Jain Dharm Aur Sangit

Here is a comprehensive summary of the provided Jain text, "Jain Dharm aur Sangit" by Gulabchandra Jain:

This text explores the multifaceted relationship between Jainism and music, delving into the philosophical underpinnings and historical context of this connection. The author, Gulabchandra Jain, argues that music is an integral aspect of Jain teachings, particularly evident in the discourse of the Tirthankaras.

Core Philosophical Principles:

• The Eternal Nature of the Universe and Sound: Jainism posits an eternal, uncreated universe without beginning or end. Similarly, the author asserts that the origin of music (specifically, melodies or "Ragas") is impossible to pinpoint, likening it to a child's play to determine its creation. However, the author acknowledges that Ragas, like all things, undergo cycles of rise and fall influenced by time and nature.
• The Power of Atoms (Pudgala) and Sound: The text highlights the Jain concept of subtle particles or atoms (Pudgala) and their inherent properties, including sound. It explains that sound, as we perceive it, is the result of aggregated atoms in motion. These atoms possess various qualities like form, color, smell, touch, and sound, and their interaction creates vibrations.
• Subtlety of Sound and Language: Drawing from Jain Agamas like the Shankhashya and Bhagavati Sutra, the author emphasizes the extreme subtlety and speed of sound emanating from speech. Words are so rapid that they traverse the entire universe in an instant and return, creating vibrations that form audible sound. The text distinguishes between the subtle sonic essence and the gross, perceptible sound that listeners perceive.
• The Significance of Vibration and Composition: The author stresses that the efficacy of sound, including music, depends on the specific type and quantity of vibrations used. Just as magnets attract iron particles, atoms with similar properties naturally combine to create specific effects. The rise and fall in the intensity of these vibrations are attributed to their coming together and separating.
• The Concept of "Sam" (Music): The text defines "Sam" (music) as a type of sound that does not harm the auditory senses but rather enhances them. It is a harmonious and balanced vibration. The author connects the word "Sangit" to "San" (meaning 'together' or 'well') and "Git" (meaning 'voice' or 'song'), implying a harmonious vocalization. Furthermore, it suggests that the pure, Raga-Dvesha-free emotions expressed by enlightened beings (saints) were inherently attractive and considered "Sangit."
• The "Tejas" (Radiance) in Sound: The author highlights the potent, radiant energy (Tejas) present in the sound produced by Tirthankaras, referencing the powerful cry of Lord Mahavira when his nails were pulled out. This immense sonic force could create fissures in mountains, illustrating its profound impact. This "Tejas" is necessary to dispel ignorance and delusion.

Music in Jainism:

• Lord Mahavira's Discourse in "Malakosh" Raga: A central point is the assertion that Lord Mahavira delivered his sermons in the "Malakosh" Raga. This is attributed to the inherent "Tejas" (radiance) within this Raga, which is effective in dispelling ignorance and illusion.
• The Role of Music in Human Transformation: Music is presented as a powerful force capable of transforming individuals. It can melt hardened hearts, like iron melting in heat, and transform negative thoughts. The author draws parallels with the effects of music observed in dance, circuses, and during warfare, as well as the scientific acknowledgment of sound's medicinal properties.
• Historical and Scriptural Evidence: The text references various Jain scriptures and philosophical traditions, including:
  • Vaisheshika and Nyaya Darshana: For their theories on atoms.
  • Jain Agamas: Specifically mentioning Nandi Sutra, Avasyak Bhashya, Dravyanuyoga, and Bhagavati Sutra for details on sound and atomism.
  • Musical Instruments: The text lists various musical instruments mentioned in Jain scriptures like Sthānanga, Rajniyasutra, and Brihatkalp Bhashyapithika, categorizing them into stringed (Tat), covered (Titat), percussion (Pan Kansa Tal), and wind (Bhushir Shushir) instruments.
  • Qualities and Flaws of Music: The text details eight virtues of song (e.g., completeness, absorption, embellishment, clarity, correctness, sweetness, balance, tenderness) and five flaws (fearful, too fast, breathy, improper rhythm, harsh like a crow's voice, nasal). It also outlines seven types of "Sam" (balance) and eight other qualities of singing.
  • The Seven Swaras (Notes) and Gramas/Murchanas: The text describes the seven notes (Swaras) and their origin, as well as the three Gramas (modes) and their respective Murchanas (melodic frameworks), drawing from ancient Indian musical theory.

Jain Musical Traditions and Texts:

• Early Works: The text mentions that while Vedic texts like Bharata's Natya Shastra discuss music and instruments, they do not detail Ragas. However, the works of Bharata's disciples – Dattil, Kohal, and Vishakhiya – like Dattilam and Kohliyam, are cited. Vishakhiliyam is mentioned as currently unavailable.
• Medieval Period and Jain Contributions: The author highlights the emergence of Hindustani and Karnatak music systems in the medieval period. Jain Acharyas also contributed significantly to musical literature.
  • Sangeet Samaysar: Composed by Mahadevacharya and his disciple Papavanchandra around 1380 CE, this work covers topics like Nada, Dhvani, Raga, Vadhya, Abhinaya, Tala, etc.
  • Sangeetopanishad Saroddhara: Written by Sudhakalash in 1406 CE, this is a more elaborate version of his earlier work, Sangeetopanishad. It covers various aspects of music, including song, rhythm, notes, and ragas.
  • Sangeetopanishad: An earlier, larger work by Sudhakalash, which is not currently available.
  • Sangeet Mandan: Composed by Mandan, minister to Sultan Alamshah of Malwa, around 1490 CE, this manuscript is unpublished.
  • Other Works: Mention is made of "Sangeet Deepak," "Sangeet Ratnavali," and "Sangeet Pingal," though little specific information is available.

Naatya (Drama) and its Connection to Music:

• The Nature of Naatya: Naatya is described as a dramatic representation of human experiences of joy and sorrow, created to provide solace to those suffering. It encompasses physical (Angika), vocal (Vachika), and mental (Sattvika) expressions.
• Interconnectedness of Arts: The text emphasizes the inseparable nature of drama, dance, and music, akin to the connection between the sun and its heat or light. These arts are innate to humans and persist even through reincarnation.
• Naatya Darpan: This important work on drama was composed by Ramachandra Suri and Gunachandra Gani around 1200 CE. It details various types of dramatic forms (e.g., Nataka, Prakarana, Vithi) and discusses rasa (emotions), bhava (mental states), and abhinaya (acting). The text also highlights the critical and analytical approach of Ramachandra Suri, who sometimes differed from established authorities like Dhananjaya and Bharata.
• Other Dramatic Works: The author lists several other dramatic works composed by Ramachandra Suri and Gunachandra Gani, including "Kaumudi Mishrananda," "Nalavilas," "Raghavabhudaya," and "Prabandh Shatak" (which is unavailable).

Visual Arts:

• Chitra Varna Sangraha: A section on painting, detailing techniques for wall painting, color preparation, and various artistic elements.
• Masi Vichar: A text on the preparation of ink for writing on palm leaves and paper.

In essence, "Jain Dharm aur Sangit" presents a holistic view of music within Jainism, positing it not merely as an art form but as a profound spiritual tool capable of transforming individuals and reflecting the cosmic order. The text draws heavily on Jain scriptures and philosophical concepts to establish this connection, providing a detailed historical and theoretical framework for understanding music's place in Jain tradition.