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Sunday, 18 December 2022

Saturday, 10 December 2022

HANUMANE SAMIKINDA MALAYAMRUTAM ROOPAKAM 1980-81TR BALAMANI SHANTA KRISHNASWAMY

 pallavi


hanumAnE sAmikkinda aDaiyALam shol ayyA


anupallavi


jAnaki lankai shiraiyinil tannuyiraittAnE tinru manadil rAmAmrta jIvanam sheidirukkirAL enru


caraNam 1


ulagariya nagarai viTTu kOTTai vAsal kaDakku munnE Onguvanam engE enru nAn kETka nErE

tolai dUram vazhi naDandAl samarttu nI enru sholli tuLirAna vAi malarndu kuLira naghai sheidArE


caraNam 2


tAzhvillA nagar nIngi varugira pEr ellOrukkum tanittaniyE tuNivu sholli anuppinAr poyyO

shUzhum vazhi naDuvE vELvi sheyya vENumenru toDangum vEdiyan Ashai aDanga pashu koDuttAr ayyO


caraNam 3


ghanamAna gangaik-karai vana vEDan mun engaLaik-kATTi ivar Arenru nI kETTAyE guhanE

unadu tambi enadu tambi un kozhundi ivaL nAnum un Ashait-tOzhan enru shonnArE maghanE


caraNam 4


uLattil maru mAdar kurikkEn enrantarangam uraittAr en sAmikkadu karuttil uNDu tAnE

vaLartta kiLiyum mAnum taLarcci illAdapaDi vaittirukka sumantraruDan bhadramAgha shonnEnE


caraNam 5


oru nAL en mErp-pAinda kYAkkai tanai nOkkip-pullAl oru kaNai viTTAr idenna teriyAdu pOccO

sharaNam enradu vIzha iru vizhikkum oru maNiyAi tAmE koDuttArE anda mAnamum tAn engE pOccO


ARUNACALA KAVIRAYAR BIO





 Arunaacala Kavi - He was born in TillaiyaDi close to Seerkazhi in 1711 A.D. to Shaivite parents Nallatambi PiLLai and Valliammai. According to family tradition, he began his education at 5 and at 12, when his father died went to the Dharmapuram Mutt to study Tamil and Sanskrit. At 18, he left but continued his study of Tamil for 12 years. He married at 30 in Paruppur and set up a jeweler's shop, while keeping up his studied. He discovered the beauty of Tirukkural and Kamban's RaamaaayaNa.

One day he wanted to buy some gold at a cheaper rate in PonDicerry. On his way, he stopped at Seerkazhi, where there was a branch of the Dharmapuram Mutt - its head Cidambaram PiLLai had been his colleague at Dharmapuram, and at his request, completed a prabandam here before leaving for PonDicerry. When he returned, Cidambaram PiLLai asked him to settle down with his family in Seerkazhi - from then he was called Seerkazhi Arunaacala Kaviraayar.

He composed many works. When 2 men (VenkaTaraamayyar and KOdanDaraamayyar) who knew music well asked him to teach them Kamban's RaamaayaNam, he composed an opera of this work at their suggestion, which is the famous "raama naaTaka keertanai." He wanted the first performance of this dance song at Shreerangam where Kamban had his first performance (arangETram), but the priest refused unless the Lord allowed permission himself. At this point, the poet sang "En paLLikonDeer ayya" (mOhanam, aadi), and the Lord Ranganaata of Shreerangam appeared to both the poet and the temple priests in their sleep, and the priests arranged for the arangETram. After this, the composer was patronized by kings and nobles all over. His opera gives us 40 raagams, including some rare ones. It starts with invocations to deities, declaration by an actor of the greatness of King Dasaratha, and the traditional story of the RaamaayaNa is closely followed. It includes 197 daarus (descriptive songs), 278 verses in virutam meter, and 56 dvipadis (songs of 2 lines).

Arunaacala Kavi's darus are famous - and AriyakuDi Raamaanuja Aiyyangaar sang one or two in every concert. Pieces like YaarO ivar yaarO and Shree raamacandranukku are popular. Modern scholars of music consider him along with MututaanDavar and Marimutta PiLLai to be the Early Music Trinity of Carnatic music.

Mudra:

Compositions:

  1. ADaDA veLiyE - mOhana
  2. adhikAyan paDai - tODi
  3. Adi dEvanE - madhyamAvati
  4. aDittAnE ashOkavanam - bEgaDa
  5. aDittAnE raghurAman - kAmavardhani
  6. Adiyum Adi(kaNNigaL) - mukhAri
  7. agni bhagavAnE - Anandabhairavi
  8. ambu pOl (kaNNigaL) - shahAnA
  9. AnAlum ennai - yadukulakAmbhOji
  10. anda mAniDan - saurASTra
  11. anda rAma saundaryam - kEdAragauLa
  12. anda rAvaNan - bhairavi
  13. ANDu padinAlum (kaNNigaL) - Anandabhairavi
  14. anjAdirungaL - kalyANi
  15. annai jAnaki - sAvEri
  16. appA kumbhakarNA - Anandabhairavi
  17. appanE ayyanE (kaNNigaL) - yadukulakAmbhOji
  18. Ar enru rAghavanai - bhairavi
  19. AraDA kurangE - cenjuruTi
  20. arasE enadayyanE (kaNNIgaL) - madhyamAvati
  21. arasu sheivadenna - ssurASTra
  22. arasumaNI muDiyoDu (kaNNigaL) - kAmbhOji
  23. arivAr yAr unnai - bhairavi/mukhAri
  24. arumaip-pirappE (kaNNigaL) - ghaNTA
  25. astra varuSam - kalyANi
  26. avatAram sheidiDuvIrE - mOhana
  27. ayyA janakA - mukhAri
  28. ayyA rAvaNA - kEdAragauLa
  29. ayyanE inrunnai - madhyamAvati
  30. ayyanE raghurAmanE - sAvEri
  31. ayyanE un mEnmaiyai - asAvEri
  32. ayyayyo maghanE - Ahiri
  33. ayyayyO raghurAmA (kaNNigaL) - mukhAri
  34. ayyO nAnoru (kaNNigaL) - nIlAmbari
  35. bharata mahArAjanE - kalyANi
  36. cinnam ciru (kaNNigaL) - ghaNTA
  37. ciTrappA nI tAn - bhairavi
  38. cUDAmaNI kaNDa pOdE - sAvEri
  39. dEsha dEsha (kaNNigaL) - mOhana
  40. dEvanO manidan (kaNNigaL) - nIlAmbari
  41. dEvi ivaL - asAvEri
  42. dhIrA rAvaNa (kaNNigaL) - shankarAbharaNa
  43. dikku dikkAga (kaNNigaL) - Ahiri
  44. duSTap-payalE - punnAgavarALi
  45. EdaDA rAvaNA un - dvIjavanti
  46. Edu kANum (kaNNigaL) - kEdAragauLa
  47. Edukku inda - nATakuranji
  48. Edukku varunduginrAi - sAvEri
  49. en bhAgyamE - suraTi
  50. En inda mati - sArangA
  51. en kanavai - shankarAbharaNa
  52. En paLLi koNDeerayyaa - mOhanam
  53. En vandAi - sAranga
  54. en vArttai - kAmbhOji
  55. enakkun irupadam - saurASTa/rAgamAlikA
  56. engaLAl AghAdayyA - punnAgavarALi
  57. engE vaittirundAi - tODi
  58. enna buddhi - dvIjavanti
  59. enna buddhi shonnAi - nAdanAmakriyA
  60. enna kAryam - asAvEri
  61. enna ninaindAi - kAmbhOji
  62. enna pizhai - bEgaDa
  63. enna sheivEn enna sheivEn (kaNNigaL) - kAmbhOji
  64. enna sheivEn lankEshA (kaNNigaL) - kAmbhOji
  65. enna sheivEn nAn (kaNNigaL) - kAmavardhani
  66. enna sheivEn sAmi nAn (kaNNigaL) - nIlAmbari
  67. enna sheivEn sItai - Anandabhairavi
  68. enna tAn sheivEn - Ahiri
  69. ennaDI pAvi kaikEsi - khamAs
  70. ennaiyum vara - Anandabhairavi
  71. ennALum vAzhi - mOhana
  72. ennattukku bharatan - kApi
  73. ennuruvil konjam - mOhana
  74. enrAn angadanakkE (kaNNigaL) - shankarAbharaNa
  75. eppaDi manam tuNindadO - husEni
  76. eTTu nALaiyilE - shankarAbharaNa
  77. evarum vaNangiya - nATa
  78. ezhundALE pUnkOdai - bilahari
  79. garuDa bhagavAnum - mOhana
  80. guNa sambhrama(kaNNigaL) - punnAgavarALi
  81. hanumAnE nIyE - sAvEri
  82. hanumAnE sAmikkinda - Anandabhairavi
  83. hanumantan aDittAnE - madhyamAvati
  84. idarkkO nAn - punnAgavarALi
  85. idukkO inda yAcanai - kalyANi
  86. idukkO nAn paTTadu - yadukulakAmbhOji
  87. ilangaNi maDindALE - shankarAbharaNa
  88. immAttiram sheivAi - saurASTRa
  89. inda alankOlamum (kaNNigaL) - nIlAbari
  90. inda hanumAn - madhyamAvati
  91. inda jAnaki - Anandabhairavi
  92. inda lankai nagar (kannigaL) - kAmbhOji
  93. inda maravuri (kaNNigaL) - bhairavi
  94. inda rAvaNanai - aThANA
  95. inda sEtuvai - mOhana
  96. inda vEdai - sAvEri
  97. indA vibhISaNA - paraju
  98. inda vibhISaNan - husEni
  99. inda vidhi - punnAgavarALi
  100. inda vinaikkenna - husEni
  101. inda yOcanai - kalyANi
  102. indamanuttaram - madhyamAvati
  103. indrajittE sEvakam - tODi
  104. indrajittE un - shankarAbharaNa
  105. ingE irum kANum - kalyANi
  106. ingE nAngaL - saurASTra
  107. ini tAn irukkalAmO - saindhavi
  108. inimEl yOcanai - aTHANA
  109. innam ciru piLLai - suraTi
  110. innam tAn enna (kaNNigaL) - ghaNTA
  111. innAr iniyAr(kaNNigaL) - shankarAbharaNa
  112. ippaDiyA apashakunam - kAmavardhani
  113. irukkinrAL tAi - mOhana
  114. irundAnE rAmacandran - aThANA
  115. ittanai kOpamum - madhyamAvati
  116. ivanaik-kolluvEn - sAvEri
  117. jagam maghizhum (kaNNigaL) - nIlAmbari
  118. jaganmAtE - Anandabhairavi
  119. jyOti neDum tEr (kaNNigaL) - gauLipantu
  120. kaaNa vENum laksham kaNgaL - shuruTTi
  121. kaDaikkaNNAl irangi - asAvEri
  122. kalyANa bhErikai (kaNNigaL) - mOhana
  123. kaNDAnE rAvaNan - mOhana
  124. kaNDEn kaNDEn - vasantaa
  125. kaNDEn kaNDEnaDA (kaNNigaL) - tODi
  126. kannikaiyE (kaNNigaL) - shankarAbharaNa
  127. kATSiyuDanE rAman - asAvEri
  128. kATTil irukka vandu (kaNNigaL) - shankarAbharaNa
  129. kELaDA angadA - kAmbhOji
  130. kELaDA rAvaNanE - Arabhi
  131. kELamma solluvEn - tODi
  132. keTTu pOgha vENum - shahAnA
  133. koDiya tATakai - nAdanAmakriyA
  134. kOlAhalamAgha (kaNNigaL) - shankarAbharaNa
  135. koNDALE sAmi - shankarAbharaNa
  136. kottik-kotti aDittAnE - madhyamAvati
  137. kumbhakarNan ivan - saurASTra
  138. kUni vandALE - mOhana
  139. kuttukku vADA - madhyamAvati
  140. lakSmaNanukkum adhikAyanukkum - bhairavi
  141. lakSmaNanukkum indrajittukkum - saurASTra
  142. lakSmaNanukkum rAvaNanukkum - sAvEri
  143. madhuvE unnAl - punnAgavarALi
  144. maDindAnE jambumAli - aThANA
  145. maDindAnE mahOdaran - sAvEri
  146. maghanE indrajittE - kAmbhOji
  147. mahattuvam uLLa - sAvEri
  148. makuTAbhiSekam - saurASTra
  149. mAngaL pazhi (kaNNigaL) - nAdanAmakriyA
  150. mannavan tannaiyum (kaNNigaL) - yadukulakAmbhOji
  151. mannavanE (kaNNigaL) - ghaNTA
  152. maNNil arasar (kaNNigaL) - kalyANi
  153. mantriyE en duraiyE (kaNNigaL) - Anandabhairavi
  154. mAya sItai - saurASTra
  155. meiyai nirutti (kaNNigaL) - ghaNTA
  156. mOsam vArAdayyA - mukhAri
  157. mUlabala shaNDaiyai - kAmavardhani
  158. nallOr periyOr (kaNNigaL) - shankarAbharaNa
  159. nAnE lakSmaNan - gauLipantu
  160. nETTiyidu nEttiyaDA - kalyANi
  161. ninru terindu (kaNNIgaL) - ghaNTA
  162. oru mozhi mAttiram - asAvEri
  163. padinAlu varuSam (kaNNigaL) - bhUpALa
  164. pAindAnE hanumAn - nAdanAmakriyA
  165. pAindAnE hanumantan - suraTi
  166. para rAmA ravikula (kaNNigaL) - bhUpALa
  167. parabrahma svarUpamE - gauLipantu
  168. pArAi peNNE - mukhAri
  169. pArum pArum - sAvEri
  170. paTrikkoNDadu - tODi
  171. paTTa pADu - kalyANi
  172. paTTaNam padanam - husEni
  173. peN ivaL alla - kalyANi
  174. perum shaNDai - nAdanAmakriyA
  175. piLLai illAda - dvijAvanti
  176. pizhai porukka - madhyamAvati
  177. pizhaikka enrAl - bhairavi
  178. pOdum pOdum - gauLipantu
  179. raamanukku mannan muDi - hindOLam
  180. rAghavanE sharaNam - punnAgavarALi
  181. rAghavanukkum rAvaNanukkum - asAvEri
  182. rAghavanukkum rAvaNanukkum naDandadE - tODi
  183. rAjanAm dasharatha - sAvEri
  184. rAjarAjarkkum rAjan - sAvEri
  185. rAkSasa padarE - mOhana
  186. rAmA ippaDi nI - mukhAri
  187. rAmA nI inda - dvIjavanti
  188. rAmabhadrA (kaNNigaL) - punnAgavarALi
  189. rAman ezhundaruLinAn - sAvEri
  190. rAman idukkO - shrI
  191. rAman muDi (kaNNigaL) - asAvEri
  192. rAmanaik-kaNNAra - mOhana
  193. rAmanait-taruvAi - mOhana
  194. rAmanukku mannan - Anandabhairavi
  195. rAmanukku nigharAgha - tODi
  196. rAmasAmi dUtan - mOhana
  197. rAmasAmi koNDa - asAvEri
  198. rAvaNan paghai - sAvEri
  199. sAmi EdayyA - yamunAkalyANi
  200. sAmi namaskAram (kaNNigaL) - madhyamAvati
  201. sAmi raghurAmA - sAvEri
  202. sEtu bandhanam - mOhana
  203. shADinAnE hanumAn - bEgaDA
  204. sharaNam sharaNam enraanE - sowraashTram
  205. sharaNam sharaNam raghurAmA - asAvEri
  206. shatavali paDaigaL (kaNNigaL) - mangaLakaishiki
  207. shempavazha valli - mOhana
  208. shErum gatiyil - sAvEri
  209. shObanam shObanam - madhyamAvati
  210. shollum shollum - bhairavi
  211. shonnAn shrI rAman - bEgaDa
  212. shree raamacandranukku - madyamaavati
  213. shrI rAghavanum - tODi
  214. shrI rAmacandranukku - suraTi
  215. singAram sheidAnE - kEdAragauLa
  216. sItaiyai kaNDAnE - kalyANi
  217. sObhanam sholla vandEn - madhyamAvati
  218. sugrIvA un mana (kaNNigaL) - tODi
  219. sugrIvan pEr - suraTi
  220. sugrIvanukkum - kalyANi
  221. tambi lakSmaNA - madhyamAvati
  222. tAvi hanuman - asAvEri
  223. tEDit-tirindAnE - tODi
  224. tEr ErinAnE - sAvEri
  225. tErmErkkoNDAnE - kalyANi
  226. tETruvArillai (kaNNigaL) - Anandavbhairavi
  227. tillait-talam pOlE - saurASTra
  228. toDuttANe sAdArai - shankarAbharaNa
  229. tuNai vandaruL - kalyANi
  230. tUnginAn - mOhana
  231. uNDAnE rAman - tODi
  232. uNDArkkollum (kaNNigaL) - Ahiri
  233. unnadu mahimaiyai - kAmavardhani
  234. uTra sItaiyaip-pirindEn (kaNNigaL) - Ahiri
  235. vA vA hanumAnE - mOhana
  236. vaDippam vaDippamAi - aThANA
  237. vAn vIrarellAm - asAvEri
  238. vanam pOi - punnAgavarALi
  239. vaNangi ninrAnE - kAmbhOji
  240. vanda kAriyam - saurASTra
  241. vandaan vandaan - madyamaavati
  242. vandadO tImai - punnAgavarALi
  243. vandadu kurangu (kaNNigaL) - bhairavi
  244. vandALE sUrpanakai - bEgaDa
  245. vandAn vandAn - madhyamAvati
  246. vandanar engaL - madhyamAvati
  247. vandAnE rAvaNa - tODi
  248. vanniyOcanai - tODi
  249. varNa mAnumalla (kaNNigaL) - dhanyAsi
  250. varugirAnO vArAnO - asAvEri
  251. vArum enravuDanE (kaNNigaL) - Arabhi
  252. vArum vArum (kaNNigaL) - shankarAbharaNa
  253. vazhi koNDu rAghavan (kaNNigaL) - tODi
  254. veTri koLLa vanda (kaNNigaL) - madhyamAvati
  255. viDu viDaDA - asAvEri
  256. vijaya dundubi (kaNNigaL) - punnAgavarALi
  257. vikrama rAvaNan (kaNNigaL) - bhairavi
  258. villAnadu raNDAi - tODi
  259. vinAyaka sharaNam - saurASTra
  260. vIra sUra - asAvEri
  261. vizhundAnE indrajittan - kalyANi
  262. yaarO ivar yaarO - bhairavi
  263. yArenreNNAmalE - shankarAbharaNa



Friday, 30 September 2022

sree chakra

 Sri Chakra, A brief introduction

 

The Saktam sect of Hinduism approaches the Brahman or Absolue consciousness through the worship of Sri Tripura Sundari, the Supreme Mother. She is the source of all creation. In Her knowledge aspect, She is called Sri Vidya. The Sri Yantram is the most celebrated of all yantras and is employed in Sri Vidya Upasana. Yantra and mantra together represent the union of space and sound. They are inseparable, with mantra being the soul and yantra being the body of Subtle Sound (Nada Brahman). Yantras are geometric objects (involving shapes of triangle, squares and circles) in either 2 or 3 dimensions.

 

They are used as an aid in meditation and in tantric worship practices. In most yantras for meditation, the stages of progression from material or gross to subtle are clearly marked.  Closed, concentric circuits (mandalas) of various geometric shapes correspond to the planes of consciousness of the sadhaka. Each enclosure is an ascent of one’s being, a way station, toward the innermost, the Absolute Unity.

 

The Sri Yantra is composed of interpenetrating triangles, symbolizing the unity of Siva and Sakti.. The four upward pointing triangles emanate from the Siva Principle and denote the individual soul and its vital energies. The five downward pointing triangles represent the Sakti principle and from them arise the five material elements (Pancha Bhootas, earth, water, fire, air and space). All the vowels and consonants in Sanskrit are inscribed in the vertices of the Sri Yantra. The Sri Yantra also has nine circuits (avaranas).  In each of the enclosures specific deities are invoked, each circuit being considered as a cosmological form which supports devata-clusters, or groups of goddesses. The deity-clusters are like veils concealing the yantra’s innermost essence. After the sadhaka has invoked all the devatas in the prescribed manner for meditation, he reaches a level of consciousness in which all the devata-circles are fused to become the presiding deity at the center of the yantra.  Gradually, this central deity itself disappears and merges into the center of spiritual consciousness, the Bindu (the focal point or center) of the yantra and the highest psychic center between the adept’s eyebrows.

 

A spiritual journey is taken as a pilgrimage in which every step is an ascent to the center, a movement beyond one’s limited existence. Traditionally such a journey is mapped in nine stages, and each of these stages corresponds with one of the nine circuits of which the yantra is composed. Starting from the outer square and moving inwards, the nine rings bear specific names, related to their characteristics.

 

(1)  The first Avaranam is Bhoopuram and the Chakram is Trailokyamohana chakra ‘enchants the three worlds’;The yogini is Prakata, the mental state of the aspirant is Jagrata, Chakra Iswari is Tripura and the Saktis are 28 that include the ten starting with Anima, the eight starting with Brahmya and the the ten Mudra Saktis.  [ANANDA BHAIRAVI: Kamalamba Samrakshatu]

 

(2) The second Avaranam is Shodasa Dalam, and the Chakram is Sarvasaparipuraka chakra, ‘fulfills all expectations’; The yogini is Gupta Yogini. The mental state is Swapna, the Chakra Iswari is Tripurasi and the Saktis are the sixteen starting with Kamakarshini. [KALYANI: Kamalambam Bhajare]

 

(3) The third Avaranam is Ashtha Dalam; The Chakram is Sarvasamkshobana chakra, ‘agitates all’; the Yogini is Gupta Tara Yogini. The mental state is Sushupti, the Chakra Iswari is Tripura Sundari and the Saktis are the eight starting with Ananga Kusuma. [SHANKARABHARANAM:  Shree Kamalaambikayaa Kataakshitoham]

 

(4) The fourth Avaranam is Chaturdasaram; the Chakram is  Sarvasaubhagyadayaka chakra, ‘grants excellence’; the Yogini is Sampradaya Yogini. The  mental state is Iswara Vicharam, Chakra Iswari is Tripura Vasini and the Saktis are the fourteen starting with Samkshobhini. [KAMBODHI: Kamalaambikaayai Kanakamshukaayai]

 

(5) The fifth Avaranam is Bahirdasaram; the Chakram is Sarvarthasadhakachakra, is the ‘accomplisher of all’; the Yogini is Kulotteerna yogini. The mental state is Guroopa Sadanam; the Chakra Iswari is Tripura Sri and the Saktis are the ten starting with Sarva Siddhi Prada. [BHAIRAVI: Shree Kamalaambikaayaah Param Nahire]

 

(6) The sixth Avaranam is Antardasaram; the Chakram is Sarvaraksakara chakra, ‘protects all’; the Yogini is Nigarbha Yogini. The mental state is Upadesam; the Chakra Iswari is Tripura Malini and the Saktis are the ten starting with Sarvagnya. [PUNNAGAVARALI: Kamalaambikaayaastava Bhaktoham]

 

(7) The Seventh Avaranam is Asthakonam; the Chakram is Sarvarogahara chakra, ‘cures all ills’; the Yogini is Rahasya Yogini. The mental state is Mananam; the chakra Iswari is Tripura Siddhaa and the Saktis are the eight, starting with Vashini. [SAHANA: Shree Kamalaambikaayaam Bhaktim Karomi]

 

(8) The eighth Avaranam is Trikonam; the Chakram is Sarvasiddhiprada chakra, ‘grants all perfection’; the Yogini is Ati Rahasya Yogini. The mental state is Nitidhyasanam; the Chakra Iswari is Tripuramba and the Saktis are the three starting with Kameshwari. [GHANTA: Shree Kamalaambike Avaava]

 

(9) The ninth Avaranam is the Bindu  and the highest Chakram is Sarvanandamaya chakra , ‘replete with bliss’. The mental state is Savikalpa Samadhi; the Chakra Iswari is Maha Tripura Sundari and the Shakti is Maha Tripura Sundai, the very personification of Para  Brahman. [AHIRI: Shree Kamalaambaa Jayati]

 

At the periphery of the Sri Yantra, the square, the adept contemplates his own passions such as anger, fear, lust, etc., to overcome or conquer them. The eight psychological tendencies that are considered obstacles of the mind are also invoked, as eight Matrika Saktis, in the second line of the outer periphery. Either they flank the four ‘doors’ of the yantra or they are invoked in the square band (bhupura). Generally they are what we experience of the world through sense-activity and the cravings of our egotism.

 

 

Note on Sri Kamalamba Nava Avarana Kritis

A spiritual aspirant needs to seek a guru and be initiated into the esoteric practice of Sri Vidya Upasana. The practice itself requires strict adherence to lists of Do’s and Don’t’s. Most people would find that the task of finding the guru and the rigors of the pracice are difficult. Sri Muthuswamy Dikshitar was a great Devi Upasaka and was well versed in all aspects of Sri Vidya Upasana. Out of his devotion to Sri Kamalamba, (one of the 64 Sakti Peethams in India), the celebrated deity at the famous Tyagaraja Temple in Tiruvarur and his compassion for all bhaktas, Sri Muthuswamy Dikshitar composed the the Kamalamba Nava Avarana kritis, expounding in each of the nine kritis, the details of the each avarana of the Sri Chakra, including the devatas and the yoginis. Singing these kritis with devotion, sraddha and understanding would be the easy way to Sri Vidya Upasana for most people.

 

The set also includes a dhyana kriti, a mangala kriti and traditionally sung on the nine days of Navaratri. One starts with the Ganasa kriti followed by the guru kriti (to Sri BalaSubrahmanya) and continues with the dhyana and each of the avarana kritis. The rendering concludes with the mangalam kriti.

 

kamalambam kalyani cs

 https://sathvishayam.wordpress.com/2019/08/08/kamalamba-navavarana/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 Kamakarshini (Kaamaa Karshanyaadi Ranjaneem). They are also called nithyas and named Kamakarshini (fascinating the desires), Budhyakarshini (fascinating the intellectetc. 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.

Raga mudra is in the phrase Nityakalyaneem; and his signature is in Guruguha -jananeem

Kamalamba, in ragam Kalyani, is the 2nd Avaranam of Sri. Muthuswam Dikshithar's Navavarna Kritis. The Chittaswaram here is the same from forward and also from backward. This is the only Navavarna which has Chittaswaram.

sarigamadhani rigapadhamadha niga×sa×ri×|

niri×ga×nisa×niri×sa×|ni,nidha,dhapa,||

pa,dhadha,nini,sa×ri×nisa×niga×ri×ni

ri×sa×ganidha madhapa | ga×ri×nidha magarisa||

സരിഗമധനി രിഗപധമധ നിഗസരി|

നിരിഗനിസനിരിസ|നി,നിധ,ധപ,||

പ,ധധ,നിനി,സരിനിസനിഗരിനി

രിസഗനിധ മധപ | ഗരിനിധ മഗരിസ||

sarigamadhani rigapadhamadha nigaWsaWriW|

niriWgaWnisaWniriWsaW|ni,nidha,dhapa,||

pa,dhadha,nini,saWriWnisaWnigaWriWni

riWsaWganidha madhapa | gaWriWnidha magarisa||

sarigamadhani rigapadhamadha niga×sa×ri×|

niri×ga×nisa×niri×sa×|ni,nidha,dhapa,||

pa,dhadha,nini,sa×ri×nisa×niga×ri×ni

ri×sa×ganidha madhapa | ga×ri×nidha magarisa||

Kamalambam Bhajare Re Maanasa (Avarana 2 of Navavarna Krithis)

Ragam: Kalyani (65th melakartha)

                ARO: S R2 G3 M2 P D2 N3 S        ||

                AVA: S N3 D2 P M2 G3 R2 S        ||

Talam: Adi (2 kalai)
Composer: Muthuswami Dikshitar

Version: Bombay Sisters

 

Pallavi

Kamalaambaam Bhajare Re Maanasa Kalpita Maayaa Kaaryam Tyajare

 

Anupallavi:

Kamalaavaani Sevita Paarshvaam Kambujaya Greevaam Nata Devaam

Kamalaapura Sadanaam Mrudu Gadanaam Kamaneeya Radanaam Kamala Vadanaam

 

Charanam:

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

 

Meaning (From Todd Mc Comb's web page: http://www.medieval.org/music/world/carnatic/lyrics/srao/kamala.html):

Oh ("re") mind ("manasa"), worship ("bhajare") goddess Kamalamba, and cast aside ("tyajare") attachment to this illusory ("kalpita maaya") world ("kaaryam").

She is ("paarshvaam") attended ("sevitha") on by Lakshmi ("kamala") and Sarasvati ("vaani").

The beauty of Her neck ("greevam") surpasses ("jaya") that of the conch ("kambu").

She is worshiped ("nata") by the celestials ("devaam") and resides ("sadanaam") at Kamalapura.

She speaks ("gadanaam") softly ("mrudu") and has beautiful ("kamaneeya") teeth ("radanaam").

She possesses a lotus-like ("kamala") face ("vadanaam").

She is the presiding deity ("svamineem") of Sarvasha Paripuraka Chakra and is the beloved ("kamineem") of Paramashiva.

She is the mystic ("gupta") Yogini, worshiped ("archita") by the sage Durvasa.

She annihilates ("dhvamsineem") miseries ("dukha"). She is Hamsini, the supreme one in the company of great sages.

She is the bestower ("pra-daayineem") of true ("nija") bliss ("sukha")through salvation ("nirvaana"). She is the ever ("nitya") auspicious ("kalyaanim") one.

She is also known as Katyayani and Sharvani.

Her dark tresses ("veni") exceed ("vijaya") the dark hue of a swarm of bees ("madhupa").

She is the mother ("jananeem") of noble Guruguha and is blemishless ("niranjaneem").

She destroyed ("bhanjaneem") the arrogant ("garvita") Bhandasura.

She delights ("ranjaneem") Shaktis such as ("aadi") Kamakarshani.

She is the attributeless ("nir-vishesha") supreme ("chaitanya") spirit ("roopineem") and is the form ("swaroopineem") of the world ("urvee tatvaadi").

 

Notes from Sri Dikshita Kirtana Mala by Sri. A. Sundaram Iyer:

2nd Avarana Keertanam:

a.       This avaranam is the Sarvasha pari-pooraka charka. According to advaita, the world is all delusion. Brahman alone is real.

b.       By reciting this mantra, one shall achieve

                           i.      The entire mercy of Sri Lalita Mahatripurasundari

                         ii.      The entire satisfaction of all desires

                       iii.      All auspicious things

                        iv.      Ambal’s protection.

 

(2) The second Avaranam is Shodasa Dalam, and the Chakram is Sarvasaparipuraka chakra, ‘fulfills all expectations’; The yogini is Gupta Yogini. The mental state is Swapna, the Chakra Iswari is Tripurasi and the Saktis are the sixteen starting with Kamakarshini. [KALYANI: Kamalambam Bhajare]

 

[more notes at the end of the notations…]

Wednesday, 14 September 2022

gopala maddhyamavati on Veenhttps://youtu.be/XKMo-dhB6do

https://draft.blogger.com/u/2/blog/post/edit/4831276821453466883/3382935011033909907 https://draft.blogger.com/u/2/blog/post/edit/4831276821453466883/3382935011033909907


https://youtu.be/XKMo-dhB6do

https://mail.swathithirunalsangeethasabha.org/

 

https://mail.swathithirunalsangeethasabha.org/about-us/teamCapalasampadanIha

Ragam: Bhairavi
Thalam: Adi

Arohanam:S R2 G2 M1 P D2 N2 S
Avarohanam: S N2 D1 P M1 G2 R2 S


pallavi
capala sampadanIha muninuta sarasijanAbha mAmava

anupallavi
aparimitAnanda vAsa hara viranci harisEvita sampadi dEha mama kushalam sakala lOka nAyaka!

(ciTTa svara sAhitya)
garimA nilaya sarasa vidha pari jana sukhada nagadhara
kari bhayahara pada jita sarasija gatamada pAlana vibudha mahita mrdula hAsaAnupamA nAgari
kamapari purANa pAlita bhuvana nirgata shamala
vara sari dadhipa krta shayana vilasAmala hrdi pApa dahana nIradAti guNa

caranam 1
sAra mrdu vacana
sarasAsaya kOpa bhAti krpAnvita sarOjAtA su-vadana

caranam 2
pAtavijaya nigamAdrta vihaga mAnyaratha gatamAya jaladhi
samAdhika varada vimalatara mukula shakala ruciradana

caranam 3
danu suta kari mrga parivrDha yaduvara sura nikara natapada
dharaNi dhara sArasa sama madahara sama sarasa jaladhara sadrshAnijakaja

caranam 4
nItipara mayi patatu su-krpa karigama pAvana parama
su-hrduragANDaja vara rINa kaluSa sAdara parihrta
dhUnIsha paramamada japAdhara tarasA kuru mudamayi sAladaLana
mura sAdana paTutama sAdhujana sharaNa sArasa su-nayana
sAra mrdu vacana jAmbunada vAsana bhairavI mE pApATavim parapuruSa khaNDaya


Meaning

 Oh lord Sarasijanabha! You are extolled by ascetics.  My mind is wavering and diffident.  Please protect me.
You are the abode of infinite bliss;  worshiped by Siva, Brahama, and others.  Bless me at once with good fortune, oh suzerain of the universe!
You have the faculty to make yourself huge at will, you give joy to a multitude of people;  allayed the feat of Gajendra. The beauty of your feet surpasses that of louts.  You destroy pride and cherish the scholars.  Your soft smile is unrivaled.  You fulfilled the desire of Garuda.  You are the destroyer of evils.  You sustain the world;  repose on the ocean of milk.  You are devoid of blemishes. You are more than the benevolent rain-laden clouds.
Oh, Quintessence of soft words!
You are a beautiful as Cupid is.  You are the embodiment of compassion. Your face is charming like the lotus.
You protected Arjuna.  You are understood by the scriptures.  You have esteemed Garuda as your mount.  You remove illusion. Your generosity excels that of the ocean.  Your teeth are brilliant like pieces of mirrors. 
Your feet are adored by Prahlada, Gajendra, and a host of celestials.  Oh, the gem of the Yadu clan!  Oh, Dharanidhara! You sustain the universe; you subdued the pride of Brahma.  Your dark and rich tresses resemble the rain-bearing clouds.
Oh, pure one!  with the majestic gait of an elephant, let me be the recipient of your supreme justice and compassion.  Adisesha and Garuda are close to your heart.   You are revered by those without sins.  You subdued the pride of the ocean.  You have exquisite red lips.  Please give me bliss at once.  Oh, one who pierced seven tresses with a single arrow.  The adroit vanquisher of demon Mura! You are the refuge of pious devotees. One with eyes like a lotus.
Your speech is the quintessence of softness.  Your raiment shines like molten gold.  Oh, Paramapurusha!  Please destroy my sins that are formidable and dense like a forest.