श्री वनदुर्गापरांबिका
This very form of Maa Vanadurgā has been the Mūla Dhyānam since ancient times. While she is widely known as Vanadurgā, Banadurgā, Ban Durgā, Viṣṇudurgā, Nārāyaṇī, Ban Devī, or simply Vana Devī, in the South, she is specifically worshipped in this form as Chenchu Lakṣmī
—the Śakti of Narasiṁha.
In different regions, she is also revered as Bhagavatī (or Bhagavathy in Kerala, Bhagabati in Odisha), Koṟṟavai (Kotravai) in the Tamil tradition, each name echoing the same supreme feminine divinity in a unique cultural tone.
Vanadurgā is also revered as Śrī Atharvaṇa Bhadrakālī Pratyaṅgirā.
After slaying Hiraṇyakaśipu, when Śrī Narasiṁha’s fury did not subside,
it was Maa Lakṣmī—in the form of Maa Vanadurgā—who calmed him.
Paramā Devī Vanadurgā,
being His primordial Śakti,
is therefore known as
Stambheśvarī
—or, as the formless vastness,
Khamveśvarī
The origin of tribal worship of
the Divine Mother
in nature traces back
to the ancient cult of
Stambheśvarī.
The worship of the pillar,
though popularly associated with Puruṣottama,
has its roots in a far more ancient saga.
Since time immemorial,
Nīla Mādhava has been worshipped
together with Maa Vanadurgā by the tribal communities
specifically by the Sābara king Viśvāvasu.
Even today, these two deities
continue to be jointly venerated among tribals.
This tradition predates the later
Durgā Mādhava upāsanā,
which arose after the sacred neem log
—the Dāru Brahma was discovered and
carved into the divine forms of
Śrī Balabhadra, Śrī Mā Subhadrā,
Śrī Jagannātha, and Śrī Sudarśana.
Parama Īśvara is known as
the Caturdhā Mūrti
—the collective (samaṣṭi-rūpa)
embodiment of the four deities.
In a similar manner, Mahālakṣmī
revered as Nārāyaṇī, Durgā, or Caṇḍī
is the samaṣṭi-rūpa of
Mahākālī, Mahālakṣmī, and Mahāsarasvatī.
Indeed, in essence even an uncarved,
elongated log of wood
continues to be worshipped
as
Kāṭhī Ṭhākurāṇī
in the ancient Śakti Pīṭhas of Utkala
—most notably in the temples of Bhagavatī and Virajāmbikā.
To this day, the tradition of offering
reverential salutations (namana) to the pillar
remains a living, sacred practice in many homes and temples.
The worship of Nāgas and Mānasā Devī
is particularly prevalent in regions
where Vanadurgā upāsanā
was historically practiced.
At the very heart of this tradition
lies the region now known as
the Sundarbans,
where the deity is today venerated
as Bonbibī
—a name derived from
Vandevī or Bandevī.
In a similar evolution,
Satya Nārāyaṇa came to be known
as Satya Pīr
—a reflection not of religious transformation,
but of linguistic and cultural shifts
in modes of reverence.
Yet at its core,
the worship has always remained
that of
Puruṣottama & Vanadurgā
The form of Durgā depicted riding
the Royal Bengal Tiger is,
in fact,
none other than Vanadurgā,
for she is primarily known as
Vyāghra-rūḍhā
—the One who rides the tiger.
yatra yatra viṣṇoḥ
pāda-padmam adhiśritam,
tatra tatra vanadurgā
śāradātmikāṁ śritam॥
Vanadurgā is revered as Parama Prakṛti—the Mūlaprakṛti, the primordial essence and fundamental nature of existence.
Mā Vana-Durgā, also revered as Mā Vandevī.
Vanadurgā is known as the Adi-Bhagavatī, the Primordial Bhagavatī. She is the Mūla-Prakṛti—the Supreme Primordial Nature.
Mā Sītā herself is known as Mā Vandevī.
While she is referred to as "Vana" due to her connection with forests, she is far more than a dweller of the woods. She is the forest itself, the life force nurturing countless divine manifestations, each celebrated by sacred names.
Alone Bhakti is the key to get the grace of Maa Vana Durga.
If you desire to do sadhana, your mental chitta suddhi must be of a kid who just seeks the mother's grace.
The Ghantā of Ghanteśvarī
As per Odisha’s folklore, one day, as Maa Vanadurgā was playing with peacocks in the forest, a thorn pierced her foot.
At that very moment, Purūṣottama Viṣṇu Himself descended to gently remove it.
Witnessing this sight, Brahmā and Śiva stood in awe.
Śiva, overcome with delight, saw in this moment the unfathomable depth of love that the Supreme Purusha held for the One who resides in the wilderness.
With playful reverence, Brahmā teased Viṣṇu, saying,
'Ah! Finally, even you are at a woman's feet!
Nitya Upāsanā – Prathama Cāraṇa
 Vana Durgā Nitya Upāsanā |  Vana Durga Mahastuti |  When one embarks on the path of Shakti worship, the dhyana (meditation) must be wholly focused on her sacred Pādukās. It is the ultimate realization a seeker attains. Mere reading or intellectual understanding is not enough; one must journey to the temple of the Self through Tapasya and Sadhana. |
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 When we want to start sadhana of any God, it is important to first worship the GURU PADUKA. It is alone GURU, who first shows the PATH towards The Temple of God, whom we SEEK. |  The most important element of worship in Vana Durga or Devi worship is Vahana worship. First he should be worshipped with equal amount of faith & surrender. |  Dedicated to Śrī Aṣṭabhujī Vanadurgāparāṃbikā |
In this first movement of daily worship
— the Pādukā Cāraṇa
— we invoke the grace of Bhagavatī
through a sacred hymn dedicated to Her Pādukās.
The sequence begins with Vana Durgā Mahā Dhyānam
— a deep meditation centered on Her divine Pādukās.
This is followed by Śrī Devī Vana Durgā Mahā Pādukā Divya Stavam,
a hymn of remembrance (smaraṇam) offered to Her sacred feet.
Next, we offer praise to Her vāhana
— the devoted bearer of Śakti upon his shoulders
— through the Vana Durgā Vāhana Stuti.
Finally, we conclude with Vana Durgā Mahāstuti,
also known as Śrī Devī Vanālaṅkāraṃ Stuti,
a grand hymn glorifying the Goddess
in Her forest-enshrined splendour.
This Mahāstuti may be recited either at the beginning or at the end of the upāsanā
— let the heart guide its placement in your sādhanā.
Nitya Upāsanā – Dvitīya Ārādhanā Bindu
 Śrī Devī Ākāśavānī Vanadurgā Ārādhanā Laharī is a wave of worship offered to the Ādi Bhagavatī — Mā Vanadurgā. This sacred work now weaves together : — the Dhyāna-Stutiḥ, a meditative hymn that unveils the Devī’s form in serene splendor, — the Ārādhanā Laharī, a stotra of flowing devotion, pouring forth from the heart, — the Ākāśavānī, the divine voice received within, as grace and revelation. |  “Ārādhanā Laharī” (Wave of Worship) expresses how this hymn is not just a prayer but a continuous flow of devotion, much like the unbroken waves of divine remembrance that rise from the soul and merge into the presence of the goddess. Each verse, each invocation, surges forth like an oceanic tide—invoking, praising, and surrendering to Vanadurga’s supreme grace. This hymn is a living experience of Bhakti—where every breath, every utterance, and every offering is dedicated to Vanadurga. |  The term “Ākāśavāṇī” (Celestial Voice) signifies the divine message—an unspoken yet resounding call from the divine herself, experienced in the depths of devotion. The Ākāśavānī of the Goddess must be recited only after the recitation of the Vanadurgā Ārādhanā Laharī. Without the union of both,the offering remains incomplete. |
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 This Śrī Vanadurgā Bhagavatī Devī Dhyāna-Stutiḥ was composed by the blessings of Goddess Pullamveli Amma Śrī Bālābhadrā Devī. This Dhyāna-Stutiḥ arises not as a separate composition, but as the inner flame that illumines both the Ārādhanā Laharī and the Ākāśavānī. |  The 108 Divine Names of the Supreme Goddess Vanadurgā. This Nāmāvalī is also known as Śrī Devī Aṣṭottaraśatanāmāvalī श्रीदेव्यष्टोत्तरशतनामावली. |  Śrī Jānakī Stuti by Śrī Añjanēya Svāmi is a timeless and profoundly beautiful composition dedicated to the Supreme Primordial Mother. Much like the Śrī Devi Aparādha Kṣamāpaṇa Stotram, this stuti serves as a heartfelt means of seeking forgiveness. However, its essence goes beyond that—it facilitates complete surrender while invoking kṣamā (forgiveness), one of the most precious gifts granted to a seeker, both as a jīva and as a bhakta. |
 Vanadurgā Vidyā, also known as Triveṇī Vidyā, was known to me, and received by me, only through the blessings of my Guru Mā Śāradā Devī. |  Śrī Āñjaneya is the prathama guru in our Trivenī Vidyā. He is the embodiment of devotion, the embodiment of courage, the true sthita-prajña — the one who never seeks glory for himself, but only for the One he serves. |  a humble offering to the mother of supreme devotion (parābhakti). |
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 For those who tread the sacred path of Mā Vanadurgā, there is one stotram that must become a companion of your heart and breath. This stotra is not just a prayer — it is a lifeline. You do not require elaborate kavacas in your sādhana. |
 Vanadurgā Nāma Mantra |  This is that dhvani — the living pulse, my own hidden treasure. It was my only possession. The only thing that truly belonged to me. |  śrīguruḥ svayaṁ śrīrāmanātham, śrīviṣṇupādaṁ viśvanāthanātham॥ |
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 Śrī Guru Pādukā Mantra |  Root mantra for the worship of Śrī Vanadurgāmbikā: śaraṇye sāraṇye nīlāraṇye mahābālābhadrāyai sarvabhayanāśinyai abhayavaradāyinyai oṁ vanadurgāparamāyai namaḥ शरण्ये सारण्ये नीलारण्ये महाबालाभद्रायै सर्वभयनाशिन्यै अभयवरदायिन्यै ॐ वनदुर्गापरमायै नमः |  This is the sacred Nāmāvali of Śrī Aṣṭabhuji Vanadurgāparāṃbikā, the Primordial and Eternal Mahāvidyā, revered as the Supreme Parā Vaiṣṇavī Śakti. |
 The “108 Names of Śrī Aṣṭabhuji Vanadurgāparāṃbikā” is a collection of divine names for the eight-armed form of the Goddess Vanadurga |  It is especially for those seekers of Mā Vanadurgā those who hold fast to the Name Bhagavatī. |  This Bhagavatī Nāmāvaliḥ is for those seekers and devotees of Mā Vanadurgā who hold fast to the name 'Bhagavatī' as their chosen deity's name. It will aid them in their focus and ārādhana. |
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 The Vanadurgā Mahāmantra is drawn from the Vanadurgā Upaniṣad, distilled to retain only what is essential for inner worship (antaraṅga upāsanā). This compilation is not intended for outward display or ritualistic grandeur; rather, it is designed to fortify the sādhaka’s inner connection with the Goddess. |
 This Nārāyaṇī Stutiḥ is for the worship of Śrī Vanadurgāparāṃbikā |  This Nārāyaṇī Hṛdaya Mālā is derived from the Śrīlakṣmīnārāyaṇasaṃhitā’s Śrīlakṣmī Nāmāvalī Stotram, along with select portions of the Śrī Atharvaṇa Rahasya’s Lakṣmī Hṛdaya Stotram. Only those names have been retained which are especially suited for seekers of Mā Vanadurgā who choose the name of “Nārāyaṇī” as their primary ārādhana mārga. |  This Nārāyaṇī Nāmāvali is drawn from the Śrīlakṣmīnārāyaṇasaṃhitāyāṃ Śrīlakṣmīnāmāvalīstotram & Śrīatharvaṇarahasye Śrīlakṣmīhṛdayastotraṃ. While there exists an immense treasure of stotras and nāmavalis for Śrī Lakṣmī—whether as Kamalā, Padmāvatī, or other forms—this particular collection holds a rare and special charm for seekers of Maa Vanadurgā, especially those whose hearts beat with deep devotion at the very sound of the name “Nārāyaṇī.” |
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 Parā Śrīdevī is none other than Śrī Lakṣmī herself. This sacred collection of 108 names (nāmāvalī) is presented here, to serve as a means for profound internal sādhana. |  sarvamaṅgalamāṅgalye śive sarvārthasādhike । śaraṇye tryambake devī nārāyaṇī namo'stu te ॥ nārāyaṇī namo'stu te ॥ nārāyaṇī namo'stu te ॥ |  Oṁ Namo Bhagavatī Raktaṁ Pīṭhaṁ Namaḥ ॐ नमो भगवती रक्तं पीठं नमः This ancient mantra is dedicated to sincere seekers of Mā Vanadurgā who aspire to receive the divine grace of Mā Bhagavatī. It is for those whose hearts are moved to reverence at the mere utterance of her sacred name. |
 Parā Śrīdevī Lakṣmī Mahāmantra: śrīṁ śrīyai namaḥ svāhā श्रीं श्रीयै नमः स्वाहा |  The following passage is drawn from the Vana Durgā Kalpa, Second Paṭala, which describes the worship of Śrī Vanadurgā after the sacred pūrṇāhuti and pradakṣiṇā. Here, the devotee, filled with humility, offers a prārthanā — a heartfelt prayer seeking forgiveness, fulfillment, and the unceasing grace of Parameśvarī. |  Vanadurgā Saptatriṃśatī Nāmāvalīḥ, a litany of thirty-seven divine names revealing the many forms and powers of Śrī Vanadurgā Parāmbikā |
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 The Śrī Sūktam is one of the most sacred hymns of the Vedic tradition, dedicated to Mahālakṣmī, the embodiment of divine abundance, purity, and spiritual radiance. Found in the Khila portion of the Ṛgveda, it is among the earliest invocations to the Supreme Feminine Principle, known as Śrī, who sustains and sanctifies the entire cosmos. |  This stotram is by our Guru, Śrī Añjaneya, and it is a must for ārādhana towards Maa Vanadurgā. |  Few details on Śrī Kanaka Vanadurgā |
 oṃ śrīṃ hrīṃ aiṃ klīṃ namo viṣṇu-vallabhāyai mahāmāyāyai kaṃ khaṃ gaṃ ghaṃ ṅaṃ namaste namaste māṃ pāhi pāhi rakṣa rakṣa dhanaṃ dhānyaṃ śriyaṃ samṛddhiṃ dehi dehi śrīṃ śriyai namaḥ svāhā |
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 The Amazing Hunter |  Ekaśṛṅga |
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 ॐ हूं क्रौं महाभयपरिपन्थिनि वनविहारिणि दुर्गे देवि धन धान्यं रक्ष रक्ष स्वाहा |  श्रीविष्णोः शतनामस्तोत्रम् |  108 names of Śrī Satyanārāyaṇa Svāmi |
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 Daśāvaraṇa Vanadurgā Mahāyantra |
Tears must arise simply upon hearing the name of one’s Īṣṭa Devatā.
That is the true fruit of ārādhanā — not rituals alone,
but the heart that melts over lifetimes to finally weep for the Beloved.
Ārādhanā has been performed across countless births just to awaken those tears
— where love becomes bhakti,
and bhakti becomes union.
This section of the work focuses on the inner method of ārādhanā
— how to worship Mā Vanadurgā with a heart undistracted and wholly offered.
With the revelation of Ākāśavānī — the voice from the vast ether
— the principles of tattva become clear,
anchoring the sādhaka in one-pointed devotion.
Thus, this composition is named:
Śrī Devī Ākāśavānī Vanadurgā Ārādhanā Laharī
With the recent addition of the
Śrī Vanadurgā Mahātmikām Dhyāna Stutiḥ,
it forms the bridge — the sandhi, the inner threshold —
that connects the longing of ārādhanā
to the descent of ākāśavānī.
Nitya Upāsanā – Tṛtīya Triveṇī Stotranī
 Vanadurgā Triveṇī Sūtra is the path revealed to the true seeker who seeks only the grace of Mā Vanadurgā. This path does not explicitly disclose its method of worship but unfolds itself to the one who walks it with unwavering sincerity. |  It reveals Truth as it is—the path for those who, having attained Self-realization, live only to exhaust their prārabdha, while abiding in love for the Divine Mother. |  This work is an offering of nectar drawn from the boundless grace of the Divine, illuminating the essence of jīvanam (life), Bhagavat-smaraṇam (remembrance of the Supreme), and Bhagavatī-sevā (devotional service to the Goddess). Through a sacred hymn, it seeks to glorify the lotus feet of Bhagavān and Bhagavatī—the eternal source from which the seen and unseen, the moving and unmoving universe finds its rhythm and sustenance. |
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 Śrīdevī is none other than Bhagavatī Lakṣmī—the Primordial Mūla Prakṛti and Nārāyaṇī, the inherent Śakti of Śrīman Nārāyaṇa. Svarṇalakṣmī is verily Mā Vanadurgā Herself. This Triśatī of Śrī Svarṇamahālakṣmī serves as an essential text for sādhanā and tapasyā directed toward Mā Vanadurgā. The recitation of this Nāmāvalī is indispensable for sincere seekers of Mā Vanadurgā's grace. It is this very Svarṇamahālakṣmī who is invoked as the Śrī in the sacred Śrī Sūktam. |  Nārāyaṇī —The Śakti |  Upcoming Work |
Here is revealed the Triveṇī Sūtra of Triveṇī Vidyā, along with the Vanadurgā Triśatī and the
Mahāpadmayugala Caraṇāmṛtam Mahāparāyaṇam
— also be known as Vanadurgā Mahāparāyaṇam.
In this final flow, the invocation is offered to both of our Divine Parents,
making this a Yugala Mahāparāyaṇam
— a supreme recitation in devotion to the Divine Couple.
While the Triveṇī Sūtra may not lay out step-by-step guidance,
its essence becomes clear through the other works in this collection
— and those previously revealed above.
It weaves itself into your understanding as
you immerse in the full current of this Upāsanā,
flowing like the sacred confluence it is named for.
Nitya Darshana – Bhagavatī Virāṭ Svarūpa Darśana
 The Subtle Mystery of Nature’s Principle — Evokes depth, secrets, and the root principles behind Nature and life. The Dialogue Between Life and Nature. Based on That encounter — where Rāma stilled Rāma, and the arrow turned inward, which led Parashurāma to Dattātreya, and we got the magnificent — Tripurā Rahasya |  Vanadurgā Mahābhāratī is inspired by the Devī Māhātmyam — that most revered and timeless scripture, universally upheld as the quintessential text for Devī worship across the ages. |
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This section contains two key revelations:
Vanadurgā Carita Caraṇam Citram
— a visionary portrayal of Her divine feet and path,
inspired by the Tripura Rahasya
Vanadurgā Mahābhāratī
— drawn from the spirit of the Devī Māhātmyam
These are not tales of battles or asuras, nor merely stories of events.
Instead, they attempt to sketch a glimpse
— a Citra
— of Her Vastness,
Her Virāṭ-rūpa,
the cosmic form of Mā Bhagavatī.
Here, Carita is not linear narrative,
but darśana — a sighting.
These works help the sādhaka to sense the immeasurable reach of Her being,
beyond form and yet present in every form.
Nitya Darśana – Bhagavatī Hṛdaya Darśana
 Vanadurgā Pañcatantra is a poetic symphony woven in the form of ślokas, where the vast Mahārāṇyam (Great Forest) breathes with divine tales. Here, animals converse with plants, rivers murmur to the trees, and the wind carries sacred whispers—all speaking of Vanadurgā, the resplendent Queen of the wilderness. Through these enchanting dialogues, wisdom, devotion, and timeless values unfold, inviting children, elders, and devotees into a world where nature itself sings the glories of the Divine. |  This work is not born merely of a child’s imagination, but of a seeker’s inner vision — who, upon seeing the Devatā in her every reflected form (prati-svarūpa), speaks to those who shed silent tears at the very name of Mā Vanadurgā. |
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In this final stream of vision, the sādhaka turns inward
— from the cosmic vastness of Her Vīraṭa-svarūpa
to the tender nearness of Her Hṛdaya-darśana,
the revelation of Her heart.
Two works arise in this section:
Vanadurgā Pañcatantra
– where the paśus — the beings of the forest
— speak, reveal, and whisper what the humans could not.
Through their tales, gestures, and silences,
the Mahāraṇyam becomes a sentient scripture.
The forest breathes Her name.
Vanadurgā Rūpa-Cihna
– a subtle unveiling of Her form,
which is usually veiled by the vast sārī that enwraps the entire universe.
Here, in glimpses, we behold Her reflected self
— prati-svarūpa
— through the ripple of leaves,
the curve of a river, the tremble of longing.
This is the Hṛdaya-darśana
— where one no longer seeks Her outside,
nor imagines Her afar.
She is seen in every form,
felt in every silence,
and known through every breath.
This webpage is for all compostions and work I have started through the boundless blessings of my Swa Guru, Maa Sharada Ramakrishnaaya, without whose grace this offering would not have been possible. I remain forever nothing without their divine guidance.
