Yajurveda Quotes

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Kathopanishad: This is one of the most beautiful and popular Upanishad. Some understand this as ‘Kata’ for ‘Katha’, which is derived from the recension of Krishna Yajurveda - Taittiriya Brãhmana. The sublime doctrine of the Vedãnta, presented in this Upanishadis very attractive and appealing. This has won the appreciation of many inquirers, including French and German scholars. It is one of the best books on Vedãnta philosophy and poetry of ancient Hinduism. Swami Vivekananda often used to quote from this Upanishad. No other Upanishad has so much of thought elevation, depth of expression, and beauty of imaginations that this Upanishad possesses.
Ramanuj Prasad (Know the Upanishads)
Om Namah Shivaya ‘I bow to Shiva’ is the translation. Shiva is the ultimate transformational God who serves the highest self. It is one of the most famous Hindu mantras. The Shiva Panchakshara is called, or literally Panchakshara. The Mantra of Five Syllables. Om' is excluded.) The mantra originates in the Hindu Yajurveda, where the first syllable occurs many times. The five syllables-'' Na'' Ma'' Si'' Va' and' Ya' are supposed to represent five environmental elements-' Na' represents' earth.' Ma' stands for' wind' Si' stands for' fire' Va is the' Pranic breeze' and' Ya tone is the heaven or ether. Om Namah Shivaya' is believed to bring you closer to Shiva's god, and to all that it reflects in nature.
Adrian Satyam (Energy Healing: 6 in 1: Medicine for Body, Mind and Spirit. An extraordinary guide to Chakra and Quantum Healing, Kundalini and Third Eye Awakening, Reiki and Meditation and Mindfulness.)
A manera de secuencia cronológica, los especialistas proponen la clasificación tradicional en una versión más refinada: 1) El Ṛgveda es la colección más antigua; empero, se trata en sí misma de una antología de fragmentos de diversas épocas y orígenes; de esos fragmentos se considera que los libros III, IV y V conforman el núcleo más antiguo. Además se cree que la colección sufrió modificaciones durante su conformación. 2) Las partes versificadas de las otras Saṃhitās. 3) Las porciones en prosa de las Saṃhitās, en particular las del Yajurveda. 4) Las porciones en prosa de los Brāhmaṇas, los Āraṇyakas y las Upaniṣads más antiguas. 5) Los Sūtras.
Pierre-Sylvain Filliozat (El sánscrito: Lengua, historia y filosofía (Spanish Edition))
La designación «lengua védica» para el indo-ario antiguo se debe a que los documentos a través de los cuales este nos es conocido corresponden al corpus textual que recibe el nombre genérico de Veda. La tradición india clasifica estos textos según varios estratos: cuatro Saṃhitā o colecciones en verso de himnos religiosos (Ṛgveda), cantos (Sāmaveda), fórmulas litúrgicas (Yajurveda) y oraciones con diversos fines (Atharvaveda); Brāhmaṇa o comentarios en prosa a los textos anteriores; Āraṇyaka y Upaniṣad o comentarios en prosa de carácter más especulativo; Sūtra o manuales técnicos relacionados con rituales, costumbres, etc.
Pierre-Sylvain Filliozat (El sánscrito: Lengua, historia y filosofía (Spanish Edition))
Wilhelm Rau has compiled the Vedic references to pottery from the oldest strands of the Black Yajurveda and found that although the potter’s wheel was known, it was hand made pottery that was prescribed for the ritual sphere. This suggests to him that “the more primitive technique persisted in the ritual sphere while in secular life more advanced methods of potting had already been adopted.” Should this assumption be correct, “we can pin down the transition from hand-made to wheel-thrown pottery, as far as the Aryans are concerned, (down) to the earlier phases of Vedic times” (Rau 1974, 141).12 Of relevance to this line of argument is a verse from the Taittīrlya Samhitā (4, 5, 4), stating that what is turned on the wheel is Āsuric and what is made without the wheel is godly (e.g., Kuzmina 1983, 21). According to Rau’s philological investigations, the characteristic of this oldest pottery was that it was made of clay mixed with various materials, some of them organic, resulting in porous pots. These pots were poorly-fired and ranged in size from about 0.24 m to 1.0 m in diameter at the opening and from 0.24 m to 0.40 m in height. Furthermore, they showed a lack of plastic decoration and were unpainted (Rau 1974, 142). Of further relevance is the fact that firing was accomplished by the covered baking method between two layers of raw bricks in a simple open pit. In later times this was done with materials producing red color. Rau advises excavators to be “on the lookout for ceramics of this description among their finds” (142).
Edwin F. Bryant (The Quest for the Origins of Vedic Culture: The Indo-Aryan Migration Debate)