Ganpati Aarti Closing — Ghalin Lotangan, Mantrapushpanjali & Ghosh
ghālīna loṭāṅgaṇa vandīna caraṇa | ḍoḷyānnī pāhina rūpa tujhe | preme āliṅgīna ānanda pūjana | bhāve ovāḷina mhaṇe nāmā || tvameva mātā ca pitā tvameva | tvameva bandhuś ca sakhā tvameva | tvameva vidyā draviṇaṃ tvameva | tvameva sarvaṃ mama devadeva || kāyena vācā manasendriyair vā | buddhyātmanā vā prakṛtisvabhāvāt | karomi yad yat sakalaṃ parasmai | nārāyaṇāyeti samarpayāmi || acyutaṃ keśavaṃ rāmanārāyaṇaṃ | kṛṣṇadāmodaraṃ vāsudevaṃ harim | śrīdharaṃ mādhavaṃ gopikāvallabhaṃ | jānakīnāyakaṃ rāmacandraṃ bhaje || || mantrapuṣpāñjalī || oṃ yajñena yajñam ayajanta devās tāni dharmāṇi prathamāny āsan | te ha nākaṃ mahimānaḥ sacanta yatra pūrve sādhyāḥ santi devāḥ || oṃ rājādhirājāya prasahyasāhine | namo vayaṃ vaiśravaṇāya kurmahe | sa me kāmān kāmakāmāya mahyam | kāmeśvaro vaiśravaṇo dadātu | kuberāya vaiśravaṇāya | mahārājāya namaḥ || oṃ svasti sāmrājyaṃ bhaujyaṃ svārājyaṃ vairājyaṃ pārameṣṭhyaṃ rājyaṃ mahārājyam ādhipatyam ayaṃ samantaparyāyī syāt sārvabhaumaḥ sārvāyuṣa āntād āparārdhāt pṛthivyai samudraparyantāyā ekarāḷ iti | tad apy eṣa śloko'bhigīto marutaḥ pariveṣṭāro maruttasyāvasan gṛhe | āvikṣitasya kāmapre rviśvedevāḥ sabhāsada iti || || ghoṣa || On an ordinary day: gaṇapatī bāppā — moraya! maṅgalamūrtī — moraya! On the visarjan day (pudhacyā varṣī lavakara yā is interposed between the two limbs, not appended after both): gaṇapatī bāppā — moraya! pudhacyā varṣī — lavakara yā! maṅgalamūrtī — moraya!
This is the invariant closing sequence of any Maharashtrian household aarti — the same block that closes a Ganpati aarti, a Navratri aarti, a Satyanarayan puja, or an ordinary daily devghar aarti, unchanged by which deity's own aarti came before it. It has three parts. Ghalin Lotangan is a four-part compile, not a single composition. Its first quarter — "Ghalin Lotangan vandin charan" ("I offer full prostration, I bow at your feet — with my eyes I shall see your form, in love I shall embrace, in joy shall I worship") — is a Marathi abhanga traditionally attributed to Sant Namdev. Three Sanskrit verses follow it: "Tvameva mata cha pita tvameva" ("you alone are my mother and father, you alone my kinsman and friend, you alone my knowledge and wealth, you alone are everything to me"); "Kayena vacha manasendriyairva" ("whatever I do — by body, speech, mind, the senses, the intellect, or by my very nature — I offer all of it to the Supreme, to Narayana"); and "Achyutam Keshavam" (a verse of Vishnu's names — Achyuta, Keshava, Rama, Narayana, Krishna, Damodara, Vasudeva, Hari, Shridhara, Madhava, Janakinayaka, Ramachandra). Mantrapushpanjali is the Vedic "offering of the flower of mantra," traditionally recited standing, with flowers held in cupped hands and offered at its end. It opens "Om yajnena yajnam ayajanta devah…" ("by sacrifice the gods worshipped sacrifice — these were the first sacred ordinances") and continues through verses traditionally addressed to Vaishravana/Kubera and a closing verse on sovereignty (svarajya) and universal kingship (sarvabhauma). The ghosh (acclamation) that follows is called and answered: "Ganpati Bappa — Morya! Mangalmurti — Morya!" On the visarjan day specifically, a third limb is interposed between those two — "Ganpati Bappa — Morya! Pudhachya varshi — lawkar ya! Mangalmurti — Morya!" — "Pudhachya varshi lawkar ya" ("come again next year, soon") being the Marathi vernacular of the closing words of the Sanskrit visarjana mantra itself, punarāgamanāya ca ("and for the sake of coming again"). It is not appended after the couplet — it is spoken between the two calls, on visarjan day only.
Popular guides and apps overwhelmingly name only the opening Ganpati aarti (most often Sukhkarta Dukhharta) and stop there — that is not the household liturgy as it is actually performed. In an actual home the aarti runs roughly 10-20 minutes across the deities of the household (Ganpati first, then other kuladaivat aartis as the family's own custom includes them), and closes every single night with this same fixed block. Naming only the opening aarti both truncates the liturgy and misses that its most stable, most universally shared part is what comes after — the same three-part close a Navratri aarti or a daily devghar aarti ends with too. This item is authored to be recited immediately following any Ganpati aarti (including mantra.aarti_sukhkarta_dukhharta) so the sequence a family is given is never left incomplete. The Ghalin Lotangan compile's Namdev attribution covers only its first quarter, not the three Sanskrit verses that follow it — a common point of confusion this item is written to avoid repeating.
Open KalpX, select this mantra from the library, and use Quick Chant to begin your japa practice. Set a count goal — 11, 108, or 1008 repetitions — and chant at a pace that feels natural.