Sankatmochan Hanuman Ashtak Lyrics :

Hanuman Ashtak Lyrics: हनुमान जी को संकटमोचन कहा जाता है। मान्यता है कि हनुमान जी की कृपा से सभी तरह के संकट पल भर में दूर हो जाते हैं। बड़े-बड़े पर्वत उठाने वाले, समुद्र लांघ जाने वाले, स्वयं ईश्वर का कार्य संवारने वाले संकटमोचन हनुमान की विधि पूर्वक पूजा करने से जीवन के सारे कष्ट दूर हो जाते हैं। कहा जाता है कि विधि विधान से बजरंगबली की पूजा-अर्चना करने से सभी विघ्न बाधाओं का अंत होता है

और मनोवांछित फल की प्राप्ति होती है। हनुमानजी के पथ पर चलने वालों को कोई भी संकट नहीं मिलता है। नियमित रूप से भगवान हनुमान की पूजा-आराधना का विशेष महत्व होता है। ऐसे में संकटों और कष्टों से मुक्ति के लिए प्रत्यके मंगलवार आपको हनुमान अष्टक का पाठ करना चाहिए। यहां हनुमान अष्टक लिरिक्स दी जा रही है, जिसकी मदद से आप इसका पाठ कर सकते हैं…

 

Sankatmochan Hanuman Ashtak Hindi Lyrics :

 

|| हनुमान अष्टक||
बाल समय रवि भक्षी लियो तब, तीनहुं लोक भयो अंधियारों।
ताहि सों त्रास भयो जग को, यह संकट काहु सों जात न टारो।
देवन आनि करी बिनती तब, छाड़ी दियो रवि कष्ट निवारो।
को नहीं जानत है जग में कपि, संकटमोचन नाम तिहारो ॥
संकटमोचन नाम तिहारो ॥ १ ॥

बालि की त्रास कपीस बसैं गिरि, जात महाप्रभु पंथ निहारो।
चौंकि महामुनि साप दियो तब, चाहिए कौन बिचार बिचारो।
कैद्विज रूप लिवाय महाप्रभु, सो तुम दास के सोक निवारो ॥
को नहीं जानत है जग में कपि, संकटमोचन नाम तिहारो ॥

अंगद के संग लेन गए सिय, खोज कपीस यह बैन उचारो।
जीवत ना बचिहौ हम सो जु, बिना सुधि लाये इहाँ पगु धारो।
हेरी थके तट सिन्धु सबे तब, लाए सिया-सुधि प्राण उबारो ॥
को नहीं जानत है जग में कपि, संकटमोचन नाम तिहारो ॥
संकटमोचन नाम तिहारो ॥

रावण त्रास दई सिय को सब, राक्षसी सों कही सोक निवारो।
ताहि समय हनुमान महाप्रभु, जाए महा रजनीचर मारो।
चाहत सीय असोक सों आगि सु, दै प्रभु मुद्रिका सोक निवारो ॥
को नहीं जानत है जग में कपि, संकटमोचन नाम तिहारो ॥
संकटमोचन नाम तिहारो ॥

बान लाग्यो उर लछिमन के तब, प्राण तजे सुत रावन मारो।
लै गृह बैद्य सुषेन समेत, तबै गिरि द्रोण सु बीर उपारो।
लाय सजीवन हाँथ दई तब, लछिमन के तुम प्रान उबारो ॥
को नहीं जानत है जग में कपि, संकटमोचन नाम तिहारो ॥
संकटमोचन नाम तिहारो ॥

रावन जुध अजान कियो तब, नाग कि फाँस सबै सिर डारो।
श्रीरघुनाथ समेत सबै दल, मोह भयो यह संकट भारो I
आनि खगेस तबै हनुमान जु, बंधन काटि सुत्रास निवारो ॥
को नहीं जानत है जग में कपि, संकटमोचन नाम तिहारो ॥
संकटमोचन नाम तिहारो ॥

बंधू समेत जबै अहिरावन, लै रघुनाथ पताल सिधारो।
देवहिं पूजि भलि विधि सों बलि, देउ सबै मिलि मन्त्र विचारो।
जाये सहाए भयो तब ही, अहिरावन सैन्य समेत संहारो ॥
को नहीं जानत है जग में कपि, संकटमोचन नाम तिहारो ॥
संकटमोचन नाम तिहारो ॥

काज किये बड़ देवन के तुम, बीर महाप्रभु देखि बिचारो।
कौन सो संकट मोर गरीब को, जो तुमसो नहिं जात है टारो।
बेगि हरो हनुमान महाप्रभु, जो कछु संकट होए हमारो ॥
को नहीं जानत है जग में कपि, संकटमोचन नाम तिहारो ॥
संकटमोचन नाम तिहारो ॥

॥ दोहा ॥
लाल देह लाली लसे, अरु धरि लाल लंगूर।
बज्र देह दानव दलन, जय जय जय कपि सूर ॥

 

Sankatmochan Hanuman Ashtak English Lyrics : 

 

Baal Samai Rabi Bhakshi Liyo Tabateenahu Loka Bhayo Andhiyaro
Taahi So Traas Bhayo Jaga Ko Yaha Sankat Kaahu So Jaat Na Taaro
Dewan Aani Kari Binatee Tabh Shaadh Diyo Rabi Kashta Niwaaro
Ko Nahin Jaanat Hai Jaga May Kapi Sankat Mochan Naam Tiharo

Baali Ki Traas Kapees Basai Giri Jaat Mahaa Prabhu Pantha Nihaaro
Chownkee Maha Muni Saap Diyo Tab Chahiyay Kown Bichaar Bichaaro
Kai Dwija Roop Liwaaya Mahaa Prabhu So Tuma Daas Kay Soka Niwaaro
Ko Nahin Jaanat Hai Jaga May Kapi Sankat Mochan Naam Tiharo

Angad Kay Sanga Layna Gayay Siya Koja Kapees Yaha Baina Uchaaro
Jeevat Na Bachihow Hum So Ju Bina Sudhi Laaya Ehaan Pagu Dhaaro
Hayri Thakay Tatta Sindhu Sabai Taba Laaya Siya Sudhi Praan Ubaaro
Ko Nahin Jaanat Hai Jaga May Kapi Sankat Mochan Naam Tiharo

Raavana Traas Dayee Siya So Saba Raakshashi So Kahi Soka Nivaaro
Taahi Samaya Hanuman Mahaprabhu Jaaya Mahaa Rajnee Charamaaro
Chaahat Siya Asoka So Aagi Su Dai Prabhu Mudrika Soka Nivaaro
Ko Nahin Jaanat Hai Jaga May Kapi Sankat Mochan Naam Tihaaro

Baanlagyo Ura Lashiman Kay Taba Praan Tajay Suta Raavana Maaro
Lai Griha Baidya Sukhena Sameta Tabai Giri Drona So Beera Ubhaaro
Aani Sajeewan Hatha Dayee Taba Lashiman Kay Tum Praana Ubhaaro
Ko Nahin Jaanat Hai Jaga May Kapi Sankat Mochan Naam Tihaaro

Raavana Juddha Ajaan Kiyo Taba Naaga Kin Phaas Sabhi Sira Daaro
Sri Raghunath Samet Sabai Dak Moha Bhaya Yaha Sankat Bhaaro
Aani Khagesa Tabai Hanumaan Ju Bhandan Kaati Sutraas Nivaaro
Ko Nahin Jaanat Hain Jaga May Kapi Sankat Mochan Naam Tiharo

Bhandhu Samet Jabai Ahi Raavana Lai Raghunath Pataal Sidhaaro
Debihi Puji Bhali Bidhin So Bali Dewoo Sabai Mili Mantra Vichaaro
Jaaya Sahaaya Bhayo Taba Hi Ahi Raavana Sainya Samet Sanghaaro
Ko Nahin Jaanat Hain Jaga May Kapi Sankat Mochan Naam Tihaaro

Kaaja Kiyay Bara Dewan Kay Tum Beera Mahaa Prabhu Dekhi Bichaaro
Kown So Sankat Mora Gaib Ko Jo Tum So Nahin Jaat Hai Taaro
Baygi Haro Hanumaan Haha Prabhu Jo Kucha Sankat Hoya Ha Maaro
Ko Nahin Jaanat Hai Jaga May Kapi Sankat Mochan Naam Tiharo

Laal Deha Laalee Lasey,Aru Dhari Laal Langoora
Bajra Deha Daanawa Dalana,Jai Jai Jai Kapi Soora

 

Extra Information :

About Kumar Vishu :

Indian devotional playback singer Vishu Bhatnagar, best known by his stage name Kumar Vishu, is largely recognized for his songs that have appeared in Hindi religious films and television series. With prominent Indian vocalists and record labels like as T-Series, HMV, Venus, Sonotek & KVC music, Saregama, and others, he has sang on over 200 devotional albums.

Among other honors, Vishu has won the President Award and the Cinema Century Award. Along with singing in multiple Indian languages, such as Punjabi, Rajasthani, and others, he was signed to the T-series for a period of seven years.

Autobiography:

Vishu is renowned for her beautiful bhajan singing, devotional music, ghazals, and recitals of Sundarkaand. His T-Series albums Pyaase ko paani pilaya nahi and Ramayan ki Choupaiyan have

been the devotional album category’s biggest seller. His hit songs include Ghar Ghar Main Hai Raavan Baitha, Kabhi Pyase Ko Paani Pilaya Nahi, Khazaana Maiya Ka, Udd Ja Hans Akela, Hanuman Gatha, Kabir Amrit Vaani, and Karmo Ki Hai Maaya.

He is now well-known as a devotional singer and has performed on stage both in India and outside. In addition to singing, he is the founder of an institute for instrumental instruction and singing.

About Vishnu Narayan :

Indian musicologist Pandit Vishnu Narayan Bhatkhande (10 August 1860 – 19 September 1936) produced the first contemporary treatise on Hindustani classical music, an art form that had been passed down orally for decades. The art had changed a number of times in those earlier days, making the raga language seen in few old books antiquated.

Raga (man), Ragini (female), and Putra (children) were the previous classifications for ragas. They were classed by Bhatkhande under the present thaat system. He pointed out that a number of ragas did not match the descriptions found in old Sanskrit writings. He composed multiple bandishes that clarified the ragas’ grammar and gave an understandable explanation of each one.

Childhood:

On August 10, 1860, Pandit Vishnu Narayan Bhatkhande was born in Bombay, Walkeshwar. Even though he was not a professional musician, Vishnu Narayan’s father—a wealthy businessman—made sure he and his siblings had access to classical music education. Bhatkhande started learning the sitar once he turned fifteen, and then he started reading Sanskrit books on music theory. In 1885, he graduated with a BA from Deccan College in Pune. Bhatkhande briefly pursued a career in criminal law after earning his legal degree from Elphinstone College, Bombay University, in 1887.

In 1884, Bhatkhande expanded his knowledge of performing and instructing music when he joined Bombay’s Gayan Uttejak Mandali, a society that promotes appreciation of music. Over his six years there, he learnt a wide range of compositions in both Under musicians like Ustad Ali Hussain and Shri Raojibua Belbagkar, khayal and dhrupad are formed. Bhatkhande continued to view music as a kind of leisure activity till the passing of his wife in 1900 and his daughter in 1903. As a result, he decided to give up practicing law and focus entirely on music.

Following the passing of his spouse and daughter, Bhatkhande gave up practicing law and committed the remainder of his life to organizing the prevalent styles of Hindustani music and developing a cohesive theory and practice of music. He visited the then-principal states of Baroda, Gwalior, and Rampur while on his travels in India. He studied under the renowned veena player Ustad Wazir Khan in Rampur, who was descended from Miyan Tansen.

In 1904, Bhatkhande traveled to South India and arrived in Madras, which is today Chennai. He started getting acquainted with the world of Carnatic music with the aid of local contacts. He got in touch with legends like Poochi Srinivasa Iyengar in Ramanathapuram and Thiruvottiyur Tyagier and Tachur Singaracharya in Madras.

and Subbarama Dikshitar at Ettayapuram, however he didn’t get the desired results from their conversations due to the language barrier. Notes from a notebook he kept during his stay were eventually released as My Musical Journey in Southern India, or Meri Dakshin Bharat Ki Sangeet Yatra.

Despite the lack of success in his talks with Carnatic music experts, Bhatkhande managed to get two important manuscripts on the genre: Venkatamakhin’s Chaturdandiprakashika and Ramamatya’s Svaramelakalanidhi, which attempted to categorize ragas. Bhatkhande used the two books, along with others, and his observations from his travels in North India, to create a ten-point system for classifying Hindustani ragas, which is similar to the Carnatic style’s melakartas.

Swar Malika, Bhatkhande’s first published work, was a booklet with thorough explanations of every common ragas. Using the pen name “Chatur-pandit,” he released Shri Mallakshaya Sangeetam in Sanskrit in 1909. He spent several years publishing commentary on his own Sanskrit grantha in Marathi, which was then published into four volumes under the title Hindustani Sangeet Paddhati in an effort to make this cultural legacy available to the general public.

These books are now considered the standard reference on Hindustani music and are a must-have for anyone studying Hindustani classical music. Notable academics who followed in Bhatkhande’s footsteps include his teacher S N Ratanjankar, well-known musician Shri. Dilip Kumar Roy, Ratanjankar’s disciple K. G. Ginde, S.C.R. Bhatt, Ram Ashrey Jha ‘Ramrang,’ Sumati Mutatkar, and Krishna Kumar Kapoor.

His notation style became commonplace, and even though other academics like Pandit Following extensive travel and discussions with musicians from different schools, Bhatkhande divided all of the ragas in Hindustani classical music into ten musical scales, or thaats. The thaats are an important addition to Indian musical theory, covering the great majority of ragas even if they do not include all of them. The melakarta system of raga arrangement in Carnatic music, the southern Indian subgenre of Indian classical music, is equivalent to the thaat structure.

 

 

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