Kamalambikayah

Sri Yantra-6

Happy Shashti to all of you! I continue my posts on Dikshithar’s Navavarana kritis (Nine Enclosures) and we have come to the sixth one today. As we unfold one Avaranam (Enclosure) after another, it is clear that each one is one further step in reaching the state of oneness with the Supreme Consciousness which resides in the centre. A true worship is not just revering this chakra, but in exploring the meaning of each consecutive state and training our minds to reach that state. It is all so complicated! So what of us ‘normal’ people with limited abilities? Are we to just blindly worship the symbol without any follow through? Are we to resign ourselves to the fact the we are just not capable?

Here, Dikshithar comes to help with the very first line of today’s kriti. He addresses Kamalambika as sangIta rasika, She who loves music and says that he, Dikshithar, is Her devotee. It is only that one sentence that I cling today, telling myself that surely She who loves music will be present every time I play this beautiful song…

The sixth Avarana is called the सर्व रक्षाकर चक्र Sarva Rakshakara Chakra (All Protecting Chakra). Let us forget meaning, let us forget prescribed forms of worship, let us forget everything except that She who loves music IS music itself, that our love for music is in fact a worship it itself. This kriti is set to Raga Punnagavarali and is presented to us today by K.Gayatri.


Footnote (Lyrics) :

Language : Sanskrit

पल्लवि
कमलाम्बिकायास्तव भक्तोऽहं
शङ्कर्याः श्रीकर्याः सङ्गीत रसिकायाः श्री

अनुपल्लवि
सुम शरेक्षु कोदण्ड पाशाङ्कुश पाण्याः
अति मधुर-तर वाण्याः शर्वाण्याः कल्याण्याः
रमणीय पुन्नाग वराळि विजित वेण्याः श्री

चरणम्
दश कलात्मक वह्नि स्वरूप प्रकाशान्तर्दशार सर्व रक्षाकर चक्रेश्वर्याः
त्रि दशादि नुत क च वर्ग द्वय मय सर्वज्ञादि दश शक्ति समेत मालिनी चक्रेश्वर्याः
त्रिदश विंशद्वर्ण गर्भिणी कुण्डलिन्याः दश मुद्रा समाराधित कौळिन्याः
(मध्यम काल साहित्यम्)
दश रथादि नुत गुरु गुह जनक शिव बोधिन्याः दश करण वृत्ति मरीचि निगर्भ योगिन्याः श्री

Transliteration

pallavi
kamalAmbikAyAstava bhaktOham
shankaryAH SrI-karyAH sangIta rasikAyAH shrI

anupallavi
suma sharEkshu kOdaNDa pAshAnkusha pANyAH
ati madhura tara vANyAH sharvANyAH kalyANyAH
ramaNIya punnAga varALi vijita vENyAH shrI

charaNam
daSa kalAtmaka vahni svarUpa prakAshAntardashAra sarva rakshA-kara chakrEshvaryAH
tridashAdi nuta ka cha varga dvay maya sarvajnAdi dasha shakti samEta mAlinI chakrESvaryAH
tridasha vimshadvarNa garbhiNI kuNDalinyAH dasha mudrA samArAdhita kauLinyAH
(madhyama kAla sAhityam)
dasha rathAdi nuta guru guha janaka shiva bOdhinyAH
daSa karaNa vRtti marIci nigarbha yOginyAH shrI

Translation

Note : As I did not have time to do the translation, this is as available on Guruguha.org  I will do a word by word translation as soon as I am able.

I am a devotee of you, kamalambika. The auspicious, the harbinger of prosperity, the connoisseur of music.

The one who holds bow of sugarcane, arrow of flowers, the noose and goad, the one with the sweetest voice, the consort of sharva; the auspicious, the one whose tresses are blacker than the bees in the punnaga trees.

The controller of the Sarvarakshakara chakra with ten petals ; The controller of the Malini chakra which has the ten shaktis beginning with Sarvagna the shakti represented by the ka series & ca series and praised by the devas;
the one who is kundalini which is embodied in the 50 letters; The kaulini devi worshipped with the 10 mudras, the perceptor of shiva – the father of guruguha; The one adored by dasharatha; the one who has taken the form of yogini power who holds in herself hearing and all activities of the 10 indriyas

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Sri Kamalambayah

SriChakram-5

In the Bhagavat Gita, it says :

image

The One who is able to withdraw his senses from sense objects, as the tortoise draws its limbs within the shell, is firmly fixed in perfect consciousness.

To achieve self-realisation and attain divine consciousness, says Lord Krishna, one needs to control one’s senses. We are advised to abandon the desire for all kinds of sense gratification. What are these senses that the Bhagavat Gita talks of?

Continuing on my series of posts on the Navavarana kritis, we come to today’s kriti in honour of the fifth Avarana of the Sri Chakra. To start from the first of these posts, click here. This Avaranam is seen in the form of ten triangles and is called the सर्वार्थ साधक चक्र Sarvartha Sadhaka Chakra (Accomplisher of Everything). It is presided by Tripurasri and the Kula Yoginis.  These ten triangles are said to the represent the five Pranas (life force, vitality) -Prana, Apana, Samana, Udana, Vyana and the five Upapranas (auxiliary pranas) – Naga, Krkara, Kurma, Devadatta, Dhanajaya. Between them they regulate the functioning of the body.

The ten triangles are alternatively said to represent the five Jnana Indriyas (Organs of Perception) Chakshu (eyes), Karna (Ears), GhrAna (Nose), Jihva (Tongue) and Tvach (Skin) and the five Karma Indriyas (Organs of Action) – Vak (organ of speech), Pani (hands), Pada (feet), Upashtam (reproduction), Payu or Guda (excretion). I have chosen to focus on this second representation. Though the Sri Chakra is worshipped directly, I would rather look for meaning and understanding. It seems to me that each enclosure is like a layer one needs to unravel before being able to approach the central bindu which represents the Goddess. And one of the steps of this quest is the control of the senses.

To present this song, we have the very young duo of Anahita Ravindran & Apoorva Ravindran.  This is set to raga Bhairavi.

 


Footnote (Lyrics) :

पल्लवि
श्री कमलाम्बायःपरं नहिरे रे चित्त
क्षित्यादि शिवान्त तत्व स्वरूपिण्याः

अनुपल्लवि
श्री कण्ठ विष्णु विरिञ्चादि जनयित्र्याः
शिवात्मक विश्व कर्त्र्याः कारयित्र्याः
श्रीकर बहिर्दशार चक्र स्थित्याः
सेवित भैरवी भार्गवी भारत्याः

चरणम्
नाद-मय सूक्ष्म रूप सर्व सिद्धि प्रदादि दश शक्त्याराधित मूर्तेः
श्रोत्रादि दश करणात्मक कुळ कौळिकादि बहु विधोपासित कीर्तेः
अभेद नित्य शुद्ध बुद्ध मुक्त सच्चिदानन्द-मय परमाद्वैत स्फूर्तेः
आदि मध्यान्त रहिताप्रमेय गुरु गुह मोदित सर्वार्थ साधक पूर्तेः
(मध्यम काल साहित्यम्)
मूलादि नवाधार व्यावृत्त दश ध्वनि भेदज्ञ योगि बृन्द संरक्षण्याः
अनादि मायाऽविद्या कार्य कारण विनोद करण पटु-तर कटाक्ष वीक्षण्याः

Transliteration

pallavi
SrI kamalAmbAyaH paraM nahirE rE chitta
kshityAdi shivAnta tatva svarUpiNyAH

anupallavi
shrI kaNTha vishNu virinchAdi janayitryAH
shivAtmaka vishva kartryAH kArayitryAH
shrI-kara bahirdashAra chakra sthityAH
sEvita bhairavI bhArgavI bhAratyAH

charaNam
nAdamaya sUkshma rUpa sarva siddhi -
pradAdi dasha shaktyArAdhita mUrtEH
shrOtrAdi dasha karaNAtmaka kuLa -
kauLikAdi bahu vidhOpAsita kIrtEH
abhEda nitya shuddha buddha mukta -
sachchidAnanda maya paramAdvaita sphUrtEH
Adi madhyAnta rahitApramEya
guru guha mOdita sarvArtha sAdhaka pUrtEH
(madhyama kAla sAhityam)
mUlAdi navAdhAra vyAvRtta dasha dhvani -
bhEdajna yOgi bRnda saMrakshaNyAH
anAdi mAyAQvidyA kArya kAraNa vinOda -
karaNa paTu-tara kaTAksha vIkshaNyAH

Translation

Note: I did not have the time to translate myself as I do normally. This is the explanation as published in The Hindu. I will do the translation in the coming weeks.

The word Sadhaka denotes accomplishment. It can also mean ‘aspirant’. The tone and complexity of the compositions gently builds with each Avaranam. Dikshitar brands all his compositions with references to his deity – Kamalamba. In Shree Kamalaambikaayaa, in Bhairavi raagam, he reaches a threshold in his worship and his devotion for the goddess.

The composition begins and ends with the phrase – There is nothing and none beside Kamalambika. The rest is mere detail and metaphor.

She who is sound in essence, whose body is garmented with the lustre of Advaitha wisdom, the supreme lustre of Satchidananda, free from Maya, free from difference, and imperishable. She who is who is certainly approachable by the Sadhanas, whose powerful side-glance will dispel cause and effect. A fascinating concept – the “sidelong glance of the goddess”. Even in the depths of esotery, the poet can’t let go of his aesthetics.

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Filed under Anahita Ravindran, Apoorva Ravindran, Carnatic Music, Compositions in Sanskrit, Muthuswami Dikshithar

Kamalambikayai

SriChakram-4So what are these fourteen worlds that our ancient scriptures talk about? Are these other inhabited planets somewhere in the universe?

Happy Navaratri once more! Today I continue with the fourth Navavarana kriti of Dikshithar in my series for Navaratri. If you want to play catch-up, the first of the series starts here. These kritis are in honour of Kamalamba (Goddess Lotus-Mother) who is worshipped in the form of a symbol – the Sri Chakra. So far we looked at Dikshithar’s background in Shakti worship, the use of esoteric symbolism and it’s relevance in today’s world and the symbolism of the Lotus as it is the name of the Goddess and it is part of her symbol. Today we continue with the next kriti which is in honour of the next enclosure called the सर्व सौभाग्य दायक चक्र Sarva Saubhagya Dayaka Chakra. It is represented by fourteen triangles which stand for the fourteen Lokas (worlds) of Hindu mythology as well as the fourteen Nadis in our bodies.

With my liking for science fiction, I confess I always thought of the fourteen worlds with the visuals supplied by Star Trek, Star Wars and Asimov’s worlds!  Our Puranas name these worlds as Satyaloka, Tapaloka, Janaloka, Maharloka, Suvarloka, Bhuvarloka, Bhuloka, Atala, Vitala, Nitala, Rasatala, Mahatala, Sutala and Patala. Those who recite the Gayatri will recognize some of these names. Our Puranas describe these worlds as being inhabited with some beings having the ability of inter-Loka travelling.  There is an interesting article here analysing the references in the Puranas. The theory is that these Lokas are physical areas occupying the same space. There is another theory elsewhere that they occupy alternative universes.

Another explanation of the fourteen Lokas is that they are specific regions of our bodies. The seven upper Lokas occupy the position of the seven Chakras; the seven lower ones are in the lower parts of our bodies.

A third theory is that Lokas are planes of consciousness. Bhu is physical consciousness, Bhuva is vital consciousness, Suva is the world of the mind. Maha is the world of an idea, Jana the world of creation, Tapa the world of spiritual consciousness (chit), Satya the world of true bliss. The three higher worlds are the equivalents of Sat-Chit-Ananda or Existence-Consciousness-Bliss.

Lots to ponder about, isn’t it? I am not sure which theory I subscribe to. In the Sri Chakra, the fourteen Lokas are represented by 14 triangles. This chakra is presided by Goddess Tripura Vasini supported by 14 Devis called the Sampradaya Yoginis. Dikshithar’s kriti in honour of this chakra is set to the beautiful raga Kambhoji. Listen below the to the very talented young Nisha Rajagopal singing this kriti.

 


Footnote (Lyrics) :

Language : Sanskrit

पल्लवि
कमलाम्बिकायै कनकांशुकायै कर्पूर वीटिकायै नमस्ते नमस्ते

अनुपल्लवि
कमला कान्तानुजायै कामेश्वर्यै अजायै
हिम गिरि तनुजायै ह्रींकार पूज्यायै
कमला नगर विहारिण्यै खल समूह संहारिण्यै
कमनीय रत्न हारिण्यै कलि कल्मष परिहारिण्यै

चरणम्
सकल सौभाग्य दायकाम्भोज चरणायै
संक्षोभिण्यादि शक्ति युत चतुर्थावरणायै
प्रकट चतुर्दश भुवन भरणायै
प्रबल गुरु गुह सम्प्रदायान्तःकरणायै
अकळङ्क रूप वर्णायै अपर्णायै सुपर्णायै
सुकर धृत चाप बाणायै शोभनकर मनु कोणायै
(मध्यम काल साहित्यम्)
सकुङ्कुमादि लेपनायै चराचरादि कल्पनायै
चिकुर विजित नील घनायै चिदानन्द पूर्ण घनायै

Transliteration

pallavi
kamalAmbikAyai kanakAmshukAyai
karpUra vITikAyai namastE namastE

anupallavi
kamalA kAntAnujAyai kAmEshvaryai ajAyai
hima giri tanujAyai hrImkAra pUjyAyai
kamalA nagara vihAriNyai khala samUha samhAriNyai
kamanIya ratna hAriNyai kali kalmasha parihAriNyai

charaNam
sakala saubhAgya dAyakAmbhOja charaNAyai
samkshObhiNyAdi shakti yuta chaturthAvaraNAyai
prakaTa chaturdasha bhuvana bharaNAyai
prabala guru guha sampradAyAntaHkaraNAyai
akaLanka rUpa varNAyai aparNAyai suparNAyai
sukara dhRta chApa bANAyai shObhana kara manu kONAyai
(madhyama kAla sAhityam)
sakunkumAdi lEpanAyai charAcharAdi kalpanAyai
chikura vijita nIla ghanAyai chidAnanda pUrNa ghanAyai

Translation

Salutations, salutations (namastE) to Kamalambika who is clothed (anshukA) in gold (kanaka), who chews (implied) betel leaf (vITikA) flavoured with (implied) camphor (karpUra).

To She who is the younger sister (anujAyai) of the one beloved (kAntA) to Lakshmi (kamalA) (=Vishnu), to Goddess Kameshwari, to She who is unborn (ajAyai), to the daughter (tanujAyai) of the snow-capped mountain (hima giri), to She who is worshipped (pUjyAyai) by the sound hRIm (hRImkAra), to She who dwells (vihAriNyAyai) in the Lotus-city (kamala nagara), to She who destroys (samhAriNyAyai) all the wicked people (khala samUha), to She who is garlanded with (hAriNyAyai) beautiful (kamanIya) jewels (ratna), to She who repels (parihAriNyAyai) the sins (kalmasha) of the age of Kali.

To She whose lotus (ambhoja) -like feet (charaNAyai) are granters (dAyaka) of all (sakala) good fortune (saubhAgya), to  She who is of the fourth (chaturtha) enclosure (AvaraNaya) connected with (yuta) the Shaktis such as (Adi) SamkshObhiNi, to She who sustains (bharaNAyai) the fourteen (chaturdasha) manifest (prakaTa) worlds (bhuvana), to She who is the soul (antaHkaraNAyai) of the famous (prabala) tradition (sampradAya) of Guruguha (Kartikeya, also composer’s signature), to She whose form (rUpa) and colour (varNa) is flawless (akalanka), to She who is known as Aparna (she who performed severe penance without even eating a leaf), to She who is known as Suparna, to She whose lovely (su as a prefix) hands (kara) holds (dhRta) a bow (chApa) and arrow (bANa), to She who resides (implied) in the glorious (shObhanakara) triangles (kONAyai) (of this chakra),  to She who is anointed (lEpanAyai) with auspicious(su-prefix) kunkuma, to She who is the creator (kalpanAyai) of all which moves (chara), all which doesn’t move (achara) etc (Adi), to She with hair (chikura) which triumphs over (vijita) dark (nIla) clouds (ghana), to She who is the solid form (ghana)  of consciousness (chit) and bliss (Ananda).

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Sri Kamalambikaya

SriChakram-3

What is the significance of the lotus in Hinduism? Today is the third day of Navaratri and I continue with the Navavarana compositions of Dikshithar. If you have just landed on my blog, you can find the first of the series here.

Today’s kriti is dedicated to the third Avarana (enclosure) which is an eight petalled lotus. Have you noticed how often the lotus appears in Hindu symbolism? We have Brahma, the creator, who emerged from the lotus. We have Vishnu, the protector, from whose navel the lotus emerged. We have Lakshmi who is seated on a red lotus and Saraswati who is seated on a white one. Vishnu Purana describes the earth itself as a lotus. We describe the eyes of Gods and Goddesses as lotus-shaped – rAjIva lOchana. We describe the faces to be lotus like – kamala vadana. We describe their feet to be lotus like – pAda kamala. Wise ones sit in padmAsana or the lotus-position in meditation. The Chakras in our bodies are said to be lotus liked, ending with the Sahasrara, the thousand petalled lotus associated with Supreme Consciousness. The soul is said to be in a lotus inside our hearts. And of course we have the Sri Chakra with two of its Avaranas symbolised as lotuses. What is this obsession with lotus?

The lotus is quite a remarkable flower. Interestingly, the plant has the ability to regulate the temperature of it’s flowers (ref.), somewhat like warm-blooded animals.  As a viviparous plant, it generates offsprings attached to the parent, as a child is attached to the womb. It has remarkable longevity – it’s seeds can live up to 1300 years! In fact it’s genes have the ability to repair diseases and can withstand environmental stress (like freezing) (ref.).  And it is so very beautiful! No wonder it has become one of most important symbols of Hinduism.

One oft used symbolism is the flower’s purity despite it’s origins in mud. Though it’s roots are in mud, it rises far above, untouched by the mud or the water. In the Bhagavat Gita, it is said that “One who performs his duty without attachment, surrendering the results unto the Supreme Lord, is unaffected by sinful action, as the lotus leaf is untouched by water.” (5:10). The way it closes at night and sinks to rise again in the morning, and its regenerative qualities mimic the cycles of life and soul. Its amazing fecundity makes it a symbol of fertility and even immortality. I need to do more research into this; the lotus seems to be interwoven into our texts in so many different ways.

So we come to today’s song Sri Kamalambikaya set to raga Shankarabharanam dedicated to the Goddess of the third Avarana called सर्व संक्षोभण चक्र Sarva Sankshobhana Chakra (All Churning Chakra). I wonder at the name – is it because by the time you reach this stage, your world is totally churned up? The presiding Goddess is Tripura Sundari. Let us think of her while listening to Kunnakudi M.Balamuralikrishna presenting this song for us.

 


Footnote (Lyrics) :

Language : Sanskrit

पल्लवि
श्री कमलाम्बिकया कटाक्षितोऽहं सच्चिदानन्द परिपूर्ण ब्रह्मास्मि

अनुपल्लवि
पाकशासनादि सकल देवता सेवितया
पङ्कजासनादि पञ्च  कृत्याकृत्भावितया
शोक हर चतुर पदया मूक मुख्य वाक्प्रदया
कोकनद विजय पदया गुरु गुह तत्-त्रै-पदया

चरणम्
अनङ्ग कुसुमाद्यष्ट शक्त्याकारया अरुण वर्ण संक्षोभण चक्राकारया
अनन्त कोट्यण्ड नायक शङ्कर नायिकया अष्ट वर्गात्मक गुप्त तरया वरया
(मध्यम काल साहित्यम्)
अनङ्गाद्युपासितया अष्ट दळाब्ज स्थितया धनुर्बाण धर करया दया सुधा सागरया

Transliteration

pallavi
shrI kamalAmbikayA kaTAkshitOham
sachchidAnanda paripUrNa brahmAsmi

anupallavi
pAka shAsanAdi sakala dEvatA sEvitayA
pankajAsanAdi pancha kRtyAkRtbhAvitayA
shOka hara chatura padayA mUka mukhya vAkpradayA
kOkanada vijaya padayA guru guha tat-trai-padayA

charaNam
anangakusumAdyashTa shaktyAkArayA
aruNa varNa samkshObhaNa chakrAkArayA
ananta kOTyaNDa nAyaka shankara nAyikayA
ashTa vargAtmaka gupta tarayA varayA
(madhyama kAla sAhityam)
anangAdyupAsitayA ashTa daLAbja sthitayA
dhanurbANa dhara karayA dayA sudhA sAgarayA

Translation

I (aham) have the grace (kaTAkshita=looked at with the corner of the eye) of Kamalamba. I am (asmi) the Brahman filled with (paripUrNa) the bliss (Ananda) of existence and knowledge.

By the one served by (sEvitayA) he who chastised (shAsana) Paka (=Indra) etc (Adi), by the one contemplated upon (bhAvitayA) by he who is on the lotus (pankaja) seat (Asana) and performed (kRit) the original (Adi) five tasks (pancha-kRitya) (=Brahma), by the one whose feet (padayA) are skilled (chahatura) in dispelling sorrow (shOka hara), by the one who bestowed (pradayA) speech (vAk) to the eminent (mukhya) dumb one (mUka) (ref.), by the one whose feet (padayA) outdoes (vijaya) the lotus (kOkanada), by that embodiment (implied) of those (tat) three (trai) words (padaya) of Guruguha (Kartikeya, also signature of composer).

By the cause (kArayA) of the eight (ashTa) powers (shaktyA) starting with Anangakusuma, by the cause (kArayA) of the reddish (aruNa) coloured (varNa) Samkshobhana chakra, by the  consort (nAyikA) of the Lord (nAyaka) of the innumerable (ananta) crores (kOti) of worlds(aNDa literally egg), by the embodiment (implied) of the one consisting of (Atmaka) eight (ashTa) secret (gupta) parts (varga) (this chakra is made of eight petals), by the surpassing one (tarayA) (unsure of this), by the best (varayA), by the one worshipped by (upAsitayA) cupid (ananga) etc (Adi), by the one seated on (sthitayA) on the eight (ashTa) petalled (daLa) lotus (abja), by the one who has hands (karayA) holding (dhara) a bow (dhanur) and arrow (bANa), by the one who is an ocean (sAgarayA) of the nectar (sudhA) of compassion (dayA).

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Filed under Carnatic Music, Compositions in Sanskrit, Kunnakudi Balamuralikrishna, Muthuswami Dikshithar

Kamalambam Bhajare

SriChakram-2So tell me, when you see a strange esoteric diagram and are told that each layer of it is guarded by so many deities, do you secretly think that this is all weird mumbo-jumbo? Do you tell yourself that yes, there may well be a God, but all these strange tantric ideas are not quite your thing? That you are too scientific or practical minded to think that the Goddess is in a bindu surrounded by nine layers in a diagram, each layer guarded by many more deities?

I am, of course, talking of the Sri Chakram that I referred to in my first post for Navaratri yesterday. The thing is, I quite sympathise with you if you find it a bit difficult to relate to.  I too am of a scientific bent with a questioning, logical and rational way of thinking, with a mind which is often taken aback at some concepts and ideas which are well within these diverse set of beliefs which we call Hinduism.  But let me offer you something to think about today. I present to you the PluChakram below where there are seven Avaranams (enclosures) guarded by 94 gupta (secretive) devis who Plutoniumare forever moving.  At the centre are 94 Shaktis, matched by 150 Shivas. When separated, they become their rudra or angry form capable of destroying the earth. Well, what do you think? Am I talking mumbo-jumbo? Not really. This is just the structure of Plutonium (reference) described with a bit of artistic license! I am, of course, talking of electrons and orbits, of protons and neutrons and nuclear energy.  Is it any less of a truth just because it is thus presented? I just want to make the point that the Sri Chakra too is a diagram representing a powerful force. Perhaps we don’t understand it too well but that doesn’t mean we should reject it either.

So we come to today’s kriti, in honour of the second Avaranam, a lotus shaped enclosure with 16 petals called the सर्वाशा परिपूरक चक्र Sarvasha Paripooraka Chakra (the fulfiller of all desires). The presiding deity is Tripureshi and there are 16 Devis who rule this Avarana. Dikshithar’s kriti in honour of this Avarana is set to the very beautiful Kalyani raga. Presenting this kriti is the young Sriranjani Santhanagopalan (from 8:57).

 

I would also like to present U.Srinivas’s beautiful rendition in his memory; his loss weighs heavily on my heart.


Alternate link : Click here

 


Footnote (Lyrics) :

Language : Sanskrit

पल्लवि
कमलाम्बां भजरे रे मानस कल्पित माया कार्यं त्यज रे

अनुपल्लवि
कमला वाणी सेवित पार्श्वां कम्बु जय ग्रीवां नत देवां
कमला पुर सदनां मृदु गदनां कमनीय रदनां कमल वदनाम्

चरणम्
सर्वाशा परिपूरक चक्र स्वामिनीं परमशिव कामिनीं
दुर्वासार्चित गुप्त योगिनीं दुःख ध्वंसिनीं हंसिनीम्
निर्वाण निज सुख प्रदायिनीं नित्य कल्याणीं कात्यायनीं
शर्वाणीं मधुप विजय वेणीं सद् गुरु गुह जननीं निरञ्जनीम्
(मध्यम काल साहित्यम्)
गर्वित भण्डासुर भञ्जनीं कामाकर्षिण्यादि रञ्जनीं
निर्विशेष चैतन्य रूपिणीं उर्वी तत्वादि स्वरूपिणीं

Transliteration

pallavi
kamalAmbAM bhajarE rE mAnasa kalpita mAyA kAryaM tyaja rE

anupallavi
kamalA vANI sEvita pArshvAm kambu jayagrIvAm nata dEvAm
kamalA pura sadanAm mRdu gadanAm kamanIya radanAm kamala vadanAm

charaNam
sarvAshA paripUraka chakra svAminIm parama shiva kAminIm
durvAsArchita gupta yOginIm du.Hkha dhvamsinIm hamsinIm
nirvANa nija sukha pradAyinIm nitya kalyANIm kAtyAyanIm
sharvANIm madhupa vijaya vENIm sad guru guha jananIm niranjanIm
(madhyama kAla sAhityam)
garvita bhaNDAsura bhanjanIm kAmAkarshiNyAdi ranjanIm
nirvishEsha chaitanya rUpiNIm urvI tatvAdi svarUpiNIm

Translation

Worship (bhajarE) Goddess Kamalamba and abandon (tjajarE) all that is the imaginary (kalpita) result (kAryam) of illusion (mAya) , O Mind (mAnasa)!

She is paid homage to (sEVita) by Lakshmi (kamalA) and Saraswati (vEnI) beside her (pArshvam).  The beauty (implied) of her neck (grIvAm) surpasses (jaya) that of a conch (kambu). She is bowed to (nata) by the Devas. She resides (sadanAm) in Kamalapura, the lotus-city.  Her speech (gadanaAm) is gentle(mRdu). She has beautiful (kamanIya) teeth (radanAm). Her face (vadanAm) is like a lotus (kamala).

She is the mistress (svAminIm) of the Chakra which fulfills all desires (sarVasha paripUraka chakra). She is beloved to (kAminIm) to supreme (parama) Lord Shiva. She is the secret (gupta) Yogini worshipped by (archita) by Sage Durvasa. She is the destroyer (dhvamsinIm) of sorrow (duhkha). She contains the universal soul (hamsinIm). She is the bestower (pradAyinIm) of true (nija) bliss (sukha) in the form of salvation (nirvAna). She is the ever (nitya) auspicious one (kalyAnIm). She is also Katyayani (the sixth form of Durga born as the daughter of Sage Katyayana) amd Sharvani (consort of sharva=Shiva). Her (vEnI) is darker than (vijaya=conquers) the colour (implied) of bees (madhupa). She is the mother (jananI) of the good (sad) Lord Guruguha (Kartikeya, also signature of composer). She is the unblemished one (niranjanI).

She is one who destroyed (bhanjanI) of the egoistic (garvita) demon (asura) Bhanda. She delights (ranjanI) deities such as (Adi) Kamakarshini. She is the embodiment (rUpinI) of the absolute (nirvisEsha) consciousness (chaitanya). She is the manifestation (svarUpinI) of heaven &earth (urvI), reality (tatva) etc (Adi).

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Filed under Carnatic Music, Compositions in Sanskrit, Muthuswami Dikshithar, Sriranjani Santhanagopalan, U.Srinivas

Kamalamba Samrakshatu

SriChakramLet me start by wishing you all a very Happy Navaratri! May the Goddesses be with you!

Navaratri is celebrated with so many different religious and social rituals, isn’t it? I remember in particular the many musical presentations – of varying quality to be sure – that I have listened to in front of golus. So if I celebrate Navartri with a musical presentation in this blog, it seems very appropriate, doesn’t it? This year I shall be featuring the famous Navavarana kritis of Muthuswami Dikshithar. I shall be featuring the performances featured by The Hindu in 2012.

As this is the first of the nine posts, I will give you a small introduction to the kritis being featured. The नव आवरण (nava-AvaraNa) or the ‘Nine Enclosures’ kritis are in honour of the Goddess Kamalambika of Tiruvarur. These are arguably the most important sets of compositions by Muthuswami Dikshithar. These kritis are laced with the tantric knowledge of Sri Vidya upasana into which Dikshithar had been initiated by the yogi and tantrik Chidambaranatha. In his youth, he had accompanied the yogi to Kashi and other teerthas and stayed with him for a number of years.

The worship of Sri Vidya is a deeply mystical and esoteric form of worship. The Goddess is worshipped in the form of Lalita Tripurasundari (The Beautiful One of the Three Realms).  She is represented in the form of a mystical diagram called the Sri Chakra or Sri Yantra where she resides in the centre as a bindu or dot. She is enclosed in a series of nine concentric layers formed by squares, lotuses and triangles which are called Avaranas. Each Avarana is guarded by a presiding deity and other attendant deities. Dikshithar’s kritis are in honour of each of these Avaranas.

The first Avarana is called Bhupura (earth) and consists of the three outermost lines which are in the form of squares with ‘entrances’. It is also called the त्रैलोक्य मोहन चक्र Trailokya Mohana Chakra (That which enchants the three realms).  These lines are guarded by Devis who bestow worshippers with both worldly and spiritual wealth. Our song today is in honour of this Avarana and is set to raga Ananda Bhairavi. It is presented by Vidya Kalyanaraman (starting at 06:31).

 


Footnote (Lyrics) :

Language : Sanskrit

पल्लवि
कमलाम्बा संरक्षतु मां हृत्कमला नगर निवासिनी अम्ब

अनुपल्लवि
सुमनसाराधिताब्ज मुखी सुन्दर मनःप्रियकर सखी
कमलजानन्द बोध सुखी कान्ता तार पञ्जर शुकी

चरणम्
त्रिपुरादि चक्रेश्वरी अणिमादि सिद्धीश्वरी
नित्य कामेश्वरी क्षिति पुर त्रैलोक्य मोहन चक्रवर्तिनी
प्रकट योगिनी सुर रिपु महिषासुरादि मर्दिनी
निगम पुराणादि संवेदिनी
(मध्यम काल साहित्यम्)
त्रिपुरेशी गुरु गुह जननी त्रिपुर भञ्जन रञ्जनी
मधु रिपु सहोदरी तलोदरी त्रिपुर सुन्दरी महेश्वरी

Transliteration

pallavi
kamalAmbA saMrakshatu mAM hRtkamalA nagara nivAsinI amba

anupallavi
sumanasArAdhitAbja mukhI sundara manaH priyakara sakhI
kamalajAnanda bOdha sukhI kAntA tAra panjara shukI

charaNam
tripurAdi chakrEshvarI aNimAdi siddhIshvarI
nitya kAmEshvarI kshiti pura trailOkya mOhana chakravartinI
prakaTa yOginI sura ripu mahishAsurAdi mardinI
nigama purANAdi samvEdinI
(madhyama kAla sAhityam)
tripurEshI guru guha jananI tripura bhanjana ranjanI
madhu ripu sahOdarI talOdarI tripura sundarI mahEshvarI

Translation

O Mother (amba) kamalAmbA who resides (nivAsini) in the lotus-city (kamalA-nagara) of the heart (hRt), protect (samrakshatu) me (mAm)!

She is the lotus-faced One (abja mukhI) who is worshipped (ArAdhita) by the pure-minded (sumanasa). She is the companion (sakhI) who pleases (priyakara) the mind of Lord Sundareshwara (sundara). She is the happy One (sukhI) who has the knowledge (bOdha) of the Bliss of Brahman (kamalajA=Brahma, Anada=Bliss). She is the lovely parrot(kantA shukhI) who lives in the cage (panjara) of Omkara (tAra).

She is the Goddess (IshvarI) of the chakra beginning with (Adi) Tripura. She is the Goddess (IshvarI) of the siddhis beginning with aNimA. She is the deities such as Nitya Kamaleshvari (the deities of this chakra). She is inherent in (vartinI) in the Trailokya Mohana Chakra, the entire earth (kshitipura). She is the manifest (prakaTa) yoginI. She is the slayer (mardinI) of Buffalo-demon (mahisha asura), the enemy (ripu) of the Devas (sura). She has the perception (samvedinI) of the sacred literature (nigama), epics (purAna) etc (Adi). She is the Goddess (IshI) of the three realms (tripura). She is the mother (jananI) of Guruguha (Kartikeya, also signature of composer). She is the One who pleases (ranjani) the destroyer of the three realms (tripura bhanjana). She is the sister (sahOdari) of the enemy (ripu) of Madhu (=Vishnu). She is slender-waisted (talOdari = abdomen (udara) the size of a palm of a hand (tala)). She is the great (mahA) Goddess (IshvarI) Tripurasundari.

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Filed under Carnatic Music, Compositions in Sanskrit, Muthuswami Dikshithar

In Mourning for U.Srinivas

US RIP

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