym-word for “offering” is “Ahara” and there is no other rAga name which captures this “meaning” , and the intent of this kriti, indeed of the entire process, starting from the first Cakra, than the rAga/name Ahiri.

Conclusion
The kamalAmbA navAvarana is this supreme offering and there can be no question the dEvI and all her associated deities have heard and blessed and even participated in each kriti , each word, each note as it left his breath , in his journey towards the Ananda bindu.

From the sacred to the mundane…

Various theories have been advanced in the past 100-150 years on the source and basis of the kamalAmbA navAvarana rAgas. In my opinion and from what I have shown above , all those approaches have fallen short.

I believe these have all missed the essence of the Sri-vidyA pujA that drives every aspect of the Dikshitars musical offering.

Perhaps a crumb to all such “shylocks of svaras” and “merchants of murchanas”, is the mildly curious fact that all the rAgas chosen happen to belong to the unique graha-bheda mela set of 6 (noted in post # 510) which incidentally also incorporates the Todi dhyAna kriti and also the Sri mangala kritis. But this is incidental !!.. ..

For the kamalAmbA navAvarana which is the crown-jewel under the tiruvArUr music dome decreed by the Dikshitar the rAga choice is driven entirely by the Cakra detail/dEvI name and/or the sequenced pujA offering of the Sri vidyA upAsana.

I bathe and revel always in the fountain of the Dikshitars inspiration.

some excellent examples are available
DKJ
https://www.youtube.com/watch?v=-k9QMSDGFGA
viDUSi’s ranjani/gAyatri Ananda-bhairavi
https://www.youtube.com/watch?v=CNkVy6ZjJ68

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