Jin Pujä
1. Introduction and Background.
1.1. Rites
& Rutuals in Jainism..
1.2. Why
do we need a worshipping place? Can't we do it in our own home?.
1.3. What
is the importance of Pratimäjis with Prän Pratishthä?.
1.4. Why
do we need to do Jinpujä ?.
1.5. Bhakti & Pujä (Devotion & Worship)
1.7. How
to be engrossed in Jinpujä?.
1.8. Purity
to be Observed for performing Pujä:
1.9. Namo Jinänam Jiabhyänam..
1.10. How
to stand in front of the Parmätmä?.
1.11. Whom
to watch when we are in temple?.
2. Basic Steps to be followed in the temple.
2.10. Avasthä,
Bhumi, Älamban, Mudrä and Pranidhan Triks.
2.11. How
to come out of the temple ?.
3. Brief Description Ashtaprakäri (Eight Fold) Jinpujä
per Digambar tradition.
4. Ärati, Mangal Divo and Shänti Kalash.
5. Ten Triks (group of three) to be observed
while worshipping.
6. Contributions & References.
Before we start, we must
emphasize that there are many
different ways of doing Jinpujä. What you read here is not the
only way. Keeping in mind the Jain[1]
doctrine of Anekäntväd (multiple
viewpoints), we want to make it clear that it is not our intention to offend
anyone.
The one and only purpose of
Jainism is to attain Moksha[2]
(salvation , freedom from cycle of life and death or eternal happiness). Rites
and rituals are small but important beginning steps towards the path of Moksha. The rites and rituals consist of
Bhakti and Worship.
Unlike the general concept
of rites and rituals, Jains do not perform rites and rituals for worldly
happiness, for a certain miracle or to please some divine power. In Jainism,
the purpose of rites and rituals is to pay our respect to Tirthankars for the salvation they have attained, for showing us
the path of purification (Moksha),
and to get the inspiration to become like them. The aspirant (Sädhak) attains the inner peace by performing
the rites and rituals, and suppresses his/her passions such as anger, ego,
deceit and greed. The Bhakti and Worship should imprint an everlasting
impression of Jain principles in the minds of an aspirant (Sädhak). Rites and Rituals
performed with pure thoughts and true
Jain principles of Ahimsä in mind should lead the aspirant
to believe that path to Moksha can only be attained by acquiring the three
jewels, namely, Samyak Jnäna (Right
Knowledge), Samyak Darshan (Right Perception), and Samyak Chäritra (Right Conduct). Then slowly but surely, the aspirant sets
out on the path of salvation. Tirthankars
were humans like us before they attained
Moksha. Similarly, we human beings
can attain Moksha and become like
THEM.
The worshipping place
provides the necessary environment for spiritual practice (sädhanä) as the school provides for education. Once the aspirant
has advanced spiritually, he/she can continue the spiritual activity at any
place. But for most of Shravaks[3]
(householders), they need to depend upon external sources such as temple to
make initial progress in the spiritual direction. It is also acceptable for an
aspirant to practice his/her religion from home as long as he/she achieves the
similar or better results. For most Shrävaks,
combination of both is the best option.
The word Pratishthä is a Sanskrit word made of
two words. The word Pra means Pratyaksha or “in person”
or “live”, and the word Tishta
means to install or to establish. The combined meaning of the word Pratishthä means to establish live image of Veetträg[4]
Bhagawän[5](s)
in the temple for spiritual grace and
fellowship. There is a specific Prän
Pratishthä ceremony which auspiciously installs "living-ness" in
the Pratimäjis. In other words, Pratimäjis with Prän Pratishthä are the next best to a Tirthankar[6] in
person. As you know we do not have any Tirthankar
on this planet. Therefore, a Pratimäji with
Prän Pratishthä. is like a "Tirthankar" residing in our temple.
Jinpujä is a spiritual ritual designed for Shrävaks.
The presence of image of Tirthankar
provides mental peace and harmony and encourages one to detach his/her self
from the worldly desires. The forum that Pujäs
provide help people discipline themselves. It is considered to be a simple,
preliminary step towards the attainment of Moksha.
We pray and /or worship to pay our
respects to the Thirthankars because
THEY have attained the liberation, THEY explained the path of liberation and to
get an inspiration to become like THEM.
Bhakti
(devotion) and Pujä are interwoven
with the daily life of a Jain and is considered as part of daily conduct (Vyävhar). Bhakti and Pujä shows the purest of soul in the
form of daily conduct. This daily conduct should lead us to the path of (Nischäy), the realization of absolute
purest form of our own-self, the soul. There are nine types of Bhakti: (1) Hearing God's name (Shravan), (2) Devotional singing (Kirtan), (3) Remembering (Smaran), (4) Worshiping ( Jinpujä ), (5) Bowing down (Vandanä), (6) Adorning (Archanä), (7) To seek refuge in complete
surrender - Servitude (Sharan), (8)
Friendly sentiment (Maitri) and (9)
Dedication of self (Nivedan). The
Jinpujä process developed by our great Ächäryas
include all nine types of Bhakti.
There are two types of Jinpujä: Saguna & Nirguna. The
worship of Jina in the form or Image
is called Saguna Jinpujä. The worship of Jina as formless (spiritual idea of Jina) is called Nirguna Jinpujä. The Saguna worship of the Parmätmä (idol) is of eight-fold (Ashtaprakäri). We require the medium of
an Idol or image for worship till we reach the 7th Gunasthän[7] (Seventh
Stage in thespiritual development). Nirguna
worship consists of devotion and meditation of the Formless one. Once the
aspirant is spiritually advanced to significantly higher spiritual level (the
stage of the 8th Gunasthän and
beyond), where Saguna worship is
abandoned. A beginner requires the medium of Idol. While carrying on the Dravyapujä (Pujä that includes physical offerings such as Water, Chandan, Rice etc is known as Dravyapujä) we should do the Bhävpujä (mental / emotional act of Pujä without any physical offerings).
There are various types of Pujäs: some of the common Pujäs are (1) Eight-fold Jinpujä (Ashthaprakäri or Ashthadravya Pujä), (2) Athär (18) Abhishek Pujä, (3) Panch Parmeshti Pujä (4) Snätra Pujä. There are five types of Pujäs to twenty one types of Pujäs.
To be engrossed completely
in Jinpujä, the aspirant should have Tadgat Chitt (full concentrration), Samay Vidhän (observance of the proper
timing), Bhäv Vruddhi
(ever-increasing devotion), Vismay
(admiration - astonishment), Pulak
(delight) and Pramod-pradhän
(appreciation of great qualities of the Tirthankar).
By performing Jinpujä on a regular basis with pure
feelings (bhäv - mental / psychic
aspect), it can remove eight types of karma: knowledge-obscuring karma,
perception / awareness obscuring karma, belief and conduct diluting karma,
energy obscuring karma, life-span determining karma, body-determining karma, status
determining karma, and pain-pleasure producing karma. Thus, liberate our selves from
the bondage of karma forever.
The purity of the
surroundings inevitably affects one’s purity of thought. Purity of the Jinpujä ceremony is integral to the proper completion of Jinpujä.
·
Physical purity: The aspirant should take a
bath using the necessary amount of water to clean his/her body. For Digambar Pujä: After wearing Pujä
clothes, take Kesar (saffron paste) on your right ring finger and place it on
various parts of the body to symbolize that you are clean and ready to start
the Pujä. In this order, you anoint
the forehead, left and right earlobe, the neck, and near the belly button.
Clean your fingers after this and do not use the same Kesar for Pujä.
·
Purity of clothes: We should have a special
set of clothes worn only for pujä.
The clothing should never have been worn while using the rest room and never
have been worn while eating or drinking. Traditionally,
garments should be generally white and unstitched. Men are recommended to wear dhoti
and khesh. In contemporary times, women can wear almost anything as long as
the clothes are new. For Digambar Pujä: the clothes must be handwashed
clean. One must not have eaten or gone to the bathroom in those clothes
·
Purity of mind: While worshipping avoid stray thoughts. We should utter relevant
verses and meditate on the virtues of
the Bhagwän.
·
Purity of Ground: We should sweep the floor of the temple, clean and arrange the
articles of worship.
·
Purity of Upakaran (items used in worship): We should buy good and clean items for
worship.
·
Purity of money: Money to be used in religious purposes must be earned honestly. Ill-gotten wealth should not be used.
·
Purity of Ceremony: We should stop thinking of worldly affairs as soon as we are on
our way to the temple. We should not
carry out any worldly business in the temple area and shuld perform the Pujä ceremony systematically.
As soon as we see the
flag of the temple or its shikhar, we should feel happy and say ‘Namo Jinänam Jiabhyänam’ by bowing our head with
folded hands. We do the same thing as soon as we see the Jin Murti in
the temple.
While worshipping or doing darshan of the Parmätmä, men should stand on the right side and women should stand
on the left side of the Parmätmä.
This is done to observe the courtesy, and to allow others to see (darshan) the Parmätmä.
We should watch the Parmätmä without looking a) upwards,
downwards or sideways; b) right or left or c) behind all the time when we are
in the temple.
We should utter words 'Nisihi' (to give up)
thrice first time while entering the main door of the temple. It means that I
will restrain myself from engaging in worldly activities, physically, verbally
and mentally. Say ‘Namo Jinänam Jiabhyänam’ with
folded hands while bowing the head as soon as we see Jin Murti in
the temple. Then proceed to do the Jin Darshan of the Mul-Näyak.
There are three ways to
do the Pranäm to Paramätmä: a) Bowing head with our both
hands folded together. b) Bowing down by bending the upper part of our body
half way and do Pranäm with folded
hands. c) Bowing down by bringing the five limbs of the body together (two
arms, two knees and the head) on the floor.
The second time 'Nisihi' is uttered before entering the inner temple
(Gabhärä). This signifies that I am
abandoning the activities relating to the temple matters.
The third time 'Nisihi'
is uttered after completion of Jin Pujä.
This signifies that I will restrain myself from physical acts of worship (Dravya Pujä) before performing 'Chaitya
Vandan' (Bhäv Pujä).
After the Jin Darshan of Mul-Näyak, we
should proceed to perform three Pradakshinä
(circumambulation) the Parmätmä (in Bhomati, also called Gomati),
starting from the right of HIM. It is symbolic for acquiring virtues of right
perception, right knowledge and right conduct.
While doing first Pradakshinä, we should
recite the following:
Käl anädi anantthi,
bhav-bhramanno nahi pär,
Te bhramanä niväravä,
Pradakshanä daoo tran vär,
Bhamati mä bhamatä thakä,
bhav-bhävath door paläy,
Jnän-darshan-chäritra roop,
Pradakshanä tran devai.
While doing second Pradakshinä, we should
recite the following:
Janm-maranädi savi bhay
tale, sijhe jo darshan käj,
Ratna-trayi präpti bhani,
darshan karo jin räj,
Jnän vadu samsaär mä,
jnän-param such hetu,
Jnän vinä jagjivadä, na lahe
tatva sanket.
While doing third Pradakshinä, we should
recite the following:
Chay te sanchay karmno,
rikta kare vali jeh,
Chäritra näm niryukte kahyu,
vando te gunegeh,
Jnän darshan chäritra e,
ratnatrayi nirdhär,
Tran Pradakshanä te kärane,
bhavdhukh bhanjanjär.
If you do not remember the above then, we should
recite hymns of an auspicious prayer like some hymns from the Ratnäkar Pachchisi or from Bhaktämar Stotra with full devotion
while doing Pradakhanä. While performing Pradakshinä, we should bow our head with folded hands whenever we
see the Parmätmä.
After three Pradakshinä, we go the corner
which is dedicated for Chandan preparation. Here we cover our mouth with
Pujä-Rumäl and prepare the chandan
for pujä. There is no need to use saffron. After, preparing the Chandan
for pujä, we clean the area
Now, while seating in Padmäsän,
we put a Tilak (vertical flame
like) on the forehead. This means that we are obeying the commands of Tirthankar (His teachings) for
liberation of our soul. Round Tilak is
not recommended. After putting Tilak,
the aspirant with folded hands should say "Namo Jinänam" as if the Parmätmä
is in the front of him / her.
The bell is rang second time when ‘Abhishek Pujä’
is about to start.
Third time we ring the bell after the completion of Jin
Pujä and befor we start the Bhäv Pujä (Chatya-vandan). This
time we ring the bell twenty seven times to symbolize twenty seven special
characteristics of a Jain monk. Because, the ownership of Bhäv pujä (Chaitya-vandan) belongs to Jain monks. Now, we are going
to become a Jain monk while performing Chaitya-vandan. Therefore, to
respect and praise the special twenty seven characteristics of Jain monk, we
ring the bell twenty seven times.
Forth time we ring the bell while leaving the
temple. This time we ring the bell seven times symbolizing the seven types of fear
that we want to get rid of in order to be freed from the miseries of the
material world.
The follwing is the brief explanation of Ashthprakäi
Pujä per Shwetämbar tradition. Ashthprakäi Pujä per Digambar
tradition is briefly explained in the Section 3.0
This particular Jinpujä is usually performed in the
morning. Eight different rituals are
performed during the Pujä: jal (water), Chandan (sandalwood paste), Pushpa
(flowers), dhoop (incense), dipak (light), akshat (rice), naivedya
(sweets), and fal (fruits).
1.
Jala Pujä: (Water): Before performing this, everything (like flowers), from the Parmätmä should be removed. Then insects
(if any) on the Parmätmä be removed
gently by using a peacock feather‑brush. After this, we should sprinkle
water (abhishek) on the Parmätmä.
Then remove stale sandal paste by wet cloth (Potu), apply the Välakunchi
(brush of hair‑like Chandan
sticks) gently on the places where dry paste is stuck.
Water symbolizes life's
ocean of birth, death, and misery. This Jinpujä reminds that one should live
his life with honesty, truthfulness, love, and compassion towards all living
beings. This way one will be able to
cross life's ocean and attain liberation (Moksha).
2.
Chandan Pujä: (Sandal-wood): Wipe the Parmätmä by three pieces of cloth to
remove all water, and make the Parmätmä
completely dry. This Pujä involves pujä of nine limbs: (1) two toes of the
feet (symbolizes the preservation of the energy – Viryarakshä), (2) two
knees (symbolizes self-efforts & self-initiatives - Swädhinatä), (3)
two wrists (symbolizes donation, good deeds), (4) the shoulders (symbolizes
absence of ego and mighty shoulders that swam thru the ocean of misery), (5)
the head (symbolizes moksha), (6) the forehead (symbolizes third eye,
inner eye to the self), (7) the throat (symbolizes the most auspicious speech),
(8) the chest (symbolizes purity of heart by eradication of attachment and
aversion) and (9) the naval (symbolizes three jewels – perfect perception,
perfect knowledge and perfect conduct). There is a particular - spiritual
aspiration is associated with pujä of
each limb.
Chandan symbolizes knowledge (jnana). By doing this Jinpujä , one should thrive for right knowledge.
3.
Pushpa Pujä: (Flower): The flower symbolizes
conduct. Our conduct should be full of
love and compassion towards all living beings, like flower provides fragrance
and beauty, without any discrimination.
4.
Dhup Pujä: (Incense): Dhup symbolizes monkhood[8]
life. While burning itself, incense
provides fragrance to others. Similarly,
true monks and nuns spend their entire life selflessly to benefit all living
beings. This Jinpujä reminds that one
should thrive for an ascetic life.
5.
Dipak Pujä: (Candle): The flame of Dipak represents a pure consciousness,
i.e. a soul without bondage of any
karmas or a liberated soul. By doing this
Jinpujä one should thrive to follow five great vows; non-violence,
truthfulness, non-stealing, chastity, and non-possession. Ultimately these vows will lead to liberation.
6.
Akshat Pujä: (Rice): Rice is a kind of grain
which is non-fertile. One cannot grow rice plants by seeding rice. Symbolically, it represents the last
birth. By doing this Jinpujä one should thrive to put all
efforts in life in such a way that this life becomes the last life, and there
will be no more birth after this life. Literally, Akshat means unbroken, and it stands for unbroken happiness. The bright white color of rice represents
the purity of our soul.
In Akshat Pujä,
the aspirant makes a swastik using rice grains on a plate or a wooden
plank (Pätalä). The swastik[9]
sign symbolizes the samsärik cycle
that is consisted of four destinies: 1. heavenly beings, 2. humans, 3. hell
beings and 4. rest of the living forms (animals, plants, etc.). A given soul
can be born unaccountable number of times in each type. Then he/she places
three dots above the swastik sign.
Three dots symbolize the three jewels - perfect perception, perfect knowledge
and perfect conduct. These three provide the means for escaping the miserable samsarik cycle. Finally, he/she makes a
half circle on the top of three dots and puts a dot in that half circle. This
half circle figure with a dot symbolizes the place, sidhdhha-lok (upper portion of the universe) where the liberated
souls are. The aspirant desires to be liberated from the samsarik cycle of four destinies by the means of right perception,
right knowledge and right conduct and attain Moksha. The aspirant puts Sweet on the swastik symbolizing he/she wants to attain a foodless state (Anähäri - Siddha). In addition, the aspirant puts fruit on the siddhashilä symbolizing the fruit of the
Jinpujä is the fifth state of
liberation that is liberation.
7.
Naivedya Pujä: (Sweets): Naivedya symbolizes tasty food.
The aspirant puts the Naivedya on the siddha-shilä (made out of rice in the Akshat
Pujä). By doing this Jinpujä , one should thrive to reduce
or eliminate attachment to tasty food. Healthy
food is essential for survival, however one should not live for tasty food. Ultimate aim in one's life is to attain
Moksha where no food is essential for
survival.
8.
Fal Pujä: (Fruit): Fruit is a symbol of Moksha or liberation. . The
aspirant puts the fruit on
the Swastik (made out of rice in the Akshat Pujä). If we live our life
without any attachment to worldly affairs, continue to perform our duty without
any expectation and reward, be a witness to all the incidents that occur
surrounding us, truly follow monkhood life, and have a love and compassion to
all living beings, we will attain the fruit of liberation. This is the last Jinpujä symbolizing
the ultimate achievement of our life.
After completion of Ang Pujä, you come out of the Gabhärä and perform Agra Pujä. After Agra Pujä, one may perform Darpan Pujä and then perform Chowri dance as explained in sub-sections 2.7 and 2.8.
We look into a mirror (Darpan) to see the face of the Parmätmä as the Vitaräg
Bhagwän (who has conquered attachments and aversions) symbolizing that we may
attain the state of non-attachment like HIM.
This is done after performing JinPujä.
After performing Darpan Pujä, we Chowri dance while swaying the Chämar
before the Parmätmä to express our
love, respect and devotion to our Veeträg
Bhagawän. While doing the Chowri dance, you may want to recite the
following:
Be bäju chämar dhäle, ek ägal vajra uläle
Jai meru dhari utsange,
indra chosath malia range
Prabhu päsnu mukhadu jovä,
bhavobhav nä pätik khovä.
There are three types of Bhäv Pujäs. In general, Chaitya Vandan is performed after the Ashtaprakäri Pujä.
There are a total of ten
triks (triks means a group of three): (1) Nisihi
trik,(2) Pradakshinä trik, (3) Pranäm trik, (4) Pujä trik, (5) Avasthä trik,
(6) Dishä trik (7) Bhumi trik (8) Älamban trik (9) Mudrä trik
(10) Pranidhan trik.
Earlier, we have already
mentioned about (1) Nisihi trik,(2) Pradakshinä trik, (3) Pranäm trik, (4) Pujä trik and (6) Dishä trik
(5) Ävasthä Trik: a) Birth
Stage - While doing Abbishek, (the
ceremony of bathing), we should think that Indra
and heavenly beings are performing the Abhishek
on the Mount Meru upon the head of the newly born baby who is going to be Tirthankar, b) Kingship Stage - After
worshipping the Parmätmä with sandal
paste, flowers and ornaments, we should contemplate the kinghood of Tirthankar imagining Him seated on a
throne. c) Shraman (Ascetic) Stage -
We look at the hairless head of Tirthankar
and contemplate His Ascetic stage of life, wishing for ourself the same state
in this life.
(7) Bhumi Pujan Trik: Before doing Chaitya
Vandan, we should sweep the ground with the help of our scarf or
handkerchief in order to gently move insects and minute living beings from the
area.
(8) Älamban Trik: a) Varna‑älamban
- We should recite the sutras, stavanas and stuti correctly without
skipping any letter or a word. b) Arthav-älamban
- We should think of the meaning of the words uttered by us. c) Pratimav-älamaban - We should say
prayers facing the Parmätmä.
(9) Mudrä Trik - a) Yoga Mudrä - Fold the ten fingers into
the form of a lotus, keep the elbow on the belly and recite the Chaitya Vandan up to Namuthunam. b) Jin Mudrä - Do Kausagga while standing up arid keeping two arms hanging down after
reciting from Arihant‑cheiyaname
up to Anattha Sutra. (c) Mukata Sukti Mudrä - Fold your two palms hollow like a pearl‑shell
and then touch your forehead and recite Jävanti
Cheial, Jävant‑Kevisähu and Jay
viyräya.
(10) Pranidhan Trik - Chaitya Vandan is performed with full
physical, verbal and mental concentration.
After ringing the bell, you
must leave the temple without turning your back towards the Parmätmä (Idol). You must retreat
walking backwards and say “Ävissahi.
”
After coming out of the
temple, sit for a few minutes outside the temple visualizing the Parmätmä with eyes softly closed, steady
body and full mental concentration.
·
Abhishekh: Abhishekh is performed by the Pujäri
(male); the rest of the members participate in reading the Jinpujä. Altar area is cleaned. Abhishek
involves cleaning of the altar by sprinkling saffron water in the eight
directions and cleaning of the Parmätmä, then wiping the Parmätmä dry by using dry cloth. Several kalashes
(pots) of pure water is used in bathing the Parmätmä
as the bell is rang and the Abhishekh path
is read or Namokär Mahä Mantra
is recited. The rest of the participants are reading or chanting the Abhishekh Path. Usually, there should be
a continuous stream of water until the Abhishekh
Path is complete. Then the Parmätmä is first wiped by wet cloth and
then with a dry cloth.
·
Sthäpanä: Take three full cloves and
hold one clove at a time between the two ring fingers. While keeping the clove
head pointing forward and while chanting the sthäpanä, place the cloves in an elevated place. The first clove
represents that May Dev-Shostra-Guru
come into my thoughts, second clove represents that May Dev-Shostra-Guru stay in my thoughts, and third clove represents
that May Dev-Shostra-Guru be near me.
·
Invocation: The rays of the sun of omniscience illuminate whose inner self,
That voice of Jinendra expounds
beautifully the fundamentals of our being, The monks who proceed on the path of
right faith, knowledge, and conduct, I bow to thee, oh God, scriptures and
monks of the Jain order, a hundred times. I
implore of the trio to settle in my mind, while I am offering this homage.
Brief Description of
AshtPrakäri Pujä:
1.
Water: Pleasures of the senses are
sweet poison, nevertheless one is attracted towards this handsome human frame,
I have failed to comprehend that all this is the manifestation of matter alone,
Forgetting my own glories, I have adhered to attachments of the non-self, Now I
have come to you to wash off wrong faith with the pure water of right faith. I offer to you this water for destroying
wrong faith as it has not been able to quench my eternal thirst.
2.
Sandalwood: All the sentient and
non-sentient entities behave and act in their own limits of existence, Calling them favorable or unfavorable
is a false attitude of the mind, I
have only lengthened the circle of life and death by becoming unhappy with
unfavorable associations, I have come
to you with a grieved heart to get peace of mind, as from sandalwood. I offer to you this sandalwood to destroy
the anger in me as this has not been able to keep me calm and undisturbed.
3.
Flower: This flower is very soft; it
has no crookedness or deceitfulness, I accept that there is no straight
forwardness in my own self, My thinking, expression and action - all are
different from each other, I, therefore, implore you to grant me stability that
washes off inner impurities. I offer to
you this flower to achieve supreme straightforwardness in my nature.
4.
Incense: I have entertained the false
belief that inanimate karmas are the cause of my wanderings in the four phases
of life, As such I indulge in attachment
and aversion, when these karmas behave in themselves, Thus, I have been passing through material as well as psychic
karmas for centuries, I have come to
thee, oh trio, to burn external incense for achieving the sweet spiritual
incense of my own-self. I offer to you
this incense to destroy the antagonistic inclinations of my existence.
5.
Lamp: I was under the impression
that my life will be illuminated with this inanimate lamp, Which changes into deep darkness just in a heavy tempest of wind, I have, therefore, come to place this
mortal light at your feet, And to
light my own inner-lamp with your supreme light of omniscience. I offer to you this lamp in order to
destroy the darkness of my inner self.
6.
Rice: I am pure and without any blemish, having no connection with the
non-self, Even then I always take pride in favorable associations of this
world, This is a homage of the sentient to the non-sentient elements,
destroying our modesty, I have come to you, oh supreme trio, for the
realization of my supreme bliss. I offer
to you this unbroken rice to achieve the non-destructible treasure of joy.
7.
Sweets: My hunger has remained
insatiate even after consuming countless inanimate articles, The pit of greediness has been filled
time and again, but it has remained empty,
I have been moving in the sea of desires and sinking therein from times
immemorial, Renouncing all pleasures
of senses and mind, I have come to thee for drinking deep of the intrinsic
nectar of the soul. I offer to you these
sweets in order to win victory over my passion of greed.
8.
Fruit: Whatever material entities I
call my own, leave me all of a sudden, I,
thus, become perturbed and this mental disorderliness leads to others of the
same kind, I want to see my delusions
dashed to pieces, and that is the purpose of my prayer to thee, I offer to you this fruit to obtain the
fruit of supreme bliss.
Mass of all the Eight
Substances: I wash off all imperfections of wrong belief after drinking deep of my
own sentient nectar, Thus I destroy all passionate feelings and enjoy that
sentient drink of my own-self, Matchless bliss is then born and sun of
omniscience rises with all its glory, Sentient Perception and Vitality then
appear in their fullness, which is the state of the Arihants[10],
Offering you this combination, I collect all the great attributes of my soul, I
am confident that I shall now achieve the glories of the supreme omniscient
being I offer to you this mass of eight
substances in order to achieve everlasting happiness of the soul.
Visharjan: The Closing: If I, knowingly or
unknowingly committed any mistakes, By Grace of God, may they be pardoned. I do
not know how to invite you, how to respect you and praise you, Please forgive
me. I do not know any mantras; I am poor and have no knowledge. But kindly
allow me to continue to worship you. I
have paid my respects the best way I could and I request that you go to your
respective places.
There are many meanings of Ärati. One meaning is to experience the spiritual joy from all
directions (Ärati = Ä + Rati; Ä means from all sides and Rati means Joy – spiritual joy). When a
religious activity is concluded with success, we do Ärati to express our spiritual joy. Ärati also means to seek the end of “Ärt” (misery). This
material world (Samsär) is full of
misery, and the aspirant is performing Ärati
to free himself / herself from the cycle of the misery of the material world,
cycle of birth and death. Third meaning is that to fill our inner selves with spiritual joy, and to end the mental
unhappiness.
To free from the miserable cycle of the material
world (Samsär), one needs to have
bright light of five types of knowledge. That’s why we light five Dipaks (which has candle like
flame). In front of these five lights,
there is a symbol of a snake which indicates that delusion (Moha) is
like snake and as snakes are afraid of fire, the delusion is conquered by the
true knowledge.
The symbol of These five Dipaks are also symbol of five great vows (Panch Mahä Vrat) through its practice, one attains the salvation.
Five Dipaks are also symbolic of
practicing five Samitis (Restraints),
It is also representative of restraining
negative activities of five senses and five characteristics of Samyak Darshan (Right Perception).
Another way to understand the purpose of performing Ärati is that, to free our selves from the miserable cycle of material world, we need to detach our selves from all worldly attachments as five supreme beings (Panch Parmeshthi) have done it. To pay our spiritual tribute to these five Panch Parmeshthi, we light up five Dipaks, and we mentally contemplate that “I want to also give up all worldly attachments, and want to initiate myself (take Dikshä) to become a Sädhu (or Sädhvi) to free my self from four Sämsarik destinies and to attain the fifth destiny, Moksha.
Mangal
means to eradicate bad karma (päp),
to free our selves from Samsär
(material world), to remove the darkness of ignorance, to have an auspicious
opportunity to practice Right Religion and to practice the path that is
beneficial to the Self (soul). Only path of Moksha
is beneficial to our Self that is
attained by eradicating all karma. By removing the darkness of karma, one enlightens himself / herself with the
Absolute Knowledge (Keval Jnäna). One
Dipak is used in Mangal Divo
to symbolize the one and only Perfect Knowledge, Keval Jnäna through which the darkness of the ignorance is permanently
removed, the miserable cycle of birth and death is permanently ended, the
association with the foreign dust of karma is completely terminated, and the
true qualities of the souls are forever realized. In other words, one Dipak in Mangal Divo symbolizes the one and only path of Moksha as expounded by Tirthankars. We should mentally
contemplate while performing Mangal Divo
that “I want to enlighten my inner Dipak
(self) just like this Mangal Divo by
attaining the perfect knowledge, Keval Jnäna by practicing the path of Moksha as expounded by Tirthankars.”
This is performed for inner
and external peace for everyone and everywhere in the universe. In the
beginning, Namokär Mahä Mantra and Uvasaggaraham are
recited, and then it is followed by Bruh-Shänti
while maintaining a continuous flow of the Panchämrut
from Kalash in to a Pot. In this process, the peace in the universe
is prayed for by wishing good physical, verbal, mental and spiritual health to
all living beings and absence of misery everywhere. This is done in the manner
it was done by the heavenly beings and their king (Indra) while performing Janmäbhishek
of Tirthankar on the Mount Meru.
Aspirant pays his / her respect to all twenty four Tirthankars and prays for suppression of passions (Kashäy) everywhere. Inner and external
peace is wished to the four folded community (Sangh) and to all living beings, guidance from Jain monks and nuns
is sought, Mantras are recited, help
from heavenly beings is sought, environment, that is free of diseases, wars,
droughts, disturbances and unhappiness, is sought. The spiritual progress,
contentment and well being for everyone is wished. It is prayed that every
living being becomes free of all kind of fears, fear of water, fire, poison,
animals, disease, war, enemy, robber, etc. It wished that each living being
helps each other, everyone eliminates his/her own faults, and everlasting
happiness for everyone is wished.
(1) Nisihi trik,(2) Pradakshinä trik, (3) Pranäm trik, (4) Pujä trik, (5) Avasthä trik,
(6) Dishä trik (7) Bhumi trik (8) Älamban trik (9) Mudrä trik
(10) Pranidhan trik.
(1) Nisihi Trik: We should utter words 'Nisihi' (to give up)
thrice first time while entering the main door of the temple. It means that I
will restrain myself from engaging in worldly activities, physically, verbally
and mentally. The second time 'Nisihi' is uttered before entering the inner temple
(Gabhärä). This signifies that I am
abandoning the activities relating to the temple matters. The third time 'Nisihi' is uttered after completion of Ashtaprakäri Pujä. This signifies that I
will restrain myself from physical acts of worship (Dravya Pujä) before
performing 'Chaitya Vandan' (Bhäv Pujä).
(2) Pradakshinä Trik: After doing Tilak,
we should proceed to perform three Pradakshinä
(circumambulation) around the Parmätmä
(in Bhomati, also called Gomati), starting from the right going
to the left of HIM. It is symbolic for acquiring virtues of right perception,
right knowledge and right conduct. While performing Pradakshinä, we should recite hymns of an auspicious prayer like
some hymns from the Ratnäkar Pachchisi
or from Bhaktämar Stotra with full
devotion. While performing Pradakshinä, we
should do "Namaskär´ with folded
hands whenever we see the Parmätmä.
(3) Pranäm Trik a) On seeing the Parmätmä,
we should utter "Namo Jinänam" with our both hands folded
together. b) We should bow down bending the upper part of our body half way
before the Parmätmä and do Pranäm with folded hands. c) Bow down by
bringing the five limbs of the body together (two arms, two knees and the head)
on the floor.
(4) Pujä Trik a) Ang Puiä -
We worship the Parmätmä by touching
it. It consists of Jal‑Pujä, Chandan‑Pujä and Pushpa-pujä. b) Agra Pujä - We worship the Parmätmä
by standing in front of Him by waving incense, lamp (Dipak) and swaying the Chämar.
Then we worship the Parmätmä by
making a rice‑swastik and
placing sweets and fruits on it before the Parmätmä.
c) Bhäv Pujä - Chaitya Vandan, Stavan and Stuti
constitute the Bhäv Pujä.
(5) Ävasthä Trik: a) Birth
Stage - While doing Abbishek, (the
ceremony of bathing), we should think that Indra
and heavenly beings are performing the Abhishek
on the Mount Meru upon the head of the newly born baby who is going to be Tirthankar, b) Kingship Stage - After
worshipping the Parmätmä with sandal
paste, flowers and ornaments, we should contemplate the kinghood of Tirthankar imagining Him seated on a
throne. c) Shraman (Ascetic) Stage -
We look at the hairless head of Tirthankar
and contemplate His Ascetic stage of life, wishing for ourself the same state
in this life.
(6) Dishä Trik We should watch the Parmätmä
without looking a) upwards, downwards or sideways; b) right or left or c)
behind.
(7) Bhumi Pujan Trik: Before doing Chaitya
Vandan, we should sweep the ground with the help of our scarf or
handkerchief in order to gently move insects and minute living beings from the
area.
(8) Älamban Trik: a) Varna‑älamban
- We should recite the sutras, stavanas and stuti correctly without
skipping any letter or a word. b) Arthav-älamban
- We should think of the meaning of the words uttered by us. c) Pratimav-älamaban - We should say
prayers facing the Parmätmä.
(9) Mudrä Trik - a) Yoga Mudrä - Fold the ten fingers into
the form of a lotus, keep the elbow on the belly and recite the Chaitya Vandan up to Namuthunam. b) Jin Mudrä - Do Kausagga while standing up arid keeping two arms hanging down after
reciting from Arihant‑cheiyaname
up to Anattha Sutra. (c) Mukata Sukti Mudrä - Fold your two palms hollow like a pearl‑shell
and then touch your forehead and recite Jävanti
Cheial, Jävant‑Kevisähu and Jay
viyräya.
(10) Pranidhan Trik - Chaitya Vandan is performed with full
physical, verbal and mental concentration.
We have greatly borrowed from Pujä book by Jain Center of Greater Boston, “Pujä Kariye Sächi Sächi” by Panyas Hemchandra Sagarji and “Shri Pujä Sangrah Särth” by Pandit
Dhirajlal Mehta.
Because of our
carelessness and lack of knowledge, we are sure we have made few mistakes and
might have hurt your feelings knowingly or unknowingly. Please accept our
sincere apology, Michchhä Mi Dukkadam. Please let us know about our mistakes.
[1] Jain word is derived from Jina, which literally means "the Victor" or “the Liberator”. One who has freed himself/herself from the bondage of Karma by conquering räga (attachment - deceit and greed) & dvesha (aversion - anger and ego). People who follow the teachings of Jina are called Jains. Jains are also called shramanas (who treat everything with equanimity) or nirganthas (who does not have desires and passions). The teachings of Jina is called Jainism. Bhagwän Mahavira was the last reformer of Jainism. Jainism is the universal religion (dharma) because the fundamental principle of Jainism Ahimsä, either by thoughts, words or action is extended to all living beings. In other words all living beings are considered equal The Sanskrit word for the religion is dharma. The meaning of dharma is very own nature or quality of the thing. For all living beings, soul is the real thing. This makes “to see, to know and to realize” - the true nature of the things. In other words, the laws of nature in truest and purest form are the religion. Laws of nature lead us to the laws of self-initiatives and self-efforts. Without self-efforts and self-initiatives, one cannot see, know and realize his/her own true qualities. That’s why Jainism relies a great deal on one's own efforts and initiatives, and laws of nature.
[2] Moksha = moha + kshaya; moha means delusion and kshaya means eradication - this makes Moksha as the state where there is no
delusion and all karma are eradicated. There are three jewels, samyak‑darsana or right perception
(inclination or belief), samyak‑jnäna
or right knowledge (cognition), samyak‑chäritra
or right conduct ‑ these three combined are the means of Moksha.
[3] Shrävaka is the person who is living in a house and practices the partial vows (anuvrata). The shrävaka word is derived from the word “shru” meaning to listen. Shrävaka listens to the preaching of the tirthankar or the right guru or reads the Jain canonical books. Shrävaka has faith in the path of liberation expounded by the tirthankars, who avoids the non-essential activities of sins, who has the right belief, and who has suppressed anantänubandhi (life-long-lasting) kashäyas (passions). He/she feels that this material world (samsär) is a prison and wants to be freed from it. The word Shrävaka is used for a male and Shrävikä is used for a female.
[4] Veeträg means the person who has no attachments what so ever.
[5] There are many meanings of Bhagwän. Couple of them are: 1) The person who is not going to be born again, who has freed HIMSELF from the cycle of birth and death. 2) The person who has conquered all kinds of fear.
[6] The word tirth means ford (passage) and, therefore, tirthankar means builders of ford which leads us across the ocean of suffering and to the bank of everlasting happiness, "Moksha". In this half time cycle we had 24 tirthankars, first one was Rushabhdev and the last one was Mahävir Swämi. Each timecycle consists of 6 descending (Avasarpini) and 6 ascending (Utsarpini) phases. Currently we are in the fifth phase of a descending half cycle. The fifth phase started from Moksha of Bhagwän Mahavira and is suppose to last 21,000 years. Tirthankar has revealed the truth of the universe to us. Once a soul has shed all of its four defiling (ghäti) karma namely Jnänavarniya (Knowledge obscuring) Karma, Darshanävarniya (Perception obscuring) karma, Mohniya (Deluding) Karma and Antaräya (Obstructive) Karma, and who had earned Tirthankar Näm Karma in his/her previous life becomes a Tirthankar. These Tirthankars reinstate the Jain Sangh (four-fold Jain Order) consisting of Sädhus (monks), Sädhvis (nuns), Shrävaks (male householders), and Shrävikäs (female householders).
[7]
There are 14 stages of spritual development, namely: Wrong belief (Mithyätva);
Clouded right belief (Säsvädan);
Right-wrong belief (Mishra); Right
belief with vowless conduct (Avirati
Samyak-Darshan), Right belief with partial vow conduct (Deshvirti Samyak-Darshan), Right belief
with complete vow conduct with minimum carelessness (Pramat-virat), Right belief with complete vow conduct with the utmost care (Apramat-virat), Stage of new thought activity (Apurva
Karan): Stage of advance thought activity (Anivritta Karan); Stage of subtle greed (Sukhama Sampräya); Suppressed passions stage (Upshänt Moha); Passionless stage (Kshina Moha); Active Omniscient (Sayogi Kevali); Inactive Omnicient (Ayogi Kevali)
[8] Sädhu (Jain monk) or Sädhvi (Jain nun) is who practices five mahävratas (great vows), five samitis (carefulness) and three Guptis (restraints); has taken Dikshä (initiation) per either Digambar or Svetämbar tradition, 2. who practices Samatä (equanimity; treats the favorable and non-favorable situations indifferently.), 3. who follows and preaches the major path of liberation expounded by our Tirthankars, 4. emphasizes on the self-efforts and self-initiatives, 5. who firmly believes in and practices the anekäntväd, and 6. has given up pleasures of five senses, has no worldly attachments like assets, family, bank balance, house, car and similar things and has won over internal enemies like anger, ego, deceit and greed. They travel by bare feet, they do not use any transportation system, they do not take shower, they do not shave, they do not eat after sunset and more. Their only goal is to attain "Mokshä"The message of Jina, Bhagwän Mahavir, the last Tirthankar, is carried by the Ächäryas, the spiritual leaders. The responsibility of the spiritual well being of the entire Jain Sangh rests on the shoulders of the Ächäryas. Before reaching that state, one has to do an in-depth study and gain mastery over the Ägams. In addition to acquiring a high level of spiritual excellence, they also have the ability to lead the monastic communion. They should also know various languages of the country and have a sound knowledge of other philosophies, ideologies, and religions of the region and of the world. The title of Upädhyäya is given to those Sädhus who have acquired a special knowledge of the Ägams (Jain scriptures) and philosophical systems. They teach Jain scriptures to deserving aspirants, including Sädhus and sädhvis.
[9] The Jain swastik sign has its arms (horizontal and vertical) in clockwise direction while the swastika sign of oriental, American Indian and Greek American have its arms the counter-clockwise direction. Jains, Hindus, Buddhists, Orientals, Greek, American Indians, etc., regard swastik symbol as a good luck symbol. Nazis’ swastika sign has all its arms at 45 degree angle (neither horizontal or vertical) and in clockwise direction. Nazis’ swastik sign was abandoned by Germans in 1945. It represents lots of hatred. We need to be very careful in displaying our swastik sign in public so that we do not hurt the feelings of the people who suffered a great deal by Nazis in the second world war.
[10] The term Arihant is made up of Ari, meaning enemies, and hant, meaning destroyer. Consequently, Arihant means destroyer of all internal enemies such as anger, greed, ego, and deceit. Essentially, the meaning of Arihant, Jina and Thirthankar is the same.