Varakh Narakno Saral Marg

Here is a comprehensive summary of the Jain text "Varakh Narakno Saral Marg" by Navinchandra K Kapadia, based on the provided pages:

Book Title: Varakh Narakno Saral Marg (Varakh: The Straight Path to Hell) Author: Navinchandra K Kapadia Publisher: Navinchandra K Kapadia Catalog Link: https://jainqq.org/explore/006169/1

Core Message:

The primary purpose of this book is to awaken the Jain community and the public at large to the severe violence (himsa) involved in the production of "varakh" (edible silver or gold leaf) and to advocate for its complete cessation in religious and culinary practices. The author argues that varakh is fundamentally an "abhakshya" (inedible) and inherently violent product, incompatible with the Jain principle of ahimsa (non-violence).

Key Arguments and Content:

1. The Origin and Nature of Varakh:

   • The word "varakh" is not of Sanskrit, Prakrit, Ardhamagadhi, Hindi, or Hindustani origin, nor is it found in any religious scripture from ancient times.
   • Varakh is not linked to Indian culture or religious practices; it was introduced with the Mughal Empire. Associating it with Indian or religious rituals is considered against the truth of dharma and is termed "adharma" (unrighteousness).
   • Varakh is an Arabic word.

2. The Cruel Production Process:

   • The production of varakh begins in slaughterhouses.
   • The process is described as extremely cruel. It involves the slaughter of animals such as cows, bulls, calves, goats, and sheep.
   • Their intestines are forcefully extracted along with blood and flesh using sharp weapons.
   • These intestines are then cut, and a "maas-pothi" (a book made from the gut lining) is prepared.
   • Thin sheets of silver are placed between the pages of this "maas-pothi."
   • The sheets are then beaten with hammers, resulting in thin foils (varakh).
   • Crucially, the process involves animal blood, specifically cow's blood, which is present in the "maas-pothi," making the varakh contaminated and "abhakshya."
   • The author emphasizes that this process is verified through personal investigation at places like Paydhuni, Jogeshwari, and Goregaon.

3. Testimonies and Evidence:

   • The book cites articles from various publications like "Vinod Pandya" in September 1999, "Swaminarayan Prakash" in March 2000, and "Mumbai Samachar" on March 14, 2000.
   • These articles corroborate the cruel methods, often involving the skin of young animals like sheep or calves, or bull intestines.
   • The "Mumbai Samachar" article highlights the extensive use of silver varakh in Jain temples and during religious rituals and notes that some Jain acharyas in Ahmedabad have ordered its discontinuation.
   • A Times of India article from June 24, 2001, is cited, stating that over six lakh animals are killed annually for varakh production.
   • Nemichand Jain's book "Varakh Mansahar Hai" is referenced, reiterating that varakh is made by hammering silver within animal skins, specifically goat skin or bull intestines.

4. The Inedible and Unethical Nature of Varakh:

   • Despite the violent and blood-tainted manufacturing process, varakh is often used on sweets and religious offerings.
   • The author unequivocally states that varakh is "abhakshya" (inedible) and a sin, as it is made through violence.
   • Using varakh on Lord Mahavir's idols or on offerings is considered a violation of ahimsa and an affront to the purity of the divine.
   • It is argued that such usage does not lead to the shedding of karma ("nirjara") but rather binds one to cycles of birth and death.

5. Call to Action and Responsibility:

   • The book urges the Jain community, particularly the "Chaturvedh Sangh" (the four-fold Jain community: monks, nuns, male laity, female laity), to issue a decree banning the use of varakh.
   • It calls for individual Jains to take a vow not to consume sweets with varakh.
   • The author stresses that it is the responsibility and duty of the Chaturvedh Sangh and temple trustees to ban varakh, emphasizing that prompt action will prevent violence.
   • The book criticizes those who defend varakh, calling their claims of non-violent production baseless and lacking proof.
   • The author questions the logic of those who claim purity of gold and silver is maintained even when processed through violent means, comparing it to the use of animal hides in musical instruments like the tabla, stating the latter has no connection to the divine.

6. The True Meaning of Dharma and Bhava Dharma:

   • The text distinguishes between external rituals and true "bhava dharma" (internal devotion or spiritual sentiment).
   • It asserts that true spiritual sentiment cannot arise from or be associated with violence.
   • Using varakh on idols is seen as an external show or a worldly practice that obscures the true nature of devotion and karma shedding.
   • The author suggests alternative, non-violent ways to adorn idols, such as using silver boxes for "aangi" (adornment), which would also preserve the idols longer.

7. Examples of Prohibition and Appeals:

   • Several Jain temples and communities are mentioned as having already banned the use of varakh, including temples in Dahran Mansion, Kalikund Tirth, Anastu Tirth, Patan, Kutch, Katraj Tirth, Palitana, Bhandup, Abu Road, Pavapuri, and others.
   • The author appeals to Jain acharyas, munis, and the Chaturvedh Sangh to heed the teachings of Lord Mahavir and the principle of "Ahimsa Paramo Dharma" (Non-violence is the supreme religion) by banning varakh.
   • A poignant example of Lord Neminath renouncing his wedding feast upon hearing the cries of animals being slaughtered for it is presented to illustrate the importance of compassion and non-violence.

8. Statistical Impact:

   • The book attempts to quantify the violence, stating that for 1 kg of varakh, 12,500 animals are slaughtered. With an annual demand of over 30 tons (30,000 kg), this equates to approximately 375 million animal killings. The author states that the sin for this falls upon the consumers.

Conclusion:

"Varakh Narakno Saral Marg" is a fervent plea and a detailed exposé on the unethical and violent production of varakh. The author presents strong arguments, supported by evidence and testimonies, to convince the Jain community and society at large to abandon the use of varakh, both in religious practices and as a decorative element on food, in alignment with the core Jain principle of ahimsa. The book is a call to awaken from "blind faith" and embrace the truth by taking decisive action to eliminate this practice.