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Butön Rinchen Drup (Bu ston rin chen grub 1290–1364) includes a complete version of the Gaṇapati mantra as he received it in his Collection of Dhāraṇīs from the Four Classes of Tantras of the Secret Mantra (gsang sngags rgyud sde bzhi’i gzungs ’bum). The mantras that appear in The Tantra of Great Gaṇapati are scattered across a handful of different chapters. In this sense, they are not presented as a single Gaṇapati mantra, but as a collection of various Gaṇapati mantras. The Gaṇapati mantra, according to Bütön, is as follows:
oṃ ha ratnadhi ratnasiddhi vināyaka baira hūṁ hri hūṁ phaṭ | oṃ hūṁ phaṭ | bhe bhi bha yakṣa mahābherabhe trireca śatrūṁ nṛja nija yakṣa kāma mahābhairave devayakṣam nāganāga thumarilaya yaya mahābhairave yakṣa nāśaya nāśaya | curṇa curṇa tralaya nāgayakatra māraya hana cakra vināyaka jīvaṃ tāntakara hūṁ hūṁ phaṭ phaṭ oṃ vighnabhivabhi sarvavīryā viśvayahṛdam itaya hūṁ citu patu pramarutāya hana hana gṛhṇa gṛhṇa paca paca brahma brahma brahmāya brahmāya hūṁ hūṁ phaṭ phaṭ ||
See Butön Rinchen Drup, gsang sngags rgyud sde bzhi’i gzungs ’bum, in gsung ’bum/ rin chen grub/ (zhol par ma/ ldi lir bskyar par brgyab pa/) vol. 16/ma (New Delhi: International Academy of Indian Culture, 1965–71), 267.a–267.b. This important source was initially accessed through the AIBS database entry for The Tantra of Great Gaṇapati (Toh 666). See The Buddhist Canons Research Database. American Institute of Buddhist Studies and Columbia University Center for Buddhist Studies. Accessed May 31, 2019. http://databases.aibs.columbia.edu.
The Aurangabad cave complex is not to be confused with the better-known and large cave complexes at Ajanta and Ellora, which are also located in the wider Aurangabad area. The Aurangabad cave complex is found on a hill just outside the city of Aurangabad and is know simply as the “Aurangabad cave complex.”
This description is taken from Adam Krug’s first-hand observation and documentation of this cave vihāra site. For a thorough study of this important Buddhist archeological site, see Pia Brancaccio 2011.
Dharmachakra Translation Committee, trans., The Heart Mantra of Gaṇapati, Toh 665/Toh 1084 (84000: Translating the Words of the Buddha, 2023).
Denkarma (pho brang stod thang ldan dkar gyi chos kyi ’gyur ro cog gi dkar chag). Toh 4364, Degé Tengyur, vol. 206 (sna tshogs, jo), folio 303.a. See also Shyuki Yoshimuri 1950, p. 154.
This is based on Duquenne’s analysis of these materials. See Robert Duquenne 1988, pp. 321–54.
Following D and S: lha yi longs spyod mnga’ ris las /’dod pa’i longs spyod ’byung bar ’gyur. This translation is tentative.
Following D and S: lha chen tshogs bdag chen pos bya. This translation is tentative. It is also possible to translate this line as “Mahādeva and Gaṇapati will create.” However, since the chapter colophon does refer to Gaṇapati as a “great deity” (lha chen), this alternate reading is less likely.
Following D and S: ba ra ta ka zla ba drug. Y, J, and C: ba ra ta ga zla ba drug. This translation is tentative and reads the Tibetan ba ra ta ka as a transliteration of the Sanskrit *vrataka.
The phrase “this is how” has been added to the English translation for the sake of clarity. No equivalent of this phrase appears in the Tibetan witnesses.
Following D and S: lha chen dngos grub sgrub pa. Readers should note that the term lha chen translates the Sanskrit mahādeva, which is a common epithet for the Hindu deity Śiva. In this case, however, it most likely refers to Gaṇapati.
Following D and S: zla ba tshes pa. The Tibetan term zla ba tshes pa translates a number of Sanskrit terms such as “the new moon” (navacandra), “young moon” (abhinavendu), “lunar digit” (candralekhā), and “half moon” (ardhacandra). Here the term likely refers to the “new moon” as well as a “lunar digit,” or the individual phases that the moon passes through as it waxes and wanes. In this case, the description of Gaṇapati wearing a “lunar digit” in his crown describes the first lunar digit of the crescent waxing moon, which is a well-known iconographic component of deities like Gaṇapati who are directly related to the deity Śiva.
Although it is not explicitly stated here, elsewhere in this “selection of mantra syllables” chapter we see that these instructions pertain to mentally writing Gaṇapati’s mantra, though it is also possible that these instructions would accompany the physical process of writing the mantra.
D: bzhun dang bro mchog che ba yin. S: bzhun dang bro mchog che ba yang. The translation of these two flavors is tentative.
Following D and S: dza ra pa dang rkun ma ni. This translation is tentative and reads the Tibetan dza ra pa as a transliteration of the Sanskrit term cārapāla.
Following D and S: bgegs kyi rgyal po thams cad kyis. While the term bgegs kyi rgyal po (Skt. vighnarāja) can function as an alternate name of Gaṇapati, in this case it likely refers to both human kings who act as obstacles and other non-human “kings of obstructing beings” who, like Gaṇapati, rule over retinues of non-human beings that bring about obstacles and misfortune.
D: byi na ya ka; Y, J, K, N, C, U, H, and S: bi na ya ka. This transliteration amends the reading in the Tibetan witnesses to the proper Sanskrit spelling of this name, vināyaka.
The text breaks meter at this point and briefly resumes meter for the nāga mantra section that concludes this chapter.
D: brgyad la hUM dang phaT kyis mtha’ brten pas srog gi snying po’i. Y, K: brgyad la hUM dang phaT kyis mtha’ brten pa’i srog gi snying po’i. S: brgyad po la hUM dang phaT kyis mtha’ rten pas srog gi snying po’i. The translation of this entire passage on the eight yakṣa mantras is tentative. The text shows some signs of corruption, and only lists seven of the eight opening mantra syllables.
This reference to a “soul stone” (bla rdo), a term commonly associated with Tibetan mythology and sorcery that does not have any clear Indic correlate, suggests that this section of the text might derive from a non-Indic source.
D and S: b+he ra b+he. The transliteration is corrected here based on the standard spelling of this term.
D: nA sha ya na lan gnyis so/ /sha ya tsUr na tsUr na ya. The transliteration and word order in these verses is corrupted and has been restored in this transliteration to the proper duplicate forms of nāśaya nāśaya (“destroy destroy”) and cūrṇaya cūrṇaya (“pulverize pulverize”).
D and S: ka ka ki ku’i thod pa’i nang du blugs te. This translation “crow’s skull” for the Tibetan ka ka ki ku’i thod pa is tentative.
The name of one of the eight nāga kings who obey the eight deities in Gaṇapati’s nine-section maṇḍala.
The name of a yakṣa king.
A phrase describing the mantra syllable hā in the “presentation of mantra” (Tib. sngags btu ba; Skt. mantroddhāra) in The Tantra of Great Gaṇapati.
The name of one of the eight nāga kings who obey the eight deities in Gaṇapati’s nine-section maṇḍala.
The name of Gaṇapati’s consort. Lit. “the light-maker.”
One of the eight supreme flavors. Also one of the six tastes of the Āyurveda and Tibetan medical traditions.
One of the three humors (doṣa) in the Āyurveda medical tradition.
A term for the depiction of the superscribed nasal anusvāra.
One of the eight supreme flavors. Also one of the six tastes of the Āyurveda and Tibetan medical traditions.
A member of the highest of the four castes in Indian society, which is closely associated with religious vocations.
The term for the consonant classes of the Sanskrit alphabet.
The name of a deity in the southwest section of Gaṇapati’s maṇḍala.
A term for the first phase of the waxing moon.
The name of a form of Vināyaka, a form of Gaṇapati.
One of the four great kings who guard the cardinal directions.
In The Tantra of Great Gaṇapati this term signifies a group of eight beings that are emanated in the initial phase of the generation stage yoga before being gathered and subsumed into the syllable hūṁ and manifesting Gaṇapati.
The eight supreme flavors are bitter (Tib. kha, Skt. tikta), sour (skyur, āmla), astringent (bska ba, kaṣāya), sweet (mngar, madhura), spicy (tsha, kaṭuka), and salty (lan tshwa, lavaṇa), juicy (bzhun), and exceedingly savory (bro mchog che ba). The first six on this list constitute a known list of “flavors” or “tastes” that are common to the Āyurvedic and Tibetan medical systems. The Tibetan terms for the last two members of the list are obscure and only tentatively translated here.
A female of the class of serpentine spirit beings (Tib. klu Skt. nāga), who are often the target of rituals for bringing (or stopping) rain.
A phrase describing the mantra syllable phaṭ in the “selection of mantra syllables” (Tib. sngags btu ba; Skt. mantroddhāra) instructions in The Tantra of Great Gaṇapati.
A phrase describing a mantra syllable in the “selection of mantra syllables” (Tib. sngags btu ba; Skt. mantroddhāra) instructions in The Tantra of Great Gaṇapati.
The name for the troops or classes of lower deities and beings, particularly those considered attendants of the god Śiva over whom Ganeśa (lit. “Lord of the Gaṇas”) has control.
An epithet of the elephant headed deity Gaṇapati.
Gaṇeśa or Gaṇapati, both of which mean “lord of gaṇas” are names of the elephant headed deity, where gaṇa refer to his communities of followers.
A phrase describing the mantra syllable oṃ.
An epithet of the elephant headed deity Gaṇapati.
An epithet of the elephant headed deity Gaṇapati.
An epithet of the elephant headed deity Gaṇapati.
Gaṇeśa or Gaṇapati, both of which mean “lord of gaṇas” are names of the elephant headed deity, where gaṇa refer to his communities of followers.
An epithet of the elephant headed deity Gaṇapati.
Lit. “Great Remover,” an epithet of the elephant headed deity Gaṇapati.
Dromtön Gyalwé Jungné (1004/5–1064) was one of Atiśa’s Tibetan disciples and a founding patriarch of the Kadampa school.
A mantra that can be used to impel or incite beings to perform a particular action.
A type of bird.
A maṇḍala that is used to perform the ritual action of killing.
A mantra that is used to perform the ritual action of killing.
An epithet for Curved Trunk Vināyaka.
A class of nonhuman beings that resemble humans to the degree that their very name—which means “is that human?”—suggests some confusion as to their divine status. Kinnaras are mythological beings found in both Buddhist and Brahmanical literature, where they are portrayed as creatures half human, half animal. They are often depicted as highly skilled celestial musicians.
The name of one of the eight nāga kings who obey the eight deities in Gaṇapati’s nine-section maṇḍala.
A round sweet ball. The Tantra of Great Gaṇapati describes a laḍḍu as a type of food containing the three sweets and the three fruits that is sprinkled with a delicious fragrance, rolled into a ball, and boiled in milk and butter.
Often an alternate name for the bodhisattva Avalokiteśvara. Lokeśvara, literally meaning “lord of the world,” can also be a general epithet for a number of bodhisattvas and is also commonly used as a name for more localized protector deities.
The name of a yakṣa king.
An epithet of Vināyaka, a form of Gaṇapati.
An epithet for Rudra.
The name of a deity in Gaṇapati’s maṇḍala.
An epithet for both Vāyu and Varuṇa.
A particularly auspicious time that is marked by the moon passing through the constellation puṣya.
A wrathful form of Śiva.
The name of one of the eight nāga kings who obey the eight deities in Gaṇapati’s nine-section maṇḍala.
tshogs kyi bdag po chen po’i rgyud (Mahāganapatitantra). Toh 666, Degé Kangyur vol. 91 (rgyud ’bum, ba), folios 193.a–199.a.
tshogs kyi bdag po chen po’i rgyud (Mahāganapatitantra). Stok Palace Kangyur vol. 105 (rgyud, pha), folios 168.a–175.b.
tshogs kyi bdag po chen po’i rgyud (Mahāgaṇapatitantra). bka’ ’gyur (dpe bsdur ma) [Comparative Edition of the Kangyur], krung go’i bod rig pa zhib ’jug ste gnas kyi bka’ bstan dpe sdur khang (The Tibetan Tripitaka Collation Bureau of the China Tibetology Research Center). 108 volumes. Beijing: krung go’i bod rig pa dpe skrun khang (China Tibetology Publishing House) 2006–9, vol. 91, pp. 707–25.
Butön Rinchen Drup (bu ston rin chen grub). gsang sngags rgyud sde bzhi’i gzungs ’bum. In gsung ’bum/ rin chen grub/ (zhol par ma/ ldi lir bskyar par brgyab pa/) vol. 16/ma. New Delhi: International Academy of Indian Culture, 1965–71.
Denkarma (pho brang stod thang ldan dkar gyi chos kyi ’gyur ro cog gi dkar chag). Toh 4364, Degé Tengyur vol. 206 (sna tshogs, jo), folios 294.b–310.a.
dkar chag ’phang thang ma. Pe cin: mi rigs dpe skrun khang, 2003.
Edgerton, Franklin. Buddhist Hybrid Sanskrit Grammar and Dictionary. Delhi: Motilal Banarsidass Publishers, 2004.
Lancaster, Lewis R. The Korean Buddhist Canon, accessed May 31, 2019, http://www.acmuller.net/descriptive_catalogue/index.html.
Monier-Williams, Sir Monier. A Sanskrit-English Dictionary Etymologically and Philologically Arranged with Special Reference to Cognate Indo-European Languages. Delhi: Motilal Banarsidass Publishers, 2005.
Negi, J.S. Tibetan-Sanskrit Dictionary (Bod skad legs sbyar gyi tshig mdzod chen mo). Sarnath: Dictionary Unit, Central Institute of Higher Tibetan Studies, 1993.
Resources for Kanjur and Tanjur Studies, Universität Wien, accessed May 31, 2019. http://www.rkts.org.
The Buddhist Canons Research Database. American Institute of Buddhist Studies and Columbia University Center for Buddhist Studies. Accessed May 31, 2019. http://databases.aibs.columbia.edu.
Tulku, Tarthang. The Nyingma Edition of the sDe-dge bKa’-’gyur/bsTan-’gyur Research Catalogue and Bibliography, vol. 2. Oakland, CA: Dharma Press, 1982.
Yoshimuri, Shyuki. bka’ bstan dkar chag ldan dkar ma/ dbu can bris ma/. Kyoto: Ryukoku University, 1950.
Brancaccio, Pia. The Buddhist Caves at Aurangabad: Transformations in Art and Religion. Leiden: Brill Publishers, 2011.
Duquenne, Robert. “Gaṇapati Rituals in Chinese,” Bulletin de l’École française d’Éxtrême-Orient, 77 (1988): 344–45.
Wilkinson, Christopher. “The Tantric Gaṇeśa: Texts Preserved in the Tibetan Canon.” In Robert L. Brown, ed. Gaṇeśa: Studies of an Asian God. Albany: State University of New York Press, 1991, pp. 235–75.
C Choné (co ne)
D Degé (sde dge bka’ ’gyur)
H Lhasa (lha sa/zhol)
J Lithang (li thang)
K Kanxi (kang shi)
N Narthang (snar thang)
S Stok Palace (stog pho ’brang)
U Urga (phyi sog khu re)
Y Yongle (g.yong lo)
The Tantra of Great Gaṇapati is a work in fifteen chapters that detail offering rites, mantra recitation practices, and meditation practices for propitiating various forms of the elephant-headed deity Gaṇapati.
This text was translated by the Dharmachakra Translation Committee under the supervision of Chokyi Nyima Rinpoche. The translation was produced by Adam C. Krug and then checked against the Tibetan and edited by Ryan Conlon.
The translation was completed under the patronage and supervision of 84000: Translating the Words of the Buddha.
The Tantra of Great Gaṇapati is a compendium of ritual instructions for the performance of offering rites, mantra recitation, and meditation practices related to the elephant-headed deity Gaṇapati. The text is divided into fifteen chapters. The topics covered in these chapters include instructions for the construction of Gaṇapati’s maṇḍalas, instructions for making various images of Gaṇapati, the ritual applications that correspond to those images, descriptions of various forms of Gaṇapati and the deities that accompany him in his maṇḍala, and a handful of instructions on the “selection of mantra syllables” (Skt. mantroddhāra; Tib. sngags btu ba), for mantras associated with Gaṇapati.
Gaṇapati enjoys a rich mythology in purāṇa literature, where he is identified as one of two primary sons of the divine couple Śiva and Pārvatī. As a result of his popular identification with Hindu traditions, Gaṇapati’s important role as a Buddhist deity is often overlooked. There is archeological evidence at the Buddhist cave vihāra complex outside of Aurangabad, Mahārāṣṭra of Gaṇapati’s involvement in Buddhist ritual life in South Asia from as early as the sixth and seventh centuries
While The Heart Mantra of Gaṇapati appears in the Phangthangma and Denkarma royal catalogs of Tibetan translations under the abridged title ’phags pa tshogs kyi snying po, neither of these catalogs contains any mention of The Tantra of Great Gaṇapati. The Tantra of Great Gaṇapati also does not appear to be included among the various works on Gaṇapati that were incorporated into the compendia of dhāraṇīs translated into Chinese from the seventh century.
Tarthang Tulku’s catalog to The Nyingma Edition of the sDe-dge bKa’-’gyur and bsTan-’gyur notes that Bütön (Bu ston rin chen grub, 1290–1364) questioned the authenticity of this text. This may explain why the text’s colophon does not follow the usual conventions but is rendered instead in verse as follows:
The emphasis placed here on the fact that Atiśa arrived with this text from India (rgya gar yul nas) appears to be some form of response to the text’s contested status, as noted by Bütön, and to justify including it in the Kangyur as an authentically Indic work.
This translation is based on the version of The Tantra of Great Gaṇapati that appears in the “Tantra Collection” (rgyud ’bum) of the Degé Kangyur, in consultation with the Comparative Edition (dpe bsdur ma) and the Stok Palace Kangyur. Unfortunately, no known Sanskrit version of the text appears to have survived. Christopher Wilkinson’s English translation of the text was also consulted.
Homage to Lokeśvara.
This is chapter 1 in “The Tantra of the Great Deity Gaṇapati,” “The Arising of Siddhi.”
This is chapter 2 in “The Siddhi Practice of the Great Deity,” “Instruction on the Mantra for the Deity’s Siddhi.”
This is chapter 3 in “The Tantra of Accomplishing Siddhi”, “A Description of Gaṇapati.”
A skilled person should pick white flowers on a day during the lunar month Puṣya and draw the image of Gaṇapati, depicting him with a white complexion and the head of an elephant, holding a radish in his right hand and a precious jewel in his left hand, with a big belly, adorned with all his ornaments, and seated on his throne atop a rat and a lunar disk. Then one should place the image in the center of the maṇḍala facing oneself, adopt the form of Vināyaka, and perform the offering.
This is chapter 4, “The Practice of One-Faced, Four-Armed Gaṇapati.”
Gaṇapati is in the northeast. He has a white complexion, the head of an elephant, a rat for his mount, and three eyes. He wears a crescent moon. His right hands hold a radish and battle-axe, and his left hands hold a trident and skull bowl.
For the Gaṇapati mudrā, the left hand is clenched in a fist with the forefinger and middle finger extended and the forefinger is bent so that it grasps the joint of the middle finger.
This is chapter 5, “A Teaching on Gaṇapati’s Mudrā.”
This is chapter 6, “A Teaching on Great Gaṇapati’s Mantra.”
This is chapter 7, “A Teaching on the Name Mantra.”
For the mantra, one should present a bali offering to Gaṇapati consisting of radishes, laḍḍus, water, and the three white offerings, and also offer incense and flowers. After it is performed in this way, nothing can pose an obstacle.
This is chapter 8, “The Gaṇapati Offering.”
Place the statue of Gaṇapati in the palm of your right hand and recite the mantra one hundred thousand times without allowing your mind to wander. If one incants the radish with the mantra and offers it to Gaṇapati, one’s merit in this lifetime will equal to that of a universal emperor. If one offers white flowers, one will not be defeated by kings and the like. One will gain a high rank such as king, and kings, ministers, and others will be brought under one’s control.
This is chapter 9 on “A Description of the Food That Grants Siddhi.”
This is chapter 10 in “The Tantra of Great Gaṇapati,” “Practices for Becoming a King and the Like.”
The Tantra of Great Gaṇapati is a work in fifteen chapters that detail offering rites, mantra recitation practices, and meditation practices for propitiating various forms of the elephant-headed deity Gaṇapati.
This text was translated by the Dharmachakra Translation Committee under the supervision of Chokyi Nyima Rinpoche. The translation was produced by Adam C. Krug and then checked against the Tibetan and edited by Ryan Conlon.
The translation was completed under the patronage and supervision of 84000: Translating the Words of the Buddha.
The Tantra of Great Gaṇapati is a compendium of ritual instructions for the performance of offering rites, mantra recitation, and meditation practices related to the elephant-headed deity Gaṇapati. The text is divided into fifteen chapters. The topics covered in these chapters include instructions for the construction of Gaṇapati’s maṇḍalas, instructions for making various images of Gaṇapati, the ritual applications that correspond to those images, descriptions of various forms of Gaṇapati and the deities that accompany him in his maṇḍala, and a handful of instructions on the “selection of mantra syllables” (Skt. mantroddhāra; Tib. sngags btu ba), for mantras associated with Gaṇapati.
Gaṇapati enjoys a rich mythology in purāṇa literature, where he is identified as one of two primary sons of the divine couple Śiva and Pārvatī. As a result of his popular identification with Hindu traditions, Gaṇapati’s important role as a Buddhist deity is often overlooked. There is archeological evidence at the Buddhist cave vihāra complex outside of Aurangabad, Mahārāṣṭra of Gaṇapati’s involvement in Buddhist ritual life in South Asia from as early as the sixth and seventh centuries
While The Heart Mantra of Gaṇapati appears in the Phangthangma and Denkarma royal catalogs of Tibetan translations under the abridged title ’phags pa tshogs kyi snying po, neither of these catalogs contains any mention of The Tantra of Great Gaṇapati. The Tantra of Great Gaṇapati also does not appear to be included among the various works on Gaṇapati that were incorporated into the compendia of dhāraṇīs translated into Chinese from the seventh century.
Tarthang Tulku’s catalog to The Nyingma Edition of the sDe-dge bKa’-’gyur and bsTan-’gyur notes that Bütön (Bu ston rin chen grub, 1290–1364) questioned the authenticity of this text. This may explain why the text’s colophon does not follow the usual conventions but is rendered instead in verse as follows:
The emphasis placed here on the fact that Atiśa arrived with this text from India (rgya gar yul nas) appears to be some form of response to the text’s contested status, as noted by Bütön, and to justify including it in the Kangyur as an authentically Indic work.
This translation is based on the version of The Tantra of Great Gaṇapati that appears in the “Tantra Collection” (rgyud ’bum) of the Degé Kangyur, in consultation with the Comparative Edition (dpe bsdur ma) and the Stok Palace Kangyur. Unfortunately, no known Sanskrit version of the text appears to have survived. Christopher Wilkinson’s English translation of the text was also consulted.
Homage to Lokeśvara.
This is chapter 1 in “The Tantra of the Great Deity Gaṇapati,” “The Arising of Siddhi.”
This is chapter 2 in “The Siddhi Practice of the Great Deity,” “Instruction on the Mantra for the Deity’s Siddhi.”
This is chapter 3 in “The Tantra of Accomplishing Siddhi”, “A Description of Gaṇapati.”
A skilled person should pick white flowers on a day during the lunar month Puṣya and draw the image of Gaṇapati, depicting him with a white complexion and the head of an elephant, holding a radish in his right hand and a precious jewel in his left hand, with a big belly, adorned with all his ornaments, and seated on his throne atop a rat and a lunar disk. Then one should place the image in the center of the maṇḍala facing oneself, adopt the form of Vināyaka, and perform the offering.
This is chapter 4, “The Practice of One-Faced, Four-Armed Gaṇapati.”
Gaṇapati is in the northeast. He has a white complexion, the head of an elephant, a rat for his mount, and three eyes. He wears a crescent moon. His right hands hold a radish and battle-axe, and his left hands hold a trident and skull bowl.
For the Gaṇapati mudrā, the left hand is clenched in a fist with the forefinger and middle finger extended and the forefinger is bent so that it grasps the joint of the middle finger.
This is chapter 5, “A Teaching on Gaṇapati’s Mudrā.”
This is chapter 6, “A Teaching on Great Gaṇapati’s Mantra.”
This is chapter 7, “A Teaching on the Name Mantra.”
For the mantra, one should present a bali offering to Gaṇapati consisting of radishes, laḍḍus, water, and the three white offerings, and also offer incense and flowers. After it is performed in this way, nothing can pose an obstacle.
This is chapter 8, “The Gaṇapati Offering.”
Place the statue of Gaṇapati in the palm of your right hand and recite the mantra one hundred thousand times without allowing your mind to wander. If one incants the radish with the mantra and offers it to Gaṇapati, one’s merit in this lifetime will equal to that of a universal emperor. If one offers white flowers, one will not be defeated by kings and the like. One will gain a high rank such as king, and kings, ministers, and others will be brought under one’s control.
This is chapter 9 on “A Description of the Food That Grants Siddhi.”
This is chapter 10 in “The Tantra of Great Gaṇapati,” “Practices for Becoming a King and the Like.”