| Vināyaka (Gaṇapati) | |
|---|---|
God of obstacles, bliss, protection, wealth, and success | |
 Vinayaka painting from Nepal | |
| Affiliation | Deva Vairochana Buddha Eleven-Headed Avalokiteshvara Amritakundalin Sanbō Kōjin |
| Weapon | axe,trident |
| Gender | Male |
| Genealogy | |
| Parents |
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Vināyaka (IAST;Jp.Binayaka, 毘那夜迦),Vighnāntaka, orGaṇapati (Jp:Ganabachi, 誐那鉢底; Tibetan:tshogs bdag) is aBuddhist deity venerated in various traditions ofMahayana Buddhism. InTibetan Buddhism he is also known asthe Red Lord of Hosts (Tibetan:tsog gi dag po, mar po).[1]
The Buddhist Vināyaka is considered a protector from evil, a remover of obstacles (physical and mental) especially invoked at the beginning of an undertaking, a general benefactor, wealth deity, and a deity of joy and pleasure.[2][3][4][5][6] Although Vināyaka and the Hindu Ganesha share a common origin and a number of traits, there are also some marked differences between the two. For example, the Buddhist deity is commonly understood to be anemanation of thebodhisattvaAvalokiteshvara (Guanyin) or of the BuddhaVairocana.
Vināyaka is depicted in numerous forms depending on the tradition. In Indo-Tibetan Buddhism he is depicted with a big belly and may be white, red or yellow, and have four or more arms that carry various weapons and implements. He is often accompanied by a rat. In Japan, a popular depiction is a male-female couple (both with elephant heads) standing in an embrace in an iconographic depiction known as the "Dual Kangiten" (双身歓喜天,Sōshin Kangiten) or the "Embracing Kangiten."
Ganesh is also a popular deity inThailand, revered byThai Buddhists andThai Hindus alike.
Ganesha's emergence in the historical record is linked to the vināyakas, a group of troublesome demons in Hindu texts which were known to create obstacles for Buddhist practitioners. In the earliest Buddhist literature which mentions these figures, vināyakas (and their king, Vināyaka, i.e. Ganesh - Ganapati) are portrayed negatively as obstructive deities that create obstacles, and thus they often require ritual practices to either expel or appease.[7]
Vināyaka images begin appear in Indian Buddhist sculptures during the lateGupta period (c. 3rd century CE – 575 CE).[8] Vināyaka is also depicted in a wall painting inMogao Cave 285 inDunhuang as a protector of Buddhism with the godsMaheshvara (Shiva) andSkanda.[9][10]
After the development ofChinese Esoteric Buddhism, Vināyaka acquires a more positive role as a subjugator of demons. Various Chinese esoteric sources contain rituals invoking Vināyaka as a protector against obstacle causing demons.[11] Some East Asian esoteric sources contain a "Dual-bodied Kangiten", which is depicted as an embracing male-female couple. The origins of this unique imagery remain unclear.[12]
The introduction of Vināyaka toJapan was facilitated by theShingon founderKūkai (774–835) and the deity was quickly assimilated intoJapanese Buddhism, initially as a minor guardian called Kangiten or Shōten in Japanese. Over time, Vināyaka evolved into an important deity with a dedicated cult focused on subjugation rites, notably during theHeian period.[13]
The medieval period onwards reveals the integration of Kangiten into official state-sponsored rites in Japan, showcasing his invocation in various contexts, including subjugation rituals against political opponents. Historical figures, such as warlords and merchants, were often devotees of Vinayaka, attributing their success to the deity. Famous samurai warlords likeToyotomi Hideyoshi andTokugawa Ieyasu were known to propitiate Kangiten.[14] Vinayaka's worship spread further during theEdo period, though caution was required in performing rituals without the guidance of qualified priests. In Japanese Buddhism, he is often seen as an emanation ofVairochana Buddha meant as a last resort for those who have no other hope.[15][16]
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The emergence ofEsoteric (Tantric) Buddhism and its spread toNepal, Tibet and the Himalayan regions saw the growth of Vināyaka / Ganapati as an important protector deity (dharmapala) and subjugator of demons. In Tibet, the deity was worshiped for the removal of obstacles, granting of wealth and was at times portrayed as a wrathful, multi-armed deity wielding weapons. A Nepalese text provides a list of spells invoking Ganapati to not only bestow wealth but also to cause harm to enemies.[17] He is often shown dancing. This form, calledNṛttaGanapati, was popular in northern India, later adopted in Nepal, and then in Tibet.[18]
InNewar Buddhism, Ganapati is also a benefactor and a protector deity.[2] In Nepal, the Hindu form of Ganesha, known asHeramba, is popular; he has five heads and rides a lion.[19]
Ganapati (Tibetan:tshogs bdag) is retained as a deity in theIndo-Tibetan Buddhist pantheon. He is seen as a destroyer of obstacles, demons, and as a wealth deity, and he is also sometimes shown in the dancing tantric form.[3][4][5]
There are thirty texts contained in theTibetan Buddhist canon which deal with Ganesha.[4] In these texts, which are Indian texts preserved in Tibetan translation, Ganapati is depicted as a wealth deity which can also grant worldly pleasures like sex and food. He is also depicted as a protector from negative forces, demons, and sickness.[4] In these tantric Buddhist sources, Ganesha is generally presented as an emanation of the BodhisattvaAvalokitesvara.[4]
Several of these texts, including the longest one, theMahaganapati Tantra, were brought to Tibet by the tantric masterAtisha.[4] Another text, theGanapatihrdaya provides a mantra based method which can be used to transform non-buddhist ceremonies into Buddhist ones.[4] In one of these texts, a practice text (sadhana) calledVinayaka Raja Sadhanam, Ganapati's short recitation mantra is given as:Om Ah Gah Hum Svaha, and a longer mantra is given as: Om Gam Ganapati Mama Ratna Siddhi Ga Ga Ga Ga Ga Ga Ga Ga Ganapati svaha.[4]
Vinayaka is also known as Maha Rakta, the great Red Lord ofGanas. He is one of the three great Red Deities of the Sakya school ('mar chen kor sum') included in a larger set called 'The Thirteen Golden Dharmas' ofSakya. The other two deities areKurukulle and Takkiraja.
In theNyingma school, there are also manytermas (revealed treasure texts) which focus on Ganapati. He generally remains an emanation of Avalokiteshvara and it associated with power, and the ability to increase and magnetize forces and activities.
There are numerous forms and styles of Vinayaka / Ganapati in Tibetan Buddhism. Depending on the tradition, he may be depicted as white, red, or yellow, with four or more arms, and with several different implements, weapons and companion figures (like a rat, which he often mounts).[20]
One iconographic depiction from the Sakya school describes Ganapati as follows:
...beside a lapis lazuli rock mountain is a red lotus with eight petals, in the middle a blue rat expelling various jewels, [above] Shri Ganapati with a body red in colour, having an elephant face with sharp white tusks and possessing three eyes, black hair tied in a topknot with awishing-gem and a red silk ribbon [all] in a bundle on the crown of the head. With twelve hands, the six right hold an axe,arrow,hook,vajra, sword and spear. The six left [hold] apestle, bow,khatvanga,skullcup filled with blood, skullcup filled with human flesh and a shield together with a spear and banner. The peaceful right and left hands are signified by the vajra and skullcup filled with blood held to the heart. The remaining hands are displayed in a threatening manner. Wearing various silks as a lower garment and adorned with a variety of jewel ornaments, the left foot is extended in a dancing manner, standing in the middle of the bright rays of red flickering light. (Ngorchen Konchog Lhundrup, 1497–1557).[21]
This form of Ganapati belongs to a set of three powerful deities known as the Three Great Red Deities (mar chen kor sum) of the Sakya school.
In other depictions, Ganapati is a subdued deity. In depictions of the six-armed protectorMahakala (Skt: Shad-bhuja Mahakala, Wylie: mGon po phyag drug pa), an elephant-headed figure usually addressed as Vinayaka is seen being trampled by the Dharma Protector, but he does not appear distressed. InVajrayana and other related Buddhist arts, he is sometimes depicted as a subdued god trampled by Buddhist deities likeAparajita,Parnasabari andVignataka.
Ganesha is found throughout BuddhistSoutheast Asia. Ganesh is often venerated not just by the minority Hindu populations of these nations, but also byTheravada Buddhists, who see him as a guardian deity, a wealth deity and a remover of obstacles.[22] Thus, according to Brooke Schedneck,
Evidence of Ganesha statues begins in fifth-century C.E. Cambodia. Today, commercial buildings, especially large shopping complexes, contain elaborate shrines to Ganesha. Ganesha statues are prominent and popular in some Buddhist temples, such as Chiang Mai's silver temple, Wat Srisuphan. Theravada Buddhists may possess Ganesha statues displayed on altars below Buddha images in their homes and businesses. Practitioners turn to Ganesha as they do any other powerful figure-for safety and protection, a particular wish to obtain one's desires, or general help with wealth, health and prosperity.[23]
In Myanmar, Ganesh is known asMaha Peinne (great bliss), derived from Mahāviāyaka,[24] and is generally considered a guardian deity.[25][26] The worship of Mahāpeinne Nat started around the earlySecond Ava Period.[27]Konbaung kingMindon Min recognized the Mahapeinne Nat (Ganesh) alongside Thurathati (Sarasvati), Sandi (Dewi), Paramithwa (Siva), and Beithano (Visnu) as Natkyi (နတ်ကြီး) or greater Nat.[28]
Ganesha (Phra Phikanet, พระพิฆเนศ, orPhra Phikanesuan, พระพิฆเนศวร) is an important deity inThailand, where he is seen as a god of the arts and success and remover of obstacles.[22] Ganesh worship was promoted by KingVajiravudh (c. 1910-1925) who was devoted to Ganesha personally and built a Ganesha shrine at his personalSanam Chandra Palace inNakhon Pathom. His personal belief regarding Ganesha as the god of arts formally became prominent following the establishment of theFine Arts Department of the government, which has Ganesha on its seal. Today, Ganesha is depicted both in the seal of the Fine Arts Department, and Thailand's first prominent fine arts academy; theSilpakorn University.[29]
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| Ashtavinayaka Temples | ||
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