Jain Tantra Sadhna Me Sarasvati

Here's a comprehensive summary of the Jain text "Jain Tantra Sadhana me Sarasvati" in English, based on the provided pages:

The book "Jain Tantra Sadhana me Sarasvati" by Maruti Nandan Prasad Tiwari and Kamalgiri explores the significance and practice of tantric sadhana (spiritual practices) dedicated to Sarasvati within Jainism. It delves into the historical evolution, iconography, and textual references of this practice, highlighting the unique position of Sarasvati in Jain tradition.

Key Themes and Content:

• Tantra as a Way of Life: The text begins by defining tantra not just as religion or belief but as a distinct way of life, a concept present in Indian culture since ancient times. It asserts that Jainism, like Brahmanism and Buddhism, has held tantra in high regard since antiquity, primarily in the form of mantra-vada (mantra-based practices).
• Jain Tantra vs. Other Traditions: A crucial point is made that Jain tantra never accepted the objectionable behavioral aspects associated with tantric practices in other traditions. The focus remained on mantra-based devotion and spiritual upliftment.
• Mantra-Vada and Vidya: Jain mantra-vada involves invoking various deities through letters and symbols like Om, Hrim, Klim, Swaha. In parallel, Vidya (knowledge or divine powers) is associated with the sadhana of goddesses. While scholars differentiate between mantras and vidyas, both are seen as fundamentally connected to divine powers.
• Early References to Vidyas and Mantras: The text traces the origins of mantra and vidya sadhana in Jain literature, noting that Samavayang Sūtra places their practice under pāpa śrut (sinful scriptures), making them forbidden for Jain monks. However, Nāyādhammakahāo mentions Mahavir's disciple Sudharma as knowledgeable in both vidya and mantras.
• Evolution of Vidyas in Jainism:
  • References to Vidyas are found in early Agam texts.
  • By the 5th century CE, they held a defined place in Jainism.
  • Vimalasūri's Paumacariya (c. 473 CE) mentions several Vidyas like Garuḍā (later Chakreshwari), Simhavahini (Ambika), Bahurūpā, Nidrāṇī, Siddhārthā, Sarvakāmā, and Mahāsundarī, practiced by figures like Rama, Lakshmana, and Ravana.
  • The total number of Vidyas in the Jain tradition is stated to be 48,000.
  • By the 8th century CE, a list of 16 Mahavidyas was established.
  • Some of these Mahavidyas were later included in the list of 24 Yakshinis in the 8th-9th centuries CE.
  • Popular Vidyas in the medieval period included Kuṣhmāṇḍī (or Ambika), Padmāvatī, Vairotyā, and Jvālāmālinī.
• Sarasvati as Shruta Vidya (Knowledge Deity):
  • Sarasvati's worship as the Shruta Vidya (deity of knowledge) is very ancient in Jainism. The 12 Angas of Jain scriptures are considered her limbs, and the 14 Purvas her ornaments.
  • Her sadhana was performed to overcome ignorance and suffering.
  • Unlike Brahmanism, where Sarasvati is also the goddess of fine arts from the beginning, in Jainism, she was primarily the goddess of knowledge until around the 9th century CE.
  • Literary and sculptural evidence before the 10th century CE does not link her to music or other fine arts.
• Iconography and Worship:
  • Sarasvati is depicted with attributes symbolizing knowledge and purity: a swan vehicle, and in her hands, a book, rosary, boon-granting gesture (varada mudra), and a water pot.
  • The antiquity of Sarasvati worship is evident from literary references in texts like Vyākhyāprajñapti, Pakshika Sūtra, Dvādaśāraṇyachakravarthī, Panchāshaka, Sansār-dhāvānal-stotra, Mahāniśīthasūtra, and Shāradāstotra.
  • The earliest known Sarasvati statue dates back to the Kushana period (132 or 149 CE) from Mathura.
  • Numerous depictions of Sarasvati in Jain temples, especially in Western India, attest to her popularity.
  • The observance of Jñānapañchamī (Śvetāmbara) and Shrutapañchamī (Digambara) also signifies her importance.
• Sarasvati Worship in Śvetāmbara vs. Digambara Traditions:
  • Sarasvati worship was more popular in the Śvetāmbara tradition than in the Digambara tradition. This is why Sarasvati sculptures are not found at Digambara Jain sites like Badami, Aihole, and Ellora.
  • In the Śvetāmbara tradition, Sarasvati was also worshipped as a Shakti (power), with tantric practices incorporated later.
• Sarasvati's Tantric Sadhana and Attainment of Powers:
  • Medieval Jain texts like Prabhāvakacarita, Prabandhacintāmaṇi, Prabandhakośa, and Kumārapālacarita extensively mention Jain monks and scholars like Bappabhaṭṭisūri, Hemacandra, Malliṣeṇa, Mallavādisūri (II), and Naracandra Sūri achieving various powers through Sarasvati's tantric sadhana.
  • These practices enabled them to become exceptional poets and debaters, and to gain other forms of knowledge.
  • Hemacandra in Alaṅkāracūḍāmaṇi fully validated such "Sarasvat" mantras.
  • Several anecdotes illustrate the miraculous powers gained:
    • Bappabhaṭṭisūri invoked Sarasvati to defeat the Buddhist scholar Vardhanakuñjara in a debate. Sarasvati appeared, and guided Bappabhaṭṭi on how to counter the opponent's invincible mantra.
    • Hemacandra received grammar texts from Sarasvati herself from her Kashmir library. Sarasvati also revealed the past lives of King Kumārapāla to him.
    • Malliṣeṇa, author of Bhairava-Padmāvatī-kalpa, was also endowed with Sarasvati's power.
    • Siddhasārasvata Bālacandra Sūri successfully performed Sarasvati's mantra sadhana.
    • Mallavādisūri received the "Nayaśakra" from Sarasvati and displayed remarkable memory, impressing the goddess who granted him the ability to grasp the essence of entire scriptures with a single verse.
    • Vriddhavādi Sūri became proficient in all Vidyas after 21 days of fasting and invoked Sarasvati.
    • Harihara, a poet, recounted an entire poem after hearing it once due to his "Sarasvat" mantra sadhana.
• Mantras and Yantras:
  • The text details various mantras associated with Sarasvati, such as "Om, Hrim, Klim, Blim Shrihasakal Hom Aym Namo" from Bappabhaṭṭisūri's Shāradāstotra, which is said to grant unparalleled scholarship.
  • Other mantras mentioned include "Om Aym Hasaklim Vāgdevyai Namah" and "Om Aym Hrim Shrim Vad Vad Vāgvadinī Bhagavatī Sarasvatī Tubhyam Namah."
  • Sarasvati's root mantra is given as "Om Hom Shrim Vad Vad Vāgvadinī Swaha."
  • The text also discusses the construction of various yantras (mystical diagrams) for Sarasvati's worship.
  • These yantra pujas involve the worship of various divine beings and specific rituals.
• Fierce Forms of Sarasvati:
  • From the 10th-11th centuries CE onwards, mantras for fierce forms of Sarasvati also emerged.
  • Texts like Bhāratīkalpa and Sarasvatikalpa describe Sarasvati with three eyes, matted hair, and a terrifying countenance, emitting a roaring sound. These attributes are also found in descriptions of Shiva, suggesting a connection.
  • She is also referred to by names like Kāli, Kapālinī, Koulī, Vijñā, Trilochana, Raudrī, Khaḍginī, Kāmarūpinī, Nityā, Tripurasundarī, Chandraśekharī, Śūlinī, Cāmuṇḍā, Huṅkāra, and Bhairavī, further highlighting her tantric aspect.
  • Some descriptions mention sharp teeth and protruding tongues.
  • In some texts, Sarasvati is listed among the 64 Yoginis.
• Iconographic Variations:
  • Jain Sarasvati images show similarities with Brahmanical tradition, featuring attributes like a book, veena, rosary, pot, ladle, goad, and noose.
  • While texts might not always mention all attributes, sculptural evidence often includes them.
  • Sarasvati is depicted with two, four, or more arms.
  • The Śvetāmbara tradition typically uses a swan as her vehicle, while the Digambara tradition often depicts her on a peacock.
  • Early Jain images are mostly two-armed, holding a book and a lotus (or water pot or rosary), riding a swan.
  • Later images often show her four-armed.
  • The number of arms (up to sixteen) in some depictions indicates her increasing power.
  • The association with music and dance (leading to the peacock vahana) became prominent after the 9th century CE.
  • Notable sculptural examples are found at Mathura, Devgarh, Khajuraho, Humcha, Jinanathpur, Halebid, Osiyan, Kumbharia, Dilwara, Taranga, and Pallu.
  • The Pallu statues are considered artistically superior, depicting her as serene, adorned, and accompanied by female musicians.
• Sarasvati as Mahavira's Yakshini:
  • In the latter half of the 9th century CE, Sarasvati also began to be depicted as a Yakshini (attendant deity) of Tirthankara Mahavira, known as Siddhayika or Siddhayini. This association stems from the fact that all Agam literature is fundamentally Mahavira's speech, making Sarasvati, the goddess of Agam knowledge, his Yakshini.
  • Both Śvetāmbara and Digambara traditions depict Siddhayika with a book and a veena.
  • Mahavira's vehicle is a lion, which is also sometimes cited as Siddhayika's vehicle, though a Kannada text mentions a swan.

In conclusion, the book "Jain Tantra Sadhana me Sarasvati" provides a detailed account of Sarasvati's integral role in Jain tantric practices. It highlights the unique Jain approach that emphasizes spiritual and intellectual development through mantra and vidya, while eschewing harmful tantric elements. The text traces the historical evolution of her worship, iconography, and the powerful impact of her sadhana on the lives of Jain scholars and practitioners.