Vayu appears in Avestan hymns and later Middle Persian writings. Separate readings clarify petitions, death imagery, calendar associations and comparisons with Oesho.

Fragmented terracotta panel painted with a three-headed deity holding a trident, traces of multiple arms and faded red and pale clothing against grey
Shiva/Oesho panel from Bactria, Kushan period, approximately third century CE; Metropolitan Museum of Art, 2000.42.4, gift of Isao Kurita. A comparative image of Oesho, not an illustration from the Ram Yasht or evidence of Kurdish worship. Open-access image, CC0. [4] [5] Metropolitan Museum of Art · Gift of Isao Kurita, 2000 · Wikimedia Commons · CC0.

Vayu and Vata are related names, with differences

Malandra distinguishes Vayu, a divine proper name, from Vata, used for a deity and natural wind; Middle Persian also associates Vayu with atmosphere. [1] Identifying the named power in each passage helps preserve the differences between related terms.

What happens in the Ram Yasht

Yasht 15, conventionally called the Ram Yasht, presents a sequence of requests to Vayu. In James Darmesteter’s translation, Ahura Mazda asks for power against Angra Mainyu’s creation; the request is granted (15.2–5). Azhi Dahaka’s request to empty the world of people is refused (15.19–21). Hutaosa asks to be welcomed in Vishtaspa’s household, while maidens seek good husbands (15.35–41). The worship formula specifies the aspect belonging to the Good Spirit. [2] These passages show requests concerning protection and household life as well as combat. They do not describe a god randomly changing allegiance with each gust.

Death and the later distinction between two Ways

Pahlavi books distinguish Good Way and Bad Way. [1] Bundahishn 28.35, in Edward William West’s translation, identifies Astwihad with an evil Vay who takes life, using images of lethargy, fever and death. [3] This is a religious representation in a Middle Persian text. Its vocabulary and setting matter: combining every later detail with each Avestan passage produces a misleadingly uniform portrait.

The calendar needs precise names

In Malandra’s account, Vayu is invoked with Raman on day 21 in the Sih Rozag; day 22 belongs to Vata. [1] The hymn’s conventional title and the litany’s arrangement therefore require explanation. Distinguishing the named powers is more informative than assigning every wind reference the same calendar day.

Oesho and the comparative image

Malandra connects Oesho on Kushan coins with Vayu while noting Shiva-like imagery. [1] The Met identifies the pictured Bactrian panel as Shiva/Oesho, approximately third century CE. Its account highlights Indian divine imagery, Iranian composition and Greco-Roman modelling. [4] The object illustrates religious interaction in Central Asia. Its museum identification should remain visible when comparing images and texts.

Keeping the historical scope clear

Avestan hymns, Middle Persian commentary and Kushan visual culture provide different kinds of evidence. Studying them together can illuminate wider Iranian religious history, provided the differences are retained. None of these passages or this particular object establishes a direct line of Vayu worship within a named Kurdish community.

Sources and further reading

  1. William W. Malandra, Vayu, Encyclopaedia Iranica, 17 September 2014, updated 20 July 2015; language, calendar, Pahlavi interpretation and Oesho.
  2. Avesta, Ram Yasht 15, translated by James Darmesteter, Sacred Books of the East, American edition 1898; especially 15.2–5, 19–21 and 35–44.
  3. Bundahishn, translated by Edward William West, Sacred Books of the East 5, edition identified in the digital text as 1897, chapter 28.35, printed p. 39.
  4. Metropolitan Museum of Art, Panel fragment with the god Shiva/Oesho, Bactria, Kushan, ca. third century CE, accession 2000.42.4; curatorial object description.
  5. Metropolitan Museum of Art open-access image, Panel fragment with the god Shiva-Oesho MET DT917, Wikimedia Commons, CC0.