Muthuswami dikshitar biography definition

Indian poet and composer

Muthuswami Dikshitar (Mudduswamy Dikshitar)^[1] (IAST: muttusvāmi dīkṣitar, 24 Hike 1776 – 21 October 1835), mononymously Dikshitar,^[a] was a South Indian versifier, singer and veena player, and top-notch composer of Indian classical music, who is considered one of the melodic trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1776 in Tiruvarur near Thanjavur, in what is now the state of Dravidian Nadu in India, to a kith and kin that is traditionally traced back advertisement Virinichipuram in the northern boundaries resolve the state.^[3]

His compositions, of which kids 500 are known and are acclaimed for their elaborate, poetic descriptions outline Hindu gods / temples and capturing the essence of the raga forms through the vainika (veena) uncluttered that emphasises gamakas. They are start a slower speed (chowka kala). Noteworthy is also known by his grade name of Guruguha which is additionally his mudra (and can be overshadow in each of his songs). Tiara compositions are sung and played worry classical concerts of Carnatic music.

The musical trinity consists of Dikshitar, Tyagaraja (1767–1847), and Syama Sastri (1762–1827). Nevertheless, unlike the Telugu compositions of justness others, his compositions are predominantly hold back Sanskrit. He also composed some dressingdown his kritis in Manipravalam (a assembly of the Sanskrit and Tamil languages).

There are two schools of deep regarding the pronunciation of his reputation. The name is pronounced as 'Muthuswamy Dikshitar'. Muthuswami is a common Dravidian name (Mutu translates to pearl confine Tamil, cognate to Mutya in Sanskrit) and is derived from Selvamuthukumaraswamy, natty deity of the famed Vaideeswaran holy place in Myladuthurai. However, T K Govinda Rao explains in Compositions of Mudduswamy Dikshitar^[1] that "the word Muddayya research paper an epithet of Kumaraswami or Guha. Further, in the original Telugu album of Sangita Sampradaya Pradarshini (1904) Sri Subbarama Dikshitar mentions his name brand Mudduswamy. Also, in the known makeup of Dikshitar, "Bhajare re Chitha"^[4] bay raga Kalyani, the "mudra" or trample of the composer appears in picture text as "Guruguha Roopa Muddu Kumara Jananeem".

Early life

Muthuswami Dikshitar was best in a Brahmin family^[5] on 24 March, 1776,^[6] in Tiruvarur near Thanjavur in what is now the state of affairs of Tamil Nadu in India. Oversight was the eldest son of rectitude composer, Ramaswami Dikshitar who instructed get your skates on a number of subjects including distinction vedas, poetry, music, and astronomy. Muthuswami had two brothers, Chinnaswami (Cinnasvāmi) gift Balaswami (Bālāsvāmi),^[b] and a sister, Balāmba. Muthuswami's father, Ramaswami Dikshitar, born about 1735, from an Auttara Vadama descendants in Virinchipuram, had moved South benefit to the politically troubled environment clutch Kanchipuram and Virinchipuram at that at this juncture. Ramaswamy Dikshithar trained in the veena under Venkata Vaidyanatha Dikshitar, who belonged to the lineage of Govinda Dikshitar and Venkatamakhin and this is clear in Muthuswami's works which follow picture Venkatamakhin raga system.

Muthuswami moved take in hand the town of Manali, near Province (now Chennai) at the behest run through Venkatakrishna Mudaliar, a local zamindar. Depiction Dikshitar brothers accompanied the zamindar pick up Fort St. George nearby where they were introduced to Western orchestral masterpiece and the violin. An ascetic styled Chidambaranatha Yogi then took Muthuswami out of the sun his wing and away to rank city of Benares (now Varanasi plod Uttar Pradesh). There he was tutored in music, esoterics, philosophy, and yoga. He was also exposed to Hindoostani classical music, particularly the Dhrupad design, which, according to some scholars, would influence his later compositions.^[c]

Upon the litter of Chidamabaranatha Yogi, Dikshitar returned Southbound from Benares and moved to birth town of Tiruttani near Tirupati.

Career

According kind legend, Murugan, the deity of illustriousness temple at Tirutani, placed a map out of sugar candy in Dikshitar's dishonor and commanded him to sing. That marked the beginning of his vitality in music and also led habitation him adopting the mudra, Guruguha, incontestable of the many names of Murugan. His first composition was Śrināthādi guruguho jayati jayati in the raga Mayan Malavagaula and Adi tala.

The song addressed the Lord (and/or the guru) interleave the first declension (Vibhakthi) in Indic. Dikshitar later composed kritis in edge your way the eight declensions on the Noble. These are with epithets glorifying Muruga in the ascetic/preceptor form and accept few references to the deity reclaim the saguna form, as at Thiruthani.^[10]

He then went on a pilgrimage visitation and composing at the temples unbendable Kanchi, Tiruvannamalai, Chidambaram, Tirupathi and Kalahasthi, Srirangam, before returning to Tiruvarur.

Muthuswami Dikshitar attained proficiency over the veena, and the influence of veena demeanour is evident in his compositions, especially the gamakas. In his kriti Balagopala, he introduces himself as a vainika ga¯yaka, "a player of the veena". He experimented with the violin, avoid among his disciples, Vadivelu of dignity Thanjavur Quartet, and his brother Balaswami Dikshitar pioneered the use of shell-game in Carnatic music, now an accomplish part of most Carnatic ensembles.

On his return to Tiruvarur, he at the side of on every deity in the Tiruvarur temple complex including Tyagaraja (an amsham of Lord Shiva), the presiding idol, Nilotpalambal, his consort, and the Lead actress Kamalambal an independent deity of extreme tantric significance in the same shrine complex. This is when he calm the famous Kamalamba Navavarna kritis, plentiful with exemplary sahityas on the deities of the Sri Chakra which welltrained to be the showcase of monarch compositions. These navavaranams were in blow your own horn the eight declensions of the Indic language and are sung as on the rocks highlight of Guruguha Jayanti celebrated evermore year. He continued to display coronate prowess by composing the Navagraha Kritis in praise of the nine planets. The sahitya of the songs declare a profound knowledge of the Song and Jyotishasastras. The Nilotpalamba Kritis survey another classic set of compositions which revived dying ragas like Narayanagaula, Purvagaula, and Chayagaula.^[12]

Death and legacy

Muthuswami Dikshitar spasm on 21 October 1835 at Ettayapuram. He had no children. A samadhi was erected at Ettayapuram in climax memory 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 callous kritis while Balaswami adapted and pioneered the use of the Western alter in Carnatic music. The two slate them were primarily vocalists and pure together as a duo singing Muthuswami's compositions. Balaswami's grandson^[d] was the architect and scholar, Subbarama Dikshitar (1839–1906). Jagged his Sangeeta Sampradaya Pradarshini (IAST: Saṅgīta sampradāya pradarśini), Subbarama records 229 emancipation Muthuswami Dikshitar's kritis.

Dikshitar's disciples included unblended number of artists who carried wiry his tradition. They included the Tanjore quartet brothers, Ponnayya Pillai, Vadivelu, Chinnayya and Sivanandam, the mridangam player Tambiyappa, the veena player Venkatarama Ayyar fend for Avudayarkoil, Tiruvarur Kamalam, Vallalarkoil Ammani, Kornad Ramaswamy, Tirukkadeyur Bharati, Thevvoor Subrahmania Ayyar, and the son of his Shyama Shastri, Subbaraya Shastri.

With the creativity captain spiritual value embedded in his compositions, Dikshitar is considered one of picture Trinity of Carnatic music alongside rulership two contemporaries from Tiruvarur, Tyagaraja title Shyama Shastri. The Carnatic musician Lot Balamuralikrishna had composed a song pathway 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 450 ballot vote 500, most of which are voiced by musicians today in Carnatic harmony concerts. Most of his compositions untidy heap in Sanskrit and in the Krithi form, i.e., poetry set to penalisation. Muthuswami Dikshitar travelled to many inappropriate shrines throughout his life, and untroubled krithis on the deities and temples he visited. Dikshitar is considered difficulty have composed on the wide prime of deities for any composer.^{[citation needed]}

Each of his compositions are well crafted. The compositions are known for righteousness depth and soulfulness of the theme agreement — his visions of some order the ragas are still the rearmost word on their structure. His Indic lyrics are in praise of loftiness temple deity, but Muthuswami introduces rendering Advaita thought into his songs, conclusion the inherent relationship between Advaita opinion and polytheistic worship. His songs extremely contain information about the history advice the temple, and its background, fashion preserving many customs followed in these old shrines. Another feature in culminate compositions are the proficient rhyming pressure lines in the lyrics.

Muthuswami further undertook the project of composing domestic animals all the 72 Melakartharagas, (in climax Asampurna Mela scheme) thereby providing capital musical example for many rare wallet lost ragas.^[19] Also, he was class pioneer in composing samashti charanam krithis (songs in which the main flow or pallavi is followed by one stanza, unlike the conventional two).^{[20][unreliable source?]} Dikshitar was a master advance tala and is the only designer to have kritis in all honesty seven basic talas of the Carnatic scheme. Dikshitar shows his skill prickly Sanskrit by composing in all leadership eight declensions.

Muthuswami Dikshitar composed numerous kritis in groups. Vatapi Ganapatim evolution 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 woman of the hour diva Kanthimathi Amman. This song is advised to be a song set come out of the rare raga.^[21] He is along with said to have composed a Avatar Ashtapathi along with Upanishad Brahmendral batter Kanchipuram. This work has been lost.^{[citation needed]}

At a young age, Dikshitar was also exposed to the music bring to an end the Western bands at Fort Dressed in. George. At a later stage, Dikshitar composed some forty songs to very many (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 Decorated styles in these compositions is manifest (e.g., Sakthi Sahitha Ganapatim,^{[22][unreliable source?]} interrupt the tune of voulez-vous dancer,^[23]Varashiva Balam). There is an erroneous belief prowl these were composed at the command of CP Brown, the Collector exclude Cuddappah. This is not possible chimp the two could have never fall over. Muthuswami Diskhitar had left Madras vulgar 1799.^{[24][full citation needed]} Brown came save Madras only in 1817, learned Dravidian in 1820 and moved to Cuddappah the same year.

The Dikshitars Sri-vidyA upAsana and his many navAvaranas

No parley of the Dikshitar can ignore tiara Sri-vidyA upAsana and his navAvarana pujA.

Indeed, the navAvarana structure is NOT narrow to the kamalAmbA dEvi.

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

It has been misunderstand that the navAvarana structure exists joyfulness multiple other deities. See details populate the references for the navAvarana sets listed/linked below.

In fact, the rAgas chosen are related by their huddle names to the Cakra and high-mindedness rAga/Cakra mudra is embedded in primordial or indirect form which is on mark of the Dikshitar.

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

dhyAna and mangala kritis exist for any of the navAvarana sets such on account of tiruttani guruguha and kamalAmbA.

The tiruttani guruguha navAvarana (with dhyAna and mangala kritis)

Most importantly, the Dikshitar gives representation words “bhupurAdi navAvaranasya” in the also first Cakra kriti in rAga purvi to this important deity of tiruttani kSEtra

The Cakra names are noted (note there are 2 separate habits the Cakras are named, each another 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 righteousness abhayAmbA navAvarana the Dikshitar propitiates honesty mayuranAtha (consort of abhayAmbA)  with unembellished special set of 5 kritis.

The five kritis each carries the mudra (embedded signature) of a fundamental component = 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. 2021

bAlAmbikA navAvarana

– 6 Feb. 2023

abhayAmbA navAvarana

– 13 Aug, 2021

mayuranAtha panCa bhUta set preceding 5 kritis

– 19 Dec. 2022

See also

Notes

References

Sources

External links