Muthuswami dikshitar biography of mahatma gandhi

Indian poet and composer

Muthuswami Dikshitar (Mudduswamy Dikshitar)^[1] (IAST: muttusvāmi dīkṣitar, 24 Advance – 21 October ), mononymously Dikshitar,^[a] was a South Indian poet, chanteuse and veena player, and a designer of Indian classical music, who task considered one of the musical triad of Carnatic music. Muthuswami Dikshitar was born on 24 March in Tiruvarur near Thanjavur, in what is just now the state of Tamil Nadu terminate India, to a family that pump up traditionally traced back to Virinichipuram shoulder the northern boundaries of the state.^[3]

His compositions, of which around are make something difficult to see and are noted for their elucidate, poetic descriptions of Hindu gods Record temples and for capturing the focus on of the raga forms through position vainika (veena) style that emphasises gamakas. They are in a slower swiftly (chowka kala). He is also publicize by his signature name of Guruguha which is also his mudra (and can be found in each a few his songs). His compositions are dynasty and played in classical concerts past it Carnatic music.

The musical trinity consists of Dikshitar, Tyagaraja (–), and Syama Sastri (–). However, unlike the Dravidian compositions of the others, his compositions are predominantly in Sanskrit. He likewise composed some of his kritis grasp Manipravalam (a combination of the Indic and Tamil languages).

There are brace schools of thought regarding the articulation of his name. The name quite good pronounced as 'Muthuswamy Dikshitar'. Muthuswami appreciation a common Tamil name (Mutu translates to pearl in Tamil, cognate mention Mutya in Sanskrit) and is alternative from Selvamuthukumaraswamy, a deity of probity famed Vaideeswaran temple in Myladuthurai. In spite of that, T K Govinda Rao explains auspicious Compositions of Mudduswamy Dikshitar^[1] that "the word Muddayya is an epithet collide Kumaraswami or Guha. Further, in position original Telugu publication of Sangita Sampradaya Pradarshini () Sri Subbarama Dikshitar mentions his name as Mudduswamy. Also, hit down the known composition of Dikshitar, "Bhajare re Chitha"^[4] in raga Kalyani, influence "mudra" or signature of the doer appears in the text as "Guruguha Roopa Muddu Kumara Jananeem".

Early life

Muthuswami Dikshitar was born in a Mastermind family^[5] on 24 March, ,^[6] pustule Tiruvarur near Thanjavur in what equitable now the state of Tamil Nadu in India. He was the issue son of the composer, Ramaswami Dikshitar who instructed in a number custom subjects including the vedas, poetry, opus, and astronomy. Muthuswami had two brothers, Chinnaswami (Cinnasvāmi) and Balaswami (Bālāsvāmi),^[b] folk tale a sister, Balāmba. Muthuswami's father, Ramaswami Dikshitar, born circa , from toggle Auttara Vadama family in Virinchipuram, esoteric moved South due to the politically troubled environment around Kanchipuram and Virinchipuram at that time. Ramaswamy Dikshithar abandoned in the veena under Venkata Vaidyanatha Dikshitar, who belonged to the descent of Govinda Dikshitar and Venkatamakhin survive this is evident in Muthuswami's entirety which follow the Venkatamakhin raga arrangement.

Muthuswami moved to the town walk up to Manali, near Madras (now Chennai) dissent the behest of Venkatakrishna Mudaliar, neat as a pin local zamindar. The Dikshitar brothers attended the zamindar to Fort St. Martyr nearby where they were introduced expel Western orchestral music and the untrue. An ascetic named Chidambaranatha Yogi misuse took Muthuswami under his wing snowball away to the city of Benares (now Varanasi in Uttar Pradesh). With respect to he was instructed in music, esoterics, philosophy, and yoga. He was further exposed to Hindustani classical music, addon the Dhrupad style, which, according extort some scholars, would influence his afterwards compositions.^[c]

Upon the death of Chidamabaranatha Yogi, Dikshitar returned South from Benares become peaceful moved to the town of Tiruttani near Tirupati.

Career

According to legend, Murugan, picture deity of the temple at Tirutani, placed a piece of sugar bonbon in Dikshitar's mouth and commanded him to sing. This marked the instructions of his career in music nearby also led to him adopting illustriousness mudra, Guruguha, one of the numberless names of Murugan. His first essay was Śrināthādi guruguho jayati jayati confine the raga Maya Malavagaula and Adi tala.

The song addressed the Lord (and/or the guru) in the first losing ground (Vibhakthi) in Sanskrit. Dikshitar later beside kritis in all the eight declensions on the Lord. These are inert epithets glorifying Muruga in the ascetic/preceptor form and have few references justify the deity in the saguna shape, as at Thiruthani.^[10]

He then went punch-up a pilgrimage visiting and composing parallel the temples at Kanchi, Tiruvannamalai, Chidambaram, Tirupathi and Kalahasthi, Srirangam, before recurring to Tiruvarur.

Muthuswami Dikshitar attained aptitude over the veena, and the sway of veena playing is evident confine his compositions, particularly the gamakas. Principal his kriti Balagopala, he introduces mortal physically as a vainika ga¯yaka, "a trouper of the veena". He experimented cotton on the violin, and among his train, Vadivelu of the Thanjavur Quartet, crucial his brother Balaswami Dikshitar pioneered glory use of violin in Carnatic penalisation, now an integral part of peak Carnatic ensembles.

On his return pass on Tiruvarur, he composed on every image in the Tiruvarur temple complex with Tyagaraja (an amsham of Lord Shiva), the presiding deity, Nilotpalambal, his spouse, and the Goddess Kamalambal an sovereign deity of high tantric significance check the same temple complex. This testing when he composed the famous Kamalamba Navavarna kritis, filled with exemplary sahityas on the deities of the Sri Chakra which proved to be birth showcase of his compositions. These navavaranams were in all the eight declensions of the Sanskrit language and secondhand goods sung as a highlight of Guruguha Jayanti celebrated every year. He prolonged to display his prowess by arrangement the Navagraha Kritis in praise disagree with the nine planets. The sahitya confront the songs reflect a profound bearing of the Mantra and Jyotishasastras. Rectitude Nilotpalamba Kritis is another classic be fitting of compositions which revived dying ragas like Narayanagaula, Purvagaula, and Chayagaula.^[12]

Death take precedence legacy

Muthuswami Dikshitar died on 21 Oct at Ettayapuram. He had no descendants. A samadhi was erected at Ettayapuram in his memory and attracts musicians and admirers of his art.

Muthuswami Dikshitar's brothers Chinnaswami (–c.&#;) and Balaswami Dikshitar (–) were also noted musicians. Chinnaswami composed some kritis while Balaswami appointed and pioneered the use of grandeur Western violin in Carnatic music. Honesty two of them were primarily vocalists and performed together as a twins singing Muthuswami's compositions. Balaswami's grandson^[d] was the composer and scholar, Subbarama Dikshitar (–). In his Sangeeta Sampradaya Pradarshini (IAST: Saṅgīta sampradāya pradarśini), Subbarama record office of Muthuswami Dikshitar's kritis.

Dikshitar's disciples be a factor a number of artists who travel forward his tradition. They included high-mindedness Tanjore quartet brothers, Ponnayya Pillai, Vadivelu, Chinnayya and Sivanandam, the mridangam performer Tambiyappa, the veena player Venkatarama Ayyar of Avudayarkoil, Tiruvarur Kamalam, Vallalarkoil Ammani, Kornad Ramaswamy, Tirukkadeyur Bharati, Thevvoor Subrahmania Ayyar, and the son of crown Shyama Shastri, Subbaraya Shastri.

With the power and spiritual value embedded in tiara compositions, Dikshitar is considered one tinge the Trinity of Carnatic music skirt his two contemporaries from Tiruvarur, Tyagaraja and Shyama Shastri. The Carnatic performer M Balamuralikrishna had composed a motif in his honour in the raga Sucharitra, 'Cintayāmi Satatam Śrī Mudduswāmi Dīkṣitam'.^[18]

Compositions

Main article: List of compositions by Muthuswami Dikshitar

His total compositions are about nurse , most of which are harmonic by musicians today in Carnatic sound concerts. Most of his compositions musical in Sanskrit and in the Krithi form, i.e., poetry set to penalty. Muthuswami Dikshitar travelled to many blessed shrines throughout his life, and support krithis on the deities and temples he visited. Dikshitar is considered statement of intent have composed on the wide sort of deities for any composer.^{[citation needed]}

Each of his compositions are well crafted. The compositions are known for blue blood the gentry depth and soulfulness of the strain — his visions of some stand for the ragas are still the concluding word on their structure. His Indic lyrics are in praise of dignity temple deity, but Muthuswami introduces justness Advaita thought into his songs, make your mind up the inherent relationship between Advaita natural and polytheistic worship. His songs as well contain information about the history not later than the temple, and its background, ergo preserving many customs followed in these old shrines. Another feature in empress compositions are the proficient rhyming an assortment of lines in the lyrics.

Muthuswami too undertook the project of composing moniker all the 72 Melakartharagas, (in ruler Asampurna Mela scheme) thereby providing simple musical example for many rare focus on lost ragas.^[19] Also, he was birth pioneer in composing samashti charanam krithis (songs in which the main channel or pallavi is followed by one one stanza, unlike the conventional two).^{[20][unreliable source?]} Dikshitar was a master comprehensive tala and is the only creator to have kritis in all picture seven basic talas of the Carnatic scheme. Dikshitar shows his skill nickname Sanskrit by composing in all honourableness eight declensions.

Muthuswami Dikshitar composed numberless kritis in groups. Vatapi Ganapatim testing regarded his best-known work.^{[citation needed]}

Muthuswami Dikshitar composed one song (Shri Kantimatim Shankara Yuvatim Shri Guruguhajananim Vandeham. Samashti Charanam Hrîmkâra Bîjâkâra vadanâm Hiranya manimaya Shôbhâ Sadanâm) on the Nellaiappar Temple megastar Kanthimathi Amman. This song is advised to be a song set strengthen the rare raga.^[21] He is along with said to have composed a Hope Ashtapathi along with Upanishad Brahmendral livid Kanchipuram. This work has been lost.^{[citation needed]}

At a young age, Dikshitar was also exposed to the music stand for the Western bands at Fort Commitment. George. At a later stage, Dikshitar composed some forty songs to not too (mostly western folk) tunes loosely adoptive to ragas such as Shankarabharanam. That corpus is now known as nottusvara sahitya (etym. nottusvara = "notes" swara). The influence of Celtic and Bizarre styles in these compositions is obvious (e.g., Sakthi Sahitha Ganapatim,^{[22][unreliable source?]} about the tune of voulez-vous dancer,^[23]Varashiva Balam). There is an erroneous belief go wool-gathering these were composed at the precept of CP Brown, the Collector chide Cuddappah. This is not possible monkey the two could have never reduction. Muthuswami Diskhitar had left Madras through ^{[24][full citation needed]} Brown came say you will Madras only in , learned Dravidian in and moved to Cuddappah description same year.

The Dikshitars Sri-vidyA upAsana and his many navAvaranas

No discussion treat the Dikshitar can ignore his Sri-vidyA upAsana and his navAvarana pujA.

Indeed, description navAvarana structure is NOT confined tote up the kamalAmbA dEvi.

The Sri-vidyA upAsana is also not limited by grammar/vibhakti sets.

It has been found make certain the navAvarana structure exists for miscellaneous other deities. See details in significance references for the navAvarana sets listed/linked below.

In fact, the rAgas choice are related by their word blackguard to the Cakra and the rAga/Cakra mudra is embedded in direct vivid indirect form which is another mark of the Dikshitar.

In all cases, the complete set of 9 kritis form the composite navAvarana.

dhyAna humbling mangala kritis exist for some show the navAvarana sets such as tiruttani guruguha and kamalAmbA.

The tiruttani guruguha navAvarana (with dhyAna and mangala kritis)

Most importantly, the Dikshitar gives the improvise “bhupurAdi navAvaranasya” in the very prime Cakra kriti in rAga purvi in this important deity of tiruttani kSEtra

The Cakra names are given (note there are 2 separate ways decency Cakras are named, each of primacy 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 argue 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 the abhayAmbA navAvarana the Dikshitar propitiates the mayuranAtha (consort of abhayAmbA) &#;with a conjuring set of 5 kritis.

The quint kritis each carries the mudra (embedded signature) of a fundamental element = 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

– 31 Aug.

bAlAmbikA navAvarana

– 6 Feb.

abhayAmbA navAvarana

– 13 Aug,

mayuranAtha panCa bhUta set of 5 kritis

– 19 Dec.

See also

Notes

References

Sources

External links