Stotras | My Blog

Devotional Sanskrit compositions organised by deity, genre, author and tradition. Each opens directly to clean recitation text, with meaning and word-by-word layers when you want them.

Collections by deity

Stotra

Aarti Kunjabihari Ki, Shri Giridhara Krishna Murari Ki

आरती कुंजबिहारी की, श्री गिरिधर कृष्ण मुरारी की

A beloved aarti in Braj bhasha to Krishna as Kunjabihari, the flute-player of Vrindavan's bowers, hailed also as Giridhara and Murari. Its stanzas praise his peacock crown, vaijayanti garland and the radiance of Radha at his side, each answered by the returning refrain; it is sung with the lamp at evening worship and at Janmashtami.

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Aarti Shri Brahma Ji

आरती श्री ब्रह्मा जी

An aarti of five verses to Brahma, the creator, addressed as father, mother, helper, friend and sole master, the one support of those who have no other refuge. It praises his boundless compassion and his unceasing care in sustaining the whole world, and it closes with the poet's signature; it is sung with the lamp at the close of his worship.

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Aarti Shri Durgaji

आरती श्री दुर्गाजी

A much-loved Hindi aarti to Durga as Ambe, sung while the lamp is circled before her image. Its verses call on her to fall upon the demon hosts astride her lion, eight-armed and stronger than a hundred lions, and ask not for wealth but a small corner at her feet, each verse returning to the refrain that offers the aarti to the Mother.

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Aarti Shri Hanumanji

आरती श्री हनुमानजी

The lamp-offering sung to Hanuman, whose six verses recall his feats: burning Lanka and bringing back news of Sita, bearing the Sanjivani herb to revive Lakshmana, and tearing away Ahiravana's arm in the netherworld, while gods, men and sages wave the light before him. It ends with the promise of the highest state to whoever sings it, and is offered at the close of Hanuman worship, especially on Tuesdays and Saturdays.

Stotra

Aarti Shri Jagadishaji Vishnu Ji

आरती श्री जगदीशजी विष्णु जी

The best-known of all Hindu aartis, sung to Shri Vishnu as Jagadisha, lord of the universe. The refrain 'Om Jaya Jagadisha Hare' returns after every verse, while the verses address him as mother and father, the inner dweller of all, ocean of compassion and sustainer of the worlds, and ask his grace for a helpless devotee.

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Aarti Shri Lakshmi Ji

आरती श्री लक्ष्मी जी

The aarti sung before Lakshmi, hailing her as mother of the world and giver of wealth, prosperity and every auspicious thing, and identifying her with the goddesses Uma, Rama and Brahmani. The refrain 'Om Jaya Lakshmi Mata' returns after each verse; it recalls her rising from the ocean of milk, and is sung with the lamp circled at the close of worship, above all at Diwali and on Fridays.

Stotra

Aarti Shri Ramachandraji

आरती श्री रामचन्द्रजी

An aarti to Shri Rama in which every verse is answered by the returning refrain 'Shri Ramachandra kripalu bhaju mana'. It praises his lotus eyes and rain-cloud dark form, his bow, and his victory over Khara and Dushana, carries the signature of Tulsidas, and begs Rama to dwell in the devotee's heart and crush lust and its kin; it closes with Gauri's blessing to Sita.

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Aarti Shri Santoshi Maa

आरती श्री सन्तोषी माँ

An aarti to Santoshi Mata, the goddess of contentment, sung in short couplets with the refrain 'Jaya Santoshi Mata' returning after each. It pictures her golden robes and gentle, compassionate smile, her jewelled ornaments and throne of gold, and the jaggery and gram most dear to her.

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Aarti Shri Saraswati Ji

आरती श्री सरस्वती जी

The lamp-offering aarti to Saraswati, goddess of learning, sung with the refrain 'Jaya Saraswati Mata' returning after each couplet. It pictures her lotus seat and swan mount, veena in one hand and mala in the other, and asks for the light of knowledge, the eye of wisdom, and the dispelling of ignorance.

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Aarti Shri Surya Ji

आरती श्री सूर्य जी

An aarti to Surya, hailed as the son of Kashyapa and Aditi, borne on a single-wheeled chariot drawn by seven horses, who scatters the darkness of the three worlds. Its couplets alternate with a returning refrain and close by asking him to dispel ignorance and grant knowledge of truth.

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Aarti Shri Vaishno Devi

आरती श्री वैष्णो देवी

The aarti of Vaishno Devi, sung with folded hands before the Mother in her mountain cave, where Brahma recites the Vedas at her door and Shiva sits in meditation. Its eight verses praise the shrine with its fluttering banners and ringing bell, and the betel, coconut and flowers laid at her feet, promising that whoever comes in faith has their wish fulfilled and that whoever sings it night and day gains happiness and prosperity.

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Achyutashtakam

अच्युताष्टकम्

An eight-verse hymn with a concluding phalashruti, traditionally attributed to Adi Shankaracharya, woven almost entirely from the names of Vishnu in His forms as Krishna and Rama, Achyuta, Keshava, Narayana, Govinda, Raghava and more. A pan-Vaishnava praise recited to win the grace of Hari.

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Bajrang Baan

श्रीबजरंगबाण

A fervent Awadhi hymn of supplication to Hanuman (the 'arrow of Bajrang'), traditionally ascribed to Tulsidas, an opening doha, a long chaupai pleading for Hanuman's swift aid and recalling his deeds and bija-syllables, and a closing doha with the fruits of recitation. The romanization given here is a best-effort pronunciation aid for Awadhi, not strict IAST.

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Bhaja Govindam

भजगोविन्दम्

A Vedantic hymn by Adi Shankaracharya (also called Moha-Mudgara, 'the hammer of delusion'), urging the seeker to worship Govinda and renounce attachment in the face of impermanence. The first twelve verses (the Dvadasha-Manjarika) are Shankara's; the remaining verses (Chaturdasha-Manjarika) are traditionally ascribed to his disciples.

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Bilvashtakam

बिल्वाष्टकम्

An eight-verse hymn recited while offering bilva (bael) leaves to Shiva, each verse ending 'this one bilva leaf I offer to Shiva', with a closing phalashruti. It extols the sanctity of the three-lobed bilva leaf and the great merit of its offering.

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Brahma Chalisa

ब्रह्मा चालीसा

A chalisa in praise of Brahma the creator, opening with dohas and unfolding through the customary forty chaupai verses that describe his four faces and four arms, his white beard, white garments and sacred thread, his revealing of the four Vedas and teaching of divine knowledge, his abode Brahmaloka, and his consort Savitri, also named Gayatri. It is recited to seek the creator's grace upon his devotee.

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Daridrya Dahana Shiva Stotram

दारिद्र्यदहनशिवस्तोत्रम्

Eight verses with the refrain "salutations to Śiva, who burns away the sorrow of poverty", recited for relief from want and inner darkness.

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Durga Chalisa

दुर्गा चालीसा

A chalisa in the customary forty-verse chaupai form, addressed to Durga as Ambe, giver of joy and remover of sorrow, whose formless light fills the three worlds. It recalls the forms she assumes as Annapurna, Gauri, Saraswati and Lakshmi, and is recited in daily worship of the Devi and especially through the nine nights of Navaratri.

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Ganesha Chalisa

श्री गणेश चालीसा

A devotional chalisa to Ganesha, opening with a doha of salutation and unfolding in forty chaupai verses that praise his form, the curved trunk, the garland of gems and pearls, the golden crown and the mouse at his door, and that retell the katha of his birth to Parvati. It is recited to remove obstacles and invoke auspicious beginnings, especially on Chaturthi and at the outset of any new undertaking.

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Ganesha Pancharatnam

श्रीगणेशपञ्चरत्नम्

Five jewel-verses in praise of Gaṇeśa, traditionally attributed to Ādi Śaṅkarācārya, opening with "mudākarātta-modakam".

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Hanuman Bahuk

श्रीहनुमानबाहुक

A fervent Awadhi/Braj hymn to Hanuman traditionally ascribed to Goswami Tulsidas, composed (the tradition holds) when the poet was racked by an unbearable pain in his arm, 'Bahuk' meaning the arm. Its 44 stanzas move across four metres (chhappay, jhulna, ghanakshari, savaiya), opening with praise of Hanuman's strength and deeds and turning, from the middle, into an intensely personal plea for the cure of bodily pain and the removal of every affliction.

Stotra

Hanuman Chalisa

हनुमान चालीसा

A devotional hymn of forty chaupais in Awadhi, traditionally attributed to Tulsidas, opening with two dohas that invoke the guru and ask Hanuman for strength, wisdom and knowledge. Its verses praise him as Rama's messenger, son of Anjani and the wind, and recall his deeds in Lanka; it is recited daily, and especially on Tuesdays and Saturdays, for courage, protection and relief from fear and affliction.

Stotra

Kali Chalisa

काली चालीसा

A chalisa to Kali, opening with two dohas of salutation and continuing in chaupais that unfold as a litany of her names and forms, from Kapalini, Chandi and Katyayani to Gauri, Bhavani and the ten Mahavidyas. Devotees recite it for her protection and grace, above all on Tuesdays, on dark-moon nights and through Navaratri.

Stotra

Kanakadhara Stotram

कनकधारास्तोत्रम्

A 22-verse hymn to Goddess Lakshmi attributed to Adi Shankaracharya, said to have been composed to summon a shower of golden amalaka fruit ('kanaka-dhara', stream of gold) for a poor devotee. It dwells on the play of Lakshmi's compassionate sidelong glance upon Vishnu and Her grace towards the destitute.

Stotra

Khatu Shyam Chalisa

खाटू श्याम चालीसा

A chalisa to Khatu Shyam, opening with a doha that bows to the guru before the chaupais begin. It hails Barbarika, son of Ahilavati and also called Bhima's grandson, revered as a form of Vishnu who took human birth for the sake of his devotees, and garlands him with Krishna's names: Madhusudana, Gopala, Murari, Govardhana Dhari.

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Krishna Chalisa

कृष्ण चालीसा

A chalisa in praise of Krishna, opening with dohas and unfolding through chaupai verses that hail him as the darling of Yashoda and Nanda, the flute-playing cowherd of dark-blue hue in yellow silk and peacock crown, who tamed the serpent, lifted the mountain on his fingertip and stole butter. It is recited in daily worship and especially at Janmashtami, asking his grace and protection.

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Krishnashtakam

श्रीकृष्णाष्टकम्

Eight verses ending in the refrain "kṛṣṇaṃ vande jagadgurum", I bow to Kṛṣṇa, teacher of the world.

Stotra

Lakshmi Chalisa

लक्ष्मी चालीसा

A chalisa in praise of Lakshmi, goddess of wealth and good fortune, opening with a doha and a soratha before its chaupai verses. It hails her as Sindhu Suta, daughter of the ocean of milk that Vishnu churned, and begs for wisdom, discernment, the fulfilment of every hope and relief from distress.

Stotra

Lingashtakam

लिङ्गाष्टकम्

An eight-verse hymn in praise of the Shiva-linga, each verse closing with the refrain 'to that Sadashiva-linga I bow', followed by a phalashruti. It is recited widely during linga worship and abhisheka.

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Madhurashtakam

मधुराष्टकम्

An eight-verse hymn by Vallabhacharya in which every attribute of Krishna, the Lord of Mathura (madhuradhipati), is celebrated as 'sweet' (madhura). Each line repeats 'madhuram', closing with 'everything of the Lord of sweetness is sweet'.

Stotra

Mahalakshmi Ashtakam

महालक्ष्म्यष्टकम्

An eight-verse hymn to Goddess Mahalakshmi, spoken by Indra, with a concluding phalashruti on the fruits of reciting it once, twice or thrice daily. It is one of the most widely recited Lakshmi stotras, especially on Fridays and during Diwali.

Stotra

Mahishasura Mardini Stotram

महिषासुरमर्दिनीस्तोत्रम्

A rapturous 21-verse hymn (with a concluding phalashruti) to the Goddess as Mahishasura Mardini, the slayer of the buffalo-demon, traditionally attributed to Adi Shankaracharya. Famous for its cascading internal rhyme and galloping rhythm, each verse closes with the refrain 'jaya jaya he Mahishasura-mardini'.

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Narasimha Chalisa

नरसिंह चालीसा

A chalisa of forty chaupais in praise of Narasimha, the man-lion avatar of Vishnu, framed by dohas at its opening and close. The verses recount Hiranyakashipu's arrogance, Prahlada's steadfast devotion and the Lord bursting from the pillar, dwell on his golden four-armed form, and promise that daily recitation dispels disease, fear, poverty and every affliction.

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Navagraha Stotram

नवग्रहस्तोत्रम्

One verse to each of the nine grahas, the Sun, Moon, Mars, Mercury, Jupiter, Venus, Saturn, Rāhu and Ketu.

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Parvati Chalisa

पार्वती चालीसा

A chalisa in praise of Parvati, opening with a doha that hails her as daughter of the mountain, beloved of Shambhu and mother of Ganesha. Its chaupais dwell first on her radiant form, her ornaments and her jewelled throne, then retell her severe austerity and the boon by which she won Shiva as her husband, closing with the assurance that whoever recites it is granted wealth, family and happiness.

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Rama Chalisa

राम चालीसा

A chalisa in the forty-verse chaupai form, addressed to Shri Rama as Raghunatha and lord of the friendless, praising his compassion towards devotees, the mighty arm that slew Ravana, and the boundless power of his name, which Shiva, Shesha and the four Vedas are said to sing unceasingly. It is taken up in daily worship and at Rama Navami for protection and steadfast devotion.

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Rama Raksha Stotram

श्रीरामरक्षास्तोत्रम्

A protective hymn (kavacha) to Lord Rama by the sage Budha Kaushika, who is said to have received it in a dream from Shiva. After an opening dhyana, it invokes Rama to guard each part of the body, then extols His names and forms; its closing verses are among the most beloved in Rama devotion.

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Rudrashtakam

श्रीरुद्राष्टकम्

Eight verses in praise of Rudra-Śiva composed in Sanskrit by Tulsīdās and set in the Uttarakāṇḍa of the Rāmacaritamānasa, recited in Śiva worship across North India.

Stotra

Sai Baba Chalisa

साईं बाबा चालीसा

A devotional chalisa to Sai Baba of Shirdi that opens by bowing at his feet and then tells his story in verse: a boy of unknown birth and parentage who came to Shirdi and stayed, seen by devotees as Rama, Hanuman, Ganesha, Krishna, Shankara or an avatar of Dattatreya, and revered above all as the protector of the poor and the sorrowful. It is commonly recited on Thursdays.

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Sankat Mochan Hanuman Ashtak

संकटमोचनहनुमानाष्टक

An eight-verse Awadhi hymn by Goswami Tulsidas, each verse recalling a feat of Hanuman and closing with the refrain 'who in the world does not know your name, O remover of troubles (Sankat Mochan)'. Shipped with the closing doha and the 'Siyavar Ramchandra' surrender-refrain.

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Sankatanashana Ganesha Stotram

सङ्कटनाशनगणेशस्तोत्रम्

The twelve names of Gaṇeśa, recited at dawn, noon and dusk for the removal of obstacles.

Stotra

Santoshi Mata Chalisa

सन्तोषी माता चालीसा

A chalisa of forty chaupais to Santoshi Mata, goddess of contentment, opening with a doha of homage to Ganesha and Saraswati. Its verses hail her as Ganesha's daughter, picture her four-armed form, crowned and garlanded, riding her peacock, and ask her to dispel sorrow and want; it is recited above all on Fridays, during the vrat kept in her honour with its offering of jaggery and gram.

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Sarasvati Vandana

सरस्वतीवन्दना

The best-known prayer to Sarasvatī, goddess of learning and speech, recited by students before study.

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Saraswati Chalisa

सरस्वती चालीसा

A chalisa in praise of Saraswati, goddess of learning, speech and music, its chaupais framed by opening and closing dohas. The verses salute her four-armed form borne on the swan with the veena in hand, and recall the poets and sages whose wisdom is credited to her grace.

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Shiva Chalisa

शिव चालीसा

A chalisa of forty verses in praise of Shiva, opening with a doha to Ganesha in which the poet names himself Ayodhyadas and asks for the boon of fearlessness. Its chaupais dwell on Shiva's form, the crescent on his brow, serpent earrings, Ganga in his hair, the tiger skin and garland of skulls, Parvati at his left side, and on his rescue of the gods from Taraka and Jalandhara.

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Shiva Manasa Puja

शिवमानसपूजा

Mental worship of Śiva: every offering of a full pūjā is made in the heart, and the devotee's whole life becomes worship.

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Shiva Panchakshara Stotram

शिवपञ्चाक्षरस्तोत्रम्

A hymn whose verses unfold the five syllables na-ma-śi-vā-ya, traditionally attributed to Ādi Śaṅkarācārya.

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Shiva Tandava Stotram

शिवताण्डवस्तोत्रम्

A vigorous hymn of sixteen verses with a concluding phalashruti, traditionally attributed to Ravana, extolling Shiva's cosmic Tandava dance. Its dense alliterative Sanskrit, set to a galloping metre, evokes the very rhythm of Shiva's drum; it is among the most powerful and beloved of all Shaiva stotras.

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Shivaji Ki Aarti

शिवजी की आरती

The lamp-offering hymn to Shiva as Omkara, sung in temples and homes at the close of his worship. Its couplets dwell on his many faces and arms, his garlands of beads, forest flowers and skulls, his trident and tiger-skin, and declare Brahma, Vishnu and Sadashiva one within the syllable Om, while the refrain 'Om Jaya Shiva Omkara' returns after every couplet.

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Shri Brahma Ashtottara Shatanamavali

श्रीब्रह्माष्टोत्तरशतनामावलिः

The 108-name litany of Brahma (Skanda Purana, Brahma Khanda), recited at the Pushkar Brahma temple (the only major Brahma shrine in India), at yajna invocations, and at Vedic-study commencement rites. Opens with Brahma's consort-identity (Gayatri-pati, Savitri-pati, Saraswati-pati), the foundational creator epithets (Prajapati, Hiranyagarbha, Kamandalu-dhara, Pitamaha, Veda-garbha, Chatur-mukha), runs through trinity overlaps (Vishnu, Shankara, Govinda, Brahma as one face of the Brahman), names of sages whose lineage proceeds from him (Vasishtha, Narada), and closes with Vidhi, the cosmic ordainer.

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Shri Durga Ashtottara Shatanamavali

श्रीदुर्गाष्टोत्तरशतनामावलिः

The 108-name litany of Durga (variant-5 recension, Sanskrit Documents). Opens with the seven Matrikas (Brahmi, Maheshvari, Kaumari, Vaishnavi, Varahi, Indrani, Chamunda, names 1-7), then runs through Devi's consort-forms (Bhavani, Rudrani, Sharvani, Mridani), her demon-slaying epithets (Chanda-Munda-Pramathani, Mahishasura-Samharini, Raktabija-Pramathani, Dhumralochana-Samharini, names 48-52), and closes with the pan-Devi convergence (Mahakali, Bhairavi, Bhuvaneshvari, Tripurasundari).

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Shri Ganesha Ashtottara Shatanamavali

श्रीगणेशाष्टोत्तरशतनामावलिः

The 108-name litany of Shri Ganesha, recited at step 11 (archana) of the Shodashopachara puja, one name offered with each flower or akshat. Ganesha is invoked first in every Hindu rite as the remover of obstacles (Vighnaharta) and lord of beginnings; reciting his ashtottara before any undertaking is the classical practice.

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Shri Ganeshaji Ki Aarti

श्री गणेशजी की आरती

The most widely sung aarti to Ganesha, its refrain hailing him as the son of Parvati and Mahadeva. The verses recall his single tusk, four arms and mouse mount, the offerings of paan, flowers and laddus, and the boons he grants to the blind, the childless and the poor; the closing line bears the signature of the poet-saint traditionally credited with it.

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Shri Kali Ashtottara Shatanamavali

श्रीकाल्यष्टोत्तरशतनामावलिः

The 108-name litany of Kali, the standard archana for Kali Puja (the new-moon night of Kartika), Dipanvita Kalika Puja, Mahanisha (the great-night observance during Navratri), and tantric daily worship of Devi in her terrifying-grace aspect. Structured as a kakaradi-mala (every name begins with the letter क), a tantric mnemonic form.

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Shri Khatu Shyamaji Ki Aarti

श्री खाटू श्यामजी की आरती

The lamp-offering song for Shyam Baba of Khatu, set to the familiar 'Om Jaya' melody, its refrain returning after every verse. It pictures the jewelled throne and the whisk borne above him, the saffron robe, crown and flower garland, the incense and lamps, and the offerings of modak, kheer and churma, closing with the promise that whoever sings it receives the fruit the heart desires.

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Shri Krishna Ashtottara Shatanamavali

श्रीप्रेमामृतरसायनाख्याष्टोत्तरशतनामावलिः

The 108-name litany of Krishna in the Premamrita Rasayana recension composed by Shri Vallabhacharya, a Pushtimargi bhakti-bhava list saturated with Vrindavan-leela imagery (Yamuna, Vrindavan, gopis, Radha, the venu-flute). Recited at Janmashtami, on Wednesdays, during Ekadashi when paired with the Vishnu archana, and in daily seva in Pushtimargi temples.

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Shri Lakshmi Ashtottara Shatanamavali

श्रीलक्ष्म्यष्टोत्तरशतनामावलिः

The 108-name litany of Mahalakshmi, the standard archana recited during Diwali Lakshmi puja, Vaibhav Lakshmi vrat, Sharad Purnima, and Fridays of Margashirsha. Opens with cosmic-substance epithets (Prakriti, Vikriti, Vidya) and a long garland of Padma-prefixed names (the lotus motifs at 10-11, 41-52), closes with the all-Devi convergence (Navadurga, Mahakali, Brahma-Vishnu-Shivatmika, Bhuvaneshvari), Lakshmi as the wealth, dharma, and grace that pervades all forms of the Divine Mother.

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Shri Lalita Sahasranama

श्रीललितासहस्रनामस्तोत्रम्

The thousand names of Lalita Tripurasundari (Lalita Sahasranama), the supreme Goddess of the Shri Vidya tradition. It is revealed in the Brahmanda Purana, where the eight speech-goddesses (Vagdevatas) compose the hymn at the Mother's command, and the sage Hayagriva imparts it to Agastya.

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Shri Mahakali Mata Ji Ki Aarti

श्री महाकाली माता जी की आरती

An aarti to Mahakali, sung with the lamp before the Mother while devotees stand at her door bearing betel, coconut and flag. Its couplets hail her as Jagadamba, enthroned and lion-borne, bearing sword, skull-bowl and trident, who felled Raktabija, Shumbha, Nishumbha and Mahishasura, yet turns gentle towards her own; a short refrain returns after each one.

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Shri Narasimha Ashtottara Shatanamavali

श्रीनृसिंहाष्टोत्तरशतनामावलिः

The 108-name litany of Narasimha (variant 1 from Sanskrit Documents), the standard archana for Narasimha Jayanti (Vaishakha Shukla Chaturdashi), the Hiranyakashipu-vadha commemoration, and any rite invoking Narasimha as protector against fear and adversaries (the Sudarshana-Narasimha homa tradition). Sweeps Narasimha's ferocity (Mahasimha, Ugrasimha, Bhairavadambara, Karala, Vikarala, Mahadamshtra, Vajranakha), his demon-slaying identity (Hiranyaka-nishudana at 32, Daityantaka at 18, Surarighna at 34), and the Vaishnava convergence, closing with Trivikrama, Achyuta, Purushottama, Adhokshaja, and Parayana (the supreme refuge).

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Shri Nrisimha Bhagavana Ki Aarti

श्री नृसिंह भगवान की आरती

An aarti to Narasimha, the man-lion avatar of Vishnu, cast in the well-known 'Om Jaya Jagadisha Hare' pattern, with the refrain 'Om Jaya Narasimha Hare' returning after every verse. It recalls his bursting from the pillar to dispel fear and shelter his devotees, and closes with Brahma offering a garland while Shiva showers flowers.

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Shri Parvati Ashtottara Shatanamavali

श्रीपार्वत्यष्टोत्तरशतनामावलिः

The 108-name litany of Parvati, the standard archana for Mangala-Gauri vrat (Tuesdays of Shravana), Hartalika Teej, Gauri Puja before Ganesh Chaturthi, and the daily Gauri-Shankar puja. Opens with the supreme Devi epithets (Maheshvari, Mahadevi, Mahamaya) and Parvati's consort-aspect (Bhavani, Shankari), traces her births and roles (Kumarajanani at 8, Himachala-tanudbhava at 9, Menakatmaja at 91), runs through her Shakta convergences (Kali, Bhairavi, Chamunda, Durga, Lalita), closes with vivid iconographic compounds (raised hand-lotus, pulverizing Mahishasura, vermilion-musk tilaka).

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Shri Parvati Mata Ki Aarti

श्री पार्वती माता की आरती

A devotional aarti to Parvati, sung with the refrain 'Jaya Parvati Mata' returning after every verse. It hails her as the eternal Devi who grants auspicious fruit and rides the lion, who was called Sati and born in the house of Himalaya, and who slew the demons Shumbha and Nishumbha; it is sung as the lamp is waved at the close of her worship.

Stotra

Shri Rama Ashtottara Shatanamavali

श्रीरामाष्टोत्तरशतनामावलिः

The 108-name litany of Shri Rama, the standard archana recited at Ram Navami, every Tuesday and Saturday alongside Hanuman observance, and at the close of any Sundarkand or Ramcharitmanas path. Begins with the foundational identities (Rama, Ramabhadra, Ramachandra) and runs the arc of the Ramayana, Vishvamitra-priya (13), Tataka-antaka (31), Ahalya-shapa-shamana (44), Dushana-Trishira-hanta (35), Khara-dhvamsi (24), the Dashagriva-shiro-hara at 29, Vibhishana-paritrata (26), Setu-krit (83), closes with the supreme-Brahman epithets (parakasha, paratpara, paresha, paraga, para).

Stotra

Shri Sai Baba Aarti

श्री साईं बाबा आरती

A Hindi aarti sung as the lamp is waved before Sai Baba of Shirdi, hailing him as guru and dispeller of sorrow, calamity and fear. Its verses recall his miracles, the udi whose touch settles the mind, and his darshan as Rama, Krishna or Hanuman to seekers of many faiths, the refrain returning after each.

Stotra

Shri Sai Baba Ashtottara Shatanamavali

श्रीसाईबाबाष्टोत्तरशतनामावलिः

The 108-name litany of Shirdi Sai Baba, the standard archana recited on Thursdays (Sai Baba's designated day of worship), at Sai temples worldwide, and during the Sai Sansthan-organized Guruvar puja. Composed in the 20th century by Sai devotees and published widely under the title "Shri Sai Baba Archana".

Stotra

Shri Santoshi Mata Ashtottara Shatanamavali

श्रीसन्तोषीमातुरष्टोत्तरशतनामावलिः

The 108-name litany of Santoshi Mata, recited as the closing archana of the 16-Friday (Solah Shukravar) vrat, on every Friday of devotion, and during the Santoshi Mata katha. The deity's popular worship dates from the 1960s, there is no Puranic ashtottara; the list here is a community compilation that draws heavily on Durga/Kali namavalis and re-applies them to Santoshi Mata as a form of the Mother.

Stotra

Shri Saraswati Ashtottara Shatanamavali

श्रीसरस्वत्यष्टोत्तरशतनामावलिः

The 108-name litany of Saraswati, the standard archana for Saraswati Puja (Basant Panchami), Vidyarambham, and the navratri-ashtami "ayudha-puja" of books and instruments. Opens with the classical Vagdevi forms (Saraswati, Mahabhadra, Mahamaya, Varaprada, Sriprada) and the Padma-prefixed lotus epithets (6-11), runs through Devi's Shakta convergences (Mahakali at 25, Brahmi-Vaishnavi-Chamunda at 56-79, the demon-slaying epithets), and closes with the trinity-essence epithet "Brahma-Vishnu-Shivatmika".

Stotra

Shri Shiva Ashtottara Shatanamavali

श्रीशिवाष्टोत्तरशतनामावलिः

The 108-name litany of Shiva from the Shiva Rahasya (Gauri-Narayana samvada), the most widely-published Shaiva ashtottara. Recited at the archana step of every Shiva puja, Mahashivratri, Pradosh, the Shravan-month observance, and daily abhisheka, one name offered with each bilva leaf, flower, or akshat.

Stotra

Shri Sita Ashtottara Shatanamavali

श्रीसीताष्टोत्तरशतनामावलिः

The 108-name litany of Sita (variant 4, "Shri Sitayai Pativratayai"), the standard archana for Sita Navami (the celebrated birth-anniversary of Sita), the Rama-Sita marriage anniversary (Vivaha Panchami), Karva Chauth in some traditions, and the closing archana of any Ramayana path. Opens with the pativrata identity (Pativratayai, Maithili, Janakatmaja, Ayonija, Sita was found in a furrow, not born of a mother) and throughout emphasizes her dharma-anchored character, Dharmajna, Dharmacharini, Brahmacharini, Bhartru-vatsalya-bhushana, Rama-padanuvartini, closes with Raghava-priya, beloved of Rama.

Stotra

Shri Surya Ashtottara Shatanamavali

श्रीसूर्याष्टोत्तरशतनामावलिः

The 108-name litany of Surya (Vishvakarma's version from Narasimha Purana), the standard archana for Ratha Saptami, Chhath Puja, Makara Sankranti, the Sundays-month observance, and the daily Surya Namaskara at dawn. Opens with the foundational solar epithets (Aditya, Savitr, Surya, Khaga "sky-traveller", Pushan "nourisher") and traces Surya's cosmic functions, light-bringer (Timiraghna, Tapana, Bhaskara), Vedic deity (Rig-Yajus-Sama-bhavita at 36, Yajnesha, Mitra), giver of vitality (Pranada, Dhanada, Tarana "ferryman across"), and closes with Sahasranama-style universal epithets (Vishveshvara, Lokanatha, Savitri-vallabha).

Stotra

Shri Vishnu Ashtottara Shatanamavali

श्रीमहाविष्णोरष्टोत्तरशतनामावलिः

The 108-name litany of Mahavishnu drawn from the Mahabharata Narayanashtottarashatanamavali. Recited at the archana step of Satyanarayan vrat, Ekadashi pujas, and every Vaishnava observance, one name offered with each tulsi leaf or flower.

Stotra

Shri Vishnu Sahasranama

श्रीविष्णुसहस्रनामस्तोत्रम्

The thousand names of Vishnu (Vishnu Sahasranama), from the Anushasana Parva of the Mahabharata, where Bhishma imparts them to Yudhishthira from the bed of arrows. It is the most widely recited of all the sahasranama hymns, chanted especially on Ekadashi, on Saturdays, and during Vishnu and Satyanarayana worship.

Stotra

Shrimad Anjaneya Ashtottara Shatanamavali

श्रीमदाञ्जनेयाष्टोत्तरशतनामावलिः

The 108-name litany of Anjaneya (Hanuman), the standard archana for Hanuman Jayanti, Tuesday and Saturday observances, and any Sundarkand-path concluding ritual. Opens with the famous dhyana shloka (Manojavam maruta-tulya-vegam) and runs through Hanuman's Ramayana feats, leaping the ocean (39), burning Lanka (64), reviving Lakshmana with the Sanjeevani (50, 86), defeating Mahiravana (78), turning back Indrajit's Brahmastra (102), closing with the devotee-pledge: bearer of service to Sita-Rama's lotus feet.

Stotra

Sita Chalisa

सीता चालीसा

A chalisa in praise of Sita, opening with dohas and continuing in chaupai couplets that hail her as Janaka's daughter and Rama's beloved, recalling her rising from the earth and the svayamvara won by the breaking of Shiva's bow. Its opening dohas promise that whoever reads her glory finds all their affairs set right, and devotees sing it seeking her grace together with Rama's.

Stotra

Sita Mata Aarti

सीता माता आरती

An aarti to Sita, daughter of Janaka and beloved of Rama, its refrain returning after every verse as the lamp is circled. The stanzas hail her as mother of the world, dweller in Saketa, foremost among devoted wives who followed her lord from forest to forest, and the remover of fear for all who take refuge in her.

Stotra

Surya Chalisa

सूर्य चालीसा

A chalisa in praise of Surya, the sun, opening with a doha that pictures him golden-bodied and jewelled, seated in padmasana with conch and discus. Its chaupais heap up his many names, among them Savita, Bhaskara, Martanda, Aditya and Arka, and promise that those who sing the twelve names with love gain the four aims of life and are freed from sorrow, poverty and sin.

Stotra

Vaishno Devi Chalisa

वैष्णो देवी चालीसा

A chalisa of forty chaupais, framed by opening and closing dohas, addressed to Vaishno Devi of the Trikuta hills. Its verses recount her taking form from the joined power of Kali, Lakshmi and Saraswati, her penance, her flight from Bhairon and the pardon she granted him, and her abiding in the cave as the pindi worshipped there.

Stotra

Vishnu Chalisa

विष्णु चालीसा

A hymn of forty chaupai verses to Vishnu, opened by a doha of humble petition, praising his form in yellow silks with conch, discus and mace, recalling his descents as Matsya, Kurma, Varaha, Mohini and Rama, his rescue of devotees such as Dhruva and Prahlada, and closing with a plea for release from worldly bondage and a promise of ease to whoever reads or hears it. Traditionally recited on Thursdays and at Ekadashi.

Stotra

Vishwanathashtakam

विश्वनाथाष्टकम्

Eight verses to Śiva as Viśvanātha, Lord of the universe and of Kāśī (Vārāṇasī).

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