শ্যামলানবরত্নমালিকা
Shyamala Navaratnamalika in Bengali · বাংলা
আপনার ভাষা/লিপিতে পড়ুন
উৎপত্তি ও কাহিনি
Devotional Sri Vidya / Shakta hymn, traditionally attributed to Adi Shankaracharya · Adi Shankaracharya (traditional attribution) · c. 8th century CE (traditional attribution)
Raja-Shyamala (Matangi) is the Goddess of music, speech and the arts in the Sri Vidya tradition, serving as the mantrini — minister and intimate companion — of Lalita Tripurasundari, who directs the celestial music and counsel of the Mother's court. This 'garland of nine gems' distils her worship into nine jewel-like verses overflowing with the imagery of the veena and the seven notes. Together with the longer Shyamala Dandakam, it is a favourite of devotees and of artists who seek her grace before they sing, play or compose.
✦ শাস্ত্রে যেমন বলা হয়েছে
Devotees and musicians hold that the grace of Shyamala, invoked through such hymns, loosens the tongue of the dull, perfects the art of the singer and the dancer, and brings the favour of Saraswati herself — for she is the very 'Mother of music' (saṅgīta-mātṛkā) praised in the second verse.
অর্থসহ সম্পূর্ণ পাঠ
যেকোনো পঙ্ক্তি বা ▶ বোতাম ছুঁয়ে শুনুন
ওঙ্কারপঞ্জরশুকীমুপনিষদুদ্যানকেলিকলকণ্ঠীম্ । আগমবিপিনমযূরীমার্যামন্তর্বিভাবযে গৌরীম্ ॥১॥
oṅkāra-pañjara-śukīm upaniṣad-udyāna-keli-kalakaṇṭhīm | āgama-vipina-mayūrīm āryām antar vibhāvaye gaurīm || 1||
অর্থ:1. I meditate within my heart upon the noble fair Goddess Gauri — the parrot in the cage of Om, the sweet-voiced nightingale sporting in the garden of the Upanishads, the peahen roaming the forest of the Agamas.
দযমানদীর্ঘনযনাং দেশিকরূপেণ দর্শিতাভ্যুদযাম্ । বামকুচনিহিতবীণাং বরদাং সঙ্গীতমাতৃকাং বন্দে ॥২॥
dayamāna-dīrgha-nayanāṃ deśika-rūpeṇa darśitābhyudayām | vāma-kuca-nihita-vīṇāṃ varadāṃ saṅgīta-mātṛkāṃ vande || 2||
অর্থ:2. I bow to her, the Mother of all music, the bestower of boons — with long eyes streaming compassion, who reveals well-being to her devotees by taking the form of a guru, holding the veena against her left bosom.
শ্যামলিমসৌকুমার্যাং সৌন্দর্যানন্দসম্পদুন্মেষাম্ । তরুণিমকরুণাপূরাং মদজলকল্লোললোচনাং বন্দে ॥৩॥
śyāmalima-saukumāryāṃ saundaryānanda-sampad-unmeṣām | taruṇima-karuṇā-pūrāṃ mada-jala-kallola-locanāṃ vande || 3||
অর্থ:3. I adore her — dark-hued and delicate, the very blossoming of the wealth of the bliss of beauty, a flood of youthful compassion, her eyes rippling like waves of intoxicating joy.
নখমুখমুখরিতবীণানাদরসাস্বাদনবনবোল্লাসম্ । মুখমম্ব মোদযতু মাং মুক্তাতাটঙ্কমুগ্ধহসিতং তে ॥৪॥
nakha-mukha-mukharita-vīṇā-nāda-rasāsvādana-navanavollāsam | mukham amba modayatu māṃ muktā-tāṭaṅka-mugdha-hasitaṃ te || 4||
অর্থ:4. O Mother, may thy face delight me — ever freshly radiant with the savour of the music streaming from the veena played by thy fingertips, adorned with pearl earrings and a charming, innocent smile.
সরিগমপধনিরতাং তাং বীণাসঙ্ক্রান্তকান্তহস্তান্তাম্ । শান্তাং মৃদুলস্বান্তাং কুচভরতান্তাং নমামি শিবকান্তাম্ ॥৫॥
sa-ri-ga-ma-pa-dha-ni-ratāṃ tāṃ vīṇā-saṅkrānta-kānta-hastāntām | śāntāṃ mṛdula-svāntāṃ kuca-bhara-tāntāṃ namāmi śiva-kāntām || 5||
অর্থ:5. I bow to the beloved of Shiva — ever absorbed in the seven musical notes, her lovely fingers moving over the veena, serene, tender of heart, languid with the weight of her bosom.
অবটুতটঘটিতচূলীতাডিততাল়ীপলাশতাটঙ্কাম্ । বীণাবাদনলেশাকম্পিতশীর্ষাং নমামি মাতঙ্গীম্ ॥৬॥
avaṭu-taṭa-ghaṭita-cūlī-tāḍita-tāḷī-palāśa-tāṭaṅkām | vīṇā-vādana-leśā-kampita-śīrṣāṃ namāmi mātaṅgīm || 6||
অর্থ:6. I bow to Matangi — her earrings of palmyra-leaf shape striking against the curls clustered at her cheeks, her head swaying ever so slightly with the playing of the veena.
বীণারবানুষঙ্গং বিকলকচামোদমাধুরীভৃঙ্গম্ । করুণাপূরতরঙ্গং কলযে মাতঙ্গকন্যকাপাঙ্গম্ ॥৭॥
vīṇā-ravānuṣaṅgaṃ vikala-kacāmoda-mādhurī-bhṛṅgam | karuṇā-pūra-taraṅgaṃ kalaye mātaṅga-kanyakāpāṅgam || 7||
অর্থ:7. I contemplate the side-long glance of the daughter of Matanga — keeping company with the music of the veena, a bee drawn to the sweet fragrance of her loosened tresses, a wave in the flood of compassion.
মেচকমাসেচনকং মিথ্যাদৃষ্টান্তমধ্যভাগং তে । মাতস্তব স্বরূপং মঙ্গলসঙ্গীতসৌরভং বন্দে ॥৮॥
mecakam āsecanakaṃ mithyā-dṛṣṭānta-madhya-bhāgaṃ te | mātas tava svarūpaṃ maṅgala-saṅgīta-saurabhaṃ vande || 8||
অর্থ:8. O Mother, I adore thy form — dark and ever-delighting, never sating the eyes, its waist so slender that any comparison is but a false illusion, fragrant with auspicious music.
মণিভঙ্গমেচকাঙ্গীং মাতঙ্গীং নৌমি সিদ্ধমাতঙ্গীম্ । যৌবনবনসারঙ্গীং সঙ্গীতাম্ভোরুহানুভবভৃঙ্গীম্ ॥৯॥
maṇi-bhaṅga-mecakāṅgīṃ mātaṅgīṃ naumi siddha-mātaṅgīm | yauvana-vana-sāraṅgīṃ saṅgītāmbhoruhānubhava-bhṛṅgīm || 9||
অর্থ:9. I praise Matangi, the Siddha-Matangi — her limbs dark as a sapphire freshly cut, the doe of the forest of youth, the bee that drinks the bliss of the lotus of music.
শব্দে-শব্দে অর্থ
উচ্চারণ শুনতে যেকোনো শব্দে ক্লিক করুন
Shyamala Navaratnamalika পাঠের উপকারিতা
Invokes Raja-Shyamala (Matangi), the Sri Vidya Goddess of music, learning, speech and the fine arts
Especially cherished by musicians, singers, dancers and students for mastery of the arts and eloquence
Each verse is a compact, musical meditation on the Goddess and her veena
Cultivates devotion, refinement of mind and a love of sacred music
A worthy shorter companion to the Shyamala Dandakam for daily recitation
Believed to bestow the grace of Saraswati-like wisdom and the fulfilment of creative pursuits
Recited during Shyamala worship and Navaratri for the Mother's blessings
Shyamala Navaratnamalika পাঠের নিয়ম
Sit before an image of Shyamala (Matangi) holding the veena, with a lamp and flowers. Recite the nine verses slowly, dwelling on the imagery of each — the parrot of Om, the veena, the seven notes, the compassionate glance. Musicians and students often chant it before practice or performance to invoke the Goddess of the arts. It may be recited once or three times daily, and is especially auspicious during Navaratri.
প্রায়শ জিজ্ঞাসিত প্রশ্ন
এগুলিও পড়ুন
ॐ
সম্পূর্ণ Shyamala Navaratnamalika শ্লোকে-শ্লোকে অর্থসহ পড়ুন, অথবা আরও পবিত্র পাঠ দেখুন