asya śrī mahāgaṇapati mūlamantrasya | gaṇaka ṛṣiḥ | nicṛdgāyatrīcchandaḥ | mahāgaṇapatirdevatā | glauṃ bījaṃ | hrīṃ śaktiḥ | glūṃ kīlakam | śrī mahāgaṇapatiprasāda siddhayarthe jape viniyogaḥ ||
chandas Prose, the viniyoga
kīlaka the pin — The syllable that holds the mantra together, as a pin holds a wheel on its axle.
note gaṇaka r̥ṣiḥ: open the right palm and touch the top of the forehead nicr̥dgāyatrī chandaḥ: right palm on the mouth mahāgaṇapatirdēvatā: right palm on the heart chakra glauṁ bījaṁ: right shoulder hrīṁ śaktiḥ: left shoulder glūṁ kīlakam: on the navel mahāgaṇapatiprītyarthē japē viniyōgaḥ: open both the palms and run them over all parts of the body; from head to feet
oṃ gāṃ aṅguṣṭhābhyām namaḥ|
śrīṃ gīṃ tarjanībhyāṃ namaḥ|
hrīṃ gūṃ madhyamābhyāṃ namaḥ|
klīṃ gaiṃ anāmikābhyāṃ namaḥ|
glauṃ gauṃ kaniṣṭikābhyāṃ namaḥ|
gaṃ gaḥ karatalakarapṛṣṭhābhyāṃ namaḥ||
chandas Prose, the placing on the hands
note ōṁ gāṁ: use both the index fingers and run them on both the thumbs śrīṁ gīṁ: use both the thumbs and run them on both the index fingers hrīṁ gūṁ: both the thumbs on the middle fingers klīṁ gaiṁ: both the thumbs on the ring fingers glauṁ gauṁ: both the thumbs on the little fingers gaṁ gaḥ: open both the palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm
oṃ gāṃ hrdayāya namaḥ|
śrīṃ gīṃ śirase svāhā|
hrīṃ gūṃ śikhāyai vaṣaṭ|
klīṃ gaiṃ kavacāya huṃ|
glauṃ gauṃ netratrayāya vauṣaṭ|
gaṃ gaḥ astrāya phaṭ||
bhūrbhuvassuvaromiti digbandhaḥ||
chandas Prose, the placing on the body
digbandha binding the directions — A fence drawn round the worship, so that nothing from any quarter disturbs it. It is undone at the end.
note ōṁ gāṁ: open index; middle and ring fingers of the right hand and place them on the heart chakra śrīṁ gīṁ: open middle and ring fingers of the right hand and touch the top of the forehead hrīṁ gūṁ: open the right thumb and touch the back of the head at the crown point where a tuft is traditionally kept klīṁ gaiṁ: cross both the hands and run the fully opened palms from shoulders to finger tips glauṁ gauṁ: open the index; middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger gaṁ gaḥ: open up the left palm and strike it three times with index and middle fingers of the right hand digbandhaḥ: by using right hand thumb and middle fingers make a rattle sound clockwise around the head
bījāpūra gadekṣu kārmukarujā cakrābja pāśotpala vrīhyagra svaviṣāṇa ratna kalaśa prodyat karāmbhoruhaḥ|
dhyeyo vallabhayā sapadmakarayā śliṣṭojjvaladbhūṣayā viśvotpatti vipatti saṃsthitikaro vigneśa iṣṭārthadaḥ||
- bījāpūraa citron
- gadāa mace
- ikṣukārmukarujāa sugarcane bow
- cakraa discus
- abjaa lotus
- pāśaa noose
- utpalaa blue lily
- vrīhyagraan ear of rice
- svaviṣāṇahis own tusk
- ratnakalaśaa jewel and a pitcher
- prodyatkarāmbhoruhaḥin whose raised lotus hands they are
- dhyeyaḥto be meditated on
- vallabhayāby his beloved
- sapadmakarayāwith a lotus in her hand
- śliṣṭaḥheld close
- ujjvaladbhūṣayāwhose ornaments blaze
- viśvotpattivipattisaṃsthitikaraḥwho makes the world rise, stand and pass away
- vighneśaḥthe lord of obstacles
- iṣṭārthadaḥwho gives what is wished for
anvaya bījāpūra gadā ikṣukārmukarujā cakra abja pāśa utpala vrīhyagra svaviṣāṇa ratnakalaśa prodyatkarāmbhoruhaḥ sapadmakarayā ujjvaladbhūṣayā vallabhayā śliṣṭaḥ viśvotpattivipattisaṃsthitikaraḥ iṣṭārthadaḥ vighneśaḥ dhyeyaḥ
chandas Śārdūlavikrīḍita, 19 syllables in each of 4 pādas
bījāpūra a citron — The thick-skinned citron, full of seed, which Mahaganapati holds as a sign of plenty.
ikṣukārmuka a sugarcane bow — A bow of sugarcane, the same weapon Kama carries; here it is one of the ten things in his hands.
note Meditation and visual alignment section. Contemplate the physical attributes and weapons of Maha Ganapati mentally with eyes closed or relaxed to stabilize concentration.
laṃ - pṛthivyātmakaṃ gandhaṃ samarpayāmi|
haṃ - ākāśātmakaṃ puṣpaṃ samarpayāmi|
yaṃ - vāyvātmakaṃ dhūpamāghrāpayāmi|
raṃ - agnyātmakaṃ dīpaṃ darśayāmi|
vaṃ - amṛtātmakaṃ amṛtopahāraṃ nivedayāmi||
chandas Prose, the five offerings
pañcapūjā the five offerings — Scent, flower, incense, lamp and food, given in that order and matched to earth, space, wind, fire and water.
note The five elements of nature are mentally worshiped and harmonized within the body. These can be executed using specific hand mudras or internal visualization.
oṃ śrīṃ hrīṃ klīṃ glauṃ gaṃ gaṇapataye varavarada sarvajanaṃ me vaśamānaya svāhā||
chandas Prose, the mantra itself
varavarada giver of the best of boons — Addressed straight to him, in the vocative: the one who gives, and gives the best.
note The core 28-syllable focus of the practice layout. This should be repeated cleanly and at a conversational pace without garbling the sound.
oṃ gāṃ hrdayāya namaḥ|
śrīṃ gīṃ śirase svāhā|
hrīṃ gūṃ śikhāyai vaṣaṭ|
klīṃ gaiṃ kavacāya huṃ|
glauṃ gauṃ netratrayāya vauṣaṭ|
gaṃ gaḥ astrāya phaṭ||
bhūrbhuvassuvaromiti digvimokaḥ||
chandas Prose, the release
note ōṁ gāṁ to gaṁ gaḥ: Repeat the physical touch patterns executed during the initial layout stage. digvimōkaḥ: by using right hand thumb and middle fingers make a rattle sound anticlockwise around the head to open your space boundaries.
guhyātiguhyagoptā tvaṃ gṛhāṇāsmat-kṛtaṃ japam|
siddhirbhavatu me deva tvatprasādānmayi sthirā||
oṃ śāntiḥ śāntiḥ śāntiḥ||
- guhyātiguhyagoptākeeper of what is secret beyond all secrets
- tvamyou
- gṛhāṇatake
- asmatkṛtammade by us
- japamthis recitation
- siddhiḥsuccess
- bhavatulet there be
- memine
- devagod
- tvatprasādātby your grace
- mayiin me
- sthirāfirm
- oṃOm
- śāntiḥpeace
- śāntiḥpeace
- śāntiḥpeace
anvaya tvam guhyātiguhyagoptā asmatkṛtam japam gṛhāṇa deva tvatprasādāt me siddhiḥ mayi sthirā bhavatu oṃ śāntiḥ śāntiḥ śāntiḥ
chandas Anuṣṭubh (śloka), 8 syllables in each of 4 pādas
note Take water in an uttarani (ritual spoon) and by reciting this completion mantra; offer the water to the earth to formally conclude the mental practice.
