Karnataka is a golden dateline in the history of Karnataka music in the 18th and 19th century. This period saw the presence and precious contribution of the magnificent trinity of Karnataka music – Tyagaraj, Sima Shastri and Muthuswamy Dixit.
The youngest, Dikshitar, the youngest, was born in 1775. This year is his 250th birth anniversary. Born in Ramaswamy Deekshati and Subbamma in the temple city of Thiruvarur, he was named after Lord Muthukumarwamy of Vaithaseran Koval.
At an early age, Muthuswamy Dikshati had mastered Vedic learning, handling texts in Sanskrit, Santita Shastra, Astrology and medicine.
When Ramaswamy Deekshati and his family stayed in Manali (near Chennai), under the patronage of Manali Venkakrishna Mudaliyar, that Muthuswamy Dixit had the opportunity to go with Kashi with his spiritual guru Chidambarnath. This journey made his intensive spiritual practice and his acquaintance convenient with the music atmosphere of northern India.
Back from Kashi, Deekshati visited Subrahmanya Swamy Temple in Tiruttani. It is said that the Lord appeared under the guise of an old man and put the sugar candy in his mouth. This was when he composed his first music in Raga Mayamalavagovala. Considering Guha (Subrahmanya) as his guru, he adopted the posture of Guruguha in his compositions. His first composition ‘Srinathdi Guruguho Jayati’ is a miraculous love of exquisite literature and Sangita. Kriti is a tribute to the greatness of Guru. Music, in a very subtle way, includes glimpses of Sarli Varisai, Janta Varisai, Alankarm and Palindromic Swara patterns.
After the first work, Deekshati composed seven more in the Vibacty theme (eight cases of Sanskrit grammar). In all these eight compositions, known as Gurugha Vibhakti Critis, he explains the characteristics of an ideal guru. Advaita was a staunch lawyer of Vedanta, Advaita of Sankar etc. He also followed Adi Shankara’s Shanmat ideology, worship of six major Gods – Ganapati, Kumara, Shiva, Shakti, Vishnu and Surya. Traveling extensively in the Dravidian land, Dikshati dedicated many compositions to these gods in many Kshetras.
The Deekshati was mainly composed with the exception of some crites in Telugu and Manipravalam in Sanskrit. His compositions stand out for his lyrical excellence and music nature. Each Kshetra and important details of its greatness are mentioned in his compositions. Prasa (alliteration) structures, Yeti patterns, interlocating of raga names, inspiration from your actions, references from esoter to tangible, along with references, along with the singhita make their compositions untrustratedly special.
A major compilation of the creations of Dikshati is dedicated to the various forms of Tyagaraja, Nilotpalamba, Kamalamba, Valmikeshwara, Achleshwara, Hatakeshwara, Anandeshwar, Siddhishwara, Ganapati and Sanundramurti in Turivad. All these compositions are a storehouse of information about the Thiruvarur Temple and its sacred heritage.
The compositions on Tyagesha probably cover every important detail about the temple and its accent traditions. In addition to personal compositions on Tyagaraja, Deekshati has dedicated a divine range to the lord of Thiruvarur. A magnificent sample of compositions on Tyagaraja is Kriti ‘Tyagaraja Mahadhvajaroha’ in Shri Raga. This grand composition describes the famous Vasanta Utsav of Nakhesh. In this work, Deekshati mentions the important events of the festival such as the holy flag hoisting, the performance of musical instruments such as Nagaswararam and Saidala, separate vahana such as Bhuta, Gaza, Vrashabha and Kailasa, which are as a aslemed haches. The tilakam is beautified with the Lord, the extraordinary philosophy of the feet of the Lord, an event that occurs only once in Ayana (Sankranti) and the famous Dippam (Flot Festival). The figure of Shri Raga is prepared excellently in this grand composition. An important phrase of svaras – PDNPM in this raga is employed only once in a composition according to the raga tradition, which was followed. The way Deekshati has added this rule and used the music phrase as a svwarakshara section for the word ‘Pada Darshanam’ – an event that only occurs – is surprising.
Literature and Sangha of the compositions dedicated to other gods in Nilotapalamba, Panch Lingas and Thiruvarur are extremely informative.
Thygarajaswamy Temple in Thiruvarur
There is a collection of Magnum Opus Kamalamba Navavarna works among the initiation works. Dedicated to Goddess Kamalambika in Thiruvarur, these compositions are also in the subject of Vibhakti. He offers the best philosophy of worship of Goddess in Sri Chakra. This is a detailed decisive ritual in srividya fold. Sri Chakra is a union of nine sub Chakras or Avaran. Each Avaran is presided over by the specific deity, Chakreshwari and Yogini. Dikshitar beautifully stored the main features of this sacred worship in these compositions.
Starting a meditation in the raga Taodi with Krishna, nine Critis which are set in Ragas Anandbhairi, Kalyani, Shankara Bharanam, Kamboji, Bhairavi, Punnavari, Sahna, Gant and Aliri. These crites are dedicated to each avana of Sri Chakra, after the subject, after the subject. Dixit mentions important details associated with each Avna such as Avaran’s name, its Chakraswari, Yogini and set of deity. The ninth Avaran is represented by the point (dot), which reflects the goddess as the Supreme Brahmin and the united of Shiva and Shakti. Ahiri is dedicated to Kriti Bindu. Dikshati has included all eight vibacies in the same composition, which suggests the best nature of the goddess. This crest of the newlyana chain shines as the nucleus of Jewel Srividya Upasana and its elevated ideals. The series ends with a Mangala work in Sri Raga. With the glory of music, these compositions are unmatched.
Deekshati has composed seven crites which are dedicated to Grass or planets operating seven days of the week. Set in Suladi Sapta Taal, these crites are packed with important astrological details. Apart from these applause, he also composed in rare rhythm like Khanda Triputa and Khanda Eka.
Shiva traditions described Shiva as the incarnation of Panch Bhutas. Deekshati has dedicated five compositions to Lord Shiva, which contain elements of these five Kshatram, Kanchipuram, Thiruvanikwal, Thiruvannamalai, Sri Kalahasta and Chidambaram.
The Puranas describe innumerable forms of Ganapati. Dikshitar has done compositions dedicated to some of these forms. The iconography given in meditation verses coincides with the details painted in the work. There are classic examples in Navrozu, ‘Hastvadanay’, ‘Panchamatanga Mukh’ in Malahri and Ukchishta in Ramkri in Ganpatau.
The use of the word in the compositions of Dikshitar seems to be the most suitable in the context that they appear. For example, word Nomination Used in the work on Suri, according to the fact that Surya is one who is pleased NamaskarSimilarly, in ‘Zambupit’, most of the words, including the work related to the water element, the raga name (Yamuna Kalyani) among the Panch Hutas, have a subtle relationship with the element. Lalita is inspired by ‘Hiranamayam Laxmim’ and ‘Chandram Bhaja Manas’ in Ashwari respectively. The quotes of Bhavanopanishad, Lalita Sahasharanama, Lalita Trishati and Saundarlahari are seen in many compositions of Dixit.
The middle black route in the critice of the convictions is a special value addition. In nature, these pathways add a lot to the beauty of composition. Many convictions Cretis have only Pallavi and Anupalvi. Charanam part is not present in these small compositions. This is a rare construction of the work form.
In literature, weaving in raga names is a pleasant trademark of Dixit’s compositions. Mahuri (TVA) like raga nameMahuriShadiah) Kriti ‘Mamav Raghuveera’ and Tanukirti (SintayamyaTanurim)InKriti ‘Sidambara Natarajmurtim’ is a great picture.
Ragamalikas Purnachandra Bimba Vijaya Waden, a composition of six ragas and a monumental Chaturdasha Ragamalika, a composition of 14 ragas are invaluable treasures. Chaturdasha Ragamalika’s lyrical and music editing makes it a ripe work.
It is especially important to know about the raga tradition that the deekshati chased. Venkatamkhin, after preparing the formula to achieve 72 parents’ parameters, we find that two major systems of raga classification, with a set of their own prerequisites, emerged. A system charts 72 parents’ scales or melus, with all seven wars with the rule of original raga, but not necessarily in a linear order. In this system the fair was known as Raganga Ragas. In another system, it was mandatory that the fair raga had all seven notes in a linear fashion. In this system, scales are called Melkarta raga.
Deekshati with hard work followed Raganga Raga Parampara. Thus, their compositions display the tastes of the raga according to Raganga Raga Parampara.
Being a Venika, the music of the deekshati reflects Veena’s Bani. Complicated Gamkas, Janta Swaras, long draw Jaras, Swift Madhyama Kala Marg and Chitta Swaras mark the character of their music.
There is an interesting collective Natsavaram. Deekshati had the opportunity to listen to the music of the British band. He composed attractive Sanskrit literature for these panoramic Irish and English tunes, including literature ‘Santatam Pahi Mama Sangita Shyamle’ for the melody of the British national anthem.
In his later years, when the penny, the deekshati killed, in his fierce prayer for Goddess Lakshmi, he rendered ‘Hiranamayam Laxmim’ in Raga Lalita. When difficulties are phased, they composed ‘Mangaladevat’ in Dhansi.
For Etayapuram for the wedding of his brother Baluswamy, the conviction was distressed to see crops due to drought. It was then, in a buyana for Goddess Amarteshwari, he composed the work ‘Anandamatrakarshini’ in Raga Amritavarshini. When he was teaching it to his disciple Subrahmanya Ayya, there was an immediate decline.
During his stay in Etayapuram, the last moments of the convocation came in 1835. On the auspicious day of Tula Krishna Chaturdashi, the day of Deepawali, while his Gamkri Kriti, ‘Minalchani Pashmochani’ line from ‘Minakshi Me Mudam Dehi’ drowned in the music of the line, he passed over ages, an informal treasurer in a will for humanity and an informal treasurer for Satara.
Published – March 20, 2025 08:11 pm IST
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