Short Sketch Of Early Education

Here's a comprehensive summary of the provided Jain text, "A Short Sketch of Early Education, Art and Iconography under Jainism" by S. Mookerjee:

The article explores the landscape of early Indian education, art, and iconography, with a specific focus on the Jain tradition. It begins by highlighting the pre-print era in ancient India, where knowledge was primarily transmitted through handwritten manuscripts and oral recitation. This emphasis on memory ("Sruti-Smrtih") made teachers highly knowledgeable individuals, akin to encyclopedias, who were the ultimate authorities on scriptures. Ancient Indian libraries, similar to European monastic libraries, housed these manuscripts and were crucial for scholarly pursuits.

The text draws parallels between ancient Indian educational centers and modern residential universities. It describes "Kulapatis" who could maintain and teach up to 10,000 students, indicating the scale of some institutions. These centers were equipped with manuscript libraries and served as hubs for cultural and religious life, attracting scholars from afar. Foreign visitors' writings are cited as valuable sources for understanding these now-lost institutions.

The author notes the influence of various traditions on Indian education, including Brahmanical, Jain, and Buddhist systems. Jainism, like Buddhism, organized its educational activities within monastic institutions, fostering a collective academic life. The article then delves into the specifics of Jainism, mentioning its moral code, emphasis on detachment, and the division into Śvetāmbara and Digambara sects. It clarifies that Jainism does not recognize the authority of the Vedas or the caste system, and its pantheon is less numerous than Hinduism's, with the 24 Tirthankaras holding a central position.

A significant portion of the text is dedicated to Jain iconography. It discusses the evolution of the Tirthankara image, citing the Lohānipur torso as evidence of their early introduction into worship. The article details the concept of "atisayas" or supernatural qualities of Tirthankaras, including the "aṣṭa-mahā-prātihāryas" (eight chief attendants/attributes) such as the Aśoka-tree, divine music, celestial flowers, triple umbrella, fly-whisks, lion seat, divine voice, and halo. The emergence of these attributes as a distinct group of "Mahā-prātihāryas" is traced through the gradual development of Tirthankara iconography, as evidenced by sculptures from different periods and regions.

The text also touches upon the philosophical underpinnings of Jain worship, emphasizing that "bhāva worship" (mental attitude) is more crucial than "dravya worship" (physical or image worship). It explains the Navakāra mantra, which invokes the five supreme dignitaries: Arhats (Tirthankaras), Siddhas, Ācāryas, Upādhyāyas, and Sadhus. The article further elaborates on how these dignitaries are represented in Jain art, often within a lotus symbol, and the later addition of concepts like Right Knowledge, Right Faith, Right Conduct, and Right Penance (Śvetāmbara tradition) or the Dharma Cakra (Digambara tradition) to these diagrams.

In conclusion, the article highlights the immense and still not fully assessed contribution of Jainism to Indian art, iconography, painting, and sculpture, emphasizing the patronage provided to craftsmen and artists. It concludes with a quote from Lord Mahavira, underscoring the virtue of tolerating harsh words with equanimity.