Sacred Naman & Mangal Aarti
Naman & Mangal Aarti (Reverent Salutation & Auspicious Ceremony of Light)
नमन व मंगल आरती
Obeisance to the Divine Guru, His Holiness Shri Ashutosh Maharaj Ji. Sing the Aarti (Ceremony of Light & Song)Aarti · Ceremony of Light & Song A devotional ceremony in which a lamp is gently waved while hymns are sung, offering gratitude through light and music. with the sangat (the spiritual community), follow every verse with its meaning, and offer the lamp from wherever you are.
Live now: the sangat’s Aarti hour
DJJS Aarti & Naman, from the Divya Jyoti Jagrati Sansthan YouTube channel. Pressing play loads YouTube’s privacy-enhanced player (youtube-nocookie.com); nothing is requested from YouTube before that.
The sangat’s recording
DJJS Aarti & Naman
Choose a milestone or press play.
00:00 16:57
Use your device’s volume buttons.
Sing with understanding
The sacred texts
Devanagari beside its transliteration, with the meaning beneath. While the sangat’s recording plays, the section and line being sung light up.
Lines light up one by one across each section: unless the Sangat desk has timed each line, the moment a line lights is spread evenly over its section, so treat it as a guide.
Om Shri Ashutoshaye Namah
Initial Obeisance · 00:13 · The sangat’s mantra of obeisance to the Guru
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ॐ श्री आशुतोषाय नमः
oṁ śrī āśutoṣāya namaḥ
Om. Reverent salutations to Shri Ashutosh, the Divine Guru.
Gurur Brahma Gurur Vishnu
Guru Vandana · 00:49 · Guru Gita (traditional)
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गुरुर्ब्रह्मा गुरुर्विष्णुः गुरुर्देवो महेश्वरः।
gurur brahmā gurur viṣṇuḥ gurur devo maheśvaraḥ |
The Guru is Brahma, the Guru is Vishnu, the Guru is Lord Maheshvara.
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गुरुः साक्षात् परं ब्रह्म तस्मै श्रीगुरवे नमः॥
guruḥ sākṣāt paraṁ brahma tasmai śrī-gurave namaḥ ||
The Guru is, in truth, the Supreme Brahman: to that revered Guru, my salutations.
Akhanda Mandalakaram
Cosmic Vision · 01:47 · Guru Gita (traditional)
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अखण्डमण्डलाकारं व्याप्तं येन चराचरम्।
akhaṇḍa-maṇḍalākāraṁ vyāptaṁ yena carācaram |
The undivided, all-embracing Whole, by which all that moves and all that is still is pervaded:
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तत्पदं दर्शितं येन तस्मै श्रीगुरवे नमः॥
tat-padaṁ darśitaṁ yena tasmai śrī-gurave namaḥ ||
to the revered Guru who revealed that very state to me, my salutations.
Ajnana Timirandhasya
Dispersal of Darkness · 02:38 · Guru Gita (traditional)
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अज्ञानतिमिरान्धस्य ज्ञानाञ्जनशलाकया।
ajñāna-timirāndhasya jñānāñjana-śalākayā |
For one blinded by the darkness of ignorance, with the healing salve of knowledge,
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चक्षुरुन्मीलितं येन तस्मै श्रीगुरवे नमः॥
cakṣur unmīlitaṁ yena tasmai śrī-gurave namaḥ ||
the revered Guru opened my eyes: to that Guru, my salutations.
Mere Satguru Tere Path Par
Devotee Surrender Prayer · 03:31
The words of this prayer will appear here once the Sangat desk adds them.
Dhyana Moolam Gurur Murti
Essence of Dhyan · 06:48 · Guru Gita (traditional)
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ध्यानमूलं गुरोर्मूर्तिः पूजामूलं गुरोः पदम्।
dhyāna-mūlaṁ guror mūrtiḥ pūjā-mūlaṁ guroḥ padam |
The root of meditation is the Guru’s form; the root of worship is the Guru’s feet.
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मन्त्रमूलं गुरोर्वाक्यं मोक्षमूलं गुरोः कृपा॥
mantra-mūlaṁ guror vākyaṁ mokṣa-mūlaṁ guroḥ kṛpā ||
The root of mantra is the Guru’s word; the root of liberation is the Guru’s grace.
Mangal Aarti: Deen Bandhu He Ashu Pita
The Divine Aarti · 07:36
The words of this prayer will appear here once the Sangat desk adds them.
Karpura Gauram Karunavataram
Shiva Stuti · 14:38 · Traditional Shiva stuti
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कर्पूरगौरं करुणावतारं संसारसारं भुजगेन्द्रहारम्।
karpūra-gauraṁ karuṇāvatāraṁ saṁsāra-sāraṁ bhujagendra-hāram |
Fair as camphor, compassion embodied, the essence of all existence, garlanded with the king of serpents,
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सदा वसन्तं हृदयारविन्दे भवं भवानीसहितं नमामि॥
sadā vasantaṁ hṛdayāravinde bhavaṁ bhavānī-sahitaṁ namāmi ||
ever dwelling in the lotus of the heart: to Bhava (Shiva), with Bhavani, I bow.
Tvameva Mata Cha Pita Tvameva
Total Surrender · 15:14 · Traditional Sanskrit prayer
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त्वमेव माता च पिता त्वमेव त्वमेव बन्धुश्च सखा त्वमेव।
tvam eva mātā ca pitā tvam eva tvam eva bandhuś ca sakhā tvam eva |
You alone are my mother and my father; You alone are my kin and my friend.
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त्वमेव विद्या द्रविणं त्वमेव त्वमेव सर्वं मम देव देव॥
tvam eva vidyā draviṇaṁ tvam eva tvam eva sarvaṁ mama deva deva ||
You alone are my knowledge and my wealth; You alone are my all, O God of gods.
Shanti Path
Prayer for Peace · 15:44
The words of this prayer will appear here once the Sangat desk adds them.
Virtual Diya (Oil Lamp) & Pushpanjali (Floral Reverence / Offering of Flowers)
Offer the lamp and the flowers
A Pushpanjali (Floral Reverence / Offering of Flowers)Pushpanjali · Floral Reverence / Offering of Flowers A devotional gesture of releasing flower blossoms to express gratitude. from wherever you are: tap the altar to send marigold blossoms rising toward it, or press Offer petals (or Space) to let them fall before the lamp. Wave the aarti by drawing slow clockwise circles with the brass thali, or hold Wave the lamp. During the Mangal Aarti the light gathers when the recording plays.
Meaning of the Stotras (Hymns of Praise)
What the verses carry
The significance of each traditional verse, as it is understood in the Brahm Gyan (Direct Internal Awakening / Self-Realization)Brahm Gyan · Direct Internal Awakening / Self-Realization Direct, practical perception of the inner self through light, sound, vibration and nectar, independent of language, cultural background or blind faith. tradition. These are teachings to reflect on, offered for understanding, not a substitute for the Guru’s guidance.
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Āśutoṣa, literally “one who is swiftly pleased”, is an ancient name of Lord Shiva; in this mantra it is the name of the living Master, His Holiness Shri Ashutosh Maharaj Ji.
In the Brahm Gyan tradition the sangat begins by bowing, not as a formality but as the inner gesture of setting the ego aside before the Guru, so that what follows is received rather than performed.
The sangat’s mantra of obeisance to the Guru
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The verse sees in the Guru the three works of the Divine: Brahma who creates, Vishnu who sustains, Maheshvara who dissolves, and then goes further: the Guru is paraṁ brahma, the Supreme itself.
In the Brahm Gyan tradition this is understood as lived experience: the true Guru brings a new life of awareness to birth in the disciple, sustains it through sadhna, and dissolves the old ignorance.
Guru Gita (traditional)
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Akhaṇḍa-maṇḍalākāra is the unbroken, all-embracing Whole that pervades everything moving and unmoving. The verse praises the Guru not for describing that state but for showing it: darśitaṁ, “revealed to sight”.
In the Brahm Gyan tradition this is the heart of initiation: the Divine is revealed to be perceived within, rather than only believed in or imagined.
Guru Gita (traditional)
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The image is an ancient eye remedy: a fine stick (śalākā) carrying healing salve (añjana) to clear clouded sight. Ignorance is the darkness, knowledge is the salve, and the Guru is the one who applies it.
In the Brahm Gyan tradition “the opening of the eye” is also read inwardly, as the awakening of the divine eye through which the inner Light is seen in meditation.
Guru Gita (traditional)
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Four roots in one verse: the Guru’s form is the root of meditation, the Guru’s feet the root of worship, the Guru’s word the root of mantra, and the Guru’s grace the root of liberation.
In the Brahm Gyan tradition it is a reminder that sadhna rests on the Master’s guidance and grace, not on technique alone.
Guru Gita (traditional)
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A beloved Shiva stuti, sung as the aarti draws to a close: Shiva radiant as camphor, compassion embodied, the essence of existence, ever dwelling in the lotus of the heart together with Bhavani.
Camphor burns completely and leaves no residue; devotees often take it as an image of an offering made without holding anything back.
Traditional Shiva stuti
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Mother, father, kin, friend, knowledge, wealth: the prayer finds every relationship and every treasure in the Divine.
In the Brahm Gyan tradition it is offered to the Guru, in whom the disciple sees the Divine, as a prayer of surrender rather than a list of requests.
Traditional Sanskrit prayer
Harmonium & Tabla
Swara (Musical Note) guide & Aarti notation
Choose your Sa (the key the harmonium plays as the tonic) to see each swara’s (note’s) Western note and the common chords of that scale.
| Swara | Form | Steps | Note |
|---|---|---|---|
| Sa सा | Shuddha | 0 | C |
| Re रे | Komal | 1 | C♯ |
| Re रे | Shuddha | 2 | D |
| Ga ग | Komal | 3 | D♯ |
| Ga ग | Shuddha | 4 | E |
| Ma म | Shuddha | 5 | F |
| Ma म | Tivra | 6 | F♯ |
| Pa प | Shuddha | 7 | G |
| Dha ध | Komal | 8 | G♯ |
| Dha ध | Shuddha | 9 | A |
| Ni नि | Komal | 10 | A♯ |
| Ni नि | Shuddha | 11 | B |
Common taals (rhythm cycles, as tabla thekas)
- Keherwa · 8 beats
- Dha Ge Na Ti | Na Ka Dhi Na
- Dadra · 6 beats
- Dha Dhi Na | Dha Ti Na
- Teentaal · 16 beats
- Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha
A reference for practice; which taal the Aarti is sung in is for the sangat’s musicians to say.
Mangal Aarti notation
The harmonium notation of the Mangal Aarti hasn’t been added yet. It will appear here once the sangat’s musicians enter it on the Aarti desk; we never publish a melody we haven’t received from them.
For the stage
Run-of-show stage sheet
One printable page for the anchor and the sewadars: every section with its start time, length and text, and a stage cue beside it. The cues below are a template: edit them for your event (they are kept in this browser only), then download the sheet.