Coordinates	37°46′45.48″N122°25′9.12″N
name	Ganesha
alt	Attired in an orange dhoti, an elephant-headed man sits on a large lotus. His body is red in colour and he wears various golden necklaces and bracelets and a snake around his neck. On the three points of his crown, budding lotuses have been fixed. He holds in his two right hands the rosary (lower hand) and a cup filled with three modakas (round yellow sweets), a fourth modaka held by the curving trunk is just about to be tasted. In his two left hands, he holds a lotus above and an axe below, with its handle leaning against his shoulder.
devanagari
sanskrit script
kannada script
tamil script
affiliation	Deva
mantra	()
weapon	(Axe), (Lasso), (Hook)
consort	Buddhi (wisdom),Riddhi (prosperity),Siddhi (attainment) or sometimes, none
mount	Mouse }}

Ganesha (Sanskrit: ; IAST: ; ), also spelled Ganesa or Ganesh, also known as Ganapati (Sanskrit: ; IAST: ), Vinayaka (Sanskrit: ; IAST: ), and Pillaiyar (Tamil: ), is one of the deities best-known and most widely worshipped in the Hindu pantheon. 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 elephant head makes him particularly easy to identify. Ganesha is widely revered as the Remover of Obstacles and more generally as Lord of Beginnings and Lord of Obstacles (Vighnesha (Sanskrit: ; IAST: ), Vighneshvara (Sanskrit: ; IAST: ), 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: ; IAST: ), 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''.

Etymology and other names

Ganesha has many other titles and epithets, including ''Ganapati'' and ''Vigneshvara''. The Hindu title of respect ''Shri'' (Sanskrit: ; IAST: ; 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: ; IAST: ), meaning a group, multitude, or categorical system and ''isha'' (Sanskrit: ; IAST: ), 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: ). The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the " to mean "Lord of Hosts" or "Lord of created categories", such as the elements. ''Ganapati'' (Sanskrit: ; IAST: ), a synonym for ''Ganesha'', is a compound composed of '''', meaning "group", and '''', meaning "ruler" or "lord". The ''Amarakosha'', an early Sanskrit lexicon, lists eight synonyms of ''Ganesha'' : ''Vinayaka'', '''' (equivalent to ''Vignesha''), '''' (one who has two mothers), '''' (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: ) ; having the face of an elephant).

''Vinayaka'' (Sanskrit: ; IAST: ) is a common name for Ganesha that appears in the s and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the ''Ashtavinayak'' (). The names ''Vighnesha'' (Sanskrit: ; IAST: ) and ''Vighneshvara'' (; ) (Lord of Obstacles) refers to his primary function in Hindu mythology as the master and remover of obstacles ('''').

A prominent name for Ganesha in the Tamil language is ''Pille'' () or ''Pillaiyar'' () (Little Child). 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 or tusk". 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".

In the Burmese language, Ganesha is known as ''Maha Peinne'' (, ), derived from Pali (). The widespread name of Ganesha in Thailand is ''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.

Iconography

Ganesha is a popular figure in Indian art. 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 century. 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 Martin-Dubost, 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 fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

Common attributes

:''For thirty-two popular iconographic forms of Ganesha, see Sritattvanidhi''

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: ''''). The ''Brahmanda Purana'' says that Ganesha has the name Lambodara because all the universes (i.e, cosmic eggs; IAST: '''') 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: '''') 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: ), 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: ''''; "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.

Vahanas

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, '''' 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 '''' (mouse-mount) and '''' (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 's mouse, do so negatively; it symbolizes '''' 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 '''' (mouse) is derived from the root '''' (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.

Associations

Obstacles

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 , to this shift in emphasis from '''' (obstacle-creator) to '''' (obstacle-averter). However, both functions continue to be vital to his character, as Robert Brown explains, "even after the is well-defined, in art remained predominantly important for his dual role as creator and remover of obstacles, thus having both a negative and a positive aspect".

Buddhi (Knowledge)

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".

Aum

Ganesha is identified with the Hindu mantra Aum (Tamil:, Sanskrit:) also called ''Om''). The term '''' (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:

]]]. You are the sun [] 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.

First chakra

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (). ''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 []." 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".

Family and consorts

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: ''''). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or (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: (prosperity) and (profit). In northern Indian variants of this story, the sons are often said to be (auspiciouness) and . 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.

Worship and festivals

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 Namah'' (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is ''Om Ganapataye Namah'' (Om, , 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 ''''. Because of his identification with the color red, he is often worshipped with red sandalwood paste () or red flowers. grass (''Cynodon dactylon'') and other materials are also used in his worship.

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the '''' (the fourth day of the waxing moon) in the month of ''bhādrapada'' (August/September) and the '' jayanti'' ('s birthday) celebrated on the ''cathurthī'' of the '''' (fourth day of the waxing moon) in the month of ''māgha'' (January/February)."

Ganesh Chaturthi

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.

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 (''''); as a deity related to the principal deity (''''); or as the principal deity of the temple (), 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; ; 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 '''' (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below '''' trees […], in a niche […] in temples of '''' (Vishnu) as well as '''' (Shiva) and also in separate shrines specially constructed in '''' temples […]; the figure of '''' is invariably seen.” Ganesha temples have also been built outside of India, including southeast Asia, Nepal, and in several western countries.

Rise to prominence

First appearance

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:

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. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.|}}

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:

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 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 literature and the iconography of .|}}

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 '''' form exists it cannot be presumed to represent . There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. 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 (). In Hindu mythology, the 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 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.

Vedic and epic literature

The title "Leader of the group" (Sanskrit: '''') 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 —who is the deity of the hymn—and only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet '', 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, '''' (2.9.1) and '''' (10.1), appeal to a deity as "the tusked one" (), "elephant-faced" (Hastimukha), and "with a curved trunk" (). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk () 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 '''' 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 () 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 '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 legend. The term '''' is found in some recensions of the '''' and '''' that are regarded as interpolations. A reference to '''' ("Creator of Obstacles") in ''Vanaparva'' is also believed to be an interpolation and does not appear in the critical edition.

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. 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:

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 popularized the "worship of the five forms" () system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, , and . 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.

Scriptures

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins () 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.

Beyond India and Hinduism

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 of 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 , 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 , he is often shown dancing. This form, called 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. A Tibetan rendering of Ganapati is ''tshogs bdag''. In one Tibetan form, he is shown being trodden under foot by , 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.

Notes

References

|year=1978 |publisher=Prithivi Prakashan |location=Varanasi |isbn= }} (fourth revised and enlarged edition). (1993 reprint edition). Four volumes. : Lord of Obstacles, Lord of Beginnings |year=1985 |publisher=Oxford University Press |location=New York |isbn=0-19-505742-2 }} . . |journal=Artibus Asiae |volume=43 |issue=4 |pages=285–301 |accessdate= 2007-09-11 |quote= |doi=10.2307/3249845 |publisher=Artibus Asiae Publishers |jstor=3249845}} . | publication-place =Delhi | publisher =D. K. Printworld Ltd. | isbn =81-246-0265-4}} . Source text with a commentary by Bhāskararāya in Sanskrit.

External links

Ganesh: Symbol and presence

Category:Hindu gods Category:Wisdom gods Category:Mythological hybrids Category:Animal gods Category:Crossroads mythology Category:Sanskrit words and phrases Category:Knowledge gods Category:Names of God Category:Buddhist deities, bodhisattvas, and demons Category:Jain deities

af:Ganesja als:Ganesha ar:غانيشا bn:গণেশ bh:गणेश bo:ཚོགས་བདག bg:Ганеша ca:Ganeixa cs:Ganéša da:Ganesha de:Ganesha el:Γκανέσα es:Gaṇeśa fa:گانش fr:Ganesh gu:ગણેશ ko:가네샤 hi:गणेश id:Ganesa it:Ganesha he:גנש jv:Ganésa kn:ಗಣೇಶ ka:განეშა la:Ganesa lv:Ganēša lt:Ganeša hu:Ganésa ml:ഗണപതി mr:गणपती ms:Ganesha my:မဟာပိန္နဲ nl:Ganesha ne:गणेश new:गणेश ja:ガネーシャ no:Ganesha nn:Ganesja oc:Ganesha pnb:گنیش pl:Ganeśa pt:Ganexa ru:Ганеша sa:गणेशः simple:Ganesha sk:Ganeš sl:Ganeša fi:Ganesha sv:Ganesha ta:விநாயகர் te:వినాయకుడు th:พระพิฆเนศวร tr:Ganeşa uk:Ґанеша ur:گنیش zh:象头神

Jai Ganesh (Tamil: ஜெய்கணேஷ்) is a veteran Tamil film actor, who mostly acts in supporting roles and is perhaps best known for his role in films like ''Aval Oru Thodar Kathai'' and ''Attukara Alamelu''. His most popular roles have been as a supporting actor or even as a villain in films like ''Thaayillamal Naanillai'', ''Athisaya Piravi'' and few more. He was born in 1946.

He was introduced into the film industry by director K. Balachander in ''Aval Oru Thodar Kathai''. From then on, he acted in many films as hero and also as character actor. Some of his famous films in 70s are ''Neeya'', ''Pilot Premnath'', ''Vattathukkul Sathuram'' and ''Vanakathukuriya Kathaliyae''.

Jai Ganesh died of cancer on February 11, 2001 at the age of 54. He acted in lot of movies as hero as well as in supporting roles with famous actors like Sivaji Ganesan, Jaishankar, Sivakumar, Muthuraman, Rajinikanth, Kamal Haasan, Vijayakanth, Sathyaraj and Karthik Muthuraman.

Notable Filmography

''Aval Oru Thodar Kathai'' (1974)

''Attukara Alamelu'' (1977)

''Neeya'' (1979)

''Raja Chinna Roja'' (1989)

''Athisaya Piravi (1990)

''Maharaasan'' (1991)

''Murai Maman'' (1995)

''Poove Unakkaga'' (1996)

''Ullathai Allitha'' (1996)

''Unnai Thedi'' (1999)

References

Category:Tamil actors Category:Indian actors Category:1946 births Category:Indian film actors Category:Living people Category:Place of birth missing (living people)

Coordinates	37°46′45.48″N122°25′9.12″N
Name	Chöying Drolma
Background	solo_singer
Label	Six Degrees Records
Website	http://www.choying.com/ }}

Ani Choying Drolma (born June 4, 1971, in Kathmandu, Nepal), also known as Choying Drolma and Ani Choying (''Ani'', "nun", is an honorific), is a Buddhist nun and musician from the Nagi Gompa nunnery in Nepal. She is known in Nepal and throughout the world for bringing many Tibetan Buddhist chants and feast songs to mainstream audiences.

Biography

thumb|Chöying DrölmaAni Choying was born in 1971 in Kathmandu, Nepal, to Tibetan exiles. She entered monastic life as a means of escape from her physically abusive father, and she was accepted into the Nagi Gompa nunnery at the age of 13. For a number of years, the monastery's resident chant master (who was trained directly by the wife of Tulku Urgyen Rinpoche) taught Ani Choying the music that she is famous for performing.

Musical career

In 1994, guitarist Steve Tibbetts visited the nunnery and eventually recorded much of the Tibetan music with Ani Choying on two albums. The recordings, titled ''Chö'' and ''Selwa'', were released to critical acclaim. Tibbetts and Ani Choying embarked on small performance tours, which included shows at several historical Tibetan monasteries.

Sina Vodjani recorded an album in collaboration with Ani Choying Drolma.

Ani Choying Dolma is part of a fairly large group of musicians in the Tibetan tradition now active outside Tibet, including singer Techung, singer Karjam Saeji, singer Phurbu T Namgyal, flautist Nawang Khechog, singer Amchok Gompo Dhondup, singer Yungchen Lhamo and Jewish-American Tibetan-genre performer Amalia Rubin.

References

Category:1971 births Category:Living people Category:Nepalese singers Category:Tibetan musicians

de:Chöying Drölma fr:Ani Chöying Drolma fi:Choying Drolma

Durgadas Rathore (Durga Das Rathore) (13 August 1638 - 22 November 1718) is a famous personality in the annals of Marwar. He is credited with having single-handedly preserved the rule of the Rathore dynasty over Marwar (Jodhpur) after the death of Maharaja Jaswant Singh in the 17th century.

Early valour

Durgadas was a Suryavanshi Rathore Rajput, belonging to the Karnot branch of the Rathore clan. He was the son of Askaran Rathore, a Rajput general in the army of Maharaja Jaswant Singh. As his mother did not get along with her husband and co-wives, she lived away from Jodhpur, and Durgadas grew up in a small village (Salwan Kalan and Lunawa).

When Durgadas was young, a camelherd, rearing the herds of the Maharaja, ventured into Durgadas's fields. Durgadas asked the camel herd to take his herd away and not destroy the field. The camelherd paid no heed. Durgadas unsheathed his sword and killed him. Word of this reached Maharaja Jaswant Singh. He summoned Durgadas and asked him why he killed the camelherd. Durgadas told him that the royal herd of camels was giving Jaswant Singh a bad name by destroying the crops of ordinary people. The Maharaja was very impressed with Durgadas's uprightness and gave him an appointment in the army.

Save infant prince Ajit Singh from Mughal's clinch

Maharaja Jaswant Singh, ruler of Marwar, died in 1679 without immediate male heirs. However, two of his wives were pregnant at the time of his death. These circumstances allowed the mughal emperor Aurangzeb to intervene; he appointed a Muslim to rule over Marwar, which upset the Rathod clan a great deal. One of Jaswant Singh's pregnant widow hadi rani gave birth, in due course, to a male child, who was named Ajit Singh and other queen gave birth to Dalthamban. After the birth of this rightful heir, prominent grandees of Marwar, including Durgadas, went to Delhi along with the infant Ajit Singh and asked Aurangzeb that the infant be confirmed in his late father's estates and titles. Aurangzeb did not absolutely refuse, but suggested, supposedly for the infant's own safety, that Ajit grow up in Delhi in front of him.

The nurturing of the head of the Rathod clan in Aurangzeb's staunchly Muslim household was not acceptable to the clan. It is said that crown prince Ajit Singh along with his mother was staying at a place called ''"Bhuli Bhatiyari"'' near ''Jhandewalan'' of modern Delhi. Durgadas and others of the delegation resolved upon smuggling Ajit Singh out of Delhi.Durgadas tied prince on his back. Durgadas and his 300 men, notable among them Thakur Mokam singh Balunda and Mukand Das Khichi made a plan. According to the plan Mokam Singh Balunda's wife Bagheliji put her infant girl, in place of Ajit Singh. As they approached the outskirts of the city, the mughal guards fell in hot pursuit and Durgadas and his companions had to make their escape while fighting hand-to-hand battle with the much larger mughal army. Every so often, some 15-20 Rajputs would fall behind to check the mughal pursuers, in the process getting themselves killed. In this battle Mokam singh Balunda, his son Hari singh Balunda got injured, but they managed to keep distance between the forward party and the Mughals. Among them Mokam singh Balunda's wife Bagheli Rani This continued till the evening; Durgadas was left with just seven men out of the 300 he started with, but he managed to escape with the infant Ajit Singh to safety to Balunda. Mokam Singh's wife Bagheliji kept Maharaja Ajit singh at Balunda for almost one year, Later, he was moved to the safety of Aravali hills near Abu Sirohi, a remote town on the southern fringes of Marwar, and grew up in anonymity.

For 20 years after this event, Marwar remained under the direct rule of a Mughal governor. During this period, Durgadas carried out a relentless struggle against the occupying forces. Trade routes that passed through the region were plundered by the guerillas, who also looted various treasuries in present-day Rajasthan and Gujarat. These disorders adversely impacted the finances of the empire.

Durgadas took advantage of the disturbances following the death of Aurangzeb in 1707, to seize Jodhpur and eventually evict the occupying Mughal force. Ajit Singh was proclaimed Maharaja of Jodhpur. He rebuilt all the temples that had been descecrated by the occupying Muslims.

Noble Character

Aurangzeb's son Sultan Muhammad Akbar rebelled against his father. Naturally, Durgadas extended aid to him in the rebellion. This venture came to naught, as Akbar died in exile; he left his children in the custody of Durgadas. Aurangzeb became extremely anxious to get his grandchildren back. He requested Durgadas, who agreed to send them to Aurangzeb. When the children arrived, Aurangzeb asked a Qazi to start teaching them the Quran. On hearing this, his little granddaughter began reciting ''ayats'' from the holy book. Aurangzeb was left dumbfounded. On being asked, his granddaughter told him that while she was in Durgadas's custody, a Qazi had been engaged to take care of their religious training.

Such was Durgadas. Till today, people in Rajasthan pray: ''Mayee ehra poot jan jehara DURGADAS, baandh mundaso rakhiyo bin thambe aakash.'' (Mother, give birth to a son just like Durgadas,who stopped the flooding dam of Moghuls (the Moghul Army) without any support (i.e. single handedly)).

Heavon Abode

Veer Durgadas after completing his duties successfully and fulfilled the promise which he given to Jaswant Singh Ji, left Jodhpur and live in Sadri, Udaipur, Rampura, Bhanpura for some time and then left to worship Mahakaal at Ujjain. On 22 November 1718, on the banks of the Shipra at Ujjain, Durgadas died at the age of 81 years, his beautiful canopy in red stone is still at the Chakratirtha, Ujjain, which is pilgrimage for all freedom fighters and rajputs. Veer Durgadas left behind a shining example of loyalty, chivalry and courage.

Colonel James Tod About Durgadas Rathore

WHAT A SPENDID EXAMPLE IS THE HEROIC DURGADAS, OF ALL THAT CONSTITUTES THE GLORY OF RAJPUT VALOUR, LOYALTY, INTEGRITY COMBINED WITH PRUDENCE IN ALL THE DIFFICULTIES WHICH SURROUNDED HIM, ARE QUALITIES WHICH ENTITLE HIM TO THE ADMIRATION WHICH HIS MEMORY CONTINUES TO ENJOY. THE TEMPTATIONS HELD OUT TO HIM WERE ALMOST IRRISTIBLE... DURGA HAD, INDEED, BUT TO NAME HIS REWARD, BUT AS THE BARD JUSTLY SAYS, HE WAS ‘''AMOLAK''’ BEYOND ALL PRICE ‘''ANOKHA''’ UNIQUE. NOT EVEN REVENGE, SO DEAR TO THE RAJPUT, TURNED HIM ASIDE FROM THE DICTATES OF TRUE HONOUR... BUT TO CONCLUDE OUR EULOGY IN, THE WORDS OF THE BARD, HE HAS REAPED THE IMMORTALITY DESTINED FOR GOOD DEEDS, HIS MEMORY ID CHERISHED, HIS ACTIONS ARE THE THEME OF CONSTANT PRAISE, AND HIS PICTURE ON HIS WHITE HORSE, OLD, YET IN VIGOUR, IS FAMILIAR AMONGEST THE COLLECTIONS OF PORTRATIES OF RAJPUTANA.

Statue of Veer Durgadas Rathore on Masooria Hill, Jodhpur

Veer Durgadas Rathore son of Thakur Aas Karan ji was born on the 13th August, 1638 AD (Shravan Shukla 14, Samwat 1695) at village Salwa Kalan. His fearless and truthful disposition prompted Maharaja Jaswant Singh ji-I of Marwar Jodhpur to prophesy that this lad will one day be the saviour of Marwar. Maharaja Jaswant Singh ji-I while serving as Subedar in Afghanistan breathed his last at Jamrud. Two princes were born posthumously. Veer Durgadas and his trusted lieutenants foiled all attempts of the Emperor Aurangzeb to imprison them in Delhi and brought them out of the siege but only Maharaja Ajit Singhji survived. For 30 years they fought a restless war of independence till Maharaja Ajit Singhji was restored to the Gaddi (throne) of Marwar-Jodhpur. During this period it was Veer Durgadas who concealed and brought up the minor Ajit Singh, rallied the loyalists and shunned all favours from Mughal Court and demonstrated rare qualities as a statesman, General, diplomat and guardian. His fame and National patriot. A devotee of Maha Kaleshwar he breathed his last at Ujjain and was cremated on the bank of Shipra on the 22nd November, 1718AD (Marshirsh Shukla 11, 1775) where his Chhatri (canopy) still stands. In his memory this equestrian statue has been erected through the efforts of Veer Durgadas Smriti samiti and it’s Chief Patron Maharaja Gaj Singh ji with the help of Rajasthan Government, elected persons of Jodhpur, Municipal Corporation, Urban Improvement Trust, Marwar Rajput Sabha and People of Marwar. Statue unveiled by Prime Minister Shri Atal Bihari Bajpai day of 3 October 1998.

Manuscripts from "The Rhymes of Rajaputana" by Col.G.H.Trevor:-

(These are in the form of rhymes, so don't confuse by language)

'''THE RAHTORES AT JODHPORE 1890''' 1 A local bard is supposed to be addressing an English traveller

In far Kanauj, the cradle of our race,

God knows how many centuries it ruled,

Till, broken and by hard misfortune schooled,

A handful of our brave went forth to face

The dangers of this desert, then a sheer

Waste without tilth or township. Well, 'tis near

Seven hundred years since then and Seoji,

And four since Jodha raised the fort you see.

The mausoleums standing at Mundore,

Our ancient capital, contain much lore

About the fortunes of the bold Rahtore.

You may have read how, with Mewar, he strove

Against the Moghal Baber, and had won,

But for mean treachery, which he does not love.

Ah ! that and fierce disunion have undone

Rajwarra many a time, until the arms

Of Britain leagued with ours dispelled alarms.

For seventy years each State has held its own

In peace since Delhi ceased to make us groan,

And London holds your Queen's imperial throne.

But what a power we had in Maldeo's time,

Three centuries and a half ago ! — Nagore,

Ajmere, Serohi — ay, and many a prime

Slice of what now is Tonk, Mewar, Jeypore.

He lorded Bika's city. Had he sent

Aid to Humayun on his weary flight,

The babe which first at Umerkote saw light,

An angiy mother nursing discontent,

Had not deflowered his conquests. But who knows ?

The tide of Destiny remorseless flows.

How could he read that babe's auspicious star

And say, " This Akbar will invade Marwar " — 2

Or tell that ere his seven-and-thirty-year

Dominion ceased, not only Bikanir

Would fall away, but, many a rich prize lost,

Over our famed Panchrangaf tempest-tossed,

Would float proud Akbar's banner : that his son

Would serve the Emperor, a daughter give

In marriage to prolong the Moghal line,

And take from Delhi leave to rule and live —

" King of the Desert," " Oodey Singh the Fat " ?

Maldeo took leave from none ; but after that

Times changed : Rajwarra, by great Akbar's wiles

And her own feuds divided, grew more tame,

Saw fame and fortune in a conqueror's smiles,

Her bravest leaders banished under name

Of viceroys in the Deccan and elsewhere,

Her own blood mixed with Moghal's. Yet where'er

The Rahtore went his valour in the air

Flashed like a sword, and evermore the same.

Nor Malwa, Deccan, Guzerat, nor snows

Of Kabul, tide of luck that sank or rose,

Moghal, Mahratta, nor the Frenchman's i guns

Could chill the fire of Jodha's noble sons.

1 See Note, p. 220.

2 Marwar is a corruption of Maroo-war, classically Maroost'hali or Maroost'han, "the region of death." The bards frequently style it Mord'hur, which is synonymous with Maroo-desa, or, when it suits their rhyme, simply Maroo. Though now restricted to the country subject to the Rahtore race, its ancient and appropriate application comprehended the entire desert from the Sutlej to the ocean. — Tod's Rajasthan.

3 The five-coloured flag of the Rajputs.

4 De Boigne, Sindhia's famous general, who won his chief victories.

AJIT SINGH AD. I 68O-I 725

Jeswant was cool where Amra was aflame.

A ruler needs must fence ; but no one hated

The Moghal more. Great was his martial fame,

Fighting at first for Dara the ill-fated

By the Nerbudda, after in the south,

And last at Kabul. Aurangzeb the King,

Who cast his arrows with a smiling mouth

And lies like honey, kept brave Jeswant Singh

Afar from Maroo. Forty years our Chief,

But ever viceroy in some distant clime,

Until he died at Kabul, bowed with grief;

AJIT SINGH

His only son a martyr in life's prime

By poison and the tyrant. " Arung's l sighs

Ceased not while Jeswant lived," our bards have sung :

But after Jeswant swerga 2 gained, the young

Ajit was born to him ; and this, the prize

And hope of Maroo-desh, a gallant band

Of Rahtores bringing from that northern land,

Was stayed at Delhi by the King's command.

" Give up the child," he said, " and you shall share

His birthright." Faithful to their trust they made

Reply. Surrounded by a host they quaffed

The last deep draught of opium, 3 and laughed

Defiance to false Arung's fiendish craft.

The infant prince was first by stealth conveyed,

Hid in a basket, by a Meah 4 true,

Who safely passed the Moghal ambuscade.

Then the Rahtores their wives and daughters drew

Into a room where gunpowder was laid.

The torch applied, those grim old warriors, free

From care, sang each to other joyfully —

Let us swim in the ocean of fig] it

To the mansions of the Sun ;

We have lived and fought in the sight

Of our lord whose battles are done ;

And we fear no Islamite

Tlid he be as fifty to one.

The star of a tyra7it abhorred

To-day may be in ascendant ;

Shall we kneel and feast from his board,

On his bounty be dependent ?

We have tasted the gifts of our lord,

And will make his salt resplendent.

Let tJie music of sword and shield

Begin for the brave Rahtore,

His blood shall flow as on field

Of renown his fathers' before.

Let his eyes by sleep be sealed,

He shall wake in Chandrapore?

No man might look to ride thro' such a host,

But Govind 6 smiled. Heroic Doorga Das

(A name for evermore our country's boast,

His virtues those of gods above surpass),

With a choice few our Jeswant's child regains,

And speeds once more towards Maroo's sandy plains.

But war is all around : for safety's sake

To sacred Abu Maroo's Hope they take,

And there in secret among monks, unknown

His birth, they rear him for his father's throne.

But six-and-twenty years must pass of war

Such as was never waged in days before,

Thousands of Rajputs swergds mansions swell,

And lakhs of Moslems grind their teeth in hell,

And Arung there the nuzzcr" of their curses

Receive s — ay, victories, reverses

Must pass in shoals ere Jodhpore once again

Proclaim her Ajit lord of all the plain.

Did Arung dream that Jeswant's babe, concealed

And borne by Meah true, thro' hand of Fate

Which conquers all, would one day wave the shield

Of triumph, thundering at his palace gate —

Make and unmake the World's King, take Ajmere,

And reign from Sambhur Lake to Jesalmere ?

Yet so it came. Had Akbar lived, Chauhan,

Sesodia, Hara, Bhattia, Rajasthan

With all her tribes, had not combined his power

(For it was wise) to crush, e'en for an hour.

But Arung thrust his Islam down our throats,,

Shattered our idols ; 9 so when Lord Ajit

Crested the wave and sank the bigot's boats,

He made the Rahtore's lordship so complete

That rites of Islam not a soul might dare

To practise, and in Maroo everywhere

Dread silence held the Moslem's call to prayer.

This same Ajit (the ways of Fate are deep !)

Exiled brave Doorga Das, his staunchest friend ;

And by his own son murdered in his sleep,

His splendid reign was brought to sudden end.

Epilogue 'Twas Ajit's daughter given to Ferokhsir

In marriage at the Court of Delhi led,

If I may say so, to your presence here.

For while the nuptials, as you may have read,

Were going on, upon the Emperor fell

A sickness, which an English doctor's skill

Soon cured ; and so the marriage went off well.

The Emperor, grateful, signified his will

To let the doctor name his own reward ;

And he, instead of asking for a hoard

Of silver, sought a firman for a friend

To start a factory — which in the end

Became a town, Calcutta — brought your Clive

And Warren Hastings. Thus a single hive

Of bees that looked for honey, stinging, slowly

Spread over Hindusthan, and merchants lowly

Built up the empire of your Empress Queen.

That is how Ajit's daughter on the scene Comes in.

But as for Doctor Hamilton,

I never heard that anything was done

For him. Give has a statue — he has none. 10

1 In the language of the bards Aurangzeb is always " Arung."

2 Paradise.

3 This draught was the usual prelude to death or victory in fight.

4 A term of respect applied to a Mahomedan, imputing respectability and experience.

5 City of the Moon.

6 Krishna — the supreme deity.

7 A gift presented in token of homage or respect.

8 Aurangzeb died AD. I7°7-

9 See Note, p. 222.

10 Tod remarks: "To borrow the phraseology of the Italian historian,' obligations which do not admit of being fully discharged are often repaid with the coin of ingratitude ' ; the remains of this man rest in the churchyard of Calcutta, without even a stone to mark the spot."

THE JOHUR.

In his Annals of Mewar Tod refers to several instances when a whole tribe has been extinguished by this awful rite, and observes as follows : —

" To the fair of other lands the fate of the Rajpootni must appear one of appalling hardship. In each stage of life death is ready to claim her : by the poppy at its dawn, by the flames in riper years ; while the safety of the interval depending on the uncertainty of war, at no period is her existence worth a twelvemonth's purchase. The loss of a battle, or the capture of a city, is a signal to avoid captivity and its horrors, which to the Rajpootni are worse than death. To the doctrines of Christianity Europe owes the boon of protection to the helpless and the fair, who are comparatively safe amidst the vicissitudes of war ; to which security the chivalry of the Middle Ages doubt-less contributed. But it is singular that a nation so refined, so scrupulous in its ideas with regard to females, as the Rajpoot, should not have entered into some national compact to abandon such proof of success as the bondage 1 of the sex. We can enter into the feeling and applaud the deed which ensured the preservation of their honour by the fatal Johur when the foe was the brutalised Tatar. But the practice was common in the international wars of the Rajpoots ; and I possess numerous inscriptions (on stone and on brass) which record as the first token of victory the captive wives of the foeman.When ' the mother of Sisera looked out of the window, and cried through the lattice, Why tarry the wheels of his chariot ? — have they not sped ? have they not divided the prey, to every man a damsel or two ? ' we have a perfect picture of the Rajpoot mother expecting her son from the foray.

1 Bunda is " a bondsman" in Persia ; bandi, "a female slave" in Hindi.

THE RAHTORES Seoji, 12 1 2 a.d. Jodha founded Jodhpur 1489. Bika, sixth son of Jodha, founded Bikanir after Jodha Ganga AD 15 16.

In his time Mar war united with Mewar to oppose Moghal invasion under Baber, but were defeated in the fatal field of Biana by treachery.

Maldeo succeeded Ganga 1532, and so employed his power against friend and foe that he became the first prince in Rajwarra, or, in the words of Ferishta, " the most potent prince in Hindustan. 1 ' He redeemed the two most disgrace of the high-priest or his underlings, this traffic was sold for their personal advantage. It was a delicate thing to search these caravans, or to prevent the loss to the state from the evasion of the duties. The Rana durst not interfere lest he might incur the penalty of his own anathemas. The author's influence with the high-priest put a stop to this.

1 This extent of sanctuary is an innovation of the present Rana's, with many others equally unwise. important possessions of his house, Nagore and Ajmere, and among other conquests dispossessed the sons of Bika of supreme power in Bikanir, captured and restored Serohi from" the Deoras, from which house was his mother. Akbar, born at Umerkote during the flight of Humayoon, invaded Mar war 1561, and established Bikanir in independence of the parent state Jodhpur. Maldeo died AD 1569, and at his death "the banner of the empire floated pre-eminent over the panck ranga, the five-coloured flag which had led the Rahtores from victory to victory and waved from the sandhills of Umerkote to the salt lake of Sambhur." Oodey Singh, his son, gave a daughter in marriage to Akbar, who conferred on him the title of Raja and used to call him the " King of the Desert " and " Oodey the Fat." He restored to Oodey Singh all the possessions he had wrested from Marvvar except Ajmere.

Soor Singh succeeded his father Oodey Singh 1595, and died in the Deccan 1620. He was succeeded by Guj Singh, who died 1638. Then came Jeswant Singh, who ruled forty-two years, dying at Kabul AD 16S1.In the struggle for empire among the sons of Shah Jahan he fought for Prince Dara, who nominated him Viceroy of Malwa. Kishen, ninth son of Oodey Singh, founded Kishengurh 1613, and was made an independent Raja for assassinating, by order of Prince Khoorm, son of Jahangir by a princess of Amber, Govind Das, a faithful Rajput. This was done to disgust the Rahtores, and it drove Raja Guj Singh away from the court at Delhi. Prince Khoorm next had his elder brother Parve'z assassinated, and proceeded to the deposition of his father, who rallied the Rajput princes to his aid.

Museum on the life history of Veer Durgadas

Collection of all materials regarding Durgadas, portrates, articles, books, coins, swords,calenders,statue pictures, stamps, movie (Veer durgadas in 1960 casted Jairaj, Rajkumar and Niruparai) Veer Durgadas Smriti Samiti, Th.Arjun Singh Natwara, Place:NATWARA, Via:NIWAI, Dist: TONK-Raj., mobile:+919887959045,+911438226192.

Other organizations related with Veer Durgadas

Mehran garh Museum trust, Jodhpur Veer Durgadas Smriti Samiti, Ujjain, Veer Durgadas Smriti Samiti, Udaipur, Mr.Kamal Karan Rathore # +919828325713, Veer Durgadas Smriti Samiti, Bemla, Narwar Singh Rathore, Veer Durgadas Smriti Samiti, Jaipur, Mr.Ganpat Singh #+919414406155 Veer Durgadas Smriti Samiti,churu, Kr. Jagroop Singh Rathore # +919460676795

Some important points for Rajsthan, Rathores, Rajputs and About Durgadas

Root: Geharwar Rathores are the origin of all Rathores. Jai Chandra of the Kannauj was the last great Geharwar king, defeated by Gohri in Chandawari war. Sehorji his nephew then migrated to Marwar region and founded ruling of group of Rathores

सिर कटे और धङ लङे रखा राठौङी शान!

“"व्रजदेशा चन्दन वना, मेरुपहाडा मोड़ ! गरुड़ खंगा लंका गढा, राजकुल राठौड़ !! बलहट बँका देवड़ा, करतब बँका गौड़ ! हाडा बँका गाढ़ में, रण बँका राठौड़ !!"”

Rathore clan is belonging to : जय माँ भवानी

वंश -सूर्यवंश

गोत्र -गोतम

नदी -सरयू

वृक्ष-नीम

कुलदेवी -पहली -बृहमाणी दूसरी -राठेश्वरी तीसरी -पथणी चोथी -पंखनी अभी व् पाचवी -नागणेचिया

निशान -पचरंगा

नगारा-रणजीत

शाखा -तेरह में से दानेसरा राजस्थान में है जो

सूत्र -गोभिल

प्रवर(तीन )-गोतम,वशिष्ट ,वाहस्पत्य

शिखा -दाहिनी

पितृ -सोम सायसर

पुरोहित -सेवड़

भाट-सिगेंलिया

ढोल -भंवर

तलवार -रणथली

घोड़ा -श्यामकर्ण

गुरु -वशिष्ट

भेरू-मंडोर

कुलदेवी स्थान -नागाणा जिला -बाड़मेर

कुण्ड -सूर्य

क्षेत्र -नारायण

चारण -रोहडिया

पुत्र -उषा

माला -रतन

धर्म -संन्यास ,वैष्णव

पूजा -नीम

तम्बू -भगवान

बन्दूक -सदन

घाट -हरिव्दार

देग -भुंजाई

शंख -दक्षिणवर्त

सिंहासन -चन्दन का

खांडा-जगजीत

बड-अक्षय

गाय-कपिला

पहाड़ -गांगेय

बिडद-रणबंका

उपाधि -कमधज

ढोली-देहधड़ा

बंधेज -वामी (बाया)

पाट-दाहिना

निकास -अयोध्या

चिन्ह -चिल

ईष्ट -सीताराम ,लक्ष्मीनारायण

कश्यप ऋषि के घराने में राजा बली राठोड का वंश राठोड वंश कहलाया ऋषि वंश राठोड की उत्पत्ति सतयुग से आरम्भ होती है वेद - यजुर्वेद

शाखा - दानेसरा

गोत्र - कश्यप

गुरु - शुक्राचार्य

देवी - नाग्नेचिया

पर्वत - मरुपात

नगारा - विरद रंणबंका

हाथी - मुकना

घोड़ा - पिला

घटा - तोप तम्बू

झंडा - गगनचुम्बी

साडी - नीम की

तलवार - रण कँगण

ईष्ट - शिव का

तोप - द्न्कालु

धनुष - वान्सरी

निकाश - शोणितपुर (दानापुर)

बास - कासी, कन्नोज, कांगडा राज्य, शोणितपुर, त्रिपुरा, पाली, मंडोवर, जोधपुर, बीकानेर, किशनगढ़, इडर, हिम्मतनगर, रतलाम, रुलाना, सीतामऊ, झाबुबा, कुशलगढ़, बागली, जिला-मालासी, अजमेरा आदि ठिकाना दानसेरा शाखा का है

राठोड़ राजपूतो की उत्तपति सूर्यवंशी राजा के राठ(रीढ़) से उत्तपन बालक से हुई है इस लिए ये राठोड कहलाये, राठोरो की वंशावली मे उनकी राजधानी कर्नाट और कन्नोज बतलाई गयी है! राठोड सेतराग जी के पुत्र राव सीहा जी थे! मारवाड़ के राठोड़ उन ही के वंशज है! राव सीहा जी ने करीब 700 वर्ष पूर्व द्वारिका यात्रा के दोरान मारवाड़ मे आये और राठोड वंश की नीव रखी! राव सीहा जी राठोरो के आदि पुरुष थे !

अर्वाचीन राठोड शाखाएँ जोधा , करनोत ,खेडेचा, महेचा , मेड़तिया , चापावत , कुम्पावत , जेतावत , बाडमेरा , मंडला , धांधल , बदावत , बणीरोत , चांदावत , दुदावत , उदावत , करमसोत बड़ा , करमसोत छोटा , हल सुन्डिया , पत्तावत , भादावत , पोथल , सांडावत , बाढेल , कोटेचा , जैतमालोत , खोखर , वानर , वासेचा , सुडावत , गोगादे , पुनावत , सतावत , चाचकिया , परावत , चुंडावत , देवराज , रायपालोत , भारमलोत , बाला , कल्लावत , पोकरना . गायनेचा , शोभायत , पपलिया , कोटडिया , डोडिया , गहरवार , बुंदेला , रकेवार , बढ़वाल , हतुंधिया , कन्नोजिया , सींथल , ऊहड़ , धुहडिया , दनेश्वरा , बीकावत , भादावत , बिदावत आदि......

महाराजा पृथ्वीराज राठौर बीकानेर का राव रामदासजी बलुन्दा के गो रक्षा के लिया लड़े युद्घ और वीरगति पार लिखा दोहा : विप्र बचावाएँ कारणे, बजे जुझारू ढोल !! चढ़ चांदा रा पाटवी , बदी जाये निम्बोल रामदास तद राम भज , चदया तुरका लार !! तुरकारा तुन्डल करे ,विप्र छुडावन सार !!

रावचांदाजी बलुन्दा के कोलुमंड युद्घ पार : कोलुमंड झगडो होओ, दीयो न हीणों भावः बाज़ी मरुधर देश री ,राखी चांदा राव !! दिल्ही मत जाओ बादशाह क नेडो सरसी काज !! चांदा विरमदेव रो करे बलुन्दे राज !! हु खप जातो खग तले, कट जातो उण ठोड ! बोटी-बोटी बिखरती, रेतो रण राठोड !!

Famous song about Rathores

हरवळ भालां हाँकिया, पिसण फिफ्फरा फौड़। विडद जिणारौ वरणियौ, रण बंका राठौड़ ॥ किरची किरची किरकिया, ठौड़ ठौड़ रण ठौड़। मरुकण बण चावळ मरद, रण रचिया राठौड़ ॥ पतसाहाँ दळ पाधरा, मुरधर धर का मौड़। फणधर जेम फुंकारिया, रण बंका राठौड़ ॥ सिर झड़ियां जुडिया समर, धूमै रण चढ़ घौड़। जोधा कमधज जाणिया, रण बंका राठौड़ ॥ सातां पुरखाँ री सदा, ठावी रहै न ठौड़। साहाँ रा मन संकिया, रण संकै राठौड़ ॥ हाको सुण हरखावणो, आरण आप अरौड़। रण परवाड़ा रावळा, रण बंका राठौड़ ॥

Some very famous ''dohe'' (couplets) of Durgadas

अजमल थारी पारख जद जाणी,

दुर्गा छिप्रा दागियों गोलों घर गागोणी

''AATH PAHAR CHOBIS GHADI, GHUDLE UPAR VAAS

SAIL ANI SU SEKTO BAATI DURGADAS''

''Suvaran thala, jime bhup anek

Durgo bhala upra, khadi bati sek''

''Rajvansh ne rakhiyo shyam dharm marudesh

badla me rakhyo nahi, do ghaj dhar Durgesh''

''Mitio kalank ajit ro, Gaj layo Durgesh

Durgobabo khush huyo, aakar marudhar desh''

''Durga Aaskaran ro, as chadhion din-raat

Kshipra tat the dagio, dagan mili na haat''

''Ek din Aurang yun kahiyo, baalo thanne kain vishesh,

munh maange jinka mile, munh su maang thu Durgesh.''

''DHAMBAK-DHAMBAK DHOL BAJE, DE DE THOR NANGARA KI,

AASE GHAR DURGA NANHI HOTO, SUNNAT HOTI SARA KI'' THIS IS COINED BY RAMU JAT

''Ab rang ghor andhar, jot mite raja Jase,

tun durga teen baar, aandha lakdi Aasaut''

''Durga Aaskaran ra nitare baagou jaay

amal Auranga utare, Dilli dhadka khay''

''Rudra roop ran rith me, sab suran seermodh,

maniyan maayn sumer jyun, rang Durga Rathore'' by Poet Narayan Singh Shivakar

''Jaswant kahiyo joy, ghar rakhawalo goodada

sanchi kidhi soy, aachhi Aaskaran wat''

''Mukund jaidev Gora Jasdhari

Dhin Durgo rakhio Ajmaal'' it is mentioned in famous Marwar song "Dhunsa"

Durgadas Rathore by Kamal Singh Bemla ''Raja vah tha nahi, ek sadharan sa rajput tha, rajao ke mastak jhuk jate the, aisa vah saput tha'' Durgadas Rathore, the third son of Rajput noble of Marwar, Aaskaran Rathore and mother brave Net Kanwar Bhatiyani, was born ob 13 August 1638 at Salwa Kalan. He led a quite, uneventful life with his mother in village Lunawa near Salwa Kalan. But in 1655 he killed the official herdsman who looked after the king’s camel for speaking insolently about the king. This act of loyalty changed the course of his life. Aurangzeb became the Emperor of Hindustan and, gaining the loyalty of Jaswant Singh I, ruler of Marwar, appointed Governor of Kabul. Durgadas served Jaswant Singh throughout his life-time and after his death, in 1678; he shouldered the task of safeguarding the freedom of Marwar and the life of its young king Ajit Singh, son of Jaswant Singh. The task was not only easy one, beset as he was with court intrigues and faced with might of the Mughal emperor. Battles, skirmishes and diplomatic manoeuvers kept Durgadas busy till 1708, when finally he restored Ajit Singh to the throne of Marwar. His soldiers were men of various castes and creeds. His zeal roused the fervour of many Rajputs bringing them together under one flag in an unprecedented manner. His chivalry towards women was well known, as seen from his protection of Aurangzeb’s grand-daughter. On 22 November 1718, on the banks of the Shipra at Ujjain, Durgadas leave this mortal world. When he left behind him was a shining example of loyalty, chivalry and courage.Veer Durgadas Rathore was anchor for many freedom fighters during India's first war of Independence and its post era. ''''JANANI EDA PUT JAN , JEHDA DURGADAS BANDH MANDASO RAKHIO, BIN THAMBA AAKAS''''

'''''Bakhat re khet nipjio Durgadas

aayan bakhat jug maanjhi fer aavsi

aur manas mar khutsi ela ra

'''pan juga jayoda to juga hi jivsi.'' -by poet Narayan Singh Bhati

Coins, Movie, paintings and Stemps on Durgadas Rathore

In kind honour of Veer Durgadas Government of India released Coins of Rs.1, 10 and 100.on 25 Aug.2003

Durgadas Rathore dak ticket (stamps) of Rs. 0.60 also released on August 16, 1988

Veer Durgadas , (1960)Chalchitra, Lok Bharati Chitra, Bambai.

Paintings of Veer Durgadas ji by famous British painter AH.Mular (1893)at Mehran Garh Museum, Jodhpur and Govt.Museum, Bikaner

Karnot DURGADASOT families

BEMLA (Udaipur),DAWANA (Udaipur),KANANA (Barmer),BAGHAWAS(Barmer),JHANWAR(Barmer),SAMDARI (Barmer),NATWARA (Tonk), Mudi (Jhalore), Birami, Surpura, Triputi, Dohli

References

''Durgadas Rathore: National biography'' by Raghubir Sinh. Publisher: Panchsheel Prakashan Jaipur. First published 1999. ISBN 81-7056-051-9''

''Vira Durgadasa Rathaurha'' by Ved Prakash. Publisher: Rajbhasha Pustak Pratishthan, Delhi. First published 2005. ISBN 81-88613-10-X

''Svatamtrata-premi Durgadasa Rathaura'' by Sukhvir Singh Gehlote. Navbharat publications, Jodhpur. First Published 2000

Col. James Todd, “Annals and Antiquities of Rajasthan”, Vol.II, Routledge & Kegan Paul Ltd. London, 1832, Rupa Publishers, India(2005) pp 44–55.

Col.G.H.Trevor, “Rhymes of Rajaputana”, McMillan And Co.London and NewYork, 1894.pp 59–73.OCLC Number: 1435511 ,LCCN: 01005742

Veer Durgadas Rathore by Raghuveer Singh ji Sitamau.

Veer Durgadas Rathore by Munshi Premchand.

Veer Durgadas Rathore by Pt.Vishveshwar Nath Reu

Veer Durgadas by Kesari Singh Barhath

''Kshipra ke Teer'', by Tan Singh ji, Shri kshatriya Yuvak Sangh publications, Jaipur

Jhankar poems and songs by Tan Singh ji, Shri kshatriya Yuvak Sangh publications, Jaipur

Rashtraveer Durgadas by Thakur Arjun Singh Natwara

Durgadas Rathore by Pt. Heera Chand Ojha et al.

Marwar rajya ka itihaas, 'Swamibhakt Durgadas' by Jagdish Singh Gehlot (1925), Hindi sahitya Mandir, jodhpur

Rashtraveer Durgadas by Kamal Singh Rathore in Sang Shakti, June 2008.

James Tod, Annals and Antiquities of Rajast'han or the Central and Western Rajpoot States of India, v. 1, p. 17. 2 vols. London, Smith, Elder (1829, 1832); New Delhi, Munshiram Publishers, (2001) ISBN 8170691281

Durgadas Rathore- play by Dr.Manua Singh Chauhan, Lucknow, Mandavi Prakashan, Gaziabad.

Maroo Kesari by Yadvendra Sharma Chand (1998)Vani Prakashan, New Delhi

Durgadas-historical play by Babu Dwarika Prasad Maitra (1984)

Durga Baba poetry by Ganesh Chandra Joshi Kavi ratna (1995)

Durgadas - by Narayan Singh Bhati in Rajasthani poetry(1956), the Students Book Co.,Jaipur

Durgadas by Krishna Kant Gokhale (1962), Choudhary and Sons,Banaras.

Durgadas Special issue of Sangh Shakti Jaipur by Narayan Singh Reda (August,1967)

Veervar Durgadas ke Jeevan ke antim 12 varsh, shradanjali ank, By Dr.Raghuveer Singh , Kashi Nagri Pracharini Sabha, Sitamau (1972), National Book Trust Pvt.Ltd., A-5, green park,New Delhi

Veer Durgadas Smarika, by Ram Datta ji Thanvi (1982 and many )

Durgadas (Chitravali) by Ramesh Sinha (1983), 29, Pude house rd., Mumbai

Durgadas Rathore by Balak Ram Nagar (1981)National Book Trust Pvt.Ltd., A-5, green park,New Delhi

Veer Durgadas Satsai by Narayan Singh Shivakar Kavia (1989), Nokh-Pali in rajasthani poetry

Swarajya, by Dr.Diwakar sharma, Veer Durgadas Rathore Smarak Samiti, Bikaner (1990)

Deshbhakt Veervar Durgadas Rathore, by Th.Devi Singh Mandawa (Jaipur)

Marwar Ke Itihaas Me Durgadas Rathore ki Bhumika, Ph.D. thesis by Dr. Sulekha Hitpal Singh (1988)

Bharat Kul Bhushan Karnot, by Narpat Singh Chamankarnot, Shri Jin SidhSuri Shodh Sansthan, Mudi, Dist. Jhalore (2002)

Alha Durgadas by Shivnandan Rathore, Jabalpur-MP (1991)

Durgadas (Bal sahitya),by Hindi sewa Samiti, Bangalore (1989)

Durgadas Shatak by Shakti Singh Chandawat (2003), Himmat Prakashan, jodhpur.

Ranbankura Durgadas by Surendra sharma (1962), ram prasad and Sons, Agra

Anthak Neta by Jamuna Das Mehra, Bharat Pustak Bhandar, Karda Ahluwalia Amritsar

Veer Durgadas (Shodh grintha) by prof. ram Chandra Thakur (1960), Lok Bharati, Mumbai.

Durga Prashasti, Anup Library, Bikaner.

Durgadas Smarika by Prof. R.N.Singh (2005), Veer Durgadas Rathore Smriti Samiti, Jodhpur.

Durgadas Rathore by Sawai Singh Dhamora (under publication) Sangh Shakti, Jaipur

Durgadas by Ramesh Sinha, Indian Book House (1980)

Veer Durgadas, bal comics by Brijraj Singh Rajawat Kharda (2004)Sangh Shakti, Jaipur

Durgadas by Dwijendra Lal Rai, Yadavpur, Kolkata.

Rashtraveer Durgadas Rathore by Pt.Vishweshwar Nath Reu (Nov.1929), Vishal Bharat Patrika

Veer Durgadas by Kamal Singh Rathore in Prityush 2007 Aug.

Swatantrata ka Deewana Durgadas by Kamal Singh Rathore in Pratahakaal (Sunday)13 Aug.2007

Veer Durgadas special edition by N.S.Panwar, Kshtriya Vaibhav, Ratlam

See also

List of Rajputs

http://tansingh.blogspot.com/2009/06/blog-post_21.html

http://shrikys.com/

Category:History of Rajasthan Category:1638 births Category:1718 deaths Category:Rathore Category:People from Jodhpur Category:Rajput people