For every Shri Vidya Upasaka (practitioner), the phrase “Namami Lalitam Nityam” signifies the importance of remembering and worshipping Goddess Lalita every day. Just as breathing and eating are part of daily life, devotion to the Divine Mother becomes an integral part of one’s existence. Constant remembrance of the Mother of the Universe—Jaganmata, Bhuvaneshwari, and Lalita—constitutes the essence of Upasana (worship).
“Shri Vidyam Jagatam Dhatrim” refers to Shri
Vidya Upasana, a powerful path of Tantric and Bhakti worship centered on Lalita
Tripurasundari as the Divine Mother. This Mahavidya is regarded as the power
that sustains the universe. The phrase “Sarga Sthiti Layeshwarim” expresses
that Mother Lalitambika possesses the power of creation, preservation, and
dissolution.
Many great souls, according to their knowledge
and realization, have served the Divine Mother through this Mahavidya. Among
them are great personalities such as Parashurama, Dakshinamurthy, Parameshwara,
Indra, Chandra, Manu, and Lopamudra. Similarly, Muthuswami Dikshitar was also a
devoted worshipper of the Divine Mother.
Muthuswami Dikshitar is one of the Trinity of
Carnatic classical music, along with Tyagaraja and Shyama Shastri. While many
Vaggeyakaras composed their works primarily in Telugu, a notable feature of
Dikshitar’s compositions is that they are all in Sanskrit. His compositional
style is often compared to “Narikela Paka,” the essence of a coconut. Just as a
coconut has a hard shell outside but contains sweet water and nourishing flesh
within, Dikshitar’s kritis may appear complex outwardly yet reveal profound musical
and literary beauty when explored deeply.
Dikshitar, himself a Shri Vidya Upasaka,
composed several kritis expressing the philosophical necessity of worshipping
the Divine Mother. These compositions carry scriptural foundations and layered
meaning. In the practice of Shri Chakra Upasana, the Goddess is worshipped
through nine Avaranas, or enclosures. Each Avarana represents a distinct stage
of worship with its own name and significance. Only after worshipping all nine
Avaranas does the practitioner receive the grace of the Goddess.
The Shri Chakra itself consists of these nine
Avaranas, and the worship of this sacred diagram forms the essence of Shri
Vidya. Lalitambika, the Supreme Mother and Parashakti, is said to reside in the
Shri Chakra as the central Bindu. In his renowned Navavarana Kritis, Dikshitar
describes both the worship of the Goddess and the beauty of this spiritual
structure.
One of the most significant compositions is
dedicated to Shri Chakra Raja Simhasaneshwari, the sovereign Goddess
Lalitambika who presides over the throne of the Shri Chakra. As Shri Chakra
Rajeshwari, she represents the supreme authority of all chakras and yantras.
To understand the subtle principles of the Shri
Chakra, Dikshitar’s compositions provide valuable guidance. His kritis present
these ideas in a structured and meaningful manner. The worship of the Shri
Chakra is not limited to ritual practices such as archana or sadhana. When
viewed from another perspective, connections are drawn between the structure of
the Shri Chakra and aspects of the human body.
The human body has nine openings, which are
associated with nine principles. Corresponding to these principles are six
chakras within the body. The energy circulating through these chakras is
associated with the Kundalini at its root. When the body is visualized in a
seated pyramidal alignment and conceptually divided into nine sections,
parallels can be observed with the nine parts of the Shri Chakra.
Another important principle concerns the
circulation of breath. The movement of breath through the Ida and Pingala nadis
forms an essential aspect of yogic observation. Between these two flows lies
the Sushumna Nadi. When Vata, Pitta, and Kapha are in balance, the state of the
Sushumna Nadi can be observed through practices such as Pranayama.
Dikshitar composed nine kritis corresponding to
the deities residing in the nine Avaranas of the Shri Chakra. Through these
compositions, he describes experiences related to the Panchakoshas, the five
sheaths of the human body. Each composition is associated with a particular
stage of worship and a corresponding inner experience.
The first Avarana, known as the Trailokya
Mohana Chakra, is connected with the Muladhara. Worship at this stage is
directed toward stabilizing and strengthening the Muladhara Shakti and
consciousness. As described in the Sahasranama phrase “Sudhasagara Madhyastha,”
the culmination is symbolically described as reaching the ocean of nectar.
Integrating the ideas of Yoga Shastra, Vasi
Yoga, and Shri Vidya philosophy, Dikshitar composed the Kamalamba Navavarana
Kritis dedicated to the nine Avaranas of the Shri Chakra. These compositions
illustrate how the contemplation of Shri Vidya may lead a seeker toward the
state of Kaivalya.
With the intention that more people experience
this philosophical depth, the organization Kaivalya Chintamani is presenting a
program titled “Swara Kaivalya.” In this program, Aishwarya and Saundarya, the
great-granddaughters of Bharat Ratna M.S. Subbulakshmi, will render Dikshitar’s
compositions.
Sri Swaprakashanandanath ji will be providing a
thoughtful insight of kritis in srividya perspective or tantra perspective.
“Swara Kaivalya” refers to the idea of
attaining the state of Kaivalya through musical notes. The program will explore
the relationship between raga, bodily experience, and conscious energy, as well
as the connection between musical expression and the deities of the Shri
Chakra. In bringing together these elements, the program presents a confluence
of music, philosophy, and spiritual reflection.
Shri Matre Namaha.
Sri Swaprakashanandanatha
Kaivalya Chintamani Organization
Bengaluru.
(Special Note: For program tickets, contact:
77952 13707)
Visit:
https://www.instagram.com/kaivalya.chintamani?igsh=MXNxajc2MTBkZmZpdA==
https://events.kaivalyachintamani.org/?event=-Ol4ouU4oV-kHC1id1lE
.jpeg)
