Murtimandan

Here's a comprehensive summary of the Jain text "Murtimandan" by Labdhivijay, based on the provided pages:

Book Title: Murtimandan (मूर्तिमंडन) Author: Muni Labdhivijayji (मुनि लब्धिविजयजी) Publisher: General Book Depot (जनरल बुक डिपो) Theme: The primary theme of this text is the defense and justification of idol worship (Murti Puja) within Jainism. It addresses criticisms and arguments, particularly those from the Dhundhak sect, which reject idol worship.

Key Arguments and Content:

The book is structured as a dialogue or a reasoned discourse aimed at convincing those who oppose idol worship. The author, Muni Labdhivijayji, presents a strong case for the validity and importance of worshipping the images of Tirthankaras and other revered figures.

Here's a breakdown of the core arguments and points made in the text:

• The Nature of Worship and Devotion:

  • The text begins by highlighting the traditional excellence of Jain monks and scholars in India.
  • It laments the decline in traditional learning and practices due to "time and negligence" and the absence of proper guidance.
  • The author asserts that while many religions focus on the meditation of God, they often fail to consider the practicalities of meditating on the formless.
  • Analogy of Meditation: A central analogy is used: it's impossible to meditate on someone you've never seen or have no image of. Just as seeing a picture aids in focusing on a known person, an idol serves as a focal point for meditating on the divine qualities of the Tirthankaras.
  • Rejection of the Formless Argument: The text directly challenges the idea that worshipping the formless is superior or even possible for most people. It argues that without a form, concentration is incredibly difficult.

• Addressing the Dhundhak (Dhundhiya) Opposition:

  • The book specifically targets the Dhundhak sect, who are described as "ignorant" and rejecting idol worship.
  • The author points out the hypocrisy of the Dhundhaks, arguing that while they claim to reject idol worship, their practices often contradict this.
  • The "Khand ke Khilone" (Clay Toys) Argument: The text uses a rhetorical question about whether Dhundhaks eat clay toys (like elephants, horses, bulls). While they say no, the author implies that their rejection of idol worship is similarly a denial of something they implicitly accept through other practices.
  • The Mala (Rosary) Argument: The Dhundhaks use rosaries with a specific number of beads (108). The author argues that the number 108 is derived from the auspicious qualities of the five Peristhtis (Arhant, Siddha, Acharya, Upadhyay, Sadhu). If they accept the symbolic meaning of these beads, why can't they accept the symbolic meaning of an idol?
  • The Guru's Image Argument: The text highlights that Dhundhaks often have pictures and honor their gurus. If they revere their gurus' images, why do they despise the images of Tirthankaras, who are considered greater teachers? The author points to specific examples of Dhundhak samadhis (memorials) being worshipped, contradicting their public stance against idol worship.
  • The "Chaitra" Word Ambiguity: The Dhundhaks try to reinterpret the word "Chaitra" in scriptures to mean "saint" or "monk" rather than "idol" or "temple." The author refutes this by citing etymological definitions and contextual usage in Jain scriptures, showing that "Chaitra" consistently refers to idols and temples.
  • The "Jad" (Inanimate) Argument: The Dhundhaks claim idols are "jad" (inanimate) and therefore cannot be worshipped. The author counters by pointing out that scriptures, letters, and even the physical body are also "jad" but serve as important means of knowledge and devotion (e.g., learning from a book, worshipping a guru's samadhi).

• Evidence from Jain Scriptures:

  • The book heavily relies on scriptural evidence to prove the ancient practice of idol worship within Jainism.
  • Key scriptural references cited include:
    • Aavashyak Sutra (आवश्यक सूत्र): Mentions Bharat Chakravarti building temples and installing Tirthankara images.
    • Bhagavati Sutra (भगवती सूत्र): Supports the acceptance of "Niyukti" (commentaries on scriptures), which further validates the practices mentioned.
    • Sooagdaanga (सूगडाङ्ग): Mentions Aardra Kumar gaining enlightenment after seeing a Jin image.
    • Mahaavira Swami's Teachings: Ambada Parivrajaka's acceptance of bowing to Arhant images is cited.
    • Aanaanda Shravaka (आनन्द श्रावक): His vows also implicitly accept the reverence for Jin images.
    • Jaataa Sutra (ज्ञातासूत्र): Describes Draupadi worshipping Jin images.
    • Mahaanisiitha Sutra (महानिशीथ सूत्र): States that building Jin temples leads to heavenly abodes.
    • Shri Nandi Sutra (श्रीनंदी सूत्र): Mentions Mahaanisiitha Sutra, reinforcing its authority.
    • Mahaa Kalpa Sutra (महाकल्प सूत्र): Discusses the importance of visiting temples for spiritual progress.
    • Bhagavati Sutra (भगवती सूत्र): Mentions the Shravakas of Tungiya city worshipping Jin images.
    • Raayapasepi Sutra (रायपसेणी सूत्र): Mentions Suryabha Deity worshipping Jin images.
    • Uttaradhyayan Sutra (उत्तराध्ययन सूत्र): Mentions Gautam Swami visiting Ashtapad.
    • Aavashyak Sutra (आवश्यक सूत्र): Mentions Gur Shravaka building a temple and others performing Jin Puja with flowers.
    • Pratham Anuyoga (प्रथम अनुयोग): Records many Shravakas and Shravikas building temples and worshipping idols.

• The Role of Rituals and Offerings:

  • The book explains the symbolic meaning behind various offerings made during idol worship, such as flowers (representing the victory over Kamadeva), fruits (representing liberation), sandalwood/kesar (representing the removal of negative tendencies), incense (representing purification), lamps (representing knowledge dispelling ignorance), rice/akshat (representing eternal bliss), and sweets (representing contentment).
  • These offerings are not seen as literal gifts to an inanimate object but as means to cultivate inner qualities and devotion.

• Critique of Other Religions and Practices:

  • The author, through a persuasive dialogue with representatives of other religions (like a Maulvi and a Sikh), argues that many of their practices also involve reverence for symbols or inanimate objects, albeit in different forms.
  • Islam: The text questions the reverence for the Kaaba, kissing the black stone, and prostrating towards it as forms of symbolic worship, suggesting a similarity to idol worship.
  • Sikhism: The author points out the reverence shown to the Guru Granth Sahib, wrapping it in fine clothes, placing it on a raised platform, and performing Aarti (rituals with lamps and music) as analogous to idol worship.
  • Buddhism and Hinduism (Arya Samaj): The book delves into the practices of various sects, suggesting that even those who claim to reject idol worship often engage in practices that are symbolically similar. The critique of the Arya Samaj's interpretation of Vedas and their practices is particularly extensive.

• The Importance of "Nimitta" (Instrumentality):

  • A key concept is that idols, like scriptures or even the physical body of a guru, serve as "nimitta" or instrumental causes for evoking devotion, concentration, and remembrance of the divine.
  • The author argues that just as a learned person's physical presence (even if the service is to the soul) can be beneficial, an idol acts as a tangible aid to connect with the divine.

• Conclusion:

  • The book concludes by reiterating that no religion is truly free from some form of symbolic worship.
  • It urges readers to abandon prejudice and embrace the ancient and valid practice of idol worship within Jainism, which is supported by scriptures and tradition.
  • The author seeks forgiveness for any offense caused by the arguments presented.

Overall Purpose:

"Murtimandan" is a scholarly and polemical work intended to reaffirm the legitimacy of idol worship in Jainism, particularly against the backdrop of internal sectarian disagreements. It aims to educate and persuade, demonstrating through scriptural authority and logical reasoning that the veneration of Tirthankara images is a fundamental and beneficial practice for spiritual progress.