Thursday, July 1, 2021

பாரத நாடு பழம் பெரும் நாடு

பாரத நாடு பழம் பெரும் நாடு


 

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பாரதம்

இந்திய சுதந்திர போராட்டத்தில் சுப்பிரமணிய பாரதியின் பாடல்கள் பல இளைஞர்களை எழுச்சி கொள்ளச் செய்தன.  அவரது பாடல்களில் இன்றும் மக்கள் நினைவில் நிற்பது “பாரத நாடு பழம் பெரும் நாடு, நீரதன் புதல்வர் இன்நினைவகற்றாதீர்” என்ற வரிகள். வடக்கே இமயம் தொட்டு தெற்கே குமரிக் கடல் வரை நீண்டது பரத கண்டம் என்பது காலம் காலமாக இந்நாட்டு மக்கள் அனைவரும் உணர்வு பூர்வமாக அறிந்த ஒன்று.  நம் நாட்டு தரிசனங்களில் பாரதத்தின் பெயர்க்காரணம் பலவாறாகக் கூறப்பட்டாலும் ஜைன தர்ம நோக்கில் “பாரதம்” பெயர் பற்றிய சான்றுகளை இங்கு காண்போம்.


ஜைன அறம்

“என்றும் உளதாகி இறைவனால் வெளிப்பட்டது அறம்” என்று பழம் பெரும் தமிழ் ஜைன நூலான அருங்கலச்செப்பு சுட்டும் அன்பு நெறியாகிய ஜைனம், சனாதனம் எனப்படும் எப்போதும் உள்ள அறவழியாகும்.  உத்சர்ப்பிணி, அவசர்ப்பிணி எனப்படும், “சிறப்புகள்” பொங்கும் காலம், மங்கும் காலம் என்ற காலச் சுழற்சிகளில் தழைத்தோங்கியும், அறம் குன்றியும் பின்னர் தீர்த்தங்கரர்களால் மீண்டும் நிலை நிறுத்தப்படுவதாகவும் உள்ளது ஜைன அறம். 


மெய்ப்பொருளானது தீர்த்தங்-கரர்களின் முழுதுணர் ஞானத்தால் அறியப்பட்டு அவர்களின் பிரதம சீடர்களாகிய கணதரர்களால் மக்களுக்கு அறிவிக்கப்படுகின்றது.  உயிர் (ஜீவன்), உயிரல்லாதவை (அஜீவன்), புண்ணியம், பாபம், ஊற்று (ஆஸ்ரவம்), செறிப்பு (சம்வரை), உதிர்ப்பு (நிர்ஜரை), கட்டு (பந்தம்), வீடு (மோக்ஷம்) ஆகிய ஒன்பதும் மெய்ப்பொருட்கள் (நவ பதார்த்தங்கள்) ஆகும்.  


மேலும், உயிர், புத்கலம், தர்மம், அதர்மம், ஆகாயம், காலம் என்னும் ஆறு திரவியங்களாகவும் மெய்பொருள் அறியப்படுகிறது. காலம் தவிர மற்ற ஐந்து பொருள்களும் அத்திகாயங்கள் ஆகும்.  காலம் இடப்பரப்பு இன்மையால் அத்திகாயங்களில் சேர்க்கப்படவில்லை.  காலத் திரவியம் என்றே அழைக்கப்-படுகிறது. இந்த ஆறு திரவியங்களும் உலகெங்கும் நிறைந்து காணப்படுகின்றன.  ஆகாயஸ்திகாயத்தில் இப்பொருள்கள் காணப்படும் பகுதி லோகம் என்றும் இவை இல்லாத பகுதி அலோகம் என்றும் அழைக்கப்படுகின்றன.


மத்திய லோகம்

மேற்கூறியபடி திரவியங்கள் நிறைந்து காணப்படும் லோகம்; மூன்று பிரிவுகளாக, அதாவது கீழுலகம், மத்திய லோகம் மற்றும் மேலுலகம் என அமைந்துள்ளது.  இந்த மூன்று உலகங்களின் அமைப்பையும் ஜைன ஆகமங்கள் வழியாக அறியலாம். மத்திய லோகத்தில் தான் நாம் வாழும் உலகம் அமைந்துள்ளது. மத்திய லோகத்தின் அமைப்பை தத்துவார்த்த சூத்திரம், ஜம்புத்வீப ப்ரஜ்ஞசப்தி போன்ற நூல்களில் ஆசாரியர்கள் விளக்கியுள்ளனர்.  


(இந்த நடு உலகில்) ஜம்பூத்வீபம் முதலிய நல்ல பெயர்களை உடைய தீவுகளும், லவண ஸமுத்திரம் முதலிய சமுத்திரங்களும் உள்ளன.தீவு, சமுத்திரங்கள் தமக்கு முந்தைய தீவு சமுத்திரங்களை வளைத்துக் கொண்டிருப்பனவாகவும், இரு மடங்கு அகலம் அதிகமானதாகவும், வளையல் போல் வட்ட வடிவமாகவும் உள்ளன. அந்த த்வீப-சமுத்திரங்களின் மத்தியில் வட்ட வடிவமாகவும் ஒரு இலட்சம் விஸ்தீரமமுடைய ஜம்பூத்வீபம் உள்ளது.  நாவல் மரங்கள் நிறைந்த பூமியாகையால் தமிழில் நாவலந்தீவு எனவும் வட மொழியில் ஜம்பு த்விபம் எனவும் அழைக்கப்படுகிறது. ஜம்பு என்பது நாவல் மரம் ஆகும். எனவே ஜம்புத் தீவினை நாவலந் தீவு என தமிழ் இலக்கியங்களில் குறிப்பிடப்பட்டுள்ளது. 


ஜம்புத்வீபத்தின் அமைப்பை தத்துவார்த்த சூத்திரம் பின் வருமாறு குறிப்பிடுகிறது. ॥தத்துவார்த்த சூத்திரம். அ.3.சூ.9 முதல் 11 வரை॥


தன்மத்யே மேருநாபிர்வ்ருத்தோ யோஜனசதஸஹஸ்ரவிஷ்கம்போ ஜம்பூத்வீப: ॥9॥

பொருள்: அந்த த்வீப-சமுத்திரங்களின் மத்தியில் வட்ட வடிவமாகவும் ஒரு இலட்சம் விஸ்தீரணமுடைய ஜம்பூத்வீபம் உள்ளது.  அதன் நடுவில் மேருமலை நாபியைப் போன்றுள்ளது.


பரதஹைமவதஹரிவிதேஹரம்யகஹைரண்யவதைராவதவர்ஷா: க்ஷேத்ராணி । ॥10॥

பொருள்: பரத வர்ஷம், ஹைமவத வர்ஷம், ஹரி வர்ஷம், விதேஹ வர்ஷம், ரம்யக வர்ஷம், ஹைரண்யக வர்ஷம், ஐராவத வர்ஷம் என ஏழு க்ஷேத்திரங்கள் உள்ளன.


தத்விபாஜின: தத்விபாஜின: பூர்வாபராயதா ஹிமவன்மஹாஹிமவன்நிஷதநீலருக்மி-

சிகரிணோ வர்ஷதாரபர்வதா:   ॥11॥ 


பொருள்: அதன் நடுவில் மேருமலை நாபியைப் போன்றுள்ளது. பரத வர்ஷம், ஹைமவத வர்ஷம், ஹரி வர்ஷம், விதேஹ வர்ஷம், ரம்யக வர்ஷம், ஹைரண்யக வர்ஷம், ஐராவத வர்ஷம் என ஏழு க்ஷேத்திரங்கள் உள்ளன.





தமிழ் இலக்கியங்களில் ஜம்புத்வீபம் (நாவலந்தீவு) மற்றும் பரத கண்டம்


சிலப்பதிகாரம், ஆய்சியர் குரவையில் இளங்கோவடிகள், “கயலெழுதிய இமய நெற்றியின் அயலெழுதிய புலியும் வில்லும் நாவலந் தண்பொழில் மன்னர் ஏவல் கேட்பப் பார் அர சாண்ட மாலை வெண்குடைப் பாண்டியன்” என பாண்டிய மன்னனின் இமயம் முதல் குமரி வரையான வெற்றிகளைக் குறிப்பிடுகிறார். 


மணிமேகலை பதிகப் பாடலில் “பாடல்சால் சிறப்பின் பரதத்து ஓங்கிய, கோடாச் செங்கோல் சோழர் தம் குலக்-கொடி” என பரத கண்டத்தில் சோழர்களின் செங்கோல் ஆட்சி சிறப்பிக்கப்படுகிறது. 


சூளாமணி காதைகளில் (389-391), உலகின் நடுவே அமைந்துள்ள மந்தர மேரு மலை, அதில் உள்ள அழகிய வேதிகை, நடுவிடத்திலே அமையப்பெற்ற நாவல் மரம், இரு கூறுகுகளாய் அமைந்துள்ள உலகம், அதில் உள்ள ஏழு மலைகள், ஏழு கண்டங்கள், ஏழு பெரும் ஆறுகள் மற்றும் ஏழு கடல்கள் அகியவை சொல்லப்-பட்டுள்ளன. கால ஏற்ற தாழ்வு கொண்ட இரு கண்டங்ககளில், தென் திசையில் உள்ளது பரத கண்டம் என சூளாமணி சொல்கிறது. 


கொங்குவேளிர் இயற்றிய பெருங்-கதையில் (கா.2 பா.3, வ.91-95, நல்நிலை உலகினுள் நாவல் போலவும் பொன் அணி நெடுமலை போலவும் ...) மணமக்களை “மேரு மலையும் நாவலும் போல் வாழ்க” என வாழ்த்துவது காண்கிறோம். 


யசோதர காவியம், முதற் சருக்கம், நாட்டுச் சிறப்பில், “பைம்பொன் னாவற் பொழிற்பர தத்திடை” என நாவலந்தீவின் தென் பகுதியில் உள்ள பரதம் என இயம்புகிறது. 



பாரதம், பெயர்க்காரணம்


இந்திய வைதிக சமயங்கள் பகவான் விருஷபதேவரைப் பற்றி புராணங்களில் குறிப்பிடுகையில் பரத கண்டத்தின் பெயர் காரணத்தை தெரிவிக்கின்றன. 


விஷ்ணுபுராணம்

ரிஷபாத் பரதோ ஜாஞே ஜ்யேஷ்ட: புத்ர: சதாக்ரஜ: । 

ததஸ்ச பாரதம் வர்ஷமேதல்லோகேஷு கீயதே ॥

பொருள்: ரிஷபதேவரின் நூறு புதல்வர்களில் முதல்வனானவன் பரதன். அவன் காலம் முதல் இந்த பூமி பாரதம் என அழைக்கப்படுகிறது.


பாகவத புராணம் (பாகம் 5, அத்தியாயம் 5)

பகவான் ரிஷபதேவ: உபசமசீலானாம் உபரதகர்மணாம் மஹாமுனீனாம் பக்திஞானவைராக்ய-லக்ஷணம் பரமஹம்ஸதர்மம் உபசிக்ஷமாண: ।

ஸ்வதனயஜ்யேஷ்டம் பரதம் தரணிபாலனாய அபிசிஷிச்ய ஸ்வயம் உர்வரிதசரீரமாத்ரபரிக்ரஹ: ப்ரவரவ்ரஜ ॥

பொருள்: பகவான் ரிஷபதேவர் தன் தலைமகன் பரதனை, யார் தர்மத்தை நன்கு அறிந்தவனோ, தவ துறவியர் பால் பக்தி உடையவனோ, யாரிடம் பக்தி மற்றும் துறவு பற்றிய இலக்கணங்கள் காணப்படுகிறதோ, அந்த பரதனை அரியணையில் அமரச்செய்து தான் துறவு பூண்டார். 


ஆனால், பின்னாளில் வந்த துஷ்யந்தன் சகுந்தலையின் மைந்தன், பரதனின்  பெயரால் பாரதம் என அழைக்கப்படுகிறது என்பது மேற்கண்ட புராணங்களில் கூறப்பட்டுள்ளதற்கு மாறானது. 


ஸ்ரீபுராணம் 


ஸ்ரீபுராணம் இருபத்து நான்கு தீர்த்தங்-கரர்களைப் பற்றிய வரலாற்று நூல். ஸ்ரீஜினசேனாச்சாரியார், ஸ்ரீ குணபத்ராச்-சாரியார் ஆகிய இரு முனிவர்கள் இயற்றிய மகாபுராணம் என்னும் வடமொழி காப்பியத்தின் தமிழ் உரைநடை நூல்.  இதில், நாபி மன்னனும் முதலாம் தீர்த்தங்கரருமான ஆதிபகவன் இவ்வுலகம் போகபூமியாக இருந்து கர்மபூமியாக மாறிய சமயம் பயிரிடாமல் முன்பு தாமே விளைந்த தானியங்கள், மரங்கள் முதலியன விளையா-மையால் பசியுற்ற மக்கள் ஆதிதேவனிடம் முறையிட, அதைக் கேட்ட பகவான் அவர்கள் வருத்தம் தீர்க்கும் வழியை தமது அவதி ஞானத்தால் கண்டு, “விதேக க்ஷேத்திரத்தைப் போல பரத க்ஷேத்திரத்-திலும் கிராமம், வீடு முதலியவற்றையும், அறுவகை கருமங்களையும் செய்து கொடுப்போம்” எனக் கூறினார்.  


பகவானின் எண்ணம் அறிந்த தேவேந்திரன் அயோத்தி நகரில் மாட மாளிகைகள், மதில்கள், கோபுரங்கள், ஆழ்ந்த அகழிகள், உயர்ந்த உப்பரிகைகள் போன்ற கட்டடங்களை அமைத்து அயோத்தி மாநகரை அழகு பெறச்செய்தான். மேலும் அந்த அயோத்தி நகரைச் சேர்ந்த பூமியைக் கௌசலை, அவந்தி, பௌண்டிரகம், அசுமகம், ரம்மியகம், குரு, காசி, கலிங்கம், அங்கம், வங்கம், சிங்கம், சமுத்திரகம், காஷ்மீரகம், உசீநரம், ஆநர்த்தம், வத்ஸம், பாஞ்சாலம், மாளவம், தசார்ணம், கச்சம், மகதம், விதர்ப்பம், குருஜாங்கலம், கரஹடம், மகாராஷ்ட்ரம், சுராஷ்ட்ரம், ஆபீரம், கொங்கணம், வனவாசி, ஆந்திரம், கர்நாடகம், கோசலம், சோழம், பாண்டியம், கேரளம், தார்வாபிசாரம், விதேகம், சிந்து, காந்தாரம், யவனம், சேதி, பல்லவம், காம்போஜம், அரட்டம், பாகுலீகம், துருஷ்கம், சகம், கேகயம் முதலிய நாடுகளைப் படைத்தான்.  இந்நாடுகளின் சுற்றுப்புறத்தை வேடர், இருளர் முதலான காடுவாழ் மக்களுக்கு உரிய இடமாகச் செய்து கொடுத்தான்.  இந்நாடுகளுக்கு தலைநகரங்களையும், கிராமம், புரம், கேடம், கர்வடம், மடம்பம், பத்தனம், துரோணமுகம், சம்வாகம் முதலான குடியிருப்புகளையும் செய்து கொடுத்தான்.  இவ்வாறு புரங்களை வேறு வேறாக வகுத்தமையால் தேவேந்திரன் புரந்தரன் எனப் பெயர் பெற்றான். 


பின்னர் பகவான் மக்களுக்கு உழவு, தொழில், எழுத்து, வாணிபம், கல்வி, சிற்பம் என்னும் அறுவகை கருமங்களை உபதேசித்தார். மேலும் உறவு முறைகள், திருமண வகைகளையும் வகுத்துக் கொடுத்தார். இவ்வாறு “க்ருதம்” (செய்யப்பட்டது) ஆதாலால், கிருதயுகம் என்ற பெயர் வந்தது. பரத க்ஷேத்திரம் போகபூமி என்ற பெயர் விலகி கர்மபூமி என்று பெயர் பெற்றது.  இதனால், பரதன் சக்ரவர்த்தியாவதற்கு முன்பே ஆதிபகவன் இந்த பூமியை பரத க்ஷேத்திரம் என்று அழைத்ததும், பரத க்ஷேத்திரத்தின் இடப் பரப்பிலேயே நாடுகள் உருவாக்கப்பட்டதும் விளங்கும்.


ஜம்புத்வீப ப்ரஞ்ஜப்தி சூத்திரம்


சுவேதாம்பர உபாங்கமாகிய ஜம்புத்வீப ப்ரஞ்ஜப்தியில் பகவான் மகாவீரரை நோக்கி கௌதம கணதரர், ஐயனே, பரத க்ஷேத்திரம் ஏன் “பரத க்ஷேத்திரம்” என அழைக்கப்படுகிறது என வினவுகிறார்.  அதற்கு பதிலளிக்கும் பகவான், பரத சக்ரவர்த்தியின் திக்விஜயம் மற்றும் அவர் ஆறு கண்டங்களையும் வென்று ஷட்கண்டாதிபதியாக முடிசூட்டியதையும் விளக்கினார். திக்விஜயத்தின் போது பரதனை எதிர்க்கும் மன்னர்களும், வித்யாதர தேவர்களும் சிலர் போரிடாமலும், சிலர் போர் செய்ய ஆரம்பித்த பின்னும், முதலாம் தீர்த்தங்கரரின் மகன் பரதன் என்பான் ஆறு கண்டங்களையும் வென்று ஷட்கண்டாதி-பதியாக முடிசூட்டுவான் என்ற நியதியை உணர்ந்தும் பரதனிடம் அடிபணிவதை பகவான் கூறியுள்ளார்.


பின்னர் ரித்திசாலியும், ஆற்றல் மிக்கவனும், ஒரு பல்யோபம் ஆயுளும் கொண்ட பரதன் என்ற தேவன் இங்கு வாழ்ந்தான் என்பதால் இந்த பூமி பரதவர்ஷம், பரதக்ஷேத்திரம் என்றழைக்கப்படுகின்றது என்று பதிலளித்தார். மேலும், கௌதமரை நோக்கி, கௌதமா, மற்றுமொரு காரணம் என்ன-வென்றால், பரதவர்ஷம், பரதக்ஷேத்திரம் நிரந்தரமானது. அனாதிகாலமாக இருந்துவருகிறது, அது இருந்தது இல்லை என்பதும் எப்போதும் கிடையாது, இருக்காது என்பதும் கிடையாது. அது முக்காலத்திலும் திகழும் என்ற நிலை மாற்றமுடியாதது, அழிக்க முடியாதது, குறைவடையாதது மற்றும் நிலைத்துநிற்பது என்று பகவான் மகாவீரர் அருளினார். 


ஆகவே, ஜம்புத்வீபத்தில் பரத க்ஷேத்திரம் என்றும் பரத வர்ஷம் என்றும் குறிப்பிடப்படும் இந்த நிலப்பரப்பு காலங்களை கடந்து நிற்பது, அதில் உள்ள நாடுகள், மாநிலங்கள் பகவான் ரிஷபதேவரால் உருவாக்கப்பட்டு அதில் வாழும் மக்கள் அவர் வகுத்த பண்பாட்டினை பின்பற்றி வாழும் நெறியினை கொண்டுள்ளார்கள். 


நாம் வாழும் நாடு பாரதம், வாழ்க பாரதம்.


==


Bibliography

1. K.V. Ajitadoss, Sarvarthasiddi , Tamil translation, 2011, Chennai, Acharya Vidyasagar Dharmaprabavana Sangam,  p249-251

2. J. Srichandran, Silappadigaram Moolamum Thelivuraiyum, 1988, Chennai, Varthamanan Padippagam,  p134

3. J. Srichandran, Manimegalai Moolamum Thelivuraiyum, 1996, Chennai, Varthamanan Padippagam,  p40

4. Nemi Bhaskaradas, Soolamani Moolamum Thelivuraiyum,  2002, Chennai, Nallara Padippagam,  p169

5. J. Srichandran & A. Manikam, Perungathai Moolamum Thelivuraiyum, 2014, Chennai, Tamil Nilayam, p50

6. Poornachandra Sastri, Yasodhara Kavyam Moolamum Uraiyum, Chennai, 1951, p11

7. J. Srichandran, Sripuranam, 2003, Chennai, Varthamaman Padippagam, II Ed., p135

8. Pravartak Shri Amar Muni, Illustrated Jambudweepa Prajnapti Sutra, 2006, Delhi, Padma Prakashan, Ch-3

This article appeared in the Book titled Bharat Nama, Published by Bhatatiya Jnanapeet, New Delhi June, 2021


 

Bharat The Ancient Land

M.D. Rajendra Jain

Bharatham

During India’s independence movement, national poet, Subramanya Bharati wrote to remind its citizens that Bharat is an ancient land and we all are its children.  The land spread between the northern Himalayas and the southern Kumari sea is Bharat lives in all of us as intrinsic ethos.  This write-up is to throw light on some of the instances in Jain scriptures and literature wherein naming of this land as Bharat is discussed.


Jainsim

Arungalacheppu, the Tamil version of Ratnakarandaka-shravakachara, states that dharma is everlasting and is propounded by Tirthankara. It waxes and wanes in accordance with the time cycles of Utsarpini and Avasarpini and is re-established by Tirthankaras.  True nature of matters (tatvas) is seen by omniscient Jinas and passed on to the world through their prime disciples, Ganadharas.   Living (beings), non-living, merit, de-merit, influx, cessation, shedding, bonding and liberation are nine tatvas. These are also categorised as six dravyas, viz. living, non-living, dharma, adharma, space and time. The part of space where these are found is called loka and the part devoid of them is called aloka.

Madya Loka

Loka-space is further divided into middle world, nether world and upper world. Jain scriptures describe them elaborately.  Middle world, where we live is explained by Jain acharyas in Tattvartha Sutra, Jambudvipa Prajnapatti and other scriptures.   

In this middle world there are many dvipa with pleasant names such as Jambudvipa and oceans such as lavana samudra. They are formed in concentric circules over each other dvipa and samudra and in an incremental dimension of twice over the previous one. In the centre of these is Jambudvipa which is round and has a dimension of two lakh yojanas.  As this land is full of jamun (nãval in Tamil) trees, it is called Jambudvip and in Tamil as Nãvalan-thivu.


Tattvartha Surtra describes Jambudvipa in its sutras (Ch.3,S 9-11):

Tanmadhyemerunabhirvrittoyojanshatasahasraviskambho jambudvipah. (TS 3.9)

In the middle of these (concentric oceans and continents, is Jambudvipva which is round (like the disc of the sun). In the centre of jambudvipa, like the navel (in the human body, is situated) mount Meru. Jambudvipa 1 lac yojanas in breadth.

Bharatahaimavataharivideharamyakahairanya-vatairavarsahksetrani. (TS 3.10)

The divisions, kshetras, (of Jambudvipa are seven): Bharata, Haimavata, Hari, Videha, Ramyaka, Hairanyavata and Airavata.

Tadvibhajinahpurvaparayata himavanmahahimavannisidhanilarukmishikharino varsadharaparvatah. (TS 3.11)

Dividing these 7 kshetras are 6 mountains. (They are: Himavan, Maha Himavan, Nisidha, Nila, Rukmi and Shikari. These mountains run East to West.

Navalanthivu (Jambudvip) and Bharat in Tamil literature

Jain monk Elango writes in his Tamil classic Silappadigaram, Aichiyar Kuravai chapter, “kayalezuthiya imaya netriyin ayalezuthiya puliyum villum navalan than pozil mannar eval ketpap paar arasanda malai venkudaip pandian” - to declare the victories of Pandia king from the Himalayas to Cape Comerin.

In Manimekalai (Buddhist litt.) the benign rule of Cholas of Bharat is praised thus, “padalsal sirappin Bharatathu ongiya, kodacchengol cholar tham kulakkodi”.


In Choolamani (Jain litt.) gathas (389-391) the description of location of Bharat with reference to mount Meru, the seven mountains, seven continents (khand), seven big rivers and seven oceans is given. It also mentions that of the two khand wherein time cycles prevail, Bharath is in the south.

Poet Kongvelir in his Perungathai (Jain litt.) writes that the couple were blessed to live forever like Meru and Naval (Meru & Jambudvip) - (Part 2, Poem 3) “Meru malaiyum navalum pol vazga”.

Yasodhara Kavyam (Jain litt.) in the first part, while describing country’s riches states that Bharat is in the south of Jambudvip - “paimpon navar pozi- bharatathidai”

Bharatnama

In Vedic purana while refering to Rishabdev, reason for naming Bharat is also mentioned.

Vishnupurana: Of the hundred sons of Rishabadeva, Bharata was the first one. From his time this land is called Bharatam.

Bhagavata Purana: Bhagavan Rishabadeva gave the throne to his eldest son Bharata, who was well versed in dharama, had devotion towards ascetics and who himself was an example for bhakti and asceticism.

Hence the other legend that Bharat is named after the son of Dushyanta and Sakuntala is contradictory to these puranas.

Sri Puranam

Sripuranam is an epic about 24 Thirthankaras andis the Tamil version of Mahapuran written by Acharyas Jinasena and Gunabhadra. Wherein it is described that when this world from being a bhoga bhoomi turned into karma bhoomi, people were afflicted by hunger because the plants and crops that were perennial stopped yielding. Nabhiraja, the first Tirthankara, Adinath Rishabadev, by his avadhi jnan found ways to mitigate their misery and also decided to create in Bharata kshetra villages, dwellings, six types of work, etc. as in Videha kshetra.

On learning Rishabadeva’s desire, Devendra constructed palaces, towers, ramparts, moats, etc. and beautified Ayodhya. Also created countries viz. kosalam, avandhi, poundarigam, asumagam, ramyagam, guru, kasi, kalingam, angam, vangam, singam, samudrigam, kashmiragam, usinaram, aanartham, vatsam, panchalam, malavam, dasarnam, kaccham, magadam, vidarpam, gurujangalam, karahadam, maharashtram, surashtram, aabiram, konganam, vanavasi, andhram, karnatakam, cholam, pandyam, keralam, darvapsaram, videgam, sindu, kandharam, yavanam, sethi, pallavam, cambojam, arattam, baguligam, thurushkam, sagam, kekeyam, etc. out of the lands of Ayodhya. Forests were created around these countries for the dwellings of tribes. Rishabadev also taught the people livelihood through Asi (swordsmanship for protection), Masi (writing skills), Krishi (agriculture), Vidya (knowledge), Vanijya (trade and commerce) and Shilp (crafts). He also established types of personal relationships, systems of marriages, etc. As these orders were created by Bagawan, the period came to be known as krita yuga. Bharata kshetra ceased to be bhog bhoomi and became karma bhoomi.  Thus, it can be seen that even before Bharata became a chakravarti, Bagawan Rishabadeva called this land Bharata kshetra and created countries out of its land.

Jambudvipa Prajnapti Sutra

In shwetambar upanga Jambudvipa Prajnapti Sutra, it is stated that Gautam Swamy asked Mahavira Bhagawan, the reason for this land being called as Bharata kshetra. In reply Bhagawan narrated Bharat chakravarti’s conquest of all the six khandas. Bhagawan also described the manner in which his campaign was carried out.  Some of the kings and vidyadharas fought, some did not, some gave up after starting the war, some bowed down by realising that as per legend, Bharata the son of first Tirthankara will conquer the six continents. Bhagwan stated that a ruler by name Bharata, endowed with riddhis, virya and ayu of one palyopama lived in this land and hence it came to be called as Bharatvarsh and Bharata kshetra.


Bhagwan Mahavir also stated that Bharat kshetra is permanent, is there from time immemorial, there was no time when it did not exist. It will be there in past, present and future.

Thus, this land in Jambudvipa called Bharata kshetra and as Bharatvarsh is timeless and all the countries and states in it were created by Adinath Bhagawan Rishabdev. The culture and ethos prevalent in this land are his legacies.

The land we live in is Bharat, Jai Bharath.


(Tamil version of this article appeared in the book titled "Bharatnama" edited  by Dr. Prabhakiran Jain, assisted by Shri Shailendra Jain, Shri Chandramohan Shah and Shri Samyam Jain, Bharatiya Jnanpeet, New Delhi, 2021).

 

Bibliography

1. K.V. Ajitadoss, Sarvarthasiddi , Tamil translation, 2011, Chennai, Acharya Vidyasagar Dharmaprabavana Sangam,  p249-251

2. J. Srichandran, Silappadigaram Moolamum Thelivuraiyum, 1988, Chennai, Varthamanan Padippagam, p134

3. J. Srichandran, Manimegalai Moolamum Thelivuraiyum, 1996, Chennai, Varthamanan Padippagam, p40

4. Nemi Bhaskaradas, Soolamani Moolamum Thelivuraiyum, 2002, Chennai, Nallara Padippagam, p169

5. J. Srichandran & A. Manikam, Perungathai Moolamum Thelivuraiyum, 2014, Chennai, Tamil Nilayam, p50

6. Poornachandra Sastri, Yasodhara Kavyam Moolamum Uraiyum, Chennai, 1951, p11

7. J. Srichandran, Sripuranam, 2003, Chennai, Varthamaman Padippagam, II Ed., p135

8. Pravartak Shri Amar Muni, Illustrated Jambudweepa Prajnapti Sutra, 2006, Delhi, Padma Prakashan, Ch-3

   


Thursday, October 29, 2020

Jina Sashana Devtas - Yaksha & Jakshi

 

Jina Shasana Devatas

(Demi gods and godesses of Jains)

Jina Dharma flowed as Divyadwani from the face of the Thirthankara  enshrined in the Samavasaran. Thirthankara Bagawan's primary desciples, the Ganadharas gave unto Acharyas the Agamas as propounded by the Thirthankara and Acharyas rendered them in scriptural form for the benefit of the future generations to come. Thus such Agamas are "Shasanas". Shasana Devatas worshipped and rendered services to the Thirthankaras at the Samavasaran and on Moksha of the Thirthankaras continue to serve Jina Dharma and its followers.

Images and descriptions for each of the 24 pairs of Shasana Devatas. Sasana Devatas are also called Yakshas and Yakshis. 

Sashana Devtas of  Sri Adinatha Tirthankara
Gomuka Yaksha & Chakreswari Devi


Gomukan (Rishaba Yakshan): The first yaksha has the head of an ox. His color is white as moon beam. He has four hands. Right hands show the weapon "Mazhu" and "Varamudhra". On the left hands he holds "Japa mala" and a fruit. His vahana (icon of transport) is a bull. He wears a high crown over which "Dharmachakra" is found.

Chakreshwari : As she hold numerous "chakra" weapons, she is called Chakreshwari. She comes to the aid of those who hold on to the truth and Jain principles. Acharya Vasunandi's Pradishtasara Sangrah describes her as one with twelve hands. Eight of which hold chakra weapons, two hands hold the vajrayuda and one of the other two hands hold a Pomegranate fruit and the other hand shows Vara mudhra. Chakra weapons signify countless powers and vajra weapons signify limitless willpower. Vara mudhra signifies benevolence and the fruit denotes benefits bestowed. Her vahana (icon of transport) is Garuda (Eagle).

Bagawan Sri Ajita Nath's

Sashana Devatas - Maha Yakshan & Rohini Yakshi



Maha Yakshan: "Prathistacharothram" mentions his body color as golden. He has four heads and eight arms. The transport icon is elephant. In the right hands he carries sword, baton, axe and varamudhra (benevolent posture). In the right hands he carries chakra, trident, angusa and a lotus flower.

Rohini (Ajita) : She is golden colored, carries conch, red colored weapons and is seated on an iron throne. She is also called Logasana and Ajita indicating strength and invincibility.


Bagawan Sri Sambava Nath Swamy's
Sashana Devatas - Trimukha Yaksha & Pragjapthi Yakshi

 

Trimukhan: He has three heads and six arms. The transport icon is peacock. In his hands he carries weapons viz. chakra, sword, trident, baton, angusa, etc. He is personified as one who helps in keeping the mind alert and in achieving victories.

Pragjapthi : Pragja is consciousness. She helps those who strive to get immersed in the consciousness of the self soul. Her colour is black and rides on a peacock.


Bagawan Sri Abinandana Swamy's

Sashana Devatas - Yaksheswaran & Vajrashrunkala


Yaksheswaran: He has four hands. The transport icon is elephant. In his hands he carries weapons viz. a bow with an arrow and a sword with shield. He is personified as one who helps in providing authority and leadership qualities.

Vajrashrukala : Literal meaning of the name is one who wears chains of diamond. The significance being strength of the diamond. She is believed to help those who undertake self disciplince of the soul.

Bagawan Sri Sumathi Nath Swamy's

Sashana Devatas - Thumburu & Prushadatta


    
Thumburu: Prathistachara Sangragam places him at high esteem with great wealth. He holds serpents in two hands and a fruit and varamudhra in other two hands. His transport icon is Garuda and wears a serpanet as sacret thread across the body.

Purushadatta : "Devi Purushadatta, you are four handed. You drive on Gajendra, lord of the elephants. Fair coloured devi, you hold vajrayuda, chakrayuda and a fruit in your hands. You bestow boons on worshippers. 

Bagawan Sri Padma Prabha Swamy's

Sashana Devatas - Pushyan & Manovegi


Pushyan: Pushya Yaksha is described as one of  brown colour and softer nature. He rides on a deer. He carries a spear and a shield in his upper arms. The lower arms show "abhaya mudhra" (refuge) and "vara mudhra" (boon).

Manovegi : "Devi Manovegi rides on a horse and moves at the speed of mind. She carries a dagger, a shield and fruit in her three of the four hands. The fourth hand shows "vara mudhra".

Bagawan Sri Suparswa Nath Swamy's

Sashana Devatas - Madangan & Kali


Madangan: The image of Madanga Yaksha is notable as he is seen carrying the main Jaina symbol "swastika". He rides on a lion and also carries carries a flag, a baton and a trishul. He is dark coloured. Being seated on a lion he projects an image of strength and swastika and the flag denote benevolence towards worshippers.

Kali : She rides on a white bull. She has a trishul, a small bell, a fruit and varamudhra in her four hands. She is worshipped for the victory over enemies. The white bull symbolises peace and the small bell symbolises protection to worshippers.

Bagawan Sri Chandra Prabha Swamy's

Sashana Devatas - Shyama Yakshan & Jwalamalini 


Shyama Yakshan: Shyama Yaksha has a third eye on his forehead. He carries an axe, "aksha sutra", fruit and vara mudhra in his hands. He is brown coloured. He is depicted seated variably either on a piegeon or a parrot.

Jwalamalini : Jwalamalini means 'one wears a garland of bright flame'. Jwalamalini is one of the most popular Yakshis. She is associated with the powers of mantras and yantras. She carries a chakra, trishul, pennant with fish ensign, bow and arrow, 'pasa' rope, fruit and vara mudhra. She wears a crown with burning flames. Jain scriptures narrate that she attained such an exalted position by fasting on Fridays of the Tamil month 'Aadi' (Ashada ? of North Indian calendars). In South India Jain women take her example and undertake fasting on the Fridays of Tamil month "Aadi'.

Bagawan Sri Pushpadanta Swamy's

Sashana Devatas - Ajita Yakshan & Mahakali Yakshi


Ajita Yakshan: Ajita means invincible. He is white coloured. He carries sathi weapon, aksha beads, fruit and vara mudhra in his hands. He is depicted seated on a tortoise.

Mahakali : She is mentioned as beautiful. She is seen seated on a tortoise with a vajra weapon, mace, fruit and vara mudhra in her hands. She is believed to grant victories.

Bagawan Sri Sheetala Nath Swamy's

Sashana Devatas - Brahma Yakshan & Manavi Yakshi


Brahma Yakshan: Jain scriptures mention him as one who grants knowledge and wisdom. He is depicted seated on a lotus. He is white coloured. He is four headed and carries bow and arrow, baton, shield, vajrayuda, axe, sword and vara mudhra in his hands.

Mahakali : She is green coloured and is seated on a black boar. mentioned as beautiful. She carries aksha beads, pennant with fish ensign, fruit and vara mudhra in her hands.

Bagawan Sri Sreyamsa Nath Swamy's

Sashana Devatas - Iswaran and Gowri


Ishwara Yakshan: Jain scriptures mention him as one who is seated on a white bull. He has a third eye on the forehead. He carries trishul, aksha beads, batron and a fruit in his hands.

Gowri : She is golden coloured and is seated on a deer. She carries lotus flower, mace, mangal kalas (auspicious pot), and vara mudhra in her hands.She is praised as devoutee of Jina Sasana and as one who grants boons.

Bagawan Sri Vasupoojya Swamy's

Sashana Devatas - Kumaran & Gandhari




Kumara Yakshan: He has three heads and six arms. He carries a mangoose, fruit, mace, bow, arrow, a fruit and vara mudhra in his hands.

Gandhari : She is green coloured and full of wisdom. She is seated on a crocodile. She carries lotus flower, mace, and vara mudhra in her hands.She is also called Vidyunmalini.


Bagawan Sri Vimala Nath Swamy's

Sashana Devatas - Chaturmuga Yakshan & Vairodi Yakshi


Chaturmuga Yakshan: He has four heads and eight arms. According to some Jaina scriptures on iconography and worship, he has four heads and twelve arms. He carries eight axes, an akshaya bead string, mace, sword and a shield. He is green coloured with charming faces. He is seated on a peacock.

Vairodi : She is green coloured.She is seated over a hooded serpent. She carries serpents, bow and arrow in her four hands. 

Bagawan Sri Anantha Nath Swamy's

Sashana Devatas - Pathala Yakshan & Anantha Yakshi


Pathala Yakshan: He has three faces and six arms. He is blood red in colour. He is seated over a hooded serpent. He carries angusam, trishul, bow, pasa rope, plough and a fruit in his hands.

Ananthamathii : She is golden coloured and rides over a swan. She holds fruit, vara mudhra, bow and arrow in her four hands.

Bagawan Sri Dharma Nath Swamy's

Sashana Devatas - Kinnara Yakshan & Manasi Devi


Kinnara Yakshan: He has three faces and six arms. Prathistasara Sangraham states that he continuously studies Jina Dharma. He is coral red in colour. His transport icon is a large fish. He holds chakra, vajrayudha, angusa, baton, prayer beads and vara mudhra in his hands.

Manasi : She is radiant and coral red coloured. She rides over a tiger. She holds lotus flower, fruit, vara mudhra, angusa, bow and arrow in her hands.

Bagawan Sri Shanti Nath Swamy's

Sashana Devatas - Garuda Yakshan & Maha Manasi Devi


Garuda Yakshan: He is black in colour. His transport icon is a pig. He holds chakra, vajrayudha, fruit and vara mudhra in his hands.

Maha Manasi : She is golden coloured and provides happiness. She rides over a peacock. She holds fruit, vara mudhra, vajrayudha and chakra in her hands.

Bagawan Sri Kunthu Nath Swamy's

Sashana Devatas - Gandharva Yakshan & Jaya Devi


Gandharva Yakshan: He is birdlike and brown in colour. His transport icon is a peacock. He holds a snake, pasa rope, bow and arrow in his hands.

Jaya Devi: She is golden coloured and rides over a dark pig. She holds a conch, sword, chakra and vara mudhra in her hands.

Bagawan Sri Ara Nath Swamy's

Sashana Devatas - Kendra Devan & Tharavathy Devi 


Kendra Devan: He is brown in colour. His transport icon is a conch. He holds bow, arrow, thunder, pasa rope, baton, angusa, varamudhra, fruit and bean string. He has six faces.

Tharavathi Devi: She is golden coloured and rides on a swan. She holds a snake, vajrayuda, deer and varamudhra in her hands.

Bagawan Sri Malli Nath Swamy's

Sashana Devatas - Gubera Yakshan & Aparajitha Devi 


Gubera Yakshan: He is multi coloured as a rainbow. His transport icon is elephant. He holds a shield, bow, sword, spear, battle axe, pasa rope and varamudhra in his hands. He has four faces. He is the lord of wealth. He is different from his name- sake Gubera Dikbalaka.

Aparajitha Devi: She is green coloured and rides on a lion. She is invincible and is the deity for victories. She holds a sword and a shield, fruit and varamudhra in her hands.

Bagawan Sri Munisuvratha Swamy's

Sashana Devatas - Varuna Yakshan & Bahurupini Yakshi


Varuna Yakshan: He is white coloured.. His transport icon is a white ox. He is eight headed and has a third eye in each one of his heads. In this four hands he holds a shield, sword, fruit and varamudhra.He is heavily built and wears his hair like a crown ("Jada Magudam"). His third eye denotes wisdom and the white ox he rides denotes learning and dharma dhayan. He is different from his name- sake Varuna Dikbalaka.

Bahurupini Yakshi: She is golden coloured and is seated on a black cobra. She is the deity for Bahurupini Tantra by which "out of body experiences" are achieved. She holds a sword, a shield, fruit and varamudhra in her hands.


Bagawan Sri Nami Nath Swamy's

Sashana Devatas - Bruhudi Yakshan & Chamundi Yakshi


Bruhudi Yakshan: He is green coloured.. His transport icon is a white ox. He is four headed. In his eight hands he holds a shield, sword, bow, arrow, lotus flower, chakra, angusa and varamudhra.

Chamundi Yakshi: She is green coloured and rides on a Magara fish. She carries prayer beads, baton, sword and a shield in her hands. She is a deity of valour.

Bagawan Sri Nemi Nath Swamy's

Sashana Devatas - Sarvanna Yakshan & Kushmandini Yakshi


Sarvanna Yakshan: He is three headed with six hands. His transport icon is a man. He holds a hammer, axe, baton, fruit, vajrayudha and varamudhra in his hands. He is also called "Naravahana" and "Pushapayana".

Kushamandini Yakshi: She is green coloured. She is also known by the names of Amra and Ambika. She rides on a lion. She carries bunch of mangoes in her hands and children in her lap. However, in South India, particularly Tamil Nadu, while sculpting her image, she is depicted holding a flower in her hand, with her friend standing nearby and with her children of previous human birth. She attained the meritorious karma of serving Bagawan Nemi Nath in His samavasaran by way of offering aharadhan to a Jain monk. She is also called Dharma Devi. 


Bagawan Sri Parswanath Swamy's

Sashana Devatas - Dharanendra Yaksha & Padmavathi Yakshi


Dharanendra Yaksha and Padmavathi Yakshi have special place among Jain devoutees. They attained the status of devas as they were initiated to the Pancha Namaskar Maha Mantra by Bagawan Sri Parswanatha himself at the time of their death. Out of their deep devoution to Bagawan Parswanath, they rose from their sub-terranean world when Kamada created hindrances when Parswanatha was meditating as a monk. While Dharanendra covered Parswanatha with his multiple serpent hoods, Padmavathi provided cover by holding a diamond (vajra) umbrella. This pair of yaksha and yakshi are worshipped as they are believed to provide wealth and happiness to Jain devoutees. Padmavathi is also called Dharmavatsala.

Dharanendra Yakshan: He is brown coloured and his transport icon is a tortoise. He holds serpents, pasa rope and varamudhra in his hands. Vasuki snake covers his crown and rules over snakes as "Nagaraja". While sculting along with Sri Parswanatha, he is depicted as a hooded serpent over Bagawan's head or as holding "chamara" fans over the Thirthankara image.

Padmavathi Yakshi: She is fair coloured with four hands. Seated over a lotus she holds Pasa rope and Angusa. She has a hooded snake over her head. Her transport icon is a cock with serpent head. Devoutees undertake fasting in her name. Shie is also worshipped in Chakra form.

 

Bagawan Sri Mahavira Swamy's

Sashana Devatas - Madanga Yaksha & Siddhayika Yakshi


Madanga Yakshan: He is golden coloured and rides on an elephant. He holds a pomegranate fruit and varamudhra in his hands. He carried "Dharma Chakra" over his head.

Siddhayika Yakshi: She is golden coloured.She rides on a lion. She holds a scripture and varamudhra in her hands. She grants boundless knowledge.

Picture Credit: Tamil book titled, 'Jaina Samaya Thiruvvuvangal' by Poosai Sa. Aruna Vasanthan. Web Design: M.D. Rajendran (from archived site geocities.com/tamiljain/jaincons 2003) 








 



 



 



 



 



 



 












 


Tuesday, October 1, 2019

Jain Sculptures of Mahabalipuram

Mamallapuram, also known as Seven Pagodas or Mahabalipuram, is a town in Chengalpattu district in the Southern State of India, Tamil Nadu.  It is on the coastline 58 kilometres (36 mi) south of the city of Chennai. An ancient historic town and a bustling seaport in the 1st millennium CE, is now a beachside tourism center with a group of stone cut monuments declared as UNESCO world heritage site, it is one of the most visited towns in South India. This is going to be the summit center for the meeting of Indian Prime Minister Shri Narendra Modi  and Xi Jinping, President of PRC during October 2019.
Mamallapuram was one of two major port cities by the 7th century in the Pallava kingdom. Along with economic prosperity, it became a center of a group of battle monuments carved out of rock. These are dated to the 7th and 8th centuries: rathas (temples in the form of chariots), mandapas (cave sanctuaries), giant open-air rock reliefs such as the famous Descent of the Ganges, and the Shore Temple dedicated to Shiva, Durga, Vishnu, Krishna and others. The contemporary town plan was established by the British Raj in 1827 (Wikipedia).
Though the rock relief sculpture popularly known as “Arjuna’s Tapas” or “Descent of the Ganges – Bagiratha’s Tapas”, it is a sculpture based on Jaina scripture “Trishasti Shalaka Purusha Caritra” which talks about the 63 worthy persons of jain legend.  This hypothesis was presented, before the Archaeological Society of South India in 1947 in the presence of Prof. Rao Saheb A. Chakravarthy, by Tamil historian Mylai Seeni Venkatasamy and I was published as a book, titled “Mahabalipurathu Jaina Sirpangal” in the year 1950.
His contentions were;
·         If the person in yogic posture of tapas is Arjuna and the devta in front of him is considered as shiva, who are others represented by rest of the images. What is the significance of Nagakumaras, deva ganas, elephants, ganges river, temples, three headless bodies and other figurines.
·         As per legend, Shiva went before Arjuna doing penance in the form of a hunter along with Uma devi in the form of hunter’s wife. There is no such depiction in this image.
·         If the scene is that of Bagiratha’s tapas, the deity in front of him is not depicted as Shiva as the figure has no symbolic trident or shiva’s locks of hair. In fact, Ganga’s forceful descent was arrested by the locks of shiva’s hair.  Why Gangadara Murti was not depicted here.  In fact, Gangadara’s beautiful sculptures were made by Pallavas in many other places, including at Mahabalipuram in Dharma’s ratha.
·         The scene is a vivid depiction of the lift of Sagara Chakravarti from the period of Jain Tirthankara Ajitanatha. This story is found in jaina tamil literature viz. Sri Puranam, Jivasambodanai and in Hindi Trishasti shalaka Purusha Caritra and its English translation by Helen M. Johnson.
Sagara and Ságara’s  Story
Long time ago, an emperor named Jitasatru was ruling Bharata continent. He had two sons, the elder named Ajita and the younger sibling named Sagara. The elder son renounced the worldly life and became Ajithanatha, the second Jaina Tirthankara.  The younger one, Sagara became the emperor after his father.  Once, Sagara along with his retinue visited Kandaprabada mountains where he performed thee days of fasting to propitiate an Indra by name Natyamalaka.  In appreciation, the Indra appeared before Sagara and granted bountiful wealth and promised to help whenever required. The emperor again performed another fast for three days at the banks of Ganges and obtained nine great boons (Navanidhi), viz.
1.       Naisarpam – to build houses, villages, towns with embankments and arsenal
2.       Pandugam – a storage full of agro products, rice, wheat, pulses and other food
3.       Pingalam – a storage of ornamental materials for men, women, horses and elephants
4.       Mahapadmam – a storage of dress materials of soft silk in multi colors and dresses of many shapes
5.       Kalam – a device that presents past, present and future and scenarios of outcomes in crafts and agriculture.
6.       Mahakálam – which produces precious stones and metals, iron implements, etc.
7.       Mánavam – which creates armed forces of cavalry, elephants, chariots, infantry and armaments.
8.       Sangam – which creates objects of entertainment such as flute, harps, etc.
9.       Sarva nidhi – gives seven types of wealth  which are living beings (jivaratna) and seven types of wealth that are inanimate (ajivaratna).
Enjoying such wealth and happiness for a long time, Sagara begot 60,000 sons known as Ságara Kumaras, the eldest of them is known as Janu.  These sons at an appropriate age approached their father and requested his permission for going on a tour of their empire.  Sagara gave them the permission and sent with them six jivaratnas (excluding the 7th, viz. maids) and seven ajivaratnas.  After touring many countries and towns under their dominion, the Ságara Kumaras reached Ashtapad mountain which is the Mount Kailash where their forefather and the first Tirthankara Bagawan Rishabadeva attained mokasha.  Emperor Bharata, son of Rishabadeva had constructed a temple here with an image of himself listening to the discourse of Risihabadeva.
After visiting this temple, the Ságara Kumaras felt that the wealth of the temple may be plundered in the future era of Dushama and wanted to fortify it.  Hence, using the one of the ajivaratna, viz. Danda ratna, they dug out a mote around the temple. As the Danda ratna was very powerful, it disturbed the subterranean world.  Its inhabitants, Nagas became terrified and their king named Jwalanapraban came over and looking at them angrily asked why are they destroying their abode bavanaloga and  their behavior is inappropriate for the sons of Sagara who is the brother of Tirthankara Ajitanatha.  Janu, the Ságara Kumara, replied that it was unintentional, and they wanted only to fortify the temple and assured the Naga kind that no harm will come to them.  Then they used Danda ratna again to bring the water of the Ganga.  The water filled the deep mote and also flooded the Nagaloga.  Nagaraja, the Jwalanapraban got angered as an elephant pierced with the elephant goad (ankus) and came near the Ságara Kumaras. Due to anger, the poison in his eyes burnt all of them to ashes. The waters of Ganga, after filling the mote started to flood villages and countries around Mount Kailash. Hearing their plight, the grief stricken emperor Sagara, ordered his grandson Bagirata to take the Dand ratna and divert the Ganga to the sea. And Bagirata completed this task.
It is this story that is depicted in the Mahabalipuram rock panel.
Discovering Sagara’s story in the Mahabalipuram rock panel sculpture
Figure 1

The above picture is the left panel of the sculpture for the viewer.  The yogi with sunken belly, over grown hair and beard, standing on one leg with raised hands is Sagara chakravarti performing tapas at Kandaprabada mountains. Indra Natyamalaka is standing before him with four hands and holding his vajra dandayuda weapon. In various Jain literature Indra is depicted with four hands. But in Saiva or Vaishnava sculptures Indra is depicted with two hands only. (Refer; Saiva Vaishnava Baudha Jaina Sirpakalai,  p.101-105, published as article in 1008th publication commomerative issue of Saiva Siddantha Noorpathippu Kazagam, 1961. Author – Mylai Seeni Venkatasamy).
Also seen near Sagara and Natyamalaka are six dwarf figures. There are two more dwarfs on top left of the panel totaling eight dwarf figures. Along with these eight boodha gana one can also count 8 pairs of deities which appear to flying in the sky. These eight pair deities and boodha gana represent the eight of the nine nidhis or boons received by Sagara through tapas. Each nidhi had one deva leading it with a force of thousand boodhas. Thus there were eight devas and eight thousand boodhas serving Sagara. The devas are depicted with their consort devis and thousand boodha ganas are represented by one dwarf figure. On account of space constraint eight thousand boodha ganas are represented by eight dwarf figures.  While deities are shown as hovering in the sky, the ministers and other members of the king’s retinue are shown with arms standing on the ground.  The forest environment of the Kandaprabada hills is shown by animal figures of lion, tiger, deer, monkeys, etc. 


Figure 2

The picture above is the panel on the viewer’s right. This represents Sagara’s ninth nidhi, viz. sarva ratna which includes seven jiva ratnas and seven ajiva ratnas.  Jiva ratnas are, gruhapathi, senapathi, viswakarma, prohit, horse, elephant and maids. Ajiva ratnas are chakra, imperial umbrella, sword, danda (shaft), choodamani (precious stone) and kakini (for illumination).  The nidhi for entertainment and musical instruments is depicted as kinnaras, half bird half human figures.  So far we have seen about Sagara Chakravarthi’s tapas and his getting nine boons by that austerity.
There is also a scene depicted wherein, before a temple a sage is worshipfully listening to the lord.  This is a representation of the Rishabadeva’s temple at Kailash built by Bharata Chakravarti. It is his image which is worshipping at the temple.  Thought it is contemporarily explained as some sage, It should be noted that in ancient India even kings and emperors grew hair and beard.  Near this temple a river and images of naga raja and devi are sculptured.  It is wrongly interpreted as Ganges, whereas it is the deep mote dug by Sāgara Kumaras. The snake figures are Jwalanapraban,  his queen and other nagas.  This is the scene capturing their first warning to Sāgara Kumaras.   It can also be seen that there are three headless bodies and facing them are elephants. Pallava king Mahendra Varman was a scholar in Sanskrit. This sculpture perhaps elucidates his signature involvement in sculpting this.  The headless bodies represent the death of Sāgara Kumaras. As all the sixty thousand sons of Sagara king have died, three headless bodies are shown to signify multiple people based on Sanskrit grammar which has three counts viz. single, dual and multiple. Similarly, the leading elephant is beautifully sculptured to show its anger in the eyes.  The elephants represent the deities of Nagaloga led by Jwalanapraban. In the story, when the nagaloga gets inundated by flooding waters of the Ganga, Jwalanaparaban came out with fury in his eyes and the fire in his eyes were so poisonous, it burnt all the sixty thousand sons of Sagara.  Sculpting nagas as elephants instead of  snakes in the second instant is also the poetic liberty of the sculptor as the word “nāgam” in Tamil can mean either elephant or snake as per context.


In picture 3 above, we find few men. One of them is carrying a pot over his left shoulder. People call it a priest carrying water for temple ceremonies like abhishek. But the person carrying the ashes/bones of the dead people to disburse in the water.  While Bagiratha diverted the Ganga waters towards sea, the ashes of the dead were washed away the river. Tirthankara Ajithanath swamy puran states that the practice of disbursing dead people’s ashes in the Ganga started with Sāgara Kumaras.  Another man nearby is seen holding something long and heavy on his shoulder.  People misinterpret it as a man squeezing his wet clothe and some as a Greek cornucopia.  However, more appropriately it is the Dandaratna which was used to dug the mote and also used by Bagiratha to divert the Ganga. 

While carving the Rishabdev temple at Kailash, it is seen that image of Vishnu had been sculpted.  The reason could be that in Srimad Bagavad, it is said that Rishabdev is an avatar of Vishnu and thus we find here Rishabdev in the form of Vishnu. 

Apart from the images relevant to the story of king Sagara, some animal figures such as monkeys, tiger, a cat in meditation with mice playing around were also done to beautify the panel.
This story of Sagara could have been popular in 7 AD when Jainism was at its peak in Tamil Nadu and almost everybody would have been aware of this.  Also the motive behind sculpting this story would have been to emphasize on jaina principle of jain principle of karma, be it the sons of a powerful emperor who has greatest of the boons such as navanidhis.


The sculpture reminds the viewers about one of the twelve meditations enjoined upon jains, viz. Anitya bhavana (meditation on transient nature of life). The meditating cat and mice running around signifies the jain characteristic of samata bhava (equanimity) while observing austerities. One has to give up desires and hatred to be a true yogi. The sculptor once again proves his intellect in selecting cat and mice as characters to show forgotten enmity and also satirically bring before the viewer the tamil proverb rudraksha poonai (rudraksha cat). Mahendra Varman was famous for his satirical work on contemporary religions “Mathavilasa Prahasanam” written in Sanskrit. He was a follower of Jainism before converting to Shaivism.