Vatapi Ganapathim Bhaje


Vathapi Ganapathim Bhajeham
Vaaranaasyam Vara Pradham Sri

Bhoothaadhi Samsevitha Charanam
Bhootha Bhautika Prapancha Bharanam

Veetharaaginam Vinutha Yoginam
Vishwakaaranam Vigna Vaaranam

Puraa Kumbha Sambhava Munivara Prapoojitham Trikona Madhyagatham
Muraari Pramukhaadhyupaasitham Moolaadhaara Kshetrasthitham
Paraadhi Chathvaari Vaagaathmakam Pranava Swaroopa Vakrathundam
Nirantharam Nithila Chandrakandam Nijavaamakara Vidhrutekshu Dandam

Karaambujapaasha Beejaapooram Kalushavidooram Bhoothaakaaram
Haraadhi Guruguha Toshitha Bimbam Hamsadhwani Bhooshitha Herambham

Translation

“Vathapi Ganapathim Bhajeham” is a Sanskrit phrase that translates to “I worship Lord Ganesha of Vatapi”. The phrase is part of a famous Carnatic music composition by Muthuswami Dikshitar, praising Ganapati, the Hindu deity of wisdom and auspicious beginnings, specifically the one worshipped at Vatapi, a place now known as Badami.

I worship (“Bhajeham”) Lord Ganapati of Vaatapi, who has the face (“aasyam”) of an elephant
(“vaara”) and confers (“pradam”) boons (“vara”) on His devotees.
His feet (“charanam”) are worshipped (“samsevitha”) by a host of Bhootaganas. He pervades
(“bharanam”) the world (“bhoota bhautika”) consisting of the five elements (“prapancha”). He
transcends(“raaginam”) the desires (“veeta”) and is revered (“vinuta”) by Yogis. He is the cause
(“kaaranam”) of creation(“viswa”) and the obliterator (“vaaranam”) of obstacles (“vigna”).
He is worshipped (“prapoojitham”) by the ancient sage (“munivara”) Agastya — who was born
(“sambhava”) out of a water pitcher (“pura kumbha”).
He dwells in the center (“madhyagatham”) of the mystic triangle (“trikona”) and is meditated
(“upaasitham”) upon Vishnu (“muraari”) and other “Pramukhas” (important ones).
He is the presiding deity (“sthitham”) of Mooladhaara Kshetra.
He is of the form (“aatmakam”) of four (“chatvaari”) kinds (“paraadi”) of sound (“vaagaa”) beginning
with Para.
He has a twisted (“vakra”) trunk (“tundam”) and is of the form (“swaroopa”) of Pranava.
He bears a crescent (“nitila”) moon (“chandra”) on his forehead (“gandam”) and holds a sugar cane
(“ikshu”) on His left hand.
He bears in His lotus-like (“ambuja”) hands (“kara”) a noose (“pasha”), a goad and fruits
(“beejapooram”).
He drives away (“vidhooram”) all the evils(“kalusha”). He has a gigantic (“bhoota”) form
(“aakaaram”).
He (“bimbam”) is adored (“toshita”) by Hara, Guruguha and others (“aadi”). He is lord Heramba
adorned (“bhushita”) with Raga Hamsadhwani.

Adamodi Galade

Adamodi Galade Ramayya Maata
Thodunida Nive Yanuchu Bhaktito
Kudi Paadamu Pattina Naato Maatal-(Adamodi)
Chaduvulanni Delisi Shankaraantshu Dai
Sadayu Daasuga Sambhavudu Mrokka
Kadalu Tammuni Balka Jesitivi Gaakanu
Tyaagaraaju Adina Maatal-(Adamodi)

Translation

O Ramayya! You seem to feel too proud, too uppish, even to talk to me. I have sought you as my sole support and shelter and stuck to you steadfastly and devotedly but you seem to feel .. Do you remember that when kindly Anjaneya, an offshoot of Shiva Himself, at his very first meeting with you desired to be informed of your antecedents, you did not respond directly, but commanded Lakshmana to speak to him? When such was the lot of Anjaneya himself, who can expect you to talk to this frail Tyagaraja?

Brahmamokate

Brahmam okate para brahmam okate
Thandana na ahi thandana na puri
Thandanaana bhala thandanaana
Thandana na ahi thandana na puri
Thandanaana bhala thandanaana bhala thandanaana

Brahmam okate para Brahmam okate para brahmam okate

Thandana na ahi thandana na puri
Thandanaana bhala thandanaana bhala thandanaana

Kandhuvahu hi nadhiga molindo levu
Andhariki sri Hari andharathma
Kandhuvahu hi nadhiga molindo levu
Andhariki sri Hari andharathma Hari andharathma sri Hari andharathma
Indhulo janthu kula muinda okate andhariki sri Hari andharathma
Hari andharathma sri Hari andharathma
Thandana na ahi thandana na puri
Thandanaana bhala thandanaana bhala thandanaana
Brahmam okate para Brahmam okate para brahmam okate
Thandana na ahi thandana na puri
Thandanaana bhala thandanaana bhala thandanaana
Nindara raju nidhrenchu nidhrayonkate
Andane bantu nidra nadhiyu okate
Nindara raju nidhrenchu nidhrayonkate
Andane bantu nidra nadhiyu okate
Mendaina brahmanudu mettu bhoomi okate
Chandalu dunteti sari bhoomi okate
Mendaina brahmanudu mettu bhoomi okate
Chandalu dunteti sari bhoomi okate sari bhoomi okate sari bhoomi okate
Brahmam okate para Brahmam okate para brahmam okate
Thandana na ahi thandana na puri
Thandanaana bhala thandanaana bhala thandanaana
Kadugeeye nukumeedha Kayu en dokate
Pudamisu nagamumeedha bolayu endokate
Kadugeeye nukumeedha Kayu en dokate
Pudamisu nagamumeedha bolayu endokate
Kadukunu lenupaapa karmulanu sarigaava
Jatiju shri Venteshwara naamamum okate
Jatiju shri Venteshwara naamamum okate
Kadukunu lenupaapa karmulanu sarigaava
Jatiju shri Venteshwara naamamum okate
Shri venkateshwara naamamum okate
Shri venkateshwara naamamum eeshwara naamamum
Venkateshwara naamamum shri venkateshwara naamamum okate
Thandana na ahi thandana na puri
Thandanaana bhala thandanaana bhala thandanaana
Brahmam okate para brahmam okate
Brahmam okate para brahmam okate
Thandana na ahi thandana na puri
Thandanaana bhala thandanaana bhala thandanaana bhala thandanaana bhala thandanaana

Translation

“Brahmamokate” (or “Brahmam Okate”) translates to “The absolute spirit is one” or “Oneness of existence”. It’s a popular Telugu devotional song by the 15th-century Indian saint-poet Annamacharya, which emphasizes that despite outward differences, the divine essence within all beings is the same.

The opening lines of Brahmam Okate song lyrics, known as the Pallavi set a tone for the song. These lines convey a truth; that the universe is unified and there exists a supreme consciousness. It celebrates the unity of all existence. Recognizes divinity in everything. For those seeking more understanding, the brahmam okate lyrics in english with meaning and significance go further into this concept.

The phrase Brahmam Okate song lyrics beautifully elucidates the core concept of Advaita Vedanta emphasizing the oneness of reality. It asserts that Brahman, which refers to spirit or consciousness is singular and omnipresent. Essentially it encapsulates the idea that everything, in existence’s an extension of this essence. This examination of the Brahmam Okate meaning and significance linked directly to its worldwide appeal.

Krishna Ni Begane Baro

Krishna Ni Begane Baro
Begane Baro Mukhavanne Toro
Krishna Ni Begane Baro
Kalalandige Gejje Neelada Bavuli
Neelavarnane Natyavanaduta Baro
Krishna Ni Begane Baro
Udiyalli Udigejje Beralalli Ungura
Koralalli Haakida Vaijayantiya Maale
Krishna Ne Begane Baro
Kasi Pitambara Kaiyalli Kolalu
Pusida Shreegandha Mayyolagamagama
Krishna Ni Begane Baro
Tayige Bayalli Jagavannu Thorida
Jagadoddharaka Namma Udupi Shri Krishna
Krishna Ni Begane Baro

Translation

Krishna ! Come hither soon !

Come hither soon! Show (me) your face!

Beautiful anklets adorn your feet! Sapphire bracelets (on your arms)!
“(Oh!)Blue coloured one.. (Please) come hither dancing !

Waistbands with bells adorn your waist! Ring(s) on your finger(s) !
“The (divine)Vaijayanthi necklace garlands your neck !
(Sacred)Saffron cloth from Kashi (covers you) ! (a) flute in your hand(s)!
Oh dear! Your body is anointed with sandal paste !
The one who showed his mother the universe in his mouth
(that)Benefactor of the world (Is) our Udupi Shri Krishna !

Bollava Vittala

Bolaawa vithhthhal pahaawa vithhthhal l
Karaawa vithhthhal jiwabhaaw ll
Yenen sosen man jaalen haanwabhari l
Parati maaghaari ghet naahin ll
Bndhanaanpaasuni ukalali gaanthhi l
Deta ali mithhi saawakaash ll
Tuka mhane deh bharila vithhthhalen l
Kaamakrodhen kelen ghar riten ll

Translation

“Bolava Vitthal, Pahava Vitthal” is a Marathi phrase that translates to “Speak of Vitthal, See Vitthal”. It is a call to experience the divine presence of Lord Vitthal (also known as Vithoba) through devotion and contemplation. The phrase is part of a larger abhanga (a devotional poem) by the 17th-century Marathi saint-poet Tukaram.

Abhanga “Bolava Vitthal” describes the ecstatic state of a mind of a devotee who is overwhelmed with the love of the Lord Vitthala. When Lord enters his mind everything gets forgotten instantly. With utmost ease the devotee leaves behind all the binding attachments of the world and the vices that are most difficult to get rid of. In rapture he rushes to embrace the Lord and becomes one with Him.

“(I want to) speak (of) Vitthala, (I want to) see Vitthala and (I want to) make Vitthala my very own”; with this uncontrollable desire my mind has become very greedy and it does not wish to come back to the world. The knots of worldly bondages came undone and I was leisurely able to hold Vitthala in a deep embrace. Tuka says – my whole being is filled with Vitthala through and through, so no place is left for the desire and anger. They had to vacate their abode.

Karsa Myon Nyay Anday

Karsa myon nyay anday
Karsa myon nyay anday
Maer manday madan waaro
Karsa myon nyay anday
Karsa myon nyay anday

Sone cham paame dewaan
Kaam devai jaanaa waaro
Tan wotum bewaan
Maer manday madan waaro
Karsa myoun nyay anday

Shab ake yuer yitam
Yaar myaane sitam gaaro
Roshe deedaar ditam
Yaar myaane sitam gaaro
Karsa myon nyay anday

Chondumakh hanni hanay
Chondumakh hanni hanay
Waeni aahamno wafaa daaro
Gotsah hamaa brontah kanyeh
Maer manday ha madan waaro

Translation

Theme: Asking God “When will my justice be served”. Language: Kashmiri.
This old Kashmiri folk song is rendered in the classical Sufiana Gharana common in Kashmir. Such poetry reflects the themes of devotion through love, similar to the Bhakti tradition of Hindu religious belief.

Mystical poetry expresses divine love, spiritual yearning, and the quest for union with God, using rich symbolism and metaphor. Kashmiri Sufi saints and poets are revered to this day by the Kashmiri Pandit community worldwide.

This rendition was composed into a classical Sufiana Kalam by the renowned artist Dhananjay Kaul, originally from Safapur, Kashmir, home of the famous Manasbal Lake in the Kashmir Valley, and next to Sumbal on the banks of the river Jhelum. This was the home of many of Kashmir’s saints, including Nand Keshwar. Kaul is now based near New Delhi, India.

The themes involve yearning for the visage of that which is as beautiful as the moon, yearning for the love of someone (God), bringing one’s soul to life in pursuit of this love.

Chaliye Kunjanamo

Chaliye kunjan mo thum
ham mil shyam hari
Chaliye kunjan mo thum
ham mil shyam hari
Chaliye kunjan mo thum
ham mil shyam hari

Dekho jamuna re bahi sundar
Dekho jamuna re bahi
sundar athi neer bhari
Dekho jamuna re bahi
sundar athi neer bhari

Chaliye kunjan mo thum
ham mil shyam hari
Chaliye kunjan mo…… aaaa…..

ChodiyE kaise mokun mai tho
ChodiyE kaise mokun mai
tho thero haath dhari
ChodiyE kaise mokun mai
tho thero haath dhari

Suniye koyal ke bole
Suniye koyal ke bole piya kya kahree
Suniye koyal ke bole piya kya kahree

Chaliye kunjan mo thum
ham mil shyam hari
Chaliye kunjan mo…….

thum ham mil shyam hari……

Translation

Oh, dark-hued Hari! Let us retire to the arbour.
Behold the river Jamuna flowing beautifully with a great volume of water.
How can you betray me while I am holding your hand fast?
Do listen to the call of a cuckoo. What does it convey?

“Chaliye kunjan mo” translates to “Let us go to the garden,” with “Chaliye” meaning “Let us go,” “Kunjan” meaning “garden,” and “mo” meaning “in” or “to”. The phrase is part of a song, “Chaliye kunjan mo thum mil Shyam Hari,” which is a plea to Krishna to accompany the speaker to the garden.

Shiva Tandava Shloka

Jatatavigalajjala pravahapavitasthale
Galeavalambya lambitam bhujangatungamalikam
Damad damad damaddama ninadavadamarvayam
Chakara chandtandavam tanotu nah shivah shivam .. 1

Lalatachatvarajvala dhanajnjayasphulingabha
Nipitapajnchasayakam namannilimpanayakam
Sudhamayukhalekhaya virajamanashekharam
Mahakapalisampade shirojatalamastunah .. 6

Praphullanilapan kajaprapajnchakalimaprabha
Valambikanthakandali ruchiprabaddhakandharam
Smarachchidam purachchhidam bhavachchidam makhachchidam
Gajachchidandhakachidam tamamtakachchidam bhaje .. 9

Kada nilimpanirjharinikujnjakotare vasanh
Vimuktadurmatih sada shirah sthamajnjalim vahanh
Vimuktalolalochano lalamabhalalagnakah
Shiveti mantramuchcharan sada sukhi bhavamyaham .. 13

Translation

 “With the lofty serpent as garland around his neck,
his ḍamaru sounding ḍamaḍ-ḍamaḍ,
Śiva did the fierce tāṇḍava dance on the ground
consecrated by the water flowing from his thick, forest-like hair locks.
May he shower prosperity on us.”

“May we get the wealth of siddhis from his locks of hair.
Kāmadeva was devoured by the
sparks of the fire flaming on his forehead.
All the celestial leaders bow down to him. He is beautiful with a crescent moon on his head.”

“Whose neck has the dark luster of the universe
with the glory of the fully-bloomed blue lotuses,
one who destroyed Kāmadeva and Tripurāsura,
the one who ends worldly existence,
and the one who brought an end to the sacrifice (of Dakṣa),
Gajāsura, and Andhaka and overpowered Yama; I worship that Śiva.”

“When will I be happy, living in a cave near Ganga,
carrying the folded hands on my head,
with my bad thinking washed away and
free from my disoriented eye, and uttering Śiva’s mantra and applying his sacred mark on the forehead?”

Bhaktha Jana Vatsale

bhaktajana vatsale igo vitthale
karunakalloie panddurange panddurange
sajala jalada dhar pItabar paridhan
ehi uddharane keshi raje keshi raje
namamhane tu vishvah jananI
keshIrabdhi nivasini jagadambe

Translation

“Bhakta Vatsala” is a Sanskrit term that translates to “one who is affectionate towards devotees” or “one who loves his devotees”. It is a title often used for deities in Hinduism, particularly Lord Vishnu and Lord Krishna, signifying their deep love and care for their followers. The term highlights the Lord’s willingness to protect and assist devotees in times of need, demonstrating a special bond of affection.

Raghuvamsa Sudha

Raghuvamsa sudhambudhi chandra shri
Rama Rama Rajeshvara

Agha megha maruta shrikara
Asuresha mrigendra vara jagannatha

Sa- ReMa Ga- ReSa, Re- MaMa Dha- DhaNi,
Ga- GaPa Sa- SaNi, DhaPa MaGa PaMa GaRe
SaRe ReMa MaDha DhaNi, GaPa PaSa SaRe ReMa,
MaGa GaRe ReSa SaNi, NiDha DhaPa PaMa GaRe

Jamadagnija garva khandana
Jaya rudradi vismita bhandana
Kamal-aptanvaya-mandana-
Ganita-pura-shaurya shri venkateshvara

Translation

O moon to the nectar-ocean of the Raghu lineage!
Sri Rama, lord of emperors!

O wind (that drives away the) sin-cloud! Maker of prosperity!
O lion (terrifying the) king of asuras! Noble lord of the world!

O Destroyer of Parshurama’s conceit!
One praised by the amazed Rudra and others!
O Ornament to the Solar dynasty!
O Doer of innumerable marvellous heroics! Lord Venkatesha!