Шукла Яджурведасына ескертулер: Шатапатха Брахманасы

Ancient commentary on the Śukla (white) Yajurveda

The Shatapatha Brahmana (, , abbreviated to 'SB') is a commentary on the Śukla Yajurveda. It is attributed to the Vedic sage Yajnavalkya. Described as the most complete, systematic, and important of the Brahmanas
'Shatapatha' (Sanskrit शतपथ) means 'having a hundred paths' or 'proceeding in a hundred ways'.

'Kanda' (or 'Khanda', Sanskrit खंड), means 'chapter', 'division of a book', or more loosely 'book'. It also means 'praise' and 'water'. 'Adhyâya' (Sanskrit अध्याय), means 'chapter' (of a book), 'lesson', 'reading' and 'lecture'. In relation to the Shatapatha Brahmana, a reference such as '14.1.2' means 'Kanda 14, Adhyaya 1, Brahmana 2', or in English, 'Book 14, Chapter 1, Explanation 2'. The addition of a fourth digit at the end (e. g. 17.7.3.11) refers to the verse number.

Geometry and mathematics of the Satapatha Brahmana and the Sulhasutras are generally considered [to be] the description of the earliest science in India Specifically, the development of the scientific method in India in that age was inspired by some rough parallels between the physical universe and man's physiology [i. e. correspondence or equivalence between the macrocosm and microcosm]. This led to the notion that if one could understand man fully, that would eventually lead to the understanding of the universe This led to a style of seeking metaphors to describe the unknown, which is the first step in the development of a scientific theory. A philosophy of the scientific method is already sketched in the RgVeda. According to the RgVedic sages, nature has immutable laws and it is knowable by the mind |source=Astronomy of the Satapatha Brahmana by Subhash C. Kak, Indian Journal of History of Science, 28(1), 1993|sign=

Kak elaborates that 'the main elements of the astronomy of [the] Vedanga Jyotisa [one of the earliest known Vedic texts on astronomy] are already contained in [the] Satapatha Brahmana and earlier books'. He adds that Vedic ritual sacrifices (yajna) described in texts such as the Shatapatha Brahmana are intended to capture 'time in motion', noting some rituals lasted an entire year. Roy elaborates further on this example, stating that when 'the sun became united with Orion at the vernal equinox [this] commenced the yearly [YajnaVaraha] sacrifice'.

Vamana, the dwarf avatar of Vishnu, took back the three worlds from the Asura king Bali (grandson of Prahlada, saved from his father, Hiranyakashipu, by the Narasimha avatar) in three steps.

Eggeling notes that in the Shatapatha Brahmana, 'we have here the germ [i. e. origin] of the Dwarf incarnation of Vishnu'. The difference in this account – aside from no mention of Bali – is that instead of gaining the earth by footsteps, it is gained by as much as Vamana can lie upon as a sacrifice. That this legend developed into Vamana taking three steps, as noted by Aiyangar, originates from the three strides of Vishnu covering the three words in the RigVeda (1.22 and 1.154). Notably, the three steps of Vishnu are mentioned throughout the Shatapatha Brahmana as part of the sacrificial rituals described (e. g. SB 1.9.3.12, 5.4.2.6, and 6.7.4.8).

SB 6.7.4.8 also explains why the strides of Vishnu are performed in rituals:

Varaha – also referred to as Yajna Varaha ('sacrificial boar') – is in Puranic literature explicitly stated to be the symbolic embodiment of sacrifice (including the ritual equipment, offerings, oblations, and altars used). Stated in the Nirukta to be synonymous with clouds and rain (sacrifice produces rain, rain feeds crops, and crops feed living beings), Varaha is most commonly associated with the legend of lifting the Earth out of the Cosmic Waters, and in various accounts also battles and defeats the Asura Hiranyaksa to do so.

The form of a boar was produced from a sacrificial oblation of the gods, and boars share the essence of cattle (which symbolise prosperity and sacrifice in SB 3.1.4.14, and productiveness in 5.2.5.8). Eggeling notes that in this ceremony, the King wears boar boots to engage in a mock battle with a Raganya (a Kshatriya noble or royal), stated to be 'Varuna's consecration; and the Earth is afraid of him'. This ritual therefore seems to be significant as the mock battle between the King (symbolising the boar) and the Raganya (symbolising Varuna, RigVedic deity of water) parallels the battle between Varaha with the Asura Hiranyaksa in various Puranic accounts of the Earth being saved and lifted out of the waters.

All English translations of the Madhyandina School recension are by Julius Eggeling in five volumes. The English translation of the Kanva School recension by W. E. Caland in 3 volumes has not been found or listed; another English translation by the Indira Gandhi National Centre for the Arts (IGNCA) in at least seven volumes has been listed (only the first five volumes can be previewed). SanskritSanskrit English TransliterationEnglishMadhyandinaarchive. org: Volume 1, Volume 2, Volume 3, Volume 4, Volume 5, Volume 6, Volume 7gretil. sub. uni goettingen. de: Kanda 1, Kanda 2, Kanda 3, Kanda 4, Kanda 5, Kanda 6, Kanda 7, Kanda 8, Kanda 9, Kanda 10, Kanda 11, Kanda 12 (not available), Kanda 13, Kanda 14 (unknown author; e texts; all Sanskrit e texts are here). archive. org: Volume 1, Volume 2, Volume 3, Volume 4, Volume 5 (Part of the Sacred Books of the East; translated by Julius Eggeling)vedicheritage. gov. in: Volume 1, Volume 2Sacred Texts. com: Volumes 1–5 (Hypertext version of the same the Sacred Books of the East version, translated by Julius Eggeling)Wisdomlib. org: Kandas 1–14 (E text version of the translation by Julius Eggeling, complete with introduction, footnotes, and corrections)Kanvavedicheritage. gov. in: Kandas 1–16 (Audio)gretil. sub. uni goettingen. de: Adhyayas 1–6 (and Mula text, extracted from commented version)Google Books: Volume 1, Volume 2, Volume 3, Volume 4, Volume 5; No previews: Volume 6, Volume 7archive. org: Brihadaranyaka Upanishad (Khanda 17; Swami Madhavananda)