Vâch: ( Virâj)

Seeing also: Adi ; Sophia; Târâ

Aditi-Vâch, is the Goddess of the Wisdom, Vâch is a form more than Aditi and Mûlaprakriti, or the Chaos and Brahmâ: ‘the spirit of God entering the Nature and fertilizing'.

We see now how defines it Helena Petrovna Blavatsky:

<< Vâch is the daughter of Brahma, and is called Shata-Rupa "that of a hundred forms", and Sâvitri, Generational, the Mother of the God and of everything that lives. She identical to Eva, "the Mother [of all the Lord or God] of everything that lives". [H. P. Blavatsky, The Secret Doctrine Vol. III] >>

Vâch is also the goddess of the Language or the Word, assimilated by the Egyptians to Isis, wife, daughter and sister of Osiris, the God declared in the generation. She represents finally the Mother Nature, that nourished and maintains to all the alive forms. Thus, Vâch is called by the Rig Veda, ‘the melodious cow' that produces the subsistence and the water and the food provides us and the living.

Vattan:

Seeing also : Irdin ; Sanskrit; Hierogram

Vattan is the Universal Language Hydeographic , which in the ancient India they called Vattan and the Brothers of the Cosmos Irdin. The own Sacred Language of the God.

The Vattan, gathers in itself all the cosmic components of the fundamental structure of the Life. Therefore is the Language Creative of the CaVi, the Creator by its Verb. And its structure is composed for seven different characters that can adopt four positions each one, what does a total of twenty-eight different characters.

This structure is maintained repeatedly in the educational and social structure of the Paradesa, therefore they exist seven high schools and four sacred schools, at the same as exist seven rays of energy and four different elements. The characters are grouped also so that they can be taken as musical notes, and these at the same time combine forming harmonious phonetic, what permits that the Hierograms ,  can be interpreted like musical notations and to be intoned in sol-fa, at same time that can also be declaimed phonetically. The complexity of the sol-fa of the theurgists signs that understands the great science of the Aum, is indescribable and the initiated that dominates it can reach the Samâdhi, the supreme ecstasy, that permits the Divine Vision through the Theurgy, the magic union with the own internal God. On it, the I-Am superior reveals al 'Arhat' the truths of the plan in which he acts, passing the Monad to control directly the material bodies.

The seven characters of the Vattan are composed by the five forms mothers of the morphology: [I , |, A, C, B].      

The Marquis Saint-Yves D' Alveydre, in its work The Arqueometre, composes The Solar Alphabet of the XXII letters taking the seven characters of the Vattan, more the three letters extracted (TO, S, Th) and the sacred character AUM. The distribution of the XXII letters is translated in three groups: The three letters extracted (TO, S, Th) or constructive letters ; the range of the VII (B,G,D,C,N,Ts,Sh) or evolutionary letters; and the way of the XII (E, V, Z, H, T, Y, L, M, Ou, P, K, R) or letters involutive. All they are governed from his Aritmetologic rule and possess besides a numerical value and musical being configured in headers or Cosmological boards, according to what defines Saint-Yves.

The Solar Alphabet of the XXII letters can be divided at the same time in two groups of eleven letters (the seven characters of the Vattan, more the three letters extracted) that at the same time possess other twenty-two letters reflected forming a total of forty-four precise characters.

But we leave that it will be the own Saint-Yves D' Alveydre who speak us of the Vattan:

<< The Brahmines call to this alphabet Vattan ; and they seems to be went back to the first human race, therefore, by his five forms rigorously geometric mothers, he himself he signs himself, Adam, Eva, and Adamah. Moses seems to appoint it in the versicle 19 of the chapter II of his Sepher Barashith. Even more, this alphabet is written from down to up, and his letters are grouped so that forming morphologycal loudspeakers images. The pandits erase these characters on the shale, when the lesson of the gurus has finished. They write it also of left to right, like the Sanskrit, and therefore to the European. [ Saint-Yves D' Alveydre; The Arqueometre] >>

Vedas: ( Rig Veda)

Seeing also : Sanskrit ; Aryan

The Vedas are composed for three large collections that are known at present as the Rig-Veda , the Sama-Veda and Yajur-Veda and more late the Atharva-Veda . Giving us an approximate idea of the importance of these knowledge poured in texts known Sanskrit, “officially” already since the 800 B.C., we can review quickly the extension and depth of these texts:

The Rig-Veda , or Veda of the Praises , gathers 1.017 hymns grouped in ten cycles or mandalas, of stable and eclectic style, develops hymns, prayers, exorcisms and magic formulae that recognized the union with the divine thing through the God or Devas.

<< Offer to Indra the juice (soma) that is prepared for the ceremony, that is the honor of the sacrifice and that delights the mortals; he is the favorite of this Indra that gives the happiness to what does him tributes... ¿Which is the leader that dominates among you, that agitate the sky and the land and that cause tremble every environment of you as the top of a tree?... Oh Sûrya!, you exceed in rapidity to all the other beings: you are visible to all; you are the spring of the light; you shine through the entire firmament. [Rig-Veda ] >>

The key of the Aryan Wisdom, that of the Rishis and Arhats one must seek it in this book, the most important one of the Aryan Cosmogony. The Rig Veda is the book that more clearly discovers the deep keys of the Aryan esotericism:
<< What moves on the turbulent water of the ocean of the life, and what is in itself the original duality. Sat and Asat. [Rig-Veda ] >>

The Rig Veda , unfolds also the deep teaching of the Seven Rays of Sûrya, the Sun. That they become the road and middle of Sat, the Seidad, on Asat, the middle declared. The same doctrine Aria of the Rig Veda, is seen reflected in other old cultures, as that of the Indus-Iranian, that were established in Mesopotamia. But the esoteric doctrine of the first Aryan Mazdeites was not exactly the same one that the Ramidean original of the Indus-Aryan town.

The Sama-Veda is the Veda of the songs and of the melodies, of the magical power and of the sound in the sacrifice. It is composed mainly by passages belonging to other Vedas, and form a manual of liturgy and of religious song that understands 1.549 verses divided into two parts: Archika or songs, and Desire or melodies.

The name of Sama-Veda comes from the Sama or Soma (juice of asclepiads), of the one that takes the name, and that forms the base of the tributes presented in the ceremonies that celebrate these songs.

The Yajur-Veda is the Veda of the adoration , therefore the root ‘yaj' signifies to worship. It collects an extensive series of prayers, tributes and sacrificial formulae , that are composed of texts in prose and in verse.

The Yajur-Veda details all the rites in relation to the sacrifice (yajña), among the ones that they emphasize the sacrifice of the horse (Ashvamedha), that of the ancestors, the consecration of the sovereign, of the perpetual fire, of the novilunium and of the plenilunium.

Vishnú:

Seeing also : Ishva-Ra ;Merú; Kumâra ;Agni; Sûrya; Tiamat ;Devas ; Avatar

Vishnú, is The Conservative, he lives in the mount Meru and its symbol is a conch and a disk. He is also a Kumâra , identical to Agni, the God of the Fire or Sun, and equal to Indra, the shining God of the firmament that kills Vritra or Ahí, the Devil-Snake , and conducts to the army of Devas against the other God revealed against Brama, by which him is given the nickname of Jishnu, the Conductor of the celestial host.

Indra is in reality a form more than Ishva-Ra, that is King and Lord of the Alhim, the active forces of the universe.

The spirit that inhabits in Vishnú is that of the Vittoba Hindu that suffers in the cross of the material universe or Mâyâ and in which the marks of their passion are visible and venerated by their followers. It is so explicit this similarity with the Christian symbol, that in the work of Moor titled Hindu Pantheon there is an interesting comment to an Oriental sheet in which the Hindu Vittoba appears represented as if was a matter of the Western Chrestos:

<< I believe that this representation is previous to the Christianity... Has a lot of resemblance with a Christian... crucifix the modeling, the attitude, the signs of the nails in feet and hands, they indicate Christian origin, while the crown partha of seven tips, the lack of log and of INRI, and the rays of on top glory, they denote different origin from the Christian. It would be the man victim, or the priest and victim at par, of the Indus mythology, that thus same was offered in sacrifice before to exist the worlds? [Moor; Hindu Pantheon] >>

Thus, we can understand that Christ, the Greater Logos and Savior of the Earth, is a universal figure, and therefore does not remain limited to a culture or specific time. All the ancient cultures, and especially the Vedas, they possess the universal figure of the being of perfection or Avatâra sacrificed for the salvation of the humanity.