Krishna

This is the Hare Krishna Maha-mantra, a sacred chant from the Hindu Vaishnava tradition. It is a simple, repetitive invocation of the divine names meant to focus the mind and awaken love for God.

A beloved Hindu aarti praising Lord Jagdish (Vishnu/Krishna) as supreme protector, sung during evening worship to invoke blessings and express devotion.

This is a short devotional couplet (a doha) from the Bhakti tradition that declares the Guru to be greater than even God (Govind), because the Guru is the one who shows the way to the divine.

The Pañca Tattva mantra invokes Chaitanya Mahaprabhu and His four principal associates, honored together in Gaudiya Vaishnava worship and kirtan.

A beloved Sanskrit hymn of eight verses celebrating every detail of Krishna's being as sweet — his face, voice, flute, and even the river Yamuna.

Gaudiya Vaishnava invocation prayers honoring the guru, Rupa Goswami, Radha-Krishna, the Vaishnavas and the Hare Krishna maha-mantra.

A traditional Hindu aarti praising Krishna as Kunj Bihari, describing his beauty, flute-play, and presence in Vrindavan.

Eight verses and a closing benefit verse that honor Vishnu as Krishna and Rama by listing his divine names, chanted for blessings and protection.

Eight Gaudiya Vaishnava verses attributed to Chaitanya Mahaprabhu, teaching humility, chanting Krishna's names, and complete surrender to God.

A popular Sanskrit bhajan stringing together sacred names of Vishnu, Rama and Krishna, sung from verse 1 of the Achyutashtakam.

A forty-verse hymn glorifying Krishna's divine pastimes, recited by devotees seeking his protection, love, and liberation.

A devotional hymn of eight verses glorifying Lord Krishna as Damodara, recounting his childhood pastime of being tied by Mother Yashoda.

Eight verses by Srinivasa Acharya glorifying the Six Goswamis of Vrindavan who established pure devotional practices.

A short call-and-response kirtan chanting Krishna's names Govind, Gopal and Radha Raman for group singing and remembrance.

A devotional aarti to Shree Shyam Baba (Khatu Shyam), a form of Krishna, describing his divine form and the blessings he grants his devotees.

Eight verses and a closing benefit verse call on Vishnu by many names, each verse ending with a plea to Shripati to calm all sorrow.

Eight verses on the power of the name Achyuta, citing Draupadi and the elephant Gajendra, by the poet-saint Sridhara Venkatesa (traditionally dated c. 1635–1720).

This is a devotional poem that joyfully declares every aspect of Lord Krishna and his surroundings to be sweet. It is meant to fill the reader with a sense of divine love and wonder.

A loving aarti to Banke Bihari, the playful child form of Krishna worshipped at Vrindavan's Banke Bihari temple, offered with lamps and song.

Eight verses and a closing benefit verse in praise of Advaita Acharya, whose loving cries are said to have called Chaitanya Mahaprabhu to appear.

A devotional aarti praising Radha, beloved of Krishna, for her beauty, wisdom, and compassion as the world's divine mother.

A forty-verse Hindi chalisa to Khatu Shyam (Barbarik), worshipped in Kali Yuga as the support of the defeated; recited for blessings and relief.

Eight verses, ending in meditation on the lotus feet of Advaita Acharya, attributed to Sarvabhauma Bhattacharya, in the Gaudiya Vaishnava tradition.

A simple Ram bhajan whose refrain says God's name alone is true in this world, calling him both Ram and Shyam.

Ghalin Lotangan, the Marathi prayer sung after aarti: a stanza by Sant Namdev, Sanskrit surrender verses, the Hare Rama mantra and Ganesha's Morya call.

This is a devotional song that celebrates the two beloved names of God in Hinduism — Rama and Krishna (also called Shyam) — praising their equal power, love, and grace.

A joyful devotional song (bhajan) in Hindi that calls upon Lord Krishna by many of his beloved names, celebrating his beauty, playful childhood, and divine nature.

A bhajan celebrating the saint Meerabai's ecstatic love for Krishna — leaving royal life to sing his praises in the streets, facing persecution with acceptance.

A playful Braj bhajan picturing little Krishna (Madan Gopal) among small cows and cowherd boys of Vrindavan.

Jaya Radha-Madhava, a Gaudiya Vaishnava song attributed to Bhaktivinoda Thakura, praising Krishna's names and Vrindavan pastimes.

A joyful Janmashtami bhajan celebrating Nanda's household at Krishna's birth, with the refrain 'Jai Kanhaiya Lal ki'.

Krishna Ashtakam: eight Sanskrit verses of praise, each ending 'Krishnam vande jagadgurum', and a ninth verse on the fruit of reciting it.

A devotional song by the poet-saint Mirabai, expressing her longing for Krishna to reside in her eyes, describing his dark beauty, flute, and ornaments.

Annamacharya's Sanskrit kirtana on infant Krishna as Gopalabala, with jingling waist-bells and butter in hand, worshipped at Tirumala.

Narottama Dasa Thakura's song praising the two feet of Gauranga (Chaitanya Mahaprabhu) as the treasure that leads to love for Radha and Krishna.

A joyful bhajan inviting the Lord to come as Ram, Shyam, Shiva, Vishnu or Ganesha, each with consort and emblem.

A folk bhajan of Shiva as the wandering yogi who comes to Yashoda's door in Gokul, seeking a glimpse of baby Krishna.

A guided devotional chant that takes the listener on a mental pilgrimage through Braj, repeating the name of Radha.

A Hindi film bhajan celebrating that Krishna's flute and love belong equally to Radha and to the devotee-saint Meera.

A Bengali Gaudiya Vaishnava song asking who is a true Vaishnava, ending in humble surrender at Krishna's feet.

Salabega's 17th-century Odia janana to Lord Jagannath, the Lord of the Blue Mountain, pleading that he trample the sorrows of his devotee's life.

Sant Bahinabai's abhanga on the Varkari temple: Dnyaneshwar laid its foundation, Namdev extended it, Eknath raised a pillar, Tukaram became its golden crest.

Bhagavad Gita 2.47: you have a right to action alone, never to its fruits, so act without making results your motive or clinging to inaction.

Sant Chokhamela's abhanga: the sugarcane is crooked yet its juice is straight, as with the bow and the river. Birth never bends the heart's devotion.

The daily liturgy of the Warkari tradition: 28 abhangas by Sant Dnyaneshwar harmonizing Upanishadic non-dualism with devotion to Lord Vitthal.

Sant Dnyaneshwar's Roop Pahata Lochani: the joy of beholding Vitthal's form, the fruit of many past good deeds and the home of every happiness.

Sant Eknath's Kaya Hi Pandhari: the body itself is Pandharpur, the indwelling Self is Vitthal, and devotion flows as the river Bhima.

Sant Eknath's Majhe Maher Pandhari: Pandharpur as a daughter's beloved maternal home, with Vitthal and Rakhumai as parents and Pundalik as brother.

Sant Janabai's abhanga: with the rope of love she binds the thief of Pandharpur, locks Vitthal in the prison of her heart and will never let Him go.

This iconic Kabir doha teaches that the Guru is bowed to first, even before God, since it is the Guru's grace that reveals the Divine.

Sant Kanhopatra's prayer of total surrender: she asks Vitthal to test her no more, lays her head at His feet, and tradition recalls her merging in Him.

Sant Muktabai's Tati Ughada: her plea to her brother Dnyaneshwar to open the hut door, teaching that a true saint endures the world's taunts with compassion.

Sant Namdev's Nachu Kirtanache Rangi: dance in the joy of Kirtan, light the lamp of knowledge in the world, and let the Name alone uplift all.

The evening aarti of Vitthal at Pandharpur, traditionally ascribed to Sant Namdev, sung across Maharashtra to the Lord on the brick beside Rakhumai.

The Pasaydan is Sant Dnyaneshwar's closing prayer in the Dnyaneshwari (18.1794–1802), asking God's grace for the welfare and friendship of all beings.

Sant Savata Mali's abhanga finding Vitthal in the onions, garlic, chilies and well-rope of his own vegetable garden: work as worship.

The Krishna Ashtottara Shatanamavali: 108 names of Lord Krishna, from his Gokula childhood to the Gita, chanted on Janmashtami and in daily Vaishnava worship.

Sant Soyarabai's hymn of oneness: seeing the Lord of Pandharpur, all colours, ego and difference dissolve into one hue.

This is a collection of thirty devotional songs in which young cowherd girls call one another to wake up, go bathe in the river, and sing praises to Lord Krishna during the month of Margazhi, seeking his favor and protection.

Sant Tukaram's farewell abhanga, sung as tradition holds he departed for Vaikuntha: a last Ram-Ram and the bonds of life released.

Sant Tukaram's hymn of non-dual bliss: in a lake of joy every wave is joy, and words fall silent before the experience.

Sant Tukaram's hymn of longing for God: like the chakor for the moon and a child for its mother, his soul waits for Vitthal.

Sant Tukaram's short prayer to Vitthal: the one boon he asks is never to forget God, with the company of saints preferred to liberation or wealth.

Sant Tukaram's abhanga defining a true saint as one who embraces the distressed as his own, declaring that God is found in such a person.

Sant Tukaram's joyful picture of Vaishnavas dancing on the sands of the Chandrabhaga, bowing to one another and leaving pride behind.

Sant Tukaram's invocation of Lord Vitthal standing on the brick at Pandharpur, hands on hips, in a Tulsi garland and yellow silk.

The immortal 15th-century Gujarati hymn composed by saint-poet Narsinh Mehta, revered globally as Mahatma Gandhi's favourite prayer and an anthem of compassionate humanity.