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Elements of Hindu Iconography v1.c9: Ganapati

Elements of Hindu Iconography v1.c9

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Ganapati

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VIGHNĒŚVARA is, as the name indicates, the deity presiding over obstacles; as such, he happens to be the god who either puts obstacles in the way or removes them. That he has the capacity for doing both these things is evident from the account of his origin given in the *Lingapurāṇa*. It is stated therein that the *Asuras* and *Rākshasas*, performed sacrifices and other acts of virtue, and received several boons from Śiva the Supreme God. Protected with the boons thus acquired from god Śiva, they began to fight against the *Dēvas* and defeat them. Indra and the other gods, afflicted by the defeats received at the hands of the *Rākshasas*, complained about their hard lot to the Supreme God and prayed to him that he should create a being, who would be the lord of obstacles, Vighnēśvara, and throw obstacles in the way of the *Asuras* and *Rākshasas* in their attempts to perform acts of merit, and thus render them unfit to receive any more boons from God. Śiva yielded to this request of the gods and willed that a son be born to him to fulfil this object. Then one of his *aṃśas*, that is, a part of his power, took shape in the form of a handsome being and was delivered out of the womb of Pārvatī. Him Śiva named Vighnēśvara, and advised him to hinder the *Asuras*, *Rākshasas* and other wicked people from performing sacrifices and other virtuous acts, but to render all assistance to the *Dēvas* and other good beings in their endeavour to perform such acts. Vighnēśvara, thus born and thus installed in his position, has continued discharging his duties in the world of his Hindu devotees and worshippers.

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From this it is clear that upon Vighnēśvara were laid the duties of hindering and also of facilitating all acts of virtue, according to the motives with which their performance was undertaken. Various other accounts of the origin of Vighnēśvara are also found in the *Purāṇas*. The *Śiva-purāṇa* gives the following account of the birth of Vighnēśvara :—

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“The origin of Vighnēśvara is different in different aeons of creation. I am relating to you now the story of the birth of this god as it took place in the *Śvētakalpa*. Once upon a time,

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Jayā and Vijayā, the two companions of Pārvatī suggested to her that, though she had Nandi, Bhṛiṅgi and others among Śiva’s attendants as her servants, still it would be better for her if she had a person as her own servant. Pārvatī took the advice in good part, and it so happened subsequently that, on one occasion, when she was bathing in one of the inner compartments of her mansion, Śiva not knowing where she then was, went into the place where she was bathing. Pārvatī realised the value of the advice of her friends fully then and resolved upon creating a person who would be to her a faithful servant. She took a little of the dirt on her skin and created out of it a lovely being and ordered him to keep strict guard at her gate so as not to allow any one inside without her permission. Once, Śiva himself happened to go to meet his consort, but could not get access into her apartments, as the new gate-keeper would not allow him in. Śiva then tried entreaties and threats, none of which proved effective; he then resolved upon forcing his way in somehow. On noticing this, the new dvārapālaka administered to Śiva a few cuts with a cane and drove him out. Incensed at the behaviour of this insignificant servant of his consort he ordered his Bhūta-gaṇas—host of demons—

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to kill him at once. In the fight that ensued Śiva's host of demons were completely defeated and driven away. Then Viṣṇu, Subrahmaṇya and others tried, on behalf of Śiva, their strength with Vighnēśvara and met with no better result. Then Pārvatī, on seeing that her son Vighnēśvara, was fighting single-handed against powerful opponents, sent two minor goddesses to his help. They drew towards themselves by their mysterious power all the missiles aimed against Vighnēśvara and protected him from injury. Finding thus that no direct methods of attack succeeded as against Vighnēśvara, Viṣṇu thought of using strategy and with the aid of his *māyā* he caused confusion. Thereupon the two minor goddesses, finding their presence no longer of use there, returned to Pārvatī. It then became easy for Śiva to cut off and remove the head of Vighnēśvara.

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"The news of the destruction of her son was conveyed to Pārvatī by the sage Nārada; and on hearing it she became so angry that she created a thousand fighting goddesses to bring trouble on all those that took part in the destruction of her Vighnēśvara. These goddesses attacked the gods and made them feel very miserable. To rescue the gods from this pitiable condition, Nārada and other sages prayed to Pārvatī, who promised to restore peace as soon as her son was brought back to life. Śiva on hearing this, ordered the gods to proceed to the north at once and bring the head of the first living being they met and fix it on the neck of the beheaded son of Pārvati. The gods immediately proceeded and came across an elephant; they cut off its head and brought it and attached it as directed to the trunk of Vighnēśvara. That elephant had only one tusk, and Gajānana (the elephant-faced Vighnēśvara) has therefore only one tusk even to-day, and is known by the name of Ekadanta. When Pārvati saw her son brought back to life in this manner, she felt pleased and took him to the presence of Śiva. Vighnēśvara apologised to Śiva and the other gods for his past remissness in conduct and bowed in deep reverence to his divine father. Śiva was thereby highly gratified and conferred upon Vighnēśvara the commandership over his own demon-hosts, and anointed him as Gaṇapati. It is thus that Vighnēśvara became Gajānana and Ekadanta and Gaṇapati.”

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Quite a different story is given about the origin of Vighnēśvara in some of the other Purāṇas. Kennedy in his *Hindu Mythology* has given the following summary of the story as found in the *Varāha-purāṇa*, the *Matsya-purāṇa* and also the *Skānda-purāṇa* :—"The immortals and holy sages observing that, whether the actions, which they or others commenced, were good or bad, no difficulty occurred in accomplishing them, consulted together respecting the means by which obstacles might be opposed to the commission of bad actions, and determined to have recourse to Rudra. They accordingly proceeded to Kailāsa, and thus with reverence addressed him: ‘O, Mahādeva, god of gods, three-eyed, bearer of the trident, it is thou alone who canst create a being capable of opposing obstacles to the commission of improper acts.’ On hearing these words, Śiva looked at Pārvatī and began to consider in what manner he could effect the wishes of the gods; and, as he was immersed in thought, from the splendour of his countenance (which represents the ākāśic portion of his body) sprang into existence a youth, shedding radiance around, endowed with the qualities of Śiva, and evidently another Rudra, and captivating by his beauty the female inhabitants of heaven. Umā regarded him, and when she saw him thus lovely, her natural disposition was excited, and incensed with anger uttered this curse:—‘Thou shalt not offend my sight with the form of a beautiful youth, therefore assume an elephant’s head and a large belly, and

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thus may all thy beauties vanish.’* Śiva thus spoke to his son :—‘ Thy names shall be Gaṇeśa Vināyaka, Vighnarāja, the son of Śiva ; thou shalt be the chief of the Vināyakas and the gaṇas ; success and disappointment shall proceed from thee ; and great shall be thy influence amongst gods, and in sacrifices and all affairs. Therefore shalt thou be worshipped and invoked the first on all occasions, or otherwise the object and prayers of him who omits to do so, shall fail.’ ”†

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“ In the Matsya-purāṇa it is said that this figure of Gaṇapati was formed with the head of an elephant, while another tradition has it that one day, when she was bathing, Pārvatī formed the oil, ointments, and impurity that came from her body into the figure of a man, to which she gave life by sprinkling it with the water of the Ganges.”‡

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“ In the following passage of the Skānda-purāṇa, however, the birth of Gaṇapati is ascribed to Pārvatī only :—Śiva, addressing Pārvatī.—‘ Formerly during the twilight that intervened between the Dvāparayuga and the Kaliyuga, women, bar-

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[^ *]: “ Indignant at Śiva producing without her participation so perfect a son.” [^ †]: Kennedy’s *Hindu Mythology*, pp. 353-54. [^ ‡]: Kennedy’s *Hindu Mythology*, p. 353, f. n. 2.

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barians, Śūdras, and other workers of sin, obtained entrance into heaven by visiting the celebrated temple of Sōmēśvara.* Sacrifices, ascetic practices, charitable gifts, and all the other prescribed ordinances ceased, and men thronged only to the temple of Śiva. Hence old and young, the skilled in the Vēdas and those ignorant of them, and women and Śūdras, ascended to heaven, until at length it became crowded to excess. Then Indra and the gods afflicted at being thus overcome by men, sought the protection of Śiva, and thus with reverence addressed him :—‘ O, Śaṅkara, by thy favour heaven is pervaded by men, and we are nearly expelled from it. These mortals wander wherever they please, exclaiming, ‘ I am the greatest ’; and Dharmarāja, beholding the register of their good and evil deeds, remains silent, lost in astonishment. For the seven hells were most assuredly intended for their reception; but, having visited thy shrine, their sins have been remitted, and they have obtained a most excellent futurity.’ Śiva replied :—‘ Such was my promise to Sōma, nor can it be infringed; and all men, therefore, who visit the temple of Sōmēśvara must ascend to heaven. But supplicate Pārvatī, and she will contrive some means for extricating you from this distress.’ The gods then kneeling before Pārvatī, with folded hands and bended heads, thus invoked her assistance with laudatory strains :—‘ Praise be to thee, O supreme of goddesses, supporter of the universe! Praise be to thee, O lotus-eyed, resplendent as gold! Praise be to thee, O beloved of Śiva, who createst and destroyest! Praise be to thee, O mountain-born! Praise be to thee, O Kālarātri, O Durgā, who pervadest the universe, and art the sole substance from which all female forms whether mortal or immortal, originate! Grant us thy aid, and save us from this fearful distress.’ Having heard the supplication of Indra and the gods, thou, O goddess! wert moved with compassion, and gently rubbing thy body, there was thence produced a wondrous being with four arms and the head of an elephant; when thou thus addressed the gods:—‘ Desirous of your advantage have I created this being, who will occasion obstacles to men, and deluding them will deprive them of the wish to visit Sōmanātha, and thus shall they fall into hell.’ This heard, the gods were delighted, and returned to their own abodes, relieved from all fear of mankind.’

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∗ “ The same as Sōmnāth.”

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“ The Elephant-headed then thus spoke to thee, O Dēvī:—‘ Command, O lovely goddess! What I shall do.’ Thou didst reply,—‘ Oppose obstacles to men’s visiting Sōmanātha, and entice them to give up such a purpose by allurement of wives, children, possessions, and wealth. But from those who propitiate thee by the following hymn, do thou remove all difficulties, and enable them to obtain the favour of Śiva by worshipping at his shrine of Sōmanātha :—Om, I praise thee, O lord of difficulties! The beloved spouse of Siddhi and Buddhi, Gaṇapati, invincible, and the giver of victory, the opposer of obstacles to the success of men who do not worship thee, I praise thee O Gaṇēśa! The dreadful son of Umā, but firm and easily propitiated! O Vināyaka, I praise thee! O elephant-faced, who didst formerly protect the gods and accomplish their wishes, I praise thee! Thus, continued Pārvatī, ‘shalt thou be praised and worshipped on the fourth of each half month; and whoever previously invokes the god Vināyaka, no difficulties shall impede the attainment of his proposed object, and a most beneficial result shall he derive from sacrifices, pilgrimages, and all other devotional acts.’ ”*

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The *Suprabhēdāgama* has a version of its own regarding the birth of Gaṇēśa. Śiva addressing Vighnēśvara informs him of his origin thus :—“I, in company with Pārvatī, retired once to the forest on the slopes of the Himalayas to enjoy each other's company. We saw there a female elephant making herself happy with a male elephant. This excited our passion and we desired to enjoy ourselves in the form of elephants. I became a male elephant, and Pārvatī a female one, and pleased ourselves, as a result of which you were born with the face of an elephant."

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∗ Kennedy’s Hindu Mythology, pp. 354—356.

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In the earliest known reference to him, in the *Aitareya-brāhmaṇa* I. 21, Gaṇapati is identified with Brahmā, Brahmaṇaspati or Bṛihaspati. "The art of writing was usefully employed", says Muir, "in the early ages of philosophy. Lists of words apparently submitting to a general principle of classification, or having the same sense, were drawn up. These lists formed *gaṇas* which were appreciated. Gaṇapati, the Lord of the *gaṇas*, was a name of Brahmaṇaspati. It was gradually recognised as knowledge itself. It was Brahma. It was the Vēda. Prātiśākhyas give *gaṇas*. Yāska's treatise a collection of such *gaṇas*."

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It is stated that when Vyāsa composed the *Mahābhārata*, he employed Gaṇēśa as his amanuensis, who wrote to Vyāsa's dictation using his own tusk as his stile.

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In the *Brahmavaivarta-purāṇa* it is stated that Gaṇēśa was Kṛishṇa himself originally in the human form. Śani went to him while a child. The head of the child in consequence separated and went away to Gōlōka. The elephant Airāvata had then a son in the forest. His head was removed and fixed on the body of the child.

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Thus, we see that Gaṇēśa, who is the same as Vighnēśvara, is considered to have been born solely to Śiva, solely to Pārvatī and to both Śiva and Pārvatī, and is also held to be Kṛṣṇa in another form. He is identified with the Parabrahman and with Brahmaṇaspati or Bṛhaspati elsewhere. So confusing indeed are the accounts about the nature and origin of Vighnēśvara.

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At present in practice, he is the god whom the pious Hindu “invokes when he begins all sacrifices and religious ceremonies, all addresses even to superior gods, all serious compositions in writing, and all wordly affairs of moment.” Vighnēśvara is known by various names, such as Gaṇapati, Ēkadanta, Hēramba, Lambōdara, Sūrpakarṇa, Gajānana and Guhāgraja. The reason of the appellations Vighnēśvara, Gajānana, Ēkadanta and Gaṇapati or Gaṇēśa has already been given above. The Brahmavaivarta-purāṇa, however, explains the meaning of some of the names of this god in a peculiarly artificial manner thus:—Ga in Gaṇapati stands for wisdom and ṇa for mōksha or the salvation of soul emancipation. The *pati* or lord of these is Gaṇeśa the Parabrahman. *Eka* in *Ekadanta* indicates the one only Supreme Being and *danta* is indicative of strength. Ekadanta, therefore, is the all-powerful Supreme Being. In the word *Hēramba*, the syllable *hē* represents helplessness or weakness, and *ramba* denotes the protection afforded to weak beings to safeguard them from harm; hence Hēramba means the Protector of the Weak. By eating the food and cakes offered by Viṣṇu and Śiva the belly of Gaṇeśa became dilated, and hence he has come to be known by the name of *Lambōdara*. The ears of Gajānana which are waving to and fro are emblematic of the winnowing away of the obstacles of devotees and are also indicative of wisdom. Because he was born to Pārvatī before *Guha*, who is the same as Subrahmanya, he is called Guhāgraja. The *Bhaviṣyat-purāṇa* says that, since he leads the good in the path of righteousness, he is called Vināyaka. Another explanation of the name Vināyaka is given in the *Vāmana-purāṇa* to the effect that, as he was born without a *nāyaka* or sire, he came to be named Vināyaka.

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It is said that the shrines of Subrahmanya are rather common in South India; but those of Vighnēśvara are even more numerous. Every village, however small has in it an image of Vighnēśvara, with or without a temple to house it in. At the entrances of villages and forts, below pipal trees adjoining villages, on the right side of the entrances into Śiva temples, in the niche which is at the commencement of the innermost prākāra circuit in the temples of Viṣṇu as well as Śiva and also in separate shrines specially constructed in Śiva temples in the south-west corner, the figure of Vighnēśvara is invariably to be seen.

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In Rūpamaṇḍana it is stated that, in a temple, dedicated to Gaṇēśa, there should be on the left of the image of this deity the figure of Gajakarṇa; on the right, of Siddhi; to the north, of Gauri; to the east, of Buddhi; to the south-east, Bālachandra (Bhāḷachandra ?); to the south, of Sarasvati; to the west, of Kubēra; and at the back, of Dhūmraka. Each of the four gates of the shrine should have a pair of dvārapālas. Those at the east gate are named Avighna and Vighnarāja; at the south gate, Suvaktra and Balavān; at the west gate, Gajakarṇa and Gōkarṇa; and the north-gate, Susaumya and Śubhadāyaka. All these images are to be dwarfish in stature and should possess terrific look; one of their hands should be in the tarjani pose, another should carry a daṇḍa: and the other two hands should, in the case of Avighna and Vighnarāja, carry the *paraśu* and the *padma*; in the case of Suvaktra and Balavān, the *khaḍga* and the *kheṭaka*; in the case of Gajakarṇa and Gōkarṇa the *dhanus* and *bāṇa*; and lastly in the case of Susaumya and Śubhadāyaka, the *padma* and the *aṅkuśa*.

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(Fig. 1). Unmatta Uchchhishta-Gaṇapati : Stone : Śāradādēvī Temple, Kālaḍi.

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(Fig. 2). Kēvala-Gaṇapati : Ivory : Trivandram.

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Vighnēśvara may be represented as sitting or standing. The seat may be a *padmāsana* or a mouse or in rare instances, a lion. If the figure is a standing one, it should have a few bends in the body so as to be of the *dvibhaṅga* or *tribhaṅga* type. The standing image of Gaṇapati, may also be of the *samabhaṅga* type without any bend whatsoever. In the case of the sitting image, the rule laid down is that it should have its left leg folded and resting on a seat, while the right leg has to be crossed so as to rest on the left thigh, (see Pl. X fig. 1). Owing, however, to the sculptors generally making the belly a little too big, the legs cannot be shown to cross each other in front. Therefore, they simply show the right leg as bent and make it rest vertically on a seat, (see Pl. X, fig. 2).

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The trunk of the elephant-head of this god may be shown as turned towards the left or the right. Generally however, it is turned towards the left; only in rare cases do we meet with figures with the proboscis turned to the right. A Gaṇēśa with the trunk turned to the right is known in Tamil as Valamburi Vināyaka; and the same god with the trunk turned to the left is called Iḍam-buri Vināyaka.*

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Vighnēśvara is figured in most cases with only two eyes; the āgamas, however, prescribe three eyes to him in certain particular aspects. His image may have four, six, eight, ten or even sixteen arms; but the majority of such images have only four arms. The belly of this god, Lambōdara as he is often enough called, has to be very capacious. On the chest has to be thrown a snake in the form of the yajñōpavīta; and another snake should serve as a belt going round the belly. The following Purāṇic account of how he came to possess a girdle of snake is interesting. Once upon a time, Vighnēśvara, received from a number of devotees innumerable quantities of the mōdaka cake, and put them all into his capacious stomach. He then started to go home and mounted upon his precious charger, the mouse, and began to drive it. It was already dusk, and the poor over-burdened little mouse was hardly able to move along. In such a plight, it sighted a large snake crossing the path; and in terror it tripped and fell throwing down the rider god Gaṇeśa also. This fall caused the bursting of his inflated belly, and the cakes were all scattered pell mell on the floor. He picked them patiently, put them once again into his burst belly and tied round it for security the very snake which caused him so much damage. It is thus that he got the snake-girdle. The moon, who was then in the company of his twenty-seven starry consorts, saw all that took place on the earth below and burst out in loud laughter quite audible to Gaṇeśa. This god became greatly annoyed at the insult offered to him, grew wild with anger and plucked one of his own tusks and hurled it at the moon. It struck the moon and hit him so hard that he began to lose his lustre rapidly. The nights became pitch dark, and the gods thereupon approached him with prayers and implored him to pardon the offender, and to restore to him his light. Pleased with the praises of the gods, Vighneśvara modified his curse somewhat, changing it from perfect loss of light in the moon to one of periodic waning, and waxing. This story accounts also for Gaṇeśa having only one tusk in addition to its offering an explanation of the waxing and the waning of the moon.

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∗ The words valam and iḍam mean ‘right’ and ‘left’ in Tamil.

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There are several varieties among the images representing this elephant-headed god; and we give below a description of these varieties in brief outline.

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*Bāla-Gaṇapati* is a form of this god sculptured like a child; it has of course four arms and the head of an elephant. A mango, a plantain, a jack fruit, and a sugar-cane are to be held in the four hands. In the trunk the image has to carry a wood-apple. Its colour should be, it is said, like that of the rising sun.

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*Taruṇa-Gaṇapati* represents a form which carries in its hands the *pāśa*, the *aṅkuśa*, the wood-apple, *jambu* fruit, the sesamum, and a bamboo-stick, and has to be sculptured as a youth. The colour of this god should be red.

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*Bhakti-Vighneśvara* is also an image with four hands in which are placed a cocoanut, a mango, a lump of sugar, and a cup of *pāyasa*, which is a sweet preparation of milk and rice; and the colour of this image has to be white like the autumnal moon.

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*Vīra-Vighneśa*. The image of this type of Vighneśvara should be sculptured as having sixteen hands. The things which it should carry in its hands are a *vētala*, or vampire, the weapon *śakti*, bow and arrows, the sword and the shield, the *mudgara* or hammer, the *gadā*, or the club, the *aṅkuśa*, the *pāśa*, the *śūla*, the *kunda*, the *paraśu* and the *dhvaja*. The colour of this image has to be red.

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(Fig. 1). Lakshmī-Gaṇapati : Stone : Viśvanāthasvāmin Temple, Teṇkāśi.

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(Fig. 2). Uchchhishṭa-Gaṇapati : Stone : Nāgeśvarasvāmin Temple, Kumbhakoṇam.

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*Śakti-Gaṇeśa* represents a class of images consisting of *Lakṣmī-Gaṇapati*, *Uchchhiṣṭa-Gaṇapati*, *Mahā-Gaṇapati*, *Ūrddhva-Gaṇapati*, and *Piṅgala-Gaṇapati*. Of these the LAKṢMĪ-GANA-PATI, should have eight hands, and carry in them a parrot, a pomegranate, a lotus, a water-vessel of gold set with rubies, the *aṅkuśa*, the *pāśa*, the *kalpakalatā*, and the bud of the plant called *bāṇa*. Water should be shown to be flowing from the proboscis. The colour of this image has to be white. Such is the description given by Aghōra-śivāchāryā in his *Kriyākramadyōti*. But the *Mantramahōdadhi* states that Lakṣmī-Gaṇapati should have three eyes and should hold in two of his hands the *danta* and the *chakra*, while another hand should be in the *abhaya* pose. Nothing is said about the fourth hand. Evidently the fourth arm is intended to hold Lakṣmī in its embrace. The colour of Lakṣmī-Gaṇapati, according to this authority, should be golden colour. It is stated also that the goddess Lakṣmī should be sculptured so as to be embracing Gaṇēśa with one of her arms; she should carry a lotus in another hand.

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*Uchchhiṣṭa-Gaṇapati* is worshipped by many even in these days with a view to achieve their various desired objects; and this god is considered to be a great giver of boons. In the *Kriyākramadyōti* quoted above it is said that this image should carry in its hands a lotus flower, a pomegranate, a *vīṇa*, some quantity of paddy and an *akshamālā*. The *Mantra-mahārṇava* prescribes that *Uchchhishṭa-Gaṇapati* should carry the *bāṇa*, the *dhanus*, the *pāśa* and the *aṅkuśa*, and should be reddish in colour; he should be seated upon the *padmāsana*, with a nude *Dēvī*, and should be shown as if he is making attempts for coition. A more elaborate description of this deity is found in the *Uttara-Kāmikāgama*. The figure has to be a seated one, with four hands, in three of which it should carry the *pāśa*, the *aṅkuśa*, and a piece of sugar-cane; the fourth hand should be touching the private parts of the naked figure of the associated *Dēvī*. This god should have three eyes and be of dark colour. He should wear on the head a *ratna-makuṭa*. The nude *Dēvī* should be sitting upon his lap; she should be decked with all ornaments and have only two hands.

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Uchchhishta-Gaṇapati : Stone : Nañjaṅgōḍu.

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The name of this goddess is Vighnēśvari, and it is particularly stated that she should be sculptured beautifully. There is great deal of difference between the description of Uchchhishta Ganapati as contained in the books and the execution in the actual sculptures. In all cases this god has a nude Dēvi seated on his lap; two of his hands carry the pāśa and the ankuśa, one has a ladduka in it, and one of his arms is used in embracing the Dēvi about her hip. It is the proboscis, but not one of the hands, which is in contact with the private parts of the Dēvi. And the right hand of the Devi is shown to be holding the private parts of the god; in her left hand she carries a lotus. Mahā-Ganapati. The image of Mahā-Ganapati is one with ten arms; and it should have in its hands a lotus flower, a pomegranate, a jewelled water-vessel, the gadā, his own broken tusk, a sugar-cane, ears of paddy and the pāśa. The colour of this image has to be red. The figure of Śakti, whose complexion is white, should be seated on the lap of this god, and she should a have lotus in her hand.

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*Ūrddhva-Gaṇapati* should carry in five of his hands a *kalhara* flower, ears of paddy, a bow made of sugar-cane, the *bāṇa*, and the tusk. With one of his arms he should embrace Śakti about her hip. The colour of this god has to be golden-yellow, and that of the associated Śakti should be like that of the lightning.

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*Piṅgala-Gaṇapati*, is also a figure with six hands in which it may be seen to carry a mango, a bunch of flowers plucked from the *kalpaka* tree, a sugar-cane, sesamum, *mōdaka*, and *paraśu*. It should have the figure of Lakshmī by its side.

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The general characteristics of Śakti-Gaṇapati, according to the *Vighnēśvara-pratishṭhā-vidhi*, are that he should be seated on the *padmāsana* with a green coloured Śakti by his side, whom he should be embracing about her waist, and that there should be no contact between the hips of the god and the goddess. His colour should be the crimson of the setting sun. He should hold the weapons *pāśa* and *vajra* and be made to look terrific. The *Mantramahārṇava*, on the other hand, has it that *danta*, *aṅkuśa*, *pāśa* and *akshamālā* should be placed in the hands and the *mōdaka*, in the trunk of this Gaṇapati, and that Śakti, decked with all ornaments and clothed in gold-laced cloth should be seated by his side.

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Hēramba-Gaṇapati : Bronze : Nilāyatākshīyamman Temple, Negapatam. (Front view).

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*Hēramba.* The figure of Hēramba is very different from all other figures of Vighnēśvara. It has five elephant heads, four facing the four cardinal points and the fifth placed above these so as to be looking upwards. It should be seated upon a powerful lion. It should carry the *pāśa*, *danta*, *akshamālā*, *paraśu*, and a three-headed *mudgara* in its hands; in another hand there should be a *mōdaka*, and two other hands have to be held in the *varada* and *abhaya* poses respectively. The colour of Hēramba has to be golden yellow.

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*Prasanna-Gaṇapati.* This Gaṇapati is described as a standing figure which has either a few bends in the body or is perfectly erect. One authority says that the figure should be *abhaṅga*, while another, says that it should be *samabhaṅga*. The bends, when found, are generally three. The seat or pedastal upon which this figure should stand is the *padmāsana*. This Gaṇēśa has to be scarlet in colour like the rising sun, and should be draped in red cloth. In two of his hands he should hold the *pāśa* and *aṅkuśa*, while the remaining two are to be one in the *varada* and the other in the *abhaya* pose. In regard to this, however, there is generally a difference observable between what is found in the actual sculptures and the description given in books. Prasanna-Gaṇapati is not seen in actual sculptures, to have two of his hands in the *varada* and *abhaya* poses, but is made to hold in them a *danta* and a *mōdaka* respectively, the latter of these being represented as if it is being picked up with the trunk, to be lifted and put into the mouth.

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*Dhvaja-Gaṇapati*, should have four hands, carrying a book, an *akshamālā*, a *daṇḍa* and a *kamaṇḍalu*, and be of terrific look.

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*Unmatta-Uchchhishṭa Gaṇapati*, is represented by an image with three eyes and with a body of red colour. It carries in its four hands the *pāśa*, the *aṅkuśa*, a vessel containing *mōdakas*, and the *danta*. It is seated upon the *padmāsana*. It should be made to look as if the elephant is in *must* (rutting).

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*Vighnarāja-Gaṇapati* should be sculptured as carrying the *pāśa* and the *aṅkuśa*, and as eating a mango fruit. The image should be seated on a mouse and have the colour of the deep red sun.

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*Bhuvanēśa-Gaṇapati* should have eight hands. The *śaṅkha*, a bow made of sugar-cane, arrows of flowers, the broken tusk, the *pāśa*, the *aṅkuśa*, and shoots of paddy grass are to be held in them; the colour of the body is to be white. It is worthy of note that the sugar-cane-bow and the flowery arrows are the attributes of Kāmadēva, the Hindu god of love.

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(Fig. 1). Prasanna-Gaṇapati : (Tribhaṅga) Bronze : Paṭṭīśvaram.

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(Fig. 2). Prasanna-Gaṇapati : (Samabhaṅga) Ivory : Trivandrum.

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Nṛitta-Gaṇapati : Stone : Hoysaleśvara Temple, Haḷēbīḍu.

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*Nṛitta-Gaṇapati*. This is a representation of Gaṇēśa as dancing. This image should have eight hands in seven of which should be held the *pāśa*, the *aṅkuśa*, cakes, the *kuṭhāra* (a kind of axe), the *danta*, the *valaya* (a quoit), and the *aṅgulīya* (a ring); the remaining hand should be freely hanging so as to be helpful to the various movements of the dance. The colour of the body of this Gaṇēśa has to be golden yellow. To show that it is a dancing figure it is scupltured with the left leg slightly bent, resting on the *padmāsana*, and the right leg also bent and held up in the air. The sculptures of this figure have generally only four hands, but not eight as in the description given above.

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*Haridrā-Gaṇapati* is also known as the *Rātri-Gaṇapati* and should have four arms. The *pāśa*, the *aṅkuśa*, *mōdaka*, and the *danta* are to be held in the four hands. His image should have three eyes and be of turmeric yellow colour and should wear yellow clothing.

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*Bhāla-chandra*. It is said that Chandra (the moon) was cursed by Darbhi (?) and began to lose his brightness. Seeing this, Gaṇapati took up Chandra and wore him on his forehead as a *tilaka*, and thus saved him from disaster. That form of Gaṇapati which hence has the moon on the forehead is known as Bhāḷachandra. The Brahmāṇḍa-purāṇa gives this explanation.

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Sūrpakarṇa. The story regarding this form of Gaṇēśa is that once upon a time Agni was cursed by the Ṛishis to become extinguished and lost. Agni accordingly became quite powerless. Gaṇēśa took pity and fanned Agni into life again with his ears, as with a sūrpa or winnowing basket. Hence he is known as Sūrpakarṇa.

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Ēkadanta. The story here is that Paraśurāma, having destroyed the Kshatriyas with the paraśu lent to him by Śiva, went to Kailāsa to offer thanks to his divine benefactor. But, when there, he was stopped at the gate of Śiva’s abode by Gaṇapati, who told him that Śiva and Pārvatī were in conversation and that no stranger could then be allowed to enter. Not caring for the injunctions of this door-keeper, Paraśurāma tried to force his way into the house; a fight then ensued between him and Gaṇapati, in which Paraśurāma hurled his paraśu at Gaṇēśa in great anger. Gaṇēśa was able enough to resist the blow of the axe; but he did not do so, because he could not bear to see his father’s battle-axe, pass for a powerless weapon. He therefore received the blow on his left tusk, which thus became broken and lost. Accordingly he became a single-tusked god, *Ekadanta*. The authority for this also is the *Brahmāṇḍa-purāṇa*. In a large number of sculptures, however, the figure of Gaṇeśa is represented without the right tusk, contrary to the description given in the *Brahmāṇḍa-purāṇa*.

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We have already remarked that Gaṇeśa is the *ākāsic* part of Śiva looked upon as the Lord of the Universe. Perhaps to represent him as the vast expanse of space which is everywhere and encloses all things, his belly is made so capacious as to contain in it the innumerable thousands of *mōdakas*—round, ball-like cakes,—which most probably represent the various beings in the universe floating in the ocean of *ākāśa* or ether. The *Pādma-purāṇa*, however, explains the *mōdaka* to be the symbol of *Mahābuddhi*, Supreme Wisdom.

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The following account is given in the *Śiva-mahāpurāṇa* of the circumstances under which Gaṇapati came to be married: when Gaṇapati and Subrahmaṇya attained marriageable age, Pārvatī and Śiva consulted each other as to which of them should be married first. It was resolved that he, who successfully circumambulated the earth first, should have his marriage celebrated first. Subrahmaṇya began the race, got ready his peacock-vehicle and started on the trip round the earth. But Gaṇeśa was indifferent at the time and utterly unmindful of his brother going in advance in the race, for he felt sure that he himself would in any case come out successful. As soon as Subrahmaṇya was out of sight, Gaṇeśa came near to his parents and circumambulated them seven times, and quoted a Vedic text to the effect that, if a son made seven pradakṣiṇās, circuits, round his parents, he obtained the merit of having circumambulated the earth. The parents were highly pleased with the wisdom of Gaṇeśa and married to him two fair damsels named Buddhi and Siddhi. To the former was born the son named Kṣēma, and to the latter the son named Lābha. When all this had taken place Subrahmaṇya returned, and demanded the prize promised by his parents. He was then informed how the prize in the race had been won by Gaṇeśa, and was asked to wait for his own turn to come in the matter of marriage. Feeling disappointed and angry, Subrahmaṇya retired to mount Krauñcha to do penance there and live the life of celibacy.

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The above account clearly shows us that Gaṇeśa is conceived to be the Lord of Buddhi and Siddhi, that is, the lord of wisdom and the attainment of desired ends.

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Explanations relating to the weapons in the hands of Gaṇapati, will be found in the chapter on Āyudha-purushas and what they mean.

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The illustrations of Gaṇapati given on plates X to XVI are all from actual sculptures. Among these, fig. 1, Pl. X is that of the stone Gaṇapati set up just two years ago in the newly constructed temple of Śāradādēvi and Śaṅkarāchārya at Kālaḍi. The image was executed, it is reported, by a Bombay artist, and is a good specimen of the work of the new Bombay school of sculpture. There is an evenness of symmetry in the balance of the limbs and also a natural proportion in size as between the head and the trunk, as well as between the trunk on the one side and the hands and legs on the other. The modelling of the hands and legs, of the ornaments and the drapery leaves nothing to be desired. This figure holds the aṅkuśa in the back right hand, the pāśa in the back left hand; the mōdaka cake is in the front left hand and the danta is held in the front right hand. The proboscis of the elephant-head is shown to be playing with the flower garland hanging from the neck. This last feature possibly indicates that this Gaṇapati represents that variety of Uchchhishṭa-Gaṇapati which is called Unmatta.

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Fig. 2, Pl. X is a very pretty ivory image of Kēvala-Gaṇapati carved in the School of Arts at Trivandram. It carries in its hands the same things which the image represented by fig. 1 does. Though influenced by Western art, the artist in this case has still followed to a great extent the ancient ideals of image-making, as is evidenced by the old conventional style of the *makuṭa*, by the folds of the drapery shown on the figure and by many other minor details.

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The stone-figure of Lakshmi-Gaṇapati, the photograph whereof is given on Pl. XI as fig. 1, is found in the Viśvanāthasvāmin temple at Teṇkāśi, which is known to have been built by a Pāṇḍya king named Arikēsari Parākrama Pāṇḍyadēva in 1446 A. D. The image is therefore likely to have been set up about this period. The workmanship of this piece of sculpture is far from satisfactory; no heed is paid to what may be mentioned as the natural proportion of the parts of the image, as may be seen from the unsuitable size given to the trunk, the head, the belly and the hands and legs. Some out of the ten hands of this image carry the *chakra*, *śaṅkha*, *śūla*, *paraśu*, *danta*, and *paśa*; and articles which are carried in the other hands it is not easy to make out. There is a water-vessel shown as being carried in the proboscis of this Gaṇapati.

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In the Nāgēśvarasvāmin temple at Kumbhakōṇam is set up the figure of Uchchhishṭa- Ganapati, the photograph whereof is reproduced as fig. 2 in Pl. XI. It has four hands, and carries in three of them the *paraśu*, the *pāśa* and a *mōdaka*, while the fourth is employed in embracing the goddess. The proboscis of the image is touching the private parts of the goddess, who is herself carrying a flower in her left hand and is touching with her right hand the private parts of Ganapati. The stone image of Uchchhishṭa-Gaṇapati figured on Pl. XII belongs to the Mysore State. As described in the *Mantra-mahārṇava*, this Gaṇapati is seen carrying in his hands the *aṅkuśa*, the *pāśa*, the *dhanus* and the *bāṇa*; in other respects this image is almost similar to the Kumbhakōṇam image.

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The bronze-image of Hēramba-Gaṇapati, whose back and front views are shown on Pls. XIII and XIV, belongs to the Nīlāyatākshi-yamman temple at Negapatam. In this figure, which is seated upon a lion, two hands are kept in the *varada* and the *abhaya* poses respectively, while the other eight are shown to be carrying the *parāśu*, *paśa*, *danta*, *aṅkuśa*, and four other weapons which are not easily identifiable. It should be observed that the image has five heads; four of them are facing the four cardinal points, and one is situated centrally on the top. This piece of sculpture does not appear to be older than the fifteenth century A. D.

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Two illustrations are given here to show the form of Prasanna-Gaṇapati as executed in sculpture. Of these fig. 1, Pl. XV represents a bronze statuette belonging to the Śiva temple at Paṭṭīśvaram in the Tanjore district. It is a *tribhaṅga* image with three bends in the body, and is standing upon a *pdamāsana*. Surrounding this image there is the *prabhavali*: and it carries in its four hands the *aṅkuśa*, *pāśa*, *mōdaka* and *danta*. Its head is adorned with the *karaṇḍa-makuṭa*. It is probably not later than the twelfth or the thirteenth century A. D. Fig. 2 on the same plate is an ivory image of Prasanna-Gaṇapati made in the School of Arts at Trivandram. It is a perfectly erect figure being *samabhaṅga*, and in its hands we see the same things as in the hands of the bronze statuette of Paṭṭīśvaram.

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The figure of Nṛtta-Gaṇapati shown on Pl. XVI, is found in the Hoysalēśvara temple at Haḷēbīḍu, the ancient capital of the Hoysaḷa kings. The construction of this temple is said to have been begun in the year 1121 A.D. in the reign of Viṣṇuvarddhana. Therefore the age of this sculpture may well be assigned to somewhere about the last quarter of the twelfth century. It is a very fine

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piece of sculpture, perfect in modelling as well as execution and pleasing in effect. The image carries in six out of its eight hands the *paraśu*, *pāśa*, *mōdaka-pātra*, *danta*, *sarpa* and perhaps also a *padma*. One of the right hands is held in the pose called *daṇḍa-hasta*, while the corresponding left hand is in the *vismaya-hasta* pose; and the proboscis carries a lotus with its stalk and a few leaves attached thereunto. Above the head of this Gaṇapati an umbrella is sculptured; and the head itself is adorned with a very artistically wrought *karaṇḍa-makuṭa*. Below the seat is worked out a mouse as if engaged in the act of eating up a few *mōdakas* thrown on the floor. On either side of the mouse we may see the figures of a few devotees sitting with offerings in their hands, while on the left and right of the image of Gaṇapati are some musicians playing upon drums and other instruments.

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