Thursday, 30 November 2023
Tuesday, 28 November 2023
Saturday, 11 November 2023
Tuesday, 7 November 2023
Wednesday, 1 November 2023
Monday, 23 October 2023
Saturday, 21 October 2023
Monday, 16 October 2023
Saturday, 14 October 2023
Wednesday, 11 October 2023
Sunday, 8 October 2023
Sunday, 1 October 2023
Wednesday, 27 September 2023
Saturday, 23 September 2023
Monday, 18 September 2023
Friday, 1 September 2023
Wednesday, 23 August 2023
Monday, 14 August 2023
Monday, 17 July 2023
Kasi Visalakshi - Kanchi Kamakshi - Madurai Meenakshi
Kamakshi-Meenakshi-Visalakshi: While there are several other forms of Devi describing her eyes, three forms, namely Kamakshi, Meenakshi, Visalakshi enjoy a certain privileged status. In popular folk lore, they are referred to as ‘Kanchi Kamakshi Madurai Meenakshi Kasi-Visalakshi’. What makes this trio so unique? The connection between them has several different aspects, when understood from the Shakta perspective. This esoteric knowledge is evidently understood by Muthuswami Dikshitar, celebrated for his extraordinary musical and scholarly genius. In his kritis on these three Goddesses, he presents this occult knowledge in common frameworks used in compsitions on the three Goddesses.
Saamarasya: This concept of Purusha and Prakriti being equal and inseparable is known and explained by the word Saamarasya. Shiva and Shakti are co-equal in nature,This concept forms the basis of the first words in Adi Shankaracharya spiritual gems- The Soundarya Lahari and Kanakadhara Stotram.This concept is evident in Muthuswami Dikshithar’s kritis on the three Goddesses, where he specifically makes a reference to Devi’s consort Shiva in each of the three kshetras. Dikshithar refers to the name of the Patron Deity in each of the places. These references are clearly demonstrated:
Kamakshi: Kanjadalaayataakshi: Charanam (madhyama kala sahityam): Ekambreshagruheshwari
Meenakshi: Meenakshi MeMudam: Charanam: Mahadeva Sundareshapriye
Visalakshi: Kasi Visalakshim: Anupallavi: Kasi Vishveshwara Manolaasa-karineem
Dikshithar has written compositions in praise of the forms of Shiva at the respective kshetras too. Staying true to this school of thought of Saamarasya, he has made references to Shiva’s consort with the corresponding name.
Kamakshi: Ekamranathaya Namaste: Charanam: Kamakshi Samethaya
Meenakshi: Sundareshwaraya: Anupallavi: Meenakshi Mohithaya
Visalakshi: Sri Vishwanatham Bhajeham: Anupallavi: Sri Visalakshi Gauri Sametham
Kshetra: Dikshithar directly refers to the Kshetras in his kritis eulogizing these Goddesses.
Kamakshi: Kanjadalaayataakshi: Charanam: Shri Kanchainibhasane
Meenakshi: Meenakshi Memudam: Charanam: Madhurapuri Nilaye
Visalakshi: Ehi Annapoorne: Charanam: Kasi Kshetra Nivasini
Sthala Puranas: Each kshetra has certain legends about it, which are recorded in texts known as the sthala puranas. These describe in great length the legends, miracles and tales of events that have happened at the kshetra.
The sthala purana of Kanchipuram refers to the story of Muka-a mute devotee of Kamakshi, who attained Kamakshi’s grace through a divine occurrence, and composed five hundred verses in praise of her-known till date as Muka Panchasathi. This story of the sthala purana finds a reference in Dikshithar’s kriti in Saraswati Manohari: muka-vaak-pradaanakari: one who blessed Muka with the power of speech.
The sthala purana of Madurai cites the story of Meenakshi, and her unmatched conquests across the world. Describing her glory as a warrior, the sthala purana alks about Meenakshi who took upon the title of ‘Digvijayam’, or conquering all the directions.
In the kriti Mamava Meenakshi, where Dikshithar refers to her as ‘Digvijayaprathaapini’.
In Kasi, according to Shakta Sampradaaya, Visalakshi gives the soul salvation, leading them to Vishveshwara himself. This is captured in lines in his compositions-Kasi Visalakshim Bhajeham and Annapoorne respectively: ‘Pasha Mochanim’, ‘Moksha Prada Chature’.
Kamakshi: Saraswati Manohari: Charanam (madhyama kala sahityam): Muka Vaak Pradaanakari
Meenakshi: Mamava Meenakshi: Anupallavi: Digvijayaprathapini
Visalakshi: Visalakshim Bhajeham: Charanam: Pasha Mochanim
Sodari-Sodara Sambandha: The Devi Bhagavatham describes Vishnu and Parvathi as siblings. This relationship is cited in the Lalitha Sahasramanama, where Parvati is addressed as ‘Padmanabha Sahodari’. Dikshithar makes references to Vishnu in his kritis, clearly highlighting this sodari-sodara sambandha.
Kamakshi: Kamakshi Shri Varalakshmi: Anupallavi: Kamajanaka Purna Phale , Bilahari-nutha-kamale
Meenakshi: Meenakshi Memudam: Charanam: Madhumuraripu Sodari
Visalakshi: Kasi Visakshim: Charanam: Mukundavarapradaayineem
Akshara Vidya: The word Akshara has multiple meanings-if it is split up, means that which is not destroyed. (A+kshara). This word is applied to Bramhan, the metaphysical reality, and alphabets/letters, both extolled in the Vedas, for technically speaking, neither can be destroyed. Aksharas in certain combinations give rise to mantras. Dikshithar applies all these concepts under a single word, into his kritis. In his kriti Saraswati Manohari, Dikshithar identifies Kamakshi as the form of every letter, beginning with the primordial ‘a’-Akaaradyakshara Swarupini.
In Sri Madhurambike, he refers to Meenakshi as the one who represents all forms of the alphabet: Kaadi, Haadi and Saadi-the three divisions according to which Sanskrit (and subsequent languages derived from it) is split into.
In ‘Ehi Annapoorne’, he refers to Visalakshi as the embodiment of all the fifty letters-Panch-Shad Varne.
Advaita Siddhantha: At the heart of his being, Muthuswami Dikshithar was a Advaithin. One can even venture as far to say that this is a favourite theme of his, for a general study of all his kritis, on multiple Gods and Goddesses, shows a reference to advaitha.
In the case of this context, Dikshithar calls out to Kamakshi as the supreme representation of Advaitha: Parama-advaitha-Rupini,
He refers to Meenakshi as tat-tvam-pada-artha-yugale, meaning the true embodiment of the term: ‘tath’. This is a clear reference to the Upanishad saying ‘Tat-tvam-asi’, one of the four jewels of the Advaitha philosophy.
Visalakshi, in his words is Vinoda Jaalinim-one who playfully spins the illusory web of this world. This reference of his talks about the essential nature of Maya in creating the Universe.
Kamakshi: Saraswati Manohari: Charanam: Paramadvaita Rupini
Meenakshi: Sri Meenakshi Gauri: Charanam: Tatvam Padaartha yugale
Visalakshi: Visalakshim Vishveshim: Vinoda Jaalinim
One does not often come across music where one uses spirituality as the point of departure to connect the Rasika, the patron, and the musician, to aspects of esoteric philosophies. Muthuswami Dikshithar’s compositions on Kamakshi, Meenakshi and Visalakshi stand testimony to the fact that his understanding of Sri-Vidya and Advaitha Siddhantha become the foundation of his compositional framework. He reinforces these beliefs by adding in several elements, while adhering strongly to tradition. This common methodology he has used in putting together these compositions make them not only pleasing to the ear, but make them a deeply spiritual experience. These compositions contain esoteric secrets of Devi, and they do so in such an endearing format, that they cease to become unapproachable testaments. The compositions come alive, as seen and felt by those who have heard and been touched by their renderings. This common structuring used in these kritis shows such a clear intended connection by the composer, though not evident in first glance. Keeping these aspects in mind, one can safely say this: Muthuswami Dikshithar cannot be referred to as a mere composer-musician. He is in fact, a Sangeeta Yogi, one who uses music as a medium to experience the divine bliss that resides within each of us-the essence of Advaitha philosophy, so subtly delivered.
Cause of
Kamakshi - Shiva Burnt Kama - Restore Kama
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Meenakshi - Parvati Not paying attention to Shiva
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Vishalakshi - Shiva Not paying attention to Annapoona
Monday, 12 June 2023
Durga
- Mahâ Laksmî to Visnu,
- Mahâ Kâli to S’iva, and
- Mahâ Sarasvatî to me and bade good bye to us.
Monday, 5 June 2023
Wednesday, 31 May 2023
Sunday, 28 May 2023
Tuesday, 9 May 2023
Sunday, 30 April 2023
Thursday, 27 April 2023
Vedic and Puranic Concept
In the Vedic theology, there are two main deities that we find: Agni and Indra. Agni is the central deity of the Veda, and Indra is the head-deity. Agni is the face of Gods, and all Vedic worship is offered to various Gods through Agni. Thus Agni is central. And the Lord of all deities is Indra, thus Indra is the head-deity or the Godhead.
We can compare this, to the way in a family the husband is head of the family and the wife is the center of the family connecting and managing the entire family.
In Saiva – Śāktā parlance, we find Śiva-Śakti dual to be similar to this. Śiva is Īśvara, the Lord. He is the guiding principle. Śakti is pervading, the principle of manifestation, causing creation, sustaining and dissolving it. She does it, inspired by and for the Lord. Vedic Indra can be seen as Īśvara and Vedic Agni, the divine will, can be seen as Śakti in Saiva – Śāktā parlance. The close association of the Mother with Vedic Agni is further explained through Her epithets like Agni Kunḍa samudbhava (discussed above), Agni Sikha (having fire for Her hair). The symbolism of Lalita Herself assuming the form of the power of divine will reinforces this idea.
Further, triputi is directly related to the Vedic theology. In the Paurānika trimurty concept, Brahma, Viṣṇu and Rudra preside over creation, sustenance and dissolution functions. They are representatives of Śatva, Rajas and Tamas. According to Yāska, they derive from the Vedic triplet Agni (Fire God), Āditya (Sun God) and Vāyu (Air God). The older Śāktā schools like Candi (Mother Durga) speak of this triplet. In the more recent ŚrīVidyā, the corresponding aspect of Vāyu finds a replacement with Śoma (Moon God). Both Vāyu and Soma are aspects of Rudra. However Vāyu signifies strength while Śoma bliss, and therefore the corresponding God/Goddess being worshiped have these qualities too. Thus, while Candi is representative of power and anger, Lalita is a pleasant form.
The three functions of creation, sustenance and dissolution, are further expanded into five functions. They are sṛṣṭi(creation), sthiti(sustenance), laya (dissolution), tirodana (veiling of individual consciousness through māya) and anugraha (unveiling, making the individual realize the Truth beyond Māya). The Mother presides over these five functions, and hence is called Pancha Krtya Pārāyana. The representatives of these five functions are Brahma (creation), Viṣṇu (sustenance), Rudra (dissolution), Īśvara (veiling) and SadāŚiva (unveiling, absolute truth). All these five derive their life force, the strength to act, from the Mother. These five deities are said to form her royal chair, with Brahma, Viṣṇu, Rudra and Īśvara forming four legs and SadāŚivaforming the plank. Hence the Mother is called Pancha Brahmāsanāsīna. Pancha is five, āsana is seat, asīna is having sit on the seat. The five Brahmas are the five deities mentioned.
Without Her, they are lifeless corpses. That is why the Mother is also called Pancha Pretāsanāsīna or seated on the seat of five corpses. Preta means corpse.
Saturday, 1 April 2023
Tuesday, 28 March 2023
Poor Rich
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Saturday, 18 March 2023
Wednesday, 15 March 2023
Tuesday, 14 March 2023
Seven Sisters
- Poleramma: The shrine of Poleramma is outside the village. In some places it consists of stones, two or three feet long that is set upright in the ground on three sides of a small square, the fourth side being left open. A flat stone is placed on the top. Poleramma is considered as the goddess of smallpox in the Telugu speaking regions. She is also responsible to some extent for all other troubles in the village like cattle disease, drought, and sickness among the people.
- Ankamma: Akamma has lot of similarities with Poleramma. She is represented by an unfinished stone image in a little temple outside the village. Ankamma is often described as a household god. As a household goddess she is represented by a pot in which there are some shells, little earthen mugs, and other similar articles. The shells represent the teeth of devils and the pots represent the food which they yearn for.
- Muthyalamma: Muthyalamma is a Hindu goddess who is a form of Goddess Durga or Goddess Kali. In Hyderabad there are several temples dedicated to her. She is worshipped in Ashada month during Mahankali festival in Telangana. It is believed that she is worshipped in order to bring rain.
- Dilli Polasi: Dilli Polasi is a household and a village deity. As a household goddess she is represented by a several pots placed one on top of another. During household worship the mother of the wife sends new clothes to her daughter and son-in-law. The public worship is more often engaged in by one family or a group of related families.
- Bangaramma: This goddess is given less importance as compared to other sisters. She has no temple of her own but her image is also placed in the temple of Poleramma. At times she receives a small share of the worship. Again there are similarities in the worship of Bangaramma and Poleramma. The word Bangaramma means ' the golden one ' that describes her mild nature.
- Mathamma: Mathamma is especial goddess of the Madigas. All castes fear her. Due to this excepting Madigas nobody can take an active part in the ceremonies. As Madigas are poor, her worship is not elaborate as that of the other goddesses.
- Renuka: Renuka is worshiped as the Goddess of the fallen, in the Hindu pantheon. She is a patron goddess of rural folk of Karnataka and Andhra Pradesh. Her devotees have revered her as the "Mother of the Universe". She is worshipped mostly in South India, especially in Karnataka, Tamil Nadu, Andhra Pradesh and Maharashtra, where the deity is known by several names like Mahankali, Jogamma, Somalamma, Renukamata.
Sunday, 5 March 2023
Saturday, 4 March 2023
Radha
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Sunday, 26 February 2023
Monday, 20 February 2023
Wednesday, 15 February 2023
Tantras Mantras
According to Tantras, she revealed through the North face, which is one six Faces of Shiva. This face is blue in colour and with three eyes and also revealed the
- Dakshinakalika,
- Mahakali,
- Guhyakali,
- Smashanakalika,
- Bhadrakali,
- Ekajata,
- Ugratara (fierce Tara),
- Taritni,
- Chhinnamasta,
- Nilasarasvati(Blue Saraswati),
- Durga,
- Vashuli,
- Dhumavati,
- Visalakshi,
- Parvati,
- Bagalamukhi,
- Pratyangira,
- Matangi,
- Mahishasuramardini,
- Jayadurga
Tuesday, 31 January 2023
Macro Micro
A king had lost his kingdom and a businessman his business – both had lost their livelihood. They go to a guru – Markandeya Rishi and they bow down to him. He guides them.
“You have lost your kingdom because you were arrogant, and you lost your business because you were blind, arrogance greedy. To get over narrow-mindedness, arrogance, greed, serve the Mother Divine. Listen to the story of Mother Divine. When the energy and prana wake up, all blessings will beckon you. All your desires will come to you.”
They connected the macro and microcosm.
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