Veda Kannada Full Movie Download

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PresentlyDr. Jahagirdar is Managing Trustee of Sri Aurobindo Kapali Sastry Institute of Vedic Culture (SAKSHI), Bangalore, directing research in the Vedas, publication of books, planning and conducting workshops on the Vedas etc. He is also the editor of the News Bulletin of SAKSHI, and editor and director of SAKSHI project for translating and publishing all the four Vedas in Kannada, and various Indian languages.

Krishna Yajurveda Taittiriya Samhita 1st Kanda and 1st Mandala of Rig Veda and many other books on the Vedas are his translations completed and published under the guidance of Dr. R.L. Kashyap, which have been whole-heartedly welcomed by all the Veda-lovers.

The hymns are dedicated to Rigvedic deities. For each deity series the hymns progress from longer to shorter ones; and the number of hymns per book increases. In the eight books that were composed the earliest, the hymns predominantly discuss cosmology and praise deities. Books 1 and 10, which were added last, deal with philosophical or speculative questions about the origin of the universe and the nature of god, the virtue of dāna (charity) in society, and other metaphysical issues in its hymns.

The eighth and ninth mandalas, comprising hymns of mixed age,. account for 15% and 9%, respectively. The first and the tenth mandalas are the youngest; they are also the longest books, of 191 suktas each, accounting for 37% of the text. However, adds Witzel, some hymns in Mandala 8, 1 and 10 may be as old as the earlier Mandalas. The first mandala has a unique arrangement not found in the other nine mandalas. The ninth mandala is arranged by both its prosody (chanda) structure and hymn length, while the first eighty four hymns of the tenth mandala have a structure different than the remaining hymns in it.

As with the other Vedas, the redacted text has been handed down in several versions, most importantly the Padapatha, in which each word is isolated in pausa form and is used for just one way of memorization; and the Samhitapatha, which combines words according to the rules of sandhi (the process being described in the Pratisakhya) and is the memorized text used for recitation.

Several shakhas ("branches", i. e. recensions) of Rig Veda are known to have existed in the past. Of these, Śākalya is the only one to have survived in its entirety. Another shakha that may have survived is the Bāṣkala, although this is uncertain.

Three other shakhas are mentioned in Caraṇavyuha, a pariśiṣṭa (supplement) of Yajurveda: Māṇḍukāyana, Aśvalāyana and Śaṅkhāyana. The Atharvaveda lists two more shakhas. The differences between all these shakhas are very minor, limited to varying order of content and inclusion (or non-inclusion) of a few verses. The following information is known about the shakhas other than Śākalya and Bāṣkala:

There are, for example, 30 manuscripts of Rigveda at the Bhandarkar Oriental Research Institute, collected in the 19th century by Georg Bhler, Franz Kielhorn and others, originating from different parts of India, including Kashmir, Gujarat, the then Rajaputana, Central Provinces etc. They were transferred to Deccan College, Pune, in the late 19th century. They are in the Sharada and Devanagari scripts, written on birch bark and paper. The oldest of them is dated to 1464. The 30 manuscripts of Rigveda preserved at the Bhandarkar Oriental Research Institute, Pune were added to UNESCO's Memory of the World Register in 2007.

Mller used 24 manuscripts then available to him in Europe, while the Pune Edition used over five dozen manuscripts, but the editors of Pune Edition could not procure many manuscripts used by Mller and by the Bombay Edition, as well as from some other sources; hence the total number of extant manuscripts known then must surpass perhaps eighty at least.

The various Rigveda manuscripts discovered so far show some differences. Broadly, the most studied Śākala recension has 1017 hymns, includes an appendix of eleven valakhīlya hymns which are often counted with the 8th mandala, for a total of 1,028 metrical hymns. The Bāṣakala version of Rigveda includes eight of these vālakhilya hymns among its regular hymns, making a total of 1025 hymns in the main text for this śākhā. The Bāṣakala text also has an appendix of 98 hymns, called the Khilani, bringing the total to 1,123 hymns. The manuscripts of Śākala recension of the Rigveda have about 10,600 verses, organized into ten Books (Mandalas). Books 2 through 7 are internally homogeneous in style, while Books 1, 8 and 10 are compilation of verses of internally different styles suggesting that these books are likely a collection of compositions by many authors.

The first mandala is the largest, with 191 hymns and 2,006 verses, and it was added to the text after Books 2 through 9. The last, or the 10th Book, also has 191 hymns but 1,754 verses, making it the second largest. The language analytics suggest the 10th Book, chronologically, was composed and added last. The content of the 10th Book also suggest that the authors knew and relied on the contents of the first nine books.

The Rigveda is the largest of the four Vedas, and many of its verses appear in the other Vedas. Almost all of the 1,875 verses found in Samaveda are taken from different parts of the Rigveda, either once or as repetition, and rewritten in a chant song form. The Books 8 and 9 of the Rigveda are by far the largest source of verses for Sama Veda. The Book 10 contributes the largest number of the 1,350 verses of Rigveda found in Atharvaveda, or about one fifth of the 5,987 verses in the Atharvaveda text. A bulk of 1,875 ritual-focussed verses of Yajurveda, in its numerous versions, also borrow and build upon the foundation of verses in Rigveda.

The hymns mention various further minor gods, persons, phenomena and items, and contain fragmentary references to possible historical events, notably the struggle between the early Vedic people (known as Vedic Aryans, a subgroup of the Indo-Aryans) and their enemies, the Dasa or Dasyu and their mythical prototypes, the Paṇi (the Bactrian Parna).

Of the Brahmanas that were handed down in the schools of the Bahvṛcas (i.e. "possessed of many verses"), as the followers of the Rigveda are called, two have come down to us, namely those of the Aitareyins and the Kaushitakins. The Aitareya-brahmana and the Kaushitaki- (or Sankhayana-) brahmana evidently have for their groundwork the same stock of traditional exegetic matter. They differ, however, considerably as regards both the arrangement of this matter and their stylistic handling of it, with the exception of the numerous legends common to both, in which the discrepancy is comparatively slight. There is also a certain amount of material peculiar to each of them.

The Kaushitaka is, upon the whole, far more concise in its style and more systematic in its arrangement features which would lead one to infer that it is probably the more modern work of the two. It consists of thirty chapters (adhyaya); while the Aitareya has forty, divided into eight books (or pentads, pancaka), of five chapters each. The last ten adhyayas of the latter work are, however, clearly a later addition though they must have already formed part of it at the time of Pāṇini (c. 5th century BC), if, as seems probable, one of his grammatical sutras, regulating the formation of the names of Brahmanas, consisting of thirty and forty adhyayas, refers to these two works. In this last portion occurs the well-known legend (also found in the Shankhayana-sutra, but not in the Kaushitaki-brahmana) of Shunahshepa, whom his father Ajigarta sells and offers to slay, the recital of which formed part of the inauguration of kings.

The earliest text were composed in greater Punjab (northwest India and Pakistan), and the more philosophical later texts were most likely composed in or around the region that is the modern era state of Haryana. Philological estimates tend to date the bulk of the text to the second half of the second millennium.

Being composed in an early Indo-Aryan language, the hymns must post-date the Indo-Iranian separation, dated to roughly 2000 BC. A reasonable date close to that of the composition of the core of the Rigveda is that of the Mitanni documents of c. 1400 BC, which contain Indo-Aryan nomenclature. Other evidence also points to a composition close to 1400 BC.

There is a widely accepted timeframe for the initial codification of the Rigveda by compiling the hymns very late in the Rigvedic or rather in the early post-Rigvedic period, including the arrangement of the individual hymns in ten books, coeval with the composition of the younger Veda Samhitas. This time coincides with the early Kuru kingdom, shifting the center of Vedic culture east from the Punjab into what is now Uttar Pradesh. The fixing of the samhitapatha (by keeping Sandhi) intact and of the padapatha (by dissolving Sandhi out of the earlier metrical text), occurred during the later Brahmana period.

The Rigveda is far more archaic than any other Indo-Aryan text. For this reason, it was in the center of attention of western scholarship from the times of Max Mller and Rudolf Roth onwards. The Rigveda records an early stage of Vedic religion. There are strong linguistic and cultural similarities with the early Iranian Avesta, deriving from the Proto-Indo-Iranian times, often associated with the early Andronovo culture (or rather, the Sintashta culture within the early Andronovo horizon) of c. 2000 BC.

The Rigvedic hymns mention rice and porridge, in hymns such as 8.83, 8.70, 8.77 and 1.61 in some versions of the text, however there is no discussion of rice cultivation. The term "ayas" (metal) occurs in the Rigveda, but it is unclear which metal it was. Iron is not mentioned in Rigveda, something scholars have used to help date Rigveda to have been composed before 1000 BC. Hymn 5.63 mentions "metal cloaked in gold", suggesting metal working had progressed in the Vedic culture.

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