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Aarti Shri Ramayan Ji Ki — The aarti performed to the Ramcharitmanas itself, not to a deity

Aarti Shri Ramayan Ji Ki

An Aarti Sung to a Book

Undated; associated with the Ramcharitmanas traditionNorth India, Awadh
The fair adornment of the maiden Liberation.
Written by Shalabh Kamboj

About Aarti Shri Ramayan Ji Ki

Aarti Shri Ramayan Ji Ki is the aarti sung at the close of a recitation of the Ramcharitmanas, and it is unlike every other text in this branch in one fundamental respect: it is addressed to a book. The lamps are circled before a physical copy of Tulsidas's Ramayana, wrapped and placed on a stand, and the song praises the text rather than a deity. Its method is a lineage of reciters. Brahma, Narada, Valmiki, Shuka, the Sanaka brothers, Shesha, Sharada, Hanuman, Shiva and Bhavani, Agastya, Vyasa, and the crow Kagabhushundi telling it to the eagle Garuda — the aarti establishes the text's standing by naming who has sung it, one after another, rather than by describing what it contains. This page gives every verse in Devanagari, transliteration and English, and explains what it means to perform an aarti to an object rather than to a person.

Capabilities

Give the full aarti in Devanagari, transliteration and plain English

Explain what it means to perform an aarti to a text rather than to a deity

Identify every reciter the aarti names and why the list is the argument

Explain the Kagabhushundi and Shiva-Parvati frames of the Ramcharitmanas

Explain the mukti jubati image and the claim about sense-pleasure

Report the text's claims as the text's claims, without asserting outcomes

Core Teachings

The Book Is the Presence

A copy of the Ramcharitmanas is wrapped in cloth, set on a stand, garlanded and honoured with a circled lamp exactly as an image would be. For the duration of the ceremony the text is not a means of access to something else; it is the thing being attended on.

A Lineage Instead of a Description

The aarti spends six of its nine verses naming who has recited the Ramayana. It never summarises the story and never praises a passage. Standing is established by transmission — by the chain of people and beings who have sung it — rather than by anything about the content.

Hanuman Is a Reciter, Not Only a Character

Barani pavanasuta — the son of the wind describing that fine glory. Hanuman appears in the aarti's list of those who sing the Ramayana, not among those it is about. In the tradition he is its foremost devotee-reciter, which is why Manas recitations so often invoke him.

The Frames Are Named as Frames

Shiva narrating to Parvati, and the crow Kagabhushundi narrating to the eagle Garuda, are the Ramcharitmanas's own nested framing devices. The aarti names them as links in the chain, which is a compact way of saying that the text arrives through tellings rather than from a single origin.

The Essence All Agree On

Vedas, eighteen Puranas, six shastras — and the Ramayana called the essential portion consented to by all of them. It is a claim of synthesis rather than supersession: the text as the distilled agreement of the tradition, not as its replacement.

Liberation Wears It

Subhaga singara mukti jubati ki — the fair adornment of the maiden Mukti. Release personified as a young woman, and the Ramayana as her ornament. It is the most startling image in the aarti, and one of the more remarkable metaphors anywhere in Hindi devotional verse.

It Makes Other Things Taste Flat

Bishaya rasa phiki. The text does not forbid sense-pleasure; it makes it insipid. That is a considerably more precise and more interesting account of how a devotional text is supposed to work on a reader than prohibition would be.

Sung at the End of a Reading

At the close of a navahnaparayan across nine days, an akhand paath running continuously through a night and day, or a single sitting. It is a closing item for a completed recitation rather than a standalone song, which is how nearly everyone encounters it.

Sacred Practices

Akhand Paath

A continuous recitation of the whole Ramcharitmanas, run without a break through a night and day by relays of readers, closing with this aarti. Undertaken at thresholds, anniversaries and vows.

Navahnaparayan

The Ramcharitmanas read across nine days in fixed portions, a widely observed household and temple practice, particularly during Navratri and in the run-up to Ram Navami.

Honouring the Volume

The book wrapped in cloth, set on a wooden stand, garlanded and kept raised off the floor; hands washed before handling it. The physical treatment of the object is part of the practice rather than an accompaniment to it.

Ram Navami

Recitations concluding on Rama's birth festival, when the aarti closes readings in temples and households across North India.

Manas Katha

Public expositions in which a katha-vachak recites and comments on the text before large audiences over days or weeks, closing sessions with an aarti to the book.

Key Themes

The Object of Worship Is a Text

Every other aarti in this branch addresses a deity. This one addresses a book. A copy of the Ramcharitmanas is wrapped, placed on a stand and honoured with a circled lamp exactly as an image would be. The text is not a means of access to the divine here; for the duration of the ceremony it is the presence being attended on.

It Praises by Listing Reciters

Rather than describing what the Ramayana contains, the aarti names who has sung it: Brahma, Narada, Valmiki, Shuka, the Sanaka brothers, Shesha, Sharada, Hanuman, Shiva and Bhavani, Agastya, Vyasa, and Kagabhushundi to Garuda. Standing is established by transmission, not by content.

A Crow Telling an Eagle

Kagabhushundi, a crow, narrating the Ramayana to Garuda, the eagle who carries Vishnu, is one of the Ramcharitmanas's own framing devices. The aarti names it as a link in the chain of transmission, which is a compact way of saying that the text arrives through tellings rather than from a single origin.

The Adornment of the Maiden Liberation

Subhaga singara mukti jubati ki — the fair adornment of the young woman Mukti. Liberation is personified as a woman and the Ramayana is what she wears. It is the most startling image in the aarti and one of the more remarkable metaphors in Hindi devotional verse.

It Makes Sense-Pleasure Taste Flat

Bishaya rasa phiki — the taste of sense-objects becomes insipid. The claim is not that the text forbids anything but that it makes other things uninteresting by comparison. That is a different and more precise account of how a devotional text is supposed to work on a reader.

The Essence Everyone Agrees On

The Vedas, eighteen Puranas and six shastras are named, and the Ramayana is called the essence all of them consent to. It is a claim of synthesis rather than of supersession — the text presented as the distilled agreement of the tradition rather than as a replacement for it.

Tulsidas Signs It

The last line reads tulasi sarabasa siya-pi hi ki — Tulsi's whole wealth belongs to Sita's beloved. It is the bhanita convention, and here the poet's name and his complete surrender occupy the closing phrase, exactly as they do at chaupai forty of the Hanuman Chalisa.

It Closes a Paath

Sung at the end of a recitation — a navahnaparayan over nine days, an akhand paath run continuously through a night and day, or a single sitting. It is a closing item for a completed reading rather than a song sung on its own, which is how almost everyone encounters it.

Verses & Meaning

Verse 1 — the address

आरती श्री रामायण जी की। कीरति कलित ललित सिय पी की॥ āratī śrī rāmāyaṇa jī kī, kīrati kalita lalita siya pī kī The aarti of the blessed Ramayana — the beautiful, graceful glory of Sita's beloved. (Siya pī: Sita's husband, Rama. The text is addressed directly, as a person would be.)

Verse 2 — who sings it

गावत ब्रह्मादिक मुनि नारद। बालमीकि बिग्यान बिसारद॥ gāvata brahmādika muni nārada, bālamīki bigyāna bisārada Brahma and the rest sing it, and the sage Narada; and Valmiki, expert in true knowledge.

Verse 3 — and who else

सुक सनकादि सेष अरु सारद। बरनि पवनसुत कीरति नीकी॥ suka sanakādi seṣa aru sārada, barani pavanasuta kīrati nīkī Shuka, the Sanaka brothers, Shesha and Sharada; and the son of the wind describing that fine glory. (Hanuman is himself a reciter of the Ramayana in the tradition, not only a character in it.)

Verse 4 — the whole canon

गावत बेद पुरान अष्टदस। छओ सास्त्र सब ग्रंथन को रस॥ gāvata beda purāna aṣṭadasa, chao sāstra saba granthana ko rasa The Vedas sing it, and the eighteen Puranas; the six shastras — it is the essence of all books.

Verse 5 — the essence all agree on

मुनि जन धन संतन को सरबस। सार अंस सम्मत सबही की॥ muni jana dhana santana ko sarabasa, sāra aṁsa sammata sabahī kī The wealth of sages, the entire possession of the holy; the essential portion, consented to by all.

Verse 6 — Shiva and Bhavani

गावत संतत संभु भवानी। अरु घटसंभव मुनि बिग्यानी॥ gāvata santata sambhu bhavānī, aru ghaṭasambhava muni bigyānī Shambhu and Bhavani sing it continually; and the pot-born sage, the knower. (Ghaṭasambhava — born of a pot — is Agastya. Shiva narrating the Ramayana to Parvati is one of the Ramcharitmanas's own frames.)

Verse 7 — the crow and the eagle

ब्यास आदि कबिबर्ज बखानी। कागभसुंडि गरुड़ के ही की॥ byāsa ādi kabibarja bakhānī, kāgabhasuṇḍi garuṛa ke hī kī Vyasa and the foremost poets have expounded it; and Kagabhushundi told it to Garuda himself. (A crow narrating to the eagle who carries Vishnu — one of the Ramcharitmanas's own framing devices.)

Verse 8 — what it does

कलिमल हरनि बिषय रस फीकी। सुभग सिंगार मुक्ति जुबती की॥ kalimala harani biṣaya rasa phīkī, subhaga siṅgāra mukti jubatī kī It removes the impurity of this age and makes the taste of sense-objects insipid. It is the fair adornment of the maiden Liberation. (Mukti — release — personified as a young woman, and the Ramayana as what she wears.)

Verse 9 — and the signature

दलन रोग कलि कलेस कली की। तुलसी सरबस सिय पी की॥ dalana roga kali kalesa kalī kī, tulasī sarabasa siya pī kī Crusher of the sickness and the afflictions of this dark age; Tulsi's whole wealth belongs to Sita's beloved. (The bhaṇitā — the poet naming himself in the closing phrase, as at chaupai forty of the Hanuman Chalisa.)

Frequently Asked Questions

What is Aarti Shri Ramayan Ji Ki?

The aarti sung at the close of a recitation of the Ramcharitmanas, and it is addressed to the text itself rather than to a deity. Lamps are circled before a physical copy of the book, wrapped and placed on a stand, exactly as they would be before an image.

Why is an aarti performed to a book?

Because in this tradition the Ramcharitmanas is treated as a presence rather than only as a record of one. The volume is wrapped, garlanded, kept raised off the floor and handled with washed hands, and at the close of a recitation it is honoured with a circled lamp. For the duration of the ceremony the book is what is being attended on.

What does the aarti actually say?

Almost entirely, who has recited the Ramayana: Brahma, Narada, Valmiki, Shuka, the Sanaka brothers, Shesha, Sharada, Hanuman, the Vedas and Puranas, Shiva and Bhavani, Agastya, Vyasa, and the crow Kagabhushundi telling it to Garuda. It establishes the text's standing by transmission rather than by describing its content.

Who is Kagabhushundi?

A crow who narrates the Ramayana to Garuda, the eagle who carries Vishnu. It is one of the Ramcharitmanas's own nested framing devices, alongside Shiva narrating to Parvati. The aarti names it as a link in the chain of transmission — a compact way of saying the text arrives through tellings.

What does 'subhag singar mukti jubati ki' mean?

The fair adornment of the maiden Liberation. Mukti — release — is personified as a young woman, and the Ramayana is what she wears. It is the most striking image in the aarti and one of the more remarkable metaphors in Hindi devotional verse.

What does 'bishay ras phiki' mean?

It makes the taste of sense-objects insipid. The claim is not that the text forbids sense-pleasure but that it makes other things uninteresting by comparison — a more precise and more interesting account of how a devotional text is meant to work on a reader than prohibition would be.

Did Tulsidas write this aarti?

The closing phrase names him — tulasi sarabasa siya-pi hi ki, Tulsi's whole wealth belongs to Sita's beloved — using the same bhanita convention that closes the Hanuman Chalisa at chaupai forty. As with most such signatures it establishes the aarti's place in the Tulsidas tradition; it is not by itself proof of composition.

When is this aarti sung?

At the close of a Ramcharitmanas recitation: an akhand paath run continuously through a night and day, a navahnaparayan read across nine days, a single sitting, or a public manas katha. It is a closing item for a completed reading rather than a song sung on its own.

What is an akhand paath?

A continuous recitation of the entire Ramcharitmanas, run without a break through a night and day by relays of readers, and closed with this aarti. It is undertaken at thresholds — housewarmings, anniversaries, the completion of vows — and requires a substantial number of participants.

Is Hanuman named in this aarti?

Yes, but among those who sing the Ramayana rather than among those it is about. Barani pavanasuta — the son of the wind describing that fine glory. In the tradition Hanuman is the Ramayana's foremost devotee-reciter, which is why recitations of the Manas so often invoke him.

What does the aarti claim the Ramayana does?

That it removes the impurity of this age, makes the taste of sense-objects insipid, and crushes the sickness and afflictions of the dark age. These are the aarti's own statements about the text, in the standard idiom of the genre, and we report them as such rather than restating them as outcomes.

Is this the same as the Ramayana of Valmiki?

No. This aarti belongs with Tulsidas's Awadhi Ramcharitmanas, the text recited across North India. Valmiki's Sanskrit epic is named inside the aarti as one of the reciters. There is no single Ramayana, and the two are distinct works separated by roughly two thousand years.

Sources & Citations

  1. The Life of a Text: Performing the Ramcaritmanas of Tulsidas, Philip Lutgendorf (University of California Press, 1991)
  2. The Ramcaritmanas of Tulsidas, trans. Philip Lutgendorf (Murty Classical Library of India, Harvard University Press, 2016)
  3. Many Ramayanas: The Diversity of a Narrative Tradition in South Asia, Paula Richman (ed.) (University of California Press, 1991)
  4. Tulsidas (Encyclopaedia Britannica) (accessed 2026-09-06)
  5. The Camphor Flame: Popular Hinduism and Society in India, C.J. Fuller (Princeton University Press, 2004)

Further Reading

  • The Life of a Text: Performing the Ramcaritmanas of TulsidasPhilip Lutgendorfbook
  • The Ramcaritmanas of Tulsidastrans. Philip Lutgendorfbook
  • Many Ramayanas: The Diversity of a Narrative Tradition in South AsiaPaula Richman (ed.)book
  • Hanuman Chalisaarticle
  • Aarti Kije Hanuman Lala Kiarticle

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