Ganesh The Benevolent

About the Book A familiar, well-loved figure in the art and religion of Asia, the elephant-headed Ganesh is universally revered as the god of auspicious beginnings. Despite his popularity, the jolly, pot-bellied deity has received far less attention in literature than he deserves.

The present authoritatively researched volume attempts to collate existing reference material on the subject, as also offer valuable original insights into various aspects of Ganesh.

The diversity of the benevolent god's representations is amply illustrated in the survey of the British Museum collection in London. An article on the Hindu Ganesh discusses his importance in Maharashtra where the annual festival is observed with fervor. Subsequent essays examine the iconography of the dancing Ganesh and the deity's place in Tantric literature, and in the Buddhist and Jain traditions. Travelling with Buddhism to South-East and East Asia where he developed distinctly local characteristics, Ganesh is today especially favored in Thailand, Indonesia, and Cambodia. In a more personal vein, an avid collector writes of his passion for Ganesh. Although his career began as a humble leader of Shiva's hosts, Ganesh subsequently emerged as a supreme deity and, simply, a god who removes obstacles and grants success. And despite his strange appearance, he has inspired countless artists over the centuries to create his form with sensitivity and a touch of whimsy.

COVER: Dancing Ganesh. Central Tibet. Early fifteenth century. Colors on cotton. Height: 68 centimeters. Private collection. Photograph: courtesy Doris Wiener, New York. Detail on back cover.

END-PAPERS: Photograph by Anand Udeshi. The Sanskrit invocation to Ganesh translates as: With a twisted trunk and a colossal body Shining with the brilliance of a million suns; O Lord May all our endeavors always Be accomplished without obstacles.

Introduction from the Mudgala Purana, one of the texts sacred to the Hindu god Ganesh, but part of the introductory monologue delivered by the character Ganesh in the play titled A Perfect Ganesh, by the well-known American playwright Terrence McNally. However, with the various expressions in different European languages in the passage, it may well serve as a mantra for this vastly popular deity who is now loved not only in India but universally. No longer is it unusual to read in an American article, "His energy is in reserve, his presence calm. But the room is charged. He overcomes the lavish reds, gold, paisleys, Indian art, the huge statue of Ganesha (meaning 'leader'), his favorite Indian God."

The "he" in this passage refers to Isaac Tigrett, who may not be a household name to readers of Marg, but has ingratiated himself with at least a couple of generations of youngsters in America and Europe by giving them the Hard Rock Cafe.

The spontaneous attraction of this beloved god of the Indians is also evident from two sculptures in American museums. Figure 1 illustrates a late Chola period seated Ganesh now in the Los Angeles County Museum of Art. If one looks carefully, one will notice that his belly is darker and more oily the rest of the figure. Yet, when it was first displayed in the galleries, the entire sculpture was uniformly clean. Over the last twenty-five years almost all visitors (and the majority are not Indians) have stroked his belly and trunk as they have passed by the image, despite the fact that touching exhibits is forbidden in the museum. As if instinctively, visitors know that to touch an image of Ganesh is auspicious.

**Contents and Sample Pages**