Vimalsuri Krut Paumchariya Me Pratima Vigyan Parak Samagree - Book Summary

Here's a comprehensive summary of the Jain text "Vimalsuri krut Paumchariya me Pratima Vigyan Parak Samagree" in English:

This scholarly article, "Vimalsuri krut Paumchariya me Pratima Vigyan Parak Samagree" by Maruti Nandan Prasad Tiwari and Kamal Giri, delves into the iconographical and art historical content found within the Paumchariya, a seminal Jain work composed by Vimalsuri around 473 CE.

The authors highlight the inclusive nature of Jainism from its inception, which led to the incorporation of popular figures from other Indian religions, like Rama and Krishna, into the Jain pantheon. While Krishna has earlier mentions in Jain scriptures, Vimalsuri's Paumchariya is noted as the earliest and most extensive Jain text featuring the story of Rama. It's significant that the primary characters of the Ramayana – Rama, Lakshmana, and Ravana – were incorporated into the list of 63 Shalaka Purushas (distinguished individuals) by the 5th century CE, with Rama being the eighth, Lakshmana a Baladeva, and Ravana a Prativāsudeva. The text posits that Mahavira initially narrated the story of Rama, which was later elaborated by Vimalsuri.

The article's primary focus is on the under-researched iconographical material within the Paumchariya, a crucial aspect given the Gupta period (when the text was written) significance in the development of Jain iconography.

Key iconographical and religious themes discussed include:

The 63 Shalaka Purushas: The Paumchariya is credited with providing the first complete list of the 63 Shalaka Purushas. While earlier scriptures mentioned around 54 such prominent individuals without names, Vimalsuri's work systematically lists them, significantly contributing to the conceptualization of the Jain divine assembly.
Worship and Images of Jinas: The text abounds with references to the creation and worship of Jina images. The mention of wearing signet rings adorned with Jina images signifies their popularity. An example is given of King Simhodara wearing a gold ring with a gem-studded image of Munisuvrata, demonstrating the personal devotion to these icons.
Popularity of Tirthankaras: While Rama and Lakshmana are contemporaneous with the 20th Tirthankara, Munisuvrata, the text mentions fewer instances of their interaction with Munisuvrata's temples or images. In contrast, Shantinatha, the 16th Tirthankara, appears to have enjoyed greater popularity, with more references to his temples and images. Interestingly, Ravana is depicted as a more devout Jin devotee than Rama in the text.
Vidya Deities (Deities of Knowledge/Magic): The Paumchariya is highly significant for the early development of Vidya Deities. The text records characters like Rama, Lakshmana, and Ravana acquiring various vidyas (powers or knowledge) through worship. This suggests an early influence of Tantra on Jainism. The garuda and kesari vidyas acquired by Rama and Lakshmana are seen as precursors to later vidyas like apratichakra and mahamanasi.
Yakshas and Yakshinis: The Paumchariya mentions only a few Yakshas and Yakshinis, primarily those from ancient traditions like Purnabhadra and Manibhadra. The absence of prominent figures like Ambika (also known as Bahupūtrikā) and Kubera (Sarvānubhūti) is noted as surprising. The text also mentions goddesses like Hri, Shri, Dhriti, Kirti, Buddhi, and Lakshmi. Notably, it lacks references to deities commonly found in other contemporary worship, such as Nagas, Pret, Pitara, Skanda, and Vishakha. Instead, Vidya Deities are given more prominence than Yakshas/Yakshinis or folk deities.
Iconographic Attributes: The text associates a plow and pestle with Rama and a discus and mace with Lakshmana. These are traditionally the weapons of Balarama and Krishna respectively, indicating an attempt to align the Jain heroes with these popular figures. The Paumchariya also hints at a temporal gap of over six lakh years between the Tirthankaras and the events of the Mahabharata and Ramayana, although this number is acknowledged as exaggerated.
Iconographic Representation of Tirthankaras: The Paumchariya describes the iconographic features of Tirthankaras, particularly Rishabhanatha and Parshvanatha, who were the primary figures depicted in art by the time of the text's composition (473 CE). It mentions Rishabhanatha with long matted hair and a crown, and Parshvanatha adorned with the hoods of the Naga Dharanendra. Rishabhanatha is also described as bearing the Shrivatsa mark. The text notes that the depiction of Yaksha-Yakshini couples with Tirthankara images began in the 6th century CE, and independent representations of Yakshas and Vidya deities emerged around the 8th century CE.
Panchapratīhāryas and Ashtapratīhāryas: The text frequently mentions the five pratīhāryas (auspicious symbols) accompanying Rishabhanatha and Mahavira, and in some instances, eight pratīhāryas. The inclusion of eight pratīhāryas aligns with the established iconography of the Gupta period.
Construction of Temples and Images: The Paumchariya contains numerous references to the construction of Jina images and temples. An instance is given of seven Jain monks instructing Shatrughna in Mathura to build Jina temples and establish Jina images in every home. The belief that even thumb-sized Jina images could avert epidemics is mentioned, likely inspiring the practice of home worship. The text lists the existence of Jina temples in various locations like Videha, Saketpuri, Mathura, Dashpur, Lanka, Potanpur, Kailasa Mountain, and Sammet Shikhar. Specific temples are attributed to Rishabhanatha, Padmaprabha, Shantinatha, Chandprabha, and Munisuvrata. Notably, the absence of references to the final three Tirthankaras (Neminatha, Parshvanatha, and Mahavira) is seen as a way of respecting the historical timeline, as they followed Munisuvrata.
Absence of Certain Deities and Iconographic Traditions: The article points out the lack of mention of the four classes of deities (Bhavanavasi, Vyantara, Jyotishka, and Vaimanika) and only a few lokapalas (guardians of directions). The limited mention of lokapalas like Indra, Varuna, Kubera, and Yama suggests that either the list of eight dikpalas was not finalized by the late 5th century CE, or they were not yet recognized in the Jain tradition.
Vidya Siddhi and Tantric Practices: The acquisition of various vidyas by characters like Rama, Lakshmana, and Ravana is a significant theme. The text suggests that the acquisition of these vidyas led to various spiritual powers (riddhis). The Paumchariya is credited with the earliest references to the worship of vitaraagi Tirthankaras for acquiring vidyas. The detailed description of Ravana's acquisition of the bahurupini mahavidya and the associated tantric practices, such as meditation and the use of mantras, provides valuable insights into the religious landscape of the period. The list of 55 vidyas acquired by Ravana is provided, which includes names that seem to have connections with Brahmanical and Buddhist traditions.

In conclusion, the article establishes the Paumchariya as a rich source of information for the study of Jain iconography and the evolution of religious beliefs in early medieval India. It sheds light on the incorporation of popular narratives, the development of the Shalaka Purusha concept, the significance of Vidya Deities, and the early stages of Tirthankara idol worship and temple construction within Jainism.