▁pattern ▁is ▁primarily ▁popular ▁in ▁southern ▁India . ▁This ▁tradition ▁was ▁linked ▁to ▁the ▁south ▁ind ian ▁concepts ▁of ▁the ▁relationship ▁between ▁b ach elor hood ▁and ▁spiritual ▁progress . ▁Bh ask ar aya ▁all udes ▁to ▁the ▁tradition ▁in ▁which ▁G anes ha ▁was ▁considered ▁to ▁be ▁a ▁lif el ong ▁b ach elor ▁in ▁his ▁comment ary ▁on ▁the ▁G anes ha ▁Pur ana ▁version ▁of ▁the ▁G anes ha ▁Sah as ran ama , ▁which ▁includes ▁the ▁name ▁Ab h ī ru ▁( verse ▁ 9 a ). ▁In ▁his ▁comment ary ▁on ▁this ▁verse ▁Bh ask ar aya ▁says ▁the ▁name ▁Ab h ī ru ▁means ▁" without ▁a ▁woman ," ▁but ▁the ▁term ▁can ▁also ▁mean ▁" not ▁fear ful ." ▁ ▁As ht a ▁S idd hi ▁ ▁G anes ha ' s ▁relationship ▁with ▁the ▁As ht as idd hi   — ▁the ▁eight ▁spiritual ▁att aint ments ▁obtained ▁by ▁the ▁practice ▁of ▁y oga ▁— ▁is ▁also ▁of ▁this ▁dep erson al ized ▁type . ▁In ▁later ▁icon ography , ▁these ▁eight ▁mar v ell ous ▁powers ▁are ▁represented ▁by ▁a ▁group ▁of ▁young ▁women ▁who ▁surr ound ▁G anes ha . ▁R aja ▁R avi ▁Var ma ' s ▁painting ▁( sh own ▁in ▁this ▁section ) ▁illustr ates ▁a ▁recent ▁example ▁of ▁this ▁icon ographic ▁form . ▁The ▁painting ▁includes ▁fans , ▁which ▁establish ▁the ▁femin ine ▁figures ▁as ▁attend ants . ▁In ▁cosm opol itan ▁Ś ā k ta ▁worship ▁of ▁G