CENTRAL ASIA'S VEDIC PAST

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Note:This page was translated from Italian using Babel Fish

http://babelfish.altavista.com/

Original Italian article link

http://www.cinaoggi.it/storia/monumenti-funerari-iraniani-a.htm

 

"In this case it would seem to find an episode of the life of

Krishna avatara (that is one earthly manifestation) of the Indian

God Vishnu."..... "That constitutes an ulterior test of the

existence of intense relationships with India even if today little

documented traces remain."

 

http://www.vedicempire.com/centasia2.htm

Indeed, between the decorations of sogdiane several the external

panels of its sarcophagus they can be noticed divinity between which

the God Weshparkar seated on three protomi of Taurus and with a

trident in hand (fig. 16). In the below part of the same panel two

zoroastriani clergymen fortified of one appear also particular mask

still used in Iran and India during some rituals and one procession

of animals from load on a bridge. Draft of the Chinvat bridge, the

passage that the defunct one is held to cross during its trapasso in

the zoroastriane sideboards. According to the zoroastriani religious

witnesses the spirit of the defunct one must exceed several stations

before catching up the paradise. To every station one is premail

divinity between which, exactly, Weshparkar. The trident and the

Taurus are its characteristic attributes clearly taken to loan from

the iconography of the divinity hindu, in this case from Shiva. The

Sogdiani, in fact, a process absorbed many elements of the religious

iconography Indian second still little clearly but that it goes

dated to 6th century B.C. approximately. That constitutes an

ulterior test of the existence of intense relationships with India

even if today little documented traces remain.

 

Also the funerary bed exposed recently to several Paris extension

panels decorates second the iconography to you Hindu. Three are the

more interesting panels from this point of view both dominate to you

from figures of probable divine nature. The first panel ritrae an

endowed personage of four arms placed side by side from two archers

on a throne to lotiforme base (fig. 17). Such attributes send back

immancabilmente to a particular aspect of the God of the Indian sun

Surya. Moreover, the discs concentrate us to the shoulders of the

personages recall a solar symbolism exactly. The other interpretable

scene in key Hindu regards a panel with an aquatic scene in which a

male personage notices itself attempt scoccare an arrow towards the

high while it is seated astride of a large bovine dipped in the

flutti together other monstrous beings (fig. 18). In this case it

would seem to find of forehead to an episode of the life of Krishna

that others was not if not avatar (that is one earthly

manifestation) of the Indian God Vishnu. The last panel, a lot

ruined, ritrae a personage from the ventre prominent seated on one

skin elephant and encircled from tralci of grape (fig. 19). Perhaps

also this personage is interpretable as a divine being in how much

the Sogdiani seems to have adopted the iconography of Indra in order

to adapt it to that one of Ahura Mazda, the supreme gentleman of

just pantheon. However he is not excluded that raffigurazione of

Kubera for via of the belly of the God and the grape bunches can be

a matter also of one.

 

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