Monday, October 19, 2015


Worship of Sarasvati, Goddess of Wisdom and Learning   
(Compilation for a discourse by N.R.Srinivasan , October 2015)

Goddess Sarasvati’s birthday is celebrated every year as Saraswati Puja, on the 5th day of the bright fortnight of the lunar month of Magha. The festival honors the Supreme Deity of Wisdom and Learning and is also celebrated as Vasant Panchami or Shree Panchami, the welcoming of spring time about which I have talked to you in detail.  Thus, this auspicious day is of religious, seasonal and social significance and importance.

In South India Sarasvati puja is celebrated with tremendous enthusiasm in homes, educational   Institutions and temples alike on the ninth day (Navami) of Navaratri. The epitome of knowledge and consciousness, Goddess Sarasvati is also considered the mother of the Vedas. According to the ancient Vedic texts, the Goddess is a water deity.  She is venerated for cleansing, nourishing and enriching supremacies. She is also said to have invented Sanskrit, recognized as perfect language, used in the greatest scriptures and spiritual scholarship known to mankind. Her chants   known as Sarasvati Vandana often start and conclude Vedic teachings start by paying obeisance to Goddess Sarasvati and her Guru Hayagrieva and praying to them.

Saraswati River Sprouts   life After 4,000 Years:  
Is Sarsvati  river a myth?  It is no longer.  Haryana government’s efforts to trace the origin of the mythical Sarasvati River bore fruit recently when water started gushing out from a pit, which was being dug under the lost river revival plan. As many as 80 people who were digging the course of the Sarasvati in Mugalwali village of Yamunanagar district suddenly noticed that the soil they were shoveling out from a pit was moist. The dampness increased as they dug deeper and water started gushing out when they burrowed to a depth of eight feet. Work on Sarasvati river project was launched on April 21 this year. The government believes that the lost river originates from Adi Badri area and flows through 41 villages in the Yamuna Nagar district. Excavation work has been started in eight villages for which Chief Minister Manohar Lal Khattar has made budgetary provisions worth 50 crores. A huge check dam, measuring 400 acres, has also been proposed on the Somb River that will be diverted to the Sarasvati River. The mythical Sarasvati River, according to the historians, had dried up 4,000 years ago. Satellite images had mapped its course that once flowed through North-WesternIndia. Remote sensing reveals  that the river vanished after a powerful earthquake hit its course.  

Traces of Sarasvati River are found in the holy city of Kurukshetra. It is believed that the river once flowed through Thanesar, the capital of erstwhile Harshvardhan’s kingdom, which is located close to Kurukshetra. Legend has it that the Sarasvati once fed two wells known as Kapaalmochan and Ranmochan in which the Pandavas had taken bath.

Sarasvati is the Sakti, the power and consort of Brahma the Creator. Hence she is the pro-creatrix, the mother of all creations. Sarasvati means “the flowing one” that represents Power   and Intelligence from which organized creation proceeds. She is glorified in   Medha Sooktam of Rigveda as Medha Devi, Goddess of Intelligence. As Saarada she is the Giver of Essence; as Vageesvaree, Supreme Deity of Speech; as Braahmee, the Wife of Brahma; and, as Mahavidyaa, the deity of Supreme Knowledge.

Sarasvati Puja is celebrated across India. On the Sarasvati Birthday, the color yellow dominates. Yellow is associated with the goddess as the light of enlightenment is yellow. People dress in yellow, especially young girls who dress in yellow sarees and the womenfolk make yellow sweets and savories. In Bengal, one is also supposed to feed Brahmins on that day, with the feeling that the food is being passed on to their ancestors. People celebrate Sarasvati festivals with a new sense of positivity and a spirit of embracing knowledge.  Pushpanjali,   the offering of flowers with prayers are presented to her in shrines. The incense presented to the Goddess should be very specific. One can use almond, lavender or rosemary for wisdom and clarity and cinnamon infused incense for creativity. One can also light white and yellow candles.

Puja marquees or Pandals are set up in colleges and schools for elaborate rituals for blessing the students of the educational institutions and honing the flow of knowledge there. In most of the clay idols of the Devi, she is majestically seated on a white lotus (the ultimate depiction of supreme reality and knowledge) in the yogic position of Padmasana. She is draped in a pure white silk saree and radiates purity and tranquility. Her vaahana (carrier) is a white swan, which again symbolizes Sattva Guna (purity and discrimination). She also wears a crescent moon on her brow.  Her icons are often depicted with four hands. Her four hands signify four aspects of learning, namely mind (manas), intellect (buddhi), alertness (chita) and ego (ahankara). Her presence in all four aspects depicts her omnipresence and omnipotence. She also carries a rosary, displaying the importance of meditation and concentration, as well as the Vedas, depicting supreme knowledge.
The book in her Hand represents all areas of secular sciences. The Akshamala in her left hand symbolizes all spiritual sciences including, Tapas, Meditation and Japa.  By holding the book on the left hand and rosary on the right hand she reminds us that spiritual sciences are more important than secular sciences. But life will be dry without Fine Arts. So, she holds a Veena (lute) on which she is seen playing, to emphasize the need for the cultivation of Fine Arts. Thus she promotes all round development for human beings as the custodian of Wisdom and Intelligence.

Hamsa or Swan  is also shown as her carrier with deeper meaning. In popular mythological literature and iconography, she is also shown with a peacock which is also the vehicle of Guru Guha, Lord Subhramnya known for his Intelligence.   While Hamsa signifies Vidya (knowledge) peacock symbolizes Avidya (ignorance or nescience). The peacock with its beautiful plumage stands for this world in all its glory and vanity. The Swan which is supposed to possess the peculiar power of separating milk from water stands for Viveka or wisdom.  Swan symbolizes both Para vidya and Apara vidya to be wo0rthy of  Sarasvati's carrier(Vaahana)'

  Vedas refer to Avidya  or secular sciences or worldly knowledge and Vidya for spiritual knowledge. They are often referred to as Para vidya and Apara Vidya also.  Isavasyopanishad is very practical in saying:"vidyaam cha avidyaamcha yastad vedobhyagam saha | avidyaat mrityum teertvaa vidyayaa amritamasnute"-- “We need to transcend hunger and thirst through the secular sciences and then alone we can obtain immortality through spiritual science.” So we need to concentrate on both. After achieving success in secular education in the first half  of our life we should concentrate on spiritual education in the second half of our life to be successful in life.   Synthesis of material pursuits and spiritual knowledge has been often advocated by modern teachers of synthesis like Chinmayananda. He who combines both Vidyaa and Avidyaa would overcome death by Avidyaa and obtain Immortality by  Vidyaa. Don’t we need both? Otherwise how could we have sages like Charaka and  Bhaskarachrya! India's late president Abul Kalam Azad was one such.

The scholarly and erudite confer a lot of significance to the worship of this Goddess. School bags, text books, notebooks, pencil boxes, pens, pencils, erasers etc. are kept at the Devi’s feet for her blessings during Sarasvati Puja. Children gleefully use their possessions after the puja. Students write their names, addresses and the roll numbers on chits and put it in a hundi, placing it next to the Goddess’s idol for her blessings. Mother Sarasvati is said to bless the children with good results and create a desire in them for acquiring wisdom and knowledge. One is not supposed to write on that day but offer prayers instead. She blesses human beings with the power of speech, wisdom and learning. This is why she is considered to be a Vaag Devi   as well.

Young people in Bengal especially enjoy this festival with fun and games. Over a time the flying of kites has become a tradition of this festival. There are many music shows, theatres and cultural programs staged at night. As the goddess is the wife of Lord Brahma, she enables the execution of whatever Brahma generates with his artistic intellect. Hence, she is considered to be the goddess of the creative arts. The Patron Deity of the Arts is venerated by singers and musicians with utmost dedication and devotion. It is said that with the Goddess’s divine grace, people have been gifted the ability to write or compose poems and songs and create music. The goddess herself plays a Veena, Indian stringed instrument, which is often depicted in her imagery. This shows that music creates harmony in this world.

In the sacred Matsya Purana, it is stated that the goddess evolved from the mouth of Lord Brahma. Her beauty was so enigmatic that the four-headed god fell head over heels (and quite literally too) in love with her. She ran in different direction and every time he turned to search for her, a new head appeared. The goddess is said to be the most extraordinary creation of the Lord of Creation. The moon in her brow depicts eternal womanhood.

There is also a story connecting Goddess Sarasvati with the immortality of the gods. The gods and the demons mutually agreed to churn the oceanic waters to retrieve Soma or Amrita, the elixir of life.  Mainaaka Mountain was used as the churning rod while the mighty python Vaasuki, was the churning rope. When Goddess Sarasvati appeared with the goblet of Soma Rasa, the gods were pleased. Rapt by her beauty the demons were lured away. As the gods drank, somehow two demons Rahu and Kethu slipped in. Lord Vishnu noticed them having a drink and immediately slit their throats. The angry Asuras swallowed the sun and the moon but as their throats were slit, they could not be retained. This is the origin of solar and lunar eclipses. As the Goddess helped the gods, she was granted a supreme position in heaven.

Puranas contain legends describing Brahma having very few temples, but why Sarasvati has also very few temples is not being mentioned anywhere. There is probably no Hindu house which does not honor Sarasvati and Lakshmi, at least having the pictures of both in some room or the other. There are three famous temples for Sarasvati in India and the fourth one is at Sringeri,  Sharada Peetham,  Sankar Mutt whose presiding deity   is goddess Sarasvati.    There is a beautiful temple for Sarasvati in sylvan surroundings at Panachkad near Kottayam in Kerala. Another one is In Kashmir. The third   one is in Andhra Pradesh in the village of Basra in Adilabad district.   There is an interesting legend behind this temple. Sukhadeva accompanied   his father Maharshi Vyasa after Mahabahrata War who went to  South seeking for a  place of calmness and solitude and both settled in Andhra Pradesh on the banks of the river Gautami.  During his stay  in Basra village on the banks of the river Gautami it was Vyasa’s  habit to  take a handful of the river-bed sand after bath and allow it to slowly trickle down of his palm on to a particular spot. The heap of sand one day turned into on idol of Goddess Sarasvati, which Vyasa regularly worshiped. This place was called Vyasa Kshetram which was shortly called to Vyaasula or Vyaasara. The name in due course degenerated into Basara, the present name.

Sarasvati as the power of Brahma as creatrix  was responsible for the earliest human life that sprung on the Sindhu, the river. They were the children of Sarasvati. But Sarasvati is a river or  Sindhu in Sanskrit.  It is no wonder Hindus are children of Sindhu and hence called Sindhus which Arabs mispronounced as Hindu.  This is not abnormal while Puranas talk about Bhishma as Gangeya or the Son of River Ganga. We are called Sindhus because that was the only River (Sindhu) known to humanity at that time that was Sarasvati also called Sindhu which means River. Philosophically Sarasvati means “the flowing One” which means she is responsible for the human flow (Prana in Nadis)  and lead to  Sagara (Brahman) for ultimate merger. In Vedas Sagara is glorified as Brahman (Vyaahriti) which I have described in detail.  all rivers lead to One Ocean and merge with it. All souls want to merge with Universal soul  and so the flow is directed that way. All religions lead to That One (Tadekam) that is Brahman. We will also soon discuss at length why we are called Hindus!

Sarasvati is worshiped as the deity of Gayatri meter, Savitri, the Fountain of Fine Arts and Sciences and the Supreme Representation of Vedanta Knowledge. Goddess Sarasvati guides mankind every day.   It is our responsibility to pay our homage and seek her blessings. Here are some powerful sacred mantras and slokas for her worship.She is also worshiped as Medha Devi.

This contains a bunch of Vedic Mantras for meditation on Medhaa-Devi for granting intelligence. With the blessings of Goddess after chanting these mantras we will be speaking nice and good words only to others that will carry force and make life pleasant and more meaningful and make us useful citizens. This is also a prayer to grant us wealth. These mantras are also appropriate to Goddess Lakshmi and Goddess Sarasvati.   
These Mantras will be quite appropriate to chant during the graduation pooja conducted at home and temples. It is customary to conduct Saraswati Pooja for students on the event of their graduation after which they will be moving out from their parents in pursuit of higher studies. It is also appropriate to chant these during the Upanayanam ceremony though Vedic studies are not made any more.

Medhaa devee jushamaanaa na aagaad-viswaachee bhadra sumanasya-maanaa |
Tvayaa jushtaa jushamaanaa duruktaan brahmad-vadema vidadhe suveeraah ||

May the Goddess of Intelligence who pervades all things and who is always associated with good-will towards all, come to us with love. Oh Goddess! May we who were previously indulging in vile words, speak words that are good and virtuous, after being blessed in that endeavor!

Tvayaa jushta rishir-bhavati devi tvayaa brahma-aagatasree-ruta tvayaa \
Tvayaa jushtas-chitram vindate vasu saa noe jushasva dravineno na medhe ||

Oh Goddess! one becomes a wise person (seer) being blessed by you; one becomes Brahma,one who attains spiritual wealth and knowledge; one who gains fabulous wealth blessed by you; Oh Goddess Medha of that fame, please bless us with that wealth!

Medhaam ma indro dadaatu medhaam devee sarasvatee |
Medhaam me asvinau devaa vaa-dhattaam pushkara-srajaa ||

May Indra grant us intelligence! May Goddess Sarasvati grant us intelligence1! May the Asvin twins grant us intelligence adorned with lotus flower garlands! [Goddess Lakshmi is the presiding Goddess for Indra and others]

Apsaraasu cha yaa medhaa gandharveshu cha yan-manah |
Devee medhaa manushyajaa saa maam medhaa surabhir-jushataam ||

May the glorious intelligence that abounds in the divine nymphs (apsaras), gandharvas and divines and noble men come to me! [In essence may the intelligence found in all others come to me]

Aamaam Medhaa surabhir-visva-roopaa hiranya-varnaa jagatee jagamyaa |
Oorjasvatee payasaa pinvamaanaa saa maam medhaa suprateekaa jushataam ||
May the Goddess Medhaa who is the most celebrated, who is the cosmic energy with golden hue and who is ever on the move come to me!

Mayi medhaam mayi prajaam mayaa-agnis-tajoe dadhaatu | mayi medhaam mayi prajaam mayeendra indriyam dadhaatu | mayi medaham mayi prajaam mayi sooryo bhraajo dadhaatu ||

May Agni the God of Fire bless me with intelligence, progeny and fame! May Indra the God of the Divines bless me with intelligence, progeny and sense organs! May Soorya bless me with intelligence, progeny and brilliance!

Sarasvati Veda Mantras

Pranoe devee Sarasvatee | Vaajoebhih vaajaneevati | dheenaam  avatri avatu ||
Oh Sarasvati! Bless me with plenty of  opulent life and be the controller of our thoughts!
Paavakaa nah Sarasvatee | Vaajoebhih vaajaneevati yajnam vashtu dhiyaavasuh ||

Sarasvati is our purifier. She is the giver of plenty and opulent life. She is the treasure of intelligence and thoughts.

Choedayitree soonritaanaam | Chetantee sumateenaam | yajnam dadhe Sarasvatee ||

She  bestows good speech. She brings good thoughts to mind. May she bless this sacrifice (Yajna)!

Mahoe arnah Sarasvatee |pra chetayati ketunaa | dhiyoe visvaa viraajati ||

May you awaken the great truth in me by helping me to visualize consciousness! May you brighten all my thoughts!

--from Sarasvatee-sooktam, Rigveda Samhita


Sri Savitri Stotram – By Lord Vishnu Skanda Puranam

The following is a rare and short hymn on Goddess Savitri by Lord Vishnu and is taken
from Skanda Puranam, Prabhasa Khanda, and Chapter 165.

śrīviṣṇuruvāca -
namo'stu te mahādevī bhūrbhuva-svas trayīmayī |
sāvitrī durga-taraṇī tvavāṇī saptadhā smtā || 1 ||
sarvāṇi stuti śāstrāṇi lakaṇāni tathaiva ca |
bhaviyā sarva-śāstrāṇāṁ tvatu devī namo'stu te || 2 ||
śvetā tvaṁ śveta-rūpo'si śaśāṅkena samānanā |
śaśi-raśmi-prakāśena hariorasi rājase || 3 ||
divya-kuṇḍala-pūrṇābhyāṁ śravaṇābhyāṁ vibhūṣitā |
tva-siddhis tva-tathā-ddhikīrtiḥ śrīḥ santatir mati|| 4 ||
sandhyā rātri prabhātas tvakālarātris tvameva ca |
karukāṇāṁ yathā sītā bhūtānāṁ dhāriṇī tathā || 5 ||
|| iti śrīskānde mahāpurāṇe prabhāsa-khaṇḍe śrīviṣṇu-kta sāvitrī-stotrasampurnam

According to Suta Samhita of Skandapuranam devotees praying for knowledge or enlightenment repeat twelve names of Sarasvati:

Sarasvatitviyam  drishta veena pustaka dhaarinee, hamsa  vaahana samyukta vidyaadaanakaree namah ;Prathamam Bharati; dwiteeyacha   Sarasvat; triyam Saarada devi; chaturtham Hamsa vahinee; panchamam Jagastikhyaataa sashtham Vaageesvaree tatah; Kaumaaree saptamam proktam ashtakam Brahmachaarinee; navamam Buddhidaatrica; dasamam Varadaayinee; ekaadasm Kshudhrghantaa; dwadasam Bhuvanesvaree.
Bhaarati=sustainer of the word; Sarasvati= omnipotent dynamism of the cosmic world; Saaradaa=one who wakes into the realm of consciousness of Brahma; Hamsavaahinee= having Se wan as the vehicle   which drives dullnes; Jagateekhyaataa=Having fame in the cosmic world; Vaageesvaree=Presiding deity of speech; Kaumaaree=bestows youthfulness when her name is uttered; Brahmachaarinee= giver of spiritual strength;  Buddhidhaatree =one who bestows wisdom and intelligence;  Varadaayinee=one who grants boons; Kshudharghataa=one who chases q away the wicked, the low and the enemies of the devotee; and Bhuvanesvaree=one having absolute power over the world.

All those  that  repeat these twelve names three times a day during three Sandhya times will secure Her grace by being present non the tip of their tongue, i.e., will enable them to  learn and speak with wisdom.

Om Saraswati Mahabhagey, Vidye Kamala Lochaney Viswarupey Vishalakshmi, Vidyam Dehi Namohastutey Jaya Jaya Devi, Charachara Sharey, Kuchayuga Shobhita, Mukta Haarey Vina Ranjita, Pustaka Hastey, Bhagavati Bharati Devi Namostutey


Here is a timely message from our friend Muralidharan Iyengar from Singapore:

As Mahanavami/Sri Saraswati Puja falls on Wednesday (21-Oct-2015), I am delighted to attach a very rare Sharada Sahasranama from Rudra Yamala Tantra. 

The attached Sharada Sahasranama is on Goddess Sharada of Bandipur in Pakistan Occupied Kashmir (POK). I learnt that this Sahasranama was lost for several decades and they traced a manuscript from a Pandit just recently. I understand that there is yet another Sharada Sahasranama on Goddess Sharada in Sringeri Mutt in Karnataka but I have not been able to get a copy of it yet.

Bandipur Sharada Temple was once a seat of Kashmir Shaivism but what remains today will sure make our blood flow as tears - there is only a completely dilapidated sanctum sanctorum now.

One can understand the sanctity of this Sahasranama by the elaborate Phalashruti given by Lord Bhairava - he mentions that even if he had crores of tongues, he would not be able to fully describe the benefits of chanting this rare Sahasranama. I have given only the gist as usual as the benefits list very long.

You will notice that Sharada is extolled as the Parabrahman in this Sahasranama as if every other form is in-subordinated to this form and Sharada is extolled as Moksha-dhaatrI (one who gives emancipation). Perhaps readers might remember a rare Saraswati Stotra I shared from Markandeya Purana several years ago - which also mentions Sarasvati as the Supreme Being.

As we have seen countless time, such superlatives are given for every deity form and every sacred place in the Puranas. It does not mean there is no meaning/value to these - it merely means that superlative is for our bonding with our favorite form/place and not to pick sword and fight with others on relative superiority or inferiority of one form/place over others (which unfortunately is a commonplace today - some think such differentiation is esoteric but it is nothing but puerility).

Sri Sharada Sahasranama Stotram – Sri Rudra Yamalam
K. Muralidharan 

The following is a rare Sahasranama Stotram on Goddess Sharada of Kashmir (Bandipur in POK) by Lord Bhairava and is taken from Rudra Yamala Tantram. Excerpts of the elaborate


·         One who chants this Sahasranama in the morning, noon, evening is bestowed with domestic animals such as cow and horse, vehicles, Punya, servants, progeny, fame, comfort, relief from diseases, long life, and what not?

·         Chanting this during nights in Ashvina month in Sharad Ritu will be able to achieve anything desired.

·         Chanting this during Sankaramana and Eclipse days on the river bank makes an expert in Shastras, Vedas and Vedangas.

·         Performing Archana to Goddess Sharada on Ashtami, Navami and Chaturdashi nights will be helped by 33 crores of Devas and becomes son of Goddess Sharada.

śrībhairavī uvāca -

bhagavan sarva-dharmajña sarva-loka-namaskṛta |

sarvāgamaika tattvajña tattva-sāgara pāraga || 1 ||

kṛpāparo'si deveśa śaraṇagata-vatsala |

purā dattaṁ varaṁ mahyaṁ deva dānava saṅgare || 2 ||

tamadya bhagavan tvatto yāce 'haṁ parameśvara |

prayaccha tvaritaṁ śambho yadyahaṁ preyasi tava || 3 ||

śrībhairava uvāca -

devadevī purā satyaṁ surā'sura raṇājire |

varo datto mayā te'dya varaṁ yācasva vāñchitam || 4 ||

śrībhairavī uvāca -

bhagavan yā mahādevī śāradākhyā sarasvatī |

kāśmīre sā svatapasā śāṇḍilyenāvatāritā || 5 ||

tasyā nāma-sahasraṁ me bhoga-mokṣaika-sādhanam |

sādhakānāṁ hitārthāya vada tvaṁ parameśvara || 6 ||

śrībhairava uvāca -

rahasyaṁ etad akhilaṁ devānāṁ parameśvarī |

parāpara-rahasyaṁ ca jagatāṁ bhuvaneśvarī || 7 ||

 yā devī śāradākhyeti jaganmātā sarasvatī |

pañcākṣarī ca ṣaṭkūṭa-trailokya-prathitā sadā || 8 ||

tayā tatamidaṁ viśvaṁ tatā sampālyate jagat |

saiva saṁharate cā 'nte saiva mukti-pradāyinī || 9 ||

devadevī mahāvidyā paratattvaika-rūpiṇī |

tasyā nāma-sahasraṁ te vakṣye 'haṁ bhakti-sādhanam || 10 ||

|| viniyogaḥ ||

om asya śrīśāradā bhagavatī sahasranāma stotra mahāmantrasya |

śrībhagavān bhairava ṛṣiḥ | triṣṭup chandaḥ | pañcākṣarī śāradā devatā | klīṁ

bījaṁ | hrīṁ śaktiḥ | nama iti kīlakaṁ | trivarga phala siddhyarthe

sahasranāma pāṭhe viniyogaḥ ||

|| kara nyāsaḥ ||

om hrāṁ klāṁ aṅguṣṭhābhyāṁ namaḥ | om hrīṁ klīṁ tarjanībhyāṁ

namaḥ | om hrūṁ klūṁ madhyamābhyāṁ namaḥ | om hraiṁ klaiṁ

anāmikābhyāṁ namaḥ | om hrauṁ klauṁ kaniṣṭhikābhyāṁ namaḥ | om

hraḥ klaḥ kara-tala-kara-pṛṣṭhābhyāṁ namaḥ ||

|| hṛdayādi nyāsaḥ ||

om hrāṁ klāṁ hṛdayāya namaḥ | om hrīṁ klīṁ śirase svāhā | om hrūṁ

klūṁ śikhāyai vaṣaṭ | om hraiṁ klaiṁ kavacāya hum | om hrauṁ klauṁ

netra-trayāya vauṣaṭ | om hraḥ klaḥ astrāya phaṭ | om bhūrbhuvassuvaroṁ

iti digbandhaḥ ||

|| dhyānam ||

śakticāpa śaraghaṇṭikā sudhā-pātra ratna-kalaśol lasatkarām |

pūrṇa-candra-vadanāṁ trilocanāṁ śāradāṁ namata sarva-siddhidām ||

śrīśrīśaila-sthitā yā prahasita-vadanā pārvatī śūla-hastā |

vahnyarkendu trinetrā tribhuvana-jananī ṣaḍbhujā sarvaśaktiḥ |

śāṇḍilyenopanītā jayati bhagavatī bhakti-gamyā natānām |

sā naḥ siṁhāsanasthā hyabhimataphaladā śāradā śaṁ karotu ||

|| pañcapūjā ||

laṁ pṛthivyātmikāyai śrīśāradā devyai gandhaṁ samarpayāmi | haṁ

ākāśātmikāyai śrīśāradā devyai puṣpaiḥ pūjayāmi | yaṁ vāyvātmikāyai

śrīśāradā devyai dhūpaṁ āghrāpayāmi | raṁ vahnyātmikāyai śrīśāradā

 devyai dīpaṁ darśayāmi | vaṁ amṛtātmikāyai śrīśāradā devyai amṛtaṁ-

mahā-naivedyaṁ nivedayāmi | saṁ sarvātmikāyai śrīśāradā devyai

sarvopacāra-pūjāṁ samarpayāmi ||

yoni mudrāṁ darśayet ||

|| śrīśāradā gāyatrī ||

om śāradāyai vidmahe | varadāyai dhīmahi | tanno mokṣadāyinī

pracodayāt ||

|| śrī śāradā mantraḥ ||

om hrīṁ klīṁ śāradāyai namaḥ ||

|| śrīśāradā sahasranāma stotram ||

om hrīṁ klīṁ śāradā śāntā śrīmatī śrīśubhaṅkarī |

śubhā śāntā śaradvījā śyāmikā śyāmakuntalā || 1 ||

śobhāvatī śaśāṅkeśī śātakumbha-prakāśinī |

pratāpyā tāpinī tāpyā śītalā śeṣa-śāyinī || 2 ||

śyāmā śāntikarī śāntiḥ śrīkarī vīrasūdinī |

veśyā veśyakarī vaiśyā vānarī veṣabhānvitā || 3 ||

vācālī śubhagā śobhyā śobhanā ca śucismitā |

jaganmātā jagaddhātrī jagat-pālana-kāriṇī || 4 ||

hāriṇī gadinī godhā gomatī jagadāśrayā |

saumyā yāmyā tathā kāmyā vāmyā vācāmagocarā || 5 ||

aindrī cāndrī kalā kāntā śaśi-maṇḍala-madhyagā |

āgneyī vāruṇī vāṇī kāruṇā karuṇāśrayā || 6 ||

nairṛtir ṛtarūpā ca vāyavī vāgbhavodbhavā |

kauberī kūbarā kolā kāmeśī kāmasundarī || 7 ||

kheśānī keśanīkārā mocanī dhenukāmadā |

kāmadhenuḥ kapāleśī kapāla-kara-saṁyutā || 8 ||

cāmuṇḍa mūlyadā mūrtir muṇḍa-mālā-vibhūṣaṇā |

sumeru-tanayā vandyā caṇḍikā caṇḍa-sūdinī || 9 ||

caṇḍāṁśu-tejasāṁ-mūrtiś caṇḍeśī caṇḍa-vikramā |

cāṭukā cāṭakī carcā cāruhaṁsā camatkṛtiḥ || 10 ||

lalajjihvā sarojākṣī muṇḍasṛk muṇḍa-dhāriṇī |

sarvānandamayī stutyā sakalānanda-vardhinī || 11 ||

dhṛtiḥ kṛtiḥ sthitir mūrtiḥ dyauvāsā cāruhāsinī |

rukmāṅgadā rukma-varṇā rukmiṇī rukma-bhūṣaṇā || 12 ||

kāmadā mokṣadānandā nārasiṁhī nṛpātmajā |

nārāyaṇī narottuṅga-nāginī naga-nandinī || 13 ||

nāgaśrīḥ girijā guhyā guhyakeśī garīyasī |

guṇāśrayā guṇātītā gajarājopari-sthitā || 14 ||

gajākārā gaṇeśānī gandharva-gaṇa-sevitā |

dīrghakeśī sukeśī ca piṅgalā piṅgalālakā || 15 ||

bhayadā bhavamānyā ca bhavānī bhava-toṣitā |

bhavālasyā bhadra-dhātrī bhīruṇḍā bhagamālinī || 16 ||

paurandharī parañjyotiḥ purandhara-samarcitā |

pīnā kīrtikarī kīrtiḥ keyūrāḍhyā mahākacā || 17 ||

ghorarūpā maheśānī komalā komalālakā |

kalyāṇī kāmanā kubjā kanakāṅgada-bhūṣitā || 18 ||

kenāśī varadā kālī mahāmedhā mahotsavā |

virūpā viśvarūpā ca viśvadhātrī pilampilā || 19 ||

padmāvatī mahāpuṇyā puṇyā puṇya-janeśvarī |

jahnu-kanyā manojñā ca mānasī manu-pūjitā || 20 ||

kāmarūpā kāmakalā kamanīyā kalāvatī |

vaikuṇṭha-patnī kamalā ca śiva-patnī ca pārvatī || 21 ||

kāmyaśrīr gāruḍī-vidyā viśvasūḥ vīrasūr ditiḥ |

māheśvarī vaiṣṇavī ca brāhmī brāhmaṇa-pūjitā || 22 ||

mānyā mānavatī dhanyā dhanadā dhanadeśvarī |

aparṇā parṇaśithilā parṇaśālā-paramparā || 23 ||

padmākṣī nīlavastrā ca nimnā nīlapatākinī |

dayāvatī dayādhīrā dhairya-bhūṣaṇa-bhūṣitā || 24 ||

jaleśvarī mallahantrī bhallahastā malāpahā |

kaumudī caiva kaumārī kumārī kumudākarā || 25 ||

padminī padma-nayanā kulajā kula-kaulinī |

karālā vikarālākṣī visrambhā durdurākṛtiḥ || 26 ||

sṛṣṭi sṛṣṭikarī sādhvī mānuṣī devakī dyutiḥ || 27 ||

vasudhā vāsavī veṇuḥ vārāhī cā 'parājitā |

rohiṇī ramaṇā rāmā mohinī madhurākṛtiḥ || 28 ||

śivaśaktiḥ parāśaktiḥ śāṅkarī ṭaṅka-dhāriṇī |

krūra-kaṅkāla-mālāḍhyā laṅkā-kaṅkaṇa-bhūṣitā || 29 ||

daityāpaharā dīptā dāsojvala-kucāgraṇīḥ |

kṣāntiḥ kṣaumaṅkarī buddhiḥ bodhācāra-parāyaṇā || 30 ||

śrīvidyā bhairavī-vidyā bhāratī bhaya-ghātinī |

bhīmā bhīmāravā bhaimī bhaṅgurā kṣaṇa-bhaṅgurā || 31 ||

jityā pināka-bhṛt sainyā śaṅkhinī śaṅkha-rūpiṇī |

devāṅganā devamānyā daityasūḥ daityamardinī || 32 ||

devakanyā ca paulomi ratiḥ-sundarados taṭī |

sukhinī śaukinī śauklī sarva-saukhya-vivardhinī || 33 ||

lolā līlāvatī sūkṣmā sūkṣmā'sūkṣmagatir matiḥ |

vareṇyā varadā veṇī śaraṇyā śaracāpinī || 34 ||

ugrakālī mahākālī mahākāla-samarcitā |

jñānadā yogi-dhyeyā ca govallī yoga-vardhinī || 35 ||

peśalā madhurā māyā viṣṇumāyā mahojjvalā |

vārāṇasī tathā 'vantī kāñcī kukkura-kṣetra-suḥ || 36 ||

ayodhyā yogasūtrādyā yādaveśī yadupriyā |

yama-hantrī ca yamadā yaminī yoga-vartinī || 37 ||

bhasmojjvalā bhasmaśayyā bhasmakālī-samarcitā |

candrikā śūlinī śilyā prāśinī candravāsinī || 38 ||

padmahastā ca pīnā ca pāśinī pāśa-mocanī |

sudhā-kalaśa-hastā ca sudhāmūrtiḥ sudhāmayī || 39 ||

vyūhāyudhā varārohā varadhātrī varottamā |

pāpāśanā mahāmūrtā mohadā madhura-svarā || 40 ||

madhupā mādhavī mālyā mallikā kālikā mṛgī |

mṛgākṣī mṛgarājasthā keśikī-nāśa-ghātinī || 41 ||

raktāmbaradharā rātriḥ sukeśī sura-nāyikā |

saurabhī surabhiḥ sūkṣmā svayambhū-kusumārcitā || 42 ||

ambā jṛmbhā jaṭābhūṣā jūṭinī jaṭinī naṭī |

marmānandadā jyeṣṭā śreṣṭhā kāmeṣṭha-varddhinī || 43 ||

raudrī rudrastanā rudrā śatarudrā ca śāmbhavī |

śraviṣṭhā śitikaṇṭheśī vimalānanda-vardhinī || 44 ||

kapardinī kalpalatā mahāpralaya-kāriṇī |

mahākalpānta-saṁhṛṣṭhā mahākalpa-kṣayaṅkarī || 45 ||

saṁvartāgni-prabhā sevyā sānandā 'nanda-vardhinī |

surasenā ca māreśī surākṣī vivarotsukā || 46 ||

prāṇeśvarī pavitrā ca pāvanī lokapāvanī |

lokadhātrī mahāśuklā śiśirācala-kanyakā || 47 ||

tamoghnī dhvānta-saṁhartrī yaśodā ca yaśasvinī |

pradyotanī ca dyumatī dhīmatī loka-carcitā || 48 ||

praṇaveśī paragatiḥ pārāvāra-sutā samā |

ḍākinī śākinī ruddhā nīlā nāgāṅganā nutiḥ || 49 ||

kunda-dyutiś cakuraṭā kāntidā bhrāntidā bhramā |

carvitā carvitā goṣṭhī gajānana-samarcitā || 50 ||

khageśvarī khanīlā ca nāginī khaga-vāhinī |

candrānanā mahāruṇḍā mahogrā mīna-kanyakā || 51 ||

mānapradā mahārūpā mahāmāheśvarī-priyā |

marudgaṇā mahadvaktrā mahoragā bhayānakā || 52 ||

mahāghoṇā kareśānī mārjārī manmathojjvalā |

kartrī hantrī pālayitrī caṇḍa-muṇḍa-niṣūdinī || 53 ||

nirmalā bhāsvatī bhīmā bhadrikā bhīmavikramā |

gaṅgā candrāvatī divyā gomatī yamunā nadī || 54 ||

vipāśā sarayūs tāpī vitastā kuṅkumārcitā |

gaṇḍakī narmadā gaurī candrabhāgā sarasvatī || 55 ||

airāvatī ca kāverī śatāhravā ca śatahradā |

śveta-vāhana-sevyā ca śvetāsyā smita-bhāvinī || 56 ||

kauśāmbī kośadā kośyā kāśmīra-kanakelinī |

komalā ca videhā ca pūḥ purī purasūdinī || 57 ||

paururavā palāpālī pīvarāṅgī gurupriyā |

purāriḥ gṛhiṇī pūrṇā pūrṇarūpā rajasvalā || 58 ||

sampūrṇa-candra-vadanā bālacandra-sama-dyutiḥ |

revatī preyasī revā citrā ___________citrāmbarā camūḥ || 59 ||

navapuṣpa-samudbhūtā navapuṣpaika-hāriṇī |

navapuṣpa-śubhāmālā navapuṣpa-kulānanā || 60 ||

navapuṣpodbhavaprītā navapuṣpa-samāśrayā |

navapuṣpa-lalatkeśā navapuṣpa-lalatmukhā || 61 ||

navapuṣpa-lalatkarṇā navapuṣpa-lalatkaṭiḥ |

navapuṣpa-lalannetrā navapuṣpa-lalannasā || 62 ||

navapuṣpa-samākārā navapuṣpa-laladbhujā |

navapuṣpa-lalatkaṇṭhā navapuṣpārcita-stanī || 63 ||

navapuṣpa-lalanmadhyā navapuṣpa-kulālakā |

navapuṣpa-lalannābhiḥ navapuṣpa-lalatbhagā || 64 ||

navapuṣpa-lalatpādā navapuṣpa-kulāṅginī |

navapuṣpa-guṇotpīṭhā navapuṣpopaśobhitā || 65 ||

navapuṣpa-priyopetā preta-maṇḍala-madhyagā |

pretāsanā pretagatiḥ preta-kuṇḍala-bhūṣitā || 66 ||

preta-bāhukarā pretaśayyā śayanaśāyinī |

kulācārā kuleśānī kulakā kulakaulinī || 67 ||

smaśāna-bhairavī kālabhairavī śivabhairavī |

svayaṁbhū-bhairavī viṣṇu-bhairavī sura-bhairavī || 68 ||

kumāra-bhairavī bāla-bhairavī ruru-bhairavī |

śaśāṅka-bhairavī sūrya-bhairavī vahni-bhairavī || 69 ||

śobhādi-bhairavī māyā-bhairavī loka-bhairavī |

mahogra-bhairavī sādhvī-bhairavī mṛta-bhairavī || 70 ||

sammoha-bhairavī śabda-bhairavī rasa-bhairavī |

samasta-bhairavī devī bhairavī mantra-bhairavī || 71 ||

sundarāṅgī manohantrī mahāśmaśāna-sundarī |

sureśa-sundarī deva-sundarī loka-sundarī || 72 ||

trailokya-sundarī brahma-sundarī viṣṇu-sundarī |

girīśa-sundarī kama-sundarī guṇa-sundarī || 73 ||

ānanda-sundarī vaktra-sundarī candra-sundarī |

āditya-sundarī vīra-sundarī vahni-sundarī || 74 ||

padmākṣa-sundarī padma-sundarī puṣpa-sundarī |

guṇadā-sundarī devī sundarī pura-sundarī || 75 ||

maheśa-sundarī devī mahātripurasundarī |

svayaṁbhū-sundarī devī svayaṁbhū-puṣpa-sundarī || 76 ||

śukraika-sundarī liṅga-sundarī bhaga-sundarī |

viśveśa-sundarī vidyā-sundarī kāla-sundarī || 77 ||

śukreśvarī mahāśukrā śukra-tarpaṇa-tarpitā |

śukrodbhavā śukrarasā śukra-pūjana-toṣitā || 78 ||

śukrātmikā śukrakarī śukra-snehā ca śukriṇī |

śukra-sevyā śukrasurā śukra-liptā manonmanā || 79 ||

śukra-hārā sadā-śukrā śukra-rūpā ca śukrajā |

śukrasūḥ śukra-ramyāṅgī śukrāṁśuka-vivardhinī || 80 ||

śukrottamā śukrapūjā śukreśī śukra-vallabhā |

jñāneśvarī bhagottuṅgā bhagamālā-vihāriṇī || 81 ||

bhagaliṅgaika-rasikā liṅginī bhagamālinī |

baindaveśī bhagākārā bhagaliṅgādi-śukrasūḥ || 82 ||

vātyālī vanitā vātyārūpiṇī meghamālinī |

guṇāśrayā guṇavatī guṇa-gaurava-sundarī || 83 ||

puṣpatārā mahāpuṣpā puṣṭiḥ parama-lāghavī |

svayaṁbhū-puṣpa-saṅkāśā svayaṁbhū-puṣpa-pūjitā || 84 ||

svayaṁbhū-kusuma-nyāsā svayaṁbhū-kusumārcitā |

svayaṁbhū-puṣpa-sarasī svayaṁbhū-puṣpa-puṣpiṇī || 85 ||

śukrapriyā śukraratā śukra-majjana-tatparā |

apāna-prāṇa-rūpā ca vyānodāna-svarūpiṇī || 86 ||

prāṇadā madirā modā madhumattā madoddhatā |

sarvāśrayā sarvaguṇā 'vyasthā sarvatomukhī || 87 ||

nārīpuṣpa-samaprāṇā nārīpuṣpa-samatsukā |

nārīpuṣpa-latā nārī nārīpuṣpasrajārcitā || 88 ||

ṣaḍguṇā ṣaḍguṇātītā śaśinaḥ-ṣoḍaśī-kalā |

caturbhujā daśabhujā cā 'ṣṭādaśabhujās tathā || 89 ||

dvibhujā caika ṣaṭkoṇā trikoṇa-nilayāśrayā |

srotasvatī mahādevī mahāraudrī durantakā || 90 ||

dīrghanāsā sunāsā ca dīrghajihvā ca maulinī |

sarvādhārā sarvamayī sārasī saralāśrayā || 91 ||

sahasra-nayana-prāṇā sahasrākṣa-samarcitā |

sahasraśīrṣā subhaṭā śubhākṣī dakṣa-putriṇī || 92 ||

ṣaṣṭikā ṣaṣṭi-cakrasthā ṣaḍvarga-phala-dāyinī |

aditir ditir ātmā śrīr ādyā cā 'ṅkabhacakriṇī || 93 ||

bharaṇī bhaga-bimbākṣī kṛttikā cekṣva-sāditā |

inaśrī rohiṇī ceṣṭiḥ ceṣṭā mṛga-śirodharā || 94 ||

īśvarī vāgbhavī cāndrī paulomī muni-sevitā |

umā punarjayā jārā coṣmarundhā punarvasuḥ || 95 ||

cārustutyā timisthāntī jāḍinī lipta-dehinī |

liḍhyā śleṣmatarā śliṣṭā maghavārcita-pādukī || 96 ||

maghāmoghā tathaiṇākṣī aiśvarya-pada-dāyinī |

aiṁkārī candra-mukuṭā pūrvāphālgunikīśvarī || 97 ||

uttarāphalgu-hastā ca hastisevyā samekṣaṇā |

ojasvinī tathotsāhā citriṇī citrabhūṣaṇā || 98 ||

ambhoja-nayanā svātiḥ viśākhā jananī śikhā |

akāra-nilayādhārā narasevyā ca jyeṣṭadā || 99 ||

mūlā pūrvādiṣāḍheśī cottarāṣāḍhyāvanī tu sā |

śravaṇā dharmiṇī dharmyā dhaniṣṭhā ca śatabhiṣak || 100 ||

pūrvabhādrapada-sthānā 'pyāturā bhadrapādinī |

revatī-ramaṇa-stutyā nakṣatreśa-samarcitā || 101 ||

kandarpa-darpiṇī durgā kurukulla kapolinī |

ketakī-kusuma-snigdhā ketakī-kṛta-bhūṣaṇā || 102 ||

kālikā kālarātriśca kuṭumba-jana-tarpitā |

kañjapatrākṣiṇī kalyā-ropiṇī kālatoṣitā || 103 ||

karpūra-pūrṇa-vadanā kacabhāra-natānanā |

kalānātha kalāmauliḥ kalā kalimalāpahā || 104 ||

kādambinī karigatiḥ kari-cakra-samarcitā |

kañjeśvarī kṛpārūpā karuṇāmṛta-varṣiṇī || 105 ||

kharvā khadyotarūpā ca kheṭeśī khaḍga-dhāriṇī |

khadyota-cañcalā-keśī khecarī khecarārcitā || 106 ||

gadādhārī mahāgurvī guruputrāī gurupriyā |

gīta-vādya-priyā gāthā gajavaktra-prasū-gatiḥ || 107 ||

gariṣṭha-gaṇa-pūjyā ca gūḍha-gulphā gajeśvarī |

gaṇamānyā gaṇeśānī gāṇāpatya-phala-pradā || 108 ||

gharmāṁśu-nayanā gharmyā ghorā ghurghura-nādinī |

ghaṭastanī ghaṭākārā ghusṛṇollasita-stanī || 109 ||

ghorāravā ghoramukhī ghora-daitya-nibarhiṇī |

ghanacchāyā ghanadyutiḥ ghana-vāhana-pūjitā || 110 ||

ṭavakoṭeśarūpā ca caturā catura-stanī |

caturānana-pūjyā ca caturbhuja-samarcitā || 111 ||

carmāmbarā caragatiḥ caturvedamayī calā |

catuḥ-samudra-śayanā caturdaśa-surārcitā || 112 ||

cakora-nayanā campā campāka-kula-kuntalā |

cyuta-cīrāmbarā cāru-mūrtiś campaka-mālinī || 113 ||

chāyā chadmakarī chillī choṭikā chinna-mastakā |

chinna-śīrṣā cchinnanāsā cchinna-vastra-varūthinī || 114 ||

chandipatrā channachalkā chātra-mantrānugrāhiṇī |

chadminī chadma-niratā chadma-sadma-nivāsinī || 115 ||

chāya-suta-harā havyā chalarūpā samujjvalā |

jayā ca vijayā jeyā jaya-maṇḍala-maṇḍitā || 116 ||

jayanātha-priyā japyā jayadā jayavardhinī |

jvālāmukhī mahājvālā jagatrāṇa-parāyaṇā || 117 ||

jagaddhātrī jagaddhartrī jagatāṁ-upakāriṇī |

jālandharī jayantī ca jambhārāti-vara-pradā || 118 ||

jhillī jhāṅkāramukharā jharī jhaṅkāritā tathā |

ñanarūpā mahāñamī ñahastā ñivalocanā || 119 ||

ṭhaṅkāra-kāriṇī ṭīkā ṭikā ṭaṅkāyudha-priyā |

ṭhukurāṅgī ṭhalāśrayā ṭhakāra-traya-bhūṣaṇā || 120 ||

ḍāmarī ḍamarūprāntā ḍamarū prahitonmukhī |

ḍhilī ḍhakāravā cāṭā ḍhabhūṣā bhūṣitānanā || 121 ||

ṇāntā ṇavarṇa-samyuktā ṇeyā'ṇeya-vināśinī |

tulā tryakṣā trinayanā trinetra-vara-dāyinī || 122 ||

tārā tāravayā tulyā tāra-varṇa-samanvitā |

ugratārā mahātārā totulā tula-vikramā || 123 ||

tripurā tripureśānī tripurāntaka-rohiṇī |

tantraika-nilayā tryasrā tuṣārāṁśu-kalādharā || 124 ||

tapaḥ prabhāvadā tṛṣṇā tapasā tāpa-hāriṇī |

tuṣā-paripūrṇāsyā tuhinādri-sutā tu sā || 125 ||

tālāyudhā tārkṣyavegā trikūṭā tripureśvarī |

thakāra-kaṇṭha-nilayā thāllī thallī thavarṇajā || 126 ||

dayātmikā dīnaravā duḥkha-dāridrya-nāśinī |

deveśī deva-jananī daśavidyā dayāśrayā || 127 ||

dyunanī daitya-saṁhartrī daurbhāgya-pada-nāśinī |

dakṣiṇā kālikā dakṣā dakṣa-yajña-vināśinī || 128 ||

dānavā dānavendrāṇī dāntā dambha-vivarjitā |

dadhīcī-varadā duṣṭa-daitya-darpāpahāriṇī || 129 ||

dīrghanetrā dīrghakacā duṣṭāra-pada-saṁsthitā |

dharmadhvajā dharmamayī dharmarāja-vara-pradā || 130 ||

dhaneśvarī dhani-stutyā dhanādhyakṣā dhanātmikā |

dhīḥ dhvaniḥ dhavalākārā dhavalāmbhoja-dhāriṇī || 131 ||

dhīrasūḥ dhāriṇī dhātrī pūḥ punī ca punīstu sā |

navīnā nūtanā navyā nalināyatalocanā || 132 ||

nara-nārāyaṇa-stutyā nāga-hāra-vibhūṣaṇā |

navendu-sannibhā nāmnā nāgakesara-mālinī || 133 ||

nṛvandyā nagareśānī nāyikā nāyakeśvarī |

nirakṣarā nirālambā nirlobhā nirayonijā || 134 ||

nandajā 'naṅga-darpāḍhyā nikandā nara-muṇḍinī |

nindā ''ninda-phalā niṣṭhā nanda-karma-parāyaṇā || 135 ||

nara-nārī-guṇa-prītā nara-mālā-vibhūṣaṇā |

puṣpāyudhā puṣpamālā puṣpabāṇā priyaṁvadā || 136 ||

puṣpa-bāṇa-priyaṅkarī puṣpa-dhāma-vibhūṣitā |

puṇyadā pūrṇimā pūtā puṇya-koṭi-phala-pradā || 137 ||

purāṇāgama-mantrāḍhyā purāṇa-puruṣākṛtiḥ |

purāṇa-gocarā pūrvā parabrahma-svarūpiṇī || 138 ||

parāpara-rahasyāṅgā prahlāda-parameśvarī |

phālgunī phālguṇa-prītā phaṇirāja-samarcitā || 139 ||

phaṇapradā phaṇeśī ca phaṇākārā phalottamā |

phaṇihārā phaṇigatiḥ phaṇikāñcī phalāśanā || 140 ||

baladā bālyarūpā ca bālarākṣara-mantritā |

brahma-jñāna-mayī brahma-vāñchā brahma-pada-pradā || 141 ||

brahmāṇī bṛhatiḥ vrīḍā brahmāvarta-pravartanī |

brahmarūpā parāvrajyā brahma-muṇḍaika-mālinī || 142 ||

bindubhūṣā bindumātā bimboṣṭhī bagulāmukhī |

brahmāstra-vidyā brahmāṇī brahmā'cyuta-namaskṛtā || 143 ||

bhadrakālī sadābhadrī bhīmeśī bhuvaneśvarī |

bhairavākāra kallolā bhairavī bhairavārcitā || 144 ||

bhānavī bhāsudāmbhojā bhāsudāsya-bhayārtihā |

bhīḍā bhāgīrathī bhadrā subhadrā bhadra-vardhinī || 145 ||

mahāmāyā mahāśāntā mātaṅgī mīna-tarpitā |

modakāhāra-santuṣṭā mālinī mānavardhinī || 146 ||

manojñā caṣkulī-karṇā māyinī madhurākṣarā |

māyābījavatī mānī mārī-bhaya-nisūdinī || 147 ||

mādhavī mandagā mādhvī madirā'ruṇa-locanā |

mahotsāhā gaṇopetā mānanīyā maharṣibhiḥ || 148 ||

matta-mātaṅgā gomattā manmathāri-vara-pradā |

mayūra-ketu-jananī mantra-rāja-vibhūṣitā || 149 ||

yakṣiṇī yoginī yogyā yājñikī yoga-vallabhā |

yaśovatī yaśodhātrī yakṣa-bhūta-dayāparā || 150 ||

yamasvasā yamajñī ca yajamāna-vara-pradā |

rātrī rātriñcarajñī ca rākṣasī rasikā rasā || 151 ||

rajovatī ratiḥ śāntī rājamātaṅginī parā |

rājarājeśvarī rājñī rasasvāda-vicakṣaṇā || 152 ||

lalanā nūtanākārā lakṣmīnātha-samarcitā |

lakṣmīśca siddhalakṣmīśca mahālakṣmī laladrasā || 153 ||

lavaṅga-kusuma-prītā lavaṅga-phala-toṣitā |

lākṣāruṇā lalatyā ca lāṅgūlī vara-dayinī || 154 ||

vātātmaja-priyā vīryā varadā vānarīśvarī |

vijñāna-kāriṇī veṇyā varadā varadeśvarī || 155 ||

vidyāvatī vaidyamātā vidyāhāra-vibhūṣaṇā |

viṣṇu-vakṣa-sthalasthā ca vāmadevāṅga-vāsinī || 156 ||

vāmācāra-priyā vallī vivasvat somadāyinī |

śāradā śāradāmbhoja-vāriṇī śūla-dhāriṇī || 157 ||

śaśāṅka-mukuṭā śaṣpā śeṣaśāyī-namaskṛtā |

śyamā śyāmāmbarā śyāma-mukhī śrīpati-sevitā || 158 ||

ṣoḍaśī ṣaḍrasā ṣaḍjā ṣaḍānana-priyaṅkarī |

ṣaḍaṅghri-kūjitā ṣaṣṭiḥ ṣoḍaśāmbara-pūjitā || 159 ||

ṣoḍaśārābja-nilayā ṣoḍaśī ṣoḍaśākṣarī |

sauṁ-bīja-maṇḍitā sarvā sarvagā sarvarūpiṇī || 160 ||

samasta-naraka-trātā samasta-duritāpahā |

sampatkarī mahāsampat sarvadā sarvatomukhī || 161 ||

sūkṣmākarī satī sītā samasta-bhuvanāśrayā |

sarva-saṁskāra-sampattiḥ sarva-saṁskāra-vāsanā || 162 ||

haripriyā haristutyā harivāhā harīśvarī |

hālāpriyā halimukhī hāṭakeśī hṛdeśvarī || 163 ||

hrīṁ-bīja-varṇa-mukuṭā hrīṁ hara-priyakāriṇī |

kṣāmā kṣāntā ca kṣoṇī ca kṣatriyī mantrarūpiṇī || 164 ||

pañcātmikā paṅcavarṇā pañcatigma-subhedinī |

muktidā muni-vṛndeśī śāṇḍilya-vara-dāyinī || 165 ||

om hrīṁ aiṁ hrīṁ ca pañcārṇa-devatā śrīsarasvatī |

om sauṁ hrīṁ śrīṁ śaradbīja-śīrṣā nīlasarasvatī || 166 ||

om hrīṁ klīṁ saḥ namo hrīṁ hrīṁ svāhā bījā ca śāradā || 167 ||

|| phalaśrutiḥ ||

śāradā-nāma-sāhasra mantraṁ śrībhairavoditam |

guhyaṁ mantrātmakaṁ puṇyaṁ sarvasvaṁ tridivaukasām || 1 ||

yaḥ paṭhed pāṭhayed vāpi śṛṇuyāt śrāvayed api |

divā rātrau ca sandhyāyāṁ prabhāte ca sadā pumān || 2 ||

go-gajāśva-rathaiḥ gehaṁ tasya bhaviṣyati |

dāsī dāsajanaiḥ pūrṇaṁ putra pautra samākulam || 3 ||

śreyaskaraṁ sadā devī sādhakānāṁ yaśaskaram |

paṭhen nāma sahasraṁ tu niśīthe sādhakottamaḥ || 4 ||

sarva-roga-praśamanaṁ sarva-duḥkha-nivāraṇam |

pāparogādi duṣṭānāṁ sañjīva nirmalaṁ param || 5 ||

yaḥ paṭhed bhakti-yuktas tu muktakeśo digambaraḥ |

sarvāgame-saḥ-pūjya-syāt sa-viṣṇuḥ sa-maheśvaraḥ || 6 ||

bṛhaspatī-samo-vāci nītyā-śaṅkara-sannibhaḥ |

gatyā-pavana-saṅkāśo matyā-śukra-samo 'pi ca |

tejasā-divya-saṅkāśo rūpeṇa-makara-dhvajaḥ || 7 ||

jñānena-ca-śuko devī cā'yuṣā bhṛgu-nandanaḥ |

sākṣāt sa parameśānī prabhutvena surādhipaḥ || 8 ||

vidyā-dhiṣaṇayā-kīrtyā-rāmo rāmo-balena-ca |

sa dīrghāyuḥ sukhī putrī vijayī vibhavī vibhuḥ || 9 ||

nānya-cintā prakartavyā nānya-cintā kadācana || 10 ||

vāta-stambhaṁ jala-stambhaṁ caura-stambhaṁ maheśvarī |

vahniśaityaṁ karotyeva paṭhanaṁ cā'sya-sundarī || 11 ||

stambhayed-api-brahmāṇaṁ mohayaed-api-śaṅkaram |

vaśyayed-api-rājānaṁ śamayeddhavya-vāhanam || 12 ||

ākarṣayed-devakanyāṁ uccāṭayati-vairiṇām |

mārayed-apakīrtiṁ ca saṁvaśayec ca caturbhujam || 13 ||

kiṁ kiṁ na sādhayet evaṁ mantra-nāma-sahasrakam |

śaratkāle niśīthe ca bhaume-śaktiḥ-samanvitaḥ || 14 ||

paṭhen-nāma-sahasraṁ ca sādhakaḥ-kiṁ-na-sādhayet |

aṣṭamyāṁ-āśva-māse tu madhyāhne-mūrti-sannidhau || 15 ||

paṭhen-nāma-sahasraṁ tu muktakeśo digambaraḥ |

sudarśano-bhaved-āśu sādhakaḥ-parvatātmaje || 16 ||

aṣṭamyāṁ-sarva-rātraṁ tu kuṅkumena-ca-candanaiḥ |

rakta-candana-yuktena kastūryā-cāpi-pāvakaiḥ || 17 ||

mṛga-nābhiḥ manaḥ śilkā kalka-yuktena-vāriṇā |

likhed-bhuje japen-mantraṁ sādhako-bhakti-pūrvakam || 18 ||

 dhārayen-mūrdhni-vā-bāhau yoṣid vāmakare śive |

raṇe-ripūn-vijityāśu mātaṅgāniva-keśarī || 19 ||

svagṛhaṁ-kṣaṇaṁ-āyāti kalyāṇī sādhakottamaḥ |

vandhyā-vāma-buje-dhṛtvā caturthe 'hani pārvatī || 20 ||

amāyāṁ___________-ravivāre-yaḥ paṭhet-pretālaye tathā |

trivāraṁ sādhako devī bhavet sa tu kavīśvaraḥ || 21 ||

saṅkrāntau grahaṇe vāpi paṭhen mantraṁ nadī-taṭe |

sa-bhavet-sarva-śāstrajño veda-vedāṅga-tattvavit || 22 ||

śāradāyā idaṁ nāmnāṁ sahasraṁ mantra-garbhakam |

gopyaṁ guhyaṁ sadā gopyaṁ sarva-dharmaika-sādhanam || 23 ||

mantra-koṭi-mayaṁ divyaṁ tejorūpaṁ parātparam |

aṣṭamyāṁ ca navamyāṁ ca caturdaśyāṁ ca dine dine || 24 ||

saṅkrānte maṅgalau rātryāṁ yo arcayec chāradāṁ sudhīḥ |

tryastriṁśat-sukoṭīnāṁ-devānāṁ tu maheśvarī || 25 ||

īśvarī śāradā tasya māteva hitakāriṇī |

yo japet paṭhate nāmnāṁ sahasraṁ manasā śive || 26 ||

sa-bhavec-chāradā-putraḥ sākṣād-bhairava-sannibhaḥ |

idaṁ nāmnāṁ sahasraṁ tu kathitaṁ hita-kāmyayā || 27 ||

asyā-prabhāvaṁ-atulaṁ janma-janmāntareṣvapi |

na śakyate mayā 'khyātuṁ koṭiśo vadanair api || 28 ||

adātavyaṁ idaṁ devī duṣṭānāṁ atibhāṣiṇām |

akulīnāya duṣṭāya dīkṣāhīnāya sundarī || 29 ||

avaktavyaṁ aśrotavyaṁ idaṁ nāma sahasrakam |

abhaktebhyo 'pi putrebhyo na dātavyaṁ kadācana || 30 ||

śāntāya gurubhaktāya kulīnāya maheśvarī |

svaśiṣyāya-pradātavyaṁ ityājñā parameśvarī || 31 ||

idaṁ rahasyaṁ paramaṁ devī bhaktyā mayoditam |

gopyaṁ rahasyaṁ ca goptavyaṁ gopanīyaṁ svayonivat || 32 ||

|| iti śrīrudra-yāmala-tantre pārvatī-parameśvara-saṁvāde

śrīśāradā-sahasranāma-stavarājaḥ sampūrṇam ||

Note: If anyone needs these inj their favorite language please contact me or Muralidharan)


It Was Only Apt That They Named the Galactic Supercluster ‘Saraswati’

The Indian astronomers who recently discovered a galactic supercluster have named the astronomical object ‘Saraswati’.
Digging into Indian culture and tradition, here are some thoughts on the Hindu goddess of knowledge, music, arts, wisdom and learning.
The young Indian astronomers who discovered a galactic supercluster four billion light years away have named it ‘Saraswati’. Giving Hindu names to an astronomical object or phenomenon instead of names derived from Western mythology is not something that validates Hindu mythology ‘scientifically’. It only shows that Indian science is increasingly cementing its place in the global scientific community.
Bound by the speed of light, the astronomers see Saraswati supercluster only as it was 4,000 million years ago.
 The celestial Saraswati fondly invokes some interconnected thoughts for a student of Indian culture and spiritual traditions.
Saraswati: Goddess of Sacred Geography
Saraswati in Rigveda is a mighty river goddess. She is the best of mothers, best of rivers and best of the goddesses. She stands distinctly majestic among the other mighty rivers, faster in her charge than others. She is the mother of all rivers. With three hymns for her, which are sung in 80 different places, she who “from the mountains goes to the ocean” made sacred the geography, the ‘Sapta Sindhu’ – the land of seven rivers, as was experienced by the Vedic seers.
Yash Pal study
From the colonial times, her identity has been searched for by explorers, geologists and archeologists. Dried river beds of Ghaggar-Hakra had been identified with Saraswati by many of them. The paleo-channels, six to eight kilometres wide in the Landsat MSS2 image, as identified by eminent physicist Yash Pal in 1980, would later emerge as iconic of the terrestrial Saraswati river.
Her Vedic description and identity with respect to the sacred geography of India have been challenged by a school of scholars who usually also ascribe to the colonial Aryan migration model. For example, Harvard Sankritist Professor Michael Witzel considers the Vedic description of the river as hyperbole. However, the geologists who studied the paleo-river channels discovered “a perennial monsoonal-fed Sarasvati river system with benign floods along its course” which, to them, was “a testament to the acuity of the Rig Veda composers who transmitted to us across millennia such an incredibly accurate description of a grand river!”
 There are ‘three goddesses’ (‘tisro devih’, Rigveda, 1:13:9) who are invoked together in the Vedas. They are Saraswati, Ila and Bhārati. In Atharvaveda, all three are given the name Saraswati (‘tisrah Sarasvatih’). Another Vedic goddess of interest is Vāc. In the Vājasaneyi Samhitā of Yajurveda, Saraswati bestows Vāc on Indra; she is the controller of Vāc and she herself is the Vāc. In S̄atapathabrāhmana, Vāc and Saraswati are declared as one. Bhārati is also identified with Vāc. In Brhaddevatā, first compiled in 400 BCE and revised during early Puranic period, Vāc united with Bhārati.[ Medhadevi is also another  name to Saraswati found in Mahanarayana Upanishad]
Celestial and Terrestrial Milk of Saraswati
Saraswati is not just the flowing riverine goddess but also the celestial one. She is identified with Milky Way, the river of heaven. She is also associated with the cosmic tree which connects the celestial worlds with earth. Vedic scholar David Frawley sees in her cosmic symbolism her higher status. He considers her the stream of consciousness.
Aitareya Brahmana of the Rigveda reveals a very interesting dimension of Saraswati. She is not only the celestial river, the river of this earth and the flow of consciousness; she is also the stream of justice. Sadashiv Ambadas Dange, author of Encyclopaedia of Puranic Beliefs and Practices, opines that they “were trying assiduously, in a probable drought, for the gain of water”. They expelled Kavasha because he was “son of a Dāsi, a non-Brahmin and a gambler”. Humiliated and driven to the desert, there he was inspired and saw the famous 'Aponaptriya', “the child of the waters”. He abided in her affection, says the text, and Saraswati started flowing all around him. The dramatic contrast between the arrogant ritualists calling him 'Dāsiputra' and their shaming by Kavasha becoming the seer of “the child of the waters” – as well as the significance of the anecdote in rejecting the socially stagnant abuse of a person with a slur against his maternal lineage, pitting such slur against the Divine Feminine – cannot be lost on any careful student of Hindu history.
Rigveda speaks of rivers as mothers of Saraswati, the seventh river. Saraswati herself is said to be ‘Sudughdh’, “yielding good milk”. And this sacred geography gets mapped into the inner realms as well. In Rigveda (1.164.49), the seer asks Saraswati to allow him to suckle her breasts. Dr. Catherine Ludvik insightfully observes: “Her milk, in this stanza, represents all valuable things, which she gives in full from her abundant breast, wealth in the widest sense. For the poet, as a poet, however, there is one treasure above all inspired thought (Dhi). Thus if one were to apply this stanza directly to the poet, one might say that he wishes to suck ‘Dhi’ directly from its source so that inspired thoughts might flow from him in the form of words.”
Interestingly, two of South India’s greatest poet-seers would seek and get the same from a goddess, though not from Saraswati but Pārvati, who is the daughter of the mountains.
Events from the life of Thiru Gnana Sambandar: Parvati feeds infant Sambandar
According to tradition, seventh-century child prodigy and Saivaite saint Thirujnaana Sambandar, who revived Saivism in South India, was given milk by Pārvati when he cried as an infant. Adi Sankara, around early eighth century, in his work Saundarya Lahari makes the Vedic-Sarasvati connection explicit. He describes the milk of her breast as “an ocean of milk flowing like the waters of Sarasvati”. Having drunk this milk, says Sankara, “the Dravida Sisu (Dravidian infant) became poet among all great poets”. It is interesting that the Vedic imagery of the flowing river becomes linked to the poetic greatness of the South Indian seer. In the context of Tamil Saivism, the distinction between Saraswati and Pārvati does not matter at all. Thirumanthiram is a fifth-century canonical Saivaite text written by Tamil mystic seer Thirumoolar, who identifies Saraswati emphatically with Pārvati:
She that holds the Book of Knowledge in her hand divine
She our mother, of eyes three,
She of crystal form, She of comely white lotus,
She chants the Vedas, She is Parvati. … (Tantra 4:5:22, 1067)
Sarasvati Anthāthi, a Tamil devotional work of 30 verses sung in praise of Saraswati, traditionally attributed to famous Kambar (twelfth century) but probably a later work, hails her having given the milk of knowledge of all art from her mountainous breasts.
Goddess of the Battlefield
Both Vāc and Saraswati are also goddesses who can fight. Saraswati is compared to Indra, and her assistance is requested in the battlefields. She is the only goddess addressed as the slayer of Vtra-Vṛtragni. The epithet in its masculine form that is used to address Indra 106 times is used only once in feminine form and that is to address Saraswati. In Yajurveda, Saraswati is invoked with Rudras to help people.
Vāc Sukta is interesting because this hymn is attributed to the human daughter, Vāc, of sage Ambṛna. Seized with an altered state of consciousness merging with the archetypal Divine Feminine, she identifies herself with the goddess. She declares herself to be roaming the land with Rudras (invoked with Saraswati), Adityas (invoked with Bhārati) and Vasus (invoked with Ila). Thus, she embodies in her all the three goddesses. Then she says that she fights for the people. She reveals herself as Rashtri – the embodiment of the nation. She says that she strings the bow of the Rudras and fights for the people. A comparable poetic manifestation of this Vedic hymn would arise centuries later in the worship of goddess expressed in Chilapathikaram (dated variously between second to fifth century CE) in South India. We have here the primordial surfacing of Bharat mata, combining both her traits as the giver of knowledge and the fighting warrior goddess.
A Goddess of Buddhist Dhamma with Vedic roots
Dr. Ludvik, professor of religion at Kyoto Sangyo University, in her detailed study points out that in ‘Suvarṇaprabhā Sūtra’, or the ‘Sūtra of Golden Light’, Saraswati becomes a multi-armed fighting goddess for Dharma. She ponders:
Would the Sutra of Golden Light, in the extant Sanskrit and in the versions represented by the Chinese translations of Yasogupta/Jnanagupta and Yijing-over two thousand years removed in time from the Rig Veda-have drawn on an aspect of the goddess that amongst the Hindus had been left behind, seemingly forgotten? Would the Buddhists have been studying the Rig Veda and its complex language so closely?
Dr. Catherine Ludvik, 2007, p 199
She rejects such a scenario, though. To Dr. Ludvik, the Sutra simply combines distinct goddesses: the original wisdom goddess Saraswati and the later battle goddesses merging them with Saraswati. Saraswati takes the form of an eight-armed battle goddess for Dharma in the Sutra and reaches Japan through China, though this form is more related to 'Kausiki-Vindhyavasini' and 'Mahisāsuramardini'.
It may be that Dr. Ludwik could have overlooked a connection between Vāc and Mahishāsuramardini. For this, a bird’s eye view of the way Mahishāsuramardini has evolved along the time stream may provide some clues.
The buffalo-slaying Divine depicted in Harappan tablet: The tablet has on its other side a female figure fighting felines and over a hostile elephant. In the fifth century, Devi Māhātmiya, before slaying Mahisha, fights the elephant and lion forms of the demon.
The buffalo-slaying Divine can be traced to the Harappan period itself. Archeologist Jonathan Kenoyer while discussing the Harappan terracotta tablet which shows “the ritual slaying of a water buffalo in front of a deity seated in yogic position while a crocodile crawls above the scene”, points out that these aspects are in Hinduism “associated with the deity Durga”. During the period of second urbanization, which in South India coincides with Sangham age, the goddess who slays a buffalo demon has emerged in literature. She had won a battle and is the mother of Murugan. Uma is also the mother of Murugan in the same layer of literature. She is depicted as armed with a trident in battlefields and has three eyes. When vermillion is applied to a maiden, she is said to look like Kottravai, the battle goddess. She dwells in the forest. Chilapathikaram clearly establishes her identity as Mahisāsuramardini and also a tribal deity who is also hailed as the goddess at the summit of Upanishads. Here, she is also identified with another goddess of Indian sacred geography – Kumari (Kanyakumari). Meanwhile in North India, in Mathura (Uttar Pradesh) and the Nagar region of Rajasthan, Mahisāsuramardini images have been obtained archeologically, attested to the end of first century BCE.
Devi Māhātmiya, a fifth century CE work (part of Markandeya Purana), provides an interesting, if not clinching, link connecting Mahisāsuramardini and Vāc. Māhātmiya describes in detail the weapons of the goddess and the deities who provided them. It were the Maruts or the Rudras (sons of Rudra) who gave her the bow. In Vāc Sukta, it is the bow of Rudra that she strings for the people. When one sees the depictions of her in the reliefs and sculptures holding the bow and fighting Mahishāsura, as in the case of the famous Mahabalipuram shore temples of Pallavās (seventh century), one can relate the imagery to Vāc Sukta of Rigveda.
Mahabalipuram temples of Pallavās (seventh century)
Thus, the connectivity between the goddess of knowledge and the multi-armed goddess who battles is never forgotten in the flow of history in the land of seven rivers, India. Vande Mataram brought it out when Bankim Chandra Bankim Chandra Chattopadhyay manifested those lines in our national song.
TvaM hi Durgaa dashapraharaNadhaariNii
kamalaa kamaladala vihaariNii
vaaNii vidyaadaayinii namaami tvaaM
Abdul Kalam’s translation of the Saraswati Vandana verses is worth recalling.
Perhaps the right place to end this article is with the message A P J Abdul Kalam conveyed to the students of Bharathiyar University on 06 July 2005. After asking the students to recite and remember the Saraswati Vandana that Tamil poet Bhārathi had composed in his epic poem, ‘The Vow of Pānchāli’, he translated the verses for the students.
If perpetual motion be the nature of all systems, (electrons in the atoms to stars in the galaxies) around, O! Goddess of Learning! Kindly bless my mind also to work ceaselessly in acquisition of knowledge. I think it is an important message for all of us, for continued acquisition of knowledge, work and continued prosperity.
A P J Abdul Kalam
By naming a galactic supercluster after Saraswati, the young scientists have given her another dimension in human beings’ quest for knowledge, of whose embodiment she is.


1)  Swami Harshananda, Hindu Gods and Goddesses, Ramakrishna Math, Chennai, India.

2)  Mukundan T.K., A Concept of Hinduism Bharatiya Vidya Bhavan, Mumbai, India.

3)  Radha Pukkan, Saraswati  Puja, IndiaDivine.Org, April 2014.

4)  Manjeet Sehgal, Saraswati River Sprouts Lifeafter 4000Years, IndiaDivine.Org, May 2015.

5)  Anntarangacharya, Isavasyopanishasd, Bengaluru, India.

6) K. Muralidharan (


I would like to offer my sincere gratitude and thanks to Sri. K. Muralidharan Iyengaar and to Sri. Sivakumar Thyagarajan from Dubai who sourced this Sahasranama from his contacts, and,  my obeisance to Goddess Sarasvati for leading me to this source.