This ad campaign was created keeping in mind the following brief:

Person:

A college going person well versed with internet.

Promise:

Yahoo offers concise and precise information. (nothing extra - just what you want))

Problem:

To establish Yahoo as a search engine and to consider Yahoo while searching.

( Establish Yahoo as a competitor of Google search engine)

Atomic theory is an ancient science. The earliest record of it
can be found in Vedic texts from india which are many thousands
of years old.

Legend has it that the Vedic civilisation was highly advanced.
The sages that oversaw its development, through their mystic insight
and deep meditation, discovered the ancient symbols of spirituality:
Aumkara and Swastika. They also discovered many scientific principles
that they applied to develop a highly advanced technology. They
gave the atom its sanskrit name "Anu".

While the technical achievements of this ancient civilisation
have been forgotten the archetypal symbols of spirituality have
maintained their eminence in our consciousness. Now, thanks to
advances in modern atomic theory, the atomic basis of these divine
symbols can be appreciated.

Western theories of the atom took shape in the 18th and 19th century.
At the beginning of the 19th century, John Dalton theorised that
an atom was an indivisible particle of an element. However, after
the electron was discovered in 1897, and then the proton several
years later, the atom model was revised. In 1909, Ernest Rutherford
showed that atoms were mostly empty space, revising the model
of an atom to a tight positive nucleus containing the protons
and neutrons with electrons around it; by 1913, Danish physicist
Neils Bohr envisioned a planetary arrangement in which the electrons
orbited the nucleus at different energy levels.

The current way of describing an electron is a model called the
charge cloud model/quantum mechanical model/orbital model. This
model based on the idea of Heisenberg's Uncertainty Principle,
which states that we do not know the precise location or the velocity
of any given electron. The model uses indistinct and overlapping
"probability clouds" to approximate the position of an electron.

Where a cloud is dense, the probability of finding an electron
in that vicinity is low. In this model, each electron energy level
is denoted by numbers that take concentric shells as suggested
by the Bohr model because there are overlaps in the ordering of
the energy levels.

In the case of the carbon atom the electrons occupy four tear
drop shaped clouds in a tetrahedron-like arrangement. These clouds
represent the areas in which the electrons spend most of their
time. They move so rapidly in this zone that they form a cloud
rather than a specific flight path

Recently a number of researchers have suggested that within these
clouds exist specific zones that the electrons favour. These zones
form a spiral around the surface of each of the tear drop shaped
clouds.

This new development came into the attention of a great Indian
saint and mystic. Disciples were encouraged to develop the principle
as it related to the carbon atom.In deep meditation one of those
disciples, who was a chemist,spontaneously realised the true significance
of this theory:

The electron's high probability zone formed spiral standing waves
around the carbon atom's nucleus. When this configuration was
viewed from certain angles the physicist was surprised to find
that the spirals formed recognisable symbols.

In the first view a 3–dimensional Aumkara could be seen. From
a different angle that Aumkara became a flat, 2-dimensional Swastika.
The Swastika, he concluded, was actually 2-D representation of
the 3-D aumkara.

Rotating the model to another angle shows those symbols change
into the Greek Alpha and Omega. At a cosmic level the symbols
of Eastern spirituality (Aumkara and Swastika) are literally and
only different aspects of the same spiritual truth that is also
represented by the symbols of Western spirituality (Alpha and
Omega).

All people, objects and even energy itself are expressions of
the same divinity that so many religions, cultures and philosophies
have tried to claim exclusively as their own.

The Carbon atom, by containing within it these universal symbols,
demonstrates that matter is a manifestation of the same Divine
consciousness experienced by the saints and sages of all history.
Matter is innately spiritual.

The Universe does not exist separately from the Universal Consciousness;
it is a direct expression of it.

Living matter, which is carbon based, must have a unique role
in this expression. A saint is one who lives in eternal experience
of this all pervading divine purpose.

All people, objects and even energy itself are expressions of
the same divinity

The alpha and omega are traditionally ascribed to Christ. In india the Deity called Ganesha presides over the Swastika and Aumkara.

There are some remarkable similarities between the two:

Both deities demonstrate the value of childlike innocence; Ganesha
is himself an eternal child famous for his simple wisdom ;while
Christ, son of god, often exhorted his disciples to "be as little
children";

They both are divine children; both conceived immaculately;, both
divine sons of a holy trinity (Christ is the son of Yahweh and
The Holy Spirit/Mary and Ganesha son of Lord Shiva and Mother
Parvati).

Are Ganesha and Christ the one and the same deity?

Each, like their symbols that exist as different aspects of the
carbon atom, represent different aspects of the archetypal cosmic
child.

Thus the distinction between Eastern and Western spirituality,
like any division based on race,culture or belief, is no more
than ignorance of the true spiritual nature of the universe and
all that exists within it.

http://www.sol.com.au/kor

I’m holding a scissored and revolved version of what I think of as Crow Pose – an arm balance – in an asana room of Cosmic Dog Yoga, a Livermore California studio that’s under construction but nearly finished. Sunlight streams in from the west-facing windows.

“Come forward about three feet, and face this way.” She gestures. I come out of the pose, back to my feet, and move forward. I resume the pose. Now I can’t see her, but I hear.

“Extend your foot from the ankle.”

I adjust the foot.

“Now holding the foot-ankle extension, draw your toes back toward the shin.”

My peripheral vision notes that she’s lying on the floor nearby, propped on her elbows. She begins taking pictures.

The heels of my hands press into the floor. The right, unweighted, forearm begins to tremble.

“Lift the forward foot slightly, the light angle’s wrong.”

I shift. Another picture.

“Can you draw your spine and neck into alignment?”

I try lifting my neck into alignment. Maybe the neck moves a half inch, but no more.

* * *

In the world of yoga, the word bhakti is Sanksrit for devotion. It is a path toward liberation through devotion – encountering the divine as You. Not an impersonal third-person Independent Divine that we perceive as a Deist might the Kosmos. Not a first-person manifestation of Divinity as Walt Whitman conceived of Self. But rather second person – You – a relationship – a friend.

St. Teresa of Ávila wrote that her form of contemplative prayer, oración mental, “is nothing else than a close sharing between friends; it means taking time frequently to be alone with him who we know loves us.” This is also the essence of bhakti yoga – a relationship of worship. It is the path described in the Bhagavad Gita: “One can understand Me as I am, as the absolute, only by devotion. And when one is in full consciousness of Me by such devotion, he can enter into the kingdom of God. (B-Gita 18.55). It was Jesus’ message to his disciples: “No one has greater love than this, to lay down one’s life for one’s friends. You are my friends…”

* * *

Laurie climbs the construction scaffolding, and I hand up the cameras.

“Let’s see Triangle.”

I move through the eight or nine actions involved in building a Triangle Pose: ground back foot heel-to-toe, angle foot out 30˚; place front foot four feet ahead, align heel and toes to the front. Lift the arches of the feet, engaging the groin muscles. Extend torso and abdomen, draw front arm forward…

As I move, from above the camera clicks.

* * *

In the political circles I frequent, devotion isn’t at the top of the agenda. It does not affirm or fortify the independence of a soul, but rather the discovery of spirit in the utter interbeing of each with the other. It is not the clear, structured rationality of logic and formalism, but rather the discovery of freedom through submission, of liberation through discarding insistence on self, of coming to life by uprooting the individuality-hedgerows we’ve planted and watered and groomed. It does not bear the hallmarks of scientistic objectivity. It is, instead, a path into and through subjectivity. Not so much a “moving toward” as a self-surrender.

* * *

“Let’s try uttanasana.”

I stand, big toes touching, side by side, heels parted an inch or so. I raise my arms and gaze up to the ceiling, then bend at the waist, bringing my hands first to the floor, then to the backs of my calves, my face to my knees. I extend my spine. My face presses into my shins.

“Rotate slightly to your left.”

I shift to the left.

* * *

Part of the modern objection to self-surrender is rooted in historical recognition of Jim-Jones style cultism, “just-following-orders” war crimes, and perversely co-dependent pathologies. Those problems are painfully real, and I’m not entirely sure how to describe and contour my sense of how they differ from bhakti yoga. I suppose one could avoid those problems by confining the scope of one’s devotion to bounds set by rationality, but that very constraint seems inconsistent with the whole-hearted connection and liberation that characterizes bhaki. Perhaps there are more and less mature ways of engaging in bhakti, just as one can engage in a variety of non-rational ways of being, some pre-rational, unaware and dismissive of all that rationality has to offer, others post-rational, incorporating all that rationality offers, but wider and deeper than rationality, not confined by its limitations.

Or perhaps, though, bhakti is just stepping through a darkened doorway.

* * *

“Deepen the twist.”

“Now lift your head.”

“Draw your chin back a bit.”

I comply.

* * *

Bhakti is the part of yoga that most resembles religious practices. Consequently, it is the part that can make those devoted to a particular religious practice –and equally those opposed to religious practice altogether – distinctly uncomfortable.

In bhakti, I find joyful, whole-hearted connection. Some bhaktis love the embodiment of that connection in imagined images of divine. For me, I find it in the twisting wisps of smoke rising from a smoldering incense stick, in chanting.

Now in fairness to my specific-religion friends and to my specific-no-religion friends, if I chant Jaia Ganesha Jaia Jaia Ganesha Jaia intending to curry special favor with an invisible, portly-human-bodied, elephant-headed god named Ganesha who is particularly inclined to remove obstacles from human endeavors for those who worship him repeatedly, then yes, I’m engaged in a kind of pre-rational worship that may well conflict with a belief in a different deity that is appeased or approached through a different set of practices or with a “no-deity-no-way” policy. I get those ways of looking at the world. I lived versions of them myself for a long time. And I don’t criticize anyone who finds them useful or good or important. There is neither point nor good in rejecting what is.

But there’s a way of devotion, a tao, that is more immediate, that is neither petitioning of an independent Other, nor simply empty ritual, but that is intermeshed with consciousness in the very act of devotion itself, whatever form that devotion might take, whether burning incense or paying tithing or feeding the hungry or cleaning toilets or weaving flower garlands or painting the Sistine Chapel. And that tao dissolves everything but the devotion, both lover and beloved, both teacher and student, both subject and object.

* * *

“Navasana.”

I sit. Balance. Grasp my toes. Extend my legs. I lift my heart toward the ceiling.

“Hold it there.”

I hold.

* * *

My first experience with bhakti was singing. My earliest memory in life is sitting on my mother’s lap in a rocking chair, singing with her before bedtime. I was, I think, about 3 years old at the time. The memory remains, I’m sure, because it was the first time I recall singing dissolving into harmony – perfect fourths, if such a distant memory can be trusted. As I grew up, I sang in children’s choirs at funerals and church meetings. I sang in school choirs throughout grade school. I spent more hours singing in college than I spent in course work for either of my majors.

Singing – an activity made of breath, vibration, and mind – can be entirely self-focused concentration. But it can also be bhakti – devotion. It takes all kinds of forms, ranging from Protestant hymns in 4/4 time with rhyming lyrics sung in well-lit chapels, to textured drum-beating, tabla-droning, body-swaying kirtan chants in Sanskrit to Ganesha in a half-dark yoga studio, to Gregorian plainsong chants intoned in stone cathedrals, to OM continuously chanted in a circle of friends sitting on the floor of an office, converted for a time into a sacred space.

Or, as happens most mornings of my life, an invocation sung quietly to the field above my yoga mat before I step into that sacred space.

Really, we don’t sing to communicate information. We sing to embody feeling. We sing to embody ideas. We sing to vibrate in a harmonic dance with the universe.

When I sing, I open my heart, not to myself, not to I, but to You.

* * *

I’m in hurdle pose – balanced on my hands, arms bent at elbows, my left leg angled forward, resting on the back of my left tricep, right leg extended into the air behind me.

“Can you draw your left leg forward a bit?”

I press. Not sure whether anything moves or not.

“Engage your toes.”

“Now lift the left leg a bit.”

I lift.

* * *

As I said, for a variety of reasons –some pre-rational, some quite rational – not everyone finds the path of bhakti to be particularly appealing, so many yoga studios scale back the overtly bhakti aspects of the yoga they practice. The studios where I practice most of the time tend toward the austerity of postures, heat, and breath. But for a person inclined toward bhakti, the lack of a Shiva statute or a Buddha mural isn’t really an impediment. The basic elements of bhakti yoga are still always present: there’s the devotee, and there’s the teacher.

Exactly what it is about working with a gifted teacher, I truly don’t know. There isn’t much about the western practice of yoga asana, breath, and meditation that makes obvious the need for a teacher. Lots of people practice their yoga based on a few books, a video or two, in the solitude of their own homes. I have a home practice, myself. But nonetheless, many of the most profound experiences I’ve ever had have come through yoga, and almost always have come through teachers.

…love is the vehicle through which you can much more quickly learn the language of your own True Self. Precisely because this learning is driven by love, it happens more rapidly than sitting alone, in the corner, on your meditation mat, counting your breaths.

Ken Wilber, One Taste, pg. 209

* * *

“Do you have a standing backbend?”

I position my feet.

“Come closer to the scaffold.”

I move toward the platform.

“Face away from me, and bend back toward me.”

I turn 180˚, lift my arms to Mountain Pose, then widen the pelvis, rotating the femurs inward, creating space for the sacrum to descend. The tailbone rotates down and under, the pubic bone rotates up and forward, bringing a stretch to the quads. Spine lengthened, the shoulder girdle begins its motion up and back.

“Relax your arms – bring your hands to heart center, anjali mudra.”

I press my palms together, just above my heart. The back bend deepens. My eyes gaze upward, but now up is back. I breathe slowly, each exhale taking me more deeply back, the entire front of my body from knees to pelvis to ribcage to sternum to chin is bow-string taut, vibrating with fatigue.

“A bit more.”

I exhale again, the backbend deepens, my gaze travels across the ceiling and suddenly, I’m seeing into the inverted eyes of the photographer above and behind me in the air.

Looking into Laurie’s eyes, I feel the prana of devotion to the presence above me, and I see that the next stage of the backbend is constricted not by the limitations of muscle or sinew, but by fear and self-protection. I release them and trust the pose, the teacher, the photographer, the alignment of existence, the internal point of singleness, Shiva.

Ishvara pranidhana indeed.

The spine arches more deeply, the abdominal and diaphragm muscles release slightly, and my gaze moves from the photographer’s eyes, to what is beyond them.

* * *

Eye-to-eye, we connect: the unity, the dance, the connection, the not-two-ness of the experience – bhakti – a way of relaxing the attachment to self.

It is momentary freedom, beginning as one, discovering another, and each disappearing, leaving only the twining.

[For more pix, go here.]

課題2: コンビニでお釣りを募金する
Assignment 2: Give out your change to fund-raising.

課題3: 食事を腹八分でおさえる
Assignment 3: Leave off with an appetite.

課題4: 人が欲しがっているものを先取りする
Assignment 4: Stay ahead of the trend.

課題5: 会った人を笑わせる
Assignment 5: Make people you meet laugh.

課題6: トイレ掃除をする
Assignment 6: Clean your bathroom.

課題7: まっすぐ帰宅する
Assignment 7: Go straight home.

課題8: その日頑張れた自分をホメる
Assignment 8: Establish the habit to praise for your achievement.

課題9: 一日何かをやめてみる
Assignment 9: Quit something for a day.

課題10: 決めたこと続けるための環境を作る
Assignment 10: Create an environment where you can adhere to your resolution.

課題11: 毎朝、全身鏡を見て身なりを整える
Assignment 11: Look at the mirror to make yourself presentable.

課題12: 自分が一番得意なことを人に聞く
Assignment 12: Ask people about your storng points.

課題13: 自分の苦手なことを人に聞く
Assignment 13: Ask people about your weak points.

課題14: 夢を楽しく想像する
Assignment 14: Enjoy fantasizing your dreams.

課題15: 運が良いと口に出して言う
Assignment 15: Say out loud that you are lucky.

課題16: ただでもらう
Assignment 16: Get free stuff.

課題17: 明日の準備をする
Assignment 17: Prepare today for the wants of tomorrow.

課題18: 身近にいる一番大切な人を喜ばせる
Assignment 18: Make the most important person to you happy.

課題19: 誰か一人のいいところを見つけてホメる
Assignment 19: Extoll the virtues of people.

課題20: 人の長所を盗む
Assignment 20: Seek out the good in people and apply it to yourself.

課題21: 求人情報を見る
Assignment 21: Look through job opportunities information.

課題22: お参りに行く
Assignment 22: Make a visit to shrine. / Pray.

課題23: 人気店に入り、人気の理由を観察する
Assignment 23: Go in to a popular shop and observe why it is popular.

課題24: プレゼントをして驚かせる
Assignment 24: Surprise people with a present.

課題25: やらずに後悔していることを今日から始める
Assignment 25: Start what you regret not doing today.

課題26: サービスとして夢を語る
Assignment 26: Talk about your dream as service.

課題27: 人の成功をサポートする
Assignment 27: Support people trying to achieve success.

課題28: 応募する
Assignment 28: Apply.

課題29: 毎日、感謝する
Assignment 29: Feel thankful everyday.

.....................................................................

.....................................................................

Let's see!!

..................................................................................................................

 Ps.(The pic. is Original Idea guide for this sculpt statue)

I am wrapped up in a grass colored shawl with little Ganeshas printed all over it. I've kicked off my flip-flops and I'm bundled into a ball on my office chair, shivering.

For the first time in two years, I am coming down with some sort of bug. I can feel it creeping up in the back of my throat, scratching at my sinuses, and pumping chills through my body.

The last time I was sick, I was on assignment in downtown Toronto, reporting on tow-truck drivers who lost their operating licenses. I arrived late for the hearings, ended up missing the story, and stayed for half a day digging up records from the secretarial office. I wrote a really good, juicy story in the end (as juicy as municipal courts can be), but probably drained my inner resources, as I wound up sick in bed that night, unable to move, shivering and miserable.

At 1 in the morning, I gathered enough strength in myself to throw on a few layers of sweaters and pants, made my way to the street and walked to the emergency room. I remember feeling so alone, with no one to call, and I laid in the hospital bed crying.

It turned out to be a 24-hour thing and I felt better by the next night.

There is nothing in me today that feels like crying. I might feel cold and weak, but my heart is pumping with joy that it's Friday, and that I will be able to go home in a few hours, get in bed, and snuggle with my favorite person.

Ganesha is the son of Siva, and he is very loyal. He has a round belly because he likes to eat sweets, and his nature is also very sweet.

Für Berufstätige gibt es einen preiswerten Mittagstisch ohne geschmackliche Abstriche, nur die Portionen sind etwas kleiner. Die Bedienung ist immer freundlich, die Preise sind seit Jahren konstant.

Leider ist schwer, vor dem Restaurant einen Parkplatz zu finden. Mit öffentlichen Verkehrsmitteln (Bus) ist das Restaurant vom Hauptbahnhof leicht erreichbar (nur 2 Haltestellen weit).

Für das Abendessen empfiehlt sich eine Reservierung! Das Ganesha ist gut besucht.

Webseite des Ganesha: www.ganesharestaurant.de

"Soundarya Lahari ("waves of beauty") -- that seductive composition of short and poetic praise of Shakthi (the feminine form of spiritual power, per Indian thought) consists of two parts namely, Ananda Lahari ("waves of happiness," first 41 stanzas) and Soundarya Lahari (the next 59 stanzas).

It is believed that Lord Ganesha himself has etched the Ananda Lahari on Mount Meru(Some people believe that Sage Pushpa Dhantha did the etching).It was read from there by Sage Gouda Pada who taught it to Adhi Sankara. Adhi Sankara himself added the rest of the 59 stanzas and completed it.

These 100 stanzas are supposed to be the foremost among Manthra literature. It is also believed that by making suitable yanthras and reciting particular stanzas and worshipping the yantras almost anything can be obtained in the world .There are more thn 36 commentries to Soundarya Lahari written in Sanskrit itself."

The beginning of a long journey.

Shiva and Parvati were leading a quiet life on Mount Kailash, Shiva's habitual abode. In fact, life was too quiet and sedate for Parvati, who had nothing much to do all day as her chosen lord was mostly either immersed in deep meditation or obfuscated by the fumes of ganja (marijuana). For company there was Nandi, Shiva's bull, and his host of ghosts, who are said to inhabit Kailash and give Shiva company, especially when he smokes ganja and wants some song and dance to liven things up a bit. Of course, Parvati was feeling bored and wanted someone she could be more involved with. So she began to call upon Vishnu in prayer to grant her a son. Vishnu soon granted her wish and Parvati gave birth to a beautiful boychild she named Ganesha.

At birth, Ganesha was a perfectly normal boy, with perfect features and body parts, as befits one conceived by a goddess. How he got an elephant's head is another story. Parvati was so pleased at his birth and so proud of his beauty that she invited all the gods and goddesses to come to Kailash and admire him. All the celestial beings came and admired and blessed the boy except Sani (Saturn), Parvati's own brother. This was because Sani had been cursed by his wife and the impact of the curse was that as soon as he looked at someone that person was instantly reduced to ashes.

Naturally, Sani was somewhat reluctant to cause the incineration his own sister's newborn baby but Parvati was feeling so elated that she threw caution to the winds and pleaded with Sani to at least cast his eyes once upon the boy. Sani, perforce, to please his sister, came and, holding his newborn nephew in his arms, hesitatingly gave him one look. That was enough to do the damage. Ganesha's head flew off as soon as his uncle looked at him. Parvati started crying bitterly but Brahma, who was present at this time, comforted her and said that if the head of the first creature that was found would be cut off and transplanted on Ganesha's neck he would live. So Vishnu, who was also present, set off on Garuda in search of any animal he may find. He had to travel all the way down Mount Kailash before, at the foothills, he found an elephant dozing on a riverbank. He immediately cut off the elephant's head and came back.Thus, this is how Ganesha got his pachyderm head. That he is pot-bellied is not a sign of any particular ugliness. The Hindu idea of beauty portrays both men and women with pot-bellies as these are signs of well-fed prosperity.

The elephant's head that Vishnu brought for Ganesha was perfect in all respects, with two tusks, but the pot-bellied god is habitually shown with only one tusk. The story behind how he lost one tusk makes interesting telling.

Shiva was in the habit of intruding upon Parvati while she was bathing. This was rather infrequently, only when that god was not under the influence of ganja. Anyway, Parvati found this habit of her forgetful lord rather annoying. One day, when the beautiful goddess was about to get a bath in the water of a pool inside a cave, she took the precaution of positioning Ganesha, her favorite son, at the entrance of the cave. She strictly instructed him not to let anybody in while she was inside. So it was that Ganesha stood guard while his mother bathed inside till he spied his father ambling towards the cave. Coming up to the cave entrance, Shiva demanded admittance but Ganesha stood his ground bravely and refused to allow his father in.

Shiva was astounded at this. He protested that no-one had the right to keep him away from his rightful wife but Ganesha did not budge from his post saying that he would not disobey his mother's instructions. Shiva, hot-tempered as he was, flew into a terrific rage and attacked his own son. Ganesha parried his father's attack and both fought for quite some time. All this while Parvati unwittingly went on bathing inside, unaware that her ablutionary precaution was causing unforeseen dissension within her family. Son and father fought till, at last, Shiva hurled his trident, his supreme weapon, at his son. Ganesha would not parry this as, to do so, would be to show great disrespect for his father. So he took the blow from the trident on one tusk, which broke off. At this point in time, Parvati emerged from her bath and, perceiving what has been going on, hastened to bring amity back to her family. Since then Ganesha, benevolent initiator, has had one tusk.

There is another interesting story pertaining to Ganesha and his brother Karttikeya. Both wanted to marry Buddhi and Siddhi. So, at last, they decided between themselves that the first of them to circumnavigate the earth entirely would get their hands in marriage. Karttikeya set out on foot to circle the earth but Ganesha sat at home studying the scriptures. After long years of travel Karttikeya returned, only to find that his brother was already married to the two ladies. Ganesha had stayed at home and studied the scriptures and, through his studies, had gone round the earth in much lesser time than his more physical and less astute brother, Karttikeya, had on foot.

Sizes:-  46x60 cm

Cost:-   $ 133.56

PURCHASE:- PLEASE CONTACT NUPUR ART GALLERY

                       email-    nupur@wlink.com.np

                       Website- www.nepalsilvercraft.com

OTHER GANESHA THANGKA PAINTING:-

                                                              SIZE:-33x43 cm                                                  

                                                               PRICE:- $ 79.40

        DELIEVERED from DHL or fedex within 12 hours of money confirmation.Recieved in 4-5 days of delievery.

Payment:- Payment recieved from bank transfer,Western union or paypal

]]> http://dokeoslead.wordpress.com/?p=116 Sat, 05 Jul 2008 04:43:27 +0000 ywarnier http://dokeoslead.wordpress.com/?p=116 I was playing around a little bit with a code metrics tool on the Ohloh website and, although I'm sure there's some kind of arguable element there as some included libraries add a lot of "noise" in code contributions, I was happily surprised to see that Dokeos isn't doing bad at all and is starting to get back at Moodle, in terms of code, contributors and global activity. I'll let you check that by yourselves (following the "code metrics tool" link, or just looking at the screenshots below).

Before you start thinking that this must be a distorted comparison as it is made by a Dokeos developer, I just want to let you know that Ohloh.net is totally independent in this case. I just ran a comparison because there was a tool to do that automatically, and thought the results were interesting and at the advantage of Dokeos and, as such, might be interesting to post here. I totally realise that there is no obvious conclusion to be taken out of these results.

In the screenshots below, Dokeos is marked as red, Moodle as green and ILIAS as blue. Claroline, which I have left out of the comparison because I can only compare three projects at a time, has about the same level in the three graphs as ILIAS (in blue).

The first graph is about the codebase (number of lines of code). The second is about activity in terms of code submissions. The third one is about the number of active contributors. As you will see, when Dokeos is not on top, it's getting there, slowly. Lines of code for the three projects are all increasing at about the same rate though...

The Dokeos position in that race is not surprising because I feel like crap, instead, it is surprising because it is generally much more heard of Moodle as an active open-source project than Dokeos, so theoretically, Moodle really ought to be on top of these three graphs... go figure!

From the graphs, it looks like 2006 has been a tremendous year for Moodle, and then it started slowing down a little. I don't know much about ILIAS' history, but I recently heard from a colleague that had had to compare Dokeos and ILIAS that ILIAS was no match (big flame wars starting here ;))

Anyway, the story of Dokeos still has a bunch of nice surprises to come as well. I hope the same is true for our competitors.

Just for the fun, if you want to compare Dokeos to Claroline and Ganesha, follow this link.

Chaque activité peut être associée à une ou plusieurs règles de séquencement. Ces règles vont permettre de personnaliser le parcours d'un apprenant en fonction de son avancement, de ses résultats et des compétences acquises.

Concrètement, une règle est définie par l'association d'une ou de plusieurs conditions (ruleConditions) et d'une action (ruleAction). Il existe 3 règles (preConditionRule, exitConditionRule et postConditionRule).

La création d'une condition est identique pour toutes les règles et peut se décomposer en 4 catégories :

• L'état : attemptLimitExceeded, timeLimitExceeded, activityProgressKnown
• Le statut : satisfied, completed, attempted
• Les objectifs : objectiveStatusKnown, objectiveMeasureKnown, objectiveMeasureGreaterThan, objectiveMeasureLessThan
• L'élément neutre : always

Par contre, les actions sont définies en fonction du type de la règle. Les règles sont évaluées lors de la navigation de l'apprenant :

• preConditionRule
  Règles à prendre en compte avant le lancement d'une activité. Si la condition est vérifiée, lors de la navigation, une activité peut être omise (skip), ou désactivée (disabled), ne pas être prise en compte (hiddenFromChoice) ou sinon s'arrêter sur le choix (stopForwardTraversal) de cette activité.
• exitConditionRule
  Cet élément permet de définir les règles à prendre en compte lors de la sortie d'une activité. La seule action possible est de forcer la sortie via l'action Exit.
• postConditionRule
  Cet élément permet de définir les règles à prendre en compte après l'exécution d'une activité. Si la condition est vérifiée, lors de la navigation, on peut forcer la sortie (exitParent, exitAll), forcer la réexécution de l'activité (retry, retryAll) ou tout simplement autoriser la navigation sans contraintes (continue, previous).

Ganesha - Elephant-Headed God Sri Ganesh

Ganesh is the Ever-Blissful, elephant-headed deva (god) who is lovingly worshipped and revered by millions of people worldwide. Although Ganesh is known through the Hindu religion, Shri Ganesh transcends religion and is loved by many non-Hindu's. Ganapati is worshipped by both Vaishnavas (devotees of Vishnu) and Saivites (devotees of Shiva). It is for this Transcendent, All-Embracing, Auspicious Lord of the Ganas, Sri Ganesh, for whom this site is dedicated. Enjoy and much Peace to you!

The son of Shiva and Parvati, Shree Ganesh, is the God of Good Luck and Auspiciousness and is the Dispeller of problems and obstacles. He is also worshipped as the God of wisdom, wealth, health, celibacy, fertility and happiness. In the panchayatana puja, Ganesh is glorified as one of the five prime Hindu deities (Brahma, Vishnu, Shiva, Shakti and Ganesha) whose worship confers immortality and liberation.

Ganesh Chaturthi - Vinayaka Chaturthi
Devotees of Ganesha are known as 'Ganapatyas', and Ganesh Chaturthi (also known as Ganesha Chaturthi or Vinayaka Chaturthi) is the holy festival that celebrates His Glory through India by all Hindu's. Vinayak Chaturthi is celebrated on the 4th day of the bright half of Bhadrapad. This festival is honored as the birthday of Sri Ganesh. Ganapati transcends all sects and views and is equally worshipped by both Saivites and Vaishnavas because Ganesh is viewed as an Incarnation of both Vishnu and Shiva. Ganesha is even worshipped and revered among Buddhists and Jains.

Mystery of Ganesh
Once there was neither Being nor Nonbeing. There was neither Form nor Formlessness. Then, That which was hidden within Itself, That One, stirring, emerging, coming to be. From Itself to the Formless to the Form. Immutable, changeless, everywhere, pervading all, yet not physically such is the mystery. Suddenly an ancient note piercing the darkness. A song whose birth stirred the slumbering, summoning an eternal mystery to awaken. Emerging from deep within the hidden cave, the human heart, Ganesha's truth flows from the icecave of the infinite. Housed within our gated dwelling, Ganesha the guest loved and longed for. That which has no form, can take a form. That which has no name, can take a name. From the formless to form, and back again and again and again. The wheel of time gathers speed, and somewhere between fact and legend, vision and myth, we ask, "Who is Ganesha? There are those who lovingly sing his praises. There are those who worship and adore him. There are those who represent him in art and literature. There are those who tell stories about him. There are those who chant his glory. There are those who seek his darshana. There are those who invoke and invite his blessings. The thinkers think, the scholars scholasticise, the devotees worship. But what is Ganesha's hidden meaning? There is a long and hoary lineage of seekers, scholars, sycophants, who have attempted to plumb the mysteries of the elephant-headed one. Anthropologists, Artists, religious Aspirants, Historians, Indologists, Linguists, Philosophers, Religionists, Sociologists, and contemporary devotees of Ganesha are but some of the most recent representatives of this enquiry. Each group has attempted, and continues to attempt, to make sense of this enormously popular deity. Seemingly incongruous facts simultaneously coincide. Ganesha embodies: An enormous popularity that transcends sectarian and territorial limits; a seemingly rather late, yet dramatic, full-blown appearance into a religious pantheon; a confusing, conflicting, yet interesting and intriguing mythology; and an elephant's head atop a plump human body! To further complicate the picture is the fact that the physical representation of Ganesha offers more iconographic variations than does that of any other Indian deity. Couple this with the fact that Ganesha literature is rife with a seemingly endless number of stories on an unexpectedly limited number of themes. O Ganesha, who are you really? Tell the others what you want, tell them anything, but between you and me, who are you really?
(Couresty Professor Grimes)

What Ganesh Stands For
Ganesha has four arms which symbolize his status as the universal ruler and establish his power over the four categories of beings - those who can live only in water, those who can live in water and on earth, those who can live only on earth and those who can fly in air. Significance of four : It was god Ganesha who instituted the four castes and the four Vedas. One hymn in Sri Bhagavat Tattva , says: 'In heaven, this child will establish the predominance over gods, on earth over men, in the nether world over anti-gods and serpents. He causes the four principles of the elements to move and is therefore four armed. In one hand, he holds a shell, in another a discus, in the third a club or a sweet and in the fourth a lotus.' Thus, all aspects of Ganesh's form are filled with symbolic meanings.

The Vehicle of Ganesh
Sathya Sai Baba said:

"The mouse is the vehicle of Vinayaka. What is the inner significance of the mouse? The mouse has a keen sense of smell. The mouse is a symbol of the attachment to worldly tendencies (vaasanas). It is well known that if you want to catch a mouse, you place a strong-smelling edible inside the mouse-trap. The mouse also symbolizes the darkness of night. The mouse can see well in the dark. As Vinayaka's vehicle the mouse signifies an object that leads man from darkness to light. The Vinayaka-principle, thus, means that which removes all the bad qualities, practices and thoughts in men and inculcates good qualities, good conduct and good thoughts."

What does "Vinayaka" Mean
Sathya Sai Baba said:

"Who is Vinayaka? In the sloka beginning with the words, Suklaambaradharam Vishnum, only the form of the deity is described. But there is another inner meaning for the name "Vinayaka". Suklaambaradharam means one who is clad in white. Vishnum means he is all-pervading. Sasivarnam means his complexion is grey like that of ash. Chathurbhujam means he has four arms. Prasannavadanam means he has always a pleasing mien. Sarvavighnopasaanthaye means for the removal of all obstacles. Dhyaayeth, meditate (on him). Vinayaka is the deity who removes all bad qualities, instills good qualities and confers peace on the devotee who meditates on him Vinayaka means that he is totally master of himself. He has no master above him. He does not depend on anyone. He is also called Ganapathi. This term means he is the lord of the ganas - a class of divine entities. This term also means that he is the master of the intellect and discriminating power in man. He possesses great intelligence and knowledge. Such knowledge issues from a pure and sacred mind."

Ganesh's Intellect
Sathya Sai Baba said:

"What is the esoteric meaning of Ganesha's elephant head? The elephant is noted for its acute intelligence. Ganesha's elephant head symbolizes sharpness of intellect and the highest power of discrimination. Because of the purity of his intellect, Vinayaka is also called the giver of buddhi (intellect). He responds to the prayers of devotees and hence is known as Siddhi Vinayaka (the Vinayaka who grants what is sought). In a forest, when an elephant moves through the jungle, it clears the way for others to follow. Likewise, by invoking Ganesha, the path is cleared for our undertakings. The elephant's foot is so large that when it moves it can stamp out the footprints of any other animal. Here, again, the symbolic meaning is that all obstacles in the way will be removed when Ganesha is accorded the place of honor. The journey of life is made smoother and happier by the grace of Ganesha. When an elephant moves among the bushes, its path turns into a regular passage for all animals. It is thus a pacesetter for all animals."

Similarly, Ganesha clears the path leading to Wisdom, Intellect, and Inner Peace.

Two Shaktis Of Ganesh
Ganesha has two Siddhis (symbolically represented as wives or consorts): Siddhi (success) and Riddhi (prosperity). Wherever there is Ganesh, there is Success and Prosperity~ Wherever there is Success and Prosperity~ there is Sri Ganesh.

Ganesh as the Scribe
Ganesha is accepted as the god of learning and the Patron Deity of letters and scriptures. Ganesh's tusk is used by him in the writing of the epic, the Mahabharata. When Vyasa wanted to compose the Mahabharata, Brahma suggested Ganesha be his scribe. Vyasa agreed and Ganesha brought his broken tusk as a writing quill. Vyasa dictated the entire epic in verse. Ganesha recorded every word for Gods and men alike.

32 Forms of Ganesha in Agamic Scriptures

1: Baala Ganapati - Red colored image of a four armed Ganesha.
2: Dharuna Vinayakar: Red colored image of an eight armed Ganesha.
3: Bhakti Vinayakar: Grey colored image of four armed Ganesh.
4: Veera Vinayakar: Red colored image of 16 armed Ganapati.
5: Shakti Ganapati: Red colored image of 4 armed Ganapati, seated with his consort to his left.
6: Dwija Vinayakar: White colored image of four faced Ganesha with 4 arms.
7: Siddhi Vinayakar: Golden colored image of four armed Ganapati.
8: Ucchishta Ganapati: Blue colored image of six armed Ganapati with his consort.
9: Vigna Vinayakar: Gold colored image of eight armed Ganapati.
10: Kshipra Ganapati: Red colored image of four armed Ganesha bearing a ratna kumbham.
11: Heramba Vinayakar: Black colored image of ten armed Ganesha with five faces, seated on a lion.
12: Lakshmi Vinayakar: White colored image of eight armed Ganesh with two consorts.
13: Makara Vinayakar: Red colored image of Ganesha with a third eye, 10 arms, bearing a ratna kumbham, with his consort.
14: Vijaya Vinayakar: Red colored image of 4 armed Ganesha on the mooshika mount.
15: Nritta Vinayakar: Gold colored image of Ganesh in a dance posture.
16: Urdhva Vinayakar: Gold colored image of six armed Ganesha with his consort.
17: Ekakshara Vinayakar: Red colored image of Ganesha with a third eye, seated on a lotus.
18: Vara Vinayakar: Red colored image of 4 armed Vinayaka with a third eye.
19: Dhryakshara Vinayaka: Gold colored image of four armed Vinayakar, decorated with Chaamara ear rings.
20: Kshipraprasaada Vinayakar: Red colored image of six armed Ganapati.
21: Haridra Vinayakar: Yellow colored image of four armed Ganapati.
22: Ekadhanta Vinayakar: Blue colored image of four armed Ganapati.
23: Srishti Vinayakar: Red colored image of four armed Ganapati seated on his mooshika mount.
24: Utthanda Vinayakar: Red colored image of 10 armed Ganesha with his consort to his left.
25: Ranamochana Vinayaka: Crystal image of four armed Vinayakar.
26: Dundi Vinayakar: Four armed image of Ganesh bearing a tusk, a garland, an axe and a gem studded vessel.
27: Dwimukha Vinayakar: Red colored image of Ganesha with two faces and four arms.
28: Trimukha Vinayakar: Red colored image of Ganesha with three faces and six arms seated on a golden lotus.
29: Simha Vinayakar: White colored image of Ganesh with eight arms (with an arm bearing a lions face).
30: Yoga Vinayakar: Red colored image of Ganesha in the posture of a yogi.
31: Durga Vinayakar: Red colored image of Ganesha with eight arms.
32: Sankatahara Vinayakar: Red colored image of four armed Ganesha clothed in blue, seated on a lotus peetham with his consort to his left.

Reference

L’avion vient de décoller, vous partez pour une destination de légende, l’Inde. Vous allez découvrir les saveurs, les parfums, les couleurs d’un des plus grands pays du monde, si riche en contrastes. Vous rencontrerez ses habitants, leurs coutumes, leurs modes de vie. Des animaux inhabituels vont croiser votre route.

Et puis, au cours de votre voyage, au détour d'une phrase, vous vous laisserez entraîner dans des contes traditionnels indiens des maharadjahs ou des gens du peuple, pleins de poésie, d'exotisme, d'humour. Histoires de l’éléphant blanc ou de l’enfant et le feu sacré, de la pièce d’or du saddhu, de l’oiseau à deux têtes… et bien d’autres encore très étonnantes ou pleines de sagesse.

Vous croiserez aussi les dieux indiens et découvrirez deux fabuleuses sagas : le Mahabharata et le Ramayana, sans doute les plus grandes épopées de l’histoire du monde.

15 contes illustrés parés de tout l’exotisme et de toute la magie de l'Orient

Pour tous les âges.

Contes de la Planète bleue

une collection qui allie un voyage à la découverte d’un pays, aujourd’hui, à travers la vision subjective d’un auteur voyageur et une plongée dans ses contes traditionnels adaptés dans une langue contemporaine. Pour rêver et découvrir d’autres horizons.

Dans la même collection : « Contes inuit de la banquise », par Jacques Pasquet.

L’auteur, Xavier Armange a fait des études de lettres et a travaillé dans la communication. Il est auteur d’une vingtaine de livres et albums pour les jeunes et les adultes. Il dirige une petite maison d’édition qu’il a créée près de la mer.

Il sillonne le monde dès qu’il le peut, particulièrement l’Asie. Ses voyages et ses interventions dans les écoles et ailleurs lui permettent souvent de parler de sa passion du voyage et de ses découvertes d’autres civilisations. 

De Haridwar à Kanyakumari, de Calcutta à Puri en passant par Hampi, Amritsar, Gwalior, Dharamsala, Goa, Jaisalmer, Diu ou les îles Andaman, il a effectué de nombreux séjours aux quatre coins de l’Inde. C’est Bénarès qui a sa préférence. Il a découvert un monde différent, des amis, rapporté des milliers de photographies, une moisson de souvenirs, de textes et d’anecdotes. Il pense parfois qu’il est devenu - sinon un peu plus sage - du moins que sa vision du monde a changé en approchant l’« Incredible India ».

CONTES INDIENS DU SEIGNEUR ÉLÉPHANT

par Xavier Armange. Collection « Contes de la Planète bleue », illustré de photographismes.

12 x 18 cm - 160 pages - 8 euros - ISBN 978-2-84238-101-1

LIRE DES EXTRAITS

Bonnes pages : Contes indiens du Seigneur Éléphant

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Sumber gambar-gambar:

http://www.arch.nus.edu.sg/casa/projects/tropical_ind/bandung/ganesha15a/ganesha_main.htm

( btw sayang gambar2 rumah ini malah dibuat oleh NUS hi...hi...hi...)

We came up with the idea of using Ganesha, who is a widely known god, on their place settings and table plan. So watch this space for photos in the future; of course we can't publish until after the event as we don't want to ruin the surprise for anyone (least of all us as we haven't done the research yet!)

Little mouse

fresh and cute

jump around

fast and innocent

helping out

(place: ganapatipule, 2004)

Deities:

Location: Jaipur, Rajasthan

Best time to visit: October to March

STD Code: 0141

Jaipur is quite famous for the tourists for its mind blowing location and excellent beauty. It is situated almost in the centre of the pink city. In the middle of Jaipur rises a small hill Moti Dungri meaning pearl hill, because it looks hilla drop of pearl.

An exotic palace is parched which is a replica of Scottish castle once occupied by Maharaja Madho Singh's son. From There on remained as a private property of the ruling family. In the recent past it served as a home for Rajmata Gaytri Devi and her estranged son Jagat Singh. The mere view of this castle is exotic enough. The highlight of this place is the famous and auspicious temple of Lord Ganesh, which is frequently visited by almost whole of Jaipur and people from outside.

This ancient temple serves as a tourist attraction for the scenic view it offers. Moti Dungri Temple is significant from the religious point of view. People from far and near often come to this sacred temple to pay their homage to Lord Ganesha.It is a large, modern marble edifice. Stained glass widows depict the scenes from Hindu scriptures. Ganesh the protector of households, is above the lintel, and the fine quality of marble is evident when you enter the temple and look back at the entrance way - Ganesh can be made out through the marble, which is almost transparent. The images of Lakshmi and Narayan were carved from one piece of marble. Many of the deities of the Hindu pantheon are depicted inside the temple, and on the outside walls great historical personages and figures from all religions are shown, including Socrates, Zarathustra, Christ, Buddha, and Confucius.

Keeping in mind the secular nature of the country, the temple has three domes, which represent different approaches to religion. It is a beautiful white marble temple, which seems to glow at night. The architectural style in which the temple is built is a pleasing amalgamation of Western, Hindu and Muslim architectural traits.

Close to the Temple, there a beautiful Palace on the hill, this is known as Moti Dungri Palace. The Palace is an imitation of a Scottish Castle. In the ancient times, it was occupied by Maharaja Madho Singh's son. Still, the enchanting Palace belongs to the royal family. Today, it makes home for Rajmata Gayatri Devi and her son, Jagat Singh. However, the palace is not open for public.

How to reach:

by Air: Jaipur Airport is located near Sanganer at a distance of 13 kms from the city of Jaipur. Many domestic airlines connect the city to all the major cities of India including Udaipur and Jodhpur as well.

by Rail: Jaipur Railway Station is a central main station of the state of Rajasthan. The vast rail track of Indian Railways connects Jaipur station with all other cities of India. There are numerous trains which run on a regular basis to and from Jaipur.
by Road: Jaipur is well connected by road to major cities in India. Excellent road network serves people to enjoy a comfortable journey to and from Jaipur. This mode of travelling is quite easy and comparatively cheap. Regular bus services from nearby cities connect Jaipur to the other cities.

Visit www.eTirth.com for more information on Temples, Ashrams, Gurus, Festival and Daily Panchangam (Hindu ephemeris).

In Gokarna, I was a hippie for Friday, Saturday and Sunday, with nothing to do except lounge around on the beach, lie down on the sand in the heavy rain, waiting for the waves to come crashing into me, a bottle of cold beer by my side and a packet of cigarettes handy. We left Bangalore at 9 pm on Friday night and the first sign that this was going to be pleasant journey was that the bus was a sleeper AC coach, with long beds where I could stretch my 6'1" frame comfortably and plug in my music and go to sleep. :)

A clear, blue sky with a spectacular sun gave way to dark clouds that bore ominous signs of a wet weekend. And wet it was - the skies opened up a few hours after I entered Gokarna, and didn't let up for the three days. It rained intermittently and heavily and at one time, it rained for half a day continuously. This was perhaps the best part of the whole trip. Waves six feet high crashing on to the rocks made a spectacular view.

Imagine this: you're sitting on a piece of rock that doubles as a chair in a beach-side restaurant, you have a cup of piping hot tea next to you, you're sitting under an asbestos sheet that barely covers your outstretched legs, the sound of the rain thumping down on the roof is deafening, this sound has been masked by the crashing of the waves right in front of you, waves that rise to astronomical heights, spraying you with a fine, cold mist of salty sea water every time it does, you sit there from morning till evening watching the tide ebb and rise, and at the highest tide, the waves almost come up to the rock on which you're sitting, instilling in you a faint fear of being washed away, but sitting there with the confidence that the place has been built there to withstand the highest tides, struggling to light your cigarette because the wind is blowing with all its fury, adding to the harmonic noise, and finally, just when the ancient clock in the café strikes six and the tiny lights go on, you see similar lights turning on all along the beach, hundred yards away from each other, and throwing a magnificent view of the entire beach in twilight, corresponding to the distant lighthouse and the small specks of light on the horizon among the waves.

I made friends with a nice, cute dog there, who had a striking resemblance to Balto, and I christened him Murthy. This was because he had only three front teeth, and I couldn't think of any better name for him. I was having a conversation about existentialism with him and I asked him, "Do you believe if the whole concept of existentialism holds water, no puns intended?" He gave me the most logical answer I've ever heard on this topic: he scratched his head, sniffed his balls and trotted away. :D

Gokarna town is a rustic village, located twenty minutes away from Om Beach, and is famous for its historical temples. There's one very famous Mahabaleshwar temple here and legend has it that Lord Ganesha tricked the demon Ravana into leaving behind a Shivalinga here. In spite of the might exerted by Ravana (Maha Bala), the Shivalinga stayed fixed, hence the name Mahabaleshwar. The pull exerted by Ravana, is said to have caused the Shivalinga to resemble the shape of a cow's ear and hence the name Gokarnam (literally means "cow's ears" in Sanskrit). I had a nice time at the temple with the crowd of people thronging there, braving the rain to offer their prayers.

I started reading Roland Barthes during the journey, a French thinker who had been on my list for a long time. His book Mythologies is quite fascinating, and most of his essays are really intriguing. A good read for any occasion. But the most excitement came in the form of Italo Calvino.

I fell in love with this book called If on a winter's night a traveler, which is perhaps THE best book I've ever read in my life! Thanks Anushree for getting the book for me!! I could not put the book down and once I finished it, started kissing the book all over until it was sloppy. I really suggest this book. I love Italo Calvino! You have to, have to read it!! :D

Caught the bus back on Sunday night and reached this morning, thus bringing to a close one of the most beautiful journeys in my life. As I said earlier, if anyone hasn't been to Gokarna, please do. It's one of the most breathtaking places you can ever go.

Getting there is not much trouble - buses leave from Bangalore every night at 9 pm, and the tickets cost around 500 bucks. I don't know about buses from other places, but I'm sure it's well connected. Any bus going to Goa stops at Gokarna. From Gokarna town, catch an auto to Om Beach for 120 bucks and stay there at Namaste Café, at 150 bucks a night! That simple! :D

Part of me wants to go back there and part of me knows that it'll not happen again for at least a few more months. I guess I can wait! :)

Om du klickar på bilden av Ganesha, kommer du till YouTube och Sheyba-låten "Ganesh" från 1995.

Läs även andra bloggares åsikter om Psychedelic trance, Techno, Ganesha, Sheyba, YouTube, Wikipedia, Egoorienterat, Allmänbildning, Musik, Norge, Psykedeliska effekter, Språk, Windows, Apple, Datorer

This Ganesha seems to be in a better premise, by the OMR, near VHS Hospital. The temple has got a fresh coat of paint and well maintained.

I watch quite a few passersby stop for a second and offer a prayer always near these temples on the streets.

Ganesha: Kallas även Ganpathy, Ganpati, Ganesh och Gajanana och är son till Shiva och Parvati.
Enligt legenden fick han sitt elefanthuvud efter en incident då Shiva kom hem efter en lång resa. Shiva kände inte igen sin son som under resan vuxit från barn till ung man. I vrede trodde Shiva att han var en älskare till Parvati och högg av hans huvud. När Shiva sedan upptäckte sitt misstag skickade han ut sina tjänare för att hämta det första huvud de kunde finna. Detta råkade sitta på en elefant.
Det är också anledningen till att Ganesha är den gud som tillbes allra först, Parvati tvingade Shiva att lova att sonen skulle tillbes först av alla gudar. Kanske som en liten kompensation för att få leva med ett elefanthuvud?
Läs mer om Ganesha (och hans övriga 32 namn) :) här!

Läs även andra bloggares åsikter om Ganesha, Indiska gudar, Allmänbildning, Hinduism, Religion, Indien

The Ganesha temple in front of the Mother & Child hospital, Egmore (opp Prince plaza).

Yes like a fellow commentator said earlier, the God is everywhere .......

This was the second time
He spanned the world
So quickly. . . In telecast
miracles that occurred from
Michigan to Manila to Madras
Whether He was in plastic, ceramic,
Fire-burnt clay or stiff black stone
The Elephant-Headed, the Pot-Bellied,
The Remover of Obstacles, Ganesha,
The God had his fill as he sucked
The spoonfuls of creamy milk. . .

I am not willing to listen to
Capillary Action Rationalism
Or any scientific explorations. . .

Instead I am hunting for some
Silly girl’s bizarre secret, to know if
The Son of Shiva had let himself
To be breastfed, to be suckled. . .
And if she, having tasted success
At His having tasted her,
Moved on to younger,
Charming Gods,
With their mouths
Full of white teeth.