________________
=Jäin
ground.
These are each to be made three times and to be accompanied by the words 'Hail to the Jinas' (Jinebhyo namah).
7. Making prannarjana three times of the ground under foot (pada-bhumi-pramarjana). 8. Fulfilling the three requirements of the liturgy (varnadi-trika): (i) reciting distinctly and without omissions or additions the words of the stutis;
4. Three forms of puja: (i) anga-puja; (ii) agra-puja; (iii) bhava-puja.
(ii) reflecting on their meaning; (iii) representing to oneself mentally the objects of adoration.
9. The three mudras:
These will be discussed at length in an article on puja: it is only the third-the immaterial acts of worship in the form of stuti—that belongs to the caitya-vandana in its narrower sense, embracing the twelve adhikaras and five dandakas listed above. 5. Meditation (dhyana) on the three states (avastha) of the Jina:
(i) Jina-mudra—the two hands hang down loosely and the feet do not touch. The purpose of this mudra is to remove obstacles.
(ii) yoga-mudra-the two hands are joined with the fingers interlocking and the elbows resting on the abdomen. The mudra is calculated to achieve all desires.
(i) on the chadma-stha state in which he is still travestied as an ordinary mortal. To this the pindastha-dhyana applies. It is again divided into three phases:
(a) birth-the meditation is stimulated by the images of the snapakas, the gods mounted on elephants, who pour water from ewers (kalasa);
(iii) mukta-sukti-mudra-the two hands are clasped evenly together and raised so as to touch the middle of the forehead. (A divergent view holds that they should be close to the eyes without actually touching the forehead.)
(b) kingship--the meditation is stimulated by the images of the arcakas, the votaries who bring garlands;
10. The threefold final prayer (pranidhana), the concentration of mind, body, and speech in the form of caitya-vandana, guru-vandana, and prarthana (invocation).
(c) the monkish condition the meditation is provoked by the sight of the Jina's hairless head;
Arrival at the temple:
(ii) on the kaivalya state in which he has attained infinite knowledge. To this belongs the pada-sthadhyana, which arises from the vision of the eight pratiharyas, the miraculous manifestatations which took place when the Jina attained to kevala-jnana;
(iii) on the siddhatva state in which he has reached nirvana. Here the meditation, the rupatita dhyana, is to be achieved by performing the kayotsarga in the paryankasana posture. (The rupa-stha dhyana, which arises from the mere sight of the image, is expressly excluded from thistrika.)
On arriving at the temple and catching sight of the image above the door, the worshipper makes the anjali. As he enters, and leaves behind the cares of the world, he utters the first naisedhiki. He goes into the mandapa and, as he circumambulates the images, he pronounces the second naisedhiki. He then carries out the puja for which he has brought with him the necessary materials, first bathing and dressing the image, and then setting the offerings before it, and burning incense and waving lamps. When this is done he utters the third naisedhiki, makes the pancaigapranama. The worshipper recites the panca-namaskara, performs prati-kramana and alocana using the airyapathiki sutra, and then engages in the kayotsarga reciting the Tassa-uttari-karana-sutra and kayo-tsargasutra. On completion of the kayotsarga the pancanamaskara is to be repeated. The next phase is the praise of the twenty-four tirthankaras of the present era, as follows:
6. Abstention from looking in the three directions (tri-din-niri-ksana-virati). The worshipper is not to look to the right or to the left or behind him (in another interpretation neither upwards nor downwards nor transversally) but is to keep his gave fixed on the image.
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Jain Education Interational 2010_03
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