DOCSLIB.ORG

Rare Jaina Sculptures of State Museum, Lucknow

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rare Jaina Sculptures of State Museum, Lucknow Rare Jaina Sculptures of State Museum, Lucknow Brijesh Rawat1 1. Department of History, Dr. Shakuntala Misra National Rehabilitation University, Lucknow, India (Email: [email protected]) Received: 15 October 2014; Accepted: 01 November 2014; Revised: 20 November 2014 Heritage: Journal of Multidisciplinary Studies in Archaeology 2 (2014): 890-895 Abstract: This paper highlights the importance of selected exhibited objects in the State Museum, Lucknow in parlance with the Jain sculptural art in ancient India. A handful of sculptures are noteworthy for their rarity and peculiarities which are discussed in terms of iconographical characteristics and art styles. ‘Jina’ are great, courteous and lenient souls and according to Jain traditions they are called Tirthankaras. Various references in ancient literature have been examined minutely to point out the process of coining of Jain divinities and religious beliefs. Keywords: Lucknow, State Museum, Jainism, Sculptures, Tirthankaras, Iconography, Puranas Introduction The state museum of Lucknow is one of the biggest and the oldest multipurpose serving museum in India. Presently the State Museum is situated in "Geological Garden Compound Banarasi Bagh". It was founded in 1863 AD in Sikheche wali Kotthi. After 20 years it was announced to be a regional museum and was shifted to Lal Baradari near Chhatar Manzil. In 1885 AD, famous archaeologist Dr. A. Furer was appointed as the secretary of this museum. In 1950, it was named as 'State Museum, Lucknow’. Due to increase of articles, need was felt for constructing a new building for museum which was inaugurated by the then prime minister Pt. Jawahar Lal Nehru on 12th May, 1963. Presently the museum is working under the cultural ministry of Uttar Pradesh, India. Its archaeological collection is the most flourished one; it comprises pre-historic articles, copper age antiquities, fossils, sculptures of plaster, terracotta sculpture, stone sculpture, beads, stone inscriptions, tamrapattra, utensils of terracotta, bricks and various sorts of other items. The currency department comprises of coins from 8th century BC including Punch marked coins, Indo-Greek Coins, Indo-Parthian Coins, Kushana age coins and Gupta age coins with rulers engraved in various poses. It has a rich collection of Mughal age coins in which coins of Babar, Humayun, Akabar, Jahangir and Shahjahan are exhibited. Coins of other Muslim rulers like the Turks, Rawat 2014: 890-895 Khiliji, Tughlack, Lodi and Suri are also exhibited; further on coins of Dutch East India company, British India Company and Awadh rulers can also be seen. Jainism The one who overcame all his mental barriers and weaknesses was called Jina, the word Jain is derived from Jina which means to 'win'. The Jain word was originated from this same word Jina. Jina is termed as Tirthankara. Thus it concludes that one who preaches the religion of Jainism is the Jain. Anybody, anywhere and anytime can be a Jina because basically they are common people with uncommon capabilities. Undoubtedly Jina were outstanding polite and lenient souls and thus were called Tirthankara according to Jain mythology and traditions. Jainism is a profound and aborted religion propounded by twenty four Tirthankaras during their own time span, namely Rishabha, Ajit, Sambhava, Abhinandan, Sumathi, Padamaprabha, Suparsva, chandraprabha, suvidhi, sitala, shreyansh, vaasupujya, vimal, Ananta, Dharma, Shanti, Kunthu, Ara, Malli, Munisvrata, Nami, Parsva and Mahavira. Jainism is divided into two sects- Digambara and Sevatambara. Digambara believe that sky is their clothes while Sevatambara followers cover themselves in white clothing. The founder of Jain religion Rishabha and authenticated data in his context were first found in Rigveda, here he has been mentioned as a ruler who provided prosperity to his people. According to the Shivapurana Rishabha is mentioned as one of the Shiva's yogavatar (Shivapurana 7.9.3). In the same Purana another mention of Shiva as Rishbhaavatar is mentioned (Shivapurana 1.47). Bhagavada Purana (Bhagavada Purana, 1.3.1622, 2, 7, 1-40) and Garuda Purana (Garuda Purana, 1.1, 13-35) mention Rishbha as a Vaishinavavtar. In Agni (Agni Purana, 1.1.13-35) and Vishnu Purana (Vishnu Purana, 5, 3, 20, 5) the same is mentioned as Vishnu's avatar. Myths related to the origin of Rishabha (Bhagavada Purana 5, 3, 20, 5) are mentioned in Bhagavada Purana, Maha Purana (Maha Purana, 190-91) and Aadi Purana (Aadi Purana 16, 179-90). This custom of mention of Jain Tirthankara as Lord Vishnu's avatar continued till medieval period. Jain Sculptures The word Pratima literally means ‘symbolic’ or ‘same’ which means quite likely to the original figure. Panini in his equation has mentioned the word Pratikriti for the resemblance. In India the word Pratima has been used as early as during the Vedic period (Rigveda). The word Archcha is mentioned in Rigveda for Pratima-Vigragh, Bimb, Pratikriti, Pratirup etc. The sculptures of Tirthankara are found in abundance in context of Jain art. Some of the selected objects of interest in terms of Jainism are discussed below. Ayagapatta Ayagapatta is a stone of worship which was generally used by followers for the means of worshiping and donation and was established round the four sides of temples or stupas. J.N. Banerjee (Shah 1955: 109-110) advocates the origin of Ayagapatta from Harappan civilization. Seals and tablets from various sites of Harappan civilization 891 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 2: 2014 bear trees engraved on them with Vedika in Shilapatta which is believed to be the precursors of Ayagapatta. A significant Ayagapatta established by Singhnadika (Smith 1969: 17) with four gems in which the center point has a sculpture of Jina in padmasana pose. This Ayagapatta belongs to the 1st century BC and is located in the State Museum, Lucknow (Fig. 1). Srivats A damaged sculpture of Srivats, belonging to the 2nd century AD has no head and hands. The lower abdominal area is also shattered but it exhibits the resemblance towards a sculpture of Srivats from Kushana age. The arms are fleshy and the chest is wide. The provenance of this sculpture is unknown (Fig. 2). Saraswati An inscribed sculpture of the deity Saraswati was found from Mathura which is dated back as old as the Kanishka period. It is about 54-61cm high. The head of the sculpture is damaged. The whole body is covered with dothi which is placed over the left shoulder. There are kangan in both the hands and left hand bears a book. The right hand is damaged as well but still some pearls of a necklace are visible. The worshipers are standing to the left, a man with kamandalu in his right hand stands on the right hand side with a piece of cloth curtailed round his left hand. According to the inscription the sculpture was patronized by Lohiye Gop and the sculpture was created for the welfare and prosperity of all in the form of Rang-Nartan. This text attests the tradition of exhibiting the founder goddess of Jain Aagamik Gyan with the book in her hand (Fig. 3). Suparshva Another sculpture found from Khiri which is datable to 4th century AD belongs to 7th Tirthankara Suparshva which has some inscribed portions on it. The sculpture is in the pose of meditation. Though the sculpture is damaged, representation of hairs, eyes, nostrils, long ears and beautiful lips along with arms, wide chest and feet are visible clearly (Fig. 4). Ajitnath This standing sculpture of second Tirthankara Ajitnath who is of fair complexion is made out of stone. This was obtained from Rajaghat, Varanasi and is exhibited in the State Museum, Lucknow. The Tirthankara is in standing and nude posture, his hands are too long, the chest has a symbol of Srivats engraved and his navel is also visible. While observing minutely we can see a shankh below the right hand and a symbol of padam below the left hand. Below the kamalasan two elephants are standing. This sculpture is very significant if we keep period in mind because in 7th century AD scanty sculptures were made. The dimensions of this sculpture are 87 × 25 × 18 cm (Fig. 5). Rishabha Nath with Navagrahas The statue of first Tirthankara Rishbhanath is exhibited in the museum. His eye brows, 892 Rawat 2014: 890-895 eyes, nostrils, long ears and very long arms along with graceful facial expression with a lots of politeness is depicted. A trichhatra is engraved as well. On both the sides the Navagrahas comprising Sun, Soma, Mars, Budha, Jupiter, Venus, Saturn, Rahu and Ketu are engraved. Such a sculpture is hard to find elsewhere which was made in 10th century AD. Its dimensions are 51 × 37 × 13cm (Fig. 6). Figure 1: Ayagapatta Figure 2: Torso of Tirthankara Muni Suvratnath with Jivantswami, Balarama, and Krishna In the Churni text there is a mention of lord Mahavira, during his life time who was named Jivantswami. In literature it is mentioned that Jivantswami wore dhoti, crown, mekhala and other ornaments. A sculpture of 20th Tirthankara Muni Suvratnath which was found from Agra is also exhibited in the State Museum, Lucknow. This is carved out of slaty stone. The Tirthankara is portrayed sitting cross legged in padmasana with a graceful halo around his face. He is wearing a turban, and his hairs are rounding about, his eyebrows are like a bow and his half open eyes and nostrils are clearly visible, while his lips are damaged. He possesses long ears and a broad chest bearing pious symbol of Srivatsa and the navel in lower portion is visible. The artistic dharmachakra and tortoise are engraved on the back side. Two sharavikaa are standing in the posture of worship. The presence of Haladhara, Krishna, two Jivantswamis of Svetambara sects in standing pose along with musicians playing in the sky make this sculpture special.
Load more

Recommended publications
  • An Antiquty of Jainism
    Jainism : An Image of Antiquity Published by Shri Jain Swetamber Khartargachha Sangha, Kolkata An analytical study of the historicity, antiquity and originality Chaturmass Prabandh Samiti of the religion of Jainism of a global perspective Sheetal Nath Bhawan Gauribari Lane Kolkata - 700 004 c Dr. Lata Bothra Printed in October 2006 by : Dr. Lata Bothra Type Setting Jain Bhawan Computer Centre P-25, Kalakar Street Kolkata - 700 007 Phone : 2268-2655 Printed by Shri Bivas Datta Arunima Printing Works 81, Simla Street Kolkata - 700 006 Shri Jain Swetamber Khartargachha Sangha, Kolkata Chaturmas Prabandh Samiti Price Kolkata Rupees Fifty only continents of the worlds, regarding Jainism. Jainism is a religion which is basically revolving within the PREFACE centrifugal force of Non-violence (Ahimsa), Non- receipt (Aparigraha) and the multizonal view Through the centuries, Jainism has been the (Anekantvad), through which the concept of global mainstay of almost every religion practiced on this planet. tolerance bloomed forth. Culturally, the evidences put forward by the There was a time splendour of Jainism, as a archaeological remnants almost all over the world starting religion and an ethical lifestyle was highly prevalent in from Egypt and Babylon to Greece and Russia inevitably the early days of our continental history. The remnants prove that Jainism in its asceticism was practiced from of antiquity portray a vivid image of the global purview prehistoric days. For what reason, till today, the Jaina whereby one can conclude that Jainism in different researchers have not raised their voice and kept mum forms and images was observed in different parts of about these facts, is but a mystery to me.
    [Show full text]
  • Julia A. B. Hegewald
    Table of Contents 3 JULIA A. B. HEGEWALD JAINA PAINTING AND MANUSCRIPT CULTURE: IN MEMORY OF PAOLO PIANAROSA BERLIN EBVERLAG Gesamttext_SAAC_03_Hegewald_Druckerei.indd 3 13.04.2015 13:45:43 2 Table of Contents STUDIES IN ASIAN ART AND CULTURE | SAAC VOLUME 3 SERIES EDITOR JULIA A. B. HEGEWALD Gesamttext_SAAC_03_Hegewald_Druckerei.indd 2 13.04.2015 13:45:42 4 Table of Contents Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographical data is available on the internet at [http://dnb.ddb.de]. All rights reserved No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher or author, except in the case of a reviewer, who may quote brief passages embodied in critical articles or in a review. Coverdesign: Ulf Hegewald. Wall painting from the Jaina Maṭha in Shravanabelgola, Karnataka (Photo: Julia A. B. Hegewald). Overall layout: Rainer Kuhl Copyright ©: EB-Verlag Dr. Brandt Berlin 2015 ISBN: 978-3-86893-174-7 Internet: www.ebverlag.de E-Mail: [email protected] Printed and Hubert & Co., Göttingen bound by: Printed in Germany Gesamttext_SAAC_03_Hegewald_Druckerei.indd 4 13.04.2015 13:45:43 Table of Contents 7 Table of Contents Preface ................................................................................................. 9 Chapter 1 Introduction: Jaina Manuscript Culture and the Pianarosa Library in Bonn Julia A. B. Hegewald ............................................................................ 13 Chapter 2 Studying Jainism: Life and Library of Paolo Pianarosa, Turin Tiziana Ripepi ....................................................................................... 33 Chapter 3 The Multiple Meanings of Manuscripts in Jaina Art and Sacred Space Julia A.
    [Show full text]
  • Study of Caste
    H STUDY OF CASTE BY P. LAKSHMI NARASU Author of "The Essence of Buddhism' MADRAS K. V. RAGHAVULU, PUBLISHER, 367, Mint Street. Printed by V. RAMASWAMY SASTRULU & SONS at the " VAVILLA " PRESS, MADRAS—1932. f All Rights Reservtd by th* Author. To SIR PITTI THY AG A ROY A as an expression of friendship and gratitude. FOREWORD. This book is based on arfcioles origiDally contributed to a weekly of Madras devoted to social reform. At the time of their appearance a wish was expressed that they might be given a more permanent form by elaboration into a book. In fulfilment of this wish I have revised those articles and enlarged them with much additional matter. The book makes no pretentions either to erudition or to originality. Though I have not given references, I have laid under contribution much of the literature bearing on the subject of caste. The book is addressed not to savants, but solely to such mea of common sense as have been drawn to consider the ques­ tion of caste. He who fights social intolerance, slavery and injustice need offer neither substitute nor constructive theory. Caste is a crippli^jg disease. The physicians duty is to guard against diseasb or destroy it. Yet no one considers the work of the physician as negative. The attainment of liberty and justice has always been a negative process. With­ out rebelling against social institutions and destroying custom there can never be the tree exercise of liberty and justice. A physician can, however, be of no use where there is no vita­ lity.
    [Show full text]
  • Bhagavata Purana
    Bhagavata Purana The Bh āgavata Pur āṇa (Devanagari : भागवतपुराण ; also Śrīmad Bh āgavata Mah ā Pur āṇa, Śrīmad Bh āgavatam or Bh āgavata ) is one of Hinduism 's eighteen great Puranas (Mahapuranas , great histories).[1][2] Composed in Sanskrit and available in almost all Indian languages,[3] it promotes bhakti (devotion) to Krishna [4][5][6] integrating themes from the Advaita (monism) philosophy of Adi Shankara .[5][7][8] The Bhagavata Purana , like other puranas, discusses a wide range of topics including cosmology, genealogy, geography, mythology, legend, music, dance, yoga and culture.[5][9] As it begins, the forces of evil have won a war between the benevolent devas (deities) and evil asuras (demons) and now rule the universe. Truth re-emerges as Krishna, (called " Hari " and " Vasudeva " in the text) – first makes peace with the demons, understands them and then creatively defeats them, bringing back hope, justice, freedom and good – a cyclic theme that appears in many legends.[10] The Bhagavata Purana is a revered text in Vaishnavism , a Hindu tradition that reveres Vishnu.[11] The text presents a form of religion ( dharma ) that competes with that of the Vedas , wherein bhakti ultimately leads to self-knowledge, liberation ( moksha ) and bliss.[12] However the Bhagavata Purana asserts that the inner nature and outer form of Krishna is identical to the Vedas and that this is what rescues the world from the forces of evil.[13] An oft-quoted verse is used by some Krishna sects to assert that the text itself is Krishna in literary
    [Show full text]
  • Nonviolence in the Hindu, Jain and Buddhist Traditions Dr
    1 Nonviolence in the Hindu, Jain and Buddhist traditions Dr. Vincent Sekhar, SJ Arrupe Illam Arul Anandar College Karumathur – 625514 Madurai Dt. INDIA E-mail: [email protected] Introduction: Religion is a human institution that makes sense to human life and society as it is situated in a specific human context. It operates from ultimate perspectives, in terms of meaning and goal of life. Religion does not merely provide a set of beliefs, but offers at the level of behaviour certain principles by which the believing community seeks to reach the proposed goals and ideals. One of the tasks of religion is to orient life and the common good of humanity, etc. In history, religion and society have shaped each other. Society with its cultural and other changes do affect the external structure of any religion. And accordingly, there might be adaptations, even renewals. For instance, religions like Buddhism and Christianity had adapted local cultural and traditional elements into their religious rituals and practices. But the basic outlook of Buddhism or Christianity has not changed. Their central figures, tenets and adherence to their precepts, etc. have by and large remained the same down the history. There is a basic ethos in the religious traditions of India, in Hinduism, Jainism, and Buddhism. Buddhism may not believe in a permanent entity called the Soul (Atman), but it believes in ​ ​ the Act (karma), the prime cause for the wells or the ills of this world and of human beings. ​ ​ 1 Indian religions uphold the sanctity of life in all its forms and urge its protection.
    [Show full text]
  • Module 1A: Uttar Pradesh History
    Module 1a: Uttar Pradesh History Uttar Pradesh State Information India.. The Gangetic Plain occupies three quarters of the state. The entire Capital : Lucknow state, except for the northern region, has a tropical monsoon climate. In the Districts :70 plains, January temperatures range from 12.5°C-17.5°C and May records Languages: Hindi, Urdu, English 27.5°-32.5°C, with a maximum of 45°C. Rainfall varies from 1,000-2,000 mm in Introduction to Uttar Pradesh the east to 600-1,000 mm in the west. Uttar Pradesh has multicultural, multiracial, fabulous wealth of nature- Brief History of Uttar Pradesh hills, valleys, rivers, forests, and vast plains. Viewed as the largest tourist The epics of Hinduism, the Ramayana destination in India, Uttar Pradesh and the Mahabharata, were written in boasts of 35 million domestic tourists. Uttar Pradesh. Uttar Pradesh also had More than half of the foreign tourists, the glory of being home to Lord Buddha. who visit India every year, make it a It has now been established that point to visit this state of Taj and Ganga. Gautama Buddha spent most of his life Agra itself receives around one million in eastern Uttar Pradesh, wandering foreign tourists a year coupled with from place to place preaching his around twenty million domestic tourists. sermons. The empire of Chandra Gupta Uttar Pradesh is studded with places of Maurya extended nearly over the whole tourist attractions across a wide of Uttar Pradesh. Edicts of this period spectrum of interest to people of diverse have been found at Allahabad and interests.
    [Show full text]
  • Jain Values, Worship and the Tirthankara Image
    JAIN VALUES, WORSHIP AND THE TIRTHANKARA IMAGE B.A., University of Washington, 1974 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE DEPARTMENT OF ANTHROPOLOGY AND SOCIOLOGY We accept this thesis as conforming to the required standard / THE UNIVERSITY OF BRITISH COLUMBIA May, 1980 (c)Roy L. Leavitt In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Anthropology & Sociology The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date 14 October 1980 The main purpose of the thesis is to examine Jain worship and the role of the Jains1 Tirthankara images in worship. The thesis argues that the worshipper emulates the Tirthankara image which embodies Jain values and that these values define and, in part, dictate proper behavior. In becoming like the image, the worshipper's actions ex• press the common concerns of the Jains and follow a pattern that is prized because it is believed to be especially Jain. The basic orientation or line of thought is that culture is a system of symbols. These symbols are implicit agreements among the community's members, agreements which entail values and which permit the Jains to meaningfully interpret their experiences and guide their actions.
    [Show full text]
  • 79-20 Rorient 73 Z. 1-20.Indd
    ROCZNIK ORIENTALISTYCZNY, T. LXXIII, Z. 1, 2020, (s. 119–153) DOI 10.24425/ro.2020.134049 RAJESH KUMAR SINGH (Ajanta Caves Research Programme, Dharohar, SML, Udaipur, India) ORCID: 0000-0003-4309-4943 The Earliest Two and a Half Shrine-antechambers of India Abstract The shrine antechamber is a standard component of the Indian temple architecture. It was originated in the Buddhist context, and the context was the rock-cut architecture of the Deccan and central India. The first antechamber was attempted in circa 125 CE in the Nasik Cave 17. It was patronised by Indrāgnidatta, a yavana, who possibly hailed from Bactria. The second antechamber was created in Bāgh Cave 2 in ca. late 466 CE. The patron remains unknown. The third antechamber was initiated in Ajanta Cave 16 within a few months. It was patronised by Varāhadeva, the Prime Minister of Vākāṭaka Mahārāj Hari Ṣeṇa. When the third antechamber was only half excavated, the plan was cancelled by the patron himself due to a sudden threat posed by the Alchon Hūṇs led by Mahā-Ṣāhi Khingila. The Nasik antechamber was inspired from Bactria, the Bāgh antechamber was inspired from the parrallels in the Greater Gandhāra region, whereas the Ajanta Cave 16 antechamber was inspired from Bāgh Cave 2. Keywords: Buddhist rock-cut architecture, Nasik caves, Bagh caves, Ajanta caves, shrine antechamber, central pillar, Gandhara, Alchon Hun Khingila, Vakataka Introduction This article shows how the earliest two and a half shrine-antechambers of India were developed. The shrine antechamber, as we know, is an integral part of the Indian temple architecture.
    [Show full text]
  • Sculptural Art of Jains in Odisha: a Study
    International Journal of Humanities And Social Sciences (IJHSS) ISSN (P): 2319-393X; ISSN (E): 2319-3948 Vol. 6, Issue 4, Jun - Jul 2017; 115 - 126 © IASET SCULPTURAL ART OF JAINS IN ODISHA: A STUDY AKHAYA KUMAR MISHRA Lecturer in History, Balugaon College, Balugaon, Khordha, Odisha, India ABSTRACT In ancient times, Odisha was known as Utkal, which means utkarsh in kala i.e., excellent in the arts. Its rich artistic legacy permeates through time, into modern decor, never deviating from the basics. Each motif or intricate pattern, draws its inspiration from a myth or folklore, or from the general ethos itself. Covered by the dense forests, soaring mountains, sparkling waterfalls, murmuring springs, gurgling rivers, secluded dales, deep valleys, captivating beaches and sprawling lake, Odisha is a kaleidoscope of past splendor and present glory. Being the meeting place of Aryan and Dravidian cultures, with is delightful assimilations, from the fascinating lifestyle of the tribes, Odisha retains in its distinct identity, in the form of sculptural art, folk art and performing art. The architectural wonders of Odisha must be seen in the Jain caves, which speak about the fine artistry of Odisha’s craftsmen, in the bygone era. The Odias displayed their remarkable creative power, in the Jain sculptural art. While they built their caves like giants, they sculptured the caves like master artists. The theme of these sculptures was so varied, for the artist and his imagination so deep that, as if, he was writing an epic on the surface of the stone. KEYWORDS: Art, Architecture, Sculpture, Prolific INTRODUCTION Odisha has a rich and unique heritage of art traditions, beginning from the sophisticated ornate temple architecture, and sculpture to folk arts, in different forms.
    [Show full text]
  • Indian-Serpent-Lore
    00101402 00101402 00101402 Digitized with financial assistance from on 28 December, 2018 L' INDIAN SERPENT-LORE OR THE NAHAS IN HINDU LEGEND AND ART PLATE T. Nagaraja of A janta . {Frontispiece INDIAN SERPENT-LORE OE THE NAGAS IN HINDU LEGEND AND ART BY J. PH. VOGEL, P h.D., Profttior o f Sanskrit and Indian Archfeology in the University o f Leyden, Holland, Late Superintendent, Archaeological Survey o f India. JVITH THIRTY PLATES ARTHUR PROBSTHAIN 41 GREAT RUSSELL STREET, LONDON, W.C. 1926 f f 1 ‘ J S,. I V ’ j; I PRINTED BY STEPHEN AUSTIN & SONS, LTD.. PORE STREET, HERTFORD. TO MY FBIEND AND TEACHER, C. C. UHLENBECK, THIS VOLUME IS DEDICATED. ERRATUM. On pp. 49 ff. instead of Ka^yapa read KaSyapa. PEEFACE JT is with grateful acknowledgment that I dedicate this volume to my friend and colleague, Professor C. C. Uhlenbeck, Ph.D., who, as my guru at the University of Amsterdam, was the first to introduce me to a knowledge of the mysterious Naga world as revealed in the archaic prose of the Paushyafarvan. In the summer of the year 1901 a visit to the Kulu valley brought me face to face with people who still pay reverence to those very serpent-demons known from early Indian literature. In the course of my subsequent wanderings through the Western Himalayas, which in their remote valleys have preserved so many ancient beliefs and customs, I had ample opportunity for collecting information regarding the worship of the Nagas, as it survives up to the present day. Other nations have known or still practise this form of animal worship.
    [Show full text]
  • Jain Award Boy Scout Workbook Green Stage 2
    STAGE 2 TABLE OF CONTENTS 1. About the Jain Award: Stage 2 2. About Yourself 3. Part I Word 4. Part II Worship 5. Part III Witness 6. Jain Religion Information for Boy Scouts of America 7. Application Form for the Jain Medal Award 2 ABOUT THE JAIN AWARD PLAN STAGE 2 WORD: You will with your parents and spiritual leader meet regularly to complete all the requirements History of Jainism-Lives of Tirthankars: for this award. Mahavir Adinath Parshvanath RECORD Jain Philosophy Significance of Jain Symbols: Ashtamanga As you continue through this workbook, record and others the information as indicated. Once finished Four types of defilement (kashäy): your parents and spiritual leader will review anger ego and then submit for the award. greed deceit The story of four daughters-in-law (four types of spiritual aspirants) Five vows (anuvrats) of householders Jain Glossary: Ätmä, Anekäntväd, Ahinsä, Aparigrah, Karma, Pranäm, Vrat,Dhyän. WORSHIP: Recite Hymns from books: Ärati Congratulations. You may now begin. Mangal Deevo Practices in Daily Life: Vegetarian diet Exercise Stay healthy Contribute charity (cash) and volunteer (kind) Meditate after waking-up and before bed WITNESS: Prayers (Stuties) Chattäri mangala Darshanam dev devasya Shivamastu sarvajagatah Learn Temple Rituals: Nissihi Pradakshinä Pranäm Watch ceremonial rituals (Poojä) in a temple 3 ABOUT YOURSELF I am _____________________years old My favorite activities/hobbies are: ______________________________________ This is my family: ______________________________________ ______________________________________
    [Show full text]
  • Teacher Training in Dharmic Studies
    Teacher Training in Dharmic Studies Bal Ram Singh, Ph.D. Director, Center for Indic Studies University of Masachusetts Dartmouth Phone-508-999-8588 Fax-508-999-8451 [email protected] Organizers and presenters traditional Indian dress, along with Uberoi Foundations officials on August 18, 2010 Executive Summary phy. Presentations on each of the traditions were carried out by practicing scholars, except in case of Buddhism The Pilot project initiated after the first meeting of the for which we could not get scholars from the tradition. Uberoi Foundation in Orlando, October, 2009, by Ra- jiv Malhotra of Infinity Foundation and Bal Ram Singh The training program on each topic included slide presen- of UMass Dartmouth, was carried out with funding tation, hands-on activities, demonstrations, and lesson from Uberoi Foundation. With assistance of a national plan discussions. In addition, two documentaries, Yoga Advisory Committee (AC) and local Implementation unveiled and Raaga Unveiled were screened with commen- Advisory Group (IAG), the program was developed in taries from its producer, Mrs.Geeta Desai. Evening pro- spring of 2010 with plans to develop teaching material grams included discussion on Indian culture, music, dress, on four Dharmic traditions (Hindu, Buddhist, Jain, and family, etc., including trial of Indian dress by the trainees. Sikh) by experts in the field. The written material was re- viewed by experienced school level teachers, and at least Interactive sessions were held with representatives of Uber- some of the feedback was incorporated in the written oi Foundations, practioners of traditions, and with a facul- material before the latter was provided to the trainees.
    [Show full text]