Daksha Prajapati’s jealousy for Maha Deva climaxed with Daksha Yagna to which Maha Deva was uninvited despite Sage Dadhichi’s intervention. Daksha’s daughter Sati Devi and wife of Maha Deva insisted on attending the Yagna even while Maha Deva objected initially but reluctantly agreed with Pramatha Ganas ecsorting her. As Daksha disliked her attedance at the Yagna and openly criticised Maha Deva, she neither stayed back at the Yagna nor felt proper returning to Shiva and had thus self-immolated in the Fire-pit. An enraged Maha Deva got furious and having created Virabhadra ordered the latter to destroy Daksha Yagna. As Daksha was beheaded by Virabhadra, Parama Shiva condoned Daksha and revived him. After the departure of Sati Devi, Maha Deva was forlorn, roamed aimlessy in forests to perfom Tapasya; meanwhile two significant developments came to light that Tarakasura secured boons of invincibility from Brahna and Diatyas made havoc all over Trilokaas. Devi Gauri coming of age was allowed to assist Maha Deva in his daily Tapasya and Indra and Devas had the know-how that only Skanda the second son of Shiva-Parvati could demolish Tarakasura. In their anxiety to expedite the process of Shiva-Parvati wedding, Indra requested Kama Deva to release the arrows of passion on Shiva as Parvati was in Shiva’s silent worship; Parama Shiva was annoyed at the mischievous provocation of Kama Deva and destroyed him by his Trinetra or the Third Eye. Rati Devi felt that her husband Kama Deva became a victim of the cross-fire, although for Loka Kalyana. The merciful Shiva no doubt gave the boon of the couple to become husband and wife again in their next births as Pradyumna the son of Krishna and Rukmini and Rati as Devi Maya. Shiva continued his Tapasya and so did Parvati by reciting Om Namo Shivaaya Namah Mantra as taught to her by Sage Narada. Meanwhile Vishnu, Brahma and Devas prevailed Maha Deva to wed Devi Parvati. Shiva tested Parvati about her seriousness and guised as a semi-nude and mad vagabond critisised Shiva and a furious Parvati threw him out when he revealed his identity. Finally Saptarishis were asked to mediate the auspicious wedding of Parvati the daughter of Himavaan and Maina.The wedding of Purusha and Maya were thus consummated finally.
That was the opportune time when Indra and Devas accompanied by Brahma approached Maha Deva when Dharma and Nyaaya (Virtue and Justice) were at the lowest ebb and the evils perpetrated by Daitya-Danava-Rakshasas were abysmal. There were no barriers (Vighnas) to immorality and wickedness and the malevolent forces on Earth had a free play enabled by extremities of Tamasika and Rajasika Gunas. Rishis felt that besides obstructing such rampant free play of Evil, there should also indeed be a Facilitator of Good Deeds viz. Avighna as opposed to Vighna. For instance the well-meaning persons should not face obstacles in their Yagnas, Daanas, Vratas, Kshetra Darshanas and such virtuous deeds and ‘Mangala Karyas’ or of Auspicious Tasks:
Avighnam Yagna daanaadyaih samabhyarchya Maheswaram,
Brahmaanam cha Harim Vipraa labheypsitavaraa yatah/
Tatosmaakam Surah sreshthaa sadaa vijaya sambhavah,
Teshaam tatastu Vighnaarthamavighnaaya Divoukasaam/
Putraartham chaiva Naareenaam Naraanaam karma Siddhaye,
Vighnesham Shankaram srashtam Ganapam stotumararhata/
(Thus Devas requested that a Personification viz. Vighnesha be created who would give impediments to the Evil-doers and Facilities to Seekers of Good Deeds like women folk to grant good sons, humans to be blessed with Karya Siddhi or Fulfilment of Good Deeds). In this context, Devas appealed to Maha Deva as follows: Namah Sarvatmaney tubhyam Sarvajnaaya Pinakiney/ Anaghaaya Virinchaaya Devyaah Karyaardha –daayinye , Akaaya yartha kaayaaya Hareyh kaayaapahariney/ Kaayaantastha amritaadhaara mandalaavasthitaaya tey, Kritaadibhedakaalaaya Kaala vegaaya tey namah/ Kaalaagni Rudra Rupaaya Dharmaadyashta padaayacha, Kaali vishuddha Dehaaya Kaalikaa Karanaaya tey/ Kaala Kanthaaya Mukhyaaya Vaahanaaya Varaaya tey, Ambikaa pataye tubhyam Hiranya pataye namah/ Hiranya retasey chaiva Namah Sharvaaya Shuliney, Kapaala danda paashaasi charmaankusha dharaaya cha/ Pataye Haima vatyaascha Hema shuklaaya tey namah, Peeta- shuklaaya rakshaartham Suraanaam Krishnavartmaney/ Panchamaaya Mahaapancha yagninaam phaladaayacha, Panchasya phani haraaya Panchaaksharamayaaya tey/ Panchadhaa Pancha Kaivalya Deavairarchita Murtaye, Panchaaksharadyasho tubhyam Paraatparataraaya tey/ Shodashaswara Vajraanga vaktraayaakshara rupeney, Kaadipanchaka hastaaya chaadihastaaya tey namah/ Daadipaadaaya Rudraaya taadi paadaaya tey namah, Paadi Mahendraaya Yadyanga dhaatu saptaka dhaariney/ Shaantaatma rupiney Saakshaatkshandata krodhiney namah, Lava rephalallaangaya nirangaaya cha tey namaha/ Sarveshaameva Bhutaanaam hrudi nihsswana kaariney, Bhruvomratey sadaa sadbhidrushtaayanta bhavaney/ Bhanu somaagni netraaya Paramaatma swarupiney, Gunatrayopiristhaaya Tirtha paadaaya tey namah/ Tirtha tatwaaya saaraaya tasmaadapi paraaya tey, Rukyajursaama vedaaya Omkaaraaya namonamah/ Omkaarey Trividham rupamaasthaayoparivaasiney, Peetaaya Krishna Varnaaya Raktaayaanthyata tejasey/ Sthaana panchaka samsthaaya panchadaanda bahih kramaat, Brahmaney Vishnavey tubhyam Kumaaraaya namonamah/ Ambaayaah Parameshaaya Sarvoparichaarayatey, Mula Shukshma swarupaaya sthula sukshmaaya tey namah/ Sarva samkalpa shunyaaya Sarvasmaadrakshitaaya tey, Adimadhyaantara shunyaaya chitsamsthaaya Namonamah/ Yamaagni vaayu Rudraambu Soma Shakra nishcaacaraih, Digmukheydigmukhey nityamsagunaih pujitaaya tey/ Sarveshu sarvadaa Sarva maargey Sampujitaayatey, Rudraaya RudraNilaaya Kadrudraaya prachetasy, Maheshwaraaya dhiraay Namah Sakshaatcchivaaya tey/Athah shrunu Bhagavan stavacchalena kathitamajendra –mukhaih Suraasureshyaih, Makha Madana Yamaagni Daksha Yagnakshapana vichitra vichoshthinta Kshamasva/ Suta Vuvaacha: Yah patheh stavam bhkatyaa Shakraagni Pramukhaih Suraih keertitamshaavayod Vidwaan sa yaati Paramaam Gatim/ ( Sarva Samaatma, Anagha or Beyond Sins, Virinchi / Brahma Swarupa, Deva Karya Siddhi kara or who concludes the tasks of Devas successfully, Kaala Rupa, Agni Rupa, Rudra Rupa, Kalakantha, Ambika Pati, Swarna Swarupa or of Golden Formed; Trishuladhaari, Kapaala, Danda-Paasha-Khadga-Ankusha dhara; Pancha Mukha, Sarpa haara, Panchaakshra Swarupa! You wear the two Panchaksharas or of Five Syllables viz. ‘ Ka’and ‘Cha’as your arms, ‘Ta’ and ‘Ta’ as your feet, ‘Pa’ as your Linga; Surya, Agni and Chandra are your Eyes; Ruk-Yajur- Sama Vedas are of your Form, Omkara is your Form too as the composite of A-U-M viz. of Yellow-White-Blood Red Profiles; you are also of the Swarupas of Brahma-Vishnu- and Kumara; you again are of the Formula of Sukshma and Sthula or of Miniature and Gross; devoid of Beginning- Middle-End; always worshipped by Yama-Agni-Vayu-Varuna-Rudra-Jala- Soma-Indra and Devatas as all so Nisacharas or the Ones active through out the night; indeed, you are Maheswara and Sakshaat or in Rreality Parama Shiva Himself! Whoso ever would read, recite, recount and relate the above Rudra Stuti would definetely aspire for Parama Gati!)
As Devas made the above Stuti, Pinakapaani was extremely delighted and assured that he would neither allow any obstruction to Deva Karyas to be caused by any Daitya-Danava and such other mischievous forces nor encourage the success of any evil against virtue. Then Shiva Himself assumed the Golrious Form of Ganeshwara Swarupa of an Elephant Head or Gajaanana and of a Trishula Dhari and there were reverberations of Victory sounds and rains of scented flowers from the Skies and all Lokas above and from all over the Yogis, Siddhaas and Sages welcoming the Lord of Vighnas and Avighnas as per his descretions and the strength of one’s own deeds. As the Bala Ganapati prostrated before his parents Shiva and Parvati, the latter posted kisses on the son’s head and prescribed the do’s and don’ts such as to create hidrances in the execution of Yagnas without dakshinas, destroy Serial Daityas and protect Brahma Vaadi Dwijas and Siddhas; as also to those who perform Vedaadhyana, Adhyaapana and Vkyakhyaana improperly; at the same time Ganesha shoud reward those who perform worship daily, bestow prosperity to the virtuous and protect the youth and elderly. By so doing Vighna Nayaka would be the most sought after in Tri Lokas, told Ganesha by the parents. Shiva emphasised to Ganesha that any Puja to him, Vishnu or Brahma or other Devatas or Devis must be preceded by worhip to Ganesha first not only to assure success of the main Puja but also supplement the fulfillment of the desires for which the main puja was performed. The Prathama Puja to Ganesha should be also done with Dhyana-Avahana-Pushpa-Gandha-Dhupa-Deepa-Naivedyas just as the Main Devata of the Puja was to be performed. This is relevant to all Varnas of Brahmana-Kshatriya-Vaishya and others too. Thus any worship, or Vrata, or Sacred and Religious Deed like Yagnas, Daanaas, Vivaahas, Upanayanas, Vidyaarambhas, house constructions, or for that matter any and every task seeking propitiousness shoud start with Ganesha Puja in Hindu Dharma with the invocation to Vighneswara thus: ‘Shuklaambara dharam Vishnum Shashi Varnam Chaturbhujam Prasanna Vadanam Dhyaayet Sarva Vighnopashaantaye’!