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of the eight auspicious symbols beside the icon made of five metals during religious recitation. That is why at least one or more such benches, are found in a Jain temple. Moreover, in religious ceremonies on certain occasion, such as the 'Sattar Bhedi Puja'these eight auspicious symbols are involved as the Puja. Their importance gained ground as the scriptures enjoined that wooden stool with eight auspicious symbols be made from 'Seven' wood (a particular type of wood) and used in such religious rites, in minor or major Shanti Snatra and in the worship of nine planets etc. These symbols on the benches are not to be worshipped but with the Anamika finger they are to be drawn on the same embossed figures with sandal paste, but it's not proper to sprinkle some sandal paste...on them as is being done at present due to lack of knowledge of correct technique. After drawing or making these eight auspicious symbols one should pray for the realisation of all that is good in lifc. Such prayer results in various benefits in life. Indra, the lord of heaven, draws these eight auspicious symbols on a highly valuable bench, with rich grains made of silver, after the holy bath of a Tirthankara on the Meru mountain. They are drawn daily by gods with appropriate vision in their divine region while worshipping Bhagawan. Shrenik, the king of Magadh used to draw these eight auspicious symbols everyday with golden javas (barley grains). These eight auspicious symbols were carried by males in front of chariot processions and processions of reception and initiation. It has not come to my knowledge how these cight symbols became auspicious. But it would be interesting to note here that certain references are made about them in Raja prasneeya (Ray Paseni), Jnata Dharma Katha (Naya Dharma Katha) and other Agama texts. In the ancient lore about Suryabha Deva, it is mentioned that Suryabha performed various dances before Bhagawan and the last dance was according to the shape of each of the auspicious symbols. Moreover the divine aerial cars of the heavenly gods contain such symbols since time immemorial. They are also found on the Ashoka tree as well as on the gates of the divine religious auditorium- Samavasarana. Even now we can see these eight auspicious symbols carved on the lintel of the wooden gates of old private or public temples and Jain mansions. Now it is common to prepare festoons with cight auspicious symbols out of silver and to hang them on the lintels of the sanctorum of most of the Jajn temples. Besides, these eight auspicious symbols have been often used to decorate boxes, caskets, rice grains storage boxes, in temples, benches kept at a religious discourse, the stick with soft woollen threads to save minute insects (Ogha), the invitation cards, festoons of the canopies, the drawings and colourful designs on the foor etc. In some Jain temples the Swastika and the Nandyavarta are inlaid in marble tiles fixed in the fioor. The Swastika which is drawn by millions of Jains in the temple finds the first place among the eight auspicious symbols. The second place is given to the Shri Vatsa, the chestmark. The word 'Shri Vatsa' has a special conventional meaning attached to it. It means a particular elevated part of the chest of the blessed ones Tirthankaras and other blessed ones have such elevated part in the upper central part of the chest and it appears beautiful on account of the tender bunch of hair rising upward and turning to the right this very portion with hair is called Shri Vatsa. The sign is found on the chest of all Arihant Tirthankaras. Shri it is shown on their icons. In all the icons in Jain temples this symbol is carved in an elevated position. The Nandyavarta is the third symbol in this illustration strip. This is an extended Swastika well-known in Jain religion. It is a beautiful figure formed by nine angles or corners. The fourth symbol is that the Vardhamanaka which means an earthen bowl. It is used as an earthen lamp. One earthen bowl is placed on the other to seal it. Then the pair is known as "Samput' in Sanskrit. In Sanskrit the earthen bowl is known as 'Sharav. So the scaled pair is known as sharav. Samput or Vardhamana-Samput. This figure is considered to be auspicious. The fifth symbol is that of the Bhadrasana or a royal throne. The sixth symbol is that of the holy pitcher. The seventh symbol and the eighth symbol are those of the fish couple and the mirror respectively. The difference in order of these eight auspicious symbols in various scriptures leads to the difference in order of the same in Jain temples, in decorations and illustrations. Even the benches of five metals are found to have different orders of symbols. They have not maintained a uniform order but the strip presented here follows the order ordained by the scriptures. The scriptures followed here are mentioned at the centre (below) of the strip. A uniform order would be honoured everywhere if all accept the order illustrated in this strip. Every Jain should instal these eight auspicious symbols in regular order or separately in his house. The place or the house where they are engraved or embossed onthe lintel of the main door or hung as a festoon becomes prosperous. The eight auspicious symbols are drawn in different styles as would be clear from the two strips given in this album
Note: 1. The word Shreevatsa is made from two words-Shree and Vatsa. Vatsa means the chest. If we accept two of the many meanings of Shree
as decoration or construction shree vatsa would mean a decorated chest or chest with a particular form. The decoration or form is to be
taken as associated with the chest Note: 4. Shreevatsa on the chest of Shreekrishna Vasudev among the blessed ones is well-known Note: 5. For this reference see Jambu-Pragnapti, Aup. Samae Maha and other Agamas. Note: 6. On the icons created during the last forty or fifty years the symbol of Shreevatsa is shown very high, very broad and without any
standard measurement. This has spoiled the beauty of the icon. Hence, this symbol should follow a certain standard. What should be the shape and what should be method of carving Shreevatsa? As ancient pictures have not followed a certain standard, it has still not
been possible to establish a certain definite standard. All draw the same symbol in different ways. Note: 7. But it should be noted that, whateyer decision we may take in order to maintain uniformity, it shouldn't mean that the sequence with
some deviations adopted by other texts is wrong. It should be respected as an alternative
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