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During that fairly long sojourn, lasting for about six months or a little more (from April to October 1839), he visited several places and temples. He hesitated much and, set out of his home only after he was assured and promised by his family and disciples that they would unfailingly offer worship ( Rama-panchayatana) to his beloved deity Sri Rama, regularly at all the three times of the day. The only time that Sri Thyagaraja went out of Thiruvarur was at his age of seventy-two in order to honour an invitation extended by his Guru-samana Sri Upanishad Brahmendra of Kanchipuram. And, his Kamalamba-navavarna and Nilotpalamba-vibhakti Kritis are indeed marvelous and matchless.
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The series of Kritis such as: Panchalinga Kshetra Kritis Tiruvaruru Pancalinga Kritis Navagraha -Kritis Abhayamba – vibhakti-Kritis Madhuramba – vibhakti-Kritis and similar others composed by Sri Mutthuswamy Dikshitar are well known. There are numerous instances of such series or group of compositions, as : the Pancha-ratna Kritis composed by Sri Thyagaraja at each of the pilgrimage centers he visited, in submission to the gods and goddesses residing in the temples there, like : Varadaraja Swamy (Sri Rangam) Kamakshi (Kanchipuram) Venkateshwara (Tirupathi) Sundareshwara (Kovur) and, Saptha-risheeswara and Devi Srimathi (Lalgudi ).
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Each of the compositions here is remarkable for the beauty of expression, devotional fervor and literary excellence. The Kshetra-Kritis are musical gems remarkable for their soulful music, inspired rich lyrics and complex structure. The indications to that effect are called Sthala-mudra or Kshetra Mudra. Sometimes, the name of the place/ temple-town ( Sthala- Kshetra) where the musical-work was actually composed is built into it. Such Kritis that primarily sing the glory, splendor and the adorable nature of the god or the goddess presiding over the Kshetra have also built into their Caranas few details concerning the temple, its architecture etc., as also references to the Parivara-Devathas surrounding the principal Deity the greatness ( Mahima ) of the sacred ( Punya ) Kshetra and, the magnificence of the god residing there.
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Sri Thyagaraja as also Sri Mutthuswami Dikshitar followed that time- honored tradition – Sampradaya. Such compositions were classified as Kshetra Kritis. It was a tradition in those days for the musical composers of merit to compose and sing songs in honor of the presiding deities, whenever they visited a prominent temple-town. The collection ( Samucchaya) or the series of compositions that are dedicated to a common theme or to a particular Deity or Deities are known as Kriti-Samucchaya-Srinkhala.Īnd, the group of the Kritis ( Kriti-Samucchaya) that relate to Kshetras (places sanctified by the presence of renowned temple s or sacred rivers ) are termed as Kshetra Kritis.