Aarti Kunj Bihari Ki

This aarti paints the enchanting image of Lord Krishna as he sports in the kunjas (bowers, leafy groves) of Vrindavan. Kunja-Bihari means “the one who wanders in the bowers”; Giridhar means “the lifter of Govardhan hill”; Murari means “the slayer of the demon Mura.”

The first stanza describes Bal-Krishna’s outer form — the multi-coloured vaijayanti garland, the flute in his hand, the gleaming earrings, and the joy he brings to the household of Nanda Maharaj.

The second stanza is the most lyrically dense. It evokes the yugala (couple) image of Radha and Krishna — Krishna dark like the sky, Radha radiant beside him. The triple inner rhyme — bhramara sī alaka, kastūrī tilaka, chandra sī jhalaka — gives the aarti its distinctive musical signature.

The third stanza places Krishna in his cosmic glory: a golden peacock-crown, gods yearning for his darshan, flower showers from heaven, and the rasa-lila with the gopis.

The fourth stanza performs a remarkable theological move — it identifies Krishna’s feet as the source of Ganga, thereby placing him at the apex of the Vaishnava cosmology (since Ganga then reaches Shiva’s matted hair, linking the two great traditions).

The fifth and final stanza returns to the pastoral idyll of Vrindavan — sand, flute, gopis, cattle — and ends with the assurance that Krishna hears the cry of the suffering and cuts their worldly bondage.

This aarti is traditionally attributed to Shri Shridhar Sharma, a nikunja-vasi (one who dwells near the bowers) saint of Vrindavan. It was composed in the early 20th century and rapidly spread through the Vaishnava temples of North India to become part of the standard evening sandhya-arati.

The metre is in Khadi Boli (the standard literary Hindi of the time), but Braj Bhasha words and inflections appear at expressive moments — bajāvai, jhalakālā, cahuṁ diśi. The signature feature is the inner triplet rhyme that appears in stanzas 2, 3, 4, and 5 — three short rhyming phrases (bhramara sī alaka, kastūrī tilaka, chandra sī jhalaka) that create rhythmic momentum and make the aarti instantly memorable.

It is sung today at:

• Banke Bihari Mandir, Vrindavan — the historical heart of its tradition
• All ISKCON temples worldwide as part of evening arati
• Most Radha-Krishna temples and household altars across India and the diaspora
• On Janmashtami at midnight, on Holi, Radhashtami, and Gopashtami

When

• Daily evening arati — at twilight, after sunset
• Janmashtami midnight — at the moment of Krishna’s birth
• Festivals related to Krishna: Holi, Radhashtami, Gopashtami, Annakut
• Ekadashi evenings after Tulsi puja

Steps

1. Prepare the space. Clean the puja area; place the image or murti of Krishna; sit on a clean asana facing east or north.
2. Light the lamp. Use a ghee lamp with five or seven cotton wicks. A camphor flame is also acceptable for a brief aarti.
3. Offer dhoop, flowers, and bhog. Offer incense, flowers (especially tulsi leaves — never offered without them in Krishna worship), and a sweet bhog like makhan-mishri.
4. Sing the aarti. Holding the lamp in your right hand, rotate it clockwise five or seven times in front of the deity while singing the verses. Strike a bell or clap to keep tala.
5. Pushpanjali and parikrama. After the aarti, offer flowers at the feet and circumambulate three times.
6. Distribute prasad. Conclude with charanamrit (sanctified water) and the bhog as prasad to all present.

Musical accompaniment

Traditionally accompanied by mridanga, manjira (small cymbals), harmonium, and shankha (conch) at the conclusion. At home, a bell and clapping suffice.

• A simple daily devotional anchor — the entire aarti takes about five minutes and the family can sing together.
• Image of Bal-Krishna — fixes the loving childlike form of Krishna in the heart, which is the easiest entry-point into bhakti.
• Yugala (couple) bhava in miniature — the second stanza distills the entire Gaudiya Vaishnava theology of Radha-Krishna into four short lines.
• Memorable rhythm — the triple inner rhyme makes it natural for children to learn quickly.
• Soteriological promise — the fourth stanza explicitly states that mere remembrance of Krishna’s feet shatters delusion and cuts the bonds of worldly existence.

Is this aarti sung only in Vrindavan?

No. While it originated in Vrindavan, today it is sung in Radha-Krishna temples worldwide, in every ISKCON center, and in countless Hindu homes across India and the diaspora.

What is the difference between “Kunj Bihari” and “Banke Bihari”?

Both are names of Krishna. Kunj Bihari — “the one who roams the bowers” — is a generic name used for Krishna in his Vrindavan pastimes. Banke Bihari refers specifically to the deity at the famous Banke Bihari Mandir in Vrindavan, established by Swami Haridas; banke means “bent in three places” (the classic tribhanga posture).

Can women sing this aarti during menstruation?

Traditional shastras vary on this point, but most contemporary acharyas — including those of the Gaudiya, Pushti Marg, and ISKCON traditions — agree that mental remembrance and singing of Krishna are always permitted. Avoiding direct touch of the murti during those days is sufficient.

How many times should the lamp be circled?

The traditional sequence is seven times — four passes near the feet, two near the navel, and one near the face. A shorter daily routine of five passes is also accepted.

Are there other aartis sung along with this one?

Yes. The full evening sequence in most Krishna temples is: (1) a short stuti like “Shri Radhe Govind”, (2) “Aarti Kunj Bihari Ki” as the main aarti, (3) the universal “Om Jai Jagdish Hare” as the closing aarti.

How can I teach this aarti to children?

Start by having them repeat just the refrain — Aarti Kunj Bihari Ki, Shri Giridhar Krishna Murari Ki — until they sing it naturally. This single line is sung between every stanza, so it carries most of the aarti. Add stanzas one at a time over weeks.