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Rapid strata formation in soft sand (field evidence).

Photo of strata formation in soft sand on a beach, created by tidal action of the sea.

Formed in a high tidal event. Stunning evidence which displays multiple strata/layers.

 

Why this is so important ....

It has long been assumed, ever since the 17th century, that layers/strata observed in sedimentary rocks were built up gradually, layer upon layer, over many years. It certainly seemed logical at the time, from just looking at rocks, that lower layers would always be older than the layers above them, i.e. that lower layers were always laid down first followed, in time, by successive layers on top.

This was assumed to be true and became known as the superposition principle.

It was also assumed that a layer comprising a different material from a previous layer, represented a change in environmental conditions/factors.

These changes in composition of layers or strata were considered to represent different, geological eras on a global scale, spanning millions of years. This formed the basis for the Geologic Column, which is used to date rocks and also fossils. The evolutionary, 'fossil record' was based on the vast ages and assumed geological eras of the Geologic Column.

There was also circular reasoning applied with the assumed age of 'index' fossils (based on evolutionary beliefs & preconceptions) used to date strata in the Geologic Column. Dating strata from the assumed age of (index) fossils is known as Biostratigraphy.

We now know that, although these assumptions seemed logical, they are not supported by the evidence.

At the time, the mechanics of stratification were not properly known or studied.

 

An additional factor was that this assumed superposition and uniformitarian model became essential, with the wide acceptance of Darwinism, for the long ages required for progressive microbes-to-human evolution. There was no incentive to question or challenge the superposition, uniformitarian model, because the presumed, fossil 'record' had become dependant on it, and any change in the accepted model would present devastating implications for Darwinism.

This had the unfortunate effect of linking the study of geology so closely to Darwinism, that any study independent of Darwinian considerations was effectively stymied. This link of geology with Darwinian preconceptions is known as biostratigraphy.

 

Some other field evidence, in various situations, can be observed here: www.flickr.com/photos/101536517@N06/sets/72157635944904973/

and also in the links to stunning, experimental evidence, carried out by sedimentologists, given later.

_______________________________________________

GEOLOGIC PRINCIPLES (established by Nicholas Steno in the 17th Century):

What Nicolas Steno believed about strata formation is the basis of the principle of Superposition and the principle of Original Horizontality.

dictionary.sensagent.com/Law_of_superposition/en-en/

“Assuming that all rocks and minerals had once been fluid, Nicolas Steno reasoned that rock strata were formed when particles in a fluid such as water fell to the bottom. This process would leave horizontal layers. Thus Steno's principle of original horizontality states that rock layers form in the horizontal position, and any deviations from this horizontal position are due to the rocks being disturbed later.”)

BEDDING PLANES.

'Bedding plane' describes the surface in between each stratum which are formed during sediment deposition.

science.jrank.org/pages/6533/Strata.html

“Strata form during sediment deposition, that is, the laying down of sediment. Meanwhile, if a change in current speed or sediment grain size occurs or perhaps the sediment supply is cut off, a bedding plane forms. Bedding planes are surfaces that separate one stratum from another. Bedding planes can also form when the upper part of a sediment layer is eroded away before the next episode of deposition. Strata separated by a bedding plane may have different grain sizes, grain compositions, or colours. Sometimes these other traits are better indicators of stratification as bedding planes may be very subtle.”

______________________________________________

 

Several catastrophic events, flash floods, volcanic eruptions etc. have forced Darwinian, influenced geologists to admit to rapid stratification in some instances. However they claim it is a rare phenomenon, which they have known about for many years, and which does nothing to invalidate the Geologic Column, the fossil record, evolutionary timescale, or any of the old assumptions regarding strata formation, sedimentation and the superposition principle. They fail to face up to the fact that rapid stratification is not an extraordinary phenonemon, but rather the prevailing and normal mechanism of sedimentary deposition whenever and wherever there is moving, sediment-laden water. The experimental evidence demonstrates the mechanism and a mass of field evidence in normal (non-catastrophic) conditions shows it is a normal everyday occurrence.

It is clear from the experimental evidence that the usual process of stratification is - that strata are not formed by horizontal layers being laid on top of each other in succession, as was assumed. But by sediment being sorted in the flowing water and laid down diagonally in the direction of flow. See diagram:

www.flickr.com/photos/truth-in-science/39821536092/in/dat...

 

The field evidence (in the image) presented here - of rapid, simultaneous stratification refutes the Superposition Principle and the Principle of Lateral Continuity.

 

We now know, the Superposition Principle only applies on a rare occasion where sedimentary deposits are laid down in still water.

Superposition is required for the long evolutionary timescale, but the evidence shows it is not the general rule, as was once believed. Most sediment is laid down in moving water, where particle segregation is the general rule, resulting in the simultaneous deposition of strata/layers as shown in the photo.

 

See many other examples of rapid stratification (with geological features): www.flickr.com/photos/101536517@N06/sets/72157635944904973/

 

Rapid, simultaneous formation of layers/strata, through particle segregation in moving water, is so easily created it has even been described by sedimentologists (working on flume experiments) as a law ...

"Upon filling the tank with water and pouring in sediments, we immediately saw what was to become the rule: The sediments sorted themselves out in very clear layers. This became so common that by the end of two weeks, we jokingly referred to Andrew's law as "It's difficult not to make layers," and Clark's law as "It's easy to make layers." Later on, I proposed the "law" that liquefaction destroys layers, as much to my surprise as that was." Ian Juby, www.ianjuby.org/sedimentation/

 

The example in the photo is the result of normal, everyday tidal action formed in a single incident. Where the water current or movement is more turbulent, violent, or catastrophic, great depths (many metres) of stratified sediment can be laid down in a short time. Certainly not requiring the many millions of years assumed by evolutionists.

 

The composition of strata formed in any deposition event. is related to whatever materials are in the sediment mix, not to any particular timescale. Whatever is in the mix will be automatically sorted into strata/layers. It could be sand, or other material added from mud slides, erosion of chalk deposits, coastal erosion, volcanic ash etc. Any organic material (potential fossils), alive or dead, engulfed by, or swept into, a turbulent sediment mix, will also be sorted and buried within the rapidly, forming layers.

 

See many other examples of rapid stratification with geological features: www.flickr.com/photos/101536517@N06/sets/72157635944904973/

 

Stratified, soft sand deposit. demonstrates the rapid, stratification principle.

Important, field evidence which supports the work of the eminent, sedimentologist Dr Guy Berthault MIAS - Member of the International Association of Sedimentologists.

(Dr Berthault's experiments (www.sedimentology.fr/)

And also the experimental work of Dr M.E. Clark (Professor Emeritus, U of Illinois @ Urbana), Andrew Rodenbeck and Dr. Henry Voss, (www.ianjuby.org/sedimentation/)

 

Location: Sandown, Isle of Wight. Photographed: 08/12/2019

This field evidence demonstrates that multiple strata in sedimentary deposits do not need millions of years to form and can be formed rapidly. This natural example confirms the principle demonstrated by the sedimentation experiments carried out by Dr Guy Berthault and other sedimentologists. It calls into question the standard, multi-million year dating of sedimentary rocks, and the dating of fossils by depth of burial or position in the strata.

Mulltiple strata/layers are evident in this example.

 

Dr Berthault's experiments (www.sedimentology.fr/) and other experiments (www.ianjuby.org/sedimentation/) and field studies of floods and volcanic action show that, rather than being formed by gradual, slow deposition of sucessive layers superimposed upon previous layers, with the strata or layers representing a particular timescale, particle segregation in moving water or airborne particles can form strata or layers very quickly, frequently, in a single event.

youtu.be/wFST2C32hMQ

youtu.be/SE8NtWvNBKI

And, most importantly, lower strata are not older than upper strata, they are the same age, having been created in the same sedimentary episode.

Such field studies confirm experiments which have shown that there is no longer any reason to conclude that strata/layers in sedimentary rocks relate to different geological eras and/or a multi-million year timescale. www.youtube.com/watch?v=5PVnBaqqQw8&feature=share&amp.... they also show that the relative position of fossils in rocks is not indicative of an order of evolutionary succession. Obviously, the uniformitarian principle, on which the geologic column is based, can no longer be considered valid. And the multi-million, year dating of sedimentary rocks and fossils needs to be reassessed. Rapid deposition of stratified sediments also explains the enigma of polystrate fossils, i.e. large fossils that intersect several strata. In some cases, tree trunk fossils are found which intersect the strata of sedimentary rock up to forty feet in depth. upload.wikimedia.org/wikipedia/commons/thumb/0/08/Lycopsi... They must have been buried in stratified sediment in a short time (certainly not millions, thousands, or even hundreds of years), or they would have rotted away. youtu.be/vnzHU9VsliQ

 

In fact, the vast majority of fossils are found in good, intact condition, which is testament to their rapid burial. You don't get good fossils from gradual burial, because they would be damaged or destroyed by decay, predation or erosion. The existence of so many fossils in sedimentary rock on a global scale is stunning evidence for the rapid depostion of sedimentary rock as the general rule. It is obvious that all rock containing good intact fossils was formed from sediment laid down in a very short time, not millions, or even thousands of years.

 

See set of photos of other examples of rapid stratification: www.flickr.com/photos/101536517@N06/sets/72157635944904973/

 

Carbon dating of coal should not be possible if it is millions of years old, yet significant amounts of Carbon 14 have been detected in coal and other fossil material, which indicates that it is less than 50,000 years old. www.ldolphin.org/sewell/c14dating.html

 

www.grisda.org/origins/51006.htm

 

Evolutionists confidently cite multi-million year ages for rocks and fossils, but what most people don't realise is that no one actually knows the age of sedimentary rocks or the fossils found within them. So how are evolutionists so sure of the ages they so confidently quote? The astonishing thing is they aren't. Sedimentary rocks cannot be dated by radiometric methods*, and fossils can only be dated to less than 50,000 years with Carbon 14 dating. The method evolutionists use is based entirely on assumptions. Unbelievably, fossils are dated by the assumed age of rocks, and rocks are dated by the assumed age of fossils, that's right ... it is known as circular reasoning.

 

* Regarding the radiometric dating of igneous rocks, which is claimed to be relevant to the dating of sedimentary rocks, in an occasional instance there is an igneous intrusion associated with a sedimentary deposit -

Prof. Aubouin says in his Précis de Géologie: "Each radioactive element disintegrates in a characteristic and constant manner, which depends neither on the physical state (no variation with pressure or temperature or any other external constraint) nor on the chemical state (identical for an oxide or a phosphate)."

"Rocks form when magma crystallizes. Crystallisation depends on pressure and temperature, from which radioactivity is independent. So, there is no relationship between radioactivity and crystallisation.

Consequently, radioactivity doesn't date the formation of rocks. Moreover, daughter elements contained in rocks result mainly from radioactivity in magma where gravity separates the heavier parent element, from the lighter daughter element. Thus radiometric dating has no chronological signification." Dr. Guy Berthault www.sciencevsevolution.org/Berthault.htm

 

Radiometric dating based on unverifiable assumptions.

scienceagainstevolution.info/v8i8f.htm

 

Rapid strata formation and rapid erosion at Mount St Helens.

slideplayer.com/slide/5703217/18/images/28/Rapid+Strata+F...

 

Visit the fossil museum:

www.flickr.com/photos/101536517@N06/sets/72157641367196613/

 

Just how good are peer reviews of scientific papers?

www.sciencemag.org/content/342/6154/60.full

www.examiner.com/article/want-to-publish-science-paper-ju...

 

The neo-Darwinian idea that the human genome consists entirely of an accumulation of billions of mutations is, quite obviously, completely bonkers. Nevertheless, it is compulsorily taught in schools and universities as 'science'.

www.flickr.com/photos/truth-in-science/35505679183

 

Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.

youtu.be/B1E4QMn2mxk

San Bruno 1970s.

 

The following is an excerpt of a blog written by Tim Dees who relates his experiences working for Silva's in the mid 1970's.

 

Link: timdees.com/blog/?p=375

 

The ambulances were pink, because that was the owner’s wife’s favorite color. Pink bed linen, and when I got there, they were just moving away from pink shirts, as they were too difficult to find. Bob Silva never bought a new ambulance. They were all used Cadillacs, as he believed a used Cadillac was much classier than a new van-type that actually ran. I was taking a woman in labor to a hospital in San Francisco when the tranny gave up the ghost in Hunter’s Point. I’d told Bob the day before that it was on its last legs, and he advised that I should shut up and drive what I was given to drive. We were dead in the water, and just barely within radio range to call for another rig to take our patient.

 

The county came out with some new regs for gear that had to be on the rig, and one requirement was an obstetrics kit. Pre-packaged OB kits from Dyna-Med were $7.50 each. Silva bought one. He put it on a rig, sent it to be inspected, then brought that one back and put the same kit on the next rig to be inspected. When it was finally left in the rig he usually drove, he wrapped it in strapping tape to discourage anyone from actually using it. It wasn’t like we didn’t need OB kits. I delivered three babies while I worked there.

 

The electronic sirens we’re so used to now were just coming into widespread use in the 1970s. Most of our ambulances were equipped with mechanical sirens that wound up slowly when activated. They had brakes on them, and if you forgot to brake the siren before you left the rig, it would take a minute or more to wind down, growling the whole time. The big daddy of these mechanical sirens was the Federal Q2. Some of these are still in use on fire engines. The Q2 is a massive thing, and drew so much power that the engine would knock when you leaned on the button too long—the spark plugs didn’t get enough voltage. Few man-made things are as loud as a Q2. One day, while en route back to the station with a new attendant, I stopped at a Safeway for some groceries. I left the attendant in the rig, telling him to tap the siren if we got a call. When the call came in, he didn’t tap on the horn ring that activated the siren—he held it down. The ambulance was parked facing the store and its large plate glass windows. I heard the siren, then heard the window start to reverberate in its frame as it resonated with the blast of sonic waves—“whap-whap-whap-whapwhapWhapWhapWHAPWHAPWHAP.” I made it back to the rig, screaming ineffectively, before the window shattered.

 

Between the mechanical siren, separate heater for the rear compartment, more blinking lights than a Vegas casino, etc., the ambulances needed a lot of electrical power. A single battery would be dead before you got to the hospital, so most ambulances had two car batteries, cross-connected via a big rotary Cole-Hersee switch. The switch, which looked a little like the access cover to your house’s sewer cleanout pipe, had four positions: Battery One, Battery Two, Both, and Off. “Both” was the usual setting, but when the rig was parked, it was common to switch it to “Off,” so the batteries wouldn’t be drained if you had forgotten to turn something off. This effectively disconnected the batteries from the rest of the rig. If you wanted to have some fun with another crew, you could turn everything in their rig on, but leave the Cole-Hersee switch off. When they turned it back on, hilarity would ensue.

 

The gear we had in these ambulances was very basic, and most of us purchased and brought our own equipment to work, rather than provide inferior care for our patients. I bought my own stethoscope and sphygmomanometer (blood pressure cuff), chemical cold packs, wire ladder splints, ammonia “wake up gizmo” ampules, etc. Consumable supplies, such as self-adhering Kerlix bandages and waterproof tape, were stolen from the hospitals. The bandages we had on board, furnished by the company, were made of crumbling linen material from the Korean War era. Oropharyngeal airways were supposed to be either used once and discarded, or autoclaved between patients, but we had neither replacement airways or an autoclave, so we wiped them clean with alcohol and hoped for the best.

 

Our suction apparatus was powered through the engine’s vacuum manifold. Suction power went to zero when the engine was accelerating. If you were trying to clear gunk from a patient’s airway while your driver was flooring it, you’d tell him to coast until you had made some progress.

 

We weren’t allowed to say someone was dead, even if the flesh was falling from their bones. Law enforcement officers could make that determination, but doing so meant they would have to remain at the scene until the coroner arrived, which could take hours. This being the case, many officers chose to see some glimmer of life in corpses long past resurrection. We responded to an “11-80” (traffic accident with serious injuries) attended by a member of the California Highway Patrol to find a pickup truck that had rolled over with an unfortunate passenger in the back. The passenger had not quite been decapitated, as his head was hanging by a few strips of flesh. This was one of the more obvious dead people I had encountered, but the Chippie ordered us to run him in. Getting the body onto the gurney had the same effect achieved in kosher slaughterhouses, where the neck veins are severed and the blood is allowed to drain from the carcass. By the time we got to the hospital, the floor of the rear compartment was literally awash in blood, with it sloshing over my boots. I called the office and told them we would be out of service for a while.

 

This pre-dated the AIDS scare, and even though hepatitis and other bloodborne pathogens were just as nasty then as now (and there was no vaccine), we had no latex gloves to wear. Back then, gloves were worn by medical people to protect the patient from infection. There wasn’t a lot of thought given to protecting the caregivers. I remember cleaning up after an especially gruesome call and thinking that I wasn’t just cleaning something, but rather someone, out from under my fingernails.

 

One case where we didn’t have to transport was at the home of an older gentleman. I never knew the circumstances that prompted the call, but we arrived a few minutes after the fire department and before the cops. As we walked up to the house, the firemen were walking out, chuckling to one another. “He’s dead!” they said with some amusement. We entered the bedroom to find an older man lying supine on top of his bed, naked. Rigor had set in, so he had been gone for some time. What the firefighters found so funny was that the man had expired while engaged in an act of self-pleasure, and still had the weapon in hand. My partner and I looked at each other and registered much the same expression the firemen had. As we walked out, the cops were just arriving. “He’s dead!” we told them. I suppose there are worse ways to go, but that’s not how I want to be found.

 

I ran a lot of calls at Silva’s. The shifts were 120 hours long–yes, five days straight. You got paid straight time ($2.00/hour in 1974) for the first eight hours, a guaranteed time-and-a-half for five more hours, and were unpaid for three hours of meals, whether you actually got to eat them or not. Between midnight and eight in the morning, you got overtime for the time you were actually in service on the call. If you rolled and were cancelled two minutes out–which was common–you got two minutes of overtime. I swear some of those rigs could find their own way home, because there were many nights I have no memory of having driven them there. When my days off finally arrived, I would usually sleep through at least one of them.

 

The full Silva’s uniform was a sartorial delight. Each time they would give me a new uniform article, it would fall to a mysteriously tragic end, so I wore a white shirt, navy blue knit slacks, and a nylon bomber jacket. If you wanted to show you were management material, the required outfit consisted of a white (formerly pink) shirt with royal blue trousers and Ike jacket. The trousers had white piping down each leg, as did the cuffs of the jacket. On each shoulder of the Ike jacket was a huge purple and gold patch, proclaiming the wearer to be employed by Silva’s Ambulance Service, the words spelled out in metallic script. One was also obliged to wear a royal blue CHP clip-on neck tie. Mandatory accessories to the ensemble included a gold metal nametag, white belt, and white leather shoes. Worn on the shirt or jacket was a shield-type gold badge, about the size of a soup plate. All the badges identified the wearers as “Technician,” except for Bob Silva’s. His said, “Owner.” There was a $20 deposit on the badge. Those who were really in with the in crowd had huge custom Western-style belt buckles with their first names spelled out diagonally, and the corners adorned with red crosses, stars of life, or tiny ambulances. However, the crowning glory accessory–and I only saw one of these–was a gold tie bar, wider than the tie itself, with a fine gold chain attached to either end of the bar. Dangling from the chain was a pink Cadillac ambulance. Its wearer was extremely proud of this, and wouldn’t tell anyone where he got it, lest someone steal his thunder.

 

Employee turnover was around 200% annually, and I was a prized employee because I always showed up on time and sober. I was able to work full time on school vacations and summer, and from Friday evening to early Monday morning, when I’d leave to make it to my first class at San Jose State. It wasn’t uncommon to have an employee go AWOL, and have the cops show up a day or so later, looking for them. You had to be fingerprinted to get an ambulance driver’s license, but all you needed to work as an attendant was a first aid card, which management would procure for you for a small fee.

 

Bob Curry, in almost the full Silva's uniform (no badge), posing with a "new" ambulance, formerly used by Allied Ambulance in Oakland.

Bob Curry, in almost the full Silva’s uniform (no badge), posing with a “new” ambulance, formerly used by Allied Ambulance in Oakland.

 

There was one very senior employee whose name was also Bob. Bob thought he was the manager, and would tell you he was if asked, despite advice to the contrary if one of the Silvas was listening. Bob was very possessive of “his” ambulance, which was always the newest one (given that they were all used, “new” was a relative term). One night, I had just come in to work, and a call came in. The dispatcher told me to take it, so I grabbed an attendant and got in the first rig I saw. It was Bob’s, of course. When I returned, Bob screamed my face, lest I forget that that particular rig was HIS ambulance, and I had better stay the hell out of it if I knew what was good for me. Bob had an apartment near the main station, so he didn’t have to sleep at the station when he was on duty. If you were Bob’s attendant (Bob never worked in the back unless there was some real hero stuff going on), you were allowed to drive Bob’s ambulance to his place, where you switched seats. That night, a co-conspirator and I did a little customizing to Bob’s rig. When he got in the next morning, he found the handle on the driver’s door adorned with some adhesive tape, reading “Bob’s Door Handle.” Inside, more tape indicated Bob’s Steering Wheel, Bob’s Cigarette Lighter, Bob’s Gearshift, Bob’s Turn Indicator, Bob’s Accelerator, Bob’s Radio, Bob’s Other Radio, and so on. Tucked under Bob’s Sun Visor was a card on a little string, trimmed to drop to eye level: “Hi, Bob.”

 

Silva’s didn’t have the market cornered on odd employees. A rival company employed a guy we called Captain Action. Captain Action worked for a company that had more traditional uniforms, but still included a badge. The issued badge wasn’t up to Captain Action’s high standards. He had his own badge made up. It was a thing of beauty. It was a gold seven-point star (the most common style of police badge in those parts), but much larger than most police badges. It put the Silva’s badge to shame on size alone. I remember it had a big California State Seal in the middle, and a lot of text on the banners and inner ring. There was so much lettering on the badge that I never got to finish reading it, although I saw it often. Captain Action also wore a police-style Sam Browne belt with various snaps and cases, including a cuff case, handcuffs, and a baton ring. I never saw a baton, but I’m sure he had it around somewhere.

 

Captain Action loved to talk on the radio. Each ambulance had two radios, one on the company channel, and one that broadcasted on a shared, county-wide channel, called County Control. There was no direct channel to the hospitals, so one was obliged to tell County Control what you had and where you were bringing it, so the dispatcher could give the appropriate ER the heads up. An appropriate message might be something like, “County Control, Ambulance 3335, en route Code 3 to Peninsula Medical with an unconscious head injury.” Captain Action preferred to be somewhat more detailed, and made liberal use of the phonetic alphabet. “County Control, Ambulance 3330, en route Peninsula Medical Center with a 33-year-old white male with a history of cardiac myopathy, I spell CHARLES-ADAM-ROBERT-DAVID-IDA-ADAM-CHARLES-BREAK-MARY-YELLOW-OCEAN-PAUL-ADAM-TOM-HENRY-YELLOW…”

 

After one of these lengthy naratives (keep in mind that there were ten or twelve other ambulances in the county that used the same channel), the dispatcher was oddly silent. Captain Action made another try to ensure his message made it through. “County Control, Ambulance 3330, did you copy?”

 

“Ambulance 3330, County Control, TOM-EDWARD-NORA-BREAK-FRANK-OCEAN-UNION-ROBERT.”

 

Ah, the good old days.

 

Written by Tim Dees on January 1st, 2015

Badbury Clump, near Faringdon, Oxfordshire.

 

HINGEFINKLE'S LOGBOOK (Seventeenth Instalment)

 

Notes Towards the Definition of Druids

 

It now remains for me to relate those extraordinary events which overtook us as we traveled to the far north of Cambria: the horrible death of the Archdruid Vervain, the singular repentance and transformation of the eagle Llew Llaw Gyffes, and the somewhat untimely arrival of King Math and Codpiece on their annual taxation tour. Alas, this must also be the story of the inevitable ensuing wrangles, in the course of which Agrimony demonstrated his great political acumen - not to mention his remarkable forebearance in not turning Codpiece back into a frog. I am sorry to have to add, my dear little Alias, that the telling of this tale also compels me to explain the most tantalising near-miss in my entire professional life, for it was at the great Druid’s Circle that I, Hingefinkle, came within a basilisk’s whisker of solving the greatest of the multifarious mysteries of dracobiology.

 

I refer, of course, to the mystery of the sacred and dreadful Ovum anguinis, that most splendid and perplexing product of oviparity: revered by Druids, feared by Kings, and coveted by dracobiologists. But never found by them, my dear little Alias - never found, and when I think of what I left behind at the Druids’ Circle amid the heathery moors on the north coast of Cambria, my hand trembles with the horror and the amazement of it all, and I can hardly hold my quill to write these words. Yet write them I must, for in the Ovum anguinis has the fate of Druids been incubated; from the Ovum anguinis has the Creature stepped forth; and through the Ovum anguinis - or at least, veracity compels me to admit, through a rather convincing replica of it - have the warring factions of the realm been pacified, and peace has been brought to the land into which you were born.

 

“But Hingefinkle -” I can hear you say “- but Hingefinkle, you have started the story upside down, or inside out, and in spite of all your scruples about narrative technique, you are giving the distinct impression that you are a narrator with something up his sleeve. What is it? Or, if you are not going to tell me straight away, then you should at least start the story at the beginning, and tell me about the Druids’ Circle, and how we got there, and what happened there, and why!” And you would be right to say it, my dear little Alias, but since I have already used up one perfectly good piece of parchment in starting the story the way I have started it, I shall just have to let it stand.

 

We came upon the Druids’ Circle in the midst of some rather inclement weather for the time of year, and as I remember, I was carrying you snugly wrapped up in my cloak, thus making my ascent of the moors even more tiring than it usually is. The wind whipped about my ears, and every now and again, great drops of rain splattered on the stones, and lightning filled the skies over the sea to the north. The moorland ponies, of which there are many, galloped about, whinnying anxiously. At the time, in my state of near-exhaustion, I assumed that they were merely afraid of the thunder, for the whites of their eyes were showing, and their very manes seemed to bristle with anxiety. The track wound its way across the undulating landscape, diverting here and there in order to pass close by the places where the Ancients had erected their standing stones, and once drawing near to a precipitous crag littered with discarded stone axe-heads. There are many stone circles in those parts, but the one which has in recent years come to be known as the Druids’ Circle is by far the largest. I could see the arc of stones looming over the brow of the hill from some distance away, and despite the rain, I grew sweaty beneath my cloak as I continued to climb, and you poked your nose out beneath my chin and blinked in the wind. At last we drew near, and I perceived to my surprise that a man, garbed in white robes, lay prostrate at the exact centre of the circle of monoliths. I put you down on the ground, and together we picked our way through the patches of bog and clumps of heather, and hurried into the circle.

 

“Hum,” I said, perceiving that the recumbent fellow was a Druid, and assuming that he was in prayer. “Rather an unsuitable afternoon for such devotions, is it not?”

There was no reply but the whistling of the wind, which ruffled the Druid’s garments and flecked them with detached flowers of heather. I prodded the fellow with my toe, and he did not stir. I knelt at his side and touched his hand; it was still warm, but I recoiled when I saw his face, for it was half-turned into the mud, and bore the bood-drained pallor of death. The glazed eyes and open mouth bespoke a horror such as I had never seen on the face of mortal man.

“Fiddlesticks!” I cried, “He’s dead, Alias! We had better go and find help!”

At that moment, you let out a loud squeal, and as I turned to see what you were doing, a tall man, cloaked and silhouetted, bore down on me and grasped me firmly by the shoulder.

“Hingefinkle, you old codger!” said the mysterious stranger. “Look at the mess you’ve made with those clodhopping boots of yours. Don’t be so clumsy. You’re destroying evidence!”

 

I do not think, my dear little Alias, that I have ever in my life been so surprised - or so relieved - to see my old friend Druid Agrimony, as I was that afternoon atop the moor, with that other poor fellow sprawled dead at my feet.

“Uncle Agrimony! Uncle Agrimony!” you squealed, and clapped your arms about his knees as he ruffled your auburn ringlets with detached affection. “Where’s Snowdrop, and how did you know we were here?”

Agrimony eyed you through his monocle and laughed ruefully. “Snowdrop is still in the village. There was no time to bring him. And I must confess, my boy, that I did not know you were here. The arrival of you two on this particular scene at this particular moment is one of those coincidental variables which it is quite impossible to forsee, still less to forestall. I am compelled to add, when I observe how your foster-father’s footprints have obscured those of the Archdruid Vervain and his assailant, that it is also most vexingly inconvenient.”

“Hum,” I said, a little disgruntled, “am I correct in deducing that you did expect to find the Archdruid Vervain lying stone-dead in the middle of a circle of ancient monoliths on a windswept moor in the far north of Cambria? Surely that is the more unlikely variable of the two!”

“Variable, schmariable!” snorted Agrimony, pushing me brusquely aside, and poring over the dead body, his eyelids twitching with excitement behind his monocle. I stood aside, involuntarily changing my stance so that when Agrimony turned his attention back towards me, he would perceive that I was now on tiptoe, and therefore doing the minimum of damage to his precious evidence.

“Hum,” I said at length. “What do you think has happened to the poor fellow, Agrimony?”

Agrimony stood upright and grasped the hem of his cloak with one hand. “Beyond the obvious facts, that the Archdruid Vervain came up here quite alone in order to perform an arcane ritual, that in the midst of said ritual he was bitten on at least five separate occasions by a small multicoloured reptile with wings but no legs, that said multicoloured reptile was highly venomous and newly hatched from its egg, and that Archdruid Vervain, whether rightly or wrongly, was under the impression that the egg in question was the sacred Ovum anguinis of Druidic legend, I can deduce precisely nothing, Hingefinkle! Nothing at all!”

“Fiddlesticks,” I said sceptically. “You couldn’t possibly have guessed all of those things just from a cursory glance at a dead body lying in the mud. And everybody knows that the Ovum anguinis is -”

“On the contrary,” interrupted Agrimony, “I did not guess at all. I know for a fact that Druid Vervain, apart from being an incorrigible bureaucrat, was a great apologist for this newfangled appropriation of ancient lunar observatories as ritual sites, in favour of the far more practical sacred groves. I also know that legends concerning the Ovum anguinis concur in their testimony that it is particularly useful when one wishes to keep the secular powers favourably disposed. While you have been off on your foolhardy ramblings, it may interest you to know that King Math has launched a massive taxation drive in order to pay for his new wardrobe, and having placed Codpiece in charge of raising the funds, has acquiesced in the fool’s proposal that the Druids, being so fond of forms in triplicate, should be appointed chief tax-collectors. This did not go down at all well with the local Druid fraternity, I can tell you. Vervain always cherished his popularity. So, when I say to you that the Archdruid came here to perform an arcane ritual with the Ovum anguinis, I am presenting you not with a guess, but with a deduction.” He lifted the Archdruid’s forearm, and the hand hung limply at the wrist. “When I observe no less than twenty puncture marks in the fellow’s arm, thus arranged, I think I am also justified in deducing that he was bitten five times by a creature which has paired fangs on both the upper and lower jaw. Furthermore, since the fellow is dead, I do not think it an unreasonable assumption that said creature was poisonous.” He pointed to a double row of bright red welts, snorted haughtily, and let the arm drop to the ground.

“Hum. Indeed,” I said, feeling somewhat bewildered. “But you said that the creature was multicoloured -”

Agrimony let forth the kind of groan which a teacher may be forgiven for emitting in the presence of an exceedingly stupid child, and picked up the arm once more. He pulled a pair of tweezers from his pocket, and plucked three tiny objects from beneath the fingernails. “Put those in your pipe and smoke them,” he said.

I pulled out Gladys Sparkbright’s pocket microscope and examined them intently. “Scales!” I said enthusiastically. “And quite indubitably the scales of a reptile - and one red, one yellow, and one blue! Thus you deduced that the creature was multicoloured.”

I was about to congratulate my friend on his powers of observation, when you, my dear little Alias, murmured, with your eyes fixed on the mud, “And since there are no tracks leading away from the stone circle, the creature cannot have walked or crawled or slithered away, but must have flown. Even Hingefinkle would have noticed that.”

“Capital!” cried Agrimony, clapping you on the back and almost knocking you over.

 

It was then that the realisation hit me. The Ovum anguinis! Perhaps it did exist after all. It all seemed to make perfect sense: what could better answer to the ancient descriptions of the pockmarked, leathery Ovum than the egg of one of the smaller and lesser-known species of the genus Draco? I was about to burst into a rapturous cheer, when doubt got the better of me.

“Indeed,” I said. “But we have no proof that what the Archdruid Vervain thought was the Ovum anguinis really was the item in question.”

Agrimony turned away and looked out towards the sea, sighed, and said casually, “Hingefinkle, you really are tiresome sometimes. You might try digging about a bit in the mud.”

Together we probed about in the mud, while Agrimony contemplated the lightning with an expression of the purest contentment on his wizened face. Presently, my dear boy, you gave a triumphant shout, and held up a tattered piece of parchment. I wiped the mud off it with feverish fingers, and read aloud:

 

Ovum anguinis:

ever ingenious

old gods rule it.

 

Legends relate

its value unfailing.

 

Its oval enfolding

shell made of leather

shall ‘mid foul ether

split to reveal

a serpent’s travail.

 

Coiled and poised,

cold and possessed:

with dread of the anguis

the Druid forth goes.

 

“A page purloined by our illustrious Archdruid from the Codex Druidicus in the Spodleian Library,” said Agrimony, his back still turned. “Now do you have reason to doubt that the Archdruid came here to perform a ritual?”

“Hum. No indeed. But it still doesn’t prove that -”

“You might also try turning over the body. I’d do it myself, but quite frankly, I can’t be bothered,” said Agrimony expressionlessly.

We heaved at the body (Vervain had, I fear, been rather too fond of stodgy puddings in life), and rolled it face-upward in the mud, and there, lying beneath it, was a large, flattened, leathery object roughly the size - well, roughly the size and consistency of a pig’s bladder. I picked it up between thumb and forefinger, and a quantity of bloodstained albumen poured from a tear in its side. I stared at it for some moments in sheer incomprehension, and when the import of our discovery hit me, I was so shaken that I dropped the thing back onto the ground.

“The O-” I gasped, but Agrimony had turned, and grasping us both by the shoulders, he propelled us back down the hill as fast as our legs would carry us, leaving the empty shell of the Ovum anguinis atop the moor, to be stolen away by some rook or hungry bird of prey. At the time, his action seemed, I must confess, quite incomprehensible.

 

*

 

“I presume,” I remarked, as we sat chewing our breakfast in front of our campfire the next morning, “that you knew all along that the Archdruid had procured the Ovum anguinis, and that you had deduced, perhaps with the aid of my own humble writings, that it was probably the egg of one of the lesser dragons, and were therefore hoping to prevent him from doing something stupid.”

“Precisely,” said Agrimony, whose mood was markedly more agreeable with breakfast in his stomach. “And I did, as a matter of fact, sneak a glance at your own Monsters Misc. Indeed, I must admit that it was your very own observations on the breeding habits of the genus Draco which convinced me that Archdruid Vervain was in imminent danger.”

“Hum. I’m afraid I don’t see the point.”

“You remark in Monsters Misc. that one of your reasons for assuming - wrongly, as I think - that Dragons are descended from birds and not from reptiles, is that Dragons have to incubate their eggs. I presumed that your statement was based on observation and not on hearsay. I was also aware, having kept my own chickens, that eggs will retain their fertility for quite some time, if kept at a lower temperature, and may be incubated later on. Now, think, Hingefinkle. If you wanted to carry a leather egg from the village to the north coast of Cambria, where would you put it?”

“In my jerkin!” you said, gobbling the bacon, of which Agrimony, rather uncharacteristically, had brought a plentiful supply.

“Precisely,” nodded Agrimony, “thus providing the perfect conditions - warm and, since it is a rather arduous trail, somewhat moist - for the embryo to develop inside the Ovum anguinis.” He stood up briskly. “Which leaves us with only one vexing problem.”

“Hum. And what may that be?”

“Why, Hingefinkle, you old codger, we have to work out a way of silencing a tax-happy King Math, that’s what!”

“Indeed, yes,” I said with a sigh. “Do you have any ideas?”

“He needs a suitable counterbalance,” said Agrimony, “someone with the authority to counteract his absurdities, but without the public approval to think of seizing power himself. Someone, in short, like Llew Llaw Gyffes, the son of Gwydion.”

“Hum. Really, Agrimony, do you think that’s wise? The last time Llew Llaw wielded any political power, he annihilated an entire city in cold blood.”

“Oh,” said Agrimony dismissively, “I think a few years spent as a rather wretched eagle ought to have induced a certain degree of penitence. It’s time for me to bump him up the evolutionary scale a bit.”

“But where will you find him?” I enquired. “Fiddlesticks! An eagle could be anywhere by now.”

“Nonsense,” replied Agrimony. “Eagles are creatures of habit, with a defined territory. He will be in the same place as last time. Don’t you read your history books, Hingefinkle?”

 

It was then, my dear little Alias, that your sweet little voice broke into song; the strangest song I had ever heard, and a glimmer of admiration flickered in the eyes of Druid Agrimony:

 

“My son! My son!” cries Gwydion,

“Where art thou flown? Where art thou gone?

O! Awful deed of Blodeuedd!

Gronw hath brought him near to death!”

 

“Brother! Brother!” echoéth Math,

“Hold back thy grief! Release thy wrath!

Go! Bring thy son back to Gwynedd

And punish wayward Blodeuedd!”

 

The land of Gwynedd he traverses;

His wrath he nurses, Gronw he curses.

No trace of Llew Llaw hath he met

Until a swineherd cries, “Well met!”

 

“Well met, my man,” saith Gwydion,

“Mayhap you’ll give me board anon?”

“Verily,” the swineherd saith,

“If you’ll find where my best sow strayeth!

 

Every morn she disappears;

She’ll not be found ‘til darkness nears!”

“I shall indeed,” says Gwydion,

“I’ll track her by the light of dawn.”

 

At dawn the sow runs from her pen,

She scatters goat and goose and hen,

She snorts and squeals and runs in front,

The forest fills with gripe and grunt.

 

Gwydion takes his riding crop,

The sow runs onward through the leaves.

She does not flag and will not stop,

Her grunting echoes on the breeze.

 

Through moss and fern the sow hath gone,

Gnarled oaks loom overhead.

The trees close in, Gwydion goes on,

His horse by halter led.

 

At last he comes upon the sow,

He ties his horse and wipes his brow.

On writhing maggots she is feeding,

And on flesh, rank and bleeding.

 

Above there towers a giant oak,

He holds the stench back with his cloak;

He drives away the snorting sow

And looks up through the gnarled boughs.

 

An eagle spies he in the tree;

He sings, “My Llew Llaw, come to me!”

Dead flesh falls from the eagle’s crop,

And from there the maggots drop.

 

The eagle flaps his tattered wings,

Weeping Gwydion softly sings,

“My dear Llew Llaw, come thou to me!”

The eagle flies down from the tree.

 

The eagle alights on Gwydion’s knee,

“My son! What hath they done to thee?”

Gwydion strikes him with his wythe.

The wretched bird doth wax and writhe.

 

The eagle turns back to Llew Llaw,

Yet still the maggots by the score

Drip from Llew Llaw’s stinking chest;

His father holds him to his breast.

 

Physicians they find at Caer Dathyl,

With leech and herb they cure his ills

‘Til Llew Llaw stands serene and proud;

The people praise him in a crowd.

 

*

 

I shall not relate the details of our journey to the forests of Gwynedd, of the delightful hospitality of the swineherd, or of the repentance and transformation of Llew Llaw Gyffes - for the depth of the eagle’s contrition led to scenes so poignant that it would be unfitting to describe them in prose. Besides, my dear little Alias, I have no doubt that you remember these things yourself. Suffice it to say that on that day, we had the - to my knowledge unique - experience of watching the eagle weep as he perched on Agrimony’s knee, and a pathetic sight it was, covered as Llew Llaw was with suppurating sores. And then at last, Agrimony relented his sternness, called up the powers of the Demiurge, and I watched delightedly as the poor creature began to evolve backwards to a point on the evolutionary scale from which it was possible to progress, along a slightly different track, to the status of hominid. And then Llew Llaw Gyffes stood before us, his hair tangled, his hands and face grimy, his sunken eyes staring from their sockets in an expression of combined terror and relief, and Agrimony offered his hand in a gesture of peace.

 

Nor shall I bother to relate, as a more responsible writer might insist on doing, how the four of us travelled back through the Bluebell Wood to our own village, arriving in time for the festival of Samhain and the celebration of the anniversary of your arrival, my dear boy - and, incidentally, also in time to witness the arrival in the village of King Math, Codpiece and their retinue. I shall not even dwell on the fact that their triumphal entry was marred by Codpiece’s horse who, blinded by a map flapping in the wind, managed to trip King Math’s horse head over heels, propelling its disgruntled rider gracefully through the air and into a large pile of manure. No, I shall lurch the narrative forward to the moment when King Math, scrubbed clean and smeared with a year’s supply of the Mayor’s best deodorants and unguents, sat at the table in the village hall with all his retinue, with twelve of the Mayor’s favourite geese, perfectly dressed and basted, set out before them, and at last received Llew Llaw Gyffes into his presence.

“Verily verily, merrily, milord!” bawled Codpiece as we entered, “Methinks this fellow is to blame for the transformation of your Grace into a frog. He has a big head, milord, and big heads will have big ambitions! Chop it off, milord! Chop it off! Ker-flop, ker-plop, and vice-versa!”

“You will do no such thing, confound it,” roared Agrimony, his flaccid cheeks suddenly tightening and turning red. “I absolutely forbid it.”

“We are not accustomed to being forbidden from doing anything,” said King Math haughtily, goose-fat running down his chin, and turning to the nearest knight. “Do as our esteemed advisor Codpiece has suggested, Sir Ponsonby-Wagglebotham, will you?”

Sir Ponsonby-Wagglebotham stood up obediently and drew his sword from its sheath, but as he did so, Agrimony clapped his hands, and the cranberry sauce unaccountably sprouted legs, leapt from its bowl, and splattered itself all over the hapless knight’s visor. I seem to remember you laughing delightedly, my dear little Alias, as Sir Ponsonby-Wagglebotham stumbled blindly into the table, sending the various delicacies flying in every direction, so that Codpiece ended up with his head inside the Mayor’s largest and most succulent goose.

“I suggest,” said Agrimony commandingly, “that you and Llew Llaw come to terms, in case I have something more dangerous up my sleeve than flying condiments.”

King Math looked grey, but to give him credit, he stood up, and would have pounded the table commandingly with his fist, were it not for the fact that the table was no longer in front of him, but upside-down on the floor. “We shall do no such thing,” squeaked Math. “This man is a traitor, and a treasoner, and a trickster, and a troublester, and a terribly nasty fellow -”

 

And then Agrimony did a thing which no one could have predicted. Out of a pocket in his cloak, he produced a large, globed, pockmarked, leathery brown egg, and placed it delicately at the feet of King Math. The King blinked, and looked down at it suspiciously.

“You have, I presume, heard of the dreaded Ovum anguinis, aid of Druids,” said Agrimony darkly. “You may even, in your saner moments, have reached the supposition that it could be nothing less than the egg of one of the lesser species of the genus Draco. And I am sure you will be enlightened, and indeed grateful to hear that this supposition is true, and that the Creature it contains is in fact highly venomous. Moreover, I am sure, King Math, that you will be interested to know that I am in possession of the ancient ritual by means of which the Ovum anguinis may be hatched -” And at this rather dramatic juncture, as I am sure you will agree, Agrimony held up the tattered piece of parchment in his hand, and began to intone:

 

Ovum anguinis:

ever ingenious

old gods rule it.

 

Legends relate...

 

“Quite so, quite so,” said King Math hurriedly, glancing anxiously at the egg. “We do not think a practical lesson in dracobiology is very appropriate on this occasion.” He opened his arms in a princely gesture of magnanimity. “Well, Llew Llaw Gyffes, we are delighted to see you looking so much better...”

 

*

 

“Well, Hingefinkle, I think we can safely say that the peace of the realm is no longer in jeopardy, and that the local Druid fraternity owe me one or two favours.” Agrimony chuckled softly to himself, and stirred the embers of the fire.

“Hingefinkle,” your voice peeped from the opposite side of the wall. “I can’t sleep. It’s too cold.”

“Hum. We need to stoke up the fire.”

“Stay where you are, Hingefinkle, you old codger. I think it is my turn to fetch the wood inside.” I had rarely seen Agrimony in so expansive a mood.

 

And then, as he closed the front door behind him, curiosity got the better of me. There sat the Ovum anguinis cold and unincubated, on Agrimony’s workbench, propped against the armillary sphere. I put down my pipe, got up from the armchair, and walked over to it. I prodded it doubtfully with my little finger. The skin was firm, and only yielded slightly to my touch. Glancing towards the door and finding it still closed, I took a scalpel and a little specimen phial from my pocket. There was no need for Agrimony ever to know that I had taken a little albumen specimen for chemical analysis. I held the scalpel to the shell, and the phial underneath it, and gave a tentative stab.

 

To my horror, the blessed Ovum anguinis began to deflate so rapidly that it shot from the desk and began to fly about the room, bouncing off the walls and making a hideous farting sound. Agrimony came back through the door laden with timber as the empty shell dropped, limp and flaccid at his feet. I rushed forward, got down on my hands and knees, and examined it through my pince-nez. Agrimony was silent for more than a minute, and then slowly, and very softly, he began to laugh. The laugh became louder, and louder, until at last he reached such paroxysms of roaring hilarity that he collapsed into his armchair quite exhausted.

“Hum,” I said. “I do apologise. I seem to have damaged the Ovum anguinis.”

This time, Agrimony positively wept with mirth, and you, my dear boy, climbed out of bed, sat on his knee, and laughed with him, warming your feet at the fire.

“My dear Hingefinkle,” he said at last, “I have seen you looking perplexed often enough, but the expression on your face just now was so priceless that I wish my experiments with chloride of silver were more advanced!”

“Hum. Whatever do you mean? The Ovum anguinis -”

“- is nothing but an inflated pig’s bladder. Or at least it was,” bawled Agrimony, laughing so hard that his monocle fell into his glass of mead. “It was meant to be a placebo.”

“A placebo?” I cried, perplexed, and not at all sure that I was not the victim of some crude practical joke.

“Yes - a placebo. When I found out that the Archdruid Vervain was in possession of a real Ovum anguinis, I contrived to manufacture a fake one out of a pig’s bladder and a generous helping of the proverbial Second Element. I planned to make a switch before he reached the Druid’s Circle, but when I failed, other possibilities suggested themselves.”

 

I need not tell you, my dear little Alias, that for a while I felt as though the whole world had come crashing down around me. I had left a perfect sample of the Ovum anguinis shell to the rooks and raptors atop the north Cambrian moors. Another had proven itself to be nothing more than a tarted-up piece of offal from the local butcher. If Agrimony had not swindled me, circumstances certainly had. My brain reeled with unanswered questions, and I longed that just once I could see the creature which had wrought such havoc, and whose very reputation was enough to make a haughty King pliable and affable - even if it were the last thing I saw in my life.

“Well, Hingefinkle, you old codger,” said Agrimony at last, “don’t stand around moping. Come on, I need your help.”

“Hum,” I said, feeling as deflated as Agrimony’s fraudulent creation, “Whatever for?”

“The peace of the realm is at stake,” he said, dramatically sweeping his cloak from a peg by the door. “Without the Ovum anguinis for insurance, King Math and Llew Llaw Gyffes will be on the verge of starting a civil war.”

“Fiddlesticks!” I cried, memories of the last war haunting my mind like wraiths. “What on earth do you propose to do about it?”

Agrimony turned and addressed me with an air of exaggerated patience. “Really my dear Hingefinkle, it is perfectly simple. We shall just have to acquire another pig’s bladder, that’s all.”

 

The present manuscript contains the following works and commentaries relating to Safi al-Din Abu 'l-Mafakhir 'Abd al-Mu'min Ibn Yusuf Ibn Fakhir al-Urmawi:

 

1. Safi Al-Din Al-Urmawi, Al-sharafiyyah fi'l-nasab al-ta'lifiyyah, 'The Sharafian Treatise on Musical Proportions'

2. (a) Safi Al-Din Al-Urmawi, Kitab al-adwar, 'The Book of Musical Modes', (b) a marginal commentary on kitab al-adwar by Abd al-Qadir al-Maraghi, copied by Abdullah Ibn Shams al-Din, dated 952 AH/1545 AD

3. A commentary by Qutb Al-Din Shirazi, Persia, 16th century

4. A commentary on kitab al-adwar, by Muhammad Ibn Mahmoud Al-Samarqandi, copied by Abdullah Ibn Shams al-Din, dated 954 AH/1547 AD

5. A further commentary in Persian, probably relating to no.1, al-sharafiyyah fi'l-nasab al-ta'lifiyyah.

 

There is a copy of the second work in the above list in the Chester Beatty Library, Dublin, entitled Al-Adwar fi'l-Musiqi, a treatise on musical modes. The manuscript is illustrated with diagrams and is undated but is catalogued as fifteenth century (see A. Arberry, A Handlist of the Arabic Manuscripts, volume V, Dublin 1962, p.82, no.4264). Also see C. Brockelmann, Geschichte der Arabischen Litteratur, Leiden, 1996, i.495, Suppl.i. pp.906-7. The full name of the author is the same as that given by Arberry but Brockelmann adds al-Bagdadi at the end.

 

A more exhaustive list of manuscripts of kitab al-adwar can be found in A. Shiloah, The Theory of Music in Arabic Writings (c.900-1900), Répertoire international des sources musicales: B X, Munich: Henle, 1979, 309-12. This work lists a total of twenty-one copies that exist in Baghdad, Cairo, Leningrad, Madras, Mashad, Rampur, Tehran, Vienna, Dublin, Paris, London, Oxford, Istanbul and Yale. Brockelmann also lists the two main works in this manuscript, nos.1 and 2 in the aforementioned list, although the dates of kitab al-adwar go unmentioned. The British Library's two copies appear as follows: 'Abd al-Mu'min Ibn Yusuf al-Urmawi, Kitab Adwar al-Iqa' (OR 136), dated 792 AH/1390 AD, and a further (OR 2361/3), dated 1073-74 AH/1662-63 AD, see C.Baker (ed.), Subject Guide to the Arabic Manuscripts in the British Library, London, 2001, p.293.

 

Extant copies of Al-sharafiyyah fi'l-nasab al-ta'lifiyyah are only listed in Paris, the Vatican and Rampur. For further reading see H.G. Farmer, The Arabic Musical Manuscripts in the Bodleian Library, London, 1925.

 

Safi Al-Din Al-Urmawi (born c.613 AH/1216 AD) is one of the most important figures in the history and theory of Middle Eastern music. His contribution in this field is of paramount importance in the chain of works on Arabic music, beginning with Al-Kindi. Al-Urmawi is also credited with inventing two stringed instruments (the nuzha and the mughni, see H.G. Farmer, Studies in Oriental Musical Instruments, First Series, London, 1931). Al-Urmawi was well-educated and gained his reputation initially as a calligrapher, with both Yaqut Al-Mustasimi and Shams Al-Din Ahmad Al-Suhrawardi counted amongst his disciples. Only later on in his life did Al-Urmawi become renowned as a musician and gifted lute player, and he gained generous patrons whose support enabled him to lead a luxurious life. Brockelmann notes in a short biography in German that Al-Urmawi was the court musician and librarian in the service of the last 'Abbasid Caliph Al-Musta'sim (r.1242-58 AD). After the conquest of Baghdad by the Mongols he became tutor to the son of the vizier Muhammad Shamsaddin Ibn Muhammad al-Guwaini and Head of the Diwan al-Insha', to Baghdad.

 

Al-Urmawi's two main works, Al-sharafiyyah fi'l-nasab al-ta'lifiyyah and the kitab al-adwar ensured his long-lasting fame. Both treatises were the sources for many subsequent authors who wrote about the theory of music, including Qutb Al-Din Shirazi (d.1310 AD) and Abd Al-Qadir Ibn Ghaybi Al-Maraghi (d.1435), whose commentaries can be found in the present manuscript. The first work was written circa 665 AH/1267 AD, and it is dedicated to his student and (later on) patron, Sharaf Al-Din Djuwayni, through whom the author was in contact with the great polymath Nasr Al-Din Tusi (d.1274 AD). The kitab al-adwar was written whilst Al-Urmawi was still working in the library of the Caliph Al-Mustasim in Baghdad (who himself is known to be have been addicted to music). The work centres on scientific music theory after the writings of Ibn Sina and, having been translated into both Persian and Turkish, became the influential and important book on music for centuries. The earliest known copy of this manuscript is in the Nuruosmaniye Library, Istanbul (MS 3653), dated 633/1235-6 AD.

 

Later on in his life, after the demise of his wealthy patrons, Al-Urmawi fell into destitution and debt, and died in Baghdad in 693 AH/1294 AD.

 

Further Reading:

 

E. Nuebauer, 'Safi Al-Din Al-Urmawi', in C.E. Bosworth et al (eds), The Encyclopaedia of Islam, New Edition, Vol.VIII, Leiden, 1995, pp.805-7.

O. Wright, A Preliminary Version of the 'kitab al-adwar', Bulletin of the School of Oriental and African Studies, University of London, Vol.58, no.3 (1995), pp.455-478.

Dr. F. Arslan, Safi Al-Din Al-Urmawi and the Theory of Music: Al-Risala al-sharafiyya fi al-nisab al-ta'lifiyya, Content, Analysis, and Influences, Foundation for Science, Technology and Civilisation, Manchester, March 2007.

Uses: Anything relating to finance and money.

 

Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.

 

To see more of our CC by 2.0 finance images click here... see profile for attribution.

 

Inspiration: Saving. Investing. Stocks. Business growth. Starting a small business... etc.

 

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

Hindu mythology relates Mahalaya with Goddess Durga. Another concept is fortnight of the ancestors. Family members pay their offerings to their fathers, to the root from which we came, to the care we miss & the blood which define us. A couple paying their offerings early in the morning of Mahalaya, at 5:58:40am standing on the river Ganges, the holy river of North India.

 

Mitología hindú se refiere Mahalaya con la diosa Durga. Otro concepto es quince días de los antepasados. Los familiares pagan sus ofrendas a sus padres, a la raíz de donde venimos, a la atención que se pierda y la sangre que nos definen. Un par pagar sus ofrendas temprano en la mañana del Mahalaya, en 5:58:40 Estoy de pie en el río Ganges, el río sagrado de India del norte.

The International Bomber Command Centre (IBCC) a memorial relating the historical impact of and on Bomber Command during the Second World War. Located on Canwick Hill, overlooking the city of Lincoln in Lincolnshire.

 

The city of Lincoln was selected for the location of the IBCC because 27 RAF Bomber Command stations (over a third of all Bomber Command stations) were based in the county during World War II. The large amount of airfields led to Lincolnshire being nicknamed the "Bomber County".

 

Located at Canwick Hill, the centre is just under two and half miles from RAF Waddington, which suffered the greatest losses of any Bomber Command station, and close to the former Avro aircraft production facility at Bracebridge Heath. A view of Lincoln Cathedral, a prominent landmark for aircrews, forms an important part of the vista from the centre of the Memorial Spire.

 

The aim of the IBCC is to tell the personal stories of members of the RAF Bomber Command, ground crew and civilians impacted by the bombing campaigns during the Second World War. The centre will also provide a comprehensive record of the role of Bomber Command's squadrons and to digitally display historical documentation and photographs relating to the activity of Bomber Command.

 

Within the grounds of the International Bomber Command Centre the Spire Memorial was erected on 10 May 2015. The memorial is a spire, reflecting the connection to Lincoln Cathedral. Created out of Corten A weathering steel, it is based on the dimensions of the wingspan of a Lancaster bomber, being 102ft high and 16ft at the base. The Spire was officially unveiled in October 2015 to an audience of 3,600 guests including 312 Bomber veterans.

 

The spire is encircled by walls carrying the names of all 57,871 men and women who gave their lives whilst serving in or supporting Bomber Command. This is the only place in the world where all these losses are memorialised.

 

Information Source:

en.wikipedia.org/wiki/International_Bomber_Command_Centre

 

Who are Sikhs ? Just who are they ? someone wearing a turban ? or someone who doesn’t just cut their hair or beard? someone you probably see walking on the street and often times are confused about who they truly are and why the turban? what does it truly represent? The word Sikh as one of my spiritual teachers once said means student, it could be anyone in this world who is may be in their learning stages of their lives.

  

The fact we all often overlook is that we are all Sikhs at every stage of our lives, no matter what color, skin or race or even religion. Sikhism isn’t just a question of religion, to me its more about the way of life.Why Turban? or Why the beard? or Why the uncut/unshorn hair? A dress code is something that we most pertain to when performing certain specific functions, such as may be you are a military personnel you have to wear the uniform. Turban is a symbol of crown and pride for one of the greatest gift from the almighty to a Sikh, which are the unshorn hair. The hair are just another body part and as valuable as your finger or hand or toe or legs would be or even more than that.

 

Just because you don’t understand or know some thing doesn’t mean you fear and hate it. Hatred can only be ended with Love, so next tme you may see a sikh next door go talk and ask questions because distances shorten only by leap of faith and trust sometimes. More to follow in what relates to him project

Ahmad ibn ‘Ali ibn Yusuf al-Buni (Arabic: أحمد البوني‎) (died 1225) was a well known Sufi and writer on the esoteric value of letters and topics relating to mathematics, sihr (sorcery) and spirituality, but very little is known about him. Al-Buni lived in Egypt and learned from many eminent Sufi masters of his time.[1]

He wrote one of the most famous books of his era, the Shams al-Ma'arif al-Kubra (Sun of the Great Knowledge, Arabic شمس المعارف الكبرى) which is one of the most widely read medieval treatises on talismans, magic squares and occult practices. This work rivals the Picatrix in importance. This book was later banned by orthodox Muslims as heretical, but continues to be read and studied.

Instead of sihr (Sorcery), this kind of magic was called Ilm al-Hikmah (Knowledge of the Wisedom), Ilm al-simiyah (Study of the Divine Names) and Ruhaniyat (Spirituality). Most of the so-called mujarrabât ("time-tested methods") books on sorcery in the Muslim world are simplified excerpts from the Shams al-ma`ârif.[2] The book remains the seminal work on Theurgy and esoteric arts to this day.

In c. 1200, Ahmad al-Buni showed how to construct magic squares using a simple bordering technique, but he may not have discovered the method himself. Al-Buni wrote about Latin squares and constructed, for example, 4 x 4 Latin squares using letters from one of the 99 names of Allah. His works on traditional healing remains a point of reference among Yoruba Muslim healers in Nigeria and other areas of the Muslim world.[3]

Ahmad al-Buni also left a list of other titles that he wrote. Unfortunately, very few of them have survived.

Al-Buni states in his work Manba’ Usul al-Hikmah (Source of the Essentials of Wisdom) that he acquired his knowledge of the esoteric properities of the letters from his personal teacher Abu Abdillah Shams al-Din al-Asfahâni. He in turn received it from Jalal al-Din Abdullah al-Bistami, who in turn received it from Shaykh al-Sarajani, who received it from Qasim al-Sarajani, who received it from Abdullah al-Babani, who received it from Asîl al-Din al-Shirazi, who received it from Abu al-Najîb al-Sahruwardi, who received it from, Mohammad ibn Mohammad Al-Ghazali al-Tusi, who received it from Ahmad al-Aswad, who received it from Hamad al-Dînuri, who received it from the master al-Junayd al-Baghdadi, who received it from Sari al-Din al-Saqati, who received it from Ma’ruf al-Karkhi, who received it from Dawûd al-Jili, who received it from Habîb al-A’ajami, who received it from Imam Hasan al-Basri.

Al-Buni states in the same work that he acquired his knowledge of magical squares from Sirâj al-Dîn al-Hanafi, who acquired it from Shihab al-Dîn al-Muqaddasi, who acquired it from Shams al-Dîn al-Farisi, who acquired it from Shihab al-Dîn al-Hamadani, who acquired it from Qutb al-Dîn al-Diyâ’i, who acquired it from Muhyiddîn Ibn Arabi, who acquired it from Abu al-'Abbas Ahmad ibn al-Turîzi, who acquired it from Abu Abdillah al-Qurashi, who acquired it from Abu Madîn al-Andalusi.

He also states that he acquired additional knowledge about the esoteric art of letters and the magical squares from Mohammad 'Izz al-Dîn ibn Jam’a, who acquired it from Mohammad al-Sirani, who acquired it from Shihab al-Dîn al-Hamadani, who acquired it from Qutb al-Dîn al-Dhiya’i, who acquired it from Muhyiddîn Ibn Arabi.

Al-Buni also states that he acquired his occult knowledge from Abu al-'Abbas Ahmad ibn Maymûn al-Qastalâni, who acquired it from Abu Abdillah Mohammed al-Qurashi, who acquired it from Abu Madîn Shu'ayb ibn Hasan al-Ansari al-Andalusi, who received it from Abu Ayyub ibn Abi Sa'id al-Sanhaji al-Armuzi, who received it from Abi Muhammad ibn Nur, who received it from Abu al-Fadhl Abdullah ibn Bashr, who received it from Abu Bashr al-Hasan al-Jujari, who received it from al-Saqati, who received it from Dawûd al-Tâ’i, who received it from Habîb al-A'jami, who received it from Abu Bakr Muhammad ibn Sîrîn, who received it from Malik ibn Anas.

Al-Buni also made regular mention in his work of Plato, Aristotle, Hermes, Alexander the Great, and obscure Chaldean magicians. In one of his works, he recounted a story of his discovery of a cache of manuscripts buried under the pyramids, that included a work of Hermetic thinkers.

His work is said to have influenced the Hurufis and the New Lettrist International.[4]

GENERAL DESCRIPTION

PLEASE NOTE: -

“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.

“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.

 

27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).

Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.

 

This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.

  

A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.

 

Folio 2 recto (Original Folio 3 recto)

 

TRANSCRIPTION

 

(14)Teneris et debes omnis causa remota sub pena ducatorum centum

auri in tuis propriis bonis anteq transeas Polam constituere tres de

magis idoneis, sufficietibus mercatoribus nobilibus pro quali -

bet galea a viginti quinq ??ris supra, qui no habeant portem in ar -

mata, Et si non essent a xxv armis supra constituas de illis qui eru

mairoris etatis. Qui tres post quam constituti fuerint pro te non possint ullo

modo refutare sub pena libr . C . pro qualibet & teneantur astricti

per sacramentu ram eundo q redeundo inquirere et investigare sci -

re, et examinare si Patroni galearum observant ordines terre, & si

dant panem vinum, et aliam vinandam ordinatam hoibus galearum.

Et de omnibus que scient patronos non servare ordines, debeant suare

tibi Capitaneo p sacramentum, vel aliis officalibus quibus commissum

ut pena a contra facietibus exigatur. Et habeant ipsi tres de oi -

bus que manifestaverint partem accusationis penarum accusatoris

per nostros ordines deputatam. Et ut possint melius scire ordines

Tu Capitaneus ante q de Venetiis recedas teneris accipere ab offici -

alibus Levantis ordines terre omnes pertinetes dictis galies quos ipsi

officiales dare debeant in scriptis, & quos tu Capetaneus dari facias di -

ctis tribus constituendis pro qualibet galea ut supra.

(15)Quandocunq; facies circam de galea aliqua, tam de carico, q(?) d(?) zur -

ma hominum, unus de minus dictorum trium esse debeat tecum ad

faciendum dictam circam. Verum non potes tu nec dicti tres consti -

tuendi pro galeis de penis condemnationum, que nobis venirent per

ordines deputatos remittere sub debito sacramenti, totum vel ptem

nec facere de ipsis donum vel gratiam, aut remissionem modo

aliquo vel forma.

(16)Quelibet dictarum galearum habere debet in galea pro zurma in

recessu de Venetiis vinandam pro xii diebus. & similiter redmi -

do de Alexandria habere debeat vinandsm pro deto tempore.

  

Folio 2 recto (Original Folio 3 recto)

 

POSSIBLE ENGLISH TRANSLATION

 

14. Every remote cause of weakness must be under penalty of one hundred ducats in your own goods before they pass Pula established by three of the most suitably noble merchants for each of the galleys from the twenty five stated above who bare arms and if there are more than twenty five who bare arms then the master will appoint those of the age of majority. A man has three three opportunities to refute, after which they cannot be appointed for you, under penalty of the book .100 . for each and are held bound by the oath before returning to enquire into and investigate to get to know, and to examine if the patrons of the galleys maintain their ground, and they give bread, wine and other vitals ordered by the men of the galleys. And they shall know that the patrons will keep their ranks in all thing and you, the captain ought to give the oath, or other officers who are so entrusted, so that those against the offer shall receive the required punishment. And they should have three copies of the orders of all of the matters that are to be part of the accusation and the penalties assigned by the prosecutor. And so that you are better able to know their captain before departing from Venice to be able to take orders from senior officials of the Levant and all lands also belonging to officials of the said galleys which, themselves, ought to be made in writing, and those things you can do with the three captains appointed for each galley as stated.

15. Some day, part of some of the aspects of the galley and so much of the cargo should be the responsibility of one of the three men that are with you so that you do less in this respect. As for the galleys, you cannot establish the truth of the penalties given by the three and you should not give the said sentence that they should come to us through indebtedness under the orders of those appointed to remit the punishment, or the whole, or part of it, nor make of them the gift of the grace of remission of or in any way or form.

16. All of the mentioned galleys departing from Venice, should have in their company a galley that is clearly responsible for a period of twelve days. Similarly, returning from Alexandria they should be responsible for the same time.

   

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

youtu.be/9rDd-yfZbQ0?t=1s

 

Title: It! The Terror From Beyond Space

Year Of Release: 1958

Running Time: 69 minutes

DVD Released By: MGM Home Entertainment

Directed By: Edward L. Cahn

Writing Credits: Jerome Bixby

Starring: Marshall Thompson, Shawn Smith, Kim Spalding, Ann Doran, Dabbs Greer, Paul Langton, Robert Bice

Taglines:

1. It breathes, it hunts…It Kills!

2. IT!...Reaches through space!...Scoops up men and women!...Gorges on blood!

3. The revelation shocker of things to come!

Alternate Titles:

It! The Vampire from Beyond Space (1958)

The Terror from Beyond Space (1958).

Review Date: 12.12.04 (updated 1.1.10)

 

The film opens with a thundering musical theme and a title that threatens to bust out of the screen and into our third spatial dimension. After the credits end, we get a view of the Martian surface. In the distance we see the wreckage of a crashed rocket ship. A voice belonging to Colonel Edward Carruthers begins to narrate, relating how the ship he commanded cracked up on landing six months previously and how he is now the only survivor from that doomed expedition, the crew encountering some strange force on the Red planet they came to know only as death. The camera slowly pans over the landscape and a second rocket ship is revealed, albeit intact and standing erect. Carruthers says that he will now be going back to face his superiors on Earth and possibly another kind of death.

Now we see the capitol building in Washington D.C., which quickly fades to a door marked, “Science advisory committee. Division of interplanetary exploration.” No doubt down the hall are the offices for the division on Radiation-Enlarged Insects and Lizards. Inside this room a government official is conducting a press conference and releasing information on the second rocket ship sent to Mars. He talks about how Colonel Carruthers has been found alive, but is the only survivor from the initial expedition. The Colonel will be returned to Earth to face trial for the murders of the rest of the first ship’s crew.

Back on Mars, we see the Challenge-142 preparing to lift off. Before they can depart, Van Heusen notices an open compartment. It seems Lt. Calder was dumping some crates (littering) and forgot to close it. The open hatch is closed remotely, but as it slides shut, an ominous shadow moving about nearby alerts us to the fact that something has managed to get aboard while it was open. We hear a few growls and even get a close up of IT’s feet as it moves about. I gotta say, this guy needs some serious corrective footwear. Talk about a slewfoot! What is even more hilarious is that the shadow we see on the wall seems to be made by the actor in the monster suit, but not the monster mask. His facial features seem pretty clear in silhouette.

After a name check, Van Heusen begins the launch countdown at ten, while strapped into what appears to be a lawn chair! Where was the budget blown for this ship? No trash recycling systems and cheap chairs! The contractor must have spent it somewhere, but it obviously wasn’t on this ship!

Once in space and safely on the way home, Van Heusen (who will henceforth be referred to simply as Van – some of the characters did it, why not me) begins acting like an asshole, ridiculing Carruther’s story of a monster. He tells Carruthers (seemingly with great delight) that they have enough evidence to put him in front of a firing squad. They head up one level and Van shows him a human skull they found on the surface of Mars. Dental records revealed it to be a Frank Kenner, one of Carruther’s crew. The skull has an obvious bullet hole in it and Van says, “There’s only one kind of a monster that uses bullets.” There is an ominous musical cue. Carruthers walks away and the film fades out.

 

Sometime later the crew is cleaning up after a meal. Correction: the women are cleaning up after a meal. Yes, in this futuristic year of 1973, women – despite being doctors and presumably vital members of the crew – are still assigned the laborious task of cleaning up after meals and making sure all the lazy, fat-ass males have fresh, hot coffee in their cups and are supplied with cigarettes. I wonder if these guys made them cook the meal as well.

So this group has finished a meal and are relaxing. The usual light banter is exchanged before the topic of Colonel Carruthers and his monster comes up. Royce (the other Royce will always be referred to as Doctor Royce for purposes of this review) says that he doesn’t disbelieve or believe the story. Along about that time Carruthers arrives and is greeted with a smart-ass comment from Van. He gets some coffee from Ann and retreats back up one level. Van then states that before they reach Earth, he will have Carruthers’ confession on tape. What is he going to do, beat it out of him?

Some more time passes and Ann brings Carruthers a plate of food. She admits that she has only heard the story of what happened to the crew of the Challenge-141 from Van and would like to hear it straight from Carruthers. He relates to her how they landed, went out exploring and then got caught in a sandstorm. Something in the storm began taking the crew and in the confusion shots were fired, one apparently killing Kenner by mistake. Carruthers was the only one who made it back to the ship. Subsequent searches turned up no signs of his crew or the thing that took them.

Van continues to act like a dick. Ann - with whom he seems to have some sort of relationship beyond work - tells him that he owes it to Carruthers to treat him like a fellow officer and not an animal, and that it is not his place to decide whether he is guilty.

More time passes. Royce and Carruthers are playing chess while Van looks on, smoking a cigarette. Calder is nearby scribbling in a notebook – probably “I won’t leave outer hatches open before lift-off” a hundred times, enforced by Van for his lamebrain mistake. Elsewhere, Keinholz is sitting alone at a desk, looking bored. He hears their stowaway bumbling around the cargo hold. He goes to investigate and is killed, the attack shown as shadows on a wall. The monster lifts Keinholz over his head and brings him smashing to the floor, where he proceeds to pelt the unfortunate crewmen with a barrage of blows…or in this case, cartwheeling its arms and bitch-slapping the guy to death.

Above, Carruthers has heard the commotion and wonders what is going on. No one else seems to have heard anything. He still insists on performing a head count and when Keinholz comes up missing, everyone begins searching the ship for him. While everyone is split up, Gino Finelli is captured by the beast when he stops to pilfer some cigarettes from a storage locker.

 

Everyone convenes again and Van is in disbelief as there just isn’t a place on the ship a man could hide. Carruthers asks where Gino is and Bob says that he was right behind him. He looks back down the ladder to the deck below and calls out to Gino, but all is silent below. He, Van and Carruthers all go back down where they find Gino’s unused cigarette on the floor, but no Gino. Now everyone is calling out for Gino in addition to Keinholz. Soon after, Keinholz’s body is located in an air duct.

Everyone comes running and arrives as Keinholz is removed from the duct. Bob wonders if Gino is inside the duct, but Carruthers looks and sees nothing. Major Purdue volunteers to go in to look for Gino as he claims to know the layout. He crawls on in, but doesn’t see anything at first. Then he re-orients himself and sees Gino at the end of the passage. Gino is looking pretty bad, like he was in a fight with an Avon lady who applied her make-up samples to him. Purdue yells out that he found Gino and begins to crawl toward him. He shakes Gino, trying to rouse him but Gino just shakes his head limply. Then there is a shadowy movement nearby and IT arrives on the scene, no doubt pissed to find someone playing with his food. IT growls and claws at Purdue, who screams before pulling out a revolver and squeezing off a few shots. This makes the monster roar and outside in the storage room, Carruther’s face is one of dread – he knows that roar all too well, it seems.

Purdue comes barreling out of the duct and Carruthers sneaks a glance inside before he and Van replace the cover over the entrance. Bob, naturally has a fit, upset that his brother is being left behind. He is removed by Royce and Carruthers yells to the cowering women to run and get a head start. A head start for where? You’re on a spaceship, not the open plains of Iowa. Carruthers then spots a crate of grenades and suggests that they wire them up to the hatches, thus blowing IT up if it decides to leave the duct. So Van, Carruthers and Calder wire up these grenades, then gather up Keinholz’s body (which seemed to magically aid them in picking itself off the floor) and retreat to one of the upper levels.

Next we see a table loaded with guns, rifles and ammunition. It looks like a NRA convention! It is at this point that I must point out the sheer stupidity of these people. They are on a spaceship, which is traveling through the vacuum of space. Rupturing the hull of the ship in any way would be extraordinarily bad. I’d imagine that great pains would be taken to minimize the chances that such an event ever took place. Yet these fools insist on firing projectile weapons within the confines of the ship. Not only that, but they have grenades ready to detonate below. Now, what kind of tests did these people have to pass in order to be selected for this mission? Cuz smarts don’t seem to be a requisite. Not once does any one of them stop to consider the chances that such an explosion might actually harm the bloody ship! No, they just fire away. Either these people are colossal idiots, or they are confident in the construction and engineering of the ship – but given the lawn chairs adorning the place, I would not exactly be willing to bet my life on the latter possibility.

So the men are taking stock of the weapons while the ladies apply the most idiotic looking bandage to Purdue’s head. Royce tries to console Bob by telling him there was nothing they could have done for Gino, but Bob is pissed that they didn’t even try to rescue his brother.

Meanwhile, Van is asking Carruthers if he knows what IT is. This must have just galled the guy to no end. Here he was all ready to break Carruthers and get a confession, and now he must admit that the other man was right all along. Time passes and the gang is pacing up and down, waiting for IT to leave the ducts and trip the grenade trap. They all gather around the intercom and listen as IT busts through the grate covering the duct and sets off the grenades. All those grenades detonate and we are treated to an explosion that looks like it was made by a box of firecrackers.

 

They still hear the monster growling, so they know that the plan has failed. Without a word, they hoist their firearms, open the central stair hatch and head down to investigate further…well, all the guys do. The women stay up above, no doubt prepping coffee. The guys gather around the door to C and open it up. A lot of smoke passes through the doorway, obscuring their vision. Calder, who is carrying the biggest gun, goes in first. Well, actually Van was in the lead, but when he couldn’t get the lights activated, he motions for Calder to go first. Chickenshit bastard. Calder barely gets through the door when IT lunges out of the smoke, grabs his rifle and bends it, Superman-style, over its head. Calder, Royce and Bob then run like hell up the stairs while Van and Carruthers fire their pistols at the beast. They retreat up the stairs, firing all the way, while IT tears the door to C compartment open wide enough to get through. Once safely up the stairs, the crew closes the central stair hatch.

Next gas grenades are used in an attempt to kill the beast. This fails to work as well and Van comes out of the engagement with an injured foot, scraped up something bad when the monster grabbed him.

Dr. Royce has completed the autopsy on Keinholz, discovering that “there is not a molecule of oxygen or a drop of water” left in his body. Blood, bone marrow, glandular secretions – everything, is gone. She theorizes that since there are no puncture marks on the body, that this was accomplished through some type of osmosis process. Keep in mind that the Human body is sixty to seventy percent water. Now, we got a pretty good view of the dead Keinholz earlier. Sure, his body was shriveled, but if all the moisture in his body had been removed, then would not he have looked more like a dried up prune, and been the size of a cabbage patch doll? Van Heusen hasn’t joined the cadaver club yet, though his wound is infected and nothing Dr. Royce can do helps it any.

They open the central hatch and peer down. IT is two levels down, but they can see it breaking through the center hatch onto the level directly below them, which will grant it access to the next level. They realize that if IT can get through the center hatches, they are royally SCREWED. Ann approaches Carruthers and tells him that he was right and they were all wrong. They hold hands and share a Kodak moment.

 

Royce pipes in about now with an idea he and Bob have worked out. He proposes that two men exit through the control room airlock and then space walk down the side of the ship and re-enter through the airlock on the motor level – below the current location of the creature. This would enable them to surprise the monster, but they aren’t sure what to surprise it with. Carruthers says he’s been thinking and has an idea, so he and Calder suit up and make their way down the hull to the bottom of the ship. They reach the airlock on the motor level and the others above begin talking loud at the proper time, distracting the monster from what is occurring below it. Carruthers and Calder sneak out onto the motor level and set an electrical trap on the stairs that lead to the upper level where IT is located.

 

The two then take cover behind some induction pumps and open the center hatch, which is noticed by the creature. It begins to descend the stairs and when it gets to the appropriate spot – ZAP. Nothing. The monster is not affected. Carruthers is able to make it safely to the airlock, but Calder takes a blow to the head that tears his vinyl “helmet” and stumbles back, his foot getting caught and the fall breaking his leg. He fires up an acetylene torch and uses it to fend off the monster every time it gets to close to his hiding spot.

Carruthers returns to the others where they try and think of a way to rescue Calder, who can be heard over the radio. Meanwhile the Doctor approaches Royce and tells him that the alien bacteria are attacking bone marrow, resulting in a leukemia-type condition. The drugs she has been using are working too slowly and she needs fresh blood to keep Van and Purdue alive – but there is no more on this level. They will need to descend to the cargo level and retrieve some more.

Royce is preparing to make a run for the blood and Bob decides that it his “turn” now to go. What is this, a ride? I suppose he feels the need to do something in helping kill the monster that murdered his brother. Carruthers decides to accompany them. Calder promises to keep them apprised of the creature’s movements via the intercom. A shadow on the wall tells us that IT is still dragging dead Gino around, and has wandered into the reactor room. After Calder reports this, it gives Carruthers an idea. He remotely closes the reactor room door and asks Calder what the monster does. When no odd behavior is reported, the three men make their descent in search of the blood supply.

 

Meanwhile Van has awoken again and is trying to get up from his cot. The women try to restrain him but he yells and pushes past them. He has an idea – by unsealing the reactor, the radiation will kill the monster. He flips some controls while the ladies still try and talk sense into him. In the reactor room, the creature is banging on the door to get out when the reactor is unsealed and it gets a face full of radiation. The women call down to warn the men what has happened, inciting Carruthers and Royce to speed things up. Below, Bob is helping Calder up the stairs when IT breaks out of the reactor room. Calder dives back into his hiding spot and Bob fires off his pistol at the beast. He then tries to run up the stairs, but IT is too fast. The monster reaches up and grabs him, pulling him down to the floor and bitch-slapping him to death. Royce and Carruthers haul ass back up the stairs with the blood, having to leave Bob behind. They get back to the laboratory level and then everyone heads on up to the topmost level – the control room.

Everyone is now huddled on the highest level. For some IDIOTIC reason, Carruthers is carrying a bazooka. A bazooka! They pile some heavy crates over the hatch in the floor, hoping to keep IT from busting up through the opening. Nearby Ann and Van are talking and the ever more disconcerted Colonel is remarking on Ann is now “with” Carruthers and how it happened out of the blue. She tries to dismiss it and wants to talk about it later, but he insists that there may be no later considering how their situation is degenerating rapidly. She walks off to help Carruthers and Van continues to mutter to Dr. Royce.

  

They contact Calder down below, who is still alive. He can see the monster still bumbling around on the motor level. About now IT has decided to find out where everyone else has gone. IT ascends the stairs to the first storage level and begins banging around. Calder warns Carruthers that IT is on its way up. The gang up top makes ready, turning the lights off and preparing for the last fight. Carruthers tells Calder to make his way to the airlock now that IT is no longer nearby and hide there. Then Carruthers picks up the bazooka again and aims it at the hatch.

While waiting, Carruthers happens to glance at a dial on a nearby instrument panel and notices that the oxygen consumption on the ship is far in excess of what it should be. He points this out to Royce and the two theorize that it is due to the monster. With the thin air on Mars it would need a gigantic lung capacity and has thus been hogging all the oxygen on the ship with its Darth Vader breathing style. Carruthers suggest letting all the air out of the ship to kill it. Royce agrees, saying they can build it back up for themselves later.

 

A mad rush is on now, everyone trying to get into his or her space suit. The monster tears his way up onto the laboratory level, doesn’t even hesitate and then heads up the latter to the top level. IT bangs on the hatch, causing all the boxes sitting atop it to topple over, and then IT peels back the metal of the hatch like wrapping paper and pokes up through the opening like a jack-in-the-box. Everyone has their spacesuits on now, but Carruthers cannot reach the controls to release the air because the monster is in the way. He calls to Royce, who is now holding the bazooka, to drive it back down so he can make his way to the proper control panel. Royce fires the bazooka, but the rocket just bounces off the monster before bouncing around the floor some. No detonation at all! It must have been a dud. Carruthers is trying to reach the controls, but the monster is preventing him from getting too close. Van then jumps up, runs to the controls and hits the correct button. The airlock doors open and the air begins rushing out. The monster has grabbed Van and no doubt given him the squish treatment, as when next we see Van, he is stretched out on the floor.

The ship begins diving. Well, not really…but given that the emergency klaxon blaring away to warn everyone of decompression and air loss sounds just like the diving bell in some old WWII movie, and one can see why it seems like the ship is diving. Everyone hangs on for dear life. Papers start flying around the room, but very few actually get blown out the airlock. The monster growls, writhes around and finally stops moving as the last of the air is removed. Carruthers checks on both IT and Van, but both are still and quiet. I have to wonder how Van didn’t get blown out. Everyone was hanging on, but Van was out cold (or dead). It seems the monster is finally dead. Everyone seems relieved, and the camera zooms in on Ann and Carruthers as they hold hands before fading out…

…Into ANOTHER freakin’ shot of the ship flying through space (number nine). This fades into the room in Washington D.C. that we saw at the very beginning of the film. The same government official is conducting another press release. He has more information to add to the story he gave to the reporters the previous evening. He reads a message from the Challenge-142 received less than an hour ago:

“This is Eric Royce talking. Of the nineteen men and women who have set foot upon the planet Mars, six will return.”

Six? Let’s see…Carruthers, Ann, Royce, Dr. Royce, Purdue and…Calder, I suppose. Calder was hiding in the airlock on the motor level while Van Heusen got beat up by the monster and was laying there pretty still at the end, so I guess he was the one who died. The message continues:

“There is no longer a question of murder, but of an alien and elemental lifeforce. A planet so cruel, so hostile, that man may have to find it necessary to bypass it in his endeavor to explore and understand the universe.”

 

Well, at least Carruthers has been cleared, but Royce makes out like the planet Mars is so damn dangerous. Excuse me, but were not you guys all safe until you got back on the ship? The planet seemed pretty harmless. It is the native life that proved to be so deadly. Big difference. The message (and the movie) concludes:

“Another name for Mars…is death.”

Fade out. The End.

   

Structurally, this movie is most similar to The Thing From Another World in that it deals with a small group of people trapped struggling to prevail against a deadly organism from another planet bound and determined to make a snack of them all. Aside from the opening and closing segments set on Earth (which most people conclude were added in order to stretch out the film’s running time) the movie never leaves the crew of the Challenge-142. Once things get rolling, the movie rarely lets up and moves along at a brisk pace, rapidly pushing its characters through one bad situation and into another. While not as intense as later films would be, the approach taken works very well and the viewer begins to detect the sense of danger and desperation that builds as the film progresses.

Sadly, the character development that was so well executed in the Howard Hawk’s The Thing From Another World, is sorely and quite obviously lacking here. We are quickly introduced to a number of people, who for the most part, will be expanded upon very little and examined only long enough to form the vaguest of impressions. With the exception of Carruthers and Van Heusen, who these people are and what motivates them was just not important to the producers. Those two are plainly set up to be at odds with each other, though the conflict is really all on the part of Van Heusen, who is resolute in his belief of Carruther’s guilt. Yet, the film sets up this adversarial dynamic and goes no where with it. Early on during the monster’s rampage, Van Heusen takes a hit and is restricted to bed for the rest of the film, offering up only smartass remarks and a failed attempt at killing the creature thereafter. I suppose one could say that Van Heusen was shown to be in error when it came to the veracity of Carruthers’ story, and that he was pushed aside to make room for latter to take the lead and redeem himself. There could not be two leaders, so one was removed.

While the characters might not be the most fleshed out in film history, they certainly make up for it with their actions. After viewing this movie, one has to wonder what kind of idiots these people truly were. How they ever graduated from some type of training program and granted a position on a ship to Mars is beyond me. In fact, the entire organization seems lacking. There is just so much that betrays them as morons. Like smoking. These people are nicotine fiends who are lighting up non-stop. Someone missing? Have a smoke. The monster kills someone? Have a smoke. Time running out and death looking certain? Have a freaking smoke! I must say that the Challenge-142 must have one HELL of an air recycling system. These folks have the oxygen scrubbers working overtime with all the smoke they exhale.

On top of that, these guys are gun toting, trigger-happy morons who make the Montana militia groups look like the boy scouts. They start squeezing off rounds at the drop of a hat, no worries about ricocheting bullets or friendly fire. I guess the ship, on top of having a first rate air recycling system, also has the sturdiest hull ever manufactured by mankind. It must have, as these guys don’t give a single thought to accidentally rupturing the hull. And they don’t stop with guns! They haul out grenades by the dozen and detonate them and then move on up to firing a bazooka in their ship’s control room!

 

As far as visual FX are concerned, this film doesn’t have too many. What we do see is adequately done by the standards of the day. The most ambitious shot is the view of Carruthers and Calder walking down the side of the ship as it traverses the stars. Back then it might have looked awesome, but now it is very easy to notice that the actors don’t seem to be covering any ground, despite taking numerous steps as well as the obvious signs of matting them into the footage of the rocket. I’d venture to say that the best looking thing we see, though it is just for a few seconds at the film’s beginning, is the painting that represents the surface of Mars. Sure, it looks nothing like what Mars really looks like, but it is still executed pretty darn well.

 

Now we come to the one aspect that is both one of the best as well as one of the worst things about the movie: The monster. The monster costume is a glaring source of both potential embarrassment and possible fun. The costume is a rather bulky, rubber affair that bends in all the wrong places, heightening the “cheese” factor and lending a certain air of ridiculousness to the film. The way it lumbers, stumbles and plods around the ship is laughable considering the dire circumstances and danger it supposedly represents. The face is static, except for the tongue that is often protruding from the sizable mouth. This effect was produced by the actor’s chin pushing the “tongue” through the creature’s maw.

Since the movie was filmed on a mere handful of sets, with a single set used to represent the various central chambers of the ship – just re-dressed for each one, director Cahn makes good use of the limited space he has. Thanks to the camera work and the set dressing, the ship comes across as being fairly good sized. Another thing he does rather well in conjunction with cinematographer Kenneth Peach is to hide the monster and utilize shadows to create an atmosphere of dread and creepiness. Whether this was done for artistic reasons or to help hide the often silly-looking monster suit is open for debate, but since the creature is shown quite well on several occasions, and the suit holds up pretty darn well to scrutiny, I personally believe it was the former. There are numerous occasions where all we see is the beast’s shadow on the wall, or a foot moving across the floor. More than one assault on a Human is shown as nothing more than shadows on a wall, which, while lessening the onscreen violence, only makes the attacks more horrifying. This method really helps in firing the imagination, as what the mind conjures up is almost always more frightening than what we ultimately see on screen.

Still, despite all the apparent flaws...indeed, perhaps because of those very flaws, this film has a sizable “fun” quotient. Taking it too seriously will only lessen the enjoyment derived from the proceedings. An enormous grain of salt, along with a large suspension of disbelief will come in handy here, and will help transform the film from an “old 50’s monster movie” into a “classic B-Movie experience.”

 

The KOM League

Flash Report

for

Labor Day Weekend 2013

 

Latest update on mortality:

 

www.tributes.com/show/George-W.-Schneider-88100168

Long ago I located George Schneider in Raleigh, North Carolina. Since then I hadn't heard from him for years. I verified him through my contact information and also the SSN of 082-20--_ _ _ _ . I show that he was living in Richmond Hills, NY when he signed with the Dodgers. Schneider was a member of the Ponca City Dodger pitching staff for a brief time in 1947.

_________________________________________________________________________________________

The following type of comments are what cause me to arise from my catatonic stupor, every few days look for a computer, sometimes recognize it and then attempt to piece together a report. This report is way too long so don’t attempt to consume it at one sitting. WARNING: This report might be so boring to you that it will put you to sleep. Do not read and operate heavy machinery at the same time or read while holding a hot cup of coffee. You might awaken to first and second degree burns “all over your body.”

 

The first comment must relate to the fact I found my computer. “Mr. Hall you are fantastic.” The sender of that added “I played legion ball in Southeast Kansas and was scouted by Zack Wheat and Mickey Owen--baseball in fifties was great." Thomas McCray

 

Ed reply:

 

I worked in a grocery chain with Zack Wheat's grandson. We called him Wheaties. . There is a little park north of Camdenton, MO that is called “Zack Wheat Park” and it is laid out like a ball field. It is small but on first base is engraved the number of singles he had, second base the number of doubles and the same thing for third and home. It is a rather unique set up

 

The birthday gift

Good stuff, John. 'My birthday present (yesterday) from you to me. bob schwarz--1950 Iola Indians--Clifton Park, NY

 

Ed note:

 

Mr. Schwarz was referring to the most recent Flash Report. Since it was sent on August 23 and it got to him the day after his birthday, I deduce that he was born on August 22nd. I’m not putting down the year of birth. There are only ten former KOM leaguers who are not as yet 80 years of age or older and by this time next year everyone of them will be at least four-score years of age.

 

The children of the former players stay in touch

 

Mr. Hall, Hi, How are ya? I hope all is well with you and yours. I'm Linda Hammond, Ed Wilson's daughter. I enjoy reading about all the ball players and their careers. I completely understand that your flash reports are a lot of work but I want you to know that I do enjoy reading them. Thanks for your time, With all my blessing's to you, Ed Wilson's daughter, Linda Hammond--Topeka, Kansas

 

Ed note:

 

Ed Wilson was a member of the 1948 Miami, OK Owls and after that season was not heard from by KOM fans until he showed up to pitch for the Iola Indians in 1952. Ed was a long time friend of this editor and we had a weekly chat late Sunday evening during the time his wife was in a nursing home. He visited her every day and fed her. On Sunday evening’s it was time to unwind. When he passed away, in 2002, a number of his former KOM teammates and Topeka baseball buddies showed up for the funeral. It was sort of like a mini-KOM reunion. The funeral procession led to a cemetery west of Ottawa, Kansas. There he was reunited with the lady he always talked about during our very late Sunday night telephone conversations. There are a lot of Ed Wilson stories to tell. If you never saw Ed but would want a description of his physical appearance and pitching style, think of the former big league hurler, Stu Miller.

 

Note from a Kansan who remembers me from a previous life

 

A fellow with whom I worked on some major automated systems, in Kansas government, during the time I was a “productive” member of society sent along the following stating it reminded him of me. “I entered 10 puns in a contest to see which would win....No pun in ten did.” I doubt that I will ever shake off the barnacles of my past.

 

Ed reply: Edited to keep the rest of the readership from being too bored.

 

It's good to be remembered even if it’s a pun that brought me to mind. I might have to work that one into my next Flash Report if there happens to be another one.

 

I received a call from Topeka yesterday. The folks at the State Historical Society sure want me to donate my "collected works" to them. I keep thinking that they figure I'm an old washed up relic and don't need or want that stuff any longer. I don't know what I have that would be of interest to anyone but a member of that agency volunteered to drive to Columbia to look over anything I might have that I'd let go of before I croak. I told the representative I had about a half century of complete yearly sets of Sporting News and Sports Illustrated issues since SI was founded but I learned there is no interest in those documents. I told the caller I had about a thousand copies of the Mantle book and that didn't cause the interest meter to rise either.

 

When I related having every letter from the past 19 years that the former players had sent the interest perked up. I learned pretty shortly that is the type of material historical societies covet. I related r they weren't in any sort of order but was assured that is something the society would love to have. I can't imagine what they would do with such stuff.

 

In short, if I ever part with the stuff I have, that my grandsons don't want, I imagine giving it to a state historical society would be the best approach. As the person told me yesterday, the material would be held in perpetuity. I'd just as soon it be held inside out of the elements but being held in perpetuity would be okay.

 

Ed comment:

 

I felt pretty happy to know that the letters sent to me over the years by guys talking about their KOM experiences is of more historical value, to some folks, than the reams of newsprint and magazine going back over a half century.

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Vindication of a story in previous report

 

You did not misrepresent me to the Carthage Museum lady. My book on the ASL/A- (Arkansas State league) was supposed to come out June 1, 2013 (missed it by that much!) and about one month ago my publisher/editor said he was editing the book but I still haven't seen a single page of it. It seems likely now that it might be next spring before the book comes out. At this point, I feel like the proverbial mushroom - fed you know what and kept in the dark! Ha, ha, ha. Jerry Hogan--Fayetteville, Ark.

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Someone missed the Bill Virdon TV video

 

Was very interested, to read the Virdon comments, but the URL did not work for me. I was livid when Frank Lane traded Bill to the Pirates for Bobby Del Greco, and wrote a lengthy letter to Lane, expressing me feelings. Del Greco's batting average after the trade vindicated my comments. Received no response from Lane, or Cardinal office. Darryl Lawson in Michigan

 

Ed note:

 

Since Darryl couldn’t pull up that site I resubmitted it to him. And, I’m placing it in this report, once more, to ensure everyone else got it. If they did this is a space filler.

. Celebrate West Plains: Bill Virdon Reflects on his career -- ky3.com www.ky3.com/.../Celebrate-West-Plains-Bill-Virdon-re...Aug 14, 2013Bill Virdon met his wife in West Plains. Virdon was a World Series-winning outfielder for the Pirates in 1960

 

Darryl was from St. Louis and in 1950 met and married a classmate of Shirley Virdon, at Southeast Missouri State University, who wasn’t as yet married to Bill. As a result of the resubmitted story of Bill and Shirley, Darryl sent the following e-mail to Shirley Virdon this week.

 

As a devout Gas Houser, Knot Holer, and Redbird fan, and with MANY Cardinal fans, our spirits, when our times come, will dedicate ourselves to haunt the spirit of Frank Lane, for trading Bill to Pittsburgh, for Bobby Del Greco ( who proved our judgments) in his Cardinal "career."

 

My VERY best wishes go to Mr. Center Field, and my best to you.

 

I was introduced to Erma Lee on the front steps of AD building in Cape Girardeau, by Bev Causino. in 1950. Erma Lee and I were married 60 years + 3 days 1 January 1953---4 January 2013.

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Testing the old man’s memory

 

Johnny: Do you remember the dent in the right-field scoreboard at Muny Park, about eight inches from the top? Legend has it that a Springfield ballplayer by the name of Stanley Frank Musial put it there. -- Corky

 

Ed note:

 

Only one person on this planet calls me Johnny. So, when I get a note with that salutation I knew its coming from the best sportswriter I ever rode double with on my red Western Auto bicycle. It had Bendix brakes on it by the way. The youth of my era used to argue which type of bicycle brakes were the best. Those of us with Bendix thought our brand was best but the kids with the expensive bikes had New Departure brakes. They probably stopped about equally well as we all went flying over the handle bars.

 

Ed reply:

 

I don't recall that but I do recall seeing Musial’s name signed into the top of the third base dugout. It was etched in the tar that covered it. Musial would have had to put it there in 1941 and I'm sure it didn't last ten years. And, Musial played for Springfield that year and their visiting team dugout was down the first base line. I once told Bob Speake that Musial cleared that scoreboard. Bob shrugged and said he did it a number of times. I think Musial was the first guy to do it. I'll confess I didn't see anyone clear it in 1951. But, the Carthage boys didn't have the power to wallop very many of them. The guy I recall hitting the most was Tommy Kordas. He'd usually hit one over the head of the centerfielder for an inside the park homer in the 9th. Today those would be called "Run off homers." What talent Tommy had in power he compensated for in a lack of speed. Carthage had a total of 24 homers during the entire season. Bernie Tomicki led the club with eight followed by Kordas who had six, George Beck surprisingly hit four, Russ Oxford who recently passed away had three and Gary Hicks, manager Don Anderson and Len Van de Hey rounded out the power drives with one each. We didn’t lose many balls in that era via the home run route.

 

I don't want to offend any of the guys, but in the long run, Leonard Van de Hey turned out to have the greatest amount of success in the game. He put up some eye popping batting averages in later years and had a shot with the New York Giants. He came along at the time of Whitey Lockman, Willie McCovey, Orlando Cepeda, Bill White and that bunch. He went to spring training and the Giants tossed him a glove and told him "Go out and make the team." To make the team he had to oust all of the aforementioned from the first base position. The Giants eventually sent him to the Washington Senators organization for Carlos Paula, another guy who "just missed" the Hall of Fame.

 

Don Biebel was a very good catcher. John Curtis, a lefty from the Cubs in the late 50's and early 60's told me that Biebel was the best catcher he ever pitched to and that he had pitched to Del Crandall during his career. Without the Korean War I think Walt Babcock, Bud McClure, John Mudd and a couple of others might have had some good years in the high minors for the Cubs.

________________________________________________________________________________________

A very unpleasant diversion:

 

Attempts are ongoing to find the 120 former KOM leaguers that I’ve never been able to locate. After finding a former player efforts are conducted to maintain contact. When I don’t hear from someone within a reasonable amount of time the Social Security Death Index and other resources are checked. This past week one of the fellows whose spikes I used to clean and hang his uniform when it came back from the cleaners was the subject of a search. I did so since I hadn’t heard from him in a few years. When I entered his name on Google I got his photo as well as a disturbing story. You think I’m going to give the URL and include the story here? Guess again.

 

However, I did share the URL with a few of the fellow’s former teammates and a couple of my buddies from their time hanging out at the Carthage ball park. Here is the story in a veiled and edited form.

 

Note to a few folks:

 

Hey guys, I try to keep up with those from the 1951 club but in a story I found out of (City--State) today, I wish I hadn't. You won't recognize the face but I'm sure you'll remember the name. I don't think I'll be contacting him any time soon.

 

Feedback:

 

Response from a pitcher on that Carthage team indicated he wouldn’t have known the guy from the photo

 

Ed reply:

 

I wouldn't ' have recognized him either. Kind of sad that he messed up in his old age. Maybe a little dementia was involved. Didn't we call him Clark Kent? He wasn't with the team very long. He came down from (another team in another league). The Chicago Cubs meant to assign him to (another city) but messed up. You and (another good pitcher) couldn't carry all the load so Carthage kept him until they figured out he wasn't going to be of any help and they shuffled him off to (another city). He was (record withheld) at Carthage.

 

Response from a Carthage Cub

 

THANKS, JOHN, FOR BEING A SLEUTH. I REMEMBER HIM WELL AND HE WAS A BIG GUY THEN. I NEVER COULD HAVE GUESSED WHO HE WAS FROM THE PICTURE. HOW TO RUIN THE REST OF YOUR LIFE FOR SUCH A FOOLISH THING.

 

JOHN, YOU GOT THAT RIGHT. CLARK KENT WAS THE NAME. (Former Carthage Cub)

 

From the family of another former Carthage Cub

 

That was a shock....he doesn't look too cute either....I forgot what (former players name )said when I showed it to him this AM. We were at the Dr.'s Office this AM and the PA who was giving us a message used these words. Colon Cancer....it was never brought to our attention so abruptly.

 

From a Carthage friend

 

I don't remember Mr. (anonymous) and I'm kinda glad I don't. But I feel as badly for him as I do the young woman he allegedly fooled around with. She doesn't sound like a candidate for Person of the Year, herself, as witness this line in the story out of the (name of town) newspaper: "She said she was tired of seeing other people’s posts indicating much milder confessions. 'I was getting really annoyed and I just kind of put it out there,'” she said. What was this, some kind of competition?

 

She waited two years to file a complaint and did so then only because she felt left out or something, related to her involvement on social media. Maybe she can live a better life now and not be haunted by the old fool's advances. Meanwhile, he's got some explaining to do PDQ at the pearly gates.

 

Ed reply:

 

I think Facebook, Twitter and all that stuff is an abomination. It seems as though one person wants to outdo the other. I had the same feeling in reading it that you did. (The old ballplayer’s) life is about over but for the days he has left in that town he will always be viewed as the dirty old man. He may have had a bit of dementia by that time in his life. I think I have it or am getting close to it and I'm nearly a decade his junior. When you get to the Pearly Gates the days of explaining are long over. If I read it correctly the confessing must be done here before I get there. Wouldn't it be terrible if we all got it wrong and we found upon getting to the after life that something else was expected of us?

 

Friend’s reply:

 

Yeah, and what if we wind up in a parallel universe and it's still 1950 and we're out there in your back yard swinging a bat at a ball and doing our own announcing ("....swung on....it's back....way-way back....Holy Cow!"). In which case, I get first bats, OK? --

 

Ed reply:

 

1950 wasn't all that bad. Batter up. "It might be, it could be, it is," was the Harry Caray home run mantra.

 

Friend’s reply:

 

John: What I remember of the "Harry Caray Polka:"

 

"It might be, it could be, it IS a home run....

Holy Cow, we've got 'em now,

Come on boys, let's take our bow

Let's sing the Harry Caray Polka.

 

Glaviano's up in the pinch,

One more clout and this game's a cinch

It might be, it could be, etc.

 

Marty, Red and Howard, too

They will win this game for you.

Let's sing the Harry Caray Polka..."

 

Ed reply:

 

I've got to send tentacles out to my older readers in St. Louis to find out if they know where a copy of the Harry Caray Polka can be found or at least the entire lyrics to that song. If I find it I'll share it with you. I think we're the only two people still vertical, in this reading audience, who remember it.

 

Note from one of my St. Louis contacts, from that era.

 

“We remember someone referring to Take Me Out to the Ball Game as "Harry Caray's polka" but haven't heard of a Harry Caray Polka. Barbara After sending what lyrics I had for the Harry Caray Polka, Barbara wrote “First time I've seen these lyrics - like it!!”

________________________________________________________________________________________

From Topeka, Kansas

 

Your mention of 19 KOM League players from Topeka caught my eye. Would you be willing to send me a list? I've been researching Shawnee County baseball history for the past several months because of my involvement with the Shawnee County Baseball Hall of Fame, and the information would be appreciated. Thanks, John.--Jan Johnson

Ed reply:

 

It's in the appendix to my big book which is all over that town. Short of that it will take me a while to compile that from my database. The biggest part of that effort is scrolling through a few thousand roster inserts. When you see that stuff you'll not find the Dodson boys as being from Topeka since they weren't born there. By the time they played baseball they were Topekans. (Actually, Lee was born in Topeka and Stokes was born in Hoyt, Kansas)

 

I have a "few" medical visits coming up between now and early September and those doctors and nurses don't like my thumbing through data files while they are trying to diagnose and treat. I just don't understand their insensitivity. Maybe I can work on it in the waiting rooms of those doctors since you never seem to be able to get in at the scheduled time.

 

If you don't see that list by the 10th of September, rattle my cage again. The reason I had those numbers in the last report was due to having gone through them a long time ago and putting down the number from each location. I didn't list their names or anything like that at the time which now appears to be a mistake since I've had a rather large number of requests from people from around the country requesting the information for their locale. One guy wanted it on a statewide basis of a state that placed a large number of young men in the KOM league. I might want to think about publishing the entire database or put it on a CD and use it to help fund my way through old age. That database represents well over 20,000 hours of research and it is still being updated and corrected after nearly 20 years of effort. I know I could give it away for different groups have begged me for it many times over the past decade. I always tell them that like good wine it won't be served before its time.

 

Jan’s reply:

 

I didn't realize I was asking for lots of additional work. Please don't go poring through thousands of records!

 

I'll try to track down the appendix information here. Which big book? I have a couple of your books, but I don't think I have the one you're talking about.

 

Ed reply:

 

I just attempted a global search on an old. database. I inserted the word "Topeka" and got names of guys who were born, played and died there. Wow!!! that was a whopper of a list. I have about three databases that have only one thing in common, the name. I wish one database contained all the data but I couldn't build one that large. What is in the Appendix 1 of Majoring in The Minors lists, in most cases; full name, place of birth, teams for which that person played during his career, hometown and place and date of death. That is what made me a recluse for nearly a decade and a half, attempting to discover that information. That information also listed the semi-pro teams for whom a number of those guys played. No official baseball record book contains that data.. I think I even have Lee Dodson's Decker Oiler days in his list of career stops. If I don't then I wrote a supplement to that appendix that showed it.

 

A quick scan of my big green book "Majoring in The Minors" reveals the following names of guys born in Topeka, those who died there and Bob Speake who moved there after his baseball career concluded: I imagine I got 98% of the names looking Appendix 1 in the aforementioned book. The book I reference is at the Kansas State Historical Society reference desk, I'd imagine. That is, if they haven't tossed it out.

 

Most of the former Topekan's: Robert Lee, Harland and Burton Coffman, Lee and Stokes Dodson), Ray Etzel, Charles "Chick" Green (played in one game at Chanute), Lester Logan, Duane Melvin, James Reaugh, Earl Hays, Charles Thomas Sleeper, Edwin Wilson, James Deines, John "Jack" Jordan, ( from Savonburg died there), Charles Stumborg (from Effingham, Illinois died there), Donald Reed ( from around Yates Center died there), Otis Bomar (murdered there and torched), Edward Haller (died there), Leonard Worthington was from Lecompton but died there, Alexander Grieves lives there but was from Burlingame, James Davis died there but was from San Antonio, TX. Charlie Bates managed Chanute two different times. He was a former big leaguer from Philadelphia and was living in Alma, KS, when he got terminally ill. He died at Stormont Vail Hospital in Topeka. I think Winlow Johnson, like Grieves, was from Burlingame and he may have died in a Topeka hospital. Dodson would know that factoid.

 

Most of the foregoing played at either Miami, OK or Chanute, KS when they were the Class D farm club of the Topeka Owls. The exceptions to that rule, as I recall were; Sleeper, the Coffman brothers, Robert Lee, James Davis and Jack Jordan.

 

All of the "vitals" on those guys are in the book I mentioned and a lot more. It is the most comprehensive reference book, in my humble opinion, on any Class D league that ever made it to the publishing stage. I think that since no one else was crazy enough to take on such an onerous project for nothing more than curiosity. The curiosity was limited, as I expected, since two editions of that book sold fewer copies than the number of residents in Auburn, Kansas. But, the book was 430 pages when I first released it and 440 the second time. The second edition had over 5,000 updates in the appendix over the first edition. If I were to publish that book again, which I won't, I suspect the number of updates would number somewhere in the 20,000+ category. It is a never ending project until I'm gone. That is why the printed newsletters and Flash Reports came along. They picked up where the book left off. Thus, the comprehensive work on the KOM league is many-fold. Long after I'm gone someone could pick up the pieces and keep adding to the lore but it would be without a very large portion of the people who participated in it as either a player or fan.

 

The book that Arcadia published wasn't much more than an outline of the big book that came out in 1994 & 2000. I guess the Arcadia book also mirrored a little of the early printed KOM league newsletters.

 

That's a brief view of the Topeka impact on the KOM league. In short, it’s tough to summarize.

 

Response from Jan:

 

Thank you, thank you! The information you sent is wonderful. I'm familiar with some of the names, but many of them are new to me. Like you, I'm big into databases and I'll be adding these guys to mine. I'll also bring your email along the next time I visit with Lee Dodson (along with the latest flash reports). It will be fun going through the list with him.

I volunteer a few hours each week at the Historical Society and also spend at lot of research time in the reading room, so it will be easy to look up Majoring in the Minors there. I'll probably be in touch again to ask some questions; hope that's OK. Thanks again, John.

 

Another note to Jan

 

Otis Bomar was from Williamson, Ks. and worked at Goodyear. His murder made big headlines in Topeka back in the 70's. I did some research on the entire murder, the burning of his body and the trial and it was after the books were published so it was in one of my newsletters.. Ask Lee Dodson sometime about the first baseman with whom he played at both Chanute and Topeka who was murdered in the living quarters of his bar in Cicero, I'll. That murder occurred in 1979 and was a cold case until the mid-nineties. They finally arrested two guys for the crime but the wheels of justice dragged on for years. I finally contacted the prosecutor in Cook County, Illinois and told him of my interest in the case and while saying he never did such a thing before he'd keep me apprised of the case. One of the two killers went Joliet. I researched him during that time and he was

sending out messages begging people to communicate with him. I started to write him and ask if he ever met Murph Malattia for that was the guy he killed and then sat at the crime scene, ate a sandwich and drank Murphy's beer.

 

Response from Jan:

 

Gee, John. Do you have this amount of detail on all the KOM players?

 

Ed reply:

 

A preface to the reply is this. Brevity is the soul of wit. So, I am thus “wit-less.” But, I’ve also heard that he who thinks himself to be a wit is usually about half right. Now to the reply.

 

Mostly, yes. Some way more. The three books I wrote, the 17 years of the KOM League Remembered newsletters and Flash Reports since 1998 that contain a few million words produced tons of information. I would say that what I have on Bomar is much below the average amount I have on over 1500 guys. Some of what I shared with you today on Bomar was uncovered today. I could go into detail on just about any player. Pull up that big green book at the Historical Society the next time you're there. I had a call from the Kansas Historical Society yesterday and I told the representative you might want to see it sometime. Go to any name in that large Appendix 1, jot it down and send it to me and see if I know about the guy and have anything on him. I'd put my chances of being able to write a few paragraphs about that person at well over 98%. Even the guys I haven't found I still know quite a bit regarding their life.

 

There are only 120 of the former KOM leaguers left that I haven't found or learned of their fate. Some baseball researchers claim some of those guys never played, but they did. I have 43% more guys showing on KOM league rosters than what the SABR records indicate. That happened because they don't count those in ten or fewer games as position players or pitchers in less than 45 innings. The reason SABR didn’t have that information is not their fault but is due to the fact their researchers had to rely heavily on the Baseball Guides put out by the Sporting News who compiled the Howe Sports Bureau data from the previous season. (Ed note: With the donation the Sporting News made to SABR of those index cards the history of minor league baseball is going to come into a whole new light. I think that will answer a lot of lingering questions about who and who didn’t play professional baseball.)

 

My research was conducted by reading every box score and sports column in every paper for every season the KOM existed. I also received scores and scores of scrapbooks from former players that I used to cross check many inconsistencies. One of the biggest problems in looking at box scores is the misspelling of names. Many were done phonetically and that required doing a lot of rechecking.

 

One of the guys who bounces things of me and me him is Ray Nemec. He owns the Heilbroner Blue Book files. That was the official document of players signing contracts. But, some were never reported to Heilbroner who played in the KOM league. I was also fortunate to find a few old major league league scouts who kept track of names in their minor league system. Those reports carried SSN's that was a valuable tool in tracking guys. I even worked out an arrangement with the Social Security Administration that helped immensely in locating many of the former hard to find players. (I won't go into that arrangement but it was legal yet complicated.)

 

Probably the greatest source and most fortunate day of my research was when I was allowed total access to the card index system at the Sporting News in St. Louis. I had never seen so many card index files in my life. I went in there with names of fellows I had not yet found. Every person who ever signed a minor or major league contract is/was in those files. Every year they played baseball the information was typed on the card. Every player transaction was noted. For example, Otis Bomar could have been signed by Reading, Calif. and optioned to Falls Church, Va. and wound up in Iola and every one of those transactions would have been on the card. But, you had to figure out where he really showed up and played a game. That was a problem with going through thousands of cards in such a short time. If you weren't careful you would be putting a guy as playing for a team when it was only a paper transaction and he never appeared in a given town.

 

I spent countless hours in the Missouri and Kansas Historical Society files. Oklahoma didn't have a central repository of old newspapers and I lived at the Miami News Record, Ponca City News, Bartlesville Examiner and Blackwell, OK newspaper offices for a few months. Finally, I worked out an arrangement with my local public library and the Kansas Historical Society on the microfilm loan project. That turned out to be the best and by far the most economical way to gather the information from the Kansas newspapers from 1946-52.

 

Here in Columbia are housed all the newspapers for this state and with Carthage being in the KOM the Carthage Evening Press was readily available. However, the Joplin Globe was used extensively since it carried summaries of all KOM league games and their editors did a better job of getting the names spelled correctly.

 

Well, that briefly outlines how I ran down the history of the KOM league as well by talking to former owners, managers, players, radio announcers, sportswriters, batboys, fans and girlfriends of the guys who played. I don't think I missed many of the pertinent details. Just today I verified the death of a former Ponca City Dodger pitcher from 1947. He was from Richmond Hills, NY but died in Raleigh, North Carolina in 2010. That data was sent to the guys who work in "big time" research for that man's inclusion into their necrology files.

 

Most of the fellows I spoke with in the early days of my project, by telephone, I recorded. I had some many cassette tapes I hardly knew what to do with them. Then the reunions started and I had scores of VHS tapes of interviews etc. and even a couple of times we had professionals make highlight CD's or tapes of the event. All those people thought they were cinematographers but unfortunately, they turned out to be less than award winning. I guess the reunions turned out to be the last great memories for large numbers of former players and their spouses. We actually had people come off death beds to attend reunions only to return home and die shortly afterward. That is the way they wanted it. I think some willed to survive just to see their old teammates one last time. This could go on forever. It's over.

_________________________________________________________________________________________

A note from a Canadian reader--the only one I have

 

I just noticed former Cardinal outfielder Harry Elliott died Aug. 9th. I cannot recall trying to contact Harry however I may have due to the fact he played in a few games with the 57 Vancouver Mounties and spent two seasons with San Diego, 54 and 56. I know I did not have his 55 Topps card at the time.

 

Ed reply:

 

I have a photo of Elliott nearby. There were high hopes for the Cardinal outfielders in 1956. On the March 5 cover of Sports Illustrated was a photo of Virdon, Repulski, Elliott, Musial and someone else leaping up as if they were catching fly balls.

 

Before that season got going real good Frank Lane made the great move of shipping Virdon off to the Pirates for Bobby Del Greco. Whatta' move. One of the worse moves in Cardinal history. The worst may have been Steve Carlton for Rick (Un)Wise. No "may have" at all, it was the worst trade in Cardinal history. The Cardinals probably would have won at least three pennants with Carlton. I pulled that SI out again. The other face on the cover was Wally Moon. Harry Elliott was a far better pianist than ball player. He played at a high level during the big band era.

 

Note on Harry Elliott was sent to Shirley Virdon, Bill’s bride.

 

On that note I sent about Harry Elliott he and Bill had something else in common, neither of them got to play (much) for the Cardinals in 1956 even though they went to Spring training together. In a story I read about Harry, he was a very good piano player and played professionally basically playing big band tunes. He was 29 by the time he made it to the Cardinals in 1953. When he died he was one of the 100 oldest living former big league players.

 

Reply from Shirley Virdon

 

Bill played almost two months before being traded. We had rented a house in Lemay from Joe Becker who was coaching for the Cubs. It was "wholesale time" for several Cardinals that spring! Now I'm trying to remember Harry's wife's name. I think it was Mary Lou, but not sure!!! They lived in Austin, Minn. in 1955-1956 in the off-season. Of course, they may not have stayed married all these years! Thanks for info.

Blessings, Shirley V.

Ed reply:

 

You were right. His wife was Mary Louise. She died and his obituary listed his significant other as Bernie Jean Estes. Harry married Mary Louise Field in 1950. They had seven children. He must have been living with his son in Lyons, Kansas before they placed him in a nursing home east of there in Little River.

 

Note to Shirley Virdon

 

Erby Carroll played for Bartlesville in 1946 with Jack (Bum)Garner. Jack always remembered him and before he died he wanted to know if I ever heard from Erby. Erby was from Viola, Arkansas and lived many years in Victorville, California. I have come up with a lead that he might have moved to West Plains in recent years. He is now 94 and if he lives another few years he'll be as old as his dad did. Thought that might be of interest to you as a former Zizzer. (or however you spell the West Plains High school mascot’s name).

 

KOM trivia: Two oldest surviving KOMers are Arkansas natives.

 

The oldest living members of the KOM league are Erby Rue Carroll from the 1946 Bartlesville Oilers and Vernon Snow of the 1947 Miami, Owls. Carroll was a native Viola, Arkansas and Snow was from Berryville in Carroll County. Snow has stayed put in Arkansas while Carroll lived many years in Victorville, CA. I was doing some checking recently and found where Carroll has moved back to the Midwest and lives in West Plains, MO. He's back in the stomping grounds of Preacher Roe, Bill Virdon, Ted Gullic, Porter Wagoner and Dick Van Dyke.

 

Erby Rue Carroll was born 11/30/1919 and Vernon Snow 9/11/1919. Both Snow and Carroll recall playing with and against Preaher Roe in some of those amateur games in the late 30's. They even recall the "All Girls" team Roe managed. The last time I spoke with those two fellows they were still sharp. Snow couldn’t hear me too well since he was out in the heat of the afternoon, mowing his yard.

________________________________________________________________________________________

I’m done now. Well, I was done about five pages ago but didn’t stop.

 

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

Korean cuisine has evolved through centuries of social and political change. Originating from ancient agricultural and nomadic traditions in the Korean peninsula and southern Manchuria, Korean cuisine has evolved through a complex interaction of the natural environment and different cultural trends.

 

Korean cuisine is largely based on rice, vegetables, and meats. Traditional Korean meals are noted for the number of side dishes (반찬; banchan) that accompany steam-cooked short-grain rice. Kimchi is almost always served at every meal. Commonly used ingredients include sesame oil, doenjang (fermented bean paste), soy sauce, salt, garlic, ginger, pepper flakes, gochujang (fermented red chili paste) and cabbage.

 

FOOD

GRAINS

Grains have been one of the most important staples of the Korean diet. Early myths of the foundations of various kingdoms in Korea center on grains. One foundation myth relates to Jumong, who received barley seeds from two doves sent by his mother after establishing the kingdom of Goguryeo. Yet another myth speaks of the three founding deities of Jeju Island, who were to be wed to the three princesses of Tamna; the deities brought seeds of five grains which were the first seeds planted, which in turn became the first instance of farming.

 

During the pre-modern era, grains such as barley and millet were the main staples and were supplemented by wheat, sorghum, and buckwheat. Rice is not an indigenous crop to Korea, and millet was likely the preferred grain before rice was cultivated. Rice became the grain of choice during the Three Kingdoms period, particularly in the Silla and Baekje Kingdoms in the southern regions of the peninsula. Rice was such an important commodity in Silla that it was used to pay taxes. The Sino-Korean word for "tax" is a compound character that uses the character for the rice plant. The preference for rice escalated into the Joseon period, when new methods of cultivation and new varieties emerged that would help increase production.

 

As rice was prohibitively expensive when it first came to Korea, the grain was likely mixed with other grains to "stretch" the rice; this is still done in dishes such as boribap (rice with barley) and kongbap (rice with beans). White rice, which is rice with the bran removed, has been the preferred form of rice since its introduction into the cuisine. The most traditional method of cooking the rice has been to cook it in an iron pot called a sot (솥) or musoe sot (무쇠솥). This method of rice cookery dates back to at least the Goryeo period, and these pots have even been found in tombs from the Silla period. The sot is still used today, much in the same manner as it was in the past centuries.

 

Rice is used to make a number of items, outside of the traditional bowl of plain white rice. It is commonly ground into a flour and used to make rice cakes called tteok in over two hundred varieties. It is also cooked down into a congee (juk), or gruel (mieum) and mixed with other grains, meat, or seafood. Koreans also produce a number of rice wines, both in filtered and unfiltered versions.

 

LEGUMES

Legumes have been significant crops in Korean history and cuisine according to earliest preserved legumes found in archaeological sites in Korea. The excavation at Okbang site, Jinju, South Gyeongsang province indicates soybeans were cultivated as a food crop circa 1000–900 BCE. They are made into tofu (dubu), while soybean sprouts are sauteed as a vegetable (kongnamul) and whole soybeans are seasoned and served as a side dish. They are also made into soy milk, which is used as the base for the noodle dish called kongguksu. A byproduct of soy milk production is okara (kongbiji), which is used to thicken stews and porridges.

 

Mung beans are commonly used in Korean cuisine, where they are called nokdu (녹두, literally "green bean"). Mung bean sprouts, called sukju namul, are often served as a side dish, blanched and sautéed with sesame oil, garlic, and salt. Ground mung beans are used to make a porridge called nokdujuk, which is eaten as a nutritional supplement and digestive aid, especially for ill patients.

 

Cultivation of azuki beans dates back to ancient times according to an excavation from Odong-ri, Hoeryong, North Hamgyong Province, which is assumed to be that of Mumun period (approximately 1500-300 BCE).

 

MEAT

In antiquity, most meat in Korea was likely obtained through hunting and fishing. Ancient records indicate rearing of livestock began on a small scale during the Three Kingdoms period. Meat was consumed roasted or in soups or stews during this period. Those who lived closer to the oceans were able to complement their diet with more fish, while those who lived in the interior had a diet containing more meat.

 

BEEF

Beef is the most prized of all, with the cattle holding an important cultural role in the Korean home. Beef is prepared in numerous ways today, including roasting, grilling (gui) or boiling in soups. Beef can also be dried into jerky, as with seafood, called respectively yukpo and eopo.

 

The cattle were valuable draught animals, often seen as equal to human servants, or in some cases, members of the family. Cattle were also given their own holiday during the first 'cow' day of the lunar New Year. The importance of cattle does not suggest Koreans ate an abundance of beef, however, as the cattle were valued as beasts of burden and slaughtering one would create dire issues in farming the land. Pork and seafood were consumed more regularly for this reason. The Buddhist ruling class of the Goryeo period forbade the consumption of beef. The Mongols dispensed with the ban of beef during the 13th century, and they promoted the production of beef cattle. This increased production continued into the Joseon period, when the government encouraged both increased quantities and quality of beef. Only in the latter part of the 20th century has beef become regular table fare.

 

CHICKEN

Chicken has played an important role as a protein in Korean history, evidenced by a number of myths. One myth tells of the birth of Kim Alji, founder of the Kim family of Gyeongju being announced by the cry of a white chicken. As the birth of a clan's founder is always announced by an animal with preternatural qualities, this myth speaks to the importance of chicken in Korean culture. Chicken is often served roasted or braised with vegetables or in soups. All parts of the chicken are used in Korean cuisine, including the gizzard, liver, and feet. Young chickens are braised with ginseng and other ingredients in medicinal soups eaten during the summer months to combat heat called samgyetang.

 

PORK

Pork has also been another important land-based protein for Korea. Records indicate pork has been a part of the Korean diet back to antiquity, similar to beef.

 

A number of foods have been avoided while eating pork, including Chinese bellflower (doraji, 도라지) and lotus root (yeonn ppuri, 연뿌리), as the combinations have been thought to cause diarrhea. All parts of the pig are used in Korean cuisine, including the head, intestines, liver, kidney and other internal organs. Koreans utilize these parts in a variety of cooking methods including steaming, stewing, boiling and smoking. Koreans especially like to eat grilled pork belly, which is called samgyeopsal (삼겹살).

 

FISH AND SEAFOOD

Fish and shellfish have been a major part of Korean cuisine because of the oceans bordering the peninsula. Evidence from the 12th century illustrates commoners consumed a diet mostly of fish and shellfish, such as shrimp, clams, oysters, abalone, and loach, while sheep and hogs were reserved for the upper class.

 

Both fresh and saltwater fish are popular, and are served raw, grilled, broiled, dried or served in soups and stews. Common grilled fish include mackerel, hairtail, croaker and Pacific herring. Smaller fish, shrimp, squid, mollusks and countless other seafood can be salted and fermented as jeotgal. Fish can also be grilled either whole or in fillets as banchan. Fish is often dried naturally to prolong storing periods and enable shipping over long distances. Fish commonly dried include yellow corvina, anchovies (myeolchi) and croaker. Dried anchovies, along with kelp, form the basis of common soup stocks.

 

Shellfish is widely eaten in all different types of preparation. They can be used to prepare broth, eaten raw with chogochujang, which is a mixture of gochujang and vinegar, or used as a popular ingredient in countless dishes. Raw oysters and other seafood can be used in making kimchi to improve and vary the flavor. Salted baby shrimp are used as a seasoning agent, known as saeujeot, for the preparation of some types of kimchi.

 

VEGETABLES

Korean cuisine uses a wide variety of vegetables, which are often served uncooked, either in salads or pickles, as well as cooked in various stews, stir-fried dishes, and other hot dishes. Commonly used vegetables include Korean radish, napa cabbage, cucumber, potato, sweet potato, spinach, bean sprouts, scallions, garlic, chili peppers, seaweed, zucchini, mushrooms and lotus root. Several types of wild greens, known collectively as chwinamul (such as Aster scaber), are a popular dish, and other wild vegetables such as bracken fern shoots (gosari) or Korean bellflower root (doraji) are also harvested and eaten in season. Medicinal herbs, such as ginseng, reishi, wolfberry, Codonopsis pilosula, and Angelica sinensis, are often used as ingredients in cooking, as in samgyetang.

 

MEDICINAL FOODS

Medicinal food (boyangshik) is a wide variety of specialty foods prepared and eaten for medicinal purposes, especially during the hottest 30-day period in the lunar calendar, called sambok. Hot foods consumed are believed to restore ki, as well as sexual and physical stamina lost in the summer heat Commonly eaten boyangshik include: ginseng, chicken, black goat, abalone, eel, carp, beef bone soups, pig kidneys and dog.

 

DOG MEAT

Dog Meat is far less popular today than it used to be in the past, being viewed largely as a kind of health tonic rather than as a diet staple,[citation needed] especially amongst the younger generations who view dogs only as pets and service animals. That said, historically the consumption of dog meat can be traced back to antiquity. Dog bones were excavated in a neolithic settlement in Changnyeong, South Gyeongsang Province. A wall painting in the Goguryeo tombs complex in South Hwanghae Province, a UNESCO World Heritage site which dates from 4th century AD, depicts a slaughtered dog in a storehouse (Ahn, 2000). The Balhae people also enjoyed dog meat, and the Koreans' appetite for canine cuisine seems to have come from that era.

 

Koreans have distinguished Chinese terms for dog "견; 犬", which refers to pet dogs, feral dogs, and wolves from the Chinese term "구; 狗," which is used specifically to indicate dog meat. "Hwangu" has been considered better for consumption than "Baekgu" (White dog) and "Heukgu" (Black dog).

 

Around 1816, Jeong Hak-yu, the second son of Jeong Yak-yong, a prominent politician and scholar of the Joseon dynasty at the time, wrote a poem called Nongga Wollyeongga (농가월령가). This poem, which is an important source of Korean folk history, describes what ordinary Korean farming families did in each month of the year. In the description of the month of August the poem tells of a married woman visiting her birth parents with boiled dog meat, rice cake, and rice wine, thus showing the popularity of dog meat at the time (Ahn, 2000; Seo, 2002). Dongguk Sesigi (동국세시기), a book written by Korean scholar Hong Seok-mo in 1849, contains a recipe for Bosintang including a boiled dog, green onion, and red chili pepper powder.

 

According to one survey conducted in 2006, dog meat is the 4th most commonly consumed meat within South Korea.

 

GINSENG CHICKEN SOUP (SAMGYETANG)

Samgyetang is a hot chicken soup to boost your energy in the hot summer season. It is made with a young whole chicken stuffed with ginseng, garlic and sweet rice. Samgyetang is a Koreans' favorite energizing food and it is common to have it on sambok(삼복) days; Chobok(초복), Jungbok(중복) and Malbok(말복) which are believed to be the hottest days in Korea.

 

SOUPS AND STEWS

Soups are a common part of any Korean meal. Unlike other cultures, in Korean culture, soup is served as part of the main course rather than at the beginning or the end of the meal, as an accompaniment to rice along with other banchan. Soups known as guk are often made with meats, shellfish and vegetables. Soups can be made into more formal soups known as tang, often served as the main dish of the meal. Jjigae are a thicker, heavier seasoned soups or stews.

 

SOME POPULAR TYPES OF SOUPS

- Malgeunguk (맑은국), are flavored with ganjang. Small amounts of long boiled meat may be added to the soup, or seafood both fresh and dried may be added, or vegetables may be the main component for the clear soup.

- Tojangguk (토장국) are seasoned with doenjang. Common ingredients for tojang guk include seafood such as clams, dried anchovies, and shrimp. For a spicier soup, gochujang is added.

- Gomguk (곰국) or gomtang (곰탕), and they are made from boiling beef bones or cartilage. Originating as a peasant dish, all parts of beef are used, including tail, leg and rib bones with or without meat attached; these are boiled in water to extract fat, marrow, and gelatin to create a rich soup. Some versions of this soup may also use the beef head and intestines. The only seasoning generally used in the soup is salt.

- Naengguk (냉국), which are cold soups generally eaten during the summer months to cool the diner. A light hand is usually used in the seasoning of these soups usually using ganjang and sesame oil.

 

Stews are referred to as jjigae, and are often a shared side dish. Jjigae is often both cooked and served in the glazed earthenware pot (ttukbaegi) in which it is cooked. The most common version of this stew is doenjang jjigae, which is a stew of soybean paste, with many variations; common ingredients include vegetables, saltwater or freshwater fish, and tofu. The stew often changes with the seasons and which ingredients are available. Other common varieties of jjigae contain kimchi (kimchi jjigae) or tofu (sundubu jjigae).

 

KIMCHI

Kimchi refers to often fermented vegetable dishes usually made with napa cabbage, Korean radish, or sometimes cucumber, commonly fermented in a brine of ginger, garlic, scallions, and chili pepper. There are endless varieties with regional variations, and it is served as a side dish or cooked into soups and rice dishes. Koreans traditionally make enough kimchi to last for the entire winter season, as fermented foods can keep for several years. These were stored in traditional Korean mud pots known as Jangdokdae although with the advent of refrigerators, special Kimchi freezers and commercially produced kimchi, this practice has become less common. Kimchi is packed with vitamin A, thiamine B1, riboflavin B2, calcium, and iron. Its main benefit though is found in the bacteria lactobacilli; this is found in yogurt and fermented foods. This bacteria helps with digestion. South Koreans eat an average of 40 pounds of Kimchi each year.

 

NOODLES

Noodles or noodle dishes in Korean cuisine are collectively referred to as guksu in native Korean or myeon in hanja. While noodles were eaten in Korea from ancient times, productions of wheat was less than other crops, so wheat noodles did not become a daily food until 1945. Wheat noodles (milguksu) were specialty foods for birthdays, weddings or auspicious occasions because the long and continued shape were thought to be associated with the bliss for longevity and long-lasting marriage.

 

In Korean traditional noodle dishes are onmyeon or guksu jangguk (noodles with a hot clear broth), naengmyeon (cold buckwheat noodles), bibim guksu (cold noodle dish mixed with vegetables), kalguksu (knife-cut noodles), kongguksu (noodles with a cold soybean broth), japchae (cellophane noodles made from sweet potato with various vegetables) and others. In royal court, baekmyeon (literally "white noodles") consisting of buckwheat noodles and pheasant broth, was regarded as the top quality noodle dish. Naengmyeon with a cold soup mixed with dongchimi (watery radish kimchi) and beef brisket broth was eaten in court during summer.

 

- Jajangmyeon, a staple Koreanized Chinese noodle dish, is extremely popular in Korea as fast, take-out food. It is made with a black bean sauce usually fried with diced pork or seafood and a variety of vegetables, including zucchini and potatoes. It is popularly ordered and delivered, like Chinese take-out food in other parts of the world.

- Ramyeon refers to Korean instant noodles similar to ramen.

 

BANCHAN

Banchan is a term referring collectively to side dishes in Korean cuisine. Soups and stews are not considered banchan.

 

Gui are grilled dishes, which most commonly have meat or fish as their primary ingredient, but may in some cases also comprise grilled vegetables or other vegetable ingredients. At traditional restaurants, meats are cooked at the center of the table over a charcoal grill, surrounded by various banchan and individual rice bowls. The cooked meat is then cut into small pieces and wrapped with fresh lettuce leaves, with rice, thinly sliced garlic, ssamjang (a mixture of gochujang and dwenjang), and other seasonings. The suffix gui is often omitted in the names of meat-based gui such as galbi, the name of which was originally galbi gui.

- List of grilled dishes commonly found in Korean cuisine

Jjim and seon (steamed dishes) are generic terms referring to steamed or boiled dishes in Korean cuisine. However, the former is made with meat or seafood-based ingredients marinated in gochujang or ganjang while seon is made with vegetable stuffed with fillings.

- List of steamed dishes commonly found in Korean cuisine

Hoe (raw dishes): although the term originally referred to any kind of raw dish, it is generally used to refer to saengseonhweh (생선회, raw fish dishes). It is dipped in gochujang, or soy sauce with wasabi, and served with lettuce or perilla leaves.

- List of raw dishes commonly found in Korean cuisine

Jeon (or buchimgae) are savory pancakes made from various ingredients. Chopped kimchi or seafood is mixed into a wheat flour-based batter, and then pan fried. This dish tastes best when it is dipped in a mixture of soy sauce, vinegar, and red pepper powder.

- List of jeon dishes commonly found in Korean cuisine

Namul may be used to refer to either saengchae (생채, literally "fresh vegetables") or sukchae (숙채, literally "heated vegetables"), although the term generally indicates the latter. Saengchae is mostly seasoned with vinegar, chili pepper powder and salt to give a tangy and refreshing taste. On the other hand, sukchae (숙채) is blanched and seasoned with soy sauce, sesame oil, chopped garlic, or sometimes chili pepper powder.

- List of namul dishes commonly found in Korean cuisine

Anju (side dishes accompanying alcoholic beverages)

Anju is a general term for a Korean side dish consumed with alcohol. Some examples of anju include steamed squid with gochujang, assorted fruit, dubu kimchi (tofu with kimchi), peanuts, odeng/ohmuk, sora (소라) (a kind of shellfish popular in street food tents), and nakji (small octopus). Soondae is also a kind of anju, as is samgyeopsal, or dwejigalbi, or chicken feet. Most Korean foods may be served as anju, depending on availability and the diner's taste. However, anju is considered different from the banchan served with a regular Korean meal. Jokbal is pig's leg served with saeujeot (salted fermented shrimp sauce).

 

BEVERAGES

NONALCOHOLICBEVERAGES

All Korean traditional nonalcoholic beverages are referred to as eumcheong or eumcheongnyu (음청류 飮淸類) which literally means "clear beverages". According to historical documents regarding Korean cuisine, 193 items of eumcheongnyu are recorded. Eumcheongnyu can be divided into the following categories: tea, hwachae (fruit punch), sikhye (sweet rice drink), sujeonggwa (persimmon punch), tang (탕, boiled water), jang (장, fermented grain juice with a sour taste), suksu (숙수, beverage made of herbs), galsu (갈수, drink made of fruit extract, and Oriental medicine), honeyed water, juice and milk by their ingredient materials and preparation methods. Among the varieties, tea, hwachae, sikhye, and sujeonggwa are still widely favored and consumed; however, the others almost disappeared by the end of the 20th century.

 

In Korean cuisine, tea, or cha, refers to various types of herbal tea that can be served hot or cold. Not necessarily related to the leaves, leaf buds, and internodes of the Camellia sinensis plant, they are made from diverse substances, including fruits (e.g. yujacha), flowers (e.g. gukhwacha), leaves, roots, and grains (e.g. boricha, hyeonmi cha) or herbs and substances used in traditional Korean medicine, such as ginseng (e.g. Insam cha) and ginger (e.g. saenggang cha).

 

ALCOHOLIC BEVERAGES

While soju is the best known liquor, there are well over 100 different alcoholic beverages, such as beers, rice and fruit wines, and liquors produced in South Korea as well as a sweet rice drink. The top-selling domestic beers (the Korean term for beer being maekju) are lagers, which differ from Western beers in that they are brewed from rice, rather than barley. Consequently, Korean beers are lighter, sweeter and have less head than their Western counterparts. The South Korean beer market is dominated by the two major breweries: Hite and OB. Taedonggang is a North Korean beer produced at a brewery based in Pyongyang since 2002. Microbrewery beers and bars are growing in popularity after 2002.

 

Soju is a clear spirit which was originally made from grain, especially rice, and is now also made from sweet potatoes or barley. Soju made from grain is considered superior (as is also the case with grain vs. potato vodka). Soju is around 22% ABV, and is a favorite beverage of hard-up college students, hard-drinking businessmen, and blue-collar workers.

 

Yakju is a refined pure liquor fermented from rice, with the best known being cheongju. Takju is a thick unrefined liquor made with grains, with the best known being makgeolli, a white, milky rice wine traditionally drunk by farmers.

 

In addition to the rice wine, various fruit wines and herbal wines exist in Korean cuisine. Acacia, maesil plum, Chinese quince, cherry, pine fruits, and pomegranate are most popular. Majuang wine (a blended wine of Korean grapes with French or American wines) and ginseng-based wines are also available

 

SWEETS

Traditional rice cakes, tteok and Korean confectionery hangwa are eaten as treats during holidays and festivals. Tteok refers to all kinds of rice cakes made from either pounded rice (메떡, metteok), pounded glutinous rice (찰떡, chaltteok), or glutinous rice left whole, without pounding. It is served either filled or covered with sweetened mung bean paste, red bean paste, mashed red beans, raisins, a sweetened filling made with sesame seeds, sweet pumpkin, beans, jujubes, pine nuts or honey). Tteok is usually served as dessert or as a snack. Among varieties, songpyeon is a chewy stuffed tteok served at Chuseok. Honey or another soft sweet material such as sweetened sesame or black beans are used as fillings. Pine needles can be used for imparting flavor during the steaming process. Yaksik is a sweet rice cake made with glutinous rice, chestnuts, pine nuts, jujubes, and other ingredients, while chapssaltteok is a tteok filled with sweet bean paste.

 

On the other hand, hangwa is a general term referring to all types of Korean traditional confectionery. The ingredients of hahngwa mainly consist of grain flour, honey, yeot, and sugar, or of fruit and edible roots. Hangwa is largely divided into yumilgwa (fried confectionery), suksilgwa, jeonggwa, gwapyeon, dasik (tea food) and yeot. Yumilgwa is made by stir frying or frying pieces of dough, such as maejakgwa and yakgwa. Maejakgwa is a ring-shaped confection made of wheat flour, vegetable oil, cinnamon, ginger juice, jocheong, and pine nuts, while yakgwa, literally "medicinal confectionery", is a flower-shaped biscuit made of honey, sesame oil and wheat flour.

 

Suksilgwa is made by boiling fruits, ginger, or nuts in water, and then forming the mix into the original fruit's shape, or other shapes. Gwapyeon is a jelly-like confection made by boiling sour fruits, starch, and sugar. Dasik, literally "eatery for tea", is made by kneading rice flour, honey, and various types of flour from nuts, herbs, sesame, or jujubes. Jeonggwa, or jeongwa, is made by boiling fruits, plant roots and seeds in honey, mulyeot (물엿, liquid candy) or sugar. It is similar to marmalade or jam/jelly. Yeot is a Korean traditional candy in liquid or solid form made from steamed rice, glutinous rice, glutinous kaoliang, corn, sweet potatoes or mixed grains. The steamed ingredients are lightly fermented and boiled in a large pot called sot (솥) for a long time.

 

REGIONAL AND VARIANT CUISINES

Korean regional cuisines (Korean: hyangto eumsik, literally "native local foods") are characterized by local specialties and distinctive styles within Korean cuisine. The divisions reflected historical boundaries of the provinces where these food and culinary traditions were preserved until modern times.

 

Although Korea has been divided into two nation-states since 1948 (North Korea and South Korea), it was once divided into eight provinces (paldo) according to the administrative districts of the Joseon Dynasty. The northern region consisted of Hamgyeong Province, Pyeongan Province and Hwanghae Province. The central region comprised Gyeonggi Province, Chungcheong Province, and Gangwon Province. Gyeongsang Province and Jeolla Province made up the southern region.

 

Until the late 19th century, transportation networks were not well developed, and each provincial region preserved its own characteristic tastes and cooking methods. Geographic differences are also reflected by the local specialty foodstuffs depending on the climate and types of agriculture, as well as the natural foods available. With the modern development of transportation and the introduction of foreign foods, Korean regional cuisines have tended to overlap and integrate. However, many unique traditional dishes in Korean regional cuisine have been handed down through the generations.

 

BUDDHIST CUISINE

Korean temple cuisine originated in Buddhist temples of Korea. Since Buddhism was introduced into Korea, Buddhist traditions have strongly influenced Korean cuisine, as well. During the Silla period (57 BCE – 935 CE), chalbap (찰밥, a bowl of cooked glutinous rice) yakgwa (a fried dessert) and yumilgwa (a fried and puffed rice snack) were served for Buddhist altars and have been developed into types of hangwa, Korean traditional confectionery. During the Goryeo Dynasty, sangchu ssam (wraps made with lettuce), yaksik, and yakgwa were developed, and since spread to China and other countries. Since the Joseon Dynasty, Buddhist cuisine has been established in Korea according to regions and temples.

 

On the other hand, royal court cuisine is closely related to Korean temple cuisine. In the past, when the royal court maids, sanggung, who were assigned to Suragan (hangul: 수라간; hanja: 水剌間; the name of the royal kitchen), where they prepared the king's meals, became old, they had to leave the royal palace. Therefore, many of them entered Buddhist temples to become nuns. As a result, culinary techniques and recipes of the royal cuisine were integrated into Buddhist cuisine.

 

VEGETARIAN CUISINE

Vegetarian cookery in Korea may be linked to the Buddhist traditions that influenced Korean culture from the Goryeo dynasty onwards. There are hundreds of vegetarian restaurants in Korea, although historically they have been local restaurants that are unknown to tourists. Most have buffets, with cold food, and vegetarian kimchi and tofu being the main features. Bibimbap is a common vegan dish. Menus change with seasons. Wine with the alcohol removed and fine teas are also served. The Korean tea ceremony is suitable for all vegetarians and vegans, and began with Buddhist influences. All food is eaten with a combination of rather slippery stainless steel oval chopsticks and a long-handled shallow spoon called together sujeo.

 

CEREMONIAL FOOD

Food is an important part of traditions of Korean family ceremonies, which are mainly based on the Confucian culture. Gwan Hon Sang Je (관혼상제; 冠婚喪祭), the four family ceremonies (coming-of-age ceremony, wedding, funeral, and ancestral rite) have been considered especially important and elaborately developed, continuing to influence Korean life to these days. Ceremonial food in Korea has developed with variation across different regions and cultures.

 

For example, rituals are mainly performed on the anniversary of deceased ancestors, called jesa. Ritual food include rice, liquor, soup, vinegar and soy sauce (1st row); noodles, skewered meat, vegetable and fish dishes, and rice cake (2nd row); three types of hot soup, meat and vegetable dishes (3rd row); dried snacks, kimchi, and sweet rice drink (4th row); and variety of fruit (5th row).

 

ETIQUETTE

DINING

Dining etiquette in Korea can be traced back to the Confucian philosophies of the Joseon period. Guidebooks, such as Sasojeol (士小節, Elementary Etiquette for Scholar Families), written in 1775 by Yi Deokmu (이덕무; 李德懋), comment on the dining etiquette for the period. Suggestions include items such as "when you see a fat cow, goat, pig, or chicken, do not immediately speak of slaughtering, cooking or eating it", "when you are having a meal with others, do not speak of smelly or dirty things, such as boils or diarrhea," "when eating a meal, neither eat so slowly as to appear to be eating against your will nor so fast as if to be taking someone else's food. Do not throw chopsticks on the table. Spoons should not touch plates, making a clashing sound", amongst many other recommendations which emphasized proper table etiquette.

 

The eldest male at the table was always served first, commonly served to them in the men's quarters by the women of the house. Women usually dined in a separate portion of the house after the men were served. The eldest men or women always ate before the younger family members. The meal was usually quiet, as conversation was discouraged during meals. In modern times, these rules have become lax, as families usually dine together now and use the time to converse. Of the remaining elements of this decorum, one is that the younger members of the table should not pick up their chopsticks or start eating before the elders of the table or guests and should not finish eating before the elders or guests finish eating.

 

In Korea, unlike in China, Japan and Vietnam, the rice or soup bowl is not lifted from the table when eating from it. This is due to the fact that each diner is given a metal spoon along with the chopsticks known collectively as sujeo. The use of the spoon for eating rice and soups is expected. There are rules which reflect the decorum of sharing communal side dishes; rules include not picking through the dishes for certain items while leaving others, and the spoon used should be clean, because usually diners put their spoons in the same serving bowl on the table. Diners should also cover their mouths when using a toothpick after the meal.

 

The table setup is important as well, and individual place settings, moving from the diner's left should be as follows: rice bowl, spoon, then chopsticks. Hot foods are set to the right side of the table, with the cold foods to the left. Soup must remain on the right side of the diner along with stews. Vegetables remain on the left along with the rice, and kimchi is set to the back while sauces remain in the front.

 

DRINKING

The manner of drinking alcoholic drinks at dining is significant in Korean dining etiquette. Each diner is expected to face away from the eldest male and cover his mouth when drinking alcohol. According to Hyang Eum Ju Rye (향음주례; 鄕飮酒禮), the drinking etiquette established in Choseon Dynasty, it is impolite for a king and his vassal, a father and his son, or a teacher and his student to drink face to face. Also, a guest should not refuse the first drink offered by host, and in the most formal situations, the diner should politely refuse twice a drink offered by the eldest male or a host. When the host offers for the third time, then finally the guest can receive it. If the guest refuses three times, drink is not to be offered any more.

 

HISTORY

PREHISTORIC

In the Jeulmun pottery period (approximately 8000 to 1500 BCE), hunter-gatherer societies engaged in fishing and hunting, and incipient agriculture in the later stages. Since the beginning of the Mumun pottery period (1500 BCE), agricultural traditions began to develop with new migrant groups from the Liao River basin of Manchuria. During the Mumun period, people grew millet, barley, wheat, legumes and rice, and continued to hunt and fish. Archaeological remains point to development of fermented beans during this period, and cultural contact with nomadic cultures to the north facilitated domestication of animals.

 

THREE KINGDOMS PERIOD

The Three Kingdoms period (57 BCE – 668 CE) was one of rapid cultural evolution. The kingdom of Goguryeo (37 BCE – 668 CE) was located in the northern part of the peninsula along much of modern-day Manchuria. The second kingdom, Baekje (18 BCE – 660 CE), was in the southwestern portion of the peninsula, and the third, Silla (57 BCE – 935 CE), was located at the southeastern portion of the peninsula. Each region had its own distinct set of cultural practices and foods. For example, Baekje was known for cold foods and fermented foods like kimchi. The spread of Buddhism and Confucianism through cultural exchanges with China during the fourth century CE began to change the distinct cultures of Korea.

 

GORYEO PERIOD

During the latter Goryeo period, the Mongols invaded Goryeo in the 13th century. Some traditional foods found today in Korea have their origins during this period. The dumpling dish, mandu, grilled meat dishes, noodle dishes, and the use of seasonings such as black pepper, all have their roots in this period.

 

JOSEON PERIOD

Agricultural innovations were significant and widespread during this period, such as the invention of the rain gauge during the 15th century. During 1429, the government began publishing books on agriculture and farming techniques, which included Nongsa jikseol (literally "Straight Talk on Farming"), an agricultural book compiled under King Sejong.

 

A series of invasions in the earlier half of the Joseon caused a dynamic shift in the culture during the second half of the period. Groups of silhak ("practical learning") scholars began to emphasize the importance of looking outside the country for innovation and technology to help improve the agricultural systems. Crops from the New World began to appear, acquired through trade with China, Japan, Europe, and the Philippines; these crops included corn, sweet potatoes, chili peppers, tomatoes, peanuts, and squash. Potatoes and sweet potatoes were particularly favored as they grew in soils and on terrains that were previously unused.

 

Government further developed agriculture through technology and lower taxation. Complex irrigation systems built by government allowed peasant farmers to produce larger crop volumes and produce crops not only for sustenance but also as cash crops. Reduced taxation of the peasantry also furthered the expanded commerce through increasing periodic markets, usually held every five days. One thousand such markets existed in the 19th century, and were communal centers for economic trade and entertainment.

 

ROYAL COURT CUISINE

Collectively known as gungjung eumsik during the pre-modern era, the foods of the royal palace were reflective of the opulent nature of the past rulers of the Korean peninsula. This nature is evidenced in examples as far back as the Silla kingdom, where a man-made lake (Anapji Lake, located in Gyeongju), was created with multiple pavilions and halls for the sole purpose of opulent banquets, and a spring fed channel, Poseokjeong, was created for the singular purpose of setting wine cups afloat while they wrote poems.

 

Reflecting the regionalism of the kingdoms and bordering countries of the peninsula, the cuisine borrowed portions from each of these areas to exist as a showcase. The royalty would have the finest regional specialties and delicacies sent to them at the palace. Although there are records of banquets predating the Joseon period, the majority of these records mostly reflect the vast variety of foods, but do not mention the specific foods presented. The meals cooked for the royal family did not reflect the seasons, as the commoner's meals would have. Instead, their meals varied significantly day-to-day. Each of the eight provinces was represented each month in the royal palace by ingredients presented by their governors, which gave the cooks a wide assortment of ingredients to use for royal meals.

 

Food was considered significant in the Joseon period. Official positions were created within the Six Ministries (Yukjo, 육조) that were charged with all matters related to procurement and consumption of food and drink for the royal court. The Board of Personnel (Ijo, 이조) contained positions specific for attaining rice for the royal family. The Board of Rights (Yejo) were responsible for foods prepared for ancestor rites, attaining wines and other beverages, and medicinal foods. There were also hundreds of slaves and women who worked in the palace that had tasks such as making tofu, liquor, tea, and tteok (rice cakes). The women were the cooks to the royal palace and were of commoner or low-born families. These women would be split into specific skill sets or "bureau" such as the bureau of special foods (Saenggwa-bang, 생과방) or the bureau of cooking foods (Soju-bang, 소주방). These female cooks may have been assisted by male cooks from outside the palace during larger banquets when necessary.

 

Five meals were generally served in the royal palace each day during the Joseon period, and records suggest this pattern had existed from antiquity. Three of these meals would be full meals, while the afternoon and after dinner meals would be lighter. The first meal, mieumsang (미음상), was served at sunrise and was served only on days when the king and queen were not taking herbal medicines. The meal consisted of rice porridge (juk, 죽) made with ingredients such as abalone (jeonbokjuk), white rice (huinjuk), mushrooms (beoseotjuk), pine nuts (jatjuk), and sesame (kkaejuk).

 

The sura (수라) were the main meals of the day. Breakfast was served at ten in the morning, and the evening meals were served between six and seven at night. The set of three tables (surasang, 수라상), were usually set with two types of rice, two types of soup, two types of stew (jjigae), one dish of jjim (meat stew), one dish of jeongol (a casserole of meat and vegetables), three types of kimchi, three types of jang (장) and twelve side dishes, called 12 cheop (12첩). The meals were set in the suragan (수라간), a room specifically used for taking meals, with the king seated to the east and the queen to the west. Each had their own set of tables and were attended by three palace servant women known as sura sanggung (수라상궁). These women would remove bowl covers and offer the foods to the king and queen after ensuring the dishes were not poisoned.

 

Banquets (궁중 연회 음식) were held on special occasions in the Korean Royal Palace. These included birthdays of the royal family members, marriages, and national festivals, including Daeborum, Dano, Chuseok, and Dongji. Banquet food was served on individual tables which varied according to the rank of the person. Usually banquet food consisted of ten different types of dishes. Main dishes were prepared based on the seasonal foods. Main dishes of the banquet included sinseollo, jeon, hwayang jeok, honghapcho, nengmyun and mulgimchi. A typical banquet ingredient was chogyetang (chicken broth with vinegar), which was prepared with five different chickens, five abalones, ten sea cucumbers, twenty eggs, half a bellflower root, mushrooms, two cups of black pepper, two peeled pine nuts, starch, soy sauce and vinegar. Yaksik was a favorite banquet dessert.

 

WIKIPEDIA

 

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

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... At one of the busiest junctions in North Staffordshire. A solitary bus of Pooles Coachways unbelievably is the only vehicle in sight on this occasion at Basford Bank, Etruria. With the combination of intense low sunlight, and a cloud covered background, this slide has been the subject of many a scanning attempt, but I reckon that this is as good as I'll get it. XFA as we knew it was Pooles final new bus in 1978, and was bodied by Marshall of Cambridge. The picture was taken during the period of Berresfords involvement with the company, as they previously hadn't ventured into Stoke / Hanley from whence this journey came.

In the background can be seen the remains of 'Shelton Bar' / Shelton Iron & Steel, Etruria Hall, a pylon relating to the cable car system of the National Garden Festival and the Colliery tips of Sneyd (centre horizon) and Hanley Deep Pit (right horizon).

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

I choose a light source and/or subject, set my camera for a long exposure (typically around 4 seconds), focus on my subject and push the shutter button. When the shutter opens I move the camera around with my hands...large, sweeping, dramatic movements. And then I will literally throw the camera several feet up into the air, most times imparting a spinning or whirling motion to it as I hurl it upward. I may throw the camera several times and also utilize hand-held motion several times in one photo. None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

 

And to see more of my Kinetic Photographs please visit my set, “Flux Velocity:”

 

www.flickr.com/photos/motorpsiclist/sets/72157622224677487/

 

.

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

.

 

My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

 

Because of recent news relating to the development [re-development] of Cherrywood in the South of County Dublin I decided to see if I had any relevant photograph but the earliest usable photographs were taken in July 2013. I do know that I did photograph the area in 2010 and possibly in 2009 but I cannot locate the original photographs.

 

This photograph was taken in 2013 but nothing really changed between 2010 and 2013,

 

Back in 2010 I made the following comment online:

 

“The New Luas Extension Has Been Criticised By Commuters Who Cannot Park.”

 

“When it comes to transport in Dublin there have been two success stories in recent years. The DublinBike scheme is one and the other is the Luas tram system. Last Monday was a beautiful sunny day and after photographing the Dublin Marathon I decided that it would be a good idea to get the Luas to Cherrywood to see if I could take a few photographs. It was explained to me, by a gentleman that I met on the tram, that the land is now tied up in NAMA and as a result it cannot be developed as a park and ride facility. Commuters were turned away from the new Cherrywood terminus on opening day as there were no parking facilities available.”

 

“Cherrywood is one of Dublin's newest suburbs and as can be seen from my photographs it is partly developed and there are some very large empty spaces and believe it or not there is a shortage of parking spaces. Some time ago a decision was made to extend the Sandyford (Green) Luas line to Cherrywood and construction started in February 2007 and the line became operational this month (October 2010) There are now two Luas stops in Cherrywood: Cherrywood and the terminus, Brides Glen.”

 

I would suggest that the tram stop at Laughanstown could be described as being in the area.

 

FRIDAY 10 FEB 2016:

 

Hines Ireland has officially started work on the first key phase of construction at Cherrywood in South County Dublin. If all goes well up to 30,000 people will live at Cherrywood by early in the next decade meaning that it will be as large as Bray and even larger than a town such as Athlone.

  

Brian Moran said, “The upfront delivery of the roads, cycle and pedestrian network and three wonderful parks is a pivotal moment for the Cherrywood project. These will be the green lungs for this modern new town and this not only strikes the right environmental note for Cherrywood to come but it also underpins our commitment to expedite the delivery of the 4,000 modern new homes within the Hines land holding."

 

"We are acutely aware of the enormous public demand for new housing stock and the submission of planning for the new €875 million Cherrywood Town Centre in the coming months will include 1300 new smart design apartments as part of this highly ambitious plan.”

 

In 2014, Hines acquired Cherrywood in South Dublin. The two components of this investment include an existing 52,000-square-meter office park and a 390-acre master-planned development site. The Cherrywood site has been acquired with approval for the construction of a new, retail-led mixed-use town center; up to 3,800 apartments and houses; and zoning capacity to expand the second largest office park in Dublin to three times its current size.

 

Mr. Moran is the Senior Managing Director responsible for developing Hines’ Ireland projects. He established the Hines platform in Ireland which currently has more than €1.2 billion of retail, office and residential assets under management, in addition to a major development pipeline which includes an additional €500 million of retail development and over 4,000 residential units. He rejoined the firm in 2011 having previously worked with Hines in Russia in the 1990's.

Korean cuisine has evolved through centuries of social and political change. Originating from ancient agricultural and nomadic traditions in the Korean peninsula and southern Manchuria, Korean cuisine has evolved through a complex interaction of the natural environment and different cultural trends.

 

Korean cuisine is largely based on rice, vegetables, and meats. Traditional Korean meals are noted for the number of side dishes (반찬; banchan) that accompany steam-cooked short-grain rice. Kimchi is almost always served at every meal. Commonly used ingredients include sesame oil, doenjang (fermented bean paste), soy sauce, salt, garlic, ginger, pepper flakes, gochujang (fermented red chili paste) and cabbage.

 

FOOD

GRAINS

Grains have been one of the most important staples of the Korean diet. Early myths of the foundations of various kingdoms in Korea center on grains. One foundation myth relates to Jumong, who received barley seeds from two doves sent by his mother after establishing the kingdom of Goguryeo. Yet another myth speaks of the three founding deities of Jeju Island, who were to be wed to the three princesses of Tamna; the deities brought seeds of five grains which were the first seeds planted, which in turn became the first instance of farming.

 

During the pre-modern era, grains such as barley and millet were the main staples and were supplemented by wheat, sorghum, and buckwheat. Rice is not an indigenous crop to Korea, and millet was likely the preferred grain before rice was cultivated. Rice became the grain of choice during the Three Kingdoms period, particularly in the Silla and Baekje Kingdoms in the southern regions of the peninsula. Rice was such an important commodity in Silla that it was used to pay taxes. The Sino-Korean word for "tax" is a compound character that uses the character for the rice plant. The preference for rice escalated into the Joseon period, when new methods of cultivation and new varieties emerged that would help increase production.

 

As rice was prohibitively expensive when it first came to Korea, the grain was likely mixed with other grains to "stretch" the rice; this is still done in dishes such as boribap (rice with barley) and kongbap (rice with beans). White rice, which is rice with the bran removed, has been the preferred form of rice since its introduction into the cuisine. The most traditional method of cooking the rice has been to cook it in an iron pot called a sot (솥) or musoe sot (무쇠솥). This method of rice cookery dates back to at least the Goryeo period, and these pots have even been found in tombs from the Silla period. The sot is still used today, much in the same manner as it was in the past centuries.

 

Rice is used to make a number of items, outside of the traditional bowl of plain white rice. It is commonly ground into a flour and used to make rice cakes called tteok in over two hundred varieties. It is also cooked down into a congee (juk), or gruel (mieum) and mixed with other grains, meat, or seafood. Koreans also produce a number of rice wines, both in filtered and unfiltered versions.

 

LEGUMES

Legumes have been significant crops in Korean history and cuisine according to earliest preserved legumes found in archaeological sites in Korea. The excavation at Okbang site, Jinju, South Gyeongsang province indicates soybeans were cultivated as a food crop circa 1000–900 BCE. They are made into tofu (dubu), while soybean sprouts are sauteed as a vegetable (kongnamul) and whole soybeans are seasoned and served as a side dish. They are also made into soy milk, which is used as the base for the noodle dish called kongguksu. A byproduct of soy milk production is okara (kongbiji), which is used to thicken stews and porridges.

 

Mung beans are commonly used in Korean cuisine, where they are called nokdu (녹두, literally "green bean"). Mung bean sprouts, called sukju namul, are often served as a side dish, blanched and sautéed with sesame oil, garlic, and salt. Ground mung beans are used to make a porridge called nokdujuk, which is eaten as a nutritional supplement and digestive aid, especially for ill patients.

 

Cultivation of azuki beans dates back to ancient times according to an excavation from Odong-ri, Hoeryong, North Hamgyong Province, which is assumed to be that of Mumun period (approximately 1500-300 BCE).

 

MEAT

In antiquity, most meat in Korea was likely obtained through hunting and fishing. Ancient records indicate rearing of livestock began on a small scale during the Three Kingdoms period. Meat was consumed roasted or in soups or stews during this period. Those who lived closer to the oceans were able to complement their diet with more fish, while those who lived in the interior had a diet containing more meat.

 

BEEF

Beef is the most prized of all, with the cattle holding an important cultural role in the Korean home. Beef is prepared in numerous ways today, including roasting, grilling (gui) or boiling in soups. Beef can also be dried into jerky, as with seafood, called respectively yukpo and eopo.

 

The cattle were valuable draught animals, often seen as equal to human servants, or in some cases, members of the family. Cattle were also given their own holiday during the first 'cow' day of the lunar New Year. The importance of cattle does not suggest Koreans ate an abundance of beef, however, as the cattle were valued as beasts of burden and slaughtering one would create dire issues in farming the land. Pork and seafood were consumed more regularly for this reason. The Buddhist ruling class of the Goryeo period forbade the consumption of beef. The Mongols dispensed with the ban of beef during the 13th century, and they promoted the production of beef cattle. This increased production continued into the Joseon period, when the government encouraged both increased quantities and quality of beef. Only in the latter part of the 20th century has beef become regular table fare.

 

CHICKEN

Chicken has played an important role as a protein in Korean history, evidenced by a number of myths. One myth tells of the birth of Kim Alji, founder of the Kim family of Gyeongju being announced by the cry of a white chicken. As the birth of a clan's founder is always announced by an animal with preternatural qualities, this myth speaks to the importance of chicken in Korean culture. Chicken is often served roasted or braised with vegetables or in soups. All parts of the chicken are used in Korean cuisine, including the gizzard, liver, and feet. Young chickens are braised with ginseng and other ingredients in medicinal soups eaten during the summer months to combat heat called samgyetang.

 

PORK

Pork has also been another important land-based protein for Korea. Records indicate pork has been a part of the Korean diet back to antiquity, similar to beef.

 

A number of foods have been avoided while eating pork, including Chinese bellflower (doraji, 도라지) and lotus root (yeonn ppuri, 연뿌리), as the combinations have been thought to cause diarrhea. All parts of the pig are used in Korean cuisine, including the head, intestines, liver, kidney and other internal organs. Koreans utilize these parts in a variety of cooking methods including steaming, stewing, boiling and smoking. Koreans especially like to eat grilled pork belly, which is called samgyeopsal (삼겹살).

 

FISH AND SEAFOOD

Fish and shellfish have been a major part of Korean cuisine because of the oceans bordering the peninsula. Evidence from the 12th century illustrates commoners consumed a diet mostly of fish and shellfish, such as shrimp, clams, oysters, abalone, and loach, while sheep and hogs were reserved for the upper class.

 

Both fresh and saltwater fish are popular, and are served raw, grilled, broiled, dried or served in soups and stews. Common grilled fish include mackerel, hairtail, croaker and Pacific herring. Smaller fish, shrimp, squid, mollusks and countless other seafood can be salted and fermented as jeotgal. Fish can also be grilled either whole or in fillets as banchan. Fish is often dried naturally to prolong storing periods and enable shipping over long distances. Fish commonly dried include yellow corvina, anchovies (myeolchi) and croaker. Dried anchovies, along with kelp, form the basis of common soup stocks.

 

Shellfish is widely eaten in all different types of preparation. They can be used to prepare broth, eaten raw with chogochujang, which is a mixture of gochujang and vinegar, or used as a popular ingredient in countless dishes. Raw oysters and other seafood can be used in making kimchi to improve and vary the flavor. Salted baby shrimp are used as a seasoning agent, known as saeujeot, for the preparation of some types of kimchi.

 

VEGETABLES

Korean cuisine uses a wide variety of vegetables, which are often served uncooked, either in salads or pickles, as well as cooked in various stews, stir-fried dishes, and other hot dishes. Commonly used vegetables include Korean radish, napa cabbage, cucumber, potato, sweet potato, spinach, bean sprouts, scallions, garlic, chili peppers, seaweed, zucchini, mushrooms and lotus root. Several types of wild greens, known collectively as chwinamul (such as Aster scaber), are a popular dish, and other wild vegetables such as bracken fern shoots (gosari) or Korean bellflower root (doraji) are also harvested and eaten in season. Medicinal herbs, such as ginseng, reishi, wolfberry, Codonopsis pilosula, and Angelica sinensis, are often used as ingredients in cooking, as in samgyetang.

 

MEDICINAL FOODS

Medicinal food (boyangshik) is a wide variety of specialty foods prepared and eaten for medicinal purposes, especially during the hottest 30-day period in the lunar calendar, called sambok. Hot foods consumed are believed to restore ki, as well as sexual and physical stamina lost in the summer heat Commonly eaten boyangshik include: ginseng, chicken, black goat, abalone, eel, carp, beef bone soups, pig kidneys and dog.

 

DOG MEAT

Dog Meat is far less popular today than it used to be in the past, being viewed largely as a kind of health tonic rather than as a diet staple,[citation needed] especially amongst the younger generations who view dogs only as pets and service animals. That said, historically the consumption of dog meat can be traced back to antiquity. Dog bones were excavated in a neolithic settlement in Changnyeong, South Gyeongsang Province. A wall painting in the Goguryeo tombs complex in South Hwanghae Province, a UNESCO World Heritage site which dates from 4th century AD, depicts a slaughtered dog in a storehouse (Ahn, 2000). The Balhae people also enjoyed dog meat, and the Koreans' appetite for canine cuisine seems to have come from that era.

 

Koreans have distinguished Chinese terms for dog "견; 犬", which refers to pet dogs, feral dogs, and wolves from the Chinese term "구; 狗," which is used specifically to indicate dog meat. "Hwangu" has been considered better for consumption than "Baekgu" (White dog) and "Heukgu" (Black dog).

 

Around 1816, Jeong Hak-yu, the second son of Jeong Yak-yong, a prominent politician and scholar of the Joseon dynasty at the time, wrote a poem called Nongga Wollyeongga (농가월령가). This poem, which is an important source of Korean folk history, describes what ordinary Korean farming families did in each month of the year. In the description of the month of August the poem tells of a married woman visiting her birth parents with boiled dog meat, rice cake, and rice wine, thus showing the popularity of dog meat at the time (Ahn, 2000; Seo, 2002). Dongguk Sesigi (동국세시기), a book written by Korean scholar Hong Seok-mo in 1849, contains a recipe for Bosintang including a boiled dog, green onion, and red chili pepper powder.

 

According to one survey conducted in 2006, dog meat is the 4th most commonly consumed meat within South Korea.

 

GINSENG CHICKEN SOUP (SAMGYETANG)

Samgyetang is a hot chicken soup to boost your energy in the hot summer season. It is made with a young whole chicken stuffed with ginseng, garlic and sweet rice. Samgyetang is a Koreans' favorite energizing food and it is common to have it on sambok(삼복) days; Chobok(초복), Jungbok(중복) and Malbok(말복) which are believed to be the hottest days in Korea.

 

SOUPS AND STEWS

Soups are a common part of any Korean meal. Unlike other cultures, in Korean culture, soup is served as part of the main course rather than at the beginning or the end of the meal, as an accompaniment to rice along with other banchan. Soups known as guk are often made with meats, shellfish and vegetables. Soups can be made into more formal soups known as tang, often served as the main dish of the meal. Jjigae are a thicker, heavier seasoned soups or stews.

 

SOME POPULAR TYPES OF SOUPS

- Malgeunguk (맑은국), are flavored with ganjang. Small amounts of long boiled meat may be added to the soup, or seafood both fresh and dried may be added, or vegetables may be the main component for the clear soup.

- Tojangguk (토장국) are seasoned with doenjang. Common ingredients for tojang guk include seafood such as clams, dried anchovies, and shrimp. For a spicier soup, gochujang is added.

- Gomguk (곰국) or gomtang (곰탕), and they are made from boiling beef bones or cartilage. Originating as a peasant dish, all parts of beef are used, including tail, leg and rib bones with or without meat attached; these are boiled in water to extract fat, marrow, and gelatin to create a rich soup. Some versions of this soup may also use the beef head and intestines. The only seasoning generally used in the soup is salt.

- Naengguk (냉국), which are cold soups generally eaten during the summer months to cool the diner. A light hand is usually used in the seasoning of these soups usually using ganjang and sesame oil.

 

Stews are referred to as jjigae, and are often a shared side dish. Jjigae is often both cooked and served in the glazed earthenware pot (ttukbaegi) in which it is cooked. The most common version of this stew is doenjang jjigae, which is a stew of soybean paste, with many variations; common ingredients include vegetables, saltwater or freshwater fish, and tofu. The stew often changes with the seasons and which ingredients are available. Other common varieties of jjigae contain kimchi (kimchi jjigae) or tofu (sundubu jjigae).

 

KIMCHI

Kimchi refers to often fermented vegetable dishes usually made with napa cabbage, Korean radish, or sometimes cucumber, commonly fermented in a brine of ginger, garlic, scallions, and chili pepper. There are endless varieties with regional variations, and it is served as a side dish or cooked into soups and rice dishes. Koreans traditionally make enough kimchi to last for the entire winter season, as fermented foods can keep for several years. These were stored in traditional Korean mud pots known as Jangdokdae although with the advent of refrigerators, special Kimchi freezers and commercially produced kimchi, this practice has become less common. Kimchi is packed with vitamin A, thiamine B1, riboflavin B2, calcium, and iron. Its main benefit though is found in the bacteria lactobacilli; this is found in yogurt and fermented foods. This bacteria helps with digestion. South Koreans eat an average of 40 pounds of Kimchi each year.

 

NOODLES

Noodles or noodle dishes in Korean cuisine are collectively referred to as guksu in native Korean or myeon in hanja. While noodles were eaten in Korea from ancient times, productions of wheat was less than other crops, so wheat noodles did not become a daily food until 1945. Wheat noodles (milguksu) were specialty foods for birthdays, weddings or auspicious occasions because the long and continued shape were thought to be associated with the bliss for longevity and long-lasting marriage.

 

In Korean traditional noodle dishes are onmyeon or guksu jangguk (noodles with a hot clear broth), naengmyeon (cold buckwheat noodles), bibim guksu (cold noodle dish mixed with vegetables), kalguksu (knife-cut noodles), kongguksu (noodles with a cold soybean broth), japchae (cellophane noodles made from sweet potato with various vegetables) and others. In royal court, baekmyeon (literally "white noodles") consisting of buckwheat noodles and pheasant broth, was regarded as the top quality noodle dish. Naengmyeon with a cold soup mixed with dongchimi (watery radish kimchi) and beef brisket broth was eaten in court during summer.

 

- Jajangmyeon, a staple Koreanized Chinese noodle dish, is extremely popular in Korea as fast, take-out food. It is made with a black bean sauce usually fried with diced pork or seafood and a variety of vegetables, including zucchini and potatoes. It is popularly ordered and delivered, like Chinese take-out food in other parts of the world.

- Ramyeon refers to Korean instant noodles similar to ramen.

 

BANCHAN

Banchan is a term referring collectively to side dishes in Korean cuisine. Soups and stews are not considered banchan.

 

Gui are grilled dishes, which most commonly have meat or fish as their primary ingredient, but may in some cases also comprise grilled vegetables or other vegetable ingredients. At traditional restaurants, meats are cooked at the center of the table over a charcoal grill, surrounded by various banchan and individual rice bowls. The cooked meat is then cut into small pieces and wrapped with fresh lettuce leaves, with rice, thinly sliced garlic, ssamjang (a mixture of gochujang and dwenjang), and other seasonings. The suffix gui is often omitted in the names of meat-based gui such as galbi, the name of which was originally galbi gui.

- List of grilled dishes commonly found in Korean cuisine

Jjim and seon (steamed dishes) are generic terms referring to steamed or boiled dishes in Korean cuisine. However, the former is made with meat or seafood-based ingredients marinated in gochujang or ganjang while seon is made with vegetable stuffed with fillings.

- List of steamed dishes commonly found in Korean cuisine

Hoe (raw dishes): although the term originally referred to any kind of raw dish, it is generally used to refer to saengseonhweh (생선회, raw fish dishes). It is dipped in gochujang, or soy sauce with wasabi, and served with lettuce or perilla leaves.

- List of raw dishes commonly found in Korean cuisine

Jeon (or buchimgae) are savory pancakes made from various ingredients. Chopped kimchi or seafood is mixed into a wheat flour-based batter, and then pan fried. This dish tastes best when it is dipped in a mixture of soy sauce, vinegar, and red pepper powder.

- List of jeon dishes commonly found in Korean cuisine

Namul may be used to refer to either saengchae (생채, literally "fresh vegetables") or sukchae (숙채, literally "heated vegetables"), although the term generally indicates the latter. Saengchae is mostly seasoned with vinegar, chili pepper powder and salt to give a tangy and refreshing taste. On the other hand, sukchae (숙채) is blanched and seasoned with soy sauce, sesame oil, chopped garlic, or sometimes chili pepper powder.

- List of namul dishes commonly found in Korean cuisine

Anju (side dishes accompanying alcoholic beverages)

Anju is a general term for a Korean side dish consumed with alcohol. Some examples of anju include steamed squid with gochujang, assorted fruit, dubu kimchi (tofu with kimchi), peanuts, odeng/ohmuk, sora (소라) (a kind of shellfish popular in street food tents), and nakji (small octopus). Soondae is also a kind of anju, as is samgyeopsal, or dwejigalbi, or chicken feet. Most Korean foods may be served as anju, depending on availability and the diner's taste. However, anju is considered different from the banchan served with a regular Korean meal. Jokbal is pig's leg served with saeujeot (salted fermented shrimp sauce).

 

BEVERAGES

NONALCOHOLICBEVERAGES

All Korean traditional nonalcoholic beverages are referred to as eumcheong or eumcheongnyu (음청류 飮淸類) which literally means "clear beverages". According to historical documents regarding Korean cuisine, 193 items of eumcheongnyu are recorded. Eumcheongnyu can be divided into the following categories: tea, hwachae (fruit punch), sikhye (sweet rice drink), sujeonggwa (persimmon punch), tang (탕, boiled water), jang (장, fermented grain juice with a sour taste), suksu (숙수, beverage made of herbs), galsu (갈수, drink made of fruit extract, and Oriental medicine), honeyed water, juice and milk by their ingredient materials and preparation methods. Among the varieties, tea, hwachae, sikhye, and sujeonggwa are still widely favored and consumed; however, the others almost disappeared by the end of the 20th century.

 

In Korean cuisine, tea, or cha, refers to various types of herbal tea that can be served hot or cold. Not necessarily related to the leaves, leaf buds, and internodes of the Camellia sinensis plant, they are made from diverse substances, including fruits (e.g. yujacha), flowers (e.g. gukhwacha), leaves, roots, and grains (e.g. boricha, hyeonmi cha) or herbs and substances used in traditional Korean medicine, such as ginseng (e.g. Insam cha) and ginger (e.g. saenggang cha).

 

ALCOHOLIC BEVERAGES

While soju is the best known liquor, there are well over 100 different alcoholic beverages, such as beers, rice and fruit wines, and liquors produced in South Korea as well as a sweet rice drink. The top-selling domestic beers (the Korean term for beer being maekju) are lagers, which differ from Western beers in that they are brewed from rice, rather than barley. Consequently, Korean beers are lighter, sweeter and have less head than their Western counterparts. The South Korean beer market is dominated by the two major breweries: Hite and OB. Taedonggang is a North Korean beer produced at a brewery based in Pyongyang since 2002. Microbrewery beers and bars are growing in popularity after 2002.

 

Soju is a clear spirit which was originally made from grain, especially rice, and is now also made from sweet potatoes or barley. Soju made from grain is considered superior (as is also the case with grain vs. potato vodka). Soju is around 22% ABV, and is a favorite beverage of hard-up college students, hard-drinking businessmen, and blue-collar workers.

 

Yakju is a refined pure liquor fermented from rice, with the best known being cheongju. Takju is a thick unrefined liquor made with grains, with the best known being makgeolli, a white, milky rice wine traditionally drunk by farmers.

 

In addition to the rice wine, various fruit wines and herbal wines exist in Korean cuisine. Acacia, maesil plum, Chinese quince, cherry, pine fruits, and pomegranate are most popular. Majuang wine (a blended wine of Korean grapes with French or American wines) and ginseng-based wines are also available

 

SWEETS

Traditional rice cakes, tteok and Korean confectionery hangwa are eaten as treats during holidays and festivals. Tteok refers to all kinds of rice cakes made from either pounded rice (메떡, metteok), pounded glutinous rice (찰떡, chaltteok), or glutinous rice left whole, without pounding. It is served either filled or covered with sweetened mung bean paste, red bean paste, mashed red beans, raisins, a sweetened filling made with sesame seeds, sweet pumpkin, beans, jujubes, pine nuts or honey). Tteok is usually served as dessert or as a snack. Among varieties, songpyeon is a chewy stuffed tteok served at Chuseok. Honey or another soft sweet material such as sweetened sesame or black beans are used as fillings. Pine needles can be used for imparting flavor during the steaming process. Yaksik is a sweet rice cake made with glutinous rice, chestnuts, pine nuts, jujubes, and other ingredients, while chapssaltteok is a tteok filled with sweet bean paste.

 

On the other hand, hangwa is a general term referring to all types of Korean traditional confectionery. The ingredients of hahngwa mainly consist of grain flour, honey, yeot, and sugar, or of fruit and edible roots. Hangwa is largely divided into yumilgwa (fried confectionery), suksilgwa, jeonggwa, gwapyeon, dasik (tea food) and yeot. Yumilgwa is made by stir frying or frying pieces of dough, such as maejakgwa and yakgwa. Maejakgwa is a ring-shaped confection made of wheat flour, vegetable oil, cinnamon, ginger juice, jocheong, and pine nuts, while yakgwa, literally "medicinal confectionery", is a flower-shaped biscuit made of honey, sesame oil and wheat flour.

 

Suksilgwa is made by boiling fruits, ginger, or nuts in water, and then forming the mix into the original fruit's shape, or other shapes. Gwapyeon is a jelly-like confection made by boiling sour fruits, starch, and sugar. Dasik, literally "eatery for tea", is made by kneading rice flour, honey, and various types of flour from nuts, herbs, sesame, or jujubes. Jeonggwa, or jeongwa, is made by boiling fruits, plant roots and seeds in honey, mulyeot (물엿, liquid candy) or sugar. It is similar to marmalade or jam/jelly. Yeot is a Korean traditional candy in liquid or solid form made from steamed rice, glutinous rice, glutinous kaoliang, corn, sweet potatoes or mixed grains. The steamed ingredients are lightly fermented and boiled in a large pot called sot (솥) for a long time.

 

REGIONAL AND VARIANT CUISINES

Korean regional cuisines (Korean: hyangto eumsik, literally "native local foods") are characterized by local specialties and distinctive styles within Korean cuisine. The divisions reflected historical boundaries of the provinces where these food and culinary traditions were preserved until modern times.

 

Although Korea has been divided into two nation-states since 1948 (North Korea and South Korea), it was once divided into eight provinces (paldo) according to the administrative districts of the Joseon Dynasty. The northern region consisted of Hamgyeong Province, Pyeongan Province and Hwanghae Province. The central region comprised Gyeonggi Province, Chungcheong Province, and Gangwon Province. Gyeongsang Province and Jeolla Province made up the southern region.

 

Until the late 19th century, transportation networks were not well developed, and each provincial region preserved its own characteristic tastes and cooking methods. Geographic differences are also reflected by the local specialty foodstuffs depending on the climate and types of agriculture, as well as the natural foods available. With the modern development of transportation and the introduction of foreign foods, Korean regional cuisines have tended to overlap and integrate. However, many unique traditional dishes in Korean regional cuisine have been handed down through the generations.

 

BUDDHIST CUISINE

Korean temple cuisine originated in Buddhist temples of Korea. Since Buddhism was introduced into Korea, Buddhist traditions have strongly influenced Korean cuisine, as well. During the Silla period (57 BCE – 935 CE), chalbap (찰밥, a bowl of cooked glutinous rice) yakgwa (a fried dessert) and yumilgwa (a fried and puffed rice snack) were served for Buddhist altars and have been developed into types of hangwa, Korean traditional confectionery. During the Goryeo Dynasty, sangchu ssam (wraps made with lettuce), yaksik, and yakgwa were developed, and since spread to China and other countries. Since the Joseon Dynasty, Buddhist cuisine has been established in Korea according to regions and temples.

 

On the other hand, royal court cuisine is closely related to Korean temple cuisine. In the past, when the royal court maids, sanggung, who were assigned to Suragan (hangul: 수라간; hanja: 水剌間; the name of the royal kitchen), where they prepared the king's meals, became old, they had to leave the royal palace. Therefore, many of them entered Buddhist temples to become nuns. As a result, culinary techniques and recipes of the royal cuisine were integrated into Buddhist cuisine.

 

VEGETARIAN CUISINE

Vegetarian cookery in Korea may be linked to the Buddhist traditions that influenced Korean culture from the Goryeo dynasty onwards. There are hundreds of vegetarian restaurants in Korea, although historically they have been local restaurants that are unknown to tourists. Most have buffets, with cold food, and vegetarian kimchi and tofu being the main features. Bibimbap is a common vegan dish. Menus change with seasons. Wine with the alcohol removed and fine teas are also served. The Korean tea ceremony is suitable for all vegetarians and vegans, and began with Buddhist influences. All food is eaten with a combination of rather slippery stainless steel oval chopsticks and a long-handled shallow spoon called together sujeo.

 

CEREMONIAL FOOD

Food is an important part of traditions of Korean family ceremonies, which are mainly based on the Confucian culture. Gwan Hon Sang Je (관혼상제; 冠婚喪祭), the four family ceremonies (coming-of-age ceremony, wedding, funeral, and ancestral rite) have been considered especially important and elaborately developed, continuing to influence Korean life to these days. Ceremonial food in Korea has developed with variation across different regions and cultures.

 

For example, rituals are mainly performed on the anniversary of deceased ancestors, called jesa. Ritual food include rice, liquor, soup, vinegar and soy sauce (1st row); noodles, skewered meat, vegetable and fish dishes, and rice cake (2nd row); three types of hot soup, meat and vegetable dishes (3rd row); dried snacks, kimchi, and sweet rice drink (4th row); and variety of fruit (5th row).

 

ETIQUETTE

DINING

Dining etiquette in Korea can be traced back to the Confucian philosophies of the Joseon period. Guidebooks, such as Sasojeol (士小節, Elementary Etiquette for Scholar Families), written in 1775 by Yi Deokmu (이덕무; 李德懋), comment on the dining etiquette for the period. Suggestions include items such as "when you see a fat cow, goat, pig, or chicken, do not immediately speak of slaughtering, cooking or eating it", "when you are having a meal with others, do not speak of smelly or dirty things, such as boils or diarrhea," "when eating a meal, neither eat so slowly as to appear to be eating against your will nor so fast as if to be taking someone else's food. Do not throw chopsticks on the table. Spoons should not touch plates, making a clashing sound", amongst many other recommendations which emphasized proper table etiquette.

 

The eldest male at the table was always served first, commonly served to them in the men's quarters by the women of the house. Women usually dined in a separate portion of the house after the men were served. The eldest men or women always ate before the younger family members. The meal was usually quiet, as conversation was discouraged during meals. In modern times, these rules have become lax, as families usually dine together now and use the time to converse. Of the remaining elements of this decorum, one is that the younger members of the table should not pick up their chopsticks or start eating before the elders of the table or guests and should not finish eating before the elders or guests finish eating.

 

In Korea, unlike in China, Japan and Vietnam, the rice or soup bowl is not lifted from the table when eating from it. This is due to the fact that each diner is given a metal spoon along with the chopsticks known collectively as sujeo. The use of the spoon for eating rice and soups is expected. There are rules which reflect the decorum of sharing communal side dishes; rules include not picking through the dishes for certain items while leaving others, and the spoon used should be clean, because usually diners put their spoons in the same serving bowl on the table. Diners should also cover their mouths when using a toothpick after the meal.

 

The table setup is important as well, and individual place settings, moving from the diner's left should be as follows: rice bowl, spoon, then chopsticks. Hot foods are set to the right side of the table, with the cold foods to the left. Soup must remain on the right side of the diner along with stews. Vegetables remain on the left along with the rice, and kimchi is set to the back while sauces remain in the front.

 

DRINKING

The manner of drinking alcoholic drinks at dining is significant in Korean dining etiquette. Each diner is expected to face away from the eldest male and cover his mouth when drinking alcohol. According to Hyang Eum Ju Rye (향음주례; 鄕飮酒禮), the drinking etiquette established in Choseon Dynasty, it is impolite for a king and his vassal, a father and his son, or a teacher and his student to drink face to face. Also, a guest should not refuse the first drink offered by host, and in the most formal situations, the diner should politely refuse twice a drink offered by the eldest male or a host. When the host offers for the third time, then finally the guest can receive it. If the guest refuses three times, drink is not to be offered any more.

 

HISTORY

PREHISTORIC

In the Jeulmun pottery period (approximately 8000 to 1500 BCE), hunter-gatherer societies engaged in fishing and hunting, and incipient agriculture in the later stages. Since the beginning of the Mumun pottery period (1500 BCE), agricultural traditions began to develop with new migrant groups from the Liao River basin of Manchuria. During the Mumun period, people grew millet, barley, wheat, legumes and rice, and continued to hunt and fish. Archaeological remains point to development of fermented beans during this period, and cultural contact with nomadic cultures to the north facilitated domestication of animals.

 

THREE KINGDOMS PERIOD

The Three Kingdoms period (57 BCE – 668 CE) was one of rapid cultural evolution. The kingdom of Goguryeo (37 BCE – 668 CE) was located in the northern part of the peninsula along much of modern-day Manchuria. The second kingdom, Baekje (18 BCE – 660 CE), was in the southwestern portion of the peninsula, and the third, Silla (57 BCE – 935 CE), was located at the southeastern portion of the peninsula. Each region had its own distinct set of cultural practices and foods. For example, Baekje was known for cold foods and fermented foods like kimchi. The spread of Buddhism and Confucianism through cultural exchanges with China during the fourth century CE began to change the distinct cultures of Korea.

 

GORYEO PERIOD

During the latter Goryeo period, the Mongols invaded Goryeo in the 13th century. Some traditional foods found today in Korea have their origins during this period. The dumpling dish, mandu, grilled meat dishes, noodle dishes, and the use of seasonings such as black pepper, all have their roots in this period.

 

JOSEON PERIOD

Agricultural innovations were significant and widespread during this period, such as the invention of the rain gauge during the 15th century. During 1429, the government began publishing books on agriculture and farming techniques, which included Nongsa jikseol (literally "Straight Talk on Farming"), an agricultural book compiled under King Sejong.

 

A series of invasions in the earlier half of the Joseon caused a dynamic shift in the culture during the second half of the period. Groups of silhak ("practical learning") scholars began to emphasize the importance of looking outside the country for innovation and technology to help improve the agricultural systems. Crops from the New World began to appear, acquired through trade with China, Japan, Europe, and the Philippines; these crops included corn, sweet potatoes, chili peppers, tomatoes, peanuts, and squash. Potatoes and sweet potatoes were particularly favored as they grew in soils and on terrains that were previously unused.

 

Government further developed agriculture through technology and lower taxation. Complex irrigation systems built by government allowed peasant farmers to produce larger crop volumes and produce crops not only for sustenance but also as cash crops. Reduced taxation of the peasantry also furthered the expanded commerce through increasing periodic markets, usually held every five days. One thousand such markets existed in the 19th century, and were communal centers for economic trade and entertainment.

 

ROYAL COURT CUISINE

Collectively known as gungjung eumsik during the pre-modern era, the foods of the royal palace were reflective of the opulent nature of the past rulers of the Korean peninsula. This nature is evidenced in examples as far back as the Silla kingdom, where a man-made lake (Anapji Lake, located in Gyeongju), was created with multiple pavilions and halls for the sole purpose of opulent banquets, and a spring fed channel, Poseokjeong, was created for the singular purpose of setting wine cups afloat while they wrote poems.

 

Reflecting the regionalism of the kingdoms and bordering countries of the peninsula, the cuisine borrowed portions from each of these areas to exist as a showcase. The royalty would have the finest regional specialties and delicacies sent to them at the palace. Although there are records of banquets predating the Joseon period, the majority of these records mostly reflect the vast variety of foods, but do not mention the specific foods presented. The meals cooked for the royal family did not reflect the seasons, as the commoner's meals would have. Instead, their meals varied significantly day-to-day. Each of the eight provinces was represented each month in the royal palace by ingredients presented by their governors, which gave the cooks a wide assortment of ingredients to use for royal meals.

 

Food was considered significant in the Joseon period. Official positions were created within the Six Ministries (Yukjo, 육조) that were charged with all matters related to procurement and consumption of food and drink for the royal court. The Board of Personnel (Ijo, 이조) contained positions specific for attaining rice for the royal family. The Board of Rights (Yejo) were responsible for foods prepared for ancestor rites, attaining wines and other beverages, and medicinal foods. There were also hundreds of slaves and women who worked in the palace that had tasks such as making tofu, liquor, tea, and tteok (rice cakes). The women were the cooks to the royal palace and were of commoner or low-born families. These women would be split into specific skill sets or "bureau" such as the bureau of special foods (Saenggwa-bang, 생과방) or the bureau of cooking foods (Soju-bang, 소주방). These female cooks may have been assisted by male cooks from outside the palace during larger banquets when necessary.

 

Five meals were generally served in the royal palace each day during the Joseon period, and records suggest this pattern had existed from antiquity. Three of these meals would be full meals, while the afternoon and after dinner meals would be lighter. The first meal, mieumsang (미음상), was served at sunrise and was served only on days when the king and queen were not taking herbal medicines. The meal consisted of rice porridge (juk, 죽) made with ingredients such as abalone (jeonbokjuk), white rice (huinjuk), mushrooms (beoseotjuk), pine nuts (jatjuk), and sesame (kkaejuk).

 

The sura (수라) were the main meals of the day. Breakfast was served at ten in the morning, and the evening meals were served between six and seven at night. The set of three tables (surasang, 수라상), were usually set with two types of rice, two types of soup, two types of stew (jjigae), one dish of jjim (meat stew), one dish of jeongol (a casserole of meat and vegetables), three types of kimchi, three types of jang (장) and twelve side dishes, called 12 cheop (12첩). The meals were set in the suragan (수라간), a room specifically used for taking meals, with the king seated to the east and the queen to the west. Each had their own set of tables and were attended by three palace servant women known as sura sanggung (수라상궁). These women would remove bowl covers and offer the foods to the king and queen after ensuring the dishes were not poisoned.

 

Banquets (궁중 연회 음식) were held on special occasions in the Korean Royal Palace. These included birthdays of the royal family members, marriages, and national festivals, including Daeborum, Dano, Chuseok, and Dongji. Banquet food was served on individual tables which varied according to the rank of the person. Usually banquet food consisted of ten different types of dishes. Main dishes were prepared based on the seasonal foods. Main dishes of the banquet included sinseollo, jeon, hwayang jeok, honghapcho, nengmyun and mulgimchi. A typical banquet ingredient was chogyetang (chicken broth with vinegar), which was prepared with five different chickens, five abalones, ten sea cucumbers, twenty eggs, half a bellflower root, mushrooms, two cups of black pepper, two peeled pine nuts, starch, soy sauce and vinegar. Yaksik was a favorite banquet dessert.

 

WIKIPEDIA

 

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!

 

None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

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If you'd like to see more please check out my set, "Vertigo:"

 

www.flickr.com/photos/motorpsiclist/sets/72157630591282642/

 

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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

 

Korean cuisine has evolved through centuries of social and political change. Originating from ancient agricultural and nomadic traditions in the Korean peninsula and southern Manchuria, Korean cuisine has evolved through a complex interaction of the natural environment and different cultural trends.

 

Korean cuisine is largely based on rice, vegetables, and meats. Traditional Korean meals are noted for the number of side dishes (반찬; banchan) that accompany steam-cooked short-grain rice. Kimchi is almost always served at every meal. Commonly used ingredients include sesame oil, doenjang (fermented bean paste), soy sauce, salt, garlic, ginger, pepper flakes, gochujang (fermented red chili paste) and cabbage.

 

FOOD

GRAINS

Grains have been one of the most important staples of the Korean diet. Early myths of the foundations of various kingdoms in Korea center on grains. One foundation myth relates to Jumong, who received barley seeds from two doves sent by his mother after establishing the kingdom of Goguryeo. Yet another myth speaks of the three founding deities of Jeju Island, who were to be wed to the three princesses of Tamna; the deities brought seeds of five grains which were the first seeds planted, which in turn became the first instance of farming.

 

During the pre-modern era, grains such as barley and millet were the main staples and were supplemented by wheat, sorghum, and buckwheat. Rice is not an indigenous crop to Korea, and millet was likely the preferred grain before rice was cultivated. Rice became the grain of choice during the Three Kingdoms period, particularly in the Silla and Baekje Kingdoms in the southern regions of the peninsula. Rice was such an important commodity in Silla that it was used to pay taxes. The Sino-Korean word for "tax" is a compound character that uses the character for the rice plant. The preference for rice escalated into the Joseon period, when new methods of cultivation and new varieties emerged that would help increase production.

 

As rice was prohibitively expensive when it first came to Korea, the grain was likely mixed with other grains to "stretch" the rice; this is still done in dishes such as boribap (rice with barley) and kongbap (rice with beans). White rice, which is rice with the bran removed, has been the preferred form of rice since its introduction into the cuisine. The most traditional method of cooking the rice has been to cook it in an iron pot called a sot (솥) or musoe sot (무쇠솥). This method of rice cookery dates back to at least the Goryeo period, and these pots have even been found in tombs from the Silla period. The sot is still used today, much in the same manner as it was in the past centuries.

 

Rice is used to make a number of items, outside of the traditional bowl of plain white rice. It is commonly ground into a flour and used to make rice cakes called tteok in over two hundred varieties. It is also cooked down into a congee (juk), or gruel (mieum) and mixed with other grains, meat, or seafood. Koreans also produce a number of rice wines, both in filtered and unfiltered versions.

 

LEGUMES

Legumes have been significant crops in Korean history and cuisine according to earliest preserved legumes found in archaeological sites in Korea. The excavation at Okbang site, Jinju, South Gyeongsang province indicates soybeans were cultivated as a food crop circa 1000–900 BCE. They are made into tofu (dubu), while soybean sprouts are sauteed as a vegetable (kongnamul) and whole soybeans are seasoned and served as a side dish. They are also made into soy milk, which is used as the base for the noodle dish called kongguksu. A byproduct of soy milk production is okara (kongbiji), which is used to thicken stews and porridges.

 

Mung beans are commonly used in Korean cuisine, where they are called nokdu (녹두, literally "green bean"). Mung bean sprouts, called sukju namul, are often served as a side dish, blanched and sautéed with sesame oil, garlic, and salt. Ground mung beans are used to make a porridge called nokdujuk, which is eaten as a nutritional supplement and digestive aid, especially for ill patients.

 

Cultivation of azuki beans dates back to ancient times according to an excavation from Odong-ri, Hoeryong, North Hamgyong Province, which is assumed to be that of Mumun period (approximately 1500-300 BCE).

 

MEAT

In antiquity, most meat in Korea was likely obtained through hunting and fishing. Ancient records indicate rearing of livestock began on a small scale during the Three Kingdoms period. Meat was consumed roasted or in soups or stews during this period. Those who lived closer to the oceans were able to complement their diet with more fish, while those who lived in the interior had a diet containing more meat.

 

BEEF

Beef is the most prized of all, with the cattle holding an important cultural role in the Korean home. Beef is prepared in numerous ways today, including roasting, grilling (gui) or boiling in soups. Beef can also be dried into jerky, as with seafood, called respectively yukpo and eopo.

 

The cattle were valuable draught animals, often seen as equal to human servants, or in some cases, members of the family. Cattle were also given their own holiday during the first 'cow' day of the lunar New Year. The importance of cattle does not suggest Koreans ate an abundance of beef, however, as the cattle were valued as beasts of burden and slaughtering one would create dire issues in farming the land. Pork and seafood were consumed more regularly for this reason. The Buddhist ruling class of the Goryeo period forbade the consumption of beef. The Mongols dispensed with the ban of beef during the 13th century, and they promoted the production of beef cattle. This increased production continued into the Joseon period, when the government encouraged both increased quantities and quality of beef. Only in the latter part of the 20th century has beef become regular table fare.

 

CHICKEN

Chicken has played an important role as a protein in Korean history, evidenced by a number of myths. One myth tells of the birth of Kim Alji, founder of the Kim family of Gyeongju being announced by the cry of a white chicken. As the birth of a clan's founder is always announced by an animal with preternatural qualities, this myth speaks to the importance of chicken in Korean culture. Chicken is often served roasted or braised with vegetables or in soups. All parts of the chicken are used in Korean cuisine, including the gizzard, liver, and feet. Young chickens are braised with ginseng and other ingredients in medicinal soups eaten during the summer months to combat heat called samgyetang.

 

PORK

Pork has also been another important land-based protein for Korea. Records indicate pork has been a part of the Korean diet back to antiquity, similar to beef.

 

A number of foods have been avoided while eating pork, including Chinese bellflower (doraji, 도라지) and lotus root (yeonn ppuri, 연뿌리), as the combinations have been thought to cause diarrhea. All parts of the pig are used in Korean cuisine, including the head, intestines, liver, kidney and other internal organs. Koreans utilize these parts in a variety of cooking methods including steaming, stewing, boiling and smoking. Koreans especially like to eat grilled pork belly, which is called samgyeopsal (삼겹살).

 

FISH AND SEAFOOD

Fish and shellfish have been a major part of Korean cuisine because of the oceans bordering the peninsula. Evidence from the 12th century illustrates commoners consumed a diet mostly of fish and shellfish, such as shrimp, clams, oysters, abalone, and loach, while sheep and hogs were reserved for the upper class.

 

Both fresh and saltwater fish are popular, and are served raw, grilled, broiled, dried or served in soups and stews. Common grilled fish include mackerel, hairtail, croaker and Pacific herring. Smaller fish, shrimp, squid, mollusks and countless other seafood can be salted and fermented as jeotgal. Fish can also be grilled either whole or in fillets as banchan. Fish is often dried naturally to prolong storing periods and enable shipping over long distances. Fish commonly dried include yellow corvina, anchovies (myeolchi) and croaker. Dried anchovies, along with kelp, form the basis of common soup stocks.

 

Shellfish is widely eaten in all different types of preparation. They can be used to prepare broth, eaten raw with chogochujang, which is a mixture of gochujang and vinegar, or used as a popular ingredient in countless dishes. Raw oysters and other seafood can be used in making kimchi to improve and vary the flavor. Salted baby shrimp are used as a seasoning agent, known as saeujeot, for the preparation of some types of kimchi.

 

VEGETABLES

Korean cuisine uses a wide variety of vegetables, which are often served uncooked, either in salads or pickles, as well as cooked in various stews, stir-fried dishes, and other hot dishes. Commonly used vegetables include Korean radish, napa cabbage, cucumber, potato, sweet potato, spinach, bean sprouts, scallions, garlic, chili peppers, seaweed, zucchini, mushrooms and lotus root. Several types of wild greens, known collectively as chwinamul (such as Aster scaber), are a popular dish, and other wild vegetables such as bracken fern shoots (gosari) or Korean bellflower root (doraji) are also harvested and eaten in season. Medicinal herbs, such as ginseng, reishi, wolfberry, Codonopsis pilosula, and Angelica sinensis, are often used as ingredients in cooking, as in samgyetang.

 

MEDICINAL FOODS

Medicinal food (boyangshik) is a wide variety of specialty foods prepared and eaten for medicinal purposes, especially during the hottest 30-day period in the lunar calendar, called sambok. Hot foods consumed are believed to restore ki, as well as sexual and physical stamina lost in the summer heat Commonly eaten boyangshik include: ginseng, chicken, black goat, abalone, eel, carp, beef bone soups, pig kidneys and dog.

 

DOG MEAT

Dog Meat is far less popular today than it used to be in the past, being viewed largely as a kind of health tonic rather than as a diet staple,[citation needed] especially amongst the younger generations who view dogs only as pets and service animals. That said, historically the consumption of dog meat can be traced back to antiquity. Dog bones were excavated in a neolithic settlement in Changnyeong, South Gyeongsang Province. A wall painting in the Goguryeo tombs complex in South Hwanghae Province, a UNESCO World Heritage site which dates from 4th century AD, depicts a slaughtered dog in a storehouse (Ahn, 2000). The Balhae people also enjoyed dog meat, and the Koreans' appetite for canine cuisine seems to have come from that era.

 

Koreans have distinguished Chinese terms for dog "견; 犬", which refers to pet dogs, feral dogs, and wolves from the Chinese term "구; 狗," which is used specifically to indicate dog meat. "Hwangu" has been considered better for consumption than "Baekgu" (White dog) and "Heukgu" (Black dog).

 

Around 1816, Jeong Hak-yu, the second son of Jeong Yak-yong, a prominent politician and scholar of the Joseon dynasty at the time, wrote a poem called Nongga Wollyeongga (농가월령가). This poem, which is an important source of Korean folk history, describes what ordinary Korean farming families did in each month of the year. In the description of the month of August the poem tells of a married woman visiting her birth parents with boiled dog meat, rice cake, and rice wine, thus showing the popularity of dog meat at the time (Ahn, 2000; Seo, 2002). Dongguk Sesigi (동국세시기), a book written by Korean scholar Hong Seok-mo in 1849, contains a recipe for Bosintang including a boiled dog, green onion, and red chili pepper powder.

 

According to one survey conducted in 2006, dog meat is the 4th most commonly consumed meat within South Korea.

 

GINSENG CHICKEN SOUP (SAMGYETANG)

Samgyetang is a hot chicken soup to boost your energy in the hot summer season. It is made with a young whole chicken stuffed with ginseng, garlic and sweet rice. Samgyetang is a Koreans' favorite energizing food and it is common to have it on sambok(삼복) days; Chobok(초복), Jungbok(중복) and Malbok(말복) which are believed to be the hottest days in Korea.

 

SOUPS AND STEWS

Soups are a common part of any Korean meal. Unlike other cultures, in Korean culture, soup is served as part of the main course rather than at the beginning or the end of the meal, as an accompaniment to rice along with other banchan. Soups known as guk are often made with meats, shellfish and vegetables. Soups can be made into more formal soups known as tang, often served as the main dish of the meal. Jjigae are a thicker, heavier seasoned soups or stews.

 

SOME POPULAR TYPES OF SOUPS

- Malgeunguk (맑은국), are flavored with ganjang. Small amounts of long boiled meat may be added to the soup, or seafood both fresh and dried may be added, or vegetables may be the main component for the clear soup.

- Tojangguk (토장국) are seasoned with doenjang. Common ingredients for tojang guk include seafood such as clams, dried anchovies, and shrimp. For a spicier soup, gochujang is added.

- Gomguk (곰국) or gomtang (곰탕), and they are made from boiling beef bones or cartilage. Originating as a peasant dish, all parts of beef are used, including tail, leg and rib bones with or without meat attached; these are boiled in water to extract fat, marrow, and gelatin to create a rich soup. Some versions of this soup may also use the beef head and intestines. The only seasoning generally used in the soup is salt.

- Naengguk (냉국), which are cold soups generally eaten during the summer months to cool the diner. A light hand is usually used in the seasoning of these soups usually using ganjang and sesame oil.

 

Stews are referred to as jjigae, and are often a shared side dish. Jjigae is often both cooked and served in the glazed earthenware pot (ttukbaegi) in which it is cooked. The most common version of this stew is doenjang jjigae, which is a stew of soybean paste, with many variations; common ingredients include vegetables, saltwater or freshwater fish, and tofu. The stew often changes with the seasons and which ingredients are available. Other common varieties of jjigae contain kimchi (kimchi jjigae) or tofu (sundubu jjigae).

 

KIMCHI

Kimchi refers to often fermented vegetable dishes usually made with napa cabbage, Korean radish, or sometimes cucumber, commonly fermented in a brine of ginger, garlic, scallions, and chili pepper. There are endless varieties with regional variations, and it is served as a side dish or cooked into soups and rice dishes. Koreans traditionally make enough kimchi to last for the entire winter season, as fermented foods can keep for several years. These were stored in traditional Korean mud pots known as Jangdokdae although with the advent of refrigerators, special Kimchi freezers and commercially produced kimchi, this practice has become less common. Kimchi is packed with vitamin A, thiamine B1, riboflavin B2, calcium, and iron. Its main benefit though is found in the bacteria lactobacilli; this is found in yogurt and fermented foods. This bacteria helps with digestion. South Koreans eat an average of 40 pounds of Kimchi each year.

 

NOODLES

Noodles or noodle dishes in Korean cuisine are collectively referred to as guksu in native Korean or myeon in hanja. While noodles were eaten in Korea from ancient times, productions of wheat was less than other crops, so wheat noodles did not become a daily food until 1945. Wheat noodles (milguksu) were specialty foods for birthdays, weddings or auspicious occasions because the long and continued shape were thought to be associated with the bliss for longevity and long-lasting marriage.

 

In Korean traditional noodle dishes are onmyeon or guksu jangguk (noodles with a hot clear broth), naengmyeon (cold buckwheat noodles), bibim guksu (cold noodle dish mixed with vegetables), kalguksu (knife-cut noodles), kongguksu (noodles with a cold soybean broth), japchae (cellophane noodles made from sweet potato with various vegetables) and others. In royal court, baekmyeon (literally "white noodles") consisting of buckwheat noodles and pheasant broth, was regarded as the top quality noodle dish. Naengmyeon with a cold soup mixed with dongchimi (watery radish kimchi) and beef brisket broth was eaten in court during summer.

 

- Jajangmyeon, a staple Koreanized Chinese noodle dish, is extremely popular in Korea as fast, take-out food. It is made with a black bean sauce usually fried with diced pork or seafood and a variety of vegetables, including zucchini and potatoes. It is popularly ordered and delivered, like Chinese take-out food in other parts of the world.

- Ramyeon refers to Korean instant noodles similar to ramen.

 

BANCHAN

Banchan is a term referring collectively to side dishes in Korean cuisine. Soups and stews are not considered banchan.

 

Gui are grilled dishes, which most commonly have meat or fish as their primary ingredient, but may in some cases also comprise grilled vegetables or other vegetable ingredients. At traditional restaurants, meats are cooked at the center of the table over a charcoal grill, surrounded by various banchan and individual rice bowls. The cooked meat is then cut into small pieces and wrapped with fresh lettuce leaves, with rice, thinly sliced garlic, ssamjang (a mixture of gochujang and dwenjang), and other seasonings. The suffix gui is often omitted in the names of meat-based gui such as galbi, the name of which was originally galbi gui.

- List of grilled dishes commonly found in Korean cuisine

Jjim and seon (steamed dishes) are generic terms referring to steamed or boiled dishes in Korean cuisine. However, the former is made with meat or seafood-based ingredients marinated in gochujang or ganjang while seon is made with vegetable stuffed with fillings.

- List of steamed dishes commonly found in Korean cuisine

Hoe (raw dishes): although the term originally referred to any kind of raw dish, it is generally used to refer to saengseonhweh (생선회, raw fish dishes). It is dipped in gochujang, or soy sauce with wasabi, and served with lettuce or perilla leaves.

- List of raw dishes commonly found in Korean cuisine

Jeon (or buchimgae) are savory pancakes made from various ingredients. Chopped kimchi or seafood is mixed into a wheat flour-based batter, and then pan fried. This dish tastes best when it is dipped in a mixture of soy sauce, vinegar, and red pepper powder.

- List of jeon dishes commonly found in Korean cuisine

Namul may be used to refer to either saengchae (생채, literally "fresh vegetables") or sukchae (숙채, literally "heated vegetables"), although the term generally indicates the latter. Saengchae is mostly seasoned with vinegar, chili pepper powder and salt to give a tangy and refreshing taste. On the other hand, sukchae (숙채) is blanched and seasoned with soy sauce, sesame oil, chopped garlic, or sometimes chili pepper powder.

- List of namul dishes commonly found in Korean cuisine

Anju (side dishes accompanying alcoholic beverages)

Anju is a general term for a Korean side dish consumed with alcohol. Some examples of anju include steamed squid with gochujang, assorted fruit, dubu kimchi (tofu with kimchi), peanuts, odeng/ohmuk, sora (소라) (a kind of shellfish popular in street food tents), and nakji (small octopus). Soondae is also a kind of anju, as is samgyeopsal, or dwejigalbi, or chicken feet. Most Korean foods may be served as anju, depending on availability and the diner's taste. However, anju is considered different from the banchan served with a regular Korean meal. Jokbal is pig's leg served with saeujeot (salted fermented shrimp sauce).

 

BEVERAGES

NONALCOHOLICBEVERAGES

All Korean traditional nonalcoholic beverages are referred to as eumcheong or eumcheongnyu (음청류 飮淸類) which literally means "clear beverages". According to historical documents regarding Korean cuisine, 193 items of eumcheongnyu are recorded. Eumcheongnyu can be divided into the following categories: tea, hwachae (fruit punch), sikhye (sweet rice drink), sujeonggwa (persimmon punch), tang (탕, boiled water), jang (장, fermented grain juice with a sour taste), suksu (숙수, beverage made of herbs), galsu (갈수, drink made of fruit extract, and Oriental medicine), honeyed water, juice and milk by their ingredient materials and preparation methods. Among the varieties, tea, hwachae, sikhye, and sujeonggwa are still widely favored and consumed; however, the others almost disappeared by the end of the 20th century.

 

In Korean cuisine, tea, or cha, refers to various types of herbal tea that can be served hot or cold. Not necessarily related to the leaves, leaf buds, and internodes of the Camellia sinensis plant, they are made from diverse substances, including fruits (e.g. yujacha), flowers (e.g. gukhwacha), leaves, roots, and grains (e.g. boricha, hyeonmi cha) or herbs and substances used in traditional Korean medicine, such as ginseng (e.g. Insam cha) and ginger (e.g. saenggang cha).

 

ALCOHOLIC BEVERAGES

While soju is the best known liquor, there are well over 100 different alcoholic beverages, such as beers, rice and fruit wines, and liquors produced in South Korea as well as a sweet rice drink. The top-selling domestic beers (the Korean term for beer being maekju) are lagers, which differ from Western beers in that they are brewed from rice, rather than barley. Consequently, Korean beers are lighter, sweeter and have less head than their Western counterparts. The South Korean beer market is dominated by the two major breweries: Hite and OB. Taedonggang is a North Korean beer produced at a brewery based in Pyongyang since 2002. Microbrewery beers and bars are growing in popularity after 2002.

 

Soju is a clear spirit which was originally made from grain, especially rice, and is now also made from sweet potatoes or barley. Soju made from grain is considered superior (as is also the case with grain vs. potato vodka). Soju is around 22% ABV, and is a favorite beverage of hard-up college students, hard-drinking businessmen, and blue-collar workers.

 

Yakju is a refined pure liquor fermented from rice, with the best known being cheongju. Takju is a thick unrefined liquor made with grains, with the best known being makgeolli, a white, milky rice wine traditionally drunk by farmers.

 

In addition to the rice wine, various fruit wines and herbal wines exist in Korean cuisine. Acacia, maesil plum, Chinese quince, cherry, pine fruits, and pomegranate are most popular. Majuang wine (a blended wine of Korean grapes with French or American wines) and ginseng-based wines are also available

 

SWEETS

Traditional rice cakes, tteok and Korean confectionery hangwa are eaten as treats during holidays and festivals. Tteok refers to all kinds of rice cakes made from either pounded rice (메떡, metteok), pounded glutinous rice (찰떡, chaltteok), or glutinous rice left whole, without pounding. It is served either filled or covered with sweetened mung bean paste, red bean paste, mashed red beans, raisins, a sweetened filling made with sesame seeds, sweet pumpkin, beans, jujubes, pine nuts or honey). Tteok is usually served as dessert or as a snack. Among varieties, songpyeon is a chewy stuffed tteok served at Chuseok. Honey or another soft sweet material such as sweetened sesame or black beans are used as fillings. Pine needles can be used for imparting flavor during the steaming process. Yaksik is a sweet rice cake made with glutinous rice, chestnuts, pine nuts, jujubes, and other ingredients, while chapssaltteok is a tteok filled with sweet bean paste.

 

On the other hand, hangwa is a general term referring to all types of Korean traditional confectionery. The ingredients of hahngwa mainly consist of grain flour, honey, yeot, and sugar, or of fruit and edible roots. Hangwa is largely divided into yumilgwa (fried confectionery), suksilgwa, jeonggwa, gwapyeon, dasik (tea food) and yeot. Yumilgwa is made by stir frying or frying pieces of dough, such as maejakgwa and yakgwa. Maejakgwa is a ring-shaped confection made of wheat flour, vegetable oil, cinnamon, ginger juice, jocheong, and pine nuts, while yakgwa, literally "medicinal confectionery", is a flower-shaped biscuit made of honey, sesame oil and wheat flour.

 

Suksilgwa is made by boiling fruits, ginger, or nuts in water, and then forming the mix into the original fruit's shape, or other shapes. Gwapyeon is a jelly-like confection made by boiling sour fruits, starch, and sugar. Dasik, literally "eatery for tea", is made by kneading rice flour, honey, and various types of flour from nuts, herbs, sesame, or jujubes. Jeonggwa, or jeongwa, is made by boiling fruits, plant roots and seeds in honey, mulyeot (물엿, liquid candy) or sugar. It is similar to marmalade or jam/jelly. Yeot is a Korean traditional candy in liquid or solid form made from steamed rice, glutinous rice, glutinous kaoliang, corn, sweet potatoes or mixed grains. The steamed ingredients are lightly fermented and boiled in a large pot called sot (솥) for a long time.

 

REGIONAL AND VARIANT CUISINES

Korean regional cuisines (Korean: hyangto eumsik, literally "native local foods") are characterized by local specialties and distinctive styles within Korean cuisine. The divisions reflected historical boundaries of the provinces where these food and culinary traditions were preserved until modern times.

 

Although Korea has been divided into two nation-states since 1948 (North Korea and South Korea), it was once divided into eight provinces (paldo) according to the administrative districts of the Joseon Dynasty. The northern region consisted of Hamgyeong Province, Pyeongan Province and Hwanghae Province. The central region comprised Gyeonggi Province, Chungcheong Province, and Gangwon Province. Gyeongsang Province and Jeolla Province made up the southern region.

 

Until the late 19th century, transportation networks were not well developed, and each provincial region preserved its own characteristic tastes and cooking methods. Geographic differences are also reflected by the local specialty foodstuffs depending on the climate and types of agriculture, as well as the natural foods available. With the modern development of transportation and the introduction of foreign foods, Korean regional cuisines have tended to overlap and integrate. However, many unique traditional dishes in Korean regional cuisine have been handed down through the generations.

 

BUDDHIST CUISINE

Korean temple cuisine originated in Buddhist temples of Korea. Since Buddhism was introduced into Korea, Buddhist traditions have strongly influenced Korean cuisine, as well. During the Silla period (57 BCE – 935 CE), chalbap (찰밥, a bowl of cooked glutinous rice) yakgwa (a fried dessert) and yumilgwa (a fried and puffed rice snack) were served for Buddhist altars and have been developed into types of hangwa, Korean traditional confectionery. During the Goryeo Dynasty, sangchu ssam (wraps made with lettuce), yaksik, and yakgwa were developed, and since spread to China and other countries. Since the Joseon Dynasty, Buddhist cuisine has been established in Korea according to regions and temples.

 

On the other hand, royal court cuisine is closely related to Korean temple cuisine. In the past, when the royal court maids, sanggung, who were assigned to Suragan (hangul: 수라간; hanja: 水剌間; the name of the royal kitchen), where they prepared the king's meals, became old, they had to leave the royal palace. Therefore, many of them entered Buddhist temples to become nuns. As a result, culinary techniques and recipes of the royal cuisine were integrated into Buddhist cuisine.

 

VEGETARIAN CUISINE

Vegetarian cookery in Korea may be linked to the Buddhist traditions that influenced Korean culture from the Goryeo dynasty onwards. There are hundreds of vegetarian restaurants in Korea, although historically they have been local restaurants that are unknown to tourists. Most have buffets, with cold food, and vegetarian kimchi and tofu being the main features. Bibimbap is a common vegan dish. Menus change with seasons. Wine with the alcohol removed and fine teas are also served. The Korean tea ceremony is suitable for all vegetarians and vegans, and began with Buddhist influences. All food is eaten with a combination of rather slippery stainless steel oval chopsticks and a long-handled shallow spoon called together sujeo.

 

CEREMONIAL FOOD

Food is an important part of traditions of Korean family ceremonies, which are mainly based on the Confucian culture. Gwan Hon Sang Je (관혼상제; 冠婚喪祭), the four family ceremonies (coming-of-age ceremony, wedding, funeral, and ancestral rite) have been considered especially important and elaborately developed, continuing to influence Korean life to these days. Ceremonial food in Korea has developed with variation across different regions and cultures.

 

For example, rituals are mainly performed on the anniversary of deceased ancestors, called jesa. Ritual food include rice, liquor, soup, vinegar and soy sauce (1st row); noodles, skewered meat, vegetable and fish dishes, and rice cake (2nd row); three types of hot soup, meat and vegetable dishes (3rd row); dried snacks, kimchi, and sweet rice drink (4th row); and variety of fruit (5th row).

 

ETIQUETTE

DINING

Dining etiquette in Korea can be traced back to the Confucian philosophies of the Joseon period. Guidebooks, such as Sasojeol (士小節, Elementary Etiquette for Scholar Families), written in 1775 by Yi Deokmu (이덕무; 李德懋), comment on the dining etiquette for the period. Suggestions include items such as "when you see a fat cow, goat, pig, or chicken, do not immediately speak of slaughtering, cooking or eating it", "when you are having a meal with others, do not speak of smelly or dirty things, such as boils or diarrhea," "when eating a meal, neither eat so slowly as to appear to be eating against your will nor so fast as if to be taking someone else's food. Do not throw chopsticks on the table. Spoons should not touch plates, making a clashing sound", amongst many other recommendations which emphasized proper table etiquette.

 

The eldest male at the table was always served first, commonly served to them in the men's quarters by the women of the house. Women usually dined in a separate portion of the house after the men were served. The eldest men or women always ate before the younger family members. The meal was usually quiet, as conversation was discouraged during meals. In modern times, these rules have become lax, as families usually dine together now and use the time to converse. Of the remaining elements of this decorum, one is that the younger members of the table should not pick up their chopsticks or start eating before the elders of the table or guests and should not finish eating before the elders or guests finish eating.

 

In Korea, unlike in China, Japan and Vietnam, the rice or soup bowl is not lifted from the table when eating from it. This is due to the fact that each diner is given a metal spoon along with the chopsticks known collectively as sujeo. The use of the spoon for eating rice and soups is expected. There are rules which reflect the decorum of sharing communal side dishes; rules include not picking through the dishes for certain items while leaving others, and the spoon used should be clean, because usually diners put their spoons in the same serving bowl on the table. Diners should also cover their mouths when using a toothpick after the meal.

 

The table setup is important as well, and individual place settings, moving from the diner's left should be as follows: rice bowl, spoon, then chopsticks. Hot foods are set to the right side of the table, with the cold foods to the left. Soup must remain on the right side of the diner along with stews. Vegetables remain on the left along with the rice, and kimchi is set to the back while sauces remain in the front.

 

DRINKING

The manner of drinking alcoholic drinks at dining is significant in Korean dining etiquette. Each diner is expected to face away from the eldest male and cover his mouth when drinking alcohol. According to Hyang Eum Ju Rye (향음주례; 鄕飮酒禮), the drinking etiquette established in Choseon Dynasty, it is impolite for a king and his vassal, a father and his son, or a teacher and his student to drink face to face. Also, a guest should not refuse the first drink offered by host, and in the most formal situations, the diner should politely refuse twice a drink offered by the eldest male or a host. When the host offers for the third time, then finally the guest can receive it. If the guest refuses three times, drink is not to be offered any more.

 

HISTORY

PREHISTORIC

In the Jeulmun pottery period (approximately 8000 to 1500 BCE), hunter-gatherer societies engaged in fishing and hunting, and incipient agriculture in the later stages. Since the beginning of the Mumun pottery period (1500 BCE), agricultural traditions began to develop with new migrant groups from the Liao River basin of Manchuria. During the Mumun period, people grew millet, barley, wheat, legumes and rice, and continued to hunt and fish. Archaeological remains point to development of fermented beans during this period, and cultural contact with nomadic cultures to the north facilitated domestication of animals.

 

THREE KINGDOMS PERIOD

The Three Kingdoms period (57 BCE – 668 CE) was one of rapid cultural evolution. The kingdom of Goguryeo (37 BCE – 668 CE) was located in the northern part of the peninsula along much of modern-day Manchuria. The second kingdom, Baekje (18 BCE – 660 CE), was in the southwestern portion of the peninsula, and the third, Silla (57 BCE – 935 CE), was located at the southeastern portion of the peninsula. Each region had its own distinct set of cultural practices and foods. For example, Baekje was known for cold foods and fermented foods like kimchi. The spread of Buddhism and Confucianism through cultural exchanges with China during the fourth century CE began to change the distinct cultures of Korea.

 

GORYEO PERIOD

During the latter Goryeo period, the Mongols invaded Goryeo in the 13th century. Some traditional foods found today in Korea have their origins during this period. The dumpling dish, mandu, grilled meat dishes, noodle dishes, and the use of seasonings such as black pepper, all have their roots in this period.

 

JOSEON PERIOD

Agricultural innovations were significant and widespread during this period, such as the invention of the rain gauge during the 15th century. During 1429, the government began publishing books on agriculture and farming techniques, which included Nongsa jikseol (literally "Straight Talk on Farming"), an agricultural book compiled under King Sejong.

 

A series of invasions in the earlier half of the Joseon caused a dynamic shift in the culture during the second half of the period. Groups of silhak ("practical learning") scholars began to emphasize the importance of looking outside the country for innovation and technology to help improve the agricultural systems. Crops from the New World began to appear, acquired through trade with China, Japan, Europe, and the Philippines; these crops included corn, sweet potatoes, chili peppers, tomatoes, peanuts, and squash. Potatoes and sweet potatoes were particularly favored as they grew in soils and on terrains that were previously unused.

 

Government further developed agriculture through technology and lower taxation. Complex irrigation systems built by government allowed peasant farmers to produce larger crop volumes and produce crops not only for sustenance but also as cash crops. Reduced taxation of the peasantry also furthered the expanded commerce through increasing periodic markets, usually held every five days. One thousand such markets existed in the 19th century, and were communal centers for economic trade and entertainment.

 

ROYAL COURT CUISINE

Collectively known as gungjung eumsik during the pre-modern era, the foods of the royal palace were reflective of the opulent nature of the past rulers of the Korean peninsula. This nature is evidenced in examples as far back as the Silla kingdom, where a man-made lake (Anapji Lake, located in Gyeongju), was created with multiple pavilions and halls for the sole purpose of opulent banquets, and a spring fed channel, Poseokjeong, was created for the singular purpose of setting wine cups afloat while they wrote poems.

 

Reflecting the regionalism of the kingdoms and bordering countries of the peninsula, the cuisine borrowed portions from each of these areas to exist as a showcase. The royalty would have the finest regional specialties and delicacies sent to them at the palace. Although there are records of banquets predating the Joseon period, the majority of these records mostly reflect the vast variety of foods, but do not mention the specific foods presented. The meals cooked for the royal family did not reflect the seasons, as the commoner's meals would have. Instead, their meals varied significantly day-to-day. Each of the eight provinces was represented each month in the royal palace by ingredients presented by their governors, which gave the cooks a wide assortment of ingredients to use for royal meals.

 

Food was considered significant in the Joseon period. Official positions were created within the Six Ministries (Yukjo, 육조) that were charged with all matters related to procurement and consumption of food and drink for the royal court. The Board of Personnel (Ijo, 이조) contained positions specific for attaining rice for the royal family. The Board of Rights (Yejo) were responsible for foods prepared for ancestor rites, attaining wines and other beverages, and medicinal foods. There were also hundreds of slaves and women who worked in the palace that had tasks such as making tofu, liquor, tea, and tteok (rice cakes). The women were the cooks to the royal palace and were of commoner or low-born families. These women would be split into specific skill sets or "bureau" such as the bureau of special foods (Saenggwa-bang, 생과방) or the bureau of cooking foods (Soju-bang, 소주방). These female cooks may have been assisted by male cooks from outside the palace during larger banquets when necessary.

 

Five meals were generally served in the royal palace each day during the Joseon period, and records suggest this pattern had existed from antiquity. Three of these meals would be full meals, while the afternoon and after dinner meals would be lighter. The first meal, mieumsang (미음상), was served at sunrise and was served only on days when the king and queen were not taking herbal medicines. The meal consisted of rice porridge (juk, 죽) made with ingredients such as abalone (jeonbokjuk), white rice (huinjuk), mushrooms (beoseotjuk), pine nuts (jatjuk), and sesame (kkaejuk).

 

The sura (수라) were the main meals of the day. Breakfast was served at ten in the morning, and the evening meals were served between six and seven at night. The set of three tables (surasang, 수라상), were usually set with two types of rice, two types of soup, two types of stew (jjigae), one dish of jjim (meat stew), one dish of jeongol (a casserole of meat and vegetables), three types of kimchi, three types of jang (장) and twelve side dishes, called 12 cheop (12첩). The meals were set in the suragan (수라간), a room specifically used for taking meals, with the king seated to the east and the queen to the west. Each had their own set of tables and were attended by three palace servant women known as sura sanggung (수라상궁). These women would remove bowl covers and offer the foods to the king and queen after ensuring the dishes were not poisoned.

 

Banquets (궁중 연회 음식) were held on special occasions in the Korean Royal Palace. These included birthdays of the royal family members, marriages, and national festivals, including Daeborum, Dano, Chuseok, and Dongji. Banquet food was served on individual tables which varied according to the rank of the person. Usually banquet food consisted of ten different types of dishes. Main dishes were prepared based on the seasonal foods. Main dishes of the banquet included sinseollo, jeon, hwayang jeok, honghapcho, nengmyun and mulgimchi. A typical banquet ingredient was chogyetang (chicken broth with vinegar), which was prepared with five different chickens, five abalones, ten sea cucumbers, twenty eggs, half a bellflower root, mushrooms, two cups of black pepper, two peeled pine nuts, starch, soy sauce and vinegar. Yaksik was a favorite banquet dessert.

 

WIKIPEDIA

 

Title: It! The Terror From Beyond Space

Year Of Release: 1958

Running Time: 69 minutes

DVD Released By: MGM Home Entertainment

Directed By: Edward L. Cahn

Writing Credits: Jerome Bixby

Starring: Marshall Thompson, Shawn Smith, Kim Spalding, Ann Doran, Dabbs Greer, Paul Langton, Robert Bice

Taglines:

1. It breathes, it hunts…It Kills!

2. IT!...Reaches through space!...Scoops up men and women!...Gorges on blood!

3. The revelation shocker of things to come!

Alternate Titles:

It! The Vampire from Beyond Space (1958)

The Terror from Beyond Space (1958).

Review Date: 12.12.04 (updated 1.1.10)

 

The film opens with a thundering musical theme and a title that threatens to bust out of the screen and into our third spatial dimension. After the credits end, we get a view of the Martian surface. In the distance we see the wreckage of a crashed rocket ship. A voice belonging to Colonel Edward Carruthers begins to narrate, relating how the ship he commanded cracked up on landing six months previously and how he is now the only survivor from that doomed expedition, the crew encountering some strange force on the Red planet they came to know only as death. The camera slowly pans over the landscape and a second rocket ship is revealed, albeit intact and standing erect. Carruthers says that he will now be going back to face his superiors on Earth and possibly another kind of death.

Now we see the capitol building in Washington D.C., which quickly fades to a door marked, “Science advisory committee. Division of interplanetary exploration.” No doubt down the hall are the offices for the division on Radiation-Enlarged Insects and Lizards. Inside this room a government official is conducting a press conference and releasing information on the second rocket ship sent to Mars. He talks about how Colonel Carruthers has been found alive, but is the only survivor from the initial expedition. The Colonel will be returned to Earth to face trial for the murders of the rest of the first ship’s crew.

Back on Mars, we see the Challenge-142 preparing to lift off. Before they can depart, Van Heusen notices an open compartment. It seems Lt. Calder was dumping some crates (littering) and forgot to close it. The open hatch is closed remotely, but as it slides shut, an ominous shadow moving about nearby alerts us to the fact that something has managed to get aboard while it was open. We hear a few growls and even get a close up of IT’s feet as it moves about. I gotta say, this guy needs some serious corrective footwear. Talk about a slewfoot! What is even more hilarious is that the shadow we see on the wall seems to be made by the actor in the monster suit, but not the monster mask. His facial features seem pretty clear in silhouette.

After a name check, Van Heusen begins the launch countdown at ten, while strapped into what appears to be a lawn chair! Where was the budget blown for this ship? No trash recycling systems and cheap chairs! The contractor must have spent it somewhere, but it obviously wasn’t on this ship!

Once in space and safely on the way home, Van Heusen (who will henceforth be referred to simply as Van – some of the characters did it, why not me) begins acting like an asshole, ridiculing Carruther’s story of a monster. He tells Carruthers (seemingly with great delight) that they have enough evidence to put him in front of a firing squad. They head up one level and Van shows him a human skull they found on the surface of Mars. Dental records revealed it to be a Frank Kenner, one of Carruther’s crew. The skull has an obvious bullet hole in it and Van says, “There’s only one kind of a monster that uses bullets.” There is an ominous musical cue. Carruthers walks away and the film fades out.

 

Sometime later the crew is cleaning up after a meal. Correction: the women are cleaning up after a meal. Yes, in this futuristic year of 1973, women – despite being doctors and presumably vital members of the crew – are still assigned the laborious task of cleaning up after meals and making sure all the lazy, fat-ass males have fresh, hot coffee in their cups and are supplied with cigarettes. I wonder if these guys made them cook the meal as well.

So this group has finished a meal and are relaxing. The usual light banter is exchanged before the topic of Colonel Carruthers and his monster comes up. Royce (the other Royce will always be referred to as Doctor Royce for purposes of this review) says that he doesn’t disbelieve or believe the story. Along about that time Carruthers arrives and is greeted with a smart-ass comment from Van. He gets some coffee from Ann and retreats back up one level. Van then states that before they reach Earth, he will have Carruthers’ confession on tape. What is he going to do, beat it out of him?

Some more time passes and Ann brings Carruthers a plate of food. She admits that she has only heard the story of what happened to the crew of the Challenge-141 from Van and would like to hear it straight from Carruthers. He relates to her how they landed, went out exploring and then got caught in a sandstorm. Something in the storm began taking the crew and in the confusion shots were fired, one apparently killing Kenner by mistake. Carruthers was the only one who made it back to the ship. Subsequent searches turned up no signs of his crew or the thing that took them.

Van continues to act like a dick. Ann - with whom he seems to have some sort of relationship beyond work - tells him that he owes it to Carruthers to treat him like a fellow officer and not an animal, and that it is not his place to decide whether he is guilty.

More time passes. Royce and Carruthers are playing chess while Van looks on, smoking a cigarette. Calder is nearby scribbling in a notebook – probably “I won’t leave outer hatches open before lift-off” a hundred times, enforced by Van for his lamebrain mistake. Elsewhere, Keinholz is sitting alone at a desk, looking bored. He hears their stowaway bumbling around the cargo hold. He goes to investigate and is killed, the attack shown as shadows on a wall. The monster lifts Keinholz over his head and brings him smashing to the floor, where he proceeds to pelt the unfortunate crewmen with a barrage of blows…or in this case, cartwheeling its arms and bitch-slapping the guy to death.

Above, Carruthers has heard the commotion and wonders what is going on. No one else seems to have heard anything. He still insists on performing a head count and when Keinholz comes up missing, everyone begins searching the ship for him. While everyone is split up, Gino Finelli is captured by the beast when he stops to pilfer some cigarettes from a storage locker.

 

Everyone convenes again and Van is in disbelief as there just isn’t a place on the ship a man could hide. Carruthers asks where Gino is and Bob says that he was right behind him. He looks back down the ladder to the deck below and calls out to Gino, but all is silent below. He, Van and Carruthers all go back down where they find Gino’s unused cigarette on the floor, but no Gino. Now everyone is calling out for Gino in addition to Keinholz. Soon after, Keinholz’s body is located in an air duct.

Everyone comes running and arrives as Keinholz is removed from the duct. Bob wonders if Gino is inside the duct, but Carruthers looks and sees nothing. Major Purdue volunteers to go in to look for Gino as he claims to know the layout. He crawls on in, but doesn’t see anything at first. Then he re-orients himself and sees Gino at the end of the passage. Gino is looking pretty bad, like he was in a fight with an Avon lady who applied her make-up samples to him. Purdue yells out that he found Gino and begins to crawl toward him. He shakes Gino, trying to rouse him but Gino just shakes his head limply. Then there is a shadowy movement nearby and IT arrives on the scene, no doubt pissed to find someone playing with his food. IT growls and claws at Purdue, who screams before pulling out a revolver and squeezing off a few shots. This makes the monster roar and outside in the storage room, Carruther’s face is one of dread – he knows that roar all too well, it seems.

Purdue comes barreling out of the duct and Carruthers sneaks a glance inside before he and Van replace the cover over the entrance. Bob, naturally has a fit, upset that his brother is being left behind. He is removed by Royce and Carruthers yells to the cowering women to run and get a head start. A head start for where? You’re on a spaceship, not the open plains of Iowa. Carruthers then spots a crate of grenades and suggests that they wire them up to the hatches, thus blowing IT up if it decides to leave the duct. So Van, Carruthers and Calder wire up these grenades, then gather up Keinholz’s body (which seemed to magically aid them in picking itself off the floor) and retreat to one of the upper levels.

Next we see a table loaded with guns, rifles and ammunition. It looks like a NRA convention! It is at this point that I must point out the sheer stupidity of these people. They are on a spaceship, which is traveling through the vacuum of space. Rupturing the hull of the ship in any way would be extraordinarily bad. I’d imagine that great pains would be taken to minimize the chances that such an event ever took place. Yet these fools insist on firing projectile weapons within the confines of the ship. Not only that, but they have grenades ready to detonate below. Now, what kind of tests did these people have to pass in order to be selected for this mission? Cuz smarts don’t seem to be a requisite. Not once does any one of them stop to consider the chances that such an explosion might actually harm the bloody ship! No, they just fire away. Either these people are colossal idiots, or they are confident in the construction and engineering of the ship – but given the lawn chairs adorning the place, I would not exactly be willing to bet my life on the latter possibility.

So the men are taking stock of the weapons while the ladies apply the most idiotic looking bandage to Purdue’s head. Royce tries to console Bob by telling him there was nothing they could have done for Gino, but Bob is pissed that they didn’t even try to rescue his brother.

Meanwhile, Van is asking Carruthers if he knows what IT is. This must have just galled the guy to no end. Here he was all ready to break Carruthers and get a confession, and now he must admit that the other man was right all along. Time passes and the gang is pacing up and down, waiting for IT to leave the ducts and trip the grenade trap. They all gather around the intercom and listen as IT busts through the grate covering the duct and sets off the grenades. All those grenades detonate and we are treated to an explosion that looks like it was made by a box of firecrackers.

 

They still hear the monster growling, so they know that the plan has failed. Without a word, they hoist their firearms, open the central stair hatch and head down to investigate further…well, all the guys do. The women stay up above, no doubt prepping coffee. The guys gather around the door to C and open it up. A lot of smoke passes through the doorway, obscuring their vision. Calder, who is carrying the biggest gun, goes in first. Well, actually Van was in the lead, but when he couldn’t get the lights activated, he motions for Calder to go first. Chickenshit bastard. Calder barely gets through the door when IT lunges out of the smoke, grabs his rifle and bends it, Superman-style, over its head. Calder, Royce and Bob then run like hell up the stairs while Van and Carruthers fire their pistols at the beast. They retreat up the stairs, firing all the way, while IT tears the door to C compartment open wide enough to get through. Once safely up the stairs, the crew closes the central stair hatch.

Next gas grenades are used in an attempt to kill the beast. This fails to work as well and Van comes out of the engagement with an injured foot, scraped up something bad when the monster grabbed him.

Dr. Royce has completed the autopsy on Keinholz, discovering that “there is not a molecule of oxygen or a drop of water” left in his body. Blood, bone marrow, glandular secretions – everything, is gone. She theorizes that since there are no puncture marks on the body, that this was accomplished through some type of osmosis process. Keep in mind that the Human body is sixty to seventy percent water. Now, we got a pretty good view of the dead Keinholz earlier. Sure, his body was shriveled, but if all the moisture in his body had been removed, then would not he have looked more like a dried up prune, and been the size of a cabbage patch doll? Van Heusen hasn’t joined the cadaver club yet, though his wound is infected and nothing Dr. Royce can do helps it any.

They open the central hatch and peer down. IT is two levels down, but they can see it breaking through the center hatch onto the level directly below them, which will grant it access to the next level. They realize that if IT can get through the center hatches, they are royally SCREWED. Ann approaches Carruthers and tells him that he was right and they were all wrong. They hold hands and share a Kodak moment.

 

Royce pipes in about now with an idea he and Bob have worked out. He proposes that two men exit through the control room airlock and then space walk down the side of the ship and re-enter through the airlock on the motor level – below the current location of the creature. This would enable them to surprise the monster, but they aren’t sure what to surprise it with. Carruthers says he’s been thinking and has an idea, so he and Calder suit up and make their way down the hull to the bottom of the ship. They reach the airlock on the motor level and the others above begin talking loud at the proper time, distracting the monster from what is occurring below it. Carruthers and Calder sneak out onto the motor level and set an electrical trap on the stairs that lead to the upper level where IT is located.

 

The two then take cover behind some induction pumps and open the center hatch, which is noticed by the creature. It begins to descend the stairs and when it gets to the appropriate spot – ZAP. Nothing. The monster is not affected. Carruthers is able to make it safely to the airlock, but Calder takes a blow to the head that tears his vinyl “helmet” and stumbles back, his foot getting caught and the fall breaking his leg. He fires up an acetylene torch and uses it to fend off the monster every time it gets to close to his hiding spot.

Carruthers returns to the others where they try and think of a way to rescue Calder, who can be heard over the radio. Meanwhile the Doctor approaches Royce and tells him that the alien bacteria are attacking bone marrow, resulting in a leukemia-type condition. The drugs she has been using are working too slowly and she needs fresh blood to keep Van and Purdue alive – but there is no more on this level. They will need to descend to the cargo level and retrieve some more.

Royce is preparing to make a run for the blood and Bob decides that it his “turn” now to go. What is this, a ride? I suppose he feels the need to do something in helping kill the monster that murdered his brother. Carruthers decides to accompany them. Calder promises to keep them apprised of the creature’s movements via the intercom. A shadow on the wall tells us that IT is still dragging dead Gino around, and has wandered into the reactor room. After Calder reports this, it gives Carruthers an idea. He remotely closes the reactor room door and asks Calder what the monster does. When no odd behavior is reported, the three men make their descent in search of the blood supply.

 

Meanwhile Van has awoken again and is trying to get up from his cot. The women try to restrain him but he yells and pushes past them. He has an idea – by unsealing the reactor, the radiation will kill the monster. He flips some controls while the ladies still try and talk sense into him. In the reactor room, the creature is banging on the door to get out when the reactor is unsealed and it gets a face full of radiation. The women call down to warn the men what has happened, inciting Carruthers and Royce to speed things up. Below, Bob is helping Calder up the stairs when IT breaks out of the reactor room. Calder dives back into his hiding spot and Bob fires off his pistol at the beast. He then tries to run up the stairs, but IT is too fast. The monster reaches up and grabs him, pulling him down to the floor and bitch-slapping him to death. Royce and Carruthers haul ass back up the stairs with the blood, having to leave Bob behind. They get back to the laboratory level and then everyone heads on up to the topmost level – the control room.

Everyone is now huddled on the highest level. For some IDIOTIC reason, Carruthers is carrying a bazooka. A bazooka! They pile some heavy crates over the hatch in the floor, hoping to keep IT from busting up through the opening. Nearby Ann and Van are talking and the ever more disconcerted Colonel is remarking on Ann is now “with” Carruthers and how it happened out of the blue. She tries to dismiss it and wants to talk about it later, but he insists that there may be no later considering how their situation is degenerating rapidly. She walks off to help Carruthers and Van continues to mutter to Dr. Royce.

  

They contact Calder down below, who is still alive. He can see the monster still bumbling around on the motor level. About now IT has decided to find out where everyone else has gone. IT ascends the stairs to the first storage level and begins banging around. Calder warns Carruthers that IT is on its way up. The gang up top makes ready, turning the lights off and preparing for the last fight. Carruthers tells Calder to make his way to the airlock now that IT is no longer nearby and hide there. Then Carruthers picks up the bazooka again and aims it at the hatch.

While waiting, Carruthers happens to glance at a dial on a nearby instrument panel and notices that the oxygen consumption on the ship is far in excess of what it should be. He points this out to Royce and the two theorize that it is due to the monster. With the thin air on Mars it would need a gigantic lung capacity and has thus been hogging all the oxygen on the ship with its Darth Vader breathing style. Carruthers suggest letting all the air out of the ship to kill it. Royce agrees, saying they can build it back up for themselves later.

 

A mad rush is on now, everyone trying to get into his or her space suit. The monster tears his way up onto the laboratory level, doesn’t even hesitate and then heads up the latter to the top level. IT bangs on the hatch, causing all the boxes sitting atop it to topple over, and then IT peels back the metal of the hatch like wrapping paper and pokes up through the opening like a jack-in-the-box. Everyone has their spacesuits on now, but Carruthers cannot reach the controls to release the air because the monster is in the way. He calls to Royce, who is now holding the bazooka, to drive it back down so he can make his way to the proper control panel. Royce fires the bazooka, but the rocket just bounces off the monster before bouncing around the floor some. No detonation at all! It must have been a dud. Carruthers is trying to reach the controls, but the monster is preventing him from getting too close. Van then jumps up, runs to the controls and hits the correct button. The airlock doors open and the air begins rushing out. The monster has grabbed Van and no doubt given him the squish treatment, as when next we see Van, he is stretched out on the floor.

The ship begins diving. Well, not really…but given that the emergency klaxon blaring away to warn everyone of decompression and air loss sounds just like the diving bell in some old WWII movie, and one can see why it seems like the ship is diving. Everyone hangs on for dear life. Papers start flying around the room, but very few actually get blown out the airlock. The monster growls, writhes around and finally stops moving as the last of the air is removed. Carruthers checks on both IT and Van, but both are still and quiet. I have to wonder how Van didn’t get blown out. Everyone was hanging on, but Van was out cold (or dead). It seems the monster is finally dead. Everyone seems relieved, and the camera zooms in on Ann and Carruthers as they hold hands before fading out…

…Into ANOTHER freakin’ shot of the ship flying through space (number nine). This fades into the room in Washington D.C. that we saw at the very beginning of the film. The same government official is conducting another press release. He has more information to add to the story he gave to the reporters the previous evening. He reads a message from the Challenge-142 received less than an hour ago:

“This is Eric Royce talking. Of the nineteen men and women who have set foot upon the planet Mars, six will return.”

Six? Let’s see…Carruthers, Ann, Royce, Dr. Royce, Purdue and…Calder, I suppose. Calder was hiding in the airlock on the motor level while Van Heusen got beat up by the monster and was laying there pretty still at the end, so I guess he was the one who died. The message continues:

“There is no longer a question of murder, but of an alien and elemental lifeforce. A planet so cruel, so hostile, that man may have to find it necessary to bypass it in his endeavor to explore and understand the universe.”

 

Well, at least Carruthers has been cleared, but Royce makes out like the planet Mars is so damn dangerous. Excuse me, but were not you guys all safe until you got back on the ship? The planet seemed pretty harmless. It is the native life that proved to be so deadly. Big difference. The message (and the movie) concludes:

“Another name for Mars…is death.”

Fade out. The End.

   

Structurally, this movie is most similar to The Thing From Another World in that it deals with a small group of people trapped struggling to prevail against a deadly organism from another planet bound and determined to make a snack of them all. Aside from the opening and closing segments set on Earth (which most people conclude were added in order to stretch out the film’s running time) the movie never leaves the crew of the Challenge-142. Once things get rolling, the movie rarely lets up and moves along at a brisk pace, rapidly pushing its characters through one bad situation and into another. While not as intense as later films would be, the approach taken works very well and the viewer begins to detect the sense of danger and desperation that builds as the film progresses.

Sadly, the character development that was so well executed in the Howard Hawk’s The Thing From Another World, is sorely and quite obviously lacking here. We are quickly introduced to a number of people, who for the most part, will be expanded upon very little and examined only long enough to form the vaguest of impressions. With the exception of Carruthers and Van Heusen, who these people are and what motivates them was just not important to the producers. Those two are plainly set up to be at odds with each other, though the conflict is really all on the part of Van Heusen, who is resolute in his belief of Carruther’s guilt. Yet, the film sets up this adversarial dynamic and goes no where with it. Early on during the monster’s rampage, Van Heusen takes a hit and is restricted to bed for the rest of the film, offering up only smartass remarks and a failed attempt at killing the creature thereafter. I suppose one could say that Van Heusen was shown to be in error when it came to the veracity of Carruthers’ story, and that he was pushed aside to make room for latter to take the lead and redeem himself. There could not be two leaders, so one was removed.

While the characters might not be the most fleshed out in film history, they certainly make up for it with their actions. After viewing this movie, one has to wonder what kind of idiots these people truly were. How they ever graduated from some type of training program and granted a position on a ship to Mars is beyond me. In fact, the entire organization seems lacking. There is just so much that betrays them as morons. Like smoking. These people are nicotine fiends who are lighting up non-stop. Someone missing? Have a smoke. The monster kills someone? Have a smoke. Time running out and death looking certain? Have a freaking smoke! I must say that the Challenge-142 must have one HELL of an air recycling system. These folks have the oxygen scrubbers working overtime with all the smoke they exhale.

On top of that, these guys are gun toting, trigger-happy morons who make the Montana militia groups look like the boy scouts. They start squeezing off rounds at the drop of a hat, no worries about ricocheting bullets or friendly fire. I guess the ship, on top of having a first rate air recycling system, also has the sturdiest hull ever manufactured by mankind. It must have, as these guys don’t give a single thought to accidentally rupturing the hull. And they don’t stop with guns! They haul out grenades by the dozen and detonate them and then move on up to firing a bazooka in their ship’s control room!

 

As far as visual FX are concerned, this film doesn’t have too many. What we do see is adequately done by the standards of the day. The most ambitious shot is the view of Carruthers and Calder walking down the side of the ship as it traverses the stars. Back then it might have looked awesome, but now it is very easy to notice that the actors don’t seem to be covering any ground, despite taking numerous steps as well as the obvious signs of matting them into the footage of the rocket. I’d venture to say that the best looking thing we see, though it is just for a few seconds at the film’s beginning, is the painting that represents the surface of Mars. Sure, it looks nothing like what Mars really looks like, but it is still executed pretty darn well.

 

Now we come to the one aspect that is both one of the best as well as one of the worst things about the movie: The monster. The monster costume is a glaring source of both potential embarrassment and possible fun. The costume is a rather bulky, rubber affair that bends in all the wrong places, heightening the “cheese” factor and lending a certain air of ridiculousness to the film. The way it lumbers, stumbles and plods around the ship is laughable considering the dire circumstances and danger it supposedly represents. The face is static, except for the tongue that is often protruding from the sizable mouth. This effect was produced by the actor’s chin pushing the “tongue” through the creature’s maw.

Since the movie was filmed on a mere handful of sets, with a single set used to represent the various central chambers of the ship – just re-dressed for each one, director Cahn makes good use of the limited space he has. Thanks to the camera work and the set dressing, the ship comes across as being fairly good sized. Another thing he does rather well in conjunction with cinematographer Kenneth Peach is to hide the monster and utilize shadows to create an atmosphere of dread and creepiness. Whether this was done for artistic reasons or to help hide the often silly-looking monster suit is open for debate, but since the creature is shown quite well on several occasions, and the suit holds up pretty darn well to scrutiny, I personally believe it was the former. There are numerous occasions where all we see is the beast’s shadow on the wall, or a foot moving across the floor. More than one assault on a Human is shown as nothing more than shadows on a wall, which, while lessening the onscreen violence, only makes the attacks more horrifying. This method really helps in firing the imagination, as what the mind conjures up is almost always more frightening than what we ultimately see on screen.

Still, despite all the apparent flaws...indeed, perhaps because of those very flaws, this film has a sizable “fun” quotient. Taking it too seriously will only lessen the enjoyment derived from the proceedings. An enormous grain of salt, along with a large suspension of disbelief will come in handy here, and will help transform the film from an “old 50’s monster movie” into a “classic B-Movie experience.”

  

So named to relate to Oschene's Zhoubi Bowl... (diagrams for that found here: origami.oschene.com/archives/2006/08/05/zhoubi-bowl/)

 

There are creases in this tessellation that are folded at the slope of 1/7... Reason why? Well, because the difference between the slope of 1/2 and the slope of 1/3 is apparently 1/7... (easy to demonstrate via graph-paper)...

 

Perhaps the most intriguing fact about this tessellation is a comparison of the front and back. ALL edges on the front are at multiples of 45 degrees while NONE of the edges on the back are at 45 degrees.

 

Backlit: www.flickr.com/photos/8303956@N08/3754203584/

Front: www.flickr.com/photos/8303956@N08/3754203524/

CP: www.flickr.com/photos/8303956@N08/3754203062/

So named to relate to Oschene's Zhoubi Bowl... (diagrams for that found here: origami.oschene.com/archives/2006/08/05/zhoubi-bowl/)

 

There are creases in this tessellation that are folded at the slope of 1/7... Reason why? Well, because the difference between the slope of 1/2 and the slope of 1/3 is apparently 1/7... (easy to demonstrate via graph-paper)...

 

Perhaps the most intriguing fact about this tessellation is a comparison of the front and back. ALL edges on the front are at multiples of 45 degrees while NONE of the edges on the back are at 45 degrees.

 

Backlit: www.flickr.com/photos/8303956@N08/3754203584/

Back: www.flickr.com/photos/8303956@N08/3754203288/

CP: www.flickr.com/photos/8303956@N08/3754203062/

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

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Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

Found this elf curled up in a fetal position on top of the bar, next to Santa. I could relate.

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

Because of recent news relating to the development [re-development] of Cherrywood in the South of County Dublin I decided to see if I had any relevant photograph but the earliest usable photographs were taken in July 2013. I do know that I did photograph the area in 2010 and possibly in 2009 but I cannot locate the original photographs.

 

This photograph was taken in 2013 but nothing really changed between 2010 and 2013,

 

Back in 2010 I made the following comment online:

 

“The New Luas Extension Has Been Criticised By Commuters Who Cannot Park.”

 

“When it comes to transport in Dublin there have been two success stories in recent years. The DublinBike scheme is one and the other is the Luas tram system. Last Monday was a beautiful sunny day and after photographing the Dublin Marathon I decided that it would be a good idea to get the Luas to Cherrywood to see if I could take a few photographs. It was explained to me, by a gentleman that I met on the tram, that the land is now tied up in NAMA and as a result it cannot be developed as a park and ride facility. Commuters were turned away from the new Cherrywood terminus on opening day as there were no parking facilities available.”

 

“Cherrywood is one of Dublin's newest suburbs and as can be seen from my photographs it is partly developed and there are some very large empty spaces and believe it or not there is a shortage of parking spaces. Some time ago a decision was made to extend the Sandyford (Green) Luas line to Cherrywood and construction started in February 2007 and the line became operational this month (October 2010) There are now two Luas stops in Cherrywood: Cherrywood and the terminus, Brides Glen.”

 

I would suggest that the tram stop at Laughanstown could be described as being in the area.

 

FRIDAY 10 FEB 2016:

 

Hines Ireland has officially started work on the first key phase of construction at Cherrywood in South County Dublin. If all goes well up to 30,000 people will live at Cherrywood by early in the next decade meaning that it will be as large as Bray and even larger than a town such as Athlone.

  

Brian Moran said, “The upfront delivery of the roads, cycle and pedestrian network and three wonderful parks is a pivotal moment for the Cherrywood project. These will be the green lungs for this modern new town and this not only strikes the right environmental note for Cherrywood to come but it also underpins our commitment to expedite the delivery of the 4,000 modern new homes within the Hines land holding."

 

"We are acutely aware of the enormous public demand for new housing stock and the submission of planning for the new €875 million Cherrywood Town Centre in the coming months will include 1300 new smart design apartments as part of this highly ambitious plan.”

 

In 2014, Hines acquired Cherrywood in South Dublin. The two components of this investment include an existing 52,000-square-meter office park and a 390-acre master-planned development site. The Cherrywood site has been acquired with approval for the construction of a new, retail-led mixed-use town center; up to 3,800 apartments and houses; and zoning capacity to expand the second largest office park in Dublin to three times its current size.

 

Mr. Moran is the Senior Managing Director responsible for developing Hines’ Ireland projects. He established the Hines platform in Ireland which currently has more than €1.2 billion of retail, office and residential assets under management, in addition to a major development pipeline which includes an additional €500 million of retail development and over 4,000 residential units. He rejoined the firm in 2011 having previously worked with Hines in Russia in the 1990's.

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

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Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

From Wikipedia relating to the original structure:

 

For the Canadian Centennial in 1967, the City of Calgary elected to undertake, as a civic project, the construction of a new planetarium. This choice was reflective of the interest in space exploration that was prominent in the 1960s. A design competition was held in 1964 for the new building. Advised by the director of the architecture department at the University of British Columbia, Henry Elder, the three finalists were McMillan Long, Gordon Atkins, and Bill Boucock. The design by the firm of McMillan Long and Associates was eventually selected as the winner. This firm had been established in 1964 between Hugh McMillan and Jack Long, and lasted until 1969, at which time McMillan retired. The Centennial Planetarium was built between 1966 and 1967 by Sam Hashman.

 

Built on a site north of Mewata Armouries overlooking the Bow River, the Planetarium is constructed of raw concrete and features non-orthogonal design. Designed around a central bay, the building has two main wings. The west wing holds the "celestial theatre," a 255-seat theatre with a 65-foot domed screen. The east wing holds a 250-seat lecture hall. The Planetarium also contains a library, observation deck, and telescopes.

 

In 1967 the Planetarium won the Nation Design Council Concrete Award, and in 1970 the Massey Medal in Architecture.

 

From 1971 to 1985, the Planetarium also housed the collection of aircraft, aero engines, and associated reference library that became the basis of the Hangar Flight Museum. [1]

 

In 1984 the Calgary Science Centre moved into the Centennial Planetarium. It would occupy the space for the next 27 years.

 

The Science Centre moved into a new building in 2011, leaving the Planetarium empty or under-utilized until Contemporary Calgary acquired it. After extensive renovations, the building reopened as Calgary's premier modern art gallery.

Title: Special Photograph Book, circa 1914-1923 showing photographs and inscriptions relating to the police suspects depicted, page 32

Dated: 04/10/1920 - 13/11/1920

Digital ID: NRS18827_1_1_062

Series: NRS 18827 Special photograph books [Commissioner of Police]

Rights: No known copyright restrictions www.records.nsw.gov.au/about-us/rights-and-permissions

 

We'd love to hear from you if you use our photos/documents.

 

Many other photos in our collection are available to view and browse on our website.

 

There were 806 complaints in Bahrain, 413 in Oman, 378 in Qatar, 126 in UAE and one in Jordan.

As many as 7,432 complaints were received from Indians employed in Gulf countries this year, with many of them relating to exploitation and torture by their employers.

External Affairs Minister Sushma...

 

goqatar.co/7432-complaints-of-exploitation-of-indian-work...

Amy Davison: Artist Statement

 

As a child, I grew up in a home filled with memories, objects with memories, objects that relate to other objects with memories and a family who obviously loves to collect. At a young age, I noticed that there were many gatherers in my life that absolutely loved to hoard, like myself, such as my family members, best friends and teachers. As I matured, it finally occurred to me that collecting was a type of art, versus the internal/external conflict I had been struggling with for a long time.

It has taken many years to find an outlet, as well as an actual form for my art, through which I can express my concern for the multitude of objects that seem to be growing by the day in and around my home. Throughout my life, I have collected many things such as board games, objects in nature, random boxes and keys, but first and foremost, before any other item, I have collected friends.

In 2008, an identity piece I worked with in my sculpture class caused me to interview those closest to me. I conducted a survey with each individual and placed them in old books, which were used to fill a hollowed log—returning the books to their original state. I was then able to give each of the carefully selected books a purpose and a personality, one that was more meaningful to me. The log was symbolic of my connection to the earth, to my surroundings, as well as its contents and the individuals that each book contains within. This project helped open my eyes to the lives of the wonderful people surrounding me and led to further interest in examining them; therefore, it was the actual contents of the log library that essentially led to this exhibition: The Art of Recollecting. Therein, both re-collecting the collections of others that are close to me and also reminiscing on the pasts of each person and the objects they have collected.

This installment allows for the chance to share with the world a gathering of both my friends and influences in the art world and the incredible assemblies that have been acquired from them. I hope that with this project I will open the eyes, hands and hearts of my audience to the wonderful world of collecting, with every intention of finding beauty in the bountiful.

Now, here is your chance to get to know them as I have. Please play along by choosing a Bingo ball, finding the corresponding collection, studying a portion of each very personal assortment, and then you may examine their reasons for collecting with the matching interview sheets, which can be found within each marked envelope. Each of you may tally up your selections and record your experiences using the Bingo cards, so that I may learn how this collection might have inspired you. Thank you and enjoy!

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), 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; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. 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". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 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, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

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

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. 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. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread 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 Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha 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. 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.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word 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. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

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

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

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

 

(O Lord Ganapati!) You are (the Trinity) 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 the shape of Aum in the Devanāgarī and Tamil scripts.

 

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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. 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 first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

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

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri 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).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

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

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. 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. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of 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." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

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."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

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

 

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. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. 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. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

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