This book presents a wide range of information about Ganapati or Ganesh, the Hindu Lord of Beginnings, the Remover of Obstacles, the Keeper of the Threshold, and the Master of the Mind. He is elephant-headed, plump, and loveable, but who is he really?

The Ganapati Atharvashirsha is a collection of 14 verses, and is attributed to the Atharvaveda. It paints a beautiful image of Lord Ganesha to invoke Fearlessness, hence unbridled Success in all ventures. Also Contentedness, to assure that Life is ultimately Beautiful. Verse 1 ॐ नमस्ते गणपतये । त्वमेव प्रत्यक्षं तत्त्वमसि । त्वमेव केवलं कर्ताऽसि । त्वमेव केवलं धर्ताऽसि । त्वमेव केवलं हर्ताऽसि । त्वमेव सर्वं खल्विदं ब्रह्मासि । त्वं साक्षाद् आत्माऽसि नित्यम् ॥ १॥ oṃ namaste gaṇapataye । tvameva pratyakṣaṃ tattvamasi । tvameva kevalaṃ kartā'si । tvameva kevalaṃ dhartā'si । tvameva kevalaṃ hartā'si । tvameva sarvaṃ khalvidaṃ brahmāsi । tvaṃ sākṣād ātmā'si nityam ॥ 1॥ Hail O Lord of the atomic particles. Salutations to the crystalline molecular structures, and greetings to all couples, families, societies and institutes of this world. O friend, thee are evidently that what I seek. Thee are the closeness, the sense of togetherness. Thee have been solely created for enhancing my soul's destiny. Thee have the strength to support my need and lighten my burden. Thee of all friends is true. Thee show me where I stand and what I must do. ----------------------------------------------------------------- Gives original verses in Sanskrit with a Latin transliteration and a lucid explanation in English. Contains an exhaustive Appendix to highlight some famous notes on Ganesha, the beloved elephant headed God of Indian folklore. For the Sanskrit enthusiast, it lists padachheda word-boundary, word meaning, and vibhakti word case.

The famous Ganapati Atharvasirsa Upanisad reveals the true nature of of everyone's favourite-Lord Ganapati!He is the infinite Truth (Brahman) and the Self of all (Atman), It also shows how the Divine form of Ganapati manifests from the bija mantra 'Om Gam'.It concludes with enumerating different ways of worsshipp-ing Ganapati and the results attained through them (phalasruti). Swami Tejomayananda's commentary is easy to read,yet deep in meaning .It inspires the reader to become a life long devotee of God.

Ganapati Atharvashirsha Upanishad in English rhyme with original text from Atharva Veda. Upanishads are prime portions of the Vedas, They are the foundational theological discourses of Hindu traditions called Vedanta or the conclusion of the Vedas.

Nataraja, the dancing Siva sculpture, is perhaps the most well-known among all Hindu sculptures, and rightly so. It has evoked highly advanced discussions among scientists, philosophers, performing artists, art critics, art collectors, historians, archaeologists and mythologists. The Nataraja sculpture also occupies a pride of a place at CERN, the European Centre for Research in Particle Physics in Geneva. Siva, according to Hindu Mythology, was the very first dancer in the world. All dramaturgy and dance traditions emerge from Siva’s cosmic dance. Tandu, Siva’s disciple narrated the description of Siva’s dance to Bharata Muni and he is believed to have compiled the Natyasastra, the world’s first treatise on dramaturgy, dance and other performing arts. Scholars believe that the Natyasastra was written over a long period of time between the 2nd century BCE and 2nd century CE with contributions from various sages, with its foundation having been laid by Bharata Muni. Convergence between Hindu mythology, Natyasastra and Silpasastra was the natural outcome. Karnataka, and its temple architecture tradition, played a pioneering role in giving an artistic form to this convergence in its temple sculptures. Though this trend may have started earlier during 2nd and 3rd century CE, it started to take the center stage from the times of the Badami Chalukyas. Passing through various refinements between 5th and 10th centuries, it reached its peak with the Hoysala art. This book traces the history of temple sculpture evolution and development through the centuries by referring to the existing sculptural forms and the canonical literature that developed over time.