Exodus 20:18 "And all the people saw the thunderings, and the lightnings, and the noise of the trumpet, and the mountain smoking: and when the people saw it, they removed, and stood afar off. 19 And they said unto Moses, Speak thou with us, and we will hear: but let not God speak with us, lest we die. 20 And Moses said unto the people, Fear not: for God is come to prove you, and that his fear may be before your faces, that ye sin not. 21 And the people stood afar off, and Moses drew near unto the thick darkness where God was......."
So, when learning about the BBC Documentary on Ancient India, there was a segment detailing a legend on how the Brahmins were led by the God of fire into new lands. Having to learned about the culture of Hinduism and the practices, I started to connect the pieces together as this reveals the true Exodus story. Again, even though History is written by the victors, however, some important information gets by for a good reason. This story in the Bible is basically "paralleled" to the people dubbed "Aryans", as they were led by the Legendary fire God. Based from the Biblical perspective, the God that the apparent Israelites were led by was described as being engulfed in fire.
So, this is where we have to learn about the fire God, to which the Hindus call "AGNI". Interesting enough, the Rig Vedas states of "33" gods being mentioned and recited to, and out of the 33 gods, there are two that are most known amongst their Hymns, and that is Indra the storm god and Agni the fire god. Even though Indra would have the most Hymns in the Rig Vedas, however Agni would be the first and foremost in the beginning of each Chapter of the Rig Vedas to be recited to. Their relationship are described as being twin brothers to each other, or are either one and the same God (Depending on source material).
So, when I began to study about Indra and Agni as the two most earliest deities that was chanted to, I found how the other gods like Vayu (wind) Varuna (water) Soma (either the alcoholic drink of Indra or the moon deity) Yama the god of the underworld, Mitra, Surya (Sun God) would also be addressed as well in the Rig Vedas. Then there are gods like "Rudra", "Vishnu", the "Rudras or Maruts" as the storm deities amongst others to be some that are stated in the book.
The story generally states that "Indra" as the thunder deity would rule the storms,rain and a certain level in Heaven. Then there is "Surya" as the Sun would rule the Heavens, and then Agni was said to be the ruler of the Earth. But as the stories are formed, it appears that the earliest gods like Indra and Agni are then demoted and worshiped on occasions based on the introduction of Brahma the creator, Vishnu the preserver and Shiva the destroyer (respectively). However, even when I had learned about their demotions, I would also see how their stories are reprised over time as another god with a different name would often take their place along with their attributes (Stories of one battling the other). This will later make sense as to how the earliest attributes of the deities are then transfered to the newer Gods and their epithets around the world.
Now, when learning about the God of fire in the Rig Vedas it states that Agni would be described as a bird-like being who would carry the Amrit (which is the nectar of the gods) and would often disappear at times (as a trickster deity). He is said to be what they call "Vaishvanara" or the "Cosmic soul" as a universal aspect. In the Upanishads, He would be described as the "all knowing" and "all seeing" one. So, just like the concept of God being everywhere is what Agni is shown to have that attribute (as fire and light resides in all things). Then the term "Matarisvan" (Growing in the mother or the swell) states that He was formed from the friction of two sticks, to being a messenger who brings the fire to the Bhrigu sage from Vivasvat (as the Sun God Surya). This is very similar to the Titan Prometheus, who also was said to have brought the fire from the gods to mankind.
Now, other sources state that Agni was formed from the Primordial Creator Prajapati's third eye and how Agni would be his soul, or as they state to be both father and son to each other and would create the Universe together. This is similar to th story of the Egyptian god "Atum", who was said to have came forth from the egg and started to create life along with the "Bennu bird" as his helper. Other stories would state Agni to being the lightning, the Sun and the fire in the Heavens and Earth, and how He would have the aspects of the Creator, the Maintainer and the Destroyer positions (Or "Generator, Operator and Destroyer" G.O.D) However, due to his fire abilities, they state that He would be the first destroyer prior to the arrival of Shiva . In fact, other versions indicate that the fiery Stambha (as the Fiery pillar in the beginning) is AGNI himself, as the one who appeared in the beginning before time began and before the creation of the Universe.
Here is an excerpt from the "Emerald Tablets" in the "The Space Born" chapter: "Mighty beyond words is the flame of the Cosmic, hanging in planes, unknown to man; mighty and balanced, moving in Order, music of harmonies, far beyond man. Speaking with music, singing with color, flame from the beginning of Eternity's ALL. Spark of the flame art thou, O my children, burning with color and living with music. List to the voice and thou shalt be free." The Key of Wisdom states this: "Mysteries there are in the Cosmos that unveiled fill the world with their light. Let he who would be free from the bonds of darkness first divine the material from the immaterial, the fire from the earth; for know ye that as earth descends to earth, so also fire ascends unto fire and becomes one with fire. He who knows the fire that is within himself shall ascend unto the eternal fire and dwell in it eternally."
Now, it's important to understand the Early Vedic scripts compared to the post Vedic scripts. Based from the Post Vedic Scripts, there are two versions that state who created who amongst the different stories in Hinduism. One would be shown as Shiva who then creates Vishnu and Brahma, and is shown as a fiery pillar (Agni Stambha) before them. Then the other story states that it was Vishnu who created Shiva from his third eye, which is quite similar to "Prajapati and Agni" story, and the Egyptian story of "Atum and the Bennu bird". In one documentary on Shiva would state that he would be the destroying aspect of the Great pillar of Fire, who along with the other Gods like Vishnu the preserver and the Creator Brahma are mere manifestations from that pillar of fire. It does not detail the fiery pillar to be either Shiva, Brahma or Vishnu, but The Creator who brings these apsects to life.
Here in the Wiki states this: "The word Agni is used in many contexts, ranging from fire in the stomach, the cooking fire in a home, the sacrificial fire in an altar, the fire of cremation, the fire of rebirth, the fire in the energetic saps concealed within plants, the atmospheric fire in lightning and the celestial fire in the sun. In the Brahmanas layer of the Vedas, such as in section 5.2.3 of Shatapatha Brahmana, Agni represents all the gods, all concepts of spiritual energy that permeates everything in the universe. In the Upanishads and post-Vedic literature, Agni additionally became a metaphor for immortal principle in man, and any energy or knowledge that consumes and dispels a state of darkness, transforms and procreates an enlightened state of existence."
"Agni is originally conceptualized as the ultimate source of the "creator-maintainer-destroyer" triad, then one of the trinities, as the one who ruled the earth. His twin brother Indra ruled the atmosphere as the god of storm, rain and war, while Surya ruled the sky and heavens. His position and importance evolves over time, in the "creator-maintainer-destroyer" aspects of existence in Hindu thought."
"Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra."
"The interconnections between the two deities are complex, and according to Stella Kramrisch: "The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination. In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature."
"In verse 18 of the Isha Upanishad, Agni is invoked with, "O Agni, you know all the paths, lead me on to success by the good path, keep me away from the wrong path of sin". "Vedic rituals involve Agni. He is a part of many Hindu rites-of-passage ceremonies such as celebrating a birth (lighting a lamp), prayers (aarti lamp), at weddings (the yajna where the bride and groom circle the fire seven times) and at death (cremation). According to Atharvaveda, it is Agni that conveys the soul of the dead from the pyre to be reborn in the next world or life. However, this role was in post-Vedic texts subsumed in the role of god Yama."
"Agni is the essence of the knowledge of Existence. Agni destroys ignorance and all delusions, removes nescience. The Kanvasatpathabrahmanam (SB.IV.i.iv.11) calls Agni "wisdom". Agni is symbolism for "the mind swiftest among (all) those that fly." It also symbolises the soul; it is the power of change that cannot be limited or overcome. Light, heat, colour and energy are merely its outer attributes; inwardly, agni impels consciousness, perception and discernment."
"The design guidelines and specifications of his iconography are described in the Hindu Agama texts. He is shown with one to three heads, two to four armed, is typically red-complexioned or smoky-grey complexioned standing next to or riding a ram, with a characteristic dramatic halo of flames leaping upwards from his crown. He is shown as a strong looking man, sometimes bearded, with a large belly because he eats everything offered into his flames, with golden brown hair, eyes and mustache to match the color of fire."
In the Wiki states this: "Two major festivals in Hinduism, namely Holi (festival of colors) and Diwali (festival of lights) incorporate Agni in their ritual grammar, as a symbol of divine energy. During the autumn celebrations of Diwali, traditional small fire lamps called Diya are included to mark the festivities. For Holi, Hindus burn bonfires as Holika, on the night before the spring festival. The bonfire marks god Agni, and in rural India mothers carry their babies around the fire clockwise on Holika in Agni's remembrance." (I will reveal how this connects to the real Passover in the "The Real Aryans" series)
So, depending on the era and who gives it, there would be many versions and origins based on the God Agni. It states in the "Shatapatha Brahman", that there were three other "Agnis" previously to the current fourth one, so it's evident that there were many changes based on this God to which out of the origins, there is a description of Him being a bird like God who brings the elixir (nectar/fire) to mankind in which is similar to Prometheus bringing the fire to mankind. Here states that Agni would be called "the Heavenly Garutman" which is the "Garuda bird" that holds the nectar of the gods. The story of Garuda states that He was born from a stone egg from his father Kashyapa (Turtle) and Vinata, to which he then comes out radiating like fire. It's said that Garuda can shapeshift as this attribute is based on a trickster deity. He can become large as a mountain to being small like an ant. His wings was said to shake the mountains, and spin the axis of the three worlds (as Heaven, Earth and Underworld).
Here is an excerpt from the Wiki on "AGNI": "The origin myth found in many Indo-European cultures is one of a bird, or bird like being, that carries or brings fire from the gods to mankind. Alternatively, this messenger brings an elixir of immortality from heaven to earth. In either case, the bird returns everyday with sacrificial offerings for the gods, but sometimes the bird hides or disappears without trace. Agni is molded in similar mythical themes, in some hymns with the phrase the "heavenly bird that flies".
Based from the Wiki states this on Garuda:
Mythology: "Garuda's mythology is linked to that of Aruna– the charioteer ofSurya(The Hindu Sun god). Both Aruna and Garuda developed from an egg. According to one version related by George Williams, Kashyapa Prajapati's two wives Vinata and Kadruwanted to have children, andKashyapagranted each of them a boon.[22]Kadru asked for one thousandNāgasons, while Vinata asked for just two, but each an equal to all of Kadru's thousand sons. Kashyapa blessed them, and then retreated to a forest to meditate. Later, Kadru gave birth to one thousand eggs, while Vinata gave birth to two eggs. After incubating them for five hundred years, Kadru's eggs hatched and out came her 1,000 sons. Vinata, eager for her own sons, impatiently broke one of her eggs. From this egg emerged the partially formed Aruna, looking radiant and reddish as the morning sun - but not as bright as the midday sun as he was promised to be Aruna chided his mother, Vinata for her impatience, and warned her to not break open the second egg, cursing her to be a slave until his brother rescued her. Aruna then left to become the charioteer of Surya, the sun god."
"Vinata waited, and after many years the second egg hatched, and Garuda was born. After losing a bet to Kadru through trickery, Vinata was forced to become her slave. Garuda later on asked his brothers to free his mother from her slavery, to which they demanded Amrita from heaven. Garuda waged a war against gods with his extraordinary might and abilities beyond thinking, and defeated all of them, including Indra. He then took Indra's nectar vessel and flew back to earth. Vishnu then came to Garuda, and asked him to be his ride, to which he agreed. Indra requested that Garuda not give the Amrita to the Nagas though, as it would bring great trouble later, so they forged a plan. Upon reaching his brothers Garuda placed the vessel before them, and asked them to first purify themselves before drinking. Meanwhile,Jayanta (the son of Indra) stole the vessel back. On returning, the nagas were all devoured by Garuda.
Some myths present Garuda as so massive that he can block out the sun. The text Garuda Purana is named after him."
"Garuda is presented in the Mahabharata as one who eats snake meat, such as the story about him planning to kill and eat Sumukha snake, where Indra intervenes. Garuda in anger, vaunt about his feats and compares himself to Indra's equal. Vishnu teaches lesson to Garuda and cured his pride on might.[27]Garudas are also a race of birds who devour snakes in the epic.[27]
The Suparṇākhyāna, a late Vedic period poem considered to be among the "earliest traces of epic poetry in India," relates the legend of Garuda, and provides the basis for a later, expanded version which appears within the Mahābhārata."
Symbolism: "Garuda's links to Vishnu – the Hindu god who fights injustice and destroys evil in his variousavatarsto preserve dharma, has made him an iconic symbol of king's duty and power, an insignia of royalty or dharma. His eagle-like form is shown either alone or with Vishnu, signifying divine approval of the power of the state. He is found on the faces of many early Hindu kingdom coins with this symbolism, either as a single-headed bird or a three-headed bird that watches all sides. Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, speed, and martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The Mahabharata character Drona uses a military formation named after Garuda. Krishna carries the image of Garuda on his banner."
Based from "Dapeng Jinchi Mingwang" states this excerpt: "Dapeng Jinchi Mingwang" The Golden-Winged King of Illumination'), also known as theGolden-Winged Great Peng is a guardian deity in Mahayana Buddhism.....
Legends:.....According to martial arts master Liang Shouyu's book, "[A] Dapeng is a great bird that lived in ancient China. Legend has it, that Dapeng was the guardian that stayed above the head of Gautama Buddha. Dapeng could get rid of all evil in any area. Even the Monkey King was no match for it. During the Song dynasty, the government was corrupt and foreigners were constantly invading China. The Buddha sent Dapeng to earth to protect China. Dapeng descended to Earth and was born as Yue Fei."
Journey to the West: "Peng is an antagonist in the 16th-century Chinese classic novel Journey to the West. He is a demonic eagle born from the primordial Phoenix. The Buddha gave the Eagle a high position in Heaven which only served to fuel his ego. For an unknown reason, the Eagle transformed himself into a humanoid form, the Golden Winged Great Peng, ate all residents of the Lion Camel Kingdom, ruled it for 500 years, and befriended the Azure Lion Demon and the Yellow-Toothed Elephant Demon to eat Tang Sanzang. Great Peng's powers and position of being the Buddha's uncle fuel his ego as he regarded himself above everyone else. He is armed with ajiand can fly over great distances. Peng has a Flask of Yin and Yang Essence (陰陽二氣瓶) which can suck in unsuspecting victims."
"Peng made several plans to capture Tang Sanzang and his companions, and successfully captured Sun Wukong himself. After many humiliating failures under the hand of the three demon kings, Wukong approached the Buddha for help and learned the backstory about Peng. After Wukong and the three demons battle, both the Lion and the Elephant are forced to revert to their original forms, and the Buddha shows up to subdue Peng and return him to Vulture Peak.
After his defeat at the Buddha's hand, Peng admits that he enjoys his demonic life eating humans, but after listening to the Buddha, Peng has no choice but to abandon his evil ways, redeeming himself in the process. After some struggle, the eagle Peng agrees to become a protector of Buddhist law. Much later, Sanzang and his companion received scriptures, and the Buddha, knowing them to be the scriptures without text, ordered the eagle to chase them and destroy the fake scriptures, which the eagle does promptly. As such, Chinese fiction portrays Peng as a powerful demon king that submits to the Buddha and perches above his throne as a hot-tempered guardian deity."
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Now, based from understanding the legends and stories of the God of fire as a considered "herald" or Creator of mankind, this aspect can par with the story of "Prometheus" who, as the "Theogony of Hesiod" states, was a messenger from the Gods to mankind. There are many interesting similarities based on this segment. Here in the aftermath of the Titanomachy (Gods vs Titan war) which lasted 10 years, the story states that it was he and his brother Epimetheus (meaning afterthought) who would create the animals and the earth. He gave every creation a gift of ability, but when it came to the last creation called man, he gave him the power of fire. In another version states that after Prometheus created man, Athena was the one who breathe her spirit into man to bring life. This is similar to the Enki and Ninurta story and the creation of mankind.
Now, it's stated that it was the fire that made mankind into an enlightened being, but Zeus apparently didn't want mankind to grow from their knowledge, so he took away the fire from them. Then based from the story states that Mankind became ignorant, but Prometheus was able to distract the gods and steal the fire from Hephaestus' cauldron, and came down bringing the fire to them. Then as the story goes, Zeus and the gods had bound prometheus to a rock with chains to having an eagle eat his liver everyday (the liver grows back as He is immortal). Based from the fire resembles the enlightenment as the term "Lucifer" is meant "lightbearer" or bringer of light, as this is where the origin of Lucifer may connect to Agni as the one who brings the fire to mankind. However, it's better to understand that it's merely a title, as Lucifer is not a name of a being but a title for "light bearer" or "light bringer". If people will bring light or undestanding to another, then that person is based on this title. Even a certain Goddess (as the Statue of Liberty) is also called "Lucifer" as well.
Then there is the story of Loki as he was said to be a trickster deity, and was said to be mischeivous as the Asgardians didn't like Him. Apparently, Loki was said to be responsible for the death of Baldur (the God of light) and as the result states, the Asgardians had him bound to a rock with the entrails of one of his children, and had placed a serpent above dripping poison on his face.
Now, it's interesting as Loki was said to not be of the Asgardians, but had came from a race of Giants called the "Jotunns" who were like the Titans of the Greco-Roman stories. In this case, since there were different versions of Agni, then I can safely state that Agni being a messenger deity would not be of the Devas, but of the Asuras or Danavas. Other sources detail that they Devas and Asuras are one and the same, but was seperated after one group defeated the other. The Danavas was said to be the archenemy or half brothers to the Devas (Suras), as they would constantly battle each other for the rulership of the three worlds. Other sources also states the Danavas and Asuras to be different from each other, however, in later Chapters I will detail how these groups as the Suras (Devas) and Asuras are based one group who had a civil war.
Now, in the “The book of Enoch” would also detail a Prometheus story, but with angels leaving their stations to taking the women of earth, teaching mankind the secrets of Heaven, and thus producing the giants to which were supposedly 450 feet tall. Here details how they taught mankind warfare, the use of herbs and incantations, as well as the signs of the sun, the moon and stars to even writing on paper. Then states that they began to corrupt themselves after having learned all the things of heaven, and their giant children were killing the population.
So, in turn God sends the angels to bind those fallen angels (200 angels supposedly) and cast them into Tartarus for their punishment. Then the leaders Azazel and Samyaza were chained by Michael the Archangel and cast into everlasting darkness, a flood was sent to destroy the giants and all life on the earth except for Noah and his family. So, even the book of Enoch gives details of the fallen angels symbolically giving the fire to mankind, but in exchange for the women or Earth, to teaching the people the Heavenly secrets, to (and due to the corruption of their unholy union) their offsprings started to eat people and create havoc on earth.
Now, the book seems interesting enough to read, however, I can tell you that there are problems in this book which doesn’t make sense to me. Like the giants being 450 feet would seem too big due to the intermingling of the angels and the women, and how can they be destroyed by a flood if they are 450 feet tall? Anyway, in the book of Genesis 6:4 states “There were giants in the earth in those days; and also after that, when the sons of God came in unto the daughters of men, they bare children to them, the same became mighty men which were of old, men of renown.”
This verse alone states that there were giants "already" on the earth before the sons of God came unto the women, and they produced “men of renown” not giants. Even Blavatsky had stated in "The Secret Doctrine" on the absurdity of giants coming from women and angels. She states the same notion that these Giants existed even before the creation of mankind on Earth, but that will be detailed in the later Chapters. Now, in the “Book of Enoch”, God states how man wasn’t supposed to learn the things of heaven which includes tools of warfare, magic, writing and reading, learning about the signs of the sun, the moon and the stars etc. So, apparently even writing and reading wasn’t supposed to be given to mankind, because they were supposed to be created for a different purpose. (I find it interesting that witchcraft and magic is considered one of the “secrets” of heaven)
Now, interesting enough the "Emerald Tablets" tells the story of the spirits looking down from the Heavens and seeing mankind under the control of the gods that came from the cosmos, had came down to free them from their oppressors. So, to free them from their oppression they went down taking forms of physical flesh, and had created an inner world under the earth, thus teaching and guiding man about the fire from within (symbolizing enlightenment).
This somewhat ties to the story of Agni coming down from Surya the sun god, and giving enlightenment to mankind. A similar reference was shown in the story of "Xototl" the dog god and "Quetzalcoatl" the serpent deity, who were said to have stolen fire from the Gods of the underworld to create mankind. The same goes for the Maori story of Maui the demigod stealing fire from the underworld to give to mankind (See the movie "Moana" for interesting references to "Lucifer").
There would be American Indian stories showing the cultural hero in the form of a Rabbit or coyote stealing something, to which can also synchronize with other mythos of a deity stealing the fire. Veles of the Slavic mythology was said to have stolen the fire from the storm god Perun before being caught and destroyed. In the Sumerian story details how the "Anzu bird" was said to have stolen the tablets of destiny from Enlil, and how his son Ninurta was the one to battle him and to retrieve it (Depending on sources).
So, as Loki would have the similar aspects to Prometheus, then it's possible that the same punishment would have been done towards Agni. So, perhaps we can see some similarities to Prometheus, Loki, Agni and other deities though they were said to have came from a different race before living with the gods. The readers can look up "Loki Heals", as a Blogger details some interesting connections between AGNI and Loki.
Now, since one of the scripts detail Agni in the Rig Vedas as being a messenger God of the three worlds and would oversee the sacrifices of the gods from mankind, then this can connect to the Israelites doing the animal sacrifices and burnt offerings to the God of fire in the Bible. In the tradition states "Agnihotra" or the sacrificial fire offerings that is done in their home. It states that in the Wiki, the last animal sacrifice was done by a Brahman sect in the 1970s as they would sacrifice a goat, and also how they would make a figure of a bird out of bricks. Agni is depicted in the form of a bird, see "Agnicayana" documentary. Here is an excerpt from the Wiki:
Agnicayana: "The Agnicayana (ati-rātra agni-cayana; lit. 'over-night piling up of the fire') or Athirathram is a category of advanced Śrauta rituals. After one has established the routine of the twice-daily routine of Agnihotra offerings and biweekly dara-purna-masa offerings, one is eligible to perform the Agnistoma, the simplest soma rite. After the agnistoma, one is eligible to perform more extensive soma rites and Agnicayana rites. There are various varieties of Agnicayana. Agnicayana continues to be performed in Kerala, Andhra."
"The entire ritual takes twelve days to perform, in the course of which a great bird-shaped altar, the uttaravedi "northern altar" is built out of 1005 bricks. The liturgical text is in Chapters 20 through 25 of the Krishna Yajurveda. The immediate purpose of the Agnicayana is to build up for the sacrificer an immortal body that is permanently beyond the reach of the transitory nature of life, suffering and death that, according to this rite, characterizes man's mortal existence. The ritual emerged from predecessor rituals, which were incorporated as building blocks, around the 10th century BCE, and was likely continuously practiced until the late Vedic period, or the 6th century BCE."
"In post-Vedic times, there were various revivals of the practice, under the Gupta Empire in the north (ca. 4th to 6th century), and under the Chola Empire in the south (ca. 9th century), but by the 11th century, the practice was held to have been discontinued, with the exception of the Nambudiris of Kerala. The 1975 Nambudiri Agnicayana filmed by Frits Staal, was criticized by Andhra Śrautins who claimed the Nambudiri omitted animal sacrifice, which is an element in their own opinion."
In the book "The Theogony of Hesiod" would state the Titan Prometheus overseeing the animal sacrifices and burnt offerings from mankind to the Gods. In one story states that it was Prometheus who helped mankind and would be a considered protector to them from the wrathful anger of Zeus and the gods. The Titan Prometheus was also said to have tricked Zeus and the Gods to choosing the meat offering with the fat and the bones instead of the best portions of the offerings, which is then given to mankind to enjoy. This is probably where the trickster aspect comes in as Prometheus, who is supposed to mean "Forethought", would disappear from the council of the gods. It's stated that Indra would have a wrathful characteristic, however, Agni is said to have a fiery natured aspect as well.
Now that we have established certain connections, it's shown that the original story of Agni would be like that of the Bird like God called "Garuda". Let's detail the story of Garuda and make some further connections in the Wiki:
"Garuda's mythology is linked to that of Aruna – the charioteer of Surya (The Hindu Sun god). However, these Indian mythologies are inconsistent across texts. Both Aruna and Garuda developed from an egg. According to one version related by George Williams, Kashyapa Prajapati's two wives Vinata and Kadru wanted to have children, and Kashyapa granted each of them a boon. Kadru asked for one thousand Nāga sons, while Vinata asked for just two, but each an equal to all of Kadru's thousand sons. Kashyapa blessed them, and then retreated to a forest to meditate. Later, Kadru gave birth to one thousand eggs, while Vinata gave birth to two eggs."
"After incubating them for five hundred years, Kadru's eggs hatched and out came her 1,000 sons. Vinata, eager for her own sons, impatiently broke one of her eggs. From this egg emerged the partially formed Aruna, looking radiant and reddish as the morning sun - but not as bright as the midday sun as he was promised to be. Aruna chided his mother, Vinata for her impatience, and warned her to not break open the second egg, cursing her to be a slave until his brother rescued her. Aruna then left to become the charioteer of Surya, the sun god."
"Vinata waited, and after many years the second egg hatched, and Garuda was born. After losing a bet to Kadru through trickery, Vinata was forced to become her slave. Garuda later on asked his brothers to free his mother from her slavery, to which they demanded Amrita from heaven. Garuda waged a war against gods with his extraordinary might and abilities beyond thinking, and defeated all of them, including Indra. He then took Indra's nectar vessel and flew back to earth. Vishnu then came to Garuda, and asked him to be his ride, to which he agreed. Indra request that Garuda not give the Amrita to the Nagas though, as it would bring great trouble later, so they forged a plan. Upon reaching his brothers Garuda placed the vessel before them, and asked them to first purify themselves before drinking. Meanwhile, Jayanta (the son of Indra) stole the vessel back. On returning, the nagas were all devoured by Garuda."
"Some myths present Garuda as so massive that he can block out the sun. The text Garuda Purana is named after him. Garuda is presented in the Mahabharata mythology as one who eats snake meat, such as the story about him planning to kill and eat Sumukha snake, where Indra intervenes. Garuda in anger, vaunt about his feats and compares himself to Indra's equal. Vishnu teaches lesson to Garuda and cured his pride on might. Garudas are also a race of birds who devour snakes in the epic."
Based from other Bird mythology stories, there is "Leigong" and "Leizhenzi". It's shown that the Bird God can take the attribute of the thunder God attributes as well. Based from Leizhenzi states this in the Wiki:
"Leizhenzi (Chinese: 雷震子; pinyin: Léizhènzǐ) a character in the classic Chinese novel Investiture of the Gods (Fengshen Yanyi). Leizhenzi is a celestial being that had been created by a great thunderstorm at Mount Swallow. Ji Chang had been the one to first receive the small newborn and thus the baby became known as the third son of Ji Chang. However, Yunzhongzi would take the newborn in as his own disciple; for he was destined to assist in the creation of the new Zhou Dynasty. Seven years later, at a time in which Ji Chang was fleeing for his life from the capital after finally being freed, Leizhenzi, now seven, was sitting with his master, Yunzhongzi, atop Mount South End."
"Once Leizhenzi was told to assist his father, but first grab a hold of his weapon - which was by the cliff's edge - Leizhenzi looked everywhere in wonder. Soon enough, Leizhenzi found two large apricots at the edge of the cliff and ate them both with due haste. Immediately following this, to his surprise, two large wings suddenly sprouted from Leizhenzi's back and his face became like that of a monster's. Once Leizhenzi returned to his father, he received a golden rod as his weapon and was instructed to finally assist his father. Thus, once Leizhenzi met his father atop a mountain slope, he first dealt with General Lei and Yin by creating a rockslide with his golden rod. While hanging onto Leizhenzi's back, Leizhenzi then transported his father through the five mountain passes. With these words, Leizhenzi departed from his father: "My father, you are now safe. Now I must say good-bye and return to Mount South End. Please take care of yourself. I will see you again someday."
Based from "LieGong" states this: "Leigong (Chinese: 雷公; pinyin: léigōng; Wade–Giles: lei2 kung1; lit. 'Lord of Thunder') or Leishen (Chinese: 雷神; pinyin: léishén; lit. 'God of Thunder'), is the god of thunder in Chinese folk religion, Chinese mythology and Taoism. In Taoism, when so ordered by heaven, Leigong punishes both earthly mortals guilty of secret crimes and evil spirits who have used their knowledge of Taoism to harm human beings. He carries a drum and mallet to produce thunder, and a chisel to punish evildoers. Leigong rides a chariot driven by a young boy named A Xiang."
"Since Leigong's power is thunder, he has assistants capable of producing other types of heavenly phenomena. Leigong's wife Dianmu is the goddess of lightning, who is said to have used flashing mirrors to send bolts of lightning across the sky. Other companions are Yun Tong ("Cloud Youth"), who whips up clouds, and Yu Shi ("Rain Master") who causes downpours by dipping his sword into a pot. Roaring winds rush forth from a type of goatskin bag manipulated by Fengbo ("Earl of Wind"), who was later transformed into Feng Po Po ("Lady Wind").
Then there is the Japanese version of the Garuda called "Karura", which is the bird like God in Japanese Lore. Here is what the Wiki states on this deity: "The Karura is a divine creature with human torso and birdlike head in Japanese mythology. The name is a transliteration of garuda, a race of enormously gigantic birds in Hinduism. The Japanese Buddhist version is based upon Hindu Mythology. The same creature may go by the name of konjichō (金翅鳥, lit. "gold-winged bird", Skr. suparṇa)."
"The karura is said to be enormous,[ fire-breathing, and to feed on dragons/serpents, just as Garuda is the bane of Nāgas. Only a dragon who possesses a Buddhist talisman, or one who has converted to the Buddhist teaching, can escape unharmed from the Karura. Shumisen or Mount Meru is said to be its habitat. Karura is one of the proselytized and converted creatures recruited to form a guardian unit called the Hachibushū (八部衆, "Devas of the Eight Classes")."
'One famous example is the Karura statue at Kōfuku-ji, Nara, amongst the eight deva statues presented at the Buddhābhiṣeka dated to the year Tenpyō 6 or 734, pictured top right). This karura is depicted as wearing Tang Chinese-style armor, and thus is seen wingless. But more conventionally, the Karura is depicted as a winged being with human torso and avian head, as in the Vajra Hall (Kongō buin (金剛部院)) section of the Womb Realm mandala (Taizōkai mandara (胎蔵界曼荼羅)) and other iconographic books and scrolls."
"The karura (garuda) mask is one of the stock character masks worn by performers of the ancient Japanese courtly dance art of gigaku. The flaming nimbus or halo is known by the name "karura flame" and typically seen adorning behind the statue of the Fudō-myōō (不動明王)). The karura is also said to be the prototype of the depictions of the tengu or karasutengu."
Exodus 19:4 “Ye have seen what I did unto the Egyptians, and how I bare you up on eagle’s wings, and brought you unto myself.”
Now, remember the term "Karura flames", as this will connect to an important deity later on. But first, let's look at the Tengu Gods based from the Japanese legends. Here is an excerpt from the Wiki states on this deity:
"Tengu (Japanese: 天狗, lit. "Heavenly Dog" or "Heavenly Sentinel") are a type of legendary creature found in Japanese folk religion. They are considered a type of yōkai (supernatural beings) or Shinto kami (gods). The Tengu were originally thought to take the forms of birds of prey and a monkey deity, and they are traditionally depicted with human, monkey, and avian characteristics. Sarutahiko Ōkami is considered to be the original model of Konoha-Tengu (a supernatural creature with a red face and long nose), which today is widely considered the Tengu's defining characteristic in the popular imagination. He is the Shinto monkey deity who sheds light on heaven and earth."
"Some experts theorize that Sarutahiko was a sun god worshiped in Ise region prior to the popularization of Amaterasu. Buddhism long held that the Tengu were disruptive demons and harbingers of war. Their image gradually softened, however, into one of protective and even manifestations of Buddhist deities, if still dangerous, spirits of the mountains and forests. Tengu are associated with the ascetic practice of Shugendō, and they are usually depicted in the garb of its followers, the yamabushi."
Image: "The tengu in art appears in a variety of shapes. It usually falls somewhere between a large, monstrous bird and a wholly anthropomorphized being, often with a red face or an unusually large or long nose. Early depictions of tengu show them as kite-like beings who can take a human-like form, often retaining avian wings, heads, or beaks. The tengu's long nose seems to have been conceived in the 14th century, likely as a humanization of the original bird's bill. This feature allies them with the Sarutahiko Ōkami, who is described in the 720 CE text the Nihon Shoki with a similar nose measuring seven hand-spans in length. In village festivals, the two figures are often portrayed with identical red phallic-nosed mask designs."
"Some of the earliest representations of tengu appear in Japanese picture scrolls, such as the Tenguzōshi Emaki (天狗草子絵巻), painted c. 1296, which parodies high-ranking priests by endowing them the hawk-like beaks of tengu demons. Tengu is often pictured as taking the shape of some sort of priest. Beginning in the 13th century, tengu came to be associated in particular with yamabushi, the mountain ascetics who practice Shugendō. The association soon found its way into Japanese art, where tengu are most frequently depicted in the yamabushi's unique costume, which includes a distinctive headwear called the tokin and a pompom sash (結袈裟, yuigesa)."
"Due to their priestly aesthetic, they are often shown wielding the khakkhara, a distinct staff used by Buddhist monks, called a shakujō in Japanese. Tengu is commonly depicted holding a magical feather fan (羽団扇, hauchiwa). In folk tales, these fans sometimes can grow or shrink a person's nose, but usually, they have attributed the power to stir up great winds. Various other strange accessories may be associated with tengu, such as a type of tall, one-toothed geta sandal often called tengu-geta."
Now, let's look at the Acala/Fudo-Myo-o in the Wiki: "Acala or Achala (Sanskrit: अचल "Immovable") is a dharmapala (protector of the Dharma), prominent in Vajrayana Buddhism and East Asian Buddhism. He is classed among the Wisdom Kings and is preeminent among the Five Wisdom Kings of the Womb Realm. Accordingly, his figure occupies an important hierarchical position in the Mandala of the Two Realms. In China, he is known through esoteric Tangmi traditions as Budong Mingwang ("The Immovable Wisdom King")."
"In Japan, he is known as Fudō Myōō, which is the on'yomi reading of his Chinese name. Acala is especially important in Japanese Buddhism, where he is venerated in the Shingon, Tendai, Zen, and Nichiren sects, as well as in Shugendō. He is also highly revered among some Yakuza members, who often draw on his intense facial expression and demeanor. In later Tantric scriptures, the epithet Caṇḍaroṣaṇa and Caṇḍamahāroṣaṇa became more common, and he is known as such in countries like Nepal and Tibet."
"...His face is expressive of extreme wrath, wrinkle-browed, left eye squinted or looking askance, lower teeth biting down the upper lip. He has the physique of a corpulent (round-bellied) child. He bears a straight sword in his right hand, and a lariat or noose in his left hand. He is engulfed in flame, and seated on a huge rock base. Acala is said to be a powerful deity who protects the faithful by burning away all impediments (antarāya) and defilements (kleśa), thus aiding them towards enlightenment."
"Originally the Mahayana deity Acalanātha, whose name means "immovable protector", Acala was incorporated into Vajrayana Buddhism as a servant of the Buddha. In Tangmi (Tang-era Chinese Vajrayana), his name was translated as Budong "immovable" (Chinese: 不動; pinyin: Búdòng, Middle Chinese: /pǝw dungx/). In turn, the deity was imported into Japan as "Immovable" (不動, Fudō) by the priest Kūkai (died 835) who was studying in China as a member of the Kentoshi mission and founded Shingon Buddhism. Scholars such as Miyeko Murase state that the origins of this Buddhist deity are in the Hindu god Shiva, particularly his attributes of destruction and reincarnation."
"He evolves into a deity invoked in Buddhist rituals to "frighten gods, titans, men and destroy the strength of demons", and he slays all ghosts and evil spirits. In some Buddhist texts such as the Sādhanamālā, the Hindu gods Vishnu, Shiva, Brahma and Kandarpa (god of love) are said to be "wicked" because they cause endless rebirth, and these gods are terrified of Acala because he carries a rope to bind them."
"The flaming nimbus or halo behind the statue is known as the "Garuda flame", after the mythical firebreathing bird from Indian mythology....At temples dedicated to Acala, priests perform the Fudō-hō (不動法), or ritual service to enlist the deity's power of purification to benefit the faithful. This rite routinely involves the use of the Homa ritual (護摩, goma) as a purification tool."
Here states that Acala/Fud-Myo-o, has the "flaming nimbus", which is known as the "Garuda flame", thus connecting to AGNI and the fiery bird symbology. Even this God having battling the different demons, ghouls and monsters will connect to the "Red Horn" and this God's connection to Michael the Archangel story later on.
Now, based from fire deity from the Japanese called "Fudo Myoo", we will connect Him to the Mayan deity called "Kiniche Ahau" or "Kiniche Kakmaw". Here are some excerpts based from the Wiki on this deity:
"Kinich Ahau" (Kʼinich Ajaw) is the 16th-century Yucatec name of the Maya sun god, designated as God G when referring to the codices. In the Classic period, God G is depicted as a middle-aged man with an aquiline nose, large square eyes, cross-eyed, and a filed incisor in the upper row of teeth. Usually, there is a k'in ('sun')-infix, sometimes in the very eyes. Among the southern Lacandons, Kinich Ahau continued to play a role in narrative well into the second half of the twentieth century."
16th-century Yucatan: "Kinich Ahau was the patron of one of the four years of the 52-year cycle (Landa). In the rituals introducing this year, war dances were executed. Kinich Ahau was apparently considered an aspect of the upper god, Itzamna. He may conceivably be related to the patron deity of Izamal, Kinich Kakmo 'Fire Parrot', who was reported to descend to earth while the sun was standing in the zenith in order to consume offerings."
Ancestral solar kings: "The sun deity can be shown as a king (ajaw) seated high on a throne cushion (as on the famous, narrative 'Rabbit Vase' from Naranjo), or as a ruler carrying the bicephalic 'ceremonial bar'. Inversely, the Maya king is repeatedly assimilated to the sun deity. The emblematic double-bird of the early Copan king, Yax Kʼukʼ Moʼ 'Great Quetzal-Parrot', shows the head of the sun deity within its beaks. Ancestral Maya kings assimilated to the sun deity were sometimes depicted while vertically descending from the zenith (as on Takalik Abaj stela 2 and Tikal stela 31). Particularly in Yaxchilan, the ancestral king is seated within a solar cartouche, his wife in a lunar crescent. The solar aspect of a king often seems to imply apotheosis and life after death."
Interesting that the Kings would have a "Bicephalic" bird, meaning two headed bird that is related to the "double-headed" eagle. The description of this deity is shown in the same manner as the Japanese God "Fudo-Myoo", along with the bird symbology. So, how did the Mayans have a God that is described exactly the same way as the Japanese fire God?
Now, there is the fire God called "Kojin". Here is what the Wiki states on this deity:
"The name Sanbō-Kōjin means three-way rough deity, and he is considered a deity of uncertain temper. Fire, which he represents, is a destructive force, as shown in the myth of Kagu-tsuchi, the original fire deity, whose birth caused his mother's death. However, Kōjin embodies fire controlled and turned toward a good purpose. He is said to destroy all impurity. He is also responsible for watching over the household and reporting any misdeeds to the kami of the village or city."
"These reports are discussed, and the according rewards or punishments assigned, by an assembly of gods in Izumo province in the tenth month of the traditional lunar calendar. Kōjin is sometimes identified as an incarnation of Fudō Myō-Ō, who is likewise depicted as surrounded by flames and tasked with dealing with misdeeds. Traditionally, a representation of Kōjin is placed near the hearth."
"This representation might be a simple fuda (memorial tablet) in many homes, or it might be as elaborate as a statue, as is common in Buddhist temples. In his statues, Kōjin is depicted with flaming hair, fangs, and a contorted face, and he often wields a bow and arrows. He has two pairs of hands. Some representations of Kōjin present him as possessing three heads. The Kōjiki mentions an imperial script detailing instructions for worshipping Kōjin, in the form of Kamado-gami."
Here is shown that the God of fire has a wrathful attribute, and is shown to be called "The Kitchen god". This will connect to Godfrey Higgin's book "The Anacalypsis" and how the Chinese would have this same exact practice. But as described, this God will connect to the American Indian "Red Horn" story.
Here based from the "Red Horn" states this in the Wiki: "In the Red Horn is a culture hero in Siouan oral traditions, specifically of the Ioway and Hocąk (Winnebago) nations. He has different names. Only in Hocąk literature is he known as "Red Horn" (Hešucka), but among the Ioway and Hocągara both, he is known by one of his variant names, "He Who Wears (Man) Faces on His Ears". This name derives from the living faces on his earlobes (Hocąk), or earbobs that come to life when he places them on his ears (Ioway). Elsewhere, he is given yet another name, "Red Man" (Wąkšucka), because his entire body is red from head to toe."
"Red Horn was one of the five sons of Earthmaker, whom the Creator fashioned with his own hands and sent to earth to rescue humanity. During his sojourn on earth, he contested both giants and water spirits, and led war parties against the bad spirits who plagued humanity. As Wears Faces on His Ears, he is also said to be a star, although its identity is a subject of controversy. Under the names "One Horn" (Hejąkiga) and "Without Horns" (Herok'aga), he and his sons are chiefs over the small hunting spirits known as the herok'a and the "little children spirits". Red Horn, as chief of the herok'a, has a spiritual and sometimes corporeal identity with the arrow. Archaeologists have speculated that Red Horn is a mythic figure in Mississippian art, represented on a number of Southeastern Ceremonial Complex (SECC) artifacts."
The son of Earthmaker: "According to legend, Red Horn is one of the five great soteriological spirits fashioned by the Creator's own hands, sent to earth to make the world safe for the least endowed of Earthmaker's creation, the "two-legged walkers". The first spirit to be sent down to earth to help humanity was Trickster (Wakdjąkaga), whose foolishness made it necessary to recall him. Earthmaker next sent down Bladder (Wadexuga), whose arrogance led to the loss of all but one of his 20 brothers, so he too was recalled."
"Then Earthmaker made Turtle (Kecągega) and charged him to teach the humans how to live, but Turtle brought them war, and was in his turn recalled. The fifth and last of these heroes dispatched by Earthmaker was Hare (Wacdjįgega), who conquered all the bad spirits who had preyed on humanity. By accident, however, he introduced death, but made up for it by creating the Medicine Lodge, by whose discipline members could achieve immortality. Earthmaker made Hare in charge of this earth, and to each of the other three spirits he gave an otherworldly paradise to govern. The penultimate savior figure in this series was Redhorn. He had quite nearly succeeded, but was killed in a wrestling match with the enemies of the human race. Although later revived, he too was recalled, although the reasons for his failure are obscure. One source suggests that it was a lack of gravitas."
"Then Earthmaker (Mą'ųna) sent down another son, He who Wears Human Heads as Earrings. He went around talking to people, but they would always fix on his earrings which were actual, living, miniature human heads. When these little heads saw someone looking at them, they would wink and make funny faces. In the end, He who Wears Human Heads as Earrings could not accomplish the mission either."
Bird Man: "Another figure found in SECC artworks is a raptor with a largely human face, who is often depicted wearing prosopic earpieces. This werebird, known as "Birdman", is also thought by some to be a form of Red Horn."
So, the God called "Red Horn" was shown to have "red hair" that is "braided" into a horn on the side, have the apparent face like a bird, to having "faces for ears". This is very much like Fudo-Myoo/Acala and one of the deities of the "Wisdom Kings" called "Daiitoku Myoo".
Based from the "Galactic Warfare" and "Legend of the Bird God: Red Horn", I had put down this information on the "Ho-Chunk mythology", as it states this excerpt in the Wiki:
RedHorn: "Red Horn (also known as 'He Who Wears (Human) Faces on His Ears') is found in the oral traditions of the Ioway, and Hocągara (Winnebago) (whose ethnology was recorded by anthropologist Paul Radin, 1908–1912). The Red Horn Cycle depicts his adventures with Turtle, the thunderbird Storms-as-He-Walks (Mą’e-manįga) and others who contest a race of giants, the Wąge-rucge or "Man-Eaters", who have been killing human beings whom Red Horn has pledged to help. Red Horn eventually took a red haired giant woman as a wife."
"Archaeologists have speculated that Red Horn is a mythic figure in Mississippian art, represented on a number of Southeastern Ceremonial Complex (SECC) artifacts. Hall has shown that the mythic cycle of Red Horn and his sons has some interesting analogies with the Hero Twins mythic cycle of Mesoamerica."
Then based on "Red Horn" states this: Red Horn in archaeology: "Some images found in or near the SECC area may be of Red Horn, his companions, and his sons. Scattered throughout most of this area are relics of prosopic earpieces, which must have given the wearer an appearance strikingly like that of mythical Red Horn." "Other artifacts, such as the bilobed arrow, may shed light on an obscure name held by Red Horn in his youth, "He Who is Hit with Deer Lungs". Intricately carved effigy pipes have been recovered as well, one of which, nicknamed "Big Boy", has been widely identified with Red Horn."
"There also exist numerous depictions of a raptorial bird whose head has many human features. James A. Brown has argued that this "Birdman", who is often shown wearing prosopic earpieces, is also a form of Red Horn. Pictographs found in caves have also been related to Red Horn. Salzer contends that the scene of Panel 5 at the Gottschall Rockshelter represents Red Horn and his friends confronting the giants. At Picture Cave, discovered by Carol Diaz-Granados, there exists a pictograph the central figure of which wears prosopic earpieces, leading to the suggestion that he represents an early form of Red Horn."
In the Ioway version of the Red Horn story, Wears Man-Heads in His Ears puts on a pair of prosopic earpieces which come to life. Prosopic ear ornaments have been found throughout much of the S.E.C.C. culture area in archaeological excavations and are called "Long-nosed god maskettes". They are typically made of either copper or shell, which were highly valued materials. Most wampum belts, for instance, are made of shells strung together. In contemporary Hotcąk the standard word for wampum is worušik, a word which also denotes earrings. It is a contraction of wa-horušik, "something suspended from the ears".
"This shows a linguistic "memory" of a time when at least certain earpieces were considered to be wampum. The S.E.C.C. artifacts have a high degree of uniformity except for the size of the nose, which may be either short or extraordinarily long and even crooked. The face is shield-shaped, and has a crown with a notch at its top center rim."
"The mouth is just a short slit, but the eyes are perfectly circular and large in proportion to the head, giving them an owl-like appearance. The first of these was discovered in Big Mound within St. Louis in 1870, where they lay beside the skull in a grave. Since then nearly two score of these artifacts have been discovered in an area encompassing at least ten states. S.E.C.C. pictorial art shows figures with long-nosed god maskettes on their ears, recalling the appearance of Red Horn and his sons."
"One of these is a sculpted pipe bowl, nicknamed "Big Boy", showing a seated young man wearing short-nosed prosopic earpieces (discussed below). They came to be called "Long-Nosed God" mask(ette)s because they were correlated with depictions of what appeared to be a deity with a very long nose. One of these has in addition to a long nose, a bilobed arrow attached to his hair, and a single long braid, all characteristics associated with Red Horn."
"On the other hand, such beings often have a curl at the end of their noses, either bending up or down, a feature not found on their maskette counterparts. In addition a great many prosopic earpieces have only a short nose. This has led Duncan and Diaz-Granados to develop a different theory to account for the variation in nose sizes."
"They believe that the prosopic earpieces represent the Twins, and that they were worn by war captives who were being assimilated into their new tribe. This is chartered by one surviving Twins myth, in which the wild brother has a very long nose in contrast to the normal nose of his domesticated brother. When the wild Twin is re-adopted into his family, the father trims the nose. Ex hypothesi, the size of the nose on the prosopic earpiece given to the adopted captive was trimmed to reflect the degree to which he had been assimilated."
The statue of the braided haired God is the same as the Japanese fire deity "Fudo Myoo". The apparent "Mitre" that is placed on the forehead by the Yamabushis will connect to the Priest attire in "The Real Aryans 1-3".
"The Vermilion Bird (Chinese: 朱雀 Zhūquè) is one of the Four Symbols of the Chinese constellations. According to Wu Xing, the Taoist five-elemental system, it represents the fire-element, the direction south, and the season summer correspondingly. Thus it is sometimes called the Vermilion Bird of the South (Chinese: 南方朱雀, Nán Fāng Zhū Què)."
"It is known as Zhuque in Chinese, Suzaku in Japanese, Jujak in Korean and Chu Tước in Vietnamese. It is described as a red bird that resembles a pheasant with a five-colored plumage and is perpetually covered in flames. It is often mistaken for the Fenghuang due to similarities in appearance, but the two are different creatures."
"The Fenghuang is a legendary ruler of birds who is associated with the Chinese Empress in the same way the dragon is associated with the Emperor, while the Vermilion Bird is a mythological spirit creature of the Chinese constellations....The Vermilion Bird is elegant and noble in both appearance and behavior, with feathers in many different hues of vermilion. It is very selective about what it eats and where it perches." (See "The Real Aryans 2" for the Torii gate symbolism)
"Fenghuang, known in Japanese as Hō-ō or Hou-ou, are mythological birds found in East Asian mythology that reign over all other birds. The males were originally called feng and the females huang but such a distinction of gender is often no longer made and they are blurred into a single feminine entity so that the bird can be paired with the Chinese dragon, which is traditionally deemed male."
"The fenghuang is also called the "August Rooster" since it sometimes takes the place of the Rooster in the Chinese zodiac. In the Western world, it is commonly called the Chinese phoenix or simply Phoenix, although mythological similarities with the Western phoenix are superficial."
It's interesting as the Feng (Male) and Huang (female) are then put together to represent the Empress, and the Dragon to represent the Emperor. However, I'm seeing how the original symbol of AGNI was that of the bird and not the dragon. I will later discuss the many changes.
"赤帝 Chìdì — Red Deity, the Nándì (帝 "South Deity") or Nányuèdàdì (南岳大帝 "Great Deity of the Southern Peak"): he is Shennong (the "Divine Farmer"), the Yandi ("Fiery Deity"), associated with the essence of fire and summer, and with Mars. His animal form is the Red Dragon and his stellar animal is the phoenix. He is the god of agriculture, animal husbandry, medicinal plants and market."
Now, it's mentioned in "Thoughtco.com/the Phoenix" details this about the Phoenix: "...According to the most popular variant of the phoenix, the bird lives in Arabia for 500 years at the end of which, it burns itself and its nest. In the version described by Clement, an ante-Nicene (basically, before Constantine legalized Christianity in the Roman Empire) Christian theologian, the phoenix' nest is made of frankincense, myrrh, and spices. A new bird always rises from the ashes."
Passage From Pliny": "Ethiopia and India, more especially, produce1 birds of diversified plumage, and such as quite surpass all description. In the front rank of these is the phœnix, that famous bird of Arabia; though I am not quite sure that its existence is not all a fable. It is said that there is only one in existence in the whole world, and that that one has not been seen very often."
"We are told that this bird is of the size of an eagle, and has a brilliant golden plumage around the neck, while the rest of the body is of a purple colour; except the tail, which is azure, with long feathers intermingled of a roseate hue; the throat is adorned with a crest, and the head with a tuft of feathers."
"The first Roman who described this bird, and who has done so with the greatest exactness, was the senator Manilius, so famous for his learning; which he owed, too, to the instructions of no teacher. He tells us that no person has ever seen this bird eat, that in Arabia it is looked upon as sacred to the sun, that it lives five hundred and forty years, that when it becomes old it builds a nest of cassia and sprigs of incense, which it fills with perfumes, and then lays its body down upon them to die; that from its bones and marrow there springs at first a sort of small worm, which in time changes into a little bird: that the first thing that it does is to perform the obsequies of its predecessor, and to carry the nest entire to the city of the Sun near Panchaia, and there deposit it upon the altar of that divinity."
The "Frankincense, Myrrh, Cassia" among other things is mentioned in the Bible: Leviticus 2:1 "And when any will offer a meat offering unto the LORD, his offering shall be of fine flour; and he shall pour oil upon it, and put frankincense thereon:"
Leviticus 2:2 "And he shall bring it to Aaron's sons the priests: and he shall take thereout his handful of the flour thereof, and of the oil thereof, with all the frankincense thereof; and the priest shall burn the memorial of it upon the altar, to be an offering made by fire, of a sweet savour unto the LORD:"
Leviticus 2:15 "And thou shalt put oil upon it, and lay frankincense thereon: it is a meat offering.
Leviticus 2:16 "And the priest shall burn the memorial of it, part of the beaten corn thereof, and part of the oil thereof, with all the frankincense thereof: it is an offering made by fire unto the LORD."
Proverbs 7:17 "I have perfumed my bed with myrrh, aloes, and cinnamon."
Psalms 45:8 "All thy garments smell of myrrh, and aloes, and cassia, out of the ivory palaces, whereby they have made thee glad."
Psalms 103:5 “Who satisfieth thy mouth with good things; so that thy youth is renewed like the eagle's.” Having the youth renewed like the Eagle's is a "Phoenix reference".
Below is a bird like figure in Astana, Kazakhstan as some Conspiracies detail it to be the "Illuminati City"....
Now, based on the website "warpaths2peacepipes" details this segment "Native American Fringe":
Native American Fringe: Facts and information about the History of Clothing and regalia of Native American Indians and the use of the fringe on their clothes. Many different types of clothing worn by various tribes featured fringes on dresses, jackets, shawls, bags, moccasins and shirts. The fringed additions served for both practical and decorative purposes. Buckskin clothing was adopted by pioneers, frontiersmen and mountain men complete with the fringes favored by the Native Indians."
Native American Clothing: "Fringes The history of traditional or ceremonial dress and regalia worn by Native American Indians is a fascinating subject. The following fact sheet contains interesting facts and information on the the fringe that featured on the clothes of many tribes. A Fringe was added to many articles of clothing including jackets, dresses, leggings, shirts and shawls. Fringes were also added to other items such as moccasins, bags (called a parfleche), knife sheaths, quivers and tobacco pouches."
"Native American Fringe Fact 1: A fringe consisted of a border or edge of hanging threads, cords, tassels or strips, and was often found on garments made from leather and buckskin.
Native American Fringe Fact 2: Fringes were made separately and sewn on garments, or other important Native Indian items. Fringes were either twisted or plaited together or added as narrow, hanging strips of leather.
Native American Fringe Fact 3: The purpose of the fringe on Native Indian clothing was two-fold. Fringes were added for purely decorative reasons or had a practical use.
Native American Fringe Fact 4: The practical reason for fringes were that they helped to repel rainwater from the wearer. As the fringe moved the water ran down to the tips and was shed faster than with no fringe allowing the clothes to dry faster.
Native American Fringe Fact 5: Fringes were added to a garment in different ways. When making a dress, shirt, skirt of jacket it was a common practise not to trim the leather hides when sewing seams. Instead the excess leather was cut to create the fringes.
Native American Fringe Fact 6: Native American Indians tried never to waste anything. This included leather, that had taken a long time to prepare. Surplus leather was cut into strips and a band of fringing was sewn on to the clothing. Some surplus leather strips were kept and used to decorate other items such as pouches, bags, quivers and knife sheaths
Native American Fringe Fact 7: When making Moccasins the surplus leather was used for fringing the shoes and for making the straps. Moccasin fringes often trailed on the ground.
Native American Fringe Fact 8: Long thongs of leather were tied together in pairs to create a different fringed effect.
Native American Fringe Fact 9: Beads were also added to fringes to achieve and even more decorative effect. This was especially popular with the women of the tribes, as was the older tradition of adding brightly colored seeds and shells.Fringes were also painted.
Native American Fringe Fact 10: Fringes were most commonly added to the shoulders and bottoms of jackets, dresses and shirts. They were also added to the side seams of leggings.
Fringe Fact 11: The fringed leather tunic or shirt, worn by Native Americans was called a 'wamus'. According to tradition if a warrior had scalped his enemy, he was allowed to trim his tunic, or wamus, with a human hair fringe in addition to the buckskin fringe.
Fringe Fact 13: Fringed Jackets, shirts and tunics - The wamus was the name given to these garments that slipped over the head of the wearer."
Fringe Fact 12: The style of fringes differed from tribe to tribe. The Comanche and Kiowa wore long, twisted fringes, often tied in bunches. Other Great Plains tribes favored long, straight fringes, especially along the sleeves. The fringes worn by Woodland tribes were shorter so they did not get caught up or tangled in the underbrush."
Fringe Fact 14: Fringed Dresses featured fringes that hung down the front at the bust. Fringes also hung down from the hem, sleeves, and back. Fringe Fact 15: Breechclouts would often will often have fringes attached and be decorated with different colors."
Fringe Fact 16: The fringed Buckskin clothing was copied by backwoodsmen, frontiersmen, pioneers and mountain men. The fringes were knotted to the inside of seams. The men wore so much fringe that some tribes gave them the nickname of the "Fringe People".
Based from the Bible is shown these two verses on "fringes".
Deuteronomy 22:12 “Thou shalt make thee fringes upon the four quarters of thy vesture, wherewith thou coverest thyself.”
Numbers 15:38 “Speak unto the children of Israel, and bid them that they make them fringes in the borders of their garments throughout their generations, and that they put upon the fringe of the borders a ribband of blue:”
Interestingly, you do see the bird God having these fringes in the same manner. Based on this subject details God telling the Children of Israel to have fringes on their garments as part of the culture. Now, there is the Jewish Tassle to which the religion tries to portray the same description, however, this modern Jewish religion is "ecclectic" and is not ancient as people are told. It seems that when observing the native American garments, there are certain tribes that ordain themselves with these fringes like normal, and seeing the "crest" of the bird gods, looks like those apparels that the Indian dancers would wear on their heads in Pow wows.
Then from the "Bennu Bird" states this: "Bennu is an ancient Egyptian deity linked with the Sun, creation, and rebirth. He may have been the original inspiration for the phoenix legends that developed in Greek mythology. According to Egyptian mythology, Bennu was a self-created being said to have played a role in the creation of the world. He was said to be the ba of Ra and to have enabled the creative actions of Atum."
"The deity was said to have flown over the waters of Nun that existed before creation, landing on a rock and issuing a call that determined the nature of creation. He also was a symbol of rebirth and, therefore, was associated with Osiris. Some of the titles of Bennu were "He Who Came Into Being by Himself", and "Lord of Jubilees"; the latter epithet referred to the belief that Bennu periodically renewed himself like the sun was thought to do. His name is related to the Egyptian verb wbn, meaning "to rise in brilliance" or "to shine".
"The Greek historian Herodotus, writing about Egyptian customs and traditions in the fifth century BC, wrote that the people at Heliopolis described the "phoenix" to him. They said it lived for 500 years before dying, resuscitating, building a funerary egg with myrrh for the paternal corpse, and carrying it to the temple of the Sun at Heliopolis. His description of the phoenix likens it to an eagle with red and gold plumage, reminiscent of the sun."
"Long after Herodotus, the theme ultimately associated with the Greek phoenix, with the fire, pyre, and ashes of the dying bird developed in Greek traditions. The name, "phoenix", could be derived from "Bennu" and its rebirth and connections with the sun resemble the beliefs about Bennu, however, Egyptian sources do not mention a death of the deity."
Now, even though they would based the Bennu bird symbolism to the "resurrection" of Osiris, however, I find this reference to depict this to "Thoth" or "Hermes" who connects to Enoch.
Here states this Chapter in the Rig Vedas, describing the God called "Rudra" as having "red braided" hair, arrows and a bow, and being called "Lord of heroes". Even though I'm compiling everything together, things will be clarified as to who this deity really is compared to the other Gods.
"HYMN CXIV. Rudra. 1. To the strong Rudra bring we these our songs of praise, to him the Lord of Heroes with the braided hair, That it be well with all our cattle and our men, that in this village all be healthy and well-fed. 2 Be gracious unto us, O Rudra, bring us joy: thee, Lord of Heroes, thee with reverence will we serve. Whatever health and strength our father Manu won by sacrifice may we, under thy guidance, gain. 3 By worship of the Gods may we, O Bounteous One, O Rudra, gain thy grace, Ruler of valiant men."
"Come to our families, bringing them bliss: may we, whose heroes are uninjured, bring thee sacred gifts, 4 Hither we call for aid the wise, the wanderer, impetuous Rudra, perfecter of sacrifice. May he repel from us the anger of the Gods: verily we desire his favourable grace. 5 Him with the braided hair we call with reverence down, the wild-boar of the sky, the red, the dazzling shape. May he, his hand filled full of sovran medicines, grant us protection, shelter, and a home secure. 6 To him the Maruts’ Father is this hymn addressed, to strengthen Rudra's might, a song more sweet than sweet. Grant us, Immortal One, the food which mortals eat: be gracious unto me, my seed, my progeny. 7 O Rudra, harm not either great or small of us, harm not the growing boy, harm not the full-grown man. Slay not a sire among us, slay no mother here, and to our own dear bodies, Rudra, do not harm."
"8 Harm us not, Rudra, in our seed and progeny, harm us not in the living, nor in cows or steeds, Slay not our heroes in the fury of thy wrath. Bringing oblations evermore we call to thee. 9 Even as a herdsman I have brought thee hymns of praise: O Father of the Maruts, give us happiness, Blessed is thy most favouring benevolence, so, verily, do we desire thy saving help. 10 Far be thy dart that killeth men or cattle: thy bliss be with us, O thou Lord of Heroes. Be gracious unto us, O God, and bless us, and then vouchsafe us doubly-strong protection. 11 We, seeking help, have spoken and adored him: may Rudra, girt by Maruts, hear our calling. This prayer of ours may Varuṇa grant, and Mitra, and Aditi and Sindhu, Earth and Heaven."
Now in the Rig Vedas, there is the God called Rudra, and Rudra was said to be a storm and fire god and be the labeled "God of gods", similar to Indra. He would be called the “ruddy one" for his ruddy complexion (same as "Red Horn"), the terrible or destructive force of nature as well has having a temper. This God is described as being an archer or the one who carries the bow and shoots arrows of brilliant shafts like lightning at his foes. They state that Agni sometimes is called "Rudra", due to the Rig Vedas stating how Rudra is said to have "single red braided hair". Based from the same segment would also detail Rudra, Shiva, Indra and Agni would be one and the same, but in the next Chapter will be seperated later on. Even the story of "Akuma" (which the Street Fighter Character is loosely based on), was originally a fire demon who carried a sword. Here in the Wiki states this:
"The akuma (悪魔) is a malevolent fire spirit in Japanese folklore. It is also described as a category of undefined beings who brought afflictions on humans. Alternative names for the akuma is ma (ま). It is often translated to devil in English, or demon. Akuma is the name assigned to Satan in Japanese Christianity, and the Mara in Japanese Buddhism."
"Akuma first appeared in Buddhist texts although it became more popular during the Heian period from 794 to 1186 AD. Later, mainstream usage associated the name with the Christian Satan. It is said that, due to the lack of monotheism, there was no opponent of God so akuma became the equivalent of Satan. An akuma is typically depicted as an entity with a fiery head and eyes, and carrying a sword. The akuma is typically said to be able to fly, and to be a harbinger of ominous and terrible fortune and can bring misfortune to those who happen to see it."
Isn't this interesting as the description states this being as a "fire spirit", having "fiery hair", and carries a sword? This shows clearly who the God of fire is and how He has red flaming hair as the different mythos from the different parts of the world.
