Repost: Towards an Integration of Mithras/Mithra/Mitra

Cumont, in describing a Mithraic fragment from Virunum (T. et M., p. 336) that depicts the gigantomachy, describes it as "illustrating a Hellenized version of Ahura Mazda's struggle with demons." At first thought, we may be inclined to dismiss his description, because where we expect Zeus wielding his thunderbolt to be named, he has Ahura Mazda. As in other places, he appears to assume too readily an identification to a Persian background, as in the gigantomachy, without offering support for his views. So here we might attempt to chore up this shortcoming by filling in the description where we can.

We may recall, that at Nimrud Dagh, found with certain other monuments that depict Mithras, Astral Lion and associated deities, interpreted as a template for the later Roman Tauroctony scene, is the equation of "Zeus-Oromazdes," where Oromazdes is another spelling for Ahura Mazda. Here then, is the equation we are looking for.

The gigantomachy, which is an event that is prior to the "rock birth" is meant to show the establishment of truth and cosmic order expressed by the term "rta," a term of some importance to the Persians and Vedic writers alike, according to some scholars. Among the Persians, it was a principle embodied by Ahura Mazda; in Vedic India it was a divine unity-in-duality partly expressed in the name of Varuna-Mitra. For example in one place the Rgveda has the following:

"May we over your path of rta, 0 Varuna and Mitra,
cross over the dangers, like the waters in a boat (RV 7.65.3)."

Further, if we equate Varuna with Ahura Mazda as some writers do, we may wonder if the Persian Mithra and Ahura Mazda might not have also been thought of as divine duality at some point by the magi, aware as they had to have been of their main shared attributes, just as in the case of the Vedic Varuna-Mitra, although apparently not by Zarasthushtra and his close followers.

Interestingly, WW Milandra (1983:46) notes that addressing the supreme being as "Wise Lord" (ie, Ahura Mazda) is a usage also found in the Veda, where Varuna is also called "the Wise Lord" (RV 1.24.14) and that elsewhere was referred to as "the All Knowing Lord" -- conceptual titles with overlapping ideas.

From the foregoing we can see that there are indications of a progression from the revelation of the original bi-unity of Varuna-Mitra as exemplified in the Veda, to a split, and consequent emphasis given to Ahura Mazda/Varuna aspect over Mithra/Mitra among the Persians, to finally the prominence of Mithras/Mithra/Mitra over Zeus/Ahura Mazda/Varuna in Roman Mithraism. At this point, we appear to be one step away from coming full circle. This last step appears to have been taken by Julian in his Hymn to King Helios where Zeus-Mithras = Ahura Mazda-Mithra

"One Jove, one Pluto, one Sun, is Serapis."

Julian elsewhere equates Helios with Mithras so that the identifications can now be expressed perhaps more fully in the creed cited by RE Witt (1975):

"One Zeus, Serapis, Helios, Mithras"

But Roman Mithraism went further. It identified Mithras with a number of other deities, gathering to himself their main positive attributes as his influence was gradually felt in various regions. This can be seen in the Mithraic murals at Hawarti (see attached image).

The first scene shows Zeus/Ahura Mazda/Mithras doing battle with the anguipede giants (gigantomachy) that establishes cosmic order (rta) necessary for creation. The next scene shows him enthroned following his victory over the underworld forces. In the third scene is the serpent entwined Mithraic "rock birth" in which the opening partly resembles emergence from an egg, to which we can associate orphic influence. The next event is Mithras inside a cypress or pine tree, which we can interpret as identifying him as the "Tree of Life" which links him to Attis, Men and Dionysus. Following this scene is a depiction of the "Seven Rayed" god who we may identify as Helios/Apollo/Mithras.

Finally, but not shown, is a scene showing Mithras' capture of the divine bull, which he takes inside a cave (as cosmos) to sacrifice and initiate creation. The scenes in this particular series, which includes the Tauroctony, are seven, meant to display key Mithraic events and which may have been intended to be re-enacted symbolically in ritual.