Sakalchandragani Krut Sattarbhedi Pooja Sastabak - Book Summary

Here is a comprehensive summary of the provided Jain text, "Sakalchandragani krut Sattarbhedi Pooja Sastabak," authored by Diptipragnashreeji, published by ZZ_Anusandhan:

This text is a detailed exposition and explanation of the "Sattarbhedi Pooja," a ritualistic worship of the Tirthankaras, compiled or authored by Sakalchandragani and explained by Sadhvi Diptipragnashreeji. It outlines seventeen distinct types of worship, detailing the ritualistic actions, the symbolic meanings, and the devotional sentiments associated with each.

Introduction and Invocation: The book begins with an invocation to Bhagvati Bharti Devi (Saraswati, the goddess of speech and knowledge) to bless the author's mouth to recite the details of the seventy-type worship. It mentions that after performing the bath (Snatra) ritual, various forms of worship like seventy-type, twenty-one-type, and one hundred and eight-type worship are performed, but this text focuses on the seventy-type. The author emphasizes the importance of remembering Saraswati as the source of this knowledge.

The Seventeen Types of Worship (Bhed):

The text then systematically describes each of the seventeen types of worship, often accompanied by devotional songs (geet) in specific ragas (melodies).

Nhavaṇ (Bath): The first type of worship involves bathing the idol with pure water.
Vilepaṇ (Anointing): This involves applying sandalwood paste, saffron, and other fragrant substances to the idol.
Chakshuyugala (Eyes): This refers to the worship of the idol's eyes, perhaps symbolically or with offerings.
Vāsapūjā (Fragrant Powder): This involves offering fragrant powders like sandalwood and saffron.
Pushpārohaṇ (Flower Offering): Offering loose flowers of various colors and types.
Mālārohaṇ (Garland Offering): Offering garlands made of beautifully strung flowers.
Varṇakyāruhṇa (Ornamentation): Decorating the idol with floral ornaments like crowns and earrings made of flowers.
Chunnārohaṇ (Powder Offering): Offering aromatic powders.
Āharanaṇ (Jewelry Offering): Offering or adorning the idol with divine jewelry.
Pushpagṛha (Flower House): Creating an elaborate structure or abode made of flowers.
Pushpapagarī (Flower Shower): A shower of flowers of five colors.
Mangaladīvo (Auspicious Lamp): Lighting and showing lamps.
Ārtī (Waving of Lamps): The ritual of waving lamps before the idol.
Dhūpa, Hūpakhēvo, Naivēdya, Suhphalānaṁ Ḍhōṇayā (Incense, Offering Food, and Fruits): Offering incense, food preparations (like lapsi, kheer, vadas), and auspicious fruits.
Gītaṁ (Singing): Devotional singing in praise of the Tirthankara.
Naṭṭaṁ (Dancing): Performing devotional dances.
Vajjaṁ (Musical Instruments): Playing musical instruments in praise.

Detailed Explanation of Specific Worship Types:

The text elaborates on some of these types with more specific actions and devotional intent. For instance:

Vilepaṇ (Second Worship): This section describes the application of perfumed sandalwood paste mixed with camphor and saffron to nine specific parts of the idol's body, symbolizing the purification of oneself from the passions.
Chakshuyugala (Third Worship): This can involve offering jewel-like eyes or symbolically offering the vision of Kevala Jnana (omniscience) and Kevala Darshana (omniscience) to the Lord, and asking for the same grace. It also mentions the offering of divine garments.
Vāsapūjā (Fourth Worship): This involves using fragrant incense and powders, often mixed with camphor and other scents, to worship the Lord. The text highlights how this worship can help in dispelling karmic impurities.
Flower Worship (Fifth to Seventh):
- Fifth Worship (Loose Flowers): Describes collecting various types of flowers (Mogra, Gulal, Malati, Champak, Ketaki, Veli, Kund, Priyangu, Nagavara, Jatī, Bōlasirī) and offering them, drawing parallels to Indra's worship of Rishabhadeva.
- Sixth Worship (Flower Garlands): Details creating and offering garlands made from various flowers like Champaka, Ashoka, Punṇaga, Mogra, Ketaki, Malati, Nagavriksha, Priyangu, Kamal, Bōlasirī, Vasantī, and Damana, emphasizing the fragrance and beauty. The song suggests that by worshipping the Lord with garlands, one can attain happiness and prosperity.
- Seventh Worship (Floral Decorations/Art): This involves creating artistic patterns and designs with flowers on the idol's limbs and body, symbolizing spiritual aspirations and the desire for liberation. The text mentions intricate floral art resembling divine messengers or celestial beings.
Powder Worship (Eighth): This involves offering finely ground fragrant materials like Agar, Chandan, Kapoor, Kasturi, and Amber, creating a pleasant aroma and signifying the purification of the soul.
Flag Worship (Ninth): This describes the offering of a flag, symbolizing victory over passions and the attainment of liberation, often envisioned as a grand divine banner.
Jewelry Worship (Tenth): This involves adorning the idol with precious jewels, crowns, earrings, necklaces, and armlets, symbolizing divine glory and the aspiration for similar spiritual splendor.
Flower Abode Worship (Eleventh): This involves creating a beautiful dwelling or pavilion adorned with flowers, representing a divine abode or the celestial palaces.
Flower Shower Worship (Twelfth): This involves showering the idol with a cascade of flowers, symbolizing the abundance of spiritual merit and joy.
Eight Auspicious Symbols Worship (Thirteenth): This involves drawing or offering the eight auspicious symbols (Swastik, Srivatsa, Kumbh, Bhadrasan, Nandyavartak, Vardhaman, Matsyayugala, Darpan), symbolizing good fortune, prosperity, and the dispelling of inauspiciousness.
Incense and Lamp Worship (Fourteenth): This focuses on offering fragrant incense and lamps, symbolizing the dispelling of darkness (ignorance) and the illumination of the soul.
Song Worship (Fifteenth): This emphasizes devotional singing, with emphasis on melody, rhythm, and devotional sentiment, praising the qualities of the Tirthankaras.
Dance Worship (Sixteenth): This involves devotional dancing, often performed by divine beings or symbolically by devotees, expressing joy and devotion.
Musical Instruments Worship (Seventeenth): This involves playing various musical instruments in praise of the Tirthankaras, creating a harmonious atmosphere of devotion.

Underlying Philosophy and Benefits: Throughout the text, there is a strong emphasis on the devotional aspect (bhakti) and the inner intention (bhava). The worship is not just external ritual but also an internal purification, a means to overcome passions (kashayas), karmic attachments, and to attain liberation (moksha). The songs often connect the rituals to the benefits of spiritual progress, such as overcoming suffering, attaining heavenly births, and ultimately achieving liberation. The author reiterates that this worship is meant for all householders (shravakas) and should be performed with sincere devotion according to one's capacity.

Structure and Style: The text uses a traditional devotional style, incorporating verses (dūhā), couplets, and songs (gītaṁ) sung in various ragas. It explains the significance of each ritualistic act and its connection to spiritual principles and outcomes.

In essence, the "Sakalchandragani krut Sattarbhedi Pooja Sastabak" is a comprehensive guide to a multifaceted devotional practice within Jainism, offering a rich tapestry of rituals, symbolism, and spiritual insights aimed at purifying the soul and fostering devotion towards the Tirthankaras.