Swathi Thirunal

Carnatic composers (other than performing vidwans)
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RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Swathi Thirunal

Post by RSR »

Sri.PB,
I think the Thamizh term is 'thuRavi'.

In Sanskrit, the four aasramas are respectivey, brahmahari( student),
Gruhasthan ( wedded family life).
Vanaprastham ( life in secluded forest area with wife) and finally sanyaasam
( presumably, after the demise of the wife). The duty of a gruhasthan is to teach and maintain his students , his own students being taught and maintained by another gruhasthan.
.
KuRaL holds that the gruhastha is the fulcrum of ideal society as it is he that feeds and meets the minimum needs of pilgrims, students, and guests.
.

Some mystics skip these stages,
.
A typical example is Sadaasiva BrammendraaL.

All sanyasins are not saints.
There is no exact sanskrit word for mystics and saints, to the best of my knowledge.

In our own times, Sri.NaarayaNa Guru comes to mind.
So does RamaNa maharishi.

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal

Post by nAdopAsaka »

No lewd person is in a position to judge the vAggeyakAras..

“sant” ( ~~saint) in Hindu thinking derives from “sat-ya”…

The vAggeyakAras sing this truth = Sruti…

And they have ABSOLUTELY become this truth.

They also give several illustrations of exponents of “truth”, whose heart is engulfed with the divine

The Dikshitar
buddha Suddha satva hrt bhAvitam – Sri sundararAjam – rAga kAmavardhani
nAradAdi muni hrt sanCArini – SyAmalAngi – rAga SyAmalam
yamAdyaStAngayOga nirata samyamidhyEya hrt kamalE vimalE = Sri mAta – rAga bEgada
the mahArAja
chadmakalita muni mAnasa pankaja - padmanabha pAhi dvipapa – rAga hindOla
chadmarahita sanakAdi hrdayAbja – padmanAbha pAhi padmavilOcana– rAga Arabhi
ALL the tyAgarAja’s mahAnubhAva’s - “endarO mahAnubhAva” in rAga Sri
parama bhAgavata, maunivara digiSa ..kanakakaSipasuta prahlAda, nArada etc. etc. etc.

Summary
No lewd person is in a position to judge the vAggeyakAras

satyam Eva jayatE

padmanAbha pAhi – rAga hindOlam

surabhi p
https://www.youtube.com/watch?v=Lav9k6OUEnQ

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

Re: Swathi Thirunal

Post by RSR »

Sainthood is not unique to any particular religion.
St.Francis of Assissi, is well known. There are quite a few sufi saints and Sikh saints.
Saints always stress and feel Unity of all beings and even inanimate world.

Saints are mostly sanyasins and are outside the pale of family life. But as in the case of Ramakrushna Paramahamsa , they remain just nominally, wedded. ..not by choice but due to the then prevailing social custom.
Sai Baba of Shirdi is another example of a mystic.
He was a raama bhaktha.
' hum sab ko maalik aek hai'.

Saints are always mystics .

Somehow, such mystics are able to transcend the common limitations of time, space and sensory perceptions.
,
There is a lovely passage in Silappathikaaram, where Kavundhi adikal, a lady buddhist monk, gets the dharsan and advice of divine messengers and siddhas. who are persons , able to 'see' the future. ILango adikaL calls them ' saaraNar'. The saaranars fly. 'Seeers'.

Perhaps, 'sidddha' is the word for saints and mystics?

.
avadhutha may be the Sanskrit term.
.
It is not by hata yoga or raaja yoga that one can become a mystic. It may be pre-ordained,
.
When Thyaagaraaja swami says that he has seen God, are we to assume tjat he is lying?
.
A strict agnostic like Bertrand Russell, admits the possibilty of mystic perception by a few. Ref. MYSTICISM AND LOGIC.
.
Ego , self-consciousness, is certainly a block.
.
Thyaagaraaja swami says that when one loses oneself in pure music, it is possible to feel bliss.
It is treat to hear the kRti of SrI tyAgarAja ‘inta saukhyamani nE ceppa jAla’ – rAga kApi where he tries to describe the ecstasy he experiences
.
.
Last edited by RSR on 09 Oct 2023, 10:01, edited 1 time in total.

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

sAdhu tadA - The vAggeyakAras CANNOT be judged by anyone who is ignorant of their words & opposed to their ideas

Post by nAdopAsaka »

sAdhu tadA - The vAggeyakAras CANNOT be judged by anyone who is ignorant of their words & opposed to their ideas

As usual, Words and their meaning completely elude this poster….flailing about in vast ignorance..

“sant” derives from “sat”…it is UNQUESTIONABLY the synonym for TRUTH = sat-ya.

And it represents the Hindu truth of the self-realized.

Christian metaphors are unnecessary and actually confusing. “Sainthood” in the Christian sense is a ceremonial consecration, whereas in the Hindu view it is the truth of self-realization.

Even the English/French etc. word “saint” has its roots via the Latin words “consecrate”, “sanctify” and “sac-red” in the root Sanskrit “sac”.

Indeed, the rig vEda 2.18.2 gives the word “sac-atE” as a sacrificial ceremony.

The sacrifice is sufficient for Indra whether offered first, second, or the third time; it is the bearer of good; priests (= hOta) perform different rites, this sacrifice combines with other ceremonies (anyEbhih sacatE) and showers benefits.
सास्मा अरं प्रथमं स द्वितीयमुतो तृतीयं मनुषः स होता
अन्यस्या गर्भमन्य ऊ जनन्त सो अन्येभिः सचते जेन्यो वृषा

sAsmA aram prathamaṃ sa dvitiyam uto trtiyam manuSa sa hotA
anyasyA garbham anya u jananta sO anyEbhiḥ
sacatE jEnyO vrSa

In fact this root word for a worship/ceremony... “sac” lends itself also to the tribe of the SAkyas who performed ceremonial worship of the Saka tree.

Notably the “SAkya-muni”, the Gautama Buddha, was self-realized centuries before Christ.

The “sants” of the vAggeyakAras (AND the vAggeyakAras themselves) derive from the truth = Sruti of self-realization….distinct from any Christian principle.

The principle of “satya-gyAna-Ananda”..or “paripurna niSkalanka niravadhi sukha” is explored in most of the kritis of the Dikshitar and the tyAgarAja. It is also the cornerstone of the SoundaryaLahari.

Since this is the mahArAja thread…a kriti to yet another such “sant” = self-realized = kuCEla is illustrative (of course only to those who are not brain-dead...).

The vakula tree , the sAdhu = sant = kuCEla and the vakulAbharana kriti “sAdhu tadA”

This is the story of the famous “darSana” granted to kuCEla in the forest of vakula trees !

In “sAdhu tadA”, for the mahArAja it is the emblem of SridAma = sudAma = kuCEla receiving the blessing of krSnA , after their time together under the vakula tree (as told in the kuCElOpAkhyAna).

As can be seen , the rAga is chosen because it carries the name of famous tree of the kuCEla legend.

The vAggeyakAras CANNOT be judged (as "near"-saints or anything else) by anyone who is opposed to their ideas and is also ignorant of their languages.

sAdhu tadA – rAga vakulAbharana

sanjay S
https://www.youtube.com/watch?v=gdFKQ6Xyjhs

sankaranarayanan v
https://www.youtube.com/watch?v=zAdW4HAcr-g

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

Re: Swathi Thirunal

Post by RSR »

There is a continuity in the evolution of religious/spiritual thought.
.
From the Egyptian , rebellion by the priests promoting Sun worship(3000 Bc) ( will durant- our oriental heritage),
then the mesapotamian (present day Iraq)( sumerian, chaldean,assyrian) (pandyan, chola and chera , respectively) [ A.C.DAS), where we find iconic representations of Devi with Simha vaahanam and also 'chandrasekara ',

All the present day continuity of suprabhatham, shodasa upacharam in our temples,(2500 bc) ,
and also in Thyaagaraaja kruthis
,
the aryan vedic nature worship and battle hymns, ,2500 from central asia into persia (iran..'aarzaanaam')..
Fire worship common to vedic and zorastrian people.

Evolution into upanishadic thought around 700 bc,
the precursor of Jainism and Buddism, with maximum stress on non-violence,
and jeeva kaaruNyam, but non- -theistic,
.
further Evolution into Christian gospel according to St.Mathew , its arrival in kerala coast right after the martyrdom of Jesus ( who is said to have been a student in Taxila university in far north-west India) , combining absolute non-violence of buddhist-jain thought with theism]

and finally the rise of Islam in 600 Ad, once again peaceful arrival in the reign of an Azhvaar king of Kerala who welcomed them and encouraged their idea of equalty..
.
.Emergence of Sikhism around 1500 AD,
An attempted synthesis of revulsion to idol worship, perhaps shared with vedic culture, and call for equality and re assertiin of the idea of the only formless God , monotheistic,
dheen ilahi of Akbar ,sufi saints,
..perhaps the endpoint, is with corruption of all the religions and institutions the world over.

Brahmo samaj in Bengal , an attempt to clean the society of deadwood

We can however learn about the best of all the streams of thought and absorb the finer elements in each.
.
Christian missionaries have done and are still doing tremendous work among the poor. , in
education, healthcare, reforms,
It was under the Company administration that Travancore saw social advance to some extent. Even then , it was that land which drove vivekananda to condemn the mad social oppression and rules of that kingdom.

In our own times, Mother Therssa , shines as a beacon.
.
The best reformers in India have been deeply influenced by the Gospel.

Perhaps, it may come as a surprise to learn that Dhwaitham of Maadhwaacharya and the bhakthi movement of daasar and mahratta saints itself is but adoption of the core gospel ideas in indian conditions,

But scholarship, artistic creations, language expertise are not to be equated with mystical Grace.
.
That is why mere vak geyakaras cannit be saints

but neither daasar poets and Thyaagaraja swami were, mere vakgeya karas.l
.
Pandits are not poets.
Mutt heads are not saints.


.

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

Re: Swathi Thirunal

Post by RSR »

Wiki gives a fairly good explanation..
.
There is no formal canonization process in Hinduism, but over time many men and women have reached the status of saints among their followers and among Hindus in general
.

[
color=#BF0080]Hindu saints have often renounced the world, and are variously called Gurus, sadhus, rishis, swamis, and other names
.[1][/color]

[color=#BF0080]Many people conflate the terms "saint" and "sant", because of their similar meanings. The term sant is a Sanskrit word "which differs significantly from the false cognate, 'saint'...[/color]

" Traditionally, "sant" referred to devotional Bhakti poet-saints of two groups: Vaishnava and a group that is referred to as "Saguna Bhakti".[2][3]

Some Hindu saints are given god-like status, being seen as incarnations of Vishnu, Shiva, and other aspects of God, sometimes many years after their deaths. This explains another common name for Hindu saints, "godmen".[4]
....
Vinoba 's Discourse on Gita, explains the important tenets of Bhakthi and karma yogam.
Such things are best understood by studying the lives of holy men rather than by dissecting and in the process ,killing the word..a typical disease of mere grammarians..

Yagnya meant offering things to the celestial 'gods' to cajole them to offer boons. ..very often animal sacrifice.
Typical primitive practice.

A really spiritual person, does not ask anything except grace and prays for the welfare of all. And tries to bring emotional, material and spirituarl relief and solace to people who seek them.
'Hari! Thum haro jan ki peer'.
.

Cuddalore vaLLalaar Ramalinga swamy was a mystic. He was against icon wodship. He advised us to worship just a jothi..flame of a lamp.
.
The quoted passage from rugveda is laughably ridiculous.
Mumbo-jumbo passing for wisdom.
.

Except that swathi composed on his deity, there is no instance cited of any spiritual experience in his life.
.
Are all composers on deities then ,Holy people.?

Pratyaksham Bala
Posts: 4170
Joined: 21 May 2010, 16:57

Re: Swathi Thirunal

Post by Pratyaksham Bala »

Here is a short list of Sants :-

Sant Venkata Kavi
Sant Muthuswami Dikshitar
Sant Subbarama Dikshitar
Sant Shyama Sastri
Sant Thyagaraja
Sant Arunagiri Nathar
Sant Marimutha Pillai
Sant Gopalakrishna Bharati
Sant Tiruvottiyur Thyagayyar
Sant Vallalar

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (dEvi navarAtri – 1 – dEvi jagatjanani – rAga SankarAbharanam)

Post by nAdopAsaka »

dEvi navarAtri – 1 – dEvi jagatjanani – rAga SankarAbharanam

The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness, contempt for the ardhanAri, inability to understand the words or any fool/s who thinks the mahArAja worshipped only padmanAbhA)

dEvi navarAtri is formally next week…

dEvi of course, is the original Sankara-Abharana , the first ornament of Siva..

So the sequence begins with dEvi jagatjanani – rAga SankarAbharanam

dEvi jagat janani – rAga SankarAbharana
veena rendition
https://www.youtube.com/watch?v=Rc3SWUzTuyw

SSI
https://www.youtube.com/watch?v=eIiVUlRC-0g

KVN
https://www.youtube.com/watch?v=P7E1b8Gxsew

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

Re: Swathi Thirunal

Post by RSR »

Any number of composers have created fine compositions on the deities of hindu pantheon. Are they all saints? To the best of my knowledge, even among the TRINITY, ThyAgarAja swami alone has been known as a saint, besides Purandara dasa and Kanakadasa.

nAdopAsaka
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Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (dEvi navarAtri – 2 – pAhi mAm Sri vAgiSwari – rAga kalyAni)

Post by nAdopAsaka »

dEvi navarAtri – 2 – pAhi mAm Sri vAgiSwari – rAga kalyAni

The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness, contempt for the ardhanAri, inability to understand the words or any fool/s who thinks the mahArAja worshipped only padmanAbhA)

dEvi navarAtri Day 2/Night 2 is given the rAga kalyAni

In this kriti the lotus mudra of the vAggeyakAra does not appera as “padma”-nAbha but by the word “sArasa” in "sArasa-garbha dalAyata lOCana"…Of course only a fool/knave would try to misattribute these kritis.

pAhi mAm Sri vAgiSwari – rAga kalyAni

amrita V
https://www.youtube.com/watch?v=XNRDVhlWe0E

sreedEv
https://www.youtube.com/watch?v=TjrX4cUa9eg

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

Re: Swathi Thirunal

Post by RSR »

Even among the Trinity, it was only Thyagaraja swamy who took to sanyaasam.-total renunciation.
Sri.MD was trained by a sanyasin. And had mystical experience of Guruguha .
Shyaama Saastry was a priest like Ramakrushna paramahamsa. .ever in the contemplation of mother-goddess.
Srinivasaraos has given us a wonderful blogpost on Sadasiva brammendraaL.
Negative comments are being carefully avoided, so as not to degrade oneself.

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (dEvi navarAtri – 3 – dEvi pAvanE – rAga sAvEri)

Post by nAdopAsaka »

dEvi navarAtri – 3 – dEvi pAvanE – rAga sAvEri

The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness). No amount of "pious posturing" can unring-the-bell of what has been heard from those who deny the words of the vAggeyakAras.

dEvi navarAtri Day 3/Night 3 is given the rAga sAvEri

The rAga sAvEri mudra (for those who can follow these things) is given via the words

bhImAnanta-agyAna-timira bhEdana mihirAyitE

The sun that sweeps away the MASSIVE darkness of ignorance

bhima-ananta – massive, without end
timira – darkness
bhEdana – destroy/sweep away
mihira – the sun

Is there a better image for the word sAvEri for this rising sun that ushers in the new day of enlightenment ?

No ! (except if one is unable to understand the words/idioms/ideas/icons)

dEvi pAvanE – rAga sAvEri

rk murthy
https://www.youtube.com/watch?v=MqDbXDUDDzE

veena saranya
https://www.youtube.com/watch?v=TmnUT5hBHXk

vasantamAdhavi
https://www.youtube.com/watch?v=Z1uCdpeqrb4

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

Re: Swathi Thirunal

Post by RSR »

One striking feature of the kruthis of The Trinity is that they never gave us any jaavaLi type of compositions, in the guise of praising the GOD. In fact, Thyaagaraaja swami, explicitly reprimanded his disciples if they showed interest in such things.
.
Even the kruthi in kedaragowla by Thyyagaraja ' venugaana' said to be composed by the sathguru for the family deity of his disciple veenai kuppier, is so uncharactristic of the saint, though, it may refer to boy balakrushnan and the ladies treat him just as a talented and charming boy.
.
It may be a spurious kruthi.

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (dEvi navarAtri – 4 – bhArati mAmava – rAga tOdi)

Post by nAdopAsaka »

dEvi navarAtri – 4 – bhArati mAmava – rAga tOdi

The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness).

Language-challenged cretin/s develop an awareness of words…. when it comes to describing the lewd imagery and filth of their own visions.

Are the much-maligned jAvalis/padams (so-called “filthy” words) rendered better by the much-maligned “dEvadAsis” (so-called “filthy” actions) …since they are both in the “guise of god” ? Indeed a whole separate thread (on the nations gems), has been devoted to the foremost of such proponents, showing the inconsistency and ignorance of the dim-witted.

There is NO dis-guising the contempt being shown here for the vAggeyakAras, (by those embittered and alienated by the languages) , during the time of dEvi navarAtri on this mahArAja thread.

bhArati mAmava

This is the ONLY kriti of the mahArAja to use the exact words “karAnguli jAlE” for the vinA playing goddess.

The word tOdi derives from tOdah, as in the sun...and the tOdi rAga mudra is delivered by the icon for the sun =
Sata bhAsura bhUSana lasitE..= saraswati/bharati shines with the brightness of a hundred suns

bhArati mAmava – rAga tOdi

rAdhikA k
https://www.youtube.com/watch?v=Z7ptxs4aHuU

gAyatri V
https://www.youtube.com/watch?v=xwBG4hr24_U

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

Re: Swathi Thirunal

Post by RSR »

What is the use of trying to twist history? A whole set of families were set apart forcibly by kings , big and small, as dancers and singers and were not allowed to lead a normal married life. Were given a glorified name. In reality, they were just preyed upon by the rich and powerful.
A few of them were honoured for their great musical gifts. But, remember, that it was all, post-british reform.
.
It is a fact that a sacred art like classical music was misused for Narasthuthi and profanity.
.
There are any number of Thyagaraja kruthis , condemning such preoccuoation with sensual pursuits.

'Half's never tire of claiming to follow the footsteps of Sri.MD, but can the 'tyre'
give any jaavali by the Trinity?

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (dEvi navarAtri – 5 – janani mAmava – rAga bhairavi )

Post by nAdopAsaka »

dEvi navarAtri – 5 – janani mAmava – rAga bhairavi

The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…(naturally these are NOT for those who are filled with lewdness).

On the 5th day/night of the dEvi navarAtri, the question arises....

Why should "saraswati" be adorned with the rAga bhairavi ?

Because in the mahArAjas vision of the SArada navarAtri, “bhairavi” the word derives from “bha-ra”-na , as in Filling, which happens to be the very idea of the rasa-FILLED goddess = saraswati, known, not coincidentally as bhArati.

Case closed !

The kritis, the music, the ideas & the pujA of the vAggeyakAras is NOT for those who deny their words and choices.

Anyone unfit and undeserving for their messages can and should find other avenues.

janani mAmava – rAga bhairavi


triCUr V ramachandran
https://www.youtube.com/watch?v=qUf4ZOGfjLo

veena r subbalakShmi
https://www.youtube.com/watch?v=KPY-xQAX3AY

vECUr harihara S.
https://www.youtube.com/watch?v=8PSbBOL88wc

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (dEvi navarAtri – 6 – sarOruhAsana jAyE – rAga kAmavardhani/kASi-rAmakriya)

Post by nAdopAsaka »

dEvi navarAtri – 6 – sarOruhAsana jayE – rAga kAmavardhani/kASi-rAmakriya

The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…

The 6th day/night of the 9 day dEvi navarAtri set of the mahArAja marks the last of the kritis on the “saraswati/bhArati” aspect.
The remaining 3 kritis are on the durgA/pArvati aspect.

The rAga mudra for “kAma-vardhani” is embedded in the word “kAma-manju” found in the rarely heard 1st Carana.

However it will be shown in a separate post why the rAga name kAsi-ramakriya is more relvant to the choice made.

sarOruhAsana jAyE – rAga kAmavardhani

gAyatri V
https://www.youtube.com/watch?v=KPkefSGanVc

veena Saranya m
https://www.youtube.com/watch?v=eSAOPuJ83sI

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (dEvi navarAtri – 7 – janani pAhi sadA – rAga devakriyA )

Post by nAdopAsaka »

dEvi navarAtri – 7 – janani pAhi sadA – rAga devakriyA

The Spiritual Heritage of the mahArAja is well illustrated in the dEvi navarAtri kritis…

The 7th day/night of the 9 day dEvi navarAtri set of the mahArAja begins the set of 3 kritis to the durgA/pArvati aspect.

saraswati = good cop, durgA = bad cop

Whereas saraswati destroys (untruth etc) with knowledge, durgA is far less forgiving.

Signaling this transition to the blood-thirsty vengeful dEvi, the asurAs Canda/munda and mahiSAsura are all cited in this kriti.

And the descriptor “padmanAbha sahOdari” makes its appearance.

It will be shown in a separate post why the rAga name dEvakriya is more relevant than Suddha sAvEri.

It is also NOT a coincidence that the rAga dEvakriya is similar to …(you guessed it )…rAga durgA !! of the Hindustani style).

janani pAhi sadA – rAga dEvakriyA

KVN
https://www.youtube.com/watch?v=6QMiTYOmRUo

Pratyaksham Bala
Posts: 4170
Joined: 21 May 2010, 16:57

Re: Swathi Thirunal

Post by Pratyaksham Bala »

saraswati = good cop, durgA = bad cop
What a certification !

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (dEvi navarAtri – 8 – pAhi janani santatam – rAga nAtakuranji)

Post by nAdopAsaka »

dEvi navarAtri – 8 – pAhi janani santatam – rAga nAtakuranji

The Spiritual Heritage of the mahArAja is well illustrated in the dEvi navarAtri kritis…

The 8th day/night of the 9 day dEvi navarAtri set of the mahArAja is the auspicious durgA-aStami.

The kriti “pAhi janani santatam” refers to the ceremony of kanyA puja via “kanyA kubja vAsini”…performed on the aStami.

"kubjikA" is an 8 year old girl and the "kanyA pujA" celebrates the durgA aspect that resides in these young girls who will grow into their roles in later life.

The "8 years old" kanyA's pujA occurs on the aStami = 8th day.

pAhi janani santatam – rAga nAtakuranji

viSnudEv N
https://www.youtube.com/watch?v=HVMAb3HV6ak

dhanyA
https://www.youtube.com/watch?v=tdPZxLcwvaI

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (dEvi navarAtri – 9 – pAhi parvatanandini – rAga Arabhi)

Post by nAdopAsaka »

dEvi navarAtri – 9 – pAhi parvatanandini – rAga Arabhi

The Spiritual Heritage of the mahAraja is well illustrated in the dEvi navarAtri kritis…

The 9th and final day/night kriti of the dEvi navarAtri set of the mahArAja is “pAhi parvatanandini” .

Although addressed to pArvati as parvatanandini , the durgA aspect is preserved as the kEsari-vAhanE ..the lion rider.

The kriti deploys the dwitiya akSara rule, including even within each line as shown

pallavi
pA-hi-parvatanandini! mAmayi pArvanEndu samavadanE
anupallavi
vA-hi-nI taTa nivAsini kEsari vA-ha-nE ditijALi vitaranE
caraNam 1
jam-bha-vairi mukhanatE kari kum-bha-bhIvAkuSa vinatE vara
Sam-bhu-lalAta vilOcana pAvaka sam-bha-vE samadhika vasanE
caraNam 2
kan-ja-daLa nibhalOcanE madhu man-ju-tara mrdubhASaNE mada
kun-ja-ra nAyaka mrdugati manjima bhan-ja-nA Cana mandaragamanE
caraNam 3
Can-Ca-dali lalitAngE tila kAn-Ci-ta SaSadhara kalAnikE nata
van-Ci-nrpAlaka vamsha SubhOdaya san-Ca-yaika krti satata gunAnikE

pAhi parvatanandini – rAga Arabhi

savitA n group
https://www.youtube.com/watch?v=sOuA5l-md-s

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (The mahArAjas dEvi navarAtri kritis – Why and How each of the 9 rAgas are chosen.)

Post by nAdopAsaka »

The mahArAjas dEvi navarAtri kritis – Why and How each of the 9 rAgas are chosen.

There is a logical basis for EACH AND EVERY rAga chosen for the corresponding dEvi navarAtri kriti. This post will show the details. The icons are linked to the Number sequence from 1 to 9.

The first 6 kritis of the dEvi navarAtri are to saraswati = bhArati = vAg-dEvi. The last 3 are to the pArvati/durgA.

prathama
FIRST day/night = rAga 1 Sankara-Abharanam – dEvi jagatjanani

Sankar-Abharana is typically used for the goddess..as a representation of the goddess as Sivas ornament.

But there is a more specific reason the mahArAja applies it to saraswati = bhArati in the first kriti of the navarAtri.

In the scripture, Om is the very first sound that fills (bharana) the universe with welfare (Sankara)

Om = Sankara-bharana ! ..

Sankarabharana (the rAga) as Om = the first sound, is the fitting choice to start the pujA of the goddess of sound and speech, the saraswati/vAk-dEvi.

dwitiya
SECOND day/night = rAga 2 kalyAni – “pAhi mAm Sri vAgiswari”

In the mEla scale classes, there is a PRATHAMA/FIRST half of 1-36 mElas called the pUrvAnga mEla , followed by the DWITIYA/Second half called the uttarAnga mElas 37-72. .

For the second day, the mahArAja has applied the dwitiya/ uttarAnga counterpart of the prathama/purvAnga mElas.

Therefore kalyAni, being the prati-madhyama mEla counterpart of SankarAbharana. is the rAga for second day

tritiya
THIRD day/night = rAga 3 sAvEri - “dEvi pAvanE”

sAveri (the word) derives from sAvitri and therefore from savitur, the sun.

savitur gives the surya-gAyatri mantra, ....recited 3 times a day aka the sandhyAvandana,

This emblem of 3 = tritiya fixes the choice of sAvEri for the third day.

Caturthi
FOURTH day/night – rAga 4 tOdi - “bhArati mAmava”

The word tOdi derives from "tOdaha" an epithet for surya.

In rig vEda 4.58.3, the four horns of agni (CatvAri Srnga) represent the four cardinal directions illuminated by the Sun..They are also interpreted to represent the 4 vEdas.

चत्वारि शृङ्गा त्रयो अस्य पादा द्वे शीर्षे सप्त हस्तासो अस्य
catvāri SrngA trayo asya pAdā dve śīrṣe sapta hastāso asya


saraswati through her “pustaka” icon and as CatvAri vAk swarupa (of the 4-fold speech) is naturally associated with the 4 vEdas.

tOdi, surya, the 4 vEdas and saraswati come together in the Caturthi pujA.

panCami
FIFTH day/night – rAga 5 bhairavi – “janani mAmava”

bhairavi applies to saraswati since both words bhArati and bhairavi share the motif of bhara-na.

But the word “bhairav” ALWAYS signifies the 5 faced deity, the panCa-Anana..

Therefore rAga bhairavi is meaningful for the panCami.

SaSti
Sixth day/night – rAga 6 kASi-rAmakriyA - "sarOruhAsana jAye"

Although the hidden mudra for kAma-vardhani (kAma-manju) appears in the kriti “saOruhAsana jAye”, the more meaningful name driving the choice is kASi- rAmakriyA.

Why ?

Because the number 6 (for SaSti = Sat) also represents the Sat-krama kriyA = the six-fold kriyA, a stringent purification kriyA that is associated with breathing technique in hatha yOga.

The choice of (kASi)-rAma-kriyA becomes clear for the 6th night of saraswati who is also the throat Cakra goddess, controlling breath..…notice also that the word Sat-k-ramakriya embeds the rAga word.

Start of the durgA aspect kritis

saptami
seventh day.night – rAga 7 dEvakriyA – “janani pAhi sadA”

In the scripture, durgA is tasked (kriyA) by her brother viSnu (dEva) to transfer the 7th child (= balarAma) from dEvaki to rOhini etc..

The kriti gives the UNMISTAKEABLE mudra “mahita bAhu bala” indicating this role of durgA in the birth of the SEVENTH child of dEvaki = balarAma.

This SEVENTH child fixes the saptami as well as the rAga dEvakriyA , inaugurating the durgA aspect

Noticeably dEvakriyA is the equivalent of the rAga durgA from the Hindustani style.

aStami
eight day/night – rAga 8 nAtakuranji – “pAhi janani santatam”

The 8th day/night celebrates the kanyA pujA.

Indeed, the UNMISTAKEABLE mudra “kanyA-kubja vAsini” appears.

The reference is to the 8 year old kubjikAs who IMPERSONATE the durgA dEvi and are worshipped as her image.

This IMPERSONATION is a drama = nAtaka (the young girls are acting)

Only a fool (or a knave) can think that the choice of nAtaka-ranji is NOT linked to the aStami for this EXACT reason.

navami
ninth day/night – rAga 9 Arabhi - “pAhi parvatanandini”

Here the lion riding goddess (kEsari-vAhana) might indicate the roar of the lion as well, as in rambhana.

But the rAga Arabhi is chosen because it derives from the word Arambhana = beginning or start or dawn.

The dawn/start mudra appears via “vamSa SubhOdaya” where Subha udaya = auspicious dawn , the nava (= new) day.

Notably “nava” is also the numeral Nine = navami as well as “new”.

It signals the START of the victory celebration that will commence with the next day = the vijaya-daSami.

Summary

There is no reason NOT to expect a careful exercising of rAga choice, especially for a well-planned and meditated navarAtri pujA.

Previously it has been shown that the kAnda-mAlikA “bhAvayAmi raghurAmam” has all 7 rAgas carefully chosen in alignment with the vAlmiki rAmAyana kAndas

See post dated Oct 30, 2021
https://www.rasikas.org/forums/viewtopi ... 95#p373695

And the daSAvatAra rAgamAlika is also shown to have its rAgas chosen aligned with each avatAra name/aspects in post dated Oct 7, 2022

https://www.rasikas.org/forums/viewtopi ... 22#p377722

That the industry, the Travancore institution/school/principals, musicologists, vidwAns, and other academicians of last 200 years are unaware of such organization suggests the following.....

-Understanding the rAga choice is COMPLETELY UNIMPORTANT to the general music “industry”.
-The “industry”, including the kutChEri and music teaching industry lacks the imagination to try to understand the motivations of the vAggeyakAras.
-The words used are simply not comprehended. The “ideas” behind the words are lost.

But this apathy and ignorance does not change the fact that the kritis are Organized, and that there is a definite connection between the rAga used by the kriti and the theme of the kriti, its words and its intent, as visualized by the vAggeyakAra.

And for the nAda-upAsakas, it is understanding this intent that protects the spiritual heritage of the vAggeyakAra.

The nAda-upAsaka thanks the rasikas forum founders and managers for the forum to bring forward these aspects of the kritis of the vAggeyakAras.

satyam Eva jayatE

All 9 kritis of the dEvi navarAtri

Bombay sisters
https://www.youtube.com/watch?v=bgpkejhufVw

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

The celestial cowherd and the yamunA - The mahArAjas tribute to the naukA Caritra

Post by nAdopAsaka »

The celestial cowherd and the yamunA - The mahArAjas tribute to the naukA Caritra

Aaj AyE SyAm mOhana - rAga yaman kalyAn

The kriti is properly only in yaman kalyAn , set on the banks of the yamunA in vrndAvana..
…which is the forest of the mind where each cow finds its cowherd, each gOpi their krSna, each sitA her rAma and each upAsaka their guru.

The nAda-sampradAya finds its expression in the words and ideas of the vAggeyakAras.

Only a degenerate will try to malign this kriti as lewd.

Aaj AyE SyAm mOhana – rAga yaman kalyAn

ganapati bhat
https://www.youtube.com/watch?v=5BKjW3Csvic

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

The para-lalita panCama “parama puruSa” that is beyond the bhUta panCama

Post by nAdopAsaka »

The para-lalita panCama “parama puruSa” that is beyond the bhUta panCama

In the Dikshitars kriti “brhadiSwarim bhajarE”, “lalita panCama” refers to the “panCa brahma swarupa lalitA”, from the 250th name in the sahasranAma.

See https://www.rasikas.org/forums/viewtopi ... 07#p380907

In contrast, the 949th name in the sahasranAma is “panCa bhUtESi”, by which lalitA represents the 5 fundamental elements that together constitute all that is animate and inanimate.

For the mahArAja, “lalita panCama” derives its meaning (and the basis of the rAga choice) from this 949th name.

How ?....Why ?

In fact, the mahArAja reveals his intention in the very first lines of the kriti.

parama-puruSa hrdaya bhAvaya tam, murali nAda vivrta-tara para lalita panCama


Notably the prefix “para” implies the OTHER or what is different (as in para-dESi etc.)

It is not a coincidence that ALL five of the panCa bhUta , the 5 fundamental elements, appear in the first Caranam of the kriti…in almost the same breath !

dEvakI vasudEvAdi divya punya nicayam ,amarAvana niratam ajitam ambu dAkrtim, pAvana tarani tanayOpAnta viracita

vasu – prthvi = Earth (from vasudhA, vasundhara etc)
divya – AkASa
ambu – jala
pAvana – vAyu (from “pavana” the purifying wind)
tarani – agni (from “tarani tanaya” = draupadi born from fire/yagna)

parama puruSa = “para-lalita panCama” is para-bhUta-panCama…
parama puruSa is OTHER than the 5 elements…

The idea is found in the gitA.

gitA 13.23 describes the existence of the paramAtma as the puruSa who is para = OTHER

उपद्रष्टानुमन्ता च भर्त्ता भोक्ता महेश्वरः परमात्मेति चाप्य् उक्तो देहेऽस्मिन् पुरुषः परः
upadraStAnumantA Ca bhartA bhoktA mahESvaraḥ, paramAtmEti Ca api uktO dEhasmin puruSa para


paramAtma is witness, bearer and enjoyer within the dEha ( the body of 5 elements including dahara AkASa the inner space ) but which is puruSa para..as in different..

Naturally the kriti is to the krSna avatAr, given the connection with the gitA.

The kritis, rAgas, choices and words of the vAggeyakAras communicate messages that cannot be limited to or diluted as mere sound-frequency variation exercises.

parama puruSam hrdaya bhAvaya tam muralI nAda vivrta tara para lalita panCamam

bombay jayaSri
https://www.youtube.com/watch?v=UHOM8zU0G_I

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

“dEva mAmayi” in rAga kEdAragaula - SadAnana of harigitapura/haripAd kSEtra – subramanya as the kEdAra-guru

Post by nAdopAsaka »

“dEva mAmayi” in rAga kEdAragaula - SadAnana of harigitapura/haripAd kSEtra – subramanya as the kEdAra-guru

“dEva mAmayi pAhi SadAnana” is the only kriti of the mahArAja to the skanda deity.

And the rAga for this solitary choice is also carefully chosen.

Why ?

kEdAra is the abode of Siva.
gaulA = gaura derives from “guru”….as in the swAmi who en-lightens nAtha = Siva.

( light is associated with the color white, also the emblem of gaulA…see the Dikshitars gaula portion in the Sri viSwanAtham rAgamAlika for example )

Of course the kriti and the rAga word is the reference to the tatva-upadESa of skanda as guru, to the Siva of kEdAra.

The haripAda/harigitapura subramania swAmi kSEtra celebrates precisely this swAmi.

dEva mAmayi pAhi SadAnana – rAga kEdAragaula

BMK
https://www.youtube.com/watch?v=R7eFu-X-ZRM

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

dEvan kE pati indra, rAga pati kAnhara, indras sabhA and mahArAjas darbAri kAnhara

Post by nAdopAsaka »

dEvan kE pati indra, rAga pati kAnhara, indras sabhA and mahArAjas darbAri kAnhara

The mudra = indication/lakSana of darbAri kAnhara is given by the mahArAja in the very first phrase of this superb kriti.

indras sabhA or court = darbAr is known from literature.

Hence the start as dEvan ke pati indra (lord of the dEvas).

Indeed, the Hindi dialect for this kriti is chosen to deliberately emphasize this “darbAri” aspect.

And the rAga name itself implies that which “captures the ear” = kAn-hara. ( Cf. manO-hara etc)

Which is why the mahArAja also says “rAga pati kAn-hara”.

The usage “kAnada” or "kAn-hada" is easily seen as crude, colloquial expressions of the purer “kAn-hara”(or kAnhra).

In fact the Dikshitar “bAlambikAyA param nahi rE” delivers the kAn-hara mudra with the word "kal-hara".
But that will be the subject of another post.

Similarly, the mahArAjas fantastic dEvi kriti “mAmava sadA janani”, will be dealt with in a separate post.

dEvan kE pati – rAga darbAri kAnhara

anurAdha K
https://www.youtube.com/watch?v=nsM3OWiUPag

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

mAmava sadA janani – the kAn-hara kriti where dEvi is the bee that hums in the ears (kAn) of Siva = hara

Post by nAdopAsaka »

mAmava sadA janani – the kAn-hara kriti where dEvi is the bee that hums in the ears (kAn) of Siva = hara

The usage “kAnada” is easily seen as colloquial expression of the purer “kAn-hara” .

Not surprisingly, the mahArAja assigns the dEvi kriti “mAmava sadA janani” in accordance with this idea..

He sings in the very first Carana

pura vimata vadana pankEruha madhupE

dEvi is the honey-bee (madhupE) that buzzes around the face of “pura vimata” = pura-hara

mAmava sadA janani and the 2 tyAgarAja “kAnada” kritis

Indeed the honey-bee idea is common to another kAnada kriti (by the tyAgarAja !)

SrI nArada nAda sarasIruha bhrnga SubhAnga..where nArada is the bee that dances around the source of nAda

In fact the mahArAja also shows the influence of the other kAnada masterpiece of the tyAgarAja.

1. The anupallavi of mAmava sadA janani gives “sOma bimba manOhara sumukhi
and
the tyAgarAja asks “sukhi EvvarO sumukhi evvarO !”

2. And the unending constancy of the vision flows in both vAggeyakAras kritis

In “mAmava sadA janani” - niravadhi bhava khEda nivArana

In “sukhi EvvarO” - nityamaina susvarapu gAnamutO nirantaramu tyAgarAjanuta

In fact the colloquial word usage “kAnada” is also not lost on the mahArAja..

He gives the suCita (inferrable) mudra ( in the style of the Dikshitar ) via

sEvakAkhila kAma dAna nirata katAkSa vilAsini

Why ? How ?

As kAmadA-na – dEvi is fulfiller of wishes and kAmadA is phonetic proxy for word kAnadA.

Case closed.

Again and again, the vAggeyakAras assert their inspiration, their sAdhana , their ideas , their words and their worship through the auspices of this forum and the adoration of the nAda-upAsaka.

It is their destiny. It cannot be denied. It will not be denied.

satyam Eva jayatE

mAmava sadA janani – rAga kAnada

flute KSG
https://www.youtube.com/watch?v=-s0DAlKbeOs

bangalore shankar
https://www.youtube.com/watch?v=lho-bbllZU8

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

the other “mAmava sadA” kriti which is also the other “nAtakuranji” – the (ardhanAri) durgA who adorns Sivas tAndava

Post by nAdopAsaka »

the other “mAmava sadA” kriti which is also the other “nAtakuranji” – the (ardhanAri) durgA who adorns Siva in the tAndava dance of dissolution

mAmava sada varadE (the nAtakuranji) is the twin kriti to mAmava sadA janani (the kAn-hara).

Both kritis are to the mahiSAsura mardini/durgA.

Notably, the mahArAjas other nAtakuranji “pAhi janani santatam” is also to the “Canda munda nASini” durgA.

It will be shown now that 2 key aspects of durgA are covered by the choice of rAga nAtakuranji for these 2 kritis, one in each of these 2 kritis.

“pAhi janani santatam…” is, of course, the celebrated dEvi navarAtri 8th night kriti.

Post dated 19 Oct 2023 on this thread shows that on this 8th night , also known as durgA aStami , young girls IMPERSONATE durgA and are worshipped in her image.

The “kanyA-kubja vAsini” mudra in this dEvi navarAtri kriti is quite clear (unless one is ignorant, blind, deaf , and/or corrupt or all of the above !!).

The “impersonation” gives the = nAtaka = drama = the “act”.

The post is linked here so there is no escape from the truth.
https://www.rasikas.org/forums/viewtopi ... 60#p380460

The Oct 2023 post gives the basis for ALL 9 of rAga choices of the mahArAjas dEvi navarAtri….which (along with several other facts such as the "bhAvayAmi raghurAmam" kAnda mAlikA rAga choice shown in posts here) has ELUDED the establishment, the industry, the “grasping” and ignorant so-called families (royal or otherwise) and paramparAs. The ignorance has even led to confusion about authorship and misattributions.

For "bhAvayAmi rAghurAmam" see post dated Oct. 30, 2021
https://www.rasikas.org/forums/viewtopi ... 95#p373695

Back to “mAmava sadA varadE” and the other key aspect of durgA.

natita nata-ardha - The ardhanAri durgA who adorns Sivas half in the dance of dissolution

Siva (the dancer) does NOT DANCE ALONE in his tAndava at the end of the universe (for asurAs and untruthful).

durgA and Siva always dance as a unified ardhanAri in the dance of dissolution..

Why ?

No less an authority than the Adi Sankara’s mahiSAsura mardini stOtra gives in stanza 10

जय जय जप्य जयेजयशब्द परस्तुति तत्परविश्वनुते
झणझणझिञ्झिमि झिङ्कृत नूपुरशिञ्जितमोहित भूतपते
नटित नटार्ध नटी नट नायक नाटितनाट्य सुगानरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते
jaya jaya japya jaye jaya Sabda para stuti tat para viSwa nutE
Jhana Jhana Jhinjhimi Jhingkrta nupura Sinjita mOhita bhUta patE
natita nattArdha nati nata nAyaka nAtita-nAtya sugAna ratE
jaya jaya hE mahiSAsura mardini ramya kapardini Saila sutE


And this is why "mAmava sadA varadE" is in rAga nAtakuranji... Siva the dancer (the nata) is adorned (ranjita) on one half – nata-ardha by durgA.

The mahiSAsura mardini stOtra line bears repeating for the corrupt and ignorant who might think these are all mere coincidences..(and who would plot to misattribute and disgrace the legacy of the vAggeyakAras)….

natita natArdha nati nata nAyaka nAtita-nAtya sugAna ratE

satyam Eva jayatE

mAmava sadA varadE – rAga nAtakuranji

veena niSa
https://www.youtube.com/watch?v=CL95kN-LC8g

s mahati
https://www.youtube.com/watch?v=nTUkMQ3wuHo

bangalore brothers
https://www.youtube.com/watch?v=vS7HMbxikSs

violin parasuram
https://www.youtube.com/watch?v=t7aW0eDdUO8

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

bhAvayE gOpabAlam – the kriti that gives rAga mudras for both names kAlindi & puSpalatikA

Post by nAdopAsaka »

bhAvayE gOpabAlam – the kriti that gives rAga mudras for both kAlindi & puSpalatika – where the gOpis adorn the banks of the river kAlindi like flowers on a meandering vine

bhAvayE gOpabAlam - rAga puSpalatika ( older name kAlindi )

the name kAlindi identifies with yamunA as the sister of yama = kAla

But on a happier note it is the river of the rAsa lila of the celestial cowherd.

The rAga kAlindi is used by the mahArAja to celebrate the gOpa bAla and in particular the rAsa lila on its banks.

The mahArAja gives the older name directly as rAga mudra in Carana 3 when he says

kAlindI divya pulina krta rAsa pramuditam

Some texts indicate another name of the rAga as “puSpalatikA”.

Interestingly the mahArAja also captures the essence of this name “puSpa-latikA”.

Why ?

Because...
puSpa-latika is appropriate as a synonym for kAlindi , when the ancient river is itself seen as meandering like a vine (= creeper = latikA)…..And whose flowers (puSpa) are the gOpis on its banks (pulina) whose rasa is sipped by the amorous cowherd/honeybee !

bhAvayE gOpabAlam - rAga kAlindi = puSpalatikA

Sarmila s
https://www.youtube.com/watch?v=gVJQhKtFmX8

violin anil K
https://www.youtube.com/watch?v=vbSwXAIbezU

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

sisa gang bhasma ang ardhAng gaurI sang – the ardhanAri Siva who possesses the Sri dEvi – dhanaSri

Post by nAdopAsaka »

sisa gang bhasma ang ardhAng gaurI sang – the ardhanAri Siva who possesses the Sri dEvi – dhanaSri

The mahArAja distils the essence of rAga dhana-Sri not only in music but in idea..

No elaborate or self-indulgent khayAl (or call) of any muezzin etc. is needed to crystallize the dESya rAga.

The “ang” of Siva – his manifestations

The supreme padmanAbha devotee summarizes the “ang” of Siva

The profoundly elegant kriti thrives on the poets view of the word limb = ang (anga) , which every where is seen as the manifestation of Siva..

sisa-gang - as gangA from his head
bhasma-ang - as the ash he smears on his limbs
ardha-ang - as gauri of half his body
var tur-ang - as the bull that he rides
bic-kur-ang – as the deer he holds
Carm mrg mat-ang – the elephant skin he wears
bhuj-ang – as the great serpent that adorns him

Fittingly, the rAga is dhanaSri which ALSO reinforces that the dEvi is an “ang” of Siva.

Why ?

Because dhana = wealth that is POSSESSED

And

dhana-Sri is the dEvi united with Siva

Indeed the rAga name ”dhanaSri” itself refers properly to the ardhAng Siva conjoined with his wealth = Sri.

sisa gang bhasma ang ardhAng gaurI sang
varadAkE var turang AtApa bhang jag kE

antara 1
sadA nang bharA rang bhUSan kE bhaya bhujang
odhE Carm mrg matang sang kijO pag kE

antara 2
hatAnang krpApAng dhArE hAth bich kurang
vAs kinhO hrdaykamal padmanAbh prabhu kE


sisa gang – rAga dhanASri

gEyam
https://www.youtube.com/watch?v=pVeWK0HbjO8

madhu M
https://www.youtube.com/watch?v=iqmjt0rVQa0

sam
Posts: 255
Joined: 04 Mar 2020, 20:25

Re: Swathi Thirunal

Post by sam »

Lalitha pancjamam
.
Indian classical music and film songs: SELECTED RAGAM: LALITHA PANCHAMAM


https://saidvk.blogspot.com/2013/04/sel ... hamam.html.
A janya raagam
.
"Parama Purusham (Swathi Sangeethotsavam. Kuthiramalika).
Prince Raama varma
..
https://youtu.be/TfQvhAnGhyw?si=Ty7BaUd1kWz058Yb


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nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Why the mahArAja created the rAga mOhana-kalyAni but NOT the rAga kalyAna-mOhana

Post by nAdopAsaka »

Why the mahArAja created the rAga mOhana-kalyAni but NOT the rAga kalyAna-mOhana

The three syAnandUra “sEvE” kritis of the mahArAja have a unique connection.

At syAnandUra (tiru-anantapuram) , the mahArAjas invention/discovery mOhanakalyAni “sEvE SrikAntam” is well known.

sEvE SrIkAntam- mOhanakalyAni

is discussed in post dated Jul 26, 2023
https://www.rasikas.org/forums/viewtopi ... 59#p379859

What is less well known (or perhaps not at all) is that there are 2 other kritis (at syAnandUra) with the same starting word and which are in the 2 rAgas, that when combined , produce the mOhanakalyAni.

sEvE syAnandUrESwara- kalyANi
sEvE SrI padmanAbham- mOhana

The rAga mOhana-kalyAni relies on the musical scale of mOhana for the ArOhana and the musical scale of kalyAni for the avarOhana.

The mahArAja in his wisdom did NOT choose to create a rAga with ArOhana in kalyAni and mOhana in avarOhana…

Of course there are all kinds of fusion experiments ongoing and possible, all completely irrelevant to the nAda-upAsaka/s and to the mahArAja.

The simplest reason the mahArAja did not investigate the inverted scales to create a “kalyAna-mOhana”, is that one cannot achieve or receive kalyAna (welfare etc) without first invoking the lords Name..so only mOhana could appear first.

sEvE SrI padmanAbham - rAga mOhana

sitAlakSmi
https://www.swathithirunal.in/htmlfile/326.htm

Pratyaksham Bala
Posts: 4170
Joined: 21 May 2010, 16:57

Re: Swathi Thirunal

Post by Pratyaksham Bala »

Swathi Thirunal - Chalamela - Sankarabharanam
Chembai
https://youtu.be/AMzzDhv41ak?si=pT0wYOG9lhpn3S6F

nAdopAsaka
Posts: 965
Joined: 20 Jul 2020, 17:05

Why are the 5 panCa bhUta icons concealed in “CalamEla jEsEvurA” ?

Post by nAdopAsaka »

Why are the 5 panCa bhUta icons concealed in “CalamEla jEsEvurA” ?

The simple looking varnam/kriti “CalamEla jEsEvurA” in the rAga Sankara-Abharana conceals the 5 fundamental elements..

Calam-Ela jEsEvurA sarasaku rA sAmi
jalajAkSudaina Cakkani sarasijanAbha
pApa jAti mArudu


Cala = Wind
vur (or ur) = prthvi (e.g. tanjA-vur = tanja-bhU)
jala = water
nAbh = AkASa (from nabh or nAbhas etc)
mArudu = agni ( from the vernacular for fire of kAma)

The rAga mudra

It can be seen as well that because

sarasija-nAbha – the lotus that adorns viSnu
and
lotus = sarasija = padma is symbol of lakSmi – the goddess of welfare and prosperity (among other icons)

therefore “sarasija-nAbha” itself is icon for “Samkara-Abharana”

So the natural question is..

Why are the 5 fundamental elements concealed in this (short) kriti ?

The answer

In the garuda purAna, agastya samhita Chap. 32, viSnu is described as panCa-tatva and given 5 names ( vAsudEva, sankarSana, pradyumna , aniruddha and nArAyana)

It is possible to identify each one of these names/aspects with a distinct bhuta !

Why does any of this matter ?

To almost everyone it does not.

Indeed, it is a fair assumption that the discovery of these concealed panCa bhUta in this rather widely taught kriti has eluded EVERYONE until today.

But to some, it says that this so-called varnam, diminished as a “teaching tool” is also an aspect of the deep worship of the mahArAja , the supreme padmanAbha devotee.

CalamEla jEsEvura- rAga SankarAbharana

padma vaikom

https://www.youtube.com/watch?v=BUtuH2n5F-I

https://www.youtube.com/watch?v=T5zXVh5TzpM

sam
Posts: 255
Joined: 04 Mar 2020, 20:25

Re: Swathi Thirunal

Post by sam »

"M. S. Subbulakshmi
-shrI kumAra nagarAlayE
- aThANa -
swati TirunaL"


https://youtu.be/A2v2EdDziDo?si=iOnxJWiLwqs7Cdt0

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