Relevant bibliographies by topics / Gaṇapati

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Academic literature on the topic 'Gaṇapati'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Gaṇapati"

1

Harichandra та Ramesh. "PAṀCA KOŚAS AND THE GAṆAPATI - ANNAMAYA KOŚA, AND ITS ROLE IN MANAGING HEALTH AND THE IMMUNE SYSTEM WITH SPECIAL REFERENCE TO HIV/AIDS". International Journal of Research -GRANTHAALAYAH 5, № 7 (2017): 262–69. http://dx.doi.org/10.29121/granthaalayah.v5.i7.2017.2132.

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Paṁca kośas are the sum and substance of a being. Annamaya kośa is the grossest of the paṁca kośas. This paper deals with the annamaya kośa, and the message of the purāṇik character Gaṇapati in managing health and the immune system with special reference to HIV/AIDS. The paper starts with explaining the need for knowledge and explaining why the purāṇik stories were required and what they aimed at. Keeping in mind that purāṇik characters are symbolism of some concept, the paper explores the connection between Gaṇapati and the food, which is the maker of annamaya kośa. In the later part the pape
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2

Harichandra та M.N. Ramesh. "PAṀCA KOŚAS AND THE GAṆAPATI - ANNAMAYA KOŚA, AND ITS ROLE IN MANAGING HEALTH AND THE IMMUNE SYSTEM WITH SPECIAL REFERENCE TO HIV/AIDS". International Journal of Research - Granthaalayah 5, № 7 (2017): 262–69. https://doi.org/10.5281/zenodo.836969.

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Paṁca kośas are the sum and substance of a being. Annamaya kośa is the grossest of the paṁca kośas. This paper deals with the annamaya kośa, and the message of the purāṇik character Gaṇapati in managing health and the immune system with special reference to HIV/AIDS. The paper starts with explaining the need for knowledge and explaining why the purāṇik stories were required and what they aimed at. Keeping in mind that purāṇik characters are symbolism of some concept, the paper explores the connection between Gaṇapati and the food, which is the maker of annamaya kośa. In the later part the pape
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3

Hirmer, Monika. "The Self as Combination of Deities and Yantras: Divinisation Rituals among Contemporary Śrīvidyā Practitioners in India." Religions 13, no. 8 (2022): 738. http://dx.doi.org/10.3390/rel13080738.

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Divinisation rituals establishing oneness between practitioners and divinities are common across Tantric traditions. While scholars largely argue that divinisation occurs through meditative practices, implying a clear demarcation between contemplative samayācāra rituals and body-focused kaulācāra rituals, I suggest that samayācāra divinisation rituals entail fundamental corporeal elements; furthermore, I argue that the distinction between samayācāra and kaulācāra rituals is not obvious, but negotiated on a continuum ranging between representational and embodied corporeality. Based on extensive
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4

Ariasa Giri, I. Made, та Ida Made Windya. "Yogākṣara Dalam Śiwa Tattwa Sebagai Laku Spiritual Untuk Mencapai Kalepasan". Jurnal Penelitian Agama Hindu 8, № 1 (2024): 55–72. http://dx.doi.org/10.37329/jpah.v8i1.2697.

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Tattwa texts in Bali contain Śiva’s philosophy such as Wṛhaspati Tattwa, Jñānasiddhanta, Jñāna Tattwa, Gaṇapati Tattwa, Sanghyang Mahājñana, Catur Prenawa and Tutur Amertha Kundalini Lontar Śiwa Tattwa contains Śiwa's teachings about divinity, creation and liberation. The interesting in Śiwa Tattwa is the teaching of kalêpasan with the Sadanggayoga concept through ākṣara practice known as yogākṣara. The yogākṣara system as a religious system in Bali has never been studied seriously based on academic methods. Therefore, it needs attention to carry out a more in-depth study. This research aims t
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5

Dr., Pradeep Varma P.K. "The tantric concept in "Vātāpi Gaṇapatiṁ bhaje"". Kiraṇāvalī XIV, № 3&4 (2022): 7–13. https://doi.org/10.5281/zenodo.7891741.

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This essay’s major objective is to explain the tantric idea that Muthuswamidikshitar used in his composition Vatapi Ganapathim Bhaje. The genius of Sri Muthuswami Dikshitar was that he was a wonderful combination of a versatile composer skilled in many different types of unique music, a towering scholar in Sanskrit, which endowed his music with grace, dignity, and tranquillity, and a Sadhaka immersed in devotion and excellent tradition. In his writings, Dikshitar used Saiva, Saktha, Ganapathya, astrological, and Vedantic themes. This article’s methodology is an analytical and descr
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6

Vadivelou, K., та Saju George. "NṞTYA GAṈAPATI: INSIGHTS FROM LITERATURE, ICONOGRAPHY AND BHARATANATYAM". ShodhKosh: Journal of Visual and Performing Arts 5, № 1 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.690.

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In Hinduism, dance is a ritual, and deities like Siva and Krishna are depicted as dancers. The Bhakti period in South India facilitated the development of music and dance as avenues to praise God and attain salvation or eternal bliss. Lord Siva, particularly, is revered as the God of dance, and various dancing forms of other Gods are present in Hindu Mythology alongside Nataraja. Gaṇapati worshipped as the remover of obstacles, is specifically praised as Nartana Gaṇapati in his dancing form. The Agamas enumerates sixteen forms of Gaṇapati, with Nṛtya Gaṇapati, the dancing form, being one of th
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7

Hernández Quiroz, Anselmo, María Carolina Cañas Moreno та Julio María Fernández Meza. "Gaṇapatyatharvaśīrṣopaniṣat: La Upaniṣad “Cabeza de Atharvan” dedicada a Gaṇapati." Estudios de Asia y África, 3 травня 2016, 449. http://dx.doi.org/10.24201/eaa.v0i0.2177.

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Books on the topic "Gaṇapati"

1

Kulakarṇī, Pu La. Puṇyāce Gaṇapati. Utkarsha Prakāśana, 1989.

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2

Puruṣōttamarāvu, Ayyadēvara. Kākatīya Gaṇapati Dēvuḍu: Triliṅga dharitri : cāritraka navala. Vijñāna Dīpika, 2013.

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3

Ramachandra Rao, Saligrama Krishna, 1926- та Karnataka Chitrakala Parishath, ред. Gaṇapati: 32 drawings from a 19th cent. scroll. Karnataka Chitrakala Parishath, 1989.

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4

Kauṭalya. The Arthaśāstra of Kauṭalya: With the commentary "Srīmūla" of T. Gaṇapati Sāstrī. New Bharatiya Book Corporation, 2006.

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5

Ṭhāṇekara, Vidyādhara. Kokaṇātīla 251 Gaṇapatī darśana. Vhī Plasa Prakāśana, 2011.

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6

Sena, Indrāṇī. Gaṇapatira ut̲sa sandhāne. Pratikshaṇa Pābalikeśans, 1990.

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7

Padavāḍa, Bāḷa. Samāja sudhāraka Santa Hari, urpha, Gaṇapatī Mahārāja. Vijayā Prakāśana, 1987.

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8

Kambujā, Gaṇāpaks Prajājān. Kammvidhī nayopāy rapás Gaṇapaks Prajājan Kambujā ṭoemlī kasāṅ niṅ kārbār mātubhūmi chnaṃ 2008-2013: Golkārn̊ niṅ vidhānkār 72 chaṃṇuc saṃrâp qanuvatt kammvidhī nayopāy rapás gaṇapaks. Gaṇapaks Prajājan Kambujā, 2008.

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9

Kambujā, Gaṇāpaks Prajājān. Kammvidhī nayopāy rapás Gaṇapaks Prajājan Kambujā ṭoemlī kasāng ning kārbār mātubhūmi chnaṃ 2013-2018: ʻanumăt ṭoy mahāsannipād visāmaṇṇ taṃṇang dūdaṃng prades rapás Gaṇapaks Prajājan Kambujā, thnai dī 17 Khae Mīnā Chnaṃ 2013. Gaṇāpaks Prajājān Kambujā, 2013.

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10

Hēmapātra: Aśōkavardhanun̐ḍu : Pilakā Gaṇapati Śāstri racanalu. Emeskō, 2010.

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Book chapters on the topic "Gaṇapati"

1

Agarwal, Ruchi. "Gaṇeśa (Gaṇapati)." In Hinduism and Tribal Religions. Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1036-5_343-1.

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Agarwal, Ruchi. "Gaṇeśa (Gaṇapati)." In Hinduism and Tribal Religions. Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_343.

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3

"Worship of Gaṇapati (Pūjā)." In Ganapati. State University of New York Press, 1995. http://dx.doi.org/10.2307/jj.18253071.12.

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"Who Is Gaṇapati/Gaṇeśa?" In Ganapati. State University of New York Press, 1995. http://dx.doi.org/10.2307/jj.18253071.14.

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5

"9 Who Is Gaṇapati/Gaṇeśa?" In Ganapati. SUNY Press, 1995. https://doi.org/10.1515/9781438405018-012.

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