Shanmatha Darshanam

Muthuswami Dikshitar’s Shanmata Darshanam beautifully expresses a profound idea through music. Drawing from Adi Sankara’s tradition of the six deities—Ganesa, Subrahmanya, Surya, Siva, Vishnu and Devi—it affirms that all forms ultimately lead to the same Supreme Truth. It is a vision rooted deeply in Advaita, where multiplicity is never separate from unity.

This idea came alive in a special way at this year’s Bharat Sangeet Utsav, in a presentation curated and led by vidwan R.K. Shriramkumar. What made the evening particularly memorable was the quiet depth of his vidwat, and the way he brought to life subtle philosophical points through perfectly chosen anecdotes. His accessible narrative style helped the audience understand not just what Dikshitar composed, but why these compositions hold such inner resonance.

The ensemble on stage contributed with a shared sense of balance and understanding. It was evident that Shriramkumar had trained and guided the vocalists—Amritha Murali, K. Gayatri, Nisha Rajagopalan, Prasanna Venkataraman, Vignesh Ishwar and Ashwath Narayanan—with care. Their approach to diction, sangatis, tempo, and even the sense of restraint reflected a shared aesthetic shaped under his direction. The accompanying artists—Madan Mohan (violin), K. Arun Prakash (mridangam), Chandrasekara Sharma (ghatam) and Anirudh Athreya (khanjira)—added a sensitive, chamber-like quality that suited the theme.

The concert began with the familiar Vatapi Ganapatim in Hamsadhwani, rendered without excess, emphasising the grandeur inherent in the composition itself. Hastivadanaya in Navaroj followed, its gentle lilt bringing out the charm of the rare raga. In Suryamurte (Saurashtra), the group highlighted the composition’s meditative gait and the way Dikshitar’s lyrics mirror the radiance of the deity himself.

Next composition was Kumaraswamim in Asaveri. Shriramkumar briefly spoke about the distinct Asaveri of the Dikshitar school—particularly the use of shuddha rishabham—making listeners appreciate nuances that can otherwise pass unnoticed. The shift to Guruguhaya Bhaktim in Sama brought a change in mood; its Chaturthi Vibhakti structure, as he noted, showcases Dikshitar’s mastery over Sanskrit grammar, adding another layer to the musical experience.

Popular favourites such as Neerajakshi (Hindolam) and Bhajare Chitta (Kalyani) were presented in a clear and straightforward manner. Sada Siva Upasmahe in Sankarabharanam was rendered with restraint. Arunachalanatham (Saranga) and Sehsachala Nayakam (Varali) were presented with attention to their lyrical content, and Ranganayakam in Nayaki highlighted the raga’s characteristic phrases without excess.

The concert concluded with the mangala kriti of the Kamalamba Navavarnams—Sri Kamalambike in Sree raga—an ending that felt both serene and complete.

What stayed long after the concert was not just the music, but the atmosphere of sincerity that defined the entire presentation. As a tribute to Muthuswami Dikshitar’s 250th birth anniversary, it succeeded in doing something rare: presenting scholarship with humility, devotion without sentimentality, and philosophy without heaviness. Through music, story, and subtle guidance, it gently reminded the audience of Shanmata’s enduring message—that the many forms of worship all lead inward, to the same unchanging truth.

By

Archana Murali