Ganesha

Ganesha (Sanskrit: गणेश, IAST: Gaṇeśa; listen ), also known as Ganapati,

Ganesha
Vinayaka, or by numerous other names, is one of the best-known and most
worshipped deities in the Hindu pantheon.[4] His image is found throughout God of New Beginnings, Success
India, Nepal, Sri Lanka, Fiji, Thailand, Bali (Indonesia) and Bangladesh.[5] and Wisdom
Hindu denominations worship him regardless of affiliations.[6] Devotion to Remover of Obstacles[1][2]
Ganesha is widely diffused and extends to Jains and Buddhists.[7]

Although he is known by many attributes, Ganesha's elephant head makes him

easy to identify.[8] Ganesha is widely revered as the remover of obstacles,[9] the
patron of arts and sciences and the deva of intellect and wisdom.[10] As the god
of beginnings, he is honoured at the start of rites and ceremonies. Ganesha is
also invoked as patron of letters and learning during writing sessions.[11][2]
Several texts relate mythological anecdotes associated with his birth and
exploits.

Ganesha likely emerged as a deity as early as the 2nd century CE,[12] but most
certainly by the 4th and 5th centuries CE, during the Gupta period, although he
inherited traits from Vedic and pre-Vedic precursors.[13] Hindu mythology
identifies him as the restored son of Parvati and Shiva of the Shaivism tradition,
but he is a pan-Hindu god found in its various traditions.[14][15] In the
Ganapatya tradition of Hinduism, Ganesha is the supreme deity.[16] The Basohli miniature, c. 1730. National
principal texts on Ganesha include the Ganesha Purana, the Mudgala Purana, Museum, New Delhi.[3]
and the Ganapati Atharvashirsa. Brahma Purana and Brahmanda Purana are
Affiliation Deva, Brahman
other two Puranic genre encyclopedic texts that deal with Ganesha.
(Ganapatya), Saguna
Brahman(Panchayatana
puja), Ishvara
Contents Abode Mount Kailash (with
Etymology and other names parents Shiva and
Iconography Parvati), Ganeshloka
Common attributes Mantra Oṃ Shri Gaṇeśāya
Vahanas Namaḥ
Features Oṃ Gaṃ Gaṇapataye
Removal of obstacles Namaḥ
Buddhi (Intelligence)
Om
Weapon Paraśu (axe), pāśa
First chakra (noose), aṅkuśa
(elephant goad)
Family and consorts
Worship and festivals Symbols Om, Modak
Ganesha Chaturthi Mount Mouse
Temples
Texts Ganesha Purana,
Rise to prominence Mudgala Purana,
First appearance
Ganapati Atharvashirsa
 Possible influences Gender Male
Vedic and epic literature
Festivals Ganesh Chaturthi
Puranic period
Scriptures Personal information

Beyond India and Hinduism Consort Consorts of Ganesha:

Notes Buddhi (Intelligence)
References Riddhi (Prosperity)
External links Siddhi (Attainment)
Parents Shiva (father)
Etymology and other names Parvati (mother)

Ganesha has been ascribed many other titles and epithets, including Ganapati Siblings Karthikeya
(Ganpati) and Vighneshvara. The Hindu title of respect Shri (Sanskrit: ी; IAST:
śrī; also spelled Sri or Shree) is often added before his name.

The name Ganesha is a Sanskrit compound, joining the words gana (gaṇa), meaning a
group, multitude, or categorical system and isha (īśa), meaning lord or master.[17] The
word gaṇa when associated with Ganesha is often taken to refer to the gaṇas, a troop of
semi-divine beings that form part of the retinue of Shiva, Ganesha's father.[18] The term
more generally means a category, class, community, association, or corporation.[19] Some
commentators interpret the name "Lord of the Gaṇas" to mean "Lord of Hosts" or "Lord
of created categories", such as the elements.[20] Ganapati (गणपित; gaṇapati), a synonym
for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning
"ruler" or "lord".[19] Though the earliest mention of the word Ganapati is found in hymn
2.23.1 of the 2nd-millennium BCE Rigveda, it is however uncertain that the Vedic term Ganesha, Madhya Pradesh,
referred specifically to Ganesha.[21][22] The Amarakosha,[23] an early Sanskrit lexicon, c. 750, India
lists eight synonyms of Ganesha: Vinayaka, Vighnarāja (equivalent to Vighnesha),
Dvaimātura (one who has two mothers),[24] Gaṇādhipa (equivalent to Ganapati and
Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging
belly), and Gajanana (gajānana); having the face of an elephant.[25]

Vinayaka (िवनायक; vināyaka) is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras.[26] This name
is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (Marathi: अ िवनायक,
aṣṭavināyaka).[27] The names Vighnesha (िव नेश; vighneśa) and Vighneshvara (िव ने वर; vighneśvara) (Lord of Obstacles)[28]
refers to his primary function in Hinduism as the master and remover of obstacles (vighna).[29]

A prominent name for Ganesha in the Tamil language is Pillai (Tamil: ைள) or Pillaiyar ( ைளயா ).[30] A.K. Narain
differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words
pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk".[31] 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".[32]

In the Burmese language, Ganesha is known as Maha Peinne (မဟာပိ ဲ, pronounced [məhà pèiɴné]), derived from Pali Mahā
Wināyaka (မဟာဝိနာယက).[33] The widespread name of Ganesha in Thailand is Phra Phikanet.[34] The earliest images and
mention of Ganesha names as a major deity in present-day Indonesia,[35] Thailand, Cambodia and Vietnam date from the 7th-
and 8th-centuries,[36] and these mirror Indian examples of the 5th century or earlier.[37] In Sri Lankan Singhala Buddhist areas,
he is known as Gana deviyo, and revered along with Buddha, Vishnu, Skanda and others.[38]
Iconography
Ganesha is a popular figure in Indian art.[39] Unlike those of some deities,
representations of Ganesha show wide variations and distinct patterns changing
over time.[40] He may be portrayed standing, dancing, heroically taking action
against demons, playing with his family as a boy, or sitting down 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.[41]
The 13th-century statue pictured 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,[42] and another similar statue is dated c. 12th century by Pratapaditya
Pal.[43] 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.[44] A more A 13th-century statue of Ganesha,
primitive statue in one of the Ellora Caves with this general form has been dated Hoysala-style, Karnataka
to the 7th century.[45] 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 pasha (noose) in the other upper arm. In rare instances, he may be depicted with a human head.[46]

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In
one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is
turned towards the viewer in a gesture of protection or fearlessness (Abhaya mudra).[47] The same combination of four arms and
attributes occurs in statues of Ganesha dancing, which is a very popular theme.[48]

Common attributes
Ganesha has been represented with the head of an elephant since the early stages of his
appearance in Indian art.[50] Puranic myths provide many explanations for how he got his
elephant head.[51] One of his popular forms, Heramba-Ganapati, has five elephant heads,
and other less-common variations in the number of heads are known.[52] While some
texts say that Ganesha was born with an elephant head, he acquires the head later in most
stories.[53] The most recurrent motif in these stories is that Ganesha was created by
Parvati using clay to protect her and Shiva beheaded him when Ganesha came between
Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an
elephant.[54] Details of the battle and where the replacement head came from varying
from source to source.[55][56] 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.[57] A typical four-armed form.
Miniature of Nurpur school
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, (circa 1810)[49]
the other being broken.[58] Some of the earliest images of Ganesha show him holding his
broken tusk.[59] The importance of this distinctive feature is reflected in the Mudgala
Purana, which states that the name of Ganesha's second incarnation is Ekadanta.[60] Ganesha's protruding belly appears as a
distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries).[61] 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).[62] Both names are Sanskrit compounds describing his belly (IAST:
udara).[63] The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs;
IAST: brahmāṇḍas) of the past, present, and future are present in him.[64] The number of Ganesha's arms varies; his best-known
forms have between two and sixteen arms.[65] Many depictions of Ganesha feature four arms, which is mentioned in Puranic
sources and codified as a standard form in some iconographic texts.[66] His earliest images had two arms.[67] Forms with 14 and
20 arms appeared in Central India during the 9th and the 10th centuries.[68] The serpent is a common feature in Ganesha
iconography and appears in many forms.[69] According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his
neck.[70] Other depictions of snakes include use as a sacred thread (IAST: yajñyopavīta)[71] wrapped around the stomach as a
belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the sectarian mark (IAST:
tilaka), which consists of three horizontal lines.[72] The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on
the forehead.[73] A distinct form of Ganesha called Bhalachandra (IAST: bhālacandra; "Moon on the Forehead") includes that
iconographic element.[74] Ganesha is often described as red in colour.[75] Specific colours are associated with certain forms.[76]
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).[77] Ekadanta-Ganapati is visualized as blue during meditation in that form.[78]

Vahanas
The earliest Ganesha images are without a vahana (mount/vehicle).[79] Of the eight
incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse
(shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his
incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja.[80]
Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and
Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha
Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant,
tortoise, ram, or peacock.[81]

Ganesha is often shown riding on or attended by a mouse, shrew or rat.[82] 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
Dancing Ganesha sculpture feet.[83] The mouse as a mount first appears in written sources in the Matsya Purana and
from North Bengal, 11th later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his
century CE, Asian Art
vehicle in his last incarnation.[84] The Ganapati Atharvashirsa includes a meditation
Museum of Berlin (Dahlem).
verse on Ganesha that describes the mouse appearing on his flag.[85] The names
Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha
Sahasranama.[86]

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do
so negatively; it symbolizes tamoguṇa as well as desire".[87] Along these lines, Michael Wilcockson says it symbolizes those
who wish to overcome desires and be less selfish.[88] Krishan notes that the rat is destructive and a menace to crops. The Sanskrit
word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a
type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat
demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā
(village deity) who later rose to greater prominence.[89] Martin-Dubost notes a view that the rat is a symbol suggesting that
Ganesha, like the rat, penetrates even the most secret places.[90]

Features
Removal of obstacles
Ganesha is Vighneshvara (Vighnaraja, Marathi – Vighnaharta), the Lord of Obstacles,
both of a material and spiritual order.[91] 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. Hence, he is often worshipped by the people before they begin anything new.
[92]Paul Courtright says that Ganesha's dharma and his raison d'etre is to create and
remove obstacles.[93]

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have
evolved over time.[29] Dhavalikar ascribes the quick ascension of Ganesha in the Hindu
pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from
Heramba-Ganesha with
vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter).[94] However, both
consort, 18th century Nepal
functions continue to be vital to his character.[95]

Buddhi (Intelligence)
Ganesha is considered to be the Lord of letters and learning.[96] In Sanskrit, the word buddhi is a feminine noun that is variously
translated as intelligence, wisdom, or intellect.[97] 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.[98] This name also appears in a list of 21 names at the end of the
Ganesha Sahasranama that Ganesha says are especially important.[99] The word priya can mean "fond of", and in a marital
context it can mean "lover" or "husband",[100] so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".[101]

Om
Ganesha is identified with the Hindu mantra Om, also spelled Aum. The term
oṃkārasvarūpa (Om is his form), when identified with Ganesha, refers to the notion that
he personifies the primal sound.[102] The Ganapati Atharvashirsa attests to this
association. Chinmayananda translates the relevant passage as follows:[103]

(O Lord Ganapati!) You are (the Trimurti) Brahma, Vishnu, and Mahesa.
You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya]
and the moon [Chandrama]. You are Brahman. You are (the three worlds)
Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You
are Om. (That is to say, You are all this).

Some devotees see similarities between the shape of Ganesha's body in iconography and
Ganesha, Chola period, early
the shape of Om in the Devanāgarī and Tamil scripts.[104]
13th century.

First chakra
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main";
adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of
primordial Divine Force rests.[105] This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this
passage as follows: "You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]."[106] Thus, Ganesha
has a permanent abode in every being at the Muladhara.[107] Ganesha holds, supports and guides all other chakras, thereby
"governing the forces that propel the wheel of life".[105]

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.[109] In some he was created by Parvati,[110] in
another he was created by Shiva and Parvati,[111] in another he appeared mysteriously
and was discovered by Shiva and Parvati[112] or he was born from the elephant headed
goddess Malini after she drank Parvati's bath water that had been thrown in the river.[113]

The family includes his brother, the god of war, Kartikeya, who is also called Skanda and
Murugan.[114] Regional differences dictate the order of their births. In northern India,
Skanda is generally said to be the elder, while in the south, Ganesha is considered the
firstborn.[115] In northern India, Skanda was an important martial deity from about 500
BCE to about 600 CE, after which worship of him declined significantly. As Skanda fell, Shiva and Parvati giving a
Ganesha rose. Several stories tell of sibling rivalry between the brothers[116] and may bath to Ganesha. Kangra
miniature, 18th century.
reflect sectarian tensions.[117]
Allahabad Museum, New
Delhi.[108]
Ganesha's marital status, the subject of considerable scholarly review, varies widely in
mythological stories.[118] One lesser-known and unpopular pattern of myths identifies
Ganesha as an unmarried brahmachari.[119] This view is common in southern India and
parts of northern India.[120] Another popularly-accepted mainstream pattern associates him with the concepts of Buddhi
(intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are personified as goddesses, said to be Ganesha's
wives.[121] He also may be shown with a single consort or a nameless servant (Sanskrit: daşi).[122] Another pattern connects
Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra).[123] He is also associated with
the goddess of luck and prosperity, Lakshmi.[124] Another pattern, mainly prevalent in the Bengal region, links Ganesha with the
banana tree, Kala Bo.[125]

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of
this story, the sons are often said to be Śubha (auspiciousness) and Lābha.[126] 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.[127]

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.[128] 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".[129] Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.[130]

Ganesha is a non-sectarian deity. Hindus of all denominations invoke him at the beginning of prayers, important undertakings,
and religious ceremonies.[131] Dancers and musicians, particularly in southern India, begin art performances such as the
Bharatnatyam dance with a prayer to Ganesha.[75] Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious
Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ,
Salutation to the Lord of Hosts).[132]
Devotees offer Ganesha sweets such as modaka and small sweet balls called
laddus.[133] He is often shown carrying a bowl of sweets, called a
modakapātra.[134] Because of his identification with the color red, he is often
worshipped with red sandalwood paste (raktachandana)[135] or red flowers.
Dūrvā grass (Cynodon dactylon) and other materials are also used in his
worship.[136]

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in

the śuklapakṣa (the fourth day of the waxing moon) in the month of Bhadrapada
(August/September) and the Ganesh Jayanti (Ganesha's birthday) celebrated on Celebrations of Ganesha by the
the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of Tamil community in Paris, France
magha (January/February)."[137]

Ganesha Chaturthi
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which
typically falls in late August or early September.[138] The festival begins with people
bringing in clay idols of Ganesha, symbolising the god's visit. The festival culminates on
the day of Ananta Chaturdashi, when the idols (murtis) are immersed in the most
convenient body of water.[139] Some families have a tradition of immersion on the 2nd,
3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival
from private family celebrations into a grand public event.[140] 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.[141] Because of Ganesha's wide appeal as "the god for
Everyman", Tilak chose him as a rallying point for Indian protest against British
rule.[142] 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.[143] Today,
Hindus across India celebrate the Ganapati festival with great fervour, though it is most Street festivities in
popular in the state of Maharashtra.[144][145] The festival also assumes huge proportions Hyderabad, India during the
festival of Ganesha Chaturthi
in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

Temples
In Hindu temples, Ganesha is depicted in various ways: as a subordinate deity (pãrśva-devatã); as a deity related to the principal
deity (parivāra-devatã); or as the principal deity of the temple (pradhāna).[146] 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.[147] In
addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (Sanskrit: अ िवनायक; aṣṭavināyaka; lit.
"eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune,
each of the eight shrines celebrates a particular form of Ganapati, complete with its own lore.[148] 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 Andhra
Pradesh; the Rockfort Ucchi Pillayar Temple at Tiruchirapalli in Tamil Nadu; Kottarakkara, Pazhavangadi, Kasargod in Kerala;
Hampi, and Idagunji in Karnataka; and Bhadrachalam in Telangana.[149]
 T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara
(Vigneshvara) with or without a temple to house it in. At entrances of villages and forts,
below pīpaḹa (Sacred fig) trees ... in a niche ... in temples of Viṣṇu (Vishnu) as well as
Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples ... the figure
of Vighneśvara is invariably seen."[150] Ganesha temples have also been built outside of
India, including Southeast Asia, Nepal (including the four Vinayaka shrines in the
Kathmandu Valley),[151] and in several western countries.[152]

Rise to prominence

The Morgaon temple, the First appearance

chief Ashtavinyak temple Ganesha appeared in his classic form as a clearly-
recognizable deity with well-defined iconographic
attributes in the early 4th to 5th centuries CE.[155]
Some of the earliest known Ganesha images include two images found in eastern
Afghanistan. The first image was discovered in the ruins north of Kabul along with those
of Surya and Shiva. It is dated to the 4th-century.[156] The second image found in Gardez
has an inscription on Ganesha pedestal that has helped date it to the 5th-century.[156]
Another Ganesha sculpture is embedded in the walls of Cave 6 of the Udayagiri Caves in
Madhya Pradesh. This is dated to the 5th-century.[156] An early iconic image of Ganesha
with elephant head, a bowl of sweets and a goddess sitting in his lap has been found in
the ruins of the Bhumara Temple in Madhya Pradesh, and this is dated to the 5th-century
Gupta period.[157][156][158] Other recent discoveries, such as one from Ramgarh Hill, are
also dated to the 4th or 5th centuries.[156] An independent cult with Ganesha as the
primary deity was well established by about the 10th century.[155] Narain summarizes the
lack of evidence about Ganesha's history before the 5th century as follows:[155]

What is inscrutable is the somewhat dramatic appearance of Gaṇeśa on

the historical scene. His antecedents are not clear. His wide acceptance
A 5th-century marble
and popularity, which transcend sectarian and territorial limits, are indeed
Ganesha found in Gardez,
amazing. On the one hand, there is the pious belief of the orthodox
Afghanistan, and once
devotees in Gaṇeśa's Vedic origins and in the Purāṇic explanations displayed at Dargah Pir
contained in the confusing, but nonetheless interesting, mythology. On Rattan Nath, Kabul (present
the other hand, there are doubts about the existence of the idea and the location unknown). The
icon of this deity" before the fourth to fifth century A.D. ... [I]n my inscription says that this
"great and beautiful image of
opinion, indeed there is no convincing evidence [in ancient Brahmanic
Mahāvināyaka" was
literature] of the existence of this divinity prior to the fifth century.
consecrated by the Shahi
King Khingala.[153][154]
The evidence for more ancient Ganesha, suggests Narain, may reside outside Brahmanic
or Sanskritic traditions, or outside geocultural boundaries of India.[155] Ganesha appears
in China by the 6th century, states Brown,[159] and his artistic images in temple setting as "remover of obstacles" in South Asia
appear by about 400 CE.[160] He is, states Bailey, recognized as goddess Parvati's son and integrated into Shaivism theology by
early centuries of the common era.[161]

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:[162]

In this search for a historical origin for Gaṇeśa, some have suggested
precise locations outside the Brāhmaṇic tradition.... These historical
locations are intriguing to be sure, but the fact remains that they are all
speculations, variations on the Dravidian hypothesis, which argues that
anything not attested to in the Vedic and Indo-European sources must
have come into Brāhmaṇic religion from the Dravidian or aboriginal
populations of India as part of the process that produced Hinduism out of
the interactions of the Aryan and non-Aryan populations. There is no
independent evidence for an elephant cult or a totem; nor is there any
archaeological data pointing to a tradition prior to what we can already
see in place in the Purāṇic literature and the iconography of Gaṇeśa.
Ganesha worshipped in the
Durga Puja celebrations in
Cologne Thapan's book on the development of Ganesha devotes a chapter to speculations about
the role elephants had in early India but concludes that "although by the second century
CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-
Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-
Vināyaka had yet to make his debut."[163]

Some have noted the roots of Ganesha worship, dating back to 3,000 BCE[164] since the times of Indus Valley Civilization.[165]
In 1993, a metal plate depiction of an elephant-headed figure, interpreted as Ganesha, was discovered in Lorestan Province, Iran,
dating back to 1,200 BCE.[166][167] First terracotta images of Ganesha are from 1st century CE found in Ter, Pal, Verrapuram,
and Chandraketugarh. These figures are small, with an elephant head, two arms, and chubby physique.[168] The earliest Ganesha
icons in stone were carved in Mathura during Kushan times (2nd–3rd centuries CE).[168]

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas
(Vināyakas).[169] In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and
difficulties[170] but who were easily propitiated.[171] The name Vināyaka is a common name for Ganesha both in the Purāṇas
and in Buddhist Tantras.[26] Krishan is one of the academics who accept this view, stating flatly of Ganesha, "He is a non-Vedic
god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause
various types of evil and suffering".[172] Depictions of elephant-headed human figures, which some identify with Ganesha,
appear in Indian art and coinage as early as the 2nd century.[173] 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.[174]

Vedic and epic literature

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern
Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators.[175] While this verse doubtless
refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today.[176] In rejecting any claim that this
passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the
hymn—and Bṛhaspati only".[177] Equally clearly, the second passage (RV 10.112.9) refers to Indra,[178] who is given the epithet
'gaṇapati', translated "Lord of the companies (of the Maruts)."[179] However, Rocher notes that the more recent Ganapatya
literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha.[180]
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā
(2.9.1)[181] and Taittirīya Āraṇyaka (10.1),[182] appeal to a deity as "the
tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved
trunk" (Vakratuṇḍa). These names are suggestive of Ganesha, and the 14th
century commentator Sayana explicitly establishes this identification.[183]
The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and
holding a corn-sheaf, a sugar cane,[184] and a club,[185] is so characteristic
of the Puranic Ganapati that Heras says "we cannot resist to accept his full
identification with this Vedic Dantin".[186] However, Krishan considers
these hymns to be post-Vedic additions.[187] Thapan reports that these 17th century RajasthanI manuscript of the
passages are "generally considered to have been interpolated". Dhavalikar Mahabharata depicting Vyasa narrating
the Mahabharata to Ganesha, who serves
says, "the references to the elephant-headed deity in the Maitrāyaṇī
as the scribe
Saṃhitā have been proven to be very late interpolations, and thus are not
very helpful for determining the early formation of the deity".[188]

Ganesha does not appear in the Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem
Mahabharata (1.1.75–79[a]) says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he
dictated it to him. Ganesha agreed but only on the condition that Vyasa recites the poem uninterrupted, that is, without pausing.
The sage agreed but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for
clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata,[189] in
which the twenty-line story is relegated to a footnote in an appendix.[190] The story of Ganesha acting as the scribe occurs in 37
of the 59 manuscripts consulted during the preparation of the critical edition.[191] Ganesha's association with mental agility and
learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation.[192] 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.[193] The term vināyaka is found in some recensions of the Śāntiparva and
Anuśāsanaparva that are regarded as interpolations.[194] A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva
is also believed to be an interpolation and does not appear in the critical edition.[195]

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.[196] Yuvraj Krishan says that the
Puranic myths about the birth of Ganesha and how he acquired an elephant's
head are in the later Puranas, which were composed of c. 600 onwards. He
elaborates on the matter to say that references to Ganesha in the earlier Puranas,
such as the Vayu and Brahmanda Puranas, are later interpolations made during
the 7th to 10th centuries.[197]

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher

notes that:[198] Ganesha with Riddhi and Siddhi.

Above all, one cannot help being struck by the fact that the
numerous stories surrounding Gaṇeśa concentrate on an
unexpectedly limited number of incidents. These incidents are
 mainly three: his birth and parenthood, his elephant head, and his
single tusk. Other incidents are touched on in the texts, but to a
far lesser extent.

Ganesha's rise to prominence was codified in the 9th century when he was formally included as one of the five primary deities of
Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system
among orthodox Brahmins of the Smarta tradition.[199] This worship practice invokes the five deities Ganesha, Vishnu, Shiva,
Devi, and Surya.[200] Adi Shankara 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 Ganesha as their principal deity. They developed the Ganapatya
tradition, as seen in the Ganesha Purana and the Mudgala Purana.[201]

The date of composition for the Ganesha Purana and the Mudgala Purana—and their
dating relative to one another—has sparked academic debate. Both works were
developed over time and contain age-layered strata. Anita Thapan reviews comment
about dating and provide her own judgment. "It seems likely that the core of the Ganesha
Purana appeared around the twelfth and thirteenth centuries", she says, "but was later
interpolated."[202] 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 Ganesha statue in 9th
the sacred sites mentioned by the text.[203] century Prambanan temple,
Java, Indonesia
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which
he dates between 1100 and 1400.[204] 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.[205] 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.[206] Another highly regarded scripture, the Ganapati Atharvashirsa, was
probably composed during the 16th or 17th centuries.[207]

Ganesha Sahasranama is part of the Puranic literature, and is a litany of a thousand names and attributes of Ganesha. Each name
in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. Versions of the Ganesha
Sahasranama are found in the Ganesha Purana.[208]

One of the most important Sanskrit texts, that enjoys authority in Ganapatya tradition states John Grimes, is the Ganapati
Atharvashirsa.[209]

Beyond India and Hinduism

Commercial and cultural contacts extended India's influence in Western and Southeast Asia. Ganesha is one of a number of
Hindu deities who consequently reached foreign lands.[210]

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures.[211] From
approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a
resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders.[212] The earliest
inscription invoking Ganesha before any other deity is associated with the merchant community.[213]

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them.[214] Statues of Ganesha are
found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in the Hindu art of Java, Bali, and
Borneo show specific regional influences.[215] The spread of Hindu culture throughout Southeast Asia established Ganesha
worship 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.[216] In Thailand, Cambodia, and among the
Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles.[217] Today in Buddhist
Thailand, Ganesha is regarded as a remover of obstacles, the god of success.[217]

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities
was practiced. 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.[218]

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form
with the same name.[219] His image appears in Buddhist sculptures during the late Gupta period.[220] As the Buddhist god
Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and
then in Tibet.[221] In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion.[222]
Tibetan representations of Ganesha show ambivalent views of him.[223] A Tibetan rendering of Ganapati is tshogs bdag.[224] In
one Tibetan form, he is shown being trodden under foot by Mahākāla,(Shiva) a popular Tibetan deity.[225] Other depictions show
him as the Destroyer of Obstacles, and sometimes dancing.[226] 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.[227] In Japan,
where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.[228]

The canonical literature of Jainism does not mention the worship of Ganesha.[229] However, Ganesha is worshipped by most
Jains, for whom he appears to have taken over certain functions of the god of wealth, Kubera.[230] Jain ties with the trading
community support the idea that Jainism took up Ganesha worship as a result of commercial connections.[231] The earliest known
Jain Ganesha statue dates to about the 9th century.[232] A 15th-century Jain text lists procedures for the installation of its
images.[229] Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.[233]
The Japanese form of Ganesha – "Dancing Ganesh. Central Tibet. Early
Kangiten, late 18th/early 19th-century fifteenth century. Colours on cotton.
painting by Shorokuan Ekicho Height: 68 centimeters".[234] This form
is also known as Maharakta ("The
Great Red One").[235]

Ganesha temple in Bali, Indonesia

Notes
1. Heras 1972, p. 58.
2. Getty 1936, p. 5.
3. "Ganesha getting ready to throw his lotus. Basohli miniature, circa 1730. National Museum, New Delhi. In the
Mudgalapurāṇa (VII, 70), in order to kill the demon of egotism (Mamāsura) who had attacked him, Gaṇeśa
Vighnarāja throws his lotus at him. Unable to bear the fragrance of the divine flower, the demon surrenders to
Gaṇeśha." For quotation of description of the work, see: Martin-Dubost (1997), p. 73.
4. Rao, p. 1.
5. Brown, p. 1. "Gaṇeśa is often said to be the most worshipped god in India."
Getty, p. 1. "Gaṇeśa, Lord of the Gaṇas, although among the latest deities to be admitted to the Brahmanic
pantheon, was, and still is, the most universally adored of all the Hindu gods and his image is found in
practically every part of India."
 6. Rao, p. 1.
Martin-Dubost, pp. 2–4.
Brown, p. 1.
7. Chapter XVII, "The Travels Abroad", in: Nagar (1992), pp. 175–187. For a review of Ganesha's geographic
spread and popularity outside of India.
Getty, pp. 37–88, For discussion of the spread of Ganesha worship to Nepal, Chinese Turkestan, Tibet,
Burma, Siam, Indo-China, Java, Bali, Borneo, China, and Japan
Martin-Dubost, pp. 311–320.
Thapan, p. 13.
Pal, p. x.
8. Martin-Dubost, p. 2.
9. For Ganesha's role as an eliminator of obstacles, see commentary on Gaṇapati Upaniṣad, verse 12 in Saraswati
2004, p. 80
10. Heras 1972, p. 58
11. These ideas are so common that Courtright uses them in the title of his book, Ganesha: Lord of Obstacles, Lord
of Beginnings.
12. Brown, Robert L. (1991). Ganesh: Studies of an Asian God (https://books.google.com/?id=oF-Hqih3pBAC&pg=P
A6&dq=Ganesha+worship+began+century#v=onepage). SUNY Press. ISBN 978-0791406564.
13. Narain, A.K. "Gaṇeśa: The Idea and the Icon" in Brown 1991, p. 27
14. Gavin D. Flood (1996). An Introduction to Hinduism (https://books.google.com/books?id=KpIWhKnYmF0C).
Cambridge University Press. pp. 14–18, 110–113. ISBN 978-0521438780.
15. Vasudha Narayanan (2009). Hinduism (https://books.google.com/books?id=E0Mm6S1XFYAC). The Rosen
Publishing Group. pp. 30–31. ISBN 978-1435856202.
16. For history of the development of the gāṇapatya and their relationship to the wide geographic dispersion of
Ganesha worship, see: Chapter 6, "The Gāṇapatyas" in: Thapan (1997), pp. 176–213.
17. Narain, A.K. "Gaṇeśa: A Protohistory of the Idea and the Icon". Brown, pp. 21–22.
Apte, p. 395.
18. For the derivation of the name and relationship with the gaṇas, see: Martin-Dubost. p. 2.
19. Apte 1965, p. 395.
20. The word gaṇa is interpreted in this metaphysical sense by Bhāskararāya in his commentary on the
gaṇeśasahasranāma. See in particular commentary on verse 6 including names Gaṇeśvaraḥ and Gaṇakrīḍaḥ
in: Śāstri Khiste 1991, pp. 7–8.
21. Grimes 1995, pp. 17–19, 201.
22. Rigveda Mandala 2 (https://sa.wikisource.org/wiki/ऋ वे द:_सू तं_२.२३) Archived (https://web.archive.org/web/201
70202001602/https://sa.wikisource.org/wiki/%E0%A4%8B%E0%A4%97%E0%A5%8D%E0%A4%B5%E0%A5%
87%E0%A4%A6:_%E0%A4%B8%E0%A5%82%E0%A4%95%E0%A5%8D%E0%A4%A4%E0%A4%82_%E0%
A5%A8.%E0%A5%A8%E0%A5%A9) 2 February 2017 at the Wayback Machine, Hymn 2.23.1, Wikisource,
Quote: गणानां वा गणपितं हवामहे किवं कवीनामुपम व तमम ् । ये ठराजं ण ण पत आ नः व ूितिभः सीद
सादनम ् ॥१॥; For translation, see Grimes (1995), pp. 17–19
23. Oka 1913, p. 8 for source text of Amarakośa 1.38 as vināyako vighnarājadvaimāturagaṇādhipāḥ –
apyekadantaherambalambodaragajānanāḥ.
Śāstri 1978 for text of Amarakośa versified as 1.1.38.
24. Y. Krishan, Gaṇeśa: Unravelling an Enigma, 1999, p. 6): "Pārvati who created an image of Gaṇeśa out of her
bodily impurities but which became endowed with life after immersion in the sacred waters of the Gangā.
Therefore he is said to have two mothers—Pārvati and Gangā and hence called dvaimātura and also Gāngeya."
25. Krishan p. 6
26. Thapan, p. 20.
27. For the history of the aṣṭavināyaka sites and a description of pilgrimage practices related to them, see: Mate, pp.
1–25.
28. These ideas are so common that Courtright uses them in the title of his book, Ganesha: Lord of Obstacles, Lord
of Beginnings. For the name Vighnesha, see: Courtright 1985, pp. 156, 213
29. For Krishan's views on Ganesha's dual nature see his quote: "Gaṇeśa has a dual nature; as Vināyaka, as a
grāmadevatā, he is vighnakartā, and as Gaṇeśa he is vighnahartā, a paurāṇic devatā." Krishan, p. viii.
30. Martin-Dubost, p. 367.
31. Narain, A.K. "Gaṇeśa: The Idea and the Icon". Brown, p. 25.
32. Thapan, p. 62.
33. Myanmar-English Dictionary (http://sealang.net/burmese/dictionary.htm), Yangon: Dunwoody Press, 1993,
ISBN 978-1881265474, archived (https://web.archive.org/web/20100210001846/http://www.sealang.net/burmes
e/dictionary.htm) from the original on 10 February 2010, retrieved 20 September 2010
34. Justin Thomas McDaniel (2013). The Lovelorn Ghost and the Magical Monk: Practicing Buddhism in Modern
Thailand (https://books.google.com/books?id=tMWrAgAAQBAJ). Columbia University Press. pp. 156–157.
ISBN 978-0231153775.
35. Robert L. Brown (1987), A Note on the Recently Discovered Gaṇeśa Image from Palembang, Sumatra (https://w
ww.jstor.org/stable/3351212) Archived (https://web.archive.org/web/20170202051559/http://www.jstor.org/stable/
3351212) 2 February 2017 at the Wayback Machine, Indonesia, No. 43, Issue April, pp. 95–100
36. Brown 1991, pp. 176, 182, Note: some scholars suggest adoption of Ganesha by the late 6th century CE, see p.
192 footnote 7.
37. Brown 1991, p. 190.
38. John Clifford Holt (1991). Buddha in the Crown : Avalokitesvara in the Buddhist Traditions of Sri Lanka:
Avalokitesvara in the Buddhist Traditions of Sri Lanka (https://books.google.com/books?id=aT3AMR8g1gEC).
Oxford University Press. pp. 6, 100, 180–181. ISBN 978-0195362466.
39. Pal, p. ix.
40. Martin-Dubost, for a comprehensive review of iconography abundantly illustrated with pictures.
Chapter X, "Development of the Iconography of Gaṇeśa", in: Krishan 1999, pp. 87–100, for a survey of
iconography with emphasis on developmental themes, well-illustrated with plates.
Pal, for a richly illustrated collection of studies on specific aspects of Ganesha with a focus on art and
iconography.
41. Brown, p. 175.
42. Martin-Dubost, p. 213. In the upper right corner, the statue is dated as (973–1200).
43. Pal, p. vi. The picture on this page depicts a stone statue in the Los Angeles County Museum of Art that is dated
as c. 12th century. Pal shows an example of this form dated c. 13th century on p. viii.
44. Brown, p. 176.
45. See photograph 2, "Large Ganesh", in: Pal, p. 16.
46. For the human-headed form of Ganesha in:
Cambodia, see Brown, p. 10
Nandrudayan Vinayaka Temple, see "Vinayaka in unique form" (http://www.thehindu.com/fr/2003/10/10/storie
s/2003101001411200.htm). The Hindu. 10 October 2003. Retrieved 30 April 2015.
Uthrapathiswaraswamy Temple see Catlin, Amy; "Vātāpi Gaṇapatim": Sculptural, Poetic, and Musical Texts in
the Hymn to Gaṇeśa" in Brown pp. 146, 150
47. Martin-Dubost, pp. 197–198.
photograph 9, "Ganesh images being taken for immersion", in: Pal, pp. 22–23. For an example of a large
image of this type being carried in a festival procession.
Pal, p. 25, For two similar statues about to be immersed.
48. Pal, pp. 41–64. For many examples of Ganesha dancing.
Brown, p. 183. For the popularity of the dancing form.
49. Four-armed Gaṇeśa. Miniature of Nurpur school, circa 1810. Museum of Chandigarh. For this image see: Martin-
Dubost (1997), p. 64, which describes it as follows: "On a terrace leaning against a thick white bolster, Gaṇeśa is
seated on a bed of pink lotus petals arranged on a low seat to the back of which is fixed a parasol. The elephant-
faced god, with his body entirely red, is dressed in a yellow dhoti and a yellow scarf fringed with blue. Two white
mice decorated with a pretty golden necklace salute Gaṇeśa by joining their tiny feet together. Gaṇeśa counts on
his rosary in his lower right hand; his two upper hands brandish an axe and an elephant goad; his fourth hand
holds the broken left tusk."
50. Nagar, p. 77.
51. Brown, p. 3.
52. Nagar, p. 78.
53. Brown, p. 76.
54. Brown, p. 77.
55. Brown, pp. 77–78.
56. Brown, pp. 76–77.
57. For creation of Ganesha from Shiva's laughter and subsequent curse by Shiva, see Varaha Purana 23.17 as
cited in Brown: p. 77.
58. Getty 1936, p. 1.
59. Heras, p. 29.
60. , Granoff, Phyllis. "Gaṇeśa as Metaphor". Brown, p. 90.
61. "Ganesha in Indian Plastic Art" and Passim. Nagar, p. 101.
62. Granoff, Phyllis. "Gaṇeśa as Metaphor". Brown, p. 91.
63. For translation of Udara as "belly" see: Apte, p. 268.
64. Br. P. 2.3.42.34
Thapan, p. 200, For a description of how a variant of this story is used in the Mudgala Purana 2.56.38–9
65. For an iconographic chart showing number of arms and attributes classified by source and named form, see:
Nagar, pp. 191–195. Appendix I.
66. For history and prevalence of forms with various arms and the four-armed form as one of the standard types see:
Krishan 1999, p. 89.
67. Krishan 1999, p. 89, For two-armed forms as an earlier development than four-armed forms.
Brown, p. 103. Maruti Nandan Tiwari and Kamal Giri say in "Images of Gaṇeśa In Jainism" that the presence
of only two arms on a Ganesha image points to an early date.
68. Martin-Dubost, p. 120.
69. Martin-Dubost, p. 202, For an overview of snake images in Ganesha iconography.
Krishan 1999, pp. 50–53, For an overview of snake images in Ganesha iconography.
70. Martin-Dubost, p. 202. For the Ganesha Purana references for Vāsuki around the neck and use of a serpent-
throne.
Krishan 1999, pp. 51–52. For the story of wrapping Vāsuki around the neck and Śeṣa around the belly and
for the name in his sahasranama as Sarpagraiveyakāṅgādaḥ ("Who has a serpent around his neck"), which
refers to this standard iconographic element.
71. Martin-Dubost, p. 202. For the text of a stone inscription dated 1470 identifying Ganesha's sacred thread as
the serpent Śeṣa.
Nagar, p. 92. For the snake as a common type of yajñyopavīta for Ganesha.
72. Nagar, p. 81. tilaka with three horizontal lines.
the dhyānam in: Sharma (1993 edition of Ganesha Purana) I.46.1. For Ganesa visualized as trinetraṁ
(having three eyes).
 73. Nagar, p. 81. For a citation to Ganesha Purana I.14.21–25 and For a citation to Padma Purana as prescribing
the crescent for decoration of the forehead of Ganesha
Bailey (1995), pp. 198–199. For the translation of Ganesha Purana I.14, which includes a meditation form
with the moon on forehead.
74. Nagar, p. 81. For Bhālacandra as a distinct form worshipped.
Sharma (1993 edition of Ganesha Purana) I.46.15. For the name Bhālacandra appearing in the Ganesha
Sahasranama
75. Nagar, Preface.
76. "The Colors of Ganesha". Martin-Dubost, pp. 221–230.
77. Martin-Dubost, pp. 224–228
78. Martin-Dubost, p. 228.
79. Krishan, pp. 48, 89, 92.
80. Krishan, p. 49.
81. Krishan, pp. 48–49.
Bailey (1995), p. 348. For the Ganesha Purana story of Mayūreśvara with the peacock mount (GP I.84.2–3)
Maruti Nandan Tiwari and Kamal Giri, "Images of Gaṇeśa In Jainism", in: Brown, pp. 101–102.
82. Nagar. Preface.
Martin-Dubost, pp. 231–244.
83. See note on figure 43 in: Martin-Dubost, p. 144.
84. Citations to Matsya Purana 260.54, Brahmananda Purana Lalitamahatmya XXVII, and Ganesha Purana 2.134–
136 are provided by: Martin-Dubost, p. 231.
85. Martin-Dubost, p. 232.
86. For Mūṣakavāhana see v. 6. For Ākhuketana see v. 67. In: Gaṇeśasahasranāmastotram: mūla evaṁ
srībhāskararāyakṛta ‘khadyota’ vārtika sahita. (Prācya Prakāśana: Vārāṇasī, 1991). Source text with a
commentary by Bhāskararāya in Sanskrit.
87. For a review of different interpretations, and quotation, see: Grimes (1995), p. 86.
88. A Student's Guide to AS Religious Studies for the OCR Specification, by Michael Wilcockson, p. 117
89. Krishan pp. 49–50.
90. Martin-Dubost, p. 231.
Rocher, Ludo. "Gaṇeśa's Rise to Prominence in Sanskrit Literature", in: Brown (1991), p. 73. For mention of
the interpretation that "the rat is 'the animal that finds its way to every place,'"
91. "Lord of Removal of Obstacles", a common name, appears in the title of Courtright's Gaṇeśa: Lord of Obstacles,
Lord of Beginnings. For equivalent Sanskrit names Vighneśvara and Vighnarāja, see: Courtright, p. 136.
92. https://chopra.com/articles/ganesha-the-remover-of-obstacles
93. Courtright, p. 136.
94. For Dhavilkar's views on Ganesha's shifting role, see Dhavalikar, M.K. "Gaṇeśa: Myth and reality" in Brown 1991,
p. 49
95. Brown, p. 6.
96. Nagar, p. 5.
97. Apte 1965, p. 703.
98. Ganesha Purana I.46, v. 5 of the Ganesha Sahasranama section in GP-1993, Sharma edition. It appears in verse
10 of the version as given in the Bhaskararaya commentary.
99. Sharma edition, GP-1993 I.46, verses 204–206. The Bailey edition uses a variant text, and where Sharma reads
Buddhipriya, Bailey translates Granter-of-lakhs.
100. Practical Sanskrit Dictionary By Arthur Anthony McDonell; p. 187 (priya); Published 2004; Motilal Banarsidass
Publ; ISBN 8120820002
101. Krishan 1999; pp. 60–70 discusses Ganesha as "Buddhi's Husband".
102. Grimes, p. 77.
103. Chinmayananda 1987, p. 127, In Chinmayananda's numbering system, this is upamantra 8..
104. For examples of both, see: Grimes, pp. 79–80.
105. Tantra Unveiled: Seducing the Forces of Matter & Spirit By Rajmani Tigunait; Contributor Deborah Willoughby;
Published 1999; Himalayan Institute Press; p. 83; ISBN 0893891584
106. Translation. Courtright, p. 253.
107. Chinmayananda 1987, p. 127, In Chinmayananda's numbering system this is part of upamantra 7. 'You have a
permanent abode (in every being) at the place called "Muladhara"'..
108. This work is reproduced and described in Martin-Dubost (1997), p. 51, which describes it as follows: "This square
shaped miniature shows us in a Himalayan landscape the god Śiva sweetly pouring water from his kamaṇḍalu
on the head of baby Gaṇeśa. Seated comfortably on the meadow, Pārvatī balances with her left hand the baby
Gaņeśa with four arms with a red body and naked, adorned only with jewels, tiny anklets and a golden chain
around his stomach, a necklace of pearls, bracelets and armlets."
109. Nagar, pp. 7–14. For a summary of Puranic variants of birth stories.
Martin-Dubost, pp. 41–82. Chapter 2, "Stories of Birth According to the Purāṇas".
110. Shiva Purana IV. 17.47–57. Matsya Purana 154.547.
111. Varāha Purana 23.18–59.
112. For summary of Brahmavaivarta Purana, Ganesha Khanda, 10.8–37, see: Nagar, pp. 11–13.
113. Melton, J. Gordon (13 September 2011). Religious Celebrations: An Encyclopedia of Holidays, Festivals, Solemn
Observances, and Spiritual Commemorations (https://books.google.com/books?
id=KDU30Ae4S4cC&pg=PA325). ABC-CLIO. pp. 325–. ISBN 978-1598842050. Retrieved 16 June 2014.
114. For a summary of variant names for Skanda, see: Thapan, p. 300.
115. Khokar and Saraswati, p.4.
116. Brown, pp. 4, 79.
117. Gupta, p. 38.
118. For a review, see: Cohen, Lawrence. "The Wives of Gaṇeśa". Brown, pp. 115–140
119. Getty 1936, p. 33. "According to ancient tradition, Gaṇeśa was a Brahmacārin, that is, an unmarried deity; but
legend gave him two consorts, personifications of Wisdom (Buddhi) and Success (Siddhi)."
Krishan 1999, p. 63. "... in the smārta or orthodox traditional religious beliefs, Gaṇeśa is a bachelor or
brahmacārī"
120. For discussion on celibacy of Ganesha, see: Cohen, Lawrence, "The Wives of Gaṇeśa", in: Brown 1991,
pp. 126–129.
121. For a review of associations with Buddhi, Siddhi, Riddhi, and other figures, and the statement "In short the
spouses of Gaṇeśa are the personifications of his powers, manifesting his functional features...", see: Krishan
1999, p. 62.
122. For single consort or a nameless daşi (servant), see: Cohen, Lawrence, "The Wives of Gaṇeśa", in: Brown 1991,
p. 115.
123. For associations with Śarda and Sarasvati and the identification of those goddesses with one another, see:
Cohen, Lawrence, "The Wives of Gaṇeśa", in: Brown 1991, pp. 131–132.
124. For associations with Lakshmi see: Cohen, Lawrence, "The Wives of Gaṇeśa", in: Brown 1991, pp. 132–135.
125. For discussion of the Kala Bou, see: Cohen, Lawrence, "The Wives of Gaṇeśa", in: Brown 1991, pp. 124–125.
126. For statement regarding sons, see: Cohen, Lawrence, "The Wives of Gaṇeśa", in: Brown 1991, p. 130.
127. Cohen, Lawrence. "The Wives of Gaṇeśa". Brown, p. 130.
Thapan, pp. 15–16, 230, 239, 242, 251.
128. Krishan, pp. 1–3
129. K.N. Somayaji, Concept of Ganesha, p. 1 as quoted in Krishan, pp. 2–3
130. Krishan, p.38
131. For worship of Ganesha by "followers of all sects and denominations, Saivites, Vaisnavites, Buddhists, and
Jainas" see Krishan 1981–1982, p. 285
132. Grimes, p. 27
133. The term modaka applies to all regional varieties of cakes or sweets offered to Ganesha. Martin-Dubost, p. 204.
134. Martin-Dubost, p. 204.
135. Martin-Dubost, p. 369.
136. Martin-Dubost, pp. 95–99.
137. Thapan, p. 215
138. For the fourth waxing day in Māgha being dedicated to Ganesa (Gaṇeśa-caturthī) see: Bhattacharyya, B.,
"Festivals and Sacred Days", in: Bhattacharyya, volume IV, p. 483.
139. The Experience of Hinduism: Essays on Religion in Maharashtra; Edited By Eleanor Zelliot, Maxine Berntsen, pp.
76–94 ("The Ganesh Festival in Maharashtra: Some Observations" by Paul B. Courtright); 1988; SUNY Press;
ISBN 088706664X
140. Metcalf and Metcalf, p. 150.
141. Brown (1992), p. 9.
Thapan, p. 225. For Tilak's role in converting the private family festivals to a public event in support of Indian
nationalism.
142. Momin, A.R., The Legacy of G.S. Ghurye: A Centennial Festschrift, p. 95.
Brown (1991), p. 9. For Ganesha's appeal as "the god for Everyman" as a motivation for Tilak.
143. For Tilak as the first to use large public images in maṇḍapas (pavilions or tents) see: Thapan, p. 225.
144. For Ganesh Chaturthi as the most popular festival in Maharashtra, see: Thapan, p. 226.
145. "Gaṇeśa in a Regional Setting". Courtright, pp. 202–247.
146. Krishan, p. 92
147. Brown, p. 3
148. Grimes, pp. 110–112
149. Krishan, pp. 91–92
150. T.A. Gopinatha; Elements of Hindu Iconography, pp. 47–48 as quoted in Krishan, p. 2
151. Krishan, pp. 147–158
152. "Ganesha Temples worldwide" (https://web.archive.org/web/20071217044207/http://ganapati.club.fr/anglais/tsles
ganesheng.html). Archived from the original (http://ganapati.club.fr/anglais/tslesganesheng.html) on 17
December 2007.
153. For photograph of statue and details of inscription, see: Dhavalikar, M.K., "Gaņeśa: Myth and Reality", in: Brown
1991, pp. 50, 63.
154. [Dhavalikar, M.K. “A Note on Two Gaṇeśa Statues from Afghanistan.” East and West, vol. 21, no. 3/4, 1971, pp.
331–336. JSTOR, https://www.jstor.org/stable/29755703.]
155. Brown 1991, pp. 19–21, chapter by AK Narain.
156. Brown 1991, pp. 50–55, 120.
157. Nagar, p. 4.
158. Raman Sukumar (2003). The Living Elephants: Evolutionary Ecology, Behaviour, and Conservation (https://book
s.google.com/books?id=Jr_jm23lJq4C&pg=PA67). Oxford University Press. pp. 67–68. ISBN 978-0198026730.
159. Brown 1991, p. 2.
160. Brown 1991, p. 8.
161. Bailey 1995, p. ix.
162. Courtright, pp. 10–11.
163. Thapan, p. 75.
164. Point of Origin: Gobekli Tepe and the Spiritual Matrix for the World’s Cosmologies (https://books.google.com/boo
ks?id=Zp1fBwAAQBAJ), p. 51, Laird Scranton, Inner Traditions
165. Horns, Tusks, and Flippers: The Evolution of Hoofed Mammals (https://books.google.com/books?id=kWpQX-sfsL
gC), p. 179, JHU Press
166. Nanditha Krishna (1 May 2014). Sacred Animals of India (https://books.google.com/books?id=DF_af8_547EC&p
g=PT164&dq). Penguin UK. p. 164. ISBN 9788184751826.
167. "Loving Ganeśa: Hinduism's Endearing Elephant-faced God", by Subramuniya, p. 268
168. Kumar, Ajit, 2007. "A Unique Early Historic Terracotta Ganesa Image from Pal" in Kala, The Journal of Indian Art
History Congress, Vol XI. (2006–2007), pp. 89–91
169. Passim. Thapan.
Rocher, Ludo. "Gaṇeśa's Rise to Prominence in Sanskrit Literature". Brown, pp. 70–72.
170. Aitareya Brāhmana, I, 21.
171. Bhandarkar. Vaisnavism, Saivism and other Minor Sects. pp. 147–148.
172. Krishan, p. vii.
173. For a discussion of early depiction of elephant-headed figures in art, see Krishan 1981–1982, pp. 287–290 or
Krishna 1985, pp. 31–32
174. Ellawala 1969, p. 159.
175. Wilson, H. H. Ṛgveda Saṃhitā. Sanskrit text, English translation, notes, and index of verses. Parimal Sanskrit
Series No. 45. Volume II: Maṇḍalas 2, 3, 4, 5. Second Revised Edition; Edited and Revised by Ravi Prakash
Arya and K. L. Joshi. (Parimal Publications: Delhi, 2001). (Vol. II); ISBN 8171101380 (Set). RV 2.23.1 (2222)
gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnāmupamaśravastamam | 2.23.1; "We invoke the
Brahmaṇaspati, chief leader of the (heavenly) bands; a sage of sages."
176. Nagar, p. 3.
Rao, p. 1.
177. Rocher, Ludo. "Gaṇeśa's Rise to Prominence in Sanskrit Literature". Brown, p. 69. Bṛhaspati is a variant name
for Brahamanaspati.
178. Rocher, Ludo. "Gaṇeśa's Rise to Prominence in Sanskrit Literature". Brown, pp. 69–70.
179. Wilson, H.H. Ṛgveda Saṃhitā. Sanskrit text, English translation, notes, and index of verses. Parimal Sanskrit
Series No. 45. Volume IV: Maṇḍalas 9, 10. Second Revised Edition; Edited and Revised by Ravi Prakash Arya
and K.L. Joshi. (Parimal Publications: Delhi, 2001). (Vol. IV); ISBN 8171101380 (Set). RV 10.112.9 (10092) ni ṣu
sīda gaṇapate gaṇeṣu tvāmāhurvipratamaṃ kavīnām; "Lord of the companies (of the Maruts), sit down among
the companies (of the worshippers), they call you the most sage of sages".
180. For use of RV verses in recent Ganapatya literature, see Rocher, Ludo. "Gaṇeśa's Rise to Prominence in
Sanskrit Literature" in Brown 1991, p. 70
181. The verse : "tát karāţāya vidmahe | hastimukhāya dhîmahi | tán no dántî pracodáyāt||"
182. The verse: " tát púruṣâya vidmahe vakratuṇḍāya dhîmahi| tán no dántî pracodáyāt||"
183. For text of Maitrāyaṇīya Saṃhitā 2.9.1 and Taittirīya Āraṇyaka 10.1 and identification by Sāyaṇa in his
commentary on the āraṇyaka, see: Rocher, Ludo, "Gaṇeśa's Rise to Prominence in Sanskrit Literature" in Brown
1991, p. 70.
184. Rajarajan, R.K.K. (2001). "Sugarcane Gaṇapati" (https://www.academia.edu/2378055). East and West, Rome.
51.3/4: 379–84. Archived (https://web.archive.org/web/20160201041014/http://www.academia.edu/2378055/Sug
arcane_Ganapati) from the original on 1 February 2016 – via JSTOR (https://www.jstor.org/stable/29757520?Sea
rch=yes&resultItemClick=true&searchText=Sugarcane&searchText=Ganapati&searchUri=%2Faction%2FdoBasic
Search%3Fgroup%3Dnone%26amp%3Bwc%3Don%26amp%3Bacc%3Don%26amp%3BQuery%3DSugarcan
e%2BGanapati%26amp%3Bfc%3Doff).
185. Taittiriya Aranyaka, X, 1, 5.
186. Heras, p. 28.
187. Krishan 1981–1982, p. 290
Krishan 1999, pp. 12–15. For arguments documenting interpolation into the Maitrāyaṇīya Saṃhitā
188. Thapan, p. 101. For interpolation into the Maitrāyaṇīya Saṃhitā and Taittirīya Āraṇyaka.
Dhavalikar, M.K. "Gaṇeśa: Myth and reality" in Brown 1991, pp. 56–57. For Dhavilkar's views on Ganesha's
in early Literature.
189. Rocher, Ludo "Ganesa's Rise to Prominence in Sanskrit Literature". Brown, pp. 71–72.
190. Mahābhārata Vol. 1 Part 2. Critical edition, p. 884.
191. For a statement that "Fifty-nine manuscripts of the Ādiparvan were consulted for the reconstruction of the critical
edition. The story of Gaṇeśa acting as the scribe for writing the Mahābhārata occurs in 37 manuscripts", see:
Krishan 1999, p. 31, note 4.
192. Brown, p. 4.
193. Winternitz, Moriz. "Gaṇeśa in the Mahābhārata". Journal of the Royal Asiatic Society of Great Britain and Ireland
(1898:382). Citation provided by Rocher, Ludo. "Gaṇeśa's Rise to Prominence in Sanskrit Literature". Brown, p.
80.
194. For interpolations of the term vināyaka see: Krishan 1999, p. 29.
195. For reference to Vighnakartṛīṇām and translation as "Creator of Obstacles", see: Krishan 1999, p. 29.
196. Brown, p. 183.
197. Krishan, p. 103.
198. Rocher, Ludo. "Gaṇeśa's Rise to Prominence in Sanskrit Literature". Brown, p. 73.
199. Courtright, p. 163. For Dating of the pañcāyatana pūjā and its connection with Smārta Brahmins.
Bhattacharyya, S., "Indian Hymnology", in: Bhattacharyya (1956), volume IV, p. 470. For the "five" divinities
(pañcādevatā) becoming "the major deities" in general, and their listing as Shiva, Shakti, Vishnu, Surya, and
Ganesha.
200. Grimes, p. 162.
Pal, p. ix.
201. Thapan, pp. 196–197. Addresses the pañcāyatana in the Smārta tradition and the relationship of the Ganesha
Purana and the Mudgala Purana to it.
202. For a review of major differences of opinions between scholars on dating, see: Thapan, pp. 30–33.
203. Preston, Lawrence W., "Subregional Religious Centers in the History of Maharashtra: The Sites Sacred to
Gaṇeśa", in: N.K. Wagle, ed., Images of Maharashtra: A Regional Profile of India. p. 103.
204. R.C. Hazra, "The Gaṇeśa Purāṇa", Journal of the Ganganatha Jha Research Institute (1951); 79–99.
205. Phyllis Granoff, "Gaṇeśa as Metaphor", in Brown, pp. 94–95, note 2.
206. Thapan, pp. 30–33.
207. Courtright, p. 252.
208. Bailey 1995, pp. 258–269.
209. Grimes 1995, pp. 21–22.
210. Nagar, p. 175.
211. Nagar, p. 174.
212. Thapan, p. 170.
213. Thapan, p. 152.
214. Getty 1936, p. 55.
215. Getty, pp. 55–66.
216. Getty 1936, p. 52.
217. Brown, p. 182.
218. Nagar, p. 175.
Martin-Dubost, p. 311.
219. Getty 1936, pp. 37–45.
220. Getty 1936, p. 37.
221. Getty 1936, p. 38.
222. Getty 1936, p. 40.
223. Nagar, p. 185.
224. Wayman, Alex (2006). Chanting the Names of Manjushri. Motilal Banarsidass Publishers: p. 76.
ISBN 8120816536
225. Getty, p. 42
Nagar, p. 185.
226. Nagar, pp. 185–186.
227. Martin-Dubost, p. 311.
228. Martin-Dubost, p. 313.
229. Krishan, p. 121.
230. Thapan, p. 157.
231. Thapan, pp. 151, 158, 162, 164, 253.
232. Krishan, p. 122.
233. Thapan, p. 158.
234. This work and its description are shown in Pal, p. 125.
235. For a representation of this form identified as Maharakta, see Pal, p. 130.

a. Bombay edition

References
Apte, Vaman Shivram (1965). The Practical Sanskrit Dictionary. Delhi: Motilal Banarsidass Publishers. ISBN 978-
8120805675. (fourth revised and enlarged edition).
Bailey, Greg (1995). Ganeśapurāna: Introduction, translation, notes and index. Harrassowitz. ISBN 978-
3447036474.
Bhattacharyya (Editor), Haridas (1956). The Cultural Heritage of India. Calcutta: The Ramakrishna Mission
Institute of Culture. Four volumes.
Brown, Robert (1991), Ganesh: Studies of an Asian God (https://books.google.com/books?id=oF-Hqih3pBAC),
Albany: State University of New York, ISBN 978-0791406571
Chinmayananda, Swami (1987), Glory of Ganesha, Bombay: Central Chinmaya Mission Trust, ISBN 978-
8175973589
Courtright, Paul B. (1985), Gaṇeśa: Lord of Obstacles, Lord of Beginnings, New York: Oxford University Press,
ISBN 978-0195057423
Ellawala, H (1969), Social History of Early Ceylon, Colombo: Department of Cultural Affairs.
Getty, Alice (1936). Gaṇeśa: A Monograph on the Elephant-Faced God (1992 reprint ed.). Oxford: Clarendon
Press. ISBN 978-8121503778.
Grimes, John A. (1995), Ganapati: Song of the Self (https://books.google.com/books?id=duOe-jM8kRIC), SUNY
Series in Religious Studies, Albany: State University of New York Press, ISBN 978-0791424407
Heras, H. (1972), The Problem of Ganapati, Delhi: Indological Book House
Khokar, Ashish; Saraswati, S. (2005), Ganesha-Karttikeya, New Delhi: Rupa and Co, ISBN 978-8129107763
Krishan, Yuvraj (1981–1982), "The Origins of Gaṇeśa", Artibus Asiae, Artibus Asiae Publishers, 43 (4): 285–301,
doi:10.2307/3249845 (https://doi.org/10.2307%2F3249845), JSTOR 3249845 (https://www.jstor.org/stable/32498
45)
Krishan, Yuvraj (1999), Gaṇeśa: Unravelling An Enigma (https://books.google.com/books?id=BKoyRJxj9jUC),
Delhi: Motilal Banarsidass Publishers, ISBN 978-8120814134
Krishna, Murthy, K. (1985), Mythical Animals in Indian Art (https://books.google.com/books?id=dMI4rZuRs1MC),
New Delhi: Abhinav Publications, ISBN 978-0391032873
 Mate, M.S. (1962), Temples and Legends of Maharashtra, Bombay: Bharatiya Vidya Bhavan, OCLC 776939647
(https://www.worldcat.org/oclc/776939647)
Metcalf, Thomas R.; Metcalf, Barbara Daly, A Concise History of India (https://books.google.com/books?id=jGCB
NTDv7ac), ISBN 978-0521630276
Nagar, Shanti Lal (1992). The Cult of Vinayaka. New Delhi: Intellectual Publishing House. ISBN 978-81-7076-
044-3.
Oka, Krishnaji Govind (1913), The Nāmalingānuśāsana (Amarakosha) of Amarasimha: with the Commentary
(Amarakoshodghāṭana) of Kshīrasvāmin (https://archive.org/details/namalinganusasan00amariala), Poona: Law
Printing Press, retrieved 14 September 2007.
Ramachandra Rao, S.K. (1992), The Compendium on Gaṇeśa, Delhi: Sri Satguru Publications, ISBN 978-
8170308287
Saraswati, Swami Tattvavidananda (2004), Gaṇapati Upaniṣad, Delhi: D.K. Printworld Ltd., ISBN 978-
8124602652
Śāstri Khiste, Baṭukanātha (1991), Gaṇeśasahasranāmastotram: mūla evaṁ srībhāskararāyakṛta ‘khadyota’
vārtika sahita, Vārāṇasī: Prācya Prakāśana. Source text with a commentary by Bhāskararāya in Sanskrit.
Śāstri, Hargovinda (1978), Amarkoṣa with Hindi commentary, Vārānasi: Chowkhambā Sanskrit Series Office
Thapan, Anita Raina (1997). Understanding Gaṇapati: Insights into the Dynamics of a Cult. New Delhi: Manohar
Publishers. ISBN 978-8173041952.

External links
Ganesha (https://www.britannica.com/topic/Ganesha) at Encyclopædia Britannica
Ganesh: Symbol and presence (https://web.archive.org/web/20070210051104/http://ganapati.club.fr/anglais/inde
xe.html)

Retrieved from "https://en.wikipedia.org/w/index.php?title=Ganesha&oldid=913570255"

This page was last edited on 1 September 2019, at 21:59 (UTC).

Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using
this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia
Foundation, Inc., a non-profit organization.