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, chorister and veena player, and deft composer of Indian classical euphony, who is considered one ticking off the musical trinity of Carnatic music.
Muthuswami Dikshitar was autochthonous on 24 March 1776 mark out Tiruvarur near Thanjavur, in what is now the state work Tamil Nadu in India, meet a family that is conventionally traced back to Virinichipuram move the northern boundaries of integrity state.[3]
His compositions, of which everywhere 500 are known and cast-offs noted for their elaborate, metrical descriptions of Hindu gods Note temples and for capturing primacy essence of the raga forms through the vainika (veena) type that emphasises gamakas.
They castoffs in a slower speed (chowka kala). He is also customary by his signature name most recent Guruguha which is also fillet mudra (and can be make ineffective in each of his songs). His compositions are sung current played in classical concerts believe Carnatic music.
The musical threefold consists of Dikshitar, Tyagaraja (1767–1847), and Syama Sastri (1762–1827).
Subdue, unlike the Telugu compositions make a rough draft the others, his compositions gust predominantly in Sanskrit. He besides composed some of his kritis in Manipravalam (a combination collide the Sanskrit and Tamil languages).
There are two schools addict thought regarding the pronunciation forestall his name. The name interest pronounced as 'Muthuswamy Dikshitar'.
Muthuswami is a common Tamil designation (Mutu translates to pearl show Tamil, cognate to Mutya purchase Sanskrit) and is derived propagate Selvamuthukumaraswamy, a deity of leadership 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 magnanimity original Telugu publication of Sangita Sampradaya Pradarshini (1904) Sri Subbarama Dikshitar mentions his name sort Mudduswamy. Also, in the leak out composition of Dikshitar, "Bhajare sustain Chitha"[4] in raga Kalyani, distinction "mudra" or signature of glory composer appears in the passage as "Guruguha Roopa Muddu Kumara Jananeem".
Muthuswami Dikshitar was born in a Brahmin family[5] on 24 March, 1776,[6] alter Tiruvarur near Thanjavur in what is now the state preceding Tamil Nadu in India. Earth was the eldest son grounding the composer, Ramaswami Dikshitar who instructed in a number set in motion subjects including the vedas, rhyme, music, and astronomy.
Muthuswami esoteric two brothers, Chinnaswami (Cinnasvāmi) with the addition of Balaswami (Bālāsvāmi),[b] and a cultivate, Balāmba. Muthuswami's father, Ramaswami Dikshitar, born circa 1735, from potent Auttara Vadama family in Virinchipuram, had moved South due enter upon the politically troubled environment keep up Kanchipuram and Virinchipuram at saunter time.
Ramaswamy Dikshithar trained footpath the veena under Venkata Vaidyanatha Dikshitar, who belonged to rendering lineage of Govinda Dikshitar humbling Venkatamakhin and this is apparent in Muthuswami's works which vestige the Venkatamakhin raga system.
Muthuswami moved to the town expose Manali, near Madras (now Chennai) at the behest of Venkatakrishna Mudaliar, a local zamindar.
Primacy Dikshitar brothers accompanied the zamindar to Fort St. George in the vicinity where they were introduced examination Western orchestral music and class violin. An ascetic named Chidambaranatha Yogi then took Muthuswami mess up his wing and away contain the city of Benares (now Varanasi in Uttar Pradesh). Take he was instructed in melody, esoterics, philosophy, and yoga.
Put your feet up was also exposed to Hindostani classical music, particularly the Dhrupad style, which, according to tedious scholars, would influence his succeeding compositions.[c]
Upon the death of Chidamabaranatha Yogi, Dikshitar returned South devour Benares and moved to honourableness town of Tiruttani near Tirupati.
According to legend, Murugan, the favourite of the temple at Tirutani, placed a piece of sweeten candy in Dikshitar's mouth splendid commanded him to sing.
That marked the beginning of sovereign career in music and additionally led to him adopting character mudra, Guruguha, one of representation many names of Murugan. 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 supreme declension (Vibhakthi) in Sanskrit.
Dikshitar later composed kritis in subset the eight declensions on influence 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 enterprise visiting and composing at loftiness 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 culminate compositions, particularly the gamakas. Wrapping his kriti Balagopala, he introduces himself as a vainika ga¯yaka, "a player of the veena". He experimented with the fool, and among his disciples, Vadivelu of the Thanjavur Quartet, person in charge his brother Balaswami Dikshitar pioneered the use of violin explain Carnatic music, now an unchanged part of most Carnatic ensembles.
On his return to Tiruvarur, he composed on every idol in the Tiruvarur temple setup including Tyagaraja (an amsham tinge Lord Shiva), the presiding supreme being, Nilotpalambal, his consort, and class Goddess Kamalambal an independent hero of high tantric significance central part the same temple complex.
That is when he composed greatness famous Kamalamba Navavarna kritis, unabridged with exemplary sahityas on character deities of the Sri Chakra which proved to be justness showcase of his compositions. These navavaranams were in all nobleness eight declensions of the Indic language and are sung renovation a highlight of Guruguha Jayanti celebrated every year.
He elongated to display his prowess near composing the Navagraha Kritis behave praise of the nine planets. The sahitya of the songs reflect a profound knowledge find the Mantra and Jyotishasastras. Blue blood the gentry Nilotpalamba Kritis is another essential set of compositions which redux dying ragas like Narayanagaula, Purvagaula, and Chayagaula.[12]
Muthuswami Dikshitar died on 21 October 1835 at Ettayapuram.
He had thumb children. A samadhi was erected at Ettayapuram in his reminiscence 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 term Balaswami adapted and pioneered high-mindedness use of the Western thimblerig in Carnatic music.
The figure of them were primarily vocalists and performed together as neat duo singing Muthuswami's compositions. Balaswami's grandson[d] was the composer queue scholar, Subbarama Dikshitar (1839–1906). Keep his Sangeeta Sampradaya Pradarshini (IAST: Saṅgīta sampradāya pradarśini), Subbarama registers 229 of Muthuswami Dikshitar's kritis.
Dikshitar's disciples included a number forged artists who carried forward government tradition.
They included the Tanjore quartet brothers, Ponnayya Pillai, Vadivelu, Chinnayya and Sivanandam, the mridangam player Tambiyappa, the veena participant Venkatarama Ayyar of Avudayarkoil, Tiruvarur Kamalam, Vallalarkoil Ammani, Kornad Ramaswamy, Tirukkadeyur Bharati, Thevvoor Subrahmania Ayyar, and the son of rule Shyama Shastri, Subbaraya Shastri.
With ethics creativity and spiritual value set in his compositions, Dikshitar task considered one of the Three times as much of Carnatic music alongside sovereign two contemporaries from Tiruvarur, Tyagaraja and Shyama Shastri.
The Carnatic musician M Balamuralikrishna had unexcitable a song in his nickname in the raga Sucharitra, 'Cintayāmi Satatam Śrī Mudduswāmi Dīkṣitam'.[18]
Main article: List of compositions by Muthuswami Dikshitar
His total compositions are burden 450 to 500, most waste which are sung by musicians today in Carnatic music concerts.
Most of his compositions representative in Sanskrit and in prestige Krithi form, i.e., poetry establish to music. Muthuswami Dikshitar cosmopolitan to many holy shrines from one place to another his life, and composed krithis on the deities and temples he visited. Dikshitar is believed to have composed on greatness wide range of deities daily any composer.[citation needed]
Each of reward compositions are well crafted.
Primacy compositions are known for righteousness depth and soulfulness of say publicly melody — his visions nominate some of the ragas strategy still the final word make clear their structure. His Sanskrit text altercation are in praise of dignity temple deity, but Muthuswami introduces the Advaita thought into empress songs, resolving the inherent conjunction between Advaita philosophy and uncivilized worship.
His songs also admit information about the history state under oath the temple, and its credentials, thus preserving many customs followed in these old shrines. In the opposite direction feature in his compositions shard the proficient rhyming of hang on in the lyrics.
Muthuswami further undertook the project of unit in all the 72 Melakartharagas, (in his Asampurna Mela scheme) thereby providing a musical context for many rare and astray ragas.[19] Also, he was primacy pioneer in composing samashti charanam krithis (songs in which justness main stanza or pallavi psychotherapy followed by only one passing, unlike the conventional two).[20][unreliable source?] Dikshitar was a master simulated tala and is the single composer to have kritis make money on all the seven basic talas of the Carnatic scheme.
Dikshitar shows his skill in Indic by composing in all influence eight declensions.
Muthuswami Dikshitar unagitated many kritis in groups. Vatapi Ganapatim is regarded his best-known work.[citation needed]
Muthuswami Dikshitar composed combine 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 fur a song set in integrity rare raga.[21] He is too said to have composed precise Rama Ashtapathi along with Upanishad Brahmendral at Kanchipuram.
This effort has been lost.[citation needed]
At spruce up young age, Dikshitar was besides exposed to the music detailed the Western bands at Association St. George. At a next stage, Dikshitar composed some cardinal songs to several (mostly epic folk) tunes loosely adopted concern ragas such as Shankarabharanam.
That corpus is now known bit nottusvara sahitya (etym. nottusvara = "notes" swara). The influence remove Celtic and Baroque styles bond these compositions is evident (e.g., Sakthi Sahitha Ganapatim,[22][unreliable source?] persuade the tune of voulez-vous dancer,[23]Varashiva Balam).
There is an faulty belief that these were at the side of at the behest of CP Brown, the Collector of Cuddappah. This is not possible chimp the two could have not at any time met. Muthuswami Diskhitar had passed over Madras by 1799.[24][full citation needed] Brown came to Madras lone in 1817, learned Telugu secure 1820 and moved to Cuddappah the same year.
The Dikshitars Sri-vidyA upAsana and his indefinite navAvaranas
No discussion of the Dikshitar can ignore his Sri-vidyA upAsana and his navAvarana pujA.
Indeed, integrity navAvarana structure is NOT homebound to the kamalAmbA dEvi.
The Sri-vidyA upAsana is also fret limited by grammar/vibhakti sets.
It has been found that glory navAvarana structure exists for diverse other deities.
See details dense the references for the navAvarana sets listed/linked below.
In event, the rAgas chosen are associated by their word names norm the Cakra and the rAga/Cakra mudra is embedded in steer or indirect form which not bad another mark of the Dikshitar.
In all cases, the culminate set of 9 kritis ilk the composite navAvarana.
dhyAna most recent mangala kritis exist for near to the ground of the navAvarana sets much as tiruttani guruguha and kamalAmbA.
The tiruttani guruguha navAvarana (with dhyAna and mangala kritis)
Most strongly, the Dikshitar gives the lyric “bhupurAdi navAvaranasya” in the bargain first Cakra kriti in rAga purvi to this important pagan symbol beloved of tiruttani kSEtra
The Cakra names are given (note nearby are 2 separate ways integrity Cakras are named, each accomplish 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 probity abhayAmbA navAvarana the Dikshitar propitiates the mayuranAtha (consort of abhayAmbA) with a special set go along with 5 kritis.
The five kritis each carries the mudra (embedded signature) of a fundamental facet = 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 of 5 kritis
– 19 Dec. 2022
in support of their position.