MYRIAD FORMS OF SIVA (episode 9 ) by Smt. Gayathri Girish

[priyaram78]

Wish I can attend this episode....I surely look forward to read detailed reviews of this ninth episode too, as always, from rasikas, who look forward to an interesting, informative thematic presentation by Smt.Gayathri Girish. Accompanists are

B.Ananthakrishnan - Violin
Mudikondan S.N.Ramesh - Veena
Poongulam Subramanian - Mridangam

The ninth episode is at Tattvaloka, Eldams Road, Teynampet on Sunday, 27th October at 5 p.m.
Chief Guest is Sangitha Kalanidhi Vidushi Smt. R. Vedavalli.
Guest of Honour is Sri K.V.Rangaswami (advisor to the chairman, Larsen & Toubro Limited)

[satyabalu]

Out the outset I wish to clarify without hesitation I will be a poor substitute to CRama whom We have missed during this session &his comprehensive write up with an eye on details.Glad to know that he is recovering &will be back with us soon.I must acknowledge he has evolved a highly motivating maturity level in the art of Write up of CM events.
Coming to Episode 9 the chief guest SKN R Vedavalli was very brief congratulating Gayatri Girish &Nandini Ramani for her abiding support to the event besides being sponsored by Ministry of Indian Culture.
GG gave a short recap of what was covered during the previous episodes .In her Project she has taken for coverage the forms attributed to Siva by Dikshidhar in his Kritis ...besides by others in Thevara Padigangal,Periasamy Tooran,Papanasam Sivan&Mysore Sadasiva Rao...
MD has never ascribed any particular form in most of his Kritis except a few.
Multiple forms can be observed in his Kritis.His Kritis over 400 in number out of which 132 of them are on Lord Siva within which around 106 107 kritis are in the form of Siva in consort with Ambal. In all His Kritis be it on any Deity there is advaithic approach...advaita as a means to reach Moksha.The classifications followed in the episodes are divided into Steps involved In Bhakthi in order to reach Nirguna Brahmam "to attain Moksha.To initiate Bhakthi a form is required
Eka Rupa
Veeramurthy
Kaalasamharamurthy
Bhairavamurthy.
Tiruvedaka Murthy?
Bikshadana Murthy
The aspects dealt with are Temple iconography ,architecture,sthalaviruksham&what are the references to the Place in the Kritis.
Anugraha Murthy
Kalyanasundarar
Vrishabharuder
Chandrasekarar.
Gangadheeswarar
Neelakantar.
Kirata
Sadasiva
Umamaheshwarar
Somaskanda Murthy
The references of all these Murthies mentioned above were dealt with in earlier episodes.

The Murthies taken for coverage during this 9 th Episode are
Gnana Murthy.
Nirthya Murthy.
More to come...

[satyabalu]

Contd.,
She took up in this Episode two Murthies Viz.,
Gnana Murthy.
Nrutya Murthy.
Vamanga Sthithaya Vallabhaya Slishtam-Atana-Kanta Ekam of Dikshidhar was taken up.
Deity in Vallabhaya Ganapathy form with Vallabhai on His left side.
It is not related to any Kshetra.
In Caranam the words "Ashtanga yoga varam"convey that Pilliar is an expert in The Eight yogic patterns.
There is a reference to Ashtanga yoga in Avvayar's Vinayakar Agaval.
The words "Hatanavathi jaya "Dikshidhar brings the Raga Mudra,
"One who conquers "feeling of limitation which is difficult to get rid of"-remover of obstacles.
Hethu Drishtanda Varjitham. In this Dikshidhar has given a reference to Tharka Shasta.
We invoke blessings of Ganapathy before performing Puja of any Deity.
Pilliar is giving anu graham along with Ambal.There is no need to worship any other God.
He can not be understood by ordinary stretch of imagination.
I am listening to this kriti for the first time.

To be continued

[satyabalu]

Gnana Murthy
The first murthy in this episode is Gnana Murthy.
The iconography of Sri Dakshina Murthy We are familiar with is the teaching posture.
He bestows the Gnana called Brahma Vidya.
His disciples include
Sankar,Sanandar,Sanadharar,....
Sri Dakshinamurthy is the first Guru to teach Brahma Vidya.
The word Dakshina Murthy can be interpreted in two ways.DAKSHINA skillful.In Sivalayam in the uzl(inside) prakaram He will be positioned south facing.The custom of worshipping Planet Guru in certain temples is not the same as that of worshipping Sri Dakshina Murthy.In another way He is Dakshina Amurthey formless south facing God who is highly skilled in teaching .The description of iconography exhibited as Sri Dakshinamurthy sitting under Banyan tree.Banyan tree denotes something which has no end- permanent.He is holding snake in His hand...having yogic power..Displaying Chinmudra in the right hand.The recipients of His teaching are seated on the floor below Him are elderly scholars.He is resting His right leg upon an asuran called Muyalagan who is the Demon of Ignorance.His having moon in His Platt(jadai)symbolising that He has conquered time.Holding Fire denotes Destroyer of Evil.Sri Dakshinamurthy is an young youthful enthusiastic educational scholar.He is holding Veda (book of Knowledge ) in his right hand.In certain iconographies We also come across Agasthiar,Bharatvachar are getting knowledge from Him.He is in the form of Yoga Dakshinamurthy in places like Tiruchencode?Nanjancode.Vyakyana murthy ?...Medha Dakshinamurthy in Vallalar temple!Veenadha Dakshinamurthy in Vedaranyam,Tiruvallur,Shakthidhara in Suruttupalli.In the familiar temple of Sri Kapaleeswarar both Veenadhara &yoga forms (next time I have to take a binocular) are exhibited in the Gopuram..He is offering Gnana sitting under "Kallala"tree that will not bear fruit .Hence no bird will come to the tree.This is indicative of Absolute silence &no disturbance while imparting Gnana.
His facing south denotes conquer of Yama perhaps also demonstrating there is no harm Facing south as it is normally believed that it is not auspicious to perform any procedure facing Southwards .It takes time to reach the level of maturity to attain Gnana having learnt Brahma Vidya. This postulate is established by the disciples who are seated are elderly &ripe.scholars.Sri Dakshinamurthy is teaching in silence called Mouna guru.

To be continued

[Sivaramakrishnan]

When I met CRama who has been reviewing ‘Myriad Forms’ to the minutest detail, he thanked Satyabalu for the instant posts of episode 9.
I am however furnishing the full list of compositions with brief remarks.
(By the by, CRama is convalescing after a minor surgery and progressing well)
****
Myriad Forms of Lord Siva by Gayathri Girish (Episode 9)
B.Ananthakrishnan - Violin
Mudikondan S.N.Ramesh - Veena
Poongulam Subramanian - Mridangam
****************

(For Kritis other than Dikshitar’s the composer’s name/source is given)
1.Vaamaankasthitaya - Atana
(Dhyana Slokam of Dakshinamurthy Stotram of Aadisankara) followed by
2. Dakshinamurte - Sankarabharanam
3. Verses by Paranjyoti Adigal from Tiruvilayaadal Puranam(Virutham) – Saveri
4. Sri Dakshinamurtim Isam - Phenadyuti
5. Tevaram-Pann Pazhanthakkaragam (Arabhi)
6. Sadasivam – Sarasangi - Jayachamaraja Wodeyar
7. Vadanyeswaram – Devagandhari
8. Karaikkal Ammaiyar’s verses- Naatakurinji
9. Shambhunatana stotram of Patanjali-Ragamalika
10. Namakkini namabayam Edhu-Gowlipantu-Gopalakrishna Bharati
11. Ananda Natana Prakasam-Kedaram
12. Chidambareswaram -Dhuni Bhinnashadjam
13. Kuniththa Puruvamum- Tevaram-(Simhendramadhyamam,Todi virutham)
14. Enneramum oru kalaitthookki –Todi- Marimutha Pillai
15. Chidambara Nataraja Murtim – Tanukirti
16. Sivakameepatim-Natakurinji

Gayathri had devoted the day’s episode for Gnanamurthy and Nrutta murthy forms of the Lord.
•She gave an excellent introduction to the Gnanamurthy form (Lord of knowledge) and quoted a few slokas by Sureshwaracharya including the following ;
Chitram vatatharormoole vriddhaa:sishyaa: gururyuva
Gurosthumounavyaakhyaanam sishyaasthu chhinnasamsayaa:

Paranjoti adigalar’s verse beginning ‘kallaalil pudayamarndha’ actually indicates the vatatharu (kallaala tree). The viruttam was rendered in Saveri.

Guru Bhagavan in Alangudi (one of the Navagraha kshetra-s in Tamilnadu) is popularly worshiped as a form of Dakshimamurthy. But in this context it may be noted that the planet Guru is not the same as the Gnanamurthi form.

•Muthuswami Dikshitar’s Dakshinamoorthe (which is on the Medha Dakshinamurthy of Tiruvarur) was sung very well with the grammar and kaalapramaanam intact.

•The kriti Sri Dakshinamurthim Isam Chitprakaasam pranaumi in Phenadyuti (2nd in the Asampoorna mela paddhati) describes Dakshinamurti also as holding a Veena (Vallaki).

•The next was a Tevaram in Pann Pazhanthakka ragam (rendered in Arabhi) on the Lord in Tiruseinchalur near Mannargudi


•Jayachamaraja Wodeyar’s composition Sadaasivam upaasmahe in Sarasaangi which came next was unique with a crisp Madhyamakaala sahitya beginning japatapaadi


•Vadaanyeswaram (Devagandhari) is in praise of the presiding deity of Vallalaar koil near Mayiladuthurai. This kriti is occasionally heard in concert platforms.


Select compositions on the the Nruttamurthy or Nataraja murthy-The glorious dancing form of the Lord, were taken up next.

•Karaikal Ammaiyar’s Mooththa Thirupathikam on the Lord of Tiruvaalangaadu are unique. Gayathri presented the composition in Nattapadai pann (rendered in Natakurinji) which also extols the Saptaswara-s in music. The Tamil names for shadja, rishabha etc. (Tuttam, kaikillai and so on) find a place in this unique composition. It also mentions the names of various instruments which were played by Deva-s during the celestial dance of the Lord. A transliteration is given below:

tuttam kaikiLLai viLari tAram
uzhai iLi Osai en kezhumappAdi
sachchari kokkarai thakkaiyOdu
taguNitam dundubi tAlam veeNai
maththaLam karadigai vaNkai enthol
damarugam kudamuzhA mondai vAsiththu
aththanai viravinOdu Adum engaL
appan idam tiru AlangAdE

•Chidambaram gains predominance in the context of Natarajmurthy. Ananda tandava in the Chitsabha or Natanasbha is a supreme form and compositions are aplenty on the deity. Gayathri gave a lot of information on the specialities of the kshetra including the materials used in its construction (such as 21600 golden tiles , 72000 nails etc. which have great significance. 21600 represents the number of breaths – swaasoschwaasa of a human being per day)

Chidambaram and Bharata natyam are inseparable. Patanjali’s Shambhunatanam is a unique stotra. Gayatri commendably rendered 6 stanzas of this highly complex composition (beginning ‘sadanchitamudanchita’) in the form of a Ragamalika comprising Kedaram, Arabhi and Vasanta in Khanda nadai. A lot of homework must have gone into this rendering.

•Namakkini namabayam Edhu-Gowlipantu-Gopalakrishna Bharati is from the Nandanar story

•Anandanatanaprakasam on the Aakaashalinga of Chidambaram is an extraordinary kriti of Dikshitar that literally spreads an unusual celestial aura quite appropriate to the theme. The rendering was very good. Bhaanukoti-koti prakasam, Seetamsuganga etc. are but a few outstanding usages in this monumental composition.


•Chidambareswaram chintayami in Dhuni Bhinnashadjam (Asampoornamela of Dhenuka) was notable for the raga sanchara and rendered well.


•The immensely popular Tevaram Kuniththa Puruvamum was rendered as a Viruttam covering Simhendramadhyamam and Todi. This was followed up by Enneramum oru kalaitthookki – a composition of Marimutha Pillai in the later raga (wherein the author’s imagination flows out interestingly in search of the reason of Nataraja’s posture )


•Chidambara Nataraja Murtim in Tanukirti with the raga name beautifully merged into the sahitya was a good selection to describe the Nataraja Murthy. Gayathri presented it quite smoothly despite the ‘not so common’ misra eka tala to which the kriti is set.


•Sivakameepatim in Natakurinji –another beautiful kriti of Dikshitar was the concluding piece.

Overall, the programme was very good and well received by the discerning audience. The accompanists (violin, veena and mridanga) gave excellent support. Veena naadam added to the serenity of renderings.

Gayatri Girish announced that the next (10th) episode of the series will be on 24 November 2013.

[rshankar]

Thank you for that comprehensive review. Very nice list and compositions.

[priyaram78]

Thanks to all for the detailed review. Missed Gayathri's rendition of Ananda Natana Prakasam one of my favourites.

[satyabalu]

contd., talking about Mouna Guru she said He is the giver of Brahma Vidya beyond verbal description .The reason for not talking &teaching not being done in oral tradition as when something is being told We tend to understand wrt an object .Brahman being beyond any kind of known object He is silent and imparts knowledge by implication (sollaman soludal) .NETI NETI is the method of asking if something is attributable to Brahman and negate it one by one. Finally, one is made to realise Brahman is what is within us.

Chinmudra
Thumb-Brahman
Index finger-Jivatma.
Both the fingers are joined forming a circle -symbolising Circle of birth &death.Chinmudra is believed to give moksha.
Other three fingers represent 3 stages ,3 gunas 3 stages of awareness,&also Ego, karma &maya...
Index finger has to be seperated from other 3 fingers.
Adi Sankara's Dakshinamurthy sloka having 10 verses is considered a great vedantic text.In Dikshidhar kritis on Sri Dakshinamurthy we can observe that He has adopted the messages contained in Adisankaras's sloka on Dakshinamurthy.
GG rendered Sri Dakshinamurthe of Dikshidhar in Sankarabaranam (her raga elaboration naturally had TNS stamp).Dikshidhar has composed kritis on all the deities in Tiruvarur temple. this one is on Medha Daksinamurthy.
Nritya murthy
she explained in Chidambaram all the three ways of worship are prevalent.
Rupa-in consort with Sivakami.
Rupa Arupa-in the form of spatika lingam.
Arupa-Chidambara rayasyam.Anandathandavam of Nataraja has the following accompaniments.
saraswathy-Veena.Talam-Brahma,Mridangam-Vishnu,Flute -Indira.
Like continued activity of human heart Siva's thandavam is to sustain world creation.Damaru on hand is to signify that out of Panchabhoothas akasa was the first to come as We know origin of creation is out of vibration from the sound of Damarugam.
In Ananda Natana prakasam Dikshidhar has made reference to celestial bodies -comparing surya(Banu Koti) Ahaya gangai(Gangadaram)His blue neck is magnified in Viswarupa As Akasa (neela gandaram).
The kritis in Dhanukirti &Nattaikurinji kriris were followed by Chittai swaram.
I felt the description of Chidambaram is not complete without covering SVD(Swara Venkatesa Dikshidhar).GG has assured this is in store for the next episode.
I observe that the Episodes of GG is one of the most sought after programmes in recent times well attended by rasikas and musicians who are in top slot enthused by the comprehensive coverage with lucid style.Perhaps I may count myself as one such elder(in age not necessarily in approach to Gnana) getting knowledge imparted through an young teacher of course not by silence but by verbal Vyakyana.To be edited...