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V. III]
HARIBHADRA'S STUDIES IN YOGA
293
fourteenth stages, only the last two types are possible. The time when the omniscient soul takes resort to these dhyānas, and their purpose and necessity, we have already stated.
The first two types of śukladhyāna are followed by the contemplation (anuprekşā) of these four objects: (1) suffering and its conditions, (2) the evil nature of worldly existence, (3) the endless continuity of the world, and (4) the impermanence of all things.2 Freedom from fear, freedom from delusion, discrimination, and absolute renunciation and detachment are the characteristic signs of the sukladhyāna.
Akalanka's Tattvārtha-rājavārttika, Vidyānandi's Tattvārthaślokavārttika, Subhacandra's Jñānārnava" and Ācārya Hemacandra's Yogaśāstra give elaborate description of śukladhyāna. But there is no essential deviation from the old scheme, and so we do not advert to these works as this will involve reduplication.
III
HARIBHADRA’S COMPARATIVE STUDIES IN YOGA
Haribhadra made a very valuable contribution to the comparative study of yoga. He composed a number of works on the subject. His Yogabindu and Yogadrstisamuccaya are very valuable works. The Yogavimśikā and the Sodasakas also deserve notice. We are dealing with these works in a separate section in view of their supreme importance and unique character in the Jaina literature on yoga. We have already stated that Upadhyāya Yaśovijaya revived the studies of Haribhadra. We shall therefore advert to his works as well for the sake of better understanding of Haribhadra's works. We shall begin with the Yogavimśikā and the Sodaśakas, and then come to the Yogabindu and the Yogadystisamuccaya. We shall refer, where necessary, to the other works of Haribhadra as well.
All spiritual and religious activities that lead towards final emancipation are considered by Haribhadra as yoga. But special importance should be attached, he says in his Yogavimśikā, to these five kinds of activities: (1) practice of proper posture (sthāna), (2) correct utterance of sound (ūrna), (3) proper understanding of the meaning (artha), (4) concentration on the image of a tirthankara in his full glory (alambana), and (5) concentration on his abstract attributes (anālambana). Of these five, the first two constitute external spiritual
1 Ibid., 64 ; TSü, IX. 40-41. 2 Dhyanaśataka, 88. See also SthSū, IV. I. 247. 3 Dhyānašataka, 90-92. See also SthSa, IV. I. 247. 4 Prakarana, XLII.
5 Prakāśa, XI.
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