Pratihar Kal Me Pujit Rajasthan Ke Kuch Apradhan Devi Devta

Here's a comprehensive summary of the Jain text "Pratihar kal me Pujit Rajasthan ke Kuch Apradhan Devi Devta" by Dashrath Sharma, based on the provided pages:

The article, authored by Dr. Dashrath Sharma and published in the "Z_Agarchand_Nahta_Abhinandan_Granth_Part_2_012043.pdf," explores the worship of minor deities and demigods in Rajasthan during the Pratihara period.

Core Themes and Arguments:

• Hinduism's Inclusivity and the Nature of Worship: The author begins by highlighting the inherent inclusivity of Hinduism, where the divine essence is seen in all deities. This explains why families could worship different principal deities (Vishnu, Shiva, Surya, Shakti) without conflict, as ultimately the worship was directed towards the same divine principle. This is supported by Bhagavad Gita verse 9.23.
• Shifting Royal Patronage of Deities: The Pratihara dynasty itself exemplifies this diversity. While the Pratihara rulers generally aligned with Vishnu, their successors often patronized other deities like Shiva, the Goddess (Bhagavati), and Surya. This indicates a fluid religious landscape where personal devotion could vary across generations.
• Decline of Brahma Worship: The text points out that while Brahma's worship was present, it was relatively insignificant during the Pratihara era. This is evidenced by the scarcity of his mention in Jain texts of the period like Harisheniya Brihatkathakosh, Kuvalayamala, and Upamitibhavaprapancha. The author attributes this decline to the shift in religious focus from the Vedic seers to the later Puranic traditions, diminishing Brahma's prominence as the seer of the Vedas.
• Rise of Puranic Deities and their Worship: The worship of numerous deities and goddesses mentioned in the Puranas saw a significant increase during this period.
• Ganapati (Ganesha):
  • Ganapati's worship was widespread and well-established by the 5th century, as indicated by his prominent mention in the Amarakosh with multiple names.
  • Jain literature also acknowledges Ganapati, with Haribhadra Suri (8th century) narrating his origin from Parvati's impurities in Dhurtaakhyan. Kuvalayamala lists him among deities invoked during times of distress and mentions his worship alongside other local deities in public squares (chattara).
  • Epigraphic evidence, such as the inscription from the Dhariyala Pillar of Kakkuka (VS 918), begins with salutations to Vinayaka. Sculptural evidence from places like Hars, Abhaneri, Mandore, and Atru showcases various forms of Ganapati worship, including dancing forms, seated, with Shakti, and even in Chatur-bahu (four-armed) and Garuda-asana (riding Garuda) forms, indicating his significant popularity.
• Skanda (Kartikeya):
  • While Skanda enjoyed considerable popularity during the Gupta period (even lending his name to two emperors and inspiring Kalidasa's Kumarasambhava), his influence waned considerably during the Pratihara era.
  • No Pratihara ruler is recorded as making Skanda their principal deity. His presence in significant Jain texts of the period is minimal.
  • The text notes that Rohitaka, once a prominent center for Skanda worship, saw the establishment of Chandamari due to Skanda's declining importance.
  • While some Jain texts and the Skandapurana mention Skanda, they do not elaborate on his worship rituals. Haribhadra Suri places Skanda's origin in a forest in the southern region, suggesting that his worship might have been more prevalent in the south during his time.
• Revanta:
  • Mentioned in Kuvalayamala, Revanta is described in texts like Brihatsamhita and Vishnudharmottara Purana with specific iconographic guidelines.
  • Kalikapurana suggests his worship involved placing a pot of water near the doorway, symbolizing his presence.
  • The public believed Revanta offered protection during sudden calamities, leading seafaring characters in Kuvalayamala to pray to him during storms.
  • His absence from the Amarakosh is noted, but he is elsewhere identified as the son of Surya and Samjna and the king of Grihakas, suggesting he likely began as a folk deity before being incorporated into the Surya lineage.
• Other Minor Deities (Vyanta):
  • Madana (Kamadeva): Although not widely worshipped today, Kamadeva had significant popularity until the Pratihara period. Chaitra Shukla Trayodashi was known as Madana Trayodashi. He was known as Pushpadhanva and also Ikshudhanva, with his worship spaces featuring sugarcane arches and Ashok leaf torans. Worship involved offerings of sugarcane juice, grains, and sweets, with women praying for good husbands and the continuation of their married bliss. The article mentions the discovery of Kamadeva and Rati idols from Karkotaka Nagar.
  • Yakshas (including Kubera and Kshetrapala): Yaksha worship is ancient and prevalent in Jain narratives. Manibhadra's worship was popular in Mathura, known for his benevolence. Samaraichchakaha describes a mischievous Kshetrapala. Jineshvara Kathakosh and Padmasiri Charitra also depict Kshetrapala's playful nature. While Kshetrapala is still worshipped in Rajasthan, his form has evolved.
    • Kubera: The most significant Yaksha, Kubera, is represented by remarkable sculptures found in the Chittor region. A Kubera idol in the Udaipur Museum displays exceptional craftsmanship, with a mukuta (crown) and forehead bearing Jinamurti, reminiscent of descriptions in Kuvalayamala. The article speculates that similar idols with Arhat images on their crowns might have existed in 8th-century Rajasthan. Other Kubera sculptures are found in Ajmer Museum and from the Adhai Din Ka Jhopra.
  • Other Vyanta: The article briefly mentions other Vyanta like Rakshasa, Bhuta, Pishacha, Kinnara, Kimpurusha, Gandharva, Mahoraga, Garuda, Naga, and Apsaras, worshipped for personal gain, but notes that limited information prevents detailed discussion.
  • Naga Worship: Based on place names like Nagpur, Ahichhatra, and Anantagochar, the author suggests that Naga worship was also widespread in ancient Rajasthan.
• Navagraha (Nine Planets) and Nakshatras:
  • The worship of Navagrahas is documented in the religious literature of this period. Inconsistent evidence exists regarding Ketu's presence in Navagraha depictions from the Bharatpur and Baghera regions.
  • A unique plaque from Adhai Din Ka Jhopra features seven constellations (Magha, Purva Phalguni, Uttara Phalguni, Hasta, Chitra, Swati, and Vishakha) seated in a comfortable posture, with specific time periods (Kaal, Prabhat, Pratah, Madhyahna, Aparahna, and Sandhya) inscribed. This plaque is considered artistically and iconographically significant.
• Dikpalas (Guardians of Directions): The article mentions Dikpalas as other minor Hindu deities, citing the discovery of sculpted images of Vayu and Varuna from Narhad, which are significant from an iconographic perspective.
• Specific Examples of Iconography: The latter part of the article delves into specific iconographic details and locations:
  • A Kubera idol near the Chandinath temple in Bhinmal, dated to the 7th-8th century.
  • Large sculptures of Mahishmardini, Ganesha, and Kubera at Osian.
  • The invocation of the Dhanada Yaksha in the oldest inscription at Sakrai Mata.
  • A Kubera idol at Bhad, Osian.
  • A Yaksha idol from Bansi, also likely from the 7th-8th century.
  • The article encourages further research on Yaksha and Kubera idols, referencing a publication by Dr. Ratnachand Agarwal.
• Conclusion: The author concludes by acknowledging that the article focuses on minor deities, leaving the comprehensive study of major deities like Vishnu, Mahesh, Surya, and Arhat to other scholars. The ongoing research by the Archaeological Department and the emergence of new literature are expected to enhance our understanding of deities and divine categories.

In essence, Dashrath Sharma's article provides a detailed overview of the worship of lesser-known deities and demigods in Rajasthan during the Pratihara era, drawing upon textual evidence from Jain and Puranic literature, as well as significant epigraphic and sculptural findings. It highlights the dynamic nature of religious practices, the rise and fall of the popularity of certain deities, and the interconnectedness of folk religion and more formalized cults.