How to welcome Lord Ganesha ( significance of Ganapati, ten days Utsav & Visarjan)

Om Ganesaya Namaha:

Since my child hood days I have been ( as most children then and even now are) fascinated by Lord Ganesha and have celebrated the ten days festival with pomp, show and with a sense of togetherness with fellow beings. This also included a ten days of merry making, screening movies, playing and dancing to the tune of the latest film songs, bands, savoring varieties of prasadams, other sweetmeats etc…

I always used to wonder why Ganapati is  like what he is, different from other deities that we see in images, pictures, movies etc. till few years ago when I bumped into a small article and thus began my quest. My search and research on Hindu philosophy, studying and learning Sanskrit mantras, Vedas ( still learning as one life time is not enough to read and understand) made me dive deep into understanding the technical essence of some of the mantras, the rituals and the festivals.

Following is the result of a short study on the Lord of Wisdom, Ganesha or Ganapati Bappa as we call and seek out…. I am sure you will give this a patient reading and  get ready to welcome Ganapati Bappa on August 25^th and worship him for the next ten days with a renewed focus.

zu¬a<brxr< iv:[u< zizv[¡ ctu-Rujmœ, àsÚvdn< Xyayetœ svRiv¹aepzaNtye.

Literal interpretations and sectarianism have greatly meddled with its sensible meaning and useful application.

It is commonly and readily interpreted as alluding to Ganesa, son of Siva, and he is said to possess the head of an elephant.  For this very reason the Vaishnavites have not accepted the sloka as forming part of their Sandhya-Vandanam. They have substituted something else pertaining to Vishnu. ( this refers to the senseless grounds on which Saivites and  Vaishnavites are divided) Let us here look into the literal interpretation of the verse itself. 

Literally it means this. “I meditate, for the removal of all obstructions, upon the divinity who is dressed in white cloth, who is Vishnu, who is white like the moon, who possesses four hands, and who has a smiling face.” Evidently this does not satisfy the Saivites.

iv:[u is therefore interpreted as all pervading, and àsÚvdn< as elephant-faced.  But Ganesa is commonly understood as red in colour.

Ø Why is he particularly invoked to remove obstructions in the very beginning of every ritual in preference to all other divinities?

Ø Does his elephant-face scare away all obstructors?

Ø Has the scholarly interpreter any idea of what this curious divinity signifies?

Ø Does the pseudo pundits’ enlightened admirer feel ashamed when the Western Sanskritists and Indologists (Wendy Doniger and gang…) make fun of this divinity with all their unbecoming and unwelcome ingenuity? 

No one can now deny that the technical significance of this important divinity has become a long forgotten affair if not a lost thing altogether. Through the sheer influence of lucre, the vices of the enlightened pretender of piety now unjustly pass off for the rarest virtues.

Under the present state of utter ignorance it is necessary here to gather all possible information regarding the divinity in question before we make an attempt to  understand its technical significance.

The following is from Ganapath-Upanishad.

(a) g[pTyupin;tœ. Tv< -Uimrapae=nlae=inlae n->,  Tv< cTvair vaKpdain, 

              Tv< mUlaxariSwtae=is inTymœ, Tv< ziKtÇyaTmk>, Tva< yaeignae XyayiNt inTymœ, 

              Aaiv-RUt< c s&ò(adaE àk«te> pué;aTprmœ, @v< Xyayit yae inTy< s yaegI yaeigna< vr>.

 “You represent the 5 subtle elements. You are the 4 vak-padas. You are always seated in the Mooladhara, you are in the form of the 3 Saktis, and you are meditated upon by the Yogis. Next to Prakriti and Purusha, you are the first created.  The Yogi who meditates thus is the greatest among the Yogis.”

Full technical description is clearly furnished here. Ganapati is the lord of the 5 subtle elements and is in the form of Sabda or (vak-pada) which is the highest among the Tanmatras.

The 4 vak-padas are

1  pra,

2  pZyNtI, 

3  mXyma and

4  vEorI,

vEorI refers to ordinary audible sound. mXyma refers to the low tone of it which is heard only to the utterer. pZyNtI refers to the mental state in which one wishes to produce the intended sound. pra refers to the Sakti or life principle without whose help no sound could be produced. Every sound having to arise from the Mooladhara upwards the divinity or the required Sakti is described as always stationed there.

This is an extremely technical subject relating to Mantra-saastra or the ‘Psycho-physiology of Mantric philosophy’. 

“Sabda originates from Sakti, Vak-bhava originates from Sabda, Kalas from Vak-bhava and Vikalas from Kalas. Mantra originates from these and is thus distinguished from ordinary language. This is known as the s&iò³m< or the process of creation described in the religious literature. The above terms are meant to be understood as follows. 

Sakti means desire and Sabda means Gnanam, Vak-bhava means Kriya-sakti. The Kalas represent the 16 vowels and the Vikalas refer to the consonants. #CDaziKt£zBd<£}an<£àitóa£vaG-v<£i³yaziKt£inv&iÄ are synonymous with Sakti.”

The above deserves to be carefully noticed as it deals with the very basis of a religious Mantra. It begins with #CDaziKt which clearly denotes the ardent desire for inv&iÄ or freedom from the bondage of Samsara.

Sakti means Samvit or Gnanam. If that is practically secured, no Mantra and Vydic karmas are needed.

The technical Sabda which constitutes a Mantra is therefore utilized at a lower stage of religious development. The divinity that helps us with the Mantric Sabda is thus said to originate from Sakti itself.

Ganapati who represents the divine basis of the four degrees of the Mantric-Sabda, cTvairvaKpdain is therefore Itihasically described as the son of Siva by Parvathi. 

Siva here represents the divine basis of the whole of human cosmology known as Maheshwara of the Vyakarana Sootrams, and Sivaa or Parvathi represents Gnanam or the highly developed Buddhi of man which realizes that there is nothing but Siva in reality.

 ywa -aten êpe[ izv @veit ya mit>, sa izva prma s<ivÚapra n ih s<zy>. 

She is also everywhere described as representing the religious Vidya which deals with Siva who is referred to in its Artha. Vide halaSymahaTMy< . ( extracts from Halasya Mahathmayam)

AwRraiz-Rvanœ sTy< zBdraizéma Øuvmœ.

Parvati here represents the collective and complete knowledge of the whole of our religious literature. Ganapati denotes only the divinity pertaining to the production of Mantric-sabdas and virtually refers to the philosophic meditation. Without the blessings of Eswara, no sounds could be produced by man. No Mantra should be begun without this meditation. mNÇStErev i-*te, 

As the Itihasas and Puranas are our recognized commentaries for such matters we are sure to obtain clearer and fuller informations from them. (As mentioned in my earlier posts, Puranas and Itihasas are not meaningless mythologies and absurd Indian histories; they are technical commentaries on Vedas.)

For example as per Vamana Purana: Vide  vamnpura[<. 

“The female florist suddenly appeared and reminded Parvati that it was time for bath. As soon as she disappeared, Parvati went to bathe, and made with her dirt a beautiful Gajanana possessing four hands and broad breast. She left the figure on the ground and commenced her usual Japam. The figure manufactured with the sweat of Parvati when associated with Earth and Water rose up roaring with its raised trunk. Knowing it to be the issue of Parvati, Siva took it and gave to Nandi.  After performing the daily religious rituals, Siva went to Parvati, kissed the child on its head in her presence and spoke thus. This is an excellent child born to you without my help. He is therefore named Vinayaka. He will remove all obstructions the Devas and others are labouring under.”

There is not much of intricacy in this Itihasic description. Gajanana born from the sweat of Parvati is named Vinayaka. gjœ itself means to roar or to sound,  and Gajanana directly denotes the basis of the Mantric Sabdas under reference.  As the lord of Sabda, Gajanana entirely belongs to Parvati and hence appropriately named Vinayaka. zBdraizéma Øuvmœ,  Ganapati is known also as  her<b.  he + r<b ;  means attached to Siva. Thus Ganapati verily signifies the divine basis of Mantric Sabdas which refer to the meditation of Siva. There is a valuable technical explanation furnished in the Padma-puranam regarding the Itihasic significance of the maedk< always kept in the trunk of Ganapati. pavRTyuvac. 

 “Parvati addressing Ganapati and Skanda said. This maedk< given by the Devas is prepared by them from Amritam and is designed Maha-budhi. By merely smelling it, one becomes immortal. He becomes also an expert in all the Sastras and Mantras, and becomes a good writer and artist.  As respect for one’s father is more valued than all the acts of Yoga, Tapas, Yegna  etc  I present this divine Modaka to Heremba. For this very reason, Heremba shall be first worshipped while commencing every religious ritual.”

The passage is too plain to be misinterpreted. The maedk<  kept in the trunk of Ganapati signifies Maha-budhi or nothing short of Mahat-Tatwam. This Modakam could be secured only by Heremba or one earnestly attached to Eswara. The meditation of Ganapati as the divine basis for all the religious Mantras is thus undoubtedly the first requisite of every religious ritual. But practically it is not a very easy matter. One has to think of the very root of the Mantric sounds he is going to utter and to meditate upon the divinity that enables him to produce them.  This is a highly intellectual feat. He has to soar high to the seat of Budhi itself. The knocking on the head with both fists at the commencement of every religious ritual is an extremely ingenious suggestion to get at the required philosophic conception by any amount of trouble. 

Vide muiKtkaepin;tœ for instance.

hSt< hSten s<pIf( dNtEdRNtanœ ivcU{yR c, A¼aNy¼E> sma³My jyedadaE Svk< mn>. 

“ Secure control over your Manas first either by squeezing your hands or by biting your teeth or by placing one limb over another forcibly.”

The control of Manas by any feasible means is advocated here as the most important requisite. Similarly the meditation of the basic divinity of the Mantric Sabdas is here insisted upon. Even this serious and practical ritual is now explained away as childish fun. Ignorance has advanced so far as to dispense with it altogether on sectarian grounds sometimes.

We have however now clearly understood that the divine Ganapati does not represent any meaningless ugly figure as commonly explained. Next to complete Gnana, he stands as the basic divinity for all the Vydic karmas ever suggesting the necessity of high philosophic meditation before commencing every religious ceremony.

Let us now return to the Vandana-Slokam itself.

zu¬a<brxr<, A<br< = Aakaz<, The lord of Akasa whose Guna is Sabda. iv:[u<, Vis- to enter. The divinity who helps us by kindly entering in the Mantric Sabdas we utter. zizv[¡, The divinity who is completely Satwic being as pure, white and cool as moonlight. ctu-Ruj<, Possessing four hands. The trunk which keeps the Modakam styled Mahabudhi represents the subtle Akasa and the four hands denote the remaining four subtle elements. àsÚvdn<, Possessing a gracious-looking face.  svRiv¹aepzaNtye, For the purpose of removing all the obstacles to the performance of the ritual. Xyayetœ, I meditate.

That Gana-pati technically represents the basic divinity of the 5 subtle elements has been already noticed. Tv< -Uimrapae=nlae=inlae n->, Ganapati is the Lord of the Gana or group of the five Elements and is therefore the biggest figure imaginable. The same idea is consistently carried through even in the instructions furnished for making His Vigraha. The measurement is 5 Thalams. ( one thalam means the palm of the hand)

Vide suà-edagm<, ;qœtalen tu gNxvaRnœ pÂtalae g[aixp>.

The modern scholarly Pandit and his students ( the western Sanskritists, western Indologists and their coteries ) has no doubt been over-anxious to make out an elephant-faced belly-god out of this Mantra which unfortunately contains nothing that would suit their quixotic interpretations. They have therefore, discovered a non-existent Dictionary. àsÚvdn they assure us as referring to the face of a mad elephant. àsÚaemÄvar[>, Evidently no poets worth the name have yet used the word in that sense. The fact is otherwise. àsÚae duòpi{ft>, gjann has been already noticed as referring to the face or base of Sabda itself, gjœ meaning to sound. A mere elephant figure without any reference to these technical facts would simply be a mere hallucination or madness. Many modern commentators have made a mockery of the invaluable Dharmic truths abounding in our sacred literature.

What is Ganesh Utsav?

An Utsava is defined thus.

sv #TyuCyte s&iòStdu SyaCDBd-ai;tmœ, %ÑUts&iòkarTvatœ %Tsv< kiwtae mya.

It refers undoubtedly to the high-class creation of the sacred Tatwams (philosophical analysis) The days of the festivals being generally limited to ten days, the creation here refers to the purification of the ten Indriyas of man by the necessary religious practices symbolically pointed out during the festivities continuing for ten days. This signifies the necessity of bestowing intellectual exercise to what is going on to be explained symbolically during the ten days of the festival. (most of the Hindu festivals are of ten days duration). 

How do you worship the Vigraha?

Vigraha refers to deep analysis and understanding of the Paramatma (Supreme Being) within us: the trident represents the three Gunas, the four hands signify Satwa, Rejas, Tamas and Ahamkara.  Sanka (conch) represents five subtle elements and is placed in the hand which denotes Rejas.  Chakra ( discus) refers to "Manas" ( mind" which is unaltered like that of a child, the Sarang (bow) represents Satwic Maya, the mace ( gadha) which is always (to battle the  ignorance), the lotus in the hand represents Viswam ( the 24 Tatwams), the two  bright ear rings refers to the eternal regions.  Unless this exact technical significance is understood at the time of performing Pooja or visiting any temple, the "Vigraha" cannot serve its purpose.

There is not the least smack of idolatry in Hinduism.

The various parts of the Vigraha serves as emblems of the highly philosophical features of the single deva for the benefit of inferior intellects to enable them to form a comprehensive view of the Deva.

Entire freedom from the bondage of samsara is the chief and the only object aimed at is prescribed Deva-arohanam.

Asking for worldly pleasures and prosperity does not however, fall within the province of the Aradhanam.

That from which something specifically, significantly should be understood is Vigraha.

The description of a typical Vedic Vigraha moorti

Symbols	Significance
Trident	Represents three Gunas- Satwa, Rejas, tamasic belonging to the Maya of Iswara
Diamond weapon	Unbreakability or the permanence of Iswara
The fire	Gnana which reduces all bondage to ashes and points to light or knowledge
Ten hands ( in some vigrahas)	Omnipresence, the eight quarters above and below making up the wide space imaginable
The Trunk	Which keeps the Modakam styled Mahabudhi which again represents the subtle Akasa
Four hands	Satwa, Rejas, Tamas and Ahamkara
Sanka ( conch)	Five subtle elements and is placed in the hand which denotes Rejas
Chakra ( disc)	Manas which is pure like that of a child
Saranga ( bow)	Satwik Maya.
Lotus in the hand	24 Tatwams
Gada or mace	Denotes the original Vidya which destroys Avidya
Umbrella	Denotes Brahma Loka beyond which is the region of the deity
Crown	Satwik Kootastha which is the Lakshyartha of Twam
The earrings	Eternal region beyond the momentary

Unless the above technical significance is understood as utilised at the time of performing Pooja, the Vigraha could not serve its purpose. The different details of a Vigraha are the technical doorways provided for are insight into the true nature of the Deva.

The Vigrahas are only after all an artistic concretization of the extremely philosophical principles explained in the Gnana-Kanda.

No worship of Iswara is possible without some tangible object however subtle in which he should be stationed for the use of meditation.

Even in the highest mental worship the Manas itself serves as a Vigraha.

When you are asked to bring fire you would generally bring a burning piece of fuel ( a match stick or lamp or even with a lighterJ)but not fire by itself.

What is the symbolic of the ‘Visarjan”?

Visarjanam means to sacrifice, to let go. To sacrifice your lower desires that is caused by the Indriyas is called Visarjanam. Since the Vigraha moorti is an analysis of our own self, it is but natural to let go of all the impediments after the ten days festivities ( ten indriyas) are over.

Let’s welcome Lord Ganesha with the five knocks on your head and focus on letting go of all your lower desires for the ten days finally immersing them in the ocean on the 11^th day.

Ganapati Bappa Morya