Synonyms for atharvashirsa or Related words with atharvashirsa
Examples of "atharvashirsa"
One of the most important Sanskrit texts, that enjoys authority in "Ganapatya" tradition states John Grimes, is the "Ganapati
(, ) is a Sanskrit text and a minor Upanishad of Hinduism. It is a late Upanishadic text that asserts that Ganesha is same as the ultimate reality, Brahman. The text is attached to the Atharvaveda, and it is also referred to as the "Sri Ganapati Atharva Sirsha", the "Ganapati Atharvashirsha", the "Ganapati Atharvasirsa", or the "Ganapati Upanishad".
Ganesha is identified with the Hindu mantra Aum, also spelled "Om". The term "" (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The "Ganapati
" attests to this association. Chinmayananda translates the relevant passage as follows:
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (). "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
". Courtright translates this passage as follows: "You continually dwell in the sacral plexus at the base of the spine ." 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".
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the "Matsya Purana" and later in the "Brahmananda Purana" and "Ganesha Purana", where Ganesha uses it as his vehicle in his last incarnation. The Ganapati
includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names ' (mouse-mount) and ' (rat-banner) appear in the "Ganesha Sahasranama".
In the consecration ceremony, a priest performs a Prana Pratishtha to invite Ganesha like a guest. This is followed by the 16-step Shodashopachara ritual, (Sanskrit: "Shodash", 16; "Upachara", process) during which coconut, jaggery, "modaks", "durva" grass and red hibiscus flowers are offered to the idol. Depending on the region of India,during the ceremony, hymns from the Rigveda, the Ganapati
, the Upanishads, and the Ganesha stotra (prayer) from the Narada Purana are chanted.In Maharashtra, Aartis are performed with friends and family, typically in the morning and evening.
Ganesha emerged as a distinct deity in the 4th and 5th centuries AD, during the Gupta period, although he inherited traits from Vedic and pre-Vedic precursors. 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" arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the "Ganesha Purana", the "Mudgala Purana", and the "Ganapati
". Brahma Purana and Brahmanda Purana are other two Puranic genre encyclopedic texts that deal with Ganesha.
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
, was probably composed during the 16th or 17th centuries.
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