CHAPTER II

GANAPATI RELATED TO MUSIC

AND OTHER ARTS
 Lord Vinayaka is the·supreme reality. He is eternal, generous

and blesses all his devotees with joy and glory. He is born out of the very

heart of the Lord of the Universal Mother. He is the most auspicious God,

the very embodiment of unalloyed ·�piritual experience and the symbol of

success whose blessings have to be invoked for success in all enterprises.

All know well that it was He who took down to the dictation of sage Veda

Vyasa's Mahabharata, the most excellent book ever written in the Universe.

Veda Vyasa himself is revered as Lord Visnu himself. It is for this reason

that Lord Ganesa is known as Lekhakiigrw:zi< 1 > the first and foremost one

among writers.

Ganapati 1s worshipped alike by the astronomers,

mathematicians, writers, and the musicians with ardent fervor. Lord Ganesa

inflamed the imaginations of poets, panegyrists, hymnists and authors of

the Puranas.

All over the world just before the children are initiated into

learning, Lord Ganapati is invoked and of course, He is associated with

Saraswathy, the Goddess of learning. In Kerala there is a tradition followed

1. 'Ganesa, the enchanter of the three world's' Paul Martin Dubost-P. 356

22
till date to chant a mant,;a right before teaching children, it is explained

below: "Hari Srf Ganapataye namaha, avighna mastu".

A quantity of raw rice is kept in a bell metal vessel, and a

lamp is kept burning in front of it. Two measures of consisting of rice and

paddy respectively are also placed.each on either side of this vessel. The

boy scarcely three or four years old is seated in front of the vessel and the

Guru commences the auspicious functions. He takes a coin and writes on

the boy's tongue the divine invocation viz, Hari-srf-ga-na-pa-ta-ye-na-

maha. He then catches hold of the boy's index finger and makes him write

the same thing on the rice also and now the initiation to learning is complete.

In the letter behind mantras there is magnificent power of divinity. According

to 'Katapayadi sankhya system' all letters in Sanskrit are permeated with

unknown power. One is Hari which denotes nun1ber 82, when that is re-

read conversely we get 28. Thus Hari = 28, ; srf' = 2, 'ga' = 3, 'na' = 5,

'pa' = 1, 'ta' = 6, 'ye' = 1, 'na' = 0, 'ma' = 5, thus totaling 51 < 1 >. The

Saraswathi mantra "Anpattonnak�ara{i" (in Malayalam) is very popular.

It may well be seen that Ganapati is the supreme God of knowledge,

1. 'Desanaadam' -(Malayalam Newspaper)

23
wisdom and remover of obstacles.· In the slokas < 1 > Ganapati is drawn as

one with three eyes, the third being wisdom <2 > vertically in the forehead <3>

between the eyebrows <4>. The fact that He has three eyes is clear from the

expression 'Tapoyoginiim Rudra rupam trinetram' in the 'Ganesa -

Bhujanga Stotram' and the expression 'Bhruyugam tu

Mahodaranayane' in the Ganesa Kavacham. The 'Three eyes aspect'

is further revealed in His form a·s 'K�ip_ra p_rasiida Ganapati', 'Vara

Ganapati', and Mahli Ganapati. Ganesa is widely known as 'Vedak�a.'<5>

the very eye of the Veda, one of the names of Ganesa.

Presiding Diety of Miiladhara

The tantric involvement 1n the ideology of Ganapati

symbolizing Kundalini energy in all beings is discernible. It is well known

that the Devi, the matrix of the ent.ire Universe, appears as Kuf!<f,alini in

the microcosm. There are six psychic centers called cakras,

comprehending not only the details of individual's constitution but also

1. 'Sri Ganesa bhuj anga stotram', (Tapoyoginam Rudrarupam trinetram)

2. 'Sri Ganesa kavacham - (Bhruyugam tu mahodaraha nayane)
3. 'Handbook of Hindu Gods, Goddesses and saints', by Daniel Smith, M. Narasimhacari
4. 'Compendium on Ganesa' S.K. Ramacandra Rao, Page - 242, 248, 249
5. 'Ganesa the enchanter of the three world's' Paul Martin Dubost-P. 356
24
the basic components of all speech. The centres also correspond with six

deities.

Miiliidhiira (the four petalled lotus) is located in the gultya-

sthiina and presided over by Ganapati of the cakras, the seat of the

..
Kundalini ..
Sakti is guarded by Ganesa. Other cakras are Sviidhistiina

(six petals) Manipiira (ten petals), Aniihata (twelve petals). Beyond the

. are the Sahasriira,

reach of these six lotuses or cakriis . the thousand petalled
lotus where Siva as pure consciousness - bliss abides, transcendentally.

It is in Miiliidhiira that the source of body, mind and spirit is hidden

. . within which is
. which is in triangle (trikiina)
within the Miiliidhiira cakra

the seed of desire (kiimabfja). It is integral to all manifestation,

transformation and dissolution. This seed occurs in the form of self

manifest-linga, which is the aspect of pure and undifferentiated

consciousness (cit-kala). Entwining this linga are three and a half circles.

.. ..
It is the bright Kundalini, the energy. The coiled Kundalini is the power

that creates the world and illuminate the Universe. Ganapati is identified

..
with Kundalini, . tunda)
His curved trunk (vakra . . suggests the coils and
the snake around His belly depicts serpentine nature of the energy.

25
 One day Lord Siva and Parvati arrived at Citra Ma11t{apam<1>

in Kailas which is the source of all Mulamantram. Their very presence

set in motion, waves of all mant,:as as if they became alive. A sound came

which began increasing. That is the real form of Varada Ganapati ; that

sound is called bindu, that road is called niidam. From that bindu and

nadam there born three glorious letters Akiira, Ukiira and Makara. These

three mingle and merge to form A UM. This establishes that Ganapati is the

embodiment of Aum.

There is a special importance in the sculpture of Ganapati

being designed after the auspicious letter; 'Aum '. The side view gives the

shape of an elephant's face<2>. In whatever shape the figure strikes, it has

resemblance to the basic Aum. The first sound 'Aum' which is the origin

of all niidam, Aum is God himself as well as Lord Ganesa. It is clear that

Ganesa is the supreme God for all beings in the Universe. He is

'Niidapr_ati�(ita' and 'Sm:vanetradhiviisa' simultaneously. The form of

'Nadaprati�ta Ganapati'<3> is the preserver and protector of music and

other fine arts.

1. 'Sakti Vikatan', 19-8-2005

2. 'Ganapati' -Roynagrewal, translated byUrmilaUnni. P. 87
3. SrIMahaganapati Puranam, M. S. Partha sarathi. P. 371
26
 Yoga Sast,:a exactly describes Ganapati as Aum. He is the

source of the hymns of the Rg, Yajur and Samaveda. He is capable of

weakening the power of our hostile elements, He bestows supreme bliss

on all those who depends upon Him, and He gives male progeny as well.

Iconographically He is represented as the two signs

'svastika' mark and the 'pra1!ava'-letter (1> . In the first case it is not only

well - being (sa+as+ti) but also good luck. Spiritual n1essages can be

derived from it. In the second case, the depiction of Ganapati 's trunk is

ubiquitous. It curves towards left before bending abruptly to his right. He,

as a narrator, is present in the letter 'Ga' and is the nectar of Prose and

Verse, constantly enjoying reciting poems, and engaged in secret practices.

Above all, He is "Gurorguru" _ Master of Masters and supports the six

cak,;as in the Muliidhara, granting wealth and moksha.

Further, He is the creator of phonetic science of the

Siimaveda (Nidiina sutra). He is Yoga, the Purlinlis, the revelation, the

tradition and all allied auxiliary sciences of the Veda. He is the Music,

Poetry, Drama embracing Hindu, Jain and Buddhist philosophy. That is

1. 'Handbook ofHindu Goads, Goddesses and saints', by Daniel Smith, M. Narasimhacari

27
why all composers of Carnatic music invoke the blessings of Lord

Ganapati and sings in praise of Him. Naturally, He is the presiding deity of

. .
Miiliidhiira, and Omkiira Svariipa or Priinaviikiira.

Further, all things are possible easily, if we chant devoutly

. .
before initiating one into the art of learning, or anything the Sodasanlima,

'Sumukhascaika dantosca ------------ Skandapiir_vajaha', things will

move smoothly without obstacles or hindrance. Likewise, if we chant the

sorrow ·removing mantra 'Pra(zamya Sirasli devam' -the beginning of

"Sanka{anlisaka Ganesli!j(akam", wealth will come to the poor, education

will come to the ignorant, and peopl'e without children will have offsprings.

In the popular 'Ganesa Sahas,;anlinia', Ganesa is shown

as the presiding deity of Veda, Sadiiclira, Mimlimsa, Nyiiyavistlira,

.
Ayurveda, . .
Dhanurveda and Kiivyunlitflka. At Udayarpalayam, in the

district of Tiruchirapalli, a long avenue leads to the main temple which is

dedicated to the Lord Siva. There is a small shrine near the entrance, to the

left, which houses a stone image of Vinayaka. This has a very singular,

28
unique aspect that of the Master archer(l>. The Udayarpalayam Ganesa of

the Vijayanagar style is that of the Master of archery. Ganesa carries the

bow in his form as V"ira Ganapati. In almost all devotional slokas He is

eulogized as a great lover of Siimaveda hymns, which are purely musical.

The following words attributed to lord Ganapati in the

.
'Sahasraniima' distinctly shows His deep attachment to music:

Niidiiya, Niidamadhya pratisfita, NiidiJniidabhinna biilakaha,

. .
Omkiira, Omkiiraviicya, Gadya giinap,:iya, Gftagfrviina

pu�vajaha etc. Similarly the expressions,

. .. .
Dindimapriyiiyanamaha, .
Dakkaniniida muditiiya namaha,

KambukalJ<fiiyanamaha Kambudhariiyanamaha,

.
Vidyapradiiyanamaha, .
Saptasvariisrayiiyanamaha,

. .
Sodasasvaranziitrikiiyanamaha. Thus besides being worshipped as the

deity of music, He is infact a deity of all arts.

There is another classic illustration,(2) on the southern wall

of the Gangaikonda cholapuram temple where the best dancing pose of

1, 2. 'Ganesa' the enhanter of the three worlds, Paul Martin Dubost.

29
Ganesa is seen. He dances with ease and grace, freely, flanked by Surya,

Chandra and the Ganeas who support Him on the musical instruments like

Mridanga, Cymbals and the Cone/, and Ganesa's joy knew no bounds,

and this is fully shared by his devotees also. Many temples have Ganesa,

shown as having profound relationship with music.

Another interesting aspect is that in Bhavani in Periyar

District, Tamil Nadu, in a temple of Ganesa, He is seen holding Veena

like goddess Saraswathi. In the district of Pudukkottai (Tamilnadu), in

Kudumiamalai there is a rock near" the cave of Melaikovil. There, a four

armed Ganesa is seated, with an inscription on music.

As premier deity Ganesa is worshipped in every ritual and

in other art forms. For example the recitation of the' Yakshagana' though,

considered as in the past it had also ritualistic overtones of the

Ganapatipuja, mahaga{iirati after each episode as is now in practice.

In Karnataka, the troops of Yakshagana actors who travel from village to

village, performing every night one of the thirty five dance dramas of their

30
repertoire, always carry Ganesas image with them. As soon as they arrive

in a village where the presentation is to be made they install Ganesa's image.

In order to win favours and blessings of the elephant faced God, the puja

to Ganesa is atonce carried out, even before the make-up. The distribution

of prasiidam after completing the recital of the entire work is followed

.
. pravesam
invariably. In the 'Bhagavata Mela Natakam ', Vinayaka patra

is found in Melathur and has a strong Tanjore influence. The actor's debut

is traditionally at the age of seven. The first role he takes on is that of

Ganesa to make an auspicious beginning. Masks are used by Ganesa,

Brahma and Narasimha.

Ganapati Patrapravesam.
• I

A young boy is chosen for this character. He wears a mask

and enters da�cing while the musicians sing the Daru. Sometimes an elder

Bhiigavatulu accompanies him on the stage. At the end of the Daru the

actor is led to a seat. The Bhagavatar offers flowers and arati. He then

leads the masked boy off the stage'.

In several temple Ganapati is depicted as a great dancer.

We can find this different and wonderful dance poses in the temples

throughout India. As regards, 'Kapithamudra', it is noted that the

31
 Ganapati seated with four arms, in the courtyard
Of the temple of Hoysalesvara, at Halebid (Kamataka).
forefinger is folded on the top of the thumb; the other three fingers are

bent towards the palm of the hand. InBharatanatyam, the dancer indicates

Ganesa by two inverted Kapithas, the right hand upwards and the left

downwards.

S0manathpur< 1 > (Karnataka) in the Hoysala temple built in

1268 A.D. dedicated to Lord Krishna, Kesava and to Lord Venugopala,

shows beautiful statue of four armed dancing Ganesa. Halebid (Dvara

Samudra), in the district of Hassan in Karnataka, ancient royal capital of

the Hoysalas. The Hoysalesvara Temple <2> built between 1120 and 1182

A.D shows a magnificent dancing eight - armed Ganesa. In this connection

mention has to be made about the bewitching sculptural beauty of

..
Astabhujanatya Vinayaka at Chennakesava temple in Belur.

In the Hoysalesvara, the presiding deities are Lord Siva and

Parvati. Another sculpture of Ganesa reveals having big stomach and also

found as 'Modakapriya'. He is picturised as a Brahmacari because He

is wearing a scared thread (three fold yajnopavita). The nine feet high

1. Belur temple History.

2. Hoysalesvara Temple History.

32
Ganesa in different dance poses
granite icon< 1 > of Ganapati in dance pose seen in Mahabalipuram is very

famous.

In temples, one had the opportunity to witness rare specimens

of sacred dance like the Ganapati Nrttam.

·, In the realm of dance as well, He

is worshipped first through the dance forms like Pu�piinjali, 'Kavuttuvam'

etc. One of Dr. M. Balamuralikrishna's famous Pu�piinjali in praise of

Lord Ganesa starts with "Jhem Jhem tanana........ iidyiinta rahita,

.
yaralavasasasaha, . .
Gam Ganapatikive na prtinatulu". It is used in

Bharatanatyam as well as Kuchipudi which is in the raga Arabhi. Besides

he has composed a beautiful 'Padavarna ', 'Ninnunera nammiti' in the

raga kharaharapriya eulogizing Lord Ganapati. It describes many stories

relating to the valour and courage of Ganapati. It is a singularly lovely

composition with literary excellence like 'Svaraksharas' and 'Yamaka

alankara '. The performance of music and Dance in the temple rituals

had a special significance. In temples, one had the opportunity to witness

rare specimens of sacred dance like the 'Ganapati n!ttam '.

1. Sakti Vikatan
33
 'Kavuttuvam' is y�t another homage through dance to

Ganesa. Sahitya starts with the lines "Ukuttakita

' . thom thaku thiim
kina

thohga ............. Aritiru maruganai vikhna viniiyaka viniiiketa .

aruliya Ganapati Jaya Jaya". 'Pancamurtti kavuttuvam' is a set of

five kavuttuvams invoking the five Gods namely V inayaka,

Subrahmanya, Sambandar, Chandikesvara and Nataraja. They are

composed in the traditional five Ghana ragas Natta, Gaula, Arabhi,

Varali and Sri. Usually these are performed during the month of Miirga�i

on the occasion of the procession of Lord in connection with the

Tiruviitirai festival.

Some legends say< 1 > that Ganesa danced to attract the

attention of his parents Parvati Paramesvara and delight them. Almost

all cultures consider dance as a prayer. Here it deserves mention that the

Kashmir poet Somadeva had composed many slokas praising dancing

Ganapati.

Further in this context it may be recalled that 'Kottarakkara

Ganapati' was conceived in Kathakali art form<2 > in 17 111 century B.C. The

composer who was a pioneer Kottarakkara Thampuran prayed a lot and

1. 'Ganapati', Royna Grewal, translated by Urmila Unni, P. 65

2. Kottarakkara Ganapati temple histo ry
34
him with the skill to achieve the pinnacle of excellence in composing the

Kathakali form and there are no rituals in this temple without Kathakali.

Ganapati is second to none including his father Nataraja the

god of dance and the Lord Krishna ·the favorite of dancers. He was carved

out for Himself a niche in the temple of dance. Likewise 'Bhagavatamela

natakam, another traditional art form is "Terukkoothu". Dressed as

Ganapati, sometimes using a mask a dancer twirls a towel to indicate the

large trunk. Our Puranas contain an inhaustible fund of stories associating

dance with< 1 > Ganapati. The dance composition 'Ganesa Sabdam'

composed by V.P Dhananjayan; T.V. Gopalakrishnan's composition like

"Anandana,:tana Ganapati" are further illustrations projecting a strong

link between Ganesa and dance.

It is interesting to note that even folk songs contain rich

references to Lord Ganapati. A very famous folk song is "Ve//ai Komban

Vinayakanai tho�ii tu��i ih!um toif.arum". There is also a proverb

'Ph{ittuvaittiil Pi{{ayiir '.

1. The week-magazine (January 22-2006, page -46.

35
 Even the Hindi poet Tulsidas ( 15 32 to 1623) opens his poem

"Letter to God Ram" < 1 > (Vinayaka Patrika) by appealing to Ganapati.

Further Auvaiyar (8 th century), famous in the branches of

devotional music who disliked marriage, was changed by Ganapati into an

old women even in her childhood<2>. In gratitude she poured out her heart

in 72 verses; a beautiful poem in Tamil, well known as "Pi!{ayar Ahaval".

So also in the 18 th century, Raghava Chaitanya composed a sixteen verse

hymn<3> in Sanskrit, to the great Ganapati (Mahiiganapati stiitra) which

shows the Lord of the world surrounded by the great deities seated with

their consorts on the side of a six pointed star. It is a very condensed

Tantric text which contains a chain of secret mant,:iis and reveals them.

Also worth mentioning is the fact that Bhavabhiiti in the

opening of his poem 'Malatimadhavam' and Samartha Ramdas (18 th

century; the preceptor of the great hero Sivaji the founder of the famous

Maratha empire) composed an extremely popular devotional hymn on

Ganesa. It is still sung in chorus during the Ganesa Caturthi festival.

1,3. 'Ganesa, the enchanter of the three world's, Paul Martin Dubost. P. 12
2. 'Tinatanti' {Tamil Newspaper)-dated, 18.09.2004, Page(14)

36
 Moreover while playing ldakka accompaniment percussion

1n Sopana SahgTtam in Kerala the starting 'thuq' is called

"Ganapatikkaiko��u"< 1 >It also starts with a prayer to Lord Ganapati. In

Kerala a tala employed in the folk music is called 'Ganapati tala'<2> the

solkattu of this 14 aksarakala tala is as follows. "Thakka dhikka thaka

thithaka dhithi dhikka thakka dhi than, ki{a thiku taka thll tham".

This tala cannot be demonstrated like other talas only beatings can be

shown. Another aspects is that the famous 'PatJ,aya'}i' in Kerala begins

with "Ganapati talam".

In some legends <3>, Ganapati is also referred to as the

percussionist, in dance performed by celestials. Another reference is that

the presiding deity<4> of the tabala artists is also Ganapati. When Ganapati

plays Mridangam, Lord Siva dances in ecstasy.

Though all artists invoke Ganapati 's blessings He has a

special status as percussionist. On the lines of rythms separately set for

lord Siva and Lord Brahma there is a perfect system for Ganapati as well.

They are known as Gajap!'lllJll. Gatie;apraJJa, or Gajaprabandha (S)

and Gajalfla. All percussionists begin the performance with one of these.

1,2. 'Pa1ay�i', Kadammanitta Vasudevan Pillai.

3,4,5. 'Ganapati', Roynal Grewall, Translated byUrmila Unni. P. 65
37
Strangely, this system is not vogue in modern musical performances and

recitals.

A few other musical instruments associated with Ganapati

are Lute (Veena), Tiny hourglass shaped drum (tf.amaru), Conch

(sankha), Tiny bell (ghalJ{a), Flute (venu) and Tamburu.

Ganes a enJoys the sound of drums,

(Dakkaniniidamudita)O>.
. The expressions - Giinatatva vivekiiya ',

'Giinadhyeyiiya', 'Giinagamyiiya', 'Giiniindariitmane', 'Giinavidyii

Visodhakiiya ', all these shows that Ganapati can be considered as the

repository as well as the expression of the science of music. Some poets

have compared His earlobes to "Pi'!tf.ima" drums. The presence of

musical instruments like lute (veena), small two sided drum (tf,amaru),

conch held in Ganesa's hands in some of His forms obviously shows his

..
predilection for music. The Veena appears in the hands of Ucchista and

Simhaganapati.

In verse 96 from the first chapter of Bharatamuni 's

Natyasastra, several deities are sent to protect the theatre, against the

furious demons. It is seen that prayers are addressed to Omkara for the
. .
1. 'Ganesa sahasra nama stotram'.
38
success of the play. O,nkara naturally represents Lord Ganesa. In both

North and South G'itiigirviinapiirvaja

I
(the ancestor of the gods of music

Ganesa) is adored by musicians and actors.

Further, in the 12 1h century, Nandikesvara in his

'Abhinayadarpana', clearly shows that in the theatre, it is Lord Ganesa,

being the master of the 'Muraja drum', who should first be worshiped,

followed by the Sky and the Earth, leading finally to the worship of the

instruments, according to the rules-

"Vighnesani Murajiidhipam cha gaganiim-Stutuvamahim

Prarthayet tattadvadhya kadamba-Kasya Vidhina

Pujiividhamiinayet (Verse-31 ).

Haridas Mitra, in h1s work "Ganapati" wrote in 1931 that,

specialists in Mridanga (Ma,:dangika) held the elephant-faced God in high

esteem. They recited short stanzas (dhyiinas) paying homage to Ganapati.

CONCH

In Chidambaram temple, there is a separate image of the

typical child Ganesa, with a conch on His mouth next to Ardhajama sundara.

39
He is also called Bala Vinayaka, worshipped by all parents to protect their

children from the diseases afflicting them by His grace(l>.

In Halebid in Kamataka there is Ganesa seated in the open

air Museum (13 th century) with a conch and a rosary in His upper hand.

This exceptional figure is present in Hoysala dynasty. 'Udda1J,tf,a Ganapati'

carries the conch in one of His twelve hands.

THE TINYBELL(GHANTA)

In Ganesa iconography, a tiny bell is held in the hand of

Ganapati. The ring of the bells embellishes His dance. In some places,

for example Garhwall in Uttar Pradesh, a tiny bell hangs from either side of

his belt when He dances. The great Saiva saint Auvaiyar, in her" Vinayagar

(Pif!ayar) Ahaval", has compared the sacred feet of Ganesa<2> to "fresh,

sweet-smelling lotus, decorated with minute little spherical bell rings", and

in harmony with these tiny bells, Ganesa dances to the rhythmic sounds of

Mridanga in front of Chandrasekhara by following the syllables

"dhimidhimi ta toizga tonga theyi theyi"

1. 'A study of Chidambaram and its shrine', as recorded in the Sanskrit' literature by
Ramalinga Dikshitar'. M.A., M.Litt. P. 2 _ 36.
2. Ganesa, the enchanter of the three wordls, P aul Martin Dubost. P. 211
40
 FLUTE (VENU)

We can also rarely see Ganesa with wind musical instruments

and percussion. It is noted that a conch, the small sand-glass shaped

drum (damaru),
• the lute (Veena) are also depicted. The flute player

Ganapati is very rare. Moreover on the outer wall of Siva - Mallikarjuna

temple in Sri Sailam, in a tiny stone plaque, Ganesa is depicted as playing

the flute accompanied on the cymbals by Hanuman, and on the Veena

• by a Kinnara.

TAMPURA

The "Tantra Sastra" reflects the intimate association of

Ganapati with music. The "Yam.ala tantra" describes a six handed

. . Ganapati carrying Veena in a right upper hand besides holding

Ucchista

Utpala, Bijapura, Aks_amala and Padma in other hands. The same

works also describes Simha Ganapati carrying a Veena in a lower right in

addition to Kalpalata, Vara, Padma, Ratnakumbha and Pu�pamanjari

(Floral inflorescence) in the other five hands. The former has a deep red

colour while the latter is white.

41
 In one of the frescoes < 1 > of Madhya Pradesh kingdom, there

is an interesting procession; Ganapati with four arms is standing behind

Krishna who is beating the drum. The lower left hand of Ganesa is

supporting both a lotus and Tampura, while the fingers of the right hand

are gliding on the strings of the Tampura.

Another remarkable thing is that in Malliyoor Ganapati temple

in Kottayam District (Kerala), there is a rare musical festival conducted

without break for 60 days<2>. It is believed that if we pray to this Ganapati

we will be blessed with fame, fortune, freedom from disease and fulfillment

of our desires. The quintessence of Vaishnava Ganesa is embedded in

Bhagavata. The eminent Bhagavata Hamsam Malliyoor Sankaran

Nambootirippadu took the Bhagavata reading as penance. His magnetic

presence permeates the famous Ganapati temple at Malliyoor.

The installation of the readily blessing Ganapati is designed

as Bfja Ganapati (Original Ganapati). The idol has a big lemon on the

right turned proboscis and He has axe, rope, tusk, and laddu in his hands.

Here we feel the effulgence of icons of Ganapati and Safagriima

1. Ganesa, the enchanter of the three wordls, Paul Martin Dubost.

2. Malliyur Ganapati sthala puranam.
42
Combined. According to astrologer's scrutiny prior to the reformation of

the temple, Ganapati was seen in the bhiiva of Lord Vishnu. He

envisaged the Ganesa, fondling child Krishna of Ambadi, and so the icon

is accordingly created.

Inside the famous Ganapati temple at Pazhavangadi in

Thiruvananthapuram there is a charming idol of Ucchista Ganapati

holding a Veena in His left hand.. In this temple hundreds of devotees

worship daily, when the dawn breaks Ganesa is awakened by sounding

conch shell. During nirmiilya darsanam the wind instrument kuzhal is

played. In this temple there is a regular panchaviidyam in the early

morning, then between 9.30 am, and 10.30am, during "Navakapuja"

followed by singing of 'Ashtapadi'. This is repeated between 6.30 p.m.

and 6.45 p.m. again between 8.20 and 8.30. in this temple, Pancha

vadyam consists of 'Chenda ', Elattalam ', Edakka ', 'Kombu' and

'Kuzhal'. The playing begins slowly and then the pace is quickened to

tisragati and finally it reaches the high speed (druta kiila).

In the Maratha Harikatha System, a group of five song 1s

sung, it is called Pancapiidi.

, It is indispensable in this group; the

43
 ..
po rtion pra1s1ng Ganapati is called 'T{tndava nityakari'< 1 >.

Obviously this is in praise of Narttana Ganapati.

The pedagogic association of Ganapati covers a

tantric and iconic symbolism. We can see that in seven notes, 'dhaivata' has

Ganesvara for its presiding deity.

There are other interesting aspects centering aroundGanapati. There is

yogic significances, in 'shadja' being considered as born in the Miiliidhiira

which is presided over byGanapati. This cakra symbolizes the prithvi

tatva, 'Ga' as the bfja. The acronymic significance ofGanapa (ti) will be

presently indicated. The seven notes also correspond to animal cries. The

seventh note 'nishada' corresponds to cry of elephant. 'Gandhara' and

nishada are mutually consonant (Samvadi) notes. It may thus be seen that

. . of these two names taken together to read Gana - the art

the initial varniis

of singing. There is also a musicological acronym in the name ofGanapati.

In the early sacred text, the Ga - klira Ganapati sahasraniima, there are

140 names associatingGanapati with music. Music is thus considered to be

the best means of realizingGana pati.

1. 'Voise ofSamanvaya' -Article byT.S.Parthasarathy- 'Harikatha'.

44
 Again, we can see that the Brahmavaivarta Purana explains

the acronym in the name of Ganapati by asserting the 'Ga' stands for

Viveka and 'Na' for Moksa,

, Ganesa is Pati both. But according to

Ganapati Atharva Sz��a UpaniJad, 'G 'a stands for Brahma or manas

and Na denotes voice or sound. 'Na' is also the voice of the elephant

God, if the cerebral 'N' and dental 'N' are taken as synonyms, the acronym

becomes clear.

Finally, the note 'pa' served in ancient Indian Music is to

describe and discriminate the 'Slzadja grama' and the 'Madhyama

grama'. Thus 'ga-na-pa' embraces the three gramas as well as the

whole of Indian music, both religious and secular in the ancient, medieval

and modem epochs.

Significantly, in mantra siistriis, Nada is defined as an

. . and 'da' stands for fire in the

-acronym in which 'na' symbolises prana

. . with this fire. Nada is

yogic body. Nada is thus the union of prlina

defined in our Sangitasiistra as Brahman and also as a means of mok�a.

The Atharva
. sirsa . describes Ganapati as Brahman, as Viik and
. . Upanisad
as Niidarupa.

45
 In Tanjavur at Tiruvaiyar there is the temple for Srl

Abhishtavarada Mahiiganapati who is popularly known as 'Kiiriya Siddhi

Vinayagar'. There is also a shrine for Appar Swamikal (one of the

Tevaram composer). Devotees speak of the immense power of the

Moolavar deity in granting their wishes and hence the name "Abhishta

varada Maha Ganapati". A visit to- this temple and the recital of the

'Kiiriya Siddhi Miilai' will give us benefits and prosperity.

The birth place of Kambar (the author of Kamba Ramayana) is

in Vedapurisvaram in Taimlnadu. There is a shrine for Siva and Vishnu and

a custom is that before taking darsan from Siva and Vishnu, a devotee

should pay obeisance to Vinayaka. . .

This Ganapati is called "Vazikiitti
.

Vinayagar"( 1 >. It is said that when Tirujnana Sambandhar visited this

place, Vinayaka Himself came forward as the guide.

The great composer of Tevaram, Appar, got the devine vision

of Lord Siva in the Pancanadeesvara temple, on the banks of Cauvery river.

The other outstanding composers of Tevaram, Sundarar, and Tirujnana

Sambandhar sang in parise of Lords Siva. One day Sundaramurthy

Nayanar (Sundarar) visited this place along with his friend

1. 'Jfiana Alayam - September 2004- Page 64

46
Ceraman Peruman. Suddenly the water level ofCauvery became heightened.

. .
They were in deep sorrow and he began to call the Lord "lyii.rukonda .
lsane" < 1 > on the south banks of Cauvery. Suddenly a voice came from the

north side of the Cauvery. People thought it was Lord Vinayaka who gave

reply to his call. Then Cauvery attained the original ordinary state. Vinayaka

.
. Vinayakar" <2> •
of this temple is called "Olamitta

. . constitute Tamil Vedas. Near the

'Tevara Tirumuraikal'

place Kattumannargudi, south west ofChidambaram, which is looked upon

as Kailasa on the world, there is a small village called Tirunaraiyur, 1t is on

that sport that Ganesa helped the _ardent devotee Nambiandar Nambi to

..
publish Tevaram. This Ganapati is known as "Pollapillayar"< 3
>· There is

a famous Ganapati temple Sahkhupii.lJ,i Pi{�ayar Koifr4J near Kanchipuram

bustand. This Ganapati has no pot belly. The story is that is deferenceJ to

the wish of Lord Brahma, Mahavishnu created this Ganapati out of His

devine conch. With the passage of time, "Sahkhupii.lJ,i" shrank irtto

'SappanJ'

1,2. 'J:nana Alayam-September 2004- Page 64

3. 'Panan'-Monthly Magazine (Tamil) September-1994, Page-4.
4. Sakti Vikatan.
47
and the temple came to be known as "Sappiini Pillayii,:koil". Conch,
. .,,
a wind musical instrument is held in the hands of Ganapati.

Tantra siist,:a reflects the intimate association of Ganapati with

music. The Yii.mala Tantra describes a six handed Ucchista

• Ganapati
r,.

carrymg Veena in a right upper hand besides holding Utpala, Bfjiipii.ra,

Ak�amii.la and Padma in the other hands. The same work also describes,

Simhaganapati carrying a Veena in a lower right hand in addition to

Kalpalata, Vara, Padma, Ratnakumbha, and Puspamanjari (Floral,

inflorescence) in the other five hands. The former has a deep red colour

while the latter is white.

In the vestibule of a cave (Ramesvaram) the seven

Mothers (Brahmi, Maheswari, Kaumari, Vaishnavi, Varahi, lndrani and

Chamunda) are shown sculpted in the round, seated with Ganesa and Siva

VTnadhara. The hands of the master of the Veena are seen sliding on the

strings of the Veena he holds. With their legs open or folded, as they wish,

the mothers are immersed in the music and their faces exhibit rare ecstasy.

A meditative Ganesa is listening keenly to every note emanating from the

divine instrument.

48