Hinduism, with its vast pantheon of gods and goddesses, offers a rich tapestry of symbolism and philosophical depth. Among the most beloved and widely worshipped deities are Ganesha and Shiva. While both hold immense significance, they represent distinct aspects of the divine and play unique roles in the lives of devotees. This article explores the individual characteristics, symbolism, and importance of Ganesha and Shiva, shedding light on their unique attributes and dispelling common misconceptions.
Introduction: Understanding the Pantheon
Hinduism encompasses a community of approximately 900 million followers worldwide. Within this rich tradition, a captivating array of deities symbolize diverse facets of life, spirituality, and the cosmic realm. Hindu deities govern the universe, shaping the past, present, and future, and serve as tangible embodiments of spiritual truths. While the exact number of deities may vary in interpretation, the concept of "33 Kotis," signifying 33 types of deities, is widely acknowledged. Some interpret this as 33 crores (330 million) of gods and goddesses, while others prefer a more limited interpretation.
Shiva: The Destroyer and Transformer
Shiva, also known as Mahadeva, is one of the principal deities of Hinduism, revered as the Destroyer or the Transformer. He is often depicted as a yogi with matted hair, a third eye on his forehead, and a crescent moon adorning his hair. A serpent is often shown coiled around his neck. Shiva is often worshipped as the supreme being in Shaivism, one of the major traditions within Hinduism. He is associated with destruction, transformation, and change, representing the cyclical nature of the universe and the constant flux of existence.
Ganesha: The Remover of Obstacles and Lord of Beginnings
Ganesha, also known as Ganapati, Vinayaka, and Vighneshvara, is one of the most beloved deities in Hinduism. He is celebrated as the Lord of Beginnings and the Remover of Obstacles. Ganesha is often depicted with an elephant head, a potbelly, and four arms. His distinctive elephant head symbolizes wisdom, understanding, and discriminating intellect. With four arms representing earth, water, fire, and air, Ganesha removes physical and spiritual obstacles. Statues of Ganesha, often found in homes and temples, serve as guardians against adversity and bring blessings of wisdom, success, and harmony in all endeavors. Ganesha is considered the Lord of Intelligence. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha as of the Puranic period, where many stories develop that showcase his cleverness and love of intelligence. This association with wisdom also appears in the name Buddha, which appears as a name of Ganesha in the second verse of the Ganesha Purana version of the Ganesha Sahasranama. The positioning of this name at the beginning of the Ganesha Sahasranama indicates that the name was of importance.
Distinguishing Shiva and Ganesha: Avoiding Common Mistakes
One of the most common mistakes people make is using Shiva and Ganesha interchangeably. While both are important deities in Hindu mythology, they are not the same. Shiva is known as the destroyer and is associated with destruction and transformation. Ganesha, on the other hand, is known as the remover of obstacles and is associated with wisdom, knowledge, and new beginnings. Using these two names interchangeably can lead to confusion and misinformation.
Another mistake people make is assuming that Shiva and Ganesha have the same symbolism. While both are associated with Hindu mythology, they have different meanings and symbolism. For example, Shiva is often depicted with a third eye, which represents his ability to see beyond the physical world. Ganesha is often depicted with an elephant head, which represents wisdom and intellect.
Another common mistake people make is offering the wrong offerings to Shiva and Ganesha. While both are worshipped, they have different preferences when it comes to offerings. Shiva is often offered milk, fruits, and flowers, while Ganesha is often offered sweets, such as modaks and laddus.
The Significance of Terminology
Using the correct terminology is vital when discussing religious deities, such as Shiva and Ganesha. Shiva is one of the most revered deities in Hinduism, known as the destroyer of evil and the transformer. Ganesha is another important deity in Hinduism, known as the remover of obstacles and the god of beginnings.
Contextual Choices: When to Invoke Shiva or Ganesha
When it comes to choosing between Shiva and Ganesha, the context in which they are used plays a significant role. Both deities have unique characteristics and are associated with different aspects of life.
Worship
When it comes to worship, the choice between Shiva and Ganesha depends on the individual’s preferences and beliefs. Shiva is known as the destroyer, and he is associated with destruction, transformation, and change. On the other hand, Ganesha is known as the remover of obstacles and is associated with wisdom, knowledge, and new beginnings. Therefore, if an individual is seeking to overcome obstacles, they might choose to worship Ganesha.
Business
In the context of business, the choice between Shiva and Ganesha can depend on the nature of the business. Shiva is associated with destruction and transformation, which can be beneficial for businesses that are undergoing significant changes. On the other hand, Ganesha is associated with wisdom and knowledge, which can be beneficial for businesses that require strategic planning and decision-making.
Personal Growth
When it comes to personal growth, the choice between Shiva and Ganesha can depend on the individual’s goals and aspirations. Shiva is associated with transformation and change, which can be beneficial for individuals who are seeking to make significant changes in their lives. Ganesha, on the other hand, is associated with wisdom and knowledge, which can be beneficial for individuals who are seeking to gain new insights and perspectives.
Exceptions to the Rules
While the guidelines for invoking Shiva and Ganesha are generally straightforward, there are exceptions where these rules may not apply. One exception to the rule of using Shiva as the primary deity for destruction is in the case of Kali. Kali is a goddess who is often associated with destruction and is sometimes depicted as standing on the chest of Shiva. Another exception is in the case of the Nataraja form of Shiva. Nataraja is a depiction of Shiva as the Lord of Dance and is often associated with creation rather than destruction.
While Ganesha is generally considered the remover of obstacles, there are exceptions to this rule as well. One such exception is in the case of the goddess Lakshmi. Lakshmi is often depicted with elephants, which are associated with Ganesha. Another exception is in the case of the god Vishnu. Vishnu is often depicted with a conch shell and a discus, which are also associated with Ganesha.
Ganesha's Consorts and Associations
The marital status of the Hindu deity Ganesha varies widely in mythological stories and the issue has been the subject of considerable scholarly review. Several patterns of associations with different consorts are identifiable. One pattern of myths identifies Ganesha as an unmarried brahmacārin with no consorts. Another mainstream pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses who are considered to be Ganesha's wives. Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati.
Some of the differences between these patterns can be understood by looking at regional variations across India, the time periods in which the patterns are found, and the traditions in which the beliefs are held. The Ganesha Purana and the Mudgala Purana contain descriptions of Ganesha flanked by Siddhi and Buddhi. In these two Puranas they appear as an intrinsic part of Ganapati and according to Thapan do not require any special rituals associated with shakti worship.
In Chapter I.18.24-39 of the Ganesha Purana, Brahmā performs worship in honor of Ganesha, and during it Ganesha himself causes Buddhi and Siddhi to appear so that Brahmā can offer them back to Ganesha. The Ganesha Temple at Morgaon is the central shrine for the regional aṣṭavināyaka complex. The most sacred area within the Moragaon temple is the sanctum (garbhagŗha), a small enclosure containing an image of Ganesha. To the right and left sides of the image stand Siddhi and Buddhi. In northern India the two female figures are said to be Siddhi and Riddhi.
The Śiva Purāṇa has a story in which Ganesha and his brother Skanda compete for the right to marry the two desirable daughters of Prajāpati, Siddhi and Buddhi, and ,Ganesha wins through a clever approach. This story adds that after some time Ganesha begat two sons: Kshema (Kşema) (Prosperity), born to Siddhi, and Lābha (Acquisition, Profit) born to Buddhi. Ludo Rocher says that "descriptions of Gaṇeśa as siddhi-buddhi-samanvita 'accompanied by, followed by siddhi and buddhi.' often seem to mean no more than that, when Gaṇeśa is present, siddhi 'success' and buddhi 'wisdom' are not far behind. Such may well have been the original conception, of which the marriage was a later development."
In verse 49a of the Ganesha Purana version of the Ganesha Sahasranama, one of Ganesha's names is Ŗddhisiddhipravardhana ("Enhancer of material and spiritual success"). In the Ajitāgama, a Tantric form of Ganesha called Haridra Ganapati is described as turmeric-colored and flanked by two unnamed wives. Ganesha with the Ashta (8) Siddhi. The Ashtasiddhi are associated with Ganesha. Ganesha's relationship with the Ashtasiddhi - the eight spiritual attaintments obtained by the practice of yoga - is also of this depersonalized type. In later iconography, these eight marvellous powers are represented by a group of young women who surround Ganesha.
Raja Ravi Varma's painting (shown in this section) illustrates a recent example of this iconographic form. The painting includes fans, which establish the feminine figures as attendants. In cosmopolitan Śākta worship of Ganesha, the Aṣṭa Siddhi are addressed as eight goddesses. In Ganesha Purana, these personified Aṣṭa Siddhi are used by Ganesha to attack demon Devantaka. These eight consorts are fused in a single devi, Ganesha's śakti, according to Getty.
Ganesha was depicted as a householder married to Riddhi and Siddhi and the father of Santoshi Ma (Devanagari: संतोषी माँ), the goddess of contentment, in the 1975 Hindi film Jai Santoshi Maa. The movie script is not based on scriptural sources.
A distinct type of iconographic image of Ganesha shows him with a single human-looking shakti (Sanskrit: śakti). According to Ananda Coomaraswamy, the oldest known depiction of Ganesha with a shakti dates from the sixth century. The consort lacks a distinctive personality or iconographic repertoire. According to Cohen and Getty, the appearance of this shakti motif parallels the emergence of tantric branches of the Ganapatya cult. Getty mentions a specific cult of "Shakti Ganapati" that was set up by the Ganapatyas involving five distinct forms. Of the thirty-two standard meditation forms for Ganesha that appear in the Sritattvanidhi (Śrītattvanidhi), six include a shakti. A common form of this motif shows Ganesha seated with the shakti upon his left hip, holding a bowl of flat cakes or round sweets. Ganesha turns his trunk to his own left in order to touch the tasty food.
Prithvi Kumar Agrawala has traced at least six different lists of fifty or more aspects or forms of Ganesha each with their specific female consorts or shaktis. In these lists of paired shaktis are found such goddess names as Hrī, Śrī, Puṣṭī, etc. The names Buddhi, Siddhi, and Riddhi do not appear on any of these lists. The lists provide no details about the personalities or distinguishing iconographic forms for these shaktis. Agrawala concludes that all of the lists were derived from one original set of names. The earliest of the lists appears in the Nārada Purāṇa (I.66.124-38), and appears to have been used with minor variations in the Ucchiṣṭagaṇapati Upāsanā. These lists are of two types. In the first type the names of various forms of Ganesha are given with a clear-cut pairing of a named shakti for that form. The second type, as found in the Brahmāṇḍa Purāṇa (II.IV.44.63-76) and the commentary of Rāghavabhaṭṭa on the Śāradātilaka (I.115), gives fifty or more names of Ganesha collectively in one group, with the names of the shaktis provided collectively in a second group.
Throughout India, on contemporary poster art, Ganesha is portrayed with Sarasvati (goddess of knowledge, music, speech and art) or Lakshmi (goddess of wealth, art and prosperity) or both. Ganesha, Lakshmi and Sarswati are often grouped together as the divinities immediately responsible for material welfare. Ganesha and Saraswati share control over Buddhi (Wisdom), while Ganesha and Lakshmi are both deities of Riddhi and Siddhi (material and spiritual success). Particularly in Maharashtra, Ganesha is associated with Śarda or Sarasvati. Some identify the two goddesses as the same person and thus venerated individually with Ganesha, while others consider them distinct, and one or both of them as associated with Ganesha. Lakshmi's association with Ganesha is rarely tied with the Tantric tradition of Lakshmi as Ganesha's śakti.
On the first day of Durga Puja the Kola Bou is draped with a red-bordered white sari and vermilion is smeared on its leaves. She is then placed on a decorated pedestal and worshipped with flowers, sandalwood paste, and incense sticks. The Kola Bou is set on Ganesha's right side, along with other deities. For most who view her, the new sari indicates her role as a new bride, and many Bengalis see it as symbolizing the wife of Ganesha. A different view is that the Kola Bou represents Haridas Mitra says that the Kola Bou is intended to serve as a symbolic summary for the nine types of leaves (nava patrika) that together form a sacred complex on Durga Puja. The officiating priests who carry out the ceremony tie a bunch of eight plants on the trunk of the plantain tree and it is the grouping of all nine plants that constitute the Kola Bou. The nine plants all have beneficial medicinal properties. According to Martin-Dubost, the Kola Bou does not represent a bride or shakti of Ganesha, but rather is the plant form of Durga. He connects the plant symbol back to the festival enactment of Durga's return of the blood of the buffalo demon to the earth so that the order of the world may be re-established and luxuriant vegetation reappear.
Ganesha and Janus: A Cross-Cultural Connection?
Janus, governor of all beginnings and entrances, seems to be related to Ganesha, which is a Sanskrit compound. "Gana" means group or multitude, and "Isha" connotes a lord or master; so Ganesha is the Lord with many faces. Online Etymology Dictionary defines Janus as the guardian deity of "portals, doors, and gates" and derives this definition from Latin Ianus, literally signifying an arched passageway. Since 'I' and 'J' are often interchangeable in English transliteration of Latin words (e.g. the month of Ianuarius or Januarius), Ganesh may be connected to both Janus and Ianus. The same dictionary curiously adds that Sanskrit 'yanah', meaning journey or path, is cognate to Ianus, but these words by themselves are not enlightening. It could indeed be the case that Janus first originated from Sanskrit yanah, and later came to be associated with the demigod Ganesha, which would explain the attached suffix -us corresponding to 'Isha' or God. Then the word must have evolved from 'Yanah' or 'Ianah' to 'Ianus' and finally 'Janus', with 'Ja' cognate to 'Ga' in Sanskrit or Hindi. Another possible explanation is that the prefix sound in Sanskrit "janma" (birth in English) got transmuted with Ganesha to form Janus.
Numa Pompilius, the second king of Rome after the legendary founder Romulus, is "credited with laying out the basic structure of Roman religion by instituting public cults, rituals, priesthoods, and a sacred calendar" (UPenn Museum of Archaeology & Anthropology, Philadelphia). The cult of Janus worship and the installation of the last two months (Januarius and Februarius) into the Roman calendar (which began in March, or the spring, much like the Vedic calendar) are among his contributions. Historians are unsure exactly why and when the transition from March to January, a backward shift of two months, was made to celebrate the new year. Controversial historian P.N. “The name Januarius is the original name, of which January is an abbreviation. Here it may be recalled that in Latin the name of God Ganesh came to be spelled as Janus. That God used to be worshipped in Rome on January 9. And since Lord Ganesh is traditionally offered worship at the opening of every ritual or the commencement of any period or task, the Romans ordained that the month of the festival of Lord Ganesh be reckoned as the first. Consequently they amended the traditional start of the year and reckoned it as beginning from January 1st.” (World Vedic Heritage, pg.
Ganesh and Janus perform comparable functions in Hindu and Roman theologies, and each one holds the honor of being the first god in prayers and rituals. Ganesha is arguably the most popular Hindu God, found in the homes of numerous Indian families. Janus was "present in every Roman household," according to Robert Payne. Both deities are associated with entrance doors and gates, which are easily noticeable in Rajasthan, India where palaces in Jaipur and Udaipur are adorned with attractive paintings and figures of Ganesh. Toran Pol, one of the main entry gates to Moti Chowk (large courtyard) in the world-famous City Palace of Udaipur, has a striking Ganesh in a sitting pose at its triangular peak, along with swastikas and an OM symbol below him. Perhaps better known is the Ganesh Pol at Amer Palace in Jaipur where Ganesh is painted in the front-center of the gateway, seated on a platform in yoga style. It is a hoary Vedic custom to present Ganesha and/or a pair of stone elephants at the entrance of all major buildings, including temples and palaces.
Since Lord Ganesha is revered as the "remover of obstacles" in Hinduism, his Roman temple was open for worship in times of war or turmoil, and closed during periods of tranquility. In other words, the Romans believed that the temple of Janus only needed to be open when there were serious obstacles, i.e. war or conflict.
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