Navavarana Kritis - Article by Smt. Gayatri Chandrasekar

[mahanara]

Posting an article by Smt. Gayatri Chandrasekar that she wrote for All India radio.
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Guruguha Ganamrita

Kamalamba Navavarana Kriti-s of Muthuswamy Dishitar.

By Gayatri Chandrashekar.

Among the greatest Vaggeyakara-s of karnatak music, Muthuswmy Dikshitar’s is a splendrous name. He was the most prolific composer in Sanskrit and in that language, he was truly gifted. Rhymes and evocative imagery flow through his compositions. In his learned style and slow paced music, he melded subtle and delicate gamaka-s in the dhatu-s with the words, the maatu-s ; the majestic madhyama kala sahitya at the end of the composition providing the resplendent crown like adornment.

In his youth, Dikshitar was duly initiated into the worship of Devi and the Sri Vidya maha shodashakshari by his guru Sri Chidambaranatha Yogi at Varanasi. Over and above this, he hailed from a family of great scholars and worshippers of the Devi. His own father Ramaswamy Dikshitar was a scholar in Sanskrit and Telugu and a composer of merit. Muthuswamy Dikshitar and his Guru spent five years in Kashi in their spiritual quest.

Dikshitar knew the intricacies of Devi worship through mantra, yantra and tantra.. To worship the Supreme Being in the form of the mother is a special Indian trait. In order to convey the great and divine truths to the common man, he combined music and meaning and elevated them to an exalted plane and thus were created the Kamalamba Navavarana kriti-s. In these he has brought together the “Sri Vidya Deeksha’, “Moola mantra japa”, and niyama and submitted them together to the Paradevatha.

As a group of compositions too, the Kamalamba Navavarana-s stand supreme and occupy a special place. Unlike the abhayamba navavarana, Siva navavarana and other samudaya or group of kriti-s , the Kamalamba Navavarana-s are on a single theme and are united by the steady progression through the Sri Chakra . In each song successive chakra’s names are featured . There is thematic unity in the songs.

The kamalamba navavarana-s are monumental compositions. The majestic flow of the music and the sublime thoughts and ideas enshrined in them have delighted the pandits and won the admiration of musical experts. They form a unique reportoire of South Indian classical music and showcase the Vaggeyakara’s scholarly style, richness of music conception and imagination. They are veritable musical gems where Dikshitar has presented several aspects of Devi worship in his inimitable style.

How did the magnum opus come to be composed ?

While Muthuswamy Dikshitar was immersed fully in his musical and spiritual quest, the prevailing situation at home was one of poverty. Unable to pay taxes, Muthuswamy Dikshitar gifted away his inherited lands. One particular day, he did not have the wherewithal to even offer naivedya to his deity at home. His student Kamalam offered to pledge her jewellery and secure the money in order to continue the daily puja-s.

However Dikshitar declined to accept the proposal. He pointed out that she did not have enough gold to sustain his puja-s life long.

However, as though by divine ordinance, soon two cartloads of provisions arrived at his home. The quantities were sufficient to meet the household needs for a few years. It so happened that an official from Thanjavur was to have arrived at Tiruvarur on official work and was expected to stay for an extended period of time. The local coordinator at Tiruvarur had gathered all the necessary provisions for the stay. However the visit was cancelled at the last minute and the coordinator could find no person worthier than Dikshitar to recieve the provisions. He despatched the two carts instantly to the house of the composer, who was thrilled by the event, a sentiment shared by all his disciples, more so because the daily rituals of worship could proceed unhindered.. Soon after this incident Dikshitar composed the eleven Kamalamba navavarana kriti-s. He followed this up with a new composition on Nilotpalamba, and then visited Mayavaram where he composed the kriti-s of Abhayamba Navavarana and returned to Tiruvarur.

It is said that while he was at Tiruvarur, Dikshitar used to sit at a place near the entrance to the northern gopura of the famous Kamalamba temple, play the veena, sing and pray through his songs. From that spot , one could have a clear glimpse of the deity Kamalamba, though from a distance. The deity is facing the isanya {north east} direction at this temple and praying for union with Lord Tyagaraja.

Dikshitar knew the intricacies of worship through mantra, yantra and tantra and other aspects of Devi worship. . For over a thousand years in India, the worship of Devi has taken the form of worship of the Sri Chakra; the divine yantra. As per this mandala, Sri Lalitha Tripura Sundari is seated at the central point of the Sri Chakra and nine avarana-s, nine chakra-s and nine yogini-s lead up to her.

The avarana-s are Bhoopura, Shodasadala,Ashta dala, Chaturta sara, Bhahirda sara, antarda sara, ashta kona, Trikona and Bindu.

The nine yogini-s are Prakata Yogini, Gupta Yogini,Gupta dara Yogini, Sampradaya Yogini, Kulotheerna Yogini,Nigarba Yogini, Rahasya Yogini, Athi rahasya Yogini and paraaparathi rahasya Yogini. These names occur in the kriti-s.

Each navarana kriti contains the name of the relevant chakra in worship. The nine chakra-s are Trilokya mohana chakra, Sarvasa paripuraka chakra, Sarva samshobhana chakra, Sarva sowbhagya chakra, Sarvartha sadhaka chakra, Sarva rakshakara chakra,Sarva roga hara chakra, Sarva siddi prada chakra and Sarvanandamaya chakra.

The first eight avarana kriti-s are respectively in the eight grammatical cases [vibhakti] and the ninth is in the first case. Preceding the nine songs, there is a dhyana keerthana. A mangala keerthana at the end brings the group of compositions to a close.

Besides the eleven compositions, Dikshitar has specially composed a song on Ganapati and another on Subrahmnya and these two precede the navavarana-s.

The composition “ Sri Mahaganapathi” on Ganapati is in praise of the deity in the shrine on the banks of the sacred Kamalalaya pond. It refers to Vigneshwara as the one who applied the touch stone. The reference is to the local legend, the sthala purana in which Ganesha took on the role of a gold smith and certified as high quality , the gold received from the lord by a devout man by name Sundara murthy swamy. The song is in Gowla raga and set to Misra chapu tala.

The song, “Balasubrahmanyam” on Subrahmanya was a real favourite with Dikshitar himself. It was recited either as a sloka or in its musical form by the composer’s students everyday. It is in raga Surati and tala Adi.

The dhyana Keerthana of the group of navavarana kriti-s is in the grammatical eighth case. In this song Muthuswmy Dikshitar prays for removal of all obstacles. It adores Devi Kamalamba as the one who carries the parrot that recites the ‘taraka mantra’ for ever in her ears, as the power that is the embodiment of the enjoyment of music, the one who allows a ceaseless flow of poetry, the goddess whose resplendent rays are the pancha boota-s of appu,teyu, vayu, prithvi and akash and is the embodiment of all the fifty one akshara-s such as a,ka,cha,ta,tha,pa and the limitless purna and everlasting happiness.

The song is in raga Todi and tala Tisra Eka.

The first avarana kriti has as its mantra : am aam souhu trilokya mohana chakra swaminyai tripura chakreshwaryai namaha.

The composition praises Goddess Kamalamba as the provider of supreme ananda, the illuminous female parrot within the cage of omkara, as presiding over the chakra-s including Tripura, as the power overseeing the ten siddi devatha-s inclding anima, and as the brahmi who controls different mental states including kama,krida,loba moha etc.

The kriti is in raga Ananda Bhairavi and set to tala misra chapu.

The second avarana kriti encompasses the mantra Aim kleem souhu sarvasa paripooraka chakra swaminyai tripuresi chakreshwaryai namaha

The song praises Ambika as being served by Lakshmi and Saraswathi on either side. Praising her beauty , the composer says her neck rivals the conch, the dark tresses, the lustre of bees. She, it is, who dispels ignorance and in her atma brahma aikya state, she glows spontaneously. This Shivasakti, Sarvani came to the rescue of Manmatha’s wife Rati and gave him back his life and form. When Bandaasura was terrorising the world, Shiva did a Yagna in Kamalalaya and this very Lalitha Devi who came out of the hema kunda killed the demon. The word “ Kamala” occurs four times in the song with different meanings – 1) Kamalamba as the deity of Tiruvavur ,2) Kamala as Lakshmi, 3) Kamalapura, another name for Tiruvavur and 4) Kamala Vadanam meaning lotus faced.

This song is in raga kalyani and tala adi.

The third avarana kriti has the mantra; hreem kleem souhu sarva samshobhana chakra swaminyai tripura sundari chakreshwaryai namaha.

This kriti praises Devi as being worshipped by Brahma , Vishnu,Rudra,Maheshwara and Sadashiva. Eight sakti-s including anaga and Kusuma are her roopa-s. She is the patni of that paramashiva who owns all the myriads of worlds that travel eastward in the vast galaxy. She is worshipped by Manu, Chandra,kubera, lopamudra, manmata, agastya, agni, surya, indra , skanda, paramashiva and Durvasa. She is to be worshipped for relief from ignorance and its fallouts . Jaagra,
swapna, sushupti etc., are to be dispelled with her grace, I have reached the advaita state of satchitananda paripurna brahma by her blessings, says the exalted composer.

The kriti is set in Sankarabharana raga and Tisra eka tala

The fourth avarana keerthana has the mantra : saham hasakleem hsowhu sarva sowbhagya dayaka chakra swaminyai tripura vasini chakreshwaryai namaha.

The song adores Amba on her glittering vestments and jewellery. Her body carries the fourteen worlds, her hands hold the five bows from which the flower arrows are aimed. The brahma nayaki is worshpped by the maha mantra ‘ hreem’. She lives in the temple at Kamalapura. She is chitananda paripurna swarupi.

This kriti is in Khamboji raga and khanda ata tala

The fifth avarana kriti illustrates the mantra : Hissaim hisakleem hisouhu sarvartha sadaka chakra swaminyai tripura Sri chakreshwaryai namaha.

The kriti refers to the ten avatara-s of Vishnu. O mind, the mother of the trimurti-s created the sivkara prapancha. Bhairavi, Lakshmi and Saraswati worship her. All ten shakti devatha-s including sarva sidda prada, sarva sampath prada and sarva priyankari are doing puja-s to her. Kula, kowla and other yoginis are praying to her. She is sarya gnana rupi, and omniscient and the embodiment of sat, chit and ananda. She is without beginning , middle or end.

She resides in the sushumna nadi [spinal chord].Those single minded yogi-s can realise her in the sound of the conch, the veena, in the tala and laya, the flute, the bheri vadhya and mridanga and such other sounds. Is there any force greater than Shakti, asks the composer.

This avarana kriti is set in raga Bhairavi and tala misra jampa.

The sixth avarana kriti illustrates the mantra Hreem kleem blem sarvarakshaakara swaminyai tripura malini chakreshwaryai namaha.

In this song Muthuswamy Dikshitar calls Amba as mangala devatha. She is shining within the sarva rakshaakara chakra. She is omnipotent and she destroys all sins. She is the shakti within the kundalini. She is venerated as the nigarba yogini and venerated by the fifty one maatruka-s

This kriti is set in raga punnagavarali and tala tisra eka.

The seventh avarana kriti is of the mantra :Hreem sreem souhu sarvarogahara chakraswaminyai tripura sidda chakreshwaryai namaha.

In this composition Dikshitar compares Kamalamba to the ever giving kalpa vriksha. She is called as chandika and
Gowri. She lights up the celestial objects with her rays. The hreem mantra in the form of a female deer and the hreemkara mantra in the form of a bouquet of flowers are her forms. She dispels the disease called ‘samsara’. The Niarmaya rajayogini plays on the veena and is one with it. She gave boons to Guruguhaswamy. Let my bhakti to her continue for ever, sings the composer.

The song is in raga Sahana set to Tisra triputa tala.

The penultimate and eighth avarana kriti illustrates the mantra :Hsraim hsraklim hsouhu sarva siddi prada chakraswaminyai tripuramba chakreshwaryai namaha.

In this song the composer praises Amba as carrying the parrot in hand. She symbolises destruction and therefore carries the kaphala and sula when in the form of Shulini durga. She is the Bhagamalini. She is the golden hued Bangaru Kamakshi and the uninterrupted river of happiness . She is worshipped by Maha Kameshwari, Maha Vajreshwari and Maha bhagamalini.. The bell chimes to call the bhakta-s to the chamber of chintamani only to see her. There the pranava mantra is ever ringing and the divine triangles are set on the doors. She created the ten avatara-s of Maha Vishnu from her finger nails .She is realised only by Guha who is beyond place and time. O amba, bless me with your glance at least once, sings Dikshitar.

This kriti is set in Ghanta raga and adi tala

The last of the avarana kriti-s, the ninth encompasses the kaadi, haadi and saadi vidya-s. The chakra is Sarvanandamaya chakra;
the chakreshwari is Maha Tripura Sundari.. The yogini is paraaparathi rahasya yogini. Ambika, the loka maata is like a
flower bouquet of sringara rasa. She gives us mukti, even as she is seated in the bindu chakra. She is nitya mangala swarupini,
Rajarajeshwari and Maha Tripura Sundari .She gives light to Surya, Chandra and agni and dispels all sins. She is worshipped by all yogini-s from Prakata yogini to paraaparathi rahasya yogini. That omniscient deity, I bow to; the shakti-s: Vama, Jyeshta and Rowdri came from her. Manmatha and many others prayed at her feet through the kaadi, haadi and saadi mntra-s She is the symbol of the light of Brahma. She takes the many forms of the universe. She is manifest to the bhakta-s in the form of kaamakala and is in the union of shiva and shakti.

This song is set in Ahiri raga and tisra Eka tala

The navavarana kriti-s end with a mangala kriti. In this song Muthuswamy Dikshitar has used the eighth case[vibhakti]. He calls Kamalamba as Parashakti, Kamakalaswarupi, Shive, Chandramukhi,Rama,Vani,Rajayogasukhi,Shakambari, Sathodari, Chandrakaladhari, Shankari, Ekakshari, Bhuvaneshwari, Isa priyakari, Sri kari, Sukhakari and as Sri Maha Tripura Sundari.

This song with a samashti charana is set in Raga Sri and Eka tala.

With their delicate shades of music and meaningful sahitya all knitted together in a slow kala pramana ,Dikshitar has shown a blissful path for not just daily prayers but also to the total enjoyment of music and poetry . His legacy of the Navavarana-s of Kamalamba will stand for ever in the hearts and minds of naadopasaka-s

[gobilalitha]

Wonderful article about the greatness , piety, abject surrender to AMBAL , of DIKSHITAR. How beautifully every kirtana has been elaborated.. HEARTFELT thanks for this illuminating article.
GOBILALITHA

[thanjavooran]

Shri Mahanara,
An excellent and very educative article. Best wishes.
Thanjavooran 03 07 2010

[rshankar]

A nice article - thank for posting. I wonder what the mantra is for the 9th AvarNa kRti...

[thenpaanan]

Are there any similarly scholarly articles that discuss the _musical_ subtleties in the kamalAmba navAvarana krtitis?

-Then Paanan

[mahanara]

Are there any similarly scholarly articles that discuss the _musical_ subtleties in the kamalAmba navAvarana krtitis?
-Then Paanan

My teacher (Smt. Gayatri Chadrasekar) has written some wonderful articles over the years on various topics. Rasikas around the world will definitely find them very valuable. When I expressed my interest in posting these articles on rasikas.org, she was kind enough to agree to it and is now trying to convert some of them into digital form. I'll post these articles as and when they become available.

Anyone knows if there is a way to upload these articles instead of directly posting them?

[vs_manjunath]

A very nice article which explains in simple terms the complexities of Navavarana krithis by the unique trinity Nadayogi Sri Muthuswamy Dikshitar. The 'HIRANMAYEEM LAKSHMIM' in Lalitha is supposed to have been composed during the story of Kamalam mentioned in the article. The author has said that one of the navavarana krtthis also emerged during this episode. The reference to my writing is based on Dr Raghavan's book on Muthuswamy Dikshitar Kavyam. Smt Gayathri Chandrasekar is most welcome to clarify this aspect.

[mahakavi]

>>Anyone knows if there is a way to upload these articles instead of directly posting them?<<

If you set up a blog and post the articles there, you can have a record of all of them in your own blog and then give the link here.

[shankarabharanam]

Thanks for sharing it with us.. .Really informative and as mahakavi said, start a blog and keep posting them.. You will have many followers

[hariniraghavan]

Dr. R.K.Srikantan has done an extensive work on Navavarana compositions of Dikshitar and has released a monograph undre his Trust.
Harini.









My teacher (Smt. Gayatri Chadrasekar) has written some wonderful articles over the years on various topics. Rasikas around the world will definitely find them very valuable. When I expressed my interest in posting these articles on rasikas.org, she was kind enough to agree to it and is now trying to convert some of them into digital form. I'll post these articles as and when they become available.

Anyone knows if there is a way to upload these articles instead of directly posti

[arasi]

Very nice essay. By googling, I also realize that she gives concerts. Is she Bengaluru based? Haven't heard of her until now.

[kssr]

She used to be in Bangalore. Actually working as a TV news reporter. We can immediately recognise her voice - a perfect biting Tamil accent of English. Know that she also gives concerts. But not anything much. I guess she is quite knowledgeable in music.