Mirror: http://tinyurl.com/nev29o2
In the laukika-lokottara research methodology -- a continuing tribute to Prof. Shrinivas Tilak -- of unraveling the traditions handed down to us from time immemorial, it is seen that the written documentation in Indus Script Corpora and the traditions enshrined in annual festivities of people in the Indian sprachbund continuum can be correlated.
This may perhaps provide clues to an understanding of why the unique iconography of Gaṇeśa emerged.
I do NOT know when the iconography of Gaṇeśa emerged.
There are intimations that the import of the word gaṇa a synonym of kula, 'troop', can be traced to the days of the Rigveda, to a period earlier than ca. 8th millennium BCE. The evidence of RV 2.23 sukta abounds in extraordinary metaphors and is presented herein based on Sayana's commentary. Clearly, a multi-disciplinary enquiry guided by savants of the yajna tradition and the pramāṇam of the Veda is needed to further explore this stupendous interpretative challenge.
In the Indus Script Corpora, pōḷā is a celebration of metalwork, magnetite ore is pōḷa. kul'winnowing fan' rebus: kul is a troop, kol'working in iron', a celebration of metalwork.
The tradition of invoking Gaṇeśa attested in Rigveda 2.23.1 gaṇānāṃ tvā gaṇapatiṃ havāmahe is a celebration of the kaví ʻ wise ʼ RV., m. ʻ wise man, poet ʼ RV., °ika -- m. lex. Pa. Pk. kavi -- m., Pk. kaï -- m., Si. kivi ES 25 but ← Pa.(CDIAL 2964). This tradition is attested in Indus Script Corpora by the engravers denoting their metalwork catalogues using animal (elephant) and other hieroglyphs.
Toy animals made for the Pola festival especially celebrated by the Dhanoje Kunbis. (Bemrose, Colo. Derby - Russell, Robert Vane (1916). The Tribes and Castes of the Central Provinces of India: volume IV. Descriptive articles on the principal castes and tribes of the Central Provinces. London: Macmillan and Co., limited. p. 40).See: http://bharatkalyan97.blogspot.in/2015/08/zebu-archaeometallurgy-legacy-of-india.html?view=timeslide
This tradition is traceable to the toys of Daimabad with animals drawn on wheeled vehicles.
Harappan Chariot toy kept at the Brooklyn University Museum
Oxen pulled Bronze chariot found at Daimabad in Maharshtra
Daimabad bronze chariot. c. 1500 BCE. 22X52X17.5 cm.
Buffalo. Daimabad bronze. Prince of Wales Museum, Mumbai.
Daimabad bronzes. Buffalo on four-legged platform attached to four solid wheels 31X25 cm.; elephanton four-legged platform with axles 25 cm.; rhinoceros on axles of four solid wheels 25X19 cm. (MK Dhavalikar, 'Daimabad bronzes' in: Harappan civilization, ed. by GL Possehl, New Delhi, 1982, pp. 361-6; SA Sali, Daimabad 1976-1979, New Delhi, 1986).
Decipherment of Indus Script Corpora has demonstrated that the animals are hieroglyphs denoting metalwork.
Elephant as hieroglyph
ibha 'elephant' karibha 'trunk of elephant' Rebus: ib 'iron' karba 'iron'
Elephant-head of śri gaṇeśa is signified by the hieroglyph: sangaDa 'joined animal parts' rebus: sangara 'proclamation'.
The orthographic style of ligaturing animal parts is an Indus Script tradition as may be seen from the following examples.
Slide 88. Three objects (harappa.com) Three terra cotta objects that combine human and animal features. These objects may have been used to tell stories in puppet shows or in ritual performances. On the left is a seated animal figurine with female head. The manner of sitting suggests that this may be a feline, and a hole in the base indicates that it would have been raised on a stick as a standard or puppet. The head is identical to those seen on female figurines with a fan shaped headdress and two cup shaped side pieces. The choker with pendant beads is also common on female figurines.Material: terra cotta
Dimensions: 7.1 cm height, 4.8 cm length, 3.5 cm width
Harappa, 2384 Harappa Museum, HM 2082 Vats 1940: 300, pl. LXXVII, 67
In the center is miniature mask of horned deity with human face and bared teeth of a tiger. A large mustache or divided upper lip frames the canines, and a flaring beard adds to the effect of rage. The eyes are defined as raised lumps that may have originally been painted. Short feline ears contrast with two short horns similar to a bull rather than the curving water buffalo horns. Two holes on either side allow the mask to be attached to a puppet or worn as an amulet.
Material: terra cotta
Dimensions: 5.24 height, 4.86 width
Harappa
Harappa Museum, H93-2093
Meadow and Kenoyer, 1994
On the right is feline figurine with male human face. The ears, eyes and mouth are filled with black pigment and traces of black are visible on the flaring beard that is now broken. The accentuated almond shaped eyes and wide mouth are characteristic of the bearded horned deity figurines found at Harappa and Mohenjo-daro (no. 122, 123). This figurine was found in a sump pit filled with discarded goblets, animal and female figurines and garbage. It dates to the final phase of the Harappan occupation, around 2000 B. C.
Harappa, Lot 5063-1 Harappa Museum, H94-2311
Material: terra cotta Dimensions: 5.5 cm height, 12.4 cm length, 4.3 cm width
Nahali (kol ‘woman’) and Santali (kul ‘tiger’; kol ‘smelter’).
masks/amulets and
Slide72. Two composite anthropomorphic / animal figurines from Harappa.Whether or not the attachable water buffalo horns were used in magic or other rituals, unusual and composite animals and anthropomorphic/animal beings were clearly a part of Indus ideology. The ubiquitous "unicorn" (most commonly found on seals, but also represented in figurines), composite animals and animals with multiple heads, and composite anthropomorphic/animal figurines such as the seated quadruped figurines with female faces, headdresses and tails offer tantalizing glimpses into a rich ideology, one that may have been steeped in mythology, magic, and/or ritual transformation. Approximate dimensions (W x H(L) x D) of the larger figurine: 3.5 x 7.1 x 4.8 cm. (Photograph by Richard H. Meadow)
Ligatured glyph on copper tablet. m571B (serpent-like tail, horns, body of ram, elephant trunk, hindlegs of tiger).![Indus Valley Figurines: Slide #44]()
44. Elephant figurine head with painted designs from Harappa. Elephant trunk ligatured to a winnowing fan.
It is unknown whether elephants were domesticated in the Indus Civilization. However, one of the few elephant figurines from Harappa is a head with large stylized ears and red and white stripes painted across the face. This may mirror the custom of decorating domesticated elephants (red and white are common colors) for ceremonies or rituals that is still practiced in South Asia. Elephant bones have also been found at Harappa. Approximate dimensions (W x H(L) x D): 5.4 x 4.8 x 4.6 cm. (Photograph by Richard H. Meadow)
kul 'winnowing fan': kulya n. ʻ receptacle for burnt bones of a corpse ʼ MBh., ʻ winnowing basket ʼ lex. [Prob. ← Drav.: see kulāˊya -- ]Pa. kulla -- m. ʻ raft of basket work, winnowing basket ʼ, °aka -- m. ʻ crate ʼ; Pk. kullaḍa -- n. ʻ packet ʼ; A. kulā ʻ winnowing fan, hood of a snake ʼ; B. kul, °lā ʻ winnowing basket or fan ʼ; Or. kulā ʻ winnowing fan ʼ, °lāi ʻ small do. ʼ; Si. kulla, st. kulu -- ʻ winnowing basket or fan ʼ.(CDIAL 3350) Rebus: kol 'working in iron' kolle 'blacksmith' kolhe 'smelters'.
kúla n. ʻ herd, troop ʼ RV., ʻ race, family ʼ Pāṇ., ʻ noble family ʼ Mn., ʻ house ʼ MBh.
Pa. kula -- n. ʻ clan, household ʼ, Pk. kula -- n.m. ʻ family, house ʼ; Dm. kul ʻ house ʼ; Sh. (Lor.) d*l da -- kul ʻ grandfather's relations ʼ; K. kŏl m. ʻ family, race ʼ; S.kuru m. ʻ tribe, family ʼ, L. kull m., P. kul f.; WPah. bhad. kul n. ʻ sub -- caste, family ʼ; N. A. B. kul ʻ clan, caste, family ʼ, Or. kuḷa, OMth. kula; H. kul m. ʻ herd, clan, caste, family ʼ, Marw. kul; G. kuḷ n. ʻ family, tribe ʼ, M. kūḷ n., °ḷī f.; OSi. -- kolaṭ dat. ʻ family ʼ; -- Si. kulaya ʻ family, caste ʼ ← Pa. or Sk. -- Deriv. Or. kuḷā ʻ of good family ʼ, akuḷā ʻ illegitimate (of birth) ʼ.(CDIAL 3330)
Thus, kula connotes a गण the word embedded in the phrase: Gaṇeśa lit. 'supreme leader of the troop'.
A scupture of Ganapati was found in 2020, in Yogyakarta Islamic University dated to c. 9th century.
A stone sculpture of Ganapati is seen in Bujang Valley museum (Malaysia).
Can we trace this ligaturing tradition to Indus writing? It is unknown whether elephants were domesticated in the Indus Civilization. However, one of the few elephant figurines from Harappa is a head with large stylized ears and red and white stripes painted across the face. This may mirror the custom of decorating domesticated elephants (red and white are common colors) for ceremonies or rituals that is still practiced in South Asia. Elephant bones have also been found at Harappa. Approximate dimensions (W x H(L) x D): 5.4 x 4.8 x 4.6 cm. (Photograph by
Elephant head with stylized wide spread ears. Traces of red and white paint bands are visible on the face. Painting of elephants for ritual processions is a common practice in traditional India and the main colors are red and white. This figurine may represent a tame elephant or an elephant that is being marked for sacrifice. Hand formed and incised.
Material: terra cotta
Dimensions: 4.8 cm height, 5.4 cm width, 4.6 cm breadth
Harappa, Lot 800-01
Harappa Museum, H87-348
Elephant, trunk of elephant: kar-ibha, ib; rebus: karba 'iron'; ib 'iron'.
Une tête d'éléphant en terre cuite de Nausharo (Pakistan)
In: Arts asiatiques. Tome 47, 1992. pp. 132-136. Jarrige Catherine
http://www.persee.fr/web/revues/home/prescript/article/arasi_0004-3958_1992_num_47_1_1330
The elephant head ligatured with a buffalo at Nausharo is a curtain-raiser for the practice of ligaturing in Indian tradition for utsava bera 'idols carried on processions'. The phrase utsava bera denotes that processions of the type shown on Mesopotamian cylinder seals or Mohenjo-daro tablets are trade processions for bera 'bargaining, trade'. Thus, the processions with hieroglyphs may be part of trade-exchange fairs of ancient times. It is significant that the utsava bera of Ganesa is shown together with a rat or mouse -- as vāhana: ibha'elephant' Rebus: ib 'iron'. mūṣa 'rat, mouse' Rebus: mūṣa 'crucible'. Thus both rat/mouse and elephant face ligatured to a body, are Meluhha hieroglyphs related to metallurgical processes.
Utsava bera pōḷā (zebu, bos indicus) may be seen in the processions during festival days of Utsava Nandi and veneration in temples on days of pradosham.
బేరము [ bēramu ] bēramu. [Skt.] n. An image.ప్రతిమ . "పంకములోని హైమబేరము ." పర . v.
బేరము [ bēramu ] bēramu. [Tel.] n. Trade, dealing, a bargain,బేరముసారము or బేరసారము trade, &c. (సారము being a mere expletive.)బేరకాడు bēra-kāḍu. n. One who makes a bargain, a purchaser, buyer. కొనువాడు, బేరమాడువాడు . బేరకత్తె bēra-katte. n. A woman who bargains or purchases. బేరమాడు or బేరముచేయు bēram-āḍu. v. n. To bargain. బేరముపోవు to go on a trading journey. బేరి bēri. n. A man of the Beri or merchant caste.
బేరము [ bēramu ] bēramu. [Skt.] n. An image.
బేరము [ bēramu ] bēramu. [Tel.] n. Trade, dealing, a bargain,
पोळा [ pōḷā ] m (पोळ ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद . Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship.
पोळा [ pōḷā ] m (पोळ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद. Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship. The festival is held annually with processions of toys of animals drawn on toy carts, an evocation of the animals on carts shown in Daimabad. पोळ [ pōḷa ] The word pōḷa denotes: m A bull dedicated to the gods, marked with a trident and discus, and set at large. That is bos indicus, zebu which is a hieroglyph on Indus Script Corpora to signify 'magnetite'. पोलाद [ pōlāda ] n ( or P) Steel. पोलादी a Of steel.
īśa ईश a. [ईश्-क] 1 Owning, possessing, sharing, master or lord of; see below. -2 One who is com- pletely master of anything. -3 Capable of (with gen.) -4 Powerful, supreme. -शः 1 A lord, master; with gen. or in comp.; कथंचिदीशामनसांबभूवुः Ku.3.34 with great difficulty controlled (were masters of) their minds; so वागीश, सुरेश&c. -2 A husband. -3 A Rudra. -4 The number 11 (derived from the eleven Rudras). -5 N. of Śiva (as regent of the north-east quarter. -6 The Supreme god (परमेश्वर); व्यक्ताव्यक्तंभरतेविश्वमीश- मीड्यम्Śevt. Up.1.8; प्रसादयेत्वामहमीशमीड्यम् Bg.11.44. श्रीवत्सधामापररात्रईशः Bhāg.6.8.22. -शा 1 Supremacy, power, dominion, greatness. Śvet. Up.4.7. īś ईश् 2 Ā. (ईष्टे, ईशाञ्चक्रे, ऐशिष्ट, ईशिता, ईशितुम्, ईशित) 1 To rule, be master of, govern, command (with gen.); नायंगात्राणामीष्टे K.312 v.l.; अर्थानामीशिषेत्वंवयमपिचगिरा- मीश्महेयावदर्थम् Bh.3.3; sometimes with acc.; इमाँल्लोका- नीशतईशनीभिःŚvet. Up.3.1 (also used in the Veda with gen. of an infinitive or loc. of an abstract noun). -2To be able, have power; expressed by 'can'; माधुर्यमीष्टेहरिणान्ग्रहीतुम् R.18.13,14.38; कमिवेशतेरमयितुंनगुणाः Ki.6.24; U.7.4; Śi.1.38; Māl.1.13. -3 To act like a master, allow. -4 To own, possess. -5 To belong to. m. A master, lord, the Supreme Spirit. ईशा- बास्यमिदंसर्वम्Īśop. īśāvāsyamईशावास्यम् N. of the ईशावास्योपनिषद्, also called ईशोप- निषद्; the only instance of an upaniṣad included in a Saṁhitā (Vāj.4.1). īśāna ईशान a. [ईश्ताच्छील्येचानश्] 1 Owning, possessing, master or lord. -2 Reigning, ruling. -3 Wealthy, rich. -नः 1 A ruler, master, lord; ईशानोभूतभव्यस्य Kaṭh. Up.4.12.-2 N. of Śiva; ईशानसंदर्शनलालसानाम् Ku.7.56; K.1. -3 The Ārdrā Nakṣtra. -4 One of the Rudras. -5 The number 'eleven'. -6 The sun as a form of Śiva. पर्जन्योयमोमृत्युरीशानः Bṛi. Up.1. 4.11. -7 A Sādhya. -8 N. of Viṣṇu.
Utsava bera
utsava-bera — the icon which is taken out in procession on festivals.
The Uthsava_bera at Tirumala shrine is named Malayappan, the earliest reference to which is found in an inscription dated 1369 AD. This idol might have entered into the temple regimen with the rise of the Pancharathra School of worship. Malayappan is a very skillfully crafted, beautiful image, made of panchloha, standing three feet tall on a pedestal of fourteen inches. It does not greatly resemble the dhruva_bera. Yet, it has a very pleasing disposition and is modestly ornamented. His consorts Sridevi and Bhudevi (of about twenty-nine inches height) are on his either side. All services, processions and celebrations conducted outside the sanctum are rendered to Malayappan.
Bera Utsav is a regional festival celebrated in the Murshidabad district of the state of West Bengal. The annual event is organized at the historical and picturesque location of Lalbagh, which at one time was the home of the Nawabs and is located on the banks of River Bhagirathi. People throng the district of Murshidabad to witness this magnificent event. The event is held on the last Thursday of the Bhadra month of the traditional Bengali calendar.utsavá m. ʻ enterprise ʼ RV., ʻ festival ʼ MBh. [√sū ] Pa. ussava -- m. ʻ festival ʼ, Pk. ucchava -- , °chaa -- , ussava -- , ūsa°, ōsa° m., K. wŏċhav, °ċhuwu m.; S. uchaü, och°, ocho m. ʻ feast given to brahmans ʼ; Or. ucha ʻ festival ʼ, osā ʻ festival, vow ʼ. dīpōtsava -- , mahōtsava -- .(CDIAL 1876) 9979 mahōtsava m. ʻ great festival ʼ MBh. [mahā -- , utsavá -- ]Pk. mahocchava -- , °hōsava -- , °hussava -- , °hūsava -- m.; P. mahocchā m. ʻ celebration, appointment of a new mahout ʼ; H. mahochā m. ʻ great festival ʼ, OG.mochava m.(CDIAL 9979)dīpōtsava m. ʻ festival of lights ʼ BhavP. [dīpa -- , utsavá -- ]
Pk. dīvūsava -- m. ʻ new moon of Kārtik ʼ; N. deusi ʻ festival beginning on the 5th day of Diwāli ʼ.(CDIAL 6359)In the Vaikhanasa temple, the immovable (Dhruva-bimba or dhruva-bera) main idol that is installed in the sanctum and to which main worship is offered (archa-murti) represents the primary aspect of the deity known as Vishnu (Vishnu-tattva). The other images in the temple which are worshipped each day during the ritual sequences are but the variations of the original icon (adi-murti). These other forms are emanations of the main idol, in successive stages. And, within the temple complex, each form is accorded a specific location; successively away from the Dhruva bera.
Just as the Vishnu of Rig-Veda takes three strides (trini pada vi-chakrama Vishnuh), the main idol (Dhruva – bera) installed in the temple too takes three forms which are represented by Kautuka-bera, Snapana-bera and Utsava-bera.
The Kautuka –bera (usually made of gems, stone, copper, silver, gold or wood and about 1/3 to 5/9 the size of the Dhruva-bera)receives all the daily worship(nitya-archana); the Snapana-bera (usually made of metal and smaller than Kautuka) receives ceremonial bath (abhisheka) and the occasional ritual- worship sequences(naimitta-archana); and, the Utsava-bera ( always made of metal ) is for festive occasions and for taking out in processions . To this, another icon is added .This is Bali – bera ( always made of shiny metal) taken out , daily , around the central shrine when food offerings are made to Indra and other devas, as well as to Jaya and Vijaya the doorkeepers of the Lord ; and to all the elements.
And, on occasions when a movable icon is used for daily worship, special rituals, and processions and for food-offering, it is known as Bhoga-bera.
These five forms together make Pancha bera or Pancha murti.
And again it is said, Purusha is symbolized by Kautuka bera; Satya by Utsava bera; Acchuta by Snapana bera; and Aniruddha by Bali bera.
To put these together in a combined form:
- The main idol (Dhruva-bera) which is immovable represents Vishnu (Vishnu-tattva).
- Purusha symbolized by Kautuka-bera is an emanation of the Dhruva-bera. Kautuka-bera is next in importance, and is an exact replica of the Dhruva-bimba. it is placed in the sanctum very close to Dhruva bera.
- Satya symbolized by Utsava-bera (processional deity) emanates from Purusha represented Kautuka-bera. And, Utsava-bera is placed in the next pavilion outside the sanctum.
- Achyuta symbolized by Snapana-bera emanates from Satya represented by Utsava-bera. Snapana-bera receives Abhisheka, the ceremonial bath; and, it is placed outside the sanctum in snapana-mantapam enclosure.
- Aniruddhda symbolized by Bali-bera emanates from Achyuta represented by Snapana-bera. The food offerings are submitted to Balibera. And, it is placed farthest from the Dhruva-bhera residing in the sanctum.
These different icons are not viewed as separate or independent deities; but are understood as emanations from the original icon, Dhruva–bimba.
Symbolisms
The symbolisms associated with the four murtis (chatur-murti) are many; and are interesting. As said earlier; the four are said to compare with the strides taken by Vishnu/Trivikrama. The main icon represents Vishnu who is all-pervasive, but, does not move about. When the worship sequences are conducted, the spirit (tejas) of the main idol moves into the Kautuka,-bera, which rests on the worship pedestal (archa-pitha). This is the first stride of Vishnu.Again, at the time of offering ritual bath, the tejas of the main idol moves into the Snapana-bera which is placed in the bathing-enclosure (snapana –mantapa). This is the second stride taken by Vishnu. And, the third stride is that when the Utsava-bera is taken out in processions. This is when the tejas of the Main idol reaches out to all.
In Marichi’s Vimana-archa-kalpa the five forms, five types of icons, the pancha-murti (when Vishnu is also counted along with the other four forms) are compared to five types of Vedic sacred fires (pancha-agni): garhapatya; ahavaniya; dakshinAgni; anvaharya; and sabhya. These in turn are compared to the primary elements (earth, water, fire, air, and space). And, the comparison is extended to five vital currents (prana, apana, vyana, udana and samana).
Further it is explained; the Vaikhanasa worship-tradition retained the concept of Pancha-Agni, but transformed them into five representations of Vishnu (pancha –murthi): Vishnu, Purusha, Satya, Achyuta and Aniruddha. And, that again was rendered into five types of temple deities as pancha-bera: Dhruva, Kautuka, Snapana, Utsava and Bali.
[The Vaikhanasa concept of five forms of Godhead parallels with that of Pancharatara which speaks of: Para, Vyuha, Vibhava, Antaryamin and Archa. Of these, Para is the absolute form, the cause of all existence and it is beyond intellect. Vyuha are the emanations from Para for sustaining creation. The Vyuha, in turn, assumes five worship-worthy forms: Vishnu, Purusha, Satya, Achyuta and Aniruddha. Vibhava represent the Avatars for destroying the evil, uplifting the virtuous and maintain balance in the world. Antaryamin is the inbeing who resides as jiva in all creatures. And, Archa is the most easily accessible form; the form which protects the devotees and eliminates their sorrows. This is the form that is worshipped in the temples.]
Source: agnyāyatanaṁ and agnihotrahomaḥ colophon: punarādheyam
ॐ गणानां त्वा गणपतिं हवामहे
कविं कवीनामुपमश्रवस्तमम् ।
ज्येष्ठराजं ब्रह्मणाम् ब्रह्मणस्पत
आ नः शृण्वन्नूतिभिःसीदसादनम् ॥
ॐ महागणाधिपतये नमः ॥
RV_2,023.01a gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnām upamaśravastamam |
RV_2,023.01c jyeṣṭharājam brahmaṇām brahmaṇas pata ā naḥ śṛṇvann ūtibhiḥ sīda sādanam ||
RV_2,023.02a devāś cit te asurya pracetaso bṛhaspate yajñiyam bhāgam ānaśuḥ |
RV_2,023.02c usrā iva sūryo jyotiṣā maho viśveṣām ij janitā brahmaṇām asi ||
RV_2,023.03a ā vibādhyā parirāpas tamāṃsi ca jyotiṣmantaṃ ratham ṛtasya tiṣṭhasi |
RV_2,023.03c bṛhaspate bhīmam amitradambhanaṃ rakṣohaṇaṃ gotrabhidaṃ svarvidam ||
RV_2,023.04a sunītibhir nayasi trāyase janaṃ yas tubhyaṃ dāśān na tam aṃho aśnavat |
RV_2,023.04c brahmadviṣas tapano manyumīr asi bṛhaspate mahi tat te mahitvanam ||
RV_2,023.05a na tam aṃho na duritaṃ kutaś cana nārātayas titirur na dvayāvinaḥ |
RV_2,023.05c viśvā id asmād dhvaraso vi bādhase yaṃ sugopā rakṣasi brahmaṇas pate ||
RV_2,023.06a tvaṃ no gopāḥ pathikṛd vicakṣaṇas tava vratāya matibhir jarāmahe |
RV_2,023.06c bṛhaspate yo no abhi hvaro dadhe svā tam marmartu ducchunā harasvatī ||
RV_2,023.07a uta vā yo no marcayād anāgaso 'rātīvā martaḥ sānuko vṛkaḥ |
RV_2,023.07c bṛhaspate apa taṃ vartayā pathaḥ sugaṃ no asyai devavītaye kṛdhi ||
RV_2,023.08a trātāraṃ tvā tanūnāṃ havāmahe 'vaspartar adhivaktāram asmayum |
RV_2,023.08c bṛhaspate devanido ni barhaya mā durevā uttaraṃ sumnam un naśan ||
RV_2,023.09a tvayā vayaṃ suvṛdhā brahmaṇas pate spārhā vasu manuṣyā dadīmahi |
RV_2,023.09c yā no dūre taḷito yā arātayo 'bhi santi jambhayā tā anapnasaḥ ||
RV_2,023.10a tvayā vayam uttamaṃ dhīmahe vayo bṛhaspate papriṇā sasninā yujā |
RV_2,023.10c mā no duḥśaṃso abhidipsur īśata pra suśaṃsā matibhis tāriṣīmahi ||
RV_2,023.11a anānudo vṛṣabho jagmir āhavaṃ niṣṭaptā śatrum pṛtanāsu sāsahiḥ |
RV_2,023.11c asi satya ṛṇayā brahmaṇas pata ugrasya cid damitā vīḷuharṣiṇaḥ ||
RV_2,023.12a adevena manasā yo riṣaṇyati śāsām ugro manyamāno jighāṃsati |
RV_2,023.12c bṛhaspate mā praṇak tasya no vadho ni karma manyuṃ durevasya śardhataḥ ||
RV_2,023.13a bhareṣu havyo namasopasadyo gantā vājeṣu sanitā dhanaṃ-dhanam |
RV_2,023.13c viśvā id aryo abhidipsvo mṛdho bṛhaspatir vi vavarhā rathāṃ iva ||
RV_2,023.14a tejiṣṭhayā tapanī rakṣasas tapa ye tvā nide dadhire dṛṣṭavīryam |
RV_2,023.14c āvis tat kṛṣva yad asat ta ukthyam bṛhaspate vi parirāpo ardaya ||
RV_2,023.15a bṛhaspate ati yad aryo arhād dyumad vibhāti kratumaj janeṣu |
RV_2,023.15c yad dīdayac chavasa ṛtaprajāta tad asmāsu draviṇaṃ dhehi citram ||
RV_2,023.16a mā na stenebhyo ye abhi druhas pade nirāmiṇo ripavo 'nneṣu jāgṛdhuḥ |
RV_2,023.16c ā devānām ohate vi vrayo hṛdi bṛhaspate na paraḥ sāmno viduḥ ||
RV_2,023.17a viśvebhyo hi tvā bhuvanebhyas pari tvaṣṭājanat sāmnaḥ-sāmnaḥ kaviḥ |
RV_2,023.17c sa ṛṇacid ṛṇayā brahmaṇas patir druho hantā maha ṛtasya dhartari ||
RV_2,023.18a tava śriye vy ajihīta parvato gavāṃ gotram udasṛjo yad aṅgiraḥ |
RV_2,023.18c indreṇa yujā tamasā parīvṛtam bṛhaspate nir apām aubjo arṇavam ||
RV_2,023.19a brahmaṇas pate tvam asya yantā sūktasya bodhi tanayaṃ ca jinva |
RV_2,023.19c viśvaṃ tad bhadraṃ yad avanti devā bṛhad vadema vidathe suvīrāḥ ||
r.s.i: gr.tsamada (a_n:girasa s'aunahotra pas'ca_d) bha_rgava s'aunaka; devata_: br.haspati, 1-5,9,11,17,19 brahman.aspati; chanda: jagati_, 15,19 tris.t.up; Anuva_ka III
2.023.02 Br.haspati, destroyer of the asuras, through you the intelligent gods have obtained the sacrificialportion; in like manner as the adorable sun generates the (solar) rays by his radiance, so are you the generator of all prayers. [Br.haspati = Brahman.aspati; perhaps Br.haspati is of a more martial character; his protection is souhght for against enemies and evil spirits; perhaps, br.hata_m veda_na_m pa_lakah: br.hat = mantra, br.hato mantrasya, sva_min].
2.023.03 Having repelled revilers and (dispersed) the darkness you stand Br.haspati, on the radiant chariot of sacrifice, (which is) formidable (to foes), the humiliator of enemies, the destroyer of evil spirits, the cleaver of the clouds, the attainer of heaven.
2.023.04 You lead men, Br.haspati, by virtuous instructions; you preserve them (from calamity); sin will never overtake him who presents (offerings) to you; you are the afflicter of him who hates (holy) prayers; you are the punisher of wrath; such is your great mightiness. [Him who hates holy prayers: brahmadvis.ah = those who hate either the bra_hman.as,or the mantras or prayers].
2.023.05 The man whom you, Brahman.aspati, a kind protector, defend, neither sorrow nor sin, nor adversaries nor dissemblers ever harm, for you drive away from him all injurious (things).
2.023.06 You, Br.haspati, are our protector and the guide of (our) path; (you are) the discerner (of all things); we worship with praises for your adoration; may his own precipitate malice involve him (in destruction) who practises deceit against us.
2.023.07 Turn aside from (the true) path, Br.haspati, the arrogant and savage man who advances to injure us, although unoffending and keep us in the right way for (the completion of) this offering to the gods.
2.023.08 Br.haspati, defender (from calamity), we invoke you, the protector of our persons, the speaker of encouraging words and well disposed towards us; do you destroy the revilers of the gods; let not the malevolent attain supreme felicity.
2.023.09 Through you, Brahman.aspati, (our) benefactor, may we obtain desirable wealth from men destroy those (our) unrighteous enemies, whether nigh or far off, who prevail against us.
2.023.10 Through you, Br.haspati, (who are) the fulfiller of our desires; pure, and associated (with us), we possess excellent food; let not the wicked man who wishes to deceive us be our master; but let us, excelling in (pious) praises, attain (prosperity).
2.023.11 You, Brahman.aspati, who have no requiter (of your bounty), who are the showerer (of benefits), the repairer to combat, the consumer of foes, the victor in battles, you are true, the discharger of debts, the humiliator of the fierce and of the exulting.
2.023.12 Let not, Br.haspati, the murderous (weapon) of that man reach us, who, with unrighteous mind, seeks to harm us; who, fierce and arrogant, designs to kill (your) worshippers; may we baffle the wrath of the strong evil-doer].
2.023.13 Br.haspati is to be invoked in battles; he is to be approached with reverence; he who moves amidst combats, the distributor of repeated wealth; the lord Br.haspati has verily overturned all the assailing malignant (hosts), like chariots (overturned in battle).
2.023.14 Consume with your brightest (weapon) the ra_ks.asas, who have held your witnessed prowess in disdain; manifest, Br.haspati, your glorified (vigour), such as it was (of old), and destroy those who speak against you.
2.023.15 Br.haspati, born of truth, grant us that wonderful treasure, wherewith the pious man may worship exceedingly; that (wealth) which shines amongst men; which is endowed with lustre, (is) the means of (performing holy) rites, and invogirates (its possessor) with strength. [dravin.am citram = lit., various or wonderful wealth; in the Bra_hman.as it is interpreted as brahma varcas or tejas, brahmanical virtue or energy (cf. Yajus. 26.3; dravin.am = dhanam (Aitareya Bra_hman.a 4.11)].
2.023.16 Deliver us not to the thieves, the enemies delighting in violence, who seize ever upon the food (of others); those who cherish in their hearts the abandonment (of the gods); (they), Br.haspati, who do not know the extent of (your) power (against evil spirits). [Who do not know the extenf of your power: na parah sa_mno viduh = ye puma_msah sa_mnah sa_maya_t tvattah parah parasta_d anyadukr.s.t.am sa_ma yad raks.oghnam na ja_nanti, those men who do not know anything greater than the faculty of destroying ra_ks.asas, derived from you made up of that faculty; sa_ma vai raks.oha = sa_ma is the killer of ra_ks.asas].
2.023.17 Tvas.t.a_ engendered you (chief) amongst all beings, (whence) you are the reciter of many a holy hymn: Brahman.aspati acknowledges a debt to the performer of a sacred rite; he is the acquitter (of the debt), and the destoyer of the oppressor. [When you are the reciter: sa_mnah sa_mnah kavih, the reicter or another of every sa_ma, sarvasya sa_mnah ucca_rayita_ karta_si; or kavi refers to tvas.t.a_, further explained as the sage who created Brahman.aspati by the efficacy of the sa_ma: sa_mnah sa_ren.a tvam aji_janat; acknowledges a debt: r.n.acit stotr.ka_mam r.n.am iva cinoti, he takes the intention of the praiser as if it was a debt, or obligation; acquitter of the debt: r.n.aya is explained as the discharger or remover of the debt which is of the nature of sin: pa_paru_pasya r.n.asya pr.thak karta_].
2.023.18 When Br.haspati, descendant of An:giras, for your glory, Parvata had concealed the herd o fkine, you did set them free, and with thine associate, Indra, did send down the ocean of water which had been enveloped by darkness.
2.023.19 Brahman.aspati, who are the regulator of this (world), understand (the purport) of (our) hymn, and grant us posterity; for all is prosperous that the gods protect; (and therefore) may we blessed with excellent descendants, glorify you at this sacrifice. [Yajus. 34.58; vadema = may we declare or glorify you; or, let us speak, let what we ask be given to us;let it be enjoyed by us: di_yata_m bhujyata_m ucca_rayema].
Meaning:
1: Om, O Ganapati, To You Who are the Lord of the Ganas (Celestial Attendants or Followers), weOffer our Sacrificial Oblations,
2: You are the Wisdom of the Wise and the Uppermost in Glory,
3: You are the Eldest Lord (i.e. ever Unborn) and is of the Nature of Brahman (Absolute Consciousness); You are the Embodiment of the Sacred Pranava (Om),
4: Please come to us by Listening to our Prayers and be Present in the Seat of this Sacred Sacrificial Altar.
5: Om, our Prostrations to the Mahaganadhipati (the Great Lord of the Ganas).
http://www.greenmesg.org/mantras_slokas/sri_ganesha-gananam_tva_ganapatim.php
Pañcāyatana pūjā is worship of Gaṇeśa, Vishnu, Shiva, Devī, and Sūrya.
Gaṇeśa Nrtya Walters Art Museum.S. Kalyanaraman
Sarasvati Research Center
November 2, 2015