Mutthuswamy Dikshithar (Krithis)

Carnatic composers (other than performing vidwans)
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RSR
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#651 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

I am grateful to Nadopasaka for giving precise leads to the kruthis where Guha is extolled to the exalted status of being worshiped by Lord Vishnu himself. Even one such example is enough to substantiate his interpretation of 'venkatesa yaadhava' kruthi.
====
kAma janaka bhAratI-ISa sEvita -

O one served by Vishnu (father of Manmatha) and Brahma(lord of Sarasvati),
--
from guruguhavaibavam.blogspot.
swaminatha- kruthi about swamimalai
--
Explicit and clear that Lord Guha is worshipped there by Vishnu and Brahma
-
http://guru-guha.blogspot.com/2008/11/d ... natha.html

kAma janaka
bhAratISa sEvita
kArtikEya
nAradAdi bhAvita
vAma dEva Parvati
su-kumAra
vArijAstra
sammOhitAkAra

--
kAma janaka bhAratI-ISa sEvita -
O one served by Vishnu (father of Manmatha) and Brahma(lord of Sarasvati),
kArtikEya - O son of the Krittika maidens,
nArada-Adi bhAvita - O one meditated upon by Narada and other Rishis
=====================================
2
http://guru-guha.blogspot.com/2008/08/d ... uguho.html
------
mAyA-maya viSva-adhishThAnO
ma-Atmaka kAdi mata-anushThAnO

mAlinI maNDala-anta vidhAnO
mantra-Adi-ajapA haMsa dhyAnO

mAyA kArya kalanA hInO
mAmaka sahasra kamala-AsInO

mAdhurya gAna-amRta pAnO
...
mA-dhava-Adi-abhaya vara pradAnO
----
mAdhurya gAna-amRta pAnO - the one who enjoys the sweet nectar of music,
mA-dhava-Adi-abhaya vara pradAnO -
the one granting fearlessness and boons to Vishnu and other gods,
------
....
Again in the same classic kruthi,

mA-dhava-Adi-amara bRnda prakASa -
the one who illuminates the assembly of gods led by Vishnu,
mahA-ISasya mahA-artha-upadESaH - the one who expounded the great truth to Shiva,
===========
These are translations by Sri.V.Govindan and Rajani.
But for their great blog-site, I would have been at a loss to follow the Trinity. Eternal Thanks to them and Naadopasaka.
---
Will try to locate and give the links and translation to the other four references.

rajeshnat
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#652 Re: Mutthuswamy Dikshithar (Krithis)

Post by rajeshnat »

@bhakthim dehi or @Rajani or @nAdopAsaka

Just opening a new question . While kanakashaila being tied to either Kazhugumalai or pazhamudhicholai has been debated, may be we can move on to the next krithi or diety is my humble suggestion.i thoroughy enjoyed you 4 discussing (nadopasaka, rajani, Bhakthi dehi and also RST).

I just googled from an article written by P P Narayanaswami to find apart from the most popular meenakshi me mudham composed on madurai meenakshi diety, there are following krithis dedicated to madurai.

madhuramba jayati (paras, mishra chapu), madhurambam bhajare (stavarajam, adi), sri madhurambikaya (atana, mishra chapu), sri meenakshi (gauri, rupakam), madhurambayah (begada, mishra chapu), madhurambikayam (desisimharavam, rupakam), shyamalangi matangi (shyamala, adi), sri madhurambike (kalyani, khanda chapu), madhuramba (devakriya, adi).

I am guessing MD would have surely visited the pazhamudhicholai and the adjacent alagar kovil for sure considering the reverence of those temples .If he had visited for sure , he must haver atleast composed one krithi . IS there any other krithi on pazhamudir cholai deity composed by MD or is it a case that simply donot have one or may be lost due to bad luck. I see there is one sri sundararaja on azhagar kovil by MD
Last edited by rajeshnat on 15 Nov 2021, 11:01, edited 1 time in total.

rajeshnat
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#653 Re: Mutthuswamy Dikshithar (Krithis)

Post by rajeshnat »

RSR wrote: 13 Nov 2021, 21:54 ....
https://view.officeapps.live.com/op/vie ... graphy.doc
......
Thank you RSR the link by ravisri is simply fantastic.

bhakthim dehi
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#654 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

@rajeshnat

I never denied the exalted status of Palamudircholai anywhere. Neither I said Deekshitar never composed on the 'two-eyed adult Skanda' enshrined there. I argued the kriti 'subramenyena' was indeed composed on the 'six-faced Arumukha' with 18 eyes located in Kalugumalai.
Deekshitar visiting Alagarkovil is on record by Subbarama Deekshitar. I have also suggested 'sri sundararajam' could have been composed there. He could have composed a kriti on Skanda in Palamudircholai too. It is sad that we have lost. I also do not attribute all the compositions available to Deekshitar.

Usually, our composers used to extol a deity and create compositions. It is also usual to project the deity under consideration as Supreme and all the other forms are its subservient. But, when a deity is being commended, he cannot be praised as being subservient to another form. Basic logic! In the case of 'venkatesa ettappa bupathim', if the deity was indeed composed on Venkatesa, certainly it is not a praise to say he was blessed by his nephew Shanmukha. The word 'pujita' is much different from 'karuna kataksha patram'. Contrarily, this is indeed a blessing for a mortal like 'Venkatesa ettappa bhupathi'!

Quoting any reference from the kriti composed on Skanda to misdirect the discussion is futile. A kriti composed on Vishnu with a similar reference from a genuine kriti of Deekshitar is to be cited. Unfortunately, the conspiracists do not indulge in an argument by placing evidence. They can never cite a genuine reference.

In an argument, relevant and genuine references alone will stand. It is unavailing to argue keeping imagination and speculation as a base.

RSR
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#655 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

@rajeshnat
To tell the absolute truth, I wanted to specifically bring that great article series to the attention of both you and @vasanthakokilam , especially the chapter on Mayoooram. The ravisri monograph is a gold-mine and the BEST available on Sri.MD. The initial chapters are much derived from the book by T.L.Venkatarama Iyer ( Guru of Smt.DKP) but as the book proceeds further from Thirutthani, it becomes a superb masterpiece. Having come to rasikas to learn , I have very diligently followed all the posts on the Trinity, Sadasiva Brammendra and the musicians of yore. I have not found a better biography of Sri.MD and his pilgrimage and stala information for his various kruthis anywhere else Kindly do read the chapter on compositions created at Madurai by MD. RAVI-SRI
<quote>
The varALi composition mAmava mInAkShi is a charming little piece as is shrI mInAkShi gauri in the rare rAga gauri.

The mOhana song kAdambari priyAyai is also his tribute to the Goddess.

Dikshitar also composed a series of eight songs on Minakshi. These are called the madhurAmba series. One of them is in the rare 46th mELa rAgA stavarAjam. The others are in devakriyA, dEsi simhAravam, bilahari, bEgaDa, kalyANi, aThANA and paraju

</quote>
What is the link to the article by Dr.PPN that you are mentioning? Kindly share ---
Now to the main question about 'venkatesa-yaadhava-' kruthi.
@Rajani has clearly mentioned the wording as
'venkatesa-yaadhava' and not as 'venkatesa-ettappa'. and also has mentioned that venkatesa-ettappa is a corrupt version.
--
and the page mentions that the kshetram is saattur.
-dopasaka/.

I too had a lot of misgiving about the phrase that the Venkatesa was receiving the karuna kataaksham of Guha. but subsequently, am convinced by the instances cited by 'Nadopasaka'
----
Everything hinges on the identification of 'kan-ka sailam'. I am unable to locate the dictinary entry for that. @Rajani, @Sachi_R and other Sanskrit scholars can clarify and share their view. Nadhopasaka has done his bit. It is for others to cite other authentic references.
--
Nadhopasaka brings some very unique perceptions regarding MD kruthis and similarities between the apprioach of Thayagaraja and MD. as you too will agree.
-
Nadopasaka's stand is that
a) kanka-saila should not be taken as 'kazhugumalai'.
b) As pazhamuthirsolai is the more ancient temple atop the sundararaja perumaaL koil ( thirumaal irum solai) , MD has sung one directly on Perumaal in Soundararajam kruthi and then indirectly on Guha of the ancient shrine atop the hill . When you say some one receiving the blessings and protection of Guha , it is a tribute to Guha. and as there is no other kruthi directly on Guha of that shrine, he is right.
It also solves the problem of ascribing narasthuthi to MD.
--
what more can we say? I am very carefully and critically relying on great scholars in our forum like ravisri, rajani and govindan.
--
My humble request is that the same approach should be followed in understanding sunramanyena kruthi. That may be the direct kruthi on pazhamuthir solai. that we are searching for.
==
I am no hater of SSP or Subbarama Dikshitar.Actually , I revived a long-dead thread on SD and gave reference to sreenivasaraos blog. But, I must confess that the prose section on vak-geya-kara charithram in SSP is hugely disappointing.
I am not competent to comment on the notation chapters there.
Even the biography note on MD given in SSP bristles with difficulties. Surprising, coming from a direct member of the family. That is why I said that we do not know much about our own parents' early lives and much less on of our grand parents , even very illustrious ones. much much less on hugely respected great-grand parents.
--
ravisri article overcomes all these problems. When we base our understanding of ravisri article, rajani's translations, famous renderings by leading musicians of the early decades ( in public domain) and add to all that, even Thamizh translations whereber possible, it would be the greatest tribute to Sri.MD.
==
And I have been requesting that nadopasaka should have his own blog and just give a link here in rasikas. as done by Sri.V.Govindan. That would be a protection against ugly smileys filled invectives. We need not refute each and every point but more important- we should give positive version. Which ever is consistent, the eager rasikas and students would judge for themselves.
--
I wish that one had all the time in the world to reply to insults . Best to ignore and move on.
What is kan-ka sailam?
Last edited by RSR on 15 Nov 2021, 13:59, edited 1 time in total.

The Lost Melodies
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#656 Re: Mutthuswamy Dikshithar (Krithis)

Post by The Lost Melodies »

I wish to add one more point. It is necessary to read the words in isolation. The kriti 'venkatesvara ettappa bhupatim', we find a line 'vidvajjana kalpa bhUruhaM', which can be translated as the kalpavrusha to the learned people. Why the word 'vidvajjana' is to be used? The Lord is interested in fulfilling the needs of well-learned alone? Certainly not. The hero of this kriti is king Venkatesa Ettappa Bhupathi. He was a patron of the arts. We do have compositions of Balasamy Diksitar on him. This is the reason I always insist the compositions of Diksitar are to be read in association with the work of his family members.

Diksitar was a master in selecting appropriate words that suits his theme. Compare this with the kritis 'sri ramam' and 'balasubrahmanyam bhajeham'. The phrases 'Srita kalpa bhUruhaM' and 'bhakta kalpa bhU-ruhaM' are respectively seen in these kritis. They can be roughly translated as 'the kalpavruksha to those who sought refuge' and 'the kalpavruksha to his devotees'.

When a deity is referred to as kalpavruksha, a term denoting a devotee was used. Since the Megharanjani kriti was on a mortal the word 'vidvajjana' was used.

An article on a kriti on this king:

https://solvanam.com/2021/05/23/%e0%ae% ... %e0%ae%bf/

nAdopAsaka
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#657 Re: Mutthuswamy Dikshithar (the nAda-sampradAya pradarSini )

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

the nAda-sampradAya pradarSini – illustration of the tradition of nAda and the truth in Hindu dharma

There is a reason why the Dikshitars devata , the skanda/murugA is called Guru. Let us see if we are getting the message and teaching fully.

The nAdayOgis of our sacred memory and imagination , of the Hindu nAda-sampradAya, from the tEvaram sambandAr, the pAsuram Periazhwar, the beautiful AndAl and the auvaiyAr, the Adi Sankara and the pre-trinity, trinity and post-trinity, all our singing saints have demanded that their dignity be reaffirmed.

Like the mythic Draupadi the nAdayOgis cried out with their music that their innocence and integrity be protected.

And like that epic, only a few lonely warriors are needed to wage this eternal battle. The rasikAs forum is thanked for being the battle-field where the next kAnda of the mahA-kAvyas is reckoned.

Once again I appreciate RSR’s honesty and thoughtful insight. We would not be at this momentous juncture of reaffirming the values of Hindu dharma, if RSR had not taken the stand that our great vAggeyakAras NEVER play “fast and loose” with any of their vows, on “nara-stuti” or anything else.

The extensive mis-attributive write-ups in the SSP , and its continued defense over the years, show the enormity of the conspiracy.

No rasikA , needs to know anything about rAgas, svaras, D1, N2 , R3, notations etc. etc. to immediately see the untruth (the apa-Sruti), in ascribing our nAdayOgis with this type of 2-faced principles.

Perhaps it works for the secondary vAggeyakAras, the pretenders.

The truth is a rock , hard and unyielding to the untruthful, yet soft like a babys kiss to those who submit to it.
The truth is an anchor, steady and reassuring to the truthful, yet will certainly drag down the unbeliever.
The truth is Sruti, the truth is nAda.

This is the message of all true Hindu vAggeyakAras and of Hindu dharma.
There can be no middle ground, no dwaya-arth, when it comes to this truth.

Now to the latest statements. I will let the able judgement of RSR and rajeshnat deal with the consequences of these observations. I will not engage further with any of these other characters.

The reference to “karpaga” as kalpa-bhUruham is directly from the Periazhwar in the divya Prabhandham chosen to the thirumAlirunColai mountain, with its "golden waterfall", nupura ganga, specifically for the divya dESam of Azhagar by the Dikshitar.

The Dikshitar has typically 2-3 kritis in divyA dESam’s of viSnu. So in this case for the Azhagar kovil "sundara rAjam" and "venkatESa yAdava".

It can be seen that the Periazwar in divya Prabandham says “the majestic Thirumālirunjolai where the kondrai trees on the hills shower golden flowers that look like wheels and coins”. Also AndAl’s first pAsuram in the tirumozhi compares the Azagar hill to manthara malai, or Mt. Meru which is of course “golden” as in “kanaka-Saila”

No other/dwaya-arth explanation is needed for the golden showers etc. in the mEgharanjani.

The Dikshitars brother bAluswAmi (who incidentally has no problem with nara-stuti ), uses the word gr-dhra-giri for kazhgu-malai in several kritis (valli dEvasena – rudrapriya , ArtiIrCi nannu brova – hari-kEdAragaula).

gr-dhra appears to be the formal word for the jatAyu legend which is the icon in question.

And the aranya-kAnda (jatAyu) versus yuddha-kAnda difference of appearance of the competing words in the rAmAyana clears it up further.

RSR
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#658 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

An excerpt from ravi-sri biography of Sri.Muthuswamy Dikshitar
---
part-14
--------
Kuzhikkarai is a village about 5 miles from Tiruvarur on a side road off the Tiruvarur-Mannargudi road. This village has a charming little temple dedicated to Lord Siva. Vishveshwara or Viswanatha and Vishalakshi are the names of the deities. This kShEtra is known as Madhya Kashi and Gartateeram. The temple was a private property owned by Vaidyalinga Mudaliyar. It still remains a private property and is managed by Vaidyalinga Mudaliar's descendants. Vaidyalinga Mudaliyar once decided to perform the kumbAbhiShEkham of the temple. He had heard about Muttuswami Dikshitar and his immortal compositions, and invited the composer to his village to grace the occasion. Dikshitar participated in the kumbAbhiShEkham and partook of the grace of the Lord and the Goddess. Vaidyalinga Mudaliyar showed him great respect and reverence and also performed kanakAbhiShEkham for Dikshitar.
---
A desire rose in his heart to have his glory sung by the great composer. This request was conveyed to Dikshitar who had never sung in praise of a mere mortal. He pointblank refused the Mudaliyar's request and composed instead the masterpiece shrI vishvanAtham, a garland for the Lord in 14 ragas. In the verse in bhUpAla raga which is the 14th raga, Dikshitar referred to the Lord as the protector of
Vaidyalinga Mudaliyar (vaidyalinga bhUpAla pAlanam). Dikshitar also composed kAshi vishvEshvara in khAmbOji, as also annapUrNE visAlAkshi in Sama at this temple. (Refer to Autobiographical References in Muttuswami Dikshitar kritis and the Kuzhikkarai Temple today )
---------------------------------------------------------------
</quote>

RSR
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#659 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

in continuation of p-658
--------
Chathurdasa Ragamalika
Musiri and MS
------
https://youtu.be/cg6EnQFn-TM

----
Uploaded by VaaK
----------------
Sri Viswanatham Bhajeham
Chaturdasa Ragamalika | Tala: Chaturashra Eka | Composer: Muthuswamy Dikshitar

Vocal: Musiri Subramania Iyer
Vocal Support: MS Subbulakshmi
Mridangam: Unknown

Pallavi

shri vishvanAtham bhajEham caturdasha bhuvana rUpa rAgamAlikAbharaNa dharaNA antahkaraNam (Shri)
srita jana samsAra bhItyApaham; AdyAtmikAdi tApatraya manO bhItyApaham (Arabhi)

Anupallavi

shri visAlAkshi gaurIsham; sakala niShkaLa rUpa saccidAnanda maya gaurIsham (Gouri)
citra vishva nATaka prakAsham; jagat prakAsaka bhAskara shashAnka kOTi kOTi prakAsham (Nata)
gOvindAdi vinuta gauLAngam; kshIra kundEndu karpUrAdi vijaya bhasitOdhULita gauLAngam (Goula)
guruguha sammOhana kara lingam; pancIkrita pancamahAbhUta prapanhAdi mOhana kara lingam (Mohanam)

virinci viShNu rudra mUrti mayam (Mohanam)
viShaya panchakara hitam abhayam (Goula)
niratishaya sukhada nipuNataram (Nata)
nigama sAram Ishwaram amalam (Gouri)
smara haram paramashivam atulam (Arabhi)
sarasa sadaya hridaya nilayam anisham (Shri)

Charanam
sadAshivam sAma gAna vinutam; prakrityAdi sapta rUpa sAma gAna vinutam (Sama)
tanmAtram lalita hridaya viditam; kAmakrOdAdi rahita lalita hridaya viditam (Lalita)
cidAkAsha bhairavam puraharam; vidhi kapAla trishula dhara bhairavam puraharam (Bhairavam)
cit sabhEshwaram sAranga dharam; dArukAvana tapOdana kalpita sAranga dharam (Saranga)
sadAshrayAmi shankarAbharaNam; cintitArtha vitaraNa durINa tara mANikya maya shankarAbharaNAm (Shankarabharanam)
sadgati dAyaka ambOja caraNam; dharma artha Adi nikhila puruShArtha prada samastatara ambOja caraNam (Kamboji)
vadAnya dEvakriyA kElanam; sriShTi stithi vilaya tirOdAna anugraha kAraNa kriyA kElanam (Devakriya)
vaidyalinga bhUpAla pAlanam; shrIpura niruti bhAga garta tIra stiratara bhUpAla pAlanam (Bhupala)

guru guhEsha sura narEsham anisham: (bhUpAla)
varadam anala ravi shashi nayanam: (kAmbOji)
vanaja candra sannibha vadanam: (shankarAbharaNam)
paramahamsa Ananda nartanam: (sAranga)
patita pAvana karaNam mata haraNam: (bhairavam)
parataram parama manOlaya jayam: (lalita)
para Adi vAk prakAshananda mayam: (sAma)

Virinci (as before, backwards or volOma)

==================
Do not miss the wonderful blog post on this famous RaagaMaalikaa
by Sri.V.Govindan at
http://guru-guha.blogspot.com/2008/08/d ... atham.html

CRama
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#660 Re: Mutthuswamy Dikshithar (Krithis)

Post by CRama »

RSR, Could you hear the voice of MS in this Ragamalika.

nAdopAsaka
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#661 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

On the occasion of kArtika pOurnAmi, RSR's post on the rAgamAlikA is timely, since the kriti also pays tribute to the bhairava form of the Siva, suitably described in bhairava rAga portion.

vidhi-kapAla-triSUladhara-bhairavam puraharam..

which refers to when Siva destroyed the cities “tri-pura” etc.

The key phrase in RSR’s post (# 658) is of course “point-blank refused” ! Let there be no iota of doubt , no last breath for any lost soul to contend there is dwaya-arth stuti about this or any other of the Dikshitars kritis. That thinking is also all destroyed.

Instead let us rejoice and wonder at the depth of the Dikshitars pujA and adoration that brought forth at kuzhikurai, (in addition to the grand rAgamAlikA), the majestic “annapurnE visAlAkSi” – sAma kriti , the fantastic kAsi V kAmbhoji as well as kritis in two rare rAgas, viSwanAtham bhajEham in natAbharana and viSwanAthEna rakSitOham in sAmanta.

It is interesting to see that in this rAga-mAlikA, how/why the Dikshitar dropped varAli rAga using instead rAga gAuri.

It cannot be due to supposedlly vivAdi-dOSa character , since nAta is obviously used, see for e.g post # 473.

Given all the rAga names, I suggest it has to do with keeping all rAga names generally related (or relatable) to the SivA deity.

And of course all rAga mudras fittingly are given in the kriti.

It is also interesting to see how both the anupallavi and the charana WIND UP to end in panCA-svara rAgas mOhana and bhUpAlam, pentatonics perfectly aligned for the panCAkSara Siva deity.

With regard to linga related kritis, in fact rAga mOhanam was also used at tirUvArUr to capture ALL the lingas descriptions, e.g. post # 537.

kAsI viSWeSwara - kAmbhoji

https://www.youtube.com/watch?v=cGeN4uESwmg

excellent sAmanta by kalpagam swAminAthan

viSwanAthEna rakSitOham
https://www.youtube.com/watch?v=mNhkLn-01pY

also nicely done by TMK
https://www.youtube.com/watch?v=I1rpRPSjK0M

bhakthim dehi
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#662 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

I wish to present a few more interesting points.

Kurattazhvar has written a long poem consisting of around 200 verses on Sri Sundararajar on Alagarkovil. The compendium is called 'Sundarabahustava'. This is an exquisite work extolling the vibhUti-s of Sundararajar. Here, the sthala Alagarkovil or tirumAlirumchOlai, as is called in Vaishvite works is referred by various names - 'vanAchala', 'vanadri', 'kEshavagiri' and 'rishabAdri'. These four names alternate with each other. Nowhere we get to see the name 'kankasaila'! :)
Alagarkovil was a site of worship even from the Sangam era. No poet will make ambiguous references to this old sthala.

I have already mentioned the term 'kalpakavrusha' or its synonyms are used as a generic word to extol any deity.

annam thuyilum aNi nIr vayal Ali
ennudaiya innamudhai evvuL perumalaiyaik
kanni madhiL sUzh kaNamangaik kaRpagaththai
minnai irusudarai veLLaRaiyuL kallaRai mEl

Tirumangai Azhwar refers to the Lord at Thirukkannamangai as 'karpagam'. :D
or Mt. Meru which is of course “golden” as in “kanaka-Saila”
When did 'kankasaila' became 'kanakasaila'?

Is this is on the lines of 'special chithirai'? The readers can refer to posts #639 and #642 to know more about this 'vi-citra' festival. Do not miss it! :lol: :lol:

Readers, kindly note, the term under discussion is 'kankasaila' and not 'kanakasaila'. The conspiracists can twist the truth to satisfy their fallacies. We, the real admirers of Deekshitar must always go by His words.

A person inclined towards the truth can never believe any of the posts by the conspiracists.

The conspiracists neither placed adequate references to prove their concocted hypothesis nor were able to interpret the words of Deekshitar in the correct sense. They miserably failed!

nAdopAsaka
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#663 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RSR

There is no basis in the rAmAyana for using the word “kanka” in place of the jatAyu bird which is specifically and properly the “gri-dhra” as used by vAlmiKi (which is also used by others for that ksetra).

The word was CHANGED from kana-ka to kanka by the same shady character/s who also changed yAdava to ettapa.

Did they get 10000 rupees and 5 shawls from the zamindar ? or maybe it was 10000 shawls and 5 rupees ?

Whatever it was, it was not worth desecrating the Dikshitar or the legacy of the divya dESam poets.

The act cannot be defended in any way.

RSR
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#664 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

@bhakthim dehi
Sir, The Kazhugumalai shrine is also connected with Jataayu. and Jain caves. It was heavily influenced by Guptas art and architecture. ( roughly 200 AD to 600 AD which extended upto Kanchipuram. Most puraaNaas are supposed to have been written during Gupta period , the Golden period of Indian culture .
There is no mention of kanka-saila referring to kazhugumalai though it had other Sanskrit names., found in the inscriptions at Kazhugumalai. .
---
Nakkeeran 's ThiruMurugaatrup padai was written in late Sangam period ( just before KaLabra Interrugnum) ( around 200 AD), There was a break in Sangam traditions from 200 AD to 600 AD. This period corresponds exactly with Gupta period which extended even upto Kanchipuram.
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From 600 AD, we have the emergence of Bhakthi movement and popular Hindu pantheon and traditions.
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This was further taken forward by Imperial Cholas ( 1000 AD ), then by Imperial Pandyas 1300 AD , when Sultanate armies ransacked the South.
Vijayanagar Empire was founded around that time1350 AD,Hence Nayak rule and later Mahratta rule.

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The Trinity lived in the decades of nominal Mahratta rule (1750-1850 AD ) actual power being wielded by the East India Ciompany).
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Adi Sankara lived exactly during the Mahhendra Pllavan rule. ( 600 AD..as a response to Islam which arrived peacefully in Kerala cpast through Arab traders).
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Saint Raamaanuja lived in the times Kulothunga Chozhan around 1100 AD. Kooratthaazghvar mentioned by you was a disciple of Ramanuja.
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When we talk about Azagar koil, we must first think of the more ancient Pazhamuthir Solai of Nakeerar. ( 200 AD).
and then about the Vishnu temple at the foothills Thirumaal IrumColai sung by Alwars ( 700 AD).

Centuries do make terrible and tremendous differences. The Tamizh country of 2020 , does it bear any resemblance to that of 1920, 1820 even, which was the perod of the Trinity?
How much do we know about the centuries before that?
Who would believe and support my conviction that the Pandyans alone were true Thamizhs who migrated from the ancient janaadha of Mathsya desam in the banks of Yamuna and nearby Surasena janapadham? Why the name Madhurai? why Yadhava?
What does Srimath Bagavatham say? about Pandyans and Mathsya Avathaaram/ ? How about Parasurama kshetram? How about Gajendra Moksham?
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There is absolutely convincing evidence in PuraNanooru that the Pandyans were Pandavas.
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And Sibi the Cholas were also of Parthian roots from what is today in Afganisthan.
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Dr.PPN 's compilation of MD kruthis refers to the song only as V
Venaktesa Yadhava'
So does McLeod site ( of our beloved Lakshman)
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Tangential to the discussion, May I know the meaning of Venkata Giri, and names lile Venkatesa, Venaatachalapathy, etc?
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'vada venkatam muthal then kumari aayidai thamizh koorum Nallulakam ' is an ancient phrase in a paayiram by panambaranaar.

--
I who follow known authorities. like Kallidaikkurichi Neelakanta Sastry -- History of South India.

And we cannot understand the Trinity - especially Sri.MD without a good outline picture of Tamizh country through the centuries.

RSR
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#665 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

@nAdopAsaka
This is with reference to Sri.MD kruthis on Thiruvaaroor deities. Thyagaraja temple deity is Siva. Kamalamba and Nilothpalamba are said to be Siva's consorts. ( so Parvathi)..
There are temples exclusively for AmbaaL. (Parvathi).
--
But there are no temples exclusively for Goddess Lakshmi. She is always found along with Lord Vishnu. and is not Kamala , used to refer to Lakshmi also? Is there any shrine for Vishnu at Thiruvaaroor? How then Hiranmayeem kruthi associated with that sthalam?
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Just seeking clarification. Not arguing. Trying to undestand

bhakthim dehi
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#666 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

@RSR

You have given a lot of information of which many are redundant for this post.
We have two issues to be discussed:
1. Can Palamudircholai be called 'kankasaila'?
2. The use of the phrase 'kanka' in the said compositions.

Let us stick with this alone. We shall review the roots of Pandyas and Cholas, Gajendra mokasham in Bhagavatam, etc., later. Do not attempt to redirect the discussion. Any other relevant pieces of information shall be added.

Palamudircholai was indeed mentioned in the Sangam literature. Alagarkovil is equally old and was mentioned in Paripadal, a part of the Sangam literature. None of these oldest poems refers to Alagarkovil as Kalugumalai. I hope you were able to catch this.

I am not only aware of the lineage of Kurattazhvar, but also the stories associated with him. The work of Kuratazhvar is mentioned as it solely deals with the Lord at Alagarkovil and vividly describes the sthala.

You have made a clear point that Palamudircholai cannot be called 'kankasaila' from your observations on Tamil literature.

Coming to the next point. A poet/composer has the liberty to use any word that suits his expressions. He is not restricted by the language of his predecessors. At many times, the philosophy also differs.

You cannot see Valmiki equating Lord Ramachandra with the Supreme anywhere in his epic, though he is projected as a self-realized soul. But, Deekshitar has used the word 'martyAvatAra'. There is a clear change in the perception between these two poets.

You cannot find 'garthatira' in any of the Sanskrit literature. This is actually a literal translation of 'kulikkarai'.

The word 'sAranga' is used to denote an elephant and a deer in two different kritis by Deekshitar can be remembered.

Can you see the Lord Hanuman being referred to as 'surasAripu'? It is seen in a kriti of Tyagaraja.

These are a few examples. I can cite many.

Similarly, the word 'kalugu' is literally translated as 'kanka'.
Do read the compositions, understand and internalize them. More importantly, do not confuse yourself with all the available information. Segregating the information will help you to concentrate more.
The word was CHANGED from kana-ka to kanka by the same shady character/s who also changed yAdava to ettapa.
First, try to be clear in your stand. Of course, that can happen only if you are with the truth. :lol: :lol:

'Ettappa' has been changed to 'yadava'. Though we are uncertain about the 'shady character' who changed this, the word 'kanka' remains untouched! :lol: :lol:
The kriti 'subramanyena' is not seen in SSP. Even that reads as 'kanka'. :D

I really suspect a big conspiracy operating to deface our traditions. The conspiracists wish to reiterate the fabricated stories again and again just to make them sound original, misdirecting the naive readers. This was the same technique
employed by the Christian missionaries in the past which resulted in the so-called 'heritage enthusiasts' saying Adi Sankara lived 600 years old.

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#667 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RSR

Your question on hiranmayIm lakSmi is a good one and deserves an explanation.

Let me see if I can answer.

First let me send yet another warning to the unwise.

In post # 453 I had considered this kriti, which is of course one of the 3 kritis that carry the stated vow of the Dikshitar (being shamelessly denied by the heretics even now). rejecting nara-stuti.

The other two are in the dhanyAsi in mAyavaram "mAyuranAtham aniSam bhajAmi," where the Dikshitar categorically rejects the favor of lords enveloped in mAyA as in mAya-maya dharaniSam tyAjami.

Of course the saraswati kriti, vinApustaka dhariNI is well known for this vow too and you are familiar with that one.

Regarding the location of the hiranmayIm lakSmi kriti, i believe the clue lies in the other lakSmi kriti of the Dikshitar which is known to be set in tiruvArUr, also in rAga dhanyAsi

mangaLa dEvatayA tvayA bahumAnitOhaM SrI

anupallavi
pungava kamalAlaya-yA bhOga bhOgyAlayayA

The reference to "kamala" in both the lakSmi kritis as well as the similar descriptions such as "mAtula kAntam lalitAm", and "Siva-anujAya" indicate a common focus and site.

It is worthwhile noting that a kriti to saraswati at tirUvArUr is also known "bhArati maddiShana", in deva-manOhari, so a kriti to the lakSmi form of lalitA is not out of place at this shrine.

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#668 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RSR, regarding the latest drivel about the word gartA that is being used to deflect attention from the improper word “kanka”, in place of “gri-dhra” at kazugumalai.

The defendant is thrashing about wretchedly even as the great serpents have come down from the AdisESa and nAgalingA themselves to constrict around the necks of these untruthful.

Some frantic flailing is expected, since their whole world of lies , sustained until now by the enormously and deliberately misleading SSP, has collapsed.

The Dikshitar and the entire nAda-sampradAya before him have reached out to assert the truth.

The origins of “gartA” and “gartA-tira” lie in a specific name of Siva, (from the Siva-purAna) where Siva is described as the mahA-gartA, which is a symbol of his cave/pit/underground-hole abode.

At kuzi-karai, there are also such pits/ponds/holes etc. BUT the name gartA itself is derived directly from the Siva-purAna, and not merely translated as is being suggested.

The Dikshitar is a stickler for puranic or other sthala lore /accuracy of his icons.

In fact the reference the Dikshitar gives in the opus rAgamAlikA you posted is “Sri-pura nirti bhAga gartA-tira” the location south-west of tirUvArUr, not merely translating the word from “kuzi-karai”.

And in the kASi viSweSvara kAbhoji the words “gartA tirtha SambhO” are also used , which is obviously not linked to the word karai etc. and therefore not being translated.

There is no “poetic license” being employed.

There is NO CHANCE the Dikshitar will use the improper word “kanka” when the ksetra is formally linked to the word” gri-dhra”.

These characters we are unfortunately dealing with, do not understand the Dikshitar, which is already clear from the way in which the skanda Sri-Cakra has been mangled when the 6th Arupadai ksetra pazham kriti was nefariously relocated, at the behest of zamindars and/or for some paltry remunerations.

“kanaka-saila” is exactly linked by the sacred poems of the divya prabandham specifically to tirumAlirumColai.

This gartA case is another example of how this whole gang is trying to rewrite the history of the kSetras.

And the “kanka” idea is nothing but a “kunk-oction” of these nefarious minds.

But it has not lasted..as they say “Murder will out” !!

In fact the kASi viSwESvara kritis at kuzi-karai ksetra cannot be viewed without taking into account the famous kASi viSwanAtha/viSweSvara temple of varanAsi, (which certainly the Dikshitar was aware of).

The varanAsi temple is specifically a jyotir-linga site, another such is in rAmeSwaram (where the choice of kASi-rAmakriyA for the rAga of rAmanAtham bhajEham can easily be understood (now)...there are only a few in the whole country.

Especially in the rAgamalika, the overarching light and white of this same jyOtir-linga Siva ( aka mahA-gartA Siva) is described.

citra-vishvanATaka-prakAsham
jagat-prakAshaka-bhAskara-shashANka-koTikoTi-prakAsham
and anupallavI -in rAga gaula
govindAdi-vinuta-gaulANgam
kSIra-kunda-indu-karpurAdi-vijaya-bhasita-uddhULita-gaulANgam


Additionally the charming , mesmerising nature of the pillar of light that is the jyOtir-linga is signaled in the words mOhana-kara linga.

We should let people make up their own minds on just exactly what is happening to our heritage and how our true sAdhus and nAdayOgis are being denied their sacred vows.

nAdopAsaka
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#669 Re: Mutthuswamy Dikshithar (the Dikshitars skanda/murugA Sri Cakra worship at the 6 ArupAdai sthalas)

Post by nAdopAsaka »

the Dikshitars skanda/murugA Sri Cakra worship at the 6 ArupAdai sthalas

In the footsteps of nAdajyoti Mutthuswamy Dikshitar..

May I always remain worthy of the Dikshitars grace and blessing.

It is made clear in this post how the mudra of each Cakra is embedded in at least one kriti for each of the 6 ArupAdai skanda/murugA sthala.

Similar mudras have been embedded in all the group kSetra kritis e.g. the navAvaranas and shown in my many previous posts.

Indeed, the Sri-Cakra stages of the skanda/murugA override the vibhakti and viSnu-stuti patterns already established.

Note that some ArupAdai sthalas have more than one kriti to murugA (but NOT pazhamudirColai)

First the names of the 6 Sri Cakra avaranas (given in 3 ways for those who may not know)

Bhupura –mulAdhAra-trailOkya-mOhana
SodaSadala padma-svadhiStAna-sarva-AshA paripUraka
aStadala padma-manipUra-sarva-saMkShObhaNa
CaturdaSa-anAhatha-sarva-saubhAgya dAyakA
bahirdaSa-viSuddha-sarva-Artha sAdhaka
antardaSa-Ajna-sarva-rakShAkara

How the Dikshitar places mudras for each Cakra in EACH ArupADai sthala
In order from first to sixth ArupAdai sthala

(Cakra and its identifying word from each kriti is marked in red)

Bhupura- tiruparankunram-gajAmbA nayakO-bhu-vana
(bhupura and bhu-vana are synonyms)

sarva-AshA paripUraka-tiruchendur-Sri subrahmanyO-bhakta mandAra
(the fulfiller of wishes is synonymous with the mandAra tree)

maNipura-palaNi-dandAyudhapAni-maNi mandala
(a pearl/maNi related motif for the palaNi dandAyudhapAni is known)

sarvasaubhAgya dAyakA-swAmi malai-subramanyAya namaste- dAsajana AbhIStaprada
(the giver of good fortune is synonymous with the giver of boons)

viSuddha-tiruttani-sri guruguha murtE-Arakta Sveta
(the two colors, red and white of viSuddha Cakra also seen in the rAga udaya-ravi-Candrika choice )

Ajna-pazhamudirColai-subrahmanyEna rakSitOham-aStadaSa locana
(the final third-eye Cakra when the exalted murugA becomes the overarching Guru and giver of enlightenment )

It will immediately become obvious the heinous nature of relocating any kriti OUT of this pattern/sthala ! and the abject desecration of the Dikshitars pujA by doing so !

bhakthim dehi
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#670 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

The origins of “gartA” and “gartA-tira” lie in a specific name of Siva, (from the Siva-purAna) where Siva is described as the mahA-gartA, which is a symbol of his cave/pit/underground-hole abode.
I feel you have some serious problems with comprehension. The word 'kuli/kuzhi' means pit/hole and it is translated as 'gartatIra' was my statement. I said 'gardhatira' cannot be seen in the Sanskrit literature associated with this sthala. I never meant the Sanskrit language does not have an equivalent word to denote 'kuli'. :lol: :lol:
You have indeed mentioned the same, :D
Your reference about Siva Purana (should check its credibility ;) as I have no faith in your words) serves no purpose as I am not arguing about the existence of this word.
“gartA tirtha SambhO” are also used , which is obviously not linked to the word karai etc. and therefore not being translated.
If my memory serves right, the tank in Kulikarai is called by the name 'gartha thirtha'. It is said the water from this tank cure the diseases like Leprosy. Try to understand the story associated with the sthala before making redundant comments like this.
In fact the reference the Dikshitar gives in the opus rAgamAlikA you posted is “Sri-Pura nirti bhAga gartA-tira” the location south-west of tirUvArUr, not merely translating the word from “kuzi-karai”.
The ragamalika gives us the location of this sthala. The place 'garthatira' is located in the niruthi direction to Sripura, Tiruvarur, says this line. Your posts are asinine and stale.
Especially in the rAgamalika, the overarching light and white of this same jyOtir-linga Siva ( aka mahA-gartA Siva) is described
.

Do not quote inane details. Siva is always besmeared with ash and hence white in color. Whether he is worshipped as a jotirlinga or not, his attributes remain the same.
jagat-prakAshaka-bhAskara-shashANka-koTikoTi-prakAsham
Didn't we find a similar phraseology in the other works of Deekshitar. To cite one, 'bAnu kOti KOti prakasam' in the kriti on Nataraja. Chidambaram is not a jotirlinga sthala.
There is NO CHANCE the Dikshitar will use the improper word “kanka” when the ksetra is formally linked to the word” gri-dhra”.
Do not make immature comments. I hope you are not the 300 year old 'heritage enthusiast' to make such comments. :lol: :lol:

Coming back to the main story....

Initially, the conspiracist argued Palamudircholai is to be identified as 'kankasaila'. Now he feels the word 'kanka' is to be replaced with the word 'kanaka'. Remember, it can be 'kanka' or 'kanaka' but not both. Based on your recent comments, it can be judged that you believe the sahityam in both the kritis must read as 'kanaka'. This shows, for around 20 posts you have argued without framing a clear opinion.

Making it another way, your inability to get evidence had made you frame a new hypothesis, that the word 'kanka' has been changed to 'kanka'. I can very well predict the behavior of a narcissist. I plan my statements accordingly. As I have said multiple times, I do not argue to prove the truth. I argue only to expose your lack of knowledge in analyzing the compositions and you misinterpret these divine compositions with a heinous motive. I make sure the wise who reads your posts must think several times before taking it to their mind. Needless to say, you provide an excellent opportunity to achieve this by responding to my posts. :D

'Kanaka' is completely wrong

I have proved you are not fit to do any analysis. You lack knowledge about our puranas and other scriptures. You are ignorant about Sanskrit grammar (how can I forget 'special chitirai'? :lol: :lol:). Now, your recent statement on the use of the word 'kanaka'validates you are neither good at prosody. :lol: :lol:
The word 'kanka' alone suits alone with the other words used in the kritis mentioned. This is beyond your retarded abilities. :lol: :lol: Ask someone who knows about prosodic grammar.

I have mentioned the synonyms used by Kuresa to describe Alagarkovil. The word 'kanakasaila' was not included by him. Certainly, you cannot establish a detail not available in puranas or texts like that of Kuresa's Sundarabahusthava.
The Dikshitar is a stickler for puranic or other sthala lore /accuracy of his icons.
Can you understand, at least now for me asking you for evidences from the puranas? :lol: :lol:
In fact the kASi viSwESvara kritis at kuzi-karai ksetra cannot be viewed without taking into account the famous kASi viSwanAtha/viSweSvara temple of varanAsi, (which certainly the Dikshitar was aware of
Indeed he was. The temple in Kulikkarai is much connected with Kashi. I am much sure, you are not aware of the reason. :D

I never expected you to be shameless to expose yourself in such an explicit way. :lol: :lol: Anyways, it requires boldness to admit openly in a forum like this. :D

Let me ask you a few questions. As usual, you cannot find a reply. :lol: :lol: You will divert the issue unabashedly.
1. The kritis 'subramanyena' and 'venkatesa ettappa bhupathim' have the word 'kanka'. The former kriti is not even seen in SSP. Does it not ring a bell when a word is used both in a kriti notated and not notated in SSP?

2. All the latter books that you have mentioned uses the word 'kanka'. Only the latter books admit the use of the word 'yadava' in the place of 'ettappa'. When you rely on them and call them authentic, is it not assumed that the entire sahityam is to be relied on? When they have changed 'ettappa' to 'yadava' and kept the word 'kanka' intact, does it not imply they are absolutely fine with the usage of this word?

Basically, you lack the acumen to argue in a forum like this.

To summarise, I wish to highlight the differences between me and the conspiracists in dealing with the concerned issue.
I take the sahityam from the authentic sources, read and collate its meaning from various sources and give my interpretation. My interpretations are always backed by the puranas, itihasas, or other sacred texts.

Contrastingly, the conspiracists come out with a hypothesis. Due to their lack of knowledge and arrogance, they fail to refer to any of the works with sincerity. They never come with genuine evidence when asked for. They find fault with every other published work and compel us to believe their fabricated stories!
Importantly, they project themselves as some divine incarnation blessed with an ability to interpret the kritis of Deekshitar.
Last edited by bhakthim dehi on 21 Nov 2021, 21:38, edited 6 times in total.

bhakthim dehi
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#671 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

#669

I cannot stop laughing seeing this. :lol: :lol:

Many of them could not be even considered as the compositions of Deekshitar.
Ajna-pazhamudirColai-subrahmanyEna rakSitOham-aStadaSa locana
A penultimate one. :lol: :lol:


Learn about simpler ones like sthala puranas, basic grammar, and prosody. Then you can enter into Tantra Sastra.

RSR
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#672 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

reg-p-667
@nAdopAsaka
Regarding the location of the hiranmayIm lakSmi kriti, i believe the clue lies in the other lakSmi kriti of the Dikshitar which is known to be set in tiruvArUr, also in rAga dhanyAsi

mangaLa dEvatayA tvayA bahumAnitOhaM SrI

anupallavi
pungava kamalAlaya-yA bhOga bhOgyAlayayA

The reference to "kamala" in both the lakSmi kritis as well as the similar descriptions such as "mAtula kAntam lalitAm", and "Siva-anujAya" indicate a common focus and site.

----
Yes. I agree. From a Devi-upaasaka viewpoint, Durga-Lakshmi-Saraswathi are manifestatiins of the same Devi. Subramanya Barathy has given us three great poems one on each. ..More, in the Nenjukku Neethiyum song, ( rendered by Smt.MS) he begins with Sakthi as Durga and in the third stanza, specifically sings about Sraswathi.
'veLLai malar misai vaedhak karuppouLaaka ….'
-https://sites.google.com/site/homage2ms ... -neethiyum
what is '"Siva-anujAya"?
----
As for Thiruvaaroor kruthi on Lakshmi, ravisri have given a nice explanation. which I think is based on sthala puraanam. Though the deity is Thyagaraja ( Sivan), he is said to dance in the heart of Vishnu.
<quote>
The purANA says that Siva dances in the heart of Vishnu who is in yOga nidrA on Adisesha. The esoteric significance is that the already highly evolved soul (represented by Vishnu) is ready to merge into the Eternal Soul (represented by Siva). Muthuswami Dikshitar refers to this esoteric truth in his compositions on Lord Thyagaraja. In the nIlAmbari composition, tyAgarAjam bhajEham, Dikshitar refers to Vishnu as yOgi and adds that other yOgIs too worship Thyagaraja (yOgi nArAyaNa Adi upAsitam). The icon of Thyagaraja is of sOmAskanda, i.e., of Siva, Parvati
and Subramanya together. Only the face of the Lord is visible. From the face downwards the body of the Lord is covered by alankArAs, garlands and jewellery and further down is sealed by a box like structure. His dance is not revealed, it cannot be witnessed by the outer eye. That it is the most secretive dance, the dance of the Self, which has to be cognised in one's inner being, is symbolically shown by concealing the Lord's form from the shoulder downwards.

</quote>
=========
<quote>
Dikshitar composed the dhanyAsi song mangaLadEvatayA in praise of Goddess Lakshmi and refers to Her as being established at Kamalalaya, Tiruvarur. Once, Maha Vishnu through the curse of Sage Brighu was
penance in order to rejoin Her. Lakshmi too performed penance at Tiruvarur. Kamala is another name for Lakshmi, hence Kamalalaya.
--
Therefore, in the manner of his bilahari composition kAmAkShi varalakShmi at Kanchipuram (reference to which has been made in the sixth part of this series), Dikshitar looks at Mahalakshmi as Kamalambika Herself.
---
In his hiraNmayIm lakshmIm (lalita) he refers to her as shrI kamalAmbikAm parAm.
</param>
=====================
hiraNmayIM lakshmIM sadA bhajAmi
hIna mAnavASrayaM tyajAmi
हिरण्मयीं लक्ष्मीं सदा भजामि
हीन मानवाश्रयं त्यजामि

--
I have another doubt. Traditionally, Lord Vishnu is said to have a lotus sprouting from naabhi' ( 'sarasijanaabha sodhari') , and Brahma is seated in that lotus. Does it make Brahma born of Vishnu? but then how Vishnu is creator of Manmatha as well?
--
I re-read the Hiranmayim kruthi. Normally, MD kruthis are hardly 'emotional' but there is a line despising taking help from anyone except the deity
हीन मानवाश्रयं त्यजामि
.
-
As for Saraswathi , it seems that the temple complex has a separate shrine....Unique. How do the PuraNas relate Kumaran and Sraswathi?
-
-- I will study your earlier posts on KamalaambaaL and NeelothpalaambaaL again more closely and revert back.
Thank you for the great service.
Last edited by RSR on 22 Nov 2021, 06:44, edited 1 time in total.

nAdopAsaka
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#673 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyoti Mutthuswamy Dikshitar..

RSR,

I appreciate the thoughtful questions and careful interest.

yes, indeed, the so-called ajapA natana, which is strongly associated with the vitaNka tyAgarAja at tirUvArur is also part of the viSnu legend you mention. I believe the word which means younger sister, referring to Siva-anujAya could also be follower.

per your note on the brahmA deity , there is a rare kriti of the Dikshitar in the rAga vamSavati (mEla 54) where the Dikshitar describes how the viSnus protection extends to the brahmA/vidhi.

the kriti celebrates in particular his marriage with lakSmi dEvi, so the choice of rAga vamSa-vati with regard to this aspect of the abhiSEka-valli dEvi is quite proper.

The kriti ends with an intriguing reference to devAs as honey-bees hovering about the flower that is the viSnu !

The kSetra is given as tirukannamangai within tirUvArur region.

the esoteric relation between the guruguha and saraswati is certainly worth some introspection, although in some kritis the Dikshitar describes guruguha merely as son of this dEvi (e.g. saraswati manOhari as prasiddha guruguha janani)

The following 4 kritis also are notable when considering the vamSa-vati bhaktavatsala kriti. The rAgas and some key words/synonyms used in them are noted.

krSnAnanda mukunda – gaulipantu- tri-vikrama nArAyaNa
gOvarddhana girISam- hindOlam- gajEndra rakSaNa
bAlakrSnam bhAvayAmi – gOpikA vasantam - nilamEgha gAtram
gOpAla krsnAya – kAmbOji – dAmodarAya, dharani dharAya

The set is well aligned with the so-called panCa-krsnA set.

A somewhat rare rendition of the vamSavati kriti is available.
It will be quite good to clear the air of this thread.

bhaktavatsalam abhiSEkavallIyutam bhajEham nityam

by SSI

https://www.youtube.com/watch?v=3KftjMrIM7w

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#674 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

p-666

@bhakthim dehi
As you wish, I will stick to the central question.
-Is it venkatesa yaadhava or 'venkatesa ettappa'?
venkatesa YAADHAVA is the version given in

1) TLV book on MD
2) guruguha blog by Govindan and Rajani
3) MD kruthis list by Dr.PPN
4) MD kruthis list in medieval.org
--
ravisri does not mention this krithi atall .
--
SSP only has the version as venkatesa ettappa.
-
SrI.MD is the last person to seek 'refuge' in any mortal.
as mentioned in that kruthi. The reference fits only to Lord Vishnu.
Hence, even according to 'The Lost Melodies', it is a clear case of Nara-sthuthi, of which MD can never be GUILTY.
ALL his compositions are on Gods as per TLV.
-
There is a clear difference between saying 'I pray to the Almighty to shower his blessings on you' and saying ' you are my refuge'! to a mere mortal. especially still living.
-Let us leave it at that.
============
I have read with appreciation your posts in some other thread where someone had asked 'what is so special about Thyagaraja'. I am unable to locate it now. Can you please hel?
--

No compromise on my perception that the TRINITY were never guilty of Nara sthuthi, erotic references and distortion of established portrayal of Deities .
-
SSP may be good for first attempted notation for gamakams. It may not be accurate in other details. as to the information on the respective composers.
-
The historical datings are important as MD kruthis are replete with even ideas of Vedas ( for instance SriSuktham). --dating back to roughly 1500 BC.
--
AruNagiri Naathar poems abound in his revulsion to Erotic themes. ( your reference to kazhugumalai poem also confirms it).

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#675 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

p-673
@nAdopAsaka
I am afraid that the kruthis mentioned by you do not at all explain the GuruGuha and Saraswathi. Krushna does not enter into the picture.
May I have some clarification?

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#676 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

RSR

You are correct..they do not.

The kritis were just something that occurred to me while looking at the tiruvArUr kriti with it's brahma deity related detail, that your question had initiated.

Indeed, the saraswati manOhari I noted is not correct, naturally that kriti refers to his mother.

But in the saraswatichAya tarangini kriti, it can be seen that guruguha accepts wisdom from the saraswati.

The deeper connections that may exist between the kumAra and saraswati, could be interesting. I need to delve into that a bit more and think about it.

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#677 Re: Mutthuswamy Dikshithar (the vows less-heard - some more examples of the Dikshitars “vow”)

Post by nAdopAsaka »

the vows less-heard - some more examples of the Dikshitars “vow”

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

In hiranmayIm lakSmi and vinApustaka dhArini, the Dikshitars rejection of mortals as saviors is clear.

His rejection of the illusory support of such lesser mortals is also made clear in the less well known dhanyAsi
mAyUranAtham anisham bhajAmi

As "mAyAmayA dharaNIsham tyajAmi" kings as lords of the earth (dharani-iSa) are rejected (tyajAmi).

What is perhaps less known are the extensive references made to ALL such illusory acts and his categorical rejection of debasing from them that resonates in some of his most famous kritis, starting from the very first one.

Read them and weep or rejoice as the case may be.

Kritis and the words used are given

SrInAthAdi guruguhO jayati jayati
mAyAkArya kalanA hInO

kamalAmbAm bhajarE
mAyAkAryam tyajarE

shrI subramaNyAya namastE namastE
tApatraya haraNanipuNa

shrIvishvanAtham bhajEham
tApatraya-manobhItyApaham

mAnasa guruguharUpam bhajarE rE
mAyAmayahRt tApam tyajarE

shrI kamalAmbAyA param nahi rE
anAdi mAyAvidyA kArya

AryAm abhayAmbAm bhajarE
avidyA kArya kalanAm tyajarE

abhayAmbA nAyaka harisAyaka
tApatrayahara

shrI kamalAmbA jayati
tApatrayAdi bhEdana dhurINatarayA

shrI guruNA pAlitOsmi
tApatrayArItena

akSaya liNga vibhO svayambhO
mAyAkArya kalanA rahita

harihara putram
mAyA kAryam tyajEham

Sri Guruguha tArayASu
tApatraya harakumAra

bhAratI maddhiSaNAjADyApahE tvad
mAyAkArya varjitE

kailAsanAtham bhajEham
kAmAdivRttim tyajEham

tyAgEsham bhajarE rE mAnasa
tApArttim tyajarE rE mAnasa

tyAgarAjam bhajarE rE citta
citta tApatrayam tyajarE

vadAnyEshvaram bhajEham
sadA madAdi vRttim tyajEham

Here is MSS rendering the vasantA harihara putram

https://www.youtube.com/watch?v=Kt4XKeu3nMU

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#678 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

@RSR

Regarding the krithi, I have explained my stand. I didn't get any genuine references from anyone who proclaims to be an analyst in Deekshitar krithis to change my views. You can read them here as they are much available.

Regarding your query regarding a thread related to Thyagaraja, I am unable to remember. If you can tell me the exact topic, I shall try.

The kriti 'saraswathi manohari' is on Kamakshi and not on Saraswathi as stated. So, Parvati considered as a mother of Subramanya is nothing new.

I wish to say add one more point. Though I have quoted the sahityam from SSP, I never added any further details from the text. But, I am getting constant repugnant messages about the book and its author from you both. Are you spreading a message to someone else? ;)

When you wish to know, you need to have unbiased views. When that is absent, your learning becomes questionable.

No compromise on my perception that the TRINITY were never guilty of Nara sthuthi, erotic references and distortion of established portrayal of Deities
You lack knowledge about these Saints. Go through the history.

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#679 Re: Mutthuswamy Dikshithar (the Dikshitars panCa-krSnA kSetra kritis)

Post by nAdopAsaka »

the Dikshitars panCa-krSnA kSetra kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar

the panCa-krSnA ksetras are recognizable in this set of 5.

The rAgas chosen are themselves aligned with various aspects of the krSnA deity as well (kAma-janaka, gOpis, the celestial oonjal/swing for the hindOla, the gaudiya krsnA and vamSa-vati noted earlier ) in keeping with the careful and accurate method of the nAdayOgi.

Some relevant words from the kritis are shown and are notable.

bhaktavatsalam – vamSa-vati-abhiSEkavalli - tirukannamanga
krSnAnanda mukunda – gaulipantu- tri-vikrama nArAyaNa -tiru-kovilur
gOvarddhana girISam- hindOlam- gajEndra rakSaNa, kavijana hrt mandAram -tiru-kavisthala
bAlakrSnam bhAvayAmi – gOpikA vasantam - nilamEgha gAtram – tirukannapur nilA perumal
gOpAla krsnAya – kAmbOji – dAmOdarAya, garuDa vAhAya , dharani dharAya, tirukannagudi lOkanAtha


gOpAla krSnAya

the vidUSi Amruta V does the illustration

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

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#680 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

Post #680

Why are you partial towards Trivikrama of Tirukovilur. Why can't we attribute this kriti to:

Thiruvaataru - Kesava Peumal - Kesava!
Thirukkannapuram Sauriraja Perumal - Sauri!
Sirkali/Thiruoorakam - Trivikrama!
Thiruthangal - Narayana Perumal - Narayana!
Tirupathi/Chidambaram - Govindaraja Perumal - Govinda!
Thiruvananthapuram - Padmanabha!

Same with the kriti balakrishnam bhavayami. Can't we attribute it to Tanjai/thirukArvAnam Nilamega Perumal?

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#681 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar

It needs to be comprehended that the panCa krSnA kSetras require a specific and unique focus on the krSnA deity of the shrine, (regardless of the main deity), which focus is not in any of these being mentioned.

regarding krSnAnanda mukunda, for example

At SirkAli, the prominent idol is vAmana (as trivikrama) and with “Tadalan or vAmana” as the utsava idol and not krSnA. This rules it out.

At tiru-ooragam in kAnCi, the worship is of a form of AdiSeSa , and there is no krSnA aspect.

In contrast tiru-kovilUr/trivikrama is focused on krSnA having also a separate/utsava idol for this gOpAla/krSnA/AyanAr. The kriti itself also gives krSnA specific references as well, in particular the "murali" which is iconic.

All the other locations mentioned do NOT have mention of the “trivikrama” aspect, and simultaneously a focus also the krSnA deity, as far as I can tell, which rules them out.

regarding bAlakrSnam bhAvayAmi ,

At tiru-kanna-puram, the kriti and the panCa krSnA kSetra are again less about the main deity and particular about the krSnA. In fact the name of the place itself derives from “kanna”, a synonym for krSnA and there are separate idols in the shrine for santAna krSnA and the sudarSana Cakra.

The “arjuna sArathi” reference is to the mahAbhArata where obviously this sudarSana Cakra was used, as also its use in the “kaMsa bhanjanam” per brahmaVaiv purAna.. “gOkula” used in kriti is also emblematic as the town of krSnA, aka krSnA-pura and therefore basis also for the word “kanna-puram”

The tanjai and kAnCi locations mentioned have non-krSnA deities for processions and are irrelevant.

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#682 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

ref-p-678
---------
@bhakthim dehi
The discussion and discord is about two kruthis, both of which refer to Kanka-sailam which is conventionally taken to mean Kazhugumalai.

This was contested by Nadopasaka. I too agree that it should instead refer to Azhagarkoil.

- As expounded by Nadopasaka,, Sri.MD is a Guru-Guha devotee. and though he gave us compositions on all deities, Guha is special to him. As such it stands to reason that he would have composed on all the SIX renowned temples ,namely Thirutthani, Palani, Swamimalai, Thirupparankundram, Tirucendur and Pazhmuthirsolai.

While all the first mentioned kruthi have been identified, it is said that the sixth is lost .
-
Instead of that facile assumption, we should take kankasailam to refer to Azagarkoil mountain. In that case, Lord Guha casting his karuNAkATAAKSHAM on Lord Vishnu becomes very clear. especially since, Murugan shrine Is at the top of the said hill .in the same place. If we apply this to Satthur, there is no murugan temple mountain nearby . Kzhugumalai is very much far away.
--
Secondly, once we accept the reference to kankasailam as Azagarkoil, the same logic should be applied to the 'Subrammanyena rakshitoham' kruthi also. There is absolutely no difficulty in that
.
- Thus Nadopaasaka , rightly concludes that Sri.MD composed TWO ruthis on the Pazhamuthir Solai- namely venkatesa yaadhava and then subrammanyena.
Perfect. No problem at all.
----------------------------
2)
As for the Trinity not composing any kruthi on any human PATRONS or otherwise, and with any erotic theme, which is typically associated with courts of kings and zamindars and rich merhants,
what is your objection? It is a fact testified by scholars like Dr.V.raghavan -for Thyagaraja and SS kruthis and by Sri.TLV for MD kruthis
-.
If you are a devotee 0f the Trnity, you mst object only if anybody says that the Trinity devated from that principle
-.
My perception does not begin from analysis of each and every kruthi - actually I have-thanks to the great sites of Sri.Govindan - but from an innate conviction that they coul not have- judging from quite unambiguous 99 % of kruthis

Naturally, I conclude that such exceptions are interpolations by others . Such interpolations are very much suspected in the case of Sri.MD kruthis. So, we must reject any such , which sounds uncharacteristic of the main theme , irrespective of any 'evidence' in manuscripts and such.
--
SSP is famous because it was the first attempt to 'notate' the gamakas. The entire book is mosty about the notations. except the prose part dealing with brief outline of the lives of composers.
Nothing extrordnary in that prose section--infact it s very prosaic.
--
New Age tune-smiths and vocalists are at perfect liberty to ceate their own music entirely based on their interpretation of the notations.--
If they are good , they will gain traction amng the community.
--
When I read the very early posts in this section- somewhere around p-90 onwards, very reputed scholars like DRS have simply attributed the two contovesial ompositions- said to have been created for Kamalam . as out of sync.
-
First for the language and then for the purpose.
-
Just because, it Is notated in the SSP, it des not make it MD composition. Scholars say that they were by Ramaswamy Dikshitar.
It is for this you launched your name-calling on me.--
So disgustng that the moderators closed that thread.
-----
There is a thread in General Discussion about Hiranmayeem kruthi.
Kindly go through it... Striking feature is total absence of 'smileys' in early discussions.
viewtopic.php?t=32680
-
I had my Vedic training in my schooldays and have actually recited and studied SiSuktham. Do not assume that all others are ill-read excpt you. Got it?
For jaundiced eyes, everything looks 'yellow ', you may say
-
The latest posts by Nadopasaka are befitting clarfications.

--

--

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#683 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

@RSR
You can attribute it to Tantondrimalai too. I have no objections. :lol: :lol: Both of you failed miserably to support your arguments.
I do not expect you to accept the facts placed by me. That is far from your comprehension. So, you can continue to live in a delusionary world.
If you are a devotee 0f the Trnity, you mst object only if anybody says that the Trinity devated from that principle
You lack knowledge. Go through the history.

The use of 'smileys' becomes inevitable as the discussions with the conspiracists should sound distinct.. If you are much aversed with my smileys, avoid reading my posts. :lol: :lol: :lol: :lol: :lol:

Though I have seen a few manuscripts, I am not interested in reading manuscripts. It is really a tough and painful job. I always like to do simple things. :)

I know fanatic devotees of SSP and its author. I also know a few who worship its scholarly and unbiased approach.
It is their grace that I am able to at least go through the text, if not become an expert. I frequently consult them before commenting on this text.
I pray they should never meet you. :lol: :lol:
Knowing your abilities and your approach towards the heritage, I suggest you not to go near SSP.
The text is not for you! You need to take several births to understand the text.
Last edited by bhakthim dehi on 23 Nov 2021, 21:46, edited 3 times in total.

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#684 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

At SirkAli, the prominent idol is vAmana (as trivikrama) and with “Tadalan or vAmana” as the utsava idol and not krSnA. This rules it out.
Trivikrama, as a main deity is rare to be found in temples. You have three among the divya desa sthala-s enshrining Trivikrama - Thirukovilur, Sirkali, and Kanchipuram. In both the temples, Trivikrama is considered as an extension of Vamanavatara. I don't think having or not an utsava idol of Krishna is to be used as a criterion to attribute a kriti.
At tiru-ooragam in kAnCi, the worship is of a form of AdiSeSa , and there is no krSnA aspect.
I think you have not been there. There is a gigantic 3o ft Trivikrama murthi there.

I don't think having or not an utsava idol of Krishna is to be used as a criterion to attribute a kriti.

Almost every other temple has a sannidhi for Krishna with moolavar/utsavar/both.

I also feel there is no need to attribute each and every kriti to a site. Many can be like slokas. Krishnananda is one such. He has particularly used (many of) the 12 names of Vishnu. I always rely on internal evidence. Not only Deekshitar, but the other two also use the 'sthala mudra' in all their kritis attributed to a sthala. Lack of that mudra indicates a generic kriti. The same is applicable to 'balakrishnam'.

Of course, you are free to interpolate and post your ideas.

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#685 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

p-683
@bhakthim dehi
I would worry , only if I am not attacked by you. Every epithet that you fling , 'bakthim dehim prathigachathi'
<redacted>

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#686 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RSR

I thank you for your comments. Thanks also for your insistence on basic honesty which has gotten us to this point.

It’s a good idea to ignore this character infesting this thread.

There is woeful lack of understanding and also complete disrespect for the Dikshitar.

There is no question there is a complete panCa krsNa kSetra set of the Dikshitar.

At tiru-kOviLuR, the phrase “yamaLArjunAdi bhanjanOpEndra” in krSnaAnda mukunda is a unique identifier for the arjuna doing penance at tiru-kOvilUr, which is part of this sthala lore. Although the yamala(Arjuna)(tree) idea comes originally from the dAmOdara tale of the child krSnA, in this case the reference is to arjuna receiving wisdom from krSnA (upEndra) as in removal (bhanjana) of dilemna/doubt. (from yamala as in two minds)

The rAga of this kriti is also emblematic of the Dikshitars non-random choices , gauli-pantu derives from gaudi-pantha is the gaudiya-mArga (or path/pantha) of the krSnA.

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#687 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

@nAdopAsaka
Sir,
Just sharing some thoughts with you. Needs further study.
-
The Kamalaambika NavaavarNa kruthis are very complex in conception.
-
The Lord at Thiruvaaroor is Thayagaraja ( Sivan) and his consort is Neelothpalaamba. who ofcourse is Parvathi.
-
But Kamalaabika has a separate shrine. Many writers and scholars consider both as the consorts of Thyagaraja deity. . On reading web articles, I am a bit confused.

Sri.BD says that Kamalambal is before marriage and Neelothpalamba after marriage. ..exact words used by him are 'yoga' and 'bhoga'. Sounds crude.
-
Kamalaambika there is a separate Devi of Sri-Vidya practice. She is not Lalitha(Parvathi) nor Lakshmi. but -
She is a fusion of all the Devi concepts- the supreme. ( I think, you have the correct understanding). She is neither Parvathy, nor Lakshmi and yet she is both if not more.
-
A literal reading of the nine kruthis thinking of her as a consort of Thyagesa is likely to cause confusion
-
Your note on Raga selection should follow after exploring the lyrics of those nine kruthis. I am yet to get a unified and comprehensive picture of the set of kruthis. You are best suited for the task.
I will try to give some links for lyrics, translation, interpretation and other details this evening or earlier. Kindly help. and go through the first 150 posts to see if others have dealt with the problem.

In that case, the Thiruvaaroor Temple COMPLEX has actually Four Devis. namely Parvathy, Saraswathi, Lakshmi (?), AND the Supreme Srividya Devi.
I need to explore further.

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#688 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

Every epithet that you fling , 'bakthim dehim prathigachathi'
Again my childhood memories reverberate in my mind when I read this. We all use to have a person who says 'nI adichathu valikkavEyillayE', a sentence used to pretend that he is unaffected by the proceedings. :lol: :lol:

The syllables 'him' in 'dehim' is different from the one used in English. If you are unable to comprehend, let me know. I will explain. :D
At tiru-kOviLuR, the phrase “yamaLArjunAdi bhanjanOpEndra” in krSnaAnda mukunda is a unique identifier for the arjuna doing penance at tiru-kOvilUr, which is part of this sthala lore. Although the yamala(Arjuna)(tree) idea comes originally from the dAmOdara tale of the child krSnA, in this case the reference is to arjuna receiving wisdom from krSnA (upEndra) as in removal (bhanjana) of dilemna/doubt. (from yamala as in two minds)
When I say you are free to interpolate, I meant I am no more interested in your prattle. You are free to post whatever you want to say. My goal was accomplished. Why should you even make me to enter a discussion? :)
The story of Arjuna getting enlightened by Krishna
in Thirukovilur is nowhere seen in the puranas. Do get me evidence if you have found one. As usual, I expect you to start with some other stray reference. :lol: :lol:
Even otherwise interpreting 'yamalarjuna' as you have mentioned is close to 'special chitirai'. :lol: :lol:

Whenever I read the posts (of you two) with prodigal appreciation, I get reminded of this verse of Thirumular:

"kuruDum kuruDum kuruDATTam Adi kuruDum kuruDum kuzhivizhumArE"

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#689 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

in continuation of p-687
---------------------
about Goddess Kamalambika of Thiruvaroor
--------------------------------------
@nAdopAsaka
Kindly build upon this for beginners.
Very good article ( blog-post)
about Thiruvaaroor
A short introduction to the great Thiruvarur Thyagaraja temple
https://rajathathablog.blogspot.com/201 ... great.html
----------------------------------------------
Some short passages of translation of the Navaavarna kruthis
--------------------------------------------------------
Kamalambika does not seem to be Lakshmi or even Parvathi
-mother of Siva,Vishnu and Brahma
A bit confusing. She is Girija , mother of guruguha and mahishasura mardhani and yet she is not Parvathi. She may be Srawathi too.
Scholars in the forum are requested to give their explanation.
Will try to give more links in the next post
--
1) Kamalamba Samrakshthu maam
(Aanandha Bairavi)
She gets pleasure in the company of Goddess Lakshmi,
-
She who killed Mahisha and others who are enemies of devas,
She who is worshipped by Vedas and Puranas,
She is the goddess of Tripura, She who is the mother of Guru Guha,
She who enjoyed the destruction of the three cities,
She who is the sister of Vishnu, the enemy of Madhu,
======================================
2
(KalyaaNi)
Kamalambhaam bhajare re manasa ,
--
She who is surrounded by Lakshmi and Parvathi,
-
She who is consort of Shiva , she whose braid beats in prettiness the bees,
-
======================================
3
Sri Kamalambikaaya kadakshithoham
(Shankarabaranam)
She who is the consort of Shankara , who is the lord of billions of universes,
============================================
4
Kamalambikayai kanakamsukayai,
-
(Khamboji)
She who is the sister of the consort of Lakshmi,
She who is the goddess of passion ,she who cannot be defeated,
She who is the daughter of Himalayas, She who is worshipped by sound “Hreem”,
================================================
5
Sri Kamalambhaya param nahi re re chitha,
-
(Bhairavi)
She who is the mother of Shiva, Vishnu and Brahma,
She who is the creator and cause of the world whose soul is Shiva,
She who resides in the outer wheel with ten triangles,
She who is served by Bhairavi, Bhargavi and Bharathi*
*Parvathi, Lakshmi and Saraswathi
================================================
6
Kamalambikayasthava Bhakthoham
punnaagavaraaLi
Kamalambikayasthava
-
Who is consort of Shiva and doer of good,
Whose braid beats the pretty bees swarming round the Punnaga tree.
Who is worshipped by Dasararatha and others
Who teaches about Shiva the father of Guru Guha,
=====================
7

Sri Kamalambikayam bhakthim karomi
(Sahaana)
-
Ghanta
he who is the secret Yogini known only to,
Brahma, Vishnu, Shiva and Hayagreeva,
She who is of the divine form of Goddess of speech
===================
8
Sri Kamalambike avava shive kara dhrutha shuka saaririke
(
-
She who holds the trident, she who is the mother of the world,
--
the blog was incomplete.
========================
She who wears Lord Shiva, Who grants good occult powers,
=============================
9
-

=====================
from wiki

The rendition of this classic cycle of compositions begin with an invocatory song on Lord Ganesha and Lord Muruga.
Sri Maha Ganapathiravathu mam - Goula - Misra Chapu
Balasubramanyam Bhajeham - Surutti - Adi.
The 11 kritis are as follows:
Kamalambike - Thodi - Rupakam (Dhyana Krithi)
Kamalamba Samrakshathu - Anandabhairavi - Misra Chapu
Kamalambaam Bhajare - Kalyani - Adi
Sri Kamalambikaya Katakshitoham - Shankarabharanam - Rupakam
Kamalambikayai - Kambhoji - (Khanda) Ata
Sri Kamalambayah param - Bhairavi - Misra Jampa
Kamalambikayaastava - Punnagavarali - Rupakam
Sri Kamalambikayam - Sahana - Tisra Triputa
Sri Kamalambike - Ghanta - Adi
Sri Kamalamba Jayati - Ahiri - Rupakam
Sri Kamalambike - Sri - Khanda Ekam (Mangala krithi)
--
कमलांबा, कमलांबां, कमलांबिकया, कमलांबिकायै, कमलांबिकायाः, कमलांबिकायाः, कमलांबिकायां, कमलांबिके.

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#690 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

srinivasaraos blog
https://sreenivasaraos.com/2012/09/14/s ... ya-7-of-8/
-----
excerpts
=======
Kamala is one of the ten maha_Vidyas, the principal deities of the Shaktha tradition of Tantra.

But, the Sri Kamalamba referred to by Sri Muthuswami Dikshitar in this set of kritis, is the Supreme Divine Mother herself. The immediate inspiration to Dikshitar was, of course, Sri Kamalamba (regarded one of the sixty-four Shakthi centers), the celebrated deity at the famous temple of Sri Tyagaraja and Sri Nilothpalambika in Tiruvavur.
-
interestingly, the temple complex also accommodates the shrines of Maha_Ganapathi, Subrahmanya, Dakshinamurty and Balamba; all Shakthi deities. The temple complex has a Pushkarini, a lake, named kamalalaya, the abode of Kamala.This tank is referred to by Sri Dikshitar , in his kritis , as Kamalalaya thirtha and the Devi is Kamalalaya thirtha vaibhave. The town of Tiruvarur is mentioned as Kamala nagara (e.g. Kamalanagara viharinai) and as Kamala pura(e.g.Kamalapura sadanam) ; referring to Devi as one who resides in and walks about the town of Kamalapura/Kamalanagara.
-----
Sri Dikshitar devoted one composition to each of the nine avaranas. In addition, there is a Dhyana Kriti, a verse in meditation, preceding the set of nine; and a Mangala kriti, the verse celebrating the auspicious conclusion, at the end. Thus, the Navavarana composition of Dikshitar, per se, is a set of eleven kritis.
The Dhyana kriti Kamalambike_ashrita_kalpa_lathike is composed in Raga Todi (Rupaka). The Vaggeyakara Mudra is in – Guruguhakarane Sadashiva antahkarane
[The Dhyana-kriti in Todi does not bear the customary Raga_mudra, the name of its Raga.]
-
The concluding Mangala Kriti – Sri Kamalambike Shive pahimam, Lalite , Sripathi Vinute – is in the auspicious Sri Raga , set to Khanda Eka Taala. The Raga Mudra is in the opening line as Sri; and, the Vaggeyakara Mudra is the phrase Shankara-Guruguha-bhaktha vasankari.
Apart from these eleven Kritis; It is customary, as a prelude to Kamalamba Navavarana group of kritis, to invoke Maha_Ganapathi and Lord Subrahmanya by singing Shri Mahaganapathivaratu mam (Gaula) followed byBalasubrahmanyam Bhaje (Surati).
**
Thus , the vocal tradition of the Kamalamba Navavarana has , in all, a set of thirteen kritis. The core kritis are however the nine relating to nine avaranas of Sri Chakra.
-
For more detailed explanations- visit the cited site please

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#691 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Usually, I refer to guruguha-vaibavam - blogsite of Sri.Govindan for the meaning of kruthis. but I found that some of the kruthis is this set are omitted there. ..So, I had to search elsewhere.
-
Happily, all the kruthis in this group have been covered along with their esoteric meaning in the following great page.
-
https://sanskritdocuments.org/doc_devii ... rtham.html
--
I think it is by Prof.PPN.
------------------------
kamalAmbA navAvaraNam with translation
कमलाम्बा नवावरणं सार्थम्
------------------------------
<QUOTE>
The KamalAmbA shrine is in the northwest corner of the outermost
prAkAram, well away from the main shrines, with its own MaNDapam
and circumambulatory passages that makes an angle with the
prAkAram wall. This shrine is traditionally and ritually
unconnected with the main shrine of TyAgarAja.
Here, the
Goddess is depicted in a meditating posture. While NIlotpalAmbA
is supposed to represent the ``bhoga shakti'' of Lord Shiva,
KamalAmbA represents the ``yoga shakti''. It is to be observed
that muttusvAmi dIkShitar never associated kamalAmbA with
TyAgarAja, and considered only NIlotpalAmbA as the consort
of the deity.
All the eleven kIrtanams of the KamalAmbA
NavavAvaraNam series are engraved in marble slabs on the walls
at the entrance to the main sanctorum of Goddess KamalAmbA.
</QUOTE>
This seems to be the BEST page for understanding the group kruthi in all aspects.
@nAdopAsaka
@RaviSri
@Rajani

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#692 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

I found this in the web.-while searching for 'sister of Siva'
----
quoting
------
Thus Brahma and Lakshmi are siblings, Shiva and Saraswati are siblings so are Vishnu and Kali. Now these sibling pairs married in between like Brahma was paired with Saraswati, Vishnu was paired with Lakshmi and Kali was selected for Shankara.
/quote
======
It may explain 'siva-anuja' in the MD kruthi. ---Saraswathi

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#693 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

ref-p-674
----------
@bhakthim dehi
https://rasikas.org/forums/viewtopic.php?t=28879
------
I was referring to your reply to the O/P there . You had correctly pointed out that, the tunes of pre-trinity composers are all retuned versions. but those of the Trinity have been preserved almost intact by the disciples.- both oral and written traditions with some changes.
-
I would add that the compositions of the TRINITY are exclusively of kruthi type and strictly avoided the other types of dance and light-music. More importantly, all the three led exemplary personal lives and all their compositions were on deities.
-
you can also refer to the thread on 'RETUNUNG' in general discussions- where I had the rare privilege of offering a clarification on difference between 'lyrical composition' and 'musical composition.
to a 'great scholar' like you and what is miraculous ' getting thanked by you!
--
I would also quote @RaviSri
The art form as an experience that would ennoble the heart and lift the soul of man to greater heights. The purpose of an incarnation is to transcend and transform. Shyama Sastri, Thyagaraja, and Muthuswami Dikshitar transcended the mundane and transformed the way music was handled. The Trinity proved to the world through their music and through their exemplary lives, that the sole purpose of music was to make man perfect and help him realise his unity with God.
---
Let us not harp on 'Scholarship' angle. I do not think that there is or ever have been any one, including the great-great acharyas of olden times, who have actualy studied ALL the Vedas, Upanishads, main PuraaNaas, all the upa-puraanaas, all the treatises on Arts, etc, of India even upto 1500 AD. ….and about other related fields like Philosophy, History, Literature and so many numerous topics not to mention all the Tamizh works from Sangam era.
-
The more one perceives the infinite vastness of that subject, the more one becomes humble and less strident. and arrogant.
--
It is better NOT TO reply to dismissive and abusive 'chinna paiyans'
-you may remember the incident in arathys life at Ettayapuuram-
it will only lead to more abuse . So Bye.

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#694 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

An old thread...Sri.MD's compositions on Subramanya.
--
https://rasikas.org/forums/viewtopic.php?t=188
--
venkatesa yaadhava ' kruthi lines are discussed.
-
Also a wonderful post on the kruthi--'sUBRAMANYAYA NAMASTHE', a meeting of Sage of Kanchi and ARI.
-
The sage is supposed to have remarked on the correct pronunciation by ARI and Smt.MS

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#695 Re: Mutthuswamy Dikshithar (some notes on the kAmbhOji kritis of the Dikshitar)

Post by nAdopAsaka »

some notes on the kAmbhOji kritis of the Dikshitar

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

We should certainly engage and dwell more on the Sri-vidyA theme at the core of the Dikshitar.

Since RSR has mentioned the major kAmbhOji of the Dikshitar, it is relevant to look more at his kritis in this rAga.

rAga kAmbhOji is one of the preferred melodies of the Sakta saints and has a prominent place in the nAda-sampradAya.

Indeed Dikshitars fascination for kAmbhOji appears to have extinguished any interest he may have had in hari-kAmbhoji.

I have remarked elsewhere that to the nAda-upAsaka, the structure of ”subramanyAya namastE” resembles a mountaineer scaling Everest.

First base camp is established with the below ground level SaStAnga “namaste” (the Sri subram starting syllables are the lowermost in the octave of all his kAmbhOjis). Then this prostration attitude is seen again in anupallavi with the earth dwellers, the bhusurAdi, which then stirs up like the great serpent uncoiling, to stage 1 "vAsuki takSakAdi sarpa" , returning for supplies to base camps and also to bring up the more timid , then stage 2 "vAsavAdi" , encouraged along the way with sporadic glimpses of the peak "sakala deva vanditAya" !, , subsiding again as he melts with the first clear vision of this effort, "dAsa jana abhiSta" then emboldened to the final stages "tApatraya harana tatvOpadeSa", victory with "vijayavalli" and "bhuvana bhOktre" and finally "bhOgamOkSa" at the peak.

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

So behind the tatvOpadESa subramanyAya namastE, the kamalAmbikAyai navAvarana gem, the dakSina kASi VisweSwara, and the panCalinga Sri valmIka-lingam nestles the virinCipuram marakatavalli, the kAnCi kailAsanAthena , the dAmOdara krSna kSetra gOpala krsnAya and the tiru-kadiyUr sAmba sadASivAya.

I have mentioned elsewhere that the rAga kAmbhoji has also attracted the Dikshitar to the aTa tAla, (three of these kritis are in aTa tAla, and there are only about 5 aTa tAla kritis in the entire collection).

At virinCipuram he celebrates the marakatavalli and her consort the mArgasahAyEswara.
At kAnci it is the kailaSa nAtha.

In sAmba sadA SivAya , the specific reference “mArkaNDEya-ayuSprada” indicates the shrine of tiru-kaDiyUr, where Siva grants victory over yama. Here the dEvi is also known as Sankaram-AbhirAmi manOharam. Not surprisingly in this kAmbhOji kriti the Dikshitar refers to the amrita-ghatESa as mADhurya sudhA dhArAya.

sAmba sadA SivAya

vidwAn sanjay S does the honors

https://www.youtube.com/watch?v=ibUXpo2n9WA

of course KVN's subramanyAya namastE is iconic for the ascent of the swAmi malai !!

https://www.youtube.com/watch?v=9a6CTxeB-1o

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#696 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Quite a few rasikas in this forum are living abroad and have even taken dual citizenship. Many more are living outside ThamzhNadu. Even if we are living in ThamizhNadu now, we may not have travelled much , despite the easy transport facilities available now. Our professional life is grinding and demands almost the entire time of our lives. Kshetra visits are hence becoming less and less possible.
-
- The brilliant monograph by @RaviSri treats the Kashtra kruthis of Sri.MD meticulously , listing the places visited in exact sequence and also the corresponding kruthis composed on the deities there.
-
Let us now attempt to create a concise guide ( geographical and even time-line based). It will dispel the myths built around his visits.
-
- I found that except for Kalahasti which now falls in Andhra , all the other shrines are within the present day ThamizhNaadu. starting from ThirutthaNI. at the northern border of the state.
-
ThirutthaNI, Thiruvotriyur, ThiruvallikkeNI,, kANCHIPURAM, and Virinchi puram nearby, Sholingar, Thirukkazgukkundram Thiruvannaamalai, Chitambaram, Vaitheeswaran Koil, Mayavaram and to Thiruvaaroor. - his Birth place. where he spent quite a few years
and created many of his masterpieces.
--
Those decades also covered the nearby temples in the Tanjore area of those times -for want of a better term, -The Cauvery Delta and also to the temples in the banks of Cauvey like Trichy, Srirangam and slightly beyond.
-
It was only after many years, he travelled down south to Madurai in search of his brothers . From Madurai, he must have visited the present day 'Thiruppuvanam ' on the banks of Vaigai river ( Pushpavaneswaran temple?) .( INCIDENTALLY, BECOMING FAMOUS FOR THE KEEZHADI ARCHEOLOGICAL FINDS DATING BACK TO VERY EARLY SANGAM ERA - FULLY SIMILAR TO INDUS VALEY FINDS AND HARAPPAN SITES- A FULLY EVOLVED URBAN SETTLEMENT !- on way to Rameswaram in search of Balusamy Dikshitar, his brother.

( If so, he might have visited Manamadurai and Paramakkudi on the banks of the same river. There is a tradition that Sadasiva Brammendra left this world at Manamadurai. And there is a Vaishnava temple at Paramakkudi similar to Azhagar koil-RSR).
-
At Rameswaram he got to learn that his brother had gone to Ettayapuram and he travelled to Ettayapuram via Saathur ,another Vaishnava temple and then to Ettayapuram.
-
He did not stay long at Ettayapuram but visited places like Triruchendur, Kazhugumalai, Sankaran koil, Tirunelveli and Kalidaukkurichi , before returning to his home town after visiting Pazhani
- .
Only after many years, he went back to Ettayapuram at the invitation of that zamindar for a wedding function there and passed away soon after.
This coherent narrative by RaviSri is entirely plausible.
-
For most part , his work was in the Tanjore delta, especially Thiruvaaroor, his native place. just like his senior contemporary Shyama Sastry.
======
The focus on this summary is the places and kruthis extracted frm RaviSri booklet. meant for better understanding of the kruthis in their proper context.
---
Will try to give a simple map also soon.
=====
The narrative will be in 5 parts.
Last edited by RSR on 28 Nov 2021, 12:29, edited 2 times in total.

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#697 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

part-1
-------
ThirutthaNi
===========
The first song that he composed on the occasion was
shri nAthAdi guruguhO in mAyAmaLavagauLa rAga.
-
The second composition he wrote was
mAnasa guruguha in Ananda Bhairavi.
The following are the eight songs composed at Tiruttani. These are known as the Guru Guha vibhakti kritis:
-
Composition - Raga
1. shri nAthAdi guruguhO jayati jayati - mAyAmALavagauLa
2. mAnasa guruguha - Ananda bhairavi
3. shri guruNA - pADi
4. guruguhAya bhaktAnugrahAya - sAmA
5. guruguhAdanyam najAnEham - balahamsa
6. guruguhasya dAsOham - pUrvi
7. guruguha swAmini bhaktim karOmi - bhAnumati
8. shri guruguha mUrtE - udayaravicandrika

================================================iit must be remembered that Dikshitar was only about 25 years old at this time.
The vision of Lord Subrahmanya had once and for all made Muthuswami Dikshitar resolve to take the Lord as his Guru. Guha is another name for Lord Subrahmanya.
--
His heart filled with bliss, Dikshitar left Tiruttani. One account of his life says that he went to Tirupati and Kalahasti from Tiruttani.

-At Kalahasti, which is one of the panchabhUta sthalas, representing the element vAyu (wind), he composed
Sri kALahastIsha in the raga husEni and
.
jnAnaprasUnAmbikE on the Goddess in kalyANi.
--
Muttuswami Dikshitar worshipped at the shrines in and around Madras.
-
Tiruvotriyur, which is near Manali is famous for its temple dedicated to Lord Tyagaraja and Goddess Tripurasundari.

Here Dikshitar composed
AdipurIshvaram in Arabhi, in praise of the Lord and
Tripurasundari in the raga sAmA on the Goddess.

--------------------------------------------
He then visited Triplicane where Lord Krishna gives darshan as Arjuna's charioteer Parthasarathi. Here, Dikshitar composed
Sri pArthasArathi in shuddha dhanyAsi.
--
Nearby is the shrine dedicated to Lord Siva as Tiruvateesvara. Dikshitar sang on Him the kriti tiruvaTIshvaram in the raga gamakakriya.
==========================-
Kanchipuram.
============
This pilgrim town, about 75 k.m. from Madras is one of the most important kShEtras of this country. It is one of the panchabhUta kShEtras representing the element prithvi or earth.
--
Lord Ekamreswara is the lord of prithvi.
-
It elicited from him the composition
cintayamAkanda mUlakandam in the rAga bhairavi.
on EKAMRAM -PRITHVI LINGAM - SOMASKANDA

In Kanchipuram no Siva temple has a shrine for Ambal.
-
The most important temple dedicated to the Mother Goddess is the Kamakshi temple.se, for Dikshitar, Kanchipuram was rich, fertile territory as far as his life's work went. The city of temples was waiting to be sung of by him.
-
it was his second composition in the series dedicated to the five elemental Sivalingas.
-
Siva Ekamresha also secured from Dikshitar
the song in gamakakriya, EkAmranAtham bhajEham.
the lone mango tree

------------------
The Kailasanatha temple in Kanchipuram is a sculptural wonder built by the Pallava kings. This temple elicited from Dikshitar two kritis,
kailAsanAthEna in kAmbOji
and
kailAsanAtham in vEgavAhini.
=========-
The Mother Goddess had a special place in Dikshitar's heart as She was his Guru's (Guha) Mother. More special to him was Kamakshi, because as a shrI vidya upAsaka, he was fascinated by the shrI cakra in front of the Goddess. Worship is done only to this shrI cakra and not to the Goddess directly.
=
nIrajAkShi kAmAkshi in hindOLam,

kancadaLAyatAkShi in manOhari,

saraswati manOhari in saraswati manOhari,

kAmAkshi in sumadyuti,

EkAmrEshanAyikE in shuddha sAvEri

(this is now called karNATaka shuddha sAvEri),
kAmAkShi varalakshmi in bilahari

--
were some of the compositions he dedicated to the Goddess here.

===============================================
-
No less known for its Sri Vaishnava traditions, Kanchipuram houses one of the four shrines most sacred to Vaishnavites. The others are Tirumala, Melkote and Srirangam.
-
The Varadaraja temple is a big complex and is famous for its garuDa sEva festival.
-
Dikshitar paid homage to Lord Varadaraja with
the sAranga kriti, varadarAjam upAsmahE.
-
During his stay at Kancheepuram, Dikshitar must have visited
Tirukkazhukunram, a hill shrine near Chingleput, famous for the two eagles that visit the temple everyday for partaking the Lord's prasAdam.
The dhanyAsi kriti vEdapUrIshwaram is attributed to this temple.
-
Dikshitar also visited the hill shrine of Sholingur, situated between Arkonam and Walajapet in the North Arcot district. This is a very famous temple dedicated to Lord Narasimha. Here, Dikshitar wrote the
- mOhanam kriti narasimha Agaccha.

The calanATa kriti
pavanAtmajAgacha is attributed to the Anjaneya temple situated on this hill. The above two songs have a lot of common words and phrases in the sAhitya

-
---------
Sometime during the stay at Kanchipuram, Dikshitar decided to visit his ancestral village. Virinchipuram near Vellore in the North Arcot district is about 70 k.m. away from Kanchipuram.

-
The village and its neighbouring ones were noted for their steadfast upholding of Vedic ideals. The people were scholars in the Vedas and allied shAstrAs. It was to Virinchipuram that Dikshitar's ancestors belonged and it was from this village that his grandfather and father had migrated to Tanjavur about 50 years ago. Muttuswami Dikshitar wanted to see his village and also have darshan of the deities enshrined at the famous temple there.
-
It is a small but charming shrine dedicated to Siva as Margasahayeswara. Here, Dikshitar paid his tribute to the Lord by composing
mArgasahAyEshwaram in the rAga kAshirAmakriya,
maragatavalli
in khAmbOji and
mArgahindOLa rAga priyE
in mArga hindOLam both in praise of the Goddess and

pArvati kumAram in nATakurinji on Lord Subramanya there.
--
Sri.MD lived at Kanchipuram with his parents, wives and two brothers for quite some years. and learned the tenets of the Upanishads from the scholar and Rama Bhaktha Upanishad Brammendra . and also became a Rama Bhaktha under the influence of the scholar.
.
================================================
(in the next part , we will see about Thiruvannaamalai)

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#698 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Serfoji-II was the king of Tanjore during the few years that Sri.MD spent at Tanjore. His disciples The Tanjore Quartet gained recognition at the Royal court. but Sri.MD did not visit the Royal assembly nor did he accept any favours.
--
His composition on Lord Bradeeswara , in ragam 'nabhomani' has a reference to the king Serfoji but it simply says that the lotus feet of Siva are worshipped by the king. This can never be taken as stuthi of the kiing at all.
----
Prof.P.P.Nrayanaswami has the following lines on this .
---
dIkSitar shunned material wealth and this is made very clear in the k.rti “hiraNmayIm lakSmIm sadA bhajAmi hIna mAnavAshrayam tyajAmi” (lalita, rUpakam) sung in the village of mannArguDi.
-
In another k.rti in rAgam dhanyAsi at mAyUram, he shuns the rulers of earth, through the phrase “mAyAmaya dharaNIsham tyajAmi”.
-
In yet another k.rti “ma.ngaLa dEvatA” in rAga dhanyAsi (devoted to ma.ngaLAmba), he says that Goddess lakSmi has bestowed upon him all honors and he seeks no other honor.
-
In the caturdasha rAgamAlika “shrI vishvanAtham bhajEham”, he makes a passing reference to the patron vaidyali.nga without any flattering words.
--
In the k.rti “nabhOmaNI candra”, in rAgam nabhOmaNi, he refers to King Serafoji as a devotee of Lord b.rhadIshvara, without praising him directly..
-
--
http://www.carnatica.net/special/md-kshetra-iii.htm

======================
The translation is given below

pallavi
nabhO maNi candra-agni nayanaM
nagajA sahita bRhadISvaraM
namAmi-ahaM satataM satatam

samashTi caraNam
Subha-udaya karaNa nipuNa-anghriM
Suddha sphaTika saMkASaM
Sarabha-indra saMsEvita caraNaM
rAja SEkharaM bhaya haraNaM
Rbhu prabhRti muni hRtsadanaM
tribhuvana karaNa madana mathanam
----------------

pallavi
satataM satatam - Forever and ever,
namAmi-ahaM - I bow to
nabhO maNi candra-agni nayanaM - the one who has the sun, moon and fire as eyes,
nagajA sahita - the one in the company of Parvati (daughter of the mountain),
bRhadISvaraM - Lord Brhadishvara,

samashTi caraNam
Subha-udaya karaNa nipuNa-anghriM - the one whose feet are expert at causing the growth of good fortune,
Suddha sphaTika saMkASaM - the one who shines like pure crystal,
Sarabha-indra saMsEvita caraNaM - the one whose feet are worshipped by King Sharabhendra,
rAja SEkharaM - the one whose crown is the moon,
bhaya haraNaM - the remover of fear,
Rbhu prabhRti muni hRtsadanaM - the one residing in the hearts of sages such as Rbhu,
tribhuvana karaNa - the creator of the three worlds,
madana mathanam - the destroyer of Manmatha.
---------------------------
http://guru-guha.blogspot.com/2007/12/d ... nabho.html

Nowhere, is he praising the king.
@The Lost Melodies
@The Lost Melodies

RSR
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#699 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

https://sites.google.com/site/dkpattamm ... -guru-guha
( Thiruttani)
---
Vintage 78 rpm classic by Smt. D.K.PattammaaL
================================
Some classic kruthis of SriMD rendered by Smt MSS
like
Kanjadhalayadhakshi-Kamakshi,
VeeNa pusthaka dhaariNI
Sri kanthimathim
dhakshinamurthe
Meenaakshi memudam dehi

https://sites.google.com/view/mssubbula ... -dikshitar
Last edited by RSR on 29 Nov 2021, 12:20, edited 1 time in total.

RSR
Posts: 2548
Joined: 11 Oct 2015, 23:31
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#700 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

in continuation of post-697
the eternal pilgrim- summary-part-2
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Thiruvannamalai and Chitambaram
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thiruvannamalai
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Tiruvannamalai or Arunachala in Sanskrit, is the place where Siva manifested as a column of light, the top and bottom of which, Brahma and Vishnu went in search of but failed to find.
Siva assumed the form of the Linga of Arunachala. This is known as the Effulgent Linga (Tejolinga). Tiruvannamalai is the agni kShEtra.

The Arunachaleswara temple is one of the largest in India and over the centuries, most of the dynasties ruling South India have contributed to the building of the temple. The four Saivite saints and numerous others have sung the glory of Arunachala.
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To such a kShEtra whose glory he was well aware of, came Dikshitar, had darshan of aruNAcalEshvara, His consort apItakucAmba and the hill.
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In majestic sAranga, and rUpaka tALa, the bhakta as well as the follower of jnAna mArga that he was, the great composer sang the praise of the bestower of Liberation.
aruNAchalanAtham smarAmi anisham is one of the great classics composed by Dikshitar. 'smaraNAt kaivalyaprada caraNAravindam' (the Lotus-Feet that bestow Liberation if one just thinks of Him), says Dikshitar at the start of the anupallavi, thus echoing the purANic promise that if one just thinks of Arunachala, he is sure to attain Liberation.
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chitambaram

One of the most popular and celebrated Siva kShEtras in the country, Chidambaram is the confluence of the varied and significant streams of religion, philosophy and art.
-
Ananda naTana prakAsham in raga Kedaram
Dikshitar says that the Lord is present as AkAsha (space) in the Heart of devotees and grants them happiness in worldly life and Liberation too (bhukti mukti prada daharAkAsham). The Lord granted Patanjali and Vyaghrapada the vision of His raised foot (divya patanjali vyAghrapAda darshita kunjitAbja caraNam). Alluding to Chidambaram as the premier shrine for Siva, Dikshitar describes Him as being Lord of all kshetras beginning from Kedara, in the process introducing the rAga mudrA too (shrI kEdArAdi kShEtrAdAram)..
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As a special feature, this kriti has solkattu swarams, dance jatIs interspersed with swarAs. Listening to this classic,
--
Dikshitar composed the song
shivakAmEshwarIm in the rAga kalyANI. A short but lilting song,
--
chidambara naTarAja in kEdAram

cidambarEshvaram in the rAgA bhinnaShaDjA,

chidambara naTarAjam, a kriti in tanukIrti ,

kanakasabhApatim in mALavashrI and

a nOTTusvara piece(cintayEham sada) were his other offerings to Nataraja.

============================================
Dikshitar worshipped at the shrine of Govindaraja Perumal which is inside the Nataraja shrine and composed on Him too.
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Vishnu as Govindaraja, is seen to be reclining, which is neither sleep nor the state of waking.
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gOvindarAjam in mukhAri(which has the sthala purANa for this VaiShNava divya dEsha),

gOvindarAjAya in suraTTi

gOvindarAjENa in mEca bauLI

were the pieces Dikshitar wrote in praise of Vishnu here.

The mukhAri and suraTTi have a veiled reference to the coexistence of the Vaishnavite and Shaivite shrines. In both kritis, Lord Govindaraja is described as a friend of Nataraja!
-
The mEca bauLi kriti is perhaps the only one available in that rAgA.


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