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pindastha, explicating its relation to sansthāna-vicaya. Both Yogaśastra and Jñonārņava subdivide pindastha again into five stages, i.e., 1) pārthivi, 2) agneys, 3) mãruti, 4) várunt, and 5) tattvarūpavati or tatrabhū. Our verse 26 and 27 seem like describing the last step above. Verse 25 is not quite identical with parthivi dhārana, but is suggestive; verse 28 implies agneyi dhārapā. The rest of the sthas described in a crude form in our Dhyānastava are elaborately depicted in the finished form in these two works of Jaina Yoga.
Beginning with the adoptation of mantra recitation, the employment of these sthas as the technical objects of dhyāna indicates a significant Hindu influence on Jaina Yoga. It has certainly stimulated the Southern medieval Jaina circle, and enriched the soil of the Jaina dogma. Even in regarding to the agamic classification of dhyāna, quite liberal attitude of its categorical treatment is observed. For an example, Cămundaráya subdivides dharmya dhyāna into ten kinds in his Caritrasara, the section called "Anagāradharme tapovarnanam": apaya, upāya, jīva, ajīva, vipāka, virāga, bhava, sansthāna, ājñā, and hetu-vicaya. It is surely a fascinating period for the students of Jainism, with the provision of rich resources which ought to be carefully studied.
Now, from these medieval works dealing with the Jaina classification of dhyāna, we may be able to trace the process of its conceptual development. The orthodox category of dhyāna with four divisions, e.g., arta, is provided in the Āgamas. Its category by four sthas is derivative. Derivative category is generally reinterpreted,
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