Saibaba Aarti

saibaba Aarti
Saibaba Aarti's in English

తెలుగు సాయిబాబా ఆరతి

हिंदी साईबाबा आरती

தமிழ் சாய் ஆரத்தி

Oriya Saibaba Aarti's

বাঙালি সাইবাবা আর্তি

ಕನ್ನಡ ಸೈಬಾಬಾ ಆರತಿ

മലയാളം സായിബാബ ഓറി

ગુજરીટી આરતી

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Significance and Complete History of Sai Baba’s Aarti in Shirdi

Aarti is a mode of congregational worship, in which the devotees stand facing the image of a deity or a deified Saint or, the personage ('living idol') of an exalted Saint singing devotional songs in unison. Normally, the singing is accompanied by musical instruments such as bells, gongs and cymbals. The object of worship is devoutly decorated with posy garlands and aromatic incense and musk are kept smoldering. While the devotees sing psalms, either an officiant or a devotee revolves clockwise, (usually) a fivefold oil lamp - consisting of five oil-traylets - round the object of adoration. Such a performance of aarti with a fivefold oil-lamp is called Panchaarti.

At times Aarti is performed with a single, three or elevenfold (and so on) lamps. A lamp with wicks burning clarified butter (ghee) is the most preferred. Sometimes, instead of an oil-lamp, ignited camphor placed on a try is waved. All such details as the number of wicks, the kind of fuel, etc., carry their own esoteric symbolism. After the devotional singing, the flame of the Aarti-lamp is offered to the devotees, who pass their hands by turns over the sacred-flame and quickly draw them to their faces and heads as a gesture of drawing unto themselves the auspicious energy emanating from the receptacle of grace', i.e. the flame. Though, the tradition of offering Aarti is almost ubiquitous in the Hindu liturgy, the details of the modus operandi differ from region to region and are distinguished by many sectarian embellishments. This custom of Aarti, as a from of congregational worship, is more in vogue in northern India, especially in Maharashtra. In the South, usually it is done as a concluding part of the ritualistic worship, (both public and personal) which is called Mangala Aarti or Neerajana. In Mangala Aarti normally camphor is kindled instead of an oil lamp. Congregational worship with prolonged singing of devotional songs in unison is seldom found in South India.

The First Glimmerings of Sai Aarti

The first glimmerings of the dawn of the Aarti tradition in Shirdi are a bit foggy. In the whole gamut of the literature on Sri Sai Baba, the details regarding how and whence the custom of performing regular Aartis to Baba commenced, are not clearly recorded. Even the small stray details scattered here and there are fuzzy and incongruous. Let us first glean all the available data from various sources and construct them into a coherent hypothetical sequence, before proceeding to discuss the posing discrepancies therein.

The Seed-bed of Sai Worship

The introduction of Aarti as a regular congregational worship at Shirdi is to be seen as marking a new phase in the evolution of the worship of Sri Sai Baba. Even from the day of his advent at Shirdi, people - though a handful in the beginning - looked upon him as a holy man, a fakir (a Muslim ascetic). The introduction of Aarti as a regular congregational worship at Shirdi is to be seen as marking a new phase in the evolution of the worship of Sri Sai Baba. Even from the day of his advent at Shirdi, people - though a handful in the beginning - looked upon him as a holy man, a fakir (a Muslim ascetic).

To pious Hindus, an ascetic, whether he is a Hindu or a Muslim, is a holy man worthy of reverence. As Sai Baba's fame soon started spreading, people – mostly Hindus -were drawn to him in galore from far and wide. It is the pious custom of the Hindus to bow down or prostrate in reverence before a saint by touching his feet, as a mark of humility and self-abnegation. As most of the people who were drawn to Sri Sai Baba, from the outset, were Hindus, we can imagine the customary fashion in which he could have been honoured in general. Obviously Baba did not object to the pious usage. Strictly speaking, that was the seed-bed upon which the glorious tree of Sai Worship has begun to grow! As the devotee's emotional attachment to his Guru grows, the inflated emotional fervour seeks some form of expression.

Who Performed the First Aarti?

It is a familiar notion among many Sai devotees that the Aarti tradition at Shirdi was started by Shri K.J. Bhishma, which is in a way off the mark. Swami Sai Sharan Anand, who had direct association with Baba for about eight years, i.e. from 1911 to 1918, informs, "In the beginning only Mhalsapati and Mahadev, son of Nanasaheb Chandorkar, used to worship Baba. Afterwards the tradition of Aarti was started. Morning (Kakad) and Night (Shej) Aartis were conducted in the Chavadi. Only Noon Aarti was performed in the Dwarakamai. The Aarti tradition was first started by Noolkar, a Retd. Mamaledar of Pandharpur." Shri Kakasaheb alias H.S. Dixit also says, "Before, Baba never allowed anybody to perform Aarti to him. But, after some time, (Lakshman Krishnaji) Tatyasaheb Noolkar had the honour of giving Aarti to Shri Sai Baba for the first time."

So it was to Shri Tatyasaheb alias (Laxman Krishnaji) Noolkar that the laurels of setting up the Aarti tradition in Shirdi go. Shri Noolkar was a sub-judge at Pandharpur. Shri Nanasaheb Chandorkar, was also working there in 1908 as Mamaledar. The first Shri Noolkar heard of Shri Sai Baba was from Shri Nanasaheb, with whom he visited Shirdi for the first time in 1909. He was overwhelmingly impressed with Shri Sai Baba even at the first sight.

As he was already on the verge of his superannuation, he resolved to settle at Shirdi for good. Shortly after, he obtained voluntary retirement from service and lost no time repairing to the holy feet of Baba. He remained there adoring his beloved Sadguru till he pass away in March 1911. It was a long cherished dream of many a devotee at Shirdi to perform regular congregational worship (Aarti) to Shri Sai Baba. But Baba did not countenance such a fanfare of ritualistic exuberance to his person and used to be adamant in turning down all the buoyant appeals of the devotees. At last, devotees succeeded in obtaining Baba's sufferance to perform Aartis. Unfortunately the actual circumstance that surrounded the event went off the record. By the look of it, it seemed as though Baba had to give in to the devout sentiments of Shri Noolkar out of his deep affection towards the latter. Once the permission was given, the devotees lost no chance to set it up as an ongoing tradition. Tatyasaheb turned out to be the lucky officiating priest of the daily Aarti services. Shri Noolkar took to the seva (devout service) with enthusiasm and, carried it out as the most precious good fortune in his life.

After the demise of Shri Tatyasaheb Noolkar in 1911, one devotee by name Megha Shyam took over the charge of officiating at Baba Aartis. Megha was a poor, simple and austere GujAarti Brahmin. Shri Sai Saran Anandaji describes his unique style of performing Baba's Aarti thus, "After Noolkar's death, Megha got the good fortune (of conducting Baba's Aarti). With long beard, matted hair, Megha shone with a healthy body fair in complexion. He used to perform Aarti standing on one leg. Till the Aarti was over, he never used even to move his head. He performed Aarti with utmost concentration."

Megha passed away on January 19, 1912, i.e. within a year after he had assumed the charge of officiating at Baba Aartis. After Megha's demise, one Sakharam Hari alias Bapusaheb Jog stepped forward to fill Megha's shoes as the presbyter of the Aarti conductions under the orders of Shri Sai Baba. Jog was also a man of ascetic deportment like Megha with a flair for orthodoxy. He carried out his priestly ministrations with a pious zeal till Baba passed out of the earthly scene. Obviously he enjoyed the longest period - i.e. about six years - of rendering priestly services in Baba's durbar.

Even though Shri Tatyasaheb Noolkar has been acknowledged as the initiator of the institution of Aarti in Shirdi, there was another devout soul 'behind the scenes', who set the stage ready. It was Radhakrishna Ayi. In fact the custom of performing Aarti to Shri Sai Baba was her brainchild. Ayi's real name was Smt. Sundaribai Kshirasagar. She lost her husband in her early years and to make up for the misfortune, she repaired to Pandharpur to spend her life in the service of her chosen deity, Lord Krishna. At heart she was of an occult disposition. She spent a few pious years at Pandharpur, when she came to hear of Shri Sai Baba. She set foot in Shirdi, for the first time, in 1905 along with Shri Nanasaheb Chandorkar. Even on her first visit she felt in her bones that Shirdi was her real home and Shri Sai Baba was her Lord Krishna. Without any second thought she made Shirdi her home. In her early days at Shirdi, she was found constantly chanting the holy name 'Radhakrishna', carrying a small idol of the deity. Hence, people began to call her 'Radhakrishna Ayi' which stuck to her to the end. Ayi means mother. She was a real live wire and in no time she ushered in a new phase in the mode of devotional expression in Shirdi. It was her cherished dream that her Sai Vittal should be duly adored with all the pomp and paraphernalia with which 'He' was being worshipped at Pandharpur. It almost became the ruling passion of her life. She became up to her ears in working out her rainbow. She always found it hard to bring Baba round to her projects. For some reason, Baba used to be very hard on her and never even allowed her to come anywhere near him. So, Ayi never dared to face Baba directly but, in her own way made her presence felt among other devotees. Her invisible workmanship was there behind most of the institutionalised ceremonies in Shirdi, like Chavadi procession, Ram Navami celebrations, Gopalakalotsav, regular Aarti performance, etc. The tribute Shri Kakasaheb Dixit paid to her in his Introduction to Shri Sai Satcharitra, clearly shows her role in changing the semblance of Shirdi. "....Soon Shirdi was transformed into a Sansthan. Performance of Aarti with all royal honours began to be offered to Sai Maharaj with all pomp and eclat. All the royal paraphernalia like music, horse and palanquin, uniformed escorts-cum-harbingers with maces, bhajan parties, started accompanying him in a procession as he proceeded to the Chavadi. The Chavadi was decorated with ornamentations like mirrors. Stone slabs were fixed on the floors of the Masjid and the Chavadi. The one who was responsible for all these things was Sundaribai Kshirasagar (alias Radhakrishna Ayi). She was an acharya of loving devotion. Even though she had no wealth, she offered her body, mind and all to the service of Sai Baba. She could procure various articles from the devotees with which she made the Shirdi Sansthan grand and gorgeous. But, unfortunately, she passed away at the young age of thirty five. She was in Shirdi for about eight or nine years. Yet, what she could accomplish in such a short span, is impossible for anyone else to do even in twenty five years. It is because of her efforts that the custom of offering Kakad Aarti in the morning and Shej Aarti at night to Shri Sai Baba in the Chavadi has begun.... Radhakrishna Ayi not only diligently rendered her own services, but with love and devotion made others also serve. A number of women volunteered to do jobs like carrying stones and earth, sweeping, digging earth and filling pits (on the roads), planting trees, hewing firewood (for dhuni) cleaning the Masjid, cleansing utensils, making confetti, tailoring flags, etc. Even ladies from wealthy aristocratic families used to come and gladly join in doing those jobs and felt elated at their good fortune." Ayi suddenly passed away in 1916. She is, no doubt, as Kakasaheb Dixit described, 'an acharya of loving devotion - nay, rather of 'living devotion!'

The exact date/month/ in which the regular custom of performing Aartis commenced is not clear. Shri Sai Satcharitra (Ch. 4, P. 21) states that the Night (Shej) Aarti commenced on 10/12/1910. In the same book in Ch. 37 (p. 204) it is stated that from 10/12/1909 devotees began to offer regular worship to Baba in the Chavadi! In the said context in Ch. 4 it is also recorded that two more incidents took place on that day, i.e. on 10/12/1910. One is Shri G.S. Khaparde permission from Baba to leave Shirdi and the other was the laying of the foundation stone of Dixit Wada. But according the Diary of Shri G.S. Khaparde, the actual permission to leave Shirdi was granted to him on 12/12/1910. On his first visit to Shirdi, Shri Khaparde stayed for about eight days, i.e. from 5/12/1910 to 12/12/1910. There is no mention of any Aarti - in any of the entries made on those days in his Diary - whether Morning, Midday, or Night - or anything about the foundation laying ceremony of the Dixit Wada! Shri Khaparde who did not elide to note down even seemingly insignificant happenings, would not have passed over recording such an important event as the commencement of Sej Aarti -if it took place on 10/12/1910. On the authority of Shri Sai Satcharitra, (but with a slight modification of the date by a margin of two days) if the commencement of Shej Aarti was to coincide with the leave-taking or departure of Shri G.S. Khaparde, then it should be on 12/12/1910.

One more obstacle crops up on the way for a smooth arrival at the conclusion. In the context of narrating the famous Jamner Miracle in Shri Sai Satcharitra (Ch. 33), it is said, "About 1904-05 A.D., Baba called one Ramgirbua.... and told him.... to stop at Jamner on his way home and give the Udi, and Aarti, to Nanasaheb.... Then Baba asked Shama to write a well-known Aarti composed by Madhav Adkar, and give a copy of it with Udi to Ramgirbua, to be delivered to Nanasaheb." If the custom of performing Aarti to Shri Sai Baba started only in December 1910, how could it happen that Baba sent the famous Aarti song 'Aarti Sai Baba....' by Madhav Adkar in 1904-05?

The udi was sent by Baba to save Nanasaheb's daughter, Mainatai, who was then undergoing a risky delivery, Shri B.V. Narasimha Swamiji writes, "About 1904 or so, Baba commissioned him (Ramgirbua) to go to Jamner, in order to deliver to Nana Chandorkar a packet of udi and a set of papers containing Bhishma's Aartis for the puja of Baba, modelled on the Pandhapur Aartis.... So, he (Ramgirbua) went there (Jamner).... (and) handed over to Nana the udi,... The Aarti paper also was handed over to Nana for his approval, so that it might be used for Baba's puja at Shirdi."

As Hemadpant says, the paper containing the Aarti-song was sent by Baba to Nanasaheb to be recited by the latter in prayer. Shri B.V. Narasimha Swamiji states that the same was sent for Nanasaheb's approval! It is hard to believe that Baba himself would send an Aarti song written in his praise to a devotee to sing in prayer! By all means such an act seems to go against Baba's grain. On the other hand, it is even a humiliating proposition to imagine the probability of Baba himself sending a song devoutly composed by a devotee in his (Baba's) praise for the approval of some other devotee (however important or influential he might be). Curiously, neither Mainatai nor Bapurao Chandorkar (son of Nanasaheb) mentions anything about the Aarti-song in their reminiscences.

In view of all the above incongruities, it can be surmised, without much impugn, that Baba would have sent only udi - as is customary with his ways - through Ramgirbua. As he already been noted, long before 1910 devotees had been planning to commence the performance of regular Aarti to Shri Sai Baba and had been collecting devotional songs for that purpose; but for the approval of Baba the actual commencement of Aarti had been stalled till 1910. On knowing Ramgirbua was going to Jamner, the local devotees (like Shama) would have sent the Aarti-psalm to Nanasaheb for his opinion. According to the pious custom, Shama would have requested Baba to give the copy of the Aarti from his hands to Ramgirbua as a gesture of blessing.

It can be deduced from the available data that the custom of offering regular Aarti to Shri Sai Baba commenced with Shej Aarti when Baba slept at the Chavadi, and later the Kakad when he woke up there. The performance of the Midday and the Evening Aartis at the Masjid might have been introduced subsequently.

Here pops up another pertinent question! Why Baba did not allow Kakad and Shej Aartis to be performed at the Masjid? In the absence of any record either of Baba explaining himself or of a direct devotee explicating the reasons, the only course left is to take recourse to conjecturing again. Though, in a general sense, all Aartis are essentially the same, in the strict liturgical sense, the Noon and Eve Aartis are only a hymnal, whereas Kakad and Shej Aartis come under sevas (services), which form a part of the daily services in a temple. The latter might have been considered more idolatrous in character and so more offending to the orthodox Muslim sentiments. Not identifying himself in totality with any religious community by steering along an unbiased middle path of transcendence seems to be the constant leitmotif of Baba's life style. Lest there should be any scope for a communal hubbub by the performance of Kakad and Shej Aartis in the Masjid, which are very akin to the services in a Hindu temple, Baba might have disapproved their performance (in the Masjid). The inherent limitations of this pure conjecture are legion and it cannot be helped!

The pious custom enjoins that the daily liturgical services such as Kakad and Shej Aartis, if once undertaken, should be attended to without a break. As Baba did not permit the Shej and the Kakad Aartis to be performed at the Masjid, the devotees had to conduct them only at the Chavadi when Baba slept there on every alternate night. This gave rise to the problem of continuity of the daily seva. As a solution, the devotees started performing Aartis to Baba's picture at Sathe Wada when Baba slept at the Masjid. Later, after the Dixit Wada was constructed, another Aarti was set up there. Shri Bapusaheb Jog was in charge of conducting the Aartis at the Sathe Wada. After Baba's padukas were installed at the Gurusthan in 1912, another, a third, Aarti used to be performed at the Gurusthan. A young man, by name Dixit, was appointed to officiate at the Aartis at the Gurusthan. The result; two Aartis performed simultaneously, one at Sathe Wada and one at Gurusthan. The situation seemed odd because Sathe Wada and Gurusthan are located practically in the same compound! One day Baba cut a joke at Shri Jog. Pointing to Shri Dixit, he said, "Look! This boy will surely outdo you. You can't stand in competition with him!" It so turned out that after some time devotees were attracted more to the Aartis performed at the Gurusthan and the attendance at Sathe Wada gradually waned. But Jog perseveringly kept the Sathe Wada Aartis just jogging along by performing them all alone, or with only one or two participants!

A Glimpse of Sai Aarti

In Shri Sai Satcharitra we find a passing glimpse of how the Aartis were conducted during Baba's time. "Before the midday-meal, the bell in the Masjid rings announcing the performance of the noon-worship and Aarti to Shri Sai Baba. All devotees assemble at the Masjid. First Baba is worshipped ceremoniously with gandhakshatas (sandal and rice mixed with vermilion and turmeric). Then Bapusaheb Jog performs Aarti with love and devotion. Both men and women join in performing Noon Aarti. As women stand up in the Masjid, men assemble in the open courtyard below. All the devotees loudly sing Aarti psalms in unison to the accompaniment of gongs, bells and cymbals. Baba sits in his seat as usual smoking his chilim. Jog stands right in his front waving panchAarti while ringing the bell with his left hand.... At the end of the Aarti all devotees say ghosanna loudly chanting 'Shri Satchidananda Sadguru Sainath Maharaj ki Jai!' After the devout singing is over, Jog waves ignited camphor (neerajana), reverentially prostrates before Baba and then offers sugar candy as naivedya to Shri Sai Baba. As Baba stretches his hand to receive, Jog places in Baba's hands the candy, in a quantity as much as it fits in Baba's hand. The rest is distributed among the devotees as prasad."

To the devotees, offering ritual worship and Aarti to Shri Sai Baba was not a 'mere' gesture of reverence to the saint. To them Sai Baba was their chosen deity, divinity personified, and the 'living idol' of their abstract 'idea of God on earth'. It would be interesting to note the role 'played' by the 'living idol' during the Aarti sessions. During the Aarti Baba was usually found sitting quietly smoking his chilim or conversing with some devotee, as if, unmindful of the ritual exuberance shown to his person. Baba's moods were quite unpredictable and he used to suddenly flare up with rage. Devotees were constantly apprehensive that Baba might disrupt the Aarti at any moment! Sometimes, Baba "exhibited great grace accompanied by hard words", "At times, when he was in a pleased mood, (he) danced as he left the Chavadi and went towards the Masjid". Even though Baba let the Aarti "pass off easy", after the Aarti was over it was his usual custom to use "hard words against the internal enemies by naming them as Appa Kote, Telin, Waman Tatya, etc.", as if to fulfil the devotees' prayer in the Aarti, "kam krodh mad matsar attunee kakada kela" ('Oh Lord Sainath, we offer Kakad Aarti to thee!.... I make my lust, anger, pride, envy and hatred as wicks', etc.)

Though Baba seemed unmindful of the ritual expression of the devotees' loving veneration, he did reciprocate their love in his own unique style. It was during the time of Aarti that many a devotee was blessed with rare and wonderful glimpses of Shri Sai Baba. Shri Khaparde describes the Aartis as "edifying" and noticed that Baba was particularly gracious at the time of Aarti and "sent out wonderful moments of joy and instruction!" Shri K.J. Bhishma articulates this fact when he sings in one of the Aarti psalms, "Lo! Now seen with help of the light (emanating from the flames of the panchAarti), Sadguru Sainath is shining forth with brilliance. That illumination destroys the darkness (of all sense) of duality and lo, both the seer and the seen shine as One (without any shade of difference). Many remarks made by Shri G.S. Khaparde in his Diary bear testimony to this truth. Let's glean a few of the glimpses: (17/1/1912) "....we went to the Chavadi for Kakad Aarti. Megha was too ill to attend. So Bapusaheb Jog did the Aarti. Saying Baba showed his face and smiled most benignly. It is worth while spending years here to see it even once. I was overjoyed and stood gazing like mad." (7/1/1912) - "In the morning I attend the Kakad Aarti. Sayin Maharaj looked exceedingly pleased and gave Yogic glances. I passed the whole day in a sort of ecstasy," (6/1/1912) - "We attended the Shej Aarti at the Chavadi. Sayin Maharaj was in an exceptionally pleased mood, made mystic signs to Megha, and did what are known as 'Drishti Pata' in Yoga." (22/1/1912) - "During the course of the worship he put two flowers in his two nostrils and put two others between his ears and the head. My attention was drawn to this by Madhavrao Deshpande. I thought this was an instruction. Sayin Baba repeated the same thing a second time and when I interpreted it a second time in our mind he offered the chilim to me and this confirmed it. He said something which I noted instantly and particularly wished to remember, but it went clear out of my mind and no efforts made all through the day could bring it back. I am most surprised as this is the first experience of the kind," (8/3/1912) - "At the midday Aarti, Sayin Baba approached me and touched my left arm and held his hand waist high just as we do to indicate a young man, with the other hand he made a sign as we do to indicate a man passing away. He made a sign with his eyes. I did not understand the whole and puzzled over it all day."

Thus, it is clear that Baba, in his own inimitable way, made the otherwise routine ritual into a lively course of spiritual instruction and a veritable vehicle of grace! It seems the performance of Aarti, though ceremoniously regular, was not always very punctual! Sometimes, it was 'a little late' or 'finished soon' depending on the convenience of the officiating priest or the condition of Baba's moods. At times Baba himself put off the commencement of the Aarti to drive a piece of instruction home into the devotees' heads. There were occasions when Baba asked the devotees to hold off the commencement of Aarti in waiting for some devotee who was about to arrive at Shirdi shortly.

In the beginning, when the custom of offering regular Aarti was started, there were not many psalms which were especially composed on Sai Baba. Except a few, like Dasganu's and Madhav Adkar's, most of them were adaptations of the traditional Aarti-psalms composed by the mediaeval saint-poets of Maharashtra on the deity Lord Vitthal of Pandhapur. It was only about a year after the commencement of Aartis at Shirdi, that the actual 'Psalm-Book' began to take shape. The kudos of giving a form and format to the Shirdi Aartis go to Shri Krishna Jogiswar Bhishma. Shri Bhishma hails from Bori, a village near Nagpur. He was a friend of Shri Khaparde with whom he visited Shirdi for the first time on the 6th of December 1911. He was an old-liner before he met Shri Sai Baba. A few years before he visited Shirdi, he had a vivid dream in which he saw a swarthy brahmin in traditional vestment of a Vaishnava gosai. The holy man, without uttering a single word, showed Bhishma a newspaper on which the words 'Sat-Chit-Ananda' (Being-Consciousness-Bliss) were printed in bold type. When Bhishma inquired of him what it was, the gosai again simply pointed to the newspaper wherein appeared another set of words 'mantra va shikava' (lit. 'mantra and learn'). Bhishma could not make out anything and before he posed another question the Vaishnava vanished with his mystic scroll! Bhishma was roused from his dream but could not figure out the meaning of the dream revelation. Later when he asked a sadhu about it, the latter construed the dream message as a mantropadesh (initiation into a mantra) and that Satchidanand was the name of the Guru who appeared to him in the dream. A few years passed before he went to take Baba's darshan on the invitation of Khaparde. As he approached Baba for the first time, the latter greeted him with folded hands, "Jai Satchidanand!" Bhishma was instantly mystified. The thought that Baba might be the holy man who appeared to him in the dream flashed across his mind. But, he blinked it away with an orthodox proclivity to identify the brahmin gosai with the 'Moslem Sai'. While at Shirdi though he saw many brahmins devoutly receiving Baba's pada teerth without any orthodox scruple, he gently avoided the predicament. Baba used to smoke tobacco from a chilim (a clay-pipe) and as he smoked he used to offer a puff to the devotees present. Bhishma was apprehensive at heart at the possibility of smoking a chilim polluted by the lips of a Moslem. Surprisingly, for the first few days, Baba never proffered a puff to Bhishma even though he was sitting almost at his elbow. One day Baba was running over a parable to a group of devotees including Bhishma. Suddenly he stopped the narration and passed the chilim to Bhishma and bade him to smoke. Bhishma did Baba's bidding without any demur. Then Baba said, "Look here, I move about everywhere - hills and mountains, Bombay, Pune, Satara, Nagpur....; it is Rama who dwells in all these places" After a pause, he suddenly asked Bhishma complainingly, "Well, Why do you eat the laddus all yourself without offering a single piece to me? At least now give me five laddus!" As Baba spoke those words something happened which changed the basic outlook of Bhishma. His fogyish reactions suddenly evaporated, as if blown away in the singly puff he smoked from Baba's chilim. Then he himself asked for Baba's padateerth and wholeheartedly placed his head on Baba's feet. Baba blessed him by placing his hands on his head for a few moments which induced a strange ecstasy in him. He went to the lodgings but still his mind was running with Baba's cryptic remarks about the five laddus. He could not take Baba's words too literally nor could be clearly construe what actually Baba meant by 'laddus'. Next morning he got up seized by an overwhelming impulse to write a poem, which he penned immediately. The following morning it happened again, and thus five poems were committed to paper, as if under a divine afflatus. When he offered those songs to Shri Sai Baba in lieu of the five laddus he had asked for, Baba blessed him approvingly.

Besides the five devotional songs, Bhishma composed a few more later. The devotees have appreciatively added them all to their collection of Aarti-psalms. Thereupon, Bhishma prepared a booklet entitled Shri Sainath Sagunopasana which contained, besides the Aarti-psalms sung in Aarti to Shri Sai Baba, some traditional hymns from the Hindu liturgy like, Purusha Suktam, Sree Suktam, Mantra Pushpam, Sri Lakshmi Ashtotharam, intended for use in the daily worship of the devotees. Shri G.S. Khaparde had borne all the expenses of its publication till 1922, After Baba's Mahasamadhi, the book has been adapted as the official 'Book of Daily Worship' at the Samadhi Mandir. Shri Sai Baba Sansthan, Shirdi, on making some additions to it, has taken up the publication of the revised edition since 1923.

In all, there are thirty psalms in the Book of Shirdi Aartis. Of the thirty, only sixteen are especially composed on Shri Sai Baba. The rest (fourteen, i.e. about half), are traditional Aarti-psalms composed by the mediaeval poet-saints of Maharashtra (excepting a Vedic chant). Of the fourteen traditional psalms five are composed by Sant Tukaram Maharaj, two each by Sant Namadev and Sant Janabai, one each by Shri Ramjanardhan Swami and Shri Rameshwar Bhat; of the remaining three, one is a Vedic hymn and the other two are traditional prayers. Of the sixteen, psalms especially written on Shri Sai Baba, the major bulk, i.e. nine, are composed by Shri K.J. Bhishma, three by Shri Dasganu Maharaj, one each by Shri Upasani Maharaj, Shri Madhav Adkar, Shri Mohini Raj and Shri B.V. Dev. Linguistically, of the thirty Aarti psalms twenty five are in Marathi, two in Hindi, two in Sanskrit and one a bilingual anthology of short Marathi and Sanskrit prayers. (Source: excerpt from Shri Sainathuni Sharath Babuji’s Article for Sai Leela Magazine July – August 1996 to May-June 1997).

Kakad Aarthi Composed by :: Sant Tukaram Maharaj Joduniyaa kara charanee ttevilaa mathaa Parisawee vinanthee maajzee Sadgurunaathaa Aso naso bhaava aalo tujziyaa ttaayaa Kripaa drishtee paahe majzakade Sadgururaayaa Akhandeeta asaave aise vaatate paayee Sandoonee sankoch ttaava todaasaa deyee. Tukaahmane Devaa maajzee vedeevaakudee Naame bhavapaasaa haathee aapulyaa thondi 2 . BHUPALI Composed by :: Sant Janabai Uttaa Paandurangaa aataa prabhaatasamayo paatalaa Vaishnawaancha melaa garudapaaree daatalaa Garuda paaraapaasunee mahaadwaaraa payanta Suravaraanchee maandee ubhee jodooniyaa haat Suka anakaadika naarada tumbara bhaktanchyaa kotee Trisool damaroo ghewooni wubhaa girijechaa patee Kaleeyugeechaa bhakta Namaa ubhaa keertanee Paatteemaage wubhee dolaa laavuniyaa Janee 3 BHUPALI Composed by :: Shri Krishna Jogiswar Bhishma Utta utta Sri Sainaathaguru charana kamala daavaa Aadhivyaadhi bhavataapa vaarunee taaraa jadajeevaa :(dhr): Gelee tumha soduniyaa bhava tama rajanee vilayaa Pareehi agnaanaasee tumachee bhulavi yogamaayaa Sakthi na amhaa yatkinchitahee tijalaa saaraya Tumheecha teete saaruni daavaa mukha jana taaraayaa Bho Sainaatha Maharaaja bhava timiranaasaka ravee Agnanee aamhee kitee tumhicha varnaava thoravee Thee varnitaa bhaagale bahuvadani sesvidhi kavee Sakripa howuni mahimaa tumachaa tumheecha vadavaava Adhi….. Utha….. Bhakta manee sadbhaava dharooni je tumha anusarale, Dhyaanyasthawa te darsana tumache dwwari ubhe ttele Dhyaanasthaa tumha asa paahunee mana amuche ghaale, Paree thwadvachanaamrith praasaayaate aatura jzhaale Wughadoonee netrakamalaa deenabandhu Ramakaanta, Paahi baa kripadrishtee baalakaa jashee maaataa Ranjavee madhuravaanee haree taapa Sainaatha Aamhceecha aapule karyaasthava tuja kashtavito Deva Sahana karisil te aikuni dyaavee bhett Krishna daava Utha…… adhivyadhi 4. BHUPALI Composed by :: Sant Namdev Utta Panduranga aataa darash dhya sakala Jzhala arunodaya sarali nidrechi vela Sant sadhu muni avaghe jhaleti ghola Soda sheje sukhe aata bagdu ghya mukha kamala Rang mandapi mahadwari jzzaalise daati Man utaaveel roop pahawaya drishti. Rahee rakhumabai tumha yewoo dya daya Sheje haalawunee jage kara Dev raya Garud Hanumant ubhe paahatee wat Swargiche surwar ghewuni aale bobhat Zhale muktha dwar laabha zhala rokada Vishnudas naama ubha ghewooni kakada. 5. ABHANG Aarthi with Five-Wick Lamp Composed by :: Shri Krishna Jogiswar Bhishma Ghewuniya panchaarati, karoo Babansi aarati Utta utta ho bandhawa. Owaaloo ha Ramadhava. Karooniya sthira man, pahu gambhirira he dhyan Sayeeche he dhyan pahu gambhirira he dhyan Krishnanatha Datt Sai jado chitta tujze paayee Chitta Deva paayee Jado chitta tuzhe paayee 6.KAKAD AARTHI Composed by:: Shri Krishna Jogiswar Bhishma Kaakad aarati kareeto Sainatha deva Chinmaya roop daakhavee ghewuni balak laghu seva Kaam krodh mad matsar aattunee kaakada kela Vairagyache toop ghaaluni mee to bhijaveela Sainath Guru bakti jwalane to mee petawila Tad vryitti jaluni guroo ne prakash paadila Dwaita tama naasooni milavi tatswaroopi jeewa Chinmaya …. Kaakad…. Aarati…. Bhoochar khechar vyaapooni awaghe hritkamali raahasee Tochi dattaadev tu shridi raahuni paawasee Rahooni yethe anayatrahitoo baktaastava dhavasee Nirasooniyaa sankata daasaa anubhawa daavisee Na kale twalleelahee konyaa devaa waaa maanavaa Chinmaya …. Kaakad…. Aarati…. Twat yasha dundubheene saare ambar he kondale Sagun murti paahanyaa aatur jan Shirdee aale Proshuni twadvachanaamrita aamuche dehabhaan haarpale Sodooniyaa durabhimaan maanas twaccharanee waahile Kripa karooniya Sai maawle daas padari ghyaawaa Chinmaya …. Kaakad…. Aarati…. 7. KAKADA AARTHI Composed by :: Sant Tukaram Maharaj Bhaktaachiya potee bodh kaakada jyoti Pancha prana jeevebhave owaaloo aarthi Owaaloo aaratee maajyza pandhareenaatha majyza Sainathaa Donhi kara jodonee charanee ttevilaa mathaa Kaay mahima varnoo aataa sangane kitee Kotee brahma haiyaa makha pahataa jaatee Rahee rakhmaabaayee ubhya doghee do baahee Mayur pincha chaamara dhaaliti thaayee che thaayee Tuka mhane deep ghewuni unmaneet shobhaa Vittevaree ubha dise laawanya gaabhaa. Owaaloo aaratee … 8. PADH Composed by :: Sant Namadev Utta utta saadhu sant aapulale hit Jaaeel jaaeel ha nardeh mag kaincha bhagawan tUttoniya pahaante baba ubha ase vitte Charan tayaache gomate amrit drishti awalokaa Utta utta ho vegesee chalaa jaawoonya raawulaasee Jalatil patakaanchya raashi kaakad aarati dekhliyaa Jaage karaa rukhminivar, dev aahe nijasuraant Vege limbalon karaa drisht hoeel tayasee Daaree waajantree vaajatee dhol damaame garijatee Hote kaakad aarati maazhyaa Sadguru rayaanchee Simhanaad shankabheree aanand hoto mahaa dwaaree Keshawaraaj vittewaree naamaa charan vandito 9. BHAJAN Composed by :: Smt. Raghunath Savitri Tendulkar Sainath Guru maajhe aaee Majlaa thaav dhyaavaa paayeen Datta raaja Guru majhe aaee Majlaa thaav dhyaavaa paayeen 10. SAINATH PHABHATASTAK Composed by :: Shri Krishna Jogiswar Bhisma Prabhaat samayeen nabhaa shubh ravi prabha phaankalee Smare guru sadaa ashaa samayin tya chhale naa kalee Monhoni kar jodoonee karoon ataa Guru praarthanaa Samartha Guru Sainath puravee manovaasanaa Tamaa nirasi bhaanu ha Guruhi naasi agnyaanataa Parantu Suruchee karaa na ravihee kadhee saamyathaa Punhaa thimir janm ghe Gurukrupeni agnaan naa Samartha Guru Sainath puravee manovaasanaa Ravi pragat howuni twarita ghaalawee aalasaa Tasa guruhi sodawee sakal dushkriti laalasaa Haroni abhimaanahee jadwi tatpadee bhavanaa Samartha Guru Sainath puravee manovaasanaa Guroosi upama dise vidhi hareeharaanchi unee Kuttoni mag yeie tee kavaniyaa ugee paahunee Tuzheech upama tulaa baravi shobhate sajjanaa Samartha Guru Sainath puravee manovaasanaa Samaadhi uthroniyaa Guru chalaa mashidee kade Twadeeya vachnokti tee madhur vaaritee saankhade Ajaataripu Sadguro akhil pathkaa bhanjanaa Samartha Guru Sainath puravee manovaasanaa Ahaa susamayaasi yaa Guru uttoniyaa baisale Vilokuni padaashrithaa tadiya aapade naasile Asaa suhithkaaree yaa jagati konihee anya naa Samartha Guru Sainath puravee manovaasanaa Asa bahut shaahanaaa pari na jyaa Guroochi kripaa Na tatswahit tyaa kalae karitase rikamya gapaa Jari Gurupada dhari sudhrid bhaktineh tho manaa Samartha Guru Sainath puravee manovaasanaa Guro vinati mee karee hridayamandiree yaa basaa Samasth jag he guruswaroopee ttaso maanasaa Ghado satat sathkrutee matihi deh jagatjpaavanaa Samartha Guru Sainath puravee manovaasanaa Preme yaa asthakaashi paduni Guruvaraa Praarthitee je prabhaatee Tyaanche chittasee deto akhilharooniyaan Braanti mee nitya shaantee Aise he Sainathe kathuneesuchvileh jevee yaa baalakaasee Tevee tyaa Krishnapaayee namuni Savinayeh arpito ashtakaasee 11. PADH Composed by :: Sri Dasganu Maharaj Sai raham nazar karnaa Bachonkaa paalan karnaa Sai raham nazar karnaa Bachonkaa paalan karnaa Jaanaatumneh jagat pasaaraa Sabahee jzhoott jamaanaa Jaanaatumneh jagat pasaaraa Sabahee jzhoott jamaanaa Sai raham… Mein andhaa hoon bandaa aabkaa Mujhse prabhu dikhlaanaa Mein andhaa hoon bandaa aabkaa Mujhse prabhu dikhlaanaa Sai raham… Daas ganu kahe ab kyaa boloo Thak gayi meree rasnaa. Daas Ganu kahe ab kyaa boloo Thak gayi meree rasnaa. Sai raham… 12. PADH Composed by :: Sri Dasganu Maharaj Raham nazar karo, ab more Sayee Tumbin naheen mujze maa baap bhaayee Raham nazar karo Raham nazar karo Mein andhaa hoon banda tumhaaraa Mein andhaa hoon banda tumhaaraa Mein naa jaanoon Mein naa jaanoon Mein naa jaanoon Allaah ilaahee Raham .... Khalee jamaanaa meineh gamaayaa Khalee jamaanaa meineh gamaayaa Saathee aakhar kaa Saathee aakhar kaa Saathee aakhar kaa kiyaa na koyee Raham .... Apne maszhid ka zhaadoo Ganoo hai Apne maszhid ka zhaadoo Ganoo hai Maalik hamaare Maalik hamaare Maalik hamaare tum Baabaa Sayee Raham .... 13. PADH Composed by :: Sant Jana Bai Tujze kai devoon Saawalyaa mee khaayaa taree hoo Tujze kai devoon Sadguru mee khaayaa taree Mee dubalee batik Naamyaachee jaan Shreeharee Mee dubalee batik Naamyaachee jaan Shreeharee Uchishta tulaa denen hee ghosht naa baree hoo Uchishta tulaa denen hee ghosht naa baree Toon jagannaath tujze deoon kashire bhaakaree Toon jagannaath tujze deoon kashire bhaakaree Nako ant madeeya pahoon sakhya bhagwantaa, Shrikaantaa Maadhyaahnraatra vultoni gaelee hee aatan aan chittaa Ja hoieel tujha re kaakadaa hee raolaantaree hoo Ja hoieel tujha re kaakadaa hee raolaantaree Aanateel bhakt naivedya hi naanaaparee Aanateel bhakt naivedya hi naanaaparee 14. PADH Composed by:: Shri Krishna Jogiswar Bhishma Shreesadguru Baabaa Saayee hoo Shreesadguru Baabaa Saayee Tujh waanchuni aashraya naahi bhutalee, Tujh waanchuni aashraya naahi bhutalee Mee paapee patit dheemanda hoo Mee paapee patit dheemanda Taarane malaa Gurunathaa jhadkari Taarane malaa Sainathaa jhadkari Toon shaantikshamechaa meroo hoo Toon shaantikshamechaa meroo Toon bhavaarnaveeche taaru Guruvaraa Toon bhavaarnaveeche taaru Guruvaraa Guruvaraa majzasi paamaraa ataan udharaa Tvarit lavlaahee tvarit lavlaahee Mee budato bhavbhaya dohee udharaa Mee budato bhavbhaya dohee udharaa Shreesadguru Baabaa...... Shri Satchitaanand Sadguru Sainaath Maharaaj ki Jai Aum Raajaadhiraaja Yogiraaja ParaBrahma Sainaath Maharaaj Shri Satchitaanand Sadguru Sainaath Maharaaj ki

1. ABHANG Aarthi with Five-Wick Lamp Composed by :: Shri Krishna Jogiswar Bhishma (Abhang is a Maratha style of poetry) Ghewuniya panchaarati, karoo Babansi aarati Karoo Sai see aarati Karoo Babansi arati. Utta utta ho bandhawa. Owaaloo ha Ramadhava. Sayee Ramadhava. Owaloo ha Ramadhava. Karooniya sthira man, pahu gambhirira he dhyan Sayeeche he dhyan pahu gambhirira he dhyan Krishnanatha Datt Sai jado chitta tujze paayee Chitta Baba paayee Jado chitta tuzhe paayee 2. Aarthi Sai Baba Composed By:: Shri Madhavrao Vamanrao Adkar Aarti Sai Baba, saukhyadaataara jeeva. Charana rajaatalee Dhyaava daasaan visaawaa, bhaktaa visaawaa. Aarti Sai Baba Jaaluniyaan aananng swaswaroopee raahe dhanga Mumukshu janaan daavee nija dolaan Sreeranga, dolaan Sreeranga Aarti Sai Baba Jayaa manee jaisaa bhaava tayaa taisaa anubhava Daawisee dayaaghanaa aisee tujzee hee maava tujzeeheemaava Aarti Sai Baba Tumache naama dhyaataan hare sansrithi vyathaa Agaadha tava karanee maarga daawisee anaadhaa,daawisee anaadhaa Aarti Sai Baba Kaliyugee avataara saguna parabrahm saachara Avateerna jhaalase swami Datta digambara, Datta digambara Aarti Sai Baba Aattan divasaan guruwaaree bhakta karitee waaree Prabhupada pahaavayaa bhavabhaya niwaree, bhaya niwaree Aarti Sai Baba: Maajan nija dravya tteewaa tav charan rajasevaa Maagane hechiyaataa tumhan devaadhideva, Devaadhideva Aarti Sai Baba Ichchita deena chaatak nirmala toya nijasookha Paajaawe maadhavaa yaa saambhal aapulee bhaaka, aapulee bhaaka Aarti ... 3. Aarthi Composed By:: Shri Krishna Jogiswar Bhishma Jaya Deva Jaya Deva Datta avadhutaa, O Sayee avadhutaa Jodoonikara tava charanee ttevito maathaa, Jaya Deva Jaya Dev Avataraseen too yaetaan dharmaante glanee, Naastheekaanaahee too laavisi nijabhajanee Daavisi naanaa leela asankhya roopaanee, Harisee dheenanche too sankata dinarajanee Jaya Deva Jaya Deva... Yavana swaroopee aikhyaa darshana twaan dhidhale, Samsaya nirsuniyaan thathdwaitaa ghaalavile Gopichandaa mandaa twaanchee uddharile, Momina vamsee janmuni lokaan taariyale Jaya Deva Jaya Deva... Bhed na tathwee hindoo yavananchaa kaanhee Daawayaansee jzaalaa punarapi naradehee Paahasin premaane too Hindu yavanaanhee, Daavisi aatmatwaane vyaapaka haa sayee Jaya Deva Jaya Deva... Devaa Sayeenaathaa twatpadanata vhaahe, paramaayaamohita janamochana jhanin vhaave Twakripayaa sakalaanche sankata nirasaawe, deshila tari de twadhyash krishnaane gaave Jaya Deva Jaya Deva... 4. ABHANG Composed By:: Shri Dasganu Maharaj Shirdee maajze Pandharapura Saibaba Ramaavara Baba Ramaavara, Sai Baba Ramaavara Shuddha bhaktee chandrabhaabagaa, Bhaava pundaleeka jaagaa pundaleeka jaagaa. Bhaava pundaleeka jaagaa Yaa ho yaa ho avaghe jana karaa Babaansee vandana. Saisi vandana karoo Babaansee vandana Ganu mhane Baba Sayee. Dhaava paava maajze aayee paava maajze aayee. Dhaava paava maajze aayee 5. Naman A garland of traditional prayers Ghaaleena lotaangana vandeen charana Dolyanee paaheen roop tujze Preme aalingana aanande poojin, Bhave oowaalina mhane Naamaa. Tvameva maataa cha pitaa tvameva Tvameva bandhuscha sakhaa tvameva Tvameva vidyaa dravinam tvameva, Tvameva servam mama Devadeva. Kaayena vaachaa manasrendriyaiarwan Budhyatmanaa vaa prakriti swabhavaat Karomi yadyatsakalam parasmai, Narayanaayeti samarpayaami Acyutam Keshavam Raamanaaraayanam Krishnadaamodaram Vaasudevam Harim Shreedharam Maadhavam Gopikaa Vallabham, Jaanakeenaayakam Raamachandram Bhaje. Hare Rama, Hare Rama. Rama Rama Hare Hare Hare Krishna, Hare Krishna. Krishna Krishna Hare Hare. X 3 Shri Gurudeva Datta. 6. Mantra Pushpam Hari Om yagnena yagnamayajanta devaastaani dharmaani prathamaabyaasan Tehanakam mahimaanah sachanta yatra poorve sadhyaa santi Devaah; Aum rajaadhiraajaaya prasahya saahine namo vayam Vaishravanaaya kurmahe Sa me kaaman kaama kaamaya mahyam kameswaro Vaishravano tathatu. Kuberaraya Vaishravanaaya Mahaaraajaaya namah. Om swasti saamrajyam bhojyam swaaraajyam vairaajyam, paarameshtyam Raajyam mahaarajya maadhi patya mayam Samantaparyaa yeesyat Saarvabhoumah saarvayushya aantaadaaparaaraadhaat prithivyai Samudraparyanthaayaa ekaraalithi Tadapyesha slokobhigeeto marutah parivestaaro marutah pariveshtaaro maruttasyaavasan gruhe Avikshitasya kamaprer Visvedevaah sabhaa sada ithi Shri Naarayana Vaasudevaaya Sri saccidananda Sadguru Saiñatha Maharaja ki Jaya 7. Namaskaaraastak COMPOSED BY :: Shri Mohani Raj Anantaa tulaa ten kase re sthavaave, Anantaa tulaa ten kase re namaave Anantaa mukhaanchaa shine shesh gaataan, Namaskaar saashtaang Shri Sainaatha. Smaraave hmanee twatpadaa nitya bhaave, Wurave taree bhaktisaattee swabhaave Tarave jagaa taarunee maaya taataa,Namaskaar saashtaang Shri Sainaatha. Vase jo sadaa daavayaa santleela, Dise agna lokaanparee jo janaalaa Paree antaree gnaana kaiwalya daataa, Namaskaar saashtaang Shri Sainaatha. Baraa laadhalaa janma haa maanvaachaa Naraa saarthakaa saadhaneebhuta saacha Dharoon Sayeepremaa galaayaa ahantaa, Namaskaar saashtaang Shri Sainaatha. Dharave karee saana alpagna baala, Karaave amhaa dhanya chumboni gaalaa Mukhee gala preme karaa graas aataan, Namaskaar saashtaang Shri Sainaatha. Suraadeeka jyaanchyaa padaa vanditaantee, Sukadeeka jyaante samaanatva detee Prayagaadi teerthen padee nasmra hotaa, Namaskaar saashtaang Shri Sainaatha. Tujhyaa jhya padaa paahtan gopabaalee, Sadaa rangalee chitswaroopee milaalee Karee raasakreedaa save Krishna naathaa, Namaskaar saashtaang Shri Sainaatha. Tulaa maahato maagane eka dhyaave, Karaa jodito deena atyanta bhaave Bhavee mohaneeraaja haa taari aataan, Namaskaar saashtaang Shri Sainaatha. 8. Aisaa eyee baa Aisaa eyee baa - Sayee digambaraa - Akshyaya roopa avataara Sarvahi vyapaka too - Shrutisaara - anusayaatrikumaaraa - Aisaa eyee baa! Kaashee snaana japa - pratidivashee - Kolhapura bhikshesee - nirmala nadi tungaa Jala praasee - Nidra maahur deshee - Aisaa eyee baa Jzholee lombatase vaamakaree - trishoola damaroo dhari Bhakta varada sadaa sukhakaaree Deseel mukti charee - Aisaa eyee baa Paayee paadukaa japamaala - kamandaloo - Mrigacchalaa - dhaarana kariseebaa Naagajataa - Mukuta sobhato maathaa - Aisaa eyee baa Tatpara tujyaa je dhyaanee - akshyaya Thyaanche sadhanee - Lakshmeevasa karee Dinarajanee - Rakshisi sankat vaaruni - Aisaa eyee baa Yaa pari dhyaana tujze gururaayaa - Drishya karee nayanaan yaa Poornaananda sukhe hee kaayaa - Laavise hariguna gaayaa - Aisaa eyee.... 9. Shri Sainatha Mahimna Strotrama COMPOSED BY :: Shri Upasani Baba Maharaj Sadaa satswaroopam chidaananda kandam Jagat sambhavasthaana samhaara hetum Swabhaktechhayaa maanusham darsayantam Nameeswaram Sadgurum Sainaatham. Bhavadwaantha vidhwamsa maarthaanda meeddyam manovaagateetam munir dhyana gamyam Jagadvyapakam nirmalam nirgunam twaam Nameeswaram Sadgurum Sainaatham. Bhawaambhodi magnaarthitaanaam lanaanaam Swapaadaasritaanaam swabhakti priyaanaam Samuddhaaranaartham kalow sambhavantam Nameeswaram Sadgurum Sainaatham. Sadaa nimba vrikshasya mooladhivaasaat Sudhaasravinam tiktamapya priyantam Tarum kalpa vrikshaadhikam saadhayantam Nameeswaram Sadgurum Sainaatham. Sadaa kalpavrikshyasya tasyaadhi moole Bhawadbhava budhyaa saparyaadisevaam Nrinaam kurwataam bhukti mukti pradantam Nameeswaram Sadgurum Sainaatham Anekaashrutaa tarkya leelaa vilaasaeih Samaavishkruteshaana bhaasvat prabhaavam Ahambhaava heenam prasannathma bhaawam Nameeswaram Sadgurum Sainaatham. Sataam Vishramaaraama mevaabhiraamam sadaa sajjanaih samsthutam sannamadbhih Janaamodadam bhakta bhadrapradantam Nameeswaram Sadgurum Sainaatham. Ajanmaadhyamekam param brahma saakshaat Swayam sambhavam raamamevaavateernam Bhawadharshanaathsam puneetah praboham Nameeswaram Sadgurum Sainaatham. Sree Sayeesa kripaanidhe akhilanrinaam sarwaartha siddhi prada Yushmatpaadarajah prabahavamatulam dhaataapi vaktaakshhamah Sadbhakthyaa saranam kritaan jali putah samprapthithosmi prabho Shrimath Sayi paresa paada kamalaa naanya ccharanyam mama Sayiroopadhara raaghavottamam, Bhakta kaama vibhuda dhrumam prabhum Maayayopahata chitta shudhayae, Chintayaamyahamaharnisam mudaa Sharat sudhaamsu pratrima prakaasam, kripatapaatram tava Sainaatha Twadeeya paadaabja samaashritaanaam, Swachhaayayaa taapamapaa karothu Upaasanaa Daivata Sainaatha, Sthavairmayopaasaninaasthu sthatwam Ramenmaromne tava paadayugme bhrungo, Yathaabji makarmda lubdhah Aneka janmaarjita paapasamkshayo, Bhavet bhawatpaada saroja darshanaat Kshamaswa sarvaanaparaadha poonjakaan, praseeda Sayeesa Sadguro dayaanidhe Sri Sainatha charanaamrita putachithaah, Sthwatpaada seva natrataah satatamcha bhaktyaa Samsaara janya duritaagha vinirgataaste, kaivalya dhaama paramam samavaapnuvanti Strotrame tatpatte bhakthyaa yonara athanmanaahsadaa Sadguroh Sainaadhasya kripa paatram bhaveddhruham. Karacharanakritam vaakkaayajam karmajam vaa Shravananayanajam vaa maanasam vaaparadham Viditamaviditam vaa sarvame tatshkamasva Jaya Jaya karunaabdhe shri pabho sainaatha. Shri Satchitaanand Sadguru Sainaath Maharaaj ki Aum Raajaadhiraaja Yogiraaja ParaBrahma Sainaath Maharaaj Shri Satchitaanand Sadguru Sainaath Maharaaj ki

1. Aarthi Sai Baba Composed By:: Shri Madhavrao Vamanrao Adkar Aarti Sai Baba, saukhyadaataara jeeva. Charana rajaatalee Dhyaava daasaan visaawaa, bhaktaa visaawaa. Aarti Sai Baba Jaaluniyaan aananng swaswaroopee raahe dhanga Mumukshu janaan daavee nija dolaan Sreeranga, dolaan Sreeranga Aarti Sai Baba Jayaa manee jaisaa bhaava tayaa taisaa anubhava Daawisee dayaaghanaa aisee tujzee hee maava tujzeeheemaava Aarti Sai Baba Tumache naama dhyaataan hare sansrithi vyathaa Agaadha tava karanee maarga daawisee anaadhaa,daawisee anaadhaa Aarti Sai Baba Kaliyugee avataara saguna parabrahm saachara Avateerna jhaalase swami Datta digambara, Datta digambara Aarti Sai Baba Aattan divasaan guruwaaree bhakta karitee waaree Prabhupada pahaavayaa bhavabhaya niwaree, bhaya niwaree Aarti Sai Baba: Maajan nija dravya tteewaa tav charan rajasevaa Maagane hechiyaataa tumhan devaadhideva, Devaadhideva Aarti Sai Baba Ichchita deena chaatak nirmala toya nijasookha Paajaawe maadhavaa yaa saambhal aapulee bhaaka, aapulee bhaaka Aarti ... 2. Abhang Composed By:: Shri Dasganu Maharaj Shirdee maajze Pandharapura Saibaba Ramaavara Baba Ramaavara, Sai Baba Ramaavara Shuddha bhaktee chandrabhaabagaa, Bhaava pundaleeka jaagaa pundaleeka jaagaa. Bhaava pundaleeka jaagaa Yaa ho yaa ho avaghe jana karaa Babaansee vandana. Saisi vandana karoo Babaansee vandana Ganu mhane Baba Sayee. Dhaava paava maajze aayee paava maajze aayee. Dhaava paava maajze aayee 3. Naman A garland of traditional prayers Ghaaleena lotaangana vandeen charana Dolyanee paaheen roop tujze Preme aalingana aanande poojin, Bhave oowaalina mhane Naamaa. Tvameva maataa cha pitaa tvameva Tvameva bandhuscha sakhaa tvameva Tvameva vidyaa dravinam tvameva, Tvameva servam mama Devadeva. Kaayena vaachaa manasrendriyaiarwan Budhyatmanaa vaa prakriti swabhavaat Karomi yadyatsakalam parasmai, Narayanaayeti samarpayaami Acyutam Keshavam Raamanaaraayanam Krishnadaamodaram Vaasudevam Harim Shreedharam Maadhavam Gopikaa Vallabham, Jaanakeenaayakam Raamachandram Bhaje. Hare Rama, Hare Rama. Rama Rama Hare Hare Hare Krishna, Hare Krishna. Krishna Krishna Hare Hare. X3 Shri Gurudeva Datta. 4. Namaskaaraastak Composed By :: Shri Mohani Raj Anantaa tulaa ten kase re sthavaave, Anantaa tulaa ten kase re namaave Anantaa mukhaanchaa shine shesh gaataan, Namaskaar saashtaang Shri Sainaatha. Smaraave hmanee twatpadaa nitya bhaave, Wurave taree bhaktisaattee swabhaave Tarave jagaa taarunee maaya taataa,Namaskaar saashtaang Shri Sainaatha. Vase jo sadaa daavayaa santleela, Dise agna lokaanparee jo janaalaa Paree antaree gnaana kaiwalya daataa, Namaskaar saashtaang Shri Sainaatha. Baraa laadhalaa janma haa maanvaachaa Naraa saarthakaa saadhaneebhuta saacha Dharoon Sayeepremaa galaayaa ahantaa, Namaskaar saashtaang Shri Sainaatha. Dharave karee saana alpagna baala, Karaave amhaa dhanya chumboni gaalaa Mukhee gala preme karaa graas aataan, Namaskaar saashtaang Shri Sainaatha. Suraadeeka jyaanchyaa padaa vanditaantee, Sukadeeka jyaante samaanatva detee Prayagaadi teerthen padee nasmra hotaa, Namaskaar saashtaang Shri Sainaatha. Tujhyaa jhya padaa paahtan gopabaalee, Sadaa rangalee chitswaroopee milaalee Karee raasakreedaa save Krishna naathaa, Namaskaar saashtaang Shri Sainaatha. Tulaa maahato maagane eka dhyaave, Karaa jodito deena atyanta bhaave Bhavee mohaneeraaja haa taari aataan, Namaskaar saashtaang Shri Sainaatha. 5. Aisaa eyee baa Aisaa eyee baa – Sayee digambaraa – Akshyaya roopa avataara Sarvahi vyapaka too – Shrutisaara – anusayaatrikumaaraa – Aisaa eyee baa! Kaashee snaana japa – pratidivashee – Kolhapura bhikshesee – nirmala nadi tungaa Jala praasee – Nidra maahur deshee - Aisaa eyee baa Jzholee lombatase vaamakaree – trishoola damaroo dhari Bhakta varada sadaa sukhakaaree Deseel mukti charee - Aisaa eyee baa Paayee paadukaa japamaala – kamandaloo – Mrigacchalaa – dhaarana kariseebaa Naagajataa – Mukuta sobhato maathaa - Aisaa eyee baa Tatpara tujyaa je dhyaanee – akshyaya Thyaanche sadhanee – Lakshmeevasa karee Dinarajanee – Rakshisi sankat vaaruni - Aisaa eyee baa Yaa pari dhyaana tujze gururaayaa – Drishya karee nayanaan yaa Poornaananda sukhe hee kaayaa – Laavise hariguna gaayaa - Aisaa eyee…. 6. Shri Sainatha Mahimna Strotrama Composed By :: Shri Upasani Baba Maharaj Sadaa satswaroopam chidaananda kandam Jagat sambhavasthaana samhaara hetum Swabhaktechhayaa maanusham darsayantam Nameeswaram Sadgurum Sainaatham. Bhavadwaantha vidhwamsa maarthaanda meeddyam manovaagateetam munir dhyana gamyam Jagadvyapakam nirmalam nirgunam twaam Nameeswaram Sadgurum Sainaatham. Bhawaambhodi magnaarthitaanaam lanaanaam Swapaadaasritaanaam swabhakti priyaanaam Samuddhaaranaartham kalow sambhavantam Nameeswaram Sadgurum Sainaatham. Sadaa nimba vrikshasya mooladhivaasaat Sudhaasravinam tiktamapya priyantam Tarum kalpa vrikshaadhikam saadhayantam Nameeswaram Sadgurum Sainaatham. Sadaa kalpavrikshyasya tasyaadhi moole Bhawadbhava budhyaa saparyaadisevaam Nrinaam kurwataam bhukti mukti pradantam Nameeswaram Sadgurum Sainaatham. Anekaashrutaa tarkya leelaa vilaasaeih Samaavishkruteshaana bhaasvat prabhaavam Ahambhaava heenam prasannathma bhaawam Nameeswaram Sadgurum Sainaatham. Sataam Vishramaaraama mevaabhiraamam sadaa sajjanaih samsthutam sannamadbhih Janaamodadam bhakta bhadrapradantam Nameeswaram Sadgurum Sainaatham. Ajanmaadhyamekam param brahma saakshaat Swayam sambhavam raamamevaavateernam Bhawadharshanaathsam puneetah praboham Nameeswaram Sadgurum Sainaatham. Sree Sayeesa kripaanidhe akhilanrinaam sarwaartha siddhi prada Yushmatpaadarajah prabahavamatulam dhaataapi vaktaakshhamah Sadbhakthyaa saranam kritaan jali putah samprapthithosmi prabho Shrimath Sayi paresa paada kamalaa naanya ccharanyam mama Sayiroopadhara raaghavottamam, Bhakta kaama vibhuda dhrumam prabhum Maayayopahata chitta shudhayae, Chintayaamyahamaharnisam mudaa Sharat sudhaamsu pratrima prakaasam, kripatapaatram tava Sainaatha Twadeeya paadaabja samaashritaanaam, Swachhaayayaa taapamapaa karothu Upaasanaa Daivata Sainaatha, Sthavairmayopaasaninaasthu sthatwam Ramenmaromne tava paadayugme bhrungo, Yathaabji makarmda lubdhah Aneka janmaarjita paapasamkshayo, Bhavet bhawatpaada saroja darshanaat Kshamaswa sarvaanaparaadha poonjakaan, praseeda Sayeesa Sadguro dayaanidhe Sri Sainatha charanaamrita putachithaah, Sthwatpaada seva natrataah satatamcha bhaktyaa Samsaara janya duritaagha vinirgataaste, kaivalya dhaama paramam samavaapnuvanti Strotrame tatpatte bhakthyaa yonara athanmanaahsadaa Sadguroh Sainaadhasya kripa paatram bhaveddhruham. 7. Guru Prasada Yachanaastakam Composed By:: B.V.Dev Ruso mama priyaambikaa majavaree pitahee ruso Ruso mama priyaangana priyasutaatmajaahee ruso Ruso bhagini bandhuhee swasura saasubayee ruso Na datta Guru Saayima majavaree kadheenhee ruso Puso na sunabayee tyaa maja na bhratrujaayaa puso Puso na priya soyare priya sage na gnateen puso Puso suhrida naa sakhaa swajana naapta bandhu puso Paree na Guru Saayima majavaree ksdheenhee ruso. Puso na abalaa mulen tarun vriddhahee naa puso Puso na Guru Dhakute maja na thor saane puso Puso nacha bhale bure sujan sadhuheen naa puso Paree na Guru Saayima majavaree ksdheenhee ruso Ruso chatura tatwavit vibhudha praagna jnaanee ruso Rusohi vidushee striyaa kushal panditaahee ruso Ruso mahipatee yatee bhajak taapaseehe ruso Na Datta Guru Saayima majavaree kadheenhee ruso Ruso kavi rishee munee anagha siddha yogee ruso Ruso hi grihadevataa ni kula grama Devee ruso Ruso khala pishaascahee malin dhakineehee ruso Na Datta Guru Saayima majavaree kadheenhee ruso Ruso mriga khaga krimi akhila jeeva jantu ruso Ruso vitap prastaraa achal aapagaabdhee ruso Ruso kha pavan naagni vaar avani panchatathwe ruso Na Datta Guru Saayima majavaree kadheenhee ruso Ruso vimal kinnaraa amala yakshineehee ruso Ruso shashi khagaadihee gagani taarakaahee ruso Ruso amararaajahee adaya dharmaraajaa ruso Na Datta Guru Saayima majavaree kadheenhee ruso Ruso mana Saraawatee chapala chitta tehee ruso Ruso vapu dishaakhilaa kattina kaal tohee ruso Ruso sakal vishwahee mayi tu brahma golaaM ruso Na Datta Guru Saayima majavaree kadheenhee ruso Vimoodha hmanoonee haso majana matsaraahee daso Padaabhi ruchi ulhasoh janan kardamee naa phaso Na durga dhriticha dhaso ashivbhaav maage khaso Prapanchi manahe ruso dridda virakti chitee ttaso Kunaachihi grinaa naso na cha sprihaa kashaachee aso Sadaiva hridayee vaso manasi dhyani Sayee vaso Padee pranaya voraso nikhila drishya baabaa diso Na Dattaguru Saayima upari yaachneela ruso. 8. Mantra Pushpam Hari Om yagnena yagnamayajanta devaastaani dharmaani prathamaabyaasan Tehanakam mahimaanah sachanta yatra poorve sadhyaa santi Devaah; Aum rajaadhiraajaaya prasahya saahine namo vayam Vaishravanaaya kurmahe Sa me kaaman kaama kaamaya mahyam kameswaro Vaishravano tathatu. Kuberaraya Vaishravanaaya Mahaaraajaaya namah. Om swasti saamrajyam bhojyam swaaraajyam vairaajyam, paarameshtyam Raajyam mahaarajya maadhi patya mayam Samantaparyaa yeesyat Saarvabhoumah saarvayushya aantaadaaparaaraadhaat prithivyai Samudraparyanthaayaa ekaraalithi Tadapyesha slokobhigeeto marutah parivestaaro marutah pariveshtaaro maruttasyaavasan gruhe Avikshitasya kamaprer Visvedevaah sabhaa sada ithi Shri Naarayana Vaasudevaaya Sri saccidananda Sadguru Saiñatha Maharaja ki Jaya Karacharanakritam vaakkaayajam karmajam vaa Shravananayanajam vaa maanasam vaaparadham Viditamaviditam vaa sarvame tatshkamasva Jaya Jaya karunaabdhe shri pabho Sainaatha. Shri Naarayana Vaasudevaaya Sri saccidananda Sadguru Saiñatha Maharaja ki Jaya Shri Satchitaanand Sadguru Sainaath Maharaaj ki Raajaadhiraaja Yogiraaja ParaBrahma Sainaath Maharaaj Shri Satchitaanand Sadguru Sainaath Maharaaj ki

1. AARTHI Composed by : Sant Tukaram Maharaj. Owaloo aaratee mazhaa Sadgurunaathaa - maazhaa Sainaatha Paanchaahee tatwaanche deep laawilaa aataan Nirgunaachee sthitee kaisee aakaaraa aalee - Baba aakaaraa aalee Sarvaa ghatee bharooni vuralee Sayee Maawoolee Owaloo aaratee.... RajaTamaSathwa tighe maayaa prasawalee - Mazyawara maayaa prasawalee Mayecheeye potee kaisee maayaa udbhavalee Owaloo aaratee.... SaptaSaagaree kaisa khel maandeelaa - Baba khel maandeelaa Khelooniyaa khel awagha visthaar kelaa Owaloo aaratee.... Brahmaandeechee rachanaa keisee daakhavilee dolaa - Baba daakhavilee dolaa Tuka hmane maazhaa Swaamee kripaaloo bholaa Owaloo aaratee.... 2. JNANESWAR AARTHI Composed by : Rama Janardhani Swami. Lopale jnaana jagin - hita nenatee konee Avataara Panduranga - nam ttevile jnanee Aaratee Jnaanaraaja - mahaa kaivalya tejaa Sevitee Saadhusanta - hmanu vedhalaa maazha Aaratee Jnaanaraaja. Kanakachee tat kareen - Ubhyaa gopikaa naaree Narada tumbaraho - samgaayan karee Aaratee Jnaanaraaja.... Pragata guhya bole - vishwa brahmachi kele Rama Janardanee - payee masthak ttevile Aaratee Jnaanaraaja.... 3. TUKARAM AARTHI Composed by : Shri Rameswar Bhat. Aaratee Tukaaraamaa - Swamee Sadguru dhaamaa Satchidaananda murtee - paaya dakhavi aamhaa Aaratee Tukaaraamaa Raaghave Saagaraat - jaise paashaan taarile Taise he tuko baache - abhang rakshile Aaratee Tukaaraamaa... Tukitaa tulanesee - brahma tukasee aale Hmanoni raamesware - charanee mastak ttevile Aaratee Tukaaraamaa... 4. SEJ AARTHI Composed by : Shri Krishna Jogeswar Bhishma. Jai jai Sainatha aataa pahudaave mandiree ho, Jai jai Sainatha aataa pahudaave mandiree ho Aalavito sapreme tuzhala aaratee ghevuni kareeho, Jai jai Sainatha aataa pahudaave mandiree ho Ranjavisee too madhura bulunee - maaya jashi nija mulaa ho. Ranjavisee too madhura bulunee - maaya jashi nija mulaa ho Bhogisi vyadhee tunch haruniyaa - nijasevak dukhaalaa ho. Bhogisi vyadhee tunch haruniyaa - nijasevak dukhaalaa ho. Dhavuni bhakta vyasana harisi - darshan deshee tyaalaa ho Dhavuni bhakta vyasana harisi - darshan deshee tyaalaa ho Jzhaale astil kasta ateesaya tumache yaa dehaalaa ho Jai jai Sainatha... Skhmaa shayana sundara hee shobhaa - suman shej tyaavareen ho Skhmaa shayana sundara hee shobhaa - suman shej tyaavareen ho Gdhyaavee todee bhakta jananchee - pujan archan kareen ho Gdhyaavee todee bhakta jananchee - pujan archan kareen ho Owaalito panchaprana - jyotee sumatee kareen ho Owaalito panchaprana - jyotee sumatee kareen ho Sevaa kinkara bhakta preetee - attar parimala vaaree ho Jai jai Sainatha... Soduni jaayaa dukha waatate - Baba tava charanaansee ho Soduni jaayaa dukha waatate - Sayee tava charanaansee ho Agnesthavah aasi prasaada - ghevuni nijasadanaasee ho Agnesthavah aasi prasaada - ghevuni nijasadanaasee ho Jaato aata yevu punarapi - twatcharanaanche paashee ho Jaato aata yevu punarapi - twatcharanaanche paashee ho Uttavoon tujala Saimaavule - nijahitasaadhaa yaasee ho Uttavoon tujala Saimavule - nijahitasaadhaa yaasee ho Jai jai Sainatha... 5. SEJ AARTHI Composed by : Shri Krishna Jogeswar Bhishma. Aataa Swaamee sukhe nidraa karaa avadhutaa - Baba karaa Sainathaa Chinmaya he sukhfhaama jaawuni pahudaa ekaantaa Vairaagyaachaa kunchaa ghewuni chowk jhadeela - Baba chowk jhadeela Tayaawaree supremaachaa shidakaavaa didhalaa Aataa Swaamee... Paayaghadadyaa ghatalyaa sundar navavidhaa bhakti - Baba navavidhaa bhakti Jnaanaachyaa samayaa laawuni ujalalyaa jyotee Aataa Swaamee... Bhaavaarthaanchaa manchaka hridaya kaashee taangilaa - hridaya kaashee taangilaa Manaachee sumane karunee kele sheejelaa Aataa Swaamee... Dwaitaache kapaat laavuni ekatra kele - Baba ekatra kele Durbuddheenchyaa gatte soduni padade sodeele Aataa swaamee... Aashaa trishnaa kal[anechaa Soonduni galabala - Baba Saanduni galabala Dayaa kshamaa shaantee daasee ubhyaa sewelaa Aataa Swaamee... Alakshya unmanee ghevunee Baba naajuk dusshaalaa - Baba naajuk dusshaalaa Niranjana Sadguru swamee nijavile shejelaa Aataa Swaamee... Shri Satchitaanand Sadguru Sainaath Maharaaj ki Shri Guru Deva Datta! 6. ABHANG Composed by : Sant Tukaram Maharaj. Paahen prasadachee vaat ghyaave dhuvoniyaan taat Sesh ghewoniaan taat Tumche jhaliyaan bhojan Jhaalo aata eksavaa Tumha aadu niyaa devaa Tuka hmane aatan chitt karooni raahilo nischint. 7. ABHANG Composed by : Sant Tukaram Maharaj. Paawala prasaad aataa vitto nijaave - Baba aataa nijaave Apulaa to shrama kalo yetase bhaave Aataan Swaamee sukhe nidraa karaa Gopala - Baba Sai dayaalaa Purale manorath jato aapule sthalaa. Tumhaasee jaagawoo aamhi aapulya chaada - Baba aapulya chaada Shubhashub karme dosh haraavayaa peedaa. Aataan Swaamee sukhe nidraa karaa Gopala - Baba Sai dayaalaa Purale manorath jato aapule sthalaa. Tuka hmane didhale utchistaache bhojan - utchistaache bhojan Naahi nivadile aamha apulya bhinn. Aataan Swaamee sukhe nidraa karaa Gopala - Baba Sai dayaalaa Purale manorath jato aapule sthalaa. Aataan Swaamee sukhe nidraa karaa Gopala - Baba Sai dayaalaa Purale manorath jato aapule sthalaa. Sadguru Sainaath Maharaaj ki jai Aum Raajaadhiraaja Yogiraaja ParaBrahma Sainaath Maharaaj Shri Satchitaanand Sadguru Sainaath Maharaaj ki

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