ates ▁him ▁with ▁the ▁concepts ▁of ▁Bud d hi ▁( int el lect ), ▁S idd hi ▁( sp irit ual ▁power ), ▁and ▁R idd hi ▁( pro s per ity ); ▁these ▁qual ities ▁are ▁sometimes ▁person ified ▁as ▁god d esses ▁who ▁are ▁considered ▁to ▁be ▁G anes ha ' s ▁w ives . ▁ ▁Another ▁pattern ▁connect s ▁G anes ha ▁with ▁the ▁god dess ▁of ▁culture ▁and ▁the ▁arts , ▁Sar as v ati . ▁In ▁the ▁Beng al ▁region ▁he ▁is ▁linked ▁with ▁the ▁ban ana ▁tree , ▁K ala ▁Bo ▁( or ▁K ola ▁Bou ). ▁Usually ▁G anes ha ' s ▁cons ort ▁is ▁port rayed ▁as ▁his ▁sh ak ti , ▁a ▁person ification ▁of ▁his ▁cre ative ▁energy . ▁ ▁He ▁also ▁may ▁be ▁shown ▁with ▁a ▁single ▁cons ort ▁or ▁a ▁nam eless ▁servant ▁( S ansk rit : ▁). ▁ ▁Some ▁of ▁the ▁differences ▁between ▁these ▁patterns ▁can ▁be ▁understood ▁by ▁looking ▁at ▁regional ▁variations ▁across ▁India , ▁the ▁time ▁periods ▁in ▁which ▁the ▁patterns ▁are ▁found , ▁and ▁the ▁trad itions ▁in ▁which ▁the ▁belief s ▁are ▁held . ▁ ▁Some ▁differences ▁per tain ▁to ▁the ▁preferred ▁med itation ▁form ▁used ▁by ▁the ▁dev ote e , ▁with ▁many ▁different ▁traditional ▁forms ▁r anging ▁from ▁G anes ha ▁as ▁a ▁young ▁boy ▁( S ansk rit : ▁; ▁) ▁to ▁G anes ha ▁as ▁a ▁T ant ric ▁de ity . ▁ ▁Bud d hi , ▁S idd hi ,