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<\/a><\/p>\nGanesa<\/i><\/b> <\/b>is not only mysterious but also evocative. Every year during 10 day long Ganesa Parva<\/i>, questions are flung far and wide as to why Hindu<\/i>-s worship \u201cthe elephant headed\u201d deity so adoringly. Elephant is a symbol of authority, dignity, strength and endurance. Explanations and Puranic<\/i> texts are repeated with regularity just as the question is. It was Maharsi Bhrgu<\/i> who conceptualised the worship and mentioned it in one of the most ancient Upanisad<\/i>-s Taittiriya<\/i> some 10,000 years ago in Vedic<\/i> state of Brahmavarta<\/i>. The legendary Maharsi<\/i> had contributed to other Samhita<\/i>-s and Rg Veda<\/i> too. The concept consecrated by him is very much alive, rather expanding beyond boundaries of Bharata<\/i>. Ganesa<\/i> <\/i> emerged as a deity during 4th<\/sup> \/ 5th<\/sup> centuries CE of Gupta Period encumbered with traits from pre-Vedic<\/i> precursors. A sect of devotees known as Ganapatya<\/i> came into being who identified Ganesa<\/i> as their supreme deity. Principal scriptures dedicated to Ganesa<\/i> <\/i> are Ganesa Purana<\/i>, Mudgala Purana<\/i> and Ganapati<\/i> Atharvasirsa<\/i>. Brahma<\/i> Purana<\/i> and Brahmanda Purana<\/i> are other two Puranic<\/i> texts dealing with Ganesa<\/i>.<\/b><\/p>\n At the core of Vedic<\/i> <\/i>wisdom is convergence of all cosmic forces and human intellect as a means of their manifestation. Veda<\/i>-s incessantly emphasise association of two in the name of Yoga<\/i>. Activities of Brahma<\/i> are held in highest esteem and such persons are known as Brahmana<\/i>-s. Elephant contoured part of human brain lies at the base of skull that does \u2018intelligent\u2019 activities with two ear shaped Corpus Callosum on both sides inter-linking two hemisperes of brain, Medulla in the centre resembling trunk, Pineal and Pituitary glands represented by two tusks. Purana<\/i>-s beautifully narrate a tale on how Ganesa<\/i> was created at the instance of Parwati<\/i> by Siva<\/i> at the entrance of Her dwelling. Herein, Base of Skull is the entrance into human brain and the realised ones are endowed with divine faculties to sift and regulate every external stimulus received by five organs of cognition i.e. Indriya<\/i>-s. Thus, function of organs collectively known as Ganesa<\/i> at the Base of Skull is critical in nature. Functions related to intelligence and consciousness too, are examined by Ganesa<\/i>, also known as Karta<\/i> as He is responsible for all actions enacted through human body.<\/b><\/p>\n Gana<\/i><\/b> refers to a group and Isa <\/i> or Pati <\/i> refers to Isvara<\/i>. Gana<\/i>-s are all creatures and Ganesa<\/i>, their Master Deity. If Gana<\/i>-s refer to entire spectacle of Mantra<\/i>-s, Ganesa<\/i> as Omkara<\/i> is pre-eminent at the core of all of them. If Gana<\/i>-s are various orders of Prana<\/i>, Ganesa<\/i> is the inner Self and foremost. If Gana<\/i>-s are fundamental Tattva<\/i>-s, Ganesa<\/i> <\/i> is again the pivotal inner Self. If Gana<\/i>-s are stream of Karma<\/i>-s, Ganesa<\/i> is the Prajna<\/i> that dispenses proceeds of Karma<\/i>-s enacted. Ganesa<\/i> dwells in Muladhara Cakra<\/i>, ruling over Prthvi<\/i> and holding Kundalini<\/i>, supreme strength of transcendence. Thus, Ganesa<\/i> is the confluence of Siva<\/i> and Sakti <\/i> having a couple of consorts, Siddhi<\/i> i.e. supreme accomplishments and Buddhi<\/i>, faculty of discriminative wisdom.<\/b><\/p>\n Ganesa Caturthi<\/i><\/b> is a ten day festival in the month of Bhadrapada<\/i> from Sukla Caturthi<\/i> to Ananta Caturthi<\/i>, to celebrate advent of Ganesa<\/i> into our consciousness. Celebrations trace back to dynasties of Satavahana<\/i>, Rastrakuta<\/i> and Calukya<\/i>, used to be held in Maharashtra and Goa to begin with, then it expanded all over Bharata<\/i>. Now Ganesa Parva<\/i> is celebrated all over the world by Hindu<\/i>-s. Individual celebrations are conducted in homes, communities and public places. He is worshipped every morning, evening elaborately and immersed on the day of Ananta Caturthi<\/i>. Four main rituals for the entire celebration are Pranapratistha<\/i> i.e. infusion of deity into Murty<\/i>, Sodasopacara<\/i> i.e. 16 forms of adoration unto Him, Uttarapuja<\/i> i.e. Puja<\/i> after which He can be shifted and finally, Ganapati Visarjana<\/i> i.e. immersion into river. Modaka<\/i> is the main sweet that is offered to Ganesa<\/i> and partaken as Prasada<\/i>. He is known by 108 names with every name pertaining to a unique aspect of His persona. For instance, Ganesa<\/i> is Acintya<\/i> i.e. beyond contemplation, Avyakta<\/i> i.e. beyond manifestation and Ananta<\/i> i.e. eternal. He is Master of all disciplines of knowledge and wisdom, adored before commencement of all ceremonies and rituals being Adi Deva<\/i> i.e. deity of beginning. Legend has it that Ganesa<\/i> was created by Siva<\/i> and Parwati<\/i> after entreaties of Deva<\/i>-s to act as Vighna<\/i>–Karta<\/i> i.e. hurdle-maker for devils and demons as well as Vigna<\/i>–Harta<\/i> for Deva<\/i>-s themselves. Lokmanya Bal Gangadhar Tilak revived the tradition of Ganapati Puja<\/i>, popularised it at national level to unite all communities and groups. He transformed it into a rallying point for heralding freedom movement against British occupation of the country in 1893. After independence was attained, it was declared a national festival.<\/b><\/p>\n Ganesa<\/i><\/b> appears in Mahayana Buddhism<\/i>, not only as Vin\u0101yaka<\/i> Buddhist<\/i> but also as a demon bearing the same name. His image appears in Buddhist<\/i> sculptures of Gupta period. As Buddhist<\/i> Vin\u0101yaka<\/i>, He is often dancing as N\u1e5btta Ganapati<\/i>, popular in Nepal and Tibet too. In Nepal, Ganesa<\/i> <\/i> is known as Herambha<\/i>, has five heads and rides a lion. Tibetan representations of Ganesa<\/i> reveal renderings of Ganapati<\/i> as tshogs bdag<\/i>. In another Tibetan manifest, He is depicted being trodden by Mahakalesvara<\/i>, a widely worshipped Tibetan deity. Other depictions present Him as Destroyer of Obstacles. Ganesa<\/i> appears in China and Japan manifesting as distinct regional deities. Ganesa<\/i> is worshipped by Jains too as Kubera<\/i> i.e. deity of wealth though their literature may not describe that. Earliest known Jain Ganesa<\/i> statue belongs to 9th century and a Jain<\/i> text belonging to 15th<\/sup> century describes procedures for installation of Ganapati <\/i> images. Images of Ganesa <\/i> appear in the Jain Mandir<\/i>-s of Rajasthan and Gujarat.<\/b><\/p>\n Japan has some 250 Ganesa Mandir<\/i>-s wherein Ganapati<\/i> <\/i>is known as \u2018Kangiten\u2019, first mentioned in 806. Ganesa<\/i> <\/i> was worshipped in Central Asia as His statues have been discovered in Afghanistan, Iran, Myanmar, Sri Lanka, Nepal, Thailand, Laos, Cambodia, Vietnam, China, Mongolia, Indonesia, Brunei, Bulgaria, Mexico and other Latin American countries. Earliest known statue of Ganesa<\/i> in China carries an inscription dated to 531. Romans too, worshipped Ganesa <\/i> before commencement of every new venture. Irish Embassy in New Delhi is the first European Embassy to instal a Ganesa<\/i> <\/i> statute at their main entrance to invoke His blessings. Silicon Valley have accepted Ganesa <\/i> as their presiding deity of cyberspace technology. Greek coins dating first \/ third century BC has images of elephant headed Ganesa<\/i>. So do Indonesian currency notes. <\/b><\/p>\n According to Daivata Sastra<\/i>, Ganesa<\/i> is not only presiding deity of all disciplines of erudition, but also fine as well as performing arts too. His another name \u2018Rangaraja<\/i>\u2019 precisely describes Him performer par excellence being an exquisite dancer, as if dance had been His very existence being progeny of Nataraja Siva<\/i>, identified with Tandava<\/i> dances and Parwati<\/i>, presiding deity of gracious Lasya<\/i>. Ganesa<\/i> beautifully blended both forms of performing art revered and adored by all dancers who sing an ode unto Him before commencement of their every performance. He exists everywhere, in every testimony of art viz. paintings, sculptures, scriptures etc. Krida Khanda<\/i> of Ganesa Purana<\/i> describes a dance by Him as a child which memerised Siva<\/i> into dancing in abandon. Linga Purana<\/i> too, describes Ganesa<\/i> as the presiding deity of dances. So do Bharata<\/i>\u2019s Natya Sastra<\/i> and Vedic Samhita<\/i>-s too. 10th<\/sup> century author Dhananjaya<\/i> invoked Ganesa<\/i> in the opening prayer of his famous work on dramaturgy, Dasarupaka<\/i> as it goes, \u201cI salute Ganesa<\/i> whose Mrdanga<\/i> like Hunkara<\/i> acts as an accompaniment to Siva<\/i>\u2019s Tandava<\/i>.\u201d He is often seen in paintings, playing musical instruments to the dancing Gana<\/i>-s surrounded by Siva<\/i>. Acarya<\/i> Nandikesvara<\/i> wrote in his 12th<\/sup> century work Abhinaya Darpana<\/i>, every Nartaka<\/i> <\/i> must pray to Vighnesa<\/i>, Murajadhipa<\/i>, Akasa<\/i> and Prthvi<\/i>, must strike Kapittha Mudra<\/i> and follow movements detailed in Gajalila Gati<\/i>. In every opening ceremony of Alaripu Nrtya<\/i>, Bharatanatyama<\/i> Nartaka<\/i> performs Ganesa Vandana<\/i> singing the verse, \u201cTandava Ganapati<\/i>, Narayana Ganapati<\/i>\u201d accompanied by Mrdangam<\/i>. After Puspanjali<\/i> <\/i> and Bhumi Pranama<\/i>, Odissi<\/i> Nartaka<\/i> performs Vandana<\/i> during Mangalacarana<\/i> with profoundly evocative Bhava<\/i> and Mudra<\/i>. 17th<\/sup> century Marathi Santa Ramdasa<\/i> beautifully described Nrtya Ganesa<\/i> in his work Dasabodha<\/i>. Nrtya<\/i> Ganesa<\/i> is visualised as dancing under Kalpavriksa<\/i> tree holding Hastidanta<\/i> i.e. tusk symbolising Param Brahma<\/i> being the Absolute One, Ankusa<\/i> i.e. goad symbolising self-restraint, Parasu<\/i> i.e. axe and Pasa<\/i> i.e. noose symbolising discipline, in His four hands. Enormous belly with a serpent around symbolises acceptance with consciousness, Modaka<\/i> being attainment of ultimate bliss and Durva<\/i> grass dedicated, all our woes and agonies. Most beautifully crafted Nrtya Ganesa<\/i> Murti<\/i> <\/i> is in Hoyasalesvara Mandir<\/i> in Halebidu, Karnataka belonging to 12th<\/sup> century.<\/b><\/p>\n Legend has it that Ganesa<\/i> shall assume an Avatara<\/i> in the manifest of a tree to destroy the demon of pollution and protect nature. <\/b><\/p>\n","protected":false},"excerpt":{"rendered":" THE CELEBRITY VIGHNAHARTA Ramakant Tiwari Ganesa is not only mysterious but also evocative. Every year… more