Myriad Forms Of Siva (episode 10) by Smt. Gayathri Girish
-
priyaram78
- Posts: 393
- Joined: 03 Feb 2010, 08:57
Myriad Forms Of Siva (episode 10) by Smt. Gayathri Girish
Hope to read detailed reviews of this episode too. Smt. Gayathri Girish started the series in February. Last few episodes are remaining. The tenth episode is on 24th November, Sunday at 5 pm at Tattvaloka. Her blog is updated www.gayathrigirish.blogspot.com.
-
rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Myriad Forms Of Siva (episode 10) by Smt. Gayathri Giris
Can we dare hope for a review from our beloved CRama who is thankfully well on the road to recovery?
-
satyabalu
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: Myriad Forms Of Siva (episode 10) by Smt. Gayathri Giris
Song List:
1. Sloka on Ganesa - Gambheeranattai
2. Mallari - Gambheeranattai
3. Sambho Jagadeesa- Shankarabharanam
4. Tiruthandagam by Tirunavukkarasar
5. Kalidasa's Shloka - Mayamalavagowla
6. Tyagarajadanyam na jane - Darbar
7. Sri Kalahasteesa- Huseni
8. Arunachala Natham- Saranga
9. Vaananai (Tirunavukkarasar) - Keeravani
10.Shloka from Shanti Vilasa, followed by Jambupate- Yamunakalyani
11. Sooryamurthe - Sowrashtram
12. Chandram Bhaja -Asaveri
13. Sundaramurthim- Takka
14. Gange Mam Pahi- Jhanjooti
15. Kakkai Chiraginile - Brindavana Saranga
Gayathri Girish took up "Ashtamurty" in her Tenth Episode of Forms of Siva. Ashtamurthy consists of Five Elements of Nature (Panchaboothas),Surya, Candra,Jivaraasis.
Earlier,she demonstrated Mallari as practised in Chidambaram. It is rendered in Gambeeranattai depicting Veera Rasa. Mallari has no sahitya, has only swarams and solkattus, played in different speeds in Nagaswaram.
The types of Mallaris include
Mudhal Mallari
Peria Mallari.
Ter Mallari.
Theertha Mallari.
Talligai Mallari.
She sang the Mallari that is played in Cidambaram usually on the fifth day of the utsavam . Traditionally of course, this is played only in Nagaswaram ".
Gayathri presented the kriti "Shambo Jagadeesa" in Sankarabharanam, composed by Ramaswamy Dikshitar, father of Muthuswamy Dikshitar.
In the context of her explaining Viswarupa of Siva, she said that the concept could be inferred as looking at everything around us as Siva ( in contrast to what Arjuna saw- he saw the entire world inside Krishna 's Viswarupa). There was a mention of Nandikeshwarar replying to question posed by Sanat Kumar in Lingapuranam.
Tirunavukarasar depicting Viswarupa in Tiruthandagam was rendered in Harikamboji.
Ashtamurthy-
Gayathri brought out Slokam of Kalidasa .This was set in Mayamalava Gowlai.The mention of Panchabhoothas besides Surya &candra were found in the Slokam.
Out of Panchalinga Kshetras she had covered Kanchi (Prithvi) Chidambaram(Space) in the earlier episodes.
Kshetra Kritis of Appu Agni &Vayu were taken up and she gave detailed explanations on each kriti where Dikshitar had included a lot of information e.g., Ra being the Akshara for Agni He has employed the word Ra in so many places (I will urge the readers to go through the sahithya to unravel the fact) in A(ru)na chala Natham. She also talked about Sri Kalahastheesa-Huseni & Jambupathe-Hamirkalyani.
She also drew attention to the fact that except Prittvi Kshetram-Kanchi Ekambresar, in all other Panchalinga Sthalas there is description of Ambal present with Siva as Consort.
Thiagaraja danyam na jane in Darbar was taken up .
Gayathri had included in her presentation a parallel Tamil transliteration in deference to the request of the viewers.Implementing rasikas' feedback is yet another reason for astounding success &popularity of this programme.
Two Vara Kritis representing Sun &moon respectively were presented, namely, Sooryamurthe in Sowrashtram & Chandram Bhaja Manasa in Asaveri adopting SSP both followed by Chittaswaram. The interesting feature of usage of words Namosthuthe (surya being Namaskarapriyar), Chandram Bhajamanasa (associated with Mind) were mentioned.The handling of Anthya prasams and their instances were explained.
Lastly for explaining the "Jivaraasis" as one of the ashtamurthies she identified Sundaramurthy Nayanar representing "Chetana(animate)" and at the same time fitting Him as a manifestation of Siva. The Takka kriti of Dikshitar "Sundaramurthim" was taken up. This also explains why Dikshitar who had never sung on humans has composed one on Sundaramurthy Nayanar.
After this, she presented Gange Mam Pahi in Jhanjooti, representing the "jada (inanimate)" aspect of jeevaraasis.
The program concluded with Mahakavi Subramanya Bharati's Kakkai Chiraginile (her Guru's all time favourite) which conveys the same concept that the Supreme Power is seen in all objects of Creation....More to come...
1. Sloka on Ganesa - Gambheeranattai
2. Mallari - Gambheeranattai
3. Sambho Jagadeesa- Shankarabharanam
4. Tiruthandagam by Tirunavukkarasar
5. Kalidasa's Shloka - Mayamalavagowla
6. Tyagarajadanyam na jane - Darbar
7. Sri Kalahasteesa- Huseni
8. Arunachala Natham- Saranga
9. Vaananai (Tirunavukkarasar) - Keeravani
10.Shloka from Shanti Vilasa, followed by Jambupate- Yamunakalyani
11. Sooryamurthe - Sowrashtram
12. Chandram Bhaja -Asaveri
13. Sundaramurthim- Takka
14. Gange Mam Pahi- Jhanjooti
15. Kakkai Chiraginile - Brindavana Saranga
Gayathri Girish took up "Ashtamurty" in her Tenth Episode of Forms of Siva. Ashtamurthy consists of Five Elements of Nature (Panchaboothas),Surya, Candra,Jivaraasis.
Earlier,she demonstrated Mallari as practised in Chidambaram. It is rendered in Gambeeranattai depicting Veera Rasa. Mallari has no sahitya, has only swarams and solkattus, played in different speeds in Nagaswaram.
The types of Mallaris include
Mudhal Mallari
Peria Mallari.
Ter Mallari.
Theertha Mallari.
Talligai Mallari.
She sang the Mallari that is played in Cidambaram usually on the fifth day of the utsavam . Traditionally of course, this is played only in Nagaswaram ".
Gayathri presented the kriti "Shambo Jagadeesa" in Sankarabharanam, composed by Ramaswamy Dikshitar, father of Muthuswamy Dikshitar.
In the context of her explaining Viswarupa of Siva, she said that the concept could be inferred as looking at everything around us as Siva ( in contrast to what Arjuna saw- he saw the entire world inside Krishna 's Viswarupa). There was a mention of Nandikeshwarar replying to question posed by Sanat Kumar in Lingapuranam.
Tirunavukarasar depicting Viswarupa in Tiruthandagam was rendered in Harikamboji.
Ashtamurthy-
Gayathri brought out Slokam of Kalidasa .This was set in Mayamalava Gowlai.The mention of Panchabhoothas besides Surya &candra were found in the Slokam.
Out of Panchalinga Kshetras she had covered Kanchi (Prithvi) Chidambaram(Space) in the earlier episodes.
Kshetra Kritis of Appu Agni &Vayu were taken up and she gave detailed explanations on each kriti where Dikshitar had included a lot of information e.g., Ra being the Akshara for Agni He has employed the word Ra in so many places (I will urge the readers to go through the sahithya to unravel the fact) in A(ru)na chala Natham. She also talked about Sri Kalahastheesa-Huseni & Jambupathe-Hamirkalyani.
She also drew attention to the fact that except Prittvi Kshetram-Kanchi Ekambresar, in all other Panchalinga Sthalas there is description of Ambal present with Siva as Consort.
Thiagaraja danyam na jane in Darbar was taken up .
Gayathri had included in her presentation a parallel Tamil transliteration in deference to the request of the viewers.Implementing rasikas' feedback is yet another reason for astounding success &popularity of this programme.
Two Vara Kritis representing Sun &moon respectively were presented, namely, Sooryamurthe in Sowrashtram & Chandram Bhaja Manasa in Asaveri adopting SSP both followed by Chittaswaram. The interesting feature of usage of words Namosthuthe (surya being Namaskarapriyar), Chandram Bhajamanasa (associated with Mind) were mentioned.The handling of Anthya prasams and their instances were explained.
Lastly for explaining the "Jivaraasis" as one of the ashtamurthies she identified Sundaramurthy Nayanar representing "Chetana(animate)" and at the same time fitting Him as a manifestation of Siva. The Takka kriti of Dikshitar "Sundaramurthim" was taken up. This also explains why Dikshitar who had never sung on humans has composed one on Sundaramurthy Nayanar.
After this, she presented Gange Mam Pahi in Jhanjooti, representing the "jada (inanimate)" aspect of jeevaraasis.
The program concluded with Mahakavi Subramanya Bharati's Kakkai Chiraginile (her Guru's all time favourite) which conveys the same concept that the Supreme Power is seen in all objects of Creation....More to come...
-
kvchellappa
- Posts: 3636
- Joined: 04 Aug 2011, 13:54
Re: Myriad Forms Of Siva (episode 10) by Smt. Gayathri Giris
Thanks. it is interesting to read the details.