Jinpooja Vidhi Madhyakalin Vidhan

Here's a comprehensive summary of the Jain text "Jinpooja Vidhi Madhyakalin Vidhan" by Shilchandrasuri, based on the provided pages and catalog link.

Book Title: Jinpooja Vidhi Madhyakalin Vidhan (Jain Puja Method: Medieval Ritual) Author: Shilchandrasuri Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229504/1

Overview:

This text, "Jinpooja Vidhi Madhyakalin Vidhan," presents a detailed and, in many respects, distinct ritualistic method for performing the worship of Jain Tirthankaras (Jinas). The introduction highlights that the manuscript was discovered in the Mandal's collection and is believed to be from the 17th century, originating from a close follower of Shri Hiravijaysuri. The author, Samvat Vijayashilchandra Suri, emphasizes that while many puja rituals are common, this particular text includes several unique and significant practices that are not found in current, prevalent methods. The primary purpose of publishing this text is to draw attention to these forgotten or altered rituals for the consideration of scholars and practitioners.

Key Ritualistic Practices and Distinctions from Modern Practices:

The summary highlights several key aspects of the medieval ritual described in the text, contrasting them with current practices:

1. Personal Purity and Preparation:

   • Bathing and Dressing: Bathing is to be done facing east, while dressing in clean, new, and untorn clothes is to be done standing facing north. Specific numbers of garments for men (2) and women (3) are mentioned.
   • Entering the Temple (Derasar): The first step inside the temple should be with the left foot.
   • Temple Entry Restrictions: Upon entering, one must refrain from worldly activities (like using the restroom), avoid bringing any living beings, leave behind non-essential items (ornaments etc.), maintain mental focus, and wear a specific upper garment (Uttarasang).

2. Temple Etiquette and Circumambulation (Pradakshina):

   • Circumambulation: Pradakshina should be performed with family, accompanied by music, with eyes downcast, and in the "Srishti Krama" (auspicious direction of movement, typically clockwise).
   • Srishti Krama vs. Samhar Krama: The text explains that rituals like pradakshina and puja are beneficial and uplifting when performed in Srishti Krama, while the opposite is Samhar Krama. This is presented as a secret of mantra and tantra.
   • Recitation during Pradakshina: Instead of modern devotional songs, three Prakrit verses (Gathas) were recited during pradakshina. If pradakshina couldn't be performed physically, standing before the idol and reciting these three Gathas while moving hands was acceptable.
   • Temple Cleaning: After pradakshina, the temple is to be cleaned with a broom and dustpan, and arrangements for the worship of other temples (if any) should also be considered.

3. Preparation of Puja Materials:

   • Sandalwood and Saffron: Sandalwood and saffron are to be ground with a mouth-cloth (Mukhkosh) tied. Separate portions are to be prepared for anointing the idol and for tilak.
   • Entering the Sanctum (Garbhagriha): A mouth-cloth must be worn before entering the sanctum.

4. Anointing the Idol (Angapooja) and Ablution (Pashal):

   • Removing "Nirmalya": During Angapooja, only wilted flowers, sandalwood, etc., are removed. There is no mention of removing a whole metal "shell" (Khokhu) of the idol, and historical context suggests such complete metal shells are not found.
   • Ablution (Pashal): The text explicitly states that the abolution should be performed with fragrant water mixed with sandalwood, saffron, and flowers. Crucially, it states that milk is not used in this process. This is a significant departure from modern practices where milk is often central to abolution, sometimes even leading to the use of stale or frozen milk, which is considered an offense. The text also laments the lack of awareness among modern practitioners regarding the harm caused by milk-based ablutions, which can lead to stickiness, mold, and insect infestations, attracting pests.
   • Angapooja Sequence: The text lists the order of anointing different body parts. Notably, it considers two legs, two knees, two hands, and two shoulders as separate "limbs" (anga), leading to a count of nine limbs. Some body parts like the forehead, throat, heart, and abdomen are not explicitly mentioned, differing from other traditions where these might be counted.

5. Other Important Ritualistic Details:

   • Flower Offering (Phool Pooja): Flowers should be offered in the Srishti Krama, not randomly. The type and preparation of flowers are also important.
   • Overwriting Previous Pujas: If someone has already performed puja, it is forbidden to remove their offerings and perform puja anew. This is a point of caution for those who insist on re-doing pujas. Anointing the idol's face with sandalwood paste is also prohibited.
   • Order of Offerings (Agrpuja): The placement of offerings is specific: the lamp to the right, incense to the left, and naivedya, fruit, and water vessels in front of the idol.
   • Akshat and Mangal: Only three handfuls of akshat (rice) are used, and finally, auspicious symbols are drawn with it.
   • Aarti and Mangaldeep: Unlike some modern practices that might discourage one or the other, this medieval text clearly indicates that both aarti and a mangaldeep (auspicious lamp) should be performed.
   • Coconut Offering: A coconut is offered at the end of the puja.
   • Chandan Tilak: Applying sandalwood paste marks (thapa) is also prescribed.
   • Bhandar (Donation Box): A unique practice mentioned is putting money in the Bhandar as a form of gratitude or offering for the time spent in the temple ("When staying in the temple, put money in the Bhandar as a contribution"). This challenges the modern practice of routinely putting money in the Bhandar, often with accompaniments and without specific context, and the notion that such money is "nirmalya." The text clarifies that money is not considered puja material and therefore not nirmalya.
   • Garment Usage: It's explicitly stated that puja clothes should not be worn for extended periods after the puja. The practice of wearing puja clothes for other activities like listening to discourses or administrative work is called out as problematic.
   • Water Puja: The text differentiates between abolution (prakshal) and water puja (jal puja). Water puja involves placing a water-filled vessel before the deity, similar to other offerings, not bathing the idol. This practice, though found in scriptures, was also prevalent in the 17th century.

6. Language and Context:

   • The language of the manuscript is a mix of Marwari (Rajasthani) and Gujarati, with a glossary of some terms provided.
   • The concluding remarks from Muni Shri Bhuvanachandji emphasize that the sequence of Angapooja, the nine limbs, and the use of akshat are different from current practices. He notes that many of these rituals align with the "Jinapooja Paddhati" by Pt. Kalyanvijayji, suggesting a shared lineage or tradition. He also asserts that the current methods are not necessarily "eternal" and that this historical text provides valuable insights into past practices.

Concluding Remarks on Modern Practices:

The author and the referring muni express concern that modern puja practices have deviated significantly from these older, detailed methods. They highlight the lack of awareness regarding proper procedures, the incorrect use of materials like milk in abolution, and the casual attitude towards wearing puja clothes. The text serves as a valuable resource for understanding the historical evolution of Jain rituals and for potentially reviving or re-evaluating current practices.