گانـِشا

گانـِشا; Ganesha
	Basohli miniature, حوالي 1730. المتحف الوطني، نيودلهي، الهند.
دڤنگاري	गणेश
خط التاميل	கணேசா
الانتماء	دڤا
مانترا	ॐ गणेशाय नमः ; (Oṃ Gaṇeśāya Namaḥ)
السلاح	Paraśu (Axe),; Pāśa (Lasso),; (Hook)
الرفيقة	Buddhi (الحكمة),; Riddhi (prosperity),; Siddhi (attainment) ; or sometimes, none
الجبل	Mouse

للاستخدامات الأخرى، انظر گانـِشا (توضيح).

گانـِشا Ganesha (بالسنسكريتية: गणेश; IAST: Gaṇeśa; listen ())، وتنطق أيضا گانـِسا أوگانـِش، ويعهد أيضا باسم گاناپاتي (سنسكريتية: गणपति; IAST: gaṇapati), Vinayaka (سنسكريتي: विनायक; IAST: Vināyaka)، وPillaiyar (بالتاميلية: பிள்ளையார்)، هوأحد الآلهة الشهيرة لدى الهندوس توجد صورته في الهند ونيبال.. وينطق أنها أكثر الآلهة عبادة في الهند.

التسمية وأسماء أخرى

Ganesha as 'Shri Mayureshwar' with consorts Buddhi and Siddhi, Morgaon (the central shrine for the regional complex)

الأيقونات

This statue of Ganesha was created in the Mysore District of Karnataka in the 13th century.

السمات المشهجرة

A typical four-armed form. Miniature of Nurpur school (circa 1810).

Vahanas

Ganesha dancing on his mouse, 11th century, Bengal, musée d'art asiatique de Berlin.

Associations

Obstacles

The Lalbaugcha Raja Ganesha image worshipped during Ganesh Festival in Mumbai, India. Ganesha is widely worshiped across India as the remover of obstacles.

Buddhi (Knowledge)

أوم

Ganesha (Devanagari) Aum jewel

First chakra

الأسرة والأقران

العبادة والأعياد

Celebrations of Ganesh by the Indian and Sri Lankan Tamil community in باريس, فرنسا

گانـِشا چاتورثي

Street festivities in Hyderabad, India during the festival of Ganesh Chaturthi

المعابد

تواجده

أول ظهور

تأثيراته

في الأدب

Vyasa narrating the Mahabharata to Ganesha, his scribe, Angkor Wat

Puranic period

Tanjore-style painting of Ganesha

الخط المقدسة

Ganesha statue in 9th century Prambanan temple, Java, Indonesia

خارج الهند والهندوسية

"Dancing Ganesh. Central Tibet. Early fifteenth century. Colours on cotton. Height: 68 centimetres". This form is also known as Maharakta ("The Great Red One").

5th century "image of Ganesha, consecrated by the Shahi King Khingala." found at Gardez, Afghanistan.

هوامش

^ "Ganesha getting ready to throw his lotus. Basohli miniature, circa 1730. National Museum, New Delhi. In the Mudgalapurāṇa (VII, 70), in order to kill the demon of egotism (Mamāsura) who had attacked him, Gaṇeśa Vighnarāja throws his lotus at him. Unable to bear the fragrance of the divine flower, the demon surrenders to Gaṇeśa." For quotation of description of the work, see: Martin-Dubost (1997), p. 73.
^
- For the paraśu (axe) as a weapon of Ganesha, see: Jansen, p. 40.
- For the paraśu as an attribute of Ganesha, see: Nagar, Appendix I.
^
- For the snare as a weapon of Ganesha, see: Jansen, p. 46.
- For the pāśa as weapon of Ganesha in various forms, see: Nagar, Appendix I.
^
- For the elephant hook as a weapon of Ganesha, see: Jansen. p. 46.
- For the aṅkuśa as an attribute of Ganesha, see: Nagar, Appendix I.
^ Rao, p. 1.
^
- Brown, p. 1. "Gaṇeśa is often said to be the most worshipped god in India."
- Getty, p. 1. "Gaṇeśa, Lord of the Gaṇas, although among the latest deities to be admitted to the Brahmanic pantheon, was, and still is, the most universally adored of all the Hindu gods, and his image is found in practically every part of India."
^
- Rao, p. 1.
- Martin-Dubost, pp. 2–4.
- Brown, p. 1.
^ Courtright, pp. 212–213.
^ Four-armed Gaṇeśa. Miniature of Nurpur school, circa 1810. Museum of Chandigarh. For this image see: Martin-Dubost (1997), p. 64, which describes it as follows: "On a terrace leaning against a thick white bolster, Gaṇeśa is seated on a bed of pink lotus petals arranged on a low seat to the back of which is fixed a parasol. The elephant-faced god, with his body entirely red, is dressed in a yellow dhoti and a yellow scarf fringed with blue. Two white mice decorated with a pretty golden necklace salute Gaṇeśa by joining their tiny feet together. Gaṇeśa counts on his rosary in his lower right hand; his two upper hands brandish an axe and an elephant goad; his fourth hand holds the broken left tusk."
^ This work and its description are shown in Pal, p. 125.
^ For a representation of this form identified as Maharakta, see Pal, p. 130.

المصادر

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