Contributed by Eva De Clercq
Western scholars use the term ‘Universal History’ for the narrated history of people in the different known parts of the world and the interconnections among them. In Jain studies, the term refers to the body of work consisting of the biographies of the śalākā-puruṣas or mahā-puruṣas – ‘great men’. In particular, Jain Universal History deals with the lives of the Jinas, the Cakravartins and the nine groups of Baladevas, Vāsudevas and Prati-vāsudevas.
The texts that recount these biographies are generally called purāṇas – 'ancient [scriptures]' – or caritras – 'deeds'. The Jain Purāṇas tell the complete mytho-legendary history of the world for the current time period from a distinct Jain perspective, up to the last historical Jina, Mahāvīra, and his famous early disciples.
The symmetry and repetitiveness that characterises Jain cosmology can be found here too. For example, although these narratives are limited to the present time period, they are representative of the history of other time periods as well, namely the past and future. The lives of many of the great men also show marked similarities, featuring, for instance, prophetic dreams and the interventions of gods and supernatural elements.
According to traditional Jain cosmology, the regions where humans live are categorised as karma-bhūmi – ‘land of action’. They are subject to a regular sequence of alternating time periods, called:
Two of these phases make up one cycle of time. The phases alternate between improving and worsening conditions of life. When human existence is at its climax of development in terms of spirituality, morality, lifespan, stature, knowledge and pleasure, a new avasarpiṇī begins. Conditions gradually begin to deteriorate, until they reach a nadir. Then a new utsarpiṇī starts, in which the conditions gradually improve until a new climax is reached. Each phase is composed of six eras of different lengths.
In practice, what is called Jain Universal History consists of the biographies of specific categories and numbers of heroes and other characters, who are thought to recur in every half-cycle of time. These characters are śalākā-puruṣas or mahā-puruṣas – ‘great men’.
The most frequently used list of 'great men' has 63 characters for every time phase, comprising:
Other lists exclude the Prati-vāsudevas or include other categories, such as the:
These biographies generally include accounts of several previous existences of each of these mahā-puruṣas and their principal antagonists. These effectively explain what happens to them in their lives as mahā-puruṣas and integrate their stories into the broader frame of Jain karmic theory.
The greatest of the mahā-puruṣas are the Tīrthaṃkaras – ‘ford-makers’ – who are also frequently referred to as Jinas – ‘conquerors’. Their life stories in Jain Universal History are often very similar.
The first of the 24 Jinas of the present half-cycle of time is Ṛṣabhanātha or Lord Ṛṣabha, who lived during the suṣamā-duṣamā period. All the others were born in the following period, the duṣamā-suṣamā period, which is the era before the present one.
The Jinas of this avasarpiṇī phase of time all hail from royal families. In one of their earlier existences, their souls bound a specific type of karman, called the tīrthaṃkara-nāma-karman. This forecasts that one becomes a Jina in a future birth.
In ritual and art, the main events in the life of a Jina are reduced to five episodes, the so-called pañca-kalyāṇakas – ‘five auspicious episodes’ of:
Each of these episodes is accompanied by miraculous elements, such as rains of gems or the attendance of gods and goddesses.
The Cakravartin is a ‘universal emperor’, who rules over large parts of the world, typically the six parts of Bhārata-varṣa. In Jain cosmology this is the entire civilised world. They live at different times in every half-cycle of time and their early lives share similarities with those of the Jinas. Cakravartins have various supernatural possessions or associates and have a variety of destinies.
The 12 Cakravartins of the present time period are:
Three of these men become Cakravartins – ‘universal emperors’ – before they become Jinas. These are the:
In previous existences the Cakravartins gathered a large amount of religious merit, and cultivated a nidāna – an intense desire to become a cakravartin, which is held on to in various incarnations of the soul. Their early lives proceed in a similar way to that of the Jinas, in that they are all born into royal families and their destiny is prophesied by a number of dreams of their pregnant mothers. They grow up to become powerful rulers, subjugating surrounding kingdoms – digvijaya. Eventually, the magic discus – cakra – Sudarśana appears in their armouries and they are then anointed cakravartin, which literally means ‘he who revolves the discus’. They marry many wives and have many sons.
Cakravartins possess:
At the end of their lives, some Cakravartins renounce the world and attain omniscience and final liberation. Others become a god in one of the heavens, while still others are reborn in one of the hells.
A Baladeva, Vāsudeva and Prati-vāsudeva always live simultaneously. There are nine sets of them in every half-cycle of time. Bound in a triangle of enmity over many births, these men are popular mythical characters and feature in some of the best-known texts of the Jain Purāṇas. They have close affinities with some figures in Hinduism.
The Baladevas are righteous Jains, who go to heaven or attain liberation at the end of their lives. The Vāsudevas are their younger half-brothers. They kill their arch-enemies, the Prati-vāsudevas, which literally means the ‘anti-Vāsudevas’.
The hostility between the Vāsudeva and Prati-vāsudeva is explained through their encounters in many previous existences. In their lives as mahā-puruṣas the magic discus – cakra – Sudarśana first appears in the armoury of the Prati-vāsudeva, as with the Cakravartin. During the ultimate battle with the Vāsudeva, the Prati-vāsudeva hurls the discus at him. Instead of killing the Vāsudeva, the discus flies into the hands of the Vāsudeva, who throws it at the Prati-vāsudeva and kills him. The Vāsudeva is then hailed as an ardha-cakravartin – ‘half universal emperor’ – and reigns over half of Bhārata-varṣa.
The Jain categories of Baladevas and Vāsudevas, by their very names, are clearly based on the characters who are better known from the Hindu traditions as avatāra – avatars – of the deity Viṣṇu. These are:
The Jains consider these two brothers, Balarāma and Kṛṣṇa, to be the ninth and final Baladeva and Vāsudeva of this time period. They are both popular characters in Jain and Hindu myth. Their enemy, the Prati-vāsudeva, was Jarāsandha, whom Kṛṣṇa eventually vanquishes. The eight preceding Baladevas, Vāsudevas and Prati-vāsudevas are variously named in different sources, shown in this table.
|
Baladeva |
Vāsudeva |
Prati-vāsudeva |
---|---|---|---|
1 |
Acala or Vijaya |
Tripṛṣṭa |
Aśvagrīva |
2 |
Vijaya or Acala |
Dvipṛṣṭa |
Tāraka |
3 |
Bhadra or Dharma |
Svayambhū |
Meraka or Madhu |
4 |
Suprabha |
Puruṣottama |
Madhu or Madhusūdana, or Niśumbha or Madhukaiṭabha |
5 |
Sudarśana |
Puruṣasiṃha |
Niśumbha or Madhukaiṭabha or Madhukrīḍa |
6 |
Ānanda or Nandiṣeṇa or Nandimitra |
Puruṣapuṇḍarīka |
Bali or Niśumbha |
7 |
Nandana or Nandiṣeṇa or Nandimitra |
Puruṣadatta or Datta |
Prahlāda or Praharaṇa or Balīndra |
8 |
Padma or Rāma |
Lakṣmaṇa or Nārāyaṇa |
Rāvaṇa or Daśānana |
9 |
Balarāma or Rāma, or Padma |
Kṛṣṇa |
Jarāsaṃdha |
Many of these also resemble the names of characters from myths associated with the Hindu deity Viṣṇu or one of his avatars, particularly Kṛṣṇa. The Jain Vāsudevas are modelled after the popular description of Kṛṣṇa. With a black-blue complexion, he wears yellow robes and is for ever young and without any facial hair. In addition, in Jain texts he is referred to by popular epithets from the Vaiṣṇava tradition, such as Viṣṇu, Janārdana, Govinda, Nārāyaṇa, Keśava and Mādhava.
Other, more extensive lists of Jain 'great men' include further categories of śalākā-puruṣas.
Among these are the 9 Nāradas, named after the divine intriguing musician Nārada, who is well known from the Hindu epics and Purāṇas. The Jain nāradas, who live in succession, are malicious troublemakers who go to hell for their machinations.
The 11 Rudras – ‘dreadful ones’ – are ascetics, living successively, in the monastic order of one of the Jinas. They eventually abandon the path of asceticism and therefore also go to hell.
The Kulakaras – ‘patriarchs’ – vary in number from 7 to 14 or 16. They are born consecutively in the suṣamā-duṣamā period, when people become frightened by the changing conditions in their surroundings. The Kulakaras teach them how to adjust to these conditions and thus provide them with a sense of security. The last of the Kulakaras of this time period was Nābhi, the father of the first Jina, Ṛṣabhanātha or Lord Ṛṣabha.
A popular secondary category of śalākā-puruṣas are the 24 Kāma-devas – ‘love-gods’. Like the pan-Indian god of love, Kāma, they are very handsome and have many wives. The most famous among them is one of the sons of the first Jina, named Bāhubali. Other Kāma-devas are Kṛṣṇa’s father Vasudeva and his son Pradyumna, and characters better known from the Sanskrit epics, such as Hanumān and King Nala, the beloved of Damayantī.
According to tradition, the subject matter of Jain Universal History was narrated in the Pūrvas, a part of the Jain canon which has been lost since the fourth century BCE. Other parts of the Śvetāmbara canon, which is not accepted by the Digambaras in its entirety, contain some information about the lives of the śalākā-puruṣas, especially some Jinas.
The literary genre associated exclusively with Jain Universal History is that of the Jain Purāṇa. This forms a ‘counter tradition’ to the rising popularity of Hindu Puranic religion. Śvetāmbaras often call these compositions caritra – ‘deeds’. The oldest available purāṇa or caritra is the Paümacariya by Vimala-sūri, written in Māhārāṣṭrī Prakrit. It focuses on the lives of the eighth:
In effect, it is a Jain version of the popular Rāmāyaṇa tale. Aside from the story of the Rāmāyaṇa, the Paümacariya also includes the biographies of the first two Jinas, and the first, second and ninth Cakravartins.
The most popular characters from Jain Universal History, as far as literary adaptations are concerned, appear to be those included in compositions generally called Nemi-caritras or Harivaṃśa-purāṇas. These all focus on the lives of the ninth Baladeva, Vāsudeva and Prati-vāsudeva, who are called Balarāma, Kṛṣṇa and Jarāsandha. They also deal with the life of the 22nd Jina, Neminātha or Lord Nemi, who is Kṛṣṇa’s young cousin.
The first complete literary composition of Jain Universal History, often referred to as a mahā-purāṇa – ‘great purāṇa’ – was composed by Śīlāṅka in 868 to 869. This is his Caüppaṇṇa-mahāpurisa-cariya – Deeds of the 54 Great Men. Śīlāṅka does not count the nine Prati-vāsudevas among the śalākā-puruṣas, hence the lower number of 54 instead of 63. Historically, more influential is the Mahā-purāṇa by Jinasena and Guṇabhadra written in the ninth century and the Tri-ṣaṣṭi-śalākā-puruṣa-caritra by Hemacandra, dating from the 12th century.
Finally, one of the books in the Śvetāmbara canon, the Kalpa-sūtra, provides the earliest life stories of the most prominent Jinas, namely:
Google Books provides John Cort's discussion of the concepts of the cakravartin and Jain kingship. Read pages 98 to 99 of this excerpt from Cort's 'Who is a King?' chapter in Open Boundaries 1998.
Information about the types of śalākā-puruṣas or mahā-puruṣas – ‘great men’ – in traditional Jain stories is provided by the Shrimad website. This information is not considered to be correct by scholars but represents a popular contemporary understanding of the categories of the 'great men'.
A 15th-century sculpture featuring the 17th Jina Kunthunātha or Lord Kunthu and other holy figures. A zoomable image of the small metal shrine is provided by the Eastern Art Online: Yousef Jameel Centre for Islamic and Asian Art website, a project of the Ashmolean Museum in Oxford, UK.
The Norton Simon Museum in Pasadena, California, provides a zoomable photograph of a small altarpiece featuring the 17th Jina, Kunthunātha or Lord Kunthu. The metal figure is surrounded by his retinue of divine attendants and symbols of royalty, such as the parasol. Sitting in meditation, he displays typical indications of advanced spirituality, such as elongated earlobes and the bump of wisdom on his head.
http://www.nortonsimon.org/collections/browse_title.php?id=M.2010.1.51.S
Five black-and-white photographs of and information about a small statue of the 17th Jina, Kunthunātha or Lord Kunthu are provided by the British Museum in London. Jains believe that, as well as being a Jina, Kunthu is the sixth of 12 universal emperors in each half-cycle of time.
The Norton Simon Museum in California provides a zoomable photograph of a metal altarpiece featuring the 23rd Jina Pārśvanātha or Lord Pārśva. Surrounded by the symbols and divine attendants who form the entourage of the Jina image – parikara – Pārśva is presented against a background of many other Jinas, all sitting in deep meditation.
http://www.nortonsimon.org/collections/browse_title.php?id=F.1975.17.22.S
Stone relief of the parents of a Jina. This somewhat damaged sculpture comes from Gwalior, Madhya Pradesh, and shows a richly bejewelled king and queen with attendants. The Metropolitan Museum of Art in New York, USA, provides this black and white photograph.
http://www.metmuseum.org/Collections/search-the-collections/60005089
The Asian Art Museum in San Francisco, USA, provides a photograph of a sculpture of the parents of a Jain teacher or Jina. From Uttar Pradesh, this stele was carved in the tenth century CE.
http://searchcollection.asianart.org/view/objects/asitem/nid/11263
Bronze shrine featuring the 22nd Jina, Nemi, and attendants. Attributes of high status are clear, such as the triple canopy, the lion throne and the servants. His spiritual supremacy is signalled by the nimbus around his head, his lotus pose of meditation, the śrīvatsa on his chest and the meditating Jinas on both sides. At the bottom on either side sit his male attendant deity – yakṣa – Gomedha and his female attendant deity – yakṣī – Ambikā. This zoomable photograph is on the website of the Norton Simon Museum in Pasadena, California, USA.
http://www.nortonsimon.org/collections/browse_title.php?id=F.1975.17.23.S
A manuscript painting in the Los Angeles County Museum of Art shows Indra, king of the gods, taking the infant R̥ṣabhanātha or Lord R̥ṣabha, the first Jina, to Mount Meru for his ritual bath. The decorated elephant and canopy symbolise royalty while the lotus flowers are emblems of spiritual purity. The gods around blow trumpets and conches in celebration. A very popular Jain hymn of praise, the Bhaktāmara-stotra has been translated into many languages and illustrated numerous times.
The practice of rigorous, even extreme, physical hardships in the belief that it leads to a higher spiritual condition. Asceticism involves self-denial – for example refusing tasty food or warm clothes – and sometimes self-mortification, such as wearing hair-shirts or whipping oneself.
Favourable or lucky. Auspicious objects bring good fortune and may predict good events or a bright future.
The regressive or descending half-cycle in the Jain conception of time. With the second half, the progressive one, avasarpiṇī forms a complete cycle of time.
In Hindu mythology, the manifestation or embodiment of a deity when he or she descends to earth. It is particularly associated with the god Viṣṇu, whose most famous avatars, Kṛṣṇa and Rāma, are the heroes of the epic poems Mahābhārata and Rāmāyaṇa.
One of the Lands of Action or Karma-bhūmi in the first continent, Jambū-dvīpa, in the Middle World where humans live. Bharata is also the name of the eldest son of the first Jina, Ṛṣabha, who succeeded his father as king.
Sanskrit for 'universal monarch'. There are 12 in the continent of Bharata in each progressive and regressive half-cyle of time. They have 9 treasures and 14 jewels they can use to conquer their enemies and become 'universal monarchs'. The cakravartin form one of the five groups of '63 illustrious men' in Jain mythology.
A belief system about the universe that covers its origin, structure and parts, and natural laws and characteristics such as space, time, causality and freedom.
A god or divine figure, often with physical powers beyond those of a human and with superhuman abilities.
'Sky-clad' in Sanskrit, used for one of the two main divisions of Jainism, in which monks are naked. There are some differences of doctrine or belief between these two sects and to some extent their followers consider themselves as belonging to distinct branches. Divisions can be fierce in practical matters, for example, over the ownership of pilgrimage places, but all sects see themselves as Jains.
Religious initiation through which a man or woman leaves the householder or lay status to become a mendicant. Parts of this ritual renunciation are public ceremonies, depending on the sect.
Follower of the majority faith in India and an adjective describing something belonging to Hinduism. Hindus have numerous gods and diverse beliefs and practices, though many believe in the soul, karma, the cycle of births and liberation. Roughly a billion Hindus comprise the third largest religion in the world.
The majority faith in India, often called Sanātana Dharma or Eternal Law. With no single named founder, Hinduism has a pantheon of gods and a range of different beliefs. Most Hindu traditions revere the Veda literature but there is no single system of salvation or belief, although many Hindus believe in the soul, karma, the cycle of births and liberation. Large Hindu communities exist in southern Asia, with smaller groups across the world.
Follower of the 24 Jinas or an adjective describing Jain teachings or practices. The term 'Jaina' is also used although 'Jain' is more common.
Sanskrit for 'birth' or 'rebirth'.
A 'victor' in Sanskrit, a Jina is an enlightened human being who has triumphed over karma and teaches the way to achieve liberation. A synonym for Tīrthaṃkara, which means 'ford-maker' or one who has founded a community after reaching omniscience through asceticism. The most famous 24 – Ṛṣabha to Mahāvīra – were born in the Bharata-kṣetra of the middle world, but more are found in other continents. There have been Jinas in the past and there will be some in the future.
Sanskrit for 'self', 'soul' or 'that which is sentient'. It makes up the universe along with ajīva, or non-sentient material substance. It is a material substance that changes in size according to the body it inhabits in each life. It is born in different bodies in various places in the Jain universe based on karma from earlier lives. The soul is liberated from the cycle of birth when it has achieved spiritual purity and omniscience. Also called ātma or ātman.
Time. One of the five insentient non-material substances that make up the universe along with the sentient substance, called jīvastikaya.
Action or act, thought of as physical in Jainism. Created by mental or physical action, karma enters the soul, which then needs religious restraints and practices to make it flow out. Karma can be both:
Both types of karma trap a soul in continual rebirth. A pan-Indian concept, karma has extremely complex, detailed and technical divisions and subdivisions in Jainism.
'Realm of action', used in Jain cosmology for the lands in the Middle World where people must work to live. However, here they can progress on the path of salvation. These lands are Bharata-kṣetra, Airāvata-kṣetra and Mahā-videha. However, Uttara-kuru and Deva-kuru in Mahā-videha are Lands of Pleasure or bhoga-bhūmi.
Omniscience, enlightenment or perfect knowledge – the highest of the five types of knowledge, where one knows everything wherever and whenever it is. It is extremely difficult to attain, equivalent to the 13th stage of spiritual purity in the guṇa-sthāna. Digambaras believe only men can achieve it whereas Śvetāmbaras believe that both men and women can become enlightened.
One of the best-known avatars of the deity Viṣṇu the preserver, Kṛṣṇa is one of the principal Hindu gods. Since his name means ' dark blue', 'dark' or 'black' in Sanskrit, he is usually depicted with blue or black skin. Often shown as a boy or young man playing a flute, Kṛṣṇa is a hero of the Indian epic, Mahābhārata, and protagonist of the Bhagavad Gītā. Jains believe he is the cousin of Lord Nemi, the 22nd Jina.
'Patriarchs’, who live in the suṣamā-duṣamā period and teach people to adjust to deterioriating conditions in this phase of time. The last of the kulakaras of this time period was Nābhi, the father of the first Jina, Ṛṣabhanātha or Lord Ṛṣabha. They vary in number from 7 to 14 or 16 according to the source.
A dialect of the Prākrit language used in some Jain writings.
The 24th Jina of the present age. His symbolic colour is yellow and his emblem the lion. Mahāvīra or 'the great hero' is his title. His birth name was Vardhamāna, meaning 'ever increasing'. His existence is historically documented but the two main sects of Digambara and Śvetāmbara Jains have slight differences in their accounts of his life.
An extraordinary event that cannot be explained by natural causes or human effort and therefore is believed to be caused by divine or supernatural powers.
The 'liberation' of the soul from its body and thus from the cycle of rebirth because it has no karma and becomes omniscient. The ultimate aim of Jainism is to achieve mokṣa and become a liberated soul in siddha-śilā.
Father of the first Jina of this era, Ṛṣabha. His wife was Marudevī. Nābhi was one of the patriarchs – kulakaras – of his era.
Hell. There are seven levels of hells in the lower world of Jain cosmology.
The 22nd Jina of the present age, also called Ariṣṭanemi. His symbolic colour is blue or black and his emblem the conch. There is no historical evidence of his existence.
The Jains hold that Nemi is the cousin of the Hindu god Kṛṣna. The tale of his renunciation and jilting of his fiancée Princess Rājīmati are famous among the Jains.
The aspiration at the time of death to get worldly gains, such as a better rebirth, in a spirit of revenge. Hence a negative concept.
Release from the bondage of neverending rebirths, in which an enlightened human being undergoes his or her final death, followed immediately by salvation instead of rebirth. Note that this differs from the Buddhist concept of the same name.
The 23rd Jina of the present age. His symbolic colour is green and his emblem the snake. Historical evidence points to his living around 950 to 850 BC.
One of the five types of 'great men' – śalākā-puruṣas or mahā-puruṣas – in Jain Universal History. In the part of the universe where humans live, nine Prati-vāsudevas are born in each progressive and regressive half-cycle of time. Each one personifies the forces of evil and battles his mortal enemy, one of the Vāsudevas. After the Vāsudevas kill them, the Prati-vāsudevas are reborn in hell. Prati-vāsudevas are also known as Prati-nārāyaṇa and Prati-śatru.
Sanskrit for a 'right or good action'. Similar to a merit in Buddhism, it helps to reduce karma.
Literally, the Sanskrit for 'ancient’. The term can mean either:
The 14 Pūrvas held all the knowledge in the universe and the few who knew them were given the exalted status of śruta-kevalin – ‘scripturally omniscient person'. In line with the prophecy of the last Jina, Mahāvīra, knowledge of the Pūrvas died out within a thousand years of his liberation. Parts of the Pūrvas are said to form elements of later philosophy and scriptures.
An avatar of Viṣṇu, the preserver or protector who is one of the three major Hindu gods. Rāma is a prince of Ayodhyā and is often shown with blue skin, holding a bow and arrow. The epic poem Rāmāyaṇa recounts his adventures as he searches for his wife Sītā, who has been kidnapped by Rāvaṇa. Blending Jain values into the story, the Jain Rāmāyaṇas cast him and other figures in the tale as some of the 'great men' of Jain Universal History.
One of the fundamental works of Indian literature, the Rāmāyaṇa is an epic poem recounting the adventures of Prince Rāma as he searches for his wife Sītā, who has been kidnapped by Rāvaṇa. Blending Jain values into the story, the Jain Rāmāyaṇas present him and other figures in the tale as some of the 'great men' of Jain Universal History.
Giving up something. A lay person who becomes an ascetic renounces the life of a householder within society, instead choosing the physical hardships of being a monk or nun. The formal renunciation ceremony in Jainism is dīkṣā.
A sequence of actions that must be followed to perform a religious ceremony. The set of actions is largely symbolic, for example offering food to statues symbolises sacrificing to a deity. The ritual actions are often accompanied by set phrases.
First Jina of the present age. His symbolic colour is gold and his emblem the ox or bull. There is little historical evidence of his existence. Jains believe that he established many social institutions, such as marriage and the caste system, and introduce crafts and agriculture to the people.
'Great man' – also known as a mahā-puruṣa – whose story is told in Jain Universal History. Born in each progressive and regressive half-cycle of time, there are five types of 'great men':
A classical language of India, originally used by priests and nobility. Sanskrit has a rich literary and religious tradition. With only a few thousand native speakers nowadays, it is predominantly used in Hindu religious ceremonies and by scholars.
Set of sacred texts that believers accept as authoritative within a religion. Synonymous with canon.
'More happy than unhappy period of time'. The third of the six stages of a regressive half-cycle in the Jain conception of time.
The progressive or ascending half-cycle in the Jain conception of time. With the first half, the descending one – avasarpiṇī – it forms a complete cycle of time.
One of the four main Hindu traditions, which worships Viṣṇu – or his avatars Rāma and Kṛṣṇa – as the original and supreme deity.
The chief protective god in Hinduism and one of the triad of major deities, along with Brahmā the creator and Śiva the destroyer or transformer. Viṣṇu is the preserver or protector, and is often shown as dark blue, with four arms, holding a lotus, mace, conch and wheel. He has a thousand names and ten avatārs, the best known being Rāma and blue-skinned Kṛṣṇa.
Victoria and Albert Museum. IM 89-1936. Unknown author. 1447
Royal Asiatic Society. 069.001. Pandit Tilokacanda Dayacanda. 1816