Contributed by M. Whitney Kelting
As part of the festival of Paryuṣan, Śvetāmbara Jains celebrate the dreams of Mahāvīra’s mother, Triśalā, that foretell his greatness. Wearing crowns as part of their prominent role in the ceremony of Mahāvīr Janam Dīvas, these lay women bring small freestanding metal representations of the dreams round the congregation. The festival-goers honour the auspicious sculptures and donate money. Found on the inaphoto website, this photo was taken in London in 2005.
This YouTube slideshow of the celebrations of Paryuṣaṇ in Melbourne, Australia in 2010 illustrates some of the features of the eight-day long festival. Sculptures of the 14 auspicious dreams experienced by Mahāvīra’s mother are suspended from the ceiling on the fifth day of Paryuṣaṇ – Mahāvīr Janam Divas, which celebrates the birth of Mahāvīra, the 24th Jina. The sculptures are venerated in turn by all the festival participants, sometimes by being held to the crown of the head, seat of spirituality in Indian culture. Then auctions – bolī – are held to decide who should perform various ceremonies. The most important and expensive auction is over the right to take home the image of the infant Mahāvīra for the last three days of the festival. Everyone can rock the cradle holding the idol of the baby Jina, which takes pride of place in the display.
This community page on Facebook describes and interprets Queen Triśalā's dreams according to the Śvetāmbara sect. It also provides photographs of silver and gold sculptures of the dreams. Frequently found in temples, freestanding metal representations of the dreams are used in rituals among both Digambara and Śvetāmbara sects, such as the celebrations of Mahāvīr Jayantī. The 14 dreams of the Śvetāmbaras also play a role in their festival of Paryuṣan.
The Jain Society of Seattle offers information about Queen Triśalā, mother of Mahāvīra, the 24th Jina. Descriptions and interpretations of her auspicious dreams are provided, accompanied by photographs of silver sculptures of the dreams. Frequently found in temples, freestanding metal representations of the dreams are used in rituals among both Digambara and Śvetāmbara sects, such as the celebrations of Mahāvīr Jayantī. The 14 dreams of the Śvetāmbaras also play a role in their festival of Paryuṣan.
In 2012 the Udaipur Times reports the end of Paryuṣaṇ, the main Śvetāmbara festival. The festival closes with the day called Saṃvatsarī, on which Śvetāmbara Jains perform the annual rite of confession.
http://www.udaipurtimes.com/shwetambar-jain-community-celebrates-samvatsari/
In this piece from 2010, the Udaipur Times explains more about the Jain holy day of Saṃvatsarī, which completes the annual festival of Paryuṣaṇ, the principal Śvetāmbara festival. On this and the last day of Daśa-lakṣaṇa-parvan, the similar Digambara festival, participants say the phrase Micchāmi Dukkaḍaṃ – 'May no harm come from my actions'.
http://www.udaipurtimes.com/samvatsari-the-festival-of-forgiveness/
Recipes suitable for cooking during the Śvetāmbara festival of Paryuṣaṇ from the ramkicooks blog. During this annual festival of eight days, observant Jains tend to follow stricter than normal rules regarding food. Most families give up fresh vegetables, eating only grains, pulses and dairy produce. Taking additional vows to fast completely or partly for any given day of the festival, particularly the first and last days, is common.
This slideshow displays the re-enactment of the story of Candanabālā, who offered Mahāvīra appropriate food to break his fast. Sold into slavery, the beautiful princess has her lovely hair chopped off and is starved for three days. Even so, her first act when released is to offer alms to a passing mendicant. He is Mahāvīra, who becomes the 24th Jina, and he has been fasting for nearly six months. Candanabālā’s act of selfless charity despite her suffering causes her hair to be restored and her true identity revealed. The story of this virtuous woman – one of the soḷa satī – emphasises the importance of offering alms correctly. Acting out such stories is an important part of many Jain festivals. This re-enactment on YouTube was performed by Śvetāmbara Jains in Melbourne, Australia during the festival of Paryuṣaṇ in 2010.
The Pluralism Project at Harvard offers a short essay on the festival of Paryuṣaṇ, called 'Paryushan and the Festival of Forgiveness'. It focuses on contemporary Jainism in the United States.
http://www.pluralism.org/resources/tradition/essays/jain4.php
A svastika formed out of traditional clay lamps – dīpas in Sanskrit – is arranged on the petal-strewn floor of a temple during the festival of Paryuṣaṇ. The svastika is an ancient symbol of good luck and is frequently found in Jain temples, on religious equipment and on books, clothing and so on. The four dots among the arms of the svastika represent either the four states of existence or the parts of the fourfold community. Lasting eight days in late August or early September, Paryuṣaṇ is the most important Śvetāmbara Jain festival. This photograph on Flickr was taken in 2007.
Details of the Supreme Court of India's 2008 ruling to uphold the state government of Gujarat's ban on the operation of slaughterhouses and butchers during the Jain festival of Paryuṣaṇ. The CAclubindia.com provides this information in its Judiciary section.
IBN Live news website reports the 2008 ruling of the Supreme Court of India to uphold the decision of the state government of Gujarat to ban the operation of slaughterhouses, butchers and fisheries during the festival of Paryuṣaṇ. The 2008 article includes a video of the television news report, which features a phone interview with the legal correspondent in New Delhi. He explains the history of the legal case and possible wider applications of the ruling throughout India.
http://ibnlive.in.com/news/gujarat-meat-eaters-can-abstain-out-of-respect-sc/61275-3.html
British Library. Or. 11921. Unknown author. 1488
Victoria and Albert Museum. IS 46-1959. Unknown author. Late 15th to 16th centuries
British Library. Or. 11921. Unknown author. 1488
Victoria and Albert Museum. IM 8-1931. Unknown author. Second half of the 15th century