Jain Vidyache Vividh Aayam Part 05

This document is part of a larger work titled "Jain Vidyache Vividh Aayam" (Various Dimensions of Jain Knowledge), specifically Part 5, authored and edited by Dr. Nalini Joshi. Published in August 2011, it contains reflective essays on Jainism.

The provided text focuses on two specific topics:

1. Jainism and Sikhism: Some Comparative Observations

This section, originally published in the "Sanmati-Tirth Annual Magazine" in June 2009, draws comparisons between Jainism and Sikhism, emphasizing the importance of inter-religious respect in the 21st century.

• Population and Origin: Sikhism is the fifth largest religion globally, originating in the 15th-16th centuries CE. Jainism is considered an eternal religion, with written evidence predating the Rigveda. While Sikhism is younger, it has a larger number of followers globally (estimated 23 million) compared to Jainism.
• Reasons for Disparate Growth: The author suggests that Jainism's complex philosophy, intricate terminology, strict observances (like dietary restrictions and the ascetic's practice of solitary wandering), and the adherence to ancient rules limited its propagation. Sikhism, conversely, is seen as more accessible and liberal.
• Relationship to Hinduism: The author posits that Sikhism is essentially a sect of Hinduism, established by Guru Nanak Dev to reform perceived undesirable practices within Hinduism. Sikh philosophy shows influences from Sankhya and Vedanta, and they utilize similar terminology for concepts like Brahma, Ishwar, Maya, etc. Jainism, however, is presented as an independent Shramanic religion, distinct from Vedic, Brahmanical, or Hindu traditions, with unique principles, doctrines, and an emphasis on Ahimsa, restraint, austerity, and detachment.
• Religious Texts: Sikhism has the Guru Granth Sahib as its singular holy scripture. Jainism has numerous Agam scriptures, with the Shvetambara tradition recognizing 45 or 32 Ardhamagadhi Agamas, while the Digambara tradition considers ancient texts in Shauraseni language as Agamas.
• Content and Style of Scriptures: The Guru Granth Sahib is structured based on "raga-based composition" and is lyrical and devotional. Jain Agamas, though sometimes metrical, do not incorporate singing or musical performances, as these are considered "sinful" by Jain ascetics.
• Concept of Guru: Sikhs consider the Guru Granth Sahib as their eternal Guru after the tenth Guru. Jains, while revering their scriptures, especially during Gyan Panchami or Shrut Panchami, do not elevate them to the status of Guru. Knowledge is primarily obtained from living teachers (Upadhyayas or Gurus).
• Inclusivity of Scriptures: The Guru Granth Sahib includes compositions from various saints like Jayadeva and Kabir, demonstrating an open-mindedness that the author notes has diminished in Jainism over time, with a tendency to label outsiders as "mithyatvi" (heretical) or "pakhandi" (deceitful), contradicting the principle of Anekantavada.
• Philosophical and Ethical Differences: Sikhism emphasizes surrender to an all-powerful, creator God. Jainism, in contrast, denies a creator God and focuses on the interconnectedness of karma and human effort, prioritizing self-purification and not accepting salvation through divine grace. Tirthankaras are revered but not worshipped for granting salvation. Sikhism views the world as God-created, while Jainism sees it as eternal and uncreated. Jain cosmology with its heaven-hell concepts is deemed more logically consistent and based on the cycle of four destinies.
• Caste System: Both religions condemn caste distinctions. Sikhism's "Langar" practice exemplifies this by providing communal meals without discrimination. While Jainism theoretically rejects caste, the author notes its infiltration into practical life.
• Pilgrimage: Sikh Gurus discouraged pilgrimage, yet pilgrimage sites have emerged in their names. Jainism has seven ancient and renowned pilgrimage sites.
• Diet: Jainism strictly prohibits meat consumption, while Sikhs are permitted to be vegetarian or non-vegetarian based on personal preference.
• Rituals: Sikh sacraments are simple, accompanied by recitations from the Guru Granth Sahib. Jain sacraments, especially initiation, are often elaborate.
• Symbols of Violence: Sikh religious symbols include the Kirpan (sword). Jainism strictly avoids instruments of violence.
• Ascetic Practices: Jainism has strict rules regarding food, avoidance of root vegetables, night fasting, importance of penance, and endurance of hardships. Sikhism, in contrast, views the body as a guest of the soul, requiring sustenance. They do not prioritize fasting and consider begging as reprehensible. The Sikh ideal is "work with hands, chant Hari's name," finding inspiration in the Gita's concept of Nishkama Karma Yoga (action without attachment to results). They believe spiritual progress can be achieved while living a worldly life.
• Historical and Political Context: The history of Sikhism is marked by warfare, bloodshed, sacrifice, and the establishment of an empire, especially in response to invasions and religious oppression in the Punjab. Jain history, conversely, is characterized by peace, non-violence, and restraint, with no tradition of armed resistance. Despite their military history, Sikhs did not propagate their religion through force, relying instead on singing, satsang, and sermons.
• Shared Values: Both religions share values like self-control (speech and mind), good company (satsang), service, unity, compassion, forgiveness, contentment, renunciation of anger and lust, charity, self-improvement, discernment, and rejection of artificiality.

2. The Seventy-Two Arts in Jain Agam Granthas

This section, originally published in the "Vidarbha Research Mandal Annual" in 1986, delves into the concept of "arts" as mentioned in Jain scriptures, comparing them with those found in Hindu and Buddhist texts.

• Definition of Arts: The term "Kala" (art) is interpreted as skill, expertise, or specialized knowledge in a particular field. Abhayadev, a Jain commentator, defines it as "Vijnani" (sciences).
• Sources and Variations: The 72 arts are primarily listed in four Jain Agam texts: Samavayang Sutra, Naya-dhammakahaao, Oupapaatika Sutra, and Rajasthaniya Sutra. However, discrepancies exist in the number and listing of these arts across different texts and manuscripts, with some texts even listing more than 72 arts. The author highlights issues with variations in names, missing arts, and duplicate entries in scholarly editions and commentaries.
• Methodology for Determining 72 Arts: Given the variations, the author suggests adopting a method similar to textual criticism, where arts commonly found across multiple texts are prioritized to establish a more definitive list of 72.
• Categorization of Arts: The document then meticulously lists and categorizes the arts, first those common to all four major texts, then those common to three texts (with various combinations), two texts, and finally, arts unique to a single text.
• Meaning and Interpretation of Arts: The author provides detailed explanations and etymological analyses of various art terms, often drawing from ancient Jain commentaries and modern scholarly interpretations in Marathi, Gujarati, and English. Some arts have multiple possible meanings depending on the interpretation of the underlying Prakrit or Sanskrit terms.
• Comparison with Other Traditions: The section concludes by comparing the Jain arts with those mentioned in the Kuvalayamala, Hindu texts (like the 64 arts), and Buddhist texts (like Lalitavistara). The author notes similarities and differences in the scope and categorization of arts across these traditions.
• Conclusion on Arts: The author suggests that the study of these arts offers insights into the social life of the time. However, due to the inherent inconsistencies in the lists, definitively identifying exactly 72 arts is challenging. The author proposes that understanding the meaning and context of the 106 arts found in Jain Agamas might be a more fruitful endeavor.

In essence, the document offers a scholarly exploration of Jainism, highlighting its distinctiveness from other religions, and a detailed academic analysis of the concept of arts within Jain scriptures, acknowledging and addressing the complexities and variations found in the textual sources.