List of sorts.

 Many Sanskrit works across the Vedas, Puranas, Itihasas, and later devotional literature glorify Lord Vishnu in various forms such as Narayana, Vasudeva, Krishna, Rama, Trivikrama, Hari, and Govinda.

Here’s a categorized list of important stotras, hymns, and texts that describe Lord Vishnu,  with their authors or origins:

1. Vedic and Upanishadic Hymns

Work Description / Context Author / Source

Purusha Sukta Describes the cosmic form of Vishnu as the Supreme Being who pervades all creation. Rig Veda (10.90)

Narayana Sukta Declares Narayana as the Supreme Brahman dwelling in the heart and cosmos. Taittiriya Aranyaka

Vishnu Sukta Praises Vishnu’s three strides and cosmic supremacy. Rig Veda (1.154)

Shri Sukta Hymn to Mahalakshmi, consort of Vishnu. Rig Veda 

Vishnu Gayatri "Om Narayanaya Vidmahe, Vasudevaya Dhimahi, Tanno Vishnuh Prachodayat." Vedic tradition (Smriti)

2. Itihasas (Epics)

Work Description Author

Vishnu Sahasranama 1000 names of Vishnu chanted by Bhishma to Yudhishthira. Mahabharata (Anushasana Parva) – by Vyasa

Gita Govinda Devotional poetry describing Krishna’s divine love with Radha. Jayadeva

Bhagavad Gita Krishna’s discourse revealing the divine nature of Vishnu. Vyasa

Rama Nama Stotras Various hymns praising Vishnu as Rama. Traditional / Valmiki lineage

 3. Puranas

Work Description Author / Compiler

Vishnu Purana One of the 18 Mahapuranas entirely dedicated to Lord Vishnu. Sage Vyasa

Bhagavata Purana (Srimad Bhagavatam) Devotional stories and philosophy centered on Krishna (Vishnu). Vyasa

Garuda Purana Describes cosmology, Vishnu worship, and afterlife. Vyasa

Padma Purana Contains Vishnu, Rama, and Krishna stotras. Vyasa

Varaha Purana Focuses on Vishnu’s Varaha (boar) incarnation. Vyasa4.

 Classical Stotras and Kavya Works

Work Description Author

Vishnu Stuti / Vishnu Stotram General hymns praising Vishnu. Various sages

Vishnu Dhyana Sopanam 12 verses meditating on Bhagavan Vishnu. Vedanta Desika

Sri Stuti / Nyasa Dasakam / Hayagriva Stotram Various hymns describing Vishnu and his consort. Vedanta Desika

Dashavatara Stotram Ten incarnations of Vishnu praised poetically. Jayadeva (in Gita Govinda) and Vedanta Desika (separate works)

Narayaneeyam Condensed essence of the Bhagavatam glorifying Krishna/Vishnu. Melpathur Narayana Bhattathiri

Mukunda Mala Stotra Devotional hymn invoking Vishnu’s grace. Kulasekhara Alvar

Lakshmi Narayana Hrudayam Meditation on Vishnu and Lakshmi as inseparable. Padma Purana

5. Alvar and Bhakti Literature

Work Description Author

Nalayira Divya Prabandham 4000 Tamil hymns sung by the 12 Alvars describing Vishnu and his temples. 12 Alvars (esp. Nammalvar, Andal, Periyalvar, Kulasekara Alvar)

Tiruppavai 30 verses of devotion to Krishna (Vishnu). Andal

Periya Tirumozhi / Tiruvaymoli Philosophical hymns on Vishnu’s omnipresence and compassion. Tirumangai Alvar / Nammalvar

 6. Later Sanskrit and Regional Works

Work Language / Region Author

Raghuvamsha (Rama as Vishnu) Sanskrit epic Kalidasa

Krishna Karnamrita Sanskrit Bilahari / Bilvamangala Thakura

Bhakti Rasamrita Sindhu Sanskrit Rupa Goswami (Gaudiya Vaishnava)

Sri Vishnu Puranam (commentaries) Sanskrit Parashara

Sri Vaikuntha Gadyam / Sri Stotra Ratnam Sanskrit Ramanujacharya

Harivamsa Sanskrit, supplement to Mahabharata describing Vishnu’s incarnations. Vyasa

A little prayer.

Bhagavaddhyana sopanam.

The hymn is addressed to Ranganātha (the Lord of the shrine at Śrīrangam) and describes His divine form, from the feet up to the crown, as a sequence of contemplative “steps” by which the devotee’s mind ascends in loving meditation. 

The idea is that by meditating on each “step”  with devotion, one progresses towards union, or deeper communion, with the Lord. The hymn thus has the dual function of poetic devotion and devotional meditation aid.

According to commentary, the structure resembles the Tamil hymns of the Āḻvārs (especially the famous one by Tiruppāṇ Āḻvār) describing the Lord’s form in ascending contemplation. 

1. Invocation / introductory praise

2. Feet of the Lord

3. Ankles / legs

4. Thighs / up to the navel

5. Chest / heart region

6. Hands / arms

7. Face / eyes

8. Crown / headdress region

9. Summary of the vision of the Lord

10. Expression of the devotee’s absorption and aspiration

11. Phala-śruti (fruit/result of reciting/meter of the hymn)

12. (Sometimes the concluding verse is part of the phala-śruti or farewell)

In the commentary, one finds that the devotee’s mind starts at the Lord’s lotus feet → then anklebones → thighs → navel (nabhi) → chest (vakṣa) → hands → face → crown (kiṛīṭam) in ascending order. 

 a few selected verses  with explanation 

Verse 2 (on the Lord’s feet)

“The lotus-feet of the Lord … the starting point of my meditation…” (paraphrase)

Meditating on the lotus-feet is traditional in Vaiṣṇava bhakti as the first point of surrender (pāda-sevanā). The hymn points out that by contemplating even the feet one obtains relief from anxieties and attains like the Lord’s lotusc-like feet.

Verse 3 (on the anklebones / legs)

“When I behold the divine form of the Lord … His anklebones which carried Him swiftly like a messenger … we are freed from the cycle of birth and death” 

Here the devotee imagines the Lord’s ankles as swift locomotors, implying that with His grace one need not ‘go’ through repeated births.

Verse 5 (on the chest region)

“The chest of the Lord on which Śrī Lakṣmī resides … the jewel-garlanded middle region … I contemplate for long…” (paraphrase)

The chest (vakṣa) region is where the Lord’s consort resides, the precious srīvatsa mark appears, the ornaments, garlands, etc. The devotee’s meditation is drawn there as the seat of divine presence and grace.

Verse 10 (summary of the ascending vision)

“My mind touches His lotus-feet, then ascends to the anklebones, then rests on the majestic thighs, reaches His navel-lotus, settles on the chest, revolves around His hands, drinks the nectar of the face’s vision and finally rests upon His crown (kiṛīṭa)…” 

This verse succinctly describes the ladder (sopānam) of meditation, from feet → crown, showing the devotee’s progress. Commentators highlight that the devotee imagines herself/himself like a young girl in love, lost in the Lord’s beauty. 

Verse 12 

“May this Bhagavad Dhyāna Sopānam yield to me firm devotion, delivered from sorrow, with purified mind and uninterrupted service to the Lord…” (paraphrase)

Here the hymn ends with the phala-śruti / benediction: if one recites with pure mind and services the Lord, one will attain the desired union.

For devotees of the Sri Vaishnava tradition, this hymn serves as a meditative tool: one slowly contemplates each part of the Lord’s form, fostering bhakti (devotion) and surrender (prapatti).

The structure is such that external worship and internal meditation align: as one sees the deity’s form in temple darśana, one can reflect internally using the steps described

It emphasises that devotion is not merely external ritual but internal ascent: from the feet (lowest part) to the head (crown) symbolizes the inward ascent from service → absorption → union.

The hymn is composed in beautifully crafted Sanskrit, and yet the devotional tone is intimate, personal and poetic. The commentary notes the poet’s mood is akin to the love-struck young maiden enamoured of the Lord. 

Yet again.

pAdAmbhojam spRSati bhajate ranganAthasya janghAm Uru-dvandve vilagatiSanair Urdhvam abhyeti nAbhim | vakshasyAste valati bhujayor-mAmikeyam manIshA vaktrAbhikhyAm pibati vahate vAsanAm mauLi-bandhe || 

My mind dwells on the sacred Lotus Feet of Lord Ranganatha, then moves to enjoy the darsana of His ankles, then rests well on the enjoyment of His majestic thighs, reaches His nabhI-kamalam, gets set on the vaksha-sthalam, revolves around His majestic hands, drinks the nectar of the darSanam of His beautiful face, and sets finally on His kirItam.

Verses 2-9: Each verse focuses on a specific part of Lord Ranganatha's reclining form in Srirangam, allowing the devotee to mentally ascend and appreciate His beauty limb by limb.

Feet (Sloka 2): Meditation begins on the lotus feet of the Lord.Ankles/Shins (Sloka 3): The mind then moves to the ankles and shins.Thighs and Garment (Sloka 4, 5): The focus shifts to the majestic thighs and the silk garment he wears.Navel (Sloka 6): The devotee contemplates the Lord's navel, which is seen as the origin of the universe.Hands (Sloka 7): The description covers his beautiful hands, one of which offers protection (abhaya hastam), capable of granting moksham (salvation).Chest (Sloka 8): The mind then rests on his chest (vaksha-sthalam), the dwelling place of Goddess Mahalakshmi.Face and Crown (Sloka 9): Finally, the meditation reaches the Lord's beautiful face and his divine crown (kiritam).Verse 10: This verse recapitulates the eight major parts of the body contemplated and offers a new interpretation of Ashtanga-yogam (the eight limbs of yoga) as this form of devotional meditation.Verse 11: This stanza describes the utsava-murti (processional deity) of Lord Ranganatha, who stands with his consorts, and states that what was seen in Srirangam now resides in the composer's heart.Verse 12 (Phala-sruti): The concluding verse promises that reciting and reflecting on this stotram with devotion can confer eternal and unswerving bhakti (devotion), helping devotees "ascend" to the level of realization that yogis achieve only through intense effort. 

This great Lord Ranganatha who is resting on Adi-Sesha, and whose hands are beautiful, bestow all that is wished for by the devotees, has the imprint of the bangles as well as the mark of the bow-string left by bearing the bow in the process of carrying it for destroying His enemies, look like they are there to protect the vaksha-sthalam which is the dwelling place of Mahalakshmi, and carry the divine weapons that can drive away any and all fears that the devotees may be exposed to by their mere darsanam, is also presenting Himself in the form of His utsava-moorti along with His divine consorts under the Sriranga-vimaana in the heart of Srirangam as well in my heart.

In the last sloka, the phala-Sruti, the great acharya pleads to the Lord on our behalf to confer on us eternal and unswerving bhakti to help us "ascend" with ease to the level of what the great yogi-s accomplish only by intense effort.

Kumari.#

 

Kumari – The Living Goddess of Nepal

In the heart of Kathmandu Valley, Nepal reveres a living goddess known as Kumari, a divine embodiment of Taleju, a fierce and protective form of Goddess Durga. The word Kumari means virgin, and the living goddess represents purity, power, and divine grace in human form.

The tradition of the living goddess dates back to the Malla dynasty (14th century), when kings of Kathmandu believed their rule was divinely protected by Goddess Taleju. Legend tells that Taleju once appeared before King Trailokya Malla in human form, advising him in matters of state. When the king broke her trust, she vanished, declaring she would only return in the body of a young virgin girl from the Shakya or Bajracharya (Newar Buddhist) community. Thus began the worship of the Royal Kumari — a living vessel of the goddess.

A young girl is carefully chosen after an elaborate selection process that tests her physical perfection, fearlessness, and auspicious signs said to mark a true incarnation of the goddess. Once selected, she resides in the Kumari Ghar (the Kumari’s residence) in Kathmandu Durbar Square, appearing on ceremonial occasions to bless devotees and the king. Her presence symbolizes the harmonious coexistence of Hindu and Buddhist faiths, as both revere her as divine.

When the Kumari reaches puberty, the goddess Taleju is believed to depart from her body, and another young girl is chosen to take her place. Despite the transient nature of the role, each Kumari remains a revered symbol of divine femininity, purity, and spiritual power — the living reflection of Goddess Durga in her compassionate yet commanding form.

The sight of the Kumari, adorned in red silk with the sacred fire eye painted on her forehead, continues to inspire awe and devotion, reminding the world of Nepal’s unique spiritual tradition where divinity walks among humans.

man’s evolution toward the Divine n

 these lines are from Sri Aurobindo’s Savitri, one of the most profound epic poems in English literature, rich with spiritual and philosophical imagery. Let’s unpack these lines carefully, one by one.

 "Heaven’s fixed regard beholds him from above,"

Heaven — the higher, divine consciousness — looks upon man (the subject here) steadily, with a constant, watchful gaze.

It suggests that even though man is wandering and uncertain, the Divine always sees him, guides him, and holds him in its sight — an eternal witness

"In the house of Nature a perturbing guest,"

Man lives in the world of Nature — the physical, material realm — but he does not fully belong here.

He is a “perturbing guest” because his consciousness, his questioning mind, his aspiration for something higher, disturbs Nature’s mechanical routine.

While all other creatures follow Nature’s laws instinctively, man introduces restlessness and change — he seeks to go beyond mere survival.

 "A voyager twixt Thought’s inconstant shores,"

Man is a traveler moving between the shifting “shores” of thought — meaning his mind is constantly moving between ideas, doubts, and changing beliefs.

There is no firm ground; his intellect is in flux, searching for truth but never at rest.

He journeys through the sea of thought, never fully arriving at certainty.

"A hunter of unknown and beautiful Powers,"

Man is always seeking — exploring the mysteries of creation, of knowledge, of divine forces — those “unknown and beautiful Powers.”

This describes the soul’s aspiration, the inner urge to discover truth, beauty, God, and higher consciousness.

He is a seeker, an adventurer in the realms of the unseen.

 "A nomad of the far mysterious Light,"

Man’s spirit is like a wanderer (nomad), moving through spiritual deserts and lands, searching for the “mysterious Light” — the Divine Wisdom or Truth.

He has not yet found his home in that Light, but keeps wandering, drawn by its allure.

"In the wide ways a little spark of God."

Ultimately, man is a tiny spark of the Divine — a fragment of God’s infinite consciousness — traveling through the vastness of creation.

Though small and limited in his current state, within him burns a divine essence, which is his true identity.

Sri Aurobindo is describing the human being — a soul caught between matter and spirit.

Though living in the material world, he carries a divine flame within, and this makes him restless, seeking, and full of aspiration.

He is a guest in Nature, not yet fully divine, not merely animal — a bridge between earth and heaven.

These lines beautifully capture the human condition as Sri Aurobindo saw it:

Watched by Heaven

Restless in Nature

Searching through thought

Seeking hidden powers

Wandering toward the Light

A divine spark journeying through infinity.

In Savitri, Sri Aurobindo tells the symbolic story of the soul’s journey — embodied in Savitri, who represents Divine Grace and Consciousness, and Satyavan, who represents the evolving human soul.

The poem is not just a myth retold; it is a revelation of the inner destiny of humankind — the transformation from man the seeker to man the divine.

These lines describe man as he stands now — midway between his animal past and his spiritual future.

 Connection to the Broader Theme

1. Man as an Intermediate Being

Sri Aurobindo saw man as a transitional being — not the final product of evolution, but a bridge between Matter and Spirit.

That’s what these lines portray:

 “In the house of Nature a perturbing guest”

He is not at home in the purely physical world because something in him — his soul — belongs to a higher plane.

He disturbs Nature’s balance because he carries within him the urge to rise beyond her limitations.

2. Divine Aspiration

 “A hunter of unknown and beautiful Powers”

This is man’s aspiration — his yearning for truth, beauty, love, and knowledge.

In every art, science, religion, or quest, this same divine urge manifests.

The “hunter” image shows how restlessly he seeks, even when he doesn’t yet understand what he seeks — he is drawn by a half-remembered divinity.

3. Spiritual Evolution

 “A nomad of the far mysterious Light”

Man’s spirit wanders through many lifetimes, experiences, and inner searches.

This “nomadism” is the movement of the soul through evolution — guided by the Light it cannot yet fully grasp.

Sri Aurobindo believed evolution is not only biological, but spiritual:

Matter evolves into life, life into mind, and mind into supermind (divine consciousness).

4. The Divine Presence in Man

 “In the wide ways a little spark of God.”

This final line gives the key: despite man’s confusion and limitations, there is a spark of divinity in him.

That spark is what drives his growth.

It is the seed of God’s own consciousness waiting to expand — until one day, the “little spark” becomes a flame of divine realization.

Sri Aurobindo is saying:

Human life is not a finished creation; it is a journey of becoming.

The Divine looks upon man — Heaven’s fixed regard — because he is part of the Divine’s own evolutionary experiment.

Through struggle, aspiration, thought, and love, man evolves toward his divine destiny — the union of Spirit and Matter, Heaven and Earth.

 How It Fits into Savitri’s Vision

In the later parts of Savitri, this truth unfolds fully.

Savitri (Divine Consciousness) descends into the world of mortality to awaken and uplift the human soul (Satyavan).

The goal is not escape from life, but transformation of life — making the human divine.

So, these few lines are like a poetic portrait of man before his transformation, watched by Heaven, restless in Nature, carrying within him the hidden divinity that Savitri will one day awaken.

Reality.

 If every thought we held came true,

there would be no God —

for faith breathes only in uncertainty.

If we spent our lives clinging to what’s gone,

peace would never return.

A story that ends rests in God’s hands,

but man keeps rewriting the same lines,

unwilling to close the book.

The heart holds a thousand doors,

and behind each, a thousand thoughts arise.

Who will come, who will stay —

no one knows who belongs,

nor who quietly walks away.

To live alone is to live without sorrow,

but when two paths meet,

peace begins to tremble.

Where does life begin? Where does it end?

No one can say.

This is the road. This is the journey.

Its meaning — known to none,

yet felt by all who walk it.

Peace isn’t found in having everything go our way,

but in accepting what unfolds — softly, silently, as it must.

Ninaippathellaam nadanthuvittaal

Deivam yethumillai…

Nadanthathaiyae ninaiththirunthaal

Amaithi endrumillai… (2)

Mudintha kadhai thodarvathillai

Iraivan veettinilae…

Thodarntha kadhai mudivadhillai

Manithan veettinilae…

Aayiram vaasal idhayam

Athil aayiram ennangal udhayam

Yaaro varuvaar yaaro iruppaar

Varuvathum povathum theriyaathu… (2)

Oruvar mattum kudiyirunthal

Thunbam yethumillai…

Ondrirukka ondru vanthaal

Endrum amaithiyillai…

Engae vaazhkkai thodangum adhu

Engae evvitham mudiyum…

Idhudhaan paathai… idhudhaan payanam

Enbadhu yaarukkum theriyaadhu… (2)

If everything we wish for were to happen,

there would be no need for God.

(If all our desires came true, what role would faith or divinity have?)

If we keep thinking only of what has already happened,

we will never find peace.

(Dwelling on the past robs us of calmness.)

A finished story doesn’t continue

in God’s abode…

(When something ends, the divine accepts it as complete.)

But an unfinished story never ends

in human life…

(We humans keep extending and worrying about what’s incomplete.)

The heart has a thousand doors,

and in each, a thousand thoughts arise.

(Our mind is restless, always full of thoughts.)

Who will come, who will stay —

no one really knows who comes or goes.

(Life’s comings and goings are unpredictable.)

If one lived all alone,

there would be no sorrow.

(Without attachment, there’s no pain.)

But when one thing joins another,

peace disappears forever.

(Where there’s relationship, there’s both joy and disturbance.)

Where does life begin?

How and where will it end?

(We can’t define life’s start or finish.)

This is the path… this is the journey —

but no one truly knows what it means.

(Life is an unknown journey for everyone.)

The radiance of dawn.

 Chhathi Maya – The Radiant Mother of the Rising Sun

When the first light of dawn touches the earth,

when the river glimmers gold beneath the sky —

it is said that Chhathi Maya walks among her children.

She is the Mother of the Sixth Day,

the gentle yet powerful guardian of life and birth.

Worshipped as the consort of Surya Dev,

she is also known as Usha, the first ray of hope,

the divine energy that awakens creation.

Her presence sanctifies the world with purity,

discipline, and devotion.

In the sacred festival of Chhath Puja,

millions bow before Surya and Chhathi Maya,

offering arghya to the glowing sun

at dawn and dusk —

a hymn of gratitude sung with folded hands

and unwavering hearts.

The fasting women, called vratin,

stand waist-deep in river waters,

their eyes lifted toward the horizon.

No food, no drink — only faith,

for they believe Chhathi Maiya listens

to the silent prayers of the devoted.

It is she who writes the destiny of every newborn

on the sixth day after birth,

her invisible hand shaping the path of life.

To her, mothers pray for strength and sons,

for daughters’ well-being, for homes filled with light.

Chhathi Maya is not merely a goddess —

she is a living tradition,

a reminder that faith, purity, and gratitude

bring harmony between humanity and the elements.

As the sun rises once more over the river,

her blessings flow like gold —

eternal, protective, and kind.

The Divine Mother of the Sixth Day

Chhathi Maya, also known as Chhathi Maiya or Shashthi Devi, is a deeply revered goddess in Hindu tradition, especially in the states of Bihar, Jharkhand, Uttar Pradesh, and in Nepal. She is considered the Goddess of Power, Purity, and Protection of Children. The word Chhathi means sixth, and the goddess is believed to manifest on the sixth day after childbirth to bless and protect the newborn and mother.

According to ancient Hindu belief, Chhathi Maya is a form of Usha, the wife of the Sun God Surya Dev. She represents the first light of dawn — a symbol of hope, new beginnings, and fertility. Her blessings are sought for the well-being, longevity, and prosperity of family members, especially children.

During the festival of Chhath Puja, devotees offer prayers to Surya Dev (the Sun God) and Chhathi Maya to express gratitude for sustaining life on earth. The ritual involves fasting, offering arghya (water and fruits) to the rising and setting sun, and maintaining complete purity of mind and body. Women, often called vratin, observe this with great devotion, standing in rivers or ponds during sunrise and sunset to make offerings.

It isn't easy to stand waist deep in water especially after fasting to offer the prayers. God bless these devout woman.

Legends say that Chhathi Maya writes the destiny of children on the sixth day after their birth, determining their future health and happiness. Hence, she is not only a mother goddess but also the giver of destiny and protector of family lineage.

Chhath puja

 Chhath Puja (also spelled Chhat Puja or Chhath Pooja) is an ancient Hindu festival dedicated to the Sun God (Surya) and his consort Usha (Chhathi Maiya). It is mainly celebrated in the Indian states of Bihar, Jharkhand, Uttar Pradesh, and in Nepal’s Madhesh region.

Chhath Puja is a thanksgiving festival where devotees express gratitude to the Sun God for sustaining life on earth and seek his blessings for health, prosperity, and wellbeing. The Sun is considered the visible form of divinity — the source of energy and life.

It usually falls six days after Diwali, during the month of Kartika (October–November).

The festival lasts four days.

 Rituals of Chhath Puja

Day 1 – Nahay Khay (Bath and Eat)

Devotees take a holy dip in a river or pond and prepare a simple meal, usually of rice and pumpkin cooked in ghee, eaten after offering it to the Sun. This marks the beginning of purification.

Day 2 – Kharna (Fasting Day)

Devotees observe a day-long fast, which ends after sunset with offerings of gur (jaggery) kheer, fruits, and chapati. After this, they begin a 36-hour fast without water.

Day 3 – Sandhya Arghya (Evening Offerings)

Devotees gather near rivers or ponds to offer arghya (offering) to the setting sun. Women sing devotional songs and perform rituals standing in water.

Day 4 – Usha Arghya (Morning Offerings)

The fast ends after offering arghya to the rising sun. This marks the completion of the ritual — symbolizing balance between day and night, and gratitude for both creation and renewal.

Chhath emphasizes purity, simplicity, discipline, and devotion.

It celebrates nature’s harmony — the Sun, water, and earth.

It is one of the few festivals that worship the setting as well as the rising sun, symbolizing gratitude for both endings and new beginnings.

Devotees believe that performing Chhath Puja fulfills wishes and purifies both body and soul.