[12] Other names of Surya in ancient Indian literature include Āditya, Arka, Bhānu, Savitṛ, Pūṣan, Ravi, Mārtāṇḍa, Mitra, Bhāskara, Prabhākara, Kathiravan, and Vivasvat.

[13][14][15] The iconography of Surya is often depicted riding a chariot harnessed by horses, often seven in number[3] which represent the seven colours of visible light, and the seven days of the week.

[20] Major festivals and pilgrimages in reverence for Surya include Makar Sankranti, Pongal, Samba Dashami, Ratha Saptami, Chath puja, and Kumbha Mela.

[30] Surya's origin differs heavily in the Rigveda, with him being stated to have been born, risen, or established by a number of deities, including the Ādityas, Aditi, Dyaush, Mitra-Varuna, Agni, Indra, Soma, Indra-Soma, Indra-Varuna, Indra-Vishnu, Purusha, Dhatri, the Angirases, and the gods in general.

[32] In the layers of Vedic texts, Surya is one of the several trinities along with Agni and either Vayu or Indra, which are presented as an equivalent icon and aspect of the Hindu metaphysical concept called the Brahman.

[38][39][40] Surya in Indian literature is referred to by various names, which typically represent different aspects or phenomenological characteristics of the Sun.

[43] Arka, Mitra, Vivasvat, Aditya, Tapan, Ravi and Surya have different characteristics in early mythologies, but by the time of the epics they are synonymous.

[44]: 6–7 Other Surya temples named after Arka include Devarka (Deva teertha) and Ularka (Ulaar) in Bihar, Uttararka and Lolarka in Uttar Pradesh, and Balarka in Rajasthan.

Another 10th-century sun temple ruin is in Bahraich, Uttar Pradesh named Balarka Surya Mandir, which was destroyed in the 14th century during the Turkish invasions.

The Mahabharata epic opens its chapter on Surya that reverentially calls him as the "eye of the universe, soul of all existence, origin of all life, goal of the Samkhyas and Yogis, and symbolism for freedom and spiritual emancipation.

In some ancient arts, particularly from the early centuries of the common era, his iconography is similar to those found in Persia and Greece suggesting likely adoption of Greek, Iranian and Scythian influences.

[52][28] After the Greek and Kushan influences arrived in ancient India, some Surya icons of the period that followed show him wearing a cloak and high boots.

[18] The doors of Buddhist monasteries of Nepal show him, along with the Chandra (moon god), symbolically with Surya depicted as a red circle with rays.

The Brihat Samhita of Varaha Mihira (c. 505–587), a Hindu text that describes architecture, iconography and design guidelines, states that Surya should be shown with two hands and wearing a crown.

These beings, namely Siddhas, Charanas, Gandharvas, Yaksas, Guhyakas, and the Nagas, desirous of obtaining boons, follow the course of Surya's chariot through the sky.

[62] The manuscripts of these texts exist in slightly different versions, present Surya- and planets-based calculation and its relative motion to earth.

[70] The Yavanajataka, or 'Science of the Yavanas', was written by the Indo-Greek named "Yavanesvara" ("Lord of the Greeks") under the rule of the Western Kshatrapa king Rudrakarman I.

[78][79] Hindu temples predominantly have their primary entrance facing east, and their square principle based architecture is reverentially aligned the direction of the rising Surya.

Constructed in the 13th century by the Eastern Ganga dynasty, on a pre-existing pilgrimage site for Surya god, the temple architecture mimics a grand chariot with twelve wheels pulled by seven horses.

[94] After 871 BCE, Multan (Panjab) was under the rule by Arab princes, who kept the Surya temple hostage and desecrated it,[95] in order to threaten its destruction if the Hindu Gurjara attacked them.

[98] While Shiva and Vishnu are more common in 1st millennium southeast Asian artwork such as those found in Cambodia and Thailand, archaeological evidence suggest god Surya were among the pantheon of ideas adopted early in these regions and retained after Buddhism became the dominant tradition.

This was then superseded by three distinct sanctuaries built of schist slabs, surrounded by subsidiary buildings of diaper masonry construction and an open-air altar in a semi-circular enclosure.

In Nepal, many Surya temples and artworks trace to the medieval era, such as the 11th-century Thapahiti and Saugal-tol, and 12th century Naksal stone sculptures.

[101] Artifacts discovered at the Sanxingdui culture founded c. 1600 BCE, about 40 km from present day Chengdu, capital city of Sichuan province China reveal an ancient worship of sun-deity, similar to Surya.

Other festivals that focus on Surya include Chhath of Bihar, eastern Uttar Pradesh and the neighboring regions, Samba Dashami and Ratha Saptami are also major festivals celebrated in honour of Surya; Chhath is celebrated immediately after Diwali with fasting for three days followed by bathing in river or tank with remembrance of Sun.

[107] The repertoire of classical Indian dances such as the Bharatanatyam include poses that signify rays of light beaming towards all of the universe, as a form of homage to Surya.

[18] Such artwork suggests that the Surya as symbolism for the victory of good over evil is a concept adopted in Buddhism from an earlier Indic tradition.

Fortunately, this incident can be resolved amicably so that Anoman voluntarily removes the clouds again so that the natural world is exposed to the sun again.

Surya miraculously made Dewi Kunti to give birth to a child, while maintaining her virginity so that she, as an unmarried princess, would not have to face any shame or be the target of questions from society.

Kunti feels compelled to leave behind her son, Karna, who grows up to be one of the central characters in the great war of Kurukshetra.