Double Sided Lucky Ganesha -
Product Code - A1120
Product Code - A1120
Rs.990/-
Double Sided Lucky Ganesha in Telugu డబుల్ సైడెడ్ లక్కీ గణేశ
Double Side Lucky Ganesha in Tamil இருபக்க அதிர்ஷ்ட பிள்ளையார்
Om Sri Mahaganathipathaye Namah
Vakrathunda Mahakayam Suryakoti Samaprabha
Nirvignam Kurumedeva Sarvakaryeshu Sarvada
As we are all aware that Lord Ganesha is known for removing all obstacles in our lives and blesses us with HIS choicest blessings whenever we pray to HIM with sincerity and devotion.
At this juncture it is our sincere endeavor to bring to you the blessings of Lord Ganesha through one of our admired piece of art, “The LUCKY GANESHA.”
The little sculpture of Lucky GANEHSA, about 1.5” is made out of Corning glass beautifully hand crafted by specially trained craftsmen. Each piece of LUCKY GANESHA is subject to Puja to charge it with positive divine energy before it is ready for use.
Normally most Ganesha’s the trunk is turned to the right. The Lucky Ganesha with the trunk turning to the left is considered to correct all Vastu doshas.
The double sided LUCKY GANESHA is best suited to be placed in puja room and on every CAR DASH BOARD for Success and Happiness.
There is no special pooja required for Lucky Ganessha, on Fridays an agarbathi can be shown.
Since it is made out of glass there is tendency to break and even if it breaks it is only for the good, if any drishti is there it will go off (Siri Ganesha has got a very good vibration in people who believe in it, lot of good things have happened).
Ganesha – Elephant-Headed God Sri Ganesh
Ganesh is the Ever-Blissful, elephant-headed deva (god) who is lovingly worshipped and revered by millions of people worldwide. Although Ganesh is known through the Hindu religion, Shri Ganesh transcends religion and is loved by many non-Hindu’s. Ganapati is worshipped by both Vaishnavas (devotees of Vishnu) and Saivites (devotees of Shiva). It is for this Transcendent, All-Embracing, Auspicious Lord of the Ganas, Sri Ganesh, for whom this site is dedicated. Enjoy and much Peace to you!
The son of Shiva and Parvati, Shree Ganesh, is the God of Good Luck and Auspiciousness and is the Dispeller of problems and obstacles. He is also worshipped as the God of wisdom, wealth, health, celibacy, fertility and happiness. In the panchayatana puja, Ganesh is glorified as one of the five prime Hindu deities (Brahma, Vishnu, Shiva, Shakti and Ganesha) whose worship confers immortality and liberation.
Ganesh Chaturthi – Vinayaka Chaturthi - Devotees of Ganesha are known as ‘Ganapatyas’, and Ganesh Chaturthi (also known as Ganesha Chaturthi or Vinayaka Chaturthi) is the holy festival that celebrates His Glory through India by all Hindu’s. Vinayak Chaturthi is celebrated on the 4th day of the bright half of Bhadrapad. This festival is honored as the birthday of Sri Ganesh. Ganapati transcends all sects and views and is equally worshipped by both Saivites and Vaishnavas because Ganesh is viewed as an Incarnation of both Vishnu and Shiva. Ganesha is even worshipped and revered among Buddhists and Jains.
Mystery of Ganesh - Once there was neither Being nor Nonbeing. There was neither Form nor Formlessness. Then, That which was hidden within Itself, That One, stirring, emerging, coming to be. From Itself to the Formless to the Form. Immutable, changeless, everywhere, pervading all, yet not physically such is the mystery. Suddenly an ancient note piercing the darkness. A song whose birth stirred the slumbering, summoning an eternal mystery to awaken. Emerging from deep within the hidden cave, the human heart, Ganesha’s truth flows from the icecave of the infinite. Housed within our gated dwelling, Ganesha the guest loved and longed for. That which has no form, can take a form. That which has no name, can take a name. From the formless to form, and back again and again and again. The wheel of time gathers speed, and somewhere between fact and legend, vision and myth, we ask, “Who is Ganesha? There are those who lovingly sing his praises. There are those who worship and adore him. There are those who represent him in art and literature. There are those who tell stories about him. There are those who chant his glory. There are those who seek his darshana. There are those who invoke and invite his blessings. The thinkers think, the scholars scholasticise, the devotees worship. But what is Ganesha’s hidden meaning? There is a long and hoary lineage of seekers, scholars, sycophants, who have attempted to plumb the mysteries of the elephant-headed one. Anthropologists, Artists, religious Aspirants, Historians, Indologists, Linguists, Philosophers, Religionists, Sociologists, and contemporary devotees of Ganesha are but some of the most recent representatives of this enquiry. Each group has attempted, and continues to attempt, to make sense of this enormously popular deity. Seemingly incongruous facts simultaneously coincide. Ganesha embodies: An enormous popularity that transcends sectarian and territorial limits; a seemingly rather late, yet dramatic, full-blown appearance into a religious pantheon; a confusing, conflicting, yet interesting and intriguing mythology; and an elephant’s head atop a plump human body! To further complicate the picture is the fact that the physical representation of Ganesha offers more iconographic variations than does that of any other Indian deity. Couple this with the fact that Ganesha literature is rife with a seemingly endless number of stories on an unexpectedly limited number of themes. O Ganesha, who are you really? Tell the others what you want, tell them anything, but between you and me, who are you really?
What Ganesh Stands For - Ganesha has four arms which symbolize his status as the universal ruler and establish his power over the four categories of beings – those who can live only in water, those who can live in water and on earth, those who can live only on earth and those who can fly in air. Significance of four : It was god Ganesha who instituted the four castes and the four Vedas. One hymn in Sri Bhagavat Tattva , says: ‘In heaven, this child will establish the predominance over gods, on earth over men, in the nether world over anti-gods and serpents. He causes the four principles of the elements to move and is therefore four armed. In one hand, he holds a shell, in another a discus, in the third a club or a sweet and in the fourth a lotus.’ Thus, all aspects of Ganesh’s form are filled with symbolic meanings.
The Vehicle of Ganesh - Sathya Sai Baba said : “The mouse is the vehicle of Vinayaka. What is the inner significance of the mouse? The mouse has a keen sense of smell. The mouse is a symbol of the attachment to worldly tendencies (vaasanas). It is well known that if you want to catch a mouse, you place a strong-smelling edible inside the mouse-trap. The mouse also symbolizes the darkness of night. The mouse can see well in the dark. As Vinayaka’s vehicle the mouse signifies an object that leads man from darkness to light. The Vinayaka-principle, thus, means that which removes all the bad qualities, practices and thoughts in men and inculcates good qualities, good conduct and good thoughts.”
What does “Vinayaka” Mean - Sathya Sai Baba said : “Who is Vinayaka? In the sloka beginning with the words, Suklaambaradharam Vishnum, only the form of the deity is described. But there is another inner meaning for the name “Vinayaka”. Suklaambaradharam means one who is clad in white. Vishnum means he is all-pervading. Sasivarnam means his complexion is grey like that of ash. Chathurbhujam means he has four arms. Prasannavadanam means he has always a pleasing mien. Sarvavighnopasaanthaye means for the removal of all obstacles. Dhyaayeth, meditate (on him). Vinayaka is the deity who removes all bad qualities, instills good qualities and confers peace on the devotee who meditates on him Vinayaka means that he is totally master of himself. He has no master above him. He does not depend on anyone. He is also called Ganapathi. This term means he is the lord of the ganas – a class of divine entities. This term also means that he is the master of the intellect and discriminating power in man. He possesses great intelligence and knowledge. Such knowledge issues from a pure and sacred mind.”
Ganesh’s Intellect - Sathya Sai Baba said : “What is the esoteric meaning of Ganesha’s elephant head? The elephant is noted for its acute intelligence. Ganesha’s elephant head symbolizes sharpness of intellect and the highest power of discrimination. Because of the purity of his intellect, Vinayaka is also called the giver of buddhi (intellect). He responds to the prayers of devotees and hence is known as Siddhi Vinayaka (the Vinayaka who grants what is sought). In a forest, when an elephant moves through the jungle, it clears the way for others to follow. Likewise, by invoking Ganesha, the path is cleared for our undertakings. The elephant’s foot is so large that when it moves it can stamp out the footprints of any other animal. Here, again, the symbolic meaning is that all obstacles in the way will be removed when Ganesha is accorded the place of honor. The journey of life is made smoother and happier by the grace of Ganesha. When an elephant moves among the bushes, its path turns into a regular passage for all animals. It is thus a pacesetter for all animals.”
Similarly, Ganesha clears the path leading to Wisdom, Intellect, and Inner Peace.
Two Shaktis Of Ganesh - Ganesha has two Siddhis (symbolically represented as wives or consorts): Siddhi (success) and Riddhi (prosperity). Wherever there is Ganesh, there is Success and Prosperity~ Wherever there is Success and Prosperity~ there is Sri Ganesh.
Ganesh as the Scribe - Ganesha is accepted as the god of learning and the Patron Deity of letters and scriptures. Ganesh’s tusk is used by him in the writing of the epic, the Mahabharata. When Vyasa wanted to compose the Mahabharata, Brahma suggested Ganesha be his scribe. Vyasa agreed and Ganesha brought his broken tusk as a writing quill. Vyasa dictated the entire epic in verse. Ganesha recorded every word for Gods and men alike.
32 Forms of Ganesha in Agamic Scriptures
1: Baala Ganapati – Red colored image of a four armed Ganesha.
2: Dharuna Vinayakar: Red colored image of an eight armed Ganesha.
3: Bhakti Vinayakar: Grey colored image of four armed Ganesh.
4: Veera Vinayakar: Red colored image of 16 armed Ganapati.
5: Shakti Ganapati: Red colored image of 4 armed Ganapati, seated with his consort to his left.
6: Dwija Vinayakar: White colored image of four faced Ganesha with 4 arms.
7: Siddhi Vinayakar: Golden colored image of four armed Ganapati.
8: Ucchishta Ganapati: Blue colored image of six armed Ganapati with his consort.
9: Vigna Vinayakar: Gold colored image of eight armed Ganapati.
10: Kshipra Ganapati: Red colored image of four armed Ganesha bearing a ratna kumbham.
11: Heramba Vinayakar: Black colored image of ten armed Ganesha with five faces, seated on a lion.
12: Lakshmi Vinayakar: White colored image of eight armed Ganesh with two consorts.
13: Makara Vinayakar: Red colored image of Ganesha with a third eye, 10 arms, bearing a ratna kumbham, with his consort.
14: Vijaya Vinayakar: Red colored image of 4 armed Ganesha on the mooshika mount.
15: Nritta Vinayakar: Gold colored image of Ganesh in a dance posture.
16: Urdhva Vinayakar: Gold colored image of six armed Ganesha with his consort.
17: Ekakshara Vinayakar: Red colored image of Ganesha with a third eye, seated on a lotus.
18: Vara Vinayakar: Red colored image of 4 armed Vinayaka with a third eye.
19: Dhryakshara Vinayaka: Gold colored image of four armed Vinayakar, decorated with Chaamara ear rings.
20: Kshipraprasaada Vinayakar: Red colored image of six armed Ganapati.
21: Haridra Vinayakar: Yellow colored image of four armed Ganapati.
22: Ekadhanta Vinayakar: Blue colored image of four armed Ganapati.
23: Srishti Vinayakar: Red colored image of four armed Ganapati seated on his mooshika mount.
24: Utthanda Vinayakar: Red colored image of 10 armed Ganesha with his consort to his left.
25: Ranamochana Vinayaka: Crystal image of four armed Vinayakar.
26: Dundi Vinayakar: Four armed image of Ganesh bearing a tusk, a garland, an axe and a gem studded vessel.
27: Dwimukha Vinayakar: Red colored image of Ganesha with two faces and four arms.
28: Trimukha Vinayakar: Red colored image of Ganesha with three faces and six arms seated on a golden lotus.
29: Simha Vinayakar: White colored image of Ganesh with eight arms (with an arm bearing a lions face).
30: Yoga Vinayakar: Red colored image of Ganesha in the posture of a yogi.
31: Durga Vinayakar: Red colored image of Ganesha with eight arms.
32: Sankatahara Vinayakar: Red colored image of four armed Ganesha clothed in blue, seated on a lotus peetham with his consort to his left.
2: Dharuna Vinayakar: Red colored image of an eight armed Ganesha.
3: Bhakti Vinayakar: Grey colored image of four armed Ganesh.
4: Veera Vinayakar: Red colored image of 16 armed Ganapati.
5: Shakti Ganapati: Red colored image of 4 armed Ganapati, seated with his consort to his left.
6: Dwija Vinayakar: White colored image of four faced Ganesha with 4 arms.
7: Siddhi Vinayakar: Golden colored image of four armed Ganapati.
8: Ucchishta Ganapati: Blue colored image of six armed Ganapati with his consort.
9: Vigna Vinayakar: Gold colored image of eight armed Ganapati.
10: Kshipra Ganapati: Red colored image of four armed Ganesha bearing a ratna kumbham.
11: Heramba Vinayakar: Black colored image of ten armed Ganesha with five faces, seated on a lion.
12: Lakshmi Vinayakar: White colored image of eight armed Ganesh with two consorts.
13: Makara Vinayakar: Red colored image of Ganesha with a third eye, 10 arms, bearing a ratna kumbham, with his consort.
14: Vijaya Vinayakar: Red colored image of 4 armed Ganesha on the mooshika mount.
15: Nritta Vinayakar: Gold colored image of Ganesh in a dance posture.
16: Urdhva Vinayakar: Gold colored image of six armed Ganesha with his consort.
17: Ekakshara Vinayakar: Red colored image of Ganesha with a third eye, seated on a lotus.
18: Vara Vinayakar: Red colored image of 4 armed Vinayaka with a third eye.
19: Dhryakshara Vinayaka: Gold colored image of four armed Vinayakar, decorated with Chaamara ear rings.
20: Kshipraprasaada Vinayakar: Red colored image of six armed Ganapati.
21: Haridra Vinayakar: Yellow colored image of four armed Ganapati.
22: Ekadhanta Vinayakar: Blue colored image of four armed Ganapati.
23: Srishti Vinayakar: Red colored image of four armed Ganapati seated on his mooshika mount.
24: Utthanda Vinayakar: Red colored image of 10 armed Ganesha with his consort to his left.
25: Ranamochana Vinayaka: Crystal image of four armed Vinayakar.
26: Dundi Vinayakar: Four armed image of Ganesh bearing a tusk, a garland, an axe and a gem studded vessel.
27: Dwimukha Vinayakar: Red colored image of Ganesha with two faces and four arms.
28: Trimukha Vinayakar: Red colored image of Ganesha with three faces and six arms seated on a golden lotus.
29: Simha Vinayakar: White colored image of Ganesh with eight arms (with an arm bearing a lions face).
30: Yoga Vinayakar: Red colored image of Ganesha in the posture of a yogi.
31: Durga Vinayakar: Red colored image of Ganesha with eight arms.
32: Sankatahara Vinayakar: Red colored image of four armed Ganesha clothed in blue, seated on a lotus peetham with his consort to his left.
Ganesha (Sanskrit: गणेश; also spelled Ganesa and Ganesh, also known as Ganapati (Sanskrit: गणपति), Vinayaka (Sanskrit: विनायक), and Pillaiyar (Tamil: பிள்ளையார்), is one of the best-known and most widely worshipped deities in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many other attributes, Ganesha's elephant head makes him particularly easy to identify. Ganesha is widely revered as the Remover of Obstacles and more generally as Lord of Beginnings and Lord of Obstacles (Vighnesha (Sanskrit: विघ्नेश), Vighneshvara (Sanskrit: विघ्नेश्वर) patron of arts and sciences, and the deva of intellect and wisdom. He is honoured at the beginning of rituals and ceremonies and invoked as Patron of Letters during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in clearly recognizable form in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. His popularity rose quickly, and he was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya (Sanskrit: गाणपत्य), who identified Ganesha as the supreme deity, arose during this period. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
Ganesha has many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri (Sanskrit: श्री; also spelled Sri or Shree) is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana (Sanskrit: गण), meaning a group, multitude, or categorical system and isha (Sanskrit: ईश), meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati (Sanskrit: गणपति), a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vignesha), Dvaimātura (one who has two mothers), 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).
Vinayaka (Sanskrit: विनायक) is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha (Sanskrit: विघ्नेश) and Vighneshvara (Sanskrit: विघ्नेश्वर) (Lord of Obstacles) refers to his primary function in Hindu mythology as the master and remover of obstacles (vighna). A prominent name for Ganesha in the Tamil language is Pille (Tamil: பிள்ளை) or Pillaiyar (பிள்ளையார்) (Little Child). A. K. Narain differentiates these terms by saying that pille 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". 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".
In the Burmese language, Ganesha is known as Maha Peinne, pronounced: [məhà pèiɴné]), derived from Pali Mahā Wināyaka. Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, in most stories he acquires the head later. 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. Details of the battle and where the replacement head came from vary according to different sources. In another story, when Ganesha was born, his mother, Parvati, showed off her new baby to the other gods. Unfortunately, the god Shani (Saturn), who is said to have the evil eye, looked at him, causing the baby's head to be burned to ashes. The god Vishnu came to the rescue and replaced the missing head with that of an elephant. 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.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other having been broken off. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). 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). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts.[ His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead there may be a third eye or the Shaivite sectarian mark, which consists of three horizontal lines.[ The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra "Moon on the Forehead" includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. 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). Ekadanta-Ganapati is visualized as blue during meditation in that form.
The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
Ganesha is Vighneshvara or Vighnaraja or "Vighnaharta"(marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character, as Robert Brown explains, "even after the Purāṇic Gaṇeśa is well-defined, in art Gaṇeśa remained predominantly important for his dual role as creator and remover of obstacles, thus having both a negative and a positive aspect".
Buddhi (Knowledge) - Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
Aum - Ganesha is identified with the Hindu mantra Aum (Tamil:ஓம், Sanskrit:ॐ) also spelled Om). The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows: (O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this). Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
First chakra - According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (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. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. He may have been created by Shiva, or by Parvati, or by Shiva and Parvati, or appeared mysteriously and was discovered by Shiva and Parvati.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. 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.
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
An annual festival honours Ganesha for ten days, starting on Ganesh Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples. This festival is also most popular in Goa and is celebrated for 1-1/2 day, 5 days and 7 days
Temples - Ganesh is the first god for getting puja in all yagas. In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (Sanskrit: अष्टविनायक; aṣṭavināyaka; lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram; Karpaka Vinayakar Temple in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) tree, in a niche in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western.
First appearance
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows : What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the 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. In my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
Possible influences - Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way: In this search for a historical origin for Gaņeśa, some have suggested precise locations outside the 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 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 Purāṇic literature and the iconography of Gaņeśa.
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 yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering".Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. 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.
The title "Leader of the group" (Sanskrit: 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. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
Puranic period - Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that : Above all, one cannot help being struck by the fact that the numerous stories surrounding 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. The 9th century philosopher Śaṅkarācārya popularized the "worship of the five forms" (pañcāyatana pūjā) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devī, and Sūrya. Śaṅkarācārya instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
Scriptures - Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana. The date of composition for the Ganesha Purana and the Mudgala Purana—and their dating relative to one another—has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
Beyond India and Hinduism - Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of many Hindu deities who reached foreign lands as a result. Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. The period from approximately the 10th century onwards was marked by the development of new networks of exchange, the formation of trade guilds, and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to the Malay Archipelago and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the Malay Archipelago in great numbers, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The gradual spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Even today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success. Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. A few examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is very popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla,(Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806. The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
About Lord Ganesha in Indian Telugu Language :
About Lord Ganesha in Indian Telugu Language :
వినాయకుడు
దేవనాగరి : गणेश
తెలుగు: వినాయకుడు
ఆయుధం: దంతం, అంకుశం, పాశం
శుక్లాంబర ధరం విష్ణుం శశివర్ణం చతుర్భుజం
ప్రసన్న వదనం ధ్యాయేత్ సర్వ విఘ్నోప శాంతయే
తెల్లని వస్త్రాలు ధరించినవాడూ, అంతటా వ్యాపించియున్నవాడూ, చంద్రునిలా తెల్లనైన శరీరవర్ణం గలవాడూ, నాలుగు చేతులు గలవాడూ, అనుగ్రహదృష్టితోడి ముఖంగలవాడూ అయిన వానిని (వినాయకుని) అన్ని అడ్డంకులు నివారించుటకై ధ్యానించవలెను (ధ్యానిస్తున్నాను)
అగజానన పద్మార్కం గజాననమ్ అహర్నిశం
అనేకదమ్ తమ్ భక్తానాం ఏకదంతమ్ ఉపాస్మహే
అగజ)పార్వతి ముఖపద్మమును వెలిగించువాడు, ఏనుగు ముఖము గలవాడు, అన్నివేళలా ఎన్నోవిధములైసంపదలను తన భక్తులకు ఇచ్చువాడు అయిన ఏకదంతుని స్మరిస్తున్నాను.
ఓం గణానాం త్వా గణపతిం హవామహే కవిం కవీనాముపమశ్రవస్తమం
జ్యేష్ఠరాజం బ్రహ్మణాం బ్రహ్మణస్పత ఆ నః శ్రుణ్వన్నూతిభిః సీద సాదనం
హిందూ సంప్రదాయంలో వినాయకుడు సకల దేవతాగణములకు అధిపతి (గణనాయకుడు, గణపతి, గణేశుడు). అన్ని అడ్డంకులు తొలగించు వాడు (విఘ్నేశ్వరుడు), అన్నికార్యములకూ, పూజలకూ ప్రధమముగా పూజింపవలసినవాడు. విజయానికీ, చదువులకూ, జ్ఙానానికీ దిక్కైన దేవుడు. హిందూ సంప్రదాయములో శైవములోను, వైష్ణవములోను, అన్ని ప్రాంతములంలో, అన్ని ఆచారములంలో వినాయకుని ప్రార్ధన, పూజ సామాన్యము. తెలుగువారి పండుగలలో వినాయకచవితి ముఖ్యమైన పండుగ. పంచాయతనపూజా విధానంలో వినాయకుని పూజకూడా ఒకటి (వినాయకుడు, శివుడు, శక్తి, విష్ణువు, సూర్యుడు - వీరి పూజా సంప్రదాయాలు పంచాయతన విధానములు)వినాయకుడు శివపార్వతుల పెద్దకొడుకు (కుమారస్వామి వారి రెండవ కొడుకు). వినాయకుని ఆకారం హిందూమతంలో విశిష్టమైనది. ఏనుగు ముఖము, పెద్ద బొజ్జ, పెద్ద చెవులు, ఒకే దంతము, ఎలుక వాహనము, పొట్టకు పాము కట్టు , నాలుగు చేతులు - ఒక చేత పాశము, మరొకచేత అంకుశం, ఒక చేత ఘంటము లేదా లడ్డూ, మరొక అభయహస్తము - ఇది నమ్మినవారికి సర్వ మంగళ ప్రదము. హిందూ సంప్రదాయము తో పరిచయము లేనివారికి ఆశ్చర్యకరము. భారతదేశంలో వినాయకుడిని గణేశుడు, గణపతి, విఘ్నేశ్వరుడు, గణనాధుడు, పిల్లైయార్ వంటి అనేక నామాలతో అర్చిస్తారు. హిందూమతంలో పూజింపబడే అనేక దేవతామూర్తులలో దాధాపు అన్ని సంప్రదాయాలలోను అన్ని ప్రాంతాలలోను బహుళంగా అర్చింపబడే దేవుడు వినాయకుడు. శైవం, వైష్ణవం, శాక్తేయం, జైనం, బౌద్ధంలలోను, భారతదేశం వెలుపల చీనా, నేపాల్, టిబెట్, జపాన్, ఇండొనీడియా వంటి దేశాలలోను కూడా వినాయకుడి అర్చన ఉంది.
వినాయకునికి అనేక నామములు, పేర్లు ఉన్నాయి. కాని అంతటా అత్యంత ప్రస్ఫుటంగా గుర్తింపబడే లక్షణాలు - ఏనుగు ముఖం, ఎలుక వాహనం అడ్డంకులు తొలగించే గుణం, విద్యా, బుద్ధి ప్రదాత. ధార్మిక, లౌకిక కార్యక్రమాల (వ్రతము, యజ్ఞము, పరీక్షలు వ్రాయడం, ఇల్లు కట్టడం వంటివి) ఆరంభంలో వినాయకుడిని స్తుతించే లేదా పూజించే ఆనవాయితీ సర్వసాధారణం.
డబుల్ లక్కీ గణేష్
కుడివైపుకు తొండం వంగి ఉన్న గణేష్ ‘లక్కీ’ అన్నది ఉవాచ. స్వచ్ఛమైన ‘బోరోసిల్ ట్రాన్సపెరంట్ ప్యూర్ గ్లాస్’తో రూపొందింపబడిన లక్కీగణేష్ కొలువైవున్న చోట దుష్టత్వం తొలగి స్వచ్ఛత, పరిపూర్ణత, ఆనందం కలుగుతాయి.
మన పెద్దలు ‘ముందు వెనుక చూసి నడచుకోవాలి’ అంటారు. ఆ విధంగా డబుల్ సైడ్ లక్కీ గణేష్ కొలువుదీరి వున్నందున, ముందు వెనుకా ఆలోచించి కార్యం చేపట్టే శక్తియుక్తులను మనకు ప్రసాదించి కార్యసాఫల్యతకు సహకారమందిస్తాడు.
‘డబుల్ లక్కీ గణేష్’ను ఇంట్లోగానీ, వ్యాపారస్థలంలోగానీ పూజయందుంచి, బెల్లం నైవేద్యం పెట్టి “శుక్లాం భరదరం...” అంటూ స్తుతిస్తూ గరికతో పూజిస్తే చేపట్టిన కార్యాల్లో లక్కు మీ స్వంతమైనట్లే.
శుక్లాం బరధరం - తెల్లని వస్త్రములతో
విష్ణుం - అంతటా వ్యాపించిన వాడై
శశివర్ణం - చంద్రుని వంటి ప్రకాశం కలవాడై
చతుర్భుజం - నాలుగు భుజములు(చేతులు) కలవాడై
ప్రసన్న వదనం - ప్రసన్నమైనటువంటి ముఖముకలవాడిని
ధ్యాయేత్సర్వవిఘ్నోపశాంతయే – సర్వ విఘ్నములు తొలగేందుకు ధ్యానించుచున్నాము
అగజానన పద్మార్కం - నాయకత్వం లేని మాకు
గజానన మహర్నిశం - నాయకుడివై మమ్ములను నడిపించు
అనేకదం తం బక్తానం - కొన్ని కోట్ల జీవరాశులు భక్తితో
ఏకదంత ముపాస్మహే - ఏక దంతుడవైన నిన్ను ఉపాసన చేయుచున్నాము
విష్ణుం - అంతటా వ్యాపించిన వాడై
శశివర్ణం - చంద్రుని వంటి ప్రకాశం కలవాడై
చతుర్భుజం - నాలుగు భుజములు(చేతులు) కలవాడై
ప్రసన్న వదనం - ప్రసన్నమైనటువంటి ముఖముకలవాడిని
ధ్యాయేత్సర్వవిఘ్నోపశాంతయే – సర్వ విఘ్నములు తొలగేందుకు ధ్యానించుచున్నాము
అగజానన పద్మార్కం - నాయకత్వం లేని మాకు
గజానన మహర్నిశం - నాయకుడివై మమ్ములను నడిపించు
అనేకదం తం బక్తానం - కొన్ని కోట్ల జీవరాశులు భక్తితో
ఏకదంత ముపాస్మహే - ఏక దంతుడవైన నిన్ను ఉపాసన చేయుచున్నాము
పై విధంగా గరికతో లక్కీ గణపతిని పూజిస్తే కలిగే లాభాలు
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భూగృహమూలక లాభాలు కలుగుతాయి. సంపద పెరుగుతుంది.
ఒడిదుడుకులుండవు, శత్రుభయముండదు, క్షేమం, లాభం కలుగుతుంది.
విఘ్నాలు తొలగి ప్రశాంత జీవితం ఏర్పడుతుంది.
కామోద్రేకంతో చేసిన తప్పులు వలన కలిగే దోషాలు నిర్మూలింపబడతాయి.
జ్ఞానం కలుగుతుంది, తెలివితేటలు పెరుగుతాయి.
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