Tag Archives: Annapoorna

Prakriti and Purusha (Annapoorna and Mrityunjaya)

The SUPREME REALITY, the Parabrahma is One-without-a-second: NAMELESS, FORMLESS, ATTRIBUTELESS. This Reality alone becomes Purusha (Spirit or Energy) and Prakriti (Matter). The play of these two factors is “Creation, Sustenance and Dissolution” – the space-time world in which the cause-effect relationship exists as the plurality and the multiplicity that we see within and without us. 

PURUSHA acknowledges PRAKRITI: Once in Kailasa, Lord Shiva who is ever rooted in his Absolute State of Perfection was playing a game of dice with Parvati who is His Sakti. As they were playing, Shiva mentioned that all creation was nothing but a whiff of imagination and from the absolute standpoint it really never exists – it is all an illusion! Parvati, who is none other than Prakriti, was not happy with the Lord’s statement. Maya is indeed a mighty power, and tangible too. Shiva did not agree with her. To prove to Sankara the importance of Maya-sakti, she withdrew her prakriti-aspect from ‘anna’ or food, and settled in Kashi in all Her glory as Mother Annapoorna – the Goddess of Food and Nourishment. Because of this, the entire food-system collapsed. Though Lord Shiva did not need food, all the living creatures including his attendants needed food. Deprived of food, everyone in all the three worlds lost their power and strength. Lord Shiva realized the power of His own Sakti, and came to Kashi. Food was available only in the kitchen of Sri Annapoorna in Kashi. Sankara came to her with a begging bowl seeking alms from her. Goddess Annapoorneswari served the Lord with payasam (sweet delicacy made of rice, milk and sugar) from a gem-studded golden vessel. Shiva, who represents Purusha, acknowledged the importance of Prakriti in the ‘creation-sustenance-dissolution’ of the all the worlds. By accepting alms from Devi, the Lord also points out the sanctity and importance of both, the food and the giver-of-food.

PRAKRITI acknowledges PURUSHA: Markandeya, the young son of Sage Mrikandu was destined to live only for sixteen years. When he was informed about this, he undertook intense tapas and invoked Lord Shiva. When death approached him in the form of Lord Yama, Markandeya did not in the least get frightened or disturbed, but held onto to the Shiva-linga in a tight embrace. In spite of repeated calls by Yama, he did not leave the Shiva-linga. Finally, Yama flung his deadly noose which not only went around Markandeya but it went around the Shiva-linga also. Yama had dared to put the noose around Shiva! Lord Shiva manifested Himself in the Linga and told Yama to go away because He had given His protection to the young boy. When Lord Death refused to go, Shiva got angry, lifted his left leg and flung Yama back to his Yama-loka. Markandeya was saved. Back at Kailasa, Sankara narrated the whole episode to Parvati and told her that he had flung Yama back to his abode just by the touch of his left leg. Parvati did not like Shiva’s self-glorification. She told Shiva that it is she who resides in the left portion of his body and therefore it was actually her shakti that taught Yama a lesson. Shiva smiled and told Parvati that the left leg cannot be lifted and used even a little, without the right foot firmly established on the ground. And it is He who resides in the right foot! Here Prakriti acknowledged the importance of Purusha!

Prakriti and Purusha are both equally important. Their characteristics and qualities are completely different and are in opposition with each other. Yet, they align and complement each other very beautifully. One cannot exist without the other. Both the aspects: PRAKRITI and PURUSHA together alone constitute ONE WHOLE. 

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Sri Vidya Upasaka: Dikshitar

Muthuswami Dikshitar (1775 – 1835) was one of the greatest Musician-Saints and is one among the Carnatic Music Trinity, the other two being Saint Thyagaraja and Shyama Sastri.

Dikshitar’s father was Ramaswami Dikshitar who was a Sanskrit scholar and an accomplished musician living in Tiruvarur in Tamilnadu. When Dikshitar turned twenty five, the great Chidambaranatha Yogi of Varanasi visited their house and requested Ramaswami to send Dikshitar with him for further education. His father agreed and Dikshitar went to Varanasi. He was initiated into “Sri Vidya Upasana”, and his Guru told him to constantly worship Sri Annapurneswari, the Bestower of material needs (Bhukti) as well as liberation (Mukti). He mastered the scriptures, the science of mantras, astrology, music, and was an expert in playing the veena. He came under the influence of Hindustani classical music and Western band music.

After a few years, the teacher told him that it was time for him to go back home because he had learnt all that had to be learnt. The young disciple asked the teacher what was the proof that he had learnt everything. The teacher asked him to go to Mother Ganges and take a dip. If his learning was complete, She would reward him. He went to the Ganges, took a dip and invoked Her. Mother Ganges was there in front of him with a beautiful veena in Her hand. She handed it over to him. It had “RAMA” inscribed on it and was different from the normal veenas. The tail end of the veena which is called ‘yaalimukha’ is turned upwards. In normal veenas it is turned downwards. This veena that Dikshitar used is even now preserved in their ancestral home.

With the blessings of his teacher and with this unique veena gifted to him by the Mother of Knowledge, Dikshitar travelled back. He arrived at Tiruttani, one of the famous six abodes of Kartikeya in Tamilnadu. Dikshitar was sitting and meditating on the Lord on the steps of the temple, when Lord Kartikeya came in the disguise of an elderly man, asked him to open his mouth and put sugar candy into his mouth and disappeared. At that very moment, he composed a beautiful kriti on Kartikeya with the mudra (signature) GURU-GUHA. Kartikeya also known as GUHA had come to him as his GURU.

He has composed songs on almost all deities, all pilgrimage centres and brought into the kritis the uniqueness and speciality of them all. Along with Sangeeta sastra, he incorporated the “mantra sastra” into his songs and therefore to render them with correct pronunciation and bhava, with a little understanding of its meaning will bring all prosperity to the singer as well as the listener – singing of his keerthans is equivalent to chanting the mantras.

Instances of Dikshitar bringing relief and solace to individuals as well as to the community through his keerthans are many. With a Kriti in raga Amruthavarshini, he brought the rains down on the parched land of Ettayyapuram (Tamil Nadu). He also brought health back to his disciple Tambiyappan by warding off the evil effects (graha dosha) of Jupiter, by composing a kriti on that planet. 

On the eve of Deepavali in 1835, after he had finished Devi Puja, he had a vision of Sri Annapurneswari and sang “Ehi Annapurne” – his last kriti. He remembered what his Guru had told him and knew it was time for him to leave his body. He asked his disciples who had gathered there to sing his composition “Meenakshi me mudam dehi” (Meenakshi bestow upon me Your grace) in the Raga Gamakakriya. When they sang the lines: “meena lochani pasha mochani” (O! Fish-eyed One, who cuts asunder the knots of bondage), he asked them to repeat these phrases once more. As they were repeating them, Dikshitar uttered “Shive pahi, Shive pahi, Shive pahi” and left his physical body to merge eternally with the Mother of the Universe whom he invoked and worshipped all his life. 
His compositions called “Kamalamba Nava-avarana” Krithis which are full of mystic significance are rendered even today with great religious fervour during the Navaratri festival.

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