Showing posts with label Vedic. Show all posts
Showing posts with label Vedic. Show all posts

Saturday, February 11, 2012

Gayatri - गायत्री



Gayatri (Sanskrit: गायत्री, gāyatrī) is the feminine form of gāyatra, a Sanskrit word for a song or a hymn. Gayatri is a consort of Brahma and the goddess of learning.[1] Brahma married her when there was a need for a companion during a yajna.[1] Brahma had to start the yajna along with his wife.[1] His wife, Savatri, could not be found at the time so Brahma asked Indra to help him find a solution and Indra found Gayatri, who some believe, came from the Gurjar community.[2]. So Brahma married Gayatri to start the yajna in time.[1]

Upset by this act, Savatri cursed Brahma that he would not be worshipped on earth except at Pushkar.

Originally the personification of the Gayatri mantra, and revered by Hindus worldwide, the goddess Gāyatrī is considered the veda mata, the mother of all Vedas and also the personification of the all-pervading Parabrahman, the ultimate unchanging reality that lies behind all phenomena. Gayatri Veda Mata is seen by many Hindus to be not just a Goddess, but a portrayal of Brahman himself, in the feminine form. Essentially, the Goddess is seen to combine all the phenomenal attributes of Brahman, including Past, Present and Future as well as the three realms of existence. Goddess Gāyatrī is also worshipped as the Hindu Trimurti combined as one. In Hinduism, there is only one creation who can withstand the brilliance of Aditya and that is Gāyatrī. Some also consider her to be the mother of all Gods and the culmination of Lakshmi, Parvati and Sarasvati.

Gāyatrī is typically portrayed as seated on a red lotus, signifying wealth or else on a swan or peacock.[1] She appears in either of these forms:

Having five heads with the ten eyes looking in the eight directions plus the earth and sky, and ten arms holding all the weapons of Vishnu, symbolizing all her reincarnations.[citation needed]
Accompanied by a white swan, holding a book to portray knowledge in one hand and a cure in the other, as the goddess of Education.

It is a Sanskrit word, Ga means to sing, Yatri means Protection. Gayatri has three phases and so it is called tripada. It is also called tripada because it is Vedmata, Devmata and Vishwamata. Vedas have originated from Gayatri mantra and so it is known as Vedmata. It is Devmata because it helps in manifestation of divine virtues (gun), actions (karma) and nature (swabhav).

From: Wiki
 
Gayatri is a Sanskrit word, made up of two words "Gaa" and "Yatree". "Gaa" means to sing and "Yatree" means protection. Hence it means that those who "worship Gayatri gets protected". Goddess Gayatri is considered as the essence of Upnishads. Gayatri mantra was written and developed by Brahmarishi Vishwamitra. The Puranas mention that only 24 Rishis since ancient time have understood the whole meaning and used the whole power of the Gayatri Mantra. Rishi Vishvamitra is supposed to be the first and Rishi Yajnavalkya the last.

Introduction :-
Gayatri is known as Veda Mata i.e. the mother of all Four Vedas. A person totally devoted to Goddess Gayatri can achieve great success in the path of self advancement as Goddess Gayatri inspires man towards righteous.

Gayatri on swan and lotus:-
It is said that Goddess Gayatri resides in each and every human heart in the form of a swan. If a person meditates deep within he sees a swan which is considered as goddess Gayatri. The swan is the symbol of God realization. The lotus is considered as seat of Goddess Gayatri which means the presence of Divinity and wealth.

From: here
 
Gayatri Devi is an incarnation of Saraswati Devi, consort of Lord Brahma, symbolising the "shakti" (strength) and "dev" (quality) of Knowledge, Purity and Virtue. Saraswati Devi is held to be the patronness of the Arts, being a poet and musician, as well as skillful composer. In the form of Gayatri Devi, with the blessings of Lord Brahma, she is believed to have given the four Vedas to mankind.
Goddess Gayatri

Gayatri is depicted seated on a lotus. She is depicted with five faces representing the pancha pranas /pancha vayus(five lives/winds): prana, apana,vyana, udana, samana, of the five principles/ elements (pancha tatwas) earth, water, air, fire, sky (prithvi, jala, vayu, teja, aakasha). She has 10 hands carrying the five ayudhas: shankha; chakra, kamala, varada, abhaya, kasha, ankusha, ujjwala utensil, rudrakshi mala.

Gayatri, Savitri and Saraswati are three goddesses representing the presiding deities of the famous Gayatri mantra chanted thrice a day. Gayatri is the presiding deity of the morning prayer and rules over the Rigveda and the garhapatya fire. Every grihasta (householder) was expected to keep 5 or 3 sacred fires ( Five fires: ahavaneeya, dakshagni, garhapatya, sawta, aavasadha.) in his house to perform Vedic rituals.

From: here
 
Gayatri is the name of one of the most important Vedic hymns consisting of twenty-four syllables. This hymn is addressed to Lord Surya (Sun) as the supreme generative force. The hymn says, "We meditate on that glorious light of the divine Surya, may he, the lord of light illuminate our minds".

One of the sacred texts says, "The Gayatri is Brahma, Gayatri is Vishnu, Gayatri is Shiva, the Gayatri is Vedas" Gayatri later came to be personified as a Goddess. She is shown as having five heads and is usually seated within a lotus. The four heads of Gayatri represent the four Vedas and the fifth one represents almighty God. In her ten hands, she holds all the symbols of Lord Vishnu. She is another consort of Lord Brahma.

From: here
 
The Gayatri is the divine power that transforms the human into the divine and blesses Man with a brilliant light of the highest spiritual illumination. The nature of the Gayatri Mantra is such that you can repeat it while meditating on any form you like. It is generally conceived of as a female deity by the majority of devotees. One who worships God as mother adheres to this belief. But in it's true light, the Gayatri never speaks of a female at all. You cannot find a single word in the entire Gaytri Mantra, which speaks of a female.

The feminine form of the word Gayatri cannot make it's deity a female. Gayatri is discribed as having five faces. She is worshipped as a Panchamukhi, Five-Faced Goddess. The first is "Aum". The second is "Bhoorbhuvassvah". The third is "Thathsavithur Varenyam". The fourth is "Bhargo Devasya Dheemahie". The fifth is "Dheeyo yo nah prachoedayaath". Gayathri represents these five faces the five Pranas (life forces). She is the protector of the five Pranas in Man. Gayathri is the embodiment of all deities. It is not related to any particular sect, caste, idol or institution.

From: here
 
The five faced and ten armed Gayatri is one of the popular Brahmanical female divinities, though she is neither one the seven Matrikas nor one of the ten Mahavidyas. Puranas attribute to her a myth or two, personalise and associate her with Brahma as one of his consorts, many scholars, however, and perhaps more reasonably, opine that Gayatri personifies the Shakti energy, of the Vedic 'mantra' of the same name, not a goddess as is Parvati or Lakshmi. The Vedic Gayatri 'mantra' is revered as the supreme of all 'mantras' and the 'shakti' that it generated as the apex of 'mantra-shakti'. In all probabilities India's visual culture humanised this 'mantra-shakti' as the goddess Gayatri and gave her the name of the Vedic 'mantra'.

The Brahma Purana alludes to Gayatri as one of Brahma's consorts, though this allusion itself has symbolic dimension. Once Brahma was going to perform a 'yajna'. He wanted his other consort Swara to accompany him in performing it. Swara was not, however, available at that time. As mandated under ritual norms, the 'yajna' could not be accomplished singly without a consort. Brahma hence asked his other consort Gayatri to sit with him and perform the necessary rites. In the meantime Swara came back. She lost her temper as soon as she saw Gayatri seated with Brahma in her place for the 'yajna'. Infuriated Swara cursed her to turn into a river. However, before the curse materialised Gayatri accomplished the 'yajna'. In the Puranic tradition, Gayatri hence symbolises in simultaneity the 'mantra-shakti' for which she initially stood, sacred river by Swara's curse, and accomplishment of 'yajna' for being instrumental in performing it.

Perhaps for her diverse attributes, Gayatri subsequently emerged as one of the most powerful Tantrika deities. She is often meditated on as an aspect of Mahalakshmi. Though in the north not many shrines are devoted to her, she is in live worship all over, and is the presiding deity in various Tantrika practices. However, in South she is one of the most popular female divinities worshipped on par with Padmavati. The five-faced coral complexioned goddess represents multi-faceted female energy and thus embodies in one supreme form all feminine potentials manifesting in different individual goddesses. Though the deity's complexion is all over the same, her all five faces have different colours suggestive of energy's different constituents. She is required to deliver various goods and hence her ten hands, carrying different attributes disc, mace, wine cup, lotuses, conch, goad and cane, besides, two hands in the posture of 'Abhaya' and 'Varada' assuring fearlessness and bestowing bliss. In her usual iconography she carries also a whip and noose and hardly ever imparts 'Abhaya' and 'Varada'. The artist in the painting has substituted with 'Abhaya' and 'Varada' at least two instruments of war, perhaps for perceiving in her a more benevolent protective and bliss-bestowing mother, not much of a chastiser. Alike, not splendour, the painting strives at attaining a kind of cosmic mysticism, which its background reveals. From its oceanic depths and against its darkness she illuminates like rising sun which the colour of her body, costume and lotuses symbolises. Tantrikas revere Gayatri as the most auspicious and as one whose bare presence accomplishes all desired.

From: here
 
Also see:

Painting One
Painting Two
Painting Three
More paintings
Shri Gayatri Yantram



Also, because the Gayatri mantra is so closely linked to her, here are tons of links about it (meaning, interpretation, signifigance, etc)--
Wikipedia
Gayatri Mantra - Detailed Meaning and Exposition
Gayatri by Words - A detailed explanation behind each word
Meaning
Mantra
Importance of Gayartri Mantra
Gayarti
THE POWER AND THE POTENCY OF THE GAYATRI MANTRA
Gayatri Mantra - गायत्री मंत्र
The Gayatri Mantra - Inner Meaning & Analysis of the Most Popular Hindu Hymn
Mantra
Gayatri Mantra - Meaning and Translation
The Gayatri Mantra

The Mantra with meaning, etc
Gayatri Mantra

Saturday, December 24, 2011

Usha/Ushas



Copyright Lisa Hunt. Website.
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Ushas (उषः; uṣás-), Sanskrit for "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. She is the daughter of Dyaus "Heaven", divó duhitâ (e.g. RV 6.64.5).
Twenty out of 1028 hymns in the Rig Veda are dedicated to Dawn: Book 7 has seven hymns, books 4–6 have two hymns each, and the younger books 1 and 10 have six and one respectively.
E. g. RV 6.64.1-2 (trans. Griffith):
1. The radiant Dawns have risen up for glory, in their white splendour like the waves of waters. She maketh paths all easy, fair to travel, and, rich, hath shown herself benign and friendly. 2. We see that thou art good: far shines thy lustre; thy beams, thy splendours have flown up to heaven. Decking thyself, thou makest bare thy bosom, shining in majesty, thou Goddess Morning. The name is an s-stem, i.e. the genitive case is uṣásas. It is from PIE *h₂ausos-, cognate to Greek *Ηως and Latin Aurora.
From: Ushas - Wikipedia, the free encyclopedia

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If you catch the light just before the sun appears, early in the morning, be sure to greet her. Her name is Ushas. The Goddess of Dawn.

The night is dark and deep when Ushas rises and her mother, the sky, begins to adorn her. She uses hope to cloth her, life to anoint her with and light for her ornaments. Her sister, the night, lends her the magic while retaining the mystery. Ushas has the magic of looking at everybody at the same time.

It is then that the sun catches sight of her. Resplendent is golden hue, the sun falls in love with this young maiden born anew everyday, keeper of time and youth. As Ushas appears above the sky, riding a hundred chariots, the sun, madly in love with this beautiful maiden, chases her. She spreads her love and his light across the sky bringing a new day for mankind smiling to herself for she knows well that the sun is racing her. The romance of the day makes the birds chatter, the streams gurgle, the lotus blossom and the bee gets more intoxicated with the nectar he sucks in.

She dances and sings and spreads cheer all around. Darkness runs away and bad dreams die at the opening of the day. Evil spirits rush to hide for all is visible now.

And suddenly the sun catches up with her and holds her in embrace as the day is all light and sunlight to finally surrender once again to the night.

Ushas is a Rig Vedic deity who is the most beautiful maiden personifying the charm of dawn. Since she precedes light, she is also called the Mother Goddess. In the Rig Veda the description of the break of dawn, of the emergence of Ushas, is perhaps the most beautiful passage. She is described as the one who untiringly rises every morning as though born anew to bring life to mankind, to satisfy all their longings and give new strength to every spirit.

The changing colours at dawn are likened to the different robes of a dancing girl while the golden tipped clouds that appear just before sunrise are like bridal jewellery. Ushas is portrayed as a shy maiden, conscious of her beauty but modest and entering society under the protection of her mother. Even mythology is fascinated by the chauvinist model and over thousands of years the readers of the Vedas have drawn great pleasure in imagining the shy maiden being followed by the macho sun and finally her surrender. The story of this romance which all of us see everyday, but often fail to heave that deep sigh of longing, caught as we were in the nitty gritty affairs of the sunlit day, brings gifts for all mankind; wealth for those who seek it, education for those others, contentment to some and salvation to yet others.
From: Ushas, Mother Goddess, Goddess of Dawn
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In the Rig Veda the goddess Usha is consistently associated with and often identified with the dawn. She reveals herself in the daily coming of light to the world. She has been described in the Rig Veda as a young maiden drawn by one hundred horses. She brings forth light and is followed by the sun who urges her onwards. She is praised for driving away, or is petitioned to drive away, the oppressive darkness. She is asked to chase away evil demons. As the dawn she is said to rouse all life, to set all things in motion and to send people off to do their duties. She sends the curled-up sleepers on their way to offer their sacrifices and thus render service to the other gods.

Usha gives strength and fame. She is that which impels life and is associated with the breath and life of all living creatures. She is associated with, or moves with cosmic, social and moral order. As the regularly recurring dawn she reveals and participates in cosmic order and is the foe of chaotic forces that threaten the world. Usha is generally held as an auspicious goddess associated with light and wealth, and is often likened to a cow.

In the Rig Veda she is also called 'the mother of cows' and like a cow that yields its udder for the benefit of people, so Usha bares her breasts to bring light for the benefit of human kind. Although she is usually described as a young and beautiful maiden, she is also called 'the mother of the gods and the ashwins'. Considered as mother by her petitioners she tends to all things like a good matron and goddess of the earth. She is said to be 'the eye of the gods' and is referred to as 'she who sees all', but is rarely invoked to forgive human transgressions. It is more typical to invoke her in times of need to drive away or punish one's enemies.

Usha is known as the goddess, reality or presence that bears away youth. She is described as 'a skilled huntress who wastes away the lives of people'. In accordance with the ways of Rita she wakes all living things but does not disturb the person who sleeps in death. As the recurring dawn, Usha is not only celebrated for bringing light from darkness, she is also petitioned to grant long life, as she is a constant reminder of peoples' limited time on earth. She is the mistress or marker of time.

The ancient Vedic tradition has viewed Usha as the harbinger of light, awareness, activity. People divided time into the form of day and night. At night all creation rests and in the day the whole of creation is active. The transformation which takes place from night to day is known to be the attribute of Usha, the awareness that stirs up the activity of creation, the light that gives sight to the eyes, that gives power to the senses, that gives power to the mind and intellect, Usha has been regarded as the light, or the dawn of human consciousness.
From: Vedic Gods & Goddesses
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HYMN LIL Dawn.
1. THIS Lady, giver of delight, after her Sister shining forth, Daughter of Heaven, hath shown herself.-
2 Unfailing, Mother of the Kine, in colour like a bright red mare,
The Dawn became the Asvins' Friend.
3 Yea, and thou art the Asvins' Friend, the Mother of the Kine art thou:
O Dawn thou rulest over wealth.
4 Thinking of thee, O joyous One, as her who driveth hate away,
We woke to meet thee with our lauds.
5 Our eyes behold thy blessed rays like troops of cattle loosed to feed.
Dawn hath filled full the wide expanse.
6 When thou hast filled it, Fulgent One! thou layest bare the gloom with light.
After thy nature aid us, Dawn.
7 Thou overspreadest heaven with rays, the dear wide region of mid-air.
With thy bright shining lustre, Dawn

Varuna

वरुण
God of:Order (ṛta), Law, the Sky and the Ocean
Affiliation: Aditya, Asura but later on as a Deva, Guardians of the directions
Abode: Celestial ocean (Rasā)
Mantra: Oṃ Vaṃ Varuṇāya Namaḥ
Weapon: Pasha (Lasso) or Varunastra
Consort: Varuni
Mount: Makara (Hindu mythology)
Planet: Venus

Though he only has about a dozen hymns addressed to him in the Rig Veda, Varuna seems to be one of the most important of the Vedic gods. In pre-Vedic times, he was the supreme lord of the cosmos, the keeper of divine order, the bringer of rain, the enforcer of contracts. He is called omnipotent and omniscient; he is responsible for the sun to move in the sky, for day and night to stay separate, and for the earth to keep its form; he watches the flight of every bird, is present at every gathering, and knows every thought.

His name means "he who covers", and this probably refers to the sky. Varuna is the keeper of the cosmic order, a force called rta. It is rta which keeps everything working as it should, and Varuna's role as the one who governs rta makes him very important indeed. He is very closely linked to the god Mitra. Varuna is one of the Adityas and considered to be an asura, when those beings were still god-like and had not yet degenerated into demons. He is also associated with the moon and Soma, in Soma's incarnation as the drink of the gods. Varuna is seen as a white man in golden armor riding a Makara (a sea monster), holding a noose or lasso made from a snake.

Varuna is the keeper of the celestial waters, those which flow from the openings in the sky in the form of rain. He was worshiped with veneration and a healthy amount of fear, for as an asura Varuna did have his sinister aspects and was known to punish mortals who did not keep their word. He was the cosmic hangman and his usual method of punishment was to capture the offender with his noose. He was also a lord of the dead, a position he shared with Yama, and could confer immortality if he so chose.

In Vedic times, the worship of Varuna fell off as he was supplanted by Indra as king of the gods. One possible reason for this may go back to Indra's most famous exploit. When Vritra stole all the waters of the universe, the waters which Varuna was in charge of, it was Indra who had to fight the demon and get them back. It may have been because of this that Indra was able to supplant the overlordship of Varuna and become lord of the gods himself. Varuna then became god of the oceans and rivers; still important, but with hardly the grandeur he once had. The souls of those who drowned went to him, and he was attended by the nagas.
Varuna faded away with the ascendancy of Shiva and Vishnu. His lofty position may have lived on, however, for he may be the same as the Zoroastrian supreme god Ahura Mazda.

FROM: "Varuna"
© MCMXCV - MMVI Encyclopedia Mythica™. All rights reserved.
One of his hymns in the Rig Veda:
HYMN XXV. Varuṇa.
1 WHATEVER law of thine, O God, O Varuṇa, as we are men,
Day after day we violate.
2 give us not as a prey to death, to be destroyed by thee in wrath,
To thy fierce anger when displeased.
3 To gain thy mercy, Varuṇa, with hymns we bind thy heart, as binds
The charioteer his tethered horse.
4 They flee from me dispirited, bent only on obtaining wealth,
As to their nests the birds of air.
5 When shall we bring, to be appeased, the Hero, Lord of warrior might,
Him, the far-seeing Varuṇa?
6 This, this with joy they both accept in common: never do they fail
The ever-faithful worshipper.
7 He knows the path of birds that fly through heaven, and, Sovran of the sea,
He knows the ships that are thereon.
8 True to his holy law, he knows the twelve moons with their progeny:
He knows the moon of later birth.
9 He knows the pathway of the wind, the spreading, high, and mighty wind:
He knows the Gods who dwell above.
10 Varuṇa, true to holy law, sits down among his people; he,
Most wise, sits there to govern all.
11 From thence perceiving he beholds all wondrous things, both what hath been,
And what hereafter will be done.
12 May that Āditya, very wise, make fair paths for us all our days:
May he prolong our lives for us.
13 Varuṇa, wearing golden mail, hath clad him in a shining robe.
His spies are seated found about.
14 The God whom enemies threaten not, nor those who tyrannize o’er men,
Nor those whose minds are bent on wrong.
15 He who gives glory to mankind, not glory that is incomplete,
To our own bodies giving it.
16 Yearning for the wide-seeing One, my thoughts move onward unto him,
As kine unto their pastures move.
17 Once more together let us speak, because my meath is brought: priest-like
Thou eatest what is dear to thee.
18 Now saw I him whom all may see, I saw his car above the earth:
He hath accepted these my songs.
19 Varuṇa, hear this call of mine: be gracious unto us this day
Longing for help I cried to thee.
20 Thou, O wise God, art Lord of all, thou art the King of earth and heaven
Hear, as thou goest on thy way.
21 Release us from the upper bond, untie the bond between, and loose
The bonds below, that I may live.

This God of the Waves is said to dwell in a house with a 1000 doors so that he is always accessible to men. In the Vedas he is more powerful than all the other gods because he is said to be the creator and sustainer of the universe and the administrator of the cosmic law. Day and night appear at his bidding and rivers are channelised according to his plans. Varuna is supposed to avenge sin and falsehood and his eye is the sun which keeps a watch on all mortals. In his hand he carries a rope to bind sinners with, symbolic of man being fettered by his sins. He is depicted as four-faced, with a 1000 eyes, is the colour of snow and appears wearing a golden mantle.

In the Mahabharata, he is the lord of the waves and of rivers, god of fluidity and movement. He is significant also because he was present at the birth of Arjuna and presented him with his bow, Gandiva, with which Arjuna won the battle against the Kauravas. According to the Puranas he is said to have carried away Bhadra, the wife of the sage Utathya, whose curse caused Varuna's abodes, the oceans and rivers, to dry up. Thus the god was forced to return Bhadra to her husband, who then allowed the waters to flow again, but Varuna was forced to forego his prominence and one does not find any new images of him.

But since his abode is Pushpagiri, the underwater mountain, he is the protector of fisherfolk, who still invoke him when they go out on to the high seas. Being the god of the rivers, he is also propitiated in times of drought.

FROM: MantraOnNet: Varuna.

Makara (Hindu mythology) * also the mount of Ganga
Wikipedia entry
Varuna Gayatri
Varuna, God of the Oceans - Giclee Print | AllPosters.com painting
The Vedic Gods: Indra, Agni, Soma, Varuna - ReligionFacts
Varuna
Varuna Gayatri Mantra – to learn the truth, eliminate legal problems and establish honesty.
'King Varuna is there
Varuna and Indra

Hymns (Rig Veda):
HYMN XVII. Indra-Varuṇa
HYMN XLI. Varuṇa, Mitra, Aryaman.
HYMN CXXXVI. Mitra-Varuṇa.
HYMN CXXXVII. Mitra-Varuṇa.
HYMN CLI. Mitra and Varuṇa
HYMN CLII. Mitra-Varuṇa.
HYMN CLIII. Mitra-Varuṇa.
HYMN XXVIII. Varuṇa
HYMN XLI. Indra-Varuṇa.
HYMN XLIL Indra-Varuṇa.
HYMN LXII. Mitra-Varuṇa
HYMN LXIII. Mitra-Varuṇa.
HYMN LX1V. Mitra-Varuṇa
HYMN LXV Mitra-Varuṇa.
HYMN LXVI. Mitra-Varuṇa.
HYMN LXVII. Mitra-Varuṇa.
HYMN LXVIII. Mitra-Varuṇa.
HYMN LXIX. Mitra-Varuṇa.
HYMN LXX. Mitra-Varuṇa.
HYMN LXXI. Mitra-Varuṇa.
HYMN LXXII. Mitra-Varuṇa.
HYMN LXXXV. Varuṇa.
HYMN LXVIL Mitra-Varuṇa.
HYMN LXVIII. Indra-Varuṇa.
HYMN LX. Mitra-Varuṇa.
HYMN LXI. Mitra-Varuṇa.
HYMN LXII. Mitra-Varuṇa.
HYMN LXIII. Mitra-Varuṇa.
HYMN LXIV. Mitra-Varuṇa.
HYMN LXV. Mitra-Varuṇa.
HYMN LXVI Mitra-Varuṇa.
HYMN LXXXIT. Indra-Varuṇa
HYMN LXXXIII. Indra-Varuṇa.
HYMN LXXXIV. Indra-Varuṇa.
HYMN LXXXV. Indra-Varuṇa.
HYMN LXXXVI. Varuṇa.
HYMN LXXXVII. Varuṇa.
HYMN LXXXVIII. Varuṇa.
HYMN LXXXIX Varuṇa.
HYMN XI. Indra-Varuṇa.

Ganga

Ganga is the goddess who is the incarnation of the Ganges, India's most sacred river. She is the sister of Parvati, and has been linked as a consort of Agni, Vishnu, and Shiva. She is the mother of Jalamdhara through a union with the ocean. Hindus believe that by bathing in her holy waters, one's sins will be washed away. Repeated ritualistic washings in the river will secure one a place in heaven. The ashes of the dead are spread over her. She is usually represented as a beautiful woman with a fish's tail in place of her legs, and she rides on the Makara, a water monster.

Ganga originally flowed only through heaven, where she sprang from the toe of Vishnu, and it was due to a mortal that she came to earth. Saghara, a king, desperately wanted sons. He prayed and performed rituals and penances, so that his two wives both became pregnant. They gave birth to many sons. Some time later, to thank the gods, Saghara made ready to perform a horse sacrifice, a very solemn and powerful ritual, but the horse was stolen. Saghara's sons went searching for the animal, and they began to dig into the earth, thinking it might be underground. When their excavations became too large, Vishnu turned all of them to dust. Saghara learned that his sons would be allowed to go to heaven only when the sacred River Ganges flowed to the earth. The sage Bhagirathi, Saghara's grandson, performed rigid penances, and Brahma agreed to allow the river to fall to earth in the Himalayas and flow through India. Ganga was not at all happy about this, however. She was perfectly happy to stay in heaven. She consented to flow to the earth, but promised she would flood the whole world and destroy humanity. To prevent this, Shiva stood under the spot where she fell from the sky and cushioned her fall. Her stream was divided into seven rivers, which are the Ganges and her tributaries.

FROM: "Ganga"
© MCMXCV - MMVI Encyclopedia Mythica™. All rights reserved.
Geographical sacrality in the Hindu tradition is also dramatically expressed in the reverence shown to almost every river of the Indian subcontinent. This reverence extends all the way back to the Rg-veda, where the idea is expressed that earthly rivers have their origin in heaven. In the Rg-veda the Sarasvati River is praised as a mighty goddess who blesses her devotees with health, long life, and poetic- inspiration.' The earthly Sarasvati River is said to be only a partial manifestation of the goddess Sarasvati, for she is said to exist in heaven as well as on earth. The earthly river is an extension or continuation of divine waters that flow from heaven to earth. In Rg-vedic cosmology the crea- tion of the world or the process of making the world habitable is associated with the freeing of the heavenly waters by Indra. Indra's enemy Vrtra is said to have withheld these waters, thus inhibiting crea- tion. When Indra defeats Vrtra the waters rush onto the earth like mother cows eager to suckle their young (10.9). The rivers of the earth are therefore seen as being necessary to creation and as having a heav- enly origin. They are brought to earth by the heroic act of a god who defeats a demon who has hoarded the waters and kept them from fer- tilizing and nourishing the earth in the form of rivers-38


Reverence for rivers in the Hindu tradition is nowhere more intense than in the case of the Ganges. Like the SarasvatT River in the Vedic tra- dition, the Ganges is said to have its origin in heaven. Many myths con- cerning the descent of the Ganges to earth emphasize this point. The oldest and probably best known concerns the restoration of the sixty thousand sons of King Sagara. According to this myth, Sagara's sons were dull-witted and impetuous, and while searching the world for their father's sacrificial horse they insulted and disturbed the tranquillity of the great sage Kapila. In anger, Kapiia burned them all to ashes with the fire that he had generated as the result of his great austerities. Sagara's descendants, despite their piety and ascetic efforts, were unable to restore their incinerated forefathers until the saintly and mighty Bhaglratha, the great-great-great-grandson of Sagara, undertook the task.

Giving his kingdom ov,er to a trusted minister, BhagTratha went to the Himalayas to do heroic austerities. After he had physically mortified himself for centuries, the Ganges appeared in bodily form and granted his wish: she would descend to the earth, provided that someone could be found to break her mighty fall, which otherwise would destroy the earth itself. Siva was persuaded to receive the Ganges on his head, and so the great heavenly river descended to earth, her mighty fall softened by Siva's massive tangle of hair. In his hair she became divided into many streams, each of which flowed to a different region of earth and sanc- tified that area. Her principal artery emerged from Siva's hair and came to India, and under Bhagiratha's guidance it cut a channel to where the ashes of Sagara's sons were piled. Moistened by her waters, the souls of the sixty thousand sons were purified and freed to undertake their jour- ney fo the land of their fathers, where they could be duly honored by their descendants.'

Other accounts of the Ganges' descent feature Visnu and some- times Krsna. After assuming his dwarf avatara to trick the demon Bali, Visnu strides across the cosmos to appropriate it ior the gods. On his third stride his foot strikes the vault of heaven and breaks it. The Ganges River pours through the hole and eventually finds its way to earth. Falling on Mount Meru, the cosmic axis, the Ganges divides into four parts, and as it flows onto the four world continents it purifies the world in every direction.1"1 In some versions of the myth the god Brahma, who is said to hold the heavenly Ganges in his water pot, pours the Ganges on Visnu's foot when it stretches into the heavenly sphere.1" in still other versions of the myth Visnu becomes liquified when he hears a particu- larly sublime song sung in his praise, and in this form he enters Brahma's water pot, which contains the Ganges, and thus sacralizes her."

In one way or another, these myths about the Ganges' coming to earth stress the river's heavenly origin, her essentially divine nature, and her association with the great male deities Brahma, Visnu, and Siva. Spilling out of heaven from Visnu's foot, containing Visnu's liquified essence according to some myths, and tailing onto Siva's head, where she meanders through his tangled locks, the mighty Ganges appears in this world after having been made more sacred by direct contact with Visnu and Siva. The river then spreads the divine potency of these gods into the world when she flows onto the earthly plane. She gives their sacred presences to the earth in liquid form." The myths make clear that the earthly Ganges is only a limited part of the cosmic river that flows in heaven and descends to other regions and worlds as well as this une. As mighty as the Ganges appears here, the earthly river is only a limited aspect of a reality that transcends this world. The Ganges, these myths insists, points beyond itself to a transcendent, cosmic dimension that locates the source of the river in a divine sphere.

Another important theme in the reverence for rivers in Hinduism is the purifying quality of rivers and of running water in general. The purity-conscious Hindu social system, in which pollution is inevitably accumulated in the course of a normal day, prescribes a ritual bath as the simplest way to rid oneself of impurities. This act consists of little more than pouring a handful of cold water over one's head and letting it run down one's body. Moving, flowing, or falling water is believed to have great cleansing power; d mere sprinkling of water over one's head or a dip in a stream is sufficient to remove most kinds of daily pollution accumulated through normal human intercourse with those in a state less pure that one's own.44 Like fire, the other great natural purifying element in Hinduism,45 water is affirmed to contain intrinsic powers of purification, particularly when in motion.

The most awesome manifestations of moving water in the Hindu context are the great rivers of the Indian subcontinent. Ever moving, ever the same, apparently inexhaustible, such rivers as the Jumna, Cau- very, Narmada, Brahmaputra, and Ganges are revered in particular for their great purifying powers. The myths concerning the heavenly origin of such rivers as the Ganges make the point that the mighty rivers of India are in essence animated by the impurities of the world, that they arise and for the most part fiow in celestial realms before falling to earth. Once descended to earth, however, these same rivers literally wash away the accumulated impurities of the realms they traverse. As a handful of water sprinkled over a person's head cleanses that person, so the river cleanses the entire world when she falls on Mount Meru. The Ganges, Jumna, Cauvery, and countless other rivers and streams are understood to perform a continuous, gracious process of purifying the earth and her inhabitants.

The physical evidence of this continuous process of purification is the clarity of a river's swiftly flowing source compared to its broad, sluggish, murky mouth before it enters the sea. A river may take on an increasingly impure appearance the farther it travels from its source. Rivers like the Ganges are nevertheless held to be equally purifying from source to mouth. While the source of the Ganges and the place where it breaks out of the mountains onto the plains are important pilgrimage sites, the lower Ganges also has many places of great sanctity. Banaras itself, perhaps the most sacred site in all of India, is far downstream on the Ganges. Though great removers of pollution, the rivers remain un- contaminated by what they remove, staying ever pure, ever potent, ever gracious to all those who come to them for purification.

Although all rivers are revered as removers of pollution, the Ganges is preeminent among India's rivers as a purifying power. Hymns extoll- ing the Ganges repeatedly emphasize the miraculously purifying powers of her waters. The Agni-purdna says that the river makes those regions she flows through into sacred ground, that bathing in her waters is an experience similar to being in heaven, that those afflicted with blindness and other ailments become like gods after bathing in her waters, that the Ganges has made pure thousands of impure people who have seen, touched, or drunk her waters.4'' To die while being immersed in the Ganges results in moksa, final spiritual liberation. Being bruslied by a breeze containing even a drop of Ganges water erases all sins accumu- lated over lifetimes.47 In the Brhaddharma-puruna a sinful king is said to have been spared an untimely death because he lived for a while with a merchant who used to bathe in the Ganges.''" The Mahdbhagavata- purana tells the story of a robber who, though sent to hell after death, was subsequently sent to Siva's heaven because his flesh was eaten by a jackal who had drunk Ganges water.

In the Gupta and early medieval periods it was common for the per- sonified images of the Ganges and Jumna to flank the doorways of tem- ples.''' The Ganges' role as threshold figure in these periods probably had to do with both her (and the Jumna's) purificatory powers. The Ganges' heavenly origin and descent to the earth made her an intermediary be- tween the earthly and heavenly realms. She is a continuous, liquid link between the two worlds. Her location at the thresholds of temples was appropriate in that she connected and formed a transition between the worlds of men and gods. Her position at the doorways of temples prob- ably also indicated her role as remover of pollution. Before entering the sacred realm of the gods, which a temple represents, devotees should cleanse themselves of worldly impurities. Crossing the threshold of a temple flanked by images of the goddesses Ganga and Yamuna, devotees probably were symbolically cleansed in the purificatory waters of these rivers.

The Ganges' location as a threshold figure in medieval temples also suggests the threshold function of the physical Ganges River (and other rivers). The most common name for a sacred place in Hinduism is tir- tha, which means a place for crossing over from one place to another, especially a place for crossing a river, a fording place. As applied to sacred places the term signifies a place at which one may cross from one plane of reality to another, in particular, a place where one can cross from the earthly plane to the divine plane, or from the limited human sphere to the unconditioned divine sphere. As a sacred place, as a tsrtha, the Ganges is prototypical. Her waters are affirmed to orginate in heaven and to flow in a continuous stream into the earthly sphere. The Ganges is often called she who flows in the three worlds (Triloka-patha- gamini).50 She is a liquid axis mundi, a pathway connecting all spheres of reality, a presence at which or in which one may cross over to another sphere of the cosmos, ascend to heavenly worlds, or transcend human limitations. As Diana Eck has so nicely put it: "It is because the Gahga descended in her avatarana that she is a place of ascent as a tirtha."51 Flowing out into the world, the Ganges moves according to rhythms and currents that originate in heaven. Her waters have had physical contact with the great gods Visnu and Siva. She is a sacred bridge to those realms from which she has come.

The Ganges' role as a mediator between this world and the divine worlds, as a place at which or in which crossings may be made, is clear in the context of death rituals." A strong and widespread Hindu belief is that to die in the Ganges, or to have a few drops of Ganges water poured on one's lips just prior to death, is to gain immediate liberation.53 Although any part of the Ganges is believed to have this redemptive power, the cult of seeking to die in contact with the Ganges is most active in Banaras, where special hostels for the dying accommodate the thousands of pious Hindus who make a final pilgrimage from all over India to die on the banks of the Ganges there." The Ganges is under- stood to be a particularly accessible bridge from one mode of being to the other, a sure crossing point in the difficult transition from life to death or from bondage to liberation.

Another strong and widespread belief in India is that having their ashes or bones thrown into the Ganges guarantees the dead a safe journey to the realm of the ancestors. Against this background the story of the redemption of Sagara's sons makes sense. Cursed to eternal banishment from the realm of the ancestors, the souls of Sagara's sons can only reach the goal of the dead by means of contact with the Ganges, which provides them a special route to heaven. In this role the Ganges is known especially by the epithet Svarga-sopana-sarani (she who is a flowing staircase to heaven).55 Pious Hindus make a pilgrimage to various points on the banks of the Ganges to cast the ashes of their ancestors and kin onto the waters of the Ganges so that they, like the sons of Sagara, will be ensured a successful transition to the realm of the dead. Just as the mighty waters of the Ganges are envisioned in Hindu cosmology as continuously descending from heaven to earth, so a continuous procession of souls is ascending the Ganges to transcendent realms.

The Ganges as the surest access between the worlds of the living and the dead is also seen in sraddha and tarpana rituals, which are per- formed in honor of ancestors. These rites frequently stipulate Ganges water as desirable. The intention of these rites is to nourish the ancestors, the pitrs, in the heavenly sphere. The use of Ganges water may be understood both as nourishing the ancestors directly and as representing the means by which the other offerings to the ancestors will reach the desired realm. The use of Ganges water guarantees the efficacy of the rites by making the Ganges present as a tirtha, a crossing point from the world of the living to the world of the dead.

A particularly strong motif in reverence to the Ganges is her presence to her devotees as a mother. Ganga Ma, "Mother Ganges," is probably the river's most popular epithet. Like a mother or as a mother the Ganges is here in the world to comfort her children. She is tangible, approachable, and all-accepting. All who approach her for comfort and blessing are enveloped by her yielding, redemptive waters. She is the distilled essence of compassion in liquid form. No one is denied her blessing, Jagganatha, the author of the Ganga Lahan. probably the most famous hymn in praise of the Ganges, was outcast by his fellow Hindus for having a love affair with a Muslim woman. He says that he was even shunned by untouchables and madmen. He declares that he was so despicable, so polluted, that none of the tirthas was able to cleanse him'? The Ganges alone was willing to accept him and cleanse him, and he in gratitude praises her as a loving mother:

I come to you as a child to his mother.
I come as an orphan to you, moist with love.
I come without refuge to you, giver of sacred rest.
I come a fallen man to you, uplifter of all.
I come undone by disease to you, the perfect physician.
I come, my heart dry with thirst, to you, ocean of sweet wine.
Do with me whatever you will.

The Ganges' maternal aspect is seen especially in her nourishing qualities. Her waters are sometimes likened to milk or amrta, the drink of immortality." "The concept of the river in India is that of a sustaining mother. The stream of the river carries payas. The word payas stands for both water and milk. Appropriately this has been used in relation to the river as the stream that sustains the people, her children, with water, as a mother sustains her babies with her milk.""0 Her waters are life- giving, nourishing to all those who bathe in or drink them.^' Her waters have miraculous vivifying powers. The ashes of Sagara's sons, and the ashes of the dead in general, are enlivened, invigorated, or otherwise made strong enough by the touch of her waters to make the journey to heaven.

As a mother, the Ganges nourishes the land through which it flows, making it fertile. Historically, the land along the banks of the Ganges has been intensely cultivated. It is particularly fertile because of the sediment periodically deposited by the flood waters of the river and because of irrigation. Images of the Ganges often show her carrying a plate of food and a purnakumbha, an overflowing pot.'"' Mother Ganges is depicted as a being overflowing with food and life-giving waters, as one who continually nourishes all she comes in contact with. As giver of food and as water that makes fields rich with crops, the Ganges bestows her blessings concretely in this world. She makes the earth abundant with crops and thereby sustains and enriches life. As the bestower of worldly blessings the Ganges is particularly approached to en- sure healthy crops and to promote fertility in women. "Today in Bihar, at the start of the plowing season, before the seeds are sown, farmers put Ganga water in a pot and set it in a special place in the field to ensure good harvest. Among those who live along the river, a newly married woman unfolds her sari to Ganga and prays for children and the long life of her husband."

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FROM: MantraONnet's "Ganga"
Other links:
The Ganges River
Ganga
Ganges - Wikipedia, the free encyclopedia
Makara is a mythical creature and Varuna's and Ganga's mount: Makara
Ganga The River Goddess - Tales in Art and Mythology
The Hare Krsnas - Transcendental Art Gallery - Srimati Ganga Ma Gallery --pics
Ganga in Hinduism - Wikipedia, the free encyclopedia
Sacred Ganga
Various Aspects Of Ganges
River Goddess Ganga --painting
The Descent of Ganga
Ganga Basin, The

Surya

Of Golden Brilliance – Surya God of Light
“Tat savitr varenyam bargo devasya dimihi dhiyo yonaha pracodayat” We meditate on the splendour of the Sun, who may enlighten our intellect. (Gayatri mantra)
In Vedic imagery, Surya or the Vedic gold of light is pictured as riding a golden chariot with just one wheel, driven by several powerful steeds that carry him at the speed of three hundred and sixty-four leagues per wink! Riding through the sky he keeps a watchful eye on the world.

Who can match the brilliance of the sun! meditate upon the celestial object for but a second and it rises to create everlasting wonder. Who created the sun on whom al life is dependent? Is the big dying star just a scientific phenomenon or is it the powerful and majestic Lord Surya, or Savitr who embodies the spirit of the Vedas and represents the Trinity, Brahma during the day, Shiva at noon and Vishnu in the evening. Were there many suns as some sun – worshipers believe or was that just a manner of saying the sun can be fierce. The source of all energy, light and heat, when did man begin to worship the sun?

The solar deity perhaps became an object of veneration as soon as man became conscious. Sun worship is common to all ancient civilization. In Egypt sun worship is believed to have reached its zenith in 16-14th centuries BC. That was perhaps the most ancient date that can be quoted with some evidence. The rest of the story whether it comes from Babylonia or Iran or the Greek-Roman culture, talk of the different attributes of the sun and the glory of the glowing ball of fire. In India the Vedas, the earliest Hindu texts, begin with a salutation to the sun. There is a story of a great sage called Ygnyavalkya who is said to have learnt the Vedas from the sun for it embodies them.

Many communities distinguish themselves on the basis of their worship of the sun. There are tribes who pray directly to the sun and one such group of tribes are in Arunachal Pradesh, the north-eastern state of India. Here people believe sun is feminine as she is the source of all creation.

Prayers are offered to the sun in many ways. Sometimes totems and symbols are used to invoke the sun. The eagle was worshiped as symbolizing the sun and so by the derivation the snake, on which the eagle preys represented darkness. The sun is also represented by a golden wheel or as a circle with radiating rays or even the open flower of a lotus. The most abstract and common representation is in the form of a swastika. The swastika symbol is used all over the world and has penetrated even into the folk art forms of floor drawings and wall paintings.

Naturally then, when life is derived from the sun how can sun’s origin be even thought of. And yet it is not necessary that wherever the sun shines, there is not life. So by that logic the sun perhaps preceded creation.

Story goes that Aditi, the primeval power, the endless and boundless heaven who is at times identified with mother earth, Prithvi, and at other times as the wife of sage Kashyapa, was the beginning. She begot eight children. She retained seven. The eighth was deceptive. It was in the form of an egg. Aditi called it Martanda or son of a dead egg, and discarded him. He went into the sky and positioned himself in all glory to then be called the sun. Another story goes that Aditi asked the first seven sons to create the universe, but they were unable to for they knew only of birth, they did not know of death. But for a life cycle to be established, immortal life could not form the pattern. So Aditi then called for Martanda who created day and night, as symbolic of life and death.

Equally where the sun was venerated as the life giver, there are those who look at the sun as the killer. He kills with his rays just as he gives sustenance with them. For each attribute of his, he has a name. As Savitr, he is the stimulator of everything. As Pushan he is the beneficial aspects of the sun. Vivasvat represents the rising sun while Bhaga refers to the evil in the sun.

All the while when we praise and sing the glory of the sun, we are simultaneously talking of his consort, Samjna is the personification of fame and glory. Samjna was a good wife to Surya and bore him children. Yama and Yami were two of them who later came to embody death and the river Yamuna respectively. But somewhere along the line, Samjna agot the itch. She found her husband rather too bright for her. She left her shadow Chaya behind and ran off. Chaya impersonated Samjna for a very long time till one day, the secret was out. Surya who was desperately in love with Samjna launched a search for her. Many versions explain the manner in which Samjna came to an understanding with her husband’s brilliance, but the important point that remains is that Samjna returned to live with her husband ever after.

Over time, when the forces of nature seemed fierce but more and more comprehensible, man began to reshape his conceptions. Surya as the main deity gave way to the embodiment of aspects of the sun in every God. Personas replaced the elements and the sun though vital became an attribute. The wheel or chakra in Lord Vishnu’s hand, the trident in Lord Shiva’s hands, the mace of Kubera, the spear of Skanda and the rod of Yama were all representative of the sun. Rama, the seventh incarnation of Lord Vishnu is himself believed to have been born in the Surya vamsha (dynasty).

Most temples have a sculpture representing the solar deity. He is never shown with bare feet. There is reason for this when Samjna came back to live with her husband, her father, pared off his excessive effulgence for Samjna’s comfort. The sun did not allow his father-in-law to pare his feet and so they are very brilliant. That is why the Sun God always wears boots. Any architect trying to fashion Surya’s feet, is believed to fall ill.

All over the country there are many temples devoted to the Sun God, the most famous of which is the Sun Temple of Konark.
From: Surya God of Light, Vedic imagery, worship the sun, solar deity

Surya is the important ancient Hindu Solar God. There are many hymns found in the Rig Veda which mention or honor Surya. The Rig Veda is a collection of more than a thousand hymns written between 1200 and 900 B.C. by people known as Aryans, who came to Afghanistan, Pakistan, and India from the Eurasian steppes to the north. The Rig Veda is one of the earliest known writings written in any Indo-European language. Hymn I.50 speaks to the Sun. (This passage is from The RigVeda; an anthology, a translation by Wendy Doniger O'Flaherty, Penguin Press, London, 1981)

His brilliant banners draw upward the god who knows all creatures, so that everyone may see the Sun.
The constellations, along with the nights, steal away like thieves, making way for the Sun who gazes on everyone.
The rays that are his banners have become visible from the distance, shining over mankind like blazing fires.
Crossing space, you are the maker of light, seen by everyone, O Sun.
You illumine the whole, wide realm of space.
You rise up facing all the groups of gods, facing mankind, facing everyone, so that they can see the sunlight.
He is the eye with which, O Purifying Varuna, you look upon the busy one among men.
You cross heaven and the vast realm of space, O Sun, measuring days by nights, looking upon the generations.
Seven bay mares carry you in the chariot, O Sun God with hair of flame, gazing from afar.
The Sun has yoked the seven splendid daughters of the chariot; he goes with them, who yoke themselves.
We have come up out of darkness, seeing the higher light around us, going to the Sun, the god among gods, the highest light.
As you rise today, O Sun, you who are honored as a friend, climbing to the highest sky, make me free of heartache and yellow pallor.
Let us place my yellow pallor among parrots and thrushes, or let us place my yellow pallor among other yellow birds in yellow trees.
This Aditya has risen with all his dominating force, hurling my hateful enemy down into my hands.
Let me not fall into my enemy's hands!
This hymn is a mixture of verses about Surya and verses spoken to Surya. By its reference to the rising of the Sun we might guess that it was meant to be recited at sunrise. The "busy one among men" is probably a reference the religious person busy praying and offering sacrifice to the gods. The yellow pallor is probably a reference to jaundice, and thus the verses dealing with yellow are invoking the healing powers of the Sun.

The hymn tells of Surya's chariot being drawn across the sky by seven bay mares. Seven seems to be an important number in many religions. Seven may be significant because there are seven visible celestial bodies that wander across the sky, the Sun, Moon, and the five planets visible to the naked eye, Mercury, Venus, Mars, Jupiter and Saturn. Because they are all wanders we can call them planets, even though today we normally do not think of the Sun and Moon as planets. "Planets" is a word which comes from the Greek "planet" which means "wander." As is found in the Greco-Roman Calendar the days of the week in the modern Hindu calendar are named for the seven visible planets, Sun, Moon, Mercury, Venus, Mars, Jupiter and Saturn and they are ordered exactly as they are in the Greco-Roman Calendar, a vestige of the ordering by ancient Babylonians. Before the Gupta period (about 300 A.D.) the Hindu calendar was a lunar calendar.

Chariots were developed before 3000 B.C. and offered a warrior a stable platform from which to shot arrows and cast spears at his enemies. The horse, which was domesticated probably a 1000 years earlier in the western steppes was also of great importance to the people who wrote the Rig Veda because the horse-riding warrior was able to easily maneuver around his foot-soldier enemy. It is not surprizing that the people who wrote the Rig Veda recognized of the more powerful gods, Surya, as having two of their most powerful weapons of war, the horse and chariot.
Today there are a great number of temples in India devoted to Surya.

From here, for the rest: Surya, the Sun God
In Hindu mythology, Surya represents the Sun god. Surya is depicted as a red man with three eyes and four arms, riding in a chariot drawn by seven mares. Surya holds water lilies with two of his hands. With his third hand he encourages his worshipers whom he blesses with his fourth hand. In India, Surya is believed to be a benevolent deity capable of healing sick people. Even today, people place the symbol of the Sun over shops because they think it would bring good fortune.

When Surya married Sanjna, his wife could not bear the intense light and heat. Therefore, she fled into a forest where she transformed herself into a mare to prevent Surya from recognizing her. But Surya soon discovered Sanjna's refuge. He went to the same forest disguised as a horse. Sanjna gave birth to several children, and eventually reunited with her husband.

However, the heat and the light of Surya were so intolerable that Sanjna was always exhausted doing her domestic duties. Finally, Sanjna's father decided to help her and trimmed Surya's body reducing his brightness by an eighth. Thus, Sanjna could more easily live close to her husband.
From: Surya
(snipped)
In Vedas, Surya and Vishnu have often substituted each other. In Rigveda, even Aruna is only one of his names. The artist, in this wall hanging, seems to share Vedic angle in his iconography of the sun-god. His image of the sun-god has on his head an essentially Vaishnava crown studded with rubies characteristic of both, Vishnu and Surya. On his forehead he has a Vaishnava 'tilaka' and on breast a Vaishnava garland. Needless to say, his attributes, the lotus and mace are essentially Vaishnava. He is wearing large 'Kundalas' on his ears. The Mahabharata is the earliest text to conceive sun-god wearing such 'Kundalas'. His four armed image also corresponds with Vaishnava iconography. His other jewels also correspond to those of Vaishnu.

The iconography of the sun-god has its own symbolism. Seven horses are suggestive of seven days of a week, an astronomical division of time acknowledged universally and beyond time. The verbal meaning of the term Aruna is red, which always precedes the arrival of the sun. Aruna also has a legend. It is said the son of sage Kashyapa Aruna had a huge body capable of hiding the sun behind it. Once, annoyed by Rahu for swallowing him, the sun-god decided to burn all by his heat. It parched unbearably. Ultimately gods rushed to Brahma for rescuing them from Surya's wrath. Brahma commanded Aruna to take charge of the chariot of Surya, which he did and thus covered the sun behind his huge form. It is yet the same. Instead of the sun, the eye is capable of seeing only sun's brilliance, the Aruna, sun's forerunner.

From here, also see the painting: Surya, The Sun-God


Other Sites:
Surya
Planetary Deities - Surya Sun God
Surya Sun Hindu God, Surya Statue Sun Hindu God
Hymns to Surya from the Rig-Veda - Book I
Surya - Wikipedia, the free encyclopedia
Surya: Sun God
Surya
Surya the Sun | Gandharv Ashram
Abodes of Surya
Legends related to Surya
Surya - Iconography - Beliefs
Sun worship in India
The Konark Sun temple
Surya Namaskar - Salute to the sun
Surya Namaskara - Wikipedia, the free encyclopedia
Indian Divinity: Surya
Surya Namaskaras
Surya Yantra
Shri Surya Deva - The Sun
Vedism - Surya in Rig-Veda

Aditi

अदिती - limitless.
Aditi is a goddess of the sky, consciousness, the past, the future and fertility.

In the Vedas Although the Goddess Aditi is mentioned nearly eighty times in the Rig Veda, it is difficult to get a clear picture of her nature. She is usually mentioned along with other gods and goddesses, there is no one hymn addressed exclusively to her, and unlike many other vedic deities, she is not obviously related to some natural phenomenon. Compared to Usas and Prithvi, her character seems undefined. She is virtually featureless physically.

Perhaps the most outstanding attribute of Aditi is her motherhood. She is preeminently the mother of the Adityas, a group of 7 or 8 gods which include Mitra, Aryaman, Bhaga, Varuna, Daksha and Amsa. (2.27.1) Aditi is also said to be the mother of the great god Indra, the mother of kings (2.27), and the mother of gods (1.113.19). Unlike Prithvi, however, whose motherhood is also central to her nature, Aditi does not have a male consort in the Rig Veda. Aditi is the most important figure of all.

As a mothering presence, Aditi is often asked to guard the one who petitions her (1.106.7 ; 8.18.6) or to provide him or her with wealth, safety, and abundance (10.100; 1.94.15). Appropriate to her role as a mother, Aditi is sometimes associated with or identified as a cow. As a cow, she provides nourishment, and as the cosmic cow, her milk is identified with the redemptive, invigorating drink soma (1.153.3)

The name Aditi includes the root "da" (to bind or fetter) and suggests another aspect of her character. As A-diti, she is un-bound, free one, and it is evident in the hymns to her that she is often called to free the petitioner from different hindrances, especially sin and sickness. (2.27.14). In one hymn, she is asked to free a petitioner who has been tied up like a thief (8.67.14). As one who unbinds, her role is similar to her son Varuna's as guardian of rta, cosmic moral order. She is called the supporter of creatures (1.136).

Aditi is also called widely expanded (5.46.6) and extensive, the mistress of wide stalls (8.67.12), and in this respect, one is reminded of Prithvi. In fact, Pritvi and Aditi become virtually identified in the brahamanas.

Aditi also is the mother of the Vamana Avatar of Vishnu. Accordingly, Vishnu was born as the son of Aditi in the month of Shravana (5th month of the Hindu Calendar, also called Avani) under the star Shravana. Many auspicious signs appeared in the heavens, foretelling the good fortune of this child.
From: Wikipedia

In Hindu mythology, Aditi was the goddess of the boundless sky. Her name means "free from bonds" or "the unfettered" or "Limitless" and the Vedas hint that she was once all-encompassing. She undoubtedly pre-dates them, and was once the goddess of the past and the future, the seven dimensions of the cosmos, the celestial light which permeates all things, and the consciousness of all living things.

In later times, she was known better for her children, who were called the Adityas in honor of her. She was named as the consort of Kasyapa or Brahma. She is sometimes depicted in the guise of a cow. She eventually was degraded as a guardian goddess who helped her worshippers find a smooth path to what they were looking for.
From: Aditi

Aditi means the one who is unbound, free and unfettered. She is the personification of the sky and space in which reside all gods, from where Indra sends down his thunder bolt or fights with Vrata to release the waters or where one can see Aditya, the sun god riding in his golden chariot yoked by seven ruddy horses. The Vedic hymns mention her frequently as the mother of gods and all creatures. Although no hymns are directly addressed to Aditi, she was undoubtedly a popular goddess as is evident from the copious references to her name in the Rigveda and Yajurveda, in the hymns addressed to other gods such as Indra, Varuna, Adityas and Soma.

Aditi being the mother of gods, she is urged in the hymns to mediate between men and gods and exert her motherly influence to obtain their help. She is also directly addressed for protection, forgiveness,freedom from sin and abundance. Those who live in the heavens belong to Aditi. So those who desire to go to heaven seek her help and mediation. In some Vedic hymns she is mentioned as Prithvi, the supporter or substratum of alland in some compared to a cow, being the provider of nourishment for all creatures. Adityas are her effulgent solar sons, who are mentioned
to be either eight or twelve in number of whom one is said to be her
husband also. She is also described as the mother of Indra. In the Puranas she is described as the wife of Kashyapa through whom she begot Vamana, an incarnation of Vishnu.
From: Aditi, Mother of the Gods

Aditi, is called the free one, because in Sanskrit her name means "boundless," and is considered an archaic Mother Goddess, depicted in Hindu, Vedic literature. She represents unlimited space and consciousness, hence infinity or eternity. According to the Rg Veda Aditi is said to be the wife of Kasyapa or of Brahma, and the mother of the Aditya, under whose constraint the universe is made possible; and she also personifies death because she consumes everything. Aditi, therefore, represents a caution already present in the Vedas about contributing the origin of the universe to a personal agent, such as a god. No other consort is mentioned in literature. She is also considered to be the mother of Hari, and other legends have her the mother of Indra. No human physical features of her are drawn, though she is sometimes identified in the guise of a cow. Aditi was believed to be a guardian goddess of prosperity and could free her devotees of problems and clear away obstacles. She does not appear in later Hindu traditions.
From: Aditi
The Goddess of energy, Aditi
Born of the Godhead through vitality,

Mother of all the cosmic forces
Who stands in the heart of every creature,

Is the Self indeed. For this Self is supreme.
Katha Upanishad part 2:7
From: here


Also see:

Aditi * Lajja Gauri (long article)
A prayer to Aditi for help and protection (the Atharva Veda)
Rig Veda: Rig-Veda, Book 10: HYMN CLXXXV. Aditi.
(also search Sacred-Texts Vedas section for more Aditi references)

Rudra


In ancient Vedic myth, Rudra ("howler") is the malignant god of storm and wind, and is also considered to have been the god of death. He is the personification of the uncultured nature, the symbol of unculturedness. Rudra fires arrows of sickness at gods, men and animals. He is the father of the Maruts, who are occasionally called Rudras.

His appearance and nature changes largely with the emerging of Hinduism. Rudra became a beneficent and beautiful god, the lord of the animals and the patron of hunters, and the god of auspiciousness. His name changed into Shiva, and is since then one of the most prominent deities of Hinduism.

From: Rudra
The origin of the name Rudra is uncertain; its etymologies are symbolic. Possibly, the meaning is "the red one." The god is called Rudra in the Puranas because he wept at birth, the word for weeping being the root rut-. In other versions the name may mean "Remover of Pain," for rut is the term given for three forms of pain (physical, emotional, and spiritual) found in the world. Rudra was eventually identified with Shiva, the god of the people conquered by the Aryans, and became so associated with the god that he was on of Shiva's many aspects.

In the Vedas Rudra is the god of storms, of howling winds, and is somewhat feared, being separated from the other gods in certain rituals and kept with malevolent spirits and deities. Rudra gives sinners the tortures of hell: He is death, the demon, the cause of their tears, the god that kills. He is also auspicious," the lord of songs, of sacrifices, the sweet-scented divine healer, the most generous of gods who bestows property and welfare, not just to humankind but also to horses, cows, and sheep, the mainstay of the early Aryan economy. As a warrior, he rides his chariot bearing a thunderbolt and shooting arrows from his formidable bow. A.G.H.

From: Rudra
Rudra is the god of cattle and wild animals. He sometimes appears as a man riding on a boar. However, as the lord of the cattle he is shown as a bull.
Rudra is also a healer. He is shown as being beautiful and bright as the sun.
Rudra sometimes acts as an archer who shoots arrows of death and disease at gods, men and cattle.

From: Rudra

The etymology of the word rudra is somewhat uncertain. The commentator Sāyaṇa suggests six possible derivations for the word. However, another reference states that Sayana suggested ten derivations.

The Sanskrit name Rudra is usually derived from the root rud- which means "to cry, howl."According to this etymology, the name Rudra has been translated as "the Roarer". An alternate etymology suggested by Prof. Pischel derives Rudra ("the Red, the Brilliant") from a lost root rud-, "to be red" or "to be ruddy", or according to Grassman, "to shine". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means wild, of rudra nature, and translates the name Rudra as "the Wild One" or "the Fierce God". R. K. Sharma follows this alternate etymology and translates the name as "Terrible" in his glossary for the Shiva Sahasranama.

The adjective shiva in the sense of "propitious" or "kind" is applied to the name Rudra in Rig Veda 10.92.9. According to Gavin Flood, Shiva used as a name or title (Sanskrit śiva, "the kindly/auspicious one") occurs only in the late Vedic Katha Aranyaka Axel Michaels says Rudra was called Shiva for the first time in the Śvetāśvatara Upanishad.

Rudra is called "The Archer" (Sanskrit: Śarva) and the arrow is an essential attribute of Rudra.This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.The word is derived from the Sanskrit root śarv- which means "to injure" or "to kill" and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness".The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.

In other contexts the word rudra can simply mean "the number eleven".
The word "rudraksha" (Sanskrit: rudrākşa = rudra + akşa "eye"), or "eye of Rudra", is used as a name both for the berry of the Rudraksha tree, and a name for a string of the prayer beads made from those seeds.

The earliest mentions of Rudra occur in the Rig Veda, where three entire hymns are devoted to him. There are about seventy-five references to Rudra in the Rig Veda overall. In the Rig Veda Rudra's role as a frightening god is apparent in references to him as ghora ("terrible"), or simply as asau devam ("that god"). He is "fierce like a formidable wild beast" (RV 2.33.11). Chakravarti sums up the perception of Rudra by saying:
Rudra is thus regarded with a kind of cringing fear, as a deity whose wrath is to be deprecated and whose favor curried.
RV 1.114 is an appeal to Rudra for mercy, where he is referred to as "mighty Rudra, the god with braided hair."

In Rig Veda 7.46, Rudra is described as armed with a bow and fast-flying arrows. As quoted by R. G. Bhandarkar, the hymn says Rudra discharges "brilliant shafts which run about the heaven and the earth" (RV 7.46.3), which may be a reference to the destructive power of lightning.

Rudra was believed to cause disease, and when people recovered from them or were free of them, that too was attributed to the agency of Rudra. He is asked not to afflict children with disease (RV 7.46.2) and to keep villages free of illness (RV 1.114.1). He is said to have healing remedies (RV 1.43.4), as the best physician of physicians (RV 2.33.4), and as possessed of a thousand medicines (RV 7.46.3).

Rig Veda 7.40.5

Rudra is mentioned along with a litany of other deities in Rig Veda 7.40.5. Here is the reference to Rudra, whose name appears as one of many gods who are called upon:
This Varuṇa, the leader of the rite, and the royal Mitra and Aryaman, uphold my acts, and the divine unopposed Aditi, earnestly invoked: may they convey us safe beyond evil. I propitiate with oblations the ramifications (vayāḥ) of that divine attainable Viṣṇu, the showerer of benefits. Rudra, bestow upon us the magnificence of his nature. The Aśvins have come down to our dwelling abounding with (sacrificial) food.
One scholiast interpretation of the Sanskrit word vayāḥ, meaning "ramifications" or "branches", is that all other deities are, as it were branches of Vishnu, but Ralph T. H. Griffith cites Ludwig as saying "This... gives no satisfactory interpretation" and cites other views which suggest that the text is corrupt at that point.

From: Wikipedia


The Rudra of the Rig Veda is a militant god of storms and lightening and a provider of medicines. Though he did not enjoy the same status as Indra, Rudra definitely enjoyed his own importance in the Vedic pantheon because of his tempestuous nature, his association with storms and storm gods called Maruts and his ability to bring medicines to the people to prolong their lives.

He is a fierce looking god, well built and golden in color, with braided hair, of firm limbs, multiform, strong, tawny, who adorns himself with bright gold decorations. The strength of Godhead never departs from Rudra. Father of Maruts, the Rig Vedic hymns describe him eloquently: "Of your pure medicines ... those that are most wholesome and health bestowing, those which our father Manu hath selected, I crave from. Rudra for our gain and welfare."

He wields the thunder bolt, bow and arrow, and sends down streaks of lightening shaking the worlds, making people nervous with fear and trepidation and disturbing the cattle in the cow pens. Intelligent, and benevolent, he protects people from their enemies. We do not know whether the Rig Vedic Rudra was a precursor to the Rudra of later times. But the resemblance in some fundamental traits between the two and the appeal to both in prayers and supplications not to harm the cattle and the people with their anger, is too evident to be ignored.

The following hymn is one such example, which in many ways sounds like a verse from the Svetavatara Upanishad,

"O Rudra, harm not either great or small of us, harm not the growing boy, harm not the full-grown man. Slay not a sire among us, slay no mother here, and to our own dear bodies, Rudra, do not harm. Harm us not, Rudra, in our seed and progeny, harm us not in the living, nor in cows or steeds, Slay not our heroes in the fury of thy wrath. Bringing oblations evermore we call to thee."

Even as a herdsman I have brought thee hymns of praise: "O Father of the Maruts, give us happiness, Blessed is thy most favoring benevolence, so, verily, do we desire thy saving help."

Some times the hymns refer to not just one Rudra but a group of Rudras eleven in number. According to some this is a symbolic reference to the ten vital breaths and the mind or suggestive of his association with the Maruts.

From: here
Also see: