Jain Mahapuran Me Bramhaniya Parampara Ke Devi Devta

Here's a comprehensive summary of the Jain text "Jain Mahapuran me Bramhaniya Parampara ke Devi Devta" by Kamalgiri, focusing on the presence of Brahmanical deities in the Jain Mahapurana:

The book explores the significant presence and integration of deities from the Brahmanical tradition within the Jain Mahapurana. The Mahapurana, a foundational Jain text divided into the Adi Purana and Uttara Purana, composed by Acharya Jinasena and his disciple Gunabhadra respectively, is highlighted for its dualistic approach. While it faithfully presents the core tenets of Jainism, it also strives for a comprehensive synthesis with the Vedic and Brahmanical traditions. This syncretic approach is evidenced by the frequent mention and depiction of universally accepted Brahmanical and folk deities within its narratives.

Key Brahmanical Deities and Their Presence in the Mahapurana:

• Trimurti (Brahma, Vishnu, Shiva): The Mahapurana extensively mentions and venerates these principal deities.

  • Shiva: Shiva's names, such as Swayambhu, Shambhu, Shankar, Trinetra, Tripurari, Trilochan, Vishwamurti, Maheshwar, Mahadeva, Mrityunjaya, and Ardhanarishvara, are found in the stanzas praising Rishabhanatha. This suggests an early conceptualization of Rishabhanatha with Shiva. Attributes associated with Shiva, like matted hair, the bull emblem, and the Yaksha Gomukha with a bull's face and holding a parashu (axe), further solidify this connection. The Mahapurana also refers to Shiva's Mahayogi form as a basis for understanding the ascetical aspect of Rishabhanatha. Shiva's names like Hara and Mahesh are also linked to other Tirthankaras like Ajitanatha and Sumatinatha.
  • Vishnu: Vishnu's names such as Jagannath, Vamanadeva, and Lakshmipati are also found among the eulogies for Rishabhanatha. The Mahapurana associates Ajitanatha with some of Vishnu's names as well.
  • Brahma: Brahma's names like Brahmā, Pitāmaha, Dhātā, Vidhātā, and Chaturānana are also noted in the context of Rishabhanatha. The Adi Purana, in line with Vedic beliefs, describes Rishabhanatha creating the Kshatriya varna by bestowing weapons and teaching martial arts, thus positioning him as Adi-Brahma, Prajapati, and Vidhatā (creator).

• Other Deities:

  • Indra: Indra is a prominent figure in the Mahapurana, depicted as a primary attendant of the Tirthankaras. His presence is essential during the Panchakalyanakas (five auspicious events in a Tirthankara's life) and the Samavasarana (the divine assembly). Indra is described as having multiple faces and eyes (Sahasraksha). The Mahapurana refers to 32 principal Indras belonging to different celestial classes. Indra's depiction often includes dances like the Tandava, associated with Shiva, and in Jain art, he is shown as four-armed, holding attributes like the ankusha (goad) and vajra (thunderbolt).
  • Kubera: Kubera, the god of wealth, is also recognized in Jainism. He is appointed by Indra to create cities and serve Jinendras. Kubera is credited with showering jewels in the courtyards of Tirthankara mothers before their birth. In Jain temples, Kubera is often depicted as a Dikpala (guardian of the directions), similar to Brahmanical traditions, usually on the northern side. He is portrayed with a large belly, riding an elephant, holding wealth-related items.
  • Lakshmi: Lakshmi's concept appears in Jainism around the 5th century CE, mentioned as "Shri Lakshmi" in the context of auspicious dreams seen by Tirthankara mothers. The Uttara Purana also refers to Lakshmi in this context, describing her as the mistress of lotus lakes and being anointed by elephants. Jain art from the 9th century onwards depicts Lakshmi with characteristic Brahmanical attributes, seated on a lotus, with lotuses in her upper hands, and varada or abhaya mudra in the lower hands.
  • Saraswati: Saraswati is recognized as the deity of intellect and knowledge, or Shrutadevata. The Adi Purana mentions her alongside other goddesses like Shri, Hri, Kirti, Dhruti, Buddhi, and Lakshmi. The earliest known sculpture of Saraswati dates back to the Kushana period. By the 10th-11th centuries, she was accepted as the goddess of music and arts, often depicted with a Veena and riding a peacock. Saraswati worship is more popular in the Shvetambara tradition. Her iconography in Jainism mirrors that in Brahmanism, with attributes like a book, Veena, rosary, etc.
  • Ganga: Ganga is also acknowledged as a goddess. The Adi Purana mentions Chakravarti Bharata being anointed with Ganga water. The Mahapurana by Pushpadanta describes Ganga with a moon-like face, lotus eyes, and adorning the heads of Tirthankaras with flowers.
  • Other Deities and Concepts: The text also mentions deities like Vaisravana (Kubera), Surya (Aditya), Gandharvas, Pitrs, Nagas, and Lokapalas. The concepts of nine Baladevas and nine Vasudevas (Narayanas) are noted as significant influences from Vaishnavism, integrated into the list of 63 Shalaka-purushas. Baladeva's attributes are linked to Sankarshana/Balarama, and Vasudeva's attributes are clearly derived from Krishna. The Mahapurana's narrative style, as a story-telling text, does not delve into the specific lañchana (emblems) of Tirthankaras or the attributes of their attendant Yakshas and Yakshinis.

Significance of the Synthesis:

The presence of these Brahmanical deities underscores the syncretic nature of early Jainism, particularly during the period when the Mahapurana was composed (9th-10th centuries CE). This integration reflects a period of harmonious interrelationship between Brahmanism and Jainism. The widespread acceptance of these deities in Jain iconography and literature from the 5th century CE onwards, as seen in texts like Vimalasuri's Pauumacariya, indicates a long-standing tradition of such synthesis. The conceptual similarity between Rishabhanatha and Shiva, in terms of names and attributes, is particularly significant in highlighting the interconnectedness of these traditions. The use of epithets like Tryambaka and Chaturanana for Tirthankaras, which are specific to Shiva and Brahma respectively, further emphasizes this syncretic impulse within Jain thought.

In essence, the book demonstrates how the Jain Mahapurana, while firmly rooted in Jain principles, actively incorporated and referenced Brahmanical deities, reflecting a dynamic cultural and religious landscape characterized by mutual influence and integration.