Why Vighnaharta Vinayak is first among equals?, Spiritual : Today Indya

Why Vighnaharta Vinayak is first among equals?

Spiritual

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Lord Ganesha’s name is taken before the auspicious beginning of a work or inauguration especially during Griha Pravesh in every Hindu household. Despite the presence of 36 crore deities, why Son of Lord Shiva and Parvati is worshipped first. An intriguing story lies behind this question.

Why Vighnaharta Vinayak is first among equals?

As per a mythological story, once all the gods and goddess of the universe wished to test the

strength of their respective carrier. Lord Ganesha was in the doldrums as the test was to complete the Parikrama of the whole universe. The vehicle of Lord Ganesha was a mouse. To expect a mouse to surpass other agile and acrobatic vehicles of other deities was a far fetched fantasy. However, little Ganpati proved a crafty player in this competition. When the race started, Ganpati quickly completed the Parikrama of his parents Lord Shiva and Parvati and declared himself as winner of the race.

Devotee of his parents, Lord Ganesha said that parents are equivalent to the universe for a child and all the pilgrims are present in them. He further added that his father is Lord Shiva, a Tripurari and mother Parvati. The whole lot of god-goddess started heaping praises on Lord Ganesha. Subsequently, his name was recommended for Adya Poojan i.e. Ganesh will be the very first god to be worshiped in a religious ceremony, even before his parents Shiva and Parvati. Ganpati earned this honor by his wisdom.

It is one of the reason why Lord Ganesha is also called as Vighnharta. When Lord Ganesha is worshipped, he acts a trouble shooter through his wisdom. Thus the foundation of Lord Ganesh Statue ensures success and prosperity. The story not only proves the wisdom, but also the devotion of Lord Ganesha towards his parents.

Ganesha as a transcripter

When Ved Vyas was searching someone who can transcribe Mahabharata as per his narrative, Lord Brahma recommended erudite Ganapati. Later Ved Vyas dictated the Mahabharata and Lord Ganesha became its writer. However Ved Vyasa agreed to assign writing project to Ganesha on a condition. Ganesha wasn’t supposed to stop Ved Vyasa to stop dictation until he completes the transcription. It happened so. It is believed that in the history of Aryan Literature, the tradition of transcription, or plain writing the text was kicked off by the god with the trunk, Ganesha.

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Differences between Bhagavata and Mahabharata

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People often confuse the Bhagavata Purana (commonly referred to as the Bhagavata) with the Bhagavad Gita (commonly referred to as the Gita).

Bhagavata focuses on bhagavan, or God who engages with the world; it establishes Krishna as an avatar of Vishnu. Mahabharata focuses on the quarrels of the Bharatas, another name for the Kuru clan to which the Pandavas and Kauravas belong. God engages with the world as Krishna through the quarrels of the Bharatas.

• Bhagavata is a chronicle on the life of Krishna till he meets the Pandavas. Mahabharata is a chronicle of the life of Krishna after he meets the Pandavas.

• Bhagavata focuses on Krishna’s life as a cowherd in a rural landscape. Mahabharata forces on Krishna’s life as a warrior and strategist in an urban landscape.

• Bhagavata focuses on emotions (bhakti marga) while Mahabharata focuses on reconciling action (karma marga) with ideas (gyana marga). Gita, which is part of the Mahabharata, brings the three margas together.

The same idea as the Gita is presented in a dramatically different way in the Bhagavata through the raas-lila of Krishna.

After describing the events of Krishna’s childhood, how he kills demons sent to kill him, how he protects the village from natural calamities, how he takes the cows out to graze along with his friends, how he plays branks on the milkmaids and steals their butter, the Purana proceeds into the realm of romance and eroticism. Every full moon night Krishna goes into the fragrant woods of tulsi shrubs, the Vrinda-vana, and plays the flute. Hearing his melodious music, women rush out, leaving behind their fathers, brothers, husbands and sons who are fast asleep, to dance around him in a circular formation. Thus the forest (vana) turns into a delightful space (Madhu-vana). This creation of the circle of delight (rasa-mandala) is the rasa-lila. It would last as long as the women did not become possessive of Krishna. And while it lasted, every woman felt that Krishna danced with her exclusively.

The contrast between the battlefield of Kurukshetra and the dance in Madhuvana is stark. War here, dance there. Men here, women there. Blood here, milk there. Rage here, romance there. Day here, night there. Public here, secret there. Field here, forest there. Imminent violence here, sexual tension there.

By overturning established notions of righteousness and appropriateness related to property in the Mahabharata and related to fidelity in the Bhagavata, Krishna draws attention to an underlying theme, the Vedic theme, of how the mind perceives information differently depending on the level of wisdom. Since there are infinite levels of wisdom, there are infinite ways of seeing the same thing. Only the expanded mind (brahmana) can see infinity (ananta).

Further, Bhagavata speaks of Krishna’s mothers: Devaki, who gives birth to him and Yashoda, who raises him. It speaks of Krishna’s lovers: Radha, who leaves behind in Gokul, and Yamuna, who follows him to Dwarka. It speaks of Krishna’s wives: Satyabhama, rich and demanding, and Rukmini, poor and docile. Bhagavata tells stories of the inner quarters and not royal courts; of the village, not the city; the pasture, not the battle-field. Krishna, may be the great strategist, warrior and teacher, but he is also someone’s son, someone’s lover, someone’s husband, even someone’s brother and father, not always perfect, and often quite exasperating. This makes Bhagavata a very feminine narrative where Mahabharata is a masculine one, bringing God from grand things outside the home to simple things inside.

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