Theyyam, far from being an art form, or a stage presentation of folklore ( as nowadays described), is a deep blend of myth, fear, fantasy, religion, vivid dark colours, demonic rhythm and pure devotion & submission.
Theyyam is an exclusive interaction of Gods & Goddesses with Human beings.
സുവർണ്ണവല്ലി ശ്രീ മഹാവിഷ്ണു ക്ഷേത്രത്തിലെ പ്രതിമാസ വിളക്ക് പൂജ 8- 4 – 18ന്ന് ഞായറാഴ്ച 6 മണിക്ക് ക്ഷേത്രാങ്കണത്തിൽ നടത്തുന്നതാണ്. എല്ലാ ഭക്തജനങ്ങളും ( സ്ത്രീ പുരുഷ സഹിതം ) പ്രസ്തുത പരിപാടിയിൽ ഇല, വിളക്ക്, പൂവ് സഹിതം പങ്കെടുത്ത് ഭഗവൽ പ്രസാദം സ്വീകരിക്കണമെന്ന് അറിയിക്കുന്നു
മുതിർന്നവർക്ക് മാത്രമല്ല ആൺകുട്ടികൾക്കും പെൺകുട്ടികൾക്കും പട്ടേന സുവർണ്ണവല്ലി ക്ഷേത്രത്തിൽ 8 – 4 – 18ന്ന് വൈകുന്നേരം 6 മണിക്ക് നടക്കുന്ന വിളക്ക് പൂജയിൽ പങ്കെടുക്കാം. ഈ വിവരം അന്യോന്യം കൈമാറി കഴിയുന്നത്ര ആൾക്കാരെ സഹകരിപ്പിക്കേണ്ടതാണ്
നിത്യകർമ്മ പഠന ക്ലാസിന്റെ തുടർച്ച ഈ മാസം 13, 20, 23, 30 എന്നീ ദിവസങ്ങളിൽ രാവിലെ 10 മണിക്ക് നടത്തുന്നതാണ് പുണ്യാഹം പൂജ എന്നിവയാണ് അടുത്ത അദ്ധ്യായങ്ങൾ.
നക്ഷത്രം: പുണർതം 02/08/2016 02.07 a.m. വരെ ശേഷം പൂയം
*ഇന്നത്തെ പിറന്നാൾ ആഘോഷിക്കേണ്ട* *നക്ഷത്രം:*
🌹🎂🌹 ഇന്നു പിറന്നാൾ ആഘോഷിക്കുന്ന എല്ലാവർക്കും ആശംസകൾ നേരുന്നു 🌹🎂🌹
ഇന്നത്തെ ശ്രാദ്ധം ആചരിക്കേണ്ട നക്ഷത്രം: *പുണർതം*
*നാളത്തെ പിറന്നാൾ നക്ഷത്രം: പൂയം*
നാളത്തെ ശ്രാദ്ധം ആചരിക്കേണ്ട നക്ഷത്രം: *പൂയം*
കൃഷ്ണപക്ഷ ചതുർദ്ദശി 02/08/2016 03.15 a.m. വരെ ശേഷം അമാവാസി
വിഷ്ടി 03.56 p.m. വരെ
ശകുനി 02/08/2016 03.15 a.m. വരെ ശേഷം ചതുഷ്പാത്
വജ്രഃ 02/08/2016 03.19 a.m. വരെ ശേഷം സിദ്ധിഃ
രാഹു കാലം: 07.54 p.m. മുതൽ 09.31p.m. വരെ
ഗുളിക കാലം: 02.20 p.m മുതൽ 03.57 p.m. വരെ
യമകണ്ട കാലം: 11.07 a.m. മുതൽ 12.44 p.m. വരെ
(മുമ്പും രാഹുകാലം, ഗുളികകാലം, യമകണ്ട കാലം എന്നിവയുടെ സമയവ്യത്യാസത്തെപ്പറ്റി Clarify ചെയ്തിരുന്നു. നമ്മുടെ
ഈ പഞ്ചാംഗത്തിൽ തുടക്കത്തിൽ തന്നെ കല്യാൺ ഉദയ സമയം കണക്കിന് എന്ന് കൊടുത്തിരിക്കുന്നത് ശ്രദ്ധിക്കുക. സാധാരണ പഞ്ചാംഗത്തിൽ ദക്ഷിണ കേരളത്തിലെ സൂര്യോദയം അനുസരിച്ചാണ് ഇവയെല്ലാം കൊടുത്തിരിക്കുന്നത്. നമ്മുടെ ദിവസ പഞ്ചാംഗത്തിൽ Kalyan Base ചെയ്തും. അതാണ് വ്യത്യാസം) അതത് സ്ഥലത്തെ സൂരോദയമനുസരിച്ചാണ് ഇവ കണക്കാക്കുന്നത്.
ഉദയം: 06.17 a.m.
അസ്തമയം: 07.09 p.m.
12.18 p.m. മുതൽ 01.09 p.m. വരെയും 03.44 p.m. മുതൽ 04.35 p.m. വരെയും
02.29 p.m. മുതൽ 04.02p.m. വരെ
ഇന്ന് എന്തെല്ലാം ശുഭ കാര്യങ്ങൾക്ക് മുഹൂർത്തം ഉണ്ട്?
ഇന്ന് *ഒരു ശുഭ കാര്യങ്ങൾക്കും മുഹൂർത്തം ഇല്ല*
നാളെ *02/08/2016* എന്തെല്ലാം ശുഭ കാര്യങ്ങൾക്ക് മുഹൂർത്തം ഉണ്ട്?
*നാളെ ഒരു ശുഭ കാര്യങ്ങൾക്കും മുഹൂർത്തം ഇല്ല*
ഇന്ന് *അമാവാസി ഒരിക്കൽ*
(Note: ഇതിൽ കൊടുത്തിരിക്കുന്ന ഉത്സവം പോലെയുളള വിശേഷങ്ങൾ നക്ഷത്രത്തെ അടിസ്ഥാനമാക്കി പഞ്ചാംഗങ്ങളിൽ നിന്നും എടുക്കുന്നതാണ്. ഇതിൽ ചിലപ്പോൾ വ്യത്യാസം വന്നേക്കാം. സദയം ക്ഷമിക്കുക.)
*ഭഗവത് ഗീതയിൽ നിന്ന്:*
(തുടക്കത്തിൽ മനസ്സിലാക്കാൻ കുറച്ച് വിഷമമാണെന്നു തോന്നിയാലും പിന്നീട് ലളിതമായി തോന്നും).
(ആദ്ധ്യാത്മിക ജ്ഞാനം – ആത്മാവിനേയും ദൈവത്തേയും അവർ തമ്മിലുളള ബന്ധത്തേയും സംബന്ധിച്ച ജ്ഞാനം –
ശുദ്ധീകരിക്കുന്നതും മോക്ഷം പ്രദാനം ചെയ്യുന്നതുമാണ്. അത്തരം അറിവ് നിഃസ്വാർഥമായ ഭക്തിയുക്തകർമ്മത്തിന്റെ (കർമയോഗം) ഫലമായി ലഭിക്കുന്നതാണ്. ഭഗവാന് ഗീതയുടെ പൂർവ്വകാല
ചരിത്രവും, കാലാകാലങ്ങളിലും ഭൗതിക ലോകത്തേക്കുളള തന്റെ അവതാരങ്ങളുടെ ഉദ്ദേശ്യവും പ്രാധാന്യവും ഒരു ഗുരുവിനെ അതായത് സാക്ഷാത്ക്കാരം നേടിയ ഒരു ആചാര്യനെ സമീപിക്കേണ്ടതിന്റെ ആവശ്യവും വിശദമാക്കുന്നു.)
യസ്യ സർവേ സമാരംഭാഃ
തമാഹുഃ പണ്ഡിതം ബുധാഃ
ഇന്ദ്രിയസുഖങ്ങൾക്കുവേണ്ടി ആഗ്രഹിക്കാതെ പ്രവർത്തിക്കുന്ന ഒരാളെ ജ്ഞാനി എന്നു മനസ്സിലാക്കണം. ജ്ഞാനാഗ്നിയിൽ കർമഫലങ്ങളെല്ലാം ഭസ്മീകരിച്ച പ്രവർത്തകനാണ് അദ്ദേഹമെന്ന് ഋഷീശ്വരന്മാർ പറയുന്നു.
ഭഗവദ്ബോധമാർന്നവരുടെ പ്രവൃത്തികൾ തികച്ചും മനസ്സിലാക്കാൻ അഭിജ്ഞർക്കേ സാധിക്കൂ. ഭഗവദ് ബോധത്തോടെ പ്രവർത്തിക്കുന്ന ഒരു വ്യക്തി ഒരു തരത്തിലും ഇന്ദ്രിയ തൃപ്തിക്കുളള വാസന ഇല്ലാത്ത ഒരാളകയാൽ അയാള് സ്വകർമ്മ ഫലങ്ങളെല്ലാം, തന്റെ മൂലസ്വരൂപം ഭഗവാന്റെ നിത്യദാസ്യനാണെന്ന ജ്ഞാനത്തിൽ ഭസ്മീകരിച്ചു എന്ന് മനസ്സിലാക്കണം. അങ്ങനെയുളള പൂർണ്ണജ്ഞാനം ലഭിച്ച ഒരാൾ യഥാര്ത്ഥ പണ്ഡിതനാണ്. ഭഗവദ്ദാസ്യത്തെക്കുറിച്ചുളള ഈ ജ്ഞാനത്തിന്റെ വികാസം അഗ്നിയുടേതു പോലെ തന്നെയാണ്. ഒരിക്കൽ ജ്വലിച്ചു കിട്ടിയാൽ കർമപ്രതികരണങ്ങളെയെല്ലാം അതു ചാമ്പലാക്കും.
( തുടരും )
ഗ്രഹപ്പിഴശാന്തി ക്ഷേത്രദർശനത്തിലൂടെ എങ്ങനെ കൈവരിക്കാം?
* The release of Kamal Haasan’s film ‘Vishwaroopam’ has been put on hold in Bangalore.
*The police commissioner chose to personally watch the film to know the content first hand. Some theatres had screened the movie yesterday but screening was stopped in one theatre at the intermission – it is clear that the police would rather be safe than sorry.
(*)The mega-budget movie has stirred controversy with some groups protesting against the film’s portrayal of Muslims. They claim that the movie is anti- Muslim.
The protests that began in Tamil Nadu have spread to Bangalore and Hyderabad as well. On Saturday, Justice K Venkatraman of the Madras High Court watched the movie to check if it indeed shows Muslims in poor light as has been claimed by the protestors. The court’s verdict on whether the film can be screened in Tamil Nadu is expected on Monday.
Although the Central Board of Film Certification has cleared the Rs. 95-crore film, the Tamil Nadu government put its release on hold on January 23, citing law and order concerns.
Mr Haasan has described the ban as “cultural terrorism” and the movie as “Muslim-friendly.” The actor-director is presently in the US to promote the film.
Other milestone points:
For the first time ever in the history of Indian Cinema, Vishwaroopam in Tamil and Telugu and Vishwaroop in Hindi is being telecast through DTH as a premiere show, one day before the theatrical release. It is being telecast across all the six DTH platforms in India (Tata Sky, Airtel, Videocon, Reliance, Dish and Sun). Viewers can watch the movie by paying Rs 1000/- for the Tamil version and Rs 500/- for the Hindi and Telugu versions.
This is a revolutionary concept that has set off a raging debate in the film industry with the exhibitors supporting and opposing the move. Kamal Hasan promoted the concept and held discussions with various stake holders over the past few weeks resulting in the decks being cleared for a grand theatrical as well as DTH release. Dr Dasari’s Siri Media is releasing Vishwaroopam in Telugu and Ekta Kapoor’s Balaji Films is releasing Vishwaroop in Hindi. Rajkamal films is releasing it across Tamil Nadu
There is an unprecedented buzz and excitement around Vishwaroopam/Vishwaroop jointly produced by PVP Cinema and Rajkamal Films International. It is going to be screened across more than 1000 screens across the country and targetting 3.5 crore subscriber base across the nation.
Kamal, 58, has written and directed Vishwaroopam, which stars himself alongside Andrea Jeremiah, Pooja Kumar, Rahul Bose, Shekhar Kapur and Jaideep Ahlawat. It is releasing Jan 11 next year.
Meanwhile, the actor will meet a group of producers to discuss and debate the trend.
Kamal Hassan’s magnum opus Vishwaroopam that was supposed to hit the screens on 11th January is postponed to 25th January after few positive discussions between Kamal Haasan and Tamil Nadu Theatre Owners Association (TNTOA).
It is learnt that the Universal Star and the Theatre Owners Association members had a meet previous night and this morning, and they have come to a mutual understanding to release Vishwaroopam in a good number of theaters on January 25. So, the postponement is likely to happen though an official announcement is to be made.
Directed by Kamal Haasan
Written by Kamal Haasan
Starring Kamal Haasan
Music by Shankar-Ehsaan-Loy
Cinematography Sanu Varghese
Editing by Mahesh Narayanan
Studio Raaj Kamal Films International
Distributed by PVP Films
25 January 2013 (Tamil)
1 February 2013 (Hindi)
Running time 147 minutes
Budget 95 crore (US$17.29 million)
An Afghani al-Qaeda jihadi Omar (Rahul Bose), his accomplice Salim (Jaideep Ahlawat) and their international terror network, plots to attack New York with a “Cesium-bomb”.Vishwanath alias Wiz (Kamal Haasan) is a Kathak teacher who runs his dance class in New Jersey.Wiz lives with his wife Nirupama (Pooja Kumar), a nuclear oncologist, in New York. Nirupama confides it’s a marriage of convenience that provided her a safe haven while she pursued her Ph.D in the U.S. The age gap between them notwithstanding, she is put off by Vishwanath’s effeminate traits & is attracted to her boss, Deepak(Samrat Chakrabarti). She smells something fishy about her husband and hires a private investigator to trail him.Moreover, she learns that Vishwanath is not a Hindu but a Muslim RAW agent and that he married her to investigate Deepak and his boss Omar in connection with a bomb blast in the heart of New York.His mission is to bust the ‘sleeper-cell’ of the jihadis in the US, which is planning to spread nuclear radiation by tying “capsules” on the pigeons in New York and also conduct serial blasts in the happening city.
In a sudden turn of events, the investigator gets killed by a member of a terrorist outfit. A visiting card on his purse gives away the names of Vishwanath and Nirupama and the terror group nabs the couple. The outfit operates from a warehouse and is headed by Omar.
Omar and Vishwanath have a past, one that takes the story back by almost a decade, to the al-Qaeda training camps in Afghanistan. What follows is a maze of events that go back and forth in time, unravelling an international spy thriller.Jihadis scratch nuclear powder from an oncologist’s machines and store it for a bigger blast.
Nirupama is stunned to discover the true identity of her husband, his uncle (a cameo by Shekhar Kapur) and the young dancer Ashmita (Andrea Jeremiah) at her husband’s dance school. Together, they try to counter the plans of Omar and his group that could destroy New York.
in wikipedia –
After finishing his Manmadan Ambu (2010), Kamal Haasan stated in November 2010 that he was working on the scriptment of his “pet project” titled Thalaivan Irukkiran, a film about an international community. Termed as a big budget multi-starrer film, it was expected to commence by March 2011, with a Hollywood studio reportedly coming forward to produce it.
However, in early 2011, sources claimed that Kamal shelved that project and agreed to star in a Selvaraghavan directorial, being impressed by the one-line story narrated to him. Reports further suggested that the film was based on the 2001 American psychological thriller Hannibal, with Kamal playing a cannibal,Closer to release, Kamal Haasan revealed that he had thought of the story seven years before production began and had to convince himself that the story could be made into a feature film.
The film was named Vishwaroopam, after several titles were considered,by late March and the shooting was planned to begin by mid-April and to be completed within 100 days. It was revealed that the film would be produced in three languages—Tamil, Telugu and Hindi—simultaneously. There will also be a dubbed Telugu version titled Vishwaroopam.
On 24 May 2011, it was announced that Selvaraghavan was ousted from the project, as he was busy finishing his project with his brother Dhanush. Kamal Hassan decided to direct the film himself in addition to writing the story, screenplay and dialogues.
The producing studio, Telephoto Films, had urged him to take up the project, planning for a release on 7 November 2011,. The film was then disclosed to be a spy thriller on the lines of the Mission Impossible series.
The film was being made as a bilingual and simultaneously shot in Tamil, Telugu and Hindi languages; all the actors had to learn their dialogues in both languages.
Sanu John Varghese made his debut as a cinematographer in Tamil after previously working in the Hindi film, Karthik Calling Karthik and the Malayalam film Elektra. Varghese had previously been a part of the team that Kamal Haasan had assembled for Marmayogi, which did not take off. Mahesh Narayanan, a leading Malayalam film editor, was signed up for the project after he had acquainted with Kamal Haasan for the pre-production works of the film Traffic, which the actor later opted out from. The team signed up N. G. Roshan as a make-up artiste after Kamal Haasan appreciated his work in the 2009 Malayalam film Pazhassi Raja, while Mahadevan Thampi was picked to be the still photographer after Kamal Haasan had worked with him for a day during his guest appearance in Four Friends.
By February 2011, newcomer Sonakshi Sinha was approached to play the lead female character, and was confirmed to play Haasan’s wife.Her salary for the film was touted to be 2 crore (US$364,000). However, with the film getting delayed, she opted out by July, due to conflicting dates with her Hindi assignments. Following Sinha’s exit, other leading Bollywood actresses, including Katrina Kaif, Deepika Padukone, and Sonam Kapoor were considered. Vidya Balan was also approached by the makers, but she declined the offer, owing to her prior commitments. By mid-August, Sameera Reddy was reported to have been roped in for the role, while sources stated that Anushka Shetty was finalised soon after. In early November 2011, New York based model-actress Pooja Kumar was signed in for a role after she had been recommended to Kamal Haasan by his partner, Gouthami.The initial audition for Pooja Kumar was held over Skype, with Haasan noting that she had thought the film was initially based on cannibalism. Being a non-Tamil speaker her dialogues have been dubbed by actress Abhirami, although Pooja Kumar dubbed for herself in the film’s Hindi version. Telugu actress Lakshmi Manchu was offered a role in the film, but declined it due to date issues.
Shriya Saran was reported to play the second female lead in the film, with the actress dismissing the news several days later, citing that she had not even heard the script, following which Priya Anand was claimed to have bagged that role. This turned out to be false, with Kamal Haasan citing that he did not know who Priya Anand was. Isha Sharvani was meanwhile selected for a role, with reports suggesting that she would essay the character of Kamal Haasan’s sister in the film. However, Sharvani too opted out later, due to “inordinate delay in the start of the shoot”. By late August 2011, British model-turned-actress Amy Jackson was reported to have been added to the cast. During mid-October, singer-actress Andrea Jeremiah had been signed on for a pivotal role and paid an advance.
Rahul Bose was finalised to play the antagonist.
Later that month, actor-director Shekhar Kapur informed on Twitter that he would perform a cameo role, while Samrat Chakrabarti had also been selected for a supporting role. Jaideep Ahlawat disclosed in an interview that he would play an “out-and-out negative character” in the film. Zarina Wahab told in November 2011 that she shot for a small role in Vishwaroopam.In January 2012, Chitrangada Singh was offered a “very special role”, which the actress had to decline, since her dates clashed with Sudhir Mishra’s film.As Kamal Hassan is ardent reader of Richard Dawkins, he had named Miles Anderson as Dawkins in the movie.
The film’s shooting was supposed to take off on 20 April, but became delayed, since the US Consulate had refused Visas to the cast and crew. The team decided to relocate to Canada, postponing filming to June.The shooting began for the film in Chennai in August 2011 and locations filmed at included Haasan’s office in October 2011, when Isha Sharvani was also a part of the shoot. The film briskly progressed in late 2011, with scenes involving Samrat Chakrabarti filmed in November of the same year. Sets resembling Afghanistan were created in Chennai, with many foreigners from Russia, Iran and Africa playing American soldiers, while Haasan wore an Afghan look.In November 2011, the team also pursued schedules in Amman and Petra in Jordan with Rahul Bose’s scenes being canned. Haasan learnt Kathak from Birju Maharaj for an important portion in the film.
Due to delays, casting took a relatively long period of time, with several of the original cast dropping out of the project. Vishwaroopam was shot extensively overseas in countries like the United States and Canada. Domestic locations included Chennai and Mumbai.Kamal Haasan went to USA on 15 December 2011 for completing a schedule.The main outdoor shoots were shot in New York as the lead character is based there, and the production team also matched New York with the Grand Rapids in Michigan. Re-recording and dubbing work began in Mumbai in late February 2012, with Haasan arranging a dialogue coach in Tamil and Hindi to get the artistes’ dubbing in place, with Atul Tiwari supervising the Hindi dialogues.
The climax scenes featuring an aerial fight choreographed by Hollywood stuntman Lee Whittaker was filmed at Chandivali Studio in Andheri, Mumbai in early March 2012 with Haasan and Rahul Bose.The film was shot in digital format, after several false starts Haasan’s previous projects. Speaking about it, he said “The fact that cinema is going digital is the biggest technological change today. We have to accept it, as it is happening globally and it will happen in Tamil Nadu too.”
Gouthami designed the costumes for the film. A research had to be carried out on the American army’s hierarchy for the costumes. N. G. Roshan, who had previously worked in notable Malayalam films, took charge of the make-up for the film. The villain had to undergo a heavy use of prosthetic make-up. A scene involving a war explosion had to show an injured jaw for him. Further, the artists appearing as war victims had blood and other forms of injuries applied on their bodies. The Jaika stunt team, that was also involved in Ajith Kumar’s Billa II then, worked on the action sequences. Haasan’s younger daughter Akshara Haasan joined the crew as an assistant director. Kunal Rajan was roped in as a sound designer and the stunt crew for the film were imported in from Thailand.
Main article: Vishwaroopam (soundtrack)
Initially, Yuvan Shankar Raja was reported to compose the film’s musical score. However, Kamal signed in the musical trio Shankar–Ehsaan–Loy to compose music for the trilingual, making it his second collaboration with them after Aalavandhan.Lyricist Vairamuthu took charge of the lyrics of the songs in the film, after Kamal Haasan had approached him and narrated the entire plot, to which he immediately agreed to work upon. Javed Akhtar has penned lyrics for the Hindi version, while Ramajogayya Shastry has done the lyrics for the dubbed Telugu version. The audio was released on 7 December 2012. The Telugu version of the audio was released on 30 December at Hyderabad.
The makers planned the high-budget production to premiere at the 2012 Cannes Film Festival. A special screening of the film was arranged for Hollywood-based producer Barrie M. Osborne and make-up artist Michael Westmore. Before release, it was reported to have been split into two parts, with each one having a separate release.
The first look poster and a teaser of the film were released on May Day 2012 as part of the film’s marketing process. The poster consisted of Kamal Haasan wearing a green khaki jacket, with a flying pigeon and a skyline of a city consisting of several skyscrapers in the background.
Snippets from the film were unveiled during the International Indian Film Academy (IIFA) weekend and awards in Singapore in June 2012, as the actor-director screened excerpts from the film, attracting critical acclaim. He also went on to reveal the synopsis of the film, mentioning that a sequel was already planned and several sequences had already been shot featuring Andrea Jeremiah in a more prominent role. A one minute trailer was released at the award ceremony, which saw Kamal Haasan and Andrea take part in a press conference. The film’s Tamil version was given a U/A (Parental Guidance) certificate by the Central Board of Film Certification with minor cuts, while the Hindi version Vishwaroop, got an “A” (Adults Only) certificate with no cuts. However, it was later announced that the Hindi version went through minor cuts to receive the U/A certificate. A third theatrical trailer (in Auro 3D) was released on 7 November, coinciding with Haasan’s birthday. It included a webcast of Kamal’s speech via Skype. The film is releasing in 3,000 prints worldwide. While the movie would release in theatres on 25 January 2013, Vishwaroopam DTH release will be on 2 February 2013 via 6 DTH players – Tata Sky, Airtel, Sun, Dish, Videocon & Reliance. The Hindi version is scheduled to be released on 1 February 2013.
Vishwaroopam was scheduled to release in about 500 screens in Tamil Nadu.After initial delay,Vishwaroopam was cleared for screening in 12 theatres across Bangalore city from Sunday,January 27,2013.
Vilakku Pooja – as defenitely the name suggests is the worship offered to the “Nila Vilakku” or the serene lamp . Here the Agni or the fire lit is considered as Devee or goddesses in full manifestation.
The Pooja is performed by a group of “Mothers” [ generally Women, in the sense that all women are Mothers by birth ]
An Aacharya or Priest recites the Divine “Lalitha Sahasra Namam” the “Thousand Names of Omnipotent Power, Goddess Lalithambika Devi and the Mothers [ Amma ] reiterates the names by offering flowers.
Puthukkai “Sri Sadashiva Temple” situated at Nileshwaram, near Kasaragod and Payyanur, 100 kilometers from Manglore, witnessed this rare occasion of Vilakku Pooja as part of the yearly temple festival.
The Navaratri or the Nine Nights is a festival dedicated to the three prime Goddesses of the Hindu tradition, namely, Durga, Lakshmi and Shri Chakra Saraswathi
Nine is if utmost Significance in Shri Chakra Upasana . In the path of Shri Chakra, Naada forms a pivotal point .
** Oothukkadu Venkata Kavi
* the kamalAmba Navavaranams of Muthuswami Dikshitar.
The set of compositions popularly known as kamalAmba navAvaraNa consists of eleven kritis composed by the illustrious composer, Muthuswami Dikshitar, in praise of Goddess kamalAmba of the mammoth temple at Tiruvarur. In this set of kritis, the composer is at his best, and the lyrics are par excellence! While in many of the group kritis that Dikshitar is believed to have composed, some kritis are missing (perhaps lost to us forever), the kamalAmba navAvaraNa series has fortunately come down to us in a complete form.
It consists of a benedictory (dhyAna) k.rti, followed by eight compositions, one in each of the eight declinations of the proper noun “kamalambA” (or sometimes kamalAmbikA) in feminine gender, continuing on to a tenth k.rti which employs all the declinations (vibhakti-s) of the Sanskrit language; the series concludes with an auspicious maN^gaLa k.rti, appropriately set in the auspicious rAga srIrAgam. Each of the nine songs is on one of the nine enclosures (AvaraNam) of the shrIcakra (the auspicious wheel). In each k.rti, Dikshitar carefully brings out the name of the cakra, its geometry, many salient features specific to the cakra, and the devata-s associated with it. On many occasions, Dikshitar cleverly indulges in very lengthy word constructions, which to a layman may seem like a tongue-twister. The word “guruguha” (used in several meanings) appears in all these compositions as the composer’s signature or mudra. The rAga mudra is incorporated (through the art of shleSha (double meaning), in most of these compositions. The dhyAna k.rti in toDi does not feature a rAga mudrA, and the kritis in Anandabhairavi (first AvaraNam), and shaN^karAbharaNam (third AvaraNam) have only partial rAga mudras (the word “Ananda” for the former, and shaN^kara for the latter). The kambhoji, sahAnA, and Ahiri compositions have disguised rAga mudrAs (kAmbhoja, shAna, Ahari, respectively). All other kritis have the proper rAga mudrA.
The kritis of the kamalAmba navAvaraNa series are as follows:
1. dhyAna k.rti in saMbodhanA vibhakti (vocative case) – kamalAmbikE, tODi, rUpaka tALa
2. The first AvaraNa k.rti in prathamA vibhakti (nominative) on trailokyamohana cakra – kamalAmba saMrakShatu mAM, Anandabhairavi, tripuTa tALa
3. The second AvaraNa k.rti in dvitIyA vibhakti (accusative) on sarvAshaparipUraka cakra – kamalAmbAM bhaja re, kalyANi, Adi tALa
4. The third AvaraNa k.rti in tritIyA vibhakti (instrumental) on sarvasaMkShobhaNa cakra – shrIkamalAmbikayA, shaN^karAbharaNam rUpaka tALa
5. The fourth AvaraNa k.rti in caturthI vibhakti (dative) on sarvasaubhAgyadAyaka cakra – kamalAmbikAyai, kAMbhoji, aTa tALa
6. The fifth AvaraNa k.rti in pa~ncamI vibhakti (ablative) on sarvArthasAdhaka cakra – shrI kamalAMbAyAH, bhairavi, jhaMpa tALa
7. The sixth AvaraNa k.rti in ShaShThI vibhakti (genitive) on sarvarakShAkara cakra – kamalAmbikAyAH, punnAgavarALi, rUpaka tALa
8. The seventh AvaraNa k.rti in saptamI vibhakti (locative) on sarvarogahara cakra – shrI kamalAmbikAyAM , sahAnA, tripuTa tALa
9. The eighth AvaraNa k.rti in saMbodhanA vibhakti (vocative) on sarvasiddhiprada cakra – shrI kamalAMbike, ghaNTa, Adi tALa
10. The ninth and last AvaraNa k.rti in all eight vibhaktis (cases) on sarvAnandamaya cakra – shrI kamalAMbA jayati, Ahiri, rUpaka tALa
(The pallavi employs prathamA vibhakti, the anupallavi, the dvitIya and tritIyA vibhaktis, while the caraNam has one line each in caturthI, pa~ncamI, ShaShThI and saptamI vibhaktis. The line set in caturthI vibhakti also incorporates the sambodhanA, while the two lines sung in madhyamakAla return to the prathamA vibhakti.)
11. The final auspicious maN^gaLa k.rti – shrI kamalAmbike, shrIrAgaM, khaNDa eka tALa
Since each of these compositions is on one of the nine AvaraNams (enclosures) of the shrI cakra, we will now quickly describe the geometry of the cakra. The shrI cakra, or the auspicious wheel is a geometrical diagram employed in the worship of Goddess Tripurasundari, according to Tantric rituals. It is more than a mere diagram, and has mystic powers and great significance in the shakti worship tradition. The outer portion of the shrI cakra consists of four units – the outermost layer gateway of three rectangular walls (bhUpura), three circles (trivalaya, or v.rttatraya), a sixteen petaled rose (ShoDashadaLa padma), and an eight-petaled rose (aShTadaLa padma). The core of the shrI cakra consists of numerous triangles – a set of fourteen triangles (manukoNa), two sets of ten triangles (bahirdashAra and antardashAra), a set of eight triangles (vasukoNa), and the innermost sole triangle (trikoNa). In fact these various triangles are formed by the intersections of four isosceles triangles with vertex pointing upwards (called the shiva group), and five isosceles triangles with downward vertices (called the shakti group) all situated inside the eight petaled rose. The culmination of all these is the bindu, a single dot placed at the center. Each sub-cakra bears the name of its presiding deity, as well as the subordinate deities (yoginis) associated with it.
A quick definition of the shrI cakra can be found in Adi Sankara’s famous work, Saundaryalahari (verse 11) as follows:
It is customary to sing the kamalambA navAvaraNa group kritis, first by invoking Lord Ganesha through the k.rti, “shrImahAgaNapatiravatu mAm” in rAga gauLa, followed by a salutation to Lord SubrahmaNya (guruguha) through the composition “bAlasubrahmaNyam” in rAga suraTi. These two particular kritis might have been chosen, not for any particular reason, but perhaps one of the oldest books on kamalAmba Navavaranam by Kallidaikkuricci Vina Sundaram Iyer (supplement volume 16) has printed these songs preceding the AvaraNa songs.
The kamalAMbA navAvarANa kritis are very auspicious, deep in meaning and content, and bring out the deeper insights into the shrI vidyA upAsana.
Dikshitar has packed numerous tantric and shrIvidyA details in these songs, which makes it difficult to translate them adequately into English.
While the meanings may be straightforward for those who have adequate knowledge of shrIvidyA upAsana and have contemplated on it, for ordinary people, it is a hidden treasure.
Hence, we shall only attempt a simple word to word meaning approach to these songs, and will not attempt to provide the deeper esoteric inner meanings