During the vinAyaka
caturthi of last year (2003), we provided a
general discussion of various k.rtis in
praise of Lord gaNEsha, by a variety of composers.
We also uploaded the
sAhityam of numerous vinAyaka k.rtis,
along with some popular gaNESha stOtrams suitable for this occasion. Some
other resources related to gaNEsha on this website are: 1)
gaNEsha k.rtis in
Sanskrit/Telugu/Kannada 2)
18
popular vinAyaka k.rtis in Tamil 3)
Some stOtrams on Lord gaNEsha
This year, we attempt a
detailed discussion of one single k.rti in praise of Lord gaNEsha, and the
chosen candidate is none other than the famous vAtApi gaNapatiM bhajEham.
Most of the concerts in
karNaTik music begin with a varNam, and is followed by invocation to Lord
gaNEsha, the remover of all obstacles. Most often, the inevitable k.rti
chosen for this purpose is the ever popular “vAtApi gaNapatiM bhajEham” set
to Adi tAlam, by the prolific composer, muttusvAmi dIkSitar. This k.rti is one
among the SoDasha gaNapati k.rtis that dIkSitar composed in and around
the grand temple of tiruvArUr. Major factors that contribute to the
popularity of this k.rti are:
-
it is an invocation to Lord
gaNapati, the remover of all obstacles
-
it is set in the auspicious
pentatonic scale, haMsadhvani, derived from the highly popular
shankarAbharaNam
-
it is capable of creating
the proper musical atmosphere, right at the commencement of a concert
-
the composer is muttusvAmi
dIkSitar, one among the revered Trinity
-
it is studded with literary
beauties, very typical of dIkSitar compositions
-
it is packed with several
interesting purANic episodes.
MahA vaidyanAtha Iyer used to
render this k.rti invariably in all his concerts. He used to employ various
beautiful sa”ngatis each time he sang this composition. These have been
carefully preserved, and passed on to the present day. Perhaps this also
accounts for the wide acclaim, and concert popularity enjoyed by this k.rti.
On page 871 (volume IV) of the
mammoth encyclopedia, Sa”ngIta saMpradAya pradarshini, the author
SubbarAma dIkSitar gives the lyrics with notations of this k.rti. The rAgam,
haMsadhvani is placed as an upA”nga janyam number 9, under the rAgA”nga rAgam
29 (asaMpUrNa scheme), dhIrasha”nkarAbharaNam, and the mUrccana is given as
ArOhaNam:
s r g p n s
avarOhaNam: s
n p g r s
The author gives a lakSya
prabandham by rAmasvAmi dIkSitar, and states that this rAgam was created
by rAmasvAmi dIkSitar himself. The k.ti “vAtApi gaNapatiM” by muttusvAmi
dIkSitar is then provided, and as usual, the discussion concludes with a
sa~ncAri by the author.
In the book, “Oriental
Music in European Notation” (Madras, Ave Maria Press, 1893-1896), A. M.
CinnasvAmi mudaliyAr published the pallavi, and the anupallavi segments of
“vAtApi gaNapatim” in western staff notation for the first time. It was
cinnasvAmi mudaliyAr who persuaded subbarAma dIksitar to compile his mammoth
musical work, Sa”ngIta saMpradAya pradarshini.
CLICK HERE for the complete svara
notations of vAtApi gaNapatiM bhajEham, with sAhityam in Sanskrit and
diacritical English in a color PDF booklet format
The sAhityam
pallavi
vAtApigaNapAtiM
bhaje’haM
vAraNAsyaM varapradaM shrI
anupallavi
bhUtAdisaMsEvitacaraNaM
bhUtabhautikaprapa~ncabharaNaM
vItarAgiNaM vinatayOginaM
vishvakAraNaM vighnavAraNam
caraNam
purA
kuMbhasaMbhavamunivaraprapUjitaM
trikONamadhyagataM
murAripramukhAdyupAsitaM
mUlAdhArakSEtrasthitam
parAdicatvArivAgAtmakaM
praNavasvarUpavakratuNDaM
nirantaraM niTilacandrakhaNDaM
nijavAmakaravidh.rtEkSudaNDam
karAmbujapAshabIjApUraM
kaluSavidUraM bhUtAkAraM
harAdiguruguhatOSitabiMbaM
haMsadhvanibhUSitahErambam
Word for word meaning
The basic anvayam (word
order) is: “ahaM (vAraNAsyaM, varapradaM, etc.) vAtApigaNapatiM bhajE” (I
worship vAtApi gaNapati, with these attributes), and all the remaining
phrases that end in the “M” or “m” (ma kAram) are in dvitIyA vibhakti
(accusative case), qualifying the proper name “vAtApigaNapatiM”
pallavi
vAtApigaNapAtiM
- the gaNapati of vAtApi
bhajE
– worship, praise
ahaM
– I (the
composer, muttusvAmi dIkSitar)
vAraNAsyaM –
the one with the face (Asyam) of the elephant (vAraNa)
varapradam
- one who bestows (M) of boons (vara)
shrI
- ever
auspicious, blessed
anupallavi
bhUtAdisaMsEvitacaraNaM
- with feet (caraNa) well-worshiped (saMEvita ) by the bhUtas
and so forth (bhUtAdi)
bhUtabhautikaprapa~ncabharaNaM
– the support (bharaNaM) of the universe (prapa~nca) of the
elements (bhUta) and the living beings (bhautika)
vItarAgiNaM
– who is devoid of (vIta) all desires or passion (rAga)
vinatayOginaM
– who is prostrated (vinata) by the yOgis
vishvakAraNaM
– who is the cause (kAraNaM) of the entire universe (vishva)
vighnavAraNam
– who is the remover (vAraNaM of all obstacles (vighna)
caraNam
purA
– once upon
a time (long time ago)
kuMbhasaMbhavamunivaraprapUjitaM
- who was worshipped (prapUjita) by superior Saint (munivara) agastya,
born out of a pot (kuMbhasaMbhava)
trikONamadhyagataM
– who resides (gataM) in the middle (madhya) of the (tAntrik)
triangle (trikONa)
murAripramukhAdyupAsitaM
– who is worshipped (upAsitam) prominantly by (pramukha) Lord
viSNu , the enemy of the demon mura (murAri), and others (Adi)
mUlAdhArakSEtrasthitam
– who resides (sthitaM) in the location (kSEtra) of the (
tAntrik) cosmic circle (mUlAdhAra cakram).
parAdicatvArivAgAtmakaM
– who is the embodiment (AtmakM) of the four levels (catvAri)
of speeches (vAg) commencing with parA (parAdi) , namely parA,
pashyanI, madhyamA, and vaikharI
praNavasvarUpavakratuNDaM
– who has a curved (vakra) trunk (tuNDaM) in the shape of (svarUpa)
the sacred mystic syllable “Om” (praNava)
nirantaraM –
who is permanent (nir = without, antaram = interval)
niTilacandrakhaNDaM
- who bears a crescent moon (candra khaNDaM) on the forehead (niTila)
nijavAmakaravidh.rtEkSudaNDam
- who holds (vidh.rta) the stack of sugar cane (ikSu daNDaM)
in his (nija) left hand (vAma kara)
karAmbujapAshabIjApUraM
- who holds a noose (pAsha) , and a pomgranite fruit (bIjApUram)
on his lotus-like hand (karAMbuja)
kaluSavidUraM
– who is without (or far away from) (vidUram) all blemishes (kaluSa)
bhUtAkAraM –
who possesses a gigantic (bhUta) shape (AkAram)
harAdiguruguhatOSitabiMbaM
– whose round form (biMbam) is pleasing (tOSita) to Lord shiva
(hara), subrahmanya (guruguha), and others (Adi)
haMsadhvanibhUSitahEraMbam
- who is the protector of the meek (hEramba), and is adorned by the
rAgaM haMsadhvani (swan sound).
ADDITIONAL NOTES
mUlAdhAra kSEtram
tiruvArUr is popularly known
as the mUlAdhAra kSEtram. The phrase also refers to the fountainhead
of evolutionary energy located in each human being at the base of the spinal
cord.
bhUta
This phrase has been used
thrice in this k.rti with different meanings. It refers to the “bhUta gaNa”s
for whom Lord gaNapati is the chief; the five primary elements, p.rthvI
(earth), ap (water), vAyu (air), tEjas (fire), and AkAsham (ether) are
collectively known as pa~nca bhUtams. The word, used the third time (bhUtAkAram),
means “majestic” .
trikONa madhya gataM
The triangle here refers to
the geometrical diagram used in tAntrik rituals. Also, the vAtApi gaNapati
idol at tiruvArUr is enclosed in a triangle shaped frame. This could have
also prompted dIkSitar to employ such a description.
parAdi catvAri vAgAtmakam
Vibrations due to sound
produce speech (vAg). According to shAktam, there are four
ranges of sound, namely, parA, pashyantI, madhyamA, and vaikharI. These
are collectively known as “shabda tatvam”. The first one, parA,
belongs to the range of frequencies that is inaudible to humans, and cannot be
produced by humans; on the other extreme, vailkharI is in the frequency
range of vibrations made by humans, and is audible to them. The remaining
two, pashyantI, and madhyamA are the ranges somewhere between
these two. In the commentary of kALidAsa’a kumArasaMbhavam (2.17), the
commentator, mallinAtha states:
vaikharI shabdaniSpattiH
madhyamA sm.rtigOcarA |
dyautikAryasya pashyantI
sUkSmA brahmaiva kEvalam ||
vaikharI manifests the
words, madhyamA is seen through the mind, pashyantI throws light
on the idea, and finally parA is the subtle voice, the undifferentiated
casual immensity. In fact, muttusvAmi dIkSitar refers to them again in his
tOyavEgavAhini k.rti, “vINApustaka dhAriNIm”, where he describes
goddess sarasvati as “parAdyakhila shabda svarUpAvakAshAm”
(personification of the different forms of sounds beginning with parA).
Free Translation
I sing in praise of vAtApi
gaNapati, who has the face of an elephant, and who is a giver of all boons.
All the living beings worship his feet. He transcends the past, the future and
the universe, comprising the five elements. He is devoid of passion, and is
saluted by the yOgis He is the cause of the creation of the world and he is
the remover of all obstacles.
In ancient times, he was
worshiped by saint Agastya (born out of a pot). He resides in the middle of
the mystic triangle. He is saluted by the prominent gods, viSNu and others.
He resides in the mUlAdhAra cakram (cosmic circle). He represents the
four forms of speech, beginning with parA. His trunk is curved in the form of
the sacred syllable
Om.
He is eternal, and his forehead bears the crescent moon. In his left hand he
carries the stack of sugar cane. He also carries a noose and a pomegranate
fruit in his lotus-like hand. He is of a gigantic form, and he is faultless.
He is hEraMba, and his figure is adorned by haMsadhvani rAgam.
Some episodes associated with
this k.rti
There are several differing
explanations in our purANic mythology dealing with the cause and the
origin of the elephant face of gaNapati. We furnish below some of those
episodes relevant to this particular k.rti.
1. VAtApi
(a corrupt form of the place named bAdAmi) is located in the present
day bIjApUr district in karNATaka state. It was the capital of the cAlUkyan
ruler, pulakeshin. After the pallava king narasiMhavarman (630-668 AD)
conquered bAdAmi, an image of lord gaNapati was brought from there to the
location of tirucce”ngaTTanguDi, near nannilam (tAnjOre). This was the home
town of the pallava chieftain para~njyOti, who later became a devotee of Lord
shiva, and changed his name to ciruttoNdar (one of the 63 nAyanmArs). The
idol was later installed on the southern side of the arddha maNDapam in the
temple, formally known as ciruttoNDa gaNapatIshvaram This gaNapati was
formally called “vAtApi gaANapati”, since it originated in bAdAmi. At some
later period, this served as an inspiration for a “vAtApi gaNapati”
idol in the tiruvArUr temple complex. This is the idol that dIkSitar sings
in his haMsadhvani composition. The temple at tiruvArUr is often known as
“mUldhAra kSEtram”, and this phrase occurs in the caraNam line of the
k.rti. There are subtle differences between the idols at tiruvArUr, and
tirucce”ngaTTanguDi. The one in tiruvArUr is a “valampuri gaNEsha”
(the trunk is curving to the right, which is very rare). There is a
triangular shaped frame surrounding the figure of gaNEsha in the tiruvArUr
idol, which might have prompted dIkSitar to use the phrase “trikONa
madhyagatam”.
A picture of the original
vAtApi gaNapati of tirucce”ngaTTanguDi can be viewed at:
http://www.templenet.com/Tamilnadu/vatapi.html
A plan of tiruvArUr temple,
identifying the location of vAtApi gaNapati is available at:
http://sky.prohosting.com/~guruguha/arurplan.gif
2. There were two demons,
vAtApi, and ilvalan who employed a strange technique to kill the sages. They
used to invite the sages for dinner, and ilvalan offered them food prepared
out of vAtApi’s body. After the sages have consumed the food, ilvalan would
call the name of vAtApi, who would then spring to life from their stomach,
thus killing them. To protect the sages from this mishap, Saint agstya
worshiped Lord gaNapati, and with his blessings was able to prevent vAtApi
getting his life back inside the stomach. Perhaps dIkSitar had this incident
in mind when he stated “purA kuMbhasaMbhava munivara prapUjitam”. This
particular story is given in the epic, rAmayaNam. Stories related to
agastya are found in mahAbharatam, rAmAyaNam, and several purAnams
(matsya, pAdma, brahmAnDa),.
3 According to shiva
purANam, at one time, Lord shiva was performing a penance, and his
consort pArvati wanted to have a child to protect her. She rubbed her body,
and from some scurf she gathered, she created a son. She told him to guard
the entrance to her abode while she was taking a bath. Meanwhile shiva
returned home, but the boy prevented him from entering inside. Angered by
this act, shiva cut his head off. When pArvati came to know of this, she was
grief sticken, and she told him he had killed his own son. Shiva felt sorry
for his act. He decided to bring the child back to life by attaching the head
of first living being he saw, which happened to be an elephant . This is how
gaNapati got the head of an elephant (vAraNAsyam). Also, as a good
gesture, shiva made him the chief of his bhUta gaNas, hence he is called “gaNapati”.
Another version from
brahma vaivarta purANam, states that the evil glance of shani (saturn)
caused the head of the boy (gaNapati) to be blown off.
Yet, another version, this
time from tiruj~nAnasambhandhar, in his tEvAram songs is: pArvati and shiva
assumed the form of elephant, and vinAyaka was born with an elephant face.
4. Legend has it the elephant
faced demon gajamukhAsura, received a boon of immortality from shiva, and
caused suffering to humans. On hearing the prayers of the suffered, Lord
gaNapati went to war with him, and slayed him with his broken right tusk. The
land is believed to have turned red, due to the blood spilled by the demon,
and the place got the name tirucce”nkaTTa”nkuDi in tamil. Here, gaNapati
worshipped shiva to rid of the sin he committed in killing the demon.
5. The following story is
found in skAnda, and maudgala purAnams. The king abhinandana
conducted a sacrifice, and did not invite indra. Angry at this act, indra
invoked kAla (time, the destroyer) to disrupt the sacrifice. KAla took the
shape of a vighAsura (demon of all obstructions), and started ruing the
sacrifice, and killed abhinandana. Sages approached brahma for protection from
this devil, and brahma in turn assigned the task to gaNEsha. Vanquished by
gaNEsha, the demon finally bowed down, and agreed to serve him obediently.
Thereafter gaNESha was known as “vighnarAja, vighan nAshaka, or “vighnavAraNa”.
The lyrical beauties
MuttusvAmi dIkSitar was very
proficient in adding literary beauties, alliterations, and alaMkArams
in his compostions. In this particulat k.rti, we find several of these
features. The pallavi has the “AdyakSara prAsam” in the phrases “vAtApi”,
“vAraNasyam”, and “varapradam”. The anupallavi also features “AdyakSara
prAsam” in “bhUtAdi”, “bhUtabautika”, as well as in “vIta, vinata, vishva,
vighna”. The phrases “caraNam, bharaNam, rAgiNam, yOginaM, and vAraNam”
contribute to the antyAkSara prAsam. All caraNam lines uniformly
feature the dvitIyAkSara prAsam, namely purA, murAri, parAdi,
nirantaram, karAmbuja, harAdi (the second syllable in all these phrases is “ra”).
The fourth line has “ni”, and the last line has “ha” as AdyakSara beauties..
The phrases tuNDam, khaNDam, daNDam in the caraNam are again examples of some
antyAkSara prAsams. Since all adjectives are in the accusative case, we
have the pleasing “ma” ending in all these phrase, which is another refreshing
feature. We find multiple meaning used for the word “bhUta” in this k.rti.
The last line incorporates the vAggEyakaraka mudra (signature of the
composer), “guruguha” that dIkSitar uniformly used in all his compositions, as
well as the direct rAga mudra “haMsadhvani”.
Quick tour of haMsadhvani rAgam
haMsadhvani,
a janya rAgam from mELam 29, dhIrasha”nkarAbharaNam is an audava-audava rAgam
(pentatonic scale). The svarams featured are: SaDjam,, catushruti .rSabham,
antara gAndhAram, pa~ncamam, and kAkali niSAdam.
Arohanam: s r g p n S
Avarohanam: S n p g r s
It is an
upA”nga rAgam; SaDja grAmam; sarva svara gamaka vArika rakti rAgam; the jIva
svarams are ga and ni; the amsa svaram is pa; all svarams are
nyasa savarams; Compositions commence in s, g, or p; a
tristhayi rAgam; jaNta prayOgams and daTu prayOgams add
ra~njakatvam; a very auspicious rAgam, sung at the commencement of a concert
to bring proper musical atmosphere; a rAgam, most often associated with Lord
gaNEsha; a rAgam that shines well in madhyama kAlam renditions; the rasa
portrayed by this rAgam is 'vIra''
haMsadhvani is a 'mUrccana
kAraka janya rAgam'. The pa~nchama mUrchana (Modal shift of tonic) results
in the rAgam nAgasvarAvali. Conversely, the “ma” mUrccana of nAgasvarAvaLi
recovers rAgam haMsadhvani.
haMsadhvani is believed to be
the creation of rAmasvAmi dIkSitar (the father of muttusvAmi dIkSitar)), who
composed a lakSya prabandham, “candasEyarunDa” in maTya tAlam,
and the k.rti “shrI subrahmaNyO” in rUpakam.
This rAgam has
been gaining popularity in hindusthAni music. Placed under bilAval thaTh, the
svarams used are all tIvra svarams. Vadi is pa and samvadi
is sa. Ri is a beautiful halting note. This is sung in the
first prAhara of the night. There are many hindustAni composition in this
rAgam.
Compositions in haMsadhvani
Here is a modest list of
compositions in the rAgam haMsadhvani
lakSya prabandham
candasEyarunDa, maTyam (rAmasvAmi dIkSitar)
varNam
jalajAkSa,
Adi (mAnambucAvaDi ve”nkaTasubbayyar)
pagavArI,
Adi (paTNam subrahmaNya Iyer)
k.rti
shrI
subrahmaNyO, rUpakam (rAmasvAmi dIkSitar)
vAtApi
gaNapatim, Adi (muttusvAmi dIkSitar)
pArvatIpatim, (muttusvAmi dIkSitar)
vinAyakA,
Adi (vINa kuppayyar)
manasu
karuga, rUpakam (paTNam subrahmaNya Iyer)
marachEdi
nyAyamA, Adi (paTNam subrahmaNya Iyer)
raghu
nAyakA, Adi (tyAgaraja)
shrI
raghukula, Adi (tyAgarAja)
pAhi
shrIpathE, Adi (svati tirunAL)
vAraNamukha vA , rUpakam (kOTIshvara Iyer)
gam
gaNapathE, rUpakam (muttiayyA bhAgavatar)
jaya
mahiSAsuramarddani, rUpakam (muttayyA bhAgavatar)
mUlAdhAra
mUrttI, Adi (pApanAsham shIvan)
karuNai
sheyvAy, Adi (pApanAsham shIvan)
parAshakthi janani, Adi (papanAsham shIvan)
pAlayAsu
padmanAbha, rUpakam (mysore vAsudEvAchariar)
varavallabha ramaNaA, Adi (g. n. bAlasubrahmaNyam)
BhajAmahE,
Adi (tuLasIvanam)
Dharma
VidAyaka, Adi (tuLasIvanam)
pallavi lines
During the year M.
Balamuralikrishna was crowned "Sangita Kalanidhi" by The Music Academy, he
rendered a beautiful pallavi in two rAgams haMsadhvani, and its graha bhEdam,
nAgasvarALi.
Charumathi Ramachandran
renders a pallavi in haMsadhvani 'vinAyakA, vallabhA nAyakA, gajAnanA, gaNa
nAyakA, siddhi-“. In the rAgamAlika svara segment of the RTP, she renders
svarams in five rAgams fitting to the five k.rtis of muttusvAmi dIkSItar, on
gaNapati: They are: vEgavAhini (vinAyaka), bEgada (vallabhAnAyakasya),
cakravAkam (gajAnanayutam), rudrapriya (gaNanAyakam) and camaram (siddhi
vinAyakam).
rAgamAlikAs featuring haMsadhvani
haMsadhvani is
featured as a candidate in many rAgamAlikAs. In muttusvAmi dIkSitar's catur
(4) rAga rAgamAlika “pUrNacandra biMba vadanE'', one of the the
featured rAgam is haMsadhvani. We find haMsadhvani appearing in the 16 rAga
rAgamAlika “ArabhimAnam'' by tara”ngaMpADi pa~ncanada Iyer; M.
Santhanam used to render a rAgamAlika: “nalinakAntImatim'' (15 rAgams),
in which one of the rAgam is haMsadhvani.
I have not come across a
jAvaLi or tillAnA in haMsadhvani.
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