Mahima Dharma’s scriptural corpus from Odisha is shaped overwhelmingly by verse rather than prose, and its theology of a formless, attributeless Absolute is carried primarily through poetic and musical forms. Central among these are bhajans, devotional songs sung in congregational settings that praise Alekh, the invisible and formless divine, and express love, surrender, and reformist ideals. Closely related are stutis, more formal hymns of praise directed to the one supreme reality and to the lineage of Mahima gurus, which are used in both individual and collective worship. These compositions tend to employ simple, accessible Odia while retaining considerable philosophical depth, allowing subtle doctrine to be absorbed through repeated singing and recitation.

Alongside these devotional songs stand a range of poetic forms that carry doctrinal and ethical instruction. Jananas present narrative or philosophical verse that recounts the lives and teachings associated with Mahima Swamis and explores the nature of the supreme, formless reality. Padas function as shorter devotional poems, often marked by spiritual yearning, renunciation, and the call to inner realization. Gitas offer spiritual instruction in a dialogic, verse format, echoing the broader Indian tradition of teaching through poetic dialogue. Chhandas, or metrical verses following established prosodic patterns, are used to articulate key tenets such as equality, non-violence, and the rejection of caste and ritualism in a disciplined poetic structure.

The tradition also makes use of more specialized literary devices to organize and transmit its message. Chautisas employ an acrostic pattern based on successive letters of the Odia alphabet, turning the very structure of language into a mnemonic vehicle for doctrine and ethical injunctions. Tikas, or commentarial writings, provide interpretive guidance on these verses, clarifying concepts and reinforcing the monotheistic, reformist thrust of the movement. Taken together, these forms reveal a scriptural world in which song, hymn, and poem are not mere embellishments but the primary vessels of revelation, shaping both the communal worship of Alekh and the inner discipline of the seeker.