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Development of Hinduism
from Vedic times

to

today

 

Chapter One

Vedic religion

 

In general Vedic religion  today referrs to a bewildering variety of religious spectrum. 

 

  • the historical Vedic religion
    (practices dating to the Vedic period)
  • Shrauta, surviving conservative traditions
    within Hinduism
  • Vedanta (Upanishadic)
  • Hinduism with worship of any god
  • Any religion except those of semitic origin

 

 

 

 

 

 

Vedic Religion as Proto-Indo-Iranian religion

 

Hittite is the oldest recorded Indo-European language, but it had remained completely unknown during the period in which Indo-European linguistics developed because its records are on clay tablets that were excavated only at the end of the 19th century. Even then, it was not identified as Indo-European until 1915, when Bedrich Hrozný made the discovery through his reading of tablets that had been brought to Vienna from the Istanbul Museum.”

 http://www.utexas.edu/cola/centers/lrc/eieol/hitol-0-R.html

 Hittite On Line, Series Introduction, Winfred P Lehman and Jonathan Slocum.

 

Vedic Religon or Vedism is the religion of the ancient Indo-European-speaking peoples who entered India about 1500 BC from the region of present-day Iran; it takes its name from the collections of sacred texts known as the Vedas. Vedism is the oldest stratum of religious activity in India

Encylopedia Brittanica

The Indo-Iranians, i.e. speakers of Indo-Iranian languages, includes four different subgroups:

  • speakers of the Indo-Aryan languages (that is, the Indic branch);

  • speakers of the Iranian-Aryan languages (both east and west – Iranian branch);

  • speakers of the Dardic languages (Dard people, various ethnic groups living in Afghanistan, India, and Pakistan.)  Dard, Pisaca, or Pisacha Languages,   group of closely related Indo-Iranian languages spoken in Pakistan, Kashmir, and Afghanistan. They are often divided into three subgroups: Kafiri, or Western; Khowari, or Central (spoken in the Chitral district of northwestern Pakistan); and the Eastern group, which includes Shina and Kashmiri. and

  • those of the Nuristani languages. (of the people of Nurestan Province of Afghanistan.)

These groups developed independently to some extent sharing a commonality which we can assume to be the proto- vedic form.  The analysis leads to the following basic common concepts:

*rta (Vedic rta, Avestan asha),
*sauma (Vedic Soma, Avestan Haoma),
*mitra (Vedic Mitra, Avestan Mithra).

 Other Cognate terms and concepts between Rig Veda and Avestan

The following is a list of cognate terms and concepts that may be gleaned from comparative linguistic analysis of the RigVeda and Avesta. Both collections are from the period after the proposed date of separation (ca. 2nd millennium BCE) of the Proto-Indo-Iranians into their respective Indic and Iranian branches.

Indo-Iranian

Vedic term

Avestan term

Common meaning

 

Apam Napat

Apam Napat

the "water's offspring" (see Ap (water), Aban)

 

aryaman

airyaman

"friend", "companion"

*(a)rta

rta

asha

"truth", extending to "order" & "righteousness"

*athar-van-

atharvan

athravan

"priest"

*azi

ahi

azhi

"snake", "serpent"

*daiva

deva

daeva

celestial deities, deified natural phenomena

*manu

manu

manu

primeval man, homo sapiens; see also Mannaz

*mi-tra-

Mitra

Mithra

"oath"

*nsura

asura

ahura

deified social order

*saras-vnt-ih

Sarasvati

Haraxuwati ( Aredvi Sura)

a mythological river, a river goddess

*sau-ma-

soma

haoma

a plant and its extract, deified

*suhr/svahr-ya-

surya

hvar

the Sun, also cognate to helios, sol

*vr-tra-

Vrtra-

verethra (see Vahram)

"obstacle"

*yama

Yama

Yama/Yima => ( >Jamshid)

the first man, mythical twin, see also Dioscurism

*yaj-na-

yajńa

yasna, rel: yazata

"worship, sacrifice, oblation"

“Vedic Elements in the Ancient Iranian Religion of Zarathushtra” by Subhash Kak gives a detailed  comparison between the Iranian and Vedic religions at http://www.ece.lsu.edu/kak/zoro.pdf

Vedic civilization

Vedic civilization is the earliest civilization in Indian history of which we have written records that we understand. It is named after the Vedas, the early literature of the Hindu people. The Vedic Civilization flourished along the river Saraswati, in a region that now consists of the modern Indian states of Haryana and Punjab. The Vedic texts have astronomical dates, that some have claimed, go back to the 5th millennium BC. The use of Vedic Sanskrit continued up to the 6th century BC. Vedic is synonymous with Aryans and Hinduism, which is another name for religious and spiritual thought that has evolved from the Vedas.

The early Aryans: Unfortunately, the origin of the Saraswati Valley civilization (Vedic culture) and its relation to the Indus Valley civilization remain hazy. The timeline of Vedic civilization is 4500 BC-1800 BC while that of Indus valley civilization is 3300 BC-1800 BC. The texts describe a geography that some believe to be north India. The greatest river of the Rigveda was Saraswati, now dry and identified with Ghaggar, a seasonal river. It is believed that this river ceased to reach the Arabian Sea by about 1900 BC. Now, a dry river bed, that seems to fit the description of the Saraswati River, has been detected by satellite imagery. It begins in the modern Indian state of Uttaranchal and passing through Haryana, Punjab, and Rajasthan, reaches the Arabian Sea in Gujarat. Our knowledge of the early Aryans comes from the Rigveda, the earliest of the Vedas.

 http://www.haryana-online.com/History/vedic_culture.htm

 

The religion of the Indo-European-speaking peoples who entered India c. 1500 BCE from the region of present-day Iran, it was a polytheistic system in which Indra was the highest-ranked god. It involved the worship of numerous male divinities connected with the sky and natural phenomena. Ceremonies centred on ritual sacrifice of animals and on the use of soma to achieve trancelike states. These ceremonies, simple in the beginning, grew to be so complex that only trained Brahmans could carry them out correctly.

 Merriam Webster Encyclopedia of World Religons

 

“Over time a body of dependent and scholastic material grew up around the poems, known loosely as 'the Veda'. Perhaps around 1000 BC (all dating in prehistoric India is only approximate), editors gathered the ancient poems together and arranged them, together with some more modern material, into ten books according to rules that were largely artificial (see section 4 below). They gave the collection the name by which it continues to be known, 'Rig-veda', or 'praise-knowledge'. Other collections came into being, based on this sacred material, and they were given parallel names. The editors of the 'Sāma-veda' arranged the poems differently, for the purpose of chanting, and introduced numerous alternative readings to the text. The sacrificial formulae used by the priests during their recitations, together with descriptions of their ritual practices, were incorporated into collections to which the general name 'Yajur-veda' was given. Later still, a body of popular spells was combined with passages from the Rigveda, again with variant readings, and was given the name 'Atharva-veda'. A continuously-growing mass of prose commentary, called the Brāhmaas, also came into being, devoted to the attempt to explain the meaning of the ancient poems. To the later Brāhmaas belongs the profusion of texts known as the Upanishads, which are of particular interest to Indologists, as Sanskrit scholars today often describe themselves, because of their important role in the development of early Indian religious thought.”

http://www.utexas.edu/cola/centers/lrc/eieol/vedol-0-X.html,
 Ancient Sanskrit Online,  Series Introduction,   Karen Thomson and Jonathan Slocum


 

The Chathur (Four) Vedas

Rig Veda

Rig Veda is a collection of 1028 Vedic Sanskrit hymns dedicated to Rigvedic deities.  However the Mandalas I and X were written in Sanskrit and were written down after the second century with later modifications through the centuries.  The main deity was Indra.  To give an idea of what it is a part of the Rig Veda is given below.

 

                              Rig Veda, tr. by Ralph T.H. Griffith, [1896], at sacred-texts.com

HYMN V. Indra.

1 O COME ye hither, sit ye down: to Indra sing ye forth, your song,
companions, bringing hymns of praise.
2 To him the richest of the rich, the Lord of treasures excellent,
Indra, with Soma juice outpoured.
3 May he stand by us in our need and in abundance for our wealth:
May he come nigh us with his strength.
4 Whose pair of tawny horses yoked in battles foemen challenge not:
To him, to Indra sing your song.
5 Nigh to the Soma-drinker come, for his enjoyment, these pure drops,
The Somas mingled with the curd.
6 Thou, grown at once to perfect strength, wast born to drink the Soma juice,
Strong Indra, for preëminence.
7 O Indra, lover of the song, may these quick Somas enter thee:
May they bring bliss to thee the Sage.
8 Our chants of praise have strengthened thee, O Śatakratu, and our lauds
So strengthen thee the songs we sing.
9 Indra, whose succour never fails, accept these viands thousandfold,
Wherein all manly powers abide.
10 O Indra, thou who lovest song, let no man hurt our bodies, keep
Slaughter far from us, for thou canst.

 All the following three Vedas are written in Sanskrit and is dated well after the second century A.D. There is no doubt they are projections from the Rig Veda codifying other local arts and occultism.

The Yajur-Veda

The Yajur-Veda ("Veda of sacrificial formulas") consists of archaic prose mantras and also in part of verses borrowed from the Rig-Veda. Its purpose was practical, in that each mantra must accompany an action in sacrifice but, unlike the Sama-Veda, it was compiled to apply to all sacrificial rites, not merely the Soma offering. There are two major recensions of this Veda known as the "Black" and "White" Yajur-Veda. The origin and meaning of these designations are not clear. The White Yajur-Veda contains only the verses and sayings necessary for the sacrifice, while explanations exist in a separate Brahmana work. It differs widely from the Black Yajurveda, which incorporates such explanations in the work itself, often immediately following the verses. Of the Black Yajurveda four major recensions survive, all showing by and large the same arrangement, but differing in many other respects, notably in the individual discussion of the rituals but also in matters of phonology and accent.

 

 

The Yajur Veda
(Taittiriya Sanhita)
Arthur Berriedale Keith, translator 1914
KANDA I
PRAPATHAKA IV

The Soma Cups

i. 4. 19.

a Indra with the Maruts, the bull, for gladness, Drink the Soma, for joy, to thy content;
   Pour within thy belly the wave of sweetness;
   Thou art from of old the king of the pressed drinks.
b Thou art taken with a support; to Indra with the Maruts thee,
    This is thy birthplace; to Indra with the Maruts thee!

 

The Sama-Veda

The Sama-Veda (Sanskrit sāmaveda ) is the "Veda of chants" or "Knowledge of melodies". The name of this Veda is from the Sanskrit word sāman which means a metrical hymn or song of praise  It consists of 1549 stanzas, taken entirely (except 78) from the Rig-Veda. Some of the Rig-Veda verses are repeated more than once. Including repetitions, there are a total of 1875 verses numbered in the Sama-Veda recension published by Griffith.  Two major recensions remain today, the Kauthuma/Ranayaniya and the Jaiminiya.

Its purpose was practical, to serve as a songbook for the "singer" priests who took part in the liturgy. A priest who sings hymns from the Sama-Veda during a ritual is called an udgāt, a word derived from the Sanskrit root ud-gai ("to sing" or "to chant").  A similar word in English might be "cantor". The styles of chanting are important to the liturgical use of the verses. The hymns were to be sung according to certain fixed melodies; hence the name of the collection. There is no clue to the date of the compilation of the Samaveda Hymns, nor has the compiler's name been handed down to us.

 

HYMNS OF THE SAMAVEDA

Translated  by  Ralph T.H. Griffith1895

CHAPTER II

DECADE I Agni

1. The God who giveth wealth accept your full libation poured to, him!
Pour ye it out, then fill the vessel full again, for so the God regardeth you.
2. Let Brahmanaspati come forth, let Sunrita the Goddess come,
And Gods bring to our rite which yields a fivefold gift the hero, lover of mankind!
3. Stand up erect to lend us aid, stand up like Savitar the God,
Erect as strength-bestower when we call on thee with priests who balm our offerings!
4. The man who bringeth gifts to thee, bright God who fain wouldst lead to wealth,
Winneth himself a brave son, Agni! skilled in lauds, one prospering in a thousand ways.
5. With hymns and holy eulogies we supplicate your Agni, Lord
Of many families who duly serve the Gods, yea, him whom others too inflame.
6. This Agni is the Lord of great prosperity and hero, strength,
Of wealth with noble offspring and with store of kine, the Lord of battles with the foe.
7. Thou, Agni, art the homestead's Lord, our Hotar-priest at sacrifice.
Lord of all boons, thou art the Potar, passing wise. Pay worship, and enjoy the good!
8. We as thy friends have chosen thee, mortals a God, to be our help.
The Waters' Child, the blessed, the most mighty one, swift conqueror, and without a peer

 

 

http://www.musicalnirvana.com/introduction/origin.html
 
Sama Veda

Though, Vedas are considered the source of Indian Music, it should not be assumed that classical music in its present form was fully developed by then. Infact, concept of Raga, Tala, Shruti or even Nava Rasas come only later.

All except SamaVeda were sung using only three notes, Anudaatta (low), Udaatta(middle) and Svarita(high). As used today the Anudaatta, Udaatta and Svarita svaras of RigVeda, can be equated with Ni, Sa, and Ri of the North Indian Kafi scale (Kharaharapriya of the Carnatic). In early manuscrpts of RigVeda, the text was written along with accent notes. Anudaatta is marked with an underline and Svarita is marked with a small vertical line above the syllable. Udaatta is left unmarked.

Sama Veda consists of about 1900 verses, called samans. Ninety-five percent of the verses of Sama Veda Samhita are in Rig Veda Samhita. One can see from the text of the Sama Veda mantra that the chanting notation in it is much more elaborate than that in the corresponding Rig Veda mantra. SamaVeda was chanted using all seven notes (prathama, dvitheeya, tritheeya, chathurtha, panchama, shashta and sapthama), in descending order, of the Vaidika scale (or of sama gana) which have been equated to (Ma,Ga,Ri,Sa,Dha,Ni,Pa) of the Laukika or Gandhara scale in later classical sanskrit texts like NaradiyaShiksha.

RigVedic hymns are directed at Gods, to be chanted during sacrifices to please them. It is possible Gods were thought to be fond of music and that it would be easier to please them if the hymns were sung rather than just chanted. Thus, many of the Rig Vedic hymns were set to music and sung and were known as samans, rather than just hymns (Rik). The chanted Sama-Veda hymns or Samans were believed to possess the supernatural qualities capable of petitioning and even supporting the deities that controlled the forces of the universe. Since Rig Vedic hymns are just metered they could not be sung using all the seven notes. Thus started a tradition of insertion of a number of seemingly `meaningless' words or syllables (stobha) for musical and lyrical effect, such as o, hau, hoyi, va, etc. It was these stobha syllables which were extended vocally with long duration on various notes of the Sama-Veda scale by the priests who had the special function of summoning the gods to the celebration through the use of droning (monotone) on a number of these tones, believing them to hold magical properties. The wife of the chief sacrificer (i.e. chief priest, brahmana) would play the Vina, during sacrifices.

Precise methods of singing the Samans were established and preserved in three different schools, the Kauthumas, Ranayaniyas, and the Jaiminiyas, the oldest. Each has maintained a distinct style with regard to vowel prolongation, interpolation and repetition of stobha, meter, phonetics, and the number of notes in scales. Accordingly, there has been a fervent regard for maintaining continuity in Sama-Veda singing to avoid misuse or modification over many years. Since written texts were not in use, in fact prohibited, the priests memorized the chants with the aid of accents and melodies, and passed this tradition down orally from one generation to the next for over three thousand years ( Hinduism and Music).

   The Atharva-Veda

The Artharva-Veda is the "Knowledge of the Fire Priests [atharvans]". The Artharva-Veda or Atharvangirasa is the text 'belongimng to the Atharvan and Angirasa' poets. Apte defines an atharvan as a priest who worshipped fire and Soma.  The etymology of Atharvan is unclear, but according to Mayrhofer related to Avesta athravan (āθrauuan) and denies any connection with fire priests.

The Atharva-Veda Sahitā has 760 hymns, and about one-sixth of the hymns are in common with the Rig-Veda.  Most of the verses are metrical, but some are in prose

It was compiled around 900 BC, although some of its material may go back to the time of the Rig Veda,  and some parts of the Atharva-Veda are older than the Rig-Veda.

The Atharvana-Veda is preserved in two recensions, the Paippalāda and Śaunaka.  According to Apte it has nine schools (shakhas).  The Paippalada version is longer than the Saunaka one; it is only partially printed and remains untranslated.

Unlike the other three Vedas, the Atharvana-Veda has less connection with sacrifice.  Its first part consists chiefly of spells and incantations, concerned with protection against demons and disaster, spells for the healing of diseases, and for long life.

Hymns of the Atharva Veda, by Ralph T.H. Griffith, [1895], at sacred-texts.com

HYMN XXIV

A charm against leprosy

1First, before all, the strong-winged Bird was born;; thou was the gall thereof.
  Conquered in fight, the Asuri took then the shape and form of plants.
2The Asuri made, first of all, this medicine for leprosy, this banisher of leprosy.
  She banished leprosy, and gave one general colour to the skin.
3One-coloured, is thy mother's name, One-coloured is thy father called:
  One-colour-maker, Plant! art thou: give thou one colour to this man.
4Sāmā who gives one general hue was formed and fashioned from the earth:
  Further this work efficiently. Restore the colours that were his.

 

 The second part of the text contains speculative and philosophical hymns. R. C. Zaehner notes that:

"The latest of the four Vedas, the Atharva-Veda, is, as we have seen, largely composed of magical texts and charms, but here and there we find cosmological hymns which anticipate the Upanishads, -- hymns to Skambha, the 'Support', who is seen as the first principle which is both the material and efficient cause of the universe, to Prāna, the 'Breath of Life', to Vāc, the 'Word', and so on.

 In its third section, the Atharvaveda contains Mantras used in marriage and death rituals, as well as those for kingship, female rivals and the Vratya (in Brahmana style prose) .”

Gavin Flood discusses the relatively late acceptance of the Atharva-Veda as follows:

"There were originally only three priests associated with the first three Sahitās, for the Brahman as overseer of the rites does not appear in the g Veda and is only incorporated later, thereby showing the acceptance of the Atharva Veda, which had been somewhat distinct from the other Sahitās and identified with the lower social strata, as being of equal standing with the other texts."  

The mode of Vedic worship was essentially sacrifices and chanting of hymns.  Prayers were essentially for material gains, wealth, health and progeny. 

Specific rituals and sacrifices of the Vedic religion include:

·    The Soma cult described in the Rigveda, descended from a common Indo-Iranian practice.

·    Fire rituals, also a common Indo-Iranian practice, cf. Zoroastrianism:

o    The Agnihotra or oblation to Agni

o    The Agnicayana, the sophisticated ritual of piling the fire altar.

o     The Agnistoma or fire sacrifice

·     The Ashvamedha or horse sacrifice

·     The Purushamedha, or sacrifice of the cosmic Purusha, cf. Purusha Sukta

·     The rituals described in the Atharvaveda concerned with demonology and magic.

The Ashvamedha (horse sacrifice), in India  continued until the 4th century AD. Like all cattle breeding tribes in the world, killing cows for food was seldom done except as a sacrifice.  Sacrifice was but a regular practice.”  

 

Ancient Sanskrit Online
http://www.utexas.edu/cola/centers/lrc/eieol/vedol-0-X.html

Karen Thomson and Jonathan Slocum

… ….The circumstances of the original composition of these poems remain unknown. Believed to be of divine origin, this large body of material, in an archaic and unfamiliar language, was handed down orally, from generation to generation, by priests in ancient India. The highly metrical form of the poems, together with their incomprehensibility, made them ideally suited to ritual recitation by a religious elite. Faithfully preserved through the centuries as a sacred mystery, the text has come down to us in a state of considerable accuracy.

2. 'The Veda'.

Over time a body of dependent and scholastic material grew up around the poems, known loosely as 'the Veda'. Perhaps around 1000 BC (all dating in prehistoric India is only approximate), editors gathered the ancient poems together and arranged them, together with some more modern material, into ten books according to rules that were largely artificial (see section 4 below). They gave the collection the name by which it continues to be known, 'Rig-veda', or 'praise-knowledge'. Other collections came into being, based on this sacred material, and they were given parallel names. The editors of the ' Sama-veda' arranged the poems differently, for the purpose of chanting, and introduced numerous alternative readings to the text. The sacrificial formulae used by the priests during their recitations, together with descriptions of their ritual practices, were incorporated into collections to which the general name 'Yajur-veda' was given. Later still, a body of popular spells was combined with passages from the Rigveda, again with variant readings, and was given the name 'Atharva-veda'. A continuously-growing mass of prose commentary, called the Brahmanas, also came into being, devoted to the attempt to explain the meaning of the ancient poems. To the later Brahmanas belongs the profusion of texts known as the Upanishads, ….

2.1. The continuing influence of 'the Veda'.

….. With major pieces of the jigsaw firmly in the wrong place, the rest, inevitably, refuses to fit, and the comparison of passages in the attempt to establish word meanings appears to be a fruitless exercise. Indology has concluded that the Rigveda is not only uninteresting,

"describing fussy and technical ritual procedures"
 (Stephanie Jamison On translating the Rig Veda: Three Questions, 1999, p. 3),

but that it is also intentionally indecipherable.
"One feels that the hymns themselves are mischievous translations into a 'foreign' language"
(Wendy O'Flaherty The Rig Veda. An Anthology, Penguin, 1981, p. 16).
  

 

GODS OF VEDIC RELIGION

A study of the Rig Veda will reveal the nature of the gods of the Vedic Religion which we now undertake

Vedic Pantheon

The Vedic pantheon, similar to its Greek or Germanic counterparts, comprises clans of anthropomorphic deities as well as deified natural phenomena, and like the Germanic Vanir and Aesir it knows two classes of gods, Devas and Asuras.   The Brihadaranyak Upnishad says that there are mainly thirty-three gods  which are classified into three groups: 

Thus, there are eight Vasus,
twelve Âdityas,
eleven Rudras, and
two AshvinsIndra and Prajâpati .
There are also the Maruts.

These gods belong to the three regions of the earth (prithvi), the heavens (Dyaus) and the intermediate space (Antariksha).

The eight Vasus are: agni (god of fire), prithivi (goddess of the earth), vayu (god of the wind), antarikch (god of the space), aditya (sun god), dyo (god of the luminous sky), chandrama (moon god) and nakchatra (god of the nakchatras, asterism. Nakchatras are 27, called Magha, Rohini etc.)

The following is a list of  Deities by prominence as they appear in Rig Veda:

(List of Rigvedic deities by number of dedicated hymns, after Griffith. Some dedications are to twin-deities, such as Indra-Agni, Mitra-Varuna, Soma-Rudra, here counted doubly.)

·                     Indra 289   is the chief deity of the Rigveda, and the god of weather and war, and Lord of Svargaloka (Heaven)  .He  rides a white elephant called Airavata and wields the dazzling weapon of lightening called Vajrayudh. Prone to drinking soma,   loses control over himself, prone to anger, mighty and sensuous, and always concerned about his survival and status as the leader.

Their principal divinity was INDRA, the god of war and thunder, whose power was capable of destroying the walls of cities, of burning them down in order to conquer and pillage them… For a long time the behaviour of the gods would reflect that of wicked men with the mentality of Aryan conquerors, materialistic and pitiless!”  http://members.tripod.com/historel/orient/10inde.htm

·         Agni 218   

The demi-god ruling fire, riding on a Ram.    title="Latin" style="color: blue; text-decoration: underline; text-underline: single">Latin ignis (the root of English ignite). The sacrifices made to Agni go to the deities because Agni is a messenger from and to the other gods. He is ever-young, because the fire is re-lit every day; but also he is immortal. Agni is represented as red and two-faced (sometimes covered with butter), suggesting both his destructive and beneficent qualities, and with black eyes and hair, three legs and seven arms. He rides a ram, or a chariot pulled by goats or, more rarely, parrots. Seven rays of light emanate from his body. One of his names is "Sapta jihva", 'seven tongues'. He is worshipped under a threefold form: fire on earth and lightning and the sun.

 

·         Soma 123 (most of them in the Soma Mandala Haoma (in Avestan), from Proto-Indo-Iranian *sauma-, was a ritual drink of importance among the early Indo-Iranians, and the later Vedic and greater Persian cultures.  . In the Avesta, Haoma has an entire Yasht dedicated to it.

It is described as prepared by pressing juice from the stalks of a certain mountain plant, which has been variously hypothesized to be a psychedelic mushroom, cannabis, peganum harmala, or ephedra. In both Vedic and Zoroastrian tradition, the drink is identified with the plant, and also personified as a divinity, the three forming a religious or mythological unity.  Soma represents the god of the Moon. He rides through the sky in a chariot drawn by white horses. Soma was also the name of the elixir of immortality that only the gods can drink.

The Moon was thought to be the storehouse of the elixir.

  • Vishvadevas 70 are the various Vedic gods taken together as a whole. 

·         the Asvins 56  are divine twin horsemen in the Rigveda, sons of Saranya, a goddess of the dawn and wife of either Surya or Vivasvat. They are Vedic gods symbolising the shining of sunrise and sunset, appearing in the sky before the dawn in a golden chariot, bringing treasures to men and averting misfortune and sickness. They can be compared with the Dioscuri (the twins Castor and Pollux) of Greco-Roman mythology. The Twins or Twains who are the equivalent of the Geminis, the Dioskouris.

They are the doctors of gods and are devas of Ayurvedic medicine. They are called Nasatya (dual nāsatyau "kind, helpful" in the Rigveda; later, Nasatya is the name of one twin, while the other is called Dasra. By popular etymology, the name nāsatya was analysed as na+asatya "not untrue"="true".

  • Varuna 46 is a god of the sky, of rain and of the celestial ocean, as well as a god of law and of the underworld. He is the most prominent Asura in the Rigveda, and chief of the Adityas  law.

 

  • the Maruts 38   storm deities and sons of Rudra and Diti and attendants of Indra. The number of Maruts varies from two to sixty (three times sixty in RV 8.96.8. They are very violent and aggressive, described as armed with golden weapons i.e. lightnings and thunderbolts, as having iron teeth and roaring like lions, as residing in the north, as riding in golden chariots drawn by ruddy horses.

·         Mitra 28  Mitra, Mithra, Mithras

Mitra is a Vedic god who stood for the sun, and was, with his brother Varuna, the guardian of the cosmic order. He was the god of friendships and contracts,.  Hewas an important divinity of Indic culture, descended, together with the Zoroastrian yazata Mithra, from a common Proto-Indo-Iranian deity  Mitra, a god of  . guardian of oaths and agreements.  Mithra may also have been worshipped by the Mani. Some branches of Manicheism identified Mithra as the ruler of the second or third emanation (an occultist would say "ray," "aeon," or "sepheroth").

  • Ushas 21 " dawn", is a Vedic deity. She is the chief goddess (sometimes imagined as several goddesses, Dawns) exalted in the Rig Veda. She is portrayed as a beautifully adorned, sexually attractive young woman riding in a chariot.

 

 

  • Vayu (Wind) 12 he is the Vedic god entrusted with the rejuvenation of nature.

·         Savitar 11 is a solar deity (see Deva) and one of the Adityas. His name is in Vedic Sanskrit meanings "impeller, rouser, vivifier". Savitr is described in the Vedas as having golden arms, hands, hair, etc. He is sometimes identified with, and at other times distinguished from, the chief Sun deity Surya. A number of beautiful Vedic hymns are invoked in his praise. He is the god of the Sun at Sunrise and Sunset, and was most often invoked in the latter role in Vedic hymns.

  • Rbhus 11 meaning "clever, skilful", cognate to Latin labor, said of Indra, Agni and the Adityas in the Rigveda) are three semi-divine beings of the Rigveda and the Atharvaveda, Rbhu, Vaja and Vibhvan, called collectively by the name of their leader.
  • Pushan 10   God of meeting. Puchan was responsible for marriages, journeys, roads, and the feeding of cattle .

·          Apris 9 means "conciliation, propitiation" and refers to special invocations spoken previous to the offering of oblations

·         Brhaspati 8   (also known as Brahmanaspati) is the guru of the Devas and  of the Danavas

·         Surya (Sun) 8 is the chief solar deity.. His char