Jain Purano Me Varnit Prachin Bharatiya Abhushan

Here's a comprehensive summary in English of the provided Jain text, "Jain Purano Me Varnit Prachin Bharatiya Abhushan" by Deviprasad Mishr:

The book, "Jain Purano Me Varnit Prachin Bharatiya Abhushan" (Ancient Indian Ornaments Described in Jain Puranas) by Deviprasad Mishr, explores the rich descriptions of jewelry found in Jain Puranic literature. The author highlights the Puranas as invaluable sources for understanding Indian cultural history, noting that both Vedic and Jain traditions have their own vast bodies of Puranic literature. Jain Puranas, written in Prakrit, Apabhramsha, Sanskrit, and various regional languages, are not limited in number like the eighteen Puranas of the Vedic tradition; hundreds exist. These Jain Puranas often focus on the lives of sixty-three Shalaka Purushas (illustrious individuals) but also incorporate substantial material on India's cultural history.

The creation of Jain Puranas was influenced by the political, social, cultural, and religious circumstances of their times. Jain authors often adapted narratives and characters from the Ramayana and Mahabharata, integrating Jain principles, philosophies, and practices. The Puranas discussed date from the 6th to the 18th century CE, with foundational texts emerging between the 7th and 10th centuries CE. Sanskrit Jain Puranas provide evidence for the types of ornaments described.

Wearing ornaments, like clothing, is presented as an indicator of prosperity and a happy life, also reflecting cultural influences. According to Sikdar, the use of ornaments developed alongside the art of textile production in Indian civilization. Jain Puranas emphasize the role of ornaments in enhancing physical beauty. For instance, the Mahapurana states that married women (kulavati) wore ornaments, while widows renounced them. It also mentions special rooms called Alankar-griha and Shri-griha for adorning oneself. The Mahapurana details how ornaments like anklets (nupur), armlets (bazuband), bracelets (ruchik, angad), waistbands (karadhani), necklaces (haar), and crowns (mukuta) were obtained from Kalpavriksha (wish-fulfilling trees), echoing ancient beliefs where trees provided such items.

Jain Puranas describe ornaments from head to toe, offering descriptions that are both traditional, contemporary, and sometimes imaginary. Ornaments were crafted from gems, gold, and silver. The Mahapurana describes gold being purified by fire for making jewelry, and gem-studded gold ornaments are termed Ratnabhushan. The text also mentions the growth of great gems in the ocean. Various types of precious stones used for making jewelry are listed, including: chandrakantmani (moonstone), suryakantmani (sunstone), vajra (diamond), indramani (sapphire), gomukh mani, pearls (mukta), sphatik, vaiduryamani (cat's eye), kaustubhamani, coral (praval), padmaragmani (ruby), maraktamani (emerald), jatanjan (black gem), kalmani (black gem), and haim (yellow gem).

Types and Forms of Ornaments:

Both men and women were fond of ornaments, and their adornments were often similar. Ornaments like earrings (kundal), necklaces (haar), armlets (angad), bracelets (valay), and rings (mudrika) were worn by both sexes. Shikhamani, kirit, and mukut were primarily worn by men. Ornaments were worn on specific parts of the body, and detailed descriptions are provided:

(A) Head Ornaments (Shirobhushan): These include crowns (mukut), kirit, simantakamani, parasols (chhatra), crests (shekhar), chudamani, and headbands (patt). The Mahapurana also mentions applying tilak with sindoor.

• Kirit: Worn by Chakravartis (universal monarchs) and great emperors, made of gold, signifying imperial status.
• Kiroti: Described in the Mahapurana, made of gold and gems, smaller than a kirit, worn by both men and women.
• Chudamani: Also referred to as murddhiratna in the Padmapurana, worn by kings and feudatories, always featuring a gem in the center. Chudaratna is used interchangeably in the Mahapurana.
• Mukut: A head ornament for kings and feudatories, less valuable than a kirit. It's mentioned that Tirthankaras wore mukutas, and it was one of the five insignia of kings, holding significant importance, especially in royal families.
• Mauli: Described by Dr. Vasudev Sharan Agrawal as a circular gold plate worn over the hair, studded with gems and gold threads. It seems to be of lower status than kirit but important for head adornment.
• Simantakamani: Worn by women in their hair parting, similar to the modern maang-tika.
• Uttansa: Considered superior to kirit and mukut, worn by Tirthankaras, more beautiful than other crowns, primarily used by religious leaders. It was smaller than kirit and mukut but more valuable.
• Kuntali: Mentioned alongside kirit, it was larger than kirit and worn as a plume in the hair. Both men and women wore it, but it was not for the common people, enhancing the wearer's personality and displaying wealth and authority.
• Patt: Described in the Brihat Samhita as made of gold, with variations like Rajapatt, Mahishipatt, Yuvrajapatt (with three crests), Senapatipatt (with one crest), and Prasadapatt (without crest). It was tied over the turban.

(B) Ear Ornaments (Karnabhushan): The practice of wearing ear ornaments was ancient, with both men and women having pierced ears. These include kundal, avtansa, talapatrika, and baliya.

• Kundal: A common ear ornament, worn by wrapping around the ear. In the Mahapurana, they are described as reaching the cheeks, and in the Padmapurana, even slight movement caused them to sway. They are categorized by type, such as manikundal, ratnakundal, makarakritkundal, kundali, and makarankita kundal.
• Avtansa: Described as swaying in the Padmapurana, often made of flowers and soft leaves. Bana's Harshacharita mentions both avtansa (flower-made) and kundala.
• Talapatrika: An ear ornament worn by men in one ear, described as having great radiance.
• Baliya: Worn by women in their ears, possibly made of flowers.

(C) Neck Ornaments (Kanthabhushan): Both men and women wore neck ornaments made of pearls and gold, indicating economic prosperity and the skill of Indian goldsmiths. Key types include yashti, haar, and ratnavali.

• Yashti (Mauli): The Mahapurana describes five types: Shirshak (central large pearl), Upashirshak (three progressively larger pearls), Prakanda (five progressively larger pearls), Avaghatak (large central gem with smaller pearls on either side), and Taralprabandha (uniform pearls throughout). These yashtis have further classifications based on the presence of a central gem (manimadhya) or its absence (shuddha). Manimadhya yashti can also be called ekavali or ratnavali if made of various gems. Apavartika is a manimadhya yashti strung with gold, gems, and pearls at specific intervals.
• Haar (Necklace): A collection of strings, made with lustrous gems. These could be made of pearls (muktahaar) or other gems. The number of strings determined the eleven types of necklaces: Indrachchhanda Haar (1008 strings, worn by Indra, Jinendra, and emperors), Vijayachchhanda Haar (504 strings, worn by semi-emperors and Balabhadras), Haar (108 strings), Devachchhanda Haar (81 strings), Ardha Haar (64 strings), Rashmikallap Haar (54 strings), Guchchha Haar (32 strings), Nakshatramala Haar (27 pearl strings, resembling constellations), Ardha Guchchha Haar (24 pearl strings), Manav Haar (20 pearl strings), and Ardha Manav Haar (10 pearl strings). If a central gem was present, terms like Manav were appended (e.g., Indrachchhanda Manav). The text further notes that combining these eleven types of haars with the five types of yashtis (like Shirshak) resulted in 55 sub-types.

Other Neck Ornaments: Kanthamalika (worn by both sexes), kanthabharana (men's ornament), srak (made of flowers, gold, pearls, gems), kanchan sutra (gold or gem-studded), graiveyak, haralta, harvalli, manihar, hataka, muktahaar, kanthika, and kanthikevas (made of lakh, considered lower grade).

(D) Arm Ornaments (Karaabhushan): These include angad, keyur, valay, katak, and mudrika, worn by both men and women. The primary difference was that men's ornaments were simpler, while women's had bells or pendants.

• Angad: Worn on the upper arm, by both sexes. Keyur is also mentioned as synonymous with angad.
• Keyur: Worn on the upper arm by both sexes, made of gold and silver, often embedded with gems. Hem Keyur (gold keyur) is also mentioned. Some keyurs had pointed ends.
• Mudrika: Finger rings, worn by both sexes. Descriptions include gold-studded, gem-studded, and rings depicting animals, birds, deities, humans, or bearing inscriptions. Umika is a term used for rings in the Padmapurana.
• Katak: Bracelets worn on the wrist since ancient times, made of gold, silver, ivory, or shells. Divya Katak refers to bright, gem-studded bangles. The term Katak-kadamb (infantry) is speculated to have originated from soldiers wearing katak.

(E) Waist Ornaments (Kati-abhushan): Important ornaments for the waist include kanchi, mekhala, rasana, dam, and katisutra.

• Kanchi: A wide, gold belt worn close to the waist, adorned with gems and bells.
• Mekhala: A waist ornament, worn by both sexes. It was narrower than kanchi and could be plain gold or gem-studded.
• Rasana: Similar to kanchi and mekhala, worn around the waist, being thin and making noise due to attached bells. Kanchi, mekhala, and rasana are used synonymously for women's waist ornaments.
• Dam: A type of waist ornament, with varieties like kanchidama, muktadama, mekhaladama, and jewel-studded kinkini-yukt manimaydama.
• Katisutra: Worn around the waist by both men and women.

(F) Foot Ornaments (Padabhushan): These include nupur, tulakoti, and gomukh mani, primarily worn by women.

• Nupur (Anklets): Worn on the feet by women, producing a sweet sound due to attached bells. Varieties include maninupur, shinjitnupur, and bhasvatkalannupur.
• Tulakoti: Named after the beam of a weighing scale, its sides are slightly cubic. Mentioned in Bana's Harshacharita.
• Gomukh Mani: Ornaments embedded with gems having a shape similar to a cow's face.

In conclusion, the book provides a detailed and scholarly account of the diverse and intricate jewelry described in Jain Puranic literature, offering insights into the material culture, aesthetic sensibilities, and socio-economic conditions of ancient India through the lens of Jain tradition.