An Apsara (Sanskrit: अप्सराः apsarāḥ, plural अप्सरसः apsarasaḥ, stem apsaras-, a feminine consonant stem), Apsara or Tep Apsar in Khmer, Accharā (Pāli) or A Bố Sa La Tư (Vietnamese), Bidadari (Malay, Indonesian, Tausug languages), and Apson (Thai: อัปสร), also known as Vidhya Dhari, is a female spirit of the clouds and waters in Hindu and Buddhist mythology. English translations of the word "Apsara" include "nymph," "celestial nymph," and "celestial maiden."
Apsaras are beautiful, supernatural women. They are youthful and elegant, and proficient in the art of dancing. They are the wives of the Gandharvas, the court servants of Indra. They dance to the music made by their husbands, usually in the palaces of the gods, and entertain gods and fallen heroes. As caretakers of fallen heroes, they may be compared to the valkyries of Norse mythology.
Apsaras are said to be able to change their shape at will, and rule over the fortunes of gaming and gambling. Urvasi, Menaka, Rambha and Tilottama are the most famous among them. Apsaras are sometimes compared to the muses of ancient Greece, with each of the 26 Apsaras at Indra's court representing a distinct aspect of the performing arts. Apsaras are associated with water; thus, they may be compared to the nymphs, dryads and naiads of ancient Greece. They are associated with fertility rites.
There are two types of Apsaras; Laukika (wordly), of whom thirty-four are specified, and Daivika (divine), of which there are ten.
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Tuesday, September 30, 2008
Vedic Dieties - Indra
Vedic Dieties - Indra
http://en.wikipedia.org/wiki/Indra
Indra (Sanskrit: इन्द्र or इंद्र Indra, Malay: Indera, Thai: พระอินทร์ Phra-Intra, Japanese: Taishakuten) is the god of War and Weather, also the King of the gods or Devas and Lord of Heaven or Svargaloka in Hinduism. Mentioned first as the chief deity in the sacred Hindu text of Rig Veda, Indra is bestowed with a heroic and almost brash and amorous character. He has always remained significant in Indian mythology, from Vedic to Puranic times, as the primary ruler of all devas, even as his reputation and role diminished in later Hinduism with the rise of the Trimurti. However his is still active in the Pali canon, where he is addressed as Sakka (from Sanskrit Śakra).
---------------------------
The Rig-Veda states,
He under whose supreme control are horses, all chariots, the villages, and cattle;
He who gave being to the Sun and Morning, who leads the waters, He, O men, is Indra. (2.12.7, trans. Griffith)
It further states,
“Indra, you lifted up the outcast who was oppressed, you glorified the blind and the lame.” (Rg-Veda 2:13:12)[2]
Indra is the chief god of the Rigveda (besides Agni). He delights in drinking Soma, and the central Vedic myth is his heroic defeat of Vritra, liberating the rivers, or alternatively, his smashing of the Vala, a stone enclosure where the Panis had imprisoned the cows, and Ushas (dawn). He is the god of war, smashing the stone fortresses of the Dasyu, and invoked by combatants on both sides in the Battle of the Ten Kings.
Indra as depicted in Yakshagana, popular folk art of KarnatakaThe Rig-Veda frequently refers to him as Śakra - the mighty-one. In the Vedic period, the number of gods was assumed to be thirty-three and Indra was their lord. (The slightly later Brihad-aranyaka Upanishad enumerates the gods as the eight Vasus, the eleven Rudras, the twelve Adityas, Indra and Prajapati). As lord of the Vasus, Indra was also referred to as Vāsava.
By the age of the Vedanta, Indra became the prototype for all lords and thus a king could be called Mānavendra (Indra or lord of men) and Rama, the hero of the Ramayana, was referred to as Rāghavendra (Indra of the clan of Raghu). Hence the original Indra was also referred to as Devendra (Indra of the Devas). However, Sakra and Vasava were used exclusively for the original Indra. Though, modern texts usually adhere to the name Indra, the traditional Hindu texts (the Vedas, epics and Puranas) use Indra, Sakra and Vasava interchangeably and with the same frequency.
"Of the Vedas I am the Sama Veda; of the demigods I am Indra, the king of heaven; of the senses I am the mind; and in living beings I am the living force [consciousness]." (Bhagavad Gita 10.22) [1]
Status and function
Indra is an important god in many Hindu mythological tales. He leads the Devas (the gods who form and maintain Heaven) and the elements, such as Agni (Fire), Varuna (Water) and Surya (Sun)), and constantly wages war against the demonic Asuras of the netherworlds, or Patala, who oppose morality and dharma. He thus fights in the timeless battle between good and evil. As the god of War, he is also regarded as one of the Guardians of the directions, representing the east. He is however, not a perfect being, and is ascribed with more human characteristics and vices than any other Vedic deity. Perhaps consequently, he also has the most hymns dedicated to him: 250 (Masson-Oursel and Morin, 326).
Modern Hindus, however tend to see Indra as minor deity in comparison to others in the Hindu pathenon, such as Shiva, Vishnu or Devi. A Puranic story illustrating the subjugation of Indra's pride is illustrated in the story of Govardhan hill where Krishna, avatar or incarnation of Vishnu carried the hill and protected his devotees when Indra, angered by non-worship of him, launched rains over the village.
Characteristics
Detail of the Phra Prang, the central tower of the Wat Arun ("Temple of Dawn") in Bangkok, Thailand - showing Indra on his three-headed elephant Erawan (Airavata).In RigVeda, Indra the solar god is sometimes described as golden-bodied ("Gora" that means golden-yellowish-reddish) with golden jaw, nails, hair, beard.
"In Indra are set fast all forms of golden hue."[3]
"At the swift draught the Soma-drinker waxed in might, the Iron One with yellow beard and yellow hair." The Rig Veda/Mandala 10/Hymn 96
"Fair cheeks hath Indra, Maghavan, the Victor, Lord of a great host, Stormer, strong in action. What once thou didst in might when mortals vexed thee, where now, O Bull, are those thy hero exploits?" (RigVeda, Book 3, Hymn XXX: Griffith)[4]
"May the strong Heaven make thee the Strong wax stronger: Strong, for thou art borne by thy two strong Bay Horses. So, fair of cheek, with mighty chariot, mighty, uphold us, strong-willed, thunderarmed, in battle." (RigVeda, Book 5, Hymn XXXVI: Grffith)[5]
Indra's weapon, which he used to kill Vritra, (with the help of other gods), is the thunderbolt (Vajra), though he also uses a bow, a net and a hook. He rides a large, four-tusked white elephant called Airavata. When portrayed having four arms, he has lances in two of his hands which resemble elephant goads. When he is shown to have two, he holds the Vajra and a bow .[6]
Indra lives in Svarga in the clouds around Mt. Meru. Deceased warriors go to his hall after death, where they live without sadness, pain or fear. They watch the Apsaras and the Gandharvas dance, and play games. The gods of the elements, celestial sages, great kings and warriors enrich his court.
Relations with other gods
He is married to Indrani (whose father, Puloman, Indra killed), and is the father of Arjuna (by Kunti), Jayanta, Midhusa, Nilambara, Khamla, Rbhus, Rsabha. Indra is also the father of Vali and brother to Surya. He is attended to by the Maruts (and the Vasus), children of Diti (mother of demons) and Rudra. Indra had slayed Diti's previous wicked children, so she hoped her son would be more powerful than him and kept herself pregnant for a century, practicing magic to aid her fetal son. When Indra discovered this, he threw a thunderbolt at her and shattered the fetus into 7 or 49 parts; each part regenerated into a complete individual, and the parts grew into the Maruts, a group of storm gods, who are less powerful than Indra.
Indra and Vritra
Vritra, an asura, stole all the water in the world and Indra drank much Soma to prepare himself for the battle with the huge serpent. He passed through Vritra's ninety-nine fortresses, slew the monster and brought water back to Earth.
In a later version of the story, Vritra was created by Tvashtri to get revenge for Indra's murder of his son, Trisiras, a pious Brahmin whose increase of power worried Indra. Vritra won the battle and swallowed Indra, but the other gods forced him to vomit Indra out. The battle continued and Indra fled. Vishnu and the Rishis brokered a truce, and Indra swore he would not attack Vritra with anything made of metal, wood or stone, nor anything that was dry or wet, or during the day or the night. Indra used the foam from the waves of the ocean to kill him at twilight.
In yet another version, recounted in the Mahabharata, Vritra was a Brahmin who got hold of supernatural powers, went rogue and became a danger to the gods. Indra had to intervene, and slew him after a hard fight. A horrible goddess named Brāhmanahatya (the personified sin of Brahmin murder) came from the dead corpse of Vritra and pursued Indra, who hid inside a lotus flower. Indra went to Brahma and begged forgiveness for having killed a Brahmin. "Vajrayudha" which Indra possessed is believed to be prepared from backbone of a sage Dadhichi to kill Asuras.
[edit] Ahalya's curse
Indra duped Ahalya, the wife of Gautama Maharishi, into letting him have sex with her. He was punished by Gautama with a curse that one thousand vaginas would cover his body in a grotesque and vulgar display, and that his reign as king of the gods would meet with disaster and catastrophe.[2] Gautama later commuted the curse, upon the pleading of Brahma, to one thousand eyes instead.
Due to this sin Indra's throne is supposed to remain insecure forever. He is repeatedly humiliated by demonic kings like Ravana of Lanka, whose son Indrajit (whose name means victor over Indra) bound Indra in serpent nooses and dragged him across Lanka in a humiliating display. Indrajit released Indra when Brahma convinced him to do so in exchange for celestial weapons, but Indra, as the defeated, had to pay tribute and accept Ravana's supremacy. Indra realized the consequences of his sin, and was later avenged by the Avatara of Vishnu, Rama, who slew Ravana to deliver the three worlds from evil, as described in the epic Ramayana.
However, according to the tradition of the temple of Suchindrum, near Nagercoil, in Southern Tamil Nadu, Indra was promised relief from the curse, if he could manage to worship the Divine Trinity of Hinduism, Brahma, Vishnu and Shiva simultaneously. This he succeeded in doing at Suchindrum, where the presiding deity is Sthanumalayan, a combined form of Shiva (Sthanu), Vishnu (Mal) and Brahma (Ayan), and was accordingly granted relief. Tradition maintains that he continues to worship each night at the temple, on account of which the priests of the temple, on appointment, are made to take a vow in Tamil "Aham kaṇdathai puram çolla mattān", meaning "I will never reveal anything I see within". Further, part of their duty is to clean the sanctum sanctorum of the temple and leave it ready for all rituals at night before closing the temple and clean it again, when they re-open it in the morning.
See also: Rukmangada, Tulsi
[edit] Indra and the Ants
In this story from the Brahmavaivarta Purana,[7][8] Indra defeats Vritra and releases the waters. Elevated to the rank of King of the gods, Indra orders the heavenly craftsman, Vishvakarma, to build him a grand palace. Full of pride, Indra continues to demand more and more improvements for the palace. At last, exhausted, Vishvakarma asks Brahma the Creator for help. Brahma in turn appeals to Vishnu, the Supreme Being.
Vishnu visits Indra's palace in the form of a brahmin boy; Indra welcomes him in. Vishnu praises Indra's palace, casually adding that no former Indra had succeeded in building such a palace. At first, Indra is amused by the brahmin boy's claim to know of former Indras. But the amusement turns to horror as the boy tells about Indra's ancestors, about the great cycles of creation and destruction, and even about the infinite number of worlds scattered through the void, each with its own Indra. The boy claims to have seen them all. During the boy's speech, a procession of ants had entered the hall. The boy saw the ants and laughed. Finally humbled, Indra asks the boy why he laughed. The boy reveals that the ants are all former Indras.
Another visitor enters the hall. He is Shiva, in the form of a hermit. On his chest lies a circular cluster of hairs, intact at the circumference but with a gap in the middle. Shiva reveals that each of these chest hairs corresponds to the life of one Indra. Each time a hair falls, one Indra dies and another replaces him.
No longer interested in wealth and honor, Indra rewards Vishvakarma and releases him from any further work on the palace. Indra himself decides to leave his life of luxury to become a hermit and seek wisdom. Horrified, Indra's wife Shachi asks the priest Brihaspati to change her husband's mind. He teaches Indra to see the virtues of both the spiritual life and the worldly life. Thus, at the end of the story, Indra learns how to pursue wisdom while still fulfilling his kingly duties.
http://en.wikipedia.org/wiki/Indra
Indra (Sanskrit: इन्द्र or इंद्र Indra, Malay: Indera, Thai: พระอินทร์ Phra-Intra, Japanese: Taishakuten) is the god of War and Weather, also the King of the gods or Devas and Lord of Heaven or Svargaloka in Hinduism. Mentioned first as the chief deity in the sacred Hindu text of Rig Veda, Indra is bestowed with a heroic and almost brash and amorous character. He has always remained significant in Indian mythology, from Vedic to Puranic times, as the primary ruler of all devas, even as his reputation and role diminished in later Hinduism with the rise of the Trimurti. However his is still active in the Pali canon, where he is addressed as Sakka (from Sanskrit Śakra).
---------------------------
The Rig-Veda states,
He under whose supreme control are horses, all chariots, the villages, and cattle;
He who gave being to the Sun and Morning, who leads the waters, He, O men, is Indra. (2.12.7, trans. Griffith)
It further states,
“Indra, you lifted up the outcast who was oppressed, you glorified the blind and the lame.” (Rg-Veda 2:13:12)[2]
Indra is the chief god of the Rigveda (besides Agni). He delights in drinking Soma, and the central Vedic myth is his heroic defeat of Vritra, liberating the rivers, or alternatively, his smashing of the Vala, a stone enclosure where the Panis had imprisoned the cows, and Ushas (dawn). He is the god of war, smashing the stone fortresses of the Dasyu, and invoked by combatants on both sides in the Battle of the Ten Kings.
Indra as depicted in Yakshagana, popular folk art of KarnatakaThe Rig-Veda frequently refers to him as Śakra - the mighty-one. In the Vedic period, the number of gods was assumed to be thirty-three and Indra was their lord. (The slightly later Brihad-aranyaka Upanishad enumerates the gods as the eight Vasus, the eleven Rudras, the twelve Adityas, Indra and Prajapati). As lord of the Vasus, Indra was also referred to as Vāsava.
By the age of the Vedanta, Indra became the prototype for all lords and thus a king could be called Mānavendra (Indra or lord of men) and Rama, the hero of the Ramayana, was referred to as Rāghavendra (Indra of the clan of Raghu). Hence the original Indra was also referred to as Devendra (Indra of the Devas). However, Sakra and Vasava were used exclusively for the original Indra. Though, modern texts usually adhere to the name Indra, the traditional Hindu texts (the Vedas, epics and Puranas) use Indra, Sakra and Vasava interchangeably and with the same frequency.
"Of the Vedas I am the Sama Veda; of the demigods I am Indra, the king of heaven; of the senses I am the mind; and in living beings I am the living force [consciousness]." (Bhagavad Gita 10.22) [1]
Status and function
Indra is an important god in many Hindu mythological tales. He leads the Devas (the gods who form and maintain Heaven) and the elements, such as Agni (Fire), Varuna (Water) and Surya (Sun)), and constantly wages war against the demonic Asuras of the netherworlds, or Patala, who oppose morality and dharma. He thus fights in the timeless battle between good and evil. As the god of War, he is also regarded as one of the Guardians of the directions, representing the east. He is however, not a perfect being, and is ascribed with more human characteristics and vices than any other Vedic deity. Perhaps consequently, he also has the most hymns dedicated to him: 250 (Masson-Oursel and Morin, 326).
Modern Hindus, however tend to see Indra as minor deity in comparison to others in the Hindu pathenon, such as Shiva, Vishnu or Devi. A Puranic story illustrating the subjugation of Indra's pride is illustrated in the story of Govardhan hill where Krishna, avatar or incarnation of Vishnu carried the hill and protected his devotees when Indra, angered by non-worship of him, launched rains over the village.
Characteristics
Detail of the Phra Prang, the central tower of the Wat Arun ("Temple of Dawn") in Bangkok, Thailand - showing Indra on his three-headed elephant Erawan (Airavata).In RigVeda, Indra the solar god is sometimes described as golden-bodied ("Gora" that means golden-yellowish-reddish) with golden jaw, nails, hair, beard.
"In Indra are set fast all forms of golden hue."[3]
"At the swift draught the Soma-drinker waxed in might, the Iron One with yellow beard and yellow hair." The Rig Veda/Mandala 10/Hymn 96
"Fair cheeks hath Indra, Maghavan, the Victor, Lord of a great host, Stormer, strong in action. What once thou didst in might when mortals vexed thee, where now, O Bull, are those thy hero exploits?" (RigVeda, Book 3, Hymn XXX: Griffith)[4]
"May the strong Heaven make thee the Strong wax stronger: Strong, for thou art borne by thy two strong Bay Horses. So, fair of cheek, with mighty chariot, mighty, uphold us, strong-willed, thunderarmed, in battle." (RigVeda, Book 5, Hymn XXXVI: Grffith)[5]
Indra's weapon, which he used to kill Vritra, (with the help of other gods), is the thunderbolt (Vajra), though he also uses a bow, a net and a hook. He rides a large, four-tusked white elephant called Airavata. When portrayed having four arms, he has lances in two of his hands which resemble elephant goads. When he is shown to have two, he holds the Vajra and a bow .[6]
Indra lives in Svarga in the clouds around Mt. Meru. Deceased warriors go to his hall after death, where they live without sadness, pain or fear. They watch the Apsaras and the Gandharvas dance, and play games. The gods of the elements, celestial sages, great kings and warriors enrich his court.
Relations with other gods
He is married to Indrani (whose father, Puloman, Indra killed), and is the father of Arjuna (by Kunti), Jayanta, Midhusa, Nilambara, Khamla, Rbhus, Rsabha. Indra is also the father of Vali and brother to Surya. He is attended to by the Maruts (and the Vasus), children of Diti (mother of demons) and Rudra. Indra had slayed Diti's previous wicked children, so she hoped her son would be more powerful than him and kept herself pregnant for a century, practicing magic to aid her fetal son. When Indra discovered this, he threw a thunderbolt at her and shattered the fetus into 7 or 49 parts; each part regenerated into a complete individual, and the parts grew into the Maruts, a group of storm gods, who are less powerful than Indra.
Indra and Vritra
Vritra, an asura, stole all the water in the world and Indra drank much Soma to prepare himself for the battle with the huge serpent. He passed through Vritra's ninety-nine fortresses, slew the monster and brought water back to Earth.
In a later version of the story, Vritra was created by Tvashtri to get revenge for Indra's murder of his son, Trisiras, a pious Brahmin whose increase of power worried Indra. Vritra won the battle and swallowed Indra, but the other gods forced him to vomit Indra out. The battle continued and Indra fled. Vishnu and the Rishis brokered a truce, and Indra swore he would not attack Vritra with anything made of metal, wood or stone, nor anything that was dry or wet, or during the day or the night. Indra used the foam from the waves of the ocean to kill him at twilight.
In yet another version, recounted in the Mahabharata, Vritra was a Brahmin who got hold of supernatural powers, went rogue and became a danger to the gods. Indra had to intervene, and slew him after a hard fight. A horrible goddess named Brāhmanahatya (the personified sin of Brahmin murder) came from the dead corpse of Vritra and pursued Indra, who hid inside a lotus flower. Indra went to Brahma and begged forgiveness for having killed a Brahmin. "Vajrayudha" which Indra possessed is believed to be prepared from backbone of a sage Dadhichi to kill Asuras.
[edit] Ahalya's curse
Indra duped Ahalya, the wife of Gautama Maharishi, into letting him have sex with her. He was punished by Gautama with a curse that one thousand vaginas would cover his body in a grotesque and vulgar display, and that his reign as king of the gods would meet with disaster and catastrophe.[2] Gautama later commuted the curse, upon the pleading of Brahma, to one thousand eyes instead.
Due to this sin Indra's throne is supposed to remain insecure forever. He is repeatedly humiliated by demonic kings like Ravana of Lanka, whose son Indrajit (whose name means victor over Indra) bound Indra in serpent nooses and dragged him across Lanka in a humiliating display. Indrajit released Indra when Brahma convinced him to do so in exchange for celestial weapons, but Indra, as the defeated, had to pay tribute and accept Ravana's supremacy. Indra realized the consequences of his sin, and was later avenged by the Avatara of Vishnu, Rama, who slew Ravana to deliver the three worlds from evil, as described in the epic Ramayana.
However, according to the tradition of the temple of Suchindrum, near Nagercoil, in Southern Tamil Nadu, Indra was promised relief from the curse, if he could manage to worship the Divine Trinity of Hinduism, Brahma, Vishnu and Shiva simultaneously. This he succeeded in doing at Suchindrum, where the presiding deity is Sthanumalayan, a combined form of Shiva (Sthanu), Vishnu (Mal) and Brahma (Ayan), and was accordingly granted relief. Tradition maintains that he continues to worship each night at the temple, on account of which the priests of the temple, on appointment, are made to take a vow in Tamil "Aham kaṇdathai puram çolla mattān", meaning "I will never reveal anything I see within". Further, part of their duty is to clean the sanctum sanctorum of the temple and leave it ready for all rituals at night before closing the temple and clean it again, when they re-open it in the morning.
See also: Rukmangada, Tulsi
[edit] Indra and the Ants
In this story from the Brahmavaivarta Purana,[7][8] Indra defeats Vritra and releases the waters. Elevated to the rank of King of the gods, Indra orders the heavenly craftsman, Vishvakarma, to build him a grand palace. Full of pride, Indra continues to demand more and more improvements for the palace. At last, exhausted, Vishvakarma asks Brahma the Creator for help. Brahma in turn appeals to Vishnu, the Supreme Being.
Vishnu visits Indra's palace in the form of a brahmin boy; Indra welcomes him in. Vishnu praises Indra's palace, casually adding that no former Indra had succeeded in building such a palace. At first, Indra is amused by the brahmin boy's claim to know of former Indras. But the amusement turns to horror as the boy tells about Indra's ancestors, about the great cycles of creation and destruction, and even about the infinite number of worlds scattered through the void, each with its own Indra. The boy claims to have seen them all. During the boy's speech, a procession of ants had entered the hall. The boy saw the ants and laughed. Finally humbled, Indra asks the boy why he laughed. The boy reveals that the ants are all former Indras.
Another visitor enters the hall. He is Shiva, in the form of a hermit. On his chest lies a circular cluster of hairs, intact at the circumference but with a gap in the middle. Shiva reveals that each of these chest hairs corresponds to the life of one Indra. Each time a hair falls, one Indra dies and another replaces him.
No longer interested in wealth and honor, Indra rewards Vishvakarma and releases him from any further work on the palace. Indra himself decides to leave his life of luxury to become a hermit and seek wisdom. Horrified, Indra's wife Shachi asks the priest Brihaspati to change her husband's mind. He teaches Indra to see the virtues of both the spiritual life and the worldly life. Thus, at the end of the story, Indra learns how to pursue wisdom while still fulfilling his kingly duties.
Rigvedic deities
Rigvedic deities
From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Rigvedic_deities
There are 1028 hymns in the Rigveda, most of them dedicated to specific deities.
Indra, a heroic god, slayer of Vrtra and destroyer of the Vala, liberator of the cows and the rivers; Agni the sacrificial fire and messenger of the gods; and Soma the ritual drink dedicated to Indra are the most prominent deities.
Invoked in groups are the Vishvedevas (the "all-gods"), the Maruts, violent storm gods in Indra's train and the Ashvins, the twin horsemen.
There are two major groups of gods, the Devas and the Asuras. Unlike in later Vedic texts and in Hinduism, the Asuras are not yet demonized, Mitra and Varuna being their most prominent members. Aditi is the mother both of Agni and of the Adityas or Asuras, led by Mitra and Varuna, with Aryaman, Bhaga, Ansa and Daksha.
Surya is the personification of the Sun, but Savitar, Vivasvant, the Ashvins and the Rbhus, semi-divine craftsmen, also have aspects of solar deities. Other natural phenomena deified include Vayu, (the wind), Dyaus and Prithivi (Heaven and Earth), Dyaus continuing Dyeus, the chief god of the Proto-Indo-European religion, and Ushas (the dawn), the most prominent goddess of the Rigveda, and Apas (the waters).
Rivers play an important role, deified as goddesses, most prominently the Sapta Sindhu and the Sarasvati River.
Yama is the first ancestor, also worshipped as a deity, and the god of the underworld and death.
Vishnu and Rudra, the prominent deities of later Hinduism (Rudra being an early form of Shiva) are present as marginal gods.
The names of Indra, Mitra, Varuna and the Nasatyas are also attested in a Mitanni treaty, suggesting that the some of the religion of the Mitannis was very close to that of the Rigveda.
[edit] Deities by prominence
List of Rigvedic deities by number of dedicated hymns, after Griffith (1888). Some dedications are to paired deities, such as Indra-Agni, Mitra-Varuna, Soma-Rudra, here counted doubly.
Indra 289
Agni 218
Soma 123 (most of them in the Soma Mandala)
Vishvadevas 70
the Asvins 56
Varuna 46
the Maruts 38
Mitra 28
Ushas 21
Vayu (Wind) 12
Savitr 11
the Rbhus 11
Pushan 10
the Apris 9
Brhaspati 8
Surya (Sun) 8
Dyaus and Prithivi (Heaven and Earth) 6, plus 5.84 dedicated to Earth alone
Apas (Waters) 6
Adityas 6
Vishnu 6
Brahmanaspati 6
Rudra 5
Dadhikras 4
the Sarasvati River / Sarasvati 3
Yama
Parjanya (Rain) 3
Vac (Speech) 2 (mentioned 130 times, deified e.g. in 10.125)
Vastospati 2
Vishvakarman 2
Manyu 2
Kapinjala (the Heathcock, a form of Indra) 2
Minor deities (one single or no dedicated hymn)
Manas (Thought), prominent concept, deified in 10.58
Dakshina (Reward for priests and poets), prominent concept, deified in 10.107
Jnanam (Knowledge), prominent concept, deified in 10.71
Purusha ("Cosmic Man" of the Purusha sukta 10.90)
Aditi
Bhaga
Vasukra
Atri
Apam Napat
Ksetrapati
Ghrta
Nirrti
Asamati
Urvasi
Pururavas
Vena
Aranyani
Mayabheda
Tarksya
Tvastar
Saranyu
From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Rigvedic_deities
There are 1028 hymns in the Rigveda, most of them dedicated to specific deities.
Indra, a heroic god, slayer of Vrtra and destroyer of the Vala, liberator of the cows and the rivers; Agni the sacrificial fire and messenger of the gods; and Soma the ritual drink dedicated to Indra are the most prominent deities.
Invoked in groups are the Vishvedevas (the "all-gods"), the Maruts, violent storm gods in Indra's train and the Ashvins, the twin horsemen.
There are two major groups of gods, the Devas and the Asuras. Unlike in later Vedic texts and in Hinduism, the Asuras are not yet demonized, Mitra and Varuna being their most prominent members. Aditi is the mother both of Agni and of the Adityas or Asuras, led by Mitra and Varuna, with Aryaman, Bhaga, Ansa and Daksha.
Surya is the personification of the Sun, but Savitar, Vivasvant, the Ashvins and the Rbhus, semi-divine craftsmen, also have aspects of solar deities. Other natural phenomena deified include Vayu, (the wind), Dyaus and Prithivi (Heaven and Earth), Dyaus continuing Dyeus, the chief god of the Proto-Indo-European religion, and Ushas (the dawn), the most prominent goddess of the Rigveda, and Apas (the waters).
Rivers play an important role, deified as goddesses, most prominently the Sapta Sindhu and the Sarasvati River.
Yama is the first ancestor, also worshipped as a deity, and the god of the underworld and death.
Vishnu and Rudra, the prominent deities of later Hinduism (Rudra being an early form of Shiva) are present as marginal gods.
The names of Indra, Mitra, Varuna and the Nasatyas are also attested in a Mitanni treaty, suggesting that the some of the religion of the Mitannis was very close to that of the Rigveda.
[edit] Deities by prominence
List of Rigvedic deities by number of dedicated hymns, after Griffith (1888). Some dedications are to paired deities, such as Indra-Agni, Mitra-Varuna, Soma-Rudra, here counted doubly.
Indra 289
Agni 218
Soma 123 (most of them in the Soma Mandala)
Vishvadevas 70
the Asvins 56
Varuna 46
the Maruts 38
Mitra 28
Ushas 21
Vayu (Wind) 12
Savitr 11
the Rbhus 11
Pushan 10
the Apris 9
Brhaspati 8
Surya (Sun) 8
Dyaus and Prithivi (Heaven and Earth) 6, plus 5.84 dedicated to Earth alone
Apas (Waters) 6
Adityas 6
Vishnu 6
Brahmanaspati 6
Rudra 5
Dadhikras 4
the Sarasvati River / Sarasvati 3
Yama
Parjanya (Rain) 3
Vac (Speech) 2 (mentioned 130 times, deified e.g. in 10.125)
Vastospati 2
Vishvakarman 2
Manyu 2
Kapinjala (the Heathcock, a form of Indra) 2
Minor deities (one single or no dedicated hymn)
Manas (Thought), prominent concept, deified in 10.58
Dakshina (Reward for priests and poets), prominent concept, deified in 10.107
Jnanam (Knowledge), prominent concept, deified in 10.71
Purusha ("Cosmic Man" of the Purusha sukta 10.90)
Aditi
Bhaga
Vasukra
Atri
Apam Napat
Ksetrapati
Ghrta
Nirrti
Asamati
Urvasi
Pururavas
Vena
Aranyani
Mayabheda
Tarksya
Tvastar
Saranyu
More Details on Rig Veda
More Details on Rig Veda
http://en.wikipedia.org/wiki/Rig_veda
The Rigvedic hymns are dedicated to various deities, chief of whom are Indra, a heroic god praised for having slain his enemy Vrtra; Agni, the sacrificial fire; and Soma, the sacred potion or the plant it is made from. Equally prominent gods are the Adityas or Asura gods Mitra-Varuna and Ushas (the dawn). Also invoked are Savitr, Vishnu, Rudra, Pushan, Brihaspati or Brahmanaspati, as well as deified natural phenomena such as Dyaus Pita (the shining sky, Father Heaven ), Prithivi (the earth, Mother Earth), Surya (the sun god), Vayu or Vata (the wind), Apas (the waters), Parjanya (the thunder and rain), Vac (the word), many rivers (notably the Sapta Sindhu, and the Sarasvati River). The Adityas, Vasus, Rudras, Sadhyas, Ashvins, Maruts, Rbhus, and the Vishvadevas ("all-gods") as well as the "thirty-three gods" are the groups of deities mentioned.
The hymns mention various further minor gods, persons, concepts, phenomena and items, and contain fragmentary references to possible historical events, notably the struggle between the early Vedic people (known as Vedic Aryans, a subgroup of the Indo-Aryans) and their enemies, the Dasa or Dasyu and their mythical prototypes, the Paṇi (the Bactrian Parna).
Rigveda (padapatha) manuscript in Devanagari, early 19th century. After a scribal benediction ("śrīgaṇéśāyanamaḥ ;; Aum(3) ;;"), the first line has the opening words of RV.1.1.1 (agniṃ ; iḷe ; puraḥ-hitaṃ ; yajñasya ; devaṃ ; ṛtvijaṃ). The Vedic accent is marked by underscores and vertical overscores in red.Mandala 1 comprises 191 hymns. Hymn 1.1 is addressed to Agni, and his name is the first word of the Rigveda. The remaining hymns are mainly addressed to Agni and Indra, as well as Varuna, Mitra, the Ashvins, the Maruts, Usas, Surya, Rbhus, Rudra, Vayu, Brhaspati, Visnu, Heaven and Earth, and all the Gods.
Mandala 2 comprises 43 hymns, mainly to Agni and Indra. It is chiefly attributed to the Rishi gṛtsamada śaunahotra.
Mandala 3 comprises 62 hymns, mainly to Agni and Indra and the Vishvedevas. The verse 3.62.10 has great importance in Hinduism as the Gayatri Mantra. Most hymns in this book are attributed to viśvāmitra gāthinaḥ.
Mandala 4 comprises 58 hymns, mainly to Agni and Indra as well as the Rbhus, Ashvins, Brhaspati, Vayu, Usas, etc. Most hymns in this book are attributed to vāmadeva gautama.
Mandala 5 comprises 87 hymns, mainly to Agni and Indra, the Visvedevas ("all the gods'), the Maruts, the twin-deity Mitra-Varuna and the Asvins. Two hymns each are dedicated to Ushas (the dawn) and to Savitr. Most hymns in this book are attributed to the atri clan.
Mandala 6 comprises 75 hymns, mainly to Agni and Indra, all the gods, Pusan, Ashvin, Usas, etc. Most hymns in this book are attributed to the bārhaspatya family of Angirasas.
Mandala 7 comprises 104 hymns, to Agni, Indra, the Visvadevas, the Maruts, Mitra-Varuna, the Asvins, Ushas, Indra-Varuna, Varuna, Vayu (the wind), two each to Sarasvati (ancient river/goddess of learning) and Vishnu, and to others. Most hymns in this book are attributed to vasiṣṭha maitravaruṇi.
Mandala 8 comprises 103 hymns to various gods. Hymns 8.49 to 8.59 are the apocryphal vālakhilya. Hymns 1-48 and 60-66 are attributed to the kāṇva clan, the rest to other (Angirasa) poets.
Mandala 9 comprises 114 hymns, entirely devoted to Soma Pavamana, the cleansing of the sacred potion of the Vedic religion.
Mandala 10 comprises additional 191 hymns, frequently in later language, addressed to Agni, Indra and various other deities. It contains the Nadistuti sukta which is in praise of rivers and is important for the reconstruction of the geography of the Vedic civilization and the Purusha sukta which has great significance in Hindu social tradition. It also contains the Nasadiya sukta (10.129), probably the most celebrated hymn in the west, which deals with creation. The marriage hymns (10.85) and the death hymns (10.10-18) still are of great importance in the performance of the corresponding Grhya rituals.
[edit] Dating and historical context
Geography of the Rigveda, with river names; the extent of the Swat and Cemetery H cultures are also indicated.The Rigveda is far more archaic than any other Indo-Aryan text. For this reason, it was in the center of attention of western scholarship from the times of Max Müller and Rudolf Roth onwards. The Rigveda records an early stage of Vedic religion. There are strong linguistic and cultural similarities with the early Iranian Avesta,[14] deriving from the Proto-Indo-Iranian times,[15][16] often associated with the early Andronovo culture of ca. 2000 BCE.[17] The Rigveda's core is accepted to date to the late Bronze Age, making it one of the few examples with an unbroken tradition. Its composition is usually dated to roughly between 1700–1100 BC.[18] The text in the following centuries underwent pronunciation revisions and standardization (samhitapatha, padapatha). This redaction would have been completed around the 6th century BC.[19] Exact dates are not established, but they fall within the pre-Buddhist period (500, or rather 400 BCE).
Writing appears in India around the 3rd century BC in the form of the Brahmi script, but texts of the length of the Rigveda were likely not written down until much later, the oldest surviving manuscript dating to the 11th century[citation needed], while some Rigveda commentaries may date from the second half of the first millennium CE. While written manuscripts were used for teaching in medieval times, they were written on birch bark or palm leaves, which decompose fairly quickly in the tropical climate, until the advent of the printing press from the 16th century. The hymns were thus preserved by oral tradition for up to a millennium from the time of their composition until the redaction of the Rigveda, and the entire Rigveda was preserved in shakhas for another 2,500 years from the time of its redaction until the editio princeps by Rosen, Aufrecht and Max Müller.
After their composition, the texts were preserved and codified by an extensive body of Vedic priesthood as the central philosophy of the Iron Age Vedic civilization. The Brahma Purana and the Vayu Purana name one Vidagdha as the author of the Padapatha.[20] The Rk-pratishakhya names Sthavira Shakalya of the Aitareya Aranyaka as its author.[21]
The Rigveda describes a mobile, semi-nomadic culture, with horse-drawn chariots, oxen-drawn wagons, and metal (bronze) weapons. The geography described is consistent with that of the Greater Punjab: Rivers flow north to south, the mountains are relatively remote but still visible and reachable (Soma is a plant found in the high mountains, and it has to be purchased from tribal people). Nevertheless, the hymns were certainly composed over a long period, with the oldest (not preserved) elements possibly reaching back to times close to the split of Proto-Indo-Iranian (around 2000 BC)[22] Thus there was some debate over whether the boasts of the destruction of stone forts by the Vedic Aryans and particularly by Indra refer to cities of the Indus Valley civilization or whether they rather hark back to clashes between the early Indo-Aryans with the BMAC in what is now northern Afghanistan and southern Turkmenistan (separated from the upper Indus by the Hindu Kush mountain range, and some 400 km distant). While it is highly likely that the bulk of the Rigvedic hymns were composed in the Punjab, even if based on earlier poetic traditions, there is no mention of either tigers or rice[23] in the Rigveda (as opposed to the later Vedas), suggesting that Vedic culture only penetrated into the plains of India after its completion. Similarly, there is no mention of iron as the term ayas occurring in the Rig Veda refers to useful metal in general. [24] The "black metal" (kṛṣṇa ayas) is first mentioned in the post-Rigvedic texts (Atharvaveda etc.). The Iron Age in northern India begins in the 10th century in the Greater Panjab and at the 12th century BC with the Black and Red Ware (BRW) culture. There is a widely accepted timeframe for the beginning codification of the Rigveda by compiling the hymns very late in the Rigvedic or rather in the early post-Rigvedic period, including the arrangement of the individual hymns in ten books, coeval with and the composition of the younger Veda Samhitas. This time coincides with the early Kuru kingdom, shifting the center of Vedic culture east from the Punjab into what is now Uttar Pradesh. The fixing of the samhitapatha (by keeping Sandhi) intact and of the padapatha (by dissolving Sandhi out of the earlier metrical text), occurred during the later Brahmana period.
Some of the names of gods and goddesses found in the Rigveda are found amongst other belief systems based on Proto-Indo-European religion, while words used share common roots with words from other Indo-European languages.
An author, N. Kazanas[25] in an argument against the so-called "Aryan Invasion Theory" suggests a date as early as 3100 BC, based on an identification of the early Rigvedic Sarasvati River as the Ghaggar-Hakra and on glottochronological arguments. This is in diametrical opposition to views in western academic historical linguistics, and supports the mainstream theory of Indian vedic scholars Out of India theory, which assumes a date as late as 3000 BC for the age of late Proto-Indo-European itself. Some writers based on astronomical calculations even claim dates as early as 4000 BC,[26] a date well within the Indian Neolithic.[27].
The horse (ashva), cattle, sheep and goat play an important role in the Rigveda. There are also references to the elephant (Hastin, Varana), camel (Ustra, especially in Mandala 8), ass (khara, rasabha), buffalo (Mahisa), wolf, hyena, lion (Simha), mountain goat (sarabha) and to the gaur in the Rigveda.[28] The peafowl (mayura), the goose (hamsa) and the chakravaka (Anas casarca) are some birds mentioned in the Rigveda.
[edit] Hindu tradition
According to Hindu tradition, the Rigvedic hymns were collected by Paila under the guidance of Vyāsa, who formed the Rigveda Samhita as we know it. According to the Śatapatha Brāhmana, the number of syllables in the Rigveda is 432,000, equalling the number of muhurtas (1 day = 30 muhurtas) in forty years. This statement stresses the underlying philosophy of the Vedic books that there is a connection (bandhu) between the astronomical, the physiological, and the spiritual.
The authors of the Brāhmana literature discussed and interpreted the Vedic ritual. Yaska was an early commentator of the Rigveda by discussing the meanings of difficult words. In the 14th century, Sāyana wrote an exhaustive commentary on it. Other Bhāṣyas (commentaries) that have been preserved up to present times are those by Mādhava, Skandasvāmin and Veńkatamādhava.
[edit] Vedantic and Hindu reformist views
Since the 19th and 20th centuries, some reformers like Swami Dayananda, founder of the "Arya Samaj" and Sri Aurobindo have attempted to re-interpret the Vedas to conform to modern and established moral and spiritual norms. They moved the Vedantic perception of the Rigveda from the original ritualistic content to a more symbolic or mystical interpretation. For example, instances of animal sacrifice were not seen by them as literal slaughtering, but as transcendental processes.
The Sarasvati river, lauded in RV 7.95 as the greatest river flowing from the mountain to the sea is sometimes equated with the Ghaggar-Hakra river, which went dry perhaps before 2600 BC or certainly before 1900 BC. Others argue that the Sarasvati was originally the Helmand in Afghanistan. These questions are tied to the debate about the Indo-Aryan migration (termed "Aryan Invasion Theory") vs. the claim that Vedic culture together with Vedic Sanskrit originated in the Indus Valley Civilisation (termed "Out of India theory"), a topic of great significance in Hindu nationalism, addressed for example by Amal Kiran and Shrikant G. Talageri. Subhash Kak has claimed that there is an astronomical code in the organization of the hymns. Bal Gangadhar Tilak, also based on astronomical alignments in the Rigveda, in his "The Orion" (1893) claimed presence of the Rigvedic culture in India in the 4th millennium BC, and in his "Arctic Home in the Vedas" (1903) even argued that the Aryans originated near the North Pole and came south during the Ice Age.
[edit] Ancillary Texts
[edit] Rigveda Brahmanas
See also: Brahmana
Of the Brahmanas that were handed down in the schools of the Bahvṛcas (i.e. "possessed of many verses"), as the followers of the Rigveda are called, two have come down to us, viz. those of the Aitareyins and the Kaushitakins. The Aitareya-brahmana[29] and the Kaushitaki- (or Sankhayana-) brahmana evidently have for their groundwork the same stock of traditional exegetic matter. They differ, however, considerably as regards both the arrangement of this matter and their stylistic handling of it, with the exception of the numerous legends common to both, in which the discrepancy is comparatively slight. There is also a certain amount of material peculiar to each of them. The Kaushitaka is, upon the whole, far more concise in its style and more systematic in its arrangement features which would lead one to infer that it is probably the more modern work of the two. It consists of thirty chapters (adhyaya); while the Aitareya has forty, divided into eight books (or pentads, pancaka), of five chapters each. The last ten adhyayas of the latter work are, however, clearly a later addition though they must have already formed part of it at the time of Panini (ca. 5th c. BC), if, as seems probable, one of his grammatical sutras, regulating the formation of the names of Brahmanas, consisting of thirty and forty adhyayas, refers to these two works. In this last portion occurs the well-known legend (also found in the Shankhayana-sutra, but not in the Kaushitaki-brahmana) of Shunahshepa, whom his father Ajigarta sells and offers to slay, the recital of which formed part of the inauguration of kings. While the Aitareya deals almost exclusively with the Soma sacrifice, the Kaushitaka, in its first six chapters, treats of the several kinds of haviryajna, or offerings of rice, milk, ghee, &c., whereupon follows the Soma sacrifice in this way, that chapters 7-10 contain the practical ceremonial and 11-30 the recitations (shastra) of the hotar. Sayana, in the introduction to his commentary on the work, ascribes the Aitareya to the sage Mahidasa Aitareya (i.e. son of Itara), also mentioned elsewhere as a philosopher; and it seems likely enough that this person arranged the Brahmana and founded the schcol of the Aitareyins. Regarding the authorship of the sister work we have no information, except that the opinion of the sage Kaushitaki is frequently referred to in it as authoritative, and generally in opposition to the Paingya — the Brahmana, it would seem, of a rival school, the Paingins. Probably, therefore, it is just what one of the manuscripts calls it — the Brahmana of Sankhayana (composed) in accordance with the views of Kaushitaki.
[edit] Rigveda Aranyakas
See also: Aranyaka
Each of these two Brahmanas is supplemented by a "forest book", or Aranyaka. The Aitareyaranyaka is not a uniform production. It consists of five books (aranyaka), three of which, the first and the last two, are of a liturgical nature, treating of the ceremony called mahavrata, or great vow. The last of these books, composed in sutra form, is, however, doubtless of later origin, and is, indeed, ascribed by Hindu authorities either to Shaunaka or to Ashvalayana. The second and third books, on the other hand, are purely speculative, and are also styled the Bahvrca-brahmana-upanishad. Again, the last four chapters of the second book are usually singled out as the Aitareyopanishad, ascribed, like its Brahmana (and the first book), to Mahidasa Aitareya; and the third book is also referred to as the Samhita-upanishad. As regards the Kaushitaki-aranyaka, this work consists of 15 adhyayas, the first two (treating of the mahavrata ceremony) and the 7th and 8th of which correspond to the 1st, 5th, and 3rd books of the Aitareyaranyaka, respectively, whilst the four adhyayas usually inserted between them constitute the highly interesting Kaushitaki (brahmana-) upanishad, of which we possess two different recensions. The remaining portions (9-15) of the Aranyaka treat of the vital airs, the internal Agnihotra, etc., ending with the vamsha, or succession of teachers.
[edit] Manuscripts
There are 30 manuscripts of Rigveda at the Bhandarkar Oriental Research Institute, collected in the 19th century by Georg Bühler, Franz Kielhorn and others, originating from different parts of India, including Kashmir, Gujarat, the then Rajaputana, Central Provinces etc. They were transferred to Deccan College, Pune, in the late 19th century. They are in the Sharada and Devanagari scripts, written on birch bark and paper. The oldest of them is dated to 1464.
Of these 30 manuscripts, 9 contain the samhita text, 5 have the padapatha in addition. 13 contain Sayana's commentary. At least 5 manuscripts (MS. no. 1/A1879-80, 1/A1881-82, 331/1883-84 and 5/Viś I) have preserved the complete text of the Rigveda. MS no. 5/1875-76, written on birch bark in bold Sharada, was used by Max Müller for his edition of the Rigveda with Sayana’s commentary.
Max Müller used 24 manuscripts, while the Pune Edition used over five dozen manuscripts, but the editors of Pune Edition could not procure many manuscripts used by Max Müller and by Bombay Edition, as well as from some other sources ; hence the total number of extant manuscripts must surpass perhaps eighty at least[30]
[edit] Editions
editio princeps: Friedrich Max Müller, The Hymns of the Rigveda, with Sayana's commentary, London, 1849-75, 6 vols., 2nd ed. 4 vols., Oxford, 1890-92.
Theodor Aufrecht, 2nd ed., Bonn, 1877.
Sontakke, N. S., ed. (1933-46,Reprint 1972-1983.), Rgveda-Samhitā: Śrimat-Sāyanāchārya virachita-bhāṣya-sametā (First ed.), Pune: Vaidika Samśodhana Maṇḍala . The Editorial Board for the First Edition included N. S. Sontakke (Managing Editor), V. K. Rājvade, M. M. Vāsudevaśāstri, and T. S. Varadarājaśarmā.
B. van Nooten und G. Holland, Rig Veda, a metrically restored text, Department of Sanskrit and Indian Studies, Harvard University, Harvard University Press, Cambridge, Massachusetts and London, England, 1994.
[edit] Translations
The first published translation of any portion of the Rigveda in any Western language was into Latin, by Friedrich August Rosen (Rigvedae specimen, London 1830). Predating Müller's editio princeps of the text, Rosen was working from manuscripts brought back from India by Colebrooke.
H. H. Wilson was the first to make a complete translation of the Rig Veda into English, published in six volumes during the period 1850-88.[31] Wilson's version was based on the commentary of Sāyaṇa. In 1977, Wilson's edition was enlarged by Nag Sharan Singh (Nag Publishers, Delhi, 2nd ed. 1990).
In 1889, Ralph T.H. Griffith published his translation as The Hymns of the Rig Veda, published in London (1889).[32]
A German translation was published by Karl Friedrich Geldner, Der Rig-Veda: aus dem Sanskrit ins Deutsche Übersetzt, Harvard Oriental Studies, vols. 33–37 (Cambridge, Mass.: 1951-7).[33]
Geldner's tranlsation was the philologically best-informed to date, and a Russian translation based on Geldner's by Tatyana Yakovlena Elizarenkova was published by Nauka 1989-1999[34]
A 2001 revised edition of Wilson's translation was published by Ravi Prakash Arya and K. L. Joshi.[35] The revised edition updates Wilson's translation by replacing obsolete English forms with more modern equivalents, giving the English translation along with the original Sanskrit text in Devanagari script, along with a critical apparatus.
In 2004 the United States' National Endowment for the Humanities funded Joel Brereton and Stephanie W. Jamison as project directors for a new original translation to be issued by Oxford University Press.[36][37]
Numerous partial translations exist into various languages. Notable examples include:
A. A. Macdonell. Hymns from the Rigveda (Calcutta, London, 1922); A Vedic Reader for Students (Oxford, 1917).
French: A. Langlois, Rig-véda, ou livre des hymnes, Paris 1948-51 ISBN 2-7200-1029-4
Hungarian: Laszlo Forizs, Rigvéda - Teremtéshimnuszok (Creation Hymns of the Rig-Veda), Budapest, 1995 ISBN 963-85349-1-5 Hymns of the Rig-Veda
Wendy Doniger O'Flaherty issued a modern selection with a translation of 108 hymns, along with critical apparatus. A bibliography of translations of the Rig Veda appears as an Appendix that work.[38]
A new German translations of books 1 and 2 was presented in 2007 by Michael Witzel and Toshifumi Goto (ISBN 978-3-458-70001-2 / ISBN 978-3-458-70001-3).
A partial Hindi translation by Govind Chandra Pande was published in 2008 (by Lokbharti Booksellers and Distributors, Allahabad, covering books 3-5).
http://en.wikipedia.org/wiki/Rig_veda
The Rigvedic hymns are dedicated to various deities, chief of whom are Indra, a heroic god praised for having slain his enemy Vrtra; Agni, the sacrificial fire; and Soma, the sacred potion or the plant it is made from. Equally prominent gods are the Adityas or Asura gods Mitra-Varuna and Ushas (the dawn). Also invoked are Savitr, Vishnu, Rudra, Pushan, Brihaspati or Brahmanaspati, as well as deified natural phenomena such as Dyaus Pita (the shining sky, Father Heaven ), Prithivi (the earth, Mother Earth), Surya (the sun god), Vayu or Vata (the wind), Apas (the waters), Parjanya (the thunder and rain), Vac (the word), many rivers (notably the Sapta Sindhu, and the Sarasvati River). The Adityas, Vasus, Rudras, Sadhyas, Ashvins, Maruts, Rbhus, and the Vishvadevas ("all-gods") as well as the "thirty-three gods" are the groups of deities mentioned.
The hymns mention various further minor gods, persons, concepts, phenomena and items, and contain fragmentary references to possible historical events, notably the struggle between the early Vedic people (known as Vedic Aryans, a subgroup of the Indo-Aryans) and their enemies, the Dasa or Dasyu and their mythical prototypes, the Paṇi (the Bactrian Parna).
Rigveda (padapatha) manuscript in Devanagari, early 19th century. After a scribal benediction ("śrīgaṇéśāyanamaḥ ;; Aum(3) ;;"), the first line has the opening words of RV.1.1.1 (agniṃ ; iḷe ; puraḥ-hitaṃ ; yajñasya ; devaṃ ; ṛtvijaṃ). The Vedic accent is marked by underscores and vertical overscores in red.Mandala 1 comprises 191 hymns. Hymn 1.1 is addressed to Agni, and his name is the first word of the Rigveda. The remaining hymns are mainly addressed to Agni and Indra, as well as Varuna, Mitra, the Ashvins, the Maruts, Usas, Surya, Rbhus, Rudra, Vayu, Brhaspati, Visnu, Heaven and Earth, and all the Gods.
Mandala 2 comprises 43 hymns, mainly to Agni and Indra. It is chiefly attributed to the Rishi gṛtsamada śaunahotra.
Mandala 3 comprises 62 hymns, mainly to Agni and Indra and the Vishvedevas. The verse 3.62.10 has great importance in Hinduism as the Gayatri Mantra. Most hymns in this book are attributed to viśvāmitra gāthinaḥ.
Mandala 4 comprises 58 hymns, mainly to Agni and Indra as well as the Rbhus, Ashvins, Brhaspati, Vayu, Usas, etc. Most hymns in this book are attributed to vāmadeva gautama.
Mandala 5 comprises 87 hymns, mainly to Agni and Indra, the Visvedevas ("all the gods'), the Maruts, the twin-deity Mitra-Varuna and the Asvins. Two hymns each are dedicated to Ushas (the dawn) and to Savitr. Most hymns in this book are attributed to the atri clan.
Mandala 6 comprises 75 hymns, mainly to Agni and Indra, all the gods, Pusan, Ashvin, Usas, etc. Most hymns in this book are attributed to the bārhaspatya family of Angirasas.
Mandala 7 comprises 104 hymns, to Agni, Indra, the Visvadevas, the Maruts, Mitra-Varuna, the Asvins, Ushas, Indra-Varuna, Varuna, Vayu (the wind), two each to Sarasvati (ancient river/goddess of learning) and Vishnu, and to others. Most hymns in this book are attributed to vasiṣṭha maitravaruṇi.
Mandala 8 comprises 103 hymns to various gods. Hymns 8.49 to 8.59 are the apocryphal vālakhilya. Hymns 1-48 and 60-66 are attributed to the kāṇva clan, the rest to other (Angirasa) poets.
Mandala 9 comprises 114 hymns, entirely devoted to Soma Pavamana, the cleansing of the sacred potion of the Vedic religion.
Mandala 10 comprises additional 191 hymns, frequently in later language, addressed to Agni, Indra and various other deities. It contains the Nadistuti sukta which is in praise of rivers and is important for the reconstruction of the geography of the Vedic civilization and the Purusha sukta which has great significance in Hindu social tradition. It also contains the Nasadiya sukta (10.129), probably the most celebrated hymn in the west, which deals with creation. The marriage hymns (10.85) and the death hymns (10.10-18) still are of great importance in the performance of the corresponding Grhya rituals.
[edit] Dating and historical context
Geography of the Rigveda, with river names; the extent of the Swat and Cemetery H cultures are also indicated.The Rigveda is far more archaic than any other Indo-Aryan text. For this reason, it was in the center of attention of western scholarship from the times of Max Müller and Rudolf Roth onwards. The Rigveda records an early stage of Vedic religion. There are strong linguistic and cultural similarities with the early Iranian Avesta,[14] deriving from the Proto-Indo-Iranian times,[15][16] often associated with the early Andronovo culture of ca. 2000 BCE.[17] The Rigveda's core is accepted to date to the late Bronze Age, making it one of the few examples with an unbroken tradition. Its composition is usually dated to roughly between 1700–1100 BC.[18] The text in the following centuries underwent pronunciation revisions and standardization (samhitapatha, padapatha). This redaction would have been completed around the 6th century BC.[19] Exact dates are not established, but they fall within the pre-Buddhist period (500, or rather 400 BCE).
Writing appears in India around the 3rd century BC in the form of the Brahmi script, but texts of the length of the Rigveda were likely not written down until much later, the oldest surviving manuscript dating to the 11th century[citation needed], while some Rigveda commentaries may date from the second half of the first millennium CE. While written manuscripts were used for teaching in medieval times, they were written on birch bark or palm leaves, which decompose fairly quickly in the tropical climate, until the advent of the printing press from the 16th century. The hymns were thus preserved by oral tradition for up to a millennium from the time of their composition until the redaction of the Rigveda, and the entire Rigveda was preserved in shakhas for another 2,500 years from the time of its redaction until the editio princeps by Rosen, Aufrecht and Max Müller.
After their composition, the texts were preserved and codified by an extensive body of Vedic priesthood as the central philosophy of the Iron Age Vedic civilization. The Brahma Purana and the Vayu Purana name one Vidagdha as the author of the Padapatha.[20] The Rk-pratishakhya names Sthavira Shakalya of the Aitareya Aranyaka as its author.[21]
The Rigveda describes a mobile, semi-nomadic culture, with horse-drawn chariots, oxen-drawn wagons, and metal (bronze) weapons. The geography described is consistent with that of the Greater Punjab: Rivers flow north to south, the mountains are relatively remote but still visible and reachable (Soma is a plant found in the high mountains, and it has to be purchased from tribal people). Nevertheless, the hymns were certainly composed over a long period, with the oldest (not preserved) elements possibly reaching back to times close to the split of Proto-Indo-Iranian (around 2000 BC)[22] Thus there was some debate over whether the boasts of the destruction of stone forts by the Vedic Aryans and particularly by Indra refer to cities of the Indus Valley civilization or whether they rather hark back to clashes between the early Indo-Aryans with the BMAC in what is now northern Afghanistan and southern Turkmenistan (separated from the upper Indus by the Hindu Kush mountain range, and some 400 km distant). While it is highly likely that the bulk of the Rigvedic hymns were composed in the Punjab, even if based on earlier poetic traditions, there is no mention of either tigers or rice[23] in the Rigveda (as opposed to the later Vedas), suggesting that Vedic culture only penetrated into the plains of India after its completion. Similarly, there is no mention of iron as the term ayas occurring in the Rig Veda refers to useful metal in general. [24] The "black metal" (kṛṣṇa ayas) is first mentioned in the post-Rigvedic texts (Atharvaveda etc.). The Iron Age in northern India begins in the 10th century in the Greater Panjab and at the 12th century BC with the Black and Red Ware (BRW) culture. There is a widely accepted timeframe for the beginning codification of the Rigveda by compiling the hymns very late in the Rigvedic or rather in the early post-Rigvedic period, including the arrangement of the individual hymns in ten books, coeval with and the composition of the younger Veda Samhitas. This time coincides with the early Kuru kingdom, shifting the center of Vedic culture east from the Punjab into what is now Uttar Pradesh. The fixing of the samhitapatha (by keeping Sandhi) intact and of the padapatha (by dissolving Sandhi out of the earlier metrical text), occurred during the later Brahmana period.
Some of the names of gods and goddesses found in the Rigveda are found amongst other belief systems based on Proto-Indo-European religion, while words used share common roots with words from other Indo-European languages.
An author, N. Kazanas[25] in an argument against the so-called "Aryan Invasion Theory" suggests a date as early as 3100 BC, based on an identification of the early Rigvedic Sarasvati River as the Ghaggar-Hakra and on glottochronological arguments. This is in diametrical opposition to views in western academic historical linguistics, and supports the mainstream theory of Indian vedic scholars Out of India theory, which assumes a date as late as 3000 BC for the age of late Proto-Indo-European itself. Some writers based on astronomical calculations even claim dates as early as 4000 BC,[26] a date well within the Indian Neolithic.[27].
The horse (ashva), cattle, sheep and goat play an important role in the Rigveda. There are also references to the elephant (Hastin, Varana), camel (Ustra, especially in Mandala 8), ass (khara, rasabha), buffalo (Mahisa), wolf, hyena, lion (Simha), mountain goat (sarabha) and to the gaur in the Rigveda.[28] The peafowl (mayura), the goose (hamsa) and the chakravaka (Anas casarca) are some birds mentioned in the Rigveda.
[edit] Hindu tradition
According to Hindu tradition, the Rigvedic hymns were collected by Paila under the guidance of Vyāsa, who formed the Rigveda Samhita as we know it. According to the Śatapatha Brāhmana, the number of syllables in the Rigveda is 432,000, equalling the number of muhurtas (1 day = 30 muhurtas) in forty years. This statement stresses the underlying philosophy of the Vedic books that there is a connection (bandhu) between the astronomical, the physiological, and the spiritual.
The authors of the Brāhmana literature discussed and interpreted the Vedic ritual. Yaska was an early commentator of the Rigveda by discussing the meanings of difficult words. In the 14th century, Sāyana wrote an exhaustive commentary on it. Other Bhāṣyas (commentaries) that have been preserved up to present times are those by Mādhava, Skandasvāmin and Veńkatamādhava.
[edit] Vedantic and Hindu reformist views
Since the 19th and 20th centuries, some reformers like Swami Dayananda, founder of the "Arya Samaj" and Sri Aurobindo have attempted to re-interpret the Vedas to conform to modern and established moral and spiritual norms. They moved the Vedantic perception of the Rigveda from the original ritualistic content to a more symbolic or mystical interpretation. For example, instances of animal sacrifice were not seen by them as literal slaughtering, but as transcendental processes.
The Sarasvati river, lauded in RV 7.95 as the greatest river flowing from the mountain to the sea is sometimes equated with the Ghaggar-Hakra river, which went dry perhaps before 2600 BC or certainly before 1900 BC. Others argue that the Sarasvati was originally the Helmand in Afghanistan. These questions are tied to the debate about the Indo-Aryan migration (termed "Aryan Invasion Theory") vs. the claim that Vedic culture together with Vedic Sanskrit originated in the Indus Valley Civilisation (termed "Out of India theory"), a topic of great significance in Hindu nationalism, addressed for example by Amal Kiran and Shrikant G. Talageri. Subhash Kak has claimed that there is an astronomical code in the organization of the hymns. Bal Gangadhar Tilak, also based on astronomical alignments in the Rigveda, in his "The Orion" (1893) claimed presence of the Rigvedic culture in India in the 4th millennium BC, and in his "Arctic Home in the Vedas" (1903) even argued that the Aryans originated near the North Pole and came south during the Ice Age.
[edit] Ancillary Texts
[edit] Rigveda Brahmanas
See also: Brahmana
Of the Brahmanas that were handed down in the schools of the Bahvṛcas (i.e. "possessed of many verses"), as the followers of the Rigveda are called, two have come down to us, viz. those of the Aitareyins and the Kaushitakins. The Aitareya-brahmana[29] and the Kaushitaki- (or Sankhayana-) brahmana evidently have for their groundwork the same stock of traditional exegetic matter. They differ, however, considerably as regards both the arrangement of this matter and their stylistic handling of it, with the exception of the numerous legends common to both, in which the discrepancy is comparatively slight. There is also a certain amount of material peculiar to each of them. The Kaushitaka is, upon the whole, far more concise in its style and more systematic in its arrangement features which would lead one to infer that it is probably the more modern work of the two. It consists of thirty chapters (adhyaya); while the Aitareya has forty, divided into eight books (or pentads, pancaka), of five chapters each. The last ten adhyayas of the latter work are, however, clearly a later addition though they must have already formed part of it at the time of Panini (ca. 5th c. BC), if, as seems probable, one of his grammatical sutras, regulating the formation of the names of Brahmanas, consisting of thirty and forty adhyayas, refers to these two works. In this last portion occurs the well-known legend (also found in the Shankhayana-sutra, but not in the Kaushitaki-brahmana) of Shunahshepa, whom his father Ajigarta sells and offers to slay, the recital of which formed part of the inauguration of kings. While the Aitareya deals almost exclusively with the Soma sacrifice, the Kaushitaka, in its first six chapters, treats of the several kinds of haviryajna, or offerings of rice, milk, ghee, &c., whereupon follows the Soma sacrifice in this way, that chapters 7-10 contain the practical ceremonial and 11-30 the recitations (shastra) of the hotar. Sayana, in the introduction to his commentary on the work, ascribes the Aitareya to the sage Mahidasa Aitareya (i.e. son of Itara), also mentioned elsewhere as a philosopher; and it seems likely enough that this person arranged the Brahmana and founded the schcol of the Aitareyins. Regarding the authorship of the sister work we have no information, except that the opinion of the sage Kaushitaki is frequently referred to in it as authoritative, and generally in opposition to the Paingya — the Brahmana, it would seem, of a rival school, the Paingins. Probably, therefore, it is just what one of the manuscripts calls it — the Brahmana of Sankhayana (composed) in accordance with the views of Kaushitaki.
[edit] Rigveda Aranyakas
See also: Aranyaka
Each of these two Brahmanas is supplemented by a "forest book", or Aranyaka. The Aitareyaranyaka is not a uniform production. It consists of five books (aranyaka), three of which, the first and the last two, are of a liturgical nature, treating of the ceremony called mahavrata, or great vow. The last of these books, composed in sutra form, is, however, doubtless of later origin, and is, indeed, ascribed by Hindu authorities either to Shaunaka or to Ashvalayana. The second and third books, on the other hand, are purely speculative, and are also styled the Bahvrca-brahmana-upanishad. Again, the last four chapters of the second book are usually singled out as the Aitareyopanishad, ascribed, like its Brahmana (and the first book), to Mahidasa Aitareya; and the third book is also referred to as the Samhita-upanishad. As regards the Kaushitaki-aranyaka, this work consists of 15 adhyayas, the first two (treating of the mahavrata ceremony) and the 7th and 8th of which correspond to the 1st, 5th, and 3rd books of the Aitareyaranyaka, respectively, whilst the four adhyayas usually inserted between them constitute the highly interesting Kaushitaki (brahmana-) upanishad, of which we possess two different recensions. The remaining portions (9-15) of the Aranyaka treat of the vital airs, the internal Agnihotra, etc., ending with the vamsha, or succession of teachers.
[edit] Manuscripts
There are 30 manuscripts of Rigveda at the Bhandarkar Oriental Research Institute, collected in the 19th century by Georg Bühler, Franz Kielhorn and others, originating from different parts of India, including Kashmir, Gujarat, the then Rajaputana, Central Provinces etc. They were transferred to Deccan College, Pune, in the late 19th century. They are in the Sharada and Devanagari scripts, written on birch bark and paper. The oldest of them is dated to 1464.
Of these 30 manuscripts, 9 contain the samhita text, 5 have the padapatha in addition. 13 contain Sayana's commentary. At least 5 manuscripts (MS. no. 1/A1879-80, 1/A1881-82, 331/1883-84 and 5/Viś I) have preserved the complete text of the Rigveda. MS no. 5/1875-76, written on birch bark in bold Sharada, was used by Max Müller for his edition of the Rigveda with Sayana’s commentary.
Max Müller used 24 manuscripts, while the Pune Edition used over five dozen manuscripts, but the editors of Pune Edition could not procure many manuscripts used by Max Müller and by Bombay Edition, as well as from some other sources ; hence the total number of extant manuscripts must surpass perhaps eighty at least[30]
[edit] Editions
editio princeps: Friedrich Max Müller, The Hymns of the Rigveda, with Sayana's commentary, London, 1849-75, 6 vols., 2nd ed. 4 vols., Oxford, 1890-92.
Theodor Aufrecht, 2nd ed., Bonn, 1877.
Sontakke, N. S., ed. (1933-46,Reprint 1972-1983.), Rgveda-Samhitā: Śrimat-Sāyanāchārya virachita-bhāṣya-sametā (First ed.), Pune: Vaidika Samśodhana Maṇḍala . The Editorial Board for the First Edition included N. S. Sontakke (Managing Editor), V. K. Rājvade, M. M. Vāsudevaśāstri, and T. S. Varadarājaśarmā.
B. van Nooten und G. Holland, Rig Veda, a metrically restored text, Department of Sanskrit and Indian Studies, Harvard University, Harvard University Press, Cambridge, Massachusetts and London, England, 1994.
[edit] Translations
The first published translation of any portion of the Rigveda in any Western language was into Latin, by Friedrich August Rosen (Rigvedae specimen, London 1830). Predating Müller's editio princeps of the text, Rosen was working from manuscripts brought back from India by Colebrooke.
H. H. Wilson was the first to make a complete translation of the Rig Veda into English, published in six volumes during the period 1850-88.[31] Wilson's version was based on the commentary of Sāyaṇa. In 1977, Wilson's edition was enlarged by Nag Sharan Singh (Nag Publishers, Delhi, 2nd ed. 1990).
In 1889, Ralph T.H. Griffith published his translation as The Hymns of the Rig Veda, published in London (1889).[32]
A German translation was published by Karl Friedrich Geldner, Der Rig-Veda: aus dem Sanskrit ins Deutsche Übersetzt, Harvard Oriental Studies, vols. 33–37 (Cambridge, Mass.: 1951-7).[33]
Geldner's tranlsation was the philologically best-informed to date, and a Russian translation based on Geldner's by Tatyana Yakovlena Elizarenkova was published by Nauka 1989-1999[34]
A 2001 revised edition of Wilson's translation was published by Ravi Prakash Arya and K. L. Joshi.[35] The revised edition updates Wilson's translation by replacing obsolete English forms with more modern equivalents, giving the English translation along with the original Sanskrit text in Devanagari script, along with a critical apparatus.
In 2004 the United States' National Endowment for the Humanities funded Joel Brereton and Stephanie W. Jamison as project directors for a new original translation to be issued by Oxford University Press.[36][37]
Numerous partial translations exist into various languages. Notable examples include:
A. A. Macdonell. Hymns from the Rigveda (Calcutta, London, 1922); A Vedic Reader for Students (Oxford, 1917).
French: A. Langlois, Rig-véda, ou livre des hymnes, Paris 1948-51 ISBN 2-7200-1029-4
Hungarian: Laszlo Forizs, Rigvéda - Teremtéshimnuszok (Creation Hymns of the Rig-Veda), Budapest, 1995 ISBN 963-85349-1-5 Hymns of the Rig-Veda
Wendy Doniger O'Flaherty issued a modern selection with a translation of 108 hymns, along with critical apparatus. A bibliography of translations of the Rig Veda appears as an Appendix that work.[38]
A new German translations of books 1 and 2 was presented in 2007 by Michael Witzel and Toshifumi Goto (ISBN 978-3-458-70001-2 / ISBN 978-3-458-70001-3).
A partial Hindi translation by Govind Chandra Pande was published in 2008 (by Lokbharti Booksellers and Distributors, Allahabad, covering books 3-5).
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