Gayathri Girish's Myriad forms of Siva Episode 4
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priyaram78
- Posts: 393
- Joined: 03 Feb 2010, 08:57
Gayathri Girish's Myriad forms of Siva Episode 4
Next episode is at Tattvaloka, Teynampet on 26th May 2013 at 5pm. hope to read reviews here.
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priyaram78
- Posts: 393
- Joined: 03 Feb 2010, 08:57
Re: Gayathri Girish's Myriad forms of Siva Episode 4
Finally, I could attend atleast one episode of this series of enlightening thematic concerts by Smt.Gayathri Girish in namma chennai. It was evident, Gayathri has put in lot of painstaking effort, by way of research, to put together this thematic presentation. The chief guest for this episode was Renowned carnatic vocalist Smt. Suguna Purushottaman, who shared her vast knowledge with us rasikas. Gayathri thanked everyone who supported her in this creative series.
I hope a knowledgeable rasika posts a review of this concert here. Gayathri explained in detail the iconography, the sthala puranas, the meaning of the kritis, within the limited time frame. The accompanists too gave ample support. Overall, it was an enlightening concert. Kudos to Gayathri Girish and tourism department for bringing out such a creative series of concerts. Wish can attend more such concerts, in namma chennai.
I hope a knowledgeable rasika posts a review of this concert here. Gayathri explained in detail the iconography, the sthala puranas, the meaning of the kritis, within the limited time frame. The accompanists too gave ample support. Overall, it was an enlightening concert. Kudos to Gayathri Girish and tourism department for bringing out such a creative series of concerts. Wish can attend more such concerts, in namma chennai.
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Sivaramakrishnan
- Posts: 1582
- Joined: 02 Jan 2010, 08:29
Re: Gayathri Girish's Myriad forms of Siva Episode 4
Myriad Forms of Lord Sivaby Gayathri Girish
Tatvaloka, Chennai 26.05.2013 5.30-7.45 p.m.
Accompanists
Dr R Hemalatha: Violin
Poongulam Subramanian: Mridanga
G S R Moorthy: Veena
Vishruti(daughter-vocal support)
***
(In fact I was representing our forumite CRama who had excellently reviewed the earlier episodes of the event, is away on a holiday)
***
Smt .Suguna Purushothaman was the chief guest. Vidwan B Krishnamoorthy and Nandini Ramani also attended. The auditorium was full showing that the event has caught the imagination of rasikas though most of them were seniors. In her brief address SP appreciated the efforts of Gayatri and the support from the Ministry of Culture, Govt. of India. Such opportunities were not available to youngsters of her times- she noted and expressed satisfaction that singers like Gayatri are taking up valuable themes for discussion. While thanking SP, Gayatri also acknowledged the help of Nandini Ramani for connecting her to the Ministry for award of a grant for the 12-part project.
The episode was a continuation of the previous session wherein the concept of SIVA as Anugrahamoorthy was detailed.
The Kritis (most of them Sri Muthuswami Dikshitar’s) were :
1. Pancha Matanga-Malahari-Rupakam-MD
2. Parameswara Jagadeeswara- Natai-Adi-MD
3. Agastheeswaram –Lalitha-MisraChapu-MD
4. Tevaram(Anjayum Adakki) -Virutham- Todi-Tirugnanasambandar
5. Gangadhara – Purvikalyani-Rupakam-Mysore Sadasiva Rao
6. Mahadevena –Devamanohari-Adi-MD
7. Vaashi Vaashi- Sahana-Adi-Ramaswamy Dikshitar
8. Shrungaaradhi – Dhavalanga-Khanta Ekam-MD(Asampoorna Mela equivalent of 49th Mela Dhavalambari)
9. Abhayamba Nayaka – Kedaragowla-Adi-MD
10. Tevaram(Paruvarai onru)-Pann Pazhampanjuram –Adi -Tirunaavukkarasar
11. Nishadhaadi- Nishadham-Misra Chapu-MD(Asampoorna Mela equivalent of 60th Mela Neetimati)
12. Neelakantaya – Nadaramakriya-Misra Chapu-MD
Here are some information gathered by me on the theme
Pancha Matangamukha Ganapatinaa-Malahari
The composer’s reference is to the Moorthy in Tiruvarur temple with five mukha-s and eight hands, in the inside prakaram of Thyagaraja shrine next to Vatapi Ganapati . Panchavaktra Sivasuta indicates the Puranic reference of Siva worshipping Chintamani Vinayaka with all his (Siva’s) five faces. A Jyoti emerged from each face and created this form of Vinayaka.
Virinchi-hari -rudra nutena: Brahma worshipped Ganesha before creation; Siva during Tripura Samharam and Vishnu before Madhu Kaitabha vadham as per puranic stories.
The Iconographic description is detailed in the charanam of the Kriti. Artist Shilpi’s drawing of panchamatangamukha Ganapati in Simha vaahana was aptly shown as a separate slide.
(Dikshitar has beautifully composed the song in Panchami vibhakti; perhaps to suit the preponderance of the word ‘pancha’ in it, I felt!)
The rendering of the invocative kriti was excellent with the sruti of all instruments well aligned and well balanced- from the start itself-thanks to the soundmen.
Parameswara Jagadeeswara- Natai
This is in praise of Gangadharamoorthy and extols the role of Siva in fulfilling the efforts of the Bhageeratha in bringing down Ganga to provide satgati to his ancestors trapped in the paataala loka. In the process, the Lord also removes Ganga’s pride.
Gayatri drew audience attention to the mention of the story in Valmiki Ramayana Balakannda.
Though the song does not bear any direct reference to any sthala, the following information would be relevant:
• Bhageeratha tapas has been beautifully carved in the Mahabalipuram marvel depicting important episodes. Another cave sculpture found in Lalitankura Caves in Trichy - Uchhi Pillayar temple hill near Tayumanavar swami shrine.
• There is a temple of Gangadhareswarar in Purasawalkam (Chennai) where an Iconography of Bhageeratha worshipping Siva is available. Siva here is in Ardha swasthikasanam, with deer and fire in upper hands, varada and chinmudra in lower hands.
• Another beautiful sculpture is seen in the famous Tirumiyachur Lalitambika temple near Peralam near Mayavaram. When viewed from two directions Devi’s face will show two emotions, anger as well as joy.
Gayatri followed up rendering of the kriti with a few rounds of kalpana swaras with violin and veena returns.
Agastheeswaram : Raga- Lalitha:
Siva worshipped by Agastya Rishi is known as Agasteeswarar. Since the sage was sent to South by Siva to balance the earth he came to the South and has been travelling widely and has been worshipping Siva in different places. There are many temples of Agasteeswarar in Tamil Nadu. The most popular name of the Lord’s consort is Anandavalli.
This Dikshitar kriti praises Siva as Rakshita Dhanikam – protector of Kubera. There is a Puranic reference of Kubera worshipping Siva to recover all his wealth robbed by Ravana and finally surrendering to Siva in Thanjavur (The name Thanjavur came from his Tanjam to Siva). Another famous temple is the Tanjapureeswarar temple within a km from Arasur where Kubera worshipped Siva. This Lord here is called Tanjapureeswarar as well as Kuberapureeswarar. This is a very ancient temple and recently renovated.
In the kriti, name of the Lord’s consort is given as Sachidananda valli. Jagajjeevesaakaram jananavilayakaram implies that Creation is divided into a triad – Jeeva (Individual) , Jagat (World outside) and Iswara (saviour) – Real truth is all these are manifestations of the same brahman – a profound vedantic idea is conveyed by Dikshitar here. There is also reference to the story of Agastya drinking the ocean waters to bring out the demons who were hiding there so that they could be killed.
Mahadevena-Devamanohari:
This composition is not attributed any specific location. Lord Mahadeva is addressed as ‘Giver of Moksha (mahaneeya saamraajyaprada). Siva is worshipped as Mantraswaroopa. There are several prayers on Siva represented by panchakshara mantra (including the well- known siva panchakshara stotra of Sankara). Siva is also called SUKHASANAR: Upon request from Parvati, Siva imparts Aatma gnanam seating her on his lap. This is one of the forms in 25 Maheswara Murthys.
SRMPNDNS-SNDNPMRS is the scale adopted by MD in his Devamanohari ( compared to the aarohana SRMPDNS in the kritis of other composers). Rendering of this kriti was impressive and the artists brought out this variation in the scale naturally. A Chittaswara for tis specially composed by Vidwan B Krishnamoorthy was also sung.
Vaashi Vaashi-Sahana:
This is a kriti by Ramaswamy Dikshitar with an interesting pallavi. Repeating ‘vaas(h)i-vaas(h)i’ ends up as ‘Shiva’ similar to maraa-maraa-maraa giving raama raama (refer the story on origin of Ramayana). Here Vashi indicates one who illuminates all.
The composition finds a place in the Sangita Sampradaya pradarshini (SSP) with 3 charana-s. The sahitya is mostly consisting of Sanskrit words with a sprinkling of Telugu. It forms an excellent stotra on the Lord with simple, elegant mix of words like- Hara-purahara-sankara-gangadhara etc.
Shrungaaradi-Dhavalaanga:
This song is attributed to the Lord in Tanjore. Brihadambaalingita in the sahitya is a direct indication of the place which is closely associated with Dance and the Devi is described as embodiment of Navarasa – signifying the art of Dance. The beauty of Prasa in this Kriti is admirable.
Gayatri also rendered the chittaswara for the song as given in the SSP.
Abhayamba Nayaka-Kedaragowla:
This kriti on Lord Mayuranathar glorifies Siva in Saguna and Nirguna forms and as a complete anugrahamurthy. The sahitya depicts a host of concepts like Aatmaroopaprakaasaka, Omkaara swaroopavakaasa, Nirvikalpa, styasankalpa, moolakotivikalpa etc.
The Anugrahamoorthy is described as varadayaka , Shubhakara, karunakara , shankara, bhaktavashankara , lokapaala, varadaana sheela , karunaalavaalaetc.
Nishadhadi- Nishadham:
Going by the sahitya, the sthala can be accepted as Tirunallar (the famous Kshetra for Sanaischara) worshipped by rulers of Nishadha kingdoms of whom Nala was one who worshipped Siva to get released from the unfavourable influence of SANI. A rare kriti indeed
Neelakantaaya-Nadaramakriya:
MD has composed six Kritis on three Siva temples in Kulithalai (near Karur). This great kshetra has by and large seems to have not received attention of devotees. Though the scale is Nadanamkriya, the raga name usedby Dikshitar is nadaramakriya.
This place is called Dakshina Kasi (Kadambavanar temple facing north). According to sthala purana, brahma worshipped Kadambavaneswarar in this temple to get enlightenment. Described as giver of Moksha, Lord Siva is said to be pleased by the music of young Devas singing in the raga Nadar(n)amakriya. Another explanation goes thus: Siva is pleased by the Vedic rituals (Kriya) performed by youthful vedic scholars (geervana) using captivating (rama or ramya) musical chanting of sama veda (Gita nada)
The Tevarams which Gayathri rendered came in as appropriate interludes.
The next episode of MYRIAD FORMS of SIVA will take place on 30 June 2013 at the same venue.
**
Tatvaloka, Chennai 26.05.2013 5.30-7.45 p.m.
Accompanists
Dr R Hemalatha: Violin
Poongulam Subramanian: Mridanga
G S R Moorthy: Veena
Vishruti(daughter-vocal support)
***
(In fact I was representing our forumite CRama who had excellently reviewed the earlier episodes of the event, is away on a holiday)
***
Smt .Suguna Purushothaman was the chief guest. Vidwan B Krishnamoorthy and Nandini Ramani also attended. The auditorium was full showing that the event has caught the imagination of rasikas though most of them were seniors. In her brief address SP appreciated the efforts of Gayatri and the support from the Ministry of Culture, Govt. of India. Such opportunities were not available to youngsters of her times- she noted and expressed satisfaction that singers like Gayatri are taking up valuable themes for discussion. While thanking SP, Gayatri also acknowledged the help of Nandini Ramani for connecting her to the Ministry for award of a grant for the 12-part project.
The episode was a continuation of the previous session wherein the concept of SIVA as Anugrahamoorthy was detailed.
The Kritis (most of them Sri Muthuswami Dikshitar’s) were :
1. Pancha Matanga-Malahari-Rupakam-MD
2. Parameswara Jagadeeswara- Natai-Adi-MD
3. Agastheeswaram –Lalitha-MisraChapu-MD
4. Tevaram(Anjayum Adakki) -Virutham- Todi-Tirugnanasambandar
5. Gangadhara – Purvikalyani-Rupakam-Mysore Sadasiva Rao
6. Mahadevena –Devamanohari-Adi-MD
7. Vaashi Vaashi- Sahana-Adi-Ramaswamy Dikshitar
8. Shrungaaradhi – Dhavalanga-Khanta Ekam-MD(Asampoorna Mela equivalent of 49th Mela Dhavalambari)
9. Abhayamba Nayaka – Kedaragowla-Adi-MD
10. Tevaram(Paruvarai onru)-Pann Pazhampanjuram –Adi -Tirunaavukkarasar
11. Nishadhaadi- Nishadham-Misra Chapu-MD(Asampoorna Mela equivalent of 60th Mela Neetimati)
12. Neelakantaya – Nadaramakriya-Misra Chapu-MD
Here are some information gathered by me on the theme
Pancha Matangamukha Ganapatinaa-Malahari
The composer’s reference is to the Moorthy in Tiruvarur temple with five mukha-s and eight hands, in the inside prakaram of Thyagaraja shrine next to Vatapi Ganapati . Panchavaktra Sivasuta indicates the Puranic reference of Siva worshipping Chintamani Vinayaka with all his (Siva’s) five faces. A Jyoti emerged from each face and created this form of Vinayaka.
Virinchi-hari -rudra nutena: Brahma worshipped Ganesha before creation; Siva during Tripura Samharam and Vishnu before Madhu Kaitabha vadham as per puranic stories.
The Iconographic description is detailed in the charanam of the Kriti. Artist Shilpi’s drawing of panchamatangamukha Ganapati in Simha vaahana was aptly shown as a separate slide.
(Dikshitar has beautifully composed the song in Panchami vibhakti; perhaps to suit the preponderance of the word ‘pancha’ in it, I felt!)
The rendering of the invocative kriti was excellent with the sruti of all instruments well aligned and well balanced- from the start itself-thanks to the soundmen.
Parameswara Jagadeeswara- Natai
This is in praise of Gangadharamoorthy and extols the role of Siva in fulfilling the efforts of the Bhageeratha in bringing down Ganga to provide satgati to his ancestors trapped in the paataala loka. In the process, the Lord also removes Ganga’s pride.
Gayatri drew audience attention to the mention of the story in Valmiki Ramayana Balakannda.
Though the song does not bear any direct reference to any sthala, the following information would be relevant:
• Bhageeratha tapas has been beautifully carved in the Mahabalipuram marvel depicting important episodes. Another cave sculpture found in Lalitankura Caves in Trichy - Uchhi Pillayar temple hill near Tayumanavar swami shrine.
• There is a temple of Gangadhareswarar in Purasawalkam (Chennai) where an Iconography of Bhageeratha worshipping Siva is available. Siva here is in Ardha swasthikasanam, with deer and fire in upper hands, varada and chinmudra in lower hands.
• Another beautiful sculpture is seen in the famous Tirumiyachur Lalitambika temple near Peralam near Mayavaram. When viewed from two directions Devi’s face will show two emotions, anger as well as joy.
Gayatri followed up rendering of the kriti with a few rounds of kalpana swaras with violin and veena returns.
Agastheeswaram : Raga- Lalitha:
Siva worshipped by Agastya Rishi is known as Agasteeswarar. Since the sage was sent to South by Siva to balance the earth he came to the South and has been travelling widely and has been worshipping Siva in different places. There are many temples of Agasteeswarar in Tamil Nadu. The most popular name of the Lord’s consort is Anandavalli.
This Dikshitar kriti praises Siva as Rakshita Dhanikam – protector of Kubera. There is a Puranic reference of Kubera worshipping Siva to recover all his wealth robbed by Ravana and finally surrendering to Siva in Thanjavur (The name Thanjavur came from his Tanjam to Siva). Another famous temple is the Tanjapureeswarar temple within a km from Arasur where Kubera worshipped Siva. This Lord here is called Tanjapureeswarar as well as Kuberapureeswarar. This is a very ancient temple and recently renovated.
In the kriti, name of the Lord’s consort is given as Sachidananda valli. Jagajjeevesaakaram jananavilayakaram implies that Creation is divided into a triad – Jeeva (Individual) , Jagat (World outside) and Iswara (saviour) – Real truth is all these are manifestations of the same brahman – a profound vedantic idea is conveyed by Dikshitar here. There is also reference to the story of Agastya drinking the ocean waters to bring out the demons who were hiding there so that they could be killed.
Mahadevena-Devamanohari:
This composition is not attributed any specific location. Lord Mahadeva is addressed as ‘Giver of Moksha (mahaneeya saamraajyaprada). Siva is worshipped as Mantraswaroopa. There are several prayers on Siva represented by panchakshara mantra (including the well- known siva panchakshara stotra of Sankara). Siva is also called SUKHASANAR: Upon request from Parvati, Siva imparts Aatma gnanam seating her on his lap. This is one of the forms in 25 Maheswara Murthys.
SRMPNDNS-SNDNPMRS is the scale adopted by MD in his Devamanohari ( compared to the aarohana SRMPDNS in the kritis of other composers). Rendering of this kriti was impressive and the artists brought out this variation in the scale naturally. A Chittaswara for tis specially composed by Vidwan B Krishnamoorthy was also sung.
Vaashi Vaashi-Sahana:
This is a kriti by Ramaswamy Dikshitar with an interesting pallavi. Repeating ‘vaas(h)i-vaas(h)i’ ends up as ‘Shiva’ similar to maraa-maraa-maraa giving raama raama (refer the story on origin of Ramayana). Here Vashi indicates one who illuminates all.
The composition finds a place in the Sangita Sampradaya pradarshini (SSP) with 3 charana-s. The sahitya is mostly consisting of Sanskrit words with a sprinkling of Telugu. It forms an excellent stotra on the Lord with simple, elegant mix of words like- Hara-purahara-sankara-gangadhara etc.
Shrungaaradi-Dhavalaanga:
This song is attributed to the Lord in Tanjore. Brihadambaalingita in the sahitya is a direct indication of the place which is closely associated with Dance and the Devi is described as embodiment of Navarasa – signifying the art of Dance. The beauty of Prasa in this Kriti is admirable.
Gayatri also rendered the chittaswara for the song as given in the SSP.
Abhayamba Nayaka-Kedaragowla:
This kriti on Lord Mayuranathar glorifies Siva in Saguna and Nirguna forms and as a complete anugrahamurthy. The sahitya depicts a host of concepts like Aatmaroopaprakaasaka, Omkaara swaroopavakaasa, Nirvikalpa, styasankalpa, moolakotivikalpa etc.
The Anugrahamoorthy is described as varadayaka , Shubhakara, karunakara , shankara, bhaktavashankara , lokapaala, varadaana sheela , karunaalavaalaetc.
Nishadhadi- Nishadham:
Going by the sahitya, the sthala can be accepted as Tirunallar (the famous Kshetra for Sanaischara) worshipped by rulers of Nishadha kingdoms of whom Nala was one who worshipped Siva to get released from the unfavourable influence of SANI. A rare kriti indeed
Neelakantaaya-Nadaramakriya:
MD has composed six Kritis on three Siva temples in Kulithalai (near Karur). This great kshetra has by and large seems to have not received attention of devotees. Though the scale is Nadanamkriya, the raga name usedby Dikshitar is nadaramakriya.
This place is called Dakshina Kasi (Kadambavanar temple facing north). According to sthala purana, brahma worshipped Kadambavaneswarar in this temple to get enlightenment. Described as giver of Moksha, Lord Siva is said to be pleased by the music of young Devas singing in the raga Nadar(n)amakriya. Another explanation goes thus: Siva is pleased by the Vedic rituals (Kriya) performed by youthful vedic scholars (geervana) using captivating (rama or ramya) musical chanting of sama veda (Gita nada)
The Tevarams which Gayathri rendered came in as appropriate interludes.
The next episode of MYRIAD FORMS of SIVA will take place on 30 June 2013 at the same venue.
**
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satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: Gayathri Girish's Myriad forms of Siva Episode 4
*Sivaramakrishnan!good substitute for CRama-You do the exactly the same way he used to review.
*like what Priyaram has observed "we need a knowledgeable rasika to explain these abstract ideas."
*I wish to supplement with a few of my observations:-
*Arasur is 4 Kms from Tanjore.
*The deity in the following Shrines has the name "Anandavalli"
Kanyakumari,Pozhichalur,one near ponneri?semmangudi (although not established in references)
*kuberapurishwaram/Thanjapuriswarar -Temple is over 1200 years old.
*Gayatri rendered Thirugnasmbandar Thevaram in ragamalika starting from Todi.
*She briefly mentioned about water &the words "jalanidhi panartham"?
* There was a kriti of Mysore Sadasiva Rao" Gangadhara druvarja?"in poorvikalyani in rupaka talam.
*Sahana Kriti -Gayatri recalled the Lec-dem of Suguna Purushothaman on this kriti.
*Shrungaradi-Dhavalanga -set to kanta Eka.
*Neelakantaya-"in kulithalai (regret not having visited in course of my innumerable no of trips to the neighboring locations -Karur,Trichy,...)there are 3 siva temples/sannidhis? viz., kadambavaneshwarar,Ratnagirishwarar ..?...nathar.
*"MD has used the words'Siddhanandanatha -Dheesha!name of MD."
*References of Neelakanta available in -kaivalya upanishad/Balakantam.
*In Suruttupalli about 50 KMs from Chennai ,Neealkanta is in pallikonda kolam (reclaining posture)
*Siva drank Alakala visham on ekadasi day Then she told about dwadasi &triyadasi.can not remember!
*Gayatri's painstaking efforts &scholarly presentation combined with high reverence &humility are highly commendable.
*Rasikas like me need to raise the bar in absorbing the intricacies brought out in these episodes.
*Tatwaloka ambience is suited for this occasion with senior citizen friendly chairs .
*One word about power point -partly hidden for the middle &north side.
* audience due to Video tripod obstructing the view.One more screen on the other side could be feasible.
*like what Priyaram has observed "we need a knowledgeable rasika to explain these abstract ideas."
*I wish to supplement with a few of my observations:-
*Arasur is 4 Kms from Tanjore.
*The deity in the following Shrines has the name "Anandavalli"
Kanyakumari,Pozhichalur,one near ponneri?semmangudi (although not established in references)
*kuberapurishwaram/Thanjapuriswarar -Temple is over 1200 years old.
*Gayatri rendered Thirugnasmbandar Thevaram in ragamalika starting from Todi.
*She briefly mentioned about water &the words "jalanidhi panartham"?
* There was a kriti of Mysore Sadasiva Rao" Gangadhara druvarja?"in poorvikalyani in rupaka talam.
*Sahana Kriti -Gayatri recalled the Lec-dem of Suguna Purushothaman on this kriti.
*Shrungaradi-Dhavalanga -set to kanta Eka.
*Neelakantaya-"in kulithalai (regret not having visited in course of my innumerable no of trips to the neighboring locations -Karur,Trichy,...)there are 3 siva temples/sannidhis? viz., kadambavaneshwarar,Ratnagirishwarar ..?...nathar.
*"MD has used the words'Siddhanandanatha -Dheesha!name of MD."
*References of Neelakanta available in -kaivalya upanishad/Balakantam.
*In Suruttupalli about 50 KMs from Chennai ,Neealkanta is in pallikonda kolam (reclaining posture)
*Siva drank Alakala visham on ekadasi day Then she told about dwadasi &triyadasi.can not remember!
*Gayatri's painstaking efforts &scholarly presentation combined with high reverence &humility are highly commendable.
*Rasikas like me need to raise the bar in absorbing the intricacies brought out in these episodes.
*Tatwaloka ambience is suited for this occasion with senior citizen friendly chairs .
*One word about power point -partly hidden for the middle &north side.
* audience due to Video tripod obstructing the view.One more screen on the other side could be feasible.
-
satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: Gayathri Girish's Myriad forms of Siva Episode 4
*forgot to mention the non stop enthusiastic vocal support of her daughter Vishruti-
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Rajani
- Posts: 1240
- Joined: 04 Feb 2010, 19:52
Re: Gayathri Girish's Myriad forms of Siva Episode 4
I was happy to attend this concert and the amount of preparation done made it very interesting and informative. The audience was very receptive too.
I am glad to read Sri Sivaramakrishnan's detailed review and SriSatyabalu's additions. Thanks to both.
Thr third temple in the triad is Thiru eengoimalai. (Marakata lingam)
An interesrting article on Ratnachala, the second of the three :
http://sriramv.wordpress.com/2013/03/01 ... iyermalai/
A small correction - Pancha Matanga in in Tritiya Vibhakti (third case - instrumental)
I am glad to read Sri Sivaramakrishnan's detailed review and SriSatyabalu's additions. Thanks to both.
Thr third temple in the triad is Thiru eengoimalai. (Marakata lingam)
An interesrting article on Ratnachala, the second of the three :
http://sriramv.wordpress.com/2013/03/01 ... iyermalai/
A small correction - Pancha Matanga in in Tritiya Vibhakti (third case - instrumental)
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Sivaramakrishnan
- Posts: 1582
- Joined: 02 Jan 2010, 08:29
Re: Gayathri Girish's Myriad forms of Siva Episode 4
Thanks Satyabalu / Rajani for the supplementary infm / corrections.
I missed to add that Gayatri sang all the compositions naturally and without any strain. Means so much of Saadhakam has gone into it!
The accompanists also did their job well. Poongulam Subramaniam played mridanga with absolute restraint.
I missed to add that Gayatri sang all the compositions naturally and without any strain. Means so much of Saadhakam has gone into it!
The accompanists also did their job well. Poongulam Subramaniam played mridanga with absolute restraint.
-
CRama
- Posts: 2939
- Joined: 18 Nov 2009, 16:58
Re: Gayathri Girish's Myriad forms of Siva Episode 4
Nice exhaustive review done by Sivarmakrishnan. Thanks to you as also others who chipped in. Most of the songs rendered are new to me. I felt sad that i had to miss this programme.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Gayathri Girish's Myriad forms of Siva Episode 4
Thank you to everyone who reported on this event - I am really happy to see the series continue to pack a punch!
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priyaram78
- Posts: 393
- Joined: 03 Feb 2010, 08:57
Re: Gayathri Girish's Myriad forms of Siva Episode 4
Gayathri has updated her blog. Www.gayathrigirish.blogspot.in. hope to read reviews of future episodes too. Kudos to Gayathri.
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satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: Gayathri Girish's Myriad forms of Siva Episode 4
I received feedback from Gayathri on points I needed to clarify/ was not sure about at the time I had mailed the earlier post. I thank her for that .Here are those:-
Some of the shrines in Tamizhnadu for Agastheeswarar.
1.Kanyakumari,
2.Pozhichalur,
3.Pancheshti (this is near Ponneri.)
4.Semmangudi (this is a more recent temple, hence might not be the one that MD has referred to, in his Kriti)
5.Arasur
Arasur temple is over 1200 years old and excavations are being found now, indicating that it might have been a larger temple earlier.
kuberapurishwarar/Thanjapuriswarar temple is situated near the Agastheeswarar temple in Arasur, hence this might be the indication from the reference "rakshita dhanikam" in the kriti.
Thirugnasmbandar Thevaram was rendered in Todi.
In the Kriti Agasthheswaram, there are many references to water, like "jalanidhi panartham", "jalaruhaapta", "jalajanaabhaadi". This is very apt, because Agastya drank the ocean waters to save the Devas after praying to Lord Siva.
Kriti of Mysore Sadasiva Rao" Gangadhara Tripura hara" in poorvikalyani in rupaka talam.
Neelakantaya, raga nadaramakriya -"in kulithalai
(Kadambavaneshwarar, rathnagirishwarar, eengoinathar temples- all in Kulithalai.)
In the nadaramakriya Kriti, MD has used the words' Sri natha Cidananda", cidanandanatha might be a reference to the "deeksha" name of MD.
In Suruttupalli about 50 KMs from Chennai, near Uthukkotai, Neelakanta is in pallikonda kolam (reclining posture).
Siva drank Alakala visham on ekadasi day. On Dwadasi, he is supposed to have rested(as is seen in shrines like Suruttapalli) and on the evening of trayodasi, he performs the 'sandhya natanam', which is the famous "pradosha kaalam". The actual term for this period when the sandha natanam is said to have been performed is "prat usha" kaalam, which is very auspicious for Sivapuja. This term has now become "pradosham".
Some of the shrines in Tamizhnadu for Agastheeswarar.
1.Kanyakumari,
2.Pozhichalur,
3.Pancheshti (this is near Ponneri.)
4.Semmangudi (this is a more recent temple, hence might not be the one that MD has referred to, in his Kriti)
5.Arasur
Arasur temple is over 1200 years old and excavations are being found now, indicating that it might have been a larger temple earlier.
kuberapurishwarar/Thanjapuriswarar temple is situated near the Agastheeswarar temple in Arasur, hence this might be the indication from the reference "rakshita dhanikam" in the kriti.
Thirugnasmbandar Thevaram was rendered in Todi.
In the Kriti Agasthheswaram, there are many references to water, like "jalanidhi panartham", "jalaruhaapta", "jalajanaabhaadi". This is very apt, because Agastya drank the ocean waters to save the Devas after praying to Lord Siva.
Kriti of Mysore Sadasiva Rao" Gangadhara Tripura hara" in poorvikalyani in rupaka talam.
Neelakantaya, raga nadaramakriya -"in kulithalai
(Kadambavaneshwarar, rathnagirishwarar, eengoinathar temples- all in Kulithalai.)
In the nadaramakriya Kriti, MD has used the words' Sri natha Cidananda", cidanandanatha might be a reference to the "deeksha" name of MD.
In Suruttupalli about 50 KMs from Chennai, near Uthukkotai, Neelakanta is in pallikonda kolam (reclining posture).
Siva drank Alakala visham on ekadasi day. On Dwadasi, he is supposed to have rested(as is seen in shrines like Suruttapalli) and on the evening of trayodasi, he performs the 'sandhya natanam', which is the famous "pradosha kaalam". The actual term for this period when the sandha natanam is said to have been performed is "prat usha" kaalam, which is very auspicious for Sivapuja. This term has now become "pradosham".
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Gayathri Girish's Myriad forms of Siva Episode 4
I believe this the temple where, unlike in other Siva temples, the sannidhi for the dEvi is at an elevation compared to the Siva sannidhi, and she is called sarva maNgaLA, after having protected her 'mAngalyam' by containing the halAhalam in Siva's throat...satyabalu wrote:In Suruttupalli about 50 KMs from Chennai, near Uthukkotai, Neelakanta is in pallikonda kolam (reclining)
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Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Gayathri Girish's Myriad forms of Siva Episode 4
Excellent thread, obviously GG is so accomplished and dedicated!
As I type I am listening to her excellent double album Shiva Shakti (downloaded from Kalakendra)
I would lie to think that Dikshitar, having lived in Varanasi and being blessed with the Veena by Ganga herself, had a special appreciation for Ganga and he may also have been inspired by the entire course of Bhaagirathi from Gangotri to Gangasagar.
I have come across several inspiring versions of Ganga avataran in Sanskrit and Hindi and Kannada too. It is a perennial story of inspiration for all Hindus. Dikshitar, being so universal in thought, would have been touched by much of the puranic literature in this context.
As I type I am listening to her excellent double album Shiva Shakti (downloaded from Kalakendra)
I would lie to think that Dikshitar, having lived in Varanasi and being blessed with the Veena by Ganga herself, had a special appreciation for Ganga and he may also have been inspired by the entire course of Bhaagirathi from Gangotri to Gangasagar.
I have come across several inspiring versions of Ganga avataran in Sanskrit and Hindi and Kannada too. It is a perennial story of inspiration for all Hindus. Dikshitar, being so universal in thought, would have been touched by much of the puranic literature in this context.