Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

SR No.: 006774
Original Sutra Author: N/A
Author: Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith
Publication Year: 2010
Total Pages: 726
Language: English
Classification: Book_English
File Size: 51 MB

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Encyclopaedia of Jaina Studies
The Acaranga-sūtra (2.1.2) alludes also to a Santigṛha wherein a Jaina monk cannot enter. Thus the conception of Santi seems to be old, and it was in vogue in the form of rite or practice which was believed to remove the troubles and was conducive to the establishment of household peace. The Manusmrti refers to a Santihoma. Śantikarma is also performed for various other purposes such as the removal of diseases, evils, droughts and poverty and for pacifying the evil spirits like the bhūtas, pretas, pisacas, rākṣasas, vetālas and dakinis (Acaradinakara, II, p. 224).
For obtaining Santi, the Jainas worshipped the 16th Jina Santinatha, who is said to have brought peace and prosperity to the country of his birth. The AjitaSantistava of Nandiṣena also calls him Santikara (one who brings peace).
The Acāradinakara gives a dhyāna of Śāntidevī wherein Śantinatha and a goddess called Vijayā are invoked. The Laghu-santi of Mänadeva also invokes goddesses like the Jaya, Vijaya, Jayanta and Aparajita. According to the Acaradinakara, Vijayā and Śantidevī seem to be identical.
The form of Śantidevi enunciated in the Nirvāṇakalikā (21.2, p. 37) is, however, different from the known forms of Vijaya. According to the text, Śantidevi, white in colour, sits on a lotus and carries pitcher and kamandalu in two left hands while the corresponding right ones show the varada and rosary. The same text visualises Vijaya as showing goad, noose, mudgara and varada-mudra. Still earlier reference to Santidevī is supplied by Sobhanamuni's
The Jaina account of Dik-kumaris is important because, their names include most of the ancient Indian goddesses, namely Sitä, Pṛthvi, Ekanamsā, Ila and others. In the samatala ceiling of Vimalavasahi (cell No. 47) showing kalyanakas of the Jina, we find a number of female figures carved in two circular rows. These figures carrying pitchers, fly-whisks etc. seem to re resent the Dik-kumārīs. SANTI DEVI
Stuticaturviṁśatika which conceives her as white in complexion and as carrying rosary and water-vessel in hands (12.4, p. 137). The goddess is said to destroy the räkṣasas, evil spirits and many other obstacles. Another form of the goddess found in the Nirvāṇakalikā The Santikarma or the propitiatory rite is common shows her with many arms. Of the symbols held by to all the three principal religious systems of India. The her only the water-vessel, the varada-mudra, book and Śantikarma is referred to in the Jaina Jñātā-sūtra, lotus are specified. Her special power of bringing peace Praśnavyākaraṇa-sūtra and the Bhagavati-sutra (11.11). to all beings is emphasised in the dhyana. However,
DIK-KUMARIS
According to both the sects of Jainism, the Dikkumāris (quarter-maidens), fifty-six in number, are associated with the birth-ceremonies of the Jinas. These fifty-six Dik-kumārīs like Bhogankarā, Bhogavati, Subhoga, Bhogamālinī, Toyadhārā, Vicitra, Puspamālā and Anindita came from different worlds and mountains and prepared the place for Janma-kalyaṇaka of newly born baby (would be Jina). They were holding mirrors, pitchers and fly-whisks and were singing and dancing. They carried the Jina in their folded hands and supported the mother also. They anointed them with fragrant oil, and then put on them (mother and child) garments and
ornaments.
The Dik-kumaris are sometimes represented in the Kalpasutra miniature paintings in the scenes connected with Janma-Kalyāṇaka of a Jina. W. Norman Brown has published one such miniature with the label devagama (arrival of gods) where only eight goddesses are shown. These goddesses stand for the fifty-six Dikkumārīs, arranged in three rows. The first on the right upper corner carries a lotus. Of the rest, one carries a mirror, another has a pitcher while the third one seems to have a vīņā (lute). The fourth one holds the lamp whereas the symbols of the remaining two are indistinct. In this example each of the Dik-kumaris stands for her group.