Compiled by J.

Balagirish 1


Muthuswami Dikshithar and his Ganapathi Krithis

Obeisance to Nadha Jyothi Sri Muthuswami Dikshithar!!

Nadha Jyothi Sri Muthuswami Dikshithars Krithis on Lord Ganapathi have been taken here for
analysis. Presently, most books attribute 27 Krithis on Lord Ganapathi to Dikshithar. Out of these 27, 16 are
attributed as the Shodasa Ganapathi Krithis and there is one Nottusvara Sahithyam Shakthi Sahitha.

Dikshithar has embossed the Science of Ganapathyam in almost all his compositions on Lord Vinayaka.
References of Ashta Maha Siddhis, detailed description of the Lords Structure are beautiful interspersed with Raga
Melody. He also makes references of the Kundalini Yoga and Sri Maha Ganapathis Chakra as the Mooladhara
Chakra.

Sahithya Concepts
Dikshithars krithis are well structured and are unparalleled for their Lyrical, Musical, Intellectual and
Spiritual beauty. Various Sahithya Concepts with which he delves in the available Krithis on Vinayaka have been
discussed.

Kshetra References:
Dikshithar calls Tiruvarur as Sripura Muladhara Kshethra and Kamalapura. He makes
special reference in the Gaula krithi kamalAlaya taTa nivAsO, (one who resides in the banks of the Kamalalaya
Tank). In Vinayaka Vighna Nashaka (Vegavahini), he refers to Kanchi Kshetra as dEva rAja pura tOshita
and in the Bilahari Krithi Ekadhantham, he beautifully describes hAlAsya kshEtra vEgavatI taTa vihAraM
that the Lord resides in the Halasya Kshetra (Madurai) in the banks of the Vegavathi River (Vaigai). In the Saveri
Krithi also, he describes Dundi Ganapathi as the one residing in the Banks of River Cauvery.

Reference of Mooladhara Chakra of Kundalini Yoga


The Mooladhara Chakra

As per Kundalini Yoga, Lord Ganesha is the Athidevatha (Presiding Deity) of the Mooladhara
Chakra. This Chakra is a Square enclosed by a four petalled Lotus. Hence Dikshithar refers to the same as
mUlAdhAra caturdaLa pankaja madhyasthaM (Saveri) mUla pankaja madhyasthaM (Chamaram) cinmUla
kamala sthitam (Isamanohari).
The Hamasadhwani Krithis reference of Muladhara Kshetra can also be taken as a reference to the
Mooladhara Chakra. He is called the Pranavakara the one who is in the form of the Pranava. Interestingly, the
words Trikona Madhygatham (Hamsadhwani) aptly suit the Vathapi Ganapathi Shrine at Thiruvarur since the
same is found to be enclosed inside a Trikona (Triangle).

Shabdha Tatvam:
According to shAktam, there are four ranges of sound, namely, parA, pashyantI, madhyamA, and
vaikharI. These are collectively known as Shabda tatvam. References of this Shabdha Tatvam are found in two
krithis viz., parAdi catvAri vAgAtmakam (Hamsadhwani) prakaTI kRta vaikharI svabhAva (Sri).
Compiled by J.Balagirish 2



Ashtamaha Siddhis :

Lord Ganesha as the Lord of the Ashta Siddhis
The Ashta Maha Siddhis (Aim Mahima Garima Laghima Prpti Prkmya Iva Vatva) are
believed to have been mastered by Lord Ganesha the granter of these Siddhis. Dikshithar makes ideal reference of
the same in three krithis aNimAdi siddhi dAyakaM (Rudrapriya), aNimAdyashTa siddhi pradEna (Arabhi),
aNimAdyashTaiSvarya prada (Kalyani).

References of Puranic Incidents and Others:

Dikshithar krithis are known for their single line allusions. Some of the observations have been included:

purA kumbha sambhava muni vara prapUjita : (Hamsadhwani) One who is worshipped by Kumbha
Sambhava Muni (Agasthya), there by referring to the Incident where with the blessings of Lord Vinayaka,
Sage Agasthya vanquished Vathapi and Ilvavan, the demons. Also, in the same Krithi, he mentions
karAmbujapAshabIjApUraM the one who holds a noose and a pomegranate fruit on his lotus-like hand.

rauhiNEyAnujArcitaM (Chamaram) : Referrring to the Worship done by Rohinis Sons Brother I.e., Lord
Krishna in the Syamanthaka Gem incident.

vallI vivAha kAraNasya (Begada) : Referring to the help performed by Lord Vinayaka in the form of an
Elephant trying to frighten Valli, there by resulting in her marriage with Lord Subhramanya.

bhAdra pada mAsa caturthyAM - brAhmaNAdi pUjitaM : Reference to Vinayaka Chathurthi has been
made here and that he is worshipped by the Brahmanas and the others has been stated.

SvEtArka suma dharAt (Ardradesi) Lord Vinayakas favourite flower the White Arka (Vellai Erukku) is
referred to here.

KapitthAmra panasa jambU - kadalI phala bhakshitam (Todi) - the one who eats fruits such as the wood
apple, the mango, the jack fruit, the rose apple and the banana. This phrase can be found quite similar to the
Shloka Gajananam Bhootha Ganadhi Sevitham

ParaSu rAma kshEtra prabhAvaM pAyasAnna hOmAdi vibhAvaM (Mohanam) The one who
glorifies Parashurama kshetra and the one who is worshipped with rice cooked in milk.

vikaTa shaT sata SvAsAdhikAra (Sri) In Yoga Sastra, a human being takes 21600 breathes per day out
of which 600 breathes are supposed to be the food for Lord Vinayaka and hence the obvious reference.

vAmAnka sthitayA vallabhayASlishTaM (Atana) The elephant - headed God who is seen embracing
Vallabha who is seated on his left thigh. This clearly picturizes Vallabha Ganapathi.







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mahA gaNapAya tatva svarUpAya (Navaroj) This Krithi can be called the most ideal description of Sri
Maha Ganapathis Tatvas. The whole Krithi contains detailed explanation of the Structure of this Ganapathi
and what he symbolizes.

ashTAnga yOga vara (Atana) Lord Ganesha is the Master of the eight forms of Yoga ( yama, niyama,
asana, paranayama, paratyahara, dharana, dhyana and samadhi )

panca bhUtAtmaka prapancOdayAdi karaNa (Malahari) One who is the form of the Pancha Bhoothas
and one who is the reason for the inception of the Universe.

SrI gaNESAt paraM citta na hi rE rE (Ardradesi) Here too, Dikshithar establishes that there is no
greater God than Lord Vinayaka who is the form of the 36 tatvas (SivAdi shaT-triMSat-tatva svarUpiNaH)
beginning with Shiva.

bhEdAjnAna dhvAnta sUdanE (Ramakriya) Here, he is referred to as the one who destroys the duality
(difference) in mind caused due to Ignorance. Also the Pallavi is said to a very different verbal format
ucchishTa gaNapatau bhaktiM kRtvA Unnata padavIM vrajarE rE hRdaya i.e., Dikshithar extols ones
mind to worship Sri Ucchista Ganapathi and attain a very high state. This verbal usage is quite different.

bhava jaladhi nAvO mUla prakRti svabhAvassukha-tarO (Gaula) The one who is the Boat to a person
who wishes to cross the Ocean of Bhava and the one who has the premordial form and the one who is
blissful.

gama - padAdi nuta bhava (Jhenjhuti) This prayoga is a swarakshara also referring directly that he is the
one worshipped through the Swaras such as Ga ma pa and dha.

Concept of Shodasa Ganapathi:
It is believed that Sri Dikshithar composed in praise of the 16 forms of Ganapathi at Tiruvarur. However, not
all the Krithi that are today grouped as Shodasa Ganapathi Krithis contain Kshetra References. And some krithis
clearly stating other Kshetras as well have been included in the list of 16. The 16 Names are not easily attributable to
different krithis, given that three krithis of the sixteen begin with Maha Ganapathi. Hence, the concept of Shodasa
ganapathi has not been fully decrypted.

Raga Mudhra:

The Raga Mudhra has been found in 14 Krithis, out of the existing 26. The Raga Mudhra has been
beautifully interspersed along with the Sahithyam especially in the Navaroj, AThana and Ardradesi krithis. This
shows the Mastery of Dikshithar over the language.

1. haMsa dhvani bhUshita hErambam (Vathapi Ganapathim)
2. vEga vAhinI vardhita (Vinayaka Vigna)
3. nagna rAma kriyA mOdanE (Uchchishta ganapatau)
4. virAga cUDAmaNim (Swetha Ganapathim)
5. SrI mUlAdhAra (Sri Muladhara)
6. chatra cAmara parivIjitam (Siddhi VInayakam)
7. mahA naTa nArAyaNI nandana (Mahaganapathe Palayasumam)
8. kali mala haraNa caturENa (Panchamathanga Mukha)
9. samAna varaujasE mahasE (Hasthi Vadanaya)
10. mahA kAvya nATakAdi priyaM (Maha Ganapathim)
11. kAvErI taTa sthitaM sAvErI rAga nutam (Karikalabha Mukham)
12. haThANavAdi jaya (Vamanka Sthithaya)
13. mOhana-karam (Raktha Ganapathim)
14. umA rudra darSitAt (Sri Ganeshatparam)


Compiled by J.Balagirish 4


Raga Portrayal:

Dikshithar Krithis not only excel in Sahithya Beauty and Prasa Consonance but also in the Raga that
encompasses the Sahithya. Dikshithar has used Mela ragas, Rakthi Ragas as well as rare ragas in his compositions.

The Krithi Vathapi ganapathim in Hamsadhwani is a classic example of a well structured Krithi. It is of
common knowledge that the Sangathis to the Krithi were subsequent additions of the Great Musician Maha
Vaidhyanatha Sivan. We must also note that the Raga Hamsadhwani is said to have been discovered by
Ramaswami Dikshitar, Muthuswami Dikshitars father.

The Vegavahini Krithis Vinayaka Vighna Nashaka and Gajananayutham contain classical Prayogas
of Dikshithar Schools Toyavegavahini (Chakravaham). Traces of the Hindusthani Ahir Bhairav are also
found in the Pallavi of the former since the last line rests in the Nishada swara, thereby giving it a unique
touch.

The Krithi VallabhA nAyakasya (Begada) can be seen as a visualization of a huge procession. The krithi
proceeds with such a gait. The Solkattu Swaras and the unique usage of the Nishada Swara at different places
add charm to the krithi. The same feature can also be observed in the Bilahari Krithi Ekadantham , the
nAta krithi MahA ganapathim and Raktha Ganapathim in Mohanam.

The Krithi Ganesha Kumara in Jhenjhuti (Chenchurutti) has simple Padhas. Musically, the Sangathis
stressing the Rishaba, Gandhara and Madhyama consecutively add beauty to it.

The Saveri krithi Karikalabha Mukham begins with the swarakshara at Ka Ri (Ga ri). It has some of
the greatest Saveri phrases stressing on the Rishaba at places like Phala Chandram Sumukham and Girija
Tanujam apart from the beautiful Saveri rAga nutham in the Pallavi.

The Navaroj Krithi Hasthi Vadanaya needs special mention. The Krithi describes the Lord as one in the
form of the elephant. The kAlapramanam of the krithi can easily be compared with the Royal gait of the
elephant. It proceeds in a slow fashion bringing out the raga bhava to the fullest and concludes with a
gripping madhyama kalam where the sukshma raga mudhra is disclosed at Samana varaujase mahase

The Gaula Krithi Sri MahA gaNapathi forms the Ganapathi Dhyanam of the Kamalamba Navavarnam.
The rishabha swaram is handled beautifully.The solkattu Swaras, though agreeably being later addition, adds
beauty to the Krithi. This also finds place in the SSP. The Malahari Krithi Pancha Mathanga can also be
considered this Krithis sequel.

The Sri raga Krithi Sri Mooladhara begins with the Shadjam stressing the Emphasis made on
Mooladhara. It contains characteristic Sri Raga phrases and is largely based on the lower octaves.

The Chamaram Krithi Siddhi vinAyakam is as much celebrated as the Vinayaka Chathurthi.
Dikshithars Chamaram (Shanmukhapriya) is entwined beautifully in the Sahithya making it a grand fair.

Rare Ragas like Ragachudamani (Ragavardhini), NatanArAyaNi, Isamanohari and Ardradesi have been used
by Dikshithar and the Raga Swarupas have been clearly established. Rakthi Ragas such as Atana and
Rudrapriya and Melas Todi and Ramakriya (Kamavardhini) have equally appealing krithis attributed to
them.

The Single Nottuswara Shakthi Sahitha stands testimony to Dikshitars creative genius.




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.

List of Krithis on Lord Vinayaka


S.no Krithi Raga Tala Kshetra Reference
1 Vathapi ganapathim Hamsadhwani Adi Tiruvarur SSP TKG KSI
2 VallabhA nayakasya Begada Rupaka Tiruvarur TKG KSI
3 Vinayaka Vigna Vegavahini Rupaka Kanchipuram TKG KSI
4 Siddhi Vinayakam Chamaram Rupaka Tiruvarur TKG KSI
5 Ganesha Kumara Jhenjhuti Eka Tiruvarur SSP TKG KSI
6 Hasthi Vadanaya Navaroj Misra Chapu Tiruvarur SSP TKG KSI
7 Gananayakam Rudhrapriya Adi Tiruvarur TKG KSI
8 Ganarajena Arabhi Misra Chapu Tiruvarur TKG KSI
9 Herambaya Athana Rupaka Tiruvarur TKG KSI
10 Mahaganapathe Natanarayani Adi Tiruvarur SSP TKG KSI
11 Mahaganapathim Nata Eka Tiruvarur TKG KSI
12 Mahaganapathim Todi Rupakam Tiruvarur TKG KSI
13 Sri Mooladhara Sri Adi Tiruvarur TKG KSI
14 Sri Mahaganapthi Gowla Misra Chapu Tiruvarur SSP TKG KSI
15 Ucchishta Ganapatha Ramakriya Adi Tiruvarur SSP TKG KSI
16 Vigneshwaram Malahari Adi Tiruvarur KSI
17 Gajananayutham Vegavahini Adi Tiruchi SSP TKG KSI
18 Pancha Mathanga Malahari Rupaka Tiruvarur SSP TKG KSI
19 Sakthi Sahitha Sankarabharanam Eka - TKG KSI
20 Sveta Ganapathim Ragachudamani Triputa Tanjavur SSP TKG KSI
21 Rakta Ganapathim Mohanam Adi Trivandrum TKG KSI
22 Sri ganeshatparam Ardradesi Jampa Vaitheeshwarankoil SSP TKG KSI
23 Karikalabha Mukham Saveri Rupaka Mayavaram TKG KSI
24 Vamanka sthithaya Athana Kanda Ekam Tiruvarur TKG KSI
25 Sri Gananatham Isamanohari Rupakam - TKG KSI
26 Ekadantham Bilahari Misra Chapu Madurai TKG KSI
27 Lambodharaya Varali Kanda Chapu Tirunelveli TKG KSI



Ref:
SSP - Sangeetha Sangeetha Sampradha Pradharshini of Sri Subbarama Dikshithar
TKG - Compostions of Muttuswami Dikshithar by Sri T K Govinda Rao
KSI - Sri Muthuswami Diksithar Krithigal (Tamil) by Kallidaikurchi Sri Sundaram Iyer








Compiled by J.Balagirish 6



References:
This paper has been presented using the reference of various books including the
Sangeetha Sampradha Pradharshini of Sri Subbarama Dikshithar
Compostions of Muttuswami Dikshithar by Sri T K Govinda Rao
Sri Muthuswami Diksithar Krithigal (Tamil) by Kallidaikurchi Sri Sundaram Iyer
Muthuswami Dikshithar by Dr.R Asha
Sangeetha Sankarar by Sri Ganesha Sharma.



Observations:

The observations on the content of the sahithya are purely based on inferences and are
attributable directly to the sources. No observation has been made on the prasa consonance since all Krithis
have been found to be in conformity with the Prasa. The interpretation of the Raga Bhava (Page 4) is
completely subjective. Assumptions have been drawn through references from various sources. This
compilation or essay as the reader may perceive is only a small drop of matter comprising of not even 10% of
Muthuswami Dikshithars works.

This article I am sure will convey the magnitude of the Works of Sri Muthuswami Dikshithar. It is
most often a pre-conceived notion that Sri Dikshithars Krithi are very complex. However, once a person is
enchanted by his works, the veil of Complexity is lifted and what remains is only Pure Bliss, more precisely
what Dikshithar would refer to as Sat-Chit-AnandA.

May all of us be blessed by Lord Vinayaka and Nadha Jyothi Sri Muthuswami Dikshitars Krithis.
Happy Vinayakar Chathurthi !!

(Compiled by J.Balagirish)