SANGEETHA MUMMOORTHY PANEL

A Sangeetha Mummoorthy Panel featuring the three iconic figures of Syama Sastri, Tyagaraja, and Muthuswami Dikshitar, made from Mahogany wood, would be an extraordinary and culturally rich piece of art. These three composers are pillars of the Carnatic music tradition, and a panel dedicated to them would symbolize their collective contribution to classical music, spirituality, and devotion.

The idea of combining these legendary composers in a Mummoorthy (trio of deities) panel is unique, as it not only celebrates the divine art of music but also reflects the sacredness and cultural depth of their works.

1. Representation of the Composers (Syama Sastri, Tyagaraja, and Muthuswami Dikshitar):

In this panel, the three composers would be depicted as divine figures, each with their distinct features and symbolism:

A. Syama Sastri:

• Posture: Syama Sastri could be shown in a seated or standing posture, deeply absorbed in composing music, with his eyes closed or focused. His facial expression would convey a sense of devotion and spiritual transcendence.
• Attributes:
  • He would be holding a veena or tambura, instruments associated with divine music and creation.
  • The writings of his compositions could be symbolically represented in his hands or near him, to highlight his contribution to Carnatic music, particularly his compositions in the Kriti format.
  • Syama Sastri’s traditional attire would be meticulously carved, reflecting his role as a composer, with a focus on elegant drapery.

B. Tyagaraja:

• Posture: Tyagaraja, known for his deep devotion to Lord Rama, could be depicted with his eyes closed in a state of meditative singing, holding a tambura. He would have a serene and spiritual expression, embodying his intense bhakti (devotion) to Lord Rama.
• Attributes:
  • The tambura would be central to Tyagaraja’s depiction, signifying his involvement in the musical tradition.
  • His hand could be outstretched, as though in the act of composing, symbolizing his prolific output of devotional music.
  • Sacred symbols, such as a flame or lamp, could be included to represent the illumination he brought to Carnatic music through his compositions.

C. Muthuswami Dikshitar:

• Posture: Muthuswami Dikshitar, often associated with devotional compositions and ritualistic practices, could be shown standing with prayerful hands in Anjali mudra (gesture of offering). Alternatively, he could be depicted holding a veena or flute, instruments that were central to his style.
• Attributes:
  • Scriptures or musical notation in his hands, symbolizing his extensive contributions to the spiritual and musical traditions.
  • The Shiva lingam or goddess Lakshmi could be subtly represented to reflect his devotion to deities like Lord Shiva and Goddess Saraswati.
  • His elegant attire would be depicted with intricate details, emphasizing his classical stature.

2. Symbolism and Musical Elements:

Since the panel is based on Sangeetha (music), each composer would be depicted with musical instruments and symbolic references to their musical contributions:

• Veena: The veena is commonly associated with many Indian musicians and deities, especially Saraswati and Muthuswami Dikshitar. All three composers could be holding or accompanied by this divine instrument to symbolize their contribution to the art form.
• Tambura: Tyagaraja and Syama Sastri are often depicted with the tambura, a stringed instrument used in Carnatic music to provide the tonic sound, representing their deep connection with classical music.
• Flute: Muthuswami Dikshitar is occasionally depicted with a flute due to the influence of Shiva and his connection to divine melodies.
• Scriptural Writings: Composers like Tyagaraja and Syama Sastri could have scriptural writings (their compositions) in their hands, symbolizing the sacred nature of their music.