Sri NarAyaNa Teerta Naama Sankeertanam

Sri Narayana Teerta Naama Sankeertanam-Free PDF

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An incident somewhat like what we read in the life of Adi Sankara. bhagavadpAda happened in nArAyaNa s life as well He was once reportedly. caught in raging floods and got stuck in a whirlpool He prayed to the Lord and. promised HIM that he would if saved relinquish all the worldly pleasures and. take up to asceticism The waters subsided mysteriously but when Teertha. returned home he forgot his promise From that day his devout wife strangely. felt a sanyAsin in him and could not see him as her spouse anymore and thus. directed him to an ascetic way of life Very soon another challenge came in the. form of an incurable stomach pain and this time he was guided in his dream to. walk down to deep south in search of cure After five hundred of miles of. pAda yAtra to his disciple Bodhendra Swami in Govindapuram he was about. to collapse when a wild white boar practically escorted and led him into a temple. in a village then known as BhoopathirAjapuram in Thanjavur Teertha was. instantly relieved of his otherwise incurable illness and stayed in that village to. renovate the millennium old temple and thus was born the masterpiece opera. tarangiNi This village later became known as varAhapuri or VarahUr named. after the varAham the boar that guided him and in reverence of Teertha for. his erudition This town is now known as Varagur on the banks of the river. Kathungalaaru 2, Controversies abound that he was known as Madhava and his father was. Gandharva or Neelakanta sastri and that he finally came to be known due to. AbadsanyAsam as nArAyaNa teertha there is also debate as to whether it. happened in the middle of KrishNa river as opposed to VeNNAr in Thanjavur. district and if his final days were spent in Varanasi instead of in VarahUr These. debates do not affect the universality the excellence or the authenticity of his. masterpieces including his magnum opus opera KrishNa lIlA tarangiNi. As per his Guru s advice he came to Govindapuram to meet Bodendra Swamigal but he came to know that Bodendra. Swamigal attained Mukthi just a few months earlier After spending a few days in Govindapuram he again started his. tour with chronic stomach ache and visited many places in Cauvery Delta and reached Thiruvaiyaru When he was. touring a small village called Nadukkavery his stomach ache became unbearable that he slept in the old Vinayaka Temple. there In his sleep Lord Krishna appeared and informed when you wake up in the morning you will see an animal. follow the same and your stomach ache will vanish Startled he woke up to see a white boar appearing before him. Seeing a boar pig upon waking up was not considered to be a good omen Therefore he hesitated to follow However. remembering the powerful words of Lord Krishna he followed the varAham about 3 miles and almost fainted That. was when he noticed the boar entering the dilapidated temple and disappearing instantly Once the boar disappeared. Narayana teertha heard a voice from the sky Akashavani don t search for me I only brought you here upon HIS. command upon hearing this teertha was in ecstacy and his stomach ache vanished Since then this Village originally. named as Bhoopathirajapuram became known as Varagur representing the Sanskrit name for a boar. www sankeertanam, Manuscripts saved by Tulaja maharaja as well as several scholars of the. 18th and 19th centuries helped the 20th century sankeertana bhAgavatAs to. publish his works for our benefit TillaistAnam Narasimha bhAgavatar. Nallur Venkatasubba released them in Grantha libi and in Telugu Several. publications followed in Telugu and grantha libi in 1920 1948 and 1953 A. more recent and comprehensive publication in Sanskrit was by the NArAyaNa. teertha E C Trust Madras These efforts have helped preserve and propagate. this masterpiece since the 18th century Professor Varahur Brahmasri. Guruswami sastrigal Varahur Brahmasri Kalyana Sundaram and Srikantha. Sastrigal worked tirelessly to bring out the most authentic version 1966 under. the guidance of HH Kanchi ParamAchArya, Tarangini is an opera highly suitable for dance drama and it has been very. well utilized by dancers over the last two centuries It is documented that one. of the Sankeertana Trinity Bodhendra Swamigal the 59th pontiff of the Adi. Sankara order was Teertha s disciple no wonder that tarangiNi became one of. the integral parts of the famous sankeertana tradition the forerunner of the. modern Karn aka sangita concert form and spread to the whole BhArata. desam over the last three centuries TarangiNi consists of 12 Tarangams and. encapsulates 153 songs many with 6 or more stanzas 303 slokams and 31. choornikaas While 41 of the songs do not show the signature mudra the. remaining 112 include the mudra nArAyaNateeertha or nArAyaNananda. teertha et al with prefixes suffixes Teertha followed Veda VyAsa s. BhAgavatam concentrated on the 10th skandam and focused on the first 58. adhyAyaas of 10th skandam The opera covers KrishNa s AvatAra mahima. bAla lIlA rAsalIlA Kamsa samhAram DwAraka nirmANam and Rukmini. KalayaNam around which he also describes in passing the marriage with seven. other queens, It is widespread belief that when Teertha sang the keertanam. GopAlameva deivatam sada https www youtube com watch v A39icTui9ng Lord. KrishNa appeared and danced while playing on the flute As desired by lord. KrishNa Teertha finished his Tarangini with Rukmini vivAham. https www youtube com watch v TnWzO35Joc4 as retold by the 19th and 20th century. sankeertana bhagavatas Varahur Anai BhAgavatar Panju BhAgavatar. GopAlabhAgavatar TillaistAnam Narasimha bhAgavatar Tiruvaiyaru Sonti. VenkatrAmayya Tyagaraja s guru and Pantulu bhAgavatar. Unlike many contemporary composers Teertha was very well versed in. music and nAtya sAstra in addition to great scholarship in Sanskrit It is. reported that he not only wrote these exquisite masterpieces but also. methodically tuned them utilizing at least 34 rAgAs which are all very popular. even today Teertha used for his compositions tAlams such as aTA tripuTa Adi. rupaka Dhruva ChApu Jampa Matya viLamba Eka Many of the songs are. structurally well set for direct use as nritya or nAtya padams Teertha himself. states in 9th and 7th tarangams that GopikAs of Gokulam reportedly used. Bhoopalam desAkshi Malahari Vasantam devagAndhAri raagams and dhruvam and. aTa tAlams to the nAtya lakshaNams specifications such as alagu laghu. dhrutagati madhyamagati mandhara gati patAkam dhrupatAkam sookaram kaTakA. chileemukham sooLA, Teertha also sang on rAma Narasimha Venkateswara Durga VaradarAja.
and DakshiNamoorthy with equal inspiration of sama bhava in abeda bhakti. While KrishNa was known to be his Ishtadeivam he was a vedAntin set in the. mode of identification with the NirguNa Brahmam But he reiterated that the. easiest path to reach the parabrahmam which is nirguNa is the worship. through SravaNam keertanam the two most important of the nine facets of. Bhakti or Devotion and strangely through the manifestations of the saguNa. swaroopams such as the paripoorNAvatAra KrishNa, His Gadyams and Padyams in most of the tarangams are exquisite in. beauty but least intimidating Although he was one of the greatest of Sanskrit. scholars he carefully avoided complex usages and consciously used facile. expressions He used 17 different chandas or meters3. ChAndokya brihadAraNyaka Taitareeya EasAvAsya Mundaka. sAmavedopanishad all of them reiterated this aspect of rAsalIlA enunciated by TarangiNi. to discern the paratatvam Teertha defines a Gopee as Aneka Janma sAhasra. tapasaa paritoshitaha Avirbhutaha sa BhagavAn tAsAm GopyAm sujanmani The. anushtup Arya Indravajra Upendravajra rathotthada druta vilambitam panca cAmaram. BhujangaprayAdam sragdhara sArdoola vikreeditam sikhariNI mAlini vasanta tilaka sakitahariNi. pritvi mandAkrAntA and vamsastam,www sankeertanam, birth of a Gopee is a result of the penance done over thousands of births and. ParaMatma waits to get close to the Gopee Teerta goes further to add. RAsakreedA mahotsavArambha sambhramachetAha Atma tatvam upadisan. nAthamAha It is said that ParamAtma did the Atma tatvopadesam at the. beginning of the rAsalIlA, Teertha improved upon his own ecstatic personal experience in his prior. incarnations as Jayadeva and Kshetrayya and sang the lIlAmruta of. KrishNa while being an ascetic Notwithstanding the exalted self realized. state as a sanyAsin he confesses in his own poetic excellence that the. realization of ParamAtma should be from the state of AnurAga and that. without love in this existence an attempt to reach the NirguNa Brahman. will be a dry and futile attempt, The mythological Sukhabrahmam told ParIkshit MaharAja while narrating. the BhAgavatam that those who cannot understand the rAsalIlA as. the natural yearning of all beings endowed with Rasa and rAga to get to. the ParamAtman are better off not reading it since such dry pundits have. to come back to understand or re live the experience. Swami Vivekananda was a great admirer of Sukhabrahmam s re. narration of Srimad BhAgavatam Jayadeva s GIta Govindam and. KrishNa lIlA tarangini He told the inquiring followers that if your. mind is conditioned to dispense rAsalIlA as a dissipation of spiritual. energy it is better that you first make attempts to understand your. limitations before attempting to go near such great works of. philosophy, In fact saint TyAgaraja said anuraagamuleni nee manasuna sugyaanamu.
nArAyaNa teertha s Other Creations, Other works attributed to Teertha include the following Subhodinee a. treatise in Sanskrit on Brahma Sutra Sankara BhAshyam VivaraNa Deepika in. Telugu a treatise on PancheekaraNa vartika of SureswarAchArya a renowned. yakshagAnam in Telugu called PaarijAtApaharaNam an opera in Sanskrit by. the same name Hari Bhakti SudhArNavam and ChaAndilya Bhakti Sutra. vyAkyAnam disputed however by a few researchers as to the authenticity of. authorship, It is somewhat sad that barring a few musicians Karn aka sangIta. concert artists seldom feature these remarkable gems though these are well. designed structured and tuned ranking on par with other compositions from. the Trinity that are frequently presented in concerts One of the reasons for such. a void could be the lack of knowledge But the Sankeertanam world mother. of the modern Karn aka Sa g tam has been regularly using about a hundred. compositions in divya nAma Sankeertanams and divine weddings and in. harikatha forums Nevertheless common challenges for Harikatha exponents. attempting a comprehensive program on TarangiNi include the following. 1 The need to limit such a vast subject to about four hours. 2 The need to cater to the varied tastes and emphasis from rasikas Majority. of the harikatha attendees are concert music lovers and they tend to. expect more than 80 of the content to be musical, 3 The need to consider the flipside to TarangiNi s compositional excellence. as an opera originally set to music with fine grammar meters the more. one listens to such an exemplary opera the less one would like to break. the musical tempo by kathA interludes, 4 There is compelling need to frequently provide explanations as both the. structural and metrical specialties of the language used are some of the. greatest in Sanskrit language, 5 The need to elaborate melt into katha pravachanam since it is a.
condensation of the most important part of VedavyAsa s Bhagavatam the. lIlA of a PurNavatAram Sri Krishna, We had the pleasure of attending the Varahur annual festival honoring Sri. Teertha it was heartwarming to observe hundreds of harikatha and sankeertana. bhagavatAs from all over India with most of them from outside Tamilnadu. and or from outside India participating in the 2 day festival just to be able to. sing if possible even one song as their offering to the colossus Teertha. Sri nArAyaNa Teertha www sankeertanam com Page 2 of 4 Thiruvaiyaru Krishnan April 14 2000 miles of walking he was about to faint when a wild white boar

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