Gayatri Girish, the recipient of a grant from the Ministry of Culture, Government of India, recently completed her 12 episode- thematic multi-media feature on Siva. The theme titled “Myriad Forms of Lord Siva” as seen in the kritis of Muthuswamy Dikshitar as well as in other devotional hymns and compositions was well-received. While traditionally 128, 64 and 25 forms of Lord Siva have been described in Puranic and Agama literature, Gayathri approached the theme differently.
Gayatri introduced the theme using a quotation from Kaivalya Upanishad describing the different stages of worship starting with Ishta Devata (Eka Rupa Iswara) and then progressing to Viswarupa Iswara (Aneka Rupa Iswara) culminating in Nirguna Bramha.
Ishta Rupa Iswara was subdivided into Veera Murti, Anugraha Murti, Gnana Murti and Ananda Murti. Selected kritis in each of the forms were presented along with the meaning of each kriti, highlighting subtle details of iconography, Puranic references, and specialities of the temple wherein the kriti was composed.
ADVERTISEMENT
The first two episodes covered Veera Murti forms like Kaalasamhara Murti, Bhairava Murti, Tripuraantaka Murti , Bhikshaatana Murti, Veerabhadrar etc. Temples like Tirukkadaiyur, Vazhuvoor, Tiruvenkadu etc were covered in detail. Next three episodes covered Anugraha Murtis like Kalyana Sundarar, Neelakantar, Vrushabhaaroodhar, Uma Maheswarar, Gangaadhareswarar etc. Temples covered included Vedaranyam, Kulitalai, Thanjavur, Keevalur, Tiruvidaimarudur, Srivanchiam etc.
The highlight of the feature was the description of the most renowned Anugraha Murti – Somaaskandar, with Tiruvarur and Kanchipuram as the main kshetras for this deity.
Tiruvarur-born Muthuswamy Dikshitar was known for his special affinity towards Sri Tyagesa, the very embodiment of sacrifice, enshrined at Tiruvarur, and worshipped in the form Somaskanda. This was elaborately covered and a video clipping of the Ajapaa Murti in procession was also shown.
ADVERTISEMENT
The episode on Gnanamurthy covered Medha Dakshinamurthy in Tiruvarur and Dakshinamurty in Vallalar Koil (Mayilaaduturai).
Viswarupa Iswara was visualised as Ashtamurti. Navagraha kritis and Pancha Bhuta kritis (Kanchipuram, Tiruvannamalai, Tiruvanaikka, Chidambaram and Kalahasti) were the main compositions in this episode.
Before moving to Nirguna Iswara, an episode was dedicated to Roopa – Aroopa worship, in which she covered the popular Linga Form based on the exquisite Pancha Linga Kritis at Tiruvarur (Aanandeswaram, Achaleswaram, Siddheeswaram, Haatakeswaram and Valmikeswaram).
The concluding episode highlighted Dikshitar kritis on Advaita and included Dikshitar’s “magnum opus” Chaturdasa Ragamalika-Sri Viswanatham.
Gayatri’s eloquent presentation was an aural treat. The audience also undertook a spiritual journey because of the excellent visuals of the different temples, iconography and lyrics.
The success of the programme was further enhanced by explanations of the nuances of the kritis, philosophical ideas- co-relating them appropriately to the context of authentic Sanskrit texts and treatises, all handled by Gayatri with expertise.
These lectures provided ample details such as those on the temples, Puranas, the Murti, Sthala, Tirtha and so on. Gayatri handled uncommon ragas such as Nishadam, Tanukirti, Dhuni Binnashadjam, Davalaanga, and Phenadyuti with confidence.