Jina Pooja Paddhati - Book Summary

This is a comprehensive summary of the Jain text "Jina Pooja Paddhati" by Kalyanvijay Gani, based on the provided pages.

The book "Jina Pooja Paddhati" by Kalyanvijay Gani, published by K. V. Shastra Sangrah Samiti Jalor, delves into the historical evolution and transformation of Jain idol worship (Jina Pooja). The author aims to explore its origins, initial forms, development, eventual degradation, and the resulting negative outcomes.

Key Themes and Chapters:

1. Jina Pooja: Early and Developed Forms

Origins of Pooja: The text begins by questioning whether Jina Pooja is an original Jain practice or an adaptation. It focuses on the historical trajectory of Jina Pooja rather than its scriptural authenticity.
Cultural Context: The author contrasts Jain culture (Shraman Sanskriti) with Vedic culture (Brahmin Sanskriti). Jainism emphasizes self-control, renunciation, and liberation from karmic bondage through asceticism and meditation. The Jinas (Tirthankaras) are revered as conquerors of passions and karma, to whom even celestial beings pay homage. Vedic culture, on the other hand, initially centered around fire rituals (Agnihotra) to appease deities.
Emergence of Idols: When Jinas travelled, their devotees, in their absence, would create representations of them through paintings or carved images to fulfill their desire for darshan (sight). This led to the gradual evolution of idols from simple representations to sophisticated sculptures made from various materials like metals and stones. The depiction of the Pratiharyas (eight auspicious signs of a Tirthankara's enlightenment) also became associated with these idols.
From Darshan to Pooja: Initially, worship was limited to seeing, bowing, and praising the idols. However, as the concept of devotion deepened, it led to the offering of material items.

2. The Evolution of Pooja from Devotion (Bhavana)

Prosperity of Ancient India: The text paints a picture of a prosperous ancient India with abundant natural resources, leading to a culture of enjoyment.
The "Arpan" Bhavana: Jain devotees, experiencing this prosperity, felt a desire to offer something to their Lord Jina. This emotional state of offering (Arpan Bhavana) led to the practice of offering what they themselves used and enjoyed.
The Rise of Panchopachari Pooja: Simple offerings of scented powders, garlands, and incense (representing dhup) became the basis of Panchopachari Pooja (worship with five items). This initial form involved offering items readily available to even the common people.
The Development of Ashtopachari Pooja: As prosperity grew, wealthy devotees began offering fresh fruits, sweets, and pure water. This led to the evolution of Ashtopachari Pooja (worship with eight items), which included the five items plus fruits, sweets (naivedya), and water.
Institutionalization of Pooja: Jain acharyas later codified these practices, making material worship (dravya pooja) a recognized part of religious observance for householders.

3. The Pinnacle of Jina Pooja Development

Simple Worship: For a long time, Jain worship remained in its simple forms of darshan, naman, and stavan, evolving into Panchopachari and Ashtopachari pooja. Jains had dedicated rooms for worship, similar to the Vedic practice of having an agnichitya (fire altar) room.
The Darkening Age (Kaliyuga/Fourth Era): The text then describes the decline in moral and spiritual standards, leading to increased anger, greed, and hatred. Irregular rainfall caused crop failures, livestock depletion, and famines.
The Vedic Transformation: In the Vedic tradition, this led to the proliferation of esoteric practices and the worship of lower deities. The rise of the Atharvaveda marked a shift, and over time, Vedic worship evolved to include idol worship of deities like Rudra, Skanda, Yakshas, and Bhutas. The development of Puranas introduced elaborate rituals, vows, and devotional practices, which attracted the masses. The author suggests that Puranic influence might have also impacted Jain practices.
The "Sarvopachari Pooja" (Worship with all offerings): The influence of neighboring Vedic practices and the evolving sentiments of Jain devotees led to the development of Sarvopachari Pooja. This elaborate form of worship, involving bathing, anointing, music, dance, and various other offerings, became particularly prominent during festivals and pilgrimage.
Scriptural Basis for Pooja: The text cites scriptures like Jivabhigama and later commentaries to describe the seventeen types of Sarvopachari Pooja, which include bathing, dressing, anointing, floral offerings, incense, lamps, music, dance, chanting, and offerings of auspicious symbols.

4. Seeds of Distortion in Jina Pooja

The Influence of Chaitryavasis: The author discusses the rise of Chaitryavasis (monks residing in temples) who gradually became more involved in temple management and administration. Over centuries, some Chaitryavasis became lax in their adherence to strict asceticism.
The "Nitya Snana" Movement: Around the 12th century, a significant shift occurred with the promotion of Nitya Snana (daily bathing of idols). This practice, supported by influential acharyas and wealthy patrons, gained momentum.
Justification for Nitya Snana: Arguments were made that while clay idols could be worshipped with flowers, idols made of gold or precious metals deserved more elaborate rituals like bathing.
Distortion of Panchopachari: The practice of Nitya Snana even influenced the interpretation of Panchopachari Pooja. Some commentaries altered the offering of fragrance (gandha) to the application of sandalwood paste (chandan dravya), blurring the lines between bathing and worship.
The Rise of Tilak Pooja: Faced with the increasing costs and complexities of elaborate bathing and anointing, the practice evolved. Instead of full anointing, the application of tilak (forehead marks) on specific body parts of the idol became a simplified form of worship. This eventually evolved into the concept of Navanga Tilak (nine-part tilak worship).
Ritualistic Details: The text describes the specific placement of tilaks on various parts of the idol and the differing interpretations and traditions that emerged. It also discusses the gradual introduction of offerings like panchamrita (five ambrosias) and the use of lamps for specific rituals.
Lack of Daily Bathing in Ancient Times: The author presents evidence from ancient texts, such as those by Padaliptamuri and Haribhadrasuri, to argue that daily bathing of idols was not a practice in earlier times. These texts mention specific periods for bathing, like monthly or during special festivals, suggesting that daily ablutions were not the norm.
Emergence of Shortened Rituals: As elaborate rituals became more common, simpler forms like Laghu Snana (minor bathing) emerged to cater to different needs and economic capacities.
The Water Offering in Ashtopachari: The author notes that in Ashtopachari Pooja, the water offering was initially not for bathing but as a gesture of offering pure water after other items. However, with the rise of daily bathing, the water offering gained prominence as part of the bathing ritual.
Ornaments and Eyes: The practice of adorning idols with ornaments, initially reserved for festivals, became a daily affair. The author also laments the artificial eyes that were later added to idols, deeming them unnatural and detracting from the original form.

5. The Unfortunate Consequences of the New Pooja Practices

Decline of Home Shrines (Mangal Chaitya): The increased complexity and expense of daily worship led to the discontinuation of home shrines in many households.
Need for Paid Priests: Temples began requiring paid attendants (gothiyo) to perform the daily rituals of bathing, anointing, and cleaning, increasing financial burdens.
Economic Strain and New Revenue Streams: To meet these expenses, new methods of generating revenue, such as special offerings for festivals like Malodghatana, were introduced.
The "Pooja Prakaran" and 21-Fold Pooja: A text attributed to Umasvati, detailing a 21-fold pooja, emerged. The author suggests this was not by Umasvati but by a later scholar and points out that some aspects of this pooja, like the 21 types of offerings, were debated and altered.
Damage to Idols: The constant bathing and anointing of idols, especially those made of stone, have led to significant wear and tear, causing damage and necessitating frequent repairs or replacements. The author contrasts the pristine condition of ancient idols with the degradation of contemporary ones.
The Opposition to Idol Worship (Amurti Poojak): The excessive practices associated with idol worship led to a strong backlash from a section of the populace. The author points to figures like Lokashah who led protests against these practices, resulting in a significant number of Amurti Poojak (non-idol worshippers). This movement, the author believes, gained momentum due to the excesses of daily bathing and anointing.

Conclusion:

The book "Jina Pooja Paddhati" serves as a historical critique of the evolution of Jain idol worship. It argues that while the core intention of devotion remains, the practices have become increasingly ritualistic, burdensome, and, in some aspects, have deviated from the original spirit. The author highlights the detrimental effects of these changes, including the financial strain on temples and devotees, the damage to idols, and the division within the Jain community. The text encourages readers to compare historical practices with contemporary ones and to critically evaluate the merits and demerits of the current worship methods.