KSHETRA KRITIS IN

GENERAL AND OF

SWATI TIRUNAL

IN PARTICULAR
 CH.A.P'I*ER V
KSHETRA. l<R.ITIS IN GEN'ERAL
AND SWATI TIRUN.AL IN PARTICULAR

Indian music has developed through the ages as a part of

Bhakti marga. Traditionally great personalities of poetry and
music have adopted Bhakti marga as a medium for the expression of
their innermost feelings of emotion and devotion. Karnatic music
was subjected to a renaissance due to the emergence of many
Vaishnavite and Saivite saint singers In the 4th and 5th cent.
AD who conducted pilgrimages to famous temples and
sang songs in praise of the deities there. Temples being sacred
were further hallowed and glorified by songs of these saints.
Following them traditional composers of Karnatic music also
started visiting temp 1 es and composed melodious songs. The
Sthala murthies (temple deities) attained a resplendent form and
the temples became immortal through these compositions. Such
songs composed in praise of a particular deity of a particular
shrine can be termed as "Ksh�tra Kritis".

Apart from their musical attributes, Kshetra Kritis are

repositories of various facts. The temple, their origin;
mytholog ical and sculptural details, procedure for temple
rituals, and the rites performed in the temple and the

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significance and form of appearance of the deity form the
thematic content of these Kshetra Kritis. All the above facts
can be traced out if we analyse the literature of the songs.
Thus these compositions are of great interest for a detailed
study both from literary and musical point of view. Different
composers have adopted different styles of approach towards this
category of songs and so wide variations are observed in form and
content. While some composers stress upon the temple details,
other try to bring out the detai 1 s ot1 the deity enshrined in the
temple.

SIGNIFICANCE OF KSHETRA KRITISIN GENERAL

Kshetra Kritis can be grouped as a separate class on account of

certain distinct characteristics. They give a clear picture of
the temple, the details of the temple deity on which it is
composed, place where it is situated, architectural, sculptural,
spiritual, historical, and mythological aspects etc. On the
basis of the content and structure,Kshetra Kritis can be
studied under various heads.

1 Kritis laying stress on Presiding deity:- Many Kshetra Kritis

give vivid description of the presiding deity of the temple. eg.
Sri Vidya Raja Gopalam - This composition by Muthuswami Dikshitar

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in the raga Jaganmohini , Tisra Ekatala - describes the peculiarity
of the deity of Sri Rajagopala as Sri Vidya with feminine feature
on left half and as Sri Raja Gopala on right half filled with
Sringara rasa. In the song 'kalaye deva devam' by Swati Tirunal
in raga 'Malahari', 'Khanta Chaputala', a detailed and complete
description of the deity is given.

2 Kritis laying stress on temple:­ In some kritis we get

detailed description o f temp les. For example 'Se v e Sri
Padmanabham' in the raga Mohana by Swati Tirunal, · - a detailed
description about the origin of temple is given. In all the
"panchalinga stala Keerthanas" of Muthuswamy Dikshitar we get the
temple details.

3 Kritis wherein the temple rituals are described:- In some

kritis the temple rituals are vividly described. For example the
kriti "Tyagaraja mahadwajaroha" in Sri raga adi tala � the festival
of the temple is described in detail. The term "Dwaja aroha"
denotes that flags hoisted in front of the deity of Tyagaraja.
"Indra Vimana bhoota gaja Vrishaba Kailasa" refers to the
different vehicles in which deity is taken in procession.

4 Kritis giving the details about the place:- A detailed account

of the places and their importances are given in certain kritis.

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For example in the kriti "Hariharaputram" in the raga Vasanta by

Muthuswamy Dikshitar, the term 'Pandya Keraladi desa Prabhakaram'

refers to the places, Pandya and Kerala enlightened by the lords

grandeur. Here the allusion is to the Lord, born as Sastha and

found in a forest, brought up by a pandyan king from his

childhood to youth in Kerala.

The term Sauri giri in the same composition refers to Sabarimala.

We may here examine in brief the contributions made by various

saint singers and composer to the field of the Kshetra kriti.

The Azhvars and Nayanars of 4th and 5th cent. and the songs

sung by them in praise of the temple deities they visited are

worth mentioning. The songs sung by them come under the title

"Thiruvai mozhi". All their songs are in praise of Lord Vishnu -

Among the Azhvars - Narnrnazhwar, Tirumangai Azhwar and Kulasekhara

Azhwar have sung about various temples in Kerala. The 1 ist of

songs sung by different azhwars about various deities are given

below:-

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 List of songs Raga Tala Place

1 Imbarn Payark (Pazharn) Ata Aranrnula

(Panjurarn)
Kalyani
2 Elliyurn (Viyantarn) Adi Tirukkodi thanarn·
Mohana
3 Enkanal (Natta) Adi Tirurnoozhikularn
Ghanta
4 Arukkurn Vinai (Kelli) Adi Tirunavai
Saveri
5 Kedurnidar (Indalam) Roopaka Trivandrurn
Karnas
6 Manai nokku Panjamarn Ata Thiruvalla
Mukhari
7 Tantai Tai Dhanyasi Roopaka Thiruvalla
8 Arulperuvar Nadanarna Roopaka Thiruvattar
Kriya
9 Vaigal poongazhi Natta Adi Thiruvanvandur
(Asaveri)
10 Karurnanikkarnalai Thakkesi Adi Thiruppuliyoor
Sri
11 Karar Varae Nadanarnakriya Adi Thiruppuliyoor
12 Urukkurnal Natta Adi Trikkakkara
13 Tharuduyararn Sankarabharanarn Roopaka Therividuvakode
Thadayel

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 In Karnatic music Shaji Maharaja is considered to be the
originator of Kshetra Kritis.1 Other prominent composers have
also made valuable contributions to this sphere of Karnatic
music. Among them beyond doubt one can say Muthuswami Dikshitar
ranks foremost. Saint Tyagaraja and Syama Sastri have also made
creditable contributions. Besides them Mysore Sadasiva Rao,
Veenakuppaier, Harikesan· alloor Muthaiah Bhagavatar, Papanasam
Sivan are other composers of this field.

In Kerala Swati Tirunal Maharaja ranks as Supreme Composer

of Kshetra Kritis. His style of composition differ much in form
and content from the one adopted by Muthuswamy Dikshitar. He is
followed by other composers such as I rayimman Thampi, K.C.Kesava
Pillai, Kutty Kunji Thankachi. Neelakanta Sivan and others.

Contributions made by Shahji Mahara ja who is the forerunner

of this category of musical pieces is notable. Shahji, the
famous Maratha ruler of Tanjore was a great scholar as well as
great patron of all learnings and fine arts. "He was a prolific
composer in Telugu, Sanskrit, and Marathi. In his Kritis Lord
"Tyagesa" the presiding deity of Tiruvarur temple is praised. He

1. Gouri Kuppuswarny Kshetra pancharatana kritis of Tyagaraja-An anthology

of Indian ITUJSic.
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is believed to have composed more than five hundred padas .in
Telugu, a hundred in Marathi, a few in Hindi and a few tillanas
and Swarajathis also 1 .

Other than Tyagesa there are compositions in praise of

Br hadeeswari, Brihannaya k i, An and aval 1 i, Pan c ha n a deesa,
Dharrnasamvardhini, Subramanya, Pranatharthihara etc.

Given below is the list of Keshtra kritis composed by King

Shaji along with raga and the deity upon whom he has composed.

List of the Song Deity Place Raga

1. Kalakandi Sriranga Vennatrankarai Vasantha-

perumal Bairavi
2. Emoyani Brihadeeswara Tanjore G hantarava
3 • Ikanae Konkaneswara Tanjore Mahana
4. Chaladhanu Tyagesa Tiruvarur Purvi
litinae
5. Namdaparakuseya Kamalambal Tiruvarur Gouri
6 Champaka Vanavasi Rajagopala Mannargudi Asaveri
swami
------------------------------------------------------------------------------
1. Gourikuppuswamy, M.Hariharan-Royal patronage to Indian music

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 7. Tyaga Vaideswara Vaidyanatha Vaitheesaran Pantuvarali
Koil
8. Nipadabja Brihat - Tiruvada- Asaveri
Kunjarnbal marudur
9. Amba Varamulirnma Abhayarnbal Mayavaram Gouipantu
10. Tyagesa Vidyesuni Daivanayaki Vaideesaran Purvi
Keil
11. Mukkantiniva Muthukumara Vaideesaran Purvi
Swami Keil
12. Iyakaradiya Chattanadha Sergazhi Pantuvarali
Swami
13. Tiru nalavu manazi Vrindhagiree- Vrindhachalam Kapi
swaram
14. Intiki rara Ekambaranathan Kancheepuram Purvi

15. Ilagu Tulanae Tirukkotiswara Dharmapuri Saranga

16. Tirukotteeswara Tirukkotiswara Dharmapuri Bilahari

nannu
17. Needayagali geta:e Mallikarjuna Srisailam Kamboji 1

Swami

------------------------------------------------------------------------------
1. Dr. M.Hariharan-Royal patronage to Indian nrusic ..

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 rtant deity worshipped in Hindu Shrine$ . Whenever he
sings of a particular deity he makes it the most important of
all deities. Thus an upasaka of any particular deity would find
the song of Muthuswamy Dikshi tar completely satisfying to him
as his Ishta Deva is the supreme deity 111 •

Kshetra Kritis of Muthuswamy Dikshitar provide material for

archeological, iconographi cal, and 1 iterary interest. They are {h�
epitome of Kshetra Mahatmy a. He never missed the temple
architecture which has relation to the method of worship at a
par ti cul ar shrine, the theertha, Kshetra V isesha, 1 eading
episodes pertaining to different deities etc. They constitute
the essense of each Kshetra and this one can find alway s in
Dikshitar's Kriti"2.
Given below is the list of temples he visited and kritis in
praise of Gods and Goddesses in those temples along with raga

l. K.R .Rajagpal - Ccq>ositions of Diks.hitar an analysis. An ambrosia of

Muthuswami Dikshitar.
2. Dr. V.Raghavan - Journal of rrusic academy - Madras_

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 Place Deity Composition Raga

1. Tiruttani Muruga Srinadadiguruguho Mayarnala

vagaula
2. Tiruttani Muruga Manasaguruguha Ananda
rooparn Bairavi
3. Tiruttani Muruga Guruguhaya Sarna
4. Tiruttani Muruga Guruguhadanyarn Balaharnsa
5. Tiruttani Muruga Guruguhaya Purvi
6 • Tiruttani Muruga Guruguhaswa.rnini Bhanurnati
7 . Tiruttani Muruga Sri guruguha Udayaravi
rnurthae Chandrika
8. Tiruttani Muruga Sri guruguha Padi
palitosrni
9 • Kanchi Karnakshi Karnakshi rnarnapahi Sudhadesi
10. Kanchi Karnakshi Kanchadalayadakshi Karnalarnano
hari
11. Kanchi Karnakshi Neerajakshi Hindolarn
12. Kanchi Karnakshi Karnakshi Vara- Bilahari
lakshrni
13. Kanchi Lord Siva Chintayarnarn Bairavi
14. Kanchi Ekarnareswara Ekarnaresa Na.yikae Karnataka
Sudha
Saveri

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15. Kanchi Ekamareswara Ekamararitham o.,
jl "
Garnaka
Bhajeham Kriya
16. Kanchi Varadaraja Varadarajam Saranga
Upasmahae
17. Kanchi Varadaraja Varadaraja Pahirnarn Mahana
18. Kanchi Kailasanadha Kailasanathena Karnboji
19. Kanchi Kailasanadha Kailasanadham Vegavahini
20. Tiruvattiyoor Adipureswara Adipureswararn Arabhi
21. Tiruvattiyoor Tripurasundari Adipureswaram Sarna
22. Madras Parthasarathy Parthasaradhyna Sudhasaveri
23. Thirukkalu- Vedapureswara Vedapureswararn Dhanyasi
kumaram Saraga
24. Thiruvannarnala Lord Siva Arunachalanadharn
25. Tirupati Venkateswara Sheshachal�Nayakarn Varali
26. Tirupati Venkateswara Sri Venkatagiresa Suruti
27. Tirupati Venkateswara Sankuchakra Purnachan
drika
28. Kalahasti Lord Siva Kalahasteesa Huseni
29. Kalahasti Goddess at Jnanaprasunambikae Kalyani
Kalahasti
30. Chidambaram Lord Siva Anantanatana­ Kedaram
prakasam
31. Chidambararn Goddess Sivakameswariam Kalyani
32. Chidambaram Goddess Sivakameswararn Arabhi

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33. Chidambaram Lord Siva Kanaka Sabhapatim Malavasri
34. Vaideeswaram Goddess "
Bhajarerehitta Kalyani
Keil Balambika
35. Chitambaram Lord Siva Govinda Rajaena Mechabauli
36. Vaideeswaran Vaidyanatha Vaidyanatham Atana
Keil
37. Mayavaram Abhayamba Abhayambam Bhairavi
Jagadambam
38. Mayavaram Abhayamba Girijaya Ajaya Sankara-
bharana
39. Mayavaram Abhayamba Abhayambikayae Yadukula-
kamboji
40. Mayavaram Abhayamba Abhayambikayah Kedara
gaula
41. Mayavaram Abhayamba Ambikayah Kedaram
42. Mayavaram Abhayamba Abhayambikayam Sahana
43. Mayavaram Abhayamba Dakshayani Tedi
43a. Mayavaram Abhayamba Abhayambanayaka Ananda
Bairavi
44. Mayuram Lord Mayura- Ma.yuranadham Dhamyasi
nadha
45. Vallalarkoil Lord Vada- Vadhanyeswaram Devagan-
nyeswara dhari

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46. Tiruvarum Kamalambika A group of Kritis

I group of Vibakti
Kritis
47. Tiruvarum Lord II group of Vibakti
Tyagaraja Kritis
48. Tiruvarum Goddess A group of 9 Kritis
Nilopalamba
49. Tiruvarum Sivalinga A group of 5 Kritis
50. Tiruvarur Ganesa 16 songs on Lord
Ganesa
51. Tiruvarur Renukadevi Renukadevi Kannada

Bangala
52. Tiruvarur Sundaramurthi Sundharamurthim Takka
53. Mannargudi Raja gopala Rajagopalam Mohanam
54. Mannargudi Raja gopala Ananda Bala Isamano-
Krishna hari
55. Mannargudi Raja gopala Srirajagopala Saveri
56. Mannargudi Raja gopala Srividyarajagopala Jaganmo-
hini
57. Mannargudi Raja gopala Chetas-i'iBala- Dwija-
krishnam vanthi
58. Mannargudi Raja gopala Sri krishnam Rupavati
Bhajarae

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59. Mannargudi Balagopal Balagopala Bairavi
Palayasurnam
60. Tiruvadama- Mahalinga Mahalingeswaraya Atana
rudur
61. Tiruvadama- Mahalinga Chintayae Mahalinga Paraz
rudur murthi
62. Tiruvadama- Mahalinga Mahalingeswaram Paraz
rudur
63. Tiruvadama- Brihat Paradevata Dhanyasi
rudur Kuchambal
64. Kumbakonam Kwnbeswara Kwnbeswaraya Kalyani
65. Kuzhikarai Viswanatha Sri Viswana- Ragamalika
thambhajeham
66. Kuzhikarai Annepurneswari Annapurne Sama
67. Kuzhikarai Viswanatha Kasiviswanatha Kamboji
68. Swami malai Subrahmanya Swaminatha Nata
Paripalaya
69. Swami malai Subrahmanya Sri Balasubramanya Bilahari
70. Kiralur Siva Akshayalinga Vibho Sankara-
baranam
71. Sikkil Subramanya Sringara Saktya- Ramamano-
yudha dhara hari
72. Nagapattinam Soundararajam Sivakayarohanaya Rudapriya
73. Nagapattinam Soundararajam Kayarohameesam Devagan-
dari

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74. Nagapattinam Soundararajam Saundararajam Brindavana
Saranga
75. Nagapattinam Neelayatakshi Amba Neelayatakshi Nilambari
76. Vedaranyam Vedaranyeswara Vedaranyeswaraye Thodi
77. Pulivalam Vedaranyeswara Venkatachalapatae Karnataka
Kapi
78. Tanjavur Brihadeeswari Santanamanjari Santana
manjari
79. Tanjavur Brihadeeswari Paramjyothishmati Jyotiswa-
roopini
80. Tanjavur Brihadeeswari Himagirikumari Ravikriya
81. Tanjavur Brihadeeswari Nabhomani Chandra- Nabhomani
gni Nayanam
82. Tanjavur Brihadeeswari Brihadeeswara Sankara-
baranam
83. Tanjavur Brihadeeswari Brihannayaki Andali
84. Tanjavur Brihadeeswari Brihadambika Vasantha
85. Tanjavur Brihadeeswari Palayama Tedi
Brihadeeswari
86. Tanjavur BangarukamakstiSringara Rasa Rasaman-
manjari jari
87. Tiruvanai Lord Siva Jamboopathae Yamuna
kaval kalyani
88. Tiruvanai Lord Siva Srimatahsiva Begada
kaval
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89. Tiruvanai Akhilandeswari Dwija-
kaval vanti
90. Thiruchira God Mathru- Srirnatrubhootarn Kannada
palli bhoota
• 11
91. Sr1ragarn
,, Ranganatham Ranganayakarn Nayaki
' Y1
92. Sr1rc1:9am RanganathaJ;J} Sri Ranganathaya Dhanyasi
93. Sriragarn
I\
Ranganatham Sri Bhargavi Mangala
kaisiki
94. Rameswararn Lord Siva Ramanatharn Karnavar-
dhini
95. Rameswaram Parvathi Parvadha Vardhini Sarna
96. Dharbha Sri Rama Sri Rarnarn Narayana
Sayanam Ravikulabdi gaula
97. Tirunelveli Godess Sri Kantirnatim Sirnharava
Kantirnati (Chernavati)
98. Tirunelveli Ganesa Larnbodaraya Varali
99. Tirunelveli Salivatiswara Salivateeswararn Devagan-
dhari
100. Kallada Lord Vishnu Sreelakshrni Abhogi
Kurichi Varaharn
101. Kallada Goddess Arnba Neelayatakshi Neelarnbari
Kurichi Lakshmi
102. Kazhukarnala Subrarnanya Subramanyena Sudhadha-
nyasi

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103. Tiruchendur Subramanya Sri Subrahmanyo- Todi
mam Rakshatu
104. Trivandrum Lord Padma- Pannagasayana Madyama-
nabha vati
105. Sabarimala Lord Ayyappa Hariharaputram Vasanta
(Sastha)
106. Guruvayoor Lord Krishna Srikrishnam Tedi
?, .
BaJamanasa
I'\

107. Madurai Goddess Meenakshi memudam Poorvi

Meenakshi kalyani
108. Madurai Goddess Mamava Meenakshi Varali
Meenakshi
109. Madurai Goddess Sree Meenakshi Gouri
Meenakshi
110. Madurai Goddess Sri Madurapuri Bilahari
Meenakshi
111. Madurai Goddess Kadambaripriyayai Mohanam
Meenakshi
112. Madurai Maduramba Maduramba Devakriya
Samrakshatu
113. Madurai Parvati Pahimam parvati Mahana
114. Madurai Halasyanathan Halasyanatam Darbar
115. Madurai Lord Sunda- Somasundareswaram Sudha
reswara Varali

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116. Madurai Lord Sunda- Sundareswaraya Sankara-
reswara baranam
117. Madurai Ganesa Ekadantarn Bilahari
118. Azhagarkoil Sundararaja Sundararajam Ramakriya
119. Ettayapurarn Venkateswara Venkateswara Megaran-
(Sathur) jini
120. Ettayapurarn E h'1anapuranae
11f\ Punnaga
(Sathur) Varali
121. Banares Badrinath Sri Sathyanarayanan Subhapantu
Varali
122. Banares kasi Viswes- Visweswara Karnataka-
wara kapi
123. Banares Goddess (Kasi) Kasi Visalakshi Gamakakiya
124. Banares Goddess (Kasi) Visalakshi Kasirama-
kriya
125. Banares Kalabhairavarn Kalabhairavam Bairavam

126. Sholingapuram Narasimha Narasimhaagachae Bilahari

127. Banaras Narasimha Gangernarnpahi Senjurutti

128. Thiruvaiyar Dharma Dharmasarnvardhini Madyamavati

Sarnvardhini
129. Thiruvaiyar Dharma Parirnala Hameerkalyani

Samvardhini ranganayakam

130. Verinchipurarn Dharma Maragadavallim Kamboji

Samvardhini
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 1'1
131. Shrine on the Dharma Pahimam Ratnachala Mukhaa
banks of Samvardhini
Kaveri river
·� a.
132. Shrine on the Lord Siva Neelakantam Bajeham Kedargaula
I\

banks of
Kaveri river
133. Tiruvaiyyar Narmada Narmada Kaveri Namanara-
Kaveri yani
134. Tiruvaiyyar Vadukanadha Vadukanadha Devakriya
135. Chidambaram Sivan Sada.chaleswaram Bhoopalam
136. Chidambaram Sivan Hatakeswara Bilahari
137. Chidambaram Sivan Sri Valmiki lingam Kamboji
138. Chidamriaram Anandeswa Anandeswaranae Ananda-
raena bhairavi
139. Chidambaram Sidheswara Sushawaraya Neelabari

140. Chidambaram Govindaraja Govindaraja Mukhari

141. Chidambaram Pasupathees- Khatmandu Devi Subhapanta

waram Varali

142. Kumbakonam Mangalambika Sri mangalambikae Kalyani

devi
Sri Mangalambiake Malavasri

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 Muthuswamy Dikshitar was also a Devi (Srividya) Upasaka.
Different manifestation of Devi such as Kamakshi, Neelayatakshi,
Abhayamba, Kamalamba had been dealt by him. In addition he sang
upon all the temples he visited. Even the Navagraha (7 planets
in our Universe and 2 Tamograhas 'Rahu' and 'Kethu' which have
an important place in astrology) are praised by him. The whole
universe is made up of five elements Akasa, Vayu,, Agni, Jala and
Ap u . He composed songs on 5 Siva temples namely
Pa nchal inga sthala Kritis representing these elements i n
Chidambaram, Kalahasti, Tiruvanakav u, Kanc h e e p uram, and
Tiruvannamalai. So also he has composed about main deities as
well as Upadevas like Bhairavan, Veerabhadran, Bhadrakali,
Dasavatharamoorthi etc. There is even a song o n Paramatma
(Cosmic soul) in poorvapanjama raga, Triputa tala (Sadhujana
chitta). A composition attributed to Brahma and also a song on
Goddess Saraswati in Bhooshavali raga is seen. There are songs
composed on 16 forms of Vinayaka known to mantra sastra with
exact description of Dyana. These songs are titled 'Shodasa
ganapati kritis'.

Tyagaraja the saint composer and Upasaka during the lat.er

part of life undertook a pilgrimage to several places which
extended from Tirupathi in the North to Srirangam and Lalgudi in
the south. Tyagaraja conunemorated the occasion of his visits to

-172-
different shrines by composing compositions in praise of the
deities of these shrines. Usual 1 y such Krities are a group of
songs composed addressing to the deity. His Kshetra Keerthanas
are related to Vishnu, Siva, Devi and other Gods. We can

conclude that he realised that the deities are but the

manifestation of one Parabrahma (Universal God) and he fervently
prayed them through music. He has many sets of Kshetra
pancharathna kritis to his credit, on the presiding deities of
Kshetras at Kovur, Thiruvattiyoor, Thiruvaiyar, Lalgudi and
Srirangam. He also visited Tirupathi, Madras, Sirkazhi,
Nagapattanam, Sholingapuram, but composed only two or three
Krities addressing to the deities of these places. Most of these
Krities contain 'Sthalapuranas' (mythical reference of the
place).

Panchanadeesa is the Lord residing in the place Tiruvaiyyar.

He is also known as Pranatharthihara. 'Tiruvayyar' is a place
situated in between 5 rivers.

The 5 kritis addressing to this deity are:-

Sarivedalina Asaveri Aditala

Ilalo pranatharthihara Atana Aditala

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Ehi Trijagadena Saranga Chapu
Muchata Brahmadulaku Madyamavati Adi tala
Evarunaru Malavasri Adi tala

Krities on Goddess Dharmasam Vardhini

1. Bale-Balendu Bhooshini Ritigaula Adi

2 Amma Dharmasamvardhini Atana Adi
3. Vidhi Chakradulaku Yamunakalyani Roopaka
4. Sive pahimam Arnbikae Kalyani Adi
5. A Karuna juda Vamma Tedi Adi

Another set of compositions addressed to same deity

1. Innalla Vale Kalyani Chapu

2. Maravairi Nasikabhooshini Roopaka
3• Nannukannatalli Kesari Desadi
4. Parasakti Saveri Adi
5 Niva Bravalae Saveri Adi

5 compositions were written in praise of Lord Sundaresa of

Kovur. (Lord Siva is said to have brouoht Kamadenu. the divine
cow which was made to stay there later). Here the worship is
done to only Linga. Another name of Lord is Tirumuniswarar.
Goddess of Kovur is Sundara Nayaki.

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1. Sambo Mahadeva Pantuvarali Rupaka tala
2. Korisevimparare in Kharahare... priya Adi tala
3. Sundareswarini Sankarabharana Adi tala
4. Ivasudhanivanti Sahana Adi tala
5 Narnrni Vachchina Kalyani Rupaka

The songs wh ich a re inc luded under the hea ding

Thiruvattiyoor Pancharathnarn a re in praise of God de s s
Tripurasundari. Tiruvattiyoor is a place of Saints and yogies.
The deity of the Shrine there is Lord Tyagesa after whom Saint
Tyagaraja was named. Ca�tivated by the presence of Goddess
Tripurasundari of the shrine, T yagaraja composed Kshetra
pancharatna and they are known by the title T iruvattiyoor
pancharatna.

The pieces of the group are:-

1. Darini Telusukonti - Sudhasaveri - Aditala

2. Sundarini - Kalyani - Aditala
3. Kannathalli - Saveri - Aditala
4. Sundari nannindarilo - Begada - Rupaka
5. Sundari ninnu Arabhi Misrachapu

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 Srirangam is c onsidered to be the h e a v en on e arth
( Va ikunta ) As Rama was his favourite deity the compositions
composed addressing to Lord Vishnu of this place has a special
C\S
quality. He has not described any other place�he has described
Srirangam. Srirangam is referred to as 'periya koil' and the
deity here is periya Perurnal. The glory of Thiruvilakku and the
procession of deity through the Chithra Street, is described in
the Kriti 'Rajuvedala' (in raga Tedi). In another composition
'Karunajudavaiyya' in 'Saranga' he has described Him with two
Nalchiyars on either side and surrounded by Azhwars and other
devotees. The Kshetra pancharatna comprises of the following
pieces.

1. Juta murare - Arabhi - Rupaka tala

2. Vinaradhana - Devagandhari - Adi
3. Raju veda - Tedi - Roopaka
4. Karunajooda Vaiyya - Saranga - Aditala
5. 0 Rangasayi - Kamboji - Adi

Lalgud i is known as "Tapasthirthap ura". On the Goddess

Mahitapravrudha at that place Tyagaraja has sung three pieces:-

1. Lalithe Sri Pravriddhe - Bhairavi - Adi tala

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2. Mahita pravridha - Kamboji - Chapu
3. Gathinivani - Tedi - Adi tala

Tyagaraja also sang a piece on the God "Saptarishiswara" of the

same shrine.
�Devasri Tapasthertha - Madyamavati - Tripura tala
5·I::i�-... P2J.-�1Y1.�yy, -- ka.Jy(,::i__)'\; - RLA.f>lJ<."-

Head of the 'Kancheepuram mutt' Sri Upanishad Brahman who

was a friend of Sri Tyagaraja's father Rama Brahman hearing the
fame of Tyagaraja invited him to pay a visit to Kancheepuram.
Accordingly he went to Kancheepuram at the time of the festival
of the deity Varadaraja of that place. At Kanchi he sang a few
pieces like Varadaraja munikari in raga S warabhooshini (Roopaka
ta 1 a) . On Goddess Kamakshi he sang the piece 'Vinayakuni' in
Madyamavati raga Aditala. A song 'Varada Navanita' in raga
'Panjara' is said to have been composed on deity Varadaraja. But
there exists a difference of opinion regarding the piece, that
this piece does not appear to have any connection with Varadaraja
of Kanchi. The piece "Therateeyagaradha" in Gouli pantu raga is
addressed to Lord Vishnu (Venkateswara) of Tirupathi. The story
told about his visit to the temple is that while he was eagerly
approaching the sanctum sanctorum for darsan he found that the

------------------------------------------------------------------------------
1. Dr.V.Raghavan - Spiritual heritage of Tyagaraja.
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priest had drawn the curtain and thus preventing him from darsan.·
Occasioned by this incident he sang the song. Another song
addressed to the deity is "Venkatesa ninu" in Madhyamavati raga,
Adi tala.
At Nagapattanam he sang oh Goddess Neelayadakshi
1. Karmame Balavanta - Saveri - Chapu tala
2. Evaru Teliya - Thodi - Roopakam
On Lord Subrahmanya, residing at Brahmapuri (Seergazhi) he
sang the pieces
1. Neevanti Daivamu - Todi - Adi tala
2. Varasikhi Vahana - Supradeepam
Narasimha Nannu brova - Bilahari - Triputa tala is said to
have been composed in praise of Narasimha of Sholingapuram.
Pahiramadhoota - Vasanta Varali - Roopaka
Kaluguna Padaneeraja - Poornalalitha - Adi
Both thse pieces are in praise of Anjaneya of Sholingapuram.

Syamasastri the eldest of trinity of Karnatic music was born

in a family of Devi worshippers or archakas. The cult of Devi
worship got evolved from Vedic times as the symbol of fertility,
to Durga (destroyer of evil ) , Lakshmi (Goddess of prosperity)
and Saraswathy (Goddess of knowledge), equating them respectively
with manifestation of Universal powers of kriya or action, Ichcha
or desire and jnana or knowledge. Under the influence of his
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Guru Sangitha Swami, he perfected his Devi worship raising it to
a higher realm of intimate spiritual experience there by
deviating from the traditional ritualistic patterns. He
considered himself as child of 'Mother Goddess' (reference abound
in his compositions about Jagadamba, Talli, Amba, Mayamrna and so
on). By the repeated use of same words he was able to highten
the emotional appeal. Perhaps Syama Sastry was the first among
major composers to accept the theme of the- Divine as 'Mother'.

However we find his praises attributed to the deities at

Thi r u v ad a m a r u du r , Nag a p a tt an am . Ti r u van a i k o i l , M adurai ,
Vaideeswarankoil, and Kancheepuram. Majority of his compositions
are in praise of Devi but for two , one addressed to
Varadarajaswamy of Kancheepuram and ano�her to Muthukumaraswamy
of Vaideeswaran koil. He sang 39 songs addressing to Goddess
Kamakshi of kanchi and 8 songs in praise of Meenakshi of
Tanjavur, 5 addressing to Akhilandeswari of Thiruvanakoil, 4
songs in praise of Dharmasamvardhini of Thiruvaiyar, 3 in praise
of Neelayatakshi of Nagapattanam and 4 songs attributed to
Brihadamba of PudUkkottai. Under the initiation of his favourite
Guru he composed the famous Navaratnamaa...lika. addressed to Devi
Meenakshi of Madurai.
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Following are the Kritis:-

1. Meenalochana Dhanyasi Misra Chapu

2. Mari Varae gathi - Ananda Bairavi - Misra Chapu
3. Nannu brovu - Lalitha - Misra Chapu
4. Mayamrnayani - Ahiri - Adi
5. Devi meenanetri - Sankarabharanam - Adi
6. Saroja dalanetri - Sankarabharanam - Adi
7. Devi ninnupadasarasa - Kamboji - Adi
8. Mayamrna - Natakuruji - Adi
9. Karunjudave - Sree - Adi

Swati Tirunal Maharaja also has composed in Praise of

deities of various temples in Kerala. The temPles upon which he
sang are situated within the territories and under the domain of
Travancore empire (except for the Gur�vayoor Sri Krishna temple).
The palace manuals bear the testimony to the fact that as a part
of customary practice the royal Palace used to conciuct special
poojas and offering to the deities of these temples. on the
occasions like birth-days. anniversaries of various rulers,
resulting in more contacts with these temples. (Most of these
practices are continued even today). On these special occasions
the royal family members pay a visit to these temples to have the

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darsan of the Lord. It is said that Swati Tirunal Maharaja
towards the close of his reign had even made a pilgrimage when he
was put to great pressure and strain by the Suzerian power.
'Rama Varma Vijayam Champu', a Sanskrit Kavya (the author is
unknown) describes the pilgrimage conducted by Highness and his
party upto Kanyakurnari (Cape Comerin). On his way he visited the
temples of Lord Adi Kesavaperumal of Thiruvattar, Sthanumalaya
perumal at Sucheendra, Goddess Parvathy at Kanyakumari temple etc
upon which deities His Highness had composed songs. As observed
in Mahabharatha Pandavas spent the ir exil e period in
'Theerthayatra' (Pilgrimage) and it is note worthy that Maharaja
undertook various pilgrimages and composed pieces at a time when
he got himself detached from worldly aff a i rs o f state
administration.

When we come to the Kshetra kritis of His Highness. we can

find that since he was an ardent devotee of Lord Padrnanabha of
Trivandrum major number of his contributions are attributed to
Him. But in addition to these Padmanabha Sthuties he has
composed pieces addressing the various Gods and Goddesses of
Hindu pantheon. Different manifestationsof Lord Vishnu such as
Sri Rama, Sri Krishna, Narasimha are also dealt with in his
compositions. Apart from these there are also compositions to
his credit attributed to Lord Siva, Ganapathy, Subrahmonia

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 Goddess Parva thy, Lakshmi, Saraswathy and so on. But it is
interesting to note that even when these compositions are in
praise of other deities, in the concluding part of the pieces he
speak of them as always granting the desires of the devotees of
Lord Padmanabha.
For eg:- in one of his Kritis attributed to Lord Siva "Pancha
Bana Tanu hara" in the Poorvikalyani raga Adi tala, in the 1 ast
charana we get a reference to "Sreepadamanabha Sevakanukoola"
which means the one who fulfills the desires of devotees of Lord
Padmanabha. So al so in the Kri t"i "Anandaval 1 i" in Neel ambari
raga Adi tala (a piece attributed to Goddess Parvathy), we get
the reference "Padmanabha Sahajae", which means sister of
Padmanabha. All these bear witness to the fact that he is a
staunch devotee of Lord Padmanabha.

The Kshetra Kritis composed b y His Hi g hness can b e

categorised under two main heads (1) Major Kshetra kritis and (2)
Minor Kshetra Kritis. Major Kshetra Kriti is one that which is
attributed to the main deity of a particular shrine, Where ClS
ihthe second category the piece is composed addressing to the
'Upadevata' of a particular shrine.
Eg: for the first category:- Those compositions in praise of Lord
Padmanabha of Sree padmanabha Swamy temple at Trivandrum.
Eg: for second category is the Kriti 'Anjaneya' in Saveri raga

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aditala (2 kala). In this particular piece we get the reference
"Kamalanabha Subha Charita nisamaya" meaning one who always hears
the glories of Padmanabha. From this we can conclude that this
composition may be attributed to Lord Anjaneya installed facing
Lord Padmanabha of Sree Padmanabha Swamy temple at Trivandrum.

The 3 �ompositions (1) Jayasugunalaya in Bilahari raga (2)

Narasimha mamava in A rabhi raga Khanta Chapu tala and (3)
Paripahimam Nriharae in Mahana raga Roopaka tala are said to have
been composed in praise of Lord Narasimha of Padmanabha Swamy
temple (Trivandrum) though we do not get any direct reference so
as to fix them to that particular deity.
Among various kritis attributed tJ various Gods and Goddesses:-
26 Compositions are in praise of Lord Padmanabha.
51 Compositions are in praise of Vishnu.
53 Compositions are in praise of Lord Sri Krishna.
21 Compositions in praise of Lord Vigneswara.
1 Composition in praise of Lord Anjaneya.
1 Composition in praise of Lord Subrahrnanya.
7 Compositions in praise of different manifestations of
Goddesses.

There are some compositions which are difficult to be

attributed to any specific category.

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 Two of his Kritis 'Parama bhadrakara' in Dwijavanti raga and
'K ripakataksham' i n the raga Mahana are in p rais e of
'Panchanadeeswara' of Tiruvarur tem p le. But some s ch olar s
dispute the authorship of these two pieces for the reasons (1)
absence of Vaggeyakara mudra and (2) difference in the style and
the theme adopted.
Different manifestations of Lord Siva in different as-;iects
are being stressed in following Kritis.
1. Mamava Jagadeeswara in Raga 'Saraswati manohari'.
2. Samodam.paripalaya in raga 'Ramapriya'.
3. Jayajaya padmanab1.nujesa in raga Manirangu.

In the above compositions we get the reference "Swanikara

parivrita", Swaguna parivrita, etc. w hich means surrounded by.
'Hunting dogs'. T his d e notes L o r d Siva in t h e gui s e of
Kirathamoor thy (on e of the manifestations of Lord S iva).
t ;, e.
Kirathamoorthy is same as Vettaikkaran (Vettakku haran - lord
Siva on hunting).

This is a concept which prevails only in Kerala. There is a

temple dedicated to Vettakkaran in the fort premises to the
Eastern gate of Padmanabha Swami temple. This is considered to
be a tute lar y d ei t y of K e rala K s ha t riya K i n g s . On such

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 . .,,

circumstances these three compositions can be said to have been

composed on Lord Siva.

Though the Maharaja had composed many compositions in praise

, of various deities, there are 17 cornposi tions in which we get
specific references to the 'Stala narnas'. The presence of the
'Sthalanama' in the Sahitya help us to trace the place where the
temple is situated and also the deity of temple. The name of the
places are given in their Sanskritised form So as to suit the
Sahitya and hence only these compositions are categorised under
specific c 1 ass "Kshe t r a Kri tis " f or an a 1 y si s . Among thes e 1 7
compositions, 6.compositions are in praise of Devi (installed at
different shrines) 7 compositions are in.praise of Siva, 2 pieces
are in praise of Lord Krishna, 1 Kriti is attributed to Lord
Vishnu and one piece addressing Lord Subrahmonia.

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 G i v e n b e l o w is t he li st of composit i o n s alo ng w i th the Raga a n d t ala. T he
term specifying the St ala narna is includ ed i n the list:-

CCI11pos! ti Oil Faqa Ta}� Deity Stalanama Stalanama

1. Pa.hi Janani Natakurinji Misra Chapu Goddess Kanyakumari Kanyak.ubja

Santatarn Parvathy Vasini
2. Kalaye Parvathy Sankarabhara- Misra Chapu Lord Siva Sucheendrarn Sucheendra
nadham narn Purakya
3. Vande Maheswaram Arabhi Misra Chapu Lord Siva Sucheendram Vasava
Suchikararn
4. Ananda Valli Neelambari Adi Goddess Padrnanabha Anandavally
°'I Parvathy puram (Devi lmown
as Anandavally)
5. Deva Deva Thodi Misra Chapu Lord Vishnu Thiruvattar 'Adi Kesava'
, ---... -·
6. Palayamarnayibho Karnas Adi Lord Siva Srikandeswara Sreekandesa
7. Paramananda Natana Kedaram Adi Lord Siva Srikandeswara Sreekandesa
8. Panchabana Tanuhara Poorvikalyani Adi Lord Siva Srikandeswara Sreekandesa
9. Janani Pahl Sudha saveri Misra Chapu Goddess Attingal Vahini Thada
Parvathy Vase
(Thiruvaara­
atthu Kavil
Bhagavathy)
 10. Pahl Parvatha Arabhi Adi " Attingal Vahini Tada
nandini nivasini
11. Matanga Tanayayai Pantuvarali Adi " Attingal Vara nadee
Tadagagai
12. Deva mamayi Kedaragaula Misra Chapu Lord Haripad Hari Geetha
Subrahmania puralaya
13. Devapalaya Asaveri Aditala Lord Krishna Ambalapuzha Ambaranadeevasa
14. Paahi Tarakshu Ana1'dabhai
" ravi Misra Chapu Lord Siva Vaikom Tarakshupuralaya
puralya
I
15. Paahi Tarakshu Jaganroohini Misra Chapu Lord Siva Vaikan Tarakshupuralaya
I puralaya
16. Sreekumara Nagara- Atana Adi Devi Goddess Kumaranalloor K\.llllaranagaralaya
laye Kartyayani
17. Pahl Pankaja Huseni Adi Lord Krishna Guruvayoor Gurupavana
nayana puradhipa
18. Seve Sri Padma- Mohanam Jarri)a Lord Padma- Trivandrum
nabham nabha
19. Kalaye deva deva Malahari Khantachapu Lord Padma- Trivandrum
nabha
 There are a l arge. number of Kritis in pr a ise of P adm an ab h a.
Here in this study only 2 among them are selected for det a iled
study bec ause the y bring forth all the qu alitie s of a K s he tr a
Kriti. In addition to the abo ve there is another set of K s he tr a
Kritis descr ibed by Dr. S.V.Iyer in h is article titled "some
unk nown compo s itio n s of Sw a ti tirun al. 29 so ngs are be ing
listed but there is a d iffere nce of o pin ion re gard ing its
authorship. So a deta iled an alysis of the se are a vo ided. How
e ver for reference the list of songs with r a ga, t al a, and the
deity is g iven .

Cooposition Raga Tala Deity

1. Seve Syan andoores a Kalyani Chempata Padrranabha of

Trivandrurn
2. Bhogeendr a Sayinarn Dhanyasi Jan-pa do
3. Deenabandhav a Saveri Charri>ata do
4. Nityamasrayatwarn Ritigaula Atan ta do
5. Rana natajan akarra. Begad a Ekam Rarra.
6. Rarranamarn mama Kamboji Chempata Rarra.
7. Pavanasuta kripaya S averi Chempata Hanurnan
8. Chinmayamama.v a Mohanarn Ekam Krishna of
Trivandrum

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 9. Parthasarthipahi Manchi Ekam Krishna of
.Ambalapuzha
10. Palaya anavaratan Jangla do Krishna of
Trivandrum
11. Maramecha kalebara Saveri Charpata Krishna
12. Nandanandanajaya Bhairavi Ch�ata do
13. Devakisuta pahimam Madyamavati Charpata do
14. Ehibalagopalam Punnagavarali Ekam do
15. Srirna.dhavamam Kapi Atanta do
16. Surabadhahara Kukuba Ekam do
17. Vimukhata pahimam Bilahari �ata do
18. Pranayam Santatam Kamboji Atanta Padmanabha of
Trivandrum
19. Neela Vamapahimam Suruti Ch�ta Krishna
20. Krishna Krishnakada Ananda charpata Krishna
bairavi
21. Japata japata Todi charpata Vishnu
22. Padambojagatim Kamboji Roopaka Siva of Sri
Kanteswara
23. Bhakta parayanam Kalyani charpata Siva of Vaikan
24. Bhavajalanidhi Bhairavi cherrpata Siva of Sucheendram
25. Sambogourisa Kedara cherri)ata do
goula

-189-
26. Harakhedam Kukuba Ekam Siva of Sucheendram

27. Devi girikanya Huseini Chercpata Devi of Attingal

28. Marrq;Jahi Mahisha- Bhairavi do Devi

rrardhini

29. Chandrakaladhara Punnaga Chapu Siva

Varali

The most s i gnificant feature we f i nd in the Kshetra kri tiSof

Swati Tirunal is the presence of 'Stala mudra'. They are present

in any one of the angas ·of the Kriti. There are pieces where
· 1
the very opening p hrase ·tself deno tes 'stalanama'
1. eg. Pahi'
l (

Tarakshu puralaya i n Anandha Bairavi raga and Pahi Tarakshu

puralaya in Jagan mohini r�ga. Some Kritis trace the origin and

also the important festival conducted in a particular temple.

eg:- The phrase 'Pur olasi tha Samyak a' in the Kri t i 'V ande

Maheswaram' in Arabhi raga, in praise of Lord Siva of Sucheendram

denotes the place where the idol of Siva was first found, (under

the Samyaka tree). The term "Lokamudi tha radhotsavarn" in the

same piece stands for the famous 'chari o t race' conducted

annually as a part of the festival.

-190-
 But on closer examination we feel that the composer being an
ardent Bhakta has stressed upon giving more details of the deity
than that of the temple. In every piece we find the various
�ttributes of the deity being described in a vivid manner. The
composer has taken much care to illustrate elaborately and
vividly the ennobling virtues of the deity. The
appearance and the weapons adorned by Him; His deeds of Valour,
Kindness, and the vehicle upon which He travels are described
picturesquely. The deities are described as they are capable of
doing and giving anything to fulfill the desires of His devotees
and also His eternal mercy and they are also stated as being
praised and worshipped by all celestials. The leading episodes
to display Lords Leelas (pranks) can be churned out from the
Sahitya. The various qualities and capacities of the deities are
further described by alluding suitable instances from various
puranic lores. Thus as a mark of significance we see that the
composer has hightened the importance of the deity more than that
of the Kshetra and thereby enabling the devotee for a direct
communion with his 'Ishtadevata'.

An Upasaka of a particular deity when he sings those pieces

gets relieved from mental agony and thus finds solace in them and
thus making that particular deity most important among all other

-191-
deities. Here we see that the composer has lifted the Krities
into a higher level of devotion.

Another outstanding feature of the compositions is that

apart from the ability in expressing philosophical truth and
Vedantic principles, His Highness has also a deep rooted
knowledge in various epics and puranas. For eg:- various
anecdotes found in his compositions reveal his knowledge in
purnas.

Literary excellences in the Kshetra kritis a£

Swati Tirunal

In the verbal embellishments and imageries, he has employed

the literary conventions of Sanskrit poetry. However set aaainst
the mosaic of such conventional style. we can find at times the
composer's identity in the use of original and imaginary ideas.
For instance in the Kriti in t h e Ar abhi raga Adi t al a
"Pahiparvata Nandini" Goddess is described as the personification
of accumulated blessedness of Vanchi Vamsa (the royal dynasty).

To quote the phrase "Vanchi nripalaka vamsa subhodaya

sanchayaika kriti sataka gunanike". Maharaja excelled himself

-192-
in weaving various verbal patterns to stress the same character
of the deity.
(1) In various Siva Sthuties, Lord Siva is described as the
destroyer of 'Cupid' or 'manmada', through
various expressions like, (a) Salabeekrita manmada, (b)
Panchabana tanuhara, (c) Madana dahaka etc. to denote the
term 'destroyer of Cupid'.
(2) Lord Siva is described as the destroyer of Tripuras in (a)
Purajaladhara pavana, (b) Purantaka, (c) Tripuramarutoraga,
(d) Devapurantaka.
( 3) Again Lord Siva is depicted as destroyer of 'God of Death'
using the different terms as (a) Kalapasa Krithavrita Kantara
Mrigandu soonu, (b) Kalakala, (c) Pada Visasidha Ghora.
(4) The terms (a) gathitara gamana, (b) Vijitha matanga, (c)
Kariraja gamanayai, (d) Manda gamana jitha Varane etc.
: denote· the walk like gait of an elephant.
(5) (a) Vibudhasala, (b) Kalpaka padape, (c) Kalpaka Vallike etc
denote goddess capable of granting any desires of the
devotees like a celestial tree.
All his pieces are in Vaidarbhee style, a style of using
soft letters (Kamala Vyanjana). This style helps the composer to
add to the beauty and mellifluousness of the compositions.

-193-
 Swati Tirunal was a master in rhyming. He had particularly
used three types of 'prasas' (1) Dwiteeyakshara prasa or adiprasa
(2) Anthyaprasa and (3) Anuprasa.
Dwitheeyakshara prasa or second 1 etter rhyming makes his piece
jinklng and thus affords one a quick remembrance of the Sahitya.
eg:- in the 'Atana' piece all 3 charanas are beautifully adorned
with dwiteeya akshara prasa like manju, anju, punja - Kambu,
Bimba, Amba, Samba, Manda Inda and so on. Here there is the
occurance of similar sounding second letter in every pada.
Anuprasa His Compositions also contain brimming anuprasa or the
repetition of same letter, syllables or words, the naturalnJss
I
with which they flow are quiet interesting. For eg:- -:,n the same
Kriti in Atana raga every pada is adorned by the use of anuprasa
ie:-
1) Nagaralaye, Karunalaye
2) Noopure, Basure, Sudhakare, Chikure
3) Rasike, Tilake, Kandhare, Vasundhare, Dharadhare
4) Charane, Karane, Varane etc:-

Antya Prasa In almost all the Krities we can find the use of the
antyaprasa where all the pada ends in the same rhyming word. For
eg: In the second charana of Sankarabharana raga kriti 'Kalye
parvathinaandhan' - 'Radanam', 'vadanam' , 'sadanam' . 'Madanam',

-194-
'Nandanam', 'Jadantam'. 'Padantam', 'Kridantam', 'Bhantam',
'Sankatantam' 'Kantam', 'Nisantam' etc. are used.

In Ii t e v aJur� 'Yati' figures as an excellence of

language whereas in musical prosody it adds to the beauty of the
composition. Yati technically means the occurance of a letter
after a pause in a pada. In musical composition it can be
defined as the figuring of the same letter· at the commencement of
an avartha and in the middle. Yati letter divides the music of
padas into avarthas or of ½ avarthas. This alliterating
syllables of avartha are known as 'monai' in Tamil. This
decorative literary beauty can be witnessed in many compositions
especially those of Muthuswamy Dikshitar. Tyagaraja and Swati
Tirunal. In some case this is considered as anuprasa also.
Eg:- in the Pallavi & anupallavi of the kriti in the raga
Asaveri - I I 'Devapalayamurame' Devaki nandana II

I ITavakeena pada natamj Tavakeenam Twamj I

So also in the Navaratri Keerthana in Sankarabharana raga

-195-
 I jDevi Jagajanani ambal dehi Kripaya mama! I
Figures of Speech:-

Figures of speech like similie, metaphor, and hyperboles

are found very liberally in Swati Tirunal's compositions

For example in the kriti 'Kala y e par v a t h i nadham' in

Sankarabharana raga, the phrase 'Mallika Mukulabha Radhanan' is

used to denote the beautiful teeth which are like jasmine buds

and in the same kriti similie 'Soma Manjima vadanam is used to

denote the beautiful face like that of the moon.

Metaphor

The phrase "Gahana Dahanaayithe' in the Kriti "Janani pahi"

in "Sudha Saveri raga) Devi is conceived as a blazing fire which

destroys the mighty demons - this is a metaphor. �ihe phrase

'Vadana Saraseeruha madhupe' Devi is described as a bee that

sucks honey from Her lotus faced Lord (in the kriti Anandavally

in Neelambari raga).

-196-
Musical structure 0£ Kshetra Krities 0£
Swati Tirunal in general

Swati Tirunal is an eminent Vaggeyakara whose lyrics clothed

in suitable melody shines as excel 1 ent gems. Nadopasana or
worship of the Almighty through music has reached its climax in
these pieces.

The general pattern of the pieces are with the angas

pal 1 avi, anupal 1 avi and two or three charanas. But often only
the mudra charana is sung. In some cases the scope for the
exposition of manodharma part is preferred to by the musicians
and hence the differences in the charanas chosen.

Based on the structure and nature of the compositions they

can be classified into following heads.

Composition with different dhatu for the three angas­

pallavi, anupallavi and charanas - (Tridhatu keerthanas)
eg:- Kalaye parvathee nadham - Sankarabharana raga - Misra Chapu
Pahi tarakshu puralaya - Ananda Bhairavi - Adi
Compositions with different dhatu for pallavi and anupallvi.
Here the dhatu for the second half of the charana is the same as

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that of anupallavi. (Dwidhatu Keerthanas)
eg:- Matanga tanayayae - Pantuvarali raga - Adi
eg:- Deva Deva mam - Tedi raga

In compositions where separate music• is employed f or

charanas the treatement of raga is very long and elaborate giving
ful 1 scope for the musicians for detai 1 ed delineation. Most of
the pieces belonging to this category are either in Misra thapu
or in Adi tala.

The decorative angas employed in them are very apt and

beautiful and the musical genious of the composer clearly shines
forth in its various types of usage.

Sangathy
Sangathies are employed in different compositions in
different ways. They seem to develop from various part of the
avartha. They develo? in a systematic and well planned manner.
The number of sangathies differ according to the scope of the
raga For eg:- in the kriti. 'Deva Deva' in Todi raga and in
'Kalaye parvathi in Sankarabharana raga we find many attractive
sangathees. Even in the case of compositions in minor pieces
ragas 1 ike Jaganmohini raga ( Pahi tarakshu) and Asaveri ( Deva

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palaya) the number of Sangathe� are not much lesser.

Madyamakala
Madyamakala is another decorative anga which finds place in
most of his kritis. They are present in different angas of the
composition and bear a fractional relation with the constitute
anga in which it is present.
eg: - the kriti in t h e raga H u seini 'Pahipa nk aja•', the
madhyamakala is present in charana. In the kriti 'Anandavalli'
in the raga Neelamb a r i the ma dhyamakala i s f o u n d in t he
anupallavi.

Solkettu
This anga is found in some of his compositions especially in
those where in the Sahitya is related to Lord Siva. For
example in the kriti 'Paramananta nadana' in raga Kedara. aditala
the complete anga anupallavi figures as solkettu.

Swarakshara
The swarakshara pattern woven by His Highness is also worth
mentioning. The kriti 'Pahitarakshupuralaya' in Jagan mohini
raga adithala swaraksharaprayoga is thus p,, m
pa hi

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So also in the kriti in 'Anandhabhairavi'.

The number of avarthas in different pieces varies according

to the structure of the tala. They may be in large number in
the pieces in Chapu tala for eg:- In the Kriti "Kalaye Parvati
nadham" in Sankarabarana raga, Misra Chapu tala, No. of avarthas
in pal 1 avi is '8' . In the Kriti in Todi raga Misra Chapu tala.
Deva Deva mam palaya" there are 8 avarthas for pallavi. Whereas
in the Kriti "Paramananta Natana" in the raga Kedara adi tala (2
Kala) the pallavi is only of the one a7artha.

Following the foot steeps and guidelines drawn by Swati

Tirunal many other composers who belonged to Travancore have
enriched the Treasury of Karnatic Music with their Kshetra
Kritis.

Other Kerala Composers

Compositions are mainly in the form of prayers. Most of

them bear the 'Stala Mudra', which help us to identify the temple
and its deity. On a close perusal we can state that they have
followed the style of His Highness after which they have

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modelled. Pr.eminent among the contributions Kerala composers
are Irayirnrnan Thampi. K.C.Kesavapillai., Kuttikunji Thankachi,
and Neelakanta Sivan etc.

Irayirnrnan Thampi:-

Irayimman Thampi also known as Travi Varman Thampi

poet laureate in the court of Maharaja Swati Tirunal. He has to
his credit many compositions in Sanskrit, Malayalam as well as
in Manipravalam. 33 Kritis (28 in Sanskrit and 5 in Malayalam),
21 padas and 5 varnas are attributed as his compositions. In
most of his musical pieces "Sri Swati Tirunal" is conceived as
'the hero'. Both the music and sahitya maintain a high standard.
Many popular ragas like Kalyani, Todi, Bhairavi, Mohanam and rare
ragas like Jingla, Manji, Kukuba bear examples for his creative
genius and musical excellence. There are many stava varnas of
his wherein the theme is purely devotional. Apart from this he
has composed composition in praise of some prominent deities of
temples in Travancore.

Following is the list of those compositions:-

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modelled. Pr,ominent among the contributions Kerala composers
are Irayimman Thampi. K.C.Kesavapillai., Kuttikunji Thankachi,
and Neelakanta Sivan etc.

Irayimman Thampi:-

Irayimman Thampi also known as Travi Varman Thampi

poet laureate in the court of Maharaja Swati Tirunal. He has to
his credit many compositions in Sanskrit, Malayalam as well as
in Manipravalam. 33 Kritis (28 in Sanskrit and 5 in Malayalam),
21 padas and 5 varnas are attributed as his compositions. In
most of his musical pieces "Sri Swati Tirunal" is conceived as
'the hero'. Both the music and sahitya maintain a high standard.
Many popular ragas like Kalyani, Todi, Bhairavi, Mohanam and rare
ragas like Jingla, Manji, Kukuba bear examples for his creative
genius and musical excellence. There are many stava varnas of
his wherein the theme is purely devotional. Apart from this he
has composed composition in praise of some prominent deities of
temples in Travancore.

Following is the list of those compositions:-

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List of songs Raga Tala Place deity
1) Neela Varmn Suruti Roopaka Neyyattinkara Lord
pahimam Krishna
2) Sambo gaureesa Kedaragaula Adi Sucheendram Lord Siva
3) Nityamasra- Reetigaula Trivandrum Lord
yetwam Padmanabha
4) Ehi Bala- Punnagavarali Trivandrum Tiruvambadi
Krishna Krishna of
Padmanabha
Swamy Temt;)le

5) Adimalarina Mukhari Adi Guruvayoor Lord Krishna

6) Karuna - Sri Adi Guruvayoor Lord Krishna
Cheyvanentu
7) Paradevate Todi Adi Attinga l Devi of
Thiruvarattu- kavu
8) Karthyani Devi Sankara- Adi Attingal Palliyara
bharanam Bhagavathy
9) Pahimam giri
Thanayae Saveri Adi Varkala Chittumala
Bhagavathi

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K.C.Kesavapillai:-

K.C.Kesava Pillai also known as 'Sarasa gayaka Kavimani' is

another note- worthy composer of Kerala. He was born at
'Paravur' a place in Quilon Disrtict. He has composed both in
Malayalam and Sanskrit nearly 100 kritis which are full of Bhakti
rasa. The peculiarity of his compositions are the gift with
which he has chosen the ragas for his kritis. Many popular as
well as apoorva ragas are used by him.

Lord Krishna w as his favourite deity, but he has also

composed Kritis in praise of Devi of Pozhikkara and Srirama.
The Pozhikkara Devi is a deity near the composer's house.
Following is the list of compositions composed by him in praise
of deities of various examples.

1) Thingal Mukhiyae Kapi Eka Devi at Poozhikara

2) Kallola Chilli Tedi Chempata - Devi at Poozhikkara
Maye
3) Chollezhum
Pozhikkarayil Mahana - Devi at Poozhikkara
4) Tharunaruna
Sarasa Kamas Chapu Devi at poozhikkara

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5) Chittingal
Kripayarulka Kapi Adi Devi at Pottingal
6) Pahirnarn Sri Lord
Padrnanabha Padmanabha
Trivandrum
7) Kochuna Kulanga­
yil Vaneedum Devi at Kozhina
Subhae Kulangara
(Cherthalai, Alleppey
District.)

Kutti Kunji Thankachi:-

Kutti Kunji Thankachi was the daughter of famous Malayalam

poet Irayimman Thampi. She was born in the year 1820. She had
her initial training in music under the famous master of the time
Haripad Kochupillai Wariyar. Born in a family o f literary
personalities and heredity, poetry was very much inherent in
Thankachi. There are many poetical cornposi tions by Thankachi.
She has to her credit 3 Attakathas many Kshetra rnahatmayas,
Kilipattus, Kurathi songs, one drama. one Oonjal song. two
sankeerthanams, manipravala Kritis, and Kummi songs. There are
different songs by her on Gods and Goddess enshrined in different

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temples especially of Travancore area. They are as follows:-

1) Kartyayani mam Kamboji Adi Palkulangara Kartya-

yani Devi
2) Samaja hare Kalyani Adi Thiruvattar Adikesava
3) Soorya Koti Natta raga Chapu Mookambika Devi
4) Sree Pavana- Surutti Adi Guruvayoor Lord
puresa Krishna
5) Pahimohana- Kamas Roopaka Neyyattinkara "
krite
6) Anandarupa harae Pantuvarali Chapu Malayankeezhu "

All these compositions bear the Stala mudra which are in a

Sanskrit versions of same, for eg: the Kriti in praise of Devi at
Palkulangara bear the Stala mudra "Ksheera tadaka tatam" wherein
Ksheeram means milk, tadaka - pond, tadam is the 'bank. Likewise
in the composition in praise of Lord Krishna at Neyyattinkara the
stala mudra is 'gruta nadee teerarn' - which is the sanskrit
version for the place.

Neelakanta Sivan

Neelakanta Sivan is another famous Kerala composer. He is

-205-
also known as 'Neelakanta Dasa'. His birth was considered to be
the resu l t of God Neelakanta's and Goddess Ananda Val li's
blessing. His c o mpositi o ns i nc l ud e K rit is, Keer t ha nas,
Viruttams, Chindu, padigram, Lalis, Unjal songs, Ashtaka,
Satakam etc. All these are purely devotional and replete with
'Bhakti Bhava'. Most of his works deal with the lives of Saivite
Saints Appar, Sundarar, Manikka Vachagar etc. Most of them are
in the form of Keerthanas. There are many compositions in praise
of Lord Siva. He has handled many popular ragas and also Apoorva
ragas like Lalitha Panchamam, Dwvijavanti, Naganandhini, Mangala
Kasiki etc. There is a ragamalika in 18 raoas which bears the
corresponding raga mudra in each respective section. He has
co mposed bo th in T amil and Sansk rit. He has visited several
temples al 1 over S. India and sung in praise of the deities of
those temples. The prominent feature of these compositions is
the allegorical references to puranas and epics.

Following is a list of his c ompositions composed in praise

of different deities of various temples in and around S outh
India:-
1) Kanta Vantarul
Tandal Suruti Adi Subrahmania Tiruchandur
2) Velayudane

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3) Orarurnukhane Arabhi Adi Balasubr­
amania Ulloor

4) Chandrakala­ Mukhari Chapu Lord Siva Tenukula­

dharane ntai at
Tiruinelveli
dist.
5) Darsikka Vendurn Nadanarna Chapu Lord Siva "
Kriya
6) Avidayarnbika Kalyani Chapu Goddess Kararnana
Parvathi
7) Arnbikai unpadarn Suruti Chapu Geddes Tenkulantai
bujarn Parvathi
8) Varasukharnae En " Adi "
0..
9) Karuanippuri Varali Chapu Devi Madura
,,
lO)Anandanada Poorvi Roopaka Lord Siva Chidam-
duvar Kalyani (Nataraja) baram
ll)Adurn Chidarnpa-
reswara Kedaragaula Roopaka " "
12)Adurn Pararnrnan
padarn Huseni Chapu " "
13)Yeninda Tarnasarn Natakurinji Adi Lord Siva Madurai
14)Daivarn Neeye Punnagavarali Chapu " Karaku­
lam
(Tirunelveli)
15)Paradevi

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1
 Tirupparkkadal Ananda Roopaka Goddess Tiruppark-
Bhairavi Mahalekshmi adal
16) Antari Sundari Kharahara- Adi Goddess Ma durai
Kamakshi Priya Meenakshi "
17) Karuni puri Varali Chapu " "
18) Ambikae un Dwvijavanti Adi Goddess Karamana
Padamae Parvati
19) Sakti gauri Kar- Todi Eka Goddess
'tyayani

Comparitive study of Kshetra Kritis of musical

Trinity with those of Swati Tirunal

True to the royal tradition of the Tr avancore dynasty

Maharaja Swati Tirunal as a great patron of art and letters was
ready to accept, absorb and assimilate all the various aspects of
music and dance that was prevalent at the that time in different
parts of the country. A comparative study of the Kshetra Kritis
of musical Trinity with those with Swati Tirunal is attempted
here.

-208-
Muthuswami Dikshithar and Swati Tirunal. It is recorded that His
Highness was attracted towards the Kritis of Dikshitar, When
he listened to the music of Tanjore quartette. (Vadivelu,
Ponniah, Chinniah, and Sivanandam who were disciples of Dikshitar
at Tiruvarur). These musicians moved out of Tanjore after the
demise of the King Raja Serfojee of Tanjore. By listening to
their music Swati Tirunal was able to imbibe the concepts and
the style of Muthuswamy Dikshi tar to a certain extent. On a
closer examination we can find that there are many points of
similarities between the Krities of both the composers.
The most outstanding simi 1 arity is the use of Sanskrit as
the principal medium for the composition. Both of them had great
command over the language and excelled in their own way in
composing pieces with literary and musical qualities. While
Swati Tirunal imbibed the tradition from Margadarsi Seshayyangar,
Dikshitar had drawn the inspiration from the compositions of
Upanishad Brahma Yogi. While Dikshitar travelled ex�ensively all
over S. India visiting many temples and composing Keerthanas in
legions, Maharaja confined himself to the deities of his own
principality. Though both of them had their own 'Ishtadevatas'
(favourite deity), Subrahmanya (guruguha) in the case of
Dikshitar and Anantapadmanabha (Padmanabha) in case of Swati
Tirunal, both had an open mind and broadness of vision and had

-209-
composed songs almost on all Gods and Goddesses of Hindu pantheon
Advaitha Philosophy of Sri Sankara had been imbibed by both the
composers and thus perceiving oneness in various manifestations.

Coming to the musical aspects in conceiving the Dhatu, many

of the compositions of both composers bear the decorative anga
madyamakala sahitya. Another similarity is the introduction of
Solkattu ( combination os Swara & Jati). Both of them had used
this technique with full perfection.
eg:-
1) Ananta natana prakasam - Kedara - Misra Chapu - Dikshitar
2) Paramananta Natana - Kedara - Adi tala (Swati Tirunal)

It is a strange coincidence that both these compositions are

in praise of Lord siva (Nataraja God of Dance).

Incidentaly Muthuswamy Dikshitar and Swati Tirunal had

composed some Kshetra Kritis pertaining to the same deities, Sri
Padmanabha Swami of Trivandrum and Lord Krishna of Guruvayoor are
two of the deities upon whom both the composers have composed.
eg:-
a) Pannasgasayana - (Madhyamavat.hY) - Dikshitar
b) Seve Sri Padmanabham (Mohanam) Swati Tirunal

-210-
 Both these compositions are addressed to Padmanabha Swamy of
Trivandrum.
,Eg:-

a) Sree Krishnam bhaja - Thodi - (Dikshitar)

b) Pahi pankaja Nayana - Husetni ,(Swati Tirunal)

These composition pertain to Lord Krishna of guruvayoor,

Dikshitar had handled the piece 'Pannagasayana' in such a way
that it gives a clear picture of deity, the description of
environment (temples) and practices followed in the temple.

References made by Dikshitar in his Kriti on Lord Padmanabha

Dikshitar addressed the deity as 'Pannagasayana' ie:- deity

reclining or serpent bed. Ag ain deity is d e s r i b e d a s
(Pankajanabha) ie:- a lotus plant is seen going upwards from the
navel part of the deity and Lord Brahma is seated on it. He
addresses the deity as the resident of great Pandya and Kerala
kingdoms. (This temple is in the city of Trivandurm, where the
culture of the people is of intermingling nature of both
Malayalees and Tamilians).
Again we get the reference 'Sreenivasa' as He is the abode

-211-
of Goddess Lakshmi (Goddess Lakshmi is said to be seated on the
chest of Lord Vishnu). The term 'Pavasanna Priyakara' refers
to the practices of offering milk porridge to Lord during the
pooja (Pantheeradi Pooja). (It is said that there was a practice
of offering about 5,500 litres of milk porridge every day. This
practice prevailed till the end of royal rule in Travancore).

Parasurama Kshetra Prabhakara:- This refers to the temple of

Parasurama at a place called 'Thiruvallam' 5km. away from
Padmanabha Swamy Temple. (According to the legend when God
appeared to Divakara muni in the 1 ying posture it was of an
unimaginable size with the head at this place called
Thiruvallam).

The expression 'Gurug_ghohi topahara' mentions about the

temple of Lord Subrahmania which i s 1km. away to North of
Padmanabha Swamy Temple at a place called "Thampanoor". The
daily conduct of rituals of this temple was under the control of
governing body of Padmanabha Swamy temple.

'Sanku Chakra Gadha dhara' refers to the description of the

deity. We see the deity as holding Sanku, Chakra , gadha and
not padma (lotus). The right hand is seen as sus?ended downwards

-212-
which reached upto a 'Sivalinga' placed on the right side of
the deity.

'Thoyajasanadi Samsevitha' we presume Lord Vishnu being

worshipped by Brahma seated on the lotus going upwards from the
navel of the deity.
Thus in this composition Dikshitar has tried to portray
mainly the appearance of deity and also describes some of the
practices held in the temple and thereby revealing his intense
and close study of the temple.

Seve Sripad�abham:- This Kriti by Swati Tirunal in the raga

Mahana abounds with reference to the greatness of the temple
along with reference to Theertha. (Temple pond) important
festivals, etc:-

The charanas describe in detail the story of how Sage Divakara

happened to consecrate the deity. First part of first Charana
describe the appearance of Lord Vishnu to the Sage in the form of
a boy. Then he describes how the boy vanished when the sage put
him off with his hand when the boy began to play with Saligrama.
to which he used to offer pooja daily. He then proceeds with the
description of the deity in its rnountaneous form as appeared

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before the sage after a long time of search. Next portion is the
appeal of the sage to 'Him' to shrink 'Himself' by which the
present form was gained and then the consecration of deity in
temple having three doors is described. After the same, the
description of the deity reposing on the serpent 'Ananta' with
Bhoomidevi and Sridevi on either sides and Garuda worshipping
Him'. In the fi nal c h arana the tem ple festiv als l i k e
'Lakshadeepa' which came into being during the reign of King
Marthanda Varma is described.

In this particular Kriti of Swati Tirunal we can make out

the differences he has made from that of his other Kshetra
Kritis. Other Kritis stress upon the importance of the deity
while in this we get m o r e details of the tem?le and its
traditions . Here we see an affinity towards Dikshitar's style
which carries out in full measure the lakshanas of a Kshetra
Kriti.

In the Krities on Lord Krishna of Guruvayoor 'Pahi

Pankajanayana', (Huseni raga-Swati Tirunal) and Sree Krishnam
Bhajamanasa (Todi - Dikshitar) we can see that both of them have
given more or less the same ,details. In neither of the kritis
details regarding the history and structure of the tem?le are

-214-
available, b u t the appear a n c e o f the deity is vivid l y
portrayed. The Sthala m u dr a is ava ilab le in both the
compositions. Dikshitar says it is 'Gurupavanapuradeesam'
whereas Swati Tirunal brings it out as 'Gurupavanapuradhipa'
meaning Lord of Gurupavanapuram or 'Guruvayoor'. The appearance
of the deity by Swati Tirunal is stated as Bahulaiasitha. Chakra.
Gadha, Sanka Pankaja, 'lolathara malikanjitha gala. while to
Dikshitar it is 'Sanka Cha�a gadha padma vanamalam venugana
lolam' and so on. Both of them des cribe the Lord as being
praised or worshipped by Brahma - Pankajasanadi vinutha charanam
(by Dikshitar) pundareeka Bava natapara s uravara (by Swati
Tirunal The term 'Vadasayanam' in Dikshitar kriti refers to
Lord Sreekrishn=:i as reposing on the leaf of a baniyan tree.
(According to legend the idol was regained from the sea by 'guru
and vayu' as reclining in this posture). This is not referred
by Swati Tirunal we get more allusions in Swati Tirunal's Kriti
like 'druta sailam', kaliya madaharana, chandra surya ripu kula
dava dahanam, gajaraja palana and so on which heightens the
individuality of his style.

On an analysis we can find that both Dikshitar and Swati

Tirunal have adopted Chowka Kala for these two kritis. Tedi
Kriti of Dikshitar is in 2 kala chowka while Huselni piece of

-215-
Swati Tirunal is in 1 kala. Both Kritis bear madyama kal a
sahitya. Although both the pieces can be said as a portrayal of
the essence of thee respective ragas Swati Tirunal 's kriti is
more simpler than that of Dikshitar's. Tedi being a major raga
the composer gets a better scope f or a detailed dileneation
whereas Huseni is a minor raga and hence the scope is limited.

In the case of the Kri ti in the raga Mahana Seve Shri

I

Padmanabha of Swati Tirunal and Madyamavathy 'Pannaga Sayana' of

I

Dikshitar the treatment of raga is in such a way as to b ring

out the individuality of the respective ragas. The kriti in the
raga Mahana is in Jampa tala and that in Madyamavati raga is in
Adi tala. In the Mahana raga kriti the surplus use of Sahitya
tends to interrupt the flow of sangitha (music). Bot� are audava
ragas (ragas having only 5 notes).

Thus on a closer study we see the similarities bet�een the

two composers, and they also reveal that Swati Tirunal was much
influenced by Dikshitar in the field of composing. Aoart from
other details of temples, Swati Tirunal has concentrated much to
bring out the aspect of Bhakti also in his Kshetra Krities. He
has concentrated more on Bhakti than literary aspects whereas
Dikshitar tries to all the literary and musical excellences.

-216-
Tyagaraia and Swati Tirunal

Nishkama Bhakti or deep devotion to Lord without expectation

of any returns, is the most striking similarity we find in the
compositions of both the composers. Whi 1 e Tyagaraja perceived
the entire material and spiritual aspects of the Cosmic Universe
and attained salvation through devotional outpourings on Rama,
the same was achieved by Swati Tirunal through Lord Padmanabha.
"On a closer study of some of the kshetra kritis of Tyagaraja
we find that the description is of deities in procession with
Bhagavatars bringing up the rear with the sinqing of devotional
music"1.

Both the composers had vividly described various rituals

and fes t i v a 1 s in the i r w o r ks , ' U ts av a s amp rad a ya s on g s '
(Tyagaraja) and utsava prabandha (Swati tirunal). In those times
in Tanjore there were regular rituals and poojas conducted in
various Bhajana matts as a part of the festivals like Radha
Kalyanam and Seetha Kalyanam . Thyagaraja composed a series of
songs namely 'Utsava Sampradaya Keerthanas' for a ful1 festival
---------------------------------------- - - ---------------------------------
1. Dr. V .Raghavan- Journal of Madras Music Academy XXVI - Madras.

-217-
like this. So also as a part of his daily worship of Rama idol,
a series of songs expressing the several services, the Shodasa
Upacharas' were composed where in he himself is the main
performer and archaka. His offerings were in the form of songs.
Here he conceives his favourite deity as his King, his hero and
also as his child. Some of these songs have a folk and local
flavour since they are performed in such an atmosphere. They are
intended to be sung in Bhajana Sampradaya or mass singing.

In the Utsava Sampradaya series the first part is the

'Hechcharika songs' (Hecharikacra ra ra in Yadukulakamboji raga)
proclaiming the ceremonial procession in which the ido! is
brought . There is the description in detail of Lord Sree Rama
'in state' duly heralded, decorated ia shining goldea crown
wearing precious ear ornaments. jingling anklets. dangling pearl
necklace and listening to the music of Veena.

Songs (Kolu) describing Sri Rama as seated in royal 'Sadas'

with pomp and glory: 'Thamboola Sampradayam', offerinq of milk
and delicious food like, 'Chitra.nnam' and cakes to cater to
'Shadrasas' of taste (Aragimpave). In the song 'Vidamu seyave'
(Kharaharapriya) he asks the Lord to accept the Pansupari with
all spices as it is from the hands of Sitadevi. Next is the

-218-
'Pushparchana' . He showers Sri Ramachandra with al 1 the sweet
smelling flowers like Champaka, lotus, parijatha, jaji (Challarae
Ramachandruni) - Ahari raga). Again he is doing archana with
sweet smelling Tulasi, Bilva, Malli, etc. on various part of
His body. (Tulasi Bilva - Kedaragaula). Next song depicts the
(
I
Chatra chamara upachara I
_Upacharamu - Ba1rav1.
-Iii • ' ) off ering
' a11 the
emblems of royalty golden umbrella chouries with golden handles
and the fan of sweet smelling flowers.

In the next song he asks Rama to enjoy the swing in the gem
bedecked hall with Brahma and other Gods serving Him with all
Bhagavatars and damsels singing perfectly in congregation (Uyyala
luka- Neelambari)' Next song is the offering of 'Neeranjanam'
(Arati) to the Lord of Universe imagining as offered by ladies
with charming faces and shining ornaments.

Next song requesting Lord to swinq delightfully on the bed

of Adisesha while Sitadevi offers betal nut for chewing (Lali
yugavae-Neelambari). The next song (Pulapantumida- Ahiri) asks
the Lord to rest in the bed of jasmine fl�wers after drinking
honey and sugared milk. He offers Lord the sweet smellin; Sandal
paste to smear on the body and requests to accept the bed
prepared according to 'Sasthra'. In the song (Srirama- in Gopika

-219-
Vasantha' raga he asks Lord to come forward hand in hand with
Janaki devi and then the Lord is being made to sleep.

Next part is royal 'wake up'. The song "Mel ukovayya" in

(Bowli raga) and Meluko dayanidha in ( Sourashtra raga narrates
singing the day-break, Sages 1 ike Narada singing His praises.
"It is time for sun to rise, Oh! Lord of Mercy wake-up,
accept the butter and milk and bless with your benign look. All
the celestials are waiting to serve you with extreme happiness.
He is repeating all the offerings and says that he will give a
rose-water bath in the noon. (In the song Koluvamaragada- Thodi
raga).

As we see Thyagaraja describing in a picturesque manner each

ceremony offered to the Lord during his dai 1 y worship, in the
Utsavaprabandha of S r i S w a t i Tir unal w e g e t a d e t a i l e d
description of al 1 the happenings and festivals in and around
the temple of Sri Padmanabha Swamy during the annual festival
conducted twice a year. The composer had tried to beautiful 1 y
picturise the grandeur, majesty and elegance of Lord Padmanabha.
Unlike Tyagaraja, the composer is not directly propitiating and
participating in the rituals but is only a witness and describes
as it is seen from outside.
In the Utsavaprabandha which is a manipravala prabandha

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Swati Tirunal narrates 10 days festival in its order. It is a
festival conducted twice a year in the months of April and
October - (Tulam and Meenam) (Aipasi and Pankuni) in the temple
of Lord Padmanabha at Trivandrum. It is a musical description
and so it is a narrative poetry. Unlike other prabandhas it does
not take prose interludes. It contains Slokas (poetry) and
padams (musical pieces). It is purely meant to be sung. The
Slokas introduce the theme of the pada. But all padas are sung
in a particular raga and tala as prescribed by the composer
himself.

The opening six slokas are traditional invocatories to Lord

Ganapathy, Goddess Saraswathy, and to the preceptors and
ancestors to inform him to succeed in his venture. He strongly
feels that only chanting of Holy names will lead the way to
moksha (divine bliss) and so with deep faith and dedication he
has indulged in writing the prabandha. The song 'Pankajanab
hotsava' in Mohana raga - chapu tala is the general description
of the festivals wherein the city is getting ready to celebrate
the festival. The next sloka describes the joy people get by
listening to music on musical instrument like Veena, Violin etc.
It states that such festivals cannot be seen anywhere else in
the country. The next section narrates, ritualistic offerings

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made to Lord. Then he g oes o n d e s c r ib i ng the g lo r i o u s
procession of t h e Lord in Simhasana. Vahana. The s ong
'panchasayaka janaka' in Neelambari raga states how the people
ceremoniously welcome the Lord. Next is a verse describing the
2nd day's fest iva l f o llowed with a song in Tedi raga
(Pankajakshanam). On the second day the Lord is take n in
,,
procession in the serpent vehicle (Anata Vahana) along with
Srikrishna and Narasimha.

The fourth section is the third days, festivals followed

with a song in Huseni raga. This describes the comments made by
the celestial ladies on seeing the Lord who proceed in such pomp
and grandeur on the Kamalavahana.

In the 5th section we get the description of Lord moving

majestically in the palanquin surrounded by celestials with
folded hands and accompanied by Gods like Siva in full lusture.
The sixth section narrates 5th days festival. Sri padmanabha
goes in procession on the Garuda Vahana, and a number of devotees
are present there to witness this. This song is in Kurinji raga
chapu tala.

The 7th section is a verse followed with a song in the raga

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'Navarasam' where the description is of Lord appearing in
splendour and glory in the Indravahana on the 6th day of the
festival. The next section is the description of seventh day
procession again in a palanquin. The song is in the 'mangala
kaisika raga - Roopaka tala where the description is about the
people coming in multitudes to watch Lord Padmanabha robed in
yellow silk.

The nineth section has 4 verse and the song

'Neelappurikuzhalale' describes the procession of the lord being
taken in Garudavahana. Excited at this glorious sight, the
damsels speak with one another. Their utterances are described
in this song in Yadukula Kamboji raga.

The 10th section consist of two verses followed with a song

in Kambojii raga Chapu tala. 'Saradindu Samamukhanakum' narrates
the Lord's arrival in Garuda Vahana with due pomp and heraldry
and the Gods, Goddesses and sages look from heaven while
Padrnanabha starts on a 'royal hunt' accompanied by warriors
courtiers and soldiers marching slowly. Lord after making
offerings symbolically aims at the arrow on the tender coconut
representing hunting of animal in woods.(Pallivettah)

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 Next and the last section consists of 2 verses and a song in
the raga Pantuvarali describing how the lord set out in his
procession on Garuda vahana to take ablutions in the sea
accompanied by Narasimha and Sreekrishna.(Arattu). A veritable
confluence of different musical instruments follow it and the
movement of the whole processions appear like waves of the ocean.
After the royal bath when Lord enter the temple, brahmins with
tears of joy greet him. this is described in the verse and the
song following it 'Sarasijanabha' in raga Saurashtra, chapu tala.
The concluding part c onsists of 2 verses, praying to Lord
Padmanabha to bless him to avoid evils and grant longevity.

The musical structures of both the group compositions are

almost alike. Most of them are with pallavi and multiple
charanas. The 'dhatu' is mostly of simple nature so also the
rhythmical aspects. This may be on account of their 'Bhakti'
aspects. 'Utsava Sampradaya Keerthanas' of Tyagaraja are in
Telugu while Utsavaprabandha is in 'manipravala' (Mixture of
Malayalam and Sanskrit). The Utsava sampradaya Keerthanas are
the praises of the Utsava murthis worshipped by Tyagaraja swami
while in Utsavaprabandha, Swati Tirunal praises Lord Padrnanabha
and describes festivals.

-224-
Syama Sastri and Swati Tirunal

Syama Sastri, an ardent Devi bhakta reaches the zenith of

his creative talents in his musical rendering of nine kritis in
praise of Goddess Meenakshi of Madurai. As i t s name
(Navaratnamalika) suggests they are the nine gems describing
Goddess Meenakshi. In the kritis of Navaratnamalika the
approach of the composer is like a child drawn towards its
mother, since a child is more innocent in its joy, tender in
sympathy and more sincere in prayers than the adult mind. Thus
the contents of Navaratnamalika abounds with the maternal love
of 'Divine mother' to her blessed progeny. Love is showered
ceaselessly 0n the child and so with full confidence the child
demands blessings from mother which he is sure of getting.

We can draw here certain parallels with the Navaratri

Keerthanas of Swati Tirunal Maharaja which are also in praise of
Devi. Here the Keerthanas are ful 1 y the descriptions of Devi.
In this group D evi is propitiated in different forms like
Saraswati and Durga and Parvathy. The songs are in the form of
praises of the Goddess in his 3 manifestations and the composer
craves for the blessings.

-225-
 'Navaratnamalika of Syama Sastri is a chain of compositions
on Goddess Parvathy and in the Navaratri Keerthana group of Swati
Tirunal the last three pieces are also dedicated to Goddess
Parvathy. So it sha l l be interesting to compare t hese two
composers strictly confining to these kritis.

Both composers have highlighted the virtues of their Ishta

devatas. The description of deity are with amp le mythological
allusions in both cases. On a close study of their literature
we find many striking similarities in describing the appearance
of the Goddess. Some examples are given below.

-226-
 The appearance of Devi prai sed by both the compo sers ar e thu s:­
In both groups Devis eyes are compared to Lot us:-
Syama Sastri
Canposition Raga tala phrase denoting Composition Raga tala phrase
1.Mayarrma Ahiri Adi Vanajayatalochanae Janani pahi Sudha Misra Vana]°'ayata
Saveri Chapu lochanae
FACE CCMPARED TO MOON
1.Mayanma Ahiri Adi Sudhakarananae Pahi Janani Nata Misra Vidhu Vadanae
Santatam Kurunji Chapu
2.Meenalochana Dhanyasi Misra Indurnukhi Pahi Parvata Arabhi Adi Parvanaendu
Chapu Nandini Samavadanae
I
N
N
-.J
RUDDY LIPS
I
l.Devi meena Sankara- Adi Bimbadhari Janani pahi Sudha Misra Sona
netri bhraranam Saveri Chapu Japadahrae
2.Mari vere Ananda Chapu Bimbadhari Pahi Janani Natak.u Misra Japa Kusuma
Bhairavi Santatam runji Chapu dharadharae.
HAIR - BLACK LIKE CLOUDS
I.Devi meena Sankara- Adi Neela Neerada veni Janani pahi Sudha Misra Neela
netri bharanam Saveri Chapu Chikurae
2.Mayanma Ahiri Adi Ghana neel a veni Pahi Janani Nataku Misra Neela vari
rinji Chapu dopama veni
3.Meenalochani Dhanyasi Misra Neerada veni Pahi parvata Arabhi Adi Chanja dala
Chapu nandini Lalitha alak.ae
DAUGHTER OF KING OF MOUNTAINS
l.Sarojadala Sankara- Adi Hirragiri putri Janani pahi Sudha Misra Sailaraja
netri bharanam I Saveri tanayae
 2.Meena Dhanyasi Misra Himagiri kt.nnari Pahl parvata Arabhi Adi Parvata
lochani Chapu I Nandini nandini
SLAYER OF DEMONS
l.Ravae Kalyani Jarr()a Danavariputoshini Janani pahi Sudha Misra Chanda munda
Parvata raja I Saveri Chapu nasini
Pahl Janani Nataku Misra Chanda rmmda
rinji Chapu nasini
Pahl parvata Arabhi Adi Ditijali
Vidaranae

WORSHIPPED BY CELESTIALS

I
1. Devi meena Sankara- Adi Vanee rama vanditha Pahi parvatha Arabhi Adi Jafli?a Vairi
N netri bharanam nrukha nata
I\)
2.Nannu brovu Lalitha Misra Vandithapada Pahi janani Nataku Adi Vasava mukha
Lalitha Chapu santatam rinji Vandija rnana

I
charana
3.Mayamna Ahiri Adi Harihara nuta
4.Ravae Kalyani JaJli?a Dheera kumara Janani pahi Sudha Misra Kulisadhara
Vandita Saveri Chapu mukhaparinutha
5.Ravae Kalyani JaJli?a Nadadi nuta suba
charita
6 .Mari vaenae Ananda Misra Vanee rarna Sevita
gati Bhairavi Chapu pada Kamala
?.Mari vaenae Ananda Misra Saroja bhavadhi
gati Bhairavi Chapu Surendra poojitha
GAIT LIKE THAT OF ELEPHANT
!.Mari vere Ananda Misra
Bhairavi Chapu
Madagajagamana
I Pahi Parvata
nandini
Arabhi Adi Ktmjara nayaka
mridugati
 GIVER OF BOONS

1.Nannu brovu Lalitha Misra jhakta Kalpaka Janani pahi Sudha Misra Parama.kripa
Lalitha Chapu atha Saveri Chapu vati
2.Mari vere Ananda Misra Apara kripa nidhi Pahi Janani Nataku Misra Sakala
Bhairavi Chapu neevae Santatam rinji Chapu Subhatae
Pahi Parvata Arabhi Adi Bhakta Kalpak.a
nandini Vallikae
 Both the groups are a set of nine compositions. In both
the sets we see that the composers have used major ragas like
Samkarabharanam and Kalyani (common in both group) and also
minor ragas like Ananda Bhairavi, Dhanyasi, Lalitha, Ahiri (in
Navaratnamalika) and Sudhasaveri, Arabhi, and Nattakurinji (in
Navaratri Keertanam). In the case of last three pieces of
Navaratri Keerthanas of Swati Tirunal the presence of 'Sthala
mudra' is notable whereas in all the Navaratnamalika Keerthanas
of Syama sastri we get the 'Sthala mudra'.

The structure of the compositions in both the sets are alike

ie:- with pallavi, anupallavi followed with multiple charanas.
Similarly with the tala pattern, Misra Chapu and adi tala are the
two varieties commonly used by both the composers.

Thus we can see that in the case of Syarna Sastri, the first
among the Trinity it is an emotional outpouring in praise of his
favourite deity Meenakshi of Madurai. Muthuswamy Dikshitar on
the other hand was an eminent scholar with profound knowledge of
various Sastras and Sanskrit 1 anguage, a wide travel 1 er having
visited all the major temples in South India and composed kritis
on their deities. When we come to the kritis of Tyagaraja it is

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seen that the poet was far removed from the material aspects of
the temples but was more concerned with the inner soul's intimate
communion with the Lord through his musical out pourings in the
Bhajana Sampradaya.(Group singing)

Perhaps the influence and legacy of al 1 these great

Vaggeyakaras have been most appropriately and fittingly combined
in the Kshetra kritis of Maharaja Swati Tirunal. In his works we
can see the literary style of Syama Sastri, where there is an
amazing simi 1 arity in the description of deities, their acts of
(_,
valour, mythological reference etc;. The sholarly approach of
Dikshitar whose description of temples, body characteristics of
deities and temple rituals finding a close parallel; and the deep

and abiding philosophical outlook of Saint Tyagaraja whose

advaitic philosophy of Ekatma paramatma expressed through Rama
Bhakti finds a remarkably simi 1 ar 'Padmanabhadasa' trying to
reach out to his master through the same intense devotion.

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