Jain Sanskruti Me Sangit Ka Sthan - Book Summary

Here is a comprehensive summary of the Jain text "Jain Sanskruti me Sangit ka Sthan" (The Place of Music in Jain Culture) by Nirupama Khandelwal, based on the provided pages:

The article "The Place of Music in Jain Culture" by Nirupama Khandelwal asserts that music has held a significant and ancient position within Jain culture and literature. The Jain tradition considers music to be eternal and without beginning or end.

Origins and Early Mentions:

Lord Rishabhnath (Adinath): The text identifies the first Tirthankara, Lord Rishabhnath, as the primeval propagator of music. He is credited with teaching music to his son, Vrishabhasena. The Adi Purana by Acharya Jinsen is cited, stating that Rishabhnath imparted knowledge of singing, musical instruments, and Gandharva (celestial music) to his son, a science with over a hundred chapters.
Lord Bharata: Rishabhnath's son, Chakravarti Bharata, is also associated with music. The text mentions that music, instruments, and drama originated from the last of his nine treasures, the Shankha (conch shell).
"Har" as Rishabhnath: Music's origin is linked to "Har," which is interpreted as Rishabhnath. He is called "Har" because he destroys sins and "Shiva" because he bestows liberation (moksha).

Key Concepts and Definitions:

Etymology of "Sangit": The word "Sangit" is derived from "Geet" (song) with the prefix "Sam," meaning "with" or "together." Thus, "Sangit" is song accompanied by dance and instrumental music.
Primacy of Song: The article emphasizes that in music, "Geet" (song) is primary, while instruments and dance are secondary, following the song. All three together create a rhythm that is a festival for the ears and eyes.
Definition by Acharya Parshvadeva: Acharya Parshvadeva's Sangit Samaysar (10th century CE) is highlighted for its scholarly description of music in Sanskrit verses. It defines pure music as that where musical compositions are sung, instruments are played according to the lyrics, and dance follows the same pattern.
Definition by Sangit Ratnakar: The Sangit Ratnakar explicitly states that song, instrumental music, and dance together constitute music.
Nad (Sound): Music's medium is "Nad" (sound). According to Sangit Samaysar, all literature and language originate from Nad. A subtle sound that manifests distinctly from places like the throat, when arranged in ascending order, is called "Dhvani" by experts.

Music and Devotion:

Bhakti Ras (Devotional Emotion): Music is presented as an aid to devotional emotion. The text Sagar Dharmamrit considers music to be a superior means of devotion to Jin (Jain Tirthankaras), capable of removing all desires and afflictions.
Intensifying Devotion: Music is said to intensify devotional feelings, add grace, and melt the heart, leading it towards absorption in the divine. It is also important in bringing peace to the soul.

The Value of Music in Life:

Expression of Emotions: Music is described as the exhalation of the heart and a natural, simple, and sweet expression of human emotions. It is an essential art that makes life vibrant; without it, life is dull.
Comparison to Animals: Ignorance of music is equated to being like an animal without a tail or horns, as quoted from Bhartrihari's Neeti Shatak.
Mahatma Gandhi's View: Mahatma Gandhi believed that education is incomplete without music and considered it a major discipline among the fourteen branches of knowledge. He noted music's unparalleled naturalness, simplicity, and sweetness, stating that its sweetness is its lifeblood, exerting a magical effect.
Lord Krishna's Words: The text quotes Lord Krishna telling Narada that He resides not in Vaikuntha or in the hearts of yogis, but where His devotees sing with deep absorption.

Music and Language:

Melting Language: The sweet melody of music can soften even language. Music is the language of the heart expressed through ragas and raginis, with "Raga" being its fundamental basis.
Definition of Raga: Numerous scholars define Raga as a sound adorned with specific notes and words that pleases the minds of people.
"Sangit" as Proper Singing: The prefix "Sam" in "Sangit" implies singing a verse according to the rules of rhythm, tempo, and melody.

Music and Dharma (Religion):

Taming the Mind: Music is a beautiful means to control the restless human mind. While eight other emotions can agitate the mind, devotional emotion (Bhakti Ras), with its sentiment of love and dependence on tranquility, brings peace.
Generating Detachment: Through singing and music, one attempts to cultivate a spirit of detachment (Vitaraga Bhav) in contemplation of the Vitaraga Bhagwan (liberated souls).
Significance in Shraman Culture: Thus, music holds special importance in the Shraman (ascetic) tradition.

Music in Jain Agamas:

Agamas as Sources: The Jain Agamas are presented as the fundamental sources of Jain art and philosophy. The word "Geet" is discussed from various perspectives: artistic, subject-matter, and impact.
Agamas Mentioning "Geet": Several major Agamas are cited where the term "Geet" is etymologically and contextually analyzed, including Jambudvipa Prajnapti, Prashna Vyakarana, Jivabhigama, Jnatru Dharma Katha, Samavayaanga, Brihat Kalpa, Sthananga, and Anuyogdwara.
Lord Rishabhnath's Teachings: According to the Kalpa Sutra, Lord Rishabhnath taught arts for the welfare, prosperity, happiness, and peace of the populace.
Arts for Men and Women: Jambudvipa Prajnapti states that 72 arts were for men and 64 for women. Song held the fifth position among men's arts and the eleventh among women's arts.
Examples from Agamas:
- Jnatru Dharma Katha describes Meghakumar as skilled in song, Gandharva, and dance.
- Dashashrutaskandha mentions sons of noble and powerful families being adept in dance, song, string instruments, percussion, rhythm, and other musical instruments.
Music in Society: Music was prevalent in both aristocratic and common classes. The Uttaradhyayana mentions the captivating music of Matanga's sons, Tisara, Venu, and Veena. Music was also featured during festivals like Kaumudi and Indra Mahotsava.
King Udayana's Prowess: The exceptional musical skill of King Udayana is discussed in the Avashyak Churni, noting how he pacified an enraged elephant with his music. King Udayana of Sindhu-Sauvira was also skilled in playing the veena, and his queen danced on a haystack.
Types of Poetry: Sthananga classifies poetry into four types: instrumental music, drama, vocal music, and acting, giving prominence to the veena, cymbal, and percussion instruments.
Music's Role in Relieving Suffering: Acharya Bharata, the author of Natya Shastra, also emphasized music's importance in drama, stating that music dispels the sorrow and suffering of all beings and provides comfort even in times of adversity.

Types and Qualities of Song:

Three Types of Song: Samavayaanga and Sthananga mention three types of song, while Jambudvipa Prajnapti lists four.
Origin of Swaras (Notes): Sthananga states that there are seven notes originating from the navel, with the word being their fundamental place.
Three Phases of Song: Song is described as soft at the beginning, intense in the middle, and mellow at the end.
Six Defects of Song:
1. Bhita (fearful singing)
2. Druta (fast singing)
3. Apittha (singing with breath or short/light notes)
4. Uttala (exaggerated rhythm and accent)
5. Kaka (harsh, crow-like singing)
6. Anunasika (nasal singing)
Eight Qualities of Song (from Sthananga):
1. Purna (complete with notes, rhythm, and embellishments)
2. Rakta (absorbed in singing)
3. Alankrita (decorated with special notes)
4. Vyakta (clear, with distinct notes and words)
5. Avighushta (correct notes, not distorted)
6. Madhura (sweet like a cuckoo)
7. Sama (balanced in rhythm and notes)
8. Sulalita (melodious, with gentle notes)
Another Eight Qualities of Song (from Sthananga): Pure in chest and throat, pure in head, soft, ringing, structured, balanced rhythm, and seven-note harmonizing.
Seven Types of "Sam" (Equivalence): Anuyogdwara lists seven types: word-equivalence, phrase-equivalence, rhythm-equivalence, tempo-equivalence, accent-equivalence, breath-equivalence, and movement-equivalence.
Yet Another Eight Qualities of Song (from Sthananga): Flawless, meaningful, reasoned, decorated, presented, with proper procedure, measured, and sweet.

The Seven Swaras (Musical Notes):

Detailed Descriptions: Sthananga provides detailed descriptions of the seven swaras (Sadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, Nishada) and their origins from different parts of the body.
Identification through Nature: The text explains how the swaras can be identified through the sounds of various animals (peacock, rooster, swan, peacock, cuckoo, cranes, elephant) and inanimate objects (drum, bellows, conch, cymbal, tabla, kettle drum, large drum).

Fruits of Swaras:

The Agamas describe the benefits of using specific swaras:
- Sadja: Leads to livelihood, success, cows, sons, friends, and favorability.
- Rishabha: Grants wealth, armies, children, riches, clothes, and ornaments.
- Gandhara: Provides all means of livelihood and knowledge of other arts.
- Madhyama: Leads to a happy life.
- Panchama: Makes one a ruler, brave, appreciative, and knowledgeable.
- Dhaivata (Raivata): Leads to unhappiness, a low nature, and uncivilized behavior, often associated with hunters, thieves, and wrestlers.
- Nishada: Makes one argumentative, a wanderer, a porter, a thief, a killer of cows, and a vagrant.
Three Gramas (Musical Modes): Sthananga describes three Gramas: Sadja Grama, Madhyama Grama, and Gandhara Grama. Each Grama has seven Murchanas, totaling 21 Murchanas.
Influence on Treatises: Acharya Parshvadeva's Sangit Sar and Sudhakalasha's Sangitopanishad were based on Sthananga and Anuyogdwara.

Conclusion:

Vast Discussion in Agamas: The Jain Agamas extensively discuss music.
Goal of Jain Music: The ultimate goal of Jain music is the path to liberation (moksha).
Emphasis on Renunciation: It strongly emphasizes the spirit of renunciation and detachment.
Part of Religious Education: Jain music is an integral part of religious education.
Importance in Devotion and Spirituality: It holds equal importance in both devotion and spiritual pursuits.

In essence, the article comprehensively argues for the deep-rooted and multifaceted significance of music in Jainism, tracing its origins to Tirthankaras, defining its components, highlighting its role in spiritual upliftment, and detailing its presence and qualities as documented in ancient Jain scriptures.