Brown, p. 1. "Gaṇeśa is often said to be the most worshipped god in India."
Getty, p. 1. "Gaṇeśa, Lord of the Gaṇas, although among the latest deities to be admitted to the Brahmanic pantheon, was, and still is, the most universally adored of all the Hindu gods and his image is found in practically every part of India."
Chapter XVII, "The Travels Abroad", in: Nagar (1992), pp. 175–187. For a review of Ganesha's geographic spread and popularity outside of India.
Getty, pp. 37–88, For discussion of the spread of Ganesha worship to Nepal, Chinese Turkestan, Tibet, Burma, Siam, Indo-China, Java, Bali, Borneo, China, and Japan
↑ For history of the development of the gāṇapatya and their relationship to the wide geographic dispersion of Ganesha worship, see: Chapter 6, "The Gāṇapatyas" in: Thapan (1997), pp. 176–213.
↑ The word gaṇa is interpreted in this metaphysical sense by Bhāskararāya in his commentary on the gaṇeśasahasranāma. See in particular commentary on verse 6 including names Gaṇeśvaraḥ and Gaṇakrīḍaḥ in: Śāstri Khiste 1991, pp. 7–8.
Oka 1913, p. 8 for source text of Amarakośa 1.38 as vināyako vighnarājadvaimāturagaṇādhipāḥ – apyekadantaherambalambodaragajānanāḥ.
Śāstri 1978 for text of Amarakośa versified as 1.1.38.
↑ Y. Krishan, Gaṇeśa: Unravelling an Enigma, 1999, p. 6): "Pārvati who created an image of Gaṇeśa out of her bodily impurities but which became endowed with life after immersion in the sacred waters of the Gangā. Therefore he is said to have two mothers—Pārvati and Gangā and hence called dvaimātura and also Gāngeya."
↑ For the history of the aṣṭavināyaka sites and a description of pilgrimage practices related to them, see: Mate, pp. 1–25.
↑ These ideas are so common that Courtright uses them in the title of his book, Ganesha: Lord of Obstacles, Lord of Beginnings. For the name Vighnesha, see: Courtright 1985, pp. 156, 213
↑ For Krishan's views on Ganesha's dual nature see his quote: "Gaṇeśa has a dual nature; as Vināyaka, as a grāmadevatā, he is vighnakartā, and as Gaṇeśa he is vighnahartā, a paurāṇic devatā." Krishan, p. viii.
Martin-Dubost, for a comprehensive review of iconography abundantly illustrated with pictures.
Chapter X, "Development of the Iconography of Gaṇeśa", in: Krishan 1999, pp. 87–100, for a survey of iconography with emphasis on developmental themes, well-illustrated with plates.
Pal, for a richly illustrated collection of studies on specific aspects of Ganesha with a focus on art and iconography.
Krishan 1999, p. 89, For two-armed forms as an earlier development than four-armed forms.
Brown, p. 103. Maruti Nandan Tiwari and Kamal Giri say in "Images of Gaṇeśa In Jainism" that the presence of only two arms on a Ganesha image points to an early date.
Martin-Dubost, p. 202. For the Ganesha Purana references for Vāsuki around the neck and use of a serpent-throne.
Krishan 1999, pp. 51–52. For the story of wrapping Vāsuki around the neck and Śeṣa around the belly and for the name in his sahasranama as Sarpagraiveyakāṅgādaḥ ("Who has a serpent around his neck"), which refers to this standard iconographic element.
Nagar, p. 81. For a citation to Ganesha Purana I.14.21–25 and For a citation to Padma Purana as prescribing the crescent for decoration of the forehead of Ganesha
Bailey (1995), pp. 198–199. For the translation of Ganesha Purana I.14, which includes a meditation form with the moon on forehead.
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