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the disciples of the Gandharas. It was the eleventh day of the bright half of the month of Vaishakha when all these Brahmins accepted the code of asceticism. Then they repeated three aphorisms and were qualified for becoming Ganadhara. Bhagavan Mahavira, then established the code of religious discipline and announced the fourfold formation of the constituents of the Samgha as male ascetics, female ascetics, the householders (Shravakas which literally mean listeners) and the housewives (Shravikas). He also appointed the heads of all the four divisions. From that day the Veera Shasana (literally the disciplined organisation of Bhagavan Mahavir) started, and will continue uninterrupted for twenty-one thousand years, still and then the great deluge will follow. There is a reason why the front side of the auditorium is not depicted.
Painting 41: This very attractive picture carries us into the past, more than two thousand and five hundred years ago and puts us in the presence of Bhagavan Mahavira. All listeners are found standing politely with perfect discipline in Samavasaran (divine religious auditorium). A Tirthankar always delivers a religious discourse first for three hours continuously. Next his chief disciple 'Ganadhar' delivers a religious discourse. A Tirthankar after delivering his religious discourse gets down from his throne and retires with Sadhus to 'Devchhand' as known in Shastras, a retiring place created by gods in the north-east. These Sadhus remain present with him to serve him.
Painting 42: In the Shastras there is a detailed description of the beauty of the entrance-door of 'Samavasaran' (divine religious seat). No one among the Jain community so far has tried to construct such an entrance-door of a Samavasaran. I had a keen desire since years to get done a fine, attractive, the best quality entrance-door of a Samavasaran only in such a way that the depth of the interior part could be seen with Bhagavan together with throne and the four sect Sangh seated and stood in a particular manner and the throne being of crystal should be coloured in the same crystal colour. Now I feel that the painter had done justice to my idea to a great extent. The door is drawn exactly as it is described in the Shastras. Its colour, shape, lining Jewellery etc. are so finely depicted that it fascinates the observer. One feels like not taking his eyes away from it. Samavasaran has three ramparts. Every rampart has four doors. Thus a Samavasaran (divine religious auditorium) has twelve doors in all.
Painting 43: The three incidents of Bali Vidhan ceremony are shown in the same picture. If they are shown separately in three pictures, they will become so attractive, so inspiring and so worth seeing that none would like to take away his or her eyes from them.
'Bali means half cooked unbroken rice.
This ceremony of 'Bali Vidhan' takes place at the end of the Ist Prahara's (First three hours of the day) religious discourse. The right of preparing 'Bali' is given to anybody from an emperor (a Chakravarti) to a common man. The rice used for Bali should be unbroken, thin, fine, scented and without husk. It must be properly washed a number of
14. Tripadi means a collection of three aphorisms. They are accepted by the Gandhara each at a time by moving round Bhagavan Mahavira so that they may have the supreme light of unfathomable enlightenment and they may have the capacity to write great scriptures which can bring bliss to all beings. The aphorisms contain sublime meaning which reveal the basic essence of the creation. Here Bhagavan Mahavira utters the aphorisms as Upannei Va, Vigamei Va and Dhuvei Va. These three aphorisms are at the root of the composition of the twelve-fold scriptures and the cosmic arrangement. The aphorisms in essence mean, the substance has relative creation, it has relative destruction and it remains in its original essence steady for
ever
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times. Then it is kept on fire for cooking. When it is halfcooked, it is taken down from the fire. Then gods by adding divine scented ingredients make it scented and-worthy. Then a married woman (whose husband is alive) wearing all her ornaments puts it over her head and brings it in a grand procession with pomp and festivities through the eastern door of a Samavasaran near Bhagavan. Bhagavan immediately stops his religious discourse. Then the person bringing the 'Bali goes round Bhagavan thrice and stands by his side. When the Bali receives nectar-like sweet sight of Bhagavan, it acquires a special kind of energy.
Then the authorised persons standing in front of Bhagavan take handfuls of it and throw it up in the air. The gods take half of the rice thrown up and half of the remaining rice is taken by the person who prepares it. The remaining rice come to the share of only lucky ones.
What is the effect of the 'Bali'?
If a sick man puts only one grain of this rice over his head, his sickness and diseases leave him, and no other new disease dare attack him for six months to come. It seems this ceremony used to take place in the life of every Tirthankar. There is not reference to its performance anywhere but the writer thinks that it must be taking place everyday.
Points to Ponder: Tirthankars are superhuman. They have fulfilled all their duties and have retired. The cere mony of the 'Bali' is social. It is a deed to scare away. diseases. It is intended mainly for the welfare of worldly men. It is not a suitable ceremony for men on the way to salvation. It involves voilence to 'Agnikaya' beings. Then why should Tirthankars discontinue their religious discourse and give importance to it and become witness to it? What is the reason of their extending so much co-operation? This is a grave matter and deserves our attention and thought. This matter moots a number of questions. It can inspire and even elighten Acharyas who bear the responsibility of administration. The word 'Lokottar' superhuman draws our attention how to interprete the word. superhuman? What is its limitation? Have Tirthankar Devs any importance for this?
The above ceremony is known only to very few Acharyas and Munis. This incident lying idle in a corner is purposely published. This incident will open our eyes to our duties in the present circumstances. It is not mentioned any where whether this Bali ceremony takes place everyday, is related to every Tirthankar and is performed by whose suggestion.
Painting 44: The illustration is clear. On one side are the black, charred bodies of two ascetics who are dead. Tejoleshya the powerful destructive energy is to emanate from the mouth (to destroy the opponent) according to the text. 'Pravachana Saroddhars. Whether the ascetics of Ajivaka Sect followed by Goshalaka remained nude or dressed is still not certain. Hence he is shown dressed while afflicted by Tejoleshya.
Painting 45: Bhagavan Mahavira was not only the preceptor of the common men, but also of the kings and emperors. Bhagavan Mahavira had many kings and emperors as his disciples. The picture is intended only to communicate the above fact to the common man.
Painting 46: The painting illustrates the event when Bhagavan Mahavira continuously spoke for sixteen Praharas (48 hours) to express the philosophy and to deliver the gospel for the good of all beings, while he was sitting
15. See the Dwar 270.
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