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The remains of the Mithraic Temple at Carrawburgh, Northumberland, England. Allegedly built by soldiers based at nearby Carrawburgh Fort (Brocolita) in about AD 200. The fort is largely unexcavated and is in private ownership, but the temple has been well studied. Discovered during the dry summer of 1949 and completely excavated the following year, the temple is the second-most northerly mithraeum discovered so far (only the temple dedicated to Mithras at Bremenium –CIMRM 876– is further north). Several other mithraea are known to have existed along Hadrian’s Wall, but Carrawburgh’s is the only one that can be seen today.
The name Mithras (Latin, equivalent to Greek "Μίθρας") is a form of Mithra, the name of an old, pre-Zoroastrian, and, later on, Zoroastrian, god — a relationship understood by Mithraic scholars since the days of Franz Cumont. An early example of the Greek form of the name is in a 4th century BCE work by Xenophon, the Cyropaedia, which is a biography of the Persian king Cyrus the Great.
The exact form of a Latin or classical Greek word varies due to the grammatical process of declension. There is archaeological evidence that in Latin worshippers wrote the nominative form of the god's name as "Mithras". However, in Porphyry's Greek text De Abstinentia (Περὶ ἀποχῆς ἐμψύχων), there is a reference to the now-lost histories of the Mithraic mysteries by Euboulus and Pallas, the wording of which suggests that these authors treated the name "Mithra" as an indeclinable foreign word.
Related deity-names in other languages include:
Vedic Sanskrit Mitra, "friend, friendship," as the name of a god praised in the Rigveda. In Sanskrit, mitra is a name of the sun god, mostly known as "Surya" or "Aditya".
The oldest form of the inscription 'mi-it-ra' is found in an inscribed peace treaty between the Hittites and the kingdom of Mitanni, from about 1400 BCE.
Mitanni
An Indo-Iranian empire centred in northern Mesopotamia that flourished from about 1500 to about 1360 BC. At its height the empire extended from Kirkūk (ancient Arrapkha) and the Zagros Mountains in the east through Assyria to the Mediterranean Sea in the west. Its heartland was the Khābūr River region, where Wassukkani, its capital, was probably located.
Mitanni was one of several kingdoms and small states (another being Hurri) founded by the Indo-Iranians in Mesopotamia and Syria. Although originally these Indo-Iranians were probably members of Aryan tribes that later settled in India, they apparently broke off from the main tribes on the way and migrated to Mesopotamia instead. There they settled among the Hurrian peoples and soon became the ruling noble class, called maryannu.
https://www.britannica.com/place/Mitanni
In what is perhaps the oldest treaty between the Hittites and Mitanni (between Suppiluliuma and Shattiwaza, c. 1380 BC), the deities Mitra, Varuna, Indra, and Nasatya (Ashvins) are invoked. Kikkuli's horse training text (circa 1400 BC) includes technical terms such as aika (Vedic Sanskrit eka, one), tera (tri, three), panza (pañca, five), satta (sapta, seven), na (nava, nine), vartana (vartana, round). The numeral aika "one" is of particular importance because it places the superstrate in the vicinity of Indo-Aryan proper (Vedic Sanskrit eka, with regular contraction of /ai/ to [eː]) as opposed to Indo-Iranian or early Iranian (which has *aiva; compare Vedic eva "only") in general.
This treaty is extremely important because it points to something astonishing: the possibility that Vedic Sanskrit did not originate in India. David Anthony in his book, 'The Horse, the Wheel, and Language' states that this shows that the Sanskrit of the Rigvedic Sanskrit actually predates the collection that makes up the Rig Veda in Northwestern India, including the “central religious pantheon and moral beliefs enshrined in the Rig Veda existed equally early”.
Iranian Mithra and Sanskrit Mitra are further believed to come from the Indo-Aryan word mitrás, meaning "contract, agreement, covenant".
Modern historians have different conceptions about whether these names refer to the same god or not. John R. Hinnells has written of Mitra/Mithra/Mithras as a single deity worshipped in several different religions. On the other hand, David Ulansey considers the bull-slaying Mithras to be a new god who began to be worshipped in the 1st century BCE, and to whom an old name was applied.
Mary Boyce, a researcher of ancient Iranian religions, writes that even though Roman Mithraism seems to have had less Iranian content than historians used to think, nonetheless "as the name Mithras alone shows, this content was of some importance".
Transcription of cuneiform Interpretation Vedic equivalent
a-ru-na, ú-ru-wa-na Varuna Varuṇa
mi-it-ra Mitra Mitra
in-tar, in-da-ra Indra Indra
na-ša-ti-ya-an-na Nasatya(-nna) Nāsatya
a-ak-ni-iš Āgnis Agni
Much about the cult of Mithras is only known from reliefs and sculptures. There have been many attempts to interpret this material.
This is a key point worth noting.
Mithras-worship in the Roman Empire was characterized by images of the god slaughtering a bull. Other images of Mithras are found in the Roman temples, for instance Mithras banqueting with Sol, and depictions of the birth of Mithras from a rock. But the image of bull-slaying (tauroctony) is always in the central niche. Textual sources for a reconstruction of the theology behind this iconography are very rare.
The practice of depicting the god slaying a bull seems to be specific to Roman Mithraism. According to David Ulansey, this is "perhaps the most important example" of evident difference between Iranian and Roman traditions: "... there is no evidence that the Iranian god Mithra ever had anything to do with killing a bull."
This is another key point worth noting.
https://en.wikipedia.org/wiki/Mithraism
Mithras slaying the Bull. The most common scene that is found in Mithraeums and on sculptures.
In every mithraeum the centerpiece was a representation of Mithras killing a sacred bull, an act called the tauroctony. The image may be a relief, or free-standing, and side details may be present or omitted. The centre-piece is Mithras clothed in Anatolian costume and wearing a Phrygian cap; who is kneeling on the exhausted bull, holding it by the nostrils with his left hand, and stabbing it with his right. As he does so, he looks over his shoulder towards the figure of Sol. A dog and a snake reach up towards the blood. A scorpion seizes the bull's genitals. A raven is flying around or is sitting on the bull. One or three ears of wheat are seen coming out from the bull's tail, sometimes from the wound. The bull was often white. The god is sitting on the bull in an unnatural way with his right leg constraining the bull's hoof and the left leg is bent and resting on the bull's back or flank. The two torch-bearers are on either side are dressed like Mithras: Cautes with his torch pointing up, and Cautopates with his torch pointing down. Sometimes Cautes and Cautopates carry shepherds' crooks instead of torches.
The event takes place in a cavern, into which Mithras has carried the bull, after having hunted it, ridden it and overwhelmed its strength. Sometimes the cavern is surrounded by a circle, on which the twelve signs of the zodiac appear. Outside the cavern, top left, is Sol the sun, with his flaming crown, often driving a quadriga ( a four - horse chariot). A ray of light often reaches down to touch Mithras. At the top right is Luna, with her crescent moon, who may be depicted driving a biga ( a two - horse chariot).
In some depictions, the central tauroctony is framed by a series of subsidiary scenes to the left, top and right, illustrating events in the Mithras narrative; Mithras being born from the rock, the water miracle, the hunting and riding of the bull, meeting Sol who kneels to him, shaking hands with Sol and sharing a meal of bull-parts with him, and ascending to the heavens in a chariot. In some instances, as is the case in the stucco icon at Santa Prisca Mithraeum in Rome, the god is shown heroically nude. Some of these reliefs were constructed so that they could be turned on an axis. On the back side was another, more elaborate feasting scene. This indicates that the bull killing scene was used in the first part of the celebration, then the relief was turned, and the second scene was used in the second part of the celebration. Besides the main cult icon, a number of mithraea had several secondary tauroctonies, and some small portable versions, probably meant for private devotion, have also been found.
The mainstream narrative conveniently overlooks a key point that was mentoned earlier;
The practice of depicting the god slaying a bull seems to be specific to Roman Mithraism. According to David Ulansey, this is "perhaps the most important example" of evident difference between Iranian and Roman traditions: "... there is no evidence that the Iranian god Mithra ever had anything to do with killing a bull."
Look closely at the sculptures and images. The bull is never killed or 'slain'!
The question you should be asking is "Why not?".
If the bull isn't slain, then the subsequent banquet scenes where the flesh of the bull is eaten cannot take place.
There must be a hidden meaning that has been overlooked; or we are being misdirected by those who wish to hide the truth and keep us ignorant.
Swastika: The Forgotten Constellation Representing the Chariot of Mithras Reza Assasi
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