Jain Stotra Sahitya Ek Vihangam Drushti

This is a comprehensive summary of the Jain text "Jain Stotra Sahitya Ek Vihangam Drushti" by Dr. Gadadhar Sinh:

The book, "Jain Stotra Sahitya Ek Vihangam Drushti" (Jain Hymn Literature: A Bird's Eye View), authored by Dr. Gadadhar Sinh, provides an extensive overview of Jain hymn literature. The author emphasizes that knowledge, action, and worship are the eternal paths to attaining the true form of the Supreme Being in Indian traditions. Hymns (stotras) are presented as an integral part of worship, a means to praise the qualities of the divine.

The Nature and Significance of Stuti (Praise/Hymn):

• Definition: Stuti is defined as the articulation of qualities. It's not mere flattery, which even bards might do, but the praise of the true, ultimate reality – the Supreme Soul.
• Psychological Impact: The text highlights the psychological impact of stotras. The mind, likened to molten lac, can be deeply impressed by the divine form, stories, and contemplation of God. These impressions, or "vasanas" in psychological terms, create a lasting impact, leading to spiritual joy.
• Inspiration and Transformation: Through stotras, devotees remember the divine and are inspired to emulate those divine qualities. Acharya Samantabhadra is quoted stating that prayer allows the devotee to attain the qualities of God.

Jainism's Perspective on Devotion (Bhakti):

• Emphasis on Self-Effort: Jainism is primarily an ethical and knowledge-oriented religion where the soul's liberation is achieved through its own effort. The soul is its own doer and experiencer of karma.
• The Role of Divine Praise: While self-effort is paramount, the praise of God is seen as a catalyst for performing good deeds. It purifies the mind and makes it receptive to spiritual progress. The text cites the "Kalyan Mandir Stotra" to illustrate how meditating on the divine can loosen the bonds of karma.
• Addressing the "Bhakti-Rivalry" Argument:
  • Is Devotion a Cause of Bondage? The text addresses the argument that devotion, rooted in "raag" (attachment/affection), leads to bondage, as Jainism considers all forms of raag as the cause of "asrava" (influx of karma). The author clarifies that attachment for worldly gains leads to bondage, but devotion to the Vitarag (one who has conquered passions) is liberating. This is likened to the Gita's distinction between "sakama" (desire-driven) and "nishkama" (desireless) karma. Jain devotees, ideally, have a desireless devotion, seeking only to emulate the divine.
  • The Role of Form (Saguna/Nirguna): The argument that devotion requires a "saguna" (with form) object is also discussed. While Jainism acknowledges the "saguna" forms of Arhats and Siddhas, their Vitarag nature means they have no vested interest in the devotee's affairs. However, the text explains that even though God is detached, devotees receive the fruits of their devotion through divine grace, akin to a wish-fulfilling tree or jewel.
  • Knowledge vs. Devotion: Jainism is often perceived as knowledge-centric, implying a lack of space for devotion. However, the text argues that both knowledge and devotion stem from "shraddha" (faith). The Upanishadic concept of understanding the Self (Atman) is also aligned with devotional practices when the divine is seen as the Self.

The Jain Stotra Tradition:

• Origins: The stotra tradition in Jainism originates from the Agamas (canonical scriptures), which contain beautiful and ornate praises of the Tirthankaras.
• Evolution: Initially, there was a distinction between "Stava" (Praise) and "Stotra" (Hymn), with Stava being in Sanskrit and Stotra in Prakrit. However, this distinction eventually dissolved, and the terms became synonymous.
• Content and Themes: Jain stotras cover various aspects:
  1. Aesthetic Description of the Deity's Form: Beautiful portrayals of the divine.
  2. Recounting Divine Deeds: Narratives of the deity's glorious actions.
  3. Self-Surrender and Desire for Fruits: Devotees expressing their surrender and seeking worldly or spiritual benefits.
  4. Philosophical Exposition: Explaining Jain philosophical principles.
  5. Display of Poetic Talent: Showcasing literary skill.

Prominent Jain Stotra Literature:

The book then delves into specific examples of significant Jain stotra literature across different languages:

• Prakrit Stotras:

  • Gautam Ganadhar's "Jay Tihuan Stotra": The oldest known Prakrit stotra, recited by Gautam when he met Lord Mahavir.
  • Acharya Kundakunda's "Tiththyar Sudi": Known as "Logassa Sutta" in the Shvetambara tradition.
  • "Bhayahar Stotra" by Mantung Suri: Composed in the 7th century CE.
  • "Uvsaggahar Stotra" by Bhadrabahu: Composed in the 6th century CE, popular for its supposed medicinal properties.
  • "Shashvat Chaityastav" by Devendrasuri: Praising permanent Jain shrines.
  • "Nirvanakanda": A popular Digambara text listing places of Tirthankara liberation.
  • "Labdhjit Shantistavan": Composed by Jinavallabha Suri.
  • "Dhanpal's Rishabh Panchashika": Praising Lord Rishabhdev.
  • "Mahavir Stotra" by Abhayadev Suri.
  • "Panchkalyanak Stotra" by Jinvallabh Suri.
  • "Jinprabh Suri's Jinvansh Kalpa and Ambikadevi Kalpa": Comprising numerous hymns.

• Sanskrit Stotras:

  • Acharya Samantabhadra's "Swayambhu Stotra": Considered a foundational text.
  • Acharya Siddhasen Divakar's "Kalyan Mandir Stotra": Highly revered across all Jain sects.
  • Acharya Devanandi (Pujyapada)'s Twelve Stotras: Including those related to Siddha-bhakti, Shrut-bhakti, and Tirthankara-bhakti.
  • "Patrakesari Stotra" by Vidyannandi.
  • "Bhamar Stotra" by Acharya Mantung Suri: Considered one of the most significant, with numerous translations.
  • "Chaturvishati Jin Stotra" by Vappabhattir.
  • "Shobhan Stotra" by Shobhan Kavi.
  • "Dvastrimshika Stotra": Another work attributed to Samantabhadra.
  • "Vishapahar Stotra" by Dhananjay: Believed to counteract snake venom.
  • Vadiraja Suri's Stotras: "Ekibhav Stotra," "Jnanlochan Stotra," and "Adhyatmashtak."
  • Acharya Hemchandra's "Vitaragastotra": A significant work.

• Apabhramsha Stotras:

  • While less numerous than Sanskrit and Prakrit stotras, Apabhramsha hymns also exist, with some notable ones like Dhanpal's "Satpurio Mahavir Utsaha Stotra."
  • Gani Mahimagagar's "Arhant Chaupai."

• Hindi Jain Stotra Literature:

  • Hindi stotra literature largely consists of translations and adaptations of popular Sanskrit and Prakrit hymns like "Bhamar," "Kalyan Mandir," "Vishapahar," "Ekibhav," and "Chaturvishati Stavan."
  • While these translations show poetic skill, the author notes that none have fully matched the original's essence.
  • Original Hindi stotras have also been composed, categorized as "Binati" (Supplication), "Stuti" (Praise), and "Prarthana" (Prayer).
  • The text lists numerous Hindi Jain poets who contributed to this tradition, including Vinayaprabh, Merunandan Upadhyay, Jainsagar, Sthalkarshi, Bhattarak Shubhchand, Anandghan, Udayaraj Jati, Kalyan Kirti, Kanak Kirti, Kumudachandra, Kushal Labh, Gun Sagar, Jay Kirti, Pandey Jinas, Narendra Koti, Brahmagural, Banarasidas, Maharak Shubhchandra, Muni Sakal Kirti, Pandey Rupchandra, Sahaj Kirti, Sumat Kirti, Harsh Kirti, Pt. Hiranand, Muni Hemsiddh, and Dyanatray.

Conclusion:

The book concludes by emphasizing the rich and extensive nature of Jain stotra literature, both in terms of its volume and its qualitative depth. It highlights the profound impact of these hymns on Jain devotional practices and the literary landscape. The author notes that many interpretations presented are his independent views and may differ from Shvetambara traditions, encouraging balanced contemplation on the subject.