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Line 211: + + − + − ! − The Samaveda Samhita consists of 1549 stanzas, taken almost entirely (except for 75 mantras) from the Rigveda. Just like Rigveda, the early sections of Samaveda typically begin with Agni and Indra hymns but shift to abstract, and their meters too shifts in a descending order. The later sections of the Samaveda have least deviation from substance of hymns they derive from the Rigveda into songs+ − − Line 229:
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Veda Vargeekarana (वेदवर्गीकरणम्) (view source)
Revision as of 17:26, 17 February 2018
, 17:26, 17 February 2018→Samaveda Vibhajana
Meaning : सा stands for Rk mantra and अम stands for Gana (gandhara) and forms Sama when combined.<ref name=":2">Adhikari, Shriram Topic : ''[http://vedicheritage.gov.in/pdf/ved_vedang_gp_16.pdf Samaved ka parichay evam vaisishtya]'' from Vedic Heritage Portal </ref>
Meaning : सा stands for Rk mantra and अम stands for Gana (gandhara) and forms Sama when combined.<ref name=":2">Adhikari, Shriram Topic : ''[http://vedicheritage.gov.in/pdf/ved_vedang_gp_16.pdf Samaved ka parichay evam vaisishtya]'' from Vedic Heritage Portal </ref>
Associated with preparation of Soma rasa, singing of Samagana praising the devatas plays an important role during Somayajna. Shatapata Brahmana states that without Samagana Somayajna does not yield its results.<ref name=":2232" />
=== Samaveda Vibhajana ===
=== Samaveda Vibhajana ===
Samaveda Samhita is the shortest of all the vedas given to the world by Jaimini.<ref name=":2" /> It is closely connected with Rigveda.
Samaveda Samhita is the shortest of all the vedas given to the world by Jaimini.<ref name=":2" /> It is closely connected with Rigveda.
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!<nowiki>| Adhyaya ►</nowiki>
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The Samaveda samhita comprises two major parts. The first part include four melody collections (gāna, गान) and the second part three verse books (ārcika, आर्चिक). A melody in the song books corresponds to a verse in the arcika books.
The Samaveda samhita comprises two major parts. The first part include four melody collections (gāna, गान) and the second part three verse books (ārcika, आर्चिक). A melody in the song books corresponds to a verse in the arcika books.
=== Shakas ===
=== Shakas ===
Unlike the mantras of the other three Vedas, the mantras of Samaveda are simply known as Saman having seven svaras or musical scales. Therefore, Saama Gana or singing of hymns as per the rules of Sama Veda is said to be the basis and source of the seven svaras or notes fundamental to the Indian music systems.
Unlike the mantras of the other three Vedas, the mantras of Samaveda are simply known as Saman having seven svaras or musical scales. Therefore, Saama Gana or singing of hymns as per the rules of Sama Veda is said to be the basis and source of the seven svaras or notes fundamental to the Indian music systems.
Content
The Samaveda Samhita consists of 1549 stanzas, taken almost entirely (except for 75 mantras) from the Rigveda. Just like Rigveda, the early sections of Samaveda typically begin with Agni and Indra hymns but shift to abstract, and their meters too shifts in a descending order. The later sections of the Samaveda have least deviation from substance of hymns they derive from the Rigveda into songs
The special virtue of Sama Veda is that although its mantras are from the Rig Veda they are set to music which is greatly conductive to the spiritual evolution of a human being and to qualify oneself for receiving the grace of the Gods. Hence, Sri Krishna says in the Gita (Ch.10 Verse 22) ‘vedaanaam saamavedosmi’ meaning ‘among the Vedas I am the Sama Veda’. Similarly, in the Lalita Sahasranama, one of the epithets used to describe the Divine Mother is साम गाण प्रिये || Saama Gaana Priye (one who is pleased with the recital of Saman).
The special virtue of Sama Veda is that although its mantras are from the Rig Veda they are set to music which is greatly conductive to the spiritual evolution of a human being and to qualify oneself for receiving the grace of the Gods. Hence, Sri Krishna says in the Gita (Ch.10 Verse 22) ‘vedaanaam saamavedosmi’ meaning ‘among the Vedas I am the Sama Veda’. Similarly, in the Lalita Sahasranama, one of the epithets used to describe the Divine Mother is साम गाण प्रिये || Saama Gaana Priye (one who is pleased with the recital of Saman).