#dhata

This list will be as chronological as I can make it, and will be periodically updated with the new posts as I get through my list.

Link: Part 2 Part 3 Part 4 Part 5

Shataroopa

Devahooti

Prasooti

Aditi

Diti

Danu

Kadru

Vinata

Simhika

Danayu

Kaala

Pradha

Muni

Kapila

Khyati

Dhata

Vidhata

Lakshmi

Mohini

Sura

Surabhi

Gaandharvi

Saraswati

Mrityu

Shibaa

Chandrani Rohini

Gargi Vachaknavi

Sulabha

Svaha

Anasuya

Arundhati

Lopamudra

Puloma

Shubha

Sinivali

Devasena

Daityasena

Kavyamata

Shachi

Upasruti

Mamata

Pradveshi

Sudeshna (Bengal)

Aushinari

Suneeta

Tara

Svetaketu's Mother

Sujata

Ila

Urvashi

Sukanya

Indumati

Keshini

Viraja Ashokasundari

Jayanti

Urjasvati

Devayani

Sharmishtha

Ghurnika

Shandili

Madhavi

Bindumati

Yadavi

Iravati

Sumati

Kunigarga's Daughter

Vaidisheyi

Kausalya

Shooraseni

Paushtri Madhavi

Mishrakeshi

Sauviri

Ashmaki

Varangi

Haiheyi Bhanumati

Kaikeyi Sunanda

Sushrava

Maryada

Aangi

Suyajna

Kaama

Karambha

Maryada Vaidehi

Sudeva

Jvala

Kalingi

Rathantari

Sammata

Menaka

Shakuntala

Pramadvara

Sunanda Kaushalya

Vijaya Dasarhi

Suvarna

Yashodhara

Dhata is described primarily as a son of Khyati and Bhrigu (or Aditi and Kashyapa), a sibling of Lakshmi, and a solar god who presides over the health of his devotees.

However, in Mahabharata, in the tale of Uttanka, he appears as a woman in the Naga realms, alongside Vidhata, where they weave the black-and-white threads of days and nights, on the wheel of time which is turned by the six seasons.

She is described as a son/daughter of Khyati and Bhrigu. Her siblings are Dhata and Lakshmi.

In Mahabharata, in the tale of Uttanka, she appears as a woman in the Naga realms, alongside her sister Dhata, where they weave the black-and-white threads of days and nights, on the wheel of time which is turned by the six seasons.

SAHASARA NAMA OF VISHNU: 43/1,000

DHĀTĀ (धाता):

He, who is the substratum, the foundation for the world of names, forms, experiences, happiness and sorrow (the mixture of opposites). He supports all of these experiences however ephemeral and impermanent because he is the “screen” for the ‘movie’ of empirical, experiential, sensory, and even illusory experiences of the apparent world that we live in – This is an expanded take…

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