It's like holding a panel from the Baptistery Doors of Florence in your hand!

Blog | Google+ | Facebook | A Buddhist monk calmly chants from a scripture book in Haeinsa Temple, South Korea. The sounds of chanting that drift from the main hall are mesmerising, and it felt such a privilege to be permitted not only to observe the pious lives of the Jewel Temple's resident monks, but also to photograph them as they went about their daily rituals.

There is none holy as the Lord: for there is none beside You: neither is there any rock like our God.

1 Samuel 2:2

 

David & Goliath by Osmar Schindler

Rameswaram, (also spelt as Ramesvaram, Rameshwaram or Ramisseram) is a town and a second grade municipality in the Ramanathapuram district in the South Indian state of Tamil Nadu. It is located on Pamban Island separated from mainland India by the Pamban channel and is about 50 kilometres from Mannar Island, Sri Lanka. It is situated in the Gulf of Mannar, at the very tip of the Indian peninsula. Pamban Island, also known as Rameswaram Island, is connected to mainland India by the Pamban Bridge. Rameswaram is the terminus of the railway line from Chennai and Madurai. Together with Varanasi, it is considered to be one of the holiest places in India to Hindus, and part of the Char Dham pilgrimage.

 

According to Hindu mythology, this is the place from where the Hindu god Rama built a bridge, across the sea to Lanka to rescue his wife Sita from her abductor Ravana. The Ramanathaswamy Temple dedicated to the Hindu god Shiva is located at the centre of the town and is closely associated with Rama. The temple along with the town is considered a holy pilgrimage site for both Shaivites and Vaishnavites.

 

Rameswaram is the closest point to reach Sri Lanka and geological evidence suggests that the Rama Sethu was a former land connection between India and Sri Lanka. The town has been in the news over the Sethusamudram Shipping Canal Project, Kachchatheevu, Sri Lankan Tamil refugees and attacks by the Sri Lankan navy on local fishermen for alleged cross border activities. Rameswaram is administered by a municipality established in 1994. The town covers an area of 53 km2 and had a population of 44,856 as of 2011. Tourism and fishery employ the

majority of workforce in Rameswaram.

 

LEGEND

Rameswara means "Lord of Rama" in Sanskrit, an epithet of Shiva, the presiding deity of the Ramanathaswamy Temple. According to Hindu epic Ramayana, Rama, the seventh avatar of the god Vishnu, prayed to Shiva here to absolve any sins that he might have committed during his war against the demon-king Ravana in Sri Lanka. According to the Puranas (Hindu scriptures), upon the advice of sages, Rama along with his wife Sita and his brother Lakshmana, installed and worshipped the lingam (an iconic symbol of Shiva) here to expiate the sin of Brahmahatya incurred while killing of the Brahmin Ravana. To worship Shiva, Rama wanted to have the largest lingam and directed his monkey lieutenant Hanuman to bring it from Himalayas. Since it took longer to bring the lingam, Sita built a small lingam, which is believed to be the one in the sanctum of the temple. This account is not supported by the original Ramayana authored by Valmiki, nor in the Tamil version of the Ramayana authored by Tamil poet, Kambar (1180–1250 CE). Support for this account is found in some of the later versions of the Ramayana, such as the one penned by Tulasidas (15th century). Sethu Karai is a place 22 km before the island of Rameswaram from where Rama is believed to have built a floating stone bridge, the Ramsetu bridge, that further continued to Dhanushkodi in Rameswaram till Talaimannar in Sri Lanka. According to another version, as quoted in Adhyatma Ramayana, Rama installed the lingam before the construction of the bridge to Lanka.

 

HISTORY

The history of Rameswaram is centred around the island being a transit point to reach Sri Lanka (Ceylon historically) and the presence of Ramanathaswamy Temple. Tevaram,the 7th–8th century Tamil compositions on Shiva by the three prominent Nayanars (Saivites) namely Appar, Sundarar and Thirugnanasambandar. The Chola king Rajendra Chola I (1012 – 1040 CE) had a control of the town for a short period. The Jaffna kingdom (1215–1624 CE) had close connections with the island and claimed the title Setukavalan meaning custodians of the Rameswaram. Hinduism was their state religion and they made generous contribution to the temple. Setu was used in their coins as well as in inscriptions as marker of the dynasty.

 

According to Firishta, Malik Kafur, the head general of Alauddin Khilji, the ruler of Delhi Sultanate, reached Rameswaram during his political campaign in spite of stiff resistance from the Pandyan princes in the early 14th century. He erected a mosque by name Alia al-Din Khaldji in honour of victory of Islam. During the early 15th century, the present day Ramanathapuram, Kamuthi and Rameswaram were included in the Pandya dynasty. In 1520 CE, the town came under the rule of Vijayanagara Empire. The Sethupathis, the breakaway from Madurai Nayaks, ruled Ramanathapuram and contributed to the Ramanathaswamy temple. The most notable of them are the contributions of Muthu Kumara Ragunatha and Muthu Ramalinga Sethupathi, who transformed the temple to an architectural ensemble. The region was repeatedly captured several times by Chanda Sahib (1740 – 1754 CE), Arcot Nawab and Muhammed Yusuf Khan (1725 – 1764 CE) in the middle of 18th century. In 1795 CE, Rameswaram came under the direct control of the British East India Company and was annexed to the Madras Presidency. After 1947, the town became a part of Independent India.

 

GEOGRAPHY

Rameswaram has an average elevation of 10 metres. The island is spread across an area of 61.8 square kilometres and is in the shape of a conch. 74% of the area has sandy soil due to the presence of sea and it has many islands surrounding it, the Palk Strait in the north west and Gulf of Mannar in the south East. The Ramanathaswamy Temple occupies major area of Rameswaram. The beach of Rameswaram is featured with no waves at all – the sea waves rise to a maximum height of 3 cm and the view looks like a very big river. Rameswaram has dry tropical climate with low humidity, with average monthly rainfall of 75.73 mm, mostly from North East monsoon from October to January. The highest ever temperature recorded at Pamban station was 37 °C and the lowest was 17 °C. Ramsetu Bridge is a chain of limestone shoals, between Rameswaram and Mannar Island, off the northwestern coast of Sri Lanka. Geological evidence suggests that this bridge is a former land connection between India and Sri Lanka. The bridge is 30 km long and separates the Gulf of Mannar (north east) from the Palk Strait (South West). It was reportedly passable on foot up to the 15th century until storms deepened the channel. The temple records record that Rama’s Bridge was completely above sea level until it broke in a cyclone in 1480 CE. The bridge was first mentioned in the ancient Indian Sanskrit epic Ramayana of Valmiki. The name Rama's Bridge or Rama Setu (Sanskrit; setu: bridge) refers to the bridge built by the Vanara (ape men) army of Rama in Hindu mythology, which he used to reach Lanka and rescue his wife Sita from the demon king Ravana. The Ramayana attributes the building of this bridge to Rama in verse 2-22-76, naming it as Setubandhanam. The sea separating India and Sri Lanka is called Sethusamudram meaning "Sea of the Bridge". Maps prepared by a Dutch cartographer in 1747 CE, available at the Tanjore Saraswathi Mahal Library show this area as Ramancoil, a colloquial form of the Tamil Raman Kovil (or Rama's Temple). Many other maps in Schwartzberg's historical atlas and other sources such as travel texts by Marco Polo call this area by various names such as Sethubandha and Sethubandha Rameswaram.

 

DEMOGRAPHICS

According to 2011 census, Rameswaram had a population of 44,856 with a sex-ratio of 969 females for every 1,000 males, much above the national average of 929. A total of 5,022 were under the age of six, constituting 2,544 males and 2,478 females. Scheduled Castes and Scheduled Tribes accounted for 6.8% and .03% of the population respectively. The average literacy of the town was 73.36%, compared to the national average of 72.99%. The town had a total of 10579 households. There were a total of 16,645 workers, comprising 69 cultivators, 20 main agricultural labourers, 148 in house hold industries, 15,130 other workers, 1,278 marginal workers, 11 marginal cultivators, 26 marginal agricultural labourers, 44 marginal workers in household industries and 1,197 other marginal workers. The total number of households below poverty lane (BPL) in 2003 were 976, which is 10.45% of the total households in the town and these were raised to 3003 (29.12%) in 2007.

 

MUNICIPAL ADMINISTRATION AND POLITICS

According to the Madras Presidency Panchayat Act of 1885, Rameswaram was declared a panchyat union during British times. It became a township during 1958 and was declared a municipality in 2004. Rameswaram is a 3rd grade municipality having 21 wards, out of which 6 are General wards for women and one is reserved for SC (Scheduled Caste) women. The major sources of budgeted income for Rameswaram municipality comes from Devolution Fund of ₹ 17 million (US$0.3 million) and property tax of ₹ 2.4 million (US$43,000). The major expense heads are for salaries of ₹ 06 million (US$0.1 million), operating expenses of ₹ 03.7 million (US$65,000) and repair & maintenance expenditure of ₹ 02.3 million (US$42,000). The functions of the municipality are devolved into six departments: General, Engineering, Revenue, Public Health, Town planning and the Computer Wing. All these departments are under the control of a Municipal Commissioner who is the supreme executive head. The legislative powers are vested in a body of 21 members, one each from the 21 wards. The legislative body is headed by an elected Chairperson assisted by a Deputy Chairperson. Rameswaram comes under the Ramanathapuram assembly constituency and it elects a member to the Tamil Nadu Legislative Assembly once every five years. The current MLA of the constituency is Dr. M.H. Jawahirullah from the Manithaneya Makkal Katchi which aligned with ADMK in the 2011 elections.Rameswaram is a part of the Ramanathapuram (Lok Sabha constituency) – it has been realigned in 2008 to have the following assembly constituencies – Paramakudi (SC), Ramanathapuram, Mudukulathur, Aranthangi, Tiruchuli (newly created). The constituency was traditionally a stronghold of the Indian National Congress that won 6 times till the 1991 elections, after which it was won twice each by the All India Anna Dravida Munnetra Kazhagam (ADMK) and the Dravida Munnetra Kazhagam (DMK). The current Member of Parliament from the constituency is A. Anwhar Raajhaa from the AIADMK party.India's renowned scientist and former President of India, A. P. J. Abdul Kalam, was born in Rameswaram.

 

ECONOMY

Being a pilgrimage town, the majority of the population is involved in tourism related industry consisting of trade and services. Service sector increased from 70% in 1971 to 98.78% in 2001, while the agricultural sector reduced from 23% in 1971 to 0.13% in 2001. Rameswaram is an industrially backward town – there has been no demarcation for industrial land due to the pilgrim sanctity and ecological fragile geography. Being an island town, the traditional occupation was fishing, but due to poor returns and also due to troubles from Sri Lankan border forces, the people in fishing community have gradually shifted to other professions. Banks such as State Bank of India, Indian Bank and RDCC Bank have their branches in Rameswaram.

  

TRANSPORT AND COMMUNICATION

Pamban Bridge is a cantilever bridge on the Palk Strait that connects Rameswaram to mainland India. The railway bridge is 2,065 m and was opened to traffic in 1914. The railroad bridge is a double-leaf bascule bridge section that can be raised to let ships pass under it . The railway bridge historically carried metre-gauge trains on it, but Indian Railways upgraded the bridge to carry broad-gauge trains in a project that finished on 12 August 2007. Historically, the two leaves of the bridge were opened manually using levers by workers. About 10 ships – cargo carriers, coast guard ships, fishing vessels and oil tankers pass through the bridge every month. After completion of bridge, metre-gauge lines were laid from Mandapam up to Pamban Station, from where the railway lines bifurcated into two directions, one towards Rameswaram about 10.06 km up and another branch line of 24 km terminating at Dhanushkodi. The noted Boat Mail ran on this track between 1915 and 1964 from Chennai Egmore up to Dhanushkodi, from where the passengers were ferried to Talaimannar in Ceylon. The metre-gauge branch line from Pamban Junction to Dhanushkodi was abandoned after it was destroyed in a cyclone in 1964.There are daily express trains connecting major cities in Tamil Nadu like Chennai, Madurai, Trichy and Coimbatore. There are weekly express trains connecting Coimbatore, Varanasi and Bhubaneswar. Passenger trains ply from Rameswaram to Madurai and Trichy daily, making railways as the major mode of transportation. The Ramanathapuram – Rameswaram National Highway is the main connecting link from Rameswaram to the mainland. Prior to the 1914 train service linking the mainland with Rameswaram, boats were the only mode of transport to Rameswaram island.The National highway NH 49 connects Madurai to Dhanushkodi, linking major towns like Manamadurai, Paramakkudi, and Ramanathapuram in the Ramanathapuram district. The Rameswaram municipality covers a total road length of 52 km and 20 km of national highway covering about 80 percent of the town. The Tamil Nadu State Transport Corporation runs daily services connecting various cities to Rameswaram and operates a computerised reservation centre in the municipal bus stand of Rameswaram.

 

Rameswaram is the important port among all the ports in the district, having a ferry service to Talaimannar of Sri Lanka, though not operational throughout the year. Limited foreign trade is conducted with Jaffna, Kaits, Talaimannar and Colombo.

 

The Rameswaram TV Tower is the tallest tower in India. The tower is a 323m tall circular concrete tower with a square steel mast of 45m height, diameter of 24m at the bottom tapering to 6.5m at top. The tower has been designed for a wind velocity of 160 km/h. There are two lighthouses in Rameswaram, the Pamban lighthouse and Rameswaram lighthouse.

 

EDUCATION AND UTILITY SERVICES

Ramanathapuram district has one of the lowest literacy rates in the state of Tamil Nadu and Rameswaram, following the district statistics has a lower literacy rate. There are a couple of Government high schools, one each for boys and girls. There are seven other schools namely, St. Joseph Higher Secondary School, Mandapam Panchayat Union 9 – School, Micro Matriculation School, Sri Sankara Vidhyalaya, Swami. Viveganantha Matriculation School, Holy Island Little Flower School and Kendriya Vidhyalaya School. Alagappa University Evening College is the only college present in the town and all the nearest colleges are located in Ramanathapuram and Paramakudi.

 

Electricity supply to the town is regulated and distributed by the Ramanathapuram circle of Tamil Nadu Electricity Board (TNEB). Water supply is provided by the Rameswaram Municipality – the head works is located at Nambunayaki Amman Kovil, Meyyambuli, Semmamadam & Natarajapuram and distributed through four over head tanks having a total capacity of 1430,000 litres. About 6 metric tonnes of solid waste are collected from the town every day in the four zones covering the whole of the town. Rameswaram does not have a sewerage system for disposal of sullage and the disposal system consists of septic tanks and public conveniences. Roadside drains carry untreated sewage out of the town to let out raw into the sea or accumulates in low lying area.

 

Rameswaram comes under the Karaikudi Telecom circle of the Bharat Sanchar Nigam Limited (BSNL), India's state-owned telecom and internet services provider. Apart from telecom, BSNL also provides broadband internet service along with other major internet service provider like Reliance.

 

RELIGION

Being a Hindu pilgrimage centre, Hindus form the visitor base of the city. There is a minority of Christians belonging to the fishing community. St Antony's Church at Oriyur on the eastern shore of the island is a prominent Church in the island.

 

RAMANATHASWAMY TEMPLE

The Ramanathaswamy Temple is the most notable historic landmark of the town. Located in the centre of town, Ramanathaswamy Temple is a famous Hindu temple dedicated to the god Shiva. The temple is one of the 12 Jyotirlinga shrines, where Shiva is worshipped in the form of a Jyotirlinga meaning "pillar of light". It is also one of the 275 Paadal Petra Sthalam temples and is glorified in hymns by the three of the most revered Nayanar saints (7th century Saivite saints), Appar, Sundarar and Tirugnana Sambandar. The temple in its current structure was built during the 12th century by Pandya Dynasty. The temple has the longest corridor among all Hindu temples in India. The breadth of these columned corridors varies from 17 to 21 feet with a height of 25 feet. Each pillar is sculpted in Nayak style as in Madurai Meenakshi Amman Temple. The contribution of the kings of the Sethupathy dynasty (17th century) to the temple was considerable. Large amount of money was spent during the tenure of Pradani Muthirulappa Pillai towards the restoration of the pagodas which were falling into ruins – the Chockattan Mantapam or the cloistered precincts of the temple was reconstructed by him. The rulers of Sri Lanka contributed to the temple – Parakrama Bahu (1153–1186 CE) was involved in the construction of the sanctum sanctorum of the temple. The eastern tower and shrine of Nataraja were built by Dalavai Sethupathy in 1649 CE. The second enclosure is ascribed to Chinna Udayar Sethupathy and his son Ragunatha Thirumalai (1500–1540 CE). The third enclosure was constructed by Muthu Ramalinga Sethupathy (1725–1771 CE) – his statue is located in the entrance of the corridor.

 

TEMPLE TANKS

There are sixty-four Tīrthas or Theerthams (holy water bodies) in and around Rameswaram. According to the Skanda Purana, twenty-four of them are important. Of the 24, 14 are in the form of tanks and wells within the precincts of the temple. Bathing in these tanks is a major aspect of the pilgrimage to Rameswaram and is considered equivalent to penance. Twenty-two of the tanks are within the Ramanathaswamy Temple. The foremost one is called Agni Theertham, the sea (Bay of Bengal). Jatayu, King of the Birds, who fought in vain with the demon-king Ravana to save Sita, is said to have fallen down at Jadayu Theertham as his wings were severed. Villoondi Theertham literally translates to 'buried bow', is located around 7 kilometres from the main temple on the way to Pamban. It is believed to be the place where Rama quenched the thirst of Sita by dipping the bow into the sea water. Other major holy bodies are Hanuman Theertham, Sugreeva Theertham and Lakshmana Theertham.

 

GANDHAMATHANA PARVATHAM

Gandhamathan Parvatham, a hillock situated 3 km to the north of the temple is the highest point in the island. There is a two storeyed hall, where Rama's feet is found as an imprint on a chakra (wheel). The Ramarpatham Temple is located on the hillock.

 

DHANUSHODI

Dhanushkodi is the southernmost tip of the island and houses the Kothandaramaswamy Temple dedicated to Rama. Though Dhanushkodi was washed away during the 1964 cyclone, the temple alone remained intact. It is 18 km way from the centre of the town and can be reached by road. A popular belief is that, Dhanushkodi is where Vibishana, a brother of Ravana surrendered before Rama in the epic Ramayana.

 

HINDU PILGRIMAGE

Rameswaram is significant for many Hindus as a pilgrimage to Varanasi is considered to be incomplete without a pilgrimage to Rameswaram. The town along with the Ramanathaswamy temple is one of the holiest Hindu Char Dham (four divine sites) sites comprising Badrinath, Puri and Dwarka. Though the origins are not clearly known, the Advaita school of Hinduism established by Sankaracharya, attributes the origin of Char Dham to the seer. The four monasteries are located across the four corners of India and their attendant temples are Badrinath Temple at Badrinath in the North, Jagannath Temple at Puri in the East, Dwarakadheesh Temple at Dwarka in the West and Ramanathaswamy Temple at Rameswaram in the South. Though ideologically the temples are divided between the sects of Hinduism, namely Saivism and Vaishnavism, the Char Dham pilgrimage is an all Hindu affair. The journey across the four cardinal points in India is considered sacred by Hindus who aspire to visit these temples once in their lifetime. Traditionally the trip starts at the eastern end from Puri, proceeding in clockwise direction in a manner typically followed for circuambulation in Hindu temples. The temple is one of the famous pilgrimage sites historically – the Maratha kings who ruled Thanjavur established chatrams or rest houses all through Mayiladuthurai and Rameswaram between 1745 and 1837 CE and donated them to the temple.

 

INTERACTION WITH SRI LANKA

Rameswaram is frequently in headlines over fishermen issues like attack, arrest and alleged harassment by Sri Lankan navy for alleged cross border activities, Sethusamudram canal project, Kachchatheevu, Sri Lankan Tamil refugees and also on intercountry smuggling between India and Sri Lanka. As an initial step to curb enhanced smuggling, the Tamil Nadu government has set up 30 more marine police stations to bring the state’s entire coastal belt under close vigil.

 

SRI LANKAN TAMIL REFUGEES

During the intense civil war of Sri Lanka, post 1980, Rameswaram acted as one of the focal points of smuggling and intense patrolling was carried out during the period. There are a total of 65,940 registered destitute Sri Lankan refugees dwelling in 129 Refugee camps situated in different parts of Tamil Nadu as of Apr 2000 and a majority of them enter via Rameswaram. There are an additional 20,667 non-camp refugees who entered via Rameswaram, registered in Mandapam transit camp and opted to reside outside the camps in various parts of Tamil Nadu. On 11 March 1990, a record number of 2,337 refugees in 38 boats arrived from Talaimannar in Sri Lanka to Rameswaram – this was the largest number of refugees arriving in a single day since the ethnic violence from July 1983. As of October 2006, an estimated 200,000 refugees have been reported in Mandapam Camp. Sivarasan, one of the mastermind behind the Assassination of Rajiv Gandhi, the ex-prime minister of India registered as refugee in Rameswaram camp on 12 September 1990.

 

RAMESWARAM FISHERY

Being an island, a significant population is involved in fishery traditionally. There have been incremental cases of Rameswaram fishermen allegedly killed or arrested by Sri Lankan navy along the maritime borders of India and Sri Lanka from the time of Sri Lankan civil war during 1983. In the face of simmering tension after the 1985 January Colombo bound Yaldevi train attack in which 22 Sri Lankan soldiers and 16 civilians were killed, Rameswaram fishermen dared to venture to seas spelling acute hardship for the 10,000 fishermen family. An estimated 381 fishermen have been killed in the sea due to shoot outs from 1983 to 2009. The Sri Lankan army attributed the killings to the Liberation Tigers of Tamil Eelam (LTTE), but the casualty continues even after the end of LTTE in the region. The Tamil Nadu state government has increased the compensation of casualty from the original ₹ 100,000 to 500,000 (US$1,800 to $9,000). There has not been a single prosecution in any of the 381 killings committed so far from the Indian judiciary. The cases not being filed is attributed to the fact that people killed beyond the maritime boundary of India are not eligible for compensation and not many file complaints against the Sri Lankan navy. Though the Indian judiciary has provisions to prosecute foreigners, there is little progress due to the diplomatic overheads involved. Indian government has also ventured into the use of technology like use of Global positioning system (GPS) by the fishermen and enabling cellphone blips to alert their mobile phones whenever they are crossing into Sri Lankan waters. The Sri Lankan navy has confirmed reports on Indian fishermen risking the international boundary due to depleted catch in Indian waters.

 

There is a yearly 45-day ban on fishery with motorboats in the region. The fishing ban for the year 2012 was effective during the months of April–May. The jetty at Rameswaram is the largest landing centre for fishing boats in the region and it usually comes alive after the ban, with the arrival of fishermen, boat captains, shore workers and others from their native places.

 

Sea World Aquarium is a natural habitat lying opposite to the Rameswaram Bus Stand, having an assortment of underwater creatures – it is the only one of its kind in the state, filled with such varied marine life forms including exotic species.

 

KACHCHATHEEVU

Another focal point on the simmering tension between Indian and Sri Lankan governments is over the use of Kachchatheevu, an uninhabited island 15 km north of Rameswaram, beloging to Sri Lanka. The accord of 1974 allows fishermen of both the countries for resting and soaking the nets in the island. Repeated allegations on attacks by the Lankan navy, which on many occasions killed Indian fishermen, prevented them from making it to the island. The annual two-day Saint Anthony fest at the island draws huge number of people from the fishermen community of both the countries. The number of pilgrims for the 2012 function crossed 4,000, the largest attendance in the past two decades. The feast also provides an opportunity for the Indian fishermen to meet their Sri Lankan counterparts and exchange views on their mutual problems. The event served as a meeting point to find brides and grooms from both countries, but this practice has now been stopped from the 90s due to political constraint of fishermen family living in different countries.

 

SETHUSAMUDRAM CANAL PROJECT

Sethusamudram Shipping Canal Project proposes linking the Palk Bay and the Gulf of Mannar between India and Sri Lanka by creating a shipping canal through the shallow sea sometimes called Setu Samudram, and through the chain of islands variously known as Ram Sethu or the Rama's Bridge. A few organisations are opposing the dredging of Ramasethu on religious, environmental and economical grounds. Many of these parties and organisations support implementation of this project using one of the five alternative alignments considered earlier without damaging the structure considered sacred by Hindus. With 22 km of dredging remaining, the project is held from March 2010 by a Supreme Court order seeking the Central Government to clarify the status of the bridge as a national monument.

 

WIKIPEDIA

One reference translation with footnotes says regarding the word 'peers' "Lit., "having stooped beside." ...or you could say the 3 P's: peer, persist, perform.

One Body Many Parts

 

If you like this design check out my store at:

www.zazzle.com/seeing_scripture

Bulletin Cover - Thanksgiving images with scripture

“The scriptures present a God who delights in genocide, rape, slavery, and the execution of nonconformists, and for millennia those writings were used to rationalize the massacre of infidels, the ownership of women, the beating of children, dominion over animals, and the persecution of heretics and homosexuals. Humanitarian reforms such as the elimination of cruel punishment, the dissemination of empathy-inducing novels, and the abolition of slavery were met with fierce opposition in their time by ecclesiastical authorities and their apologists. The elevation of parochial values to the realm of the sacred is a license to dismiss other people’s interests, and an imperative to reject the possibility of compromise.”

― Steven Pinker, The Better Angels of Our Nature: Why Violence Has Declined

 

~~~~~~~~~~~~~~~~

 

(Note: These videos were taken far before the COVID-19 pandemic. To protect ourselves and our community we stay home except when absolutely necessary or for short walks away from other people!)

Free Scripture Cards By Dr. Johnson Cherian

"The heartfelt counsel of a friend is as sweet as perfume and incense."

Buddhist scriptures underneath the white stupas of Sandamuni Pagoda in Mandalay, Myanmar March 2, 2015. Photo by Tim Chong

Mormon Scriptures

What are these Uprisings across the sky; These Silent Scriptures waiting to be read or sung to; These Inhuman Formations.

 

_AS_

 

© Anshul Soni, All Rights Reserved.

This image is NOT available for use on websites, blogs or any other media without the explicit written permission of the photographer.

Let us lay aside every weight and the sin that so easily traps us, and let us run with endurance the race that is set before us;looking unto Jesus, the author and finisher of our faith.

St Mary, Grundisburgh, Suffolk

 

Grundisburgh, pronounced gruns--br'r, is the largest of the pretty villages along and around the Fynn Valley to the north-east of Ipswich, with a lovely village green, a couple of shops and a decent pub. It's always a pleasure to visit, especially as the church is both interesting and open every day.

 

Back in 2004, I'd written: I arrived in Grundisburgh after a frustrating week. I had spent one whole morning, with the permission of the Ministry of Defence, documenting the four churches marooned inside the Norfolk battle training area; these are not accessible to the public, so I was careful to photograph everything I could for posterity, including many of the gravestones in the churchyards. I'd spent further hours formatting the photos, setting the pages up with thumbnails and text, and now the Ministry of Defence had decided that it couldn't easily give me permission to publish them, because it would create too much interest in a sensitive area.

 

So it was with some relief that I came to Grundisburgh, knowing that this welcoming church is open every day, is full of fascination, and is in an interesting village. And they won't stop me writing about it.

 

I was here on May Day 2004, and at 10am the village green was already the scene of frantic activity. Grundisburgh has one of the prettiest village greens in east Suffolk; a small triangle with the church on one side, the former school and an old-fashioned shop on another, and pretty cottages along the main road on the third. Two sides of the green are bordered by the infant River Finn, and there is even a ford. The imposing art deco war memorial stands in front of the church, and people were setting up stalls for the May Day fair. Soon, the sound of English country dancing music was blaring out, and there was the smell of coal smoke from a small traction engine. It was very atmospheric.

 

The tower of St Mary overlooked all this. It is a curious tower, to say the least. Suffolk has several other 18th century brick towers, but the pretty red-brick ones at Cowlinge and Layham, for example, do not seem quite so startling, and the white brick tower at Redgrave is elegant and stately. Perhaps it is simply that they are not so severe and bulky; St Mary's looks like nothing quite so much as a municipal water tower. This isn't necessarily a bad thing; Victorian restorer Edward Hakewill wished it in hell, but I was pleased that it existed somewhere, if only here.

 

Like many church towers in the Ipswich area, St Mary's is offset in the south-west corner; built in 1732, it replaced a medieval one in the same position. Robert Thinge paid for the work, and the tower was specifically designed for bell-ringing, as at Drinkstone 40 years earlier. Grundisburgh's ring of twelve bells is very highly thought of.

 

Thinge's memorial plaque has been restored, and sits above the south doorway. About halfway up this side is a wide window which gives light to the bellringing chamber. Beneath it is a 19th century clock to remind us that Tempus Fugit, but I love the intricately marked sundial below it, particularly because it tells us, in Suffolk dialect, that Life pass like a shadow - in Suffolk speech, the third person of a verb is often not conjugated separately.

 

Beyond the tower, a typically lovely late medieval church stretches away. The short 14th century south aisle is neat, crenellated and begargoyled. At its eastern end is the chantry chapel of Thomas Wale, built on the eve of the Reformation in 1527, and already demonstrating how an emphasis on secular power was in the ascendant. The dedicatory inscription below the battlements asks us to pray for his soul and that of his wife, but the reliefs show Wale's merchant mark, and the shield of the Salt Merchants' Company, of which he was a member.

 

The high, beautiful clerestory is from half a century earlier, and flushwork monograms punctuate the windows; they include the badge of St Edmund, what are believed to be the monograms of Thomas and Anne Tudenham who paid for the work, and letters spelling out AVE MARIA.

 

As usual with a south-western tower, you enter beneath the bells. At the time the tower was rebuilt, the church was decorated with the heavy-handed quotes from scripture that you still find nearby at Hemingstone. They've all gone here, except the one beside the 14th century south doorway which demands that we should keep the Sabbath and reverence the sanctuary.

 

You step through into light. This is one of the benefits of a tower on the south side of the church; the large west window can flood the nave with light. Directly opposite is one of the most striking St Christopher paintings in East Anglia; it was not uncovered until the 1950s, and so has not undergone the dubious benefits of a Victorian restoration. The Saint's red coat is rich and splendid, and the water he steps through abounds with life; three fish leap over two courting eels, while five more fish kiss beyond. There is even a mermaid. Buildings stand on either bank, and the fecundity is so infectious that leaved branches are sprouting from the top of the Saint's pilgrim staff. As at Creeting St Peter, there are scroll inscriptions.

 

Interestingly, the 15th century clerestory cuts through the head of Christ, adding more fuel to my theory that many wall paintings were actually whitewashed during a kind of proto-Reformation in the 1400s. At this time, orthodox Catholic doctrine was being asserted by influential families on behalf of the Church in the face of the superstitions and private devotions of the common people. Hence, the erection of bigger and bolder roodscreens, the installation of seven sacrament fonts, and bench ends that depict the sacraments, virtues and vices. Ironically, it was these same influential families who would be championing protestantism a century later, as the secular power within the strong nation state that they had secured eclipsed the cultural reach of the Catholic Church. Perhaps without the magic it no longer gripped their imaginations.

 

The St Christopher is spectacular, but there are two other wall paintings here that are of even greater interest and significance. One appears to be the eastern end of a frieze, and is located above the entrance of the roodloft stair doorway in the north wall. It appears to show a man with a nimbus halo being presented by a man with a sword to what seems to be a seated figure. It may show Christ being taken before the Jewish high priest, and thus be part of a passion sequence; it could also conceivably be part of a Saint's martyrdom. Its position is interesting for several reasons. Firstly, it is unlikely to be the final frame in a story, so being at the east end of the north wall it would be at the midpoint of a sequence stretching either clockwise or anti-clockwise around the building.

 

Secondly, it is in a 13th century style, but has been punched through by a late 14th century roodloft stairway entrance. What does this suggest? The painting dates from the great artistic flowering which would be cruelly dashed by the Black Death of 1348, when about half the population of East Anglia died. The doorway is cooller, more rational than it would have been half a century earlier. Was this the start of the proto-Reformation I suggested earlier? And why was it built here? Perhaps it happened at the time the south aisle was built.

 

The final wall painting is the most significant of all. It is on the southern side of the chancel sanctuary, which you may think is a very unusual place to find a wall painting, and you'd be right. It was actually found under the St Christopher, part of which was carefully lifted off and the painting beneath removed. It was then reset here.

 

It is a tiny fragment of a larger painting which the guidebooks suggest shows St Margaret, the wing of a dragon behind her, a legend on a scroll. But it is actually much more interesting than that. At Melbourne in Derbyshire there is a larger painting which shows a group of women, one of them wimpled like the woman here, sitting and chatting. Above them, a devil is sitting and listening, and writing down what they are saying, presumably so that it can later be used in evidence against them. It is known as the warning against gossip, and this is almost certainly what we have a fragment of here. Why did anyone ever think it was St Margaret? Perhaps they mistook the wimple for a helmet.

 

St Mary was one of many Suffolk churches restored by Edward Hakewill, who actually lived nearby. He let it off remarkably lightly, although it should be said in the church's defence that he did die during the restoration here. Otherwise, the planned north aisle would have been built, and we would have lost all the wall paintings for ever. Before he moved on to better things, he replaced all the seats - those in the nave and aisle are typically workaday, but the big choir stalls in the chancels are good, and retain medieval bench ends (although not the figures, which are his replacements). Thank goodness he didn't touch the rest of the woodwork, because this church contains what is generally felt to be the best of the smaller double-hammerbeam nave roofs in the county, as well as a beautiful rood screen and parclose screen, side by side. All three have been restored since Hakewill's time; the green man in the crocketting to the left of the entrance arch of the rood screen seems as fresh as if he emerged from the woods yesterday. There are sacred monograms on the panels of the parclose, and it is worth pointing out that this screen is 150 years older than the chapel beyond it, so there must have been something there before. Look up, and you can see the wooden angel corbel of the aisle and the stone shield-bearer corbel of the chapel, a century and a half apart, squatting side-by-side.

 

Look up further at the nave roof, and you can tell which are the replacement heads and wings on the roof angels because the 19th century oak has not faded to the colour of its 15th century predecessors. There are more than sixty angels, on the lower and upper hammerbeams, and actually under the spine of the roof itself. How glorious they must have looked in the 15th century when, full of colour, they hovered together above the people of Grundisburgh. What a vision of heaven that must have been. For centuries they sat in silence, headless and wingless, as part of the puritan project to turn the English into a serious people. Now at last they have taken flight again.

 

Stepping through to the chancel, you'll see that the medieval crossbeams are still in place, and the pretty pipe-organ has been sandwiched into the Wale chantry. After the high drama of the roof and screens, and the sobering effect of Hakewill's choir stalls, the sanctuary seems very middle-brow for such an interesting church; but Isobel Clover's super altar frontals distract from the insipid east window. There are some interesting memorials here.

 

All the church's brasses have been moved to the end of the south arcade. This is a controversial practice, because although it allows them to be seen and protects them from being walked on, it leaves them defenceless in a fire (floor-mounted brasses don't melt). The figures here have been lost, presumably to collectors, but the inscriptions survive, and are mounted one above the other.

 

The top two are for families that we have met elsewhere on our travels, and it is fascinating to see them together because they are two of Suffolk's most famous recusant families - that is, those who refused to renounce the old faith at the time of the Reformation.

 

This failure to conform to Anglicanism cost the Sulyards of Haughley Park at Wetherden their estate, but the Mannocks soldiered on at Gifford Hall at Stoke by Nayland, maintaining a Catholic priest throughout the penal years and providing one of Suffolk's first Catholic chapels at Withermarsh Green when Catholicism was at last decriminalised.

 

On the two brasses here, we catch up with the families some two generations after the Reformation; the connection between them is that Anne Manocke (1610) was the mother-in-law of Thomas Suleyard (1612). The Sulyards were particularly loathed by the puritans, and William Dowsing seems to have taken a peculiar pleasure in mindlessly defacing the Sulyard memorial at Wetherden. The third brass dates from a century earlier, and is for Thomas and Marjorie Awall.

 

The big name of the parish in the 18th and 19th century was Blois, and their ledger stones pave the chancel, their monuments line the wall. One of the ledger stones gives the date as January 1692/3, a reminder of the time when the new year began on the first quarter day, March 25th. In pre-Reformation times this had been the Feast of the Annunciation, but until well into the 18th century it remained the day that financial transactions were marked from, and even now the financial year begins at the start of April, twelve days being lost when England adopted the Julian calendar.

 

On the wall, there are three large Blois monuments to Martha (1645), William (1658) and Charles (1738). Martha's is the best, the kneelers at the bottom full of puritan piety, all with their own characters as if drawn from the life. William's is more sober, but Charles's is positively baroque. William is an interesting character. He was a staunch puritan, and a member of the Suffolk committee for the prosecution of scandalous ministers under the Earl of Manchester. These were the puritan thought police who persecuted theological liberals, sometimes hounding them to their deaths. This might suggest that Grundisburgh was a puritan parish, and perhaps it was by the time he'd finished; but in fact at the start of the Commonwealth period he was responsible for the ejection of Edward Barton, the Rector here. Barton was charged with being an absentee minister, only visiting his parish once or twice a year, which doesn't seem unreasonable, although he was also charged with having 'an infirme body & noe audible voice'. Liberal priests were usually charged with drunkenness and consorting with prostitutes, of which there seem to have been a good number in 17th century Suffolk, but perhaps Blois felt he had all the evidence he needed here, or Barton was simply genuinely lazy.

 

Elsewhere in the church are a wooden plaque to Robert Gurdon, killed in the desert in WWII, and a fascinating memorial at the west end of the south aisle to Henry Freeland, who died aged 20 on HMS Royal George near Sweden in 1854. We are told that He died suddenly, but not unprepared, and that it was in the morning of April 25th, off the island of Muskon Where, in the parish churchyard, his remains now lie interred.

 

Interestingly, I visited here the week of the 150th anniversary of Henry Freeland's death, and apparently the Swedes had made a big thing out of it; there had been a commemorative service on Muskon, and the Rector of Grundisburgh had written something for the memorial programme. The massing of the western European fleets off of Sweden during the Crimean War was the single biggest ever assemblage of warships seen in the Baltic, and Freeland's death became a symbol of the interdependence of England and Sweden. He died of an asthma attack, by the way, just like his father, the Rector of neighbouring Hasketon.

 

Looking back towards the west, a vast flag with three stylised lions hangs above the font. This is a Garter banner, and formerly hung at Windsor above the seat of Knight of the Garter Baron Cranworth. It now hangs here as his memorial. As part of the restoration, Hakewill reset the scattering of medieval glass in the chancel windows in the 19th century fashion. Virtually all of it is purely decorative, but there are two roundels of flowers, one of which appears to be a Yorkist rose. It may be that the other is also heraldic - could it be an iris? There are also several panels of blue folds, which were probably clothing.

 

One detail that intrigues me, and I don't know the answer to; in the Wale chantry, there are two corbels, one above the other; about a metre and a half separates them. Any ideas?

 

Grundisburgh is so close to Ipswich that many of the people who live here must be commuters, but it has retained a self-sufficient air, and this is not merely the result of County Council planning policies. The setting of St Mary gives the place a heart - this is a proper village, not just a parish, and as such is a community, with a fine if idiosyncratic building as its touchstone. As I stood watching the villagers wandering around the busy May Day fair, I thought of the ghostly abandoned villages of the Norfolk battle zone, once equally full of life, and thought that the people of Grundisburgh were more fortunate than they knew.

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

Caption: Reading the scriptures. India.

 

Citation: Mennonite Board of Missions Photograph Collection. India MP, 1939-1963. IV-10-7.2. Box 4, Folder 23, Photo #44. Mennonite Church Archives. Elkhart, Indiana.