 I would like to request so many Pratyaprakya as always with Namakar, Namaskaram mantra. Thank you, Peter. May I request one and all. Please hold your hands in prayer pose and close your eyes gently. Namaskar, Mahamantra. Thank you very much, Svanaprakya Ji and Pratyaprakya Ji. I would like to move on to our annual conference, which is at 22nd, and hand over to Ulle Kwanström, a good friend and colleague from the University of Lund, where he's a professor. And he takes on some of the burden of chairing these Zoom meetings that would be otherwise too much, so he will be chairing the first meeting. And please, Ulle, take it away. Thank you very much, Peter. We are of course all most thankful to you for arranging today's workshop, despite the troublesome times in which we live. We all know that you are a person who has a deep and close connection to Jainism. As a matter of fact, you embody the ideal of Ahimsa to the extent that even your name is the name of Tirtankara. Your surname, Flügele, when translated into Sanskrit, is as we all know the name of the 2030 tankara. Just a joke. Anyway, let us begin. As you all know, we have noticed our schedule is tight. It's very tight. Each lecture is assigned 20 minutes and only five minutes is set aside for discussion. So we must try to do our best to stick to the timetable. Our first speaker is the art historian and former director of the Museum of Modern Art in Mumbai, Sarudoshi, whom I think we all know through her excellent and numerous publications. The title of her paper is Violence Depicted in Manuscripts of the Digambara Yashoda Rasarita. And I think this will be a recorded lecture. Non-violence in Jaina philosophy, literature and art. It is indeed an honor to present a paper at this country. And I thank Professor Dr. Peter Flügel, Chair, Centre of Jaina Studies, Professor in the Study of Religions and Philosophies, School of Oriental and African Studies, University of London, for his invitation to participate in this seminar. The title of my paper today is Violence, Intent and Act as Enucitated in Jain Dharma Kathals. In the vast and ancient Jain literary tradition, there are texts from religious doctrines, as well as a rich collection of treatises on non-peronical subjects such as medicine, mathematics and astrology. Included in the latter section are a number of Dharma Kathals, parables, which enucidate religious principles in a simplified and engaging manner. These Dharma Kathals contain elements of fantasy and adventure, as also strange occurrences including supernatural phenomena. They admirably serve the purpose of edifying and instructing the devotees and thereby effectively reinforcing Jain moral values. Certain Dharma Kathals explain the cardinal principle of Jainism, ahimsa, an injunction to refrain from committing hinsa. Hinsa is defined as taking away life by actions of the body, speech and mind and are influenced by anger, pride, deceit and greed. The killing of living beings or engaging in actions hurtful to others leads to sinful karma, consequences of which are born in this life or in future births or in hell. In the treatise Jain Arnabha, Hinsa is described as a gateway to the miserable state. It is also the ocean of sin. It is itself terrible hell and it is surely the most dense darkness. Hinsa is classified as bhava-hinsa, the intention to cause harm and drabha-hinsa, the actual act to cause harm. The concept of Hinsa is to be viewed as being twofold because it makes no distinction between these two types of Hinsa. Even though bhava-hinsa is essentially emotional, whereas drabha-hinsa denotes the actual act of violence. Both forms are equally simple because the act is implicit in the intent. This tenet and its repercussions are graphically delineated in the illustrated Digambar Jain tale of Yashodhar Charita. The story of Yashodhar Charita. King Maridatta Vyaudhe invited Vairavananda, a Kapalika ascetic who claimed supernatural powers. During their conversation, Vairavananda informed the king that it was possible to acquire the ability to move in the air. Provided Goddess Chandramarhi was depreciated with sacrificial offerings of a male and female of every living species. The king, greatly tempted by the possibility, issued orders for the performance of the sacrifice. Just when the rituals were about to commence, Vairavananda noticed that among the pairs of the various species brought for the sacrifice, that of human beings was missing. The king's soldiers went in search of a pair of human beings and apprehended two young acolytes who had just arrived in the city in Jain Monksudatta's group of followers. When King Maridatta saw the two acolytes, he was struck by the grave demeanor and noble deportment. He wondered if they were of royal descent and asked them why they had chosen a spiritual path at such a tender age. Shullaka Abhiguchi then began his narrative. The land of Vavanti, he said, was ruled by King Yashogara and I was his son, Yashodara, in one of my previous births. On noticing a strand of grey hair, King Yashogara appointed his son Yashodara as his successor and departed to the forest. King Yashodara found the duties and responsibilities of governing the kingdom irksome and preferred to spend time with his queens in the harem. One day, Queen Amritmati heard melodious music and an inquiry was informed that the performer was an ugly hunchbacked elephant keeper. The queen found the music irresistible and fell in love with the deformed man and began to visit him surreptitiously at night. One night, King Yashogara was awakened by the sound of footsteps as Queen Amritmati tipped out of the room. He picked up his sword and followed her and was shocked to see her fall at the feet of a hunchbacked elephant keeper apologizing for being late. In fury, the queen's deformed paramur pulled her by her hair, appraiding her while he beat her with a stick. Queen Amritmati calmed him down by saying she would pray to the mighty goddess for her husband's death. The king was ready to help them both but was overcome by revulsion and left. Extremely disturbed at the events that had occurred the previous night, King Yashodara approached his mother and struck himself with a sword saying he wished to die because of a bad dream. His mother prevented him from killing himself and suggested that they would come to the effects of the evil dream by propitiating Goddess Chandamari by the sacrificial offering of a cock. Yashodara was reluctant to perform any ritual involving violence but David to his mother's pleas when she proposed that the sacrificial cock will not be alive but one fashioned out of flower. Accordingly, King Yashodara went to the temple of Goddess Chandamari with his mother and the sacrificial cock made a flower. Unable to rid himself of the feelings of disgust and despondency, King Yashodara decided to kneel and hand it over the affairs of the state to his son Yashodara. On hearing the news of King Yashodara's departure to the forest, Queen Amritmati appeared inconsolable. She begged her husband to come to the pavilion for a farewell feast as she wished to accompany him. Victored Amritmati served poison food to Chandramati and Yashodara. The former died instantly but Yashodara fell on the ground rising in pain. Wailing in grief, Amritmati threw herself at Yashodara and while clinging to him, strangled him to death. Yashamati performed the funeral rites with piety and prayed for the peace of his father and grandmother. Effects of sin. Shiluka Abhel who she then continued the story of Yashodara by saying that since Yashodara and his mother Chandramati had both sinned greatly by offering the cock his sacrifice even though it was not a live bird but an imitation of it in flower, their intent to kill was as great a sin as an actual act of killing. As a consequence of this sin, they had to undergo a series of rebirths. In his first birth, Yashodara was born as a peacock. A hunter killed his mother and took him home. The little peacock grew into a beautiful herd and the hunter presented him to King Yashamati. Meanwhile, Chandramati was born in her first birth as a dog in Yashamati's palace. One day while wandering around in the palace gardens, the peacock spied Amritmati with a hunchback lover. Recalling the events of his past birth, the peacock angrily attacked him. In defense, Amritmati flung her girdle at him and broke his lip. The dog chased the limping bird and killed it. King Yashamati, in a fit of rage, slew the dog for having killed his pet peacock. In their next rebirths, Yashodara was a snake and Chandramati a porcupine. The porcupine chased and killed the snake and in turn it was killed by a bird with prey. In their following rebirths, Yashodara was born as a large fish and Chandramati is a crafty crocodile. Once when the palace maids came to bathe in the river, the crocodile grabbed one of them and dragged her down to the bottom of the river. This incident angered King Yashamati and he ordered that the crocodile be killed. When the crocodile was captured by chance, the fish also got caught in the net. The crocodile was killed but the fish was taken to the royal kitchen and served as a delicacy to the king. Thereafter in the fourth round of their rebirths, Chandramati and Yashodara were born as wild goats. Once while copulating with Chandramati, Yashodara was killed by a hunter and is so passed into Chandramati's womb. Chandramati was captured and taken to the royal kitchen for the charred ceremonies of Yashamati's late father, Yashodara. When the goat was butchered, the baby goat was found alive in her womb and was reared by the palace attendants. Queen Amritmati, now suffering from leprosy on account of her evil deeds, saw the little lamb and ordered it to be roasted alive for her womb. After being killed as a goat, Chandramati was reborn as a buffalo and was wallowing in a pond when a horse came for a drink of water. In annoyance, the buffalo attacked the horse and brought him to death. The horse owner complained about it to King Yashamati who immediately ordered that the buffalo be roasted alive. In their sixth rebirths, Yashodara and Chandramati were born as beautiful chicks. He as a cock and she as a hen and were presented to King Yashamati. To celebrate the spring festival, King Yashamati and his beloved queen went to their forest lodge where the chicks were kept in a cage. Hearing a giant monk's religious discourse, caged birds recalled their past lives and began to croak pathetically. Their cries disturbed the king, engaged in amorous dalliance which has been and he shot an arrow at them, killing them both at once. The souls of the birds passed into the queen's womb to be born as twins of Eruci and Abaymati. While on a hunting expedition, King Yashamati passed a monk meditating under a tree. That day he failed to find any game and while returning he again passed the same monk and concluded that the sight of the holy man had been a bad omen, causing him to return empty handed from the hunt. He ordered his dogs to attack the monk. The dogs rushed towards the holy man but as they neared him they stopped and stood still. In frustration the king was ready to charge at the holy man with his sword but was restrained by a merchant devotee present there. The merchant informed the king that the holy man was the former king of Kalinga who had renounced his kingdom independence for the sin of punishing an innocent person and was now the highly venerated giant monk Sudatta. In repentance King Yashamati bowed to monk Sudatta and considered cutting off his own head to atone for his sins. Monk Sudatta interrupted his thoughts and prevented him from acting impulsively. Astounded at the monk's ability to read minds, the king implored the monk to tell him where his father, mother and grandfather were at this particular point in time. The monk informed him that his father and grandmother were born as his own twin children, his father as son Abaymati and his grandmother as daughter Abaymati. His mother Amritmati was suffering in the fifth hell for her heinous behavior. King Yashamati was overcome with emotions and wished to become a homeless mendicant. Shillaka Abayruchi concluded by saying that when we heard monk Sudatta, my sister and I recalled our former wives and we fainted. On remaining consciousness, we also desired to take the vows of renunciation. But monk Sudatta, because of our age, advised us to join you somewhere as academics and were captured by your soldiers and walked to this temple. King Mari Dutta was profoundly affected by Abayruchi's narrative and felt guilty at the violence that was going to be perpetrated at the sacrificial ritual that he had arranged. Vairavananda too became illusion about his religions and the mode of worship it advocated. Both King Mari Dutta and Kapalika Vairavananda chose to abandon their former religious beliefs and embrace the path of non-violence. They turned monk Sudatta Sangha as his followers. I wish to express my deep indebtedness to Ms. R. Ibartha, Independent Research Scholar in Knowledge for her constructive suggestions and invaluable contribution towards the preparation of this paper. To forum Pandya, my grateful thanks and sincere appreciation for preparing this superb evening presentation. And I thank you all for being here today and listening to this parable of Yarshadhar Charitya. Thank you. Thank you very much for the most interesting and illuminating lecture. I think we have time for one question and then we have to proceed on through the next speaker. So is there anyone of you who would like to put a question to Dr. Doshi? You can do that now, but we just have time for one question unfortunately. I don't think there are any questions. I have a question. Yes. Hello. Good to see you live. Where are the images from? Can you say something about these wonderful pictures? The images are from a number of manuscripts and this is one of the most profusely illustrated tales in the decumbergene tradition. And the main, as you can see, the main message is on a hymsa and the cause of a hymsa is sort of celebrated in this dharma katha. But the manuscripts are from the 15th century to the 18th century. And they are in all sorts of, from various areas like Rajasthan from UP and these Gujarat, these three or four areas they were illustrated. And they are done by various munis, written by various munis, not just one person. So these are quite very interesting things. I have only shown you some of the episodes being a 15 minute presentation. But actually when you talk about it, it's far more interesting to hear than to read about it. Okay. Thank you very much Dr. Doshi. Thank you. Thank you so much. Our next speaker, I think, needs no further presentation. Hampanaji have contributed extensively to Jain's studies and been part of our conferences at SOAS for many years. His paper has the exciting title, Pearls and Black Pepper. So please, Hampanaji. Hello. Peter? Yeah. Peter is lucky today. Our Abhai Firode has extended his Abhaya Hastan in the very beginning of this thing. Therefore I simply proceed with my paper, Pearls and Black Pepper. The subject of fusing words of different languages is universally important and yet rarely discussed in other languages the way it has metaphorically debated by medieval Kannada writers. The credit goes to Kannada writers Sri Vijaya, Pampa, Pona and Nagavartma and other prakrit, Sanskrit author, Veerasri and Acharya in particular. Poets employ metaphors to spice their writings. The metaphors employed to address the issue of Manipravala deserve a revisit and extensive discussion which is a consequence to literary criticism. The Sanskrit compound Manipravala, red jewel and red gaurad is a metaphor for homogenous mixture of words from different languages. It speaks of words of same kind and is silent about non-homogenous compounds. Addressing the lacuna, Kannada writers extended semantic scope of the Manipravala concept and took it to its logical end. For the opposite of homogenous Manipravala, red jewel and red gaurad mixture, Kannada authors coined the metaphor Muthu and Veerasri, white pearl and black peppa for non-homogenous mixture. Sri Vijaya, 850, was the earliest writer to thoroughly discuss this topic, first in 11 verses and then sum up in two beautiful verses. Quote, traditional scholars prescribe harmonious usage of words identical with Sanskrit, where original Sanskrit words are used in Kannada compositions with little change. Kannada words, however, should not be mixed with Sanskrit ones in the following ways. Sanskrit words that are indeclinable and must, therefore, be understood through context. If these Sanskrit words are mixed with Kannada poetic compositions, the effect is not pleasing but harsh to the ear. Improper and proper mixing is illustrated to emphasize that proper use of Sanskrit words in Kannada works will be pleasing. If Sanskrit words are introduced without knowledge and mixed with Kannada words in compounds, it will be like mixing buttermilk with boiling milk. Incompatibility and compatibility of Kannada and Sanskrit words is explained with suitable examples. When Sanskrit and Kannada are used in homogenous compounds like this, they look beautiful like jewels in a gold ornament. In poetry, one should use soft words arranged beautifully knowing whether they fit or do not fit. Poetry should not be like the mixing of curds with rice paddy. Even if one obtains the desired meaning, if words are strung together in the wrong way, it would be like stringing perils with paper seeds. Words that do not fit should be left out. An entirely new model of norms on literary practices in Kannada was constructed and generated by Jain writers. Assimilation of alien words needs an extra K and more so in mixing. Grammarian Keshiraj of 13th century has cited two metaphors of Nellum Mosul that is rice paddy and curds and Mutthum Velasum, perils and paper to illustrate non-homogenous mixture. Subsequent poet and Shastrakaras have employed the same metaphors maybe because of its propriety. This confirms that Pampa, Konna and Nagavarma and Keshiraja had read and were familiar with the Kavirajamorgam of the 9th century. The Manipravala concept was an ancient innovation by early Jain commentators. In the process of rendering progress and Sanskrit canons and their skolia, translators felt the need for combining words of two different languages for accurately communicating intended meaning. But rule of grammar forbids such compounds under the rubric Ari Samasa hostile compounds. Chief pontiff had to permit the language mixture. Acharya Veerasena of 8th century approved it by giving a new name Manipravala and himself became the pioneer to use it. I have discussed this extensively elsewhere. Sheldon Pollock has discussed the concept of Manipravala in the cosmopolitan vernacular background. Manipravala embodied the very process of localization of the Sanskrit universal in both political discourse and literature that was occurring across southern Asia with the vernacular at first supplementing Sanskrit and later taking on an ever increasing proportion as vernacularization gained power and confidence. Pollock has cited examples from Kannada, Tamil and Malayalam literature. He writes about Veera Choli in Karikai by Puttamitharan of mid-11th century which examines both grammar and literature. The statement that it is here that we find the earliest use of the term Manipravala to refer to register that permits the inclusion of Sanskrit in Tamil poetry is not correct because 200 years and 250 years earlier to this Veerasena Acharya had used the term Manipravala. Recently, Andrew Wallet had reposted his note on the subject because the most common metaphor for a good mixture of language in South Asia is Juyil Coral, Manipravala, which has a very long history. Part of what is good about this mixture is that the elements retain their individuality in one sense, but in another form a homogeneous whole as do red Juyil and red Coral string on a red necklace. The language Nagavarma, also known as Kavitha Gunodaya, broke the following word. The poetry of those horrible poets who write by putting awful Sanskrit together with old Kannada for want of skill, as if stringing pearl and black pepper are skilled readers really taken in. The above words condemns the combination of Kannada and Sanskrit words in composition, comparing it to the stringing together of pearl and black pepper. Nrupathunga and Naesena have also condemned the practice characterizing it respectively as a pouring of buttermilk into boiling milk and as a mixing together of clarified butter and oil. From this it is clear or evident that from the earliest times, purism in the use of Kannada has been advocated and insisted on by the leading writers in that language who were by no means behind in their knowledge of Sanskrit. There is as much difference between good and bad poetry as there is between a lute and a wooden stool. I think this is probably a counter metaphor to Manipravalam. If Juyil Coral minimizes the contrast, then pearl pepper maximizes them since pearl is white and pepper is black. Nagavarma's usage is notable here since it kind of embodies the qualities he is criticizing. Muttung is a Sanskrit word and would have been recognized as such although modified slightly from its Sanskrit form Mutta. But Melisu has no Sanskrit cognate. If early poet's observation on the topic which is missing in Andrew Paul's repost of 2019 is added, it will minimize or it will illuminate and give a new dimension to the important and relevant literary discussion. Now the question is who was the earliest poet to use this phrase before or after Sri Vidya in the 9th century? According to the extent examples chronologically, it is Pampa who looks to be the earliest poet in the beginning of 10th century immediately followed by Pona. As noted above, Manipravalam helped writers and commentators to mix Prakrit and Sanskrit, Kannada and Prakrit or Kannada and Sanskrit homogeneously. But it gave room for unhappy mixtures and warranted strict reminder to standard set by early masters. Sri Vidya and epic poet Pampa and Pona emphasized the need for pleasing mixture of local and alien. The debate did not end there. Polyhister scholar poet Nagavarma of 11th century breathed fresh air to revive the Manipravalam concept. The metaphor Muttum and Melisum had become popular before Pampa was born, whether Gunavarma had also implied it is not known. After the Kaviraja Markam, the metaphor figures in the epic poem Vikramarjuna Vijayam. It figures in an episode where the main character Arjuna is deeply engrossed in tapas austerity infatuated by his beauty. The celestial Urvashi, Menaka, Rambha and Tilottama asked him to give up meditation and satisfy their sexual desire. Therefore, they casual Arjuna, your matted hair Arjuna and ash smeared body is befitting a meditation. But the fever tied to your back, the bow in your hand and the armor you are wearing are odd to penance. The peculiar way of your penance is like stinging Muttum and Melisum, white pearls with black pepper. How does it match Arjuna? The self-explanatory metaphor does not require comments. The poet has used it appropriately and the meaning is transparent. Phonan, junior contemporary of poet Pampa, partaking in the discourse has added a fresh air to the debate. He was aware of the Manipravala concept, its historical background and that it figures in the Kaviraja Markam. In addition to the metaphor, pearls and pepper for unpleasant mixture, he has recorded one more metaphor of curds and paddy, morum and nellum. Phonna is the only author who has used both metaphors except that he has substituted the word curds. Therefore, the poet has repeated the same metaphor, but his contribution to the debate is in eliminating the historical background. These details are not found elsewhere. Phonna's critic is as follows. Quote, brief introduction to the context. King Magadha offered precious presents and profusely praised his overlord emperor Shantinatha. The emperor's brother offered a seat by his side to Magadha and told him, Magadha, your words are clear. A self-explanatory vrutti exposition does not warrant a vartika commentary on the original text. Any extra explanation to your transparent speech will amount to Kantashosha drying the throat or wane talk. Your words, Mr. Magadha, are beyond the reach of divine beings. Because to understand their complex words, we have to seek Nyasakaras, our commentator's explanation. Old scholars' words resemble pearl and pepper strength. Only an erudite could write commentary and not an insignificant. For quintessential words, the so-called highly learned are worried in writing commentaries similar to mixing rice, paddy and curds. Others are not at all bothered. Therefore, the construction of words should be cordial and complementary like the soul and body which leads to moral merit. The above two verses, Shantinatha, emperor's brother, continues and concludes his conversation with Magadha. Jiva and Charira, the soul and body, are mutually fused. Similarly, the concordance of Vachana-Rachanayum, the world order, and Artha, its meaning, is embedded in your speech. It is clear Panna is taking a dig at the commentaries with unhappy mixture of words. His details suggest that poets were not happy with the pedantic or non-creative writing. Perhaps commentaries were not popular and that may be one of the reasons for the loss of valuable commentary text. We can also infer that expositors and poets were not in good terms. Words should enter into a poem in accordance with the thought of the poet and should not be permitted to counteract it. The language of the culture land must be maintained in the use of Canada words. Property must be observed for Sanskrit words in due course and due measure and no stumbling over Sanskrit words with their harsh phonemes should be permitted. The composition thereby achieves sweetness and becomes strong, growing forth like the sprout of a wine. Such is the way of the one endured with the consistent political wisdom is the opinion of Pollock. The Vruta in Kaviraja Marka speaks about the suitable words. According to the way of the king of poets, a poem should contain suitable words conveying only intended meanings. Canada should convey what is the universal dilemma, what is idiomatic to the language of the people. Sanskrit words that are harsh should not obstruct the flow. Words should be used so as to demonstrate the poet's ability and should flow naturally like the sprout of a wine. Nagavarma, a prolific writer and a giant of literary zones, is far more profoundly influenced by Sanskrit than Prokhrar. He examines grammar, rhetorical science, poetics, prosody and literature. He has not mentioned the word Manipravala, but he is aware of its specific application in the structure of compounds. Later grammarians have dealt this issue under the rubric Arisamasa compound of saucepies. The concept Manipravala had a wide-ranging effect on syntactic structure of vernacular languages and Sanskrit. Lastly, in the present day context, we can extend the debate by considering the mixture of English words instead of Sanskrit words and Kannada vernacular languages. Because this is an ongoing process and day by day mixing of English words with language of place is increasing. Therefore, the problem and process are running parallel. Thank you for patiently listening to my paper. Thank you very much for most interesting paper, Dr. Hampana. Unfortunately, I don't think we have time for any questions. I mean, the lectures will be recorded and people can always contact you with questions. Unfortunately, I think we have to go on to our next speaker. Andhra Ollit has just put an excellent question on. Maybe this one could be answered in the Q&A page. Okay, let me read that to you, Dr. Hampana. Thank you, Hampana, for this talk. An overview of the use of these metaphors in early Kannada poetry is very valuable. One question. A metaphor of pearls and black pepper appears to be used in the Kaviradha-Marga, not in reference to the mixture of Sanskrit in Kannada, but of words that do not suit the meaning. Do you agree? And if so, who do you think Nagavarma understood the metaphor differently? Why do you think Nagavarma understood the metaphor differently? Recently, the text Kaviradha-Marga, which was written in the year 850 by Sri Vidya, he was a quote poet laureate of Nriputunga, one of the emperors of the Rasakuta dynasty, an imperial dynasty who ruled for 200 years. And the old Kannada work, Kaviradha-Marga, has been translated to English. The entire text has been translated to English by Professor R.V.S. Sundaram in collaboration with one of his friends. And apart from that, well, I will be very happy to draw your attention or any other person or scholar interested in the subject that Sheldon Pollock in his work, that magnum opus work, the language of gods in the world of man, he has also referred to the importance of this Kaviradha-Marga. And yes, well, extensively examine the context of Mutum and Melisum, pearl and black pepper. Thank you very much. Now, our next speaker is Pujinagar Singh. And Pujinagar Singh we know is the most knowledgeable scholar of Jainism and of Jain philosophy. And he has also contributed extensively to Jain studies, as well being part of the workshop as so has for many years. The title of his paper is How to Avoid Hymsa Explained by Pujapada. So please, Pujinagar Singh. So, okay, good afternoon and good evening from Japan. Today, I'd like to explore the idea of a Hymsa or Hymsa in Pujapada's works. Second slide, please. Yes. The Pujapada is most popular as the author of the Sarabata CD, a commentary on Umas Bahamins Tatbata Sutra. The first Sanskrit grammar in Jainism, Jain and the Beakana, in Lebanon is attributed to him. Two works on philosophical subjects are also written by Pujapada, namely Ishtar Padesh and Samadhi Tantra. Today, our discussion is mainly concerned with Sarabata CD, while Samadhi Tantra will be referred to additionally, a third slide, please. In Tatbata Sutra, we come across the word, a Hymsa, for the first time at the later part, namely in the first sutra of chapter 7, it reads, I quote, Hymsa and Lita Steyer, Abrah Macharya, Parigraha, Parigraha Bhioho, Viratil Brattam. This means the vow consists of the living from injury, lie, stale, and chastity and attachment. Definition of Hymsa appears later, namely in the sutra 13 of chapter 6. This means that first of all, Hymsa itself is something to be avoided for the jains, or they should avoid the activity or behavior called Hymsa. The sutra quoted above shows the five kinds of activities to avoid, and Hymsa is put as the first of them, because it is the most important and avoidance of the other four support to Hymsa, namely Hymsa. Then, what the jain intends by the word Hymsa? The sutra 13 explains, I quote, Pramatta Yogat Pranabhyapa, Vyapparopanam Hymsa. I translate Hymsa means taking out vital energy through abnormal behavior, we can't injure no living beings, only living beings are objects of Hymsa. The jains, as scholars or schools of Indian philosophy do, regard the prana or vital energy is fundamental of life. This prana is ten kinds, the five concerning five sense organs, one for body power, one for respiration, one for speech, one for mind, and one for lifespan. This is referred to in Salvatore 6, section 286. Suppose one of our sense organs, say, skin, is forced to stop working by other, we may feel uneasy and get ill. This is a form of violence or Hymsa in the wider sense of the word. Moreover, it must be noted here that the number of pranas which are living beings varies from one to ten in correspondence with its degree of development. The lowest being, plant for example, has one prana while human has ten. This suggests that the activity of Hymsa has degree when it has been done. We can realize this thoroughly, rationally, through just reflecting our daily life. We may take away a life of a plant by pulling it out from the earth. At another occasion, we may kill an animal, say a deer. When we hit it by a curve, both are cases of Hymsa. But in the former, we do not feel sorry while in the latter, many of us may blame ourselves. So the theory of number of pranas can explain the difference of these feelings. Strictly speaking, as understood from the sutra 13, we commit Hymsa when we take away the prana with abnormal behavior. To support this, Tujapada quotes a passage. I quote, biogianti, char-shu-bi-ru, natcha, badena, samiyujianti. This means, I translate, even if one hurts other's breath, he does not commit injury. This means that if we give damage to other person or living beings with proper reason, namely not with abnormal behavior, then we do not kill it. In other words, not all heartings are regarded as Hymsa. For a person with supreme self-control like Tiltankara, no rules would be needed to keep a Hymsa. But for ordinary person like us, there should be some clear norms. Now let us know what should be done to avoid Hymsa or to obey Hymsa or Hymsa. There are two types of norms for our purpose. The visible or concrete one and the mental or abstract one. Of the two, the former is in Tatova Sutra, Chapter 7, Sutra 4, I quote, I translate this. There are five observance for a Hymsa, control of speech, control of thought, regulation of walking, care about taking and putting, and check of drinking and food. The first two concern the three parts of our behavior as described in the Tatova Sutra, Chapter 6, Sutra 1. The other three covers fundamental behavior in our daily life. These can be summed up as control, I mean beauty and care, sanity, as we will see later. Mental or abstract face of the norm is kind of reflection. As Tatova Sutra, Chapter 7, Sutra 9 leads, I quote, Hymsa adish iir amuti apai abad dhira dalishanam. I translate. We must reflect upon loss and blame which we may receive in this world and in next when we commit injury and others. Suppose we commit murder. People who know that fact must feel frightened of us and leave from us. Then we will lose a lot. Moreover, murder according to Pujapada lead us to bad life in the next life. Therefore, we should avoid and hate injure and others. The first several sutras of Chapter 9 of the Tatova Sutra gives detailed description how to avoid a Hymsa and Pujapada explains them more deeply. The first sutra says that the obstruction of influx is stoppage and Pujapada shows a complex relationship of stage of our ethical development. I mean, gunasana with stoppage at great length. Next sutras tell us that the stoppage will be carried out by control, care, virtue, contemplation, overcoming of endurance, conduct, as well as austerity. These five are again explained by Mass Barmin in the following seven sutras. And the commentator gives a comment one by one. For our purpose, the explanation on control and care are important. First, let us have an explanation on control over good tea. Mass Barmin says in the Tatova Sutra, Chapter 9, Sutra 4, samyag yoga nigraha gupti. This means regulation for proper behavior is control. On this, Pujapada comments as follows. I skip the text. I just translate this. Here, behavior means activities of our body, speech, and mind as described. But sometimes we behave according to our desire, sweatshirt, and it may harm others. To avoid this, we must control our behavior. Controlling does not always have a good and favorable result. A notorious thief will control his or her behavior to steal other properties successfully. To exclude such cases and adjective, proper samyag is added in the sutra. And the general supports that our activities draw karmic matters towards us and they cover natural good tendency of jiva. Thus, through the stopping follow of such matter, we can behave properly. In total, the sutra should be understood. In this way, through the regulation of body, speech, and mind for proper behavior, we control our activities. If we perfectly control our activities, automatically we can avoid improper behavior such as his or her. But as imperfect beings, we often fail to do so. For such poor beings, must bharmin propose several kinds of care, samiti. These care on work, work, conversation, begging, receiving, with putting, and discharge. Of course, we have to do these improper ways when many living beings exist. Load where we walk, food and receptacles for them, items we receive and place for putting them, and place or discharge must have a huge number of living beings. Careless activity at such places may harm them easily. Therefore, we should pay our full attention to such places. But why care on conversation is required? This care is not intended to avoid physical violence but mental one. Fujipada says that the monk taking care will tell gently and properly with good friends as well as bad friends. So far, we have seen the idea of a hinsa or a hinsa in Fujipada's Sarabata city. Summing up, a hinsa is the most important element of our behavior. At all costs, a hinsa must be obeyed and the hinsa should be avoided. This attitude is very natural for the Fujipada as a giant. Is that all? In Samadhi Tantra, he declares that our fortune comes with brathas and misfortune comes with non-brathas. If one wants to get liberation, both should be abandoned. Here, in Samadhi Tantra 83, a punyam abratail punyam brathail mokshaka tayouru biahak abratani iwa mokshakal tani brathani api tatas teyajet. Our discussion on a hinsa and that in the Tantra, that of sutra begins with a hinsa as the first and most important brath. But here, Fujipada recommends us to give up it. Moreover, he seems to put less importance on our lineage and religious tradition. Those who stick to their own religion with lineage, or religious marks, cannot attain the final emancipation. This is mentioned in Samadhi Tantra 89. I read, Then what shall we do for getting the emancipation, which is the final goal for obeying the brother of a hinsa? By devotion, Fujipada says, to another outman, or by worshipping it, we can reach the same state which it has attained as a wood catch, catches fire by being put near it. This is mentioned in Samadhi Tantra 97. In the first outman, Here, he does not refer to the extraordinary person, but the common one, like us. And he does not clearly deny the activity for avoiding hinsa, but his opinion in Samadhi Tantra naturally leads to denial of effort to do so. What makes the difference of his opinion in his two works? In these two, he shows his two standpoints. And the author of commentary on the authentic compilion and enthusiastic specialist of meditation, Samadhi. As a former, he has to emphasize the principles or practice of a hinsa because that is the main doctrine in the Jain tradition, perhaps in his days. On the other hand, as a yogin, he gives importance on the meditation, not on keeping Brata. Thank you very much. Thank you very much for your most interesting lecture. I guess it's midnight in Japan now. Yes. I'm very sleepy now. You're very sleepy. But thank you very, very, very much. I guess we should go for tea now, but maybe there is one or two questions. Anyone who wants to put a question to... There's one by Anna in the Q&A. There are two questions. Yes, exactly. I see that. Could you say a bit more about your decision to translate Pramatta Yoga's abnormal behavior instead of careless activity or something similar? In Tattva Sutra, you mean in Tattva Sutra chapter 6, Sutra 13, Pramatta Yoga. Yes. This abnormal behavior means if we control ourselves, we can behave in proper way. But even in such a case, we can commit injure or hurt other persons. Such an activity doesn't mean hinsa. In this case, Pramatta means abnormal or careless activity. Yeah. Okay. So that was one answer. Yes, careless activity, for example, for that. Yes. Let me see. That's another question. Are there references in the canonical literature that distinguishes hinsa and ahinsa based on care slash carelessness, Pramatta? In the canonical text? Yeah, maybe that's material. So far, I have no idea. There must be such a difference in the canonical literature too. But so far, now I have no idea. No. Okay, another question about Jain. Is the fact of a hinsa or pujapada different from any other Jain acharya? Pardon? Yeah. So does actually pujapada's view on a hinsa differ significantly from any other Jain acharya? I think in Jain also, sorry. Say, a kalanka, a commentator on Sarabata city has not such a tendency. So in a sense, pujapada is unique in Jain tradition in his day. But later, say, in Jnana Arnava, we can find the same opinion as pujapada said. So in Jnana tradition, he may be not so unique. Because later Jnana philosopher has a tendency of tantalism, or some people very eager to practice yoga. Is that okay? Is that fine? I think it's fine. Okay, I think we have to stop there and wish you a really good night's sleep then after. Thank you. Now, is Peter there? Okay, fine, Peter. So should we have a cup of tea now and some good cookies or something? I think we need two. 15 minutes? 15 minutes, yeah. I mean, we cannot avoid, you know, some over-stretching of the program. With this technology, it is impossible, really. So let me introduce without further ado Dr. Himaltrika, as you can see from the University of Jnana, who presents the paper, 84 laciones, the Jaina doctrine of 84 million embodiments. Well, yes, thank you, Peter. I hope you can see the visuals in a wider extension. Now, I only see you, Peter, so please put off your microphone if possible. Thank you anyway for the invitation and I'm grateful to you all for literally attending my talk. I will first illustrate the doctrine and secondly give an overview of its history in Jnana text. Due to the restriction of time, I can refer to the correspondences in other aesthetic traditions only in a short epilogue. A preprint of my full article on the topic is available at academia.edu. In the context of our workshop, the doctrine concerns the object of Hissa. This is basically an animate being a soul, Jiva, which is believed to have been attracted to a particular place of origin, Yoni, a birthplace where it has to consume the results of previous actions, Karman. The knowledge of the different types of birthplaces is essential if one wants to avoid harm against them. In the history of Jainism, several classification schemes have been provided. Among the better known are, for example, the six groups of souls, which is as tested as early as the Dasa Vialia Sutra. The basic distinction of movable and immovable beings is enfolded into several classes, notably the Uttarajaya Sutra. Widespread are the four Gathis of gods, demons, men, and remaining life forms. A late elaborate version is found in Himachandra's Trishashtisha Laka Purusha Charitra. The doctrine of 84 Lakyonis reflects this alternative classification but has a very specific purport. I illustrate it by an English rendering of the Satlaka Sutra, the Sutra of 700,000. There are 7-luck places of origin for earth bodies, 7-luck water bodies, 7-luck fire bodies, 7-luck air bodies. Plants with a single body have 10-luck, plants with common bodies 14. Beans with two senses have 2-luck, with 3 senses 2, with 4 senses 2. Heavenly beings have 4-luck, hellish beings 4. Animals with 5 senses 4-luck, humans 14-luck. In this way there are 84-luck places of origin. Whatever harm I have done, caused to be done or approved of, by mind, speech, or body, against all of them, may that harm be without consequence. According to court, this text is used twice daily by Shwetambara mendicants. Interesting for the team of our workshop is the last sentence. It is prayed that the rather relentless law of karmic retribution should be suspended somehow. I will not elaborate further on this, but focus on the structure and history of the classification. It is contended that there are 84-luck, that is 84 times 100,000 places of birth. Several classes of embodiments are mentioned. They are grouped here according to similar numbers distributed for each class. Elemental beings have 7-luck divisions each, 20-luck in all. Beans with limited numbers of senses have 2-luck divisions each, 6-luck, etc. The sum total is 84-luck. In the overall scheme of the intellectual history of Jainism, two prominent themes are combined in this classification. The first is the central intention of Jainism to provide a path for individuals to enter the bondage to transmigration. The very high number 84-luck emphasizes the magnitude of the situation. An unimaginable number of live forms implies innumerable individual births, endless varieties of pains. When faced with this classification, one might think, stop that pain right now, avoid afflicting it to your countless fellows of misery and thus pave the path for your individual liberation. The second theme is counting itself, the interest to measure and to classify a characteristic of many stages in Jain intellectual history. This spirit for classification is applied here to grouping and subgrouping all thinkable forms of embodiments. The combination of these two prominent themes led to a very specific feature of the classification at hand. The sum total of live forms appears as if it would be an arithmetical figure, the result of an exact census. However, the number 84-luck figures not only as the sum total of types of embodiment, but realizes a pattern which was frequently applied to temporal spatial phenomena. In Jainism and other ascetics traditions, decimal multiples of 84 often represented some kinds of totality. This was recently presented here at the Sours by Gotsatinski. Examples include the lifespans of Rishaba and other illustrious persons, the height of Mount Neru, the number of places in Hell, etc. With regard to the history of the doctrine in question, we can therefore suppose a point in time when the pattern of totality was firstly applied to forms of embodiment. And when we can suppose a point in time when this general concept was rationalized, when it was shown how exactly the number of 84-luck would be achieved and that it represented the result of an accurate evaluation of the forms of life. In terms of the structural elements of the doctrine, we can thus distinguish between a pattern, the number 84-luck, and the classification that fits this pattern. In the second part of my paper, I will now address the slightly different classifications of Shwetambara and Digambara. I have collected six early references to the doctrine in Shwetambara works. The table indicates the approximate notation. Besides the sole instance in the Kanon, there is one instance in the independent work, Guwahat-Sangahani by Jena Badla, the rest appear in commentary by Sri Lanka, Sita Senagani, Abhayadeva, and Malayagiri. The instance in the Kanon meets the main places of birth I explained to be 8400,000. If there was in fact an early explanation, Panathar, of how this number should be arrived, I did not find it in the vicinity of this text. Sections on Yonis in the Panavana Sutra or the Uttarajaya, Shubhwing's survey, Ipohira study, etc. No one cares to mention such a teaching in an early Shwetambara context. The Ayaranga simply states, the places of birth have many forms. Ipohar-Sangahani transmits the following structure. Earth, water, fire, and air beings have 7 lakh places of origin each. Plants, single and endless ones have 10 and 14 lakh places of origin. For beings with deficient senses, there are respectively 2 lakh and for infernal and heavenly beings respectively for 4 animals, for humans, however, 14. This is clearly an archetype of the classification in the Satlak Sutra. Exactly the same stock appears with minor variations in Sri Lanka's Ajara-Angasutra-Bhakti and Abhaya-Deva-Samavaya-Angaptika. The question is, where does this classification come from? Chinabhadri certainly draws on earlier material while composing the stock. But what about the characteristic segmentation of classes of life forms and particularly the sequence of the enumeration? I'm not sure, but I have two observations to make. Firstly, the 84 lakh pattern is not explicitly referred to in the context of the scoff in the Burhad-Sangahana. All other Sri Tambara attestations of this classification do refer to the 84 lakh pattern. Was this pattern not yet prominent in Chinabhadri's milieu? The second observation attains to the first mention of the doctrine in Sri Tambara commentaries on the Tatva-Athasutra. In about the 9th century, Sita Senagani still wanders, Katam-Yoni Lakshanam-Ashitish-Chattu-Uttara-Pratipaditra. Now, how are 84 lakh places of origin explained? This is Dr. Klaas in the doctrine Bhavachana. It is as follows. Earth, water, fire, and air have each respectively 7 lakh places of origin. And then the teaching of this 84 lakh classification continues. Sita Senagani has in fact occasioned for surprise as neither the Tatva-Athasutra, nor Umas-Ratisparsha, nor the Tikka, began by Haribadra, refer either to 84 lakh pattern or to the classification at hand. There are no surprises for the Digambaras. The complete doctrine is a standard item in the explanation of the Tatva-Athasutra and the concept of Yoni. Starting with Devanandin, the same as Devanandin Kuchapada. The famous commentators Akalanka, Vidyanandin, Vasvaranandin, and Shrutasagarasuri all refer to it. Moreover, during a period of more than 1,000 years, the doctrine is exemplified by one and the same Arya stanza. Nijidharadadu Sathaya, Tharudasa, Vigalini, Esu, Chachiva, Sura, Nira, Yatirya, Chauro, Jodasa, Manwe, Sadasasa. The permanent and the other Nigodas and the four kinds of the element beings have 700,000 distincties each. Plants ten, beings with deficient senses, exactly six, gods, demons, and animals, four, men, 1,400,000. The scope and the purport of the highlighted numbers in the stanza is not at all evident. The translation follows the interpretation of all later commentators. A comparison of the two classification shows that the same classes are addressed with different terms. There seems to be one exception concerning the Nigodas of the Dhygambara list and the Sattarana in the Svetambara list. For the Shubhring and Padmanadjani, however, this is also a difference in name only as the Nigodas of the Dhygambaras are assumed under plants in other Svetambara complex. With this we have the same segmentation of groups, the variation pertains to the sequence in enumeration. From where did the Dhygambaras, the Dhygambara commentators obtain this classification? Probably from the Moolajara. The stanza is transmitted in four independent bracket works. Which are the identified bracket works. The order of which are the Moolajara and the Barasa Anureka. I consider the attestation in the Moolajara to be older because the party and the club excluded the stanza in question from the proposed original version of the Barasa Anureka. The context of the stanza in both old bracket works, however, has a very interesting detail to offer for the history of our doctrine. The 84 luck pattern is not mentioned. The Moolajara and the Barasa Anureka were only interested in the classification. And this classification was not yet considered in the 84 luck framework. So in terms of identified textual attestations, we have 84 luck pattern in the Samavariya's Anga without detailed classification. The Svetambara classification in the Barasa Anurahani without the pattern. Likewise, the Dhygambara classification without the pattern in the Moolajara. Pattern and classification and thus created a doctrine. I think it was Devanandin or one of his teachers, not to remote teachers. In his commentary on the Tattva Akta, the first attestation of the full doctrine reads, The distinction of the places of birth, 8400,000 in number, are to be known from the scriptures. And there it is said, the permanent and the Arunagodas and the four kinds of the element beings have 700,000 distinctions each. Is this statement Devanandin suggested that 8.4 million would be an avidmetical figure brought about by the calculation of numbers stated for these particular classes of lunes in this particular classification. Two traditional cures of unity here, one that explicated the enormity of samsaric life is the 84 luck pattern and another tradition that was dedicated to the exonination of classes in details. From here the combination spread and was to become a doctrine. Reconstructing the history of an idea on the basis of identified textual attestations is scratching the tip of an iceberg. The idea must have been much more alive than a handful of textual bits can reflect. The idea is very much alive today. This screenshot shows videos on the internet that treated also in the concept of Sikhism and Vrishnanrishnan, Nordic-Krishnanrishnan. As far as I have seen, the classification of these religions are congruent with that of Neo-Zedantica, in the south of India in about the 12th century. The tradition is close to Jainism for several reasons. This classification anyway is a distinct alternative to that of Jainism and I think it would be an inviting task to collect and analyze the attestations of the doctrine also in other traditions, classic and modern times. Thomas McIvillie reaches out far into the other direction of the timeline. He proposed that the classification pattern of 84 is a heirloom of Sumerian astrology. The pattern would have gained the significance of temporal spatial totality because the number 84 is a product of the numbers 7 and 12. 7 would signify the seven planets, space and total. 12, the 12 relations of a year, time and total. This proposal is very convincing with regard to the initial symbolic significance of the pattern, but it needed to be shown how precisely the notion entered the Indian scene. Wozatinski follows Johannes von Kerst in assuming that the pattern is a heirloom of Greater Margarita, the culture to the east that was first independent from the full-fledged Aryan migration into the subcontinent. The number 84 would have played no role in Vedic literature, but was prominent with Buddhists, Jainists and the Arjivikas, the initial inheritors of Margarita. In the context of this hypothesis, classification of lifeform would strengthen, again, the connection of Jainists and the Arjivikas. Already, Parthenon Jaini drew attention to the fact that what he called the Gambala classification of unions equals the number of aliens which every being has to pass before reaching salvation in the opinion of the Arjivika-Goschela. There are two more striking parallels. 14, the number attributed to human Jainists and Jainist sources equals the number of primary embodiments according to Goschela. 7, the number attributed to Megodas and element beings in the Muda Arjara equals the classes of unconsciousness beings birthed from brass-like nodes, but also of man and God. His partly overlapping classifications point to variegated developments of beliefs that were initially shared by these ascetic groups. Against this backdrop, it is also understandable that these traditions agreed in applying the number 84 luck to pivotal doctrinal tenets. The common denominator for both applications is that the number meshes a framework which encompasses every phenomenal existence there is. In Goschela's tradition, this framework is instantiated as the time in which individual experiences, phenomenal existence, and after which this existence ends. For the Jainists, the framework points to all possible form of embodiments, a quintessentially animated phenomenon world about which we have to be very careful if we want our individual embodiments ever to end. Thank you very much for your attention. Thank you very much. A wonderful paper. A written version of course, which is extraordinarily written. There's feedback here. Are there any questions? I think there was one in the chat by Suresh Parikh. Suresh Siddhanta is much older than Sumerian. Has this ignored our lack of knowledge about ancient texts or something like that? In this case, one would have to... I'm not aware that Suresh Siddhanta is much older than Sumerian. One would have to argue in that direction or would have to show that the Sumerian astronomy of 2000 before the Common Era would be in fact younger than Suresh Siddhanta. As far as I know, this is not the case. It's the other way around, Sumerian is older than the Suresh Siddhanta. And another question about self-evident truth or critical knowledge or some other hybrid form. You are asked to comment again on histology, please. I don't know how it connects to your paper, but there are no other questions right now. Well, the connection to gynecology, I cannot... for the moment I see also no connection, which I could highlight on here. The only things that comes now to my mind would be that we are talking of different classes of beings, that all of them have different senses. And for me it would be an interesting question what kind of epistemological faculties, humans and gods and narakas, demons would have in regards to the beings who have only five senses. But I fear this is not the background of the question. But if you want to write me, Mr. Pareke, then I would be happy to see if I find something that suits better to your question. Is there any more urgent question? If not, then... I had a question, Peter. Yes? Yes, sorry. I'm not able to access the chat for some reason or the Q&A box. But I wondered if you saw any differences in the giant account of this from the others that you looked at. Yes, as I mentioned. So the classification of the gynas seemed to be only in the context of the gynas whereas what was successful in the second millennium of our time was the classification of the shyvas. So the classification of the shyvas is congruent with the classification found in the Vishnu Puranas, found in Sikhism, found in the Bhagavad-Purana. I only looked at this superficially. But this is another set of classification. But certainly they are the same in the sense that the number of classes of yonis in the end must be 84. Yes, it's... Are there more questions? There's a very intriguing question, number 84. There is some feedback. Maybe those who do not speak switch, please, the phone off their computer microphone. Then we're probably in a better place. I think we move on to the next paper. Thank you very much, Himal. We're looking forward to this appearing in print. So I would like to invite Simon Vinand, Simon Vinand to talk about his paper Justifying Violence and Redistributing Blame. The implication of Deva Prabhasuri's narrative choices in the Pandava Charitra. Thank you, Bita, for introducing me. Can I share my screen with you all? Hello. Thank you for being given this opportunity to present my paper Justifying Violence, Deva Prabhasuri's narrative choices in the Pandava Charitra. My paper deals with how one particular Jain adaptation of the Sanskrit epic Mahabharata deals with the question of violence or how to adapt violence in its adaptation of the Viratabhadra episode. So as many of you will know, the Mahabharata is one of the major Sanskrit epics attributed to the sage Vyasa as its author and depicts the feud between two sets of cousins, the virtuous Pandavas and the villainous Gauravas over the rule of most of Northern India. Jains too have adapted the narrative of Mahabharata in many different types of works and as a literary work on violence, like war and conflicts, it is interesting to look at how Jains dealt with this concept when they adapted the epic. When Jains have adapted this particular epic, they usually included this narrative in the biography of the 22nd Titanka Nemi. The text I am looking at is the Pandava Charitra, Deva Prabhasuri, who was this Shretambaramankh from Gujarat, who was active around the 13th century and might have been affiliated with the Chalukhi court. While many literary works he wrote most importantly the Pandava Charitra, the sizable work, about one-tenth of the size of most manuscripts of the Mahabharata epic. In 18 chapters explicitly starts to mirror the 18 books of the Mahabharata. Why have I chosen this particular adaptation because it is arguably the first true Jain adaptation in Sanskrit to focus on the Pandava Charitra as its title indicates. The Pandava's story was a sub-narrative in the Nemi Nathya Charitra as I have mentioned before. This is the first adaptation which features the Pandava Charitra as its protagonist but this is the first Sanskrit text. What is particularly interesting is its very deliberate faithfulness to the Vyasa Bharata to an extent is more than obvious as I will demonstrate as its adaptation of the Vyata Bharata in the Pandava Charitra contains verbatim lines and this faithfulness is very interesting with regards to the violence elements in that episode because Devkarasuri adheres to the narrative of Vyasa to a certain extent but he also changes certain narrative elements that have to do with violence and how to justify violence as I will explain later. Here is a brief overview of my presentation. First I will give a brief synopsis of the Vyasa Bharata as depicted in the Mahabharata then I will go over the quotation verbatim lines in the Pandava Charitra until finally moving on to the narrative changes in the chain adaptation namely the Pandava Charitra. The Vyasa Bharata is the fourth book of Mahabharata so after the five Pandavas are defeated at the fatal game of dice against their gardens, the Kauravas they are forced to go into exile together with their wife Derpadi for 13 years. The first 12 years are spent in the forest but the 13 year has to be spent in public but unrecognized. So to that end the Pandavas disguise themselves and live at the court of King Virata, the king of the Matsyas so the Vyasa Bharata the eldest Pandava just is himself a gambling Brahmin, Bhiva becomes a cook and wrestler called Malava and Derpadi is just sort of as a traveling maid servant of the type they call Sairandvi they spend a couple of months in relative ease without too many troubles until the end of this day when the brother-in-law of King Virata Kichika spots Derpadi becomes obsessed with her and wants to seduce her so he asks his sister, Queen Siddhasana to send Derpadi to his apartments which is a text which Siddhasana does Derpadi arrives at Kichika's apartments on which Kichika decides to proposition her she refuses she runs away for shelter but she sees her and kicks her in front of her husband's Bhima and Yudhishthir King Virata himself is restrained by Yudhishthir and unfortunately neither Virata nor Yudhishthir are willing to fight Kichika so Derpadi is forced to resort to Bhima for moral support and Bhima comes up with a plan to get rid of Kichika Derpadi is to pretend she is involved with Kichika in a nightly rendezvous at a secluded location but instead of Derpadi Bhima waits upon Kichika and when Kichika arrives he kills him in a gruesome fashion he reduces him to a lump of flesh after word of Kichika's death has gotten round Kichika's brothers desire to revenge himself upon Derpadi whom they blame for Kichika's demise and they abduct her and attempt to burn her alive again it is Bhima who comes to her rescue and again Bhima slays all Kichika's brothers the rest of Virata Palvan is dedicated to the cattle raid by the cowherd of us on the master kingdom in my paper so interestingly the Bhanavachaita contains that said verbatim lines that I found in Vyasa Bharata so it is very clear that Derpadi must have used a manuscript of the Vyasa Bharata or must have been very intimately aware with that particular text so before the Bhanavas in Mahabharata is set up for the master kingdom they first consult with their house priest Dharmu who gives them a speech on how to behave at a king's court in the Bhanavachaita this same speech occurs but is given by Vyasa Bharata instead to his younger brothers and nearly all the lines by Vyasa Bharata are inspired by Dharmu's speech and three consecutive lines are directly taken from Mahabharata as I will show so on the left I give the line from Mahabharata on the right the line in the Bhanavachaita so what man honored by the wise we wish ill to him whose anger inflicts great pain and whose favor bears great fruit as you can see the line on the right is a statement that apart from very minor adjustment is almost identical so I will show the Sanskrit quotes line that I have translated now the consecutive next line from the Bhanavachaita is also a Bhanavas in Mahabharata for kings are displeased with people who lie likewise they despise a minister who speaks falsely again the line in the Bhanavachaita is also very similar to the Bhanavachaita the minister could argue that it's because the Sanskrit word man like thinking one who thinks himself clever could have been a corruption from Manthiranan the equal medical weight so perhaps that's the reason why that has changed the next line Bhanavachaita again is inspired by Mahabharata here I haven't given the line from the critical addition but the line found in the most northern manuscript because it's even closer so again it's only the latter part like live in the king's palace and may attain the favorite king that actually differs there are other examples of near quotations and tiny details that can only be explained by actual manuscript of knowledge in the Bhanavachaita but I will skip it for now because I think it's so clear that from these examples that are given that Depevasui must have known the Mahabharata quite well and try to write texts at some level tries to echo and mirror the Mahabharata so now we'll go on to the alterations and narratives changes so contrary well despite containing almost the big lines Depevasui does not really slavishly adhere to the Mahabharata and he actually introduces certain changes in the subtle changes which relate to the violence for the most part they either down down the willingness and the eagerness of the violence beam and deropity inflicts they justify some of the violence acts or try to justify at a certain level Depevasui even invents we imagine a certain episode from Mahabharata to provide a contrast like an analog between the justified violence Bhima inflicts on Kichike and unjust other example as I will indicate for instance the slaying of Kichike in the Mahabharata is the biggest a very extended dual between Bhima and Kichike and the narrative really focuses on the gruesome death of Kichike in the Mahabharata where there is no real dual and Kichike is killed instantly and they don't really focus on the actual don't focus as much on the actual violence as opposed to the Mahabharata Kichike is killed instantly while Kichike was speaking thus Bhima that is came up to him and embraced him so affectionately that he died then through Kichike whose body was reduced to a lamp of flesh with a window out of the room out of the out of the dance hall onto the ground what's interesting like in Mahabharata Bhima Bhima actually shows Kichike's corpse to Darpari Darpari was sold in the Mahabharata and it's overjoyed Kichike's death in Mahabharata and even rejoices and calls him to gaze upon Kichike's mangled corpse and this is completely absent in the Bhima goes to as soon as he kills Kichike he goes to the kitchen Darpari is not even near the crime scene and she doesn't gloat and rejoice another element for the violent sort of tone down is the episode of the Kichike's brothers in the Mahabharata as well as the Bhima the Kichike's brothers abduct Darpari for they hold responsible for Kichike's death in Mahabharata because it is because Darpari is self actually clipped responsibility whereas in the Bhima it is because they reason Kichike was in love with Darpari so she must have been responsible for his death and what happens in the Mahabharata Bhima hears Darpari screams he comes to a rescue as soon as the Kichike sees the Bhima approach they release Darpari but Bhima has no mercy and slays them all with an uprooted tree whereas in the Bhima hears Darpari screams runs up to them and tries to reason with them first before engaging in violence so for instance this quote from the Mahabharata he said to them why are you dragging this woman away against her will why isn't her husband around here somewhere the Kichike's say that they want to incinerate like burn the death upon which Kichike Bhima speaks like why don't you fear that sinful act of killing that woman you would commit another crime and you would not gain anything by it so again he tries to appeal for the sense of decency he doesn't immediately resort to violence and it isn't until the Upakichike's actually ask them refuse to let Darpari go that Bhima is forced to resort to violence then they answer let someone who has strength and anger in his strong arms rescue the one who wants to throw on the funeral pyre pyre which is Darpari so their response basically amount to come try and stop us and it's only then that Bhima actually kills them all another narrative change found in the Mahabharata is the reimagined dual of Bhima and Jhimuta found in the Mahabharata as compared to the dual between Bhima and Vishakarpada so in the Mahabharata in the couple of months the Bhanavas spent in Virata service Bhima is not only employed as a cook but also as a wrestler and King Virata has this great wrestling festival at some point in the narrative where he has Bhima fight all these wrestlers including one certain wrestler called Jhimuta whom Bhima defeats this sort of episode is sort of reimagined and inserted at a later point in the narrative in the Bhanava Charita after the death of the Kichaka and the Uppakichakas and this is in relation to Sudeshna's rage in the Bhanava Charita so Sudeshna is the wife of King Virata and sister to Kichaka and the Uppakichakas so in the Mahabharata Sudeshna is remarkably indifferent to her brother's death and her kinsman's death whereas in the Bhanava Charita she's actually insulted and angry which would be a more natural reaction and this is clearly sort of narrative invention by the Vasui so in the Bhanava Charita Sudeshna comes up to the King King Virata proclaims like Bhima's killing of a kinsman Uppakichakas is a sort of an insult and he asks him to avenge Bhima so Virata at first refuses because he thinks Bhima's way is strong for me to openly attack but he comes up with a ruse with a subterfuge to kill Bhima what's interesting too is that Sudeshna in a plea to Virata to kill Bhima Bhima Ubalada who's alter ego is that she sort of emotionally black nails him with a threat of suicide and that is very similar to the threat of suicide that Virata makes in the Mahabharata when she asks Bhima to kill Kichakas so it's almost like out of that desire for vengeance it's sort of transposed from Virata to Sudeshna and now this is a Sanskrit line which I've translated in the previous slide and the ploy Virata comes up with to use this wrestler Vishakarpada who happens to have been sent by Duryodhana the rival of one of us to and he argues that there's certainly they should have a duel between Bhima and Bhima because Vishakarpada is a very well trained wrestler surely Bhima should not be able to defeat Vishakarpada Sudeshna's loss for revenge will be satisfied it's interesting in the narrative continually focus between the fact that Vishakarpada has been trained in wrestling whereas Bhima is not and it's not supposed to be a fair fight if it weren't that Bhima is just a kind of being a Panavaj incredible powerful hero and human being so the King Virata has a stage built and there is this contest between Vishakarpada and Bhima and Bhima managed to defeat Vishakarpada and King Virata decides to let go of his plans to satisfy his wife's wishes and he tells her to not let go of his Bhima's death so it's I would argue that it's sort of like an analog of a sort of a mirror of Bhima's and Draupadi's ruse to kill Kichike that is found in this Vishakarpada and Bhima's duel so a woman who has been insulted asks her husband to kill her tormentor and the interesting thing is that the one incident is justified because Kichike has really transgressed as a committed moral offence and Bhima himself comes up with a list with a ruse but he himself offers an up as the instrument of retribution. He himself will fight Kichike worse in Viratas the ruse he uses an unwitting bomb who doesn't really know he's been used to fight another person's battle and I think it's sort of deliberately created by Devra Sui to justify Bhima and Draupadi's give us killing of Kichike especially since in the Bhanavachaita the protagonists are supposed to be Jane characters they're supposed to be Jane persons who worship the Jinnas so how do you deal with the violence that they inevitably commit in this adaptation so I think these toning down the eagerness of violence or not dwell on the violence and give a worse example of unjustified violence makes the Bhanavas come across better and that is my presentation and thank you for listening thank you very much Simon that was fabulous and it just shows what great work is being done in Ghent particularly on narrative literature and Dharamchand, Jane raise the hand please Dharamchand is Dharamchand asking a question you have to unmute yourself aha thank you what positive point do you see in Pandavcharit and what is the intention of writer of Pandavcharit Devra Sui for showing this slain by being of Keechak what is the intention of Devra Sui was he not a nonviolent person or is there any intention of showing this incidence thank you for your question Dharamchand I personally think that Devra Sui wants to balance strike a balance between adapting the contents of Mahabharata he might have written for an audience that goes beyond the Jane audience so he wants to stay true to certain parts of the Mahabharata narrative but at the same time he wants to tone down some parts of the violence but the Keechak is such a central episode and such an often adapted part and it is found in many forms of Indian culture in the Kathakali performances probably even in some lost plays and folk drama so he feels this necessity to depict this slain of Keechak he feels as if he can't deviate there is one Jane adaptation that depicts Bhima having mercy about Keechak and not killing him but that is not the dominant depiction in Jane adaptations especially now in this one which tries to be even closer to the Mahabharata most Jane adaptations of Mahabharata I think the Bhavasui must have felt he could not depict like a non-violent Keechak I think that is my answer there are two more hands I cannot see who raised the hand but on my screen but please pick up maybe the hands were withdrawn I can't see any hands either yeah yeah ok well in that case so thank you very much Simon we are moving on to Julie Hanlon's paper which is on non-violence non-violence in stone and clay the consideration of Jane lithic inscriptions we leave images and ceramic vessels great thank you so much so thank you to be here this afternoon it's Chicago time my name is Julie Hanlon I'm from the University of Chicago and today I'll talk a little bit about my contribution which is on non-violence and stone and clay a consideration of Jane lithic inscriptions relief images and ceramic vessels so a little bit about the overview of the paper in this chapter I examine three categories one is material culture this includes lithic inscriptions stone relief images and ceramics and specifically within the context of Jane monastic hill sites in the Pondia region between the 3rd century BCE and the 10th century CE this region is of particular importance as Mother Eye which was the capital city of the Pondias was an important center of early Janeism in South India not only during some of the earliest periods but also up through the early medieval period so I highlight the forms and features of various inscriptions stone relief images and ceramics and elaborate on the process of their creation I also explore the ways in which these creative processes may be classified as violent based on the content of early Jane agamas and writings of medieval Jane scholars in doing so I aim to draw attention to the archaeological history of Jane material culture in Tamil Nadu and the interesting contrast that seems to exist between the violence or hymsa inherent in the creation of these artifacts and the vows of non-violence a hymsa taken by Jane monastics and laity there are approximately 89 Jane inscriptions in Tamil Brahmi and 180 Indian inscriptions spread across 36 sites in Tamil Nadu the majority of Tamil Brahmi inscriptions which may be dated the Jane ones that is between around 3rd century BCE to 5th century CE are found in Madurai district and associated with caves and rock shelters that were once used by the Jane aesthetics as monsoon retreats and so you can see the clustering around Madurai here and in this map here the red is the Tamil Brahmi and the blue is the vicharatha so you can see that there's this cluster there these Tamil Brahmi inscriptions some of which identified the caves as Palli or monasteries are found engraved on both the exterior and interior surfaces of the caves and of the name donors in the inscriptions a good portion about 22 of them can be identified as the donors as merchants or merchant guilds so from a very early period merchants were actively involved as donors in these relationships many of the hill sites bearing Tamil Brahmi inscriptions continued to be occupied or reoccupied by Jane monastics in the early medieval period as evidenced by the presence of still relief images but Dharatha script was predominantly used in the Pandya region which is a kind of roughly circled here the sort of southern region of Tamil Nadu between the 5th and 11th century CE with the majority of inscriptions in Dharatha occurring between the 7th and 9th centuries the content of Jain Dharatha inscriptions suggest a shift in the composition of the Jain lady in Tamil Nadu between the early historic and the early medieval periods women appearing more frequently as donors as well as a higher percentage of donations being associated with specific Jain monastics and their students so we see this rise in the appearance of Jain monastics and their students and you can really sort of see the growing of the Jain community in these inscriptions while the content of the Tamil Brahmi and Dharatha inscriptions provide a fair amount of information regarding early Jain monastic communities and the donors that supported them information regarding the individuals who carved these inscriptions is lacking however by reconstructing the creative processes for carving inscriptions it becomes evident that the stone masons who carved these inscriptions most likely belonged to an emerging class of emerging and professional artisans distinct from the lady whose donations are recorded in the inscriptions and the Jain monastics who were the recipients of these gifts so a little bit about the process of what went into carving these inscriptions many of the Jain inscriptions are carved on metamorphic charnokites and granites so granite is an exceptionally difficult stone to work with because of its hardness which is between a 7 out of 10 on the most hardness scale and also as a metamorphic rock it has interwoven brains which when you try to beat it can shatter often in unpredictable ways making it difficult to carve so to carve an inscription into granite requires more than just simple iron tools because of how hard the stone is instead the tools must be tempered to increase their hardness and the forces abound throughout much of South India and archaeological evidence suggests that craftsmen in the south began experimenting with carburizing iron from a very early date so archaeological evidence from both Pernatica and Karala of early sort of hoots steel experimentations the form and features of the Tamil Brahmi inscriptions suggest that they were strategically carved upon flattened surfaces so here in the upper left I have a picture from Theropuram Kundrum this is where it was sort of cut this is already sort of flattened by the act of cutting these beds and here also and then this is sort of the flat space on the front of the cave at the Garamangalam so these are the examples of Tamil Brahmi inscriptions while the Vedata inscriptions are predominantly carved upon prepared stone surface so in this example from Karugamalai you can see hopefully a little bit in the image you can see that there's clearly a prepared surface here you can even see sort of the faint line there where a box has sort of been smoothed away to pair space for that inscription and surprisingly obviously the later Vedata inscriptions show better control over the sizing of letters spacing etc as well as increased linguistic complexity and standardization in their content however even within the Tamil Brahmi inscriptions those from Mangalam and Pughalore which reference the Panjian and Charikings respectively are superior in quality and yes I do our superior in quality and complexity so this is a very long inscription from Mangalam and you can see you know even this is dated around like 3rd to 2nd century BCE we have very clear individual letters so this required quite a bit of control to pull off this feat so these differences suggest that these elite donors had access likely to a professional class of scribes and stone masons even at this early date by the medieval period we know that there was differentiation of professional craftsmen in classes of apprentice and master craftsmen who differed both in skill and socio-economic status and these are well documented in Hindu temple inscriptions and thus in the Vakarta inscriptions as well the Jain ones from medieval Jain hill sites were likely similarly carved by these specialized craftsmen what's interesting is that it has been posited that the Jain monks may have played some role in the carving of these early inscriptions and sometimes it's sort of fuzzy as to whether there's some kind of implication of donors engaging actively in the carving of these things however as I will discuss the violence inherent in the creation of these engravings seriously suggests otherwise so within the major vows observed by Jain monastics and the minor vows observed by Jain laity as we all know the vow of non-violence or hemsa's paramount for the monastics this vow is all encompassing and applies to all forms of life no matter how small for the laity this ideal becomes equipoise with constraints of daily life but nevertheless entails a commitment to deliberately avoid and minimize harm so for example harm that results from one's profession or Arambaja hemsa can be minimized by choosing a profession a non-violent profession to guide Jain laity in choosing non-violent professions Svetambara preceptors in the medieval period crafted lists of trades to be avoided and such restrictions were similarly adopted by the Degambaras. The engraving of inscriptions requires I just sort of explained a little bit the mining of ore the cutting of rock both of which may be classified as sort of activities related to hewing and digging Spota Karman which is included among the 15 forbidden trades more directly and definitively more violent and destructive are the processes associated with the creation of these tempered iron tools which were necessary to engrave these inscriptions upon the granite and other metamorphic rocks so smelting and refining metals and metalworking in general are among the forbidden trades related to the use of charcoal or Angara Karman and this prohibition is unsurprising as the furnaces that enable the extraction of ore of the iron from the ore require large amounts of charcoal and this often leads to not only lots of smoke but also considerable deforestation in the creation of this charcoal metalworking also results in piles of accumulated debris included slag, discarded crucibles ceramic fragments and some of these piles of ancient furnaces can still be seen on the surface today at various archaeological sites in South India and the extremely high temperatures of the furnaces are of course deadly so turning to the Jan the early medieval Jan stone relief images while there is textual evidence to suggest that image worship may have been part of Jan religious practice in South India during the early centuries CE the earliest extant stone relief images generally dates around the 7th or 8th century CE most of these images are carved in low relief meaning they do not project significantly from the background and do not feature any undercuts more detailed images in medium to high relief so with undercuts can be found at sites like Karugamalai so none of any of these images featured here provide include undercuts right so there's no the sculptor didn't actually have to go and create open spaces behind the body so that the body or the image is comes out from the stone instead the edges of the figures hit the stone so this is all in sort of low relief such okay yes so these these stone relief images which began emerging in South India and in Tamil Nadu in particular around the 7th or 8th centuries some of these are found at Jan hill sites which earlier had those Tamil Brahmi inscriptions and they also emerge at Jan hill sites and temples that were also starting to flourish during this period we have this sort of large increase in the presence of these inscriptions in the record so while most of the Jan stone relief images are accompanied by inscriptions identifying the donor who financed the carving of the image again the artisans who crafted these works are rarely if ever identified so the Jan stone relief images discussed in the paper so I talk about a lot of different images but they generally fall into one of three categories so one are the elevated large scale images and those are images that could have been seen far at a distance and they generally measure over one meter tall so this is an example of one of those categories from Czechty Purtavu a moderately sized relief images under one meter in length and clusters of Jan images associated with water tanks so this is an example from Peči Palom and these are sort of the moderately sized less than around 0.5 meters tall so from these examples I would like to highlight here a group of six Jan relief images carved roughly at eye level on the side of a boulder at Kilevalovu so this group includes four non-descript that is unidentified or un-differentiated seeded Junas as well as identifiable images of Parshvinov here with the hooded cobra and as well as what appears to be a standing figure of Tashvara what's very interesting about this group of figures is the remains of plaster on two of these images one of which has also retained really beautiful red green and gold painting so that's this picture here the association of Jan images so this is somewhat a return to this the association of Jan images with water tanks is also something that I found quite interesting so these tanks which are located at the Jan health sites in Tamil Nadu around Madurai would have provided water for travelers and devotees who visited the Jan health sites and the images engraved above them communicate a clear association between these water features and the Jan monastics who resided there for example at Samanamalai a series of eight relief images were carved upon above a rock cut tank located sorry at rock cut tank known as Pechi Palam so this is the Pechi Palam from Samanamalai and a similar series of three Jan relief images appear above a rock cut tank located at the base of Tirupurangundram hill and then another set of Jan relief images these up in the top corner are visible above a water tank that runs along an elevated terrace near the summit of Tirupurangundram so much like the carving of lithic inscriptions the carving of relief images begins with identifying a location for the image and surface preparation however unlike inscriptions which can be carved say in a day's time the carving of relief images by nature requires a high degree of skill and planning in execution and certainly progresses much much slower it's a laborious operation that requires strength and diligence you know you're actually physically hammering this stone and the sculptor must proceed very carefully to avoid making an irrevocable error that could ruin the image moreover because many of these images are in elevated locations so this isn't a somewhat elevated location but you'll see some of the other ones for example the one at Samanamalai they would have also have required elaborate sort of scaffolding to support the sculptor as they definitely executed their work the sculptor then proceeds progressively roughing out and removing the layers of stone using a point again these tempered iron points punch or hammer and such initial stages are still visible in unfinished relief images at Saitsai Karugamalai so here you can see this is an unfinished image up here and this image is also unfinished here and then these two images lack inscriptions these two images are finished but only one of the two has an inscription as the work progresses the sculptor transitions to finer picks and chisels to contour and add details and they finish the image using some kind of abrasives such as a wire file or a coarse grain stone to smooth out the cuts now the remains of pigment and plaster on medieval Jain images as I just highlighted a moment ago suggests that the Tamil artisans may have also finished their sculptures by applying a thin layer of plaster followed by the painting which contributed to the details of the image with coarser stones particularly metamorphic rocks applying a paste would have also helped conceal irregularities in the color and texture of the stone because natural pigments are by nature highly perishable much of this detail work has been lost it's very rare to sort of see this with only bits and pieces preserved here and there in carved recesses and niches notably however it is barely common to see a line of holes not this one which is modern but this one here these sort of square holes that are often carved above the Jain images so these holes would have once held large wooden beams that again with other forms of organic material would have formed a canopy to protect these images from the elements and such canopies would have also served to protect the painted surfaces as well and today these holes remain empty and the stone relief images beneath them you know bereft of any surface treatments or decoration or in many cases protection from the elements sorry the violence inherent in the production of Jain relief images is similar to that of inscriptions but to a greater detail that is the shallow insistence necessary to engrave an inscription are smaller and less destructive than the cuts required to carve a relief image in both cases the artist is required to temper their tools in high heat and regularly sharpen them to maintain their effectiveness thus for a sculptor in early medieval or ancient India certainly some basic knowledge of metalsmithing and the ability to execute this and harden one's own tools which is one of the forbidden trades is required the act of cutting stone is also highly strenuous and the verbs used to describe the process in both English and in Tamil are the same as those used for physical violence so to scratch or kill cut corpus, strike, mek de, beat, ari of OJain inscriptions tell us very little about the identity of the sculptures who carve these stone images the strenuous physical labor the use of iron tools and the destruction of rock would have certainly precluded a Jain monk or nun from carrying out this work and the fact that stone masons and sculptors must quarry rock regularly and temper their metal tools may have also deterred Jain lady from taking up these professions so finally turning to the last part is the ceramics from Jain hill sites so in the summer of 2016 there was a archaeological survey of six Jain hill sites along the Nagamalai hill range northwest of Motherai so here's Motherai and these are the sites all six had evidence of Tamil Brahmi inscriptions and rock cut beds and four of the six sites also bore evidence of Jain images and their descriptions ceramics that could be stylistically dated to the early historic and medieval periods were observed on the surface of all six sites so this is just from surface observations and I explain a little bit about how surface ceramics are formed in the paper so shirts from a variety of vessels could be identified though jars were most commonly identified and this is because jars are often thicker and so they're more durable so they're more likely to be overrepresented in surface samples the most common ceramic wares observed at the Jain sites included red planeware red slipped and polished wear and black and red wear and of particular interest was the observation of bowl sherds of black slipped and polished wear and black and red wear that could be stylistically dated to the early historic period so this is one example of black slipped and polished wear a posit that such sherds found at Jain monastic hill sites may represent the remains of alms bowls described in the acharanga sutra from 4th to 3rd century BCE and in greater detail in the later chedda sutras in new yurtis so according to the ogre near yurti composed around 7th to 8th century an ideal pot was perfectly round well polished and was exclusively used by the monk to whom it was bestowed the Jain Agama suggests that monks were responsible for maintaining the surface treatment of the ceramics they used and the great attention was paid to the oiling and polishing of alms bowls and monks were required to inspect them daily as part of Pradhivekana so the inspection of the clothing and utensils this Jain monastic practice of coating the alms bowl aimed to reduce the porosity of the vessel thereby rendering the food within the bowl untainted by the residue of its earlier contents so this basically made the bowl's water resistant and they wouldn't absorb the food oils and things like that while polishing a bowl is a rather passive practice the production of the ceramic vessels themselves entails a creativity of violence on multiple levels from the coring of the clay to the beading and shaping of the vessel to the firing of the vessel in a kiln moreover kilns produce a great deal of very thick smoke and this is why many of these early on very often even today these kiln areas are generally located far on the outskirts of the villages and this thick smoke can be harmful obviously to air bodies as well as to humans and other animals who breathe in the air the violence of the potter's craft is creatively conveyed in this passage from the Bhojapadvanda which I enjoy very much a Sanskrit text composed around the 11th century and dedicated to the Rajput King Bhoja so in it the personified pot cries out to King Bhoja seeking justice for the harm that has befallen him and so I'll just read this the potter digs me with his axe and makes me ride on a donkey so that would have been in the clay stage when he's been extracted from the ground then the wretched potter beats me with his feet and rotates me on the wheel with a stick so that's the shaping and forming of the vessel he cuts me with a string so when they're cutting the clay he beats me and bakes me so that's the shaping out of the vessel with paddles and putting in the kiln all these I bear with patience further the ladies of the village incessantly tap me with their fingers to test my quality which I can no longer bear in something you can even do today so how highly fired a ceramic is, you can actually hear it in the tinkling so if you tap it and it makes a sort of a higher sound it's been highly fired a low sound and it's thick and lower fired so to conclude overall the violent nature of the artistic and material processes entailed in the creation of gene lithic inscriptions stone relief images and ceramic vessels clear just very clear distinctions between the artisans who produce these material artifacts and the J and lay donors and J and monastic recipients in closing I argue that it's important to consider how these categories of J and material culture were created and by whom as a way to really try to get at reconstructing the life histories of these objects how were they made, who made them how were they used, who's hat how were they traded and what was their life prior to us either finding them in this case on the side of a hill in southern Tamil Nadu or for other kinds of artifacts varied in the ground reconstructing the life histories of objects in turn may elucidate the social and economic economic relationships connecting J and lay and monastic communities to the larger societies and cultures in which they were historically and geographically situated thank you thank you very much Julie that was absolutely fabulous and this last image is wonderful yes are there any questions for Julie Briani Julie thanks I wondered if you had any thoughts about whether this sense that sometimes harms could be justified if they served some kind of religious purpose and I was especially interested in the water tanks wondering about what was their like purposes in terms of offering an image of a kind of a greater truth but also serving maybe travelers do you have any thoughts on that in terms of that particular area yes so with regard to the first comment I also sort of play around with this idea and the paper as well so for example J and donors did obviously commission many of these sculptures which by commissioning them thereby set in motion all of these other kinds of forms of violent harm and as you said when something is done with sort of a higher purpose and also this would also apply certainly to the dating of water tanks as well this can sort of offset that violence with regard to the water tanks and their use these were I think I might have skipped over the paragraph perhaps but these water tanks they're at points near the summits very closely associated with these early J and monastic communities as well as at Tirupuramkundram they're located at the base so the JN the early JN caves that are located at Tirupuramkundram are not at the base of the hill so what's interesting here is that you wouldn't have had to have engaged necessarily or gone up to visit the J and monastic area in order to visit this well or this water tank at the base so this is really providing a service to sort of anyone sort of passing by and Tirupuramkundram over the years had lots and lots of different kinds of pilgrims and visitors we also have the large Burugan temple at the base of this hill as well and then later the Muslim shrine at the top so this is also communicating or signaling this association between this gift of water and the presence of these J and monastics at the site and Julia Shaw has done some work on this with regard to Buddhist monasteries and Buddhist water structures in northern India and so this is something I'm really interested in sort of looking at more closely questions in the chat where is the last image situated this one yes this one is at Elora so this is not in Tamil Nadu this is my standard thank you slide so yeah this is an image of Mahavira from the Jain caves at Elora and another question related to that probably is it because of Ahimsa the artists for Jains switch to the painting caves at Elora that's a wonderful question but certainly the Jain caves at Elora have some very elaborate and detailed sculptures so Lisa Owen has written on this and these sculptures do indeed have complex undercuts and so you see both the paintings on the walls as well as the undercuts and here you also have a lot of the really elaborate paintings are those in the Buddhist caves at Elora Ginesh raised the hand are you still wanting to ask a question Ginesh doesn't seem so well there is a question you raised a lot of discussion here I don't think we have time to cover all of these questions a question is whether there is Hindu influence that's a question that I often get when I present on the Jain images and the answer is that at least in the case of South India where I work we see is we see this emergence of image worship really kind of happening across Buddhist Hindu and Jain religious traditions with also the accompaniment as we start to see these new temples being built in stone these are accompanied equally by these manuals and some of these manuals one of which I discuss in the chapter the Manasada has a section for Hindu temples has a section for Buddhist temples and has a section for Jain temples and how to understand Jain images as well and so there's been some research on this and the general sort of consensus that scholars are sort of going towards is that the people who are creating these images were not necessarily probably were not necessarily one particular religious identity or another but rather the similarities that we're seeing is because of the complexity of these images many of the same craftsmen who are crafting one at a Hindu temple and then later they go to a Jain monastic site and carve there so the similarities is also because of an emerging aesthetic as well as the fact that it's likely that artisans worked at multiple kinds of sites which would have sort of led to this sort of overlapping Maybe you can keep your answer short there's a long very interesting comment from Anna relating to the question whether to what extent Jain laity can harm one sense beings whether this comes into play and it seems that artisan crafts are permissible occupations for laity Based on the I mean I don't know I would have to be reading some more but at least in terms of the medieval texts that I was consulting there are certain crafts that aren't forbidden and even today in Gujarat the people who do all of the work with the emerald gems and the other gems and the cutting those are not Jains those roughing out of the gems and the gemstones and those kinds of like in metalsmithing are traditionally not crafts that have been done pursued by Jains but perhaps Anna you should message me and I can get corrected I would love to learn more about that there we have an interesting answer please have a look truly at the long Q&A list you can maybe answer directly later may I suggest we have a shorter tea break just grab something and then Ulle takes over to chair the final three presentations right Ulle are you I'm policing the time now should we say like ten minutes break or something like that sure okay okay so welcome to the third and last session of this workshop our next speaker is Breanne Donaldson who currently serve as the presidentional chair in giant studies at the University of California Irvine one of Breanne's projects has been to examine principles of bioethics in the Jain tradition and the result of this project which have been conducted in collaboration with Anna Bicell will be published later this year at the University of California Press so most welcome Breanne and we look forward to listening to your lecture thank you so much thanks also Peter for bringing us together it's really good to have a chance to be with you all even if it's virtual the book about these sutra describes five types of action or that might be involved in a given act and it's described here as physical action instrumental action hostile action tormenting action and murderous action a teaching lesson is provided to explicate these five aspects of action which describes a hunter his bow and zero if a man who takes a bow and shoots an arrow hits a living being he is involved in the five actions and so are the bodies of which his bow and arrow are made meaning the wood of the bow the bow string it's tendon the arrow meaning it's shaft the feather the barb and the string if however the arrow hits the living being while falling back down the man and the bow are involved only in the first four actions whereas the arrow the bodies of which it's made and the beings that received the falling arrow are involved in the five actions so according to this story if a hunter sets out to kill a living being then he and all the living beings constituting his bow and arrow will be involved in the five actions right this term put the or Sanskrit sparsha suggests having contact with an alternate translation being touched by the actions this remarkable passage breaks down discrete elements within a given act if the hunter didn't set out to harm a living being he's not touched by the fifth consequence of murderous action yet even if that particular intention is lacking the hunter is still touched by the consequences of actions that are physical instrumental hostile in preventing further the bodies that make up the bow and the arrow are involved in all five including murderous action even though according to the Jain's own account of life forms these beings lack a mind if we follow Suzuko here is claim that the nucleus of the Bhagavati Sutra emerges in a quote age of theorization and quote between the earliest strata of the canon and then later more systematic texts we can see that these Kriya and this wider Kriya framework is an important hinge between earlier and later teachings especially as pertaining to nonviolence and to karma so Kriya is an interesting term that evolves several meanings in the earlier canon for instance we can see it as any deed or action as such it can also refer to self-generating activity of the soul or the Jeev which is a reclamation of the term Kriya from the heretical view of the Kriya Vadins that the soul was unchanging elsewhere Kriya is an evil deed associated with negative consequences of 18 harmful actions and then also another use Kriya as a possible forerunner to positive karma so why would the Bhagavati use the term Kriya to identify distinctive aspects of harm both physical and mental I put for three possible reasons why the five-fold formula of Kriya might have been suitable at that time one is a growing mendicant community the second is a development of a path of positive rebirth for lay people and third is engaging with rivals so I'm going to start with the first two reasons the early stages of the acharanga sutra and sutra-katanga sutra delineate the primary causation of harm as physical action or ramba and then I saw this in Julie and your slides as well and then the secondary causation of harm as mental possessiveness or parigraha now this formulation was prior to the formal structure of five vows or even the regular use of the word ahinsa that physical action was the primary cause of harm was reflected in the uncompromising physical restraints prescribed in the early texts in which monks were to meticulously avoid digging bathing, lighting fires, walking etc. this stringent emphasis on non-action seemingly presents no pathway of gradual progression for weaker mendicants who struggle with the physical restraints much less for householders who are still described in the sutra-katanga too as quote killers of beings and acquires of property and we can see there that that's reflecting a kind of direct violation of aramba and then parigraha one either restrains activity or one does not there's no space for positive effort or intention so in the overall chapter I map the growth of the mendicant community in the early canonical period in part drawing from this work that peter mentioned in insistent life when we're looking at bioethics in the giant tradition so I map the growth of the mendicant community in the early canonical period from solitary individuals to teachers and student groups meaning that we have mendicants at different levels of discipline who can't perfectly practice non-action and then we also have possibly an increasing dependence on lay people that are needed to support that growing mendicant community and those lay people thus they need a pathway and an incentive to do action for the right purpose of meeting the needs of mendicants namely the possibility of positive rebirth which was not previously theorized in the first canonical period for the third reason the role of action and intent was an ongoing polemical debate with Buddhist rivals during this period in the chapter I find textual examples in which the Buddha locates moral responsibility in mental action rather than physical and I include a few passages that directly challenge the contrary view that physical harms have a greater moral significance and likewise giant texts directly engage Buddhist teachers so Sutra Katanga too records a kind of subtle version of this argument in which the Buddhist opponent claims that only living beings possessing mind can perform conscious harms that accrue karma but the Jaina apologist rejects this claiming that even single sensed beings who lack mind are still karmically responsible for action due to their being unrestrained here we can see the passage the sentient beings and the senseless ones both are wrong in their conduct and commit sins through cruelty so the Jaina response we can see that the Jaina sages they want to preserve an important role for physical action as causing harm we could think of this as perhaps the ethical side and also maintain that all beings even those without a mind still participate in karmic responsibility and we can think of that as the ontological side of the argument but they're also recognizing the need to provide righteous paths for their own mendicant and lay community who cannot practice non-action fully so I placed the fivefold Kriya in that context so with that background let's return to the list of the Kriya in the Bhagavati Sutra although I focus primarily on set one in the chapter I do want to point out that there is a second set of Kriya in the Bhagavati that I'd like to consider with you as well and I identify three roles that I think these sets of Kriya are serving the first is Kriya as contact so in set one which I've outlined here in blue we see action as foundationally physical however physical action may additionally be instrumental hostile tormenting or murderous depending on the actor's aim and or the proximity to the results or the consequences the teaching lesson of the hunter arrow and bow makes clear that if the hunter intends to kill a living being the hunter and all the constituent parts of the arrow and bow are responsible for all five Kriya however if the arrow is shot into the air the hunter is responsible for putting the first four actions into play but not responsible for the last contact of murderous action the constituent aspects of the bow and arrow however they lack the mind cannot escape karmic responsibility of this murderous contact even more remarkably we now see in set two outlined in green that the first term of purpose of harm is described with the Prakrit Arambia Kriya and this very term Arambha which described any physical action in the Atranga Sutra has now taken on a technical meaning and an internal quality purpose of action in the Bhagavati Sutra Ohira argues that set one actually emphasizes the physical aspect of Kriya likely formulated on the basis of Hinsa which would later be canonized in the five vows while set two stresses the mental action of Kriya formulated on the basis of Parigraha which would also be incorporated later in the vows these sets of Kriya draw attention to the significant role of contact both in the sense of physical proximity as a critical component of harm that is physically touching but also contact as an actions karmic result that is being touched by consequences related to a particular aspect of action in these two sets of Kriya both physical and mental actions can be touched by consequences in the second role Kriya describes action that follows a course so in addition to being touched by consequences through both physical and mental action Walter Schubert argues that any offense follows a course the very opening line of the Bhagavati sheds light on this insight through the unique principle of the Chalamane Chali or what Ernst Luhman calls the irrevocable factum tenet meaning that quote the action once set in motion equals the completed action the Bhagavati explains the tenet this way what one is about to get rid of equals gotten rid of what one is about to cut equals cut what one is about to break equals broken what one is about to burn equals burned what one is about to kill equals killed and so on now the appeal to intention here is hard to ignore insofar as the intent to break for instance is regarded as already broken this tenet is likely unique to the Bhagavati's concern not only because it's the opening line of the text but because it doesn't seem to show up anywhere else the tenet lacks any technical definition and it relies primarily on narrative examples to explain it in different stories in one story when a monk sets out to meet an elder in order to confess a fault he's regarded as loyal even if some accident prevents him from arriving because quote the action in progress equals the completed action in our story of the hunter arrow and bow we can see some indirect parallels with the Kriya that intending to kill equals killed though the tenet is never formally applied to that particular narrative in one other use the irrevocable factum tenet illustrates the concern of heresy the Bhagavati among students who contradict Mahavir's teachings the disciple turned heretic Jamali for instance after falling ill request that a bed be made up for him realizing that a bed being made is certainly not a bed fully made resulting in his public disavowal of Mahavir's teachings our own Peter Flugo offers a helpful synthesis of these two interpretations in German I might add so I really had to work for this translation Flugo demonstrates how Jamali's perspective reflects a karmic understanding that's at odds with Mahavir's in Jamali's view of the unmade bed quote an action is only considered to be completed when all sub steps have been completed and the end result is achieved meaning the bed is fully made correspondingly the karmic effect of an action on the agent would only be felt after the entire process is completed end quote so this is counter to Mahavir who locates karmic accrual and at the observed initiation point of action including any later sub steps that might happen in different contexts or by different means Kriya when it viewed through the irrevocable fact intended seems to describe any actions put in motion by an initial karmically significant decision toward a goal that will lead to either an accumulation or a reduction of material karma and finally Kriya as hierarchical actions that are applicable to all beings these two sets of five fold Kriya may function in the text to provide an alternate more technical formulation of the concern articulated in the irrevocable fact intended Flugo describes these Kriya as hierarchical actions that is actions that presuppose and logically imply other actions Shubrin describes the actions as bound in mutual relativity if we just look at the set in blue which was my primary focus the teaching lesson suggests that a hunter shooting an arrow may imply all five aspects if the intention was to kill a murderous action would certainly be physical but a physical action need not necessarily be murderous the hunter could have just been going for target shooting so actions may differ according to their motivation but how then is the bow an arrow responsible for all five Kriya if the beings that constitute those objects lack a mind and I think answers here seem speculative at best Shubrin acknowledges that the animation of weapons might serve two purposes first to reference the important distinction between beings that can do little to impact their karmic intake and humans who can do the most and second as a reminder that all humans may have previously existed as any kind of being almost anticipation of the later theory of Nagodes or the smallest one sense beings that live and die in aggregate clusters little able to impact their karma at all Flugo suggests that the authors may have merely been trying to clarify Kriya as extending the scope of karma and responsibility in situation in which multi-causal factors come into play but it strikes me that the responsibility of the arrow and the bow in this hierarchy hierarchy of actions retains I think three important Jaina features first against the Buddhist exclusion of non-human beings from karmic participation the Jaina worldview posits the life force or jive in all beings enabling their participation in the karmic framework of cause and effect toward moksha second even though intention is a growing factor in Jaina accounts of karmic harm physical contact by the parts of the bow and arrow remain a significant karmic factor where beings are capable of touching others and being touched by the consequences third harm can be caused in myriad ways as expressed in the earliest affirmation of the aturanga sutra that I did it I shall cause another to do it I shall allow another to do it that is if the hunter sets in motion actions that result in the death of a living being he may not personally bear the karma of murderous action but he causes the beings that constitute the bow and arrow to accrue that karmic cost as instruments such a reading would add additional support to the important Jaina mandate to minimize possessions not only because of one's attachments to those items but because possessions can be used as instruments in actions that are not karmically neutral ultimately the Bhagavati's five fold Kriya contributes to a more nuanced reading of Jaina nonviolence and karma theory the Kriya sets make clear that violence consists of many discrete acts both mental and physical recognize that a course of events must be set in motion and that multiple living beings may be involuntarily deployed as instruments of harm in a given act multiplying the karmic costs and also diversifying the karmic responsibility of a single action the five fold Kriya preserve critical elements of Jaina philosophy such as the karmic importance of action within a vibrant cosmology while also evolving an account of nonviolence that moves beyond the personal practices of individual mendicants to a growing number of followers including lay community members who must also strive for harm reduction within the wider community thanks very much for most interesting lecture and I hope there are some questions or comments among the participants anyway let's see the chat here I have a question the the example of the the arrow that falls down and injures a creature and even the wood is made responsible for the injury caused how do you interpret that Peter why do you pick out the wood because when we look at it it's like the arrow is made of the wood it's made of the bow string the tendon so what is it about the wood for instance that just just any of it I have to say I hardly know what to make out of any of it that's why I really wanted this passage because I'm always interested in this way that these the it's such a unique within global philosophy the way that the China thinkers just refuse to give up on some kind of non-human agency and even to the and it's so different I think than when we think about kind of contemporary perspectives of that you know that's that many beings either are either mechanistic or that they live by instinct or that they have you know we can't hold them responsible that the Jiang view just never accepts this and so I think it's just you know I guess really thinking through this sense that of a physicality that especially in the concept of contact that the actual parts of the kind of the matter the Jeeva Jeev combo when it touches something this put that there's something about that physical materiality of the contact that means that beings can't be off the hook even if it's wood or the feather or whatever is the bow part and my argument just as a footnote was also that this is to get demonstrate more provide more clarity about different elements that are relevant in describing an action intention, condition consequence etc so not just the hierarchical conditionality but different aspects of an action of which with relation to Jamali that example I was of the opinion that Mahavira looks at the completed action and Jamali looks at intended action action as something projected into the future whereas for Mahavira only what has been done counts and whatever has been done has been done and is of course comically accounted automatically for the mechanism anyway thank you very much fabulous okay thank you very much and then there was a question I think okay was a question where maybe someone raised a hand ah see here no I don't see any hand I'm sorry then I missed it okay thank you our next speaker is Samani Pratibha Pradhania from the Jane World Peace Center and she will talk about Ahimsa Prashikshana a socio-religious initiative thank you to organizers Ahimsa Prashikshana a socio-religious initiative the generic term prediction refers to educating someone in a particular subject or training equipping with a certain skill it is common term that applies to all source of learning when prediction is associated with a religious, ethical or social agenda such as Ahimsa it adopts a specific teaching Acharya Mahaprakya a prominent Jane Acharya initiated Ahimsa Prashikshana in 1991 to promote and widen the scope of non-violence and interfit harmony Ahimsa is most prominent and well-known phenomena in Jainism the Ahimsa Prashikshana is a socio-religious initiative which has a four-fold strategy theory and history of non-violence Paddhati and Itihas transformation of heart Ridae Parivartan attitudinal change Drishtikon Parivartan change in lifestyle Jivan Shelly Parivartan it is argued that Ahimsa Prashikshana is a modernized outlook of the cardinal principle of Ahimsa though the process of secularization broadening the scope of application of Ahimsa is in cooperation with various elements Mahaprakya has attempted to transform the self and society this paper explored the innovative ways in which the Guru can transform the ideology and conduct of the masses without religious conversion or a change in religious and cultural identity through the use of intermediate goals related to social and moral well-being. I term this sort of mass engagement of the Guru as engaged spirituality scientific analysis of Jain siddhant and practices in process of redefining various concept in the light of science is a way towards modernity. Mahaprakya's deliberate adoption of modern scientific approach in significant aspect of science, psychology and liberal approach towards secular presentation of Ahimsa is an expression of Jain modernism for which the key feature is as defined by Peter Flughel belief in the superiority of the present over the past in this study we gain an understanding of how seemingly old fixed concepts are not in reality but they are still considered and reformulated for the current need of people in the history of Ahimsa in the context of Mahavira and his teaching Jainism has formed a full system of restaurant and rules which are the ways of observing Ahimsa at external extreme level for the aesthetic with the five great vows Samiti and Gupti the life of Jain lady is also framed by the complex set of 12 vows made to encourage Ahimsa which is addressed to all possible area of life and such as profession food behavior and their travel limitation of acquisition and position so through these old 12 vows we can see there is a boundary of vrata we gain an understanding of how these rules which are fixed but they still represented in a modern way he had used various branches of knowledge and shape in the modern context first of all causing of the violence are very important without the understanding of the causes one cannot come out from this problem it has taken greed, fear, hostility anger egoism intolerance and absolutistic way and absolute behavior and all these are very much important for understanding the causes of violence when the change in this perspective then the overcoming the violent feeling and instinct will be possible merely studying the theory and history one cannot achieve change into attitude beliefs and lifestyle the second dimension of the training of non-violence is change of heart here the term heart is very important the word heart does not mean logical heart or but it has different meaning here here it means emotion or feeling the ayurveda text vashishti yoga chapter 8 upholds that there are two hearts one beside the lungs and the other in the brain the genesis of emotion is in the limbic system a part of the brain according to acharya mahapragya change in heart means replacing the negative emotion into positive one attachment, jealousy, disgust etc are all negative feeling while friendliness, compassion mercy, love, affection are the positive emotions the process of transformation of such emotion is known as change of the heart it requires the change through the process trained to the one's mindset with different practices that is abhyas and mahapragya also talk about the economic health and non-violence training is very important so voluntary parting the wealth and that is known acquisition decentralization of the economy economic health is very important for the non-violence legitimate means of making money just distribution of the wealth as we seen that small part of wealth is distributed then many projects can be carried out restaurant in commercialism and limitation of want is also important for the economic health of the world and same time mahapragya never ignore the physical body the somatic health is also important for the non-violence training here the intrinsic relation between physical health and non-violence if the impaired health is there it generate violence one of the factor is responsible for the suicide many case study reveal that there is the ineducate level of sugar in the blood your slides do not move forward you can't see them okay so I think let me finish first this so the disorder in spleen and liver also contribute to the violent thought therefore training in different aspect of health science is important for the practice of non-violence acarya mahapragya employed the tool of preksha meditation for the transformation of habit and behavior during the preksha dhyan practice practitioners are always encouraged to visualize white color at the center of forehead the center of enlightenment this center is correlating with the pituitary gland which is known as master gland it suggests that one imagine rising moon at the center of forehead or any white color which is associated with the lesha pure lesha shukla lesha according to acarya mahapragya leshas are micro vibration or the karmic color that act as a legend between spiritual self and physical self of the living organism though the perception of specific color one is able to transform benvolent lesha into malevolent lesha into benvolent lesha and resulting into the total eradication of cruelty hatred etc on the same time this is the perception based practices and on the other hand mahapragya involve the psychology the contemplative experience of the central tool in the realm of somatic psychology anupriksha practices can actually help us to rewire the brain towards the new habits and new habits formation is possible through the neuro endocrinology for a person experiencing heightened anger fear anxiety and direct attention might choose to focus on the feeling of once grounding into the earth rather than direct sensation of anger fear anxiety this practice allows people to reorient their attention towards balance also enabling them to create a space between their impulses and their response mahapragya addresses using these small activities in the sitting into group group meditation group pranayama group exercise he notes that there are certain activities harmonize group of people he maintained that healing is a communal endeavor and that is settled body initiative others and settle others as well means influencing each other's vibration some of these harmonizing activity include like humming sound breathing breathing long deep and rhythmic swas preksha and together with these practices pranayama and also rubbing the somatic parts rocking and rolling all these are similar practices and I think they are the practice which are more secular than religious so here these practices are very very common and helping to the masses this paper has revealed that some open boundaries of ahinsa were not discussed in traditional package of 5 mahavratas 12 sravak vratas and higher religious practices like pratimas still these packages are ongoing in the jain practices interestingly the customary terms such as karan are not used in the new terminology of ahinsa protection though the process of secularization broadening the scope of application of ahinsa by incorporating various elements from science and psychology is made a modernistic approach of mahaprakya ahinsa protection is a fourfold system of training and encourage and develop the known violent principles both through heart and mind and extremely through one's conduct the first two limbs of this system are change of heart and change of attitude mahaprakya taught that practice of anupriksha is the means of replacing negative thoughts and emotion impulses with positive instead these inner foundation work in the inner cultivation of restraint and the third limb and fourth limb change in lifestyle which means discerning between wants and need and reducing and legitimating limiting one's luxuries this is the reinforcement of the last limb a change of livelihood which requires that jobs involving access violence like industrialization and globalization should be avoided thus mahaprakya attempted to ensure that development of a training encompasses both inner mental and emotional aspect and external behavior and action which is very important and the function of individual family unit society, local, national and global I quote from um prasna vyakaran sutra there is a interesting veneration of ahinsa sabbhuya khe mankari ahinsa so here we can see ahinsa projection is a pragmatic and concerned with worldly need while ahinsa is transcendent and addressing the big question of existence and the prasna vyakaran sutra um the known violence is best over of well-being to all living being and here the use of a as in gen terminology prana, bhuta, sattva all are bhuta but I would like to see in a different light bhuta is also materialism also so where there is a limitation of the materiality that is also leading towards peace and non-violence so I finish here but I would like to discuss my slide little bit um Mahapragya presented full course and the possibility of the cultivation of ahinsa is very very visible in his lessons and module of ahinsa projection. Interestingly in 1991 university university introduced the department of peace research and non-violence and the courses are offered BA, MA, MPHIL, PSD PG diploma and certificate course and so on and also um the training center for the known violence so vocational training centers were started throughout India and I have a study of um really from 2001 to 2017 so more than 18 states of India have these centers so the graph shows that highest centers of peace and non-violence in Rajasthan 1958 and then Jharkhand 66 and Bihar 31 but all together 16 states of it and also on the assignment of ahinsa and non-violence there are seven 12 international conferences also organized by Anu Vibha which is a body and finally the ahinsa yatra carried out by Mahapragya and also Acharya Mahasraman so connecting India, Nepal, Bhutan so more than 50,000 kilometers ahinsa yatra by the leader of Tirappan sect was organized and carried out so ahinsa protection at grassroots for the school level also and then ahinsa at at the training centers is available in India so this module is presented and training centers are opened and many centers open the heart for the employment because hunger and unemployment is the biggest cause under the violence and Mahapragya seen it and try to solve this problem through ahinsa protection thank you Thank you very much for this interesting and visionary inspiring lecture I think we may have maybe we can take one question but then I think we have to go on with Petrus final lecture here any question any comment I have a question I just wondered the point that you made about healing as a community endeavor I wondered if there were any if Mahapragya draws that theme from any textual point or if that's his own development the concept of healing as a community endeavor it is first of all it is Mahapragya's own experience and normally the behavior when the abnormality occurs might be ill health or an scarcity so these are common reason so looking at the common life I think he has taken into account for this ahinsa protection okay thank you very much once again Peter are you there yes you're there okay so I'll now speak about Mahapragya is of course our dear friend and great colleague etc Peter Fliegel and Peter you're going to talk about you have a very cryptical title the non-violence of non-violence so you have to explain that in your lecture now so please what is critical about that no cryptic cryptic maybe not we'll see is is the slide visible yes yes very good okay right references and so on read a bit and then I move on to slides to save time he who knows the violence done for the sake of special objects knows what is free from violence he who knows what is free from violence knows the violence done for special objects this is one of the oldest verses in the Shwetambara scriptures in the Ayuranga and it shows obviously that violence and non-violence are intrinsically connected in the theorizing of the genes the parent paradox recognized in this and other canonical passages that cognition of violence is a condition and hence integral part of a religious system aimed at the maximization of non-violence can be explained to help of the theory of auto poetic or living systems of Nicholas Luhman as a consequence of the fact that all social systems constitute themselves through selective self-referential mechanisms based on binary codes programs and routines which constitutes the elements that function as its parts the paper presents the theoretical interpretation of the Jaina tradition arguing that as a social system the Jaina tradition reproduces itself with reference to a combination of an asymmetrical ontological code jiva-ajiva and an asymmetrical moral code ahimsa-himsa implemented through programs that is criteria for the allocation of objects and processes to one or to the other side of the constitutive asymmetrical distinctions Jaina philosophy itself highlights the significance of binary categorizations the method of binary classification is not just a tool of modern structuralism but a principle used in Jaina epistemology the canonical aniyogadwara discusses various forms of categorization using the term dunama name as a designation for any binary distinctions informing the method of taxonomic classification such as monosyllabic versus multi-syllabic jiva this is ajiva vishesha meaning genus and species though the distinction between violence and non-violence or injury and non-injury harm and harmlessness or rather the positive value of non-violence alone is nowadays taken for granted in Jaina culture its dominance as a root metaphor is the outcome of a long history of scholastic systematization as Klaus Brun has shown only with the consolidation of the ahimsa reductionism predicated on the mushrooming of synonyms of synonyms ahimsa words and himsa words described also by Kulat Kaya and the crystallization of a central binary code medieval times the Jaina tradition was able to develop a stable semantic system as well as auto poetic social systems predicated on such religious semantics because all systems are predicated on reductions of complexity here you can see that this is often cited first from the Dasha Vaikalika refers to dharma rather than ahimsa which of course plays a role there just as an example by reinterpreting the insides of Brun in terms of lumen theory of social systems the paper argues that the crystallization of a central moral code by himsa and insa through processes of semantic duplication and self-referential reduction was the condition for the development and integration of networks of relations between supplementary codes and programs which stabilize the Jaina system over time because the late emergence of a central code of the Jaina religion must be considered as a relatively recent development as a self referential social system as evident in the absence of generalizing self-designations such as Jaina Sanga such terms are fairly recent the proposition that the Jaina tradition like all established semantic systems consolidated itself through the reduction of initial terminological complexity to dominant asymmetrical codes such as ahimsa and insa is both simple and complex all philosophers will agree that avoiding pain is desirable Suyagada 2279 demonstrates by way of a narrative thought experiment though they evidently do not anonymously agree on the status of ahimsa as the one supreme philosophical principle as proposed by the Jaina philosophers here someone asked assembly of all philosophers who believe in different things to take into their hands a vessel full of holes and hold them from it all philosophers refuse to do that and then it is changed why are they not doing this because it's painful of course because you're afraid of pain you hold back so all creatures averse are all creatures are averse to pain this is implication and then it is said this is a maxim of general application it is a true principle a religious reflection this maxim principle religious reflection is good with regard to every living being the word ahimsa is not mentioned there at all just the avoidance of pain at the heart of the matter is the philosophical question of the ontological status and the function of the distinction itself that separates the semantic realms of nonviolence and violence which distinction positive and negative and with the help of additional criteria unstable collection should enable observers to sort all phenomena in two distinct sets sets in set theory and you should remain the problem is that in practice not all phenomena can be sorted into either one or the other set but maybe classified as both end or neither nor this is recognized in the tetra lemmas of Buddhist and Jaina logic Chatur Shkoti and Chatur Bangi additionally the attribute indescribable avyaktavya is used thus rendering lists of more than four irreducible alternatives such as the Jaina Sabta Bangi classification de facto the classification of intermediary categories between is and is not recognizes the practical difficulties implied by the distinction itself in practical context I do not believe evidently that Jaina logic is ultimately concerned with problems of logic per se but with practical problems in contrast to Jaina philosophy the second century Buddhist philosopher Nagarjuna taught in his Madhyamaka Karika that all factors of being Dharma and all mental cognitions judgements Vigna and linguistic distinctions Vikalpa that is the dependent designations Prajnapati Upadaya that are responsible for the identification of distinct phenomena Prapansha in mind and language are empty Shunyata Triharsha the distinguished 13th century Advaitin a hidden Buddhist believed at least consciousness to be real if not the world if not the world as the Jaya Vasheshika in Jaina was presupposed which is critique of the philosophical method of distinction targeted with explicitly following Nagarjuna Shri Harsha argued that while all philosophical systems are rooted in fundamental distinctions and networks of relations every distinction carries the seat of its solution within itself for this reason alone all phenomena of this world whether empirical objects or objects of thought are ultimately inexplicable by the method of distinction of discriminative insight as the Jains would say only consciousness that is ultimately Brahma is real an intriguing timeless analysis based on first principles he demonstrated that all acts of distinction are ultimately self-defeating and either in paradox or in an infinite regress and here I cite a summary of Das Gupta the concept of difference can hardly be defined Shri Harsha said if it lies involved within the essential nature of all things that differ then difference would be identical with the nature of the things that differ if difference were different from the things that differ then it would be necessary to find out some way of establishing a relation between difference and the things that differ and this might require another connection and that another and so we should have a vicious endless series this difference may be looked from different perspectives I mean this is from Nargajuna on difference I skip this so here are the perspectives as the nature of things understood or perceived this difference as part of the nature of things as understood or perceived this implies that all other things are implicitly related to as different without consideration without apprehension apprehension of their distinctive nature if the distinction is to extraneous to things then an infinite regress emerges as just described the distinction between the distinction and the object requires another distinction to be explained and so on another form of distinction mentioned by Shri Harsha is the mental negation of other things so the book is not the table this then leads to the problem of class attributes imaginary objects etc. the unicorn I'm not a unicorn something like this finally opposition Vidarmya that also involves an infinite regress of what we are of course mainly interested in if difference is regarded as the possession of opposite characters Vidarmya then also it may be asked whether the opposite characters have further opposite characters to distinguish them from one another and these again others and so there's a vicious infinite again it may be asked whether these distinguishing characters are themselves different from the objects which possess them or not one may again ask concerning the opposition opposing characters which lead to this difference and then again about other opposing characters of these and so on so they're very interesting observation here infinite differences require infinite time but objects are finite limited in time that creates problems and we could discuss endlessly about Siad Vada and so on if differences come in all at once and not one after the other in time there would be disorder and no clear determination conceptual determination possible except for hypothetical omniscient it can therefore be said that our perception of differences has any such has no such intrinsic validity that it can contradict the ultimate unity in the Japanese attic text very interesting indeed in European scholasticism also different types of distinction where differentiated conceptual real distinction between conceptual and real itself so much as introduction now the distinction of involved in the cultural codes and I have argued that Ahimsa is a cultural code which constitutes the Jaina system and is ultimately self-defeating on logical grounds whatever one thinks about the practice of course in the history of let us say Indian sociology of India and Indology this is an old hat you know has argued that Hinduism is basically structured by binary code pure and impure and Padmanabh Jayini has argued the same for Jainism just that Jainism defines it differently so I instead of pure and impure which may equally work I put violence and non-violence up but I have a slightly different sociological theory in mind to say that in the beginning I pursue that Dimo has a neocontinent value manifestation theory you know levels of value when you have a dominant value and then lesser and lesser value so purity would be the dominant value whereas I follow human and say the distinction so the empty space between the two can never be transcended by a single positive value you always have the opposition in any of these religious systems so the distinction itself is contingent as a certain arbitrary to it which is absolutely unavoidable and just a feature of semantic systems coding systems are constituted by the re-entry of a distinction in the unmarked space between that which is distinguished generating a state of systemic system specific indeterminacy that is the oscillation between positively and negatively evaluated operations and between self-reference that means the system can only be constituted if it becomes self-referential in my case it is if nonviolence is related to nonviolence or the distinction between nonviolence and violence is related to itself here is what Padman Abjani said anything that was not shoulder was considered to be a shoulder activities which were not productive of salvation now this is of course part of Jaina philosophy the concept of a shoulder is needed to make clear what is shoulder so it is an absolute essential component it's not outside the conceptual system or negated completely we are not interested in this at all we are only interested in shoulder it works that would not be forming a stable semantic system now a bit of social cybernetics semantic systems let us say a code is a model which relates to information pulls up information distinguishes actions that are violent and nonviolent according to binary code with these distinctions regulates an action this is only if the model is practically used if it is ignored it has absolutely no relevance whatsoever but this is if a system works then it works like this and it is basically an informational system which may have repercussions for systems of actions that means communications that produce communications and produce communications until they stop and then the system is finished religious systems as living systems these are auto poetic systems not as some static social structure or your 4-4 community or something but as living systems which need constant reproduction through actions that connect with other actions and here the theory of Luhmann comes in all social systems including religious systems constitute themselves through selective self-referential mechanisms based on binary codes, programs and routines which constitute the elements of a system that function as it parts human beings are not part of social systems or religious systems it is their actions or other attributes processes in which they are involved which become parts of systems this is something counterintuitive but in systems theory this is how it works and this produces a non-essentialist approach to social let us say sociology of religion in our field which gets away with a lot of problems of I don't need to go into that as a social system a chain tradition that produces itself with a combination of ontological and moral code etc. this is my argument to make this clear this is the logic of Spencer Brown which Luhmann has popularized British mathematician Laws of Form is his book and he pointed out that every distinction basically is a combination of distinction and indication that means there is a marked state a state that is indicated as pointed to and an unmarked state which is the outside as it were and well let me leave that for another day the crux of the whole matter is that systems of distinctions can only be produced by re-entry of the distinction in the unmarked space that is the distinction itself or marked by the distinction itself which is drawn by an observer of course this always implies two types of reference one Spencer Brown and explicit one the value of the marked side and implicit one the outside observer which is not named the outside is the side from which a distinction is supposed to be seen so you have it looks like this if you apply it to a distinction between violence and non-violence or the other way around the outside observer that is you and me I suppose is implicit without it nothing could be seen this is associated with social systems theory environment of course the chains turn this round so the re-entry of the distinction into the space of the distinction itself can be as an article of Paul Dandas and in the title can produce the non-violence of violence relationship so the question is always how to designate this characterise the distinction itself we know what the two distinguished elements are but what is the distinction it could be anything the entire world is implied here so if you then the distinction to itself self-referentially then you have the non-violence of violence as part of the system differentiated from the outside of the system where you could write violence here again if you like and this is how a system is constituted that means the outside has been incorporated into the inside of the system and violence in this case becomes part of the system and not something that is outside it and this is the scandal the logical scandal in Jaina architecture literature and philosophy violence is constitutive for the Jain system which of course values non-violence higher than violence you can also have the violence of non-violence this is an article of Phyllis Granov she has this in the title so just the sequence has been changed here and this is sort of the standard version but you can also have the non-violence of non-violence and this is my my take on the thing you know if you want to have a purely self-referential non-violence that would be the perfect Jain system of course but the violence is always presupposed that is quite clear otherwise you cannot have the non-violence and here Klaus Brun comes in he shows how the Ahimsa reductionism produced a mushroom of synonyms is predicated on a mushrooming synonyms of Ahimsa and Himsa words he and Kaya have traced this in the literature and you can see that Ahimsa becomes self-referential you know if you say this term is synonymous with that term and so on and then you generate a system of terms that are related to each other and the same with Himsa words and these words sequences however of synonyms do not form a system unless they become self-referential as a whole and so this is a stable system this happens if a central binary code can be crystallized and this has a case in medieval times only and I refer to the work of Brun and so on and the Ahimsa reductionism and the Karma reductionism which Brun has traced so Ahimsa reductionism is if Ahimsa is declared to be the sum of vows the vow of Ahimsa is declared to be the sum of the vows XYZ etc and the Quint is declared to be the Quint Essence of Jaina Doctrin to quote Madame Kaya very early text where this term appears although not Ahimsa as such so that would be maybe a case of Pan-Ahim-Sism term which Brun introduced that everything all the prescriptions in the Jaina text are interpreted as manifestations of Ahimsa so Satya, Steya, Brahmacharya, Parigraha these Patanjali terms all are just basically same as Ahimsa so if you apply this to ethics and so on you can see how a one level let me call it proto-system is turned into a system if several levels through self-references are internally generated so between referring here to the title of John Kord's book are similarly Mahiyas Convivalia Deliverance so this is liberation and well-being are opposed as values and then well-being can be incorporated into the Jaina system so if within the system of Jaina values say the rebirth in heaven becomes an aim in itself although it is distinguished from liberation so this shows how through self-reference through re-entry of the distinction in the distinguished systems develop and these are dynamic processes according to social theory which I cannot get into closely I don't read this it's clear that a large vocabulary was useful to mark communal differences and then to develop the self-referential mechanisms which Pruin did not analyze but he didn't want to take that step because he was distrustful of binary, of reductive language although all the building blocks were there but he gives examples like these how one term explained with reference to two others and this is of course a conceptual self-reference or systems building like in semantics this I would argue is an elaboration of Hempel and Oppenheimer's work in logic terminological dynamism in dogmatic systems and all this I move on rather quickly the Jaina part of Salvation so Moksha Marga this is what the main distinction ultimately has to explain your Himsai, Himsahokan this contradiction be resolved it is resolved by Moksha Marga and through further distinctions this can become clearer so you can see how through this logic law form type of logic the problems which Brun and others in Indology have addressed can be revisited there are two systemic roles of a Himsah as an all-encompassing of Himsah as an environment of the Jain system and as a constitutive part of the Jain system and this is what I'm interested in compare also Jiva Ajiva, Beidekian discriminative insight all these issues they face the same paradoxes basically of distinction I think I have said enough like Satan and God Christianity, Himsah and Himsah mutually constitutive as non-religion and religion is if any of the opposites would be eliminated the other would lose its meaning so is I think I'm talking already too much so there is a question of oscillation between value spheres which you find in some field studies which perplexed people you know are Jains, Jain lay people oscillating between Hinduism and Jainism different gods at home are they pursuing well-being in business and liberation at the same time they're torn in two directions and the term oscillation is often mentioned and also of course the ambiguities in terminology designating both of the two distinguished elements to fix this of course you can't fix it it leads to an infinite regress you know that and this is a value realization type of theory and but in the theory of living systems it is quite clear that coding regulates the oscillation between the positive and negative value that is the contingency of evaluations that means for a person it's always the question how to sort an event is it violent or is it non-violent this is what the system demands you to do you have to take decision and decide to ultimately commit to is drinking milk violence or non-violence you're familiar with these debates but its system determined is nothing else this is the interpretation I'm offering so the oscillation is typical for all distinctions distinguished if something is distinguished you can you have to consider both elements are distinguished and the distinction which creates this determinacy and allows for choice is the positive aspect if there would be only one value being non-violent then there would be no choice and no system really so ultimately social systems including religious systems can therefore be made understood to be always selections processes that are selective in time they're not fixed entities but dynamic relationships which can never be understood by looking at them statically okay close here thank you very much Peter I'm sure I have some comments and the questions but I think I have to listen to the lecture once more so there's so many things that came up to my mind when I listened to this interesting lecture so there is one question from Roy Russell here can a person inhabit more than one value system at the same time of course sure that is an old sociological hat I thought that may come up yeah I'll show it to you oops this is something else anyway I tell you it's in the you can't see the slides which I just showed that is anything can be related to one system that's the whole point of it I mean what we are saying us sitting here discussing something it can have a scholarly aspect it can have psychological aspect this and that different for each individual so whatever there is can be related to different systems it has no intrinsic value but is significantly determined in context and we all in multiple contexts at any point in time and the same with Jainism it's only one aspect of say human beings who are entertaining this system or are related to it in one way or another by others maybe even the answer is yes of course I refer to Max Weber and people like that who have already played over this bear there is one question from Jay Soni would it be helpful to justify Ahimsa metaphysically through the concept of Asrava where the ideal of Shubha also comes in on request I try to switch off the back thing so where is Jay would it helpful to say Ahimsa metaphysically through Shudha Shubha comes also I mean these are supplementary distinctions of course there is not a single distinction but this is just as the argument this has developed historically into the dominant distinction to which whole networks of other distinctions are linked in specific ways and the image I showed at the end which maybe I can show once more this is a reconstruction of how one can look at say the social historical development as a differentiation of initial distinctions forgive me the German here its external internal so within each category further distinctions are inserted in a historical sequence it's not pre-designed in retrospect one can maybe constitute it like this maybe there are other ways of representing it but I just wanted to explain the principle of differentiation of differences I think we could close with a question from Brian Donaldson and that would be the last question so please great thank you Peter your visage is also quite cryptic because we just see some floating eyes I actually really love this because I feel like this is actually where a lot of my work is trying to think about juxtaposed ideals and I'm actually right now writing a grant for a John Templeton foundation to do a conference in dynamism where inviting people to look at dynamic dualisms so this is right there also my first book creaturely cosmologies looked at I used the mathematician Alfred North Whitehead to think about the process of unification of poles I wanted to ask you I've been thinking that activity or ethics is kind of the fusion of these dipolarities so like the real and the ideal and that activity is sort of the coordination of these you're using different terminology because you're coming from sociology and systems and I think I'm thinking more metaphysical theory but I wondered if you could say something about this asymmetry that you're talking about what is the asymmetrical part of the binaries as you're seeing them well these are evaluations that are put on top and also perspectives you know if you draw a distinction I mean if you want to know what is nonviolence you have to distinguish it from something and so that you put the priority of nonviolence it's completely arbitrary in the end but usually some one of the two relata is evaluated positive and the other negative so two distinctions are superimposed but completely symmetrical distinction makes no practical sense that is of course the underlying issue just one follow up Ben why would you call it totally you just used the phrase completely arbitrary because it feels to me that when we think about let's say if we put like it wouldn't seem to me totally arbitrary because there's a telos the very concept of or the very concept of restraining karma the very sense of the possibility of the seed that right pure perception without obstruction this doesn't seem arbitrary it seems like that is the value claim that gets integrated in the system right is when you say arbitrary you mean arbitrary kind of system all life all society's wide the giant tradition seems like it's trying to not be arbitrary at all but to say this is the value that we're imperfectly kind of folding into every activity well historically it is not so clear that is the one point why not what it shuba you know why not privileging this and there is an internal pressure generated by the system itself once established it creates its own problems which then produce you know fitting solutions and then this creates this kind of differentiation this dynamic of differentiation which always can go in different directions at any juncture and people can just drop it you know you are just distinctions start something new thank you very much