Kesarimalji Surana Abhinandan Granth

Author(s): Nathmal Tatia, Dev Kothari
Publisher: Kesarimalji Surana Abhinandan Granth Prakashan Samiti

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Karmayogi Śri Kesarimalji Surānā Abhinandana Grantha: Seventh Part
South and West. Many such records also refer to establishment and maintenance of librari s called "Sarasvati Bhandaras". In Gujarat also there are similar stores of Jaina literature and philosophy in the Bhandaras of Jaina temples. The Epigraphic Carnatica has references to wider cultural institutions known as Agrāhāras, Ghatikās and Brahmapuris.
In the Buddhist system of education, learning centered round monasteries. The unit of their educational system was the group of young Bhiksus or Monks living under the guardianship of a common teacher, Acarya or Upācārya. Similar was the case with Jainas. The Buddhist and Jaina culture more or less were the products of confederations of such schools in larger monastic institutions comprising numerous teachers and pupils partaking of a wider collective academic life for their own advantage as an educational and educative agency like the residential Universities of the modern days (Cf, J. V. B. Set up). The Vihāras at Nālandā, Vikramasilā, Odantapuri and similar others were the de facto Universities of those days.
Jainism observes a code of morality and advocates a life of detachment with a view to escaping the birth cycle. Generally there are two sects: the Swetambaras or the White-clads and the Digambaras or the naked ones in Jaina tradition. Jainism does not accept the authority of the Vedas and the Caturvarna Caste system. The Jaina pantheon is not so numerous as the Hindu pantheon. The 24 Tirthankaras who constitute the caturviṁsati occupy the central position in the Jaina hierarchy. The Tirthankaras represent the higher ideal of asceticism of self-denial. In scriptural representation they are, shown like ascetics, draped or undraped in two yogic poses viz., Paryankāsana and Kayotsarga. Though very similar to Buddha images, Jaina sculptures have quite important differences, such as a śrīvatsa symbol on the chest, a triple umbrella above the head and a lanchana or a symbol on the parasol.
The origin of a number of symbols and specially the original conception behind them is often shrouded in mystery. The real age of the original conception behind the Swastika or the Nandyävarta or the pair of fish (mina yugala) etc., is often unknown to many. Even then the shape of the original Nandyavarta symbol is not certain. Again in course of time, the shapes or forms of the symbol like Śrīvatsa on the chest of Jaina figure have also changed. Borrowings or adoptions and assimilations of symbols of rival sects and foreigners as well as of symbols from the old common-stock of ancient India result in finer differences of conceptions behind the symbolisms. Still, however, literary evidence of all such sects and peoples explaining symbolism have to be looked into before we may properly assess the meaning of any symbol of any sect of India. We may discuss here some such symbols as manifested in Jain Iconography.
The Honey Suckle symbol often found on the top of the gateway of shrines in the tablet of homage donated by 'Sivayasas' is yet to be identified from Jaina sources. The Ayagapata of Sihanadika shows aṣṭamangalas. But all the constituents of the complete symbol are not known from Jaina sources. A passage in the Rayapaseṇīya Sutta speaks of 'Tilak-ratna' symbol. Many think it to be the Triratna.
The basic philosophy underlying Jaina religious practice leaves no scope for any worship of a creator God. Since according to Jaina philosophy no God has created this world. Still however, the human mind, in this world full of miseries, frustrations and what not, craves for something to fall back upon some passionless Arhar' or the 'Siddha' in a formless final state of beautitude cannot directly help and do anything for and on behalf of a worshipper. He neither