Saptadash Puja Prakaran Garbhit Shantinath Stavan

Here is a comprehensive summary in English of the provided Jain text, "Saptadash Puja Prakaran Garbhit Shantinath Stavan":

This document is an excerpt from "Anusandhan 45," a publication focusing on Jain research, and it presents the "Saptadash Puja Prakaran Garbhit Shantinath Stavan" (Seventeen-Fold Puja Procedure Incorporated within the Praise of Shantinath).

Overview of the Work:

• Title: Saptadash Puja Prakaran Garbhit Shantinath Stavan
• Authors: Munisuyashchandravijay, Sujaschandravijay
• Publisher: ZZ_Anusandhan
• Nature of the Work: This is a unique ritualistic composition that integrates the concept of "Sattarvedi Puja" (Seventy-Fold Puja), a specific type of elaborate worship. The authors have made a beautiful effort to present the methodology of this seventy-fold puja in 45 poetic verses.
• Key Features:
  • The latter part of the work refutes the opinions of those who do not accept idol worship (pratimaji). It cites scriptural evidence (agam granth) to support its arguments.
  • The authors are disciples of Vachak Ratnaharsh Gani, who belonged to the Kshemshakha of the Kharataragachch. They are known to have composed other works like "Gunsthank Kramaroh" in VS 1678 and "Jinraj Suri Ras" in VS 1681.
  • The word "Phalvardhipur" found in verses 43-44 suggests that this work was likely composed with the Lord Shantinath of Phalodhi (Rajasthan) in mind, who is enshrined there.
  • The existence of two other stanzas on Sattarvedi Puja by Pujya Parshwachandrasuriji (Brihattapagachch, VS 16) and Pujya Viravijayji (Kharataragachch, VS 1653) indicates the popularity of this type of puja during that period.
  • The presented text is based on a single manuscript preserved in the Shri Jain-Vidya-Kastursuriji Gyanbhandar in Jamnagar, with no other copies available. Gratitude is expressed to the custodians of both the Jamnagar and Misra Bhandars for providing the manuscript.

Content of the Stavan (Praise):

The "Stavan" itself is a devotional praise dedicated to Lord Shantinath, incorporating verses that describe and guide the seventeen-fold puja. The text is structured into various "Dhal" (stanzas or sections, often with a specific meter or tune indicated).

• Dhal 1 (Starting from Page 1):

  • Introduces Lord Shantinath as the sixteenth Tirthankara, describing his captivating form.
  • Expresses deep devotion and love for the Lord, stating that he resides in the heart.
  • Praises those who perform worship with good intentions and understanding.
  • Mentions the great admiration for the seventeen-fold puja, drawing a parallel with its practice by King Rayapasen (Rayapaseṇiya).

• Dhal 2 (Page 2):

  • Encourages worship with pure mind and actions, in all three aspects of mind, speech, and body, and at all times, for the attainment of happiness and prosperity.
  • Describes the initial steps of the puja: bathing with pure water, wearing clean clothes, applying a Tilak on the forehead, and adorning the face.
  • It suggests performing puja with devotion and abandoning anger and envy.

• Dhal 3 (Page 2-3):

  • Begins detailing the "Sattar Bhed Puja" (Seventeen-Fold Puja).
  • First Puja: Described as bathing the idol with Gangajal (Ganges water) and milk.
  • Second Puja: Involves adorning the idol with various fragrant substances like Kesari (saffron), Kachcholi, and Mrigamad (musk) mixed with sandalwood.
  • Subsequent Pujas (mentioning up to the seventh): These verses describe the application of various tilaks on different parts of the idol's body (feet, legs, hands, shoulders, head, forehead, chest, stomach - "Nav Ang Tilak"). They also mention the use of fragrant pastes, flowers, and aromatic oils. The use of clothes (Patkul), banners (Dhaj), and ornaments is also described. The text lists specific flowers like Daman, Padal, Ketaki, Jai, Jui, Machkund, VILASSHRI, Vanmala, and Arvind, which are used for floral decorations.

• Dhal 4 & 5 (Page 3-4):

  • Continues describing various pujas, including the use of fragrances, flowers for garlands, and elaborate floral decorations like flower palaces (Phool Mahal), flower torans, and flower canopies.
  • Tenth Puja: Mentions adorning the Lord with ornaments.
  • Eleventh Puja: Describes the creation of floral arrangements, mandalas, and hangings.
  • Twelfth Puja: Details scattering flowers at the feet of the Lord.
  • Thirteenth Puja: Involves the use of auspicious symbols like a mirror, auspicious emblems (Nandyavarta, Shrivatsa, Vardhaman), and Purna Kalash (pots filled with water).
  • Fourteenth Puja: Involves the use of incense (Dhup) and Kadu Chhaon (a type of fragrant resin).
  • Fifteenth Puja: Praises the Lord's virtues and beautiful form.
  • Sixteenth Puja: Describes celestial dancers (Devanganas) adorned with sixteen types of adornments, their dance, and the sounds of anklets and bells. It also mentions instrumental music.
  • Seventeenth Puja: Describes various musical instruments being played.

• Dhal 6 & 7 (Page 4-5):

  • The text reiterates the seventeen-fold puja and emphasizes the importance of devotion.
  • Refutation of Non-Idol Worshippers: The later verses strongly condemn those who, due to ignorance or stubbornness ("Mudha kadagraha vahia"), do not accept idols. It states that such individuals fill themselves with sin and fail to grasp the ultimate meaning.
  • Scriptural Support: The text cites scriptures to support idol worship:
    • The story of Draupadi worshipping the image of Lord Krishna.
    • References from the fifth Anga (chapter) of scriptures regarding taking refuge in idols.
    • The story of Adrakumar (Adra Kumara) being enlightened by seeing an idol, emphasizing that worship of idols is special due to their auspicious nature.

• Concluding Verses (Page 5-6):

  • Encourages performing worship with both material substances and inner devotion, with a joyful mind.
  • Specifically calls to remember Lord Shantinath, the adornment of Phalvardhipur.
  • The final verses express a personal yearning for the Lord, comparing it to rain for the earth or a beloved for their partner.
  • The colophon indicates the completion of the work in the year 1642 (Vikram Samvat), in the month of Ashwin, composed by Ratanharkh Muni and Yachak Purva. Lord Shantinath is again invoked.

Glossary:

A glossary is provided at the end, explaining the meaning of certain words used in the text, such as:

• Hiwe: Thāy (becomes/happens)
• Lohamahatho: Bhringar (a type of vessel used in puja)
• Bhringar: A plate or vessel for puja
• Kachcholdi: A small pot or container
• Suhau: Pleasant
• ViulSirri: Bakul tree flower
• Pulaavli: A row of flowers
• Mori: To wear or adorn
• Patkul: Fine silk cloth
• Chandrua: Canopy
• Vannarmal: A garland of flowers
• Kaduchhao: A type of incense or fragrant resin
• Maddalatal: Rhythm of the Mridanga drum
• Kansaliya: A type of cymbal
• Madanbheri: A ceremonial drum
• Gitasam: Songs
• Kadagraha vahia: Holding onto stubborn prejudice
• Poto (Potau): Storehouse or repository (in this context, of sin)

In essence, "Saptadash Puja Prakaran Garbhit Shantinath Stavan" is a devotional work that not only details an elaborate seventeen-fold puja ritual dedicated to Lord Shantinath but also serves as a defense of idol worship by referencing scriptural narratives.