Vedic in the context of "Tvashtr"

Sanskrit literature is a broad term for all literature composed in Sanskrit. This includes texts composed in the earliest attested descendant of the Proto-Indo-Aryan language known as Vedic Sanskrit, texts in Classical Sanskrit as well as some mixed and non-standard forms of Sanskrit. Literature in the older language begins during the Vedic period with the composition of the Rigveda between about 1500 and 1000 BCE, followed by other Vedic works right up to the time of the grammarian Pāṇini around 6th or 4th century BCE (after which Classical Sanskrit texts gradually became the norm).

Vedic Sanskrit is the language of the extensive liturgical works of the Vedic religion, while Classical Sanskrit is the language of many of the prominent texts associated with the major Indian religions, especially Hinduism and the Hindu texts, but also Buddhism, and Jainism. Some Sanskrit Buddhist texts are also composed in a version of Sanskrit often called Buddhist Hybrid Sanskrit or Buddhistic Sanskrit, which contains many Middle Indic (prakritic) elements not found in other forms of Sanskrit.

Mīmāṁsā (Sanskrit: मीमांसा; IAST: Mīmāṁsā) is a Sanskrit word that means "reflection" or "critical investigation" and thus refers to a tradition of contemplation which reflected on the meanings of certain Vedic texts. This tradition is also known as Pūrva-Mīmāṁsā because of its focus on the earlier (pūrva) Vedic texts dealing with ritual actions, and similarly as Karma-Mīmāṁsā due to its focus on ritual action (karma). It is one of six Vedic "affirming" (āstika) schools of Hindu philosophy. This particular school is known for its philosophical theories on the nature of Dharma, based on hermeneutics of the Vedas, especially the Brāḥmanas and samhitas. The Mīmāṃsā school was foundational and influential for the Vedāntic schools, which were also known as Uttara-Mīmāṁsā for their focus on the "later" (uttara) portions of the Vedas, the Upanishads. While both "earlier" and "later" Mīmāṁsā investigate the aim of human action, they do so with different attitudes towards the necessity of ritual praxis.

Mīmāṁsā has several sub-schools, each defined by its pramana. The Prabhākara sub-school, which takes its name from the seventh-century philosopher Prabhākara, described the five epistemically reliable means to gaining knowledge: pratyakṣa or perception; anumāna or inference; upamāṇa, comparison and analogy; arthāpatti, the use of postulation and derivation from circumstances; and shabda, the word or testimony of past or present reliable experts. The Bhāṭṭa sub-school, from philosopher Kumārila Bhaṭṭa, added a sixth means to its canon; anupalabdhi meant non-perception, or proof by the absence of cognition (e.g., the lack of gunpowder on a suspect's hand)

A Hindu temple, also known as a Mandir, Devasthanam, Pura, Kshetram or Kovil, is a sacred place where Hindus worship and show their devotion to deities through worship, sacrifice, and prayers. It is considered the house of the god to whom it is dedicated. Hindu temple architecture, which makes extensive use of squares and circles, has its roots in later Vedic traditions, which also influence the temples' construction and symbolism. Through astronomical numbers and particular alignments connected to the temple's location and the relationship between the deity and the worshipper, the temple's design also illustrates the idea of recursion and the equivalency of the macrocosm and the microcosm. A temple incorporates all elements of the Hindu cosmos—presenting the good, the evil and the human, as well as the elements of the Hindu sense of cyclic time and the essence of life—symbolically presenting dharma, artha, kama, moksha, and karma.

The spiritual principles symbolically represented in Hindu temples are detailed in the ancient later Vedic texts, while their structural rules are described in various ancient Sanskrit treatises on architecture (Bṛhat Saṃhitā, Vāstu Śāstras). The layout, motifs, plan, and the building process recite ancient rituals and geometric symbolism, and reflect beliefs and values innate within various schools of Hinduism. A Hindu temple is a spiritual destination for many Hindus, as well as landmarks around which ancient arts, community celebrations and the economy have flourished.

Savitṛ (Sanskrit: सवितृ IAST: Savitṛ, nominative singular: सविता IAST: Savitā, also rendered as Savitur), in Vedic scriptures is an Aditya (i.e., an "offspring" of the Vedic primeval mother goddess Aditi). His name in Vedic Sanskrit connotes "impeller, rouser, vivifier."

He is sometimes identified with—and at other times distinguished from—Surya, "the Sun god". When considered distinct from the Sun proper, he is conceived of as the divine influence or vivifying power of the Sun. The Sun before sunrise is called Savitr, and after sunrise until sunset it is called Sūrya.Savitr is venerated in the Rig Veda, the oldest component of the Vedic scriptures. He is first recorded in book three of the Rigveda; (RV 3.62.10) later called the Gayatri mantra. Furthermore, he is described with great detail in Hymn 35 of the Rig Veda, also called the Hymn of Savitr. In this hymn, Savitr is personified and represented as a patron deity. He is celebrated in eleven whole hymns of the Rig Veda and in parts of many others texts, with his name being mentioned about 170 times in aggregate..

Kshatriya (Sanskrit: क्षत्रिय, romanized: Kṣatriya) (from Sanskrit kṣatra, "rule, authority"; also called Rajanya) is one of the four varnas (social orders) of Hindu society and is associated with the warrior aristocracy. The Sanskrit term kṣatriyaḥ is used in the context of later Vedic society wherein members were organised into four classes: brahmin, kshatriya, vaishya, and shudra.

Mangal-Kāvya (Bengali: মঙ্গলকাব্য; lit. "Poems of Benediction") is a group of Bengali religious texts, composed more or less between 13th and 18th centuries, notably consisting of narratives of indigenous deities of rural Bengal in the social scenario of the Middle Ages. The Mangal-Kāvyas usually give prominence to a particular deity amalgamated with a Vedic or Hindu mythological god and the narratives are usually written in the form of verses.

Manasā Mangal, Chandī Mangal and Dharma Mangal, the three major genus of Mangal-Kāvya tradition include the portrayal of the magnitude of Manasā, Chandī and Dharmathakur respectively. They are considered the greatest among all the native divinities in Bengal. But restraining the accounts of other deities, there are also minor Mangal-Kāvyas known as Shivāyana, Kālikā Mangal, Rāya Mangal, Shashtī Mangal, Sītalā Mangal and Kamalā Mangal etc. 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.