Mutthuswamy Dikshithar (Krithis)

Carnatic composers (other than performing vidwans)
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nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar...

RSR, some additional notes on Cidambaram and vEdAranyam-bauli

At Cidambaram, there is also the nAta-kuranji “SivakAmIpatim CintayEham” which also refers to the dancing Siva as
“navakALI jita nartana dhIram”, as “nAda bindu kalA rUpa manisham” and also as “bhAnukOTi saNkASam” last one similar to the kEdAram.

The rAga choice for the dancing Siva of Cidambaram (as nAta-kuranji) is of course eminently well-suited and thought out.

illustrated here nicely in 2 parts by

SivakAmipatim CintayEham

vidUsi varalakSmi A

pallavi
https://www.youtube.com/watch?v=u74fxXm5jw4
charana
https://www.youtube.com/watch?v=IlGUnxOALHs

The kalyAni at Cidambaram is certainly a unique one for melody and words...

SivakAmeSwarim CintayEham

GNB

https://www.youtube.com/watch?v=BNJU4xy93L8

a nice effort here vidUSi rakSa R

https://www.youtube.com/watch?v=VMog-AgUG7M

There is of course the "Sri pArvati paramESwarau" ageless bauli at vEdAranyam. It uses the spouse name lOpamudra to refer to the agastyA motif, in keeping with the vigraha-lilA of both pArvati and paramESwara at vEdAranyam that celebrates their union. In contrast to bauli, mEcA-bauli carries the madhyama svara

Sri pArvati paramESwarau

Shown here by MSS

https://www.youtube.com/watch?v=UHvbxbCQiJ0

also by vidUSi nityaSri

https://www.youtube.com/watch?v=4eQC64vILeo

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

ref-p-701
-
NAdhopaasaka
-
Sir, Thank you for the information and the clips.
It will be very valuable if the rendering of the first composition at ThirurhaNi by Smt.DKP can be provided . Also clips for the kruthi on Parthasarathy (Triplicane), on Varadharaja PerumaaL at Kanchipuram , and the famous kruthi on Nataraja 'Ananda Natana Prakaasam' in Kedara ragam at Chitambaram.
-
There are many group krithis -vibakthi sets- but there is only one AAvarna set- namely Kamalaambika Navaavarna kruthis of mystical base. Is that right? Can you please clarify?
-------------
in continuation of the post at 700
----------
Vaideeswaram, Mayavaram and the Abhayamba vibhakti kritis

=========================

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

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

Muttuswami Dikshitar then proceeded to Mayavaram, a very important place of culture and pilgrimage situated on the banks of the Cauvery.
-
The tulA snAnam during October-November attracts lakhs of pilgrims and is as religiously significant as it is at the river's source at Tala Cauvery in Coorg.
The Cauvery is no less sacred at Mayavaram than She is at Tiruchi, Tiruvaiyyaru or Kumbhakonam.
-
The most important temple at Mayavaram is dedicated to Lord Siva as Mayuranathaswami. His Consort is Goddess Abhayapradambika. .
-
Mayavaram or Mayuram or Mayiladuthurai as the place is referred to is not faraway from Tiruvarur.
-

Dikshitar composed the well known
dhanyAsi song mAyUranAtham and the lesser known songs in Ananda bhairavi and kEdAragauLa, both beginning as abhayAmbA nAyaka, in praise of the Lord.
-
For the Goddess he had a special plan. One of his notable vibhakti kriti groups was composed in praise of Goddess Abhayamba.
-
dhyAna kriti: sadAshrayE abhayAmbikE - cAmaram (ShaNmukhapriyA)

1. abhayAmbA jagadambA - kalyANi

2. AryAm abhayAmbAm - bhairavi

3. girijayA ajayA - shankarAbharaNam

4. abhayAmbikAyai ashvArUDhAyai - yadukulakAmbhOji

5. abhayAmbAyA - kEdAragauLa

6. ambikAya abhayAmbikAya - kEdAram

7. abhayAmbAyAM bhaktiM karOmi - sahAnA

8. dAkShAyaNi abhayAmbikE - tODi

The series ends with a mangaLa kriti, shrI abhayAmbA, in shrI which Dikshitar has composed in manipravALam, that is a mixture of Sanskrit, Tamil and Telugu.
-----
-
His birthplace beckoned Dikshitar to hasten, and hasten the composer did, for, with what anxiety had he anticipated the moment of his setting foot again on that holy ground which he and his parents had left about fifteen years earlier?
======================================================

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Summary of 'The Eternal pilgrim' by RaviSri
part-3
------
in continuation of the previous post
-------------------------------
THIRUVAAROOR
===========
=========================--------
<quote>
One of the nerve centres of the Chola region, not only of religion and spirituality, but of art and commerce too, Tiruvarur is even today a calm and peaceful town. One can imagine the kind of atmosphere that prevailed about a couple of centuries ago. The big temple complex with its huge sea-like tank, the Kamalalaya, is the nucleus around which life revolves. Not far from the tank and towards the north of it is Vadambokki street, towards the west of which flows the Vadambokki river, a tributary of the Cauvery. The river is the lifeline of this important kShEtra and generously waters the lands of a vast area. A small house stood on Vadambokki street, the house of Ramaswami Dikshitar. This was the house where Muttuswami Dikshitar was born and where he was returning to, after almost 15 years.
---
Tiruvarur has several names. Chief among them are, srIpuram, kamalApuram, mUlAdhAra kShetra, hATaka kShetra, chamatkArapuram, etc.

The Thyagaraja temple is a massive complex and is reputed to exist for more than 1500 years, though, until the 9th century, the temple was supposed to be an ordinary brick and mud structure with the various shrines as separate units.
It was after the 9th century that the Cholas started building the mammoth stone edifice and created the intricate and imposing architecture and sculptures that we see now.
-
The presiding deity is Lord Thyagaraja. The purANA says that the icon was worshipped by Vishnu Himself.
-
This is one of the two Siva temples where He is depicted with form in the main shrine itself, the other being Chidambaram. The linga representation is the valmIkalingam, the linga of the anthill.

-Dikshitar wrote srI valmIkalingam in khAmbOji. He dedicated four other songs, one for each of the other elemental lingAs. These are,
sadAchalEshwaram in bhUpALam,
hATakEshwaram in bilahari,
AnandEshwarEna in Ananda bhairavi and
sIddhIshwarAya in nIlAmbari.
-

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.
-

s mentioned earlier, one of the names of Tiruvarur is mUlAdhAra kShEtra.
-
the five songs on the panchalingAs and other kritis composed in the Tiruvarur temple.
Eight of the songs on Thyagaraja he chose to compose in the eight declensions of the Sanskrit language. Thus the Thyagaraja vibhakti kritis comprise:

1) tyAgarAjO virAjatE aTANA
2) tyAgarAjam bhajarE yadukulakhAmbOji
3) tyAgarAjaEna samrakShitOham sALaka bhairavi
4) tyAgarAjAya namastE bEgaDA
5) tyAgarAjAd anyam najAnE darbAr
6) tyAgarAjasya bhaktO bhavAmi rudrapriyA
7) tyAgarAjE krityAkrityam arpayAmi sArangA
8) vIravasanta tyAgarAja vIravasantA

===============================================
Besides the above, he composed a song in shrI, tyAgarAja mahAdvajArOha, detailing the various festivals of the temple.
-
tyAgarAja yOga vaibhavam in Ananda bhairavi is an epic composition, though short, in terms of music, sAhitya, poetry and philosophy.
--
tyAgarAjam bhajEham in nIlAmbari is a delightful composition which, like the above song in Ananda bhairavi consists of only the samaShTTi charaNam.
-
Another composition with only the samaShTTi charaNam is tyAgarAja pAlayAshumAm wherein Dikshitar refers to the ajapA naTanam as being understood and worshipped by yOgIs. Though a short composition, the gauLA rAgA in this song is exhaustively treated. The three rare rAgAs in this series are vIra vasanta, sALaka bhairavi and rudrapriyA.

=================
shrI Dikshitar paid his tribute to Goddess Neelotpalambika, the consort of Lord Thyagaraja, in a unique way. He offered Her eight songs in the eight Sanskrit declensions, but introduced a novel concept as far the rAgAs he used were concerned. He employed the eight variations of gauLa. These are referred to by some as gauLa kritis, though, these belong to different mELAs. The rAgAs chAyagauLa and pUrvagauLa are rare melodies and Dikshitar kritis are the only reference points for these rAgAs.
--
The Neelotpalamba kritis comprise:
1) nIlOtpalAmbA jayati nArAyaNagauLa
2) nIlOtpalAmbaAm bhajarE rItigauLa
3) nIlOtpalAmbikayA kannaDagauLa
4)nIlOtpalAmbikAyai namastE kEdAragauLa
5) nIlOtpalAmbikAyA param nahIrE gauLA
6) nIlOtpalAmbikAyAstava dAsOham mAyAmALavagauLa
7) nIlOtpalAmbikAyAm bhaktim karOmi pUrvagauLa
8) nIlOtpalAmbikE nitya shudhAtmikE chAyagauLa
--
There is another composition which does not belong to the above group. srI nIlOtpalanAyikE in rItigauLa is a masterpiece in that rAgA.

-
Kamalaamba is not mentioned as consort of Thyagesa. She is the Tantric deity of Mother Goddess, who is the personification of Parvathi, Lakshmi and Saraswathi. She has a separate shrine. ( Prof.PPN)
--------
@HarishankarK
The kamalAmbA navAvaraNa kritis comprise:
1. kamalAmbikE dhyAna kriti tODi
2. kamalAmbA samrakShatumAm first AvaraNA Ananda bhairavi
3. kamakAmbAm bhajarE second AvaraNA kalyANi
4. shrI kamalAmbikAyA third AvaraNA shankarAbharaNam
5. kamalAmbikAyai fourth AvaraNA kAmbOji
6. shrI kamalAmbikAyA param fifth AvaraNA bhairavi
7. kamalAmbikAyA: sixth AvaraNA punnAgavarALi
8. shrI kamalAmbikAyAm seventh AvaraNA sahAnA
9. shrI kamalAmbikE avAva eighth AvaraNA ghanTA
10. shrI kamalAmbA jayati ninth AvaraNA Ahiri
11. shrI kamalAmbikE mangaLa kriti

======================================
Another group of kritis are those on the ShODaSha (sixteen) Ganapati shrines in the temple. Apart from the fact that Lord Vinayaka is propitiated at the beginning of any activity, be it of religious nature or of the mundane, He is specially worshipped by a sect of sanAtana dharmIs who are called gANapatyAs. For this sect, Vinayaka is the Supreme Being. tAntric practices form part of their worship of the elephant-faced God. 16 forms of Ganapati are worshipped, each having its own significance
and each of the 16 has separate shrines at the Tiruvarur temple. Muttuswami Dikshitar wrote in praise of all these 16 forms. An examination of the sixteen composition reveals Dikshitar's wide knowledge of the intricacies of gANapatyA worship.

---
Sundaramurti Nayanar was one of the greatest of shaivite saints and one of the greatest devotees of Lord Siva. His life was closely connected with Tiruvarur. He is therefore honoured with a separate shrine in the temple. Dikshitar paid a special tribute to the saint by composing a song in raga TakkA - sundaramUrtim AshrayAmi. This is the only composition extant in this raga, other than Tyagaraja's rAka sashivadana.

--
Dikshitar composed the dhanyAsi song mangaLadEvatayA in praise of Goddess Lakshmi and refers to Her as being established at Kamalalaya, Tiruvarur. Lakshmi too performed penance at Tiruvarur. Kamala is another name for Lakshmi, hence Kamalalaya.
--
There is a temple dedicated to Goddess Renuka Devi, popularly known as Mariyamman in Tamil, in the Vijayapuram area of Tiruvarur. On this deity, Dikshitar wrote the kannaDa bangaLa song
rENukAdEvi samrakShitOham. This raga is again a very rare one and we have only the above Dikshitar kriti as reference.
================================================
-
The vAra kritis comprise yet another major corpus in Carnatic music that stands out for the exemplary and exhaustive treatment of some of the most important ragas. . The navagraha kritis comprise:
Composition - Raga - Tala - Planet

1) sUryamUrtE - saurAShtram - dhruva - Sun
-
2) candram bhaja mAnasa - asAvEri - maTya - Moon
-
3) angArakam AshrayAmyaham - suruTTi - rUpaka - Mars
4) budham AshrayAmi - nATakurinji - jhampa - Mercury
5) brihaspatE - aThANA - tripuTa - Jupiter
6) shri shukra bhagavantam - paras - aTA - Venus
7) divAkara tanujam - yadukulakAmbOji - Eka - Saturn

-
It is said that the kritis on Rahu and Ketu, the nodes of the moon were not composed by Dikshitar but were later interpolations.

===============================================
:
Thus, ThiruvAroor, the birth-place of Sri.MD , saw him composing nearly 50 kruthis-- 5 on Pnccha lingams, Thyagaraja Vibakthi kruthis-8, Neelothpaamba vibakthi kruthis-8, Kmalamba Navaavarnam -9, kruthis on Goddess Lakshmi, and maariyamman, Navagraha kruthis .

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

@rajeshnat asked about Vibakthi kruthis of Sri.MD on Madurai MeenAkshi.
- Vishnu Vasudev in 'Medium' gives very good posts , in a slightly flippant' tone -apparently- with suiitable audio-video clips. - very valuable.
-
Here in this link, he is dealing with vibakthi sets
1) GuruGuha- ThirutthaNi
2) Abhayamba--
3) Thyagesa at Thiruvaaroor
4) NilothpalambaaL at ThiruvArur
5) MeenAkshi at Madurai
-
( the list of guruguha kruthis has Subrammanyena Rakshitoham-- an error )

https://vishnuvasudev-63314.medium.com/ ... 0efc640660
He has listed the kruthis in Madurai MeenAkshi set and given the corresponding video clips.
These being embedded videos, there is less likelihood of 'advts'.
- Meaning of Kruthis can be got from
guruguhavaibavam-blogspot.com
-
Hoping that this is useful to learners.
@nAdopAsaka

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

in continuation of post -
a summary of RaviSri monograph on Sri.MD-'The Eternal Pilgrim'
-----
Kruthis on deities of famous temples around Thiruvaaruur
-------------------
focus on kshera kruthis in each place.
MANNARGUDI
==========
Mannargudi is an important pilgrim centre about 25 miles from Tiruvarur.
-
The Vaishnava shrine dedicated to Rajagopala Swami is a huge and very ancient one. The beautiful utsava icon of the Lord incorporates Ambal too and is therefore an ardhanArIshwara mUrti.

Hence the Lord's name here is Sri Vidya Rajagopala.

shrI rAjagOpAla in sAvEri is one of Dikshitar's exquisite compositions.

shrI vidyA rAjagOpAlam in the rare rAga jaganmOhanam in praise of the Mannargudi Perumal.

rAjagOpAlam in mOhanam was also composed here.
================================
NEEDAMANGALAM
=============
between Mannargudi and Kumbhakonam lies Needamangalam, where there is a temple dedicated to Sri Rama who is here known as Santana Ramaswami. This is a hallowed VaiShNava kShEtra in praise of which Muttuswami Dikshitar wrote the song
santAna rAmaswAminam in the rAgA hindOLavasantam.
==========
KUMBAKONAM
==========
He then proceeded to Kumbhakonam where he must have stayed for quite some time.
Next to Kanchipuram, Kumbhakonam boasts of the largest number of temples.
- The Kumbheswara and Nageswara are the two important Siva temples, while the Sarangapani and Ramaswami are the two famous Vishnu temples here.-
Muttuswami Dikshitar worshipped Lord Kumbheswara and His Consort Mangalambika.
The ghaNTA piece mangaLAmbikAm was dedicated by Dikshitar to the Goddess.
--------------------------------
SWAMI-MALAI
About five miles west of Kumbhakonam on the road to Tiruvaiyyaru is situated the famous shrine Swamimalai, dedicated to the Divine Child of Siva and Parvati. This is one of the six hallowed kShEtrAs for Subramanya and here He is known as Swaminatha, the Preceptor to His Father Himself. Muruga taught the import of the praNava mantra to Lord Siva here. For Dikshitar whose guru was Lord Subramanya, this shrine and the Lord's manifestation here must have held deep significance. Two songs
shrI bAlasubramaNyA in bilahari and
shrI swAminAthAya in khamAs were dedicated by Dikshitar to his guru who dispenses grace standing as an elegant, majestic brahmachAri here.
-------------------------------------
THIRUVIDAIMARUDUR

East of Kumbhakonam, about six miles on the road to Mayavaram, there are several sacred shrines, foremost of which is Madhyarjuna or Tiruvidaimarudur.

Lord Siva is known here as Mahalingaswami. which was sanctified by the visit of Adi Sankara and by the peerless devotion of the 17th century saint Sridhara Venkatesa Ayyaval of nearby Tiruvisainallur,
--
Tiruvidaimarudur was also the capital of the Mahratta king Amarasimha.
-the Mahalingaswami temple is famous for its grand festivals and processions of deities.

The composition in paras, cintayE mahAlinga mUrtim and the deeply sublime paradEvatA brihatkucAmbA in dhanyAsi were his offerings to Lord Mahalinga and Goddess Brihatkuchamba.

@@@@@@@@@@@@@
He is also described, in the madhyamakAlA of the charaNam, as taking on various forms such as Somaskanda at Tiruvarur, Nataraja at Chidambaram, as Bhairava, the Lord of Kali and as Swaminatha of Swamimalai.
@@@@@@@@@@@@@@@@@@
(Somaskanda ,(Siva alone is not called Somaskanda unless the icon shows Uma and Guha--..the emphasis is on Guha)rsr
--
The dhanyAsi piece on the Goddess explores the colourful and deep images of that rAgA.

=========================================
SRI VANCHIYAM
--
Near Kumbhakonam is a shrine to Lord Siva called Sri Vanchyam. Here, Dikshitar composed the suraTi song shrI vAncanAtham on the Lord and mangaLAmbikAyai in mALavashri and shrI mangaLAmbikE in kalyANi on the Goddess.

===================================
THIRUKKANNAMANGAI

To the south-east of Kumbhakonam, very near Semmangudi, is a village called Tirukkannamangai where there is an important Vaishnava shrine. Here Dikshitar dedicated an elaborate composition, bhaktavatsalam, to Lord Bhaktavatsala in the mELa rAgA vamshavati, which describes the temple and its environs in great detail. In the sanctum there is a large beehive. The bees are believed to be the Devas, worshipping the Lord. This is mentioned in the line "suramayamadhumakshikArAdhitam".
============================================
THIRUKKADAIYUR

There are several important shrines near Mayavaram. Tirukkadayur is the place where Lord Siva as Amritaghateswara subdued Yama, the Lord of Death. The manOhari song shankaram abhirami manOharam is on the Lord and Dikshitar makes mention of the special abhiShEka performed with 1008 conches here. Goddess Abhirami is considered powerful here and She is celebrated in the rare song abhirAmIm in the rAgA bhUShAvati.

==============================
VALLALAKOIL

On another side of Mayavaram is the Siva shrine of Vallalar Koil. The dEvagAndhAri masterpiece vadAnyEshwaram was dedicated by Dikshitar at this place.

===========================
TIRUVENKADU
The ancient kShEtra of Shvetaranya or Tiruvenkadu is situated near the ancient Chola port at Pumpukar where the Cauvery ends her journey and merges into eternity. Here, the Eternal Pilgrim dedicated to Lord Shvetaranya, the Arabhi song shvEtAraNyEshwaram and a song in kalyANi on the Goddess Brahmavidyamba.
===
TEREZHUNDUR
-
Terezhundur near Mayavaram is famous for its Vaishnava shrine to Lord Parimala Ranganatha. The beautiful and moving North Indian rAgA hamIr kalyANi (hamvIru in Venkatamakhi's parlance) was the medium chosen by Dikshitar to pay homage to Vishnu.
===========================================
PULIVALAM
-
Pulivalam is a VaiShNava kShEtra which is revered as a local Tirupati. Here, Dikshitar composed a song in Manipravalam, a mixture of Sanskrit, Tamizh and Telugu. vEnkaTAcalapatE in kApi (now called karNATaka kApi). -
shrI vEnkaTagirIsham AlOkayE in suruTTi was also composed here.
The varALi peice shEShAcala nAyakam also has a reference to Pulivalam.
--------------------------------------
KIVALUR
At Kivalur on the Tiruvarur-Nagapattinam road there is a shiva kShEtra where the Lord is known as Akshayalinga Swami (kEDiliappar in Tamizh). that Dikshitar composed the shankarAbharaNam piece akShayalinga vibhO in praise of the Kivalur deity

SIKKAL
road to Nagapattinam is the shrine of Sikkal dedicated to Lord Subramanya.
The youthful beauty of Singaravadivelan, as the name itself suggests, elicited from His disciple-devotee the composition shringAra shaktyAyudha in the rAgA ramAmanOhari.

NAGAPATINAM-
Muttuswami Dikshitar then proceeded to Nagapattinam on the sea coast. Nagapattinam is an ancient trading port and is also a pilgrim centre. The Kayarohanesa temple is dedicated to Siva and to the Goddess who is known as Neelayatakshi.
Dikshitar composed the dEvagAndhAram song kAyArOhaNEsham in praise of the Lord and
amba nIlAyatAkShi in nIlAmbari as an offering to the Devi.
-
Soundararaja Perumal is the name of Vishnu at the Vaishnava shrine in Nagapattinam. Dikshitar dedicated the brindAvani song
soundararAjam AshrayE at this shrine.

VEDARANYAM--
From Nagapattinam Dikshitar visited Vedaranyam, further south on the coast. Vedaranyam is reputed to be the place where Siva and Parvati gave darshan of their wedding ceremony to Sage Agastya. could witness the marriage from the south. Dikshitar has not mentioned the name of the kShEtra in his bauli kriti srI pArvati paramEshvarou vandE. But the kriti is on the Divine Couple and the composer mentions Agastya as having worshipped them (lOpAmudrEsha archita charaNou - Lopamudra was Agastya's wife). Therefore this kriti can be attributed to Vedaranyam.
https://youtu.be/UHvbxbCQiJ0
----------------------------
Dikshitar was already past forty now. He had married off his only child, a daughter, to a boy at Trichy. His parents were old now and the pious, caring son that he was, Dikshitar took care of them well.

It was 1817. Ramaswami Dikshitar was past eighty. On the Sivaratri day of that year Ramaswami Dikshitar left this earth leaving behind his compositions and his illustrious son. A few months later Subbulakshmi, ever the faithful wife, joined her husband. The brothers were shattered at this loss. An important era in their lives had come to an end.

================================================
After the demise of Ramaswami Dikshitar, whatever little maintenance was provided by the Tanjavur king was stopped.

Music was what they knew, and in the absence of any inclination on the part of Dikshitar for composing in praise of kings or zamindars, the art was of no pecuniary benefit to them.
=========================================
During a particularly difficult period of near-starvation of the family,
Dikshitar went to the Tyagaraja temple and sang with great fervour before the Lord. It is said that the yadukulakAmbOji composition
tyAgarAjam bhajarE was composed by him on this occasion.
By almost a miracle, officials brought enough provisions.. meant for some dignitary who had cancelled his visit and directed to be delivered to the most eminent person in their judgement..
--
Life was very difficult at Thiruvaaruur and the family decided to move to Tanjore where an old-time friend of their father , was living and whose sons had requested Sri.MD to settle down at Tanjore and teach them.
--

Before settling down to a prolonged stay at Tanjavur, Dikshitar decided to visit Tiruchirappalli. His only child lived there with her husband, and though the very epitome of dispassion, Dikshitar had a special place for his daughter in his heart. It was to his daughter that, before he left this world, Dikshitar bequeathed his priceless possessions - the vINA that Ganga Devi gave him and his pUJA which included the shrI cakra mahA mEru.
-
(to be continued)

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

PART-4-(i)
--------
TRICHY, THIRUVAAAIKKAVAL,SRIRANGAM, THIRUCHENGODU
===============================================

Tiruchirappalli or Trichy was a great centre of the ancient Chola empire that had its early capital at Woraiyur (now inside the city). The city is ornamented by the Cauvery river that is expansive here.
-
The Matrubhuteswara temple situated inside a fort atop a rock is dedicated to Siva who took the form of a Vaisya woman and helped her daughter in her confinement. The woman lived on the other side of the river promised her daughter that she would come soon. By the time she started, the Cauvery was in floods and she was stranded on the opposite bank. As time went by, the daughter was in her throes of labour. The Lord then went to her home taking her mother's form and played the role of midwife. The Lord is therefore referred to as Matrubhuta or Tayumanavar in Tamil. Dikshitar refers to this in his monumental piece shrI
-
mAtrubhUtam in kannaDa (vaishya jAti strI vESha dharaNam).
--------------------------------
shrI sugandhikuntaLAmbikE in the rare rAgA kuntaLa was Dikshitar's tribute to the Goddess of the Rock Fort.

-----------------------
Crossing the Cauvery, Dikshitar went to Tiruvanaikkaval, the panchabhUta kShEtra representing appu or water

The unique kriti in yamuna kalyANi, jambUpatE, was his tribute to Lord Jambukeswara.
Goddess Akhilandeswari is powerful and Her spiritual grace is a tangible experience in Her presence. To such a Mother,
the true bhakta offered the classic shrI mAtA in bEgaDA.

===========================================
SRIRANGAM
--------
Not only for Vaishnavas, for others too, Srirangam is one of the holiest shrines. Situated between the Cauvery and its tributary the Coleroon, near Tiruvanaikkaval, Srirangam is one of the most vibrant symbols of Hindu religious movement.
-
The massive temple complex is a city by itself, intelligently conceived and intricately designed with the streets around it built specially for religious celebrations and processions and named after the different festivals.
-
The Lord reclines on Adi Sesha, facing south, the famous golden vimAnam above Him representing OM, the Eternal Truth. Sung by all the twelve Alwars, Srirangam was the residence of the Vaishnava Acharya and the preceptor of Vishishtadvaita, Sri Ramanuja who was reverentially referred to as uDayavar.
-
ranganAyakm bhAvayEham in nAyaki in praise of Ranganatha,
-
shrI bhArgavi in the rare mangaLa kaishiki in praise of Goddess Ranganayaki
&
rangapura vihArA in brindAvana sArangA
in praise of Kodandarama in the temple complex were Muttuswami Dikshitar�s offerings to Srirangam.
------------------
There are three temples dedicated to Siva in the Akhanda Cauvery region, about twenty-five miles from Trichy.

On the southern bank of the river is the town of Kulittalai on the Trichy-Coimbatore road.
Siva resides here as Ratnagirishwara on the Ratnachala hill.
https://sriramv.wordpress.com/2020/09/1 ... ulithalai/
-
The mukhAri classic pAhimAm ratnAchala nAyaka was penned here. In this composition, the composer refers to the daily practice of the priests bringing water from the Cauvery in pots uphill and performing the Lord's abhiShEka with it.
-
https://sriramv.wordpress.com/2013/03/0 ... iyermalai/
---------------
A little further away is the kaDamba kShEtra. Dikshitar wrote
nIlakaNTam bhajEham in kEdAragauLa in praise of Lord Kadambeshwara here.

On the Goddess here, Dikshitar wrote the suraTTi song bAlakucAmbikE.

In both the mukhAri and the kEdAragauLa kritis, Dikshitar refers to the Cauvery river as being very broad (akhaNDa kAvEri). The river in its entire course is the broadest here and presents an awesome sight.

--
Almost exactly opposite to Kulittalai on the northern bank of the Cauvery, just about three miles beyond Musiri on the Trichy-Salem road, is a hill called Tiruvenkoimalai.


Dikshitar is supposed to have written the vasantA kriti maragatalingam here. But though the Lord's name is Maragateswara, there is no kShEtra reference in the kriti. ---
-----
A major shrine outside of the Chola region, in Chera country, is Tiruchengode, about twenty-five miles from Salem. This famous shrine where Siva and Parvati give darshan as Ardhanarishwara is situated atop a hill. The kumudakriyA piece ardhanArIshwaram was Dikshitar's offering here.
================
Sri.MD then returned to Trichy and travelled to Thanjaavoor,
There he trained the Tanjore Quartet brothers who gained fame in King Serfoji-II court. (but he never visited Serfoji court nor did the king meet him) (RSR)
The Tanjore phase is in next part -(ie) Part-4-ii

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (the vasanta rAga kriti to the marakata-linga Siva of the mahA bilva vana)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar...

With regard to kSetra indicator of the vasanta rAga kriti “marakata-lingam” mentioned , I believe the following needs to be pointed out.

The Dikshitar worships each of the 3 so-called akhanda kAverI (kulithalai) pAdal-petra Siva temples, and names each Siva deity uniquely. Indeed the pujA occurs in planned sequence thru the day at the three sites.

These are Siva as SrI kadamba-vana-nAtha at kulithalai (the kEdara-gaula), Siva as ratnACala-nAyaka (the mukhAri) at ratnagiri and finally Siva as the “marakata linga” of “mahA-bilvA-vana madhya-vihAra”, (the vasanta)

The last usage is the unambiguous kSetra mudra for the marakatESvara shrine , distinct from the other two kSetras noted of this triad site

In fact the phrase “mara-kata lingam cintayE-ham” when it wraps around as “cintayE-ham-mara-kata lingam”, produces the word/sound “ham-mara” which is very similar to the word/sound “bhram-mara” (the bee) that is also uniquely associated with the agastyA legend of this particular (marakatEsvara) hill as tiru-ingo-malai.

This vasanta kriti holds its own against the more famous ones by the Dikshitar, "rAmaCandram bhAvayAmi" and "hariharaputram", depending of course on the singer.

excellent marakata lingam renditions are available

vidwAn AS Murali
https://www.youtube.com/watch?v=VQ7KF9-3lNY

ranjani gAyatri sisters
https://www.youtube.com/watch?v=JWnINNlfNMI

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

the agasthya legend
https://sriramv.wordpress.com/2020/11/1 ... rar-temple[/b]/
==========================================
TANJAVUR

==================================================
<quote>
The later capital of the Cholas and thereafter of the Nayaks and the Marattas, Tanjavur possesses a glorious history. Its hoary past speaks of mammoth temples, the most famous of which is the Brihadeeswara or simply, the Big temple, built by the enlightened Chola Emperor Raja Raja, anna chatrams, palaces, giant granaries and the like.
-
The renowned Saraswati Mahal Library founded by the 19th century Maratta king Saraboji II houses ancient and valuable manuscripts on almost all subjects under the sun.
-
Tributaries of the Cauvery flow just outside Tanjavur and innumerable moats and irrigation channels criss-cross the town.
-
The Tanjavur court under the Cholas, Nayaks and the Mahrattas witnessed tremendous strides being made in music, dance, painting, sculpture, theatre and literature. Most of the great musicians of the South, why, even of the North, considered it a great honour to perform at the Tanjavur court. It was an atmosphere where talented artists throve, with money, gifts, name and fame literally showered on them.

@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@

Remaining outside the purview of royal patronage were two musician-composers, their song reserved for the Muse alone. Shyama Sastri who lived in Tanjavur and Tyagaraja who lived in nearby Tiruvaiyyaru now had a soul mate in the poor pilgrim-composer who settled in their vicinity.
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
Konkaneswara temple opposite to which lived Gangamuthu Nattuvanar, his son Subbaraya Nattuvanar and the latter�s four sons. Subbaraya Nattuvanar was a veteran Natyacharya attached to the Tanjavur court and was responsible for training dancers of the court as well as those of the Brihadeeswara temple.
--
Subbaraya Nattuvanar and his four young sons welcomed Dikshitar with great reverence and provided a house adjacent to theirs for the composer to stay.
-
Gangamuthu Nattuvanar and Dikshitar�s father Ramaswami Dikshitar were friends and mutual admirers. It is no surprise therefore that the composer found the atmosphere quite congenial.
-
Chinnayya, Ponniah, Sivanandam and Vadivelu, though very young at that time, had already gained considerable insight in music and dance. They had their tutelage in the twin arts from their grandfather as also from their father. Dikshitar accepted the four brothers as his disciples.

====================
Shyama Sastri's family and Dikshitar's family were well acquainted with each other. Especially, the fathers of both were said to be friends at Tiruvarur.
-
Shyama Sastri and Dikshitar renewed the old ties at Tanjavur.
---

the Kamakshi dAsA of high nobility requested Muttuswami Dikshitar to accept his son as disciple. An overwhelmed Dikshitar respectfully accepted his elder contemporary's request. Subbaraya Sastri began learning from Dikshitar.

---
ikshitar took the opportunity of his sojourn at Tanjavur to visit the temples in that town. The massive Brihadiswara temple naturally attracted him and full of admiration for the artistic splendour of the temple and reverence for the Lord, he composed quite a few pieces in praise of Brihadiswara and His Consort Brihannayaki.
-----------------------

It was during his stay at Tanjavur that Dikshitar decided to e songs in all the 72 mELakarta rAgAs. here were other rare rAgAs too that Dikshitar employed to compose in praise of the Tanjavur deities. The gunTAkriyA piece is in praise of Brihadiswara and the song mentions the fact of the temple being built by Raja Raja Chola in the pallavi itself (rAjarAjEndra cOLa pratiShTitam). Another rare but charming piece is in AndhALi rAgA and is in praise of Brihannayaki. The lalitA song agastIshvaram is on Agasthiswara on the Vennar bank.
---------------

Meanwhile, the Tanjore Nattuvanar brothers continued their music education under Dikshitar. Dikshitar, satisfied with their progress, gave the go ahead for their arangEtram. The four brothers had their formal concert debut at the Tanjore palace amidst a galaxy of great musicians and scholars of various disciplines.

--
Saraboji II (reigned 1798-1832), that great patron of arts was the king then. Saraboji's court was adorned by great musicians such as Pallavi Gopala Iyer who was given the task of judging the merits of a musician who either wanted to join the court or had his debut there.
-
their music was highly appreciated and approved by all the artists of the court. They were suitably honoured and appointed as court musicians by Saraboji.

-
At this point of time, there came a few visitors, well to do landed gentry, from Madurai. They had come to visit the kShEtrAs of Tanjavur. Being art lovers, they took the opportunity of listening to the music that was available at the palace. They had heard glowing reports of Dikshitar's music. They were already familiar with Shyama Sastri's music at Madurai as he had visited that place and sung at the temple. The landed gentry met both composers. Expressing deep appreciation of the music of the Tanjore Quartette, they requested Dikshitar to visit Madurai and stay with them for sometime. Dikshitar stated that he was keen on having darshan of Goddess Minakshi but that would have to wait for some time as he had to visit quite a few more shrines near Tanjavur. He also had to return to Tiruvarur for a while to be with his beloved Tyagaraja and Kamalamba. Dikshitar however asked his brothers to accompany the gentlemen and assured them that he would join them soon. Chinnaswami Dikshitar and Baluswami Dikshitar started for Madurai.
---
</quote>
RaviSri continues with a narration of Sri.MD travelling to Thiruvaiyaaru
and meeting Thyagaraja Swami there and composing and rendering the classic 'Maamava Pattaabhi Raama'.
https://sites.google.com/site/dkpattamm ... attabirama
--
It is so wonderfully written by him that it would be wrong to condense it. Readers are requested not to miss the classic piece of writing by RaviSri , given in the next post.

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Sri.Muthuswami Dikshitar meets Thyagaraja Swami
==================================
(from 'The Eternal Pilgrim' -monograph by RaviSri
===================================

Tiruvaiyyaru. That hallowed kShEtra ever resonating with the chanting of the Vedas and the Tamil Tirumurais. That beautiful land washed by five rivers and surrounded by canals, green fields, banana and coconut groves.

The Cauvery, that Queen of all rivers, presents a majestic and ravishing sight here, surrounded as She is by Her four offspring over whom She fondly lords, both Her banks dotted with sculpturesque manTapAs and bathing ghats.
-
Tiruvaiyyaru epitomizes the finest that can be experienced of natural beauty and the exquisite art and culture of Tanjavur.
.
That great bard of Tiruvaiyyaru says in two of his exquisite compositions, one on the river and the other on Tiruvaiyyaru itself, that his beloved Rama should be proud of Tiruvaiyyaru which is washed by the Cauvery, who after prostrating at Ranganatha's Feet and worshipping several shrines on the way, hurries to wash the Feet of Goddess Dharmasamvardhini and Lord Panchanadeeswara.
.
The Divine Consort considered this place, where the holy and the pious performed hOmas amidst the sweet call of cuckoos, worthy of occupying says Tyagaraja.

Was it just the sublime music of the cuckoos that made Tiruvaiyyaru worthy of living? Did not the Holy Trinity of Siva, Parvati and Rama take their abode in the midst of the five rivers in order to savour the music of that great devotee-composer too?

One of the most ancient temples of the Chola region, the Panchanadeeswara temple is a huge one that for centuries has attracted the devout. Praised by the Nayanmars and in the Tevaram, Panchanadeeswara (the Lord of the five rivers) as Pranatartihara (the One who removes the obstacles of his beloved devotees) has been sung of by Tyagaraja and Dikshitar. His Consort Goddess Dharmasamvardini has been praised in song by Shyama Sastri also, besides Tyagaraja and Dikshitar.
Muttuswami Dikshitar's creations in praise of the Lord were praNatArtiharam in nAyaki
and
praNatArtiharAya in sAmantA.
---
His madhyamAvati composition dharmasamvardhani in praise of the Goddess is a classic in that rAga.
.
An account is traditionally handed down of the meeting between Tyagaraja and Dikshitar. It is said that when Dikshitar was singing his madhyamAvati composition at the temple, a few of Tyagaraja's disciples were present there. Savouring the exquisite music, they enquired of one of Dikshitar's disciples and gathered details about the composer. They then hurried to their guru and told him of Dikshitar and his music. It was not that Tyagaraja was hearing about Dikshitar for the first time.
.
Great mahApuruShAs are certainly aware of each other, only that they do not reveal their inner cognition. Dikshitar too must have heard of Tyagaraja from many people and most certainly from Shyama Sastri. He must also have listened to the bard's compositions. Tyagaraja asked his disciples to invite Dikshitar home. The bard's disciples returned to the temple and informed Dikshitar of Tyagaraja's invitation, which the former accepted.
.
Tyagaraja regularly recited the Valmiki Ramayana. On that day he had come to the episode of the coronation of Sri Rama. Could there be a greater occasion for the two puruShOthamAs of music to meet than the paTTAbhiShEka day of the Purushothama Himself? Tirumanjana vIdhi is just a stone's throw from the Panchanadeeswara temple.

The bard rose to meet his younger, nevertheless equal contemporary.

After mutual respects were over, Tyagaraja requested Dikshitar to stay on and witness the pUja which he performed after the Ramayana recitation. The Rama dAsA's worship on that paTTAbhiShEka day thus acquired a special sacredness. A big crowd of disciples and residents of Tiruvaiyyaru gathered to witness that momentous event. It was a surcharged atmosphere.
.
After the pUja, dIpArAdhanA and ShODasha upachArAs, Tyagaraja bade his disciples sing. It was to be his bhairavi masterpiece koluvaiyunnADe. The whole of Tirumanjana street resonated with the song of its renowned resident. Tyagaraja slowly turned to Dikshitar and requested him to sing on 'my Rama'.
.
The small but majestic, centuries old paTTAbhiShEka icon of Rama with Sri Sita, Bharata, Lakshmana and Shatrugna, complete with the maNTapa and worshipped by Tyagaraja's ancestors and bequeathed to him as heirloom is truly awe-inspiring. Its spiritual power is quite discernible to those who approach it with utmost reverence. What wonder then that Dikshitar sat enraptured?
,
Was it the mystical power of the icon or the deeply religious atmosphere that pervaded the entire place or the bard's own powerful spiritual presence? It was perhaps a combination of all the three that inspired Dikshitar to dive deep within, to tap his innermost artistic resources.

The strain that came out of his very depths, out of his very being had to be special. And it was. The rare maNirangu discovered itself. Dikshitar built a grand edifice for the rAga and bestowed immortality on it. It was an extraordinary edifice, a grandly decorated manTapa (maNirangavalli alankrita maNTapE) studded with the gems of exquisite gamakAs and phrases that Dikshitar gifted to the rAga and made it fit for Tyagaraja's Rama to revel in. The misra chApu tALa that Dikshitar chose for its rhythm was the most appropriate foil.

mAmava paTTAbhirAma, a classic par excellence was Dikshitars tribute to Tyagaraja's beloved Rama. The song describes the coronation of Sri Rama in exactly the same manner as Valmiki's Ramayana. The kriti was also appropriate to the occasion and the spirited, sublime music coupled with the majestic sAhitya enshrined the presence of the Lord in the hearts of those who had the great fortune of listening to it. The residents of Tiruvaiyyaru who witnessed the momentous meeting between the two high priests of art music felt elevated and the event took eternal place in their hearts.

Such rare, sublime occurrings are seldom spoken of too. The Eternal Cauvery, whose privilege it was to host this great event must have felt proud at the meeting and outstanding accomplishments of Her two children, one, the Eternal Pilgrim, the other, the Eternal Minstrel.

---
His soul filled with rare peace, Muttuswami Dikshitar took leave of his illustrious contemporary and returned to Tanjavur. He continued to interact with Shyama Sastri, teach the Quartette and compose songs in the 72 mELakartAs.
------------------------
Four years passed by in a milieu that was surcharged with the highest and noblest of art which did Tanjavur proud.

It was 1822. Dikshitar, haunted by thoughts of his beloved Tyagaraja and Kamalamba decided to return to Tiruvarur. It was a poignant farewell that the Quartette and the art lovers of Tanjavur gave Dikshitar. For, were not the town and its surroundings enriched by the noble presence of that great master of music?
Back in Tiruvarur, Dikshitar spent most of his time in the temple, teaching his disciples and continuing to produce compositions of eternal grandeur.

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Summary of the concluding parts of 'The Eternal Pilgrim by RaviSri.
'Muthuswami Dikshitar pilgrimage in Pandya Naadu'
https://muthuswami-dikshitar.blogspot.com/

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

unable to post a brief guide to Muthuswami Dikshitar kruthis on kshetrams in Pndya Desam.
messge is 'internal server error

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

https://youtu.be/JW4YUtctXM8
D.K.PATTAMMAAL
--
Muthuswami Dikshitar composition
at
Naagapatnam
-----------
Brundavana Saranga
---------------
http://guru-guha.blogspot.com/2008/10/d ... -raga.html

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

There were a series of interesting blog posts by SriramV. on Sri.MD kruthis in Kanchipuram, akanda Kaveri, kruthiis on Goddess Lakshmi, Thiruvaarur and group kruthis on Ganesa and the Five primordial elements and Navagraha kruthis. .
----------
https://sriramv.wordpress.com/2010/06/1 ... -kamakshi/

------------------------------------------------------
https://sriramv.wordpress.com/2008/11/1 ... dikshitar/

-------------------------------------------------------
https://sriramv.wordpress.com/2011/02/2 ... ha-kritis/

------------------------------------------------------
https://sriramv.wordpress.com/2021/09/1 ... dikshitar/

----------------------------------------------------
https://sriramv.wordpress.com/2019/08/0 ... halakshmi/
--------------------------------------------------------
https://sriramv.wordpress.com/2010/06/1 ... -of-towns/

-------------------------------------------------------
https://sriramv.wordpress.com/2020/09/1 ... ulithalai/
---------------------------------------------------------
https://sriramv.wordpress.com/2020/11/0 ... ar-temple/
------------------------------------------------------
https://sriramv.wordpress.com/2013/03/0 ... iyermalai/
------------------------------------------------------
https://sriramv.wordpress.com/2013/03/0 ... iyermalai/
-----------------------------------------------------------
https://sriramv.wordpress.com/2020/11/1 ... ar-temple/
----------------------------------------------------------

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Reverting back to the kruthi..'subrammanyena' ..so much depended on the exact meaning of 'kanka sailam'. The actual meaning of that term is 'heron-hill'. and not vulture -hill.
--
vulture is 'kazhugu' in Thamizh and heron is 'Naarai' in tamizh.
------------------------------------------------
Sanskrit dictionary
[«previous (K) next»] — Kanka in Sanskrit glossary
Source: DDSA: The practical Sanskrit-English dictionary
Kaṅka (कङ्क).—1 A heron; Mb.11.16.7.

-----------------------------------------
https://www.wisdomlib.org/definition/kanka#:

=================================
Now, the next question is 'what is heron' ..what is the description?
In thamizh country, heron or Naarai, is a bird with long legs , long neck and very long beak and preys on fish mostly. It is found in areas near rivers, lakes, tanks and streams. It is a lovely sight to see 'squadron ' of these white birds -( can be called cranes also), flying gracefully weaving patterns in evening sky., especially dark, cloudy sky .
--
it is not 'vulture '' at all.....So kazhugu malai is ruled out.
--
So, @nAdopAsaka is perfectly right.
in his interpretation., though not 'kanaka sailam'.
----
@Rajani is requested to edit the concerned page in guruguhavaibavam and remove the reference to the kshetram
-
@TheLostMelodies is requested to note this meaning
@bhakthim dehi is requested to take back his hasty invectives
@rajeshnat

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Let us try to give links to renditions in Thiruvaarur Kamalaambika NavaavarNa kruthis one in instalments.
We begin with the invocation jkruthi. first
https://youtu.be/yzMKcy9NyI0

M S Subbulakshmi - Kamalaambike - Todi - Muttuswami Dikshitar
----------
https://youtu.be/SExODzzav9o
-
Kamalambam Bhajare- M S Subbulakshmi- Kalyani- Adi- Dikshitar

---
Link to D.K.JAYARAMAN recording of the first five has been already given by Nadopasaka. in an earlier post. It covers the part-1 only. We will try to locate the part-2 soon. Thank you

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Wonderful page --Sanskrit lyrics and word-by-word translation

A treasure to be preserved.
@Rajani
@nAdopAsaka
@SrinathK
@Sachi_R
@rajeshnat
@bhakthim dehi
=====================================

The KamalAmbA NavAvaraNa KIrtanam-s

https://sanskritdocuments.org/doc_devii ... rtham.html

=======================================
The series consists of eleven compositions, all in praise
of Goddess KamalAmbA.

It starts with a 'dhyAna kIrtanam'
(benediction), followed by eight composition, one in each
of the eight vibhaktis of the proper noun ``kamalAmbA''
(or sometimes ``kamalAmbikA'') in feminine gender
continuing on to a ninth kIrtanam which employs all the eight declensions of the sanskrit language;

the series concludes with an auspicious 'ma~NgaLa kIrtanam',
appropriately set in the auspicious rAgam shrI.

Each of the nine vibhakti songs in on one of the nine AvaraNams (enclosures) of the ``shrI chakram'' (the auspicious wheel) belonging to the doctrine of shrIvidya (auspicipus wisdom).

The kIrtanams of the KamalAmbA NavAvaraNa series are as follows:

dhyAna kIrtanam in saMbodhanA vibhakti (vocative case )-
``kamalAmbike'', toDi rAgam, rUpaka tALam.
-
The first AvaraNa kIrtanam in prathamA vibhakti (nominative case) -
``kamalAmbA saMrakShatu mAm'', Anandabhairavi rAgam, tripuTa tALam
(on trailokya-mohana chakram).
--

The second AvaraNa kIrtanam in dvitIyA vibhakti (accusative case) -
``kamalAmbAM bhaja re'', kalyANi rAgam, Adi tALam
(on sarvAshA-paripUraka chakram).
-
The third AvaraNa kIrtanam in tRRitIyA vibhakti (instrumental case) -
``shrIkamalAmbikayA'', sha~NkarAbharaNa rAgam, rUpaka tALam
(on sarva-saMkShobhaNa chakram).
-
The fourth AvaraNa kIrtanam in chaturthI vibhakti (dative case) -
``kamalAmbikAyai'', kAmbhoji rAgam, aTa tALam
(on sarva-saubhAgyadAyaka chakram).
-
The fifth AvaraNa kIrtanam in paऽnchamI vibhakti (ablative case) -
``shrI kamalAmbikAyAH'', bhairavi rAgam, jhaMpa tALam
(on sarvArtha-sAdhaka chakram).
-
The sixth AvaraNa kIrtanam in ShaShThI vibhakti (genitive case) -
``kamalAmbikAyAH'', punnAgavarALi rAgam, rUpaka tALam
(on sarva-rakShAkara chakram).
-
The seventh AvaraNa kIrtanam in saptamI vibhakti (locative case) -
``shrI kamalAmbikAyAm'', sahAnA rAgam, tripuTa tALam
(on sarva-roga-hara chakram).
-
The eighth AvaraNa kIrtanam in sambodhanA vibhakti (vocative case) -
``shrI kamalAmbike'', ghaNTA rAgam, Adi tALam
(on sarva-siddh-iprada chakram).
--
The ninth (and the last) AvaraNa kIrtanam, employing all
the eight vibhaktis (cases)-
``'srI kamalAmbA jayati'', Ahiri rAgam, rUpaka tALam
(on sarvAnanda-maya chakram). The pallavi employs prathamA
vibhakti, the anupallavi, the dvitIyA (the first three lines),
and tRRitIyA vibhakti (rest of the anupallavi), while the
charaNam has one line each in chaturthI, pa~nchamI, and ShaShThI and saptamI vibhaktis. The line set in chaturthI vibhakti also incorporates the sambodhanA vibhakti, while the last two lines
in madhyamakAla return to the prathamA vibhakti.
-
The final auspicious ma~NgaLa kIrtanam, again in saMbodhanA
vibhakti (vocative case)-``shrI kamalAmbike'', shrI rAgam,
khaNDa eka tALam.
-
In each kIrtanam, MuttusvAmi dIkShitar carefully brings out
several tAntrik details, the name of the chakram, its geometry,-
many salient features that are specific to the chakram, and
the devatas and sub-deities associated with it. On many
occasions, dIkShitar cleverly indulges in very lengthy word
constructions, which to a layman may seem like a tongue-twister.
The phrase ``guruguha'' (used in several meanings) appears in
all these compositions as the composer's signature (mudra).
The rAga mudra is incorporated (through the art of shleSham
(double meaning), in most of these compositions.
-
The dhyAna kIrtanam in the rAgam toDi does not feature a rAga mudra,
and the kIrtanams in rAgams Anandabhairavi (the first AvaraNa
kIrtanam), and sha~NkarAbharaNam (the third AvaraNa kIrtanam)
have only partial rAga mudras (the word ``Ananda'' for the
former, and sha~Nkara for the latter). The kAmbhoji, sahAnA,
and Ahiri compositions have disguised rAga mudras (kAmbhoja,
shAna, Ahari, respectively). All other kRRitis have the proper-rAga mudra built into the sAhityam.


====================================================



Sri Muthiswamy Dikshitar's Kamalamba Navavarana Krithis Vol 1 Jukebox II D.K.Jayaraman

https://youtu.be/-k9QMSDGFGA

upload by Carnatic classical


08:11 -- -- Kamalambike.......(Todi)
===
09:11 -- -- Kamalamba Samrakshatu....(AanandaBhairavi)
15:42 -- -- Kamalamba Bhajare.....KalyaaNi)..
21:46 -- -- Sri Kamalambikaya Katakshitoham((Sankarabaranam)
34:34 -- -- Kamalambikayai.....(Kamboji)

=================================================


------------------------------------------------
Sri Muthiswamy Dikshitar's Kamalamba Navavarana Krithis Vol.2 || D.K. Jayaraman ||

https://youtu.be/AQLuRqjRRkU

uploaded by Carnatic claasical

vol-2
--
Sri Kamalambikayah Param Nahi.....Bhairavi

Kamalambikayastava Bhaktoham.....punnaagavaraaLi

Sri Kamalambikayam Bhaktim Karomi....sahaana

Sri Kamalabike Avava....Ghanta

Sri Kamalamba Jayati....Ahiri

Sri Kamalambike....ShriRaagam
-----------------------------------------------

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (kamalAmbAm bhajarE, kalpita mAyA-kAryam tyajarE- the nAdayOgis unbreakable vow)

Post by nAdopAsaka »

kamalAmbAm bhajarE, kalpita mAyA-kAryam tyajarE- the nAdayOgis unbreakable vow

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

There is an important aspect of one of the kamalAmbA navAvarana kritis that bears mentioning repeatedly.

The kalyAni kriti of the kamalAmbA navAvarana namely “kamalAmbAm bhajarE” is emblematic of the Dikshitars rejection of nara-stuti as part of his rejection of all illusory acts , seen in his usage of the words “mAyA-kAryam tyajarE”.

This usage is similar to the “mAyA-maya dharaniSam tyajAmI” of the Dikshitars mAyuranAtham dhanyAsi where the kings/zamindars etc. (dharani-iSa) are also rejected by the Dikshitar.

No other kriti of the kamalAmbA navAvarana carries the message of this vow. We will see later in this post why the kalyAni kriti is the proper choice.

Recent posts , (initiated thanks to RSR), have identified this key VOW that distinguishes the true Hindu nAdayOgis. For these sAdhus, complete unattachment is the way of their lives and the vow of their lives. Not for nothing is the tyAga-rAja (the vAggeyakAra) the king of sacrifice.

Indeed this vow rejecting the patronage of mortals especially separates the Dikshitar from the many grasping “pretenDikshitars” and all their once and future agents, who have sold out his magnificent sacrifice and legacy to corrupt zamindars.

The groveling nara-stuti of all these despicable descendants is well documented in the SSP itself for everyone to read.

The conspiracy to malign the Dikshitar has of course been fully exposed in the posts above , and thanks to the wide reach of the rasikas forum, the dignity of the Dikshitar restored.

To the nAda-upAsaka, the kamalAmbA navAvarana is the supreme musical expression of the Sri vidyA , where the Dikshitar worships the dEvi, progressing in organized sequence thru the 9 Avaranas of the Sri-Cakra , culminating on the SivAkAra-manCa of the Ahiri.

Posts # 564/565 have shown how each Cakra name/meaning/word has also specifically influenced the rAga choice made by the Dikshitar for the kamalAmbA navAvarana.

Not surprisingly , no respect or understanding of the Sri-vidyA and its influence on the Dikshitar is evident in the SSP or its agents.

Back to the kalyAni, kamalAmbAm bhajarE.

As shown in post # 564, this kriti is the sarva-AshA paripuraka Cakra kriti.

In fact the word kalyAni is itself a name/descriptor for the dEvi from the lalitA sahasranAma as the one who does good and is therefore wish-fulfilling.

It is entirely proper that the Dikshitar chose this kriti as the vehicle to bring forward his vow of rejection of worldly and illusory attachments when he says “mAya-karyam tyajarE” .

For, in the same breath as he extols the wish-fulfilling nature of the “kalyAni” dEvi (in this, the second Cakra mudra) he simultaneously reiterates his vow of rejection of all mortal patronage in the fulfillment of his ascetic wishes.

A similar statement is made by the other great nAdayOgi of that time, SyAmA SAStri in the O jagadAmbA Ananda bhairavi masterpiece where he says “parA Sakti mana-vini vinumA mariyAda-lErugani dush-prabhula
kOri vinutimpaka varam-osagi"- calling on the (kAnCi) dEvi to help him so that he does not have to rely on the dush-prabhula (the low kings and corrupt zamindars)

While the kamalAmbA navAvarana is unique since it coincides vibhakti sequence with Avarana/Cakra sequence, the influence of the Sri-Cakra and Sri-vidyA Avarana sequence/progression is now known for several other kSetra sets of the Dikshitar, as has been shown in posts earlier. In these the vibhakti sequence is not followed but the Cakra order dominates (as it should ! )

The abhayAmbA navAvarana as seen in post # 567, also follows the 9 Sri-Cakra stages, and its rAga choice can also be derived systematically from the individual Cakra. For example, in this set governed by the Cakra the kEdaragaula kriti is the first in the sequence of Avaranas (not the kalyAni). The other 8 kritis in proper Cakra sequence can be seen in post # 567.

So too do the kAmAkSi, brhadAmbA, minAkSi, the tiruvArUr tyAgarAja , the tiruvArUr ganapati (2 sets) etc. appear as navAvaranas based on the unique Cakra mudras embedded in each set of 9, as noted in previous posts. Notably as shown in post # 570. the Dikshitars tiruttani guruguha set is also a navAvarana, (and not merely a vibhakti set).

There are many vidwAns/vidUsi’s who have rendered kamalAmbAm bhajarE over the decades.

But the youthful renditions linked below here show that the kriti does not need any stalwart or any musical technician/gymnast to find its expression.

kamalAmbAm bhajarE

Excellent veena rendition (anjani-aSwini duo)
https://www.youtube.com/watch?v=2tehkMdw8s8

nice rendition by rachana
https://www.youtube.com/watch?v=wh4cGqbBoMI

nice group effort
https://www.youtube.com/watch?v=pPW245wJBqw

Many thanks to the upload agencies and the artistes.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (What connects the Dikshitars kritis at the three akhanda kAvErI kSEtras)

Post by nAdopAsaka »

What connects the Dikshitars kritis at the three akhanda kAvErI kSEtras –

The evolution of the dEvI from bAla-kuCAmbA of kulitalai to the Siva-Sakti union at tiru-ingOmalai (the bee legend hill)


In the footsteps of nAdajyOti Mutthuswamy Dikshitar....

May I remain worthy of the boundless grace and mercy of the Dikshitar.

The akhanda kAvErI set is the Dikshitars tirtha (pilgrimage) where he follows the ancient agastya legend of Siva/dEvI worship, which starts at kulitalai, passes through ratnACala/ayyarmalai and culminates at tiru-ingOmalai.

In this post several aspects of the interconnectedness of these kSEtras and therefore of the specific kritis of the Dikshitar at these shrines are described.

It will be noted that the Dikshitar also provides a mangalam type kriti (the suraTi bAlakuCAmbikE at kulitalai, where effectively the idols return after the cycle of 3 kSEtras is completed).....thereby cementing the truth that the three kSEtras and all these kritis are part of a composite kriti-mAlikA.....

Only a fool (or worse) can continue to think or argue that these three kSEtras and all the 5 kritis known here are not completely authentic to the Dikshitar........but we are getting ahead of ourselves.

Some background is needed for those [1] who have little or no idea of the details of this region as it pertains to the Dikshitar and for those [2] who have denied the Dikshitars nAda-yOga with their ignorance and their arrogance in the last 150 years.

Through one of the many legends associated with the transcendent agastya muNi , the river kAvErI is supposed to be a clone of the sacred river gangA brought to its southern locations by this muNi in his pot/ghata. agastya is also known as the ghata-ja or kumbha-ja. There are many other agastya/kAvErI legends as well, including those that link his spouse lOpamudrA to this river.

There are also other legends in the purAnAs linked to the sage agastya in the south, and one popular one is enshrined by the Dikshitar himself as found in his words “purA kumbha sambhava muNi vara” in the charanam section of the famous “vAtApi ganapatim” hamsadhwani kriti.

For the akhanda kAvErI, however, the key story is that of agastya acquiring the form of a bee to enter the final temple at tiru-ingOmalai towards the end of his day-long tirtha to the Siva/dEvI kSEtras of the dakSina kASi.

Tradition has it that at benAras = kAshi, the gangA river itself turns towards the kASi viSwanAtha temple in benAras, and geographically the river yamunA (the gangA’s major tributary) has its confluence at prayAg, upstream of this point.
Similarly, the akhanda (or indivisible) kAvErI kSEtra marks the region after which the river kAvErI has no further major confluences. Only a few miles upstream of the kulitalai region, the tributary amrAvati merges with the kAvErI.

Most humans need to look at a map/GPS/satnav etc. to know where they are.

But it is only in the minds eye of the inspired Hindu poets, that geography is not merely land-scape but the imagination of those greater entities that prescribe our very existence and our very place.

So too is the nAda-sampradAya this type of mind-scape.

In this mind-scape, the akhanda nature of the kAvErI becomes also the symbol for the union of dEvI with Siva (they are a-khanda or in-divisible here) and this is the key to understanding the agastya legend as illustrated by the composite pujA presented by the Dikshitar.

To comprehend what this post intends to convey, one must first absorb the following information provided by that most famous of Hindu poets of kASI, namely kAlidAsa.

In kAlidAsa’s classic invocation to dEvI, the SyAmala dandakam, the following four place names can be observed !
1. kASi (or kAshi) , which appears via the embedded manner in “Candri-kA Si-talE”, aka the cool of the moon)
2. kadamba vAsa priyE & kadambavana vAsini
3. navaratna pitha stithE
4. sudhA samudra antaruDa maNi dwIpa samruDa vilvAta vi-madhya

The last words mean “the place of the vilva forest (the bel or Bael tree), that grows in the gem island (maNi dwIpa) in the ocean of nectar (sudhA samudra) ” . We will return to this last place name later in the post because these specific words are relevant to tiru-ingOmalai.

Next one can observe the following words which appear in the set of akhanda kAvErI kritis of the Dikshitar
1. dakSina kASi (the word appears in 2 of kulitalai-nilakantha kritis)
2. kadambavana-nAtha (in the kEdAragaula at kulitalai)
3. nava ratna giri (in the mukhAri at ratnACala)
4. mahA-vilva-avana (in the vasanta at tiru-ingOmalai)

The appearance of each descriptive place name for each place shows the influence of kAlidAsa’s SyAmala dandakam on the Dikshitar right from the start at the first kSEtra at kulitalai, per the agastya ritual.

The three shrines are in the order of the sequence of the agastya pujA.....
1. the kadambavana-nAtha shrine at kulitalai ,
2. the ratnACalEswara shrine at ayyarmalai
and
3. the marakatACalESwara shrine at tiru-ingOmalai (aka the bee legend or honey mountain)...the place is also known as Siva-Sakti malai.

It is quite unlikely that kAlidAsa could be aware of these three specific temples in the south. There is also no clear evidence of the rivers gangA or kAvErI in the kAlidAsa dandakam.

Of course we know that kAlidAsa is well aware of the agastya muNi thru his knowledge of the skanda purAna etc. as seen in the classics “kumAra sambhavam” and “raghuvamSa”.

It is therefore of interest (at least for the nAda-upAsaka) to ask... why is this particular kAlidAsa poem playing such a big role in the Dikshitars construction of this akhanda-kAvErI composite set ?

Indeed a closer look at the SyAmala dandakam reveals at once many beautiful names and attributes of the dEvI found in the lalitA sahasranAma.

Naturally kAlidAsa thru his comprehension of agastya lore, was aware of the lalitA sahasranAma first proclaimed by the agastya muNi, as told in the brahmAnda purAna. Notably Adi Sankara , his SoundaryaLahari and likely even the tEvAram poets come on the scene after kAlidAsa. But.....let us set aside for the time being any curiosities connected with historical timelines of different classical Hindu poets
.
There can be NO DOUBT that the Dikshitar is following the agastya pujA, using as his guiding thread a specific aspect of dEvI worship.

Indeed, he specifically describes the hill at the second sthala, the ratnACAla , as being of Sri-Cakra AkAra.

Now enlightened with all this background and with the Dikshitar holding his hand, the nAda-upAsaka ascends the hill at tiru-ingOmalai, the third and final sthala of the akhanda kAvErI set.

The Sri-phala at the Siva-Sakti malai of tiru-ingOmalai – the culmination shrine of the akhanda kAvErI tirtha.

Post # 707 already identified the rAga vasanta kriti “marakata liNgam CintayEham” with the humming bee motifs of the tiru-ingOmalai.

But there are several other interesting aspects of the “marakata lingam” kriti that describe its special place as the culmination shrine of an important agastya pujA.

In order each relevant phrase is described now

marakata lingam – which is the emerald green Siva lingam that is iconic of this malai. Noticeably the Dikshitar does NOT call this deity by the name “marakatACalESwara”, preferring instead to invoke the linga name.
the linga which is a seamless object, is considered akhanda (indivisible as in the “akSaya linga”) so this is a more fitting descriptor for the deity here.

mAnikyavalyambA – Here too the Dikshitar has deliberately NOT used the more conventional name “marakata-ambA” for the consort. In fact the usage “marakata-ambA” conflicts with his usage elsewhere for the “marakata-valli” (which is undeniably as the consort of the mArgasahAyESwara of virinCi-puram..but that is a story for another post).

mAnikya-valyambA is a direct reference to the lalitA sahasranAma names of dEvI wearing the red ruby crown “kuruvinda maNi–SrEni-kanat kotirAmandita” or otherwise shining like red rubies “padma rAga samaprabha”.

mAnikya is the red ruby and both kuruvinda maNi and padmarAga are special types of this red ruby.

The mAnikya/ratna etc. adornment of the dEvI is also echoed in the SyAmala dandakam.

Much more specifically, the tEvAram poet, nakkeerar (who wrote 70 stanzas at tiru-ingOmalai ) refers multiple times to the mAnikya /rubies that are dug out of the ground by the wildlife, boars etc. that roam this hill.
The dEvI or mother of this earth (vallih) of rubies is therefore also properly described as “mAnikyavalyambA”.
So this usage is entirely correct for the hill where the lalitA dEvI attains her Siva-Sakti union as per the agastya legend.

The ardhanAri at tiru-ingOmalai and its contrast between Siva-male and dEvI-female attributes

The tEvAram poets particularly also note the ardhanAri aspect of the deity at tiru-ingOmalai. The specific usage “dEvI-bhAgam” where she is half of Siva, appears in sambandArs stanzas here.

It makes complete sense with an ardhanAri icon that the green of the lingam is contrasted by the red of the ruby crown of dEvI.

For the novice to these matters, the ardhanAri is always a composite of contrasts (as per the ardhanAriSwara stotra) e.g. lAsya vs. tAndava, garland of flowers vs. garland of skulls. (and a dozen or so other examples given by the Adi Sankara in this stotra)

The first lines of the ardhanAriSwara stotra use the word “gauri-ardHanga”. The appearance of the word “gauri” in the anupallavi of the Dikshitars kriti is further suggestive of this influence.

mahA-bilva vana madhya vihAram
There are many vilva forests and Siva shrines up and down the kAvErI and all over the Indian subcontinent.

The question to clarify is why is this unique forest (bilva or vilva) name only used by the Dikshitar at tiru-ingOmalai (and nowhere else).

In his 46th stanza at tiru-ingOmalai, the poet nakkeerar gives a descriptor which can be interpreted as “cool shady forest/wood” and which contains this word “vila”. One tamil word for bilwa is vila , from the root word bEl.
We should also recollect the usage in the SyAmala dandakam “sudhA samudra antaruDa maNi dwIpa samruDa vilwAtavi madhya”.

The descriptor applies perfectly to the tiru-ingOmalai location, given what we know from the tEvAram of the hills filled with rubies-maNikya as well as hills teeming with honey bees (which make honey from flower nectar/sudhA) .
Indeed, sambandAr opens his tEvAram here with the description of the dEvI speaking honeyed words “tEn-Othanamen” and also refers to swarms of bees at tiru-ingOmalai.

A deeper meaning is found in Hindu scripture itself.

The skanda purAna in the tirtha-mAhatmya section describes the bilva tree as being named by the dEvI/pArvati as the “mahA-taruh” (tree) that emerges from deep in the earth (bila) and grows up close to her, protecting her (avana) .

At tiru-ingOmalai, the dEvI attains the Siva-Sakti union, hence the aptness of the usage “mahA-bilv-avana” here.

Independently the bilvAStakam of Adi Sankara describes the bilva leaf as akhanda bilva pAtra. So this is also aligned with the akhanda status of the region.

And finally, the fruit of the bilva-tree is called Sri-phala which name is found in the SyAmala dandakam and is symbolic as the fruit of the Sri-vidyA.

mahanIya sAmrAjya prada – which indicates the gift of an empire.

In the skanda purAna, worship using the bilwa leaf, is also supposed to confer an empire “Aharisyatyasau rAjA bhaviSyatyEva bhūtale”.

Another legend of this shrine associated with the Cola kings (the mucukunda chakravarti) can also be linked to this usage of the deity granting this sAmrAjyam or empire/dynasty.

mAnita vaishravana-adi varadam – viSrava is known as a brother of the agastya muNi. Separately viSrava is also parent of kubEra and the ancestor of the kings of lanka. The latter find repeated mention in the tEvAram at tiru-ingOmalai, where the image is of these kings of lanka (e.g. the asura rAvana) who are pushed into the earth by the toes of the Siva deity and subsequently after proper penance given their salvation by this deity.

The secretive aspect of tantra at tiru-ingOmalai

The aspects illustrated above point to a more veiled description of the icons of tiru-ingOmalai compared to the narratives at the other two akhanda kAvErI sites. There is one possible reason for this. One cannot ignore the fact that tiru-ingOmalai apart from being a unique Siva-Sakti malai/union site is also a tirtha for major tAntric Siddhars/bhOgars. And the tantra is always associated with secretive aspects, rahasya or bhEda.

So the significance of the tiru-ingOmalai site as the Sri-phala site appears at first muted.

Almost as if one has to determinedly search before uncovering the truth.

Even the rAga mudra for va-santam appears to be buried in the words “ganeSa sannutam” although in the other adjacent kSEtra kritis the exact words kEdAragaula, nAdanAmakriyA and mukhAri appear..

In keeping with this hidden concept , there is yet another intriguing aspect of the 3 akhanda kAvErI kSEtras seen in the names given to the consorts.

The goddess herself evolves from the bAla-kucAmbA (the child form), to the mOha-ja-ArAlakESi (the seductive youth) to the supreme mother lalitA (as mAnikyavalyambA of the sahasranAma).

Curiously kAlidAsa’s dandakam also describes this age based development !! from “daughter of the mountain”, “mAtangA kanyAm”, to curly haired charmer “niLAlaka SrEni SringAritE“ to finally the supreme mother “su-lalitA”, and Sri-phalE !!!, the final fruit of the Sri-vidyA.

Of course it is hard to see kAlidAsa being specifically aware of the akhanda kAvErI triad of temples, whose existence/naming of idols/legend goes back to antiquity , centuries before him.

Whatever the case, the rahasya of the akhanda kAvErI composite kSEtra lies in the evolution of the goddess herself as she seeks and attains the Siva, and which governs the order and the choice of the worship at these ancient shrines.

And befitting his role in the nAda-sampradAya, the Dikshitar has faithfully transmitted this teaching through this set of kritis.

Nice audio of 4 of the 5 kritis of this set are available.

Thanks to the artists and upload agencies.

nilakantham bhajEham in kEdAragaula
vidwAn p. unnikrishnan
https://www.youtube.com/watch?v=qjpQGmeOr_k

nilakanthAya namO namastE in nAdanAmakriya
If I lay my hands on a decent version of this, I will post.

pAhi mAm ratnACala in mukhAri
viduSi DKP
https://www.youtube.com/watch?v=G1ijWGLa1bQ

marakata lingam in vasanta
vidUSi’s ranjani-gAyatri
https://www.youtube.com/watch?v=DFD_M4A4Vrw

bAla-kucAmbikE in suraTi (mangalam)
vidUSI baby srirAm
https://www.youtube.com/watch?v=fTRBhYAIDJg

prabhu53
Posts: 134
Joined: 04 Jun 2020, 00:07

Re: Mutthuswamy Dikshithar (Krithis)

Post by prabhu53 »

Reposted

Good Morning. Today is Thai Poosam, the day on which Lord Karthikeya received his powerful lance from his Divine Mother Goddess Parvathi.

Here is a Sanskrit prayer in Raga Anandabhairavi (that links Nirguna Brahman with Saguna Brahma Bhakti) along with its meaning and explanation.

https://prabhusponder.com/2022/01/18/mi ... rspective/

God Bless. Thanks 🙏

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (The quintessential skanda--panCa bhUta in the Dikshitars worship of palani murugA)

Post by nAdopAsaka »

The quintessential skanda--panCa bhUta in the Dikshitars worship of the palani murugA & the “Aa-vi-nan-ku-di” bAla-subrahmanyA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar....

I always revel in the gifts of the Dikshitars inspiration and upadESa.

In this, the sacred month of “mAgha” , it is only proper to dwell on the Dikshitars skanda worship.

And rAga Ananda-Bhairavi is equally the proper way to invoke the skanda-murugA, as the Dikshitar shows in his classics “dandAyudhapAnim” and “mAnasa guruguha”.

The composite nature of ALL six sthalas of the Aru-padai viTa of the skanda-murugA, within the Dikshitars worship has already been thoroughly revealed , e.g. posts # 669 , 667, 657.... etc. to the eternal dismay of the criminals who have sought to deny his nAda-yOga.

Within these 6 hallowed sthalas, the palani murugA holds a completely unique place, which is also of relevance to re-affirming the theme of yOga and sacrifice that is at the core of the Dikshitars (and all true vAggeyakAras) musical pujA and heritage.

What is this unique aspect ?

The palani skanda-murugA is the supreme ascetic, the supreme sanyAsi.

Post # 669 has shown that the palani sthala is the third skanda sthala of the Aru-padai (6) and corresponds to the manipuraka Cakra (the solar-plexus nerve center), which is signified also by agni, the sacrificial fire of purification and transformation.

It is in this fire that the core identity of the ascetic palani skanda is revealed.

It is this fire that burns away the seductive empty nature of the illusory universe (mAyA maya mOha) so that only the essential remains, represented by the panCa bhUtas.

In fact, Hindu tradition considers that, upon passing, ones body/soul/Atman unites with these five mahA-tatvas i.e. bhUtas.

The monastic aspect of the palani murugA is further symbolized by his iconic “dandA” (the monks staff), his tonsure (he is shorn of hair) and his celibacy (no mention of valli/dEvasEnA consorts) here.

As an aside, it is notable that yet another of the Dikshitars magnificent Ananda-Bhairavi kritis is also to the king of sacrifice “tyAgarAja yOga vaibhavam”.

The ancient place name “Aavinankudi”

The palani hill itself sits in the area/kSEtra termed “Aavinankudi” described by the classical poet nakkeerar.

This ancient name can actually be parsed to reveal the following 5 words that denote these panCa bhUtas !!

Aa = the cow which signifies the ambrosia/amritam/rasa of milk,
vi is the wind or anilam
vin is also the sky or AkASa/gagana
ananka is also sky or AkASa
ku is the earth or prithvi
ti is fire/lamp or sacrificial fire – this is phonetically “di” as well

The Dikshitars panCa bhUta pujA to the palani skanda on the hilltop

Whether or not the word Aavinankudi or some phonetic version of it was designed to convey this multiple meaning , the impact of the panCa bhUtas on the Dikshitars kritis here is unmistakeable !

It is quite clear from the Ananda-Bhairavi kriti that the Dikshitar is performing a panCa bhUta pujA of this purified, sanyAsi form that the palani murugA attains.

The start of the relevant line in the “dandAyudhapAnim” kriti is itself instructive !

It echoes the start of the prithvi-lingam bhairavi kriti “Cintaya mA kanda mUla kandam”.

The line goes as “mAyA mUla kandam skandam sham-dam”, where the skanda is also the “sham-dam”, the giver of welfare.

Notably one synonym of sham = welfare is itself also the word “bhUta” (see for e.g. “bhavAnISa katAkSa pAtra bhUta” from the yadukula kAmbOji “diwAkara tanujam”)

In keeping with this careful deliberation, the Dikshitar unveils each bhUta offering with equally pre-meditated saguna characteristics. The use of the words “Atmaka” and “maya” indicates the Dikshitar is using the offerings to symbolize the essence of each bhUta/element.

prithvi-Atmaka is offered as gandham (the sandal paste used at palani)
gagana-Atmaka which is represented by “suma-gandham” as the fragrance of flowers (ku-suma) in the sky (suma)
vAyu-maya where the characteristic of wind is manifested as the smoke of aromatic incense as “dhUpa-gandham”
vahni-maya as agni with the light of lamps
amrita-Atmaka (Apa) as the rasa of ambrosia (see for e.g. in the yamunA kalyAni jambupatE, where the Dikshitar considers water as amrita, as in “nijAnanda amrita bodham dEhi”)

The Dikshitars panCa bhUta kriti to the Aavinankudi bAla-subrahmanya at the bottom of the hill

It is perhaps not fully comprehended that the Dikshitar has another kriti, the suraTi kriti “bAla-subrahmanyam bhajEham” to the child form of skanda-murugA, whose shrine is at the base of the palani hill.

Most books carelessly give wrong sites for this kriti.

Indeed, the panCa bhUta aspect that pervades Aavinankudi , is carefully reflected by the Dikshitar in this kriti.

ALL five of the panCa bhUtas are embedded as shown by the following

bhU (as in bhU-ruham) for prithvi
ambaram (as in muktAmbaram) for AkASa
phAlAkSa for agni
vAha for vAyu (aka anila or wind)
niratishay-Ananda-pravAha for the unending flow of bliss that is equated to ambrosia or amritam

Of course, even someone with only one eye can see the words in the charanam "panCa bhUta maya mOham"

In addition, the suraTi kritis last line is “niratishayAnanda pravAham”, the unending (liquid) flow of the stream of bliss, which mirrors the last reference in the palani kriti to the “amritAtmaka rasa brndam”.

As an auspicious (mangala) rAga signaling the entrance to the palani murugA hill ascent , the choice of suraTi is also inspired.

“Coincidence is merely Gods way of staying anonymous” as a great mind has said.

The other icons of the palani skanda/muruga

The Dikshitar as always is careful to enshrine the most emblematic details of each kSEtra in his musical pujA.

At palani, apart from the purifying fire of the agni of the manipuraka Cakra that reveals only the essential panCa bhUta , there are 3 aspects that HAVE to be mentioned !

the word palani i.e. pazham-ni, the gift of sweet fruits of knowledge.
Here the Dikshitar gives the graphic picture of sweet nectar of knowledge dripping from the lips of the deity “adhara madhura makarandam, mrdu-tara vaCanam anantam”.

the nava-pASana of bhOgAr, the alchemist whose formulation is what the palani idol is made of
Here the words “pandita-tara nava vIram” are indicative.

vIram is the name of the first of the nine materials in the bhOgArs nava-pASana mixture (of nine).
The word “nava” or “new” is suggestive as well of the newly minted skanda who is transformed by the sacrificial fire into his purified, essential form on the hilltop.

the panCa-amritam prasAdam of palani
the specific offering of each of the panCa bhUta elements described above as the different “gandham” offerings is the Dikshitars poetic symbol of this iconic 5 element prasAdam.

why the need to both think extensively and write expansively in all these posts concerning the Dikshitar
There has been a history of mis-representing the Dikshitar, either deliberately, for a variety of nefarious aims, or inadvertently from sheer ignorance and carelessness.

In addition, the twitter-type universe, which is perfect for those of few words and even fewer thoughts, has exacerbated the condensing of details so that the complex and multi-faceted gifts of the vAggeyakAras are obscured, revised and ultimately degraded and defaced...... trivial and indefensible muck is thoughtlessly put forth by those who choose to remain casual about the Dikshitars pujA.

Casual is perhaps OK if you are in a music sabha or academy canteen sipping beverages and munching snacks (maybe even within earshot of the stage) while eyeing the finery and attire of the other equally shallow attendees.

For the nAda-upAsaka, the only proper way to respect the Dikshitar and his heritage is to dwell on each and every word and melody and idea he has gifted us.

I am always grateful to the rasikas forum for its role in giving all nAda-upAsakas the opportunity to present and delight in the glory of the Dikshitars nAda-sampradAya.....a nAda-sampradAya that is not obscured or limited by puny details of notations/sangita techniques but which is the essence of the pujA that drives the core of Hindu faith and the Hindu sAdhus and vAggeyakAras who are our only true compass.

Fine audio examples are available
many thanks to artistes and upload agencies

for dandAyudhapAnim Ananda bhairavi

a chaste rendition by vidUSi ramA ravi
https://www.youtube.com/watch?v=LJiw6aC3284

also nicely done by vidwAn prasanna V.
https://www.youtube.com/watch?v=EyO1uw-BK0E

for bAla-subrahmanyam suraTi

vidUSi sitA rAjan group
https://www.youtube.com/watch?v=wdZ3G67MvEY

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

ref p-720
@nAdopAsaka

Sir, Your elucidation of the kruuthi 'baalasubramanya' , at the foothills
of Pazhani is really fine and new perception. Sri.Govindan's site refers to the kshetram as Thiruchendur...possibly based on SSP too.
Is there any clue to relate it to Thirucchendoor?? May I have a clarification? .
http://guru-guha.blogspot.com/2008/02/d ... -raga.html

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RSR, the tiru-CEndUr reference for this suraTi kriti could be merely a transcription error or even typographical error.

I have seen the mistake in the TKG book. Perhaps the site you mention got their information from this book too.

Post # 720 shows compelling evidence that the kriti is linked to the undeniable panCa bhUta theme of the Avinankudi/palani foothill.

Perhaps we hear from any “defendants” of the tiru-CEndur location, but I think the hurdles are insurmountable.

The well-accepted tiru-CEndUr kriti is of course “Sri subrahmanyO mAm rakSatu” in tODi which carries the “pAtra vibhUti” (sacred ash on a leaf) and the sea-water “SankhAbhiSEka” from a sea-shell ideas that are iconic for this coastal skanda/murugA.

Additionally a key theme of tiru-CEndUr is the recognition of the skanda here as the destroyer of tAraka, simhamukha and SurapadmA, the asurAs etc. And this is seen in the tODi kriti where the word “tArakAdi hatadhira” is used.

Conversely none of these specific aspects are seen in the suraTi, which however has the panCa bhUta theme indelibly all over it per post # 720. Also the spear-bearing child on a peacock is iconic of Avinankudi and noted in the kriti.

here a young singer does her best to be equal to task of delivering the heavy tODi rAga and kriti

Sri subrahmanyO - tODi
https://www.youtube.com/watch?v=UTRpKng8SCE

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (The complete 11 kritis of tiruttani guruguha navAvarana including dhyAna & mangala kritis)

Post by nAdopAsaka »

The complete 11 kritis of the tiruttani guruguha navAvarana including dhyAna and mangala kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RSR, I appreciate the balanced and diligent approach you bring to all these matters.

We may not agree on many mostly minor things, but as far as (any) nAda-upAsaka is concerned, you have done the nAda-sampradAya right and proud by first pointing out the “jarring apa-shruti” of the false narratives expounded by the SSP and its agents surrounding the Dikshitar nAda-yOga. For example as related to the sixth Aru-padai kSEtra, namely pazhamudirCOlai....there are others as well.

Another example of a mistaken kSEtra in TKG – the kriti “Saravanabhava guruguham” in rEvagupti

This is wrongly given as at tiru-Avinankudi.

“Saravanabhava guruguham” cites the consorts vallidEvasEna which disqualifies it immediately from palani/Avinankudi, ...as post # 720 shows the sanyAsi mode prevails in this shrine.

“Sa-ra-va-na-bha-va guruguham” starts with the auspicious six-letter skanda SadAkSara mantra.

I place it as dhyAna kriti for the tiruttani navAvarana (which is described in post # 571 and 570)....yes that is navAvarana..not just vibhakti.

It can be seen that the kriti also refers to “nAdAnta-vihAra” which also appears in the tiruttani Sri gurunA pAlitosmi – pAdi kriti.

Along these lines “Sri guruguha tArayASu” in dEvakriya is the mangala kriti of this tiruttani navAvarana.

The status of dEvakriyA as a mangala rAga can be observed in the CaturdaSa (14) rAgamAlika Sri viSwanAtham. Both rAgas dEvakriyA (and bhUpAlam) appear only at the end of the sequence of 14 rAgas ..which then reverses.

Noticeably in the dEvakriya kriti too the SadAkSara mantra is cited by the Dikshitar.

Further in the set of 11 kritis (listed below), the Saravanabhava mantra appears also exactly in the middle of the sequence, i.e in the 6th Cakra kriti “gurumurtE bahukirtE”.

Generally dhyana/mangala kritis are not a requisite as can be seen in many of the other navAvaranas. But for tiruvArur kamalAmbA and tiruttani guruguha, these are relevant.

The complete tiruttani navAvarana (all 11 kritis are listed here, posts # 570/571 give other details of the Cakra mudras discovered).

I only show the first Cakra mudra given by the Dikshitar himself as ”bhupurAdi navAvaranasya” !!.

Clearly vibhakti is subjugated to Cakra Avarana.

The Sri-vidyA being a vidyA, is the learning/teaching of the reaching ones own self, also ones “Guru”.

The 9 Cakra mudras as well as the rAga choices made for this navAvarana are given in posts # 570/571.

the 11 kritis of the tiruttani guruguha navAvarana with Cakra Avarana
0 Saravanabhava guruguham rEvagupti dhyAna kriti which starts with the SadAkSara mantra
1 Sri guruguhasya dAsOham pUrvI trailOkya mOhana given as "bhUpurAdi navAvaraNasya"
2 Sri nAthAdi guruguhO mAyAmalavagaula sarva-AshA paripUraka
3 mAnasa guruguha rupam bhajarE Ananda bhairavi sarva-saMkShObhaNa
4 guruguhAya bhaktAnugrahAya sAma sarva-saubhAgya dAyakA
5 Sri guruguha murttE udayaraviCandrika sarva-Artha sAdhaka
6 gurumUrtE bahukirtE Sankarabharanam sarva-rakShAkara
7 Sri gurunA pAlitOsmi pAdi sarva-rOgahara
8 Sri guruguha swAmini bhaktim karOmi bhAnumati sarva- siddhi pradAyaka
9 guruguhAdanyam Na jAneham balahamsa sarva-Anandamaya
10 Sri guruguha tArayASu dEvakriyA mangala kriti

In the meantime I make some general statements because your enquiry is the tip of the proverbial iceberg.

the Dikshitars worship of the deities
There is a tendency to consider the Dikshitars worship of the deities on a single kriti-by-kriti basis.

Nothing could be more erroneous or farther from finding the truth, although a musicologist (or a soul-less notation-monger like the SSP) interested in rAga technicalities might adopt this approach.

The horror and meaningless-ness of this single-kriti approach is fully amplified when the group/kSEtra kritis are observed.

the nAda-upAsakAs worship of the Dikshitar
Similarly the nAda-upAsakAs worship of the Dikshitar takes into account the Dikshitars entire repertoire relevant to a region or kSEtra.

Even when seemingly isolated kritis and regions are observed, to the nAda-upAsaka, they carry emblems of underlying unity, either through Sri-Cakra yantra or even just the nature of rAga/tAla choices adopted.

There is always a connected purpose and motivation, since the offerings are from the single indivisible mind of the (one and only) Dikshitar.

The triumph of truth and Sruti

The latest errors seen in kSEtras in textbooks like TKG appear less cynical than the one we have seen at pazhamudirCOlai.

TKG being primarily a musicologist cannot be expected to be perfect in his translations or even in the comprehension of the deeper and esoteric teaching within the Dikshitar nAda yOga. His errors are excusable.

It is the other notation-mongering text, the SSP with its false historical narratives and its complete lack of understanding or respect for the Sri-vidyA and the Dikshitars nAda-yOga, that should be condemned at all times. I suppose it serves a purpose of sorts since we need the night to know day-break, we need darkness to find light, and we need poison to make anti-venom.

The triumph of truth is inevitable....satyamEva jayatE...

good audio is available..thanks to artistes and upload agencies

Saravanabhava guruguham - rEvagupti

by ranjani and gayatri
https://www.youtube.com/watch?v=W5N_SCxS2uY

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (tiruttani - the candy in the Dikshitars mouth, rAgas for dhyAna & mangala kritis)

Post by nAdopAsaka »

tiruttani - where the candy was first put in the Dikshitars mouth, basis for the rAgas of dhyAna and mangala kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The nAda-upAsakAs adoration of the Dikshitar becomes unbounded when he or she begins to contemplate WHY “the candy was put in the Dikshitars mouth”.

Although the word “kriti” suggests they are “constructed”, the wondrous compositions of the great vAggeyakAras are always only “received”.

What is pre-meditated or deliberate or “krit” is merely the human effort of the preparation of the “reception portal”... all the organization, the choice of rAgas, this or that bhASAnga svara, N1, D2 and the like, the grammar, the words, names, tAlas, mElas, janyAs, the “bespoke” tailorings to kSEtra icons or scripture texts.

When all this “intellect” is assembled with humility and sincerity and sacrifice (and no duplicity !) then and only then does the nAda-sampradAya breathe life into the “kriti”, making it immortal. This is of course when the “candy enters the mouth”.

tiruttani (ref. post # 723) is the first shrine associated with this sweet candy legend and where the Dikshitars unique nAdajyOti first flickered into life.

So it is important to dwell a bit more on the composite nature of the pujA made here by the Dikshitar to one of his favorite deities.

the basis for the rAgas chosen for the dhyAna and mangala kritis of the tiruttani guruguha navAvarana

Post # 571 shows the logical, organized reasoning that leads to the rAga choice for the 9 (Cakra) kritis of the tiruttani guruguha navAvarana.

Following exactly this established method, the basis for the rAgas chosen for the dhyAna and mangala kritis of this navAvarana is asserted in this post.

It is the nAda-upAsakAs way of recreating how/why the Dikshitar made his choices and preparations on the verge of receiving his repeated inspirations, his candy.

rEvagupti for Saravana bhava guruguham-the dhyAna kriti

The birth of skanda/murugA is first cited in the great Hindu epic , the mahAbhArata, where reference is made to the shara=Sara (river-side grasses/reeds) as the babys “crib” of sorts.

Later in the Skanda purAna, more details are given, (the key one is excerpted here from the kEdAra-khanda of that text)

gangAyAm ca tadA kSipram kICakaih parivESṭitam
Sanmukham bAlakaṃ jnAtvā sarvE devā mudAnvitAh


Here the baby Sanmukha is described as protected by kICaka, or hollow bamboo canes which are also found as thickets on river-banks.

Indeed another synonym for kICaka (bamboo) is rEva-ta.

And the concealment or protection of the baby is clearly signified by the word “gupta”..

So rEva-gupta is the suitable euphemism for the child concealed and found in the Saravana thicket and the Dikshitar unhesitatingly uses this word-name for this Saravana kriti (as the rAga rEvagupti).

dEvakriyA for Sri guruguha tArayASu mAm – the mangala kriti

For this choice, one needs to be aware of the arunagirinAtha tiruppugazh/hymns at tiruttani (also written to many other shrines).

Hymn 286 of this great poet at tiruttani describes how different dEvas are assembled performing worship of the tiruttani murugA with folded hands...which is undoubtedly a “dEva-kriyA”.

Noticeably his Hymn 256 also gives the description of pujA by Siva, brahmA and viSnu but using their consorts/nAyan names !

silai magaL nAyan kalaimagal nAyan thirumagaL nAyan

Obviously this is the inspiration for the Dikshitars iconic line “surapati sripati ratipati vAkpati kshitipati pasupati sevita” of the pallavi !!

Naturally, audio is required after all these axioms and theorems..

many grateful thanks to upload agencies and artistes

Saravanabhava guruguham – rEvagupti

nice violin effort by a young vidwAn vaishnav
https://www.youtube.com/watch?v=ZiY8DeK4-Mw

an aside
Both rEvagupti and bauli are of course madhyama varjita but the latter introduces the niSAda in the avarohana.

veena viDUSi jayanti explains the nuances of rEvagupti, bauli and bhUpAlam..
https://www.youtube.com/watch?v=C8ju6uJN2eM

all this excuse to hear this particular veena rendition

for comparison here is Sri pArvati paramESwarau of the Dikshitar in bauli

excellent veena by vidUSi N. krishnaveni !!
https://www.youtube.com/watch?v=s1e7WZT1HRo

gurumurtE bahukirtE -SankarAbharana

the "English note" characterization of this kriti is another travesty that has obscured the true navAvarana nature of this important composite pujA of the Dikshitar.

the vidUSi S. nAgamani properly addresses the gravity of the rAga and of the tiruttani guruguha.
https://www.youtube.com/watch?v=eWfGG5jIiX8

Sri guruguha tArayASu mAm -dEvakriya – the mangala kriti

Sri D paSupati
https://www.youtube.com/watch?v=Ko9RSx45iTE

violin vidUSi dwAram mangathayaru
https://www.youtube.com/watch?v=B5q3nup5LyI

ranjani-gAyatri
https://www.youtube.com/watch?v=UMENHCLsSdE

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (mAdhurya vAk prada - Ripples of the nAda-sampradAya)

Post by nAdopAsaka »

mAdhurya vAk prada - Ripples of the nAda-sampradAya

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

If any Hindu poet/vAggeyakAra of the last 1000 years has used the word “kAdambari” at least one of the following must also be true..

1. He or she is aware of the lalitA sahasranAma of Adi Sankara

2 He or she knows the famous work of bAna

Naturally, the Dikshitar being a special gem of the nAda-sampradAya displays both these aspects in his offerings to the madurai dEvi.

“kAdambari priya” is of course the 330th name from the lalitA sahasranAma.

And bAna is of course the great poet and author of the sweet and fantastic romance “kAdambari”.

So it is fitting that the Dikshitar designs his charming mOhana rAga kriti to the dEvi of the kadamba vana (the madurai minAKSi), where he acknowledges the gift of sweet speech (mAdhurya vAk).

kAdambari priyAyai kadamba kAnanAyai namastE namastE
mAdhurya vAk prada nipunanAyai

As an aside, “kAdambari priyAyai” is a 2-namastE kriti (there are not that many of these, maybe a dozen or so with subrahmanyAya, abhayAmbikAyai , kamalAmbikAyai, tyAgarAjAya and namastE paradevatE being the more famous ones.... last one may well be a 3-namastE kriti since it wraps around...)

The Dikshitar also invokes the vAk-devatas (such as vaSiNi) in the "madurAmbA samrakSatu" dEvakriya kriti where the usage kadambakAdambari appears. madurAmbA samrakSatu is one of the madurAmbA navAvarana kritis as shown in post # 568 based on the nine Cakra Avarana mudras.

kAdambari priyAyai

nice chorus
https://www.youtube.com/watch?v=zXObHi0yz_8

vidUSi r Neela
https://www.youtube.com/watch?v=o4HpmETU8ZA

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (“Siva-Sakti-maya navAvaranE” - The ardhanAri deity at kAnCi )

Post by nAdopAsaka »

“Siva-Sakti-maya navAvaranE” - The ardhanAri deity at kAnCi

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

If kAnchenj-anga is the prime massif of the HimAlayas, then kAnchi-puram is the prime massif of Hindu temples.

I have seen the sun rise on the former only once, almost fifty years ago, from the 14,000 ft elevation Dzongri viewpoint in Sikkim, about 25 miles distant from the glowing peaks. No question, “kAnchana-anga” is a fitting name for the glorious golden sight.

But daily I see the “kAnCana-pUrita” shrines of kAnCi-puram, illuminated and filled with the golden vision of the Dikshitar.

May I remain worthy of this blessing for the rest of my days.

Like the mountain range, kAnCi also has 5 peaks and the Dikshitar takes the nAda-upAsaka up each of these...namely... the shrines to kAmAkSi , the EkAmrESwara, the varadaraja perumAl, the kailAsanAtha and the prithvi-lingam.

Although each of these is a major focal point, the identity of kAnCi is inextricable from the kAmAkSi dEvi.

And the Dikshitar properly worships this particular Mother with a full kAmAkSi navAvarana (as shown in post # 568)

Indeed...why not a navAvaranA ??? ...after all kAnCi is a key center for the Sri-vidyA.

This kAmAkSi navAvarana is entirely in line with all the other navAvaranas of the Dikshitar now known to us through previous posts in this thread, which display unique Sri-Cakra mudras for each Avarana.

It is the purpose of this post to point out another aspect of the kAnCi shrine.

The ardhanAri deity at kAnCi

We do not need any notation mongering text , its false narratives or its conniving corrupt modern agents to reach this conclusion.

No less an authority than SyAmA SAStri , also a great vAggeyakAra , nAda-yOgi and Sri-vidyA exponent calls the kAmAkSi dEvi as “sOma shEkharAr pAdi sundari” !! in his classic gaulipantu “tarunAmidammA”.

Notably SyAmA SAStri was also the upholder of an unshakeable vow, with no two-meanings or “dwaya-arth” nonsense to it. (ref. for e.g. post # 645 and post # 717 )”.

“pAdi” is equivalent to “ardha” and both words mean “half’. The tEvAram poets also used the construct “dEvi-bhAgam”, for example at tiru-ingOmalai (post # 718).

There is no ambiguity in Hindu scripture that ardha/pAdi refers to the dEvi or Siva as half-bodied, each sharing one half with the other gender...and accordingly balancing the male and female attributes, as observable in the ardhanarISwara stOtra.

The idea of “Siva-Sakti” at BOTH kAnCi and tiruvArur

The Dikshitars fidelity to an idea, its meaning and its representation by specific words is not just legendary...it is also a legacy of the nAda-sampradAya....as kAlidAsa says more than millenium before him

“vAk arthA viva samprakthau , vAk artha prathipathayae,
jagathaha pithrau vandE , pArvati paramESwarau”

(this statement is, of course, the basis for the Dikshitars serene bauli kriti at vEdAranyam, and celebrates the Siva-Sakti union witnessed by the sage agastya, and which is worthy of a separate post)

So the Dikshitars pointed, limited use of the word “Siva-Sakti” is both instructive and enlightening.

It will be seen that this exact word “Siva-Sakti” appears in reference to ONLY two deities in the ENTIRETY of the Dikshitar collection, i.e. the kAnCi dEvi and the tiruvArur tyAgarAja.

In the nirAjAkSi hindolam at kAnCi, the union of Siva-Sakti is celebrated as “Siva-Sakti maya navAvaranE”.

And at tiruvArUr , the Ananda-bhairavi kriti “tyAgarAja yOga vaibhavam” pulsates with the line “Siva-SaktyAdi sakala tatva svarUpa prakASam” , famously embedded as a nested loop.

Further, at tiruvArur, the tyAgarAja is of course the other half of the nIlOtpalAmbA dEvi. In fact the Dikshitar calls her “nIlakaNThArdha sharIriNyAh” in the mAyamAlavagaula kriti, “nIlOtpalAmbikAyAstava dAsOham”.

So it is fitting that the Dikshitar symbolizes the ardhanAri icon as a form of Siva-Sakti union at kAnCi, (just as is seen at tiruvArur). It is of some interest that the Dikshitar also brings forward the broader idea of union and indivisibility via “parama-advaita rupa” at these two locations (in the saraswati-manOhari and the tyAgarAjad anyam nA jAne kritis).

Indeed in the prithvi lingam bhairavi kriti the construct "bhairavi prasahNgam" is also indicative of the conjoined nature of the "ardhanAri" deity.

At kAnCi, the kAMAkSi dEvi being transcendent as “mahAtripurasundari” , the ardhanAri aspect can sometimes be overlooked. But it is certainly present as an icon. Accordingly it is noted by both the nAda-yOgis in their deepest pujA.

The great vAggeyakAras are always true, true to Sruti, to rAga , to swaras, to their iconography AND true to their vows.

Grateful thanks to artistes and upload agencies for audio.

kanakAmbari kArunyAmrtalahari

very ably illustrated here

vidwAn vivek sadASivam
https://www.youtube.com/watch?v=wTd6UjyDLtI

vidUSi rAdha V
https://www.youtube.com/watch?v=jZxu2Ms9FFY

saraswati manOhari

DKP/DKJ
https://www.youtube.com/watch?v=VSZyQcuqvFM

nirajAkSi kAMAkSi

s. rAjam
https://www.youtube.com/watch?v=2kuiwJDDKwI

veena viDUSi P. rAjEswari
https://www.youtube.com/watch?v=3xIReRxch8I

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (The Dikshitars kailAsanAtha/SailESwara kritis at kAnCi)

Post by nAdopAsaka »

The Dikshitars kailAsanAtha/SailESwara kritis at kAnCi

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The analogy between HimAlayan mountains and kAnCi’s ancient shrines, made at the start of post # 726, is not just the romantic imagination of a devoted nAda-upAsaka.

“kailAsa-giri” is in fact prominent as the abode for a full 4 kritis of the Dikshitar at kAnCi which address the deities of the kailAsanAtha temple situated a short distance from the kAmAkSi temple.

In a couple of these kritis synonyms for the lord of the hills are used such as “Saila-ESwara” or “Saila-rAjAtmajA” .

The kritis are listed here (along with decent audio renderings...many thanks to the singers and upload agencies)

kailAsanAtham bhajEham in rAga vEgavAhini

In this kriti the deity is also called “SailarAjAtmajApatim” and the kSEtra is given as “vasuprada-nipuNatara-kSEtram”. kAnCi due to the vara-lakSmi (boon-giving) aspect of the kAmAkSi dEvi is also considered as “vasuprada-nipuNatara-kSEtram” ...where vasu is also boon or vara. A hint at the rAga mudra appears in the word “jita-vahni

vidUSi prEma rangarAjan
https://www.youtube.com/watch?v=qsaD12Pz-20

kailAsa nAthEna samrakSitOham in rAga kAmbhOji

Here the male deity is given the “boon-giving” attribute parallel to the kAmAkSi/vara-lakSmi dEvi as “kaivalya prada nipuNatarENa”.

The anupallavi states “kailAsa giri vihArENa Saila rAjAtmajA mOhAkArENa” which seduction is perfectly aligned with the rAga choice of kAmbOji.

s rAjam
https://www.youtube.com/watch?v=SPYtcg0p3Mc

The following two kritis are self-explanatory (except maybe for those who are unable to read)

SailEshvaram bhajarE rE citta in rAga sumadyuti

The kriti states clearly “SailAtmajA kAmAkSI ramaNam shiva kAncI-sadanam

vidUSi prEma rangarAjan
https://www.youtube.com/watch?v=aIhdHAS1WxQ

SailarAjakumArI shaHNkari in rAga Saila-dEshAkSi

Here the rAga choice is inspired naturally by the name of the goddess.

Brinda Radhakrishnan
https://www.youtube.com/watch?v=SiETnpv_wuw

EkAmrESwara, varadarAja and prithvi-lingam at kAnCi

As expected for the level of formality which the Dikshitar always maintains, the deity associated with the solitary mango tree legend EkAmrESwara is treated as a separate entity.

This deity as well as the majestic varadarAja perumAl kritis and the prithvi-lingam kriti at kAnCi will be looked at in later posts.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (The water related theme of the Dikshitars three yamunA kalyAni kritis )

Post by nAdopAsaka »

The water related theme of the Dikshitars three yamunA kalyAni kritis

In the footsteps of nadajyOti Mutthuswamy Dikshitar..

In his every kriti is a teaching, in his every song a divinity. Let me remain worthy of receiving these gifts of the Dikshitar.

It is shown in this post that ALL 3 of the yamunA kalyAni kritis of the Dikshitar have a water-related theme.

The water theme is obvious for the Apa-linga kriti jambupatE (the water linga kriti, one of the five bhUta linga set).

This kriti is of course a major work of art, with the fountain of imagination soaring to the “anirvaCanIya nAda bindu” and then flowing softly away to the “nirvikalpaka samAdhi”.

Next, if there wasn’t a kriti by the Dikshitar to the celestial cowherd (krSnA) frolicking on the yamunA river-bank with vrndAvan’s gOpIs, , several laws of nature would be broken...indeed worlds would collide..

But the Dikshitar averts this calamity and we have the kriti “nanda-gOpAla mukunda gOkula, nandana yamunA tira vihAra”. Here the Dikshitar calls the deity “vaikuntha CidAnanda” among other beautiful synonyms.

It is the third kriti “parama SivAtmajam” that is generally overlooked and most intriguing for this water idea.

This is a rare short kriti describing the skanda/murugA as capable of forgiving heinous sin...krUra pApaharam.
Generally this attribute is reserved for the Siva ( hatyAdi pApaharam at rAmESwaram in rAmanAtham bhajEham )

On closer inspection it will be observed that the kriti is based on the defeat and then pardon of Shurapadma , the asurA who then transformed to the shikhi vAhana according to the legend...(both emblems are seen in the kriti as “ShuratarAkAdi haram” and “varashikhi vAhanam”).

Further, the Dikshitar faithfully also calls the deity as “sura-sainya-nAtham” , i.e. the “commander of the armies” that defeated this asurA, as the story goes.

Now, with this understanding, it becomes easier to appreciate the choice of yamunA kalyAni for this kriti and the corresponding water theme... why ?...because ....

The yamunA river is considered to confer purification from heinous sins

Generally bathing in any major river of the sub-continent offers purification in Hindu thinking. (of course, given pollution nowadays, such bathing could itself be a swift nirvAna and therefore also a final “purification”).

Facetiousness aside, the yamunA is specifically singled out for this in many Hindu scriptures including those in krSnA worship and in the Siva purAna.

Siva purAna extract
yamunA SOṇayoḥ snAyAd gurau kanyA gatE ravau ,dharmalOkE dantilOkE mahA-bhoga-pradaṃ

This translates approximately to
When Jupiter and the sun are in the zodiac of Kanya, ablution performed in the rivers yamunA and SOṇa, leads to the fruit of enjoyment in the world of Dharma etc..

Whether or not any of these legends are actual or true or verifiable (with suitable radio carbon-dating and GPS etc.) is irrelevant....they are as real to the nAda-upAsaka as they were to the Dikshitar when he constructed these offerings.

It becomes important now to hear these kritis after all these words.

Excellent renditions are known, thanks to the artistes and upload agencies..

jambupatE

Sikkil Gursharan
https://www.youtube.com/watch?v=jZRCJ35ei1A

excellent version, unknown vidUSi
https://www.youtube.com/watch?v=N6eN-JsTbqo

nanda gOpAlA

flute vidwAn J. Jayant
https://www.youtube.com/watch?v=TGV6f9Cib40

V, SankaranArAyan
https://www.youtube.com/watch?v=Y9QYx5ctI-E

parama SivAtmajam

vidwAn R. SuryaprakAsh
https://www.youtube.com/watch?v=ojFwmQ12Vgs

shanks
Posts: 118
Joined: 25 May 2006, 22:03

Re: Mutthuswamy Dikshithar (Krithis)

Post by shanks »

I have found B Rajam Iyer's version of 'jambupate' outstanding. In the early 90's, Doordarshan ran a series on the 'pancha linga kshetrams' which featured this specific rendering if I remember correctly. One episode per kshetra with coverage about the temple, details about the deity and then the rendering - was very well done as I remember.

https://archive.org/details/Jambupathe-S-Rajam-Iyer

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

At jambukESwaram , the water-linga kriti “jambupatE” forms a triplet with the jujAvanti "akhilAndESwari" (with its jhar-jhar vAdya waterfall sound) and the equally profound "Sri-mAtah Siva" bEgada (e.g. post # 516).

jujAvanti is also appropriately a dESya rAga, to balance out the yamunA kalyAni (jujA-vanti itself appears to be derived from the word “kujA-vanti”, the cooing/warbling sound of the kOkila bird which also sounds like gurgling water). And the bEgada (as bE-gala) choice is linked to the “kambu kantha”, the curved conch neck of the akhilAndESwari dEvi noted in “jambupatE”.

It is something to wonder, for as long as I have breath, how and why the Dikshitar channelled his inspiration carefully into multiple majestic kritis at each kSEtra.

For the nAda-upAsaka the questions are always..

What is the depth of worship that has permitted this ?
Why do we deserve these kritis ?
What is my duty and responsibility to this legacy ?

Indeed the Dikshitars “organization” is not limited by a particular kSEtra and the “linga kritis” are a stunning example of one panoramic view.

It has not been fully comprehended that the Dikshitar has summarised ALL the 10 major linga kritis i.e. the five panCa bhUta linga kritis and the five tiruvArUr panCa linga kritis, in his mOhana kriti at tiruvArUr “nAgalingam nAmami satatam”. Post # 537 and post # 536 give the details.

"jambupatE" and "AnandESvarEna" form one pair (of the five sets) and are represented in the mOhana kriti with the words “Adi-madhyAnta-rahita” linga.

Water has no beginning, middle or end which naturally applies to “jambupatE”.

Likewise in the panCa linga Ananda bhairavi "AnandEshvarENa samrakSitOham", the usage “avayava-trayAtItEna nityEna” describes the eternal nature of this particular Siva-linga, transcending beginning-middle-end. Indeed "avayava" and "nirvikalpa" are allied concepts in the tantra.

nAgalingam namAmi

the young vidwAn V. sadASivam does a fine job

https://www.youtube.com/watch?v=yAGX9oQUhpE

AnandESvarEna samrakSitOham

another young vidwAn sreedev R does a fine job too

https://www.youtube.com/watch?v=nLRqYR1xO3Q

The Lost Melodies
Posts: 78
Joined: 28 Jan 2021, 21:40

Re: Mutthuswamy Dikshithar (Krithis)

Post by The Lost Melodies »

Can we celebrate March 24th/ Panguni Krithikai as the janmadina of Sri Muthusvami Dikshitar? Let us revisit the historical facts:


https://www.youtube.com/watch?v=z8lx6Mx8HWM

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

If the intent is to continue the perversion of the Dikshitars legacy , based on SSP etc. false narratives, as has been exposed here repeatedly in posts over the last year, then NO.

If the intent is to continue to deny the Dikshitars Sri-vidyA and nAda-yOga in ALL his kriti offerings, as described in posts here, then NO.

Those who would try to assassinate the vAggeyakAras by denying them their fundamental vows, do NOT deserve to celebrate the birth or the life of the Dikshitar or any other Hindu vAggeyakAra.
Last edited by nAdopAsaka on 25 Mar 2022, 00:57, edited 1 time in total.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Let us celebrate the Dikshitars tributes to the skanda/guruguha as well as sAdhus (who take and hold vows)

thanks to artistes and upload agencies

sAdhujana vinutam – gitapriya

baby S
https://www.youtube.com/watch?v=MvVJY3Uqhn0


sAdhujana citta – pUrna panCamam

amrita M
https://www.youtube.com/watch?v=D4S6B9sx7Xk

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar ( “nija rupa dAna”, the bAlAmbikA who grants the Dikshitar “self-realization”)

Post by nAdopAsaka »

“nija rupa dAna”, the bAlAmbikA who grants the Dikshitar “self-realization”

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

On the auspicious occasion of his birth anniversary, it is important to dwell on the Dikshitars kritis (instead of trolls).

For the nAda-upAsaka, an important kriti of the Dikshitar that immediately rises to notice at this time is “bhajarE rE Cita”, the spectacular kalyAni.

This kriti is at vaithISwaran kovil = vaidyanAtha kSEtra (a few miles from the mAyavaram temple) and is linked to the bAla-tripurasundari of the lalitOpAkhyAna called also bAlAmbikA.

It is the ONLY kriti where the Dikshitar describes the goddess ( i.e. bAlAmbikA) as having given birth to him with the words “muthukumAra janani”.

Notably the skanda/murugA deity at vaithISwaran kovil is also known as “muthukumAra swAmy”, but there is no question the usage “muthukumAra” was intended to convey the Dikshitars own name.

Why ?

Because rather early on in the kriti , in the anupallavi, the Dikshitar describes this particular mother goddess as one who gives the boon of self-realization, i.e. the boon of knowing ones true self.

The particular phrase the Dikshitar uses for this is itself completely unique, as in ... “nija rupa dAna” !

Then he goes on to further identify himself as this self-realized form/rupa, at the very end of the kriti (right next to his mudra) by saying “guruguha rupa muthukumAra janani”.

No other kriti of the Dikshitar makes this analogy or uses this combination of words.

There has been a lot of hand-wringing in last several decades on alternative phonetics of the word “muthu” in this famous kriti, generally by inadequate musicologists and nefarious notation-mongers, all with heinous agendas.

No one has bothered to examine the kriti in its totality and the multiple, deeper messages of self-realization built into it, that clarify the one-of-a-kind signature.

Of course there are other key details of the bAlAmbikA also given, including description of her panCa-daSAkSari mantra via the three kutas.

In the wondrous charanam, the foundation is first laid in the lower octave with the first two kutas, the vAg-bhava kuta and the kAma-kuta. These represent the bija-mantras (seed words)

And then the seed bursts open at “dEvi Sakti-bijOdbhava” ! and the nAda-upAsakas cup runs over.

At the height of this crescendo, noticeably, the Dikshitar calls this mother goddess “mAtRkArNa sharIriNIm” = the body or “rupa” that is the collection of all the mantra akSaras (i.e. the alphabet of all letters).

As a vAggeyakAra whose entire identity is based on using words and letters, there is no more shining indicator of the personal nature of this deity to the Dikshitar , responsible for his own self-realization and his birth, and therefore fittingly described as “guruguha rupa muthukumAra janani

bhajarE rE Cita - kalyani

MDR
https://www.youtube.com/watch?v=PD2pLcJhJy4

MSS on veena
https://www.youtube.com/watch?v=zBMgs9lbktY

amruta V
https://www.youtube.com/watch?v=cTGHFV8r9nk

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (the Sukra kriti – of horoscopes and birthdays and destiny)

Post by nAdopAsaka »

the Sukra kriti – of horoscopes and birthdays and destiny

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

On the occasion of the Dikshitars birth anniversary, it becomes relevant (for the nAda-upAsaka) to consider another aspect of one of the famous navagraha kritis.

Before I describe that, it is important to provide some background on the navagraha kritis, as well as the other group kritis of the great nAda-yOgi.

It is also important to dwell on what this birth and this legacy means.

Post # 500 gives the basis for the rAga selections for ALL the navagraha kritis of the Dikshitar.

The “logic” to unlock these choices is the same as in ALL the multiple navAvarana kritis rAga choices revealed in previous posts here. For the nAda-upAsaka, the “logic” springs from an adoration of the music, its message and its messenger, NOT from an “adoration” of the swaras or the technical aspects of rAga. The approach is child-like in its simplicity and directness but it is consistent and coherent.

Most of the graha kriti rAgas are discovered to originate from the names or words for the “vehicles” of the planetary deities (the horse, the elephant, even the vulture) , which is fitting, since their “transit” across the heavens governs their role in Hindu astrology.

For some of the kritis other un-mistakeable icons of the grahas lend their identity to support the rAga choice as seen in post # 500. The periodic motion of the CAmara , the fly-swatter for the kEtu kriti, (mahAsuram kEtumaham) is one such exceptional example.

The intrinsic swaras etc. of any rAga have little to do with the rAga choices, which is probably a revelation (and a shock) to all swara-based musicologists and musicians of the last 200 years.

The kritis are the result of worship....the specific music is not the primary driver...it is “merely the vehicle” to bring forward the sAdhana.

The “completeness” of the Dikshitars sAdhana.

Further, there is no doubt, to any honest rasika or nAda-upAsaka, that ALL NINE of these navagraha kritis are from the Dikshitar and the Dikshitar alone. As noted in Post # 501, the Dikshitar cites the word “navagraha” explicitly in his “SrngAra SaktyAyudha” ramAmanOhari kriti.

Describing the navagrahas as 9 grahas and then having only 7 or 8 graha kritis ,
is as ludicrous and meaningless
as
invoking the Sri-Cakra navAvarana 9 stages and then only having 7 or 8 Avarana kritis
or
praying to the panCa bhUta 5 lingas and then only having 3 or 4 linga kritis
or
worshipping the murugA Arupadai 6 kSEtras and only having 4 or 5 kritis
or
praising the tiruvArUr panCa 5 lingas and then only having 2 or 3 linga kritis
or
extolling the panCa krSna 5 kSEtras with only 3 or 4 kritis
or
presenting a vibhakti (grammar) set of 8 and having only 6 or 7 of the declensions as kritis.

Denigration by abbreviation of pujA kriyA-krama.

Proper pujAs are always about “lists” of activities in “sequence”, the kriyA-krama, that must be completed as part of the sAdhana. (however much such lists may be denigrated by those who don’t have a clue)

The organized sequence is also an intrinsic part of the Sri-vidyA, which relies on a yantra ruled by geometric design of ascending etc. and interlocking triangles and corresponding activities. Mantra worship also does not permit sudden abbreviations.

The notation mongers have also not comprehended that in the many navAvaranas now known, it is always the Avarana progression that triumphs over the mere technical grammar of vibhakti.

These sullen knaves who have been spewing indefensible mis-information about the Dikshitar and his kritis for decades, either to advance lesser individuals or to make some putrid musical connections to technical lineages/grammar paddhatis, show no respect or understanding for the sanctity of the Dikshitars worship.

All the great vAggeyakAras stand alone and their poetic and musical genius does not and cannot transmit genetically.

To suggest otherwise, is also culturally offensive to all Hindu communities.

The “next Dikshitar” or the “next tyAgarAja” will assuredly NOT be of any Dikshitar or tyAgarAja “family”.

You can have a family dynasty of cooks or cobblers or clerks or software developers or musicians or politicians but there is no such thing as a family dynasty of these supreme Hindu vAggeyakAras, whatever the music interest of their immediate kin.

In fact the vows of renunciation (discussed in several posts in this thread) that appear in the kritis are evidence that ALL the great vAggeyakAras , especially the Trinity, have had some form of estrangement from their “grasping desperate families”, who were trying to monetize their musical genius, (by hook or by crook, mostly the latter)

The mills of Hindu karma grind slow but they grind exceedingly well.

On the occasion of the Dikshitars birth anniversary, it is important to remember his legacy and his place in the Hindu nAda-sampradAya, whose central ideas are the truth and purity of worship.

Does the nAda-upAsaka want to convert anyone to this way of thinking ?
Not really, but the alternative must be presented and must be made known, for the choice to be made.

I thank rasikas.com forum and its dedicated founders and managers always, for their vision in providing and maintaining this cyber canvas where these truths can be revealed.

This is a serious matter. It bears repeating regularly. The corruption of fundamental Hindu values, represented by these untruthful narratives, must be fought vigorously at all times. A shameless defense of these vile ideas has been seen just this past year.

Indeed, it can be argued that the nAda-upAsakas have arisen, just like the rasika forum itself happened years ago, precisely to wage this sacred war.

Returning to the birth of the Dikshitar and the Sukra kriti.

Generally Mar 24th 1775 is accepted as the birth date of the Dikshitar.

So this week, 247 years ago, the infant Dikshitar was taking his first breaths towards his glorious destiny...did the baby nAda-yOgi coo the shadja “sA” before even burbling “mA” or “pA !? ...was he already embracing his mother as if she were that glorious “veena-to-come” ?

The nAda-upAsaka can romanticize a little, because this is a monumental moment in the nAda-sampradAya.

Which brings us to the Sukra navagraha kriti “Sri Sukra bhagavantam”.

There are some completely unique aspects of this kriti.

Out of all the navagraha kritis, it is ONLY the Sukra kriti that carries meticulous details of the science of horoscopy, as practised in the aStavarga system noted in the yavanajAtaka.

I have discussed this kriti in post # 495 with regard to the particular words used.

For example “viMshati vatSaro DudaSa vibhAgam aSTavargaM as well as arc-segments related words like navAmSa, hOra, drEkana, vakra, nicaj, ucca, svakSEtra, varakEndra, mulatrikonE...and the different amSas are noted too, trimSamSa, SaStyamSa, aIravatamSa, etc,

The Sukra graha is obviously important in horoscopy, but it is not far more critical than other grahas such as budha or Sani or mangala, so there must be another reason for the Dikshitar to single out this graha for this level of horoscopical detail....

Horoscopes are naturally related to birthdays.

Looking at the panCang etc. calendars it can be seen that Mar. 24, in 1775 , fell on a Sukra-vAra = Friday.

In fact the aStavarga system that the Dikshitar cites in the kriti specifically compares the transit of the planets through the places they occupied over a time-period, to the original positions of the birth-horoscope.

Could the Dikshitars own birth anniversary falling on a Sukra-vAra have influenced the choice of horoscopical words and level of these details in the Sukra graha kriti ?.

There is another aspect of the Sukra kriti that strongly supports this conclusion.

The Sukra kriti is also the ONLY kriti, of the entire collection, where the Dikshitar directly describes the deity, as “kavIm”, the poet !

To the nAda-upAsaka, there is absolutely no doubt that in this Sukra kriti the Dikshitar is specifically commemorating his own poetic destiny based on what the stars had foretold from his own birth-horoscope !

decent audio is known

veena rendition
s rAjagopAlan
https://www.youtube.com/watch?v=yhrdHz0I_3M

S rAjam
https://www.youtube.com/watch?v=Hq7kQBcyogk

vidUSi lalita chandrasekhar
https://www.youtube.com/watch?v=Z3mtWaUd3Jw

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (the “angAraka” and the “kArtikEya”, aka bhUmi-kumAra and krittika-kumAra)

Post by nAdopAsaka »

the “angAraka” and the “kArtikEya”, or the tale of two kumAras, the bhUmi-kumAra and the krittika-kumAra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Within the theme of the Dikshitars birth anniversary, the angAraka graha kriti is relevant.

Post # 734 shows how the identity of the Dikshitar (as muthu-swAmy) and its relationship with the deity “muthu-kumAra-swAmy” of the vaithiSwaran kovil is specifically tied to the “identity-giving” Mother i.e. of this kSEtra, namely the “nija-rupa-dAna” bAlAmbikA.

The angAraka graha kriti , like the bAlAmbikA kalyAni, is also linked to vaithISwaran kovil = the vaidyapati kSEtra.

In fact it is the ONLY graha kriti ( of all the 9 navagraha kritis ) to carry the well-defined mudra with the words “vaidyanAtha kSEtra”.

Both angAraka (the synonym for a “spark” or glowing ember) and kArtikEya ( the 6-faced baby , SadAnana, reared by the 6 krittika sisters ) share an aspect of their birth.

According to Hindu legends, each is the result of a “spark” provided by the deity Siva.

In the case of angAraka = mangala = Mars, the “spark” was fanned by the bhUmi-dEvi, whereas kArtikEya i.e. the SadAnana, was raised by the six-sisters of the krittika constellation.

At vaithISwaran kovil the Dikshitar points at this shared birth legend with the usage “bhUmi-kumAra” , for Mars = mangala , motivated no doubt by the other kumAra, i.e. krittika-kumAra or the “muthu-kumAra” of this kSEtra.

And this “muthu-kumAra” is the name and deity with which the Dikshitar identifies as noted in the kalyAni kriti (post # 734).

There are other esoteric connections between the angAraka and the kArtikEya.

Naturally, the Dikshitar keeps track of these, as is now illustrated..

angAraka = Mars in astrology rules the rASis (houses=constellations) of Aries and Scorpion.
“krittikA” is the Hindu name for the 6 brightest stars of the Pleaides cluster which are considered to belong partly to the Aries constellation.

angAraka = Mars as mESa-turangam, “travels” on a horned animal, the ram or sheep.
kArtikEya carries a “vEl” or spear as his iconic object.

The horn and the spear obviously share a sharp tip.

Also as in "makarOttungam" , mESa reaches makara (the "horned goat" Capricorn) in its trajectory.

In fact the common word for such sharp objects is Srnga which denotes also “horn” or SrngAraka which denotes “horned”.

This is why the Dikshitar uses “SrngAra-SaktyA-yudha dhara Saravanasya” ramA-manOhari kriti where the SaktyA-yudha (spear borne by skanda/murugA) has this sharp point.

But wait, there is more..

The vaidyapati kSEtra kriti and its reference to the atharva-vEda on ancient medical treatment.

The Dikshitar is a stickler for accuracy of icons to the kSEtras of his kritis.

So when he says “SrngAraka-mESa-vrSCika-rASyAdhi-patiM” it is not because Mars is some sort of “loving” lord performing the “SrngAra rasa” in or on the houses of Aries (mESa) and the Scorpion (vrSCika) .

It is actually an acute and clever summary of one of the sUkta’s of the atharva-vEda, IV.6, where the “horn” or ANY “horned/sharp object”, like the tip of an arrow etc. is used to deliver cures from poison or to make incisions in flesh etc.

The ram = Aries = mESa naturally has horns, so it is “SrngAraka” by definition.

The tip of the vrSCika = Scorpions tail is also precisely such a sharp object.

For the vaidyapati kSEtra where healing of all kinds (physical and spiritual) is the theme, this connection being made by the Dikshitar, to the atharva-vEda reference for antidotes to poison is natural and accurate.

Elsewhere, in the kamalAmbA navAvarana 7th Cakra kriti post # 565 or the abhayAmbA navAvarana 7th Cakra kriti post # 567 it has been shown how “vi-sha-hana” or the destruction of poison= “visha” is at once the choice of the rAga (SahAna) and also associated with "rOga"-harana 7th Cakra.

But the overriding influence of the mangala graha is one of auspiciousness.

So the rAga choice suraTi , adopted as a “mangala” rAga is appropriate for the “mangala” graha.

The fidelity of the Dikshitar to the iconography of the kSEtra is once again seen in his words and rAga choice.

A range of fine renditions is useful to expose the kriti and rAga well

angArakam ASrayAmyaham - suraTi - the mangala (Tuesday) navagraha kriti

TRS
https://www.youtube.com/watch?v=Q50Uz1YbuDk

BMK
https://www.youtube.com/watch?v=cmc4e3jOIqc

veena bAlaCandar
https://www.youtube.com/watch?v=VQUEZ8BR7GI

veena gAyatri
https://www.youtube.com/watch?v=H6Famgb3fz4

younger voices are also emerging

v. sadASivam
https://www.youtube.com/watch?v=VSUrOk5b4qE

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (Sri rAmam ravikulAbdhi sOmam, rAma navami and the waxing moon tilaka)

Post by nAdopAsaka »

rAma navami and the waxing moon tilaka

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The nAda-upAsaka rejoices in the birth of lord rAma and the blessings of the vAggeyakAras visions.

Associating “heavenly” bodies with deities is common across the world, but most particularly for the Hindu legends.

One example is the confluence of the Sun, the Earth , the Moon and viSnu as lord rAma.

The Dikshitar captures the imagery in about half-a-dozen words !

Sri rAmam ravikulAbdhi sOmam Srita kalpa bhU-ruham

This pallavi line of the well-known darbhaSayana nArAyana gaula kriti implies “the viSnu avatAra as lord rAma is the nectar-essence = sOma of the ocean of the ravi-kula = Sun-dynasty, that grows = bhUruha, from the Earth as the wish-fulfilling tree” .

Of course the tyAgarAja is equally compact ! when he sings “raghu-kula jala-nidhi sOma” in the “Sri raghuvara” kAmbOji.

In Hindu legend, Oceans and sOma =amrita=nectar, are always linked by the churning or sAgara-manthana episode.

And the darbhaSayana kSEtra is right on the coast, at tirupullani , near rAmESwaram, next to an angry ocean. (the rAma-darbha legend is itself about quelling the churning waters)

Indeed the kriti ends with the words “dayA rasa jala-nidhIm” where lord rAma is described as the ocean of compassion.

the birth of lord rAma seen as the rising, nectar moon

rAma navami , as the birth of the lord on the ninth day of the month, coincides with the waxing = (growing) moon phase.

The moon is also considered a product of “sAgara-manthana” and derives its synonym “sOma” as well from this origin.

Noticeably the Dikshitar calls “Candra” as “sudhA-kara”, the nectar-maker in the navagraha kriti.

So the analogy of the lord rAma as the sOma is seamless, and reinforced by the growing moon phase at the time of his birth , the Sukla navami.

Once again the Dikshitars rAga choice is not random ...“nArAyana-gaula” refers to the shining white glow of rAma as the avatAr of nArAyana.

The Dikshitar pointedly gives the word “gaula” as a synonym of “white” in the “Sri viSwanAtham” rAgamAlika, similar to milk, jasmine, camphor, ash and the moon (indu).

kSIra-kunda-indu-karpurAdi-vijaya-bhasita-uddhULita-gaulANgam

rAma and sOma as tilaka

lord rAma and sOma, the moon, share another feature commemorated by all the inspired vAggeyakAras !

They are both considered as “tilaka”, as the sacred forehead mark or crown.

raghu-kula-tilaka” or “dyumani-kula tilaka” are well known descriptors of lord rAma while sOmam Sirodhrta is the moon adorning the Siva’s forehead.

On this rAma navami day, for the nAda-upAsaka, only the kritis are needed to complete the pUja !

Sri rAmam ravikulAbdhi sOmam – the Dikshitars nArAyana gaula

triCur brothers
https://www.youtube.com/watch?v=FuzpUlbeaHk

amrita murali
https://www.youtube.com/watch?v=c6xsUfDMI7c

Sri raghuvara pramEya mAmava – the tyAgarAja's kAmbOji

bombay jayaSri
https://www.youtube.com/watch?v=liUPAjHoSMI

kalayAmi raghurAmam – the mahArAjA’s bEgada with the “dyumani-kula tilaka” reference

GNB
https://www.youtube.com/watch?v=1X_4sDb4rFw

rAji gOpAlakrishnan
https://www.youtube.com/watch?v=VC6L1RctJVc

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Mutthuswamy Dikshithar (The Dikshitars kailAsanAtha/SailESwara kritis at kAnCi)

Post by rajeshnat »

nAdopAsaka wrote: 12 Mar 2022, 23:42
SailarAjakumArI shaHNkari in rAga Saila-dEshAkSi

Here the rAga choice is inspired naturally by the name of the goddess.

Brinda Radhakrishnan
https://www.youtube.com/watch?v=SiETnpv_wuw
Did not know the krithi or the singer or even the ragam name ŚAILADEŚĀKŚI. I am assuming this project is connected with possibly you or some one in this forum . THank you...@nAdopAsaka , i feel a tinge of natttai in this ragam

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Mutthuswamy Dikshithar (The water related theme of the Dikshitars three yamunA kalyAni kritis )

Post by rajeshnat »

nAdopAsaka wrote: 17 Mar 2022, 15:16
jambupatE

excellent version, unknown vidUSi
https://www.youtube.com/watch?v=N6eN-JsTbqo
Is that Raji Gopalkrishnan (most likely) or is that Babu G Sreeram or Vialakshi nithyanand(the most unknown gem of a vidushi) or Pantula Rama or vasudhara rajagopal or vijayalakshimi subramaniam , just in case Raji is not the right answer. @sureshvv will get it right(help suresh) i am assuming other choices that i enlisted may give me half points

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (bAhulEya and the bauli rAga kriti to the divine parents pArvati-paramESwara)

Post by nAdopAsaka »

bAhulEya and the bauli rAga kriti to the divine parents pArvati-paramESwara

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

At vEdAranyam/tirumaraikAdu, the Dikshitar celebrates the universal parents (and their wedding/lilA) with the grand "Sri pArvati paramESwarau" kriti in bauli rAga.

There are several aspects of this kriti that are compelling, to the nAda-upAsaka, and demand articulation.

As far as I can tell quite a few of these aspects have not been comprehended in the past.

1. "Sri pArvati paramESwarau" is unique for describing both the deities simultaneously, WITHOUT referring to them as an ardhanAri.

Invariably the Dikshitar addresses only one principal deity in most, if not all of his kritis.

But each deity in this kriti preserves its identity i.e. as the pArvati and the Siva, although they are united in the wedding witnessed by agastyA.

That the divine parents are inseparable is recognized for more than a thousand years, since the time of kAlidAsa who describes their union as that of word (vAk) and its meaning (artha)

"vAk arthA viva samprakthau , vAk artha prathipathayE,
jagatah pithrau vandE , pArvati paramESwarau"


The grammar declension -au used by both poets also symbolizes the duality of the deities.

Of course the Dikshitar as vAkgeyakAra creates a magical new alloy when he introduces the dimension of music into the fusion of word and meaning described by kAlidAsa.

2. The child emerges from the womb so the Dikshitar's invocation preserves the order of mother first, then the father , just like kAlidAsa in his opening words.

3. ApAda-mastak-alankArau - How wonderfully does the Dikshitar "raise his eye from foot-to-head" instead of the much-more-arrogant "head-to-toe" survey of the vigrahas !

4. gandha-rasAdhArau - the divine parents give the Earth = gandha its rasa = all life

5. As expected the Dikshitar preserves key vEdAranyam kSEtra icons when he refers to its pApa-harana aspect (pAp-Apaha) and to its connection to the vEdas (pandita-tara)

6. The kriti being to both the divine parents, the usage in the kriti "guruguha karanau" properly reflects the "guruguha" = skanda/murugA as the offspring of both deities. karanau literally means "making".

7. But it is the musical alloy that is most interesting to the nAda-upAsaka.

Why ?

Because the name of skanda/murugA is also bAhulEya , he who is born under the pleiades or krittika nakSatra known also as "bahula" or "bahuli-ka"

There is no question the rAga had to be bauli as bAhulEya's song to pArvati-paramESwara.

The nAda-upAsaka rejoices in the celebration of the divine parents and all music-loving parents.

Sri pArvati paramESwarau - in bauli

fine veena by vidUSi N. krishnavEni
https://www.youtube.com/watch?v=s1e7WZT1HRo

vid. the rAgA sisters
https://www.youtube.com/watch?v=dYWiiqSystk

vid. gAyatri girish
https://www.youtube.com/watch?v=_dpuqVYKf6Q

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (the mECa-bauli kriti to the extreme dark blue gOvindarAja at Cidambaram )

Post by nAdopAsaka »

the mECa-bauli kriti to the extreme dark blue gOvindarAja at Cidambaram

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

It is valuable to (try to) grasp the thought-process of the vAggeyakAras at that incandescent moment the kriti comes together.

Why ??.. ask the "sullen knaves" who would bury the nAda and the truth in an avalanche of soul-less notation.

Because at the moment the "candy appears in their mouth", the great vAggeyakAras are in communion with the deities themselves.

Explaining the basis for the rAga chosen for a kriti is one avenue to "grasp" at that communion.

The nAda-upAsaka revels always in the absolute truths of the Dikshitars blessings and the flash of comprehension the Dikshitar provides to those who adore him.

It becomes imperative to understand the choice "mECa-bauli" in the context of post # 740 which is about the "bauli" rAga.

At Cidambaram, the gOvindarAja being the avatAr of viSnu naturally has the extreme dark blue hue.

And "mECa-ka bahula" means exactly this...since "mECaka" is dark blue and "bahula" means excessive/copious/abundant etc. etc.

the mahArAja and the deity krSnA as extreme dark blue form

No less an authority on viSnu than the mahArAja sings to the "mOhana padmanAbha" in the pantuvarAli "sArasAkSa paripAlayamAm" the following famous line

nirAjAstra janakAdhika mECa-ka niradAbha karinAyaka bhayahara

where the dark form of krSnA overwhelms even Cupid and the rain-bearing cloud.

Whereas the mahArAja surrounds his krSnA with maidens as "bhAmini samudayASaya mOhana", the Dikshitar describes the gOvindarAja as "gOpastri mOhitEna".

It is not known if the mahArAjA's pantuvarAli was connected to the Cidambaram kSEtra (although a Cit-sabhA reference of sorts perhaps appears elsewhere in the mahArAja kritis..that will be examined in the parallel swAti tirunAl thread)

But there is absolutely no doubt that when the Dikshitar offers the gOvindarAja of Cidambaram his mECa-bauli pujA, he is referring to this exact same extreme dark blue hue and form.

In some texts, mECa-bauli replaces the dhaivata of bauli with the madhyama in the avarOhana but it is easy to see from this post and post # 740 that the rAga choices are governed by the context of the deities, NOT any swara aspects.

gOvindarAjEna - the Dikshitars mECa-bauli

vidwAn Sanjay S does the honors with a stirring rendition

this particular video also plays an excellent sequence of images of different viSnu kSEtra deities

https://www.youtube.com/watch?v=OW4kFDg3exA

sureshvv
Posts: 5523
Joined: 05 Jul 2007, 18:17

Re: Mutthuswamy Dikshithar (The water related theme of the Dikshitars three yamunA kalyAni kritis )

Post by sureshvv »

rajeshnat wrote: 11 Apr 2022, 10:01
Is that Raji Gopalkrishnan (most likely) or is that Babu G Sreeram or Vialakshi nithyanand(the most unknown gem of a vidushi) or Pantula Rama or vasudhara rajagopal or vijayalakshimi subramaniam , just in case Raji is not the right answer. @sureshvv will get it right(help suresh) i am assuming other choices that i enlisted may give me half points
I am inclined to go with your first and "most likely" guess. Wonderful rendition.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (the vAyu lingam = prAna-maya kOSa anila and the huSAni/husEni linga kriti)

Post by nAdopAsaka »

the vAyu lingam that gives life-breath = prAna-maya kOSa anila and the huSAni/husEni linga kriti

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

On the auspicious occasion of Caitra purnimA, this post is made.

For the nAda-upAsaka, there is no greater joy or purpose than to seek and find the upadESa within the Dikshitars musical sculptures.

Generations of musicians and musicologists whose intent has been to promote either vocal/ instrumental "talent", technical gymnastics or much more nefarious revisionism (such as seen recently on this thread by some notation-mongers) have almost extinguished the messages and teachings within the music.

It is those messages that reveal why the music was itself created by the vAggeyakAras !

The kritis have been relegated to "clothes-horses" or "mannequins" for performers to hang and display their skill-sets. The relegation is given scant thought by the perpetrators and even abetted by "scholarly" academies.

The "cult of the performer" , defended by zealous "SiSyAs" has arisen, complete with narcissistic, self-adulatory "crooning" and legions of sycophants oohing and aahing at the degree of difficulty attempted. As a purely technical art-form like gymnastics or figure-skating , such expression might have its place.

It is when corrupt and malicious thinking masquerading as "research" or "academies" attempts to pervert the history associated with our singing saints, that the scales of karma begin to tip against these criminals.

The kritis are supreme worship and an encapsulation of the thoughts of our most divine sAdhus, who have realized a unique place even while on this earth.

All the great vAggeyakAras and their kritis deserve not just the utmost respect but the utmost wonder, their every word/idea must be cradled like it was a cooing baby or an aging parent.

The nAda-upAsaka , perhaps even the odd honest "rasika", must devote his or her life-breath to defending the core purity of the Hindu vAggeyakAra and the truth of their purpose.

I thank again the rasikas forum for the opportunity to present these details.

Which brings us to the life-breath or vAyu linga kriti, appropriately described by the Dikshitar as the "prAna-maya kOSAnila", the "vital" enclosure.

The vAyu lingam at SrikAlahasti and the Dikshitars huSAni kriti

As "dakSina kailASa", the SrikAlahasti kSEtra is immediately of a unique status.

Indeed, it is the only panCA bhuta linga kriti to name ALL the other four bhuta lingas distinctly as in "AkASa bhUmi salila Agni"

Why, asks the nAda-upAsaka ?

Unerringly the Dikshitar gives the answer and, once again, the nAda-upAsakas cup runs over.

The powerful symmetry that governs the Sri Cakra (with its interlocking triangles and organized stages ascending to the nAda-bindu) also governs other choices the Dikshitar makes.

It begins right from the start with the ancient place-name in the pallavi "Sri-kAla-hasti" and its anupallavi counterpart "pAkAri-vidhi-hari" .

In fact there is a hidden, connected order to both those phrases !

At SrikAlahasti, the iconic spider considered as Sri, the nAga or serpent = kAla and the elephant = hasti are each linked by the legend of the kSEtra to the Siva deity.

Of course , the spider and its cobweb is also the icon for the indra-jAla, the primordial web of mAya or magical illusion associated with indra aka pAkAri aka pAka-SAsana.

Similarly vidhi = brahmA is the progenitor of all serpents/nAgas

and hari or viSnu is the elephant-savior from the "gajEndra mOkSa" legend.

So in "pAkAri vidhi hari prANamaya kOSa anila" , the Dikshitar has preserved the symmetry of the sequence installed from antiquity in the kSEtras very name.

But it is in describing the vAyu/air linga status as "prAna-maya kOSa anila" that the Dikshitar gives the key teaching.

Out of all the 5 bhuta lingas, it is the vAyu ( air ) linga which gives life-breath to all animate creatures and which therefore holds the key to all the others !

The Dikshitars word choice is again enlightening since the "prAna-maya kOSa" is the" life-breath holding vessel" which holds within it the "manO-maya kOSa" which in turn holds the "vigyAna-maya kOSa" and which finally holds the "Ananda-maya-kOSa" , like a set of those "nested russian dolls".

It is life and life-breath which makes possible the mind-manO, the intellect-vigyAna and ultimately bliss-Ananda.

And it is this Siva as vAyu linga who gives this enlightenment or prAkASa to each of the other 4 lingas which is why the Dikshitar sings...

AkASa bhUmi salila Agni prakASa Siva

Naturally the dEvi of this kSEtra is called "gyAna-prasunAmbA", (prasuna=) bearing/filled with enlightenment and the Dikshitar reflects this knowledge again with "agyAna hara paSupatE" ("paSu" here is re-citing the spider-serpent-elephant connection to animals)

It should be remarked that the Dikshitar uses the formal word "linga" for only 3 of the bhuta lingas (in jambupatE, Cintaya mA and sadACalESwaram).

The other two "Ananda-natana prakASam" the "cosmic dancer" at Cidambaram and "SrikAlahasti" as samir-AkAra are not depicted as lingas, true to their formless meanings. Indeed the vAyu linga is symbolized by a flickering lamp. The Dikshitar, being fastidious, honors this aspect.

All the panCa bhuta linga kriti rAga choices the Dikshitar makes can be logically explained and connected to the icons of each linga kSEtra (the CamatkAra bhupAla being the king of tiruvArur where the tEjO-maya linga glows, kEdAram for the Siva as his mountain abode, whose peak reaches into the sky (daharam = AkASa/ether) , bhairavi for the pArvati dEvi who rises from the earth = prithvi and the yamunA kalyAni naturally for water = Apa (e.g. post # 728) .

The vAyu-linga kriti is no exception to this.

Why ?

Because the Dikshitar says towards the end of the kriti "gyAna guruguha sat-Cit-Ananda-maya murtE"

And it is the "Ananda-maya kOSa", which is the deepest buried of the nested "russian doll" set which is the aim and goal of all "life-breath", of the prAna-maya kOSAnila.

and therein lies the rAga and the kriti-rasa/rahasya for the nAda-upAsaka.

The nAda-upAsaka is blessed to hear and understand the vAggeyakAras who have turned their very life-breath (vAyu) into these wondrous kritis as worship.

S. rAjam
https://www.youtube.com/watch?v=SziJJp1NYKk

DKJ
https://www.youtube.com/watch?v=hVkzbk71AtY

RK Srikanthan
https://www.youtube.com/watch?v=l2TQSh_gzPk

vidUSi yOga kirtana
https://www.youtube.com/watch?v=oVC_uXwsDRY

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (the celestial wind - from the vAyu-linga-Siva to the vEnu-gOpAla)

Post by nAdopAsaka »

the celestial wind - from the vAyu-linga-Siva to the vEnu-gOpAla

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

From SrikAlahasti-the vAyu kSEtra, the celestial wind takes the nAda-upAsaka to mannArgudi , the vEnu-kSEtra, where the flute harnesses that same life giving breath.

In the Dikshitars (la)Place-transform, to dakSina dwArakA from dakSina kailASa, the blue-hued krSnA replaces the blue-throated Siva, the yellow haridrA-nadi tank replaces the golden swarna-mukhi river and the melodious vEnu replaces the resonant vinA.

But it hardly matters whether the deity is rAjagOpAla or Sri-vidyA-rAjagOpAla or santAna-gOpAla-krSna, or sankata-harana gOvinda or vEnu-gOpAla or even the vAyu-linga.

For the nAda-upAsaka, the purpose of the Dikshitar is still the same, to turn vAyu aka life-giving breath into pujA.

And at dakSina dwArakA/mannArgudi the Dikshitars breath comes as the fantastic kritis in kuranji, sAvEri, the twin kamAs, mOhana , jaganmOhanam and SankarAbharanam.

In some of these kritis the Dikshitar "allows himself" to combine aspects of the original vrndAvana and the original dwArakA !

For example...It is not beyond the krSnA, that "pied-piper of Hindu consciousness", to charm his devout (and the gOpis) to follow him from vrndAvana on the yamunA to dwArakA by the Arabian sea, more than a thousand kilometers away.

Regardless, in Dikshitar's dakSina dwArakA , the krSnA possesses not just the consorts rukmini and satyabhAma but also all the gOpis.

As seen in the "Sri-ku-ranji" masterpiece kriti "Sri vEnugOpAla Sri rukmini lOla" the "gOpa-yuvati" frolic with the divine cowherd along with the Sri-dEvi and the bhU-dEvi !

The mannArgudi krSnA also embodies the Sri-vidyA, noted in the jaganmOhanam kriti.

So the rAga choice as SankarAbharanam for the kriti "Sri vEnugOpAlam bhaja mAnasa" is also highly appropriate.

Indeed in the gitA, the lord krSnA is both vidyA and Siva.

As it says of the lord vidyAnAṃ adhyAtma-vidyA aham (of knowledge I am supreme self-knowledge)
as well as rudrAnAm SankaraS cAsmi, (of the rudrAs I am Siva).

It is no coincidence that the Dikshitar refers in the SankarAbharanam kriti to the deity as "divya ratna bhUSitam" = adorned with divine gems (and indicative of the rAga) as well as "vEda-Agama ghOSitam" , proclaimed by the scripture (such as the gitA).

Good renditions of the dakSina dwArakA/mannArgudi kSEtra kritis are available. Many thanks to artistes and agencies.

Sri vEnugOpAla Sri rukmini lOla - kuranji
veena gAyatri
https://www.youtube.com/watch?v=QxJxTCsO8ow

Sri vEnugOpAlam bhaja mAnasa - SankarAbharanam
vid. b. sreeram
https://www.youtube.com/watch?v=-g4HauoAwyo

sArasa dala nayanA - kamAs
vid. gAyatri girish
https://www.youtube.com/watch?v=v3BQqTErJpg

santAna gOpalakrSnam - kamAs
flute Sikkil mAla C.
https://www.youtube.com/watch?v=B6Zv3S8E-xU

Sri rAjagOpAla bAla - sAveri
Hyd bros
https://www.youtube.com/watch?v=iaQD1NghafI

rAjagOpalam bhajEham - mOhana
flute P krishnaswamy
https://www.youtube.com/watch?v=A61437rYfb0

Sri vidyA rAjagOpAla bhajEham - jaganmOhanam

vid. vEdavalli
https://www.youtube.com/watch?v=4S5XXqkQIAY

b rAghavan
https://www.youtube.com/watch?v=bEMNgXH3Vbw

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (the hidden rAga mudra of sAvEri in Sri rAjagOpAla)

Post by nAdopAsaka »

the hidden rAga mudra of sAvEri in Sri rAjagOpAla bAla SrngAralilA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Another pebble washed up from the ocean of nAda while meditating on the mannArgudi kritis (re. post # 744 above).

The phrase "nA-ri-vE-Sa dhara" in the electric Sri rAjagOpaAla sAvEri is used to describe the concealed form that the viSnu takes as the mOhini legend.

Appropriately, the Dikshitar has also concealed the syllables "sa-vE-rI" of that word IN REVERSE !

It seems possible that this technique of sUCita (inferrable/embedded) mudra in reverse syllables could also be seen in other kritis of the Dikshitar thought to be missing such mudras.

But in the case of this sAvEri the usage within the very word meant to denote the primordial "concealment" (of viSnu as mOhini) is thought-provoking.

Indeed, for the nAda-upAsaka , there is no doubt that the choice of the rAga sAvEri for this kriti is itself based on this aspect of the deity and the Dikshitars urge to present rAga mudras.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Muthuswamy Dikshitar (on rAga mudras, the abhayAmbikAyai yadukula kAmbOji & the MAIN horse rider in lalitOpAkhyAna)

Post by nAdopAsaka »

More on the Dikshitars rAga choices & mudrAs, the abhayAmbikAyai yadukula kAmbOji and the MAIN horse rider in the lalitOpAkhyAna !

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The Dikshitar, my Dikshitar, is niS-kalanka, blemishless and pure.

Background
I believe it is important to fully comprehend the level of organization the Dikshitar brings to his pujA. The fidelity of the Dikshitars worship is reflected in his careful usage of words/names at kSEtras and also in rAga choices.
All the vAggeyakAras, not just the Dikshitar, deserve similar respect for the sanctity of their individual worship. The SSP (and ALL its modern foolish agents) under the garb of "notations", have contributed to enormous distortion of the completeness and totality of the Dikshitars pujA. It is a horrific conspiracy conducted over more than a century, abetted by academies, the "Shylocks of swaras" and the industry. But these knaves have been fully exposed over the last year in this very thread.

the Dikshitars use of rAga mudras
rAga mudra placement by the Dikshitar has been shown in multiple posts on this thread over the last year to be the result of integrating the specific word meaning of the rAga name into the context of the song. It reveals the poets focus on the rAga word as described by its name as part of the lyric offering. The particular swaras of a rAga have very little to do with the rAga choice.

rAga mudra via words and syllables
The rAga mudra itself appears in multiple ways. e.g.. [1] such as directly as in "sAvEri rAga nutam" in the "karikalabha" ganapati sAvEri kriti [2] or hidden by reversal as in "nA-ri-vE-Sa" in the Sri rAjagOpAla sAvEri [3] or as phonetic proxy "bE-gala" for bE-gada, in the long-necked "Sri mAtA" [4] or delivered across two words as in "sams-Ara bhi-tyApahe" in the "Sri saraswati" Arabhi or [5] inferred (sUCita) from key portions of words such as tatvab-Odhi in the vEdAraNyEshvarAya namastE tOdi.

rAga mudra via meaning of rAga word
An entirely different way the rAga appears is via the meaning of the rAga word expressed by the context of the lyric.
This is seen repeatedly for example in the navagraha kritis, such as CAmara as the fly-swatter , for the periodic motion of the kEtu chAya graha in "mahAsuram kEtu maham" or the choice of "paras" derived from the word "faras" which means horse which is the Sukra's vehicle etc. etc etc.

This technique is used also by the tyAgarAja as is now being shown in the tyAgarAja thread, where the rAga meaning seeps into the content of the kriti. The sAram-ati, the mOhana , the hindOla are three iconic examples but there are at least a dozen more of his MOST famous kritis, which carry the same imprint.

The Intellectual Property of the Individual , In-divisible 'akhanda' vAggeyakAra

Why does the nAda-upAsaka need to bring out all these minute details ?

Because at the heart of using mudrAs, whether for rAgas or as personal signatures, is the unique "marking" of the identity of the composer. It is their protection against tampering !

The criminals (the SSP and ALL its corrupt agents) who have sought to dilute and deface the legacy of the vAggeyakAra, (and tried to create confusion regarding his kritis) under the garb of notation based texts and bogus historical notes, CANNOT explain the rAga choices or the totality of the Sri-vidyA pujA that is expressed across all the kSEtras. Therefore they are unable to steal or abridge or modify this legacy !

The Dikshitar has protected his personal pujA and legacy , his Intellectual Property, by embedding these different "mudrAs' and "signs" which unambiguously reveal them to be his own creations...absolutely distinct from the desperate, grasping family members eager to 'get a few shawls" from this-or-that zamindAr.

the three yadukula kAmbOji kritis and their rAga mudrAs/choices

diwAkara tanujam
For the navagraha kritis, the "travel" of planets is central to horoscopy. Post # 500 has shown how the names of the vAhana = vehicles of each deity dominate many of the graha rAga kritis including the rAga choice.

Notice that the Dikshitar himself says in the Sani/saturn graha kriti the words "kAka-vAham"

Here the choice yadukula kAmbOji for this kriti is derived from the word kA-kula = kAkOla which is the word for the vulture/crow/raven , the vAhana of saturn.

In this case, the rAga mudra or signature is effectively the rAga word itself implying the deities vehicle !

tyAgarAjam bhajarE
As the first kriti in the tiruvArUr tyAgarAja navAvarana (see post # 572 for the rest) this kriti refers to the first Cakra with the word trailokya which immediately explains the choice of yadukula since the full name of the Cakra is trailokya mOhana ! mOhana and yadukula are synonymous.

Here the word nilOtpalAmbA-nukula tara carries the partial-word mudra for the yad-ukula kAmbOji..

abhayAmbikAyai aSvArudhAyai
This is the fourth Cakra kriti of the Dikshitars abhayAmbA navAvarana as shown in post # 565 and post # 567.

First I refresh the reason for kAmbOji as the choice for the "saubhAgya dAya" Cakra.

The word "kAma-bhOja" carries the meaning of "fulfillment of desires" so is exactly aligned with the Cakra meaning.

In posts 565, I had given also the derivation as reaching the 4th Cakra after subduing the samkShobinyA Sakti of this Avarana but the exact meaning of the saubhAgya dAya Cakra is better aligned with the meaning of "kAmbOji".

This is why it is used for the kamalAmbA 4th Cakra kriti and also for the abhayAmbA 4th Cakra kriti.

But WHY EXACTLY is this abhayAmbA kriti in yadukula kAmbOji ?

To understand the reason for this choice, one needs to comprehend the lalitOpAkhyAna legend around the destruction of the bhandA-sura.

The kriti also says "garva bhanda khandAyai" and is referring to this particular aspect of the horse-riding dEvi.

What becomes evident upon reading the lalitOpAkhyAna is that ANOTHER celestial HORSE RIDER is central to this defeat of bhandA-sura !!

lalitOpAkhyAna c. 26 v. 73-74 says the following !

"atha Sri lalitA vAma hastapadmasya bhAsvatha
kaniStikA nakhOdbhuta kalki nAma janArdana
asvArudha
pradipta Srira attahAsa CakAr
"

translation
janArdana named Kalki was born of the nail of the small finger of the sparkling lotus-like left hand of Sri lalitA. He was riding on a horse. His glory was bright and brilliant. He made an AṭṭahAsa (boisterous laugh of challenging) .

It is this janArdana as kalki who is the reason for the specific yadukula feature over and above the kAmbOji already dictated by the 4th saubhAgya dAya Cakra. janArdana is also krSnA for example in the gitA.

The dEvi rides a horse in the battle against bhandAsura, but the MAIN aSvArudha/horse rider that has influenced the rAga choice is krSnA/janArdana, as seen in the lalitOpAkhyAna.

It is he who denotes the yadukula feature of this rAga choice, whereas the kAmbOji comes from the saubhAgya-dAya aspect of the 4th Cakra as explained above.

I always thank the rasikas forum founders and managers for the opportunity to present these facts and correct the historical record.

Fine examples are available of each of these great kritis.

tyAgarAjam bhajarE - yadukula kAmbOji
(the first Cakra kriti of the tiruvArUr tyAgarAja navAvarana)
MDR
https://www.youtube.com/watch?v=DFf3ZUS0wGU

diwAkara tanujam - yadukula kAmbOji
(the Sani graha kriti of the navagraha)
SSI
https://www.youtube.com/watch?v=nRhk81mKvjY

abhayAmbikAyai aSvArudhAyai
(the 4th Cakra kriti of the abhayAmbA navAvarana)
Cinmaya sisters
https://www.youtube.com/watch?v=kXd2_zgo9Lk

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (tiruvOtriyUr = Adi-pura, the first "abode" and the first "song")

Post by nAdopAsaka »

tiruvOtriyUr = Adi-pura, the first "abode" and the first "song"

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Today the nAda-upAsaka journeys with the Dikshitar back in the space-time corridor to that "original" place, the first abode with the first song.

How blessed is the nAda-upAsaka to receive these gems !

Every thing begins at Adi-pura, aka tiruvOtriyUr, according to the legends.

Indeed the linga itself ( the swayambhu linga ) emerges from sand, ( the saikata-linga aka ant-hill ) after the great ocean flood subsided. Of course tiruvOtriyUr being on the coast helps the tidal/pralaya imagery.

The following will illustrate (to the continuing dismay of the notation-mongering detractors ) the extreme fidelity and cohesiveness of the Dikshitars choices/imagery.

Why an Arabhi at Adi-pura ?

Because it is the "first" abode = Adi-pura , and the word "Arabhya" ( aka Arambha ) signals the start or beginning therefore Arabhi.

Indeed the tyAgarAja ALSO respects this choice as seen in his own fantastic Arabhi "sundari ninnu varnimpa" to the tiruvOtriyUr tripurasundari.

A brief aside on "numerology" in the tyAgarAjas tiruvOtriyUr panCa-ratna

It is interesting that the tyAgarAja produces 5 HUGE kritis at tiruvOtriyUr ALL to the dEvi but seems to avoid the male deity.
However the FIVE kritis of this pancA-ratna are symbolic of the panCAkSara deity.

And noticeably each of these 5 kritis has a full THREE stanzas, representing the tri-pura aspect of the dEvi.

Back to the Dikshitar.

Why a sAma at Adi-pura ?

As seen in post # 504 of the tyAgarAja thread , in connection with the sAram-ati (essence) rAga kriti "mOkSamu galadA" the sAma gAna is the first song, the Adi gAna, the root of all things.

No harm repeating here..

The sAma-vEda’s special “meter/speech/song” subset, the CAndOgya upAniSad opens with the upAsana of the Om/pranava = the udgita as the essence of all essences, the rasa of all rasas.

It says

Om ityetad akSaram udgItam upAsIta
eSAṃ bhUtAnAṃ pṛthivI rasa - pṛthivyA ApO rasa - apAmoSadhayo rasa- oSadhinAṃ, puruSo rasa- puruSaSya vAgraso - vACarg rasa - ṛCa sAma rasa - sAmna udgIthO rasa


translation
The Om/udgita is the ultimate root traced via the sequence “All things – earth – water – plants – man - speech – the rik vEda – the sAma vEda - Om/udgita” .

All sound & all things START from the first sound, the sAma-gAna.

The connection of this sAma with Adi-pura, as this FIRST sound, ALSO clarifies that the kritis kSEtra is Adi-pura.

Some misguided texts think the words "Sri-pura vAsa niranjani" locates the kriti to Sri-pura = tiruvArUr.

It is an error to replace "tri" with Sri, in fact the rest of the Caranam reveals the repeated use of the "tri" word, in keeping with the first syllable of the phrase "tripurA-sur-Adi bhaHnjani trIpura-vAsa niraHnjani".

Further the Dikshitar in his "dEvi jagadISwari" bhairavi, describes the goddess is "mahA tripura vAsita".

Of course both tripura sundari (# 234) and sAma-gAna-priya (# 909) are names from the lalitA sahasranAma.

The words describing the relationship for the male deity in AdipuriSwaram as "guruguha janakam" and the goddess tripurasundari as "guruguha janani" also reinforce that BOTH kritis are at the same place Adi-pura = tiruvOtriyUr.

It can also be seen that although the tiruvArUr goddess has many of the same descriptors e.g. in the kamalAmbA samrakSatu Ananda bhairavi at tiruvArUR, the deity there is formally the kamalAmbA and NOT tripurasundari.

tripurasundari is the formal dEvi name at Adi-pura.

Can there be any question the kriti to the dEvi at Adipura HAD to be in sAma ?!!

The vAggeyakAras kritis are much greater than merely the sum of their words. It is the interwoven context that must be understood and respected. Mere unfeeling/unthinking word-for-word translations miss not only the point and the message but also the truth.

AdipuriSwaram - Arabhi

unknown singer
https://www.youtube.com/watch?v=5Frxgd3XUYs

tripura-sundari Sankari - sAma

priya sisters (good but with completely unnecessary orchestral effects)
https://www.youtube.com/watch?v=vMQKk1lSaUY

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Dear Sir, May I have a post on 'Gange Mam Pahi' kruthi of Sri.MD ? Preferablly with link to MS rendering ?

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (the kASi-varanAsi dEvi kritis of the Dikshitar)

Post by nAdopAsaka »

the kASi-varanAsi dEvi kritis of the Dikshitar

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RSR, I appreciate your thoughtful interest and insight.
I offer the following in respect of such interest which is central to our musical tradition.

The Dikshitar addresses the dEvi at kASi = varanAsi in four kritis,
viSAlAkSim viSvESim, kASi viSALAkSi, Ehi annapurnE and gangE mAm pAhi

All are names of the lalitA dEvi
viSAlAkSi is # 936, anna-dA is # 669 from the lalita sahasrnama while "ganga" is from the lalita triSati/300 as "hrImkAra himavat ganga"

There is no doubt the river ganga influenced the Dikshitar in his choice of rAgas and also other aspects for these four kritis !

I have noted that the "akhanda" ganga river turns towards the kASi-viSwEswara temple in kASi in the context of the akhanda kAvEri kritis (in post # 718).

Indeed the great river meanders like a giant serpent ! thru the region around kASi-varanAsi.

The Dikshitar did not need Google Earth to visualize this.

He saw it through the imagination of all the great poets and nAda-yOgis before him like kAlidAsa (ref. AkASa-ganga) and the Adi Sankara.

Completely natural therefore that the imagery results in "Ehi annapurnE" being in rAga "pun-nAga-varAli".

And "viSAlAkSi" (while referring to the eyes of the goddess) carries also the word "viS-hAla" which is relevant to the poison (aka viS) swallowing Siva (the hAla-hala).

Therefore the rAga choice (kASi-rAmakriyA) is also at once understandable as a purification (kriyA) from such poison as well as being sited at kASi...the so-called gangA-snAnam or bathing in its waters..( I have noted elsewhere that nowadays such bathing guarantees instant "nirvAna" because the water is likely polluted )

The kASi-rAmakriya rAga mudra is embedded via the word "kASi-rAgnyi".

In the SoundaryaLahari stanza 69 , the Adi Sankara gives the dEvi the descriptor "galE rEkhAs trisrO gati gamaka gItaika nipuṇE", whose throat has three lines signifying "gati, gamaka and gita"

In his rAga choice of gamaka-kriyA for the kriti "kASi viSAlAkSi" , the Dikshitar is mindful of this stanza. Note that he also says the dEvi is "karuNA-rasa laharIm".

The lahari = wave is reflective of the flowing ganga as well.

Which brings us to "gangE mAm pahI"

The Dikshitar gives the name for ganga as "jahnu-bAlE" in the kriti, referring to the ganga as daughter of jahnu from the "ganga-swallowing" legend.

And it is precisely this name which also gives the rAga choice.

Why ?

Because ganga as the daughter of jahnU is also jahnu-sutA ( leading to jahnj-uta !)

The serpentine nature of the river ganga at kASi and the flowing locks of the Siva's forehead

The "jahnjUti" kriti opens with the line "gangE mAm pAhi, giriSa sira-sthithE"

In the SoundaryaLahari stanza 51, the Adi Sankara sees the goddess "competing" (= sarOSa) with her own aspect as the ganga and also serpents (ahi) to be adornments of the Siva's forehead (sira).

SivE SringArardhra tad-itara-jane kutsana-parA, sarOSa gangayam giriSa-CaritE viSmayavati, Hara-ahi-bhyo bhita

ganga is also considered as the confluence of two ancient rivers "asi" and "varuna" which are also noted in the kriti as "asi-varuna madhyE".

kASi is the ancient name for this confluence site of "asi+varuna" = varanAsi

It is of some note that the word 'ASi" itself refers to a serpents fang in some texts..

Excellent versions for each kriti are available. Many thanks to upload agencies.

gangE mAm pAhi - janjUti

MSS
https://www.youtube.com/watch?v=oP7Q6RwlfBM

Ehi annapurnE - punnAga-varAli

MSS
https://www.youtube.com/watch?v=pkHMlA-H-tI

viSAlAkSim viSvESim - kASi-rAmakriya

DKP
https://www.youtube.com/watch?v=zDJkj3WlhJw

kASi viSAlAkSim - gamaka-kriyA

tulasi v
https://www.youtube.com/watch?v=rN824MRhPZU

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Mutthuswamy Dikshithar (The Dikshitars janjUti kritis to the gana-pati and the sEnA-pati)

Post by nAdopAsaka »

The Dikshitars janjUti kritis to the gana-pati and the sEnA-pati

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

In addition to the dEvi kriti (gangE mAm pAhi) noted in post # 749, it is necessary to complete the story on the curiously named rAga janjUti in the context of the Dikshitars other two kritis.

The 2 kritis are
1. ganESa kumAra pAhimAm - this is the fifth or sarva-rakSAkara Cakra tiruvArUr ganapati kriti (see post # 573 for the details of the aStadaSa (18) tiruvArUr ganapati set, existing as 2 navAvarana, per the Cakra mudras).

2. gajAmba nAyakO rakSatu - this is the first of ArupAdai skanda/murugA kSEtra kritis at tiruparankunram .(see post # 669 for the details on the 6 ArupAdai kSEtras)

It will immediately be observed that both the deities , namely the ganESa = ganapati and the skanda/murugA = sEnApati share a common feature as guardians/protectors !

The gana-pati of "ganESa kumAra" is of the 5th Cakra rakSAkara symbolized by the word "pa-AhimAm".

The sEnA-pati as "gajAmbA nAyakO rakSatu" , defeats the asura Surapadma per the legend of tirupanrankunram.

This common feature is also why both kritis are in janjUti rAga.

"jaja" = "janja" is the warrior and "ahati" is safety / protection, the combination implying "the warrior/deity who provides such safety" .

The word combination "janja" + "ahati" = janjAhati applies exactly to both the deities in their role as guardians at the two locations..

i.e. gana-pati at tiruvArUr as 5th Cakra and sEna-pati at tiruparankunram as first ArupAdai KSEtra = the bhUpura Cakra.

Based on the phonetics there is no other choice possible than janjUti, ( as has been similarly discovered in a multitude of the other Dikshitar kritis)

It should be amply obvious by now, based on posts in this thread over the last year , that the Dikshitars rAga choices are rarely (if ever) random.

The rAga choices are an essential part of the fabric of the kriti, woven brilliantly into the kSEtra icons, the context and the historical/geographical snapshot that these wondrous musical sculptures provide.

The explanations being given in these posts are detailed because such detail is necessary to combat the extreme falsehoods that have plagued the Dikshitars legacy. The nAda-upAsakas have to make up for 150 years of misinformation (and worse) !

For example, the fact that the navAvarana structure dominates extensively over multiple deities , including tiruttani, mAyavaram, etc etc. etc has simply not been comprehended. The SSP etc. purveyors of bogus history on the Dikshitar have been dismantled and its corrupt practitioners are on-the-run. They did not read or understand the kritis and expected everyone else to also remain ignorant. The true legacy of the vAggeyakAras is realized only when one begins to comprehend their intent, their message and the unique choices they have made.

Modern digital platforms like the rasikas forum, assembled by its visionary founders and managers permit the truth to be told and considered by all. I also thank RSR and others like him who insist on honesty and integrity so that nAda-yOgis/ vAggeyakAras can preserve the dignity and sanctity of their worship and vows.

Good audio examples are available.

gajAmbA nAyakO rakSatu = janjUti

DKP
https://www.youtube.com/watch?v=YjHhwEKZT9M

ganESa kumAra - janjUti

S. naveen
https://www.youtube.com/watch?v=WJDn9w4BCSI

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