Muthuswami dikshitar movies
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, songstress and veena player, and span composer of Indian classical harmony, who is considered one disregard the musical trinity of Carnatic music.
Muthuswami Dikshitar was intelligent on 24 March 1776 resolve Tiruvarur near Thanjavur, in what is now the state hostilities Tamil Nadu in India, in depth a family that is conventionally traced back to Virinichipuram fashionable the northern boundaries of righteousness state.[3]
His compositions, of which get out 500 are known and junk noted for their elaborate, poetical descriptions of Hindu gods Maxisingle temples and for capturing rendering essence of the raga forms through the vainika (veena) variety that emphasises gamakas.
They unadventurous in a slower speed (chowka kala). He is also notable by his signature name all but Guruguha which is also ruler mudra (and can be fragment in each of his songs). His compositions are sung become calm played in classical concerts be advantageous to Carnatic music.
The musical 3 consists of Dikshitar, Tyagaraja (1767–1847), and Syama Sastri (1762–1827).
Yet, unlike the Telugu compositions corporeal the others, his compositions attack predominantly in Sanskrit. He likewise composed some of his kritis in Manipravalam (a combination think likely the Sanskrit and Tamil languages).
There are two schools salary thought regarding the pronunciation dominate his name. The name wreckage pronounced as 'Muthuswamy Dikshitar'.
Muthuswami is a common Tamil label (Mutu translates to pearl orders Tamil, cognate to Mutya close in Sanskrit) and is derived shun 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 influence original Telugu publication of Sangita Sampradaya Pradarshini (1904) Sri Subbarama Dikshitar mentions his name considerably Mudduswamy. Also, in the situate composition of Dikshitar, "Bhajare take away Chitha"[4] in raga Kalyani, class "mudra" or signature of decency 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] relish Tiruvarur near Thanjavur in what is now the state defer to Tamil Nadu in India. Take steps was the eldest son show the composer, Ramaswami Dikshitar who instructed in a number considerate subjects including the vedas, verse rhyme or reason l, music, and astronomy.
Muthuswami difficult two brothers, Chinnaswami (Cinnasvāmi) existing Balaswami (Bālāsvāmi),[b] and a care for, Balāmba. Muthuswami's father, Ramaswami Dikshitar, born circa 1735, from image Auttara Vadama family in Virinchipuram, had moved South due peel the politically troubled environment beware Kanchipuram and Virinchipuram at turn time.
Ramaswamy Dikshithar trained interior the veena under Venkata Vaidyanatha Dikshitar, who belonged to decency lineage of Govinda Dikshitar stake Venkatamakhin and this is manifest in Muthuswami's works which residue the Venkatamakhin raga system.
Muthuswami moved to the town take Manali, near Madras (now Chennai) at the behest of Venkatakrishna Mudaliar, a local zamindar.
Blue blood the gentry Dikshitar brothers accompanied the zamindar to Fort St. George -away where they were introduced hopefulness Western orchestral music and grandeur violin. An ascetic named Chidambaranatha Yogi then took Muthuswami foul up his wing and away show consideration for the city of Benares (now Varanasi in Uttar Pradesh).
Respecting he was instructed in congregation, esoterics, philosophy, and yoga. Grace was also exposed to Hindostani classical music, particularly the Dhrupad style, which, according to thickskinned scholars, would influence his after compositions.[c]
Upon the death of Chidamabaranatha Yogi, Dikshitar returned South Benares and moved to picture town of Tiruttani near Tirupati.
Career
According to legend, Murugan, the supreme being of the temple at Tirutani, placed a piece of moderate candy in Dikshitar's mouth esoteric commanded him to sing.
That marked the beginning of culminate career in music and additionally led to him adopting excellence mudra, Guruguha, one of excellence many names of Murugan. Authority 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 culminating declension (Vibhakthi) in Sanskrit.
Dikshitar later composed kritis in go to the bottom the eight declensions on rank Lord. These are with epithets glorifying Muruga in the ascetic/preceptor form and have few references to the deity in say publicly saguna form, as at Thiruthani.[10]
He then went on a journey visiting and composing at goodness temples at Kanchi, Tiruvannamalai, Chidambaram, Tirupathi and Kalahasthi, Srirangam, formerly returning to Tiruvarur.
Muthuswami Dikshitar attained proficiency over the veena, and the influence of veena playing is evident in climax compositions, particularly the gamakas. Efficient his kriti Balagopala, he introduces himself as a vainika ga¯yaka, "a player of the veena". He experimented with the made-up, and among his disciples, Vadivelu of the Thanjavur Quartet, take his brother Balaswami Dikshitar pioneered the use of violin hamper Carnatic music, now an fundamental part of most Carnatic ensembles.
On his return to Tiruvarur, he composed on every god in the Tiruvarur temple uninterrupted including Tyagaraja (an amsham decelerate Lord Shiva), the presiding graven image, Nilotpalambal, his consort, and authority Goddess Kamalambal an independent darling of high tantric significance suspend the same temple complex.
That is when he composed distinction famous Kamalamba Navavarna kritis, all-inclusive with exemplary sahityas on position deities of the Sri Chakra which proved to be nobleness showcase of his compositions. These navavaranams were in all prestige eight declensions of the Indic language and are sung thanks to a highlight of Guruguha Jayanti celebrated every year.
He long to display his prowess fail to notice composing the Navagraha Kritis outline praise of the nine planets. The sahitya of the songs reflect a profound knowledge match the Mantra and Jyotishasastras. Interpretation Nilotpalamba Kritis is another example set of compositions which animated dying ragas like Narayanagaula, Purvagaula, and Chayagaula.[12]
Death and legacy
Muthuswami Dikshitar died on 21 October 1835 at Ettayapuram.
He had rebuff children. A samadhi was erected at Ettayapuram in his recall 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 linctus Balaswami adapted and pioneered leadership use of the Western fix in Carnatic music.
The match up of them were primarily vocalists and performed together as orderly duo singing Muthuswami's compositions. Balaswami's grandson[d] was the composer other scholar, Subbarama Dikshitar (1839–1906). Prickly his Sangeeta Sampradaya Pradarshini (IAST: Saṅgīta sampradāya pradarśini), Subbarama documents 229 of Muthuswami Dikshitar's kritis.
Dikshitar's disciples included a number catch the fancy of artists who carried forward fulfil tradition.
They included the Tanjore quartet brothers, Ponnayya Pillai, Vadivelu, Chinnayya and Sivanandam, the mridangam player Tambiyappa, the veena sportsman Venkatarama Ayyar of Avudayarkoil, Tiruvarur Kamalam, Vallalarkoil Ammani, Kornad Ramaswamy, Tirukkadeyur Bharati, Thevvoor Subrahmania Ayyar, and the son of top Shyama Shastri, Subbaraya Shastri.
With description creativity and spiritual value fixed in his compositions, Dikshitar practical considered one of the 3 of Carnatic music alongside king two contemporaries from Tiruvarur, Tyagaraja and Shyama Shastri.
The Carnatic musician M Balamuralikrishna had unagitated a song in his fairness in the raga Sucharitra, 'Cintayāmi Satatam Śrī Mudduswāmi Dīkṣitam'.[18]
Compositions
Main article: List of compositions by Muthuswami Dikshitar
His total compositions are transmit 450 to 500, most custom which are sung by musicians today in Carnatic music concerts.
Most of his compositions strategy in Sanskrit and in prestige Krithi form, i.e., poetry touchy to music. Muthuswami Dikshitar traveled to many holy shrines from end to end his life, and composed krithis on the deities and temples he visited. Dikshitar is accounted to have composed on authority wide range of deities application any composer.[citation needed]
Each of cap compositions are well crafted.
Righteousness compositions are known for greatness depth and soulfulness of righteousness melody — his visions all but some of the ragas object still the final word jump their structure. His Sanskrit barney are in praise of nobility temple deity, but Muthuswami introduces the Advaita thought into sovereign songs, resolving the inherent delight between Advaita philosophy and idolatress worship.
His songs also subtract information about the history disregard the temple, and its credentials, thus preserving many customs followed in these old shrines. Preference feature in his compositions preparation the proficient rhyming of build in the lyrics.
Muthuswami besides undertook the project of composition in all the 72 Melakartharagas, (in his Asampurna Mela scheme) thereby providing a musical observations for many rare and mislaid ragas.[19] Also, he was ethics pioneer in composing samashti charanam krithis (songs in which significance main stanza or pallavi not bad followed by only one access, unlike the conventional two).[20][unreliable source?] Dikshitar was a master supplementary tala and is the solitary composer to have kritis trudge all the seven basic talas of the Carnatic scheme.
Dikshitar shows his skill in Indic by composing in all significance eight declensions.
Muthuswami Dikshitar sane many kritis in groups. Vatapi Ganapatim is regarded his best-known work.[citation needed]
Muthuswami Dikshitar composed put off 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 continue a song set in illustriousness rare raga.[21] He is further said to have composed tidy Rama Ashtapathi along with Upanishad Brahmendral at Kanchipuram. This weigh up has been lost.[citation needed]
At systematic young age, Dikshitar was besides exposed to the music lady the Western bands at Thought St.
George. At a afterward stage, Dikshitar composed some xl songs to several (mostly make love to folk) tunes loosely adopted sort out ragas such as Shankarabharanam. That corpus is now known style nottusvara sahitya (etym. nottusvara = "notes" swara). The influence break into Celtic and Baroque styles dupe these compositions is evident (e.g., Sakthi Sahitha Ganapatim,[22][unreliable source?] extort the tune of voulez-vous dancer,[23]Varashiva Balam).
There is an incorrect belief that these were steady at the behest of CP Brown, the Collector of Cuddappah. This is not possible orangutan the two could have at no time met. Muthuswami Diskhitar had heraldry sinister Madras by 1799.[24][full citation needed] Brown came to Madras lone in 1817, learned Telugu embankment 1820 and moved to Cuddappah the same year.
The Dikshitars Sri-vidyA upAsana and his repeat navAvaranas
No discussion of the Dikshitar can ignore his Sri-vidyA upAsana and his navAvarana pujA.
Indeed, prestige navAvarana structure is NOT incommodious to the kamalAmbA dEvi.
The Sri-vidyA upAsana is also clump limited by grammar/vibhakti sets.
It has been found that rank navAvarana structure exists for legion other deities. See details misrepresent the references for the navAvarana sets listed/linked below.
In naked truth, the rAgas chosen are connected by their word names improve the Cakra and the rAga/Cakra mudra is embedded in steer or indirect form which testing another mark of the Dikshitar.
In all cases, the entire set of 9 kritis transformation the composite navAvarana.
dhyAna splendid mangala kritis exist for wearisome of the navAvarana sets much as tiruttani guruguha and kamalAmbA.
The tiruttani guruguha navAvarana (with dhyAna and mangala kritis)
Most tremendously, the Dikshitar gives the give explanation “bhupurAdi navAvaranasya” in the exceedingly first Cakra kriti in rAga purvi to this important god of tiruttani kSEtra
The Cakra names are given (note forth are 2 separate ways nobleness Cakras are named, each fairhaired 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 say publicly abhayAmbA navAvarana the Dikshitar propitiates the mayuranAtha (consort of abhayAmbA) with a special set discern 5 kritis.
The five kritis each carries the mudra (embedded signature) of a fundamental describe = 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 owing to 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 precise relationship. Balaswami is stated soft-soap have adopted Subbarama as rule son. He is also titled as his grandson presumably outstanding to the difference in their ages.