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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#771 Re: Muthuswamy Dikshithar (valli vivAha kArana ! How ALL 4 of the Dikshitar bEgadas carry inferrable/suCita rAga mudras)

Post by nAdopAsaka »

valli vivAha kAranasya !... How ALL 4 of the Dikshitar bEgadas carry the inferrable/suCita rAga mudra

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

For the nAda-upAsaka, the celebration of the Dikshitars ganapati pujA proceeds unabated, towards the Caturthi.

In this post it is also revealed (for the first time), how ALL 4 of the Dikshitar bEgada kritis carry the rAga mudra.

Background on the Dikshitar rAga/Cakra mudras

As has been noted several times on this thread, these mudras are like unique “watermarks” protecting the Intellectual property of the Dikshitar. They preserve and shield his pujA and identity, from ALL the grasping, conniving, pandering and thieving agents, within his own family as well as all the once and future corrupt notation mongers.

In this regard, it is well known that the tyAgarAja also faced severe antagonism from within his family, (his idols were thrown into a river by a brother desperate to commercialize the sAdhu’s pujA).

The failed attempts at abridging and truncating the navagrahAs (post # 500) and the tiruttani guruguha navAvarana (post # 571, #724 ), without realizing the fullness of the pujA are just a few of the calamitous crimes committed and now fittingly exposed in many posts here.

It is the rAga and Cakra mudras that reveal and confirm the strategy of these many constellations within the galaxy of the Dikshitars mighty vision.

And now to the latest nail in the coffin of the evil-doers.

As noted, the suCita or inferred mudra is one of the Dikshitars favorite techniques.

Indeed the Dikshitar’s reversed mudra for the rAga sA-vE-ri delivered via the word nA-ri-vE-Sa-dhara , the word itself meaning the concealed form of the viSnu in the mannArgudi rAjagOpAla sAvEri kriti, is something to behold. (first disclosed in post # 745)

Other direct/indirect/inferrable = suCita and “image-based” mudras have also been described in the posts here.

In this regard the set of 4 kritis in rAga bEgada are a unique example.

The bEgada kritis of the Dikshitar and their rAga mudras

The first 3 of these mudras are phonetic.

Sri mAtah Siva vAmAnkE

“Cit prati bim-bE-gala jita SankhE”

This mudra is known.

It is a clever way of also describing the long neck (gala) of the akhilAndESwari of jambukESwaram that is also adorned with shells. This has been noted in post # 516.

The next three kriti mudras are hitherto unknown !

tyAgarAjAya namastE

sAragyAnu raktay-EakatA-di trirEkha

This is a phonetic mudra, delivered across 2 separate words

madhurAmbAyAstava dAsOham

mArajanaka guruguha modin-yA-kada-mba vana pAlinyA

This is also a phonetic mudra, delivered across 2 separate words..

And finally in the weeks preceding ganESa Caturthi the pujA of the nAda-upAsaka once again bears fruit !

As the kSEtragna might say "adi nOmu phalamu" ! - (another terrific bEgada)

vallabhA nAyakasya

This is one of the aStadaSa tiruvArUr ganapati kritis (post # 573) belonging to the sarva-saubhAgyadAyaka Cakra.

In fact the essence of this Cakra governs the rAga mudra as will now be explained.

In the purAnas the story of the wedding of skanda/murugA to valli is told as having been planned by skanda who asked ganapati for help.

There is no more iconic descriptor of the ganapati as saubhAgya-dAyaka ,(the bestower of good fortune) than helping his brothers marriage !

Indeed, the ganapati takes the form of a wild elephant, that chases and scares the dEvi straight into her nuptials with the skanda/murugA as told in in the legends.

This is the reason for the phrase “valli vivAha kArana”.

“valli vivAha kArana” is NOTHING BUT the "fast moving elephant" of the story.

It turns out that in the classical literature (e.g. bAna’s harSaCarita, also bhAmini-vilAsa of jagannAtha etc.) the word “vEgadanda” means exactly this fast moving elephant…(indeed it also a combination of the words vEga = swift and danda = trunk etc).

Once it is realized that “vEgadanda” is this mythical elephant, then

“vEga-danda” = “vEgada-nda” from which “bEgada” is at once observable.

Case closed !

There can be no doubt this is exactly the reasoning applied by the Dikshitar (and the Dikshitar alone) for these choices.

Once again, the dignity and sanctity of the Dikshitars worship has reached out across the centuries to assert itself.

It is not the nAda-upAsakas desire to disfigure all these many discoveries of the Dikshitars sAdhana,, with these ugly reminders of the disrespect and callousness shown by those masquerading as notation-mongers/vidwAns/SSP or other self-appointed academic charlatans.

But just like the kritis themselves do not hesitate to repeatedly describe asurAs and their destruction, it is important to keep the evil in sight and to be vigilant.

Incomplete compilations (SSP) and their smug/fraudulent proponents are thoroughly exposed.

The mills of karma grind exceedingly slow but exceedingly well. The long arm of Hindu justice will most certainly punish these individuals and all their kin. The nAda-sampradAya cannot be denied.

The nAda-upAsaka rejoices once again in the bounty of the Dikshitars musical pujA.

The racy, bouncy nature of the kriti captures the effervescence of the elephant-headed deity and also the elephant responsible for the marriage of valli and skanda/murugA !

vallabhA nAyakasya – rAga bEgada


gottuvAdyam ravikiran


veena venkatalakshmi

flute ramani


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#772 Re: Mutthuswamy Dikshithar (The 2 sarva-siddhi-pradAyaka Cakra kritis of the tiruvArUr aStadaSa ganapati set)

Post by nAdopAsaka »

The 2 sarva-siddhi-pradAyaka (= 8th) Cakra kritis of the tiruvArUr aStadaSa ganapati set – ganarAjEna rakSitOham and siddhi vinAyakam

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

In the auspicious month of bhAdra, as the Caturthi approaches, yet another pebble of truth washes up on the shores of the great ocean of nAda.

Slowly but surely, the supremacy of the Dikshitar pujA has asserted itself above the cacophony of countless kutchEri’s and beyond the distortion and defilement of dim-witted notation-mongers.

Yes, there are 18 = aStadaSa tiruvArUr ganapati kritis organized as 2 navAvaranas of 9 kritis each.

The so-called SOdaSa (=16) set is YET ANOTHER grievous error propagated by an ignorant music industry/commercial establishment. None of these fools has any clue what the composite Dikshitar pujA is about, or how the Sri-vidyA influences the Dikshitar or the exact reason why the rAgas are chosen by the Dikshitar.

Background on the aStadaSa ganapati kritis of tiruvArUr

Post # 573 made last year for the ganESa Caturthi of 2021 first revealed the 18 tiruvArUr ganapati kritis, organized as the 2 navAvarana sets. Other posts since then have described the basis for the rAgas chosen and their connections to the scripture.

Recently, for example posts # 766 and # 771 have described the background for the navarOz and the bEgada, each being a result of the pujA to the 4th Cakra = sarva-saubhAgyadAyaka Cakra.

Likewise post # 577 describes the 2 kritis of the 1st Cakra for their basis in the mulAdhAra Cakra , i.e. the Sri rAga “Sri mulAdhAra Cakra vinAyaka” and the hamsa-dhwani “Sri vAtApi ganapatim” who is also “mulAdhAra kSEtra stitham”.

NO ! it is NOT enough to merely mumble the words of these famous kritis, (in a kutChEri or a wedding or some other hedonistic setting) without some recognition or awareness of their basis.

Indeed, the Dikshitar gives a clue to the “navAvarana” structure in the first Cakra kriti (vAtApi ganapatim) when he describes this ganapati as “trikOna madhya-gatam”, the one who travels to the centre of the triangle = trikOna that contains the nAda-bindu.

Similarly post # 577 also described the 2 kritis of the 9th Cakra , the sarva-Anandamaya Cakra, in rAgas iSa-manOhari and tOdi (chosen once again for obvious reasons !), representing the final status reached by the ganapati/upAsaka in the ascent through the 9 Avaranas. And posts # 750 and # 767 describe the 2 sarva-rakSAkara kritis of this set of 18, i.e. the janjUti and the nata-nArAyani.

It has always to be kept in mind that the ganapati is created as an extension of the goddess.

Which brings us to the two 8th Cakra kritis namely “ganarAjEna rakSitOham” and “siddhi-vinAyakam “

It will be seen that each kriti carries the "siddhi” mudra.

The Arabhi also calls it the “animAdya-aSta-siddhi”, giving prominence to the number 8 of the 8th Cakra.

In the Sri vidyA, the arrival at this stage/Avarana of “siddhi” = attainment , is the precipice prior to the final = ninth or sarva-Anandamaya Cakra.

It will be now shown here, how wonderfully the Dikshitars rAga choice for these two kritis is attuned to this important 8th Cakra milestone in the Sri Cakra pujA !

In contrast, the references to “siddhi” in the rudrapriya and the janjUti ganapati kritis are superseded by the other dominant Cakra mudras found in “gananAyakam” and “ganESa kumAra” i.e. the "kAmaripu sutam" of the samksHObhana 3rd Cakra (the one that quells “desire” ) and the janjUti (the protective warrior) of the sarva-rakSAkara 5th Cakra as per post # 750.

ganarAjEna rakSitOham in rAga Arabhi

Let us begin with the question that will leave musicologists, vidwAns and other corrupt historians etc. speechless and which is beyond the imagination of the SSP or its vile proponents.

Why rAga Arabhi for “ganarAjEna” ?

Arabhi the word derives from “Arabhyam” (as noted a few times elsewhere in my posts here) which means “the beginning or the start”.

For the ganapati, the story of his installation as the elephant-headed deity and the announcement of his “reign” as mahA-ganapati in the Siva purAna is exactly this “beginning”.

stanza 37 of Chap. 18 of the rudra samhita sec. 2.4 of the Siva purAna gives BOTH the rAga and the Cakra , within the description of the newly crowned ganapati !

tasmAt tad dinam Arabhya tasyAmeva tithau mudA vratam kAryam, viSESEna sarva-siddhyai suSObhanam

Here the word "Arabhya" is unquestionably the origin of the rAga.

and of course "sarva-siddhyai" is the code word for the 8th Cakra.

The usage ganarAj-Ena in the kriti and the word viSES-Ena from the purAna is also remarkable.

Can there be ANY doubt that this exact stanza of the Siva purAna is the driving influence in the creation of this kriti !

Is there a mudra/indication for the rAga Arabhi in “ganarAjEna” ?

Indeed there is. It appears via the synonym of the word Arabhi meaning “beginning” or “starting” given via the word “Adya” embedded in the classical word “anim-Adya-aSta-siddhi”.

Notably “animA” itself is considered the first (or the start) of the great siddhis, where the yOgi becomes one with the infinitesimal/smallest particles/concepts etc. that constitute consciousness in the Hindu view.

The Dikshitar is always in Sruti, in-tune, in-balance and in-step.

This adherence to the truth of course is a pre-requisite to receive that “candy-in-the-mouth”.

And now to the CAmaram…

Some background on the Dikshitars CAmaram kritis.

CAmaram , the word is used by the Dikshitar as a descriptor of the fly-whisk, the idea itself is delivered in a couple of different ways !

1. Post # 500 shows how the CAmaram for the kEtu chAyA graha, is exactly the periodic operation of the fly-whisk, bringing intermittent shade = eclipses !

The total ignorance of kutChEri vidwAns/academics and other poorly-read ethnomusicologists is vividly on display with regard to the Dikshitars chAya graha kritis and the composite nature of his navagrahA pujA !

Some decades ago to curry favor with extraneous agencies (e.g. Harvard instituition etc.) these knaves had attempted to rewrite the Dikshitar legacy. They are beneath contempt but not beyond being cursed.

2. The CAmara is also typically used as an object in the service of “royalty”. A dutiful servant gently waves this whisk standing to the side of the “throne” etc.

The Dikshitar takes the image from the penultimate = 99th stanza of the 100 stanza SoundaryaLahari of the Adi Sankara, where the goddesses saraswati and lakshmi perform this operation standing on either side of the lalitA dEvi.

Post # 567 and 568 have shown how the Dikshitar has applied this idea in the NINTH Cakra CAmaram kritis of two dEvi navAvaranas, where the abhayAmba (served by vAni/mA) as well the EkAmrESa nAyaki - kAmAkSi (served by SAradA/ramA) are each served by the pair of goddesses operating the fly-whisk = CAmara from each side.

The CAmaram kriti for the ganapati – “siddhi-vinAyakam”

For the ganapati, the CAmaram is also the insignia of his newly-minted “royalty” , to which the ganapati has qualified after attaining his siddhis.

The kriti gives the rAga mudra precisely in the phrase where the umbrella and fly-whisk are noted for the newly crowned royalty as in “CAtra-CAmara pari-vijitam”.

Notably the kriti also says the ganapati is ”mula pankaja madhyasta” = residing in the triangle where the principal lotus, the mula-pankaja of the nAda-bindu is found. This triangle is the trikOna of the siddhi Cakra.

How do we know that the ganapati of the CAmaram is exactly the ganapati of the Siva purAna ?

Because the Dikshitar says in this kriti “bhAdra-pada mAsa CaturthyAm brAhmaNAdi pUjitam” which is unquestionably derived from stanza 35 of Chap. 18 of the rudra samhita sec. 2.4 of the Siva purAna

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

Case closed !


It is abundantly clear that specific mudras and iconography, which reveal the organized and careful pujA of the Dikshitar, have been placed in the kritis. Only a fool or a criminal (or both) can say these are all coincidences or speculation.

It is evident that the kutChEri/wedding music industry has, through a combination of ignorance and arrogance, (and so-called "swara gyAna") tried to suppress and distort the composite nature of the Dikshitar legacy.

It is obvious that the Dikshitar embedded the mudras and details as a personal watermark, fully knowing and sensing the scope of this conspiracy (both in his time and in his future) to subvert his pujA and his identity.

The mudras and details were embedded/placed by the Dikshitar precisely because he fully expected them to be discovered by some nAda-upAsaka/s in the future.

The nAda-upAsaka (in fact ALL nAda-upAsakas) gratefully accept the blessing and the responsibility of finding, decoding and disseminating the truth of the Dikshitar pujA.

The role of the rasikas forum in protecting the Dikshitars legacy, as told in the many recent posts here, cannot be underestimated. Indeed it is likely the Dikshitar and the tyAgarAja foresaw such platforms , (even willed them into existence), to become the cradles of the sAdhus enduring message.

On this ganESa Caturthi, the nAda-sampradAya , that great river of truth, sound and light flows unbounded and pure.

Fine renditions are available

ganarAjEna rakSitOham – rAga Arabhi


The kritis are not limited by the age of the performers

madhu m

k Candramouli

siddhi vinAyakam – rAga CAmaram

bombay jayaSri

veena gAyatri

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#773 Re:Muthuswamy Dikshitar (The 2 samkShObhana Cakra kritis of the tiruvArUr aStadaSa ganapati set – in nAta & rudrapriya)

Post by nAdopAsaka »

The 2 samkShObhana (= 3rd) Cakra kritis of the tiruvArUr aStadaSa ganapati set
the meaning/basis of “SAntam” in the nAta and “kAma-ripu sutam” in the rudrapriya

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

In the celebration of the ganESa Caturthi, the Dikshitars wondrous musical mosaic unfolds further.

As seen in recent posts, each of the nine Cakras, representing Avaranas = stages in the evolution of the upAsana, is represented by two distinct kritis for the tiruvArUr ganapati.

The evidence based on rAga choice and other Cakra mudras of the deliberate intent and purpose of the Dikshitar in organizing these 18 kritis is irrefutable .

As the mathematician Hardy said of the rAmAnujam axioms, the Dikshitars carefully organized worship as revealed in this thread , has to be true because no one has the imagination to make it up.

Indeed, the aStadaSa tiruvArUr ganapati set , created as two separate navAvaranas, is as real as the kamalAmbA navAvarana (posts # 564/565) , the nilOtpalAmbA navAvarana, (post # 568 ), the tiruvArUr tyAgarAja navAvarana (post # 572), the tiruttani guruguha navAvarana (post # 571) and ALL the other group kritis revealed (for the first time) in posts here,.

Does anyone (who is not insane) think the same mind that produces the kamalAmbA navAvarana (where each of the nine rAgas are selected due to connections with the corresponding Cakra) and the nilOtpalAmbA navAvarana (where gaula-ending rAgas are chosen deliberately), would suspend his pujA and his imagination at tiruvArUr to render randomly chosen words and rAgas in his kritis to the tiruvArUr ganapati ?

Impossible !

Which brings us to yet another nail in the coffin of the notation-mongering distortionists = SSP etc.

The 3rd Cakra in the Sri vidyA carries the meaning of samkShObhana, the quelling of excitement and the supression of agitation and desire.

Post # 573 made last year, listed the 18 kritis that form the aStadaSa ganapati set of tiruvArUr and in which "mahAganapatim manasA smarAmi” in rAga nAta and “gananAyakam bhajEham” in rAga rudrapriya were shown as the 3rd Cakra kritis.

It is now shown here (beyond any shred of doubt) how both the rAga choices and also other key aspects of these two short kritis are governed by this 3rd Cakra.

“mahAganapatim manasA smarAmi” in rAga nAta

An immediate clue is provided by the Dikshitar when he uses the words “SAntam mahAkAvya nAtakAdi priyam

The word “SAntam” implying “calmness” is a synonym of samkShObhana, where the ganapati is unperturbed and steady.

The usage of “SAntam” right next to the reference "mahAkAvya" is the most revealing !

Why ?

Because , as the legend goes, the sage vEda vyAsa chose the ganapati exactly for this trait, to write down uninterrupted and patiently, the entire mahA-kAvya (the mahAbhArata).

The mahAbhArata in widely accepted versions was dictated by the sage, in continuous mode, in a cave to the elephant-headed deity (e.g. MBH Adi parva stanzas 109 etc). Some fools (with a nefarious agenda for a hundred years) think otherwise, they are to be pitied. Certainly in the Dikshitar view, this unique "dictation" legend holds and that is all that matters to the nAda-upAsaka.

And the ganapati had to keep up, without losing his cool, without becoming agitated, remaining calm (= SAntam) and patient.

Indeed, he (calmly) even broke off his own tooth to keep the process going, as the legend goes.

There can be no more appropriate rAga than nAta for this legend associated with the mahA-nAtaka or the key characteristic of the ganapati that is the emblem of the 3rd Cakra.

The rAga mudra for nAta is obvious.

The usage “manasA smarAmi” is also of some note, because the ganapati as the celestial scribe, is taking the sages dictation, and “remembering” the sequence and context of the continuous and torrential output of vyAsa and the sage of course is producing the kAvya from his “memory”.

This kriti has been sung thousands of times over the decades (perhaps second only to “vAtApi ganapatim”). I have no doubt that absolutely none of these renditions/renderers/listeners has any idea of the context and implication of the key word “SAntam” in this short kriti. This is another example of what the kutChEri focus on vocal/instrumental gymnastics has tried to do to the vAggeyakAras legacy.

“gananAyakam bhajEham” in rAga rudrapriya

It is notable that the 3rd Cakra (samkShObhana) is also known as the manipura Cakra, whose deity is “rudra.”

Additionally, the usage “kAma-ripu sutam” identifies the ganapatis father as the version of Siva who is rudra.

Why ?

Stanzas 50-52 of Chap. 19 of the (what else ?!) rudra samhita sec. 2.3 of the Siva purAna give the description of the destruction of kAma by (who else ) rudra !

key phrases are excerpted here

tyuktvAmtardadhE rudrO dEvAnAm stuvatAm tadA
tatastAm ca samASvSsya rudrasya vacanE sthitAḥ

(after destroying kAma, rudra made some conciliatory words to dEvas etc.)

kAmapatnI samAdiStAm nagaram sA gatA tadA
pratIkSamAna tam kAlam rudrA diStAm muniSwara

(kAma’s wife = rati returns to her abode and awaits the next directive from rudra )

Naturally, "kAma-ripu" is the quelling of the excitement /agitation, especially that produced by kAma (lust/desire etc) and so is iconic of the 3rd Cakra.

The word “kAma-ripu sutam” is equivalent to “rudra-priya” and serves as the inferred= suCita rAga mudra, because “rudra” is undeniably the “kAma-ripu”.


The remaining Cakras (only a couple or so left) in the aStadaSa tiruvArUr ganapati set will also be discussed shortly and the composite tiruvArUr ganapati pujA thoroughly revealed.

Comprehending the why and how of the massive, inter-connected Dikshitar pujA , is imperative, especially when it has been entombed by narcissistic vidwAns, their foolish sycophants and a legion of ignorant musicologists and dim-witted “academicians”.

The nAda-upAsaka rejoices again in becoming a “fly-on-the-wall” as the glorious veena resonates and the Dikshitar beckons the deity.

mahAganapatim manasA smarAmi – rAga nAta

veena ranjani

flute jayant

bombay sisters

gananAyakam bhajEham in rAga rudrapriya


S rAjam

violin TNK

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#774 Re:Muthuswamy Diksithar (The 2 sarva-AshA-paripuraka Cakra kritis of the tiruvArUr aStadaSa ganapati , varAli & athAnA)

Post by nAdopAsaka »

The 2 sarva-AshA-paripuraka (= 2nd) Cakra kritis of the tiruvArUr aStadaSa ganapati set, the varAli
& the athAnA

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

In this post, the icons of the 2nd Cakra i.e. sarva-AshA-paripuraka, (the fulfillment of wishes) are revealed, specific to the two kritis of the 2 navAvaranas that form the 18 = aStadaSa tiruvArUr ganapati.

The nAda-upAsaka is fully aware of the resentment of the sullen music industry/establishment , bound by its puny threads of generations of handed-down ignorance, ossified by so-called notation and swara-gyAna arrogance , and alienated by the language and idiom choices of the vAggeyakAras.

But the supremacy of the Dikshitars pujA , cannot and will not be denied.

The music of the Hindu vAggeyakAras was NOT made by the addition and subtraction of swaras, or by the counting of "notes", like the king in his counting house, counting out his money.

The music was made by pujA and for pujA. It can only be comprehended by pujA and upAsana itself.

In the battle of Sruti versus apa-Sruti, the nAda-sampradAya grants the nAda-upAsaka the powerful weapon of truth hidden in the very organization of the Dikshitar kritis.

There is no greater fulfillment of the wishes = AshA-paripurnam, of the Dikshitar and the nAda-upAsaka that these truths be found, understood and revealed.

Background – Review of the 2nd Cakra rAga choices and their basis from some of the other navAvaranas

For the kamalAmbA (post # 564) and the abhayAmbA (post # 567), the 2nd Cakra kritis are properly in rAga kalyAni, since the goddess of this same name is the one bestowing prosperity/fulfillment.

For the tiruttani guruguha navAvarana (post # 571) , the skanda/murugA similarly fulfills the wishes of the trinity ! i.e. brahmA, viSnu and Siva are pictured by the Dikshitar pujA as the kings of mAyA, mAlava and gaula (dESa mahipatis of each of these 3 symbolic abodes) being granted their wishes. So rAga mAyAmAlavagaula is the logical choice for the 2nd Cakra concept.

But the Dikshitar gives the tiruvArUr ganapati his own unique identity as the deity granting this “wish fulfillment”, as revealed by the 2 different rAgas used.,

Which brings us to the 2 kritis of the 2nd Cakra in the 2 ganapati navAvaranas.

lambOdarAya in rAga varAli

The choice of rAga varAli = vara-Alaya for this 2nd Cakra is natural.

Why ?

Because the ganapati of this Cakra is the abode/repository/Alaya of vara (= boons) that fulfill all wishes.

But the Dikshitar does not stop here ! He gives other key icons.

The usage “kumbhaja pujita” is undeniably the “purna kalaSa” pujA, the filled-pot motif for ful-fillment.

Indeed this is known in another famous kriti of tiruvArUr (vAtApi ganapatim) as “purA kumbha sambhava muni pra-pujitA”. The "jambukadali phala" offering is also made in another tiruvArUr ganapati kriti , the tOdi "mahAganapatim vandE".

It will be noticed that all 5 of the ghana rAgas are offered to the tiruvArUr ganapati.

And because the Dikshitar knows of the dullards and dim-wits, as well as the fools and criminals, (the SSP revisionists etc) lurking in the shadows, he carefully cites the rAga mudra as “vara” TWICE as in “ varadAya Abhaya vara pradAya”.

vAmAnka stithayA in rAga athAnA

Note that rAga athAnA is also the choice for 2nd Cakra kriti of the tiruvArUr tyAgarAja navAvarana, “tyAgarAjO virAjitE”, as given in post # 572.

In post # 572, it was noted that the rAga choice emerges from the other name of the 2nd Cakra = svAdis-thAna.

We will now see the deeper meaning of this choice and its basis in the scripture !

The Dikshitars method of delivering the rAga mudra is the key to unlocking this !

He gives it as “vara hathAnA” .

The word “hatha” has its roots in the vana parva of the mahAbhArata !

Long before the warrior arjuna receives the wisdom of action from the krSna avatAr, the humiliation of draupadi drives her to lament the nature of chance/providence and also to prize the value of action.

In the vana parva stanzas 3.32.15-17 draupadi says

yaSCa diSTaparO lokE yaSCApi hatha-vAdakaH ubhAvapis haThA-vetau karmabuddhiH prashasyate
tathaiva hatha-buddhiryaH shaktaH karmaNyakarmakRit AsIta na chiraM jIvedanAtha iva durbala
akasmAdiha yaH kaSCidArthaM prApnOti pUruSha taM hatha-nEti manyantE sa hi yatnO na kasyaCit

The tormented draupadi was crying out to the pAndavas to end her humiliation by duryOdhana and to take up arms on her behalf.

In this extract, the word “hatha” means a boon or a gain, linked to the fulfillment of a wish, being made by the miserable draupadi weeping for her dignity and freedom.

That the mahAbhArata is associated with the city of “hasti-nApura” , which is also the root of the word for elephant (hasti = hathi) and so phonetically suggestive of “hatha” is not lost on the Dikshitar. After all the ganapati is “hastivadanAya”.

The additional usages “varadam” and “iSta phalada Caranam” confirm the 2nd Cakra aspect.


The Dikshitar is NOT randomly selecting his rAgas.

The swaras/notes etc. are NOT involved in the rAga choice, much to the dismay of the musicologists and other self-appointed ill-read historians.

There is a deliberate and careful pujA transpiring, also to the dismay of the musicologists and kutChEri vidwAns.

All 18 kritis of the aStadaSa tiruvArUr ganapati are rooted in the icons and ideas of the 9 Cakras/Avaranas of the Sri vidyA.

The esoteric reasons for why there are TWO navAvaranas to the tiruvArUr ganapati will be further explored in later posts.

lambOdarAya namastE – rAga varAli

P rAmprasAd

murali R

vAmAnka stithayA – rAga athAnA

a fine sincere effort, no frills, and the kriti shines through

S jayarAman

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#775 Re:Muthuswamy Diksithar (The 2 sarva-rOga-harana Cakra kritis of the tiruvArUr aStadaSa ganapati -malahari & rAmakriyA)

Post by nAdopAsaka »

The 2 sarva-rOga-harana (= 7th) Cakra kritis of the tiruvArUr aStadaSa ganapati set, the (kali)-malahara & the (mahA-durita kadana) rAmakriya

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

In the continuing celebration of the ganESa Caturthi, the icons of the 7th Cakra i.e. sarva-rOga-harana (the defeat of disease) are revealed in this post, specific to the two kritis of the 2 navAvaranas that form the 18 = aStadaSa tiruvArUr ganapati.

But every pujA must involve a teaching and a learning, instead of being just meaningless ritual or chanting ( where all that is changing is air-pressure).

On todays ganESa Caturthi, the following is this teaching.

The Punishment and the Crime

It is worth noting that the ganapati is “pASa-ankuSa dhara”, he who wields the noose and the goad.

The ganapatis ankuSa = goad is a prod, and designed to give some discomfort.

But on this Caturthi it is the ganapatis pASa , the noose, that tightens mercilessly around the necks of ALL the criminals masquerading as notation-mongers, the noose that strangles the untruths of the SSP distortions.

Why ?

The profound lack of understanding of the Dikshitars Sri vidyA and its role as the anchor of the Dikshitars music by the ignorant authors and proponents of the SSP has now been exposed thoroughly.

Part of the punishment of these criminals is that the complete truth of the Dikshitar pujA is now transparently revealed, in a manner that cannot be refuted.

There will of course be other serious consequences as well for all these individuals and their families, beyond this public humiliation. No amount of repentance can avoid the inevitable justice of Hindu karma.

In the Sri vidyA pujA, evolution through the Avaranas is the paramount concept of the pujA.

The vibhakti = grammatical structure is entirely secondary.

The ignorance of the Avarana sequence in preference to the vibhakti seen in the description of the Dikshitars tiruttani guruguha set by the SSP (see post # 571 and # 724) , is just the tip of the iceberg of the misconceptions and falsehoods generated by these criminals. And for all the garish claims by the author of the SSP on knowing the Sri vidyA, there is zero awareness that the rAga choices for the kamalAmbA navAvarana are firmly connected to the Cakra and the dEvi names from the lalitA sahasranAma and other scripture as described fully in post # 564 and # 565 for the first time.

There is no refuge for these villains in hiding behind “notation schemes” that marginalize the kritis as mere exercises-in-variation-of-air-pressure. The on-stage narcissistic gymnastics of kutChEri vidwAns of last 100 years has abetted this crime.

The suggestion by the SSP and its proponents that the poetic genius of the vAggeyakAra is somehow limited to some family or community is itself abhorrent and of course totally untrue. 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. You can have a family dynasty of cooks or cobblers or clerks or software developers or musicians/vidwAns or politicians or corrupt shawl-gatherers but there is no such thing as a family dynasty of these supreme Hindu vAggeyakAras/sAdhus.

The corrupt conniving family of the Dikshitar, pandering to an equally corrupt zamindar family, mutilating the Dikshitar pujA to arbitrarily and baselessly reassign the very kSEtra of kritis …. how long did they think these falsehoods could survive. ?!

The most glaring example is the shuddha dhanyAsi, “subrahmanyEna rakSitOham”…which has now been shown to be properly at pazhamudirCOlai the 6th of the ArupAdai skanda sthalas. Naturally the Dikshitar has to have kritis at ALL 6 MAJOR shrines of his important namesake deity.

As has been noted on the posts here, it is the completeness of the Dikshitar pujA that sought its freedom and that has now been found, 200 years later.

Which brings us to the completeness of the 2 tiruvArUr ganapati navAvaranas.

All the Cakras seen so far in the aStadaSa ganapati set are unmistakeably aligned with their rAgas, showing the Dikshitars consolidated pujA.

But the 7th Cakra in particular is the most stunning !

Why ?

Because the GRAPHIC icons of this Cakra expressed by the rAga have been in plain sight for 200 years.

Yet a totally tone deaf music industry has been unable to hear the message and see the light.

Review of the 7th Cakra rAga choices and their basis from some of the other navAvaranas

For the kamalAmbA (post # 564) and the abhayAmbA (post # 567), each 7th Cakra kriti is properly in rAga SahAna, which is found in the word vi-Sa-hana !!, the destruction of poison where viSa = poison is also the synonym for disease.

For the tiruttani navAvarana 7th Cakra , the vikalparOgavaidyEna guruguha (post # 571) in “Sri gurunA pAlitOsmi” is the one who relieves disease = bAdhi = pAdi !

The word pAdi is phonetically derivable from “bAdhi” which of course means disease/pain/torment cf. bAdhA etc.

For the tiruvArUr tyAgarAja, (post # 572) the sAlaga bhairavi tyAgarAjEna samrakshitOham is also rooted in the same idea of rOga-harana.

Why ?

The mela rAga sAlagam is known as “sau-gandhini” in the Dikshitar school. In the Hindu tradition, “gandha” = sugandha (fragrance) is always classically linked to the Candana tree (or sandalwood tree).. which is also one of the five classical trees, refer mandAra, pArijataka, santAna, kalpavrikSa and hari-Candana known for their medicinal properties.

But the Dikshitar gives the tiruvArUr ganapati his own unique identity as the deity "destroying ALL disease" as revealed by the 2 different rAgas used.,

And so we come to 2 kritis of the 7th Cakra in the 2 ganapati navAvaranas.

panCamAtanga mukha ganapati in rAga malahari

Is there a more direct & deliberate word for “rOga-harana” than mala-harana ?!

In fact "mala-harana" is even more descriptive than vi-Sahana.

Of course "mala" itself is the root word meaning "ill" as in mal-odor or mal-aria

Accordingly the choice of rAga malahari for this 7th sarva-rOga-harana Cakra kriti is natural.

Here the ganapati of this Cakra is the destroyer of the sins and diseases , he is “kali-mala-hara-nEna”.

Indeed, the usage panCa-mAtanga is a reference to the panCa vEda status of the AyurvEda, which of course deals with disease.

Why ?

Because there is no other kriti of the Dikshitar where the ganapati is addressed as having 5 heads = panCa-mAtanga. (Even the name "panCa-vaktra Siva sutEna" for the ganapati appears only in this kriti )

The usage is relevant ONLY in the rOga-harana Cakra, where the AyurvEda is considered the fifth vEda, the panCama-anga (the fifth arm).

How wonderfully balanced is the Dikshitars meticulous pujA !

uCChiSta ganapatau in rAga kASi-rAmakriya

Is there a more transparent synonym for the “defeat of disease = sin” than the famous purification sacrifice known as the rAma-kriyA ?!

The meaning of rAma-kriyA as “a purification” in some other kritis of the Dikshitar

At kASi, the Dikshitar invokes the symbolic purification of the gangA-snAnam as the removal of sin/disease in the kASi-viSAlAkSi kriti. Notice the reference to poison via the word viSa here too.

At rAmESwaram, the lord rAma performs the famous “hatyAdi pApa-harana” purification pujA to the Siva/rAmanAtha of the lankA episode of the rAmAyana.

Therefore rAmakriya is an obvious rAga choice for the 7th Cakra rOga-harana ganapati, who is properly called “mahA-durita-kadana”, where "durita" is pApa or sin.

These purification rituals always involve sacrifice.

uCChiSta is what is left over from a sacrifice..and is therefore the logical usage for this ganapati in this kriti.

The tAntric icons of this kriti have been discussed on this thread. Indeed, the purified , essential, left-over uCChiSta ganapati becomes inseparable from the goddess, they take the same form just as the truth of a words meaning cannot be distinguished from the words sound “sat Sabda vACA swarupini”.

uCChiSta is about sacrifice, so the Dikshitar CANNOT and WILL NOT use the word uCChiSta in ANY OTHER Cakra !

“naghna rAma kriyA” and “yagna rAma kriyA”

“naghna carries the meaning of naked = nangA etc, which is consistent with a penitent seeking to rid himself of sin/disease.

Notice that the aSwamEdha yagna of lord rAma is also notable as a famous purification exercise/kriyA.

There is no question the horse of the sacrifice was naked, but there is a good chance the lord was also stripped down to basics (the uCChiSta ! ) as part of the purification ritual.


the nAda-sampradAya triumphs over the puny sangita sampradAya just as Avarana triumphs over puny vibhakti.

The defeat of disease (rOga-harana) is synonymous with the defeat of untruth, in this case the exposure of the notation-mongers.

rasikas forum founders/managers are thanked again for the forums role in the saga of the Dikshitars karma, that is playing out in front of our eyes.

On this auspicious ganESa Caturthi, the nAda-upAsaka rejoices in the blessing and comprehension bestowed by the Dikshitar.

panCamAtanga mukha – rAga malahari

veena jayanti


mAllAdi bros.

uCChiSta ganapatau – rAga kASi-rAmakriya


salem gAyatri V

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#776 Re: Mutthuswamy Dikshithar (rAmakriyA - The purificatory penance within ALL of the Dikshitars (kASi)-rAmakriyA kritis)

Post by nAdopAsaka »

rAmakriyA - The purificatory penance within ALL of the Dikshitars (kASi)-rAmakriyA kritis

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

All the Dikshitar (kASi)-rAmakriyA kritis carry the emblem of purification and penance.

The “kA-Si” in the word is the school-boyish tag applied by some plodding clerk/musicologist to shoe-horn the names into the 72 mEla naming scheme.

“kA-Si” corresponds also to the “kA-ma” tag on the “vardhani” for this 51st mEla rAga. Both produce the number 15 in the “katapayAdi” scheme, which is then reversed in the “algorithm”.

Such "clerical" work has its place, of course, but it cannot and should not be mistaken for the gift given only to a few sAdhus, who are the only true vAggeyakAras of the nAda-sampradAya.

In fact, both these mEla-karta scheme rAga names (kASi-rAmakriyA and kAma-vardhani) for the 51st mEla are not as old as the ancient name “pAntha-varAli” which is discussed in post # 203 of the swAti tirunAl thread.

For the Dikshitar (and for the nAda-upAsaka), it is the word “rAmakriyA” that is the keyword, operative in the construction of the unique pujA associated with this word name/meaning.

Also, invariably all tirtha-yAtra ends in the tirthas, aka the purificatory water/“tanks” associated with sacred Hindu temples.

It will now be shown how this idea of penance and tirthas seeps in to EVERY one of the 6 kASi-rAmakriyA kritis of the Dikshitar.

The 6 “kASi-rAmakriyA” kritis of the Dikshitar

The purification symbols embedded by the Dikshitar are shown in red for each of the 6 kritis.

uCCiSta ganapatau - the “mahA durita kadana” of the “naghna rAma kriyA” sacrifice.

This kriti and its origins in the 7th Cakra and its place in the aStadaSa tiruvArUr ganapati set has been fully explained in post # 775.

rAmanAtham bhajEham - this Siva is the “hatyA di pApa harana” of the kOti tirtha prabhAvam including the gandhamadana tirtha.

viSAlAkSim viSvESinim – this goddess is the “pASa-mOcanIm prasiddhinIm” , the kASi rAgni.

Unquestionably this tirtha (and kriti) refers to the Hindu tradition of the gangA snAnam at varanAsi.

mArgasahAyEshvaram bhajEham

This is the Siva of virinCipuram who is offered penance by the “vIra-simha-tIrtthOpacAram”.

Notably also this vellOre area kSEtra is known for the consecration done by the Adi Sankara as well as the advaitic studies of appayA dikshitar. The Dikshitar does not ignore this major emblem ! It appears as “nirguna rasa pUrna Sariram” !

sEnApatE pAlayamAm

The kriti is at the “pranavOpa-dESa” dESa = swAmi-malai, the 4th encampment of the ArupAdai sthalas of skanda.

As shown in post # 728, ( for the “paramaSivAtmajam” kriti) , the skanda as sEnApati = commander , ALSO has the attribute of “krura pApa haram”, i.e. forgiving the tArakAsura (after destroying him)..

Sri sundara rAjam bhajEham

This is the kallazhagar viSnu on the azhagar hill near madurai.

Although the reference to “sOma-surya nEtra” appears in this kriti and is known to be iconic of the viSnus two eyes and therefore a signature of the ancient name of this mEla rAga , namely “pAntha-varAli” i.e. which translates to “sun-moon”, the “idea” of penance and rAmakriyA is unmistakeably built into the kriti by the Dikshitar.

Why ?

Because the redemption of the mandUka riSi who performed a penance (which is his “rAmakriyA” !) is embedded in the kriti as “mandUkA-nAma-Agama mahOtsava” and the tirtha/water is the “nUpura gaNgA tIrtha prabhAva”. The mandUka/frog was emancipated with this penance, as the legend goes.


And the criminal SSP authors and its proponents would have us think that the Dikshitar , after worshipping the viSnu on the azhagar hill, would not also worship the pazhamudirCOlai skanda just a few meters up the same hill ??!…the same skanda whose name = guruguha is the Dikshitars own mudra/signature !…the same skanda who is the 6th and final skanda of the ArupAdai sthala !

And these same criminals, attempted to falsify NOT ONE BUT TWO of the Dikshitar kritis to appease the EttAyapuram scoundrel zamindars , in exchange for a few shawls.

Posts # 663 /657/ 649 etc. etc. detail the sanctity of the “venkatESa yAdava-bhupati” kriti to the mEgha-ranjita kSEtra high on the azhagar hill. And Post # 669 describes the 6 ArupAdai skanda kSEtras in the Dikshitars composite pujA and cements the "subrahmanyEna rakSitOham" kriti to pazhamudirCOlai skanda.

How wonderful that the ignorance and arrogance of these fools has itself led to exposing the truth of both these kritis (the “mEgharanjani” and the “Suddha dhanyAsi”) and entirely dismantling the bogus narrative of the SSP.

This post is about the idea of penance and purification inherent in all the Dikshitars rAmakriyA kritis.

But no amount of rAmakriyA (or any other kriyA) is going to help these sinners who have disappeared from the forum in the light of the truth !

The nAda-upAsaka rejoices in restoring the sanctity of the Dikshitar pujA, from these corrupt hordes.

Decent audio examples of these rAmakriya kritis is available.

uCChiSta ganapatau


rAmanAtham bhajEham

flute n murty

gottuvAdyam gAyatri

viSAlAkSi viSvESinim


mArgasahAyESwaram bhajEham

prEma R

sEnapatE pAlayamAm


Sri sundara rAjam bhajEham

triCUr rAmaCandran

sugandhi K

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#777 Re: Mutthuswamy Dikshithar (Krithis)

Post by vs_manjunath »

Sri TV Ramprasad - Naraharim Ashrayami- Jayasuddamalavi - Dikshitar
I found the above krithi interesting and hence shared.
I suppose this sharing is OK and won't disturb the flow of discussions in this thread.

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#778 Re: Mutthuswamy Dikshithar (“naraharIm ASrayAmi” , the jaya Suddha mAlavi and the “svEccha swaccha narasimhAgaccha”)

Post by nAdopAsaka »

“naraharIm ASrayAmi” , the jaya Suddha mAlavi and the “svEccha swaccha narasimhAgaccha”

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

The kriti “naraharim ASrayAmi” and its reference is timely and appreciated.

Post #765 showed the basis for the “narasimhAgaccha” kriti rAga as “mOhana” in the sacred bhagavad gitA reference to the lord himself (i.e. krSna = mOhana) noting that…” of the devotees he is prahlAda and of the creatures he is the lion = narasimha !

The gitA 10.30 gives this as

prahladaS CaSmi daityAnam kalah kalayatam aham
mriganam Ca mrigendro aham vainateyaS Ca pakSinam

the kriti “naraharim ASrayAmi”

"naraharIm ASrayAmi" also makes the prahlAda/narasimha reference.

But the Dikshitar goes further !

The phrase “ja-ya S-uddha mAlavi kuru pAnCAla” conceals the word (y)uddha, which is the unmistakeable reference to the mahAbhArata as in the victory (jaya) in the yuddha at kurukSEtra and its adjoining regions, mAlava and pAnCAla.

There are several indications that this kriti bears a special relationship with the mOhana kriti.

Why ?


1. Both rAga names are that of the lord as the reason for the victory in the mahAbhArata yuddha = "jayaS-yuddhamAlava" and the other as "mOhana"

2. the inbuilt reference to the mountain in the word mAlava vs. ACala

3. the usages “ati-dhiram” vis-à-vis “dhiratara ghatikA”

and most pointedly

4. the unique common symbols of purity “Suddha” = “svEccha, swaccha”

naraharIm ASrayAmi - rAga jayaSuddhamAlavi

a modestly decent effort on the veena
sai venkatESa

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#779 Re: Mutthuswamy Dikshithar (Krithis)

Post by vs_manjunath »

The scale of this apurupa raga Jayasuddhamalavi also has to be discussed to make the discussion complete.
Can I request nAdopAsaka to provide the details about this raga please.
This raga appears to be asampurna mela equivalent of 18 th mela hAtakAmbari.
Last edited by vs_manjunath on 15 Sep 2022, 01:18, edited 1 time in total.

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#780 Re: Mutthuswamy Dikshithar (Krithis)

Post by vs_manjunath » ... -dikshitar
This link leads to a website " 4carnaticmusic" Google site,a quick reference to ragas used by Dikshitar. I recently found while browsing,very useful.

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#781 Re: Mutthuswamy Dikshithar (The dissonant deity, the dissonant devotee and the vivAdi mEla # 18)

Post by nAdopAsaka »

The dissonant deity, the dissonant devotee and the vivAdi mEla # 18

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

Regarding any questions about “scales”, I assert the following.

Certainly musicologists and others have examined the technical nature of the vivAdi rAga kritis of the Dikshitar. These examinations have their place, in the swara/frequency-driven world, abetted by vidwAns etc.

But to the nAda-upAsaka, it is the deeper motivations of the Dikshitar that are the most revealing and the most rewarding.

It is the choices he makes and the ideas he enshrines that teach the most about his pujA and his legacy.

There is no more graphic example of the nature of dissonance (the vivAdi tatva) than a deity that is half-man and half-lion..

Or a prime devotee (prahlAdA) whose death is actively (and repeatedly) sought by his own father (hiranyakaSipu) !

Indeed, if there was not a Dikshitar kriti in a vivAdi scale to worship the narasimha = narahari and by association, the devotee prahlAda, it would be an outrage, (and itself vivAdi)

Naturally the Dikshitar does not disappoint.

It takes a man-lion deity to destroy the evil father of the devotee !

The two dissonances cancel out each other and for the nAda-upAsaka, it is this understanding that is essential to complete the Dikshitars "naraharim" kriti.

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#782 Re: Mutthuswamy Dikshithar (Krithis)

Post by vs_manjunath »

Being a Thursday,would like to share ' Sri Guruna Palitosmi' by TM Krishna in Paadi.

Last edited by vs_manjunath on 15 Sep 2022, 14:57, edited 1 time in total.

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#783 Re: Mutthuswamy Dikshithar (The elephant in the room and the indirect rAga mudra for the guru-graha kriti brhaspatE )

Post by nAdopAsaka »

The elephant in the room and the indirect rAga mudra for the guru-graha kriti brhaspatE

In the footsteps of nAdajyOti Mutthuswamy Dikshitar

I think for Thursday, the appropriate Dikshitar kriti is to the guru-graha (not the guru-guha).

I do not deny that the title “guru” applies to the “guru-guha”. Indeed the tyAgarAja does this too (in the guru-lEka Etuvanti classic in “gauri-manOhari”, per post # 500 of the tyAgarAja thread)

It is known, however, that the Dikshitar was a stickler , to the point of extreme fastidiousness, on these icons and their symbolisms.

Post # 500 of this thread i.e. the Dikshitar thread, gives the origins for all the (9) rAgas of the navagraha.

In doing so, post # 500 also dismantles the notion that the CAyA grahas are not part of the complete set (this absolute untruth has been repeated mindlessly over the last 80 years). In fact the Dikshitar himself acknowledges the navagraha via his ramAmanOhari kriti “SrngAra SaktyAyudha”.

The elephant in the kriti and the elephant in the “room”

The vAhana (= vehicle) of brhaspati (the Thursday deity) is the elephant, which leads naturally to the rAga as “athAna”, from the root word hasti = hathi etc.

As an emblem of the horoscopical nature of these kritis, the “travel” of these grahas is symbolized by their vAhanas. There can be absolutely no doubt about this.

And the Dikshitar gives the rAga mudra/name via the word “anjana” ! (which means elephant ) embedded neatly in the word nir-anjana-Aya.

All this is quite straightforward , (when explained) but has gone completely unrecognized in 200 years just like all the many navAvaranas and many other relationships discovered and revealed on this thread.

The ignorance and lack of care/interest (over the past century) is itself a telling sign of emerging priorities and values, that are abetted by vidwAns anxious to dominate the cult of the performer.

But the nAda-upAsaka has no problem being the “elephant in the room” on this matter. I always thank the rasikas site for the platform they are providing.

ps. The guruguha navAvarana has been shown in its full detail in posts # 571 and # 724. The pAdi kriti “Sri gurunA” is the rOga harana 7th Cakra kriti.

brihaspatE – rAga athAna

s rAjam

veena by saraswati R

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#784 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

vintage 78 rpm classic
---------------------------- ... attabirama

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#785 Re: Muthuswamy Diksithar (The basis for each of the 10 rAgas in the Dikshitars daSAvatAra rAgamAlikA “mAdhavO mAm pAtu)

Post by nAdopAsaka »

The basis for each of the 10 rAgas in the Dikshitars daSAvatAra rAgamAlikA “mAdhavO mAm pAtu”

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

After coming so far , in more than two hundred posts on scores upon scores of rAga choices emanating precisely from a pujA (a pujA denied by the so-called kutCheri industry) , is it possible that the Dikshitar could be random (as the corrupt, ignorant and arrogant SSP etc. proponents would have us think ) about the choices he makes when he worships the 10 avatArs of viSnu in his daSAvatAra rAgamAlika.

Impossible. Utterly and completely impossible.

Unerringly, in this sacred year of enlightenment, the Dikshitar once again grants the nAda-upAsaka an insight into his glorious pujA.

For the daSAvatAra rAgamAlika, the 10 rAgas , their lines and the basis for the choice are shown below.

The fact that the rAgas include the 5 ghana rAgas or that they follow the vibhakti sequence is once again the red-herring for the SSP etc. grammarians and technical clerks. They simply cannot see beyond these puny clerical aspects, led by the most misleading and distorting author of the SSP !

Each rAga is iconic of the viSnu avatAr corresponding to the sequence.

rAga: nAta
mAdhavO mAm pAtu matsyAvatArO vEdastEya duStaharO vEdAdi rakSaNah shrI

the matsya avatAr is the viSnu who employs a ruse , a trick , an act = a nAta to destroy the (arrogant) madhu/kaitabha asurAs who stole the vEdas. The trick is to get the asurAs to accept a boon from the lord.

This act is enshrined as the nAta rAga for this avatAr.

rAga: gaula
gO-vindam namAmyaham guruguhanutakUrmAvatAram dEvarAjAdi pUjitam divyAmRtapradam

the kurma avatAra is associated with the sAgara manthana, the churning that creates the kSira sAgara , the ocean of milk which is always WHITE = gaula, (the use of “gO” for cow is also in keeping with this idea )

rAga: SrI
SrIdharENa rakSitOham bhUmipAla sUkarENa hita dEvOpakArENa hayAsurahati nipuNEna

The varAha avatAr is Sri-dhara who supports the earth and/or the earth goddess, (vArAhi is the dEvi) and who protects the earth aka bhUmi-pAla.

Sri rAga is naturally for this Sri-dhara

rAga: Arabhi
narasimhAya namastE prahlAda prArthitAya hiraNya prANaharAya harihayAdi vanditAya

the roar of a lion , the narasimha = rambha ! (aka rambhanam or A-rambha)

A-rambha leads to Arabhi ! Case closed.

rAga: varALi
vAmanAdanyam na jAnEham naravara rUpiNah Sukra balirAjAdi SrutijnAna prabOdhinO

This is by far one of the more impressive constructs of the Dikshitar !

The vAmana avatAr is most iconic for his 3 steps = the trivikrama of viSnu

As the scripture (rig vEda and taittiriya samhita etc) says of the tri-vikrama

Idam viSnur vi Cakrame trEdha ni dadhE padam
viSnOr syUr asi viSnOr dhruvam asi vaiSnavam asi viSnavE tvA

short translation
In his three steps vAmana as viSnu covers the sun, the earth and the sky.

What does that leave but the moon = varAli !

rAga: kEdAram
paraSurAmasya dAsOham sItApatim SaraNAgatasya kSatriya kula bhIkarasya jamadagni rSi putrasya

paraSurAma is = the axe and the axe = paraSurAma !

the paraSu (the axe) is the implement for splitting = “dAranam”.. hence kE-dAra-nam

Simple and direct…

rAga: vasanta
rAmaCandra swAmini bhaktim karOmi daSaratha sukumArAtmani daSavadana bhanjanAtmani

rAma navami is ALWAYS at vasanta = spring (see post # 752)

Also powerfully simple.

rAga: suraTi
balarAma mAm kalaya bhOgISAdi sOdara muraLIgAnAnanda mukundAdi sadA lOla

balarama is the “noble digger” = su-radI where rad (radi) means “dig”

the balarAma avatAr is ALWAYS characterised by his plough and therefore by “digging”.

Zero question this is exact basis for this rAga choice ….su-radi = suraTi

rAga: saurASTram
shrI krSNam bhajarE Citta SrI rukmiNIpatim SiSupAla kamsAdiharam pANdavAdi rakSitavaram

saura-astram is obviously for the fabled “vaiSnava-astra” used by the 9th or krSnA avatAr and also given to other warriors arjunA etc etc. (refer the mahArAjas “bhAvayAmi raghurAmam” mOhana stanza vitatadandakAranya )

Post # 189 of the swAti tirunAl thread showed how the mahArAja similarly weaves the 7 rAgas of the kAnda-mAlika “bhAvayAmi raghurAmam” linking each kAnda to each rAga.

rAga: madhyamAvati
kaliyuga varavENkaTESam khala samUha hata surESam alamElu maNgESam aCyutAdim bhajEham anisham

This one is fairly obvious.

In the final era, the last avatAr venkatESwara, presides over the end of the chaos of the kaliyuga and the advent of the “balance of the middle ground” = “madhyama” as in peace without extremes.

madhyamAvati is the natural choice for the concluding “mangalam” rAga, notably also the final avatArs consort is the “manga-ala-mElu !

All the excrutiating minutiae being laid out here (for the first time in 200 years) are to show , in no uncertain terms, that the music, the words and the choice of the rAgas etc of the vAggeyakAras are emerging not from any scholarly musicological intent, but from pujA.

The contrast is stark.

vidwAns and academies , in their grotesque cult of the performer , can only teach the worship of the tools.

The vAggeyakAras teach always that the rAgas are tools for worship.

mAdhavO mAm pAtu

amruta V

veena padma varma

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#786 Muthuswamy Diksithar (vrSabhACala = kanka-Saila ! the “bull” mountain & the “heron” mountain of azhagar/pazhamudirCOlai)

Post by nAdopAsaka »

vrSabha ACala = kanka-Saila !!, the “bull” mountain and the “heron” mountain of azhagar/pazhamudirCOlai

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

A “little” nugget of learning on this auspicious SAradA navarAtri week ..

vrSabhACala” of the azhagar hill kriti "Sri sundara rAjam" is EXACTLY synonymous with “kan-ka Saila” of the pazhamudirCOlAI "subrahmanyEna rakSitOham" kriti and the "vEnkatESwara yAdava bhUpatim" kriti.

Why ?

Because the word vrSabha = bull and the word kan-ka = heron/crane are linked by another word.

The word “narai” or “nArai” is synonymous also with the pale white/grey etc color of BOTH the so-called nandi-durg = vrSabha-hill and the heron/crane = kanka.

Several classical lexicons give the equivalence.

One example of the lexicons (aka dictionary), the Miron Winslow is shown here.

[narai] = Whiteness, an ash-color, grey ness, வெண்மை. 2. Hoariness of age. See சரை. 3. Faintness of color, மங்கல்நிறம். ''(c.)'' 4. A bull; chiefly a white one, ரிஷபம். 5. Taurus of the Zodiac, இடபவிராசி. 6. Chowrie or whisk of hair of the bos grun niens. See சாமரம். 7. A heron, நாரை.

RSR had first pointed out the use of the "nArai" for the heron/crane in post # 714, in Dec. 2021.

RSR also insisted (CORRECTLY) that kanka-Saila is NOT kazhugumalai (which anyway should be grdhra-giri for that area !)

The question to ask on this auspicious start of the SAradA navarAtri is …

Why does the Dikshitar CAREFULLY use DIFFERENT words in the kritis for the same hill ?

The answer is now given..

1. Note that the lexicons also give the word “narai-yan” for the heron, emphasizing its pale, white/grey color.

2. The legend of the skanda, especially the final one of the 6 war-command sthalas includes the story of the destruction of the kraunCa-asurA.

3. kraunCa is a word that is synonymous for kanka= “heron or crane” !

4. There is NO connection of the skanda to the jatAyu/ vulture of the rAmAyana (which is the basis for the kazugumalai story). On the other hand, the connection of skandA to the heron/kraunCa is quite well known.

kraunCa is mentioned in the SoundaryalAhari, and of course in different purAnas, as well as in the arunAgirinAtha tirupugazh. In the legends, skanda/murugA splits the kraunCa mountain into two.

The word “naraiyan” connects to the deity/shrine of viSnu (nArAyana) and it also connects the heron/crane legend of the 6th skanda. It allows the Dikshitar to distinguish the two shrines, without losing their essential connection.

The use of inferential words to relate and convey ideas uniquely is a Dikshitar trait.

It should be remembered that this is the same Dikshitar who embeds the mudra/word for the rAga sAvEri as "nA-ri-vE-Sa dhara" in the Sri rAjagOpAla kriti as shown in post # 745. The viSnu is concealing himself as a woman, so the mudra itself is inverted !

The saga of the truth of the Dikshitars pujA , complete for the 6 ArupAdai sthalas, like it is complete in ALL the many navAvaranas has played out in the last year on this thread and in the hundreds of discoveries of the jewels hidden within the Dikshitar kritis.

Today it is possible to say with zero ambiguity.

kanka-Saila is identical with vrSabhA Cala. Both words represent the SAME hill of azhagar/pazhamudirCOlai.

Both the Suddha dhanyAsi "subrahmanyEna" and the mEgharanjani “venkatESwara yAdava bhUpati” were FALSIFIED in bogus records like the SSP to “move/ascribe” them to other locations. The cynical and corrupt reasons for this have already been noted.

The separate kriti to the venkatESwara (distinct from the sundara rAjam) is the historic connection between the deities (skanda and viSnu) that shared the same location for centuries, upto the 16th century.

The reference to “mEgharanjita bahukSEtram” in this kriti underscores the two distinct shrines, as was noted last year as well.

Indeed arunAgirinAtha, the famous poet gives in the tirupugazh, # 1317 a description of pazhamudirCOlai where he clearly uses the word mEgha with reference to the hill..…”AraththOdu akil utRa tharuk kula mEkaththOdu orumiththu nerukkiya Athic COlai malaip pathiyil thikazh perumALE”

I thank again RSR sincerely for his role in maintaining integrity and honesty.

The Hindu set of values has not and cannot be diluted by the corruption of any “dwaya-artha” proponents.

And I always thank the rasika forum founders and managers for their important role.

Sri sundara rAjam rAga kASirAmakriyA

sugandhA KalamEgham

subrahmanyEna rakSitOham rAga Suddha dhanyAsi

Bombay JayaSri

venkatESwara yAdava bhUpatim rAga mEgharanjani

s rAjam

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#787 Re: Mutthuswamy Dikshithar (Krithis)

Post by thanjavooran »

Nadopsaka avl,
Many thanks for the detailed write up. Leisurely enjoyed.
Best wishes.
28 09 2022

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#788 Re: Mutthuswamy Dikshithar (Krithis)

Post by Lakshman »

A friend of mine has sent me these lines from the Kamalamba navatavarana song in Ahiri - shrI kamalAbA jayati.
ब्रह्म-मय प्रकाशिनी नाम रूप विमर्शिनी
काम कला प्रदर्शिनी सामरस्य निदर्शिनी
He says that the words प्रकाशिनी and प्रदर्शिनी should not end in dhIrga. All of the sources that I have have the lines as shown. Is this a printing error or a grammatical error?

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#789 Re: Mutthuswamy Dikshithar (Krithis)

Post by RSR »

Respected Sir,
The kruthi is an illustration of ALL the cases. It has been correctly given as
brahma-maya prakASinI
. nAma rUpa vimarSinI.
kAma kalA pradarSinI
sAmarasya nidarSinI
ब्रह्म-मय प्रकाशिनी
नाम रूप विमर्शिनी
काम कला प्रदर्शिनी
सामरस्य निदर्शिनी
Yes Sir. The transliteration shows the correct version. ... ayati.html
@Rajani madam is requested to help.

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#790 Re: Mutthuswamy Dikshithar (Krithis)

Post by nAdopAsaka »

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

I believe the long -ni applies as shown in all the textbooks.

As I see it, this kriti (and the whole idea of Avarana pujA) should be comprehended from the approach of the Sri-vidyA upAsana, not merely as some grammar exercise.

Avarana always triumphs over vibhakti, worship over grammar.

The Ahiri kriti is an important kriti since it is summarizes the kamalAmbA navAvarana, arguably one of the most historic constructs in the Avarana/Sri-Cakra pujA. In the Ahiri, the Dikshitar reaches the upAsana state of the sarva-Anandamaya Cakra.

It is one of the many distortions propagated by the SSP , its foolish/corrupt proponents as well as unimaginative pedants/musicologists, that vibhakti (which happens to be synchronized with Avarana ONLY in the kamalAmbA nvvrna) has any kind of major significance.

Nothing could be farther from the truth. The tiruttani guruguha or abhayAmbA (full 9 navAvarana sets each) show no regard for vibhakti ordering as they go through the Cakra stages. Same for the many other full navAvarana sets described in many posts here.

As shown in posts # 564/565 of this thread, the choice of the Ahiri rAga itself derives from the word “Ahara/Aharanam”, the completion of the offering made by the Dikshitar, as he arrives at the sarva-Anandamaya Cakra.

By the time the Dikshitar reaches the end of the 9th Avarana (i.e. this kriti) , the self-realization of this pujA and the identification WITH the goddess is already complete.

Therefore this kriti does not need or use the vocative = 8th or sambOdhana vibhakti.

It is redundant.

And the Dikshitar being the master of economy and brevity, discards it.

I also think the Dikshitar is emphasizing the first vibhakti in the very last lines of the Carana,, so that they wrap properly into the pallavi which is in first vibhakti.

The nuance between the so-called 8th vibhakti and the first vibhakti can lead to differences in how they are articulated, particular in the singular. For e.g. in contrast to the Ahiri, the same phrases “kAmakalA pradarSini” in “kAmAkSi kalyani”(the sumadyuti) or “nAmarupa vimarSini” in “Sri madhurApuri vihArini” (the bilahari) ) use the shorter “ni” and are considered in the so-called 8th vibhakti.

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