The Jain 1992 04 Special Issue

SR No.: 525506
Original Sutra Author: N/A
Author: Natubhai Shah, Vinod Kapashi
Publisher: UK Jain Samaj Europe
Publication Year: 1992
Total Pages: 68
Language: English
Classification: Magazine, UK_The Jain, & UK
File Size: 6 MB

Page 21

Nama-jina—worship of the names of the twenty-four Jinas who have appeared in the present era in Bharata-ksetra. This corresponds to the second avasyaka, the caturvimsatistava, in its narrower sense.
Tri-bhuvana-sthapana-jina—the worship of Jina images in sasvata and asasvata temples in the three worlds.
Virahamana-jina-worship of the infinite number of absent Jinas, past and future, in the universe.
Sruta-jnana-worship of the holy writ. Sarva-siddha-stuti-worship of all those beings who have attained to moksa.
Tirthadhipa-Vira-stuti-worship of Mahavira the last Jina.
Ujjayanta-stuti-worship of the twenty-second Jina Aristanemi, who entered into nirvana on Mount Ujjayanta.
The final three stages of the eightfold puja are performed in the temple hall outside the shrine but facing the image. These are the offerings of, first, rice, then sweets or food, and thirdly fruit. The devotee sits behind a low table and on it arranges grains of rice in the form of the traditional symbol of the Jain faith. First there is a swastika, the four arms symbolising the four states of embodiment in which a soul may be reborn, heavenly, human, animal or hellish. Above this three dots stand for Right Faith, Right Knowledge and Right Conduct. At the top of the diagram a crescent with a single dot above it symbolises the abode of the siddhas, the liberated souls. The sweets (or other food) are placed on the swastika and fruit (a coconut or betel nut is also regarded as suitable) on the crescent. The symbolism of these offerings is to achieve a state of siddhahood (where there is no birth or death) and to progress toward its path. Neither the Jina, in his perfected state, nor the iconographic representation in the sacred image, needs sustenance. The offerings are seen by some as relating to the Tirthankara, past or future, while still in human embodied state. As with the other offerings, the devotee accompanies the actions with suitable verses. Anything offered to an image, is prohibited to be used by a Jaina. Fruits, sweets, nuts, rice or other items offered are used by pujaris or other staff, if they are non-Jains. After the eightfold puja the worshipper may sound once the bell hanging just inside the shrine as a sign of rejoicing
THE CAITYA-VANDANA The Caitya-Vandana contains a series of rituals for worship of the image or murti of the Jina. It contains Irya-pathiki pratkraman, kayotarga, prayer for the respect of all the twenty-four tirthankaras, homage to all the Jina images and temples in the universe, respect to all saints in the world and some other meaningful sutras.
Astapada-stuti-worship of the other twenty-two Jinas, who entered into nirvana on Mount Astapada.
Sudrsta-smarana-worship of those devas who like the Gomukha Yaksas attained to samyaktva and peformed vaiyavrttya to Mahavira.
THE TEN TRIADS (trika);
1. Three naisedhikis: (Nisiti)
(i) The first naisedhiki signifies the relinquishment or prohibition (nisedha) of the mundane activities (grhavyapara). It is to be pronounced on entering the main gate of the temple. (ii) The second naisedhiki implies the abandonment of all activities connected with the temple (Jina grhavyapara) and is spoken when one enters the inner sanctuary (garbha grha).
Before we proceed to the caitya-vandan, let us consider different adhikaras for the objects of worship.
(iii) The third naisedhiki expresses the end of activities (Jina-puja-vyapara) connected with the puja ceremony (which must of necessity involve some harmful arambha). It is pronounced before carrying out the actual caitya-vandana.
Each adhikara concerns a special object of worship:
2. Three circumambulations (pradaksina) - for Right faith, Right knowledge and Right conduct
Bhava-jina-this implies the visualization of the Jinas endowed with kevala-jnana as they are present in the samavasarana.
3. Three reverences (pranama):
(i) The anjali.
Dravya jina-this is the worship of the arhatva-dravya, the raw material of the quality of Jina, i.e. thejina-jivas who will one day in this or in another life attain to final release
(ii) The pancanga, i.e. a reverence in which the five limbshead, two hands, and two knees-all touch the ground.
Eka-caitya-sthapana-jina—the worship of Jina images in temples everywhere.
(iii) The ardhavanata, i.e. a reverence in which the body is 'hall-bent', the head and hands touching the
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