“Pushpa Srivathsan”的意思、由来-开放百科全书

The specialities of Pushpa's veena music are singing along with the veena, voice totally blending with the instrument; and not using plectrum (no contact mike either). The subtle overtones of her veena are sweetly audible when she plays without the metallic jangle of plectrums. She plays all the charanams (sub-sections of a song) for each kriti (song). Some of her home recordings are available in [https://archive.org/search.php?query=creator%3A%22Smt+Pushpa+Srivatsan%22 archive.org].

Writings

Pushpa’s writings are spontaneous expressions of inner experience.^[5]^[6] She has written Namavalis (series of names and adjectives of the Lord), Gadyams (lilting poetic prose in Sanskrit) and Stotras (adulations unto the Lord) in different meters on the Sadguru.^[7] She has also written more than 1200 slokas (verses in a particular meter in Sanskrit poetry) on Mother Ganga (unrivalled), several stotras on different deities, and the story of Sri Rama in her own words (again in sloka form).

A special feature of her writing is different shades of meaning and nuances that enable realistic visualization of the descriptions.^[8]^[9] For example, in the chapter Sri Ganga Raga Pushpavali (in Sri Gangasahasram), adjectives for Ganga also happen to form the names of ragas of the Carnatic gamut. So Ganga is additionally described as the embodiment of raga (melody/beauty) and identified with the swarupa (nature and form) of the raga.

Her books have won wide acclaim from eminent Sanskrit scholars.^[10]^[11] Sri Swami Dayananda Saraswati^[12]^[13]^[14] and Sri Seva Srinivasaraghavachariar^[15] (Sewa Swami; himself a composer in Sanskrit and President Awardee) were the first to read her work in manuscript form, appreciate and insist on publishing.^[16](A recluse, Pushpa did not want publicity to her own innermost sacred thoughts^[17]). Swami Dayananda’s guru, Sri Swami Tarananda Giri of Haridwar, would spend any length of time listening to her poetry. The appreciation from this legend was more than any award for Pushpa. On his attaining samadhi in Haridwar (2004), she instantaneously composed eight verses on him ([https://sanskritdocuments.org/sites/pushpasrivatsan/DyanandaStotravali.pdf p.3 of Sri Dayananda Stotravali]). Swami Dayananda read out these verses during the final rites as well as at the Rishikesh Ashram.

Personal life

Pushpavalli (named after the Goddess of Tirukkovilur in Tamil Nadu) was born to Smt. Lakshmi and Sri Pattangi Venkatavaradan at Tiruvahindrapuram, Cuddalore. She is married to Sri N.V.Vathsan, IPS. Her two daughters, Radhika Vathsan and Gayatri Vathsan, are trained by her, from early childhood, in vocal music and the Sarasvati veena.

History

A postgraduate in mathematics from Presidency College, Madras, with 1st class distinction, Pushpa was a lecturer in mathematics in Sri Sarada College, Salem for a few years. She gave up her career to pursue music full-time.^[18]

Pushpa learnt the fundamental technique of the Veena Dhanammal bani (style) and quite a few kritis from Shri Rangaramanuja Ayyangar. Sri Ayyangar had studied Dhanammal's music deeply and imbibed the subtle nuances of her veena technique, which he immortalised by his notations in his book Kritimanimalai of 4 volumes. Pushpa learnt many more kritis by herself from Kritimanimalai, in which he has given detailed notation with special emphasis on gamakas (musical embellishments). She played them before him and won his hearty appreciation. It is commonly said that while western classical music can be played by the artiste reading from a music sheet, the same is not possible for Carnatic music due to its unique gamakas. This may be true to a certain extent; but every rule has an exception. Today Pushpa has home recordings of about 150 hours of veena music. She has dedicated the 700-odd kritis that she has recorded to the memory of Shri Rangaramanuja Ayyangar.

Books authored by Smt. Pushpa Srivatsan

Books by the author yet to be published

Reviews

References

1. ^Dr. Veezhinathan, Centinarion, Vol. 1, Jul 1994
2. ^Dr. V. Sadagopan, Sangeetham, Vol. 13, p.29; Publ. CARNATIC MUSIC ASSOCIATION OF NORTH AMERICA
3. ^Deifying the Himalayas, The Hindu, Dec 30, 2005
4. ^Indian Express, April 2-5, 1994
5. ^Indian Express, April 17, 1994
6. ^[Indian Express, April 2–5, 1994]
7. ^Indian Express, April 2-5, 1994
8. ^Dr. Veezhinathan, Centinarion Vol. 1, Jul 1994
9. ^Unique Work on Thyagaraja, The Hindu, Feb 15, 1994
10. ^Ardent Devotee of Thyagaraja, The Hindu, Jul 20, 2001
11. ^Indian Express, April 2-5, 1994
12. ^[https://archive.org/details/SriGangaSahasram Foreword, p. v, Sri Ganga Sahasram]
13. ^[https://archive.org/details/HimalayaGadyam Himalaya Gadyam, p. v]
14. ^[https://archive.org/details/Pushpanjali1 Sadguru Sri Tyagabrahma Pushpanjali, p. xi]
15. ^[https://archive.org/details/Pushpanjali1 Sadguru Sri Tyagabrahma Pushpanjali, p. xviii-xliii]
16. ^[https://archive.org/details/Pushpanjali1 Sadguru Sri Tyagabrahma Pushpanjali, p.xvii]
17. ^Dr. V. Sadagopan, Sangeetham, Vol. 13, p.29; Publ. CARNATIC MUSIC ASSOCIATION OF NORTH AMERICA
18. ^Dr. V. Sadagopan, Sangeetham, Vol. 13, p.29; Publ. CARNATIC MUSIC ASSOCIATION OF NORTH AMERICA
19. ^AVNL, p. 24, Aug 2017
20. ^AVNL, p. 27-28, Sep 2015
21. ^AVNL, p. 33-34, Sep 2010
22. ^AVNL, p. 4-5, Aug 2010
23. ^AVNL, p. 1-2, Aug 2006

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