Sri Sri Sad Gosvamyastakam
श्री श्री षड् गोस्वामी अष्टकम्|Śrī Śrī Ṣaḍ Gosvāmī Aṣṭakam|Eight Prayers to the Six Goswamis
Also known as: Sad-gosvamy-astaka · Shad Goswami Ashtakam · Krsnotkirtana Gana Nartana
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कृष्नोत्कीर्तन-गान-नर्तन-परौ प्रेमामृताम्भो-निधीधीराधीर-जन-प्रियौ प्रिय-करौ निर्मत्सरौ पूजितौ |श्री-चैतन्य-कृपा-भरौ भुवि भुवो भारावहन्तारकौवन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||१||
नाना-शास्त्र-विचारणैक-निपुणौ सद्-धर्म-संस्थापकौलोकानां हित-कारिणौ त्रि-भुवने मान्याउ शरण्यकरौ |राधा-कृष्ण-पदाराविन्द-भजनानन्देन मत्तालिकौवन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||२||
श्री-गौराङ्ग-गुणानुवर्णन-विधौ श्रद्धा-समृद्ध्य्-अन्वितौपापोत्ताप-निकृन्तनौ तनु-भृतां गोविन्द-गानामृतैः |आनन्दाम्बुधि-वर्धनैक-निपुणौ कैवल्य-निस्तारकौवन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||३||
त्यक्त्वा तूर्णम् अशेष-मण्डल-पति-श्रेणीं सदा तुच्छवत्भूत्वा दीन-गणेशकौ करुणया कौपीन-कन्थाश्रितौ |गोपी-भाव-रसामृताब्धि-लहरी-कल्लोल-मग्नौ मुहुर्वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||४||
कूजत्-कोकिल-हंस-सारस-गणाकीर्णे मयूराकुलेनाना-रत्न-निबद्ध-मूल-विटप-श्री-युक्त-वृन्दावने |राधा-कृष्णम् अहर्-निशं प्रभजतो जीवाऽर्थदौ यौ मुदावन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||५||
संख्या-पूर्वक-नाम-गान-नतिभिः कालाऽवसानि-कृतौनिद्राहार-विहारकादि-विजितौ चात्यन्त-दीनौ च यौ |राधा-कृष्ण-गुण-स्मृतेर् मधुरिमानन्देन सम्मोहितौवन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||६||
राधा-कुण्ड-तटे कलिन्द-तनया-तीरे च वंशीवटेप्रेमोन्माद-वशाद् अशेष-दशया ग्रस्तौ प्रमत्तौ सदा |गायन्तौ च कदा हरेर् गुण-वरं भावाभिभूतौ मुदावन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||७||
हे राधे! व्रज-देविके! च ललिते! हे नन्द-सूनो! कुतःश्री-गोवर्धन-कल्प-पादप-तले कालिन्दी-वने कुतः |घोषन्तौ स्फुटम् इत्थम् एव भुवनेर भ्राम्यमाणौ मुहुर्वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||८||
कृष्णोत्कीर्तन-गान-नर्तन-परौ प्रेमामृताम्भो-निधी धीराधीर-जन-प्रियौ प्रिय-करौ निर्मत्सरौ पूजितौ | श्री-चैतन्य-कृपा-भरौ भुवि भुवो भारावहन्तारकौ वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||१|| नाना-शास्त्र-विचारणैक-निपुणौ सद्-धर्म-संस्थापकौ लोकानां हित-कारिणौ त्रि-भुवने मान्याउ शरण्यकरौ | राधा-कृष्ण-पदाराविन्द-भजनानन्देन मत्तालिकौ वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||२|| श्री-गौराङ्ग-गुणानुवर्णन-विधौ श्रद्धा-समृद्ध्य्-अन्वितौ पापोत्ताप-निकृन्तनौ तनु-भृतां गोविन्द-गानामृतैः | आनन्दाम्बुधि-वर्धनैक-निपुणौ कैवल्य-निस्तारकौ वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||३|| त्यक्त्वा तूर्णम् अशेष-मण्डल-पति-श्रेणीं सदा तुच्छवत् भूत्वा दीन-गणेशकौ करुणया कौपीन-कन्थाश्रितौ | गोपी-भाव-रसामृताब्धि-लहरी-कल्लोल-मग्नौ मुहुर् वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||४|| कूजत्-कोकिल-हंस-सारस-गणाकीर्णे मयूराकुले नाना-रत्न-निबद्ध-मूल-विटप-श्री-युक्त-वृन्दावने | राधा-कृष्णम् अहर्-निशं प्रभजतो जीवाऽर्थदौ यौ मुदा वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||५|| संख्या-पूर्वक-नाम-गान-नतिभिः कालाऽवसानि-कृतौ निद्राहार-विहारकादि-विजितौ चात्यन्त-दीनौ च यौ | राधा-कृष्ण-गुण-स्मृतेर् मधुरिमानन्देन सम्मोहितौ वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||६|| राधा-कुण्ड-तटे कलिन्द-तनया-तीरे च वंशीवटे प्रेमोन्माद-वशाद् अशेष-दशया ग्रस्तौ प्रमत्तौ सदा | गायन्तौ च कदा हरेर् गुण-वरं भावाभिभूतौ मुदा वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||७|| हे राधे! व्रज-देविके! च ललिते! हे नन्द-सूनो! कुतः श्री-गोवर्धन-कल्प-पादप-तले कालिन्दी-वने कुतः | घोषन्तौ स्फुटम् इत्थम् एव भुवनेर भ्राम्यमाणौ मुहुर् वन्दे रूप-सनातनौ रघु-युगौ श्री-जीव-गोपालकौ ||८||
Absorbed in chanting, singing, and dancing the glories of Krishna, they are oceans of the nectar of divine love. They are dear to both the learned and the unlearned, always pleasing everyone, free from envy, and worshipped by all. They are filled with the mercy of Sri Chaitanya and relieve the burden of the earth. I offer my obeisances to Sri Rupa, Sri Sanatana, the two Raghunathas (Raghunatha Bhatta and Raghunatha Dasa), Sri Jiva, and Sri Gopala. Supremely expert in scrutinizingly studying various scriptures, they are the establishers of true dharma and benefactors of humanity. They are revered throughout the three worlds and are givers of shelter. They are like intoxicated bumblebees, maddened by the joy of serving the lotus feet of Radha and Krishna. I offer my obeisances to Sri Rupa, Sri Sanatana, the two Raghunathas, Sri Jiva, and Sri Gopala. Endowed with abundant faith in describing the transcendental qualities of Sri Gauranga (Chaitanya Mahaprabhu), they destroy the sins and miseries of embodied souls with the nectar of songs about Govinda. They are uniquely expert in expanding the ocean of transcendental bliss and are the saviors of living entities from the devouring mouth of impersonal liberation. I offer my obeisances to Sri Rupa, Sri Sanatana, the two Raghunathas, Sri Jiva, and Sri Gopala. Quickly rejecting all association with aristocratic society as insignificant, they mercifully became the leaders of the humble, adopting loincloths and simple quilts. They are constantly immersed in the waves of joy within the ocean of the nectar of the gopis' love for Krishna. I offer my obeisances to Sri Rupa, Sri Sanatana, the two Raghunathas, Sri Jiva, and Sri Gopala. In Vrindavan, which is filled with the cooing of cuckoos, swans, and cranes, abundant with peacocks, and beautified by trees whose roots are adorned with various jewels, they joyfully worship Radha and Krishna day and night, bestowing the ultimate goal of life upon all living entities. I offer my obeisances to Sri Rupa, Sri Sanatana, the two Raghunathas, Sri Jiva, and Sri Gopala. They utilized their time by chanting the holy names and offering obeisances in a regulated manner, having conquered sleep, eating, and recreation. They were extremely humble and always enchanted by the sweet joy of remembering the transcendental qualities of Radha and Krishna. I offer my obeisances to Sri Rupa, Sri Sanatana, the two Raghunathas, Sri Jiva, and Sri Gopala. On the banks of Radha Kunda, on the shores of the Yamuna, and at Vamsivata, they were always overwhelmed and maddened by the ecstasy of divine love, manifesting various transcendental symptoms. Sometimes they joyfully sang the superb glories of Hari, overcome with spiritual emotions. I offer my obeisances to Sri Rupa, Sri Sanatana, the two Raghunathas, Sri Jiva, and Sri Gopala. Crying out loudly, “O Radhe! O Goddess of Vraja! O Lalita! O son of Nanda! Where are you? Are you beneath the wish-fulfilling trees of Govardhan? Or in the forest by the Kalindi (Yamuna)?” Thus, they wandered everywhere in Vraja, repeatedly calling out and overwhelmed with sorrow. I offer my obeisances to Sri Rupa, Sri Sanatana, the two Raghunathas, Sri Jiva, and Sri Gopala.
The translation aims for faithful rendering of the Sanskrit verses, preserving the devotional mood and philosophical depth. Emphasis is placed on clarity and maintaining stanza integrity.
The Sri Sri Sad Gosvamyastakam is a profound devotional hymn (stotram) composed by Srinivasa Acharya in the 16th century. Srinivasa Acharya was a prominent figure in the Gaudiya Vaishnava tradition, a direct disciple of Gopala Bhatta Goswami and Jiva Goswami, two of the Six Goswamis themselves. This Ashtakam (eight-verse prayer) serves as a heartfelt glorification of the Six Goswamis of Vrindavan: Sri Rupa Goswami, Sri Sanatana Goswami, Sri Raghunatha Bhatta Goswami, Sri Raghunatha Dasa Goswami, Sri Jiva Goswami, and Sri Gopala Bhatta Goswami. These six saintly scholars were the direct disciples of Sri Chaitanya Mahaprabhu (1486–1534), who is revered as an incarnation of Krishna in the Gaudiya tradition. They were instrumental in establishing the theological and philosophical foundations of Gaudiya Vaishnavism and rediscovering the lost holy places of Vrindavan, associated with Krishna's pastimes. Culturally, this Ashtakam holds immense significance within Gaudiya Vaishnavism. It is a daily prayer for many devotees, recited to invoke the blessings and remember the exemplary lives of the Goswamis. It is particularly relevant during festivals associated with Sri Chaitanya Mahaprabhu and the disappearance/appearance days of the individual Goswamis. The verses describe their deep devotion to Krishna, their scholarly contributions to Vaishnava literature (such as Bhakti-rasamrta-sindhu and Hari-bhakti-vilasa), their renunciation, and their tireless efforts in spreading the message of pure devotional service (bhakti-yoga). The prayer highlights their role in revealing the esoteric truths of Radha-Krishna's pastimes in Vrindavan. The Sri Sri Sad Gosvamyastakam is typically performed as a vocal chant or kirtan. While not strictly a 'folk song' in the traditional sense, its widespread adoption in congregational chanting (kirtan) and personal meditation makes it a communal and accessible form of devotion. It is usually sung a cappella or accompanied by traditional Indian instruments like harmonium, mridanga (drum), and karatalas (hand cymbals) in temples, ashrams, and homes. It is an integral part of the morning and evening services (arati) in many Gaudiya Vaishnava temples worldwide, including those of ISKCON. The performance style is generally meditative and reverential, emphasizing the glorification of the Goswamis' qualities and their dedication to Radha and Krishna. Today, the Sri Sri Sad Gosvamyastakam remains a cornerstone of Gaudiya Vaishnava practice, inspiring millions of devotees globally. It serves as a reminder of the foundational principles of the tradition: deep study of scriptures, renunciation, unwavering devotion to Radha and Krishna, and compassion for all living beings. Its preservation is vital for maintaining the authenticity and spiritual heritage of Gaudiya Vaishnavism. Modern adaptations often involve various musical arrangements for kirtan, but the core Sanskrit text and its meaning remain unchanged, ensuring its continued relevance and impact on spiritual seekers. The Goswamis' teachings, encapsulated in this prayer, continue to guide devotees on the path of selfless love for God.
Historical Background
Composed in the 16th century by Srinivasa Acharya, a direct disciple of the Goswamis' followers. It emerged during a period of intense theological development and the rediscovery of Vrindavan's sacred sites by the Six Goswamis, following the advent of Sri Chaitanya Mahaprabhu.
Cultural Significance
This Ashtakam is a foundational prayer in Gaudiya Vaishnavism, serving as a constant source of inspiration and guidance for devotees. It encapsulates the essence of the Goswamis' teachings and lives of renunciation and devotion, thereby shaping the spiritual aspirations and practices of the community. Its widespread recitation ensures the perpetuation of these ideals.
Usage & Performance Context
Sung daily in Gaudiya Vaishnava temples and homes during morning and evening programs (arati, kirtan), during meditation, and especially on the appearance and disappearance days of Sri Chaitanya Mahaprabhu and the Six Goswamis.
श्री श्री षड् गोस्वामी अष्टकम् सोलहवीं शताब्दी में श्रीनिवास आचार्य द्वारा रचित एक गहन भक्ति स्तोत्र है। श्रीनिवास आचार्य गौड़ीय वैष्णव परंपरा के एक प्रमुख व्यक्ति थे, जो स्वयं षड् गोस्वामी में से दो, गोपाल भट्ट गोस्वामी और जीव गोस्वामी के प्रत्यक्ष शिष्य थे। यह अष्टकम् (आठ-श्लोकी प्रार्थना) वृंदावन के षड् गोस्वामी - श्री रूप गोस्वामी, श्री सनातन गोस्वामी, श्री रघुनाथ भट्ट गोस्वामी, श्री रघुनाथ दास गोस्वामी, श्री जीव गोस्वामी और श्री गोपाल भट्ट गोस्वामी - के हार्दिक गुणगान के रूप में कार्य करता है। ये छह संत विद्वान श्री चैतन्य महाप्रभु (1486-1534) के प्रत्यक्ष शिष्य थे, जिन्हें गौड़ीय परंपरा में कृष्ण के अवतार के रूप में पूजा जाता है। उन्होंने गौड़ीय वैष्णव धर्म के सैद्धांतिक और दार्शनिक आधारों को स्थापित करने और कृष्ण की लीलाओं से जुड़े वृंदावन के खोए हुए पवित्र स्थानों को फिर से खोजने में महत्वपूर्ण भूमिका निभाई। सांस्कृतिक रूप से, इस अष्टकम् का गौड़ीय वैष्णव धर्म में अत्यधिक महत्व है। यह कई भक्तों के लिए एक दैनिक प्रार्थना है, जिसका पाठ गोस्वामीयों के आशीर्वाद प्राप्त करने और उनके अनुकरणीय जीवन को याद करने के लिए किया जाता है। यह विशेष रूप से श्री चैतन्य महाप्रभु से जुड़े त्योहारों और व्यक्तिगत गोस्वामीयों के तिरोभाव/आविर्भाव दिवसों के दौरान प्रासंगिक है। श्लोक कृष्ण के प्रति उनकी गहरी भक्ति, वैष्णव साहित्य में उनके विद्वत्तापूर्ण योगदान (जैसे भक्ति-रसामृत-सिंधु और हरि-भक्ति-विलास), उनके वैराग्य और शुद्ध भक्ति सेवा (भक्ति-योग) के संदेश को फैलाने के उनके अथक प्रयासों का वर्णन करते हैं। यह प्रार्थना वृंदावन में राधा-कृष्ण की लीलाओं के गूढ़ सत्यों को प्रकट करने में उनकी भूमिका पर प्रकाश डालती है। श्री श्री षड् गोस्वामी अष्टकम् को आमतौर पर मुखर जप या कीर्तन के रूप में प्रस्तुत किया जाता है। हालांकि यह पारंपरिक अर्थों में 'लोक गीत' नहीं है, लेकिन सामूहिक कीर्तन और व्यक्तिगत ध्यान में इसका व्यापक रूप से अपनाया जाना इसे भक्ति का एक सांप्रदायिक और सुलभ रूप बनाता है। इसे आमतौर पर मंदिरों, आश्रमों और घरों में हारमोनियम, मृदंग (ढोल) और करताल (हाथ की झांझ) जैसे पारंपरिक भारतीय वाद्ययंत्रों के साथ या बिना वाद्ययंत्रों के गाया जाता है। यह इस्कॉन सहित दुनिया भर के कई गौड़ीय वैष्णव मंदिरों में सुबह और शाम की आरती का एक अभिन्न अंग है। प्रदर्शन शैली आम तौर पर ध्यानपूर्ण और श्रद्धेय होती है, जिसमें गोस्वामीयों के गुणों और राधा और कृष्ण के प्रति उनकी भक्ति के महिमामंडन पर जोर दिया जाता है। आज भी, श्री श्री षड् गोस्वामी अष्टकम् गौड़ीय वैष्णव अभ्यास का एक आधारशिला बना हुआ है, जो विश्व स्तर पर लाखों भक्तों को प्रेरित करता है। यह परंपरा के मूलभूत सिद्धांतों की याद दिलाता है: शास्त्रों का गहन अध्ययन, वैराग्य, राधा और कृष्ण के प्रति अटूट भक्ति, और सभी जीवों के प्रति करुणा। गौड़ीय वैष्णव धर्म की प्रामाणिकता और आध्यात्मिक विरासत को बनाए रखने के लिए इसका संरक्षण महत्वपूर्ण है। आधुनिक अनुकूलन में अक्सर कीर्तन के लिए विभिन्न संगीत व्यवस्थाएं शामिल होती हैं, लेकिन मूल संस्कृत पाठ और उसका अर्थ अपरिवर्तित रहता है, जो आध्यात्मिक साधकों पर इसकी निरंतर प्रासंगिकता और प्रभाव सुनिश्चित करता है। इस प्रार्थना में समाहित गोस्वामीयों की शिक्षाएं निस्वार्थ ईश्वर प्रेम के मार्ग पर भक्तों का मार्गदर्शन करती रहती हैं।
Who composed the Sri Sri Sad Gosvamyastakam?
The Sri Sri Sad Gosvamyastakam was composed by Srinivasa Acharya in the 16th century. He was a prominent Gaudiya Vaishnava acharya and a disciple of two of the Goswamis themselves, Jiva Goswami and Gopala Bhatta Goswami.
Who are the Six Goswamis of Vrindavan mentioned in the Ashtakam?
The Six Goswamis of Vrindavan are Sri Rupa Goswami, Sri Sanatana Goswami, Sri Raghunatha Bhatta Goswami, Sri Raghunatha Dasa Goswami, Sri Jiva Goswami, and Sri Gopala Bhatta Goswami. They were direct disciples of Sri Chaitanya Mahaprabhu.
What is the significance of the Sri Sri Sad Gosvamyastakam?
This Ashtakam is highly significant in Gaudiya Vaishnavism as it glorifies the foundational spiritual masters who established the tradition's theology, rediscovered sacred places in Vrindavan, and set the example for pure devotional service to Radha and Krishna. It inspires devotees to follow their path of renunciation and devotion.
When is the Sri Sri Sad Gosvamyastakam typically recited?
Devotees typically recite the Sri Sri Sad Gosvamyastakam daily during morning and evening worship (arati and kirtan) in temples and homes. It is also particularly relevant during festivals associated with Sri Chaitanya Mahaprabhu and the appearance/disappearance days of the individual Goswamis.
What are some key themes of the Sri Sri Sad Gosvamyastakam?
Key themes include devotion to Krishna and Radha, the renunciation and scholarly contributions of the Goswamis, their role in spreading the mercy of Chaitanya Mahaprabhu, their tireless efforts in Vrindavan, and their deep absorption in divine love (prema).
Region
Language
Sanskrit (Devanagari)
Themes
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Anonymous
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