nine but 10.

India is a land of festivals, and among the most vibrant of them is Navrātri, which culminates in Dussehra. This festival, observed for nine nights and ten days, is not just a religious occasion but also a cultural celebration that unites devotion, tradition, and community life.

The Celebration of Navrātri

The word Navrātri literally means “nine nights.” It is dedicated to the worship of the Divine Mother in her various forms – Durga, Lakshmi, and Saraswati. Each set of three days honors one aspect of Shakti:

The first three days are devoted to Goddess Durga, symbolizing strength and the destruction of evil.

The next three days are for Goddess Lakshmi, the giver of prosperity, peace, and spiritual wealth.

The last three days honor Goddess Saraswati, representing wisdom, learning, and enlightenment.

Across India, the celebrations vary. In Gujarat, people perform garba and dandiya raas dances every night. In Bengal, Navrātri merges with Durga Puja, where grand idols of Durga slaying Mahishasura are worshipped with great devotion. In South India, households arrange Golu (Bommai Kolu) – artistic displays of dolls depicting gods, saints, and daily life.

The Culmination: Dussehra

On the tenth day, Dussehra (also called Vijayadashami) is celebrated. It symbolizes the victory of good over evil. Two major legends are associated with this day:

1. The victory of Lord Rama over Ravana – signifying the triumph of righteousness and dharma. In many parts of India, effigies of Ravana are burnt to remind people that arrogance and evil eventually fall.

2. The victory of Goddess Durga over Mahishasura – symbolizing the power of the feminine divine to overcome negative forces.

Why the Celebration Matter

Navrātri and Dussehra are more than mythological commemorations; they carry deep life lessons:

They remind us that evil, no matter how strong, can never withstand truth and virtue.

The worship of Durga, Lakshmi, and Saraswati teaches that life requires a balance of strength, prosperity, and knowledge.

The community gatherings, dances, and rituals strengthen social bonds and preserve cultural traditions.

Spiritually, the nine days are also seen as a time for self-purification, discipline, and renewal, with many people fasting, meditating, or engaging in devotional practices.

Navrātri and Dussehra together form a festival that celebrates life in all its dimensions – the spiritual, the cultural, and the moral. They remind us to conquer the “Ravana” within – the evils of ego, greed, and anger – and to let the divine qualities of courage, wisdom, and compassion guide our lives. That is why this festival continues to shine across centuries, filling hearts with joy and hope.

Navaratri: The 10-Day Festival of Durga, Lakshmi and Saraswathy

The Structure of the Ten Days

The worship of the divine feminine during Navaratri lasts for nine nights and ten days, culminating in Vijayadashami. Each set of three days is dedicated to one goddess:

1. First three days – Durga: invoked as the destroyer of evil, granting strength and courage.

2. Middle three days – Lakshmi: worshipped for prosperity and well-being.

3. Last three days – Saraswathy: honored for knowledge, wisdom, and arts.

The tenth day, Vijayadashami, signifies victory over ignorance and evil, and is considered auspicious for beginning new ventures or initiating children into education (Vidyarambham).

Colors and Symbolism

Each day of Navaratri is associated with a particular color, and devotees, especially women, observe the practice of wearing sarees or dresses of that day’s hue. Though the colors vary slightly by tradition, the most common pattern includes:

Day 1: Yellow (joy and energy)

Day 2: Green (prosperity)

Day 3: Grey (destruction of evil)

Day 4: Orange (courage)

Day 5: White (purity)

Day 6: Red (power)

Day 7: Royal Blue (richness)

Day 8: Pink (love and compassion)

Day 9: Purple (spiritual awakening)

This observance creates a sense of unity and collective celebration, particularly among women who gather daily in households or temples.

Slokas and Chants

During Durga’s days, verses from the Durga Saptashati / Devi Mahatmyam are recited: “Ya Devi Sarva Bhuteshu…” invoking the goddess in her many forms.

For Lakshmi, hymns like the Sri Suktam and Lakshmi Ashtottara Shatanamavali are chanted.

For Saraswathy, devotees recite the Saraswati Stotram or chant “Saraswati Namastubhyam, Varade Kaamaroopini”.

These recitations are often done collectively by women in the evenings, creating a spiritual community atmosphere.

Ritual Methods and Household Involvement

Unlike many Vedic rituals traditionally conducted by male priests, Navaratri puja is deeply rooted in the household sphere, often led by women. Some of the key practices include:

Kalasha Sthapana (Ghata Sthapana): On the first day, a pot filled with water and adorned with mango leaves and coconut is installed as a symbol of Shakti. Women decorate it with turmeric, kumkum, and flowers.

Alankara (Decoration): Women arrange Navaratri Golu (doll displays) in Tamil Nadu, Andhra Pradesh, and Karnataka, creating steps filled with deities, mythological scenes, and everyday village life figures.

Fasting and Offerings: Women observe fasts, prepare sundal (lentil dish), payasam, and prasadam to distribute among neighbors and visitors.

Inviting Little Girls (Kanya Puja): On the eighth or ninth day, young girls are worshipped as embodiments of the goddess, offered food, gifts, and respect.

Ayudha Puja: Tools, books, and instruments are cleaned, decorated, and placed before the goddess, symbolizing gratitude for livelihood and learning.

Women’s Central Role

Navaratri stands apart because it is largely women-centered in both performance and participation. Unlike daily household poojas—where men often take the role of chanting mantras or performing homas—here women are the leaders. They:

Organize the rituals and guest gatherings.

Take charge of arranging the Golu, decorating the kalasha, and cooking offerings.

Conduct devotional singing (bhajans) and storytelling (Harikatha, Devi Mahatmya reading).

Act as transmitters of tradition, teaching younger girls the customs and songs.

Men participate too, but as supporters: helping with decoration, singing, or attending processions. The sacred feminine space of Navaratri contrasts with the male-dominated yajnas and Vedic fire rituals.

Variations Across India

Bengal & East: Men build pandals, but women dominate household pujas with alpona (rangoli), preparing bhog, and singing ululu (auspicious sounds).

South India: Women exchange gifts (kumkum, bangles, turmeric) in a practice called Vettalai Pakku, reinforcing sisterhood.

Maharashtra & Gujarat: Women wear nine different sarees during the nine nights and lead Garba and Dandiya Raas dances around the goddess.

North India: The Kanya Puja ritual gives the highest reverence to little girls, again centering women’s sacredness.

A Unique Celebration of Shakti in the Home

Thus, Navaratri is not only about rituals but about restoring balance in household spirituality, where the feminine principle is honored not only in the goddess but also in women themselves. Unlike many rituals where men take precedence, Navaratri showcases women as the keepers of devotion, culture, and creativity.

Trinity.

Festivals of Durga, Lakshmi and Saraswathy: Celebrations Across India

India is a land of festivals, where religion and culture blend to create vibrant traditions. Among the most widely celebrated are the festivals dedicated to Durga, Lakshmi, and Saraswathy—the divine trinity symbolizing power, wealth, and knowledge. While each of these goddesses has her own special occasion, their worship often overlaps during the grand festival of Navaratri, celebrated across the country with regional variations.

Durga Puja: The Triumph of Good Over Evil

The worship of Durga is especially prominent in West Bengal, Assam, Odisha, Tripura, and Bihar. Here, the festival of Durga Puja marks the victory of the goddess over the buffalo demon Mahishasura. For Bengalis, Durga Puja is more than a religious observance; it is a cultural extravaganza. Gigantic artistic pandals (temporary shrines) house beautifully crafted idols of Durga with her children—Lakshmi, Saraswathy, Kartikeya, and Ganesha. Rituals such as pushpanjali, sandhi puja, and dhunuchi dance create a devotional yet joyous atmosphere. The festival concludes with immersion of the idols (visarjan) amidst processions, music, and chants of “Durga Ma ki jai!”

In northern India, Durga is worshipped during Navaratri as Durga Ashtami and Navami, often combined with Ramlila performances and Dussehra, which depicts the burning of Ravana’s effigy, symbolizing the triumph of righteousness. In Himachal Pradesh, the famous Kullu Dussehra brings together thousands to celebrate the goddess with local deities carried in procession.

In southern states like Tamil Nadu, Karnataka, and Andhra Pradesh, Durga is honored in the form of Navaratri Golu or Bommai Kolu, where households arrange artistic displays of dolls and idols, including scenes from mythology. Special pujas, music, dance, and community feasts accompany the worship of the goddess.

Lakshmi Puja: The Festival of Prosperity

Lakshmi, the goddess of wealth and prosperity, is worshipped in almost every Indian household. Her grandest festival is Diwali, particularly in north and western India. People clean and decorate their homes with rangoli, lamps (diyas), and flowers, believing that Lakshmi visits the cleanest and brightest house to bestow her blessings. Business communities perform Chopda Pujan or account book worship, marking the new financial year.

In Bengal, however, Lakshmi Puja is celebrated a few days after Durga Puja, on the full moon (Kojagari Purnima). Devotees stay awake all night, singing hymns and praying to the goddess for abundance and protection. In Odisha and Assam, Lakshmi Puja is also a major event, with rituals involving community gatherings, folk songs, and offerings of rice, coconuts, and sweets.

In south India, especially Tamil Nadu, Lakshmi is worshipped as part of the Varalakshmi Vratam (usually in August), when married women pray for the well-being of their families. Houses are decorated, kalashas (sacred pots) are adorned as symbols of Lakshmi, and elaborate feasts are prepared.

Saraswathy Puja: The Festival of Learning and Wisdom

Saraswathy, the goddess of learning, arts, and wisdom, is revered during the last days of Navaratri. In Tamil Nadu, Kerala, and Karnataka, the ninth day of Navaratri, known as Ayudha Puja, is dedicated to Saraswathy. Books, musical instruments, and tools are placed before the goddess and worshipped, symbolizing respect for knowledge and work. On the tenth day, Vijayadashami, children are initiated into learning through the ritual of Vidyarambham, where they write their first letters on rice or sand under the guidance of elders.

In West Bengal and eastern India, Saraswati Puja is celebrated separately during Vasant Panchami (January-February). Yellow flowers, sweets, and fruits are offered, and students pray to excel in studies. Schools and colleges organize special events, and people wear yellow as it is considered auspicious.

In northern states, Saraswathy is also worshipped during Vasant Panchami, with kites flying high in the sky symbolizing joy and new beginnings.

A Pan-Indian Celebration of Shakti

Though celebrated differently in various states, the worship of Durga, Lakshmi, and Saraswathy conveys a common message: the importance of strength, prosperity, and wisdom in human life. The regional diversity in rituals—be it Bengal’s artistic Durga Puja, Gujarat’s vibrant Garba dances, Tamil Nadu’s Navaratri Golu, Kerala’s Vidyarambham, or North India’s Diwali Lakshmi Puja—together weave a colorful cultural fabric that unites India in devotion.

The festivals of Durga, Lakshmi, and Saraswathy are not only religious events but also reflections of India’s social, cultural, and artistic spirit. They symbolize the eternal values of courage, abundance, and knowledge, which guide people in their everyday lives. The unique regional practices show India’s diversity, while the shared reverence for these goddesses reveals its unity. Truly, these celebrations stand as shining examples of how faith, art, and community life merge seamlessly in Indian tradition.

Seven s padathi.

 The Indrāṇī Saptaśatī is a relatively less-known but deeply revered work in the Śākta tradition of Hinduism. Let me give you a clear picture of it:

1. What the title means

Indrāṇī is another name of Goddess Śacī, the consort of Indra (the king of the devas). However, in this text, Indrāṇī is taken more broadly as a name of the Divine Mother in her supreme form of Śakti.

Saptaśatī literally means “seven hundred.” The name suggests a work of 700 verses, modeled after the Devī Mahātmyam (also known as the Durgā Saptaśatī or Caṇḍī Saptaśatī), which has 700 verses in 13 chapters.

2. Nature of the work

It is a Tantric text belonging to the Śākta āgama literature.

It is structured as a stotra-stuti (hymnal) in praise of the Goddess, combining elements of mantra, yantra, and kavaca (protective invocations).

Like the Devī Mahātmyam, it is recited for protection, prosperity, removal of misfortunes, and ultimately for attaining grace of the Divine Mother.

3. Philosophical context

While the Durgā Saptaśatī is part of the Mārkaṇḍeya Purāṇa, the Indrāṇī Saptaśatī is more closely connected to the Tantric paddhatis (ritual manuals).

The Goddess is invoked as Mahāmāyā, Parāśakti, and also in her Śacī/Indrāṇī aspect, showing her power even above Indra, Brahmā, and Viṣṇu.

The text emphasizes the unity of all forms of Devī—Durgā, Lakṣmī, Sarasvatī, Kālī, Bhuvaneśvarī—under the supreme Śakti.

4. Usage in practice

Recited especially in Śākta temples and homas where Devi is worshipped as Mahāmāyā or Indrāṇī.

Believed to give śānti (peace), rakṣā (protection), and puṣṭi (prosperity).

Used during Navarātri in some traditions as a complement to or substitute for the Durgā Saptaśatī.

Specific nyāsas (assignments of mantras on the body), kavacas (armour hymns), and hṛdaya stotras (core prayers) are embedded in the work, making it a prayoga grantha (practical manual for ritualists).

5. Comparisons

Durgā Saptaśatī (Caṇḍī Pāṭha): canonical, purāṇic, mythic narration (Mārkaṇḍeya Purāṇa).

Indrāṇī Saptaśatī: tantric, esoteric, more focused on mantric and ritual power rather than narrative.

Both are considered saptaśatīs, and both are chanted for Devi’s grace.

6. Availability

The text survives in tantric paddhati collections like Śākta Prakriyā, Tantrasāra, etc.

Printed editions exist in Sanskrit with commentaries, though they are rare and usually circulated in Śākta circles in Bengal, Assam, and Odisha.

It is not as widely available or recited in the mainstream as the Caṇḍī Saptaśatī, which is part of the purāṇic corpus.

In short: the Indrāṇī Saptaśatī is a Tantric śākta stotra text of 700 verses, invoking the Supreme Goddess in her Indrāṇī/Śakti aspect. It is parallel in form to the Devī Mahātmyam (Durgā Saptaśatī), but its purpose is more ritual-esoteric, widely used in specialized Śākta traditions rather than in general pūjā practice.

 a chapter-wise outline of the Indrāṇī Saptaśatī as preserved in the Śākta paddhati traditions. Since it is modeled after the Caṇḍī Saptaśatī, its divisions are familiar, but the focus is esoteric, tantric, and mantric rather than purāṇic narrative.

Indrāṇī Saptaśatī – Structure and Chapter-wise Summary

Preliminaries

Āvāhana (invocation): Nyāsas (assigning mantras on different parts of the body), dhyāna-śloka (visualizing the Goddess), and kavaca (protective armour verses).

Goddess invoked as Indrāṇī – Mahāmāyā – Parāśakti, resplendent beyond the devas.

Chapter 1–3: Māhātmya & Stuti

These introduce the Goddess as the supreme śakti who empowers even Brahmā, Viṣṇu, and Śiva.

The devas led by Indra are shown surrendering to Indrāṇī in times of crisis.

Contains praises (stutis) glorifying her as:

Mother of the universe (jagat-jananī)

Source of all mantras

Protector of dharma

The one who wields māyā and grants mokṣa

Chapter 4–6: Kavaca, Hṛdaya, Stotra

Indrāṇī Kavaca: protective verses that shield devotees from fear, disease, enemies, and planetary afflictions.

Indrāṇī Hṛdaya: secret bija-mantra essence of the Goddess, meant for japa and meditation.

Stotras: poetic hymns that describe her lotus-face, her weapons, her lion-vāhana, and her compassion to devotees.

Chapter 7–9: Mantric Core

Lists of bīja-mantras of different forms of Indrāṇī.

Association with cakras (mystic diagrams).

Usage for japa, pūjā, homa, and prayoga (applied ritual).

Here she is identified with Durgā, Kālī, Bhuvaneśvarī, Lakṣmī, Sarasvatī, Śacī, showing her unity as Parāśakti.

Chapter 10–12: Saptaśatī Verses Proper

The central 700 verses of praise appear in this segment.

Structured in the form of nāma-stotras (hundreds of names and attributes strung together in verse).

Some verses praise her cosmic roles (creator, sustainer, destroyer), others her protective power (removing graha-doṣa, curing ailments, granting progeny).

Includes refrains like “Jaya Jaya Indrāṇi, Jaya Mahāmāye” that echo the refrain “Ya devī sarvabhūteṣu” of the Caṇḍī.

Chapter 13: Phalaśruti

Concluding section describing the benefits of reciting the text.

Daily recitation ensures:

Protection from untimely death, disease, and enemies

Fulfillment of desires (wealth, progeny, fame)

Spiritual upliftment and final union with the Goddess

Declares the text equal in merit to reciting the Vedas and performing great yajñas.

Key Differences from the Caṇḍī Saptaśatī

Caṇḍī: narrative form (mythological episodes of Mahiṣāsura, Śumbha-Niśumbha, etc.).

Indrāṇī: non-narrative, purely stotra-mantric, more suited for ritual recitation.

Caṇḍī: purāṇic origin (Mārkaṇḍeya Purāṇa).

Indrāṇī: tantric paddhati origin (Śākta Āgama literature).

Caṇḍī: more popular, public Navarātri use.

Indrāṇī: more esoteric, temple and initiate use.

L To sum up: the Indrāṇī Saptaśatī is structured like a devotional-ritual manual of 13 chapters, starting with kavaca and nyāsa, leading into the 700-verse praise, and ending with phalaśruti. It is more mantric and esoteric than the purāṇic Caṇḍī.

The picture.

The story of the picture. Awe inspiring. 

 This picture has been posted by me before.

Posting again today because of a request received a lady from Bangladesh,  who wanted to see the picture but could not find it.

This is after my 15 year old mother ran into Gurudev's (Rabindranath Tagore) room to tell him that she has passed the matriculation exam. At which Rabindranath Tagore's first reaction was "

ওরে বাবা, তুই তো আমার চেয়েও বড় পন্ডিত হয়ে গেলি". Meaning 'ohh boy. You became a bigger pundit than even myself.'

She then requested Rabindranath Tagore to please agree to come out for a group photo, since a lot of people are waiting outside for a chance to have a picture taken with him, perhaps for the last time, since he was ailing and might not survive the rest of the year.

The were barred from approaching Tagore. His grand daughter used to control the access to his home in Uttarayan.

It usually did not prevent my mother, since she was tom boyish, could dodge the sentries and the grand daughter, and Tagore himself liked her to visit him any time.

So, the elders congregated outside and requested my mother to not just tell him about her passing the mayric exam, but also to request him to come out for a last picture with the elders, who will be waiting outside.

So my mother asked her 'Gurudev' if he would please come out once for a group picture with the elders, who were waiting outside.

Gurudev immediately agreed, although he was not keeping well. His grand daughter could not go against gurudev. He slowly walked outside, supported by helpers, and sat down in a chair placed for him.

He asked my mother to sit at his feet.

And thus, this picture was taken. The real group picture has many people. But my mother asked me to crop and enlarge this cutout from the original.

I hope the lady from Bangladesh finds this post.

The seed.

 Like all Sri shankaracharya stotras this is magical too. It creates a flow that captivates the mind to want to learn it. The seed of knowledge so to say. 

The Vedasāra Śiva Stotram, attributed to Ādi Śaṅkarācārya, is a hymn that celebrates Lord Śiva as the supreme reality, the source of creation, the sustainer of the world, and the ultimate refuge of all beings.

The stotram begins by portraying Śiva in his majestic, awe-inspiring form: the Lord of beings, destroyer of sins, clothed in an elephant’s hide, with the sacred river Gaṅgā flowing from his matted locks. He is the five-faced Lord, the three-eyed one whose eyes are the sun, moon, and fire, radiating eternal bliss. Adorned with sacred ash, riding the bull, and accompanied by Bhavānī (Pārvatī), Śiva is beyond all material qualities, yet present in every aspect of creation.

The hymn then shifts from describing Śiva’s external form to his inner essence. He is the supreme Self, the primal seed of the universe, beyond desire, beyond form, and realized through the sacred syllable Om. From him the world arises, by him it is sustained, and in him it dissolves. He is beyond the five elements and the three states of experience—waking, dreaming, and deep sleep—residing in the “fourth” state (turīya), which is pure consciousness and bliss.

The devotee offers repeated salutations to this cosmic Lord whose nature is knowledge, bliss, and pure existence. Śiva is both the personal God, wielding the trident and protecting his devotees, and the impersonal Absolute, beyond duality, the light of all lights. He alone creates, sustains, and dissolves the universe.

Finally, the stotram concludes with the recognition that everything—moving and unmoving, all beings and all worlds—arises from Śiva, rests in him, and merges back into him. He is the Liṅga-svarūpa, the eternal symbol of the Supreme, embodying both the manifest and the unmanifest universe.

In essence: The Vedasāra Śiva Stotram is both a devotional prayer and a philosophical declaration. It praises Lord Śiva not just as a deity with divine attributes, but as the very ground of existence—timeless, formless, infinite, and yet accessible to the devotee’s love and surrender.

The Essence of Vedasāra Śiva Stotram

Lord Śiva is remembered in the Vedasāra Śiva Stotram not only as a divine figure, but as the very heart of existence itself. The hymn begins with vivid images—the Lord of all beings, clothed in the skin of an elephant, crowned with flowing Gaṅgā, his matted locks radiant with moonlight. His five faces watch over the directions, his three eyes shine as the sun, moon, and fire, and his body is adorned with holy ash. Here is the great God—majestic, yet compassionate—riding the bull, with Bhavānī by his side.

But the stotram does not stop at outer forms. It leads us deeper. Śiva is the seed of the universe, the source from which everything springs, the one who sustains all, and the final refuge into which all returns. He is beyond qualities, beyond time, beyond the five elements, beyond even the states of waking, dreaming, and deep sleep. He is the “fourth,” the state of pure awareness, blissful and unchanging.

As the hymn unfolds, the devotee bows again and again—namaste, namaste—to the one who is the light of all lights, the cause of all causes, the eternal and unborn. Śiva is not limited to form or image; he is the boundless reality pervading the cosmos. Yet, he is also the personal Lord, carrying the trident, dwelling with Pārvatī, destroying the bondage of his devotees, and showering his endless compassion.

Finally, the stotram reminds us: all that we see—moving and unmoving, high and low, vast and subtle—comes from Śiva, lives in him, and merges back into him. He is the Liṅga-svarūpa, the eternal principle behind creation and dissolution, the symbol of the infinite hidden in the finite.

Thus, the Vedasāra Śiva Stotram is both devotion and philosophy. It teaches us to see in Śiva not only the Lord who protects and blesses, but also the absolute truth—timeless, formless, beyond duality. To remember him is to rise above fear, to rest in peace, and to know the eternal joy of the Self.

 In short: This stotram is a gentle path—from worship of Śiva’s outer beauty to realization of his inner essence. It invites us to bow, to surrender, and finally to awaken to the truth that Śiva is not separate from us—he is the Self shining within.

वेदसार शिव स्तोत्रम्

(Vedasāra Shiva Stotram)

---

Devanāgarī:

पशूनां पतिं पापनाशं परेशं

गजेन्द्रस्य कृत्तिं वसानं वरेण्यम् ।

जटाजूटमध्ये स्फुरद्गाङ्गवारिं

महादेवमेकं स्मरामि स्मरारिम् ॥

महेशं सुरेशं सुरारातिनाशं

विभुं विश्वनाथं विभूत्यङ्गभूषम् ।

विरूपाक्षमिन्द्वर्क वह्नित्रिनेत्रं

सदानन्दमीडे प्रभुं पञ्चवक्त्रम् ॥

गिरीशं गणेशं गले नीलवर्णं

गवेन्द्राधिरूढं गुणातीतरूपम् ।

भवं भास्वरं भस्मना भूषिताङ्गं

भवानीकलत्रं भजे पञ्चवक्त्रम् ॥

शिवाकान्त शंभो शशाङ्कार्धमौले

महेशान शूलिन् जटाजूटधारिन् ।

त्वमेको जगद्व्यापको विश्वरूपः

प्रसीद प्रसीद प्रभो पूर्णरूप ॥

परात्मानमेकं जगद्बीजमाद्यं

निरीहं निराकारमोङ्कारवेद्यम् ।

यतो जायते पाल्यते येन विश्वं

तमीशं भजे लीयते यत्र विश्वम् ॥

न भूमिर्न चापो न वह्निर्न वायुर्

न चाकाश आस्ते न तन्द्रा न निद्रा ।

न चोष्णं न शीतं न देशो न वेषो

न यस्यास्ति मूर्तिस्त्रिमूर्ति तमीडे ॥

अजं शाश्वतं कारणं कारणानां

शिवं केवलं भासकं भासकानाम् ।

तुरीयं तमःपारमाद्यन्तहीनं

प्रपद्ये परम् पावनं द्वैतहीनम् ॥

नमस्ते नमस्ते विभो विश्वमूर्ते

नमस्ते नमस्ते चिदानन्दमूर्ते ।

नमस्ते नमस्ते तपोयोगगम्य

नमस्ते नमस्ते श्रुतिज्ञानगम्य ॥

प्रभो शूलपाणे विभो विश्वनाथ

महादेव शम्भो महेश त्रिनेत्र ।

शिवाकान्त शान्त स्मरारे पुरारे

त्वदन्यो वरेण्यो न मान्यो न गण्यः ॥

शम्भो महेश करुणामय शूलपाणे

गौरीपते पशुपते पशुपाशनाशिन् ।

काशीपते करुणया जगदेतदेक-

स्त्वं हंसि पासि विदधासि महेश्वरोऽसि ॥

त्वत्तो जगद्भवति देव भव स्मरारे

त्वय्येव तिष्ठति जगन्मृड विश्वनाथ ।

त्वय्येव गच्छति लयं जगदेतदीश

लिङ्गात्मकं हर चराचरविश्वरूपिन् ॥

---

IAST / Transliteration:

paśūnāṃ patiṃ pāpanāśaṃ pareśaṃ

gajendrasya kṛttiṃ vasānaṃ vareṇyam |

jaṭājūṭamadhye sphuradgāṅgavāriṃ

mahādevamekaṃ smarāmi smarārim ||1||

maheśaṃ sureśaṃ surārārtināśaṃ

vibhuṃ viśvanāthaṃ vibhūtyaṅgabhūṣam |

virūpākṣamindvarkavahnitrinetraṃ

sadānandamīḍe prabhuṃ pañcavaktram ||2||

girīśaṃ gaṇeśaṃ gale nīlavarṇaṃ

gavendrādhirūḍhaṃ guṇātītarūpam |

bhavaṃ bhāsvaraṃ bhasmanā bhūṣitāṅgaṃ

bhavānīkalatraṃ bhaje pañcavaktram ||3||

śivākānta śambho śaśāṅkārdhamaule

maheśāna śūlin jaṭājūṭadhārin |

tvameko jagadvyāpako viśvarūpaḥ

prasīda prasīda prabho pūrṇarūpa ||4||

parātmānamekaṃ jagadbījamādyaṃ

nirīhaṃ nirākāramoṅkāravedyam |

yato jāyate pālyate yena viśvaṃ

tamīśaṃ bhaje līyate yatra viśvam ||5||

na bhūmirna cāpo na vahnirna vāyur

na cākāśamāste na tandrā na nidrā |

na cōṣṇaṃ na śītaṃ na deśo na veṣo

na yasyāsti mūrtistrimūrti tamīḍe ||6||

ajaṃ śāśvataṃ kāraṇaṃ kāraṇānāṃ

śivaṃ kevalaṃ bhāsakaṃ bhāsakānām |

turīyaṃ tamaḥpāramādyantahīnaṃ

prapadye paraṃ pāvanaṃ dvaita hīnam ||7||

namaste namaste vibho viśvamūrte

namaste namaste cidānandamūrte |

namaste namaste tapoyogagamya

namaste namaste śrutijñānagamya ||8||

prabho śūlapāṇe vibho viśvanātha

mahādeva śambho maheśa trinētra |

śivākānta śānta smarāre purāre

tvadanyo vareṇyo na mānyo na gaṇyaḥ ||9||

śambho maheśa karuṇāmaya śūlapāṇe

gaurīpate paśupate paśupāśanāśin |

kāśīpate karuṇayā jagadetadekastvaṃ

haṃsi pāsi vidadhāsi maheśvaro’si ||10||

tvatto jagadbhavati deva bhava smarāre

tvayy eva tiṣṭhati jaganmṛḍa viśvanātha |

tvayy eva gacchati layaṃ jagadetadīśa

liṅgātmakam hara carācaraviśvarūpin ||11||

O Lord of beings, crowned with Gaṅgā’s stream,

Your matted locks hold the moon’s cool gleam.

With eyes of fire, of sun, of night,

You guard the worlds with endless light.

O rider of the bull so strong,

Destroyer of sorrow, to You I belong.

Clothed in ash, beyond all form,

You are the stillness, the eye of the storm.

From You the stars and rivers rise,

In You they rest, to You they fly.

Beyond all time, beyond all name,

The seed, the source, the deathless flame.

O Śambhu, tender, fierce, and kind,

You dwell within the seeker’s mind.

To You I bow, to You I call,

O Self of selves, O Lord of all.

Joy of uriyadi.

 Uriyadi Utsavam – A Festival of Joy and Devotio

Uriyadi Utsavam is a unique and joyous festival celebrated in many parts of South India, particularly in Tamil Nadu, during Krishna Jayanthi (the birthday of Lord Krishna). The word Uriyadi literally means “breaking the pot tied on a rope,” and the festival is a delightful combination of devotion, tradition, and play.

The central ritual involves hanging an earthen pot (uri) high up, filled with butter, curd, milk, jaggery, or other delicacies that Lord Krishna loved. Groups of young men and children try to break the pot using a stick while others swing it up and down or smear the players with water and colors. The scene beautifully recreates the childhood pranks of Krishna, who, along with his friends, used to steal butter from pots in Gokulam.

The Uriyadi Utsavam is not just a playful event but also a symbolic act of devotion. It reminds devotees of Krishna’s simplicity, innocence, and his mischievous love for butter. Breaking the pot represents the breaking of the ego and reaching the divine sweetness hidden within. It also emphasizes teamwork, unity, and the joy of collective effort, much like Krishna and his cowherd friends.

The utsavam is usually accompanied by folk songs, drums, and temple festivities. Streets come alive with processions of Krishna idols, decorated with flowers and ornaments. In villages, the entire community gathers to watch the Uriyadi, cheering the participants with enthusiasm. In some places, traditional martial arts, dances, and dramas depicting episodes from Krishna’s life are also performed, turning the festival into a cultural extravaganza.

Uriyadi Utsavam is more than a festival—it is a celebration of togetherness. It brings people of all ages to the same place, blurring differences of class or background. Children learn stories of Krishna’s childhood, elders recall their own participation in Uriyadi, and the younger generation continues the tradition with renewed energy.

Uriyadi Utsavam is a vibrant expression of devotion, joy, and cultural heritage. It preserves the playful spirit of Krishna while reminding devotees of deeper spiritual lessons. The clapping, cheering, and laughter that fill the air during Uriyadi echo the timeless message that divinity is not only in solemn rituals but also in play, joy, and shared happiness.

 Kesara chandan tilak viraje, mukut viraje sheesh

2. Murali bajave bansuri madhur, sabko mohne wale

3. Pitambar peet vastra sobhit, vanmala tan pyari

4. Shyam sundar gopala nandlala, gopangan ke praan

5. Mor mukut banmaali dharata, nainan mein prem umange

6. Vrindavan mein ras rachata, sab bhakta mann harata

Krishna’s forehead glows with saffron–sandal paste tilak, and a shining crown adorns His head.

He plays the sweet flute, enchanting the hearts of all beings.

Dressed in yellow garments, with a forest garland on His chest, His form shines with graceThe dark-hued beautiful Gopala, darling son of Nanda, is the very life of the Gopis.

A peacock feather decorates His crown; in His eyes overflows divine love and playfulness.

In Vrindavan He enacts divine sports (rasa lila), stealing the minds of all devotees.