Jindev Darshan

Here's a comprehensive summary of the Jain text "Jindev Darshan" by Mohanlal Dalichand Desai, based on the provided pages:

Book Title: Jindev Darshan (Divine Vision of the Jina) Author: Mohanlal Dalichand Desai, B.A., LL.B. Publisher: Mulchand Hirji Mangrolwala Assisted by: Muni Shri Charitravijayji Purpose: Presented as a gift to Jain brothers in memory of the author's late wife, Bai Monghi. Publication Year: Vira Samvat 2436 (1910 CE) Location: Mumbai

Overall Theme: The book "Jindev Darshan" is a detailed guide on the proper way to perform Dev-Vandan (worship and salutation of Jinas) and understand its significance within Jainism. It emphasizes that Dev-Vandan is a fundamental religious practice, crucial for achieving temporal and spiritual well-being, and ultimately, liberation (moksha). The author, Mohanlal Desai, aiming for clarity and accessibility, explains the rituals, their underlying purposes (hetu), and the philosophical underpinnings with extensive commentary.

Key Sections and Concepts:

1. Introduction and Purpose (Nivedan):

   • The author expresses a long-held desire to document the correct methods, purposes, and rituals of Dev-Vandan, Stuti (praise), and Puja (worship).
   • He credits Muni Shri Charitravijayji for providing notes and the impetus for this work.
   • The book focuses on Dev-Vandan, particularly the shorter, widely practiced form of Chaitya-Vandan, drawing upon sources like Kalpa Sutra Bhashya, Kalyanmandir Stotra, and Bhaktamar Stotra.
   • The core message is that understanding the purpose behind each ritual enhances its benefit, bridging the gap between practice (vyavahar) and ultimate reality (nishchay).

2. The Importance of Dev-Vandan:

   • Dev-Vandan is presented as a fundamental religious duty, essential for achieving Artha (wealth) and Kama (desire), which are themselves dependent on Dharma (righteousness).
   • The text quotes scriptures stating that seeing the Jina (Darshan) is the destroyer of sins, a staircase to heaven, and the means to achieve liberation.
   • The outcome of Dev-Vandan is determined by the devotee's bhava (inner state and intention). Pure intention leads to spiritual progress and liberation, while desires for worldly pleasures yield limited, temporary results.

3. Understanding "Chaitya" and "Deva":

   • Chaitya: While commonly understood as an idol or temple, the text elaborates on its etymological roots, connecting it to "chit" (to generate awareness/knowledge). Thus, a Chaitya is that which generates knowledge or awareness of the Jina's virtues, specifically referring to idols, temples, and even auspicious trees where Jinas attained enlightenment.
   • Deva (Sadeva): The term "Deva" is derived from "div" (to shine or to play). A true Deva is one who shines with knowledge and plays in their own soul, free from attachment and aversion (raag-dwesh). The text criticizes the worship of deities holding weapons or other paraphernalia, arguing that true Jinas are free from such passions and therefore do not need external aids. True Dev-Vandan removes fear, eliminates passions, and leads to the destruction of karma.

4. The Current Environment of Temples:

   • The author laments the noisy and chaotic atmosphere often found in Jain temples today, with loud bell ringing and discordant singing.
   • This environment hinders concentration and the contemplation of the Jina's virtues.
   • He contrasts this with the peace observed in other religious places and urges Jain followers to cultivate silence and decorum.
   • Disturbance in temples leads to binding negative karma (ghati karma) like Jnanavaraniya (knowledge-obscuring) and Darshanavaraniya (perception-obscuring).

5. The Devotee's Inner State:

   • Knowledge (Gyan): Devotees should possess at least linguistic understanding (Bhasha Gyan) and conceptual understanding (Artha Gyan) to grasp the meaning of praises and hymns. Mere recitation without comprehension is like using a gramophone.
   • Mind Purity and Concentration (Man ki Shuddhi aur Ekagrata): Purity of mind is essential, supported by Sattvic (pure) food and disciplined habits. A distracted mind cannot connect with the divine. Concentration allows one to become one with the Jina's qualities.

6. The Nature of Jinas (Arihant and Siddha):

   • Arihants: The text explains various etymological interpretations of "Arihant," including one who is worthy of worship, one who has destroyed the enemies (karma), and one who is free from secrets. Arihants are described as having twelve qualities (eight Pratiharyas and four Atishayas).
   • Siddhas: Siddhas are those who have achieved liberation, are free from all eight karmas, and possess eight infinite qualities (Ananta Chaturmasya: infinite knowledge, perception, bliss, and energy).
   • The hierarchy places Arihants before Siddhas because Arihants guide others to liberation.

7. Nineshep (Classification):

   • The text discusses Arhants through four classifications:
     • Naam Nineshep: The name "Arhat" itself.
     • Sthapana Nineshep: Idols, footprints, and representations of the Jina.
     • Dravya Nineshep: Souls who have bound Tirthankar nama karma but not yet attained Kevalgyan, or those who have attained Kevalgyan.
     • Bhava Nineshep: The Jina in the state of Kevalgyan, preaching in the Samavsaran.
   • Puja should be performed with awareness of all these Ninesheps.

8. The Meaning of "Vir":

   • The name "Vir" (Mahavir) is explored through its meanings: one who vanquishes karma, one who is radiant through penance, and one united with penance and strength.
   • Virattva (heroism) is explained in three forms: Danavirattva (heroism in charity), Yuddhathavirattva (heroism in battle, interpreted internally as overcoming inner enemies like moha), and Dharmavirattva (heroism in practicing Dharma/penance).

9. Pratiharyas and Atishayas:

   • Pratiharyas (8): These are divine attendants or manifestations surrounding a Tirthankar: Ashok tree, divine shower of flowers, divine voice (Divya Dhwani), royal chowries (chamars), jeweled throne, aura (bhamandal), divine drums (dundubhi), and royal umbrellas (chhatra). The text elaborates on the spiritual significance and bhavana (contemplation) associated with each.
   • Atishayas (4 primary, expanded to 34): These are extraordinary powers and attributes of a Tirthankar. The four primary ones are:
     • Apaya-Apagam: Destruction of suffering (internal and external).
     • Gyana-Atishay: Infinite knowledge (Kevalgyan).
     • Pooja-Atishay: Worthiness of worship by divine beings.
     • Vachana-Atishay: Divine voice understood in all languages.
   • The text details the specific virtuous qualities and divine manifestations that constitute the 34 Atishayas.

10. The Eight Karmas and Their Cessation:

    • The book explains how the cessation of each of the eight karmas leads to specific virtues in the Siddha state:
      • Jnanavaraniya -> Kevalgyan
      • Darshanavaraniya -> Kevaldarshan
      • Vedaniya -> Happiness (without pain)
      • Mohaniya -> Infinite bliss (Avyabadh Sukh) and Right Conduct (Kshayika Samyaktva)
      • Nama Karma -> Formlessness (Arupipan)
      • Gotra Karma -> Equality (A-gurulaghutva)
      • Antaraya Karma -> Infinite Power/Generosity (Ananta Virya)
      • Ayushya Karma -> Indestructible existence (Akshaya Sthiti)

11. The Necessity of Vidhi (Ritual) and Bhavana (Contemplation):

    • All actions, including worship, yield best results when performed with correct Vidhi (procedure) and sincere Bhavana (inner feeling/intention).
    • The text details various aspects of Vidhi, including physical purity (Anga Shuddhi), purification of the environment, and correct postures.

12. Aspects of Chaitya-Vandan:

    • The book outlines the ritualistic steps of Chaitya-Vandan, including:
      • Nisidhi: Declarations of renouncing worldly activities before entering the temple.
      • Pradakshina: Circumambulation around the idol, symbolizing the circumambulation of knowledge, perception, and conduct.
      • Pranam: Different types of salutations (Anjalibaddha, Ardhavanata, Panchanga).
      • Puja: Anga Puja (worship of the idol's body), Agra Puja (offering before the idol), and Bhava Puja (inner worship).
      • Mudras: Specific hand gestures (Yogamudra, Jinmudra, Muktashukti Mudra) to be used during different parts of the worship.
      • Pranidhana: Focus of mind and speech.
      • Abhigam: Rules for approaching the idol.
      • Avagraha: Proper distance from the idol.
      • Vandana: Different levels of salutation.
      • Navapad: The nine sacred syllables (Navkar Mantra) and their significance.
      • Aashatana: Prohibitions (things to avoid in the temple) are extensively detailed.

13. The Three Types of Puja:

    • Anga Puja: Worship of the idol's physical form, involving bathing, dressing, adorning, offering flowers, incense, lamps, etc. The author strongly advocates for appropriate adornment that reflects the Vitaraga (passionless) state, rather than modern clothing.
    • Agra Puja: Offering items before the idol.
    • Bhava Puja: Inner worship through contemplation of the Jina's virtues, self-reflection, and aspiration for similar qualities. This is the ultimate form of worship.

14. Bhavana (Contemplation) during Puja:

    • The book provides specific contemplations for each offering (water, sandalwood, flowers, incense, lamp, unbroken rice, offerings, fruit). For example, during water worship, one contemplates the washing away of internal karmic impurities. During sandalwood worship, one contemplates attaining the cool, serene nature of the Jina's soul. The author also discusses the importance of pure ingredients and appropriate rituals.

15. Stuti (Praise) in Four Forms:

    • Yancha: Supplicatory praise, asking for spiritual benefits like liberation.
    • Gunotkirtan: Singing praises of the Jina's external and internal virtues.
    • Svaninda: Self-deprecating praise, acknowledging one's own shortcomings in comparison to the Jina.
    • Atmaswarupanubhav: Experiencing the oneness of one's soul with the Jina's pure soul.

16. Structure of Dev-Vandan:

    • The ritual typically begins with "Irriyavahi Padikramana," followed by "Logassa Sutra" (saluting all Jinas), then "Namotthunam" (saluting the essence of the Jina), "Jay Viray" (a concluding prayer for auspiciousness), and finally "Arihant Cheiyanam" (acknowledging the idol as a representation of the Jina). The specific order and purpose of each mantra are explained.

Conclusion: "Jindev Darshan" is a comprehensive manual for Jain devotees, aiming to elevate their worship from mere ritual to a profound spiritual experience. It stresses the importance of understanding the 'why' behind the 'what,' encouraging pure intention, knowledge, and concentration during Dev-Vandan. The book serves as a spiritual guide, aiming to help individuals purify their minds, reduce karmic burdens, and progress on the path to liberation.