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Navagraha
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Navagraha, Sun at the center surrounded by the planets, Painting by Raja Ravi Varma

The navagraha (Sanskrit: नवग्रह, Nine planets) are nine heavenly bodies and deities that influence human life on Earth according to Hinduism and Hindu mythology.[1] The term is derived from nava (Sanskrit: नव "nine") and graha (Sanskrit: ग्रह "planet, seizing, laying hold of, holding"). The nine parts of the navagraha are the Sun, Moon, planets Mercury, Venus, Mars, Jupiter, and Saturn, and the two nodes of the Moon.[2]

A typical navagraha shrine found inside a Hindu temple

The term planet was applied originally only to the five planets known (i.e., visible to the naked eye) and excluded the Earth. The term was later generalized, particularly during the Middle Ages, to include the sun and the moon (sometimes referred to as "lights"), making a total of seven planets. The seven days of the week of the Hindu calendar also corresponds with the seven classical planets and European culture also following same patron and are named accordingly in most languages of the Indian subcontinent. Most Hindu temples around the world have a designated place dedicated to the worship of the navagraha.

List

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Navagrahas:[1]
No. Image Name Western equivalent Day Stotra[3]
1. Surya Sun Sunday japākusuma saṅkāśaṃ kāśyapēyaṃ mahādyutim ।

tamō'riṃ sarva pāpaghnaṃ praṇatōsmi divākaram ॥1॥

2. Chandra Moon Monday dadhiśaṅkha tuṣārābhaṃ kṣīrōdārṇava sambhavam ।

namāmi śaśinaṃ sōmaṃ śambhō-rmakuṭa bhūṣaṇam ॥2॥

3. Mangala Mars Tuesday dharaṇī garbha sambhūtaṃ vidyutkānti samaprabham ।

kumāraṃ śaktihastaṃ taṃ maṅgaḻaṃ praṇamāmyaham ॥3॥

4. Budha Mercury Wednesday priyaṅgu kalikāśyāmaṃ rūpēṇā pratimaṃ budham ।

saumyaṃ saumya guṇōpētaṃ taṃ budhaṃ praṇamāmyaham ॥4॥

5. Brihaspati Jupiter Thursday dēvānāṃ cha ṛṣīṇāṃ cha guruṃ kāñchanasannibham ।

buddhimantaṃ trilōkēśaṃ taṃ namāmi bṛhaspatim ॥5॥

6. Shukra Venus Friday himakunda mṛṇāḻābhaṃ daityānaṃ paramaṃ gurum ।

sarvaśāstra pravaktāraṃ bhārgavaṃ praṇamāmyaham ॥6॥

7. Shani Saturn Saturday nīlāñjana samābhāsaṃ raviputraṃ yamāgrajam ।

Chāyā mārtāṇḍa sambhūtaṃ taṃ namāmi śanaiścharam ॥7॥

8. Rahu Ascending node of the Moon/Uranus ardhakāyaṃ mahāvīraṃ chandrāditya vimardhanam ।

siṃhikā garbha sambhūtaṃ taṃ rāhuṃ praṇamāmyaham ॥8॥

9. Ketu Descending node of the Moon/Neptune palāśa puṣpa saṅkāśaṃ tārakāgrahamastakam ।

raudraṃ raudrātmakaṃ ghōraṃ taṃ kētuṃ praṇamāmyaham ॥9॥

Music

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Muthuswami Dikshitar (1776–1835), a Carnatic music composer from southern India, composed the Navagraha Kritis in praise of the nine grahas.[4] Each song is a prayer to one of the nine planets. The Sahitya (lyrics) of the songs reflect a profound knowledge of the mantra and jyotisha sastras.

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Navagraha

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The Navagraha (Sanskrit: नवग्रह, from nava meaning "nine" and graha meaning "planet" or "seizer") are the nine celestial bodies central to Hindu astrology, known as Jyotisha, which are regarded as deities influencing human fate, health, and karma. These include the seven traditional luminaries—Surya (Sun), Chandra (Moon), Mangala (Mars), Budha (Mercury), Brihaspati or Guru (Jupiter), Shukra (Venus), and Shani (Saturn)—along with the shadowy lunar nodes Rahu and Ketu, which are not physical planets but points of astrological significance derived from the Moon's orbit. In Vedic texts and traditions, each Navagraha governs specific aspects of life, such as vitality (Surya), emotions (Chandra), and discipline (Shani), and their positions in a person's birth chart (horoscope) are analyzed to predict and interpret life events. Worship of the Navagraha plays a key role in Hindu religious practice, aimed at propitiating these deities to alleviate malefic influences (doshas) and amplify benefic ones, often through rituals involving offerings, mantras, and temple visits. Devotees believe that appeasing the Navagraha can mitigate adversities stemming from past karma, promote prosperity, and restore balance, as they are seen as enforcers of cosmic law. This astrolatry is deeply embedded in and iconography, with Navagraha shrines commonly featuring in sanctuaries across , particularly in Tamil Nadu's Navagraha Kshetras—a circuit of nine temples in the Kumbakonam region, each dedicated to one graha and dating back to medieval Chola . The concept of Navagraha emerged prominently in and from the 5th century CE, reflecting the integration of astronomical observations with mythological narratives where these entities are personified as gods interacting with figures like and . Their iconography typically depicts them seated or standing with unique attributes—such as holding lotuses or wielding a sword—symbolizing their powers, and they continue to influence modern Hindu rituals, festivals like Navagraha Puja, and even cross-cultural adaptations in Southeast Asian temple art.

Etymology and Terminology

Etymology

The term Navagraha is a compound derived from nava, meaning "nine," and graha, denoting "seizer" or "grasper," collectively referring to the nine celestial influencers in . The word nava traces its roots to the Proto-Indo-European h₁néwn̥, an ancient numeral form preserved in as नव (nava), signifying multiplicity and completeness in enumerations such as the nine forms of deities or directions. Similarly, graha stems from the root √gṛh (ग्रह्), which conveys the action of taking hold, grasping, or capturing, a concept extended metaphorically to astronomical bodies perceived as exerting influence over human affairs. This etymological foundation underscores the dynamic, possessive role attributed to these entities in early Indian thought, where they are not mere wanderers but active agents. The concept of grahas evolved significantly from the Vedic period (c. 1500–500 BCE) to the Puranic era (c. 300–1500 CE), transitioning from vague celestial references to a standardized system of nine. In Vedic texts like the , grahas initially denoted a smaller set of luminous bodies—primarily the Sun (), Moon (), and five visible planets (Mars, Mercury, , Venus, Saturn)—viewed as divine forces or "seizers" of destiny, with occasional mentions of atmospheric phenomena like comets. This heptadic grouping, totaling seven, reflected early astronomical observations and mythological integrations, as seen in hymns invoking planetary deities for protection. By the classical period, Hellenistic influences via trade and conquest prompted expansions; the shadow nodes Rahu and Ketu were incorporated as the eighth and ninth grahas around the 5th–7th centuries CE, solidifying the navagraha framework in treatises like the . The , a foundational Puranic astrological text attributed to the sage (c. 7th–10th century CE), formalized this ninefold system, detailing their interactions and delineating grahas as karmic influencers rather than purely physical objects. Indo-European linguistics further illuminates the cultural underpinnings of graha, revealing parallels in how ancient societies conceptualized erratic celestial motion. While graha emphasizes and control, rooted in the active verbal morphology of √gṛh, the Greek term planētes (πλανήτης), meaning "wanderer," derives from πλανάω (planaō), "to lead astray or ," capturing the observed retrograde paths of against . This comparative lens highlights divergent perceptual frameworks: Indo-European branches like prioritized astrological agency, whereas Greek terminology focused on kinematic anomaly, influencing later Western astronomy without direct lexical borrowing.

Terminology

The term Navagraha collectively refers to the nine celestial influencers in , derived from the words nava meaning "nine" and graha meaning "seizer" or "planet." These grahas are enumerated in classical texts such as the and include: Sūrya (Sun), Candra (), Maṅgala (Mars), (Mercury), Bṛhaspati (also known as , ), Śukra (), Śani (Saturn), Rāhu (north ), and Ketu (south ). Rāhu and Ketu are not physical bodies but shadowy points representing the moon's orbital nodes, often personified as entities that "seize" light during eclipses. In regional languages and traditions, the terms for Navagraha are typically transliterated with minor phonetic adaptations, reflecting local linguistic influences while retaining their core meanings. For instance, in Tamil Shaivite texts and temple liturgies, such as those associated with the Navagraha shrines in , the grahas are referred to as Sooryan (Sūrya), (Candra), Sevvaai (Maṅgala), Budhan (Budha), Guru (Bṛhaspati), Shukran (Śukra), Shani (Śani), Raahu (Rāhu), and Kethu (Ketu). In Bengali Jyotisha practices, the terms largely mirror the forms, with common usages like Shurjo (Sūrya) and for the moon, integrated into regional almanacs and readings. The word graha carries dual connotations in Hindu scriptures: as astronomical "planets" that govern cosmic order and human destiny in Jyotisha, and as "seizers" or demonic entities that grasp or possess in mythological narratives. This distinction arises from the Sanskrit root gṛh ("to seize"), implying both celestial bodies that "capture" influence over fate and malevolent forces that disrupt. In the Mahabharata, for example, Rāhu is depicted as a (daitya) who seizes the sun and moon to cause eclipses, embodying the "seizer" aspect as a headless entity eternally pursuing vengeance after being decapitated by during the churning of the ocean.

The Nine Grahas

List of Grahas

The nine grahas, or celestial influencers in Vedic astrology, consist of Surya (the Sun), Chandra (the Moon), Mangala (Mars), Budha (Mercury), Guru (Jupiter), Shukra (Venus), Shani (Saturn), Rahu (the north lunar node), and Ketu (the south lunar node). Among these, Rahu and Ketu are classified as chaya grahas, or shadow planets, lacking physical bodies and representing the points where the Moon's orbit intersects the ecliptic; they exert influence through their nodal positions rather than direct planetary motion. These grahas are each associated with specific attributes that reflect their symbolic roles in astrological interpretations, including the day of the week they rule, a , a corresponding for remedial purposes, a metal, and a . The table below enumerates these core attributes for reference, drawn from traditional Vedic astrological compilations.
GrahaRuling DayColorGemstoneMetalDirection
(Sun)SundayRedGoldEast
(Moon)MondayWhitePearlSilverNorthwest
(Mars)TuesdayRedRed CoralSouth
(Mercury)WednesdayGreenEmeraldNorth
(Jupiter)ThursdayYellowYellow GoldNortheast
(Venus)FridayWhiteDiamondSilverSoutheast
(Saturn)SaturdayBlack/BlueBlue IronWest
(North Node)Saturday (shared)Smoky/BlackHessonite (Gomed)LeadSouthwest
Ketu (South Node)Tuesday (shared)Multicolored/BrownLeadSouth

Astronomical and Mythological Associations

The Navagraha represent a synthesis of observable celestial phenomena and symbolic divine entities in ancient and mythology. Astronomically, they map to specific heavenly bodies central to the geocentric model outlined in texts like the , an influential astronomical treatise dating to around the 5th century CE. corresponds to the Sun, the visible star at the center of the solar system, symbolizing vital energy and time. aligns with the , the natural influencing tides and lunar phases. The visible planets are associated as follows: with Mars, known for its reddish hue and retrograde motion; with Mercury, the swift innermost planet; (or ) with Jupiter, the largest planet observable to the ; with , the brightest "wandering star" after the Sun and ; and with Saturn, distinguished by its slow orbit and faint ring system in ancient observations. Unlike these tangible bodies, Rahu and Ketu are not physical planets but the ascending (north) and descending (south) lunar nodes—mathematical points where the Moon's orbit crosses the plane—traditionally held responsible for causing solar and lunar eclipses through their perceived "swallowing" of the luminaries. Mythologically, the Navagraha embody deities intertwined with cosmic narratives, particularly in Puranic literature, where they exert influence over human destiny and karma as agents of divine order. The distinctive origin of Rahu and Ketu stems from the Samudra Manthan (churning of the ocean) episode recounted in texts such as the Bhagavata Purana. In this account, gods (devas) and demons (asuras) collaborate to churn the cosmic ocean of milk using Mount Mandara as the rod and the serpent Vasuki as the rope, seeking the nectar of immortality (amrita). When the healer Dhanvantari emerges bearing the pot of amrita, the asura Svarbhanu disguises himself as a deva to partake. Alerted by Surya (Sun) and Chandra (Moon), Vishnu, in his Mohini avatar, severs Svarbhanu's head with the Sudarshana chakra just as the nectar reaches his throat. The severed head becomes Rahu, and the headless body Ketu; both achieve partial immortality, eternally pursuing vengeance by eclipsing the Sun and Moon during their nodal alignments. This myth underscores the nodes' astronomical role in eclipses while portraying Rahu and Ketu as shadowy, disruptive forces in the cosmic balance. Symbolically, the Grahas function as devas—luminous divine beings—governing aspects of karma and natural cycles, with roots in Vedic hymns that personify celestial bodies as moral and cosmic influencers. In the Rigveda, one of the oldest Indo-European texts (c. 1500–1200 BCE), planets and luminaries are invoked as devas integral to rta (cosmic order), influencing human affairs through their motions. For instance, hymns to Surya (e.g., Rigveda 1.50) depict the Sun as a healer and all-seeing witness to deeds, linking solar observation to ethical accountability and vitality. Similarly, Chandra is praised in Rigveda 2.38 as Soma, the moon-deva nourishing life and wisdom, reflecting early conceptual ties between lunar phases and karmic renewal. These portrayals prefigure the Navagraha's later role as karmic arbiters, where planetary positions at birth are seen to shape an individual's dharma (duty) and samskara (impressions), blending empirical sky-watching with theological depth.

Significance in Hinduism and Astrology

Mythological Origins

In the , the concept of grahas emerged as references to celestial or atmospheric entities that "seize" or influence earthly affairs, appearing in texts like the as unnamed wanderers in the heavens associated with omens, storms, and natural forces rather than fully personified planets. These early depictions, rooted in hymns of the that invoke celestial bodies' impacts on human destiny, laid the groundwork for a cosmological framework where such entities governed broader cycles of nature and karma. By the post-Vedic era, particularly in the , the grahas evolved into the deified Navagraha—nine distinct planetary deities—with anthropomorphic forms and mythological narratives that integrated them into the divine hierarchy. In Puranic accounts, such as those in the , the Navagraha function as cosmic influencers within the cycles of creation (srishti), preservation, and dissolution, their movements dictating , moral order, and the karmic fates of beings across the universe. They are often portrayed as advisors in the celestial courts: () serves as to the devas, guiding righteous actions, while () counsels the asuras, embodying strategic wisdom in cosmic conflicts. A key mythological narrative in Tamil Shaivite lore describes the Navagraha's collective and redemption, underscoring their subordination to supreme deities. According to the legend, Sage Kalava, suffering from serious ailments including , prayed to the nine planetary deities, who, pleased by his devotion, cured him. This act of granting a boon without divine approval angered , who the Navagraha to suffer from themselves and be banished to in Vellurukku Vanam (a white wildflower jungle, the site of modern Suryanar Koil). The humbled planets performed intense penance there, worshiping Lord (as Suryanarayana) for relief; Shiva manifested, absolved their , and decreed their eternal presence as benevolent influencers in the temple. In broader Puranic traditions, the Navagraha are associated with Vishnu's avatars—for instance, with —linking planetary motions to the eternal rhythm of srishti and .

Astrological Influences

In , or Jyotisha, the Navagraha exert profound influences on human life by their positions within the , known as the kundali. The kundali depicts the celestial configuration at the moment of birth, segmented into twelve s (zodiac signs, such as for Aries) and twelve s (houses, representing life domains like wealth in the second or career in the tenth). Each graha's placement in a specific determines its dignity—whether exalted, debilitated, or neutral—affecting its potency, while its house position governs particular outcomes, such as a graha in the fourth impacting home and motherly relations. These configurations are analyzed to predict traits, events, and karmic patterns, with aspects (drishti) from other grahas further modulating effects. The Navagraha are categorized as benefic (shubha) or malefic (krura) based on their intrinsic natures, influencing whether they deliver favorable or adverse results in the chart. Natural benefics like (Guru) and (Shukra) foster expansion, harmony, wisdom, and material comforts, often mitigating hardships when strong. In contrast, natural malefics such as (Shani) and the shadow nodes and Ketu impose restrictions, karmic debts, illusions, and sudden upheavals, though they can yield growth through discipline if well-aspected. The Sun (Surya) and Mars (Mangala) are typically neutral to mildly malefic, while (Budha) and the (Chandra) vary by placement—benefic in friendly rashis but challenging otherwise—highlighting the contextual nature of these classifications. Individual grahas carry distinct influences that manifest through their positions and interactions. , symbolizing the soul and vitality, enhances authority, health, and self-confidence when positioned in friendly rashis like Simha (Leo), but an afflicted in the sixth may lead to paternal conflicts or low energy. , ruling the mind and emotions, promotes intuition and nurturing qualities in exalted positions like Vrishabha (Taurus), yet a debilitated in the twelfth can trigger anxiety or emotional instability. Notable doshas arise from malefic combinations, such as , where all seven primary grahas (excluding and Ketu) are confined between and Ketu along the nodal axis, often resulting in prolonged struggles, financial delays, and psychological turmoil until mid-life. This yoga underscores and Ketu's disruptive roles, amplifying karmic lessons when enclosing other planets.

Worship and Iconography

Temple Complexes

The nine form a distinctive circuit of Hindu shrines clustered around in the , each dedicated to one of the planetary deities while centering on worship. These sites emerged as a response to the Chola dynasty's integration of into religious practice, with most structures dating to the 7th–11th centuries during the medieval Chola period, when kings like and Kulothunga I patronized temple construction to invoke celestial blessings. The temples' development reflects the Cholas' architectural prowess, blending devotion with astronomical symbolism to mitigate planetary doshas (afflictions). The temples are as follows:
Planet (Graha)Temple NameLocationKey Historical Note
Surya (Sun)AduthuraiBuilt in the 11th century by Kulothunga Chola I, with later expansions.
Chandra (Moon)[Kailasanathar TempleThingalur](/page/Kailasanathar_Temple,_Thingalur)Originating in the 9th century Chola era, renovated under later rulers.
Angaraka (Mars)Vaitheeswaran KoilDates to the 9th–10th centuries, known for its healing associations.
Budha (Mercury)Constructed around the 10th century during the Chola reign.
Guru (Jupiter)Apatsahayesvarar TempleAlangudiBuilt in the 9th century by Aditya Chola I, with Chola-style .
Shukra (Venus)Agneeswarar TempleKanjanur10th-century Chola foundation, expanded in subsequent periods.
Shani (Saturn)Dharbaranyeswarar TempleTirunallarErected in the 7th–8th centuries, one of the earliest in the group.
RahuNaganathaswamy TempleTirunageswaram9th-century construction under the Cholas, featuring serpent motifs.
KetuNaganathaswamy TempleKeezhaperumpallamDates to the 10th century, with Chola inscriptions attesting .
These temples exemplify Chola , characterized by towering gopurams (entrance towers) adorned with sculpted mythical figures, pillared mandapas (halls) for gatherings, and towering vimanas (sanctuary towers) over the (inner sanctum) housing the . Each complex includes a dedicated or alcove for the presiding graha idol, typically carved in stone and positioned in a linear or semi-circular arrangement along a platform to evoke the planetary alignment; this layout symbolizes the cosmic orbits, with the idols depicted in canonical mudras such as Surya's dual lotus-holding pose in abhaya (fearlessness) and varada (boon-granting) gestures, or Shani's stern seated form with a noose and arrow. The idols, often life-sized and facing specific directions aligned with astrological principles, integrate seamlessly with the temple's and elements, showcasing Chola mastery in bas-relief carvings of celestial motifs like chariots and attendants. Outside this core group, Navagraha worship appears in mandapas (dedicated halls) within larger temple complexes, such as the expansive Angaraka shrine at , which doubles as a center with its Chola-era pillared corridors housing the planetary icon. Pan-Indian examples include the Surya Rannada Navagraha Temple in Bagwadar, , a modern complex drawing on ancient Solanki influences but incorporating nine planetary shrines in a radial design to honor the collective grahas. These sites highlight the widespread adaptation of Navagraha veneration beyond , adapting local architectural idioms while preserving core iconographic traditions.

Rituals and Remedies

In Vedic astrology, parihara rituals serve as remedial measures to propitiate the Navagraha and alleviate afflictions caused by malefic planetary positions in an individual's . These practices, rooted in ancient texts like the , aim to harmonize cosmic energies through structured worship, offerings, and personal disciplines. Common parihara include Graha Shanti homams, where sacred fire rituals invoke to neutralize doshas, alongside simpler observances like wearing prescribed gemstones or observing fasts on planetary ruling days. Graha Shanti homams are elaborate Vedic fire performed by qualified priests to pacify planetary influences. The procedure typically begins with Poorva Sankalpa, where the performer sets an intention for planetary harmony, followed by Navagraha Avahana to invoke the deities. Central to the is the Beej Mantra Japam and Homa, involving the chanting of specific while offering oblations into consecrated fire, often using materials like , , and planetary-associated grains. The concludes with Daana (donations of metals, cloth, or items linked to each graha) and Archana with flowers and lamps. These homams are recommended for those experiencing persistent obstacles, health issues, or financial instability attributed to planetary doshas, promoting overall peace and prosperity. Wearing gemstones is a widely practiced remedy to strengthen benefic grahas or mitigate malefic ones, as outlined in classical works such as the Ratna Pariksha. For instance, a white pearl (moti) is recommended for (Moon) to enhance emotional stability and mental clarity, typically set in silver and worn on the after purification on a . Similarly, yellow sapphire (pukhraj) for () set in gold and worn on the index finger strengthens wisdom and prosperity. Ruby for (Sun) in gold on boosts and qualities. Consultation with an astrologer is essential to determine suitability based on the , as improper use may amplify negative effects. Fasting on the ruling days of specific grahas forms another accessible parihara, fostering and devotion to balance planetary energies. Devotees observe fasts on Sundays for , consuming only fruits and milk to invoke solar vitality; Mondays for with light sattvic meals to soothe lunar fluctuations; and Thursdays for () emphasizing yellow foods or complete abstinence to strengthen wisdom and prosperity. These vratas, detailed in texts like the Jataka Parijata, are ideally maintained for 21 or 40 days, often combined with charity to amplify benefits, such as donating milk, silver, or white items on Mondays to strengthen the Moon. Mantras play a pivotal role in Navagraha worship, with beeja mantras serving as seed syllables to invoke planetary vibrations. Chanting protocols, derived from the Graha Shanti and other Vedic hymns, recommend reciting each graha's moola 108 times daily using a mala, preferably during the planet's hora (auspicious hour) on its ruling day. For , the "Om Hram Hreem Hroum Sah Suryaya Namah" is chanted facing east at sunrise to dispel ego-related afflictions. Chandra's "Om Shram Shreem Shroum Sah Chandraya Namah" is intoned on Mondays for mental peace. Similar protocols apply to others: Mangala's "Om Kram Kreem Kroum Sah Bhaumaya Namah" on Tuesdays for courage; Budha's "Om Bram Breem Broum Sah Budhaya Namah" on Wednesdays for intellect; Guru's "Om Gram Greem Groum Sah Gurave Namah" on Thursdays for guidance; Shukra's "Om Dram Dreem Droum Sah Shukraya Namah" on Fridays for harmony; Shani's "Om Pram Preem Proum Sah Shanaischaraya Namah" on for endurance; and Rahu-Ketu's respective mantras during twilight for shadow planet equilibrium. Consistent practice, as per Puranic traditions, aligns the chanter's aura with cosmic forces. Navagraha-related observances often align with celestial events to amplify remedial effects. During solar or lunar eclipses, special pujas and homams are conducted to appease and Ketu, the eclipse-causing nodes, involving midnight chants and offerings of and iron to ward off inauspicious energies. Graha Pravesh, marking planetary transits like (Sun's entry into a new zodiac sign), prompts collective rituals such as Makara feasts honoring with til () and donations. These festivals, observed per the Vedic panchang, reinforce planetary harmony through community worship.

Cultural Representations

In Music

In Carnatic classical music, the represent a seminal set of nine compositions by the 19th-century composer , each dedicated to one of the nine grahas and composed in a specific to invoke their astrological and mythological attributes. These kritis, written primarily in , blend devotional lyrics with intricate musical structures, drawing inspiration from the iconographical depictions of the planetary deities in South Indian temples. Dikshitar, one of the , created this cycle around 1820–1830 during his sojourns in various temple towns, aiming to harmonize musical expression with Vedic and astrological traditions. (Note: The kritis for and Ketu are sometimes attributed to Dikshitar's disciples.) The kritis are structured to align the raga's melodic qualities with the graha's symbolic essence, such as the expansive and radiant Saurashtram raga for (Sun), evoking solar vitality. Below is a summary of the compositions:
GrahaKritī TitleRāgaTāla
Sūrya (Sun)sūryamūrte namōstu tesaurāṣṭramcaturashra dhruva
Candra ()candram bhaja mānasaasavericaturashra maṭhya
Aṅgāraka (Mars)aṅgārakam aśrayāmy ahamsuraṭirūpaka
(Mercury)budham aśrayāmi satatamnāṭakurañjimiśra jhampa
Bṛhaspati ()bṛhaspate tārāpateathānatiśra tripuṭa
Śukra ()śrīśukrabhagavantamparajkhaṇḍa aṭa
Śani (Saturn)divākaratanujam śanaiścaramyadukulakāmbhojicaturashra eka
Rāhusmarāmy aham sadā rāhumrāmapriyārūpaka
Ketumahāsuram ketum aham bhajāmiśanmukhapriyārūpaka
Beyond Dikshitar's works, Navagraha stotras—hymns like the Vyasa-composed Navagraha Stotram—are traditionally set to simple melodic chants and performed in temple rituals across to appease planetary influences. These compositions, often rendered in regional languages such as Tamil, serve as devotional invocations for prosperity and protection, with examples including Tamil prarthanai songs that narrate the grahas' benevolence. Such musical pieces find prominent performance contexts during Navagraha homams, where kritis and stotras are recited amid fire rituals, and in festivals like , where Carnatic recitals featuring these works enhance the celebratory devotion to energy intertwined with planetary harmony.

In Literature and Arts

The Navagraha feature prominently in Hindu epics and , where they are invoked as omens or celestial influencers shaping human events. In the Ramayana, planetary positions serve as portents before key battles, such as the ominous alignments described prior to Khara's army marching against in the Aranya Kanda, signaling through disrupted cosmic harmony. Similarly, the Yuddha Kanda references favorable planetary configurations, including and , to mark auspicious moments for Rama's forces departing for . These depictions underscore the Navagraha's role in Vedic cosmology as harbingers of fate, influencing narrative tension and moral outcomes. Eclipse myths involving the Navagraha, particularly and Ketu, are elaborated in the , linking them to the Samudra Manthan episode where the demon Svarbhanu, disguised as a god, drinks the nectar of immortality but is decapitated by . The severed head becomes , eternally pursuing the Sun and to cause solar and lunar eclipses as , while the body forms Ketu, amplifying their shadowy influence on earthly affairs. This narrative, repeated across Puranic texts, portrays the Navagraha as dynamic forces balancing divine order and chaos. Jyotisha treatises like the Jataka Parijata further systematize these concepts, detailing the Navagraha's attributes, transits, and remedial measures through verses that classify planetary strengths and weaknesses for horoscopic predictions. In , the Navagraha are immortalized in sculptures, often carved in friezes or as dedicated panels to invoke their protective energies. These depictions evolved from early Hellenistic influences in the CE to distinctly Indian forms by the medieval period, with each graha anthropomorphized and mounted on symbolic vahanas. For instance, is shown standing or seated on a drawn by seven horses, representing the spectrum of light and days of the week, while rides a pulled by an or rides a ; Mars () appears on a ram, and Saturn () on a or . Such adorns temple entrances in South Indian Shaiva shrines, like those in , where the nine figures are aligned in a row, facing the main to mitigate astrological doshas. Paintings also capture the Navagraha's essence, blending devotion with artistry in styles like Tanjore, where vibrant panels portray them alongside deities for prosperity and balance. In Tanjore works, with the accompanying grahas is rendered on wooden boards using gold foil and semi-precious stones, emphasizing their hierarchical arrangement under the Sun as the central luminary. These compositions, originating from Thanjavur's royal ateliers in the , highlight the grahas' attributes—such as () holding a white lotus on a —to convey astrological harmony. Modern adaptations reinterpret Navagraha symbolism in popular media, extending their cultural resonance. The 2008 Kannada film Navagraha, directed by , casts nine criminals as metaphors for the planets, each embodying a graha's traits in a heist plot inspired by Quentin Tarantino's , thus blending mythology with contemporary thriller elements. Similarly, V.S. Rao's novel Navagraha Purana (adapted into a 2017 short film screened at the New Hope Film Festival) narrates the planets' mythological lives, influencing and that popularize their influences for younger audiences. Astrology apps like those referencing Jyotisha texts often incorporate Navagraha icons, drawing from traditional symbolism to provide personalized horoscopes.

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