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

 

Today in Ireland and in the US new regulations relating to drones has been introduced [effective from the 21st of December 2015]. There are many similarities in the regulations but there is one major differences in that here in Ireland they have not mention the penalties for failure to register but in the US the cost of failure to register appears to be rather extreme … “civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000.” According to the minister the aim here in Ireland is to encourage drone users to be responsible citizens.

  

I have included the press releases from both administrations, have a read and see what you think.

  

Thursday, 17th December 2015: The Irish Aviation Authority (IAA) today announced a new drone regulation which includes the mandatory registration of all drones weighing 1kg or more from Monday, 21st December 2015.

 

The use of drones worldwide is expanding rapidly and there are estimated to be between 4,000 – 5,000 drones already in use in Ireland. Ireland has taken a proactive role in this fast emerging area and is currently one of only a handful of EU Member states that has legislation governing the use of drones.

 

The new legislation is intended to further enhance safety within Ireland and specifically addresses the safety challenges posed by drones.

 

From 21st December 2015, all drones weighing 1kg or more must be registered with the IAA via www.iaa.ie/drones. Drone registration is a simple two-step process. To register a drone, the registrant must be 16 years of age or older (Drones operated by those under 16 years of age must be registered by a parent or legal guardian). A nominal fee will apply from February 2016 but this has been initially waived by the IAA in order to encourage early registration.

  

Mr Ralph James, IAA Director of Safety Regulation, said

 

“Ireland is already recognised worldwide as a centre of excellence for civil aviation and the drone sector presents another major opportunity for Ireland. We’re closely working with industry to facilitate its successful development here. At the same time, safety is our top priority and we must ensure that drones are used in a safe way and that they do not interfere with all other forms of aviation.

 

Mr James explained that drone registration has been made a mandatory requirement as this will help the IAA to monitor the sector in the years ahead. The IAA encourages all drone operators to take part in training courses which are available through a number of approved drone training organisations.

 

“We would strongly encourage drone operators to register with us as quickly as possible, to complete a training course and to become aware of their responsibilities. People operating drones must do so in safe and responsible manner and in full compliance with the new regulations”, he said.

 

Welcoming the introduction of drone regulation, Minister for Transport, Tourism and Sport, Paschal Donohoe TD highlighted the importance of the new legislation and commended the IAA for the efficient manner to have the new registration system in place so quickly.

 

“The core safety message promoted today advocates the safe use of drones in civilian airspace. The development of drone technology brings opportunities as well as challenges for businesses and services in Ireland. I expect hundreds if not thousands of drones to be bought as presents this Christmas so getting the message to ensure that new owners and operators are aware of their responsibilities and the requirement to register all drones over 1 kg from 21st December 2015 is key. Tremendous potential exists for this sector and Ireland is at the forefront of its development. The speedy response by the IAA to this fast developing aviation area will make sure that drones are properly regulated and registered for use. As a result, Ireland is well placed to exploit the drone sector and to ensure industry growth in this area,” he said.

  

The new legislation prohibits users from operating their drones in an unsafe manner. This includes never operating a drone:

 

• if it will be a hazard to another aircraft in flight

• over an assembly of people

• farther than 300m from the operator

• within 120m of any person, vessel or structure not under the operator’s control

• closer than 5km from an aerodrome

• in a negligent or reckless manner so as to endanger life or property of others

• over 400ft (120m) above ground level

• over urban areas

• in civil of military controlled airspace

• in restricted areas (e.g. military installations, prisons, etc.)

• unless the operator has permission from the landowner for takeoff and landing.

  

For further information please visit www.iaa.ie/drones and see the IAA’s detailed Q&A sheet.

  

The Federal Aviation Administration has officially launched the drone registration program first reported in October. Drone operators are required to register their UAVs with the Unmanned Aircraft System registry starting December 21. Failure to register could result in criminal and civil penalties.

 

Under the new system, all aircraft must be registered with the FAA including those 'operated by modelers and hobbyists.' Once registered, drone operators must carry the registration certificate during operation. This new system only applies to drones weighing more than 0.55lbs/250g and less than 55lbs/25kg. The only exception to the registration requirement is indoor drone flights.

 

Required registration information includes a mailing address and physical address, email address, and full names; however, no information on the drone's make, model, or serial number is required from recreational users. Non-recreational users will need to provide drone information, including serial number, when that particular registration system goes live.

 

Failure to register could result in civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000. A $5 registration charge is applied, but will be refunded to those who register before January 20. The registration certificate is sent in an email to be printed at home.

Taken @ Spencer Museum of Art

secondlife.com/destination/spencer-museum-of-art

"Sometimes when you fall.. you fly"

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

 

An empty bed, once held two. The bare skin, exposed and cold. The unkempt hair, uncaring. Tied ankles, life at a stand still. Part of the collection taken on the anniversary of my mothers suicide. Used photography to relate, mourn and cope. MyMoralAmnesia.com

This image is from a selection of records relating to Captain Walter Lancelot Moore who served with the Field Artillery Brigade of the New Zealand Expeditionary Force from 1914 to 1918. Series 25268 consists of 2 items that record Captain Moore's active service from leaving New Zealand in late 1914, action at Gallipoli and subsequent service on the Western Front.

 

Details of the records are:

1. Handwritten diary from 1914 to 1916, documenting embarkation to Middle East, training in Egypt, action at Gallipoli and subsequent service in France. Unbound notebook measuring 80mm x 120 mm;

 

2. Photo album from 1914 to 1915 containing annotated sepia prints recording military service in Egypt and at Gallipoli. Five unbound photo album sheets measuring 110mm x 180mm.

 

These records were deposited with Archives New Zealand by Walter Moore's son, Mr. M.H. Moore.

 

Archives New Zealand reference: AAAA 25268 W5897 Box 1 Item 2

collections.archives.govt.nz/web/arena/search#/?q=R24350265

 

Images in this Flickr album (www.flickr.com/photos/archivesnz/sets/72157650986982228/) relate to the Gallipoli campaign.

 

For further enquiries please email research.archives@dia.govt.nz

 

Material from Archives New Zealand Te Rua Mahara o te Kāwanatanga

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.

 

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

 

If you'd like to see more please check out my set, "Vertigo:"

 

www.flickr.com/photos/motorpsiclist/sets/72157630591282642/

 

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

 

en.wikipedia.org/wiki/Kinetic_photography

 

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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.

 

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

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.

 

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Inspiration: Is the economy still alive? Is the dollar still alive?

 

Today in Ireland and in the US new regulations relating to drones has been introduced [effective from the 21st of December 2015]. There are many similarities in the regulations but there is one major differences in that here in Ireland they have not mention the penalties for failure to register but in the US the cost of failure to register appears to be rather extreme … “civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000.” According to the minister the aim here in Ireland is to encourage drone users to be responsible citizens.

  

I have included the press releases from both administrations, have a read and see what you think.

  

Thursday, 17th December 2015: The Irish Aviation Authority (IAA) today announced a new drone regulation which includes the mandatory registration of all drones weighing 1kg or more from Monday, 21st December 2015.

 

The use of drones worldwide is expanding rapidly and there are estimated to be between 4,000 – 5,000 drones already in use in Ireland. Ireland has taken a proactive role in this fast emerging area and is currently one of only a handful of EU Member states that has legislation governing the use of drones.

 

The new legislation is intended to further enhance safety within Ireland and specifically addresses the safety challenges posed by drones.

 

From 21st December 2015, all drones weighing 1kg or more must be registered with the IAA via www.iaa.ie/drones. Drone registration is a simple two-step process. To register a drone, the registrant must be 16 years of age or older (Drones operated by those under 16 years of age must be registered by a parent or legal guardian). A nominal fee will apply from February 2016 but this has been initially waived by the IAA in order to encourage early registration.

  

Mr Ralph James, IAA Director of Safety Regulation, said

 

“Ireland is already recognised worldwide as a centre of excellence for civil aviation and the drone sector presents another major opportunity for Ireland. We’re closely working with industry to facilitate its successful development here. At the same time, safety is our top priority and we must ensure that drones are used in a safe way and that they do not interfere with all other forms of aviation.

 

Mr James explained that drone registration has been made a mandatory requirement as this will help the IAA to monitor the sector in the years ahead. The IAA encourages all drone operators to take part in training courses which are available through a number of approved drone training organisations.

 

“We would strongly encourage drone operators to register with us as quickly as possible, to complete a training course and to become aware of their responsibilities. People operating drones must do so in safe and responsible manner and in full compliance with the new regulations”, he said.

 

Welcoming the introduction of drone regulation, Minister for Transport, Tourism and Sport, Paschal Donohoe TD highlighted the importance of the new legislation and commended the IAA for the efficient manner to have the new registration system in place so quickly.

 

“The core safety message promoted today advocates the safe use of drones in civilian airspace. The development of drone technology brings opportunities as well as challenges for businesses and services in Ireland. I expect hundreds if not thousands of drones to be bought as presents this Christmas so getting the message to ensure that new owners and operators are aware of their responsibilities and the requirement to register all drones over 1 kg from 21st December 2015 is key. Tremendous potential exists for this sector and Ireland is at the forefront of its development. The speedy response by the IAA to this fast developing aviation area will make sure that drones are properly regulated and registered for use. As a result, Ireland is well placed to exploit the drone sector and to ensure industry growth in this area,” he said.

  

The new legislation prohibits users from operating their drones in an unsafe manner. This includes never operating a drone:

 

• if it will be a hazard to another aircraft in flight

• over an assembly of people

• farther than 300m from the operator

• within 120m of any person, vessel or structure not under the operator’s control

• closer than 5km from an aerodrome

• in a negligent or reckless manner so as to endanger life or property of others

• over 400ft (120m) above ground level

• over urban areas

• in civil of military controlled airspace

• in restricted areas (e.g. military installations, prisons, etc.)

• unless the operator has permission from the landowner for takeoff and landing.

  

For further information please visit www.iaa.ie/drones and see the IAA’s detailed Q&A sheet.

  

The Federal Aviation Administration has officially launched the drone registration program first reported in October. Drone operators are required to register their UAVs with the Unmanned Aircraft System registry starting December 21. Failure to register could result in criminal and civil penalties.

 

Under the new system, all aircraft must be registered with the FAA including those 'operated by modelers and hobbyists.' Once registered, drone operators must carry the registration certificate during operation. This new system only applies to drones weighing more than 0.55lbs/250g and less than 55lbs/25kg. The only exception to the registration requirement is indoor drone flights.

 

Required registration information includes a mailing address and physical address, email address, and full names; however, no information on the drone's make, model, or serial number is required from recreational users. Non-recreational users will need to provide drone information, including serial number, when that particular registration system goes live.

 

Failure to register could result in civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000. A $5 registration charge is applied, but will be refunded to those who register before January 20. The registration certificate is sent in an email to be printed at home.

Another tradition involving archery relates that Robin and Little John went to visit Abbot Richard at the Whitby Abbey at Whitby Lathes. Each shot an arrow from the top of the monastery to show his skill. Robin shot across the north side and Little John the south. The distance was a mile and a half. The Abbot had two stone pillars set up on the spots, and the fields on the north and south sides were called Robin Hood's Close and Little John's Close, respectively, which are actually found in deeds from the 1700s.

 

_________________________________

 

Ode to Little John:

 

When Robin Hood was about twenty years old,

With a hey down down and a down

He happend to meet Little John,

A jolly brisk blade, right fit for the trade,

For he was a lusty young man.

 

Though he was calld Little, his limbs they were large,

And his stature was seven foot high;

Where-ever he came, they quak'd at his name,

For soon he would make them to fly.

 

How they came acquainted, I'll tell you in brief,

If you will but listen a while;

For this very jest, amongst all the rest,

I think it may cause you to smile.

 

Bold Robin Hood said to his jolly bowmen,

Pray tarry you here in this grove;

And see that you all observe well my call,

While thorough the forest I rove.

 

They happend to meet on a long narrow bridge,

And neither of them would give way;

Quoth bold Robin Hood, and sturdily stood,

"I'll show you right Nottingham play."

 

He was, I must tell you, but seven foot high,

And, may be, an ell in the waste;

A pretty sweet lad; much feasting they had;

Bold Robin the christning grac'd.

 

This infant was called John Little,' quoth he,

"Which name shall be changed anon;

The words we'll transpose, so where-ever he goes,

His name shall be called Little John."

 

Thou shalt be an archer as well as the best,

And range in the greenwood with us;

Where we'll not want gold nor silver, behold,

While bishops have ought in their purse.

 

"We live here like squires, or lords of reknown,

Without ere a foot of free land;

We feast on good cheer, with wine, ale, and beer,

And evry thing at our command.'"

 

Then music and dancing did finish the day;

At length, when the sun waxed low,

Then all the whole train the grove did refrain,

And unto their caves they did go.

 

And so ever after, as long as he lived,

Althogh he was proper and tall,

Yet nevertheless, the truth to express,

Still Little John they did him call.

 

View this classic scene: www.youtube.com/watch?v=dXcrEFfLYgo

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

 

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

Pushkar Lake or Pushkar Sarovar (Sanskrit: पुष्कर-सरोवर) is located in the town of Pushkar in Ajmer district of the Rajasthan state of western India. Pushkar Lake is a sacred lake of the Hindus. The Hindu scriptures describe it as "Tirtha-Raj" – the king of pilgrimage sites related to a water-body and relate it to the mythology of the creator-god Brahma, whose most prominent temple stands in Pushkar. The Pushkar Lake finds mention on coins as early as the 4th century BC.

 

Pushkar Lake is surrounded by 52 bathing ghats (a series of steps leading to the lake), where pilgrims throng in large numbers to take a sacred bath, especially around Kartik Poornima (October–November) when the Pushkar Fair is held. A dip in the sacred lake is believed to cleanse sins and cure skin diseases. Over 500 Hindu temples are situated around the lake precincts.

 

Tourism and deforestation in the surroundings have taken a heavy toll on the lake, adversely affecting its water quality, reducing the water levels and destroying the fish population. As part of conservation measures, the government is undertaking de-silting, de-weeding, water treatment, and afforestation as well as mass awareness programme.

 

GEOGRAPHY

Pushkar Lake around which the Pushkar town has developed is in the Ajmer district in the state of Rajasthan, India amidst the Aravalli range of hills. The mountain range known as Nag Parbat ("snake mountain") separates the lake from the city of Ajmer. The valley is formed between the two parallel ranges of the Aravalli hills (in elevation range of 650–856 metres running south-west to north-east. Situated at 14 kilometres northwest from Ajmer, the artificial Pushkar Lake created by building a dam is surrounded by deserts and hills on all three sides. The lake is categorized as a "Sacred Lake" under the list of "Classification of Lakes in India".

 

The soil and topography in the catchment are predominantly sandy with very low water retention capacity. The land use pattern in the Pushkar valley that drains into the lake comprises 30% of the area under shifting sand dunes, 30% under hills (degraded and barren) and streams and 40% of the area is agricultural.

 

CLIMATE

The region experiences semi-arid climatic conditions with dry and hot summers and cool winters. The summer months of May and June are the hottest, with a maximum temperature of around 45 °C. During the winter months, the maximum mean temperature is in the range of 25–10 °C. Rain mainly occurs during a short spell of two months during July and August. The recorded average rainfall is in the range of 400–600 millimetres. Rainfall is also recorded some times during winter months of January and February.

 

From April to September, strong winds blowing in the southwest to northeast direction add to the formation of sand dunes.

 

HYDROLOGY

The Pushkar Lake drains a catchment of the Aravalli hills covering an area of 22 square kilometres. The lake has a water surface area of 22 hectares . It is a perennial lake sourced by the monsoon rainfall over the catchment. The depth of water in the lake varies from season to season from 8–10 metres. The total storage capacity of the lake is 0.79 million cubic metres. As the lake periphery is encircled by 52 ghats of various sizes, the surface water flow from the catchment into the lake is channelled through a series of arches under a foot bridge, 110 metres long at the southern end. The foot bridge facilitates the parikrama (circumambulation) that is performed by pilgrims around the lake covering all the 52 ghats (covers an area of 2 hectares).

 

FLORA AND FAUNA

Pushkar Lake, when full, is rich in fish and other aquatic life. The depth of the lake has substantially shrunk – to less than 1.5 metres from a maximum of 9 metres – resulting in the death of large fish weighing 5–20 kilograms, caused due to the viscous water and the lack of oxygen for the fish to survive. Since the region where the lake and its valley is situated is arid, the flora and fauna recorded relate to desert plants, including cactus and thorny bushes, as well as desert animals like camels and cattle. Man-eating crocodiles used to be a menace in the Puskhar Lake, resulting in the deaths of people. Pilgrims were aware of this fact, yet many considered it as lucky to be eaten by crocodiles. The crocodiles were caught with nets by the British and shifted to a nearby reservoir.

 

HISTORY

Pushkar Lake's history dates back to the 4th century BC. Numismatics, in the form of punched Greek and Kushan coins date the lake back to this time. The inscriptions found at Sanchi attest to the lake's existence to the 2nd Century BC. This suggests that Pushkar was a pilgrimage centre even if it did not lie on the trade route.

 

In the fifth century AD, Chinese traveller Fa Xian made reference to the number of visitors to Pushkar Lake.

 

A story tells of a ninth-century Rajput king, Nahar Rao Parihar of Mandore, chasing a white boar to the lake shore on a hunting expedition. In order to quench his thirst, he dipped his hand into the lake and was astonished to see that the Leukoderma marks on his hand had disappeared. Impressed with the sacred curative nature of the lake, he got the lake restored to its glory. After discovering the curative characteristics of the lake water, people have since visited the lake to take a holy dip and cure themselves of skin problems.

 

The creation of Pushkar Lake, as an artificial lake, is also credited to the 12th century when a dam was built across the headwaters of the Luni River. The 10th Sikh guru, Guru Govind Singh (1666–1708), is said to have recited the Sikh sacred text Guru Granth Sahib on the banks of the lake.

 

During the Mughal rule, there was a short break in the lake's importance due to the levy of a pilgrim tax and a ban on religious processions. In 1615–16, the Mughal emperor Jahangir (1569–1627) built his hunting lodge (seen now in total ruins) on the shores of the Pushkar Lake to celebrate his victory over the local Rajput Rana (king). He came to this lodge 16 times for hunting during his stay in Ajmer, about 23 kilometres from Pushkar. This act violated the local tradition of not killing any animals in the precincts of the sacred lake. He also committed an idolatrous act by breaking the image of Varaha – the boar Avatar of the god Vishnu, as it resembled a pig and symbolically hurt Islamic sensitivity. Thereafter, Jahangir's grandson emperor Aurangzeb (1618–1707) destroyed and desecrated several temples, which were later rebuilt. However, during the rule of Jahangir's father, Emperor Akbar (1542–1605), there was a revival of not only the lake but also the Ajmer's Dargah dedicated to sufi saint Moinuddin Chishti, of whom Akbar was a devout follower.

 

The Rajput rulers of Amber, Bundi, Bikaner and Jaisalmer made great efforts to restore the importance of the lake and its surrounding temples. Credits given for modern additions to the building of ghats and the renovation/construction of temples go to Maharaja Man Singh I of Amber for the Raj Ghat and Man temple; Maha Rana Pratap for the Varaha temple; Daulat Rao Scindia for Kot Tirth Ghat, the Marathas-Anaji Scindia to the Koteshwar Mahadev temple and Govind Rao, the Maratha governor of Ajmer for Shiva Ghat; to the British rule for combining the religious pilgrimage with a cattle fair to generate taxes for improving the lake and its surroundings; and gifting of the Jaipur Ghat and the Main Palace on the ghat in 1956 by the Maharaja of Jaipur.

 

RELIGIOUS SIGNIFICANCE

There are various legends from Hindu epics Ramayana and Mahabharata and the Puranic scriptures which mention the Pushar Lake and the town of Pushkar surrounding it.

 

According to the Hindu scripture Padma Purana, Brahma saw the demon Vajranabha (Vajranash in another version) trying to kill his children and harassing people. He immediately slew the demon with his weapon, the lotus-flower. In this process, the lotus petals fell on the ground at three places, where springs emerged creating three lakes: the Pushkar Lake or Jyeshta Pushkar (greatest or first Pushkar), the Madya Pushkar (middle Pushkar) Lake, and Kanishta Pushkar (lowest or youngest Pushkar) lake. When Brahma came down to the earth, he named the place where the flower ("pushpa") fell from Brahma's hand ("kar") as "Pushkar". It is also said that the sacred Sarasvati River emerged at Pushkar as five streams. The three lakes were assigned their presiding deities as the Hindu Trinity Brahma, Vishnu and Shiva, respectively. When Brahma came down to the earth, he named the place where the lotus fell as 'Pushkar'. Brahma then decided to perform a yagna at the place, at the main Pushkar Lake. However, his wife Savitri (called Sarasvati in some versions) could not be present at the designated time to perform the essential part of the yagna. Brahma, therefore, married a Gujjar,a dominant agricultural race named Gayatri and completed the yagna with his new consort sitting beside him. However, when Savitri finally arrived at the venue, she found Gayatri sitting next to Brahma in her rightful place. Agitated, she cursed Brahma that he would be worshipped only in Pushkar. As a result of this, yagna performed in the presence of all the gods, it is said that a dip in the lake created at this place is credited with holiness, assuring salvation from all sins. It is now one of the five holiest centres of pilgrimage for Hindus.

 

Ramayana and Mahabharata refer to Pushkar Lake as Adi Tirtha, or the "original sacred water-body". The famous Sanskrit poet and play-writer Kalidasa also referred to this lake in his poem Abhijñānaśākuntalam. The Ramayana mentions that Vishwamitra performed penance at Pushkar Lake for a thousand years. In spite of Brahma appearing before him and granting him the higher status of a rishi instead of a royal-sage (rajarishi), Vishwamitra continued his penance, but, the celestial nymph apsara, Menaka came to the lake to take a bath. Vishwamitra was enamoured by her beauty and they decided to live together in pursuit of pleasure for ten years. Then, Vishwamitra realized that his main activity of penance was disturbed. He, therefore, took leave of Menaka and went away to the north to continue his meditation. Vishwamitra was also described as building the Brahma temple at Pushkar after Brahma's yagna. Mahabharata mentions that Pushkar is a holy place of the god Vishnu, considered as the Adi Tirtha where millions of tirthas united during sunrise and sunset, and visiting the lake and taking a holy bath in the lake would wash off all sins.

 

According to Hindu theology, there are five sacred lakes collectively called Panch-Sarovar ('Sarovar' means "lake"). Namely, Mansarovar, Bindu Sarovar, Narayan Sarovar, Pampa Sarovar and Pushkar Sarovar; hence, Pushkar is considered one of the most sacred places in India. It is also the belief of devotees that a dip in the waters of the lake on Kartik Poornima would equal the benefits that would accrue by performing yagnas (fire-sacrifices) for several centuries. Pushkar is often called "Tirtha-Raj" – the king of pilgrimage sites related to water-bodies. The scriptures also mention that doing parikrama (circumambulation) of the three lakes (the main Pushkar, Madya Pushkar where there is a Hanuman temple and an old Banyan tree, and Kanistha Pushkar where a Krishna temple exists), which cover a distance of 16 kilometres, during the Kartik Poornima day would be highly auspicious. International Business Times has identified Pushkar as one of the ten most religious places in the world and one of the five sacred pilgrimage places for the Hindus, in India.

 

CULTURAL ATTRACTIONS

Pushkar Lake and its precincts offer a plethora of monuments of national importance, such as the Pushkar city, the Brahma temple at Pushkar and the ghats on the periphery of the lakes. The lake is the central divine theme for the popularity of all the monuments seen in the town and the fairs held here.

 

PUSHKAR CITY

Pushkar city, with a population of 14,791 at the 2001 census, is one of the oldest cities in India. The city lies on the shore of Pushkar Lake. The date of its actual origin is not known, but legend associates Brahma with its creation concurrent with the lake; Brahma is said to have performed penance here for a darshan (sight) of god Vishnu. Thus, its uniqueness lies in the fact of its historic-religious-cultural background, and as a result it attracts approximately 100,000 visitors every month, apart from the very large congregation that occurs during the annual Pushkar Fair. However, the Pushkar Lake is central to its sustenance as a religious centre. The tourist arrivals during 2005 were reported to be about 16.12 million (said to be the maximum among all tourist attractions in Rajasthan), out of which the foreign tourists were about 63,000.

 

TEMPLES

Apart from the sacred Lake, Pushkar is said to have over 500 temples (80 are large and the rest are small); of these many old temples were destroyed or desecrated by Muslim depredations during Aurangzeb's rule (1658–1707) but were re-built subsequently. The most important of these is the Brahma temple. Though the current structure dates to the 14th century, the original temple is believed to be 2000 years old. Pushkar is often described in the scriptures as the only Brahma temple in the world, owing to the curse of Savitri, but also as the "King of the sacred places of the Hindus". Although now the Pushkar temple does not remain the only Brahma temple, it is still one of very few existing temples dedicated to Brahma in India as well as the most prominent. Hindu pilgrims, including holy men and sages visit this temple after taking a ceremonial sacred bath in the Pushkar Lake. Other notable temples around the lake include Varaha temple – dedicated to Varaha (the boar incarnation of god Vishnu), Savitri temple and Gayatri temple, dedicated to the consorts of Brahma.

 

GHATS

Ghats (stone steps laid on a gradual bank slope to descend to the lake edge) at Pushkar are integral to the lake. Ghats are also used for sacred bathing and rites, such as ancestor worship. Out of 52 ghats used by pilgrims to take a holy bath in the lake, ten important ghats on the periphery of the lake, which have other contiguous ghats adjoining them, have also been declared as 'Monuments of National Importance'. These ghats are: the Varaha Ghat, the Dadhich Ghat, Saptarishi Ghats, Gwalior Ghat, Kota Ghat, Gau ghat, Yag Ghat, Jaipur Ghat, Karni Ghat and Gangaur Ghat. These ghats as well as the sacred Pushkar Lake (which is also a declared heritage monument) have been refurbished over the centuries by the Royal families of Rajasthan and by the Maratha kings. These are now undergoing further improvements as part of a heritage improvement programme launched with funds provided by the Government of Rajasthan and several departments of the Government of India. There are strict codes to be followed while taking a bath in the ghats, such as removing shoes away from the ghats and avoiding the passing of unwarranted comments about Hindu religious beliefs by non-Hindus, since the ghats and the temples are linked to the divine lake. The sacred water of the lake is said to be curative of many skin diseases. Local belief is that water around each ghat has a special curative power. While many ghats have been named after the Rajas who built them, some ghats have particular importance. Varaha ghat is so named since Vishnu appeared here in his incarnation of a boar (Varaha). Brahma Ghat is so named since Brahma bathed here. The Gau Ghat was renamed as Gandhi Ghat after Mahatma Gandhi's ashes were immersed at this ghat. Nart Singh Ghat, close to Varaha Ghat, has a stuffed crocodile on display.

 

A coinage known as "Puskar Passport" used by visitors to the lake and the ghats denotes the red thread that is tied on the wrists of pilgrims by the priests (for a dakshina – an unspecified fee). This indicates that the pilgrim has visited Pushkar Lake and is usually not approached by priests again for further rites and fees.

 

PUSHKAR FAIR

Pushkar Lake and its precincts become very heavily populated during the annual Pushkar Fair or Pushkar mela, which has both a religious as well as an economic aspect. During the fair, a very large gathering of pilgrims takes a holy dip in the lake and the camel fair is an adjunct celebration. Pushkar Fair commences on Prabodhini Ekadashi, the 11th lunar day in the bright fortnight and ends on Kartik Poornima – the full Moon day in the month of Kartik (October–November), the latter being the most important day of the fair. This fair is held in the honour of god Brahma. A ritual bath on Kartik Poornima in the Pushkar Lake is considered to lead one to salvation. It is believed circling the three Pushkars on Kartik Poornima is highly meritorious. Sadhus, Hindu holy men, gather here and stay from the Ekadashi to full moon day in caves. The Pushkar fair is also Asia's largest camel fair. The colourful and lively Camel Fair reportedly attracts 2 lakh people and 50,000 camels. In this fair held on the banks of the lake, camels are very colourfully decorated and paraded in the sand dunes on the southern part of the lake. Tribes from several neighbouring villages are seen in their traditional colourful costumes. The fair on Kartik Poornima, the day when Brahma is believed to have concluded his Yagna establishing the lake. It is organized by the Rajasthan Tourism Development Corporation (RTDC), Pushkar Municipal Board and the Animal Husbandry Department of Rajasthan. The fair is a colourful cultural event also with folk dances, music, camel races and the cattle fair. The tug of war is a popular entertaining sport held during the fair. This event is held between the Rajasthanis and foreigners; locals invariably win the event.

 

STATUS AND CONSERVATION ISSUES

The natural environment of Pushkar Lake and its precincts has become increasingly degraded in the last few decades. The problems arise primarily from the over development of tourist facilities as well as the deforestation of the surrounding area.

 

The critical issues related to the conservation of the lake have been identified as:

 

- Siltation during the rainy season due to soil erosion of the denuded hills and inappropriate agricultural practices flowing through the three feeder streams namely, the Gomukh, the Nag Pahar and Savitri.

- Shifting sand dunes from hills and surrounding areas causing a rise of the bed level of the lake.

- Upstream interception by farmers through check dams for farming practices causing reduction in inflows. This reduction is reflected in the full reservoir level of 8.53 metres not being achieved during most years, resulting in pilgrim displeasure and the reduction in maximum depth of the lake, reported now as only 4.6 metres.

- Large inflow of sewage from the ghats and the surrounding habitation has caused serious water pollution.

- Alarming rate of fall in ground water level has occurred in the vicinity of the lake due to high extraction for various uses.

 

In recent years, storage in the Pushkar Lake has been reduced alarmingly, leaving only a small puddle of water in many years during the festival season when pilgrims flock to the lake for sacred bathing during the Hindu holy month of Kartik, when the Pushkar Fair is held. During the 2009 Pushkar fair, the situation became very grim when the lake dried up entirely. Alternate arrangements were made to facilitate sacred bathing by providing water in concrete tanks near one of the upper ghats, fed by tube wells from ground water sources. While the authorities have been blamed for poor planning by de-silting the lake, the drought situation has resulted in insignificant rainfall in the area to fill the lake.

Water quality issues.

 

The lake does not meet the National Water Quality Standards due to its high concentration of Biochemical Oxygen Demand (BOD). Considering the adverse impact on the lake water quality due to Eutrophication, anthropogenic pressures and holy rituals and tourism, a water quality study was specifically undertaken at four sites on a monthly basis for six months. The sampling sites were chosen to represent the pressure of pilgrims and other pollution inflows at the locations. The water samples were analysed for temperature, pH, salinity, conductivity, total dissolved solids, alkalinity, hardness, turbidity, dissolved oxygen, chloride, nitrite, nitrate, phosphate, sulphate, sodium, ammonium, potassium, total chlorophyll, biochemical oxygen demand and chemical oxygen demand. The analysis over the period has revealed that the lake water was alkaline, chloride and conductivity concentrations were high at all the four sites, and there were lower levels of dissolved oxygen (at sites with greater pollution load) and high hardness (on account of excess of calcium and magnesium from surface run-off). During the period of the annual Pushkar Fair, a distinct co-relationship was discerned between various parameters analysed and the degree of water pollution in the lake. This has called for urgent remedial actions to be undertaken by all of the government agencies involved with the lake management, with people's participation.

 

RESTAURATION WORKS

To supplement water supply to the lake, even as early as in 1993, the government built 12 deep tube wells to supplement water supply to the lake. However, most tube wells were dysfunctional, thereby aggravating the problem. The Union Ministry for Environment and Forests included Pushkar Lake on a list of five lakes under the National Lake Conservation Project (NLCP) for restoration. They have been providing funds since 2008 for the restoration works, but the situation has not eased.

 

Development plans are under various stages of implementation to address the critical issues related to the lake. They aim to improve water quality, increase water storage capacity, prevent encroachment of the lake periphery, improve the ambience around the lake, as well as to introduce recreational and revenue generating schemes.

 

Sewage outfalls into the lake are proposed to be completely stopped by the interception and diversion of feeder lines. Lining the main feeders into the lake and setting up water treatment plants to continuously treat and recirculate the lake water are also envisioned. Conservation measures proposed for adoption to clean the lake are by way of desilting and deweeding, water treatment at inlet of feeders into the lake, construction of check dams, conservation of ghats, afforestation of denuded hills in the catchment, soil moisture conservation measures, stabilization of sand dunes by planting vegetation of suitable species of plants and restriction of cultivation in the bed of feeder channels. In addition, the institutional measures considered for effecting improvement of the lake are mass awareness programmes with the population's participation as well as the control of fish proliferation to reduce the risk of death of fishes during periods of inadequate water depth in the lake.

 

WIKIPEDIA

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

 

Normally I don't make a list for running errands. I only needed to run just a very few errands, but one was pretty important. So I made a tiny list. I picked up my mail, remembered to speak to Walgreens in person about something they did, and then went to the grocery store. I knew exactly where to find the soda pop. I got Root Beer and Ginger Ale, and hadn't really needed them on my list. Then I knew I was going to get some food, but I couldn't remember what kind. I tried for a short while to remember. I was drawing a blank, and there I was in the middle of a huge famous chain grocery store with thousands of items, and I just couldn't think what it was I wanted to get. I thought of some food items and none of the ones I thought of rang a bell with whatever it was I had put on my list. So, I said to myself, "Self, why don't you just look at your list? Then when you see what you wrote, you'll probably just say, of course, that was it!"

 

I wrestled with my pocket to get my little tiny piece of paper out only to laugh at myself. The reason I couldn't remember any specific kind of food, was, well, look at my list!

 

Sometimes I think I am my own comedy routine...

 

(20180324_175822ErrandsListcuteabitfunnyflickr032418)

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]

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

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

 

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

 

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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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

 

Coria was a fort and town 2.5 miles (4.0 km) south of Hadrian's Wall, in the Roman province of Britannia at a point where a big Roman north–south road (Dere Street) bridged the River Tyne and met another Roman road (Stanegate), which ran east–west between Coria and Luguvalium (the modern Carlisle) in the Solway Plain. The full Latin name is uncertain. In English, it is known as Corchester or Corbridge Roman Site as it sits on the edge of the village of Corbridge in the English county of Northumberland. It is in the guardianship of English Heritage and is partially exposed as a visitor attraction, including a site museum.

 

The place-name appears in contemporary records as Corstopitum and Corie Lopocarium. These forms are generally recognised as corrupt. Suggested reconstructions include Coriosopitum, Corsopitum or Corsobetum. The Vindolanda tablets show that it was locally referred to by the simple form, Coria, the name for a local tribal centre. The suffix ought to represent the name of the local tribe, a member of the Brigantian confederation but its correct form is unknown. It gave its name to Corbridge, albeit by processes which are debated.

 

There is evidence of Iron Age round houses on the site but the first Romans in the area built the Red House Fort, 0.5 mi (0.80 km) to the west, as a supply camp for Agricola's campaigns.

 

Soon after Roman victories in modern Scotland, around AD 84, a new fort was built on the site with turf ramparts and timber gates. Barrack blocks surrounded a headquarters building, a commander's residence, administrative staff accommodation, workshops and granaries. It was probably occupied by a 500-strong cavalry unit called the Ala Gallorum Petriana but burnt down in AD 105. A second timber fort was built, guarding an important crossing of the River Tyne, when the Solway Firth–Tyne divide was the Roman frontier. Around AD 120, when Hadrian's Wall was built just over two miles to the north, the fort was rebuilt again, probably to house infantry away from the Wall. About twenty years later, when the frontier was pushed further north and the Antonine Wall built, the first stone fort was erected under the Governor Quintus Lollius Urbicus.

 

English Heritage has released monographs on the forts along Hadrian's Wall through the Archaeology Data Service. Bishop and Dore's report on the excavations at Corbridge 1947–80 reveal the complex history of the sequence of mainly earth and timber forts which preceded the masonry buildings. The reports also cover a metal hoard found within the fort, possibly linked to the abandonment between AD 122 and 138

 

After the Romans fell back to Hadrian's Wall in AD 163, the army seems to have been largely removed from Coria. Its ramparts were levelled and a big rebuilding programme of a very different nature was instigated. A series of probable temples were erected, followed by granaries, a fountain house and a large courtyard complex, which may have been intended to become a civilian forum or a military storehouse and workshop establishment. It was never finished in its original plan.

 

Burnt timber buildings may relate to Cassius Dio's reference to tribes crossing the frontier but by the early 3rd century there was more construction. Two compounds opposite the supposed forum were built as part of a military supply depot within the town. It was connected with the Second and the Sixth Legion and may have been part of the supply network for Septimius Severus' northern campaigns.

 

Information on the 3rd- and 4th-century town is lacking but an elaborate house was certainly put up which may have housed an Imperial official. Coria was probably a big market centre for the lead, iron and coal industries in the area, as well as agriculture, evidenced by the granaries. A pottery store has also been identified. When occupation came to an end is unclear. It is not even known if the site was still occupied when the Anglo-Saxons arrived to found adjoining Corbridge.

 

The Corbridge Hoard was found here.

 

Between 1906 and 1914, the site was excavated following a desire by the Northumberland County History Committee to assess the Roman remains at Corbridge ahead of a book on the history of the parish, overseen by Francis J. Haverfield. During that time, a number of scholars from Oxford University were sent by Haverfield to supervise local labourers tasked with the actual excavation, including J.P. Bushe-Fox and Leonard Woolley, making it one of the first training excavations in British archaeology. Brian Dobson later ran adult training excavations at Corbridge in the 1960s and 1970s.

 

Work on Hexham Abbey in 1881 brought to light a Roman funerary monument in the stonework of the south porch of the transept. An elaborately carved stone (now on display in the abbey) shows a standard-bearer in the Roman cavalry riding down a barbarian: its inscription shows it to commemorate Flavinus, an officer in the ala Petriana who died aged 25 after seven years' service. The ala Petriana is known to have been stationed at Corbridge, and the slab is thought to date to the late first century and to have once stood in the military cemetery near the fort there.

 

Roman Britain was the territory that became the Roman province of Britannia after the Roman conquest of Britain, consisting of a large part of the island of Great Britain. The occupation lasted from AD 43 to AD 410.

 

Julius Caesar invaded Britain in 55 and 54 BC as part of his Gallic Wars. According to Caesar, the Britons had been overrun or culturally assimilated by the Belgae during the British Iron Age and had been aiding Caesar's enemies. The Belgae were the only Celtic tribe to cross the sea into Britain, for to all other Celtic tribes this land was unknown. He received tribute, installed the friendly king Mandubracius over the Trinovantes, and returned to Gaul. Planned invasions under Augustus were called off in 34, 27, and 25 BC. In 40 AD, Caligula assembled 200,000 men at the Channel on the continent, only to have them gather seashells (musculi) according to Suetonius, perhaps as a symbolic gesture to proclaim Caligula's victory over the sea. Three years later, Claudius directed four legions to invade Britain and restore the exiled king Verica over the Atrebates. The Romans defeated the Catuvellauni, and then organized their conquests as the province of Britain. By 47 AD, the Romans held the lands southeast of the Fosse Way. Control over Wales was delayed by reverses and the effects of Boudica's uprising, but the Romans expanded steadily northward.

 

The conquest of Britain continued under command of Gnaeus Julius Agricola (77–84), who expanded the Roman Empire as far as Caledonia. In mid-84 AD, Agricola faced the armies of the Caledonians, led by Calgacus, at the Battle of Mons Graupius. Battle casualties were estimated by Tacitus to be upwards of 10,000 on the Caledonian side and about 360 on the Roman side. The bloodbath at Mons Graupius concluded the forty-year conquest of Britain, a period that possibly saw between 100,000 and 250,000 Britons killed. In the context of pre-industrial warfare and of a total population of Britain of c. 2 million, these are very high figures.

 

Under the 2nd-century emperors Hadrian and Antoninus Pius, two walls were built to defend the Roman province from the Caledonians, whose realms in the Scottish Highlands were never controlled. Around 197 AD, the Severan Reforms divided Britain into two provinces: Britannia Superior and Britannia Inferior. During the Diocletian Reforms, at the end of the 3rd century, Britannia was divided into four provinces under the direction of a vicarius, who administered the Diocese of the Britains. A fifth province, Valentia, is attested in the later 4th century. For much of the later period of the Roman occupation, Britannia was subject to barbarian invasions and often came under the control of imperial usurpers and imperial pretenders. The final Roman withdrawal from Britain occurred around 410; the native kingdoms are considered to have formed Sub-Roman Britain after that.

 

Following the conquest of the Britons, a distinctive Romano-British culture emerged as the Romans introduced improved agriculture, urban planning, industrial production, and architecture. The Roman goddess Britannia became the female personification of Britain. After the initial invasions, Roman historians generally only mention Britain in passing. Thus, most present knowledge derives from archaeological investigations and occasional epigraphic evidence lauding the Britannic achievements of an emperor. Roman citizens settled in Britain from many parts of the Empire.

 

History

Britain was known to the Classical world. The Greeks, the Phoenicians and the Carthaginians traded for Cornish tin in the 4th century BC. The Greeks referred to the Cassiterides, or "tin islands", and placed them near the west coast of Europe. The Carthaginian sailor Himilco is said to have visited the island in the 6th or 5th century BC and the Greek explorer Pytheas in the 4th. It was regarded as a place of mystery, with some writers refusing to believe it existed.

 

The first direct Roman contact was when Julius Caesar undertook two expeditions in 55 and 54 BC, as part of his conquest of Gaul, believing the Britons were helping the Gallic resistance. The first expedition was more a reconnaissance than a full invasion and gained a foothold on the coast of Kent but was unable to advance further because of storm damage to the ships and a lack of cavalry. Despite the military failure, it was a political success, with the Roman Senate declaring a 20-day public holiday in Rome to honour the unprecedented achievement of obtaining hostages from Britain and defeating Belgic tribes on returning to the continent.

 

The second invasion involved a substantially larger force and Caesar coerced or invited many of the native Celtic tribes to pay tribute and give hostages in return for peace. A friendly local king, Mandubracius, was installed, and his rival, Cassivellaunus, was brought to terms. Hostages were taken, but historians disagree over whether any tribute was paid after Caesar returned to Gaul.

 

Caesar conquered no territory and left no troops behind, but he established clients and brought Britain into Rome's sphere of influence. Augustus planned invasions in 34, 27 and 25 BC, but circumstances were never favourable, and the relationship between Britain and Rome settled into one of diplomacy and trade. Strabo, writing late in Augustus's reign, claimed that taxes on trade brought in more annual revenue than any conquest could. Archaeology shows that there was an increase in imported luxury goods in southeastern Britain. Strabo also mentions British kings who sent embassies to Augustus, and Augustus's own Res Gestae refers to two British kings he received as refugees. When some of Tiberius's ships were carried to Britain in a storm during his campaigns in Germany in 16 AD, they came back with tales of monsters.

 

Rome appears to have encouraged a balance of power in southern Britain, supporting two powerful kingdoms: the Catuvellauni, ruled by the descendants of Tasciovanus, and the Atrebates, ruled by the descendants of Commius. This policy was followed until 39 or 40 AD, when Caligula received an exiled member of the Catuvellaunian dynasty and planned an invasion of Britain that collapsed in farcical circumstances before it left Gaul. When Claudius successfully invaded in 43 AD, it was in aid of another fugitive British ruler, Verica of the Atrebates.

 

Roman invasion

The invasion force in 43 AD was led by Aulus Plautius,[26] but it is unclear how many legions were sent. The Legio II Augusta, commanded by future emperor Vespasian, was the only one directly attested to have taken part. The Legio IX Hispana, the XIV Gemina (later styled Martia Victrix) and the XX (later styled Valeria Victrix) are known to have served during the Boudican Revolt of 60/61, and were probably there since the initial invasion. This is not certain because the Roman army was flexible, with units being moved around whenever necessary. The IX Hispana may have been permanently stationed, with records showing it at Eboracum (York) in 71 and on a building inscription there dated 108, before being destroyed in the east of the Empire, possibly during the Bar Kokhba revolt.

 

The invasion was delayed by a troop mutiny until an imperial freedman persuaded them to overcome their fear of crossing the Ocean and campaigning beyond the limits of the known world. They sailed in three divisions, and probably landed at Richborough in Kent; at least part of the force may have landed near Fishbourne, West Sussex.

 

The Catuvellauni and their allies were defeated in two battles: the first, assuming a Richborough landing, on the river Medway, the second on the river Thames. One of their leaders, Togodumnus, was killed, but his brother Caratacus survived to continue resistance elsewhere. Plautius halted at the Thames and sent for Claudius, who arrived with reinforcements, including artillery and elephants, for the final march to the Catuvellaunian capital, Camulodunum (Colchester). Vespasian subdued the southwest, Cogidubnus was set up as a friendly king of several territories, and treaties were made with tribes outside direct Roman control.

 

Establishment of Roman rule

After capturing the south of the island, the Romans turned their attention to what is now Wales. The Silures, Ordovices and Deceangli remained implacably opposed to the invaders and for the first few decades were the focus of Roman military attention, despite occasional minor revolts among Roman allies like the Brigantes and the Iceni. The Silures were led by Caratacus, and he carried out an effective guerrilla campaign against Governor Publius Ostorius Scapula. Finally, in 51, Ostorius lured Caratacus into a set-piece battle and defeated him. The British leader sought refuge among the Brigantes, but their queen, Cartimandua, proved her loyalty by surrendering him to the Romans. He was brought as a captive to Rome, where a dignified speech he made during Claudius's triumph persuaded the emperor to spare his life. The Silures were still not pacified, and Cartimandua's ex-husband Venutius replaced Caratacus as the most prominent leader of British resistance.

 

On Nero's accession, Roman Britain extended as far north as Lindum. Gaius Suetonius Paulinus, the conqueror of Mauretania (modern day Algeria and Morocco), then became governor of Britain, and in 60 and 61 he moved against Mona (Anglesey) to settle accounts with Druidism once and for all. Paulinus led his army across the Menai Strait and massacred the Druids and burnt their sacred groves.

 

While Paulinus was campaigning in Mona, the southeast of Britain rose in revolt under the leadership of Boudica. She was the widow of the recently deceased king of the Iceni, Prasutagus. The Roman historian Tacitus reports that Prasutagus had left a will leaving half his kingdom to Nero in the hope that the remainder would be left untouched. He was wrong. When his will was enforced, Rome[clarification needed] responded by violently seizing the tribe's lands in full. Boudica protested. In consequence, Rome[clarification needed] punished her and her daughters by flogging and rape. In response, the Iceni, joined by the Trinovantes, destroyed the Roman colony at Camulodunum (Colchester) and routed the part of the IXth Legion that was sent to relieve it. Paulinus rode to London (then called Londinium), the rebels' next target, but concluded it could not be defended. Abandoned, it was destroyed, as was Verulamium (St. Albans). Between seventy and eighty thousand people are said to have been killed in the three cities. But Paulinus regrouped with two of the three legions still available to him, chose a battlefield, and, despite being outnumbered by more than twenty to one, defeated the rebels in the Battle of Watling Street. Boudica died not long afterwards, by self-administered poison or by illness. During this time, the Emperor Nero considered withdrawing Roman forces from Britain altogether.

 

There was further turmoil in 69, the "Year of the Four Emperors". As civil war raged in Rome, weak governors were unable to control the legions in Britain, and Venutius of the Brigantes seized his chance. The Romans had previously defended Cartimandua against him, but this time were unable to do so. Cartimandua was evacuated, and Venutius was left in control of the north of the country. After Vespasian secured the empire, his first two appointments as governor, Quintus Petillius Cerialis and Sextus Julius Frontinus, took on the task of subduing the Brigantes and Silures respectively.[38] Frontinus extended Roman rule to all of South Wales, and initiated exploitation of the mineral resources, such as the gold mines at Dolaucothi.

 

In the following years, the Romans conquered more of the island, increasing the size of Roman Britain. Governor Gnaeus Julius Agricola, father-in-law to the historian Tacitus, conquered the Ordovices in 78. With the XX Valeria Victrix legion, Agricola defeated the Caledonians in 84 at the Battle of Mons Graupius, in north-east Scotland. This was the high-water mark of Roman territory in Britain: shortly after his victory, Agricola was recalled from Britain back to Rome, and the Romans initially retired to a more defensible line along the Forth–Clyde isthmus, freeing soldiers badly needed along other frontiers.

 

For much of the history of Roman Britain, a large number of soldiers were garrisoned on the island. This required that the emperor station a trusted senior man as governor of the province. As a result, many future emperors served as governors or legates in this province, including Vespasian, Pertinax, and Gordian I.

 

Roman military organisation in the north

In 84 AD

In 84 AD

 

In 155 AD

In 155 AD

 

Hadrian's Wall, and Antonine Wall

There is no historical source describing the decades that followed Agricola's recall. Even the name of his replacement is unknown. Archaeology has shown that some Roman forts south of the Forth–Clyde isthmus were rebuilt and enlarged; others appear to have been abandoned. By 87 the frontier had been consolidated on the Stanegate. Roman coins and pottery have been found circulating at native settlement sites in the Scottish Lowlands in the years before 100, indicating growing Romanisation. Some of the most important sources for this era are the writing tablets from the fort at Vindolanda in Northumberland, mostly dating to 90–110. These tablets provide evidence for the operation of a Roman fort at the edge of the Roman Empire, where officers' wives maintained polite society while merchants, hauliers and military personnel kept the fort operational and supplied.

 

Around 105 there appears to have been a serious setback at the hands of the tribes of the Picts: several Roman forts were destroyed by fire, with human remains and damaged armour at Trimontium (at modern Newstead, in SE Scotland) indicating hostilities at least at that site.[citation needed] There is also circumstantial evidence that auxiliary reinforcements were sent from Germany, and an unnamed British war of the period is mentioned on the gravestone of a tribune of Cyrene. Trajan's Dacian Wars may have led to troop reductions in the area or even total withdrawal followed by slighting of the forts by the Picts rather than an unrecorded military defeat. The Romans were also in the habit of destroying their own forts during an orderly withdrawal, in order to deny resources to an enemy. In either case, the frontier probably moved south to the line of the Stanegate at the Solway–Tyne isthmus around this time.

 

A new crisis occurred at the beginning of Hadrian's reign): a rising in the north which was suppressed by Quintus Pompeius Falco. When Hadrian reached Britannia on his famous tour of the Roman provinces around 120, he directed an extensive defensive wall, known to posterity as Hadrian's Wall, to be built close to the line of the Stanegate frontier. Hadrian appointed Aulus Platorius Nepos as governor to undertake this work who brought the Legio VI Victrix legion with him from Germania Inferior. This replaced the famous Legio IX Hispana, whose disappearance has been much discussed. Archaeology indicates considerable political instability in Scotland during the first half of the 2nd century, and the shifting frontier at this time should be seen in this context.

 

In the reign of Antoninus Pius (138–161) the Hadrianic border was briefly extended north to the Forth–Clyde isthmus, where the Antonine Wall was built around 142 following the military reoccupation of the Scottish lowlands by a new governor, Quintus Lollius Urbicus.

 

The first Antonine occupation of Scotland ended as a result of a further crisis in 155–157, when the Brigantes revolted. With limited options to despatch reinforcements, the Romans moved their troops south, and this rising was suppressed by Governor Gnaeus Julius Verus. Within a year the Antonine Wall was recaptured, but by 163 or 164 it was abandoned. The second occupation was probably connected with Antoninus's undertakings to protect the Votadini or his pride in enlarging the empire, since the retreat to the Hadrianic frontier occurred not long after his death when a more objective strategic assessment of the benefits of the Antonine Wall could be made. The Romans did not entirely withdraw from Scotland at this time: the large fort at Newstead was maintained along with seven smaller outposts until at least 180.

 

During the twenty-year period following the reversion of the frontier to Hadrian's Wall in 163/4, Rome was concerned with continental issues, primarily problems in the Danubian provinces. Increasing numbers of hoards of buried coins in Britain at this time indicate that peace was not entirely achieved. Sufficient Roman silver has been found in Scotland to suggest more than ordinary trade, and it is likely that the Romans were reinforcing treaty agreements by paying tribute to their implacable enemies, the Picts.

 

In 175, a large force of Sarmatian cavalry, consisting of 5,500 men, arrived in Britannia, probably to reinforce troops fighting unrecorded uprisings. In 180, Hadrian's Wall was breached by the Picts and the commanding officer or governor was killed there in what Cassius Dio described as the most serious war of the reign of Commodus. Ulpius Marcellus was sent as replacement governor and by 184 he had won a new peace, only to be faced with a mutiny from his own troops. Unhappy with Marcellus's strictness, they tried to elect a legate named Priscus as usurper governor; he refused, but Marcellus was lucky to leave the province alive. The Roman army in Britannia continued its insubordination: they sent a delegation of 1,500 to Rome to demand the execution of Tigidius Perennis, a Praetorian prefect who they felt had earlier wronged them by posting lowly equites to legate ranks in Britannia. Commodus met the party outside Rome and agreed to have Perennis killed, but this only made them feel more secure in their mutiny.

 

The future emperor Pertinax (lived 126–193) was sent to Britannia to quell the mutiny and was initially successful in regaining control, but a riot broke out among the troops. Pertinax was attacked and left for dead, and asked to be recalled to Rome, where he briefly succeeded Commodus as emperor in 192.

 

3rd century

The death of Commodus put into motion a series of events which eventually led to civil war. Following the short reign of Pertinax, several rivals for the emperorship emerged, including Septimius Severus and Clodius Albinus. The latter was the new governor of Britannia, and had seemingly won the natives over after their earlier rebellions; he also controlled three legions, making him a potentially significant claimant. His sometime rival Severus promised him the title of Caesar in return for Albinus's support against Pescennius Niger in the east. Once Niger was neutralised, Severus turned on his ally in Britannia; it is likely that Albinus saw he would be the next target and was already preparing for war.

 

Albinus crossed to Gaul in 195, where the provinces were also sympathetic to him, and set up at Lugdunum. Severus arrived in February 196, and the ensuing battle was decisive. Albinus came close to victory, but Severus's reinforcements won the day, and the British governor committed suicide. Severus soon purged Albinus's sympathisers and perhaps confiscated large tracts of land in Britain as punishment. Albinus had demonstrated the major problem posed by Roman Britain. In order to maintain security, the province required the presence of three legions, but command of these forces provided an ideal power base for ambitious rivals. Deploying those legions elsewhere would strip the island of its garrison, leaving the province defenceless against uprisings by the native Celtic tribes and against invasion by the Picts and Scots.

 

The traditional view is that northern Britain descended into anarchy during Albinus's absence. Cassius Dio records that the new Governor, Virius Lupus, was obliged to buy peace from a fractious northern tribe known as the Maeatae. The succession of militarily distinguished governors who were subsequently appointed suggests that enemies of Rome were posing a difficult challenge, and Lucius Alfenus Senecio's report to Rome in 207 describes barbarians "rebelling, over-running the land, taking loot and creating destruction". In order to rebel, of course, one must be a subject – the Maeatae clearly did not consider themselves such. Senecio requested either reinforcements or an Imperial expedition, and Severus chose the latter, despite being 62 years old. Archaeological evidence shows that Senecio had been rebuilding the defences of Hadrian's Wall and the forts beyond it, and Severus's arrival in Britain prompted the enemy tribes to sue for peace immediately. The emperor had not come all that way to leave without a victory, and it is likely that he wished to provide his teenage sons Caracalla and Geta with first-hand experience of controlling a hostile barbarian land.

 

Northern campaigns, 208–211

An invasion of Caledonia led by Severus and probably numbering around 20,000 troops moved north in 208 or 209, crossing the Wall and passing through eastern Scotland on a route similar to that used by Agricola. Harried by punishing guerrilla raids by the northern tribes and slowed by an unforgiving terrain, Severus was unable to meet the Caledonians on a battlefield. The emperor's forces pushed north as far as the River Tay, but little appears to have been achieved by the invasion, as peace treaties were signed with the Caledonians. By 210 Severus had returned to York, and the frontier had once again become Hadrian's Wall. He assumed the title Britannicus but the title meant little with regard to the unconquered north, which clearly remained outside the authority of the Empire. Almost immediately, another northern tribe, the Maeatae, went to war. Caracalla left with a punitive expedition, but by the following year his ailing father had died and he and his brother left the province to press their claim to the throne.

 

As one of his last acts, Severus tried to solve the problem of powerful and rebellious governors in Britain by dividing the province into Britannia Superior and Britannia Inferior. This kept the potential for rebellion in check for almost a century. Historical sources provide little information on the following decades, a period known as the Long Peace. Even so, the number of buried hoards found from this period rises, suggesting continuing unrest. A string of forts were built along the coast of southern Britain to control piracy; and over the following hundred years they increased in number, becoming the Saxon Shore Forts.

 

During the middle of the 3rd century, the Roman Empire was convulsed by barbarian invasions, rebellions and new imperial pretenders. Britannia apparently avoided these troubles, but increasing inflation had its economic effect. In 259 a so-called Gallic Empire was established when Postumus rebelled against Gallienus. Britannia was part of this until 274 when Aurelian reunited the empire.

 

Around the year 280, a half-British officer named Bonosus was in command of the Roman's Rhenish fleet when the Germans managed to burn it at anchor. To avoid punishment, he proclaimed himself emperor at Colonia Agrippina (Cologne) but was crushed by Marcus Aurelius Probus. Soon afterwards, an unnamed governor of one of the British provinces also attempted an uprising. Probus put it down by sending irregular troops of Vandals and Burgundians across the Channel.

 

The Carausian Revolt led to a short-lived Britannic Empire from 286 to 296. Carausius was a Menapian naval commander of the Britannic fleet; he revolted upon learning of a death sentence ordered by the emperor Maximian on charges of having abetted Frankish and Saxon pirates and having embezzled recovered treasure. He consolidated control over all the provinces of Britain and some of northern Gaul while Maximian dealt with other uprisings. An invasion in 288 failed to unseat him and an uneasy peace ensued, with Carausius issuing coins and inviting official recognition. In 293, the junior emperor Constantius Chlorus launched a second offensive, besieging the rebel port of Gesoriacum (Boulogne-sur-Mer) by land and sea. After it fell, Constantius attacked Carausius's other Gallic holdings and Frankish allies and Carausius was usurped by his treasurer, Allectus. Julius Asclepiodotus landed an invasion fleet near Southampton and defeated Allectus in a land battle.

 

Diocletian's reforms

As part of Diocletian's reforms, the provinces of Roman Britain were organized as a diocese governed by a vicarius under a praetorian prefect who, from 318 to 331, was Junius Bassus who was based at Augusta Treverorum (Trier).

 

The vicarius was based at Londinium as the principal city of the diocese. Londinium and Eboracum continued as provincial capitals and the territory was divided up into smaller provinces for administrative efficiency.

 

Civilian and military authority of a province was no longer exercised by one official and the governor was stripped of military command which was handed over to the Dux Britanniarum by 314. The governor of a province assumed more financial duties (the procurators of the Treasury ministry were slowly phased out in the first three decades of the 4th century). The Dux was commander of the troops of the Northern Region, primarily along Hadrian's Wall and his responsibilities included protection of the frontier. He had significant autonomy due in part to the distance from his superiors.

 

The tasks of the vicarius were to control and coordinate the activities of governors; monitor but not interfere with the daily functioning of the Treasury and Crown Estates, which had their own administrative infrastructure; and act as the regional quartermaster-general of the armed forces. In short, as the sole civilian official with superior authority, he had general oversight of the administration, as well as direct control, while not absolute, over governors who were part of the prefecture; the other two fiscal departments were not.

 

The early-4th-century Verona List, the late-4th-century work of Sextus Rufus, and the early-5th-century List of Offices and work of Polemius Silvius all list four provinces by some variation of the names Britannia I, Britannia II, Maxima Caesariensis, and Flavia Caesariensis; all of these seem to have initially been directed by a governor (praeses) of equestrian rank. The 5th-century sources list a fifth province named Valentia and give its governor and Maxima's a consular rank. Ammianus mentions Valentia as well, describing its creation by Count Theodosius in 369 after the quelling of the Great Conspiracy. Ammianus considered it a re-creation of a formerly lost province, leading some to think there had been an earlier fifth province under another name (may be the enigmatic "Vespasiana"), and leading others to place Valentia beyond Hadrian's Wall, in the territory abandoned south of the Antonine Wall.

 

Reconstructions of the provinces and provincial capitals during this period partially rely on ecclesiastical records. On the assumption that the early bishoprics mimicked the imperial hierarchy, scholars use the list of bishops for the 314 Council of Arles. The list is patently corrupt: the British delegation is given as including a Bishop "Eborius" of Eboracum and two bishops "from Londinium" (one de civitate Londinensi and the other de civitate colonia Londinensium). The error is variously emended: Bishop Ussher proposed Colonia, Selden Col. or Colon. Camalodun., and Spelman Colonia Cameloduni (all various names of Colchester); Gale and Bingham offered colonia Lindi and Henry Colonia Lindum (both Lincoln); and Bishop Stillingfleet and Francis Thackeray read it as a scribal error of Civ. Col. Londin. for an original Civ. Col. Leg. II (Caerleon). On the basis of the Verona List, the priest and deacon who accompanied the bishops in some manuscripts are ascribed to the fourth province.

 

In the 12th century, Gerald of Wales described the supposedly metropolitan sees of the early British church established by the legendary SS Fagan and "Duvian". He placed Britannia Prima in Wales and western England with its capital at "Urbs Legionum" (Caerleon); Britannia Secunda in Kent and southern England with its capital at "Dorobernia" (Canterbury); Flavia in Mercia and central England with its capital at "Lundonia" (London); "Maximia" in northern England with its capital at Eboracum (York); and Valentia in "Albania which is now Scotland" with its capital at St Andrews. Modern scholars generally dispute the last: some place Valentia at or beyond Hadrian's Wall but St Andrews is beyond even the Antonine Wall and Gerald seems to have simply been supporting the antiquity of its church for political reasons.

 

A common modern reconstruction places the consular province of Maxima at Londinium, on the basis of its status as the seat of the diocesan vicarius; places Prima in the west according to Gerald's traditional account but moves its capital to Corinium of the Dobunni (Cirencester) on the basis of an artifact recovered there referring to Lucius Septimius, a provincial rector; places Flavia north of Maxima, with its capital placed at Lindum Colonia (Lincoln) to match one emendation of the bishops list from Arles;[d] and places Secunda in the north with its capital at Eboracum (York). Valentia is placed variously in northern Wales around Deva (Chester); beside Hadrian's Wall around Luguvalium (Carlisle); and between the walls along Dere Street.

 

4th century

Emperor Constantius returned to Britain in 306, despite his poor health, with an army aiming to invade northern Britain, the provincial defences having been rebuilt in the preceding years. Little is known of his campaigns with scant archaeological evidence, but fragmentary historical sources suggest he reached the far north of Britain and won a major battle in early summer before returning south. His son Constantine (later Constantine the Great) spent a year in northern Britain at his father's side, campaigning against the Picts beyond Hadrian's Wall in the summer and autumn. Constantius died in York in July 306 with his son at his side. Constantine then successfully used Britain as the starting point of his march to the imperial throne, unlike the earlier usurper, Albinus.

 

In the middle of the century, the province was loyal for a few years to the usurper Magnentius, who succeeded Constans following the latter's death. After the defeat and death of Magnentius in the Battle of Mons Seleucus in 353, Constantius II dispatched his chief imperial notary Paulus Catena to Britain to hunt down Magnentius's supporters. The investigation deteriorated into a witch-hunt, which forced the vicarius Flavius Martinus to intervene. When Paulus retaliated by accusing Martinus of treason, the vicarius attacked Paulus with a sword, with the aim of assassinating him, but in the end he committed suicide.

 

As the 4th century progressed, there were increasing attacks from the Saxons in the east and the Scoti (Irish) in the west. A series of forts had been built, starting around 280, to defend the coasts, but these preparations were not enough when, in 367, a general assault of Saxons, Picts, Scoti and Attacotti, combined with apparent dissension in the garrison on Hadrian's Wall, left Roman Britain prostrate. The invaders overwhelmed the entire western and northern regions of Britannia and the cities were sacked. This crisis, sometimes called the Barbarian Conspiracy or the Great Conspiracy, was settled by Count Theodosius from 368 with a string of military and civil reforms. Theodosius crossed from Bononia (Boulogne-sur-Mer) and marched on Londinium where he began to deal with the invaders and made his base.[ An amnesty was promised to deserters which enabled Theodosius to regarrison abandoned forts. By the end of the year Hadrian's Wall was retaken and order returned. Considerable reorganization was undertaken in Britain, including the creation of a new province named Valentia, probably to better address the state of the far north. A new Dux Britanniarum was appointed, Dulcitius, with Civilis to head a new civilian administration.

 

Another imperial usurper, Magnus Maximus, raised the standard of revolt at Segontium (Caernarfon) in north Wales in 383, and crossed the English Channel. Maximus held much of the western empire, and fought a successful campaign against the Picts and Scots around 384. His continental exploits required troops from Britain, and it appears that forts at Chester and elsewhere were abandoned in this period, triggering raids and settlement in north Wales by the Irish. His rule was ended in 388, but not all the British troops may have returned: the Empire's military resources were stretched to the limit along the Rhine and Danube. Around 396 there were more barbarian incursions into Britain. Stilicho led a punitive expedition. It seems peace was restored by 399, and it is likely that no further garrisoning was ordered; by 401 more troops were withdrawn, to assist in the war against Alaric I.

 

End of Roman rule

The traditional view of historians, informed by the work of Michael Rostovtzeff, was of a widespread economic decline at the beginning of the 5th century. Consistent archaeological evidence has told another story, and the accepted view is undergoing re-evaluation. Some features are agreed: more opulent but fewer urban houses, an end to new public building and some abandonment of existing ones, with the exception of defensive structures, and the widespread formation of "dark earth" deposits indicating increased horticulture within urban precincts. Turning over the basilica at Silchester to industrial uses in the late 3rd century, doubtless officially condoned, marks an early stage in the de-urbanisation of Roman Britain.

 

The abandonment of some sites is now believed to be later than had been thought. Many buildings changed use but were not destroyed. There was a growing number of barbarian attacks, but these targeted vulnerable rural settlements rather than towns. Some villas such as Chedworth, Great Casterton in Rutland and Hucclecote in Gloucestershire had new mosaic floors laid around this time, suggesting that economic problems may have been limited and patchy. Many suffered some decay before being abandoned in the 5th century; the story of Saint Patrick indicates that villas were still occupied until at least 430. Exceptionally, new buildings were still going up in this period in Verulamium and Cirencester. Some urban centres, for example Canterbury, Cirencester, Wroxeter, Winchester and Gloucester, remained active during the 5th and 6th centuries, surrounded by large farming estates.

 

Urban life had generally grown less intense by the fourth quarter of the 4th century, and coins minted between 378 and 388 are very rare, indicating a likely combination of economic decline, diminishing numbers of troops, problems with the payment of soldiers and officials or with unstable conditions during the usurpation of Magnus Maximus 383–87. Coinage circulation increased during the 390s, but never attained the levels of earlier decades. Copper coins are very rare after 402, though minted silver and gold coins from hoards indicate they were still present in the province even if they were not being spent. By 407 there were very few new Roman coins going into circulation, and by 430 it is likely that coinage as a medium of exchange had been abandoned. Mass-produced wheel thrown pottery ended at approximately the same time; the rich continued to use metal and glass vessels, while the poor made do with humble "grey ware" or resorted to leather or wooden containers.

 

Sub-Roman Britain

Towards the end of the 4th century Roman rule in Britain came under increasing pressure from barbarian attacks. Apparently, there were not enough troops to mount an effective defence. After elevating two disappointing usurpers, the army chose a soldier, Constantine III, to become emperor in 407. He crossed to Gaul but was defeated by Honorius; it is unclear how many troops remained or ever returned, or whether a commander-in-chief in Britain was ever reappointed. A Saxon incursion in 408 was apparently repelled by the Britons, and in 409 Zosimus records that the natives expelled the Roman civilian administration. Zosimus may be referring to the Bacaudic rebellion of the Breton inhabitants of Armorica since he describes how, in the aftermath of the revolt, all of Armorica and the rest of Gaul followed the example of the Brettaniai. A letter from Emperor Honorius in 410 has traditionally been seen as rejecting a British appeal for help, but it may have been addressed to Bruttium or Bologna. With the imperial layers of the military and civil government gone, administration and justice fell to municipal authorities, and local warlords gradually emerged all over Britain, still utilizing Romano-British ideals and conventions. Historian Stuart Laycock has investigated this process and emphasised elements of continuity from the British tribes in the pre-Roman and Roman periods, through to the native post-Roman kingdoms.

 

In British tradition, pagan Saxons were invited by Vortigern to assist in fighting the Picts, Scoti, and Déisi. (Germanic migration into Roman Britannia may have begun much earlier. There is recorded evidence, for example, of Germanic auxiliaries supporting the legions in Britain in the 1st and 2nd centuries.) The new arrivals rebelled, plunging the country into a series of wars that eventually led to the Saxon occupation of Lowland Britain by 600. Around this time, many Britons fled to Brittany (hence its name), Galicia and probably Ireland. A significant date in sub-Roman Britain is the Groans of the Britons, an unanswered appeal to Aetius, leading general of the western Empire, for assistance against Saxon invasion in 446. Another is the Battle of Deorham in 577, after which the significant cities of Bath, Cirencester and Gloucester fell and the Saxons reached the western sea.

 

Historians generally reject the historicity of King Arthur, who is supposed to have resisted the Anglo-Saxon conquest according to later medieval legends.

 

Trade

During the Roman period Britain's continental trade was principally directed across the Southern North Sea and Eastern Channel, focusing on the narrow Strait of Dover, with more limited links via the Atlantic seaways. The most important British ports were London and Richborough, whilst the continental ports most heavily engaged in trade with Britain were Boulogne and the sites of Domburg and Colijnsplaat at the mouth of the river Scheldt. During the Late Roman period it is likely that the shore forts played some role in continental trade alongside their defensive functions.

 

Exports to Britain included: coin; pottery, particularly red-gloss terra sigillata (samian ware) from southern, central and eastern Gaul, as well as various other wares from Gaul and the Rhine provinces; olive oil from southern Spain in amphorae; wine from Gaul in amphorae and barrels; salted fish products from the western Mediterranean and Brittany in barrels and amphorae; preserved olives from southern Spain in amphorae; lava quern-stones from Mayen on the middle Rhine; glass; and some agricultural products. Britain's exports are harder to detect archaeologically, but will have included metals, such as silver and gold and some lead, iron and copper. Other exports probably included agricultural products, oysters and salt, whilst large quantities of coin would have been re-exported back to the continent as well.

 

These products moved as a result of private trade and also through payments and contracts established by the Roman state to support its military forces and officials on the island, as well as through state taxation and extraction of resources. Up until the mid-3rd century, the Roman state's payments appear to have been unbalanced, with far more products sent to Britain, to support its large military force (which had reached c. 53,000 by the mid-2nd century), than were extracted from the island.

 

It has been argued that Roman Britain's continental trade peaked in the late 1st century AD and thereafter declined as a result of an increasing reliance on local products by the population of Britain, caused by economic development on the island and by the Roman state's desire to save money by shifting away from expensive long-distance imports. Evidence has been outlined that suggests that the principal decline in Roman Britain's continental trade may have occurred in the late 2nd century AD, from c. 165 AD onwards. This has been linked to the economic impact of contemporary Empire-wide crises: the Antonine Plague and the Marcomannic Wars.

 

From the mid-3rd century onwards, Britain no longer received such a wide range and extensive quantity of foreign imports as it did during the earlier part of the Roman period; vast quantities of coin from continental mints reached the island, whilst there is historical evidence for the export of large amounts of British grain to the continent during the mid-4th century. During the latter part of the Roman period British agricultural products, paid for by both the Roman state and by private consumers, clearly played an important role in supporting the military garrisons and urban centres of the northwestern continental Empire. This came about as a result of the rapid decline in the size of the British garrison from the mid-3rd century onwards (thus freeing up more goods for export), and because of 'Germanic' incursions across the Rhine, which appear to have reduced rural settlement and agricultural output in northern Gaul.

 

Economy

Mineral extraction sites such as the Dolaucothi gold mine were probably first worked by the Roman army from c. 75, and at some later stage passed to civilian operators. The mine developed as a series of opencast workings, mainly by the use of hydraulic mining methods. They are described by Pliny the Elder in his Natural History in great detail. Essentially, water supplied by aqueducts was used to prospect for ore veins by stripping away soil to reveal the bedrock. If veins were present, they were attacked using fire-setting and the ore removed for comminution. The dust was washed in a small stream of water and the heavy gold dust and gold nuggets collected in riffles. The diagram at right shows how Dolaucothi developed from c. 75 through to the 1st century. When opencast work was no longer feasible, tunnels were driven to follow the veins. The evidence from the site shows advanced technology probably under the control of army engineers.

 

The Wealden ironworking zone, the lead and silver mines of the Mendip Hills and the tin mines of Cornwall seem to have been private enterprises leased from the government for a fee. Mining had long been practised in Britain (see Grimes Graves), but the Romans introduced new technical knowledge and large-scale industrial production to revolutionise the industry. It included hydraulic mining to prospect for ore by removing overburden as well as work alluvial deposits. The water needed for such large-scale operations was supplied by one or more aqueducts, those surviving at Dolaucothi being especially impressive. Many prospecting areas were in dangerous, upland country, and, although mineral exploitation was presumably one of the main reasons for the Roman invasion, it had to wait until these areas were subdued.

 

By the 3rd and 4th centuries, small towns could often be found near villas. In these towns, villa owners and small-scale farmers could obtain specialist tools. Lowland Britain in the 4th century was agriculturally prosperous enough to export grain to the continent. This prosperity lay behind the blossoming of villa building and decoration that occurred between AD 300 and 350.

 

Britain's cities also consumed Roman-style pottery and other goods, and were centres through which goods could be distributed elsewhere. At Wroxeter in Shropshire, stock smashed into a gutter during a 2nd-century fire reveals that Gaulish samian ware was being sold alongside mixing bowls from the Mancetter-Hartshill industry of the West Midlands. Roman designs were most popular, but rural craftsmen still produced items derived from the Iron Age La Tène artistic traditions. Britain was home to much gold, which attracted Roman invaders. By the 3rd century, Britain's economy was diverse and well established, with commerce extending into the non-Romanised north.

 

Government

Further information: Governors of Roman Britain, Roman client kingdoms in Britain, and Roman auxiliaries in Britain

Under the Roman Empire, administration of peaceful provinces was ultimately the remit of the Senate, but those, like Britain, that required permanent garrisons, were placed under the Emperor's control. In practice imperial provinces were run by resident governors who were members of the Senate and had held the consulship. These men were carefully selected, often having strong records of military success and administrative ability. In Britain, a governor's role was primarily military, but numerous other tasks were also his responsibility, such as maintaining diplomatic relations with local client kings, building roads, ensuring the public courier system functioned, supervising the civitates and acting as a judge in important legal cases. When not campaigning, he would travel the province hearing complaints and recruiting new troops.

 

To assist him in legal matters he had an adviser, the legatus juridicus, and those in Britain appear to have been distinguished lawyers perhaps because of the challenge of incorporating tribes into the imperial system and devising a workable method of taxing them. Financial administration was dealt with by a procurator with junior posts for each tax-raising power. Each legion in Britain had a commander who answered to the governor and, in time of war, probably directly ruled troublesome districts. Each of these commands carried a tour of duty of two to three years in different provinces. Below these posts was a network of administrative managers covering intelligence gathering, sending reports to Rome, organising military supplies and dealing with prisoners. A staff of seconded soldiers provided clerical services.

 

Colchester was probably the earliest capital of Roman Britain, but it was soon eclipsed by London with its strong mercantile connections. The different forms of municipal organisation in Britannia were known as civitas (which were subdivided, amongst other forms, into colonies such as York, Colchester, Gloucester and Lincoln and municipalities such as Verulamium), and were each governed by a senate of local landowners, whether Brythonic or Roman, who elected magistrates concerning judicial and civic affairs. The various civitates sent representatives to a yearly provincial council in order to profess loyalty to the Roman state, to send direct petitions to the Emperor in times of extraordinary need, and to worship the imperial cult.

 

Demographics

Roman Britain had an estimated population between 2.8 million and 3 million people at the end of the second century. At the end of the fourth century, it had an estimated population of 3.6 million people, of whom 125,000 consisted of the Roman army and their families and dependents.[80] The urban population of Roman Britain was about 240,000 people at the end of the fourth century. The capital city of Londinium is estimated to have had a population of about 60,000 people. Londinium was an ethnically diverse city with inhabitants from the Roman Empire, including natives of Britannia, continental Europe, the Middle East, and North Africa. There was also cultural diversity in other Roman-British towns, which were sustained by considerable migration, from Britannia and other Roman territories, including continental Europe, Roman Syria, the Eastern Mediterranean and North Africa. In a study conducted in 2012, around 45 percent of sites investigated dating from the Roman period had at least one individual of North African origin.

 

Town and country

During their occupation of Britain the Romans founded a number of important settlements, many of which survive. The towns suffered attrition in the later 4th century, when public building ceased and some were abandoned to private uses. Place names survived the deurbanised Sub-Roman and early Anglo-Saxon periods, and historiography has been at pains to signal the expected survivals, but archaeology shows that a bare handful of Roman towns were continuously occupied. According to S.T. Loseby, the very idea of a town as a centre of power and administration was reintroduced to England by the Roman Christianising mission to Canterbury, and its urban revival was delayed to the 10th century.

 

Roman towns can be broadly grouped in two categories. Civitates, "public towns" were formally laid out on a grid plan, and their role in imperial administration occasioned the construction of public buildings. The much more numerous category of vici, "small towns" grew on informal plans, often round a camp or at a ford or crossroads; some were not small, others were scarcely urban, some not even defended by a wall, the characteristic feature of a place of any importance.

 

Cities and towns which have Roman origins, or were extensively developed by them are listed with their Latin names in brackets; civitates are marked C

 

Alcester (Alauna)

Alchester

Aldborough, North Yorkshire (Isurium Brigantum) C

Bath (Aquae Sulis) C

Brough (Petuaria) C

Buxton (Aquae Arnemetiae)

Caerleon (Isca Augusta) C

Caernarfon (Segontium) C

Caerwent (Venta Silurum) C

Caister-on-Sea C

Canterbury (Durovernum Cantiacorum) C

Carlisle (Luguvalium) C

Carmarthen (Moridunum) C

Chelmsford (Caesaromagus)

Chester (Deva Victrix) C

Chester-le-Street (Concangis)

Chichester (Noviomagus Reginorum) C

Cirencester (Corinium) C

Colchester (Camulodunum) C

Corbridge (Coria) C

Dorchester (Durnovaria) C

Dover (Portus Dubris)

Exeter (Isca Dumnoniorum) C

Gloucester (Glevum) C

Great Chesterford (the name of this vicus is unknown)

Ilchester (Lindinis) C

Leicester (Ratae Corieltauvorum) C

Lincoln (Lindum Colonia) C

London (Londinium) C

Manchester (Mamucium) C

Newcastle upon Tyne (Pons Aelius)

Northwich (Condate)

St Albans (Verulamium) C

Silchester (Calleva Atrebatum) C

Towcester (Lactodurum)

Whitchurch (Mediolanum) C

Winchester (Venta Belgarum) C

Wroxeter (Viroconium Cornoviorum) C

York (Eboracum) C

 

Religion

The druids, the Celtic priestly caste who were believed to originate in Britain, were outlawed by Claudius, and in 61 they vainly defended their sacred groves from destruction by the Romans on the island of Mona (Anglesey). Under Roman rule the Britons continued to worship native Celtic deities, such as Ancasta, but often conflated with their Roman equivalents, like Mars Rigonemetos at Nettleham.

 

The degree to which earlier native beliefs survived is difficult to gauge precisely. Certain European ritual traits such as the significance of the number 3, the importance of the head and of water sources such as springs remain in the archaeological record, but the differences in the votive offerings made at the baths at Bath, Somerset, before and after the Roman conquest suggest that continuity was only partial. Worship of the Roman emperor is widely recorded, especially at military sites. The founding of a Roman temple to Claudius at Camulodunum was one of the impositions that led to the revolt of Boudica. By the 3rd century, Pagans Hill Roman Temple in Somerset was able to exist peaceably and it did so into the 5th century.

 

Pagan religious practices were supported by priests, represented in Britain by votive deposits of priestly regalia such as chain crowns from West Stow and Willingham Fen.

 

Eastern cults such as Mithraism also grew in popularity towards the end of the occupation. The London Mithraeum is one example of the popularity of mystery religions among the soldiery. Temples to Mithras also exist in military contexts at Vindobala on Hadrian's Wall (the Rudchester Mithraeum) and at Segontium in Roman Wales (the Caernarfon Mithraeum).

 

Christianity

It is not clear when or how Christianity came to Britain. A 2nd-century "word square" has been discovered in Mamucium, the Roman settlement of Manchester. It consists of an anagram of PATER NOSTER carved on a piece of amphora. There has been discussion by academics whether the "word square" is a Christian artefact, but if it is, it is one of the earliest examples of early Christianity in Britain. The earliest confirmed written evidence for Christianity in Britain is a statement by Tertullian, c. 200 AD, in which he described "all the limits of the Spains, and the diverse nations of the Gauls, and the haunts of the Britons, inaccessible to the Romans, but subjugated to Christ". Archaeological evidence for Christian communities begins to appear in the 3rd and 4th centuries. Small timber churches are suggested at Lincoln and Silchester and baptismal fonts have been found at Icklingham and the Saxon Shore Fort at Richborough. The Icklingham font is made of lead, and visible in the British Museum. A Roman Christian graveyard exists at the same site in Icklingham. A possible Roman 4th-century church and associated burial ground was also discovered at Butt Road on the south-west outskirts of Colchester during the construction of the new police station there, overlying an earlier pagan cemetery. The Water Newton Treasure is a hoard of Christian silver church plate from the early 4th century and the Roman villas at Lullingstone and Hinton St Mary contained Christian wall paintings and mosaics respectively. A large 4th-century cemetery at Poundbury with its east–west oriented burials and lack of grave goods has been interpreted as an early Christian burial ground, although such burial rites were also becoming increasingly common in pagan contexts during the period.

 

The Church in Britain seems to have developed the customary diocesan system, as evidenced from the records of the Council of Arles in Gaul in 314: represented at the council were bishops from thirty-five sees from Europe and North Africa, including three bishops from Britain, Eborius of York, Restitutus of London, and Adelphius, possibly a bishop of Lincoln. No other early sees are documented, and the material remains of early church structures are far to seek. The existence of a church in the forum courtyard of Lincoln and the martyrium of Saint Alban on the outskirts of Roman Verulamium are exceptional. Alban, the first British Christian martyr and by far the most prominent, is believed to have died in the early 4th century (some date him in the middle 3rd century), followed by Saints Julius and Aaron of Isca Augusta. Christianity was legalised in the Roman Empire by Constantine I in 313. Theodosius I made Christianity the state religion of the empire in 391, and by the 5th century it was well established. One belief labelled a heresy by the church authorities — Pelagianism — was originated by a British monk teaching in Rome: Pelagius lived c. 354 to c. 420/440.

 

A letter found on a lead tablet in Bath, Somerset, datable to c. 363, had been widely publicised as documentary evidence regarding the state of Christianity in Britain during Roman times. According to its first translator, it was written in Wroxeter by a Christian man called Vinisius to a Christian woman called Nigra, and was claimed as the first epigraphic record of Christianity in Britain. This translation of the letter was apparently based on grave paleographical errors, and the text has nothing to do with Christianity, and in fact relates to pagan rituals.

 

Environmental changes

The Romans introduced a number of species to Britain, including possibly the now-rare Roman nettle (Urtica pilulifera), said to have been used by soldiers to warm their arms and legs, and the edible snail Helix pomatia. There is also some evidence they may have introduced rabbits, but of the smaller southern mediterranean type. The European rabbit (Oryctolagus cuniculus) prevalent in modern Britain is assumed to have been introduced from the continent after the Norman invasion of 1066. Box (Buxus sempervirens) is rarely recorded before the Roman period, but becomes a common find in towns and villas

 

Legacy

During their occupation of Britain the Romans built an extensive network of roads which continued to be used in later centuries and many are still followed today. The Romans also built water supply, sanitation and wastewater systems. Many of Britain's major cities, such as London (Londinium), Manchester (Mamucium) and York (Eboracum), were founded by the Romans, but the original Roman settlements were abandoned not long after the Romans left.

 

Unlike many other areas of the Western Roman Empire, the current majority language is not a Romance language, or a language descended from the pre-Roman inhabitants. The British language at the time of the invasion was Common Brittonic, and remained so after the Romans withdrew. It later split into regional languages, notably Cumbric, Cornish, Breton and Welsh. Examination of these languages suggests some 800 Latin words were incorporated into Common Brittonic (see Brittonic languages). The current majority language, English, is based on the languages of the Germanic tribes who migrated to the island from continental Europe

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

 

Tutorial overview:

 

A successful logo design needs to be both professional and functional. It might be the first piece of branding someone sees relating to a company, so it should make a positive impression. So I’ll share my techniques and experience in Logo Design behind the Scenes. I walks through the fundamental decisions, such as what information to include, what size and orientation the logo should have, and whether to use in corporate identity, TV production, Web publishing. I demonstrate how to set up a template and work with type alignment and color. Also discusses animation techniques and preparing the file for printing, TV production, Web Publishing. How to integrate and fill the gap between 6 software is my goal in this tutorial. I'll use Adobe Photoshop, Autodesk Maya, Adobe Illustrator, and Adobe after Effects, Adobe Flash and Adobe Dreamweaver.

Topics covered:

 

Quick Sketching

Logo Exploration

Logo Modeling

Producing Logo to several illustrators formats

Animation approach

Animation Composition

Web Animation and production

3d logo design - Logo Design behind the Scenes - Part 1

 

01: Intro Goals.

02: 1st stage Sketching ideas.

03: Modeling, Texturing, Lighting, Rendering and Detail Design.

04: Put the logo into Layout.

05: Illustration stage.

06: 2nd stage animation.

3d logo design - Logo Design behind the Scenes - Part 2

 

07: animation composition and finalize exporting HD.

08: 3rd stage Web Production.

09: Final Design, animation inside HTML page.

Details:

01: Intro Goals

 

In the first stage we have a look to our goals before we start working to know who exactly we should do. We will prepare our logo to be ready for printing, TV production and Web Publishing. As a designing apprentice I have always asked myself what is the best method for designing something or that particular logo. It is evident that you can apply different methods for doing the same logo, but the quality of the output might vary according to the method you use.

02: 1st stage Sketching ideas

 

Then the process of swirling out your ideas begins. It doesn't matter if the sketch looks like monotone; you are just throwing ideas down onto a white blank page at the moment. I used tablet here. Just try to find ideas and concepts using balance. What I mean with balance is our logo should be physically balanced inside our design. Just imagine if you create that logo in real life with clay or wood and try to put it on a flat surface it should be stable balanced. Once I had placed some ideas down on paper you can scan them in and dive into your image editor of choice if you would like. I'm using Adobe Photoshop for this one. The method I use to create logo could be wildly different from someone else so go with whatever method feels comfortable. The end result will be a series of scaled resources that the OS will use in different views.

03: Modeling, Texturing, Lighting, Rendering and Detail Design.

 

Then the process of swirling out your ideas begins. It doesn't matter if the sketch looks like monotone; you are just throwing ideas down onto a white blank page at the moment. I used tablet here. Just try to find ideas and concepts using balance. What I mean with balance is our logo should be physically balanced inside our design. Just imagine if you create that logo in real life with clay or wood and try to put it on a flat surface it should be stable balanced. Once I had placed some ideas down on paper you can scan them in and dive into your image editor of choice if you would like. I'm using Adobe Photoshop for this one. The method I use to create logo could be wildly different from someone else so go with whatever method feels comfortable. The end result will be a series of scaled resources that the OS will use in different views.

Modeling

 

For a non-organic bending object such as the subject of this tutorial it is wise to use polygonal modeling unless you care about the quality. Polygon modeling has always fascinated me especially with the accuracy it provides for making industrial models and its flexibility. The good thing about Autodesk Maya is that it provides both a strong NURBS system and a multi-optional NURBS to polygon conversion dialog, where by we can convert our detailed NURBS model to a polygonal object with the desired number of faces.

 

The aim of this tutorial is to provide a practical guide for the novice Polygon modeler, whereby he/she can practice the basic methods through designing a somewhat complex object. Of course, this tutorial does not cover all Polygon commands but rather most of them.

 

Now observe and contemplate the above sketching image for a moment; try to visualize it from front, the front view: that's the key point in making the logo.

 

First we will begin with a set of primitives for different logo parts. I make a sphere (polygon sphere) then 4 twisted cubes. To make twisted cubes in Maya it's just easy. Make a cube then go to deformers panel and use the twisting toll. After made a 1 twisted cube, duplicate it 3 times with 90 degrees. Then put them together to fitting in the sphere.

 

That's exactly my idea represented. I have a point in this logo which I can say the sphere represent the red word and the 4 twisted cubes represent how mush it's secured.

 

The next step is to create mental ray subdivision from approximation editor panel. I like to make the N subdivision as a 2.000 points for sure that's give me a good smoothed mesh and also at any time I can go back and make any changes in low poly mode.

Texturing

 

The texturing stage is the most important part. Everyone who's worked before with 3D texturing knows that every texture have an advantage and disadvantage. We can see that the Lambert shading absorb lights. Also we knows about the phonge shade it's reflect lights with angels and have a different characterizes instead of blinn shade. So I render the logo 3 times 1 with blinn shade, 2 with mia_material and phong shades. By this way we mention that we have the logo in 3 different characteristic so we can use this 3 together in later steps.

Lighting and Rendering

 

Let's talk about lights. I use in this scene 9 lights. Our goal in lights is how to use a minimal number of area and point lights to recreate all direct and indirect light sources for a logo. They are 8 area lights and 1 point light. The 8 area lights have a very small intensity. Also I used the white light color. In This technique we use Global Illumination and Final Gather.

 

Final step in lighting and rendering is to render the logo in 3 different images every image with a different shade.

04: Put the logo into Layout

 

lets go to Adobe Photoshop and open the 3 images we exported from Maya. Actually I like to export images as a .TIF images. Taking the 3 images and put it together in Adobe Photoshop blind them together. I used overlay blinding mode. Then finish by company name and the caption.

 

Also I simulate a deep shadow behind the logo. Its give me a nice look.

 

In this stage if u would like to represent that logo to the client u have or to your boss. That's will fair enough.

05: Illustration stage

 

For the first time I present this tutorial someone ask me... hay the logo u created now is fine but do u think is it ready for print in big scale like billboards?..

 

Actually it's a very good question because for sure we need the logo to be ready in everything from print to TV production to web production as we agreed in statge1. So I'll start now to give u my approach for how to export our logo as a vector (scalable) shape. We will go back to Maya and use logo model and exporting into a different illustrator types. I used here Maya vector render and I use some options like curve tolerance and detail level to end up with different logo versions. 1 with dark colors, bright colors, and wire frame, etc… everything is vector we can export it as an AI file and import it to adobe illustrator. Easily u will find that our logo is now ready to use it in printing elements safely if we need to print it in higher printing elements or huge billboard.

 

We finished now the stage 1 which is creating a 3d logo ready for print production.

06: 2nd stage animation

 

Okay... Let's animate. We will go back to Maya and starts animate our logo. I start by prepare my timeline with 72 frame. This will give me 3 seconds (24X3=72). Animate the sphere shrink in then shrink out until its stop. Then about the 4 twisted cubes I animate it in 360 digress reversed. So it's give me a very nice effect. So what we have now is shrink sphere and 4 rotated cubes. I think it's Looks good for me now. For sure I'll go to the timeline and play the frames fast, slow, reversed, etc... Check if anything looks weird or out of scene.

 

So we have now 72 frames let's render it in .PNG sequence of images. And have a look for the animation when it's finish render.

07: animation composition and finalize exporting HD

 

So we end now with 72 PNG sequences of images. If u thinks about composition for sure we will think about Adobe after Effects. You can import the 72 images directly to Adobe after Effects but in this tutorial I convert this sequence to 1 MOV file using quick time. So I open quick time then open the sequence of image and save as a MOV file.

 

So let's import the MOV file to Adobe after Effects and start composition. First effect I have used is the auto level effect. It's just makes the logo looks fine and has a deep look. Also I just check some other effects like rippling and bouncing and I end up with the 3D rippling animation. I make a radial gradient for the background to give me nice look when the logo animate. So I'm happy for what I end up with now

 

Let's render our MOV file from Adobe after Effects and finally the logo now composite fine and ready for TV production.

08: 3rd stage Web Production

 

After we have our composite MOV file let we think about web animation. Actually Adobe Flash is the solution. First I prepare my stage in Adobe Flash 640X480 as we rendered our files and also prepare my timeline and frame rate 24 FPS. Now we are ready to import our animation file. But the MOV file has a huge size and we shouldn't use it for web. That does will take a lot of time in loading. So I think about converting this file to FLV file using Adobe Flash CS3 Video Encoder. Start encoding and we have now a small FLV file. So import the FLV file and check it in Adobe Flash. After everything is looks fine and small size the only one problem is the frames looping. So I add one Action Script behavior to stop the animation when it's finished (played for 1 time). So our file now ready for publishing from Adobe Flash we will end up with HTML file contained the flash SWF file.

09: Final Design, animation inside HTML page.

 

The last step in our entire tutorial is to open the HTML into Adobe Dreamweaver and center the flash object (SWF file) and we can easily type welcome to red secure website and it's now ready for Web Production.

 

So that's the end of the tutorial. I hope u like it... See u :)

 

feel free to contact me ..

--------------------------------------

AIM: Peter Mikhael

Mobile: 20122786770

Current Town: cairo, Egypt 12346

Website: www.petermikhael.com

Mail : peter@petermikhael.com

 

This is a frame from a video. You can watch it on Vimeo.

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

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

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

 

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.

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]

For the best part of the last year, I have been posting shots of Kent churches on Twitter, to break up the torrent of horrible news relating to COVID, Brexit and our Dear Leader, and in doing so, I have discovered many churches I visited at the start of the project, needed to redone.

 

Goudhurst, is, apparently, the highest point in Kent, or so Jools tells me. I will just check that with Wikki: Hmm, it seems not. That is Betsom's Hill north of the M25 near to the border with London. Goudhurst is not even in the top ten.

 

I can confirm we approached the village along a long hill from a river valley, finally climbing up the narrow high street, getting round the parked cars and finding a space nearly big enough for the car near to the church.

 

On the other side of the road from the church, a series of very Kent houses and buildings, all decorated with pegtiles, in the Kent fashion, and to the south, the imposing structure of The Star and Eagle Hotel.

 

The church sits in it's large graveyard, pretty as a picture on a sunny summer's afternoon as on my first visit, but on a grey, late autumn afternoon, just as the light fades, it loses some of its charm.

 

The church itself is resplendent with it's honey-coloured stone, squat tower and spreading aisles on both sides.

 

There is a welcome notice on the door in the west end of the tower stating that the church is always open and all are indeed, welcome.

 

Its a fine touch.

 

Inside, it is light and spacious, so spacious to have to grand leather sofas in the nave, not sure if this is for glamping, or for some other reason, but they're doing no harm.

 

There are several fine wall monuments and brasses, and a wooden memorial to a couple set under a window from the 16th century.

 

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Seen from afar Goudhurst is Kent's answer to Rye - a small hilltop village over which broods the lovely church. Its west tower, dating from the seventeenth century, is rather low, but the honey-coloured sandstone is particularly beautiful here. We enter the church through the tower, and are impressed by the way in which the width and height of the nave and its aisles combine to make such a noble structure. There are two remarkably fine wooden effigies dating from the sixteenth century, carved and painted and set into a purpose-built bay window. Nearby, in the south chapel, the walls are crammed with monuments and there are three brasses, one of which is covered by a stone canopy - not particularly grand but unexpected and functional.

 

www.kentchurches.info/church.asp?p=Goudhurst

 

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GOUDHURST

LIES the next parish southward from Marden. The northern part of it, as far southward as the stream formerly called Risebridge river, which flows from Bedgebury to Hope mill, and a smaller part likewise on the other side of it, adjoining to the rivulet called the Bewle westward, is in the hundred of Marden, and lower division of the lath of Scray; the rest of the parish southward of the first-mentioned stream, is in the hundred of West, alias Little Barnefield, and lath of Aylesford, comprehending the whole of that hundred. So much of this parish as is within the borough of Faircrouch, is in the hundred of Cranbrook; as much as is in the boroughs of Pattenden, Lilsden, Combwell, and Chingley or Bromley, is in the same hundred of West, alias Little Barnefield; and the residue is in the hundred of Marden. It lies wholly within the district of the Weald, and in the division of West Kent.

 

The borsholders of the boroughs of Highamden, Pattenden, and Hilsden, in this parish, are chosen at the court-leet holden for the manor of East Farleigh, and the inhabitants owe no service but to that manor; only a constable for the hundred of West Barnefield may be chosen out of such parts of them as lay within it for that hundred. The manor of Maidstone likewise extends into this parish, over lands as far southward as Rise-bridge.

 

THE PARISH OF GOUDHURST is very pleasantly situated, being interspersed on every side with frequent hill and dale. The trees in it are oak, of a large size, and in great plenty throughout it, as well in the woods, as broad hedge-rows and shaves round the fields. The lands are in general very fertile; the soil, like the adjoining parishes, is mostly a deep stiff clay; being heavy tillage land, but it has the advantage of a great deal of rich marle at different places, and in some few parts sand, with which the roads are in general covered; and in the grounds near Finchcocks, there is a gravel-pit, which is the only one, I believe, in this part of the county. There is much more pasture than arable land in it, the former being mostly fatting lands, bullocks fatted on them weighing in general from 120 to 130 stone. It is well watered with several streams in different parts of it, all which uniting with the Teis, flow in one channel, along the western side of this parish, towards the Medway. The eastern and southern parts of it are much covered with thick coppice wood, mostly of oak. The turnpike road from Maidstone over Cocksheath through Marden, leads through the upper part of this parish southward, dividing into two branches at Winchethill; that to the left goes on to Comborne, and leaving the town of Goudhurst a little to the right, joins the Cranbrooke road a little beyond it. That to the right, having taken into it a branch of the Woodgate road from Tunbridge, near Broadford-bridge, goes on to the town of Goudhurst, and thence eastward to Cranbrooke and Tenterden; and the great high road from Lamberhurst through Stonecrouch to Hawkhurst, and into Sussex, south-east, goes along the southern bounds of this parish.

 

The parish is about eight miles long and four broad. There are about three hundred houses in it, and somewhat more than five inhabitants to a house. It is very healthy; sixty years of age being esteemed, if not the prime, at least the middle age of life; the inhabitants of these parts being in great measure untainted with the vices and dissipation too frequently practised above the hill.

 

There are two heaths or commons here; the one called Pyles-health, and the other Killdown, in West Barnefield hundred.

 

THE TOWN, or village of Goudhurst, stands in the hundred of Marden, about half a mile within the lower or southern bounds of it, on an hill, commanding an extensive view of the country all around it. It is not paved, but is built on the sides of five different roads which unite at a large pond in the middle of it. The houses are mostly large, antient and well-timbered, like the rest of those in this neighbourhood, one of them, called Brickwall, belongs to the Rev. Mr. Thomas Bathurst. Within memory there were many clothiers here, but there are none now. There is some little of the woolstapling business yet carried on.

 

On the summit of the hill, on which the town stands, is the church, a conspicuous object to the neighbouring country, and near it was the marketplace, which was pulled down about the year 1650, and the present small one built lower down, at the broad place in the town near the pond. The market was held on a Wednesday weekly, for cattle, provisions, &c. till within memory; it is now entirely disused, there is a fair held yearly in the town, upon the day of the assumption of our lady, being August 26, for cattle, hardware, toys, &c. This market and fair were granted in the year of king Richard II. to Joane, widow of Roger de Bedgebury, the possessors of which estate claim at this time the privilege of holding them, by a yearly rent to the manor of Marden.

 

At the hamlet of Stonecrouch is a post-office of very considerable account, its district extending to Goudhurst, Cranbrooke, Tenterden, Winchelsea, Rye, and Hastings, and all the intermediate and adjoining places, to which letters are directed by this Stonecrouch bag.

 

ALMOST adjoining to the town eastward, on the road leading to Tenterden, there is A HAMLET, called LITTLE GOUDHURST, in which there is an antient seat, called TAYWELL, which for many generations was possessed by a family of the name of Lake, who bore for their arms, Sable, a bend between six crosscroslets, fitchee, argent. In the north isle of this church, under which is a vault, in which this family lie buried, there is a marble, on which is a descent of them. The last of them, Thomas Lake, esq. barrister-at-law, resided here, but dying without issue male, his daughters and coheirs became possessed of it; one of whom married Maximilian Gott, esq. and the other Thomas Hussey, esq. whose son Edward Hussey, esq. of Scotney, now possesses the entire see of this estate, which is demised for a long term of years to Mr. Olive, who has almost rebuilt it, and resides in it.

 

AT A SMALL DISTANCE southward from the abovementioned seat, is another, called TRIGGS, which was for several descents the residence of the Stringers, a family of good account in the different parts of this county. John Stringer, esq. son of Edward Stringer, of Biddenden, by Phillis his wife, daughter of George Holland, gent. resided here in king Charles I.'s reign, and married Susanna, daughter of Stephen Streeter, of Goudhurst, by whom he had Stephen, of Goudhurst; John, gent. of Ashford, who left a daughter and heir Mary, married to Anthony Irby, esq. Edward and Thomas, both of Goudhurst; the latter left two sons. Thomas and Edward, and a daughter Catherine, who married William Belcher, M. D. by whom the had Stringer Belcher, and other children. The Stringers bore for their arms, Per chevron, or, and sable, in chief two eagles displayed of the second, in the base a fleur de lis of the first.

 

Stephen Stringer, the eldest son of John, resided at Triggs in the reign of king Charles II. and was succeeded in it by his second son Stephen Stringer, esq. who kept his shrievalty here in the 6th year of queen Anne. He died without male issue, leaving by Jane his wife, daughter of John Austen, esq. of Broadford, four daughters his coheirs, Jane, married to Thomas Weston, of Cranbrooke; Hannah to William Monk, of Buckingham. in Sussex, whose eldest daughter and coheir married Thomas Knight, esq. of Godmersham; Elizabeth married Edward Bathurst, esq. of Finchcocks, and Anne married John Kirril, esq. of Sevenoke. (fn. 1) This seat was afterwards alienated to Francis Austen, esq. of Sevenoke, whose son Francis Mottley Austen, esq. of Sevenoke, is the present owner of it.

 

THE MANOR OF MARDEN claims over the greatest part of this parish; part of it, being the dens beforementioned, are within the manor of East Farleigh, and the remaining part, called Wincehurst-den, is within the manor of Gillingham, near Chatham. Although that part of this parish which lies within the hundred of West Barnefield, being the most southern part of it, contains those places which are of, by far, the greatest note in it, yet, for the sake of regularity in my description, I shall begin with those in the hundred of Marden, partly already described, and having finished that, proceed next to the hundred of West Barnefield, and the matters worthy of notice in it.

 

BOKINFOLD is a manor of large extent, situated in the hundred of Marden, having formerly a large park and demesnes belonging to it, which extended into the parishes of Brenchley, Horsemonden, Yalding, Marden, and Goudhurst, the house of it being situated in that of Yalding, in the description of which parish the reader will find an ample account of the former state and possessors of it. (fn. 2) It will, therefore, be sufficient to mention here, in addition to it, that the whole of this manor coming at length into the possession of Sir Alexander Colepeper. He in the 3d year of queen Elizabeth levied a fine of it, and three years afterwards alienated that part of this manor, and all the demesnes of it which lay in Brenchley, Horsemonden, Yalding, and Marden, to Roger Revell, as has been mentioned under the parish of Yalding, and THE REMAINDER OF IT in this parish, held of the manor of Marden, to Sharpeigh, whose descendant Stephen Sharpeigh passed that part of it away in 1582, to Richard Reynolds, whose son and heir John Reynolds, about the 41st year of queen Elizabeth, conveyed it to Richard Eliot, and he, about the year 1601, alienated it to Thomas Girdler, who the next year sold it to John Reynolds, and he, in the 5th year of king James, transmitted it to John Beale, who, about 1609, passed it away to John Harleston, of Ickham, and he settled it by will on Richard Harleston, who in like manner devised it to his kinsman Richard Bishop, and he, soon after the death of king Charles I. sold it to Mr. Stephen Stringer, of Triggs, in Goudhurst, whose son, of the same name, was sheriff anno 6 queen Anne, and left five daughters his coheirs, of whom Elizabeth, the third, married Edward Bathurst, esq. of Finchcocks, and on the division of their inheritance, he, in her right, became possessed of this manor. He died in 1772, upon which this estate came to his son, the Rev. Thomas Bathurst, rector of Welwyn, in Hertfordshire, the present owner of it. A court baron is regularly held for this manor.

 

In 1641 the archbishop collated Richard Amhurst, clerk, to the free chapels of Bockinfold and Newsted annexed, in the archdeaconry of Canterbury, then vacant and of his patronage. (fn. 3)

 

COMBORNE is an estate, situated in the northernmost part of this parish, adjoining to Winchet-hill, in the hundred of Marden likewise; which place of Winchet-hill was antiently the original seat in this county, of the family of Roberts, of Glassenbury.

 

An ancestor of this family, William Rookherst, a gentleman of Scotland, left his native country, and came into England in the 3d year of king Henry I. and had afterwards the surname of Roberts, having purchased lands at Winchet-hill, on which he built himself a mansion, calling it Rookherst, after himself. This place came afterwards to be called Ladiesden Rokehurst, alias Curtesden, and continued the residence of this family till the reign of king Richard II. when Stephen Roberts, alias Rookherst, marrying Joane, the daughter and heir of William Tilley, of Glassenbury, removed thither, and the remains of their residence here are so totally effaced, as to be known only by the family evidences, and the report of the neighbourhood.

 

But their estate at Winchet-hill continued several generations afterwards in their descendants, till it was at length alienated to one of the family of Maplesden, of Marden, in whose descendants this estate, together with that of Comborne adjoining, continued down to Edward Maplesden; esq. of the Middle Temple, who died in 1755, s. p. and intestate. Upon which they descended to Alexander Courthope, esq. of Horsemonden, the son of his sister Catherine, and to Charles Booth, esq. the grandson of his sister Anne, as his coheirs in gavelkind, and on a partition of those estates between them, Winchet-hill was allotted to Charles Booth, esq. afterwards Sir Charles Booth, of Harrietsham-place, who died possessed of it, s. p. in 1795, and his devisees, for the purposes of his will, are now in the possession of it; but Comborne was allotted to Alexander Courthope, esq. since deceased, whose nephew John Cole, esq. now possesses it.

 

FINCHCOCKS is a feat in this parish, situated within the hundred of Marden, in that angle of it which extends south-westward below Hope mill, and is likewise within that manor. It was formerly of note for being the mansion of a family of the same surname, who were possessed of it as early as the 40th year of Henry III. They were succeeded in it by the family of Horden, of Horden, who became proprietors of it by purchase in the beginning of king Henry VI.'s reign, one of whom was Edward Horden, esq. clerk of the green cloth to king Edward VI. queen Mary, and queen Elizabeth, who had, for some considerable service to the crown, the augmentation of a regal diadem, added to his paternal coat by queen Elizabeth. He left two daughters his coheirs, Elizabeth, married to Mr. Paul Bathurst, of Bathurst-street, in Nordiam, and Mary to Mr. Delves, of Fletchings, who had Horden for his share of the inheritance, as the other had this of Finchcocks. He was descended from Laurence Bathurst, of Canterbury, who held lands there and in Cranbrooke, whose son of the same name, left three sons, of whom Edward, the eldest, was of Staplehurst, and was ancestor of the Bathursts, of Franks, in this county, now extinct, (fn. 4) of the earls Bathurst, and those of Clarenden-park, in Wiltshire, and Lydney, in Gloucestershire; Robert Bathurst, the second, was of Horsemonden; and John, the third son, was ancestor of the Bathursts, of Ockham, in Hampshire. Robert Bathurst, of Horsemonden above-mentioned, by his first wife had John, from whom came the Bathursts, of Lechlade, in Gloucestershire, and baronets; and Paul, who was of Nordiam, and afterwards possessor of Finchcocks, from whose great-grandson William, who was a merchant in London, descended the Bathursts, of Edmonton, in Middlesex. By his second wife he had John, who was of Goudhurst, ancestor of the Bathursts, of Richmond, in Yorkshire. In the descendants of Paul Bathurst before-mentioned, this seat continued down to Thomas Bathurst, esq. who by his will devised this seat and estate to his nephew Edward, only son of his younger brother William, of Wilmington, who leaving his residence there on having this seat devised to him, removed hither, and rebuilt this seat, at a great expence, in a most stately manner. He resided here till his death in 1772, having been twice married, and leaving several children by each of his wives. By his first wife Elizabeth, third daughter and coheir of Stephen Stringer, esq. of Triggs, he had three sons, Edward, who left a daughter Dorothy, now unmarried, and John and Thomas, both fellows of All Souls college, in Oxford, the latter of whom is now rector of Welwyn, in Hertfordshire. Before his death he conveyed this seat and estate by sale to his son by his second wife, Mr. Charles Bathurst, who on his decease in 1767, s. p. devised it by will to his brother, the Rev. Mr. Richard Bathurst, now of Rochester, the present possessor of it. This branch of the family of Bathurst. bore for their arms the same coat as those of Franks, in this county, and those of Cirencester, Lydney, and Clarendon, viz. Sable, two bars, ermine, in chief three crosses pattee, or, with a crescent for difference; but with a different crest, viz. Party per fess, and pale, a demi wolf argent, and sable, holding a regal crown, or; which I take to be that borne by Edward Horden, whose heir Paul Bathurst, their ancestor, married, and whose coat of arms they likewise quartered with their own.

 

¶AT NO GREAT DISTANCE from Finchcocks, in the same hundred, lies a capital messuage, called RISEDEN, alias GATEHOUSE, which formerly belonged to a family named Sabbe, one of whom, Simon Sabbe, sold it, before the middle of the last century, to Mr. Robert Bathurst, from whom it descended down, with an adjoining estate, called TRILLINGHERST, to another Robert Bathurst, who died in 1731, and lies buried in this church, whose daughter Mary sold them both to Sir Horace Mann, bart. the present possessor of them.

 

www.british-history.ac.uk/survey-kent/vol7/pp64-73

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.[174] 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

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

Totally.

 

(somewhere in the metart's modern alcove)

This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between 1890-1922.

 

The slide shows a circular image depicting a stylised lunar landscape looking out to a planet in eclipse surrounded by stars. Craters are visible on the surface of the moon. A stylised drawing of the sun is visible in the distance. The sun and planet are highlighted within a slightly lighter section of sky.

 

Inscription Details: Handwritten in black ink on white tape at top of plate, 'Lunar Landscape [NE.]' Stamped in black ink on white paper in the top left corner of the plate '21'. VERSO: Stamped in black ink on white paper in the top right corner of the plate, '21'.

 

Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.

 

Rights: No known copyright restrictions.

 

Reference: 235715|PH-1984-1-LS78-2-41|21

 

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033497

Co. C, 36th Illinois Infantry & 8th Missouri Cavalry

Oswego Independent, April 1, 1921

Died: March 26, 1921

  

Col. E. B. Baldwin Dead.

  

Lieut.-Col. Elias Briggs Baldwin, a lineal descendent of the family of Lieut. Col. George Baldwin, Haselriggs’ regiment in the Parliamenary Army under Protector Oliver Cromwell and afterwards Colonial settler at Warwick, Rhode Island, 1650, and of Gravesend and Huntington, Long Island, New York, in the days of Governor Peter Stuyvesant, died at Oswego, Saturday morning, March 26, 1921, at 6:15, aged 86 years, nine months and nine days. He was a pioneer settler of Kansas, locating first in Ottawa in 1868, but next year removed to Labette County, where he continued to reside until the date of his death. He held numerous offices of public trust and took an active interest in all matters relating to the public welfare. In politics he was a Republican and as such was a delegate from Iowa to the National convention which first nominated General Grant for the Presidency.

Lieut.-Col. Baldwin was born in June 17, 1834, near Poughkeepsie, Duchess County, New York, being the eldest of fifteen children born to Jacob Baldwin and his wife, Abigail Briggs. Of these thirteen lived to mature years. One, Daniel, was killed in battle at Resaea, Ga., in May 1864, while carrying the regimental flag of the 35th Illinois Volunteers. The youngest, Hon. A. E. Baldwin, is now judge of the municipal court, Omaha, Neb.

Lieut.-Col. Baldwin was educated at East Greenwich, Rhode Island Academy, and early in life engaged in educational work. It was while he was principal of the school in Auburn, N. Y. that he formed a personal friendship with the Hon. William H. Seward. In the Civil war, he was active in the organization of the 36th Ills., Vols., under President Lincoln’s first call for the troops and was captain of Co. C of that regiment. During the rivalry as to which regiment should be accepted first and in succeeding order under the President’s call. Capt. Baldwin wrote Secretary Seward urging the acceptance of his regiment, and in reply Seward telegraphed that it would be accepted as soon as it might be ready. As captain of Co. C in this regiment he succeeded Captain later General Phil. H. Sheridan, as Quartermaster, at Springfield, Mo., and it was while serving in this capacity that supplies passed through his hands to General Franz Sigel in the battle of Pea Ridge, Mo.

At a later date Captain Baldwin was promoted to be a Lieutenant Colonel of the 8th Mo., Cavalry, Volunteers, Union Army. The war department official records show that at one time he was commanding an independent detachment of cavalry, and at another was Provost Marshal, 3rd Division, Army of the Frontier.

Lieu.-Col. Baldwin was twice married, first to Julia, daughter of Nathaniel and Lucy Dudley Cramton of distinguished Connecticut and Massachusetts ancestry. By this union three sons were born: Evelyn B., Arctic explorer, now in the government service, Washington, D. C.; Milton N. of Princeton, Ills, and Burton L. of Miami, Okla. By his second wife, Lydia Gibbs, of Bridgeton, Maine, and Chelsea, Mass, two children were born: Edwin M., died aged 22, while in office as Deputy Clerk of the District Court, Labette County, Kansas, and Julia A, now wife of O. W. Ball, prominent resident of this city.

A man of great ability and energy and cultured as he was, he early in life assumed a prominent place in any community that he honored with his citizenship. He attended the public schools at the Academy of Red Creek New York, and in 1854, at the age of 21 years, he went to Rhode Island, where he attended the Providence Conference Seminary, and also studied medicine. He taught school in Rhode Island and Connecticut, and for a time worked as bookkeeper in a wholesale grocery house at Providence. In 1857 he went to Auburn, N. Y., and studied medicine, and in 1858 journeyed West to Aurora, Ills, where he taught for five years in Clark Seminary. He was likewise a great religious student and with this accomplishment also possessed a fine voice for signing. During these years he filled many of the pulpits of that section of Illinois, organized Sunday Schools and led community signing. At the outbreak of the Civil war, he with five brothers volunteered their services. His work at the close of the war left him at Springfield, Mo., and with failing health. He returned to Aurora, Ills., and spent a year in mercantile pursuits. His health failing to improve there, with his family he moved to a farm he had previously purchased in Clinton County, Iowa, residing there for four years, or until the fall of 1868, his first wife having died in the meantime.

From Iowa he came to Kansas. His first residence in this county was at Chetopa, where he located in 1869, moving there from Ottawa. The following year he moved to his farm in Howard township west of Edna where was the family home for many years, and where himself and family played a most important part in that part of the county. He was the first physician in that section of the country, ministering to the sick and afflicted far and near, visiting his patients on horse back. He directed the farm work, advised with his neighbors, took a prominent part in organizing the schools and churches and Sunday Schools at one and the same time. .One of these was at Valeda, where he held Sunday School in the morning, at his home school house at Trenton, where they met at two o’clock Sunday afternoon, and over at Kingston, where the school was held at four in the afternoon. Both he and the second Mrs. Baldwin, whom he married in Massachusetts in 1867, taught school in the county many terms. In 1884 Mr. Baldwin was elected to the office of Clerk of the District Court of Labette County, and with his family moved to Oswego. He held this office for two terms. They returned to the farm in 1894 and in 1900 they retired and removed to Edna, living there until about four years ago, Mr. and Mrs. Baldwin came to Oswego to make their only daughter Mrs. O. W. Ball and family. Here they have since resided, loving hands ministering to their every want. For the greater part of the past year the deceased has been unable to leave the house. The aged companion, who survives him, also suffered an accident about a year ago and has been confined indoors the greater part of the time since. In religious belief he was Methodist, was one of the most influential members of the G. A. R. in the county and politically he had always been a Republican, casting his first vote for John C. Freeman, for President. He was also a member of the A. O. U. W. Lodge of Chetopa.

Funeral services were held at the home of Mr. and Mrs. O. W. Ball, on Fifth Street, Monday afternoon, March 28th, conducted by Rev. A. W. Way pastor of the M. E. Church. A quartet composed of Fred Rettig, Mrs. Margaret Farley, Miss Bessie Sharp and R. H. Montgomery, sang three of his favorite hymns and Rev. Way, in a very beautiful sermon, drew many fine lessons from his long and useful life. The Oswego G. A. R. of which the deceased was a member, with its rapidly thinning ranks, was present in a body, bearing aloft the flag, which they and their silent comrade had risked their lives to defend on the battle field sixty years ago. The casket was also wrapped in Old Glory, in accord with his request, for he loved his country and his flag with a fervor that was good to see and to emulate. The pall bearers were all world war soldiers, Dr. F. J. Faulkner, B. W. Pinson, Chas. Milliken, Lester Smith, Carroll Carpenter and Athen Pittser. A large concourse of friends were present to pay their last token of respect to one who has truly been a pioneer and a patriot in Kansas and Labette County in all that the words imply.

Relatives here for the funeral were Milton N., the second son, from Princeton, Ills., and Burton L. of Miami, Okla., the youngest son, Chas. Ball of near Edna, a grandson, and Walter B. Baldwin of Wichita Falls, Texas, another grandson. The eldest son Evelyn B. Baldwin, of Washington D. C., of Artic exploration fame, was here a few weeks ago to see his father.

 

From History of Labette County, Kansas and its Representative Citizens, ed. & comp. by Hon. Nelson Case. Pub. by Biographical Publishing Co., Chicago, Ill. 1901

 

COL. ELIAS BRIGGS BALDWIN, one of the early pioneers, and a prominent citizen of Labette county, Kansas, resides at Edna. He bears a most honorable record for service during the Civil War, and his extended business career, unblemished by a single act of dishonor, bespeaks the character of the man. He was engaged in farming in Elm Grove township for many years, and is still the owner of large landed interests. He was born in Dutchess county, New York, June 17, 1834, and is a son of Jacob and Abigail (Briggs) Baldwin. The ancestry of the Baldwin family can be accurately traced through Richard Baldwin, an Englishman, back to the sixteenth century. In 1639, three brothers came from England to America, one stopping in New Jersey, another in Virginia, and the third, James Baldwin, from whom Col. Baldwin is directly descended, settled at Plymouth, Massachusetts.

 

Jacob Baldwin was born near Hopewell, Dutchess county, New York, December 25, 1807, and was reared, on a farm. He loved books, was a great reader, and took an active interest in current politics. In January, 1833, at her home, he was united in marriage with Abigail Briggs, a daughter of Elias and Katherine (Campbell) Briggs. The Briggs family was a very wealthy one, and owned large estates in Dutchess and Columbia counties. She was one of 10 children, the others being as follows: Nancy, Athalina, Amy, Sarah, Katherine, Melissa, Robert E., Walter M., and Caleb C. Mr. and Mrs. Baldwin resided in Dutchess county until 1838. They then moved to Victory, Cayuga county, New York, and in 1858, to Hale, Illinois, where Mr. Baldwin died in October, 1893. She died at Kirkwood, Illinois, January 25, 1888, at the age of seventy-five years and six months. They were the parents of 15 children, of whom 12 grew to maturity. They were as follows: Elias Briggs, the gentleman whose name heads these lines; Elisha Jacob, who was born June 1, 1836, and resides at Carthage, Missouri; Philetus Robert, who was born February 26, 1838, and lives in California; Charlotte Josephine (Hall), of Kirkwood, Illinois, who was born December 12, 1839; Frances Jerlene (Bruyn), of Chicago, who was born October 13, 1841; Daniel P., who was born May 11,, 1844, and was killed at the battle of Resaca (Georgia), May 14, 1864; Sarah Melissa, who was born March 3, 1846, and died at the age of one year; Miletus Oscar, of Mount Pleasant, Iowa, who was born August 23, 1848; Charles Hamilton, deceased, who was born November 18, 1849; Noah Augustus, who was born September 18, 1851, and is an editor, at Fairview, Iowa; George W., of El Reno, Oklahoma, who was born September 20, 1853; Hattie Minora (Durand), of Topeka, Kansas, who was born September 24, 1854; Elmer Arthur, an, attorney-at-law, of Omaha, Nebraska, who was born October 9, 1856; and two others, twins, who died in infancy.

 

Elias Briggs Baldwin attended the public schools at the academy at Red Creek, New York, and in 1854, at the age of twenty years, went to Rhode Island, where he attended the Providence Conference Seminary, and also studied medicine. He taught school in Rhode Island and Connecticut, and for a time worked as bookkeeper in a wholesale grocery house at Providence. In 1857, he went to Auburn, New York, and studied medicine, and in 1858 journeyed west to Aurora, Illinois, where he taught for five terms, in Clark Seminary. Then the Civil War broke out, and he was one of five brothers who tendered their services to their country, although but two of them we're accepted, - the subject hereof, and, Daniel P., who lost his life in battle. The former enlisted, April 13, 1861, was elected captain of Company C, 36th Reg., Ill. Vol. Inf., and was mustered into service in August, 1861, under Col. Greusel. He went with his company to Missouri, and served in the Department of the Southwest. In February, 1862, he was made quartermaster at Springfield, Missouri, relieving Gen. Sheridan. He served as captain until August, 1862, when he was promoted to be lientenant-colonel of the 8th Reg., Mo. Vol. Cav., in the Third Division, under Gen. Herron. He served as provost marshal of the division until June, 1863, when his health failed, and he returned to Aurora, Illinois, and was engaged in mercantile pursuits for one year. As his health failed to improve, he removed to a farm he had previously purchased in Clinton county, Iowa, and on this he resided for four years. In the fall of 1868, he moved to Ottawa, Franklin county, Kansas, where he stayed until May, 1869, and then located at Chetopa, Labette county. In May, 1870, he removed to the farm he still owns in Howard township, in sections 1 and 2, township 35, range 18, east, and resided there until 1884. He was then elected clerk of the district court, at Oswego, and served in that capacity two successive terms. He returned to his farm in the fall of 1894. He and his sons, together, own more than 500 acres of valuable farm land. In the fall of 1900, he removed to Edna, which had long been his postoffice address, and there purchased lots and built a comfortable home.

 

Mr. Baldwin was married in Naperville, Illinois, in September, 1861, to Julia C. Crampton, who died in Iowa, in November, 1866,leaving three children, as follows: Evelyn B., Milton N., and Barton L. Evelyn B., a gentleman in whom Labette county takes great pride, is famous throughout this country by reason of his Polar expeditions with Peary and others. He is now associated with W. A. Zeigler, a capitalist, and has fitted out an expedition, which started in search of the north pole in July, 1901. He is recognized as a remarkable man; he is practical in his methods of procedure, and expects success to attend his efforts. Milton N., the second son, is a nurseryman of Princeton, Illinois. Barton L. resides at Sapulpa, in the Creek Nation.

 

Mr. Baldwin formed a second matrimonial alliance by wedding Lydia A. Gibbs at Boston, Massachusetts, in 1867. She is a daughter of Alpheus and Sophia Gibbs, and was born in Bridgton, Maine, in 1837, whence she removed to Massachusetts, with her aunt when she was ten years of age. Her grandfather Gibbs was a native of Massachusetts and of English parentage, - two brothers of the family having come to this country shortly after the Mayflower brought the Pilgrims. He and his wife were among the earliest settlers of Bridgton, Maine. Alpheus Gibbs died in the West at an early age, and his widow died in Maine. They had four children: Aaron, a retired farmer of Bridgton, Maine; Charles B., who is in the ice business at the same place; Lydia A.; and Mary (Gleason), a widow, residing also at Bridgton. Mr. and Mrs. Baldwin have had two children: Edwin M., who died at Oswego, at the age of twenty-one years; and Julia A., wife of O. W. Ball, manager of C. M. Condon's mercantile interests at Oswego, Edna and Cherryvale, - they have two children, Charles Edwin and Geraldine. Politically, Col. Baldwin is a Republican, and cast his first vote for John C. Fremont. He has served as justice of the peace and held other township offices. Fraternally, he is a member of the G. A. R., and was commander for six years, at Oswego and Edna. He was made a Mason in Illinois in 1861, and is also a member of Chetopa Lodge, A. 0. U. W.; and the Select Knights, of Parsons. In religious belief he is a Methodist.

  

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

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

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

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.

 

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