Worship of Hindu Gods in Ancient Egypt

PART 1
5000 years ago the world was not divided by the territories which we see today. There were no conflicts and distinctions of religion, scriptures, beliefs and cultures. The world was ruled by one king and the capital of the world was Hastinapura, New Dehli. After the great world war of Mahabharata, there was anarchy all over the world. During this unstable period, the throne was being ruled by the King Parikshita. During his rule, Kaliyuga, the age of darkness arrived which influenced the minds of people outside the India as it was not able to work on this land of gods and pilgrims, Bharata. Thus after the rule of Parikshita, the world started being divided into many parts and their veidic culture was modified by the people who were ruled by personality of Kali.
This post is an effort to revive the veidic culture of ancient Egypt and analyze it through the light of Sanatana Dharma. Egypt is the second oldest civilization and the modified version veidic culture which helped in building great miracles. The archeology, philosophy, theology, traditions, monuments and all facts related to Egypt prove the presence of veidic essence within it. Max Muller had also observed that the mythology of Egyptians (and also that of the Greeks and Assyrians) is wholly founded on Vedic traditions. Eusebius, a Greek writer, has also recorded that the early Ethiopians emigrated from the river Indus and first settled in the vicinity of Egypt.  

Worship of Lord Krishna and Radha

As the chief deity of the Egyptian Empire, Amun came to be worshipped inside of Egypt, according to the testimony of ancient Greek historiographers in Libya and Nubia. Amun is often described as the primeval Lord in pyramid texts and accepted as the creator and a symbol for creative force.
In Egypt, Lord Amum is written as ‘Ymn’, which is pronounced as ‘Yamunu’ or ‘Yamun’. Thus it can be easily concluded that, the word is distorted version of Yamuna (A river always associated with Lord Krishna and His abode Goloka or Gokula). Thus the word Amum or Yamun actually means ‘The Lord of Yamuna, Krishna’.
The wife of Amun is Amunet meaning the mother goddess. Amunet came from the chest of Lord Amun. She is the creator of strong women and beautiful girls. Amunet is Egyptial version of Shrimati Radha. As we know, the Supreme Goddess Radha who is wife of Krishna is the energy originated through His chest (Heart). She is the creator of Durga who represent strength and goddess Lakshmi who represent beauty.
It is described, from the sandals of Amun came the water of oceans, lakes, rivers and the seas. As we know, Lord Krishna expands as Lord Vishnu from whom water of the universal ocean came into existence. From the lotus feet of Vishnu came the sacred river Ganga. The supreme deity Amun is often associated with the eagle headed god who is the Egyptian version of Garuda, the mount or vehicle or Vahana of Lord Vishnu.
Amun was always depicted in funerary art and temple inscriptions with a ‘blue skin colour’ and having two feathers in his headdress. As we know, Krishna’s complexion is dark blue and His helmet is always decorated with some peacock feathers.
Therefore, such magnificent similarities cannot be just a coincidence. If anyone visits India and describes Amun, He will be mistaken for the details which amazingly describe Lord Krishna and His form. Undoubtably, The supreme Lord Krishna is Amun, the distorted version in ancient Egyptian civilization.
The philosophical passages in “The Burden of Egypt” say,
“Amon-Re, who hears the prayer, who comes at the cry of the poor and distressed. Beware of him!”
Krishna says, in Bhagvad Geeta, “All of them, As they surrender unto Me, I reward accordingly. Everyone follows My path in all respects, O son of Pritha” 
In Bhagvatam (8.3.32), the poor elephant whose feet was trapped in the mouth of a crocodile, says, “They (my relatives) cannot do anything. It is by the will of providence that I have been attacked by this crocodile, and therefore I shall seek shelter of the Supreme Personality of Godhead Lord Krishna, who is always the shelter of everyone, even of great personalities.”
“Repeat him to son and daughter, to great and small; relate him to generations of generations who have not yet come into being; relate him to fishes in the deep, to birds in heaven; repeat him to him who does not know him and to him who knows him.”
In Bhagvatam (6.2.14) it is said, “One who chants (repeats) the holy name of the Lord is immediately freed from the reactions of unlimited sins, even if he chants indirectly [to indicate something else], jokingly, for musical entertainment, or even neglectfully. This is accepted by all the learned scholars of the scriptures.”
Though it may be that the servant is normal in doing wrong, yet the Lord is normal in being merciful ! As thy Ka endures! thou wilt be merciful!"
As Chaitanya Charitamrita mentions, All glories to Śrī Lord Krishna , who is all-merciful! All glories to Lord Krishna Chaitanya, who is an ocean of mercy!

Lord Jagannatha(Krishna), Subhadra and Baldeva

Subhadra, Jagannatha and Balarama is the tried which is worshiped from thousands of years by the devotees in Udisa(India). They are well known for their merciful nature and they all captured the hearts of millions of people for over 5000 years. How could Egyptians kept themselves away from Their causeless mercy !
Amun (Lord Jagannath)
Lord Jagannatha is Krishna Himself and He is mentioned as Amun as it is already explained.
‘The Description by Balaq Papyrus’ describes,
“He (Amun) is the Lord of the world (Lord Jagannatha), He exists in everything. He is the supreme creator and everything happens because of Him. Therefore, He is protector of devotees.”
These words themselves are copied from Bhagvad-Geeta, as Geeta says,“I am the source of all spiritual and material worlds. Everything emanates from Me. The wise who know this perfectly engage in My devotional service and worship Me with all their hearts.”
Mut (Subhadra) 
 Mut is described as Queen of the Goddesses, Lady of Heaven, Mother of the Gods, and She Who Gives Birth. She is a female deity represents auspiciousness and fortune. Just like Mut, the word ‘Subhadra’ also means something auspicious, splendid or fortunate. She often wears a menat necklace which is a symbol of power and revolution as She is worshipped as the protector from evil spirits. Subhadra also observes the dreadful form of Durga which protects from demonic and evil character. Mut is depicted as having crook and flail (nekhakha) in Her hand which originally represents Trishula and Parashu in the hands of Durga. The texts of Terbique describe Her as the Goddess of war. As we know, Kali (The expansion of Durga) is the Goddess of war who assumes very frightening form to fear the demons.
Khonsu (Balarama) 
 Khonsu is the originator of moon and represents solace and satisfaction. His complexion is white and fair just like the moon. Balarama is also shown as white as the summer cloud. Khonsu is depicted with heka in His hands which represents a plough. He caused women to be conceived, cattle to become fertile, and all nostrils and every throat to be filled with fresh air. He once fought with Anuke who is the Goddess of the river Nile. As we know, Lord Balarama was also engaged in a fight with the river Yamuna and bestowed mercy and boons on her after she was surrendered unto Him.

Celebration of Rath-Yatra
Opet Festival was an Ancient Egyptian festival celebrated annually in Thebes (Luxor), during the New Kingdom and in later periods. The statues of the deities of the triad Amun (Jagannath), Mut (Subhadra) and Khonsu (Balarama) were escorted in a joyous procession, in sight in a sacred barque, from the temple of Amun in Karnak, to the temple of Luxor, a journey of more than 1 mile (2 km). The idols reside in Kornak temple. At Karnak, the idols of the triad are first ceremoniously washed before taking them for a ride and magnificently dressed with colorful linen and precious jewellery and are placed on three sacred barques. After the washing ceremony, the idols are kept away from public vision. The pharaoh(king) then offer his obeisance to each of the barques. Once the idols reach Luxor Temple, the coronation rites of the king are repeated in a sacred ritual, which effectively transfer the power of divine rulership from Amun (Jagnnatha) to the pharaoh. The idols rest in Luxor for six days and subsequently come back to Karnak, in another procession along the river Nile. Although the Opet festival was initially celebrated over only 11 days, later it was extended to nearly 24 to 27 days. 
In Jagannath Rath Yatra, The deities are carried from Puri temple to Gundicha temple in huge chariots called Ratha. In Puri temple, the deities are bathed. This Snana Yatra or Snana Purnima (Bathing Festival) takes place on the full moon day in the month of May - June. On this day, the three deities are bathed in 108 pitchers of water. After this elaborate Snana Yatra festival, the three deities stay away from public view and this is known as 'Anasara'.They do no return to sanctum sanctorum of the temple for 15 days. The deities are decorated with beautiful clothes, jwelleries made from gold and beautified by lustrous stones. New coat of paint increase the glory of their appearance. After the week-long stay in Gundicha temple, the three deities return to Puri temple and the journey is known as Bahuda Yatra. The deities reach the Puri Jagannath Temple in the evening and wait outside for the day. On the next day, the deities are attired in new costumes and this new form of the idols is known as ‘Suna Vesa.’ The following day, the deities move into the sanctum sanctorum of the temple and the Rath Yatra festival comes to an end.
The Ratha Yatra festival has become a common sight in most major cities of the world since 1968 through ISKCON’s Hare Krishna movement. By the glory of Lord Krishna and Shri Chaitanya Mahaprabhu, His Divine Grace A. C. Bhaktivedanta Swami Prabhupad successfully transplanted the festival which now happens on an anual basis in places all over the world in over 108 cities. I humbly offer my kind obeisances utno this great institutional authority and wish that it will work forever.
Amun, Mut and Khonshu worshiped as triad
Veidic Gods in Egyptian Pyramids and Literature
The civilization of Egypt is not yet completely discovered. The scripts and texts available are not fully translated as most of the words in the scripts are unknown. Thus there is mixture of attributes used for deities and their meaning. Single deity is described with many self contradictory narrations.
Lord Shiva 
Atum has similar attributes like shiva. Atum carries a staff surmounted by human head wearing a disc. Shiva always wears garlands of skull around His neck and onto His trident. Just like Atum, He is also a destroyer demigod.  Atum is described as the setting sun of the evening. The setting sun is called Re-tmu. ‘Tmu’ resembles the ‘Tamas’ that is mode of ignorance which is ‘dark and descending’, and is associated with Lord Shiva as Shiva is the god of Tamas. Atum is represented by a bull. Shiva’s mount is a bull. It is described that, Atum originated from chaos. As we know, Shiva was born out of the anger of Lord Brahma. Atum is associated with Rebel bands and Shiva with Bhuta-Ganas.
Lord Brahma
Brahma is mentioned in ancient Egypt as god ‘Ptah’ transliterated from the Sanskrit word ‘Pitah’ meaning father. Brahma is described as ‘Pitamah’(forefather) and ‘Pitah’(father) of the universe. Ptah (according to some historians, Horos) is often depicted on the lotus flower. Brahma is also always shown on the lotus flower. He creates the universe and the beings within. He is the secondary creator and the highest within material universe. Ptah holds a scepter or staff that bears the combined ‘ankh-djed-was’ symbols. This symbolical structure is shown by four horizontal lines which represent four heads of Brahma. Ptah is the Lord of truth, master of justice and knowledge. The Vedas, source of all knowledge originated from Brahma. Ptah is depicted with long beard just like Brahma who is also depicted with beard to indicate his wisdom and knowledge. Egyptian god Ptah is always thinking while sitting on the lotus, he is shown in most of the sculptures as if he is thinking or meditating. When Brahma was born in the lotus, first he thought about his origin and he is always meditating.
Nefertem rose from the Lotus flower on the primodial waters through the nostril of Ra. Brahma rose from the Lotus flower through the navel of Vishnu on the primodial waters.
Pth is always thinking. When Brahma was born in the lotus, 
first he thought about his origin and he is always meditating.
Goddess Saraswati
Seshat was the ancient Egyptian idea of knowledge and speech personified as a goddess. She became the goddess of writing, music, astronomy, astrology, architecture, mathematics, art and imagination. Rarely, she is described with a divine Harp singing in such a melodious voice by which the god of earth also melts and underground water is created. Thus Seshat is equivalent to Goddess Saraswati who is Goddess of knowledge, speech, music and art. She is always depicted with Vina-vadya of which harp is modified version. Saraswati as well as seshat both are always depicted in white clothes which represent peace, purity, satisfaction and spiritual wisdom.
Lord Vivaswan (The Sun God)
Worship of the Sun in Egypt and Sanatana Dharma.
In Egyptian mythology, Ra was the god of the sun. He was also called Re and by various other names. He was the most important god in Ancient Egypt. Ra’s name came from Re and Amen. Amen is pronounced as ‘Aumen’ which originated from the sacred syllable ‘Aum’. Vivaswan, the sun god is always related to the vibration of ‘Aum’. Surya or the sun god is representation of the Supreme Lord Vishnu and often depicted as the eyes or sigh of Vishnu’s universal form. Ra is also connected with the sacred eye in Egyptian myths.
Lord Ardhanarishvara
Ardhanarishvar is the form assumed by Shiva in which He is half a man and His wife Shakti is half a woman. This form indicates how female is part of a man and a man is incomplete without feminine aspect. Wedj-wer is the god who is shown being part male and part female. He is also shown as a pregnant woman creating the world within him. He is connected to rivers and lakes. As we know, Shiva is always connected to the sacred river Ganges. Wedj-Wer holds an ankh as a masculine feature and loaf as a feminine.
Garuda
Garuda is younger brother of Aruna. Garuda associated with Garuda Purana, book that deals with soul after death. Horus is associated with Egyptian book of the dead. Just like Horus, Garuda often acts as a messenger between the gods and men and is called the ranger of the skies. Anzu steals the tablets of destiny. Anzu is the servant of chief sky god Enlil. Ninruta chases Anzu with his thunderbolts. Garuda steals the elixir of immortality. Garuda is the servant of chief god Vishnu. Indra chases Garuda with his thunderbolts.
Daksha
Khnum is referred to as father of the fathers and fathered many gods and goddesses. Daksha was one of the sons of Brahma and a main prajapati from whose line Devas and Asuras come from. Many goddesses like Aditi, Diti, Danu, Sati etc came from Daksha. Daksha was known as the bright one. Both of them are depicted with the head of a goat like creature. Daksha is believed to have started sexual reproduction. Heqet, wife of Khnum is associated with childbirth. Prasuti Tantra, the book of obstetrics is named after Prasuti, the wife of Daksha.
Matsyadev
Matsya, incarnation of Lord Vishnu is mentioned as Hatmehit, or Hatmehyt in Egyptian mythology. The name literally means Protector-chief of fish. Hatmehit is always related with Mehet-Weret, meaning great flood. When the world was consumed by the oceanic water, Lord Vishnu appeared in the form of a fish and saved the species of animals, plants and humans. Hatmehit is depicted with a horn on His head and a snake tied to it. As we know, Matsya was a large golden fish with a horn to which a huge boat was tied by the king of serpents, Vasuki.
Lord Narsihma
Narsihma is mentioned in Egyptian literature as Sakhet, the God of lions, war and fire. Sekhet is often described with angry attitude in pyramid texts. Egyptians used to fear Sakhet and also saw Him as the very merciful God. It is described in “Book of the Last Day of the Year” that Sakhet used power destructively to protect and to create. Narsihma also incarnated to protect His devotee Prahlada and killed the demon king named Hiranyakashyapu. He is always shown in frightening and angry form.
Hanuman

Babi, also Baba, in ancient Egypt, was the monkey god literally means the chief of the monkeys or baboons. He fought with the sun god Ra. He stands near the lake of fire representing destruction. It is also mentioned in ‘The gods of the Egyptians: or, Studies in Egyptian mythology, Vol II’ Babi dances when he hears the auspicious music and bestows His mercy. Hanuman considering the sun as a ripened fruit, flue to eat it thus had fight with the sun God. He is the partial incarnation of Lord Shiva who is the God of destruction. He chants the name of God in very auspicious sound and dances joyfully.
Makara
Makara appears as the vahana (vehicle) of the river goddess Ganga and of the sea god Varuna. Makara are considered guardians of gateways and thresholds, protecting throne rooms as well as entryways to temples; it is the most commonly recurring creature in Hindu and Buddhist temple iconography, and also frequently appears as a Gargoyle or as a spout attached to a natural spring. Makara ornaments are a popular traditional wedding gift for the bride; these makara-shaped earrings called Makarakundalas are sometimes worn by the Hindu gods,
Sobek and from Latinh Suchus, was an ancient Egyptian deity with complex and fluid nature associated with the Nile crocodile and is either represented in its crocodile form or in the form of the crocodile. It has powers of firtility powers and militery powers. Makara is generally depicted as half terrestrial animal (crocodile) in the frontal part  and half aquatic animal in the hind part, usually a fish or a human legs modified as fins.
Worship of Snakes (Nagas)
Ancient Egypians worshiped snakes and believed that they are sacred and holy. They are often shown on the head of the gods. Snakes are offered food and flowers with great respect. Egyptian also used to offer sacrifices to the snakes because of fear and desire of their mercy.
 Apis was the patron god of Upper Egypt, and was represented as a cobra with spread hood, or a cobra-headed man. He later became one of the protective deity of Egypt. Attributes and glorifications dedicated to him resembles with the serpent God Vasuki.
 The Book of The Dead also mentions Widjeset, the god of snakes being worshipped by Egyptian women, old and children for strength and potency. Winged snakes are depicted in Egyptian art and are found frequently in religious texts painted in the royal tombs in the Valley of the Kings. Wadjet was depicted as a winged snake. The Greek author Herodotus claimed to have seen skeletons of flying snakes when he visited Egypt.
 As early as the reign of Ramesses II, Apophis, the reat snake became the subject of a ritual, recorded in several magic books. During religious processions and lunar feasts, images of Apophis were fashioned from papyrus and wax and then subjected to various worships, representing the triumph of Re and Ma'at over the chaos symbolized. Deities associated with poisonous snakes were sometimes even considered beneficial.
The goddess Renenutet often appeared in the form of a hooded cobra. Her name is derived from an Egyptian word meaning, "to nurse," and she was closely associated with the fertility of fields, and consequently was considered the goddess of the granary.
Worship of Yakshas
Yaksha is the name of a broad class of nature-spirits, usually benevolent, who are caretakers of the natural treasures hidden in the earth and tree roots. In Indian art, male yakṣas are portrayed either as fearsome warriors or as portly, stout and dwarf-like. Female yakṣas, known as yakṣiṇīs, are portrayed as beautiful young women with happy round faces and full breasts and hips. Yakshas are mundane beings often live away from human civilizations in the forests, dry lakes and wells. They are considered as mundane beings as they strive for material enjoyment. Kubera is one of the famous yaksha who is the richest personality in the heaven within this material universe.
In Egyptian Mythology, Bes is an Ancient Egyptian dwarf deity worshipped as a protector of households, and in particular, of mothers and children and childbirth. Yakshas are also worshiped for wealth and protection.
Bhumi Puja (Worship before construction)

Hindus make offerings to Earth Goddess and other Gods before commencing any building work. We follow this custom until this day. Muslim invaders who invaded India knew that Hindu temples had such foundation deposits of most expensive gems and gold in the world and plundered the Hindu temples after demolishing them. The best known example is the 17 time invasion of Mohmed of Gazni against Somanathpur Shiva Temple in Gujarat. As the worship of land was done before building the pyramids, they should be build by Aryans. A few symbolic objects including certain sacrifices (so called foundation deposits) were usually laid in a hole in the foundation. These objects are rediscovered and identified as foundation deposits, which include the powdered gold, vessels and deities of clay and ceramic, flowers of clay and ornaments of silver.
What do Egyptians say ?
The Egyptians came, according to their own records, from a mysterious land...on the shore of the Indian Ocean, the sacred Punt; the original home of their gods..who followed thence after their people who had abandoned them to the valley of the Nile, led by Amun (Krishna), Horus (Garuda) and Hathor(Lakshmi). This region was the Egyptian 'Land of the Gods,' Pa-Nuter, in old Egyptian, or Holyland, and now proved beyond any doubt to have been quite a different place from the Holyland of Sinai. By the pictorial hieroglyphic inscription found on the walls of the temple of the Queen Haslitop at Der-el-babri, we see that this Punt can be no other than India. For many ages the Egyptians traded with their old homes, and the reference here made by them to the names of the Princes of Punt and its fauna and flora, especially the nonmenclature of various precious woods to be found but in India, leave us scarcely room for the smallest doubt that the old civilization of Egypt is the direct outcome of that the older (ancient) India."
(source: Theosophist for March 1881 p. 123).

Note from Auther's Desk 
To maintain sutaible size of the blog, the article is divided into two parts. Next part will be published as soon as possible. It deals with many other interesting facts like the Egyptian concept of soul and rebirth, The cosmic egg (Brahmanda), Connection with King Dashratha, Indian Geometry used to build the Pyramids and much more. Please be connected and know more, preach more to be more.

Japan : The Phoenix Of Bharata

Almost 80 percent of Japan’s population practices Shintoism and Japan’s official Hindu population is negligible, But still there are many indications enough to conclude that the Japanese culture is product of Veidic culture. Around 5000 years Veidic culture was expanded all over the world and the world was ruled by the king of Hastinapura or new Dehli. The veidic culture is the root and basis of all the philosophies which analyse the origin of existence. It is the highest known authority and scientific theology to understand life and forms of conciousness. There was one flag of Bharata, only one culture of Bharata, one nation called Bharata, one throne of Bharata and one scripture of Bharata.
In some places the remnants of Vedic culture are more powerful. Their presence is felt more directly. But in other places the remnants are faint and more difficult to perceive.
Just like the Sun worshipers of Japan. Previously it was part of a huge land mass in the pacific, but by the movement of the land and the sea it has become a tiny island. In the ancient land of Japan, they were worshipers of the Sun god Vivaswan. After every Yuga there is a change of land and sea. There is one chapter on this in the Pratisarga Parva of the Bhavishya Purana which speaks about how the land and sea change by the influence of time. This is how the flood of Noah described in the bible occurred. It was taken as a big dissolution, as a pralaya, but it was just the change of yugas. 

THE DETIES
Lord Vishnu – Vishnu is considered as supreme in Vedas and all veidic texts. In Japan, Vishnu appears in various versions. The name Vishnu is transliterated as Bichnuten (Vishnu = Bichnu = Bichnuten). Vishnu has many different names in Japnease known as Narasha (Narayana 那羅延天) and Narcshahmsa (Narsihma 婆藪天). Lord Krishna who is Vishnu, indeed the origin of Vishnu, stays in the supreme abode Golok Dham or Gokula which is transliterated as The divine court Gaikongobuin.

Lord Garuda - Vishnu’s carrier who is an eagle headed deity known as Garuda which is transliterated into japnease pantheon as Karura. He is the great devotee thus the mount or Vahana of Lord Vishnu. Scriptures like Garuda-purana and Garud-upanishad are dedicated to him.

Goddess Lakshmi - Eternal consort of Lord Vishnu or Bichnuten, Lakshmi who is also known as Katyayani is transliterated as Kutukuden. She is the expansion of supreme energy of bliss called Shrimati Radharni and thus serves Radha with great devotion and love by accompanying Her in various pastimes.
Lord Brahma - Brahma Brahma appears in Japnease tradition as Bontea (Brahma=Bonma=Bontea).
While Brahma is often credited as the creator of the universe and various beings in it, several Puranas describe him being born from a lotus emerging from the navel of the god Vishnu. He is the first Acharya of Brahma-Madhva-Sampradaya who had the great knowledge of Vedas from Krishna Himself. The sampradaya which origanated from him is the most authentic platform among four other to acquire knowledge.

Lord Shiva - Shiva is the greatest devotee of Lord Krishna. He well known to the Japanese culture as Daikoku (literally god of darkness), which is a Chinese and Japanese equivalent of the Indian Mahakala, another name of Shiva. Mahesvara. Also transliterated in Japan as Makeishura 摩醯首羅. Lord of Cosmic Destruction. In Japan, Siva comes in various forms, including Daikokuten 大黒天Daijizaiten 大自在天 and Ishanaten 伊舎那天.   Daikokuten as Mahākāla is the patron god of farmers and peasants. He is identified with the Shinto figure Okuninushi no Mikoto. In western Japan, Daikoku is identified with the protection of the ricefields and worshiped as the god of agriculture. On his chest he has a golden sun disk and in his hand he holds a magic mallet (with male and female symbols) which fulfils all wishes.

Makara - At the Kotohira shrine on the island of Shikoku, sailors worship a god called Kompera, which is a corruption of the Sanskrit word for crocodile, Kumbhira. During the Vedic times when Indra was the God of heaven, Varuna (the Vedic water god) became the God of the seas and rode on makara, which was called "the water monster vehicle". Makara has been depicted typically as half mammal and half fish
Goddess Chaya -Chhaya means shadow or shade. She is known asAmaterasu-Ō-Mi-Kami (天照大神 or 天照大御神) in Japan. Chhaya is also personified as the goddess of shadow, the consort of Surya, the sun god. She is also known as Vivaswaswanini. She is the shadow-image or reflection of Saranyu , the first wife of Surya. Chhaya was born from the shadow of Sanjna and replaced Sanjna in her house, after the latter abandoned her husband.

Lord Yama - The Indian Yama, the god of death, is the most dreaded god of Japan, under the name of Emma-o, the king of hell. He is one of the twelve mahajanas, the great devotees of Krishna. He is son of the Sun God and Sharayu, brother of Yami and Lord Shani.

Goddess Saraswati - The Indian goddess of knowledge, speech, art and music, Sarasvati, has become Benten (literally goddess of speech), with many shrines dedicated to her along sea coasts and beside lakes and ponds. She is always connected with Vedas and manifested as river Saraswati.

Lord Ganesha - Ganesha is the demigod with elephant head well known as a destroyer of evil. He gains power to destroy the darkness in the three worlds by placing Lord Krishna’s lotus feet of his head. He is son of shiva and the leader of his army.                      

Vishvakarma - The divine architect mentioned in the Rig Veda, Vishvakarma, who designed and constructed the world, was regarded in ancient Japan as the god of carpenters, Bishukatsuma. He is the engineer of the demigods.

Lord Varuna - The Indian sea god Varuna, is worshiped in Tokyo as Sui-ten. Sui-ten is literally water-deva having the shimmering quality and the lightness of features.

Lord Indra –  Indra is also known as Taishaku, the guardian of East. Taishakuten is the leader of the gods. He is the great demigod and worshiper of the supreme Lord Krishna. He is also a demigod incharge for rain and thunder.


Lord Agni – Ka or SE. Agni is the God incharge of fire and one who partakes the fire sacrifices offered to the supreme. He is known as connecting bridge between the supreme Lord and Brahmins who organize the sacrificial ceremonies. He is also known as Yadgyadevata, One who represents Lord Krishna in Yadgya-bhumi.

Lord Vayu – Known as Fu. He is the demigod incharge of wind. Vayu incarnated as Hanumana, Bhima and in this age of Kali-yuga, He appeared as Shrila Madhvacharya to establish the authority of vedas and Shri Brahma Sampradaya which is the highest authority in Hinduism.

 Lord Kartikeya –He was known as Hachiman in ancient Japan. Karthikeya is the indigenous god of war. He is the Commander-in-Chief of the army of the devas. He is also the primary deity of the Kaumaram sect of Hinduism.
Goddess Kali – Kali is an expansion of Durga who originated from Shrimati Radharani. She takes such a dreadful form to fear the demons. She serves Radha to gain Her mercy and strength. She is feminine character of devine. She is known as Izanami (伊弉冉 or 伊邪那美) in japan.

Navagrahas - Navagrahas are nine controlling diteis of nine planets worshiped to receive their auspicious vision. They are related to astrology and twelve astrological symbols.

Twelve Adityas -The twelve adityas are Varuna, Mitra, Aryama, Bhaga, Amshuman, Dhata, Indra, Parjanya (Savitr), Tvashtha, Vishnu (The head of all the Adityas), Pushya, Vivasvan.
Bhudevi - She is the earth Goddess. She is known as Ame-no-Uzum (天宇受売命 or 天鈿女命) in Japan. 

Hanuman - He is a great devotee of Lord Rama who is an incarnation (Avtara) of Vishnu, the expansion of Lord Krishna. He always chants the name of God and dances with great devotion. He is known as SANNŌ (SANNO, SANNOU) GONGEN  山王 権現  さんおう  ごんげん (monkey king) in Japan. 



THE CONCEPT OF KARMIC REBIRTH-
The Aryans also brought with them a belief in "transmigration" - more commonly known in the West as reincarnation. You will die and reborn with different body. Your rebirth into the next life will be based on your behavior in the past life (your Karma). Transmigration is believed by all ancient civilizations originated from Sanatana Dharma.
When Buddhism emerged many centuries later, it too stressed it's belief in transmigration, one that still plays a major role in modern Buddhist philosophy - known as the Six Realms of Existence. Buddhism was carried to many parts after it was thrown away from India. Buddhists accepted the traditions and beliefs of respective places to preach their philosophy, it took many concepts from Hinduism as well.
Bhagvad Gita and Pre-Historic texts of India say, We change our body just like clothes and reborn again and again. Similar verses are seen in the ancient Shinto scriptures of Japan like The Kojiki and The Nihongi. Some traditional stories, phrases also reveal the belief of ancient Japan in reincarnation which was introduced to them by Aryans, the noble beings.

Water lilies which are used as symbol for rebirth in japanese culture

THE MANDALA
The Taizōkai Mandala (Womb World) is associated with ultimate principle (ri ) and the Kongōkai Mandala (Diamond World) with mind or intelligence (chi ). Even today, in many Japanese Shingon and Tendai temples, two large mandalas are typically mounted on wooden screens at right angles to the axis of the image platform. The mandala on the east side is the Kongōkai Mandala, and the mandala on the west side is the Taizōkai Mandala. The Kongōkai Mandala represents the cosmic or transcendental Buddha (aka Dainichi Nyora and complete wisdom), while the Taizōkai mandala represents the world of physical phenomenon and ultimate principle.  The Sai-in Mandalas of Toji Temple are based on the mandala iconography brought back by Enchin, and they differ slightly from the Genzu iconography. Mandalas considered to be from the Tendai lineage, such as the Shitennoji Mandala and the Taisanji Mandala, are clearly from a non-Genzu lineage.

THE VARNASHRAMA
Caste system of Vedas is known as Varnashrama Dharma. It consisted of the Brahmins (priests, scholars and teachers) at top, followed by Kshatriyas (royalty and warriors), Vaisyas (farmers and commoners) and Sudra (lower classes, including artisans). Another separate class, the “untouchables,” consisted of people who were shunned by society because of their nature, behavior and occupation. They dont follow any regulations and do all sorts of sinful actions. They are called Anaryas. This is not actually a fifth class as they are not the part of society. 
The caste systems which were introduced much later, gave kings the highest position, in but both Japanese and Indian social structures, the warriors and rulers were one and the same. They belong to Kshtriya class. Both systems had four primary categories of people, and these categories determined the sort of work that people did and their behavior and nature. Both the Indian caste system and Japanese feudal social structure had unclean people who were below the lowest rung on the social ladder. Class of social outcasts was the hinin (Transliterated from the Sanskrit word ‘hin’ meaning Lower), which included convicted criminals, regular killers and murderers. Japanese samurai and Indian brahmins were both considered to be well above. In other words, Both the Indian caste system and Japan's four-tiered social structure, served the same purpose: They maintained the social balance and the desired peace.

THE SWASTIK SYMBOL
The Kyōji (Skt. = Svastikah) became one of the most frequently used symbols in early Buddhism. Unfortunately, many centuries later it was misappropriated by Nazi Germany and called the Swastika.The German term Swastika comes from the Sanskrit word Svastikah, the latter meaning “to be fortunate.” The word stem SVASTI can be divided into SU (SV), meaning “good or well,” and ASTI (ASTIKAH), meaning “is” or “being.” In modern India, the word means “auspicious.” 
 In Japan it represents the “possession of all virtues” and is used as a symbol of early Buddhist faith which was stolen by Buddhists from Indian doctrines. This marking, when duplicated, turning one clockwise and the other counterclockwise, combines to form the Japanese character for FIELD , which symbolizes the “robe of the formless field of merit” - a robe that is still sewn and worn by Japanese clergy even today.

ANCIENT LINGAM WORSHIP
Observers have remarked upon the uncanny similarities between the Lingam mythical elements between Indian and Japanese myths, self-identification as ‘children of the sun’ or descent from sun-god, similarities in the cairn and stone circle pillars, tumuli-pyramidal architecture, shrine-gate iconography, and more.

The Lingam is kept in the museum Tagata near Nagoya in Japan which is an appropriate existing proof which speaks about hidden history of Japan. Japanese used to worship Lingam which symbolically represents Shiva, the greatest devotee of Krishna. Lingam is the symbol represents the Brahmanda that is the universe. Thus, it speaks about the devotion for Lord Krishna which is present in the universe. 

THE SEED SYLLABLES OR BIJA-AKSHARA 
Sanskrit seed syllables are easy to spot in Japan. They are found on Japanese Buddhist amulets, gravestones, religious statuary, mandala artwork, and other objects, both old and new. In Japan, the generic term for "Sanskrit" is Bonji (梵字) or Bongo (梵語). The Japanese word for Seed Syllable is Shuji 種字 (Sanskrit = Bijaksara). In Japan, Sanskrit seed syllables are written in a script called Shittan 悉曇 (Sanskrit = Siddham). Japanese deities are typically assigned a special seed syllable, one that is often inscribed somewhere on the statue or halo. Deities are also assigned mantras (Jp. = Shingon 真言) that contain these seed syllables -- the mantra is considered Japanese by as magical incantation, a secret prayer, a special chant used to invoke the essence of the deity. Furthermore, Japan's esoteric sects also employ a mandala called the Seed-Syllable Mandala (Shuji Mandara 種字曼荼羅), in which the deities are symbolized by their individual seed syllables. A special version of this mandala, known as the Shiki Mandara (Shiki Mandara 敷曼荼羅) is used in initiation rites among esoteric sects. The initiand casts a flower onto the spread-out mandala, and the seed syllable on which it falls then becomes the patron deity of the intiand.
                                                       
Kukai 空海 and Sanskrit in Japan
The Sanskrit lore has been kept in Japan for nearly 1,400 years in the colleges attached to the great Buddhist temples. It was Kukai, posthumously called St. Kobo (774-835), who started the study of Sanskrit letters for knowing the origin of Japanese, known as Shittan, a Japanese equivalent of the Sanskrit word siddham, with which ancient Indian inscriptions and works often begin. Some Sanskrit texts in the Chinese script have also been brought to Japan. In some Japanese temples, very ancient manuscripts in Sanskrit are preserved intact. They must have been brought from India or Central Asia to China, and thence to Japan. Thus, it can be easily concluded that Sanskrit is the original language of Japan.
Over time, Sanskrit syllabary was modified to better fit the Japanese lexicon. Since the time of Kukai and Jōgon 浄厳 , the Japanese-Sanskrit syllabary has traditionally consisted of 50 phonetic sounds (五十字門). A chart of the 50 is shown below.

The structure of Temples
The domes of Japanese temples are triangular just like Hindu temples. The technique which is used to build the both types is similar. Huge bells are kept which are ring by the devotees to emit the unique auspicious sound waves. These waves directly influence our chakras, the energy points in our body. The temples in Japan are often decorated with flowers and Svastik symbols. The fire sacrifices are organized and attended by many devotees. The purity of the place is maintained strictly. 

THE FIRE SACRIFICES
Homa is a Sanskrit word that refers to a ritual, wherein an oblation or any religious offering is made into fire. A Homa is sometimes called a "sacrifice ritual". Homa, Vedic fire rite, remains central to religion in Japan. It consists of mantra, mudrā  , and mandala. In the Vedic fire-ritual manuals, some instructions regarding mudrā are given. For example, the ladles are to be held in the śa¡kha-mudrā, and when the priest enters the chamber, he is to put his right palm downward on his left palm at right angles and close the hands. The fire-ritual is the quintessential Vedic ritual, emphasizing the 2 process of transformation.  The artistic parallels of this ritual is presented most clearly by Kapila Vatsyayan.

THE ABHISHEKA
Another Vedic rite that is widely practiced is abhi¬eka (consecration). The initiates are given a potion to drink before they enter the room. Inside, the initiate places the right foot on an elephant, which represents Gaªeśa or Vināyaka, (Kangitan in Japanese) as he is the remover of obstacles. Next, the initiates rub powdered incense on their hands, and dab it on their foreheads and also on their tongues, and then swallow the potion.
The devas are called tenbu (or merely ten, when used as a suffix after the deva name). There are a large number of devas, depending on how you count them. One may consider them as capacities of the mind, as attributes, or as projections in space and time.
Yaksha, Gandharvas, Asuras and Kinnaras
Ashura (Skt: Asura)- Demons, enemies of the devas and Indra, with whom they are forever at war. They are the aspects of our nature that take the body to be the sole self. They thrive on ambition, anger and jealousy. They represent our personal demons. The representation below from Kofuku-ji temple, Nara (8th century), with three heads and six arms, is made of lacquer. The Asura here is seen as defender of Dharma.

Kinnara (Skt: Kinnara)-  They have the heads of men and bodies of birds or horses. They are also musicians like the Gandharvas.The inhabitants of the Kinnara planet have the same features as Garuda. Their bodily features are like those of a human being, but they have wings.

The Twelve Yakshas (Juni-shinsho)- The Yakshas are the warriors in the service of the guardian of wealth, the deva Kubera, and they are also the guardians of treasury and gardens.Yaksha, , in the mythology of India, a class of generally benevolent but sometimes mischievous, capricious, sexually rapacious, or even murderous nature spirits who are the custodians of treasures that are hidden in the earth and in the roots of trees. They are powerful magicians and shape-shifters. Principal among the yakshas is Kubera, who rules in the mythical Himalayan kingdom called Alaka.
Yakshas were often given homage as tutelary deities of a city, district, lake, or well. Their worship, together with popular belief in naga (serpent deities), feminine fertility deities, and mother goddesses, may have had its origin among the early indigenous peoples of India. Yaksha worship coexisted with the priest-conducted sacrifices of the Vedic period.

Japanese name
Sanskrit
Symbols
Bikyara Taisho
Vikarāla
red; armed with a three-
pointed vajra; boar
Shotora Taisho
Catura
blue; armed with mallet or
sword; dog
Shindara Taisho
Sindūra
yellow; armed with rope or
fly-whisk, pilgrim's staff rooster
Makora Taisho or Makura
Mahoraga
white; axe; monkey
Haira Taisho
Pajra
red; armed with mallet, a
bow or arrow; sheep
Indara Taisho
Indra
red; armed with staff; horse
Sanchira Taisho
Śāªdilya
gray; armed with sword or
conch shell; snake
Anira Taisho
Anila
red; armed with trident or
arrow; dragon
Anchira
Andira
green; armed with mallet or
fly-whisk; rabbit
Mekira
Mihira
yellow; armed with vajra;
tiger
Basara Taisho
or Bajira
Vajra
white; armed with sword;
ox; the one who protects mankind, bringing people's aspirations to fruition
Kubira Taisho
Kumbhira
yellow; armed with vajra;
rat


                                                                  INFLUENCE ON ART
Some of the textiles remaining in the Horyuji monastery and the Shosoin treasury at Nara have Persian designs, showing the influence of that country on Japan during the 7th and 8th centuries. A unique example of the Indian Gupta style of painting will be seen in the fresco painting of the Golden Hall of the Horyuji temple. This can evidently be traced to the same original source as the wall paintings of the cave temples of Ajanta in India. The most primitive paintings in Japan are found on the walls of chambers of burial molds built in Kyushu in the prehistoric period. They consist mainly of totemic symbols and geometric patterns in red, green, white and yellow.

GAMES 
The popular Japanese game of sunoroku or sugoroku (backgammon) played at the royal of the Nara rulers and still popular in Japan is of Indian origin. In Japan the game is played as nard. Nard is generally regarded as an Iranian game, but the ninth century Arab scholar, Al Yaqubi, considered nard an Indian invention used to illustrate man's dependence on chance and destiny. According to Wei-Shu, sugoroku was brought to China in ancient times from Hu country, which at that time meant a country somewhere in the vicinity of India. Again, as Karl Himly has pointed out, the Hun Tsun, Sii, written during the Sung period (960-1279), states that t'shu-pu, another Chinese name for sugoroku, was invented in western India, that it was known in its original form as chatus-pada, and that it reached China during the Wei period (220-265).

TRADES AND COMERCE
There can be little dispute that trade was the main motivation for these early contacts. This is supported by finds of beads and pottery, in addition to specific references in historical texts. By the early centuries of the Christian era, Sino-Indian trade appears to have assumed considerable proportions. According to the work of medieval times, Yukti Kalpataru, which gives a fund of information about shipbuilding, India built large vessels from 200 B.C. to the close of the sixteenth century and used to be sold in Japan. The cultivation of cotton in Japan is traced to an Indian who had drifted to the shore of Aichi Prefecture in 799. To commemorate the event, the Japanese named the village where the shipwrecked Indian had landed Tenjiku; Tenjiku was the Japanese name for India, and means Heaven.

DANCE
According to Terence Duke, "The Gagaku dances of Japan contain many movements derived from the Indian Nata and the Chinese Chuan Fa."
(source: The Boddhisattva Warriors: The Origin, Inner Philosophy, History and Symbolism of the Buddhist Martial Art Within India and China, p. 206)
Gagaku (雅楽 gagaku, ancient imperial court music and dances, lit. "elegant music") is a type of Japanese classical music that has been performed at the Imperial Court in Kyoto for several centuries. This kind of music was first imported into Japan from India, however artistically it differs from the music of the corresponding Indian form Kathakali which is a term reserved for ceremonial music.