TITLE: A Brief comparative study of Krithis in “ Kamakshi Navavaranam

& Kamalamba Navavaram” of Sri Oottukkadu Venkata Subbayyar and Sri

MutthuSwami Dikshitar
Dr. D. SUGUNA, Music Faculty

Dr.A.P.J.Abdul Kalam IIIT Ongole, Idupulapaya

INTRODUCTION
It is said by the Music critics that Oottukkadu Venkata Kavi is the first and foremost
to attempt “Group krithis” a kind of Compositions in carnatic music popularly known as
“Guccha krithis” or Samudaya krithis.Though he is the first one to compose “Navavarana
krithis” very scholarly, with lyrical richness, and great musical aesthetics,many people do not
know about these krithis like Deekshitar’s “Kamalamba Navavaram”.
And it is said that, Deekshitar also might have extracted his Mudra “GURU
GUHA” from The Phalasruthi krithi- “Haladharanujam-Aditalam-Manirangu Ragam” the last
krithi among “Kamakshi Navavaram” of Oottukkadu Venkatakavi. This Article focuses and
compares the aspects mainly the Vision and Lyrical exellence of Sri Oottukkadu Venkata
subayyar and Mutthu Swami deekshitar in “KAMAKSHI NAVAVARAM AND
KAMALAMBA NAVAVARANAM”.
The word ‘ Navavarana’ means nine Avaranas ( covered or enclosed areas). But, this
can be looked at in a different way also. As another meaning of ‘ Nava’ is ‘new’, Navavarana
can be taken as ‘new area’. The Latin root word for new is ‘Nov’ which comes very near to
‘Nava’. The ‘new’ is the ‘unknown’ because , if we can recognize a thing , it cannot be ‘new’ but
the ‘known’. So, Sri Chakra Upasana is a journey from the ‘known’ to the ‘unknown’. The
individual consciousness is the ‘known’ with all its thoughts, memories, emotions and so on. The
‘known’ is always old, limited and fragmented. But, the Supreme Mother (Supreme
Consciousness) is the ‘unknown’ to the individual consciousness. She is always the New, the
Unlimited and the Whole. The Tantric Metaphysics calls the individual consciousness ‘Maya’
and the Supreme Mother ‘Maha Maya’ ( One who is beyond Maya or Gatamayika). Sri Chakra
represents individual consciousness as different, separate enclosed areas only for the practical
purposes of Upasana. For the Upasaka of Tantric Advaita, the Upasana is not a journey in time
dimension, but a leap from the known (Maya) to the unknown (Maha Maya). In the Dhyana
Krithi, Muthuswamy Dikshitar very significantly addresses the Supreme Mother as
“Gatamayike” to tell us what Sri Chakra Upasana is all about.
Sri Chakra Upasana involves a detailed ritualistic worship of the Yantra. A set of krithis
symbolising the Navavarana worship is composed by Ootthukkadu Venkata Subbayyar and
Mutthuswamy Dikshitar, the two renowned composers of Karnatic Music. According to the
available sources Oothukkaadu Venkata Kavi is the first one to compose ‘Group Krithis’ and
first one to compose Navavarana Krithis. These Karnatic Music composers lived in different
periods, Venkatakavi from 1700-1765 and Mutthuswaamy from 1775-1835.Though both of them
composed several other group krithis, Sri Chakra Navavarana krithis are more special as these
are based on a single, unifying theme and a form of spiritual worship. Sri Chakropasana includes
Mantra and Tantra rituals in which Upasaka has to start with ADWAITHA BHAVANA with the
diety in the AVARANA/CHAKRA. Upasana of SRI CHAKRA is called SRI VIDYA. Here,
both the Vaggeyakaras are SRI VIDYOPASAKAS. The Krithis of Ootthukkadu Venkata Kavi’s
‘ Kamakshi Navavaranam’ and Mutthuswamy Dikshitar’s ‘Kamalamba Navavaram’ are the
manifestation of their Upasana as ‘NADAM’ in the form MUSIC. Before we can take up a study
of these krithis, it is necessary to discuss briefly the complex form and nature of Sri Chakram
which is an integral part of the practice of Sri Vidya.

THE PERCEPTION OF SRI CHAKRA

Sri Chakra or Sri Yantra is extolled as “ Chakra Raja” which means king of Yantras.
Mantra and Yantra form an inseparable part of Tantric worship. While Mantra represents the
sound-body of the deity worshipped, Yantra represents the visual manifestation of the deity.
Thus, Mantra and Yantra together form the Nada-Bindu ( sound-sight/form) Swaroopa of the
deity. Different deities have their respective mantras and yantras. Sri Vidyopasana is claimed to
be a supreme form of worship because it aims at making the Upasaka realize his/her oneness
with the Supreme Mother Goddess who resides at the centre of Sri Chakra. Sri Chakra is
expressed in three forms : 1. Kailasa Prastara, 2. Meru Prastara and 3. Bhoo Prastara. Humans
worship Sri Chakra in Meru Prastara ( Three-Dimensional) or Bhoo Prastara ( Two-
Dimensional). Bhoo Prastara of Sri Chakra is constructed in two ways : 1. Srushti Krama (
Evolution Way) and 2. Samhara Krama ( Involution Way ). In the Srushti Krama, Sri Chakra has
five triangles facing downward and in Samhara Krama, Sri Chakra has five triangles facing
upward. Samhara Krama Sri Chakra is worshipped by Upasakas who desire liberation from the
endless cycle of birth- and-death. It is to be noted that the Navavarana Krithis of both Venkata
Kavi and Muthuswamy Dikshitar propound the Samhara Krama way of worship.
In the Samhara Krama of Sri Chakra Upasana , the upasaka begins the
worship with the first Aavarana. Each Aavarana has its specific Mantra, Nature,Presiding
Deity(Chakreswari),Yogini, Structure, Rasa and Colour. All these aspects of each Aavarana is
worshipped accoding to the ritual laid down in the Sastra. Beginning with the first Aavarana, the
Upasaka proceeds to the other Aavaranaas in sequence, finally arriving at the ninenth Aavarana,
which is the BINDU STHANA.
In the Navavarana krithis of both,Venkata Kavi and Dikshitar, we see the same
Samhara Krama process followed. They begin with dhyana krithi which serves as a meditative
visualization of the entire set of Navavarana Krithis that follows.

DHYANA KRITHI
Ootthukkadu Venkata Kavi begins his Dhyana Krithi in auspicious Kalyani Raga. He begins
with “VANCHASI YADI KUSALAM”. The word “KUSALAM” refers to what is good in a
total sense. So, he suggests that the Navavarana Krithis that follow finally culminate in
beginning in the utmost good to the Upasaka.
Beautiful lyrical phrases with deep meaning are used to indicate the nature of the Mother
Goddess :“ SHIVA KALYANA GUNAGANA SAARAAM”, “KAARANA KAARYA
VIDHAAYAKA DHEERAM”, “ KARUNAAM PUSHPITHA KALPALATHAAM”. These
expressions reveal the auspicious nature of The Mother , her presiding over the results of karma,
her compassion and desire-fulfilling nature. These ideas find amplification in the Krithis that
follow.
Finally Ootthukkadu Venkata Kavi refers to the dexterity of The Mother Goddess in music. He
potrays her as holding Veena in her hands. By doing so Venkata Kavi is referring to the musical
nature of the Navaavarana Krithis.
The dhyaana Krithi of Mutthu Swami Dikshitar, which is set to Thodi Raga, also refers to
the compassion and desire-fulfilling nature of the The Mother Goddess with the phrases
“AASHRITHA KALPALATHIKE”, “ BAHUVARADE”, “ SHIVE”, “KARUNAARNAVE”. It
is to be noted how both Venkata Kavi and Dikshitar refer to The Mother Goddess as a
“KALPALATHA”.
 But, the difference between Venkata Kavi and Dikshitar is that in the former the Bhakthi
Bhaava has preponderance. While in the latter the Tantric mode of worship and expression have
focal importance. Hence, we find expressions like “GATHAMAAYIKE”, “
VIKALEBARAMUKTHIDAANA NIPUNEE”, “ AKACHATATHAPAADI VARNE” and so
on . But, like Venkata Kavi, Dikshitar also exols the love of music of The Mother Goddess
“SANGEETHA RASIKE”.

FIRST AAVARANAM: THRAILOKYAMOHANA CHAKRAM

Beginning the first Navavarana krithi, Ootthukkadu Venkatakavi directly addresses the mother
goddess as one who resides in the Thrilokya Mohana Chakra and says that he will worship her
always. Then he goes on to describe in detail all the aspects of the first Navavarana. He is aware
that though he is worshipping the Mother as manifested in the first NAvavarana , his goal is to
reach her in the ninth Navavarana.There she manifests herself as residing in the Bindu Chakra.
By referring to the ninth Avarana while worshipping the first Avarana, Venkata kavi shows that
the Upasana is in the Samhara Krama way.
Muttuswami Dikshitar begins the first Navavarana Krithi by referring to the Mother
goddess as one who resides in the city of heart lotus. Here we can see the difference between
Venkata kavi and Dikshitar in addrssing the mother goddess. In fact, Dikshitar had learnt Sri
Vidhyopasana from his Guru Chidambara Natha Yogi in a particular way in which the Upasaka
Practises sri Vidyopasana alligning it with kundalini yoga. Here, the ‘HRUTHKAMALA” refers
to Anahatha chakra of Kundalini Yoga. He also uses significant phrases like
“KAMALAJAANANDA BODHA SUKHI” AND “KAANTHAA THAARA PANJARA
SHUKHI”. The first phrase refers to the Bramhananda bestowed upon the Upasaka by the
Mother Goddess and the second phrase refers to the manifestation of the Mother as
PASHYANTHI VAK. Thus, while in the first Navavarana Krithi, Venkatakavi presents a
detailed picture of the Goddess and the different aspects of the Avarana,.Mutthuswamy Dikshitar
presents the details of the Avarana in a nutshell and focuses the attention on the metaphysical
aspects of the Mother Goddess.

SECOND AVARANA: SARVASHA PARIPURAKA CHAKRAM

The presiding deity of the second Avarana is Tripureswari. While Venkata kavi begins saying
that he will worship Tripura Sundari, he also describes her as Nithya Kameswari. Here, he hints
at the destruction of Bhandasura which happens in the third Avarana where Mother Goddess
confronts the Asura in the battle as Kameswari. This again can be taken as a reference to
Samhara krama form of worship.
Mutthuswami Dikshitar begins by saying that one should worship the Mother Goddess,
but, he should take care to give up the ‘ KALPITHA MAAYA KAARYAM”. Here the
reference is to the world created by the Mother by her Maaya. What Dikshitar is saying is that
Abhyasa and Vairaagya are necessary. Abhyasa with regard to worshipping the Mother and
Vairagya with regard to the deluding attractions of the world created by the the Mother through
her Maya. Describing the different aspects of the Avarana, he refes to Guptha Yogini as one who
was worshipped by Durvaasa Muni. Durvaasa was one of the twelve illustrious Sri
Vidyopasakas. Much like Venkata Kavi, Dikshitar refers to the destruction of Bhandasura with
the phrase “GARVITHA BHANDASURA BHANJANEEM”. As we have already said ,this
refers to the Samhara krama Marga of worship.

THIRD AAVARANAM: SARVA SANKSHOBHANA CHAKRAM

In the third Avarana Krithi , Ootthukkadu Venkata Kavi very significantly begins by saying that
the Mother Goddess is “ SARVA JEEVA DAYAPARI”. Here , he presents the Mother as the
protector of all created beings. By destroying Bhandasura, who was expanding as a force
negating all creation, the Mother Goddess protected all beings with her compassion. In the war
agaist Bhandaasura, Siva accompanied Mother Goddess as Kameswara. Venkata kavi suggests
that Shiva and Shakthi are inseparable by referring to the Mother as “ SHIVA BEEJA
MANTHRESWARI”. In the Devi Beeja Manthra of “HREEM”, Shiva Beeja of ‘HA’ and Devi
Beeja of ‘EE’ are inseparably fused together.
In the third Aavarana Krithi, Dikshitar announces that he has realized his total oneness
with the Mother Goddess. In the Anupallavi, he again refers to this state with the phrase
“GURUGUHA TATHRAI PADAYA”. The word “THATHRAI PADA” means “ three words
beginning with ‘THAT”. They are THAT TWAM ASI ( You are That ). Instead of directly
referring to the destruction of Bhandasura, Dikshitar very suggestively refers to the Mother as
“ANANGADYUPASITHAYAA”. When Shiva burnt KAAMA (ANANGA) to ashes,
Bhandasura was born out of those very ashes.
FOURTH AAVARANAM: SARVA SOUBHAGYA DAAYA CHAKRAM
In the Fourth Navavarana Krithi, Ootthukkadu Venkata Kavi refers to the Mother goddess as
“YOGA YOGESWARI”. She is the presiding Deity of different Yogas like Sri Vidya Yoga,
Gnana Yoga , Bhakthi Yoga, Nada Yoga, Kundalini Yoga and so on. She bestows the results of
these different Yogas to the sincere practitioners. She is the essence of all Aagama Sastras and
the Mahaa Maayaa Mantra (HREEM). Venkata Kavi refers to the Mother as “MATHANGI”, the
daughter of Matanga Muni. As Mathangi, the Mother is the Goddess of Vaak. She bestows the
power of speech and poetry. Towards the close of the Krithi, Venkata kavi refers to the
Mother’s Beeja Mantra and describes it as “ KAMA KALA MANTRA”. He says skillfully that
as ‘EE’ the Mother manifests herself in her creative aspect ( manifest aspect) and at the same
time she revels in bliss in the Shiva Tathwa (HA).
In the Fourth Aavarana Krithi, Dikshitar also refers to the Kama Kala aspect of Mother
( Kameswari). He also beautifully refers the unmanifest nature of the Mother (Ajaayai) and her
manifest form ( Himagiri thanuujaayai). Towards the close of the Krithi also Dikshitar refers to
the manifest ( CHARAACHARAADI KALPANAAYAI) and the un manifest
(CHIDAANANDA PUURNA GTHANAAYAI) aspects of the Mother.

FIFTH AAVARANAM: SARVAARTHA SAADHAKA CHAKRAM

In the Fifth Navaavarana Krithi, Venkata Kavi says that all the worlds are born from The Mother
Goddess, They are established in her and finally they are dissolved into her. She illuminates the
“NIRVISESHA PARA THATWA”( The transcendent truth devoid of all qualifications). She
bestows on the Upasaka the bliss of “SAVIKALPA SAMAADHI”. To the earnest seekers The
Mother reveals the meaning of the Mantra “ AIM KLEEM SOUH” and the meaning of the
Maha Vakya “AHAM BRAHMA ASMI”.
In the Fifth Aavarana Krithi, Dikshitar refers to The Mother as of the form of 36 Tathvas
beginning with the earth tathva( KSHITHYAADI SHIVAANTHA TATHVA
SWAROOPINYAH). These Tathvas begin with earth Tathva and end with Shiva Tathva( Pure
Awareness). This order of Tathvaas mentioned by Dikshitar refers to the Samhara Krama
Upasana of Sri Chakra. Dikshitar also refers to The Mother as the supreme Creatrix (
Shivaathamaka Viswa Karthriyah) of all the Universes. He says that The Mother is the One
without a second. In her, there is no difference, no ending and no ignorance. She is the boundless
Pure Awareness( ABHEDA NITHYA SUDDHABUDDHA MUKTHA). She is measureless (
APRAMEYA) and she has no beginning, middle or end. She spreads through all the Chakras
from Mulaadhaara to Sahasraara.

SIXTH AAVARANA : SARVA RAKSHAAKARA CHAKRA

In the Sixth Aavarana Krithi, Venkata Kavi refers to The Mother as One who is ever blissful.
She is of the nature of Pure Awareness. She dispels Dvaitha Bhava born of ignorance. She
bestows knowledge that is beyond time. She is the shining life force that resides at the centre of
the Pancha Koshas( ANNAMAYA, PRANAMAYA, MANOMAYA,
VIGNANAMAYA,ANANDAMAYA).
In the Sixth Aavarana Krithi, Dikshitar declares that he is a devotee of The Mother. But, his
is the devotion of a Tantric Advaithin. He sees The Mother as bestowing all good and all kinds
of wealth. She is also deeply interested in Music. She creates and rules over her creation with
great efficiency ( SUMA SHAREKSHU KODANDA PASHANKUSHA PAANYAH). She
dispels the darkness of ignorance which is the cause of being born by Jivas in bodies having
Dashakaranas
( 5 Gnanendriyas + 5 Karmendriya).

SEVENTH AAVARANA : SARVA ROGAHARA CHAKRAM

In the Seventh Navaavarana Krithi, Ootthukkadu Venkata kavi refers to The Mother as
“AKSHARAMAYI VAANGMAYI CHINMAYI”. So in the created beings She expresses
Herself as Vaikhari shabdha . She removes the disease called Bhavaroga ( The disease of being
born again and again). Her glory is sung in poetry and dramas.
In the Seventh Aavarana Krithi, Dikshitar again refers to himself as a devotee of the
Mother. He is so taken up by the ‘Hreem kaara Mantra’ that he describes The Mother as
manifesting herself in different beings as Hreem kaara. She is beyond the three layers of
Shareera ( body). Each Jiva is said to have Sthuula Shareera ( Gross body), Sukshma Shareera (
Subtle body) and Kaarana Shareera ( Causal body). The Mother revels in the bliss that
transcends the three layers of the body.

EIGTH AAVARANA : SARVASIDDHI PRADA CHAKRAM

As the Musical worship of the Navaavarana reaches the Eigth Aavarana, Ootthukkadu
Venkata Kavi becomes highly eloquent about the Tathva Swaroopa of The Mother Goddess. He
refers to her as One who bestows the bliss of Savikalpa, Nirvikalpa Samadhi and the bliss of
Sahaja Sthithi which transcends the two states of Samadhi. She always holds in her
consciousness the transcendent truth.
In the Eigth Aavarana Krithi, Dikshitar presents The Mother in different aspects with great
brevity. He prizes her as “ LOKAPAALINI, KAPAALINI, SHUULINI,
LOKAJANANI,BHAGA MAALINI”. The entire Krithi is devoted to a sublime description of
the Mother without any reference to the metaphysical aspects.

NINENTH AAVARANAM : SARVAANANDAMAYA CHAKRAM

In the Ninth and final Aavarana Krithi, Ootthukkadu Venkata Kavi prays to Mother to place
on him her ambrosial looks again and again. She is the ocean of Awareness and Bliss. She
accepts not only Dhyana, Yoga , Japa and Thapa but also the Navaavarana Gaana which
expresses the essence of the Mother’s Nature.
Like Venkata Kavi , Mutthu Swamy Dikshitar devotes the Ninth Aavarana Krithi mainly to
the praise of the Mother. Yet, he refers to certain metaphysical aspects of the mother and the
different schools of her worship. Dikshitar calls The Mother
“SUUKARAANANAADYARCHITHA” which is a reference to the Goddess Vaaraahi
worshipping The Mother. The significance of the reference to Vaaraahi is that she is one of the
goddesses who receives , on behalf of the mother , the food offered to her. He also refers to the
worship of the Mother through Vaamaachaara ( the left- handed path). Dikshitar declares that the
Mantras belonging to Kaadi, Haadi, Saadi schools of worship are of the form of The Mother only
( KAADI HAADI SAADI MANTHRA ROOPINYA).