For every Shri Vidya Upasaka (practitioner), the phrase “Namami Lalitam Nityam” signifies the importance of remembering and worshipping Goddess Lalita every day. Just as breathing and eating are part of daily life, devotion to the Divine Mother becomes an integral part of one’s existence. Constant remembrance of the Mother of the Universe—Jaganmata, Bhuvaneshwari, and Lalita—constitutes the essence of Upasana (worship).
“Shri Vidyam Jagatam Dhatrim” refers to Shri Vidya Upasana, a powerful path of Tantric and Bhakti worship centered on Lalita Tripurasundari as the Divine Mother. This Mahavidya is regarded as the power that sustains the universe. The phrase “Sarga Sthiti Layeshwarim” expresses that Mother Lalitambika possesses the power of creation, preservation, and dissolution.
Many great souls, according to their knowledge and realization, have served the Divine Mother through this Mahavidya. Among them are great personalities such as Parashurama, Dakshinamurthy, Parameshwara, Indra, Chandra, Manu, and Lopamudra. Similarly, Muthuswami Dikshitar was also a devoted worshipper of the Divine Mother.
Muthuswami Dikshitar is one of the Trinity of Carnatic classical music, along with Tyagaraja and Shyama Shastri. While many Vaggeyakaras composed their works primarily in Telugu, a notable feature of Dikshitar’s compositions is that they are all in Sanskrit. His compositional style is often compared to “Narikela Paka,” the essence of a coconut. Just as a coconut has a hard shell outside but contains sweet water and nourishing flesh within, Dikshitar’s kritis may appear complex outwardly yet reveal profound musical and literary beauty when explored deeply.
Dikshitar, himself a Shri Vidya Upasaka, composed several kritis expressing the philosophical necessity of worshipping the Divine Mother. These compositions carry scriptural foundations and layered meaning. In the practice of Shri Chakra Upasana, the Goddess is worshipped through nine Avaranas, or enclosures. Each Avarana represents a distinct stage of worship with its own name and significance. Only after worshipping all nine Avaranas does the practitioner receive the grace of the Goddess.
The Shri Chakra itself consists of these nine Avaranas, and the worship of this sacred diagram forms the essence of Shri Vidya. Lalitambika, the Supreme Mother and Parashakti, is said to reside in the Shri Chakra as the central Bindu. In his renowned Navavarana Kritis, Dikshitar describes both the worship of the Goddess and the beauty of this spiritual structure.
One of the most significant compositions is dedicated to Shri Chakra Raja Simhasaneshwari, the sovereign Goddess Lalitambika who presides over the throne of the Shri Chakra. As Shri Chakra Rajeshwari, she represents the supreme authority of all chakras and yantras.
To understand the subtle principles of the Shri Chakra, Dikshitar’s compositions provide valuable guidance. His kritis present these ideas in a structured and meaningful manner. The worship of the Shri Chakra is not limited to ritual practices such as archana or sadhana. When viewed from another perspective, connections are drawn between the structure of the Shri Chakra and aspects of the human body.
The human body has nine openings, which are associated with nine principles. Corresponding to these principles are six chakras within the body. The energy circulating through these chakras is associated with the Kundalini at its root. When the body is visualized in a seated pyramidal alignment and conceptually divided into nine sections, parallels can be observed with the nine parts of the Shri Chakra.
Another important principle concerns the circulation of breath. The movement of breath through the Ida and Pingala nadis forms an essential aspect of yogic observation. Between these two flows lies the Sushumna Nadi. When Vata, Pitta, and Kapha are in balance, the state of the Sushumna Nadi can be observed through practices such as Pranayama.
Dikshitar composed nine kritis corresponding to the deities residing in the nine Avaranas of the Shri Chakra. Through these compositions, he describes experiences related to the Panchakoshas, the five sheaths of the human body. Each composition is associated with a particular stage of worship and a corresponding inner experience.
The first Avarana, known as the Trailokya Mohana Chakra, is connected with the Muladhara. Worship at this stage is directed toward stabilizing and strengthening the Muladhara Shakti and consciousness. As described in the Sahasranama phrase “Sudhasagara Madhyastha,” the culmination is symbolically described as reaching the ocean of nectar.
Integrating the ideas of Yoga Shastra, Vasi Yoga, and Shri Vidya philosophy, Dikshitar composed the Kamalamba Navavarana Kritis dedicated to the nine Avaranas of the Shri Chakra. These compositions illustrate how the contemplation of Shri Vidya may lead a seeker toward the state of Kaivalya.
With the intention that more people experience this philosophical depth, the organization Kaivalya Chintamani is presenting a program titled “Swara Kaivalya.” In this program, Aishwarya and Saundarya, the great-granddaughters of Bharat Ratna M.S. Subbulakshmi, will render Dikshitar’s compositions.
Sri Swaprakashanandanath ji will be providing a thoughtful insight of kritis in srividya perspective or tantra perspective.
“Swara Kaivalya” refers to the idea of attaining the state of Kaivalya through musical notes. The program will explore the relationship between raga, bodily experience, and conscious energy, as well as the connection between musical expression and the deities of the Shri Chakra. In bringing together these elements, the program presents a confluence of music, philosophy, and spiritual reflection.
Shri Matre Namaha.
Sri Swaprakashanandanatha
Kaivalya Chintamani Organization
Bengaluru.
(Special Note: For program tickets, contact: 77952 13707)
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