Contribution of Karnataka to Jain Literature and Culture

Author(s): K Krishnamoorthy
Publisher: Z_Kailashchandra_Shastri_Abhinandan_Granth_012048.pdf
Catalog link: https://jainqq.org/explore/210341/1

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The Contribution of Karnataka To Jaina Literature & Culture
Dr K. Krishnamoorthy, Dharwad
The early historians of Indian literature and culture have more often than not neglected the substantial contribution of the Jainas. Even when the contribution is surveyed, sketchily though, by scholars like M. Winternitz, no attempt is made to assess the magnitude of the contribution of the Jainas regionwise. Though many of the Jaina Tirthankaras were born in the North, it is an indisputed fact that Jainism in the historical period was patronised by kings of Karnataka in the South, more than any other region. Most of the prominent rules of the Ganga, Calukya, Rastrakūta, Western Calukya, and Hoysala dynasties were active promoters of Jainism. For no less than eight centuries, (400 to 1200 A.D.) Karnataka saw the development of Jaina literature and culture not only in the medium of Sanskrit, but also Prakrit, Apabhrainśa and old Kannada. It is no wonder then that like the colossal statue of Bahubali which makes Sravana-Belgola a holy place of pilgrimage in Karnataka to the Jainas up to date, the equally impressive achievements of eminent Jaina Acaryas in several literary and cultural fields-like literature, grammar, religion, philosophy, poetics, lexicography, porosody, architecture, sculpture, painting, music etc. await yet to be studied closely. In the space of this short paper, what is attempted is only a very broad indication of some of the most outstanding works, especially in Sanskrit, which might be deemed as the signal contribution of Karnataka to Jaina literature and culture. Even such a short survey is rendered possible now, thanks to the new publications brought out in the last two or three decades by premier learned bodies like the Bharatiya Jnanapith.
Among the Jaina pontiffs who receive first and foremost mention by almost all Jaina writers in Karnataka is Samantabhadra who is the author of several works including Apta-mimamsa. His field of activity lay mainly in the South, round about Kanchi (according fifth) to legendary accounts) and his date is generally regarded as the fifth century after the Christian era. It is because of his irresistible influence that the Digambara tradition of the Jainas took deep root in Kamataka.
According to a constantly repeated epigraphic tradition, the kings of the Ganga dynasty starting from Madhava held the ascetic Simhanandi in the highest regard as the carver of their royal fortune. It is virtually certain that Pujyapada or Devanandin was the religious preceptor of these kings in the period 450 to 500 A.D. He systematised for the first time the tenets of Jaina philosophy by writing his celebrated commentary, Sarvarthasiddhi on Umasvati's Tattvarthadhigama-sutra, It begins with the oft-quoted prayer to Jina,
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मोक्षमार्गस्य नेतारं भेत्तारं कर्मभूभृताम् ।
ज्ञातारं विश्वतत्त्वानां वन्दे तद्गुणलब्धये ॥ 'I bow down to Jina, the Leader in the Pathway to salvation, The Destroyer of mountains of Karma, the Knower of all so that I might imbibe his virtues.'
He cannot be much earlier because he is seen quoting from Dinnāga, the Buddhist logician (A.D. 345-425) and Iśvarkrşna, the Sankhya philosopher (A.D, 450). Among his most celebrated works is the Jainendra Vyakarana which successfully attempts to achieve a greater measure of brevity than Pāṇini himself in presenting methodically all the rules of Sanskrit grammar. He is also credited with a gloss on the Paninian grammar, termed Sabdavatara which has been unfortunately lost. न्यासं जैनेन्द्रसंज्ञं सकलबुधनुतं पाणिनीयस्य भूयो
न्यासं शब्दावतारं मनुजततिहितं वैद्यशास्त्रं च कृत्वा । यस्तत्त्वार्थस्य टीकां व्यरचयदिह तां भात्यसौ पूज्यपादः, स्वामी भूपालवन्द्यः स्वपरहितः पूर्णदृम्बोधवृत्तः ।।
[Epigraphia Carnatica, Nagar Taluk, No. 6]
'Pujyapada, the eminent pontiff, commanded reverence from kings, did good to one and all, was omniscient and led an exemplary life. He wrote the extensive grammar, known as Jainendra' praised by all scholars as well as an extensive gloss on Paņini's grammar known as Sabdavatara. Further, he composed a treatise on medicine conducive to the weal of people at large, and an authoritative commentary on the text of the 'Tattvartha'.
Similarly, in the history of Indian poetics, the first ever mention of 'Prasanta' or tranquillity as 'Kavya-rasa' or poetic sentiment is traced in the Jaina canonical text Anuyogadvara-sutta (in Ardhamāgadhi ) whose date, according to its recent editors, cannot be later than 300 A.D. (See Muni Punyavijayaji, Dalsukh Malvania and Amritlal Mohanlal's edition, Mahavira Jaina Maha Vidyalaya, Bombay, 1968, Introduction). No doudt, we have the expression "Vyupasanti' or detachment in a general sense used by the Buddhist poet Asvaghosa in his ornate epic-Saundarananda in the concluding portion; but it does not carry the technical sense of a poetic sentiment as understood in Loetics. But here, in the Anuyogadvära text 'Kavva-rasas' (Kavyarasas) are specifically enumerated as nine, including "Prasanta' (or santa) and substituting 'Vrīdanaka' ('sense of shame') in place of bhayanaka ('fearful').
णव कन्वरसा पण्णत्ता-वीरो सिंगारो अब्बुओ अ रोहो । अहोइ बोद्धब्बो वेलणओ बीभच्छो हासो कलुणो पसन्तो अ॥
[Op. cit. p. 121] The nine rasas are also illustrated with examples. The example given for 'Prasanta-rasa' or tranquillity is
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सब्भावनिन्विकारं उवसन्त-पसन्त-सोमदिट्रीणम् । हो जह मुणिणो सोहति मुहकमलं पीवरसिरीयम् ।।
[Op. cit. p. 124] Glorious is the lotus-face of the ascetic, unperturbed by any emotion, with a calm, tranquil and sweet look!
In the light of this incontestable evidence, one would not be wrong to think that the redaction in Bharata's Natyuśastra including śānta as a minth rasa may have been inspired by the influence of Jaina thought.
The inost celebrated lanmark in the history of Belles lettres is Ravikīrti's ornate eulogy (Prusistikavya) of the Calukya king, Pulakesin II, dated 634 A. D. He regards himself as a poet on a par with celebrities like Kālidása and Bhāravi, At Aihole (Taluka-Badami, Dist, Bijapur), he religiously got a temple of Jina built in hard stone :
येनायोजि नवेऽश्मस्थिरमर्थविधौ सुमतिना जिनवेश्म । स जयतां रविकीर्तिः कविताश्रितकालिदासभारविकीतिः ।।
[Epigraphia Indica, VI. No. 1] The pun (śleşa) and rhyming repetition (Yamaka) even in this single stanza is enough to show his great command over the Sanskrit tradition of ornate poetry. If his contemporary in the North viz. Bāna Bhatta, the courtpoet of Emperor Harsa was singing his patron's glory in hyperbolic fashion (by writing the akhyayika or biography, namely, the Hașracarita, Ravikirti, the court-poet of Pulakesin II in Karnataka could resoundingly poke fun at the defeated Northern ruler :***** farfsaagt 1 Taft 01
[Loc. cit. ] Possibly, he was also the author of a Karnațeśvara-katha eulogising the hero Pulakesin; this work is alluded to in Jayakirti's Chandonuśasana; but it is unfortunately lost.
To the same period belongs Ravişeņa, the author of the Padmacarila or Jaina Rāmāyaṇa in Sanskrit consisting of 18000 verses divided into 123 Parvans or books based on the earlier Paumacaria in Prakrit by Vimalasäri. Like Vālmīki, Ravişeņa too became a poet's poet very soon and we have a number of later Rāmāyaṇa works in several languages following this Jaina version.
Equally important in the history of Sanskrit ornate poetry is Jatāsimha-mandin's Varāngacarita which is a religious and didactic epic couched in the ornate style of the mahakāvya. As Dr. A.N. Upadhye has shown in his learned introduction to this poem edited by him. His other names were Jațila or Jatācārya' and a number of Jaina
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poets in Sanskrit, Apabhraínsa and old Kannada have referred to him with respect. A memorial in stone is preserved upto to this day at Koppal. It became the model: for carita-kavyas or poems centred around religious heroes which were compose large numbers by later Jaina poets. (For further details, see A.N. Upadhye's article in ABORI, XIVI-2) Kavi Parameśvara or Paramesthi is another ancient poet whose work Vágarthasangraha' in no longer extant.
The heyday of Jaina literary activity and philosophical systematisation, is reached in this period because latest researches show that Akalanka, the great Ācārya, must have enjoyed the patronage of the Cālukyas of Badami. Epigraphs mention that Akalanka was honoured at the court of king Sàhasa-tunga, who has been identified with Calukya Vikramaditya I, son and successor of Pulakesin II, who ruled from 642 to 681 A.D. (See Dr. Jyoti Prasad Jain, The Jaina Sources of the History of Ancient Ingia, Delhi, 1964, p. 179). The epigraphic evidence relevant here is :
राजन् साहसतुङ्ग सन्ति बहवः श्वेतातपत्रा नृपाः, किंतु त्वत्सदृशा रणे विजयिनस्त्यागोन्नता दुर्लभाः । तद्वत्सन्ति बुधा न सन्ति कवयो वादीश्वरा वाग्मिनो, नानाशास्त्रविचारचातुरधियः काले कलौ मद्विधाः ।।
[Mallisent Prasasti, Jain Lekha Sangraha, II, No. 290] 'O king, Sāhasatunga ! Indeed many kings there are with royal emblems of white parasoles. But rare are kings as victorious as yourself in battles and as generous as yourself in gifts. So too there are scholars galore on earth. But in this iron age, scholars are rare who, like me, can claim the highest proficiency in poetry, debate, polemical skill and expertness in discussions involving all branches of knowledge !
Another epigraph at Sravanabelagola states that he defeated the Buddhists in a great scholastic debate in the year 643 A.D. :
विक्रमाङ्कशकाब्दीयशतसप्तप्रमाजुषि ।
कालेऽकलङ्कयतिनोर्बोद्धैर्वादो महानभूत् ।। (R. Narasimhachar, Inscriptions at Sravanabelgola, 2nd Ed. Introduction. ) According to Mallisena Prasasti the court of King Himaśītala was the place of this historic debate. This Himaśítala has been recently identified with the Trikalingadhipati mentioned by Hiuen Tsang (Dr. J.P. Jain, Journal of the U.P. Historical Society, Vol. III (New Series), Pt. 2, pp. 108-125). Akalanka has written outstanding works on Jaina Logic and epistemology like Tattvartha-raja-varttika, Aşgasati, Siddhivinis caya and Pramana-sangraha, refuting the arguments of Buddhist logicians like Dinnāga.
Among earlier writers on Jaina metaphysics and logic, referred to by Akalarka are Mallavādin, author of Nayacakra, and Siddhasena Divākara. The latter also is the author of the popular devotional hymn (stotra) known as Kalyanamandirastotra (See Kāvyamala, VII, Bombay, 1907, pp. 10-17). Similarly, Gunanandin's Jainendraprakriya, which is sometimes alluded to by later writers, appears to have been composed under the Cālukyas of Badami. The Jaina version of Brhatkatha of Guņādhya
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wherein the supernatural and romantic episodes of Naravāhanadatta are transferred to Vasudeva, with slight variations is Vasudevahindi of Sanghadāsagani and it is ascribed again to this period. It illustrates the pithy observation of Dhanapāla that all tales in Indian literature are more or less mere variations of the original theme contained in the Bșhatkatha itself :
सत्यं बृहत्कथाम्बोधेबिन्दुमादाय संस्कृताः ।
तेनंतरकथाकन्थाः प्रतिभान्ति तदग्रतः ।। This was also the period which saw the foundation of the Daviba-sangha dy the pontiff Vajranandin at Madurai; its branches were spread over Karnataka also as evidenced by epigraphs.
It is again a Jaina poet from Karnataka, viz. Dhananjaya who added a new dimension to the domain of Sanskrit Kavya by composing the first Dvisandhāna-kavya or equivocal poem in which the same verses yield simultaneously the story of the Rāmāyaṇa as well as the Mahābhārata. It is indeed a rare feat exploring the inexhaustible elasticity of the Sanskrit language. The same poet has also written a lexiconNamamala and devotional hymn Vişāpahara-stotra. As he is quoted by Virasena in his Dhavala (completed in 780 A.D.), he might be a century earlier. In the Namamāla, Dhananjaya's treatment of synonyms and homonyms marks an advance over that of even Amarasimha. For example, he first enumerates twentyseven synonyms of earth such as 'Bhumi', 'Pșthui' etc. and adds crisply :
तत्पर्यायधरः शैलः तत्पर्यायपतिर्नुपः ।
तत्पर्यायरहो वृक्षः शब्दमन्यत्र योजयेत् ॥ Mathematically, we get here a record of 27X3 – 81 vocables. To each of the twentyseven names of af we can and when it would mean ‘mountain', or -fa' when it would mean 'king' or '-' when it would mean 'tree' :
+43-448 = Mountain qeat + T = qatti = Mountain
+ ufa = Hafa = King qeat + fa = geatafa = King T + F = 455 = Tree qeat + s = quate = Tree
Dhananjaya's Vişāpahara-stotra is as lucid and charged with devotion as his Dvisandhana is difficult. Here is an example at random
विषापहारं मणिमौषधानि मन्त्रं समुद्दिश्य रसायनं च ।। भ्राम्यन्त्यहो न त्वमिति स्मरन्ति पर्यायनामानि तवैव तानि ।।
[Kävyamalā, VII, Bombay, 1907, P. 23, verse-14]
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People foolishly pursue the acquisition of poison-cures like gems, herbs, spells, drugs and so on because they do not know that all of them are really identical with Thy grace, though they recite all the time Thine own synonyms !
Dhanañjaya's Namamalá records in one of its concluding verses the greatness attained by three works of the masters Pujyapāda, Akalanka and Dhananjaya himself because they were mentioned together by scholars as the veritable 'Ratna-traya' or triple gems of Jainism:
प्रमाणमकलङ्कस्य पूज्यपादस्य लक्षणम् ।
धनञ्जयकवेः काव्यं रत्नत्रयमपश्चिमम् ।। A contemporary of Dandin and Dhananjaya seems to have been Śrīvardhadeva who wrote the glorious poem 'Cudamani' according to an inscription. He is said to have won the following tribute from the masterpoet Dandin :
जह्रोः कन्यां जटाग्रेण बभार परमेश्वरः । श्रीवर्धदेव संधत्से जिह्वाग्रेण सरस्वतीम् ॥
[Epigraphia Carnatica, II, No. 67] 'If Lord Siva bore Ganga on the top of his matted locks of hair, O Śrīvardhadeva, You bear Sarasvati at the tip of your tongue !
Unfortunately, the work is no longer extant.
The regime of the Rāştrakūta kings was equally favourable to the promotion of Jaina religion. As a result we see the rise of encyclopaedic commentaries ont he old canonical texts in this period. We also the creative boom in the composition of eligious poems (Purānas) eulogising all the great figures held sacred by Jainas. Virasena and Jinasena II were teacher and disciple who jointly completed the gigantic project of commentaries in the manipravāla, or 'gem-coral' style mixing both Sanskrit and Prakrit :
प्रायः संस्कृतभारत्या क्वचित् संस्कृतमिश्रया।
मणिप्रवालन्यायेन प्रोक्तोऽयं ग्रन्थविस्तरः ।। [टीकाकार-प्रशस्ति] Their extent exceeds some 100,000 ślokas. Their only Manuscript copy in plamleaf has been preserved up to date in the Jaina dāna-śálā-matha at Mūdabidre in Karnatak. From the colophons of the work we learn that the Dhavala of Virasena was completed in 780 A.D. and that the Jayadhavala of Jinasena II was completed in 837 A.D. While the Dhaqala on Satkhandagamu is published by Dr. H.L. Jain from Amroyti, the Jayadhavala portions (Kaşaya-pahudas) are published by the Jnanapith, Kashi (1947). (For fuller details see J. P. Jain, The Predecessors of Swami Virasena, Jaina Autiquary, XII, i-pp. 1-6).
The Harivaņģa-purāna by Jinasena I was completed in 783 A.D. It is also a very extensive religious poem, giving for the first time the Jaina version of Harivansa.
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Jinasena II was also a great poet who wrote the magnificent Adipurāna dealing mainly with the epic story of Bharata and Bahubali. It is as much a refined poem as a religious scripture. The work, though very voluminous, remained incomplete till it was completed by his gifted pupil Gunabhadra whose supplementary work is known as Uttarapuräna, The importance of these works will be realised only if we see how Jinasena's work set the tradition to be followed by all old Kannada campū-writers for several centuries. Gunabhadra states that this Jinasena was the guru of king Amoghavarşa-I :
यस्य प्रांशुनखांशुजालविसरद्धारान्तराविर्भवत्पादाम्भोजरजः - पिशङ्ग मुकुटप्रत्यग्ररत्नद्यतिः । संस्मर्ता स्वममोघवर्षनृपतिः पूतोऽहमोत्यलं स श्रीमान् जिनसेन-पूज्यभगवत्पादो जगन्मङ्गलम् ।।
Another literary work of this jinasena is equally significant becase it sketches the life-history of Pārsvanātha-tįrthankara by a very ingenious device of Samasyapürana (a part of a stanza added to another to complete the sense in a different way) and incidentally incoproates the entire text of Kālidāsa's Meghaduta. In the Parsvabhyudaya Jinasena adds to every single or double line of Kālidāsa three or two lines of his own and achieves the intended meaning referring to Pärávanātha. This work has proved most useful in deciding Kalidasa's original text and readings. In the colophon of this poem too, we are told that Jinasena was the esteemed preceptor of king Amoghavarşa I :
इत्यमोघवर्षपरमेश्वरपरमगुरु-श्रीजिनसेनाचार्यविरचितमेघदूतवेष्टिते पाश्र्वाभ्युदये।
This King himself has written the short and beautiful string of epigrams in question and answer form known as Prašnottara-ratnamalika. Though some of the published versions of this poem assign it sometimes to Vimala and sometimes to Sankarācārya, the early Tibetan translation as well as Karnataka commentorial tradition of the Jainas testify to its composition by Amoghavarșa himself. The twenty and odd verses in the āryā metre are at once pithy and profound. One example may be cited here :
कि जीवितमनवयं कि जाड्यं पाटवेऽप्यनभ्यासः । को जाति विवेकी का निद्रा मूढता जन्तोः ॥
[Verse II, Kävyamāla edn. VII, Bombay, 1907, p. 122] Q. What is life ?' Ans : 'Only that which is inpeccable'. Q. What is dullness?' Ans: 'Avoidance of study even when there is
intelligence'. Q. Who is awake ? Ans: 'A wise man'. Q. What is sleep ?' Ans : 'One's foolishness !
It is recently established that even Haribhadra, the compiler of the very popular philosophical treatise, Şaddarśana-samuccaya belongs to this period because a citation from the Hindu logician Jayantabhatta's Nyāyamañjarı (9th century A.D.) has been traced therein (Cf. tittfarten etc.) as well as another citation from the Buddhist śāntirakṣita's Tattvasangraha (C.800 A.D.).
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One of the epigraphs of this period mentions Kaumāra or Katantra system of grammar in which specialists were available. The famous gloss (Vștti) on the KatantraSūtras was written by Durgasimha belonging to this period. Similarly, a Jaina grammarian sākatāyana (or Pälyakīrti) in the court of Amoghavarşa-I founded, like Pujyapāda, another new system of grammar known as the Sakatāyana school. He not only subjects Pāṇini and Pajyapāda to a further compression, but also anticipates in his arrangement the example followed later by authors of Kaumudi-texts. The Sūtras or aphorisms are arranged topic-wise and make for easy comprehension. Besides being the author of sūtras, entitled Sabdanuśasana, Sakatayana himself has also added an auto-coinmentary thereon, called Amoghavștti in honour of his patron-king.
Again, the Jaina mathematician Mahavirācārya who wrote the Ganita-sara-sangraha was a protege of king Amoghavarşa.
The patronage of the Gangas of Talkad, further South, to Jaina writers continued unabated throughout this period and later also. Perhaps the last great creative thinker in Syädväda is Vidyänanda (Vidyanandin) who mentions the Ganga kings Śivamára (785-800 A.D.) and Rācamalla Satyavākya I (815-850 A.D.). His monumental works are ślokwärttika, Asta-sahasri, Yuktyanusasana, Āpta-parikṣā, Pramānaparikṣā etc. His place in Jaina metaphysics in comparable to that of Dharmakīrti in Buddhist thought. Karnataka also saw the rise of well-known commentators on philosophical texts like Prabhācandra (980-1065 A.D.) and Anantavīrya (850 A.D.) Judging by the fact that Camundarāya, the minister of the Ganga king Rocamalla IV was erecting the colossal image of Bahubali in the 10th century, we can imagine a similar spurt in the all-round literary activity of the Jainas of that period. Thus we see a Jaina writer Jayakirti composing an authoritative work on Sanskrit and Kannada prosody called Chandonus asana (1000 A.D.) This has been critically edited by H.D. Velankar (Jayadaman, Bombay, 1949, p. 37 f.). It is composed throughout in verse and refers to less known Jaina poets like Asaga, the author of the Vardhamanapurāņa. The seventh chapter is specially interesting as it throws sidelights on indigenous Kannada metres. It is called fufcfa Fifat and sums up the indigenous Kannada metres in one verse as follows :
वक्ष्येऽक्षरत्रिपद्येलाक्षरिकाषट्पदीचतुष्पदिकाः । छन्दोऽवतंससंज्ञा मदनवतीगीतिकादिमपि कर्णाटे ।
[Ibid. VII. 1] Both Puspadanta, author of Mahāpurāņa and Somadevasūri, author of the celebrated campū work Yasastilaka, were patronised by the Răstrakūta king Krişnarāja III, The colophon of the Yaśastilaka states :
पाण्ड्यसिंहलचोलचेरमप्रभृतीन् महीपतीन् प्रसाध्य मेल्पाटीप्रवर्धमानराज्यप्रभावे श्रीकृष्णराजदेवे TGETTRI.
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and the Prasasti of the Mahapurāna reads :
दीनानाथधनं सदा बहुजनं प्रोत्फुल्लवल्लीवनं मान्याखेटपुरं पुरन्दरपुरीलीलाहरं सुन्दरम् । धारानाथनरेन्द्रकोपशिखिना दग्धं विदग्धप्रियम,
क्वेदानी वसतिं करिष्यति पुनः श्रीपुष्पदन्तः कविः ।। It speaks of the lovely capital Manyakheta of Raștrakütas ravaged by the king of Dhäră. The Yaśastilaka represents a lively picture of India a time when the Buddhist, Jaina and Brahmanical religions were still engaged in a contest that drew towards it the attention, and well-nigh absorbed the intellectual energies of all thinking men'. The story is of Yasodhara's different births and sufferings, popular among Jainas; but in the treatment of the same, Somadeva has shown such an encyclopaedic genius that a scholar today (like Dr. Handiqui) could reconstruct all shades of Vedic, Agamic, Tantric, and popular wisdom current at the time by research in this single work. He could truly say :
मया वागर्थसंभारे भक्त सारस्वते रसे ।
कवयोऽन्ये भविष्यन्ति ननमच्छिष्टभोजनाः ॥ "As I have sumptuously quaffed the nectar essence of all literary ingredients, the poets hereafter to come will have to content themselves with only my leavings !'.
Somadeva's second work which compels attention is his treatise on politics, viz. the Nitivakyamšta. It is modelled on Kautilya's Arthasastra in concise style as well
tent and has been recently translated into Italian. It is one of the very few books on the subject and has 32 chapters dealing, among other things, with the value of life, the sciences, the minister, preceptor, general, envoy, spy, saptaringas of state, judiciary, diplomacy, war and peace.
The patronage extended to Sanskrit writers by the Western Calukya kings of Kalyāṇa was almost unprecedented in the history of Karnatak. It appears as if there were a healthy competition between Bhoja of Dhärā and these kings in respect of patronage to poets. The Jaina Vădirāja in the court of Jayasimha II [Jagadekamalla (1015-1042 A.D.) was indeed a star deserving a place in the company of Samantabhadra and Akalanka. Mallişena-praśusti (E.I., III, P. 18) speaks of him in hyperbolis terms :
त्रैलोक्यदीपिका वाणी द्वाभ्यामेवोदजायत ।
जिनराजत एकस्मादपरस्माद्वादिराजतः ।। "A speech which illumined the three worlds has issued only from two persons on earth : one (was) the king of Jinas, the other-Vadiraja.
The present writer has given a exhaustive study of Vadiraja's Yasodharacarita in his edition of that work published with the commentary of Laksamana by the Karnatak University, Dharwar in 1963. It need not be repeated here. He philoso
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phical work Siddhiviniscaya published by the Bharatiya Jnanapith, is equally outstanding. A careful study of it will show how Vădirāja eminently deserved such high titles as 'sat-tarka-Şanmukha', 'Syadvada-vidyāp tti' and 'Jagadeka-mallivādin'. He gives here elaborate critiques of all the systems of Indian philosophy from the Jaina perspective, refuting the arguments of masters of rival schools like the Buddhist Dharmakirti as interpreted by Arcața and Dharmottara, Mimāinsaka Kumārila Bhatta and Vedāntin Sankarācārya. Another religious poem by Vădirāja is Pārsvanathucarita, and his popular devotional hymn-Ekibhāvastotra. Dayāpāla, a fellow-student of Vădiraja wrote Rūpasiddhi, a revised commentary on Sakațayana-vyakurana. A protege of King Somesvara III (1127-1138 A.D.) was Parsvadeva who wrote a work on musicology, named Sangitasamayasāra. It is a very important work to understand the evolution of Indian music. Mention should also be made here of Vadībhasimha who wrote the Gadyacintamani in ornate prose and Kşatracūdāmaņi in lucid verse. He is said to have been a pupil of Somadeva. But since the present writer has given a detailed study of these else where (Journal of the Karnataka University, Humanities, 1978), they are not elaborated here. So also a detailed study of Ajitasena's Alankaracintamani has been made in the present writer's Essays in Sanskrit Criticism (2nd Edn. Karnatak University, Dharwar, 1976).
लेखसार
कर्नाटकका जैन साहित्य और संस्कृतिके क्षेत्रमें योगदान
डॉ० के० कृष्णमूर्ति, संस्कृत विभाग, धारवाड़ ___कर्नाटक ४००-१२०० के बीच आठ सौ वर्षों तक संस्कृत, प्राकृत, अपभ्रंश एवं कन्नड़के माध्यमसे जैन साहित्य एवं संस्कृतिके विकासमें योगदान करता है। यह योगदान बाहबलीकी प्रतिमाके समान ही महत्त्वपूर्ण माना जाता है । इस लेखमें कर्नाटकने संस्कृतके माध्यमसे इस दिशामें जो काम किया है, उसका संक्षिप्त वर्णन किया गया है।
इसी क्षेत्रमें पांचवीं सदीके लगभग समन्तभद्र और पूज्यपाद हए जिन्होंने अनेक महत्त्वपूर्ण ग्रंथोंके निर्माण द्वारा जैन सिद्धान्तोंको इस क्षेत्रसे प्रतिष्ठित किया। संभवतः तीसरी सदीमें रचित अनुयोगद्वारसूत्र में ही सर्वप्रथम काव्यके क्षेत्रमें वर्णित नव रसोंमें प्रशान्त रसका समाहरण हआ और भयानक रसके बदले, 'वृदानक' रसका नामोल्लेख हआ। संभवतः भरतके नाट्यशास्त्र में 'शान्त रस' के रूपमें नवमे रसका उल्लेख इसी से प्रभावित है।
प्रशस्ति-काव्योंके क्षेत्रमें सन ७३४ में शासन करने वाले चालक्यराज पुलकेशी द्वितीयका रविकीर्ति द्वारा लिखित प्रशस्तिकाव्य काव्यकी कोटिका उत्तम उदाहरण है। इन्होंने कर्नाटेश्वर कथा भी लिखी थी। इसका उल्लेख जयकीर्तिके 'छन्दोनुशासन' में पाया जाता है। इसी समय रविषणने भी जैन रामायण के रूपमें पद्मचरित लिखा जो पूर्ववर्ती विमलसरि लिखित 'पउमचरिय' पर आधारित है । जयसिंहनन्दिका
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'वरांगचरित' तथा परमेश्वर का 'वागर्थसंग्रह' भी अतुलनीय रचनाएँ हैं। इसी प्रकार अकलंक, मल्लवादी, सिद्धसेन दिवाकर, गुणनन्दि, गुणाढ्य आदिने भी धर्म तथा साहित्यके ग्रंथोंका निर्माण कर अपनी यशोध्वजा फहरायी। संस्कृत काव्योंमें सर्वप्रथम द्विसंधान-कोटिका काव्य कर्नाटकके धनंजयने ही रचा जिन्होंने नाममाला नामक शब्दकोश भी बनाया। इन्हींके समकालीन श्रीवर्धदेव ने 'चूड़ामणि' काव्य भी लिखा। राष्ट्रकूट युग भी जैनधर्मके संवर्धनके लिये महत्त्वपूर्ण सिद्ध हुआ। इस युगमें आगमग्रंथों पर बृहत् टीकाएँ लिखी गईं, पुराण लिखे गये / धवला, जयधवला, हरिवंशपुराण आदि इसी काल की रचनाएँ हैं। जिनसेनके आदिपुराण और पाश्र्वाभ्युदयको कौन भूल सकता है ? ये अमोधवर्षके राज्यकालमें हुए हैं जिनकी 'प्रश्नोत्तर-रत्नमालिका' प्रसिद्ध है / इसी युगमें कातंत्रव्याकरणके रचयिता कौमार, शाकटायनव्याकरणके रचयिता पाल्यकीति और गणितसारसंग्रहके रचयिता महावीराचार्य भी हुए। उत्तरवर्ती गंगराज शिवमार के समयमें प्रसिद्ध तार्किक विद्यानन्द हुए जिन्होंने तत्त्वार्थश्लोकवात्तिकके समान अनेक ग्रंथोंकी रचना की / कर्नाटकमें आगे चलकर प्रभाचंड और अनंतवीर्यके समान उत्कट जैन दार्शनिक हुए / यहीं राष्ट्रकूट-राज कृष्णराज तृतीयने पुष्पदन्त ओर सोमदेवसूरिका संवर्धन किया। सोमदेवने यशस्तिलकचम्पूके अतिरिक्त राजनीति-विषयक नीतिवाक्यामत भी लिखा जो कौटिल्यके अर्थशास्त्रका संक्षिप्त रूप है। इसका इतालवी भाषामें अनुवाद किया गया है। कर्नाटकके इतिहासको देखनेसे ऐसा प्रतीत होता है कि धाराके भोज और कर्नाटकके चालुक्य राजाओं में कवियोंके संरक्षणके लिए प्रतिस्पर्धा रही हो। जयसिंह द्वितीयके शासन कालमें यशोधरचरित तथा सिद्धिविनिश्चयके रचयिता वादिराज निश्चय ही अत्यन्त प्रशंसनीय आचार्य हए हैं। इन्होंने चरित और स्तोत्रके अतिरिक्त 'रूपसिद्धि' नामक व्याकरण ग्रंथ भी लिखा है। बारहवीं सदीके जैन लेखकोंमें संगीतसमयसार के रचयिता पर्वदेव, गद्यचिन्तामणि के रचयिता वादीभ सिंह तथा अलंकारचिन्तामणि के रचयिता अजितसेनके नाम प्रमुख हैं / इन पर लेखकने विस्तृत अध्ययन कर टिप्पण लिखे हैं / J .. . - 267 -