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{{ToBeEdited}}The Rigveda is the oldest of the Vedas. All the other Vedas are based upon it and consist to a large degree of various mantras from it. It consists of about thousand richas of different seers, each sukta averaging around ten mantras. That the Rig Veda is the oldest book in Sanskrit or any language is widely accepted by the followers of Sanatana Dharma. Its date of composition is not definite and the Vedic period is a topic of debate among many scholars. As such it is not in the scope of this article.
{{ToBeEdited}}
The Rigveda is the oldest of the Vedas. All the other Vedas are based upon it and consist to a large degree of various mantras from it. It consists of about a thousand richas (name of the Rigvedic mantras) of different seers, arranged in suktas having an average of around ten mantras. That the Rig Veda is the oldest book in Sanskrit or any language is widely accepted by the followers of Sanatana Dharma. Its date of composition is not definite and the Vedic time period is a topic of debate among many scholars. As such it is not in the scope of this article.
Primarily the Rigveda is a treasure trove of stuti (a praise, a prayer, invocation) offered to different devatas by various rshis. It consists of respectful thoughts, praises of deeds of various deities in the form of mantras.
Primarily the Rigveda is a treasure trove of stuti (a praise, a prayer, invocation) offered to different devatas by various rshis. It consists of respectful thoughts, praises of deeds of various deities in the form of mantras.
=== Deities ===
=== Deities ===
Yaska, the author of Nirukta has divided all devatas or deities based on three regions, namely
According to Riksarvanukramani, a devata is defined as 'या स्तूयते सा देवता, येन स्तूयते स ऋषिः।' It means one who performs a stuti is a Rshi and to whom it is intended is a devata.<ref name=":32">Vedom mein devata tattva. Ved-katha Kalyan Ank, Gorakhpur: Gita Press (Pages 317-323)</ref>
In Siddhanta koumudi, term 'devata' is described as having two characteristics. In the explanation for the sutra साऽस्य देवता' (Sidd. Koum. 4.2.24) we find the following
# त्यज्यमानद्रव्ये उद्देश्यविशेषो देवता। which means to whom the ajya and havishya dravya are offered, they are devatas. This definition is as per Shrauta sutras. This is applicable in yajnas only.
# मन्त्रस्तुत्या च। which means that one who is praised (invoked) by using mantras is a devata. This definition as per Nirukta is widely used to explain the term devata.<ref name=":32" />
Thus, in general, a devata in the Vedic terms is defined as one to whom a stuti is performed, be it animate or inanimate. According to mantra-padadyanukramanika, 272 devatas are listed. In this list we have stutis for dana, for condemnation of gambling, and for social activites like marriage; all such materialistic matters are also treated as devatas.<ref name=":32" />
Yaska, the author of Nirukta has divided all devatas or deities based on three regions, namely<ref>Dvivedi, Kapil Dev. (2000) ''Vaidika Sahitya evam Samskrti (Vedic Literature and Culture).'' Varanasi: Vishvavidyalaya Prakashan. (Pages 294-308)</ref>
# Prthvi-sthana devatas i.e. terrestrial deities
# Prthvi-sthana devatas i.e. terrestrial deities
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Only one devata is predominant among all devatas of each and every region while the rest are personifications of that devata. Each devata has a number of activities and each name has a reference to one such activity.
Only one devata is predominant among all devatas of each and every region while the rest are personifications of that devata. Each devata has a number of activities and each name has a reference to one such activity.
Mantras devatas are determined by four characteristics, viz., name, relationship, activity, and physical appearance. For example, in the mantras where Indra, Agni etc are mentioned by their name, physical appearance or referenced by their relationship with other deities, or praised for their activities, those deities are determined to be the devata for that particular mantra. However, in certain mantras, none of the four characteristics are used to describe a devata. In such cases the devata for that mantra is determined by the [[Yajna (यज्ञः)|Yajna]] mentioned. Yaska clarifies<ref name=":32" /> <blockquote>यद्देवतः स यज्ञो वा यज्ञाङ्गं वा, तद्देवता भवति।
तद् येऽनादिष्टदेवता मन्त्रास्तेषु देवतोपपरीक्षा (Nirukta 7.1.4) </blockquote>The yajna-devata becomes the devata for those mantras where the devata is not indicated (अनादिष्ट-देवताक मन्त्र). For example, in Agnistoma Yajna, Agni is the primary deity. The deity for the अनादिष्ट-देवताक मन्त्र used in this yajna is determined as Agni. Based on the context the deity is determined. <blockquote>प्रकरणाद्धि संदिग्धदेवतेषु देवता नियमः (Explanation of Nirukta 7.1.4) </blockquote>Based on the timing of the yajna (Yajna-anga) the deity is given in some cases. In some scholarly opinions the deity for the अनादिष्ट-देवताक मन्त्र is Prajapati as per प्राजापत्या इति याज्ञिका: (Nirukta 7.1.4). Some others opine that it is Vishnu or Agni based on the reference यज्ञो वै विष्णुः। Agni is said to represent all devatas, all devas reside in him. Yaska further mentions, अपि वा सा कामदेवता स्यात्। as an other option, where the deity can be decided as per the wish of the yajmana.<ref name=":32" />
=== मण्डलक्रमः ॥ Mandala krama ===
=== मण्डलक्रमः ॥ Mandala krama ===
# Aksha Sukta - 10.34
# Aksha Sukta - 10.34
# Vivaha Sukta - 10.85
# Vivaha Sukta - 10.85
Apart from these we find a good number of Akhyana and Samvada suktas in the Rigveda. They are said to be the seed material of the later day Itihasa, Kavyas, Mahakavyas (poetics), and natakas (drama). The information found in seed form in the Rigveda is supported and elaborated, similar to a fruitbearing tree, in the Brahmana and Aranyaka literature. In this way the Akhyana and Samvada suktas have significant role in defining the Bharatiya Laukika Sahitya. The concepts found ground and developed further in the Itihasa and Purana literature. According to the traditional views, it is said that dramaturgy (the art of dramas) originated from the Vedas. Mahamuni Bharata the author of Natyashastra, describes that Brahma composed the "Natyaveda or Panchamaveda" as the essence of the four vedas upon request of the devatas. For this purpose, the essence of Pathya (including the Samvadas and anecdotes) was taken from the Rigveda, that of Sangeeta (music) from Samaveda, Abhinaya (action) from Yajurveda, and Rasa (aesthetics) from Atharva veda.<ref name=":6" />
Apart from these we find a good number of Akhyana and Samvada suktas in the Rigveda. They are said to be the seed material of the later day Itihasa, Kavyas, Mahakavyas (poetics), and natakas (drama). The information found in seed form in the Rigveda is supported and elaborated, similar to a fruit-bearing tree, in the Brahmana and Aranyaka literature. In this way the Akhyana and Samvada suktas have significant role in defining the Bharatiya Laukika Sahitya. The concepts found ground and developed further in the Itihasa and Purana literature. According to the traditional views, it is said that dramaturgy (the art of dramas) originated from the Vedas. Mahamuni Bharata the author of Natyashastra, describes that Brahma composed the "Natyaveda or Panchamaveda" as the essence of the four vedas upon request of the devatas. For this purpose, the essence of Pathya (including the Samvadas and anecdotes) was taken from the Rigveda, that of Sangeeta (music) from Samaveda, Abhinaya (action) from Yajurveda, and Rasa (aesthetics) from Atharva veda.<ref name=":6" />
=== प्रख्यात आख्यान । Prominent Akhyanas ===
=== प्रख्यात आख्यान । Prominent Akhyanas ===