गलद्दानगण्डं मिलद्भृङ्गखण्डं । चलच्चारुशुंड जगत्राणशौंडम्
लसद्दन्तकाण्डं विपद्भृङ्गचण्डं । शिवप्रेमपिण्डं भजे वक्रतुण्डम् ॥
I worship that Vakratuṇḍa (the One with a curved trunk), whose temple oozes fragrant ichor, attracting swarms of bees, drawn by its scent; whose graceful trunk moves in majesty, the great protector of the world; whose shining tusks gleam with radiance, fierce in the destruction of calamities; the very embodiment of Śiva’s love.
On this auspicious day, we are beginning a contemplation of the divine form of our beloved deity, Lord Gajānana. This statement is of great importance, for it is indicative of our intention of contemplation. As we commence this reflection on the form of Śrī Gajānana, we have chosen the well-known and widely recited hymn, the Śrī Gaṇapati Atharvaśīrṣa—a revered text familiar to most devotees and esteemed even in many other regions. Through this contemplation, we shall come to know the true nature (svarūpa) of Śrī Gajānana.
To reflect upon our Eternal Good, we first need a certain practical preparedness in life. Once that is in place, the actual contemplation requires an intellect that is subtle and endowed with sattvaguṇa — focused, free from impurity and distraction, tranquil and pure. Therefore, let us all together pray to Lord Śrī Gajānana — the very deity of intellect — for the grace of such an intellect. By the blessings of Gaṇapati, who is none other than the Supreme Lord Himself, we shall indeed receive the strength and capacity to contemplate the divine form of Gaṇapati.
Śrī Gajānana is indeed the remover of obstacles, but more importantly, He is the deity of intellect. The kind of intellect required on the spiritual path is very different! The rājasika (restless, extroverted) intellect that functions in worldly affairs is of no use here. At the very beginning of the Jñāneśwari, Maulī Jñāneśwar Maharaj offers a similar prayer
देवा तूंचि गणेशु । सकलार्थमतिप्रकाशु । म्हणे निवृत्तिदासु । अवधारिजो जी ॥ (Jñāneśwarī 1.2)॥
O Lord, You alone are Ganesh, the One who illuminates the intellect that reveals both the known (artha) and the knowledge (mati – modifications in the mind); prays Nivṛttinātha’s disciple.
With this invocation, let us now begin our contemplation. The subject of this contemplation series is Śrī Gaṇapati Atharvaśīrṣa, or simply the Atharvaśīrṣa. This text is also referred to as the Gaṇapatyopaniṣad or Gaṇapati Upaniṣad. In the Phalaśruti — the section describing its benefits — the final, fourteenth verse ends with the expression “Ityupaniṣad.” The very name Atharvaśīrṣa also suggests that this Upaniṣad belongs to the Atharva Veda.
The Vedās consist of four parts — Saṃhitā, Brāhmaṇa, Āraṇyaka, and Upaniṣad, which is also known as Vedānta. The word Vedānta literally means “the end of the Vedās,” or simply “the Upaniṣads”; referring either to the concluding portion of the Vedic texts or to their final philosophical message. The Vedās are threefold in nature; they comprise of — Karma-kāṇḍa (the ritualistic portion), Upāsanā-kāṇḍa (the devotional or meditative portion), and Jñāna-kāṇḍa (the knowledge portion). The Upaniṣads belong to the Jñāna-kāṇḍa. The Upaniṣads express the highest spiritual insights regarding the nature of the Supreme Self, the Brahman. Hence, they are often honored as the “śruti-śiram”—the crown (head) of the Vedās. Śruti means “that which is heard,” and śiram means “head” or “crown.” Thus, the Upaniṣads are the crowning glory, the noblest and most elevated part of the Vedic revelation. In this light, we may say that the Atharvaśīrṣa is the crown —the very head—of the Atharva Veda.
Let us reflect on a verse from the very first chapter of the Jñāneśwari in the context of Vedānta. In that opening chapter, Maulī Jñāneśwar Maharaj offers auspicious salutations to the Nirguṇa — the formless Reality— with the verse:
ॐ नमो जी आधा । वेद प्रतिपाद्या । जय जय स्वसंवेद्या । आत्मरुपा ॥ (Jñāneśwarī 1.1)
(ॐ, [I] bow down to the Primordial One (God) propounded by the Vedās; and offer Salutations to the self-luminous Ātman (Self).)
Any spiritual or philosophical scripture must satisfy a certain criteria to be regarded as authentic and in harmony with the established tradition (śāstra). One such criterion is the presence of the Ṣaḍliṅga—the six defining marks or indicators. Liṅga means a “sign,” and the six signs together testify to the scriptural nature of a text. Another criterion is the concept of anubandha—a structured exposition that follows a specific logical connection or sequence (anu meaning “to follow”). That which enables a thoughtful (Viveki) seeker to enter the essential subject, inspires engagement with the main text, and provides the right perspective for study is called the anubandha. Since there are four such components, they are known collectively as the anubandha-catuṣṭaya (the fourfold anubandha). In addition to these, another characteristic of a true scriptural text is the Maṅgalācaraṇa — an auspicious invocation placed at the very beginning of the text.
After offering auspicious salutations to the Nirguṇa — the formless Reality — through the verse ॐ नमो जी आधा । वेद प्रतिपाद्या । जय जय स्वसंवेद्या । आत्मरुपा ॥ Maulī immediately offers reverence to Śrī Gaṇapati. While describing what this Gaṇapati is like, Jñāneśwar Maharaj says:
हें शब्दब्रह्म अशेष । तेचि मूर्ति सुवेष । तेथ वर्णवपु निर्दोष । मिरवत असे ॥ (Jñāneśwarī 1.3)
While explaining this, Maulī says that the infinite Word-Brahman is the entire compilation of Vedic words. The Vedās themselves exist in the form of sound or word. Thus, this “infinite Word-Brahman,” which is the complete Veda, takes the form of a beautiful, well-adorned idol—like the charmingly decorated form of Lord Gaṇapati. When Saint Jñāneśwar Maharaj bows to Gaṇapati, to Gajānana, he describes Him in this very manner: “The idol of Gaṇapati is the Veda itself,” or “the Veda is as though the very form of Gaṇapati.”
Maulī has placed a beautiful metaphor before us. Whether it be the rituals of the Karma-kāṇḍa of the Vedās, or the doctrines of the Jñāna-kāṇḍa that remind us of the indivisible Brahman, the mantras that express these truths are called Rucha which means ‘that by which the subject matter is praised/expressed is a Ṛuk (a single verse of the Ṛgveda)’. With these Vedic mantras, Gaṇapati’s radiant form is adorned (तेथ वर्णवपु निर्दोष । मिरवत असे). In the subsequent verses, Māuli identifies the Smṛtis — Bhagavad Gītā, Parāśara Smṛti, Manu Smṛti etc — as the limbs of Gaṇapati’s divine body. The Purāṇas, then, are the jeweled ornaments adorning the body of this Veda-form Gaṇapati. Jñāneśwar Mahārāj says:
अष्टादश पुराणें । तोचि मणिभूषणें । पदपद्धति खेवणें । प्रमेयरत्नांची ॥ (Jñāneśwarī 1.5)
(The eighteen Purāṇas are the jewels adorning Gaṇapati’s Divine form. The poetic diction within these Purāṇas deliver the gems of spiritual truths (prameya-ratna).)
Further, Māuli says that Gaṇapati’s six arms represent the six systems of philosophy (Ṣaḍ-darśanas): Vaiśeṣika, Nyāya, Yoga, Sāṅkhya, Pūrva Mīmāṃsā, and Uttara Mīmāṃsā. And when creating the metaphor for Vedānta or the Upaniṣads, Māuli says:
वेदांतु तो महारसु । मोदकु मिरवे ॥ (Jñāneśwarī 1.11)
Vedānta is the supreme essence, the Modaka (Gaṇapati’s favorite traditional Indian sweet) that exudes sweetness. Thus, Māuli shows us how we must approach the Jñāneśwarī. Gaṇapati dearly loves Modaka, but which Modaka does He truly cherish? The one that is the great essence of Vedānta. This modaka — succulent with the Essence of Brahman (Brahma-rasa) as expounded by Vyāsa in the Uttara Mīmāṃsā Darśana — is the modaka of the Upaniṣadic doctrines. Māuli says that this Modaka appears exceedingly beautiful in the hand of Gaṇapati, and it is the one He loves the most.
If we were to ask, “Which modaka is my dearest?” — the answers would vary. Some delight in the fried modaka, some in the steamed one, some in the one filled with coconut and jaggery, others in the one made of milk and khoyā. All of that is fine. Offering naivedya (food offering) is indeed an integral part of saguṇa upāsanā (worship of the manifest Divine), and it must certainly be done. But beyond that, Jñāneśwar Maharaj raises a deeper question — If I am truly a devotee of Gaṇapati, should I not love the Modaka that He Himself loves the most?
The purpose of laying this out in such detail is this: If the Atharvaśīrṣa is itself an Upaniṣad — a part of the jñāna-kāṇḍa of the Vedās — then, Jñāneśwar Maharaj calls it the modaka, Gaṇapati’s dearest. This provides an unequivocal guidance regarding what our perspective should be as practitioners who recite the Atharvaśīrṣa. For if we miss this vital point, Tukārām Maharaj warns — चुकलिया वर्म फेरा पडे! If the essence [of the teaching] is missed, the entire spiritual effort collapses.
For thousands of years, we have been reciting the Atharvaśīrṣa. Lokmanya Ṭiḷaka gave Gaṇeśotsava a public form, but long before that, the worship of Śrī Gaṇapati had already been taking place in every household. Now, let us ask ourselves — have we truly received what is expected to be gained through the Gaṇapati Atharvaśīrṣa? If not, it implies that we have missed the vital point and the cycle is inevitable. Sant Tukaram Maharaj is referring to this “cycle” as the rounds of birth and death! When we merely recite the Atharvaśīrṣa without grasping its core teaching, not much is gained. What is this stotra trying to offer me? What truth does it point to? If we fail to understand this and continue to chant it mechanically, then naturally I gain very little from it.
To explain this, Sadguru Param Pūjya Doctor Kaka would narrate a humorous yet striking anecdote: Kaka said: “One day, I was reciting the Atharvaśīrṣa in front of Śrī Gaṇapati. Sitting before Him, I was telling Him
त्वमेव प्रत्यक्षं तत्त्वमसि । त्वमेव केवलं कर्ताऽसि । त्वमेव केवलं धर्ताऽसि । त्वमेव केवलं हर्ताऽसि ।,’
and so on. (You alone are the self-evident Supreme Reality. You alone are the Doer. You alone are the Sustainer. You alone are the Destroyer.) Reciting thus, one day Gaṇapati suddenly jumped up before me and said: ‘Don’t tell Me how I am — first look at how YOU are!'”
Through this humorous subject, we are trying to learn something profound. “त्वं अवस्थात्रयातीतः” It means that Gaṇapati transcends the waking, dream, and deep-sleep states. But I, on the other hand, am suffering in all three — constantly submerged in grief, scorched by sorrow, and filled with anger. And yet, year after year, I refuse to change but I go on telling Gaṇapati, “You are like this, You are like that,” and so on. This is a mistake born of spiritual negligence; this is the missed Vital Essence! It is the error of reciting the Atharvaśīrṣa without grasping its inner meaning.
To summarize, one must recite a stotra only after understanding its meaning, by holding that specific sentiment (Bhāva) in mind and allowing that emotion to bring about a change in one’s conduct. Very often we do not know the meaning. Unless we understand the terms, the literal meaning (vācyārtha), and especially the implied or intended meaning (lakṣyārtha), we cannot truly absorb the sentiment (Bhāva) behind the words. Whether it is the Atharvaśīrṣa or any other hymn, it is meant to be recited in this very manner. For the scriptures define mantra as: “मननात् त्रायते इति मंत्रः” — A mantra is that which protects through contemplation. Only when the meaning of the mantra is understood does it truly become a source of liberation.
Maharshi Patanjali says in the Yoga Sutras: “तज्जपस्तदर्थभावनम् ॥” It means: While pronouncing any mantra or stotra, it is expected that one meditates on its meaning, holding that meaning and that conviction (dhāraṇā) in the mind with devotion. Only then does the mantra produce its intended spiritual effect. Through the study of the Atharvaśīrṣa, we shall understand the significance of all these principles. Our approach to the Atharvaśīrṣa—or to any sacred hymn—must be scripturally sound and rooted in the viewpoint of the saints. It is expected that our contemplation takes place by consulting what the Upaniṣads, the Bhagavad Gītā, the Jñāneśwarī, the Dāsbodh, the Abhaṅgas, and other sacred texts have to say on the subject.
With the above foundation in place, let us now begin the actual contemplation of the Atharvaśīrṣa. In merely ten mantras, the entire Ganesh Vidyā — the complete spiritual science of Śrī Gaṇapati — is clearly elucidated within this hymn. Including the four concluding verses of phalaśruti (the fruit of recitation), there are fourteen mantras in total. However, if we reflect deeply on the ten primary mantras, the description of Gaṇapati presented there reveals itself in three integral dimensions: the saguṇa-sākāra devatā (the Deity with attributes and form), the saguṇa-nirākāra Īshvara (the Lord with attributes but without a form), and the nirguṇa-nirākāra Brahman (the absolute, attributeless and formless Reality).
Saguna-Sākāra Devatā — the Deity with form and attributes — is relatively easy to grasp. Gaṇapati is such a delightful deity that among all divine forms, His picture is perhaps the easiest to draw with the fewest lines. Many artists, each guided by their own creative intellect, depict Gaṇapati in various ways. Yet even if someone simply sketches a curved trunk, we immediately say, “Ah, that’s Gaṇapati!” Upon the basis of the formless and attributeless Reality—symbolically comparable to a blank white sheet—when we impose a specific sensory form recognizable to our eyes, what emerges is called Saguna-Sākāra. The broad, fan-like ears; the gracefully curved trunk; the large rounded belly; the four arms—this constituted form, the forms described in the Purāṇas, and the idols and pictures we see today are all examples of the Saguna-Sākāra Gaṇapati.
The saguṇa-nirākāra is the description of Īśvara, God with attributes but without a form, while the nirguṇa-nirākāra points to the ultimate Reality — Brahman. In all three senses, the Atharvaśīrṣa presents before us a complete portrayal of Gaṇapati. The incarnations of Gaṇapati, or of Rama and Krishna, are not physically available to us today. Yet their idols and images remain accessible! If we think from the gross to the subtle, the layers appear like this: (4) The picture or idol (mūrti or citra). (3) Behind it, the saguṇa-sākāra form — the actual incarnation that once existed. (2) Behind that, the saguṇa-nirākāra Īśvara or God. And (1) as the substratum of all, the nirguṇa-nirākāra Brahman — that is devoid of three distinctions (Svagata – internal, Sajātīya – within species, and Vijātīya – between species), undivided, homogeneous and One without a second (ekamevādvitīyam). In these mere ten mantras, the Atharvaśīrṣa presents Gaṇapati through all these perspectives.
All of the above descriptions—form, formlessness, attributes, transcendence—are encompassed in a single word: “Deva” — God. This concept is profoundly vast. The word Deva comes from the Sanskrit root div (or dyut). द्योतनात् इति देवः — “That which illumines is called Deva.” From this root, two words are derived: divā (lamp) and deva (God). A lamp is called a lamp (divā) because it illuminates and allows me to see. But God is called God (deva) because through His light, what is illuminated becomes known to me. This is a subtle and profound definition of the true nature of God.
The four levels mentioned earlier—idol or image, Saguna-Sākāra, Saguna-Nirākāra, and Nirguṇa-Nirākāra—are the steps to reach this true God. Our intellect is gross, it identifies with the body; therefore, we cannot directly leap into the nirguṇa-nirākāra — the formless, attributeless Reality. The saguṇa-sākāra is quickly understood, becomes convincing and appeals to our heart. It is with this intent that Samartha Ramdas Swami says:
सगुणाचेनि आधारे । निर्गुण पाविजे निधारे ।
(With the support of the manifest (Saguna), one must be determined to realize the unmanifest (Nirguṇa).
The saguṇa-sākāra Śrī Gaṇapati described in the Atharvaśīrṣa is depicted as: He is called the son of Śiva and Pārvatī, He is Lambodara — the Long-bellied One, Eka-danta — the One with a single tusk, and has ‘ears like winnowing fans’. His complexion is rakta varṇa — a deep red hue. Whose entire body is smeared with rakta candana — red sandalwood paste. He is worshipped with red flowers and adorned in red garments. In His hands, He holds the noose (pāśa) and goad (aṅkuśa), among other symbols. If there was no manifest deity with form, could one: Drape Him in red garments? Worship Him as a devotee? Offer Him flowers? Describe His divine Play (Līlās)?
The saguṇa-nirākāra aspect of Gaṇapati is described as the One who manifests at the very beginning of creation. It is stated that He governs the creation (utpatti), sustenance (sthiti), and dissolution (laya) of the universe. In the Atharvaśīrṣa, there is a prayer seeking His protection from all directions —
“अव दक्षिणात्तात् । अवोत्तरात्तात् ।” —
“O Lord, protect me from the south, protect me from the north,” and so on. It is further stated that the five great elements — earth (pṛthvī), water (āpaḥ), fire (agni), air (vāyu), and space (ākāśa) — are all His forms. In the seventh chapter of the Bhagavad Gītā, Bhagavan proclaims:
भूमिरापोऽनलो वायुः खं मनो बुद्धिरेव च । अहंकार इतीयं मे भिन्ना प्रकृतिरष्टधा ॥ ( Gītā 7.4 )
Earth, water, fire, air and space along with the mind, intellect, and ego form My eightfold divided manifestation of nature (Prakṛti). Here, the Lord explains the twofold nature of Prakṛti — the aparā (lower) and parā (higher). This aparā prakṛti comprises these very great elements — whether in their subtle form (tanmātrā) or in their gross form after pañcīkaraṇa (the process of grossification). All these elements are considered forms of Gaṇapati, representing the Saguna-Nirākāra aspect — God with attributes, yet formless.
The nirguṇa-nirākāra aspect is described in the Atharvaśīrṣa as: त्वमेव प्रत्यक्षं ब्रह्मासि । — You alone are the Brahman! It is stated that ‘Ānanda’ — Bliss — is His very nature. ‘Cit’ — Pure Consciousness — is His essential nature. It is important to note that “Cit” means pure Knowledge itself, not a “knower” or “all-knowing.” When we use the term “Sarvajna” (All-knowing), it refers to Īśvara (Saguṇa Nirākāra —The Formless with Attributes). There is a distinct difference between Cit (Pure Consciousness) and Citta (the individual mind). Sat-Chit-Ānanda — Existence, Consciousness, and Bliss — is His essential nature. It is stated that He is the One without a second (ekamevādvitīya). The Atharvaśīrṣa directly proclaims: You are that very Brahman — the substratum of all, the attributeless, formless Reality. In this way, the concept of Deva unfolds in these three levels. In short, the Atharvaśīrṣa presents Śrī Gaṇapati to us in three forms.
Gaṇapati is one and the same — yet why is He described in three different ways? Let us understand this through a simple example. In the field of education, if the ultimate goal is to earn the highest academic degree, then why do we have the first, fifth, and tenth grades? In the exact same way, depending on one’s spiritual qualification (adhikāra), a person relates to Gaṇapati at a particular level — a form that he can comprehend, feel devotion for, and worship meaningfully. This qualification can certainly be increased. However, if my capacity is at one level and I attempt to leap directly to a higher level of Gaṇapati’s form or essence, I will gain very little.
For instance, when I practice chanting (nāma-smaraṇa) or recite Atharvaśīrṣa, for how long am I truly focused? All of these are practices with support (sālambana sādhanā). Ālambana means support. But I leave that support and hold onto all other subjects! If I constantly let go of that spiritual support to cling to worldly objects, do I really have the capacity for deep Meditation (Dhyāna)? And if I do not have the capacity for meditation, yet I try to make the “nirguṇa-nirākāra” (Formless and Attribute-less) Gaṇapati my direct goal, will I truly realize Him? Will I be able to reach Him? Will I be able to grasp His essence? Though the ultimate destination is one — the nirguṇa-nirākāra — the path to its attainment unfolds progressively, according to one’s spiritual qualification (adhikāra). Therefore, it is expected that one worships Gaṇapati across all three levels.
The joy found in the ‘Bhakti’ (devotion) of the Saguna Sākāra (the deity with form and attributes) is altogether special—the joy of performing His Pūjā, offering Naivedya (food offerings), and simply beholding His beautiful form. For Marathi people especially, when the days of Gaṇapati arrive, there is an outpouring of enthusiasm. Just hearing the words “Gaṇapati has arrived” is enough to set off a wave of excitement—whether it is a public celebration or a household one. For common people, it’s easy to connect with this manifest form, readily appealing, and deeply engaging, and they joyfully immerse themselves in it. However, while worshipping the manifest, one must always remember the teaching of Samartha Ramdas Swami: ‘निर्गुण पाविजे निधारे’ — one must be determined to realize the unmanifest (Nirguṇa). Along with this, constant sārasār-vichāra — discernment between the eternal and the transient — must always be kept alive in the heart.
Strictly speaking, the idol is impermanent. It is subject to immersion (visarjana), and for ‘return’ — punarāgamanāya. The language of “Gaṇapati arrived” and “Gaṇapati departed” is only possible in the context of the physical form.
But the Nirguṇa Nirākāra Gaṇapati—the one described as “त्वमेव प्रत्यक्षं ब्रह्मासि ।” (You alone are the Brahman)—exists eternally across all three divisions of time: was, is, and ever ‘is’. Following Shruti in Chāndogya Upaniṣad reveals this truth: ‘सदेव सोम्य इदं अग्र आसीदेकमेवाद्वितीयम् ॥’ (Chāndogya Upaniṣad 6.2.1)
O Somya! before this [creation], there was only Sat — pure Existence — one alone, without a second.
Even before the world was created, that Reality is. Now, while the world is manifest, It is. And one day, after billions of years when this entire universe dissolves, It still is. The Reality called Brahman is beyond the three periods of time (kāla-traya-ātīta). Therefore, we cannot use language like ‘It was before creation’ or ‘It will be after.’ ‘Was’ and ‘Will be’ are time-dependent terms. त्वं कालत्रयातीतः — You transcend the three periods of time — this describes the Brahman-form of Gaṇapati. Time itself is a human construct. As modern science states, space and time got created. Since time itself came into existence, the only appropriate description for the Reality existing ‘prior’ to it is ‘Kālatrayātītaḥ’ (Transcending the three times). That is the true Nature of Gaṇapati.
One way of speaking is to say, “Gaṇapati has arrived” or “Gaṇapati has departed.” But it can apply only to the manifest idol. Only one who is not already here can “arrive,” and one who is not present elsewhere can “go” there. But the Śruti describes the Reality beyond:
तदेजति तन्नैजति । तदूरे तद्वन्तिके । तदन्तरस्य सर्वस्य । तदु सर्वस्यास्य बाह्यतः ॥ ( Īśāvāsya Mantra 5)
The meaning of this poetic verse is: “That is far, yet It is near; It moves, and yet It moves not”. But in essence, the Śruti means that Reality has nowhere to go — for there is no place where It doesn’t exist. There is no time when It is not present.
As Jñāneśwar Māuli declares: ‘जे सर्वत्र सदा सम!’ — That [Reality] exists uniformly, everywhere and always. Sant Tukaram Maharaj affirms: ‘सत्य तू, सत्य तू, सत्य तू विठ्ठला ।’ — Truth you are, Truth you are, Truth you are, O Viṭṭhala! He says it thrice only because we perceive three periods of time — past, present, and future.
The purpose of this contemplation series is to clearly understand how far every devotee, every seeker who worships Gaṇapati, and every reciter of the Atharvaśīrṣa is expected to progress by using the support of the manifest idol. The fundamental question is — Why should we do all this? Even after years of repeating the Atharvaśīrṣa, the blows of life — the dualities of honor and insult, success and failure — continue as before. If I truly wish to be free from these, then it is essential that I understand the true nature of Gaṇapati. Gaṇapati is Sat–Cit–Ānanda—pure Existence, Consciousness, and Bliss. And when I become one with that Gaṇapati, I too shall become the embodiment of Bliss. But wait, does this mean that sorrow and joy will no longer appear in my life? In the Bhagavad Gītā, the Lord defines Yoga as:
तं विद्याद् दुःखसंयोगवियोगं योगसंज्ञितम् । स निश्चयेन योक्तव्यो योगोऽनिर्विण्णचेतसा ॥ ( Gītā 6.23 )
Know that state to be Yoga which is the disunion from the union with sorrow. This Yoga must be practiced with steady determination and an undespairing mind.
Therefore, even in the lives of the Sadguru and the jīvanmukta — the liberated while living — situations of joy and sorrow still arise. Then what is the difference between them and me? The answer is — They have severed their connection with sorrow, while I live by holding onto that connection. And thus my life continues to sway in the waves of joy and sorrow. This indeed is the real phalaśruti (Scriptural promise of Fruit) of the Gaṇapati Atharvaśīrṣa.
One must clearly understand what will I attain when I behold the true Gaṇapati. Only then one can verify whether the true Gaṇapati is being worshipped in the right spirit or not. By internalizing the right meaning, one can chant the Atharvaśīrṣa and perform scripturally sound (śāstra-śuddha) worship of Gaṇapati.
For this very reason, through this series of articles, an effort will be made to cultivate a clear, scriptural, and well-defined perspective toward the Atharvaśīrṣa—and therefore toward Gaṇapati Himself. May every one of us be blessed to behold the true Gaṇapati — and may this series prove helpful in that journey. Let us offer this prayer at the holy feet of Śrī Gajānana and Sadguru.
॥ Śrī Sadgurunāth Mahārāj ki Jai ॥
