OK, I´m going to end tonight´s session somewhat eaarly with a positive picture. ChatGPT actually misunderstood my original instruction, which was to generate a pic of a being of light appearing in the kali yuga. Instead, we got a fairly good rendering of...paradise?! But OK, no problemo.
And hey, hey, let´s be careful out there!
I won´t link, but I just learned about "kush" and "tranq". This really is kali yuga and we´re stuck on some psycho planet in the suburbs of hell...
Meanwhile, libertarians want to legalize all drugs, yeah, whatever.
The old joker Osho comes across as U G Krishnamurti here. Or does he? It turns out that the content is AI-generated! Still, it *does* have a family resemblance to the real man. I wonder what the Osho Foundation will do when they discover this channel? Can they request that it be removed? Maybe you can´t copyright a dead guru. Besides, an artificially generated "Osho" speaking from beyond the grave is very much in the spirit of both UG and Osho himself!
The message (regardless of who wrote the script) reads like a psychotic break. I don´t doubt that spiritual experiences can sometimes feel like described in the video, but what exactly is being "experienced" here? God? His backside? Or something else entirely?
Maybe it´s just the ramblings of a Large Language Model...
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| - Ganesh, have you heard, some Hindus think you´re the Supreme Being?! - Yes, I have indeed, funny stuff, I mean come on! |
Yes 🙏 — you’ve heard correctly. In classical Hinduism, particularly in the Ganapatya sampradāya (the Ganapati or Ganesha tradition), there were traditionally said to be six sects or subdivisions, each with a distinct way of seeing and worshipping Gaṇeśa.
This classification is mentioned in Purāṇic texts (such as the Mudgala Purāṇa) and in later Tantric traditions.
Śakti-gaṇapatya
Views Gaṇeśa as one with the Goddess (Śakti).
Sometimes depicted in embrace with Pārvatī or as Ucchiṣṭa Gaṇapati (tantric form with consort).
Worship often has Tantric and esoteric coloring.
Śaiva-gaṇapatya
Sees Gaṇeśa as a form or son of Śiva, often identical with him.
Gaṇeśa is the gatekeeper and extension of Śiva’s power.
Stronger in South India, integrated with mainstream Śaivism.
Vaiṣṇava-gaṇapatya
Views Gaṇeśa as a devotee or emanation of Viṣṇu.
In some cases, Gaṇeśa is seen as identical with Viṣṇu himself.
Texts describe Gaṇeśa taking forms that parallel Viṣṇu’s avatāras.
Saurya-gaṇapatya
Sees Gaṇeśa as a manifestation of Sūrya (the Sun god).
Emphasizes light, radiance, and cosmic order.
Less common today but attested in medieval sources.
Kaumāra-gaṇapatya
Associates Gaṇeśa with Kārttikeya (Skanda/Subrahmaṇya).
Sometimes Gaṇeśa is seen as a different form of Skanda or as his elder manifestation.
This reflects local traditions where Skanda and Gaṇeśa were worshipped together.
Gāṇapatya (pure or independent sect)
Worships Gaṇeśa as Supreme God in his own right — beyond Śiva, Viṣṇu, or Śakti.
This is the core Ganapatya sect, where Gaṇeśa is the ultimate reality (Para-Brahman).
Flourished particularly in Maharashtra (esp. during medieval period).
The six sects reflect the old Hindu pattern of integration: each major tradition (Śaiva, Vaiṣṇava, Śākta, Saurya, Kaumāra) absorbed Gaṇeśa, and one strand (Gāṇapatya proper) made him supreme.
Over time, these divisions blurred, but the idea survives in texts and in the 32 forms of Gaṇeśa worshipped in Tantric and devotional practice.
✨ So in short:
Śakti, Śaiva, Vaiṣṇava, Saurya, Kaumāra, and Independent Gāṇapatya are the six classical sects of Ganapati worship.
Would you like me to also trace where these six sects were historically strongest in India (geographically)? That way you can see how the Ganapatya faith was woven into different cultural regions.
Yes 🙏 — you’re asking about the 32 forms of Gaṇeśa, a traditional set of iconographic and devotional manifestations of Gaṇapati.
The idea of 32 Gaṇeśa forms (Bāttisa Gaṇapati in Sanskrit, “bāttisa” = thirty-two) comes from iconographic texts such as the Mudgala Purāṇa and Śrī-Tattva-Nidhi (a 19th-century compendium from Mysore).
Each form has distinct attributes, moods, and functions — some are very gentle and auspicious, others more protective and fierce.
In South India, especially Karnataka and Tamil Nadu, temples sometimes install all 32 images.
Here’s a concise list with their general meaning:
Bala Gaṇapati – the childlike Gaṇeśa, symbol of innocence and potential.
Taruna Gaṇapati – youthful, red-colored, giver of vitality.
Bhakti Gaṇapati – devotional form, compassionate to devotees.
Vīra Gaṇapati – the valiant, with 16 arms, warrior-like.
Śakti Gaṇapati – with his consort on his knee, symbol of creative power.
Dvija Gaṇapati – “twice-born,” scholarly, with symbols of wisdom.
Siddhi Gaṇapati – giver of success (siddhi).
Ucchiṣṭa Gaṇapati – tantric form, seated with consort, linked to fulfillment of desires.
Vighna Gaṇapati – remover of obstacles (most universal form).
Kṣipra Gaṇapati – the quick-acting one, bestows boons swiftly.
Heramba Gaṇapati – five-faced, protector of the weak.
Lakṣmī Gaṇapati – with goddess Lakṣmī, bestower of wealth.
Maha Gaṇapati – “great Gaṇapati,” majestic and complete.
Vijaya Gaṇapati – the victorious one, removes opposition.
Nritya Gaṇapati – dancing form, lord of arts and joy.
Ūrdhva Gaṇapati – with consort, symbol of rising spiritual energy.
Ekākṣara Gaṇapati – identified with the bīja “Gam.”
Varada Gaṇapati – bestower of boons.
Tryakṣara Gaṇapati – associated with the three letters ga-na-pa.
Kṣipra Prasāda Gaṇapati – quick to grant grace.
Haridra Gaṇapati – golden-yellow, associated with turmeric, purity, and auspiciousness.
Ekadanta Gaṇapati – “one-tusked,” symbol of sacrifice and wisdom.
Sṛṣṭi Gaṇapati – the creator aspect.
Uddanda Gaṇapati – fierce, with 12 arms, subduer of evil.
R̥ṇa-Mocaka Gaṇapati – liberator from debts (karmic and worldly).
Ḍhuṇḍhi Gaṇapati – sought-after one, remover of obstacles.
Dvimukha Gaṇapati – two-headed, embodying multiple perspectives.
Trimukha Gaṇapati – three-headed, embodying past, present, future.
Siṁha Gaṇapati – lion-mounted, courage and strength.
Yoga Gaṇapati – seated in meditation, lord of inner realization.
Durga Gaṇapati – invincible form, protector.
Saṅkaṭharaṇa Gaṇapati – dispeller of sorrow and difficulties.
In practice, most devotees focus on one or two forms depending on their need (wealth, courage, wisdom, protection).
For daily life (like your earlier question about office work), forms like Siddhi Gaṇapati (success), Vighna Gaṇapati (remover of obstacles), or R̥ṇa-Mocaka Gaṇapati (release from burdens) are especially invoked.
Would you like me to map out which of the 32 forms best suit different life situations (study, career, protection, relationships, spiritual growth), so you can see which one might be most relevant to you personally?
Great question 🙏 — because among the 32 Gaṇeśas, most are “safe” right-hand path forms, but a few are definitely marked in the tradition as Tantric or esoteric. These are the ones usually worshiped in specific mantra–yantra–mudrā practices by initiated sādhakas rather than in general temple puja.
Ucchiṣṭa Gaṇapati
The most famous Tantric form.
Seated with his consort on his left thigh, sometimes nude.
Connected with food remnants (ucchiṣṭa = leavings), symbolizing breaking taboos.
Invoked for fulfillment of intense desires, mastery of mantras, and esoteric knowledge.
Ūrdhva Gaṇapati
With consort, symbolizing the upward movement of kuṇḍalinī.
Associated with sexual energy sublimation.
Ekākṣara Gaṇapati
Identified with the bīja mantra “Gam.”
Central to mantra-śāstra and yantra practices.
Yoga Gaṇapati
Seated in meditation, inwardly focused.
Linked to yogic absorption, control of prāṇa, and Tantric internal worship.
Heramba Gaṇapati (five-faced)
Protective, sometimes fierce form.
Often used in Tantric rituals for protection against spirits and enemies.
Uddanda Gaṇapati
Fierce, with 12 arms, sometimes trampling demons.
A wrathful, obstacle-destroying form — invoked in Tantric rites for subduing harmful forces.
They involve consort worship, fierce imagery, or taboo-breaking symbolism (like remnants, sexuality, wrath).
They are connected with mantra–yantra practices rather than just simple puja.
Their worship is often said to require initiation (dīkṣā) for safety.
Right-hand path (dakṣiṇācāra) Gaṇeśas: Bala, Taruṇa, Bhakti, Vighna, Siddhi, Lakṣmī, etc. → auspicious, household-friendly, protective.
Left-hand or esoteric (vāma / vāmācāra) Gaṇeśas: Ucchiṣṭa, Ūrdhva, Ekākṣara, Yoga, Heramba, Uddanda → linked to deeper Tantric sādhana.
👉 Would you like me to explain how people without Tantric initiation can still safely honor these esoteric forms (for example, by using universal mantras, visualizations, or simplified offerings), without crossing into risky practices?
Ännu en undersökning bekräftar att ungdomar (denna gång i Sverige) är mer religiösa än tidigare. Eftersom jag är en ständig motvals borde jag alltså bli stenhård ateist-materialist-nihilist (cuz reasons) men jag känner liksom inte för det...
Notera också att allt fler ungdomar tror att världen kommer att bli (ännu) sämre framöver. Vilket ju är sant. Oklart om det finns en koppling till det ökade intresset för religion, men det kan väl inte uteslutas.
En sak Hübinette inte tar upp är om de religiöst intresserade ungdomarna är invandrare, och vad detta i så fall innebär för "integrationen", et cetera.
I haven´t double-checked this, I mean, is it even possible to do so? Hinduism has a bewildering array of various different gods and goddesses. That´s polytheism for you, my friend!
Who is Karni Mata?
Karṇī Māṭā is a highly revered female deity in Rajasthan, India, often called the “Rat Goddess” because of the famous temple in Deshnoke where thousands of rats live freely. She is considered both a human saint and an incarnation of the Divine Mother (Durgā).
Lived in the 14th–15th century in Rajasthan.
Born in Deshnoke, she became famous for her spiritual powers, miracles, and protection of her community.
Seen as a protector of the Charan community (a caste of poets and warriors).
Later, she was deified and worshipped as a goddess.
Miracle of Reincarnation
A story tells of a boy from the Charan community who drowned. Karni Mata prayed to Yama, the god of death, and the boy returned to life as a rat.
From then on, rats at her temple are considered reincarnated souls of her devotees.
Protection and Blessings
She is said to protect her devotees from harm, famine, and enemies.
Devotees believe feeding the rats brings prosperity, health, and spiritual merit.
Karni Mata Temple, Deshnoke
Famous for the “kabbas” — thousands of black and white rats freely roaming the temple.
Rats are fed, protected, and considered sacred.
Touching or killing a rat is considered extremely unlucky; seeing a white rat is especially auspicious.
Festivals:
Navratri is a major festival for her.
Devotees often offer sweets, milk, and grains to the rats as a devotional practice.
Compassion and protection — she elevates all life, including animals.
Connection between humans and the divine — rats are seen as living carriers of divine energy.
Miracle and devotion — she shows that faith and spiritual power can transcend ordinary life and even death.
In short: Karni Mata is both a historical saint and a goddess figure, worshipped especially for protection, miracles, and reverence for life, with her temple world-famous for sacred rats.
If you like, I can also explain the symbolic connection between Karni Mata’s rats and Gaṇeśa’s mouse, since both embody sacredness in small creatures. Would you like me to do that?
Nṛtya Gaṇapati (the Dancing Gaṇeśa) is one of the 32 classical forms of Gaṇeśa described in the Mudgala Purāṇa and other Gaṇapatya texts. He represents joy, rhythm, creativity, and mastery of the arts, very much like Śiva as Naṭarāja, but expressed through Gaṇeśa’s playful and auspicious nature.
Depicted in a dance posture (tribhaṅga or slightly bent form), full of movement.
Usually has four arms (sometimes more in Tantric iconography).
Common attributes:
Axe (parashu) → cuts away ignorance and obstacles.
Lotus (padma) → purity, blossoming of consciousness.
Modaka (sweet) → joy of spiritual practice, bliss of realization.
Broken tusk (daṇṭa) or rosary → wisdom and perseverance.
His face is radiant and joyous, often with a slightly childlike exuberance.
Cosmic Dance – Just as Śiva’s dance symbolizes the cycle of creation and destruction, Gaṇeśa’s dance symbolizes the joy and rhythm underlying all creation. He is the vibration (nāda) that sets the universe in motion.
Patron of Arts – Nṛtya Gaṇapati is revered as the lord of dance, music, and performance arts, invoked by classical dancers and musicians for inspiration.
Inner Joy & Freedom – His dancing form teaches that the path is not only discipline but also celebration, the removal of obstacles through joy, spontaneity, and rhythm.
Especially worshiped by artists, musicians, dancers, poets, and those seeking to cultivate creativity.
Believed to grant:
Mastery in fine arts.
Joy in life and freedom from depression or stagnation.
Removal of inner obstacles that block self-expression.
Mantra often associated:
“ॐ नमो नृत्य गणपतये नमः” (Om Namo Nrtya Gaṇapataye Namaḥ)
✨ In short: Nṛtya Gaṇapati is the dancing, joy-giving form of Gaṇeśa, patron of the arts and symbol of cosmic rhythm, akin to a more playful and creative expression of his father Śiva as Naṭarāja.
Would you like me to compare Nṛtya Gaṇapati with Naṭarāja Śiva directly, showing how their dances express two complementary aspects of the same cosmic principle?
Yes 🙏 — Ucchiṣṭa Gaṇapati is one of the most intriguing and esoteric forms of Gaṇeśa, deeply tied to Tantric practice.
Ucchiṣṭa means leftover, remainder, food remnant, or that which is ritually impure.
In orthodox ritual, leftovers (ucchiṣṭa) are avoided as inauspicious. By taking on this name, Gaṇapati is showing that he transcends purity and impurity — he is the lord even of taboo and marginal states.
This is classic Tantric reversal: what is normally polluting becomes sacred when approached with mantra and awareness.
Usually depicted with six arms.
Seated with his consort (śakti) on his left thigh — one of the few Gaṇeśa forms with explicit erotic symbolism.
Hands hold a japa-mālā, blue lotus, pomegranate, sprig of paddy, and sometimes a citron or sugarcane.
Often shown with reddish or dark complexion, sitting in relaxed posture, signifying enjoyment (bhoga) united with liberation (mokṣa).
Described in the Mudgala Purāṇa and Śrī-Tattva-Nidhi.
In Tantric manuals, he is called the giver of siddhis (supernatural powers) and the lord of mantra-shakti.
Considered a guardian of secret knowledge.
Fulfillment of desires — especially deep, worldly, or taboo desires.
Mastery over mantras — initiates invoke him before other Tantric deities to empower mantra practice.
Transcending dualities — he dissolves the rigid line between pure and impure, sacred and profane.
Union of śakti and śiva — through his posture with consort, he embodies non-duality expressed in love/eros.
Worship of Ucchiṣṭa Gaṇapati is not part of mainstream temple puja.
His practice is usually in left-hand Tantric (vāma-mārga) contexts: mantras, yantras, offerings considered “impure” (like wine, meat, leftovers).
The idea: when sanctified by mantra, even what society rejects becomes a doorway to divine truth.
For non-initiates or householders who are curious but cautious:
Chant his bīja mantra: Gam (simple, universal).
Offer fruits, flowers, or sweets with the intention of breaking personal obstacles and inner limitations (instead of actual “taboo” offerings).
Meditate on him as the remover of inner impurity — fear, doubt, shame — that keep us from wholeness.
✨ So, Ucchiṣṭa Gaṇapati is less about “dirty leftovers” and more about wholeness — he reminds us that the divine pervades even what we reject.
👉 Would you like me to show you how Ucchiṣṭa Gaṇapati and Tripura Sundarī are sometimes paired in practice — e.g. in certain Śākta–Ganapatya Tantric circles where he is invoked first to empower the Śrī Vidyā sādhana?
Great 🙏 — this pairing of Ucchiṣṭa Gaṇapati and Tripura Sundarī (Śoḍaśī) is one of those subtle places where Ganapatya and Śākta Tantra overlap. Let me lay it out clearly:
In almost all Śākta traditions, Gaṇeśa is worshipped first to remove obstacles (vighna) before Śrī Vidyā practice.
But in Ucchiṣṭa Gaṇapati’s case, it’s not just a preliminary gesture — he is specifically invoked as the energizer of mantras (mantra-caitanya-prada).
Some Śrī Vidyā paddhatis (ritual manuals) explicitly prescribe Ucchiṣṭa Gaṇapati pūjā before approaching the Ṣoḍaśī mantra or the Śrī Cakra.
Just as ordinary Ganapati clears worldly obstacles, Ucchiṣṭa Gaṇapati clears inner, Tantric obstacles:
mantra not “catching fire,”
impurities of the sādhaka,
fear of taboos.
He becomes the guardian of the threshold into Śākta Tantra.
Ucchiṣṭa Gaṇapati: sits with his śakti (consort) on his lap.
Śoḍaśī: often seated on Śiva’s lap as Kāmeśvarī.
In practice, the sādhaka is taught to see both as archetypes of union:
Gaṇapati = mantra (seed sound, bīja, vibration).
Śoḍaśī = yantra (Śrī Cakra, form, radiant beauty).
Union of the two is sound + form, śabda + rūpa.
Some late Ganapatya Tantras (like the Ucchiṣṭa Gaṇeśa Tantra) link him directly to Śrī Vidyā practice, saying he grants the key to Sodashī’s mantra.
In Śākta traditions, the 15-syllable Śrī Vidyā mantra is sometimes said to “blossom fully” only when Ganapati’s seed-syllables are added.
This shows a deliberate fusion: Gaṇapati’s power energizes the Goddess’s mantra.
A simplified sequence some traditions follow:
Ucchiṣṭa Gaṇapati pūjā (offering flowers, incense, mantra “Ucchiṣṭa Gaṇapataye Namaḥ”).
Request him to empower and awaken the Śrī Vidyā mantra.
Then move to Śrī Cakra or Tripura Sundarī pūjā.
Finally, offer gratitude to both as the union of śabda (sound) and rūpa (form).
Ucchiṣṭa Gaṇapati = the initiator, who makes mantras “alive” and bridges taboos.
Tripura Sundarī = the supreme goal, the goddess of beauty, desire, and liberation.
Together, they embody the Tantric path of transforming desire into liberation:
Gaṇapati gives the key,
Śoḍaśī reveals the palace.
👉 Would you like me to show you a side-by-side symbolic chart (Ucchiṣṭa Gaṇapati vs. Śoḍaśī) — how each attribute of one has a resonance in the other? That way you can see how the pairing was imagined by Tantrics.
I hope this is just one man´s paranoia (after that Lovecraftian extravaganza the other night). If not...well, this is the kaliyuga so what did you expect? I mean, like really?
