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) 

 

 

 

 

 

 

 

 

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 7^th, 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 1008^th 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.  

SALLEKHANA AND THE TAMIL COUNTRY

SALLEKHANA AND THE TAMIL COUNTRY

 (by M.D. Rajendra Jain) 

@ ICPR Sponsored National Seminar on 

Death and Dying in Indian Tradition

organised by

University of Madras (Dept. of Jainology) & International School for Jaina Studies, New Delhi

February, 2016

          Ahimsa is the supreme tenet of  jainism.   The jaina categorisation of living organisms based on senses, body type, mind and endowments (ie. prana, paryapti) is astounding as these categorisations were done thousands of years before the advent of modern science.   Recognition of  the life form,  living and sentient being inside the body is the first step.   In Acaranga Sutra, Bagawan Mahavira in the very beginning of the discourse had brought out this fact and declares that endless transmigrations can only be stopped by persons who have realised that sentient life is in all stationary and mobile forms of life.  This includes the self and once that knowledge is there, the next step would be to understand the reasons for the infinite births and deaths undergone. 

          Concept of the pure soul as the reservoir of  infinite perception, knowledge, bliss and energy  and every soul's aspiration to metamorphasise into that state is the essence of  Jaina Dharma.   The soul is denied of this bliss because of  its interaction with karma particles which has been going on for an infinite period of time.   Tirthankaras, with Their infinite perception and knowledge have found the way to liberate the soul from karma and attain the Ananta Catustaya qualiites of the pure soul. 

          "Samyak darsana, jnana, caritrani moksha margaha" - is the opening sutra of the Tatvartha Sutra.  The Ratna Traya,  Right Faith, Right Knowledge and Right Conduct,  the aggregate essence of these three virtues leads to liberation.  Another uniqueness of Jainism is its analysis of things from multiple points of view.  The Ratna Traya are also expounded from the real (niscya) and practical (vyavar) points of  view.  The real point of view is pure soul, percieving the soul as separate from the body is real Right Faith, knowing the qualities of the soul and matter is real Right Knowledge and to experience and being immersed in the self soul is the real Right Conduct.  From the practical point of view the Ratna Traya has been elaborately discussed and explained in Jaina scriptures.  The qualities of Right Faith, the description of  Right Knowledge and the details of austerities and vows that form the Right Conduct are codified in Jaina ethics.   Degree of adopting these austerities and vows are also specified for lay people and renunciates, anuvratas for the former and the mahavratas for the later.  However, the content of these five basic tenets (viz. Ahmisa, Sathya, Astheya, Brahmacarya and Aparigraha) are same for both.   While the householders have certain concessions, the code is unrelenting for the ascetics.   The Guna vratas and Siksha vratas are complementary to the anu and mahavratas.  The twelve part austerities are necessiated for abandoning violence to self soul and other living forms, to abandon internal and external posessions and plug the hole to stop influx of karma, to start shedding karma, to lighten the load and travel upward to the Siddhasila, the abode of liberated souls. 

          The ultimate and all encompassing vrata is the Sallekhana which is the highest sadana. Jainism puts great emphasis on the state of mind and passisions at the time of death.  The negative emotions, such as anger, greed, pride, deceit, etc. lead to the births in hell, animal form and human form with great afflictions.  The positive state of mind, such as equanimity towards pain and pleasure, right faith and devotion leads to birth in heaven or as a virtuous human opening a gate for further spiritual development and liberation in a course of few births.  Sallekhana is facing death with equanimity and higher spiritual insight.  Acharya Pujyapada in his text, Mrityu Mahotsava brings out this fact by stating, "all religious observances, fasting and austerieties would be unavailing, if at the last moment of life, at the approaching moment of death, if one does not undertake Sallekhana".  The term sallekhana is derived from sam and lekhana.  It means noble process of delibilating the body.  It is an effort to realise the soul without body.

          Abundant examples of emancipation through Sallekhana is available in Jaina scriptures and vernacular jaina literary works of  major languages of India.  Historical jaina inscriptions found all over India contain many references to Sallekhana undertaken by eminent ascetics and shravakas and shravikas.  Tamil Nadu or Tamil is no exception to this as jainism was a predominant religion of the ancient Tamil country.  Acarya Samantabadra is believed to be from the Kanchipuram region of Tamil Nadu. Arunagacheppu, is the Tamil version of  his Ratnakarandaka Sravakacar.  Scholars ascertain the date of Arungalacheppu as Sixth Century CE (Arungalacheppu, Dr. K.P. Aravanan, page 7).  Arungalacheppu defines Sallekhana in its aphorisms 145 to 153. 

To read the English version of the verses; 

145. unbrerable sufferings, incurable disease, senility

     reasons for renouncing food and drink is sallekhana.

146. at the end of this life time having the thought of

     realising soul's four qualities and shedding other

     faulty thoughts.

147. all mundane affection, anger and connection with relatives

     are abandoned.

148. to take with conviction and get the guidance of great saints

     to overcome the hurdles

149. not to have vasilation and confusion and keep the mind happy

150. to trickle down food and drink and recollect scriptures

     to keep the body aside.

151. to leave the body with thoughts of namaskara mantra is to

     redeem the position of lord of the indras.

The description of sallekhana in vain is also described :

152. fear of death, afraid to live, for self aggrandisment,

     regret to leave loved ones

153. and a wish for next birth, one who sheds these five

     destroys dravya, kshetra, kala, bhava, bhaava parivarthana

          Acarya Maganandi's Padarthasaram (13 CE) was in vogue among Tamil jaina scholars and was available in palm leaf manuscripts for generations.   It is a manual of jaina epistemology.  The 23rd chapter, Samyama Margana Nirupanam, of  Padarthasaram details sallekhana among other vratas.  It is mentioned that Sallekhana is of two types, viz. Jividha sallekhana and Jividandya sallekhana.  The former is observed along with daily avashyakas over a period of time and the later is observed near death with performance of pratikramana and prayachita in the presence of a guru, abandoning all affections towards friends and relatives, with a request for forgivenness in all three dimensions of mind, speech and action, with a committment of mahavratas, giving up the four types of food one by one,  meditating upon panca namaskara mantra, twelve anuprekshas, padasta, pindasta, rupasta, rupatita and swarupa dhyana and lighten the load of the body.

          Fasting to death is also mentioned in Sangam Tamil literature.  The date of Sangam literature is debatable, but on a general opinion it is placed between 500 BCE and 200 CE. The Ashokan edicts (273 - 232 BCE) and Mathura inscriptions of Kharavela (150 BCE) refer to the Tamil kingdoms of Chera, Chola and Pandya rulers in the south. Purananuru, the collection of poetry refers to the practice of fasting unto death.  Vadakkiruthal is the terminology used for the practice.  It was undertaken by great warriors, emperors and poets.  

The great Chera emperor Cheraman Peruncheralathan and the Chola emperor Karikal Peruvalathan went to war against each other at a place called Venniparanthalai.  In the course of the battle the Chera emperor was wouned by a spear that pierced body from front to back.  The wound at on the back in a battle was considered as a humilation and the Chera emperor undertook fasting to death (Vadakiruthal).  A poet named Kazha athalaiyar documented it;

(Purananuru - 65)

A Sangam period poetess by name Venni Kuyathiyar, showers accolades on the Chera king  stating that the victory of the Chera king is far greater than the battle victory of the Chola king.

(Purananuru - 66)

          Chola king, Koperunjcholan, ruling from Uraiyur declared war on his sons who had revolted against him.  He was pacified by poet Eyitriyanar and made to realise the sinful act of waging war against own children.  The Chola ruler abandoned his throne and undertaook fasting unto death by "vadakkiruthal" tradition. On hearing this, his friend and poet, Pisirandaiyar also commenced the performance of  "vadakkiruthal".  (Purananuru - 212 to 223).  Koperunjcholan who was also adept in poetry expressed his emotions reflecting jaina thoughts .

(Purananuru 214)

Who do not have the right faith without blemishes of doubt and without a strong mind, start performing the meritorious deeds. Those who aim for  elephant will find it, those who aim for small bird may go empty handed!  If the honourable men aim for the noblest achievement, they shall gain as per their karma. They may reach the heaven to enjoy without activity, and if  they do not wish for such pleasures also, they may never have to be born again! And if they are not to be born again, they will achieve the fame as high as the Himalayas, To die with a body devoid of bad karmas is the height of all austerities.

         

          Nilakesi, the tamil jaina classical literature of comparative religion (5 CE) defends the practice of Sallekhana.

 

(Nilakesi - Mokkala Vada - 321).

In reply to Mokkala, a buddhist monk, Neelakesi states that sallekhana is adopted by people who are at the end of their life time and renounce all possessions including body and abandon maintenance of such worldly possessions.  No benefit will avail by belittling such noble men showing the path.

         

          Samaya Divakara Vamana Muni, ("Samaya Divakara Virutti, written by Vamana muni in the manipravala style. Vamana muni has been identified with Mallisena Vamana, the famous Jaina teacher who flourished at Jina-Kanci in the fourteenth century A.D." - Prof. R. Champakalakshmi, Jain Literature in Tamil, online Jainsamaj.org); in his commentary reiterates that sallekhana is to abandon the regret for dying and to give up attachment towards the body, to observe equanimity and to avoid anxiety.  He further alludes the transmigration to a travel and wants the sallekhana observer to pack the food, viz. Panca Namaskar Mahamantra, Ratna Traya and undeterred samyaktva, for such a travel.   He also quotes in his commentary from an unknown literary source;

When the house is on fire, it not possible to remove all articles, only the important and valuable articles are removed.   Similarly, one who is in death bed, should be equanimous, desire-less and should carry compassion that is dharma.

          Silappadigaram, the Tamil epic of post Sangam period (2 CE) has a reference to the practice of Sallekhana.  Kavundi Adigal, a jain sadhvi, observed Sallekhana and left her mortal body on hearing about the tragic death of Kovalan, Kanngagi, the Pandiya ruler, his queen and the destruction of Madurai city. Earlier she had accompanied Kovalan and Kannagi in their epic journey from Chola country to the Pandya country.  During this journey, human sufferings on account of  karma was explained to Kovalan and Kannagi, who were sravakas.  Kavundi adigal was struck with remorse on hearing about their death and observed Sallekhana; as she felt that these people's bad karma led them to her for the journey.

(Silappadigaram - Neerpadaighatai : 79-83)

          Sirupanchamulam, is a post sangam period poetic work by the jain author Kaari Asaan.  While praising the merits of offering food to the deserving, this ancient tamil work refers to Sallekhana.

(Sirupanchamulam :73)

         

          There is a tradition of performing annual Nischadi Puja to Acharya Akalanka at Munigiri Karanthai Jain temple near Kanchipuram.  During the annual ten day Brahmotsava period, on one of the days a procession is taken to the temple tank bund where the nischadi foot prints of Acharya Akalanka is sculptured and Nischadi (sallekhana) puja is performed.  It is believed that Acharya Akalanka observed sallekhana at Munigiri Karanthai.

         

          These literary and other epigraphical recordings about Sallekhana in the ancient Tamil country vouchsafe the glorious jaina presence in the past and social acceptance of the practice of Sallekhana in Tamil Nadu.  The practice of sallekhana is to be viewed in the entirety of jaina ethical principles and the fundamental quest for liberation inherent in all jaina followers.  Denying sallekhana to jains is denying essential practice of jainism. 

                    In the recent past, Sripalavarniji a tamil jain and former pontiff of jina kanchi and simmanagadde basti mada and an author of modern commentaries on  jaina siddantha observed  sallekhana at Sammedasigarji.  Sri Gajapathi Sagarji, a jaina scholar with multilingual talent, Sri Adhi Sagarji, founder of Sri Srutakevali Badrabahu Sevadal and Shrutakevali tamil magazine,  Sri Veera Sagarji, whose pioneering efforts led to the protection and development of Acharya Kund Kunda Nagar, Poonur Hills and  Sri Subhadra Sagarji (former madathipathi of Melsittamur Jain Math) had observed sallekhana. Recently, Smt. Marudevi Ammal, a lay follower accomplished  sallekhana in the month of November, 2015.

Reference:

1. Arungalacheppu, Dr. K.P. Aravanan, Jain Youth Forum, Chennai, 1977.
2. Nilakesi, The Original Text and The Commentary of Samaya Divakara Vamana Muni by Prof.A. Chakravarthy, 1936.
3. Samanamum Tamizhum, Mylai Seeni Vengatasamy, 1st Ed. 1954 (Varthamanan Pathippagam, Ed. 2004)
4. Samanam Valartha Tamil, Prof.J. Srichandran, Tamil Nilayam, 2011.
5. Sri Maganandi Aruliya Padarthasaram, Editors: Dr. S.K. Deivanayagam and Mrs. Rajalakshmi Jinakumar, Saraswati Mahal Library, Thanjavur, 1992.