Hari Narayana Yanare - Balamurali

Old classic from AIR Bhaktiranjani.

Hari Narayana Yanare by Sri Balamurali and Group.

Thanks to Sri Jayram Sataluri for the recording.

The Axe Falls - Story from Argentina

ముసలి మొరెట్టి ముందర నరకవలసిన కట్టెలు చాలనే ఉన్నయి. అతని వేళ్లుమాత్రం అప్పటికే కొంకర్లు పోతున్నయి. కాలి వేళ్ల గురించి చెప్పనవసరమేలేదు. అవి ఉన్నయో లేవో తెలియడము లేదు. ఇంకో పక్క ముక్కుమరగకాచిన నీటిలో ముంచినట్టు మండుతున్నది. మెడ చుట్టు మేక వెంట్రుకల మఫ్లర్ ఉంది. నెత్తికి ఒక గుడ్డ చుట్టి ఉంది. దాని మీదినించి ఒక వెడల్పు అంచు ఉన్న షాంబర్గో టోపీ పెట్టుకున్నడు.

(Mathias Nespolo)

గంటసేపటినుంచి ఆయన ఆగకుండ కట్టెలు కొడుతున్నడు. అలిసి పోయినడు. వయసు పైనబడిందాయె. ఎంతకూ తెగని ఒక ముక్కను ఆయన తిడుతున్నడు. ఇంక ఓపిక నశించింది. మొరెట్టీకి కాలయాపన చేసే ఆలోచన లేదు. బాగా ఊపిరి పీల్చి గట్టి దెబ్బ ఏసినడు. సూటిగ. పడవలసిన చోట. ఎదలోనుంచి ఒక్క మూలుగు వచ్చింది. కట్టె మూడు తునుకలయ్యింది. కాని, గొడ్డలి ఆయన చేతినించి జారి పోయింది. అది మంచులో నాటుకున్నది. ఆయన కాలి బూటు పక్కననే.

మొరెట్టికి సంగతి తెలిసేందుకు కొంచెం సేపు పట్టింది. చలిగాలిలో ఆయన ఊపిరి కనబడుతున్నది. గొడ్డలిని తీసుకునేందుకు వంగినడు. అది బాగా బలంగ నాటుకుని ఉంది. కామ మంచుకన్న చల్లగ ఉంది. ఇప్పటి వరకు అది తన చేతిలోనే ఉంది. మరి అంత ఎట్ల చల్లగయ్యింది.

దాన్ని అట్లనే ఇడిచి పోదమా అనుకున్నడు. ఇంకొన్ని కట్టెపుల్లల కొరకు, మంచులో గడ్డగట్టుకపోతే అర్థం లేదు. వాతావరణం బాగయిన తరువాత పని మళ్ల మొదలు పెట్టవచ్చు. ప్రస్తుతానికి రాత్రి మంటకు సరిపోను కట్టెలున్నయి. రేపు ఆదివారం. కొడుకు సెర్జియో ఒస్తడు. వాడు పట్నములో గొంగళ్ల సంగెములో పనిజేస్తడు. పిల్లగాడే. కాని కనీసము సెక్రటేరీ అన్న అయ్యి ఉంటడని ముసలాయన నమ్మకము. మొరెట్టీకి కొడుకు గురించి గర్వంగ ఉంటుంది. వాడు వచ్చినంక కట్టెలుగొట్టి కొట్టము నింపమని సాయం అడుగవచ్చు. ఇంక ఎండకాలము దనుక ఏ ఆలోచన ఉండదు. వాడు ఎట్లనన్న రెండు వారాలు ఉంటననే అన్నడు మరి. వానికి గూడ పని నించి తెరిపి గావాలే. అప్పటికల్ల చెట్లు పడగొట్టి పెడితే రెండు మూడు వారాలల్ల పని అయితది. పొయ్యిల పట్టెటంత తునుకలు జేస్తే చాలు. Read on

English Version of the Story

V V Sadagopan - Nadamadi

Shravanam!

Sriman V V Sadagopan sings Nadamadi

naTam ADit-tirinda. rAgA: kAmbhOji. jhampa tALA. Composer: Papanasha Mudaliar.

P: naTamADit-tirinda umadiDadu kAl udavAmal mUDhamAnadEnenru sholvIraiyyA 

A: dhiDamEvum tillai nagar maruvum pErAnandat-tANDavarE nidamum enadANDavarE sabhaiyariya

C1: tirunIrai shumandIrO neruppAna mEni tanil shItattinAl mighunda vAta guNamO 
orumaiyuDan mArkkaNDarkku taviyAi marali vizha udaikka shuLukkEriyuNDa bhEda guNamO 
paravaitanin teruvAsarp-paDiyiDariTrO endan pApamO en shivanE mUvarkkum mudalvarenru

2. dhananjaya mahipanuDan samaril aDi paTTu vizha candilE muDipisagi nondaduvO
hInam puriyum dArukA vanamengum tirindadil muLLEruNDadO sollum murindaduvO
kanakasabhai tanil naTanam kaNDOrgaL atisayikka kaNNEruNDadO sollum viNNavarkkum mudalvarenru 

3: bhakti sheyyum periyOrgaL pApanAshamAghum parama padamiduvenru tUkki ninradaduvO 
shakti shivakAma valli tan bhAgam nOghumenrE taraiyil aDi vaikka tayangi ninraduvO 
satya lOkAdhipati tALattirkkErppa naTam tAngiyE oru kAlait-tUkki ninraduvO

Physalis - A Winner

Here is a painting that won the "Painter of the Year" Award.
Read the small write up along for details.

(Click on the image to see it bigger)

Dikshitar - Hiranmayeem - Lalita

Salutations to the unparalleled musical genius Sri Muttuswamy Dikshitar!

Let us listen to his composition Hiranmayeem in Lalita on this Deepavali day!

pallavi

hiraNmayIM lakshmIM sadA bhajAmi

hIna mAnavASrayaM tyajAmi

anupallavi

cira-tara sampatpradAM 

kshIrAmbudhi tanayAM

hari vakshaHsthalAlayAM 

hariNIM caraNa kisalayAM

kara kamala dhRta kuvalayAM 

marakata maNi-maya valayAm

caraNam

SvEta dvIpa vAsinIM 

SrI kamalAmbikAM parAM

bhUta bhavya vilAsinIM 

bhU-sura pUjitAM varAm

mAtaraM abja mAlinIM 

mANikyAbharaNa dharAM

gIta vAdya vinOdinIM 

girijAM tAM indirAm

SIta kiraNa nibha vadanAM 

Srita cintAmaNi sadanAM

pIta vasanAM guru guha - 

mAtula kAntAM lalitAm

ஹிரண்மயீம் லக்ஷ்மீம் - ராகம் லலிதா - தாளம் ரூபகம்

பல்லவி

ஹிரண்மயீம் லக்ஷ்மீம் ஸதா3 ப4ஜாமி

ஹீன மானவாஸ்1ரயம் த்யஜாமி

அனுபல்லவி

சிர-தர ஸம்பத்ப்ரதா3ம் 

க்ஷீராம்பு3தி4 தனயாம்

ஹரி வக்ஷ:ஸ்த2லாலயாம் 

ஹரிணீம் சரண கிஸலயாம்

கர கமல த்4ரு2த குவலயாம் 

மரகத மணி-மய வலயாம்

சரணம்

ஸ்1வேத த்3வீப வாஸினீம் 

ஸ்ரீ கமலாம்பி3காம் பராம்

பூ4த ப4வ்ய விலாஸினீம் 

பூ4-ஸுர பூஜிதாம் வராம்

மாதரம் அப்3ஜ மாலினீம் 

மாணிக்யாப4ரண த4ராம்

கீ3த வாத்3ய வினோதி3னீம் 

கி3ரிஜாம் தாம் இந்தி3ராம்

ஸீ1த கிரண நிப4 வத3னாம் 

ஸ்1ரித சிந்தாமணி ஸத3னாம்

பீத வஸனாம் கு3ரு கு3ஹ - 

மாதுல காந்தாம் லலிதாம்

హిరణ్మయీం లక్ష్మీమ్ - రాగం లలితా - తాళం రూపకమ్

పల్లవి

హిరణ్మయీం లక్ష్మీం సదా భజామి

హీన మానవాశ్రయం త్యజామి

అనుపల్లవి

చిర-తర సంపత్ప్రదాం 

క్షీరాంబుధి తనయాం

హరి వక్షఃస్థలాలయాం 

హరిణీం చరణ కిసలయాం

కర కమల ధృత కువలయాం 

మరకత మణి-మయ వలయామ్

చరణమ్

శ్వేత ద్వీప వాసినీం 

శ్రీ కమలాంబికాం పరాం

భూత భవ్య విలాసినీం 

భూ-సుర పూజితాం వరామ్

మాతరం అబ్జ మాలినీం 

మాణిక్యాభరణ ధరాం

గీత వాద్య వినోదినీం 

గిరిజాం తాం ఇందిరామ్

శీత కిరణ నిభ వదనాం 

శ్రిత చింతామణి సదనాం

పీత వసనాం గురు గుహ - 

మాతుల కాంతాం లలితామ్

TNRajarathnam - Upacharamu - Bhairavi

Dear Freinds,

Happy Deepavali to all!

Let us celebrate the festival with a song in 

Bhairavi by 

Sri T N Rajarathnam Pillai on 

Nadaswaram

TNR-Upacharamu-Bhairavi.mp3

Haider Raza - Inner View Paintings

Sayed Haider Raza,  is an artist who does not paint what he sees, but gives his own inner vision to the memories of the perceptible and the imperceptible.

 Born in 1922 in Babaria in Madhya Pradesh, Raza lived his first impressionable 13 years in the forest ranges of Narsimhapur and Mandal districts where his father was posted as a forest officer. In his early childhood, therefore, his environment was formed of the Narmada river surrounded by the Satpura and Vindhyachal mountain ranges, dense forests, birds, animals, tribal life, symbols and mythology. With these beautiful natural surroundings forming the basis of his visual archive of memories, Raza developed his intuitive proclivity.

  Raza studied painting in the Nagpur School of Art and the J. J. School of Art, Bombay. He owes his elementary values of art to Bapurao Athawale, his teacher at Nagpur. In Bombay he realized the seriousness of art expression, with the artistic experimentations introduced to him by Walter Langhammer of Vienna Academy on the one hand, and the richness of Indian philosophy and culture unvieled to him by Shri Ahiwasi of Benares. When still a young painter, Raza saw an atmosphere of artistic renaissance building up in Bengal. The art-scene was dominated by the artists like Abanindranath Tagore, Nandlal Bose, Jamini Roy and Asit Haldar. Young Raza searched for an expression between the Indian working concepts of these artists and the Victorian realistic norms being taught in most art schools of India at that time. This yearning was shared by some other young artists in Bombay, in their early twenties and from different parts of the country. They were confident and determined to take their destinies in their own hands. Along with Francis Newton Souza, M.F.Hussain, K.H. Ara and Bakre, Raza became a founding member of the Progressive Artists Group, with a view to bring about a resurgence in the Indian Art Scene. 

Paris became the Mecca for the young “Progressive Artists”, with it’s pulsating modern art movements and trends, and Raza too, after tasting the success of several exhibitions in India, was drawn towards this fascinating city to view the works of his favourite artists live. He moved to France on a French government scholarship, for studying painting at the Ecole Nationale Superior de Beaux-Arts, in Paris from 1950 to 1953. Alone and unbiased by any guide he exposed himself to the works of the European Impressionist masters and drew his inspirations. In 1956, he won the much coveted Prix de la Critique conferred on him by 14 Parisian art critics. 

Yet he was not satisfied with his expression. Raza decided to rediscover his country and the values of an immense civilization. He had had numerous individual exhibitions of his paintings and has participated in group-shows and salons, including the International Biennales at Venice, Sao Paolo and Menton, and in the Triennale at New Delhi. In 1959 he married the French artist Janine Mongillat. He visited the University of California at Berkeley as a visiting lecturer in the art department three years later, in 1962. He revisited India several times between 1959 and 1985. He held an important exhibition in Bhopal, Madhya Pradesh in 1978, on invitation of the government of the state. It was in his home region only that he realized his true style. As a child once, he was made to stand in his primary school verandah and stare at a “bindu” or dot on the wall for four successive days after classes to help anchor his wandering mind. It was in this bindu that Raza discovered his true destiny. For years after its rediscovery, he researched its primordial significance in the visual arts of India. From painting street and city life of India and France, he made a switch to the intuitive knowledge and spirituality of his new style. For him the bindu became the magic image from which all his work has emerged. The point, the bindu, symbolizes for him the seed, the precursor to all life, or the epicentre of rythmic reverbrations. To express this concept, Raza has integrated a basic sense of geometry into his canvas after years of hard work. He compares the intuitive knowledge of his work with the abstraction achieved by a musician while performing when rhyme and verse give way to pure perception of the subject. 

He was awarded the Padma Shri by the President of India in 1981, and was elected a Fellow of the Lalit Kala Akademi, New Delhi, in 1983. Since then he has received the Kalidas Samman from the government of Madhya Pradesh and a retrospective of his paintings has been presented at the Bharat Bhavan in Bhopal. Raza now lives and works in Paris and Gorbio, in Southern France. 

(Thanks to the net source for the write up)