Laghu Pooja Sangraha

Here's a comprehensive summary of the Jain text "Laghu Pooja Sangraha" by Shravak Bhimsinh Manek, based on the provided pages:

Overall Purpose:

The "Laghu Pooja Sangraha" appears to be a collection of devotional hymns and rituals (Pooja Vidhi) primarily focused on the worship of Jain Tirthankaras (Jinas) and the recitation of key Jain mantras and verses. It aims to guide practitioners through various forms of worship, offering spiritual merit and auspiciousness. The text is written in a vernacular language, likely Gujarati or a similar Prakrit-influenced dialect, and is intended for personal and private use by Jain followers.

Key Sections and Themes:

The provided pages reveal several distinct sections, each with a specific devotional focus:

1. Start of the Text (Pages 1-2): The book begins with a title page identifying the author, publisher, and a publication year (Sambat 1970, which corresponds to 1913 CE). It then introduces the commencement of the "Snata Pooja" (Abhisheka Pooja), which is the ritual bathing of the deities, attributed to Pandit Shrichandji.

2. The "Snata Pooja" (Abhisheka Pooja) (Pages 2-25): This appears to be a major part of the compilation. It includes:

   • "Pankhami Gatha" (Pages 2-7): A series of stanzas (Gathas) presented in a "Dhal" (a type of devotional song structure) format. Each Gatha is dedicated to a specific Tirthankara (Shantjin, Nemin, Veer, Parshva) or the Four-Fold Jain Community (Chaturvidh Sangh). The verses praise the virtues, knowledge, and spiritual prowess of these beings, often describing the act of offering flowers ("Kusumān̄jali").
   • "Vastu Band" (Pages 7-8, 11-12): Short celebratory verses or praises, such as "Sakal Jinavar" and "Punya uday," used to mark transitions or emphasize points.
   • "Dhal Biji" (Second Dhal) (Page 8): This section seems to narrate a story or exemplify a principle, mentioning "Hulravati" and renouncing sensory pleasures for devotion.
   • "Dhal Triji - Supnani" (Third Dhal - About Dreams) (Pages 9-11): This part details a series of auspicious dreams experienced by a mother (likely of a Tirthankara), symbolizing the great qualities and destiny of the child. These dreams include an elephant, a bull, a lion, flowers, the moon, flags, pots, lakes, jewels, and celestial abodes.
   • "Dhal Chothi" (Fourth Dhal) (Pages 12-15): This section describes the events surrounding the birth of a Tirthankara, including the celestial announcements, the reverence shown by Indra and other deities, and the ensuing celebrations in the heavenly realms and on Earth.
   • "Dhal Panchmi" (Fifth Dhal) (Pages 15-17): This focuses on the ceremonial bathing (Kalash Pooja) of a Tirthankara, describing the actions of celestial beings in preparing for the bathing ceremony and offering blessings.
   • "Dhal Bahi - Ekavishani" (Sixth Dhal - The Twenty-first) (Pages 17-23): This likely details the birth of a Tirthankara further, describing the celestial disturbances (Indra's throne shaking), the divine announcement of the birth, the arrival of deities for the auspicious occasion, and their worship of the newborn Tirthankara. It mentions the Tirthankara performing Pancha Rupas (five forms) and the celestial beings singing, dancing, and offering prayers.
   • "Dhal Satmi" (Seventh Dhal) (Pages 24-26): This section continues the narrative of the divine bathing ceremony. It details the collection of pure waters from various celestial rivers and oceans by celestial beings. The Tirthankara is described as being bathed with these sacred waters, bringing purification and spiritual growth.
   • "Dhal Aathmi" (Eighth Dhal) (Pages 27-30): This continues the bathing ritual, describing the application of sandalwood, garlands, and perfumes. It mentions the Tirthankara's divine form and the worship performed by various celestial beings, including Indra. It highlights the Tirthankara as a savior and the giver of Dharma.
   • "Vastu Band" (Page 25, 26, 30): More interjectory verses.
   • "Em Panjanat Van Javan Jo Isara..." (Page 26): This verse seems to describe the presence and activities of various celestial beings during the divine event.
   • "Khand Tarangadi..." (Pages 26-27): Indra's commands to the gods.
   • "Tirthakamaladala Udak Jarine..." (Pages 27-28): The collection and use of sacred waters.
   • "Tav Isana Surindo..." (Page 28): A dialogue between Indra and another deity regarding the Tirthankara.
   • "Soham Surapati Vrusabhan Rup..." (Pages 29-30): Indra's worship in the form of a bull.
   • "Koti Battis Sovan Uvari..." (Page 30): Mention of offerings and the Tirthankara as a savior.

3. "Snata Pooja Vidhi" (The Ritual Procedure for Snata Pooja) (Pages 33-45): This section provides detailed instructions on how to perform the Snata Pooja. It includes:

   • Preparation: Entering the temple, wearing new clothes, applying tilak, establishing the altar, placing the idol, and preparing the bathing pot.
   • Materials: Binding sacred threads (maulisutra) on vessels, using Panchamrita (five nectars - milk, yogurt, ghee, honey, sugar), applying incense (dhupa), and the use of camphor.
   • Ritual Steps: Offering flowers, reciting mantras like "Namo Arihantanam," performing the "Kusumān̄jali" (offering of flowers), cleaning the idol, applying sandalwood paste, and the main bathing ritual.
   • Specific Offerings: Describing the offering of flowers, garlands, sandalwood, and the bathing of the idol with various substances.
   • Mantras and Verses: Mentioning specific verses to be recited during different stages of the ritual, such as "Asurindasurindanam..." and verses describing the beauty and divine attributes.
   • "Arati" (Waving of Lamps): Instructions on performing the Arati with camphor and lamps, accompanied by specific verses.
   • "Khun Utaran" (Removing Evil Eye): A ritual to ward off negative influences, involving salt and water.
   • "Mangal Deep" (Auspicious Lamp): The lighting of a lamp.
   • "Sakal Jinavar..." (Page 7): A concluding verse.

4. "Navpad Pooja" (Worship of the Nine Sacred Truths/Entities) (Pages 56-102): This significant section is dedicated to the worship of the Navpad (Arihant, Siddha, Acharya, Upadhyay, Sadhu, Samyak Darshan, Samyak Gyan, Samyak Charitra, Samyak Tap).

   • Structure: For each of the nine entities, there are poetic verses (Kavya), Dhal (devotional songs), and Puja (worship descriptions), often with specific meters and ragas mentioned.
   • Content: Each section praises the specific attributes, virtues, and spiritual accomplishments associated with that particular Navpad. For example, the worship of Arihants focuses on their enlightenment, omniscience, and preaching, while the worship of Siddhas highlights their liberation, eternal bliss, and pure soul state. The section on Samyak Darshan (Right Faith) emphasizes its role in dispelling ignorance and delusion.

5. "Ashtaprakari Pooja" (Worship of the Eightfold Offerings) (Pages 109-138): This section details the worship of the Tirthankaras using eight types of offerings:

   • Water (Jal): For cleansing and purification.
   • Sandalwood (Chandan): For cooling and fragrance, symbolizing the removal of inner heat and passions.
   • Flowers (Kusum): For beauty and devotion.
   • Incense (Dhup): For fragrance and purification of the atmosphere.
   • Lamp (Deep): Symbolizing the dispelling of ignorance with knowledge.
   • Rice/Akshata (Adat): Representing auspiciousness and purity.
   • Fruits (Phal): Symbolizing the fruits of spiritual endeavors.
   • Food Offerings (Naivedya): Representing the sustenance of the spiritual path.
   • Detailed Procedures: Each offering is described with specific verses, Dhal, and rituals, emphasizing the spiritual significance of each act.

6. Specific Tirthankara Kalash (Pages 138-148): This section includes a "Kalash" (a devotional song or prayer) dedicated to Shri Shantinathji, composed by Shri Gyanvimal Suri. It recounts his birth, the auspicious dreams of his mother, and the celestial celebrations. It also includes a "Kalash" for Shri Parshvanathji, detailing his birth, dreams, and the worship performed by deities.

7. "Lun Utaran" and "Arati" (Pages 157-161): These are specific ritualistic procedures for removing impurities (lun utaran) and performing the Aarti (waving of lamps).

Key Jain Concepts and Themes Emphasized:

• Devotion and Reverence: The entire text is steeped in devotion (bhakti) towards the Tirthankaras and the principles of Jainism.
• Purity and Auspiciousness: The rituals and offerings are described as ways to achieve purity, remove karma, and attain auspiciousness.
• Spiritual Liberation (Moksha): The ultimate goal of these practices is to achieve liberation from the cycle of birth and death.
• The Nine Sacred Entities (Navpad): The dedicated section highlights the importance of venerating these foundational elements of Jainism.
• The Eightfold Offerings (Ashtaprakari Pooja): The detailed description of these offerings underscores their symbolic significance in the devotional path.
• Auspicious Dreams: The inclusion of dreams relating to the conception of Tirthankaras emphasizes divine grace and auspicious beginnings.
• Celestial Activities: The text frequently mentions the involvement of gods (Suras) and celestial beings in the worship and celebrations of Tirthankaras.
• Virtues of Tirthankaras: The hymns consistently praise the Tirthankaras' omniscience, compassion, renunciation, and teaching of Dharma.

Language and Style:

The language is vernacular, likely an older form of Gujarati or a closely related dialect. It employs poetic structures like "Dhal" and various meters in its verses, making it suitable for devotional singing and recitation. The use of Prakrit-influenced words is also evident.

Conclusion:

"Laghu Pooja Sangraha" is a practical guide for Jain devotees, offering a structured and spiritually rich approach to worship. It combines devotional songs, detailed ritualistic procedures, and prayers to venerate the Tirthankaras and the core tenets of Jainism, aiming to purify the soul and lead the practitioner towards spiritual progress and ultimate liberation. The compilation appears to be a valuable resource for conducting daily pujas and understanding specific Jain devotional practices.