Lord Ganesha’s Iconography

In every Hindu function, invocation to Lord Ganesha for His blessings takes precedence over all other Gods to ward off any mishap. This has been the practice from the Vedic times. Every part of Ganesha's body, such as the ear, nose, eyes, and trunk, has some significance. One has only to know it, believe in it, and follow it. He is intellect par excellence. A critical examination of the various names of the Deities will enable us to know and trace the features of religious development and understand the religious tendencies of the people. Here an attempt is made to highlight how Lord Gaņesha in His different bhangimas (postures and attitudes) is worshiped in Āgamic temples.

 1. Icons without headdress in the sitting pose and with two arms: To this class belong two variations. The first is the prevalent utkutakasana ["sitting on the hams" with one or both knees raised]. Second is Gaņesha seated in padmāsana, lotus pose, with legs crossed, which is quite rare.

 2. Gaņesha icons with two arms and headdress: These images are mostly carved out of stone and normally belong to a period between the 9th and 12th centuries. These are represented in the usual utkutaka pose, and the proboscis is shown taking a left turn and eating from a bowl of pudding held in the left hand.

 

3. Four-armed figures without alaṁkāra [ornamentation] and prabhāvalī [encircling arch): These are discernable specimens of early Ganapati sculpture with four arms, devoid of any kind of ornamentation and with little proportion.

 4. Ganapati icons with four arms, ribbon-like prabhāvalī, jațāmukuța [crown of matted hair) and udarabandha [waist band]: These figures are usually ascribed to the period between the 9th and 12th centuries. They are mostly carved out of hard granite, and they present a pleasant and elegant form.

 5. Ganapati icons with four arms and with bowl-like kinita or with conical or karanda mukuța [basket-shaped crown]: This type of Ganapati image is datable to the 10th, 11th, or 12th centuries. They may not have the mount or profusion of alankara. The prabhāvali resembles a semicircular tape or is flame-like.

 

6. Ganapati icons representing the Hoysala type: These figures are known for their profusion in ornamentation, delicacy of taste, and elegance.

 7. Ganapati icons with the usual nagabandha, vāhana, karanda mukuța, and conventionalized form of details: These figures are assigned to the period between the 14th and 18th centuries. They represent the various forms of Ganapati according to the textual prescription.

 8. Ganapati icons in tribhanga: Hitherto, four bronzes have been discovered in the tribhanga pose. Three are ascribed to the 10th century.

 

9. Nritya Gaņesha, the dancing form: Only two [ancient) icons of this type have come to light so far. One is a small (20cm high) stone icon at Hariharakshetra, Subrahmanya. The other is a bronze in the Raghavendra Matha in Udipi. This bronze is of considerable iconographic interest. In features, although it presents conventional forms, its theological background is rather unique.

Conclusion 

Ganesha's iconography goes beyond mere physical representation. It's a visual language narrating his wisdom, power, and diverse blessings. From the knowledge-laden elephant head to the obstacle-crushing axe, each element tells a story. The number of arms, the objects he holds, even the position he takes while seated – all contribute to the rich symbolism. This makes Ganesha statues for home more than just décor; they become powerful reminders of his presence and the qualities he embodies. So, when selecting a Ganesha statue for your home, consider the symbolism that resonates most with you, bringing Ganesha's blessings of prosperity, knowledge, and success into your personal space.