The sixth episode of the above series was held at Tatwaloka Auditorium, Eldams Road on 28 July 2013 at 6 PM. I attended the programme and I am happy to share the proceedings for the benefit of those who could not attend.
The Chief Guest of the day was Sangeetha Kala Acharya Prof T.R.Subramaniam who had been blessing this programme with his presence from the first episode. In his address, he thanked Gayathri for undertaking this project through which the high philosophical, musical, religious content in Dikshithar kritis are reaching the rasikas at large. He also shared his experience while working as a member of the Committee in the Ministry of Cultural Affairs who has got the powers to sanction such projects. He said that barring one or two members, all the others will be from the north of Vindhyas, and any project or foreign tour for musicians will naturally go to their afficianodos only and TRS, while he was in the Committee, had to fight for inclusion of Carnatic vidwans to get the benefit extended by the Govt of India. He said that all Carnatic music lovers should be thankful to Nandini Ramani for her support for this programme. He complimented Gayathri Girish for the efforts and sincerity in which she is preparing the project and pursuing the subject Gayathri Girish expressed her thanks to all the teachers and musicians who have given valuable guidance to her in running the project.
List of songs rendered
Mahaganapathe Palayaasumam in Natanarayani.
Chinthaye Mahalingamoorthim - Paras.
Thirunavukkarasar Thirukkurunthogai –Bhairavi.
Sree Vaanchanaatham - Suruti
Slokam - Nata.
Mallal valam kanintha - Nata.
Slokam - Begada
Thyagarajaya Namasthe-Begada
Varnam- Valachi vachhi naanura - Hindolavasantham - Rupaka talam composed by Ramaswami Deekshithar
Thyagaraja Palayasumam - Gowla
Thyagarajena Samrakshithoham - Salagabhairavi. .
Thiruthaandakam of Thirunaavukkarasar - Harikambodi
Veera vasantha Thyagaraja - Veeravasantham
Kanula panduga nedu - Bilahari -composed by Shahaji Maharaja.
Thyagarajam bhajare - Yadukulakambodi
After a brief recap of the previous episodes, Gayathri commenced the sixth episode. The first song presented was Mahaganapathe Palayaasumam in Natanarayani. This ragam is the janya of 28th Mela Harikedaragowla in the Asampoorna paddhathi.The discussion on Umamaheswara Murthy continued from the previous episode.
The temple of Thiruvidaimaruthoor was taken up for discussion. This temple is very important temple for Siva on many aspects. Siva is called Mahalingeswarar in this temple and the Ambal Brihadkujambal. It is said that the lingam in this temple was worshipped by Lord Siva himself. The prakaras, sannidhis,drawings,murals in the temple were shown by Power point presentation. Geographically, it occupies the centre space among all the Siva temples in the State. If you take an aerial view of the TN, this temple will occupy the place of the Garbhagraham. Other temples like Tiruvarur, Chidambaram, Seergazhi and Swamimalai will form the parivara sthalams. This temple is called Madhyarjunam or Idaimaruthoor. The Mallikarjuna temple in Srisailam is the Thalaimaruthoor and Sphutarjunam temple near Ambasamudram is Kadaimaruthoor. This temple is a parihaara sthalam for various doshams. The story of King Varaguna Pandyan is relevant in this context. The king got Brahmahathi dosham and was mentally affected. He was asked to worship in this temple for removal of the dosham. It is said that when Varaguna Pandyan entered the temple, the brahmahathi waited outside the entrance, as it could not enter the temple. The king left through the back door and the brahmahathi could not get the king. It is said that the brahmahathi is still waiting outside the temple. Hence even now people enter the temple from the front gate and leave the temple through the back gate. There is a sannidhi for Mookambika also. The theertham is called Karunaarasatheertham. The song presented was Chinthaye Mahalingamoorthim in the ragam Paras. Gayathri Girish explained how the raga is given in Sangeetha Sampradaya Pradarshini and she sang as per the description in the SSP which was different from the normal version we hear. She also demonstrated the present day version. It is also said that Adi Sankara got the approval from the lord of this temple for his Advaitha Siddhantha. This was followed by Thirunavukkarasar Thirukkurunthogai – Kaniyilumkatti patta karumbinum which was rendered very beautifully in the ragam Bhairavi. Mysore Srikanth’s alapana of Bhairavi was very sweet - as kattipatta karumbu.
The next temple taken up was Sree Vanchiyam near Nannilam. Vanchai means compassion and the lord is said to be karunamoorthy. Siva is called Sree Vaanchanathar here and his consort is Mangalambal. This is the place where Lakshmi expressed to Siva her desire to marry Vishnu. It is also called Bhookailasam as Siva left Kailasam and settled in this temple. The theertham is called Guptha Gangaior Muni theertham – it is considered to be sacred than Ganges, and Ganga is said to have washed her sins off by dipping in this river. It is called Muni Theertham because it is said that Agasthiar Muni has brought this theertham to the earth. This place is called Gandharanyam because the temple is situated in the midst of Sandalwood forest. There is a sannidhi for Yamaraja and Yoga Bhairavar (Bhairavamurthy in a sitting calm posture) in this temple. The song presented on this temple was Sree Vaanchanaatham in Suruti. Vijayalakshmi played an excellent alapana of Suruti in Veena. To be contd.....
MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
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CRama
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MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
Last edited by CRama on 30 Jul 2013, 20:35, edited 1 time in total.
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CRama
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Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
Contd......
The next murthy taken up was Somaaskandamurthy. Somaasakanda means sa uma and skanda. We have seen the icon of Somaaskanda- Siva and Parvathi sitting with child Muruga sitting in between. The various forms of this murthy as seen in different temples were shown in the PP. This form is unique to TN and this form was popularised by Pallavas in the stone sculptures which was later followed by many artists of different genres. The most famous idol is Somaaskandar on Rishabha vaahanam. The two Somaaskanda Kshetrams are Tiruvarur and Kancheepuram. Gayathri took up the temple of Tiruvarur for detailed exploration. Tiruvarur is mukthi kshetram- janaanaam mukthi. If you are born in Tiruvarur you will get mukthi. The presiding diety, Valmikanathar and Uthsavar is Thyagesar and Ambal Neelothpalambal. Kamalambal is in yogic form and has got a separate sannidhi in this temple. The theertham is called Kamalalayam. Dikshithar has composed Thyagaraja vibhakthi kritis, Neelothpalamba group kritis and Kamalamba Navavaranam and songs on all the dieties in this temple. There are 108 lingams worshipped by saints and devatas installed in this temple. Yama Bhagavan is worshipped as Chandikeswarar in this temple. There are many explanations for the lord being called as Thyagesar. Because he left his abode - Kailasam and settled in Bhoolokam (Thyagam) he is called Thyagesar. Another interpretation is he is the king here. Yet another interpretation is Thyagam is the route for Moksham. He is also called Veethi vitankar. Vitankar means that which is not touched by a sculptor or uli’’. Here Valmeekanathar is swayambhu- not created by any sculptor. Another meaning for Vitankar is because Siva swallowed the visham (vitam), vita+angar- vitangar.
The main murthy is Valmikalingam- lingam which came from a puttru. There is no abhishekam for this linga. The abhishekam is for the Margathalingam which is adjacent to Valmikalinga. The body of the lord is full of Manthra, thanthra, tantric implications. Hence it is not visible. The body is well decorated by 21 parivattams, host of garlands, jewels, pearls, etc and his attire befits a king. The Simhasanam of the lord is of gold studded with diamonds and rubies. It is supported by four lions. The lord is having two swords- (ghadgam)- one is veera ghatgam and another jnaana ghatgam. Normally, the body of Thyagesar is not visible- only face is visible. But on two days in a year- Panguni Uthram and Ardra Darisanam, the right foot of Thyagesar and left foot of Ambal is available for Darisanam. This is called Ekapada Darisanam. During the Darisanam, we can see a snake below the foot of Thyagesar which denotes Kundalini sakthi and a lotus below the foot of Ambal which denotes Mooladhara chakram.
Venkatamakhin, in his book Chaturdandiprakasika, composed the first slokam on Thyagarajar. Gayathri rendered this slokam in Nata. This was followed by a song of Kumaraguruparar. Mallal valam kanintha in the same ragam.
Regarding the idol of Somaskandamurtrhy, there are many stories. Vishnu prayed to Lord Siva for getting a son. Vishnu requested Viswakarma to make an idol for his worship. Viswakarma made the idol of Somaskandamurthy and Vishu kept the idol on his chest and worshipped. Thus Manmadha was born. But Vishnu did not worship Sakthi. So Sakthi gave a curse that the son will not live long. Vishnu prayed for withdrawal of the curse and then Sakthi gave the boon that the son will be born again and will be chiranjeevi. Ajabaanatanam in the temple during the festival is very famous. This denotes hamsavidya – Inhaling and exhaling of air-(aham and sa) –This is symbolic of Vishnu keeping the idol on his chest and doing the puja. During the natanam, the swing of the vahanam will resemble the movement of the chest during breathing.
Once Indra had to fight with an Asuran called Varkali and he sought Vishnu’s help. Vishnu gave the murthy of Somaskanda. With the blessings of Siva he killed Varkali and thereafter he continued to worship Somaskanda Murthy.
There was an asura called Valan who was a threat to Indra. Valan had got a boon that a deva together with a human only can kill him. So Indra sought the support of Muchukunda Maharaja to kill Valan. Valan was killed and Indra was ready to offer anything as a gift to Muchukunda Maharaja. Maharaja asked for the Somaskanda Murthy idol worshipped by Indra. Indra said that he has to seek the consent of Vishnu and asked the Maharaja to come the next day. Meanwhile Indra made seven lookalike Murthys to confuse the Raja. But the Raja was blessed by Siva and he identified the original Murthy. Then Indra understood the greatness of the Raja and gave him all the seven Murthys. Muchukunda Maharaja took all the seven Murthys and installed in seven places. The original Murthy was installed in Tiruvarur and other Murthys installed in various places called Saptha Vidangar. Gayathri Girish rendered a slokam composed by Dr.V.Raghavan on the diety of Tiruvarur in a lilting Begada. followed by the kriti Thyagarajaya Namasthe in Begada.
Ramaswami Dikshithar, father of Muthuswamy Dikshithar codified the temple festivals, rituals and temple music of Tiruvarur. He specified the name of the instruments to be played at specific time, the songs to be played in each gate and various times etc and also composed many songs and varnams on Thyagesar. Gayathri Girish rendered a varnam –Valachi vachhi naanura - composed by Ramaswami Deekshithar in the ragam Hindolavasantham set to Rupaka talam. Hindolavasantham is the janya of 20th Mela- Nareereethigowla. Gayathri also demonstrated the prayogas specific to the raga under both Tyagarajar and Deekshithar schools. Even today, this varnam is played in the bari nayanam when the lord reaches Kizhakku veedhi in the procession. There is a book called Thyagaraja Leelaigal containing 364 leelaigal of Thyagesar. Gayathri rendered Thyagaraja Palayasumam in Gowla and Thyagarajena Samrakshithoham in Salagabhairavi. The Salagabhairavi of MD is slightly different from the same raga in the Thyagaraja school in the employment of specific prayogams. The origin of the Tiruvarur temple is not known. Gayathri rendered the Thiruthaandakam of Thirunaavukkarasar in the ragam Harikambodi in which the saint is asking the lord when this temple was established citing references to his various leelaigal. Gayathri also rendered a rare song of MD in the ragam Veeravasantham- Veera vasantha Thyagaraja.
Maharaja Shahaji of Tanjore was a great devotee of Thyagesar. He has composed many songs, operas, Sthothrams and other works in praise of Thyagesar. Gayathri rendered the kriti in Bilahari- Kanula panduga nedu composed by Shahaji. It describes the Pradosha kala Puja in the temple in which various gods sing and play various instruments to the cosmic dance of Lord Siva. The song has good structure and raga bhavam. Surprising that his compositions have not entered concert platform. Gayathri concluded the episode with Thyagarajam bhajare in the ragam Yadukulakambodi.
The PP presentation needs special mention. Gayathri Gireesh has taken pains to collect the paintings, murals depicting the stories as seen in the temples and were shown in the PP at appropriate places. The pictures by musician-painter S.Rajam were very beautiful. The iconographic details, lyrics of the sahithyam and the pictures enhanced the effectiveness of the presentation. The accompanists (Mysore Srikanth, Mannarkoil Balaji and Vijayalakshmi) played their role with good understanding. The series has received the patronage of music lovers to the extent that most of the listeners are permanent attendees for the programme. The conception and execution is unique. The programme throws light on many temples, stories around the temples and deities, and introduces us to many rare kritis of Muthuswami Dikshitar and also of saivaite savants. Gayathri Gireesh ensures that the minimal employment of manodharma sangeetham do not dampen the listener’s interest.
The programme concluded at 8.45 PM.
The next murthy taken up was Somaaskandamurthy. Somaasakanda means sa uma and skanda. We have seen the icon of Somaaskanda- Siva and Parvathi sitting with child Muruga sitting in between. The various forms of this murthy as seen in different temples were shown in the PP. This form is unique to TN and this form was popularised by Pallavas in the stone sculptures which was later followed by many artists of different genres. The most famous idol is Somaaskandar on Rishabha vaahanam. The two Somaaskanda Kshetrams are Tiruvarur and Kancheepuram. Gayathri took up the temple of Tiruvarur for detailed exploration. Tiruvarur is mukthi kshetram- janaanaam mukthi. If you are born in Tiruvarur you will get mukthi. The presiding diety, Valmikanathar and Uthsavar is Thyagesar and Ambal Neelothpalambal. Kamalambal is in yogic form and has got a separate sannidhi in this temple. The theertham is called Kamalalayam. Dikshithar has composed Thyagaraja vibhakthi kritis, Neelothpalamba group kritis and Kamalamba Navavaranam and songs on all the dieties in this temple. There are 108 lingams worshipped by saints and devatas installed in this temple. Yama Bhagavan is worshipped as Chandikeswarar in this temple. There are many explanations for the lord being called as Thyagesar. Because he left his abode - Kailasam and settled in Bhoolokam (Thyagam) he is called Thyagesar. Another interpretation is he is the king here. Yet another interpretation is Thyagam is the route for Moksham. He is also called Veethi vitankar. Vitankar means that which is not touched by a sculptor or uli’’. Here Valmeekanathar is swayambhu- not created by any sculptor. Another meaning for Vitankar is because Siva swallowed the visham (vitam), vita+angar- vitangar.
The main murthy is Valmikalingam- lingam which came from a puttru. There is no abhishekam for this linga. The abhishekam is for the Margathalingam which is adjacent to Valmikalinga. The body of the lord is full of Manthra, thanthra, tantric implications. Hence it is not visible. The body is well decorated by 21 parivattams, host of garlands, jewels, pearls, etc and his attire befits a king. The Simhasanam of the lord is of gold studded with diamonds and rubies. It is supported by four lions. The lord is having two swords- (ghadgam)- one is veera ghatgam and another jnaana ghatgam. Normally, the body of Thyagesar is not visible- only face is visible. But on two days in a year- Panguni Uthram and Ardra Darisanam, the right foot of Thyagesar and left foot of Ambal is available for Darisanam. This is called Ekapada Darisanam. During the Darisanam, we can see a snake below the foot of Thyagesar which denotes Kundalini sakthi and a lotus below the foot of Ambal which denotes Mooladhara chakram.
Venkatamakhin, in his book Chaturdandiprakasika, composed the first slokam on Thyagarajar. Gayathri rendered this slokam in Nata. This was followed by a song of Kumaraguruparar. Mallal valam kanintha in the same ragam.
Regarding the idol of Somaskandamurtrhy, there are many stories. Vishnu prayed to Lord Siva for getting a son. Vishnu requested Viswakarma to make an idol for his worship. Viswakarma made the idol of Somaskandamurthy and Vishu kept the idol on his chest and worshipped. Thus Manmadha was born. But Vishnu did not worship Sakthi. So Sakthi gave a curse that the son will not live long. Vishnu prayed for withdrawal of the curse and then Sakthi gave the boon that the son will be born again and will be chiranjeevi. Ajabaanatanam in the temple during the festival is very famous. This denotes hamsavidya – Inhaling and exhaling of air-(aham and sa) –This is symbolic of Vishnu keeping the idol on his chest and doing the puja. During the natanam, the swing of the vahanam will resemble the movement of the chest during breathing.
Once Indra had to fight with an Asuran called Varkali and he sought Vishnu’s help. Vishnu gave the murthy of Somaskanda. With the blessings of Siva he killed Varkali and thereafter he continued to worship Somaskanda Murthy.
There was an asura called Valan who was a threat to Indra. Valan had got a boon that a deva together with a human only can kill him. So Indra sought the support of Muchukunda Maharaja to kill Valan. Valan was killed and Indra was ready to offer anything as a gift to Muchukunda Maharaja. Maharaja asked for the Somaskanda Murthy idol worshipped by Indra. Indra said that he has to seek the consent of Vishnu and asked the Maharaja to come the next day. Meanwhile Indra made seven lookalike Murthys to confuse the Raja. But the Raja was blessed by Siva and he identified the original Murthy. Then Indra understood the greatness of the Raja and gave him all the seven Murthys. Muchukunda Maharaja took all the seven Murthys and installed in seven places. The original Murthy was installed in Tiruvarur and other Murthys installed in various places called Saptha Vidangar. Gayathri Girish rendered a slokam composed by Dr.V.Raghavan on the diety of Tiruvarur in a lilting Begada. followed by the kriti Thyagarajaya Namasthe in Begada.
Ramaswami Dikshithar, father of Muthuswamy Dikshithar codified the temple festivals, rituals and temple music of Tiruvarur. He specified the name of the instruments to be played at specific time, the songs to be played in each gate and various times etc and also composed many songs and varnams on Thyagesar. Gayathri Girish rendered a varnam –Valachi vachhi naanura - composed by Ramaswami Deekshithar in the ragam Hindolavasantham set to Rupaka talam. Hindolavasantham is the janya of 20th Mela- Nareereethigowla. Gayathri also demonstrated the prayogas specific to the raga under both Tyagarajar and Deekshithar schools. Even today, this varnam is played in the bari nayanam when the lord reaches Kizhakku veedhi in the procession. There is a book called Thyagaraja Leelaigal containing 364 leelaigal of Thyagesar. Gayathri rendered Thyagaraja Palayasumam in Gowla and Thyagarajena Samrakshithoham in Salagabhairavi. The Salagabhairavi of MD is slightly different from the same raga in the Thyagaraja school in the employment of specific prayogams. The origin of the Tiruvarur temple is not known. Gayathri rendered the Thiruthaandakam of Thirunaavukkarasar in the ragam Harikambodi in which the saint is asking the lord when this temple was established citing references to his various leelaigal. Gayathri also rendered a rare song of MD in the ragam Veeravasantham- Veera vasantha Thyagaraja.
Maharaja Shahaji of Tanjore was a great devotee of Thyagesar. He has composed many songs, operas, Sthothrams and other works in praise of Thyagesar. Gayathri rendered the kriti in Bilahari- Kanula panduga nedu composed by Shahaji. It describes the Pradosha kala Puja in the temple in which various gods sing and play various instruments to the cosmic dance of Lord Siva. The song has good structure and raga bhavam. Surprising that his compositions have not entered concert platform. Gayathri concluded the episode with Thyagarajam bhajare in the ragam Yadukulakambodi.
The PP presentation needs special mention. Gayathri Gireesh has taken pains to collect the paintings, murals depicting the stories as seen in the temples and were shown in the PP at appropriate places. The pictures by musician-painter S.Rajam were very beautiful. The iconographic details, lyrics of the sahithyam and the pictures enhanced the effectiveness of the presentation. The accompanists (Mysore Srikanth, Mannarkoil Balaji and Vijayalakshmi) played their role with good understanding. The series has received the patronage of music lovers to the extent that most of the listeners are permanent attendees for the programme. The conception and execution is unique. The programme throws light on many temples, stories around the temples and deities, and introduces us to many rare kritis of Muthuswami Dikshitar and also of saivaite savants. Gayathri Gireesh ensures that the minimal employment of manodharma sangeetham do not dampen the listener’s interest.
The programme concluded at 8.45 PM.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
CRama - awesome report - almost like watching the program. Kudos to Smt. Gayathri for achieving and maintaining unform excellence in these presentations.
We have discussed the legend of tyAgESar in the form of a nindA stuti from Papavinasham Mudaliar, and the ajapa naTanam as well - when the lord dances in mahAvishNu's heart during the pauses as he is chanting/performing the japam on Siva.
We have discussed the legend of tyAgESar in the form of a nindA stuti from Papavinasham Mudaliar, and the ajapa naTanam as well - when the lord dances in mahAvishNu's heart during the pauses as he is chanting/performing the japam on Siva.
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mahavishnu
- Posts: 3341
- Joined: 02 Feb 2010, 21:56
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
Thank you CRama. Awesome and comprehensive report as we have come to expect from you!
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satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
* Gayathri Gireesh continues with her mission of taking us on a Musical Pilgrimage .
* Those who have not visited such shrines have the virtual feeling of being there.
* For certain folks who had not noticed the significance &details of the temple..rituals etc.,during their visit, after listening to the presentation ,I am sure they will try to revisit the place/the idea they originally had.e.g., Tiruvidaimarudur one has to exit from rear gate.""If you take an aerial view of the TN, this temple will occupy the place of the Garbhagraham. Other temples like Tiruvarur, Chidambaram, Seergazhi and Swamimalai will form the parivara sthalams. "".Dikshidhar had brought into this in the sahithyam respectively sri kamalapura somaskandam,Chidambareshwara natananandam,Sri kalisa (Seerkali)Bhairava spandam &Swami(malai)saila somaskandam.
*singa kinaru is a feature.The place offers recovery from mental disorder.
* GG pointed out how Dikshidhar had brought the raga mudra in "Chintaye Mahalingam"in Paras in 'antharanga bhaktha jananaam athi sameePA RUJU marga.."
* Those who have not visited such shrines have the virtual feeling of being there.
* For certain folks who had not noticed the significance &details of the temple..rituals etc.,during their visit, after listening to the presentation ,I am sure they will try to revisit the place/the idea they originally had.e.g., Tiruvidaimarudur one has to exit from rear gate.""If you take an aerial view of the TN, this temple will occupy the place of the Garbhagraham. Other temples like Tiruvarur, Chidambaram, Seergazhi and Swamimalai will form the parivara sthalams. "".Dikshidhar had brought into this in the sahithyam respectively sri kamalapura somaskandam,Chidambareshwara natananandam,Sri kalisa (Seerkali)Bhairava spandam &Swami(malai)saila somaskandam.
*singa kinaru is a feature.The place offers recovery from mental disorder.
* GG pointed out how Dikshidhar had brought the raga mudra in "Chintaye Mahalingam"in Paras in 'antharanga bhaktha jananaam athi sameePA RUJU marga.."
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satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
contd.,
*" Paras is an ancient Raga of Persian origin."Swarakshara prayogam in charanam".
* in Sri vanchiyam there is a separate sannidhi for Yama .One must visit this first before going to other sannidhiis.
* In Vanchanatham -surati kriti MD has employed Raga mudra "BhooSURA Tika dhedithey.
*Tiruvarur-."" The body of the lord is full of Manthra, thanthra, tantric implications. Hence it is not visible.""The priests performing puja should possess high level of knowledge to have obtained Diksha through Guru parampara.*"Arunachala kavirayar has composed "Thiagaraja vannam".
In the kriti "Thiagaraja palayasumam her handling a sangithi@ "Thiagaraja"reminds me of spuritham of TNS.
*Mukunda Sahasranamam &Muchukunda sahasranamam are very special to this temple.
*aka da thi thriregathma she told the words contains sukshmam of Sri Vidhya upasaka.
* She quoted Prof. sambamuthy "hari kamboji is in the safe hands of Othuvar perumakkal"
*8 flags are hoisted symbolising ashta dik balakas.
*Suptha vida sthalams.
1. Tiruvarur 2.Thirunallar,3.Nagapattinam,4 Thiruvaymul,5......6.thirumaraikadu...7...
*" Paras is an ancient Raga of Persian origin."Swarakshara prayogam in charanam".
* in Sri vanchiyam there is a separate sannidhi for Yama .One must visit this first before going to other sannidhiis.
* In Vanchanatham -surati kriti MD has employed Raga mudra "BhooSURA Tika dhedithey.
*Tiruvarur-."" The body of the lord is full of Manthra, thanthra, tantric implications. Hence it is not visible.""The priests performing puja should possess high level of knowledge to have obtained Diksha through Guru parampara.*"Arunachala kavirayar has composed "Thiagaraja vannam".
In the kriti "Thiagaraja palayasumam her handling a sangithi@ "Thiagaraja"reminds me of spuritham of TNS.
*Mukunda Sahasranamam &Muchukunda sahasranamam are very special to this temple.
*aka da thi thriregathma she told the words contains sukshmam of Sri Vidhya upasaka.
* She quoted Prof. sambamuthy "hari kamboji is in the safe hands of Othuvar perumakkal"
*8 flags are hoisted symbolising ashta dik balakas.
*Suptha vida sthalams.
1. Tiruvarur 2.Thirunallar,3.Nagapattinam,4 Thiruvaymul,5......6.thirumaraikadu...7...
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CRama
- Posts: 2939
- Joined: 18 Nov 2009, 16:58
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
Satyabalu, thanks for the minute details you have added.
You are right. Gayathri takes us on a pilgrimage to these temples. I had visited Tiruvidaimarudur, Tiruvarur only last year. Now after hearing this programme, I feel like visitng those places again, as I was not aware about many things when I visited those places.
You are right. Gayathri takes us on a pilgrimage to these temples. I had visited Tiruvidaimarudur, Tiruvarur only last year. Now after hearing this programme, I feel like visitng those places again, as I was not aware about many things when I visited those places.
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priyaram78
- Posts: 393
- Joined: 03 Feb 2010, 08:57
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
Thanks CRama for sharing in detail, the whole thematic concert for distant rasikas like me. My parents attended this concert and as mentioned by all above, they said, it was very informative. Gayathri is a dedicated vocalist who presents her concerts well. All the kritis selected by Gayathri were apt and there was not a dull moment. Overall an interesting concert.
Wishing her the best, and wish to address her as Dr. Gayathri Girish. Its a dream come true.
Wishing her the best, and wish to address her as Dr. Gayathri Girish. Its a dream come true.
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ganeshkant
- Posts: 963
- Joined: 05 Feb 2010, 11:59
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
CRama,how meticulous & sincere U r.I too enjoyed the program.It is sad that I had to leave when she took up sAlaga bhairavi for reasons already explained to U.Hope in the next episode I sit by your side for the whole program enjoying ur companionship.
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satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
* Based on the feedback received I seek to supplement the following missing links in my earlier post:-
* The significance of mention about "Simhasanam' in Dikshidhar kritis.
The Simhasanam of the Lord at Tiruvarur is very significant. It is known by several names like " Mantra Simhasanam", "Sri Peetam","Rathna Simhasanam". The simhasanam looks very grand with gems embedded on it. Since Tyagesa is said to be in the "Siva Raja Yoga" form, the Simhasanam gets the name "Mantra Simhasanam". Hence the mention of simhasanam occurs in more than one MD kriti on Tyagesa.
*Thiagarajaya Namasthey -Begada -I consider this as one among the kritis where every word signifies the Raga.
In the Kriti Tyagarajaya(Begada), the line "muni pakshi mruga keetaadhi mukti prada" signifies that even animals, birds, worms and insects have got mukti by the Lord's grace. Each of these has been described in the 364 Tyagaraja Leelas.
His image is reflected in the clear mirror-like minds of his devotee-"Mukura bimba prathi bimba muka spurthaye"
He is the basis for the mystic syllable – Aa, Ka and Ta and has permeated as SAT, CHIT and ANANDA in all beings and is of the form of SAKALA and NISHKALA. He has the power to obliterate knowledge of duality. He pervades as the power in the shrine of vitanka.
* Anugraham to muni refers to Somasi Nayanar being blessed by the Lord. This story doesn't occur as part of the 364 Leelas. But a painting of this story can be seen in the praakaram around the Nilotpalamba Sannidhi.
*Missing place in my list of Saptha vidanga Kshetrams.
1. Tiruvarur, 2.Tirunallar, 3.Tirukkaarayil, 4. Nagapattinam, 5. Tirukkolili, 6.Tiruvaymur, 7.Tirumaraikadu
*The context of "pervading through 7 lotus"
Dr.V.Raghavan in his Sloka on Tyagaraja says that Lord Siva pervades through 7 lokas. He says there are 7 vitanka kshetras and that these 7 kshetras symbolize the 7 Lokas.
* Somaskandar in Tiruvarur &Kanchipuram.
Tiruvarur and Kanchipuram are the important Somaskanda Kshetras.
*In temples like Vedaranyam, Vaitheeswaran Koil, Kailasanathar temple, Somaskandar is seen as a stone carving in the Garbha Gruham, behind the main deity.
* The significance of mention about "Simhasanam' in Dikshidhar kritis.
The Simhasanam of the Lord at Tiruvarur is very significant. It is known by several names like " Mantra Simhasanam", "Sri Peetam","Rathna Simhasanam". The simhasanam looks very grand with gems embedded on it. Since Tyagesa is said to be in the "Siva Raja Yoga" form, the Simhasanam gets the name "Mantra Simhasanam". Hence the mention of simhasanam occurs in more than one MD kriti on Tyagesa.
*Thiagarajaya Namasthey -Begada -I consider this as one among the kritis where every word signifies the Raga.
In the Kriti Tyagarajaya(Begada), the line "muni pakshi mruga keetaadhi mukti prada" signifies that even animals, birds, worms and insects have got mukti by the Lord's grace. Each of these has been described in the 364 Tyagaraja Leelas.
His image is reflected in the clear mirror-like minds of his devotee-"Mukura bimba prathi bimba muka spurthaye"
He is the basis for the mystic syllable – Aa, Ka and Ta and has permeated as SAT, CHIT and ANANDA in all beings and is of the form of SAKALA and NISHKALA. He has the power to obliterate knowledge of duality. He pervades as the power in the shrine of vitanka.
* Anugraham to muni refers to Somasi Nayanar being blessed by the Lord. This story doesn't occur as part of the 364 Leelas. But a painting of this story can be seen in the praakaram around the Nilotpalamba Sannidhi.
*Missing place in my list of Saptha vidanga Kshetrams.
1. Tiruvarur, 2.Tirunallar, 3.Tirukkaarayil, 4. Nagapattinam, 5. Tirukkolili, 6.Tiruvaymur, 7.Tirumaraikadu
*The context of "pervading through 7 lotus"
Dr.V.Raghavan in his Sloka on Tyagaraja says that Lord Siva pervades through 7 lokas. He says there are 7 vitanka kshetras and that these 7 kshetras symbolize the 7 Lokas.
* Somaskandar in Tiruvarur &Kanchipuram.
Tiruvarur and Kanchipuram are the important Somaskanda Kshetras.
*In temples like Vedaranyam, Vaitheeswaran Koil, Kailasanathar temple, Somaskandar is seen as a stone carving in the Garbha Gruham, behind the main deity.
Last edited by satyabalu on 03 Aug 2013, 22:05, edited 2 times in total.
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satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: MYRIAD FORMS OF SIVA BY GAYATHRI GIRISH- EPISODE 6
*In response to my query the artist has clarified"Yes there are occurrences of bhijaakshara mantras in several kritis on several deities. But I have not taken any within the scope of this project."
*Occurence of Swarakshara in Paras- "PADAARravindam", "DAASA janaadi mukundam.
"Na karmaNA na prajayA dhanEna tyaagenaikE amrutatvamAnashuhu"
"
The Lord at Tiruvarur seems to have assumed the name to enforce the Vedic truth that it is not Karma or progeny or wealth, that leads to salvation, but only tyAga."
*Occurence of Swarakshara in Paras- "PADAARravindam", "DAASA janaadi mukundam.
"Na karmaNA na prajayA dhanEna tyaagenaikE amrutatvamAnashuhu"
"
The Lord at Tiruvarur seems to have assumed the name to enforce the Vedic truth that it is not Karma or progeny or wealth, that leads to salvation, but only tyAga."