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.”
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.”

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 udgātṛ,
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 Saṃhitā
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 Saṃhitās,
for the Brahman as overseer of the rites does not appear in the
Ṛg
Veda and is
only incorporated later, thereby showing the acceptance of the
Atharva Veda, which had been somewhat distinct from the other Saṃhitās
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 Ashvins. Indra 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 |