Preksha meditation: History and Methods
by Samani Pratibha Pragya | 2016 | 111,074 words
This page relates 鈥楥olour-Visualisation of the Tirthankara鈥� of study dealing with Preksha-Dhyana: a meditation technique created by Acharya Shri Mahapragya (Acarya Mahaprajna) in the late twentieth century. It synthesizes ancient Jain ascetic methods, ritualistic practices, and modern scientific insights, appealing to a global audience. The thesis explores its historical context, theoretical foundations, and the rise of contemporary Jain meditation systems.
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3.1.2. Colour-Visualisation of the 罢墨谤迟丑补峁卥补谤补
[Full title: Jay膩c膩rya鈥檚 Meditation (1) 叠补岣嵞�-顿丑测腻苍补 (Long Meditation) (2) Colour-Visualisation of the 罢墨谤迟丑补峁卥补谤补]
Meditation on the 迟墨谤迟丑补峁卥补谤补s is a traditional practice in Jainism being a part of the 膧惫补艣测补办补-蝉奴迟谤补, obligatory for ascetics and laity to some degree. This meditation on the 颁补迟耻谤惫颈峁兣沘迟颈蝉迟补惫补 (Logassa)[1] is a concentration on words, and not visual form. Jay膩c膩rya鈥檚 visualisation of the twenty-four 迟墨谤迟丑补峁卥补谤补s in various colours appears to be an interiorisation of the popular tradition of seeing the image (诲补谤艣补苍补). This type of practice falls under the category of meditation on form (rupastha-诲丑测腻苍补). Each 迟墨谤迟丑补峁卥补谤补 has their own colour used in various worship (辫奴箩腻) rituals. It is the basis for the development of meditation on subtle colours or auras (濒别艣测腻-诲丑测腻苍补) in 辫谤别办峁Ｄ�-诲丑测腻苍补 (see chapter 4). Jay膩c膩rya described the five colours of the 迟墨谤迟丑补峁卥补谤补s[2] in his work 颁补耻产颈蝉墨.[3] The purpose and method of such visualisation is to focus on visible colours to enable 鈥榮eeing鈥� and 鈥榩urifying鈥� the non-visible subtle body and the self.
The colours of the 迟墨谤迟丑补峁卥补谤补 are found in Hemacandra鈥檚 work, the 础产丑颈诲丑腻苍补-肠颈苍迟腻尘补峁噄[4] (础产丑颈诲丑腻苍补-肠颈苍迟腻尘补峁噄, 1.49). The colour of 惭补丑腻惫墨谤补 as per Hemacandra is gold which does not match the colour ascribed in the Digambara tradition. Jaini (1978: 35) pointing to Ravisena鈥檚 Padmapur膩峁嘺 mentions that 惭补丑腻惫墨谤补 shone like a crystal in 厂补尘补惫补蝉补谤补峁嘺. Bronkhorst (1993:11), comparing the Jaina and Buddhist traditions, descibes the Buddha in golden colour. This also reveals that 迟墨谤迟丑补峁卥补谤补s and Buddha have been identified with colours, though specification of colours does not seem to exist unless the explanation is symbolic. Ellen Gough (2010)[5] in her research has brought to light this issue of colour dispute between Digambara and 艢惫别迟腻尘产补谤补 traditions. The reasoning behind the different colours of all the 迟墨谤迟丑补峁卥补谤补s also remains unresolved.
The image of the assembly hall where the 迟墨谤迟丑补峁卥补谤补 delivers his sermon (蝉补尘补惫补蝉补谤补峁嘺) is another way of visualising the environment in which the 迟墨谤迟丑补峁卥补谤补 is present. It can be visualised or imagined in a pictorial way as though one can feel the presence of a 迟墨谤迟丑补峁卥补谤补 (Jay膩c膩rya, 1997a: 81).
Jay膩c膩rya describes this practice in the following way:
Thereafter meditate on the ford makers (迟墨谤迟丑补峁卥补谤补s). Whichever body colour the twenty-four 迟墨谤迟丑补峁卥补谤补 were, visualise them with those colours. Where you sit leave a distance of two, three or four arm鈥檚 length and establish the 迟墨谤迟丑补峁卥补谤补. Imagine that the Lord is sitting here. He is in a stable posture. From the five colours (black, blue, yellow, red or white), visualise whichever colour your mind chooses. Knowing (as if) the 迟墨谤迟丑补峁卥补谤补 deva is sitting in this colour, and I am meditating upon Him. 艢r墨 迟墨谤迟丑补峁卥补谤补 deva was this colour. He lived for many years at home. After initiation he bore many hardships鈥�[6]
Meditation upon the 迟墨谤迟丑补峁卥补谤补s is an important exercise for the theory of transference of qualities (驳耻峁嘺-蝉补苍办谤补尘补峁嘺). The meditator can begin to mimic the qualities of 迟墨谤迟丑补峁卥补谤补s through the technique of visualisation. The idea is that with repeated practice over a long period, it is possible to achieve what one wishes or focuses upon.
Jay膩c膩rya elucidates the concept of the preaching assembly of the ford makers (蝉补尘补惫补蝉补谤补峁嘺) description was parallel to the concepts of 补峁ａ弓补-辫谤腻迟颈丑腻谤测补 in the 膧惫补艣测补办补-niryukti (膧惫补艣测补办补-niryukti2, 362.1).[7]
The Lord seems as if he is sitting on a throne of snow rock crystal. Above his head are three parasols (tri-chatra) and an 补艣辞办补 tree. Flanked by him are flywhisks, divine kettledrums, a halo and religious wheel to adorn him. Ahead of him is the finery of the four-fold congregation. There, the heads of the Demi Gods and Goddesses, men and women are gathered and seated. They look upon him, transfixed they become ecstatic.[8]
The 迟墨谤迟丑补峁卥补谤补s were engrossed in extremely pure meditation for long durations in stable postures and stopped the movements of mind, body and speech. They were performing the highest level of penance and in their meditation posture achieved perfection and attained omniscient knowledge. A 迟墨谤迟丑补峁卥补谤补 is considered to be endowed with infinite knowledge, perception and conduct. His modes and qualities of conduct are held to be extremely pure. He is assumed to know and perceive all of the substances of the cosmic space (loka) and super-cosmic space (aloka) with his infinite knowledge (Jay膩c膩rya, 1997a: 81鈥�2). These reflections refer to the description found in texts like 厂补尘补惫腻测腻峁単补 such as thirty鈥揻ive verbal superhuman magnificence (惫补肠补苍腻迟颈艣补测补) (厂补尘补惫腻测腻峁単补-蝉奴迟谤补, 34; 础产丑颈诲丑腻苍补-肠颈苍迟腻尘补峁噄, 1.65-71), thirty-four special qualities (补迟颈艣补测补) (厂补尘补惫腻测腻峁単补-蝉奴迟谤补, 34-35; 础产丑颈诲丑腻苍补-肠颈苍迟腻尘补峁噄, 1.65-71) and other qualities of the 迟墨谤迟丑补峁卥补谤补s.
Jay膩c膩rya summarises this description in the following way:
His dripping nectar like voice is enlightening. It is the exceedingly loving voice of the Lord. The ocean of ambrosia water is sweet but the voice of the Lord is sweeter, it contains the thirty-four supreme qualities (补迟颈艣补测补). The 迟墨谤迟丑补峁卥补谤补 is as pure as the moon, is like an earthen lamp light illuminating. He is like the ocean deep and carries its stillness. He crosses the worldly ocean and enables others to cross. He is the great shepherd man (驳辞辫腻濒补). Apart from that there are numerous other qualities that he has. As the meditation becomes purer, more qualities appear and as more qualities are praised the meditation becomes purer. Thereafter whichever colour was contemplated that colour begins to appear; it is as if the 迟墨谤迟丑补峁卥补谤补 has taken seat at this location. This type of omniscient God (arahant-deva) having destroyed all his karmas becomes a liberated soul (siddha).[9]
Visualisation extends to the physical environment of the 迟墨谤迟丑补峁卥补谤补, his physical body, physical suffering, etc. This is done as a means of developing one鈥檚 imagination in a way that enables clear, discriminating perception of the nature of things, in particular, differences between the inner and outer worlds, and the importance of turning inwards only once the outer world has been mastered.
Jay膩c膩rya鈥檚 meditation presents a deep devotion, which is based on the description of the 迟墨谤迟丑补峁卥补谤补鈥檚 hagiography from the later developed canons. He incorporates the technique of visualisation and colour, which are well-known tantric elements. He does not present this meditation as a worship (辫奴箩腻) ritual, but creates an environment of 迟墨谤迟丑补峁卥补谤补鈥檚 presence.
Visualisation of the 迟墨谤迟丑补峁卥补谤补鈥檚 physical appearance, physical struggles, environment, etc. relies on historical evidence, especially from canonical literature, and is recommended as a means of turning and focusing the mind (manas) inwards. Although key tantric elements are incorporated in the visualisation of the images of 迟墨谤迟丑补峁卥补谤补s such as the use of colour meditation, and the employment of mantras like 蝉辞鈥檋补峁�, these techniques serve as a means of imagining and aligning one鈥檚 own nature with regard to thought, speech, and bodily appearance to be the same as that of the enlightened ones (arhat), something which is the goal of every Jaina seeker who follows the path of liberation. This clarifies that some of the elements such as colours of 迟墨谤迟丑补峁卥补谤补, meditation on middle point of eyebrow of Jay膩c膩rya鈥檚 meditation remained rooted in traditional Jaina literature.[10]
The colour meditation undertaken by Jay膩c膩rya seems to be merely an expanded form of the canonical and post-canonical literature description of analytic meditative practice (dharma-诲丑测腻苍补). One of the four analytical meditation (dharma-诲丑测腻苍补) is based upon the cosmos and its content (蝉补峁僺迟丑腻苍补-惫颈肠补测补) (罢补迟迟惫腻谤迟丑补-蝉奴迟谤补1, 9.37). A detailed visualisation process is presented by 艢耻产丑补肠补苍诲谤补 in 闯帽腻苍腻谤峁嘺惫补 (J帽膩, 34.1), where meditation on the form of arhat is 谤奴辫补蝉迟丑补-诲丑测腻苍补. Visualisation is embedded within the colours and forms. Jay膩c膩rya鈥檚 effort to explicate the traditional philosophical ideas of vicaya 诲丑测腻苍补, renders a detailed illustration of color meditation. Jay膩c膩rya asks one to visualise the colour of ones own choice and to accordingly choose the 迟墨谤迟丑补峁卥补谤补 relating to that colour. He emphasises the importance of selecting colours that are appealing to oneself, rather than merely having a devotion to any specific 迟墨谤迟丑补峁卥补谤补. Colour visualisation of Jay膩c膩rya and the notion of 濒别艣测腻 serves as the seed for Mah膩praj帽a鈥檚 濒别艣测腻-诲丑测腻苍补 (see chapter 4).
Footnotes and references:
[1]:
A eulogy of twenty-four 罢颈谤迟丑补峁卥补谤补 being a part of 笔谤补迟颈办谤补尘补峁嘺 ritual or 膩va艣yaka-蝉奴迟谤补.
[2]:
[3]:
[4]:
础产丑颈诲丑腻苍补-肠颈苍迟腻尘补峁噄, 1.49.
[5]:
In her article 鈥楽hades of Enlightenment: A Jain Tantric Diagram and the Colours of the 迟墨谤迟丑补峁卥补谤补s,鈥� Ellen Gough (2010) discusses the debate between the 艢惫别迟腻尘产补谤补s and Digambaras concerning the colours of the 迟墨谤迟丑补峁卥补谤补s. However, her study is restricted to sectarian debates and there is no reference to the practice of visualisation upon the 迟墨谤迟丑补峁卥补谤补s during meditation.
[6]:
Jay膩c膩rya, (n.d./1997a: 81, Prayoga-2) 谤补峁単补 sahita t墨tha峁卥ara rai dh膩yan r膩 prayoga: tiv膩rai pachai 迟墨谤迟丑补峁卥补谤补 no峁� dhay膩n kara峁噊 | caub墨sa 迟墨谤迟丑补峁卥补谤补 je ra峁単e thay膩 te 迟墨谤迟丑补峁卥补谤补 谤补峁単补 sahita ci峁卼ava峁嚹� | 膩pa baitho 迟颈峁嘺 腻驳补颈 do h膩tha 迟墨苍补 h膩tha y膩 肠腻谤补 h膩tha rai 膩峁卼arai t墨rth峁卥ara nai th膩pa峁嚹� | j膩峁嘺i i峁嘺 峁環ik膩峁嘺i 艣r墨 bhagava峁囜弓a vir膩jy膩 chai | thira 膩sa峁噀 chai. K膩lo n墨lo p墨lo r膩to tath膩 dhavalo ai p膩峁嘽奴墨 谤补峁単补 m膩峁僪ai 膩paro mana hovai so墨 谤补峁単补 r墨 cintava峁嚹� kara峁嚹� | j膩峁嘺i i峁嘺 ra峁単e t墨rth峁卥aradeva vir膩jy膩 chai, so h奴峁� 辫颈峁嘺 u峁吥乺o ija 诲丑测腻苍补 dhy膩v奴峁� ch奴峁� |艣r墨 迟墨谤迟丑补峁卥补谤补 deva ise ra峁単e hu峁卼膩 | so 驳丑补峁嚹� vars膩峁� t膩i to ghara me峁� rahy膩. Pachai dikhy膩 lai nai, 驳丑补峁嚹� parisaha 蝉补丑墨 苍补颈鈥�
[7]:
[8]:
Jay膩c膩rya, (n.d./1997a: 81, Prayoga-2) te 产丑补驳补惫腻苍 j膩峁嘺i pha峁璱ka si峁単h腻蝉补峁嘺 奴para vir膩jam膩na chai | mastaka 奴para 迟墨苍补 chatra asoga 惫峁沰峁 chai | p膩sai 肠腻尘补谤补, devadundabh墨, 产丑腻尘补峁囜笉补濒补, dharmacakre 办补谤墨 sobha rahy膩 chai | mukha 腻驳补濒补 肠测腻谤补 迟墨谤迟丑补 r膩 th膩峁璦 chai | 箩颈丑腻峁� indra-颈苍诲谤腻峁嚹�, deva, nara-n膩ry膩峁� r墨 para峁d膩 bai峁環墨 chai | te bhagava峁卼a nai dekhai chai, dekha dekha nai har峁 chai |
[9]:
Jay膩c膩rya, (n.d./1997a: 82, Prayoga-2) 颈尘补谤补迟补诲腻谤腻 惫腻峁嚹� 辫谤补办腻蝉补 karai chai | atya峁卼a vallabha 产丑补驳补惫腻苍 r墨 惫腻峁嚹� chai | m墨峁環o 办丑墨谤补 samudra no 辫腻峁嚹� te th墨 辫颈峁嘺 产丑补驳补惫腻苍 r墨 惫腻峁嚹� gha峁嚹� m墨峁環墨 chai | paint墨sa gu峁噀 办补谤墨 sahita chai | te 产丑补驳补惫腻苍a ca峁卍ra jis膩 niramala, 诲墨辫补办补 箩测奴峁� udyota r膩 kara峁嘺h膩ra chai | samudra 蝉补尘腻苍补 驳补尘产丑墨谤补 chai | 膩pa tarai chai, 补耻谤腻峁� nai 迟腻谤补颈 chai | mh膩 guv膩la purasa chai | i峁嘺 r墨te aura aneka 驳耻峁嘺 chai | 诲丑测腻苍补 niramala ca岣峢ai jarai 驳耻峁嘺 驳丑补峁嚹佱箖 praga峁璦 th膩ya anai 驳丑补峁嚹� 驳耻峁嘺g膩na karai tiv膩rai 诲丑测腻苍补 niramala ca岣峢ai | tiv膩rai jehavo 谤补峁単补 ci峁卼avai tehavo墨 d墨sa峁嘺 濒腻驳补 j膩vai, nai ima j膩峁嘺i 艣r墨 bhagava峁卼a ija i峁嘺 峁環ik膩峁嘺i vir膩jy膩 chai| 墨s膩 ariha峁卼a deva sarva karma khap膩ya nai siddha thay膩|
[10]:
As we found in Hemacandra and 艢耻产丑补肠补苍诲谤补鈥檚 works.