Lalitha Sahasranamam by Padmashri Awardee Sangita Kalanidhi Smt. Aruna Sairam

Lalita Sahasranama (IAST: lalitāsahasranāma) is a text from Brahmanda Purana. It is a sacred text to the Hindu worshippers of the Goddess Lalita Devi, i.e. the Divine Mother or Goddess Durga, in the form, Shakti. Lalitha is the Goddess of bliss, an epithet for Shiva’s wife Goddess Parvati. Etymologically, “Lalitha“ means “She Who Plays“. In the root form (vyutpatti), the word “Lalitha“ means “spontaneous“ from which the meaning “easy“ is derived and implicitly extends to “play“. Lalita Sahasranamam contains the thousand names of the Hindu mother goddess Lalita. The names are organized in a hymns (stotras). It is the only sahasranama that does not repeat a single name. Further, in order to maintain the meter, sahasranamass use the artifice of adding words like tu, api, ca, and hi, which are conjunctions that do not necessarily add to the meaning of the name except in cases of interpretation. The Lalita sahasranama does not use any such auxiliary conjunctions and is unique in being an enumeration of holy names that meets the metrical, poetical and mystic requirements of a sahasranama by their order throughout the text. Lalita Sahasranama begins by calling the goddess Shri Mata (Revered Mother), Shri Maharajni (Revered Empress) and Shrimat Simhasaneshwari (The goddess in the most revered throne). In verses 2 and 3 of the Sahasranama she is described as a Udayatbhanu Sahasrabha (the one who is as bright as the rays of thousand rising suns), Chaturbahu Samanvita (the one who has four hands) and Ragasvarupa Pashadhya (the one who is the embodiment of love and the who is holding the rope). Chidagnikunda Sambhuta (one who was born from the altar of the fire of consciousness) and Devakarya samudyata (one who manifested Herself for fulfilling the objects of the devas) are among other names mentioned in the sahasranama. Language: Sanskrit **Artists** Vocal: Aruna Sairam Violin: H.N. Bhaskar Mridangam: Patri Satish Kumar Keyboard: C. Girinandh Percussionist: K.S. Ramana Drums: P.T. Prithvikumar Guitar: Bob Phukan Bass Guitar: John Praveen **Lyrics** Sindhuraruna vigraham trinayanam manikya mouli spurath Thara Nayaga sekaram smitha mukhi mapina vakshoruham, Panibhayam alipoorna ratna chashakam rakthothpalam vibhrathim, Soumyam ratna gatastha raktha charanam, dhyayeth paramambikam. Arunam Karuna Tarangitaksim Dhrta Pasankusa Puspa banacapam Animadibhiravrtam Mayukhairahamityeva Vibhavaye bhavanim Dyayeth padmasanastham vikasitha vadanam padma pathrayathakshim, Hemabham peethavasthram karakalitha-lasadhema padmam varangim, Om Srimatha Sri Maharajni Sri Math Simasaneshwari Chidagni Kunda Sambootha Deva Karya Samudhyatha Udyath Bhanu Sahasrabha Chadur Bahu Samanvidha Ragha Swaroopa Pasadya Krodhakarankusojwala Mano Rupeshu Kodanda Pancha than mathra sayaka Nijaruna prabha poora majjath brahmanda mandala Om Maaheswari Mahaa devi Maha lakshmi Mrida priya Maha roopa Maha poojya Maha pathaka nasini Mahathanthra Mahamanthra Mahayanthra Mahasana Maha yaga kramaradhya Maha bhairava poojitha Maheswara Mahakalpa Maha thandava sakshini Maha kamesha mahishi Maha tripura sundari Om Iccha shakthi-Gnana shakthi-Kriya Shakthi Swaroopini Sri Chakra raja nilaya Sri Math Thripura Sundari Sri Shivaa Shiva Shakthaikya Roopini Lalithambika **About Aruna Sairam** Aruna Sairam (Padma Shri) is a Carnatic vocalist, composer, collaborator, humanitarian, and speaker. In addition to her performances in India, Aruna has taken Carnatic music to the global arena, at prestigious venues including the Royal Albert Hall and Carnegie Hall. Currently Vice Chairperson of the Sangeet Natak Akademi, Delhi, she was appointed in 2008 by the Chief Minister of Tamil Nadu as Advisor to the Department of Culture. Aruna works towards the musical education of underprivileged students, through the Nadayogam Trust, which she founded in 2011. Aruna is grateful for the training she received under her mother Rajalakshmi Sethuraman and the legendary T. Brinda, and the mentorship from several masters throughout her musical journey. Her music erased geographic borders when she was the first to incorporate Abhang, a Western Indian musical form, into a traditional, South Indian concert. **Stay Up To Date** Official Website: Like on Facebook: Subscribe on YouTube: Follow on Twitter: