Models of Conflict Resolution and Peace in Jain Tradition

SR No.: 269132
Original Sutra Author: N/A
Author: Nalini Joshi
Publisher: ZZ_Anusandhan
Total Pages: 13
Language: English
Classification: Article & 0_not_categorized
File Size: 90 KB

Page 9

मार्च २०१०
१३९
F: The Model of Gupti (Guarding or Protective actions).
In Jaina History, there is a very little scope for rebels, reforms, attacks or eccentric actions. The attitude of guarding and protective actions is directly connected to the ethical tenets of Aśrava and Saṁvara.' Gupti and Samiti means guarding and careful movements. Due to this mild attitude, Buddhism has oppressed Jainism for some time quite strongly to such an extent that it had to bear the retreat before Buddhism in many areas. Around tenth century the might of Buddhism in India declined completely. It could not resist the Jaina faith in the west and in the south. The activities of Kumārila and Sankara, the revival of Vaişņavite and Saivaite sects proved to be the dangerous opponents and they did severe damage to Jainism particularly in the Deccan and South. The Saivite sect of Lingāyatas proceeded against Jainas extremely fanatically. It is said that the Hoysala King Bittideva ordered that Jainas, compatriots in his early religion be thrown in an oil-mill and crushed, if they did not want to get converted.20
The Jaina responses to all these kind of oppressions was surprisingly humble and retreating. The growing might of Hinduism was not revealed to Jainism only in its loosing followers. In spite of adopting some revengeful and fanatic steps against Bhakti cults, as far as possible Jainas adopt their language, deities and Pūjā rituals.
This attitude of adoption is clearly reflected in Jain Art and Sculpture. Jainas have enriched the country's art-treasure with numerous and diverse specimens of art and architecture. In the representation of the many lesser deities of the Jaina pantheon, such as Indra and Indrāņi, Yaksa and Yakși as attendants of the Tirthankaras, the goddess Sarasvati, the Ksetrapālas in the depiction of scenes from the life-stories of the Tirthankaras, it seems that the artist was not restrained by any rigidly prescribed formulae and had greater freedom. He could also give play to his genius in carving and painting natural