:Ganesha

Ganesha has been ascribed many other titles and epithets, including Ganapati (Ganpati), Vighneshvara, and Pillaiyar. The Hindu title of respect Shri ({{langx|sa|श्री}}; IAST: {{IAST|śrī}}; also spelled Sri or Shree) is often added before his name.{{Cite web|date=4 April 2019|title=Lord Ganesha – Symbolic description of Lord Ganesha {{!}} – Times of India|url=https://timesofindia.indiatimes.com/astrology/rituals-puja/symbolic-description-of-lord-ganesha/articleshow/68207007.cms|url-status=live|archive-url=https://web.archive.org/web/20201115155341/https://timesofindia.indiatimes.com/astrology/rituals-puja/symbolic-description-of-lord-ganesha/articleshow/68207007.cms|archive-date=15 November 2020|access-date=4 November 2020|website=The Times of India|language=en}}

The name Ganesha is a Sanskrit compound, joining the words gana ({{IAST|gaṇa}}), meaning a 'group, multitude, or categorical system' and isha ({{IAST|īśa}}), meaning 'lord or master'.* Narain, A. K. "{{IAST|Gaṇeśa}}: A Protohistory of the Idea and the Icon". {{Harvard citation no brackets|Brown|1991|pp=21–22}}.

• {{Harvard citation no brackets|Apte|1965|p=395}}. The word gaṇa when associated with Ganesha is often taken to refer to the gaṇas, a troop of semi-divine beings that form part of the retinue of Shiva, Ganesha's father.For the derivation of the name and relationship with the {{IAST|gaṇas}}, see: {{Harvard citation no brackets|Martin-Dubost|1965|p=2}} The term more generally means a category, class, community, association, or corporation.{{Sfn|Apte|1965|p= 395}} Some commentators interpret the name "Lord of the {{IAST|Gaṇas}}" to mean "Lord of Hosts" or "Lord of created categories", such as the elements.The word gaṇa is interpreted in this metaphysical sense by Bhāskararāya in his commentary on the {{IAST|gaṇeśasahasranāma}}. See in particular commentary on verse 6 including names {{IAST|Gaṇeśvaraḥ}} and {{IAST|Gaṇakrīḍaḥ}} in: {{Harvnb|Śāstri Khiste|1991|pp=7–8}}. Ganapati ({{lang|sa|गणपति}}; {{IAST|gaṇapati}}), a synonym for Ganesha, is a compound composed of {{IAST|gaṇa}}, meaning "group", and {{IAST|pati}}, meaning "ruler" or "lord".{{Sfn|Apte|1965|p= 395}} Though the earliest mention of the word Ganapati is found in hymn 2.23.1 of the 2nd-millennium BCE Rigveda, it is uncertain that the Vedic term referred specifically to Ganesha.{{Sfn|Grimes|1995|pp=17–19, 201}}[https://sa.wikisource.org/wiki/ऋग्वेद:_सूक्तं_२.२३ Rigveda Mandala 2] {{webarchive|url=https://web.archive.org/web/20170202001602/https://sa.wikisource.org/wiki/%E0%A4%8B%E0%A4%97%E0%A5%8D%E0%A4%B5%E0%A5%87%E0%A4%A6:_%E0%A4%B8%E0%A5%82%E0%A4%95%E0%A5%8D%E0%A4%A4%E0%A4%82_%E0%A5%A8.%E0%A5%A8%E0%A5%A9|date=2 February 2017}}, Hymn 2.23.1, Wikisource, Quote: गणानां त्वा गणपतिं हवामहे कविं कवीनामुपमश्रवस्तमम् । ज्येष्ठराजं ब्रह्मणां ब्रह्मणस्पत आ नः शृण्वन्नूतिभिः सीद सादनम् ॥१॥; For translation, see {{Harvard citation no brackets|Grimes|1995|pp=17–19}} The Amarakosha,
• {{Harvnb|Oka|1913|p=8}} for source text of {{IAST|Amarakośa}} 1.38 as {{IAST|vināyako vighnarājadvaimāturagaṇādhipāḥ – apyekadantaherambalambodaragajānanāḥ}}.
• {{Harvnb|Śāstri|1978}} for text of {{IAST|Amarakośa}} versified as 1.1.38. an early Sanskrit lexicon, lists eight synonyms of Ganesha: Vinayaka, {{IAST|Vighnarāja}} (equivalent to Vighnesha), {{IAST|Dvaimātura}} (one who has two mothers),Y. Krishan, {{IAST|Gaṇeśa}}: Unravelling an Enigma, 1999, p. 6): "Pārvati who created an image of {{IAST|Gaṇeśa}} out of her bodily impurities but which became endowed with life after immersion in the sacred waters of the Gangā. Therefore he is said to have two mothers—Pārvati and Gangā and hence called dvaimātura and also Gāngeya." {{IAST|Gaṇādhipa}} (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana ({{IAST|gajānana}}), having the face of an elephant.{{Harvard citation no brackets|Krishan|1999|p=6}}

Vinayaka ({{lang|sa|विनायक}}; {{IAST|vināyaka}}) or Binayaka is a common name for Ganesha that appears in the {{IAST|Purāṇa}}s and in Buddhist Tantras.{{Harvard citation no brackets|Thapan|1997|p=20}} This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak ({{langx|mr|अष्टविनायक}}, {{IAST|aṣṭavināyaka}}).For the history of the {{IAST|aṣṭavināyaka}} sites and a description of pilgrimage practices related to them, see: {{Harvard citation no brackets|Mate|1962|pp=1–25}} The names Vighnesha ({{lang|sa|विघ्नेश}}; {{IAST|vighneśa}}) and Vighneshvara ({{lang|sa|विघ्नेश्वर}}; {{IAST|vighneśvara}}) (Lord of Obstacles)These ideas are so common that Courtright uses them in the title of his book, Ganesha: Lord of Obstacles, Lord of Beginnings. For the name Vighnesha, see: {{Harvnb|Courtright|1985|pp= 156, 213}} refers to his primary function in Hinduism as the master and remover of obstacles ({{IAST|vighna}}).For Krishan's views on Ganesha's dual nature see his quote: "{{IAST|Gaṇeśa}} has a dual nature; as Vināyaka, as a {{IAST|grāmadevatā}}, he is {{IAST|vighnakartā}}, and as {{IAST|Gaṇeśa}} he is {{IAST|vighnahartā}}, a {{IAST|paurāṇic devatā}}." ({{Harvard citation no brackets|Krishan|1999|p=viii}})

A prominent name for Ganesha in the Tamil language is Pillai ({{langx|ta|பிள்ளை}}) or Pillaiyar ({{lang|ta|பிள்ளையார்}}).{{Harvard citation no brackets|Martin-Dubost|1965|p=367}}. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk".Narain, A. K. "{{IAST|Gaṇeśa}}: The Idea and the Icon".{{Harvard citation no brackets|Brown|1991|p=25}} Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".{{Harvard citation no brackets|Thapan|1997|p=62}}

In the Burmese language, Ganesha is known as Maha Peinne ({{lang|my|မဟာပိန္နဲ}}, {{IPA|my|məhà pèiɰ̃né|pron}}), derived from Pali {{IAST|Mahā Wināyaka}} ({{lang|my|မဟာဝိနာယက}}).{{Citation |title=Myanmar-English Dictionary |year=1993 |publisher=Dunwoody Press |location=Yangon |isbn=978-1881265474 |url=http://sealang.net/burmese/dictionary.htm |access-date=20 September 2010 |url-status=live |archive-url=https://web.archive.org/web/20100210001846/http://www.sealang.net/burmese/dictionary.htm |archive-date=10 February 2010 }} The widespread name of Ganesha in Thailand is Khanet (can be transliterated as Ganet), or the more official title of Phra Phi Khanet.{{cite book|author=Justin Thomas McDaniel|title=The Lovelorn Ghost and the Magical Monk: Practicing Buddhism in Modern Thailand|url=https://books.google.com/books?id=tMWrAgAAQBAJ |year=2013 | publisher=Columbia University Press |isbn=978-0231153775|pages=156–157}} The earliest images and mention lists Ganesha as a major deity in present-day Indonesia,{{citation|jstor=3351212|title=A Note on the Recently Discovered Gaṇeśa Image from Palembang, Sumatra|journal=Indonesia|volume=43|issue=43|pages=95–100|last1=Brown|first1=Robert L.|year=1987|doi=10.2307/3351212|hdl=1813/53865|hdl-access=free}} Thailand, Cambodia and Vietnam dating to the 7th and 8th centuries,{{Sfn|Brown|1991|pp=176, 182, Note: some scholars suggest adoption of Ganesha by the late 6th century CE, see p. 192 footnote 7}} and these mirror Indian examples of the 5th century or earlier.{{Sfn|Brown|1991|p=190}} In Sri Lankan, among Sinhalese Buddhists, he is known as Gana deviyo, and revered along with Buddha, Vishnu, Skanda and other deities.{{cite book|author=John Clifford Holt |title=Buddha in the Crown : Avalokitesvara in the Buddhist Traditions of Sri Lanka: Avalokitesvara in the Buddhist Traditions of Sri Lanka |url=https://books.google.com/books?id=aT3AMR8g1gEC|year=1991|publisher=Oxford University Press |isbn=978-0195362466|pages=6, 100, 180–181}}

File:India ganesha.jpg-style, Karnataka]]

Ganesha is a popular figure in Indian art.{{Harvard citation no brackets|Metcalf|Metcalf|p=vii}} Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time.* {{Harvard citation no brackets|Martin-Dubost|1965}}, for a comprehensive review of iconography abundantly illustrated with pictures.

• Chapter X, "Development of the Iconography of {{IAST|Gaṇeśa}}", in: {{Harvnb|Krishan|1999|pp=87–100}}, for a survey of iconography with emphasis on developmental themes, well-illustrated with plates.
• {{Harvard citation no brackets|Pal|1995}}, for a richly illustrated collection of studies on specific aspects of Ganesha with a focus on art and iconography. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down on an elevated seat, or engaging in a range of contemporary situations.

Ganesha images were prevalent in many parts of India by the 6th century.{{Harvard citation no brackets|Brown|1991|p=175}} The 13th century statue pictured is typical of Ganesha statuary from 900 to 1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973 and 1200 by Paul Martin-Dubost,{{Harvard citation no brackets|Martin-Dubost|1997}}, p. 213. In the upper right corner, the statue is dated as (973–1200). and another similar statue is dated 12th century by Pratapaditya Pal.Pal, p. vi. The picture on this page depicts a stone statue in the Los Angeles County Museum of Art that is dated as c. 12th century. Pal shows an example of this form dated c. 13th century on p. viii. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature.{{Harvard citation no brackets|Brown|1991|p=176}} A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century.See photograph 2, "Large Ganesh", in: {{Harvard citation no brackets|Pal|1995|p=16}} Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm. In rare instances, he may be depicted with a human head.{{refn|group=note|For the human-headed form of Ganesha in:

• Adi Vinayaka temple near Koothanur, Tamil Nadu.{{cite web|url=http://agasthiar.org/a/adinmv.htm|title=Adi Vinayaka - The Primordial Form of Ganesh.|website=agasthiar.org|access-date=28 December 2017}}
• Cambodia, see {{Harvard citation no brackets|Brown|1991|p=10}}
• Nandrudayan Vinayaka Temple.{{cite news|date=10 October 2003|title=Vinayaka in unique form|work=The Hindu|url=http://www.thehindu.com/fr/2003/10/10/stories/2003101001411200.htm|archive-url=https://archive.today/20150501000652/http://www.thehindu.com/fr/2003/10/10/stories/2003101001411200.htm|url-status=dead|archive-date=1 May 2015|access-date=30 April 2015}}
• Uthrapathiswaraswamy Temple.Catlin, Amy; "Vātāpi Gaṇapatim": Sculptural, Poetic, and Musical Texts in the Hymn to Gaṇeśa" in {{Harvard citation no brackets|Brown|1991|pp=146, 150}}}}

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (Abhaya mudra).In:

• {{Harvard citation no brackets|Martin-Dubost|1965|pp=197–198}}
• photograph 9, "Ganesh images being taken for immersion", in: {{Harvard citation no brackets|Pal|1995|pp=22–23}}. For an example of a large image of this type being carried in a festival procession.
• {{Harvard citation no brackets|Pal|1995|p=25}}, For two similar statues about to be immersed. The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.In:
• {{Harvard citation no brackets|Pal|1995|pp=41–64}}. For many examples of Ganesha dancing.
• {{Harvard citation no brackets|Brown|1991|p=183}} For the popularity of the dancing form.

{{for|thirty-two popular iconographic forms of Ganesha|Thirty-two forms of Ganesha}}

File:Ganesha Nurpur miniature circa 1810 Dubost p64.jpg school (circa 1810)Four-armed {{IAST|Gaṇeśa}}. Miniature of Nurpur school, circa 1810. Museum of Chandigarh. For this image see: Martin-Dubost (1997), p. 64, which describes it as follows: "On a terrace leaning against a thick white bolster, {{IAST|Gaṇeśa}} is seated on a bed of pink lotus petals arranged on a low seat to the back of which is fixed a parasol. The elephant-faced god, with his body entirely red, is dressed in a yellow dhoti and a yellow scarf fringed with blue. Two white mice decorated with a pretty golden necklace salute {{IAST|Gaṇeśa}} by joining their tiny feet together. {{IAST|Gaṇeśa}} counts on his rosary in his lower right hand; his two upper hands brandish an axe and an elephant goad; his fourth hand holds the broken left tusk."]]

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art.{{Harvard citation no brackets|Nagar|1992|p=77}} Puranic myths provide many explanations for how he got his elephant head.{{Harvard citation no brackets|Brown|1991|p=3}} One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known.{{Harvard citation no brackets|Nagar|1992|p=78}} While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories.{{Harvard citation no brackets|Brown|1991|p=76}} The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant.{{Harvard citation no brackets|Brown|1991|p=77}} Details of the battle and where the replacement head came from vary from source to source.{{Harvard citation no brackets|Brown|1991|pp=77–78}} Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.For creation of Ganesha from Shiva's laughter and subsequent curse by Shiva, see Varaha Purana 23.17 as cited in {{Harvard citation no brackets|Brown|1991|p=77}}.

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken.{{Sfn|Getty|1936|p= 1}} Some of the earliest images of Ganesha show him holding his broken tusk.{{Harvard citation no brackets|Heras|1972|p=29}} The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta.Granoff, Phyllis. "{{IAST|Gaṇeśa}} as Metaphor". {{Harvard citation no brackets|Brown|1991|pp=92–94}} Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries)."Ganesha in Indian Plastic Art" and Passim. {{Harvard citation no brackets|Nagar|1992|p=78}} This feature is so important that according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly).Granoff, Phyllis. "{{IAST|Gaṇeśa}} as Metaphor". {{Harvard citation no brackets|Brown|1991|p=76}} Both names are Sanskrit compounds describing his belly (IAST: {{IAST|udara}}).For translation of Udara as "belly" see: {{Harvard citation no brackets|Apte|1965|p=268}} The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs; IAST: {{IAST|brahmāṇḍas}}) of the past, present, and future are present in him.

• Br. P. 2.3.42.34
• {{Harvard citation no brackets|Thapan|1997|p=200}}, For a description of how a variant of this story is used in the Mudgala Purana 2.56.38–9

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The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms.For an iconographic chart showing number of arms and attributes classified by source and named form, see: {{Harvard citation no brackets|Nagar|1992|pp=191–195}} Appendix I. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts.For history and prevalence of forms with various arms and the four-armed form as one of the standard types see: {{Harvnb|Krishan|1999|p=89}}. His earliest images had two arms.

• {{Harvnb|Krishan|1999|p=89}}, For two-armed forms as an earlier development than four-armed forms.
• {{Harvard citation no brackets|Brown|1991|p=103}} Maruti Nandan Tiwari and Kamal Giri say in "Images of {{IAST|Gaṇeśa}} In Jainism" that the presence of only two arms on a Ganesha image points to an early date. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries.{{Harvard citation no brackets|Martin-Dubost|1965|p=120}}. The serpent is a common feature in Ganesha iconography and appears in many forms.
• {{Harvard citation no brackets|Martin-Dubost|1965|p=202}}, For an overview of snake images in Ganesha iconography.
• {{Harvnb|Krishan|1999|pp=50–53}}, For an overview of snake images in Ganesha iconography. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck.Ganesha Purana
• {{Harvard citation no brackets|Martin-Dubost|1965|p=202}}. For the Ganesha Purana references for {{IAST|Vāsuki}} around the neck and use of a serpent-throne.
• {{Harvnb|Krishan|1999|pp=51–52}}. For the story of wrapping {{IAST|Vāsuki}} around the neck and {{IAST|Śeṣa}} around the belly and for the name in his sahasranama as {{IAST|Sarpagraiveyakāṅgādaḥ}} ("Who has a serpent around his neck"), which refers to this standard iconographic element. Other depictions of snakes include use as a sacred thread (IAST: {{IAST|yajñyopavīta}})* {{Harvard citation no brackets|Martin-Dubost|1965|p=202}}. For the text of a stone inscription dated 1470 identifying Ganesha's sacred thread as the serpent {{IAST|Śeṣa}}.
• {{Harvard citation no brackets|Nagar|1992|p=92}}. For the snake as a common type of {{IAST|yajñyopavīta}} for Ganesha. wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the sectarian mark (IAST: {{IAST|tilaka}}), which consists of three horizontal lines.* {{Harvard citation no brackets|Nagar|1992|p=81}}. tilaka with three horizontal lines.
• the {{IAST|dhyānam}} in: Sharma (1993 edition of Ganesha Purana) I.46.1. For Ganesa visualized as {{IAST|trinetraṁ}} (having three eyes). The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead.* {{Harvard citation no brackets|Nagar|1992|p=81}}. For a citation to Ganesha Purana I.14.21–25 and For a citation to Padma Purana as prescribing the crescent for decoration of the forehead of Ganesha
• {{Harvard citation no brackets|Bailey|1995|pp=198–199}}. For the translation of Ganesha Purana I.14, which includes a meditation form with the moon on forehead. A distinct form of Ganesha called Bhalachandra (IAST: {{IAST|bhālacandra}}; "Moon on the Forehead") includes that iconographic element.
• {{Harvard citation no brackets|Nagar|1992|p=81}} For Bhālacandra as a distinct form worshipped.
• Sharma (1993 edition of Ganesha Purana) I.46.15. For the name Bhālacandra appearing in the Ganesha Sahasranama

Ganesha is often described as red in colour.{{Cite book|last=Civarāman̲|first=Akilā|url=https://books.google.com/books?id=pyb8oAEACAAJ|title=Sri Ganesha Purana|date=2014|publisher=Giri Trading Agency|isbn=978-81-7950-629-5|language=en}} Specific colours are associated with certain forms.{{Cite book|last=Martin-Dubost|first=Paul|url=https://books.google.com/books?id=H5DjAAAAMAAJ|title=Gaṇeśa, the Enchanter of the Three Worlds|date=1997|publisher=Franco-Indian Research|isbn=978-81-900184-3-2|pages=412–416|language=en}} Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage).{{Harvard citation no brackets|Martin-Dubost|1997|pp=224–228}} Ekadanta-Ganapati is visualised as blue during meditation in that form.{{Harvard citation no brackets|Martin-Dubost|1997|p=228}}

File:Thajavur Ganesha.jpg mūṣaka the rat, c. 1820]]

The earliest Ganesha images are without a vahana (mount/vehicle).{{Harvard citation no brackets|Krishan|1999|pp=47–48, 78}} Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja.{{Harvard citation no brackets|Krishan|1981–1982|p=49}} Mohotkata uses a lion, {{IAST|Mayūreśvara}} uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

• {{Harvard citation no brackets|Krishan|1999|pp=48–49}}
• {{Harvard citation no brackets|Bailey|1995|p=348}}. For the Ganesha Purana story of {{IAST|Mayūreśvara}} with the peacock mount (GP I.84.2–3)
• Maruti Nandan Tiwari and Kamal Giri, "Images of {{IAST|Gaṇeśa}} In Jainism", in: {{Harvard citation no brackets|Brown|1991|pp=101–102}}.

Ganesha is often shown riding on or attended by a mouse.* {{Harvard citation no brackets|Nagar|1992}}. Preface.

• {{Harvard citation no brackets|Martin-Dubost|1965|pp=231–244}}. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet.See note on figure 43 in: {{Harvard citation no brackets|Martin-Dubost|1997|p=144}}. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation.Citations to Matsya Purana 260.54, Brahmananda Purana Lalitamahatmya XXVII, and Ganesha Purana 2.134–136 are provided by: {{Harvard citation no brackets|Martin-Dubost|1997|p=231}}. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag.{{Harvard citation no brackets|Martin-Dubost|1997|p=232}}. The names {{IAST|Mūṣakavāhana}} (mouse-mount) and {{IAST|Ākhuketana}} (rat-banner) appear in the Ganesha Sahasranama.For {{IAST|Mūṣakavāhana}} see v. 6. For Ākhuketana see v. 67. In: {{IAST|Gaṇeśasahasranāmastotram: mūla evaṁ srībhāskararāyakṛta 'khadyota' vārtika sahita}}. ({{IAST|Prācya Prakāśana: Vārāṇasī}}, 1991). Source text with a commentary by {{IAST|Bhāskararāya}} in Sanskrit.

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret {{IAST|Gaṇapati}}'s mouse, do so negatively; it symbolizes Tamas (philosophy) as well as desire".For a review of different interpretations, and quotation, see: {{Harvard citation no brackets|Grimes|1995|p=86}}. Along these lines, Michael Wilcockson says it symbolises those who wish to overcome desires and be less selfish.A Student's Guide to AS Religious Studies for the OCR Specification, by Michael Wilcockson, p. 117 Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word {{IAST|mūṣaka}} (mouse) is derived from the root {{IAST|mūṣ}} (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence.{{Harvard citation no brackets|Krishan|1999|pp=49–50}} Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.* {{Harvard citation no brackets|Martin-Dubost|1965|p=231}}

• Rocher, Ludo. "{{IAST|Gaṇeśa}}'s Rise to Prominence in Sanskrit Literature", in: {{Harvard citation no brackets|Brown|1991|p=73}}. For mention of the interpretation that "the rat is 'the animal that finds its way to every place,'"

{{CSS image crop|Image=Dagdusheth Ganpati 02.JPG|bSize=400|cWidth=213|cHeight=250|oTop=40|oLeft=50|Description=The central icon of Ganesha at the Dagadusheth Halwai Ganapati temple.|Align=right}}

Ganesha is Vighneshvara (Vighnaraja, Marathi – Vighnaharta), the Lord of Obstacles, both of a material and spiritual order."Lord of Removal of Obstacles", a common name, appears in the title of Courtright's {{IAST|Gaṇeśa}}: Lord of Obstacles, Lord of Beginnings. For equivalent Sanskrit names Vighneśvara and Vighnarāja, see: {{Harvard citation no brackets|Mate|1962|p=136}} 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. Hence, he is often worshipped by the people before they begin anything new.{{Cite web| url=https://chopra.com/articles/ganesha-the-remover-of-obstacles| title=Ganesha: The Remover of Obstacles| date=31 May 2016| access-date=29 August 2019| archive-date=31 October 2019| archive-url=https://web.archive.org/web/20191031193717/https://chopra.com/articles/ganesha-the-remover-of-obstacles| url-status=dead}} Paul Courtright says that Ganesha's dharma and his raison d'être is to create and remove obstacles.{{Harvard citation no brackets|Courtright|1985|p=136}}

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 {{IAST|Ganapatyas}}, to this shift in emphasis from {{IAST|vighnakartā}} (obstacle-creator) to {{IAST|vighnahartā}} (obstacle-averter).For Dhavilkar's views on Ganesha's shifting role, see Dhavalikar, M.K. "{{IAST|Gaṇeśa}}: Myth and reality" in {{Harvnb|Brown|1991|p=49}} However, both functions continue to be vital to his character.{{Harvard citation no brackets|Brown|1991|p=6}}

Ganesha is considered to be the Lord of letters and learning.{{Harvard citation no brackets|Nagar|1992|p=5}}. In Sanskrit, the word buddhi is an active noun that is variously translated as intelligence, wisdom, or intellect.{{Sfn|Apte|1965|p= 703}} 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.Ganesha Purana I.46, v. 5 of the Ganesha Sahasranama section in GP-1993, Sharma edition. It appears in verse 10 of the version as given in the Bhaskararaya commentary. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important.Sharma edition, GP-1993 I.46, verses 204–206. The Bailey edition uses a variant text, and where Sharma reads Buddhipriya, Bailey translates Granter-of-lakhs. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband",Practical Sanskrit Dictionary By Arthur Anthony McDonell; p. 187 (priya); Published 2004; Motilal Banarsidass Publ; {{ISBN|8120820002}} so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".{{Harvard citation no brackets|Krishan|1999|pp=60–70}}p. discusses Ganesha as "Buddhi's Husband".

File:Ganesha asianartmuseumsf.jpg

Ganesha is identified with the Hindu mantra Om. The term {{IAST|oṃkārasvarūpa}} (Om is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound.Grimes, p. 77. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:{{Sfn|Chinmayananda|1987|p= 127, In Chinmayananda's numbering system, this is upamantra 8.}}

{{quote|(O Lord Ganapati!) You are (the Trimurti) 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 Om in the Devanāgarī and Tamil scripts.For examples of both, see: {{Harvard citation no brackets|Grimes|1995|pp=79–80}}

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara ({{IAST|mūlādhāra}}). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests.Tantra Unveiled: Seducing the Forces of Matter & Spirit By Rajmani Tigunait; Contributor Deborah Willoughby; Published 1999; Himalayan Institute Press; p. 83; {{ISBN|0893891584}} This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "You continually dwell in the sacral plexus at the base of the spine [{{IAST|mūlādhāra cakra}}]."{{Harvard citation no brackets|Courtright|1985|p=253}}. Thus, Ganesha has a permanent abode in every being at the Muladhara.{{Sfn|Chinmayananda|1987|p= 127, In Chinmayananda's numbering system this is part of upamantra 7. 'You have a permanent abode (in every being) at the place called "Muladhara"'.}} Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

{{see also|Mythological anecdotes of Ganesha|Consorts of Ganesha}}

File:Ganesha Kangra miniature 18th century Dubost p51.jpg and Parvati giving a bath to Ganesha. Kangra miniature, 18th century. Allahabad Museum, New Delhi.This work is reproduced and described in Martin-Dubost (1997), p. 51, which describes it as follows: "This square shaped miniature shows us in a Himalayan landscape the god {{IAST|Śiva}} sweetly pouring water from his {{IAST|kamaṇḍalu}} on the head of baby {{IAST|Gaṇeśa}}. Seated comfortably on the meadow, {{IAST|Pārvatī}} balances with her left hand the baby {{IAST|Gaņeśa}} with four arms with a red body and naked, adorned only with jewels, tiny anklets and a golden chain around his stomach, a necklace of pearls, bracelets and armlets."]]

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic texts give different versions about his birth.In:

• {{Harvard citation no brackets|Nagar|1992|pp=7–14}}. For a summary of Puranic variants of birth stories.
• {{Harvard citation no brackets|Martin-Dubost|1965|pp=41–82}}. Chapter 2, "Stories of Birth According to the {{IAST|Purāṇas}}". In some he was created by Parvati,Shiva Purana IV. 17.47–57. Matsya Purana 154.547. or by ShivaLinga Purana or created by Shiva and Parvati,{{IAST|Varāha}} Purana 23.18–59. in another he appeared mysteriously and was discovered by Shiva and ParvatiFor summary of Brahmavaivarta Purana, Ganesha Khanda, 10.8–37, see: {{Harvard citation no brackets|Nagar|1992|pp=11–13}}. or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.{{cite book|last=Melton|first=J. Gordon|title=Religious Celebrations: An Encyclopedia of Holidays, Festivals, Solemn Observances, and Spiritual Commemorations|url=https://books.google.com/books?id=KDU30Ae4S4cC&pg=PA325|date=13 September 2011|publisher=ABC-CLIO|isbn=978-1598842050|pages=325–}}

The family includes his brother, the god of war, Kartikeya, who is also called Skanda and Murugan.For a summary of variant names for Skanda, see: {{Harvard citation no brackets|Thapan|1997|p=300}}. 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 firstborn.{{Harvard citation no brackets|Khokar|Saraswati|2005}} p.4. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, after which worship of him declined significantly. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers{{Harvard citation no brackets|Brown|1991|p=79}}. and may reflect sectarian tensions.{{Harvard citation no brackets|Oka|1913|p=38}}.

File:Ganapati1.jpg (1848–1906)]]

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories.For a review, see: Cohen, Lawrence. "The Wives of {{IAST|Gaṇeśa}}". {{Harvard citation no brackets|Brown|1991|pp=115–140}} One pattern of myths identifies Ganesha as an unmarried brahmachari.In:

• {{Harvnb|Getty|1936|p=33}}. "According to ancient tradition, {{IAST|Gaṇeśa}} was a {{IAST|Brahmacārin}}, that is, an unmarried deity; but legend gave him two consorts, personifications of Wisdom (Buddhi) and Success (Siddhi)."
• {{Harvnb|Krishan|1999|p=63}}. "... in the {{IAST|smārta}} or orthodox traditional religious beliefs, {{IAST|Gaṇeśa}} is a bachelor or {{IAST|brahmacārī}}" This view is common in southern India and parts of northern India.For discussion on celibacy of Ganesha, see: Cohen, Lawrence, "The Wives of {{IAST|Gaṇeśa}}", in: {{Harvnb|Brown|1991|pp=126–129}}. Another popularly-accepted mainstream pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are personified as goddesses, said to be Ganesha's wives.For a review of associations with Buddhi, Siddhi, Riddhi, and other figures, and the statement "In short the spouses of {{IAST|Gaṇeśa}} are the personifications of his powers, manifesting his functional features...", see: {{Harvnb|Krishan|1999|p=62}}. He also may be shown with a single consort or a nameless servant (Sanskrit: {{IAST|daşi}}).For single consort or a nameless {{IAST|daşi}} (servant), see: Cohen, Lawrence, "The Wives of {{IAST|Gaṇeśa}}", in: {{Harvnb|Brown|1991|p=115}}. Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or {{IAST|Śarda}} (particularly in Maharashtra).For associations with Śarda and Sarasvati and the identification of those goddesses with one another, see: Cohen, Lawrence, "The Wives of {{IAST|Gaṇeśa}}", in: {{Harvnb|Brown|1991|pp=131–132}}. He is also associated with the goddess of luck and prosperity, Lakshmi.For associations with Lakshmi see: Cohen, Lawrence, "The Wives of {{IAST|Gaṇeśa}}", in: {{Harvnb|Brown|1991|pp=132–135}}. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.For discussion of the Kala Bou, see: Cohen, Lawrence, "The Wives of {{IAST|Gaṇeśa}}", in: {{Harvnb|Brown|1991|pp=124–125}}.

The Shiva Purana says that Ganesha had begotten two sons: {{IAST|Kşema}} (safety) and {{IAST|Lābha}} (profit). In northern Indian variants of this story, the sons are often said to be {{IAST|Śubha}} (auspiciousness) and {{IAST|Lābha}}.For statement regarding sons, see: Cohen, Lawrence, "The Wives of {{IAST|Gaṇeśa}}", in: {{Harvnb|Brown|1991|p=130}}. 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.In:

• Cohen, Lawrence. "The Wives of {{IAST|Gaṇeśa}}". {{Harvard citation no brackets|Brown|1991|p=130}}.
• {{Harvard citation no brackets|Thapan|1997}}, p. 15–16, 230, 239, 242, 251.

File:Durga Puja Köln 2009 4.jpg celebrations in Cologne]]

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business.{{Harvard citation no brackets|Krishan|1981–1982|pp=1–3}} K.N Soumyaji 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".K.N. Somayaji, Concept of Ganesha, p. 1 as quoted in {{Harvard citation no brackets|Krishan|1999|pp=2–3}} Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.{{Harvard citation no brackets|Krishan|1999|p=38}}

Ganesha is a non-sectarian deity. Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies.For worship of Ganesha by "followers of all sects and denominations, Saivites, Vaisnavites, Buddhists, and Jainas" see {{Harvnb|Krishan|1981–1982|p=285}} Dancers and musicians, particularly in southern India, begin art performances such as the Bharatanatyam dance with a prayer to Ganesha. Mantras such as Om Shri {{IAST|Gaṇeshāya}} Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om {{IAST|Gaṃ}} Ganapataye Namah (Om, {{IAST|Gaṃ}}, Salutation to the Lord of Hosts).{{Harvard citation no brackets|Grimes|1995|p=27}}

Devotees offer Ganesha sweets such as modaka and small sweet balls called laddus. He is often shown carrying a bowl of sweets, called a {{IAST|modakapātra}}.The term modaka applies to all regional varieties of cakes or sweets offered to Ganesha. {{Harvard citation no brackets|Martin-Dubost|1965|p=204}}. Because of his identification with the color red, he is often worshipped with red sandalwood paste ({{IAST|raktachandana}}){{Harvard citation no brackets|Martin-Dubost|1965|p=369}}. or red flowers. {{IAST|Dūrvā}} grass (Cynodon dactylon) and other materials are also used in his worship.{{Harvard citation no brackets|Martin-Dubost|1965|pp=95–99}}

Festivals associated with Ganesh are Ganesha Chaturthi or Vināyaka chaturthī in the paksha (the fourth day of the waxing moon) in the month of Bhadrapada (August/September) and the Ganesh Jayanti (Ganesha's birthday) celebrated on the cathurthī of the {{IAST|śuklapakṣa}} (fourth day of the waxing moon) in the month of magha (January/February)."{{Harvard citation no brackets|Thapan|1997}} p. 215

File:Ganesh mimarjanam EDITED.jpg during the festival of Ganesha Chaturthi]]

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September.For the fourth waxing day in {{IAST|Māgha}} being dedicated to Ganesa ({{IAST|Gaṇeśa-caturthī}}) see: {{Harvard citation|Bhattacharyya|1956}}., "Festivals and Sacred Days", in: Bhattacharyya, volume IV, p. 483. The festival begins with people bringing in clay idols of Ganesha, symbolising the god's visit. The festival culminates on the day of Ananta Chaturdashi, when the idols (murtis) are immersed in the most convenient body of water.The Experience of Hinduism: Essays on Religion in Maharashtra; Edited By Eleanor Zelliot, Maxine Berntsen, pp. 76–94 ("The Ganesh Festival in Maharashtra: Some Observations" by Paul B. Courtright); 1988; SUNY Press; {{ISBN|088706664X}} Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event.{{Harvard citation no brackets|Metcalf|Metcalf}}, p. 150. 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.In:

• {{Harvard citation|Brown|1991|p=9}}.
• {{Harvard citation no brackets|Thapan|1997|p=225}} For Tilak's role in converting the private family festivals to a public event in support of Indian nationalism. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule.In:
• Momin, A.R., The Legacy of G.S. Ghurye: A Centennial Festschrift, p. 95.
• {{Harvard citation no brackets|Brown|1991}}, p. 9. For Ganesha's appeal as "the god for Everyman" as a motivation for Tilak. 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.For Tilak as the first to use large public images in {{IAST|maṇḍapas}} (pavilions or tents) see: {{Harvard citation no brackets|Thapan|1997}}, p. 225.

Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra.For Ganesh Chaturthi as the most popular festival in Maharashtra, see: {{Harvard citation no brackets|Thapan|1997}}, p. 226."{{IAST|Gaṇeśa}} in a Regional Setting". {{Harvard citation no brackets|Courtright|1985}}, p. 202–247. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

{{further|List of Ganapati temples|Ashtavinayak}}

File:Morgaon.jpgIn Hindu temples, Ganesha is depicted in various ways: as a subordinate deity ({{IAST|pãrśva-devatã}}); as a deity related to the principal deity ({{IAST|parivāra-devatã}}); or as the principal deity of the temple ({{IAST|pradhāna}}).{{Harvard citation no brackets|Krishan|1999}}, p. 92 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.{{Harvard citation no brackets|Brown|1991}}, p. 3 In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (Sanskrit: अष्टविनायक; {{IAST|aṣṭavināyaka}}; lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of the eight shrines celebrates a particular form of Ganapati, complete with its own lore.{{Harvard citation no brackets|Grimes|1995}}, p. 110–112 The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

There are many other important Ganesha temples at the following locations: Siddhivinayak temple in Mumbai, Ganpatipule temple at Ganpatipule, Binkhambi Ganesh mandir in Kolhapur, Jai Vinayak temple in Jaigad, Ratnagiri, Wai in Maharashtra; [[Chintaman Ganesh temple, Ujjain|

Ujjain]] in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Andhra Pradesh; the Rockfort Ucchi Pillayar Temple at Tiruchirapalli, Puliakulam Munthi Vinayagar Temple at Coimbatore{{cite news|title=Major Ganesha Temples around the world|url=https://tamilminutes.com/famous-vinayagar-temple-in-the-world/|date=31 August 2022|newspaper=Tamil Minutes|access-date=22 October 2022}} and Karpaga Vinayagar Temple in Pillaiyarpatti which is a town named after Ganesha in Tamil Nadu; Kottarakkara, Pazhavangadi, Kasargod in Kerala; Hampi, and Idagunji in Karnataka; and Bhadrachalam in Telangana.{{Harvard citation no brackets|Murthy|1985}}, p. 91–92

T. A. Gopinatha notes, "Every village however small has its own image of {{IAST|Vighneśvara}} (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below {{IAST|pīpaḹa}} (Sacred fig) trees ... in a niche ... in temples of {{IAST|Viṣṇu}} (Vishnu) as well as {{IAST|Śiva}} (Shiva) and also in separate shrines specially constructed in {{IAST|Śiva}} temples ... the figure of {{IAST|Vighneśvara}} is invariably seen."T.A. Gopinatha; Elements of Hindu Iconography, p. 47–48 as quoted in {{Harvard citation no brackets|Krishan|1999|p=2}} Ganesha temples have also been built outside of India, including Southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu Valley),{{Harvard citation no brackets|Krishan|1999}}, p. 147–158 and in several western countries.{{cite web|url=http://ganapati.club.fr/anglais/tslesganesheng.html|title=Ganesha Temples worldwide|url-status=dead|archive-url=https://web.archive.org/web/20071217044207/http://ganapati.club.fr/anglais/tslesganesheng.html|archive-date=17 December 2007}}

File:Kabul ganesh khingle.jpg, a 7th-century marble Ganesha found in Gardez, Afghanistan, and once displayed at Dargah Pir Rattan Nath, Kabul.The inscription says that this "great and beautiful image of {{IAST|Mahāvināyaka}}" was consecrated by the Shahi King Khingala. For photograph of statue and details of inscription, see: Dhavalikar, M.K., "{{IAST|Gaņeśa}}: Myth and Reality", in: {{Harvnb|Brown|1991|pp=50, 63}}.{{citation|jstor=29755703|title=A Note on Two Gaṇeśa Statues from Afghanistan|journal=East and West|volume=21|issue=3/4|pages=331–336|last1=Dhavalikar|first1=M. K.|year=1971}}]]

An elephant–headed anthropomorphic figure on Indo-Greek coins from the 1st century BCE has been proposed by some scholars to be "incipient Ganesha", but this has been strongly contested.{{cite journal |last1=Bopearachchi |first1=Osmund |title=On the so-called earliest representation of Ganesa |journal=Topoi. Orient-Occident |date=1993 |volume=3 |issue=2 |pages=425–453 |doi=10.3406/topoi.1993.1479 |url=https://www.persee.fr/doc/topoi_1161-9473_1993_num_3_2_1479}} Others have suggested Ganesha may have been an emerging deity in India and southeast Asia around the 2nd century CE based on the evidence from archaeological excavations in Mathura and outside India.{{Harvnb|Brown|1991|pages=6–7}} First terracotta images of Ganesha are from 1st century CE found in Ter, Pal, Verrapuram, and Chandraketugarh. These figures are small, with an elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd–3rd centuries CE).{{cite journal |last1=Kumar |first1=Ajit|date=2007 |title=A Unique Early Historic Terracotta Ganesa Image from Pal, District Aurangabad, Maharashtra |url=https://www.academia.edu/4417003 |journal=Kala, the Journal of Indian Art History Congress, Vol XI. (2006–2007)|language=en|pages=89–91}}

Ganesha appeared in his classic form as a clearly-recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries CE.{{Sfn|Brown|1991|pp=19–21, chapter by AK Narain}} Some of the earliest known Ganesha images include two images found in eastern Afghanistan. The first image was discovered in the ruins north of Kabul along with those of Surya and Shiva. It is dated to the 4th century. The second image found in Gardez, the Gardez Ganesha, has an inscription on Ganesha pedestal that has helped date it to the 5th century. Another Ganesha sculpture is embedded in the walls of Cave 6 of the Udayagiri Caves in Madhya Pradesh. This is dated to the 5th century. An early iconic image of Ganesha with elephant head, a bowl of sweets and a goddess sitting in his lap has been found in the ruins of the Bhumara Temple in Madhya Pradesh, and this is dated to the 5th-century Gupta period.{{Harvard citation no brackets|Nagar|1992|p=4}}{{Sfn|Brown|1991|pp=50–55, 120}}{{cite book|author=Raman Sukumar|title=The Living Elephants: Evolutionary Ecology, Behaviour, and Conservation |url=https://archive.org/details/livingelephantse00suku_0 |url-access=registration|year=2003|publisher=Oxford University Press|isbn=978-0198026730|pages=[https://archive.org/details/livingelephantse00suku_0/page/67 67]–68}} Other recent discoveries, such as one from Ramgarh Hill, are also dated to the 4th or 5th century.{{Sfn|Brown|1991|pp=50–55, 120}} An independent cult with Ganesha as the primary deity was well established by about the 10th century.{{Sfn|Brown|1991|pp=19–21, chapter by AK Narain}} Narain summarises the lack of evidence about Ganesha's history before the 5th century as follows:{{Sfn|Brown|1991|pp=19–21, chapter by AK Narain}}

{{quote|What is inscrutable is the somewhat dramatic appearance of Gaṇeśa 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 Gaṇeśa's Vedic origins and in the {{IAST|Purāṇic}} explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand, there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence [in ancient Brahmanic literature] of the existence of this divinity prior to the fifth century.}}

The evidence for more ancient Ganesha, suggests Narain, may reside outside Brahmanic or Sanskritic traditions, or outside geocultural boundaries of India.{{Sfn|Brown|1991|pp=19–21, chapter by AK Narain}} Ganesha appears in China by the 6th century, states Brown,{{Sfn|Brown|1991|p=2}} and his artistic images in temple setting as "remover of obstacles" in South Asia appear by about 400 CE.{{Sfn|Brown|1991|p=8}} He is, states Bailey, recognised as goddess Parvati's son and integrated into Shaivism theology by early centuries of the common era.{{Sfn|Bailey|1995|p=ix}}

File:Prambanan-ganesha.jpg, Java, Indonesia]]

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:{{Harvard citation no brackets|Courtright|1985}} p. 10–11.

{{quote|In this search for a historical origin for Gaṇeśa, some have suggested precise locations outside the {{IAST|Brāhmaṇic}} 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 {{IAST|Brāhmaṇic}} 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 {{IAST|Purāṇic}} literature and the iconography of {{IAST|Gaṇeśa}}.}}

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that "although by the second century CE the elephant-headed {{IAST|yakṣa}} form exists it cannot be presumed to represent {{IAST|Gaṇapati-Vināyaka}}. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. {{IAST|Gaṇapati-Vināyaka}} had yet to make his debut."{{Harvard citation no brackets|Thapan|1997}}, p. 75.

The Pashupati seal (c. 2300 BCE - 2000 BCE) depicts 4 animals including an elephant around a deity who is claimed by some to be Shiva. Brown notes that this seal indicates the sacredness of elephants before Vedic period.{{Harvard citation no brackets|Brown|1991|p=33}} One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas ({{IAST|Vināyakas}}).In:

• Passim. {{Harvard citation no brackets|Thapan|1997}}.
• Rocher, Ludo. "Gaṇeśa's Rise to Prominence in Sanskrit Literature". {{Harvard citation no brackets|Brown|1991}}, p. 70–72. In the Yajurveda, the {{IAST|Vināyakas}} were a group of four troublesome demons who created obstacles and difficultiesAitareya Brāhmana, I, 21. but who were easily propitiated.Bhandarkar. Vaisnavism, Saivism and other Minor Sects. p. 147–148. The name Vināyaka is a common name for Ganesha both in the {{IAST|Purāṇas}} and in Buddhist Tantras. Krishan is one of the academics who accept 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".{{Harvard citation no brackets|Krishan|1999}}, p. vii. Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century.For a discussion of early depiction of elephant-headed figures in art, see {{Harvnb|Krishan|1981–1982|pp=287–290}} or {{Harvnb|Murthy|1985|pp=31–32}} According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.{{Sfn|Ellawala|1969| p= 159}}

File:Ganesa writing the Mahabharat.jpeg I manuscript of the Mahabharata depicting Vyasa narrating the Mahabharata to Ganesha, who serves as the scribe]]

The title "Leader of the group" (Sanskrit: {{IAST|gaṇapati}}) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators.Wilson, H. H. {{IAST|Ṛgveda Saṃhitā}}. Sanskrit text, English translation, notes, and index of verses. Parimal Sanskrit Series No. 45. Volume II: {{IAST|Maṇḍalas}} 2, 3, 4, 5. Second Revised Edition; Edited and Revised by Ravi Prakash Arya and K. L. Joshi. (Parimal Publications: Delhi, 2001). (Vol. II); {{ISBN|8171101380}} (Set). RV 2.23.1 (2222) {{IAST|gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnāmupamaśravastamam}} | 2.23.1; "We invoke the {{IAST|Brahmaṇaspati}}, chief leader of the (heavenly) bands; a sage of sages." While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today.In:

• {{Harvard citation no brackets|Nagar|1992|p=3}}.
• {{Harvard citation no brackets|Mate|1962|p=1}}. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to {{IAST|Bṛhaspati}}—who is the deity of the hymn—and {{IAST|Bṛhaspati}} only".Rocher, Ludo. "{{IAST|Gaṇeśa}}'s Rise to Prominence in Sanskrit Literature". {{Harvard citation no brackets|Brown|1991}}, p. 69. {{IAST|Bṛhaspati}} is a variant name for Brahamanaspati. Equally clearly, the second passage (RV 10.112.9) refers to Indra,Rocher, Ludo. "{{IAST|Gaṇeśa}}'s Rise to Prominence in Sanskrit Literature". {{Harvard citation no brackets|Brown|1991}}, p. 69–70. who is given the epithet '{{IAST|gaṇapati}}', translated "Lord of the companies (of the Maruts)."Wilson, H.H. {{IAST|Ṛgveda Saṃhitā}}. Sanskrit text, English translation, notes, and index of verses. Parimal Sanskrit Series No. 45. Volume IV: {{IAST|Maṇḍalas}} 9, 10. Second Revised Edition; Edited and Revised by Ravi Prakash Arya and K.L. Joshi. (Parimal Publications: Delhi, 2001). (Vol. IV); {{ISBN|8171101380}} (Set). RV 10.112.9 (10092) {{IAST|ni ṣu sīda gaṇapate gaṇeṣu tvāmāhurvipratamaṃ kavīnām}}; "Lord of the companies (of the Maruts), sit down among the companies (of the worshippers), they call you the most sage of sages". However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha.For use of RV verses in recent Ganapatya literature, see Rocher, Ludo. "{{IAST|Gaṇeśa}}'s Rise to Prominence in Sanskrit Literature" in {{Harvnb|Brown|1991|p=70}}

The Sangam period Tamil poet Avvaiyar (3rd century BCE), invokes Ganesha while preparing the invitation to the three Tamil Kingdoms for giving away in marriage of Angavay and Sangavay of Ceylon in marriage to the King of Tirucovalur (pp. 57–59).{{cite book |author= Edward Jewitt Robinson |title=Tamil Wisdom; Traditions Concerning Hindu Sages, and Selections from their writings |url=https://archive.org/details/tamilwisdomtradi00robiuoft |year=1873 |publisher= Wesleyan Conference Office | location=London}}

Two verses in texts belonging to Black Yajurveda, {{IAST|Maitrāyaṇīya Saṃhitā}} (2.9.1)The verse : "{{IAST|tát karāţāya vidmahe}} | {{IAST|hastimukhāya dhîmahi}} | {{IAST|tán no dántî pracodáyāt}}||" and {{IAST|Taittirīya Āraṇyaka}} (10.1),The verse: " {{IAST|tát púruṣâya vidmahe vakratuṇḍāya dhîmahi}}| {{IAST|tán no dántî pracodáyāt}}||" appeal to a deity as "the tusked one" ({{IAST|Dantiḥ}}), "elephant-faced" (Hastimukha), and "with a curved trunk" ({{IAST|Vakratuṇḍa}}). These names are suggestive of Ganesha, and the 14th-century commentator Sayana explicitly establishes this identification.For text of {{IAST|Maitrāyaṇīya Saṃhitā}} 2.9.1 and {{IAST|Taittirīya Āraṇyaka}} 10.1 and identification by {{IAST|Sāyaṇa}} in his commentary on the {{IAST|āraṇyaka}}, see: Rocher, Ludo, "{{IAST|Gaṇeśa}}'s Rise to Prominence in Sanskrit Literature" in {{Harvnb|Brown|1991|p=70}}. The description of Dantin, possessing a twisted trunk ({{IAST|vakratuṇḍa}}) and holding a corn-sheaf, a sugar cane,{{Cite journal|last=Rajarajan|first=R.K.K.|year=2001|title=Sugarcane Gaṇapati|url=https://www.academia.edu/2378055|journal=East and West, Rome|volume=51|issue=3/4|pages=379–84|jstor=29757520|url-status=live|archive-url=https://web.archive.org/web/20160201041014/http://www.academia.edu/2378055/Sugarcane_Ganapati|archive-date=1 February 2016}} and a club,Taittiriya Aranyaka, X, 1, 5. is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin".{{Harvard citation no brackets|Heras|1972}}, p. 28. However, Krishan considers these hymns to be post-Vedic additions.In:

• {{Harvnb|Krishan|1981–1982|p=290}}
• {{Harvnb|Krishan|1999|pp=12–15}}. For arguments documenting interpolation into the {{IAST|Maitrāyaṇīya Saṃhitā}} Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the {{IAST|Maitrāyaṇī Saṃhitā}} have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".*Thapan, p. 101. For interpolation into the {{IAST|Maitrāyaṇīya Saṃhitā}} and {{IAST|Taittirīya Āraṇyaka}}.
• Dhavalikar, M.K. "{{IAST|Gaṇeśa}}: Myth and reality" in {{Harvnb|Brown|1991|pp=56–57}}. For Dhavilkar's views on Ganesha's in early Literature.

Ganesha does not appear in the Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata (1.1.75–79{{efn|Bombay edition}}) says that the sage Vyasa ({{IAST|Vyāsa}}) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on the condition that Vyasa recites 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,Rocher, Ludo "Ganesa's Rise to Prominence in Sanskrit Literature". Brown, pp. 71–72. in which the twenty-line story is relegated to a footnote in an appendix.{{IAST|Mahābhārata}} Vol. 1 Part 2. Critical edition, p. 884. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during the preparation of the critical edition.For a statement that "Fifty-nine manuscripts of the {{IAST|Ādiparvan}} were consulted for the reconstruction of the critical edition. The story of {{IAST|Gaṇeśa}} acting as the scribe for writing the {{IAST|Mahābhārata}} occurs in 37 manuscripts", see: {{Harvnb|Krishan|1999|p=31, note 4}}. Ganesha's association with mental agility and learning is one reason he is shown as scribe for {{IAST|Vyāsa}}'s dictation of the Mahabharata in this interpolation.Brown, p. 4. 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.Winternitz, Moriz. "{{IAST|Gaṇeśa}} in the {{IAST|Mahābhārata}}". Journal of the Royal Asiatic Society of Great Britain and Ireland (1898:382). Citation provided by Rocher, Ludo. "{{IAST|Gaṇeśa}}'s Rise to Prominence in Sanskrit Literature". {{Harvard citation no brackets|Brown|1991}}, p. 80. The term {{IAST|vināyaka}} is found in some recensions of the {{IAST|Śāntiparva}} and {{IAST|Anuśāsanaparva}} that are regarded as interpolations.For interpolations of the term vināyaka see: {{Harvnb|Krishan|1999|p=29}}. A reference to {{IAST|Vighnakartṛīṇām}} ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.For reference to {{IAST|Vighnakartṛīṇām}} and translation as "Creator of Obstacles", see: {{Harvnb|Krishan|1999|p=29}}.

{{details|Mythological anecdotes of Ganesha}}

File:Ganesha pachayatana.jpg

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.{{Harvard citation no brackets|Brown|1991}}, p. 183. 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 of 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-10th centuries.{{Harvard citation no brackets|Krishan|1999}}, p. 103.

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:Rocher, Ludo. "{{IAST|Gaṇeśa}}'s Rise to Prominence in Sanskrit Literature". {{Harvard citation no brackets|Brown|1991}}, p. 73.

{{quote|Above all, one cannot help being struck by the fact that the numerous stories surrounding {{IAST|Gaṇeśa}} concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.}}

Ganesha's rise to prominence was codified in the 9th century when he was formally included as one of the five primary deities of Smartism. Adi Shankara popularised the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition.*{{Harvard citation|Courtright|1985|p=163}} For Dating of the {{IAST|pañcāyatana pūjā}} and its connection with {{IAST|Smārta}} Brahmins.

• Bhattacharyya, S., "Indian Hymnology", in: {{Harvard citation no brackets|Bhattacharyya|1956|pp=volume IV|p=470}}. Volume VI. For the "five" divinities ({{IAST|pañcādevatā}}) becoming "the major deities" in general, and their listing as Shiva, Shakti, Vishnu, Surya, and Ganesha. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya.{{Spaces|5}}
• {{Harvard citation no brackets|Grimes|1995}}, p. 162.
• {{Harvard citation no brackets|Pal|1995}}, p. ix. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalised the role of Ganesha as a complementary deity.

{{further|Ganesha Purana|Mudgala Purana|Ganapati Atharvashirsa}}

File:Ganesha.jpg, Central Vietnam]]

In the Ganapatya tradition founded in the Ganesha Purana and the Mudgala Purana, Ganesha is worshipped as one of the five principle deities along with Siva, Vishnu, the Sun, Ganesha, and the Goddess.{{Harvard citation no brackets|Thapan|1997}}, pp. 196–197. Addresses the {{IAST|pañcāyatana}} in the {{IAST|Smārta}} tradition and the relationship of the Ganesha Purana and the Mudgala Purana to it.

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 comment about dating and provide her own judgment. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated."For a review of major differences of opinions between scholars on dating, see: {{Harvard citation no brackets|Thapan|1997|pp=30–33}}. 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.Preston, Lawrence W., "Subregional Religious Centers in the History of Maharashtra: The Sites Sacred to {{IAST|Gaṇeśa}}", in: N.K. Wagle, ed., Images of Maharashtra: A Regional Profile of India. p. 103.

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400.R.C. Hazra, "The {{IAST|Gaṇeśa Purāṇa}}", Journal of the Ganganatha Jha Research Institute (1951); 79–99. 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.Phyllis Granoff, "{{IAST|Gaṇeśa}} as Metaphor", in {{Harvard citation no brackets|Brown|1991|pp=94–95}}, note 2. 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.{{Harvard citation no brackets|Thapan|1997}}, pp. 30–33. Another highly regarded scripture in the Ganapatya tradition, the Sanskrit Ganapati Atharvashirsa, was probably composed during the 16th or 17th century.{{Harvard citation no brackets|Courtright|1985|p=252}}.{{Sfn|Grimes|1995|pp=21–22}}

The Ganesha Sahasranama is part of the Puranic literature, and is a litany of a thousand names and attributes of Ganesha. Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. Versions of the Ganesha Sahasranama are found in the Ganesha Purana.{{Sfn|Bailey|1995|pp=258–269}}

{{Photomontage

| photo1a = TibetianGanpati.jpg

| photo2a = Lambang Kota Salatiga.png

| photo2b = Buddhist Ganesha.jpg

| photo3a = 雙身歡喜天 - Sōshin Kangiten.png

| photo3b = Bronze Ganesh, the largest in the world. - panoramio.jpg

| position = right

| size = 250

| color = #F5F5F5

| border = 0

| color_border = black

| spacing = 3

| text = (clockwise from top) Ganesha in Tibet (as Maharakta), Nepal, Thailand, Japan (as Kangiten) and coat of arms of Salatiga, Indonesia.

}}

{{details|Ganesha in world religions}}Commercial and cultural contacts extended India's influence in Western and Southeast Asia. Ganesha is one of a number of Hindu deities who consequently reached foreign lands.{{Harvard citation no brackets|Nagar|1992}}, p. 175.

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures.{{Harvard citation no brackets|Nagar|1992|p=174}}. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders.{{Harvard citation no brackets|Thapan|1997}}, p. 170. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.{{Harvard citation no brackets|Thapan|1997}}, p. 152.

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them.{{Sfn|Getty|1936|p= 55}} Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in the Hindu art of the Philippines, Java, Bali, and Borneo show specific regional influences.{{Harvard citation no brackets|Getty|1936}}, p. 55–66. The spread of Hindu culture throughout Southeast Asia established Ganesha worship in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practised side by side, and mutual influences can be seen in the iconography of Ganesha in the region.{{Sfn|Getty|1936|p= 52}} In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles.{{Harvard citation no brackets|Brown|1991|p=182}}.

Amongst Indonesians who predominantly profess the Islamic faith, Ganesha is not worshipped, but seen as a symbol of knowledge, wisdom and education. Many Indonesian public universities feature Ganesha's likeness in their grounds or logo. Blitar, Salatiga City, and Kediri Regency are among three local governments that include Ganesha in their regency/city official seals. Indonesia is the only country to have featured Ganesha on its banknotes (20 thousand denomination, between 1998 and 2008), although it is no longer in circulation.

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practised. 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.In:

• {{Harvard citation no brackets|Nagar|1992}}, p. 175.
• {{Harvard citation no brackets|Martin-Dubost|1965}}, p. 311.

{{main|Ganesha in Buddhism}}

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god {{IAST|Vināyaka}}, but also as a Hindu demon form with the same name.{{Sfn|Getty|1936|pp= 37–45}} His image appears in Buddhist sculptures during the late Gupta period.{{Sfn|Getty|1936|p= 37}} As the Buddhist god {{IAST|Vināyaka}}, he is often shown dancing. This form, called {{IAST|Nṛtta}} Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet.{{Sfn|Getty|1936|p= 38}} In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion.{{Sfn|Getty|1936|p= 40}}

Ganapati (also known as Vinayaka in Buddhism) was adopted as a deity into Indian Vajrayana Buddhism and Ganapati (Tibetan: tshogs bdag) remains a deity in the Tibetan Buddhist pantheon.{{Harvard citation no brackets|Nagar|1992}}, p. 185.Wayman, Alex (2006). Chanting the Names of Manjushri. Motilal Banarsidass Publishers: p. 76. {{ISBN|8120816536}}Wilkinson, Christopher. "The Tantric Ganesa: Text Preserved in the Tibetan Canon." in Brown, Robert L. (editor) (1991) Studies of an Asian God, pp. 235-274. State University of New Ytrrk Pre'ss,Albany There are thirty texts contained in the Tibetan Buddhist canon which deal with Ganesha. In these texts, which are Indian texts preserved in Tibetan translation, Ganapati is depicted as a wealth deity which can also grant worldly pleasures like sex and food. He is also depicted as a protector from negative forces, demons, and sickness. In these tantric Buddhist sources, Ganesha is generally presented as an emanation of the Bodhisattva Avalokitesvara.

Ganesha also 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.{{Harvard citation no brackets|Martin-Dubost|1997}}, p. 311. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.{{Harvard citation no brackets|Martin-Dubost|1997}}, p. 313.

Today in Buddhist Thailand, Ganesha is also regarded as a remover of obstacles, and as the god of success. Thailand regards Ganesha mainly as the god of arts and academics. The belief was initiated by King Vajiravudh of the Chakri dynasty who was devoted to Ganesha personally. He even built a Ganesha shrine at his personal palace, Sanam Chandra Palace in Nakhon Pathom Province where he focused on his academic and literary works. His personal belief regarding Ganesha as the god of arts formally became prominent following the establishment of the Fine Arts Department. Today, Ganesha is depicted both in the seal of the Fine Arts Department, and Thailand's first prominent fine arts academy; the Silpakorn University.{{cite journal |last=วัฒนะมหาตม์ |first=กิตติ |date=November 2011 |title=พระคเณศไม่ใช่เทพศิลปะ รัชกาลที่ 6 ทรงทำให้เป็นเทพศิลปะ |trans-title=Ganesh was not the god of art. King Vajiravudh was the one who made him be one. |url=https://www.silpa-mag.com/history/article_5821 |journal=ศิลปวัฒนธรรม (Arts and Culture) |language=TH |issue=November 2011 |access-date=26 May 2020}}

The canonical literature of Jainism does not mention the worship of Ganesha.{{Harvard citation no brackets|Krishan|1999}}, p. 121. However, Ganesha is worshipped by some Jains, for whom he appears to have taken over certain functions of the god of wealth, Kubera.{{Harvard citation no brackets|Thapan|1997}}, p. 157. Jain ties with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections and influence of Hinduism.{{Harvard citation no brackets|Thapan|1997}}, p. 151, 158, 162, 164, 253. The earliest known Jain Ganesha statue dates to about the 9th century.{{Harvard citation no brackets|Murthy|1985}}, p. 122. A 15th-century Jain text lists procedures for the installation of its images. Images of Ganesha appear in some Jain temples of Rajasthan and Gujarat.{{Harvard citation no brackets|Thapan|1997}}, p. 158.

{{notelist}}

{{reflist|group=note}}

{{reflist|30em}}

{{refbegin|33em}}

• {{Cite book|last=Pal|first=Pratapaditya|url=https://books.google.com/books?id=eY7XAAAAMAAJ|title=Ganesh, the Benevolent|publisher=Marg Publications|year=1995|isbn=9788185026312|location=the University of Michigan|author-link=Pratapaditya Pal}}
• {{Cite book|last=Apte|first=Vaman Shivram|title=The Practical Sanskrit Dictionary|year=1965|edition=Fourth revised and enlarged|publisher=Motilal Banarsidass Publishers|location=Delhi|isbn=978-8120805675}}
• {{Cite book|last=Bailey|first=Greg|title=Ganeśapurāna: Introduction, translation, notes and index|year=1995|publisher=Harrassowitz|isbn=978-3447036474}}
• {{Cite book|editor-last=Bhattacharyya|editor-first=Haridas|title=The Cultural Heritage of India|year=1956|publisher=The Ramakrishna Mission Institute of Culture|location=Calcutta}} Four volumes.
• {{Citation| last =Brown| first =Robert| year = 1991| title =Ganesh: Studies of an Asian God | location =Albany| publisher =State University of New York | isbn =978-0791406571 |url=https://books.google.com/books?id=oF-Hqih3pBAC}}
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• {{Citation |last=Courtright |first=Paul B. |title={{IAST|Gaṇeśa}}: Lord of Obstacles, Lord of Beginnings |year=1985 |publisher=Oxford University Press |location=New York |isbn=978-0195057423 }}
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• {{Citation |series=SUNY Series in Religious Studies |last=Grimes |first=John A. |title=Ganapati: Song of the Self |year=1995 |publisher=State University of New York Press |location=Albany |isbn=978-0791424407 |url=https://books.google.com/books?id=duOe-jM8kRIC}}
• {{Citation |last=Heras |first=H. |title=The Problem of Ganapati |year=1972 |publisher=Indological Book House |location=Delhi }}
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• {{Citation |last=Krishan |first=Yuvraj |year=1981–1982 |title={{IAST|The Origins of Gaṇeśa}} |journal=Artibus Asiae |volume=43 |issue=4 |pages=285–301 |doi=10.2307/3249845 |publisher=Artibus Asiae Publishers |jstor=3249845}}
• {{Citation| last =Krishan| first =Yuvraj| year = 1999| title =Gaṇeśa: Unravelling An Enigma | location =Delhi | publisher =Motilal Banarsidass Publishers | isbn =978-8120814134 |url=https://books.google.com/books?id=BKoyRJxj9jUC}}
• {{Citation| first= K. Krishna | last=Murthy | year=1985 | title= Mythical Animals in Indian Art|location=New Delhi| publisher = Abhinav Publications|isbn=978-0391032873 |url=https://books.google.com/books?id=dMI4rZuRs1MC}}
• {{Citation|last=Martin-Dubost|first=Paul|url=https://books.google.com/books?id=H5DjAAAAMAAJ|title=Gaṇeśa, the Enchanter of the Three Worlds|publisher=Franco-Indian Research|year=1965|isbn=9788190018432|location=the University of Michigan}}
• {{Citation |last=Mate |first=M.S. |title=Temples and Legends of Maharashtra |year=1962 |publisher=Bharatiya Vidya Bhavan |location=Bombay |oclc=776939647 }}
• {{Citation |last1=Metcalf |first1=Thomas R.|last2=Metcalf |first2=Barbara Daly|title=A Concise History of India |isbn=978-0521630276 |url=https://books.google.com/books?id=jGCBNTDv7ac}}
• {{cite book|last=Nagar|first=Shanti Lal|year=1992|title=The Cult of Vinayaka|publisher=Intellectual Publishing House|location=New Delhi|isbn=978-81-7076-044-3}}
• {{Citation| last =Oka | first =Krishnaji Govind| year =1913| title =The Nāmalingānuśāsana (Amarakosha) of Amarasimha: with the Commentary ({{IAST|Amarakoshodghāṭana}}) of Kshīrasvāmin

| location =Poona| publisher =Law Printing Press| url=https://archive.org/details/namalinganusasan00amariala| access-date =14 September 2007}}.

• {{Citation |last=Ramachandra Rao |first=S.K. |title=The Compendium on Gaṇeśa |year=1992 |publisher=Sri Satguru Publications |location=Delhi |isbn= 978-8170308287 }}
• {{Citation| last =Saraswati| first =Swami Tattvavidananda | year = 2004| title ={{IAST|Gaṇapati Upaniṣad}} | location =Delhi | publisher =D.K. Printworld Ltd. | isbn =978-8124602652}}
• {{Citation | last=Śāstri Khiste | first={{IAST|Baṭukanātha}} | year=1991 | title={{IAST|Gaṇeśasahasranāmastotram: mūla evaṁ srībhāskararāyakṛta 'khadyota' vārtika sahita}}

| place={{IAST|Vārāṇasī}} | publisher=Prācya Prakāśana }}. Source text with a commentary by Bhāskararāya in Sanskrit.

• {{Citation | last=Śāstri | first=Hargovinda | year=1978 | title={{IAST|Amarkoṣa}} with Hindi commentary | place=Vārānasi | publisher=Chowkhambā Sanskrit Series Office }}
• {{cite book|last=Thapan|first=Anita Raina|title=Understanding Gaṇapati: Insights into the Dynamics of a Cult|year=1997|publisher=Manohar Publishers|location=New Delhi|isbn=978-8173041952}}

{{refend}}

• [https://web.archive.org/web/20070210051104/http://ganapati.club.fr/anglais/indexe.html Ganesh: Symbol and presence]

{{Ganesha|state=expanded}}

{{Hindu Culture and Epics}}

{{Burmese nats}}

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