Saraswati Ashtottara Shatanama Stotram
श्री सरस्वत्यष्टोत्तरशतनामस्तोत्रम्
What is the Saraswati Ashtottara Shatanama Stotram?
Saraswati Ashtottara Stotram It is a 15-shloka Sanskrit hymn that strings together 108 names of Goddess Saraswati, deity of speech, learning and the arts. Traditionally linked to the Skanda Purana, it is chanted for a clear mind, success in study and creative work, and blessings before exams or a new course of learning.
The Saraswati Ashtottara Shatanama Stotram is a garland of 108 names offered to Saraswati, goddess of speech, wisdom and the arts. Composed in fifteen anushtubh shlokas, it moves through her gentle, lotus-seated forms as the giver of knowledge, borrows a few fierce names from the Devi Mahatmya, and closes with a verse that names her as one with Brahma, Vishnu and Shiva. Students, musicians, writers, and anyone starting a new stretch of learning chant it for a steady, focused mind.
Saraswati Ashtottara Shatanama Stotram Lyrics in Sanskrit and English
The transliteration below uses plain Roman letters with no diacritical marks, so it can be read aloud without prior Sanskrit training. Each shloka is given in Devanagari first, then in transliteration, followed by a short note on the names it contains.
Sarasvati mahabhadra mahamaya varaprada
Shriprada padmanilaya padmakshi padmavaktraka
सरस्वती महाभद्रा महामाया वरप्रदा ।
श्रीप्रदा पद्मनिलया पद्माक्षी पद्मवक्त्रका ॥
Meaning
This opening verse calls her by her own name, Sarasvati, then adds Mahabhadra and Mahamaya, the greatly auspicious one who also holds the power of cosmic illusion. Varaprada and Shriprada mark her as a giver of both blessings and prosperity, while Padmanilaya, Padmakshi and Padmavaktraka picture her seated on a lotus with lotus eyes and a lotus face.
Shivanuja pustakabhrit jnanamudra rama para
Kamarupa mahavidya mahapatakanashini
शिवानुजा पुस्तकभृत् ज्ञानमुद्रा रमा परा ।
कामरूपा महाविद्या महापातकनाशिनी ॥
Meaning
Here she carries the book of knowledge, Pustakabhrit, and forms the wisdom gesture Jnanamudra with her hand. Kamarupa and Mahavidya present her as the source of learning in whatever form a seeker needs, and Mahapatakanashini calls her the remover of even grave wrongs.
Mahashraya malini cha mahabhoga mahabhuja
Mahabhaga mahotsaha divyanga suravandita
महाश्रया मालिनी च महाभोगा महाभुजा ।
महाभागा महोत्साहा दिव्याङ्गा सुरवन्दिता ॥
Meaning
This verse builds a picture of scale and strength: she is Mahashraya, the great refuge, and Mahabhuja, mighty-armed. Mahotsaha names her as full of divine energy, and Suravandita closes the verse by noting that even the gods bow to her.
Mahakali mahapasha mahakara mahankusha
Pita cha vimala vishva vidyunmala cha vaishnavi
महाकाली महापाशा महाकारा महाङ्कुशा ।
पीता च विमला विश्वा विद्युन्माला च वैष्णवी ॥
Meaning
These names link her to the fierce, weapon-bearing forms of the Goddess, carrying the noose and the goad, while Vimala and Vishva describe her as pure and all-pervading. Vidyunmala pictures her wearing a garland that flashes like lightning.
Chandrika chandravadana chandralekhavibhushita
Savitri surasa devi divyalankarabhushita
चन्द्रिका चन्द्रवदना चन्द्रलेखाविभूषिता ।
सावित्री सुरसा देवी दिव्यालङ्कारभूषिता ॥
Meaning
The moon appears three times in this verse, as her light, her face, and the crescent in her hair, giving her a cool, radiant presence. Savitri and Divyalankarabhushita add that she shares a name with the sun-goddess and wears ornaments of divine make.
Vagdevi vasudha tivra mahabhadra mahabala
Bhogada bharati bhama govinda gomati shiva
वाग्देवी वसुधा तीव्रा महाभद्रा महाबला ।
भोगदा भारती भामा गोविन्दा गोमती शिवा ॥
Meaning
Vagdevi, goddess of speech, opens this verse and sets its theme of language, strength and grace held together. Bharati and Gomati are older names for her as the flowing current of speech, and the verse ends by calling her simply Shiva, the auspicious one.
Jatila vindhyavasa cha vindhyachalavirajita
Chandika vaishnavi brahmi brahmajnanaikasadhana
जटिला विन्ध्यवासा च विन्ध्याचलविराजिता ।
चण्डिका वैष्णवी ब्राह्मी ब्रह्मज्ञानैकसाधना ॥
Meaning
This verse places her among the Vindhya hills as an ascetic figure, Jatila, and links her to Chandika, Vaishnavi and Brahmi, three forms of the Goddess tied to power and creation. The closing name, Brahmajnanaikasadhana, calls her the one true path to knowledge of the Absolute.
Saudamini sudhamurtih subhadra surapujita
Suvasini sunasa cha vinidra padmalochana
सौदामिनी सुधामूर्तिस्सुभद्रा सुरपूजिता ।
सुवासिनी सुनासा च विनिद्रा पद्मलोचना ॥
Meaning
Saudamini and Sudhamurti set up a contrast between her sudden brilliance, like lightning, and her gentle, nectar-like form. Vinidra names her as ever wakeful, alert beyond the sleep of ignorance, and Padmalochana returns to the lotus-eyed image from the opening verse.
Vidyarupa vishalakshi brahmajaya mahaphala
Trayimurtih trikalajna triguna shastrarupini
विद्यारूपा विशालाक्षी ब्रह्मजाया महाफला ।
त्रयीमूर्तिः त्रिकालज्ञा त्रिगुणा शास्त्ररूपिणी ॥
Meaning
Vidyarupa states plainly that she is knowledge itself, and the verse widens that claim from there. Trayimurti makes her the living form of the three Vedas, Trikalajna gives her sight across past, present and future, and Shastrarupini turns every scripture into an expression of her.
Shumbhasurapramathini shubhada cha svaratmika
Raktabijanihantri cha chamunda chambika tatha
शुम्भासुरप्रमथिनी शुभदा च स्वरात्मिका ।
रक्तबीजनिहंत्री च चामुण्डा चाम्बिका तथा ॥
Meaning
This verse turns to her warrior aspect, recalling her role in overcoming the demons Shumbha and Raktabija in the older Devi Mahatmya stories. Svaratmika keeps the verse tied to her gentler identity too, naming her as the very essence of sound.
Mundakayapraharana dhumralochanamardana
Sarvadevastuta saumya surasuranamaskrita
मुण्डकायप्रहरणा धूम्रलोचनमर्दना ।
सर्वदेवस्तुता सौम्या सुरासुरनमस्कृता ॥
Meaning
The battle theme continues with her victories over Munda and Dhumralochana, two more demons from the same cycle of stories. The verse then softens, calling her Saumya, gentle, and noting that both gods and demons offer her respect.
Kalaratri kaladhara rupasaubhagyadayini
Vagdevi cha vararoha varahi varijasana
कालरात्री कलाधारा रूपसौभाग्यदायिनी ।
वाग्देवी च वरारोहा वाराही वारिजासना ॥
Meaning
Kalaratri and Kaladhara connect her to time itself, both its passing and its dissolution, while Rupasaubhagyadayini names her as the source of beauty and good fortune for those who worship her. The verse closes by returning to her lotus seat, Varijasana.
Chitrambara chitragandha chitramalyavibhushita
Kanta kamaprada vandya vidyadharasupujita
चित्राम्बरा चित्रगन्धा चित्रमाल्यविभूषिता ।
कान्ता कामप्रदा वन्द्या विद्याधरसुपूजिता ॥
Meaning
This verse dwells on her appearance, her bright clothing, fragrance and garlands, before turning to what she offers a devotee. Kamaprada names her as one who fulfills wishes, and Vidyadharasupujita notes that even celestial beings skilled in the arts hold her in reverence.
Shvetanana nilabhuja chaturvargaphalaprada
Chaturananasamrajya raktamadya niranjana
श्वेतानना नीलभुजा चतुर्वर्गफलप्रदा ।
चतुराननसाम्राज्या रक्तमद्या निरञ्जना ॥
Meaning
Chaturvargaphalaprada is the heart of this verse: she grants the four classical aims of life, dharma, artha, kama and moksha, to those who seek her. Chaturananasamrajya links her to Brahma's realm as its sovereign, and Niranjana closes the verse by calling her spotless and pure.
Hamsasana nilajangha brahmavishnushivatmika
Evam sarasvatidevya namnamashtottaram shatam
हंसासना नीलजङ्घा ब्रह्मविष्णुशिवात्मिका ।
एवं सरस्वतीदेव्या नाम्नामष्टोत्तरं शतम् ॥
Meaning
The final verse pictures her seated on her swan and names her as the shared essence of Brahma, Vishnu and Shiva, the three forces behind creation, preservation and dissolution. It then closes the hymn formally, stating that these are the 108 names of the goddess Sarasvati.
What the 108 Names of Saraswati Mean
The 108 names in this stotram move across several layers of Saraswati’s character rather than repeating one idea in different words. A large group of names, Vagdevi, Bharati, Vidyarupa, Shastrarupini, ties her directly to speech, learning and scripture. She is presented as the source that both language and study come from.
A second group leans on gentler imagery: the lotus seat, the moon-like face, the swan she rides. These names describe how she is pictured in temple and household worship, calm and luminous rather than fierce.
A third, smaller group, Mahakali, Chamunda, Shumbhasurapramathini, borrows names from the warrior goddess of the Devi Mahatmya. This reflects an idea found across many Devi stotras: that Saraswati, Lakshmi and Durga are read as aspects of one Shakti, so a hymn to one can carry names associated with the others.
The stotram closes by folding all of this into a single line, Brahmavishnushivatmika, naming her as the shared ground behind the three major gods of creation, preservation and dissolution.
How and When to Chant the Saraswati Ashtottara Stotram
- – Wash your hands and face, or bathe if convenient, and sit facing east or north in a quiet spot.
- – Place a picture or idol of Saraswati, or simply a book and a pen, in front of you, along with a white or yellow flower.
- – Light a lamp or a stick of incense and take a moment to steady your breath before beginning.
- – Recite the fifteen shlokas slowly, either from the text or from memory, keeping a natural pace rather than rushing through the names.
- – Students short on time can chant just the opening verse, Sarasvati mahabhadra mahamaya varaprada, a few times before a study session or an exam.
- – Close with the final verse and a personal request in your own words, then touch the book or instrument you study with as a mark of respect.
- – End with a few rounds of Om Aim Saraswatyai Namah if you know it, though this is optional and not part of the original stotram text.
Benefits of Chanting the Saraswati Ashtottara Stotram
Traditional practice, not a medical claim, credits regular reciters with these effects:
- : A calmer, more focused mind before study, exams, or any task that needs sustained concentration.
- : Support for clear speech and writing, useful for students, teachers, writers and public speakers.
- : A sense of steadiness before starting a new subject, instrument, or creative project.
- : A daily discipline that many families use to mark the start of a child's or a student's day.
- : A complete, verse-based way to mark Vasant Panchami and other Saraswati-linked festival days.
- : An accessible entry point into Sanskrit chanting, since the fifteen shlokas are short and share repeating sounds.
- : A shared family or classroom recitation that can be learned together over a few sittings.
Origin of the Saraswati Ashtottara Shatanama Stotram
This stotram is commonly attributed to the Skanda Purana, one of the largest of the eighteen Puranas, though like many ashtottara-shatanama hymns its exact chapter and verse history is hard to pin down with certainty, since these name-lists were copied, recited and passed down across many regional manuscript traditions. What stays consistent across published versions is the text itself: the same fifteen shlokas, opening with Sarasvati mahabhadra mahamaya varaprada and closing with the count-verse that names her as one with Brahma, Vishnu and Shiva.
The stotram sits within a wider family of ashtottara-shatanama hymns, the same 108-name form used for Durga, Ganesha, Lakshmi and other deities, where a string of short anushtubh-meter names builds a fuller picture of a deity than a single prayer could on its own.
Frequently Asked Questions
What does Ashtottara Shatanama mean?
Ashtottara-shata is the Sanskrit count for 108, and namama refers to names, so the title simply describes a hymn built from 108 names of the deity, here Saraswati.
How many shlokas are in this stotram?
The stotram is composed of fifteen shlokas in anushtubh meter, ending with a verse that states the total count of 108 names.
Can students chant before exams?
Yes. Many students recite the full stotram the night before an exam or chant just the opening verse on exam morning for a calmer, more focused start. It is meant to support preparation, not replace it.
Is this the same as the Saraswati Ashtottara Shatanamavali?
They cover the same 108 names but in different forms. The Namavali lists each name followed by namah for use during a formal puja with flower offerings, while this Stotram weaves the names into fifteen continuous verses meant for chanting or reading aloud.
What is the best time to chant it?
Vasant Panchami is the traditional peak day for Saraswati worship, but the stotram is also chanted daily in the morning, before study sessions, or during the Saraswati Puja day within Navratri.
Do I need a guru's permission to recite it?
No. Unlike some tantric or bija-mantra practices, ashtottara-shatanama stotrams are open devotional hymns that anyone can recite without initiation, alone or in a group.
Can beginners to Sanskrit chant this stotram?
Yes. It is a devotional hymn, not a restricted ritual text, and the transliteration on this page is written without diacritical marks specifically so beginners can read it aloud.
What should I keep near me while chanting?
A book, notebook, pen, or musical instrument placed nearby is a common practice, since the stotram is closely tied to learning and the arts, and touching these items after chanting is treated as a way to carry the blessing into daily work.
॥ ॐ ऐं सरस्वत्यै नमः ॥