We are aware that Muttuswami Dikshitar was a rare combination of a scholar, master and sadhaga, who scaled new heights, in the harmony of “sangeetha” and “sahitya” and their many dimensional beauties. On the other hand, “Thyagaraja” was a great river, into which, the noblest tradition of music, “bhakthi” and “renunciation” flowed, and “Syma sastri” had a rhythmical frame of mind and was always swimming in the eternal regions of “rhythms” and “thala prasthara”.
There is no doubt, that a new chapter, in the history of South Indian music, was written by the musical trinity, in whose hands, “ sangeetha kavitha” (music creativity), reached, the acme of perfection.
It was an educative programme, organised by Dr Asha, a doctorate holder in Sanskrit and a dancer of merit, a senior disciple of Vidushies Seetha Narayanan and Kalpagam Swamin-athan, who released a book titled “ concepts contexts and conflations”, in the kritis of Muttuswami Dikshitar recently.
When we go through the book, which comprehensively, delves into the depths of lyrical excellence of Dikshitar, and his eternally enduring, and vibrant classics, highlighting their philosophic, mystic and cultural love, we are spellbound. We cannot, but admire the sadhana of Dr Asha, for her illuminating coverage of philosophy of “advaita”, “srividya”, “mystic significance” of deities, “lyrical excellence”, revealing how with “advaita”, as the focal point, Dikshitar was able to harmonise, various traditions and achieve a perfect blend of melody and mysticism.
Basically, this book is a conceptual study, detailing the depth and subtleties of “advaitic” content, in Dikshitar’s compositions, and revels how seamlessly, harmonises with various other traditions, like “Sri Vidya”, which Dikshita was the inheritor of. The coverage, relating to the experience of the supreme. In Dikshita’s kritis, like the glorious, rich, variegated plumage of a peacock. The deities of “sanmata” (viz) Ganapathy, Siva, Vishnu and others, are dealt with extensively in the kritis and ultimately, like rivers flowing into the ocean, all converging in “advaitic idealism”.
It is certainly an illuminating and innovative production, and an enlightening work, bringing out the importance of “Srichakra puja” and “Devi upasana” and importance of astronomy and astrology, revealing the scholarship and total involvement of the author, which should be with every reader, interested in classical Carnatic music, to get a clear view of the need for practice of “ nadopasana”, for elevating, our self, to lead a life of morality and righteousness and for understanding the profundity of Sri Muttuswami Dikshitar, to whom this production is dedicated.
(The writer is a well known music critic who has won awards both in India and abroad for propagation of classical arts and music)
