SRI KRISHNASHTAMI-- KRISHNA JAYANTHI VRATHA KATHA

SRI KRISHNASHTAMI—SRI KRISHNA JAYANTHI VRATA KATHA

On one occasion sage Narada requested creator Brahma to  narrate the significance of Sri Krishnashtami  and sri Krishna Jayanthi so that he can get salvation by performing the vratam. Brahma was very much pleased at this wish of sage Narada. Brahma said that by performing the vratam or at least listening to the story the person will be successful and earn ‘punya’ in his life. The sins of seven births will be destroyed. Not only this, he will earn the ‘punya’ of performing many yagnas and bathing in many holy rivers. Fasting on the Jayanthi day has wonderful effects. It is also important to follow ‘ jagarana’  (waking up) the whole night thinking about the Lord and singing in his praise. In ancient days many kings like Ambarisha, Sisupala, Gadhi, got their kingdoms by fasting on Krishna Jayanthi and worshipping Sri Krishna! Even great sages like Gautama, Gargya, Jamadagni, Valmiki and others fasted and worshipped Sri Krishna on this Jayanthi day.

Therefore it is very important to fast on the Jayanthi day and keep oneself totally in the thought of Sri Krishna.This vratam, done well, beats all other vratas and the results they offer. All should perform this vratam during all the four yugas. Narada was happy at these words of Brahma. He wanted to know how the vratam should be performed. Lord Brahma continued and said that once sage Sanatkumara told king Harischandra details of performing Sri Krishnashtami Vratam..You should have one meal the previous day, Have a good oil bath.Take a Kalasa according to your capacity, fill It with water. Wrap it with a new cloth and place it in a clean decorated ‘mantapa’. Place a small idol of SriGopala Krishna there and perform puja with bhakthi or devotion. All the 16 Upacharas—shodasopacharas should be offered to the Lord. Soon after the moon rises in the sky, offer ‘arghyam’—water through the conch- sankham. Later offer ‘arghyam’ the same way to Sri Krishna with tender coconut water.

After offering ‘arghya’ to Chandra and Sri Krishna you should not sleep till the moon sets. Recite stotras, Bhagavadgita and other holy stories. The next day, after a clean bath early in the morning, you can have a hearty meal with relatives , brahmas and friends. One who does this vratam with faith and devotion shall surely reach Vaikunta, the abode of Sri Mahavishnu. Brahma advised sage Narada to perform Sri Krishnashtami Vratam and get mukti or salvation! Creator Brahma asked sage Narada to  offer all his actions to God Narayana himself. Accordingly sage Narada performed Sri Krishnashtami Vra tam. Let all people perform this vratam and decimate all their accumulated sins!

This is the conversation between Creator BRAHMA and sage NARADA in  BRAHMANDA PURANA   

KAMALAMBA NAVAVARANA KRITIS-- MUTHUSWAMI DIKSHITAR

                                  KAMALAMBA NAVAVARANA KRITIS – MUTHUSWAMI DIKSHITAR

Along with the dhyana kriti there are eleven kritis in the series Kamalamba Navavarana songs. They are as follows:  The dhyana kriti is in  sambodhana vibhakti corresponding to vocative case. The kri ti starts with “ Kamalambike” in Todi raga and rupaka tala. The first avarana kriti is in prathama vibhakti or nominative case. Dikshitar describes “trailokyamohana chakra” in this kriti. The kriti starts with “Kamalamba samrakshitoham” in Ananda bhairaviraga  triputa tala.

The second Avarana kriti is in dwitiya vibhakti or accusative case. It denotes “Sarvasaparipuraka chakra”. The Kriti is “Kamalambam Bhajare” in Kalyani raga adi talaa.

The third Avarana kriti is in tritiya vibhakti or instrumental case. It denotes “sarvasamkshobhan chakra of Sri Chakra.The kriti is “Sri Kamalambikaya” in Sankarabharana raga  rupaka tala.

The fourth Avarana krithi is in chathurthi vibhakthi or dative case. It corresponds to “Sarvasowbhagyadayaka chakra” of Sri yantra. The kriti is “Kamalambikayai “ in Kambhoji raga Ata tala.

The fifth Avarana kriti is in panchami vibhakthi or ablative case. This refers to the “Sarvarthasadhaka chakra of Sri chakra”. The kriti is “Sri Kamalambayah in Bhairavi raga jhampa tala.

 The sixth Avarana kriti is in shashti vibhakti or genitive case. It refers to “Sarva rakshakara chakra of Sri chakra”. The Kriti is “Kamamalambikayah” in  punnagavarali raga rupaka tala.

The seventh Avarana kriti is in sapthami vibhakti  or locative case.This denotes the “Sarvarogahara chakra” of Sri chakra yantra. The kriti is “Sri Kamalambikayam” in  sahana raga triputa tala.

The eighth Avarana kriti  is in sambodhana vibhakti or vocative case. It corresponds to “Sarvasiddhiprada chakra of  Sri chakra.The kriti is “Sri Kamalambike” in ghanta raga Adi tala.

The ninth and last Avarana kriti is in all eight vibhaktis or cases. It refers to “ Sarrvanandamaya chakra”  of Sri chakra. The Kriti is “Sri kamalamba jayati” in Ahiri raga rupaka tala.

The pallavi has pathama vibhakti. The anupallavi has the dwitiya and tritiya vibhaktis.The charanam has one line each in chathurthi, panchami, shashti and saptami  vibhaktis. The line in chathurti vibhakti  has the sambhodana while the two lines sung in madhyama kala come back to prathama vibhakti.

The final auspicious mangala kriti  is “Sri Kamalambike” in Sri ragam Khanda eka tala.

The Kamalamba Navavarana kritis are very auspicious and deep in meaning and content.They present a deeper insight into the Sri vidya upasana. The composer has packed numerous  tantric  and Sri Vidya details in these songs for the benefit of readers!!    

 

NAVAVARANA KRITIS OD SRI MUTHUSWAMI DIKSHITAR

 

Navavcarana Kritis of SRI MUTTUSWAMI DIKSHITAR

Sri Muthuswami Dikshitar has composed these Navavarana Kritis specifically following the intricacies of Sri Chakra and the nine AVARANAS that complete the significance of the SriChakra Yantra. These compositions are in praise of Goddess Kamalamba of the great temple of Tiruvarur. In this set of kritis  Dikshitar is at his superlative best and the lyrics are par excellence. Many of the group kritis of Dikshitar are missing or lost forever,  but this set of Kamalamba Navavarana Kritis has come down to us  in complete form.  These kritis are some of the most famous pieces of music in the Carnatic sytem of Indian classical music. They are considered as embodiments of the technical brilliance of the composer  as well as a peep into the Adawaitic school of Hindu philosophy and elements of Tantric rituals.

Goddess Kamalamba is the Divine mother of the universe, and Supreme Consciousness. Dikshitar’s Lyrics are replete with mystical symbolism of Vedantic tradition. The chakras of the human system are closely connected to the evolutionary aspects described in the compositions They bring out the ‘the scholarly reach, musical depth and mystical significance of the composer’. Navavarana refers to the nine layers of the Sri Chakra Yantra  one of the  primary modes of Devi worship. Each Avarana has a deity and many others associated with it which is mentioned in each of the songs.

The first of the Navavarana kritis is a dhyana or benedictory composition. It is followed by eight kritis  one in each of the eight vibhakthis of the proper noun—“ kamalamba or kamalambika in feminine gender. It continues oown to the tenth kriti that uses all the  vibhakthis of the Sanskrit language. The Navavarana series concludes with an auspicious ‘mangala kriti’ set to  Sri ragam. Each of the nine songs  is on one of the nine enclosures of  or avaranams of the Sri Chakra. Dikshitar  very cleverly brings out the name of the chakra , its geometry, many special features related to the chakra and the devatas and others associated with it. There are very lengthy word constructions which are tongue twisting. These are called “ samasas” in Sanskrit.Dikshitar uses the word “Guruguha”as  his ‘mudra’ or signature  in all his compositions.

The raga mudra is brought through “ Slesha” or double meaning in most of these compositions.The dhyana kriti in Todi has no raga mudra.The kritis in Anandabhairavi ( first avaranam) and Sankarabharanam ( third avaranam)  have only partial raga mudras ( the word “ Ananda” for the former  and “Sankara” for the latter).The Kambhoji, Sahana, and Ahiri compositions have disguised raga mudras. Dikshitar uses several talas or time measures but Rupaka Tala ( 3 beats) appears to be his forte. Ata Talam ( 14 beats) and Misra jampa ( 10 beats) in Kambhoji and Bhairavi are rarely used because of technical difficulty.

The dhyana kriti  is in Todi and in Vocative case.  Anandabhairavi is in the Nominative, Kalyani in the accusative, Sankarabharanam in the instrumental, and  Kambhoji in dative cases respectively. Bhairavi is composed in ablative case while the ninth avarana kriti in Ahiri has all the cases.”It is believed that such a fusion of all melodic and temporal elements in the same kriti is a musical way of expressing the advaitic ideal of “aham Brahmasmi” or complete union with the Absolute.The Navavarana set concludes with Sri ragam set in Khanda Ekam ( 5 beat talam) Thus the Navavarana kritis  have one dhyana, the nine avaranas, and the mangalam kritis totaling  eleven wonderful pieces!!   

                                                                                                                                                 

 

SRI CHAKRA----NAVAVARANA

It is important that we should know the details of SRI CHAKRA and the nine avaranas that form an integral part of the SRI CHAKRA YANTRA. Each of the compositions of Sri Muthuswami Dikshitar is on one of the nine Avaranams or enclosures of the Sri Chakra. Sri Chakra is considered as Sri Lalitha Maha Tripurasundari herself. She is also worshipped as Bala Tripurasundari and Sri Rajarajeswari. Sri Chakra has mystic powers and great significance in Sakthi worship. The details of Chakra are given below. The first Avaranam is Bhoopura and it is called Trailokyamohana Chakra. In other words it enchants the three other worlds. The yogini is Prakata. The mental state of the aspirant is jagrata. There are 28 sakthis including the ten starting with Anima as well as ten Mudra Sakthis.

The second Avaranam is Shodasadalam and it is called Sarvasaparipurika Chakra which means that which fulfills all desires. The Yogini is Gupta Yogini. The mental state is swapna or dreamy state. The Chakra Iswari is Tripurasi. There are 16 Sakthis starting with Kamakarshini. The Third Avaranam is  Ashtadalam. It is called Sarva samkshobhana Chakra. It is an Agitator of all. Yogini is Gupta Tara Yogini. Mental state is Sushupti. Chakra goddess is Tripura Sundari. There are eight Sakthis starting with Ananga Kusuma .

The fourth Avaranam is called CHATURDASARAM.  This Chakra is called SARVA SAUBHAGYADAYAKA CHAKRA. It is the bestower of excellence. The yogini here is SAMPRADAYA YOGINI. The mental state is Iswara Vicharam. The presiding deity is TRIPURA VASINI. There are fourteen Sakthis starting with  Samkshobini.

The fifth Avaranam is BAHIRDASARAM. This chakra is called SARVARTHASADHAKA CHAKRA. This  indicates accomplishment of everything. The yogini here is called Kulotterna yogini. The mental state is  Guroopa Sadanam. Goddess of this chakra  is Tripura Sri. There are ten Sakthis here starting with Sarva Siddhi Prada.

The sixth Avaranam is ANTARDASARAM. This is called SARVARAKSHAKARA Chakra. The yogini here is called Nigarbha yogini. Mental state in this chakra is upadesam. The goddess of this chakra is Tripuramalini. There are ten Sakthis here starting with Sarvajnya.

The seventh Avaranam is called ASHTAKONAM meaning eight triangles.  This is called SARVAROGAHARA CHAKRA. It is the panacea for all rogas or diseases. It cures all. The yogini  here is called Rahasya yogini. The mental state is mananam or recapitulation. Goddess of this chakra is Tripura Siddha There are eight Sakthis stating with Vasini.

The eight Avaranam is TRIKONAM or triangle.  This is called SARVA SIDDHIPRADA CHAKRA, the bestower of all perfection.  It facilitates fulfillment of all wants. The yogini here is called Atirahasya yogini. Mental state here is nidhidhyasanam or meditation.  Goddess of this Chakra is Tripuramba. There are three Sakthis here starting with  Kameswari.

 The ninth and final Avaranam is called the BINDHU. It is the highest Chakra and called SARVANANDAMAYA CHAKRA. It is the bestower of total bliss. The mental state is Savikalpa Samadhi  The goddess of this Chakra is MAHA TRIPURA SUNDARI the very personification of PARA BRAHMAN.

Sri Muthuswami Dikshitar

 Sri Muthuswami Dikshitar is one of the luminaries belonging to the Musical Trinity, the others being Saint Thiagaraja and Syama Sastri. His compositions are predominantly in Sanskrit unlike those of others in Telugu. A few of his compositions are in manipravalam-a combination of Sanskrit and Tamil. Muthu means pearl in Tamil. In Sanskrit it is Muktha. It is derived from Selvamuthu kumaraswamy, the famous deity of Vaidiswaran Temple in Mayiladuthurai in Tamil Nadu The word Muddayya is an epithet of Lord Kumaraswamy or Guha. In some of Dikshitar’s Telugu compositions his name appears as Muddaswamy. In his popular composition “ Bhajore Chitta” in raga Kalyani the ‘ mudra’ or signature of the composer appears as “ Guru Guha rupa Muddukumara jananeem”. Eldest son of Ramaswami Dikshitar, who taught Vedas, poetry, music, and astronomy, Muthuswamy was born on 24th March 1776 in Tiruvarur, Tamil Nadu. He had two brothers, Chinna Swami and Bala Swami. RamaSwami Dikshita, of Vadama family from Virinchipuram, near Vellore moved south due to political troubles around Kanchipuram and Virinchipuram. He trained in the veena under Venkata Vaidyanatha Dikshitar,who belonged to the lineage of Govinda Dikshitar. This trend is seen in Muthuswami Dikshitar’s work.

Muthuswami moved to Manali, near Madras at the behest of the local zamindar, Venkatakrishna Mudaliar, His brothers followed him to fort St.George where they were introduced to western orchestral music and the violin.Then came a turning point in the life of Muthuswami. An ascetic, Chidambaranatha Yogi took Muthuswami under his wing and away to the city of Banaras or Kashi.There he was taught in music, esoterics, Hindustani classical music particularly Dhrupad style. After the death of Chidambaranath Yogi, Muthuswami returned and moved to the town of Tiruttani, near Tirupati.

According to legend Lord Muruga of Tiruttani placed a piece of sugar candy in Dikshitar’s mouth and commanded him to sing. This marked the beginning of his career in music. He adopted his mudra “ Guruguha”,one of the names of Lord Muruga as his,from that time onwards. His first composition was “ Srinathadi guru guho jayati jayati” in raga Maya Malavagowla and Adi tala. The song in Sanskrit is in the first declension. Later he composed kritis in all eight declensions on the Lord. But all these songs glorified Lord Muruga in the ascetic or preceptor form.They were not specifically addressed to the Saguna form as at Tiruttani. Muthuswami went on a pilgrimage and visited temples at Kanchi, Tiruvannamalai, Chidambaram, Tirupathi, Kalahasti and Srirangam where he composed songs. He returned to Tiruvarur later.

Muthuswami mastered the veena and the influence of veena playing is clearly seen in his compositions particularly in gamakas, In his kriti ‘Balagopala’ he calls himself as a “ vainika gayaka” “ a player of the veena.” He also experimented with the violin. His brother Balaswami Dikshitar was a pioneer in the use of the violin in Carnatic music. Returning to Tiruvarur, he composed on every deity in the Tiruvarur temple complex including Tyagaraja, a form of Lord Shiva, the presiding deity, Nilotpamambal, his consort and the Goddess Kamalambal an independent deity of high tantric significance in the same temple complex. It is here that he composed the famous KAMALAMBA NAVAVARANA KRITIS replete with sahityas on the deities of the SRI CHAKRA. These became the showcase of his compositions. These Navavaranams

were in all eight declensions or vibhaktis of the Sanskrit language. Muthuswami Dikshitar exhibited his prowess by composing the Navagraha Kritis glorifying the nine planets. The content of the songs reveal a profound knowledge of the Mantra and Jyotisha sastras

His compositions, 500 in number are noted for “their elaborate and poetic descriptions of Hindu Gods and temples. They are significant in capturing the essence of raga forms through the vainika style that emphasizes gamakas. Every composition of Muthuswami Dikshitar is brilliant and unique in construction. All are noted for the ‘ soulfulness of the melody.’ His Sanskrit lyrics bring in the Advaita thought seamlessly into his songs ‘ resolving the inherent relationship between Advaita philosophy and polytheistic worship. His songs are highly informative about the history of the temple and its background and preserve many customs followed in these old shrines. Rhyming of lines in the lyrics is another noticeable feature in his compositions. Dikshitar was a master of tala and is the lone composer to have kritis in all the basic talas of the Carnatic scheme. The songs of Muthuswami Dikshitar are unparalleled and unsurpassed for their richness of RAGA BHAVA, SUBLIMITY OF PHILOSOPHICAL CONTENT, and the GRANDEUR OF THE SAHITYA!