There are quite a number of historical inscriptions in the temples, where the mentioning of the historical architect in comparison with the celestial architect Visvakarma. One such inscription found on the mantapa of the Purana Mahadeo Temple, Sikar Rajputana states, “The architect (Sutradhara) of this temple of Siva (Sankarabhavana) was Candasiva, the famed son of Virabhadra, omniscient like Visvakarman in the science of architecture” The Visvakarma tradition in temple building is of greater significance and many of the texts have been compiled and working manuals were created from time to time by the master artisans on the basis of the science and art of architecture and iconography of the Visvakarma lineage. The icon of Visvakarma Panchami Brahma has the five faces representing Sadyojaata, Vaamadeva, Aghora, Tatpurusha, Eeshaana aspects and ten hands holding on right side trishula, chakra, bana, sarpa and akshamala, while on left side holding dhamaru, sankha, dhanus, vina and kumuda pushpa, signifying the attributes of the trimurti namely, Brahma, Vishnu and Mahesha.
The Dhyanashlokas to be meditated on the different forms of Vishvakarma with reference to the Kashyapa Shilpa text:
श्रीवाण्याश्रित पादपद्म युगळम् विद्युत्प्रभा भासुरम्
गायत्रीयुतमव्ययम् दशभुजम् मेर्वग्र पीठोज्ज्वलम्
देवर्षिस्तुत पञ्चवक्त्रमभवम् मन्दस्मितास्यम् शिवम्
वन्दे शिल्पसहस्र मूलपुरुषम् श्री विश्वकर्म प्रभुम् ||1||
केयूरैः कटकैर्विभूषितकरम् हारावळी सम्युतम्
दीव्यद्रत्न किरीटकुण्डलधरम् पीताम्बरालङ्कृतम्
सृष्ट्यादि त्रय हेतुमूलवपुषम् मेघाधिरूढोज्ज्वलम्
सर्वाभीष्ट वर प्रदायकमहम् वन्दे तमीशम् सदा ||2||
येन च होत्रा पित्रा भर्त्रा विलसन्ति सकल भुवनानि
यन्नाभा वरपटलम् तम् वन्दे विश्वकर्माणम् ||4||
यस्य निमेषः प्रळयो जगतामुदयश्च यच्छुभोन्मेषः
यद्रूपम् जगदखिलम् तम् वन्दे विश्वकर्माणम् ||5||
हरिहर हिरण्यगर्भ प्रमुखादेवा स्वकर्म परतन्त्राः
अङ्गानि यस्य महसस्तम् वन्दे विश्वकर्माणम् ||6||
1. Lord Sri Vishvakarma, who is the origin of all sculptures, the creator of the varied architecture of this universe, the source of all forms, names and actions, has provided refuge at His feet for Saraswati, the Goddess of Knowledge and is called the Lord of speech by Vedarshis. He is the ocean of origin for all the vedaagamas, shines like lightning and is dazzling all the eyes that try to see Him. He, who is nurturing all creatures by keeping Mother Gayatri, protective armour of the whole of creation, in his heart, who is as high as the Meru Mountain, is seated on an effulgent seat and fulfils the desires of devotees who surrender unto Him, like the divine kalpavriksh
2. I salute the Lord of the world, Sri Vishvakarma, who is the cause of not only the cycle of creation, sustenance and destruction but even the condemnation and grace later on, who is adorned with bracelet, armlet, stone-studded garlands, a crown decked with divine gems, earrings, yellow cloth and having the clouds as vehicle and who fulfils the wishes of His devotees.
4. I bow to Lord Vishvakarma who is the priest who makes offerings to the sacrificial fire, the father who created everything, the one who protects and nurtures everything, the cause for all the worlds to be glowing with prosperity and the one in whom all the worlds converge just the way all the spokes of a chariot wheel converge at the centre.
5. I prostrate to Lord Vishvakarma, the closing of whose eyelids signify the end of the world and whose auspicious glance is the cause of creation.
6. I bow to Lord Vishvakarma in whom, preoccupied with the dharma of their duties, Vishnu, Shiva, Brahma and other Gods rely on for their powers and whose instruments they are.
Pancha Brahmas
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Vishvakarma has the form of Shuddha (pure) Brahma and is effulgent with five faces. These five faces are called Sadyojaata, Vaamadeva, Aghora, Tatpurusha, Eeshaana. The five Vedas originate from these five faces. The five Brahmas namely Saanaga, Sanaatana, Ahabhoovana, Pratna and Suparna were born from these five faces.
श्री पञ्चास्य विराजितम् तदुदय तत्पञ्च वेद प्रभुम्
पञ्चब्रह्म निदानमाद्यमलम् तद्विश्वकर्मात्मकम्
शुद्ध ब्रह्म समप्रपञ्चक जनिस्थित्यन्त हेतुम् विभुम्
स्वान्ते नित्यमुपास्महेति सकलाभिष्टार्थ संसिद्धये ||3||
1. I constantly prostrate to the Shuddha (pure) Brahma, the form of Vishvakarma, who is effulgent with five faces, who is the reason for the five Vedas originating from these five faces, who effected the birth of the five Brahmas namely Saanaga, Sanaatana, Ahabhoovana, Pratna, Suparna, who existed even before creation and is the reason for creation, sustenance, destruction and the condemnation and grace later on, is everlasting and is the ultimate truth, for the fulfilment of all my desires.
Manu Brahma- Lord of iron sculpture Lord of Rock Sculpture emerged from the Sadyojata face of Vishvakarma
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The first among the pancha brahmas was born out of the face Sadyojaata and is called Manu Brahma. He has the colour of a pure Sphatika flower (white). He is companion to Adishakti and is the epitome of peace. He is the lord of the Rigveda and is the founder of Rig shaakha. He is also known as Saanaga and Rudra and is the lord of the sacrificial altar having three corners. He is the founder of iron sculpture. Dark clouds are his vehicle. He is the lord of the eastern direction.
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सद्योजात मुखाज्जातम् शुद्ध स्फटिक सन्निभम्
आदिशक्तियुतम् शान्तम् ऋग्वेदस्याधिनायकम्
त्रिकोणकुण्ड होतारम् कालमेघोपरिस्थितम्
लोहकृन्मूल पुरुषम् मनुम् ध्यात्वाऽर्चयाम्यहम् ||10||
Lord Vishvakarma has five faces called Sadyojaata, Vaamadeva, Aghora, Tatpurusha, Eeshaana. The one who was born out of the face Sadyojaata was the first among the pancha brahmas and is called Manu Brahma. He has the colour of a pure Sphatika flower (white), is companion to Adishakti and is the epitome of peace. He is the lord of the Rigveda and is the founder of Rig shaakha. He is also known as Saanaga and Rudra and is the lord of the sacrificial altar having three corners. He is the founder of iron sculpture, the first of the five brahmas and has dark clouds as his vehicle. He is the lord of the East. I meditate upon and worship Him.
Maya Brahma- Lord of sculpture in wood and boat-making
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The second among the five brahmas, Maya Brahma, was born out of the face Vaamadeva. He is blue in colour. He is one with Paraashakti and is protecting and nurturing all the worlds. He has given rise to Yajurveda and is its founder. He is the lord of sacrifices in the four-cornered sacrificial altar. He is also called Sanaatana and Vishnu. He is the founder of Daarushilpa (sculpture in wood) and Naukaashilpa (Dheemaan). He is the lord of the southern direction.
वामदेव मुखोद्भूतः मेघवर्णो महाद्युतिः
पराशक्तियुतो देवो यजुर्वेदाधिनायकः
धीमान् चतुष्कोणकुण्ड होता नीलाभ्रवाहनः
दारुकृन्मूल पुरुषः पातुमाम् सर्वदा मयः ||11||
The second among the five brahmas, Maya Brahma, born out of the face Vaamadeva is blue in colour, one with Paraashakti and is nurturing all the worlds. He has given us the Yajurveda and is its founder. He is the lord of sacrifices in the four-cornered sacrificial altar. He is also called Sanaatana and Vishnu. He is the founder of Daarushilpa (sculpture in wood) and Naukaashilpa (Dheemaan) and is protecting all the worlds. He is the lord of the southern direction. May He protect us always
Tvashtru Brahma- Lord of Brass and Bronze Sculpture
![Tvashtru Brahma]()
The third among the five brahmas is Tvashtru Brahma. He was born out of the Aghora face of Lord Vishvakarma. He is blood-red in colour and is the lord of Saama Veda. He is the lord of the circular sacrificial altar. He is the consociate of Icchaashakti. He is also called Ahabhoona and Brahma. He is the lord of the western direction. He has given birth to Saamaveda and is its founder. He is the founder of Kaamsya (brass) and Taamra (bronze) forms of sculpture.
अघोर मुख सञ्जातम् महामाणिक्य सन्निभम्
इच्छाशक्तियुतम् वृत्तकुण्ड होतारमव्ययम्
सामवेदाधिपम् रक्त मेघवाहन सम्स्थितम्
ताम्रकृन्मूल पुरुषम् त्वष्टारम् पूजयाम्यहम् ||12||
The third among the five brahmas is Tvashtru Brahma. He was born out of the Aghora face of Lord Vishvakarma. He is blood-red in colour and is the lord of Saama Veda. He is the lord of the circular sacrificial altar and is one with Icchaashakti. He is also called Ahabhoona and Brahma. He is the lord of the western direction. He has given the Saamaveda and is its founder. He is the founder of Kaamsya (brass) and Taamra (bronze) forms of sculpture. I meditate upon and worship Him.
Shilpi Brahma- emerged from the Tatpurusha face of Vishvakarma
Shilpi Brahma was born from the Tatpurusha face of Vishvakarma and is the fourth of the pancha brahmas. He is of the colour of smoke and is also called Pratna and Indra. He is the lord of the sacrificial altar with six corners and is associated with Kriyaashakti. He is the lord of the northern direction. He is the founder of Atharva Veda and rock sculpture.
तत्पुरुष मुखज्जातम् श्याम वर्णम् महौजसम्
षट्कोणकुण्ड होतारम् क्रियाशक्तियुत प्रभुम्
अथर्वाम्नाय नेतारम् श्वेतमेघोपरिस्थितम्
शिलाकृन्मूल पुरुषम् शिल्पिनम् प्रणमाम्यहम् ||13||
Shilpi Brahma was born from the Tatpurusha face of Vishvakarma and is the fourth of the pancha brahmas. He is of the colour of smoke and is also called Pratna and Indra. He is the lord of the sacrificial altar with six corners and is associated with Kriyaashakti. He is the lord of the northern direction. He is the founder of Atharva Veda and rock sculpture. I salute Him.
Vishvajna Brahma emerged from the Eeshana face of Vishvakarma
Vishvajna Brahma is the fifth among the five brahmas and was born from the Eeshaana face of Vishvakarma. He glows with the colour of gold. He is the lord of the upward direction and is also known as Suparna and Soorya. He is seated on a yellow cloud and has brought Pranava Veda. He is the companion of Jnaanashakti and is the lord of the sacrificial altar with eight corners. He is the founder of sculpture in gold (svarna shilpa).
ईशानमुख सञ्जातः तप्तकाञ्चन सन्निभः
ज्ञानशक्तियुतः पीत मेघ पृष्ठो परिस्थितः
प्रणव शृतीशाष्टास्र कुण्ड होता महामतिः
स्वर्णकृन्मूल पुरुषो विश्वज्ञः पातु माम् सदा ||14||
Vishvajna Brahma was born from the Eeshaana face of Vishvakarma, is the fifth among the five brahmas and glows with the colour of gold. He is the lord of the upward direction and is also known as Suparna and Soorya. He is seated on a yellow cloud and has brought Pranava Veda. He is the companion of Jnaanashakti and is the lord of the sacrificial altar with eight corners. May he, the founder of sculpture in gold (svarna shilpa), protect us always.
Conclusion:
Vishvakarma, the Celestial architect is not just a mythical persona but the legendary figure of a living tradition of Indian art and architecture. The traditional craftsmen and artists were come to be designated as the Vishvakarma Brahmins in course of time and they considered themselves as analogy of the divine architect Vishvakarma. The Rigveda, Mandala ten two sets of suktas are chants describing the creative power of Vishvakarma. The ancient text Vishvakarmiyam is believed to be the direct form of science and art of vastushilpa rendered by Vishvakarma. In some of the regions the vishvakarma tradition of iconography and iconometry are followed even today and the traditional sculptors of Karnataka are the true representatives of the cultural heritage of vishvakarma .
I acknowledge the support of Mr. Naresh, master craftsperson, Artisan Centre, Canara Bank Bidadi for the drawings of Vishvakarma and Sanskrit rendering Miss. Madhuvanti, Research Scholar Jain University. Sources for writing this part of text- Jnanananda, G. Kashyapa Shilpa Shastra (Uttarardha). Karnataka Shilpakala Academy. 1998:Bangalore.
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Cave 10 Visvakarma cave, Ellora![]()
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Two views of Mitanni Storm Divinity, Teshub. Axe (paras'u) in his upraised right hand and a vajra (thunderbolt) in his left hand. The trident is also pictured in Mitanni seals. He wears a short fringed tunic with a wide belt. His horned helmet is reminiscent of the bull figures often associated with him. The photo on the left is from the Hittite capital in Turkey.
Teshub was the divinity of the sky, weather and storms (Hurrian).
How Tvaṣṭr̥ armourer, forged discus of Viṣṇu, Triśūla of Śiva and other weapons of divinities from solar disc, Sun divinity
Links with metalwork are clear from the meanings provided in Samskritam which extend from workman to copper to creative power: tvāṣṭra त्वाष्ट्र a. Belonging or coming from त्वष्टृ; त्वाष्ट्रं यद् दस्रावपिकक्ष्यं वाम् Rv.1.117.22. -ष्ट्रः Vṛitra; येनावृता इमे लोकास्तमसा त्वाष्ट्रमूर्तिना । स वै वृत्र इति प्रोक्तः पापः परमदारुणः ॥ Bhāg.6.9.18;11.12.5. -ष्ट्री 1 The asterism Chitra. -2 A small car. -ष्ट्रम् 1 Creative power; तपःसारमयं त्वाष्ट्रं वृत्रो येन विपाटितः Bhāg.8.11.35. -2 Copper. tvaṣṭṛ त्वष्टृ m. [त्वक्ष्-तृच्] 1 A carpenter, builder, workman, त्वष्ट्रेव विहितं यन्त्रम् Mb.12.33.22. -2 Viśvakarman, the architect of the gods. [Tvaṣtṛi is the Vulcan of the Hindu mythology. He had a son named Triśiras and a daughter called संज्ञा, who was given in marriage to the sun. But she was unable to bear the severe light of her husband, and therefore Tvaṣtṛi mounted the sun upon his lathe, and carefully trimmed off a part of his bright disc; cf. आरोप्य चक्रभ्रमिमुष्णतेजास्त्वष्ट्रेव यत्नो- ल्लिखितो विभाति R.6.32. The part trimmed off is said to have been used by him in forming the discus of Viṣṇu, the Triśūla of Śiva, and some other weapons of the gods.] पर्वतं चापि जग्राह क्रुद्धस्त्वष्टा महाबलः Mb.1.227. 34. -3 Prajāpati (the creator); यां चकार स्वयं त्वष्टा रामस्य महिषीं प्रियाम् Mb.3.274.9. -4 Āditya, a form of the sun; निर्भिन्ने अक्षिणी त्वष्टा लोकपालो$विशद्विभोः Bhāg.3.6.15. आदित्य a. [अदितेरपत्यं ण्य P.IV.1.85.] A son of Aditi; a god, divinity in general. (The number of Ādityas appears to have been originally seven, of whom Varuṇa is the head, and the name Āditya was restricted to them (देवा आदित्या ये सप्त Rv.9.114.3.). In the time of the Brāhmaṇas, however, the number of Ādityas rose to 12, representing the sun in the 12 months of the year; धाता मित्रो$र्यमा रुद्रो वरुणः सूर्य एव च । भगो विवस्वान् पूषा च सविता दशमः स्मृतः ॥ एकादशस्तथा त्वष्टा विष्णुर्द्वादश उच्यते ।); आदित्यानामहं विष्णुः Bg.1.21; Ku. 2.24. (These 12 suns are supposed to shine only at the destruction of the universe; cf. Ve.3.8; दग्धुं विश्वं दहनकिरणैर्नोदिता द्वादशार्काः).(Samskritam. Apte)
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"King Shaushtatar (ruled c. 1430) extended the boundaries of Mitanni through the conquest of Alalakh, Nuzi, Assur, and Kizzuwatna. Egypt, under Tuthmosis III (1479-1425 BCE), defeated the Mitanni at Aleppo after a long period of contention over control of the region of Syria. Later Egyptian dynasties entered into pacts and treaties with Mitanni and the daughter of the Mitanni King Tushratta, the princess Taduhepa, was given in marriage to Amenhotep III (1391-1353 BCE) as part of a treaty which balanced power between the two nations.This treaty was put to the test during a power struggle in Washukanni between Tushratta and a relative of the previous king, Shuttarna, known as Artatama II. Egypt backed Tushratta in this conflict while the Hittite king Suppiluliuma I backed Artatama II. Tushratta seemed poised to succeed when Egypt, fearing the growing power of the Hittites, withdrew its support. Suppiluliuma I, tired of diplomacy and now free to do as he pleased without fear of Egyptian reprisal, led his forces on Washukanni and sacked it. Tushratta was assassinated by his son, perhaps in an effort to save the city. Following this conquest, Mitanni was ruled by Hittite kings."http://www.ancient.eu/Mitanni/ The name Tushratta may also be a phonetic variant of Tvaṣṭr̥, Tuisto. Indo-Aryan superstrate in Mitanni is postulated. "In a treaty between the Hittites and the Mitanni (between Suppiluliuma and Shattiwaza, ca. 1380 BC), the deities Mitra, Varuna, Indra, and Nasatya (Ashvins) are invoked.Kikkuli's horse training text (circa 1400 BC) includes technical terms such as aika (Vedic Sanskrit eka, one), tera (tri, three), panza (pañca, five), satta (sapta, seven), na (nava, nine), vartana (vartana, round). The numeral aika "one" is of particular importance because it places the superstrate in the vicinity of Indo-Aryan proper (Vedic Sanskrit eka, with regular contraction of /ai/ to [eː]) as opposed to Indo-Iranian or early Iranian (which has *aiva; compare Vedic eva "only") in general. Another text has babru(-nnu) (babhru, brown), parita(-nnu) (palita, grey), and pinkara(-nnu) (pingala, red). Another text has babru(-nnu) (babhru, brown), parita(-nnu) (palita, grey), and pinkara(-nnu) (pingala, red). Their chief festival was the celebration of the solstice (vishuva) which was common in most cultures in the ancient world. The Mitanni warriors were called marya (Hurrian: maria-nnu), the term for (young) warrior in Sanskrit as well;[1] note mišta-nnu (= miẓḍha,~ Sanskrit mīḍha) "payment (for catching a fugitive)" (Mayrhofer II 358). Sanskritic interpretations of Mitanni names render Artashumara (artaššumara) as Arta-smara "who thinks of Arta/Ṛta" (Mayrhofer II 780), Biridashva (biridašṷa, biriiašṷa) as Prītāśva "whose horse is dear" (Mayrhofer II 182), Priyamazda (priiamazda) as Priyamedha "whose wisdom is dear" (Mayrhofer II 189, II378), Citrarata as citraratha "whose chariot is shining" (Mayrhofer I 553), Indaruda/Endaruta as Indrota "helped by Indra" (Mayrhofer I 134), Shativaza (šattiṷaza) as Sātivāja "winning the race price" (Mayrhofer II 540, 696), Šubandhu as Subandhu 'having good relatives" (a name in Palestine, Mayrhofer II 209, 735), Tushratta (tṷišeratta, tušratta, etc.) as *tṷaišaratha, Vedic Tveṣaratha "whose chariot is vehement" (Mayrhofer I 686, I 736). https://en.wikipedia.org/wiki/Indo-Aryan_superstrate_in_Mitanni
Tvaṣṭṛ is sometimes associated or identified with deities,such as Savitṛ, Prajāpatī, Viśvakarman and Puṣan. He is the father of Saraṇyū, who twice bears twins to Vivasvat (RV 10.17.1), Yama and Yami, also identified as the first humans to be born on Earth. He is also the father of Viśvarūpa or Triśiras who was killed by Indra, in revenge Tvaṣṭṛ created Vrtra a fearsome dragon. Tvaṣṭṛ is a solar deity in the epic of Mahābhārata and the Harivaṃśa. He is mentioned as the son of Kāśyapa and Aditi, and is said to have made the three worlds with pieces of the Sun god Surya. https://en.wikipedia.org/wiki/Tvastar
Invocation to Tvaṣṭr̥.![]()
RV 1.113.10 I invoke the chief and multiform Tvas.t.r. (= Vis'vakarma_); may he be solely ours. Sayana explains: Tvas.t.a_ = Vis'vakarma_, artificer of the gods, the fabricator of the original sacrificial vase or ladle. tvas.t.a_ vai pas'u_na_m mithuna_na_m ru_kakr.t---iti s'ruteh (Taittiri_ya.Sam.hita_ 6.1.8.5): Tvas.t.a_ forms in animals in pairs. This remarkable elucidation seems to anticipate the characteristic hieroglyphic multiplex forms -- particularly antithetical, pairs -- of composite animals used repeatedly in Indus Script Corpora. This characteristic pairing seems to be reflected in the explanation for the cognate word Tuisto in Germania -- as derived from tvai 'two':
Tvastar, Tuisto, Ymir. According to Tacitus's Germania (98 CE), Tuisto is the divine ancestor of the Germanic peoples...Tuisto, is commonly connected to the Proto-Germanic root tvai ("two") and its derivative tvis ("twice"; "doubled")...Jacob argues that the Germanic Tuisto (assuming a connection with Tvastr) must originally have been the grandfather of Ymir (cognate to Yama). Incidentally, Indian mythology also places Manu (cognate to Germanic Mannus), the Vedic progenitor of mankind, as a son of Vivaswān, thus making him the brother of Yama/Ymir.(Jacob, Alexander (2005). Ātman: A Reconstruction of the Solar Cosmology of the Indo-Europeans. Georg Olms Verlag., p.232)...According to Rives (1999), the fact that the ancient Germanic peoples claimed descent from an earth-born god was used by Tacitus to support his contention that they were an indigenous population: the Latin word indigena was often used in the same sense as the Greek autochthonos, meaning literally '[born from] the earth itself' (from χθών – chthōn "earth").(Rives, J. B. (1999) (Trans.) Tacitus' Germania. Oxford University Press, pp. 111-112.) https://en.wikipedia.org/wiki/Tuisto ![Suryadeva.jpg]()
Surya with consorts Saranyu (Sanjna) and Chhaya. Saranyu is the daughter of Tvastar
Saranya (Saraṇyū) or Saraniya (also known as Saranya, Sanjna, or Sangya) is the consort of Surya, and the divinity of clouds in Hindu tradition. She marries Vivasvat and is mother of Revanta, the twin Asvins, Manu, the twins Yama and Yami. Saraṇyū is the female form of the adjective saraṇyú, meaning "quick, fleet, nimble", used for rivers and wind in the Rigveda. https://en.wikipedia.org/wiki/Saranyu
RV 10.17.1-2: Tvastar prepares the bridal of his Daughter: all the world hears the tidings and assembles.But Yama's Mother, Spouse of great Vivasvat, vanished as she was carried to her dwelling.From mortal men they hid the Immortal Lady, made one like her and gave her to Vivasvat.Saranyu brought to him the Asvin brothers, and then deserted both twinned pairs of children.![]()
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10.017.01 Tvas.t.a_ celebrates the marriage of his daughter; therefore, the whole world is assembled; but the mother of Yama, the newly-married wife of the mighty Vivasvat, disappeared. [Deity Saran.yu_: The legend: Saran.yu_, the daughter of Tvas.t.a_, was given in marriage to Vivasvat, and had by him Yama and Yami_. Intimidated by his ardour, she substituted another female, her shadow, Cha_ya_, for herself, and going to Uttarakuru, changed herself to a mare. Vivasvat begot Manu by Cha_ya_, when, finding his error, he set off to look for his wife. Discovering her disguise, he transformed himself to a horse, and had by his wife the two As'vins].
10.017.02 The gods concealing the immortal (Sarn.yu_) for th esake of mortals and having formed her, gave her to Vivasvat. She bore the two As'vins when this had happened and then Saran.yu_ gave birth to two twins. [For the sake of mortals: maryebhyah = manus.yebhyas tadutpattyartham, for men, i.e. that men might be born. Manu was the offspring of Vivasvat and the woman resembling Saran.yu_ and all men are descended from Manu; the two twins: Yama and Yami_, but dva_ mithuna_, may mean two pairs of twins, Yama and Yami_, the first pair and the As'vins the second].
10.017.03 May the discriminating Pu_s.an, whose cattle are never lost, the protector of all beings, transfer you hence (to a better world); may he give you to these Pitr.s; may Agni (give) you to the beneficent gods. [This and the following three r.cas are to be recited at the funeral rites of a man who has been duly initiated, di_ks.ita].
10.017.04 May the all-pervading Va_yu protect you, may Pu_s.an (preserve) you, (going) first on the excellent path (to heaven); may the divine Savita_ place you, where the virtuous abide, whither they have gone. [a_yu = Va_yu].
10.017.05 Pu_s.an knows all these regions severally; met him conduct us by (the path) that is most free from peril; let him precede us, who is the giver of prosperity, endowed with radiance, accompanied by all pious men, ever vigilant, and knowing our (deserts).
10.017.06 Pu_s.an has been born on the best path of paths, on the best path of heaven on the best path of earth, he goes forward and backward over both (worlds), the assemblies longed for by all, discriminating (the merits of the dead). [Pu_s.an has been born: i.e., manifested in order to conduct men after death to their destination, according to their merits; he goes forward: i.e., favourably to the virtuous to show the fruit of good owrks, backward, i.e., he walks adversely to the wicked; discriminating the merits: i.e., he walks adversely to the wicked].
10.017.07 The devout invoke Sarasvati_; they worship Sarasvati_ at the strewn sacrifice; the virtuous call upon Sarasvati_; may Sarasvati_ bestow blessings upon the donor (of the oblation).
10.017.08 Divine Sarasvati_, who rides in the same chariot with the Pitr.s, and delighted (along with them) by the (sacrificial) viands, seated on the sacred grass gratified (by our offering, and grant us wholesome food.
10.017.09 Sarasvati_, whom the Pitr.s invoke when circumambulating sacrifice on the right, bestow upon the worshippers at this sacrifice a portion of food fit for thousands, and increase of riches.
10.017.10 May the maternal waters, purify us; may the shedders of water purify us with the effusion; for the divine (waters) bear away all sin; I come away from them purified (to heaven). [Shedders of water...with effusion: ghr.tena no ghr.tapvah punantu: waters which purify others by water; ghr.ta = effused water; ghr.tapvah = divinities presiding over effused water; or, ghr.ta = oiled butter (Yajus. 4.2); udemi = I go to heaven (S'atapatha Bra_hman.a 3.1.2.11)].
10.017.11 The Soma has risen to the earthly and heavenly (worlds), both this visible world, and that which (existed) before (it); I offer that Soma flowing through the common region (of heaven and earth) after the sacrifice (offered by the) seven (officiating priests). [drapsam = a name of the Sun (S'atapatha Bra_hman.a: 8.4.1.20); hotra_h = ditah, which are seven: zenith, nadir, centre and four cardinal points].
10.017.12 Soma, which escapes (from the hide), your filaments which let fall from the hands (of the priest escape) from the vicinity of the planks (of the press), or (from the hand) of the Adhvaryu, or from the filter; I offer it all with my mind (to Agni) with the word vas.at.
10.017.13 Your juice and your filaments, (Soma), which escape, and which fall from the ladle on this side or on that; may this divine Br.haspati sprinkle it for our enrichment.
10.017.14 (Waters)! the plants flourish by means of water my prayer is effectual through water; the essence of water is vigorous through water; purify me with it. [payasvat = having water; or, sa_ravat, having pith or vigour; being vigorous b\y means of water in the shape of rain].
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c. 2900 BC Sumerian "proto-literate" period from about 3500 BC
c. 2700 BC Egyptian "proto-hieroglyphic" from about 3300 BC (2nd Dynasty, Narmer Palette)
c. 2400 BC Akkadian from about 2800 BC.[probably the 1st extensive use of writing]
c. 2400 BC Eblaite - They love not commenting this 1. [Proto-Ugaric, Hittite, Canaanite-ish]
c. 2250 BC Elamite - [Most closely related to Indo-Iranian group, developed east of mesopotamia in Susa]
c. 2000 BC Hurrian - fragmentary, known only from a few glosses in Hittite texts
c. 1800 BC Luwian - hieroglyphs [closely tied to Hittite]
c. 1700's BC Minoan archival documents written in Cretan hieroglyphs c. 1625 BC:
c. 1650 BC Hittite Various cuneiform texts and Palace Chronicles written during the reign of Hattusili I
c. 1500 BC Canaanite-Proto-Sinaitic alphabet
Meyer considers Tuisto and Tvaṣṭṛ of Rigveda to be identical. [Meyer (1907) sees the connection as so strong, that he considers the two to be identical.( Meyer (1907): referenced in : North, Richard (1997). Heathen Gods in Old English Literature. Cambridge University Press.(p.269)] Tuisto is described as being "celebrated" (celebrant) by the early Germanic peoples in song, with Tacitus reporting nothing negative about Tuisto. (Lindow, John. (2001) Norse Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs, p. 296).
Tacitus' reference to Mannus as the son of Tuisto is instructive and jibes with the Indian tradition of Manu as a form of Tvasta together with Maya, Silpi and Visvajna. Vishvakarma [ God ] created five prajapathies — from his five faces such as Sadyojāta,Vāmadeva, Aghora,Tatpuruṣha,Īsāna.[11] They are Manu, Maya, Tvasta, Silpi, Visvajna. These memories among the people is so strong that the narrative of Tacitus about Tuisto may indeed be a recollected memory of Tvaṣṭṛ and also Visvakarma of Rigveda It is no mere accident that both Tvaṣṭṛ and Visvakarma of Rigveda are related as the divinities venerated by artisans, artificers, smiths who make vajra, the thunderbolt and other weapons and metal implements.
These narratives are evidence validating Indus Script Corpora as catalogus catalogorumof metalwork, together with archaeometallurgical evidences, say, recovered from Chanhu-daro.
These narratives together with the evidence of Gundestrup Cauldron with Indus Script hieroglyphs may be evidence of migrations of Bharatam Janam into Europe establishing contacts with Germanic peoples described in Tacitus'Germania.
The links of Mleccha (Meluhha) with Germanic people of Germania date to ca. 3rd millennium BCE.
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A ‘Sheffield of Ancient India’: Chanhu-Daro’s Metal working Industry. Illustrated London News 1936 – November 21st, p.909. 10 x photos of copper knives, spears , razors, axes and dishes..http://bharatkalyan97.blogspot.in/2015/06/tvastr-as-visvakarma-karu-smith-cire_17.html
Tuisto was Tvaṣṭṛ of Rigveda who produced the metal weapon: vajra, the thunderbolt. The divinity Tvaṣṭṛ is mentioned in the Mitanni treaty, which establishes him as a Proto-Indo-Iranian divinity. Tvaṣṭr is Śukrācārya's son, Śukrācārya (the weapons' mentor of the asura) is Bhṛgu's grandson and Vāruṇibhṛgu's son. Tvaṣṭr is the father of ViŚvarupa.
See: http://bharatkalyan97.blogspot.in/2015/06/tvasta-metal-artificer-was-meluhha.html This includes RV 10.90 which identifies Tvaṣṭṛ (Sanskrit: त्वष्टृ) is the first born creator of the universe. Also included is RV 10.82 which venerates Visvakarman n associations with Vr̥tra and Dadhici, episodes later elaborated in Bhagavata Purana. See: http://bharatkalyan97.blogspot.com/2015/06/tvastr-is-metaphor-for-veneration-of.html Tvaṣṭr̥ is a metaphor for veneration of metalwork artificers, Bhāratam Janam, in Rigveda. RV 1.80.16 refers to Dadhyanc, son of Atharvan; RV 1.80.1 refers to Indra wielding the metal vajra thunderbolt weapon against VRtra. RV 1.85.9 refers to Indra slaying VRtra using the vajra made by TvaSTA and releasing the water of oceans. RV 1.32.1, RV 1.32.5 to 14, RV 1.52.2 to 15, RV 1.61.6 to 12, RV 1.80.3 to 5, RV 1.80, 3 to 13, RV 1.85.9, RV 1.86.6, RV 2.1.11, RV 3.54.15, RV 4.42.7, RV 6.47.2, RV 10.48.8, RV 10.65.2, RV 10.65.10, RV 10.66.8 also refers to Indra's battle against VRtra and as the slayer of VRtra. The gloss vRTrhA of RV 2.1.11 is also explained by Sayana as 'destroyer of sin'.
These references reinforce the role of Tvaṣṭā as a metal artificer who made metallic weapons. This gets elaborated in a narrative in the Bhagavata Purana related to a son of Tvaṣṭā called Vis'varupa who was killed in battle.
There is a remarkable episode of mispronunciation by Tvaṣṭā, making him a mleccha. This mispronunciation with a wrong accent on the phrase: Indra-śatro resulted in the birth of Vr̥tra who, instead of becoming a slayer of Indra, gets killed in battle by Indra.
"The sagas, which are the sole record of their past history, say that the God Tuisto (Or Tuisco, the deity that gives its name to Tuesday)sprang from the earth, and that he and his son Mannus were the authors and founders of the race. To Mannus they ascribe three sons, whose names are borne respectively by the Ingaevones ["Grimm's identification of the Ingaevones with the Saxons, of the Iscaevones with the Franks, and of the Herminones with the Thuringians is convenient " (Stubbs, Const. Hist., i. 38]next to the ocean, the Herminones in the middle of the countiy, and the Iscaevones in the rest of it. Others, with true mythological license, give the deity several more sons, from whom are derived more tribal names, such as Marsians, Gambrivians, Suabians, and Vandals ; and these names are both genuine and ancient. The name Germany, however, is new and of recent application, owing to the fact that the first of these peoples to cross the Rhine and dispossess the Gauls, a tribe now known as the Tungrians, then got the name of "Germans". Thus what was originally a name given to a tribe and not that of a race gradually came to be accepted, so that all men of the race were called Germans, by the victorious tribe first as a name of fear, and by themselves afterwards when the name had once been coined. "(The Agricola and Germania of Tacitus, 1894, Tr. KB Townshend, Methuen & CO.Aberdeen Univ. Press,pp.54-55) https://archive.org/stream/tacitusagricolag00taciiala/tacitusagricolag00taciiala_djvu.txt
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"While the gods Indra and Agni stood for Power and Wisdom, the gods PUSan and Bhaga, Rbhus, TvaSTA and Vis'vakarman presided over the economic activities of the people. The technical and the ritual aspects of productive activity were closely united just as the forms of wealth were conceived in close connection with the favour of the gods...All rUpas are of TvaSTA (the divine fashioner). TvaSTA inherited them from Agni or, as Aitareya has it, TvaSTA is nothing but speech. In other words, all forms are originally contained in divine wisdom, the ultimate illuminer. It is from there that the artificing and fashioning mind derives them. Reality is conceived as a luminous powere which creates things or forms out of itself. The human mind is capable of responding to the Light and apperceiving the forms in which it expresses itself. The forms which man perceives, thus, are not phantasms produced by the senses or the mind but created things rooted in reality."(Pande, GC, 1990, Foundations of Indian culture: spiritual vision and symbolic forms, Delhi, Motilal Banarsidass, p.61, p.344)
"According to the Bhagavat Purana, he chanted: “Indra-satro vivardhasva ma ciram jahi vidvisam” (“O enemy of Indra, flourish to kill your enemy without delay”). (Bhagavat Purana 6.9.11). Tvasta intended to chant the word indra-satro, meaning, “O enemy of Indra.” Instead of chanting those words short, Tvasta chanted it long, and its meaning changed from “the enemy of Indra” to “Indra, who is an enemy.” Consequently, instead of a son who would kill the king of the gods, he had a son who would die at Indra’s hands. The smallest mistake in pronunciation led to his plans being foiled." -- Nimai Agarwalhttp://kidspiritonline.com/2014/12/the-power-of-words-in-my-tradition/ [quote]hata-putras tatas tvasta
juhdvendraya satrave
indra-satro vivardhasva
ma ciramjahi vidvisam
TRANSLATION
After Visvarupa was killed, his father, Tvasta, performed ritualistic ceremonies to kill Indra. He offered oblations in the sacrificial fire, saying, "O enemy of Indra, flourish to kill your enemy without delay."
PURPORT
There was some defect in Tvasta's chanting of the mantra because he chanted it long instead of short, and therefore the meaning changed. Tvasta intended to chant the word indra-satro, meaning, "O enemy of Indra." In this mantra, the word indra is in the possessive case (sasthi), and the word indra-satro is called a tat-purusa compound (tatpurusa-samasa) . Unfortunately, instead of chanting the mantra short, Tvasta chanted it long, and its meaning changed from "the enemy of Indra" to "Indra, who is an enemy." Consequently instead of an enemy of Indra's, there emerged the body of Vrtrasura, of whom Indra was the enemy.
Bhag. 6.9.11
In the compound word indra-satro, the ending of the word satro is uttered short when it is in the possessive case (sasthi) and long when it is in the vocative case (sambodhana) . Tvasta mistakenly uttered it long. He expected "Indra's killer" to be born from the sacrifice, but the mantra he uttered meant "Indra is the killer of the person to be born."
In the above scenario, "long" and "short" do not denote dirgha and hrasva (see section 2.4.2 on vowels), but long (udatta) and short (anudatta) pitch accents on vowels (also in 2.4.2). Tvasta spoke Vedic Sanskrit (vaidika bhasa or vaidika samskrta), in which the word meaning can change depending on the pitch in which a vowel is accented. Vedic Sanskrit occurs only in the sruti-sastra, the four Vedas, and it is also called srauta bhasa. The rest of Sanskrit literature is written in classical Sanskrit (laukika bhasa or laukika samskrta), which is not altered by vowel pitch accents.
The commentaries by Sridhara Svami and Varhsidhara on Bhagavatam 6.9.11 explain this incident in more detail. They say that the version of the mantra given in 6.9.11 is different from the mantra used by Tvasta. The mantra given in the Vedas and described by Sridhara Svami and Vamsidhar was indra-satrur vardhasva, and their explanations of the mistake are based on this. It was customary to change a Vedic mantra a bit when mentioning sruti texts in writing because the audience did not necessarily have qualifications (adhikara) in sruti. Hence the mantra from the Veda was changed in 6.9.11. Or it was changed owing to considerations of the verse meter. Hence we see that there is no actual vocative in the Vedic mantra. Sridhara Svami mentions that the mistake was in the svaras, vowel pitch accents. As far as the letters were concerned, they were accurately chanted. The mistake in the svaras (vowel pitch accents) was that he chanted "indra" with the udatta accent, which changed it from what was intended (a tatpurusa meaning "Indra's enemy") to something else (a bahuvrihi) meaning Tndra is the killer of the person to be born." [unquote]
Vritra is also mentioned in the Rig Veda, where he is the demon of drought, who imprisons all the strom clouds and causes drought. Indra slays him with his thunder-bolt (Vajra) and frees the strom-clouds, bring bountiful rain to end the famine.
Slaying of Vritra
This story is taken from B.P. and Bhagavata Purana (Canto 6, Chapter 7-13).
Brihaspati was the Guru of the Devas. He was very learned and was first among the Brahmanas. Everyone used to respect him. It so happened, that when he visited the court of Indra, the King of the Gods was busy watching his beautiful Apsaras sing and dance, saw his Guru arrive. However, in his arrogance, he did not rise from his throne, nor did he utter the customary words of welcome and worship.
The sage felt insulted. He resolved that he will no longer grace the councils of the Devas, and went away to perform penance. Too late, Indra realized his mistake. H searched high and low for his perceptor, but could not find him. Without their Guru to guide them, the Devas could not survive for long. Besides, their traditional foes, the Asuras, will seek to exploit this opportunity to and cash in on their weakened state.
Acting on the advice of Lord Brahma, the Devas installed Vishwarupa, the son of the God Tvashta as their new Guru. He was also a Brahmana renowned for his learning and yogic power. As time progressed, Vishwarupa started to notice that Indra and the Devas spent an inordinate amount of time in pursuit of pleasure. Besides, his mother was aAsura woman, and his loyalty was divided. Secretly, he started giving a portion of the sacrificial oblations (Havis) to the Asuras. As a result, their strength increased.
When Indra came to know of this treachery, he became very angry. Without pausing to think the consequences of his actions, he struck off the three heads of Vishwarupa. The first head, that was used for drinking Soma, became a francolin partridge, the second head, used for drinking wine turned into a sparrow and the third, used for eating, turned into a partridge. the head of his teacher with his sword. Since he had killed a Brahmana, that too his Guru, he became guilty of the sin of Brahma-Hatya. However, he escaped his punishment by distributing the sin among the land, water, and women. (Other accounts say that his lusture diminished and he had to regain it by doing penance, during which time he was exiled from heaven.) In return for ridding Indra of the sin, earth got water to fill its empty holes, trees got re-growth of cut branches, waters became purifying, and women obtained undiminished sexual desire. As a result of their share of the sin, earth has wastelands, trees have sap, waters have froth, and women have menstruation.
Now, Tvashta wanted revenge for the murder of his son. He began arrangements for a sacrifice that would give him a son who could slay Indra. The sacrifice was duly performed, but there was a small problem. When it was time for the final incantations, Tvashta ought to have said, "May this son of mine be the slayer of Indra", but he stressed the wrong syllables in the Mantra, and the meaning changed to "May Indra be the slayer of this son of mine."
From the sacrificial fire, there rose a terrible Asura. He was named Vritra, 'the encloser'. He immediately grew immensely big and was as large as the largest mountain. His hair was like molten copper, he had a mustache and beard of the same color and had eyes blazing like the midday sun. He was armed with a magical trident. He derived his immense strength from the incantations chanted at the sacrifice. His father then ordered him to go and slayIndra. Obedient to the command, the demon began to seek the slayer of his elder brother.
Some time before this, the Asuras had been thoroughly defeated by the Devas in battle. Peace reigned for a while. The Devas needed a place to store their weapons safely, for they feared treachery. They then remembered that the Asuras dared not approach the hermitage of the sage Dadhichi, such was the yogic power of the hermit. They entrusted all their weapons to his safekeeping.
When Dadhichi's wife Lopamudra came to know about this, she was not pleased. She said to her husband, "An ascetic should not take sides in a war. Now the Asuras will think that you are their enemy and seek to harm you. Besides, the Gods have not mentioned how long you are to take care of their weapons. If something were to happen to them in your custody, will they not blame you. We have renounced all worldly possessions and attachments, you were wrong to have taken this responsibility."
Dadhichi saw the force of her arguments. He said, "What you say certainly makes sense. However, I have given my word. It is important to stand by ones promise. Besides, the Asuras were always the enemies of us sages, so the question of neutrality does not arise. What is fated will happen, and no one prevent it."
Years passed, and Dadhichi was alarmed to note that the lusture of the divine weapons was beginning to diminish. Their power was slowly dissolving in air. The sage then used his yogic power to dissolve all the weapons in water and then he drank it all up. Their power was then lodged in his bones.
Now, with Vritra threatening at their doorsteps, the Devas wanted their weapons back. Dadhichi said, "I have bad news for you. Your weapons are no longer there. Their power now resides in my bones. I shall give up my life. You can then have new weapons made from my bones."
The Gods naturally balked at the thought of the Rishi's death. However, no other choice was available, for they needed the weapons to battle Vritra. Dadhichi gave up his life. Vishwakarma made Indra the weapon Vajra from the back bone of the hermit. This weapon was the most powerful weapon of all.
The armies of the Devas and Asuras met in the battlefield. From the furious onslaught of the Asura army, theDevas were initially driven back, but they redoubled their efforts and slowly gained the upper hand.
Seeing his forces retreating, Vritra was extremely angry. He charged ahead and stopped the advance of the Devas single-handedly. He let out a mighty roar, which caused many of the Devas to faint. Under his purposeful tread, the heavens began to shake. He picked up his immense mace and struck Iyravata with it. Indra revived his mount with a touch of Amrit.
At this point, angry words were exchanged between Vritra and Indra.
The Asura taunted Indra for having slain his brother, a defenseless Brahmana.
Angered, Indra struck off one hand of Vritra with his sword. In retaliation, theAsura made his mouth immensely huge and swallowed Indra whole.
Though he was swallowed by the Asura, Indra did not die, for he was protected by the grace of Vishnu. He judged it to be time to use his Vajra. He used the great weapon and sliced open the abdomen of the demon, and emerged victorious.
However, having slain the creature emerged from a holy sacrifice, he was once again weighed down with sin. Unlike before, he could not get rid of it easily. He retired to the banks of Manasarovar and performed a penance for thousand years to expiate his sins and to regain his lusture.
http://web.archive.org/web/20070105054802/http://members.cox.net/apamnapat/articles/SlayingOfVritra.html![]()
Tacitus wrote:"In ancient lays, their only type of historical tradition, they celebrate Tuisto, a god brought forth from the earth. They attribute to him a son, Mannus, the source and founder of their people, and to Mannus three sons, from whose names those nearest the Ocean are called Ingvaeones, those in the middle Herminones, and the rest Istvaeones. Some people, inasmuch as antiquity gives free reign to speculation, maintain that there were more sons born from the god and hence more tribal designations- Marsi, Gambrivii, Suebi, and Vandilii- and that those names are genuine and ancient." (2.2) loc. cit. http://celto-germanic.blogspot.in/2014/04/tuisto-god-tiwaz.html Richard North notes that tuisto may be 'two-standing' or 'standing twice'. Mannu is the son of Tuisto who is 'born from the earth'. (North, Richard, 1997, Heathen gods in old English literature, Cambridge University Press, pp.27, 270).
Týr (/ˈtɪr/; Old Norse: Týr [tyːr]) is a god associated with law and heroic glory in Norse mythology... If a warrior carved the rune Tîwaz on his weapon he would be dedicating it to Týr and strengthen the outcome of a battle to be in his favor. After a warrior has dedicated his weapon to Týr he should not lose it or break it. https://en.wikipedia.org/wiki/T%C3%BDr![]()
Bas-relief of Phnom Kulen in Cambodia, IX century.Indra holds double-vajra, seated on a column.
The fashioner of the vajra, thunderbolt weapon, is the artificer, Tvaṣṭā.
Yamantaka, Fear-Striking Vajra, Lord of Death (Tibetan: Gshin-rje-gshed), multiheaded, holding vajra, rope, dagger, riding a water buffalo, statue of a guardian, enormous strength, Tibetan Esoteric Buddhism, Art Institute, Chicago, Illinois, USA.
কাঞ্চন গুপ্ত 
Rajesh Bala 
OG Saffron 
Deeptangan Pant 
Smita MUKERJI 
TheSignOfFive 
karabha, ibha 'elephant' rebus: karba, ib 'iron' PLUS 
Sanchi Stupa Torana. 
Trans. A good nation in the globe, our Bharata nation.- Subramania Bharati
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Tuisco from 
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Cave 10 Visvakarma cave, Ellora
Map of the Near East ca. 1400 BCE showing the Mitanni kingdom at its greatest extent 
