Dee Finney's blog
start date July 20, 2011
Today's date August 28, 2011
8-28-11 DREAM -I was working in a place similar to Wal-Mart that had a food section where chicken parts were kept in refrigerators. Nobody was buying the chicken parts so they were sliding out onto the floor. I was hanging out with the older rich women from All My Children TV show here.
At some point, all the young women and young men were called into another room where there was going to be a spiritual ceremony. I was specifically asked to join the young people at the ceremony as well.
At that point, 5 short dark-skinned Hindu women, who were all wearing yellow
garlands of flowers in their hair and blue uniforms gathered together in one of
the aisles in protest because it became apparent that the owner of Wal-Mart was
protesting me being chosen for this honor. She was blonde and she thought she
should be chosen instead. She was not at all meek about her protest.
I heard one of the Hindu women say, "She's not at all spiritual.
I thought th ceremony was called LAKSHMI - (THE GODDESS of prosperity )
I was supposed to be that other room as well, but these five women were protesting and the older men who were in charge of it were being delayed by the blonde who was protesting louder than anyone else.
NOTE FROM DEE: I've already researched that woman while looking for
grants for our planned community at
http://www.earthmountainview.com Earth Mountain View Educational
I found out that she does not donate money to non-profits. Too bad - so
In Her images and pictures,
LAKSHMI is depicted in a female form with four arms and four hands. She
wears red clothes with a golden lining and is standing on a lotus. She
has golden coins and lotuses in her hands. Two elephants (some pictures
show four) are shown next to the Goddess. This symbolism conveys the
following spiritual theme:
- Bansi Pandit
symbol Shri, invokes Lakshmi's assistance...you
could call it the ...
Laksya, denotes the wisdom and purity that leads to
material and spiritual abundance. 3.
conducting a business affair or job
interview, performing a ceremony, etc.
ONE OF LAKSHNI'S COMPANIONS
also spelled Ganesa or Ganesh, also known as Ganapati
(Sanskrit: गणपति; IAST:
gaṇapati), Vinayaka (Sanskrit:
Vināyaka), and Pillaiyar (Tamil:
பிள்ளையார்), is one of the deities
best-known and most widely worshipped in the
His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations.
Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many other attributes, Ganesha's
head makes him particularly easy to identify.
Ganesha is widely revered as the Remover of Obstaclesand more generally as Lord of Beginnings and Lord of Obstacles (Vighnesha
(Sanskrit: विघ्नेश; IAST:
Vighneśa), Vighneshvara (Sanskrit:
patron of arts and sciences, and the
deva of intellect and wisdom.
He is honoured at the beginning of rituals and ceremonies and invoked as Patron
of Letters during writing sessions.
Several texts relate
mythological anecdotes associated with his birth and exploits and explain
his distinct iconography.
Ganesha emerged a distinct deity in clearly recognizable form in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. His popularity rose quickly, and he was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya, (Sanskrit: गाणपत्य; IAST: gāṇapatya), who identified Ganesha as the supreme deity, arose during this period. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
Ganesha has many other titles and epithets, including Ganapati and Vigneshvara. The Hindu title of respect Shri (Sanskrit: श्री; IAST: śrī; also spelled Sri or Shree) is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana (Sanskrit: गण; IAST: gaṇa), meaning a group, multitude, or categorical system and isha (Sanskrit: ईश; IAST: īśa), meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva (IAST: Śiva). The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati (Sanskrit: गणपति; IAST: gaṇapati), a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vignesha), Dvaimātura (one who has two mothers),Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana (IAST: gajānana) ; having the face of an elephant).
Vinayaka (Sanskrit: विनायक; IAST: vināyaka) is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha (Sanskrit: विघ्नेश; IAST: vighneśa) and Vighneshvara (Sanskrit: विघ्नेश्वर; vighneśvara) (Lord of Obstacles) refers to his primary function in Hindu mythology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the
Tamil language is Pille (Tamil:
பிள்ளை) or Pillaiyar (பிள்ளையார்)
A. K. Narain differentiates these terms by saying that pille means a
"child" while pillaiyar means a "noble child". He adds that the words
pallu, pella, and pell in the
Dravidian family of languages signify "tooth or tusk", also "elephant tooth
Anita Raina Thapan notes that the
root word pille in the name Pillaiyar might have originally
meant "the young of the elephant", because the
pillaka means "a young elephant".
Burmese language, Ganesha is known as Maha Peinne,
[məhà pèiɴné]), derived from
Mahā Wināyaka .The widespread name of Ganesha in
Phra Phikanet or Phra Phikanesuan, both of which are derived from
Vara Vighnesha and Vara Vighneshvara respectively, whereas the
name Kanet (from Ganesha) is rather rare.
Ganesha is a popular figure in
Unlike those of some deities, representations of Ganesha show wide variations
and distinct patterns changing over time.
He may be portrayed standing, dancing, heroically taking action against demons,
playing with his family as a boy, sitting down or on an elevated seat, or
engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of
India by the 6th
The figure shown to the right is typical of Ganesha statuary from 900–1200,
after Ganesha had been well-established as an independent deity with his own
sect. This example features some of Ganesha's common iconographic elements. A
virtually identical statue has been dated between 973–1200 by Paul
and another similar statue is dated c. 12th century by Pratapaditya Pal.
Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a noose in the other upper arm.
The influence of this old constellation of iconographic elements can still be
seen in contemporary representations of Ganesha. In one modern form, the only
variation from these old elements is that the lower-right hand does not hold the
broken tusk but rather is turned toward the viewer in a gesture of protection or
The same combination of four arms and attributes occurs in statues of Ganesha
dancing, which is a very popular theme.
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, in most stories he acquires the head later. The most recurrent motif in these stories is that Ganesha was born with a human head and body and that Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary according to different sources. In another story, when Ganesha was born, his mother, Parvati, showed off her new baby to the other gods. Unfortunately, the god Shani (Saturn), who is said to have the evil eye, looked at him, causing the baby's head to be burned to ashes.
The god Vishnu came to the rescue and replaced the missing head with that of an elephant. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other having been broken off. According to Sri Chandrasekhara Saraswati,the Pontiff of the Kanchi Shankara Mutt, this form of Ganesa signifies the readiness for Sacrifice to complete any accepted task (like how he himself broke away his tusk to complete the writing of Mahabaratha being dictated to him by Sri Veda Vyasa). Some of the earliest images of Ganesha show him holding his broken tusk.
The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly (IAST: udara).
The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e, cosmic eggs; IAST: brahmāṇḍas) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms.
Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms.
According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread (IAST: yajñyopavīta) wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead there may be a third eye or the Shaivite sectarian mark (IAST: tilaka), which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead.
A distinct form of Ganesha called Bhalachandra (IAST: bhālacandra; "Moon on the Forehead") includes that iconographic element. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha has a mouse(shrew) in five of them, uses a lion in his incarnation as Vakratunda, a peacock in his incarnation of Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Of the four incarnations of Ganesha listed in the Ganesha Purana, Mohotkata has a lion, Mayūreśvara has a peacock, Dhumraketu has a horse, and Gajanana has a mouse. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat.
Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet.
The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle only in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
Ganesha is Vighneshvara or Vighnaraja, the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character, as Robert Brown explains, "even after the Purāṇic Gaṇeśa is well-defined, in art Gaṇeśa remained predominantly important for his dual role as creator and remover of obstacles, thus having both a negative and a positive aspect".
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
Ganesha is identified with the Hindu mantra Aum (Tamil:ஓம், Sanskrit:ॐ) also called Om). The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).—
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests.
This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. He may have been created by Shiva, or by Parvati, or by Shiva and Parvati, or appeared mysteriously and was discovered by Shiva and Parvati.
The family includes his brother War lord Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business.
K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha.
Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
An annual festival honours Ganesha for ten days, starting on Ganesh Chaturthi, which typically falls in late August or early September.
The festival begins with people bringing in terracota idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water, while the people shout "Ganapati Bappa Morya" (Ganesh come back soon next year).
Some families have a tradition of immersion on the 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day.
Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
Ganesh is the first god for getting puja in all yagas. In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (Sanskrit: अष्टविनायक; aṣṭavināyaka; lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known.
Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend; together they "form a mandala, demarking the sacred cosmos of Ganesha"
The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram; Karpaka Vinayakar Temple in Tamil Nadu; Hampi, Kasargod, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh
T. A. Gopinatha notes, “Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa trees […], in a niche […] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples […]; the figure of Vighneśvara is invariably seen. Ganesha temples have also been built outside of India, including southeast Asia, Nepal and in several western countries.
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century.
Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... In my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In this search for a historical origin for Gaņeśa, some have suggested precise locations outside the Brāhmaṇic tradition.... These historical locations are intriguing to be sure, but the fact remains that they are all speculations, variations on the Dravidian hypothesis, which argues that anything not attested to in the Vedic and Indo-European sources must have come into Brāhmaṇic religion from the Dravidian or aboriginal populations of India as part of the process that produced Hinduism out of the interactions of the Aryan and non-Aryan populations. There is no independent evidence for an elephant cult or a totem; nor is there any archaeological data pointing to a tradition prior to what we can already see in place in the Purāṇic literature and the iconography of Gaņeśa.—
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas).
In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras.
Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering".
Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only".
Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification.
The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin" However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix.
The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation.
Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legene term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300.
Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.—
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th century philosopher Śaṅkarācārya popularized the "worship of the five forms" (pañcāyatana pūjā) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devī, and Sūrya. Śaṅkarācārya instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana—and their dating relative to one another—has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha.
While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of many Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures.
The period from approximately the 10th century onwards was marked by the development of new networks of exchange, the formation of trade guilds, and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to the Malay Archipelago and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the Malay Archipelago in great numbers, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences
The gradual spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover obstacles. Even today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. A few examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet.
In Nepal, the Hindu form of Ganesha, known as Heramba, is very popular; he has five heads and rides a lion.
Tibetan representations of Ganesha show ambivalent views of him.. In one Tibetan form, he is shown being trodden under foot by Mahākāla, a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, sometimes dancing
Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531.
In Japan, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera.
Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections.
The earliest known Jain Ganesha statue dates to about the 9th century. A 15th century Jain text lists procedures for the installation of Ganapati images.
Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
ONE OF LAKSHMIS COMPANIONS
GODDESS OF KNOWLEDGE
Saraswati by Raja Ravi Varma
|Mantra||Om Aim Sarasvatyai Svāhā|
|Mount||swan, Hansa Bird, and often peacock|
In Hinduism Saraswati (Sanskrit: सरस्वती, Sarasvatī , Tamil: சரஸ்வதி, Sarasvatī , is the goddess of knowledge, music, arts, science and technology. She is the consort of Brahma. Saraswati is considered to be the "mother of the Vedas".
The name Saraswati came from "saras" (meaning "flow") and "wati" (meaning "a woman"). So, Saraswati is symbol of knowledge; its flow (or growth) is like a river and knowledge is supremely alluring, like a beautiful woman.
Saraswati is known as a guardian deity in Buddhism who upholds the teachings of Gautama Buddha by offering protection and assistance to practitioners. She is known in Burmese as Thurathadi pronounced [θùja̰ðədì] or [θùɹa̰ðədì]) or Tipitaka Medaw pronounced [tḭpḭtəka̰ mɛ̀dɔ̀]), Chinese as Biàncáitiān (辯才天), in Thai as Surasawadee (สุรัสวดี) and in Japanese as Benzaiten (弁才天/弁財天).
In the Rigveda, Saraswati is a river as well as its personification as a goddess. In the post-Vedic age, she began to lose her status as a river goddess and became increasingly associated with literature, arts, music, etc. In Hinduism, Saraswati represents intelligence, consciousness, cosmic knowledge, creativity, education, enlightenment, music, the arts, eloquence and power. Hindus worship her not only for "academic knowledge", but for "divine knowledge" essential to achieve moksha.
The original (spiritual) forms of devas including Saraswati are present in the spiritual world:
In the Devi Mahatmya, Saraswati is in the trinity of Maha Kali, Maha Lakshmi and Maha Saraswati. She is depicted as eight-armed.
Wielding in her lotus-hands the bell, trident, ploughshare, conch, pestle, discus, bow, and arrow, her lustre is like that of a moon shining in the autumn sky. She is born from the body of Gowri and is the sustaining base of the three worlds. That Mahasaraswati I worship here who destroyed Sumbha and other asuras.
The goddess Saraswati is often depicted as a beautiful woman dressed in pure white often seated on a white lotus, which symbolizes that she is founded in the experience of the Absolute Truth. Thus, she not only has the knowledge but also the experience of the Highest Reality. She is mainly associated with the color white, which signifies the purity of true knowledge. Occasionally, however, she is also associated with the colour yellow, the colour of the flowers of the mustard plant that bloom at the time of her festival in the spring. She is not adorned heavily with jewels and gold, unlike the goddess Lakshmi, but is dressed modestly — representing her preference of knowledge over worldly material things.
She is generally shown to have four arms, which represent the four aspects of human personality in learning: mind, intellect, alertness, and ego. Alternatively, these four arms also represent the 4 Vedas, the primary sacred books for Hindus. The Vedas, in turn, represent the 3 forms of literature:
The four hands also depict this thus — prose is represented by the book in one hand, poetry by the garland of crystal, music by the veena. The pot of sacred water represents purity in all of these three, or their power to purify human thought.
She is shown to hold the following in her hands:
The beautiful human form of Saraswati comes to the fore in this English translation of the Saraswati hymn:
"May Goddess Saraswati, who is fair like the jasmine-colored moon, and whose pure white garland is like frosty dew drops, who is adorned in radiant white attire, on whose beautiful arm rests the veena, and whose throne is a white lotus,who is surrounded and respected by the Gods, protect me.May you fully remove my lethargy, sluggishness, and ignorance."
A hamsa or swan is often located next to her feet. The sacred bird, if offered a mixture of milk and water, is said to be able to drink the milk alone. It thus symbolizes discrimination between the good and the bad or the eternal and the evanescent. Due to her association with the bird, Saraswati is also referred to as Hamsavahini, which means "she who has a hamsa as her vehicle".
She is usually depicted near a flowing river, which may be related to her early history as a river goddess.
Sometimes a peacock is shown beside the goddess. The peacock represents arrogance and pride over its beauty, and by having a peacock as her mount, the Goddess teaches not to be concerned with external appearance and to be wise regarding the eternal truth.
In Hindu beliefs, great significance is attached to offering honey to this goddess, as honey is representative of perfect knowledge. Hymns dedicated to her include Saraswati Vandana Mantra.
Saraswati Puja Calendar:
Sarasvati Puja in Eastern India
In the eastern part of India, Odisha,West Bengal, Bihār and Assam, Saraswati Puja is celebrated in the Magha month (January–February). It coincides with Vasant Panchami or Shree Panchami i.e. the 5th day of the bright fortnight of the lunar month of Magha. People place books near the Goddess' statue or picture and worship the Goddess. Book reading is not allowed on this day.
Sarasvati Puja in South India
In the southern states of India, Saraswati Puja is conducted during the Navaratri. Navaratri literally means “Nine Nights”. But the actual celebrations continue during the 10th day which is considered as Vijaya Dashami or the Victorious Tenth Day. Navaratri starts with the new moon day of the bright fortnight of the Sharad Ritu (Sharad Season of the six seasons of India) during September–October. The festival celebrates the power of the feminine aspect of divinity or shakti. The last two or three days are dedicated to Goddess Saraswati in South India.
In Tamil Nadu, Sarasvati Puja is conducted along with the Ayudha Puja (the worship of weapons, and implements including machines). On the ninth day of Navaratri, i.e. the Mahanavami day, books and all musical instruments are ceremoniously kept in front of the Goddess Sarasvati early at dawn and worshipped with special prayers. No studies or any performance of arts is carried out, as it is considered that the Goddess herself is blessing the books and the instruments. The festival concludes on the tenth day of Navaratri (Vijaya Dashami) and the Goddess is worshipped again before the books and the musical instruments are removed. It is customary to start the study afresh on this day, which is called Vidyarambham (literally, Commencement of Knowledge).
In Kerala, the last three days of the Navaratri festival, i.e. Ashtami, Navami, and Dashami are celebrated as Sarasvati Puja. The celebrations start with the Puja Veypu (Placing for Worship). It consists of placing the books for Pooja on the Ashtami day. It may be in one’s own house, in the local Nursery School run by traditional teachers, or in the local temple. The books will be taken out for reading, after worship, only on the morning of the third day (Vijaya Dashami). It is called Puja Eduppu (Taking [from] Puja). Children are happy since they are not expected to study on these days.
On the Vijaya Dashami day, Kerala celebrates the Ezhuthiniruthu or Initiation of Writing for the little children before they are admitted to nursery schools. This is also called Vidyarambham. The child is made to write for the first time on the rice spread in a plate with the index finger, guided by an elder of the family or by a reputed teacher. The little ones will have to write “Hari Shri Ganapataye Namah” and recite the same to mark the auspicious entry in to the world of education. This is considered a memorable event in the life of a person. In some parts of Kerala bordering Tamil Nadu, Ayudha Puja is also conducted during this period.
In India it is customary that, out of respect, when a person's foot accidentally touches a book or any written material (which are considered a manifestation of Saraswati) or another person's leg, it will be followed by an apology in the form of a single hand gesture (Pranāma) with the right hand, where the offending person first touches the object with the finger tips and then the forehead and/or chest. This also counts for money, which is considered a manifestation of the goddess of wealth Lakshmi.
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August 28, 2011