Warkari

Sant Tukaram's Marathi abhanga on the joy of solitude among trees and birds, with Hari-katha as the only feast.

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

A Kakad Aarti to Vitthal that gently wakes the Lord at dawn, signed “Tuka mhane” and so ascribed to Sant Tukaram; sung in Pandharpur and across Maharashtra.

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

Sant Chokhamela's abhanga: the sugarcane is crooked yet its juice is straight, as with the bow and the arrow. 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 Mogara Phulala: a jasmine planted at the heart's door climbs to the sky, and its blossoms are woven into a shawl offered to 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 Eknath's Vinchu Chavla: a bharud on the scorpion sting of lust and anger, healed by the ash of sattva and surrender to the Guru.

Sant Gora Kumbhar's abhanga: the formless Absolute meets the Lord in form, the sense of body falls away, and Vitthal fills all.

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 Karmamela, son of Chokhamela, asks Vitthal plainly: You made us low-born, yet You ate curd-rice in our home. Why do You hold back now?

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 tells Vitthal His Name is sweeter than nectar, yet the mind will not taste it: sleep and distraction come as Kirtan begins.

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.

Sant Narhari Sonar's famous abhanga: goldsmith imagery casts the body as workshop, discernment as hammer, and Rama's Name as the pure gold refined within.

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 Janabai's tender plea to Vithoba as mother: come to Pandharpur's rivers and dance in my courtyard, for my joy lies in your virtues.

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

Sant Sena's pilgrim anthem: the joy of the road to Pandharpur, with no pilgrimage in the three worlds to compare.

A barber-saint's abhanga: Sena, servant of Vithoba, uses the mirror and scissors of his trade to speak of self-knowledge and shedding ego.

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

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 rest in surrender: having seen Vitthal's feet, the restless mind has nowhere left to run.

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 prays for smallness: the ant tastes sugar while the great elephant bears the goad, so humility is the happier gift.

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

Sant Tukaram's call to sing Vitthal, meditate on him and behold him on the brick; his Name sweetens the mouth and breaks death's noose.

Tukaram Gatha abhanga no. 2481 — Sant Tukaram celebrates the oneness of all creation, with trees, creepers, and birds as kin leading the soul to meditation on Vitthal.