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In Mesopotamian religion, Tiamat (Akkadian: 𒀭𒋾𒀀𒆳 D TI.AMAT or 𒀭𒌓𒌈 D TAM.TUM, Ancient Greek: Θαλάττη, romanized: Thaláttē) [1] is the primordial sea, mating with Abzû (Apsu), the groundwater, to produce the gods in the Babylonian epic Enûma Elish, which translates as "when on high."
Rigvedic deities are deities mentioned in the sacred texts of Rigveda, the principal text of the historical Vedic religion of the Vedic period (1500–500 BCE).. There are 1,028 hymns (sūkta) in the Rigveda.
In this story, he was a primal being made of fresh water and a lover to another primal deity, Tiamat, a creature of salt water. The Enūma Eliš begins: "When above the heavens (e-nu-ma e-liš) did not yet exist nor the earth below, Apsû the freshwater ocean was there, the first, the begetter, and Tiamat, the saltwater sea, she who bore them all;
A fragmentary late neo-Assyrian god list appears to consider her and another figure regarded as the wife of Anu, Urash, as one and the same, and refers to "Ki-Urash." [403] Kittum: Bad-Tibira, Rahabu [404] Kittum was a daughter of Utu and Sherida. [405] Her name means "Truth". [405] Kus: Kus is a god of herdsmen referenced in the Theogony of ...
A connection to Tiamat has been suggested with parallels to her description as "Ummu-Hubur". Hubur is also referred to in the Enuma Elish as "mother sea Hubur, who fashions all things". [ 5 ] The river Euphrates has been identified with Hubur as the source of fertility in Sumer .
In early, now obsolete, translations it was erroneously assumed that Mummu is mentioned alongside Tiamat. [17] Mummu is also the thirty-fourth name bestowed upon Marduk in the final section of the composition. [30] He is described as the creator of heaven and earth in the corresponding passage, which reflects the meaning of this title. [6]
Hindi literature (Hindi: हिंदी साहित्य, romanized: hindī sāhitya) includes literature in the various Central Indo-Aryan languages, also known as Hindi, some of which have different writing systems. Earliest forms of Hindi literature are attested in poetry of Apabhraṃśa such as Awadhi and Marwari.
Each strain is composed by more than one poet or group of poets who are on the whole the worshipper of the god or goddess concerning their verses. The Mangal-Kāvya tradition is an archetype of the synthesis between the Vedic and the popular folk culture of India. Lila Ray elaborates, "Indigenous myths and legends inherited from Indo-Aryan ...