Brahma is a creator god in Hinduism. He is known as Svayambhu or the creative aspect of Vishnu, Vāgīśa, the creator of the four Vedas, one from each of his mouths. Brahma is consort of Saraswati and he is the father of Four Kumaras, Daksha and many more. Brahma is sometimes identified with the Vedic god Prajapati, he is known as Vedanatha, Chaturmukha Svayambhu, etc, as well as linked to Kama and Hiranyagarbha, he is more prominently mentioned in the mythologies in the Puranas. In the epics, he is conflated with Purusha. Although, Brahma is part of the Brahma-Vishnu-Shiva Trimurti, ancient Hindu scriptures mention multiple other trinities of gods or goddesses which do not include Brahma. Several Puranas describe him as emerging from a lotus, connected to the navel of Lord Vishnu. Other Puranas suggest that he is born from Shiva or his aspects, or he is a supreme god in diverse versions of Hindu mythology. Brahma, along with other deities, is sometimes viewed as a form of the otherwise formless Brahman, the ultimate metaphysical reality in Vedantic Hinduism.
In an alternate version, some Puranas state him to be the father of Prajapatis. According to some, Brahma does not enjoy popular worship in present-age Hinduism and has lesser importance than the other members of the Trimurti and Shiva. Brahma is revered in ancient texts, yet worshiped as a primary deity in India. Few temples dedicated to him exist in India. Brahma temples are found outside India, such as at the Erawan Shrine in Bangkok; the origins of Brahma are uncertain, in part because several related words such as one for Ultimate Reality, priest are found in the Vedic literature. The existence of a distinct deity named. A distinction between spiritual concept of Brahman, deity Brahma, is that the former is a genderless abstract metaphysical concept in Hinduism, while the latter is one of the many masculine gods in Hindu tradition; the spiritual concept of Brahman is far older, some scholars suggest deity Brahma may have emerged as a personal conception and visible icon of the impersonal universal principle called Brahman.
In Sanskrit grammar, the noun stem. Contrasted to the neuter noun is the masculine noun brahmán, whose nominative singular form is Brahma; this singular form is used as the proper name of Brahma. One of the earliest mentions of Brahma with Vishnu and Shiva is in the fifth Prapathaka of the Maitrayaniya Upanishad composed in late 1st millennium BCE. Brahma is first discussed in verse 5,1 called the Kutsayana Hymn, expounded in verse 5,2. In the pantheistic Kutsayana Hymn, the Upanishad asserts that one's Soul is Brahman, this Ultimate Reality, Cosmic Universal or God is within each living being, it equates the Atman within to be Brahma and various alternate manifestations of Brahman, as follows, "Thou art Brahma, thou art Vishnu, thou art Rudra, thou art Agni, Vayu, thou art All."In the verse, Brahma and Shiva are mapped into the theory of Guṇa, qualities and innate tendencies the text describes can be found in all living beings. This chapter of the Maitri Upanishad asserts that the universe emerged from darkness, first as passion characterized by action qua action, which refined and differentiated into purity and goodness.
Of these three qualities, Rajas is mapped to Brahma, as follows: While the Maitri Upanishad maps Brahma with one of the elements of Guṇa theory of Hinduism, the text does not depict him as one of the trifunctional elements of the Hindu Trimurti idea found in Puranic literature. The post-Vedic texts of Hinduism offer multiple theories of cosmogony; these include Sarga and Visarga, ideas related to the Indian thought that there are two levels of reality, one primary, unchanging and other secondary, always changing, that all observed reality of the latter is in an endless repeating cycle of existence, that cosmos and life we experience is continually created, dissolved and re-created. The primary creator is extensively discussed in Vedic cosmogonies with Brahman or Purusha or Devi among the terms used for the primary creator, while the Vedic and post-Vedic texts name different gods and goddesses as secondary creators, in some cases a different god or goddess is the secondary creator at the start of each cosmic cycle.
Brahma is a "secondary creator" as described in the Mahabharata and Puranas, among the most studied and described. Born from a lotus emerging from the navel of Vishnu after emerging on order of Shiva, Brahma creates all the forms in the universe, but not the primordial universe itself. In contrast, the Shiva-focussed Puranas describe Brahma and Vishnu to have been created by Ardhanarishvara, half Shiva and half Parvati, thus in most Puranic texts, Brahma's creative activity depends on the presence and power of a higher god. In the Bhagavata Purana, Brahma is portrayed several times as the one who rises from the "Ocean of Causes
Varuna is a Vedic deity associated with the sky also with the seas as well as Ṛta and Satya. He is found in the oldest layer of Vedic literature such as hymn 7.86 of the Rigveda. He is mentioned in the Tamil grammar work Tolkāppiyam, as the god of sea and rain. In the Hindu Puranas, Varuna is the god of oceans, his vehicle is a Makara and his weapon is a Pasha, he is the guardian deity of the western direction. In some texts, he is the father of the Vedic sage Vasishtha. Varuna is found in Japanese Buddhist mythology as Suiten, he is found in Jainism.. The theonym Varuṇa is a derivation from the verbal vṛ by means of a suffigal -uṇa-, for an interpretation of the name as "he who covers or binds", in reference to the cosmological ocean or river encircling the world, but in reference to the "binding" by universal law or Ṛta. Georges Dumézil made a cautious case for the identity of Varuna and the Greek god Ouranos at the earliest Indo-European cultural level; the etymological identification of the name Ouranos with the Sanskrit Varuṇa is based in the derivation of both names from the PIE root *ŭer with a sense of "binding" – the Indic king-god Varuṇa binds the wicked, the Greek king-god Ouranos binds the Cyclopes.
While the derivation of the name Varuṇa from this root is undisputed, this derivation of the Greek name is now rejected in favour of derivation from the root *wers- "to moisten, drip". In the earliest layer of the Rigveda, Varuna is the guardian of moral law, one who punishes those who sin without remorse, who forgives those who err with remorse, he is mentioned in many Rigvedic hymns, such as 1.25, 2.27 -- 30, 8.8, 9.73 and others. His relationship with waters and oceans is mentioned in the Vedas. Vedic poets describe him as an aspect and one of the plural perspectives of the same divine or spiritual principle. For example, hymn 5.3 of the Rigveda states: Varuna and Mitra are the gods of the societal affairs including the oath, are twinned Mitra-Varuna. Both Mitra and Varuna are classified as Asuras in the Rigveda, although they are addressed as Devas as well. Varuna, being the king of the Asuras, was adopted or made the change to a Deva after the structuring of the primordial cosmos, imposed by Indra after he defeats Vrtra.
According to Doris Srinivasan, a professor of Indology focusing on religion, Varuna-Mitra pair is an ambiguous deity just like Rudra-Shiva pair. Both have wrathful-gracious aspects in Indian mythology. Both Varuna and Rudra are synonymous with "all comprehensive sight, knowledge", both were the guardian deity of the north in the Vedic texts, both can be offered "injured, ill offerings", all of which suggest that Varuna may have been conceptually overlapping with Rudra. Further, the Rigvedic hymn 5.70 calls Mitra-Varuna pair as states Srinivasan. According to Samuel Macey and other scholars, Varuna had been the more ancient Indo-Aryan deity in 2nd millennium BCE, who gave way to Rudra in the Hindu pantheon, Rudra-Shiva became both "timeless and the god of time". In Vajasaneyi Samhita 21.40, Varuna is called the patron deity of physicians, one who has "a hundred, a thousand remedies". His capacity and association with "all comprehensive knowledge" is found in the Atharvaveda. Varuna finds a mention in the early Upanishads, where his role evolves.
In verse 3.9.26 of the Brihadaranyaka Upanishad, for example, he is stated to be the god of the western quarter, but one, founded on "water" and dependent on "the heart" and the fire of soul. In the Katha Upanishad, Aditi is identified to be same as the goddess earth, she is stated in the Vedic texts to be the mother of Varuna and Mitra along with other Vedic gods, in Hindu mythology she as mother earth is stated to be mother of all gods. In Yajurveda it is said: "In fact Varuna is Vishnu and Vishnu is Varuna and hence the auspicious offering is to be made to these deities." || 8.59 || Rama interacts with Varuna in the Hindu epic Ramayana. For example, faced with the dilemma of how to cross the ocean to Lanka, where his abducted wife Sita is held captive by the demon king Ravana, Rama performs a pravpavesha to Varuna, the Lord of Oceans, for three days and three nights, states Ramesh Menon. Varuna does not respond, Rama arises on the fourth morning, enraged, he states to his brother Lakshamana that "even lords of the elements listen only to violence, Varuna does not respect gentleness, peaceful prayers go unheard".
With his bow and arrow, Rama prepares to attack the oceans to burn up the waters and create a bed of sand for his army of monkeys to cross and thus confront Ravana. Lakshmana appeals to Rama, translates Menon, that he should return to "peaceful paths of our fathers, you can win this war without laying waste the sea". Rama shoots his weapon sending the ocean into flames; as Rama increases the ferocity of his weapons, Varuna arises out of the oceans. He bows to Rama, stating that he himself did not know how to help Rama because the sea is deep, vast and he cannot change the nature of sea. Varuna asked Rama to remember that he is "the soul of peace and love, wrath does not suit him". Varuna promised to Rama that he will not disturb him or his army as they build a bridge and cross over to Lanka; the Tolkāppiyam, a Tamil grammar work from 3rd century BCE divides the people of ancient Tamilakam into 5 Sangam landscape divisions: kurinji, paalai and neithal. Each landscape are designated with different gods.
Kartikeya known as Murugan, Skanda and Subrahmanya, is the Hindu god of war. He is the son of Parvati and Shiva, brother of Ganesha, a god whose life story has many versions in Hinduism. An important deity around South Asia since ancient times, Kartikeya is popular and predominantly worshipped in South India, Sri Lanka and Malaysia as Murugan. Kartikeya is an ancient god, traceable to the Vedic era. Archaeological evidence from 1st-century CE and earlier, where he is found with Hindu god Agni, suggest that he was a significant deity in early Hinduism, he is found in many medieval temples all over India, such as at the Ellora Caves and Elephanta Caves. The iconography of Kartikeya varies significantly. Most icons show him with one head, but some show him with six heads reflecting the legend surrounding his birth where six mothers symbolizing the six stars of Pleiades cluster who took care of newly born baby Kartikeya, he grows up into a philosopher-warrior, destroys evil in the form of demon Taraka, teaches the pursuit of ethical life and the theology of Shaiva Siddhanta.
He has inspired many poet-saints, such as Arunagirinathar. Kartikeya is found as a primary deity in temples wherever communities of the Tamil people live worldwide in Tamil Nadu state of India, Sri Lanka, Indonesia, Singapore, South Africa and Réunion. Three of the six richest and busiest temples in Tamil Nadu are dedicated to him; the Kataragama temple dedicated to him in Sri Lanka attracts Tamils, Sinhalese people and the Vedda people. He is found in other parts of India, sometimes as Skanda, but in a secondary role along with Ganesha and Shiva. Kartikeya is known by numerous names in medieval texts of the Indian culture. Most common among these are Murugan, Kumara and Subrahmanya. Others include Aaiyyan, Senthil, Vēlaṇ, Swaminatha, śaravaṇabhava, Arumugam or ṣaṇmukha, Guha or Guruguha, Kandhan and Mahasena. In ancient coins where the inscription has survived along with his images, his names appear as Kumara, Brahmanya or Brahmanyadeva. On some ancient Indo-Scythian coins, his names appear in Greek script as Skanda and Vishaka.
In ancient statues, he appears as Mahasena and Vishakha. Skanda is derived from skanḍr-, which means to "spill, leap, attack"; this root is derived from the legend of his unusual birth. The legend, translates Lochtefeld, states "Shiva and Parvati are disturbed while making love, Shiva inadvertently spills his semen on the ground"; this semen incubates in River Ganges, preserved by the heat of god Agni, this fetus is born as baby Kartikeya on the banks of Ganges. The "spill" epithet leads to the name Skanda. Additionally N. Gopala Pillai postulated. Kartikeya means "of the Krittikas"; this epithet is linked to his birth. After he appears on the banks of the River Ganges, he is seen by the six of the seven brightest stars cluster in the night sky called Krittikas in Hindu texts; these six mothers all want to take care of nurse baby Kartikeya. Kartikeya ends the argument by growing five more heads to have a total of six heads so he can look at all six mothers, let them each nurse one. There are ancient references which can be interpreted to be Kartikeya in the Vedic texts, in the works of Pāṇini, in the Mahabhasya of Patanjali and in Kautilya's Arthashastra.
For example, the term Kumara appears in hymn 5,2 of the Rig Veda. The Kumara of verse 5.2.1 can be interpreted as Skanda, or just any "boy". However, the rest of the verses depict the "boy" as bright-colored, hurling weapons and other motifs that have been associated with Skanda; the difficulty with interpreting these to be Skanda is that Indra and Rudra are depicted in similar terms and as warriors. The Skanda-like motifs found in Rig Veda are found in other Vedic texts, such as section 6.1-3 of the Shatapatha Brahmana. In these, the mythology is different for Kumara, as Agni is described to be the Kumara whose mother is Ushas and whose father is Purusha; the section 10.1 of the Taittiriya Aranyaka mentions Sanmukha, while the Baudhayana Dharmasutra mentions a householder's rite of passage that involves prayers to Skanda with his brother Ganapati together. The chapter 7 of the Chandogya Upanishad equates Sanat-Kumara and Skanda, as he teaches sage Narada to discover his own Atman as a means to the ultimate knowledge, true peace and liberation.
According to Fred Clothey, the evidence suggests that Kartikeya mythology had become widespread sometime around 200 BCE or after in north India. The first clear evidence of Kartikeya's importance emerges in the Hindu Epics such as the Ramayana and the Mahabharata where his story is recited. In addition to textual evidence, his importance is affirmed by the archeological, the epigraphical and the numismatic evidence of this period. For example, he is found in numismatic evidence linked to the Yaudheyas, a confederation of warriors in north India who are mentioned by ancient Pāṇini, they ruled an area consisting of modern era Haryana, Punjab and Uttar Pradesh. They struck coins bearing the image of Skanda, these coins are dated to be from before Kushan Empire era started. During the Kushan dynasty era, that included much of northwest
Asuras are a class of divine beings or power-seeking deities related to the more benevolent Devas in Hinduism. Asuras are sometimes considered nature spirits, they battle with the devas. Asuras are described in Indian texts as powerful superhuman demigods with bad qualities; the good Asuras are called Adityas and are led by Varuna, while the malevolent ones are called Danavas and are led by Vritra. In the earliest layer of Vedic texts Agni and other gods are called Asuras, in the sense of them being "lords" of their respective domains and abilities. In Vedic and post-Vedic texts, the benevolent gods are called Devas, while malevolent Asuras compete against these Devas and are considered "enemy of the gods". Asuras are part of Indian mythology along with Devas and Rakshasas. Asuras feature in one of many cosmological theories in Hinduism. Monier-Williams traces the etymological roots of Asura to Asu, which means life of the spiritual world or departed spirits. In the oldest verses of the Samhita layer of Vedic texts, the Asuras are any spiritual, divine beings including those with good or bad intentions, constructive or destructive inclinations or nature.
In verses of the Samhita layer of Vedic texts, Monier Williams states the Asuras are "evil spirits and opponents of the gods". Asuras connote the chaos-creating evil, in Hindu and Persian mythology about the battle between good and evil. Bhargava states the word, including its variants and asura, occurs "88 times in the Rigveda, 71 times in the singular number, four times in the dual, 10 times in the plural, three times as the first member of a compound. In this, the feminine form, asuryaa, is included twice; the word, has been used 19 times as an abstract noun, while the abstract form asuratva occurs 24 times, 22 times in each of the 22 times of one hymn and twice in the other two hymns". Asura is used as an adjective meaning "powerful" or "mighty". In the Rigveda, two generous kings, as well as some priests, have been described as asuras. One hymn requests a son, an asura. In nine hymns, Indra is described as asura. Five times, he is said to possess asurya, once he is said to possess asuratva.
Agni has total of 12 asura descriptions, Varuna has 10, Mitra has eight, Rudra has six. Bhargava gives a count of the word usage for every Vedic deity; the Book 1 of Rig Veda describes Savitr as an Asura, a "kind leader". In texts, such as the Puranas and the Itihasas with the embedded Bhagavad Gita, the Devas represent the good, the Asuras the bad. According to the Bhagavad Gita, all beings in the universe have both the divine qualities and the demonic qualities within each; the sixteenth chapter of the Bhagavad Gita states that pure god-like saints are rare and pure demon-like evil are rare among human beings, the bulk of humanity is multi-charactered with a few or many faults. According to Jeaneane Fowler, the Gita states that desires, greed, emotions in various forms "are facets of ordinary lives", it is only when they turn to lust, cravings, conceit, harshness, hypocrisy and such negativity- and destruction-inclined that natural human inclinations metamorphose into something demonic. Asko Parpola traces the etymological root of Asura to *asera- of Uralic languages, where it means "lord, prince".
Scholars have disagreed on the nature and evolution of the Asura concept in ancient Indian literature. The most studied scholarly views on Asura concept are those of FBJ Kuiper, W Norman Brown, von Bradke, Benveniste, Rajwade, Darmesteter and Raja, Banerji-Sastri, Skoeld, SC Roy, Shamasastry, Schroeder, Hillebrandt, Lommel, Segerstedt, Gerschevitch, Macdonnell, Hermann Oldenberg, Geldner and Jan Gonda. Kuiper calls Asuras a special group of gods in one of major Vedic theories of creation of the universe, their role changes only during and after the earth and living beings have been created. The sky world becomes that of Devas, the underworld becomes that of Asuras. Deity Indra is the protagonist of the good and the Devas, while dragon Vrtra, one of asuras is the protagonist of the evil. During this battle between good and evil and destruction, some powerful Asuras side with the good and are called Devas, other powerful Asuras side with the evil and thereafter called Asuras; this is the first major dualism to emerge in the nature of everything in the Universe.
Hale, in his review, states that Kuiper theory on Asura is plausible but weak because the Vedas never call Vrtra an Asura as the texts describe many other powerful beings. Secondly, Rigveda never classifies Asura as "group of gods" states Hale, this is a presumption of Kuiper. Many scholars describe Asuras to be "lords" with different specialized knowledge, magical powers and special abilities, which only choose to deploy these for good, constructive reasons or for evil, destructive reasons; the former become known as Asura in the sense of Devas, the as Asura in the sense of demons. Kuiper, Brown and others are in this school. Asuras believed in their own powers. Ananda Coomaraswamy suggested that Devas and Asuras can be best understood as Angels-Theoi-Gods and Titans of Greek mythology, both are powerful but have different orientations and inclinations
Saraswati is the Hindu goddess of knowledge, art and learning. She is a part of the trinity of Saraswati and Parvati. All the three forms help the trinity of Brahma and Shiva to create and regenerate-recycle the Universe, respectively; the earliest known mention of Saraswati as a goddess is in the Rigveda. She has remained significant as a goddess from the Vedic period through modern times of Hindu traditions; some Hindus celebrate the festival of Vasant Panchami in her honour, mark the day by helping young children learn how to write the letters of the alphabet on that day. The Goddess is revered by believers of the Jain religion of west and central India, as well as some Buddhist sects. Saraswati, is a Sanskrit fusion word of saras meaning "pooling water", but sometimes translated as "speech". Associated with the river or rivers known as Saraswati, this combination therefore means "she who has ponds and pooling water" or "she who possesses speech", it is a Sanskrit composite word of surasa-vati which means "one with plenty of water".
The word Saraswati appears both as a significant deity in the Rigveda. In initial passages, the word refers to the Sarasvati River and is mentioned as one among several northwestern Indian rivers such as the Drishadvati. Saraswati connotes a river deity. In Book 2, the Rigveda describes Saraswati as the best of mothers, of rivers, of goddesses. अम्बितमे नदीतमे देवितमे सरस्वति — Rigveda 2.41.16Best of mothers, best of rivers, best of goddesses, Sarasvatī. Saraswati is celebrated as a feminine deity with healing and purifying powers of abundant, flowing waters in Book 10 of the Rigveda, as follows: अपो अस्मान मातरः शुन्धयन्तु घर्तेन नो घर्तप्वः पुनन्तु | विश्वं हि रिप्रं परवहन्ति देविरुदिदाभ्यः शुचिरापूत एमि || — Rigveda 10.17May the waters, the mothers, cleanse us, may they who purify with butter, purify us with butter, for these goddesses bear away defilement, I come up out of them pure and cleansed. — translated by John Muir In Vedic literature, Saraswati acquires the same significance for early Indians as that accredited to the river Ganges by their modern descendants.
In hymns of Book 10 of Rigveda, she is declared to be the "possessor of knowledge". Her importance grows in Vedas composed after Rigveda and in Brahmanas, the word evolves in its meaning from "waters that purify", to "that which purifies", to "vach that purifies", to "knowledge that purifies", into a spiritual concept of a goddess that embodies knowledge, music, muse, rhetoric, creative work and anything whose flow purifies the essence and self of a person. In Upanishads and Dharma Sastras, Saraswati is invoked to remind the reader to meditate on virtue, virtuous emoluments, the meaning and the essence of one's activity, one's action. Saraswati is known by many names in ancient Hindu literature; some examples of synonyms for Saraswati include Brahmani, Bharadi and Vachi, Kavijihvagravasini. Goddess Saraswati is known as Vidyadatri, Pustakdharini, Veenapani and Vagdevi. In the Hindi language, her name is written Hindi: सरस्वती. In the Telugu, Sarasvati is known as Chaduvula Thalli and Shārada.
In Konkani, she is referred to as Shārada, Pustakadhārini, Vidyadāyini. In Kannada, variants of her name include Sharade, Sharadamba, Vāni, Veenapani in the famous Sringeri temple. In Tamil, she is known as Kalaimagal, Kalaivāni, Vāni and Bharathi, she is addressed as Sāradā, Shāradā, Veenā-pustaka-dhārini, Vāgdevi, Vāgishvari, Vāni, Varadhanāyaki, Sāvitri, Gāyatri. In India, she is locally spelled as ￼￼Assamese_language:সৰস্বতী,Saraswati, Bengali: সরস্বতী, Saraswati?, Malayalam: സരസ്വതി, Saraswati?, Tamil: சரஸ்வதி, Sarasvatī?. In Odia as ସରସ୍ଵତୀ Saraswati. Outside Nepal and India, she is known in Burmese as Thurathadi or Tipitaka Medaw, in Chinese as Biàncáitiān, in Japanese as Benzaiten and in Thai as Suratsawadi or Saratsawadi. In Hindu tradition, Sarasvati has retained her significance as a goddess from the Vedic age up to the present day. In Shanti Parva of the Hindu epic Mahabharata, Saraswati is called the mother of the Vedas, as the celestial creative symphony who appeared when Brahma created the universe.
In Book 2 of Taittiriya Brahmana, she is called “the mother of eloquent speech and melodious music”. Saraswati is the active power of Brahma, she is mentioned in many minor Sanskrit publications such as Sarada Tilaka of 8th century CE as follows, May the goddess of speech enable us to attain all possible eloquence, she who wears on her locks a young mo
Devī is the Sanskrit word for "goddess". Devi – the feminine form, Deva – the masculine form, mean "heavenly, anything of excellence", are gender specific terms for a deity in Hinduism; the concept and reverence for goddesses appears in the Vedas, which were composed in the 2nd millennium BCE. Goddesses such as Parvati and Durga have continued to be revered into the modern era; the medieval era Puranas witnessed a major expansion in mythology and literature associated with Devi, with texts such as the Devi Mahatmya, wherein she manifests as the ultimate truth and supreme power. She has inspired the Shaktism tradition of Hinduism; the divine feminine has the strongest presence as Devi in Hinduism, among major world religions, from the ancient times to the present. The goddess is viewed as central in Saiva Hindu traditions. Devi and Deva are Sanskrit terms found in Vedic literature of the 2nd millennium BCE. Deva is masculine, the related feminine equivalent is devi. Monier-Williams translates it as "heavenly, terrestrial things of high excellence, shining ones".
Etymologically, the cognates of Devi are Greek thea. When capitalized, Devi or Mata refers to goddess as divine mother in Hinduism. Deva is referred to as Devatā, Devi as Devika. According to Douglas Harper, the etymological root Dev- means "a shining one," from *div- "to shine," and it is a cognate with Greek dios "divine" and Zeus, Latin deus; the Devīsūkta of the Rigveda 10.125.1 through 10.125.8, is among the most studied hymns declaring that the ultimate reality is a goddess: The Vedas includes numerous goddesses including Parvati, Prithvi, Saraswati, Vāc, Nirṛti, Ratri and bounty goddesses such as Dinsana, Puramdhi, Bharati, Mahi among others are mentioned in the Rigveda. However, the goddesses are not discussed as as gods. Parvati, appears in late Vedic texts dated to be pre-Buddhist, but verses dedicated to her do not suggest that her characteristics were developed in the Vedic era. All gods and goddesses are distinguished in the Vedic times, but in the post-Vedic texts in the early medieval era literature, they are seen as aspects or manifestations of one Devi, the Supreme power.
Devi is the supreme being in the Shakta tradition of Hinduism, while in the Smarta Tradition, she is one of the five primary forms of Brahman, revered. In other Hindu traditions, Devi embodies the active energy and power of Deva, they always appear together complementing each other, such as Parvati with Shiva in Shaivism, Saraswati with Brahma in Brahmanism, Lakshmi with Vishnu in Vaishnavism; the Devi-inspired philosophy is propounded in many Hindu texts, such as the Devi Upanishad, which states that Shakti is Brahman, from her arise Prakṛti and Purusha, she is bliss and non-bliss, the Vedas and what is different from it, the born and the unborn, all of the universe. Shakthi is Shiva's wife, she is mentioned as the creative power of Shiva in Tripura Upanishad, Bahvricha Upanishad, Guhyakali Upanishad. Devi identifies herself in the Devi Upanishad as brahman in her reply to the gods stating that she rules the world, blesses devotees with riches, she is the supreme deity to whom all worship is to be offered, that she infuses Ātman in every soul.
Devi asserts that she resides there. Her creation of sky as father, seas as mother is reflected as the "Inner Supreme Self", her creations are not prompted by any Higher being and she resides in all her creations. She is, states Devi, the eternal and infinite consciousness engulfing earth and heaven, "all forms of bliss and non-bliss and ignorance, Brahman and Non-Brahman"; the tantric aspect in Devi Upanishad, states June McDaniel is the usage of the terms yantra, bija, mantra and chakra. Among the major world religions, the concept of goddess in Hinduism as the divine feminine, has had the strongest presence since the ancient times. Parvati is the Hindu goddess of love, purity and devotion, she is considered to be one of the greatest forms of Adi Parashakti. She is the nurturing aspect of Adi Parashakti, she has many attributes and aspects. Each of her aspects is expressed with a different name, giving her over 100 names in regional Hindu mythologies of India, including the popular name Gauri.
Along with Lakshmi and Saraswati, she forms the trinity of Hindu goddesses. Parvati is the wife of Shiva - the destroyer and regenerator of universe and all life, she is the mother of Hindu gods Kartikeya. Rita Gross states, that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in mythology of India. Parvati, along with other goddesses, are involved with the broad range of culturally valued goals and activities, her connection with motherhood and female sexuality does not confine the feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, strong and capable without compromising her femaleness, she manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects, states Gross, reflects the Hindu belief that the feminine has universal range of activities, her gender is not a limiting condition. In Hindu belief, Parvati is th
Hindu deities are the gods and goddesses in Hinduism. The terms and epithets for deity within the diverse traditions of Hinduism vary, include Deva, Ishvara, Bhagavān and Bhagavati; the deities of Hinduism have evolved from the Vedic era through the medieval era, regionally within Nepal, India and in southeast Asia, across Hinduism's diverse traditions. The Hindu deity concept varies from a personal god as in Yoga school of Hindu philosophy, to 33 Vedic deities, to hundreds of Puranics of Hinduism. Illustrations of major deities include Parvati, Sri, Sati and Saraswati; these deities have distinct and complex personalities, yet are viewed as aspects of the same Ultimate Reality called Brahman. From ancient times, the idea of equivalence has been cherished for all Hindus, in its texts and in early 1st millennium sculpture with concepts such as Harihara, Ardhanārīshvara, with myths and temples that feature them together, declaring they are the same. Major deities have inspired their own Hindu traditions, such as Vaishnavism and Shaktism, but with shared mythology, ritual grammar, theosophy and polycentrism.
Some Hindu traditions such as Smartism from mid 1st millennium AD, have included multiple major deities as henotheistic manifestations of Saguna Brahman, as a means to realizing Nirguna Brahman. Hindu deities are represented with various icons and anicons, in paintings and sculptures, called Murtis and Pratimas; some Hindu traditions, such as ancient Charvakas rejected all deities and concept of god or goddess, while 19th-century British colonial era movements such as the Arya Samaj and Brahmo Samaj rejected deities and adopted monotheistic concepts similar to Abrahamic religions. Hindu deities have been adopted in other religions such as Jainism, in regions outside India such as predominantly Buddhist Thailand and Japan where they continue to be revered in regional temples or arts. In ancient and medieval era texts of Hinduism, the human body is described as a temple, deities are described to be parts residing within it, while the Brahman is described to be the same, or of similar nature, as the Atman, which Hindus believe is eternal and within every living being.
Deities in Hinduism are as diverse as its traditions, a Hindu can choose to be polytheistic, monotheistic, agnostic, atheistic or humanist. Deities in Hinduism are referred to as Devi; the root of these terms mean "heavenly, anything of excellence". According to Douglas Harper, the etymological roots of Deva mean "a shining one," from *div- "to shine," and it is a cognate with Greek dios "divine" and Zeus, Latin deus. In the earliest Vedic literature, all supernatural beings are called Asuras. By the late Vedic period, benevolent supernatural beings are referred to as Deva-Asuras. In post-Vedic texts, such as the Puranas and the Itihasas of Hinduism, the Devas represent the good, the Asuras the bad. In some medieval Indian literature, Devas are referred to as Suras and contrasted with their powerful, but malevolent half-brothers referred to as the Asuras. Hindu deities are part of Indian mythology, both Devas and Devis feature in one of many cosmological theories in Hinduism. In Vedic literature and Devis represent the forces of nature and some represent moral values, each symbolizing the epitome of a specialized knowledge, creative energy and magical powers.
The most referred to Devas in the Rig Veda are Indra and Soma, with "fire deity" called the friend of all humanity, it and Soma being the two celebrated in a yajna fire ritual that marks major Hindu ceremonies. Savitr, Vishnu and Prajapati are gods and hence Devas; the Vedas describes a number of significant Devis such as Ushas, Aditi, Saraswati, Vāc, Nirṛti, Ratri and bounty goddesses such as Dinsana, Puramdhi, Bharati, Mahi among others are mentioned in the Rigveda. Sri called Lakshmi, appears in late Vedic texts dated to be pre-Buddhist, but verses dedicated to her do not suggest that her characteristics were developed in the Vedic era. All gods and goddesses are distinguished in the Vedic times, but in the post-Vedic texts, in the early medieval era literature, they are seen as aspects or manifestations of one Brahman, the Supreme power. Ananda Coomaraswamy states that Devas and Asuras in the Vedic lore are similar to Angels-Theoi-Gods and Titans of Greek mythology, both are powerful but have different orientations and inclinations, the Devas representing the powers of Light and the Asuras representing the powers of Darkness in Hindu mythology.
According to Coomaraswamy's interpretation of Devas and Asuras, both these natures exist in each human being, the tyrant and the angel is within each being, the best and the worst within each person struggles before choices and one's own nature, the Hindu formulation of Devas and Asuras is an eternal dance between these within each person. The Devas and Asuras and Titans, powers of Light and powers of Darkness in Rigveda, although distinct and opposite in operation, are in essence consubstantial, their distinction being a matter not of essence but of orientation, revolution or transformation. In this case, the Titan is an Angel, the Angel still by nature a Titan.