Hymn to Ashvins, Rigveda 5.75 by Rishi Avasyu Atreya

Advances in the History of Rhetoric, 2019

This essay attempts to de-link the study of the Rigveda from both colonial philology and ongoing Hindu nationalist projects. It brings the rhetoric of form, especially as theorized by Kenneth Burke, to open up space for critics and commentators with a broader range of relationships to Brahmanical liturgy. To further the goal of delinking, it first narrows the scope of analysis to dialogue hymns, which are reminiscent of debates found within Buddhist conversion narratives rendered in versified Sanskrit. It then centers formal linguistic figures that these two layers of Sanskrit poetry have in common. Finally, conceptualizing these formal devices, it uses analytic categories from a South Asian critical tradition (alaṃkāraśāstra). Framed and constrained in this manner and applied to the (ex-)lovers’ quarrel of Purūravas and Urvaśī (in R.V. 10.95), a Burkean analysis reveals an exchange that both satisfies the “appetites” and allays the concerns of conservative audiences, who otherwise might fear that their wives could follow Urvaśī’s example and happily part with their wedded partners-in-sacrifice.

Arts asiatiques, tome 76, pp. 5-30, 2021

This article examines rare epigraphical evidence engraved on three inscribed Bodhisattva sculptures dated to the second half of the first millennium from Sarnath, in Uttar Pradesh, Telhara, and Bargaon, in Bihar. The inscriptions contain the heart-mantra ārolik, i.e., the “three and a half syllables” connected to Avalokiteśvara and the “Lotus Family.” The fragments from Bihar probably depict a six-armed Amoghapāśa, a specific iconographic form of Avalokiteśvara, while the Bargaon inscription is the only identified occurrence in Sanskrit epigraphy of the Amoghapāśahr̥dayadhāraṇī, composed in South Asia and transmitted to East Asia in the mid-to-late first millennium. The heart-mantra ārolik is also known in esoteric and tantric Buddhist sources still preserved in Sanskrit originals or Chinese and Tibetan translations. Our study concludes on the broader implications for the identification of Avalokiteśvara in early Indian Buddhist art.

Zorin A. "A Tibetan Hymn to Uṣṇīṣavijayā from Khara-Khoto Kept at the British Library". Східний світ (The World of the Orient), 2024, No. 3, pp. 59–68. , 2024

This article continues a series of publications on Tibetan texts dedicated to various Buddhist deities, discovered in Khara-Khoto within a large corpus of texts from the Tangut State period (11th–13th centuries). While the main part of this corpus was brought by Petr Kozlov to Saint Petersburg in 1909, a small yet significant collection was later acquired by Aurel Stein as a result of his 1913–1915 expedition. Among Stein’s collection kept at the British Library (London) is a single manuscript folio, IOL Tib M 143, which contains what appears to be an entire text entitled Gtsug gtor rnam par rgyal ma’i bstod pa byin brlabs can (“The Hymn to Uṣṇīṣavijayā with the Blessing”), the colophon lacking any other details including the author’s name. It is one of several pieces of textual evidence highlighting the important role of the cult of the goddess Uṣṇīṣavijayā, one of the most popular long-life deities, in 12th and early 13th century Tangut Buddhism. I would date the manuscript to this period as it features some elements of old orthography. This hymn is not found in the Tibetan Buddhist canon and may have been composed by a Tibetan-speaking author. This assumption is indirectly supported by the analysis of the assonances, alliterations and sometimes even rhymes in the text, which reveal a high level of poetic craftsmanship. Such sophistication might be less expected from a translation, although this does not preclude the possibility of a translation being equally skillful. The text consists of eight stanzas of praise and two stanzas of prayer, the latter seemingly referred to as “the blessing” in the title. The praising part moves from describing Uṣṇīṣavijayā’s divine nature, merits, and main iconographic features to her spiritual and soteriological roles. The iconographic part is not very detailed, it omits attributes held by her in the eight hands or colors of her three faces. However, I provide these details in my paper for a fuller picture. The text of the manuscript is published as a diplomatic transliteration, where I attempted to address several issues with unclear places, particularly reconstructing lacunas caused by holes in the folio. I believe that, except for one or two instances, I was able to arrive at a reliable version. The full English translation of the text is also supplied. While the hymn does not explicitly provide any historical information concerning the cult of Uṣṇīṣavijayā among the Tanguts, this edition may prove useful for scholars of Tangut Buddhism. Perhaps they will be able to identify its Tangut or Chinese version among Khara-Khoto fragments.

Agastya sees the last 25 Sūktams of Maṇḍala 1 of Ṛgveda.RV 1.165 to RV 1.191. Agastya belongs to Maitrāvaruṇi gotra. Hence, he calls himself Agastya Maitrāvaruṇi He is the husband of Ṛṣikā Lopāmudrā (RV 1.179) Sūktam 1.165 is on Marutvān-Indra. The Sūktam is a conversation between Agastya, his Jīvātmā and Prāṇas. Agastya is 'mountain-thrower, thrower of cloud or ignorance'. Ṛṣi Agastya Maitrāvaruṇi and Ṛṣikā Lopāmudrā in Maravakkadu near Mannargudi, Tamil Nadu. See: http://tinyurl.com/h5l2lab Sarasvati Script hypertexts and Devatā Rati, Ṛṣikā Lopāmudrā of Ṛgveda sūktam RV1.179 are metalwork signifiers 1.179.01 (Lopa_mudra_): Many years have I been serving you diligently, both day and night, and through mornings, bringing on old age; decay now impairs the beauty of my limbs; what, therefore, is now (to be done); let husbands approach their wives. 1.179.02 The ancient sages, disseminators of truth, who, verily, conversed of tuths with the gods, begot (progeny), nor thereby violated (their vow of continence), therefore should wives be approached by their husbands. 1.179.03 (Agastya): Penance has not been practised in vain; since the gods protect us, we may indulge all our desires; in this world we may triumph in many conflicts, if we exert ourselves mutually together. 1.179.04 Desire, either from this cause or from that, has come upon me whilst engaged in prayer and suppressing (passion); let Lopa_mudra_ approach her husband; the unsteady female beguiles the firm and resolute man. [Either from this cause or that: itoamutah kutas'cit, from some cause, from this, or from that; from your society or from the influence of the season, as spring and the like; or from the suggestions of this world or of the next]. 1.179.05 (Pupil): I beseech the Soma, which has been drunk in my heart, that it may fully expiate the sin we have committed; man is subject to many desires. [What has been drunk in my heart: antito hr.tsu pi_tam, drunk mentally, not actually; the sin we have committed: the sin of listening ot the conversation of their guru with his wife]. 1.179.06 Agastya, a venerable sage, working with (fit) implements, desiring progeny, offspring, and strength, practised both classes (of obligations), and received true benedictions from the gods. [Working with fit implements: khanama_nah khanitraih = lit., digging with diggin gtools; i.e. effecting his objects by appropriate means, earning his reward by sacrifice and hymns; desring progeny: praja_m apatyam balam icchama_nah: praja_ implies repeated successions, descendants, and apatya signifies more immediate descent, sons, grandsons; both classes of obligations: ka_ma and tapas, desire and devotion; the duties of domestic as well as ascetic life]. RV1.165.01 (Indra speaks): With what auspicious fortune have the Maruts, who are of one age, one residence, one dignity, watered (the earth) together; with what intention; whence have they come; showerers of rain, they venerate through desire of wealth, the energy (that is generated in the world by rain). 1.165.02 Of whose oblations do the youthful (Maruts) approve; who attracts them to his (own) sacrifice (from the rites of others); with what powerful praise may we propitiate (them), wandering like kites in the mid-air? 1.165.03 (The Maruts): Indra, lord of the good, whither do you, who are entitled to honour, proceed alone; what means this (absence of attendance); when followed (by us), you require (what is right); lord of fleet horses say to us, with pleasant words, that which you (have to say) to us. [You require what is right: sampr.cchase = sami_ci_nam pr.ccase]. 1.165.04 (Indra): Sacred rites are mine; (holy) praises give me pleasure; libations are for me; my vigorous thunderbolt, hurled (against my foes), goes (to its mark); me, do (pious worshippers) proptiate; hymns are addressed tome; these horses bear us to the presence (ofwhose worshippers, and worship). 1.165.05 (The Maruts): Therefore we also, decorating our persons, are ready, with our docile and night-standing steeds, (to attend) you, with all our splendour, to those rites; verily, Indra, you appropriate our (sacrificial) food. [You appropriate: svadha_m anu hi no babhu_tha, you have been upon or after our food; or, balam, strength; or, udakam, water; i.e. you seek after the oblations generated either by our strenght, or the water we have created]. 1.165.06 (Indra): Where, Maruts, has that (sacrificial) food been assigned to you, which, for the destruction of Ahi was appropriated to me alone; for I indeed am fierce and strong, and mighty, and have bowed down all mine enemies with death-dealing shafts. 1.165.07 (The Maruts): Showerer (of benefits), you have done much; but it has been without united equal energies; for we, too, most powerful Indra, have done many things, and by our deeds (we are, as) we desire to be, Maruts. 1.165.08 (Indra): By my own prowess, Maruts, I , mighty in my wrath, slew Vr.tra; armed with my thunderbolt, I created all these pellucid gently-flowing waters for (the good of) man. 1.165.09 (The Maruts): Verily, Maghvan, nothing (done) by you is unavailing; there is no divinity as wise as you; no one being born, or that has been born, ever surpasses the glorious deeds which you, mighty (Indra), have achieved. [Verily, Maghavan: anuttama_ te maghavan nakir nu na = whatever is said by you, Indra, is true; anuttama_ = an exclamation or assent that which is not sent or driven away]. 1.165.10 (Indra): May the prowes of me alone be irresistible; may I quickly accomplish whatever I contemplate in my mind; for verily, Maruts, I am fierce and sagacious and to whatever (objects) I direct (my thoughts), of them I am the lord, and rule (over them). 1.165.11 Maruts, on this occasion praise delights me; that prise which is to be heard (by all), which men have offered me. To Indra, the showerer (of benefits), the object of pious sacrifice; to me, (endowed) with many forms (do you) my friends (offer sacrifices) for (the nourishment of my) person. 1.165.12 Maruts, verily, glorifying me, and enjoying boundless fame and food (through my favour), edo you, of golden colour, and invested with glory, cover me in requital verily, (with renown). 1.165.13 (Agastya): What mortal, Maruts, worships you in this world; hasten, friends, to the presence of your friends; wonderful (divinities), be to them the means of acquiring riches, and be not uncognizant of my merits. [Be not uncognizant: es.a_m bhu_ta naveda_ me r.ta_na_m = be cognizant of these my truths, madi_ya_na_m avitatha_na_m jn~a_ta_ro bhavata]. 1.165.14 Since the experienced intellect of a venerable (sage), competent to bestow praise upon (you), who deserve praise, has been exerted for us; do you, Maruts, come to the presence of the devout (worshipper), who, glorifying (you), worships you with these holy rites. 1.165.15 This praise, Maruts, is for you; this hymn is for you, (the work) of a venerable author, capable of conferring delight (by his laudations). May the praise reach you, for (the good of your) persons, so that we may (thence) obtain food, strength, and long life. [Capable of conferring: ma_nda_yasya ka_roh: the epithet is stutivis'es.air mandayituh; or, stutibhir madasya prerayituh, causer of pleasure by praises; food, strength and long life: is.am vr.janam ji_rada_num: ji_rada_num = jayas'i_lam da_nam, donation connected with victory; the hymn is repeated at the end of the next su_kta; where it is explained as: ciraka_la ji_vanam, long life]. ईः īḥईः (m.) perception or consciousness; calling; आत्म-प्रबोधः cognition of the soul; self-consciousness. इन्द्रिय-ज्ञानम् consciousness, the faculty of perception .चित्-आत्मकम् consciousness . चेतना Sense, consciousness चुलुकयति मदीयां चेतनां चञ्चरीकः R. G.; U.3.31; Māl.9.12; R.12.74; चेतनां प्रतिपद्यते regains one's consciousness. -2 Understanding, intelligence; पश्चिमाद्यामिनीयामात्प्रसादमिव चेतना R.17.1; ... शास्ताखानो$ल्प- चेतनः Śiva. B.29.9. -3 Life, vitality, animation; Bg.13.6. -4 Wisdom, reflection. -नम् Appearance. -2 The thinking principle, the mind; अच्युतचेतनः Bhāg.9.15.41.चेतस् cētas चेतस् n. [चित् करणे असुन्] 1 Consciousness, sense. -2 Thinking soul; वरं वरय राजर्षे क्व ते चेतो निरूप्यताम् Rām.7.57.13; reasoning faculty; संप्रमथ्येन्द्रियग्रामं प्रनष्टा सह चेतसा Mb.1.125.11; चेतोभिराकूतिभिरातनोति Bhāg.5.11.4. -3 The mind, heart, soul; चेतः प्रसादयति Bh.2.23; गच्छति पुरः शरीरं धावति पश्चादसंस्तुतं चेतः Ś.1.34. -4 Will. -Comp. -जन्मन्, -भवः, -भूः m. 1 love, passion. -2 the god of love. चेतोजन्मशरप्रसृनमधुभिर्व्यामिश्रतामाश्रयत् N. -विकारः disturbance of the mind, emotion, agita- tion.

पूर्वतापनीयोपनिषद् means 'golden', is a school of Vājasneyi Samhitā, evokes praying through tapana, 'burning', i.e. fire and is related to R̥gveda. R̥k is 'praising' and R̥kvat gaṇa is 'prayer chant'. गण--पाठ [p= 343,2] m. a collection of the गणs or series of words following the same grammatical rule (ascribed to पाणिनि). This गण--पाठ begins with an invocatory prayer to Gaṇapati, 'lord of prayer' personified as Gaṇeśa, 'leader of troop'. How is Gaṇeśa personified? In iconography, following the Indus Script hypertext cipher, the body of a kharva, 'dwarf' rebus: karba 'iron' is ligatured with the face and trunk of an elephant. Indus Script hypertext cipher uses words with double meanings to render 'meaning' through rebus representation. karabha 'elephant' rebus; karba 'iron' is ligatured to mē̃d, mēd 'body, womb, back' rebus: meḍ 'iron'; मृदु mṛdu, mẽṛhẽt, 'iron' (Samskrtam. Santali.Mu.Ho.) Dance-step: meḍ 'dance-step' signifies meḍ 'iron' med, 'copper' (Slavic) Gaṇeśa writing the Mahābhārata, dictated by Vyāsa Indian, Rajasthani, 17th century Mewar, Rajasthan, Norhern India Dimensions Overall:33 x 23.2 cm (13 x 9 1/8 in.) Medium or Technique Opaque watercolor and gold on paper Classification Paintings Type Page from an illustrated manuscript of the Mahābhārata Accession Number 27.792 Dance-step of Gaṇeśa on Candi Sukuh sculptural frieze signifies karabha 'elephant' rebus; karba 'iron' PLUS meḍ 'dance-step' rebus meḍ 'iron'. There are many Indus Script hypertexts from the corpora ligaturing human face to an elephant trunk (creating composite animals) to signify the meaning of 'iron, metal'. Indus Script seal images of 'composite animal' demonstrating the cipher to convey messages related to metalwork. mũh 'a face' rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'.; dhatu 'scarf' rebus: dhatu 'mineral ore'; kola, 'tiger' rebus: kol 'blacksmith, working in iron'; xolā 'fish tail' rebus: kolhe 'smelter', kol 'working in iron'; फड, phaḍa 'hood of cobra' (ligatured as tail of composite animal) rebus: फड, phaḍa 'Bhāratīya arsenal of metal weapons'; पोळ pōḷa 'zebu' (bos indicus horns ligatured to composite animal) rebus: पोळ pōḷa 'magnetite (a ferrite ore)' Nindowari seal with squirrel hieroglyph. Hieroglyph: squirrel (phonetic determinant): खार (p. 205) [ khāra ] A squirrel, Sciurus palmarum. खारी (p. 205) [ khārī ] f (Usually खार) A squirrel. (Marathi) rebus: khār 'blacksmith'. Also, uṟuttai 'squirrel' rebus: urukku 'melt (iron ore mineral)' -- to create ukku 'steel'. See: Ta. uruku (uruki-) to dissolve (intr.) with heat, melt, liquefy, be fused, become tender. Kannada. ऋक्-वत् ऋक्व्/अ mfn. praising , jubilant with praise RV. AV. xviii , 1 , 47; ऋक् a [p= 224,3] ऋक्-छस्,ऋक्-तस् ,andऋक्-शस् » under 2. ऋच् , [p= 225,1]. ऋच् [p= 225,1] cl.6 P. ऋचति , आनर्च , अर्चिता , &c , = अर्च्1 , [p= 89,3]; to praise Dha1tup. xxviii , 19 (cf. अर्क्/अ.); f. praise , verse , esp. a sacred verse recited in praise of a deity (in contradistinction to the सामन् [pl. सामानि] or verses which were sung and to the यजुस् [pl. यजूंषि] or sacrificial words , formularies , and verses which were muttered); sacred text RV. AV. VS. S3Br. &c Mn. &c; the collection of the ऋच् verses (sg. , but usually pl. /ऋचस्) , the ऋग्-वेद AitBr. A1s3vS3r. and A1s3vGr2. Mn. i , 23 , &c; the text of the पूर्वतापनीय, Ra1matUp.; पूर्वतापनीय [p= 643,2] n. (and °यो*पनिषद् f. ) N. of the first half of the नृसिंह-तापनी-योपनिषद् Col. (cf. उत्तर-तापनीय). तापनीय [p= 442,3] mf (आ)n. golden MBh. i , vii Hariv. R.; m. pl. N. of a school of the VS. (to which several उपनिषद्s belong) Caran2. (v.l. °पायन). तापायन [p= 442,3] m. pl. v.l. for °पनीय q.v. ऋग्--वेद [p= 225,1] m. " Hymn - वेद " or " वेद of praise " , the ऋग्-वेद , or most ancient sacred book of the Hindus (that is , the collective body of sacred verses called ऋचs [see below] , consisting of 1017 hymns [or with the वालखिल्यs 1028] arranged in eight अष्टकs or in ten मण्डलs ; मण्डलs 2-8 contain groups of hymns , each group ascribed to one author or to the members of one family ; the ninth book contains the hymns sung at the सोम ceremonies ; the first and tenth contain hymns of a different character , some comparatively modern , composed by a greater variety of individual authors ; in its wider sense the term ऋग्-वेद comprehends the ब्राह्मणs and the सूत्र works on the ritual connected with the hymns)AitBr. S3Br. Mn. &c Ta. uruku (uruki-) to dissolve (intr.) with heat, melt, liquefy, be fused, become tender, melt (as the heart), be kind, glow with love, be emaciated; urukku (urukki-) to melt (tr.) with heat (as metals or congealed substances), dissolve, liquefy, fuse, soften (as feelings), reduce, emaciate (as the body), destroy; n. steel, anything melted, product of liquefaction; urukkam melting of heart, tenderness, compassion, love (as to a deity, friend, or child); urukkiṉam that which facilitates the fusion of metals (as borax). Ma. urukuka to melt, dissolve, be softened; urukkuka to melt (tr.); urukkam melting, anguish; urukku what is melted, fused metal, steel. Ko. uk steel. Ka. urku, ukku id. Koḍ. ur- (uri-) to melt (intr.); urïk- (urïki-) id. (tr.); ukkï steel. Te. ukku id. Go. (Mu.) urī-, (Ko.) uṛi- to be melted, dissolved; tr. (Mu.) urih-/urh- (Voc. 262). Konḍa (BB) rūg- to melt, dissolve. Kui ūra (ūri-) to be dissolved; pl. action ūrka (ūrki-); rūga (rūgi-) to be dissolved. Kuwi (Ṭ.) rūy- to be dissolved; (S.) rūkhnai to smelt; (Isr.) uku, (S.) ukku steel. (DEDR 661) Te. uḍuku to boil, seethe, bubble with heat, simmer; n. heat, boiling; uḍikincu, uḍikilu, uḍikillu to boil (tr.), cook. Go. (Koya Su.) uḍk ēru hot water. Kuwi (S.) uḍku heat. Kur. uṛturnā to be agitated by the action of heat, boil, be boiled or cooked; be tired up to excitement. Ta. (Keikádi dialect; Hislop, Papers relating to the Aboriginal Tribes of the Central Provinces, Part II, p. 19) udku (presumably uḍku) hot (< Te.) (DEDR 588) Ta. uṟukku (uṟukki-) to jump, leap over; uṟuttai squirrel. Te. uṟu to retreat, retire, withdraw; uṟuku to jump, run away; uṟuta squirrel. Konḍa uRk- to run away. Kuwi (Isr.) urk- (-it-) to dance. (DEDR 713) Ka. uḍute squirrel. Te. uḍuta id.(DEDR 590) Ma. uṟukku amulet. Tu. urku id.(DEDR 714) Māheśvara Sūtrāṇi emerge from the sounds of huḍukkā, 'drum' of Śiva हुडुक्क a stick or staff bound with iron L. हुडुक्का f. a kind of drum Sam2gi1t Ta. uṭukkai small drum tapering in the middle. Ma. uṭukka a tabor resembling an hour-glass. Tu. uḍuku a kind of small drum. Te. uḍuka small drum of the shape of an hour-glass. / Cf. Skt. huḍukka- a kind of rattle or small drum; huḍukkā- a kind of drum. (DEDR 589) In Hindu Veda tradition, Māheśvara Sūtrāṇi are fourteen verses that organize the phonemes of Sanskrit as referred to in the Aṣṭādhyāyī of Pāṇini, the foundational text of Sanskrit grammar. These phonemes emerge from the huḍukkā, 'drum' of Śiva. [quote] Within the tradition they are known as the Akṣarasamāmnāya, "recitation of phonemes," but they are popularly known as the Shiva Sutras because they are said to have been revealed to Pāṇini by Shiva. They were either composed by Pāṇini to accompany his Aṣṭādhyāyī or predate him. The latter is less plausible, but the practice of encoding complex rules in short, mnemonic verses is typical of the sutra style. IAST Devanāgarī 1. a i u ṇ 2. ṛ ḷ k 3. e o ṅ 4. ai au c 5. ha ya va ra ṭ 6. la ṇ 7. ña ma ṅa ṇa na m 8. jha bha ñ 9. gha ḍha dha ṣ 10. ja ba ga ḍa da ś 11. kha pha cha ṭha tha ca ṭa ta v 12. ka pa y 13. śa ṣa sa r 14. ha l १. अ इ उ ण्। २. ऋ ऌ क्। ३. ए ओ ङ्। ४. ऐ औ च्। ५. ह य व र ट्। ६. ल ण्। ७. ञ म ङ ण न म्। ८. झ भ ञ्। ९. घ ढ ध ष्। १०. ज ब ग ड द श्। ११. ख फ छ ठ थ च ट त व्। १२. क प य्। १३. श ष स र्। १४. ह ल्। Each of the fourteen verses consists of a group of basic Sanskrit phonemes (i.e. either open syllables consisting either of initial vowels or consonants followed by the basic vowel "a") followed by a single 'dummy letter', or anubandha, conventionally rendered by capital letters in Roman transliteration and named 'IT' by Pāṇini. This allows Pāṇini to refer to groups of phonemes with pratyāhāras, which consist of a phoneme-letter and an anubandha (and often the vowel a to aid pronunciation) and signify all of the intervening phonemes. Pratyāhāras are thus single syllables, but they can be declined [unquote] https://en.wikipedia.org/wiki/Shiva_Sutras