The eighth episode of the above series was held at Tattvaloka Auditorium, Eldams Road on 22 Sep 2013 at 5 PM. I attended the programme and I have great pleasure to share the proceedings for the benefit of those who could not attend.
The Chief Guest of the day was Sangeetha Vidushi and famous Musicologist Dr.Ritha Rajan, who had been disciple of Smt Brinda and Shri Ramand Krishnan. In her address, she complimented Gayathri for undertaking this project which required in depth research into the Dikshithar kritis and other compositions on the related subject and also using technological advancement to the best level by showing visuals and video clippings to enhance listening pleasure. Such a project requires contacting knowledgeable persons on the subject and obtain authentic information. Gayathri has taken considerable pains in this regard and we are all happy with the result. Gayathri Girish expressed her thanks to all the teachers and musicians who have given valuable guidance to her in running the project.
Shri Seshasayee, Vice Chairman, Ashok Leyland Ltd was invited as Guest of Honour. He is a connoisieur of music and takes active participation in such events. In his address, he mentioned that MD has composed songs for all levels of people. The songs may appear simple, but if you go deeper, he has kept hidden pearls inside the compositions which can be unearthed only by knowledge and deep research into the subject. He quoted the example of the usage Rowhineyanujaarchitham in the song Sidhi Vinayakam which requires deep knowledge into our religion and puranas to understand the meaning. He also quoted the mention of Ajaba natanam in the song Kayarohanesam and sapthavitankar. He told that these are all subjects which required considerable research to get their meaning and it is our fortune that Gayathri has done research into these subjects for the benefit of ordinary mortals like us. His speech revealed his knowledge in music, puranas and other allied subjects and he spoke in chaste tamil.
The following is the list of songs rendered.
• Sadaabaalaroopapi vighnaadi hanthree – from Subramanya Bhujangam composed by Adi Sankara-Nata
• Sree Gurunaa paalithosmi- Padi
• Sree Vaidyanatham bhajeham- Athana
• Pasupathiswaram- Sivapanthuvarali
• Naagaabharanam Nagajaabharanam- Naagaabharanam
• Chinthayamakanda moolakandam -Bhairavi
• Thevaram of Thirugnanasambandar-Pann Pazhampanjuram
• Ekamranatham- Gamagakriya
• Verses of Kavi Kalamegam
• Kailaasanaathena samrakshithoham- Kambodi
• Prabandham from Kumaraguruparar Tiruvarur Naanmanimalai- Shanmugapriya
• Thevaram of Thirunavukkarasar- Nan Kadambanai petraval panginan- Shanmugapriya
• Amba Neelayathakshi– Neelambari
• Nithyananda Karthikeye – Asaveri – Composition of Kumara Ettendra.
After a brief recap, the day’s episode commenced wtih a slokam on Ganapathi in Nata ragam- Sadaabaalaroopapi vighnaadi hanthree – from Subramanya Bhujangam composed by Adi Sankara. The discussion on Somaskanda Murthy continued.
The significance of Tiruthani in the life of MD is well known. It is here that MD got the blessings of Muruga. Muruga put a candy in the mouth of MD and from thence he started composing the songs- the first being Sree Naathadi Guruguho Jayathi in Mayamalavagowla. The song chosen was Sree Gurunaa paalithosmi in the rare ragam Padi- one of the Guruguha Vibhakthi Kritis (third vibhakthi). There is a mention about his Guru also in the lines Sachidanandanadho (Chidananda Yogi). In another line, there is reference to Tiruvarur Thyagesar- Thyagaraja vibhaatena. There is also reference to Srividya upasana in this kriti. After demonstrating the arohana and avarohana of this ragam, the song was sung with clear emphasis on its jeeva swaras.
The next temple chosen was Vaitheeswaran Kovil- Angaraka kshetram. The presiding deity is Vaidyanatha Swamy and his consort Baalaambika. There is shrine for Muthukumara swamy also and we can see that all the three sannidhis are in one straight line. In Processions during uthsavams also, the three shrines are taken in one line aka the idol of Somaskanda Murthy we have seen earlier. The MD kriti Sree Vaidyanatham bhajeham in Athana was rendered.
After this song, Gayathri took the audience to Pasupathinath Temple in Nepal on whose name, MD has composed the song Pasupathiswaram in Sivapanthuvarali (the name for Subhapanthuvarali in the asampoorna mela padhathi). Bharthruhari says that illiterate persons are pasu. Here Siva is described as the lord of the uninitiated people or it can also be interpreted as he is the lord of the people who are bonded in samsara sagaram who are like pasu (animal). The temple is in the shape of pagoda. The moolavar has got five faces. There is a reference to Somaskandar in this song. Vijayalakshmi played a sober alapana of the ragam in the Veena. The song is rarely heard in concert platforms. Gayathri rendered the song with feel and the sangathis she presented in the phrase paschima kaashmeera raja vinutham were captivating.
King Raajaraaja Chozhan constructed the Brihadeeswaarar temple in Thanjavur and installed Brihadeeswarar who is Thyagarajar only and ensured that all poojas and festivals conducted in Tiruvarur are replicated in Thanjavur also. However, in course of time, many things have been discontinued. Thanjavur is also called Dakshinameru and the lord is called Dakshinameruvitankar. MD has composed a song on the Thyagarajar here in the rare ragam Naagaabharanam which starts like Naagaabharanam Nagajaabharanam. The arohana and avarohana of the song was demonstrated and Gayathri informed that MD did not treat this as a vivadi ragam. The SSP contains a lilting chittaswaram for this song which was also sung. This song also has a reference to Somaskandar sitting on the chest of Mahavishnu. (To be continued)
MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
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CRama
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MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
Last edited by CRama on 25 Sep 2013, 18:16, edited 1 time in total.
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CRama
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Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
(Continued)
Another place famous for Somaskandamurthy is Kancheepuram. This is a holy place where Siva, Vishnu and Ambal are worshipped. In the Kailaasanathar temple, behind the moolavigraham, there is an engraving of Somaskandamurthy. There are 108 Siva temples in Kancheepuram. There is no separate sannidhi for Ambal in Kailaasanathar temple. Kanchipuram is an example for amalgam of Saiva-Vaishnava worship. Varadaraja Perumal temple is a prominent Divya Desam in Kancheepuram. It will be surprising to know that there are a few Divya Desams inside the Siva temples. Inside Kamakshi Amman temple, there is a Divya Desam and the Perumal is called Kalvar Perumal. Inside Ekamreswarar Temple, there is one Divya Desam and the Perumal is called Nilathunda Perumal.
Mathangeswarar temple- In this temple also, there is a plate of Somaskandamurthy behind the Moolavar.
Another famous temple is Ekaamranathar temple. Parvathi Devi is said to have done penance under the Mango tree having one mango for her union with Siva. Parvathi Devi made the lingam with sand and worshipped. Hence the lingam is called Prithvi lingam and this place is called Prithvi Kshetram which is one of the five Panchalinga Kshetrams. Dikshithar has composed the song Chinthayamaakanda moolakandam in the majestic ragam Bhairavi on the Prithvilingam. The song also has got reference to Sachidanandam and Somaskandar. After a brief alapana of the ragam, the song was rendered in an appropriate gait. Gayathri also explained that the ragam Bhairavi has undergone change since the days of SSP. She demonstrated the song as given in SSP (use of mainly sudha daivatam) and also the version which is currently in vogue. The song was rendered in the current version.
After this, a Thevaram of Thirugnanasambandar in the Pann Pazhampanjuram which is equivalent to Sankarabharanam was rendered. The significant feature of this thevaram is called yamakam- i,e, different meanings for the same words in the adjacent lines. Deekshithar has employed this style in many of his kritis. This was rendered in two kalams. The lyrics of the thevaram is given below.
pAyumAl vidaimEl orubAganE ( the Lord on the vrushabham)
pAvaithan urumEl orubAganE ( the Lord as one half of Uma)
thooya vAnavar vEdha thuvaniyE (the Lord as the voice of the vEdas)
sOdhimAleri vEdhaththu vaniyE (the Lord as the blazing Fire)
AyunanporuL nuNporuL AdhiyE
Alaneezhalarum poruLAdhiyE
kAyavinmadhan pattadhu kambamE ( Manmadan in fear)
kaNNudhar paramaRku idam kambamE( the Lord residing in Kambam)
Gayathri Girish then took up Ekaamranatham bhajeham in Gamagakriya for elaborate presentation. She showed the arohanam and avarohanam of the ragam and told that this should be called Gamagakriya and not Purvikalyani. As per SSP, this is a melakartha ragam- number 53. The interesting feature of this composition is that in the pallavi there is reference to Siva, Murugan in the anupallavi and Ambal in the charanam –- representing Somaskandamurthy. Elaborate neraval and swaram were rendered in the anupallavi line starting with Omkara roopam. The swara returns by veena and violin were apt and succinct. There is a reference to kamakoti in this song and many other songs too. Gayathri explained that here it indicates the abode where the God grants moksham to his devotees.
After this, Gayathri Girish presented a very interesting verse by Kavi Kalamegam about the Ekamresar of Kanchipuram. It contains the names of all measurements of that period- like kaal, araikkal, mukkaal etc. Pl see below the interesting verse.
mukkAluk kEgAmun munnaraiyil vIzhAmun
akkAlaraik kAlkaNdu anjAmun vikki
irumAmun mAgANik kEgAmun kacchi
orumAvin kIzharai inROdhu
The next temple taken up was Kailasanathar temple in Kanchipuram. Here also, there is a sculpture of Somaskandamurthy behind the moolavar. The temple is rich in pallava architecture. MD has composed the song Kailaasanaathena samrakshithoham in the majestic Kambodi ragam on the deity of this temple. In this kriti also, the pallavi has got reference to Siva, Ambal in the anupallavi and Murugan in the charanam which is symbolic of Somaskandamurthy. There is reference to advaitha sidhantham also- in the words chidaananda hridayasthithena in the charanam of the song. Being a staunch propagator of advaita philosophy, MD has employed the usage of chidaananda in many of the kritis. Regarding the usage of hridayasthithena, there is a story. King Rajasimha Pallavan, after construction of Kailasanathar temple fixed the Kumbhabhishekam on an auspicious date and invited Lord Siva to grace the occasion. But Lord Siva replied that he has to attend another Kumbhabhishekam in Thiruninravur on that date. The King was puzzled and he went to Thiruninravur to see what special is that temple. But he could not see any temple there, but he saw one sage doing penance there. He was Poosalar Nayanar, a great Siva bhaktha who had constructed a temple for Siva in his mind and is doing Kumbhabhishekam in his mind. This story is referred to in hridayasthithena in the song. There is a temple called Hridayaaleeswarar temple in Thiruninravur relating to this story and it is believed that a visit to this temple will cure heart related diseases. The song was rendered in its pristine form after a brief alapana of the ragam.
Next Gayathri presented a prabandham from Kumaraguruparar Tiruvarur Naanmanimalai in which the Triveni Sangamam of Ganga, Yamuna and Saraswathi is compared to Siva, Ambal and Muruga of the Somaskandamurthy form. It is mentioned that Siva is in white colour and is compared to Ganga, Ambal is in Blue colour and is compared to Yamuna and Muruga is in red colour and is compared to Saraswathi river. The shaithyam of this prabandham is given below.
thammEni veNpodiyAl thaNNaLiyAl ArUrA
semmEni gangaith tirunadhiyE
ammEni mAnE yamunai andha
vANi nadhiyum kumaran thAnE kudaivEm thaniththu
This prabandham as well as a Thevaram of Thirunavukkarasar starting Nan Kadambanai petraval panginan was rendered in Shanmugapriya.
Before completing the episode relating to Somaskandamurthy, Gayathri Gireesh thought it appropriate to render one song of Ambal and one of Murugan. She chose Amba Neelayathaakshi in Neelambari on the consort of Kayarohanesar, the presiding diety of Nagapattinam which is called Sivaraajadhaani (one of the saptavitanka kshetras).
Kumara Ettendra, the king of Ettayapuram was also a prolific composer. He has composed many kritis following the pattern of MD. Gayathri rendered one of his compositions on Muruga – Nithyananda Karthikeye Nithyam Manasa Bhakthim Kurure in the ragam Asaveri. The kriti strictly follows the grammar of Asaveri as in the SSP - It uses only Sudharishabham and Sadharana Gandharam.
The PP presentation needs special mention. The iconographic details, lyrics of the songs and the pictures of temples, Gods, enhanced the effectiveness of the presentation. The accompanists (V.sanjeev, Poongulam Subramaniam and Vijayalakshmi) played their role with good understanding. The series has received the patronage of music lovers to the extent that most of the listeners are permanent attendees for the programme. This time, even the balcony seats were filled up. Like Mr. Seshasayee observed, Gayathri has opened up a treasure chest before us which were unknown to us hitherto. By simply attending the concerts, we may not dwell much upon the lyrical content and philosophical content in those kritis. We may just enjoy the musical aspects. This unique programme throws light on many temples, stories around the temples and deities, and introduces us to many rare kritis of Muthuswami Dikshitar and also of saivaite savants. A notable feature of this series is that, till this episode, 54 Kritis of Sri Muthuswami Dikshitar have been covered. We should continue to thank Smt Gayathri Gireesh.
The programme concluded at 7.45 PM.
Another place famous for Somaskandamurthy is Kancheepuram. This is a holy place where Siva, Vishnu and Ambal are worshipped. In the Kailaasanathar temple, behind the moolavigraham, there is an engraving of Somaskandamurthy. There are 108 Siva temples in Kancheepuram. There is no separate sannidhi for Ambal in Kailaasanathar temple. Kanchipuram is an example for amalgam of Saiva-Vaishnava worship. Varadaraja Perumal temple is a prominent Divya Desam in Kancheepuram. It will be surprising to know that there are a few Divya Desams inside the Siva temples. Inside Kamakshi Amman temple, there is a Divya Desam and the Perumal is called Kalvar Perumal. Inside Ekamreswarar Temple, there is one Divya Desam and the Perumal is called Nilathunda Perumal.
Mathangeswarar temple- In this temple also, there is a plate of Somaskandamurthy behind the Moolavar.
Another famous temple is Ekaamranathar temple. Parvathi Devi is said to have done penance under the Mango tree having one mango for her union with Siva. Parvathi Devi made the lingam with sand and worshipped. Hence the lingam is called Prithvi lingam and this place is called Prithvi Kshetram which is one of the five Panchalinga Kshetrams. Dikshithar has composed the song Chinthayamaakanda moolakandam in the majestic ragam Bhairavi on the Prithvilingam. The song also has got reference to Sachidanandam and Somaskandar. After a brief alapana of the ragam, the song was rendered in an appropriate gait. Gayathri also explained that the ragam Bhairavi has undergone change since the days of SSP. She demonstrated the song as given in SSP (use of mainly sudha daivatam) and also the version which is currently in vogue. The song was rendered in the current version.
After this, a Thevaram of Thirugnanasambandar in the Pann Pazhampanjuram which is equivalent to Sankarabharanam was rendered. The significant feature of this thevaram is called yamakam- i,e, different meanings for the same words in the adjacent lines. Deekshithar has employed this style in many of his kritis. This was rendered in two kalams. The lyrics of the thevaram is given below.
pAyumAl vidaimEl orubAganE ( the Lord on the vrushabham)
pAvaithan urumEl orubAganE ( the Lord as one half of Uma)
thooya vAnavar vEdha thuvaniyE (the Lord as the voice of the vEdas)
sOdhimAleri vEdhaththu vaniyE (the Lord as the blazing Fire)
AyunanporuL nuNporuL AdhiyE
Alaneezhalarum poruLAdhiyE
kAyavinmadhan pattadhu kambamE ( Manmadan in fear)
kaNNudhar paramaRku idam kambamE( the Lord residing in Kambam)
Gayathri Girish then took up Ekaamranatham bhajeham in Gamagakriya for elaborate presentation. She showed the arohanam and avarohanam of the ragam and told that this should be called Gamagakriya and not Purvikalyani. As per SSP, this is a melakartha ragam- number 53. The interesting feature of this composition is that in the pallavi there is reference to Siva, Murugan in the anupallavi and Ambal in the charanam –- representing Somaskandamurthy. Elaborate neraval and swaram were rendered in the anupallavi line starting with Omkara roopam. The swara returns by veena and violin were apt and succinct. There is a reference to kamakoti in this song and many other songs too. Gayathri explained that here it indicates the abode where the God grants moksham to his devotees.
After this, Gayathri Girish presented a very interesting verse by Kavi Kalamegam about the Ekamresar of Kanchipuram. It contains the names of all measurements of that period- like kaal, araikkal, mukkaal etc. Pl see below the interesting verse.
mukkAluk kEgAmun munnaraiyil vIzhAmun
akkAlaraik kAlkaNdu anjAmun vikki
irumAmun mAgANik kEgAmun kacchi
orumAvin kIzharai inROdhu
The next temple taken up was Kailasanathar temple in Kanchipuram. Here also, there is a sculpture of Somaskandamurthy behind the moolavar. The temple is rich in pallava architecture. MD has composed the song Kailaasanaathena samrakshithoham in the majestic Kambodi ragam on the deity of this temple. In this kriti also, the pallavi has got reference to Siva, Ambal in the anupallavi and Murugan in the charanam which is symbolic of Somaskandamurthy. There is reference to advaitha sidhantham also- in the words chidaananda hridayasthithena in the charanam of the song. Being a staunch propagator of advaita philosophy, MD has employed the usage of chidaananda in many of the kritis. Regarding the usage of hridayasthithena, there is a story. King Rajasimha Pallavan, after construction of Kailasanathar temple fixed the Kumbhabhishekam on an auspicious date and invited Lord Siva to grace the occasion. But Lord Siva replied that he has to attend another Kumbhabhishekam in Thiruninravur on that date. The King was puzzled and he went to Thiruninravur to see what special is that temple. But he could not see any temple there, but he saw one sage doing penance there. He was Poosalar Nayanar, a great Siva bhaktha who had constructed a temple for Siva in his mind and is doing Kumbhabhishekam in his mind. This story is referred to in hridayasthithena in the song. There is a temple called Hridayaaleeswarar temple in Thiruninravur relating to this story and it is believed that a visit to this temple will cure heart related diseases. The song was rendered in its pristine form after a brief alapana of the ragam.
Next Gayathri presented a prabandham from Kumaraguruparar Tiruvarur Naanmanimalai in which the Triveni Sangamam of Ganga, Yamuna and Saraswathi is compared to Siva, Ambal and Muruga of the Somaskandamurthy form. It is mentioned that Siva is in white colour and is compared to Ganga, Ambal is in Blue colour and is compared to Yamuna and Muruga is in red colour and is compared to Saraswathi river. The shaithyam of this prabandham is given below.
thammEni veNpodiyAl thaNNaLiyAl ArUrA
semmEni gangaith tirunadhiyE
ammEni mAnE yamunai andha
vANi nadhiyum kumaran thAnE kudaivEm thaniththu
This prabandham as well as a Thevaram of Thirunavukkarasar starting Nan Kadambanai petraval panginan was rendered in Shanmugapriya.
Before completing the episode relating to Somaskandamurthy, Gayathri Gireesh thought it appropriate to render one song of Ambal and one of Murugan. She chose Amba Neelayathaakshi in Neelambari on the consort of Kayarohanesar, the presiding diety of Nagapattinam which is called Sivaraajadhaani (one of the saptavitanka kshetras).
Kumara Ettendra, the king of Ettayapuram was also a prolific composer. He has composed many kritis following the pattern of MD. Gayathri rendered one of his compositions on Muruga – Nithyananda Karthikeye Nithyam Manasa Bhakthim Kurure in the ragam Asaveri. The kriti strictly follows the grammar of Asaveri as in the SSP - It uses only Sudharishabham and Sadharana Gandharam.
The PP presentation needs special mention. The iconographic details, lyrics of the songs and the pictures of temples, Gods, enhanced the effectiveness of the presentation. The accompanists (V.sanjeev, Poongulam Subramaniam and Vijayalakshmi) played their role with good understanding. The series has received the patronage of music lovers to the extent that most of the listeners are permanent attendees for the programme. This time, even the balcony seats were filled up. Like Mr. Seshasayee observed, Gayathri has opened up a treasure chest before us which were unknown to us hitherto. By simply attending the concerts, we may not dwell much upon the lyrical content and philosophical content in those kritis. We may just enjoy the musical aspects. This unique programme throws light on many temples, stories around the temples and deities, and introduces us to many rare kritis of Muthuswami Dikshitar and also of saivaite savants. A notable feature of this series is that, till this episode, 54 Kritis of Sri Muthuswami Dikshitar have been covered. We should continue to thank Smt Gayathri Gireesh.
The programme concluded at 7.45 PM.
Last edited by CRama on 25 Sep 2013, 18:19, edited 1 time in total.
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
Crama
Thank you for taking lot of time to document these lecdem like concerts. I would love to hear few rare numbers especially the atAna and asaveri which are new to me.
Thank you for taking lot of time to document these lecdem like concerts. I would love to hear few rare numbers especially the atAna and asaveri which are new to me.
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kssr
- Posts: 1596
- Joined: 30 Nov 2009, 15:28
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
I see from the website that Nadasurabhi Bangalore is having GG concert presenting a subset of the myriad forms of shiva theme on 20th October.
Looking forward to it.
Looking forward to it.
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ganeshkant
- Posts: 963
- Joined: 05 Feb 2010, 11:59
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
CRama,I was waiting for this and I know U will be presenting a very detailed report.Very interesting to read kALamegham's slEDai cheyyuL.An excellent report as usual.Pl.keep them coming.I am sharing this to one of my relatives who is doing M.phil on related topic.
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Sivaramakrishnan
- Posts: 1582
- Joined: 02 Jan 2010, 08:29
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
Thanks CRama for the incredible report of the event. Certainly it is of immense utility for the absentees and non-Chennaiites.
Your observation that GG has so far covered 54 Dikshitar kritis in the series itself is great.That too more of rare kritis.
Kavi kalamegham's contribution to Tamil literature is well known but the information available now makes it very valuable.
Your reviews of the episodes can well be consolidated into a document at the end of GG's series! Thanks again.
Your observation that GG has so far covered 54 Dikshitar kritis in the series itself is great.That too more of rare kritis.
Kavi kalamegham's contribution to Tamil literature is well known but the information available now makes it very valuable.
Your reviews of the episodes can well be consolidated into a document at the end of GG's series! Thanks again.
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mahavishnu
- Posts: 3341
- Joined: 02 Feb 2010, 21:56
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
CRama, Thank you for your diligent coverage of these events. It serves to educate many of us!
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
CRama - thank you for the diligent and comprehensive report! Kudos to Smt. Gayathri for continuing to maintain the high quality of these presentations - musically, intellectually and spiritually!
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satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
* Sree Guruna Palithosmi-Padi (15)
Gayathri Girish drew attention to the feature of Ambal is also taken for Guru.This Bhava is reflected in many compositions of MD.
*In addition to Tiruvarur We can observe in a few more places the somaskantha Murthy(trio Siva Uma Skanda) is engraved behind Sivalingam in the Garbha Graham .One such place is Vaideeswaran koil."Avinasa kaivalyadipradham" He can bestow unending Moksha"."Two intrepretations are possible for ""Anandakara Mooladi pradham"prasadam given in the form of whiteballs made of herbs also stands for Self knowledge.
"Kavijanathinutha somaskandam"-Kavis refer to are Appar, Sambandar,kumarakuruparar &Arunagirinathar.....
"kamaneya nadabindu kalaspatham"-present in the form of Somaskandamurthy in the Garbha Graham (behind Sivalingam as observed earlier)
*Pasupathiswaram-Sivapantuvarali(Subhapanuvarali)
The progression of sangathis in the Pallavi one has the feeling of gradually climbing uphill (Nepal).
She explained several meaning(Thathparyam) for "Pasupathi"Pasu pathi Pasam in saiva siddhantham Pasu refers to "jivatma"besides uninitiated.
Moolavaar is "Panchananam" Satyojatha rupam -Panchamuka lingam.MD's kritis are real learning process.
*Naghabharanam 30 Naganandini.Sa Ri Ga Ma Pa Ni Da Ni Sa
*Brahadeeswarar is symbolised as Thiagesar indicative of common rituals followed in Tanjore as that of Tiruvarur later discontinued."Brahadeeswarar worshipped by Vishnu."Bhogiraja Poojitha Caranam"(linking Ajabha natanam )
She sang the chittaiswaram as found in Sangeeta Sampradhaya Pradarshini.
*MD has avoided Vivadi prayogam in this Kriti.(More to come)
Gayathri Girish drew attention to the feature of Ambal is also taken for Guru.This Bhava is reflected in many compositions of MD.
*In addition to Tiruvarur We can observe in a few more places the somaskantha Murthy(trio Siva Uma Skanda) is engraved behind Sivalingam in the Garbha Graham .One such place is Vaideeswaran koil."Avinasa kaivalyadipradham" He can bestow unending Moksha"."Two intrepretations are possible for ""Anandakara Mooladi pradham"prasadam given in the form of whiteballs made of herbs also stands for Self knowledge.
"Kavijanathinutha somaskandam"-Kavis refer to are Appar, Sambandar,kumarakuruparar &Arunagirinathar.....
"kamaneya nadabindu kalaspatham"-present in the form of Somaskandamurthy in the Garbha Graham (behind Sivalingam as observed earlier)
*Pasupathiswaram-Sivapantuvarali(Subhapanuvarali)
The progression of sangathis in the Pallavi one has the feeling of gradually climbing uphill (Nepal).
She explained several meaning(Thathparyam) for "Pasupathi"Pasu pathi Pasam in saiva siddhantham Pasu refers to "jivatma"besides uninitiated.
Moolavaar is "Panchananam" Satyojatha rupam -Panchamuka lingam.MD's kritis are real learning process.
*Naghabharanam 30 Naganandini.Sa Ri Ga Ma Pa Ni Da Ni Sa
*Brahadeeswarar is symbolised as Thiagesar indicative of common rituals followed in Tanjore as that of Tiruvarur later discontinued."Brahadeeswarar worshipped by Vishnu."Bhogiraja Poojitha Caranam"(linking Ajabha natanam )
She sang the chittaiswaram as found in Sangeeta Sampradhaya Pradarshini.
*MD has avoided Vivadi prayogam in this Kriti.(More to come)
Last edited by satyabalu on 26 Sep 2013, 23:20, edited 1 time in total.
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satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
KANCHIPURAM
Panchabhootha Kshetram-Prithvi Lingam
Important among Sakthi peetams.
Mukthi Kshetram (Kasi Avanthika(Siva sthalam) Ayodya Mathura Dwaraka(Vishnu sthalams) Maya Haridwar (Devi sthalam)
In Kanchipuram all the three forms of worship viz., Siva Vishnu &Devi.are prevalent.
*Similar to topography in Vaidheeswaran Koil Siva Ambal &skanda in between in a straight line in Kanchipuram We can observe Kumarakottam is geographically located between Kamakshi &Ekambreswarar Temples.Entire Kanchipuram is a "Somaskanda Kshetram".
*She mentioned about places where deities are called with the words "Raja'
Chidambaram-Nataraja Govindaraja.,Srirangam-Rangarajar, Tiruvarur-Thiagaraja, Kanchipuram-Varadaraja.
Tiruvottiyur Kanchipuram Tiruvarur all are Somaskanda Kshetram
Chintaya Mamkanta moola kantam"-Bhairavi-
makantha-. mango tree
Moolakantham-root.
Somaskantam-engraving in sanctom
Samrajyaprada -Kingdom stands for Wealth Moksha.
EKAMBARA Natham-Gamakakriya
Ekanaika palapradam-emphasising the importance of path Dharma Artha Kama Moksha vis a vis Jain philosophy of celibacy.
Karmabeda haram-relief from cycle of births
Gnana Rupasudam-refers to Skanda.
Kamakoti peetasthitham refers in this context not the MUTT but refers to "Moksha"
Panchabhootha Kshetram-Prithvi Lingam
Important among Sakthi peetams.
Mukthi Kshetram (Kasi Avanthika(Siva sthalam) Ayodya Mathura Dwaraka(Vishnu sthalams) Maya Haridwar (Devi sthalam)
In Kanchipuram all the three forms of worship viz., Siva Vishnu &Devi.are prevalent.
*Similar to topography in Vaidheeswaran Koil Siva Ambal &skanda in between in a straight line in Kanchipuram We can observe Kumarakottam is geographically located between Kamakshi &Ekambreswarar Temples.Entire Kanchipuram is a "Somaskanda Kshetram".
*She mentioned about places where deities are called with the words "Raja'
Chidambaram-Nataraja Govindaraja.,Srirangam-Rangarajar, Tiruvarur-Thiagaraja, Kanchipuram-Varadaraja.
Tiruvottiyur Kanchipuram Tiruvarur all are Somaskanda Kshetram
Chintaya Mamkanta moola kantam"-Bhairavi-
makantha-. mango tree
Moolakantham-root.
Somaskantam-engraving in sanctom
Samrajyaprada -Kingdom stands for Wealth Moksha.
EKAMBARA Natham-Gamakakriya
Ekanaika palapradam-emphasising the importance of path Dharma Artha Kama Moksha vis a vis Jain philosophy of celibacy.
Karmabeda haram-relief from cycle of births
Gnana Rupasudam-refers to Skanda.
Kamakoti peetasthitham refers in this context not the MUTT but refers to "Moksha"
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satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 8
In Ekambreshwar Temple towards end of outside Prakara this Divya desam is placed .The kurukkal told me this shrine was done Mangalasasanam by all ( open for correction as I have heard one azhwar did not travel out of His birth place) the Azhwar all in one Pasuram engraved in the entrance to the sannidhi..