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List Of Suktas And Stutis
This article contains a list of Hindu hymns, known as suktas, stotras or stutis. Sūktas Main Sūktas * Agni Sūktam * Ā no Bhadrāh Sūktam * Oshadhi Sūktam * Kumāra Sūktam * Ganapati Sūktam / Ganesha Sūktam * Gostha Sūktam * Gosamūha Sūktam * Trisuparna Sūktam * Durga Sūktam * Tantroktadevi Sūktam * Devī Sūktam * Dhruva Sūktam * Navagraha Sūktam * Nashta Dravya Prapti Sūktam * Nakshatra Suktam * Nārāyaṇa Sūktam * Narasimha Nakha Stuti * Nasadiya Sūktam * Pavamana Sūktam * Pitru Sūktam * Puruṣa Sūktam * Krityapaharana Sūktam / Bagalamukhi Sūktam * Brahmanaspati Sūktam * Bhagya Sūktam / Pratah Sūktam * Pṛithvī Sūktam / Bhumi Sūktam * Manyu Sūktam * Medha Sūktam * Rakshoghna Sūktam * Ratri Sūktam * Rashtra Sūktam * Lakshmi Sūktam * Varuna Sūktam * Vastu Sūktam * Vishwakarma Sūktam * Vishnu Sūktam * Śrī Sūktam * Shraddha Sūktam * Samvada Sūktam / Akhyana Sūktam * Samjnana Sūktam * Sarasvatī Sūktam * Sarpa Sūk ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sukta
The ''Rigveda'' or ''Rig Veda'' ( ', from ' "praise" and ' "knowledge") is an ancient Indian collection of Vedic Sanskrit hymns (''sūktas''). It is one of the four sacred canonical Hindu texts (''śruti'') known as the Vedas. Only one Shakha of the many survive today, namely the Śakalya Shakha. Much of the contents contained in the remaining Shakhas are now lost or are not available in the public forum. The ''Rigveda'' is the oldest known Vedic Sanskrit text. Its early layers are among the oldest extant texts in any Indo-European language. The sounds and texts of the ''Rigveda'' have been orally transmitted since the 2nd millennium BCE. Philological and linguistic evidence indicates that the bulk of the ''Rigveda'' Samhita was composed in the northwestern region of the Indian subcontinent (see) Rigvedic rivers), most likely between 1500 and 1000 BCE, although a wider approximation of 19001200 BCE has also been given. The text is layered, consisting of th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hiranyagarbha
Hiraṇyagarbha (Sanskrit: हिरण्यगर्भः ; literally the 'golden womb', poetically translated as 'universal womb') is the source of the creation of universe or the manifested cosmos in Vedic philosophy. It finds mention in one hymn of the Rigveda (Mandala 10, RV 10.121), known as the Hiraṇyagarbha Sūkta, suggesting a single creator deity (verse 8: ', Griffith: "He is the God of gods, and none beside him."), identified in the hymn as Prajapati, Prajāpati. The concept of the "golden womb" is first mentioned in the Vishvakarma Sūkta (RV 10.82.5,6) which picturized the "primeval womb" as being rested set upon the navel of Vishvakarman. This imagery was later transferred to Vishnu and Surya. The Upanishads, Upanishad calls it the Soul of the Universe or Brahman, and elaborates that Hiraṇyagarbha floated around in emptiness and the darkness of the non-existence for about a year, and then broke into two halves which formed the ''Svarga'' and the ''Prithvi, P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vedic Hymns
The oral tradition of the Vedas (Śruti) consists of several pathas, "recitations" or ways of chanting the Vedic mantras. Such traditions of Vedic chant are often considered the oldest unbroken oral tradition in existence, the fixation of the Vedic texts (samhitas) as preserved dating to roughly the time of Homer (early Iron Age).Scharfe, Ch. 13: "Memorising the Veda", p. 240 ff. UNESCO proclaimed the tradition of Vedic chant a Masterpiece of the Oral and Intangible Heritage of Humanity on November 7, 2008. Tones Vedic chantings use 4 tones – ''Udatta'' उदात्त (middle tone), ''Anudaatta'' अनुदात्त (lower tone), ''Svarita'' स्वरित (higher tone) and ''Deergha Svarita'' दीर्घस्वरित (High tone extended). These are usually marked with intuitive ''svara marks'' – an underline for lower tone, a small vertical line above the letter for a higher tone and two vertical lines for Deergha Svarita. Pathas The various pathas or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khadgamala
The Khadgamala (, sa, खड्गमाला, "Garland of the Sword") is an invocational mantra that names each of the Devi Hindu goddesses according to their place in the Sri Yantra or in the Maha Meru. This list of divine names is described poetically as a "garland" ( sa, mālā). The sword (Sanskrit: ''khaḍga'') is an epithet for the Devi's "power to strike down desire, hatred, and delusion". This recitation of mantra is a spiritual practice of Hindu tantra. Guru Karunamaya delivered a series of talks in English on Sri Sankara TV on Sri Devi Khadgamala revealing the inner meaning of the Shri Yantra The Sri Yantra, Shri Yantra, or Shri Chakra is a form of mystical diagram (''yantra'') used in the Shri Vidya school of Hinduism. It consists of nine interlocking triangles - four upward ones which represent Shiva, and five downward ones represen ... and Lalitha Tripura Sundari. See also References External links Khadagmala mantra and explanation Shaktism Spiritu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanakadhāra Stotram
Kanakadhara Stotram ( sa, कनकधारा स्तोत्रम्, ') is a hymn (Stotra) composed in Sanskrit by Adi Sankara. means "the one who holds (femenine of dhar)" () of "gold" (), and the hymn is called by this name since legend has it that when Adi Sankara recited it, Goddess Lakshmi appeared in front of him and unleashed a stream of gold. Origin The hymn was written in the 8th century CE by Adi Sankara, a revered Hindu philosopher, theologian and Jagad Guru(Master to the world). Sankara took Sanyasa (renunciation) at the age of eight. One day, as a young boy, he was on bhiksha for alms to prepare his lunch and happened upon the doorstep of a very poor Brahmin lady. Having nothing edible in her home, the lady frantically searched her house, only to find a single amla (Amalak, gooseberry) fruit which she then hesitantly offered to Sankara. Sankara was so moved by the incredible kindness and selflessness of this woman that he burst forth into poetry and sang ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shri Rudram Chamakam
''Shri Rudram'' ( sa, श्रीरुद्रम्, śrī-rudram), is a Vedic mantra or chant in homage to Rudra (an epithet of Shiva) taken from the ''Krishna Yajurveda's'' ''Taittiriya Samhita'' (TS 4.5, 4.7). It comprises two parts, the ''Namakam'' and ''Chamakam''. ''Chamakam'' ( sa, चमकम्) is added by scriptural tradition to the ''Shri Rudram''. The text is important in Shaivism, where Shiva is viewed as the Parabrahman. The hymn is an early example of enumerating the names of a deity.C Fuller (2001), ''Orality, literacy and memorisation: priestly education in contemporary south India'', Modern Asian Studies, Vol. 35, Issue 1, pages 14-15 with footnote 6 ''Shri Rudram'' is also famous for its mention of the Shaivite holy mantra '' Namah Shivaya'', which appears in the text of the ' in the eighth ''anuvāka'' of ''Taittiriya Samhita'' (TS 4.5.8.1). It also contains the mantra ''Aum namah bhagavate rudraya'' and the ''Mahamrityunjaya Mantra''. The Sri Rud ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shiva Stuti
Shiva Stuti (Sanskrit:शिवस्तुति; IAST:Śivastutī), is one of the most famous Sukta, Stutis (poems) composed by Sri Narayana Panditacharya in praise of Lord Shiva written in Prithvi metre. ''Stuti'' means eulogy, singing praise, panegyric and to praise the virtues, deeds and nature of God by realising them in our hearts. In this stuti Narayana Panditacharya eulogised the power, beauty, virtues, qualities, and also the five forms of Lord Shiva. The Shiva Stuti consists of 13 verses and is recited daily or on special festivals like Maha Shivaratri by Hindus. Once it so happened that when Sri Narayana Panditacharya went to Ramanathaswamy Temple, Rameshwaram Temple, the doors were closed. He prayed Lord Shiva with "Shiva Stuti". The temple doors opened automatically and he had the Darśana, darshan of Lord Shiva. About the work The authorship of the Shiva Stuti is attributed to Narayana Panditacharya, a poet-saint who lived in the 14th century CE. He mentions his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lakshmi Stuti By Indra
Lakshmi Stuti () is a Hindu hymn written in praise of Lakshmi, the Hindu goddess of wealth and prosperity. According to the Puranas as well as Vaishnava tradition, the authorship of this hymn is attributed to Indra, the king of the devas. It is widely used in the popular worship of the goddess and also invoked during vratas (vows). Legend The Vishnu Purana features an important episode in Hindu mythology known as the Samudra Manthana, the churning of the ocean. According to this legend, the sage Durvasa once acquired a divine garland from an apsara, a celestial singer. When he came across Indra, the king of the devas, he hurled the garland towards him. Indra caught the garland and placed it upon his elephant, who seized it with its trunk and flung it towards the earth. Durvasa, furious at the disrespectful treatment of his gift, proclaimed that the garland had been the dwelling of Sri (fortune) and cursed Indra, stating that the latter would lose his dominion over the universe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vayu Stuti
Vayu STUTI is one of the most famous Stutis (poems) composed by Sri Trivikrama Panditacharya in praise of Sri Madhvacharya, the founder of the Dvaita school of philosophy. Madhvas, or the followers of Sri Madhvacharya, know that Madhvacharya is the third incarnation of Lord Mukhyaprana, being the first incarnation or Vayu who is the main deity and the Vayu Stuti has been written recognizing this order of incarnation. Legend has it that during daily puja done by Sri Madhvacharya in the sanctum sanctorum of Udupi Sri Krishna temple behind closed doors, Trivikrama Panditacharya used to recite the Dvadasha stotra outside. The end of naivedya or ceremonial offering of food to the Lard was indicated by sounding of bells. However one day, Trivikrama Panditacharya got increasingly curious as the sound of bells was not heard even after a long time. He peeked through the door and to his utter amazement found Sri Madhva performing puja to Lord Shri Rama as Hanuman, to Lord Krishna as Bhi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nadistuti Sukta
The Nadistuti sukta (Sanskrit: नदिस्तुति सूक्त), or "the hymn in praise of rivers", is 75th hymn (''sukta'') of 10th MandalaTogether with 1st Mandala, 10th Mandala forms the latest part of the Rigveda of the Rigveda. Nadistuti sukta is important for the reconstruction of the geography of the Vedic civilization. Sindhu (the Indus) is addressed as the mightiest of rivers and addressed specifically in verses 1, 2, 7, 8 and 9. The rivers In verse 5, the rishi enumerates ten rivers, beginning with the Ganga and moving westwards: #Ganga #Yamuna #Sarasvati # Sutudri # Parusni # Asikni #Marudvrdha #Vitasta #Arjikiya # Susoma Verse 6 adds northwestern rivers (tributaries of the Indus flowing through Afghanistan and north-western Pakistan), Griffith translates: "First united with the Trishtama in order to flow, with the Susartu and Rasa, and with this Svetya (you flow), O Sindhu (Indus) with the Kubha (Kabul R.) to the Gomati (Gomal), with the Mehatnu to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gambler's Lament
The Gambler's lament (or "Gamester's lament") is one of the hymns of the Rigveda which do not have any direct cultic or religious context. It is found in the late Tenth Book (RV 10.34), where most of such hymns on "miscellaneous" topics are found, suggesting a date of compilation corresponding to the early Indian Iron Age. The hymn was composed by either Kanvasha Ailusha or Aksha Maujavant. Moriz Winternitz considered the poem to be the "most beautiful among the non–religious poems of the Rig Veda." Arthur Anthony Macdonell writes the following about the poem: "Considering that it is the oldest composition of the kind in existence, we cannot but regard this poem as the most remarkable literary product." The poem consists of a monologue of a repentant gambler who laments the ruin brought on him because of addiction to dice. The poem is didactic in nature and shows early indications of the proverbial and sententious poetry in later Hindu texts. Arthur Llewellyn Basham believed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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