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Ganesha - Wikipedia
Ganesha - Wikipedia
Ganesha
While scholars differ about his origins dating him between 1st
century BCE and 2nd century CE, Ganesha was well established
by the 4th and 5th centuries CE, during the Gupta period and had
inherited traits from Vedic and pre-Vedic precursors.[13] Hindu
texts identifies him as the son of Parvati and Shiva of the Basohli miniature, c. 1730. National
Shaivism tradition, but he is a pan-Hindu god found in its various Museum, New Delhi.[3]
traditions.[14][15] In the Ganapatya tradition of Hinduism, Affiliation Deva, Brahman
Ganesha is the Supreme Being.[16] The principal texts on Ganesha (Ganapatya),
include the Ganesha Purana, the Mudgala Purana and the
Saguna Brahman
Ganapati Atharvasirsha.
(Panchayatana puja)
Abode • Mount Kailash (with
Etymology and other names parents)
• Svānandaloka
Ganesha has been ascribed many other titles and epithets,
including Ganapati (Ganpati), Vighneshvara, and Pillaiyar. The Mantra Oṃ Shri Gaṇeśāya
Hindu title of respect Shri (Sanskrit: श्री; IAST: śrī; also spelled Sri Namaḥ
or Shree) is often added before his name.[17] Oṃ Gaṃ
Gaṇapataye Namaḥ
The name Ganesha is a Sanskrit compound, joining the words
Weapon Paraśu (axe), pāśa
gana (gaṇa), meaning a 'group, multitude, or categorical system'
(noose), aṅkuśa
and isha (īśa), meaning 'lord or master'.[18] The word gaṇa when
associated with Ganesha is often taken to refer to the gaṇas, a (elephant goad)
troop of semi-divine beings that form part of the retinue of Shiva, Symbols Swastika, Om,
Ganesha's father.[19] The term more generally means a category, Modak
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A prominent name for Ganesha in the Tamil language is Pillai (Tamil: பிள்ளை) or Pillaiyar
(பிள்ளையார்).[31] A. K. Narain differentiates these terms by saying that pillai 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 or tusk".[32] Anita Raina Thapan
notes that the root word pille in the name Pillaiyar might have originally meant "the young of the
elephant", because the Pali word pillaka means "a young elephant".[33]
In the Burmese language, Ganesha is known as Maha Peinne (မဟာပိန္နဲ, pronounced [məhà pèiɰ̃ né]),
derived from Pali Mahā Wināyaka (မဟာဝိနာယက).[34] The widespread name of Ganesha in Thailand
is Phra Phikanet.[35] The earliest images and mention of Ganesha names as a major deity in present-
day Indonesia,[36] Thailand, Cambodia and Vietnam date from the 7th and 8th centuries,[37] and
these mirror Indian examples of the 5th century or earlier.[38] In Sri Lankan, among Sinhalese
Buddhists, he is known as Gana deviyo, and revered along with Buddha, Vishnu, Skanda and others
deities.[39]
Iconography
Ganesha is a popular figure in Indian art.[40] Unlike those of some deities, representations of Ganesha
show wide variations and distinct patterns changing over time.[41] He may be portrayed standing,
dancing, heroically taking action against demons, playing with his family as a boy, sitting down on an
elevated seat, or engaging in a range of contemporary situations.
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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 is turned towards the viewer in a gesture of
protection or fearlessness (Abhaya mudra).[50] The same combination of four arms and attributes
occurs in statues of Ganesha dancing, which is a very popular theme.[51]
Common attributes
Purana, which states that the name of Ganesha's second incarnation is Ekadanta.[62] Ganesha's
protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta
period (4th to 6th centuries).[63] 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).[64] Both names are Sanskrit compounds describing his
belly (IAST: udara).[65] 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.[66]
Ganesha is often described as red in colour.[77] Specific colours are associated with certain forms.[78]
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).[79] Ekadanta-Ganapati is visualised as blue during meditation in that form.[80]
Vahanas
The earliest Ganesha images are without a vahana (mount/vehicle).[81] Of the eight incarnations of
Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in
his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine
serpent, in his incarnation as Vighnaraja.[82] Mohotkata uses a lion, Mayūreśvara uses a peacock,
Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in
the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant,
tortoise, ram, or peacock.[83]
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The mouse is interpreted in several ways. According to Grimes, Ganesha on his vahana mooshika
"Many, if not most of those who interpret Gaṇapati's mouse, do so the rat, c. 1820
negatively; it symbolizes tamoguṇa as well as desire". [89] Along
these lines, Michael Wilcockson says it symbolises those who wish
to overcome desires and be less selfish.[90] 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.[91] Martin-Dubost notes a view that the rat is a
symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.[92]
Features
Removal of obstacles
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over
time.[30] 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).[96] However, both functions continue to be vital to his character.[97]
Buddhi (Intelligence)
Ganesha is considered to be the Lord of letters and learning.[98] In Sanskrit, the word buddhi is an
active noun that is variously translated as intelligence, wisdom, or intellect.[99] 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.[100] This name also appears in a list of 21 names at
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the end of the Ganesha Sahasranama that Ganesha says are especially important.[101] The word
priya can mean "fond of", and in a marital context it can mean "lover" or "husband",[102] so the name
may mean either "Fond of Intelligence" or "Buddhi's Husband".[103]
Om
First chakra
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.[107] This
association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as
follows: "You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]."[108]
Thus, Ganesha has a permanent abode in every being at the Muladhara.[109] Ganesha holds, supports
and guides all other chakras, thereby "governing the forces that propel the wheel of life".[107]
The family includes his brother, the god of war, Kartikeya, who is also called Skanda and
Murugan.[117] Regional differences dictate the order of their births. In northern India, Skanda is
generally said to be the elder, while in the south, Ganesha is considered the firstborn.[118] In northern
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India, Skanda was an important martial deity from about 500 BCE
to about 600 CE, after which worship of him declined
significantly. As Skanda fell, Ganesha rose. Several stories tell of
sibling rivalry between the brothers[119] and may reflect sectarian
tensions.[120]
The Shiva Purana says that Ganesha had begotten two sons: Kşema (safety) and Lābha (profit). In
northern Indian variants of this story, the sons are often said to be Śubha (auspiciousness) and
Lābha.[129] 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.[130]
Ganesha is a non-sectarian deity. Hindus of all denominations invoke him at the beginning of prayers,
important undertakings, and religious ceremonies.[134] Dancers and musicians, particularly in
southern India, begin art performances such as the Bharatanatyam dance with a prayer to
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Devotees offer Ganesha sweets such as modaka and small sweet balls
called laddus. He is often shown carrying a bowl of sweets, called a
modakapātra.[136] Because of his identification with the color red, he is
often worshipped with red sandalwood paste (raktachandana)[137] or
red flowers. Dūrvā grass (Cynodon dactylon) and other materials are
also used in his worship.[138]
Ganesha Chaturthi
Temples
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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 (Sacred fig)
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."[153] Ganesha
temples have also been built outside of India, including Southeast Asia, Nepal (including the four
Vinayaka shrines in the Kathmandu Valley),[154] and in several western countries.[155]
Rise to prominence
First appearance
An elephant–headed anthropomorphic figure on Indo-Greek coins from the 1st century BCE has been
proposed by some scholars to be "incipient Ganesha", but this has been strongly contested.[158]
Others have suggested Ganesha may have been an emerging deity in India and southeast Asia around
the 2nd century CE based on the evidence from archaeological excavations in Mathura and outside
India.[159] First terracotta images of Ganesha are from 1st century CE found in Ter, Pal, Verrapuram,
and Chandraketugarh. These figures are small, with an elephant head, two arms, and chubby
physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd–3rd
centuries CE).[160]
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The evidence for more ancient Ganesha, suggests Narain, may reside outside Brahmanic or Sanskritic
traditions, or outside geocultural boundaries of India.[161] Ganesha appears in China by the 6th
century, states Brown,[165] and his artistic images in temple setting as "remover of obstacles" in South
Asia appear by about 400 CE.[166] He is, states Bailey, recognised as goddess Parvati's son and
integrated into Shaivism theology by early centuries of the common era.[167]
Possible influences
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:[168]
In this search for a historical origin for Gaṇeśa, 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
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The Pashupati seal (c. 2300 BCE - 2000 BCE) depicts 4 animals including an elephant around a deity
who is claimed by some to be Shiva. Brown notes that this seal indicates the sacredness of elephants
before Vedic period.[170] One theory of the origin of Ganesha is that he gradually came to prominence
in connection with the four Vinayakas (Vināyakas).[171] In Hindu mythology, the Vināyakas were a
group of four troublesome demons who created obstacles and difficulties[172] but who were easily
propitiated.[173] The name Vināyaka is a common name for Ganesha both in the Purāṇas and in
Buddhist Tantras.[27] Krishan is one of the academics who accept 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".[174]
Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian
art and coinage as early as the 2nd century.[175] 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.[176]
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The Sangam period Tamil poet Avvaiyar (3rd century BCE), invokes Ganesha while preparing the
invitation to the three Tamil Kingdoms for giving away in marriage of Angavay and Sangavay of
Ceylon in marriage to the King of Tirucovalur (pp. 57–59).[183]
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1)[184] and Taittirīya
Āraṇyaka (10.1),[185] appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha),
and "with a curved trunk" (Vakratuṇḍa). These names are suggestive of Ganesha, and the 14th
century commentator Sayana explicitly establishes this identification.[186] The description of Dantin,
possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane,[187] and a club,[188] is
so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full
identification with this Vedic Dantin".[189] However, Krishan considers these hymns to be post-Vedic
additions.[190] 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".[191]
Ganesha does not appear in the Indian epic literature that is dated to the Vedic period. A late
interpolation to the epic poem Mahabharata (1.1.75–79[a]) 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 the condition that Vyasa recites 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,[192] in which the twenty-line story is relegated to a footnote in an
appendix.[193] The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted
during the preparation of the critical edition.[194] 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.[195] 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 legend.[196] The term vināyaka is found in some
recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations.[197] A
reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an
interpolation and does not appear in the critical edition.[198]
Puranic period
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.[199] 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 of 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.[200]
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:[201]
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
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Scriptures
A Ganesha-centric Panchayatana:
Once Ganesha was accepted as one of
Ganesha (centre) with Shiva (top
the five principal deities of Hinduism, left), Devi (top right), Vishnu (bottom
some Hindus chose Ganesha as their left) and Surya (bottom right).
principal deity. They developed the
Ganapatya tradition, as seen in the
Ganesha Purana and the Mudgala Purana.[204]
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 comment about dating and provide her own
judgment. "It seems likely that the core of the Ganesha Purana appeared
8th-century Ganesha Statue
around the twelfth and thirteenth centuries", she says, "but was later
in Cham Museum Danang, interpolated."[205] Lawrence W. Preston considers the most reasonable
Central Vietnam 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.[206]
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates
between 1100 and 1400.[207] 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.[208] 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.[209] Another highly regarded scripture in the Ganapatya
tradition, the Sanskrit Ganapati Atharvashirsa, was probably composed during the 16th or 17th
century.[210][211]
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The Ganesha Sahasranama is part of the Puranic literature, and is a litany of a thousand names and
attributes of Ganesha. Each name in the sahasranama conveys a different meaning and symbolises a
different aspect of Ganesha. Versions of the Ganesha Sahasranama are found in the Ganesha
Purana.[212]
Before the arrival of Islam, Afghanistan had close cultural ties with
India, and the adoration of both Hindu and Buddhist deities was
practised. 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.[222]
The canonical literature of Jainism does not mention the worship of Ganesha.[233] However, Ganesha
is worshipped by some Jains, for whom he appears to have taken over certain functions of the god of
wealth, Kubera.[234] Jain ties with the trading community support the idea that Jainism took up
Ganesha worship as a result of commercial connections and influence of Hinduism.[235] The earliest
known Jain Ganesha statue dates to about the 9th century.[236] A 15th-century Jain text lists
procedures for the installation of its images.[233] Images of Ganesha appear in some Jain temples of
Rajasthan and Gujarat.[237]
See also
Gajasura
Cultural depictions of elephants
Explanatory notes
a. Bombay edition
1. For the human-headed form of Ganesha in:
Uthrapathiswaraswamy Temple.[49]
Citations
1. Heras 1972, p. 58.
2. Getty 1936, p. 5.
3. "Ganesha getting ready to throw his lotus. Basohli miniature, circa 1730. National Museum, New
Delhi. In the Mudgalapurāṇa (VII, 70), in order to kill the demon of egotism (Mamāsura) who had
attacked him, Gaṇeśa Vighnarāja throws his lotus at him. Unable to bear the fragrance of the
divine flower, the demon surrenders to Gaṇeśha." For quotation of description of the work, see:
Martin-Dubost 1997, p. 73.
4. Ramachandra Rao 1992, p. 6.
5.
Brown 1991, p. 1 "Gaṇeśa is often said to be the most worshipped god in India."
Getty 1936, p. 1 "Gaṇeśa, Lord of the Gaṇas, although among the latest deities to be admitted
to the Brahmanic pantheon, was, and still is, the most universally adored of all the Hindu gods
and his image is found in practically every part of India."
6.
Ramachandra Rao 1992, p. 1
Martin-Dubost 1997, p. 1
Brown 1991, p. 1
7.
Chapter XVII, "The Travels Abroad", in: Nagar 1992, pp. 175–187. For a review of Ganesha's
geographic spread and popularity outside of India.
Getty 1936, pp. 37–38, For discussion of the spread of Ganesha worship to Nepal, Chinese
Turkestan, Tibet, Burma, Siam, Indo-China, Java, Bali, Borneo, China, and Japan
Martin-Dubost 1997, pp. 311–320
Thapan 1997, p. 13
Apte 1965, pp. 2–3
8. Martin-Dubost, p. 2.
9. For Ganesha's role as an eliminator of obstacles, see commentary on Gaṇapati Upaniṣad, verse
12 in Saraswati 2004, p. 80
10. DeVito, Carole; DeVito, Pasquale (1994). India - Mahabharata. Fulbright-Hays Summer Seminar
Abroad 1994 (India). United States Educational Foundation in India. p. 4.
11. Heras 1972, p. 58
12. , Vigna means obstacles Nasha means destroy. These ideas are so common that Courtright uses
them in the title of his book, Ganesha: Lord of Obstacles, Lord of Beginnings.
13. Narain, A.K. "Gaṇeśa: The Idea and the Icon" in Brown 1991, p. 27
14. Gavin D., Flood (1996). An Introduction to Hinduism (https://archive.org/details/introductiontohi00
00floo). Cambridge University Press. pp. 14 (https://archive.org/details/introductiontohi0000floo/pa
ge/14)–18, 110–113. ISBN 978-0521438780.
15. Vasudha, Narayan (2009). Hinduism (https://books.google.com/books?id=E0Mm6S1XFYAC). The
Rosen Publishing Group. pp. 30–31. ISBN 978-1435856202.
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16. For history of the development of the gāṇapatya and their relationship to the wide geographic
dispersion of Ganesha worship, see: Chapter 6, "The Gāṇapatyas" in: Thapan 1997, pp. 176–213.
17. "Lord Ganesha – Symbolic description of Lord Ganesha | – Times of India" (https://web.archive.or
g/web/20201115155341/https://timesofindia.indiatimes.com/astrology/rituals-puja/symbolic-descrip
tion-of-lord-ganesha/articleshow/68207007.cms). The Times of India. 4 April 2019. Archived from
the original on 15 November 2020. Retrieved 4 November 2020.
18. * Narain, A. K. "Gaṇeśa: A Protohistory of the Idea and the Icon". Brown 1991, pp. 21–22.
Apte 1965, p. 395.
19. For the derivation of the name and relationship with the gaṇas, see: Martin-Dubost 1965, p. 2
20. Apte 1965, p. 395.
21. The word gaṇa is interpreted in this metaphysical sense by Bhāskararāya in his commentary on
the gaṇeśasahasranāma. See in particular commentary on verse 6 including names Gaṇeśvaraḥ
and Gaṇakrīḍaḥ in: Śāstri Khiste 1991, pp. 7–8.
22. Grimes 1995, pp. 17–19, 201.
23. Rigveda Mandala 2 (https://sa.wikisource.org/wiki/ऋग्वेद:_सूक्तं_२.२३) Archived (https://web.archiv
e.org/web/20170202001602/https://sa.wikisource.org/wiki/%E0%A4%8B%E0%A4%97%E0%A5%
8D%E0%A4%B5%E0%A5%87%E0%A4%A6:_%E0%A4%B8%E0%A5%82%E0%A4%95%E0%
A5%8D%E0%A4%A4%E0%A4%82_%E0%A5%A8.%E0%A5%A8%E0%A5%A9) 2 February
2017 at the Wayback Machine, Hymn 2.23.1, Wikisource, Quote: गणानां त्वा गणपतिं हवामहे कविं
कवीनामुपमश्रवस्तमम् । ज्येष्ठराजं ब्रह्मणां ब्रह्मणस्पत आ नः शृण्वन्नूतिभिः सीद सादनम् ॥१॥; For translation, see
Grimes 1995, pp. 17–19
24. Oka 1913, p. 8 for source text of Amarakośa 1.38 as vināyako
vighnarājadvaimāturagaṇādhipāḥ – apyekadantaherambalambodaragajānanāḥ.
Śāstri 1978 for text of Amarakośa versified as 1.1.38.
25. Y. Krishan, Gaṇeśa: Unravelling an Enigma, 1999, p. 6): "Pārvati who created an image of
Gaṇeśa out of her bodily impurities but which became endowed with life after immersion in the
sacred waters of the Gangā. Therefore he is said to have two mothers—Pārvati and Gangā and
hence called dvaimātura and also Gāngeya."
26. Krishan 1999, p. 6
27. Thapan 1997, p. 20
28. For the history of the aṣṭavināyaka sites and a description of pilgrimage practices related to them,
see: Mate 1962, pp. 1–25
29. These ideas are so common that Courtright uses them in the title of his book, Ganesha: Lord of
Obstacles, Lord of Beginnings. For the name Vighnesha, see: Courtright 1985, pp. 156, 213
30. For Krishan's views on Ganesha's dual nature see his quote: "Gaṇeśa has a dual nature; as
Vināyaka, as a grāmadevatā, he is vighnakartā, and as Gaṇeśa he is vighnahartā, a paurāṇic
devatā." (Krishan 1999, p. viii)
31. Martin-Dubost 1965, p. 367.
32. Narain, A. K. "Gaṇeśa: The Idea and the Icon".Brown 1991, p. 25
33. Thapan 1997, p. 62
34. Myanmar-English Dictionary (http://sealang.net/burmese/dictionary.htm), Yangon: Dunwoody
Press, 1993, ISBN 978-1881265474, archived (https://web.archive.org/web/20100210001846/htt
p://www.sealang.net/burmese/dictionary.htm) from the original on 10 February 2010, retrieved
20 September 2010
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35. Justin Thomas McDaniel (2013). The Lovelorn Ghost and the Magical Monk: Practicing Buddhism
in Modern Thailand (https://books.google.com/books?id=tMWrAgAAQBAJ). Columbia University
Press. pp. 156–157. ISBN 978-0231153775.
36. Brown, Robert L. (1987), "A Note on the Recently Discovered Gaṇeśa Image from Palembang,
Sumatra", Indonesia, 43 (43): 95–100, doi:10.2307/3351212 (https://doi.org/10.2307%2F335121
2), hdl:1813/53865 (https://hdl.handle.net/1813%2F53865), JSTOR 3351212 (https://www.jstor.or
g/stable/3351212)
37. Brown 1991, pp. 176, 182, Note: some scholars suggest adoption of Ganesha by the late 6th
century CE, see p. 192 footnote 7.
38. Brown 1991, p. 190.
39. John Clifford Holt (1991). Buddha in the Crown : Avalokitesvara in the Buddhist Traditions of Sri
Lanka: Avalokitesvara in the Buddhist Traditions of Sri Lanka (https://books.google.com/books?id
=aT3AMR8g1gEC). Oxford University Press. pp. 6, 100, 180–181. ISBN 978-0195362466.
40. Metcalf & Metcalf, p. vii
41. * Martin-Dubost 1965, for a comprehensive review of iconography abundantly illustrated with
pictures.
Chapter X, "Development of the Iconography of Gaṇeśa", in: Krishan 1999, pp. 87–100, for a
survey of iconography with emphasis on developmental themes, well-illustrated with plates.
Pal 1995, for a richly illustrated collection of studies on specific aspects of Ganesha with a
focus on art and iconography.
42. Brown 1991, p. 175
43. Martin-Dubost 1997, p. 213. In the upper right corner, the statue is dated as (973–1200).
44. Pal, p. vi. The picture on this page depicts a stone statue in the Los Angeles County Museum of
Art that is dated as c. 12th century. Pal shows an example of this form dated c. 13th century on p.
viii.
45. Brown 1991, p. 176
46. See photograph 2, "Large Ganesh", in: Pal 1995, p. 16
47. "Adi Vinayaka - The Primordial Form of Ganesh" (http://agasthiar.org/a/adinmv.htm).
agasthiar.org. Retrieved 28 December 2017.
48. "Vinayaka in unique form" (https://archive.today/2015.05.01-000652/http://www.thehindu.com/fr/20
03/10/10/stories/2003101001411200.htm). The Hindu. 10 October 2003. Archived from the
original (http://www.thehindu.com/fr/2003/10/10/stories/2003101001411200.htm) on 1 May 2015.
Retrieved 30 April 2015.
49. Catlin, Amy; "Vātāpi Gaṇapatim": Sculptural, Poetic, and Musical Texts in the Hymn to Gaṇeśa" in
Brown 1991, pp. 146, 150
50. In:
Martin-Dubost 1965, pp. 197–198
photograph 9, "Ganesh images being taken for immersion", in: Pal 1995, pp. 22–23. For an
example of a large image of this type being carried in a festival procession.
Pal 1995, p. 25, For two similar statues about to be immersed.
51. In:
Pal 1995, pp. 41–64. For many examples of Ganesha dancing.
Brown 1991, p. 183 For the popularity of the dancing form.
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52. Four-armed Gaṇeśa. Miniature of Nurpur school, circa 1810. Museum of Chandigarh. For this
image see: Martin-Dubost (1997), p. 64, which describes it as follows: "On a terrace leaning
against a thick white bolster, Gaṇeśa is seated on a bed of pink lotus petals arranged on a low
seat to the back of which is fixed a parasol. The elephant-faced god, with his body entirely red, is
dressed in a yellow dhoti and a yellow scarf fringed with blue. Two white mice decorated with a
pretty golden necklace salute Gaṇeśa by joining their tiny feet together. Gaṇeśa counts on his
rosary in his lower right hand; his two upper hands brandish an axe and an elephant goad; his
fourth hand holds the broken left tusk."
53. Nagar 1992, p. 77
54. Brown 1991, p. 3
55. Nagar 1992, p. 78
56. Brown 1991, p. 76
57. Brown 1991, p. 77
58. Brown 1991, pp. 77–78
59. For creation of Ganesha from Shiva's laughter and subsequent curse by Shiva, see Varaha
Purana 23.17 as cited in Brown 1991, p. 77.
60. Getty 1936, p. 1.
61. Heras 1972, p. 29
62. Granoff, Phyllis. "Gaṇeśa as Metaphor". Brown 1991, pp. 92–94
63. "Ganesha in Indian Plastic Art" and Passim. Nagar 1992, p. 78
64. Granoff, Phyllis. "Gaṇeśa as Metaphor". Brown 1991, p. 76
65. For translation of Udara as "belly" see: Apte 1965, p. 268
69. Krishan 1999, p. 89, For two-armed forms as an earlier development than four-armed forms.
Brown 1991, p. 103 Maruti Nandan Tiwari and Kamal Giri say in "Images of Gaṇeśa In
Jainism" that the presence of only two arms on a Ganesha image points to an early date.
70. Martin-Dubost 1965, p. 120.
71. Martin-Dubost 1965, p. 202, For an overview of snake images in Ganesha iconography.
Krishan 1999, pp. 50–53, For an overview of snake images in Ganesha iconography.
72. Ganesha Purana
Martin-Dubost 1965, p. 202. For the Ganesha Purana references for Vāsuki around the neck
and use of a serpent-throne.
Krishan 1999, pp. 51–52. For the story of wrapping Vāsuki around the neck and Śeṣa around
the belly and for the name in his sahasranama as Sarpagraiveyakāṅgādaḥ ("Who has a
serpent around his neck"), which refers to this standard iconographic element.
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73. * Martin-Dubost 1965, p. 202. For the text of a stone inscription dated 1470 identifying Ganesha's
sacred thread as the serpent Śeṣa.
Nagar 1992, p. 92. For the snake as a common type of yajñyopavīta for Ganesha.
74. * Nagar 1992, p. 81. tilaka with three horizontal lines.
the dhyānam in: Sharma (1993 edition of Ganesha Purana) I.46.1. For Ganesa visualized as
trinetraṁ (having three eyes).
75. * Nagar 1992, p. 81. For a citation to Ganesha Purana I.14.21–25 and For a citation to Padma
Purana as prescribing the crescent for decoration of the forehead of Ganesha
Bailey 1995, pp. 198–199. For the translation of Ganesha Purana I.14, which includes a
meditation form with the moon on forehead.
93. "Lord of Removal of Obstacles", a common name, appears in the title of Courtright's Gaṇeśa:
Lord of Obstacles, Lord of Beginnings. For equivalent Sanskrit names Vighneśvara and
Vighnarāja, see: Mate 1962, p. 136
94. "Ganesha: The Remover of Obstacles" (https://chopra.com/articles/ganesha-the-remover-of-obsta
cles). 31 May 2016.
95. Courtright 1985, p. 136
96. For Dhavilkar's views on Ganesha's shifting role, see Dhavalikar, M.K. "Gaṇeśa: Myth and reality"
in Brown 1991, p. 49
97. Brown 1991, p. 6
98. Nagar 1992, p. 5.
99. Apte 1965, p. 703.
100. Ganesha Purana I.46, v. 5 of the Ganesha Sahasranama section in GP-1993, Sharma edition. It
appears in verse 10 of the version as given in the Bhaskararaya commentary.
101. Sharma edition, GP-1993 I.46, verses 204–206. The Bailey edition uses a variant text, and where
Sharma reads Buddhipriya, Bailey translates Granter-of-lakhs.
102. Practical Sanskrit Dictionary By Arthur Anthony McDonell; p. 187 (priya); Published 2004; Motilal
Banarsidass Publ; ISBN 8120820002
103. Krishan 1999, pp. 60–70p. discusses Ganesha as "Buddhi's Husband".
104. Grimes, p. 77.
105. Chinmayananda 1987, p. 127, In Chinmayananda's numbering system, this is upamantra 8..
106. For examples of both, see: Grimes 1995, pp. 79–80
107. Tantra Unveiled: Seducing the Forces of Matter & Spirit By Rajmani Tigunait; Contributor Deborah
Willoughby; Published 1999; Himalayan Institute Press; p. 83; ISBN 0893891584
108. Courtright 1985, p. 253.
109. Chinmayananda 1987, p. 127, In Chinmayananda's numbering system this is part of upamantra 7.
'You have a permanent abode (in every being) at the place called "Muladhara"'..
110. This work is reproduced and described in Martin-Dubost (1997), p. 51, which describes it as
follows: "This square shaped miniature shows us in a Himalayan landscape the god Śiva sweetly
pouring water from his kamaṇḍalu on the head of baby Gaṇeśa. Seated comfortably on the
meadow, Pārvatī balances with her left hand the baby Gaņeśa with four arms with a red body and
naked, adorned only with jewels, tiny anklets and a golden chain around his stomach, a necklace
of pearls, bracelets and armlets."
111. In:
Nagar 1992, pp. 7–14. For a summary of Puranic variants of birth stories.
Martin-Dubost 1965, pp. 41–82. Chapter 2, "Stories of Birth According to the Purāṇas".
112. Shiva Purana IV. 17.47–57. Matsya Purana 154.547.
113. Linga Purana
114. Varāha Purana 23.18–59.
115. For summary of Brahmavaivarta Purana, Ganesha Khanda, 10.8–37, see: Nagar 1992, pp. 11–
13.
116. Melton, J. Gordon (13 September 2011). Religious Celebrations: An Encyclopedia of Holidays,
Festivals, Solemn Observances, and Spiritual Commemorations (https://books.google.com/book
s?id=KDU30Ae4S4cC&pg=PA325). ABC-CLIO. pp. 325–. ISBN 978-1598842050.
117. For a summary of variant names for Skanda, see: Thapan 1997, p. 300.
118. Khokar & Saraswati 2005 p.4.
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143. In:
(Brown 1991, p. 9).
Thapan 1997, p. 225 For Tilak's role in converting the private family festivals to a public event
in support of Indian nationalism.
144. In:
Momin, A.R., The Legacy of G.S. Ghurye: A Centennial Festschrift, p. 95.
Brown 1991, p. 9. For Ganesha's appeal as "the god for Everyman" as a motivation for Tilak.
145. For Tilak as the first to use large public images in maṇḍapas (pavilions or tents) see: Thapan
1997, p. 225.
146. For Ganesh Chaturthi as the most popular festival in Maharashtra, see: Thapan 1997, p. 226.
147. "Gaṇeśa in a Regional Setting". Courtright 1985, p. 202–247.
148. Krishan 1999, p. 92
149. Brown 1991, p. 3
150. Grimes 1995, p. 110–112
151. "Major Ganesha Temples around the world" (https://tamilminutes.com/famous-vinayagar-temple-in
-the-world/). Tamil Minutes. 31 August 2022. Retrieved 22 October 2022.
152. Krishna 1985, p. 91–92
153. T.A. Gopinatha; Elements of Hindu Iconography, p. 47–48 as quoted in Krishan 1999, p. 2
154. Krishan 1999, p. 147–158
155. "Ganesha Temples worldwide" (https://web.archive.org/web/20071217044207/http://ganapati.club.
fr/anglais/tslesganesheng.html). Archived from the original (http://ganapati.club.fr/anglais/tslesgan
esheng.html) on 17 December 2007.
156. The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by
the Shahi King Khingala. For photograph of statue and details of inscription, see: Dhavalikar,
M.K., "Gaņeśa: Myth and Reality", in: Brown 1991, pp. 50, 63.
157. Dhavalikar, M. K. (1971), "A Note on Two Gaṇeśa Statues from Afghanistan", East and West, 21
(3/4): 331–336, JSTOR 29755703 (https://www.jstor.org/stable/29755703)
158. Bopearachchi, Osmund (1993). "On the so-called earliest representation of Ganesa" (https://www.
persee.fr/doc/topoi_1161-9473_1993_num_3_2_1479). Topoi. Orient-Occident. 3 (2): 425–453.
doi:10.3406/topoi.1993.1479 (https://doi.org/10.3406%2Ftopoi.1993.1479).
159. Brown 1991, pp. 6–7
160. Kumar, Ajit (2007). "A Unique Early Historic Terracotta Ganesa Image from Pal, District
Aurangabad, Maharashtra" (https://www.academia.edu/4417003). Kala, the Journal of Indian Art
History Congress, Vol XI. (2006–2007): 89–91.
161. Brown 1991, pp. 19–21, chapter by AK Narain.
162. Nagar 1992, p. 4
163. Brown 1991, pp. 50–55, 120.
164. Raman Sukumar (2003). The Living Elephants: Evolutionary Ecology, Behaviour, and
Conservation (https://archive.org/details/livingelephantse00suku_0). Oxford University Press.
pp. 67 (https://archive.org/details/livingelephantse00suku_0/page/67)–68. ISBN 978-0198026730.
165. Brown 1991, p. 2.
166. Brown 1991, p. 8.
167. Bailey 1995, p. ix.
168. Courtright 1985 p. 10–11.
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190. In:
Krishan 1981–1982, p. 290
Krishan 1999, pp. 12–15. For arguments documenting interpolation into the Maitrāyaṇīya
Saṃhitā
191. *Thapan, p. 101. For interpolation into the Maitrāyaṇīya Saṃhitā and Taittirīya Āraṇyaka.
Dhavalikar, M.K. "Gaṇeśa: Myth and reality" in Brown 1991, pp. 56–57. For Dhavilkar's views
on Ganesha's in early Literature.
192. Rocher, Ludo "Ganesa's Rise to Prominence in Sanskrit Literature". Brown, pp. 71–72.
193. Mahābhārata Vol. 1 Part 2. Critical edition, p. 884.
194. For a statement that "Fifty-nine manuscripts of the Ādiparvan were consulted for the
reconstruction of the critical edition. The story of Gaṇeśa acting as the scribe for writing the
Mahābhārata occurs in 37 manuscripts", see: Krishan 1999, p. 31, note 4.
195. Brown, p. 4.
196. Winternitz, Moriz. "Gaṇeśa in the Mahābhārata". Journal of the Royal Asiatic Society of Great
Britain and Ireland (1898:382). Citation provided by Rocher, Ludo. "Gaṇeśa's Rise to Prominence
in Sanskrit Literature". Brown 1991, p. 80.
197. For interpolations of the term vināyaka see: Krishan 1999, p. 29.
198. For reference to Vighnakartṛīṇām and translation as "Creator of Obstacles", see: Krishan 1999,
p. 29.
199. Brown 1991, p. 183.
200. Krishan 1999, p. 103.
201. Rocher, Ludo. "Gaṇeśa's Rise to Prominence in Sanskrit Literature". Brown 1991, p. 73.
202. *(Courtright 1985, p. 163) For Dating of the pañcāyatana pūjā and its connection with Smārta
Brahmins.
Bhattacharyya, S., "Indian Hymnology", in: Bhattacharyya 1956, p. 470. Volume VI. For the
"five" divinities (pañcādevatā) becoming "the major deities" in general, and their listing as
Shiva, Shakti, Vishnu, Surya, and Ganesha.
203.
Grimes 1995, p. 162.
Pal 1995, p. ix.
204. Thapan 1997, pp. 196–197. Addresses the pañcāyatana in the Smārta tradition and the
relationship of the Ganesha Purana and the Mudgala Purana to it.
205. For a review of major differences of opinions between scholars on dating, see: Thapan 1997,
pp. 30–33.
206. Preston, Lawrence W., "Subregional Religious Centers in the History of Maharashtra: The Sites
Sacred to Gaṇeśa", in: N.K. Wagle, ed., Images of Maharashtra: A Regional Profile of India. p.
103.
207. R.C. Hazra, "The Gaṇeśa Purāṇa", Journal of the Ganganatha Jha Research Institute (1951); 79–
99.
208. Phyllis Granoff, "Gaṇeśa as Metaphor", in Brown 1991, pp. 94–95, note 2.
209. Thapan 1997, pp. 30–33.
210. Courtright 1985, p. 252.
211. Grimes 1995, pp. 21–22.
212. Bailey 1995, pp. 258–269.
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General references
Pal, Pratapaditya (1995). Ganesh, the Benevolent (https://books.google.com/books?id=eY7XAAA
AMAAJ). the University of Michigan: Marg Publications. ISBN 9788185026312.
Apte, Vaman Shivram (1965). The Practical Sanskrit Dictionary (Fourth revised and enlarged ed.).
Delhi: Motilal Banarsidass Publishers. ISBN 978-8120805675.
Bailey, Greg (1995). Ganeśapurāna: Introduction, translation, notes and index. Harrassowitz.
ISBN 978-3447036474.
Bhattacharyya, Haridas, ed. (1956). The Cultural Heritage of India. Calcutta: The Ramakrishna
Mission Institute of Culture. Four volumes.
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External links
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