Bhakti Saṃgraha or ‘Collection of Devotions’ composed by Ācārya Pūjyapāda (alias Ācārya Devanandī; circa 5th century CE) comprises a set of devotions (bhakti) in form of chaste and melodious Sanskrit hymns. Incidentally, the Most Worshipful Ācārya Kundakunda (circa 1st century BCE) had earlier composed his ‘Daśa Bhakti’ in Prākrit. The reading of devotions (bhakti) is essential to tread the difficult path to liberation. This great work by Ācārya Pūjyapāda is an essential reading for the ascetic (sādhu, muni) as well as (...) the householder (śrāvaka). It not only helps the soul acquire merit (puņya) but, more importantly, saves it from engaging in evil tendencies and pursuits. The devotions pertain, among others, to Lord Jina, the Supreme Beings, the Scripture, the Perfect Conduct, the sacred adobes of attainment of liberation of the Arhanta, and the Nandīśvara dvīpa. This collection includes ‘Śāntyaştaka’ (hymn in praise of the sixteenth Tīrthańkara, Lord Śāntinātha). (shrink)

Ācārya Vādirāja, the composer of ‘Ekībhāva Stotra’ lived around the 11th century Vikrama Samvat. ‘Vādirāja’ was an honour bestowed on him; this was not his actual name. Being the undisputed master of the debating skills – vāditva – in regard to philosophical reasoning, he became famous as ‘Vādirāja’. Ācārya Vādirāja is considered as one of the great contributors to the Jaina literature. Due to the fruition of the past evil karmas, Ācārya Vādirāja’s body got inflicted with leprosy. In spite of (...) this infliction, the dispassionate saint used to remain engrossed in his meditation, unmindful of his bodily suffering. As per the anecdotal story, in order to save the glory of the Jaina saints, Ācārya Vādirāja got himself engrossed in the devotion of Lord Ādinātha and during the course of one night composed the famous ‘Ekībhāva Stotra’. He implores in ‘Ekībhāva Stotra’: “O Lord! On account of the merit of the worthy souls, you had descended on this earth from the celestial world (the Sarvārthasiddhi heaven) and earlier (six months before you entered your mother’s womb) this part of the earth was imparted the lustre of gold (due to the incessant rain of the choicest gems by Kubera). O Lord Jina! Now you have entered the home of my heart that has the door of your meditation and is attractive; is there any wonder in your imparting the lustre of gold to my body?” By virtue of his devotion to Lord Jina, the leprosy of Ācārya Vādirāja got quelled during the night and by the morning his body attained lustre and glow like that of the tempered gold. (shrink)

Ācārya Vādirāja, the composer of ‘Ekībhāva Stotra’ lived around the 11th century Vikrama Samvat. ‘Vādirāja’ was an honour bestowed on him; this was not his actual name. Being the undisputed master of the debating skills – vāditva – in regard to philosophical reasoning, he became famous as ‘Vādirāja’. Ācārya Vādirāja is considered as one of the great contributors to the Jaina literature. Due to the fruition of the past evil karmas, Ācārya Vādirāja’s body got inflicted with leprosy. In spite of (...) this infliction, the dispassionate saint used to remain engrossed in his meditation, unmindful of his bodily suffering. As per the anecdotal story, in order to save the glory of the Jaina saints, Ācārya Vādirāja got himself engrossed in the devotion of Lord Ādinātha and during the course of one night composed the famous ‘Ekībhāva Stotra’. He implores in ‘Ekībhāva Stotra’: “O Lord! On account of the merit of the worthy souls, you had descended on this earth from the celestial world (the Sarvārthasiddhi heaven) and earlier (six months before you entered your mother’s womb) this part of the earth was imparted the lustre of gold (due to the incessant rain of the choicest gems by Kubera). O Lord Jina! Now you have entered the home of my heart that has the door of your meditation and is attractive; is there any wonder in your imparting the lustre of gold to my body?” By virtue of his devotion to Lord Jina, the leprosy of Ācārya Vādirāja got quelled during the night and by the morning his body attained lustre and glow like that of the tempered gold. (shrink)

In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive narratives. The "Woman, Life, Freedom" (...) movement, sparked by the tragic demise of Mahsa (Jina) Amini, unfolds like a poignant narrative, with women scripting the chapters of resistance. This movement, a collage of courage and defiance, has found a digital stage in the "Year of Hope" exhibition, where each artwork tells a story, each pixel a testament to the unyielding spirit of Iranian women. (shrink)

Bhaktāmara Stotra is the magnum opus composition of Ācārya Mānatunga (circa 7th century CE). Bhaktāmara Stotra eulogizes the supreme attributes of Lord Ādinātha, the first Tīrthaṅkara. This is perhaps the most well-known adoration of Lord Jina that is not only recited but memorized, with great devotion and reverence, by a large number of people among the Jaina community, Digambara and Śvetāmbara. It is believed that the worthy soul accumulates enormous propitiousness by reading Bhaktāmara Stotra with devotion. Hundreds of thousands (...) of instances, ancient and recent, must have come to light where people claimed to have benefitted miraculously by the recitation of and reflection on this sacred composition. This slim volume is a useful reference text for international readers. It will be of interest not only to Hindi-loving scholars but also to those looking for an authentic English rendering of Bhaktāmara Stotra. Besides the transliteration in English of the original Sanskrit verse, the meaning of each verse has been given both in Hindi and English languages. The Preface of the book contains, besides other useful information, a synopsis of the concept of empirical (vyavahāra) time (kāla), and a brief life-story of Lord Ādinātha, the first Tīrthaṅkara, as expounded in the Scripture. (shrink)

Pańcāstikāya-samgraha or Pańcāstikāya-sāra (known briefly as Pańcāstikāya and spelled commonly as Panchastikay) is one of the four most important and popular works of Ācārya Kundakunda (circa first century B.C.), the other three being Samayasāra, Pravacanasāra and Niyamasāra. The original text is in Prakrit language and contains a total of 173 verses (gāthā). Pańcāstikāya means ‘five-substances-with-bodily-existence’ and these are: the soul (jīva), the physical-matter (pudgala), the medium-of-motion (dharma), the medium-of-rest (adharma), and the space (ākāśa). These five substances collectively constitute the universe-space (...) (loka). Outside this universe-space (loka) is the infinite non-universe-space (aloka), comprising just the pure space (ākāśa). The substance-of-time (kāla dravya) which renders assistance to all substances in their continuity of being through gradual changes is not an ‘astikāya’ since it occupies a single space-point and, therefore, does not possess the characteristic of body (kāya). Pańcāstikāya-samgraha expounds the Jaina metaphysics – the philosophy of being and knowing – including the nature of the pure soul-substance (jīvāstikāya) which is integral to the seven realities (tattva), the nine objects (padārtha), and the six substances (dravya). While the substance (dravya) never leaves its essential character of existence (sattā), it undergoes origination (utpāda), destruction (vyaya) and permanence (dhrauvya). There is inseparable association between the qualities (guņa) and the substance (dravya). The discussion relies on the ‘doctrine of conditional predication’ (syādvāda) and the ‘seven-nuance system’ (saptabhańgī), as expounded by Lord Jina. (shrink)