Sattarbhedi Pooja Sastabak Avalokan

This document is a commentary and comparative analysis of the "Sattarbhedi Pooja" (Seventeen-Item Worship) attributed to Shri Sakalchandra Gani, a prominent Jain scholar of the 16th-17th centuries. The commentary, titled "Sattarbhedi Pooja Sastabak Avalokan," was prepared by Sadhvi Shri Diptiprajnashriji and is published in "Anusandhan 39" by ZZ_Anusandhan.

Here's a comprehensive summary of the key points discussed in the text:

1. The Author and the Work:

• Shri Sakalchandra Gani: A highly learned, meditative, detached, and devotional poet. He was known for taking rigorous vows (abigraha) and undertaking severe austerities.
• Sattarbhedi Pooja: This is a significant devotional composition by Sakalchandra Gani, characterized by its musical structure and classical depth. It is widely known among Jains and has been performed in Jain temples for centuries with musical accompaniment. The worship involves offering seventeen different items to the deity, with specific devotional songs sung for each item.
• Origin of the Composition: The text narrates an interesting anecdote: Sakalchandra Gani once took a vow to remain in Kayotsarga meditation until donkeys stopped braying. He remained in this posture for 72 hours, during which he composed the "Sattarbhedi Pooja," comprising 108 verses. This event is referenced in the concluding lines of the kalash dhāḷ (a type of devotional song).

2. The Commentary (Sastabak Avalokan):

• Two Commentaries (Tika): The present work is based on two existing commentaries (tika) on the "Sattarbhedi Pooja."
  • "A" Sanjak (Commentary by Pandit Sukh Sagar Gani): Written in V.S. 1800 (approx. 1743 AD) at Stambhatirtha (Khambhat).
  • "B" Sanjak (Commentary by Pandit Jivavijay Gani): Written in V.S. 1854 (approx. 1797 AD) at Anandpur.
• Compilation: The present text is a compilation of these two commentaries. Where the "B" manuscript differs, its readings are noted in footnotes, and the text primarily follows the "A" manuscript.
• Differences and Features: The analysis highlights several key differences between the original text as understood through the commentaries and the currently prevalent printed versions.

3. Key Differences and Observations:

• Absence of Vastu Chhandas and Kavya-Mantras:

  • The prevalent printed versions of the Pooja begin with 'Dūhā' (couplets), similar to other Jain worship rituals. However, the commentaries indicate the presence of 17 Vastu chhandas (metrical verses) in Apabhramsha language, each describing the subject of its respective worship in a dense, elegant, and meaningful manner. These chhandas are not present in the two manuscript commentaries.
  • Similarly, the printed versions include 17 Sanskrit kāvyas (poems), mostly in the Upajati meter, at the end of each worship item. These poems are described as pure, sweet, and devotional. These kāvyas are also absent from the commentaries.
  • Possible Explanations: The author proposes two theories for this absence:
    • External Contribution: The Vastu chhandas and kāvyas might be the work of other scholars and were later appended to the Pooja for practical reasons during its performance.
    • Independent Compositions: Sakalchandra Gani himself composed these as separate, independent works, which were later combined with the Pooja. The author leans towards the second explanation, finding the quality of these compositions to be characteristic of Sakalchandra Gani and noting that if they were integral parts of the original Pooja, the commentators would likely have commented on them. The absence of commentary suggests they might not have been considered an integral part of the Pooja by the time the commentaries were written.

• Variations in the Original Text: The analysis meticulously compares specific verses from the "H" (presumably referring to a version derived from the commentaries or a more authentic manuscript) and "Mu." (printed version) manuscripts, noting several differences. Some of these variations are highlighted for their potential improvement in meaning, meter, or context:

  • Examples of Variations:
    • "nhavaṇ vilevaṇ aṅgamī(mi)" vs. "nhavaṇ vilevaṇ aṅgame" (Page 4) - The former is considered more fitting for a Prakrit stanza.
    • "āharaṇārohaṇaṁ cheva" vs. "dhyārohaṇaṁ ābharaṇārohaṇaṁ chev" (Page 4) - The latter provides a better sequence.
    • The interpretation of "pāchi pirojadā" (Page 6) in the 10th Pooja, suggesting a contrast between blue (pirojadi) and red (lal hirā) gemstones, as opposed to the printed "pānch pirojadā" (five pirojadi).
    • The interpretation of "jim mile kanakpūrīsai" (Page 11) in the 12th Pooja, suggesting joy similar to meeting a "golden person" rather than the common understanding of "mixing with a flood of gold."
    • The interpretation of "bhamar pai kahāvanti jaḍ ti" (Page 11) in the 14th Pooja, suggesting that the humming bees themselves are a form of praise, rather than the printed "bhamar pai kahāvanti uḍaṁ" (bees flying).
    • The clarification of "ātī e dhūpī dhūmālī" (Page 12) in the 14th Pooja, meaning "this cloud of incense smoke is excessive," correcting a possible misreading of "āṇīe dhūpī dhūmālī."
    • The correction of "abhinav" (Page 12) to "abhinay" (acting/dance) in the 16th Pooja, which is a dance-drama worship.
    • The interpretation of "saraṇāī raṇakālo" (Page 13) in the 17th Pooja, referring to the sound of the saraṇāī (flute) as a war-like sound, as opposed to the printed "saraṇāī raṇakāro."

• Musical Ragas: The text notes that the entire Pooja is composed in classical musical ragas. While there's general agreement with the printed versions, some differences are observed in the raga names. Examples include:

  • The term "dūāluṁ" for a Geet (song) in the context of Malhar-Kedar mixed raga.
  • The meaning of "sādo" in Raga Āsāvarī (for Dhāl 5) and Gauḍī (for Dhāl 7), possibly referring to a simpler or specific rendering of the raga.
  • The raga "sabāph" or "śabābh" (for Geet 6) being unfamiliar.
  • The raga "madhumādan" (for Dhāl 16) also being unfamiliar.
  • The raga "kaḍkhau" or "kaḍkhānī deśī" for Geet 17, instead of Gurjarī.

• Specific Ritualistic Discussions:

  • Aarti and Mangal-Dīvo: There is a discussion about when the aarti (lamp ceremony) and mangal-dīvo (auspicious lamp) should be performed, particularly after the 13th Pooja. One opinion suggests performing it before the main offerings, while another suggests it can be done after the snātra (bathing ritual) if performed.
  • Number of Kalashas: The text mentions a tradition of using five kalashas (pots), with one containing milk and four containing pure water. This contrasts with the current practice of using four milk kalashas and one water kalasha.
  • Tilak on Nine Limbs: The second Pooja discusses the philosophical reasons for applying tilak to nine parts of the deity's body: for the purity of the nine substances and to ward off the nine sins (nayāṇaṁ).
  • Mixture for Pooja: The second Pooja's Geet mentions a mixture of saffron, sandalwood, and ghansār (camphor/benzoin) for worship, highlighting that this combination offers color (saffron), fragrance (sandalwood), and coolness (ghansār).
  • Tilak on the Worshipper: It's mentioned that before applying tilak to the deity's nine limbs, the worshipper should apply four tilaks on their own body (forehead, throat, heart, abdomen) with ingredients like camphor, agarwood, musk, and sandalwood, symbolizing the devotee's surrender and devotional intent.
  • Offerings: The text briefly mentions the practice of offering 18 types of flowers to the deity for becoming the king of 18 countries, referencing Kumarapala's known story. It also introduces "Nandavartaka" as a companion of "navakhaṇālo" (nine-cornered) in the 13th Pooja.
  • "Akshat-Trin Pooja": An alternative to the naivedya (food offering) ritual involves offering three mounds of rice, symbolizing knowledge, perception, and conduct. This is considered a form of naivedya offering. However, the text also emphasizes that naivedya offerings should traditionally be made from four types of food (edibles and drinks).

4. Conclusion:

The commentary by Sadhvi Shri Diptiprajnashriji is a scholarly endeavor based on the careful collation of two valuable manuscripts. The work aims to provide a more authentic and deeply understood version of the "Sattarbhedi Pooja" by highlighting textual variations and offering potential interpretations. The author expresses gratitude to the libraries that provided the manuscripts and welcomes corrections for any perceived errors in the compilation.

In essence, the document provides a deep dive into the textual history, devotional content, and ritualistic nuances of the "Sattarbhedi Pooja," shedding light on the scholarly efforts to preserve and understand this important Jain devotional text.