Mutthuswamy Dikshithar (Krithis)

Carnatic composers (other than performing vidwans)
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#751 Re: Mutthuswamy Dikshithar (The Dikshitars telescope - The Dikshitars Srirangam panCa-ratna and its panCa bhuta pujA)

Post by nAdopAsaka »

The Dikshitars telescope - The Dikshitars Srirangam panCa-ratna and its panCa bhuta pujA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

To paraphrase "another trinity", the vAggeyakAra comes to the nAda-upAsaka like a summer breeze, knowing how deep is my love.

Why ?

Because we are permitted a view through yet another powerful "telescope" operating at Srirangam !

(An analogy of the Hindu vAggeyakAra and Hubble the astronomer finding the "red/blue shifts" has been made in post # 511 of the tyAgarAja thread)

That the Dikshitar ALSO has a panCa-ratna set of 5 kritis , (albeit to both the Srirangam deities viSnu and lakSmi) cannot be ignored.

Since the Dikshitar Srirangam panCa-ratna also has a panCa-bhuta aspect, just like the tyAgarAja (as will now be illustrated), it is relevant to make this post in this thread to follow-up post # 511 of the tyAgarAja thread.

The panCa bhuta elements associated with each of the 5 Dikshitar kritis at Srirangam are identified ALONG with the basis for the rAga selection.

rangapura vihAra - brndAvana sAranga

The rAga choice is fairly obvious, capturing the sAranga aspect of the deity name (noted also for the tyAgarAjas karuna jUda-vayya) as well as the sArangEndra = king-elephant motif of "gajEndra mOkSa" in the forest.

The bhuta/element = agni/vahni appears in "ravi nayana" where ravi , the sun, is the fire symbol.. Of the five kritis here this is also the only one to refer to kAma, the fire of desire as in "jitakAma raghurAma".

It bears noting too that the formal agni lingam/tEjOmaya linga kSEtra kriti "arunACala nAtham" is in sAranga.

ranganAyakam bhAvayE - nAyaki

As "SrI ranga nAyakI samEta" the lord here is naturally addressed with the nAyaki rAga. Pretty obvious.

The bhuta/element = vAyu/air appears in "pranava-akAra", where pranava is life breath, the utterance OM and the breathing yOga.

shrI bhArgavI bhadram mE dishatu - mangaLa kaiSiki

In this kriti, the prosperity giving goddess is described as "saubhAgya lakSmi". The word mangala is exactly this auspicious welfare/bhadram. There are not many rAgas with the word "mangala" in their name, perhaps none other ?! And the thick haired (kaiSikA) tresses of the goddess reinforce the choice.

The bhuta/element = prithvi appears in "dharani-varanuta" where "dharani" is the icon for the earth.

varadarAja avAva - gangA-tarangini

The bhuta/element = salila/Apa/water appears as the sacred river name "gangA". This word also gives the rAga choice since gangA-tarangini is the only rAga carrying the word gangA.

Sri ranganAthAya namastE - dhanyASi

The benevolent lord of the prosperity-giving-goddess "saubhAgya lakSmi" of Srirangam is indeed the fulfiller of wishes (ASa) for wealth (dhana) and prosperity as in dhana + ASa = dhanyASa.

The bhuta/element = gagana/sky appears as the word "Sri-ramA-antaranga" where the lord is antara = "between" Sri-dEvi (the spiritual lakSmi) and bhu-dEvi = ramA dEvi (the material/earth/sensual lakSmi).

Of course the sky is what separates (antara) the firmament of the celestial from the earth.

Note that in "rAmaCandrEna samrakSitOham", the mAnji kriti, BOTH the consorts of viSnu are named as Sri and ramA (i.e. SridEvi and bhudEvi) with the phrase "Sri ramA bhArati gauri ramana swarupEna"

Coincidence is merely the lords way of staying anonymous, as Einstein puts it.

It only remains to complete the Srirangam panCa-bhuta pujA with fine audio led by the superlative MSS.

rangapura vihAra - brndAvana sAranga

In post # 511 I had erroneously indicated that MSS sang "O rangaSAyi" at the UN in 1966. Instead it was "rangapura vihAra" ..


ranganAyakam bhAvayE - nAyaki

shrI bhArgavI bhadram mE dishatu - mangaLa kaishiki
gAyAtri G

varadarAja avAva - gangA-tarangini
vid. amruta M

Sri ranganAthAya namastE - dhanyAshi

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#752 Re:Muthuswamy DikSitar (santAna rAmanavami for santAna rAmasvAmi-hindOlavasanta to saguna-nirguna rAma of needamangalam)

Post by nAdopAsaka »

santAna rAmanavami for the santAna rAmasvAmi -- the hindOlavasanta on the celestial swing at spring-time to the saguna-nirguna rAma of needamangalam

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..


There are 2 kritis, one by the tyAgarAja and one by the Dikshitar where each vAggeyakAra appears to reference his father !

In the bilahari "dorakunA ituvanti sEva", the tyAgarAja calls himself "rAma brahma tanayu-dau"

And in the hindOlavasanta "santAna rAmasvAminam", the Dikshitar "perhaps" is hinting at his own father.

I say "perhaps" because the needamangalam rAma temple does not seem to have the long = typically 1000-2000 thousand year history of most of the other kSEtras where the Dikshitar trained his fantastic "telescope".

So the Dikshitars attraction for this somewhat off-the-beaten-path shrine might be related (in part) to the specific name of the deity "santAna rAmasvAmi" and its personal appeal as reflecting his own lineage.

There is actually another common aspect to "dorakuna" and "santAna rAmasvAminam".

Both of them rock the supreme lord (viSnu/hari/rAma) on his celestial swing !

The tyAgarAja describes this as the "kanaka-pu totla" , the golden cradle and also the "phani-talpambu" , the swaying serpent-couch, where incidentally he also gives the embedded rAga mudra as "phani talpambuna nelakona hari-ni kanugona".

Which brings us to the needamangalam hindOlavasanta.

The rAga word "hindOlavasanta" = the celestial swing at springtime is how the majestic Dikshitar imagination pictures the "dOlOtsava" of the vasanta = spring time celebration of the birth of the santAna rAma, the rAma navami.

And the rAga mudra itself is delivered by the word "hindOlavasantam Adhavam", where "Adhavam" implies the deity shaking/swinging/trembling excitedly .

Clearly (ONCE AGAIN) the rAga choice here is NOT random, to the continuing dismay of the corrupt notation-mongers.

"santAna" as representing the continuation of a dynasty

Although "santAna rAma" is correctly associated with rAma navami (as the Dikshitar does by celebrating the vasanta time festival), the shrine is also intimately connected with a childless king and his queen who worshipped here to acquire progeny.

In fact the word "santAna" is indelibly linked to lineage as in succession to a throne.

The lords own santAna !!, the twins lava and kuSa were born under the auspices of the ASram of the sage vAlmiki , to whose ASram the sitA dEvi had been banished, as per the uttara-kAnda of the rAmAyana.

Indeed, the Dikshitar pays tribute to this sAdhu with the pointed reference "santAna saubhAgya vitarana, sAdhujana hridaya sarasija Carana" !

Most of the above points (which are presented for the first time) might seem obvious, once they are comprehended.

But it would be a disservice to the "Dikshitars telescope" i.e. this wondrous kriti (like all the others) bestowed on the nAda-upAsaka by the Dikshitar in his boundless compassion, if one does not seek and discover its deeper intent.

the saguna-nirguna swarupa of the lord

Immediately from the first line itself, the Dikshitar outlines the grand theme !

santAna rAma svAminam saguna nirguna swarupam bhajarE

As far as I can tell, this is the ONLY Dikshitar kriti to the lord rAma where the all-pervading aspect is described specifically as "saguna nirguna".

Now the nAda-upAsaka begins to glimpse the vision of the swaying lord, who encompasses (and holds sway) on all that is of "form" and also on all that is "formless" and naturally anything else in between.

And the Dikshitar is using the proximity of the 2 deities that flank the lords idol at needamangalam to crystallize the imagery !

Why ?

Because in the scripture, lakSmana is regarded as the epitome of saguna bhakta. Likewise , the sitA dEvi is the complete embodiment of nirguna bhakta.

At needamangalam, the idols of lakSmana and sitA dEvi that are on each side of the lord represent his saguna swarupa and his nirguna swarupa, respectively.

And in this manner the all pervasive nature of the lord who is resident on the swing, who is "hindOla -ni-vasantam" is described, with carefully picked song and word.

The Dikshitar illustrates further !

For he gives in the anupallavi the saguna (what IS) and in the Caranam the nirguna (what IS NOT) .

How.. you ask ?

In the anupallavi, the lord IS described as "sat-Cit-Ananda".

And in the Caranam, the lord is NOT (NOT (sat-cit-Ananda)) as he says "anrta jada dukha RAHITA"..

Where anrta = untrue is "NOT sat", jada = dull is "NOT cit" and dukha = sorrow is "NOT Ananda" ! and RAHITA is NOT.

What a profound way of gauging the 2 extremes and also an early form of nested Boolean logic.

The lord is infinite but the Dikshitars "telescope" is equal to the task of assessing his grandeur.

To the untrained eye, ear and soul, it might seem at first that the Dikshitars own prayer at needamangalam to "maintain the santAna of MutthusvAmi", did not succeed. But as the nAda-sampradAya pradarSini shows, the Dikshitars "off-spring" are legion and growing, being of course, all the nAda-upAsakas.

The nAda-upAsaka revels again and again in the blessing of the Dikshitars vision.

santAna rAmasvAminam - hindOlavasanta


s rAjam

A vidya r

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#753 Re: Mutthuswamy Dikshithar (The Dikshitars blue(s) – the nilAmbari kritis)

Post by nAdopAsaka »

The Dikshitars blue(s) – the nilAmbari kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The Dikshitar (like Kandinsky) knows his color blue.

He assigns the color blue and the rAga = blue = nilAmbari only to the appropriate deities.

nIlANgam harim – obviously to the blue hued krSnA

siddhiSvarAya namastE - The blue-throated siddha linga Siva survives the poison accumulated in his throat – i.e. viSuddha nilayAya

This is one of the tiruvArUr panCalinga kritis corresponding to the vAyu/anila/life-breath lingam , the counterpart of the Sri kAlahasti vAyu bhUta linga (pls see post # 536 for details of all the 5 pairs). The throat Cakra = viSuddha Cakra controls breath and of course is also where the Siva is blue due to the poison.

tyAgarAjam bhajEham – The tiruvArUr Siva who destroys poison as related in the nAgarakhanda purAna . Obviously also the consort of the blue nilOtpalAmbA.

gara of nA-gara is describes as viSam/poison in the nAgara-khanda section of the Skanda purAna

ambA nilAyatAkSi - The blue sky reflecting the omnipresent mother who watches the entire universe –akhila-lOka-sAkSi .

Post # 405 examined the 10 “reflective” elements embedded by the Dikshitar and triggered by the nAga-pattinam temple tank.

The nAda-yOgi sees , sings and shows the blue of poison and nAgas as reflected and transformed into the blue of the nilOtpala nAyikA, the mother goddess and her consort, the nilakantha.

There is nothing “blue” (or morose or sad or wistful ) about any of these kritis, only a majestic grandeur as the deities put the candy in the Dikshitars mouth and in the nAda-upAsakas ears and soul.

The puja is completed with the audio. Many thanks to sincere artistes and upload agencies.

nIlANgam harim nityam smarAmi

nityaSri M


siddhISvarAya namastE

Vid. R. vEdavalli

Vignesh ravichandran (nicely done)

tyAgarAjam bhajEham


a child sEshan N , decent job

ambA nIlAyatAkSI karuNAkaTAkSi

amruta v

sarmpavi U. and sanjana H. (fine effort)

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#754 Re: Muthuswamy Diksitar (indranila-parvata vs. indrakila-parvata - Sriranjani & sumadyuti kritis at kanaka durgA kSEtra)

Post by nAdopAsaka »

indra-nila-parvata vs. indra-kila-parvata -- The Dikshitars Sriranjani & sumadyuti kritis at vijayawAda’s kanaka-durgA kSEtra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

A terrific example of the Dikshitars rAga choice identifying with (and guiding ! ) the location and context of the relevant shrine is available when one looks at the Dikshitars vijayawAda kSEtra kritis.

Yes, there are two such kritis at the kanaka durgA shrine..!....

…one to the male deity (nilAcala nAtham) and one to the female deity (Sri dum durgE)


As usual, this post will come as a revelation to most and also an unpleasant shock to some….the latter of course being the foolish, unimaginative and supremely corrupt revisionists who have attempted (and failed miserably), under the garb of notation-mongering, to distort the Dikshitars and all other nAda-yOgis legacy.

Within the former, it is perfectly OK for any number of rasikas to also be completely unmoved or indifferent specifically to the Dikshitars (or the tyAgarAjas) messages within the kritis. Such rasikas might simply prefer other vAggeyakAras. Or It could be repulsion to the languages for whatever reason Or atheism Or embarassment at a public show of affection for piety Or a general lack of interest in the historical/geographical/scriptural snapshots that the kritis represent Or an overarching interest in swara/tala juxtapositions etc.

vidwAns/vidUSis in last 150 years have pretty much treated the kritis as launching points (and clothes-horses) for their own “experiments in variations of air pressure”, mumbling through the words as they fill up onstage kutchEri time. Indeed, the modern cult of the performer encourages the purely technical aspects of the “music”.

But for the nAda-sampradAya and the nAda-upAsaka, the vAggeyakAras are NOT musicologists or vidwAns.

They are messengers and their every word must be dwelt upon.

Every kriti is an exercise in Sruti (which in the nAda-yOga is the truth) and which requires total fidelity to the chosen rAga and the relevant deity/kSEtra.

I believe the “messages” could be relevant also to the rasika who might have a more-than-passing-interest in the Dikshitar but not the time or resources to delve into his deeper, esoteric content or the principles of the Sri vidyA.

Why is a particular rAga being chosen for a kriti ?

This is the central question that NO vidwAn/vidUSi, NO musicologist, no SiSya-parampara, NO rasika has bothered to ask or even dared to contemplate or give a coherent answer for, in the last 150 years !

The seemingly innocent query, however, leads the nAda-upAsaka to discovery of the rich tapestry of the thought process of the vAggeyakAra, at the very moment of conception of the kritis. Being a fly on the wall at this incandescent moment of truth, this is the joy of the nAda-upAsaka.

The tiruttani navAvarana , the multiple dEvi navAvaranas and the navagrahas are some of the astounding examples of this mosaic presented by the Dikshitar. There is absolutely nothing random about the rAga choice. Even at least 2 dozen of the tyAgarAjas most famous kritis reveal the connection between rAga choice and kriti focus.

Back to vijayawAda and the kanaka-durgA kSEtra

A closer look at the 2 kritis of the vijayawAda kSEtra confirms that the rAga choice ( as has been shown for at least a 100 kritis of the Dikshitar already ) emanates from the word/meaning of the rAga word and its context within the relevant iconography of the kSEtra.

Why ?

Because the word “sumadyuti” expresses the pujA by jasmine flowers performed by the brahma to the Siva (who is therefore known as mallESwara) at this vijayawAda kSEtra.

suma = flower and dyuti = adorning/shining. The Dikshitar could not have been more graphic !

(sumadyuti is the equivalent of simhEndramadhyamam, the 57th mEla)


Because the word “Sriranjani” expresses the kanaka-durgA pleasing/delighting the mahAlAkSmi (= the Sri dEvi) form of the mother goddess that is central to this shrine. Once again, the rAga is exactly iconic of this dEvi at this kSEtra !

Before I describe the remaining unambiguous icons embedded by the Dikshitar in both kritis , it is useful to consider why the rAga choice is so deliberate !

In fact a simple and straightforward explanation for “why these choices are made” can be given !

The vAggeyakAra/nAda-yOgi is totally focused on a pujA , which uses a particular rAga. Fidelity to this chosen rAga (= truth = Sruti) demands that in the entire kriti, i.e. in its music and its words/ideas, the yOgi CANNOT stray from this chosen path. For a rAga chosen randomly, on a whim, it would be impossible to maintain the concentration needed to stay within the Sruti (the truth) set by the kSEtra/deity, and the worship that the Dikshitar intends. A closer look at the rAga-mAlikAs of the Dikshitar also reveals and confirms this same strategy. The same laser-like focus leads to the rAga mudra in various forms also appearing in the lyric, (somewhat less so but still visible for the tyAgarAja as well) . It is this discipline, this sAdhana, which holds and anchors the honesty of the worship that is rewarded with the “candy in the mouth” and the timeless melodies are born.

The Dikshitars unambiguous icons for the two deities at vijayawAda

The vijayawAda kSEtra records a visit by the Adi Sankara. So even for the most hard-headed morons, it should not be difficult to consider that the Dikshitar would follow suit.

But it is better to let the kritis (and the rAga based icons) themselves present the indisputable truth of the visit and the Dikshitars pujA at this site.

The “Sri dum durgE” kriti

The mahA-lakSmi and the SAkambari = vana durgA = vana Sankari aspects of the vijayawAda kanaka durgA

At vijayawAda, the kSEtra is dominated by the goddess (ostensibly the kanaka-durgA), who is worshipped in two major aspects , as mahA-lakSmi and as the “SAkambari vana durgA”

To denote mahA-lakSmi , the word Sriranjani appears in the kriti which is also the natural rAga as noted above.

As SAkambari the vana-durgA is “protector of plants”, vegetables, fruits, and the like. Of course “vana” is the forest where such green-plant life abounds.

The SAkambari festival is one of the major events of the vijayawAda kSEtra.

In the SAkambari mahAtmayam stOtra (from the dEvi bhAgavatam purAna), the following phrases appear

durgam-Asura-hantrim-tvAd-durgE-ti mama nAmayah
nilAnjana-sama-prakhyam nila-padmA-ya-tEkSanam

And in the vana Sankari stOtra there are seen the following phrases

prAtar-vadAmi tava Sankari divya-nAma SAkambari-iti laliteti SatEksanneliti
durgEti durgama-mahAsura-nASini-Iti Sri-mangaleti kamaleti maheshvariti
tasmai dadAti SivadA vana Sankari sAvidyAm prajAm Sriyam UdAramati sukirtim
kalyAna-dhAma manava nirada nila-bhAsAm panCAsyaya anala SitAm paramArti hantrim

durgA as “vinA vAdini”

At the kanaka-durgA temple, a durga idol also holds a veena which is reported in the kriti as “vinA vAdini”

cAmIkara valayE

The Dikshitar gives an indication of the kanaka = golden ornaments by referring to her golden bangles as “cAmikara valayE”

surucira malayE

malaya is associated with hills as well as with sweet smelling breezes (surucira) of such hill country.

The connection with the suma = flower = jasmine = mallikA of the brahmAs puja of the Siva = mallESwara (the consort on this same hill) is undeniable.

The nilACala nAtham kriti

To understand the basis for this particular name given to the Siva (in place of mallikESwara) , it is better to study first the icons that appear later in the kriti.

indra-nila parvata vs. indra-kila parvata aka indrakilAdri

The location of the vijayawAda temple to the Siva deity is notable as being called “mallikArjuna-pEt at indrakilAdri” i.e. the place where arjuna propitiated the Siva/mallESwara to acquire the paSupati astra located at the indrakila mountain.

As I had noted in post # 445, this word indra-kila is easily mis-written (and mis-spoken) , as indra-nila !

As I see it, the proper wording is indra-kila parvata.

nilAmbikA manOlAsakaram

The reference to “nilAmbikA” in “nilAmbikA manOlAsakaram” refers to this deep-blue tinted form of the durgA/lakSmi dEvi as given in the SAkambari stOtra (nil-Anjana) as well as the vana Sankari stOtra (nila-bhAsam) noted above.

It is of some interest that the goddess as the consort of viSnu is ALSO referred to as the nilA-dEvi (see for e.g. in the AbhOgi “Sri lakSmi varAham”, the usage “nilA bhU dEvi stuti pAtram”)

In the overarching mahA-lakSmi aspect at this kSEtra, this nilA-bhu dEvi who also denotes the earth as land, is therefore a symbol for the nilAcala, the blue hill/land.

And the Siva is naturally the lord of this “place”…i.e. he becomes the nilAcala nAtha.

He is consort of one blue-hued goddess as well as lord of the land named after the other blue-hued goddess.

The legend of the krSnA and the nose-ring of the goddess kanaka-durgA

There are wonderful legends associated with the kSEtra that have some relevance to the color blue and the usage indra-nila.

The river krSnA that runs beside the temple hill is considered to have been granted its path thru the hilly terrain, lending itself to the blue motif - nilAcala.

Another legend suggests the river flooding represents the blue-hued deity krSnA reaching the hilltop to acquire the gem that is set in the nose-ring of the kanaka-durgA. Such gems could also be indra-nila, the blue-sapphire.

Once again the blue mountain idea is perceived.

However indra-kila parvata is more formal and proper given all the other details of the kSEtra described in this post.

mAdhavAdyamarabRnda sannutam

There is additional legend about a king named “mAdhava varma” performing pujA at this kSEtra and it appears the Dikshitar is recording this aspect in this phrase.

arjuna tapOmahita pAshupatAstra pradam

Of course the arjuna pujA is most iconic of the vijayawAda kSEtra and naturally the Dikshitar does NOT ignore it.

All the details given might seem like minutiae but are needed to keep the untruthful at bay. After all there is 200 years of mis-information that has been propagated about these nAda-yOgis.

As always, I thank the rasikas forum founders and managers for their vision and effort that allows these facts to be presented and preserved , perhaps for discerning rasikas.

Some decent renditions are available. Thanks to upload agencies and artistes.

nilACala nAtham - sumadyuti

gAyatri K

Sri dum durgE – Sriranjani


samriddhi sisters

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#755 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

नीलाचल नाथं भजे-अहं
निखिल लोक जगत्प्रसिद्ध-ईश्वरम्
नीलाम्बिका मन-उल्लास-करं
निरन्तरं भक्त वशङ्करम्
इन्द्र नील पर्वत स्थित प्रसिद्धं
इन्द्र-आदि पूजित वर प्रदं
माधव-आदि-अमर बृन्द सन्नुतं
मानित गुरु गुह वन्दित वरदम्

चन्द्र शेखरं कृपा-करं
गङ्गा धरं शूल-आदि धरं
अर्जुन तपो-महित पाशुपत-अस्त्र प्रदं
त्रिपुर-आदि हरम्
ref: ... atham.html

bhajE-ahaM - I worship
nIlAcala nAthaM - the lord of Nilachala mountain,
nikhila lOka jagatprasiddha - the one renowned in the entire universe,
ISvaram - the sovereign ruler

nIlAmbikA mana-ullAsa-karaM - the one who delights the heart of Goddess Nilambika,
bhakta vaSankaram - the one who wins over devotees,
nirantaraM - always,

indra nIla parvata sthita prasiddhaM - the one famous for dwelling in the Indranila (sapphire) mountain,
indra-Adi pUjita vara pradaM - the giver of boons, worshipped by Indra and other gods,
mAdhava-Adi-amara bRnda sannutaM - the one extolled by Vishnu and hordes of other gods,
mAnita guru guha vandita - the one saluted by the esteemed Guruguha,
varadam - the one who confers boons,
candra SEkharaM - the one whose crown is the moon,
kRpA-karaM - the merciful one,
gangA dharaM - the one who bears Ganga (in his locks),
SUla-Adi dharaM - the one who holds the trident and other weapons,
arjuna tapO-mahita pASupata-astra pradaM - the one who bestowed the Pashupata weapon, being honoured with Arjuna’s penance,
tripura-Adi haram - the destroyer of Tripuras and other evil-doers.

These are all very well-known phrases about Lord Siva...
There is no need to associate every kruthi of Sri.MD with some kshetram or other.
'blue-mountain'- can be interpreted as Neela giri, too, if we want.('blue-mountain express?)The only kshetram that falls outside the present tamil-state is KaaLahasthi but very near to Thiruttani. Sri.MD did not visit Thiruppathy even.
The kruthi could have made at Thiryuvaaroor.
Accordiing to the wonderful monograph of Ravisri, Sri.MD 's kshetra visuits were predominantly in cauvery delta. Of the 550 of his known kruthis, only about 100 are about shrines in Paandya daesam.
Choice of raaga , may have been spontaneous It is the tradition that Sri.MD began his compositions only after returning from North India. and after that did not go North. He composed kruthis about traditionall shrines in North, especially in Himalayan mountains. Does not mean that he went back to these places.
What is philological derivation of the name of this raagam ? What was the sthala-puraana name for the vijayawada temple ?
Do the renowned musicologists like Venkatamahi , try to give the PHILOLOGY name for the raagaas? They simply give the raaga lkshna. Raaga names are just 'idukuRip peyarkaL'. and they are not 'kaaraNap peyarkaL. .

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#756 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RSR questions are appreciated. They help further refine the status of this kSEtra and its position in the Dikshitar kritis.

In nilACala nAtham, the sumadyuti refers to the pujA performed with (jasmine) flowers by brahmA at this location and identified with the Siva here as mallESwara.

The Dikshitar describes this further with the usage “mAdhav-Adi-amara brinda sannutam” where brahmA = Adi .

Additionally, nilAmbikA (the dark blue mother goddess) cannot be considered the same as the tiruvArUr nilOtpalAmbika.

The Dikshitar himself says in the tiruvArUr pUrvagauLa kriti “nIlOtpalAmbikAyAm bhaktim karOmi” that the nilOtpalAmbika is “Arakta varNa rUpiNyAm” , of reddish color.

The SAkambari stOtra/vana Sankari stOtras identify the “vana durgA” specifically with this blue color (nilAnjana/nila-bhAsam).

It is not possible to find another shrine that meets all the criteria laid out by the Dikshitar in both the kritis, as noted in post # 754.

The Adi Sankaras “mahiSAsura mardini” stOtra gives the words “dumi dumi tAmara dundubhI nAda” echoed in the Sriranjani.

That the Adi Sankara installed the Sri Cakra at this vijayawAda location cannot be overlooked , considering the integral nature of the Sri vidyA to the Dikshitar.

ps. SESACala nAyakam (varAli) is associated with tirupati.

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#757 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Location: Vijayawada
Deity: Siva or Malleswaraswami
During their wanderings in the forest, the Pandavas came to Darukavana, where they met Veda Vyasa and told them to do penance to Lord Siva, to obtain the Pasupatastra. The lord pleased with penance of arjuna lord took the form of Kirata or hunter. Parvati dressed as a huntress with the Sivagana in several disguises. The wild boar came to Arjuna, being a great warrior, he shot it with a single arrow. Lord Siva also shot it with an arrow, both stuck at the same time. The boar fell dead. Both claimed the kill, and a controversy arose.
Words led to physical quarrel and they both wrestled with each other. Arjuna was no match and was soon exhausted. Even then Arjuna did not forget to worship the lord. To invoke divine favor, he made a Shivalinga out of the earth, worshipped it, and offered prayers and flowers. He saw the flowers offered to the ings before the hunter. Realising the hunter was none but the Lord. The hunter immediately disappeared and Lord Shiva appeared before Arjuna. Arjuna prayed to him and his prayer was granted, and Lord Siva gave Pasupatha to him. To commemorate this event, Arjuna installed the Vijayeswara temple on the Indrakila hill.
Yes Sir. The description tallies. for the Siva kruthi.
The Lord is worshipped with flowers but is there any specific word for jasmine there?
Sri.MD seems to have sung about a few famous temples, without actually visiting.. The one on Guruvayoor for example. Vijayawada also may be one such. and also Seshaachalam. The lyrics are just general.
As for the kruthi on Goddess mentioned,
'One of the popular temples here is the Kanaka Durga Temple. It is situated on the hills attracts lots of pilgrims. Sri Adi Sankara had worshipped the Goddess here and installed a Sri Chakra.'
Carnatica site does not mention Vijayawada.
A shrine of Malleswara with His consort Bhramaramba is situated on the way up the hill.

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#758 Muthuswamy Diksithar (Motive, Opportunity & Means of the Dikshitar tirtha–the SriSailam kritis & 4 AmnAya pitha kritis)

Post by nAdopAsaka »

Motive, Opportunity and Means of the Dikshitars tirtha – the SriSailam jyOtirlinga kSEtra kritis and the 4 AmnAya pitha kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

For the nAda-upAsakas there is absolutely no doubt that the Dikshitar personally visited all the shrines he has kritis for.

Why ?

Because a central tenet of the Dikshitars preceptors in the nAda-sampradAya, (which includes the Adi Sankara and the tEvAram/prabandham poets) is the tirtha-yAtra or pilgrimage that is essential for cleansing the spirit.

The Motive = the pujA/worship of the Dikshitars tirtha

For millenia and for millions, these yAtras have been iconic of the Hindu view of life, the most famous being the kASi gangA snAnam.

The Adi Sankara crystallizes this in stanza 54 of his SoundaryaLahari when he speaks of the union of the goddess and the lord as the confluence of water bodies, such as rivers and oceans, which is this emblem of purification.

Extract from SoundaryaLahari stanza 54
nadaha sono gangA tapana-tanayEti dhruva mamum
trayanam tirtha-nam upanayasi sambhedam anagham

Similarly the Siva-purAna and other scriptures describe the necessity and value of such pilgrimage tirtha ( the tirtha-mahAtmayam) for the devout.

In the Dikshitar Sri vidyA tradition (a description of the Sri Cakra is introduced in the Adi Sankaras SoundaryaLahari) , his offering of a specific musical prayer , "his carefully-designed kritis" at each site are the proper completion of this pilgrimage.

This is true whether on the banks of the kAvEri , or the tungA or the krSnA or the gangA, or at all the other tirthas, including the ocean tirthas such as puri, rAmESwaram (the agni-tirtha) or dwArkA.

The Opportunity = the pada-yAtra/route of the Dikshitars tirtha

The routes for kASi bound pilgrims originating in the Chennai region naturally pass through or near the tirtha locations of vijayawAda and SriSailam, both of which shrines are closely associated with Adi Sankara.

Additionally, the kSEtra of puri-jagannAtha, famous for the dOla gOvinda and site of the gOvardhana matha = the eastern AmnAya pitha of the Adi Sankara is not too far off this beaten path.

The Means = the kritis of the Dikshitars tirtha

Speaking of carefully-designed kritis the following details have not been comprehended by the “music industry”.

It is the duty and responsibility of the nAda-upAsaka to present them (as has been done for scores of the other kritis of the Dikshitar on this thread)

SriSailam – 2 kritis (this is also a jyOtirlinga site noted by the Adi Sankara in the SivAnandaLahari)

"bhramara-ambA" is the goddess name here.

“himACalakumarim” in rAga jhankAra-bhramari the 19th mEla

The rAga is chosen to describe the “buzzing bee” (jhankAra = buzzing/murmuring, bhramara = bee), signifying the goddess (as per the SivAnandalahari stanza # 50-51 etc. ).

himACalakumarim - hEmalatA

“paramjyOtiSmati” in rAga jyOti the 68th mEla

rAga jyOti is the natural choice for the jyOtirlinga kriti worshipped here as the goddess who is “niramSa tatva lakSani”, the symbol of the indivisible tatva = the (jyOti) linga here. This is one of the jyOtirlinga sites.

paramjyOtiSmati - hEmalatA

vijayawAda – 2 kritis (a Sri Cakra was installed here by Adi Sankara)

These 2 kritis are described in post # 754

“nilAcala nAtham” in rAga sumadyuti to the mallEswara

“Sri dum durgE” in the rAga Sriranjani to the kanaka durga

In "Sri dum durgE", the usage “Sthira-iha apavargE” is also reference to the Sri Cakra installed here by the Adi Sankara (Sthira = fixed , iha = here). By the Sri vidyA, the durgA here is “Siva samsargE” (united with Siva) and grants “apavarga” = final bliss.

The Adi Sankara’s 4 AmnAya pitha kritis

Each pitha consecrates one deity and one vEda.

Accordingly there is one kriti by the Dikshitar at each location.

1. SringEri SaradA dEvi (the southern AmnAya pitha )

This was first described in post # 452.

“kalAvati kamalAsana yuvati” in rAga kalAvati to the SAradA dEvi.

She is kalAvati (saraswati of the arts) and brahmAs consort (kamalAsana yuvati).

rAga kalAvati is therefore a natural choice.

An interesting factoid is that in the sampurna-paddhati naming scheme the rAga kalAvati (the 31st mEla) takes the name yAgapriya, which is well aligned with the “yajurvEda” = yagna aspect of the SAradA AmnAya pitha.

It is important to comprehend that while the SAradA idol was brought to SringEri from kASmira by the Adi Sankara, the kriti and the pitha are specific to SringEri.

Why ?

Because the usage “bhArati mAtrkA Saririni” describes the legend of the “ubhaya bhArati”, a “dual” form of the body of the mother goddess, the saraswati dEvi. This bhArati is considered the spiritual consort of the first SankarACarya of SringEri, surESvarACArya, the foremost disciple of Adi Sankara, entrusted with the SringEri AmnAya pitha. The usage “surArCita padAmbujA” is also notable in this regard.

the mahAvAkya of the yajur-vEda is “aham brahmAsmi”, which the Dikshitar denotes as “kala-ya-tu saraswati” i.e. meditating/contemplating on identifying with the goddess = brahman. Notably the word “kala” also means “part of”.

kalAvati kamalAsana - S rAjam

2. puri-jagannAtha (the eastern AmnAya pitha)

“gOvardhana giriSam” in rAga hindOla.

Why rAga hindOla ?

Because at puri , dOla govinda is the swing puja with which krSnA is worshipped !

This pujA is iconic of the puri-jagannAtha and the Dikshitar reflects this important aspect of his tirtha via the rAga choice.

The significance of the swing to the Dikshitar overshadows even the gigantic ratha of puri, the “chariot” which gives the English language the unforgettable word “juggernaut”.

The site is installed as the “gOvardhana matha/pitha" of the Adi Sankara.

The reference “gOvinda nAma sAram” is the direct reference to the famous “bhaja govindam “ poem of the Adi Sankara which ends in the line "gOvinda nAma smaranam".

The usage “kavi jana hrt mandAra” reflects the group of poets/nAda-yOgis as per the legend of the addition of stanzas to the “bhaja gOvinda” poem by major students of the Adi Sankara

The important aspect of this poem is the rebuke of “grammarians” (nahi nahi rakSati dukrn karanE). As has been said on this thread many times, vibhakti is secondary to Avarana !

The Dikshitar embeds the essence of the mahAvAkya of the rig-vEda (pragyAnam brahma) here via "gOvinda nAma sAram" where "everything is produced by Caitanya=gOvinda" and Caitanya is another name for everything"

gOvardhana giriSam - MSS

3. badarinAtha (the northern AmnAya pitha )

“Sri satyanArAyanam upAsmahE” in rAga SivapantuvarAli

The kriti cites “badari stitham”.

Can any reasonable person doubt that the Dikshitar saying "sarvam viSnu mayam" is not
originating from the mAndUkya upaniSad mahAvAkya of the atharva vEda (linked to this pitha) !

sarvaM hyetad brahmAyam AtmA brahma so ayam AtmA chatuShpAt

rAga SivapantuvarAli corresponds wonderfully and naturally to ” vara-muni-gana-bhAvita” – the boon conferred (vara) by nArAyana to the Sankara followers (the Sankara-ACarya = muni gana = Siva pantha)

Sri satyanArAyanam upAsmahE – Bombay JayaSri

4. dwArka kAlikA (the western AmnAya pitha )

“dEvi jagadISwari” in rAga bhairavi

The dwArka (SARada) pitha is associated with the goddess kAli by the Adi Sankara doctrine.

rAga bhairavi is the OBVIOUS choice for the kAlika aspect

Because this is the sAmavEda sthala as per the Adi Sankara, the reference ‘bhAva rAga tAla” appears.

The usage "dEvarAja pujitE" is also relevant.

According to the legend, Indra prayed to the goddess to relieve durvAsas curse (noted for example by the Dikshitar in his terrific “panCASat pitha rupini” ) . The durvAsa legend leads to the sAgara-manthanam and indrA’s pArijAta tree resulting from this ocean churning. This pArijAta tree/flower was then brought to dwArkA by krSnA after conflict with dEvarAja = indrA.

But the essence of the dwArkA pitha is the sAmavEda “tatvam asi” mAhavAkya, the gateway (dwAra) to realization.

The connection to this philosophical “dwAr-kA” and dEvarAja = indrA lies in the SoundaryaLahari stanza # 95 where the Adi Sankara says

tathA hyEtE nitAh Satamakha mukhAḥ siddhim atulAm
tava dvArO pAnta sthitibhir animAdi abhiramaraha

Indra = Satamakha strives , with the animAdi siddhis, at the doorstep “dwArO pAnta sthitibhi” to attain the goddess who is also the gatekeeper = the dwArikA, (and hence the connection to dwArkA).

It is the animA etc. siddhis which allow access to the "finest" = smallest element/aspects of all existence.

dEvi jagadiSwari - neela rAmgOpal

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#759 Re: Mutthuswamy Dikshithar (Sri mAtru-bhUtam - Siva as Actor at tiruCirApalli & the basis for rAga kannada choice)

Post by nAdopAsaka »

Sri mAtru-bhUtam - Siva as Actor at tri-SirAgiri = tiruCirApalli and the basis for the rAga kannada choice

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

At tiruCirApalli , the Dikshitar crystallizes the essence of the Siva as mAtrubhUtESwara, i.e. stri-vESa dhara , the Actor who masquerades convincingly as a woman, by using the rAga kannada !

Why ?

Because the words “kar-nata” represent the one who takes on this role, i.e. he who performs (kar = do) the act (nata = role).

kar + nata = karnata then becomes the word kannata = kannada in the coarse vernacular.

For the nAda-upAsaka there is zero doubt this is the exact logic behind the choice.

There is nothing random or “done-on-a-whim” in the organized, meticulous pujA of the Dikshitar (although this fact has not dawned on many in the last 200 years especially the foolish , unimaginative and corrupt notation-mongers)

Indeed the Dikshitar goes further to reveal his thinking.

He gives another clue in the very word used to deliver the sUCita mudra in this kriti.

“nata Suka sana-kam nala kAmAdi vijaya kamaniya-angam”

Where "kam-nala" is the embedded (phonetic) rAga indicator.

In the mahAbhArata’s nalOpAkhyAna section from the vana parva, the story of nalA and damayanti is described.

nala is a king of such beauty (even as a male !) that he is supposed to equal even Cupid = kAma = kandarpa in attractiveness.

The “stri-vESa” act of the mAtrubhUTESwara at tiruCirApalli is so convincing ( to the Dikshitar and therefore to all nAda-upAsakas ) that it is compared to (and overwhelms) even this nala and of course kAma , as described by “nala-kAma-Adi vijaya kamaniya-angam”

For the Dikshitar, the mAtrubhUtESWara is also considered as both sadASiva and paramaSiva and resides in a shining Sri-Cakra = the bhAsamAna navAvaranam.

In Sri mAtrubhUtam, the Dikshitar produces a kriti to match the exalted nature of this special deity.

May I remain worthy of receiving the insight and blessing of the Dikshitars pujA.

Sri mAtrubhUtam - rAga kannada

vid. bharat S

bombay jayaSree

veena anjani/aSwini

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#760 Re: Muthuswamy Dikshithar ( “sugandhi kuntalAmbikA” & rAga kuntalam - Esoteric tresses at the mAtrubhUtESwara kSEtra )

Post by nAdopAsaka »

“sugandhi kuntalAmbikA”, and the mEla rAga kuntalam - Esoteric significance of tresses (locks of hair) at the mAtrubhUtESwara kSEtra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

It would be blasphemous beyond belief if a pujA at the mAtrubhUtESwara kSEtra of triSirAgiri = tiruCirApalli does not pay homage also to the goddess.

Naturally, the Dikshitar, my Dikshitar, can not and does not ignore the Supreme Mother here.

Therefore , in keeping with post # 759 above, the kriti “Sri sugandhi kuntalAmbikE”, in rAga kuntalam, is the subject of this post.

First the more obvious issue.

Why does the Dikshitar pick the rAga kuntalam , instead of say.. kuntala-varAli ?

The choice is actually easy to comprehend....when one realizes that kuntala-varAli is a janya rAga.

Why ?

Because as part of his organized pujA , each and every one of the 72 mEla rAgas are the pujA-sAmagri of the Dikshitars musical worship,

(sAmagri = necessary ingredients of the ritual)

And as the mEla # 61 in the asampurna scheme, rAga kuntalam fits exactly both the connections i.e. to the goddess name and to the mEla name.

i.e. there is only one mEla rAga named kuntala and there is only one goddess in all the tirthas/pilgrimages made by the Dikshitar who is named kuntala-ambA.

Any consideration/discussion of the choice of this rAga being random is of course beneath contempt.

kuntalam is the counterpart of kAntAmani whose non-randomness has been discussed in post # 526 of the tyAgarAja thread.

Next, the less obvious and far more serious issue.

the Sri Cakra/navAvarana enclosures at the mAtrubhUtESwara kSEtra

In the kannada (i.e. kar-nata) kriti to the SivA at triSirA-giri , “Sri mAtrubhUtam” (post # 759) the Dikshitar refers to the shining /bhAsamAna navAvarana.

And in the kuntalam kriti, the Dikshitar specifically addresses the kuntalAmbA as “rAjarAjESwari”.

rAjarAjESwari along with mahA-tripurasundari are key synonyms for the Sri vidyA's lalitA dEvi, the supreme mother, residing always in the Sri Cakra.

Indeed, no less an exalted name than this is deserving for the consort of the SivA at this kSEtra who is called both sadASivA and paramaSivA in the kannada kriti.

In the Sri vidyA these united male and female deities (e.g. kuntalAmbA samEtam) residing in the (shining) Sri Cakra represent the Siva-Sakti union in this kSEtra.

The tEvAram poets confirm this as well.

For example, sambandAr in the very first (of 11) stanzas of the first tirumurai at tiru-CirApalli describes this union as “umai-oru-pAka

Similarly the Dikshitar calls the SivA in the kannada kriti as sa-umA (= somam).

Which brings us finally to the esoteric issue of kuntala = tresses/locks of hair.

The kannada (= kar-nata) kriti shows the Dikshitars focus on the stri-vESa ACT of the SivA , the taking of the role of a woman (the mother of an expecting mother !).

But the SivA here is inseparable from his associated female part ! as shown per the Sri vidyA.

Noticeably, the Dikshitar refers to the “sugandhi kuntalAmbikA” also as “mAtrubhUtESwari”.

Naturally she is automatically in the role of “mAtr “ = “mother” especially after being described with the synonyms of lalitA, such as rAja rAjESwari.

The significance of kuntala = tresses (head-hair)

The very first signature of a woman distinguishable from a man are tresses ! (at least in Hindu tradition and scripture).

Typically the tresses should also smell sweet.

The Supreme Mother has an in-built advantage since her tresses are naturally adorned with many different flowers.

In fact, in the lalitA sahasranAma, one very early name (descriptor number 13 out of 1000 !) is “Campak-aSOka –punnaga-saugandhikA lasat kaCa

Now the stress of the "stri-vESa" ACT of the male begins to make sense, particularly the SivA decorating his own hair with sweet smelling (suvAsita) flowers to match the (sugandhi) fragrance of the tresses of the goddess. Indeed the SivA is competing with none other than the goddess.

As the Dikshitar says in “Sri mAtrubhUtam” , these are the suryA (arka) and the chrysanthemum (javanti/SEvanti).

The deity, who is ALREADY one half the Mother, as per the Sri vidyA, has to convincingly complete the role of the total mother (to an expectant mother no less).

This is the essence of the stri-vESa ACT , the kar-nata.

But it is the kuntala/tresses of the mother goddess which is the driving force for the motif at this kSEtra.

Fittingly it is this fragrant hair that the Dikshitar addresses with the mEla rAga kuntalam.

It is only in this kuntalam kriti that the Dikshitar uses the word “mAtrubhUtESwari” which presents the nuance of the goddess who is already the supreme mother ! vs. mAtrubhUtESwara, the SivA who must ACT as a mother.

The nAda-upAsaka revels always in the joy of the Dikshitars boundless blessing.

Sri sugandhi kuntalAmbikE – rAga kuntalam

vidUSi gAyatri g

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#761 Re: Mutthuswamy Dikshithar (The pratimA of the Suddha mA - Reflecting on the pure Mother – saugandhini & kanakAmbari )

Post by nAdopAsaka »

The pratimA of the Suddha mA - Reflecting on the pure Mother saugandhini as the fragrant kAmAkSi and kanakAmbari as the golden kAmAkSi , mEla # 37 and mEla # 1

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

All manifestations of the mother goddess are fragrant.

And why not…in fact suvAsini is itself the 970th name in the lalitA sahasranAma.

But for “sugandhi kuntalAmbA” ONLY mEla rAga kuntalam is appropriate in the Dikshitar pujA , since as shown in post # 760, kuntala = tresses/hair govern the triSirAgiri kSEtra.

It’s a completely different set of ideas at kAnCi !

The Dikshitar reserves the mEla rAga # 37 ONLY for the kAmAkSi of kAnCi.

Why ?

Because in the kAmAkSi stOtra of the Adi Sankara (in the tenth and final stanza), kAmAkSi is described as “kastUrikA-CarCita”, smeared from head to toe with fragrant musk paste = kastUri !

And saugandhini is exactly “she who is fragrant” and is also mEla # 37 in the so-called asampurna paddhati, the start of the prati-madhyama rAgas.

"kAmakOti pithavAsini" in rAga saugandhini identifies uniquely with kAnCI, as the installation of the Adi Sankara (although it is known that some idols were moved to other location tanjAvUr in more recent times etc.)

A lesser known fact is that the equivalent sampurna mEla rAga # 37 is called sAlagam, a phonetic derivation of the the word “sAlagram”, which is the unique stone that the kAnCi idol is made of.

Post # 572 of this thread showed how the choice of rAga sAlaga-bhairavi for the sarva-rOga-hara 7th Cakra (the Cakra that protects from disease) of the tiruvArUr tyAgarAja navAvarana derives from the “sau-gandha” where gandha is a synonym of (medicinal) sandal derived from hariCandana , one of the 5 all-protecting trees of paradise.

The exactness of the Dikshitars careful pujA is reflected in his pujA sAmagri (again and again to the dismay of the corrupt notation-mongers).

Further, saugandhini kAmAkSi is the pratimA (reflection) of the Suddha mA , the kanakAmbari kAmAkSi !

Why ?

Because, for the Dikshitar, the Suddha mA half-set (mElas 1-36) begins ALSO with a kriti to the kAmAkSi, this time celebrating her golden/kanaka aura – or swarna kAmAkSi as in "kanakAmbAri" kAmAkSi , in kanakAmbari the first mEla.

The reference in this kriti to "trailOkya mOhana CakrESwari" is to the Sri Cakra installed by the Adi Sankara at kAnCi , and in which the dEvi of the Sri vidyA resides.

It is the nAda-upAsakas duty to always reflect on the pure Mother.

The niSkalanka /blemishless Dikshitar shows the way.

kanakAmbari kArunyAmrtalahari – rAga kanakAmbari

s naveen

k chilla

kAmakOti pithavAsini – rAga saugandhini

vijayalakSmi s

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#762 Re: Mutthuswamy Dikshithar (saraswati at kAnCI as the vEga-vAhini – the “fast flowing river” of enlightenment)

Post by nAdopAsaka »

saraswati at kAnCI as the vEga-vAhini – the “fast flowing river” of enlightenment in the nAda-sampradAya

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

On the auspicious occasion of guru-purnimA, the nAda-upAsaka celebrates the aspect of the Mother as the original goddess of learning, saraswati, the vinA-pustaka dhArini.

saraswati is thought to have been the name of an actual river , perhaps even fast-flowing , now long dried up.

But the saraswati of the nAda-sampradAya and of the Dikshitar imagination , is always the goddess of all learning, including music and letters/akSara, fresh and brimming (sa-rasa) with wisdom.

Indeed the rig vEda conceives saraswati as that which appears and manifests as a mighty river that floods the entire world with enlightenment.

RV 1.3.12
mahO arna sarasvati praCEtayati kEtunA dhiyO viSva vi rAjati

It is this fast flowing river (of wisdom) that is exactly the vEga-vAhini and the unquestionable basis for this rAga choice by the Dikshitar.

The goddess as the “guru” is the giver of all learning, she is the fountain of vAk and gAna that never runs dry, and she holds the tools of enlightenment, the vInA and the pustaka.

The Dikshitars preceptor in the nAda-sampradAya, the Adi Sankara also describes saraswati in the 75th stanza of the SoundaryaLahari as the tidal wave of nectar that is the Supreme Mothers milk !

Stanza 75 SoundaryaLahari
tava stanyam manyE dharanI-dhara kanyE hridhayatah
paya parAbhAra parivahati sAraswatam iva.

The relevance to kAnCi of this “torrent of wisdom” is the legend of “washing away the sin” of an ill-advised yagya that ignored this goddess.

Notably this is one of the Dikshitars kritis where the nAda-yOgi categorically rejects the support of all low-lifes …narAdhamAnanavilOka shOkApahAm...

The Dikshitar specifically seeks refuge in the vinA-holding goddess … vinApustaka-dharinim AsrayE… from all such mortal/inferior would-be sponsors..

The sentiment is echoed also by the tyAgarAja , whose idols were thrown into the river by an equally CORRUPT family intent on monetizing the music (and “selling” it for shawls etc.). The kApi “anyAyamu sEyakurA” summarizes this as “nA purvaja bAdhA dirpa lEda”.

And once again the corrupt notation-mongers are put on notice, on this occasion of guru-purnimA.

Interestingly the Dikshitar also cites the word “paurnami” in this kriti that refers to the brightness of the full-moon-light cast by this goddess that chases away the darkness of ignorance… paurNamI candrikA dhavaLa sankASAm

vinA pustaka dhArinimASrayE – rAga vEgavAhini


gOttuvAdya ravikiran

s rAjam

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#763 Re: Muthuswamy Diksithar (nAda sampradAya pradarSini – the five vEgavAhini kritis of the panCa bhUta pujA at kAnCi)

Post by nAdopAsaka »

nAda sampradAya pradarSini – the five vEgavAhini kritis of the Dikshitars panCa bhUta pujA at the vEgavAhini kSEtra = kAnCi

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The eternal river of sound, light and truth which is the nAda sampradAya flows strong and swift through the mountains and valleys of the Hindu vAggEyakAras imagination.

It is the nAda-upAsakas joy to receive yet another facet of the jewel of the Dikshitar pujA, buried for the last 200 years, by the shylocks of swaras and the merchants of murchanas, in the cacophony of countless kutchEris.

What is this latest revelation ?

It is the recognition of the Dikshitars panCa bhUta pujA specific to the vEgavAhini kSEtra kAnCi, where 5 kritis are each assigned a unique bhUta (element) and fittingly all 5 kritis are in the rAga vEgavAhini.

Before the details of each of the 5 kritis are presented, the following facts should be comprehended.

1. The Dikshitar celebrates the panCa bhUta pujA in many different kSEtras , including the formal panCa bhUta linga kSEtras (arunACala, SrikAlahasti, Cidambaram, jambukEswaram and kAnCi) and their counterparts within tiruvArUr that form the tiruvArUr panCa linga (post # 536 and post # 537) , the Srirangam kSEtra (post # 751) and the dandAyudhapAni/palani kSEtra (post # 720). The mode of celebration includes describing either the bhUta words or their inferrable synonyms.

2. Notably the tyAgarAja ALSO acknowledges the Srirangam deities with a panCa bhUta set of 5 kritis as revealed in post # 511 of the tyagarAja thread.

3. As noted above, kAnCi is formally the prithvi bhUta linga kSEtra and of course the Dikshitar has the famous bhairavi “Cintaya mA kanda mUla” kriti here.

4. The Dikshitar distinguishes between the EkAmranAtha/kAmAkSi complex and the kailAsanAtha shrine which are in close proximity to each other. Indeed he has a navAvarana to the kAmAkSi dEvi (post # 568 ) and several kritis to the EkAmranAtha as well as to the kailAsanAtha (post # 727). Separately of course he has kritis to the varadarAja pErumAl of kAnCi as well as the rAmaCandra set.

All the above aspects are irrefutable.

It will now be established BEYOND the SHADOW of a doubt that the kAnCi panCa bhUta kriti set is also a deliberate and careful construction of the Dikshitar.

Because the set was NOT constructed casually, its explanation being given here is of necessity also patient and careful, (those with Twitter-type or similar bird-brain attention span need not read any of this).

The first hint one gets of the existence of this panCa bhUta aspect of the Siva at kAnCi is given by the Dikshitar himself.
In his kriti “EkAmranAthESvarENa samrakSitOham” in the rAga CaturAngi the kAnCi Siva is described as “kAnCIpura vilasita prabhAvEna panCa bhUtAtmakEna SivEna” .

Why the rAga vEgavAhini ?

It is ONLY by asking this innocent question that it is possible to glimpse the wondrous mosaic of the nAda-yOgis contemplation.

Apart from the natural connection of this river name to kAnCi (via the saraswati legend noted in above post # 762), there is a deeper and closer connection of this word “vEga” to the description of fundamental elements in ancient Hindu thinking.

The word vEga and its connection to “samskAra” and fundamental elements/SUBSTANCES from nyAya (classical Hindu philosophy)

To understand this one needs to realize that “vEga” itself is an aspect of “samskAra”, which is described in the nyAya system of thinking.

Generally the “populace” thinks of “samskAra” as rituals = samskAra-kriyA = the rites that most people associate with ancestors on passing or tithis etc.

But the idea of “samskAra” is far deeper than a mere ritual of an ancestor such as a SrAddha.

“samskAra” as formulated in the nyAya school is the concept of memory and recollection as well as cognition and impression.

The “tarka-samgraha” of annambhatta

The nyAya treatises were formulated in ancient times , in fact even the commentaries on them, e.g. praSaStapAda bhASya etc. are from more than a millenia ago.

However the 17th century “tarka samgraha of annambhatta” was a summary of these teachings prepared expressly for young students !

Note this samgraha appeared reportedly in the varanAsi region about a 100 years BEFORE the Dikshitar.

annambhatta says in Stanza 2 of the tarka

tatra dravyAni prithviy-ap-tEjO-vAy-AkASa-kAla-diga-Atma-manas- nava iva

the nine dravyas (SUBSTANCES) consist of the five elements prithvi/apa/tEja/vAyu/AkASa plus the four
kAla/diga/Atma/manas (time/place/soul and mind)

annambhatta says also in Stanza 64

samskAra tri vidhihi vEgO bhAvanA stithisthapAka
vEgaha prithvyAdi Catustaya manOvritti

samskAra consists of 3 types vEga, bhAvanA and stithisthapAka

vEga is the quality of the elements prithvi/apa/vAyu/tEja plus a fifth which is manas

Therefore (as defined in the nyAya school), four of these bhUta (elements) possess the QUALITY of vEga = vEgatva , which is approximately translated as a “velocity” or sometimes as “momentum”.

The fifth bhUta /element which is AkASa ( = gagana = space = sky etc.) is not grouped with the first 4 bhUta in the definition of “vEga”.

Howvever its connection comes from the fact that AkASa is considered in the nyAya school as the medium for the transmission of “Sound” = “Sabda” = vAni !

And then it becomes apparent why this “quality” of AkASa as the basis of vAni , merits the usage of rAga vEga-vA(hi)ni. Fittingly, it is the phonetics (the “sound”) that relates vAni and vAhini.

In fact the Dikshitar specifies this “quality” in the saraswati kriti as will now be shown !

The five vEgavAhini kritis with their “mudras” of bhUta are given below.

vinA pustaka dhArinim - AkASa bhUta mudra is “vAni-mASrayE”

Not only does the kriti call the saraswati as vAni (mA-SrayE) she is also “pArAdyakhila Sabda swarupa-av-akASa”.

i.e. She who is of the four-fold nature of speech and sound, which are the icons for the AkASa bhUta.

vArAhim vaiSnavim - prithvi bhUta mudra is “vArAhi”

The word “vArahi” of course is for the lakSmi dEvi who is the "Earth born" goddess.

Naturally the saraswati and the vArAhi are the SArada and ramA goddesses respectively associated at kAnCi with kA-mA-akSi.

vinAyaka vighnanASaka – Apa/Water bhUta mudra is “vEga-vAhini vardhita” .

The deity fills (vardhita) and satisfies (tOSita) the dEvarAjapura (= kAnCi kSEtra) with the WATER of the vEga-vAhini river.

The image of an elephant (the vinAyaka) is also particularly emblematic of Water !

Why ?

Because as “dvip-apa, the elephant drinks water in 2 different ways, through its trunk and through its mouth.

In this connection, Post # 161 of the swAti tirunal thread noted the terrific hindOla of the mahArAja “padmanAbha pAhi dvipapa sAra”.

All the above kritis of the Dikshitar are to deities within the kAmAkSi and EkAmranAtha shrines that are in close proximity.

The remaining two kritis of the kAnCi panCa bhUta set are linked to the kailAsanAtha shrine of kAnCi, also less than a stones throw from the kAmAkSi complex.

kailAsanAtham bhajEham - agni bhUta mudra is “sva-prakASajita vahni”

vahni of course is fire.

Indeed the fire linga (lingOdbhava) at the kailAsanAtha temple sets it apart from the EkAmranAtha (solitary mango tree) deity.

Notably the only other kriti where the word “sva-prakASajita” is used by the Dikshitar is the “arunACala nAtham” agni lingam kSEtra.

And finally

gajAnanayutam ganESwaram - vAyu bhUta mudra is “pranav-AkAram”

pranav is the vital breath/wind and of course represents the vAyu bhUta.

The curved elephant trunk of the “gajAnana” is also the striking "form of the Om" (as in Om AkAra = OmkAra = pranavAkAra).

Indeed, the usage “prana-vAkA-ram” is also mildly tongue-in-cheek since “pranava” is associated with the Cakras. The rAga vEgavAhini is linked with Cakra-vAka (as versions of the 16th mEla )

Notably, kAnCi was also the major center for the Adi Sankara. The ganESa panCa ratna stOtra of the Adi Sankara carries some of the phrases used in this kriti. The usage surESwaram in this kriti is linked to surESwarACArya , the first student of the Adi Sankara, who was also steward of SringEri and kAnCi mathas, after the Adi Sankara.

As usual, musicologists (TKG etc.) incorrectly and thoughtlessly assign this kriti to other locations. The Dikshitar kritis have to be grasped as the holistic pujA they represent, not the mere templates for kutChEri vidwAns exercises in variations of air-pressure they have been reduced to.


Yet again, it is obvious that the Dikshitar pujA is organized by a selection of words and rAgas governed not by any theory of swaras but by a unified and careful worship.

It is the nAda-upAsakas duty and responsibility to acknowledge the teachings of the nAda-yOgis and try to comprehend their intent.

May I remain worthy of receiving the blessings of the vAggeyakAras.

May I be forgiven for revealing all this to the unworthy , especially the criminal notation-mongers who have sought to distort the legacy of the singing sAdhus of the nAda-sampradAya.

vinA pustaka dhArini – Apa bhUta (water)

vid gita rAja group

vArahim vaiSnavIm – prithvi bhUta

AS Murali

vinAyaka vighnanASaka – AkASa bhUta



kailAsanAtham bhajEham – agni bhUta

vid. prEma r.

gajAnanayutam ganESwaram – vAyu bhUta


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#764 Re: Mutthuswamy Dikshithar (gajEndra pujita vignESwaram and the Adi Sankara's ganESa panCa ratna stOtra)

Post by nAdopAsaka »

gajEndra pujita vighnESwaram and the Adi Sankara' ganESa panCa ratna stOtra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

This post first corrects a minor error in the audio links portion of post # 763. The bhUta = element tags for two of elements were switched.

Note that as explained in the body of post # 763
the bhUta element for vina pustaka dhArini is the AkASa/vAni
the bhUta for vinAyaka vighnanASaka is the Apa/water

(The early 20th century word “typographical” comes to mind ! I surely have fewer years ahead of me than behind me.)

Some additional fine audio of these kritis is available.

So this is an opportunity to link those.

rAga vEgavAhini

vinA pustaka dhArini – AkASa bhUta (vAni etc)

gottuvaDYAM ravi kiran

v maitreyi

vinAyaka vighnanASaka – Apa bhUta (water)


MLV ??

It is important to also clear up a historic inaccuracy in the “gajAnanayutam ganESwaram” kriti !

The usage “gajESwaram ganESwaram” appears in the famous ganESa panCa ratna stOtra of Adi Sankara which begins with “mudAkarAtta mOdakam”.

Clearly in the Adi Sankara stOtra the ganESa is not just lord of the ganAs but also lord of elephants (gajESwara = gaja-iSwara).

Why is this relevant ?

Because the conventional ( = thoughtless) usage , shown in most textbooks for the "gajAnanayutam" kriti for the Caranam is

ajEndra pujita vighnESwaram,
ganAdisannutapada padmakaram

which shows an obvious mismatch in the starting syllable of the two phrases.

When the word “ajEndra” is replaced with “gajEndra”, this mismatch is eliminated.

Naturally there has to be a basis for an elephant (or an elephant-king) propitiating the ganESA !
(since the phrase is “gajEndra pujita vighnESwaram”)

And that basis is supplied by the Adi Sankara stOtra since ganESa (lord of ALL ganAs) is also gajESwara (lord of ALL elephants).

Careless transcription has led to several such inaccuracies (with the subsequent litany of corrupt intentions seeping in)

The Dikshitar, (my Dikshitar) is always correct.

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#765 Re: Mutthuswamy Dikshithar (The different “charms” of the Dikshitars mOhanas)

Post by nAdopAsaka »

The different “charms” of the Dikshitars mOhanas

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

No rAga word is more expressive than “mOhana”.

This one word carries a range of sentiment from seduction, enticement , illusion and enchantment to devotional rapture and even a child or parents affection.

For example, the tyAgarAja responds to the charm of “mOhana” by relating it to the sitA dEvi’s infatuation with the magical deer of the scripture in his “nannu pAlimpa” (see post # 494 of the tyAgarAja thread ) ,

Can one expect the Dikshitar NOT to be sensitive to the nuance of the different meanings of the word mOhana ?

Impossible !

In this post the underpinnings for each of the 6 mOhanas of the Dikshitar are given.

In doing so, the nAda-upAsaka reaffirms the unity of the Dikshitar pujA and once again beats back the disgusting untruths of the corrupt notation-mongers and foolish academicians.

The 6 mOhana kritis of the Dikshitar and the different aspects of “mOhana” explored are now described in sequence.

rAjagOpAlam bhajEham

Naturally, there has to be a mOhana kriti to the gOpAla avatAra of viSnu = krSna. If not, the world would collapse.

The Dikshitar places this at the mannArgudi shrine with the haridrA nadi (the turmeric tinted) water tank.

gOpAla being gOpa-stri jAra, is quite a bit different from the single-minded pArvati’s mOhana of the Siva, which is displayed by the following 2 kritis.

pAhimAm pArvati

Here the dEvi distracts and enchants the ascetic Siva on the mountain. mOhana is quite obviously the theme.

kAdambari priyAyai

This enchantment occurs in the kAdamba kAnana forest (of madurai) Once again, mOhana is highly appropriate.

rakta gaNapatim bhajEham

In the purAnas, one legend of the birth of ganapati is his creation from dirt = mud/clay by the goddess.

The rudra samhita of the Siva purAna in the kumAra khanda says.
vicAryEti Ca sA dEvi vapuSo mala sambhavam
puruSam nirmamau sA tu sarvalakSana samyutam

After thinking, the goddess created the (ganapati’s) body from dirt and it had all the characteristics of a human.

Some legends consider this dirt as mud or clay, reddish in color. Others see the red color from the goddesses own kumkuma /saffron hue.

Regardless, the Dikshitar gives the key clue via “pArvati priyakaram” and introduces yet another dimension of mOhana (that of the Mother to her creation )

nAgaliNgam namAmi satatam

It has been shown in post # 537 that this mOhana kriti summarises ALL the 10 linga kritis ( the 5 panCa bhUta and the 5 tiruvArUr panCa linga).

As such a panCa-svara rAga is appropriate for the panCa bhUta as well as the panCa-AkSara deity.

But why mOhana in particular ?

Of course a great serpent draped around a linga, (which is a representation of vAsuki coiled around the Siva) is a hypnotic, mesmerizing image .

In fact, fascination with lingas, especially jyOtilingas and the nAgalinga is a specific subject of the major purAnas.

But there is an additional aspect that is relevant to this choice.

As mOh-hana Siva is the destroyer (hana) of kAma (mOha),
Aka he who quells desire, aka "kAmAdi vrtti harana"

There is no more suitable rAga than mOhana for this aspect of Siva..

Finally we come to the most interesting choice of mOhana made by the Dikshitar

narasimhAgaccha parabrahmapuccha

This famous kriti is on the ghatikACalESwara narasimha avatAr.

The question for the nAda-upAsaka is the following..

Why is mOhana assigned to an avatAr of viSnu that is NOT krsnA ?!

The answer is both profound and profoundly simple.

No less an authority than the sacred bhagavad Gita (10.30) states that the lord krSnA describes himself as

prahlAdaS Casmi daityAnAm , mrgAnAm Ca mrgEndro ham
Of the daityas I am prahlAda, of the beasts I am the lion

It can be seen that the bhakti of prahlAda for viSnu is yet another dimension of mOhana or attraction, this time as devotional rapture.

And the Gita stanza equating krSnA to both prahlAda and the lion ( half of narasimhA), is the obvious basis for the mOhana choice for the rAga of this kriti.


The Dikshitars delineation of the rAga mOhana is not limited to merely diverse melodies. The flavor of each mOhana kriti is “tuned” to the “charm” that is associated with the specific context of the deity being addressed.

The nAda-upAsaka gratefully accepts the blessing of the vAggeyakAras.

Good audio examples are available.

rAjagOpAlam bhajEham
B. Srikar and B. Anand

pAhimAm pArvati
Bombay jayaSri

madhu m

kAdambari priyAyai
V Siva

rakta gaNapatim bhajEham
vasudha r

nAgaliNgam namAmi satatam
vivek S

narasimhAgaccha parabrahmapuccha

veena jayanti


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#766 Re: Mutthuswamy Dikshithar (navarOz = New Day , hastivadanAya and ganESa Caturthi )

Post by nAdopAsaka »

navarOz = New Day , hastivadanAya and ganESa Caturthi

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..


Anyone who has ever heard (or sung) this phrase knows how the rAga nava-rOz glows in the faster speed, as the Dikshitar ends the famous kriti “hastivadanAya namastubhyam”.

In fact this ending phrase conceals not just the rAga mudra but ALSO the very basis for the choice of the rAga !

The nAda-upAsaka heralds the approach of the month of bhAdra with a post that illuminates yet another facet of the Dikshitar pujA, also unknown to the clueless “music industry” , the criminal notation-mongers and all the other agents of academies for whom music is merely “air-pressure-variation”.

It has been shown conclusively on these threads how the rAga words/meanings influence and dictate the Dikshitars (and also many of the tyAgarAjas) choices.

Nowhere is this connection more striking than in the dESya rAga words for example paras (e.g. post # 500) and hamir kalyAni (post # 525 of the tyAgarAja thread).

Why should it be any different for navarOz ?!

Indeed, it is NOT.

It will now be shown that the rAga navarOz is specific to the Dikshitars calculated celebration of the famous ganESa Caturthi !

Why and how ?

Because the word nava-rOz means exactly “new day” .

rOz = rOj = rOzu = rOju is adopted from the urdu/persian word for “day”.

And in “hastivadanAya”, the Dikshitar is condensing the Coronation and Installation of the newly-minted ganapati .

Why ?

To understand this one needs to observe relevant stanzas from the Siva purAna.

The stanzas pertain to the story of how the ganapati (who was beheaded by Siva for being overly protective of the goddess) was

1. Given an elephant head (hasti-cyupE) , from a single-tusked elephant (Ekadanta)
2. Declared as “his own son” by Siva
3. Announced by Siva as “no different” from the Siva clan.
4. Proclaimed with his iconic name “vignESwara
5. Celebrated with the birth date of the Caturthi since he is born on the fourth day of the dark half of the month of bhAdra as referred in the Siva purAna by

“CaturthyAm tvam sam-utpannO bhAdrE mAsi ganESvara”

The relevant extracts are noted here.

From CHAPTER 17 sec. 2.4 - rudra samhita of the Siva purAna

Stanza 49
pUjayitvA punastE vai gatASCOdan mukhAstadA, prathamam militas tatra hasti cyupE ekadantakaha

Stanza 57
subhagas sundara-tarO gaja-vaktras suraktakah prasanna-vadana-SCAti suprabho lalitA krthi

From CHAPTER 18 sec. 2.4 - rudra samhita of the Siva purAna

Stanza 17
SivOpi tasya Sirasi dattvA svakar apamkajam
uvACa vaCanaṃ devAn putrOyam iti mE paraḥ

Siva says..
“He (ganESa) is another son of mine”

Stanza 22
vayam Ca prAkrtASCA yam prAkrtah pUjya eva Ca , ganESo vighnahartA hi sarvakAm aphalapradah

Siva says..
“We are the offsprings of primordial nature. He (ganESA) is also the SAME and hence worthy of worship.

He is the remover of all obstacles and the bestower of the fruits of all rites”

Stanza 35
CaturthyAm tvam sam-utpannO bhAdrE mAsi ganESvara, asitE Ca tathA pakSE CamdrasyodayanE SubhE

Stanza 36-37
prathamE Ca tathA yAme girijAyAs suCEtasaha , avirbabhUva tE rupam yasmAttE vrata muttamam
tasmAt tad dinam Arabhya tasyAmeva tithau mudA vratam kAryam
viSEsEna sarvasiddhyai suSObhanam

So that there is absolutely zero doubt (and no wiggle room for the corrupt criminals = SSP and its agents etc. to revise these facts) the following words used by the Dikshitar in the kriti are also extracted

hAtaka-maya-manDapE, simhAsana-sthitAya

which refers to the Coronation of the ganapati as described in the Siva purAna


The installation and puja of the ganapati as the mahAganapAya by the elephant-skin clad Siva = hasti krtti vasana dharAcita

mAyA lingita vigrahAya

the form imagined and then produced by girijA= pArvati
(from “prathamE Ca tathA yAme girijAyAs suCEtasaha”)

And finally the exact basis for the “New Day” as navarOz


This newly crowned ganapati is declared as equal/equivalent to the entire Siva clan, (as seen in stanza 22 of CHAPTER 18 sec. 2.4 - rudra samhita of the Siva purAna) which includes of course umA, umA-ramana and kumAra/guruguha, = the ganapati who is samAna = equal to all of them !

“hastivadanAya namastubhyam” has already been shown in post # 573 as one of the 18 = aStadaSa tiruvArUr ganapati kritis which are two separate sets of 9 kritis, each a navAvarana, with identified Cakra mudras.

The basis for these ganapati navAvaranas is also rooted in the Sri vidyA philosophy as emblems of the Siva-Sakti union and of the realization of the self and the guru. It must always be remembered that the ganapati is a direct manifestation of the goddess herself including her form as four-fold speech (parAdi CatvAri vAk swarupa).

Apart from the New Day of the ganESa Caturthi as navarOz, the choice of this particular panCama-anta subset rAga of SankarAbharanam is wonderfully correct for the ganapati himself as a derivative of the goddess !


ganESa Caturthi is approaching in a few days.

It is relevant and proper to meditate on the deity as well as the vAggeyakAras vision of this deity.

“hastivadanAya” the kriti , shows the influences and deeper choices of the Dikshitar pujA, as revealed in this post for the first time.

For the last 2 centuries, sullen, resentful, corrupt and unimaginative notation mongers and kutChEri vidwAns etc. have sought to remain ignorant regarding the Dikshitar pujA, as well as try to keep others ignorant (as seen in the shameless statements made on this thread by some of these fools)

The nAda-sampradAya and the tradition of truth cannot be corrupted by these puny charlatans.

fine versions (with humility and sincerity) of the audio are available

hastivadanAya namastubhyam – rAga navarOz

veena kalpakam S

geetA rAja group

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#767 Re: Mutthuswamy Dikshithar (naTa-nArAyani = the ganapati’s creation as the “act” of the goddess )

Post by nAdopAsaka »

naTa-nArAyani = the ganapati’s creation as the “act” of the goddess

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Before the elephant-headed deity was “gana-patE” , he was “vallabhA-patE”

Why ?

Because this is the famous act of the creation of the gana-pati, formulated solely by the goddess as her protector, as the vallabhA-pati .

Who is this “vallabhA” in the Dikshitar kritis ?

The Siva-purAna settles this question, with zero ambiguity.

In the rudra-samhita’s pArvati-khanda, the goddess is described as she “who previously was the daughter of dakSa and is the beloved wife of Siva/hara”.

“purA dakSa sutA bhUtvA samjAtA hara vallabhA

The concept of “vallabhA-pati” for the ganapati

This idea is used in several other kritis by the Dikshitar, the most famous of course being vallabhA-nAyaka, the bEgada.
The others are vallabhA-samEtam of the SwEta-ganapatim , the vallabhESam of the rakta-ganapatim and the vallabhayASzliSta (he who is fully enveloped in her embrace) of the vAmAnka sthitayA.

All the usages carry the connotation of protector (but different from consort !) and quite revealing of the vulnerability of the goddess !

Which brings us to “mahAganapatE pAlayASumAm” in rAga naTa-nArAyani.

Post # 573 has shown this kriti is one of the 18 = aStadaSa tiruvArUr ganapati kritis, belonging to the sarva-rakSAkara Cakra.

That this ganapati is created by the imagination of the goddess is also reiterated in this kriti.

For example, here he is “mAyamaya vallabhApatE” corresponding to the “mAyalingita vigraha” of the navarOz.

And so, naturally, the rAga naTa-nArAyani which means exactly this “act” of the goddess = nArAyani is appropriate.

How inspired is the Dikshitars choice of the word nArAyani for this creator theme !

Because the goddess is the sister of the supreme Creator (nArAyana) .

Apart from “act” , "naTa" can also mean dance or dancer.

Unerringly the Dikshitar (who is always in Sruti) makes reference also to the dancing Siva of tiruvArUr.

Why ?

Because Siva is himself mahA-naTa, the great dancer and he performs the ajapa-naTana etc. at tiruvArUr.

Indeed at tiruvArUr Siva dances with the goddess as his one-half …he is ardha-nAri here.

mahA-naTa nArAyani nandana !

Not only does this rare rAga shine with this phrase, so does the offering to the deity.

As the Caturthi of bhAdra approaches, the nAda-upAsaka revels again in the gift of the Dikshitar, which enshrines the joy of the divine parents.

“mahAganapatE pAlayASumAm” in rAga naTa-nArAyani.

bhavadhArini A

mandolin srinivas


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#768 Re: Muthuswamy Diksitar (Why is “Ekadantam" in rAga bilahari - the “tusk” that wrote the mahAbhArata in the Cave !)

Post by nAdopAsaka »

Why is the kriti “Ekadantam bhajEham” in rAga bila-hari

The “tusk” that wrote the mahA-kAvya in the Cave = bila of vEda vyAsa aka “vEgavati tata vihAram”-haram

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..


As the ganESa Caturthi approaches, the nAda-upAsaka gratefully receives yet another message from the Dikshitar , a message long entombed in the coffin of swaras and murchanas prepared and tended to by criminal notation-mongers and kutChEri vidwAns etc.

The last 100-150 posts on this thread have dealt with unveiling the Dikshitars choices of rAgas and his motivations in offering his music as the sacred pujA that it is.

It is this element of worship central to the great Hindu vAggeyakAras that the clueless music industry has ridden roughshod over for the last 150 years.

Clinging to a deliberately distorting SSP (itself authored by a corrupt family eager to monetize the Dikshitars legacy for a few shawls) , without comprehending the depth of the Sri-vidyA and other iconography/scripture central to the Dikshitar pujA, these criminals had almost succeeded in extinguishing the very reason the kritis exist !

But the tide of truth that is the nAda-sampradAya cannot be denied.

The spiritual heritage of the Dikshitar and the tyAgarAja has been re-asserted, with the discovery of the relationships between rAga choices and kSEtra/scriptural aspects presented in these threads.

The Dikshitar, like the tyAgarAja, does NOT belong to any family or particular community or any other narrow-minded following/group.

He only belongs to the tradition of sAdhus and nAda-upAsakas that is the Hindu nAda-sampradAya.

This post shows yet again with another famous kriti of the Dikshitar how the rAga choice is governed by the kSEtra/icons
and the core pujA that is being performed.

Why is the kriti "Ekadantam bhajEham" of the madurai/hAlAsya kSEtra = vEgavati river bank set in rAga bilahari ?

The answer is EXACT and reveals an aspect of the ganapati, as important as his role as vignESwara.

That this kriti has been sung probably thousands of times WITHOUT this background being known is a travesty and a disservice to the Dikshitar.

Naturally these findings are to the utter dismay of the “music industry”, particularly nefarious notation-mongers (= SSP agents) , unimaginative vidwAns, ignorant historians and foolish academicians and musicologists.

The tusk = danta that wrote the mahA-kAvya

The mahAbhArata, the great Hindu epic, is considered to have been dictated by the sage vEda-vyAsa to none other than the celestial scribe, our happy elephant-headed deity, who had to break off one tusk and use it to prevent interruption of the writing process !

In a couple of other kritis of the Dikshitar, this is referred to as the “sva-viSAna” or “nija-viSAna”.

Is “Ekadantam” the tusk that is still intact on the face of the deity or is it the broken-off tusk which he holds in his hand, that “gave” us the mahA-kAvya !

This is a good question in itself to contemplate as ganESa Caturthi approaches.

vEgavati tata vihAram haram

Meanwhile, it is only at madurai, where a vEgavati river is known to have existed that the connection to bilahari is meaningful for the kriti “Ekadantam”.

Why ?

Because the legend of the dictation of the mahAbhAratA teaches that it occurs in a Cave, considered to be in the region of badarinAth, on the banks of the saraswati river.

The saraswati and the vEgavati are synonyms for the same mythical “river” and the Dikshitar makes the link to madurai while also giving the rAga mudra in a totally inspired way !

How ?

vEgavati tata vihAram = bila ( = the legendary Cave of the instruction/dictation)

And so vEgavati tata vihAram haram = bila-haram !

(where the ganapati being “of Siva” = “of hara” is “haram”)

It is impossible to refute this conclusion or the logic used by the Dikshitar (now revealed by the nAda-upAsaka), just like it is impossible to refute similar conclusions of the last 100-150 posts.

In this regard, a couple of fools/knaves, some time ago, tried desperately on this very thread to deny the Dikshitars composite pujA and his sacred vows but have since scurried away to their roach holes in the presence of this disinfecting light. Untold woe unto these criminals.

It is the nature of truth to rise and shine particularly when darkness threatens.

The Hindu view of life allows for the continual battle and balance between dharma and a-dharma, between truth and un-truth, between Sruti and apa-Sruti. The scripture embodies this in the iconic statement that begins with “yadA yadA hi dharmasya glAnir bhavati…” also put succinctly by another great bard…, "cometh the hour, cometh the man..:”
This struggle has been the same since the times of the mahA-kAvyas, then the Adi Sankara and echoed again and again over the centuries, and also by the nAdajyoti of the Dikshitar and the tyAgarAja.

All my posts are emblematic of this same struggle between ignorance and the light.

On the occasion of the auspicious bhAdra mAsa Caturthi upcoming, the nAda-upAsaka thanks the Rasikas forum founders and managers once again for their important role in preserving the ability to make the truth of the Hindu nAda-sampradAya known on these far-reaching and important platforms.

Fine audio is available.

Ekadantam bhajEham – rAga bilahari

ps. At madurai the Dikshitar also describes the goddess as vallabhA, in connection with the ganapati (“vallabhAmbA ramana”) similar to what is shown for several kritis in post # 767.

triCur bros

EmbAr kannan and rangapriya

TS KalyanarAman

veena jayalakSmi S

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#769 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Meanwhile, it is only at madurai, where a vEgavati river is known to have existed
what is the reference?
---------------------------- ... jeham.html
कैलास नाथ कुमारं
कार्तिकेय मनोहरं
हालास्य क्षेत्र
वेगवती तट विहारं हरम्
कोलाहल गुरु गुह सहितं
कोटि मार लावण्य हितं
माला कङ्कण-आदि धरणं
माषा वल्लभा-अम्बा रमणम्
is Madurai known as Haalaasya Kshetram ? why?
is there any reference ?
Kruthamaal is the name of the river associated with Madurai. according to Baagavatham.
Even today, it flows as a small tributary to Vaigai.

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#770 Re: Mutthuswamy Dikshithar (The kOlAhala = uproar at hAlAsya kSEtra)

Post by nAdopAsaka »

The kOlAhala at hAlAsya kSEtra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

RSR's question and interest is appreciated.

It seems most likely that the Dikshitar is drawing on the skanda purAna for this reference to vEgavati.

1. vEgavati is given as one of the tirthas/abodes of Siva/hAlAsyanAtha in the skanda purAna along with kAvEri, tAmraparni etc.

As per Sec. 6 of the arunACala mahAtmaya of the mahESwara-khanda of skanda purAna

kAvEri tira itarE kE Cid vEgavati tatE anyE tu tAmraparni yASCa …

2. madurai = madurApuri is identified with hAlAsya in the skanda purAna

As per Sec. 4 of the sEtu-mahAtmaya of the brahma-khanda of skanda purAna

hAlAsyanAtham bhUteSaṃ CandraCuḍam umA patim
upAsAmCakrire muktyai madurA purA vAsinya

One possible connection between the meaning of the words "hAlA-sya" and "mad-ura" could be the aspect of "intoxication" as hAla is a form of liquor and mada is the stupor of this. Imbibing of spirits and other "sports" appear to be part of the stories. Notably, kadamba (which is the iconic forest of madurai) is linked to a form of liquor as well (kAdambari etc)

Another purAna (the tiruvilayAdal) , gives an ancient meaning of the word “vai-kai” as the river formed from the placement (vai) of the hand (kai) of this Siva/hAlAsyanAtha at madurai.

In this connection (i.e. the “sports of Siva”), the "hAlAsyanAtham smarAmi" kriti should also be noted.

The kOlahala at hAlAsya kSEtra

Naturally "hAlAsyanAtham smarAmi" HAS to be in darbAr rAga !! in keeping with the theme of all these posts.

(since the kriti celebrates the malaya-dhwaja mandapa = hall/court ! )

In particular the water-sport festival (nAv-adi ASAdha mahOtsava) is described.

It’s a very elaborate festival by all accounts and therefore the Dikshitar uses the word kOlA-hala (uproar/tumult) in both the darbAr and the bilahari.

hAlAsyanAtham smarami in rAga darbAr

abhiSEk r

seetA N

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