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, Rastrakuta, 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, Apabhrainsa 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, 33 - 257 --

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mokSamArgasya netAraM bhettAraM karmabhUbhRtAm / jJAtAraM vizvatattvAnAM vande tadguNalabdhaye // '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 Dinnaga, the Buddhist logician (A.D. 345-425) and Isvarkrsna, 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 Panini 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. nyAsaM jainendrasaMjJaM sakalabudhanutaM pANinIyasya bhUyo nyAsaM zabdAvatAraM manujatatihitaM vaidyazAstraM ca kRtvA / yastattvArthasya TIkAM vyaracayadiha tAM bhAtyasau pUjyapAdaH, svAmI bhUpAlavandyaH svaparahitaH pUrNadRmbodhavRttaH / / [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 Panini'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 Ardhamagadhi ) 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 Anuyogadvara text 'Kavva-rasas' (Kavyarasas) are specifically enumerated as nine, including "Prasanta' (or santa) and substituting 'Vridanaka' ('sense of shame') in place of bhayanaka ('fearful'). Nava kanvarasA paNNattA-vIro siMgAro abbuo a roho / ahoi boddhabbo velaNao bIbhaccho hAso kaluNo pasanto a|| [Op. cit. p. 121] The nine rasas are also illustrated with examples. The example given for 'Prasanta-rasa' or tranquillity is - 258 -

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sabbhAvaninvikAraM uvasanta-pasanta-somadiTrINam / ho jaha muNiNo sohati muhakamalaM pIvarasirIyam / / [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 Natyusastra including santa 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 Ravikirti'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 Kalidasa and Bharavi, At Aihole (Taluka-Badami, Dist, Bijapur), he religiously got a temple of Jina built in hard stone : yenAyoji nave'zmasthiramarthavidhau sumatinA jinavezma / sa jayatAM ravikIrtiH kavitAzritakAlidAsabhAravikItiH / / [Epigraphia Indica, VI. No. 1] The pun (slesa) 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. Bana Bhatta, the courtpoet of Emperor Harsa was singing his patron's glory in hyperbolic fashion (by writing the akhyayika or biography, namely, the Hasracarita, 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 Karnatesvara-katha eulogising the hero Pulakesin; this work is alluded to in Jayakirti's Chandonusasana; but it is unfortunately lost. To the same period belongs Ravisena, the author of the Padmacarila or Jaina Ramayana in Sanskrit consisting of 18000 verses divided into 123 Parvans or books based on the earlier Paumacaria in Prakrit by Vimalasari. Like Valmiki, Ravisena too became a poet's poet very soon and we have a number of later Ramayana works in several languages following this Jaina version. Equally important in the history of Sanskrit ornate poetry is Jatasimha-mandin's Varangacarita which is a religious and didactic epic couched in the ornate style of the mahakavya. As Dr. A.N. Upadhye has shown in his learned introduction to this poem edited by him. His other names were Jatila or Jatacarya' and a number of Jaina - 259 -

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poets in Sanskrit, Apabhrainsa 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 Paramesvara or Paramesthi is another ancient poet whose work Vagarthasangraha' 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 Acarya, must have enjoyed the patronage of the Calukyas of Badami. Epigraphs mention that Akalanka was honoured at the court of king Sahasa-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 : rAjan sAhasatuGga santi bahavaH zvetAtapatrA nRpAH, kiMtu tvatsadRzA raNe vijayinastyAgonnatA durlabhAH / tadvatsanti budhA na santi kavayo vAdIzvarA vAgmino, nAnAzAstravicAracAturadhiyaH kAle kalau madvidhAH / / [Mallisent Prasasti, Jain Lekha Sangraha, II, No. 290] 'O king, Sahasatunga ! 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. : vikramAGkazakAbdIyazatasaptapramAjuSi / kAle'kalaGkayatinorboddhairvAdo mahAnabhUt / / (R. Narasimhachar, Inscriptions at Sravanabelgola, 2nd Ed. Introduction. ) According to Mallisena Prasasti the court of King Himasitala was the place of this historic debate. This Himasitala 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, Asgasati, Siddhivinis caya and Pramana-sangraha, refuting the arguments of Buddhist logicians like Dinnaga. Among earlier writers on Jaina metaphysics and logic, referred to by Akalarka are Mallavadin, author of Nayacakra, and Siddhasena Divakara. The latter also is the author of the popular devotional hymn (stotra) known as Kalyanamandirastotra (See Kavyamala, 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 Calukyas of Badami. The Jaina version of Brhatkatha of Gunadhya - 260 -

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wherein the supernatural and romantic episodes of Naravahanadatta are transferred to Vasudeva, with slight variations is Vasudevahindi of Sanghadasagani and it is ascribed again to this period. It illustrates the pithy observation of Dhanapala that all tales in Indian literature are more or less mere variations of the original theme contained in the Bshatkatha itself : satyaM bRhatkathAmbodhebindumAdAya saMskRtAH / tenaMtarakathAkanthAH pratibhAnti tadagrataH / / 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 Dvisandhana-kavya or equivocal poem in which the same verses yield simultaneously the story of the Ramayana as well as the Mahabharata. 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 Visapahara-stotra. As he is quoted by Virasena in his Dhavala (completed in 780 A.D.), he might be a century earlier. In the Namamala, 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', 'Psthui' etc. and adds crisply : tatparyAyadharaH zailaH tatparyAyapatirnupaH / tatparyAyaraho vRkSaH zabdamanyatra yojayet // 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 Visapahara-stotra is as lucid and charged with devotion as his Dvisandhana is difficult. Here is an example at random viSApahAraM maNimauSadhAni mantraM samuddizya rasAyanaM ca / / bhrAmyantyaho na tvamiti smaranti paryAyanAmAni tavaiva tAni / / [Kavyamala, VII, Bombay, 1907, P. 23, verse-14] - 261 -

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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 ! Dhananjaya's Namamala records in one of its concluding verses the greatness attained by three works of the masters Pujyapada, Akalanka and Dhananjaya himself because they were mentioned together by scholars as the veritable 'Ratna-traya' or triple gems of Jainism: pramANamakalaGkasya pUjyapAdasya lakSaNam / dhanaJjayakaveH kAvyaM ratnatrayamapazcimam / / A contemporary of Dandin and Dhananjaya seems to have been Srivardhadeva who wrote the glorious poem 'Cudamani' according to an inscription. He is said to have won the following tribute from the masterpoet Dandin : jahroH kanyAM jaTAgreNa babhAra paramezvaraH / zrIvardhadeva saMdhatse jihvAgreNa sarasvatIm // [Epigraphia Carnatica, II, No. 67] 'If Lord Siva bore Ganga on the top of his matted locks of hair, O Srivardhadeva, You bear Sarasvati at the tip of your tongue ! Unfortunately, the work is no longer extant. The regime of the Rastrakuta 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 (Puranas) 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 manipravala, or 'gem-coral' style mixing both Sanskrit and Prakrit : prAyaH saMskRtabhAratyA kvacit sNskRtmishryaa| maNipravAlanyAyena prokto'yaM granthavistaraH / / [TIkAkAra-prazasti] Their extent exceeds some 100,000 slokas. Their only Manuscript copy in plamleaf has been preserved up to date in the Jaina dana-sala-matha at Mudabidre 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 (Kasaya-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 Harivanga-purana 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. - 262 -

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Jinasena II was also a great poet who wrote the magnificent Adipurana 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 Uttarapurana, 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 campu-writers for several centuries. Gunabhadra states that this Jinasena was the guru of king Amoghavarsa-I : yasya prAMzunakhAMzujAlavisaraddhArAntarAvirbhavatpAdAmbhojarajaH - pizaGga mukuTapratyagraratnadyatiH / saMsmartA svamamoghavarSanRpatiH pUto'hamotyalaM sa zrImAn jinasena-pUjyabhagavatpAdo jaganmaGgalam / / Another literary work of this jinasena is equally significant becase it sketches the life-history of Parsvanatha-tirthankara by a very ingenious device of Samasyapurana (a part of a stanza added to another to complete the sense in a different way) and incidentally incoproates the entire text of Kalidasa's Meghaduta. In the Parsvabhyudaya Jinasena adds to every single or double line of Kalidasa three or two lines of his own and achieves the intended meaning referring to Paravanatha. 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 Amoghavarsa I : ityamoghavarSaparamezvaraparamaguru-zrIjinasenAcAryaviracitameghadUtaveSTite paashrvaabhyudye| This King himself has written the short and beautiful string of epigrams in question and answer form known as Prasnottara-ratnamalika. Though some of the published versions of this poem assign it sometimes to Vimala and sometimes to Sankaracarya, the early Tibetan translation as well as Karnataka commentorial tradition of the Jainas testify to its composition by Amoghavarsa himself. The twenty and odd verses in the arya metre are at once pithy and profound. One example may be cited here : ki jIvitamanavayaM ki jADyaM pATave'pyanabhyAsaH / ko jAti vivekI kA nidrA mUDhatA jantoH // [Verse II, Kavyamala 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, Saddarsana-samuccaya belongs to this period because a citation from the Hindu logician Jayantabhatta's Nyayamanjari (9th century A.D.) has been traced therein (Cf. tittfarten etc.) as well as another citation from the Buddhist santiraksita's Tattvasangraha (C.800 A.D.). - 263 -

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One of the epigraphs of this period mentions Kaumara or Katantra system of grammar in which specialists were available. The famous gloss (Vstti) on the KatantraSutras was written by Durgasimha belonging to this period. Similarly, a Jaina grammarian sakatayana (or Palyakirti) in the court of Amoghavarsa-I founded, like Pujyapada, another new system of grammar known as the Sakatayana school. He not only subjects Panini and Pajyapada to a further compression, but also anticipates in his arrangement the example followed later by authors of Kaumudi-texts. The Sutras or aphorisms are arranged topic-wise and make for easy comprehension. Besides being the author of sutras, entitled Sabdanusasana, Sakatayana himself has also added an auto-coinmentary thereon, called Amoghavstti in honour of his patron-king. Again, the Jaina mathematician Mahaviracarya who wrote the Ganita-sara-sangraha was a protege of king Amoghavarsa. 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 Syadvada is Vidyananda (Vidyanandin) who mentions the Ganga kings Sivamara (785-800 A.D.) and Racamalla Satyavakya I (815-850 A.D.). His monumental works are slokwarttika, Asta-sahasri, Yuktyanusasana, Apta-pariksa, Pramanapariksa etc. His place in Jaina metaphysics in comparable to that of Dharmakirti in Buddhist thought. Karnataka also saw the rise of well-known commentators on philosophical texts like Prabhacandra (980-1065 A.D.) and Anantavirya (850 A.D.) Judging by the fact that Camundaraya, 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 Vardhamanapurana. 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 : vakSye'kSaratripadyelAkSarikASaTpadIcatuSpadikAH / chando'vataMsasaMjJA madanavatIgItikAdimapi karNATe / [Ibid. VII. 1] Both Puspadanta, author of Mahapurana and Somadevasuri, author of the celebrated campu work Yasastilaka, were patronised by the Rastrakuta king Krisnaraja III, The colophon of the Yasastilaka states : pANDyasiMhalacolaceramaprabhRtIn mahIpatIn prasAdhya melpATIpravardhamAnarAjyaprabhAve zrIkRSNarAjadeve TGETTRI. - 264 -

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and the Prasasti of the Mahapurana reads : dInAnAthadhanaM sadA bahujanaM protphullavallIvanaM mAnyAkheTapuraM purandarapurIlIlAharaM sundaram / dhArAnAthanarendrakopazikhinA dagdhaM vidagdhapriyama, kvedAnI vasatiM kariSyati punaH zrIpuSpadantaH kaviH / / It speaks of the lovely capital Manyakheta of Rastrakutas ravaged by the king of Dhara. The Yasastilaka 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 : mayA vAgarthasaMbhAre bhakta sArasvate rase / kavayo'nye bhaviSyanti nanamacchiSTabhojanAH // "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 Nitivakyamsta. 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 Kalyana was almost unprecedented in the history of Karnatak. It appears as if there were a healthy competition between Bhoja of Dhara and these kings in respect of patronage to poets. The Jaina Vadiraja 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. Mallisena-prasusti (E.I., III, P. 18) speaks of him in hyperbolis terms : trailokyadIpikA vANI dvAbhyAmevodajAyata / jinarAjata ekasmAdaparasmAdvAdirAjataH / / "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 34 - 265 -

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phical work Siddhiviniscaya published by the Bharatiya Jnanapith, is equally outstanding. A careful study of it will show how Vadiraja eminently deserved such high titles as 'sat-tarka-Sanmukha', 'Syadvada-vidyap tti' and 'Jagadeka-mallivadin'. 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 Arcata and Dharmottara, Mimainsaka Kumarila Bhatta and Vedantin Sankaracarya. Another religious poem by Vadiraja is Parsvanathucarita, and his popular devotional hymn-Ekibhavastotra. Dayapala, a fellow-student of Vadiraja wrote Rupasiddhi, a revised commentary on Sakatayana-vyakurana. A protege of King Somesvara III (1127-1138 A.D.) was Parsvadeva who wrote a work on musicology, named Sangitasamayasara. It is a very important work to understand the evolution of Indian music. Mention should also be made here of Vadibhasimha who wrote the Gadyacintamani in ornate prose and Ksatracudamani 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). lekhasAra karnATakakA jaina sAhitya aura saMskRtike kSetrameM yogadAna DaoN0 ke0 kRSNamUrti, saMskRta vibhAga, dhAravAr3a ___karnATaka 400-1200 ke bIca ATha sau varSoM taka saMskRta, prAkRta, apabhraMza evaM kannar3ake mAdhyamase jaina sAhitya evaM saMskRtike vikAsameM yogadAna karatA hai| yaha yogadAna bAhabalIkI pratimAke samAna hI mahattvapUrNa mAnA jAtA hai / isa lekhameM karnATakane saMskRtake mAdhyamase isa dizAmeM jo kAma kiyA hai, usakA saMkSipta varNana kiyA gayA hai| isI kSetrameM pAMcavIM sadIke lagabhaga samantabhadra aura pUjyapAda hae jinhoMne aneka mahattvapUrNa graMthoMke nirmANa dvArA jaina siddhAntoMko isa kSetrase pratiSThita kiyaa| saMbhavataH tIsarI sadImeM racita anuyogadvArasUtra meM hI sarvaprathama kAvyake kSetrameM varNita nava rasoMmeM prazAnta rasakA samAharaNa haA aura bhayAnaka rasake badale, 'vRdAnaka' rasakA nAmollekha haa| saMbhavataH bharatake nATyazAstra meM 'zAnta rasa' ke rUpameM navame rasakA ullekha isI se prabhAvita hai| prazasti-kAvyoMke kSetrameM sana 734 meM zAsana karane vAle cAlakyarAja pulakezI dvitIyakA ravikIrti dvArA likhita prazastikAvya kAvyakI koTikA uttama udAharaNa hai| inhoMne karnATezvara kathA bhI likhI thii| isakA ullekha jayakIrtike 'chandonuzAsana' meM pAyA jAtA hai| isI samaya raviSaNane bhI jaina rAmAyaNa ke rUpameM padmacarita likhA jo pUrvavartI vimalasari likhita 'paumacariya' para AdhArita hai / jayasiMhanandikA -266

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'varAMgacarita' tathA paramezvara kA 'vAgarthasaMgraha' bhI atulanIya racanAe~ haiN| isI prakAra akalaMka, mallavAdI, siddhasena divAkara, guNanandi, guNADhya Adine bhI dharma tathA sAhityake graMthoMkA nirmANa kara apanI yazodhvajA phhraayii| saMskRta kAvyoMmeM sarvaprathama dvisaMdhAna-koTikA kAvya karnATakake dhanaMjayane hI racA jinhoMne nAmamAlA nAmaka zabdakoza bhI bnaayaa| inhIMke samakAlIna zrIvardhadeva ne 'cUr3AmaNi' kAvya bhI likhaa| rASTrakUTa yuga bhI jainadharmake saMvardhanake liye mahattvapUrNa siddha huaa| isa yugameM AgamagraMthoM para bRhat TIkAe~ likhI gaIM, purANa likhe gaye / dhavalA, jayadhavalA, harivaMzapurANa Adi isI kAla kI racanAe~ haiN| jinasenake AdipurANa aura pAzrvAbhyudayako kauna bhUla sakatA hai ? ye amodhavarSake rAjyakAlameM hue haiM jinakI 'praznottara-ratnamAlikA' prasiddha hai / isI yugameM kAtaMtravyAkaraNake racayitA kaumAra, zAkaTAyanavyAkaraNake racayitA pAlyakIti aura gaNitasArasaMgrahake racayitA mahAvIrAcArya bhI hue| uttaravartI gaMgarAja zivamAra ke samayameM prasiddha tArkika vidyAnanda hue jinhoMne tattvArthazlokavAttikake samAna aneka graMthoMkI racanA kI / karnATakameM Age calakara prabhAcaMDa aura anaMtavIryake samAna utkaTa jaina dArzanika hue / yahIM rASTrakUTa-rAja kRSNarAja tRtIyane puSpadanta ora somadevasUrikA saMvardhana kiyaa| somadevane yazastilakacampUke atirikta rAjanIti-viSayaka nItivAkyAmata bhI likhA jo kauTilyake arthazAstrakA saMkSipta rUpa hai| isakA itAlavI bhASAmeM anuvAda kiyA gayA hai| karnATakake itihAsako dekhanese aisA pratIta hotA hai ki dhArAke bhoja aura karnATakake cAlukya rAjAoM meM kaviyoMke saMrakSaNake lie pratispardhA rahI ho| jayasiMha dvitIyake zAsana kAlameM yazodharacarita tathA siddhivinizcayake racayitA vAdirAja nizcaya hI atyanta prazaMsanIya AcArya hae haiN| inhoMne carita aura stotrake atirikta 'rUpasiddhi' nAmaka vyAkaraNa graMtha bhI likhA hai| bArahavIM sadIke jaina lekhakoMmeM saMgItasamayasAra ke racayitA parvadeva, gadyacintAmaNi ke racayitA vAdIbha siMha tathA alaMkAracintAmaNi ke racayitA ajitasenake nAma pramukha haiM / ina para lekhakane vistRta adhyayana kara TippaNa likhe haiM / J .. . - 267 -