ॐ जय अम्बे गौरी, मैया जय श्यामा गौरी।
तुमको निशदिन ध्यावत, हरि ब्रह्मा शिवरी॥
मांग सिंदूर विराजत, टीको मृगमद को।
उज्ज्वल से दोउ नैना, चंद्रवदन नीको॥
ॐ जय अम्बे गौरी, मैया जय श्यामा गौरी।
कनक समान कलेवर, रक्ताम्बर राजै।
रक्तपुष्प गल माला, कंठन पर साजै॥
केहरि वाहन राजत, खड्ग खप्पर धारी।
सुर-नर-मुनिजन सेवत, तिनके दुखहारी॥
ॐ जय अम्बे गौरी, मैया जय श्यामा गौरी।
कानन कुण्डल शोभित, नासाग्रे मोती।
कोटिक चंद्र दिवाकर, सम राजत ज्योती॥
शुंभ-निशुंभ बिदारे, महिषासुर घाती।
धूम्र विलोचन नैना, निशदिन मदमाती॥
ॐ जय अम्बे गौरी, मैया जय श्यामा गौरी।
चण्ड-मुण्ड संहारे, शोणित बीज हरे।
मधु-कैटभ दोउ मारे, सुर भयहीन करे॥
ब्रह्माणी, रूद्राणी, तुम कमला रानी।
आगम निगम बखानी, तुम शिव पटरानी॥
ॐ जय अम्बे गौरी, मैया जय श्यामा गौरी।
चौंसठ योगिनी मंगल गावत, नृत्य करत भैरों।
बाजत ताल मृदंगा, अरू बाजत डमरू॥
तुम ही जग की माता, तुम ही हो भरता।
भक्तन की दुख हरता, सुख संपति करता॥
ॐ जय अम्बे गौरी, मैया जय श्यामा गौरी।
भुजा चार अति शोभित, वर मुद्रा धारी।
मनवांछित फल पावत, सेवत नर नारी॥
कंचन थाल विराजत, अगर कपूर बाती।
श्रीमालकेतु में राजत, कोटि रतन ज्योती॥
ॐ जय अम्बे गौरी, मैया जय श्यामा गौरी।
श्री अंबेजी की आरति, जो कोइ नर गावे।
कहत शिवानंद स्वामी, सुख-संपति पावे॥
ॐ जय अम्बे गौरी, मैया जय श्यामा गौरी।
Om Jai Ambe Gauri, Maiya Jai Shyama Gauri.
Tumko nish-din dhyavat, Hari Brahma Shivari.
Maang sindoor viraajat, teeko mrigamad ko.
Ujjawal se dou naina, chandravadan neeko.
Om Jai Ambe Gauri, Maiya Jai Shyama Gauri.
Kanak saman kalevar, raktambar rajai.
Raktapushp gal mala, kanthan par sajai.
Kehari vahan raajat, khadg khappar dhari.
Sur-nar-munijan sevat, tinke dukhahari.
Om Jai Ambe Gauri, Maiya Jai Shyama Gauri.
Kanan kundal shobhit, nasaagre moti.
Kotik chandra divakar, sam raajat jyoti.
Shumbh-Nishumbh bidaare, Mahishasur ghati.
Dhoomra vilochan naina, nish-din madmaati.
Om Jai Ambe Gauri, Maiya Jai Shyama Gauri.
Chand-Mund sanhaare, shonit beej hare.
Madhu-Kaitabh dou maare, sur bhayaheen kare.
Brahmani, Rudrani, tum Kamala Rani.
Aagam Nigam bakhani, tum Shiv patraani.
Om Jai Ambe Gauri, Maiya Jai Shyama Gauri.
Chaunsath yogini mangal gaavat, nritya karat Bhairon.
Baajat taal mridanga, aru baajat damaru.
Tum hi jag ki Maata, tum hi ho bharta.
Bhaktan ki dukh harta, sukh sampati karta.
Om Jai Ambe Gauri, Maiya Jai Shyama Gauri.
Bhuja chaar ati shobhit, var mudra dhari.
Manvaanchhit phal paavat, sevat nar naari.
Kanchan thaal viraajat, agar kapoor baati.
Shrimaalaketu mein raajat, koti ratan jyoti.
Om Jai Ambe Gauri, Maiya Jai Shyama Gauri.
Shri Ambeji ki aarati, jo koi nar gaave.
Kahat Shivanand Swami, sukh-sampati paave.
Om Jai Ambe Gauri, Maiya Jai Shyama Gauri.
The Jai Ambe Gauri aarti is a luminous hymn to Goddess Durga in her dual manifestation as Gauri, the golden-complexioned, and Shyama, the dark and fierce. Each verse layers vivid imagery — her crimson garments, lion mount, sword and skull-bowl — upon a core of profound tenderness toward her devotees. The aarti also recounts her victories over demons such as Mahishasura, Shumbha, Nishumbha, Chanda, Munda, and the blood-seed demon Raktabija, reminding worshippers that the Divine Mother stands ever ready to dispel darkness. Sung continuously since medieval times, this aarti represents the complete spectrum of Shakti: warrior, sustainer, and bestower of liberation.
Durga, whose name means the inaccessible or she who eliminates suffering, is the supreme warrior goddess of the Hindu tradition, born from the combined radiance of Brahma, Vishnu, and Shiva to defeat the buffalo demon Mahishasura. She rides a lion or tiger, wields weapons in her eight or ten arms, and embodies the principle that cosmic order (dharma) triumphs over chaos. As Ambe Gauri she is both the golden mother of the universe and the dark, all-consuming Shyama — two faces of the same boundless feminine power. Navratri, the nine-night festival dedicated to her, is celebrated twice a year across India with fervent aarti, fasting, and devotion.
Fridays and the nine days of Navratri (both Chaitra and Sharad) are the most auspicious occasions for reciting the Jai Ambe Gauri aarti. In daily practice, the evening sandhya (dusk) is the preferred hour, though the aarti is equally potent at sunrise. On Ashtami (the eighth tithi) and Navami (the ninth tithi) of any month, performing this aarti with a lit lamp is believed to carry special merit. During Durga Puja celebrations in Bengal and across North India, this aarti is the customary centrepiece of the evening worship.
The closing verse attributes the aarti to Shivanand Swami, a revered Vaishnava-Shakta poet-saint. The composition has been in continuous use in North Indian temples and homes for several centuries and is today considered part of the common devotional heritage of Hinduism.
Absolutely. While Navratri is the most celebrated occasion for the Jai Ambe Gauri aarti, it is a complete daily act of worship in its own right. Many households perform it every evening as part of their sandhya aarti routine, particularly on Fridays which are sacred to the goddess.
Both names refer to Goddess Durga. Gauri (fair, golden) describes her benevolent, nurturing aspect, while Shyama (dark) evokes her fierce, transformative form as destroyer of evil. The aarti honours both these complementary faces of the goddess in a single act of worship.
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Jai Ambe Gauri: the aarti that unites all of Durga's splendour
The Jai Ambe Gauri aarti is one of the most universally beloved Devi hymns in the North Indian devotional tradition, sung in temples and homes throughout Navratri, on Ashtami and Navami, at Durga Puja pandals, and as the evening aarti in countless Devi shrines across the country. Its distinctive quality is its scope: within a single composition, it invokes the Goddess across her many forms — Ambe, Gauri, Bhavani — weaving together the fierce and the gentle, the cosmic and the intimate, into a single luminous portrait of the divine feminine. The aarti's melody is stately and unhurried, giving it a meditative gravity that sets it apart from lighter devotional songs.
Devotees believe that sincere recitation of Jai Ambe Gauri, accompanied by a lit ghee lamp and offered flowers, draws the Goddess's protective grace and cultivates inner strength and fearlessness. The aarti addresses the Mother in the second person throughout, creating direct intimacy — not petition from a distance, but a conversation between the devotee and the one who is already present. This felt closeness, combined with the aarti's majestic sweep across Durga's many aspects, makes it both an act of worship and a meditation on the boundless divine feminine: the power that creates, protects, and ultimately liberates every soul that turns toward her with a trusting heart.