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<A name="Top"><H2>Bheej mantras</H2></A>
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The word mantra in Sanskrit, means advice or suggestion. Mantra might also be thought of as an energy pattern. Mantras are produced by combining alphabet sounds. The ancient Vedic Sanskrit meaning is not known. Though a whole lot of syllables and further combinations of sounds may be produced, but not all of them are useful. Various mantras are either spoken aloud or merely sounded internally.<BR>

A Beej Mantra is the shortest form of a Mantra just like a beej (seed). They are the vibrations, and it is belief that when the universe was created then the sounds produce during the cosmic evolution are basically the beej mantra. They may not have any specific meaning and  the sound patterns stimulate a certain effect on the mental and psychic nature of an individual.<BR>

Each Bija or seed Mantra corresponds to a particular deity. Each Beej mantra can be mixed with mantras. There are thousands of mantras, from a variety of cultures, languages and religions. Om Namah Shivaya, Om Namo Narayana and Om Mani Padme Hum are just a few. 

<H3>Oom: ॐ</H3>
This beej mantra (oom - pranava) is the mystic name for the Hindu Trimurti, and represents the union of the three gods, viz. ‘A’ for Brahma, ‘U’ for Vishnu and ‘M’ for Mahadev Shiva. The three sounds also symbolize the three Vedas (Rigveda, Samaveda, Yajurveda). Ajna Eyebrow centre. OM represents the music of existence, the soundless sound, the sound of silence. OM represents the inner most music of our being, the inner harmony, the inner humming sound which happens when our body, mind, soul are in deep totality, when the visible and the invisible, the un-manifest and the manifest, the relative and absolute, the outer and inner are in deep togetherness. 

<H3>Extensions of Oom</H3>
Basic beej mantra Oom is further expanded to aeng (aim) hreem, sreem, kreem, kleem, dum, gam, glaum, lam, yam, aam or um or ram.
<OL>
<LI>Hreem is the earliest bheej mantra and belongs to bhuvaneshwari. androgynous sound for clarity and seeing through the illusions of reality
<LI>Sreem is for Sri or Lakshmi (feminine sound for abundance. sa (lakshmi, pure and auspicious) , ra (agni), ee (maya)  and m (anuswara)
<LI>Kreem feminine sound of creation and destruction, Kali bheeja.
<LI>Kleem androgynous sound for attraction, Kamaraja or Manmatha bheeja.
<LI>Kling from Klim produces for Vairagya and thought-force (Beeja Akshara of Lord Krishna krish)
<LI>Aim is for Saraswathi. 
<LI>eIm: feminine, sound for success in spiritual, artistic and scientific endeavors, music and education
<LI>Dhom - feminine, sound for protection Durga
<LI>Hleem - Bagalamukhi
<LI>Dhoom - Dhoomavathi
<LI>Treem for Tara Mahavidya
<LI>Gam - masculine sound to remove obstacles and bring success in endeavors, Ganapathi or vinayak
<LI>Glaum masculine sound to remove obstacles between throat and base of spine
<LI>Hroum - Shiva
<LI>Howm - masculine sound for transcendental consciousness, Shiva
<LI>Dam - Vishnu
<LI>Fraum - Hanuman
<LI>Bhram - Bhairav murhty
<LI>Kshraum - masculine to rid stubborn evil situations and release energies, Nrisimha or Narasimha
<LI>sum som am bum gum shum sham ram kem (navagraha)
<LI>Dhham - Kuber
<LI>Nim for Guru
<LI>Ham - Akash, Vishudhi Throat
<LI>Ram - Agni, Manipura Navel centre
<LI>LAM, Anahata (Heart)
<LI>Yam - Vayu, Anahata
<LI>VAM, or fvam Base of the spine
<LI>SHAM or shum, Third Eye.
<LI>Ksham - Prithvi
<LI>OM (Crown)
<LI>Tam - Shanthi or peace
</OL>

<H3>Chants with beeja</H3>
<OL>
<LI>Om Namah Shivaya (Panch Akshari)
<LI>Om Namah Narayanaya (Asht Akshari)
<LI>Om Namo Bhagavate Vasudevaya
<LI>Om sri rama jaya
<LI>Om Kling Krishnaya Namaha
<LI>Om Kring Kalikaya Namaha
<LI>Om Hroom Adyitaya Namaha
<LI>Om Gam Ganapataye Namaha
<LI>Om Hoom Hanumate Rudratamakaye hoom phut Namaha
<LI>Om Aim Kleeng Saum Saraswatiya Namaha
<LI>Om Hareem Parambraham Parmaatmane Hari Harbrahyendraya Dattatroyaye Namaha - 
</OL>

<H3>Mantras மந்திரங்கள்</H3>
மந்திரங்கள் ஏழ கோடி உள்ளது என்று நூல்கள் கூறுகின்றன. <BR>
Ending with: 1.(நம) 2.(சுவாதா) 3.(சுவாகா) 4.(வௌஷட்) 5.(ஹூம்) 6.(வஷட்) 7.(பட்) 
(1)மூல மந்திரம் (2)பீஜா மந்திரம் (விதை மந்திரம்)(3)பஞ்ச மந்திரம் (4)சடங்க மந்திரம் (5)சம்ஹிதா மந்திரம் (6)காயத்ரி மந்திரம் (7)அஜபா மந்திரம் (8)பிராணப் பிரதிஷ்டா மந்திரம் (9)அஷ்டகர்ம மந்திரம் (10)பஞ்ச கிருஷ்திய மந்திரம் (11)ஏகாட்சர மந்திரம் (12)திரியட்சரி மந்திரம் (13)பஞ்சாட்சர மந்திரம் (14)சடாட்சர மந்திரம் (15)அட்டாட்சர மந்திரம் (16)நவாட்சரி மந்திரம் (17)பஞ்சதசாட்சரி மந்திரம் (18)பிரசாத மந்திரம் (19)நியாச மந்திரம் (20)கவச மந்திரம் (21)உபதேச மந்திரம் (22)தனித்தனித் தெய்வ மந்திரம் (23) அதிதேவதை மந்திரம்.


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Stotra comes from the word Sthuthi and Sthuthi means praise.Some stotras are also called as Sthavas. Stotra could be broadly translated as  “Praise of God”.  Stotras can be broadly classified  according the  time period as those  originating during period of Vedas, period of the Puranas   and post Purana  stotras or according to the style in which they are written.
A.Stotra literature  over time.
1.Stotras of the Vedic period
The foremost among the Vedic Stotras  is Rudram and chamakam   addressed to Lord Shiva, Narayana as well as Purusha Suktham addressed to Lord Vishnu    and Sri Suktham, Durga Suktham, Lakshmi Suktham etc    addressed to the Goddess. There are many other great Sukthams like Bhagya suktham , Ikamathya Suktham , Bhoo Suktham, Medha Suktham etc. The Ganesa Atharva Sira  Upanishad  , which is from Atharva Veda  is again a prayer addressed to Lord Ganesa.  Many of these are not praise of God as such but description  of several aspect of the God including its philosophy.   These Sukthas were used mostly   for performing Yagas  and even today , though in  some places  they are chanted  mostly they are   used in fire  sacrifices.
Stotras  of the Puranic period.
It was the advent of Puranas   that we started praying of worship of Individual Gods.  Some of the greatest  Hindu Stotras  originated     at this time, The most famous are  the Adithya Hrudayam  which is a part of Valmiki Ramayanam , Vishnu Sahasranamam which is a part of  Maha Bharatham, Lalitha Sahasranamam and Lalitha Trishathi   which are both  part of the Markandeys puranam , The Devi Mahatmyam which is again a part of  Markandeya puranam, the Gopika Gita , a part of Maha Bhagawatham  and very many other  Sahasranamams   and stotras which are  part of several Puranas.  The prayers called Kavachams (Armours to protect ourselves)    again originated  during  this period.
Post Puranic Stotras
Possibly after  all the Puranas  were written, a vast outpouring  of  composition of prayers  by very many poets    took place  . Many Prayers  which originate   in the earliest period     are not available. The stotra as a vehicle  of prayers was greatly popularized  by  Adhi Sankara    and his  disciples.  We find Sankara ‘s prayers addressed to all most  all gods. Apart from prayers eulogizing Gods , he also wrote several  very philosophical  prayers. Soundarya Lahiri    and Shivananda Lahari   are possibly the greatest stotras written by him. He also wrote several prayers  using the Bhujanga meter. His disciples continued this trend. Almost in the same  period , the Nayanmars  of Tamil Nadu  who were Saivite saints  contributed largely   to the Saivite Stotra literature . There was also a great upsurge of Tamil prayers  written by  various great saints praising Lord Subramanya /Muruga.
Saint Ramanuja   did not write many stotras b ut the Gadhya thrayam   which are prose prayers  are really great prayers.  His disciple Vedant Desika  has  written very large number   of very  excellent   prayers.  The outpouring of stotras  mainly in tamil  were written by   the Azhvars who were all Vaishnavite saints. Saint MadhWa   and his followers   and the Hari Dasas of Karnataka   also wrote many prayers .
The Thulasi Das, Kabir Das, Sur Das ,  and many such great ones  contributed to the Hindi prayers. Poet Jayadeva  wrote his Gita Govindam   in Sanskrit and a  very large  number of prayers were written by   the  great Krishna   and Durga devotees  of Bengal. There was also a great Bhakthi movement in Maharashtra   and the stotras of this genre   are called Abhangs.
The Stotra literature   is not growing   well in the modern times except for rare  compositions.
B.Stotra literature  by type.
I have already mentioned that   all the Sukthams belong to the Vedic period. There are very many type of Stotras     written after  the Vedic period.
1.Sahasranamams
These are   the  listing of thousand names   of each God. If you go through them critically    you may not find     that all these   thousand names are different and we find that several names are repeated. The most famous of the Sahasranamams  are the Vishnu sahasranamam    and the Lalitha Sahasranamam. Shiva Sahasranamam and Lakshmi Sahasranams are  also relatively popular.Saharanamams are available for most of the incarnations of Lord Vishnu and all other Gods   and Goddesses. Trisathi giving 300 names, ashtotharams giving 108 names, Satha Nama stotrams giving one hundred names , Shodasa nama stotram giving sixteen names  and  Dwadasa nama storams(12 names)  also belong to this category  of stotras.
2.Ashtakams
These are possibly the most popular form of Hindu stotras.  These normally contain eight verses  praising the God or Goddess. Most of them are  very simple and easy to understand. There is a phala Sruthi attached to every ashtakam   giving the possible effect of chanting that   particular prayer.
3.Kavachams
These are another very popular form of prayers    addressed to Gods as well as planets . Essentially they request God to protect different parts of our body as well as mind. It also requests God to protect us in different circumstances. Narayana Kavacham is one of the most famous in this category.
4.Dasakam
These are similar to ashtakam but with ten Stanzas.
5.Panchakam
These are prayers with five stanzas.
5.Shatkam
These are again  similar to ashtakam but   with six stanzas
6.Spathakam
These are prayers with  seven stanzas.
7.Pancha Dasi
These are longer prayers with fifty stanzas
8.Pancha sathi
These are still longer poems with five hundred  stanzas.
9.Sthava Raja
These are supposed to  be  the king of prayers addressed to a particular God. Though they are not available for all Gods, many of them are available.
10.Bhujanga Stotram
These  as well as Bhujanga prayatha stotrams are  supposed to move like a snake. Adhi Sankara is credited with composing many such Bhujangams. His “Subramanya Bhujangam”  is very famous
11.Dandakam
These are stotras where there is no restriction on the length of a line of a stanza. Some of the Dandakams  are very long prayers with just one line. Shyamala Dandakam of poet Kalidasa  is the greatest in this category.
12.Karavalamba Stotram
These prayers are addressed to the God requesting him    to extend his hand in support to us. The Lakshmi Narasimha Karavalamba stotram  of Adhi Sankara is possibly the most famous.
13.Suprabathams
These are prayers addressed to the lord to wake him up. The oldest among this type of stotras are the thirupalliyezhuchi  in Tamil   and the most famous is the  Venkateswara Suprabatham.
14. Lahari
Lahari means waves. In this form of prayer  the stanzas follow each other like waves. Soundarya Lahari of Adhi Sankara  is possibly the most famous.
15.Pasuram
These are tamil prayers written by the great Vaishnavite  saints of Tamil Nadu called  the Azhvars.
16.THiruvachakam
These are again Tamil prayers written by Nayanmars , the Tamil saints  eulogizing  Lord Shiva.
17. Aarthi
These are Hindi prayers   praising a particular God. These are available addressed to  almost all Gods.
18.Chalisa
These are again Hindi prayers  but have forty stanzas  each. The most famous is Hanuman Chalisa composed by saint Thulasidas.
19. Gadhyams
Gadhyam means prose . Some of the Vaishnavite saints    wrote prayers in prose  and the most famous is the Gadhya Thrayam written by Saint  Ramanuja
20.,Abhangs
These are prayers written in Marathi by those  great devotees of Pandharpur,
20. Mangalams
Mangalam means auspiciousness and thse are prayers which are sung at the end of chanting of prayer sessions as   the last prayer.
மகா கணபதி தியானம் 
ஓங் கணபதி வருக ஓங்கார கணபதி வருக 
றீங் கணபதி வருக றீங்கார கணபதி வருக 
ஸ்ரீங் கணபதி வருக ஸ்ரீங்கார கணபதி வருக 
கங் கணபதி வருக நான் நினைத்த காரியங்கள் 
வசி -வசி -வயநம சிவாயநம -ஒம்-றீயும்
ஸ்ரீயும் -அவ்வும் சவ்வம் -கங் கனாய கனாய வருக சுவாஹா 

2) தெஷிணாமூர்த்தி தியானம் 
ஓம் நமசிவய சிவ சிவ சரணம் சிவானந்தம் 
சிவ சிவ சிவாய ஆக்ருஷ்ய 
( குறிப்பு: எந்த மந்திரம் சொல்லும் முன்பு மேற்கண்ட மந்திரத்தை தெட்சணாமூர்த்தி சன்னதியில் இருந்து 21 முறை சொல்லிவிட்டு பிறகு மந்திரங்கள் உச்சரித்தால் மந்திரம் சீக்கிரம் பலன் தரும்.)

3) சகல மந்திரங்களின் சாப நிவர்த்தி  
ஓம் அங் உங் சிங் க்லீம் ஹபீம் அவவும் சல மந்திரங்களின் சாபம் நாசி மாசி சுவாகா .

4) பிராண பிரதிஷ்டை மந்திரம் 
ஆம் ஹ்ரீம் க்ரோம் யரல வஷக்ஷனி ஹோம் ஹம்ச ஷெஷம் சோகம் அம்ச அஸ்ய (தேவதை பெயர்)பிராணா இகிப்ராணா ஜீவ இஹஸ்திதா   அஸ்யஸர் வேந்திரியாணி வாங்க்மன த்வச் சஹீஷ் சோதர தான சமான இகைவ .ஆக்த்ய அஸ்மின் பிம்பே யந்திரே (தேவதையின் பெயர்)ஸூகம் சிரம் திஷ்டந்து சுவாஹா .(தேவதையின் பெயர்)பிராணன் பிரதிஷ்டையாமி .

5) சகல யந்திரங்களுக்கும் அர்ச்சனை மந்திரம் 
1) ஓம் பிராணயா பிராண ரூபாய பிராண லிங்காய பிரதிஷ்ட்டாய ஸ்வாகா ,
2) ஓம் ஜீவாயா ஜீவா ரூபாயா ஜீவ லிங்காயா ஜீவ பிரதிஷ்ட்டாய ஸ்வாகா 
3) ஓம் மந்திராயா மந்திர ரூபாயா மந்திர லிங்காயா ம், மந்திர பிரதிஷ்ட்டாய ஸ்வாகா ,
4) ஓம் தந்திராயா தந்திர ரூபாயா தந்திர லிங்கயாதந்திர பிரதிஷ்ட்டாய ஸ்வாகா ,
5) ஓம் பிரம்மாயா பிரம்மா ரூபாயா பிரம்மா லிங்காயா பிரம்மா பிரதிஷ்ட்டாய ஸ்வாகா ,

6) மந்திர காயத்ரி .
மந்திர ராஜாய வித்மஹே மஹா மந்திராய தீமகி தன்னோ மந்திர பிரசோதயாத் 

7) யந்திர காயத்ரி 
யந்திர ராஜாய வித்மஹே மஹா யந்திராய தீமகி தன்னோ யந்திர பிரசோதயாத் .

8) சகல  கருக்கலுக்கும் சக்தி அளிக்கும் மந்திரம் 
நங் லங் மங் லங் சிங் லங் வங் லங் யங் லங் லம் லங் ஓம் ஆம் லா லீ லு உம் படு ஸ்வாஹா ரெட்டு கட்டு கட்டவிழ்க்கவும் .

9) பூஜிக்கும் தேவதைகளுக்கு பந்தந் நிவர்த்தி 
ஐம் ஹ்ரீம் பகளாமுகி பூஜ்யமான சகல தேவதா மம சத்ரு பிரேரித தேவதாக்கு பந்தாத் முக்த பந்தா குரு குரு ஸ்வாஹா வங் சிங் உச்சாடாய உச்சாடாய .

10)  சகல தேவதா வசிய மந்திரம் 
மீறியும் கிரியும் சிரியும் வசி வசி
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