श्रीभूलक्ष्मी
bhagavatīṁ भगवतीं
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 Vandevī or 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.
She is also known as Āraṇyikā, Āraṇyā Devī or Āraṇyānī.
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
Mahābala Vyāghra-rūḍhā
—the One who rides the Royal Bengal 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 Vanadevī.
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!
 Nārāyaṇī —The Śakti Lakṣmī, the primordial name of Śakti, is revealed in the Sītā Upaniṣad as Trivarṇā—the Divine in three eternal modes: Śrī, Bhū, and Nīlā. These correspond to the three cosmic powers, icchā (will), jñāna (knowledge), and kriyā (action), through which the Absolute manifests, sustains, and nourishes the universe. This Trivarṇā Lakṣmī is the core of our Vidyā. We can suffix or prefix - Mahā, Parā or whatever, core always remains Lakṣmī whom we worship as Śrī Vanadurgā Mahāvidyā. |
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Nitya Upāsanā – Prathama Cāraṇa
 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. |  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. |
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 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. |  Include this in your nitya tapas.. |  — a hymn structured primarily in ten main verses (daśa padāni) praising Śrī Vindhyavāsinī Devī, the presiding Goddess of the Vindhya mountains. (not mandatory) |
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.
 Vanadurgā (or Śrī Āraṇyā Devī), also known as Āraṇyikā, is the Śakti of Śrī Āraṇyaka Īśvara (Āraṇyeśvara / Antaryāmī Nārāyaṇa Kirāta-rūpadhara Īśvara) |
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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. |
 triveṇyādhāraṁ śaktiṃ त्रिवेण्याधारं शक्तिं bhagavatīṃ vanadurgeśvarīṃ भगवतीं वनदुर्गेश्वरीं sarvamaṅgalānārāyaṇīm सर्वमङ्गलानारायणीम् 1 triveṇīdhārāṃ śaktiṃ त्रिवेणीधारां शक्तिं śrīvidyāṃ mahāvidyāṃ श्रीविद्यां महाविद्यां tārātāriṇīm तारातारिणीम् 2 bhaje’haṃ vanadurgāṃ भजेऽहं वनदुर्गां mukhyavārāhīm मुख्यवाराहीम् kṣmāṃ lakṣmīṃ क्ष्मां लक्ष्मीं herāpañcamīm हेरापञ्चमीम् 3 namāmi brāhmavidyāṃ नमामि ब्राह्मविद्यां brāhmaṇīm, ब्राह्मणीम् śrīśāradā–rāmakṛṣṇa–pādukāṃ श्रीशारदा–रामकृष्ण–पादुकां |  Triveṇī Śīromaṇi Mantraḥ त्रिवेणी शिरोमणि मन्त्रः bhaje’haṃ vanadurgāṃ भजेऽहं वनदुर्गां mukhyavārāhīm मुख्यवाराहीम् kṣmāṃ lakṣmīṃ क्ष्मां लक्ष्मीं herāpañcamīm हेरापञ्चमीम् |  A humble offering at the feet of Añjanī Mātā — the mother of Śrī Hanumān, & the first to be worshipped (Prathamā Pūjanīyā) in Triveṇī Vidyā. She is the unseen source of supreme devotion (parābhakti). |
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 Añjanī Mātā Smaraṇa Mantra अञ्जनी माता स्मरण मन्त्रः namaskṛtāṁ jananīṁ añjanīm नमस्कृतां जननीं अञ्जनीं or vande’haṃ añjanīṃ sarvamaṅgalātāriṇīm वन्देऽहं अञ्जनीं सर्वमङ्गलातारिणीं or aṃ añjanī-mātre namaḥ अं अञ्जनीमात्रे नमः |  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. |  Śrī Āñjaneya Svāmī Smaraṇa Mantra श्री आञ्जनेय स्वामी स्मरण मन्त्रः oṃ śrī āñjaneyasvāmī paradevatābhyo namaḥ ॐ श्री आञ्जनेयस्वामी परदेवताभ्यो नमः or āṃ āñjaneyasvāmine namaḥ आं आञ्जनेयस्वामिने नमः |
 Prakṛtiṁ Paramāṁ — the Hymn to my Guru Maa, Śrī Śāradā Devī composed by Swāmī Abhedānanda — is a compulsory stuti for all who seek this Vidyā. This sacred Vidyā was revealed to me solely through the grace of Śrī Śāradā Devī and Śrī Rāmakṛṣṇa Bhagavān; therefore only those who hold unshakable faith and devotion toward my Guru can truly receive its blessing. |  This Triveṇī Vidyā was revealed to me by the kṛpā of Śrī Mā Śāradā. Without Her grace, this nīla-samudra of Saundarya-Vidyā remains unseen — even when one stands directly before it. Eyes may look, yet true vision does not arise until She herself wills it. This Pādukā Mantraḥ exists only to invite the gentle descent of the Guru’s compassion. It is not meant for display, attainment, or mastery, but for the child who approaches empty-handed — seeking nothing except Her anugraha alone. |  To receive the boundless grace of Śrī Guru |
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 namaḥ haṃ saḥ । namaḥ haṃ sauḥ । ... |  śrīguruḥ svayaṁ śrīrāmanātham, śrīviṣṇupādaṁ viśvanāthanātham॥ |  Śrī Guru Pādukā Dhyāna Stutiḥ |
 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. |  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 |
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 This is the sacred Nāmāvali of Śrī Aṣṭabhuji Vanadurgāparāṃbikā, the Primordial and Eternal Mahāvidyā, revered as the Supreme Parā Vaiṣṇavī Śakti. |  Pīṭha-sthāpana Mantra sauḥ bhāgyalakṣmī ramāpīṭhāya namaḥ सौः भाग्यलक्ष्मी रमापीठाय नमः |  Vanadurgā Saubhāgyalakṣmī Mantraḥ: sauḥ bhāgyalakṣmyai namaḥ or oṃ namo bhagavati vanadurgeśvarī ślīṁ hlīṁ klīṁ sauḥ bhāgyalakṣmyai namaḥ or oṃ aiṃ hrīṃ śrīṃ sauḥ bhāgyalakṣmyai namaḥ |
 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. |  |  |
 In today’s spiritual marketplace, countless self-proclaimed Gurus claim “truths” borrowed from books — from scriptures, Purāṇas, and commentaries. What they present is not Truth itself, but their own limited understanding of it. The Ṛṣis did not speak in conclusions. They spoke in structures of awakening. Their language is not literal — it is the same language Christopher Nolan employs in his films. |  SEE.....SEE.....SEE..... |
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 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. |  Parāṣoḍaśī Sarvamaṅgalā Nārayaṇī Mūla Mantra पराषोडशी सर्वमङ्गला नारायणी मूल मन्त्र: 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. |
 Par ā Śrīdevī Lakṣmī Mūla Mantra: परा श्रीदेवी लक्ष्मी मूल मन्त्र: śrīṁ śrīyai namaḥ svāhā श्रीं श्रीयै नमः स्वाहा |  ॥ अतिसुन्दरसूक्तम् ॥ |  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. |
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 Vanadurgā Saptatriṃśatī Nāmāvalīḥ, a litany of thirty-seven divine names revealing the many forms and powers of Śrī Vanadurgā Parāmbikā |  This stotram is by our Guru, Śrī Añjaneya, and it is a must for ārādhana towards Maa Vanadurgā. |  The highest form in which we worship our Goddess Vanadurgā |
 That Encounter |  The following hymn, traditionally known as the Vanadurgā Mahāvidyā Stotram, is a profound revelation attributed to the Primordial Īśvara. Its essence was realized through deep contemplation by the Kirāta-form of Īśvara. This Mahāvidyā is cherished by all the Mātṛkā-Śaktis, for it arises from the sacred matrix of the Mātṛkā akṣaras—the primordial syllables from which the universe unfolds. |  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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 Śrī Vanadurgāmbā Mūla Mantra श्री वनदुर्गाम्बा मूल मन्त्र oṁ hūṁ krauṁ mahābhaya-paripanthini vana-vihāriṇi durge devi dhana dhānyaṁ rakṣa rakṣa svāhā ॐ हूं क्रौं महाभयपरिपन्थिनि वनविहारिणि दुर्गे देवि धन धान्यं रक्ष रक्ष स्वाहा |  वनदुर्गा आराधना पूर्ण लघु मन्त्रः oṃ namo bhagavati vanadurgeśvarī ślīṁ hlīṁ klīṁ mahābālāyai namaḥ svāhā ॐ नमो भगवति वनदुर्गेश्वरी श्लीं ह्रीं क्लीं महाबालायै नमः स्वाहा or oṃ ślīṁ hlīṁ klīṁ vanadurge mahābālāyai namaḥ svāhā ॐ श्लीं ह्लीं क्लीं वनदुर्गे महाबालायै नमः स्वाहा |  Vanadurgā Ārādhanā Śeṣa Mudrikā Mantraḥ oṃ sāīṃ rāṃ ॐ साईं रां |
 Śrīdevī Prasanna Vanadurgā Ārādhanā Mūla Mantraḥ श्रीदेवी प्रसन्न वनदुर्गा आराधना मूल मन्त्रः śrīdevīprasannāyai namaḥ श्रीदेवीप्रसन्नायै न मः or śrīprasannalakṣmyai namaḥ श्रीप्रसन्नलक्ष्म्यै नमः or jaṃ virajāmbikāyai namaḥ जं विरजाम्बिकायै नमः or aṃ naṃ ghaṃ sauḥ bhāgyalakṣmyai namaḥ अं नं घं सौः भाग्यलक्ष्म्यै नमः |  Śrīdevī Prasanna Vanadurgā Ārādhanā Śeṣa Mantraḥ श्रीदेवी प्रसन्न वनदुर्गा आराधना शेष मन्त्रः rāṃ rāmacāṇḍikāyai namaḥ राँ रामचाण्डिकायै नमः or daṃ viṣṇudurgāyai namaḥ दं विष्णुदुर्गायै नमः or drāṃ virajāṃ śaraṇaṃ mama द्रां विरजां शरणं मम or aṃ naṃ ghaṃ ramāyai namaḥ अं नं घं रमायै नमः |  श्रीविष्णोः शतनामस्तोत्रम् |
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 Special (viśeṣa) nāmāvalī of Puruṣottama |  Śrī Satyanārāyaṇa Svāmi Mula Mantra: श्री सत्यनारायण स्वामी मूल मन्त्रः oṃ namo bhagavate satyadevāya ॐ नमो भगवते सत्यदेवाय |  Śrī Ramādevī Mula Mantra: श्री रमादेवी मूल मन्त्रः śrīṃ ramāyai svāhā श्रीँ रमायै स्वाहा |
 108 names of Śrī Satyanārāyaṇa Svāmi |  These eight names constitute the Mūla Nāmāni — the fundamental root-names — of Śrī Satyanārāyaṇa. They are to be recited together with the eight Mūla Nāmāni of Mā Vanadurgā. |  This work presents a Śrī Lakṣmī–Nārāyaṇa Sameta Nāmāvalī, derived from the Śrī Lakṣmīnārāyaṇāṣṭottaraśatanāmastotram. It is grounded in the Mūla Mantraḥ of Vanadurgā Ārādhanā Manikarṇikā Mantraḥ. While it is always highest to recognize Parama Puruṣa and Parama Prakṛti as One, one must never become like Bhṛṅgī—who chose to worship Śiva alone, abandoning Pārvatī. |
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 Vanadurgā Ārādhanā Śrī Anaghādevī Sameta Śrī Anaghasvāmī Mantra वनदुर्गा-आराधना अनघादेवीसमेत श्री अनघस्वामी मन्त्रः oṃ sāīṃ rāṃ śrīkākaṭaveṅkaṭaprasannāṃ ॐ साईं रां श्रीकाकटवेङ्कटप्रसन्नां or śrīkākaṭaprasannaveṅkaṭeśaya namaḥ श्रीकाकटप्रसन्नवेङ्कटेशाय नमः or śrīkākaṭaprasannaveṅkaṭeśāyai namaḥ श्रीकाकटप्रसन्नवेङ्कटेशायै नमः or oṃ kākaṭaṃ veṅkaṭaṃ namāmyaham ॐ काकट वेङ्कट नमाम्यहम् or oṃ prasannāṃ bhavasundarīṁ sarvamaṅgalānārāyaṇīṃ ॐ प्रसन्नां भवसुन्दरीं सर्वमङ्गलानारायणीं |  Śrī Anaghādevī 108 Names |  Anaghatva is a small compendium that gathers the Dhyāna Śloka & Gāyatrī Mantra, Ṣoḍaśanāma (16 names) and Aṣṭottaraśatanāma (108 names) of Śrī Datta Svāmī along with Śrī Anaghādevī. It also includes the revered Śrī Datta Mālāmantra. |
 वनदुर्गा परम बीज मन्त्रः एकाक्षरी बीजमन्त्रं: sauḥ सौः |  Paramahaṃsa Nāda Mantraḥ परमहंस नाद मन्त्रः haṃ saḥ haṃ sauḥ sauḥ haṃ sāīṃ rāṃ हं सः हं सौः सौः हं साईँ राँ |  Āraṇyā Devī Namavali |
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 Śrī Mahābhadrāmbikā Aṣṭottaraśatanāmāvaliḥ |  Vanadurgā Ārādhanā Mahābhadrāmbikā Mantraḥ oṃ bhrāṃ bhrīṃ bhrūṃ mahābhadrāmbikāyai namaḥ ॐ भ्रां भ्रीं भ्रूं महाभद्राम्बिकायै नमः or oṃ bhrāṃ bhrīṃ bhrūṃ mahābhadrakālikāyai namaḥ ॐ भ्रां भ्रीं भ्रूं महाभद्रकालिकायै नमः or oṃ bhrāṃ bhrīṃ bhrūṃ bhrāmarāmbikāyai namaḥ ॐ भ्रां भ्रीं भ्रूं भ्रामराम्बिकायै नमः or oṃ bhrāṃ bhrīṃ bhrūṃ mahābālābhadrāmbikāṃ ॐ भ्रां भ्रीं भ्रूं महाबालाभद्राम्बिकां |  वनदुर्गा आराधना मुख्यवाराही मन्त्रः त्रिवेणी शिरोमणि श्रीपञ्चमी मन्त्रः jaya śṛṅge śṛṅge ekaśṛṅge mukhyavārāhi जय शृङ्गे शृङ्गे एकशृङ्गे मुख्यवाराहि or oṃ vanadurgāyai namaḥ ॐ वनदुर्गायै नमः or oṃ mā aṃ mā ॐ मा अं मा or aṃ āṃ auṃ ambāyai namaḥ अं आं औं अम्बायै नमः or namāmi n īlamādhavīṃ nīlācalanivāsinīṃ saṅketāṃ saṅketīṃ saṅkaṭātāriṇīm or śrīpañcamukhīherambāyai namaḥ श्रीपञ्चमुखीहेरम्बायै नमः or oṃ hiraṇyavarṇāṁ hariṇīṃ śrīherāpañcamīṁ ॐ हिरण्यवर्णां हरिणीं श्रीहेरापञ्चमीं |
 Śrīdevī Prasanna Vanadurgā Ārādhanā Prāṇa Mantraḥ श्रीदेवी प्रसन्न वनदुर्गा आराधना प्राण मन्त्रः aṃ māyai namaḥ raṃ māyai namaḥ bhaṃ māyai namaḥ bhraṃ māyai namaḥ śaṃ māyai namaḥ kṣaṃ māyai namaḥ maṃ māyai namaḥ māṃ māyai namaḥ śrīmāyai namaḥ bhūmāyai namaḥ padmāyai namaḥ oṃ vanadurgāparamāyai namaḥ |  Śrīdevī Prasanna Vanadurgā Bhagavatī Mantraḥ श्रीदेवी प्रसन्न वनदुर्गा भगवती मन्त्रः oṃ bhaṃ bhīṃ bhūṃ bhagavatyai namaḥ ॐ भं भीं भूं भगवत्यै नमः or jayadurgā jayaḥ जयदुर्गा जयः or jaya mā rāmāyaṇī जय मां रामायणी or oṁ namo bhagavatī aṣṭabhujīm aṣṭalakṣmīm namaḥ svāhā ॐ नमो भगवती अष्टभुजीं अष्टलक्ष्मीं नमः स्वाहा or triveṇīvidyāyai svāhā त्रिवेणीविद्यायै स्वाहा or oṃ klīṃ bhagavatīṁ mukhyavārāhīṁ ॐ क्लीं भगवतीं मुख्यवाराहीं |  Śrīdevī Prasanna Vanadurgā Ārādhanā Śeṣa-paryanta Mantrāḥ श्रीदेवी प्रसन्न वनदुर्गा आराधना शेषपर्यन्त मन्त्राः bhūṃ maṅgalāyai namaḥ भूँ मङ्गलायै नमः or kṣaṃ āṃ mahālakṣmīṃ क्षं आं महालक्ष्मीं or bhūṃ īṃ vanadurgeśvarīṃ भूं ईं वनदुर्गेश्वरीं or jayaṃ maṅgalāṃ mām̐ maṅgalāṃ जयं मङ्गलां माँ मङ्गलां or oṃ śrībhūmimātre namaḥ ॐ श्रीभूमिमात्रे नमः or kṣmāṃ lakṣmīṃ क्ष्मां लक्ष्मीं |
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 Special 108 Namavali of Mā Kamalā |  The Śrī Mahālakṣmī Dhyāna Stotram is a devotional hymn preserved in the Devī Bhāgavata Purāṇa, wherein Purandara (Indra), along with the assembly of gods, extols Goddess Mahālakṣmī in her supreme and all-pervading form. The stotra combines contemplative visualization (dhyāna) with praise (stotra), presenting Mahālakṣmī as the cosmic support of dharma, artha, kāma, and mokṣa, and as the inner power sustaining all worlds. The hymn describes Mahālakṣmī as the universal Mother, substratum of....... |  In this tradition of Trivenī Vidyā, Śrī Mā Padmāvatī and Śrī Veṅkaṭeśvara Bālājī are of most primary importance. This nāmāvali, composed by Śrī Avadhūta Rāmi Reḍḍy Thāthā, is the anugraha of Śrīdevī to be incorporated in our ārādhanā. |
 oṃ śrī āraṇyakanāyikāyai namaḥ ॐ श्री आरण्यकनायिकायै नमः or oṃ aiṃ glauṃ śrīrāmacandrikāyai namaḥ ॐ ऐं ग्लौं श्रीरामचन्द्रिकायै नमः or śrīvidyālakṣmyai namaḥ श्रीविद्यालक्ष्म्यै नमः or bhūṃ vaneśvarīṃ भूँ वनेश्वरीं or mahāpañcamīvidyāyai svāhā महापञ्चमीविद्यायै स्वाहा or saṃ samayeśvaryai svāhā सं समयेश्वर्यै स्वाहा or namāmi paramāṃ devīṃ śrīsītāṃ vanadevīṃ नमामि परमां देवीं श्रीसीतां वनदेवीं |  Vanadurgā Ārādhanā Anaghādevī Mantraḥ वनदुर्गा आराधना अनघादेवी मन्त्रः sauḥ bhāgyalakṣmīṃ jayaḥ maṅgalālakṣmīṃ सौः भाग्यलक्ष्मीं जयः मङ्गलालक्ष्मीं or oṁ namo bhagavatī anagheśvarī trivarṇāṁ lakṣmīṁ namaḥ ॐ नमो भगवती अनघेश्वरी त्रिवर्णां लक्ष्मीं नमः or oṃ kṣrīṁ kṣrāṁ kṣrauṁ anaghādevyai namo namaḥ ॐ क्ष्रीं क्ष्रां क्ष्रौं अनघादेव्यै नमो नमः or drāṃ anaghāṃ lakṣmīṁ द्राँ अनघाँ लक्ष्मीँ or oṃ hrīṃ jayamaṅgalālakṣmīṁ vimalāṃ ॐ ह्रीं जयमङ्गलालक्ष्मीं विमलां |  Vanadurgā Ārādhanā Sarvamaṅgalā Nārāyaṇī Mantraḥ वनदुर्गा आराधना सर्वमङ्गला नारायणी मन्त्रः jayamaṅgale vanadurge sarvamaṅgale te namaḥ जयमङ्गले वनदुर्गे सर्वमङ्गले ते नमः or oṁ purāṇaparamāyai namaḥ ॐ पुराणपरमायै नमः or śrīṃ svarṇalakṣmyai svāhā श्रीं स्वर्णलक्ष्म्यै स्वाहा or saubhāgyalakṣmīvidyāyai svāhā सौभाग्यलक्ष्मीविद्यायै स्वाहा or nṛāṃ nārāyaṇīṃ नृां नारायणीं or oṃ śrīṃ sarvamaṅgalālakṣmīṁ kamalāṃ ॐ श्रीं सर्वमङ्गलालक्ष्मीं कमलां |
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 Vanadevī Ārohaṇa वनदेवी आरोहण: oṃ hiraṇyavarṇāṃ hariṇīṃ suvarṇarajatasrajāṃ triveṇīṃ trivarṇāmayīṃ lakṣmīṃ jātavedo ma āvaha ॥ ॐ हिरण्यवर्णां हरिणीं सुवर्णरजतस्रजाम् । त्रिवेणीं त्रिवर्णामयीं लक्ष्मीं जातवेदो म आवह ॥ |  satyaṃ śivaṃ sundaraṃ सत्यं शिवं सुन्दरं saubhāgyalakṣmīṃ trivarṇālakṣmīṁ सौभाग्यलक्ष्मीं त्रिवर्णालक्ष्मीं oṃ śrīṃ sarvamaṅgalālakṣmīṁ kamalāṃ ॐ श्रीं सर्वमङ्गलालक्ष्मीं कमलां ॥ 1 sarvamaṅgalāṃ māṅgalyāṃ सर्वमङ्गलां माङ्गल्यां triveṇīvidyārājñīṃ anaghālakṣmīṁ त्रिवेणीविद्याराज्ञीं अनघालक्ष्मीं oṃ hrīṃ jayamaṅgalālakṣmīṁ vimalāṃ ॐ ह्रीं जयमङ्गलालक्ष्मीं विमलां ॥ 2 aparājitāpīṭhe virājantīṃ अपराजितापीठे विराजन्तीं jayantīṃ mahiṣāmardinīṃ vanadurgāṃ जयन्तीं महिषामर्दिनीं वनदुर्गां oṃ aiṃ... |  Vanadurgā Ārādhanā Manikarṇikā Mantraḥ वनदुर्गा आराधना मणिकर्णिका मन ्त्रः (The jewel of liberation) (मोक्षरत्नम्) hrīṃ harīṃ śrīṃ hariṇīṃ ह्रीं हरीं श्रीं हरिणीं or sauḥ bhāgyalakṣmīṃ śaraṇam ahaṃ prapadye सौः भाग्यलक्ष्मीं शरणमहं प्रपद्ये or namaste jagat tāriṇi trāhi durge नमस्ते जगत् तारिणि त्राहि दुर्गे or oṃ mahālakṣyai namaḥ ॐ महालक्ष्यै नमः |
 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. |  Śrī Vanadurgā Sahasra-Padma Dīpa-Prakāśa Nāmaḥ is a sacred compilation of the 1008 names of Śrī Vanadurgā Parameśvarī. This namāvalī is derived from the traditional Mahālakṣmī Sahasranāmāvalī, yet it stands apart as a unique and radiant stream of mantric revelation. |  To attempt an introduction to this magnum opus is, frankly, to strike one’s own head with one’s shoes. Such is the rarity and exalted brilliance of this work that even gathering one’s thoughts about it feels inadequate. What I can offer, however, is the lived experience—what each complete recitation generates within the sādhaka. By the time you finish a single full recitation, you will almost certainly feel the need for a smoke, or a strong tea, or at least a heavy, satisfying meal. |
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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. |  This Gupta Saptaśatī invokes multiple Śākta forms, which finally find their culmination in Mahāgaṇeśvarī Vanadurgā. Just as Mā Virajāmbikā bears Śrī Mahāvināyaka as the radiant crest upon her crown, Gaṇeśvarī here stands as the Ratna Śiromaṇi of Triveṇī Vidyā. Thus, this Saptaśatī assumes special significance for upāsakas of Mā Vanadurgā, wherein all śaktis ultimately converge at the sacred threshold of Mahāgaṇeśvarī Vanadurgā. |  Triveṇī Ratna Śiromaṇi Mantraḥ त्रिवेणी रत्न शिरोमणि मन्त्रः vande’haṁ vaneśvarīṁ ṛddhiṁ siddhiṁ gaṇeśvarīṁ वन ्देऽहं वनेश्वरीं ऋद्धिं सिद्धिं गणेश्वरीं or oṃ hrīṃ śrīṃ virajāse namaḥ svāhā ॐ ह्रीं श्रीं विरजासे नमः स्वाहा or auṃ herambāyai namaḥ औं हेरम्बायै नमः or oṁ mahābālābhadrāyai namaḥ ॐ महाबालाभद्रायै नमः or oṃ aiṃ glauṃ virajāṃ mahābālābhadrāmbikāṃ ॐ ऐं ग्लौं विरजां महाबालाभद्राम्बिकां |
 Śrī Mahāvināyaka represents the ultimate form of Gaṇeśvara, wherein the Pañcadevatā—Gaṇeśa, Viṣṇu, Āditya, Rudra, and Ambā—are infused and worshipped as Eka Parabrahma Svarūpa. This integrative form transcends sectarian boundaries, presenting Mahāvināyaka as the unified locus of all five primordial divine principles. Within the tradition of Trivenī Vidyā, Śrī Mahāvināyaka is invoked in liṅga-svarūpa. |  In this Vidyā, the pattern of worship closely parallels that of Durgā–Mādhava Upāsanā. The central triad within this framework is Śrī Mahāvināyaka, Mā Vanadurgā, and Śrī Satyanārāyaṇa Svāmī. This triadic alignment constitutes the foundational structure of Triveṇī Vidyā. |
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 Śrī Aṣṭamātṛkāstotram is a devotional hymn that presents the worship of Aṣṭamātṛkās—the eight primordial Mother-powers—as integrally united with Śrī Vighneśvara (Gaṇeśa). In this stotra, Gaṇeśa is praised not merely as the remover of impediments, but as siddhi-rūpa, whose functioning in the cosmos is expressed through the dynamic energies of the Mātṛkās. |  vande’haṁ vaneśvarīṁ ṛddhiṁ siddhiṁ gaṇeśvarīṁ वन्देऽहं वनेश्वरीं ऋद्धिं सिद्धिं गणेश्वरीं —श्री विरजाम्बिका चरणार्पणास्तु |
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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.
 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. |
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Nitya Upāsanā – Tṛtīya Triveṇī Stotranī
 The primordial name of Śakti is Lakṣmī. That same Lakṣmī is Trivarṇā—Her nature expressed in three eternal aspects: Śrī, Bhūmi, and Nīlā. Even when She is addressed as Mahālakṣmī, She remains that one, undivided Lakṣmī alone. Every stream of Vidyā ultimately culminates in the worship of Her Parā-form. Vanadurgā is non-different from this very Lakṣmī. Indeed, Lakṣmī—also known as Bhagavatī—is Herself Vanadurgā; this truth is illuminated through Triveṇī-Vidyā. |  त्रिवेणी त्रिवर्णा मन्त्रः Triveṇī Trivarṇā Mantraḥ: श्रीभूलक्ष्म्यै नमः śrībhūlakṣmyai namaḥ or trīṁ trivarṇāyai namaḥ त्रीं त्रिवर्णायै नमः or jaya aṃbe aṃbike parāṃbike जय अंबे अंबिके परांबिके |  Ātmārpaṇa Mantra: oṃ namo mahālakṣmyai saubhāgyalakṣmyai parāyai namaḥ । tvameva śaktiḥ śrīḥ śāntiḥ satyaṃ saundaryaṃ śivaṃ mama hṛdaye vasatu ॥ ॐ नमो महालक्ष्म्यै सौभाग्यलक्ष्म्यै परायै नमः । त्वमेव शक्तिः श्रीः शान्तिः सत्यं सौन्दर्यं शिवं मम हृदये वसतु ॥ |
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 Saubhāgya Lakṣmī Mantra: oṃ śrīṃ śaṃ śrīlakṣmyai namaḥ ॐ श्रीं शं श्रीलक्ष्म्यै नमः |  Trivarṇā Lakṣmī Mantra: oṃ aiṃ hrīṃ śrīṃ saubhāgyalakṣmyai namaḥ ॐ ऐं ह्रीं श्रीं सौभाग्यलक्ष्म्यै नमः |  Hiraṇyavarṇā Lakṣmī Mantra: oṃ hiraṇyavarṇāyai padmasthāyai sarvamaṅgalālakṣmyai namaḥ ॐ हिरण्यवर्णायै पद्मस्थायै सर्वमङ्गलालक्ष्म्यै नमः |
 In the Saubhāgya–Lakṣmī–Upaniṣat, the Goddess is praised through innumerable epithets that reveal Her manifold functions — from cosmic motherhood to the finest pulse of inner bliss. |  The Hymn of the Hundred and Eight Auspicious Names of Śrī Saubhāgya Lakṣmī |  The list of 108 names of Aṣṭalakṣmī is indispensable in this Saubhāgyalakṣmī-Vidya. |
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 The Thousand Names of Saubhāgyalakṣmī |  In addition to the list of 108,1000 names, when one recites the Śrī Prasannavaradā Śrīlakṣmī Stotram, one is in fact directly offering worship to Mother Vanadurgā herself— in her most auspicious, gentle, and benevolent aspect. |  At the conclusion of our Vanadurgā Ārādhanā, Śrī Viṣṇu Aṣṭamaṅgalam is recited as a closing maṅgala prayer. |
Śakti, in her primordial appellation, is known as Lakṣmī.
That same Lakṣmī manifests as Trivarṇā,
eternally expressed through the three śaktis—Śrī, Bhūmi, and Nīlā.
The Saubhāgya Lakṣmī Upaniṣat reveals these as the three principal modes of worship of Lakṣmī (Vanadurgā):
Bhagavatī, Vanadurgā Parameśvarī, and Sarvamaṅgalā Nārāyaṇī—
contemplated respectively as Saubhāgya Lakṣmī, Trivarṇā Lakṣmī, and Hiraṇyavarṇā Lakṣmī.
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 (Upcoming Work) |  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. (Upcoming Work) |  Bhagavatī The first, primordial name of Lakṣmī — the innate Śakti of Śrīman Nārāyaṇa. In this series on Bhagavatī, I will present her manifestations such as Mārīkāmbā, Mahāmārī, Bhadrakālī, Śītalā, and many others. This will support you in developing a steady and one-pointed sādhana toward your chosen deity. Sādhana becomes truly fruitful only when the fundamentals are clear — when the foundation is firm. (Upcoming Work) |
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 The PAṆḌITĀ is based on our Mother who from the tag of Vidyā becomes a Paṇḍitā when it comes to Father. And not just any Paṇḍitā, a proper Dakṣiṇa Bhārata Brāhmaṇa Paṇḍitā. Like in books we read she is Supreme, etc. Fact is, she never sits on the throne. This series will not be fictional nor based on Purāṇas. These are direct learnings, which helped me in my own sādhanā. (Upcoming Work) |  Why an ārādhānā must be grounded in a vidyā. In Tantra this is known as Krama. Even in the path of BHAKTI upāsanā, Śrī Vedavyāsa ji—has given every essential teaching through the Purāṇas. The term Rasāyana actually arises from Rāma-Rasāyana, which is possessed by Añjaneya Svāmi. What this Rasāyana truly is, and what has been given by Him and by the great Ṛṣi Vālmīki, I shall explain—for it is directly connected with our own upāsanā of the Mother, Mā Vanadurgā. ( Upcoming Work ) |  Mādhava is one of the sacred names of Ādi Nārāyaṇa. Another name of the same meaning is Śrīvallabha. Both these names point to a single truth: He who is the beloved of Lakṣmī. What is particularly beautiful is that He is known through these very names—Mādhava and Śrīvallabha—only because of His eternal union with Mahālakṣmī. These names arise from affection, intimacy, and divine relationship. They are not titles of power; they are names one calls a being out of love. (Upcoming Work) |
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. (Upcoming Work) |  Taking the seekers of Maa Vanadurgā, like Smriti did in Kyunki Saas Bhi Kabhi Bahu Thi, I will show you and guide you towards the abodes of Her— It's OUR Home Tour—where Her sacred lotus feet have blessed us, Her bhaktas, to receive Her blessings. (Upcoming Work) |
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 This series is an attempt to sketch the ati-madhura prema—the supremely sweet love—that the Kirātarūpadhara Antaryāmī Nārāyaṇa Īśvara holds for Mā Vanadurgā. Normally, people think only of the Rāsa-līlā or Gopī-dance when it comes to Viṣṇu. For most, imagination stops at “Kṛṣṇa = Viṣṇu.” But the shade of the Primordial Īśvara is far more intense. He is silent. He is calm. He is ruthless. He is completely, fiercely serious when it comes to our Mother, Mā Vanadurgā. (Upcoming..) |  mahāṛṣi-atripatnyāḥ mahāsatyā anasūyāyāḥ dṛṣṭāntaḥ Śrī Mātā Anasūyā is not merely the wife of the great Atri, one among the ancient Saptarishis. She is the mother of Śrī Datta Bhagavān — the sacred womb that brought forth Nārāyaṇa Himself. The most crucial teaching associated with her comes not through formal instruction, but through the power of her own example. In the following pages, I will reflect upon that teaching and present my understanding of its deeper meaning. (Upcoming Work) |  viṣapāyī amṛtadātā Based on the Primordial Rudra — the lone supreme being who alone can transform poison into nectar, who drinks the poison Himself and distributes only nectar to the worlds. (Upcoming Work) |
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.
