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
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 [link]

Ganesha has many other titles and epithets, including ''Ganapati'' and ''Vighneshvara''. 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 [link]

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 [link]

: ''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 [link]

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 [link]

Obstacles [link]

Ganesha is ''Vighneshvara'' or ''Vighnaraja'' or "Vighnaharta"(marathi), 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) [link]

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 [link]

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 [link]

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 [link]

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 [link]

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 [link]

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 clay 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 [link]

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; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, 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 (including the four ''Vinayaka'' shrines in the Kathmandu valley), and in several western countries.

Rise to prominence [link]

First appearance [link]

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 [link]

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 [link]

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 [link]

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 [link]

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 [link]

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 ,(Shiva) 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 [link]

References [link]

|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 |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 [link]

Ganesh: Symbol and presence

Category:Hindu gods Category:Wisdom gods Category:Mythological human hybrids Category:Animal gods Category:Hindu animal worship Category:Sanskrit words and phrases Category:Knowledge gods Category:Buddhist deities, bodhisattvas, and demons Category:Jain deities

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name	Saranya Mohan
birth date	February 20, 1989
birth place	Alappuzha, Kerala India
occupation	Actress
years active	1997–1998; 2005; 2008–present }}

Saranya Mohan () born 20 February 1989) is an Indian film actress, who has acted in Malayalam and Tamil films. She is probably best known for her performances in ''Yaaradi Nee Mohini'' and ''Vennila Kabadi Kuzhu''.

Early life[link]

Saranya was born on 20 February 1989 in Alappuzha, Kerala as the eldest daughter to Malayali parents Mohan and Devika, and has a younger sister named Sukanya. Her mother, Devika, is a trained classical dancer, who runs a dance school in Alappuzha, where Saranya herself also learnt dancing bharatanatyam. She studied at St. Joseph's College in Alappuzha, completing her B. A. degree in English literature.

Career[link]

She was brought to light by Malayalam director Fazil, who had seen Saranya dancing at her dancing school. After approaching and persuading her parents, he casted her for a child character in the 1997 Malayalam film ''Aniyathi Pravu'' and its Tamil remake, ''Kadhalukku Mariyadhai''. Following two more roles as a child artiste, she took a break, concentrating on her studies, before enacting a supporting role in another Fazil directorial, ''Oru Naal Oru Kanavu'' (2005), in which she acted as a sister to the male lead character.

Her subsequent release, the Dhanush-Nayantara starrer ''Yaaradi Nee Mohini'' (2008), brought her into limelight. Her comedic performance as the younger sister to the lead female, who has a crush on her sister's love interest, won her fame and many accolades. She subsequently appeared in a number of Tamil films, which, however, were less successful. 2009, she had six releases, four of which being Tamil projects. Out of her Tamil releases, the tragedy sports film, ''Vennila Kabadi Kuzhu'', directed by debutante Suseenthiran, and the supernatural thriller ''Eeram'' proved to be commercially as well as critically successful. Later that year, she made her Telugu debut with ''Village Lo Vinayakudu'' and made her comeback to Malayalam films, starring in ''Chemistry''. In 2011 she acted in M.Raja's Velayudham which turned out to be a huge hit. Her role as Vijay's sister won her a lot of good reviews. She also acted in another film named Dharani's Osthi in 2011.

Filmography[link]

Film ''Aniyathi Pravu'' ''Kadhalukku Mariyadhai'' ''Harikrishnans'' ''Rakthasakshigal Zindabad'' ''Oru Naal Oru Kanavu'' ''Yaaradi Nee Mohini'' ''Jayamkondaan'' ''Mahesh, Saranya Matrum Palar'' ''Panchamirtham'' ''A Aa E Ee (2009 Tamil film) ''Vennila Kabadi Kuzhu'' ''Eeram'' ''Arumugam (film) ''Village Lo Vinayakudu'' ''Chemistry (2009 film) ''Bheemli Kabadi Jattu'' ''Happy Happy Gaa'' ''Kalyanram Kathi'' ''Nadakame Ulakam'' ''Azhagarsamiyin Kudhirai'' ''Velayudham'' ''Osthi'' ''Mudra'' ''Ennai Etho Seithu Vittai'' ''Thuppakki'' ''Innaanu Aa Kalyanam'' ''Paramashiva'' ''Ee Bhoomi Aa Baanu'' ''Perinoru Makan''

Year	|	Role	Language	Notes
1997	|		Malayalam language>Malayalam	Child artiste
1997	|		Tamil	Child artiste
1998	|		Malayalam	Child artiste
1998	|		Malayalam	Child artiste
2005	|		Tamil language>Tamil
2008	|	Pooja (Anandhavalli)	Tamil	Filmfare Best Supporting Actress Award (Tamil)>Filmfare Best Tamil Supporting Actress AwardNominated, Vijay Award for Best Supporting Actress
2008	|	Archana Durairaj	Tamil
2008	|	Keerthana	Tamil
2008	|	Seetha	Tamil
2009	A Aa E Ee'' ||	Eeswari	Tamil
2009	|	Village girl	Tamil
2009	|	Divya Sreeriraman	Tamil
2009	Arumugam'' ||	Mallika	Tamil
2009	|	Kavya	Telugu language>Telugu
2009	Chemistry'' ||	Parvathy	Malayalam
2010	|	Village girl	Telugu
2010	|	Priya	Telugu
2010	|	Haritha	Telugu
2011	|	Nandhana	Malayalam
2011	|	Rani	Tamil
2011	|	Kaveri	Tamil
2012	|	Nirmala	Tamil
2012	|		Telugu	Filming
2012	|		Tamil	Filming
2012	|	Abilashini	Tamil	Filming
2012	|	Aisha	Malayalam	Filming
2012	|		Kannada	Filming
2012	|		Kannada	Filming
2012	|		Malayalam	Filming

References[link]

http://manoramanews.manoramaonline.com/cgi-bin/MMOnline.dll/portal/ep/mmtvContentView.do?contentId=10618722&programId;=9958865&tabId;=0&BV;_ID=%40%40%40

External links[link]

Category:Tamil film actors Category:Malayali people Category:Living people Category:Indian people Category:Indian film actors Category:1989 births

ml:ശരണ്യ മോഹൻ mr:शरन्या मोहन