User:Kkrystian/Ganesha

Ganeśa (Sanskr.: गणेश; Gaṇeśa; też zapisywane Ganeś również znany jako Ganapati, Winajaka, i Pillaiar) - jest jednym z najlepiej znanych i najczęściej czczonych bóstwa panteonu hinduistycznego.[5] Jego postać można spotkać w całych Indiach.[6] Hinduistyczne odłamy czczą Go niezależnie od innych przynależności. Kult Ganeśy jest silnie rozpowszechniony i występuje na całym świecie, także wśród dźinistów i buddystów.[8]

Mimo iż charakteryzuje go wiele innych atrybutów, słoniowa głowa Ganeśy sprawia, że staje się łatwy do identyfikacji.[9] Ganeśa jest powszechnie czczony jako Usuwacz Przeszkód[10] także jako Pan Początków i Władca Przeszkód (Wighneśa, Wighneśwara),[11] patron nauk i sztuk, i dewa mądrości, intelektu, inteligencji i intuicji.[12] Oddaje Mu się cześć na początku rytuałów i jest inwokowany jako Patron Liter przy pisaniu dłuższych tekstów.[13] Kilka tekstów indyjskich opowiada związane z nim historie oraz wyjaśnia Jego ikonografię.

Ganeśa pojawił się jako osobne bóstwo w jasno rozpoznawalnej postaci w 4 i 5 wieku e.ch. w okresie puranicznym, za czasu dynastii Guptów, wywodzi się jednak ze znacznie bardziej starożytnej tradycji [[wedyjsko-itihasicznej.[14] Jego popularność szybko wzrosła i wkrótce Adi Śankara wprowadził go do sześciu głównych bóśtw smartyjskich (ok. 9 wieku e.ch.). Powstał w tym czasie odłam wyznawców zwanych Ganapatia, (Sanskrit: गाणपत्य; gāṇapatya), którzy uznali Ganeśę za Pana Najwyższego.[15] Główne święte pisma dedykowane Ganeśi to Ganeśapurana, Mudgalapurana, i Ganapatiatharwaśirsa.

Etymologia i inne imiona
Ganeś ma wiele innych tytułów i epitetów, między innymi Ganapati i Wigneśwara. Hinduistyczny tytuł Śri (Sanskrit: श्री; śrī,) jest często dodawany przed Jego imieniem. Popularnym sposobem, którym Ganeśa jest czczony to recytacja Ganeśasahasranamy, tekstu "tysiąca imion Ganeśy". Każde imię w sahasranamie ma inne znaczenie i symbolizuje inny aspekt Ganeśy. Istnieją co najmniej dwie wersje Ganeśasahasranamy, jedna z których pochodzi z Ganeśapurany, hinduistycznego tekstu napisanego ku czci Ganeśy.[17]

Sanskryckie imię Ganeśa jest alamkamą łączącą słow gana (Sanskrit: गण; gaṇa), oznaczającę grupę, kategorię lub system i iśa (Sanskrit: ईश; īśa), oznaczające pana lub władcę.[18] Słowo gaņa kiedy skojarzone z Ganeśa, używa się w odniesieniu do gaņów, oddziały częsciowo boskich istot, tworzących świtę Śiwy (IAST: Śiva).[19] Termin ogólniej odnosi się do klasy, zpólki, zbioru, korporacji.[20] Niektórzy komentarorzy interpretują "Pan Gaņów" jako oznaczającę "Pan Zastępóe" czy "Pan stworzonych kategorii" takich jak żywioły.[21] Ganapati (Sanskrit: गणपति; gaṇapati), synonim Ganeśy, jest alamkarą słow gaṇa, oznaczającego "grupę", i pati, oznaczającego "pana" lub "władcę".[22] Amarakośa,[23] wczesny leksykon sanskrycki, wymienia osiem synonimów imienia Ganeśa :
 * 1) Winajaka,
 * 2) Wighnarādża (synonim Wigneśy),
 * 3) Dwaimātura (posiadający dwie matki),[24]
 * 4) Gaṇādhipa (równoznaczny z Ganapatim i Ganeśą),
 * 5) Ekadanta (jednoklasty),
 * 6) Heramba,
 * 7) Lambodara (z dużym, wiszącym brzuchem), i
 * 8) Gadżanana (IAST: gadżānana) ; o t).[25]

Winajaka (Sanskrit: विनायक; ) jest popularnym imieniem Ganeśy, pojawiającym się w Puranach i tantrach buddyjskich. To imię ma odbicie w nazwie ośmiu słynnych świątyń Ganeśy w Maharasztrze znanych jako Aśtawinajaka. Imię Wigneśa (Sanskrit: विघ्नेश; ) and Vigneshvara (Sanskrit: विघ्नेश्वर; ) (Lord of Obstacles) odnosi się do głównej funkcji Ganeśy w hinduizmie jako Usuwacza Przeszkód ().

Istotnym imieniem Ganeśy w języku tamilskim jest Pille czy też Pillaijar (Małe Dziecko). A. K. Narain rozróżnia te terminy twierdząc, że pille oznacza "dziecko" a pillaijar oznacza "szlachetno dziecko". Dodaje, że słowa pallu, pella, i pell w drawidyjskiej rodzinie języków odnoszą się do "zębu lub kła słonia", ale ogólniej do "słonia". Anita Raina Thapan zaznacza, że rdzeniowe słowo pille w imieniu Pillaiyar mogło się pierwotnie odnosić do "dzieci słonia", gdyż palijskie słowo pillaka oznacza "słoniątko".

Ikonografia


Ganeśa jest popularną postacią w sztuce indyjskiej. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. Może być przedstawiony w pozycji stojącej, tańczącej, heroicznie zwalczający demony, bawiący się z rodziną, siedzący lub biorący udział we współczesnych sytuacjach.

Już od szóstego wieku e.ch. wizerunki Ganeśy były popularne w różnych częściach Indii. Posąga na prawo jest typowy dla okresu 900–1200, po tym jak Ganeśa stał się dobrze zakorzenionym w tradycji bóstwem ze swoim własnym nurtem. Ten przykład zawiera najbardziej typowe elementy ikonograficzne Ganeśy. Wiek praktycznie identycznej statuy został oszacowany na lata 973–1200 przez Paul'a Martin-Dubost'a, i innego podobnego posągu na dwunasty wiek przez Pratapadityę Pal. Ganeśa ma głowę słonia i duży brzuch. Ta statua ma cztery ramiona, co jest typową cechę przedstawień Ganeśy. Trzyma swój własny złamany kieł w swojej niższej lewej ręce razem z delikatesem, który dotyka trąbą. Motyw Ganeśi skręcającego swoją trąbę na lewo, aby posmakować cukierek w swej niższej lewej ręcej jest cechą szczególnie archaiczną. Wiek mniej zaawansowana artystycznie statua znajdującej się w jaskiniach w Ellora, przedstawiającej Jego oryginalną formę, został wyceniony na siódmy wiek. Szczegóły pozostałych rąk są trudne do dostrzeżenia. W standardowej konfiguracji, Ganeśa typically z reguły trzym siekierę (lub narzędzie, służące do poskramiania słoni) w jednej wyższej ręce i pętlę w drugiej wyższej ręce.

Wpływ tego starego układu reprezentacji ikonograficznych można nadal dostrzec we współczesnych przedstawieniach Ganeśi. W jednej współczesnej formie, jedyna odmiana tych starych elementów jest taka, że niższa prawa ręka nie trzyma złamanego kła, lecz jest raczej zwrócona w kierunku oglądającego w geście ochrony (abhaja mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

Powszechne atrybuty
Ganeśę przedstawia się z głową słonia od czasu Jego wczesnych pojawień w sztuce indyjskiej. Puranic myths provide many explanations for how he got his elephant head. Jedna z jego popularnych forma, Heramba-Ganapati, ma pięć głów słoniowych, i inne mniej powszechne odmiany w liczbie głów są spotykane. Niektóre teksty mówią, że Ganeśa urodziłsię z głową słonia, inne zaś, że nabył ją później. Najbardziej wędrowny motyw w tych historiach jest taki, że Ganeśa urodził się z głową człowieka i że Śiwa odciął mu głowę kiedy wszedł między Śiwę, a Parwati. Śiwa wtedy zastąpił oryginalną głowę Ganeśy głową słoniową. Szczegóły walki i źródła głowy zastępczej pochodzą z różnych źródeł. Według innej historii, kiedy Ganeśa się urodził Parwati pokazała swojeg dziecko innym Bóśtwa. Niestety Bóg Śani (Saturn), patrząc na Niego spowodował, że głowa Ganeśi spłonęła na popiół. Wisznu przybył na ratunek i zastąpił brakującą głowę, głową słoniową. Według innej historii Ganeśa został stworzony bezpośrednio śmiechem Śiwy.

Najwcześniejszym imieniem Ganeśi jest Ekadanta (Jeden Kieł), odnoszący się do Jego jednego całego kła, gdyż drugi został odłamany. Some of the earliest images of Ganesha show him holding his broken tusk. Istotność tej istotnej cechy jest odzwierciedlona w Mudgala Puranie, która stwierdza, że Ekadanta to imię drugiej Awatary Ganeśy. Wystający brzuch Ganeśy pojawia się jako cecha rozpoznawcza we wcześniejszych posągach Ganeśy, pochodzących z okresu guptyjskiego (wiek czarty do szóstego). Ta cecha jest tak istotna, że według Mudgala Purany, dwie inne inkarnacje Ganeśy używają podobnych imion: Lambodara (Zwisający Belly) i Mahodara (Wielki Belly). Obydwa imiona to sanskryckei alamkary określające Jego brzuch (Sanskrit: ). Według Brahmanda Purany imię Ganeśy brzmi Lambodara, ponieważ wszystkie wszechświaty (i.e., cosmic eggs; IAST: ) przesłości, teraźniejszości i przyszłości się w Nim znajdują. 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 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 (IAST: ) wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead there may be a third eye or the Shaivite sectarian mark (Sanskrit: tilaka), which consists of three horizontal lines. Ganeśa-purana zaleca znak ganapatyjskiej tilaki oraz półksiężyca na czole. A distinct form of Ganesha called Bhalachandra (IAST: ; "Moon on the Forehead") includes that iconographic element. Specific colors are associated with certain forms. Wiele przykładów przypisywania poszczególnych kolorów formom Ganeśy, służacym do medytacji, znajduje się w dziele Sritattwanidhi, traktacie na temat ikonografii hinduistycznej. Na przykład kolor biały jest skojarzony z Jego reprezentacjami jako Heramba-Ganapati i Rina-Moczana-Ganapati (Ganapati Który Uwalnia z Więzów). Ekadanta-Ganapati wizualizuje się podczas medytacji w kolorze niebiskim.

Wahany
Najwcześniejsze przedstawienia Ganeśy są pozbawione wahany (wierzchowca, zwierzęcią na którym jedzie). Pośród ośmiu inkarnacji Ganeśy, opisanych w Mudgalapuranie: Spośród czterech inkarnacji Ganeśy wymienionych w Ganeśapurana:
 * pięć z nich to myszy,
 * lew w jego inkarnacji jako Wakratunda,
 * paw w jego inkarnacji jako Wikata,
 * boski wąż Śesza,, w jego inkarnacji jako Wighnaradża.
 * Mohotkata ma lwa
 * Majureśwara ma pawia,
 * Dhumraketu ma konia, i *Gadżanana ma szczura. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.



Ganeśę częśto się przedstawia jeżdżącego na myszy lub szczurze (lub w ich towarzystwie). Badacz Martin-Dubost stwierdza, że szczur zaczął się pojawiać jako główny pojazd Ganeśy w Indiach centralnych i zachodnich około siódmego wieku; szczur był zawsze stawiany koło Jego stóp. Mysz jako wahana po raz pierwszy się pojawia w Matsja-Puranie później w Brahmananda Puranie i Ganeśa Puranie, gdzie Ganeśa używa tego pojazdu tylko w Swojej ostatniej inkarnacji. W Ganapati Atharvaśirszy znajduje się werset medytacyjny na temat Ganeśy, opisujący mysz na Jego fladze. The names ' (mouse-mount) and ' (rat-banner) appear in the Ganesha Sahasranama.

Mysz interpretuje się na kilka sposobów. Według badacza Grimes'a, większość osób interpretujących mysz negatywnie jako thamas lub pragnienie. Zgodnie z tym, Michael Wilcockson stwierdza, że symbolizuje to tych, którzy pragną pokonać pragnienia i stać się mniej samolubnymi. Krishan stwierdza, że szczur jest destrukcyjny i zagraża plonom. Sanskryckie słowo ' (mysz) wywodzi się od rdzenia ' (kraść, rabować). Istotnym było ujarzmienie szczyra jako destruktywnego szkodnika, odmianę wighny (wady), którą trzeba było pokonać. Według tej teorii, przedstawianie Ganeśy jako Pana Szczura przedstawia Jego funkcję jako Wigneśwara (Pan Przeszkód) i ujawnia Jego możliwą rolę jako Bóstwo wiejskie (grāmata-devatā), które później stało się znacznie bardziej istotne. Martin-Dubost zaznacza pogląd stwierdzający, że Ganeśa tak jak szcur, przenika nawet najbardziej tajemne miejsca.

Obstacles
Ganesha is Vighneshvara or Vighnaraja, 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, to this shift in emphasis from ' (obstacle-creator) to ' (obstacle-averter). However, both functions continue to be vital to his character, as Robert Brown explains, "even after the is well-defined, in art  remained predominantly important for his dual role as creator and remover of obstacles, thus having both a negative and a positive aspect".

Buddhi
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 (ॐ, also called Om). The term  (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 [ Vayu ]. You are the sun [ Surya ] 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. 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 []." 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 disagree about his birth. He may have been created by Shiva, or by Parvati, or by Shiva and Parvati, or appeared mysteriously and was discovered by Shiva and Parvati.

The family includes his brother Skanda, who is also called Karttikeya, 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. 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 brahmacārin. 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: ). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or (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 two sons: (prosperity) and  (profit). In northern Indian variants of this story, the sons are often said to be (auspiciouness) and. 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.

Worship 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  Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Ganapataye Namah (Om,, 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 . Because of his identification with the color red, he is often worshipped with red sandalwood paste or red flowers. grass (Cynodon dactylon) and other materials are also used in his worship.

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

Ganesh Chaturthi
An annual festival honours Ganesha for ten days, starting on Ganesh Chaturthi, which typically falls in late August or early September. The festival culminates on the day of Ananta Chaturdashi, when images (murtis) of Ganesha are immersed in the most convenient body of water. 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 and in the surrounding belt of Ashtavinayaka temples.

Temples
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity ('); as a deity related to the principal deity ('); or as the principal deity of the temple, 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 (Sanskrit: अष्टविनायक; ; 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; together they "form a mandala, demarking the sacred cosmos of Ganesha".

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: the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in TamilNadu; Hampi, Kasargod, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

T. A. Gopinatha notes, “Every village however small has its own image of  (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below ' trees […], in a niche […] in temples of ' (Vishnu) as well as ' (Shiva) and also in separate shrines specially constructed in ' temples […]; the figure of  is invariably seen.” Ganesha temples have also been built outside of India, including southeast Asia, Nepal, and in several western countries.

First appearance
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:

[W]hat 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 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 this search for a historical origin for Gaņeśa, some have suggested precise locations outside the tradition.... These historical locations are intriguing to be sure, but the fact remains that they are all speculations, variations on the Dravidian hypothesis, which argues that anything not attested to in the Vedic and Indo-European sources must have come into  religion from the Dravidian or aboriginal populations of India as part of the process that produced Hinduism out of the interactions of the Aryan and non-Aryan populations. There is no independent evidence for an elephant cult or a totem; nor is there any archaeological data pointing to a tradition prior to what we can already see in place in the literature and the iconography of.

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 AD the elephant-headed  form exists it cannot be presumed to represent . There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage.  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. In Hindu mythology, the 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 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.

Vedic and epic literature
The title "Leader of the group" (Sanskrit: ) 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 —who is the deity of the hymn—and only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet , 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, '  (2.9.1) and ' (10.1), appeal to a deity as "the tusked one", "elephant-faced" (Hastimukha), and "with a curved trunk". These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk 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  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 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 '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 ' is found in some recensions of the ' and  that are regarded as interpolations. A reference to  ("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 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 Smārta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. 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 Brahmin 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 many 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. The period from approximately the 10th century onwards was marked by the development of new networks of exchange, 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 the Malay Archipelago and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the Malay Archipelago in great numbers, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The gradual 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. Even 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. A few 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, 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, he is often shown dancing. This form, called 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 very 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 Mahakala, a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, 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, 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.