Hamari Dravya Puja Ka Rahasya - Book Summary

Here's a comprehensive summary of the Jain text "Hamari Dravya Puja Ka Rahasya" by Bansidhar Pandit, based on the provided pages:

The book "Hamari Dravya Puja Ka Rahasya" (The Secret of Our Material Worship) by Bansidhar Pandit explores the meaning and purpose of Dravya Puja (worship with material offerings) in Jainism. The author argues that traditional understandings and practices of Dravya Puja need deeper examination and that the current methods may not fully align with Jain principles.

Core Concepts of Puja:

Meaning of Puja: Puja is defined as reverence, respect, or honor shown by inferiors to superiors (worthy beings). Its primary purpose is for the worshipper to acknowledge their own smallness and the greatness of the revered, and through this, to strive for greatness themselves.
Means of Worship: Worship can be expressed through mind, speech, and body. When external materials are also used along with these, it is called Dravya Puja. When worship is expressed solely through mind, speech, and body, it is called Bhava Puja (mental worship). The author clarifies that while mind-based worship can be Bhava Puja and speech/body-based can be Dravya Puja, the scriptural distinction is based on the presence or absence of external materials.

Traditional Practice and Criticisms:

Traditional Inclusion: The author acknowledges that Dravya Puja is a traditional practice, akin to offering valuable items to elders in social etiquette. However, he questions the historical origin and the specific meaning it holds within religious worship.
The "Eight Substances" (Ashtdravya): Jain tradition prescribes worship using eight specific substances (e.g., water, sandalwood, rice, flowers, etc.) offered to venerated beings like Arhantas, Siddhas, Gurus, scriptures, Dharma, vows, the Three Jewels, and holy places.
The Central Criticism: The core of the author's argument revolves around the apparent contradiction of offering material substances to beings who are believed to have completely renounced desires and are free from any needs or attachments. The author states that scriptures do not explicitly explain the rationale behind using external materials in worship.
Rise of Anti-Idolatry Movements: The lack of satisfactory explanations for Dravya Puja has led to the emergence of anti-idolatry movements within Jainism, such as the Hadiya sect among Shvetambaras and the Taran Panth among Digambaras. These movements arose due to the logical objections raised against offering material items to inanimate idols or to beings who have transcended all worldly needs.

Addressing Objections to Dravya Puja:

The author systematically addresses several common objections to Dravya Puja:

Objection 1: Lack of Desire: Since divine beings have no desires, material offerings cannot satisfy them. Idols are inanimate. Therefore, offering substances to them is illogical.
- Critique of Traditional Solutions: The author dismisses several common justifications for this objection:
  - Seeking Help: Worshipping to ask for help in overcoming one's own afflictions (like thirst) is not logically supported by offering substances.
  - Reducing Attachment: Offering substances to reduce the worshipper's own attachment to material things is also questioned, as scripture study, listening to sermons, and remembering divine virtues are considered more effective means for this.
  - Maintaining Tradition of Giving: Labeling it as a "precedent for giving" without any actual utility is seen as meaningless.
  - Aid to Remembering Virtues: While idols can aid in remembering virtues, the material offerings themselves are considered unnecessary for this purpose, and could even be interpreted as attributing desire to the divine.
  - Overflow of Devotion: Attributing it to an overflow of devotion without logical consideration is deemed as misguided emotion (moha) rather than true devotion (bhakti).
Objection 2: Redundancy of Rituals (Avataran, Sthapan, Sannidhikaran): If an idol is already present, why perform rituals like "descent" (Avataran), "establishment" (Sthapan), and "invoking presence" (Sannidhikaran)?
- Critique of Traditional Solutions: The author finds the explanation that these are for worship in the absence of an idol insufficient. He also criticizes the dual action of invoking presence in flowers and simultaneously in the heart as contradictory and that focusing on the idol while mentally invoking the divine in the heart is inconsistent.
Objection 3: Invoking and Dispersing the Divine: Do divine beings come and go at our call and dismissal? If so, it contradicts Jain principles. If not, what is the purpose of these rituals?
Objection 4: Hygiene of Idols: Is it inappropriate to perform Abhishek (ritual bathing) on idols that may not be hygienically maintained?

The Author's Proposed Solution and the True Secret of Dravya Puja

The author proposes that if these objections cannot be satisfactorily resolved, then Jainism would appear incomplete in its philosophical framework. He asserts that Jain philosophy, with its principles of Ratnatraya (Three Jewels), Nikshep, Pramana, Naya, Anekantavada, and Saptabhangi, should offer a complete explanation.

The true secret, according to the author, lies in understanding the seven limbs of Dravya Puja and their symbolic representation:

Avataran (Descent): This symbolizes the approaching descent of a Tirthankara from heaven into the mother's womb. The worshipper, filled with joy, welcomes the Tirthankara with floral offerings.
Sthapan (Establishment): This represents the Tirthankara's entry into the mother's womb. The worshipper, with happiness, imagines the Tirthankara as they are about to enter the womb and makes floral offerings.
Sannidhikaran (Invoking Presence): This symbolizes the birth of the Tirthankara. The worshipper, imagining the Tirthankara at birth, takes the idol into their lap, preparing for the Abhishek.
Abhishek (Ritual Bathing): This represents the ceremonial bathing of the Tirthankara at birth on Mount Meru. The worshipper performs the ritual bathing with auspicious chants and music.
Ashtadravya Offering: This ritual symbolizes offering food to the Tirthankara in their renunciate (Muni) state. The author believes that this specific stage of the Tirthankara's life warrants material offerings, as it instills a sense of giving in the worshipper. He mentions a past practice of using food prepared at home, emphasizing purity of diet.
Jaymala (Garland of Victory/Praise): This signifies the glorification of the Tirthankara's virtues, especially their perfected state of omniscience (Keval Gyan). The worshipper praises the Tirthankara's knowledge, non-attachment, and beneficial teachings. After the Jaymala, peace prayers (Shanti Path) for world welfare and self-welfare prayers (Stuti Path) are offered. The author finds offering Argh (water offering) after Jaymala to be inappropriate as the Arhanta state is beyond receiving material things.
Visarjan (Immersion/Farewell): This symbolizes the Tirthankara's liberation (Moksha). The worshipper, with immense joy, concludes the ritual, celebrating the Tirthankara's attainment of liberation.

Significance of the Seven Limbs:

These seven actions are not to summon or dismiss the divine but to depict the life journey of a Tirthankara from conception to liberation. This portrayal helps the worshipper deeply connect with the extraordinary personality of the Tirthankara and the path of spiritual liberation they have shown.

Application to Different Venerated Beings:

Tirthankaras: The full seven-step ritual is specifically for Tirthankaras because they are the propagators of the spiritual path and their lives are marked by extraordinary events.
Siddhas (Liberated Souls): The worship of Siddhas should be limited to contemplation of their form and virtues, without the elaborate rituals of Avataran to Visarjan, as their status is beyond the phases of a Tirthankara's life. Their statues are consecrated only with the Moksha Kalyanak.
Other Venerated Beings (Acharyas, Upadhyayas, Munis, Scriptures, Holy Places, Ratnatraya, Dharma, Vows): The author argues that the meaning of worshipping these entities lies in their direct practice and study. The worship of scriptures is through study and contemplation. Holy places are worshipped by contemplating the virtues of the divine there. Ratnatraya are worshipped by striving to attain them. Dharma and vows are worshipped by following them to the best of one's ability. The seven-fold material worship is inappropriate for these, as it would indicate a lack of understanding.

Conclusion:

The author concludes by expressing his belief that by understanding this deeper symbolic meaning of Dravya Puja, the community can refine its practices. He reiterates that the proposed interpretation is consistent with logic and experience and resolves the previously raised objections. The ultimate aim of this worship is to imbue the worshipper with the virtues and spiritual understanding exemplified by the Tirthankaras.