Taala and time(Graphical analysis)-Sri Purandara Theory

Taala denotes bonding of time and swaras. 

To define the time limit is very basic and also a responsible task.

The need for taala, is to induce a sense of timing, focus and rhythm in singing.

Saptha Suladi Taalas was the greatest contribution of Haridasas in the field of music. 

Each Suladi Taala bears two components:

1. Jaathi

2. Taala

Merging of Jaathi and Taala makes it easier  to decipher taala.

The role of Sri Purandara Dasaru in this aspect is said to be unmatched.

He devised a method in which each taala is introduced to an amateur learner!

With respect to the learner, it is a stage where she/he gets introduced to various taalas, which indeed is a big leap in their learning curve.

Sri Purandara Dasaru took the aid of swaras of Mayamalavagowla Raaga, embedded each swara into each beat of the taala in a pattern.

All the seven notes followed a pattern, which made the learner get a more clear picture of the taala.

Concept called "Alankaras" was introduced to introduce to the world of sulaadi saptha taalas. Sri Purandara has designed these alankaras to make taalas easy  and approachable . The swaras(frequencies) have been beautifully embedded on taala beats(time). All the alankaras have followed a set pattern,which makes the learner to decipher the next patterns in a given taala easily. 

Following is the graphical analysis  of the patterns followed in each alankara made by me with the help of my Guru .  

The X-axis denotes time between 2 beats(Akshara Kaala)

 Y-axis denotes frequency(swaras)

Chaturashra Jaathi Dhruva Taala

Chaturashra Jaathi Matya Taala

Chaturashra Jaathi Dhruva Taala

Trishra Jaathi Triputa taala

Mishra Jaathi Jhampe Taala

Khanda Jaathi atta taala

Chaturashra Jaathi eka taala

In all graphs Red dotted lines indicate increase in the frequency between Taala Angaas, Green dotted lines indicate decrease in frequency between taala angaas.

Symmetry rules in all these alankaras!

Importance of repititive notes/swaras- Sri Purandara Theory

At this stage, any student would be familiar with the basic swaras of Maayamalavagowla raga and would have familiarized with the taala(Adi taala consisting of 8 beats).

An improvisation is adopted ,where Sri Purandara adopts to twinning of beats and notes. Each note when repeated twice,will provide a different effect ,when compared to the same elongated swara. For instance, : SS will be more rigorous than S,  . 

S, would indicate subtlety SS would appear more vivid. SS should be presented as S,RS which includes bending of each note towards the next note. 

Although both consume the same time on the taala. Each beat in the taala is also repeated twice. This procedure of singing different patterns of swaras in various speeds , will add more strength and rigor to the voice/instrument, which would inturn produce more polished effects on singing. This is one of most important aspect in voice culture techniques.

All these vocal exercises is being experimented in a Sampoorna raga (Raga which has all 7 swaras) ,which gives the learner, freedom to navigate through different swara patterns,which is a boon gifted by Sri Purandara. We often tend to overlook his contributions as learners and teachers of Carnatic music.

If there is a syllabus which is instituting the Saptha swaras and parallely aiming at culturing ones' voice, Sri Purandara Dasaru scores over as the Sangeetha Pitamaha.

Sri Purandara Theory

Carnatic music has been an established form of art (more than 500 years old) with a concrete syllabus for beginners ,solely because of the analytical thinking of Sri Purandara Daasaru ,widely known as the Father of Carnatic Music. His approach towards learning Indian classical music has become an area of research in today's world. 

While we look into the depth of Sri Purandara's understanding of Saptha swaras ,it is crystal clear that he was selective about 1 raga which acted upon as a base for further learning.

 

 The Era of Purandara(15th Century) ,which was not introduced to the structural classification of ragas.

The set syllabus pattern has withstood numerous waves for about 6 centuries. Be it the exposure to western classical in the British era, Mughal influence on Indian music,Carnatic music has stood intact.

We will have a deeper insight into the world of Sri Purandara ,who is looked upon as "Sangeetha Pitaamaha"and also as the composer of 4,75,000 compositions,which binds together to form "Purandaropanishad".

Through these blog series , the reader will be able to appreciate the contributions of Sri Purandara who has depicted himself as a musicologist through various compositional forms. 

Part 1- Learning Carnatic.

Part 2- Importance of repetitive notes(Janti Swaras)

Part 3- Need forPractice and devotion in music

Part 3- Taala and time(Graphical analysis)

Part 4 - Beginner's Raaga(Graphical analysis of Mayamalavagowla and Kharaharapriya)

Part 5 -  Sri Purandara Dasaru as a Guru

PS : This is my humble attempt to bring out the best from the kannada book "Purandara Dasaru Sangeetha Pitamahare" written by my Guru Vid. Dr. RK Padmanabha Sir.

Naada Bindu( A Musical Novel)

Naada Bindu - Reformation through music

“Fake people don’t surprise me anymore, loyal people do” is the saying that came to my mind, when I tried to delve into the mind of the author, my Guru,

Vid. R.K. Padmanabha(R.K.P) Sir,through “Naada Bindu”.A complete musical novel, written in Kannada, appears to be the outcome of the author’s unpleasant experiences in his musical journey. This novel promises to have biographical evidences pertaining to certain events and people.

R.K.P sir, being an authority in Carnatic Music, convincingly shows the reader, how money can lure a person at the cost of one’s commitment and dedication towards a Guru(teacher),who gives an excellent grounding in music and is a pillar-of-strength.

Vadirajacharya is a musician and a firm believer in divinity of Carnatic music. Being an adept musician, he finds no joy in minting money in the name of music. His selflessness knows no bounds in his Gurukula, where he treats and disciplines his disciples in their musical journey. Krishna and Balarama are two of his much-loved students, who, by the virtue of their musical flair, sheer hardwork and blessings  of their Guru, carve a niche for themselves in the field of Carnatic music. The story takes a twist when Balarama clandestinely chooses to take up an alternate career. Hurt by Balarama’s fading devotion and loyalty towards Carnatic music, Vadirajacharya decides to leave things to destiny and immerses himself in his musical penance, by embarking on a musical journey, which enables him to utilise the hidden powers of Carnatic music for social reformation.

This novel can be analysed in so many different ways. The reader would be impressed with the wealth of information it carries with reference to the scientific aspects of Carnatic music. The manner in which, people and events across religions come under the Carnatic music umbrella is heartening and aplomb. Concepts like atheism and theism have been scrupulously inter-twined with the technicalities of Carnatic music. The method the trinities of Carnatic music have used to handle devotion, social reformation and science in their compositions is astounding.  My area of interest being the science behind music, an illustration of the therapeutic influence of the raagas on human mind is extensively researched in this novel.  The way Raaga Kambhoji is used as a weapon to cure a mental ailment is and the extent of exertion and determination that is required of a musician, who takes up the task of holistic healing through music is creditable. The author clearly states that classical music is not something that should be bargained for monetary benefits. The sad state of this classical art form is that people have failed to appreciate it’s values. The final level of interaction between Guru(Teacher) and Shishya(Student) reminds me of the saying ‘Hate the sin, not the sinner’.

This engrossing novel is a multi-levelled exploration of the hidden facets of Carnatic music that light up our lives. Reader would be engrossed in knowing the implications of Carnatic classical music in our day to day lives. The message is clear ‘Without devotion in our area of work, we would be nothing more than wonder-deprived creatures’!

A brief introduction of Sri Muthuswamy Dikshitar and Navagraha Krithis

Sri Muthuswamy Dikshitar and Navagraha Krithis

(1775-1835 AD)

18th Century was the era of Carnatic music. It saw the birth of the Carnatic music trinities, Sri Thyagaraja, Sri Shyama Shastri, Sri Muthuswamy Dikshitar.

Sri Muthuswamy Dikshitar, was born in a small town, Tiruvarur, Tamil Nadu. His parents were Sri. Ramaswamy Dikshitar and Subbamma. Sri Ramaswamy Dikshitar was an eminent musician, and was the inventor of the raaga 'Hamsadhwani'. Sri Muthuswamy Dikshitar, was a prodigy, and demonstrated his proficiency in music from a tender age of 8. He, being a 'Devi Upasaka'(Devotee of Devi), has composed krithis on Sri Chakra, known as Navavarna Krithis. Out of his innumerable compositions, only around 500 have been musically documented. 

Navagraha Krithis, are a set of 9 krithis, composed by Sr i Dikshitar, which elaborates on our planetary system.

History says, Thambiyappan, a disciple of Sri DIkshitar, was suffering from a stomach ailment, and found no cure for it. When Sri. Dikshitar, visited him, and studied Thambiyappan's horoscope, he found that the position of Guru graha was not very favourable. This prompted Sri Dikshitar to compose 'Brihaspathe Tarapathe' krithi, in the raaga ATaaNa set to triputa taala. Tambiyappan was advised to sing this krithi, for a week, and yes, his ailment was cured!

The rest of the 8 krithis, were composed by Sri Dikshitar, having in mind, it's therapeutic effects.

Navagraha Krithis and their scientific significance

Navagrahas is ancient and worshipped in the Indian tradition. They are believed to affect the lives on earth in many different ways. Generally there is a misnomer  about equating the Navagrahas with the nine planets of our solar system. The term ‘Graha’ doesnot  mean planet. ‘Grihanthi ithi Graha’ is the Sanskrit word, which means Grahas are celestial bodies whose energies can influence  our mental, verbal and physical perceptions. In a broader sense, this word includes all the celestial bodies like planets, sun, moon, stars, comets and many more, without contradiction. Constellations for instance, are nothing but a group of stars, which is embodied with its own deity, direction, colour, group and so on. Our ancestors, have personified these Navagrahas, by giving them a stature, colour, consort, vehicle, food, clothing, embellishment, gods, demi-gods and much more. This personification has led to the rise of interesting literature, compositions, emotions and devotion towards the Navagrahas. 

Navagrahas have been adored in the Navagraha Krithis composed by Muthuswamy Dikshitar. Apart from the traditional form of worship, history says these krithis are equally potential to influence the Grahas. The amount of astrophysical details these krithis contain is beyond belief. The astronomical interpretations, and the science that lies hidden in these krithis would be presented in our blog series. All the raagas of these compositions are so penetrating, that they have a therapeutic effect on the mind,body and soul. 

What areas of science do these krithis cover?

-Botany

- Astro-physics

- Human Physiology

-Astronomy

-Optics

-Mathematics

 -Phenology

Illustrations made in these krithis are observed in modern day science, mostly during the post-Industrial revolution era. Some of the descriptions of Grahas in the krithi, are still a mystery to modern-day science. Science, Vedanta, Music merge in these krithis.  

The Astronomical view of the Navagrahas 

-Our solar system has 9 planets revolving around the sun

-All living /non living beings are present only on the earth.No significant evidence of  life exists on other planets. Hence, earth appears to remain stationary and all the other planets,sun,moon appear to relatively move around the earth in the background of the stars/constellations. All these celestial objects occupy different positions at different intervals of time. 

We can summarise the Navagraha krithis in this approach. The entire Solar spectrum can be equated to each Navagraha Krithi. The description of each Graha in these krithis, are a clear illustration of personification of each band in the solar spectrum, their effects on our human body,mind and soul being linked with the 7 chakras. I have attempted to provide a lateral scientific thinking to these krithis, by deciphering the scientific analogy behind the Saahityam ONLY. 

I dedicate this piece of work, which is the brainchild of my guru Vid. R.K.Padmanabha ,who has been my guide, mentor and above all a pillar of strength for all the efforts that has gone into the making of this research.

References made to bring out this blog:

Navagraha KrithigaLu, Vid.R.K.Padmanabha, Sharada Kala Kendra

Ganakalasiri, Rallapalli AnanthaKrishna Sharma

BhoogoLa Varnane, Sri Vadiraja Swamy

conceptionalastrology.blogspot.in ,Santosh Chakraborthi

www.medieval.org

www.sanatansociety.org>Vedic Astrology and Numerology

www.huffingtonpost.com

www.hnsuresh.com

www.astrology-and-science.com

Dikshitar's Navagraha Krithis and their scientific significance- Diwakara tanujam(SATURN)(Kannada Translation)

                             ದಿವಾಕರ ತನುಜಂ 

                 ರಾಗ - ಯದುಕುಲಕಾಂಭೋದಿ  /ಏಕ ತಾಳ 

ಸೂರ್ಯ ಹಾಗು ಛಾಯೆಯ ಪುತ್ರನೆಂದು ಪರಿಗಣಿಸಿದ ಶನಿ ಗ್ರಹವು, ಸೌರಮಂಡಲದ ’ಬಾಹ್ಯ ಗ್ರಹ’ಗಳಲ್ಲಿ ಒಂದು.

ಶನಿಯ ಪರಿಣಾಮ ಜೀವರಾಶಿಗಳ ಮೇಲೆ ವೈಜ್ನ್ಯಾನಿಕವಾಗಿ ಹೇಗಾಗಬಹುದೆಂದು ಈ ಕೃತಿಯ ಮೂಲಕ ತಿಳಿದುಕೊಳ್ಳಬಹುದು.

ಶನೈಶ್ಚರಂ : ಸಾವಕಾಶವಾಗಿ ಚಲಿಸುವ ಗ್ರಹ.

ವೈಜ್ನ್ಯಾನಿಕ ಹಿನ್ನೆಲೆ: ಶನಿ ಗ್ರಹವು ಒಂದು ರಾಶಿ ಚಕ್ರವನ್ನು ಸಂಚರಿಸುವುದಕ್ಕೆ ೨.೫ ವರ್ಷಗಳ ಕಾಲ ಹಾಗು ಸೂರ್ಯನ ಸುತ್ತ ಒಂದು ಸರದಿ ಬಳಸಲು ೨೯ ವರ್ಷಗಳ ಕಾಲ ಆಗುವುದು.

ಭಯಂಕರಂ ಅತಿಕ್ರೂರ ಫಲದಂ: ಲೌಕಿಕ ಬದುಕಿನಲ್ಲಿ ಮುಳುಗುವವರಿಗೆ ಅತಿ ಕ್ರೂರವಾದ ಫಲಗಳನ್ನು ನೀಡುವ.

ವೈಜ್ಯ್ನಾನಿಕ ಹಿನ್ನೆಲೆ: ನಮ್ಮ ದೇಹದ ಒಂದೊಂದು ಚಕ್ರವು ಒಂದೊಂದು ಬಣ್ಣದಿಂದ ಪುಲಕಿತಗೊಳ್ಳುತ್ತದೆ.

ಶನಿಗ್ರಹವು ಸೂರ್ಯರಶ್ಮಿಯ ವರ್ಣಾಟಲಿನಲ್ಲಿ ’ವಿ’ಬಾನ್ಡ್ ಅನ್ನು ಪ್ರತಿಬಿಂಬಿಸುತ್ತದೆ.

’ವಿ’ ಬಣ್ಣದ ತರಂಗಾಂತರವು ಅತಿ ಕಡಿಮೆ  ಇರುವುದರಿಂದ ನಮ್ಮ ದೇಹದ ಅಂಗಾಂಗಗಳ ಮೇಲೆ ದುಷ್ಪರಿಣಾಮವನ್ನು ಬೀರುವ ಸಾಧ್ಯತೆಗಳು ಹೆಚ್ಚಿವೆ. ಆದ್ದರಿಂದ, ’ವಿ’ ಬಣ್ಣವನ್ನು ಕ್ರೂರಫಲಗಳನ್ನು ಕೊಡುವ ಬಣ್ಣವೆಂದು ಪರಿಗಣಿಸಬಹುದು.

ಭವಾನೀಶಕಟಾಕ್ಷಪಾತ್ರಭೂತ ಭಕ್ತಿಮಯಂ ಅತಿಶಯಶುಭಫಲದಂ: ಈಶ್ವರನ ಕಟಾಕ್ಷಕ್ಕೆ ಪಾತ್ರರಾದ ಭಕ್ತರಿಗೆ ಹೆಚ್ಚಾದ ಶುಭ ಫಲಗಳನ್ನು ಕೊಡುವ.

ವೈಜ್ಯ್ನಾನಿಕ ಹಿನ್ನೆಲೆ:

’ VIOLET’ ಬಣ್ಣವು ನಮ್ಮ ದೇಹದ ’CROWN ’ ಚಕ್ರವನ್ನು ಅಂದರೆ ’ಸಹಸ್ರಾರ’ ಚಕ್ರವನ್ನು ಸಕ್ರಿಯಗೊಳಿಸುತ್ತದೆ.

ಸಹಸ್ರಾರ ಚಕ್ರವು, ಕಾಸ್ಮಿಕ್ ಪ್ರಜ್ನ್ಯೆಯನ್ನು ಉಂಟುಮಾಡುವ ಚಕ್ರ. ಇತ್ತೀಚಿನ ವೈಜ್ಯ್ನಾನಿಕ ದಾಖಲೆಗಳ ಪ್ರಕಾರ ’Violet Flame Meditation’ ಎಂಬ ಚಿಕಿತ್ಸಾಕ್ರಮವನ್ನು, ನಮ್ಮಲ್ಲಿನ ಅಲೌಕಿಕ ಚಿಂತನೆಯನ್ನು ಮೂಡಿಸುವುದಕ್ಕೆ ಬಳಸುತ್ತಾರೆ.

ಲೌಕಿಕ ಪ್ರಪಂಚ ’ಮೂರನೆಯ ಆಯಾಮ’(3D)ದಲ್ಲಿ ಇರುವುದರಿಂದ, ಈ ಚಿಕಿತ್ಸೆಯಲ್ಲಿ, ’ಐದನೆಯ ಆಯಾಮಕ್ಕೆ’(5D) ನಮ್ಮನ್ನು ಕರೆದುಕೊಂಡು ಹೋಗುವ ಶಕ್ತಿ ಇದರಲ್ಲಿದೆ ಎಂಬುದು ನಂಬಿಕೆ. ಎಲ್ಲಾ ಐಹಿಕ ಚಿಂತನೆಗಳನ್ನು ಮರೆತು, ಕೇವಲ ದೈವದತ್ತ ಅನುಭವವನ್ನು ಮೂಡಿಸುವ ಯಾಂತ್ರಿಕ ಶಕ್ತಿ ’violet’ಬಣ್ಣಕ್ಕೆ ಸಾಧ್ಯ ಎನ್ನುವುದನ್ನು ದಾಖಲಿಸಿದ್ದಾರೆ. ಗರ್ವಪೀಡಿತ ಬದುಕು ಹಾಗು ಚಿಂತನೆಗಳಿಂದ ಮೇಲೆತ್ತುವ ಶಕ್ತಿ ಈ ಚಿಕಿತ್ಸೆಯಲ್ಲಿ ಕಂಡುಬಂದಿದೆ.

ನೀಲಾಂಶುಕ ಪುಷ್ಪ ಮಾಲಾವೃತಂ: ನೀಲ ವರ್ಣದ ಮಾಲೆಯನ್ನು ಧರಿಸುವ.

ವೈಜ್ಯ್ನಾನಿಕ ಹಿನ್ನೆಲೆ: ’ಕಾಸಿನಿ ಸ್ಪೇಸ್ ಕ್ರಾಫ಼್ಟ್’ ದಾಖಲೆಗಳ ಪ್ರಕಾರ, ಶನಿಗ್ರಹದ ಉತ್ತರ ಗೋಳಾರ್ಧವು ನೀಲಿ ಬಣ್ಣವುಳ್ಳುವುದು. ಇದಕ್ಕೆ ಕಾರಣ ಶನಿಗ್ರಹದ ಮೇಲಿನ ವಾತಾವರಣದ ಕಣಗಳು, ರಶ್ಮಿರೇಖೆಯಲ್ಲಿನ ’ನೀಲಿ’ ಬಣ್ಣವನ್ನು ಚೆದುರುತ್ತದೆ ಎಂಬುದು.

ಈ ಎಲ್ಲ ನಿದರ್ಶನಗಳನ್ನು ಪರಿಶೀಲಿಸಿದರೆ, ಶನಿಗ್ರಹದ ಪ್ರಾಕೃತಿಕ ವೈಶಿಷ್ಟ್ಯಗಳನ್ನು ಅತಿ ಸೂಕ್ಷ್ಮವಾಗಿ ಈ ಕೃತಿಯಲ್ಲಿ ವಿವರಿಸಿದ್ದಾರೆ ದೀಕ್ಷಿತರು.  

Dikshitar's Navagraha Krithis and their scientific significance- Diwakara Tanujam(SATURN)

                                            DiwAkara tanujaM 

                        rAgaM yadu kula kAmbhOji/ tALaM catuSra Ekam

Krithi:
divAkara tanujaM SanaiScaraM
dhIra-taraM santataM cintayE(a)ham

bhavAmbu nidhau nimagna janAnAM -
bhayankaraM ati-krUra phaladaM
(madhyama kAla sAhityam)
bhavAnISa kaTAksha pAtra bhUta -
bhaktimatAM atiSaya Subha phaladam

kAlAnjana kAnti yukta dEhaM
kAla sahOdaraM kAka vAhaM
nIlAMSuka pushpa mAlAvRtaM
nIla ratna bhUshaNAlaMkRtam
mAlinI vinuta guru guha muditaM
makara kumbha rASi nAthaM
tila taila miSritAnna dIpa priyaM
dayA sudhA sAgaraM nirbhayam
(madhyama kAla sAhityam)
kAla daNDa pari-pIDita jAnuM
kAmitArtha phalada kAma dhEnuM
kAla cakra bhEda citra bhAnuM
kalpitacchAyA dEvI sUnum

Translation

Divaakara tanujam- Son of Surya, 

Dheeratharam – Courageous, 

Shanaishcharam – One who is slow moving,

 Santhatham chintaye- Always meditate upon Shani.

 bhavAmbu nidhau nimagna janAnAM bhayankaraM ati-krUra phaladaM- Harbinger of bad effects to those who are immersed in worldy pleasures.

bhavAnISa kaTAksha pAtra bhUtabhaktimatAM atiSaya Subha phaladam-  Heralds positive influences to those who are devotees of Lord Shiva.

kAlAnjana kAnti yukta dEhaM- One who wears a black body, 

kAla sahOdaraM kAka vAhaM- One who is the brother of Yama and has a crow as his vehicle.

nIlAMSuka pushpa mAlAvRtaM- Who wears a blue coloured garland, 

mAlinI vinuta guru guha muditaM- One who is prayed by Malini and who brings delight to Guruguha, 

MakarakuMbha Raashinaatham- One who rules over Capricorn and Aquarius,

Tila taila miSritAnna dIpa priyaM- One who has a special liking for lam lit with sesame oil and rice cooked with Sesame seeds,

DayA sudhA sAgaraM nirbhayam-Ocean of compassion and bestows courage, 

KAla daNDa pari-pIDita jAnuM- Whose knee was disfigured by the staff of kaala, the God of death, 

kAmitArtha phalada kAma dhEnuM- One who yields all desires like Kamadhenu, 

kAla cakra bhEda citra bhAnuM- One who is like a fire capable of splitting the time wheel of life, 

kalpitacchAyA dEvI sUnum- One who is conceived as the son of Goddess of Chaayaa. Salutations O lord Shani!

Shanaischaram: Slow-moving planet.

Scientific significance: It is the slowest moving planet in our solar system. It takes about 2.5 years to traverse one zodiac sign and about 29 years to complete one rotation around the sun.

bhavAmbu nidhau nimagna janAnAM bhayankaraM ati-krUra phaladaM- Harbinger of bad effects to those who are immersed in worldy pleasures.

Scientific significance:

In the optical spectrum, Saturn is believed to emit wavelength in the 'Violet' band. Violet is said to have minimum wavelength and maximum frequency. The penetrating power of this colour being high, exposure to the Violet light is strictly not recommended.   In this Krithi, Sri Dikshitar had cleverly linked the Human Body(Head to toe) to the worldly pleasures. Hence, the exposure of the 6 chakras (except Sahasrara/Crown Chakra) to Violet light causes harmful effects, which even the latest science illustrates. So Shani is considered to bear malefic influences on the human body(means one who is immersed in materialistic world).

bhavAnISa kaTAksha pAtra bhUtabhaktimatAM atiSaya Subha phaladam-  Heralds positive influences to those who are devotees of Lord Shiva.

Scientific Significance:

Latest researches in Yoga and Therapy have proven that Violet light rules over the Sahasrara/Crown chakra of our body.  'Violet Flame Meditation' is a latest form of therapy, which induces philosophical/Spiritual thinking within us.Indeed it is also capable of elevating us from the 3D to the 5D world. Crown/Sahasrara chakra in our body helps us connect to the cosmic world. Sri Dikshitar, has clearly mentioned about this aspect of science, by saying, one who attempts to cross the barriers of the materialistic world, and tries to think on spiritual lines, would surely benefit from Shani graha. 

The ability to elevate us from the worldly pleasures to the cosmic/spiritual world, is possible only by Violet light.

neelamsuka pushpa Maalaavrutham: One who wears a Blue coloured garland

Scientific aspect:

Images from 'Cassini spacecraft' have shown that the Northern Hemisphere of Saturn is said to reflect Blue light. The reason might be because of the particles in Saturn's atmosphere, which reflects blue light.

In a nutshell, Sri Dikshitar has neatly personified Shani Graha keeping in view it's features and the influences of the light that is emitted from it.