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662
The Unknown Pilgrims
Before we examine the structure of sāmāyika, we take note that the recitation of each text is accompanied by mudrās, that is, by certain gestures and bodily postures. At regular intervals, reverence for the jinas is expressed by means of avartas (or āvartanas) and sironatis performed in a standing posture facing the image or icon.67 The avarta is a circular movement of the joined hands from right to left at faceheight.68 The sironati is an inclination of the head with joined hands. The mudrās number four:
1. Jinamudrā, the standing posture adopted for kāyotsarga.
2. Yogamudrā, the seated posture adopted for kāyotsarga which can be that of padmāsana or paryankāsana; during jinamudrā and yogamudrā, the picchikā is deposited on the ground.
3. Vandanamudrā, a standing posture, the hands being joined at breast-height in mukulita, that is to say, half-open, holding the picchikā; this is the mudrā employed for the bhaktis.
4. Muktāśuktimudrā, identical to vandanamudrā, except that the hands are placed together in such a way that the palms and fingers are touching. This is the mudrā used in the Namaskāra-mantra, in sāmāyika and caturvimšatistava.69
i) Sāmāyika (devavandana)
Although this rite contains the text of sāmāyika, it concentrates more on praise to the tirthańkaras, for which reason it is commonly called devavandana, deva being used here with the meaning of
67 Cf. ADh VIII, 85-90; if sämāyika does not take place in the temple, but in the place where the āryikās are residing, they perform the same gestures facing the East, even in the absence of any statue.
68 Cf. P 320; 323.
69 Cf. Jñānamati, 1976, pp. 39-40.
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