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patrick457
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Finally, there is the Atirātra Agnicayana, the ‘overnight piling of Agni (fire[place])’, a grand-scale ritual which takes twelve days to perform and which involves a huge bird-shaped altar, the uttaravedi (northern altar) made out of 10,800 bricks and animal sacrifice (a goat). The original purpose of the ritual is unclear, but immediate practical purpose of the Agnicayana is apparently to build up for the sacrificer an immortal body that is permanently beyond the reach of the transitoriness, suffering, and death. Performance of the Agnicayana was abandoned in most circles after the post-Vedic period (6th century BC); although there have been attempts at revival, the ritual was widely held to have been extinct by the 11th century.
Then in 1975, Indologist Frits Staal happened to come upon an Agnicayana conducted performed by Nambudiri Brahmins following the Śrauta tradition (a minority Hindu tradition which places more emphasis on the performance of rituals rather than having a set of beliefs, and thus continues to hold the Vedic rituals of old) at Kerala, who kept the tradition alive for 3000 years. The Nambudiris were concerned that the ritual was threatened by extinction (the last performance was in 1956), so in exchange for a financial participation of the scholars towards the cost of the ritual, they agreed that the performance should be filmed and recorded for posterity. This became the documentary Altar of Fire (a preview from Youtube available in the link). In the preview you can see the preparations for the ritual proper: the construction of utensils (altars, pots, mud bricks, frames for the bricks, etc.) as well as a temporary ritual enclosure which represents the sacrificer’s house. Apparently the efforts to bring it to public attention were successful: since 1975, there have been several more performances, the most recent of which apparently occurred this year (according to Wiki, at least). I should note that since slaughter of animals is now frowned upon by most Hindus and is a punishable offence in modern India, the goat sacrifice in modern Agnicayanas is symbolically performed using an effigy.
A replica of the altar (uttaravedi) and utensils used during the Agnicayana.
An uttaravedi inside the sacrificial enclosure.
The enclosure being destroyed by fire at the conclusion of the ritual.
So who offers a yajña? Early on, there was the presiding hotṛ, who recited invocations and litanies (which are preserved in the Ṛgveda, from ṛca ‘verse’), and his assistant, the adhvaryu, who performed the physical aspects of the sacrifice like building the altar, kindling the sacrificial fire and preparing the necessary implements and oblations. Each action was accompanied by supplicative or benedictive formulas (yajus, hence the Yajurveda). They were soon joined by the udgātṛ, who chanted hymns (sāman, hence the Samaveda) during the duration of the ritual. A brahman meanwhile supervised the whole thing: should there be any mistake during the performance he ‘corrected’ it by means of supplementary invocations.
Since there was a huge stress on performing the ritual accurately, it soon became the case that only professional priests could perform a yajña adequately. So whereas in the earliest times, the true sacrificer or the intended beneficiary of the rite directly participated, in Vedic times he was only a sponsor, the yajamāna, with the hotṛ or brahman taking his stead in the ritual. The position of purohita (literally, “one who is placed in front”), a term originally designating a domestic chaplain, especially of a prince, became important because of this. It was not unusual for a purohita to serve as the hotṛ or brahman at a sacrifice for his master, besides conducting other more domestic (gṛhya) rituals for him also. It was because of this that the very first hymn in the Ṛgveda opens with the words:
I laud Agni, the chosen Priest (purohitaṃ), God, minister of sacrifice,
The hotar (hotāraṃ), lavishest of wealth.
Worthy is Agni to be praised by living as by ancient seers.
He shall bring hitherward the Gods.
Eventually, with the disappearance of Vedic ritual practice, purohita has become a generic term for ‘priest’ (cf. the modern surname Purohit) and a synonym for pandit (a scholar who has memorized a substantial portion of the Vedas) or pujari (a ‘performer of puja’).
Then in 1975, Indologist Frits Staal happened to come upon an Agnicayana conducted performed by Nambudiri Brahmins following the Śrauta tradition (a minority Hindu tradition which places more emphasis on the performance of rituals rather than having a set of beliefs, and thus continues to hold the Vedic rituals of old) at Kerala, who kept the tradition alive for 3000 years. The Nambudiris were concerned that the ritual was threatened by extinction (the last performance was in 1956), so in exchange for a financial participation of the scholars towards the cost of the ritual, they agreed that the performance should be filmed and recorded for posterity. This became the documentary Altar of Fire (a preview from Youtube available in the link). In the preview you can see the preparations for the ritual proper: the construction of utensils (altars, pots, mud bricks, frames for the bricks, etc.) as well as a temporary ritual enclosure which represents the sacrificer’s house. Apparently the efforts to bring it to public attention were successful: since 1975, there have been several more performances, the most recent of which apparently occurred this year (according to Wiki, at least). I should note that since slaughter of animals is now frowned upon by most Hindus and is a punishable offence in modern India, the goat sacrifice in modern Agnicayanas is symbolically performed using an effigy.
A replica of the altar (uttaravedi) and utensils used during the Agnicayana.
An uttaravedi inside the sacrificial enclosure.
The enclosure being destroyed by fire at the conclusion of the ritual.
So who offers a yajña? Early on, there was the presiding hotṛ, who recited invocations and litanies (which are preserved in the Ṛgveda, from ṛca ‘verse’), and his assistant, the adhvaryu, who performed the physical aspects of the sacrifice like building the altar, kindling the sacrificial fire and preparing the necessary implements and oblations. Each action was accompanied by supplicative or benedictive formulas (yajus, hence the Yajurveda). They were soon joined by the udgātṛ, who chanted hymns (sāman, hence the Samaveda) during the duration of the ritual. A brahman meanwhile supervised the whole thing: should there be any mistake during the performance he ‘corrected’ it by means of supplementary invocations.
Since there was a huge stress on performing the ritual accurately, it soon became the case that only professional priests could perform a yajña adequately. So whereas in the earliest times, the true sacrificer or the intended beneficiary of the rite directly participated, in Vedic times he was only a sponsor, the yajamāna, with the hotṛ or brahman taking his stead in the ritual. The position of purohita (literally, “one who is placed in front”), a term originally designating a domestic chaplain, especially of a prince, became important because of this. It was not unusual for a purohita to serve as the hotṛ or brahman at a sacrifice for his master, besides conducting other more domestic (gṛhya) rituals for him also. It was because of this that the very first hymn in the Ṛgveda opens with the words:
I laud Agni, the chosen Priest (purohitaṃ), God, minister of sacrifice,
The hotar (hotāraṃ), lavishest of wealth.
Worthy is Agni to be praised by living as by ancient seers.
He shall bring hitherward the Gods.
Eventually, with the disappearance of Vedic ritual practice, purohita has become a generic term for ‘priest’ (cf. the modern surname Purohit) and a synonym for pandit (a scholar who has memorized a substantial portion of the Vedas) or pujari (a ‘performer of puja’).