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Ashta Lakshmi Stotram

Puranic

Ashta Lakshmi Stotram

अष्टलक्ष्मी स्तोत्रम्

About the Ashta Lakshmi Stotram

The Ashta Lakshmi Stotram is one of the most revered devotional hymns dedicated to Goddess Lakshmi.

8 min
Deity
Lakshmi
Tradition
Vaishnava, Sri Sampradaya, Smarta, Universal
Purpose
Attainment of all forms of wealth and prosperity, eradication of poverty and scarcity consciousness, attainment of courage, family well-being and lineage protection, wisdom and intellectual refinement, and invoking the maternal grace of Mahalakshmi.
Source
Vaiṣṇava tradition, Śrī Sampradāya, Smārta sampradāya, now universal.

मूल पाठ

Sanskrit text

१. आदिलक्ष्मी सुमनसवन्दित सुन्दरि माधवि चन्द्रसहोदरि हेममये। मुनिगणमण्डित मोक्षप्रदायिनि मञ्जुलभाषिणि वेदनुते॥ पङ्कजवासिनि देवसुपूजित सद्गुणवर्षिणि शान्तियुते। जय जय हे मधुसूदनकामिनि आदिलक्ष्मि परिपालय माम्॥ १॥

२. धान्यलक्ष्मी अयि कलिमल्मषनाशिनि कामिनि वैदिकरूपिणि वेदमये क्षीरसमुद्भवमङ्गलदायिनि मन्त्रनिवासिनि मन्त्रनुते। मङ्गलदायिनि अम्बुजवासिनि देवगणाश्रितपादयुगे जय जय हे मधुसूदनकामिनि धान्यलक्ष्मि परिपालय माम्॥ २॥

३. धैर्यलक्ष्मी जयवरवर्षिणि वैष्णवि भार्गवि मन्त्रस्वरूपिणि मन्त्रमये सुरगणपूजित शीघ्रफलप्रद ज्ञानविकासिनि शास्त्रनुते। भवभयहारिणि पापविमोचिनि साधुजनाश्रितपादयुगे जय जय हे मधुसूदनकामिनि धैर्यलक्ष्मि परिपालय माम्॥ ३॥

४. गजलक्ष्मी जय जय दुर्गतिनाशिनि कामिनि सर्वफलप्रद शास्त्रमये रथगज तुरगपदाति समावृत परिजनमण्डित लोकनुते। हरिहर ब्रह्म सुपूजित सेवित तापनिवारिणि पादयुगे जय जय हे मधुसूदनकामिनि गजलक्ष्मि परिपालय माम्॥ ४॥

५. सन्तानलक्ष्मी अयि खगवाहिनि कामिनि चक्रिणि पाशविमोचिनि ज्ञानमये गुणगणवारिधि लोकहितैषिणि सप्तस्वरभूषित गाननुते। सकल सुरासुर देवमुनीश्वर मानववन्दितपादयुगे जय जय हे मधुसूदनकामिनि सन्तानलक्ष्मि परिपालय माम्॥ ५॥

६. विजयलक्ष्मी जय कमलासनि सद्गतिदायिनि ज्ञानविकासिनि ज्ञानमये अनुदिनमर्चित कुङ्कुमधूसर भूषितवस्त्र सुवासरते। कनकधराधुत मङ्गलदायिनि साधुजनाश्रितपादयुगे जय जय हे मधुसूदनकामिनि विजयलक्ष्मि परिपालय माम्॥ ६॥

७. विद्यालक्ष्मी प्रणत सुरेश्वरि भारति भार्गवि शोकविनाशिनि रत्नमये मणिमयभूषित कर्णविभूषण शान्तिसमावृत हास्यमुखे। नवनिधिदायिनि कलिमलहारिणि कामितफलप्रद हस्तयुगे जय जय हे मधुसूदनकामिनि विद्यालक्ष्मि परिपालय माम्॥ ७॥

८. धनलक्ष्मी धिमिधिमि धिन्धिमि धिन्धिमि धिन्धिमि दुन्दुभि नाद सुपूर्णमये घुमघुम घुङ्घुम घुङ्घुम घुङ्घुम शङ्खनिनाद सुवाद्यनुते। वेदपुराणेतिहास सुपूजित वैदिकमार्ग प्रदर्शयुते जय जय हे मधुसूदनकामिनि धनलक्ष्मि रूपेण पालय माम्॥ ८॥

फलश्रुतिः अष्टलक्ष्मी नमस्तुभ्यं वरदे कामरूपिणि। विष्णुवक्षःस्थलस्थिते देवि मां परिपालय॥ सुखसौभाग्यमारोग्यं देहि मे देवि पावनम्। धनं धान्यं यशो विद्यां देहि मे वरदे नमः॥ ॥ इति श्रीअष्टलक्ष्मीस्तोत्रं सम्पूर्णम् ॥

1. Ādilakṣmī

sumanasavandita sundari mādhavi candrasahodari hemamaye |

munigaṇamaṇḍita mokṣapradāyini mañjulabhāṣiṇi vedanute ||

paṅkajavāsini devasupūjita sadguṇavarṣiṇi śāntiyute |

jaya jaya he madhusūdanakāmini ādilakṣmi paripālaya mām || 1 ||

2. Dhānyalakṣmī

ayi kalimalmaṣanāśini kāmini vaidikarūpiṇi vedamaye |

kṣīrasamudbhavamangaladāyini mantranivāsini mantranute ||

mangaladāyini ambujavāsini devagaṇāśritapādayuge |

jaya jaya he madhusūdanakāmini dhānyalakṣmi paripālaya mām || 2 ||

3. Dhairyalakṣmī

jayavaravarṣiṇi vaiṣṇavi bhārgavi mantrasvarūpiṇi mantramaye |

suragaṇapūjita śīghraphalaprada jñānavikāsini śāstranute ||

bhavabhayahāriṇi pāpavimocini sādhujanāśritapādayuge |

jaya jaya he madhusūdanakāmini dhairyalakṣmi paripālaya mām || 3 ||

4. Gajalakṣmī

jaya jaya durgatināśini kāmini sarvaphalaprada śāstramaye |

rathagaja turagapadāti samāvṛta parijanamaṇḍita lokanute ||

harihara brahma supūjita sevita tāpanivāriṇi pādayuge |

jaya jaya he madhusūdanakāmini gajalakṣmi paripālaya mām || 4 ||

5. Santānalakṣmī

ayi khagavāhini kāmini cakriṇi pāśavimocini jñānamaye |

guṇagaṇavāridhi lokahitaiṣiṇi saptasvarabhūṣita gānanute ||

sakala surāsura devamunīśvara mānavavanditapādayuge |

jaya jaya he madhusūdanakāmini santānalakṣmi paripālaya mām || 5 ||

6. Vijayalakṣmī

jaya kamalāsani sadgatidāyini jñānavikāsini jñānamaye |

anudinamarcita kuṅkumadhūsara bhūṣitavastra suvāsarate ||

kanakadharādhuta mangaladāyini sādhujanāśritapādayuge |

jaya jaya he madhusūdanakāmini vijayalakṣmi paripālaya mām || 6 ||

7. Vidyālakṣmī

praṇata sureśvari bhārati bhārgavi śokavināśini ratnamaye |

maṇimayabhūṣita karṇavibhūṣaṇa śāntisamāvṛta hāsyamukhe ||

navanidhidāyini kalimalahāriṇi kāmitaphalaprada hastayuge |

jaya jaya he madhusūdanakāmini vidyālakṣmi paripālaya mām || 7 ||

8. Dhanalakṣmī

dhimidhimi dhindhimi dhindhimi dhindhimi dundubhi nāda supūrṇamaye |

ghumaghuma ghuṅghuma ghuṅghuma ghuṅghuma śaṅkhanināda suvādyanute ||

vedapurāṇetihāsa supūjita vaidikamārga pradarśayute |

jaya jaya he madhusūdanakāmini dhanalakṣmi rūpeṇa pālaya mām || 8 ||

Phalaśrutiḥ

aṣṭalakṣmī namastubhyaṃ varade kāmarūpiṇi |

viṣṇuvakṣaḥsthalasthite devi māṃ paripālaya ||

sukhasaubhāgyamārogyaṃ dehi me devi pāvanam |

dhanaṃ dhānyaṃ yaśo vidyāṃ dehi me varade namaḥ ||

|| iti śrīaṣṭalakṣmīstotraṃ sampūrṇam ||

Ashta Lakshmi Stotram — recitation

Coming soon

अर्थ

Meaning

Focusing on the core praises and the universal refrain: "Victory, victory to You, O beloved consort of Madhusudana (jaya jaya he madhusūdanakāmini), O Divine Mother, protect and sustain me (paripālaya mām)." Across the eight stanzas, She is praised as: the primordial goddess adored by pure souls (sumanasavandita), sister of the moon (candrasahodari), dispeller of Kali Yuga's impurities (kalimalmaṣanāśini), rider of Garuda (khagavāhini), seated upon the sacred lotus (kamalāsani), praised by conches and kettle-drums (dundubhi nāda supūrṇamaye), and bestower of liberation (mokṣapradāyini), intellect (jñānavikāsini), and the nine celestial treasures (navanidhidāyini).

संदर्भ

Context

While Goddess Lakshmi's cosmic emergence is celebrated in the Puranic narrative of the Churning of the Ocean (Samudra Manthana), the formal theological classification of Her eightfold forms is deeply rooted in Pancharatra Agama literature (most notably the Lakshmi Tantra) and the Vishnu Purana. In temple traditions and household worship across India, reciting this stotram ensures that a family does not suffer from one-sided prosperity, but receives well-rounded divine nourishment across health, wisdom, character, and wealth.

प्रयोग

How it is traditionally used

Recite the complete stotram 1, 3, 8, or 11 times daily, ideally during early morning (Brahma Muhurta) or the evening twilight (sandhya) after lighting a pure cow-ghee lamp. Chanting it 8 times represents one dedicated round for each of the eight Lakshmis. For intensive sadhana or during auspicious occasions like Varalakshmi Vratam, Sharad Purnima (Kojagari Lakshmi Puja), Dhanteras, and Deepavali, chanting the complete stotram across a fixed cycle is traditionally undertaken using a Lotus Seed (Kamal Gatta) or Clear Quartz (Sphatik) mala. Seated upon a clean yellow or red woollen or silk mat, face north (the direction of Kubera, abundance, and material nourishment) or east (for spiritual wisdom and peace). Strict shiksha requires reciting each line in a buoyant, unhurried 16-syllable cadence, clearly articulating the heavy alliterations and the onomatopoeic percussion sounds in verse 8 without merging or swallowing the conjunct syllables.

Sources & References

Source / TraditionVaiṣṇava tradition, Śrī Sampradāya, Smārta sampradāya, now universal.
Scriptural ReferencesSmṛti (Purāṇa), Pāñcarātra Āgama, Nirbandha Kāvya-Stotra literature. · Lakṣmī Tantra (Pāñcarātra); Viṣṇu Purāṇa (Canto 1, Chapter 9); Bṛhat Stotra Ratnākara. · Bṛhat Stotra Ratnākara (Nirnaya Sagar Press); Lakṣmī Tantra (Pāñcarātra Āgama); Viṣṇu Purāṇa (Canto 1, Chapter 9); Śāradā Tilaka Tantram (Chapter 8, for Lakṣmī mālā rules); Agni Purāṇa (for Dik-niyama / directional rules)
Regional TraditionUniversal
Editorial NoteCanonical 8-verse hymn (Aṣṭakam) praising the eight forms of Lakṣmī as Lord Viṣṇu's inseparable power (anapāyinī śakti, Lakṣmī Tantra). 16-mātrā rhythmic cadence (Padākulaka) with drum and conch onomatopoeia in verse 8. 1 round daily; 3 or 8 on Fridays and Pūrṇimā; 108 for dedicated vows (anuṣṭhāna). Kamal Ghaṭṭa for wealth, Sphaṭika for peace; face North (prosperity) or East (devotion). Maintain the 16-mātrā tempo; clearly articulate paripālaya mām and the nasal onomatopoeic beats without swallowing syllables.

Dharmartha presents traditional knowledge with respect for its sources. Practices vary by lineage and region; this material does not assert exclusive or universal authority.

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