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Sri Vidya
Bhavanopanishad
15SEP
Bhavanopanishad

1. Bhavanopanishad is one among the minor

Upanishads; and is, comparatively   , a recent
one. It is listed under the category of Shaktha
Upanishads viz. the Upanishads that delineate
the tantric outlook and attempt to reconcile that
with the Vedic approach. Bhavanopanishad is
affiliated to Atharva Veda. It is a major text in the
Sri Vidya – Sri Chakra tradition; and, brings out,
very crisply, the symbolism of Sri Chakra and its
upasana; its spiritual mode of worship of kadi
(samaya) school, and contemplation.
Bhavanopanishad is an important text for the
practice of antar-yaga, the internal worship.
2. Before we proceed further, a brief explanation
on the suffix (Upanishad) to the title of the text
appears necessary.
As per tradition, about thirteen Upanishads are
considered major Upanishads; and they
represent the core of the Upanishad wisdom.
They are of doubtless antiquity and constitute
the first tier of the prasthana-traya (the set of
three principal texts), the foundations of the
Vedic heritage; the other two tiers being the
Brahma Sutras and the Bhagavad-Gita. Sri
Shankara commented on ten of those major
Upanishads (Ishavasya, Kena, Katha, Prashna,
Taittireeya, Aithreya, Chandogya,
Brihadaranyaka, Mundaka and Mandukya); and
cited the other three (Kaushitaki, Svethavatara
and Jabaala) as being authoritative
2.1. During the later times, varieties of texts gave
themselves (or were attached with) the suffix-
Upanishad –to their title. That was perhaps
meant to provide those texts a halo of authority
and an elevated position in the hierarchy of
traditional texts. The thoughts in most of such
texts were neither fresh nor universal. Many of
those texts were theistic and sectarian in their
approach; and were, therefore, classified
according to their affiliations, such as
Vaishnava, Shaiva and Shaktha etc. All such
Upanishads are enumerated in the Charana-
vyuha section of Atharva Veda, to which they are
affiliated. That section itself has a supplementary
character about it.
Mukthikopanishad (1.5), itself a  minor
Upanishad affiliated to Atharva Veda, lists about
95 minor (apart from the major 13) Upanishads.
2.2. Their claim to being Upanishads was,
generally, based on their acceptance of the
authority of the Vedas; rejection of the gross
ritualism of karma-kanda; and, highlighting the
esoteric or the mystical significance of the
rituals.
3. Coming back to Bhavanopanishad; it is
described as an Upanishad in the sense of a
secret doctrine or a liberating-wisdom.
3.1. Nothing much is known about its author or
its period. It is surmised the text may belong to
about 12th century.
3.2. Bhavanopanishad is a short text; a
collection of aphoristic statements (vakyas)
running into just about 36 lines. The statements
are in Sutra style; exceedingly cryptic and with
no suggestions. It is not easy to interpret the
sutras and derive meaning out of them.
3.3. The Bhavanopanishad is closely related to
the Tantra-raja-tantra, another major tantric text
of the Kadi School of the Sri Vidya tradition. The
Kadi_ matha is regarded the most orthodox
among all the schools of Sri Vidya tradition. It
insists on virtue, discipline and purity of
rituals. Its attitude is Sattvic; and its form of
worship is internal. Hence Kadi School (also
known as Samaya) is regarded as Para Vidya
(transcendental knowledge) where the worship
(archana) is conducted in the space of one’s
heart (hrudayakasha madhye).
4. 1.The main purport of Bhavanopanishad is to
establish a relation between structures of the
human body and Sri chakra. The Sri Chakra, in
turn, is regarded as a projection of the essential
characters of the universe. There is an attempt to
harmonize (samarasya) the micro (pindanda) and
the macro (brahmanda), with Sri Chakra being
the median imbibing in itself the characteristics
of the both.
Bhavanopanishad lays greater emphasis on
symbolic representations and contemplation,
than on rituals.
[Please check here for a detailed discussion
concerning the relation between the Sri Chakra and
human body, as per the Bhavanopanishad ]
4.2. The text begins with salutations and
surrender to the Guru, hailing him as the
fountainhead of the liberating wisdom. Then it
goes on to relate the human constitution in its
physical, mental and vital levels to the nine-fold
energy represented by the nine enclosures of the
Sri Chakra. A significant portion of the text is
devoted to the enumeration of the nine
enclosures (avaranas) that compose the Sri
Chakra yantra; and to their geometric, cultic and
psycho-physical representations. The method of
enumeration adopted is the samhara-krama
(absorption or dissolution method), which
commences from the outermost avarana and
proceeds inwards, systematically, till the central
point of the Sri Chakra, the bindu,  is reached.
In short, the text attempts to construct a
harmonious relation between the micro and the
macro; between the Tantric and the Vedic; and
between worship and contemplation. It also
renders the Tantric worship sattvic and sublime.
5.1. In the Sri Vidya tradition, the concept of
Bhavana (after which the text is named) has a
very special significance.
In the tantra tradition, the worship is classified
as external (bahir-yaga) and internal (antar-
yaga).In the former the worship is offered to a
concrete representation of a divinity which
inspires devotion and reverence. Here, the object
of adoration and worship is gross (sthula). The
devotee looks upon the mother-goddess as
having a human form which he can see and
touch. The services (upacharas) are offered to
that form as if it were the most adorable and
highly revered human being. The worship also
includes praising the divinity (stuti), repeating
the mantra handed down by the Guru (japa),
which the tongue can utter and the ears can
hear. There is also the contemplation on the
glory of the God (dhyana). This form of worship
is termed as gross (sthula).
The text says that external worship is only a
stepping stone, a preliminary procedure; and,
one must go beyond that in due course. The
external worship is a means and not an end.
5.2. The other form of worship viz. antar-yaga,
the internal worship, is in two stages – with
external props (sa-adhara) and without such
props (nira_dhara).The props referred to here are
the physical accessories, such as image,
gestures (mudra) or sounds. The devotee
understands and appreciates the symbolism
involved in those objects of adoration and in the
ritual sequences. He knows that the props are
there to help him and guide him along the path;
and yet he submits to them, entirely, with
devotion and reverence until the wisdom dawns.
His dependence on the props tapers gradually.
The worship here tends to be subtle (sukshma).
5.3. The second stage of antar-yaga is
transcendental (para), leading to gradual
dissolution of mind in intense contemplation and
visualization of identity with the mother-
goddess. His entire psyche is immersed in the
mother principle. Now, the external rites,
worships or conducts, no longer carry any
meaning, for him.
5.4. The devotee’s consciousness undergoes a
transformation with the realization that he and
the Mother are one. Such transformation is
termed Bhavana. Etymologically, the term is
derived from the root bhu (to be) to suggest
bringing something into being. It also suggests a
mental process that transforms an idea into
reality. In an extended sense, the term means
contemplation or meditation, comprehending the
abstract as real and tangible.
5.5 The expression Bhavana here is taken to
mean, internal worship (antar –yaga) of the Devi,
visualizing Sri Chakra as identical with one’s
own being (sva-atma shakthi) and offering
worship through mental constructs , projections
and visualizations. The method of Bhavana is
regarded as the sublime form of worship for
attaining liberation, even while one is alive
(jeevan mukthi).
6. Bhavana emerged as a very significant
concept in the development of the tantric
tradition; and, to an extent, it rescued the tantra
from totally degenerating into grotesque and
abominable cult practices. It came as a breath of
fresh air cleansing the polluted atmosphere of
the tantra. It helped sublimating the coarse
tantric beliefs into universal principles. The
advocacy of meditation (bhavana) rendered the
tantra acceptable to householders too. It also
helped to reconcile the tantra outlook with the
Vedic ethos.
7.1. As I mentioned earlier, the Bhavanopanishad
is in the form of terse Sutras and it is not easy to
understand its import without the aid of a
commentary. The most well known of  all the
commentaries on Bhavanopanishad is The
Bashya by Bhaskararaya Makhin, who called
himself Saubhagya-bhaskara.
7.2. Bhaskararaya was a celebrated authority on
the philosophy and practice of Tantra; and,
especially on the Sri Vidya upasana. Though his
exact dates are uncertain, it is accepted he lived
(between 1690 and 1795) ; mostly  during the
18th century. His father Ghambhira Raya was a
scholar and served as a minister in the court of
the sultan of Bijapur (North Karnataka).His
mother’s name is given as Konnamamba; and
his place of birth is mentioned as Bhaga-nagar
(the present-day Hyderabad in AP).
7.3. He was initiated into tantric worship by his
father; and he had the formal initiation and final
consecration from the tantric master Shivadatta
Shukla of Surat (Guj). He later married Anandi
Bai from Maharashtra and initiated her in Sri
Vidya. After studying for many years in Varanasi,
he returned to the south; and finally settled
down in Tiruvalangadu on the banks of the
Cauvery in Chola mandala. He was a versatile
scholar and a prolific writer with more than forty
books in Sanskrit on several branches of
learning.
7.4. His commentary on the Bhavanopanishad is
brief but well constructed. His explanations are
precise and pre supposes familiarity of the
reader with the ideologies and concepts of Sri
Vidya.
His works are of particular interest to Sri Vidya
upasakas, as they furnish practical instructions
and information concerning its upasana and
sadhana. The more important among such texts
are his companion volume to his commentary on
Bhavanopanishad; it is called, for
short, prayoga-vidhi, a practical manual for
worship of Sri Chakra.
His other well-known works concerning Sri Vidya
are his commentaries on: Lalitha sahasranama,
Tripuropanishad, Kaulopanishad and Lalitha –
tripura-sundari Upanishad.
He lived to be a very old man and spent his last
days at his house on Mahadanapuram Street of
Madhyarjuna-kshetra (Tiruvidaimarudur). He
passed away at the age of 95.
8. The best known rendering (in English) of
Bhaskararaya’s commentary
on Bhavanopanishad is by Prof. S K
Ramachandra Rao, published by Kalpatharu
Research Academy, Bangalore.
 

Sources and References:

The tantra of Sri Chakra by Prof. S K
Ramachandra Rao
Bhavana Upanishad- text in
English http://www.hinduwiki.com/index.php?
title=Bhavana_Upanishad
Nitya Kala
Devis http://www.srividya.org/Srividya/Svtsweb/
apps/?act=viewPhoto&photo_id=8
The Fifteen
Nityas http://www.religiousworlds.com/mandala
m/nitya.htm
Life sketch of Bhaskararaya
Makhin http://kamakshi16.tripod.com/bhaskara.
html
http://en.wikipedia.org/wiki/Bhaskararaya
 (Please click here for a fairly detailed account
of Sri Bhaskararaya Makhin’s life)
 
13 Comments
Posted by sreenivasaraos on September 15,
2012 in Books, Sri Vidya, Tantra
 
Tags: Bhaskara
Raya, Bhavanopanishad, Makhin, Sri
Vidya, Tantra
Sri Muthuswami Dikshitar and Sri Vidya (8
of 8)
14SEP
Kamalamba Navavarana kritis-Part two
 
Continued from page one.
While discussing the Navavarana kritis, I
propose to restrict myself to those portions of
the kritis that have reference to Sri Vidya and Sri
Chakra. Most of such references occur in
the Charanam segment of the kritis.
[ Note : The worship of Sri Yantra involves use of
ten types of Mudras (Dasa-mudrani) – the
gestures through the fingers – from Sarva-
Samkshobhini to Sarva-Trikhanda . For a
discussion on ; and, for the illustration of these
Mudras, please click here.]
1.      First Avarana – Bhupura
Kamalaambaa Samrakshatu Maam– Ananda
Bhairavi – Misra Chapu (Triputa)
[The avarana is Bhupura and the Chakra is
Trailokyamohana chakra ‘enchants the three
worlds’. The yogini is Prakata; Mudra is Sarva
Somkshibhni; Siddhi is Anima; and the mental state
of the aspirant is Jagrata. The presiding deity is
Tripura. Her Vidya is Am Am Sauh.The gem is
topaz. The time is 24 minutes and the Shaktis are 28
that include the ten starting with Anima, the eight
Matruka Devis starting with Brahmya and
Maheshwari;  and the ten Mudra Shaktis. 28 is the
dominant number. This avarana corresponds to the
feet of the mother goddess.]
Tripuraadi Chakreshvari Animaadi Siddhishvari
Nitya Kaameshvari
Kshitipura Trailokyamohana Chakra Vartini
Prakata Yogini
Suraripu Mahishaasuraadi Marddini Nigama
Puraanaadi Samvedini
Tripureshi Guruguha Janani Tripura Bhanjana
Ranjani
Madhuripu Sahodari Talodari Tripura Sundari
Maheshvari
The Bhupura Chakra, the earth stretch, includes
within its spacial scope the entire design even as
the earth supports the entire existence . As he
enters the first Avarana, Dikshitar submits his
salutations to the Mother Goddess Kamalamba
and prays for protection and guidance. He
address her as the magnificent transcendental
beauty without a parallel in three worlds (Tripura
Sundari); the conqueror of three levels of
existence; the presiding deity of Tripura and
other chakras (Tripuraadi Chakreshvari);
Kameshwari; the empress of Trailokyamohana
Chakra (Trailokyamohana Chakravartini) of
Bhupura (Kshithipura). She is the presiding deity
of the chakra (Tripureshi); mother of Guruguha;
and the enchanting beauty of all the tree worlds
(tripura Sundari).
He also submits his salutations to Anima and
other Siddhi deities of the Avarana (Animaadi-
Siddhishvari); the Nitya Devis; the Yogini of the
Avarana (PrakataYogini); and Maheshwari and
other Matruka Devis.
[The Eight Siddhis (Asta-siddhi) are: 1.Aṇimā:
reducing one’s body to the size of an atom;
2.Mahimā: expanding one’s body to an infinitely
large size; 3.Laghimā: becoming almost weightless;
4. Garima – power to become inordinately heavy;
5. Prāpti: ability to be anywhere at will; 6. Prākāmya:
realizing whatever one desires; 7.Īśiṭva: supremacy
over nature; and,8. Vaśiṭva: control of natural forces
The Nityas are the primary Devatas of the first
Chakra. The Nitya Kameshwari is at the center.
They are sixteen in number, 1. Kameshwari;
2.Bhagamalini; 3.Nityaklinna; 4.Bherunda;
5.Vanhivasini; 6. Maha-vajreswari; 7.Shivadooti
(Roudri); 8.Twarita; 9.Kulasundari; 10. Nitya;  11.
Neelapataka; 12.Vijaya; 13 .Sarvamangala;
14.Jwalamalini; 15.Chidroopa (Chitra);
and 16.Maha-nitya.]
Thus, along with the prayers, he brings out the
salient features of the Bhupura Chakra, the Earth
principle. The name of Raga Anandabhiravi is
suggested by the phrase Kamalaja-ananda
Bodhasukhi. His signature also appears
in Guruguha janani.
2, Second Avarana – Shodasha dala padma
Kamalambaam Bhajare Re Maanasa –Kalyani-
Adi.
[The avarana is Shodasa Dala, and the Chakra is
Sarva asha paripuraka chakra ‘fulfiller all desires
and expectations’; the yogini is Gupta Yogini; Mudra
is Sarva Vidravini; the Siddhi is Laghima; and the
mental state is Swapna, The presiding deity is
Tripureshi. Her vidya is Aim Klim Sauh. The gem is
sapphire. The time is three hours. The Shaktis are
the sixteen starting with Kamakarshini.16 is the
dominant number. This avarana corresponds to the
Savdhistana chakra of the mother goddess.]
Sarvaashaa Paripuraka Chakra Svaamineem
Parama Shiva Kaamineem
 Durvaasaarcchita Gupta Yogineem Dukha
Dhvamsineem Hamsineem
Nirvaana Nija Sukha Pradaayineem
Nityakalyaaneem Kaatyaayaneem
Sharvaaneem Madhupa Vijaya Venim Sad
Guruguha Jananeem Niranjaneem
Garvita Bhandaasura Bhanjaneem Kaamaa
Karshanyaadi Ranjaneem
Nirvishesha Chaitanya Roopineem Urvee
Tatvaadi Svaroopineem
The sixteen petaled lotus(shodasha dala
padma) called sarva asha paripuraka
chakra , the fulfiller of all desires , is the second
enclosure. In the sixteen   petals , the sixteen
vowels of Sanskrit alphabet is inscribed.These
symbolize sixteen kalas or aspects or
phases.This Avarana is about the self protection
of the devotee (atma raksha); and liberation from
discontent by seeking identity with Shiva the
ever complete and content.
He calls upon his mind to meditate on
Kamalamba and cast aside attachments to
illusory existence (kalpita maaya) .The
craving Asha springs from discontent; and is
quenched when discontent is eliminated. That is
possible when devotee identifies himself with
Shiva, ever complete and ever content.
He worships the presiding deity
of Sarvasaparipuraka chakra, the fulfiller of all
desires and expectations (Dukha
Dhvamsineem); the beloved of Parama Shiva;
the bestower of true and everlasting
bliss (Nirvaana Nija Sukha Pradaayineem). She
is the manifestation of attribute_ less supreme
spirit (Nirvishesha Chaitanya Roopineem). She
is also the representation of the world and its
principles (Urvee Tatvaadi Svaroopineem).
When he calls her “she who is worshipped by
Durvasa (Durvaasaarcchita)”, he is referring to
the Kaadi matha tradition to which he belonged.
The sage Durvasa is one of the gurus of the
Kaadi matha.
Dikshitar also refers to the Gupta Yogini, the
yogini of this avarana; the sixteen, Shakthis
starting with Kama-akarshini (Kaamaa
Karshanyaadi Ranjaneem). They are also
called Nithyas and
named Kamakarshini (fascinating the desires),
Budhyakarshini (fascinating the
intellect) etc. They relate to powers in the Five
Elements, the ten senses of perception
or Indriyas (being further divided into five organs
of action and five sense organs) and the Mind.   
The phrase Nija Sukha Pradaayineem
Nityakalyaaneem refers to the sixteen Devis of
this avarana, called Nitya Kala or Nitya Devis.
[The sixteen presiding deities (Nityas) in the
second Avarana, all ending in the
phrase Akarshini  (the one who attracts or draws
forth) are – Kama-akarshini; Buddhi-akarshini,
Ahamkara-akarshini; Chitta-akarshini, Dhairya-
akarshini; Smrti-akarshini; Sharira-akarshini;
Shabda-akarshini, Sparsha-akarshini; Rupa-
akarshini, Rasa-akarshini;, Gandha-akarshini;
Nama-akarshin; Bija-akarshini, Atma -akarshini;
and, Amrtita-akarshini .]
The Goddess Kamalamba, in this Kriti, is served
by Lakshmi and Sarasvathi. This is said to have
been inspired by the phrase “sacamara Rama
Vani savya-dakshina sevita”, which appears in
the Lalita-sahasranama. Sri Dikshitar, in his
another Kriti in Nasamani Raga, commences
with the words “Shri Rama Sarasvati sevitam
shri Lalitambam bhavaye”
*
The Raga mudra is in the
phrase Nityakalyaneem; and , his signature is
in Guruguha -jananeem.
3. Third Avarana –Ashta dala padma
Shree Kamalaambikayaa Kataakshitoham
-: Shankarabharanam-Rupaka
 [The avarana is ashta dala; The Chakra is
Sarvasamkshobana chakra ‘agitates all’. The Yogini
is Guptatara; Mudra is Sarvakarshini; the Siddhi is
Mahima; and the mental state is Shushupti. The
Presiding deity is Tripura Sundari. Her vidya is Hrim
Klim Sauh. The gem is cat’s eye. The time is day
and night. The Shaktis are the eight starting with
Ananga Kusuma. 8 is the dominant number. This
avarana corresponds to the navel region of mother
goddess.]
Ananga Kusumaadyashta Shaktyaakaarayaa
Arunavarna Samkshobhana Chakraakaarayaa
Anantakotyandanaayaka Shankara Naayikayaa
Ashta Vargaatmaka Gupta Tarayaa Varayaa
Anangaa Dyupaasitayaa Astadalaabjasthitayaa
Dhanur Baanadhara Karayaa Dayaa Sudhaa
Saagarayaa
Eight petalled lotus (astha dala
padma) called Sarva-samkhobhana-Chakra
the agitator of all, is the third Avarana. Each
petal has a consonant inscribed within it that
begins with ‘Ka’  The petals represent eight
divinities associated with erotic urges ,
independent of physical body (ananga).
The Avarana is about overcoming
agitations (Samshkoba) and the formless erotic
urges (ananga)that arise in mind .These refer to
mental pleasures and agitations related to the
modalities of mind such as  rejection (repulsion
or withdrawal), acceptance (attention or
attachment) and indifference (detachment).
The eight petals of the Avarana Asta
dala represent eight divinities associated with
such erotic principles. Sri Dikshitar refers to
them as Ananga Kusumaadyashta
Shaktyaakaarayaa.
The eight Shakthis referred to as Ananga-
kusuma are: Ananga-kusuma; Ananga-mekhala;
Ananga-madana; Ananga madanatura; Ananga-
rekha; Ananga-vegini; Ananga-amshuka;
and Ananga-malini. These Shakthis are
described as Guptatara yogini-s.
Dikshitar obviously succeeded in gaining
freedom from mental agitations and urges
caused by these erotic principles.
Dikshitar is thrilled with divine ecstasy; I am
blessed by the grace of mother Kamalamba
(Shree Kamalaambikayaa Kataakshitoham); and I
have realized that Absolute
Brahman (Sacchidaananda Paripurna
Brahmaasmi). 
He describes the Devi as the one seated on the
red colored (Aruna Varna) Samkshobhana
Chakra, amidst its eight petals (Anangaa
Dyupaasitayaa Astadalaabjasthitayaa) having
names starting with Ananga (Ananga
Kusumaadyashta). In the eight petals of the
lotus, eight consonants such as ka, cha, ta and
so on are inscribed (Ashta Vargaatmaka). She
holds in her hands the bow and arrows (Dhanur
Baanadhara Karayaa). She is the ocean of
mercy (Dayaa Sudhaa Saagarayaa).
Ananga has also a reference also to the cult of
Cupid or Eros (Manmatha or Kamaraja) and its
deities that have merged into the tradition of Sri
Vidya. Dikshitar is referring to the school
propagated by Kamaraja, the Kamaraja vidya or
Kadi matha; and continued by the sage
Agasthaya. Dikshitar belonged to this school.
He mentions the yogini of the Avarana, Gupta
Tarayaa (Gupta Tarayaa Varayaa).
Raga mudra is hinted in Shankara
Naayikayaa, the beloved of Shankara. His
signature appears in the phrase Guruguha-tatrai-
padayaa.
4. Fourth Avarana –chaturdasha trikona
 Kamalaambikaayai Kanakamshukaayai-
Kambhoji -Khanda Ata
[The Avarana is chaturdasha trikona, a figure made
of 14 triangles; the Chakra is Sarvasoubhagya
dayaka chakra, ‘grants excellence’. The Yogini is
Sampradaya Yogini; the Mudra is Sarva Shankari;
the Siddhi is Ishitva. The mental state is Iswara
Vichara. The presiding deity is Tripura Vasini. Her
vidya is is Haim Hklim Hsauh. The gem is coral. The
time is day and night . The Shaktis are the fourteen
starting withSamkshobhini.14 is the dominant
number. This avarana corresponds to the heart of
mother goddess.]
Sakala Saubhaagya Daayakaambhoja
Charanaayai
Samkshobhinyaadi Shaktiyuta
Chaturthyaavaranaayai
Prakata Chaturddasha Bhuvana Bharanaayai
Prabala Guruguha Sampradaayaantah
Karanaayai
Akalanka Rupa Varnaayai Aparnaayai
Suparnaayai
Sukara Dhruta Chaapa Baanaayai Shobhanakara
Manukonaayai
Sakunkumaadi Lepanaayai Charaacharaadi
Kalpanaayai
Chikura Vijita Neelaghanaayai Chidaananda
Purna Ghanaayai
Dikshitar worships the presiding deity of the
fourth Avarana, playing on the words occurring
in the title of the Chakra: sarva sowbhagya
dayaka, the bestower of all prosperity and
addresses the Mother as Sakala Saubhaagya
Daayakaambhoja Charanaayai, the goddess with
lotus like feet and benefactor of all good things
in life. He inserted the Raga mudra, in the
phrase kaambhoja Charanaayai, worshiping her
lotus feet.
This Chakra referred to as Sarva-
saubhagyadayaka – that which grants all
auspicious things in life – is also
called Manukona, named after the fourteen
Manus; and, it consists of fourteen triangles. The
fourteen Shakthis (called as Sampradaya-
Yoginis)  that are involved here are:  Sarva-
samkshobini; Sarva-vidravini; Sarva-akarshini,
Sarva-stambhini; Sarva-jhrambhini; Sarva-
vashamkari; Sarva-ahladini; Sarva-sammohini;
Sarva-ranjani;, Sarva-anmodinI, sarva-
arthasadhaka;  Sarva-sampattipurani; Sarva-
mantramayi; and Sarva-dvandvakshyamkari.
The fourteen triangles are inscribed with
fourteen consonants beginning with ka and
ending with dha.The fourteen corners represent
fourteen powers of mother
goddess. The fourteen triangles (chaturdasha
trikona) of the chakra represent fourteen
channels  of the vital forces in the
body(naadis), corresponding with the fourteen
divinities Sarva Samkshobhini and thirteen
others. Dikshitar refers to these fourteen forces
of the fourth avarana as Samkshobhinyaadi
Shaktiyuta Chaturthya-avaranaayai.
He adulates the Devi as manifest ruler (prakata
bharanayai) of the fourteen worlds (chaturdasha
buvana). The fourteen worlds also represent the
faculties : the Mind (Manas), the
Intellect (Buddhi), Being (Chitta), the Conscious
Ego (Ahamkara) and the ten Indriyas.
This avarana corresponds to the heart of
the mother goddess. Dikshitar addresses
Kamalamba as the heart (antah karanaayai) of
the great tradition (prabala sampradaya) to
which Dikshitar (Guruguha) belongs. He is
referring to the tradition of the Kaadi matha of
the Dakshinamurthy School of Sri Vidya.
He describes the mother as seated in fourteen
triangle (manu konayai), smeared with
vermilion (sa-kunkumayai), holding in her
beautiful hands (su_kara) arrows (baana
chaapa). She is the creator
of movable and immovable existence (Charaach
araadi Kalpanaayai). She is the embodiment of
consciousness (chit) and bliss (ananda).
The symbolism of this avarana is the one
cherished by all, sarva sowbhagya dayaka; for it
suggests the identity of Shiva with his
Shakthis (Chidananda purna ghanaayai).
*
The Raga-mudra Kambhoji appears slightly
altered as “Kambhoja” in the
line Dayakambhojacaranayai .
5. Fifth Avarana –Bahir dasara
Shree Kamalaambikaayaah Param
Nahire- Bhairavi -Misra Jhampa
[The Avarana is Bahirdasara; the Chakra is
Sarvarthasadhakachakra, the ‘accomplisher of all’.
The Yogini is Kulotteerna yogini; the Mudra is
Sarvonmadini; and the Siddhi is Vashitva. The
mental state is Guroopa Sadanam. The presiding
deity is Tripura Shri. Her vidya is is Haim Hklim
Hsauh. The gem is pearl. The time is lunar day. The
Shaktis are the ten starting with Sarva Siddhi
Prada.10 is the dominant number. This avarana
corresponds to the neck of mother goddess.]
Shreekantha Vishnu Virinchaadi Janayitrayaah
Shivaatmaka Vishvakartryaah Kaarayitryaah
Shreekara Bahirdashaara Chakra Sthityaah
Sevita Bhairavi Bhaargavee Bhaaratyaah
Charanam:
Naadamaya Sukshmarupa Sarva Siddhipradaadi
Dasha Shaktyaaraadhita Moorthe
Shrotraadi Dasha Karana-aatmaka Kula Kauli
Kaadi Bahuvidhopaasita Keertthe
Abheda Nitya Shuddha Buddha Mukta Saccida
Anandamaya Paramaadvaita Sphurtthe
Aadi Madhyaanta Rahitaaprameya Guruguha
Modita Sarva Arttha Saadhaka Sphurtte
Mulaadi Navaadhaara Vyaavrtta Dashadhvani
Bhedajhna Yogibrunda Samraksanyaa
Anaadi Maayaa Avidyaakaarya Kaarana Vinoda
Karana Patutarakataaksa Viksanyaah.
This avarana which is in the form of a figure with
ten corners is called Bahir dasara , the outer ten
triangles; and represents ten vital
currents  (pranas)  responsible for the various
functions of body and mind. They are also the
representations of ten incarnations of Vishnu
meant to accomplish welfare of mankind. Hence
the chakra is called Sarvartha Sadhaka, the
accomplisher of all objects.
Dikshitar addresses the Devi as the auspicious
one (Shreekara) seated on the Bahirdasara
Chakra, served by
Bhairavi (Kaali), Bhargavee (Lakshmi) and
Bharathi (Saraswathi). The term Bhairavi is also
the Raga-mudra, here. (Shreekara Bahirdashaara
Chakra Sthityaah Sevita Bhairavi Bhaargavee
Bhaaratyaah)
The shakthis of the avarana are ten in number;
and are named Sarva Siddhiprada, Sarva
Sampathprada, and Sarva Priyankari and so on.
Dikshitar worships the ten manifestations of
these shakthis (Sarva Siddhipradaadi Dasha
Shaktyaaraadhita Moorthe); and describes them
as the subtle forms of sounds in the
body (Naadamaya Sukshmarupa).
The yoginis of the chakra are Kulotteerna
yoginis and are also called Kuala
yoginis. Dikshitar worships the mother as being
present in various
forms (Bahuvidhopasthitha) such as the ten
yoginis kula, Kaula and others (Dasha Karana-
aatmaka Kula Kauli Kaadi).
The term Dasha-karana stands for the ten
organs, consisting of the five sense organs
(Jnanendriya-s) and the five organs of action
(Karmendriya-s).
The ten Shakthis (Dasha Shakthi) referred to
here as Kulotteerna Yoginis  (those who enhance
the prosperity of the generations) are: Sarva–
siddhiprada; Sarva-sampatprada; Sarva-
priyamkari; Sarva-mangalakarini; Sarva-
kamaprada; Sarva-duhkhavimocani; Mrtyu-
prashamani; Sarva-vighnanivarini;  Sarva-
sundari; and,  Sarva-saubhagyadayini.
He describes the fifth avarana Sarvartha
Sadhaka, the accomplisher of all objects, in
highly lyrical terms. He hails her as the ultimate
good (Shiva) and the objective of the Tantra and
Vedic rituals alike; and as the supreme non-dual
non-differentiated ever pure enlightened free
self, consciousness and bliss. She is the
incomparable, non-dual being, without an end or
beginning. She is loved in devotion by
Guruguha; and is manifested in Sarvartha
Sadhaka Chakra. She is the sublime inspiration.
(Abheda Nitya Shuddha Buddha Mukta Saccida
Anandamaya Paramaadvaita Sphurtthe, Aadi
Madhyaanta Rahitaaprameya Guruguha Modita
Sarva Arttha Saadhaka Sphurtte).
She is also present as Naada, sound, in the nine
vital centers such as Muladhara and other
chakras. She protects yogis; dispels delusion
and ignorance. The nine chakras referred to
are Muladhara, Svadhistana, Manipura, anahata,
Vishuddha and ajna; together with manasa
chakra (mind centre) situated above ajna, soma
chakra (lunar-centre) situated above manasa
chakra; and Sahasra padma, symbolically,
located above the head. The Sahasra is the seat
of consciousness (Shiva).
 6. Sixth Avarana –Antar dasara
Kamalaambikaayaastava
Bhaktoham- Punnaagavaraali -Thrisra Eka
[The Avarana is Antardasara; the Chakra
is Sarvaraksakara chakra The gem is emerald. The
time is Lunar Fortnight. The Shaktis are the ten
starting with Sarvagnya.10 is the dominant number.
This avarana corresponds to the middle of the
eyebrows (bhrukuti) of the mother
goddess.] ‘Protects all’. The Yogini is Nigarbha
Yogini; the Mudra is Sarva mahankusha; and the
Siddhi is Prakamya. The mental state is Upadesa.
The presiding deity is Tripura Malini. Her vidya is is
Hrim Klim Blem.
Dasha-kala-atmaka Vahni Svaroopa Prakaasha-
antar-dashaara
Sarva Rakshaakara Chakreshvaryaah
Tridasha-adi-nuta
Kachavarga Dvaya Maya Sarvajhnaadi
Dasha-shakti-sameta Malini Chakra-eshvaryaah
Tri-dashavim-shad-varna Garbhini Kundalinyaah
Dasha-mudraa Sama-araadhita Kaulinyaah
Dasharathaadinuta Guruguha Janaka Shiva
Bodhinyaah
Dashakarana Vrutti Mareechi Nigarbha
Yoginyaah Shree
The ten- sided figure (antar dasara) called Sarva
raksha karaka (one that protects all) consisting
ten triangles is the sixth avarana. The ten
triangles represent the powers of the mother
goddess who presides over ten vital
fires (vanyaha). These represent  the ten specific
fires within the body; they  being the fire of :
purgation (Rechak); digestion (Pachak);absorpti
on (Shoshak); burning (Dahak);the secretion of
enzymes (Plavak); acidification (Ksharak); to
take out or excrete (Uddharak); the fires of
pessimism and frustration (Kshobhak);the fire of
assimilation (Jrambhak); and, fire of
creating luster (Mohak).
The significance of this avarana is explained as
protection from all obstacles. The devotee
distances himself from all that hinders his
spiritual progress; and he begins to develop the
awareness he is Shiva (the consciousness).
Dikshitar describes the Antar dasara chakra ,
consisting the inner set of ten triangles , as
endowed with ten aspects; and, glowing like
fire (Dasha-kala-atmaka Vahni
SvaroopaPrakaasha-antar-dashaara) . 
These ten vital fires correspond to the ten
divinities , also referred to as the Nigarbha
yogini-s, are:  Sarvajna; Sarva-shaktiprada;
Sarva-aishvaryapradayini; Sarvajna-namayi,
Sarva-vyadhivinashini; Sarva-dharasvarupa;
Sarva-papahara; Sarva-anandamayi;, Sarva-
rakshasvarupini;, and, Sarve-psitaphalaprada 
These ten along with the presiding deity Tripura
Malini, reside in the ten-cornered-figure Antar
dasara (Sarvajhnaadi Dasha-shakti-sameta
Malini Chakra-eshvaryaah).
Tripura Malini is the goddess of the
Chakra Sarvarakshakara (Sarva Rakshaakara
Chakreshvaryaah).
The ten triangles are inscribed with ten
consonants beginning with letters of
the Ka and Ca groups (Tridasha-adi-nuta
Kachavarga Dvaya Maya). They, again, represent
the powers of the mother goddess who presides
over ten vital fires (vanyaha).
She is the goddess Kaulini, propitiated by ten
Mudras . The ten Mudra-s are: Sarva-
samkshobhini; Sarva-vidravini; Sarva-akarshini,
Sarva-veshakari; Sarva-anmodini; Mahankusha;
Khecari; Bija, Yoni and Tr-ikhanda
The mudras of the avarana are Mahakusha
Mudra (Dasha-mudraa
SamaaraadhitaKaulinyaah). Dikshitar also
mentions the yogini of the chakra:
Nigarbha yogini (Nigarbha Yoginyaah). 
Dikshitar describes the Sri Chakra as containing
in itself the fifty six alphabets and also being the
very representation of Kundalini (Tri-dashavim-
shad-varna Garbhini Kundalinyaah).
Sri Chakra  has several symbolisms. As per the
Tantric idealogy , the Sanskrit alphabet is
regarded the vocal epitome of the universe; and
each letter is transformed into energy when
introduced into the chakra. It acquires the
character of a “seed_syllable” , Bijakshara,
representing a divine aspect or a retinue divinity.
Here , the Tantra texts explain that the
consonants are basically inert and depend on
vowels (just as Shiva depends on Shakthi) to
manifest in a meaningful form. It is only when
the germinating power (bija) of the vowels is
infused with consonants, the latter gain
meaning. That is the reasons the vowels are Bija
aksharas. They transform ordinary letters into
mother like condition (matrika); that is, they
impregnate ordinary letters with meaning and
power. The consonants inscribed into Sri Chakra
derive power since they are now in union with
Shakthi.
Further, in Tantra, the articulate sound is the
basic structure overwhich all our thoughts,
emotions, aspirations and pleasures are woven
as fabrics.
As regards Kundalini, it is basically a
terminology of the Yoga school. In Tantra the
term has an extended meaning. Tantra regards
the creation as an expression of the universal
energy (maha-kundalini); Its representation in
the individual is the kundalini. That Kundalini is
the basis for all his intentions, cognitions and
actions. The awakening of Kundalini signals the
spiritual progress. It is by means of its mediating
power (mantra-shakthi) , the individual realizes
the oneness of consciousness-energy.
Dikshitar therefore says that the vowels and
consonants inscribed into the Sri Chakra as
representations of energy and consciousness.
Dikshitar hides the Raga mudra (Punnagavarali) 
in a delightful flight of phrases (Ati-madhuratara-
vaanyaah-Sharvaanyaah-Kalyaanyah-Ramaniya-
punnaaga varaali  Vijita Venyaah Shree)  She
whose braided hair excels the beauty of  lovely
black bees swarming around the Punnaga tree.
The Charanam concludes with salutations to the
Yogini of the chakra, the ten aspects
of  Nigarbha Yogini, shining brightly like the rays
of light (Dashakarana Vrutti Mareechi Nigarbha
Yoginyaah Shree)
7. Seventh Avarana-Ashtara
Shree Kamalaambikaayaam Bhaktim
Karomi- Sahana-Thrisra Triputa
[The avarana is asthakona; the Chakra is
Sarvarogahara chakra ‘cures all ills’. the Yogini is
Rahasya Yogini; The Mudra is sarva khechari; and
the Siddhi is Bhukthi. The mental state is Manana.
The presiding deity is Tripura Siddha. Her vidya is is
Hrim Shrim Sauh. The gem is diamond (Vajra). The
time is Lunar month. The Shaktis are the eight,
starting with Vashini. 8 is the dominant number. This
avarana corresponds to the forehead (lalata) of the
mother goddess.]
 Raakaachandra Vadanaayaam Raajiva-
nayanaayaam
Paakaarinuta Charanaayaam Aakaashaadi
Kiranaayaam Hrimkaara
Vipina-harinyaam Hrimkaara-Susharirinyaam
Hrimkaara Taru Manjaryaam
Hrimkaareshvaryaam Gauryaam
Sharira-traya Vilakshana Sukhatara Svaatmaanu
Bhoginyaam
Virinci Harishaana Harihaya Vedita
Rahasyayoginyaam
Paraadi Vaagdevataa-rupa-vashinyaadi
Vibhaaginyaam
Charaatmaka Sarva-roga-hara Niraamaya Raaja-
yoginyaam
Karadhruta Vinaa Vaadinyaam Kamalaanagara
Vinodinyaam
Sura-nara-munijana-modinyaam
Guruguha-vara-prasaadinyaam
Eight-cornered figure(ashtara) called Sarva roga
hara (the remover of all deceases) is the seventh
avarana. In the eight triangles formed by this
figure, eight divinities presiding over speech
reside.They are known as deities of self
expression (Vak Devatha). These include four
forms of speech : Para; Pashyanthi;
Madhyama and Vaikhari.
These eight shaktis also rule over basic urges
and contradictions in life (dwandwa) such as
cold (water) and heat (fire); happiness (air) and
sorrow( earth); as also the Desire(akasha-space)
and the three Gunas  of  Sattva  (consciousness)
, Rajas  (ego) and Tamas (mind).
The eight Shakthis that are involved here are
collectively known as Rahasya Yoginis are:
Vashini; Kameshi; Medini; Vimala; Aruna; Jayini;
Sarveshi; and Kaulini
The significance of this enclosure is its power to
eradicate the most basic of diseases viz.
involvement with impure, fleeting existence
laden with stress. The blessed state is attained
when the distinctions between the subject, the
object and transactions between them are
dissolved.
Hrim is the Bija-mantra (seed-syllable) of this
chakra. In the context of Sri Vidya, hrim is a
particularly sacred syllable; it represents the
mother goddess herself. Dikshitar worships the
mother as the very embodiment
of hrim (Hrimkaara-Susharirinyaam Hrimkaara
Taru Manjaryaam). She is Gauri; she is the
presiding deity of hrim (Hrimkaareshvaryaam
Gauryaam).
Dikshitar refers to his tradition (Kadi matha) by
invoking the name of one of its gurus
Hayagreeva (Harihaya Vedita). He also refers to
the Yogini of the chakra Rahasya Yogini
(Rahasyayoginyaam); and to the letters of
the Pa group inscribed in the eight triangles,
representing eight Shakthis (Vasini and others)
presiding over the aspect of speech (Paraadi
Vaagdevataa-rupa-vashinyaadi Vibhaaginyaam).
Dikshitar refers to the basic nature of the chakra
Sarvarogahara chakra ‘cures all ills’ and calls
the mother the Raja Yogini, who cures all kinds
of illness ( Charaatmaka Sarva-roga-hara
Niraamaya Raaja-yoginyaam).
The Raga mudra (Sahana) is in the
phrase Harishaana; while the composer’s
signature is in  Guruguha-vara-prasaadinyaam.
 8. Eight Avarana –Trikona
Kamalaambike Avaava-Ghanta-Adi
[The Avarana is Trikona; the Chakra
is Sarvasiddhiprada chakra, ‘grants all attainments’.
the Yogini is Athi Rahasya Yogini; the Mudra is
Sarva Beeja; and the Siddhi is Iccha. The mental
state is Nitidhyasana. The presiding deity is
Tripuraamba. Her vidya is is Hsraim Hsrklim
Hsrsauh.. The gem is Gomaya .The time is a ritu-
two months. The Shaktis are the three: Kameshwari,
Vajreshwari and Bhagamalini. (4+3=7) is the
dominant number. This avarana corresponds to the
top of the head (masthka) of the mother goddess]
 Lokapaalini Kapaalini Shoolini Lokajanani
Bhagamaalini Shakrudaa
Aalokaya Maam Sarva Siddhipradaayike
Tripuraambike Baalaambike
Charanam
Santapta Hema Sannibha Dehe Sadaa-
akhandaika-rasa-pravaahe
Santa-apahara Trikona-gehe Sa-kaameshvari
Shakti-samuhe
Santatam Mukti Ghantaamani Ghosaayamaana
Kavaata-dvaare
Ananta Guruguha Vidite – Karaahnguli
Nakhodaya Vishnu Dashaavataare –
Antahkaraneksu Kaarmuka – Shabdaadi Pancha
Tanmaatra Vishikhaatyanta
Raagapaasha Dvesa-ankusha Dharakare
Atirahasya Yoginipare
The primary triangle with its apex downward
(East) and colored white
(Sattva) surrounding immediately around the
central point , Bindu , is the eighth avarana. It is
called Sarva Siddhi prada chakra, the one that
bestows all accomplishment. This triangle does
not intersect with other triangles; and stands
independent. It is Kama Kala. It is feminine in its
aspect; and represents three fundamental
manifestations of the mother goddess:
Kameshwari (symbolizing moon – creation);
Vajreshwari (symbolizing sun- preservation); and
Bhagamalini (symbolizing fire -dissolution).
The three angles of the triangle also represent
three forms of speech : Pashyanthi,
Madhyama and Vaikhari. The triangle is
therefore the speech aspect Vak Bhava.
It also represents the three powers of iccha (will)
, jnana (knowledge) and kriya (activity). The
three corners of the triangle stand for three
peaks(kuta) of the fifteen_lettered mantra; or as
three dimensions of all existence. The triangle
itself is regarded the abode of the mother
goddess (kama-kala).
Dikshitar in divine ecstasy sings the glory of the
Mother, the protector of worlds adorned with
garland of skulls and holding a trident. She is
Bhagamalini, symbolizing fire representing
Rudra’s power of dissolution. She is also
Tripurambika; the presiding deity of the avarana.
She is Balamba. She is the ruler of the
Sarvasiddhiprada chakra :
Lokapaalini Kapaalini Shoolini Lokajanani
Bhagamaalini Shakrudaa Aalokaya Maam Sarva
Siddhipradaayike Tripuraambike Baalaambike 
She whose body is glowing like molten
gold(Santapta Hema Sannibha Dehe); She who is
the eternal undifferentiated unique bliss(Sadaa-
akhandaika-rasa-pravaahe ); She who resides in
the enchanting  Trikona chakra (Santa-apahara
Trikona-gehe ); and delighting in the company of
Kameshwari (symbolizing moon – creation) and
host of  other friends (Sa-kaameshvari Shakti-
samuhe).
The eight cornered figure that surrounds the
Trikona, suggests five basic elements
of phenomenal existence (tanmatras: earth,
water, fire, air and space), symbolized by five
arrows of flowers (pancha bana) which is also
the symbol of Kama; passion (raga) symbolized
by the noose (pasha); aversion (dwesha)
symbolized by the goad (ankusha); and mind
(manas) symbolized by sugarcane stalk (ikshu
danda); all of which are held by the deity, in the
company of the yogini of the avarana , Athi
Rahasya Yogini.
Dikshitar puts the entire thing, beautifully, in just
two compact lines:
Antahkaraneksu Kaarmuka – Shabdaadi Pancha
Tanmaatra Vishikhaatyanta
Raagapaasha Dvesa-ankusha Dharakare
Atirahasya Yoginipare.
The Raga mudra is in Mukti Ghantaamani
Ghosaayamaana; while the composer’s mudra is
in Ananta Guruguha Vidite.
9. Ninth Avarana-Bindu
Kamalaambaa Jayati-Ahiri-Rupaka
[The avarana is the Bindu and the Chakra is
Sarvanandamaya chakra, ‘ replete with bliss’. The
yogini is parathi para Rahasya; the Mudra is sarva
yoni; and the Siddhi is Prapthi. The mental state is
Savikalpa Samadhi. The presiding deity is her
Transcendent Majesty Lalita Maheshwari
Mahatripurasundari. Her vidya is Kamaraja
vidya : ka e i la hrim ha sa ka ha la hrim sa ka la
hrim, plus a secret 16th syllable. The gem is
ruby. The time is year. The Shakti is Maha Tripura
Sundari the personification of Brahman. This
avarana corresponds to Brahma_randra on the top
of the head of the mother goddess.]
Pallavi
Shri Kamalaambaa Jayati Ambaa Shri
Kamalaambaa Jayati Jagadaambaa
Shri Kamalaambaa Jayati Shringaara Rasa
Kadambaa Madambaa
Shri Kamalaambaa Jayati Chidbimbaa
Pratibimbendu Bimbaa
Shri Kamalaambaa Jayati Shreepura Bindu
Madhyastha
Chintaamani Mandirastha Shivaakaara
Manchasthita Shivakaameshaankasthaa
Anupallavi
Sukara-ananaadya-arccita Mahaa-tripura
Sundarim Raajaraajeshvareem
Shreekara Sarva-ananda-maya Chakra-vaasinim
Suvaasinim Chintayeham
Divaakara Sheetakirana Paavakaadi
Vikaasakarayaa
Bheekara Taapa-traya-adi Bhedana
Dhurinatarayaa
Paakaripu Pramukhaadi Praarthita-
Sukalebarayaa
Praakatya Paraaparayaa Paalitodayaakarayaa
Charanam
 Shrimaatre Namaste Chinmaatre Sevita Ramaa
Harisha Vidhaatre
Vaamaadi Shaktipujita Paradevataayaah
Sakalam Jaatam
Kaamaadi Dvaadashabhir-upaasita Kaadi Haadi
Saadi Mantra-rupinyaah
Premaaspada Shiva Guruguha Jananyaam
Pritiyukta Macchittam Vilayatu
Brahmamaya Prakaashini Naamaroopa
Vimarshini Kaamakalaa Pradarshini Saamarasya
Nidarshini
This Kriti employs all
eight Vibhaktis. The Pallavi is in the nominative
case; the first three lines of the Anu-pallavi are in
the accusative case; and, the rest of the Anu-
pallavi is in the instrumental case.
The first line of the Charanam is in the dative
case, and, it also incorporates the vocative (in
the word Cinmatre). The consecutive lines are in
ablative, genitive and locative cases.  The last
two lines, meant to be sung in the Madhyama-
kala, are again in the nominative case, in order to
return to the main Pallavi line.
The Raga Mudra (Ahiri) is slightly altered as
“Ahari”; and, it occurs in the phrase Ramahari.
**
The ninth enclosure is the Bindu. It is
called Sarvananda-maya chakra , the
supremely blissful one.  It is independent of the
intersecting triangles. This, in a temple, would be
the sanctum sanctorum, with all the other circles
or enclosures representing various parts of the
temple as you move inwards.
It is this Bindu that is in reality the Sri Chakra; it
represents the mother goddess Maha Tripura
Sundari, Lalitha or Rajarajeshwari herself; and
everything else is a manifestation of her aspects.
The goddess is nothing other than the devotees
own self. The self here refers to individual
consciousness (buddhi) which is beyond the
body-mind complex. It is filled with all bliss
(sarvananda maya). This constant, abundant
bliss is the expression of the union of Shiva
(consciousness) and Shakthi (power of
deliberation Vimarsha). It is the very basis of
existence.
The significance of this avarana is the complete
harmony (samarasya) of principles of pure
consciousness (Shiva) and the principle of
energy as deliberation (vimarsha shakthi). It
signifies a state of non-duality, where all
tendencies of approach and withdrawal become
nonexistent, dissolve in a state in which the
devotee ultimately rests. Bliss, in Tantra, is
explained as resting in oneself (Svarupa
pratishta).
Dikshitar bursts forth into a fountain of divine
ecstasy and sings the glory and the celebration
of the Supreme Mother Goddess in highly lyrical
and sublime poetry. The krithi is also rich in Sri
Vidya lore.
He describes the Mother as the very
personification of the Bindu, the pure
consciousness at the centre of Sri Chakra
(Chidbimbaa Pratibimbendu Bimbaa); and as one
who resides as the Bindu, in a mansion of ruby
(Chintaamani Mandirastha), at the heart of the Sri
Chakra (Shreepura Bindu Madhyastha).Here the
expression bimbendu, refers to the moon and
the point. As per the Tantric ideology the mother
goddess is the moon; and the fifteen phases of
the moon are her individualized aspects, kalas.
She resides in the lunar orb.
The phrase Chintamani mandira-sthitha carries
with it an elaborate background. The Devi’s
mansion is visualized as situated in a great
garden (mahodyana) rich with many species
of trees such as Santana, Kalpaka, Hari-
chandana, Parijatha, Bilva etc. The garden is
enclosed by four ramparts made of nine gems.
The central hall of her mansion (prasada) is
made of coral (manikya mantapa). Inside this
vast enclosure are three tanks (vapika) of
immortality (amrita), of biiss (ananda) and of
deliberation (vimarsha). There is also a grove of
lotus flowers (padmatavi). Amidst all these is the
magnificent mansion of the “wish granting
jewel” (Chintamani mandira). The mother
goddess resides (sthitha) in this enchanting
mansion.
At the entrance of this mansion (Kavaata-
dvaare), the bejeweled bells (Ghantaamani)
constantly (Santatam) ring and announce loudly
the message of salvation (Mukti Ghantaamani
Ghosaayamaana).
The line “Shivaakaara Manchasthita Shiva-
kaamesha-ankasthaa” ordinarily means that the
goddess is sitting on the cot in embrace of
Shiva. But, in Sri Vidya, the imagery of the cot on
which the mother goddess rests has a symbolic
significance. The Mother Goddess is imagined to
be seated at the Bindu (in her mansion) on a
cot (mancha). The four corners of the Bhupura
represent the four legs of the cot. The four legs
are the four principles of the phenomenal world:
emanation (shristi-Brahma); preservation
(sthithi-Vishnu); dissolution (upasamhara
Rudra);  and  withdrawal of the entire creation
into a very subtle form (Ishvara).The plank
(phalakha), which rests on the four legs of the
cot is Shiva; he represents the principle of
reception, retention of the withdrawn
phenomena. Such dichotomy of existence is
preserved (anugraha) until the time for re-
emanation arrives. This principle is Sadashiva
tattva (the ever auspicious but inert principle of
pure consciousness) ; corpse-like , hence also
called Sadashiva-preta .  The Mother Goddess
rests on this plank, the principle, of Shiva. The
Mother Lalitha is surrounded by nine guardian
spirits (nava-
shakthi) : vibhuthi (splendor), unnathi (upliftmen
t) , Kaanthi (lustre) , hrsti (satisfaction), kirti (cel
ebrity) , shanthi (courtesy ) , vyushti (prosperity )
, utkrshta (excellence)  and  riddhi  (supremacy
or accomplishment).
*
In Tantra, the female is the predominant aspect
and the male is subordinate to her. The plank of
the cot is male; and the female rests on that. The
cot is inert, and the Devi is dynamic. Yet, the
male provides the female a field to function; and
the two cannot be separated. Sri Chakra
demonstrates this principle.
It is explained further, Shiva and Shakthi should
not be viewed as mere male or female principles.
They are indeed neither male nor female; nor
even neuter. They represent the unity of
consciousness and energy the very basis and
the essence of all Universe.
[The seat of Lalitha or Maha Tripurasundari is
Yoga pitha, in the form of red lotus, impressed
with the Sri Chakra design, symbolizing the very
heart of the devotee. The symbolism of this
appears to be that Mother goddess worshipped
in Sri Chakra is indeed the universe in all its
aspects; and the devotee has to identify this
principle in his body; and again his body too is
Sri Chakra and the universe in miniature.]
The presiding deity of the avarana is Maha
Tripura Sundari and her chakra is
Sarvanandamaya chakra. Dikshitar meditates on
the chakra and the presiding deity worshipped
by Varahi and other attendant deties, the Yoginis
(Sukara-ananaadya-arccita –Mahaatripura –
Sundarim Rajaraajeshvareem).
Sri Dikshitar mentions the Sun (Divaakara), the
moon (Sheetakirana) and the fire (Paavaka) as
the expansion (Vikaasa) and manifestation of the
presiding deity. Here, he is referring to the view
that the central point, the Bindu, is actually
composed of three dots or drops (Bindu traya)
representing three fires (vanhi): Moon (soma);
Sun (surya); and Fire (Agni). The
Bindu expanding into three three is an act of
swelling (ucchuna); and is the immediate
unfolding of the Sri Chakra.
Sri Dikshitar then sings the glory and the powers
of the mother worshipped by Lakshmi, Shiva,
Vishnu, Brahma and other divinities.
In the line “Kaamaadi – Dvaadashabhir-upaasita
Kaadi – Haadi- Saadi – Mantra-
rupinyaah”, Dikshitar is recalling the twelve
gurus and the traditions of the Sri Vidya. The Sri
Vidya tradition which centres on the worship of
Sri Chakra considers the following twelve gods
and sages as its gurus: Manu, Chandra, Kubera,
Lopamudra, Kama (Manmatha), Agasthya,
Nandisha, Surya, Vishnu, Skanda, Shiva and
Durvasa. It is said; each of the twelve gurus
propagated a school with regard to the worship
and significance of Sri Chakra. Of these, only
two schools have survived to this day; one is the
school started by Manmatha (also called
Kamaraja) known as Kadi-matha. The Kadi
tradition was continued by sage Agasthya. The
other school is Hadi-matha started by
Lopamudra wife of the Sage Agastya. There is
also an obscure third school called Sadi-matha.
Dikshitar belonged to the Kadi Matha School,
started by Kamaraja.
Let my loving mind (chittam) be dissolved
(vilayatu) in her, whose beloved (prema) is Shiva,
and who is the mother (jananyaam) of Guruguha.
In the line “Brahmamaya Prakaashini
Naamaroopa Vimarshini” Dikshtar touches upon
the core concepts of Sri Vidya. Shiva as
consciousness is illumination (prakasha); and
the Kameshwari as the energy to unfold the
creation, to evolve, is the deliberation
(vimarsha).The two principles are
undistinguished, united and in perfect harmony
at the time of dissolution (pralaya).They however
appear distinct at the time of creation (shristi)
and preservation (sthithi).The twin aspects of
illumination (prakasha) and evolution (vimarsha)
are the basis of the expanding universe. The
relation between the two is analogues to that of
lamp and its light. The rays of lamp spread in all
directions and is responsible for life and its
evolution. Shiva is absolute consciousness
(Brahmamaya Prakaashini) and vimarsha the
energy flows into the world of names and forms
(Naamaroopa Vimarshini). These two principles
come together again at the time of withdrawal or
dissolution.
The phrase “Kaamakalaa Pradarshini “ is again a
reference to the concepts of Sri Vidya. The
triangular formation of three dots or drops
(Bindu traya) at the centre of Sri Chakra is rich in
symbolism. The triangle is named Kama Kala.
One of the interpretations is that the top dot is
shiva and the bottom dots are Shakthi (energy)
and nada (sound).Here, Kama is the union of
Shiva (kameshvara) and Shakthi (Kameshvari):
and the concrete manifestation of the two
is Kala. This is also referred to as Nada-bindu-
kala.
The other interpretation is that the top dot
stands for Kama (primordial desire to evolve)
and the bottom two dots represent the
manifestation and eventual withdrawal.
The concluding phrase “Saamarasya Nidarshini”
suggests the complete harmony (samarasya) of
the principle of pure consciousness (Prakasha,
Shiva) and the principle of energy, as evolution
or expansion (Vimarsha, Shakthi). It signifies
(nidarshini) a state of non-duality, a state in
which the devotee ultimately rests (Svarupa
pratishta).
*
Sri Dikshitar concludes in his
auspicious Mangala kriti (Sri
Kamalambike-Sri Raga) in deep
devotion, fulfillment and celebration of
the Mother’s transcendent powers and
glory- Shri Kamalambike Shive Lalite
mam pahi – Oh Kamalambika, gracious
and auspicious one, protect me.
[ Note : The worship of Sri Yantra
involves use of ten types of Mudras
(Dasa-mudrani) – the gestures through
the fingers – from Sarva-
Samkshobhini to Sarva-Trikhanda . For a
discussion on ; and, for the illustration
of these Mudras, please click here.]

Reference:
http://www.ecse.rpi.edu/Homepages/shivkuma/perso
nal/music/kamalambasamrakshatu.pdf
Painting of Sri Rajarajeshwrai by Shilpi Siddanthi
Shri Siddalainga Swamy of Mysore
http://carnatica.net/special/features.htm
Other pictures are from Internet
  
14 Comments
Posted by sreenivasaraos on September 14, 2012
in Music, Muthuswami Dikshitar, Sanskrit, Sri
Vidya, Tantra
 
Tags: Kamalamba Navavarana, music, Muthuswami
Dikshitar, Sri Vidya
Sri Muthuswami Dikshitar and Sri Vidya (7 of 8)
14SEP
Kamalamba Navavarana Kritis – Part One

Sri Kamalamba at Sri Tyagaraja temple, Tiruvarur.

The years he spent at Tiruvavur were richly creative
and highly productive for Sri Muthuswami Dikshitar,
the composer. Dikshitar’s creations at Tiruvavur
included a set of sixteen kritis on the various
attributes of Ganesha; a set of kritis on Thygaraja and
Nilothpalambika the presiding deities of Tiruvarur
shrine; a set of Tiruvarur Panchalinga kritis; and
eleven kritis of Kamalamba Navavarana group.
Dikshitar had developed a fascination for composing a
series of kritis on a composite theme, perhaps in an
attempt to explore the various dimensions of the
subject. In some of these, he employed all the
eight Vibhaktis, the various cases that delineate a
noun.He also composed a series of kritis in a set of
ragas, all ending with the same suffix (e.g.Gaula). No
other composer has attempted so many group kritis in
such a planned, orderly, meticulous fashion.
The most outstanding of such series of compositions
is of course the magnificent Kamalamba Navavarana
kritis. They are incomparable compositions and are
the jewels of Carnatic music.These compositions,
intellectually sublime steeped in deep devotion, are a
testimony to Dikshtar’s musical genius, his mastery
over the Sanskrit language; and his thorough
knowledge of and intense dedication to Sri Vidya, Sri
Chakra and the worship of its avaranas.
Through its graceful lyrics , majestic sweep of
ragas and descriptive details rich in mystical
symbolism of Tantra, Mantra, Yoga, Sri Vidya
and Advaita ; Dikshitar virtually threw open the
doors to the secret world of Sri Vidya,to all those
eager to approach the Divine Mother through
devotion and music.
It is amazing how Dikshitar builds into each of
his crisp and well-knit structure of lyrics, the
references to the name of the chakra; the names
of its presiding deity, yoginis, mudras, Siddhis
and the gurus of the Kadi tradition of Sri Vidya
;and to the seed(Beeja) mantras. In addition he
manages to insert, as ever, cogently, the name of
the raga and his signature. The Kamalamba
Navavarana is a treasure house not merely to the
classical musicians but also to the Sri Vidya
upasakas.
Kamala is one of the ten maha_Vidyas, the
principle deities of the Shaktha tradition of
Tantra. But, the Sri Kamalamba referred to by Sri
Muthuswami Dikshitar in this set of kritis, is the
Supreme Divine Mother herself. The immediate
inspiration to Dikshitar was, of course, Sri
Kamalamba (regarded one of the sixty-four
Shakthi centers), the celebrated deity at the
famous temple of Sri Tyagaraja and Sri
Nilothpalambika in Tiruvavur.
Interestingly, the temple complex also
accommodates the shrines of Maha_Ganapathi,
Subrahmanya, Dakshinamurty and Balamba; all
Shakthi deities. The temple complex has a
Pushkarini, a lake, named kamalalaya, the abode
of Kamala.This tank is reffered to by Dikshitar ,
in his kritis ,  as Kamalalaya thirtha and the Devi
is Kamalalaya thirtha vaibhave. The town of
Tiruvarur  is mentioned as Kamala nagara
(e.g. Kamalanagara viharinai) and as Kamala
pura(e.g.Kamalapura sadanam) ; referring to
Devi as one who resides in and walks about the
town of Kamalapura/Kamalanagara.
Sri Muthuswami Dikshitar follows the Smahara
krama, the absorption path, of Sri Chakra puja
and proceeds from the outer avarana towards
the Bindu in the ninth avarana at the center of
the Sri Chakra. At each avarana, he submits his
salutation and worships the presiding deity, the
yogini (secondary deity) and the attendant
siddhis of that avarana; and describes the
salient features of the avarana according to the
Kadi School of the Dakshinamurthy tradition of
Sri Vidya. It is in effect both worship and
elucidation.
Dikshitar devoted one composition to each of
the nine avaranas. In addition, there is a Dhyana
Kriti, a verse in meditation, preceding the set of
nine; and a Mangala kriti, the verse celebrating
the auspicious conclusion, at the end. Thus, the
Navavarana composition of Dikshitar, per se, is a
set of eleven kritis.
The Dhyana
kriti Kamalambike_ashrita_kalpa_lathike is
composed in Raga Todi
(Rupaka). The Vaggeyakara Mudra is in 
– Guruguhakarane Sadashiva antahkarane
[The Dhyana-kriti in Todi does not bear the
customary Raga_mudra, the name of its Raga.]
The concluding Mangala Kriti – Sri
Kamalambike  Shive pahimam, Lalite , Sripathi
Vinute  – is in the auspicious Sri Raga , set to
Khanda Eka Taala. The Raga Mudra is in
the opening line as Sri; and, the Vaggeyakara
Mudra is the phrase Shankara-Guruguha-
bhaktha vasankari.
Apart from these eleven Kritis; It is customary,
as a prelude to Kamalamba Navavarana group of
kritis, to invoke Maha_Ganapathi and Lord
Subrahmanya by
singing Shri Mahaganapathivaratu mam (Gaula)
followed byBalasubrahmanyam Bhaje (Surati).
**
Thus , the vocal tradition of the Kamalamba
Navavarana has , in all, a set of thirteen kritis.
The core kritis are however the nine relating to
nine avaranas of Sri Chakra.
For the core nine kritis sang in worship of the
Navavaranas of Sri Chakra, Dikshitar employed
nine different Ragas and eight
different Vibhakthis (case endings denoting the
noun) of Sanskrit grammar; and, in addition,  for
the ninth avarana kriti he employs a garland of
all the eight Vibhakthis.
As regards the Raga-mudra, a distinctive feature
of Dikshitar’s compositions, the kritis in
Anandabhairavi (first avarana), and
shankarabharaaam (third avarana) indicate their
Ragas   only partially (the word “Ananda” for the
former, and shankara for the latter). The
kambhoji, Sahana, and Ahiri compositions have
their Raga mudras hidden within complex
phrases.  In all the other kritis, the Raga mudra is
explicit.
The following briefly is representation of the
kriti, the Raga, the taala and the Vibhakthi of the
nine kritis:
For the complete text of the Kamalamba
Navavarana :
kritis in English Click here ;and for
the Sanskrit text please click here.
There are several theories explaining Dikshitar’s
selection of Ragas for these kritis. Dikshitar was
a meticulous person and had a methodical
approach to life and to his works. Dr. R K
Srikantan, the celebrated Carnatic musician
and scholar, feels that the Ragas selected
for these kritis are stringed together by an
underlying scheme that is at once simple
and logical. He observes that the Raga of
each kriti flows into the next, seamlessly
with minimum alteration in the structure of
its swaras. Here is an extract from his
article:
Sri Dikshitar followed the
Venkatamakhin sampradaya – the scheme
of classifying the Ragas – where Bhairavi
and Ananda- bhairavi were treated as
Upanga – Ragas. The Ragas adopted by Sri
Dikshitar for the nine (Navavarana) Kritis,
could broadly be classified under three main
categories: two Mela-karta Ragas (Kalyani
and Shankarabharnam); three Upanga
Ragas (Shahana, Bhairavi, Aanda-bhairavi);
and four Bhashanga Ragas (khambhoji,
Punagavarali, Ghanta and Ahiri)
The Swara-structure, the sequential change
of Ragas was methodical:
Sri Dikshitar has used only four Chakras *
– Veda, Netra, Bana and Rudra. This
corresponds to the four types of structures
in the Sri-Chakra, viz.:  square (chaturanga),
circle (vyuha), triangle (tri kona) and point
(bindu).
The Swara-structure, the sequential change
of Ragas was methodical:
1. From Ananda-bhairavi to Kalyani meant a
change of Gandhara.
2. From Kalyani to Shankarabharanam
meant a only a change of madhyama.
3. From Shankarabharanam to Khamboji
meant an addition of a nishada.
4. From khamboji to Bhairavi meant removal
of the additional nishada, addition of a
dhaivata and change of gandhara.
5. From Bhairavi to Punnagavarali meant
removal of the additional dhavata and
introduction of a rishabha.
6. The next song shows changes in
gandhara and dhaivata after the removal of
the additional rishabha.
7. Ghanta indicates addition of Rishabha
and dhaivatha with change in gandhara.
8. The last change is extremely complex. It
basically indicates addition of gandhara and
nishadha.
[For more on that theme, please check
here ]
[* Sri Srikantan is referring to 12 series or
Chakras in which the 72 Melakartas are
arranged:
The 72 Mēḷakarta ragas are split into 12 groups
called Chakrās, with each Chakra containing 6
ragas. The ragas within the chakra differ only in
the dhaivatam and nishadam notes (D and N).
The name of each of the 12 chakras suggests
their ordinal number as well.
The twelve Chakras are:
1. Indu (moon, one);
2. Netra (eyes, two);
3. Agni (sacrificial fires, three types: garha-
patya, Ahavaniya and Daksina; and Agni has
two other
names : Vaishvanara and Jatavedasa);
4. Veda (four Vedas- Rig, Sama, Yajur &
Atharvana );
5.Bana (arrows of Manmatha the cupid-
five: Aravinda/Asoka/Chuta/Nava-
mallika/Nilotpala);
6. Ritu (seasons – six seasons of the year-
Vasanta, Greeshma, Varsha, Sharad,
Sisira and Hemanta );
7. Rishi (sages – saptharishi – seven –
Gowtama, Viswamitra, Kashyapa, Jamadagni,
Bharadwaja, Atri and Vasishta);
8. Vasu (a group of celestial beings –  asta-
vasu. eight – Aapa, Dhruva, Soma, Dava,
Pratyusha, Anila, Anala and Prabhasa));
9. Brahma (reference to the nine cycles of the
universe, each presided over by a Brahma
– Nava Brahma- Atri, Angirasa, Brighu,
Daksha, Kashyapa, Pulaha, Marichi,
Vasishta and Pulastya);
10. Dishi (ten directions – eight plus above and
below – their guardians being : Indra, Agni,
Yama, Niruddhi, Varuna, Vayu,
Kubera and Isana ; plus , Akasha and Patala);
11. Rudra (Ekadasha Rudra – eleven forms of
Rudra – Aja, Dwasha, Ekapada, Triambake,
Aparajita, Isana, Tribhuvana, Sambhu, Hara,
Rudra and Ahirputniya); and
12. Aditya ( a group of twelve celestial beings
– Dwadasha Aditya – Poosha, Bhaskara,
Marichi, Arka, Khaga, Surya, Mitra, Aditya,
Ravi, Bhanu, Savita and Hiranyagarbha)
**
The Svaras (notes) involved with the four
Chakras  referred  to by Sri Srikantan are:
Veda: Sa, Chatusruthi Rishaba, Sadharana
Gandhara, Suddha Ma
Netra: Sa, Suddha Rishaba, Sadharana
Gandhara, Suddha Ma
Bana: Sa, Chatusruthi Rishaba, Anthara
Gandhara, Suddha Ma
Rudra: Sa, Chatusruthi Rishaba, Anthara
Gandhara, Prati Ma
For more , please do read Sri S Rajam’s most
wonderful illustrations of the 12 Chakras and
their 72 Melakarta-s.
http://www.indian-
heritage.org/music/Melakartha%20Raga
%20Booklet%20-%20new.pdf ]
As regards the Ahiri, the Raga of the kriti
associated with the ninth avarana, there is a
view, the raga has all the twenty-two notes
in the octave; and such a fusion of all
melodic and temporal elements in the same
kriti is rather unusual especially when the
pallavi has distinctive prose sections put
together, seamlessly.
Before we enter a discussion on the
Navavarana kritis, let us take a broad look at
their association with the Chakras, the
deities, the Yoginis, and Siddhis etc. of the
Sri Chakra.
*
The Kamalamba Navavarana kritis are works
of musical and poetic excellence. They are
adorned with sublime music, intellectual
sophistication, soulful devotional lyrics and
richly imaginative poetic imagery. Listening
to the kritis is a truly rewarding experience,
even if one is not aware of or ignores the
underlying connotations of Sri Chakra and
Sri Vidya tradition.
[Please click here for an article covering an
overview of the Sri Kamalamba Navavarana
kritis.]
*
The scholarship of Sri Dikshitar as a Vainika
has reflected in these compositions through
the Gamakas, Viḷaṃba-kala and Madhyama-
kala -Sahitya. His treatment of the Ragas
and use of rare phrases at times bring in an
unusual melody and effulgence to these
compositions.
The Kamalamba Kritis ranges from Maṇdra
to Tara-Sthayi; and , in the other way too,
presenting a complete picture of the range
and scope of the Raga,  bringing out
the Lakshaṇa and grandeur of the Raga, in
full measure.
*
As regards the Taala, Sri Dikshitar in this
series has employed the Suladi-Sapta-
Taalas, with the exception of Dhruva and
Mathya Taalas.
The Taalas used include Rupaka (3
beats); Tisra-Tripuṭa (7 beats); Ata-Taala (14
beats) ; and,  Misra-Jhaṃpa (10 beats).
There appears to be a method or a
progression in accordance with the
sequential order of the Avaranas of the Sri
Chakra.
The Kalyani Avaraṇa is an enclosure of 16
lotus petals (2 times of Adi Taala).
The third Avaraṇa in Shankarabharaṇa is in
Rupaka Taala, consisting of 6 Kriyas (2
times of Rupaka).
The fourth Avaraṇa in Kambhoji is in Aṭa-
Taala,  having 14 Kriyas,  representing  the
nature of 14 angles of Chakra.
The fifth Avaraṇa in Bhairavi is set to
Jhaṃpa Taala, having 10 Kriyas denoting
the ten angled Chakra.
The sixth Avaraṇa in Puṇnagavarāli set in
Rupaka Taala,  has 6 Kriyas according to its
order of Avarana .
The seventh Avaraṇa in Raga Sahana is set
in Tisra-Jati-Tripuṭa-Taala; it  being the
seventh one in order.
The eighth Avaraṇa is in Adi Taala referring
to 8 Kriyas.
The ninth Avaraṇa in Ahiri is in Tisra-Jati-
Eka-Taala,  has 3 Kriyas , although it is  now
being sung in Rupaka with 6 Kriyas
highlighting the three elements residing in
the Bindu Chakra.
The choice of the Taalas follows a definite
scheme. The Avarana in Anandabhairavi is
also sung with Misra Chapu Taala; because
it has the same number of Taala units,
although they differ in the Kriyas. Sri
Subbarama Dikshitar, in his Sangita-
Sampradaya-Pradarshini, has remarked that
this Avarana could be sung with Misra-Jati-
Eka-Taala , which again has the same 
measure of 7 Matras. That is to say; this
Avarana could be sung in three different
ways, having either the Triputa, Misra-Eka,
or Misra Chapu ( 3 ½ *2=7 Aksharas) ,
effecting slight change in Kala-pramana.
*
The Kamalamba-Navavarana-Kṛitis are
enriched with rhetorical beauties or the
decorative Angas.
The other aspects observed in the
Navavaraṇa-Kritis  are summarised as
follows.
Todi is a Raga which generally reflects
compassion; and, Sri Dikshitar in the
invocatory composition begins the song
with Madhya-Sthayi-Nishada in accordance
with the invocative nature of the song.
Another significant description in the
composition is Her sitting posture
as ’Vinoda Carane’, which means
enchanting feet. Sri Dikshitar addresses Her
as one who enjoys music and one who
bestows best poetic qualities on those who
sing in praise of her ‘Sangita-rasike
sukavitva -pradayike’,  suggesting both his
music and poetry are due to Her blessings .
Sri Dikshitar addresses the Devi by varied
epithets, such as: ’Tripuradi-chakreshvarī’,
‘Animadi-siddishvarī’, ‘Kshitipura-Trailokya-
Mohana-Chakravartinī; and ‘Prakata-Yoginī’.
The Kalyani Avarana has the word
‘Kamala’ in the Anupallavi has different
meanings with reference to the subsequent
word. Kamala in “Kamala-Vani” refers to
Lakshmi and Vani is Sarasvathi; Kamala in
“Kamala-pura-sadanā” refers to Tiruvaruru;
and , the Kamala  in “Kamala- vadanam”
refers to lotus-like face.
The ninth Avaraṇa is represented by a
Bindu. This is here the Mother Goddess
resides. She being the empress of the entire
empire of Sri Chakra, named as Sarva-
anandamaya Chakra, wherein the Maha–
Tripura-Sundarī lives with Kameshvari. It
has all Vibhaktis and the lengths of Pallavi,
Anupallavi and Caraṇa represent the three
natural equal parts of the Bindu- Moon, Sun
and Fire.
The Mangalam Kṛiti is befittingly composed
in the Raga Sri set to Khanda-Eka-Taala.
This composition has exquisite descriptions
and reflects the immense devotion of Sri
Dikshitar; and, his adherence to Sri Vidya.
[ Source : Melodic Aspects of Kamalāmbā
Navāvaraṇa Kṛti-s of Śrī Muttusvāmi Dīkṣita by
Ms. Niranjana Srinivasan]
**
The discussion on each of the Navavarana
kritis, with reference to and in the light of
traditions, concepts and lore of Sri Chakra
and Sri Vidya, follows in the next page.

Continued in the Next Part

 Kamalamba Navavarana Kritis – Part Two
 
4 Comments
Posted by sreenivasaraos on September 14,
2012 in Music, Muthuswami Dikshitar, Sri
Vidya, Tantra
 
Tags: Kamalamba
Navavarana, music, Muthuswami Dikshitar, Sri
Vidya
Sri Muthuswami Dikshitar and Sri Vidya (6
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14SEP
The structure of Sri Chakra 

The basis of Sri Chakra is its mantra; the

fifteen lettered mantra in three groups: a e i
la hrim; ha sa ka ha la hrim; sa ka la
hrim. The sixteenth letter “srim” is present
in a subtle form. Sri Chakra is basically a
triad; and, is also related to number nine
(tridha chaiva navadha chaiva chakra-
samketakam punah) . The triangle which is
primary to the chakra has three angles and
the deity residing in it is Tripura. The mantra
of each of the nine enclosures of Sri Chakra
is three lettered; the Mother Goddess is
worshiped in her three forms; the Kundalini
energy in the individual is threefold, and the
phenomenal processes arising out of the
union of Shiva and Shakthi are also three.
The Chakra design represents Tripura or
Tripura Sundari; while her manifest powers
(yogini) are nine. There are also three
dimensions of the Sri-chakra corresponding
to the three sections (kuta) of
the mantra; and, each of these dimensions
has a further division into three units. Each
of these nine units are called as chakras
that are encased in Sri Chakra.
All its other interpretations are also in terms
of three and nine. The three groups that
constitute the mantra are
called Kuta (peaks) or Khanda (segments).
They are interpreted variously in sets of
three as:
 Agni (fire), Surya (sun) and  Chandra
(moon);
 srishti (creation), Shtithi (preservation)
and laya (dissolution) ; 
 Iccha ( will), jnana (knowledge)
and kriya (action); 
 Sattva, Rajas and Tamas; Jagrat (wakefu
lness) ;
  swapna (dream state)  and sushupthi
(deep sleep);
 Jnatra (the knower), jnana (the
knowledge) and  jneya ( the known) ;
 as Atma (individual
self), Antaratma (inner being)
and Paramatma (supreme self); and  also
as
 past , present and future.
In general, the Sri Yantra is a ‘cosmogram’ –
a graphic representation of the universal
processes of emanation and re-absorption
reduced to their essential outline.
The diagram of the Sri Chakra is primarily a
Matrix (i.e. womb) of nine interlocking
triangles. Five of these triangles have their
apex facing downward. They are
Shakthi trikonas, the triangles representing
five forms of feminine energy, Shakthi. The
other four triangles with their apex facing
upward are Shiva trikonas representing the
male aspect, Shiva, Consciousness. In
Tantra, the feminine is the active principle;
and the male is passive. The Tantra texts
mention that Sri Chakra is produced when
five forms of Shakthi and four forms of
Shiva unite. The intersection of these nine
triangles creates forty-three triangles. It is
customary to regard the point at the centre
also as a triangle. Thus, in effect there are
forty-four triangles in Sri Chakra; and these
are arranged in nine enclosures
(navavaranas), in groups of three. 
The intersection of two lines is
called Sandhi; and there are 24
such Sandhis. These intersections have
certain significance. The meeting of two
lines represents union of Shiva and
Shakthi. 

And, the points where three lines meet are called marma

sthanas. There are 18 such marma sthanas.
The meeting of three lines represents explicit harmony
between Shiva and Shakthi; and they are vital spots in the
body where the life-energy resides as well as accumulates.
The marma has thus been called the Seat of Life or Jiva-
sthana.
   
A total of 43 triangles are created from the overlapping of the
nine original triangles.

As regards the Bindu , the dimensionless point at the core of

the Sri Chakra Yantra, the Tantra texts explain  that Bindu is
Kameshwara , the ground of the universe; and the immediate
triangle is Kameshwari the mother of universe; the union of
purusha and prakriti. The union of these two is the Sri
Chakra, which represents the entire phenomenal pattern.
This is denoted by the secret syllable shrim. In fact, it is this
point, coloured red, which really is the Sri Chakra. Every
other detail is an expansion or a manifestation of its aspects.
The mother goddess worshipped in Sri Chakra is the
universe. The devotee has to identify that principle in his
body, for his body is the Sri Chakra or the universe in
epitome. He is guided in this endeavour by the guru who is
the representative of Shiva.

The Bindu also represents, at various times, the principles or

activities known as the Pancha Kriya of: Emanation of the
cosmos from its primal source; Projection of creation into
the primal void; Preservation of the created universe;
Withdrawal of the creative and preservative energies in
cosmic dissolutions; and lastly, Retention of the withdrawn
energy-universe for the next cycle of re-creation. These five
activities are regarded as the five modes of expression of the
Universal Mother.
There are several other explanations.
Bindu is regarded a sphere in its own right. The expanded
form of the Bindu is the triangle formed by three points and
is called Sarva siddhi prada (the sphere of fulfilment of all
aspirations). It is described as Prakriti (Mother Nature)
composed of three gunas (fundamental fabric of all
existence) sattva, rajas and tamas. The Kadi School explains
sattva as that which covers and conceals (aavarana); while
the other two gunas as that which project the world of duality
or multiplicity (vikshepa). The three gods Brahma (creator),
Vishnu (preserver) and Rudra (destroyer) are actually the
representations of these three gunas. They are in turn the
three aspects of the Devi represented as trikona chakra.
It also explained that from Shakthi flashes forth the creative
impulse known as nada (sound), which manifests as
Kundalini or the creative urge, in all living beings. Here,
Bindu is Shiva; Bija is Shakthi; and nada is their union.
These give rise to the power of will (icchha shakthi); the
power of knowledge (jnana shakthi); and power of action
(kriya shakthi).These in turn give rise to Rudra, Vishnu and
Brahma.
Another explanation is, Bindu, also
called Sarvanandamaya (all blissful), and represents the
transcendental power (Para Shakthi) and absolute harmony
(saamarasya) between Shiva and Shakthi. This is equivalent
to what the Vedanta calls the Brahman. Owing to the power
of the will (icchha shakthi) there comes about an apparent
differentiation of Shakthi from Shiva, expressed in the form
of triangle.  Here again, the triangle is the expansion of the
Bindu (bindu vikasana).
If the Bindu represents the Para-nada, the triangle represents
the Pashyanti, the second stage of the sound, nada. The
enclosure next to this, the eight sided figure (ashta kona
chakra) is the Madhyama or the third stage in the
development of sound. The rest of the Chakra represents the
physical or the phenomenal stage, the Vaikhari, which is the
manifest and articulate form of sound. The Vaikhari form is
represented by the fifty letters of the alphabet,
called matrikas or the source of all transactions and
existence.
The sixteen vowels (from aa) constitute the lunar sphere
(Chandra mandala), the twenty-four consonants
(from ka to tha) the solar sphere (Surya mandala); and the
remaining ten consonants (from ma to ksha) the sphere of
fire (Agni mandala). Thus, the triangle is also known as tri
kuta, tri khanda and tri mandala.
Bindu is identified with Shiva and trikona with Shakthi. The
process of evolution (shristi) or the apparent separation of
Shiva and Shakthi is referred to as adi-dwandwa. The
evolution from the primary state into the mundane level is
regarded as a descent, avarohana krama; whereas the
withdrawal from the gross to the very subtle state is
termed Samhara krama.  Here the devotee moves into higher
spiritual levels; and therefore it is termed arohana krama. It is
a gradual process.
The significance of the triangle is explained thus:
The name of the goddess is Tripura; and number three is
important in approaching her. She is of the nature of the sun,
the moon and the fire. She is masculine, feminine and neuter.
Her form is red, white and the mixture of the two. Her mantra
has three letters (hrim, klim, sauh); and from this mantra
three segments of time – past, present and future – emerge.
From this mantra too emerge the realms, three Vedas, three
states of existence ( waking, dreaming and sleeping) and
three gods Brahma, Vishnu and Shiva.

All these geometric designs are contained within Sri Chakra,

arranged in nine enclosures or nava-avaranas.They are also
termed as nine chakras. Each of this has its name, a
characteristic physical form and a spiritual significance.
Each has its colour suggesting its tendencies. Each Chakra
has its presiding deity (chakreshwari or Chakra nayika); and
she is a variant form of the mother goddess abiding at the
Bindu. The Chareshwari rules over her set of attendant
divinities; such as Yoginis who aid the devotee on in his
spiritual progress, and the Mudra Devatas, seal-divinities,
who welcome, purify and delight the devotee.
The yoginis have a special role in Sri Chakra worship. They
make explicit the union of the male and female aspects of the
Sri Chakra in each of its enclosures. They are in fact, the
symbols of urges, aspirations, inhibitions, limitations,
obstructions and powers active in each individual. The
yoginis aid the devotees, but derive their power from the
mother goddess.
Sri Chakra is verily the body of the mother goddess, who
resides as energy in the universe and as pure consciousness
in the individual. The nine enclosures symbolize in a graded
series the significance of the universal and individual; the
ideological and ritual; expressive and contemplative; and the
in inner and outer aspects of Sri Chakra.
The outer group of chakras (1, 2 and 3) symbolizes extension
or shristi. They represent Shiva aspect of the chakra. The
middle group (4, 5 and 6) symbolizes the preservation
or sthithi. They represent Shakthi aspect of the chakra. The
inner group (7, 8 and the Bindu) symbolize absorption
or samhara. The Bindu represents the transcendental aspect
of mother goddess. The other two avaranas (7and 8) are also
Shakthi aspects.
The nine chakras are interpreted in terms of Time (kaala), the
five elements that compose all things (Pancha-Bhuthas); and
three states of awareness-wakefulness, dream and deep
sleep.
The nine chakras are also interpreted as corresponding
to parts in human body.
 Corresponding to
No. Chakra part of human body

First line: feet;

Second line: knees;
and third line :
01 Bhupura thighs

Mid portion of the

Triple girdle body

Region below navel

Shoidasha-dala and  up to penis
02 padma region ; kati

Ashta-dala Navel region

03 padma – nabhi

Abdominal region-
04 Chaturdasha kukshi

05 Bahir -dasha Neck-kantha

Region between
eye brows- bhru-
06 Antar-dasha madhya

07 Ashtara Forehead-lalata

Top of the
08 Trikona head- masthaka
 Opening on the
crown of the head
leading to Sahasra
Dala padma
09 Bindu (Brahma randra)

The nine avaranas are again recognized as chakras said to

be situated along the central channel or the Shushumna
nadi.
Avarana in Sri
No. Chakra Nadi-chakra

01 Bhupura Muladhara

Shoidasha dala
02 padma Svadhistana

03 Ashta-dala padma Manipura

04 Chaturdasha Anahatha

05 Bahir _dasha Vishuddha

06 Antar-dasha Ajna

07 Ashtara Manasa-chakra

08 Trikona Soma-chakra

09 Bindu Sahasra Padma

The nine avaranas, enclosures that compose Sri Chakra are
briefly as under. These are described in the order of
absorption (Samhara-krama) according to Dakshinamurthy
tradition. It starts with the outermost enclosure-Bhupura- and
leads to Bindu, the central point.
1. Bhupura also called Trilokya –mohana-chakra (Deluder of
the Realms) , is the four-sided enclosing wall. The three
lokas being three levels of experience:  attainments,
obstructions and powers. They are also related to the body-
mind complex of the devotee.
A tantra design is always enclosed within an outer wall
serving as a protective cover. As the devotee enters into the
Mandala he leaves behind the normal worldly distractions
and conflicts; and emigrates into a world of symbols and
visualizations. A Mandala is thus a mansion of gods and
goddesses, a symbol of a higher form of existence.

   
There are actually six gateways to the fort Sri Yantra, if we
take a three-dimensional view of it; the four
obvious dwaras and those ‘above’ and ‘below’. The Eastern
gate is the way of the mantras. The Southern gate is the way
of devotion or bhakti. The Western gate is for the
performance of rites and rituals, or karma-kanda. The
Northern gate is the way of wisdom, or Jnana. The gate
‘below’ is the ‘path of words’ while the gate ‘above’ is the
way or ‘road of liberation’. These are located at the Southern
and Northern gate, respectively, i.e. ‘above’ is north, ‘below’
is south. Each of these gates also stands for one of the six
primary chakras in the body.

The Bhupura Chakra, the earth stretch, includes

within its spatial scope the entire design even as the earth
supports the entire existence. Bhupura is a Shiva aspect and
is made up of three lines or ramparts. The first (outermost)
line is identified with the attainments of yoga powers
called Siddhis. They are needed for self-protection along the
inward journey. Such Siddhis are eight in number; and are
attained consequent on gaining control over the elements
and the mind.
The second or the middle line represents the powers of eight
mother-like divinities Mathrika who rule over emotions such
as passionate longing (Brahmi), violent anger (Maheshwari),
avarice (kaumari) obstinacy (Varahi) etc
The third (inner) line of the square is identified with ten
feminine deties, Mudra devathas, carrying seals of authority.
The mudras are an approach to the divinities. These could be
gross (sthula) being body postures and gestures by hand;
subtle (sukshma) by way of seed-mantras;
and para transcendental that is mental or intuitional
approach.
These three lines are also taken to represent the Mother
goddess; the outermost line corresponds to her feet; the
middle line to her thighs; and the inner line to her knees.
There are also three concentric circles (trivritta) representing
three objectives of life: Dharma, Artha and Kama.
The avarana is Bhoopura and the Chakra is Trailokyamohana
chakra ‘enchants the three worlds’. The yogini is Prakata;
Mudra is Sarva Somkshibhni; Siddhi is Anima; and the
mental state of the aspirant is Jagrata. The presiding deity is
Tripura. Her Vidya is Am Am Sauh.The gem is topaz. The
time is 24 minutes and the Shaktis are 28 that include the ten
starting with Anima, the eight starting with Brahmya and the
ten Mudra Saktis. 28 is the dominant number.
This avarana corresponds to the feet of the mother goddess.
2. The sixteen petalled lotus (shodasha dala padma)
called sarva asha paripuraka chakra, the fulfiller of all
desires, is the second enclosure. In the sixteen   petals, the
sixteen vowels of Sanskrit alphabet is inscribed. These
symbolize sixteen kalas or aspects or phases. They are also
called nithyas and named Kamakarshini (fascinating the
desires), Budhyakarshini (fascinating the intellect) etc. These
relate to powers in the Five Elements, the ten senses of
perception or Indriyas (being further divided into five organs
of action and five sense organs) and the Mind.

The significance of this enclosure is explained

as self-protection (atma raksha) of the devotee. Since
frustrated desire is the strongest obstacle to spiritual
progress, the next stage is wisely concerned with satisfying
them. Only he who has experienced can renounce. The
values of virtue, wealth and pleasure are granted at this
stage.
The craving Asha springs from discontent; and is quenched
when discontent is eliminated. That is possible when devotee
identifies himself with Shiva, ever complete and ever content.
This is achieved by the cultivation or strengthening of power
over mind, ego, sound, touch, sight, taste, smell, intellect,
steadiness, memory, name, growth, ethereal body,
revivification, and physical body.
The avarana is Shodasa Dala, and the Chakra is
Sarvasaparipuraka chakra ‘fulfils all expectations’; the yogini
is Gupta Yogini; Mudra is Sarva Vidravini; the Siddhi is
Laghima; and the mental state is Swapna, The presiding
deity is Tripureshi. Her vidya is Aim Klim Sauh.The gem is
sapphire. The time is three hours.  The Shaktis are the
sixteen starting with Kamakarshini. 16 is the dominant
number.
This avarana corresponds to the Savdhistana chakra of the
mother goddess.
3. Eight petalled lotus (astha dala padma) called Sarva-
samkhobhana –Chakra the agitator of all, is the third
avarana. Each petal has a consonant inscribed within it that
begins with ‘Ka‘  The petals represent eight divinities

associated with erotic urges , independent of 

physical body(ananga).These relate to mental pleasures
derived through five organs and through the modalities of
mind: rejection(repulsion or withdrawal), acceptance
(attention or attachment) and indifference(detachment).
This enclosure represents the last of the first group of the
chakras that symbolizes Shrusti or emanation.
The avarana is ashta dala; The Chakra is Sarva-
samkshobana chakra ‘agitates all’. The Yogini is Gupta-
Tara; Mudra is Sarvakarshini; the Siddhi is Mahima; and the
mental state is Shushupti. The Presiding deity is Tripura
Sundari. Her vidya is Hrim Klim Sauh. The gem is cat’s eye.
The time is day and night. The Shaktis are the eight starting
with Ananga Kusuma. 8 is the dominant number.
This avarana corresponds to the navel region of mother
goddess.
4. Fourteen triangles (chaturdasha trikona) called sarva
sowbhagya dayaka; the bestower of all prosperity is the
fourth enclosure. This is in the form of a complex figure
made up of fourteen triangles. The fourteen triangles are
inscribed with fourteen consonants beginning with ka and
ending with dha. The fourteen corners represent fourteen
powers of mother goddess. These are said to preside over
fourteen principle channels of vital forces in human body
(naadis) corresponding with fourteen powers Sarva
-Samkshobhini and others.
They are also related to the seat of Shaktis who represent:
the Mind (Manas), the Intellect (Buddhi), Being (Chitta), the
Conscious Ego (Ahamkara) and the ten Indriyas.

This enclosure refers to the channels of life

currents in the human body (prana) and their identity with the
aspects of Sri Chakra. The explanation given in Tantra texts
is that the breathing in human body is influenced by five
elements present in the body; and in turn those five elements
are influenced by the manner we breathe. Normally, we
breathe 360 times in a unit of time called nadika (equivalent
to 24 minutes). A day (dina) consists 60 such nadikas.
Therefore, in a day (24 hours) we breathe 21,600 times. The
collection of all breathes is mother goddess herself. This is
called nadi-chakra, the organization of winds within the body.
The distribution of breathes among the body centres are as
follows:
Time taken
Number of Hrs-mins-
Chakra Breathes sec

Muladhara 0,600 00-40-00

Svadhistana 6,000 06-40-00

Manipura 6,000 06-40-00

Anahata 6,000 06-40-00

Vishuddha 1,000 01-06-40

Ajna 1,000 01-06-40

Sahasra 1,000 01-06-40

Total 21,600 24-00-00

The navel is the central point for distribution of all breathes

and life forces moving along the channels. Normally breath
alternates between the ida channel reaching the left nostril
and pingala the channel reaching the right nostril. The
former is moon principle and cools the body; and the latter is
sun principle warms the body. The two meet at muladhara,
close to kundalini. Around this central channel is a network
of 72,000 channels of which the more important are the 14
mentioned earlier in this paragraph. These are referred also
as 14 divinities. In this avarana the number 14 is dominant.
Sri Chakra is also described as the diagrammatic
representation of the cycle of time (kaala chakra) and of the
chakras in human system.
The Avarana is Chaturdasara; the Chakra is Sarva
soubhagya dayaka chakra, ‘grants excellence’. The Yogini is
Sampradaya Yogini; the Mudra is Sarva Shankari; the Siddhi
is Ishitva. The mental state is Iswara Vichara. The presiding
deity is Tripura Vasini. Her vidya is Haim Hklim Hsauh.The
gem is coral. The time is day and night. The Shaktis are the
fourteen starting with Samkshobhini.14 is the dominant
number.
This avarana corresponds to the heart of mother goddess.
5. Ten-sided figure (bahir-dasara) called Sarvartha Sadhaka
chakra (accomplisher of all objects) consisting ten triangles,
is the fifth avarana. It is named “the outer ten cornered
figure” (bahir dasara) in order to distinguish it from a similar
figure enclosed within it.

The ten triangles in this avarana house ten

auspicious deties , such as Sarva siddhi prada, Sarva
sampath prada, Sarva priyamkari, Sarva mangala karini and
so on. The five of the triangles are inscribed with consonants
beginning with Ka; and the other five triangles are inscribed
with consonants beginning with Cha..These represent ten
powers of mother goddess who presides over ten vital
forces pranas active in the body. The idea of vayu the winds
or vital currents is fundamental to the concept of channels.
The vital currents are divided into two groups: prana-
panchaka andnaga-panchaka. The first group consist:
prana, apana, vyana, udana and samana vayus. These are
responsible for body functions such as respiration, blood
circulation, digestion, voice and separation of nutrients from
food etc.
The second group consists vital currents such as naga,
kurma, krkara, devadatta and dhananjaya. These are involved
in body movement like belching, yawning movement of
eyelids, causing various sounds in the body. The Dhanajaya
vayu, it is said, is the last to leave the body at its death. In
this avarana the number ten is dominant.
The Avarana is Bahirdasara; the Chakra is
Sarvarthasadhakachakra, the ‘accomplisher of all’. The
Yogini is Kulotteerna yogini;; the Mudra is Sarvonmadini;
and the Siddhi is Vashitva. The mental state is Guroopa
Sadanam. The presiding deity is Tripura Shri. Her vidya is is
Haim Hklim Hsauh.The gem is pearl. The time is lunar day.
The Shaktis are the ten starting with Sarva Siddhi Prada.10 is
the dominant number.
This avarana corresponds to the neck of mother goddess.
6. Ten sided figure (antar dasara) called Sarva raksha
karaka (one that protects all) consisting ten triangles is the
sixth avarana. It is named antar dasara, the inner ten
cornered figure, since it is placed within a similar ten
cornered figure, mentioned earlier.

The ten triangles are inscribed with ten

consonants beginning with the five of Tha and the five
of Tta group. They represent the powers of the mother
goddess who presides over ten vital fires (vanyaha).These
represent the ten specific fires within the body; being the fire
of purgation (Rechak), digestion (Pachak), absorption
(Shoshak), burning (Dahak), the secretion of enzymes
(Plavak), acidification (Ksharak), to take out or excrete
(Uddharak), the fires of pessimism and frustration
(Kshobhak), the fire of assimilation (Jrambhak) and creating
lustre (Mohak).
This enclosure is the third of the second group of chakras
representing Preservation. The advent of inner realization
begins here. The significance of this avarana is explained as
protection from all obstacles. The devotee distances himself
from all that hinders his spiritual progress; and he begins to
develop an awareness he is Shiva ( the consciousness).
The Avarana is Antardasara; the Chakra is Sarvaraksakara
chakra ‘protects all’. The Yogini is Nigarbha Yogini; the
Mudra is Sarva mahankusha; and the Siddhi is Prakamya.
The mental state is Upadesa. The presiding deity is Tripura
Malini. Her vidya is is Hrim Klim Blem.The gem is emerald.
The time is Lunar Fortnight. The Shaktis are the ten starting
with Sarvagnya.10 is the dominant number.
This avarana corresponds to the middle of the
eyebrows (bhrukuti) of the mother goddess.
7. Eight-cornered figure (ashtara) called Sarva roga hara (the
remover of all deceases) is the seventh avarana. In the eight
triangles formed by this figure, eight divinities presiding over
speech reside. Between them they cover all the alphabets in
Sanskrit grammar. These shakthis also rule over
contradictions in life (dwandwa) such as  cold(water) and
heat(fire); happiness(air) and sorrow( earth);  as also the
Desire(akasha-space) and the three gunas  of Sattvas
(consciousness), Rajas(ego) and Tamas(mind).
 The significance of this enclosure is its power
to eradicate the most basic disease viz. involvement with
impure, fleeting existence that is laden with stress. The
blessed state is attained when the distinctions between the
subject, the object and transactions between them are
dissolved.
The avarana is asthakona; the Chakra is Sarvarogahara
chakra ‘cures all ills’. The Yogini is Rahasya Yogini; the
Mudra is sarva khechari; and the Siddhi is Bhukthi. The
mental state is Manana. The presiding deity is Tripura
Siddha. Her vidya is is Hrim Shrim Sauh.The gem is diamond
(Vajra).The time is Lunar month. The Shaktis are the eight,
starting with Vashini. 8 is the dominant number.
This avarana corresponds to the forehead (lalata) of the
mother goddess.
The Four Weapons
In between the mandalas of eight triangles and the central
triangles are the four weapons — flowery bow, flowery
arrows, noose (pasha) and goad (ankusha). They are red in
colour. They are the weapons of both the mother goddess as
Kameshwari and also of Shiva as Kameshwara.
8. The primary triangle with its apex downward (East) and
coloured white (Sattva) surrounding immediately around the
central point, Bindu, is the eighth avarana. It is called Sarva
Siddhi prada chakra, the one that bestows all
accomplishment. This triangle does not intersect with other
triangles; and stands independent. It is Kama Kala. It
is feminine in its aspect; and represents three fundamental
manifestations of the mother goddess: Kameshwari
(symbolizing moon – creation); Vajreshwari (symbolizing
sun- preservation); and Bhagamalini (symbolizing fire
-dissolution).

The three angles of the triangle also represent

three forms of speech: Pashyanthi, Madhyama and Vaikhari.
The triangle is therefore the speech aspect Vak Bhava.
It also represents the three powers of iccha (will) , jnana
(knowledge) and kriya(activity).The three corners of the
triangle stand for three peaks(kuta) of the fifteen-lettered
mantra; or as three dimensions of all existence. The triangle
itself is regarded the abode of the mother goddess (kama-
kala).
The Avarana is Trikona; the Chakra is Sarva-siddhi-prada
chakra, ‘grants all attainments’. The Yogini is Athi Rahasya
Yogini; the Mudra is Sarva Beeja; and the Siddhi is Iccha.
The mental state is Nitidhyasana. The presiding deity is
Tripuraamba. Her vidya is is Hsraim Hsrklim Hsrsauh..The
gem is Gomaya .The time is a ritu- two months. The Shaktis
are the three starting with Kameshwari. (4+3=7) is the
dominant number.
This avarana corresponds to the top of the head (masthka) of
the mother goddess.
9. The ninth enclosure is strictly not an enclosure. It is the
central dimensionless point, the Bindu. It is
called Sarvananda-maya chakra, the supremely blissful one.
It is independent of the intersecting triangles. It is coloured
red. This, in a temple, would be the sanctum sanctorum, with
all the other circles or enclosures representing various parts
of the temple as you move inwards.
 It is this Bindu that is in reality the Sri Chakra;
it represents the mother goddess Maha Tripura Sundari,
Lalitha or Rajarajeshwari herself; and everything else is a
manifestation of her aspects.
The goddess is nothing other than the devotees own self.
The self here does not refer to jiva, engaged in organizing the
body, mind and senses. The self here refers to individual
consciousness (buddhi) which is beyond the body-mind
complex. It is filled with all bliss (sarvananda maya). This
constant, abundant bliss is the expression of the union of
Shiva (consciousness) and Shakthi (power of
deliberation Vimarsha). It is the very basis of existence. It is
called beautiful, sundara, in this sense. It is in this sense the
supreme mother goddess is called Maha Tripurasundari.
The significance of this avarana is the complete harmony
(samarasya) of principles of pure consciousness (Shiva) and
the principle of energy as deliberation (vimarsha shakthi).It
signifies a state of non-duality, where all tendencies of
approach and withdrawal become nonexistent, dissolve in a
state in which the devotee ultimately rests. Bliss, in Tantra, is
explained as resting in oneself (Svarupa pratishta).
There is also a school which propounds that the central point
is composed of three dots or drops(Bindu traya)
representing three fires(vanhi): Moon(soma);Sun(surya); and
Fire(Agni).The top dot symbolizes the head of the deity; and
the pair of dots at the bottom symbolize the breasts of the
Mother. It is explained that the central point expanding into
the three is an act of swelling (ucchuna); and that is how the
central point becomes the primary triangle in Sri Chakra.
The avarana is the Bindu and the Chakra is Sarvanandamaya
chakra, ‘replete with bliss’. The yogini is parathi para
Rahasya; the Mudra is sarva yoni; and the Siddhi is Prapthi.
The mental state is Savikalpa Samadhi. The presiding deity
is her Transcendent Majesty Lalita Maheshvari
Mahatripurasundari. Her vidya is Kamaraja vidya: ka e i la
hrim ha sa ka ha la hrim sa ka la hrim, plus a secret 16th
syllable. The gem is ruby. The time is year. The Shakti is
Maha Tripura Sundari the personification of Brahman.
This avarana corresponds to Brahma-randra on the top of the
head of the mother goddess.

Travelling from the outer periphery wall to the inner bindu is

an ascent through various levels of consciousness and
mystical significance, overcoming myriad obstacles of
conditioning and fears along the way. As he proceeds inward
from the outermost enclosure the devotee’s thoughts are
gradually refined; and the association of ideas is gradually
freed from the constraints of conventional reality. The Devi is
felt or visualized in his heart and then drawn out through the
breath and installed in the yantra. She is then worshipped as
actually residing there. The true home of Devi is however in
his heart .The devotee identifies himself with the Devi and
goes through the worship guided by the symbolism.
Whatever be the details, the symbolism involved is important
in the external worship  (baahya pooja); and more so in
internal worship ( Antahpooja- contemplation on the import
of the chakra).In baahya pooja, the sadhaka or the
practitioner worships the deity with a feeling that he and the
Goddess are two different entities ; and , for fulfilling a desire
or kaamyasaadhana . The Antahpooja is sublime seeking
identity with the Goddess.  For more on this , please click
here 
Sri Chakra is also a construct of space and time, just as the
universe is a space time continuum. The way of the universe
is continuous and constant change. That change, in a
relative existence, is measured by the phases of moon.
Mother goddess is the principle of time; she is kala or nitya.
The Sri Chakra also puts forth the interdependence of time
and space. The devotee views the evolution of the universe
as the unfolding of a changeless reality of Mother Goddess.

The Sri Chakra represents the interplay of the purusha and

prakriti; the universe and its energy. The union of the Devi
(energy) and Shiva (consciousness) worshipped in Sri
Chakra is the universe and its evolution. The universe is thus
stylized into a pattern of energies, symbolized by the
patterns and layout of Sri Chakra. It provides a model to the
individual for transformation. The consciousness of the
individual finds in it an articulation; and the model helps in
breaking the barriers of subjective feelings and limitations of
the objective world. The devotee identifies that his body is
the Sri Chakra or the universe in epitome; and that The
Yantra too is the Devi. The aim is to realize that oneness, the
bliss of pure consciousness.

Continued in the Next Part

Kamalamba Navavara kritis –Part One
Reference;
The Tantra of Sri Chakra by Prof.SK Ramachandra Rao(1953)
Lalita Tripurasundari, the Red Goddess
http://www.shivashakti.com/tripura.htm
Sri Yantra – the Significance and Symbolism of its design
http://www.sriyantraresearch.com/
http://www.sriyantraresearch.com/Optimal/optimal_sri_yantra.htm
Sri Yantra Definition
http://www.sriyantraresearch.com/Definition/sri_yantra_definition.
htm
Hymns of Sri Chakra
http://www.bhagavadgitausa.com.cnchost.com/HYMNS%20OF
%20SANKARA.htm
 
6 Comments
Posted by sreenivasaraos on September 14, 2012 in Muthuswami
Dikshitar, Sanskrit, Sri Vidya, Tantra
 
Tags: Muthuswami Dikshitar, Sri Vidya, Sri Yantra, Tantra
Sri Muthuswami Dikshitar and Sri Vidya (5 0f 8)
14SEP
Sri Chakra and Sri Vidya

According to Tantric texts, the Chakra, Mandala or Yantra is

a sphere of influence and a consecrated environment. It is an
instrument to harmonize feelings; and also to coordinate
inner and outer forces.
The term Yantra is derived from the root yam suggesting a
sense of control (say, as in niyantra to control), giving raise
to the meaning of an instrument that can control or be
controlled. In that sense, the body is a yantra. The other
term tra is from the root word trayati, that which liberates.
Yantra is that which controls and liberates. It draws towards
the centre as also takes away from the centre of all reality.
The basic energies of the universe, which are the deities, can
be approached through a mental creative process, that is,
through words or through created forms. Deities are
therefore represented both in words and forms.
There are different degrees of abstraction. We can represent
a deity through the description of its characteristics in
words, or sounds, that is, mantras. Similarly, we can
represent a deity through diagrams, geometrical
abstractions   or patterns, the yantra. The representation of a
deity through mantra or yantra is considered more subtle
than through an image.
Yantras are the visual equivalents of the mantras. The yantra
has the mantra as its soul; and the deity is the soul of the
mantra. The difference between the mantra and the deity is
the difference between the body and the soul. The deity is
invoked by drawing its yantra and calling its subtle name
(bija akshara).
All the elementary geometric figures –lines, triangles,
crosses, and point (bindu) – have a symbolic value
corresponding to their basic notions. They can be combined
to form complex figures to give expression to forces, the
inner aspects and qualities embodied in a given form of
creation. It is said, there no shape, no form which may not be
reduced to yantra patterns. Every shape, every leaf, every
flower is a yantra, which through its shape, colour,
formation, perfume can tell the story of its creation.
Yantras which are drawn on flat surfaces are basically
conceived as solid forms. The drawing is a mere suggestion
of its three dimensional aspects of the yantra. And, the
yantra is itself a static image of the moving, living
combination of forces represented in a divinity.

 
A Yantra is structured in three levels, of spaces(i) the level of
physical world of beings and things (mahakasha); (ii) the
level of thoughts and feelings (Chittakasha); and (iii) the level
of pure, undifferentiated consciousness (Chidakasha).
The first level is predominantly inert , Tamas; while the
second level is active and emotional, Rajas. The third level is
of light and pure awareness Sattva.
A Yantra is a means to progress from the gross to the
subtle, sukshma.
To put it in another way, Yantra is an instrument to transform
matter into energy ; and, the energy into consciousness. In
the final analysis, the walls separating the objective world,
the subjective person and the Universal consciousness
break down; and, it is all One at the end. This complete
harmony of existence is symbolized by Bindu; a
dimensionless point at the center of the Yantra or Chakra.
In fact, chakra is regarded the expansion or the evolution of
that Bindu. The Bindu , in turn, is epitome or the microcosm
of the Chakra. The Yantra facilitates the movement of
consciousness from the concrete form of Chakra to the
abstract Bindu. It also enables movement from the abstract
Bindu to the form of Chakra. A Yantra , in essence,  is a map
of the universe in its emanation and absorption.

Sri Chakra Yantra is regarded the supreme Yantra; the Yantra

Raja, the king of Yantras. It is the Yantra of the Shaktha
school of Tantra. It is also variously regarded as the visual
representation of the city, mansion, island or the body of the
Mother Goddess Devi, Tripurasundari, Lalitha,
Rajarajeshwari and Parabhattarika, the supreme controller.
The design also stands for this divinity’s court with all her
attendant aids, guards, pavilions, enclosures and entrances.
The principal divinity is regarded as being at the center, the
Bindu at the heart of the Chakra.

The prefix Sri denotes that the Yantra is auspicious,

beneficent, salutary, benign and conducive to prosperity. Sri
is Lakshmi, the goddess of beauty and prosperity. Sri is also
the Mother Goddess who rules the universe (tvam sris tvam
ishvari).She is called Mother, because all living beings
depend upon her for being, for happiness for fulfillment of
their destiny (sriyete sarvair iti sriah). Sri Chakra is a
representation of the interplay of the principles of pure
consciousness (Shiva) and primordial power (Shakthi). Sri
Chakra represents the essential aspects of the universe ;and
also of the constitution of the devotee’s body-mind complex.
The concept and worship of Sri Chakra is relevant in the
context of an esoteric discipline known as Sri Vidya.
Sri Vidya is hailed as the Vidya of Sri (the knowledge that
leads to the ultimate benefit mukthi – liberation), she
therefore is the highest divinity. Sri Vidya is also the Vidya
that yields Sri (prosperity). Sri Vidya is thus Bhukthi Mukthi
prada the bestower of well-being, prosperity and liberation.
Sri Vidya is the path and also the goal.
The term Vidya usually stands for knowledge, learning,
discipline and a system of thought. But, in the context of
Tantra, it has an extended meaning. Here, it variously refers
to a female deity, to the personification of her
consciousness; or to the manifestation of her power.Each of
these vidyas has a characteristic form and
particular dhyana, mantra, kavacha and other  worship
details .
Devi Durga is described as the Vidya in all beings (Ya Devi
sarvabhutheshu, Vidya rupena samsthita); and , the form of
her Vidya is the primordial energy Adi prakrithi.
The Tantra texts classify ten divinities into three levels of
Vidyas:
(1) Maha_vidya, the extraordinary Vidyas, consisting Kali and
Tara. The worship of these divinities requires great rigor,
austerity, devotion, persistence and a sort of detachment.
The practice of Maha_vidya is very difficult and filled with
risks and dangers ;
(2) Vidya, the normal Vidyas consist deities Shodashi (or
Tripura), Bhuvaneshwari, Bhiravi, Chinmastha and
Dhumavathi. The practice of this class of Vidya is considered
safe and suitable for householders;
and
(3) Siddha Vidya, the Vidya for adepts involves deities
Kamalaa, Matangi and Bhagalamukhi. This class is not for
normal persons as it involves rituals that cannot be practiced
normally.
Shodashi is the first among the Vidyas in the middle group;
she is otherwise known as Sri Vidya. Shodashi literally
meaning “a girl of sixteen” , is identified with deities Lalitha,
Raja_rajeshwari, Sundari, Kameshwari and Bala. Lalitha is
the playful one; all creation, manifestation and dissolution is
her play. She is Mahatripura Sundari the most magnificent
transcendental beauty without a parallel in all the three
worlds. She is the conqueror of three levels of existence.
The Tantra texts however explain that the Vidya is
called Shodashi because the mantra of the Vidya is made up
of sixteen seed-syllables (bija akshara). There is another
school (Kadi Vidya) which says the mantra consists fifteen
visible syllables (ka e i la hrim; ha sa ka ha la hrim; sa ka la
hrim). It is explained that ka represents the air; ha the
fire; sa the water; la the earth; and, e the space. The fifteen
syllables are: one of space, two of air; three of fire; four of
water; and five of earth. The sixteenth letter is “srim” in
subtle form. The mantra then becomes Shodashi, the sixteen
lettered.
The fifteen lettered (panch-dasha-akshari) mantra  is
considered the verbal form of the Devi. But, it is implicit or
hidden. It is only when the sixteenth syllable ‘Srim’ is
included; the mantra becomes explicit or becomes
visible. Srim is regarded the original or the own form of the
Mother Goddess. And, with the sixteenth syllable (Srim) the
She comes to be celebrated as Sri-vidya.  And, the mantra
itself becomes the body of the Mother Goddess. She
manifests the un-manifest. She is Prakrti. The auspicious Sri
(Srim) is thus revered as Saguna Brahman,  the sa-
kara approach to the absolute principle of the Devi. 
The mantra (fifteen or sixteen letters) is , thus, an expression
of Sri Vidya. The verbal expression (nada or sound) of the
Vidya is mantra ; and, its visual expression is the Sri Chakra
Yantra. The two are essentially the same. Both seek identity
of consciousness with Maha Tripura Sundari.
Ka is the first letter in the fifteen-lettered (pancha-dashi)
mantra of the Devi in the Sri Vidya tradition. Ka is an
 important syllable in the fifteen-lettered mantra, for it appears
three times. Here, Ka variously stands the principle from
which everything arises; for illumination (Kan dipatu); or for
the principle of consciousness (buddhi) in beings; and, also
for the symbol of Self.  And,  Ka also stands for  the form-
less Brahman (ka iti Brahmano naamah). 
The fifteen lettered mantra is divided into three groups: ka e i
la hrim; ha sa ka ha la hrim; and; sa ka la hrim. The three
groups that constitute the mantra are called Kuta (peaks)
or Khanda (segments). They are interpreted variously in sets
of three as: 
 Agni(fire) , Surya(sun) and Chandra(moon); 
 Srishti (creation), Shtithi (preservation)
and laya (dissolution);
  Iccha ( will), jnana(knowledge)and kriya (action);
 Sattva, Rajas and Tamas;
 Jagrat (wakefulness); swapna (dream state)
and sushupthi (deep sleep);
 jnatra (the knower), jnana (the knowledge)
and jneya ( the known) ;
 Atma (individual self) , Antaratma (inner
being) and Paramatma (supreme self); and as ,
 Past , present and future ( the three assumed layers of
Time).
There is also a view that the first group starting
with ka is kadi_matha (ka e i la hrim); the second group
starting with ha is Hadi_matha ( ha sa ka ha la hrim ); and the
third group starting with sa is Sadi_matha (sa ka la hrim ).
Another interesting aspect is that the vowels (aa, e, i etc.,)
are regarded as representations of Shakthi; while the 35
consonants are basically inert and depend on vowels (just as
Shiva depends on Shakthi) to manifest in a meaningful form.
It is only when the germinating power (bija) of the vowels is
infused with consonants, the latter gain meaning. That is the
reasons the vowels are Bija-aksharas. They transform
ordinary letters into mother like condition (matrika); that is,
they impregnate ordinary letters with meaning and power.
Sri Vidya is also described as Chandra_kala_vidya, the lore
of the lunar digits. This school of Sri Vidya explains that the
fifteen letters of the mantra correspond to fifteen digits of the
moon in each fortnight, commencing from prathipada, the
first day of the brighter half, when the moon “comes out of
the sun”; and, ending with the full moon on the fifteenth day.
Similarly, in the dark half of the moon cycles, all digits
“return to the sun”. The emanation of the fifteen digits of the
moon from the Sun culminates in the full moon (purnima);
while the absorption of the digits into the Sun results in new
moon (Amavasya).The sixteenth letter (Shodasha
kala or Srim) is said to be present in each of the digits which
are called Kalas or nityas. The digits are invoked as forms of
the Mother goddess.
The first digit is Maha Tripura Sundari; the second is
Kameshwari; and, the third is Bhagamalini. These three
together form the primary triangle which is the immediate
unfolding of the central Bindu representing Mother Goddess.
The Sri Vidya tradition which centers on the worship of Sri
Chakra, considers the following twelve gods and sages as its
Gurus: Manu, Chandra, Kubera, Lopamudra, Manmatha,
Agasthya, Nandisha, Surya, Vishnu, Skanda, Shiva and
Durvasa.
It is said each of the twelve gurus propagated a school with
regard to the worship and significance of Sri Chakra.  Of
these, only two schools have survived to this day; one is the
school started by Manmatha (also called Kamaraja) – known
as Kadi_matha. The Kadi tradition was continued by Sage
Agastya. The other school is Hadi_matha , started by
Lopamudra , wife of the Sage Agastya. There is also a
mention of an obscure third school called Sadi_matha.
Of the three, the Kadi_ matha (with its mantra starting with
letter Ka) is regarded the oldest ; and , its attitude and
worship is Sattvic. It insists on virtue, discipline and purity of
rituals. The prominent Gurus of this School are Paramashiva,
Durvasa, Hayagreeva and Agasthya. Of the other two
schools, Hadi_matha is Rajasik ; and, the Sadi _matha
is Tamasik.
Kadi matha accepts Vedic authority ; and, formulates its
position in accordance with the Vedic tradition. The other
School is considered different (iyam anya cha vidya).The
term Samaya also means Vedic convention; as orthodox and
valid. Hence Kadi School came to be known as Samaya.
Samaya believes in sameness of Shiva and Shakthi; and, the
form of worship is purely internal. Hence , Kadi School is
also known as Para Vidya , where the worship (archana) is
conducted in the space of one’s heart (hrudayakasha
madhye).
The external worship conducted, say by Kaulas, lays greater
importance on the Muladhara and Swadhistana Chakras,
which are said to be situated at the base of the spinal
column; and, which relate essentially to physiological needs
and psychological urges.
The Samaya School , on the other hand, prescribes that the
internal  worship (antar aradhana) be conducted  at higher
levels, viz., from Manipura to Sahasra. The seat of Tripura is
at Sahasra, beyond the six Chakras. It is also the seat of
supreme consciousness, Shiva from which Shakthi springs
forth.
Shakthi is of the same nature as Brahma (Brahma rupini) that
divides itself five-fold. It is a spontaneous un-foldment.
In Samaya system, Brahman is called Sadashiva; it is the
Bindu, from which emerges Nada which is Para_shakthi. It is
at the Sahasra, the Bindu Sthana that Shiva and Shakthi
reside. They are the same; one cannot be without the other.
Samaya is centered on knowledge (jnana), which is the
realization of the identity of Shiva and Shakthi: Shiva
becomes Kameshwara and Kameshwari becomes Shiva.
Their names too get intertwined; for instance: Shiva and
Shivaa; Tripura and Tripuraa; Bhava and Bhavani; Shambu
and Shambhavi; Rudra and Rudrani; and , Sundara and
Sundari etc.
Dakshinamurthi is a revered seer of the Kadi (Samaya)
School. The term Dakshina literally means a woman and
refers to the feminine principle, which can create, unfold and
manifest. When Dakshina assumes a form, it results in
Dakshinamurthi a variety of Shiva’s forms. Dakshinamurthi,
as Ardha_nari; Kameshwara and Kameshwari, are together
regarded the principle deities of Kadi School.
Sri Chakra is the main device employed by Kadi
(Samaya) school; and the worship is mainly
through symbolism ; and, successive identifications. The
symbolism involves identification (saamaya) of the
arrangements and the lines of the diagram with the structure
of the Universe; the psycho-physical aspects of the devotee
with the spatial arrangement of the diagram representing the
goddess; and identifying the Mantra with the Yantra.
As regards the worship of Sri Chakra, there are three
recognized procedures :
:- Hayagreeva tradition regarded as Dakshina_chara, the
right handed method, reciting Lalitha_sahasra
Nama and Lalitha_tristathi offering kunkumam.
:- Anandabhirava tradition , a Vama_chara,a left handed
method; and
:-  Dakshinamurthy tradition , a doctrinal school.
Of the three, the last one is considered the best.
*
Sri Vidya  traditions speak of two forms of Sri Chakra. One is
its physical representation of lines and forms. This form
entails external worship (puja) according to prescriptions
of kalpa sutra, spread over 26 steps. Here, Kameshwara and
Kameshwari are the deities that receive worship.
There are, again, three methods of worship of Sri Chakra.
The shrishti_krama the expansion mode of worship, carried
out in morning, comprehends the chakra from the central
point the Bindu to the outer square.
The Sthithi_krama the preservation mode of worship, carried
out in the afternoon, comprehends the Chakra from the outer
square to the eight-fold lotus ; and, from the Bindu to the
fourteen cornered figure.
The third, Samhara_krama the absorption mode of worship,
carried out in the night, comprehends the chakra from the
outer square to the central point.
 [Even in this method the visualizations and contemplations
are not entirely dispensed with.]
The other form of worship is Viyacchakra, the chakra
emerging within ones heart. This entails visualization of
Bindu, which is in the center of the Sahasra, within ones
heart. The ability to visualize Viyacchakra is known
Assamaya. The worship (maanasa puja) is offered internally
and consists wholly of visualizations and contemplation; and
, is carried out in seclusion by one who is in control of his
senses.
The process here involves a four-fold conceptualization of
identity (aikya chintana). They are , briefly :
:- Identity of the Supreme goddess who is un_manifest with
Sri Chakra which is manifest;
:- Identity of the design of Sri Chakra with the Universe. It is
viewed as a cosmogram ;
:- Identity of the individual with the Universe . This is done
primarily on the basis of the Shat chakra ideology (six
chakras- muladhara, svadhistana, manipura, anahata,
visuddha and ajna) and the tattvas , the principles , of
Shaivagama;  and ,
:-  Identity of the letters of the alphabets (matrikas) with the
deities located in various segments of the Sri Chakra.
As can be seen from the above the six factors involved are :
1. the Universe (Brahmanda);
2. the individual (pindanda);
3. the structure of Sri Chakra;
4. the letters of the alphabets(matrikas);
5. the goddess (Devi); and
6. the mantra specific to her.
[It is explained ; Matrka-cakra, is the articulate sound over which
all our thoughts, emotions, aspirations fears and pleasures are
woven, as nothing can go beyond the articulate sound, which
evolves into an extremely complex universe of sentence to
meanings, meanings to mental images and mental images to
pleasures and pain. This is called as matrka-sakti that can spread
out externally by way of object-denotations, cognition,
intentions (raja), emotions like sorrow, pleasure, envy, memory
traces etc.(vikalpa), and the world of endless differentiation. This
is the outward emanation (vikasa), standing for creation (srishti-
krama); and, it can also contract (sankocha) by withdrawing the
world of differentiation into pure awareness (samhara)]

The Tantra texts emphasize the merit of inner worship

(antar_yaga), once a fair degree of understanding has been
gained. They said “Best of all forms of worship is inner
worship. External worship (ritualistic) is to be resorted until
the dawn of understanding.”
In any case, Sri Vidya is the worship of Mother Goddess
incarnated in the Sri Chakra. Her worship includes the
worship of her consorts (Devata) and aids (yogini); all of
whom are female. The ritualistic details are characteristically
feminine.
The Upaasana of Srividya is explained in Upanishads
like Kenopanishad and Bhavanopanishad ; and , in various
Tantra texts, extensively. For more on the worship practices,
please click here.
A Sri Vidya Upasaka worships beauty and grace; rejecting
ugliness in thought, word and deed.  Sri Vidya is the path of
devotion and wisdom. The wisdom consists in realizing ones
identity (sva svarupa prapti) with the Mother Goddess. It is
this wisdom that liberates the devotee (jivan Mukthi). This
liberating wisdom is granted to him by the Mother out of pure
love, when the devotee surrenders to her completely in full
faith and devotion. The Mother is the path and the goal. Sri
Vidya is the culmination of all paths, the consummation of all
transformations.

 
[ Śri-Vidyā as a living Tantra has always
countenanced change as part of the dynamic of a universe
construed to be power itself. ..Śri-Vidyā embodies her
contrast as saubhāgya-sampradāya, the tradition that
entreats to prosperity by invoking divine self-
identification with grace, beauty, and good fortune…
The Goddess is transcendence and immanence, outside and
in, macrocosm and microcosm and she is more: She is
whatever she needs to become to be anything that is
possible and all that precludes possible or impossible.
Whatever transcendence is, she manifests as, for there is at
once the narrowest sense of her fullness recovered through
specific ritual arts of identification and the broadest sense of
her inclusion in every kind of experience, in every aspect of
reality. Unlike those who would prefer the perfection
of final liberation to make for simple extrication from a world
of opposites, Śri-Vidyā asserts that transcendence
possesses no otherness and demands immanence without
exception must be none other than she, the goddess herself
in some manifestly karmic or playful form. Such a universe is
not inscrutable nor can it be reduced to comprehension;
illusions must be real in so far as they refuse any sensibility
of falsity; options trump exiguity without the slightest
diminishment of integrity.
What makes Śri  “the auspicious” is that there can be no
scarcity, no summation, no ultimacy  that finalizes  less than
another possibility; and all of this Śri reveals herself as Vidyā
, a science, a process of veracity, an impeccable wisdom, a
mantra  feminine-encoded as reality true to itself but
beholden to none. Śri-Vidyā conceals itself in contradictions
that pose no threat to those who embrace paradox as the
solution to a world that is itself not a problem to be solved..
Śri-Vidyā flourishes, never fails; it assimilates, takes on new
characters  in varied forms.
Douglas R. Brooks in the Forward to an Article concerning
Sri Vidya and Tantra by – Jeffrey S Lidke ]
Sri Muthuswami Dikshitar was initiated into Srividya Maha
Shodasakshari Diksha. In his first kriti , he referrers  to its
Guru tradition, its twelve gurus and three schools of
worship, Kadi, Hadi and Sadi: Kamaadi
dwadashabhirupa_sthitha kadi hadi sadi mantra rupinya .
Sri Dikshitar also mentions that he followed the tradition of
the Sages Durvasa , Agasthya and Hayagreeva ; and,
declares he belonged to Kadi School: maatmaka kadi
mathanusthano.
Sri Dikshitar followed the Kadi practice of worship of Sri
Chakra from Bhupura , the outer square to the Bindu, the
central point. He had a certain pride in his tradition; in his
kriti Kamalambikai, he states “prabala guruguha
sampradaya anthah karayayai – referring to his hallowed
tradition
Sri Dikshitar composed about forty kritis,  spread over four
sets of compositions on the subjects related to Sri
Vidya;  Kamalamba Navavarana (11+ 2 kritis); Nilothpalamba
kritis (8 kritis); Abhayamba kritis (10 kritis); and, Guru
Kritis (8 kritis). Of these the Kamalamba set of kritis, is
highly well organized; and,  is truly remarkable for its classic
structure , majesty and erudite knowledge. More of that in the
succeeding sections.
Sri Muthuswami Dikshitar, in his kritis, yearns for Videha
Mukthi. He beseeches the Divine Mother repeatedly and
addresses her as one who grants Videha mukthi (Mamaka
videha mukthi sadanam– Ranganayakam-Nayaki); the
bestower of videha mukthi (vikalebara kaivalya danaya–
Guruguhaya-Sama); and , at times , he feels he is
nearing videha mukthi(Videha kaivalyam yami-Tyagaraje-
Saranga). Sri Muthuswami Dikshitar was a jivan Muktha who
attained his Videha Mukthi.
Videha mukthi is a concept of the later Advaita Schools. It
believes, one can attain liberation (moksha) from
attachments while still encased in a body. Such an attained
one is Jivan Muktha. The body continues to function till
its Prarabdha Karma is exhausted; thereafter, the mortal
coils fall away. Videha mukthi is shedding off the body by
a Jivan muktha, the one who has already attained liberation.
Jivanmukthi, emancipation while yet alive, is also a concept
of the Tantra Siddantha , which believes that it is possible for
a person to transact with the world without getting involved
in it. In other words, one lives on actively and cheerfully,
amidst distractions and confusions of the world without
letting his self reflect them. His moorings in the phenomenal
world have withered away; his instinct of self-preservation
and insecurity has been minimized. He is alive only to
essential thing in life that is the source of life. The real world
continues to exist for him. But he does not rest in the world
but rests in himself (Svarupa pratishta).
In the Sri Vidya  tradition, a jivan muktha is a devotee,
a Bhaktha as well as a Jnani the wise one. Here, the wisdom
consists in realizing his identity (sva svarupa prapti) with the
Mother goddess. It is this wisdom that liberates him (jivan
Mukthi). This liberating wisdom is granted to him by the
Mother , out of pure love, when he completely surrenders to
her in full faith and devotion.
Sri Muthuswami Dikshitar, either way, was a jivan
Muktha who attained Videha Mukth with the grace of the
Devi.
 
 Continued in the Next Part
The structure of Sri Chakra
 
Reference;
The Tantra of Sri Chakra by Prof.SK Ramachandra Rao (1953)
 
12 Comments
Posted by sreenivasaraos on September 14, 2012
in Music, Muthuswami Dikshitar, Sri Vidya, Tantra
 
Tags: Mantra, music, Muthuswami Dikshitar, Sri
Vidya, Tanra, Yantra
Sri Muthuswami Dikshitar and Sri Vidya (4 of 8)
14SEP
The music of Sri Muthuswami Dikshitar
Sri Muthuswami Dikshitar was a versatile intellect. He was
open to  varieties of influences. His works reflect some of
those influences rather explicitly ; while some others shine
through in a subtle way. Before we get into a discussion
about Dikshitar’s creations, we need to recognize a few
features that influenced him.
Sri Muthuswami Dikshitar was a vainika-gayaka, a musician
who sang as he played on the Veena. He was well trained
both in vocal and instrumental music. Naturally, the graces,
the rich Gamaka prayogas of his compositions structured in
slow tempo shine in mellow glow when played on the Veena.
In his childhood, he received training in the Lakshya and
Lakshana aspects of Carnatic music. The Lakshana Gitams
and Prabandhas of Venkatamakhi formed an important input
of his training. Later, as a composer, he chose to follow
Venkatamukhi’s system of Mela -classification of Ragas.
He spent seven years at Varanasi, in the prime of his youth.
He was captivated by the grandeur, the spaciousness and
the purity of the ancient Druphad School. He learnt Dhrupad
diligently; and ,that left a lasting impression on his works.
Earlier in his teenage, he gained familiarity with Western
music; and, the traces of its influence can be noticed in the
movement of his songs.
He had a good command over Sanskrit; and, learnt to use it
to express his ideals and aspirations in pristine poetry. He
had a fascination for Sabdalankara, beautifully turned
phrases and wordplay . He had the composure of a yogi and
the heart of a poet. Dikshitar’s kritis are therefore adorned
with poetic imagery, tranquil grace, a certain majesty
steeped in devotion.
Sri Dikshitar had acquired a fair knowledge of Jyothisa,
Ayurveda, and iconography and of temple architecture.
He was unattached to possessions or to a place . He was a
virtual pilgrim (jangama) all his life. He visited a large
number of shrines ; and, sang about them and the deities
enshrined there.
He was intensely devotional ; yet, was not overly affiliated to
a particular deity. He composed soulful songs in praise of a
number of gods and goddesses.
He had a fascination for composing a set of  kritis exploring
the various aspects of  a particular deity or the different
dimensions  of a subject , as if he had undertaken a project.
He was an Advaitin, well grounded in Vedanta.
And above all,
Sri Dikshitar was an ardent Sri Vidya Upasaka; a Sadhaka, an
intense devotee of Devi, the Divine Mother. He was a master
of Tantra and of Yantra Puja. The Tantra ideology permeates
all through his compositions.
It is the harmonious confluence of these influences that one
finds in Dikshitar’s music.
***
Output:
 Anandamruthavarshini  by Shri S Rajam
Sri Muthuswami Dikshitar was prolific; about 479 of his
compositions have now been identified, spread over 193
ragas. These include four Ragamalikas and about
forty Nottuswara sahithya verses.
[For a detailed statistical analysis of the compositions of Sri
Dikshitar , as undertaken  by Dr. P. P. Narayanaswami , please
click here.
Please do refer to a very remarkable site created by  a group
headed by its Chief Data Analyst –  Smt. Meera Subramanian 
, listing as many as 510  compositions of Sri Muttuswamy
Dikshitar,  along with its lyrics , audio and video files as also the
deity-wise classification of his Kritis.  ]
The great Venkatamakhi who formulated the 72 Mela-
kartha ragas is reported to have wondered ”of the 72 Melas
only a few are known and found in practice… and will the
permutation be a waste.?‘(Dr. V Raghavan:  paper presented
at All India Oriental conference, at Hyderabad, 1941).
It was the genius of Muthuswami Dikshitar that gave form
and substance to all the 72 Mela-kartha ragas, fulfilling the
dream of Venkatamakhi. He gave expression to nearly 200
ragas of that system.
Sri Muthuswami Dikshitar was a pilgrim virtually all his life.
He visited a large number of shrines and sang about them
and the deities enshrined there. He was intensely devotional
yet not overly affiliated to a particular deity. He composed
soulful songs in praise of a number of gods and goddesses.
About 74 of such temples are featured in his kritis; and there
are references to about 150 gods and goddesses. The most
number of his kritis (176) were in praise of Devi the mother
principle, followed by (131) kritis on Shiva. Dikshitar was the
only major composer who sang in praise of Chaturmukha
Brahma.
Sri Dikshitar has composed songs in honor of some other
lesser-known divinities : Saṇdhyā dēvīm Sāvitrīm-Rāga
Dēvakriya, Ādi-Tāla; Bhūśāpatim – Rāga Bhūṣāvati, Rūpaka
Tāḷa; and, Renukādēvi Samrakśtōham – Rāga Kannada
Bangāḷa, Miśra Jhampe.
**
Some scholars have said that Dikshitar’s songs are
summaries of Durga Suktam, Sri Suktam and Purusha
Suktam.   He built in the mantras in a few krithis
like Sri  Raaja raajeshwari  (madyamavathi), pavanatmaja
aagaccha (Naatta). For the benefit of those who couldn’t
practice rituals he composed vaara
krithis on navagrahas. Similarly, he opened the doors to the
secret world of Sri Vidya, for the benefit of all, through his
Kamalamba navavarana kritis.
Krithi Groups
Dikshitar had a fascination for composing sets of kritis on a
composite theme, perhaps in an attempt to explore the
various dimensions of the subject. In some of these, he
 employed all the eight Vibhaktis, the various cases that
delineate a noun. No other composer has attempted so many
group kritis in such a planned, orderly, meticulous fashion.
The following are some Important Krithi Groups. Please also
check here. 
 Ganesha Vibhakthi Krtis
 Guruguha Vibhakti krithis
 Kamalamba Nava Varnams
 Navagraha Krithis
 Nilotpalamba vibhakti Krithis;
 Panchalinga  Kshetra kritis;
 Panchabhuta Kriti
 Rama vibhakti Krithis;
 Tiruvarur Pancalinga kritis;
 Thyagaraja vibhakti Krithis;
 Abhayamba vibhakti Krithis
 Madhuramba vibhakti Krithis
 Vinayaka
The selection of Raga and Taala; and the diction of these
kritis demonstrate his musical skills and intellectual
refinement.
For greater information on Group Kritis of Dikshitar, please
check here.
Ragamalika
Just as his father Sri Ramaswamy Dikshitar (who had
composed the longest ever Raga-malika in Karnataka
Samgita- the Ashtotrasata ragatalamalika – set in 108 Ragas
and various Taalas) ,   Sri Mutthuswamy Dikshitar  was also
an adept in the Raga-malika format. Though he did not
attempt anything as lengthy or as grand as his father did, the
four delightful Raga-malikas that Sri Mutthuswamy Dikshitar
created are true gems of art. 
: – ‘Madhavo-mam-patu‘– is a Raga-malika on the ten avatars
of Lord Vishnu, with ten passages set to ten Ragas (Nata,
Gaula, Sri, Arabhi, Varali, Kedara, Vasanta, Surati, Saurashtra
and Madhyamavati).
 Of the ten Ragas employed in the Raga-malika, five are
Ghana-ragas excellent for rendering Taana on the Veena. The
sixth Raga Kedara , is invigorating and the last four Ragas
are Mangala Ragas leading up to the final Mangalam in
Madhyamavati.
The Raga of each passage blends admirably well its Sahitya.
Here too, Sri Dikshitar adopts his favorite Vibhakthi scheme
of addressing the subject. The first eight passages are in the
eight Vibhakthi cases, in their order (krama) ; and , the rest
two- ninth and tenth are in the accusative case . 
While rendering the Raga-malika, the singers can progress
from one passage to the next without having to repeat
the Pallavi of the just concluded passage. 
: – The Ragamalika ‘Purna-chandra-bimba-vadane‘ in
celebration of Goddess Kamalambika at Tiruvarur is
composed of six Charanas in six different Ragas: ‘Shad-
raga-malika‘.  The Ragas are: Poornachandrika,
Saraswatimanohari, Narayani, Suddhavasanta, Hamsadhwani
and Nagadhwani; and, all the six belong to ‘Dheera
Sankarabharana’ (29th) Mela, Sri Dikshitar’s favorite. 
: – The third Raga-malika ‘Simhasana-sthite‘ in four passages
is addressed to most graceful Devi seated on her throne in a
serene tranquil posture. The four are Mangala-prada Ragas,
auspicious, soothing and peaceful – Saurashtra, Vasanta,
Surati and Madhyamavati. This Raga-malika is therefore sung
at the conclusion of Sri Dikshitar’ annual celebration
festivals. It is also a favorite of the Bharatanatyam dancers. 
:- Perhaps , Sri Dikshitar’s most famous Raga-malika is his
‘ Chaturdasha Raga-malika’ –  ‘Sri Vishwanatham
bhajeham’  set in fourteen Ragas singing in ecstasy the glory
of the Lord of the universe Shiva. The fourteen Ragas are
interwoven with the passages in an intricate pattern.
 Chapter 12 of Shqdhganga describes this Ragamalika as
 “ The Pallavi has two Ragas, starting with Sri Raga; and,
each Raga is encapsulated in two lines of one Avarta; the
second being in Madhyama kala. Similarly, the Anu-pallavi is
set to four Ragas  :  Gauri, Nata, Gaula and Mohanam. But, at
the end, after Mohanam, a Viloma passage takes us through
the same four ragas of the Anu-pallavi and the two of the
Pallavi in reverse order, back to Sri.  
The same pattern is followed in the Charanam with eight
Ragas : Sama, Lalita, Bhairavam, Saranga,
Sankarabharanam, Kambhoji, Devakriya and Bhupala. And,
these are again taken in reverse order in a Madhyama-kala
sahitya, back to the Pallavi in Sri.
Sri  Dikshitar has followed a pattern not only in the order of
the occurrence of the Ragas, but also in terms of the lengths
of the Avartas for each Raga.
The fifth and sixth Ragas- Gaula and Mohanam – have been
allotted 1 ½ Avartas, all in Madhyama-kala; while the
preceding Ragas have been given 2 full Avartas – one each
in Sama kala and Madhyama kala.
The same pattern has been followed in the first half and
second half of the Charanam of the Raga-malika.  Another
striking feature of the Sahitya of this Raga-malika of  Sri
Dikshitar is that the last part of the Svara-sahitya set to each
Raga is composed of the same words as of the last part of
the preceding line of Sahitya.” 
Chronological order
It is rather difficult to arrange Sri Dikshitar’s compositions in
a chronological order. His Nottuswara-Shitya verses were, of
course, composed in his early years while his family lived at
Manali a small town near Madras. His first composition
as Vak-geya-Kara was Srinathandi in Mayamalava-gaula, at
the hill shrine of Tiruttani; and, his last composition was  Ehi
Annapurne in Punnagavarali while he was at Ettayapuram
during his last years. It is believed that the set of Vibhakti
kritis followed his first composition. Thereafter,
he traveled to Kanchipuram, Mayuram, Chidambaram,
Vaidyanatha koil and Kumbhakonam. He often visited
Tiruchirapalli (where it is said his daughter lived).
He spent his productive years at Tiruvavur and his final years
in Ettayapuram. In between, he is believed to have visited
about 70 temples; and, sung the glory of those deities. It is
however not possible to arrange those kritis in a sequence.
Please check here for a map of his probable travels in South
India: 

Before going further, we need to talk a bit about Sri

Muttuswami Dikshitar’s first Kriti as a Vak-geya-
Kara , Srinathandi-guruguho-jayati in the Raga Mayamalava-
gaula in the fifteenth Mela (the Mela in which Sri Dikshitar
composed many Kritis) . The mantra of Sri Vidya also has
fifteen matras (syllables).
After submitting salutations to the past Gurus of the Kad-
matha, the principal tradition of the Sri Vidya lore (shri
nathadi guruguho) , Sri Dikshitar bows down to his Guru
Yogi Chidambaranatha. Elsewhere, in another Kriti
composed in Raga Purvi, a Bhashanga-janya-raga of
Mayamalava-gaula, Sri Dikshitar  adores his Guru  and
Master Chidambaranatha as none other than Guruguha;
and , says ‘I am the humble servant of Guruguha, or I, myself,
am of the form of Guruguha himself’  (shri guruguhasya
dasoham nocet cidguruguha evaham).
The opening line Srinathandi-guruguho-jayati-jayati, which
bows to all the deities and Gurus of the Sri Vidya traditions,
has been much debated. This line is said to be an almost a
takeoff from the opening lines of the first shloka of the Sri
Vidya paddhathi:
Shri nathadi gurutrayam ganapatim  pithatrayam
bhairavam / siddhaugam vatukatrayam padayugam
dutikramam mandalam/ viran dvyasta catushka shashti
navakam viravali pancakam/ srIman-malini-mantra-
rajasahitam vandeguror mandalam
This Shloka invokes the deities and the galaxy of Gurus
(Guru-mandala) in the realm of the Supreme sovereign
Srividya Parabhattarika.  It begins with salutations to the
three generations of Gurus (Srinathadi gurutrayam – one’s
own Guru; his Guru – Parama Guru; and his Guru
– Parameshthi Guru) ; and prayers to Ganapathi 
(Ganapatim).
It also recalls with reverence the three centres or seats of
Shakthi (Piitha-trayam – Jalandhara, Purnagiri and
Kamarupa); the eight Bhairavas (Bhairavam); the Siddhas
(siddhaugam); the three celibates Brahmacharis
(vatukatrayam – Skanda, Chitra and Virinchi); and then,
submits to the feet of the Mother Goddess (Padayugam).
Then salutations are submitted to the group
of Duti goddesses (dutikramam mandalam); to those who
have attained Siddhi (Viran); to the sixty-four
Siddhas (dvyasta catushka shashti); nine Mudra
goddesses (navakam); and to the five supreme
deities (viravali pancakam– Brahma, Vishnu, Rudra, Ishwara
and Sadashiva).
Then, at the end, the devotee submits to the Goddess of
Malini-Chakra with Mantra-raja; and, to all the Gurus of all the
traditions of Sri Vidya (vande-guror mandalam).
Likewise, Sri Dikshitar, in his Kriti Srinathandi-guruguho-
jayati –jayati , submits to his Guru, the Lord of the Universe,
and all the Gurus of the Kadi Matha of the Sri Vidya tradition.
And, to the Srividya Parabhattarika, the supreme Mother
 Goddess, who is invoked by the mantra beginning with Ka
and ending with Ma (The Kadi Vidya of Sri Manmatha runs:
KA, E, I, LA , HRIM- vagbhavakuṭa), residing in the centre of
the Mani Chakra which resembles a thousand-petalled lotus.
And, to Maheshwara  the Lord  who obliterates  all types of
illusions and delusions; who is meditated upon constantly by
Hamsa mantra , the Ajapa-japa (you breath out with a sound
of ’Sa’; and you breath in  with a sound of ‘Ha’; and,
throughout the day and night you perform the Hamsa Japa.
 (The Hamsa Japa is :  I am He , Shivo Hum, I am Shiva , 
breathing in and out continuously , instinctly and with ease ,
without being aware of your doing so. This effortless and
ceaseless Japa is called Ajapa-japa).
And, to the Guruguha, Skanda, who is worshiped by kings of
Mayamalava Gaula Desha and others; who is surrounded by
Vishnu and other gods; and, who has expounded the real
truth of Pranava to His father Mahesha.
**
The composition, ‘Sri Nathadi guruguho jayati
jayati’ in Mayamalava-gau!a is ideal for the music students to
practice in graded speeds, the ascent and descent of the
Raga, the janta svara prayogas, alankara patterns, mandra-
sthayi phrases etc.
In terms of Music, the first line of the Pallavi (Srinathandi-
guruguho-jayati -jayati) summarizes all the ascending
(Arohana) and descending (Avarohana) notes of the
Mayamalava gaula:   “SA RI Ga Ma Pa Dha Ni SA Ni Dha Pa
Ma Ga Ri”, in all the three speeds (kaala).  
And , in regard to Sahitya , The prathama-akshara- prasa in
the Charana  and in the Madhyama-kaala–sahitya is very
interesting , where each line commences with ma or Ma.
Charanam:
  MAyamaya vishvadhishthano
 MAtmaka kadi matanushthano
 MAlini mandalanta vidhano
 MantrAdyajapa hamsa dhyAno
 MAyakarya kalana hIno
 mAmaka sahasra kamallsiIno
 mAdhurya ganamrita pano
 mAdhavadyabhayavarapradano
 mAyashabaLita brahma rupo
 mArakoti sundara svarupo
 matimatam hridayagopuradIpo
 mattashuradi jayapratapo
 mAyamalavagauLadidesha
 mahipati pujita pada pradesha
 mAdhavadyamara brinda prakasha
 maheshasya maharthopadesha
 Madhyama Kala Sahityam:
  MAyaamaalavagaulaadidesha
 Mahipati Pujitha Pada Pradesha
 MAdhavaadyamara Brunda Prakaasha
 Maheshasya Mahaarthopadesha

Ragas:
Dikshitar followed the Mela-paddhati (a system of classifying
Ragas) devised by Venkatamakhi, to whose school he
belonged. In handling the Vivadi-melas, Dikshitar followed
Venkatamakhi; and,
avoided inharmonious expressions, prayogas.
Further, since Kharaharapriya was not a part of
Venkatamakhi’s scheme; there is no known composition of
Dikshitar in that Raga. The twenty-second Mela-karta was Sri
Raga; the Mangala kriti of the Navavarana series is
composed in Sri Raga. Again, the Venkatamakhi-tradition
treated Bhairavi and Anandha Bhairavi as Upanga Ragas; so
did  Sri Dikshitar.
[Though Sri Dikshitar generally followed the Asampurna-
Mela system of Venkatamakhin, he was quite familiar with the
other, Govindacharya’s Sampurna-Mela system as well.
For instance; the Raga of his Kriti Shri-shulinim-
shritapalinim according to Asampurna-
Mela is Shailadeshaksi. But, in the Kriti, he uses the Raga-
mudra as Shulinim , which is the Raga-name in
the Sampurna-Mela system.
Similarly, the Raga of his Kriti Hariyuvatim-
haimavatim is Deshi-simharavam according to the older
system; but, the Raga-mudra is Hemavathi which is the
corresponding Raga-name in the other system.
And, his Kriti Shri Nilotpala-nayike in Raga Nari
Ritigaula contains the Raga-mudra Natabhairavi in the
Anupallavi as per the Sampurna-Mela system.]
Some scholars opine that Sri Dikshitar’s major service to
Carnatic music is that he gave expression to nearly 200
Ragas of Venkatamakhi’s system. He also breathed life into a
number of ancient Ragas that were fading away. Several
ancient Ragas found a new lease of life though Sri
Dikshitar’s kritis.
To name a few of them: Mangalakaisiki, Ghanta,
Gopikavasanta, Narayana Gaula,Sulini, Samantha,
maargadhesi and mohana naatta. Even today,
their  Lakshanas are illustrated mainly through Sri Dikshitar’s
creations.
There are many Ragas which are employed only by Dikshitar.
Take for instance: Saranganata, Chhaya
Goula,  Poorvi , Padi ,  Mahuri ,  Suddhavasanta
,Kumudakriya, and Amritavarshini. In the
Raga Dwijavanti, his Kritis Chetasri and Akhilandeshwari  st
and out in solitary splendor.
He transformed many Outhareya, the Hindustani Ragas into
Karnataka form through his creative genius. His
interpretation and rendering of Ragas like Dwijavathi,
Ramkali, and Yamakalyan, Hamirkalyani, and Brindavan
sarang are highly original and creative. He made them into
his own. His Cheta-sri is so wonderfully well adapted to
Carnatic Raga-bhava that one scarcely notices
the Outhareya traces in its character. He took in the best
aspects of the other system;  transformed them ; and,
enriched both the systems.
Shankarabharanam scale appears to have been his forte. 
There are as many as 96 kritis based on that scale. The kritis
in Harikambhoji scale number about 63; while 57 kritis are
in Kharaharapriya scale. He had a special affinity
for Mayamalava-gaula in which he composed about 51
songs. The derivatives of that scale such as Saalanga Nata,
Paadi and Mangala Kaishiki would have been lost but for Sri
Dikshitar.
**
About forty-four of his compositions are set in forty Vivadi
Ragas. Since Sri Dikshitar followed the A-sampurna-Mela-
Paddathi of Venkatamakhin , even the Janaka-Ragas might
look like Janyas. But, in fact, all those Vivadi-Ragas
are Raganga or Melakartas. However, they do not
have Vivadi-Svara-Sancharas. For instance; Raga Shuddha-
Saveri under Kanakambari;
and Manohari under Gangatarangini.
As many as forty of these Melas, are Vivadi-Ragas. Sri
Dikshitar uses many means (Upaya) to counteract the
jarring-effects of Vivaditva. These  measures include(i) Janti
prayōga – using the Svara in pairs to  reduce the Vivadi-
effect;  (ii)  Alpatva – minimum usage or skipping  of the
Vivadi-Svaras; (iii) Dheergha-prayoga -Elongating one of the
Vivadi Svaras to smoothen its effect; and (iv) Langhana or
Dhatu-prayoga-using  crisscross Svara pattern to reduce the
Vivadi effect.
Taala:
Sri Dikshitar was accomplished in the matter of Taalas, the
rhythmic patterns. He is the only composer to have set his
music in all the seven basic Taalas. He employed all
the Saptha (Seven) Taalas in his Vara-Stutis i.e. a song for
each day of the week.  He is said to have used ten
improvised varieties of Taalas in his compositions. The
majority of his compositions are set in Adi (190)
and Rupaka (139) Taalas.
 Sri Dikshitar, in his compositions, has employed only Suladi
Taalas; to the exclusion of Chapu and other Taalas. Each of
his Nava-Graha Kritis is set in a different Suladi Taala.  For
instance: Suryamurthe in Chaturashra-Dhruva; Chandram-
bhajamanasa in Chaturashra-Matya, Angarakam-ashraya-
myaham in Rupaka; Budham-ashrayami in Misra-Jhampa;
Brihaspathe-Tarapathe in Tisra-Triputa; Sri Shukra-
Bhagavantam in Khanda-Atta; Smaramyaham-sada-
Rahum and Mahasuram-Ketum-aham in Rupaka.
Music:
The most fascinating aspect of Sri Dikshitar’s Kritis  is the
grandeur and majesty of his music, sublime lyrics,
intellectual brilliance and the overall technical sophistication.
They exude a tranquil joy. His vision of the Ragas and their
structure is  truly inspiring.
Sri Dikshitar was blessed with the heart of a poet and the
composure of a yogi. He was an intense devotee; but, was
undemonstrative. There is, therefore, a certain composure,
measured grace, dignity and a mellow joy glowing through
his music,  as in his life.
The Druphad way of elaboration captured his imagination.
The tempo of his songs is mostly the Vilamba-kala – slow,
measured and majestic; rich in Gamaka just as
the meends on a Veena. Sri Dikshitar aptly called himself
“Vainika-gayaka Guruguha-nuta”.
[The musical structure of his Kritis display how well they are
suited for playing on the Veena. For instance; he has
employed wide Jaarus extensively in the phrase Murari-
prabhruti occurring in his Kriti Sadashivam-
Upasmahe (Raga Shankarabharanam; and, there is
a Jaru from lower Shadja to Tara-sthayi -Rishabham). And
again, the first line of the Charana of the Kriti Tyagaraja
Maha-Dwajaroha (Raga Shri) has an elaborate Jaru :
Srishti-svarupa-vasanta-vaibhavam-ashtadhvajendra-
vimana-bhuta-samashti-gaja-vrishabha-kailasa–vaham-
ashlesha-mah-aratha -sthitam.]
Sri Dikshitar’s treatment of a Raga exemplifies the essence
of the Raga bhaava; and, brings out its delicate shades. It is
as if the musician is immersed in contemplative meditation.
The graces, the rich Gamaka–prayogas of his compositions
structured in slow tempo shine in mellow glow when played
on the Veena.
This is amply reflected in his works ; for instance in Cheta-
Sri (Dvijawanthi); Balagopala (Bhairavi); Sri-Rajagopala (Sav
eri); Meenakshi-Me-Mudam  (Poorvikalyani); and, in Sri
Subramanyaya–Namasthe  (Kambhoji).
The other compositions of this genre
are: Dakshinamuthe (Shankrabharanam); Manasa-guruguha 
(Anandabhiravi); Ehi-Annapaurne (Punnagavarali); Amba
Neelayatakshi (Nilambari), and ,each of the Nava-
avarana kritis.  These are indeed monumental works.
It is not that all aspects of his music are slow and spacious.
He built into his compositions exhilarating bursts of speed
and sparkling delight as if in celebration of the divine spirit,
towards the end. Certain kritis are interlaced
with Madhyamakala-Sahitya, passages in tempo faster than
the rest of the kriti (E.g. Mahaganapatim  in Nata).
Although the Kritis of Sri Tyagaraja are known for their
elaborate Sangathi improvisations, there are some
archaic Sangahtis in the Kritis of Sri Dikshitar as well(e.g.
in  Arunacala-natham in Raga Saranga ; and,  Pahimam-
ratnachala –nayaka in  Raga Mukhari).
Sri Dikshitar redefined the treatment of even the traditional
Karnataka Ragas by way of elaborate beginning, rich
in Gamakas resembling the sliding Meends as, for instance,
in the slow paced majesty of Akshya-linga-
Vibho  (Shankarabharanam);  or in Balagopala (Bhiravi),
portraying the beauty of the divine child, Krishna.
His Nirajakshi-Kamakshi in Hindolam with Dha flat entirely
changed the way Hindolam came to be sung by his
contemporaries, as also by the later Carnatic musicians.
It is believed; before the time that Sri Dikshitar went to
Varanasi, the Hindola Raga in the Carnatic system was,
generally, rendered with Chatusruti-Dhaivata (say, as in
the kriti, Manasuloni of Sri Thyagaraja). While Sri Dikshitar
was in the North, he had listened to
Raga Malkauns (equivalent to Hindola of the South), sung
with Shuddha Dhaivata, expanding it freely in all the three
octaves. Sri Dikshitar felt such charm and appeal could be
brought into the Hindola of the Karnataka-samgita. He
thereafter, composed his splendid Nirajakshi-Kamakshi in
Hindola with Dha flat, while retaining the purity of the Hindola
Raga.
Some say; Sri Thyagaraja’s Kriti Samaja-vara-gamana in
Hindola, shows the shades of Sri Dikshitar’s influence. Thais
is because, his treatment of Hindola in his earlier Kriti
– Manasuloni , was quite different.
*
Sri Dikshitar was well versed in the Alapana-paddhati; and,
followed it in the elaboration of a kriti. The musicologists
have said “The most outstanding aspect of the compositions
of Sri Dikshitar is their richness in Raga-bhava”. His sense of
selection of the apt Sancharas of the Raga to bring out the
true emotion is remarkable. They range stretching from
the Mandra to the Tara-sthayi ; and, give a complete picture
of the Raga.  It is said that if you sing his kriti in Akara, it can
bring out the character of its Raga. His kritis are
virtually, Raga-alapana, chiseled to fit in with Taala ; and
,dressed in Sahitya.
[ Please also read Smt.  Vidya S Jayaraman’s conversation with
Dr.V.V.Srivatsa ]

Structure of kritis
His kritis are well structured, close knit and written in
graceful Sanskrit. Sri Dikshitar’s kritis do not usually have
more than one Charanam; and, as many as 157 of his
creations are Samasti-charanams, carrying no Anupallavi or
the Anupallavi itself acting as Charanam. His rhythm is
subtle ; and, the lyrics are divine.
Sri Dikshitar’s kritis with Samashti-charanam have enriched
the variety of musical forms in Karnataka Samgita. These
Kritis composed in Madhyama-kala are highly popular ;
e.g. Sri Saraswati (Arabhi); Parvati-
patim (Hamsadhvani);Vallabha-nayakasya  (Begada); Sarasw
ati-vidhi-yuvati  (Hindolam); Sri-Ranganathaya (Dhanyasi).
Since he did not compose multiple Charanas,  his
single Charranas tended to be quite lengthy ,as compared to
the Kritis composed in Pallavi-Anupallavi-Charanam format.
Such fairly long Charanas, however, enabled Sri Dikshitar to
provide exhaustive information about various deities,
shrines, concepts of the Sri Vidya  tradition etc.
The Madhyama-kala-sahitya that he employed for such Kritis,
also  helped in introducing some variation in such
long Charanas.
 [Perhaps his only multiple-charana creations are his Kriti
‘Maye-tvam’ (Tarangini) ; and , his  four  Ragamalikas]
Each of his compositions is unique, brilliantly crafted and
well chiseled work of intricate art. It is incredible how
delicately he builds into his tight-knit kritis a wealth of
information about the temple, its deity, its architecture and
its rituals; and about jyothisha, tantra, mantra, Sri Vidya,
Vedanta etc. He also skillfully builds into the lyrics, the name
of the Raga (Raga-mudra) and his Mudra, signature. 
Sri Dikshitar also built in phrases of Samgita-shastra in the
body of  the few of  his kritis, sometimes giving technical
details in precise ways. For instance; in his Kriti ‘Meenakshi-
me-mudam-dehi’ (Purvi-Kalyani), the phrase ‘Dasa-Gamaka-
Kriye’ refers to Dasavidha-Gamakas discussed in ancient
music-texts. And, similarly, the phrase ‘Dvisapatati-raganga-
raga-modinim’ in the Kriti ‘Sringira-rasa-manjari’ in
Rasamanjari Raga (Rasikapriya) refers to the scheme of
seventy two Melas. 
Language and wordplay 
Except for one kriti in Telugu and three Mani-pravala-
kritis (Sanskrit+Telugu+Tamil) , all his other compositions
are in Sanskrit.
[ The term  is said to be made of mani + pravala,  meaning a
mixture of gems and coral]
Sri Dikshitar is credited with one Chauka-kala-pada-varnam –
‘Rupamu juchi’ (Todi, Ata taala) and a Daru ‘Ni
sati‘ (Sriranjani) also in Telugu.
Sri Dikshitar had a good command over Sanskrit; and, had
learnt to express through it his ideals and aspirations in
 pristine poetry. He had the composure of a yogi and the heart
of a poet. Sri Dikshitar’s  kritis are therefore adorned with
poetic imagery, tranquil grace, a certain majesty steeped in
devotion.
He had a fascination for Sabda-alankaras, adorning his
poetry with beautifully turned phrases ringing sweetly like
temple bells; captivating rhymes of Prasa and Anuprasa. He
loved the intricate play of words and to coin sweet sounding
phrases. Look at the pada lalithya, a grand procession of
enchanting phrases :– 
 Akalanka darpana kapola vishesha
 Mana matrike maye marakata chaye
 Devi Shakthi beejodbhava matrikarna swaroopini
 And
 Komlakara pallava pada kodanda Rama.
 The rhyming and ringing phrases – Shyamalanga- vihanga-
sadayapanga-satsanga- are of unparallel beauty.
***
The structures in the compositions of poetry and of a Kriti,
as also in the playing of the Mrdanga are said to follow
certain rhythmic patterns (Yati-s). 
There is, of course, the usual format which follows the
uniform length of lines (Sama).
In addition, there are certain varied and improvised patterns
of composing and structuring the lines in a Kriti; such as :
(1) broadening or increasing like the flow of  a river
(Srotovaha); (2) tapering or decreasing like a cow s tail
(Gopuccha); (3) increasing, then decreasing;  broadening
towards the middle like the contours of a drum (Mrdanga);
and,  (4) first decreasing and  then increasing; narrowing
towards the middle, as the contours of an hourglass-shaped
drum (Damaru).
And, there is also an arrangement that is devoid of any
obvious pattern; it could be irregular or rugged (visama). It is
rather difficult to define or illustrate such patterns.
Sri Dikshitar who was well versed in Kavya-prayoga,
composing poetry, was, obviously familiar with these
geometric patterns that were  meant to  improvise the
structure of lines in a stanza.
*
Sri Dikshitar often structured his lyrics in geometric patterns.
He enjoyed a childlike delight in employing Yatis (geometric
patterns) such as Gopuccha (tapering like the tail of a cow)
or it’s opposite, the Sorotovaha (broadening like the flow of a
river) for structuring his lyrics. For instance; in his
Sri Varalakshmi (Sri) and Maye–Twam-Yahi (Sudha Tarangini)
he used the tapering pattern of Gopuccha.
Sarasa Pade,
Rasapade,
Sapade,
Pade.
de
Sarasa Kaye
Rasakaye
Sakaye
Aye
In his kriti Tyagarajayoga Vaibhavam (Anandabhairav) , Sri
Dikshitar uses both the Yatis : Gopuccha Yati and Srotovaha.
The phrases are:  Gopuccha Yati (like a cow’s tail):
Tyagaraja Yoga Vaibhavam
 Agaraja Yoga Vaibhavam
Rajayoga Vaibhavam
Yoga Vaibhavam
Vaibhavam
Bhavam
Vam
 
 And Srotovaha Yeti (flowing or expanding like a river )
Sam
Prakasham
Svarupa Prakasham
Tatva svarupa Prakasham
Sakala Tatva svarupa Prakasham
Shivashaktyadi Sakala Tatva svarupa Prakasham

Alamkaras
Sri Dikshitar brings out the beauty of the Raga and
the Sahitya, at many places, through the Svarakshara. For
instance:
In the Kriti ‘Pancamatanga-mukha-Ganapatina-paripalitoham-
Sumukhena-Sri ’Malahari, Rupaka), the Pallavi is set to the
Svaras ‘Pa- dha-Ma- pa –dha- pa- ma- ga- ri- sa- pa- dha- Sa’
In the Kriti ‘Sadacalesvaram-bhava-yamham’ (Bhupalam,
Adi), the Pallavi has the Svaras ‘sa- Dha- sa- Pa’
*
Sri Dikshitar , at times, used Swaraksharams i.e., the words
matching with the syllables of the notes. For
instance; Sadasrita (in Akshayalinga Vibho) could be tuned
as Sa-Da-Pa-Ma; and, Pashankushsa-Dharam (in Siddhi
Vinayakam) could be tuned as Pa- SA- Ga- RI- Ni- SA.
Muhana Prasa
Rhyming in the first letter of line is called Muhana. One can
observe it in the entire Carana of the Kriti Tyagarajaya-
namaste (Begada, Rupaka) as follows:
Mukundādi-pūjita-sōmaskanda-mūrtaye / Muchukundādi-
bhakta-jana manōratha pūrtaye/ Mukurabhmba pratibimbitha
mukha-spurthaye / Munipakṣi mṛga kītādi mukti-pradakīrtaye
Dvitiyakshara Prasa
Rhyming in the second letter of each line is
called Dvitiyakshara Prasa. One can observe it in the Carana
of the Kriti Tyagarajam-bhajare (Yadukula-kambhoji,
Rupaka) as follows
paulōmīṣādi dikpālapūjita gātram / nīlōtpalāmbānukūla tara
kalatram /  trilōkya guru guha tātam trinetram / sailōkādi
kaivalya prada caritram /
 Antya Prāsam
Rhyming words at the end of the lines is called as Antya
Prasa. One can observe it in the Anupallavi and in the entire
part of Carana of the Kriti Ttyagarajo-virajate (Athaṇa,
Rupaka) as follows:
Vāgartha mayabhuvana rājo / Hari vānchitārtha prada rājo /
Hara śri guru gua ganeṣa rājo /Samsevita rājādi  rājo /
Gamakas
 A striking feature of his compositions is the Jaaru Gamakas;
both the upward and the downward slides: Digu-
Jaarua and Ettaru-Jaaru. For instance; in
the Kritis Hiranmayim
Lakshmim (Lalita);  Arunachalanatham (Saranga);Ananda-
natana-prakasham (Kedara) and , “Kari-kalabha-
mukham’ (Saveri), one can see abundant use of Jaaru
Gamakas.
He also uses many Chittasvara patterns like in the Kriti
‘Balambikē’ (Manoranjani), which has Shuddha-
Rshabha and Shuddha Gandhara, bringing in the Vakratva:
Ri- Ga- Sa-Ri-Ni-Sa-Dha-Sa,’; ‘Sa-Sa-Ri-Ri-Ga-Ri-Ga-Ga-Ri-Ri-
Sa’.
Madhyama-Kala- Sahitya
The slow gait of his compositions is often balanced with an
ornamentation of Madhyama-kala-Sahitya or Chittasvaras
(For instance: Anandeshwarena-
samrakṣhitoham– Anandabhairavi -Chapu Taala;
and, Soundara-rajamashraye– Brindavanasaranga- Rupaka
Taala)
The Madhyama-Kala -Sahitya is one among the many
interesting decorative features (Anga) of the Kritis of Sri
Dikshitar.  It is seen mostly after the Carana; but, in some
cases, the Madhyama-Kala section is also in the Anupallavi.
It is also seen in both the Anupallavi and in the Carana; but,
it rarely is also seen in Pallavi or in all the sections. The
tempo of the Madhyama-kala, in all these cases, is double the
tempo of the actual Vilamba Kala. There are numerous
instances in his Thyagaraja- Vibhakthi –Kritis.
Apart from the Vibakthi group, the Kriti Tyāgarāja-
mahādwajārōhanam in Sri Raga has the Madhyama-
Kala passages in all its sections – Pallavi, Anupallavi and
Carana.
Raga Mudra
Sri Muthuswami Dikshitar set the trend for embedding Raga-
mudra, the name of the Raga, in the lyrics. This served the
purpose of establishing the Raga of the kriti; and, it also
added a novel lyrical beauty. Sometimes the Raga-
mudra could be as simple as Brindavana  Sarangendra;
or Satchidananda  Bhiravisham; or  Krithika  Suddha
Dhyanyena.  
In the Kriti ‘Panca-Matanga’ (Malahari),the Raga-mudra is
woven in the phrase ‘Kali-malaharaṇa-catureṇa’. And, in the
Kriti ‘Sri Parvathi- Parameshvarau’ (Bhouli), the Raga-
mudra is embedded in the phrase ‘Chithbim –boulila-
vigrahau’.
 In the Kriti Tygāgaraja-pālayāṣumām (Gauḷa) the Raga-
mudra is in the phrase ‘suthārtānga gaulāṅga’. In the
Kriti Tyāgarāja-yōgavaibhavam (Anandabhairavi) it is
depicted as ‘sacchit-ānanda-bhiravīṣam’. And,
in Viravasanta- Tyāgarāja (Vīravasanta) it is in the beginning
as ‘Vīravasanta-Tyāgarājamām’.
*
But, at times, he would ingeniously suggest the Raga by
hiding it in a complex word, through shlesha, a skillful play
on words. For instance, as in:
(Veena+Abheri) to suggest Abheri;
(Panchamukha+arishadvarga_rahita) to suggest Mukhari;
and
(Chidbimbou+lilavigrahou) to suggest Bouli
Some of the Ragas have peculiar names and require great
skill to blend them into the composition. For example; the
Raga names like Paraz, Mahuri and Arabhi are rather
unusual; and yet, he successfully binds them into the
composition without marring  its  literary merit . For
instance :
“Bhakthajananam athisamiparujumarga darsitam,
Tvamahurisadayo, Samsarabhithyapaham.”
Again there is a Raga with the name ‘Andhali’ which conveys
no specific meaning. But in ‘Brihan-nayaki-
varadayaki’ through the phrase   ‘Andhaliharana-chana-
pratapini’ he develops a fine poetic expression out of it: “The
fragrance of her shining beauty attracts even blind bees.”
The name of the Raga ‘Varali’ enhances the artistic beauty of
the song ‘Mamava-Minakshi’ through the phrase
‘Madhuravani-Varali-veni.’ These are typical of Sri Dikshitar’s
poetic excellence and his ability to achieve natural flow of
delightful phrases set to sublime music.
Sri Dikshitar also specialized in the use of
different Vibhakti (the various cases that delineate a noun)
running parallel. A striking example is the first batch of
eight krtis he composed in praise of Lord Subrahmanya of
Tiruttani.
Sanskrit language employs eight cases (vibhaktis) for the
declination of a noun, namely nominative (prathama),
accusative (dvitIya), instrumental (tritIya), dative (chaturthi),
ablative (panchami), genitive (Shasti), locative (saptami) and
vocative (sambhodhana). The eight cases for the
noun Guruguha would
be: Guruguhah (Guruguho); Guruguham; Guruguhena; Guru
guhaya; Guruguhat; Guruguhasya; Guruguhe; and, (hey or
Oh..!) Guruguha.

Dance
Many of the Kritis of Sri Mutthuswamy Dikshitar are
eminently suited for depiction in Dance form. Just to mention
a few: Rupamu-juchi (Todi, Adi Taala); Meenakshime –
mudam (Gamaka-kriya, Adi); Chetah-Sri-Bala-
Krishnam (Dvijavanthi, Rupaka) Kadambari
Priyayai (Mohana, Misra Chapu) and Arunacha-natham
(Saranga, Rupaka)
They also present a graphic picture of its principal
characters.
Meenakshime-mudam-dehi-mechakangi-Raja
Matangi (Gamaka-kriya, Adi-Taala) is graphic picture of the
Mother Goddess Meenakshi. The descriptive lyrics vividly
portray the beauty, the grace and the virtues of the Goddess.
It offers abundant scope for the Dancer to  to meaningfully
express through her Abhinaya the various facets of Her
beauty , her power and her compassion. And, shades of
Srngara are also woven into it by employing the Rati as
the Sthayi Bhava; and, Moha, Harsha, Jadata, Mati and
Vitarka as Sanchari Bhavas.
Sri Dikshitar weaves a picture of her beauty; with her eyes
(Meenakshi, Meena-lochani), her face (vadane-vidambana –
vidhu); her arms (mani-valaye); her radiant skin (marakata
chaaye); and her waist (shaath-udari), which captivates all
(vashankari) ,
Describing virtues and the nobility of Meenakshi, he calls her
as: the fountainhead, the Mother of all knowledge (Maana-
Matru; Meye); the means of achieving knowledge (Maye);
adept in the art of Music (Dasha-kriye); the most
compassionate Mother (Hrudaye) who rids one of all
bondages (Pasha-mochani).
She verily is the loveliest one who resides in the Kadamba
grove (Manini, Kadamba-vana-vasini). She the beloved of
Mahadeva-Sundaresha (Mahadeva-Sundaresha-Priye) is the
jubilant victorious one (Vijaye).
*
Chetah-Sri-Bala-Krishnam-bhajare (Dvijavanthi, Rupaka
Taala) is a delightful word-picture of the most adorable child
Krishna.  It lovingly describes the beautiful features of the
boy Krishna. One might even say, it is a form of meditation.
O mind, worship the child Krishna, the one who grants
liberation; and the worship of whose lotus-feet assures
fulfilment of all the desired objectives in life.
The child of Nandagopla is resplendent like the rain-bearing
cloud; his neck is shapely like a conch; and, he is adorned in
yellow glowing robes. The upholder of the Govardhana
mountain, the spouse of Rukmini , the one who is the slayer
of Putana and other evil-doers, is indeed the incarnation of
Purushottama (Vishnu), whose arena of sport is the hearts of
sages which are  free  from passions ,.
The mouth of the Bala Krishna is fragrant with the  smell of
fresh butter; the soft-spoken one; the one whose eyes are
like lotus-petal; the one reclining on a Banyan leaf; the one
whose nose is shapely like a Champa flower; the one who is
radiant like the flax flower; the one bowed to by Indra and the
other seven protectors of the eight directions of the world;
the one wearing a deer musk Tilaka on his forehead; the one
wearing fresh Tulasi and forest-flower Vanamala garlands;
the one encircled by Rishis like Narada; the guardian of the
worlds; he indeed is  the cowherd extolled by Guruguha.
*
The Kriti Ananda-natana-prakasham, in the Raga Kedara ,
dedicted to Lord Nataraja of Chidambaram, is another Kriti
that is eminently suited for Dance. The Kriti is studded with
‘Sollukattu’ that or Bols , the  vocalized syllebles.
*
And, on the occasion of the Arangetram of  Kamalam , one of
his disciples  and also one of the Dasis attached to the
temple of Sri Thyagarajaswami at Tiruvarur, Sri Dikshitar
composed a Padavarnam on Sri Thyagesha – Rupamu
chuchi- in Raga Todi; and, a Daruvarnam – Nin sati
Daivamandu ledani– the Raga Sriranjani.
*
Sri Mutthuswami Dikshitar’s  two Kritis – Kadambari
Priyayai and Arunacha natham – do definitely differ from his
other well known compositions steeped
in Bhakthi and Vairagya Bhavas.
The Kriti Kadambari Priyayai-Kadamba Kananayayi –
Namaste –Namaste  (Raga Mohana, Misra Chapu Taala) is
beautifully suited for an elaboration as a Padam in a
Bharatha-natya recital. It brings nature and Srngara Rasa
together beautifully.  Its Kala -pramana is eminently suited
for Abhinaya.
In his other Kriti – Aruaachala-natham-smarami-anisam-
apeeta kuchamba-sametam–  (Saranga, Rupaka Taala) ,
which is based in Srngara Rasa, Sri Dikshitar brings out
the Nayaka-Nayika-bedha in its fullest expression.
The sheer beauty of this piece lies in the fact the Nayaka-
Nayika-bedha is installed within a larger Bhava of Madura-
Bhakti, wherein the Jeevatma and Paramatma are in union.
Here in these cases, Srngara should be viewed as an aspect
of Madhura Bhakthi; and , should not be taken as  something
that is improper .
**
Guruguha:
The mudra, the signature for his kritis occurs
as Guruguha not only in his classic creations commencing
with Srinathadi, but also in this earlier Sanskrit verses
grouped under Nottuswara-Sahitya. The
term Guruguha means the Guru dwelling in the cave of my
heart; and it normally refers to Kartikeya. The term however
acquires shades of other meanings depending on the
context.
Sri Dikshitar was an Advaitin; and, in that context, the
term Guru refers to the Supreme Principle Brahman. In
his Sri Guruguha-dasoham he says” I am Guruguha”.
Sri Dakshinamurthy, the yogic incarnation of Shiva, is often
referred to by Sri Dikshitar as Guruguha. Again , in
his Jambu-pathe (yaman-kalyan), he refers to Shiva
the Guru in  nirvikalpa-Samadhi as Guruguha,  the attribute-
less (nir–vishesha), blemish-less (niranja) supreme
consciousness (chaitanya)- (nir-vishesha- chaitanya-
niranjana- Guruguha Guroo).
Sri Dikshitar was also a yogi. In his Shrinathadi-guruguho-
Jayati, the Guruguha is the Lord seated in his Sahasrara-
Lotus; and, absorbing the nectar of his sweet music. 
In the Shakta tradition, the universe is interplay of Shiva and
Shakthi. The Guru is Shiva the body, and Shakthi the energy
as Guhya-shakthi, the intrinsic power. Guruguha is at times a
wordplay based on this dual principle.
Sri Dikshitar was also a Srividya-Upasaka ;and, as per its
tradition ,he submitted his salutations to that Guru-
parampara (the linage of his Guru’s). Sri Vidya graduates the
evolution from the most subtle form (Shukshma) to the gross
in 36 steps; the first being Shiva-tatva , and the final one
being Prithvi-tatva.
According to this School, Shiva is Adinatha the
progenitor; Shiva is Adi-guru. The Tantric texts identity
the Guru and the Mantra with the deity; the three are one.
The Mantra represents Manas (mind), the Devata stands for
the Prana (vital force); and, the Guru represents the aspirants
own self (Atman).  That is the reason Sri Dikshitar in his Sri
Guruguha-dasoham exclaims : “I am Guruguha”.
In the Sri Vidya tradition, the Guru is not an abstract
concept. Guru is an individual. He also symbolizes the hoary
tradition Sampradaya in a succession of masters. The human
guru is the contemporary master; who has descended in an
unbroken line of gurus beginning from Adi Guru Shiva
himself. He not only reveals the transcendental reality to the
disciple; but also helps him to realize his own essential
reality (svartha–parartha-prakatana-paro-guruh). Devotion to
the human guru is to purify the mind and fortify it with the
spirituality of the Guru. In his Anandeshwara
(Anandabhiravi), Sri Dikshitar refers to his Guru , who
initiated him, as the incarnation of Guruguha (jnana-pradana-
Guruguha-rupa).
Sri Dikshitar refers to the Guru-parampara as Adi- guruguha-
varena. He mentions Paramashiva, Durvasa, Agasthya,
Hayagreeva and other Gurus of Sri Vidya tradition.
Elsewhere, he makes a mention of twelve Upasakas in three
Schools of worship in Sri Vidya – Kadi, Hadi and Sadi – in his
line  Kamadi-dwadasha-bhi rupasthitha-kadi -hadi -sadi-
mantra- rupinya-iharena-navanathena-adyena. Shiva is Adi-
guru, the Guruguha  who resides in the cave of the heart.
Influence of Advaita
Sri Muthuswami Dikshitar was well grounded in Vedanta ;
and ,he was an Advaitin. The influence of that School of
Vedanta is visible in several of his kritis.
For instance; in Girijayaa-ajayaa  (Shankarabharanam)
– saadhu-Jana (purna-panchamam); in Sri-Guruguha-
murthe (udhaya-ravichandrika), Guhad-anyam (Balahamsa);
in Ambhikaya-Abhayambikaya  (Kedara); and, in Abhayamba 
Jagadamba  (Kalyani) etc.
In these compositions, he speaks about the identity
of jiva and Brahman; the superimposition, Aadhyasa; the
seemingly real yet not- real (Maya); the errors in perception,
each atom being the microcosm of the universe (chidvilasa
koti koti cidabhasa) and other Advaita concepts. In
his Kamalamba Navavarana kritis in Shankarabharanam he
declares “I am guruguha”.
Influence of Sri Vidya
Sri Muthuswami Dikshitar was a Devi Upasaka; and, was well
versed in all aspects of Sri-Vidya-Upasana. His kritis,
permeated with Sri Vidya concepts, are too many to be listed
here. The prominent among this genre is the Kamalamba-
navavarana -kritis, a series that is rich in celebration of the
deities and traditions of Sri Chakra worship, expounding in
each of its  nine kritis, the details of the each Avarana of the
Sri Chakra.
According to Sri Dikshitar, Sri Vidya protects the
devotee: Bhaktanam Abhayapradam; leads his way to well
being ; and, also to the way to liberation (bhukti-mukti-prada-
margam) .He sings in inspired devotion; and, beseeches the
Divine Mother to protect him ; and, to guide him along the
right path.
There are references to Shaktha tradition in
his Nilothpalamba-Vibhakthi compositions, the Guruguha
Vibhakthi and Abhayamba Vibhakthi compositions, in
addition to references in several individual compositions.
Dikshitar composed about 40 kritis spread over four sets of
compositions on the subjects related to Sri
Vidya; Kamalamba Navavarana (11+2 kritis); Nilothpalamba
kritis (9 kritis); Abhayamba kritis (10 kritis) and Guru Kritis (8
kritis).
Of these the Kamalamba set of kritis, is highly well
organized; and, is truly remarkable for its classic structure ,
majesty and erudite knowledge.
Let us talk more about Sri Chakra, Sri Vidya and their
influence on Sri Dikshitar, in the next sections.

Sri Muthuswami Dikshitar was a many splendored genius. He

gave form and substance to all the 72 Mela-kartha-ragas.
Besides, he breathed life into several ancient Ragas that
were fading away from common memory. He redefined the
paradigm of Karnataka Samgita . Each of his compositions
exemplifies the essence of Raga-bhava; and captures the
depth and soulfulness of the melody. His vision of the Ragas
and their structure is sublime.
His compositions are crisp, well chiseled and rich in
knowledge.  His Sanskrit is delightfully captivating. His
synthesis of Karnataka and Hindustani Music systems is
creative and original. He took the best in the other systems
and adorned the Carnatic System; enriching both. Dikshitar
revolutionized Karnataka classic ethos , while being  firmly
positioned within its orthodox framework.
He excelled in all the four aspects of the traditional music
viz. Raga, Bhava, Taala and Sahitya. The technical
sophistication, intellectual brilliance and the majesty of his
music is unsurpassed.
Sri Dikshitar was a scholar well grounded in good tradition
(sampradaya). To him, music was more than an art; it was
serene contemplation; a way of worship in tranquility; and, it
was also an outpouring of his soul in celebration of the
divine. He described the divine as embodiment of Raga,
Bhava and Tala (Bhava-Raga-Taala – swarupakam).He was a
yogi, with the heart of a poet; there is therefore a certain
composure and majesty in his music along with sublime
poetic imagery adorned by grace and enchanting beauty.
His Kritis exude with soulful repose, peace and
transcendental joy.
[ It is said; the compositions of Sri Thyagaraja reveal, as in a
mirror, his personality; his family circumstances; his
problems in life; his varying moods; his pains and pleasures;
his spiritual yearning; and, his intimate mystic experiences. It
seems possible to reconstruct his life-events and personality
by piecing together some of his compositions. The same
could be said, to a certain extent, in the case of few other
musicians, such as: Jayadeva kavi; Kshetrayya; Annamayya;
Sri Purandaradas; Sri Shyama Sastri; and others.
(For a comparative study of the compositions of Sri Dikshitar and
Sri Thyagaraja , written by the well-known musician-musicologist
Prof. S R Janakiraman, please click here and also here)
But, in the case of Sri Dikshitar; his compositions are
remarkably free from personal elements. We may admire his
scholarship, his mastery over language and music; his
superb artistry enriching his creations with beauty and
excellence; his dexterity in weaving together and
harmoniously synthesizing various strands of elements into
precise, compact, faultless Kritis; and, his greatness, in
general.  But, we do not get to peep into his family
circumstances, his personal likes, dislikes, pains and
pleasures in his life. He hardly brings into his works, the
personal issues or factors; or, his reactions or views on the
life around him. There is a sense of detachment; and, Yogic
poise that permeates his compositions.
That does not mean that Sri Dikshitar, as a person ceased to
be human.  Sri Dikshitar was a Jivanmukta, the one who is
liberated even while encased in the body. He existed in the
real world; but, his moorings and attachments in the
phenomenal world had withered away. He rested in
himself (Svarupa-pratishta). And, he regarded his Music
pursuit as a spiritual quest in search of the most sublime
state of consciousness, his identity (sva-svarupa-prapti) with
the Mother goddess.]

Continued in Part Five

Sri Chakra and Sri Vidya
Sources:
Compilation of Dishitar’s compositions  – Dr. P. P.
Narayanswami’s page
Statistical Analysis of Dikshitar’s compositions – Dr. P. P.
Narayanaswami’s page
Group Kritis of Dikshitar
List of temples mentioned in his works
 Muthuswami Dikshitar – A Creative Genius by Chitravina N
Ravikiran
Guru principle and Guruguha in Dikshitar
https://ramsabode.wordpress.com/2008/11/19/lec-dem-the-
beauty-of-sangeetham-sahityam-in-muthuswami-dikshitars-
compositions/
I gratefully acknowledge the paintings by Sri S Rajam
 
10 Comments
Posted by sreenivasaraos on September 14, 2012
in Music, Muthuswami Dikshitar, Sanskrit, Sri Vidya
 
Tags: Guruguha, music, Muthuswami Dikshitar, Sri Vidya
Sri Muthuswami Dikshitar and Sri Vidya (3 of 8)
13SEP
Dikshitar and Hindustani music

While you read the article….listen to

  Jambu pathe maam pahi  in Yaman Kalyani sung by Shri TM
Krishna
(Thanks to Sashidhar Vasisth)
[The majestic Jambu pathe (Yamuna Kalyani, Rupakam) a
masterpiece by Sri Dikshitar, is based in Hindustani raga
Yaman Kalyan. The stately gait of the composition is akin to
the Dhrupad style of singing.  The kriti is one of his Pancha
linga group kritis extolling the manifestations of Shiva
among the five elements of nature (Panchabhuta); and, is in
celebration of the water-element (Appu), singing in praise the
glory of Jambukeswara the deity in the temple at
Tiruvanaikaval near Trichy in Tamil Nadu.

The final passage – Madhyama-kala- sahitya – nirvikalpaka

samAdi nishta Siva kalpakataro ; nirvisesha caitanya
niranjana guruguha guro – is a rare gem , a true classic,
where Sri Dikshitar calls out to Shiva , pure consciousness
(caitanya), devoid of attributes (nirvisesha); the Supeme
Guru (Guro);  and the one from whom originated the pristine
purest (niranjana) Lord Guruguha.
 To  summarize Sri Ravi Rajagopalan in the series of articles 
on : Yamuna Kalyani–A Journey Back in Time-Part III :
Sri Dikshitar invokes the deeply meditative and
contemplative structure of the devotional Dhrupad in this
composition. The Devotional Dhrupads are always composed
in cau tala and are sung in slow tempo. The rendition of the
complete composition is compulsory and no part of the
devotional text is indispensable. The Alapa is either omitted
or reduced to a few characteristic phrases of the raga.
Rhythmic and melodic improvisation too is given little space
and in some temples and traditions, improvisation is
avoided.
The similarities ‘Jambupate’ has with the devotional Dhrupad
give us a clue as to how the composition has to be rendered
and there can be no doubt about it.
Sri Dikshitar’s Yamuna Kalyani as found in “Jambupate” has
Sa, Ga and Pa as the chief nyasa svaras, Ni and Ma figuring
prominently with M1 as an alpa prayoga figuring
in avarohana passages through the murccana GM1R & Ni
is  vakra in aroha passages. Ga and Pa seem to be the amsa
svaras with Ri being very weak. The sancaras range
from mandhara Pa/Dha to tara sthayi Ga. In fact there
is no tradition of singing Dikshitar’s Jambupate in Madhyama
sruti, while all others including the modern tuned up
compositions such as  “Krishna nee begane” and
“Bhavayami Gopalabalam” are all sung in Madhyama sruti.

Please check the link for the text and brief

explanation  http://guru-guha.blogspot.in/2007/11/dikshitar-kriti-
jamboo-pathae-raga.html ]
During his stay at Varanasi, Muthuswamy Dikshitar enjoyed
splendid opportunities of listening to Hindustani music in its
pristine forms. He seemed to be impressed greatly by the
ancient Drupad form of singing and of playing the string
instruments; particularly by its elaboration of raga (alap), the
tempo and the structure of the lyrics . He diligently studied
and learnt the Druphad. This had a profound influence on his
creative genius, and apparently modeled his portrayal of
ragas in general and in transforming the Hindustani ragas
into Carnatic form, in particular. His synthesis of Carnatic
and Hindustani Music systems is creative and original.

The influence of Hindustani music on Dikshitar and his

works are manifold. It is not confined to composing some
kritis based on Outhareya that is Hindustani ragas. The
influence is evident in the structure of his kritis, the tempo of
his music, in the selection of the Talas and in elaboration of
the raga too.
His kritis are well structured, close knit and written in
graceful Sanskrit akin to Druphad compositions. Dikshitar’s
kritis do not have more than one Charanam; and many of his
creations are Samasti-charanams carrying no Anupallavi or
the Anupallavi acting as Charanam. His rhythm is subtle and
lyrics are divine.
The Druphad way of elaboration appears to have captured
his imagination. The tempo of his songs is mostly
the Vilambakala– slow, measured and majestic; rich
in gamaka just as the meends on a Been. Dikshitar’s
treatment of the raga exemplifies the essence of raga
bhaava and brings out its delicate shades. It is as if the
musician is immersed in contemplative meditation. A scholar
aptly remarked “…. Dikshitar’s kritis are epitome of the
spiritual record of India”.
This is amply reflected in his works: for instance
in Chetasri (Dvijawanthi);, Balagopala (Bhairavi); Sri Rajagop
ala, Meenkshi-Me-Mudam (Poorvikalyani); Jambu pathe
maam pahi (yaman-kalyani); and, in  Sri Subramanyaya
Namasthe (Kambhoji).
It was not all slow and spacious. He built into his
compositions exhilarating bursts of Madhyamakala gathi, of
speed and sparkling delight as if in celebration of the divine,
towards the end.
He did not merely import the Hindustani ragas but
transformed them and gave them an entire new form and
luster. That was the creative genius of Dikshitar. For
instance, his interpretation and rendering of ragas
like Dwijavathi, Ramkali, Yamakalyani,
Hamirkalyani, and Brindavan sarang are highly original and
creative. He made them into his own. His Cheta sri is so
wonderfully well adapted to Carnatic raga_bhava that one
scarcely notices the Outhereya traces in its character. 
Similar is the case with his Kriti in Raga Bhairavam (Kaala
Bhairavam bhajeham) , which has the shades of Ahir
Bhairav. And, his Kriti in Raga Kashi – Ramakriya  (Soma-
skanda vimanastam) has the flavour of Raga Pooriya.
He took in the best aspects of the other system, transformed
them and enriched both the systems.
His Jambupathe (Yamankalyani), Parimalaranganatham (Ham
irKalyani),  Rangapuravihara  (Brindavana Saranga)
and Mamava pattabhrama (manirangu) bear testimony to his
virtuosity. They are the bench-mark kritis in those ragas;
and, are splendid examples of aesthetic excellence of the
ragasancharas.
The Hindustani influence spilled over to some of his
compositions in Carnatic ragas too, by way of elaborate
beginning and by gamakas resembling sliding meends;  as ,
for instance in :
the grandeur and slow paced majesty of Akshyalinga Vibho
(Shankarabharanam) in contemplation of the Shiva the Yogi;
 the Balagopala (Bhiravi), portraying the delight and  beauty
of the divine child  Krishna.
his Nirajakshi Kamakshi in Hindolam with dha flat re-
defined the way Hindolam was sung by his contemporaries
and by the later Carnatic musicians.

Justice Sri T L Venkatarama Aiyar , in his biography of Sri

Mutthuswami Dikshitar (National Biography Series, National
Book Trust, 1968) , observes that during the days of
Venkatamakhin , the differences between the Karnataka and
Hindustani systems were not much pronounced. And,
Venkatamakhin was well versed in both the systems of
Music; and, he composed Lakshana-Gitas on Ragas that 
were known to have been derived from the Outhareya
-Ragas.
For instance; Venkatamakhin composed a Lakshna Gita  ,
commencing with the words ‘ Ambarakesha Shambu Re’–
for the Raga Brindavani (based in the Hindusthani Raga
Sarang). The Raga-sanchara, the Aroha  (Sa Ri Ma Pa Ni)
and Avaroha  (Sa Ni Pa Ma Ri Sa) of the Raga handled by him
is the same as that of the Karnataka Raga Madhyamavathi –
except that it takes also Kakili (Tivra) Nishadha and has
certain other characteristic Sancharas. The Lakshana of
Brindavani in this Gita , conforms fully with that of Raga
Sarang of Hindustani system.
After the days of Venkatamakhin, the Raga Brindavani came
to be known as Brindavana Saranga, combining in itself  the
names of both the systems. Under the new Raga, there was
an occasional use of Sadharana (Komal) Gandhara. And,
the Kakili-Nishada-Prayoga was dropped; and, this
completely changed the complexion of the Raga.
*
Sri Mutthuswami Dikshitar, who followed Venkatamakhin’s
system, was also well versed in the Dhrupad of the
Hindustani system; and, he adopted a similar approach. He
created numerous other musical gems, assimilating the the
beauties of the either melodic systems.  Of these , a special
mention needs to be made of the Kriti in the Raga Yaman
Kalyani (based in the Raga Yaman) – Jambu -pathe mam
pahi – which, for its richness of Raga-bhava and and
grandeur, stands unrivalled.
The two other Kritis composed Sri Mutthuswami Dikshitar
dedicated to  Lord Pashupathishvara and Sri Sathyanarayana
are  in Shiva-Panthuvarali (now called Shubha-Panturarali).
This Raga corresponds to Mikya-ki-Todi of
Hindustani system . These Kritis gained great popularity;
and, until then Shiva-Panthuvarli was a rather an obscure
Raga in the Karnataka samgita. Though the Shiva-
Panthuvarali was primarily based in an Outhareya Raga, it
had its own originality , and was pure. That was the creative
genius of Sri Dikshitar.
Similar was the case with Raga Sarang (Brindavani ),
Malkhauns (Hindolam).
And, his Kriti in Hamir Kalyani – Parimala Ranganatham- is
again a brilliant composition, bringing out the characteristic
features of the Raga in its Hindustani mode, occasionally
touching upon Raga Kedar.
Raga Jaya-Jaya-Vanthi is another Hindustani Raga which has
been adopted into Karnataka Samgita , as Dwijavanthi.  The
Kriti – Chetas-Sri-Balakrishnam– composed by Sri Dikshitar
in the Raga Dwijavanthi is a magnificent structure featuring a
full view of the Raga in all its  aspects. And, therefore, this
Kriti is rightly regarded as the epitome of the Raga
Dwijavanthi.
There is another Raga called Malava-Panchama, in which Sri
Dikshitar composed a Kriti – Vasudevam-upasmahe. This
Raga resembles Raga Basant of the Hindusthani system; but,
with a few modifications.
*
The Vilamba kaala rendering of Sri Dikshitar’s  Kritis, to the
accompaniment of Veena, was ideally suited for gracefully
executing the Jaru (sliding) Gamakas , which is also a
characteristic of Drupad Samgita.  These Gamaka-graces
impart beauty  and eloquence to the Raga-bhava  of the
songs. The Kritis of Sri Dikshitar are unrivalled , in any
system  of Music, for the richness of their  Gamakas.
With these creative compositions, Sri Mutthuswami Dikshitar
enriched both the systems of the Music of India.

 
Dikshitar was a scholar well grounded in good tradition
(sampradaya) . To him, music was more than an art; it was
serene contemplation, a way of worship in tranquility and it
was also an outpouring of his soul in celebration of the
divine. He took his music seriously. His involvement in
Western or Hindustani music was not flippant .The
influences of those other systems on the traditional Carnatic
music, which he practiced with great devotion and diligence,
was purposeful and did not in any manner diminish the
pristine tradition of Carnatic music, his forte . He took the
best in the other systems and adorned the Carnatic System;
enriching both the donor and the recipient systems. Dikshitar
revolutionized Carnatic classic ethos while firmly positioned
within its orthodox framework.
The efforts of Sri Dikshitar to forge a meaningful link
between the two Music traditions soon bore fruit. Hardly
about seventy years after his departure , the monumental
Sangeeta Sampradaya Pradarshini  published by his
Grandson Sri Subbarama Dikshitar in the year 1903 records
all those Ragas adopted from Hindustani system as having
been well integrated into Karnataka Music and classified as
derivatives of the Melakarta Ragas.
Such integration was brought into effect even in practice of
Music. For instance; initially , the Musicians of the Mysore
Durbar such as the Vainikas – Veena Seshanna, Veena
Subbanna and Vekatagiriyappa – introduced new
compositional format  called ‘Nagmas’ , inspired by the
Music of North India. Later, Mysore Dr. V Doraiswamy
Iyyangar carried on the innovative tradition by playing
regularly, in the concerts, the Tillanas in Ragas, Durbari
Kanada, Jhenjuti, Kapi, Behag etc.
Now, of course, most of the vocal and instrument artist do
sing the adopted Ragas, regularly , without distinction.
[ Now , listen to another  delightful version of Jambu pathe
beautifully  rendered by a group of youngsters]

I cannot resist posting here some excerpts (in a

summarized form) from a wonderfully well researched paper
‘North Indian Ragas in the compositions of Muttuswami
Dikshitar’ written by the Musicologist, Composer and
Scholar Dr.V.V.Srivatsa, an authority on the compositions of
Sri Dikshitar.

While discussing the relations between the Ragas adopted

from the Hindustani Music into the Karnataka Music tradition,
Dr.Srivatsa treats them under four broad heads:
(i) Ragas adopted from the Hindustan Music, maintained with
the same nomenclature (e.g. Ramkali)
(ii) Ragas adopted from Hindustani Music, and retained with
Northern music content , but with different names (e.g.
Hamveer Kalyani which is Raga Kedar in Hindustani Music)
(iii) Ragas of Hindustani Music which have been integrated
into Karnataka Music (e.g. Jhenjuti)
And
(iv) Ragas of Hindustani Music which have musical
equivalent in Karnataka system (e.g. Karnataka
Devagandhari – Bhimpalas)
[The Ragas carrying similar names but with different musical
content are ignored]
***
According to Dr. Srivatsa, though Sri Dikshitar did introduce
some Ragas into Karnatik Music; several were in vogue even
before his time. For instance, he mentions, Lalitha, a Raga of
North Indian origin, was used by all members of the Musical
Trinity. And, the Ragas like Gurjari, Hamveer, Kalyani and
Ramkali were in use at the Trinity’s time. Ragas like Bhairavi
(Sindhu Bhairavi), Behag and Bageshri came in shortly
thereafter. Recent infusions include Ragas like Shivaranjani,
Bairagi-Bhairav (Revati), Basant-Bahar and so on.
Raga Lalita was in vogue in the Karnataka Music even prior
to the era of the Trinity. Then, Sri Shyama Sastri’s ‘Nannu
brova Lalita’; Sri Tyagaraja’s ‘Seethamma maayamma’; and,
Sri Dikshitar’s two compositions ‘Agasteeshwaran
Bhajeham’ and ‘Hiranmayeem Lakshmim’ immortalized Raga
Lalita in Karnataka Music.
The Raga Lalita closely resembles Raga Vasanta (which
sometimes is called Dakshinatya Vasanta to differentiate it
from Basant of Hindustani Music).It is surmised that Raga
Vasanta was from the North; and, integrated into Karnataka
Music.
Raga Hamveer Kalyani was in use in the Karnataka Music
from even before the times of the Trinity. The sixteenth
century text ‘Rasa-kaumudi’ ( ascribed to Śrikanṭha, dealing
with music, dance, and related general topics from the Nava
Rasas to the ornamentation of women) mentions this Raga.
Further; Sri Paidala Gurumuthy Sastri* had included Raga
Hamveer Kalyani in the list of 22 Bhashanga Ragas that were
in vogue during his time. He had clearly mentioned that the
Raga was adopted from Northern system.
However, the Hamveer kalyani of the present-day Karnataka
Music corresponds to Raga Kedar of Hindustani Music; but,
not to Hamveer Kalyan also of Hindustani system.
There are compositions of Sri Dikshitar
(Pashupatheeswaram) in Shiva Pantuvarali which
corresponds to Hindustani Todi. It is believed; Shiva
Pantuvarali was in use in Karnataka Music even in the days
prior to Sri Dikshitar.  There is a Kriti of Sri Tyagaraja
– Ennallu Oorage’– in this Raga.
(*Paidala Gurumurthi Sastri was a disciple of Sonti
Venkatasubbayya and a contemporary of Sri Ramaswamy
Dikshitar. He was a Telugu Brahmin belonging to the Murikinati
sect; and , lived during the 17th century in the village of Kayatar in
Tirunelveli district of Tamil Nadu. He was famous as great
composer of one thousand geetams (Veyigita Paidala
Gurumurti) illustrating the Janaka and the JanyaRagas; and
also lakshana geetams that illustrate the characteristic features of
the Ragas . He was a composer of kritis in Rakti ragas, and had a
vast knowledge of sastras and Vedas. It is said that Paidala
Gurumurthi was the first to mention that Raga Sahana as a
derivative of raga Kambhoji. He was highly regarded for his
technical knowledge of the Ragas – Sastrajna and Raga bheda
dureena .)
*
There are some Ragas that have come from folk tradition,
And, Jhenjuti is one such. Sri Dikshitar has used the Raga-
mudra (in his kriti Gajanba Nayako) as Jhenjuti and its South
Indian name ‘Chenjurti’ or ‘Chenchurutti’.
Similar is the case with Raga Piloo, which is proximate to
Hindustani Raga Kafi. The Karnataka Kapi  has three
versions : Maharaja Swathi Tirunal ‘s version being close to
Kharaharapriya; Sri Dikshitar’s being similar to Kaanada;
and, Sri Shyama Sastri’s version being midway between
Durbar and Kharaharapriya.
**
As regards Karnataka Shuddha Saveri; it is an Audava Raga
with Shuddha Svaras (Rishabha, Madhyama, and Dhaivata),
and does not have the Gandhara or Nishada Svaras. The
Karnataka Shuddha Saveri is equivalent to Hindustani Raga
Komkali. Sri Dikshitar while introducing this Raga into
Karnataka Music named it as ‘maana-danda’ or the standard
format. His Grandson Sri Subbarama Dikshitar later
classified Karnataka Shuddha Saveri as an Upanga of the
First Melakarta Raga.
Similar was the case with Kamala-manohari, a non-Vivadi
Raga which is Janya of a Vivadi Melakarta.
**
The characteristic of Karnataka Shuddha Saveri is elaborate
and elongated prayoga of Rishabha-Svara. It has a strong
resemblance to Komkali, a Prabhat Kaala (morning) Raga of
the Hindustani Music. And, Karnataka Shuddha Saveri was
one among the favourites of Sri Dikshitar. His Ekamresha
Nayike in Shuddha Saveri is a true classic.
The Karnataka Raga Shuddha Saveri approximates to Raga
Malahari and to Kannada Bangala, which has a limited use
of Nishada Svara. The Raga Malahari, which has no Nishada
(Nishada-varjya) and which has Gandhara only in the
Avaroha, is an old Raga of the Karnataka system in which Sri
Pauradaradasa composed Pillari-geetas for the benefit of the
beginners. Of the Trinity, only Sri Dikshitar has composed in
these three Ragas- Shuddha Saveri, Malahari and Kannada
Bangala. And, Sri Dikshitar alone has composed Kritis both
in Kannada Gowla and Karnataka Devagandhari. 
The Karnataka Devagandhari which approximates to Raga
Abheri has only Shuddha Daivata. Sri Subbarama Dikshitar in
his ‘ Sangeeta Sampradaya Pradarshini’ mentions of a Suladi
composed by Sri Purandaradasa in the Raga Karnataka
Devagandhari ( Hasugala kareva dhvani) set to Rangana Jati
Mattya Tala.
[Dr.Srivatsa opines that the current popular version of the
Abheri of ‘Nagumomu ganaleni’ is rather corrupted; and, it is
not the same as Raga Abheri of Sri Dikshitar’s ‘Panchashat
peetha rupini’.]
Sri Dikshitar’s Kriti in Raga Karnataka Devagandhari
(Kaayaaarohanesham) has the shades of the Hindustani
Bhimpalas (as in Sri Bhimsen Joshi’s rendering
of Haribhajane mado nirantara).
The examples of Hindola and Malkauns can also be
considered. However, the Hindustani influence is not
significant in Sri Dikshitar’s Kritis – ‘Nirajakshi Kamakshi’;
‘Sarasvathi Vidyuvathi’; and, ‘ Govardhana Girisham’.
**
There is a special group of Ragas that use both Shuddha
Madhyama and Prati Madhyama Svaras. The instances of
Such Ragas are: Yamuna Kalyani, Hamveer Kalyani and
Saranga. Of these, Hamveer Kalyani and Yamuna Kalyani
(Yaman Kalyan) are of Northern origin.
The Ragas Yaman and Yamuna Kalyani differ in that the latter
has the Shuddha Madhyama in the passage ‘Ma-Ga-Ma-Ri-Sa’
.  The Astapadi ‘Saa virahe tava  deena’ and the Devaranama
‘Hari smarane mado niratara’ are good examples of Yamuna
kalyani.
In Raga Yaman, though the Shuddha Madhyama Svara is
used in passages like ‘ Ma-Ga-Sa-Ni-Ri-Sa’ you will not find
‘Ma-Ga-Ma-Ri-Sa’.
The two compositions by Sri Dikshitar in Raga Yaman is an
adaptation of the Northern Raga Yaman. And, Jambu
Pathe is one such
*
There are some Ragas which are Dwi-Madhyama in structure;
but, with Shuddha Madhyama as the dominant Svara; and,
Prati Madhyama as the subordinate Svara. The instances of
such Ragas are: Ramkali, Arda-deshi, Ahir-Marwa etc. It is
only Sri Muttuswami Dikshitar that has used such Ragas.
Sri Dikshitar’s Kriti in Ramkali resembles, in structure, a
Dhrupad composition. Further, the Pallavi – ‘Rama Rama kali
kalusha virama’ (meaning Rama mitigates the evils of the
Kali era) hides the Raga-mudra.
*
We go back to the case of Dwi-Madhyama Ragas . The Raga
Marwa is of folk origin; and, is a Janya-Raga of Maya-malava-
cowla . The Raga Marwa omits Rishabha Svara in ascendent
scale, Arohana; and , has a Sampurna Arohana. The raga-
scale makes it a distant cousin of Ragas Lalita and Vasanta –
the difference being the presence of Rishabha Svara (Ri) in
the raga Lalita and the use of Panchama Svara (Pa) in the
descendent scle Avarohana of Raga Marwa.
However, the use of Prati-Madhyama Svara in prayogas like
‘Ni-Dha-Ma-Pa’ or ‘ Dha-Ma-Pa-Ni’ makes it a Bhashanga
Raga and Dwi- Madhyama Raga.
We have Sri Dikshitar’s  Kriti in Raga Marwa  (Maruvaakadi
Maalini).  This is similar to Raga Ramkali where the Shuddha
Madhyama dominates.
Raga Poorvi, a Bhashanga Raga, which has its origin in the
Northern tradition, has also Dwi-Madhyama. The only Kriti in
that Raga (Ekaika Raga) – ‘Shri Guruguhasya daasoham
nochet Guruguha eva hum’- is a part of the Guruguha
Vibhakti Series.
**
Raga Brindavana Saranga is quite different from Raga
Brindavani. In the tradition followed by Sri Tyagaraja, the
rendering of Brindavana Saranga involves emphasis on
Gandhara Svara, bringing it very close to Sri Raga (as in his
Kriti Kalamalpta kula).
But, in Sri Dikshitar’s kritis – Rangapura
Vihara and Soundara rajam – the Gandhara is rather weak.
His Brindavana Saranga is closer to Madhyamavati.
The Raga Brindavani of northern origin; and is equivalent to
Raga Shuddha Sarang of Hindustani system. The dominant
Svara of the Brindavani is Kakili Nishada, which is alien to
the 22nd Melakarta Raga; and, is classified as a Bhashanga
Raga of the 22nd Melakarta system. Sri Dikshitar’s kriti in this
Raga is ‘Swaminathena Samrakshitoham’.
***
The Ragas in Karnataka system are categorized and
classified in as many as twenty ways. One among such
methods is to group the Ragas under the broad heads of
Shuddha (Pure); Sankeerna (Unclassified); and Chaayalaga
(having the shadow or flavour of other ragas) – Shuddha,
Chaayalakah prokto Sankeernaani thataivach.
The Shuddha Ragas are those which possess the intrinsic
character (Lakshana) of the Raga; and, provide ample scope
for its exposition in all the facets of its elaboration- Alapana,
Sangathi, Neraval and Svara-prastara.  Further, even a flash
or a single movement (Sanchara) is adequate to identify it.
The celebrated examples of the Shuddha Ragas are: Kalyani;
Kambhoji; Saveri; Shankarabharana, Todi; Bhairavi;
Dhanyasi and so on.
Sankeerna Jati Ragas are those which are not facile enough
to full exploration of Alapana; but, are usually identified by
the Kritis in that Raga. The instances of such Sankeerna
Ragas are : Devamrutavarshini; Mandari; and Manji etc.
A Chaayalaka Raga is one which carries the flavour of
nuances of other Ragas. Lets say when one sings Raga
Natakapriya, the shades of Ragas Chakravaka,
Kharaharapriya and Todi pass through. And, while rendering
Raga Ghanta the passages of Punnagavarali and Dhanashri
with a pronounced play of Shuddha Nishada appear.
Similarly, Raga Dwijavanti (Cheta Shri balakridhnam) could
be said to be a Chaayalaka having the shades of Sahana,
Dhanyasi and Yadukula Kambhoji.

Continued in Part Four

The music of Sri Dikshitar
Resource:
Muthuswami Dikshitar – A Creative Genius by Chitravina N
Ravikiran
I gratefully acknowledge Shri S Rajam’s  painting of Jambu-linga
 
2 Comments
Posted by sreenivasaraos on September 13, 2012
in Music, Muthuswami Dikshitar, Sri Vidya
 
Tags: Dikshitar and Hindustani music, Muthuswami Dikshitar, Sri
Vidya
Sri Mutuswami Dikshitar and Sri Vidya (2 of 8)
13SEP
Sri Dikshitar  and the Western Music

While the Dikshitar family lived in Manali, a Zamindari near

Madras, the family enjoyed the patronage of the Zamindar
Muddukrishna Mudaliyar and his son Venkatakrishna
Mudaliar (sometimes referred to as Chinnaswami). The
Zamindars were closely connected with the East India
Company as its Dubash (interpreters); and in that capacity
they often called on Fort St. George the seat of the Company
in South India. Since the Zamindars were reputed art
connoisseurs, they were regularly invited to Fort St. George
to listen to the European Airs played by the Irish bands. The
bands played simple Celtic marching tunes, lilting melodies,
easy on the drums and bagpipes and flutes.
The zamindars would sometimes take along with them the
Dikshitar brothers, who were in their teens, to listen to the
“English” bands. That was how Muthuswami Dikshitar and
his younger brother Baluswami came to gain familiarity with
the Western music.

During this association, it is said, that   at the suggestion of

Col. Browne who was in the service of the East India
Company, Muthuswami Dikshitar composed the text in
Sanskrit and Telugu for well known Western tunes. He also
composed other songs in Sanskrit and Telugu based on
Western notes. The collection of these compositions
numbering about forty later came to be known as
“Nottuswara Sahithya“. Nottu is Telugu/Tamil transformation
of the word Note. It is a unique genre of music.
A list of about forty of the Nottuswara works of Dikshitar is given
in the website KarnATik
The noted scholar musician Shri M.R.Shankara Murthy has  ,
however, in his book , listed 30 nottu songs, in addition to
eight other songs. Please also check 
http://maddy06.blogspot.in/2010/09/nottuswara-muthuswamy-
dikshitars.html
Of these about forty compositions of “Nottuswara sahithya“,
the notation is available for only thirty-six compositions. The
text or sahithya for these compositions are in Sanskrit and
Telugu and they are in the form of verses or songs. They do
not have segments of Pallavi, Anupallavai and Charanam, as
one would find in the classic kriti format of Carnatic
music. The compositions are not in Shankarabharanam per
se ; but are  based on simple melodies and devoid of the
ornamentation (gamaka) that is characteristic of Carnatic
music.
These songs or verses are in praise of the different Gods and
Goddesses of different holy places, such as Srirangam,
Tirupathi, Kanchi, Madurai, etc.
[The songs are praise of Ganesha (1),Saraswathi (2), Shiva
(11), Vishnu/Krishna (5), Devi (10), Skanda (4), Anjaneya (1),
Rama (6)]
Curiously, those songs composed during the end years of
the 18th century bear the “Mudra” or the composer’s
signature as “Guruguha”. That was several years before
Dikshitar composed his first kriti, as Vak_geya Kara,
(Srinathadi guruguho jayath...) on the hills of Tiruttani
(around 1809). The “Nottuswara “songs were  thus the
forerunners of Dikshitar’s monumental classic compositions;
and Dikshitar had decided upon his signature, Mudra, quite
early in his life, even before he left for Varanasi.
Among these songs, about thirteen of them were replicas of
well-known European songs/tunes of those days. Dikshitar
set Sanskrit words to the music of those songs. These were
the songs:
Replica of the
Sr. song or the
Song commencing
No tune
. with words
01 Shantatam_PahimamSangita British National
 Anthem “God
save the
Shyamale King/queen “

Irish melody
02 Vande Meenakshi “Limerick”

“Castilian
Maid” by
03 Vara shivabalam Thomas Moore

Persian verse
“taza ba-taza
nau ba-nau”
which B. H.
Palmer and
Gertrude Bell
made into
pleasant English
04 Peetavarnam Bhaje jingle.

“Lord
MacDonald’s
05 Jagadeesa guruguha Reel”

06 Subramanyam Surasevyam the regimental

march of the
Grenadiere
guards, the
senior foot
 guards
regiment of the
British
Army-“British
Grenadiere”

“country
07 Kancheesam Ekambaram dance”

English song
“Let us lead a
08 Ramachandram Rajeevaksham life of Pleasure”

tune of “Quick
09 Sakala suravinuha March”

song “Voulez
10 SakthiSahitha Ganapathim Vouz Dansers”

English song
“oh Whistle and
I will come to
11 Sowri Vidhinute you, my lad.”

12 Kamala Vandita Playful tune of

‘Galopede’ folk
dance where
men and
women in two
lines dance
 briskly

Nursery rhyme
”Twinkle
twinkle little
star” based on
French tune Ah!
13 Shyamale Meenakshi Vous dirai-je

As regards the  rest of the songs composed by Sri

Muthuswami Dikshitar, they were all based on the Western
scale of C Major, which corresponds to the scale of
Shankarabharanam of Carnatic music and Bhilaval that of
Hindustani music. [The songs were not, however, in
Shankarabharanam or Bhilaval per se.] These were
independent works based on western notes; and were not
replicas of European tunes.
All the forty or more  songs were set to Tisra Eka Tala (three
units) or Chaturasra Eka Tala (four units) which corresponds
to ¾ and 4/4 timings of the Western Music. The range
– Shruthi – of these songs is generally in middle octave.
[ Please click here for the texts of the Nottu-svara songs
https://sanskritdocuments.org/doc_z_misc_major_works/nOTTUs
varasAhityam.html
Please click here for the Notu-svarams along with Notations
for thirty three songs composed by Sri Muthuswamy
Dikshitar 
http://www.ibiblio.org/guruguha/md_nottu_notation.pdf ]
The songs were written in Telugu script. The preserved
manuscripts  of the songs were, years later (around 1832),
presented by the well-known musicians of that period
Kuppaiah and Seshaiah to Charles Philip Brown (an officer of
the East India Company, who did remarkable work in
classical Telugu literature) while he was at Madras. They
were called a collection of “Jathi_swaramulu”. It appears
those songs were, at the time, used as lessons for the
beginners. One of them was the popular Sanskrit song “Vara
Veena Mrudu Pani” in Raga Mohanam which was converted
into a Gitam. The song is practiced as Gitam by all
beginners, even today.
A manuscript preserved in the Government Oriental
Manuscripts Library, Chennai, labelled as Manuscript no. D.
2536  contains twenty of such songs of  Dikshitar, written in
Telugu script. Of these, twelve are composed in Sanskrit
language and the other eight are composed in Telugu
language. The Sanskrit songs which were the replicas of the
European Airs carry English captions and bear the mudra as
“Guruguha”.
Smt. S A K Durga, Professor Emeritus at the University of
Madras, writes in the Journal of the Indian Musicological
Society  (January 1, 2011):
A study of the melodic content of the European airs in those
composition shows that a few melodies are reels and jigs
from Irish folk tunes, since in the Western band at the
Collector’s Office there were Irish musicians at that time…
There are some changes from the original European
melodies and the melodies of Nottuswara
Sahithyam compositions in European airs, for example the
one in Castilian mode, a folk tune that was transcribed by
Benjamin Carr (1768-1831). In his book, the composition
appears notated in 3/8 meter (Carr’s musical miscellany in
occasional numbers, 1812). The song in Lord McDonald’s
reel, Jagadeesa Guruguha, has two sections. The original A
and B lines are switched with an additional word to pick up
to the first beat of the song. One finds that these
compositions are not a homogenous collection of British airs
but there is diversity in their melodic content from the
original tunes.
These earlier compositions of Muthuswami Dikshitar also
throw light on his mastery in synthesizing two different
music cultures. .. His compositional attitude
in worshiping the different deities at different shrines is also
revealed in his Nottuswara Sahithya-s. The choice of the
Sanskrit language for these compositions reveals his spirit
of national integration.

Although written by Muthuswami Dikshitar in the late 18th

century when he was in his teens, before he started to
compose   kriti-s, a few of these songs were first published
as Nottuswara Sahithya in Sri Manali A.M. Chinnaswami
Mudaliar’s work “Oriental Music in Staff Notation”
(1893), that is  nearly   sixty years after Dikshitar’s death
(1836) .  In their first appearance in print , the songs were
published  without any caption. The text was printed in
English, Telugu and Tamil characters.
After this, Sri Subbarama Dikshitar, the grandson/ the
adopted son of Baluswami Diksihtar, published these in
his Prathamabhyasa Pusthakamu in 1905. (Later, there
appeared  a few more publications with notation.)  The book
contained both theoretical and practical aspects of
elementary teaching methods; and is relevant to the music
field even to this day.
In this book , Sri Subbarama Dikshitar included thirty-two
compositions, under the title “Nottaswara sahithyamu” with
Swara-notation, as technical compositions/lessons  for
beginners (Abhyasagana). He did not however mention the
titles of the European Airs which served as the models for
some of the songs. It is likely that these songs were
practiced, not as songs adopted from the Western style , but
as simple Karnatak melodies composed with the scale
of Sankarabharanam, without any microtonal ornamentation .
During the late 19th and early 20th century, these songs
meant  for the beginners were taught in place of Gitam, to
fameliarize  the young learners with melodic movements or
phrases in the scale.
Subbarama Dikshitar’s monumental compendium Sangeeta
Sampradaya Pradarshini, published in 1904, also contains
references to the Nottuswara Sahithya.
Some scholarly articles have been published on the subject.
For instance, Prof. P. Sambamoorthy has published an article
in the Journal of the Music Academy, 1951, and Dr. V.
Raghavan has contributed another article on “Nottuswara
sahithyam” of Muthuswami Dikshitar in 1977 in the Journal
of the Music Academy . I  wish these were put on the net for
the benifit of a larger number of  music lovers and general
readers .
Chitraveena N Ravikiran remarks that while referring to the
influence of Western music many talk only of his “English
note” compositions; but few realize that its influence is more
pervasive and is subtle. One can notice it in the way the
movements of the song proceed, he says.

Fort St George on the Coromandel Coast. Belonging to the East

India Company of England
Continued in Part Three
Sri Dikshitar and Hindustani music
Resource:
Homage to the Great Composer – Sri Muthuswami
Dikshitar by– Dr.S.A.K.Durga
http://www.readperiodicals.com/201101/2692214731.html
http://tributes.sangeethapriya.org/dikshithar/downloads/groupkrithi
s.html
All pictures are from internet
 
  
2 Comments
Posted by sreenivasaraos on September 13, 2012
in Music, Muthuswami Dikshitar, Sri Vidya
 
Tags: Dikshitar and Western music, music, Mutuswami
Dikshitar, Nottu swara
Sri Muthuswami Dikshitar and Sri Vidya (1 of 8)
13SEP
Sri Muthuswami Dikshitar- a life sketch

Sri Muthuswami Dikshitar ( 1775 (?) – 1835), one of the trinity

of Carnatic Music, was a complete musician; a scholar and
a Sadhaka, the one who attained his goal . The genius of Sri
Muthuswami Dikshitar was that he was a remarkable
synthesis of a versatile composer adept in several distinctive
forms of music; of a towering scholar in Sanskrit, which
adorned his music with grace, dignity and tranquility; and , of
a Sadhaka steeped in devotion and good tradition
(Sampradaya vit).
Each of his compositions is unique; brilliantly crafted and
well chiseled work of intricate art. The most fascinating
aspect of Sri Dikshitar’s songs is the grandeur and majesty
of his music; the intellectually sublime lyrics;  and,  the
overall tranquil joy.
There is hardly a composer comparable to Sri Dikshitar, in
versatility, in enriching his work with such poetic imagery,
technical sophistication; and, above all in permeating his
compositions with soulful repose.
  
Sri Muthuswami Dikshitar was the son of Sri Ramaswami
Dikshitar (1735 – 1812), a well-known scholar – composer-
musician of his time.
Ramaswami Dikshitar is described as the son of
Bhagirathyamma and Vekateshvara Dikshita, a Dravida
Brahmin belonging to Auttara Kashyapa Gotra, Apastamba
Sutra. Ramasvami Dikshita was born in the Saka-
samvathsara 1657 (1735 AD) at Kanchipuram. When he was
of about seven years of age, his parents moved from 
Virachipuram (?) or Kanchipuram to Govindapuram, near
Tanjavuru. In order to pursue his interest in music,
Ramaswami Dikshita is said to have stayed as an Ante-vasin,
a resident student, for a period of about two years,  with the
famous composer-musician of those times –  Meratturu
Veerabhadrayya of Tanjavuru; and , learnt Kritis composed
by  him in Rakthi and Desi Ragas. He also learnt to sing, with
ease and understanding, the Svaras, Alapana, Pallavi and
the Svara-kalpana.
Thereafter, he studied further under Venkata-Vaidyanatha
Dikshita of Madhyarjuna (maternal-grandson of the Great
Venkatamakhin). Here,  for one year he learnt Veena; and,
followed it up with the study of
Venkatamakhin’s Chaturdandi Prakashika with its Raga,
Upanga, Bhashanga Ragas, Gitas and Tala-lakshanas. And,
much later, at the instruction of his guru Yogi
Chidambaranatha, Ramasvami Dikshita shifted his family
from Govindapuram to Thiruvavur in the Tanjavuru district.
He settled down in Tiruvavuru having gained reputation as a
much learned scholar, composer and musician.

Ramaswami Dikshitar had to his credit a large number of

Tana varnas, Pada varnas, Darus, Ragamalikas and Kirtanas.
His Mudra, signature, was ‘Venkatakrishna‘.
[For details of the compositions credited to Sri Ramaswami
Dikshitar, please check page 11 of Chapter Two of Dr.  R K
Dhanya ‘s research paper ]
His Ragamalika composed in 108 Ragas and set to
different Taalas (Ashtottara Shatha Raga Taala Malika) was
an outstanding composition, not merely for its sheer size but
also for its melodic charm and rhythmic patterns; and , for
deployment  of some uncommon Ragas and Taalas.
Please click here for the available text of the Ashtottara
Shatha Raga Taala Malika
The Raga- Tala- Malika, composed in the Telugu language,
employs all the Ghana Ragas (Nata, Gaula, Varali,
Shri and Arabhi), as also, many important Mela
Ragas (e.g. Todi, Mayamalavagaula, Shankarabharana,
Kalyani, Pantuvarali, and Gmakakriya). In addition,
many   Upanga and Bhashanga Ragas are employed
(e.g. Sama, Mohana, Manirangu, Bilahari, Saveri,
Punnagavarali, Kuranji, Surati, Begada and Devagandhari).
The Prati-madhyama Ragas used are Ramakriya, Kalyani,
Saranga, Yaman and Gamakakriya.  
 Dr. Dhanya writes : The first 7 sections of this composition
are in the Suladi sapta Taalas and the remaining in the
I08 Taalas. Rare Taalas like Lali, Lakshana, Srimatkirti,
Simhavikrama, Rarigalila, Kavilokita,  Akshara,
Kala and Sri are used in it. This is a rare composition in
Carnatic music of its style. But unfortunately its complete
text is not available and only 61 Ragas and Taalas now exist.
*
Two other remarkable creations of Sri Ramasvami Dikshitar
are:  
:- the Anuloma - pratiloma- Daru composed in the rare Raga
Ganga-tarangini, the lyrics (sahitya), of which can be read in
normal order (anulomam}, as also in the reverse order
(pratilomam); and, in either case it yields the same text.
:-  a Svara-sthana-pada-Varna  in Todi Raga, where its lyrics
in  Telugu skilfully uses only the seven of its letters:  Sa, Ri,
Ga, Ma , Pa, Dha, and   Ni. The Telugu words in the Sahitya of
this Pada Varna are skilfully constructed using these seven
letters. For instance; its Charanam reads:
marimari ganisaga nipani dagadani  / maniganiga
nimmanigada / mari ni pathama manigA marIniga\\
(Source; Grateful thanks to the scholar Shri P P Narayanaswami)
**
Sri Ramaswami Dikshitar also gained fame through his
improvisations of the popular melody, the Raga
Hamsadhvani. He is said to have composed a Lakshana
Prabandha, in this Raga, beginning with the words
‘Chandaseya aurunda maladhara ‘ dedicated to Lord 
Nataraja of Chidambaram. This is said to be the  very  first
composition set in Hamsadhvani

Sri Ramaswami Dikshitar , for a major part of his life, lived

during the reign of Tulaja II , Amarasimha and the early
Sarabhoji period. His other patrons were Manali
Venkatakrishna Mudaliar and his son Chinnayya Mudaliar.
It was at Thiruvavur that Ramaswami Dikshitar, just past
forty years of age; was blessed with a son ; who , it is
generally beleived  was born on March 25th, 1775 in
the Manmatha year, Phalguna month , under the Krithika
nakshatra , just as the annual Vasantotsava was being
celebrated in the temple of Sri Tyagaraja Swamy and Sri
Nilothpalambika.
[ There is an alternate version; according to which : Sri
Mutthuswamy Dikshitar was born on  Sunday, March 24,
1776 , Rohini Nakshatra, Vrshabha rasi
Another version mentions that Sri Mutthuswamy Dikshitar could
have been born between 9 A.M on 23rd March 1776 to 8 A.M.
24th March, Phalguna Masa,  under  Krittika star )

He named the baby boy as Muthuswami  after his protecting

deity Karthikeya. Following Muthuswamy, two sons –
Chinnaswamy (formally – Venkata-vaidyanatha Sharma,
named after his Guru) – (1778-1823) and Baluswamy
(formally Balakrisna Sarma) – (1786-1859) ; and , a daughter –
Balambika or Balambal – were born to Ramaswamy Dikshitar
and Subbalakshmiammal . (According to some,
Chinnaswamy and Balambal were twins)
[ for more details on family history : please 
check : http://shodhganga.inflibnet.ac.in/bitstream/10603/168455/
8/08_chapter%202.pdf ]
[Unlike in the case of Sri Thyagaraja, the Shishya-
paramapa (the line of disciples) of Sri Dikshitar was, mainly,
his descendants. According to Dr. V. Raghavan, in his book
entitled Muttuswami Dikshitar, published by the
National Center for the Performing Arts, 1975 :
“The main line of Dikshitar’s pupils is represented by his own
family. After Baluswami Dikshitar, there was the great
Subbarama Dikshitar…. His son was Ambi Dikshitar (full
name: Muttuswami Dikshitar) who succeeded him as court
musician at Ettayapuram; and, stayed there for a long time.
Late in life, he migrated to Madras where he lived for the rest
of his life. While in Madras he built  a school around himself;
and, it was the starting point of a strong and fruitful
movement. The well-known Vedanta Bhagavatar of
Kallidaikurichi, who also happened to live in Madras at that
time, threw himself enthusiastically into this active
propagation of Dikshitar Kritis. There were two young Veena
brothers of Tirunelveli, Anatakrishrna Iyer and Sundaram
Iyer, who made copies of Dikshitar kritis from the
manuscripts of Sri Ambi Dikshitar. These formed the basis
on which they propagated Dikshitar kritis……
Of Dikshitar’s own direct line, Sri Ambi Dikshitar’s son
Tiruvarur Baluswami Dikshitar is the present living
representative. (Note: this article was written earlier to 1975)
It was mainly due to the devotion, dedication and efforts of
Sri Ambi Dikshitar, while he was in Madras, the musical
heritage of Sri Muttuswami Dikshitar came to be extended
outside of the family. In the early years, the disciples of Sri
Ambi Dikshitar such as Smt. D.K.Pattammal and Justice
T.L.Venkatrama Iyer did loyal service, with great enthusiasm,
in popularizing the compositions of Sri Muttuswami
Dikshitar.
Please also check this article.]

Apart from the traditional education in Veda and Vedangas,

the boy Muthuswami received training in
the lakshana and lakshya (theory and practice) aspects of
Karnataka Samgita. The lakshana geethas and prabandhas of
Venkatamakhin formed an important input of his training . He
gained proficiency, in Veena and in vocal music as well. He
also gained training in Vyakarana (through a text
named Kaumudi – it could be either Siddhānta-
Kaumudī by Bhaṭṭoji Dīkṣita or its abridged version Laghu-
kaumudi by his student Varadarāja), Kavya, Nataka,
and Alamkara aspects of poetics. By about the age of
sixteen, Muthuswamy had gained familiarity with Jyothisha,
Ayurveda and Tantra.
Muthuswami was a studious lad; rather absorbed in himself .
Concerned with the boy’s detached attitude; his parents got
him married at an early age. That didn’t seem to change the
young man’s attitude; and, therefore he was married the
second time.
At the invitation of Muddukrishna Mudaliyar, Zamindar and
an art connoisseur, Ramaswami Dikshitar moved his family
to Manali, a Zamindari near Madras. Muddukrishna Mudaliyar
was a Dubash (interpreter) closely connected with the East
India Company. He was succeeded by his son
Venkatakrishna Mudaliar, who continued the patronage to
the Dikshitar family. Venkatakrishna Mudaliar (sometimes
referred to as Chinnaswami) was also a Dubash of the East
India Company; and , in that capacity  he used to visit, quite
often, Fort St George, the official seat of East India
Company in South India. He would often take Muthuswami
and his brothers to Fort St. George, to listen to ‘airs’-
Western Music played by Irish men in the British band. It was
here that Muthuswami Dikshitar gained familiarity with
Western music.
It is said ; at the suggestion of Col. Browne who was in the
service of the East India Company, Dikshitar composed the
text in Sanskrit and Telugu for well known Western tunes. He
also composed songs in Sanskrit and Telugu based on
Western notes. The collection of these compositions ,
numbering about forty , later came to be known as
“Nottuswara Sahithya“.
Another significant fallout of the Dikshitar family association
with the court at the Fort St. George was that Baluswami, the
younger brother of Muthuswami became fascinated by an
instrument called Fiddle whose well tuned sounds seemed to
approximate human voice. Baluswami learnt the Fiddle from
an Irish musician; and, soon became quite an adept in
playing Carnatic music over fiddle. And , thereafter  the
family wondered why it could not replace traditional Veena
as the accompanying instrument. They tried it out ; and, it
worked very well. Since then Fiddle (Violin) has become an
indispensable accompaniment for a Carnatic music concert.
*
[ About his  uncle Cinnasvami Dıksita  and his  adopted father
Balasvami Dıksita, Sri Subbarama Dikshitar writes in his Sangita
Sampradaya Pradarshini:
38. Cinnasvami Dıksita (Venkata-vaidyanatha Sharma)
He was Muddusvami Dıksita’s brother. He was well educated in
Sanskrit and Telugu. He was an expert in music. He was a great
veena player. He was a great soul who possessed expertise in
vocal as well as in instrumental music. He was felicitated in the
courts of Manali Cinnaya Mudaliyar, and in the court of other
kings.
He composed two krtis, on Narada. One was
Ganalola karunalavala, in the Raga Todi; and, the other
was Narayanananta in the Raga Kalyani. He went to Madurai
along with his younger brother, and passed away in his forty-fifth
year.
39. Balasvami Dıksita (Balakrsna Sarma)
He was born as the third son of Ramasvami Dıksita in the Saka
year 1708 (1786 A.D) in the year of Parabhava, in Mithuna rasi,
Asvinı naksatram and in Kanya lagnam. He was the younger
brother of Muddusvami Dıksita. He was named Balakrsna Sarma.
He was an expert in Telugu and very well versed in music. He
was an expert in playing the instruments such as Veena,
Svarabat, Fiddle, citar (sitar) and Mrdangam . He knew the
intricacies of musical laksya and laksana.
Even when he was very young, Cinnaya Mudaliyar at first
arranged for him to learn violin from an English man. He learnt
western music as well as Hindu music for three years and played
very well in front of Manali Mudaliyar and other music-lovers.
During his childhood, one day in a gathering of Mudaliyar,  Sonti
Venkatasubbayya played the Gıta, and Taana  in the
Raga Takka, looked at the Mudaliyar and told him that that Raga
is known only in their family. Immediately, the young Balasvami
Dıksita looked at the Mudaliyar and told him that he was going to
sing that Takka Raga Gıta; and, to listen. As he sang it
as, Aramajju aparadha, he was felicitated with a pearl necklace
and a pair of earrings.
Afterwards, he along with his intelligent brothers lived in Kanci
and other holy places ; went to Tiruvarur;  and lived there for
some time. Then, with a disciple called Hari, who was with him
since his childhood, and with his second older brother he went to
Madurai and lived there for some time. When his brother passed
away, he went to Setu with Hari and from there reached
Ettayapuram and visited the Maharaja.
There, when he played Fiddle, the instrument that was new for
those times, the Maharaja was very pleased and felicitated him
greatly. He also recognized his talents in laksya and laksana, and
his delicate playing on the Veena. The Maharaja also built a
house for him, made him the court musician and got him married
a second time.
The oldest son of the then Maharaja, Kumara Ettappa Maharaja
(who was later coroneted) , learnt laksana and laksya of music
from him. For the krtis he had composed in Sanskrit, in many
Ragas following the patterns of Varnas, he (Balasvami)
composed Muktayı svaras with intricate innovations, which
pleased the Maharaja. Apart from that, he composed Kırtanas in
Telugu on Srı Grdhracala Kartikeya in the Ragas Saranga,
Darbar, Kannada and Rudrapriya.
With the permission of Kumara Ettappa Maharaja, who was well
versed in astrology, he took me under his wings as his grandson,
and initiated me to Brahmopadesa, taught me Veena and
educated me in musical laksya and laksanas. He composed
an Atta tala Varna in the Raga Naata, and made every Svara in
that Tana Varna shine magically and in the last four Avarta
Svaras he embedded the four Jatıs,  one in each of the Avarta.
After hearing this Tana Varna, the Maharaja felicitated him with a
pair of todas (bangles), which were valued at one thousand gold
coins and which were adorned with rubies and the face of lion. He
also presented him with a pair of valuable (shawls) cloths. He also
rewarded the disciples who sang the Varna.
After that Maharaja, his brother was crowned; and, he too learnt
music from him. He composed Darus on Venkatesvara Ettappa
Maharaja, who was the embodiment of music, in the
Ragas Rudrapriya, Darbar and Vasanta, with Muktayi
svaras with paatava. After listening to them, the Maharaja
felicitated him by presenting him with two shawls and thousand
gold coins for each Daru. He used to
sing Gıtagovinda (Astapadi) ; and chant the name of God on
every ekadasi day without fail. As the days passed thus, in the
Saka ´ year 1931 (1859 A.D) in Pingala year and on Kumbha
Rasi, Shukla trtıya day, he attained the heavenly abode.
*
Balasvami Dıksita adopted his  youngest daughter’s son  –
Subbarama Dikshita , the author of the monumental Sangita
Sampradaya Pradarshini.
[ please click here for more on Dishitar Parampara ]
 Sri Subbarama Dikshita writes about himself:
72 . Subbarama Dıksita
With the name ‘Balasubrahmanya Sarma’, I am the adopted son
of Balasvami Dıksiita, the youngest brother of Muddusvami
Dıksita. Balasvami Dıksita’s youngest daughter’s name was
Annapurniamma. Her husband was Sivaramayya who belonged
to Bharadvaja Gotra, and Drahyayana Sutra.  They had two sons.
Ramaswami Ayya, who was their  first son, was very talented in
music and Veena was felicitated by kings and attained heavenly
abode at the age of 45. And, Ramasvami Ayya had two sons,
Veena Cinnasvami; and, the other was the third principal of the
Maharaja’s High School and musical connoisseur, Venkatarama.
I was born as the second son (of Sivaramayya and
Annapurniamma) in Tiruvarur in the Saka year 1761 (1839 A.D.)
during the year of Vilambi, Tula Rasi, and Hasta Nakshatra.
When I was five years old, Balasvami Dıksita took me to
Ettayapuram, and got me tutored in Sanskrit, Telugu, and music.
At that time, Jagadvıra Rama Kumara Ettappa Maharaja, who
was very well versed in astrology, summoned the great
astrologers, and studied my horoscope. He looked at Balasvami
Dıksita, and told him, “The bearer of this horoscope is the son to
all the three of you. So, adopt him. He will be famous like Dıksita.”
Just as his command, my maternal grandfather, Balasvami
Dıksita adopted me during Plavanga year, Makara Rasi; and ,
initiated me into Brahmopadesa and Srı Vidya-upadesa. I learnt
the sciences of epics and drama, great epics like Manu
Caritra and Vasu Caritram, Grammar, and poetic meters from
Vilattikolam Krsnayamatya, who was a great Sanskrit and Telugu
scholar. I not only learnt Veena from my father, but also learnt in
detail the secrets (intricacies) of laksya and laksana of music. ]

When Muthuswami was about 25 years of age, he

accompanied his family guru Yogi Chidambaranatha to
Varanasi, in obedience of  the guru’s wish.  Muthuswami’s
wives too followed their husband. Muthuswami spent seven
fruitful years in Kashi. Those were his most wonderful and
educative years ; and , left a lasting influence on his life and
works. A whole new world opened to Muthuswami at Kashi.
During this period, Dikshitar acquired a wealth of knowledge
under yogi’s tutelage. The yogi taught him
Advaita Siddhantha, Tantra; and , also initiated him into Sri
Vidya Upasana. During these years, Dikshitar visited several
holy places in the Himalayan region – such as , Badrinath,
Kedarnath and Pashupathinath; and , worshiped the deities
in those shrines.
During his stay at Varanasi, Muthuswamy Dikshitar had
splendid opportunities to listen to Hindustani music in its
pristine forms. He seemed to have been greatly impressed by
the ancient Drupad form of singing and of playing the string
instruments; particularly by its elaboration of Raga (Aalap),
the measured tempo and the structure of the lyrics. This had
a profound influence on his creative genius; and, apparently
on his portrayal of Ragas in general ; and, in transforming
the Hindustani Ragas into their Carnatic form, in particular.
[ It is said that while in Varanasi , Sri Dikshitar stayed with his
Guru Sri Chidambaranatha yogi in a house situated in one of the
lanes near Hanuman Ghat. Attached to the house is the temple of
Sri Chakra Lingeshwara worshiped by Sri Dikshitar and his Guru.
The  temple had fallen into ruins for many years. In the year 1936,
when Kanchi Kamakoti Maha Periyava Sri Sri
Chandrasekharendra Saraswathi Swamigal visited Varanasi , he
identified this temple and arranged for its restoration. Thereafter.
Sri T M Arunachala Sastrigal of Tanjore  and
his descendants devoted themselves  for the worship and
maintenance of the temple.
The remarkable feature of the Sri Chakra Lingeshwara is that the
Linga  is embedded with Sri Yantra.

Next to the Linga is the image of Sri  Dakshinamuthi swaroopa

Ardhanarishwara    worshiped by Sri Dikshitar.

The  image panel on the temple wall includes a portrait of Sri

Dikshitar.
[Source : I gratefully acknowledge the web-page of  Dr Meera
Rajaram Pranesh  at
http://www.vanamalaarts.org/sri-mutthuswamy-dikshitar-and-
varanasi-kashi/ ]
At the end of the seven years, Yogi Chidambaranatha
advised Muthuswami to return to South; and, to commence
his music and spiritual career with the worship of Karthikeya
on the hills of Tiruthani. Soon after that, the Yogi attained his
Samadhi. Dikshitar performed the final rites of his departed
guru and left Varanasi.

Yogi Sri Chidambaranatha’s Samadhi is located within the

temple near Hanuman Ghat on the banks of the Ganga.
  
The family at Manali, in the meanwhile, had fallen on bad
days. The life there was becoming increasingly difficult ; and,
Ramaswami Dikshitar too was in poor health. The family
therefore, decided to return to Thiruvarur. After making
arrangements for the family’s return to Thiruvarur,
Muthuswami headed straight to Tiruthani as ordained by his
Guru. It is said; immediately after being blessed by the Lord
there , Dikshitar started composing kritis. The first kriti he
composed was Srinathadi Guruguho jayathi in
Raga Mayamalava-gaula. His first group of kritis
called Guruguha vibhakti krithis were also composed in
Tiruthani. It was here that Dikshitar became a proper Vak-
geya Kara, the composer who sets his lyrics to music.
The Mudra, his signature to his creations was Guruguha,
which approximates to ” the Guru dwelling in the cave of my
heart”. Dikshitar was then around 33 years of age.
[ Manasollasa (also called Abhjilashitarta Chintamani)
ascribed to the Kalyana Chalukya King Someshwara III (1127-
1139 AD) is an encyclopedic work, written in
Sanskrit, covering a wide range of subjects.  Its Chapter
Three: Prakirnaka: deals with topics such as: Guna–
Dosha (merits and de-merits) of Vak-geya-kara (composers
who set  songs to music). The text grades the composers
(Vak-geya-kara) into three classes. According to its
classification,  the lowest is the lyricist; the second is one
who sets to tune the songs written by  others; and, the
highest is one who is the  Dhatu Mathu Kriyakari – who
writes the lyrics (Mathu), sets them to music (Dhatu) and ably
presents (Kriyakari)  his compositions.
Sri Dikshitar was indeed an Uttama-Vak-geya-kara of the
highest order.]
On his way back home to Thiruvarur, Dikshitar stayed for
sometime with a Yogi , Sri Ramachandra Saraswathi,
popularly known as Upanishad Brahmendra who lived and
taught in Kancipuram.
[Incidentally, Sri Upanishad Brahmendra  was also an early
teacher of  Sri Tyagaraja , the great composer musician.]
During his stay in Kanchipuram, Dikshitar set to music
“Rama Ashtapadhi” a collection of stanzas composed by Sri
Upanishad Brahmendra. Dikshitar returned to Thiruvarur
in the year 1809. The Ashtapadi , sadly , is no longer
available.
The years at Thiruvarur were very productive. Here, Dikshitar
composed sixteen Kritis on the various attributes of
Ganesha; eleven Kritis of Navavarana group on Sri
Kamalamba; and, a set of Kritis on Thygaraja and
Nilothpalambika the presiding deities of the town.
The Nilothpalambika set of krithis enlivened certain rare
Ragas like Narayanagowla that were almost fading away.
Three years after Muthuswami returned to Thiruvarur (1814),
his father Ramaswami Dikshitar, at the age of eighty-two,
passed away in  Saka-Dhatu-Nama- samvathsara  1739 (1817
AD) in Magha-masa on the auspicious Shiva-rathri night.
Further, it was becoming increasingly difficult to carry on life
at Thiruvarur. The Dikshitar brothers , therefore , decided to
move to Tanjavur in search of a living. Tanjavur, in those
days, was relatively peaceful, secure ; and, was a center for
culture and learning, while most of the Southern regions was
under the threat of the Sultan.
[ It is said that at Thanjavur,  the Dikshitar-brothers met Sri
Shyama Sastry, another of the Trinity; and,  the four ,
together, composed/completed a Varnam. It is said ; that
the Chowka Varna, ‘Sami ninne kori‘, in Sriranjini Raga
composed by Sri Ramaswamy Dikshitar, had only
one Svara passage. And, to that Sri Shyama Sastry added by
composing  the second chararna-svara; while Sri
Chinnaswami Dikshitar added the third charana-svara; and,
Sri  Muthuswamy Dikshitar contributed the fourth.  (please
check page 47 of Justice venkatarama Aiyar’s biography of
Sri Dikshitar)
The association of Sri Shyama Sastri and Sri Muthuswami
Dikshitar in Thanjavur is indeed one of the most fascinating
aspects in the history of South Indian Music. ]
*
At Thanjavur,  the Dikshitar-brothers , in order to earn a
living, began to accept students interested in learning music.
They were then approached by one Mahadeva Annavi
(Subbarayan), a Veena player  and a dance-master
(Nattuvanar) to teach his sons. His four sons who became
disciples of Sri Muthuswamy  Dikshitar and propagated his
musical compositions  –  Chinnaiah Pillai (1802-1856);
Ponnayya Pillai (1804-1864); Sivanandam Pillai(1808-1863)
and the legendary Vadivelu Pillai (1810-1845) – gained great
fame as Thanjavur Quartet. Of these , Chinnaiah
and Sivanandam were Bharatha_natyam masters and
composers of some popular Tana Varnams, Pada
Varnams, and Thillanas etc. 

They were the pioneers of  the Bharatanatyam Margam as we

know it today. This Margam includes Alarippu,
Jathiswaram, Shabdam, Varnam, Padam/Javali,
Tillana and Shloka. Many of these dance items were
composed specially by Ponnaiya Pillai, As he was a
musician, the names for the dance items follow their musical
forms. 
Chinnaiah , the eldest of the four, was a great teacher of
dance; and, he later moved to the Mysore court of Sri
Krishnaraja Wodeyar III  (1794-1868) who was a great patron
of art and literature ; and , who was himself a poet and an
author of many works . Some of Chinnaiah’s compositions
are dedicated to Wodeyar. He also wrote a Telugu work
called Abhinaya Lakshanamu, a version of the reworked
Sanskrit text  Abhinayadarpana of Nandikeshvara .
Ponnaiah was a composer of great merit. Several of his
kritis , including Ambaneelambari’  (Neelambari),
‘Satileni’ (Poorvikalyani) and Tillanas as also
other Nrtta compositions (Jatisvarams and Thillanas),
are  popular among musicians even to this day.
During their stay at King Serfoji’s Durbar in Tanjavur, they
brought into  use western musical instruments such as
violin and clarinet , as an accompaniments for Carnatic
music and performance of dance. Sivanandam , in particular,
is credited with introducing the clarinet to Carnatic music.
Vadivelu Pillai, the youngest, was a virtual genius , praised
by Dikshitar as eka-sandhi-grahi , one who grasps
immediately after just one listening. Vadivelu contributed
significantly to Dance also. The great Tyagaraja too admired
Vadivelu’s musical skills. A Lutheran German protestant
missionary Frederick Schwartz is said to have taught
violin  to Vedanayagam Shastriyar; and, he, in turn,
taught the instrument to Vadivelu. Thereafter, Vadivelu
popularized violin among the Carnatic musicians.  He soon
became  a favorite of Swathi Thirunal Maharaja who
appointed him his Court Musician. It is said ; in 1834,  Swati
Thirunal  Maharaja gifted him a rare Violin made of ivory
(which is now said to be placed in  the Quartet’s ancestral
home at 1818, West Main Street, Behind Brihadeswara
Temple). Both these geniuses, sadly , died at their young age
– Swati Thirunal at 34; and, Vadivelu at 35.

The brothers propagated the famed Pandanallur style of

Bharata Natyam.  The renowned Nattuvanar Sri
Meenakshisundaram Pillai descended from
the Thanjavur Quartet.
**
Smt.  Nandini Ramani writes :
They were the first to formalize the performance pattern of
Bharatanatyam, and codify lessons called Adavus (basic
steps and the different categories of rhythm patterns)
required for the same. They were the ones to plan and set the
order of the different items of the repertoire in performance.
The order they set is as follows. 
Melaprapti, alarippu, jatiswaram, sabdam, swarajati, chaukav
arnam, ragamalika, padam, javali, and tillana.
They also composed several pieces for each category set to
different ragas and talas (rhythm structure). The
compositions were in Telugu, their mother tongue, and they
addressed their family deities, Sri Brihadisvara and
Brihannayaki, as well as the kings and ministers who
patronized them and also the different deities whom they
worshipped during their travels. All of these were presented
by them in the performing art tradition, earning wide fame
and reputation. They were invited by the royal patrons of
Thiruvananthapuram and Mysore, as sitting doyens of art, to
spread the art in those regions, while the king also
popularized it by arranging performances in all the temples.

[Souurce : http://maddy06.blogspot.in/search/label/Music?
updated-max=2014-11-28T13:10:00-05:00&max-
results=20&start=4&by-date=false]
***
Sri Dikshitar during his stay in  Thanjavur composed a
number of Samasti Charana Kirtanas.
[A kriti generally follows a certain structure: Pallavi the
opening passage of two lines is followed by Anupallavi. Raga
is introduced with the cyclical rendition and improvisation of
Pallavi and Anupallavi. The body of the kriti is its Charanas.
Each Charana usually has four lines. The final Charana
contains the Mudra or the signature of the composer.
However, certain kritis of Dikshitar have only two segments
Pallavi and Anupallavi, where the latter acts as the Charana.
Such kritis are called Samasti Charana Kritis. They perhaps
represent a stage in the evolution of the kriti format.
E.g.Anandamritakarshini (Amritavarshini); Hari Yuavatheem
Haimavathim (Hemavathi) etc.]
Dikshitar brothers stayed in Thanjavur for about three years
(about 1817 -1820).
Baluswamy who was proficient in Veena, Swarbat, Sitar and
Mridangam, along with his brother  Chinnaswami joined the
court of Venkateshwara Eddappa I [1761 – 1839] the Raja of
Ettayapuram (Tirunelveli district) , as Asthana Vidwans of
Ettayapuram Samsthanam.
Soon after that, Sri Muthuswami Dikshitar too left Tanjavur;
and, he went on a virtual pilgrimage visiting a number of
temples; and composing kritis in honor of the deities he
visited. In a way of speaking, his life was a long pilgrimage.
Please click here for a map of his probable temple visits.
[Please click here for the lists of about 150 temples/deities
featured to in Dikdhitar’s kritis]
Years later, Sri Muthuswami Dikshitar also settled down in
Ettayapuram at the request of the king. A few years later ,
Dikshitar’s both wives passed away. Some sources mention
that Dikshitar had a daughter and she lived in Tiruchirapalli;
but, not much is known about her.

Dikshitar comes through as a very astute scholar-devotee,

a Sadhaka. He was a viraktha, unattached to possessions, to
places or to emotions. He was voluntarily poor and accepted
his poverty with equanimity. He did not seek favor or
patronage from anyone. He was an intense devotee ; but,
was  undemonstrative. In his compositions, you never find
despondency, helplessness or begging for divine grace or
intervention. There is certain composure, measured grace,
dignity and a mellow joy in his works as in his life. He was
solely devoted to Sri Vidya Upasana and to his music which
was his medium of self-expression. His works exude serene
contemplation and soulful joy.
It was on Naraka Chaturdasi ,the fourteenth day of the lunar
calendar, in the month of Ashwija, the day preceding
Deepavali (October 18th, 1835), Sri Muthuswami Dikshitar
performed Parva Mandala puja to Devi and sang Ehi
Annapurne (Punnagavarali). This was Sri Dikshitar’s last
composition. Thereafter, he asked his disciples to
sing Meenakshi mey mudam dehi (Purvi Kalyani) . When they
sang the Anupallavi , he asked them to repeat the
phrases Meena lochani pasha mochini. As they were singing,
Muthuswami Dikshitar uttered “Shive pahi, Shive pahi, Shive
pahi” and breathed his last , like a true yogi.

Muthuswami Dikshitar had been yearning for Videha Mukthi.

He beseeches the Divine Mother repeatedly and addresses
her as the one who grants Videha mukthi (Mamaka videha
mukthi sadanam– Ranganayakam-Nayaki); the bestower
of videha mukthi (vikalebara kaivalya danaya-Guruguhaya-
Sama); and , at times, he feels he is nearing videha
mukthi (Videha kaivalyam yami-Tyagaraje-Saranga).
Videha mukthi is a concept of the later Advaita schools. It
believes, one can attain liberation (moksha) from
attachments even while still encased in a body. Such an
attained one is a Jivan Muktha. The body continues to
function till its Prarabdha Karma is exhausted; thereafter, the
mortal coils fall away. Videha mukthi , that is to say , is
shedding off the body by a Jivan muktha, the one who has
already attained liberation.
In the Sri Vidya tradition, a jivan muktha is a devotee,
a Bhaktha as well as a Jnani the wise one. Here, the wisdom
consists in realizing his identity (sva svarupa prapti) with the
Mother goddess. It is this wisdom that liberates him (jivan
Mukthi). This liberating wisdom is granted to him by the
Mother out of pure love, when he completely surrenders to
Her in absolute faith and loving devotion.
Jivanmukthi, emancipation while yet alive, is also a concept
of the Tantra Siddantha which believes that it is possible for
a person to transact with the world without getting involved
in it. In other words; one lives on actively and cheerfully,
amidst distractions and confusions of the world without
letting his self reflect them. His moorings in the phenomenal
world have withered away; and,  his instinct of self-
preservation and insecurity has  minimized. He is alive only
to essential thing , the very source of life. The real world
continues to exist for him; but, he does not rest in the world;
instead, he rests in himself (Svarupa pratishta). Sri
Muthuswami Dikshitar, either way, was a jivan Muktha.
The king and Baluswami Dikshitar performed the last rites of
the departed genius. The Samadhi of Sri Muthuswami
Dikshitar is at Ettayapuram;  but, it appears to be in a rather
poor condition. In a petition submitted to Shri. Abdul Kalam
then president of India, the petitioners submitted “It is the
fervent desire of all music lovers as well as all lovers of
Indian culture across the world that this Samadhi be declared
as a heritage site and treated as a National Monument, ideally
with a beautiful museum. We are extremely concerned that
there has been a move made to demolish this important
cultural and artistic memorial.”

Sri Muthuswami Dikshitar was a many splendored genius. He

redefined the paradigm of Carnatic music. Each of his
compositions exemplifies the essence of Raga Bhava and
captures the depth and soulfulness of the melody. His vision
of some of the Ragas and their structure is sublime. He
achieved what the revered Venkatamakhi, at one time,
thought was not possible; he gave form and substance to all
the 72 Melakarta-ragas. Besides, he breathed life into several
ancient Ragas that were fading away from memory. His
compositions are crisp and well chiseled. His Sanskrit is
delightfully captivating. His synthesis of Carnatic and
Hindustani Music systems is creative and original. His kritis
replete with soothing, graceful Sanskrit lyrics, many with
winsome Samashti Charanams, comparable to the Dhrupad
stanzas, occupy an exclusive niche in the world of Indian
Music. The technical sophistication, intellectual brilliance
and the majesty of his music is unsurpassed. Sri
Muthuswami Dikshitar is a crest jewel of Indian music and
spirituality.