devi narayaneeyam 2 dasakam meaning {2hayagrIvakathA} Transliterated by...

devi narayaneeyam 2 dasakam slokas lessonதசகம் 2ஹயக்ரீவ கதை Transliterat...

nine gems of annamayya

https://gangageetanjali.blogspot.com/2023/02/origin-and-greatness-of-9-gems-nava.html 

praatasmaraneeyam 2 slokas for dawn

ANANTAKRSNA VARADARAJA ASHTAKAM AGHAMHARA /AANGARAI TEMPLE TRICHY

🕉BLESSED TO RECV ON VAIKUNTA EKADASI FROM SREE PR KANNANॐ

ANAMTHAKRSNA ASTAKAM 

६ षष्ठदशकः - व्यासनारदसमागमः

 

६ षष्ठदशकः  -    व्यासनारदसमागमः
त्वदिच्छया देवि पुलस्त्यवाचा पराशराद्विष्णुपुराणकर्तुः ।
मुनेर्हरिर्लोकहिताय दीपाद्यथा प्रदीपोऽजनि कृष्णनामा ॥ ६-१॥

वेदं चतुर्धा व्यदधत्स कृष्णद्वैपायनो व्यास इति प्रसिद्धः ।
वेदान्तसूत्राणि पुराणजालं महेतिहासं च महांश्चकार ॥ ६-२॥

तपः प्रवृत्तः कलविङ्कपोतं मात्रा स संलालितमाश्रमान्ते ।
पश्यन्नधन्यामनपत्यतां स्वां सपुत्रभाग्यातिशयं च दध्यौ ॥ ६-३॥

सत्पुत्रलाभाय तपश्चिकीर्षुस्तीव्रं महामेरुसमीपमेत्य ।
आराधनीयः क इति क्षणं स चिन्ताऽऽतुरो लोकगुरुः स्थितोऽभूत् ॥ ६-४॥

श्रीनारदस्तत्र समागतस्त्वत्कृपाकटाक्षाङ्कुरवन्महर्षिः ।
अर्घ्यादिसम्पूजित आसनस्थो व्यासेन पृष्टः प्रहसन्निवाह ॥ ६-५॥

किं चिन्तया कृष्ण भजस्व देवीं कृपावती वाञ्छितदानदक्षा ।
अहेतुरेषा खलु सर्वहेतुर्निरस्तसाम्यातिशया निरीहा ॥ ६-६॥

सैषा महाशक्तिरिति प्रसिद्धा यदाज्ञया ब्रह्मरमेशरुद्राः ।
ब्रह्माण्डसर्गस्थितिसंहृतीश्च कुर्वन्ति काले न च ते स्वतन्त्राः ॥ ६-७॥

यस्याश्च ते शक्तिभिरेव सर्वकर्माणि कुर्वन्ति सुरासुराद्याः ।
मर्त्या मृगाः कृष्ण पतत्रिणश्च शक्तेर्विधेयाः क इहाविधेयः ॥ ६-८॥

प्रत्यक्षमुख्यैर्न च सा प्रमाणैर्ज्ञेया तपोभिः कठिनैर्व्रतैश्च ।
न वेदशास्त्राध्ययनेन चापि भक्त्यैव जानाति पुमान् महेशीम् ॥ ६-९॥

तामेव भक्त्या सततं भजस्व सर्वार्थदां कृष्ण तवास्तु भद्रम् ।
इत्यूचुषि ब्रह्मसुते गते स व्यासस्तपोऽर्थं गिरिमारुरोह ॥ ६-१०॥

इहास्मि पर्याकुलचित्तवृत्तिर्गुरुं न पश्यामि महत्तमं च ।
सन्मार्गतो मां नय विश्वमातः प्रसीद मे त्वां शरणं व्रजामि ॥ ६-११॥

devi narayaneeyam५ पञ्चमदशकः - सुद्युम्नकथा

 

५ पञ्चमदशकः  -     सुद्युम्नकथा
जाता सुतेला मनुसप्तमस्य संप्रार्थितोऽनेन मुनिर्वसिष्ठः ।
शम्भोः कटाक्षेण सुतां कुमारं चक्रे स कालेन बभूव राजा ॥ ५-१॥

सुद्युम्ननामा मृगयाविहारी गतो हयारूढ इलावृतं सः ।
स्त्रीत्वं पुनः प्राप्य सुतं हिमांशोर्वव्रे पतिं पुत्रमसूत चैषा ॥ ५-२॥

न्यवेदयत्सा गुरवे वसिष्ठायैषा कदाचिन्निजपुंस्त्वकामम् ।
तत्साधनार्थं हरमेव दध्यौ मुनिः प्रसन्नस्तमुवाच शम्भुः ॥ ५-३॥

इलावृतं मा पुरुषः प्रयातु प्रयाति चेत्सोऽस्त्वबला तदैव ।
एवं मया निश्चितमेव सौम्य गौर्याः प्रसादाय भवान् प्रियो मे ॥ ५-४॥

न पक्षभेदोऽत्र ममास्ति गौरी भवांश्च तृप्तौ भवतां मदीयौ ।
इतः परं तस्य मनोरपत्यं मासं पुमान् स्याद्वनिता च मासम् ॥ ५-५॥

एवं शिवोक्तेन मनोरपत्यं लब्ध्वा च पुंस्त्वं धरणीं शशास ।
स्त्रीत्वे च हर्म्येषु निनाय कालं जनो न चैनं नृपमभ्यनन्दत् ॥ ५-६॥

पुरूरवस्यात्मसुतेऽर्पयित्वा राज्यं विरक्तो वनमेत्य भूपः ।
श्रीनारदाल्लब्धनवार्णमन्त्रो भक्त्या स दध्यौ भवतारिणीं त्वाम् ॥ ५-७॥

सिंहाधिरूढामरुणाब्जनेत्रां त्वां सुप्रसन्नामभिवीक्ष्य नत्वा ।
स्तुत्वा च भक्त्या स्थिरपुंस्त्वमेष लेभेऽथ सायुज्यमवाप चान्ते ॥ ५-८॥

शौर्यं न वीर्यं न च पौरुषं मे नैवास्ति च स्त्रीसहजा तितिक्षा ।
मूढो न जानाम्यशुभं शुभं च देयं त्वया मे शुभमेव मातः ॥ ५-९॥

पश्यानि मातः प्रवरान्गुरूंस्ते कारुण्यतो मां सुपथा नयन्तु ।
सत्सङ्गसम्भावितचित्तवृत्तिर्भवानि ते देवि नमः प्रसीद ॥ ५-१०॥

devinarayaneeyam ४ चतुर्थदशकः - मधुकैटभवधः

 

४ चतुर्थदशकः  -    मधुकैटभवधः
त्वं तामसी सुप्तरमाधवाङ्गजा श्यामा रुचा मोहनताम्रलोचना ।
एकार्णवे घोररणोत्सुकान् हरिं दैत्यौ च तौ स्मेरमुखी समैक्षथाः ॥ ४-१॥

पश्यत्यजे बाहुरणं मुरारिणा कृत्वा मधुः श्रान्तिमवाप सत्वरम् ।
अभ्येत्य युद्धं कुरुते स्म कैटभः श्रान्ते च तस्मिन्नकृताहवं मधुः ॥ ४-२॥

एवं मुहुः सङ्गरविश्रमावुभौ पर्यायतो वर्षसहस्रपञ्चकम् ।
ग्लानिं विना चक्रतुरच्युतः क्लमाद्विश्रान्तिमिच्छन्नसुरौ जगाद तौ ॥ ४-३॥

श्रान्तेन भीतेन च बालकेन च प्रभुः पुमान्नैव करोति संयुगम् ।
मध्येरणं द्वौ कृतविश्रमौ युवामेकः करोम्येव निरन्तराहवम् ॥ ४-४॥

ज्ञात्वा हरिं श्रान्तमुभौ विदूरतः सन्तस्थतुर्विश्रमसौख्यवांस्ततः ।
त्वामेव तुष्टाव कृपातरङ्गिणीं सर्वेश्वरीं दैत्यजयाय माधवः ॥ ४-५॥

देवि प्रसीदैष रणे जितोऽस्म्यहं दैत्यद्वयेनाब्जभवं जिघांसुना ।
सर्वं कटाक्षैस्तव साध्यमत्र मां रक्षेति वक्तारमभाषथा हरिम् ॥ ४-६॥

युद्धं कुरु त्वं जहि तौ मया भृशं सम्मोहितौ वक्रदृशेत्ययं त्वया ।
सञ्चोदितो हृष्टमना महार्णवे तस्थौ रणायाययतुश्च दानवौ ॥ ४-७॥

भूयोऽपि कुर्वन् रणमच्युतो हसन् कामातुरौ ते मुखपद्मदर्शनात् ।
तावाह तुष्टोऽस्म्यतुलौ रणे युवां ददाम्यहं वां वरमेष वाञ्छितम् ॥ ४-८॥

तावूचतुर्विद्धि हरे न याचकावावां ददावस्तव वाञ्छितं वरम् ।
नासत्यवाचौ स्व इतीरितो हरिस्त्वां संस्मरन् शत्रुजिगीषयाऽब्रवीत् ॥ ४-९॥

मह्यं वरं यच्छतमद्य मे यतो वध्यौ युवां स्यातमितीरितावुभौ ।
दृष्ट्वाऽप्सु लीनं सकलं समूचतुस्त्वं सत्यवाङ्नौ जहि निर्जले स्थले ॥ ४-१०॥

अस्त्वेवमित्यादृतवाङ्मुदा हरिः स्वोरौ पृथावुन्नमिते जलोपरि ।
कृत्वाऽरिणा तच्छिरसी तदाऽच्छिनत्स्वच्छन्दमृत्यू तव मायया हतौ ॥ ४-११॥

द्वेषश्च रागश्च सदा ममाम्बिके दैत्यौ हृदि स्तोऽत्र विवेकमाधवः ।
आभ्यां करोत्येव रणं जयत्वयं तुभ्यं महाकालि नमः प्रसीद मे ॥ ४-१२॥

devi narayaneeyam३ तृतीयदशकः - महाकाल्यवतारः

 

३ तृतीयदशकः  -    महाकाल्यवतारः
जगत्सु सर्वेषु पुरा विलीनेष्वेकार्णवे शेषतनौ प्रसुप्ते ।
हरौ सुरारी मधुकैटभाख्यौ महाबलावप्सु विजह्रतुर्द्वौ ॥ ३-१॥

समाः सहस्रं यतचित्तवृत्ती वाग्बीजमन्त्रं वरदे जपन्तौ ।
प्रसादिताया असुरौ भवत्याः स्वच्छन्दमृत्युत्वमवापतुस्तौ ॥ ३-२॥

एकाम्बुधौ तौ तरलोर्मिमाले निमज्जनोन्मज्जनकेलिलोलौ ।
यदृच्छया वीक्षितमब्जयोनिं रणोत्सुकावूचतुरिद्धगर्वौ ॥ ३-३॥

पद्मासनं वीरवरोपभोग्यं न भीरुभोग्यं न वराकभोग्यम् ।
मुञ्चेदमद्यैव न यासि चेत्त्वं प्रदर्शय स्वं युधि शौर्यवत्त्वम् ॥ ३-४॥

इदं समाकर्ण्य भयाद्विरिञ्चः सुषुप्तिनिष्पन्दममोघशक्तिम् ।
प्रबोधनार्थं हरिमिद्धभक्त्या तुष्टाव नैवाचलदम्बुजाक्षः ॥ ३-५॥

अस्पन्दता त्वस्य कयापि शक्त्या कृतेति मत्वा मतिमान् विरिञ्चः ।
प्रबोधयैनं हरिमेवमुक्त्वा स्तोत्रैर्विचित्रैर्भवतीमनौषीत् ॥ ३-६॥

नुतिप्रसन्नाऽब्जभवस्य तूर्णं निःसृत्य विष्णोः सकलाङ्गतस्त्वम् ।
दिवि स्थिता तत्क्षणमेव देवो निद्राविमुक्तो हरिरुत्थितोऽभूत् ॥ ३-७॥

अथैष भीतं मधुकैटभाभ्यां विरिञ्चमालोक्य हरिर्जगाद ।
अलं भयेनाहमिमौ सुरारी हन्तास्मि शीघ्रं समरेऽत्र पश्य ॥ ३-८॥

एवं हरौ वक्तरि तत्र दैत्यौ रणोत्सुकौ प्रापतुरिद्धगर्वौ ।
तयोरविज्ञाय बलं मुरारिर्युद्धोद्यतोऽभूदजरक्षणार्थम् ॥ ३-९॥

बिभेमि रागादिमहारिपुभ्यो जेतुं यतिष्येऽहमिमान् सुशक्तान् ।
तदर्थशक्तिं मम देहि नित्यं निद्रालसो मा च भवानि मातः ॥ ३-१०॥

२ द्वितीयदशकः - हयग्रीवकथा

 

२ द्वितीयदशकः  -    हयग्रीवकथा
रणेषु दैत्येषु हतेषु देवाः पुरा प्रहृष्टाः सहदातृशर्वाः ।
यियक्षवो यज्ञपतिं विनीताः प्रपेदिरे विष्णुमनन्तवीर्यम् ॥ २-१॥

दृष्ट्वा च निद्रावशगं प्रभुं तमधिज्यचापाग्रसमर्पितास्यम् ।
आश्चर्यमापुर्विबुधा न कोऽपि प्राबोधयत्तं खलु पापभीत्या ॥ २-२॥

हरेस्तदानीमजसृष्टवम्र्या मुखार्पणाकुञ्चितचापमौर्वी ।
भग्ना धनुश्चार्जवमाप सद्यस्तेनाभवत्सोऽपि निकृत्तकण्ठः ॥ २-३॥

कायाच्छिरस्तूत्पतितं मुरारेः पश्यत्सु देवेषु पपात सिन्धौ ।
चेतः सुराणां कदने निमग्नं हाहेति शब्दः सुमहानभूच्च ॥ २-४॥

किमत्र कृत्यं पतिते हरौ नः कुर्मः कथं वेति मिथो ब्रुवाणान् ।
देवान् विधाताऽऽह भवेन्न कार्यमकारणं दैवमहो बलीयः ॥ २-५॥

ध्यायेत देवीं करुणार्द्रचित्तां ब्रह्माण्डसृष्ट्यादिकहेतुभूताम् ।
सर्वाणि कार्याणि विधास्यते नः सा सर्वशक्ता सगुणाऽगुणा च ॥ २-६॥

इत्यूचुषः प्रेरणया विधातुस्त्वामेव वेदा नुनुवुः सुराश्च ।
दिवि स्थिता देवगणांस्त्वमात्थ भद्रं भवेद्वो हरिणेदृशेन ॥ २-७॥

दैत्यो हयग्रीव इति प्रसिद्धो मयैव दत्तेन वरेण वीरः ।
वेदान् मुनींश्चापि हयास्यमात्रवध्यो भृशं पीडयति प्रभावात् ॥ २-८॥

दैवेन कृत्तं हरिशीर्षमद्य संयोज्यतां वाजिशिरोऽस्य काये ।
ततो हयग्रीवतया मुरारिर्दैत्यं हयग्रीवमरं निहन्ता ॥ २-९॥

त्वमेवमुक्त्वा सदयं तिरोधास्त्वष्ट्रा कबन्धेऽश्वशिरो मुरारेः ।
संयोजितं पश्यति देवसङ्घे हयाननः श्रीहरिरुत्थितोऽभूत् ॥ २-१०॥

दैत्यं हयग्रीवमहन् हयास्यो रणे मुरारिस्त्वदनुग्रहेण ।
सदा जगन्मङ्गलदे त्वदीयाः पतन्तु मे मूर्ध्नि कृपाकटाक्षाः ॥ २-११॥

devi narayaneeyam १ प्रथमदशकः - देवीमहिमा

१ प्रथमदशकः  -    देवीमहिमा
यस्मिन्निदं यत इदं यदिदं यदस्मात्
     उत्तीर्णरूपमभिपश्यति यत्समस्तम् ।
नो दृश्यते च वचसां मनसश्च दूरे
     यद्भाति चादिमहसे प्रणमामि तस्मै ॥ १-१॥

न स्त्री पुमान् न सुरदैत्यनरादयो न
     क्लीबं न भूतमपि कर्मगुणादयश्च ।
भूमंस्त्वमेव सदनाद्यविकार्यनन्तं
     सर्वं त्वया जगदिदं विततं विभाति ॥ १-२॥

रूपं न तेऽपि बहुरूपभृदात्तशक्ति-
     र्नाट्यं तनोषि नटवत्खलु विश्वरङ्गे ।
वर्षाणि ते सरसनाट्यकलाविलीना
     भक्ता अहो सहृदया क्षणवन्नयन्ति ॥ १-३॥

रूपानुसारि खलु नाम ततो बुधैस्त्वं
     देवीति देव इति चासि निगद्यमाना ।
देव्यां त्वयीर्यस उमा कमलाऽथ वाग् वा
     देवे तु षण्मुख उमापतिरच्युतो वा ॥ १-४॥

त्वं ब्रह्म शक्तिरपि धातृरमेशरुद्रैः
     ब्रह्माण्डसर्गपरिपालनसंहृतीश्च ।
राज्ञीव कारयसि सुभ्रु निजाज्ञयैव
     भक्तेष्वनन्यशरणेषु कृपावती च ॥ १-५॥

माता करोति तनयस्य कृते शुभानि
     कर्माणि तस्य पतने भृशमेति दुःखम् ।
वृद्धौ सुखं च तव कर्म न नापि दुःखं
     त्वं ह्येव कर्मफलदा जगतां विधात्री ॥ १-६॥

सर्वत्र वर्षसि दयामत एव वृष्ट्या
     सिक्तः सुबीज इव वृद्धिमुपैति भक्तः ।
दुर्बीजवद्व्रजति नाशमभक्त एव
     त्वं निर्घृणा न विषमा न च लोकमातः ॥ १-७॥

सर्वोपरीश्वरि विभाति सुधासमुद्र-
     स्तन्मध्यतः परिवृते विविधैः सुदुर्गैः ।
छत्रायिते त्रिजगतां भवती मणिद्वी-
     पाख्ये शिवे निजपदे हसिताननाऽऽस्ते ॥ १-८॥

यस्ते पुमानभिदधाति महत्त्वमुच्चै-
     र्यो नाम गायति शृणोति च ते विलज्जः ।
यश्चातनोति भृशमात्मनिवेदनं ते
     स स्वान्यघानि विधुनोति यथा तमोऽर्कः ॥ १-९॥

त्वां निर्गुणां च सगुणां च पुमान् विरक्तो
     जानाति किञ्चिदपि नो विषयेषु सक्तः ।
ज्ञेया भव त्वमिह मे भवतापहन्त्रीं
     भक्तिं ददस्व वरदे परिपाहि मां त्वम् ॥ १-१०॥

CLICK BELOW FOR RECITATION LESSONS

DEVINARAYANEEYAM LESSON DASAKAM1:1

DASAKAM1:2

DASAKAM1:3

DASAKAM1:4/1

DASAKAM1:4/2

Devi narayaneeyam lesson dasakam 1:5/1

Devi narayaneeyam lesson dasakam 1:5/2

mayil kolam

 https://youtu.be/IU4f-p1csx4

mayil kolam

Alamelumanga Nee Abhinava Roopamu lesson

Alamelumanga Nee Abhinava Roopamu 

Annamayya Akshara Vedam Episode – 157 https://www.youtube.com/watch?v=ZGPnwkzr7Ms ॥పల్లవి॥ అలమేలుమంగ నీవభినవరూపము జలజాక్షుకన్నులకు చవులిచ్చేనమ్మా ॥చ1॥ గరుడాచలాధీశు ఘన వక్షమున నుండి పరమానందం సంభరితవై నెరతనములు చూపి నిరంతరము నాథుని హరుషించఁగఁ జేసితి గదమ్మా ॥చ2॥ శశికిరణములకు చలువల చూపులు విశదముగా మీఁద వెదచల్లుచు రసికత పెంపునఁ గరఁగించి యెప్పుడు నీ- వశము చేసుకొంటి వల్లభునోయమ్మా ॥చ3॥ రట్టడి శ్రీ వేంకటరాయనికి నీవు పట్టపురాణివై పరఁగుచు వట్టిమాఁకులిగిరించు వలపుమాటల విభు జట్టిగొని వురమున సతమైతివమ్మా

https://www.youtube.com/watch?v=Ll9ekWLvEss&list=PL4doz3WwRARDnJM--irYTAQE0yh-F6SSu&index=9 Alamelumanga Nee Abhinava Roopamu

https://www.youtube.com/watch?v=OUMIfPDPE9Y&list=PL4doz3WwRARDnJM--irYTAQE0yh-F6SSu&index=10

🌺🍃🌺🍃🌺🍃🌺🍃🌺 Preface :-- 🌹 Annamacharya In This sankeertana praises all The Good gestures and virtues of Mother Alamelumanga , 🙏 and praises her that , She could win the heart of The Lord 🙏 And make him Obedient to her by showing all her Love and affection towards the Lord !🙏 Here Goes the keertana as below 🌹👇 🌺🍃🌺🍃🌺🍃🌺🍃🌺 🌹🌹 Oh Alamelumanga ! 🙏 Your EverNew Youthful Elegance Is The Reason For The Lustre in The Eyes Of The Lotus Eyed Lord ! 🙏 🌹🙏🌹 🌹🌹 Be Being On The Broad Chest Of The Lord Of Garudadri Hill ,🙏 You Are Possessing , All The Supreme Joy Being With The Lord !🙏 Showing All Your Respectable Virtues Always To The Lord ,🙏 You Are Making Him To Be ,Pleasant And Glad Always ! Oh Mother !!🙏 🌹🙏🌹 🌹🌹 Your Graceful Looks Are Even Pleasant Than The Moon Light ! 🙏 With All Purity You Are Showering , Your Graceful Looks Upon The Lord !🙏 By Your Exceeding Art And Lovely Virtues , 🙏 And By Making His Heart Melting Towards You ,🙏 You Have Made The Lord To Be Always Humble With You ! Oh Mother !🙏 🌹🙏🌹 🌹🌹 To The Lord Sri Venkateswara Who Is Openly Exposed To All , 🙏 You Are Always Existing With Him By Getting Crowned As His Consort !🙏 Your Lovely Talks Can Even Sprout Up An Exhausted Tree Back ,🙏 With Such Lovely Gestures You Are United With The Lord As his Consort ,🙏 By Staying In His Heart Always ! Oh Mother !!🙏 🌹🙏🌹

ANANTAKRSNA VARADARAJA ASHTAKAM AGHAMHARA /AANGARAI TEMPLE TRICHY

Devi Narayaniyam DASAKAMS దేవీనారాయణీయం అనుక్రమణికా

 

Devi Narayaniyam

 దేవీనారాయణీయం 
అనుక్రమణికా
             దశకః
       1 ప్రథమదశకః  -   దేవీమహిమా
       2 ద్వితీయదశకః  -   హయగ్రీవకథా
       3 తృతీయదశకః  -   మహాకాల్యవతారః
       4 చతుర్థదశకః  -   మధుకైటభవధః
       5 పంచమదశకః  -   సుద్యుమ్నకథా
       6 షష్ఠదశకః  -   వ్యాసనారదసమాగమః
       7 సప్తమదశకః  -   శుకోత్పత్తిః
       8 అష్టమదశకః  -   పరమజ్ఞానోపదేశః
       9 నవమదశకః  -   భువనేశ్వరీదర్శనః
      10 దశమదశకః  -   శక్తిప్రదానం
      11 ఏకాదశదశకః -   బ్రహ్మనారదసంవాదః
      12 ద్వాదశదశకః  -   ఉతథ్యజననం
      13 త్రయోదశదశకః -   ఉతథ్యమహిమా
      14 చతుర్దశదశకః -   సుదర్శనకథా - భరద్వాజాశ్రమప్రవేశం
      15 పంచదశదశకః  -   సుదర్శనకథా - దేవీదర్శనం
      16 షోడశదశకః  -   సుదర్శనవివాహం
      17 సప్తదశదశకః  -   సుదర్శనకోసలప్రాప్తిః
      18 అష్టాదశదశకః -   రామకథా
      19 ఏకోనవింశదశకః -   భూమ్యాః దుఃఖం 1
      20 వింశదశకః  -   దేవకీపుత్రవధం
      21 ఏకవింశదశకః -   నందసుతావతారః
      22 ద్వావింశదశకః  -   కృష్ణకథా
      23 త్రయోవింశదశకః -   మహాలక్ష్మ్యవతారః
      24 చతుర్వింశదశకః -   మహిషాసురవధం - దేవీస్తుతిః
      25 పంచవింశదశకః -   మహాసరస్వత్యవతారః
      26 షడ్వింశదశకః  -   సురథకథా
      27 సప్తవింశదశకః -   శతాక్ష్యవతారః
      28 అష్టావింశదశకః -   శక్త్యవమానదోషః
      29 ఏకోనత్రింశదశకః -   దేవీపీఠోత్పత్తిః
      30 త్రింశదశకః  -   శ్రీపార్వత్యవతారః
      31 ఏకత్రింశదశకః -   భ్రామర్యవతారః
      32 ద్వాత్రింశదశకః  -   యక్షకథా
      33 త్రయస్త్రింశదశకః -   గౌతమకథా
      34 చతుస్త్రింశదశకః -   గౌతమశాపః
      35 పంచత్రింశదశకః -   అనుగ్రహవైచిత్ర్యం
      36 షట్త్రింశదశకః  -   మూలప్రకృతిమహిమా
      37 సప్తత్రింశదశకః -   విష్ణుమహత్త్వం
      38 అష్టాత్రింశదశకః -   చిత్తశుద్ధిప్రాధాన్యం
      39 ఏకోనచత్వారింశదశకః -   మణిద్వీపనివాసినీ
      40 చత్వారింశదశకః -   ప్రార్థనా
      41 ఏకచత్వారింశదశకః -   ప్రణామం

Anjaneya geetam hanumant jayanthi

 https://youtu.be/c2yQb1wx3B4

tvmp

 https://youtube.com/clip/Ugkx49-B7GRE68TY8jYFfEBLfWaUTOTtudnv

tvmp2/1

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
     

---

Govinda aasruta

https://youtu.be/qx9_IoruEXQ 

https://youtu.be/gq2Tg6QJ9JY

https://youtu.be/gq2Tg6QJ9JY

Siva maadhuDane dharmavati and compare madhuvanti

 https://youtu.be/VzWKT47ZEkIGovinda aasruta annamayya madhuvanti

https://youtu.be/VzWKT47ZEkI

https://youtu.be/ViuEqozLHY8

amba ninnu ragamalika

 Ragam: Gowli Panthu { (51st Mela janyam; some consider it as 15th mela janyam with M1 as primary...)

                ARO: S R1 M2 P N3 S         ||

                AVO: S N3 D1 P M2 G3 R1 S              ||

Ch5 Neelambari

https://youtu.be/DuSsuLkPIe4

parandhaamavati lesson dharmavati roopaka anga taala muthuswami dhikshita

parandhaamavati lesson

 

isai kolam bhaktiyal tiruppugazh ssjss tnly

 

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 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.

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…]

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

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https://youtu.be/XKMo-dhB6do