Mystical Reverence for Asura

Religion in Vendhya

Vendhya reveres the mystical religion of Asura, a revealed religion born of enormously complex rituals derived from four great books, the compilations of centuries of religious thought and practice. Worship consists primarily of sacrifices and chanting. Asura is the chief god of Vendhya and the protector of the royal family there and anywhere else they have influence.

Cosmic Order

The people believe in a cosmic order, cause and effect that extend beyond the physical realm. Even as the Vendhyan civilisation was taking shape, the priests taught that if these mysterious and shadowed rituals were performed incorrectly, the cosmic order would be disturbed and catastrophe would follow, for Asura kept a keen eye on how smoothly the world ran. Of course, the priests are the only ones able to perform these clamorous rituals properly, allowing them to rise above even the Kshatriyan rulers, at least in spiritual matters. As a result of this sense of cosmic order and justice, Vendhyans believe in a heaven, a hell and the judgment of souls. The Vendhyans do not believe that time is a steady, linear progression; rather, they believe that time is a cyclical perception. Time is a revolving cycle where everything that has happened before will happen again and nothing will ever happen that has not happened before, and this cycle binds the universe together with Asura. Again, the priests insist their rituals are necessary for the proper functioning of this all-important cycle, for each ritual is a mystical repetition of events crucial to the continuation of the universe.

Some known rituals (called yagnas) include various fire rituals. The Agnihotra is an oblation to Agni, the spirit of fire. Other rituals are sacrificial, such as the Ashvamedha (horse sacrifice) and Purushamedha (human sacrifice). At dusk and dawn most Vendhyans perform the Agnihotra, which is a spiritual ritual healing. The practitioners of Agnihotra purify themselves with water, build or stir a sacred fire, chant sacred songs and recite a prayer to Asura through Agni (the fire).

Art & Religious Expression

Vendhya is a mysterious, philosophical, religious culture, but its mysteries and philosophies and culture are geared around enjoying life. Vendhyan artwork exemplifies this love of life and much of their artwork and written literature is of an erotic nature. The highest art is the dance. Dance in Vendhya is often a spiritual experience, telling of gods, great heroes or even moral lessons. Dancing is an art in which artist and the art he creates are one and the same. As with all of its art, Vendhya’s dance is striking and distinctive, especially the beautiful and complicated codes of handgesturing included in the various dances. For the

Vendhyans, the hand alone can portray emotions of all sorts, as well as gods, humans, nature, action and animals. Each pose, each movement of the body or hand creates an effect or atmosphere that borders on magic, affecting man and nature equally.

The combination of man and nature impacts not just dance, but all of Vendhya’s art.

Paintings, carvings and sculptures feature hallowed, multi-armed gods and goddesses as well as inspiring

mortal heroes. The art is embellished further with dazzling arrays of spirals and curvaceous lines, including vines, tendrils, arches and domes, each detailed in pain-staking exactness. Vendhya’s beauteous art appears very exotic to Hyborians. Vendhyans are not Hyborian and their art is not Hyborian art.

Sorcery & Religion

For the Asuran priests sorcery and religious ritual amount to nearly the same thing. These priests understand sorcery and the best ways in which to fight and foil the activities of sorcerers. They understood the power of Magical Links, and counsel the Vendhyan royal family to destroy shorn hair, nail trimmings and other bodily waste materials. Sorcery and magic are often accompanied by sound and clamour. Mantras (verbal components) are appropriate to all spells cast by a Vendhyan.

Also important is water and pigment. These two common substances play a large part in nearly every Vendhyan ritual. Female Vendhyan scholars use pigment to create abstract designs on floors as part of their spellcasting. These devilishly ancient and magically potent designs are treated as concentrated forms of their wills, desires and hopes. Both male and female sorcerers ritually pour pigment over images of gods or daub it onto the skin of those to receive their aid. Craft (pigment) is a common skill among Vendhyan sorcerers, male and female. The Painter of Dreams and Visions, Patterns of Protection and Patterns of Shelter feats from Conan: The Free Companies would be appropriate for a Vendhyan dabbler. Water is seen as a metaphor for life and rivers of all sizes are venerated as goddesses. The pouring of water also plays a role in many Vendhyan rituals and spells.

Lotus & Soma

Lotus is both a plant and a god to the Vendhyans. It is made into a drink enjoyed by the gods in great quantities and is the substance that made the gods into gods. Mortals may partake of lotus drinks and briefly access the powers of the gods. The pounding of the lotus stalks with stones to make the elixir of the gods is said to send those thusly employed into shamanic ecstasies. The lotus is mixed with milk and honey to make the holy elixir known as soma. The lotus god (called Soma) is usually depicted as a bull or a bird.

Reincarnation

Asura’s doctrines reveal that all beings reincarnate, and that the purpose of life is the paying of the karmic debt against the soul. Each evil act extends the cycle of reincarnation; each good act shortens it. Those who suffer earn their trials in previous lives; they are not to be pitied. There are societal reasons for believing in reincarnation, just as any other religion tends to promote beliefs that justify its own society. In Vendhya, the concept of reincarnation instils a sense of accountability. Everyone knows they will be rewarded for good deeds and punished for bad deeds. This instils a logical reason to treat everyone kindly among the people. Belief in reincarnation also teaches people the value of hard work, for only through hard work can they reach their karmic potential and become better in their next incarnation. The concept of reincarnation also offers an explanation as to why bad things happen to good people – obviously, the bad thing is payback for something a person did in a prior life, so he should just accept it and deal with it and reap good karma out of it later.

Fate

The Vendhyans, with their strong belief in cause and effect, carry that thinking toward an idea of fate, an idea that reinforces the rigid caste system, for each man’s position in life is a direct and unavoidable consequence of fate determined in a prior life, a fate that has now become a duty. The Vendhyans have developed an intricate system of astrology and cosmic laws to help divine both causes and effects, thus determining potential fate. Divination and Cosmic Sorcery are common styles for Vendhyan sorcerers.

Life is an Illusion

The Asuran priests teach that life is illusory and the only final truth comes after death, in the light of the soul. The cult devotes itself to ‘penetrating the veil of illusion of life.’ The illusions of lies can leave a person a prisoner of the world instead of just a visitor.

Sound

Sound is one of the most critical aspects of life to a Vendhyan. Sound is both the source of matter and the key toward freedom from matter. Creation came about when Asura beat upon a drum. There are four stages to sound and only a master who understands all four stages can truly be free. A Vendhyan is trained to understand that sound conveys the idea of an object or concept. Letters are the seeds of existence because speaking the sounds creates existence. Sound indicates the presence of a speaker and is thus evidence of consciousness on some level. Each stage of sound is indicative of a stage of life, a stage of enlightenment. Only a fully realised consciousness can fully hear a sound and fully live life. The more a person refines his consciousness, the better his perception of sound.

The lowest stage of sound is that which is easily perceived by listening. Above that is unexpressed sound, or mental sound. This is the level of thinking. Only those with the most discriminating of intellects can hear this sound from others. A Vendhyan who has the mind-reading spell is a master of this

level of hearing. The next stage gives sound possession of colour and form. Language differences cease to exist because speech and the experience spoken of are linked and heard. A master of this level of sound can understand the basic gist of anything said to him, regardless of language. Some masters claim to be able to understand animals at this stage. They claim to hear through the navel, not through the ears. The highest level of sound is transcendent sound, sound which is beyond physical perception. There is no distinction between object and sound and an object’s sound contains everything about the object. Only the greatest of souls can hear on this level.

Asura and the Vendhyan Gods

Asura is the chief god of the Vendhyans, much as Mitra is the primary god of the Hyborians, but, unlike Mitra, Asura does not rule the heavens alone. He leads an entire pantheon of mysterious gods. As there are a million gods in the Vendhyan pantheon, only a select few are discussed here.

Agni: Agni is the god of fire. Fire is a sacred element among the Vendhyans and is never defiled. Many Vendhyan temples feature ever-burning flames. Agni is a messenger to Asura. Hanuman: Hanuman is also worshipped in Vendhya. His image, wielding a gada, often adorns the doors and windows of Vendhyan temples as a guardian demon. He symbolises strength, cunning, longevity and passion. Katar: Katar is the vile goddess who leads the Katari, Vendhya’s dreaded assassins. Katar judges the souls of the dead and weighs their karmic debt, deciding the form of their next reincarnation. The dreaded Katari are incorruptible assassins but they kill in their own way and in their own time – they do not take orders beyond the acceptance of a commission. They are also suicide warriors and will assassinate their prey even when they have no hope of escape. They do this because Katar promises them paradise if they die during an assassination, which is a holy task. Soma: Soma is the god of lotus and the holy drink of Soma. Yama: Yama is the king of devils. He has six limbs and a beast’s head. He is heavily worshipped in Meru, where the priests teach that if the people ever revolt, Yama will destroy the civilisation. Yizil: Yizil is another of their strange pantheon, but little is known of him.

Requirements of Worship: Pay a tithe worth three sp/level/ month to the local priests of Asura; keep secret about your membership in the cult; carry out duties for the priesthood as required; do not become Corrupt; oppose those who carry out human sacrifice or trafficking with demons. Benefits of Worship: Atonement, Faith, Spells (Counterspells, Divination). Requirements for Ordained Priesthood: Standard, plus as follows: scrupulous honesty is required in all things except in the matter of concealing the existence of the cult from outsiders; you must work for the greater good of the cult and the god in everything you do, and you must avoid becoming personally wealthy. Benefits of Ordained Priesthood: Standard, plus the following: Spot and Sense Motive become class skills (even if the priest gains levels in a non-scholar class); sorcery teaching is available (Counterspells, Divination, Oriental Magic, Prestidigitations, master-words and signs, and summon elemental only). Typical Punishments for Disloyal Priests: Removal of priestly status.

Vendhyan Priests

Higher in spiritual power than the Kshatriyas, but lower in secular strength are the priests, and to them belong the responsibility for religious observances and education. Education is provided by Ashramas (hostels) located deep in the forests of Vendhya. The priestly class prize their intellectual acumen, and they use that intelligence to further their own aims. Vendhyan scholars always maximise their Perform (ritual) skills, often taking Skill Focus (Perform (ritual)) and Performer feats to ensure against error in their performances of these rituals. Sorcerers who learn the Curses sorcery style believe they are part of this sense of justice in the cosmos.

There are several kinds of ordained Vendhyan priests. A Vendhyan priest must be fully ordained before permission to perform rituals is given. The Hotar is the head priest and is charged with presiding over sacrifices. He is also in charge of the Hymns of Asura. The Udgatar priest intones the hymns for the Hotar priest. The Udgatar priests are in charge of the Chants of Asura, which are only chanted at ceremonies using the lotus plant. The Adhvaryu priest carries out the actual sacrifice and is in charge of the Liturgy of Asura. The Atharvan priest performs lotus rituals, fire rituals and sorcery. They are often associated with demonology and are the only priests permitted to learn the Summonings sorcery style. The Atharvans technically rank above the Hotar priests but rarely participate in public rituals.

Atharvans who advance in power usually leave the temples to wander in the Himelians to hear the gods first hand. They are allowed to ‘author’ new chants, rituals and liturgies because they are so close to the gods. They are known as Rishi. They undergo a ceremony freeing them from all mortal allegiances and they leave the temples for the mountains. Some take their followers with them, others renounce their cohorts and followers. Many fall prey to the barbarians, others never return and yet others turn Rakshasa, becoming black masters

of sorcerous covens. These are legendary, earth-shaking characters. When a Rishi returns from the mountains, this is a renowned event, for most Rishi only return to add to the wisdom of the temples, with new ceremonies, meditation techniques, spells and rituals.

For the Vendhyan priests, sorcery and religious ritual amount to nearly the same thing. These priests understand sorcery and the best ways in which to fight and foil the activities of sorcerers. A common first style to learn is Counterspells. Vendhyan sorcerers also understand the power of Magical Links, and counsel the Vendhyan royal family to destroy shorn hair, nail trimmings and other bodily waste materials. Pigments often play a role in rituals, so Craft (pigment) is a common skill among Vendhyan sorcerers, male and female.

Rakhsha: These Vendhyan scholars are experts in Oriental Magic. They are ascetics and mystics who are not part of established temples. They have the acolyte background instead of the lay priest background. They usually combine this expertise with at least some knowledge of martial arts, to complement such spells as warrior trance. They are also skilled hypnotists, capable of defeating most foes without so much as lifting a finger or breaking a sweat. Finally, most learn at least a measure of countermagic, recognising that another sorcerer is a far greater threat than most ordinary humans could ever be.

Most rakhshas wear plain robes and appear unarmed, though they often have concealed weaponry or sorcerous objects under their robes. Rakhshas are usually acolytes of far more powerful groups.

Level Rakhsha

1

2

3

4

5

6

7

8

9

10 Entrance

Calm of the Adept

Darting Serpent

Warrior Trance, Warding

Hypnotic Suggestion

Domination

Savage Beast

Lesser Ill-Fortune

Greater Warding

Mass Hypnotic Suggestion

Vendhyan Temples

Vendhyan temples are massive edifices. The principal shrine always faces the rising sun and the primary entrance faces east. The temples are designed to emulate the idea that a person is moving from the temporal world into an eternal one by walking through the temple chambers. There are a few rules. People may not wear any kind of footwear indoors and feet must never point toward the gods or their emblems. When sitting, feet are to be folded. If sitting, one must never sit so that his back faces the inner sanctum. Women cannot enter the temple during the first four days of their menstrual cycle. It is also not permissible to enter the shrine or touch a deity’s statue without permission from a priest.

Religion in the Mountains

As savages, the Himelian tribesmen probably had shamanistic beliefs, and likely worshipped spirits of the earth and wind, as their entire world is dominated by wind-swept mountains. Grey apes lurk in the hills, so cults of Hanuman may possibly be found, as might other animalistic religions. Hillmen may also have picked up Vendhyan beliefs, worshipping Asura and the Vendhyan pantheon. Unlike most of the peoples of the Hyborian Age, the hillmen of the Himelians do not seem to use their gods’ names as curses. Perhaps this is a barbaric taboo of theirs, or perhaps they have no gods or their gods have no names.

Shamanistic beliefs are the most likely, considering the hillmen’s entire lifestyle is so entirely dominated by the ecology around them. However, the influence of Vendhyan religion has probably created a more complex and elaborate form of shamanism than would be found in Hyrkania. With such irreverent places such as Yimsha and Raktavashi where black magic and diabolism is practiced, shamanism in the Himelians probably centres around the destruction of evil spirits and doing spiritual battles with demons and sorcerers. These battles are grave indeed and the shaman does not enter such a combat unafraid; in a battle with a sorcerer plaguing the tribe either the sorcerer or the shaman dies. Fortunately, the hillmen believe a shaman can be killed three times before ordinary death can take his soul.

Hillmen cosmology is layered, with the earth at the base and the rest of the cosmos held up by the Himelian Mountains. The realm of the dead is gained through underground passages protected by tight passages animated to crush the weak and, of course, demons and monsters. The dead, and any shamans travelling there to do battle, must fight grim battles against cannibals, wild animals, devils and ordeals beyond naming.

Hillmen shamans are highly charismatic figures, and must be. The success or failure of any rite depends totally on the shaman’s ability to maintain the mood and atmosphere necessary for belief in his abilities. His performance must transcend normal reality and bring the tribesmen with him in total belief of the new reality promised and shown by the shaman.