Srisailam Temple

Srisailam is located in Kurnool district of Andhra Pradesh. This whole area is full of forests of Kadali, Bilva trees, mountain ranges and Patalaganga (Krishnaveni river). All of them echo from these joyous voices of devotees.

Puranic History of Srisailam Temple

When Kumar Kartikeya returned to Kailash after completing his trip around the earth, he heard about Ganesha’s marriage from Narada. This angered him. In spite of being restrained by his parents, he touched their feet in obeisance and left for Krounch Mountain. Parvati was very distraught at having to be away from her son, implored Lord Shiva to look for their son. Together, they went to Kumara.

But, Kumara went away a further three Yojanas, after learning about his parents coming after him to Krouncha Mountain. Before embarking on a further search for their son on each mountain, they decided to leave a light on every mountain they visited. From that day, that place came to be known as JyotirLinga Mallikarjuna. It is believed that Shiva and Parvati visit this palce on Amavasya (No moon day) and (full Moon day) Pournami, respectively. Visiting this JyotirLinag not only blesses one with innumerable wealth, but also name and fame and fulfils all the desires.

Once, a princess named Chandravati decided to go to the Jungles to do penance and meditation. She chose Kadali Vana for this purpose. One day, she witnessed a miracle. A Kapila cow was standing under a Bilwa tree and milk was flowing from all of its four udders, sinking into the ground. The cow kept doing this as a routine chore everyday. Chandravati dug up that area and was dumb founded at what she saw.

There was a self-raising Swyambhu SivaLinga. It was bright and shining like the sun rays, and looked like it was burning, throwing flames in all directions. Chandravati prayed to Siva in this JyotirLinga. She built a huge Shiva Temple there. Lord Shankara was very pleased with her. Chandravati went to Kailash wind borne. She received salvation and Mukti. On one of the stone-inscriptions of the temple, Chandravati’s story can be seen carved out.

Shaila Mallikarjuna’s holy place is located on the banks of River Krishna. Here River Krishna is in the form of Patalaganga (underground spring). Lakhs of devotees take a holy dip here and then go for the Darshan of the JyotirLinga.

During the Karnataka Movement, Chatrapati Shivaji used to come to take a Darshan of the JyotirLinga during the Maharatri. He built a tower on the right side of the Temple and also opened a free-meal center.

The kings of the VijayaNagar Dynasty too built a Temple, Tower, Portico and a pond. Ahelyadevi Holkar, a great devotee of Siva built a strong bathing wharf consisting of 852 steps on the banks of the Patalganga.

Earlier, this part of the Shaila mountains was an unreachable tough terrain and fraught with danger. Even then, devotees, with their sheer will power, used to reach there in large numbers. Hiranyakashipa, Narada, Pandavas, Sri Ram are some of the great mythological personalities who have visited this holy shrine. shankara bhagavatpAda, rENukAchArya(2), akka mahAdevi, hemareddy mallamma are some of the great devotees who worsh
ipped Lord mallikArjuna here.

Srirangam temple

Sri Raganatha swami is blessing in three different islands of the holy river Cauvery. It flows from Karnataka to Tamilnadu. The first island is Sriranga Patinam and it is called Aathirnagam (Origin of Rangam), located in Mysore (125 km distance from Bangalore to Mysore route).



The second island is Sivanasha Samuthiram and it is called Mathiyarnagam (Middle of Rangam), situated 70 km distance from Srirangapatinam.

The third island is Thiru navalantheevu and it is called Srirangam and also called Antharngam (last part of Rangam - meaning of heaven) is situated in Tamilandu, Trichirappalli district, India. Sriranagm temple is 7 km away from the Trichirappalli Junction (in the south 321 km from Chennai and in the north east 200 km from Madurai approximately). Srirangam can be reached by bus and train (International airport is also available in Trichy). This prehistoric architectural temple welcomes all pilgrims and tourists with open arms.

Sriranganatha swami at Srirangam temple, sriranganathar is called Anatha Sayana Perumal (seen in lying position in the five headed snake) and blesses with his three wives namely Sridevi, Boodevi and Renganachiyar in the first enclosure of temple Srirangam.

Srirangam temple is covered by 7 enclosures namely:
Thirunazhi Enclosure
Rajamahendra Enclosure
Kulasegaran Enclosure
Aalinadan Enclosure
Agalangan Enclosure
Thiruvikraman Enclosure (Utra Street, in Tamil uthra veedhi)
Kalugaraman Enclosure (Chitra Street, in Tamil chithirai veedi).

Srirangam Temple constitutes of 24 Acres including the 5th enclosure and a total of 156 Acres including the 6th and 7th enclosures. Towards the South direction of the Srirangam temple stands the Rajagopuram (literal:royal tower) which had been started to get constructed by the Nayakar Kings 400 years ago and it was completed in part. The Agobila abbey (cult of vishnuishm) concerned of Rajagopuram and they built with 236 feet height, 13 tired and 13 Copper buds (kalasam) and carried out the kumbabishekam in year 1987.

Srirangam Temple keeps following Sukla yajure vedha inner division Vagineye Ganva for its daily worshipping practise.

Motcha (attaining the status of no re-birth by residing at the feet of Lord) Ramanujar lived and worshipped Srirangam Perumal at Srirangam temple very long time. After the end of his life he got Motcham. Then his student did mummification of his body in the position of Badmasanam using ayurvedaha Muligai (herbal plants). But mythology explains that his corpus arose out of the earth with no human intervention. Aacharya Ramanuja is blessing in a separate sannadhi (temple) in the srirangam temple of 3rd enclosure. No abishekam is conducted for his body. The holy ceremony of applying saffron with Cinnamomum camphora on the divine corpus of Aacharya Ramanuja is celebrated twice in a year at an appropriate interval, in order to preserve the holy body of Sriramanuja, which is fully immersed in the thoughts of Sri Narayana than nothing else.

Cauvery water Abishegam

In the Tamil month of Aani (month of July) on the day of the star "Keytayam" Srirangam temple Swami Ranganathar will be coated with "herbal fragrance oil"(Thailabisegam), and on the same day 22pots of Holy Cauvery water (Abisegam) will be spilled out on Him. On this day only His golden costumes will be unrobed.

Sriranganathar at Srirangam temple swami will be getting Jostabisegam from the 48th day of Adiperukku urchavam. People celebrate the festival on Aadi 28th or Aadi 18th (in the end of July) at Srirangam Amma mandpam. On that day Swami Ranganathar will give blessing to his devotees and people give saris, kungumam (vermillion powder - a holy thing of Hinduism), Katholai, Karugamani (Pam tree leaf ring for years and black coloured artificial Pearl) as a present to mother Cauvery. These gifts are taken from the temple by the temple elephant called Aandal and then let float on the river Cauvery.


Kambar (a prehistoric Tamil poet) was revealing (arangetram in Tamil) Ramayana in Srirangam temple at Kambar Arangetra mandbam (literal: hall) for the first time. On his Ramayana he wrote about Lord Narasimmar. But others did not accept his opinion and criticised that he was blabbing. Kambar was frustrated and came under stress. He prayed to Narasimmar. At the same moment Lord Narasimmar appeared on the pillar and roared.  Everyone regretted that, they had put baseless blame on Kambar. Since Lord Narasimma appeared there for his devotee, he is called Metalagiya Narasimmar.


Amudha kalasa Garudalvar (meaning: King of birds) has a separate Sannathi (temple). Swami Srirnganatha demolished Asuras (demons) and rescued back the Vedas from them. He asked Garudalvar to keep the Vedas preserved. In order to execute the order of Lord Vishnu, Garudalvaar preserves Vedas in Kalasam (small pot) on his hand. His statue is made up of Salak wood. Here special pooja is made for Garudalvar with jasmine and turmeric. Garudalvaar relieves those who are suffering from nightmares and hallucinations. Those who are affected by the radiations and the transitions of the planets Uranus and Neptune will be safeguarded by Garudalvaar. Garudalvaar open His wings (whose width and height are immeasurable), covers His devotees and preserves them from all sorts of harmful causes.

Thaniya laksmi (Goddess) anna perumal sannidhanam (sub temple) is in the 2nd enclosure, by blessing us with Sri Krishna on Her right hand side and with Narasimar on Her left hand side. It's an amazing and unique position among the Hindu vaisnava temples.  Thaniya lakshmi shelters those who are affected by the planet Venus (Sukran). Those who trust Her, will not feel the pinch of hunger. In Srirangam temple at special poojas silks and white been seed are used. Thaniya laksmi is the direct Avataram of Sri Ranganathar and she looks with thanyam (literal: spices and maize) and kalasam (a small pot). On every bramochavam Sriranganathar gives Thaniyam (spices and maizes) to Annalaxmi with his wife Ranganachiyar, in order to allay hunger of all the organisms of the universe.

Every year three Bramorchavams are celebrated in the months of Thai (January), Panguni (March) and Chithirai (April). First Bramorchavam is in the month of Panguni. This festival is celebrated by Bramma (God of creation) and it is called Aadhi Bramorchavam. During this festival Sri Ranganatha swami will be giving blessings to his devotees along with his wife Sri Ranganachyar on the star utra Natchahiram. The second Bramochavam is during the “car festival” (to lead the life peacefully) is celebrated every year in the month of April/May (Tamil month: Chithirai). This is called Chithirai festival. The third Bramochavam is in the month of Thai. Ramar had celebrated a festival in Ayodhi for remembering Sriranganathar. This festival is called Boopathi festival. The wife of Srirenganathar is also called Boomadevi.
In Tamil ‘Pathi ‘means "Husband" Booma + pathi becomes Boopathi festival.

More than being just an extraordinary expression of art, these sculptures function as three-dimensional story-books of Hindu mythology. Similar in purpose to the stained glass windows of Europe's medieval cathedrals, these beautiful sculptures were intended to visually communicate religious myths to a largely illiterate population.

For 2000 years the temples of Srirangam have been a center of Bhakti Yoga, which may be defined as the practice of devotional love of god as a spiritual path leading to enlightenment. Because of the generous financial support of the temple by numerous dynasties of ancient India, Srirangam has always been a haven for persons wishing to dedicate their lives to the practice of meditation and devotion. Many of India's most loved saints and sages have spent time at Srirangam including the 11th century sage Ramanuja who lived and was buried in the temple grounds.


Srirangam temple Garudalvar Sanathi is situated opposite to the Ranganathar Sannathi and it is in the second enclosure of the temple. This Garudalvar is 25 feet in height and he is wearing Asta Nagabaranam (literal: Snakes as cloth). He looks like in the position of worshiping Lord Renganathar, and wearing 30 meters dhoti. Here no abishegam (holy bath) is made to Him. Garudalvar is worshipped by the devotees with Kolukattai (rice based food famous in south india) on every Thursday. Here Sukrivan and Angathan stand on the left and right sides of Garudalvaar like Thuvarabalaga (guards) respectively. Every year Margazhi (December) the days belong to star Thiruvadarai are famous for Garudalvar festivals.

Every year on the day of Karthigai visaga yegathesi at the time of valarpirai (growing moon period) in the night Lord Srirnaganathar keeps wearing 365 different types of blankets until the day dawn.


God of Medicine looks after the health of all the organisms. He has separate sannidhanam (temple) at srirangam temple near Thayar sannadhi. He has Amirtha (the holy liquid for immortal life) kalasam. On his hand millipede is there (the scientific reason beyond this is, Millipede can suck blood. So the God of Medicine has millipede, in order to suck the infected blood of patient) Mahalaxmi devi dwells at his heart. Those who are sick, who cannot be cured even after they have undergone treatment, should trust Him. Castor oil lamp pooja is the famous festival in this Sannithanam at Srirangam temple.


In the Srirangam temple Boomadevi, Sridevei and Utchava Ranga nachyar dwell in the same sanithanam and it becomes the holiest vaishnava temple in India.

Indian Architecture

Indian Architecture

One of the most enduring achievements of Indian civilization is undoubtedly its architecture. Indian architecture, which has evolved through centuries, is the result of socio-economic and geographical conditions. Different types of Indian architectural styles include a mass of expressions over space and time, transformed by the forces of history considered unique to India. As a result of vast diversities, a vast range of architectural specimens have evolved, retaining a certain amount of continuity across history.

Indian architecture is that vast tapestry of production of the Indian Subcontinent that encompasses a multitude of expressions over space and time, transformed by the forces of history considered unique to the sub-continent, sometimes destroying, but most of the time absorbing.

Indian architecture, belonging to different periods of history, bears the stamp of respective periods. Though the cities of Indus Valley provide substantial evidence of extensive town planning, the beginnings of Indian architecture can be traced back to the advent of Buddhism in India. It was in this period that a large number of magnificent buildings came up. Some of the highlights of Buddhist art and architecture are the Great Stupa at Sanchi and the rock-cut caves at Ajanta.

With the establishment of Hindu kingdoms in South India, the south Indian school of architecture began to flourish. The most notable achievements of the Pallava rulers were the rock-cut temples of Mahabalipuram and the temples of Kanchipuram. The Chola, Hoyasala and Vijayanagar rulers also did remarkable job in the field of architecture. The temples at Thanjavur, Belur and Halebid bear testimony to the architectural excellence of the South Indian rulers.

In north India, there developed a new a different style of architecture. This was called as the Nagara style architecture. In central India, the Chandela rulers built a magnificent temple complex at Khajuraho. With the coming of the Muslim rulers, there developed a new architectural style in India- the Indo-Islamic architecture. The Indo-Islamic style was neither strictly Islamic nor strictly Hindu. The architecture of the medieval period can be divided into two main categories. They are the Delhi or the Imperial Style and the Mughal Architecture.

It was followed by a new style of architecture that developed as a result of colonization of India. This style of architecture came to be called as Indo-Saracenic. The Indo-Saracenic architecture combined the features of Hindu, Islamic and western elements. The colonial architecture exhibited itself through institutional, civic and utilitarian buildings such as post offices, railway stations, rest houses and government buildings.




Indian art and architecture, works of art and architecture produced on the Indian subcontinent, which is now divided among India, Pakistan, and Bangladesh. In the Western world, notable collections of Indian art can be seen in the British Museum, in the Victoria and Albert Museum, and in the Museum of Fine Arts, Boston.

Introduction

Although a great deal of Indian secular art was produced, it was essentially made of perishable material and has not survived. What has survived in the medium of stone is religious art. In both Buddhist and Hindu art, symbolism in gesture, posture, and attribute contains many levels of meaning. In images of the Buddha, different hand positions (mudras) signify religious states, such as the Enlightenment (Nirvana), Meditation, and Preaching. In Hindu sculpture, deities (see Vishnu, Krishna, and Shiva) are frequently represented with many hands to indicate their power to perform multiple deeds at the same time, and the hands each carry their characteristic attributes. With the exception of Mughal art and architecture, which demands separate treatment, the major trends in Indian art–Hindu, Buddhist, and Jain–are discussed within this article.

Indus Valley Civilization

The earliest Indian art emerged from the valley of the Indus River during the second half of the 3d millennium BC The best-known sites are Harappa, destroyed in the 19th cent., and Mohenjo-Daro; these are among the earliest examples of civic planning. Houses, markets, storage facilities, offices, and public baths were arranged in a gridlike scheme. There was also a highly developed drainage system.

The Indus civilization produced many statuettes made of steatite and limestone. Some statuettes resemble the hieratic style of contemporary Mesopotamia, while others are done in the smooth, sinuous style that is the prototype of later Indian sculpture, in which the plastic modeling reveals the animating breath of life (prana). Also found in this region are square steatite seals adorned with a range of animals, including naturalistically rendered bulls; ceramic storage jars with simple, stylized designs; toys with wheels; and figurines, which may be mother goddesses. Bronze weapons, tools, and sculptures indicate a sophistication in craftsmanship rather than a major aesthetic development.

Post-Indus Civilization through the Maurya Dynasty

Of the period from the end of the Indus civilization (c.1500 BC) until Alexander the Great crossed (325 BC) the Indus, few traces remain. However, the principles of Indian architecture were developed in wooden buildings, long since disintegrated.

From the great Maurya dynasty the most famous remains are the edict pillars, erected throughout N India by the Emperor Asoka to proclaim his devotion to Buddhism. The monolithic, smooth columns are over 50 ft (15 m) high and are surmounted by lotus capitals and animal figures. Some of the pillar capitals reveal forms that suggest Persepolitan influences. Also dating from the reign of Asoka is the earliest stone ogival chaitya window, found on the portal of a small rock-cut sanctuary near Bodh Gaya. The chaitya halls were monastic sanctuaries hewn out of rock. As they evolved, from the 3d cent. BC through the 1st millennium AD, they became elaborate colonnaded halls, or walls embellished with painting or sculpture.

Sunga and Andhra Dynasties

The earliest extant stupas date from the Sunga dynasty (2d–1st cent. BC) and early Andhra dynasty (1st cent. BC). These relic mounds are surrounded by railings and gateways covered with carved ornament. One of the main stupas is at Bharhut, where the sculpture is archaic in character. Relief medallions of the Buddha's life or of the jatakas (tales of his previous lives) are shallow cut, with all the incidents of each story arranged within a single composition. The bodies of semidivine beings including yakshis (female tree spirits) are flattened against the pillar of which they form part; prana is still emphasized.

The important stupa at Sanchi shows a similar style. Important carvings on the gateways of another stupa at Sanchi date from the early Andhra period. The yakshis have acquired full, graceful forms, and high-relief compositions are frequently conceived in a continuous method of narration. The carved railing from Bodh Gaya, the place of the Buddha's enlightenment, and the earliest surviving wall paintings are also early Andhra; paintings in the rock-cut cave at Ajanta narrate the Buddha's birth as an elephant and the entire synopsis of historic life. In the far south, in the Deccan, the later Andhra dynasty continued to flourish into the 1st cent. AD Its greatest monument is the carving at the Great Stupa at Amaravati, c.AD 200. The complex but coherent composition, the chiaroscuro, and the liveliness of the crowded surfaces distinguish these bas-reliefs.

Gandhara and Mathura

Under the Kushans, conquerors from central Asia, two of India's most important styles were developed between the 2d and 5th cent. AD: Gandhara art and art of Mathura. Gandhara art, named after the region of Gandhara now in Pakistan, presents some of the earliest images of the Buddha. Earlier at Bharhut and Sanchi, the Buddha's presence was represented by symbols, such as the pipal tree, the wheel of life, footprints, and an empty throne. The Gandhara style was profoundly influenced by 2d-century Hellenistic art and was itself highly influential in central and eastern Asia. Ivories and imported glass and lacquerware attest to the cosmopolitan tastes and extensive trade that characterized the period. Stupas and monasteries were adorned with relief friezes, often carved in dark schist, showing figures in classical poses with flowing Hellenistic draperies.

Farther east and south, contemporary Mathura, also under Kushan rule, created a wholly Indian sculptural art. Reddish limestone was the usual medium. More sensuous, heavier Buddhas whose limbs are created according to canonical instructions, smile directly at their worshipers. Reliefs of the yakshis carved against railing pillars are more frankly sensual and erotic than those at Sanchi. Buddhist iconography was developed in Gandhara. Mathura, however, preserved and developed Indian forms for three centuries.

Vedic Age in INDIA

Duration: 1500 BC to 500 BC

The Vedic Period or the Vedic Age refers to that time period when the Vedic Sanskrit texts were composed in India. The society that emerged during that time is known as the Vedic Period, or the Vedic Age, Civilization.

The Vedic Civilization flourished between the 1500 BC and 500 BC on the Indo-Gangetic Plains of the Indian subcontinent. This civilization laid down the foundation of Hinduism as well as the associated Indian culture. The Vedic Age was followed by the golden age of Hinduism and classical Sanskrit literature, the Maurya Empire and the Middle Kingdoms of India.

The Vedic period (or Vedic age) (ca.1750–500 BCE) was the period in Indian history during which the Vedas, the oldest scriptures of Hinduism, were composed.  During the early part of the Vedic period, the Indo-Aryans settled into northern India, bringing with them their specific religious traditions.

The Rig Veda is hard to translate accurately, because it is the oldest Indo-Aryan text, composed in the archaic Vedic Sanskrit. There are no closely contemporary extant texts, which makes it difficult to interpret.

Early Vedic Age: The Vedic age began in India in about 1500 BC and extend upto 6000 BCE with the coming of the Aryans, who scattered on the plains of northern India. Max Muller believes it an anomaly to regard the race as Aryan because scientifically Aryan connotes nothing but language. The relationship between the race and language of these people with the classical languages of Europe was established by a Bavarian Franz Bopp in 1816.

Aryans developed Vedic culture based on Vedas. The meaning of the word Veda is "knowledge", the best of all knowledge in the eyes of Hindus. It is a collection of hymns, prayers, charms, litanies and sacrificial formulae. There are four Vedas, namely, Rig Veda, Sam Veda, Yajur Veda and Atharva Veda.


Vedic Civilisation
Origin of Indian Music - Samveda
Mention of Word 'Shudra' - Rigveda 10th Mandala
Gayatri Mantra - Rigveda
Mention of word 'Yajna' - Brahmana
Somaras (drink) - Rigveda (9th Mandala)
Varna - Rigveda
Four fold division of Society - Rigveda 10th Mandala
Mention of four Ashrams - Jabala Upanishada
War between Aryan & Dasas - Rigveda
Transmigration of Soul - Brahadaranyka Upanishada
Five divisions of India - Aiteraya Brahamana
Wife and Husband are complementary - Satapathabrahmana
Battle of Ten kings - Rigveda (7th Mandala)
Superiority of Brahmins - Aiteraya Brahmana
Rajanaya - Rigveda 10th Mandala
Marut as Agriculturist - Satpatha Brahmana
Satyameva Jayate - Mundaka upanishada
Pashupath Shiva - Atharveda
Vishnu - Satapatha Brahmana

Conversion between Yam & Nachiketa - Katha Upanishada

Vedic Texts
Linguistically, the texts belonging to the Hindu Vedic Civilisation can be classified into the following five chronological branches:

Rigvedic

The oldest text of the Vedic Period, Rig Veda has many elements that are common with the Indo-Iranian texts, both in language and in content. One cannot find such similarity in any other Vedic text. It is believed that the compilation of the Rig Veda had stretched over a number of centuries. However, there is a conflict as to the completion date of the Rig Veda. Some historians believe it to be 1500 BC, while the others believe it to be 3000 BC. This time period coincided with the Indus Valley Civilization.

Mantra Language

The period of the Mantra Language includes the time of the compilation of the mantra and prose language of the Atharvaveda (Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita and the mantras of the Yajurveda. Though derived from the Rig Veda, all these texts experienced wide scale changes, in terms of language as well as at the time of reinterpretation. This time period coincided with the early Iron Age in northwestern India and the Black and Red Ware culture.

Samhita Prose

The period of Samhita Prose represents the compilation and codification of a Vedic canon. The linguistic changes of this time include the complete loss of the injunctive, the subjunctive and the aorist. The commentary part of the Yajurveda belongs to the Samhita Prose period. During this time, the Painted Grey Ware culture was evident.

Brahmana Prose

This period signifies Brahmanas proper of the four Vedas, along with the oldest Upanishads.

Sutra Language

The last division of the Vedic Sanskrit can be traced upto 500 BC. During this time, a major portion of the Srauta Sutras, the Grihya Sutras and some Upanishads were composed.

Epic and Paninian Sanskrit (Post Vedic)

In the post-Vedic Period, the compilation of Mahabharata and Ramayana epics took place. The Classical Sanskrit described by Panini also emerged after the Vedic Age. The Vedanta and the Pali Prakrit dialect of Buddhist scripture belong to this period. During this time, the Northern Black Polished Ware culture started spreading over the northern parts of India.

The end of the Vedic Period Civilization in India was marked by significant changes in the field of linguistics, culture and politics. With the invasion of the Indus valley by Darius I, in the 6th century, outside influences started creeping in.

Early Vedic Period (Rigvedic Period)

The Rigvedic Period represents the time period when the Rig Veda was composed. The Rig Veda comprises of religious hymns, and allusions to various myths and stories. Some of the books even contain elements from the pre-Vedic, common Indo-Iranian society. Some similarities are also found with the Andronovo culture and the Mittanni kingdoms. Thus, it is difficult to define the exact beginning of the Rigvedic period. The prominent features of the Rigvedic period are given below:

Political Organization

The political units during the Rigvedic or the early Vedic period comprised of Grama (village), Vish and Jana. The biggest political unit was that of Jana, after which came Vish and then, Grama. The leader of a Grama was called Gramani, of a Vish was called Vishpati and that of Jana was known as Jyeshta. The rashtra (state) was governed by a Rajan (King) and he was known as Gopa (protector) and Samrat (supreme ruler). The king ruled with the consent and approval of the people. There were four councils, namely Sabha, Samiti, Vidhata and Gana, of which women were allowed to attend only two, Sabha and Vidhata. The duty of the king was to protect the tribe, in which he was assisted by the Purohita (chaplain) and the Senani (army chief).

Society and Economy

Numerous social changes took place during the early Vedic period. The concept of Varna, along with the rules of marriage, was made quite stiff. Social stratification took place, with the Brahmins and the Kshatriyas being considered higher than the Shudras and the Vaisyas. Cows and bulls were accorded religious significance. The importance of agriculture started growing. The families became patriarchal and people began praying for the birth of a son.

Vedic Religious Practices

Rishis, composers of the hymns of the Rig Veda, were considered to be divine. Sacrifices and chanting of verses started gaining significance as the principal mode of worship. The main deities were Indra, Agni (the sacrificial fire), and Soma. People also worshipped Mitra-Varuna, Surya (Sun), Vayu (wind), Usha (dawn), Prithvi (Earth) and Aditi (the mother of gods). Yoga and Vedanta became the basic elements of the religion.

Later Vedic Period

The later Vedic Period commenced with the emergence of agriculture as the principal economic activity. Along with that, a declining trend was experienced as far as the importance of cattle rearing was concerned. Land and its protection started gaining significance and as a result, several large kingdoms arose.

Political Organization

The rise of sixteen Mahajanapadas, along with the increasing powers of the King, comprise of the other characteristics of this period. Rituals like rajasuya, (royal consecration), vajapeya (chariot race) and ashvamedha (horse sacrifice) became widespread. At the same time, the say of the people in the administration diminished.

Society

As far as the society is concerned, the concept of Varna and the rules of marriage became much more rigid than before. The status of the Brahmanas and Kshatriyas increased greatly and social mobility was totally restricted. The proper pronunciation of verses became to be considered as essential for prosperity and success in war. Kshatriyas started amassing wealth and started utilizing the services of the Brahmins. The other castes were slowly degraded. Around 500 BC, the later Vedic Period started giving rise to the period of the Middle kingdoms of India.