Friday, December 7, 2018

CLOUDED BY MYTHS & BELIEFS WE HAVE NO FOCUS ON PRIMEIVAL DEITIES





CLOUDED BY MYTHS & BELIEFS WE HAVE NO FOCUS  ON     PRIMEIVAL DEITIES


 
(Compilation  by N. R. Srinivasan,  Nashville, TN,USA for E-Discourse  in December 2018)


Clouded by Myths & Beliefs how far are we from real worship of Primordial Deities-- Adi Vinayka, Adi Jgannatha,Adi Partasakti, Uma and Skanda?

The limbs of an idol are divided into three sections - anga, pratyanga and upanga. If there is any defect or damage in the pratyanga or upanga, it can be fixed. If there is any damage in the main anga, the idol should be abandoned. Worshipping mutilated idols is not accepted in Hindu temple tradition or Silpa sastra. Yet the most popular deity Ganesha is worshiped as “Ekadanta” with one of its tusk broken and   glorified in its mutilated tusk form supported by several mythological stories.  Also its most important Anga (Head) has been mutilated by “siracchedha” beheading    by angered Siva and repaired by an elephant head surgery according to mythology.  In this context it is strange that Ekadanta Ganesha is invoked by the following Veda mantra and popularly worshiped to the utter denial of the Vinayaka created by Parvati for her protection!

Ganaanaam  tvaa ganapatim  havaamahe kavim kaveenaamupamasravastamam  | Jyeshtharaajam  brahmanaam  brahmanaspata aa nah srinvannootibhih seeda saadanam  ||  (Rig Veda Mandala 2 Hymn 23.01 )

"We invite you, the Lord of All Groups, wise among the wise, Lord of all Vedas, foremost among foremost, whose fame is excellent, be seated and protect us”. Through this prayer the devotee invokes that Supreme Consciousness   to guide us and lead us   in all our actions. There is neither mention of Ganesha whom we popularly worship, in the Vedas or Upanishads nor in the Adikavya Ramayana though it deals with the birth of Kartikeya and his achievements in one full chapter. So also the popular deity Aiyappan finds no mention in Vedas.  

Vaishnavites worship Vishwaksena as leader of Gajavadana Ganas (celestial species) who also serves as body-guard for Vishnu glorified in Vishnu Sahasranama and worshiped in Tirupati Balaji Temple--“vighnam nighnanti satatam vishvaksenam tamaasraye”.   He is their Ganapati! Tamils call him Thumbikkai azhwar. Vaishnavites can’t think of worshiping a mutilated Vigraha with broken tusk in their Archa form of worship as their Ganapati! 

Shiva mentioned in Rigveda refers to primordial energy. ‘Shi’ means lie down and ‘va’ means in which. Siva therefore means in which all things lie or at rest that is potential energy.  Siva also means Sunyam representing Nirguna Brahman. Vishnu, vyaapyate iti Vishnuh, all pervading   kinetic energy. Hence these are dormant and active forms of Universal Energy or Cosmic Force or Absolute Consciousness.  The above Rigveda mantra is addressed to that Absolute Consciousness.  

MNU has the following Gayatri Mantra; “Tatpurushaaya vidmahe vakratundaaya dheemahi tannoe dantih   prachodayat”-- May we know the Supreme Person. For that, may we meditate upon vakratunda. May Dantin impel us towards it! Dantih is the Vedic form of Dantin. This is Vighnesa Gayatri employed in the worship of Isvara. A later Upanishad introduced into Atharvaveda called Ganapatyatharvopanishad has modified this Veda Gayatri of Isvara as: Ekadantaaya vidmahe vakratundaaya dheemahi tannnoe dantih prachoedayaat” which is the one that is used in temple worship of Ganesha to-day.
Ekadanta Ganesha has been introduced to us as the scribe of Mahabharata whose mention is not made in Adikavya of Valmiki, Ramayana. I therefore strongly believe Skanda son of Siva is elder to Vinayaka, son of Parvti.  Siva Purana says that Lord Siva desired to have Sanatkumara as his son and Sanatkumara agreed to be born as exclusive son of Siva alone which story is  confirmed by Ramayana where Parvati did not play any part but later adopted him as her son. Vedas say Sanatkumara is Skanda and Skanda is Sanatkumara (Chhandogya).

Aadi Vinayaka (also known as Nara Mukha Vinayaka-- is a form of   (Vinayaka), which portrays Ganesha with a human head, prior to being decapitated by Siva but later glorified as “Isvaraputra Gajaanana”.  His temple is located in Muktheeswarar Temple near Thilatharpanapuri, Tamil Nadu. It is known as Adi Vinayaka temple. Because of the human face, this Adi Vinayaka’s divine form is also known as ‘Nara Mukha’ Vinayaka. This was Ganesha’s divine form before he became the ever popular Gajanana or the elephant-faced deity. Please go through the details  given in  the  Appendix below.   

According to the local legends (sthala purana) Lord Rama was trying to perform last rites for King Dasaratha. But every time he prayed, the four rice balls (called as Pindam) that he kept in front of him, turned into worms. Dismayed by this, he prayed to Lord Shiva, who advised Rama to go to Mantharavanam (earlier name of this place) and offer his prayers there. Lord Rama visited this temple and performed Shiva pooja for the salvation of the father Dashrath’s soul; to his surprise, the four pindams became four Lingams.  These Lingams are enshrined here in Muktheeswarar Temple, which is near Adi Vinayak Temple. Even today, devotees visit this temple and offer prayers to get rid of the ‘Pitru Dosha’. The name Thilatharpanapuri comes from two words “Thil” meaning Gingelly and “tharpana” (water oblation) is the Hindu ritual of performing “pithru karmas” to ones ancestors.
There are 7 sthalams (holy places) for performing these rituals according to the Hindu scriptures – Kasi, Rameswaram, Srivanchiyam, Thiruvenkadu, Gaya, Thriveni Sangamam and Thilatharpanapuri.  This place is considered equivalent to Kasi or Rameswaram. Performing tharpanam (sesame-water oblation) here on Amavasya day is considered special.

It is unfortunate Parvati was not only denied to have her own womb born child and was also denied worship of Vinayaka (Lord of Obstacles) created as a handsome guard to guard her secrecy as Prathama Vandita. There was no Scope here for Bala Ganapati or Taruna Ganapati as created by Parvati but later found in 32 forms of Ganpati! Ever submissive and ever dedicated to her husband Siva, Parvati agreed to accept the transplanted if not the reborn   Ekadanta as her son to become worshipful as “jagatah pitarau vande  Parvati Paramesvarau”.  Male chauvinistic Sangam period tried very hard to make popular Puranic Siva and his creation Ganesha more popular than Vedic Skanda and  also not Uma the daughter of Himavan hailed in Vedas whom Puranas glorified as Parvati married to Siva and also fabricated several mythological stories around Ganesha.  They gave most importance to Dissolution aspect of Parabrahman in preference to Creative and Sustenance aspects bogged down by the fear of Death  and After-life that  bothered them most. They also created a story that Siva cut of the fifth  egoistic head of Brahma and cursed him that he will not be worshiped in Temples with his mutilated head (Chaturmukha Brahma) as “anga viheena”-mutilated part of the body at the same time promoting beheaded and elephant head  replaced  Ganesha as “Prathama Vandita”.

It is unfortunate Mudgila Purana has not included this Adi Naramukha Vinayaka among 32 forms of Ganesha and blessed Him to become Prathama Vandita.  He also talks about an exclusive form Ekadanta with Dhyana sloka that should only be the popular Ganesha that is being worshiped today.  Logic follows the rest 31 forms should be with two tusks. But unfortunately iconographers, sculptors and our religious Pundits present all these forms with Ekadanta and Sage Mudgila has left us in confusion without clarifying the same. From among the 32 forms one that could have been close to Adivinayaka is Srishthi Ganapati but with elephant head that can’t be Adivinayaka of Parvati. Cleverly our religious scholars say He is the Lord of Creation.  Brahma is nowhere near as Siva has barred Him from temples. The dhyana sloka of Srishthi Ganapati reads:
 PAshAMkushasvadaMtAmra | phalavAnAKuvAhanaH | viGnaMnihaMtu nashyONa|
ssRuShTi dakShOvinAyakaH || 
“Riding a big rat, He is red in color. He has four arms. His hands hold the single tusk, the  elephant goad, the noose and the mango”.  With single tusk He can’t be the Adivinayaka of Siva also.e
Vedas describe Purusha thus-- “vriksaha iva sthabdho divi tishthati ekastenedam poornam    purushena sarvam”--One who stands still like a tree established in heaven--all this is filled. Bhagavan says in Gita:  “rudraanaam sankarah”; “Senaaneenaam aham Skandah”; “asvattah sarvavrikshaanaam” ; “ Airaavatam gajendraanaam”etc. --I am Sankara among Rudras; of army leaders I  am Skanda; among all trees I am Asvattha; of Lordly elephants Airavata etc. I wonder why He did not speak of Ganesha in  Gita who is  not a stranger to Mahabharta?

Usually a lot of people    worshiping Ganesha say the following sloka right after the first sloka “Suklambaradharm Vishnum”: “yasya dviradavaktraadyaaH paariShadyaaH paraH satam| vighnaM nighnanti satataM viShvakasenaM tamaasraye”-- Here we are praying to Vishvaksena to remove obstacles. It is Mahavishnu who is usually associated with Vishvaksena that is his Parivara along with Garuda taken in procession to lead Venkateswara in Titupati.

Ramayana glorified   Jagannatha Worship in Ramayana.   Adi Jagannatha Temple believed to be worshiped even by his father Dasaratha in Tiruppullani did not come to lime light as the mythological Jagannatha Temple of latter days in Puri Jagannatha that was glorified during Vaishnava Renaissance and Chaitanya Movement.    In Tiruppullani Jagannatha appeared as Aswattha tree first but yielded to the   prayers of sages to appear as Chaturbhuja Jaganntha.  Much   later a story was built around a floating wood in the Sea described in Rigveda as    Daru to sculpt an idol out of wood and renew it periodically with a fresh sculpture and left unfinished with many limbs  missind and again justified by another mythological story. How can Indradyumna of Tretyayug be unaware of primordial Adi JagannAtha in Thiruippulllani?  Tilatharpanapuri Adi Vinayaka has the background of being dedicated as the original son of Parvati alone worshiped by Sage Agastya. Yet later Sangham male chauvinists popularized worship of Siva as the Supreme Lord as well as Ekadantam Ganesha and Uchhisahta Ganesha from among the 32 forms of Ganesha hailed in a later Purana of Moudgila. This popularity caught the imagination of all in India to come with the popular worship of Ekadanta Ganesha with the prayer: Mooshika  vaahana modaka hasta Chamara karna vilambita sootra Vamana roopa Maheswara putra Vigna-vinayaka paada namaste || No doubt  Saivites today attribute Ekadanta worship to Adisankara also quoting his famous sloka “mudakaraartha modakam” where Sankara meant  “Ekadam Tam” and not  “Ekadantam”, who on the  contrary drew our attention to Vedas that says “Eko Viprah bahudaa vadanti”

It is rather puzzling how the highly intellectual, Hindu Americans never thought of a temple for Naramukha Adi Vinayaka in USA that is more appropriate than unconvincing Ekadanta  Ganesha Temples?  It shows   how we just copy popular traditions in India based on myths and beliefs with no logic.  While USA Temples have installed Jagannatha of Puri on a pedestal why they never thought of Adi Jaganntha with Chaturtbuja    with conch and discus as in Tiruppullani in a spirit of celebration of multi-traditional worship in “One Temple for All Traditions”? It will be  a good idea while  consecrating pedestal Jagannatha as in  Puri also install processional deities as in Tiruppullani and bring a cohesion in worship of  South and North India with due reverence to Agama and Tantric form of worship. It is also worth popularizing Vedic deity Skanda that is Kartrikeya who is not at all popular in the North except in Bengal.

We can neither question the creative power of Parvati as Parasakti nor get away from the   worship of Ekadanta Ganesha the most popular deity to-day. You can however see how a mythological deities have been made out of him (Parvati creation) so popular today not only by religious Pundits but also by musicians and saints. Vedas mention several   creations like Sadhyas, Devas, Kinnaras (horse body with human head), Kimpurushas, Gajavadanas, (elephant headed bodies with human body), Hayavadanas (horse headed with human bodies like Aswins) Gandharvas, Rakshasas etc., in upper worlds. Only humans were created for Earth as mortals as Sudras. Later Rakshasas who were protectors were pushed to Patala (Netherworld) due to their disrespect for Dharma.  

Siva in all probability got upset with Parvati for having crossed her limits and created a human species out of her scum or Lepana from the body. Brahma the creative aspect of Parabrahman alone is responsible for creation of any new species.   So Siva might have exterminated the same and replaced it by a Gana Gajavadana may be a lieutenant of Vishwaksena. It is unlikely Siva would have killed an innocent elephant lying with its head to the North to carry out the first transplantation as he is always kind hearted,  just to create a new creature and then deify it also. As a dissolution aspect of Brahman he too would not have over-stepped his functions. He made one of the meritorious   Gaja- vadana Ganas as Ganesha, the new commander for his group of Ganas.  I wonder why no Purana made a story of the elephant lying with its head  to the North thus: “A devoted  elephant  desirous of attaining moksha was lying with its head and trunk pointing to the heavenly direction  of the  North and the merciful Siva fulfilled its desire by beheading it and releasing its soul to reach heaven and used the same for his purpose on the human body that was beheaded by him”

Puranas brought to lime-light Narasimha Avatar (Lion headed human being) and he became too popular with Vaishnava followers.  The purpose of this avatar was to correct the wrong doing by the egoistic Rishis who had cursed Jaya-Vijayas while discharging their duties to the Supreme. Later Saivites in order to make Ganesha unique and equal in command to Vishwaksena, and more popular than Narasimha, created another myth how this body-guard deity   broke his tusk to write Mahabharata or hurled it against the Moon and created a “kalanka” (blasphemy) in Moon. Soon Ganesha Devata even   surpassed Narasimha Devata, in popularity, who is often equated with Puranic Siva. Puranas later say Lord Siva assumed the form of Rudra as Sarabha and destroyed Narasaimha Avatar!

Hindu Temples borrowed their strength from Myths and beliefs to play to the gallery by promoting   celebration of festivals and attractive bhajans based on Mythological stories from Puranas making it very attractive to even children. Here Ekadanta Ganesha,   Balakrishna and   Bala Murugan came handy.  The primordial deities Adi Jagannatha, Adi Vinayaka as well as   spiritual Skanda, Haimavati Uma, Dakshineswara and Dattatreya did not become popular like Ganesha. Spiritually guiding Brahma and Sarasvati as symbols of knowledge and wisdom were avoided from temple worship based on Puranic mythology.

It is no doubt that certain weaknesses have crept into Hindu Society in India which is being largely reflected among Hindu Americans also except for the fast vanishing caste system. But the eternal philosophy that the entire world is the whole family, the whole world is the manifestation of the divine and that the God lives in each living and non-living entity of the world; tolerance and acceptance of plurality, realization that there us unity in diversity, and the ability to adopt and absorb etc., is not reflected in American Hindu Religious Practices and Hindu Temples in America that just copy the practices in India. Focusing on the American Hindu problems our spiritual leaders active in USA say:

“The Mandirs have to play a significant role in the growth of the Hindu community in terms of its capacity to uphold Hindu Dharma.” -- SWAMI DAYANANDA SARASWATI (www.arshavidya.org)

“We need to make temples not just a center of rituals and congregation but lighthouses of philosophy and knowledge, which are the basis of Hindu Dharma.” -- SRI SRI RAVI SHANKAR (www.artofliving.org)

“Creating an environment where the youth understand, appreciate and love their Hindu culture is a crucial need today, as is uniting all Hindu temples under one umbrella.” -- SWAMI CHIDANANDA SARASWATI (www.parmarth.com)

With proper focus today Hindu americans can lead the world spiritually as India is bogged down with too many problems like conversion, class hatred, caste fights and political interference in religious following and deeply involved sectarian religious following. Fortunately for Hindu Americans   there are quite a few advanced thinkers and philosophers who have lived in America and have been working towards integrated religions and develop practices that get away from old rituals and start new traditions that are contemporary and palatable to their membership.   Many monasteries have sprung up in UISA promoting spirituality and Vedanta. Only founders of Great institutions and revered spiritual leaders can introduce departure from traditional practices. “Our intellectualism must be sweetened with devotion and reverence; our heartfelt emotions must be reinforced with knowledge; the head and heart must merge together to come up with such deep noble thought” says Jaggi Vasudev.  He is introducing new traditions that cross caste and sex barriers in the abode of Shiva in McMinnville.    But such changes cannot be made appealing to the intellectual crowd of Hindu Americans  over-night grown with the background of long tradition of myths and beliefs over several centuries misinterpreting the philosophy of great Acharyas.
indxu zamericaks

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You have experienced how new deities are created and Veda Mantras are superimposed on them while diverting the concentration of true seekers on Brahman. We have inherited a tradition of  worshiping 330 and odd millions of them    while   converting Sanatana Dharma   to  Hinduism of  walled religion with countless traditions, may be imposed by external forces  to divide and rule,   in which we take  pride  and often fight.  It would be wiser on our part to   take the straight route instead of the long and winding path and constrain our focus on creative, sustenance and dissolution aspect of Parabrahman, more so on sustenance aspect while on Earth.  To begin with we could only focus on representative symbolic deities of Parabrahman like Venkateswara or Jagannatha or Skanda as a prerequisite for consolidation if we still like to live with Temple traditions and Aagam dictates and effectively employ the Veda mantras of universal appeal  and spiritual benefit   in our  worship and meditation.
APPENDIX

Adi Vinayaka Temple – Ganesha Worshiped in a unique form

(Pamphlet by Travelogue to Tourists and Pilgrims)

Ganesha is always worshiped as “Gajamukha” (elephant head), but in there is a unique temple in Tamil Nadu, where Ganesha is worshipped with a human face (Nara Mukha Vinayaka).
This one of a kind temple is located in Muktheeswarar Temple near Thilatharpanapuri, Tamil Nadu. It is known as Adi Vinayaka temple. Because of the human face, this Adi Vinayaka’s divine form is also known as ‘Nara Mukha’ Vinayaka. This was Ganesha’s divine form before he became the ever popular Gajanana or the elephant-faced deity.
Legend
According to the legend Lord Rama was trying to perform last rites for King Dasarath. But every time he prayed, the four rice balls (called as Pindam) that he kept in front of him, turned into worms. Dismayed by this, he prayed to Lord Shiva, who advised Rama to go to Mantharavanam (earlier name of this place) and offer his prayers there. Lord Ram visited this temple and performed Shiv pooja for the salvation of the father Dashrath’s soul, to his surprise, the four pindams became four Lingams.  These Lingams are enshrined here in Muktheeswarar Temple, which is near Adi Vinayak Temple.
 Even today, devotees visit this temple and offer prayers to get rid of the ‘Pitr Dosh’. The name Thilatharpanapuri comes from two words “Thil” meaning Gingely and “tharpana” is the Hindu ritual of performing “pithru karmas” to ones ancestors.
About the Temple
The five-foot tall majestic presiding deity of the temple – Nandrudayan Vinayaka adorning a Naghabharanam around his waist, has a Naganandhi facing him at the Eastern entrance of the temple. It may be mentioned that Nandi Deva is generally associated with Siva Temples only. The Seventh Century Tamil savant Sambandar had in one of his pathikams praised the presiding deity of the temple thereby indicating that this is one of the oldest temples in Sirapalli (Tiruchi).
 The brilliantly sculptured granite idol of Ganesnha is indeed captivating, he holds the axe, symbolizing the destruction of all desires, a rope to indicate his willingness to rescue anyone from the mire of vasanas, the modaka representing the joyous reward of spiritual life, and lotus symbolizing that all can achieve the supreme state of self-realization. The large belly of Ganesha is to convey the idea that a Man of Perfection can consume and digest whatever experience he undergoes. The tiny rat which is seated in front of the Lord amidst a rich collection of food is to indicate that a perfect man – like the rat, will have total control over his desires.
Inside the small shrine one could also see the idols of Adi Sankara, Sage Veda Vyasa, Goddess Gayatri, Sadasiva Brahmendra and Saint Pattinathar. According to Sage Ramarathinam, Trustee of the temple, the Kanchi Paramacharya, used to offer worship at the Thayumanavar and Uchipillayar temples atop the Rockfort. When he visited the temple about 60 years ago he suggested the rendering of the Vedas in the temple everyday it is being followed, the reciting done by scholars. Special poojas are performed for Adi Vinayagar on Thursdays.
In the annual music festival conducted for the past 83 years almost all leading musicians have participated.
Significance
There are 7 sthalams for performing these rituals according to the Hindu scriptrues –  Kasi, Rameswaram, Srivanchiyam, Thiruvenkadu, Gaya, Thiriveni Sangamam and Thilatharpanapuri.  This place is considered equivalent to Kasi or Rameswaram. Performing tharpanam here on Amavasya day is considered special. This is a Mukthikshetram. The shrine for Aadi Vinayaka is just outside the main temple.
The story of Shiva beheading Naramukha Vinayaka who was created by Parvati and then replacing the head with an elephant head is well known. What is less known is, Shiva had instructed his troops to fetch the head of anyone found sleeping with his head placed towards North. They found this elephant sleeping with its head towards North. Shiva named the boy Ganapati – meaning commander of his troops and granted a boon that Ganapati shall be worshipped by everybody before starting anything new.
Beliefs
Devotees believe that Sage Agasthya Himself worships the Adi Vinayaka on every “Sankatahara Chathurthi” Day. It is also believed that worshipping the Ganesha here brings peace in the family relationships and with the blessings of the Vinayaka children’s memory is boosted.
Temple address: Sethalapathy, Poonthottam P.O, Nannilam Taluk, Thiruvarur District, Tamilnadu – 609 503.

Thirty-two forms of Ganesha
(From Wikipedia, the free encyclopedia)
Thirty-two forms of Ganesha are mentioned frequently in devotional literature related to the Hindu god Ganesha (Ganapati).  The Ganesha-centric scripture Mudgala Purana is the first to list them.
Detailed descriptions are included in the Shivanidhi portion of the 19th-century Kannada Sritattvanidhi. There are also sculptural representations of these thirty-two forms in the temples at Nanjangud and Chāmarājanagar (both in Mysore district, Karnataka), done about the same time as the paintings were done and also at the direction of the same monarch.  Each of the thirty-two illustrations is accompanied by a short Sanskrit meditation verse (dhyānaśloka), written in Kannada script. The meditation verses list the attributes of each form. The text says that these meditation forms are from the Mudgala Purana.
In his review of how the iconographic forms of Ganapati shown in the Sritattvanidhi compare with those known from other sources, Martin-Dubost notes that the Sritattvanidhi is a recent text from South India, and while it includes many of Ganesha's forms that were known at that time in that area it does not describe earlier two-armed forms that existed from the 4th century, nor those with fourteen and twenty arms that appeared in Central India in the 9th and 10th centuries.
Ramachandra Rao says that:
The first sixteen of the forms of Gaṇapati shown [in the Sritattvanidhi] are more popularly worshipped under the name shoḍaśa-gaṇapati. Among them, the thirteenth, viz. Mahāgaṇapati, is especially widely worshipped. There is a tāntrik sect which is devoted to this form. Śakti-gaṇapati, Ucchishṭa-gaṇapati and Lakshmī-gaṇapati are also tāntrik forms, which receive worship which is cultic and esoteric. Heraṃba-gaṇapati is popular in Nepāl.
Red color Bālagaṇapati Dhyānaṁ
(Child Ganapati)
karasthakadalīcūta | panasekṣucamodakaṁ | bālasūryanibhaṁ vaṁde ||
devaṁ bālagaṇādhipaṁ
| panasekṣucamodakaṁ | bālasūryanibhaṁ vaṁde || devaṁ bāla gaṇādhipaṁ   ||1 ||
Adorned with a garland of tender flowers, having plantain (banana), mango, jack fruit, sugar-cane and sweets (modaka) in His hands and who is effulgent like the rising sun  
Red Color Taruṇagaṇapati Dhyānaṁ   
(Youth Ganapati)
pāshāṁkushāpūpakapitthajaṁbū | svadaṁtaśālīkṣumapi svahastaiḥ | dhatte sadāyas-taruṇāruṇābhaḥpāyātsa yuṣmāṁstaruṇogaṇeshaḥ ||  2 ||
"Carrying in His hands the noose, hook, rice-cake , guava fruit, rose apple, own (broken) tusk, bunch of corn ears (paddy) and sugarcane and who vividly shines forth with His brilliant youthfulness" (    (According to the Mudgala Purana version, kadubu - an edible specific to Lord Ganapati is mentioned instead of rice-cake).
White color BhaktigaNapati DhyAnaM
(Devotee or Devotional Ganapati)
nArikELAmrakadaLI | guDapAyasadhAriNaM | shargaccaMdrAbhavapuShaM | bhajE bhakta-gaNAdhipaM   || 3 ||   
Described as “the Lord of His devotees and who shines like the autumn moon, with coconut, mango, plantain (banana), jaggery and sweets in his hands."
Red color VeeragaNapati DhyAnaM 
(Valiant Ganapati)
bhEtALashaktisharakAr^mukacakraKaDga | KaTvAMgamudgaragadAMkushanAgapAshAn |
shUlaM ca kuMtaparashuM dhvajamudvahaMtaM |vIraM gaNEshamaruNaM satataM smarAmi || 4 ||
  "Armed with Bhetala, the weapon of power(shakti), arrow, bow, wheel(Chakra or discus), sword, club, hammer, mace, hook, nagapasha (serpent noose), spear, plough, and the shining axe."   (According to the Mudgala Purana version, flag is mentioned instead of plough).
Red color ShaktigaNapati DhyAnaM 
(Powerful Ganapati)
AliMgya dEvIM haritAMgayaShTiM | parasparAshliShTakaTipradEshaM | saMdhy-AruNaM pAshasRuNI vahaMtaM || 5 ||
 He has four arms. His low right hand shows the movement of lack of fear (abhaya); the two others wear the elephant goad and the noose; the last hand, who holds a lemon, embraces the goddess. With the top of his trunk, Shakti Ganapati holds a cake.
White color DvijagaNapati DhyAnaM
(Twice born Ganapati)
yaM pustukAkShaguNadaMDakamaMDala shrIvidyOtamAnakarabhUShaNa  miMduvarNaM |
staMbEramAnanacatuShTayashObhamAnaM | tvAM yaH smarEddvijagaNAdhipatE sadhanyaH   || 6 ||
He has four heads and four arms. He is white in colour. His hands hold the rosary, the washing pot (kamandalu), the walking-stick of an ascetic or the ritual spoon (sruk) and the manuscript on palm-leaves (pustaka).  
Golden color SiddhagaNapati DhyAnaM
(Ganapati who bestows Success)
pakvacUtaPalapuShpamaMjarI |mikShudaMDatilamOdakaisvaha | udvahanvarashumastu tE namashrI samRuddhiyutahEmapiMgaLa   || 7 ||
Fond of the sesame cake; He has four arms. He is golden in color. His hands hold the axe, the noose, the sugar-cane stem and the mango. 

           Blue color UCiShTa GaNapati DhyAnaM
(Ganapati devouring the remnants of the meal)
nIlAbjadADimIvINA |shAlIguMjAkShasUtrakaM |dadhaduCCiShTanAmAyaM | gaNEshaH pAtu mEcakaH | graMthAMtare | nArIyOnirasAsvada  l OlupaM kAmamOhitam iti || 8 ||
He has six arms. He is blue in color. His hands show the rosary, the pomegranate, the paddy ear (shalyagra), the nocturnal lotus, the lute (vîna); his sixth hand sometimes bears a guñja berry, embraces the goddess. The Ucchista Ganapati trunk is placed on the goddess's thigh.
Golden color ViGna GaNapati DhyAnaM 
(Obstacles Ganapati)
shaMKEkShucApakusumEShukuThArapAsha | cakrasvadaMtasRuNimaMjarikAshanAdaiH |pANi-shritaiH parisamIhitabhUShaNashrI |viGnEshvarO vijayatE tapanIyagauraH  ||   9 ||
He has eight arms. He is golden in color. His hands hold the single tusk, the disc, the arrow-flowers, the hatchet, the conch, the sugar-cane stem, the noose, the elephant goad. With the tip of his trunk, he carries a bunch of flowers (pushapamañjari

Red color KShipragaNapati DhyAnaM
(Ganapati who is easy to Appease or Quick-acting Ganapati)
daMtakalpalatApAsha | ratnakuMbhAMkushOjvalaM | baMdhUkakamanIyAbhaM | dhyAyEt-kShipragaNAdhipaM  ||  10 ||
He has four arms. He is red in color. His hands show the single tusk, the elephant goad, the creeper of the votive tree (kalpalatâ), the noose. With the end of his trunk, he carries the stone cup full of precious stones (ratnakumbha).
Dark color HEraMbagaNapati DhyAnaM
(Ganapati who is Mother’s Beloved)
abhayavaradahastaM pAshadaMtAkShamAlAsRuNiparashudadhAnaM mudgaraM mOdakaM ca
PalamadhigatasiMhaH paMcamAtaMgavaktrO | gaNapatiratigauraH pAtu hEraMbanAmA
||11 || 
The five-headed Ganapati riding the lion. He has ten arms. He is dark in colour. His first hand shows the movement of lack of fear (abhaya), the others hold the rosary, the citron, the club, the elephant goad, the noose, the axe, the kadabu cake, the single tusk; his tenth hand shows the movement which bestows boons (varada).
Fair color LakShmIgaNapati DhyAnaM   
(Ganapati the God of Fortune like Goddess Lakshmi)
bibhrANashshukabIjapUrakamiLanmANikyakuMbhAMkushA | npApAshaM kalpalatAM ca KaDgavilasajjyOtissudhAnirJaraH | shyAmEnAttasarOruhENa sahitaM dEvI dvayaM cAMtike |
gaurAMgo varadAnahastasahito lakShmIgaNEshovatAt ||12 ||
  
Embracing his wives Siddhi (Achievement) and Buddhi (Wisdom). He is white (fair) in color. He has eight arms. His hands hold a pomegranate, a sword, the creeper of the votive tree, the elephant goad, the parrot, the noose, the jewel pot; his eighth hand bestows boons (varada).
Red color MahAgaNapati DhyAnaM 
(The Great Ganapati)

priyayA sapadmakarayA svAMkastayA saMtataM|bIjApUra-gadEkShukArmukalasac-cakrAbjapAshOtphala | vrIhyagrasvaviShANaratnakalashAnhastair^vahaMtaM bhajE || `13 ||
With a shakti, He has ten hands. He is red in color. His hands hold the single tusk, the pomegranate, the club, the sugar-cane bow, the disc, the conch, the noose, the nocturnal lotus, the paddy ear, the jewels pot.
Red color Vijaya GaNapati DhyAnaM
(Ganapati, the God of Success)
pAshAMkushasvadaM tAmraPalavAnAKuvAhanaH viGnaM nihaMtu nassarvaM |
raktavarNO  vinAyakaH ||14 ||  
Riding a rat which trots at a smart pace, He has four arms. He is red in color. His hands hold the single tusk, the elephant goad, the noose and the mango.
Golden color NRuttya GaNapati DhyAnaM
(Dancing Ganapati)
 pAshAMkushApUpakuThAradaMta caMcatkarAkluptavarAMguLIyakaM | pItaprabhaM kalpatarOr adhastAM | bhajAmi nRuttOpapadaM gaNEshaM ||  15 ||
Dancing under the boon-tree, He has four arms. He is golden in colour. His hands hold the single tusk, the elephant goad, the noose, the axe (parashu) or the hatchet (kuthâra). The dhyâna sloka specifies that one of the four hands can show a cake apûpa.
Golden color UrdhvagaNapati DhyAnaM
(Elevated Ganapati)
kalhArashAlikamalEkShukacApabANa |  daMtaprarOhagadabhRutkanakOjjvalAMgaH | AliMganOdyatakarO haritAMgayaShTyA | dEvyA karOtu shubhamUrdhvagaNAdhipomE || 16 ||
Seated with his Shakti on his left thigh, He has eight arms. He is golden in colour. His hands hold the single tusk, the arrow-flower, the daylight lotus, the blue lily (kalhara), the sugar-cane bow, the paddy ear, the club; his last hand claps the goddess. The extremity of his trunk is rolled around the right breast of the goddess.
Red color EkAkSharagaNapati DhyAnaM
(One Letter OM Ganapati)  
raktO raktAMgarAgAMshukakusumayutastuMdilashcaMdramauLe | nesatraiyusaktas-tribhirvAmanakaracaraNo bIjapUraM dadhAnaH |hastAgrakluptapAsh-AMkusharadavaradOn  AgavaktrOhibhUShO | dEvaH padmAsanasthO bhavatu suKakarO bhUtaye viGnarAjaH || 1`7 ||
He has four arms. He is red in colour. His hands hold the single tusk, the elephant goad, the noose and the cake modaka. Sometimes, he wears, with the extremity of his trunk (bîjapûra).
Red color VaragaNapati DhyAnaM
(Ganapati, the Giver of  Boons)
siMdUrAbhamibhAnanaM triNayanaM hastE ca pAshAMkushau | bibhrANaM madhumatka pAlamanishaM sAdhviMdumauLiM bhajE || puShTyAshliShTatanuM dhvajAgrakarayA padmOllasaddhastayA |] tadyOnyAhitapANimAttavasumatpAtrOllasatpuShkaraM || 18 ||
With a shakti seated on his left thigh, He has four arms. He is red in colour. His first three hands hold the elephant goad, the skull filled with liquor (madhumatkapâla) and the noose. The fourth hand creeps between the thighs of the goddess who holds a lotus and a banner.
Golden color TryakShara GaNapati DhyAnaM
(The Three-lettered Gam Ganapati)
gajEMdravadanaM sAkShAccalatkarNaM sacAmaraM | hEmavarNaM caturbAhuM |
pAshAMkushadharaM varaM |svadaMtaM dakShiNE hastE | savyE tvAmraPalaM tathA |
puShkarE mOdakaM caiva |]dhArayaMtaH manusmarEt ||  19 ||
 He has four arms. His hands hold the single tusk, the elephant goad, the noose and the mango. He holds the cake modaka with the trunk end.
Red  color KShipraprasAda GaNapati DhyAnaM
(Ganapati the Quick-Rewarder)
dhRutapAshAMkushakalpalatAsvaradashca bIjapUrayutaH | shashishakalakalitamaulis-trilOcanO ruNashca gajavadanaH | bhUsurabhUShadIptO bRuhadudaraH padma viShvarollasitaH |viGnapayOdharapavanaH  karadhRutakamalassadAstu mE bhUtyai || 20 ||
He has six arms. He is red in colour. His hands hold the single tusk, the elephant goad, the lotus, the creeper of the votive tree (kalpalatâ), the noose and the lemon.
Yellow color HhHharidrA GaNapati dhyAnaM
(Kumkuma,   the vermilion colored Ganapati)
haridrAbhaM caturbAhuM | haridrAvadanaM prabhuM | pAshAMkushadharaM dEvaM |
mOdakaM daMtamEva ca | bhaktAbhayapradAtAraM | vaMdE viGnavinAshanaM || 21 ||
He has four arms. He is yellow in color. His hands hold the single tusk, the elephant goad, the noose and the cake modaka.
Blue color EkadaMta GaNapati DhyAnaM
(One-tusked Ganapati)
laMbOdaraM shyAmatanuM gaNEshaM | kuThAramakSha srajamUrdhva gAtraM |salaDDukaM daMtamadhaH karAbhyAM | vAmEtarAbhyAM ca dadhAnamIDE || 22 ||
He has four arms. He is blue in color. His hands hold a large tusk, a rosary, a hatchet (kuthâra) and the small ball of sweets (laddu).
Red color SRiShTi GaNapati DhyAnaM 
(Ganapati, the Creator)
pAshAMkushasvadaMtAmra|phalavAnAKuvAhanaH | viGnaMnihaMtu nashyONa| ssRuShTi dakShOvinAyakaH || 23 ||
Riding a big rat, He is red in color. He has four arms. His hands hold the single tusk, the elephant goad, the noose and the mango.
Red color UddaMDa GaNapati DhyAnaM
 (Ganapati, the Unchained or untethered)
kalhArAMbuja bIjapUraka gadAdaMtEkShucApaM sumaM | bibhrANO maNikuMbhashAli kalashau pAshaM sRuNiM cAbjakaM | gaurAMgyA rucirAraviMda karayA dEvyA samAliMgita |
shshoNAMgashshubhamAtanOtu bhajatA muddaMDaviGnEshvaraH ||   24 ||
With his Shakti seated on his left thigh, He has twelve arms. He is red in colour. His hands hold the single tusk, the club, the nocturnal lotus, the noose, the paddy ear, the elephant goad, the washing pot (kamandalu), the sugar-cane bow, the disc, the daylight lotus, the conch and the pomegranate. His trunk is placed on the top of the goddesses’ breast or, sometimes, maintains a jewels pot (manikumbha).
White color RuNamOcana GaNapati DhyAnaM
(Ganapati,  the Remover of Debts)
pAshAMkushau daMtajaMbU |=dadhAnaH sphaTikaprabhaH | raktAMshukO gaNapati |
rmudE syAdRuNamOcakaH    || 25 ||
Ganapati seated on a large lotus with his Shakti. He removes the impediment. He has four arms. He is white in colour. His first hand show the movement to bestow boons (varada) ; the three others hold the elephant goad, the noose and the bowl of sugared rice (pâyasapâtra).
Red color DhuMDi GaNapati DhyAnaM
(Ganapati, the Sought After)
AkShamAlAM kuThAraM ca |ratnapAtraM svadaMtakaM |dhattE karairviGnarAjO |
dhuMDinAmA mudestu naH || 26 ||
He has four arms. His hands hold the single tusk, the rosary (rudrAkSha), the hatchet (kuthâra) (an axe) and the pot of jewels (ratnapâtra). (Red Color).
Green color DvimuKa GaNapati DhyAnaM
(Two-faced Ganapati)
svadaMtapAshAMkusharatnapAtraM |karairdadhAnO harinIlagAtraH |ratnAMshukO ratnakirITamAlI | bhUtyai sadA bhavatu mE dvimuKO gaNEshaH  || 27 ||
He holds in his hands his own tusk, a noose, a hook and a pot full of gems. His body complexion is greenish blue and he is wearing a red colored robe. A gem studded crown embellishes his head.
Red Color TrimuKa GaNapati DhyAnaM 
(Three-faced Ganapati)
shrUmattIkShNa shiKAMkushAkSha varadAndakShE dadhAnaH karaiH |pAshaMcAmRuta pUrNakuMbhamabhayaM vAmE dadhAnO mudA | pIThE svarNamayAraviMda vilasatsatkarNikA bhAsure |svAsInastrimuKaH palAsharucirO nAgAnanaH pAtu naH || 28 ||
He has six arms. He carries in two of his right hands very sharp elephant goad, a rudrâksha rosary and is holding another hand in boon bestowing gesture (varada). He carries in two of his left hands a noose, an urn full of celestial nectar (amruta) - ambrosia pot (amritakumbha) and is holding another hand in gesture of bestowing fearlessness (abhaya). He is seated on shining golden throne with lotus in the center. He has three eyes with elephantine face and he effulgent like the flame of forest flower (bastard teak/butea frondosa).
White color SiMha GaNapati DhyAna
(Ganapati, the Lion)
vINAM kalpalatAmariM ca varadA dakShE vidhattE karaivAsamE tAmarasaM ca ratnakalashaM sanmaMjarIM cAbhayaM | shuMDAdaMDalasanmRugEMdravadanaM shaMKEMdugaurash-shubhO | dIvyadratnanibhAMshukOgaNapatiH pAyadapAyatsa naH || 29 ||
He has eight arms. He is white in color He is holding in his right hands a vîna (Indian lute), a creeper of votive tree - kalpavRukSha (Tree which can cure all diseases), a discus and another held in a gesture of granting boons (varada). He is holding in his left hands a lotus, a pot of gems, a flower bunch and another held in a gesture of granting fearlessness (abahaya). He is lion faced with an elephant trunk and shining. His body is shining like a white conch and moon. He is wearing a gem studded shining robe.
Red color YOga GaNapati DhyAna
(Ganapati, the Yogi)
yOgArUDhO yOgapaTTAbhirAmO| bAlAr^kAbhashcaMdranIlAMshukADhyaH| pAyAnnityaZM yOgaviGnEshvarO naH  || 30 ||
He has four arms. He is red in color. His legs are surrounded with the meditation girdle (yogapatta). He is engrossed in yoga and is strapped in a yoga posture. He looks beautiful and shines like the rising morning sun. He is adorned with a colored robe which is shining like blue sapphire. His hands hold the rosary, the elbow-rest or the walking-stick (a yoga wand), the noose and the sugar-cane stalk.
Golden Color DurgA GaNApati DhyAnaM
(Ganapati, the Invincible)

 taptakAMcanasaMkAsha | shcaShTahastOmahattanuH | dIptAMkushaMsharaMcAkShaM |
daMttaMdakShEvahankaraiH |vAmEpAshaMkArmukaMca | latAM jaMbUMdadhatkaraiH raktAMshukassadAbhUyA ddurgAgaNapatirmudE || 31 ||
His body glows like burnished gold (Golden Color). He has eight hands and massive body. He is  side. He is holding a noose, a bow, a wish bestowing creeper and Rose Apple (Eugenia Jambolana) with the four hands on the left side. He is dressed in red clothes. (According to another version, the Arrow is replaced by a noose)

Red color SaMkaTahara GaNapati DhyAnaM   
(Ganapati, the God who Dispels Troubles)


bAlArkAruNakAMtirvAmEbAlAMvahannaMkE | lasadiMdIvarahastAM | gaurAMgIM ratna-shObhADhyAM |  dakShEMkushavaradAnaM | vAmEpAshaMcapAyasaMpAtraM | nIlAM- nIlAMshukalasamAnaH | pIThE padmAruNE tiShThan | saMkaTaharaNaH pAyAt-saMkaTapUgEdgajAnanO nityaM || 32 ||

He has four arms. He is effulgent like the rising red sun (Red in Color). He has his wife (shakti) - who is carrying a beautiful lotus, glowing with radiance and bejeweled - sitting on his left lap. He is carrying in one of his right hand a hook (Ankusha) and with the other bestowing boon (varada). He is carrying in one of his left hand a rope (noose) and with the other a vessel brimming with sweet soup (Payasam). He is seated on a Red Lotus and wearing a blue robe.

 


PERCEIVE THE DEVATAS (GODS & GODDESSES) AS FORMS OF BRAHMAN
Hindu Gods and Goddesses, more properly called Devatas or Divine principles, are usually treated by modern scholars in a superficial sense as powers of nature or as imaginary spirits of the primitive mind.  Or at a psychological level they have been reduced to expressions of human emotions or sexual energies.
At a yogic level, for those who have an inner vision and real devotion, Hindu Devatas are aspects, forms or manifestations of God or Ishvara, the Cosmic Lord and Creator, representing his powers, qualities or various ways of imagining him. They are the principles of Bhakti Yoga.
Yet at what may be a yet higher level of Self-realization, the Hindu Gods and Goddesses are forms or aspects of Brahman, the impersonal Godhead behind and beyond the manifest universe. They are powers of Jnana Yoga or the Yoga of knowledge.
How can Gods and Goddesses, which are usually formulated as having forms, personalities and stories, be a manifestation of Impersonal Being, Power and Existence? If we look deeply, we see that their forms and personalities are but symbols of something beyond form and personality, reflecting universal verities. That is why their forms and personalities are extraordinary, supernatural and multifaceted, imbued with mystery, magic and deep philosophical implications.
Vedic Devatas--Vedic Devatas appear as forces of nature and light, while the Puranic Devatas are more anthropomorphic in form and appearance. Yet this is but the surface of multidimensional meanings.
The four main Vedic Devatas are Agni, Vayu/Indra, Surya and Soma. As light forms in nature these are fire, wind/lightning, sun and moon. Yet these are further explained as analogues for the formless Brahman.
  • Brahman or the supreme Godhead in the Upanishads is compared to a great fire, of which the worlds and creatures are but the sparks.
  • Brahman is similarly compared to Wind or Vayu, a formless force that when it blows creates and moves everything.
  • Brahman is also like the Sun, the supreme source of light, life and consciousness.
  • Brahman is like the Moon, granting peace, delight and beauty to all things.
One could state that the Vedic Devatas are more forms of Brahman than they are forms of Ishvara or God in the personal sense with their connection to the forces of nature. Yet of these four Vedic Godheads, it is Indra, whose name like Ishvara means ‘the Lord’ that is close to God. However, Indra is also Brahman as the supreme power of consciousness, knowledge and perception. Indra is the Purusha as the seer and the knower as the Aitareya Upanishad proclaims.
Puranic Devatas, Shiva and Kali--The Puranic (later Hindu) Devatas, like the great trinity of Brahma, Vishnu and Shiva, are the three forms of Ishvara, God or Saguna Brahman, Brahman with qualities. The three are the Creator (Brahma), Preserver (Vishnu) and Destroyer (Shiva) or the three aspects of Ishvara relative to the gunas of rajas, Sattva and tamas.
Yet of the three, it is Shiva that is the closest to Brahman. In this regard, Lord Shiva is Nirguna Brahman, beyond all manifestation, Lord Vishnu is Ishvara, God or Saguna Brahman as the ruler of the universe, and Lord Brahma is Mahat Tattva or cosmic mind.
Shiva is the personification of the supreme Brahman and also is impersonal. He is the formless, transcendent, pure consciousness, pure existence, and peace – not at all concerned with anything in the realm of time and space, birth and death. He is beyond good and evil and can embrace all suffering as well as all joy. He is unpredictable and paradoxical, and does not conform to the expectations of his devotees. He works to take us beyond any limitation that we would put upon him or upon ourselves. He demands that we surrender our limited mind and ego to the Absolute.
Similarly, of the three great Goddesses and consorts of the three great Gods, Sarasvati of Brahma, Lakshmi of Vishnu and Kali of Shiva, it is Kali that is the closest to Brahman and a personification of it. Kali is Brahman’s supreme power or unlimited Shakti – the power of pure power of existence, which as the infinite and eternal exists behind space and time. Kali’s often terrible appearance signifies this transcendence that breaks down all the appearances and limitations that we are attached to. Her garland of skulls shows her ruling over and transcending of suffering, time and death.
Kali is also the calming and silencing of the mind (nirodha in the Yoga Sutra sense, nirvana in the sense of Buddhism and the Gita). She is the prana merged into itself, the ending of death in the ending of birth! She is the breath of Brahman that occurs without wind or any external changes.
Shiva and Kali are, as it were, only vaguely defined personalities. They represent the impersonal in its first manifestation or turning towards personality. They exist before and beyond the manner and rules of personal expression. They break down the personality into the infinite. That is why their forms do not conform to any rules, order or stereotyped patterns. They represent the transcendent, which from the standpoint of the manifest or phenomenal world must be paradoxical, beyond all dualities, cataclysmic and transformational.
Vishnu and Lakshmi represent the Divine in its orderly manifestation in the manifest world and its highest Sattva guna. Shiva and Kali relate to pure existence. Shiva and Kali take us back to Brahman and themselves merge and disappear back into it. They are light and energy as the most primal forces, the peace and power of the infinite.
We could say that Shiva is the transcendent impersonal Brahman, Vishnu is the Divine that enters into the human heart, while Brahma is cosmic intelligence. Kali, Lakshmi and Sarasvati are their three powers.
Conclusion
To see the Devatas (Gods and Goddesses) as forms of Brahman is to truly see the Devatas. Each Devata is a doorway on the infinite which is Brahman. Each indicates a path beyond form and personality through reflecting a primal form, power or personality. Each represents a way to understand our own deeper Self or Atman.
The Devata works to take us to Brahman by expanding our personality into the impersonal, our individuality into the cosmic. They do this through their own personality which is a personification of the infinite. The Devatas work on all levels of existence in order to lead us to that Being which is everywhere.
In that Brahman, the Self, the Devata, God, the Guru and the world, all merge into one. The waves fall into the sea. The rays return to that one light. That formless Brahman is present as the Being in everything from a particle of dust to the Sun, Moon and stars. Then we see that each thing becomes a Devata or deity and we understand the Devatas or Divine currents working in the forces of nature, of light, time, space and the yearnings of the human heart.
--David Frawley