Sant Tukaram Abhangs
संत तुकाराम महाराजांचे प्रसिद्ध अभंग
What are the most famous Tukaram abhangs?
Tukaram Abhang Among Sant Tukaram's most loved abhangs are Vrukshavalli Amha Soyari Vanachare, Je Ka Ranjale Ganjale and Sundar Te Dhyan Ubhe Vitevari, still sung in kirtans and during the Pandharpur wari.
Sant Tukaram, also called Tukoba or Tukaram Maharaj, was a seventeenth century Marathi poet-saint from Dehu, near Pune, and one of the central figures of the Varkari bhakti tradition devoted to Vitthal of Pandharpur. He composed thousands of abhangs, short devotional verses in everyday Marathi, carrying his teachings on equality, simple living and direct personal devotion far beyond the boundaries of caste and formal ritual. The six abhangs collected on this page are among his most widely sung and quoted, chosen for how often they appear in kirtans, school textbooks and the wari itself, not as a complete record of his output. Each text below has been checked against multiple published Marathi sources and presents the commonly sung core stanzas rather than the full length of every original composition.
Famous Tukaram Abhang Lyrics
Each card below gives the commonly sung core stanzas of that abhang, verified against 2 or more published Marathi sources, not the complete original text of every composition (the full Gatha text of some abhangs runs longer). Devanagari and Roman transliteration are shown line by line, with an English explanation of the meaning.
Vruksha valli amha soyari vanachare
Pakshihi susware alaviti
Yene sukhe ruche ekantacha vas
Nahi gun dosh anga yet
Akash mandap prithvi asan
Rame tethe man kreeda kari
Tuka mhane hoy manasi samvad
Apulachi vad apanansi
वृक्षवल्ली आम्हां सोयरीं वनचरें
पक्षीही सुस्वरें आळविती
येणें सुखें रुचे एकांताचा वास
नाही गुण दोष अंगा येत
आकाश मंडप पृथ्वी आसन
रमे तेथें मन क्रीडा करी
तुका म्हणे होय मनासी संवाद
आपुला चि वाद आपणांसी
Meaning
Tukaram declares the trees and wild creatures of the forest his true kinsmen, the birds' song his companionship. Solitude in nature suits him well, free from the praise and blame that follow him in society. The sky becomes his canopy, the earth his seat, and his mind plays freely there. He closes by saying this is really his own mind conversing with itself, a quiet inner dialogue rather than an argument with anyone else.
Anandache dohi anand tarang
Anandachi anga anandache
Kay sango jhale kahichiyabahi
Pudhe chali nahi avadine
Garbhache avadi matecha dohala
Tethincha jivhala tethe bimbe
Tuka mhane taisa otlase thasa
Anubhav sarisa mukha ala
आनंदाचे डोहीं आनंद तरंग
आनंदचि अंग आनंदाचें
काय सांगों झालें कांहीचियाबाही
पुढें चाली नाहीं आवडीनें
गर्भाचे आवडी मातेचा डोहळा
तेथींचा जिव्हाळा तेथें बिंबे
तुका म्हणे तैसा ओतलासे ठसा
अनुभव सरिसा मुखा आला
Meaning
In the ocean of bliss, wave after wave of joy rises, and even the body of that joy is made of joy alone, Tukaram says. Words fail him here, since the desire to say more has simply stopped moving forward. He compares the state to a mother's pregnancy craving, a longing so intimate that its imprint shows on her very face. In the same way, he says, his inner experience has been poured into him so completely that it now shows plainly on his own face and speech.
Je ka ranjale ganjale
Tyasi mhane jo apule
Tochi sadhu olkhava
Dev tethechi janava
Mrudu sabahya navneet
Taise sajjanache chitta
Tuka mhane sangu kiti
Tochi bhagwantachi murti
जे का रंजले गांजले
त्यासि म्हणे जो आपुले
तोचि साधु ओळखावा
देव तेथेंचि जाणावा
मृदु सबाह्य नवनीत
तैसें सज्जनाचें चित्त
तुका म्हणे सांगूं किती
तोचि भगवंताची मूर्ती
Meaning
Whoever calls the suffering and the troubled their own should be recognized as a true saint, Tukaram says, for God himself dwells in such a person. The heart of a good soul is soft as fresh butter, inside and out, unlike the hardness the world often shows on the surface. Tukaram closes by saying there is little more to add: such a soul is nothing less than a living image of God.
Sundar te dhyan ubhe vitevari
Kar katavari thevuniya
Tulasi haar gala kase pitambar
Avade nirantar hechi dhyan
Makarkundale talpati shravani
Kanthi kaustubhamani virajit
Tuka mhane majhe hechi sarva sukh
Pahin shrimukh avadine
सुंदर तें ध्यान उभें विटेवरी
कर कटावरी ठेवूनियां
तुळसी हार गळां कासे पीतांबर
आवडे निरंतर हेंचि ध्यान
मकरकुंडलें तळपती श्रवणीं
कंठीं कौस्तुभमणी विराजित
तुका म्हणे माझें हेंचि सर्व सुख
पाहीन श्रीमुख आवडीनें
Meaning
Tukaram paints Vitthal's form as he pictures it at Pandharpur: a beautiful figure standing on the brick, hands resting easily at the waist. A garland of tulsi leaves circles his neck, a yellow silk cloth wrapped at the hip, an image Tukaram says he never tires of holding in his mind. Fish-shaped earrings gleam at the ears and the radiant Kaustubh gem shines at the throat. He declares that this vision alone is his complete happiness, and that he wishes only to keep gazing at that beloved face.
Bolava Vitthal pahava Vitthal
Karava Vitthal jivbhav
Yene sose man jale havbhari
Parati maghari ghet nahi
Bandhanapasuni ukalali ganthi
Deta aali mithi savkash
Tuka mhane deha bharila Vitthale
Kamkrodhe kele ghar rite
बोलावा विठ्ठल पहावा विठ्ठल
करावा विठ्ठल जीवभाव
येणें सोसें मन जालें हांवभरी
परती माघारी घेत नाहीं
बंधनापासूनि उकलली गांठी
देतां आली मिठी सावकाश
तुका म्हणे देह भारिला विठ्ठलें
कामक्रोधें केलें घर रितें
Meaning
Speak Vitthal's name, behold Vitthal, and let Vitthal himself become the very life within you, Tukaram urges. Such a longing has taken hold of his mind that it no longer wishes to turn back toward worldly life. The knot of bondage has come loose on its own, letting him embrace God unhurriedly, without struggle. Tukaram says his whole being is now filled with Vitthal, so completely that anger and desire have simply emptied out of the house of his heart.
Aamhi jato apulya gava
Aamcha Ram Ram ghyava
Tumchi aamchi hechi bheti
Yethuniya janmatuti
Aata aso dyavi daya
Tumchya lagatse paya
Yeta nijdhami koni
Vitthal Vitthal bola vani
Ramkrishna mukhi bola
Tuka jato Vaikunthala
आम्ही जातो आपुल्या गावा
आमचा राम राम घ्यावा
तुमची आमची हे चि भेटी
येथूनियां जन्मतुटी
आतां असों द्यावी दया
तुमच्या लागतसें पायां
येतां निजधामीं कोणी
विठ्ठल विठ्ठल बोला वाणी
रामकृष्ण मुखीं बोला
तुका जातो वैकुंठाला
Meaning
In this farewell abhang Tukaram tells his people that he is now departing for his own true home, asking only that they accept this final greeting. This meeting between them, he says, has reached the point where earthly ties must end, and he asks for their continued kindness one last time. He leaves them a parting instruction too: whenever anyone's own time comes to return to the eternal abode, let the tongue keep saying Vitthal, Vitthal, and speak the names of Ram and Krishna, for Tuka himself, he says, is now going to Vaikuntha. Tradition links this abhang to Tukaram's own departure from Dehu, an event held as an article of Varkari faith rather than documented history.
Tukaram's Message & the Varkari Tradition
Tukaram belonged to the Varkari sampraday, a bhakti movement centered on Vitthal (Vithoba), the form of Krishna enshrined at Pandharpur, built on the earlier teachings of Dnyaneshwar, Namdev, Eknath and other Marathi sants. Varkaris walk together twice a year, at Ashadhi and Kartiki Ekadashi, in the Pandharpur wari, singing abhangs the entire way as an act of shared devotion rather than solitary worship.
What set Tukaram apart, even among the sants, was how directly his abhangs spoke against caste hierarchy and empty ritual. Born into a Kunbi trading family with no formal training in Sanskrit scholarship, he wrote in the Marathi people actually spoke, insisting that sincerity of heart mattered more than birth, learning or wealth, and that God was as reachable to the poor and the low-born as to the priest.
Poverty, family loss and business failure marked much of his early life, and abhangs like Je Ka Ranjale Ganjale grew directly out of that experience, describing the truest saints as those who make the suffering their own. Tradition holds that Tukaram departed this world bodily to Vaikuntha on Falgun Vadya Dwitiya, an event still marked every year as Tukaram Beej. This remains an article of Varkari faith rather than a historically verified event, and is presented here as tradition, not fact.
How Are Abhangs Sung?
- – A kirtankar or lead singer opens the abhang's first line, usually to a simple tune on harmonium or ektari.
- – The refrain (dhrupad) line is repeated by the group until the tune settles before the verses continue.
- – Verses follow one by one, with taal (cymbals) and mridang or pakhawaj marking the rhythm.
- – The tempo often quickens toward the closing tuka mhane line, bringing the abhang to a close.
- – During the wari, thousands of pilgrims walking in dindis sing these abhangs together with veena, taal and mridang.
- – At home, abhangs are just as often sung softly without instruments, keeping time with hand claps alone.
Why People Sing Tukaram's Abhangs
Varkaris and other devotees turn to these abhangs for reasons that go beyond ritual, describing effects such as:
- : A sense of calm and steadiness that comes from repeating simple, familiar Marathi verse
- : A feeling of closeness to Vitthal, built through personal, everyday language rather than formal Sanskrit ritual
- : Comfort in hardship, especially from abhangs like Je Ka Ranjale Ganjale that speak directly to suffering
- : A shared sense of community with fellow Varkaris during the wari and in local kirtan gatherings
- : Encouragement toward simple living and honesty, core themes across Tukaram's poetry
- : A living connection to Maharashtra's bhakti heritage passed down through home and school for generations
Who Was Sant Tukaram?
Tukaram was born around 1608 in Dehu, a small town on the Indrayani river near Pune, into a Kunbi family that ran a grocery and moneylending business and also farmed land. Famine, the death of his first wife and eldest son, and the collapse of the family business left him in deep personal crisis as a young man, a period he later described openly in his abhangs rather than hiding it behind formal piety.
Out of that crisis he turned fully to devotion to Vitthal, and, by his own account and later Varkari tradition, received spiritual initiation in a dream from an earlier teacher named Babaji Chaitanya. He went on to compose thousands of abhangs in spoken Marathi, openly criticizing caste privilege and empty ritual, which drew devoted followers as well as hostility from some orthodox Brahmin scholars of his time. Varkari accounts also remember him for exchanges with the Maratha ruler Chhatrapati Shivaji Maharaj, who is said to have respected him deeply.
Varkari tradition holds that Tukaram departed the world bodily, ascending to Vaikuntha from Dehu on Falgun Vadya Dwitiya in 1650, an event still commemorated annually as Tukaram Beej. As with other sant legends, this is a matter of devotional belief rather than documented history.
Frequently Asked Questions
How many abhangs did Tukaram write?
Tradition attributes roughly 4,500 abhangs to Tukaram in the compiled Tukaram Gatha, though the exact number varies slightly between manuscript editions, and scholars note that not every verse in every printed collection can be verified as his.
What does abhang mean?
An abhang is a short devotional verse form in Marathi bhakti poetry, built on a simple, singable meter, meant to be recited or sung rather than merely read.
Who is Vitthal, the deity in Tukaram's abhangs?
Vitthal, also called Vithoba or Panduranga, is worshipped as a form of Krishna and is enshrined at the Vitthal Rukmini temple in Pandharpur, Maharashtra, the central deity of the Varkari tradition.
What is the Tukaram Gatha?
The Tukaram Gatha is the compiled collection of Tukaram's abhangs, gathered and printed from various manuscript sources after his lifetime. Several different editions exist with some variation in numbering and included verses.
Are the lyrics on this page the complete abhangs?
No. Each entry presents the commonly sung core stanzas of that abhang rather than every verse of the original composition. This page is a curated selection, not a full transcription of the Gatha.
Where can I hear these abhangs sung?
They are sung during the Pandharpur wari, in daily kirtans and bhajans at temples across Maharashtra, and by many classical and devotional singers in recorded performances.
What language are Tukaram's abhangs written in?
They are written in Marathi, specifically the spoken Marathi of seventeenth century Maharashtra rather than Sanskrit, which was part of what made them accessible to ordinary people.
॥ जय जय राम कृष्ण हरी ॥
