Vishnu

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

The dhyana verse that leads the Vishnu Sahasranama: meditate on the white-robed, four-armed Vishnu with a gracious face, to calm all obstacles.

A one-verse Sanskrit invocation asking seven sacred rivers to be present in the water of a bath or ritual, so that it carries their holiness.

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.

A bhajan stringing together Ramcharitmanas verses of faith and patience, with the refrain 'Ram Sia Ram Sia Ram Jai Jai Ram'.

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

A heartfelt Marathi hymn to Goddess Durga, slayer of Mahishasura, pleading with her to end the cycle of birth and death and lift the burdens of daily life.

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

A Sanskrit dhyana verse on the white-robed, moon-hued, four-armed, gracious-faced Lord, chanted to calm all obstacles before worship or study.

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.

A devotional aarti to Lord Satyanarayana (a form of Vishnu), recited during the Satyanarayana Puja to express devotion and seek blessings.

Verses 1 to 20 of Vedanta Desika's Achyutashatakam, praising Achyuta of Tiruvahindrapuram as ever true to those who surrender to him.

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).

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

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.

The Atimanusha Stava, a hymn of 61 verses wondering at the Lord's superhuman deeds in human forms such as Rama and Krishna, ending in humble surrender.

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.

Sri Venkatesha Suprabhatam with its Stotram, Prapatti and Mangalasasanam: the dawn hymn that wakes Lord Venkateswara at Tirumala.

From Narasimha Purana 17: Vyasa teaches his son Shuka the eight-syllable mantra Om Namo Narayanaya, with its method, colours and fruits.

A Sanskrit verse of total surrender: offering every action of body, speech, mind, and senses to Lord Narayana, echoing Srimad Bhagavatam 11.2.36.

The Tulasi Upanishad, a short Vaishnava text that includes the verse 'Yanmule sarva-tirthani', honoring holy basil as the beloved of Vishnu.

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

A hymn of 108 names of Rama that retells the Ramayana kanda by kanda, with prayers to Rama, Sita and Hanuman.

Annamacharya's Telugu sankeertana hailing the Seven Hills of Tirumala as the abode of Sri Hari, Lord Venkateswara.

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.

An immortal 15th-century Telugu sankeertana by Tallapaka Annamacharya proclaiming universal human equality and the indwelling presence of Lord Hari in all living beings.

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.

A twelve-verse hymn to Dhanvantari, the divine physician, asking Hari to protect the afflicted from disease and distress.

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.

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.

A 42-verse armor from Bhagavata Purana 6.8, taught by Vishvarupa to Indra, placing Vishnu's names, weapons and forms on the body and all directions.

The Purusha Sukta (Rigveda 10.90): the Vedic hymn of the cosmic Purusha, whose sacrifice gives rise to the worlds and the Vedas.

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

The 108 names of Lord Narasimha, the man-lion form of Vishnu, each offered with 'Om' and 'namah' for protection, courage and grace.

The 108 names of Lord Venkatesha of Tirumala, naming his hills, waters, forms and boons, each offered with 'Om' and 'namah'.

A litany of 108 names of Lord Vishnu, the Supreme Preserver, chanted on Ekadashi, on Thursdays and in morning prayers with tulasi leaves.

Vishnu's thousand names, taught by Bhishma to Yudhishthira in Mahabharata Anushasana Parva, chapter 149, in 108 verses.

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.

The Valmiki Ramayana verse (1.23.2) with which Venkateswara Suprabhatam begins: Vishvamitra rouses young Rama at dawn.