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Pillaiyar Suḻi (Tamil: பிள்ளையார் சுழி), also rendered Ganesha's curl or Ganesha's circle, is a sacred textual symbol. It is dedicated to the Hindu deity Pillaiyar (Ganesha), who is ritually worshiped first with prayers for success and is used to symbolize an auspicious beginning.
The consonants of these notes, ga and na also appear as the first consonants in the name of the god (Ga-na-pati). Thus, Muthuswami Dikshitar may have digressed from his usual ragas and composed in Hamsadhvani, due to the Tantric associations with Ganesha. Amy Catlin suggests that the composition is composed to conjure the image of a dancing ...
The notes used in this scale are shadjam, antara gandharam, shuddha madhyamam, panchamam and kakali nishadam (see swaras in Carnatic music for details on below notation and terms). Gambhiranata is considered a janya rāgam of Chalanata , the 36th Melakarta rāgam, though it can be derived from 8 other melakarta rāgams, by dropping both ...
13th-century Ganesha bronze. Late Chola, Tamil Nadu. Vinayagar Agaval is a devotional poetic hymn to the Hindu deity Ganesha. It was written in the 10th century during the Chola dynasty by the Tamil poet Avvaiyar, shortly before her death. [1] It is considered to be her greatest poem. [2] The 72-line 'Agaval' is a form of blank verse, close to ...
Ganesha is referred to by his epithet of Vinayaka in the strota, and the title itself can be translated as "The five jewels in praise of Ganesha". The five jewels are the first five verses, while the sixth verse implores the listener to themselves read or recite the strota and tells them the resulting benefits.
Nata (nāṭa), also known as Nattai, is a rāgam in Carnatic music (musical scale of South Indian classical music), sometimes spelled Nattai. It is a janya rāgam (derived scale) from the 36th melakarta scale Chalanata.
Thirty-two forms of Ganesha are mentioned frequently in devotional literature related to the Hindu god Ganesha. [1] [2] [3] The Ganesha-centric scripture Mudgala Purana is the first to list them. [4] Detailed descriptions are included in the Shivanidhi portion of the 19th-century Kannada Sritattvanidhi.
Layā is the tempo or speed of a song. Carnatic music does not define a fixed layā to songs, but traditionally some songs have been sung fast or slow and hence are categorised that way. Typical classification of layā includes Vilambitha (delayed or slow), Madhyama (medium) and Dhuritha (fast).