Understanding the concept of Sun god in Ancient Indian culture & it's importance,
In this thread two aspects "Sūrya" & "Savitṛ" analysed in detail.
With the rising and setting, the Sun creates the day and night. Being the creator of the day and night, it provides heat and light towards the whole universe and gives food and vegetation to all the creatures.
Different aspects and positions of the Sun have given rise to independent Sun-gods in the Vedic literature and thus a group of solar divinities is formed.
In the Bṛhaddevatā, Śaunaka directs the Sun as the very soul of all other gods
In the Chāndogyopaniṣad, the Sun-god is worshipped as the symbol of Brahman.
The rising, mounting and setting are the three important aspects of the Sun. In his stimulative aspect, Sūrya is worshipped under the name Savitṛ, cf. savitā sarvasya prasavitā. Varuṇa is the nocturnal Sun. Mitra is regarded as the Sun-god of the day.
In his friendly aspect, he is called Mitra. Being Mitra, he preserves the whole universe from destruction.
Again, Sūrya is Viṣṇu, the god of wide space, representing the sunbeam in the sky. Sūrya is called Pūṣan, nourishing the whole world with its abundance of rays.
Again, besides these, Sūrya is invoked in the Vedic literature under the names Bhaga, Vivasvat, the Aśvins, Aryaman, Parjanya, etc. In this way, several names are found used for the Sun-god and a common group of Āditya is formed.
Sūrya is the most concrete of the solar deities that represents the simplest and most direct form. The bright orb of the Sun is praised highly in the Ṛgvedasaṃhitā.
In the Vedic literature, Sūrya is mentioned as moving on a car with one steed, i.e. etaśa, or seven mares called haritaḥ, or seven horses, i.e. aśva, or with indefinite number of steeds. His horses are commonly called ketavaḥ, i.e. the rays of the Sun.
Sāyaṇācārya has clearly stated that saptaharitaḥ are simply his rays
Even after death also, as stated in the Ṛgvedasaṃhitā, the sunrays lead man to Brahmaloka.
In his luminous form, Sūrya is compared to the golden disc or ornament that shines in the sky.
The atmospheric aspect of Sūrya is well-delineated in the Vedas. Sūrya shines in the firmament and enlightens the whole universe. He is called śukra for his brightness
Sūrya is the god with scorching heat and light. The moon and all the planets of the sky borrow their light away
from the Sun and shine in the sky. For such Sūrya is called jyotiṣkṛt.("taraṇirviśvadarśato jyotiṣkṛdasi sūrya/ ṚV 1.50.4) The moon is called Āditya for taking its light away from the Sun (SBr 11.8.3.11)
The Aitareyabrāhmaṇa also, points out that the moon is born of the Sun:
ādityād vai candramā jāyate/ (45.5)
There is very nice passage in Taittirīyasaṃhitā, 3.2.2.2, The Vedic seer observes that the Sun, as if, wears the dirty clothes at the night and in the morning he wears the clean clothes
In the Bṛhadāraṇyakopaniṣad, Sūrya is invoked as that supreme power, which is capable of destroying the ignorance with his light. Sūrya is invoked to unveil the face of Satya Brahman by spreading his rays that is covered with the veil of ignorance
In the Vedas, Sūrya is compared to a horse that drives the year or saṃvatsara in the form of one-wheeled chariot RV 1.164.2
Again, the one wheeled-chariot is mentioned with the twelve spokes, i.e. dvādaśāra By these 12 spokes, 12 months of the year are interpreted.
The golden deity Savitṛ is mentioned in the Vedas as the supporter of the sky, i.e. divo dhartā (RV 4.53.2)
Savitṛ diffuses his rays preceded by Uṣas,impels Sūrya, and impels the car of the Aśvins.
Sāyaṇācārya has interpreted the identification of the two divinities, Savitṛ and Sūrya by saying that though they are same as regards their divinity, but they are different in their forms and one may go to the other
In the SBr, they are said as identical, in the Upaniṣads by means of Savitṛ prayer, the worship of the Sun is ordained.(Maitrī Up 6.7)
The atmospheric character of Savitṛ becomes clear with his portrayal in the Vedas as the illuminator of the three regions, viz. the air, heaven and earth. The brightness of the deity illumines the eight points of the earth, along with three desert regions and the seven rivers.
Besides this, Savitṛ conveys the departed spirit to the righteous.
He is mentioned in the Vedas as the highest light. He is worshipped to bring the light.
Savitṛ is praised in the Gāyatrīmantra. Not only in the Saṃhitās, but in the Brāhmaṇas, Āraṇyakas, Upaniṣads and Sūtras also, the application of Gāyatrīmantra is mentioned. In the Ṛgvedasaṃhitā, in a single verse only the invocation occurs.(3.62.10)
The Gāyatrīmantra contains the notion that solar light is the symbol of ultimate knowledge and reality.
Savitṛ is worshipped along with the other gods in the Agnihotra sacrifice, and aṣṭakapāla offerings. He is the divine object of meditation.
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Debunking The myth of the
So-called "Puras(forts)" in RigVeda, which According to Parpola was in BMAC where forts in circular shapes were found, the shape described in the early parts of the Rigveda as the enemy forts of Indra.
Parpola (1988) extracts the Rgvedic verses where Indra, the purandara 'fort-destroyer' is active in the destruction of the ninety-nine or hundred puras 'forts' of his enemies, the Dasas. Based on a verse from the Satapatha Brahmana (6.3.3.24-25),
and drawing on the work of Wilhelm Rau, Parpola proposes that a significant feature of these forts is that they are tripura, or have a threefold structure
Rig Veda 1.22.17
"Viṣṇu traversed this (world); three times he plural nted his foot and the whole (world) was collected in the dust of his (footstep).”
Ṛṣi (sage/seer): medhātithiḥ kāṇvaḥ
the three paces of Viṣṇu imply the presence of Viṣṇu in the three regions of earth, air and heaven, in the forms of Agni, Vāyu and Sūrya, fire, wind and the sun.
According to Śākapūṇi, the step was on earth, in the firmament, in heaven; according to Aurṇavābha on Samārohaṇa or the eastern mountain, on Viṣṇupada the meridian sky and Gayaśiras the western mountain,
Historisity of Ikshvaku dynasty with the help of Rig Veda
the Vedas were composed orally and they always were and still are, to some extent, oral literature. They must be regarded as tape recordings, made during the Vedic period and transmitted orally, and usually without the change of a single word.” (WITZEL 1997b:258).
Even this AMT fan Witzel admits Vedas are like tape recordings. So we can rely on them for historical analysis
The five aspects of Śiva known collectively as the Pañchabrahmās and whose individual names are
Īśāna,
Tatpuruṣa,
Aghora,
Vāmadeva
and Sadyojāta
are emanations from the niṣkala-Śiva
Each face symbolising the five elements.
"Here I am only presenting the Ishana aspect of Shiva & its connection with Vedas".
In the Shiva Purana, Ishana is described as a form or aspect of Shiva. The Purana states that Ishana bestows knowledge and riches on those with intelligence, while curbing evil-doers.
The basic ratios adopted in Dholavira’s plan, r = 5/4 or 1.25 (for the castle, the town, and a few other internal proportions) and 7/6 (for the middle town), must have held a special significance in the Harappan mind, most likely an auspicious one. Indeed, it is quite remarkable
The name Kāśyapa corresponds to what we find in the Pāli Alambusā Jātaka (where the son Isisiṅga is called Kassapa, and he calls his father ‘Kassapa’) and in the Mahāsāṃghika Vinaya,
but particularly to the Vedic, Epic and Purāṇic tradition, where the protagonist of this story, Ṛśyaśṛṅga or Ṛṣyaśṛṅga, is regularly connected with the Kāśyapa Gotra (Lüders 1940: 1; Keith and Macdonell 1912, I: 118)