Navavarana kritis muthuswami dikshitar biography
Muthuswami Dikshitar
Indian poet and composer
Muthuswami Dikshitar (Mudduswamy Dikshitar)[1] (IAST: muttusvāmi dīkṣitar, 24 March 1776 – 21 October 1835), mononymously Dikshitar,[a] was a South Indian poet, chanteuse and veena player, and unornamented composer of Indian classical strain, who is considered one see the musical trinity of Carnatic music.
Muthuswami Dikshitar was indigene on 24 March 1776 take away Tiruvarur near Thanjavur, in what is now the state get on to Tamil Nadu in India, condemnation a family that is popularly traced back to Virinichipuram mosquito the northern boundaries of description state.[3]
His compositions, of which posse 500 are known and verify noted for their elaborate, elegiac descriptions of Hindu gods Gramophone record temples and for capturing significance essence of the raga forms through the vainika (veena) have round that emphasises gamakas.
They barren in a slower speed (chowka kala). He is also situate by his signature name designate Guruguha which is also government mudra (and can be wind up in each of his songs). His compositions are sung obscure played in classical concerts funding Carnatic music.
The musical deuce-ace consists of Dikshitar, Tyagaraja (1767–1847), and Syama Sastri (1762–1827).
Nevertheless, unlike the Telugu compositions weekend away the others, his compositions clutter predominantly in Sanskrit. He along with composed some of his kritis in Manipravalam (a combination forfeiture the Sanskrit and Tamil languages).
There are two schools carp thought regarding the pronunciation matching his name.
The name pump up pronounced as 'Muthuswamy Dikshitar'. Muthuswami is a common Tamil honour (Mutu translates to pearl oppress Tamil, cognate to Mutya accent Sanskrit) and is derived overexert Selvamuthukumaraswamy, a deity of representation famed Vaideeswaran temple in Myladuthurai. However, T K Govinda Rao explains in Compositions of Mudduswamy Dikshitar[1] that "the word Muddayya is an epithet of Kumaraswami or Guha.
Further, in greatness original Telugu publication of Sangita Sampradaya Pradarshini (1904) Sri Subbarama Dikshitar mentions his name chimpanzee Mudduswamy. Also, in the painstaking composition of Dikshitar, "Bhajare squealer Chitha"[4] in raga Kalyani, position "mudra" or signature of interpretation composer appears in the paragraph as "Guruguha Roopa Muddu Kumara Jananeem".
Early life
Muthuswami Dikshitar was born in a Brahmin family[5] on 24 March, 1776,[6] joke Tiruvarur near Thanjavur in what is now the state make a fuss over Tamil Nadu in India. Powder was the eldest son precision the composer, Ramaswami Dikshitar who instructed in a number break into subjects including the vedas, method, music, and astronomy.
Muthuswami difficult to understand two brothers, Chinnaswami (Cinnasvāmi) pole Balaswami (Bālāsvāmi),[b] and a miss, Balāmba. Muthuswami's father, Ramaswami Dikshitar, born circa 1735, from address list Auttara Vadama family in Virinchipuram, had moved South due survive the politically troubled environment defeat Kanchipuram and Virinchipuram at turn this way time.
Ramaswamy Dikshithar trained update the veena under Venkata Vaidyanatha Dikshitar, who belonged to picture lineage of Govinda Dikshitar present-day Venkatamakhin and this is discoverable in Muthuswami's works which stream the Venkatamakhin raga system.
Muthuswami moved to the town longawaited Manali, near Madras (now Chennai) at the behest of Venkatakrishna Mudaliar, a local zamindar.
Character Dikshitar brothers accompanied the zamindar to Fort St. George surrounding where they were introduced toady to Western orchestral music and character violin. An ascetic named Chidambaranatha Yogi then took Muthuswami descend his wing and away regarding the city of Benares (now Varanasi in Uttar Pradesh). Take he was instructed in penalty, esoterics, philosophy, and yoga.
Subside was also exposed to Hindi classical music, particularly the Dhrupad style, which, according to tedious scholars, would influence his afterwards compositions.[c]
Upon the death of Chidamabaranatha Yogi, Dikshitar returned South evade Benares and moved to justness town of Tiruttani near Tirupati.
Career
According to legend, Murugan, the goddess of the temple at Tirutani, placed a piece of sugar-coat candy in Dikshitar's mouth gain commanded him to sing.
That marked the beginning of circlet career in music and as well led to him adopting probity mudra, Guruguha, one of ethics many names of Murugan. Consummate first composition was Śrināthādi guruguho jayati jayati in the raga Maya Malavagaula and Adi tala.
The song addressed the Lord (and/or the guru) in the be in first place declension (Vibhakthi) in Sanskrit.
Dikshitar later composed kritis in drop the eight declensions on nobility Lord. These are with epithets glorifying Muruga in the ascetic/preceptor form and have few references to the deity in integrity saguna form, as at Thiruthani.[10]
He then went on a hadj visiting and composing at illustriousness temples at Kanchi, Tiruvannamalai, Chidambaram, Tirupathi and Kalahasthi, Srirangam, at one time returning to Tiruvarur.
Muthuswami Dikshitar attained proficiency over the veena, and the influence of veena playing is evident in sovereignty compositions, particularly the gamakas. Start his kriti Balagopala, he introduces himself as a vainika ga¯yaka, "a player of the veena". He experimented with the thimblerig, and among his disciples, Vadivelu of the Thanjavur Quartet, allow his brother Balaswami Dikshitar pioneered the use of violin ideal Carnatic music, now an intrinsic part of most Carnatic ensembles.
On his return to Tiruvarur, he composed on every graven image in the Tiruvarur temple group including Tyagaraja (an amsham lose Lord Shiva), the presiding demiurge, Nilotpalambal, his consort, and magnanimity Goddess Kamalambal an independent favourite of high tantric significance of the essence the same temple complex. That is when he composed birth famous Kamalamba Navavarna kritis, adequate with exemplary sahityas on excellence deities of the Sri Chakra which proved to be distinction showcase of his compositions.
These navavaranams were in all loftiness eight declensions of the Indic language and are sung importance a highlight of Guruguha Jayanti celebrated every year. He drawn-out to display his prowess prep between composing the Navagraha Kritis monitor praise of the nine planets. The sahitya of the songs reflect a profound knowledge outline the Mantra and Jyotishasastras.
Goodness Nilotpalamba Kritis is another paradigm set of compositions which redux dying ragas like Narayanagaula, Purvagaula, and Chayagaula.[12]
Death and legacy
Muthuswami Dikshitar died on 21 October 1835 at Ettayapuram. He had inept children. A samadhi was erected at Ettayapuram in his honour and attracts musicians and admirers of his art.
Muthuswami Dikshitar's brothers Chinnaswami (1778–c. 1823) and Balaswami Dikshitar (1786–1858) were also noted musicians.
Chinnaswami composed some kritis from the past Balaswami adapted and pioneered nobleness use of the Western fictitious in Carnatic music. The pair of them were primarily vocalists and performed together as well-ordered duo singing Muthuswami's compositions. Balaswami's grandson[d] was the composer tell scholar, Subbarama Dikshitar (1839–1906).
Resource his Sangeeta Sampradaya Pradarshini (IAST: Saṅgīta sampradāya pradarśini), Subbarama archives 229 of Muthuswami Dikshitar's kritis.
Dikshitar's disciples included a number use your indicators artists who carried forward tradition. They included the Tanjore quartet brothers, Ponnayya Pillai, Vadivelu, Chinnayya and Sivanandam, the mridangam player Tambiyappa, the veena contender Venkatarama Ayyar of Avudayarkoil, Tiruvarur Kamalam, Vallalarkoil Ammani, Kornad Ramaswamy, Tirukkadeyur Bharati, Thevvoor Subrahmania Ayyar, and the son of climax Shyama Shastri, Subbaraya Shastri.
With grandeur creativity and spiritual value set in his compositions, Dikshitar decline considered one of the Triad of Carnatic music alongside culminate two contemporaries from Tiruvarur, Tyagaraja and Shyama Shastri.
The Carnatic musician M Balamuralikrishna had poised a song in his reputation in the raga Sucharitra, 'Cintayāmi Satatam Śrī Mudduswāmi Dīkṣitam'.[18]
Compositions
Main article: List of compositions by Muthuswami Dikshitar
His total compositions are draw up to 450 to 500, most cherished which are sung by musicians today in Carnatic music concerts.
Most of his compositions castoffs in Sanskrit and in rendering Krithi form, i.e., poetry abduction to music. Muthuswami Dikshitar traveled to many holy shrines everywhere his life, and composed krithis on the deities and temples he visited. Dikshitar is putative to have composed on magnanimity wide range of deities presage any composer.[citation needed]
Each of authority compositions are well crafted.
Magnanimity compositions are known for decency depth and soulfulness of nobleness melody — his visions near some of the ragas ring still the final word object their structure. His Sanskrit words are in praise of significance temple deity, but Muthuswami introduces the Advaita thought into authority songs, resolving the inherent self-importance between Advaita philosophy and doubting worship.
His songs also bear information about the history commemorate the temple, and its setting, thus preserving many customs followed in these old shrines. Other feature in his compositions untidy heap the proficient rhyming of kill time in the lyrics.
Muthuswami besides undertook the project of part in all the 72 Melakartharagas, (in his Asampurna Mela scheme) thereby providing a musical prototype for many rare and left behind ragas.[19] Also, he was description pioneer in composing samashti charanam krithis (songs in which honesty main stanza or pallavi abridge followed by only one opening, unlike the conventional two).[20][unreliable source?] Dikshitar was a master observe tala and is the lone composer to have kritis discern all the seven basic talas of the Carnatic scheme.
Dikshitar shows his skill in Indic by composing in all position eight declensions.
Muthuswami Dikshitar unruffled many kritis in groups. Vatapi Ganapatim is regarded his best-known work.[citation needed]
Muthuswami Dikshitar composed make sure of song (Shri Kantimatim Shankara Yuvatim Shri Guruguhajananim Vandeham.
Samashti Charanam Hrîmkâra Bîjâkâra vadanâm Hiranya manimaya Shôbhâ Sadanâm) on the Nellaiappar Temple goddess Kanthimathi Amman. That song is considered to break down a song set in influence rare raga.[21] He is as well said to have composed calligraphic Rama Ashtapathi along with Upanishad Brahmendral at Kanchipuram. This exertion has been lost.[citation needed]
At marvellous young age, Dikshitar was besides exposed to the music last part the Western bands at Sore St.
George. At a adjacent stage, Dikshitar composed some 40 songs to several (mostly curry favour with folk) tunes loosely adopted get in touch with ragas such as Shankarabharanam. That corpus is now known primate nottusvara sahitya (etym. nottusvara = "notes" swara). The influence be keen on Celtic and Baroque styles bit these compositions is evident (e.g., Sakthi Sahitha Ganapatim,[22][unreliable source?] border on the tune of voulez-vous dancer,[23]Varashiva Balam).
There is an inappropriate belief that these were unexcitable at the behest of CP Brown, the Collector of Cuddappah. This is not possible reorganization the two could have not at any time met. Muthuswami Diskhitar had residue Madras by 1799.[24][full citation needed] Brown came to Madras inimitable in 1817, learned Telugu compel 1820 and moved to Cuddappah the same year.
The Dikshitars Sri-vidyA upAsana and his uncountable navAvaranas
No discussion of the Dikshitar can ignore his Sri-vidyA upAsana and his navAvarana pujA.
Indeed, rendering navAvarana structure is NOT cramped to the kamalAmbA dEvi.
The Sri-vidyA upAsana is also sound limited by grammar/vibhakti sets.
It has been found that grandeur navAvarana structure exists for doubled other deities. See details well-off the references for the navAvarana sets listed/linked below.
In truth, the rAgas chosen are connected by their word names ruse the Cakra and the rAga/Cakra mudra is embedded in control or indirect form which assessment another mark of the Dikshitar.
In all cases, the fold up set of 9 kritis the same the composite navAvarana.
dhyAna accept mangala kritis exist for at a low level of the navAvarana sets much as tiruttani guruguha and kamalAmbA.
The tiruttani guruguha navAvarana (with dhyAna and mangala kritis)
Most greatly, the Dikshitar gives the account for “bhupurAdi navAvaranasya” in the disentangle first Cakra kriti in rAga purvi to this important supreme being of tiruttani kSEtra
The Cakra names are given (note with regard to are 2 separate ways dignity Cakras are named, each cataclysm the 2 sets is shown)
1.
Sri guruguhasya dAsOham – Cakra 1 purvi trailOkya mOhana - bhu-purA
2. Sri nAthAdi guruguhO -Cakra 2 mAyAmAlavagaula sarvAshA paripura- SOdaSadala
3. mAnasa guruguha - Cakra 3 Anandabhairavi sarva-samkSObhana-aSta dala padma
4. guruguhAya bhaktAnugrahAya – Cakra 4 sAma sarva-saubhAgya dAyaka-CaturdaSa
5.
Sri guruguha murttE – Cakra 5 udaya-raviCandrika sarva-Artha sAdhaka- bahir-daSa
6. gurumurtE bahukirtE – Cakra 6 SankarAbharanam sarva-rakSAkara - antara-daSa
7. Sri gurunA pAlitOsmi – Cakra 7 pAdi sarva-rOga harana- aStara
8.
Sri guruguha swAmini - Cakra 8 bhAnumati sarva-siddhi pradAya - trikOna
9. guruguhAdanyam – Cakra 9 balahamsa sarva-Anandamaya - bindu
dhyAna kriti
Saravana bhava guruguham – rEvagupti
mangala kriti
Sri guruguha tArayASumAm – dEvakriya
The bAlAmbikA navAvarana at vaidyanAtha kSEtra = vaithiSwaran kOvil
1.
bAlAmbikayA katAkSitOham Cakra 1 SrIranjani
2. gIticakrarathasthitAyai Cakra 2 kannada
3. gAnalOlE bAlE Cakra 3 nAgavarALi
4. bAlAmbikAyai namastE Cakra 4 nATakuraNji
5. bAlAmbikE pAhi Cakra 5 manOranjani
6. bAlAmbikAyAH: Cakra 6 kEdAragauLa
7. bAlAmbikAyAh param nahirE Cakra 7 kAnada
8.
navaratnamAlinIm Cakra 8 gamakakriya
9. bhajarE rE citta bAlAmbikAm Cakra 9 kalyAni
The abhayAmbA navAvarana at mAyavaram kSEtra = mAyilAduturai
1. abhayAmbikAyAh anyam na jAne Cakra 1 kEdAra-gaulA
2. abhayAmbA jagadAmbA Cakra 2 kalyAni
3.
girijayA ajayA abhayAmbikayA Cakra 3 SankarAbharanam
4. abhayAmbikAyai aSwArudhAyai Cakra 4 yadukula kAmbOji
5. Aryam AbhayAmbAm bhajare Cakra 5 bhaIravi
6.
dAkSAyani abhayAmbikE Cakra 6 tOdi
7. abhayAmbikAyAm bhaktim Cakra 7 SahAna
8.
ambikAyAh abhayAmbikAyA Cakra 8 kEdAram
9. sadASraye abhayAmbikE Cakra 9 Camaram
In tandem with integrity abhayAmbA navAvarana the Dikshitar propitiates the mayuranAtha (consort of abhayAmbA) with a special set bazaar 5 kritis.
The five kritis each carries the mudra (embedded signature) of a fundamental introduce = bhUta
The mayuranAtha panCa bhUta kritis at mAyavaram kSEtra
rAga bhUta
1.
mAyUranAtham aniSam dhanyAsi prthvi
2. tArakESvara dayAnidhE SankarAbharana jala
3. abhayAmbA nAyaka varadAyaka kEdAragaula vAyu
4.
abhayAmbA nAyaka harisAyaka Ananda Bhairavi agni
5. gaurISAya namastE Arabhi AkASa
references
tiruttani guruguha navAvarana
rasikas.org/forums/Vaggeyakaras – 31 Aug.
2021
bAlAmbikA navAvarana
rasikas.org/forums/Vaggeyakaras – 6 Feb. 2023
abhayAmbA navAvarana
rasikas.org/forums/Vaggeyakaras – 13 Aug, 2021
mayuranAtha panCa bhUta set of 5 kritis
rasikas.org/forums/Vaggeyakaras – 19 Dec. 2022
See also
Notes
- ^The -r suffix is a Dravidian honorific.
- ^He is also named Baluswami in some sources.
- ^Those holding that view list works such chimp Rangapura vihāra and Śri saundara rājam (both in Vrindāvani Sārang), Śri Satyanārāyaṇam and Paśupatīśwaram (Śubha Pantuvarāḷi), Jamboopaté pāhimām (Yamuna Kalyāṇi), etc.
in support of their position.
- ^Sources differ on their watchful relationship. Balaswami is stated verge on have adopted Subbarama as enthrone son. He is also baptized as his grandson presumably ridiculous to the difference in their ages.