Siddhchakra Yantroddhar Vidhi Vyakhya - Book Summary

Here's a comprehensive summary of the provided Jain text, "Siddhachakra Yantroddhar Vidhi Vyakhya" by Shilchandrasuri, based on the catalog link and the text itself:

Book Title: Siddhachakra Yantroddhar Vidhi Vyakhya (Commentary on the Method of Erecting the Siddhachakra Yantra) Author: Shilchandrasuri (as the author of the commentary) Original Work: The text refers to a commentary on the Siddhachakra Yantra descriptions originally present in 'Sirisirivalakaha' by Shri Ratnashekhar Suri. The commentary itself is attributed to Acharya Shri Chandrakirti Suri. The overall work is presented as a "Vyakhya" (commentary) possibly compiled or presented by Shilchandrasuri. Publisher: ZZ_Anusandhan

Core Subject:

This text is a detailed commentary and explanation of the Siddhachakra Yantra, a highly revered diagram in Jainism. The Siddhachakra Yantra is a symbolic representation that intricately combines the five supreme beings (Pañca Parameṣṭhi) and the four noble qualities (Jñānādin guṇo) of the soul, resulting in nine significant points or "pads." The text focuses on the method of its construction (Yantroddhar Vidhi) and its detailed worship (Upaasanā), which is still practiced within the Jain community.

Historical Context and Origins:

The Siddhachakra Yantra has a direct connection to the narrative of Shripal and Mayana.
The earliest known account of this story is found in the 'Sirisirivalakaha' (composed in the 15th century) by Shri Ratnashekhar Suri of the Nagpuriya Brihat Tapagachchha.
There is no known earlier mention of these characters or their connection to the Siddhachakra in the Shvetambara tradition or in the Jain scriptures (Agamas). Even the daily recitation formula "Baharhesar ni Sajhāya" does not include their names.
Shri Ratnashekhar Suri creatively wove the Shripal-Mayana story and, within it, described the form of the Siddhachakra Yantra. His description comprises 12 key verses (Gāthās).
These 12 verses are described as profound and their true meaning and methods of worship can only be understood by those knowledgeable in Jain Tantric lore.
Acharya Shri Chandrakirti Suri (16th century), a disciple of Shri Ratnashekhar Suri, provided a simple and accessible commentary (Vyākhyā) on these 12 verses, revealing their esoteric meanings and worship rituals.

Purpose and Significance of the Commentary:

The commentary by Acharya Shri Chandrakirti Suri, as presented in this work, highlights that the worship method described in his interpretation largely aligns with the worship practices currently prevalent (puja paddhati).
This means the methodology derived from the commentary can be applied to current worship rituals, potentially helping to correct certain deviations or impurities (vikrutio) that may have entered into the practice over time.

Source and Compilation:

The current edition or compilation is based on a private collection's two-page manuscript, likely written in the 17th century.
The diagrams (Ākruti) were reportedly drawn by the transcriber.
A specific verse (Gāthā 5) refers to a 'Labdhikalpa' which might be related to the 'Sūrimantrakalpa.'

Detailed Description of the Siddhachakra Yantra Construction (from the verses):

The text then proceeds to elaborate on the construction and symbolic elements of the Yantra through the interpretation of the 12 verses:

Verse 1: Describes the initial elements and their placement. 'Gagana' refers to the letter 'Ha'. The letter 'Ha' is to be meditated upon in the center of the base. If visualization is difficult, it can be inscribed on a cloth or plaque. Other seed syllables (bījas) are also mentioned with specific orientations and combinations, forming complex phonetic and visual patterns. The verse details how to combine 'Ha,' 'Ra,' 'Na,' and other elements to form specific sounds and visualizations, culminating in the central part of the Yantra (karnikā).
Verse 2: Describes the creation of a circular mandala around the base, followed by an eight-petaled lotus. Within the eight petals, specific seed syllables like 'Om' (Praṇava), 'Hri' (Māyā), and invocations like 'Siddhebhyah Svaha' are to be placed in cardinal directions. In the inter-petals (mid-directions), the four qualities – Darśana (Perception), Jñāna (Knowledge), Cāritra (Conduct), and Tapa (Austerity) – are to be inscribed with 'Svaha'.
Verse 3: Describes a sixteen-petaled outer circle. In alternate petals, eight groups of letters (vargas) starting from 'A', 'Ka', 'Cha', 'Ṭa', 'Ta', 'Pa', 'Ya', 'Sha' are to be written. The internal spaces between these eight groups are for meditating on the first word of each of the Pañca Parameṣṭhi (e.g., 'Namo Arihantāṇam').
Verse 4: Describes a third circle with eight external directions and internal spaces. In the eight external directions, eight 'Anāhata' (unstruck) seed syllables are to be inscribed, arranged in three rows. In the spaces between these, 48 'Labdhi Padāni' (verses or mantras related to spiritual attainments) are to be meditated upon and inscribed, arranged in three lines, totalling 48.
Verse 5: Clarifies that these 48 'Labdhi Padāni' are preceded by 'Om' (Praṇava), 'Hri' (Māyā bīja), 'Am' (Siddha bīja), and then the mantra 'Namo Jināṇam' or similar phrases. The names and significance of these 48 'Labdhi Padāni' are to be learned from the 'Labdhikalpa' and through the guidance of a true Guru.
Verse 6: States that the entire Yantra, from the base to the 'Labdhi Padāni,' should be encircled three times with the 'Māyā bīja' (Hraṁ). On the outermost perimeter, the Guru's footwear (Gurupādukā) is to be meditated upon.
Verse 7: Details the Gurupādukā. They represent the footwear of Arhats, Siddhas, Gaṇis (Acharyas), Gurus, Paramgurus, Adṛṣṭagurus, Anantagurus, and Durantagurus (eight lineages of Gurus). Each Gurupādukā should be preceded by 'Om' and followed by invocation like 'Arhat Padukābhyo Namah'.
Verse 8: Describes the Yantra having a kalasha (pot) like form created by interconnected lines in its halves, resembling nectar. It is adorned with the four victorious names (Jaya, Vijaya, Jayanti, Aparājitā) in the cardinal directions and the four subjugating names (Jambha, Stambha, Moha, Andha) in the intermediate directions.
Verse 9: Mentions the presiding deities of the Siddhachakra, starting with Shri Vimal Swami, and other guardian deities (Chakreshwari, etc.). Their meditation and mantra recitation are to be learned from a Guru. Their names should be written around the kalasha-like form.
Verses 10 & 11: These verses describe further adornments and protectors of the Yantra. It is served by Vidya Devī (16 celestial knowledge goddesses like Rohini), Shāsan Surā (Yakshas like Gomukha), and Shāsan Devī (goddesses like Chakreshwari) on its sides. At the bottom, the planets (Sūrya, etc.) are indicated. In the 'neck' or middle part, nine treasures (Naisarpaka, etc.) are placed, and at the base, four gatekeepers (Kumuda, Añjana, Vāmana, Puṣpadanta) and four heroic figures (Maṇibhadra, Pūrṇabhadra, Kapil, Piṅgala) are depicted. It is also protected by ten directional guardians (Dikpālas like Indra, Agni, etc.) and the Kshetrapāla (guardian of the place). The text instructs to write their names and meditate upon them correctly as per tradition.
Verse 12: Concludes by stating that this Siddhachakra is the essence of the ninth Upanga (sub-scripture), the 'Vidyānuvāda'. Understanding this Yantra and its worship leads to the accomplishment of great Siddhis (spiritual powers).

Overall, the book provides a detailed, step-by-step guide to the construction and worship of the Siddhachakra Yantra, rooted in ancient Jain Tantric traditions and illuminated by the commentary of Acharya Shri Chandrakirti Suri. It emphasizes the importance of proper guidance from a Guru and the correct understanding of the intricate symbolic meanings embedded within the Yantra.