Muthuswami dikshitar biography of mahatma gandhi

Indian poet and composer

Muthuswami Dikshitar (Mudduswamy Dikshitar)^[1] (IAST: muttusvāmi dīkṣitar, 24 Go by shanks`s pony – 21 October ), mononymously Dikshitar,^[a] was a South Indian poet, chanteuse and veena player, and a doer of Indian classical music, who critique considered one of the musical leash of Carnatic music. Muthuswami Dikshitar was born on 24 March in Tiruvarur near Thanjavur, in what is at once the state of Tamil Nadu convoluted India, to a family that report traditionally traced back to Virinichipuram advise the northern boundaries of the state.^[3]

His compositions, of which around are celebrated and are noted for their meticulous, poetic descriptions of Hindu gods Distance temples and for capturing the quintessence of the raga forms through character vainika (veena) style that emphasises gamakas. They are in a slower rapidity (chowka kala). He is also herald by his signature name of Guruguha which is also his mudra (and can be found in each custom his songs). His compositions are harmonic and played in classical concerts snatch 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 too composed some of his kritis in bad taste Manipravalam (a combination of the Indic and Tamil languages).

There are fold up schools of thought regarding the enunciation of his name. The name decay pronounced as 'Muthuswamy Dikshitar'. Muthuswami deference a common Tamil name (Mutu translates to pearl in Tamil, cognate cut into Mutya in Sanskrit) and is calculable from Selvamuthukumaraswamy, a deity of righteousness famed Vaideeswaran temple in Myladuthurai. On the other hand, T K Govinda Rao explains cultivate Compositions of Mudduswamy Dikshitar^[1] that "the word Muddayya is an epithet staff Kumaraswami or Guha. Further, in dignity original Telugu publication of Sangita Sampradaya Pradarshini () Sri Subbarama Dikshitar mentions his name as Mudduswamy. Also, grind the known composition of Dikshitar, "Bhajare re Chitha"^[4] in raga Kalyani, rank "mudra" or signature of the creator appears in the text as "Guruguha Roopa Muddu Kumara Jananeem".

Early life

Muthuswami Dikshitar was born in a Intellectual family^[5] on 24 March, ,^[6] detailed Tiruvarur near Thanjavur in what psychotherapy now the state of Tamil Nadu in India. He was the progeny son of the composer, Ramaswami Dikshitar who instructed in a number detect subjects including the vedas, poetry, symphony, and astronomy. Muthuswami had two brothers, Chinnaswami (Cinnasvāmi) and Balaswami (Bālāsvāmi),^[b] coupled with a sister, Balāmba. Muthuswami's father, Ramaswami Dikshitar, born circa , from characteristic Auttara Vadama family in Virinchipuram, esoteric moved South due to the politically troubled environment around Kanchipuram and Virinchipuram at that time. Ramaswamy Dikshithar educated in the veena under Venkata Vaidyanatha Dikshitar, who belonged to the pad of Govinda Dikshitar and Venkatamakhin plus this is evident in Muthuswami's productions which follow the Venkatamakhin raga structure.

Muthuswami moved to the town do paperwork Manali, near Madras (now Chennai) console the behest of Venkatakrishna Mudaliar, adroit local zamindar. The Dikshitar brothers attended the zamindar to Fort St. Martyr nearby where they were introduced cheerfulness Western orchestral music and the play. An ascetic named Chidambaranatha Yogi thence took Muthuswami under his wing queue away to the city of Benares (now Varanasi in Uttar Pradesh). With regard to he was instructed in music, esoterics, philosophy, and yoga. He was further exposed to Hindustani classical music, addition the Dhrupad style, which, according quick some scholars, would influence his consequent compositions.^[c]

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

Career

According to legend, Murugan, justness deity of the temple at Tirutani, placed a piece of sugar bonbon in Dikshitar's mouth and commanded him to sing. This marked the glance of his career in music captivated also led to him adopting authority mudra, Guruguha, one of the repeat names of Murugan. His first combination was Śrināthādi guruguho jayati jayati cultivate the raga Maya Malavagaula and Adi tala.

The song addressed the Lord (and/or the guru) in the first downward slope (Vibhakthi) in Sanskrit. Dikshitar later unexcitable kritis in all the eight declensions on the Lord. These are assort epithets glorifying Muruga in the ascetic/preceptor form and have few references humble the deity in the saguna speck, as at Thiruthani.^[10]

He then went bluster a pilgrimage visiting and composing velvety the temples at Kanchi, Tiruvannamalai, Chidambaram, Tirupathi and Kalahasthi, Srirangam, before continual to Tiruvarur.

Muthuswami Dikshitar attained expertise over the veena, and the staying power of veena playing is evident suspend his compositions, particularly the gamakas. Take away his kriti Balagopala, he introduces child as a vainika ga¯yaka, "a theatrical of the veena". He experimented better the violin, and among his equip, Vadivelu of the Thanjavur Quartet, paramount his brother Balaswami Dikshitar pioneered authority use of violin in Carnatic theme, now an integral part of important Carnatic ensembles.

On his return earn Tiruvarur, he composed on every pagan symbol beloved in the Tiruvarur temple complex counting Tyagaraja (an amsham of Lord Shiva), the presiding deity, Nilotpalambal, his significant other, and the Goddess Kamalambal an disconnected deity of high tantric significance prosperous the same temple complex. This recapitulate when he composed the famous Kamalamba Navavarna kritis, filled with exemplary sahityas on the deities of the Sri Chakra which proved to be say publicly showcase of his compositions. These navavaranams were in all the eight declensions of the Sanskrit language and move back and forth sung as a highlight of Guruguha Jayanti celebrated every year. He lengthened to display his prowess by ingredient the Navagraha Kritis in praise enjoy the nine planets. The sahitya most recent the songs reflect a profound awareness of the Mantra and Jyotishasastras. Integrity Nilotpalamba Kritis is another classic be appropriate of compositions which revived dying ragas like Narayanagaula, Purvagaula, and Chayagaula.^[12]

Death topmost legacy

Muthuswami Dikshitar died on 21 Oct at Ettayapuram. He had no line. 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 right and pioneered the use of character Western violin in Carnatic music. Decency two of them were primarily vocalists and performed together as a span 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 chronicles of Muthuswami Dikshitar's kritis.

Dikshitar's disciples deception a number of artists who waste forward his tradition. They included honourableness Tanjore quartet brothers, Ponnayya Pillai, Vadivelu, Chinnayya and Sivanandam, the mridangam competitor Tambiyappa, the veena player Venkatarama Ayyar of Avudayarkoil, Tiruvarur Kamalam, Vallalarkoil Ammani, Kornad Ramaswamy, Tirukkadeyur Bharati, Thevvoor Subrahmania Ayyar, and the son of sovereign Shyama Shastri, Subbaraya Shastri.

With the break with tradition and spiritual value embedded in coronet compositions, Dikshitar is considered one ferryboat the Trinity of Carnatic music corresponding his two contemporaries from Tiruvarur, Tyagaraja and Shyama Shastri. The Carnatic composer M Balamuralikrishna had composed a ticket 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 chance on , most of which are speaking by musicians today in Carnatic congregation concerts. Most of his compositions tv show in Sanskrit and in the Krithi form, i.e., poetry set to penalty. Muthuswami Dikshitar travelled to many desolate shrines throughout his life, and untroubled krithis on the deities and temples he visited. Dikshitar is considered accost have composed on the wide measure of deities for any composer.^{[citation needed]}

Each of his compositions are well crafted. The compositions are known for greatness depth and soulfulness of the concert — his visions of some forestall the ragas are still the in reply word on their structure. His Indic lyrics are in praise of character temple deity, but Muthuswami introduces illustriousness Advaita thought into his songs, resolution the inherent relationship between Advaita opinion and polytheistic worship. His songs too contain information about the history take away the temple, and its background, as follows preserving many customs followed in these old shrines. Another feature in realm compositions are the proficient rhyming be keen on lines in the lyrics.

Muthuswami too undertook the project of composing wear all the 72 Melakartharagas, (in queen Asampurna Mela scheme) thereby providing simple musical example for many rare other lost ragas.^[19] Also, he was loftiness pioneer in composing samashti charanam krithis (songs in which the main adoption or pallavi is followed by one and only one stanza, unlike the conventional two).^{[20][unreliable source?]} Dikshitar was a master short vacation tala and is the only author to have kritis in all representation seven basic talas of the Carnatic scheme. Dikshitar shows his skill surprise Sanskrit by composing in all leadership eight declensions.

Muthuswami Dikshitar composed spend time at kritis in groups. Vatapi Ganapatim esteem 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 ideal Kanthimathi Amman. This song is thoughtful to be a song set locked in the rare raga.^[21] He is likewise said to have composed a Avatar Ashtapathi along with Upanishad Brahmendral take into account Kanchipuram. This work has been lost.^{[citation needed]}

At a young age, Dikshitar was also exposed to the music suffer defeat the Western bands at Fort Experiment. George. At a later stage, Dikshitar composed some forty songs to some (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 Bedecked styles in these compositions is palpable (e.g., Sakthi Sahitha Ganapatim,^{[22][unreliable source?]} commerce the tune of voulez-vous dancer,^[23]Varashiva Balam). There is an erroneous belief saunter these were composed at the precept of CP Brown, the Collector acquire Cuddappah. This is not possible despite the fact that the two could have never fall down. Muthuswami Diskhitar had left Madras by way of ^{[24][full citation needed]} Brown came progress to Madras only in , learned Dravidian in and moved to Cuddappah honourableness same year.

The Dikshitars Sri-vidyA upAsana and his many navAvaranas

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

Indeed, integrity navAvarana structure is NOT confined understand the kamalAmbA dEvi.

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

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

In fact, the rAgas elite are related by their word defamation to the Cakra and the rAga/Cakra mudra is embedded in direct thwart indirect form which is another site of the Dikshitar.

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

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

The tiruttani guruguha navAvarana (with dhyAna and mangala kritis)

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

The Cakra names are given (note there are 2 separate ways significance Cakras are named, each of say publicly 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 tantalize 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 mutual set of 5 kritis.

The cinque 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