Nirgrantha-1

Author(s): M A Dhaky, Jitendra B Shah
Publisher: Shardaben Chimanbhai Educational Research Centre
Catalog link: https://jainqq.org/explore/522701/1

Page #1
ITIJICU NIRGRANTHA Rauf Get prathama aMka Vol. 1 pravezAMka Editors M. A. Dhaky Jitendra Shah * Publisher : Sharadaben Chimanbhai Educational Research Centre "Darshan" Opp Ranakpur Society, Shahibag Ahmedabad - 380 004. (Gujarat State) INDIA For Frvale & Personal Use Only www.janabry od

Page #2
TJIGU NIRGRANTHA Rufort prathama aMka Vol. 1 pravezAMka Editors M. A. Dhaky Jitendra Shah : Publisher : Sharadaben Chimanbhai Educational Research Centre "Darshan" Opp. Ranakpur Society, Shahibag Ahmedabad - 380 004. (Gujarat State) INDIA Jain Education Intemational

Page #3
NIRGRANTHA Vol. I-1995. Editors M. A. Dhaky, Jitendra Shah Published by Sharadaben Chimanbhai Educational Research Centre, 'Darshan Opp. Ranakpur Society, Shahibag Ahmedabad-380 004. (Gujarat State, INDIA) Price Rs. 150/ Printed at Navprabhat Printing Press, Ahmedabad

Page #4
Reverentially Dedicated to Pt. Dalsukh Malvaniya

Page #5
Jain Education Intemational

Page #6
Preface The present is the first issue of the Nirgrantha, the trilingual annual journal of this Centre, incorporating articles in English, Gujarati, and in Hindi. In recent decades, several journals that deal with Nirgranthist topics are regularly published in India. The need, however, was for a journal of acceptably good editorial standard, the one also quality conscious at the production level. With this objective in view, we sought and got the cooperation, on editorial side, of Prof. M. A. Dhaky, formerly the Research Professor of Indian Art and Architecture at the L. D. Institute of Indology, Ahmedabad, and for some years the Director (Research) of the Varanasi Center of the American Institute of Indian Studies. Dr. Jitendra Shah, the collaborating editor, is the Director of Sharadaben Chimanbhai Educational Research Centre in Ahmedabad. The first issue contains articles earlier collected at short invitation-notices, when the style-sheat containing the guidelines had not yet been circulated; some shortcomings were therefore inevitable, the editors though have put in their best efforts to offset the deficiencies. The next issue probably will not have to encounter the difficulties on the style conventions which, hopefully, will be uniform in all articles. I wish to thank, on behalf of the Management of this Centre, all contributing scholars for their learned articles and to the editors for their painstaking labours connected with the production of this issue. This first issue is dedicated to Pt. Dalsukh Malvaniya, the doyen of researchers on the content of the extant Nirgrantha agamas and agamic and darsanic literature of the northern tradition. The preparations for the next issue are at present underway. It has been planned as a dedicatory number to the memory of late Dr. Jagadishchandra Jain, one of the few foremost Indian savants of the Nirgrantha agamas of the past generation. The third issue is designed as a congratulatory number for Prof. Harivallabh Bhayani, a scholar of considerable eminence who for long years have worked and is still working on linguistics and Apabhramsa language and is a sound interpreter of the Prakrit and Apabhramsa words and terms which figure in the narrative literature. He is also a keen searcher of the cultural data from all these sources and has made several rich and significant contributions in that sphere by his articles in Gujarats as well as in English. We hope, indeed believe, that the Nirgranthologists as well as Indologists in general will welcome this new entry in the field of Indological publications. Sharadaben Chimanbhai Educational Research Centre, Ahmedabad-380 004. Ajay Chimanbhai Trustee Jain Education Intemational Jain Education Intermational

Page #7
EDITORS' PREFATORY When it was decided to publish an annual Journal of the Sharadaben Chimanbhai Educational Research Centre, a bipolar perspective for it was envisaged : First, the Journal must, for the larger part, focus on the Jinistic researches; it likewise should be firmly oriented toward objectivity; second, it should reflect good editorial standard, albeit within the ambit of the prevailing conditions, and the availability of the resources on the Centre's side and in the Indian publication field. For these twin objectives in mind, it was decided to invite, in the first instance, the scholars whose eminence in the Jinistic field of research is well-established. At the same time, the doors are to be kept open for the articles by less known scholars as well as by the promising beginners if their contributions matched the basic expectations including good substance and accurate and articulate presentation. While preparing the manuscript of this first issue of the Nirgrantha, since we had to finalize it within the tightly scheduled time-frame, the level of excellence kept in mind could not, regrettably, be attained. The invitations in most cases had been extended orally and this, too, before the style-sheet was circulated : As a result, the homogeneity of style for the 'Annotations' or 'Notes and References' connected with the various articles could not be ideally maintained. What is more, a few scholars working outside India, who had been verbally invited when they per chance had met us, could not send their articles. The first issue, therefore, has to go without their contributions. The field of Nirgranthist researches, unlike Brahmanical and Buddhist, can count on only a few truly serious scholars who care for sound methodology and in-depth investigation. The choice for contributors is, therefore, considerably restricted. Also, there are some scholars, doubtless celebrated, who, unfortunately, seem to write with sectarian bias, whether strong and overt, or subtle and camouflaged. We obviously have not requested them to contribute to this Journal. One of our friends in the publication trade had advised us to publish articles written in English language alone for ensuring the Journal's wider circulation on national and international levels. Such an editorial policy, however, would have deprived the Journal of the benefit of the contributions by scholars who exclusively or largely, but indeed notably, write in Gujarati or in Hindi. It was, therefore, resolved to make the Nirgrantha a trilingual Journal, like the Sambodhi of the L. D. Institute of Indology, Ahmedabad. After all, several famous journals published in Europe entertain articles written in different languages, in German, French, Italian, and in Spanish besides English. So, what is objectionable if in India, where several provincial languages of high literary standards are spoken, in the very least a trilingual journal is projected ? Jain Education Intemational

Page #8
As for the scope of topics visualized for the Nirgrantha, the articles pertaining to the following branches of Jinistic studies will be welcome : 1. The Nirgrantha Agamas (Northern tradition) and Iso-agamic works (Southern tradition) works and the exegetical literature on all of these works : (a) Linguistic, metrical, and structural aspects induding textual studies involving tracts of origin, stratifications and laminations within a given chapter, etc. (b) Doctrines, dogmatics, concepts, tenets, scholastics and monastic discipline : Comparisons with those of the Brahmanical and Buddhist systems: (c) Historical aspects such as dating of the agamas, their parts, passages or sub-sections and strata and laminae therefrom and those that pertain to the various categories of the commentarial works : Also will be included in this category the non-agamic works pertaining to several different areas - doctrinal, philosophical, epistemological, and of logic. II. Nirgrantha authors - ancient, pre-medieval, and medieval - their biographical details, works and their content, and their dating. III. Nirgrantha philosophy, ontology, metaphysics, and epistemology. IV. Puranas, caritas, prabandhas, narratives, and myths and legends; the literary criticism of such works and their historical evaluation. V. Hymnology and compositions relating to the sacred tirthas, caityas, and special images. VI. Cultural data as gleaned inside the Nirgrantha works of various periods and of varying categories and descriptions. VII. Nirgrantha epigraphy : inscriptions (eulogies and other records) on stone and on metal images. VIII. Nirgrantha religious art, iconography, iconology, sculpture, architecture, painting, woodwork, and ivory-work : historical investigation and aesthetic aspects of Jaina art. As a matter of policy, book reviews will not be included, but review-papers will be welcome. Jain Education Intemational Jain Education Intermational For Private & Personal Use

Page #9
III As for editing proper, two views / practices currently prevail among Indian scholars. According to one, the editors need not bother about editing as is understood and done in the West. The responsibility for the style, language, organization of material, and related matters lay at the doors of the contributors. Except for correcting a few obvious errors on the score of spellings and grammar, nothing else should be done, indeed no addition, alteration, or modification of any sort be made for clarity's and accuracy's sake. Likewise, they need not worry about reading a larger number of proofs in succession for ensuring maximum accuracy in printing. (Editors have to do their own research and writing work and must not spend their time and energy after these processes. Some printing errors, howlers etc. are bound to occur. And, after all, editing is a thankless job !) The other view, of the minority to be sure, is that the editing must be thorough and exacting, matching the requirements, as far as feasible, of the Western standards. The style of editing reflected in the reputed American journals is of course too rigorous, and only the native speaker proficient in all aspects of that language and a good training at editing in that style and mould can successfully do it. We, on our part, can only do as best as we can, according only to the extent of our familiarity with that language : the American high level of editing we cannot pretend to reach. To render our task facile, however, we request the contributors to the future numbers of the Nirgrantha to keep the following points in view. The authors, in the first instance, are requested to write in "tight" language, and to check carefully the spellings, syntax, and grammar. They must avoid filler phrases as well as unusual or unknown jargon; also, polemics, sectarian attitudes and orientations, biases and assertions should be avoided. When views differing from earlier writers are expressed, quotations may be given from their writings for the fuller understanding of their intentions, trends of discussion, admissibility or otherwise of the evidence, stands taken by them, etc. In order to make the task further easy, the authors are requested to follow the conventions defined in the style-sheet on the following page. We suggested the title Nirgrantha for this journal, because, in ancient times, this is how the followers of Jainism (and by the same token Jainism itself) were known. The first issue has been dedicated as a felicitatory volume to the seniormost illustrious Jaina scholar, Pt. Dalsukh Malavaniya, one of the very few Jainologists who discusses the content of the Jaina scripture in historical perspective and in evolutionary terms. His biographical sketch and work have been published in the Aspects of Jainology, Vol. III, Varanasi 1991. M. A. Dhaky Jitendra Shah

Page #10
for the papers in English for the Nirgrantha TRANSLITERATION CONVENTIONS For the papers written in English, words from Sanskrit, Ardhamagadhi and other Prakrits including the Apabhramsa etc. will be diacriticised if rendered in Roman script. (Quotations can also be in Nagari script.) (Here we suggest those for the Sanskrit (classical), the Prakrit, the Apabhramsa, and the Dravidic languages. For other languages, namely Arabic, Persian and the modern European languages, the current international conventions for transliteration for their rendering may be followed.) Vowels 3pT 35 e. a at Lai Nasals anusvara 0 anunasikas G Consonants Palatals ca ! b N b Hard aspirate Visarga (:) a i u (long) :] (N.B long e and o are for the particular syllables in Dravidic languages.) and not ri; (long which rarely figures, may be rendered as ?) m n n b ca STYLE SHEET and not m Diacritical Marks and not cha (or na as the case may be)

Page #11
cha and not chha Linguals m ta tha o m da dha and not !ha Sibilants sa sa Unclassified Assig oeyi ksa and not ksha jna and not djna lp and not lti General Examples ksama and not kshama jnana and not djnana Krsna and not Krishna sucaru chatra and not sucharu chhatra, etc. etc. gadha and not galha or garha (except in Hindi) Dravidic (conjuncts and specific) characters Examples I!an-Gautaman Cola (and not Chola) Munnurruvamangalam Maran, etc. Jain Education Intemational

Page #12
VI Miscellaneous Where the second vowel in juxtaposition is clearly pronounced : e.g. janai and not janai Seuna and not Seuna Also, for English words showing similar or parallel situations : e.g. preeminence and not preeminence or pre-eminence. cooperation and not cooperation or co-operation. For the Simhalese, excepting where the words are in Sanskrit, the conventions of rendering Simhalese in Roman are to be followed : e.g. dagaba and not dagaba veve or veve and not vey Quotations from old Indian sources involving long passages, complete verses etc., should be rendered in Nagari script. (The Western writers, however, may render these in Roman script if they wish; these will be re-rendered in Nagari if necessary, by the editors.) Sanskrit quotations rendered in Roman are to be transliterated with sandhi-viccheda (disjoining), following the conventions of the Epigraphia Indica, but the signs for laghu-guru of the syllables in a meter (when the citation is in verse) are not to be used. Place Names These are to be diacriticised, excepting the anglicised modern : Examples : Mathura, Kausambi, Valabhi, Kanci, Uraiyur, Tilevalli, etc., but Allahabad (not Allahabad), Calcutta (not Calcatta), Madras (and not Madrasa.) ANNOTATIONS There will not be footnotes; but annotations (or notes and references), serially arranged, will appear en masse at the end of the text in each article. References to published works Those pertaining to articles, books, etc., appearing in the main body of the text, or annotations, or otherwise : Book : Author's name (beginning with his initials) title, edition (if any) used, the name of the series (if it appears within it); next the place of publication along with year of publication, but without a comma between; finally the page (or pages) from where the citation is taken or to which a reference is made.

Page #13
VII Example : (i) K.A. Nilakanta Sastri, The Colas, see. ed., Madras 1968, pp. 102-154. Article in a compilation : (Felicitation or a Commemoration volume, collection of papers of an individual scholar, etc.) Author's name (with initials first), rubric of the article (shown in inverted commas) in Roman, the title of the compilation in Italics), place and year of publication, and page number(s). Example : D.P. Mulgaonkar, "Early Jaina Settlers in Maharashtra," Shantinath Jain Vidyalay Golden Jubilee volume, Varanasi 1975, pp. 194-205. Article in a journal : Same convention as in the preceding case. Example : R.P. Misra, "Some newly found sculptures from Bhumara," Journal of the Asian Art Society, XIV, Delhi 1968, pp. 102-154. Books or articles, when requoted, the initials of the author must be dropped (excepting where works of more than one authors bearing the same surname appear, as for example 'Jain,' 'Shah', etc.); the title of the work or article must be abbreviated, the place and year of publication (in case of a compilation) or volume or the issue or the particular number of the journal (in case of an article) must also be dropped, though page number(s) is/are to be cited : Examples Book : Nilakantha Sastri, The Colas, 1972, p. 35. Article in a felicitation or a commemoration volume Mulgaonkar, "Early Jain Settlers.," Shantinath., pp. 221-223 Article in a journal Misra, "Some Early." JASI, 169-170. (Older conventions for suggesting back references by such Latinic abbreviations as op. cit, op. loc, etc. are not to be used. However, ibidium (abbreviated as ibid. is to be used when the succeeding foot-note is intended to repeat the preceding reference-source.) Reference to the publications of Ancient texts (Sanskrit, Prakrit, etc.) The title of the text, the editor's name, the voulme-series in which the work has appeared, the publishing institute, the place and year of publication, page number(s), sutra or padya or gatha number, etc. Jain Education Interational

Page #14
Example The Ayaranga-suttam, Ed. Muni Jambuvijay, Jain-Agama-Seried No. 2 (1), Shri Mahavira Jain Vidyalaya, Bombay 1976, I. 5.3/35. [Here '1' represents 'Book 1', '5' stands for the chapter (adhyaya), '3' for the (uddesa) and '6' is the sutra number.] VIII Abbreviations for the ancient works and modern books: While these can be used, for easy reading it is advisable to spell out the full title. Refeences to Illustrations in the text Fig. (number such and such), for a drawing referred to in the text. Example: Fig. 43. Plate (number expressed in Arabic and not in Roman), for a photographic illustration or estampage or fascimile of an inscription. Example Plate 6 (and not VI) Captions for illustrations For text figutes Place. Name of the building or sculpture with its identification, or estampage of an inscription. For half-tone (or colour) illustrations Place. Name of the building/identity of the sculpture/painting, regional style, period or absolute (if known) or approximate date (as surmised from the content or context of an inscription or by style-evaluation or both.) (Also founder's or carver's name, if known, to be shown at the end of the caption.) Example: (1) Sculpture Bhubaneshwar. Ekamukha linga, Kalinga style, inscribed, A.D. 1054. (ii) Building Bhubaneshwar. Muktesvara temple, south aspect, Kalinga style, c. mid 10th cecnt. A.D. (iii) Example: A pair of herons. Mughal, period of Jahangir, Ustad Mansur. These guidelines for writing in English are generally valid also for the articles in Gujarati and in Hindi. The following few additional points may be noted : (i) If the titles of the works referred in the text are in Nagari, they should be so rendered in the annotations. In Gujarati, however, the other particulars of the work under reference can be rendered in Gujarati script. The books and articles

Page #15
IX in English (or other European languages), when referred to, are to be shown in Roman script and not in Nagari or Gujarati script. In such cases, all other additional particulars after the titles will also be in Roman. (ii) The abbvreviations, unlike in the articles in English, are to be indicated by a minor cipher and not by a period (full point) in Gujarati and in Hindi. (iii) The numerals in Hindi will be rendered in Nagari and not in Arabic; those in Gujarati will have Gujarati numerals. The contributors are requested to send their articles in English in typed form; those in Gujarati and in Hindi can be sent either in typed or in clearly and legibly handwritten form. The typing or writing should be on one side with a wide margin on the left side. The papers are to be sent to the Director, Sharadaben Chimanbhai Educational Research Centre, "Darshan", Opp. Ranakpur Society, Shahibag, Ahmedabad 380 004, Gujarat State, India. The contributing author will be given a copy of the issue of the Nirgrantha in which his/her article appears, plus 25 off-prints. Jain Education Intemational

Page #16
CONTENTS ENGLISH SECTION 1. EDITING OF ANCIENT ARDHAMAGADHI TEXTS IN VIEW OF THE TEXT OF VISESAVASYAKA-BHASYA 2. SOME PRAKRIT WORKS ON NON-RELIGIOUS/SECULAR LITERATURE K. R. Chandra Jagadish Chandra Jain V. M. Kulkarni H. C. Bhayani 3. SAHITYAMIMANSA: PRAKRIT TEXT RESTORED 4. NOTES ON SOME PRAKRIT WORDS 5. ON THE RISE OF APABHRAMSA AS A LITERARY LANGUAGE H. C. Bhayani 6. THE DATE AND AUTHORSHIP OF NYAYAVATARA M. A. Dhaky 7. TEACHERS OF THE HETERODOX SECTS BUDDHISM AND JAINISM--IN THE EYES OF THE PURANAS (VISNU, SIVA, AND BRHASPATI) 8. A GLIMPSE INTO THE SANSKRIT AND OTHER FORMS OF DRAMA IN MEDIEVAL GUJARAT N. P. Joshi Govardhan Panchal 9. AN IMAGE OF BUDDHAVATARA OF VISNU AT BADAMI B.V. Shetti 10. GUJARATI PAINTING OF THE 16TH-17TH CENTURY - A REAPPRAISAL Lalit Kumar 11. DHARMARATNAKARANDAKA OF VARDHAMANA-SURI H. C. Bhayani GUJARATI SECTION 1. vAdIndra malavAdI kSamAkSamaNano samaya 2. vAdI-kavi bappabhakisUri 3. dharmaghoSasUrigacchIya (rAjagacchIya) "amaraprabhasUri' kRta "zatruMjaya caitya paripATIstotram 4. zrI puMDarIkazikharIstotra apara nAma zrI zatruMjaya mahAtIrtha paripATI 5. zrI somaprabhagaNi viracita zrI setuja cennapravADi jitendra zAha madhusUdana DhAMkI saM. (sva) agaracaMda nAhaTA madhusUdana DhAMkI saM. madhusUdana DhAMkI saM. madhusUdana DhAMkI lakSmaNa bhojaka

Page #17
saM. madhusUdana DhAMkI saM. madhusUdana DhAMkI 6. kavi depAla kRta zatruMjayagiristha "kharataravasahI" gIta 7. lakhapati kRta "setujacattapravADi" 8. mahopAdhyAya zrI bhAnucandragaNi viracita AlocanAgarbhita zrInAbheya jina vijJaptirUpa stavana 9. ghoghAnI madhyakAlIna dhAtupratimAonA aprakaTa abhilekho 10. traNa prakIrNa abhilekho AcArya pradhumnavijaya lakSmaNa bhojaka lakSmaNa bhojaka 11. pAtazAha akabaranA samayanA cha aprakAzita zilAlekha, vi. saM. 1646 12. nAMdiyAnI prAcIna jinapratimA 13. pArzvanAthanI eka virala dhAtupratimA 14. sevADI(rAjasthAna)nI be jaina sarasvatI pratimAo 15. sAhitya ane zilpamAM "kalyANatraya" saM. pravINacandra parIkha bhAratI zelata madhusUdana DhAMkI dinakara mahetA ravi hajaranIsa madhusUdana DhAMkI HINDI SECTION jitendra bI. zAha zivaprasAda zivaprasAda jitendra bI. zAha 1. nayavicAra 2. thArApadagaccha kA saMkSipta itihAsa 3. kRSNarSigaccha kA saMkSipta itihAsa 4. zrI pArzvanAga viracita 'AtmAnuzAsana' - eka adhyayana 5. jaina mahApurANa meM brAhmaNIya paramparA ke devI-devatA 6. kAvyaprakAza ke anUThe TIkAkAra : AcArya mANikyacandrasUri 7. kAkonI kA jaina pratimA lekha, saMvat 1082 8. cittauDagaDha ke do uttara-madhyakAlIna jinAlaya kamala giri pArula mAMkaDa aravinda kumAra siMha atula tripAThI

Page #18
ENGLISH SECTION Jain Education Intemational

Page #19
Jain Education Intemational

Page #20
EDITING OF ANCIENT ARDHAMAGADHI TEXTS IN VIEW OF THE TEXT OF VISESAVASYAKA-BHASYA? K. R. Chandra On the basis of a consideration of subject matter, style, and metrical form, scholars have formed an almost unanimous opinion that certain portions of the Jaina canonical literature in Ardhamagadhi possess very old strata. On the same grounds these ancient portions bear similarity with the oldest portions of the Pali Tripitaka. However, the concerned phonological, and to some extent the morphological forms of the language are not so archaic in these portions and in this respect the editions of these works differ among themselves. In the Western scholars' editions, we notice that the intervocalic stops generally lost their conclusion as per the rules framed by Prakrit grammarians which, strictly speaking, were meant for the Maharastri Prakrit. As a result, in these editions, not only the consonantal spelling of the words but occasionally the morphological forms of the later period also are encountered. A preference accorded to later forms consequently neglects the archaic, in point of fact original, and hence authentic, variants available in some manuscripts. The same method is adopted by Indian editors though usually with lesser rigour and hence on a smaller scale. Therefore, noticeable disparity is discernible between the age of the work and its language. Hence the current form of the language available in the so far published editions is not authentic even when they do not affect the sense intended to be conveyed. This situation impels one to find out the reasons behind it. For explaining the reasons behind this kind of disparity, in this paper, an attempt has been made in its proper-perspective based on the analysis of the language of the text of the Visesavasyaka-bhasya in its different editions and its variants in MSS. on the one hand and that of the language of older inscriptions and the Isibhasiyaina edited by W. Schubring on the other hand. The Visesavasyaka-bhasya is a versified exposition of the Samayika-avasyaka and its corresponding niryukti (c. A. D. 525) by the learned caityavasi or abbatial pontiff Jinabhadra gani ksamasramana (ob. A. D. 588 or 594). He had also composed its commentary in Sanskrit which had remained unfinished since he did not live as has been reported by Kottarya vadi gani (c. A. D. 675-700) who completed the commentary. Jain Education Intemational

Page #21
K. R. Chandra Nirgrantha 1. Phonological Analysis of the VABh. (a) Phonological analysis of the initial word/words of every verse (No.1 to 100 only) quoted by the author himself in his auto-commentary'. Medial consonants | Dropping Voicing Retention (i) Unaspirates 09 (13%) 09 (13%) 49 (74%) (ii) Aspirates 00 (00%) 06 (35%) 11 (65%) i. e. changing into 'ha Total 09 (10%) 15 (18 %) 60 (72%) (b) The same words (i. e. of 1 (a) above) in the text of MS. J.4 Medial consonants Dropping Voicing Retention (i) Unaspirates 07 (10%) 12 (18 %) 48 (72%) (ii) Aspirates 00 (00%) 09 (53%) 08 (47%) i.e. changing into 'ha Total 07 (08.5 %) 21 (25 %) 56 (66.5%) This analysis reveals that there is very little advance in the phonological changes of the consonantal spelling of the words of the text of the MS-J, it is 5.5% only (72?---66.5). 2. A phonological analysis of the words of all the initial 100 verses according to MS-J (as given below) reveals that the percentage of dropping is 11.5% and that of retention is 70% i. e. only a difference of 2% as compared to that of the auto-commentary. The phonological changes occuring in two MSS, and two editions can be tabulated as follows: (a) Non-aspirate Medials Conso - Dropping - D Voicing = V Retention : Total nants J. T. H. K. J. T. H. K. J. T. H. K. K 34 35 36 36 22 21 22 22 04 04 02 021 60 G 00 00 00 00 00 00 00 00 28 28 28 28 28 C 05 05 05 05 00 00 00 00 00 00 00 00 J 03 03 03 03 00 00 | 00 00 00 00 00 T 13 15 185 185 01 01 00 00 184 182 13 13 198 D 06 29 62 31 33 08 00 00 39 41 16 1778 P 00 00 01 01 50 50 49 49 09 09 09 09 59 Y 17 20 38 40 00 00 00 00 79 76 56 56 96 v 06 06 06 06 00 00 00 00 147 147 147 147 153 Total 84 113 336 337 106 80 71 71 490 487 273 272 680 Jain Education Intemational

Page #22
Vol. I - 1995 Editing of ancient.. (b) Aspirate Medials Conso- Dropping =D Voicing = V Retention : R Total nants J. T. H. K. J. 1. H. K. J. T. H. K. Kh 101 010101 00 00 00 00 00 00 00 00 01 Gh 00 00 00 00 00 00 00 00 01 010101 01 Th 02 03 30 30 28 27 00 00 00 00 00 00 30 Dh 02 03 04 05 00 00 00 00 36 35 34 33 38 00 00 00 00 00 00 00 00 01 010101 01 Bh 00 00 04 04 00 00 00 00 36 36 32 32 36 Total 05 07 39 40 28 27 00 00 74 73 68 67 107 Grand Total Total 89 120 375 377 134 107 71 71 564 560 341 339 787 (c) Percentage (1) Unaspirates Aspirates Total D 84 (12.5) 05 (05.0) 89 (11.5 %) 106 (16.0) 28 (26.0) 134 (18.5 %) R 490 (72.0) 74 (70.0) 564 (70%) (ii) M. R Unaspirates Aspirates Total 113 (16.5) 07 (07.0) 120 (15%) 80 (12.0) 27 (25.0) 107 (14 %) 487 (70.0) 73 (70.0) 560 (71 %) (iii) R Edition H Unaspirates Aspirates D 336 (50.0) 39 (36.0) 375 (48 %) 71 (10.5) 00 (00.0) 71 (9%) 273 (40.0) 58 (53.0) Total 331 (43%) (iv) V Edition Unaspirates Aspirates Total 337 (50.0) 40 (36.0) 377 (48%) 71 (10.5) 00 (00.0) 71 (09%) 272 (40.0) 57 (53.0) 329 (43 %) Jain Education Interational

Page #23
K. R. Chandra Nirgrantha 3. A high percentage of retention and very low percentage of dropping of medial consonants in the MS-J is questionable in view of the evolution of MIA language and the nature of the Maharastri Prakrit in the 6th century A. D., the date of the composition of the VHBh can be assumed between A. D. 580-585. If the author made use of large the number of Sanskrit equivalents (tatsama words), it seems to be the consequence of the influence of Sanskrit during its golden age. In the MS-J., medial dental -t is often retained in the words, namely ablative singular suffix -to, verbal termination -ti of the present tense of III singular, and in the past participle -ta. Out of 198 instances, -t-is voiced on a single occasion e. g. disadi for Sanskrit drsyate (verse No. 53) and it is dropped 13 times only whereas retained 184 times. In the MS-T the dropping is 15% and the retention 70%. When we compare these two MSS. with the two editions H and K., the dropping of medial consonants rise up to 48% and the retention goes down to 43%. The percentage of voicing goes on decreasing with the passage of time (i.e. with the later dates of MSS.) e. g. 18.5% in J, 14% in T, and 9% in H as well as in K. This fact makes it abundantly clear that the copyists and the reciter-teacher-monks (preachers) brought about this kind of modification either inadvertantly or intentionally on account of the influence of the Prakrit language of their own times and also under the sway of the Prakrit grammar of very late dates. If this was the condition of the original language of the text of VABh, within a few centuries after its composition, then what would be the state of the original Ardhamagadhi language of the Jaina agama texts in their MSS. copied a thousand or 1500 years late. We are now becoming increasingly aware that there has been a continual change in the language of a text in Prakrit MSS. which were copied in different periods by different copyists in western India. 4. Position of the Language of Inscriptions : A study of the phonological changes in the language of inscriptions reveals that the dropping of medial consonants goes on advancing with the passage of time. This tendency of dropping has travelled from the North-West and North to other regions of India. The use of -n- (cerebral nasal) for -n- (dental nasal) has been a trait of the Northwest, North, and South. One of the oldest available Prakrit inscription, now regarded of c. 200 from Barli?, there is no dropping of medial consonant (e. g. there is no -e in place of -te and -ye, the inflectional suffixes.) In the Asokan inscriptions, the average phonological changes is only 1 1/2 to 3% only. In the inscription of king Kharavela (c. B. C. 50-25), the voicing of medial consonants advances (i. e. 6 out of 8 instances are voiced). There -th- becomes -dh-, and the phonological changes on the whole are 5 to 6%. It is in the inscriptions of Panjatar, Kalwan and Taksasila (of the 1st century A. D.), located in the North-West, that the Jain Education Intemational

Page #24
Vol. 1-1995 Editing of Ancient.... dropping of medial consonants has gone high, indeed up to 30% to 35% and the voicing of unvoiced consonants is near about 17%. Dental nasal n-is initially cerebralised into n- up to 100% and medially -n- into -n- up to 75%. This tendency of cerebralisation of -n-into -n-is traced in the South and West. And in the later centuries it spreads to other regions of India 0 5. Phonological changes in the Isibhasiyairii Isibhasiyaim" is regarded as one of the oldest of the Ardhamagadhi texts along with the Acaranga, the Sutrakrtanga, the Uttaradhyayana and the Dasavaikalika. The state of phonological changes in this work is quite different from that encountered in other older Jaina canonical texts in the Ardhamagadhi. An analysis of the data from some select chapters No. 1, 2, 3, 5, 11, 29 and 31 reveals that an average of dropping, voicingunvoicing, and retention is 11 to 35%, 7 to 22% and 45 to 81% respectively. The chapter-wise analysis is as follows: chs 01 102 03 05 11 29 31 Total 27 12 05 03 27 32 07 01 19 27 22 | 49 28 71 15 140 226 82 208 93 459 760 61 137 62 Total 1100 45 146 77 139 The percentage of phonological changes in these chapters is as follows : chs 01 02 03 05 | 11 29 31 Average 27 11 27 18 22 27 | 04 3531 2007 07 03 27.4% 12.2% 60.4% The position of medial -t- in these chapters is as follows : tage I RI 68 100 85 72 73 5 2 79% 6. The position of phonological changes in the Acaranga edited by W. Schubring', the oldest book of the Ardhamagadhi canonical literature, is quite different from the Isibhasiyaim. In it the dropping of medial consonants is more than 50%, a state which

Page #25
6 K. R. Chandra Nirgrantha cannot be relied upon. The palm-leaf Ms., the oldest one in date that was used by Schubring in editing the text of the Acaranga, part I, is dated V. S. 1348/ A.D. 1292 and there in it the verbal termination -ti of present tense III singular is retained up to the extent of 50%. Schubring has not noted from the available variant -t- and he has dropped it wholesale. In comparision of it the edition of the Acaranga by Muni Jambuvijayaji 13 reveals quite a different state of the affairs. In it the dropping of medial consonants is 24% only. Linguistically, it is a better edition; yet it needs emendation on the basis of the variants available in various MSS. of the text and its curnicommentary (c. late 7th cent. A. D.) because they preserve the archaic traits 14, 7. It can now be surmised on the basis of the above comparative study that the Ardhamagadhi language of older Jaina canonical texts went on changing from century to century and generation to generation as the time progressed. Therefore, in editing older agamic works and the older portions of the Ardhamagadhi canon one must discard younger words and forms. Older words and forms that are available in the MSS. of the text itself, or its curni, or in the quotations from the text in other works, should be adopted even if they do not agree with the rules of Prakrit grammarians as the treatises on grammar are of much younger origin and they do not present any historical or comparative grammar. It is now clear that the original language of the canonical works went on changing to a certain extent as the work of copying multiplied in different periods and at different places : otherwise how could there have been so much variation in the phonology of words in the text of Isibhasiyain on the one hand and that of the Acaranga on the other hands 8. The authenticity of this conclusion can be verified with the help of variants that are noted in different edition of the VABh. A glance at them 16 makes it clear that the change in the phonology of the type that is given below had taken place at different stages of the evolution of Prakrit dialects : Stage (i) (ii) . (i) dh = | dh (ii) h k = dh d = According to the historical evolution of the Middle Indo-Aryan languages, the voicing of unvoiced and the unvoicing of voiced medial consonants takes place at an earlier stage than the dropping of medial consonants (i. e. stops). In this respect two published editions of the VABh., e. g. K and H are highly influenced by the later stage of Prakrit Jain Education Intemational

Page #26
Vol. 1-1995 Editing of Ancient.... i. e. the Maharastri Prakrit, whereas the MSS. J and T preserve older forms and so the earlier stage of the Prakrit language and the MS. J preserves still earlier stage (i. e. older spellings of the words). 9. The language of the editions H and K had been regarded as the genuine language of the author until the palm-leaf MSS. J and Sam were discovered (i. e. the language having medial consonants generally dropped). Further non-dropping of medial - t- cannot be admitted as t- sruti because it is preserved in the MS-J also and, therefore, it constitutes a feature of the original language of the author. The way the language underwent change at the hands of copyists and teacher-reciters can be discerned from the editions H and K which are highly influenced by popular language as well as by the rules of later Prakrit grammarians. Hence the principle of editing ancient Ardhamagadhi texts needs wholesale modification, namely adopting older words and forms from the available source-material, discarding the younger words and forms, and thus being faithful and closer to the original language. The comparative table of phonological variants in different editions and MSS. of VABh is appended as the sequel. (See phonological analysis of VABh Table for serial No. 8) Notes and References : 1. L. D. Series 10, ed. Dalsukhbhai D. Malvania, Ahmedabad 1966. 2. L. D. Series 45, ed. W. Schubring, Ahmedabad 1974. 3. The MS. San. having auto-commentary is dated A. D. 1434, vide VABH, part I, Preface, L. D. Institute of Indology, Ahmedabad 1996, p.4. 4. Palm-leaf MS. from Jaisalmer, datable to c. A. D. 950, vide ibid., p. 1. 5. Ibid., pp. 1, 3, 4. 6. Ibid., p. 1. 7. M. A. Mehendale, Historical Grammar of Inscriptional Prakrit, Deccan college, Poona 1948, Pp. 326-7. 8. This change is higher in the North and North-West and lower in other regions. 9. D. C. Sircar, Select Inscriptions, Vol. 1, No. 32-34, (total instances 89; dropping 27, and voicing 13, unvoicing 2 and retention 47). 10. Mehendale, Historical., p. 276. 11. L. D. Series No. 45, Ed. W. Schubring (of the original German edition), Ahmedabad 1974. 12. On the basis of the first chapter. 13. Ayaranga-suttam, Jaina-Agama-Series 2, Bombay 1977. 14. Some of them (i. e. the older forms) have been given in the footnotes of the text by the editor. Jain Education Interational

Page #27
K. R. Chandra Nirgrantha 15. Both works had been edited by W. Schubring, the former on the basis of two MSS. and one printed work and the later on the basis of several MSS., the curni, etc. Further, the Acaranga has been published in several editions and all of them differ from one another in this respect. 16. See the table given below. Abbreviations and References : D = Dropping = Loss of occlusion of inter-vocal stops. H = Edition of Maladhari Hemacandra. J = Palm-leaf manuscript from Jaisalmer. K = Edition of Kotryacarya. MS = Manuscript. R = Retention = Retention of inter-vocal stops. T = Palm-leaf manuscript (undated) V = Voicing or un-voicing of inter-vocal stops. VABh.=The text of the Visesavasyaka-bhasya edited by Pt. D. Malvania, L. D. Series No. 10, 1966, Ahmedabad. Note: See the above-noted work for the details of the editions and Mss. H, K, and J,

Page #28
Jain Education Intemational Comparative Table of phonological Variants of some words from different editions and MSS. of Visesavasyakbhasya (initial words of verses No. 1 to 100) Year of Publication 1966 A.D.L.D.Series 1936A.D. I 1914 A.D. | Undated MS. Consonant MS. of C. 10th Cent. Verse No. | Sanskrit L.D. Text | Auto. Comm. | K / H T atItaM adhavA atIyaM ahavA ahavA ahavA atItaM ahavA ahavA ahavA ahavA atItaM adhavA adhavA adhavA adhavA ahavA adhavA ahavA atItam athavA athavA athavA athavA athavA anumatam abhidhAnam abhidhAnam avadhIyate AgamataH Adi Adi atItaM adhavA adhavA adhavA adhavA adhavA aNumataM abhidhANaM abhidhANaM avadhIyate Agamato Adi -Ai atItaM adhavA adhavA adhavA adhavA adhavA aNumataM abhidhANaM abhidhANaM avadhIyate Agamato Adi Adi ahavA aNumayaM abhihANaM abhihANaM avahIyae Agamao Ai Ai iha aNumayaM abhihANaM abhihANaM avahIyae Agamao Ai adhavA adhavA adhavA aNumataM abhidhANaM abhidhANaM avadhIyate Agamato adhavA aNumataM abhidhANaM abhidhANaM avadhIyate Agamato dh dh&t Adi Adi Ati idha Ai idha idha ujjusutA ujusuyA ujusutA RjusUtrau kRta gAlayati kata kaya kata ujjusutA kata gAlayati cUto ujusutA kata gAlayati gAlayati cUto ujusuyA kaya gAlaya cUo gAlayai gAlayati cUto cUo

Page #29
Jain Education Intemational K. R. Chandra Nirgrantha Verse No. | Sanskrit Auto. Comm.| Consonant cUtAdibhyaH cUyAtIe. NANa cUtAIe. L.D. Text cUtAIehito NANa NANaM jANaga tato jJAna NANa NANaM cUyAIe. nANa nANaM jANaya tao tihA davae NANaM jANaga tato tidhA K cUtAIe. nANa nANaM jANaya tao tihA davae duyae namokkAro nivAyaNAo -nibujjhai -nibbuya bhUya tidhA jJAnam jJAyaka tataH tridhA dravati drUyate namaskAraH nipAtAt -nibudhyate -nivRta davate cUtA NANa NANaM jANaga tato tidhA davate dUyati NamokAro NivAtaNAto -Nibujjhati -Nibuta bhUta maMgijjate mati jadha duyae dUyati NamokAro NivAtaNAto -Nibujjhati -Nivyuta namokkAro nivAyaNAo -Nibujjhai -nivvuya bhUya jANaga tato tidhA davate dUyati NamokkAro NivAtaNAto -Nibujjhati -Nivvuta bhUta maMgijjate mati jadha davate duyae NamokAro NivAtaNAto -Nibujjhati -nivvuya bhUta maGgyate maMgijate maMgijae maMgijae maMgijate mai pati yathA jadha jadha yadi jati 30 jati jati 100 72 49 vivadanti jati vivadaMti vivayaMti jati vivadaMti vivayaMti jati vivadaMti suta suta suya suta 98 suta vivadaMti suta suta suta sutassa suya suya 100 40 suta zruta sUtrasya suta suta suya suya suassa suta suta sutassa sutassa suassa sutassa 43 hetU hetU hetU

Page #30
SOME PRAKRIT WORKS ON NON-RELIGIOUS/SECULAR LITERATURE Jagadish Chandra Jain What is customary or commonly practised as a matter of course, has to be accepted, is a popular saying. The Jainas have written considerably on religious subjects; however, they did not lag behind in composing non-religious/secular literature. They had to follow and observe local customs in cases they were keen to make their sermons of popular appeal. The Nisitha-sutra (19. 11-12) and its Bhasya refer to four great festivals (mahamahas), namely Indra-maha, Skanda-maha, Yaksa-maha and Bhuta-maha being celebrated on full-moon days of the four months when people passed their time in merry-making. There were other deities who were evoked for dispelling various calamities. The earlier Jaina texts such as the Aradhana of sivarya, the Brhatkalpabhasya, the Vyavahara-bhasya, the Avasyaka-niryukti, the Avasyaka-curni and others lay down elaborate rules for disposing the dead bodies of the Jaina monks which were supposed to be left uncared at the mercy of wild beasts and birds. Similarly, though a Jaina Tirthankara, who is supposed to be passion-free and devoid of any kind of desire, is later associated with a sasana-devata or a guardian-deity of his church which clearly is an indication of endorsement of the prevailing custom with regard to Brahmanical divinities in pre-medieval India. Thus the age-old traditions and customs have to be taken into account for the sake of the welfare of the society. As the well-being of mankind should predominate over religious considerations in civil or public affairs, it is necessary to have the knowledge of sciences such as medicine, commerce, astrology, economics, politics, music, habits of animals and birds, and so forth. Jaina authors have composed various useful non-religious secular works which are still lying in manuscript forms in Jaina bhandaras. Some of these are as follows: 1. The Agghakanda (Arghakanda): Argha is a technical term in jyotisa, meaning a collection of 20 pearls, having the weight of a dharana. A king or a ruler used to fix price of commodities in consultation with traders; it was known as arghasansthapana (Manusmrti, IV. 8. 402). The term is mentioned in the Nisitha-curni (13, P.400) along with the Vivahapatala. It was consulted by businessmen for profit and loss while buying or selling commodities. The Brhatsanhita of Varahamihira has a chapter Arghakanda-adhyaya containing 14 verses. The wellknown Jinesvara suri (early 11th century) in his Pancalinga-prakarana (verse 72) has refered to Joisagghakandai. The Argliyakanda by Hemaprabha suri, pupil of Devendra suri (18th century) is available in Sanskrit (see Rajasthan Oriental Research Institute, Jodhpur Collection, 1963, 1965). Durgadeva, a Digambara

Page #31
Jagadish Chandra Jain Nirgrantha scholar, is also mentioned as the author of the Arghakanda, also known as Sastisamvatsara-phala (V. S. 1050 / A. D. 994). Angavijja (Angavidya): Edited by Muni Punyavijaya in Prakrit Text Society Series, 1957. It is also known as the Yogavidhi (Government Collection of Mss. Bhandarkar Oriental Research Institute, Vol. VII, pt. I, p. 322). A manuscript of the Angavidya is recorded in the catalogue of the Rajasthan Oriental Research Institute, Jodhpur Collection, pt.I, 1 + 63, p. 296. It is stated here that the author's work is based on the instructions imparted by Narada: aMgavidyAM pravakSyAmi nAradena ca yatkRtam / aMgasparzanamAtreNa jAyate vA zubhAzubham // 3. Arthasastra (Atthasattha), also known as Kautilya or Canakya-Kautilya is classified as a popular scripture in the Nandi-Sutra (42, 193a) along with the Mahabharata, the Ramayana, the Vaisesika, the Buddha-sasana, the Kapila, the Lokayata, the Patanjaliya, and others. Then the Vasudevahindi of Sanghadasa gani (45. 25-27) has cited a quotation from this work, saying "particularly, the growing enemy should be destroyed by employing deceit or a weapon." Then, the Tarangalola (853-855), based on Padalipta's Tarangavaikaha, has cited a few Prakrit stanzas from the Atthasattha, saying "a secret is disclosed if it goes to a female messenger; a woman discloses a secret when she ought to have kept it secret." Further, Dronacarya, a contemporary of Abhyadeva, in his commentary of the Ogha-Niryukti (gatha 418, p. 152), cites from Canakya, saying "it is no fault if one does not evacuate excrement and urine." Haribhadra suri in his Dhuttakkhana, mentions Khandapanas, an author of the Atthasattha, a work that was different from the one refered to in the Nisitha-curni. Somadeva suri (mid 10th century A. D.) composed his Nitivakyamita based on the Arthasastra of Canakya. As Canakya has composed his work for the guidance of Candragupta, so did Somadeva for the guidance of King Mahendra and so did Hemacandra his Laghu-Arhanniti for the enlightenment of King Kumarapala. Haribala has written a commentary on the Nitivakyamsta. And Neminatha has composed a commentary in Kannada in the 12th or 13th century (preserved in the manuscript form in the Karkal Jain Hostel). Assasattha (Asvasastra) or the knowledge about horses. Horses were considered an important constituent of the four-fold army. According to the Arthasastra (X. iv. 13), "Horses were regarded specially useful for guarding advanced positions, protecting the treasury and commissariat, cutting off the enemy's supply, delivering attacks against the enemy's forces, and pursuing a retreating foe." Varahamihira in his Brhatsamhita (asva-laksana-66) provides the characteristics of horses. The sage Salihotra is considered a great authority on the subject. Jain Education Intemational

Page #32
Vol. 1-1995 Some Prakrit Works.... Bhattotpala, while commenting on the Brhatsamhita, cites authorities like Parasara and Vararuci. In order to point out the characteristics of a Mallikaksa horse, he has cited a Prakrit gatha (61.14). It was a particular breed of horse with white spots in the eyes (Monier Williams Sanskrit-English Dictionary). Sriharsa, in the first chapter of his Naisadhiya-carita, while dealing with king Nala's steed, makes certain observations. Various varieties of horses are referred to in the Jaina texts. Haribhadra in his Samaraiccakaha (2, 100) refers to Vahlika, Turuska, Kamboja, and Vajjira horses. The Kuvalayamala (23, 22), besides 18 species of horses, refers to Vollaha (a chestnut coloured horse with a light mane and tail (Monier-Williams), Kayaha, and Saraha horses, perhaps the Arabic names introduced by Arab traders. The Jodhpur Collection (part II B, p. 240) has referred to Nakula's Salihotra with commentary. Keith refers to Gana's Asva-vaidyaka or Asvayurveda and Bhoja's Salihotra, dealing with the care of horses and their diseases. Other varieties of horses such as Akirna, Kanthaka, Galita, Asva, Asvatara(mule), Ghotaka and Pancapundra are referred to in the Jaina texts. Horses were most useful assets to a king; also they were given special names. Ayajnana-tilaka was composed by Vosaribhatta at Anahillapataka. It is an astronomical work containing 750 gathas. The author was a pupil of a Digambara acarya, Damanandin. He has also commented on this work. The word 'aya' is mentioned in the Brhatsamhita in the sense of the 11th lunar mansion. Here the answer of a question is obtained through eight symbols such as smoke, a lion, an elephant, a donkey, a dog, a bull, and a crow. Mallisena (V. S. 1100 / A. D. 1043), pupil of Jinasena, has referred to Bhatta Vosari in his Sanskrit work Ayasadbhava (JSBI = Jaina Sahitya ka Brhad Itihasa, (Hindi) v, p. 225 f. See also V Report of a tour in search of Sanskrit MSS by Dr. R. G. Bhandarkar, the collection of 1884-87). Caura-karma or Cora-vidya or the art of stealing, was recognised as a regular art in ancient India. This art has been ascribed to various authors headed by Skanda, Kanakasakti, Bhaskaranandi, and Yogacarya. Muladeva, an arch-thief of the Brahmanical fiction, is supposed to have composed Steya-sastra or Steyasutra, a manual of thieving. Dhurta-vidya or the art of knavery. Muladeva was supposed to be expert in this art. He was surrounded by pupils whom he used to explain the significance of dambha or hypocracy which was essential in playing knavery. Dhurta-samagamaprahasana by Jyotirisvara, composed in V. S. 1933, is recorded in the Jodhpur Collection, pt. II B 1965, p. 148.

Page #33
Jagadish Chandra Jain Nirgrantha Dhatu-vidya or Alchemy is considered as one of the 64 kalas. Udyotana suri (A. D. 778) has provided some details about dhatuvada. The students who resided in the mathas were trained in this lore. This art was practised in a secluded place of the Vindhya forest. It is stated that, while practising alchemy, the red colour of flames of fire indicated the presence of copper, yellow of gold, white of silver, black of iron, and colourless flame of bronze. Dhatuvada is considered as a faultless method of acquiring riches. The Jonipahuda is considered as the source of acquiring this lore. Dhatuvada is also known as Narendra-kala. Gandharva-veda or the art and science of music, comes under the category of the Vedas. There was a practice of paying homage to Tumburu and Narada while undergoing the training of playing musical instruments. Svara-prabhista, a portion of the 14 Purvas which is no more extant now, was supposed to have dealt with the description of seven notes, their place of origin, etc. The Anuyogadvara-curni has cited three Prakrit verses on svaras which shows that there must have been a treatise on the subject in Prakrit. 10. Gandha-sastra or book on the preparations of fragrant substances, is referred to in the Byhatkatha-sloka-sangraha of Budhasvamin. The Gandha-yukti-sastra is mentioned in the Tarangalola (152) of Nemicandra. Varahamihira, in his Bihatsanhita, deals with Gandha-yukti (77). His commentator Bhattotpala cites verses from a Nighantu-lexicon wherein the words employed in the texts are explained. The commentator has cited a Prakrit verse from the Gandha-yukti written by Isvara. P. K. Gode has referred to a rare manuscript of the Gandhavada with its Marathi commentary composed between A. D. 1350 and 1550. 11. Hatthi-sikkha or the art of training of Elephants was an important subject in ancient India. Treatises were written on this topic. Durlabharaja, a Jaina layman, wrote Hasti-pariksa, also known as Gaja-prabandha or Gaja-pariksa, in V. S. 1215 / A. D. 1159. 12. Joni-pahuda or Yoni-prabhrta is as important as the Angavijja, referred to earlier. It is acceptable to both the Digambaras as well as the Svetambaras. Most probably, the text may be an earlier composition before the division of the two sects. According to a tradition, this work had been composed by acarya Dharasena out of a portion of the Agrayani-purva, one of the sacred Purva texts, while residing in Girinagara (Girnar) in Saurastra. Originally, the text is said to have contained 28000 gathas. According to tradition, this text was going into oblivion and the author restored it in Kali age. According to the Brhattippanika (written in V. S. 1556), Dharasena composed this work after 600 years of Mahavira's niivana (i. e. between the first and the second

Page #34
Vol. 1-1995 Some Prakrit Works.... century A. D.) The author, also known as prajna-sramana (Ascetic of Wisdom) is said to have acquired it as a favour of goddess Kusmandi for his disciples, Puspadanta and Bhutabali, who were called from the Andhra region. Dealing with the importance of this work, it is stated in the Kuvalayamala: "The summit of Mount Meru might shake and the current of the river Ganga might go reverse, but whatever is laid down in the Joni-pahuda will never go wrong." According to the tradition, acarya Siddhasena is said to have created magical horses after studying the instructions laid down here. It has been stated that, if a Jaina monk at the time of accepting monkhood, deposited wealth under the earth and later he was unable to trace it, he could successfully seek the assistance of the instructions laid down in this work. The manuscript of this important work is preserved in the Bhandarkar Oriental Research Institute, Poona. It contains 800 gathas. 13. Mayana-mauda (Madana-mukuta) has been referred to as a Prakrit work, composed by Gosai Vipra of Mahapura, situated on the bank of the Sindhu river. It begins with obeisance to Makara-dhvaja (having a fish emblem on his banner). It has been referred to in the Jodhpur Collection Pt. II (B), 1965, p.155. 14. Mrga-paksi-sastra or the knowledge of animals and birds. The knowledge of horses, elephants, bulls, dogs, cocks, tortoises, and goats was considered very important in ancient India, specially by royalty. Varahamihira dwelt on the characteristics of cows, dogs, cocks, tortoises, goats, and so forth. Dealing with the characteristics of cows, the author has stated that he gathered the information from Parasara, the teacher of Brhadratha. The commentator has cited salihotra in support of his views. Dealing with the dogs he cites quotations from Garga as an authority on the subject. Regarding cocks, tortoises, and goats, the authority of Garga has been cited. Hamsadeva, a protege of Saundadeva, wrote a treatise of the same title in Sanskrit. It is a rare work on zoology, containing 1712 stanzas. Its manuscript is preserved in the palace library of Trivendrum. The work is divided into 36 sections, dealing with the nature, habits, species, young age, sporting, conception, food habits, duration of life, and so on of 225 animals and birds. 15. Poragama or the art of cooking, is mentioned in the Vasudevahindi. Suda-sastra which has been ascribed to Bhimasena, finds a mention in the Brhat-katha-slokasangraha. It is also known as Anna-samskara-sastra. Elsewhere it has been stated that the art of cooking depended on the knowledge of the science of medicine and in order to acquire this knowledge people used to travel to the country of Yavana (XXIII. 107). King Nala, the husband of Damayanti, is said to have been expert in preparing delicious dishes with the heat of sun-rays.

Page #35
Jagadish Chandra Jain Nirgrantha 16. Pasa-kevali or Pasaka-kevali, it is also known as Pasaka-vidya, pasa being a particular constellation in astronomy. It is an art of foretelling events by casting dice (parsa in Hindi). It has been ascribed to Garga, who has been called a great Jaina muni (The Jodhpur Collection, Pt. I, 1963, p. 220). Garga also has been referred to by Varahamihira along with Parasara, Kasyapi, and other exponents, and by Thakkura Pheru along with Haribhadra, Jauna, Varaha, and others in his Jyotisasara. 17. One other Pasa-kevali in manuscript form contains certain technical words with the help of which good or bad events are predicted. 18. Keith has referred to two treatises under the title of Pasakevali, preserved as parts iv and v of the Bower manuscript in bad Sanskrit with many signs of Prakritic influence. The language of this work is of peculiar character, being popular Sanskrit, heavily affected by Prakritism (perhaps 4th century A. D.). Panca-paksin or Panca-paksi-parijnana is still another work on science of divination, containing auguries, ascribed to Siva: through it one is able to foretell the future events in which five vowels are associated with five birds. 19. 20. The Panca-paksi-stavaka in Old Gujarati and the Panca-paksi-sakunavali by Narayana Bhatta (V. S. 1840) are recorded in the Catalogue of Sanskrit and Prakrit Manuscripts, part III, Muniraja Sri Punyavijayaji, Ahmedabad 1969. Varahamihira has also composed a work under the same title. 21. The Rajasthan Oriental Research Institute Jodhpur Collection (part II B, 1965, pp. 328, 330) has recorded several works, bearing the titles Panca-paksi-prasna; Panca-paksi-sakuna-sastra, Panca-paksi-sakuna-sastra (with commentary), Pancapaksi-tippana by Kalyanakarana sukla (V. S. 1908). 22. Ramala or Pasaka-vidya: Ramala is an Arabic word, meaning a mode of fortunetelling by means of casting dice, marked with points. These points give an answer to one's question. Obviously, this art has been borrowed from the Arabs and numerous works have been composed on the subject. According to the Jaina tradition, Acarya Kalaka is said to have brought this art from Yavana (desa). Muni Bhojasagara (18th century A. D.) has written the Ramala-vidya, still unpublished. The Ramalasastra has been referred to by Meghavijaya in his Meghamahodaya, also known as Varsaprabodha (V. S. 1735). It is written in mixed Sanskrit and Prakrit. It has been published. Various works on Ramala have been recorded in the catalogues of manuscripts of Rajasthan Oriental Research Institute, Jodhpur Collection and elsewhere. This indicates the popularity of the subject in later centuries.

Page #36
Vol. 1-1995 Some Prakrit Works.... 23. Like Ramala, Tajika-vidya (Tazi is a Persian word, meaning 'Arabic), also indicates the Muslim influence. This art had gained popularity in the 18th or the 19th century. Numerous manuscripts on the subject have been preserved in the Rajasthan Oriental Research Institute Jodhpur Collection, Jodhpur. Tajikam by Nilakantha (written in Sanskrit in V. S. 1840), has several commentaries. Tajikasara, Tajika-sudha-nidhi, Tajika-padma-koea are some of the important treatises on the subject. subhasilagani in his Pancasatiprabandha (I, 75, pp. 40-1) (A. D. 1464), under the title Tajika-grantha-viracana-sambandha has provided an account of the composition of the Tajika-grantha. It so happened that once the Moghuls invaded Gujarat. During the invasion they caught hold of some local people. Amongst them was a learned Jaina acarya. He was taken to Khurasan where in course of his sojourn he made a study of Yavanika-sastra. Later on the basis of this sastra he composed the Tajika-grantha. This work contained the knowledge of past and future, but it has been stated that, as the people were not intelligent enough, they were unable to grasp it fully. 24. Vyksayurveda was an art and science of planting or cultivating trees, flowers, and fruits in ancient India. It finds mention in the Arthasastra of Kautilya. It is mentioned in Sanghadasa gani's Vasudevahindi. We are told that Samudradatta was expert in the art of Rukkhayuvveya. This art is also mentioned in Budhasvamin's Brhatkathaslokasangraha (V. 225). Visvila, a young artisan, was expert in the craft. He cut down the wood from the forest and manufactured a flying machine out of it. He also manufactured valuable cooking utensils conducive to health and longevity in accordance with the rules laid down here. The Brhatsamhita of Varahamihira contains a chapter known as the Vrksayurvedadhyaya (55). Here the ancient sages like Kasyapa and Parasara are mentioned. They laid down rules with regard to planting and cultivating trees. In the medieval works, mention may be made of Krsiparasara, the Abhilasitarthacintamani, the Visva-vallabha of Cakrapani, the Viksayurveda of Surapala, the Upavana-vinoda, and others. (M. R. Bhat, Introduction to Brhatsamhita, p. 527). The Puppha-joni-sattha by Nemicandra gani, is referred to in his Tarangalola. Monier Williams has mentioned the Vrksacikitsa-ropanadi. In Kannada we come across the Bijaropana-naksatra (the constellation for planting trees.) Vivaha-padala (Vivaha-patala), dealing with marriage, seemed to be very popular in ancient India. Jainas as well as non-Jainas have written on this subject. There were several works bearing the same title. Bhattotpala (c. 9th Cent. A. D.), the commentator on the Brhatsamhita, has referred to two such works; he is reported Jain Education Intemational

Page #37
Jagadish Chandra Jain Nirgrantha to have commented upon this work. The Brhajjataka of Varahamihira has referred to Vivaha-patala. Elsewhere though it forms a chapter of the Brhatsarhita, Vindhyavasin is mentioned as author of this chapter. Sarangadhara was still another author who composed the work bearing the same title in V. S. 1535. Pitambara was one other writer who composed it in V. S. 1579. This popular work is also recorded in the Rajasthan Oriental Research Institute Jodhpur, Collections, Jodhapur, where it is stated that it was composed in V. S. 1856 and commented by Kasinatha in V.S. 1912 with Stavaka. The Jainas also composed Vivaha-padala. It is mentioned in the Nisitha-curni but without the name of the author. Elsewhere, Abhayakusala or Ubhayakusala has been referred to as the author of the work. The manuscript contains 130 verses, interspersed with quoted Prakrit verses. The work has been commented by several authors which indicates its popularity. 26. Vaisika-sastra or the art of courtesans or harlotary. Courtesans were well-versed in this art. Dattaka or Datta-vaisika is said to have been the author of the Vaisika which was composed for the sake of courtesans of Pataliputra. The commentary of the Sutrakrtanga narrates a story of a courtesan who tried to seduce Dattaka by employing charms mentioned in the Vaisika; she did not succeed. But she would not give up. She played another trick when Dattaka was caught and thrown into fire. The art of Vaisika has been mentioned in Bharata's Natyasastra and Kuttinimata of Damodara. It forms a chapter of the Kamasastra. It is said that one who knows the art of Vaisika, is supposed to be skilled in all arts and crafts, he is able to captivate the heart of women, and is expert in conducting love affairs. Bhojadeva, the great poet, has stated in his Singaramanjari : "As people are frightened of a tiger, so are the prostitutes of showing true love to their paramour; that is how a number of paramours have been deceived by prostitutes." We are told in the Vaisikatantra : "If it is not possible to acquire wealth out of real death, the faked death has to be practised." The Sutrkrtangacurni (p. 140) cites a Sanskrit quotation from this treatise saying, "The mind of women is difficult to conceive or fathom." 27. Sana-ruya (Svana-ruta) or the barking of dog, deals with the prediction of events by interpreting the barking of dogs. The treatise finds a place in the Jaina manuscripts of Patan Jaina Bhandar. It has been noted in Jnana-ratna-kosa (p. 400) 9th chapter contains 20 gathas. 28. Siddhanta-paluda deals with the effect of application of collyrium to the inner coat of eyelids, application of an unguent in the feet (pada-lepa) and keeping tablets in the mouth (gutika). Jain Education Intemational

Page #38
Vol. 1-1995 Some Prakrit Works.... We have numerous manuscripts on different other subjects. Here are noted : 1. Cudamani or Cudamani-sara-sastra, containing 75 gathas; not available. Chaya dara deals with interpretation of events by observing shade. It contains two-page manuscript, covering 123 gathas; in Pasan Jain Bhandar. Chinka-vicara deals with prediction of events by one's sneezing; manuscript in Patan Jain Bhandar. 4. Garuda-sattha (Garuda-sastra) deals with the cure of snake-poison. Jaya-pahuda deals with the science of prognostication; contains 378 gathas. 6. Nadi-dara deals with particular artery of human body; Ms. in Patan Jain Bhandar. Nadi-viyara deals with good or bad events arising out of the movement of right or left artery; MS. in Patan Jain Bhandar. Nimitta-dara deals with nimitta; MS. in Patan Jain Bhandar. Nimitta-pahuda deals with nimitta such as kevali, jyotisa, svapna, etc. Nimitta-sastra deals with akasa, candra, utpata, varsa-utpata, deva-utpata-yoga, raja-utpata-yoga, having good or bad omen arising out of rainbow, the illusory town (appearing in the sky: gandharva-nagara), occurrence of streak of lightening and a line of clouds. It is composed by Rsiputra, son of acarya Garga. Bhattotpala, the commentator of the Brhatsanhita, has referred to Rsiputra. It contains 187 gathas. 10. Meghamala deals with future events taking into consideration the movements of constellations and the signs of rains; MS. in Patan Jain Bhandar. 11. Panha-vagarana (Prasna-vyakarana) deals with the questions and answers by a deity appearing in a linen cloth, a mirror, a thumb, or an arm. It consists of 450 gathas. A palm-leaf MS. is catalogued in Patan Jain Bhandar. Pipiliya-nana (Pipilika-jnana) predicts the good and bad omen arising out of the movement of ants bearing a particular colour. The MS. containing eight stanzas is available in Patan Jain Bhandar. Pranasta-labha predicts profit and loss and life and death; MS. in Patan Jain Bhandar. Then we have Sakuna-jnana or Sakuna-vidya (Sagun in Hindi) or the knowledge of birds or omens or augury, was considered most important in those early days in the absence of scientific knowledge. It was a sort of hymn or song sung at festivals to secure good

Page #39
Jagadish Chandra Jain Nirgrantha fortune. Sakuna-sukta or the bird-hymn is mentioned. Sakuna-ruta-jnana or the knowledge of notes of birds was considered very important. It was known as totemism which would unite the tribal people in a sympathetic relation with nature. Siva is known as Pasupati or lord of animals. Nandi is associated with Pasupati, Garuda with Visnu, Hamsa with Sarasvati and Musaka with Ganesa. This affinity was so strong that the species of animals and birds were associated with superstitious beliefs or auspicious or inauspicious omens by local tribal people. According to Indian tradition, the omenology has been handed over right from Indra, Brhaspati, Sukra, and renowned sages like Parasara, Garga, and Bharadvaja. According to the author of the Brhatsamhita, King Dravyavardhana, the ruler of Ujjayani (A. D.495-515) wrote a treatise on the subject. The author of the Brhatsanhita has devoted several chapters related with the topic. They are : Sakunam, Antara-cakram, Virutam, Sva-cakram, Siva-rutam, Mrga-cestitam, Gavengitam, Asvengitam, Hasti-cestitam, Vayasavirutam and Sakunottaram. In the course of his commentary, Bhattotpala has cited Bhagavan Garga, Rsiputra, and Parasara. Parasara has dealt with seasons and their effects on the sexual instincts of animals. Dealing with the chapter on dogs the commentator has cited references from Parasara and Garga. He cites 32 verses from Aksara-kosa of Yavanesvara. Various other works on sakuna-sastra are mentioned. The Grhagodha-vicara and the Krkalasa-vicara are referred to in the catalogue of Sanskrit and Prakrit Mss., Pt. III, p.960 (compiled by Muniraja Sri Punyavijaya, Ahmedabad 1969). Svarodaya-prakarana, a work of Sakuna-sastra, was composed at Anahillapura during the reign of Ajayapala of Gujarat. In the city of Dhara, there lived a Brahmana Amradeva by name. His son Narapati was efficient in mantra and tantra and possessed the knowledge of Cudamani. This treatise was composed by him. It has several commentaries*. * The present write up is partly based on author's 'Secular Literature', chapter nine of his forthcoming book, History and Development of Prakrit Literature.

Page #40
SAHITYAMIMASA: PRAKRIT TEXT RESTORED V. M. Kulkarni This paper deals with the highly corrupt Prakrit passages from the Sahityamimanisa which, to my despair, had been left out as beyond restoration in my two earlier studies' : 1. Nibhuam khunam sasijai (?)...p.68 Note: This verse, which is very corrupt, containing as it also does a lacuna, may be restored with the help of the srngaraprakasa (Vol. I, p. 619, nihuam khu nisasijjai, etc.): NihuaM khu NIsasijjai ruvai rAIsu taM pi NIsad / paimmi kaAvarAhe hiaicchiANi NhuvijjAMti // (nibhRtaM khalu niHzvasyate rudhate rAtriSu tadapi niHzabdam / patyau kRtAparAdhe hyadayepsitAni [yante // ) Alaam janamti dakaha (?)... p.96 Note : The text of this verse, too, is highly corrupt. It is cited as such in Bhoja's Sarasvatikanthabharana (V. v. no 13, P. 576) and Narendraprabha's Alarkaramahodadhi as an example of rasabhasa. Metrically, both quotations are imperfect. There the text makes clear mention of 'Dasakandhara,' 'Raghava,' and 'Janakasuta'; and these names lead us to trace the verse to the Setubandha. Although its Nirnayasagar edition does not include it, the Calcutta edition (Ravanavahamahakavyam) presents it at XV. 66. K. K. Handiqui? rightly observes : "But not a few commentators from different parts of India seem to have rejected it because of the unpleasant idea involving Sita in the description." pulaaMjaNeti dasakaMdharassa rAhava-sarA sriir-addtaa| WUT37-AUT3I7-731TET:* herafa31-07-737-furqat il (pulakaM janayanti dasakandharasya rAghava-zarAH zarIra-patantaH / 7777- -veer-spf-Helfera-o-rafrafer: 1) Hatthi puhaina hi suddhari (?)... p.101 Note : This verse is undoubtedly highly obscure. But the significant expression 'suapadamugginnaditta' provided the cue. The expression is a corrupt form of 'sua-padhamubbhinnadanita' which in a flash led me to identify the verse with the Gathasaptasati II. 200:

Page #41
22 4. Hemacandra's gloss on his sutra (Prakrit Grammar VIII 2. 181 ) probably draws the example from the gatha under discussion and that Hemacandra's text of the Gathasaptasati had the reading 'Hamida paloesu imam". Jijipuuemidisapuralali (?)... p.104 Note: This highly corrupt text contains a few indications which lead us to identify it with Gathasaptasati VI. 30. A close and comparative look at the corrupt text and this gatha provides indisputable proof for the identification: Corrupt form : 5. 6. V. M. Kulkarni haMdi paloehi imaM viasia vaaNA paTTassa appei / dhariNI sua-paThamubbhiNNadaMta-jualaMkiaM boraM // (gRhANa pralokacasvedaM vikasi vadanA patyurarpayati / gRhiNI sutaprathamodbhinna-yugalaGkitaM badaram // ) jijI puuemidikhapuraLala ehi eppa sase tatva tuhA paDimA paripAdi vahalasa laladisA arja ( ? ) // Correct original form : jaM jaM pulaemi disaM purao lihia vva dIsase tatto / tattha / tuha paDimA parivArDi vahai vva saalaM disAakkaM // (yAM yAM pralokayAmi dizaM pusto likhita iva dRzyase tataH / tatra / taba pratimA paripArTI vahatIva sakalaM dizA-cakram // ) Pa...saga ana vasattara atilo ( ? )... p. 115 Note: This gatha, too, is extremely corrupt; but the significant expression 'nahabhusana' (addressed by the Khandita nayika with a double entendre- one applicable to aditya- the sun (who is an ornament of the sky) and the other to her faithless husband (who bears the nailmarks on his body)- leads us to identify the present verse with G. S. VII. 53 : paccUsAgaa rejiadeha piAloa (pA. bhe. tailoa) loaNAnaMda / aNNattha khavia - savvari NahabhUsaNa diNavai Namo de // (pratyUSAgata sajjita deha priyAloka (pA. bhe. trailokya) locanAnanda / anyatra kSapitazarvarIka nabho-bhUSaNa dinapate namaste // ) Nirgrantha Jari vahaja variaddan ( 2 ) ... p. 117 Note : This verse is extremely corrupt. It could, however, be restored with the help of two other equally corrupt versions found in the Singaraprakasa:

Page #42
Vol. 1-1995 Sahityamimamsa..... (i) Campahai biakantham (?)... p.818 (ii) Jam vahai piakhandam (?)... p.1173 The correct original form of the verse would be : jaM vahai bIakaMDaM majjha suo ekk-phr-vinnivaaii| taM kuladusaNi soNhe thaNANa tuha matthae paDau // ( yad vahati dvitIya-kANDaM mama suta ekaprahAravinipAtI / 'tat kuladUSaNe snuSe stanayostava mastake patatu // ) 7. Samkhakulami tti sa (?)... p.121 Note : Only the pratika 'samkhakula' is given here. On its basis, and taking into consideration the context of 'samudre pankajam varnyam'. Although lotuses do not exist in an ocean, they should be so described. We identify the verse intended to be cited, and indicated by the pratika, to be Setubandha VIII. 99 : saMkha-ula-dhavala-kamale phuDa-maragaa-haria-vatta-bhaMga-NihAe / vihuma-milia-kisalae uhaa-taDAbaddha-saMkamammi Nalavahe / (zaGka-kula-kamale sphuTa-marakata-harita-patra-bhaGga-nighAte / viduma-milita-kisalaye ubhaya-taTAbaddha-saMkrame nala-pathe // ) Samdiksirananehevahi (?)... p.155 8. Note: This gatha is corrupt almost beyond recognition. Fortunately, the Srngaraprakasa comes to our aid in restoring it; the author of the Sahityamimamsa adopts the whole passage dealing with the six pramanas, Sabdantara and others, from the Srigaraprakasa (Vol. IV, pp.886-887) : vaMdaM kIrANa ihe pahiANa pahe maANa chettammi / tuha kalamagovi theAkha-rasiaMNa calai papi // (vRndaM kIrANAM nabhasi pathikAnAM pathi mRgANAM kSetre / tava kalamagopi stoka-rava-rasitaM na dalati padamapi // ) Sahadadhannano jatai (?)... p.157 Note : The author of the Sahityamimamsa adopts all the passages, dealing with the six pramanas, sruti, and others, from the srrgaraprakasa (Vol. IV pp.887888). The verse which is corrupt at both places may be restored as follows: muJcaM skhaNNA patra bhe- aNNya) ghaNNA jA taiA kesa saccaM saNNA (pA. bhe. dhaNNA) dhaNNA jA taiA kesaveNa giridharaNe / gurabhAravAvaDeNa vi ujjuaacchaM ciraM divA //

Page #43
24 11. 10. Lacchie kuvalaadulukka ( ? )... p. 158 Note: This verse, too, had been first cited in the Smigaraprakasa (Vol. IV P. 890) in an identical context. The verse is corrupt at both places. It may be reconstructed as follows: References: V. M. Kulkarni 2. (satvaM saMjJA (pA. bhe. dhanyA) dhanyA yA sadA kezavena giridharaNe / gurubhAravyAmRtenApi RjukA ciraM dRSTa // ) First cited in the Syrigaraprakasa Vol. I. p. 269; Vol. IV p. 888. lacchIe muddha kubala adalujjalA jalahi mahaNa viramammi / diDI jaa saaMvara mAla vva harimmi zivaDaMtI // Nirgrantha (lakSmyA mugdha - kuvalaya-dalojjvalA jaladhi-mathana- virame / dRSTirjayati svayaMvaramAleva harau nipatanti // ) Kalahoujjalagau ( 2 ) ... p. 158 Note: This verse is highly corrupt; but the corresponding passage in the Smgaraprakasa (Vol. IV P. 890) helps restore it : 1. i. "The Sahitya-Mimamsa : Prakrit Text Restored," The Bulletin of the Chunilal Gandhi Vidyabhavan, No. 15, Surat, August 1970. ii. "Sahitya-Mimarsa : Prakrit Text Restored," Sambodhi, Vol. 5, No. 2 & 3, Ahmedabad 1976. kalahoujjala - goraM kalahoasiAsu saraa-rAIsu / cuMti aNimicche (pA. bhe. viasiacche viaTTa (pA. bhe. via ) jiaImuhaM ghaNNA // (kaladhautojjvalagoraM kaladhautasitAsu zaradAtriSu / cumbanti animiSAkSaM (pA. bha. vikasitAkSaM) vivRta (pA. bhe. vidagdha) yuvati mukhaMdhanyAH // ) "Introduction," Pravarasena's Setubandha, Translation, Prakrit Text Series, Ahmedabad 1976, p. 113 thereof.

Page #44
(1) Adualiya The Partridge In And The Cart NOTES ON SOME PRAKRIT WORDS In Agastyasimha's Curni on the Dasavealiyasutta' (c. late 6th Cent. A. D.), while treating various types and sub-types of the udaharanas, the following story is given as an illustration of the Vyamsaka ("trickster, trickery') subtype of Hetu' : Translation: H. C. Bhayani I ekkeNa gAmellaeNa kaTTha-sagaDeNa NagaraM jaMteNaM aMtare tittirI matA laddhA / taM sagaDe pakkhivittA nagare pavisaMto -gagara-dhutteNa pucchito kahaM sagaDa-tittirI labbhati ? / teNa bhaNitaM tappaNAduyAlitAe / dhutteNa sakkhiNo AhaNikaNaM sagaI sa tittirIyaM NIyaM gAmelao sa cito acchati / aNNeNa vidveNa pucchitA kiM citesi ? teNa savvaM kahitaM / viDo bhaNati - jAhi padesiNi veDhettA bhaNa 'visiddhaM pi tA tappAmADugAliyaM dehi' / diNNAe 'aMgulI dukkhati' ti mahilAe AdutAlAvehi taM mahilaM sa sakkhiyaM hatthe dhetuM bhaNa tappaNADutAlitA sagaDatittirie kItA / teNa jahovaesaM kataM / dhutteNa saNhoraM jemAvettA sagaDa- bharo visajjito, NiyattiyA bhajjA // - A villager while going to the city with his cart loaded with pieces of wood saw a dead partridge on the way. He picked it up and put it in the cart. As he entered the city, a city-rogue asked him: "For how much can I get the cart-partridge ?" The other replied, "In exchange of commingled barley-groats." The rogue called witnesses and took away the cart with the partridge. The villager sat worrying. Another clever and. cunning fellow asked him: "What is your worry ?" The other man told him all that happened. The cunning fellow said: "You approach that rogue with your index finger wrapped up and tell him, 'Give me the commingled barley - groats we agreed upon.' When he gives it, tell to the chief lady of his house that "my finger aches" and get it soaked by her (in cold water ?). Then getting hold of that lady in the presence of witnesses tell the rogue: "I have bought the barley-groats (tappana) and the soaker (adutalita) in lieu of the cart-partridge." The villager acted in accordance with the instructions. The rogue with humble submission dined him, returned the cart, discharged him, and called back his wife. - Notes: tappanaduyalita, tappanadugaliya, adutalav, tappanadutalita. If the inorganically inserted -- and -g- are removed and -du- in the first form is taken to be a mistake for -du-in other forms, we would have tappanadualia and adualav..

Page #45
H. C. Bhayani In the first occurrence tappanadualia means 'barley-groats (Pk. tappana Sk. saktu) which are commingled' (adualia past passive participle used as a modifier) (with probably ghee). Hemacandra has given aduali in the sense of 'mixing', 'mixture', (misratva, misribhava, Desinamamala, I. 69 ). Gujarati advalvu means to mingle a powdery substance (e. g. grain-floor) with a liquid and coagulate. In the third occurrence in the cited passage tappanadualia means, 'barley-groats (tappana) and the person who has soaked them' (adualia: feminine agent noun)3. In the second occurrence it is to be taken as ambiguous having double entendre. The rogue played a verbal trick on the villager by using the expression sagada-tittiri which can mean 'the partridge that is in the cart and the cart and the partridge'. He is paid back in the same coins through a matching verbal trick: tappanadualia can mean 'barleygroats mingled' and 'barley-groa's and the mingler'. The 'aching' finger is treated by immersing it in the cold water". 26 == sanhoram This is glossed in the Notes as salajjam being ashamed, shamefully'. It seems to be a corrupt reading for sa-nihoram. In Modern Hindi nihorna means to entreat', nihora entreaty. It occurs in Apabhramsa in an illustrative citation given in the Svayambhucchandas, VIII 10-105". Nirgrantha Another version of this story occurs in Samghadasa's Vasudevahindi (c. mid 6th century A.D.) where it is given as a tale narrated by Kamalasena to her husband Dhammilla to illustrate the roguish and cheating character of the urban people. Its later part is completed by Dhammilla. In that version the cartman brings with him in the cart a cage with a partridge in it. The roguish sons of a seller of medicinal herbs (gamdhiya-putta) tricked the cartman to sell to them the sagada-tittiri (differently interpreted by the buyer and the seller). for one karsapana. Thereafter, following the instruction of a benign nobleman the cheated cartman approached the rogue and offered them his ox in lieu of tappanaduyaliya, but on condition that, that is given to him at the hands of their mother, nicely dressed and adorned. When the mother came to give the barley-groats, the cartman caught hold of her and went away. The dispute was ultimately settled in favour of the cartman, who was liberally compensated. Now, the editor and translators of the Vasudevahindi have failed to grasp the meaning and significance of the Prakrit expression tappanaduyaliyam in the text of this story. The editors have emended it as tappanadupaliya i. e. the two palis (a measure) of the barley-groats, and the translators also have depended upon this emendation. But in the emended expression there is no scope for the double entendre which is pivotal for the point of the story as shown above in the case of the Dasakalika-curni version. As a tale-type, this story is based on the principle of 'tit for tat' or clever retaliation.

Page #46
Vol. 1-1995 Notes on some prakrit words Deception by some verbal trick or equivacation is the motif in one class of these tales? Incidentally, we may note two other occurrences of aduyal - from Prakrit literature. In the Avasyaka curni (c. A. D. 600-650) (P. 447) (Haribhadra's Vrtti, P 342 a, Malayagiri's Vrtti, P. 452) occurs adduyaliya (v. I. adduyaliya - adduyaliya)'. tattha pattho sarisavANaM chUDho / tANi savvANi aDyAliyANi / 'A measure of sarsapas was thrown in it. All these were mixed up by stirring.' Later aduyaliya -occurs in a somewhat different sense. In Silanka's Caupanna-mahapuriscariya (A. D. 869) it is used in the sense of stirring and heaving felt in the stomach due to undigested food : 3754fcri ( v. 1.31541 ) wefant (p. 319, 1.11). Rajasthani adaro preserves this meaning. Monier Williams has given adval (advalayati) 'to mix, mingle' on the basis of advalana 'mixing. mingling which occurs in the Katyayanasrauta-sutra and its commentary. Tval is recorded in the Paniniya-Dhatupatha (20, 5) as also tal-(20, 4), both in the sense of vaiclavya 'to be disturbed.' Monier Williams considers these tval, tal, and dval as variants of the same root. Whitney observes that, as advalana is used by only one scholiast, it is no proper root (The Roots, Verb - forms, p-59). Turner also thinks tal, tval and (a)dval to be allied (CDIAL under 5450). However the Pk. and NIA. evidence (from Gujarati and Rajasthani) clearly show that tal (or gval) and dval have separate identities and semantic range. This case further bears out the view that, with regard to those roots of the Dhatupathas which remain unattested from the available Sanskrit literature, Middle Indo-Aryan and New Indo-Aryan sources can provide evidence to establish their authenticity. It would be rash to dismiss them as artificial creations of the grammarians. (2) On the words gommata, gumati, gumata Late A. N. Upadhye had convincingly established" that the word gomata in Old Marathi and gomta in Modern Marathi (and gomto in Konkani) means 'fair,' 'handsome,' 'attractive,' 'good,' etc., and in Old Kannada gommata similarly signified 'pleasing,' 'excellent. He has cited passages containing this word from serveral Marathi literary texts of the 13th century and documents of the 17th century and from the Kannada inscriptions of the 12th century. He has also rightly concluded that the word is of Dravidian origin and was an early loan-word in Marathi (through Kannada). His other important conclusions that gommata 'fair-skinned,' 'beautiful was a household name, a pet name, a personal name of Camundaraya, the minister and general of the Ganga monarchs, who got carved, out of the rock, the famous image of Bahubali at Sravanabelgoda in A. D. 981; that statue came to be called Gommatesvara after the minister's name; and that through reinterpretation Gommata was made later synonymous Jain Education Intemational

Page #47
H. C. Bhayani Nirgrantha with Bahubali. Thus all earlier speculations and misundertandings have been set at rest. The present brief note aims at supplementing Upadhye's study of the word gommata by pointing out three occurrences of the word gumati, one as a Prakrit word and another as a Sanskrit word, not noticed by Upadhye or, to my knowledge, by any other scholar. The first occurrence is noted from a text passage datable in the first half of the 11th century A. D. and hence the earliest brought to light so far. In Bhoja's Sarasvatikanthabharana, to illustrate the Samkirna type of the Figure of Sound called Jati, a verse is cited which has a mixture of Sanskrit, Maharastri Prakrit, and Apabhramsa (II. v. 10) languages. Its first line begins with the following words : akata-gumati-candra-jyotsna The Maharastri word akata is paraphrased by the commentator Ratnesvara as ascaryam 12 and gumati as manojna. Thus the moonlight is described as wonderfully beautiful. It should be noted that one constituent of the meaning of gumati here (applied to the moonlight) is 'white'. Compare the Marathi phrase gora-gomta in which, as suggested by Upadhye, we have collocation of two synonymous words to express intensity of whiteness. The second occurrence of gumati I happened to notice was in a verse cited in the Prabandhacintamani (A. D. 1305) of Merutunga in one of its manuscripts (Pb Siglum) dated the 17th Century A. D. The verse occurs within a legendary anecedote connected with the Paramara king Bhoja and a poor man. The latter addresses to the King a selfcomposed Sanskrit verse which contains 11 ti- sounds. Its third line contains the following words: priya na gumati : 'I have not got a fair woman as my wife'. The third occurrence is somewhat doubtful. In Somesvara's Manasollasa (A. D. 1131), the illustrative verse given for the musical prabandha called Caturangaka, which is characterized by a mixture of several languages, is found in a highly corrupt form. I have attempted to restore it. The first line of the verse is in Sanskrit, the second in the Maharastri Prakrit, the third in some regional dialect (Early Madhyadesiya ?) and the fourth in Magadhi. The third line has been restored by me as under : jo govi-jani gaije bahu-pare rupim tinho gomata The Mss. read niham--tinho and gomaya respectively for the last two words. If my emendation of gomaya as gomata is plausible, we have here an early 12th century occurrence of gomata in the sense of manojna. It cannot of course mean here gaura, because Krsna is syamala, dark. Jain Education Interational

Page #48
Vol. 1-1995 Notes on some prakrit words Thus gomata, quite probably a Kannada loan word in early Marathi, is attested from more number of texts, of the 11th, 12th, and 14th century. (3) Pk. halahala/ola and bambhani In a recently published paper on the 15th chapter (Teyanisagga, Gosalaya-saya), which gives an account of Gosala Mamkhaliputta, the leader of the Ajivikas, Roth has made the following observation on the significance of Halahala, the personal name of the potter woman, in whose shop Gosala with his follower was accommodated : "From this it appears that the name Halahala was given to the potter-woman, who accommodated Gosala, in order to characterize her as a poisonous snake." (p. 448, note 13). Roth's observation is based on the meaning 'snake' recorded in PW and on halahaladhara' a small, black, venomous kind of snake'. It may be noted that MW also records halahala 'a kind of snake' from Indian lexicographers. It has, however, also recorded halahala and halahala' a kind of lizard' and halahala' a kind of small mouse'. Besides, it has given halini a kind of lizard'. All these derive from lexicographical sources. It seems that there is strong evidence for supporting 'a kind of lizard' as the original meaning for halahala, halahala, etc. Roth has noted (p. 419) that, Hemacandra's Desinamamala records under 8.75 halahala with two meanings : malara (= SK. malakara, malika 'garland-maker') and bambhani (= bambhanika according to Hemacandra's commentary on the passage). Roth has misunderstood bambhani / bambhanika. We may note in this connection that the Desinamamala records under 8.63 halahala also with the single sense of bambhani and further it has given bambhani (with its variant bambhani) also under 6.90 in the sense of halahala. Corresponding to PK. bambhani, the SK. form is brahmani. Dhanapala, using possibly the same source as Hemacandra, records (714) halahala as synonymous with bambhania. Now, Hemacandra's Abhidhanacintamani records, as noted by Bechardas Doshi (p. 316, note 2. p. 429, not 1), under v. 1298 halahala with its synonyms halini, anjanika, and anjanadhika in the sense of 'a type of lizard' and under 1299 brahmani in the sense of a fat lizard having red tail (rakta-pucchika)'. So here Hemacandra has given halahala and bralmani as Sanskrit words, but as words with somewhat different meanings. MW. has recorded brahmani from the Ramayana in the same sense. The word is preserved in Hindi babhani, bamhani 'a type of lizard', and in Gujarati bodi bamni in the same sense.

Page #49
H. C. Bhayani Nirgrantha Halahala occurs in Hala's Galakosa (1, 62) where the commentator Bhuvanapala observes that halahala is the same as grhagodhika, which is popularly called brahmani. The Desi-Sabdakosa has recorded from the Jaina Agama literature haliya, halliya, "lizard', 'brahmani'; hallahalla 'a kind of insect'; halaka 'a kind of insect' and halahala 'a kind of insect. We can conclude that the potter-woman's name Halahala signified 'a red-tailed big lizard. Such personal names have been traditionally common down to the present day in the lower castes!4. Postscript Dr. Roth has kindly sent to me a copy of H. Lueders's paper 'Von indischen Tieren' (included in his Kleine Schriften, ed. 0. Von Hinuber, 1973, pp. 24-80) and has also drawn my attention to some Hindi textual data. I feel, however, that the Prakrit lexical evidence is much more relevant and it heavily weighs in favour of a nonpoisonous type of lizard as the meaning of halahala (called in Gujarati 'Sap-ni-masi,' aunt of serpent). Notes And References : 1. Dasakaliya-sutta, Ed. Punyavijaya Muni, PTS series No. 17, Ahmedabad 1973, p. 28. 2. The Text of the Dasakaliya sutta has numerous forms with the inorganic -t (the so-called t-sruti). Comparable to the reading adutali- is okkayallitao. (For okkayalliyao. For the discussion of insertion of -- in Prakrit forms, see Vasudevahindi-Madhyama-Khanda, Ed.-- H. C. Bhayani, R. M. Shah, LDS No. 99, Ahmedabad 1987, Introduction', pp. 38. 3. In the Sanskrit glosses given in the footnotes of the Dasakalika, the Prakrit expression is rendered as tarpana-calika (p. 28, n. 9). 4. The Sanskrit gloss in the Notes on adutalavehi is sitikaranartham acalaya (p. 28, n. 8). kaNNa paripADi, jaNu jANai torA / cattau jo savai, tasu kavaNu NihorA // 'O Karna, people know your habitual practice. What entreaty can be made to him, who abuses that which is abandoned ?' This seems to be a citation from some Apabhramsa poem on the Mahabharata theme. Eds. Chaturvijaya Muni and Punyavijaya Muni, Gujarat Sahitya Akademi Reprint, Ahmedabad 1989, pp. Vasudevahindi Gujarati Translation by B. J. Sandesara(1988 reprint), pp. 85-86. The Vasudevahindi English Translation, J. C. Jain, Ahmedabad 1977, pp. 618 620. Jain Education Intemational

Page #50
Vol. 1-1995 Notes on some prakrit words 7. H. C. Bhayani, Lokakatha-na Mula ane Kula, (Gujarati), Ahmedabad 1990, pp. 154-161. 8. Avasyaka-curni()- Vrtti of Haribhadra, 1, p.228; also in the Avasyaka 1-1 vrtti of Malayagiri. 9. The Sk. verb alod is used in the same sense in a similar context : sthagikAyAH samAkRSya saktUnAloDya variNA / eko'pi bhoktumArebhe Takko raGka iva drutam / / (Hemacandra's Yogasastra, 2. 156) 10. See. H. C. Bhayani, " Rajasthani alaravu, Gujarati addalvu," Marusri, 6, 2-3, Jan.. June, 1977, p. 65. 11. Gommata : Origin and Etymological Study of the Word. Reprinted in the Jinamanjaree, 8, 3, New York 1993, pp. 15-32. 12. With akata we can compare Apabhramsa kata, kata-re etc. occurring in the same meaning. In both the words akata and gumati, t. has exceptionally remained unvoiced. 13."The Prakrit and Desabhasa Passages from Somesvara's Manasollasa", K. K.Handiqui Felicitation Volume, 1983, pp. 174-175 (=Indological Studies, 1993, p. 306). 14. In story no. 37 of Rajasekhara suri's Vinoda katha Samgraha, we meet a gambler named Halahala (1.34. b). The work is dated c. middle of the 14th century A. D. References : Abhidhanacintamani of Hemacandra, ed. Vijayakastursuri, Ahmedabad 1957. Desinamamala, ed. Pischel and Ramanujaswami, Bombay 1938. Desi Sabdakosa, Ed. Muni Dulaharaj, Ladnun 1988. Desi Sadba Sangraha, edited and translated by Bechardas Doshi, Ahmedabad 1974. "Golsala Mankhaliputta's Birth in a cow-stall Including Notes on a Parallel in the Gospel of Luke 2" by Gustav Roth in Jain Studies In Honour of Jozef Deleu, Tokyo 1993, pp. 413-455. Hala's Galakosa with the Sanskrit commentary of Bhuvanapala, ed. M. V. Patwardhan, Part - 1, Ahmedabad 1980. Paialacchinamamala of Dhanapala, ed. Bechardas Doshi, Bombay 1960. Paiasaddamahannavo. Hargovinddas T. Sheth. Sec. ed, Varanasi 1963. Vinodakatha Sangraha by Rajasekharasuri, ed. Vijayavira suri, Bombay 1918. Sanskrit-English Dictionary, Monier Williams, reprint, Delhi 1963. Viyahapannatti-suttam, Part-2. Jain Agama Series, Bombay 1978.

Page #51
ON THE RISE OF APABHRANSA AS A LITERARY LANGUAGE H. C. Bhayani 1. General Observations Literary language means a language used also or mostly for literary purposes, presupposing the existence and cultivation of literature in that language. The idea and domain of literature and literary art, as we understand in modern times under the impact of the West, were considerably different in the Indian Tradition. Even in the latter, their implication, application, and formulation have altered inevitably in a spatio-temporal context that embraces three thousand years of continuous production of literary discourse and vast regions with partly shared, partly specific, cultural traditions. In the Indian situation historically viewed, our currently understood oppositions between literary and non-literary, literality and orality, creative literature and non-creative literature cannot always hold, at least not to the same degree. History as conceived by us after the Western impact as a record of events and things changing over sequential chronological periods was, with a few exceptions, something unknown to the Indian Tradition. So, when we talk of literary history in Indian context, we are setting up an alien frame for ordering, organizing, and understanding, for our purpose, the changes in the character and form of the texts produced at different periods of time. To deal with Indian literary traditions means to deal with vastly multilingual developments, broadly shared by, but narrowly peculiar to various regions in keeping with, of course, more or less pervasive cultural developments. Who, for whom, and with whose support produced literature are very obviously the interconnected vital matters for our consideration. The patronage came from the rulers, from the elite groups, or the religious institutions and establishments. All the three great traditions - Vedic-Hindu, Buddhist and Jainist - played a key-role. Popular literature of course flourished in a different milieu. But establishing significant and mutually invigorating linkages between the 'Class' and 'Mass' literatures periodically was a distinguishing feature of the literary history. Besides, the hierarchical structure of Indian society, its authoritarianism and distribution of literacy were factors determining the nature, character, type, and structure of the

Page #52
Vol. 1-1995 6. 7. 8. 9. 2. 1. On the rise of.... 33 literary texts produced. Modes of transmission and the preservation also of texts produced over centuries present us with a set of problems. Besides the oral and written modes of preservation and a set of complex relations of give and take between them, we are faced with the fact that a vast amount of literature is permanently lost to us and a considerable bulk remains locked up in unpublished manuscripts and unrecorded oral traditions. This situation also creates serious handicaps in trying to figure out literary history. The ideological and philosophical overview of the community plays a decisive role in the production of literature and the type of literature produced. The changes which the former had undergone was also a basic deciding factor for the rise of 'new' literatures at various periods. With regard to the Indian Tradition, our modern notions of uniqueness of the author of a text, of integrity of a text, and of originality mostly fail to work. Reinterpreting, revising, retelling, recreating, or rather transcreating has been the mode of preserving the traditional, modifying or enriching it, and keeping it 'living' and thus making it meaningful under the changed socio-cultural conditions and cater to the new needs of the community were the normal and accepted practice. A corrolary of the point 7 is that the categorizations or dichotomies we got as the modern Western heritage, into fact and fiction, real and mythical, objective truth and subjective belief, have to be basically modified when we consider the Indian Tradition. In many an area the view and approach are not the positivistic either-or' but the holistic 'both-and.' The contrast in practice is not exclusive but graded with poles differentiated. Several of these points of course overlap and are interdependent. The case of Apabhramsa language Earlier Traditions: The precedent situation. I will consider the recognition of Apabhramsa as a literary language and the beginning and cultivation of Apabhramsa literature, assuming that it was typical of similar other developments in the Indian Tradition. Periodwise, Apabhramsa literature was subsequent to Sanskrit and Prakrit literatures and preceded literatures in Modern Indian Languages of North India, i. e. New Indo-Aryan languages. The earliest statement on record relating to Apabhramsa as a recognised language of literature is by Bhamaha, a late sixth century theorist of literature. From the references we find in Bhamaha

Page #53
34 H. C. Bhayani Nirgrantha and Dandin, another literary theorist who followed the former after a century or less, we gather that the Apabhramsa was one of the four languages of literature, another three being Sanskrit, Prakrit, and Paisaci. There are indications that the Apabhramsa literature began to be produced from about the sixth century when there already were three other literary languages and literatures with a history extending over several centuries and with a large number of works in several literary genres which can be subsumed under the general types of poetry, fiction, and drama. We know that, by the sixth century before Christ, the Early Indo-Aryan or 'pre-Sanskrit as used by the common people in the region of Magadha in East India had so much changed that Vardhamana Mahavira and Gautama Buddha, who were among the most prominent religious teachers of that period, had preached their message in the colloquial "Magadhi' and not in the language current in the prestigious Vedic-Brahmanic circles. The dialect situation of a few centuries thereafter is reflected broadly in the inscriptions of emperor Asoka (3rd century B. C.) which show the distinctive features for the dialects of the eastern, western, and northern regions. But what is noteworthy about this literary situation is the important fact that, of the then current three languages of literature, Sanskrit had been confined since over a thousand years to a limited class of elites, who employed it for learned discourse and for composing high literature. There existed a large volume of texts in Sanskrit Sastras (religio-philosophical and scientific treatises) and Kavyas (creative writings) also in the several literary genres: Mahakavya (the ornate epic), Katha (the fiction), Natya - (the drama), etc. Sanskrit drama used a mixture of prose and verse and its performance was an organic structure of verbal text, dance and music combined. Over and above the Sanskrit language, it used for the speech of inferior' characters several regional colloquial dialects (Sauraseni, Maharastri, Magadhi, etc.) in a highly stylized form so as to represent the sex and class differentiation of the language used in the society of those times. The preserved fragments of Asvaghosa's dramas (second century after Christ) and Bharata's encyclopaedia of dramaturgy and dramatic performance (original portions datable to c. the third century of Christ) give us a picture of the situation. Before the beginning of the Christian era, Gaha, Dhavala (short lyrics), etc., and Kaha (romantic fiction) began to develop as consciously composed literary genres in the language of the Maharastra region in the West (i.e. Maharastri Prakrit), and by the fourth century, an ornate Mahakavya (the

Page #54
Vol. 1-1995 On the rise of.... 35 Harivijaya) was composed in that language. Another elaborate Mahakavya (the Setubandha) also appeared a century later. It should, however, be noted in this connection that, because of its religious and cultural prestige, its refinement and creative vigour, the Sanskrit language, literary style and expression, and literary models exerted quite a dominating influence. Literary Maharastri was in that regard rather a colloquialized and stylized form of Sanskrit, which was confined to its region. to start with but shortly earned recognition in all other regional literary circles. This is not to gainsay the fact that the contents of the Maharastri lyrics largely and typically related to the life and ways of the rural society, but this poetry was produced and appreciated mostly in royal courts and elite. circles. Essentially, in that regard, it was not different from the Sanskrit poetry; but there was a significant point of difference: Maharastri poetry and verse-fiction had developed its own metrical forms different from those of Sanskrit. Moreover, the performance aspect, too, played a decisive role. It should also be stressed that Prakrit had predominantly vocalic word-forms with only homo-organic consonant clusters. This made it more suitable for song and music. Regarding the Paisaci language and literature, we are almost totally in the dark. An enormous work in the Paisaci language, containing stories, tales, legends and narratives teeming with romantic episodes and daring adventures, with humans, subhumans, and suprahumans having a free intercourse and with remarkable complexity of form the Vaddakaha was written about the second century after Christ. But the original has been irrecoverably lost. What we now have are its several considerably late recasts, renderings or retellings, with additions, expansions, and omissions, in Sanskrit and in Maharastri Prakrit. No other work is available in the Paisaci language. Only the name of one other Paisaci text is mentioned by a writer of the ninth century. This means that Paisaci had virtually ceased to be the language of literature shortly after the second century. We are also ignorant about the region where Paisaci was in colloquial use and how it came to be used for composing literary works. The Indian Tradition presents us with myths and legends about these matters. Gunadhya, the author of the lost Vaddakaha, is reported to have been a learned Sanskrit scholar, well-versed also in Maharastri Prakrit. He was a court-poet of the Satavahana king (himself a famed Prakrit poet and patron of poets), ruling at Pratisthana in Maharastra. The legend has it that he came to be placed

Page #55
H. C. Bhayani Nirgrantha in such a situation that he had to forego the use of Sanskrit, Prakrit, and the spoken idiom of his time. Hence he had to compose his marathon storywork (which in fact, had originated from God Siva and he was just a carrier) in Paisaci, spoken by some tribals or primitives (actually Pisacas, goblins') haunting the forest regions of the Vindhya mountain range. Medieval Indian and Modern scholars disagree considerably about the original region and characteristics of the Paisaci language. It was in all probability a stylized form of Prakrit with its phonology partially recast after the dialect of some aboriginal tribe. 3. Beginnings of Apabhramsa language and literature Dandin, a seventh century literary theorist, has characterized literary Apabhramsa as based on the dialects of the communities called Abhira and others (which probably included the Gurjaras). Taking into account the cultivation and continuities during the later times, it is reasonable to assume that it was the Western region including Rajasthan, Gujarat, Sindh, and Malava where Apabhramsa language and literature had their beginnings. Later, they spread to other regions towards the south and east. To start with, the Apabhramsa was but a colloquialized form of literary Prakrit. Like Prakrit, literary Apabhramsa, too, became considerably stylized and strongly influenced by Sanskrit, which provided the prestigious paradigms for style and expression. But its metrical reportoire was its own; so also it had developed some characteristic literary genres (the Rasabandha and the Sandhibandha, besides several song-types). A noteworthy feature of the literary Apabhramsa was that it was, to a degree, free to absorb colloquial elements. The explanation lies in the fact of its rise and recognition as a literary medium. The highly stylized Prakrits, continuing with vigour side by side with the dominant Sanskrit, got in course of time considerably removed from the popular regional dialects. Apabhramsa arose to fill the communication gap. Phonologically, Apabhramsa was but a developed variety of Prakrit. But its morphology, a part of its lexicon, and above all its idiomatic features made it more allied to the later New Indo-Aryan languages. In that way, Apabhramsa was transitional. It preserved its 'classical character in limited Jaina circles up to about the 15th-16th century. On the other hand it became more and more colloquialized and diversified, eventually ending up as various New Indo-Aryan literary languages, many of which inherited its metres, patterns, and literary forms.

Page #56
Vol. 1-1995 On the rise of.... 37 It now remains to delineate the socio-cultural and geographical milieu within which the Apabhramsa literature flourished for several centuries after its rise (and continued to be produced for an equally long period after the rise of New Indo-Aryan literatures about 1000 years after Christ, although it had then lost its vitality and vibrancy, and had become increasingly rigidified.) In a general way, the Apabhramsa literature can be said to repeat in many respects what happened in the case of Sanskrit and Prakrit literatures, which had continued to be produced in bulk alongside the Apabhramsa literature. Unfortunately, the period of the first three centuries in the history of Apabhramsa literature is almost a blank for us, as all early texts are lost. We have a score of names of early poets and a few citations and allusions. But there is enough evidence that Apabhramsa had continued the earlier tradition of composing voluminous epics having the Mahabharata as well as the Ramayana narratives and the Krsnacarita (the Puranic life account of Krsna) as their themes. Besides these there were a number of lyrical types basically oriented towards performance. Apabhramsa had been adopted by all the three main traditions - the Vedic-Brahmanic, the Jainistic, and the Buddhist. But, on account of the better institutional structure of preservation, most of the preserved works in Apabhramsa are Jainistic. The modern Westernized perception would call it religious poetry. But the Indian Tradition categorized the 'fictional literary works according to the four ends of all human endeavour, namely Dharma, Artha, Kama and Moksa, and hence the Dharmakatha (religious fiction), irrespective of its religious theme and didactic purpose, had the same status as the Arthakatha (pertaining to the worldly life and dealings) and Kamakatha (having the love-life as its theme). All the preserved Apabhramsa texts are verse-texts and there is little evidence to believe that there were also Apabhramisa works in prose. The Apabhramsa texts were recited, sung, or performed before the audience or spectators, who, even though mostly illiterate, were quite familiar with and responsive to orally presented literature. The audience consisted of the religious, faithful, or the interested groups at large. The patronage was provided by the high-ups in the ruling class or by rich merchants and heads of guilds who maintained religious institutions and establishments. Literary Apabhramsa was more or less homogeneous, but in the later period, and because of preservation through oral transmission, the original language of earlier texts and parts of the textual contents were subject to modifications in keeping with the changing colloquial idioms and changing cultural conditions. This was of course an essential and indispensable condition for the text to remain in the living tradition and to have

Page #57
38 H. C. Bhayani Nirgrantha contemporary relevance. The account presented here is obviously sketchy and open to the charges of having several gaps and loose ends. In view, however, of the complexity of the subject, the issues involved, and scantily preserved evidence, this was in part inevitable. Limitations of time and space, too, cannot be disregarded. (For the present purpose, I have omitted the bibliographical references. But the requisite preliminary information can be had from H. C. Bhayani, Apabhramsa Language and Literature, B. L. Institute of Indology. Distributors, Motilal Banarsidass. Delhi 1989.)

Page #58
THE DATE AND AUTHORSHIP OF NYAYAVATARA M. A. Dhaky The famous work on the Nirganthist logic, the Nyayavatara, is traditionally held by the Svetambara church as the work of the illustrious hymnist, dialectician, and epistemologist, Siddhasena Divakara (c. first half of the 5th century A. D.)'. Several scholars who seriously had considered the works of Siddhasena or had a need to discuss, or an occasion to refer to his age in their writings, took it for granted that the Nyayavatara was his work. The Nyayavatara is cast in the form of a dvatrimsika, rendered in the Anustubh metre; it contains 32 karikas in Sanskrit. It was first commented upon by Siddharsi of Nivrttikula (c. A. D. 870-920)?. Jinesvara suri, later looked upon as the patriarch of the Kharatara-gaccha, had selected the opening karika of the Nyayavatara for composing his slokavartika (better known as Prama-laksma or Pramana-laksana) with an autocommentary early in the second quarter of the 11th century A. D.' Likewise, santi suri, a disciple of Vardhamana suri (probably of the Purnatalla-gaccha), also chose the same karika of the Nyayavatara and composed his vartikas with an auto-commentary in c. A. D. 1100-11104. And Devabhadra, disciple of acarya Hemacandra of Harsapuriya-gaccha, wrote the tippana on the vivrtti of Siddharsi in early 12th century A. D. All above-noted scholiasts had belonged to the Svetambara sect. The Nyayavatara, though attributed to Siddhasena Divakara, contains in its fabric no indication as to its authorship, nor does its style in general accord with Siddhasena Divakara's as its comparison with his available 21 (out of the original 32) dvatrimsikas indicates. While the dvatrissikas uniformly betray the characteristic style of Siddhasena, the Nyayavatara, in terms of cadence, phrasing, modulation, verve, and disposition looks not only different but also seems inferior in several respects. The verses in fact betray variability in quality as well as style. The work, as a whole, lacks the kick, power, and brilliance of Siddhasena's characteristic expression. The Digambara church was aware of a few of the Siddhasena Divakara's dvatrimsikas as well as his other famous work, in Prakrit, the Sammai-payarana (Skt. Sanmati-prakarana), but is completely ignorant of the Nyayavatara. In point of fact, no quotations from this work are noticeable in the works of the Digambara commentators and scholiasts, nor was it commented upon by any Digambara writer of the past. As regards quotations, the situation is virtually the same with the Svetambara church as well. The earlier Svetambara writers, who were aware of Siddhasena Divakara's works and had copiously cited from his several, failed to quote from the Nyayavatara. Among them Mallavadi in his svopajna-bhasya (autocommentary) on the karikas of his Dvadasara-nayacakra (c. mid 6th century A. D.), Jinabhadra gani ksamasramana in his incomplete) auto-commentary (c. A. D. 588 or Jain Education Interational

Page #59
M. A. Dhaky Nirgrantha 594) on his Vises Avasyaka-bhasya (c. A. D. 585), Simhasura ksamasramana in hist commentary (c. A. D. 675) on the afore-noted sa-bhasya Dvadasara-nayacakra, Kottarya vadi gani in his commentary (complementary to Jinabhadra's, c. A. D. 700-725) on the Vises Avasyaka-Bhasya, and Gandhahasti Siddhasena in his commentary (c. A. D. 760770) on the sa-bhasya-Tattvarthadhigama-sutra of Vacaka Umasvati (c. A. D. 375-400) are the more notable. On prima facie grounds, therefore, the authorship as well as the date of the Nyayavatara poses a twin problem that needs fresh investigation. 40 Had Siddhasena Divakara been the author, the known earliest commentator of the Nyayavatara, Siddharsi, would surely have so noted. But he is dumb on this point. The earlier of the two vartikakaras, Jinesvara suri, ascribes the work to ddya-suri at the beginning of his commentary and to purvacarya at the end'. Obviously, to him the author was anonymous or unknown, though doubtless an earlier Nirgrantha logician. It is the subsequent vartikakara, Santi suri, who uses such phrases as Siddhasenarka sutritam and who explains at another place the phrase 'Siddhasenasya' as sutra-kartrh, so regards. Next, at one other place, in a verse, he once more projects Siddhasena as the author of the work under reference. It is, thus, from the beginning of the 12th century A. D. that the work began to be looked upon as of Siddhasena, although it was not explicitly clarified by Santi suri whether this Siddhasena bore the epithet 'Divakara'. Seemingly, some sort of confounding at interpreting his source may have led Santi suri apparently to an erroneous identification (unless he had some other Siddhasena in mind) and the evetambara church till this day, as well as several scholars of this century, lent (and still lend) an unqualified credence to that ascription. (Alternatively, Siddharsi's fuller appellation before he attained the pontifical status with the specific suffix 'rsi' of his monastic order, might have been Siddhasena, which is perhaps why Santi suri does not qualify his Siddhasena as 'Divakara'.) The ascription of the Nyayavatara to Siddhasena Divakara had in the recent past led to erroneous conclusions both on the side of the protagonists of a late date as well as the advocates of an early date for Siddhasena Divakara, the confusion to a large extent is continuing in the writings of the present generation as well. In point of fact, the Nyayavatara has proven a dead and a heavy weight on the issue of the chronological position of Siddhasena Divakara as I shall shortly show. The opinion on the authorship of the Nyayavatara is in point of fact sharply divided into three major camps: The first unhesitatingly ascribing it to Siddhasena Divakara and hence to the first half of the fifth century A. D. or even earlier, to the first century B. C., depending on the date-perception of the scholars concerned for Vikramaditya whose contemporary, according to the prabandhas, Siddhasena had been. Among them are Pt. Sukhlal Sanghvi", Pt. Dalsukh Malwaniya", P. N. Dave", and several Svetambara munis. The second camp is represented by S. C. Vidyabhusana", H. Jacobi's, P. L. Vaidya16 (and seemingly also perhaps Satakari Mookerjee)" who do ascribe the work to Siddhasena

Page #60
Vol. 1-1995 The date and.... Divakara but date him either in the sixth 18 or the seventh century A. D. 19 The Digamabara scholars, among them the more notable being Pt. Jugal Kishor Mukhtar20, Pt. Kailashchandra Shastri 21, and Pt. Darbarilal Kothiya2, attribute it to some other and posterior Siddhasena--without any attempt to identify him--who, according to their estimate, possibly had flourished in the seventh or eighth century A. D. It is then clear that considerable discussion had ensued on the authorship and date of the Nayayavatara since Vidyabhusana first focused serious attention on it in the early years of the 20th century. It also reflects a diversity of views containing some useful hints and clues whose potential very largely has been weakly exploited, or not grasped at all. For brevity's sake, I shall forego the detailed account of views and arguments forwarded by scholars concerned and restrict, instead, to the more vital points of their analysis or contention. I must also warn that, this paper does not concern itself with the problem of the date of Siddhasena Divakara; hence no discussion on that issue is deemed relevant in the present context. However, my own researches reject for him the 1st century B. C. date, that being so assumed by P. N. Dave 24 and by some Svetambara munis as a contemporary of Vikramaditya, the legendary founder of the Vikrama Era. There is sufficient external as well as internal evidence to demonstrate that Siddhasena was contemporaneous with a Gupta emperor bearing the cognomen Vikramaditya, and his active period can be convincingly bracketed between c. A. D. 400 and 45025. The Nayayavatara is terse and concise work, a mere dvatrimsika. With regard to size, then, it does not favourably compare with the works of the great Buddhist philosophers, logicians, and epistemologists such as Dinnaga and Dharmakirti. However, it does succeed in neatly codifying the main features of the Nirgranthist position on pramana (valid knowledge or valid cognition), and, as such, has been hailed as a valuable work of its class and disposition. Since the Nirgranthist perception and definition of pramana had in part also to be settled by comparing and contrasting (and hence, by the logic of the process, agreeing with or confuting and refuting) the positions held by the other schools such as the Buddhist, the Vaisesika, the Nyaya, etc., the Nyayavatara largely has served the purpose. Coming back to the question. Had the Nyayavatara been authored by a luminary like Siddhasena Divakara, it would have betrayed considerable originality as well as sparks of brilliance in thought constructs, structure, phrasing, and overall presentation. While dryness is not a demerit in such works, what intrigues in the case of the Nyayavatara is its rather cool and quiet flow, with only a little colour and glitter seen here and there, this too being present more within the borrowed, and what today may seem to us plagiarized verses, hemistiches, strophes, and overt as well as masked influences of the writings of earlier Nirgrantha as well as Buddhist and other thinkers on this subject. The author doubtless is sufficiently clever in combining it all into an apparently homogeneous, harmonious, articulate, and consistent whole, which does succeed in Jain Education Intemational

Page #61
M. A. Dhaky Nirgrantha presenting the Nirgranthist standpoint and notions on the attributes, qualifications, and nature of pramana, a fact I must stress and repeat here on the authority of Vidyabhusana, Sanghvi, Malwaniya, Mookerjee, and a few other contemporary writers. The upper limit of the date of the Nyayavatara can be fixed as c. late ninth or early tenth century, which, incidentally, is the general date-bracket of Siddharsi's vivetti commentary. The internal state of the Nyayavatara is our dependable guide in fixing its virtual or plausible date and, by its logic, get some indication on its probable authorship. We may begin by comparing the Nyayavatara with the works of Dinnaga, the founder of the systematic school of the Buddhist logic. Malwaniya, in the comparisons he instituted of the Nyayavatara with the works of other ancient and pre-medieval authorities, has included Dinnaga's famous works such as the Pramanasamuccaya, the Nyayamukha, and the Nyayapravesa. While he has drawn attention to certain similarities, as also the reflected thinkings of (and even oppositions to) Dinnaga's statements and views in the Nyayavatara, he drew no conclusions arising from the correspondences as well as familiarities noticed. I shall select a few points from Malwaniya's notings which more directly and forcefully indicate the acquaintance of the author of the Nyayavatara with Dinnaga's famous works : 1. Dinnaga has qualified the parartha-anumana with two characteristics, namely the hetu-vacana and the paksad-vacana. Both are included in the karika 13 of the Nyayavatara26 2. The refutation of the karika 1. 23 of Dinnaga's Pramanasamuccaya is in the karika 28 of the Nyayavatara?? 3. The first foot of the karika 10 of the Nyayavatara is an adoption, with very slight" change, of Dinnaga28 The Nyayavatara thus seems posterior to the works of Dinnaga (c. A. D. 480-540) and hence subsequent to c. A. D. 550. It cannot, therefore, be the work of Siddhasena Divakaraa Further weight to this surmise is lent by the wording of the first phrase of the opening verse of the Nyayavatara (Pramanam svaparabhasi) which shows correspondence with the wording of the strophe of the verse 63 of the Brahadsvayambhu-stotra of Samantabhadra 30 (c. A. D. 600) to which Malwaniya has hinted3) : ('samagrata'sti svapara-vibhasakam, yatha pramanam buddhi-laksanam). Also, Mukhtar has demonstrated that the influence of Patrakesari alias Patrasvami, a Digambara epistemologist of note of the second (or first) half of the seventh century A. D., is discernible on the definition of the anumana-pramana (cognition by inference) figuring in the Nyayavatara; moreover, the first foot of the karika 22 concerning the hetu-laksana Jain Education Intemational

Page #62
Vol. 1-1995 The date and.... (character of probans) reflects sense-agreement, even partial verbal concordance with the verses from Patrasvami's (Patrakesari's) Trilaksanakadarthana cited by the Buddhist scholiast santaraksita in his Tattvasangraha (c. 2nd quarter of the 8th century A. D.) 32. Moreover, Sanghvi, but more definitely Kailashchandra Shastri, has shown that the qualification badha-vivarjitam (incontrovertible) (emphasized as obligatory) for the pramana in the opening karika of the Nyayavatara has been adopted from Kumarila Bhatta (c. A. D. 575-625) 33; indeed that specific qualification is earlier nowhere noticeable in the Nirgranthist or Buddhist or Brahmanical works either. What is more, the karika 9 of the Nyayavatara is the wholesale appropriation of the verse 9 of the Ratnakarandaka ascribed to Yogindra by Vadiraja of Dravida Sangha in Karnatadesa (A. D. 1025) and to Samantabhadra by Prabhacandra (c. A. D. 1050), probably of the Mula Samgha, in Malavadesa34. The opinion of the Digambara scholars, as a result, is sharply divided into two camps on the authorship of the Ratnakarandaka. My own view is that the style of the Ratnakarandaka, though, seeming not later than the seventh century A. D., does not correspond with that of Samantabhadra. ( The work is also in part dogmatic as well as sectarian.) In any case, all aforenoted points considered, it clearly emerges that the author of the Nyayavatara is posterior to the first half of the seventh century A.D. This is further confirmed by the use of the term abhranta (inerrant) and the truths consequently emerging therefrom in the karikas 5-7 of the Nyayavatara. For abhranta, in lieu of the earlier term avyabhicari as one of the qualificatory as well as requisite attribute of the pratyaksa-pramana, was popularised (even perhaps revived, if Asanga and Maitreyanatha, c. 4th century A. D., had employed it) by Dharmakirti. The influence of the imposing figure of Dharmakirti 35 in the field of epistemology was all-pervasive since the days he wrote his famous Pramanavartika, the Nyayabindu, and other cognate works. The author of the Nyayavatara does not in reality refute, but sides with Dharmakirti as demonstrated by Mookerjee in his brilliant analysis 36. Looking at the fact that the author of the Nyayavatara is posterior to Dinnaga, Samantabhadra, Kumarila, Yogindra, and Patrakesari, little wonder if he were also familiar with Dharmakirti's notions which he indirectly accepts in his own layout. Malwaniya had further shown that, even when there is no close verbal agreement between the Nyayavatara and the corresponding works of the great Digambara dialectician Akalankadeva (active c. A. D. 725-760), there is often a fairly close sense-correspondence at several places. In that event the author of the Nyayavatara has to be placed after the first half of the eighth century. And now we may look at the vivitti of Siddharsi. As noted in the beginning, Siddharsi does not ascribe the Nyayavatara to Siddhasena Divakara or to a different Siddhasena or for that matter to any other author. Nor does he mention it as a composition of a purvacarya, vrddhacarya, or some cirantanacarya. Also, in his verse by verse exposition, he nowhere uses qualificatory phrases such as the sastrakara, sutrakara, karikakara, acarya, etc., which may have denoted a second, an earlier revered personage, as the karikas' author. And had the original author been Siddhasena Divakara, the five Jain Education Intemational

Page #63
M. A. Dhaky Nirgrantha centuries intervening between him and Siddharsi would probably have given rise to the pathantaras or variant readings in the text. Siddharsi, however, nowhere records or notices such alternative readings. Also, neither in the inaugural nor in the concluding verse does he pay obeisance to the author of the karikas' which indeed is very, very unusual. Had Siddhasena Divakara been the author, Siddharsi surely would have known that fact and paid him homage in glowing terms. His silence, together with the other concomitant facts just noted, lead to a singular inference : Siddharsi himself is the author of the Nyayavatara : which is why there are no variant readings recorded; which is why he does not have to resort even to proxial ways of referring to the author as sastrakara etc., which is also why he avoids salutation to the author. Since Siddharsi flourished in the times as late as ninth and early tenth century A. D., just at the threshold of the medieval age, he had the opportunity to have before him the works of all earlier masters mentioned in the foregoing discussion. Siddharsi for certain is not startlingly original; he could not have been in that age since much ground in the field of Indian epistemology and logic by different schools had already been covered before him. But, to be fair to Siddharsi, he did make an adroit use of the enormous data gathered on the question of pramana that was before him, and that indeed was with exemplary precision, clarity, consistency, incision, and concision. A formidable objection, however, to the above-postulated identification as well as the period-determination can be raised on the grounds of the ascription of a verse, which appears as the karika 2 of the Nyayavatara, to Mahamati (=Siddhasena Divakara) by Yakinisunu Haribhadra suri (active c. A. D. 745-785) in his Astaka 38. And the karika 4 figures as a part of the Saddarsana-samuccaya of the same Haribhadra suri. Since Haribhadra suri ascribed the particular verse (karika 2) to Siddhasena Divakara, it must be so. However, this karika could be orginally from some dvatrimsika, one of the lost ** 11 of Siddhasena Divakara, perhaps the Pramana-dvatrimisika, from which Gandhahasti Siddhasena quotes in his sa-bhaysa-Tattvarthadhigama-sutra-vitti 40. The karika 4 in the Saddarsana-samuccaya may likewise have been taken from one of the unavailable dvatrimsikas of Divakara. Alternatively, if that verse is Haribhadra's own, Siddharsi must have borrowed it from the Saddarsana. In any case, Haribhadra and Siddharsi could have common sources from which they apparently may have drawn. It may be argued that there were other Siddhasena-s who had flourished between Divakara and Siddharsi : Why not, then, one of them could be the author of the Nyayavatara ? Granted, there were at least three other early Siddhasena-s, none of them, however, could be the author of this work. For instance, a single verse from some Vacaka Siddhhasena (c. 475-525), cited by Vadi-Vetala Santi suri of the Tharapadragaccha in his Sukhobodha-vitti (c. A. D. 1020-1030) on the Uttaradhyayana-sutra, differs in terms of style as well as content from Divakara's as well as Siddharsi's. The writings of Siddhasena ksamasramana (c. A. D. 575-625), a disciple most probably of the illustrious Jinabhadra gani ksamasramana, are in Prakrit and relate to monastic Jain Education Interational

Page #64
Vol. 1--1995 The date and.... discipline42. The third Siddhasena is Gandhahasti (c. A. D. 690-770), earlier referred to in this paper. He was both an agamika as well as a darsanika pundit as is clear from his voluminous vitti on the sa-bhasya Tattvarthadhigama-sutra"3. He could have composed the Nyayavatara. But then he is anterior to Siddharsi by only 150 years. Siddharsi, in his age, certainly would have known that important fact and hence could have recorded it, indeed reverentially, in his vivrtti. This negative but none the less significant evidence precludes the possibility of his being the author of the Nyayavatara. We must then revert to the original conclusion that Siddharsi himself was the author; for he satisfies the conditions even when the position rests on arguments on the indirect evidence that emerge out of reductio ad absurdum. Sanghvi and Doshi 44 as well as Dave" thought that Simhasura (c. A.D. 675) refers to the Nyayavatara alongwith the Sanmati (and hence the Nyayavatara is implied to be the work of Siddhasena Divakara.) However, what Simhasura refers to in that context is the Nayavatara, not the Nyayavatara: It seems that Divakara had authored the work on nayas or standpoints of viewing at an object or idea; and the concept of naya is different from that47 of pramana. I have elsewhere suggested that the two citations in prose figuring in Simhasura's commentary as of Siddhasena's 48 could have come from this lost work, the Nyayavatara : i. "Asti-bhavati-vidyati-padyati-vartatayah sannipata-sasthah satt-arthah itya-visesen oktvat Siddhasenasurina." ii "Tathacacarya Siddhasena aha-yatra hyartho vacam yabhicarati nabhidhanan tat' iti' :" Once more, though not sufficiently strong, indication comes from the so-called Vardhamana sakra-stava ascribed, though wrongly, to Siddhasena Divakara in the Svetambara Church. It reflects soine of the tendencies paralleled in the composition of the Nyayavatara. The work is cast into the Dandaka mode for its 11 stanzas; the ending, the 12th, is a verse in the Vasantatilaka metre*'. The eighth Dandaka mentions 'Siddhasena' which perhaps was instrumental in the dubious supposition that the hymn was composed by Siddhasena Divakaras. The 12th verse, however, significantly mentions 'Siddharsi's1 which apparently was employed with the objective of double entendre and hence the author in reality could be Siddharsi whose other name arguably may have been Siddhasena. This may perhaps explain why santi suri had ascribed the Nyayavatara to Sidhhasena. In recent years, I had chances to discuss the problems of the date and authorship of the Nyayavatara with Pt. Malwaniya. Independently of my findings, he, too, had arrived at the same conclusion as laid bare in this paper. For all these years he had been upholding and defending the Nyayavatara as the work of Siddhasena Divakara, and had vigorously argued in favour of that stand in his stimulating Introduction to the Myayavatara-vartika

Page #65
M. A. Dhaky Nirgrantha vitti. Now no longer. He is currently preparing a case necessitating a modified view on the date and authorship with his characteristic and profound epistemological insights to which I cannot pretend. We must await to read his brilliant erudition on the problems under discussion which can give a final seal to, and vindicate what has been argued in this article. Notes and References: 1. Opinions differ on his date. I am here using my own determination. 2. Two editions of the Nyayavatara with this commentary are available. The details of these publications are as follows: i) Ed. S.C. Vidyabhusana, Nyayavatara (First edition), Calcutta 1909; (Second Edition), Sacred books of the Jaina Society, Arrah 1915. Also incorporated in A.N. Upadhye, Siddhasena's Nyayavatara and other works, Bombay 1971, pp. 30-107. ii) Ed. Pt. Bhagwandas Harakhchand, Nyayavatarah, Ahmedabad 1917. The Tippana of Devabhadra is included in this edition. The text alone has been published alongwith Divakara's other works in JDPS, Bhavnagar 1909. 3. Pra malaksanam, Ahmedabad 1927. 4. Ed. Pt. Dalsukh Malwaniya, Nyayavataravartika-vrtti of sri Santi Suri, (with 'Introduction and 'Annotations' in Hindi), Singhi Jania Series [No.20), Bombay 1949. 5. No manuscripts of this work are available in Digambara libraries. However, a reference to a commentary on this work by Sumati, supposed to be a Digambara scholiast of c. late 8th century A. D., is known. And citations from this work also figure in several pre medieval and medieval commentaries of the Digambara authors. 6. In his opening verse 4. 7. This figures in the opening verse of the commentary : (Malwaniya, p. 11). 8. In his opening karika of the Vartika (Ibid., pp. 5 and 11). 9. Ibid., p. 13. (Naityaha-'siddhasenarkasutritam-iti / Siddhasena eva jagaj=jantu- manomoha santatitamasitamah samuh=apoha-karitvat arka iva arkah tena sutritam). 'Arka' here is not in the sense of 'Divakara' but 'essence.') 10. Ibid., p. 107. 11. "Sri-Siddhasena Divakara-na Samaya-no Prasna" (Gujarati), Bharatiya Vidya, Pt. III, Bombay 1945. 12. "Prastavana," Nyayavatara., p. 141. 13. "Upodghat," Dvatrimsaddvatrimsikah, Ed. Vijaysusilasuri, Botad 1977, pp. 15-17. Jain Education Interational

Page #66
Vol. 1-1995 The date and.... 14. In 1908, he considered him to be the contemporary of Varahamihira (c. early 6th century A. D.) on the authority of the Jyotirvindabharana. In 1909, he made him contemporary with (the Aulikara monarch) Yasodharma of Malava (c. early 6th century A. D.) whom he identified with Vikramaditya. But 12 years afterwards, in his A History of Indian Logic (Ancient, Medieval and Modern Schools), Calcutta 1921), he had felt that he was contemporary of Jinabhadra gani ksamasramana (ob. A. D.588 or 594) since Jinabhadra criticised him (for his concept of the simultaneity of perception and cognition for an omniscient being.) 15. In his edition of the Samaraiccakaha, Bibliothica Indica, Calcutta 1925, he takes Siddhasena to be a contemporary of Dharmakirti whose term abhranta he used in the Nyayavatara. 16. In his 'Introduction' to the Nyayavatara, Bombay 1928. He takes him to be Digambara if identified with the ksapanaka (of the Jyotirvindabharana). His style, Vaidya felt, is postKalidasa. Siddhasena upholds his views against the apologetic position taken by Jinabhadra: hence, according to Vaidya, he is younger in time. 17. "Introduction," A Critical and Comparative Study of Jaina Logic and Epistemology on the basis of the Nyayavatara of Siddhasena Divakara, Vaishali Institute Research Bulletin No. 1, p. 19. 18. The foregoing footnotes reveal that Vidyabhusana favours sixth century for Siddhasena. 19. Jacobi, Vaidya, and others. 20. "Sanmatisutra aur Siddhasena" (Hindi), Jaina Sahitya aur Itihasa par Visada Prakasa, Calcutta 1956, pp. 538-543. 47 21. "Prstabhumi," Jaina Nyaya (Hindi), Calcutta-Delhi 1966, pp. 19-21. 22. "Parisista 2," Jaina Darsana aur Pramanasastra parisilana, Varanasi 1980, p. 540. 23. Cf. footnote 2 (i). 24. Siddhasena Divakara: A Study: A thesis submitted to the University of Bombay for the Ph. D. degree, September 1962. Also, his "Upodghata" (Gujarati) to Dvatrimsaddvatrimsikah, Botad 1977, pp. 14-16. 25. This problem has been discussed in my Introduction in Gujarati (with Jitendra Shah) to Siddhasena's 21st hymn to be shortly published. 26. Malwaniya, Nyayavatara, "Parisista 1, Nyayavataraki Tulana," pp. 292-293. 27. Ibid., p. 294. 28. Ibid., p. 291. 29. There is no unanimous agreement on the date of Dinnaga which in part depends on the date of Vasubandhu. If he is a direct disciple of Vasubandhu, then he must be dated either c. A.D. 450-510 or earlier by a few decades if Vasubandhu's date is finally fixed at c. A. D. 350-430. However, the current opinion of the Western as well as Japanese specialists do not favour the earlier brackets. So following them, I have adopted here c. A. D. 480-540 for Dinnaga.

Page #67
M. A. Dhaky Nirgrantha 30. Mukhtar, Jaina Sahitya aur Itihasa., p. 46. 31. His "Parisista 1," Ibid., p. 287. 32. Mukhtar, "Sanmatisutra.," pp. 540-543. 33. Vide his "Prstabhumi," pp. 19-21. 34. Since in the present discussion the point is of subsidiary importance, I forego citing sources and the current writings and controversies on it. 35. Cf. Malwaniya, "Parisista 1," pp. 288-290. 36. Mookerjee, "Introduction." 37. Malwaniya, discussion in his "Parisista 1." Following his earlier perceptions on the date and authorship of the Nyayavatara, Malwaniya of course then had noted that Akalanka had made a fair use of the Nyayavatara. The position is now reversed. 38. Malwaniya, pp. 287-288. 39. Ibid., p. 288. 40. Tattvarthadhigamasutra, Ed. H. R. Kapadia, Sheth Devachand Lalbhai Jain Pustakoddhar Fund Series No. 67, Surat 1926, p. 7. 41. The citation refers to the fact that the bowl and the monastic robe are ultimately meant as an aid on the path of salvation; by themselves they cannot be termed as possession; for attachment on a thing or an object is possession. 42. For instance his commentary in Prakrit on the Jita-Kalpa-sutra of Jinabhadra. Citations from his works also figure in the Nisitha-curni of Jinadasa gani Mahattara (c. A. D. 675). 43. This commentary is full of citations from the agamas and at places refutative discussions from the epistemological standpoints of the other systems, but mainly Buddhist. 44. For details, vide their "Introduction" to Sammaipayarana (Hindi Edition), Ahmedabad 1963. 45. His "Upodghata," p. 20. 46. "purvacarya-viracitesu sanmati-Nayavataradisu nayasastresu" : Cf. Ed. Muni Jambuvijaya, "Prakkathana," Sri Atmanand Jain Granthamala, Serial NO. 92, Bhavnagar 1966, p. 10. 47. "Some Less Known Verses of Siddhasena Divakara", Sambodhi, Vol. 10, Nos. 1-4, April 1981, Jan. 1982, p.173, infra. 48. Ibid. 49. This is included in H. R. Kapadiya, Bhaktamara, Kalyanamandira and Namiuna, SDL.JPFS No. 79, Surat 1932, p. 243. It has been edited also by J. Mukhtar, "Siddhasenka Siddhisreyasamudaya stotra" (Hindi), Anekanta 1/8-9-10, pp. 499-504. Also, it has been edited by Muni Kirtiyasavijaya (with translation in Gujarati ) in the Arhannamaskaravali, Bombay-Ahmedabad 1983, pp. 47-66. After the 12th verse, the remaining part seems an

Page #68
Vol. 1-1995 The date and.... addition at some posterior date. This stotra is strongly influenced by the epithetic terms taken from the Namostu-nam Stava (Ardhamagadhi, C. 1st cent. B. C.) and from Sidddhasena Divakara's Paratma-dvatrimsika (No. 21). 50. OM namo'rhate sarvadevamayAya sarvadhyAnamayAya sarvajJAnamayAya sarvatejomayAya sarvamaMtramayAya sarvarahasyamayAya sarvabhAvAbhAvajIvAjIvezvarAya arahasyarahasyAya aspRhaspRhaNIyAya acintyacintanIyAya akAmakAmadhenave asaGkalpitakalpadrumAya acintyacintAmaNaye caturdazarajjvAtmakAjIvalokacUDAmaNaye caturazItilakSajIvayoniprANinAthAya paramArthanAthAya anAthanAthAya jIvanAthAya devadAnavamAnavasiddhasenAdhinAthAya // 8 // 51. lokottamo niSpratimastvameva, tvaM zAzvataM maGgalamapyadhIza ! / tvAmekamarhan / zaraNaM prapadye, siddharSisaddharmamayastvameva // 1 //

Page #69
TEACHERS OF THE HETERODOX SECTS - BUDDHISM AND JAINISM - IN THE EYES OF THE PURANAS (VISNU, SIVA, AND BRHASPATI) N. P. Joshi The Puranas are orthodox by nature and were written with the view on expanding the basic concepts of the Srutis (Vedas) and the Smrtis*. At the same time, their encyclopaedic aspect is equally important. Though traditionally attributed to Vyasa, their authorship is collective, done by different persons flourishing in different regions and periods. That is why none of the 18 Puranas, as are found at present, can safely be dated to one particular age. Every Purana is likely to contain some ancient material traditionally handed over to its authors, which they presented either in toto or in some new form with fresh additions or deletions. Therefore, it is safer to ascertain dates of particular portions in the Puranas when using them. Since Jainism and Buddhism did not conform to the orthodox views of the Puranas, they were regarded as heterodox sects, which questioned the very authority of the Srutis and the Smrtis and also of the Varnasrama-dharma, the very basis of the orthodox society. Naturally, the founders and the doctrines of these two sects, which were a part and parcel of the ancient Indian society, went against the basic views and ideas of the Puranas; however, it was not possible to ignore them altogether. It is, therefore, interesting to see how the Puranas managed to swallow this hard pill without causing any damage to their orthodox set up. The Puranas in general mention the two faiths Buddhism and Jainism, as pakhanda, vidharma, buddhi-sammoha, mayamaya-sastra, nasti-vadartha-sastra, moha-sastra, etc. Similarly, the heterodox teachers have been named as vidharmins, mayamoha-svarupas, and so on. Available Puranic data show that the number of the Puranas? taking the Buddha as an incarnation of Visnu is larger than of those? referring to Rsabha in the same cadre. Curiously enough, against this fact, references therein to the spread of Jainism are more in number than those relating to the Buddhism. At times both the faiths have been confused with each other. The Puranas hold that the two faiths were absolutely misleading and those who followed them lost celestial favours, accrued sins, and ultimately met a tragic end. This view has been skilfully argued proving beneficial to the orthodox set up in different ways through different episodes. They can be summed up as follows: 1. Daityas and Asuras, permanent opponents of Indra, often embraced the heterodox faiths and lost power. Jain Education Intemational Jain Education Intermational

Page #70
Vol. 1-1995 Teachers of.... 2. Human rivals of Indra, like the sons of king Raji, were misled by the fictitious doctrines and thus Indra could save his throne. 3. Rulers like Vena and Divodasa, who disregarded the Devas and for the time being even sent them to exile, became inclined to heterodox faiths and invited their end. A. Even commoners like Tuladhara had to argue with a heterodox monk with all firmness. This trick of misleading the powerful opponents of the Devas and finally winning them over was perfectly mastered by Visnu, though at times Brhaspati, the priest of the Devas, and Siva also took recourse to this method. The episodes may now be examined to get a more detailed picture of the above-noted facts. 1. Daityas embracing heterodox faiths The earliest account of this class comes from the Visnupurana (III. 17.). There was a hundred years' war between the Devas and the Asuras, which ended in the victory of the latter. The Devas approached Visnu for help and said that the Daityas were staunch followers of the Veda-marga and Sva-dharma, and therefore were proving invincible (III. 17.39). Thereupon Visnu, from his own person, produced one Mayamoha (III. 17. 40), who was naked (digambara), carried peacock feathers in hand (barhi-picchadhari) and had his head completely shaven (mundi) (III. 18.2). Mayamoha went to the Asuras, who were practising penance on the bank of Narmada and asked them to quit the Veda-marga and follow his Arhad-dharma (III 18.5,7), which he further defined as the religion of the nakeds (digvasas) and also of the clothed (bahuvasas)4 and advocated the Anekantavadas. Mayamola was completely successful in his mission and the Daityas continued to become Arhats in long succession (III. 18. 12, 14). The succeeding portion of the chapter discusses spread of the Buddhism. The Purana tells that, afterwards Mayamoha dressed himself in red garbs (raktambaradharh), approached another group of the Asuras and in his brief but sweet lettered talk (mrdvalapa madhuraksara III. 18. 15) said, "Know and understand (buddhyata, buddhyadhvan). The world has no base, it is full of false illusions (III. 18. 17-18)." As a result of these preachings the new group also started believing in ahimsa and questioned the sanctity of the Vedic rituals (III. 18. 24-31). Thus the Asuras were deprived of their superior position and were easily destroyed by the Devas. The Purana names the followers of Mayamoha as Nagnas meaning thereby not only literally devoid of any clothes, but also devoid of the coverings of the three Vedas (III.

Page #71
52 Nirgrantha 18. 35). Thus the term is applicable to the Jainas as well as the Buddhists. That is why those Brahmanas and others have been grouped as Nagnas, who would leave their own religion and embrace the other faith (III. 18. 36-43). It has been laid down that the "wise should never touch or speak to a Nagna; even his look defiles the offerings intended for gods or the ancestors (III. 18. 50-51)." Pakhandi, vaidala-vrati, satha, bakavrtti and duracari are some other terms used for the treachers of the heterodox faiths and the Purana proceeds at length with the story of king Satadhanu, who, because of extending friendly behaviour to a Nagna, had to undergo the births of a dog, jackal, wolf, eagle, crow, peacock, and lastly of a son of king Janaka. Throughout this long chain of births, king Satadhanu was constantly helped by his wife, who from the beginning had not honoured the Pakhandi, unlike her husband. Thanks exclusively to this pious lady that Satadhanu ultimately was saved (III. 18. 52-104). N. P. Joshi It is noteworthy in this connection that the Visnupurana nowhere accepts the Buddha or Rsabha as one of the incarnations of Visnu. The episode of Mayamoha has been referred to also by the Agnipurana. According to this source' (Agni. 16. 1-4, p. 27), Mayamoha, a form assumed by Visnu himself, became the son of King Suddhodana. His followers, the Daityas, were called the B[a]uddhas. Later, this Mayamoha became Arhat and converted the other group of the Daityas. In some other Puranas, the episode is similar, but the occasion is different. According to the Lingapurana and the Sivapurana, Tripurasura was proving superior in power to the Devas because he was a devotee of Siva. Visnu, therefore, created Mayamoha, the sasta, the author of a voluminous Mayamoha-sastra, which then contained 16,00000 verses. The Muni surrounded by his disciples and grand-disciples soon brought the Daityas in the fold of Pakhanda, which made their defeat easy. The same story has been described at length in the Sivapurana", which in brief thus goes: In order to dissuade Tripurasura, the lord of the Three cities, Visnu created Mayamoha Purusa from his body. He had shaven head (mundita), dirty clothes (mlanavastra), a gumphi (?) patra and a broom (punjika)". The teacher and the disciples were putting on mouth-strips (tunda-vastra) and a cloth-made broom (marjani)". While walking carefully they would utter 'dharma' or 'dharmalabha' in low voice. On Visnu's advice the 'Mundi' or 'Arhan' created a Mayamaya-sastra with 16,000 verses in Apabhramsa language advocating karma and other theories. The Mundi went to the deserts, made four disciples well-versed in his sastra" (II. 5.4. 25-28). Visnu was happy to see the progress and he named them as Rsi, Yati, Akirya (Acarya) and Upadhyaya, He further sent Narada to their help. Narada, now a convert Jaina, approached the king of the three cities, advertised the coming and staying of the five sages in the neighbouring gardens and propogated the new doctrine. It had its desired effect and

Page #72
Vol. 1-1995 Teachers of.... seeing that even Narada, the sage well-known to everybody had embraced the New Faith, Tripurasura and all the citizens went to the Mundi and became his followers 13. This Purana, too, agrees that the Mundi taught them the Buddhisht doctrines also 14; according to the Padmapurana it was the Buddha himself, who did it (VI. 252. 19-20, p. 917). Thus Tripurasura lost his superiority over the Devas and being led astray, Siva could easily do away with him. After the victory of the Devas, the five monks were asked by Visnu and others to stay in the deserts, await Kali's approach, and then to spread their doctrine wide and large", Four other Puranas, namely the Vayu 16, the Matsya", the Padma 18, and the DeviBhagavata record another occasion when the Daityas were brought within the fold of Jainism, but this time the person behind the game was not Visnu but Bihaspati, the priest of the Devas. Most of the verses giving this account in the Vayu and the Matsya are mostly the same with minor additions and alterations. The verses in the Padma are also fairly the same, but the text excludes some portions like Siva-stuti by sukra. On the other hand, this Purana describes the Jaina doctrine in detail. The Devi-Bhagavata has adopted a few verses from the Vayu and the Matsya, of course excluding the Siva-stuti. Let us proceed with the story in brief as told by the Matsya and the Vayu. Once sukracarya, the chief priest of the Daityas, decided to retire to a forest, practice penance, and please Mahadeva for obtaining new knowledge and powers. So saying to the Daityas, Sukra retired to some secluded place. Thereby Indra got cautious and as a first diplomatic step he sent his daughter Jayanti to serve Sukra in penance and win him over. Jayanti pleased Sukra by her devoted service and ultimately got his consent to have conjugal relation with her for ten years. Thus sukra's absence from the demons' camp was prolonged and Indra took advantage of the situation. At his request Bihaspati went to the demons in the guise of Sukra and proposed to impart new knowledge to them, which he had obtained from Siva for their welfare. The Asuras easily believed the imposter and became his followers. After completing the contract period with Jayanti, Sukra returned to the demons. He saw through Brhaspati's game, but the Asuras would not believe him in spite of his hard efforts to establish his own identity. In the end, out of sheer disgust, sukra cursed them and leaving them to their fate went back to his place. Bihaspati, too, with towering success in hand, disappeared. Now the Asuras realized what they had done and led by Prahlada approached Sukra for being pardoned. But the game was lost; however, Sukra promised to help them at some favourable moment in future. Both the Vayu and the Matsya are silent about what exactly Brhaspati taught to the demons in the guise of Sukra. Here the Padma and the Devi-Bhagavata come to our help. They clearly record that Bihaspati preached the Jaina doctrine. The Devi-Bhagavata is very brief on the point", but the Padma gives details 20. Its description reveals terms like yogi, barhi-patradhara, munda, sravaka, kesotpatana, Tirthankara, luncana, digambara, Jain Education Intemational

Page #73
N. P. Joshi Nirgrantha etc. The Purana further tells us that the Asuras embraced the new faith and went to Narmada for tapas. They very willingly gave up their kingdom in favour of Indra. The Devi Bhagavata brings a slight change in the end. It introduces Devi, who asks the Asuras to proceed to Patala and await favourable moment. Conversion of the sons of King Raji Leaving the cases of the Daityas and the Asuras , we now pass on to the human beings. King Raji , grandson of Pururava, was a powerful ruler and friendly with Indra. His sons, however, became hostile to Indra and as a result, Brhaspati led them astray by teaching them the false doctrines. The episode has been described in the Visnu 27, the Vayu, the Matsya", and the Padmapurana 24. It occurs in the Harivamsa as well as. Descriptions of the Visnu and the Vayu are fairly close, though one is in prose, the other in verse. The Harivamsa follows the same with some alterations. Similarly, the verses in the Matsya and the Padma are common and the description is elaborate. The story is that, when King Raji was on throne, there broke a war between the Devas and the Asuras . Victory to the either side depended on Raji's help. Both approached the King for help, but the king said that he would side the party which would accept him as their Indra. The Daityas did not agree to this condition, but the Devas had no objection. The war went in favour of the Devas and Raji was to become the new chief. But Indra, the former chief of the gods, flattered Raji and declared himself as his son. Raji laughed at Indra's behaviour and allowed him to continue. Now, Raji had 105/500 sons, who after their father's demise, claimed Indra's seat and when not agreed upon, threw him out of the power. Thereupon Indra requested Brhaspati for help. According to the Visnu and the Vayu, Behaspati performed some Tantric rites (abhicara-karma) giving birth to certain misconceptions (buddhi-moha) in the minds of the Rajeyas or sons of Raji, as a result of which they started disregarding the Vedic faith (Veda-vada), and became hostile towards the Brahmanas and abandoned the religion (brahma-dvesi, dharma-tyagi) and ultimately succumbed. The Visnupurana and the Vayupurana do not name any heterodox faith as such. The Harivamsa, though following the same line, is more elaborate and describes that Brhaspati preached nasti-vadartha-sastra, causing dharma-vidvesa among the Rajeyas, who, as a result, became vidharmi 2. The terms nastivadartha and references to the particular Tarka-sastra apparently suggests Syadvada and the Jaina-nyaya. The Matsya and the Padmapurana, which perhaps owe to some other common source, name the faith taught by Brhaspati as "Jaina-dharma" 27.

Page #74
Vol. 1-1995 Teachers of.... Later Rulers embracing Jainism and Buddhism Leaving aside the Daityas and the Asuras and the contemporary kings, we now pass on to rulers who were very much like us. First is king Vena, father of the celebrated ruler Prthu. The story of Vena has been narrated in the Vayu28, the Brahma, the Vamana30, the Padma" and the Bhagavata32. The Harivamsa also refers to it. Vena was the son of Sunitha. She was the daughter of Kala, god of Death. The Vayu just describes Vena as taking recourse to wrong means (apacarana ), the Bhagavata takes him to be one treading on wrong path (utpathagata) : but the Brahma, the Vamana, and also the Harivarsa give some more details. These sources talk of Vena's anti-sacrificial attitude, and orders issued by him to that effect. He took on notice of the sages, who themselves were proceeding for a long term sacrifice. Those sages at last put him to death. None of these sources exactly pinpoint Vena's adharma, but none denigrates him as a tyrant who indulged in wine and women or causing harassment to his subjects. His only fault was that he did not allow Vedic sacrifices. Alone among these the Padma clearly tells us that Vena had embraced the Jaina faith. According to this Purana, the mother of Vena had physically harassed Sankha, an ascetic before her marriage and he reacted by cursing that she would be begetting a son who would indulge in evil acts (papacara) and would always speak ill of the gods and the brahmanas. In due course this girl was married to king Anga and gave birth to Vena. In his early life Vena studied the Veda-sastras, mastered the science of archery, and other disciplines (vidyas). He was a very powerful prince and was accepted as Prajapati34. Once it so happened that a Jajna ascetic, who was of fine body built, naked, shining (mahaprabhah) and had his head shaven, came to him with a peacock-feather broom (sikhipatranam marjani ) in one hand and a bowl of coconut shell in the other. He was murmuring passages from the false scriptures (asat-sastra). The monk introduced himself to the king as Jina-rupa, Arhant and Nirgrantha. Vena had discussions with him and the ascetic propounded his doctrine at length. The king was fully convinced and then he got himself converted. According to this Purana, Vena was not killed by the Brahmanas, but being afraid of them he concealed himself in ant-hills. The sages brought him from there and purified him. This source further indicates that the Jaina teacher was none else but Visnu himself who had assumed that form 36. Next ruler who was influenced by the heterodox faith was Divodasa, the king of Varanasi. His story has been given in details in the "Kasi-khanda" of the Skandapurana? The account in brief runs as follows: "Once there were no rains for 60 long years. Therefore, Brahma requested Ripunjaya, a scion of Manu's family practising penance at Avimukta, to accept the throne and revive the dying prosperity. Ripunjaya accepted the offer on the condition that all Devas would retire to the heaven quitting the earth solely for him. Brahma agreed to this and even

Page #75
N. P. Joshi Nirgrantha Siva had to vacate Avimukta or Varanasi for Ripunjaya, who now came to be known as Divodasa 38. He ruled Varanasi with success, but Siva was extremely eager to get back to Varanasi, which was never possible during the regime of Divodasa. Ousting the King was possible only by finding faults in his dealings and administration. With this end in view Siva started sending his persons one after the other, but none could be successful. At last Ganapati was sent. As a brahmana he impressed the royal ladies with his unfailing prophecies and even the king approached him to seek solace. Ganapati told the king that on the 18th day from the day of the event another brahmana would appear from north before the king and that the king should follow the new comer's advice without any hesitation. Next role was to be played by Visnu. He assumed the garb of a Buddhist bhiksu (Saugata rupa), Punyakirti by name, and found a sacred place (dharmaksetra) for himself in the north of Varanasi. Garuda became his disciple, Vinayakirti by name; and Laksmi too joined the party under the name Vijnanakaumudi holding a manuscript in her hand (nyasta-hastagra pustakam) Bhiksu Punyakirti had mastered religion (dharma), polity (arthasastra), and different sciences (jnana-vijnana) and possessed great power of sweet, tender, and distinct speech. He also had knowledge of various practices of black magic like stambhana, uccatana, akrsti, vasikarana, etc. His discourses were heard with deep interest even by birds and the entire flock of deers around remained spellbound and paid reverence. The Purana devotes 30 verses for describing the teachings of Punyakirti, which very much reflect the Buddhist way of thinking. Vijnanakaumudi preached the ladies of the town, but her teaching and activities were more akin to the Carvak and the Tantric doctrines like achievement of happiness at every cost, use of anjana, yantra, tilakausadha, vasikarana, etc. This group of the Buddhists successfully disturbed the subjects of Varanasi. On the 18th day, as predicted by Ganapati, Bhiksu Punyakirti from the dharmaksetra assumed the form of a brahmana and appeared before king Divodasa. His actual teachings to the king are not of much use to us. However, on advice of the new brahmana, Divodasa, says the Purana, installed a siva-linga at Varanasi. There is no indication that king had himself became a bhiksu, but his superior position was certainly torpedoed and Siva's return to Varanasi was thus facilitated. The Buddhist activities referred to in the Padmapurana suggest the following points : i. The dharmaksetra or the seat of Punyakirti, in the north of Varanasi with flocks of deers is the present day Saranatha, old Mrgadava or Rsipattana. Near by the present Saranatha, there is a locality called Saranga or Saranga, which has got something to do with words Saranna and Sarangapani meaning thereby deer and Visnu respectively. Saranatha, as we all know, was a famous Buddhist seat of very long standing

Page #76
Vol. 1-1995 Teachers of.... ii. The description suggests a period when the Buddhist church had come under the Tantric influence and a number of evil practices had crept in. 57 Vena and Divodasa were royalties; but the Padmapurana records one more episode 42 wherin efforts were made to preach a common man by an heterodox teacher. This man, named Tuladhara, was a sudra by caste, but by nature he was very pious and ideally devoid of any temptation or lust as such. Visnu, in order to test his merit, assumed the form of a Nirgantha or Ksapanaka and tried his best to mislead him, but his efforts proved futile. In the end Visnu was much pleased, and Tuladhara was awarded a seat in the heaven. Apart from Visnu and Brhaspati, the Puranas talk of Siva also as one who played the role of a teacher of heterodox sect. According to the Padmapurana3, once Visnu said to Siva that he would like to remain concealed in Kaliyuga for proper running of the Universe (srsti) and with that aim in view he would be producing Moha for misleading the people. To add to this Siva on his part should create imaginary (kalpita) Agamas which would divert public attention from Visnu to Siva. Accordingly, Siva created Mohasastras to highlighten himself. This story seems to refer to two facts; first, the creation of the Moha-purusa (obviously the same as Mayamoha) by Visnu, and second, coming up of the Saivagamas of the Pasupata sect, which are also anti-Vedic. The Varahapurana also refers to the creation of the Moha-sastras by Siva for the greedy (laulyarthi ) brahmanas of Kaliyuga, who carried matted locks (jatajuta) on their heads". In this connection there goes the story that once Gautama cursed the Brahmanas for playing a fowl trick against him, to remain out of the Vedic fold (Veda-bahya). The Seven Sages pleaded for them to Siva and requested some scriptures to be created for those brahmans in Kaliyuga. Thereupon Siva created the Nisvasa Samhita of the Pasupatas, which was further to be developed by people in Kaliyuga. In this connection, it is further interesting to note that the Mahabharata at one place calls Siva as Rsabha among the holy people. Iconographically speaking, there is remarkable closeness in certain points between the Jaina Rsabha and Siva. The points. of similarity are as shown below: Among all the Tirthankaras only Rsabha is shown with the locks of hair dangling on his shoulders. ii. Rsabha's lanchana is bull, which is Siva's mount. iii. Rsabha's Yaksa is Gomukha, who stands in similarity with the bull-headed Gana of Siva.

Page #77
N. P. Joshi Nirgrantha iv. Rsabha's sacred tree (caitya-vrksa) is the ficus tree (vata-vrksa) which, according to the Puranas, is the form of Siva, others being the Pipala and Palasa trees representing Visnu and Brahma respectively. The banyan tree is the caitya-vrksa of no other Tirthankara. 58 v. According to the Digambaras, the Nirvana-sthana of Rsabha is mount Kailasa, which is the permanent abode of Siva. vi. According to the Medini-kosa, the term Rsabha-dhvaja stands both for Rsabha and Siva. So is the term Adinatha, which denotes the first Tirthankara Rsabha as well as Siva, the Founder Teacher of the Natha Sect. Rsabha This brings us to Rsabha, who finds mention as an avatara of Visnu in the Bhagavata" as well as the Skandapurana". Neither of the two specifically call him Jaina pontiff". The Skanda names his dharma as paramahamsya and mentions Nabhi and Marudevi as his parents. This is acceptable to the Jaina tradition. The Bhagavata devotes four chapters for the Rsabha-carita and discusses his preachings. at length, but apparently there is no indication of their being connected with the Jaina philosophy. This Purana, too, calls Rsabha's dharma as paramahamsya-dharma. According to this Purana, Rsabha, in the later part of his life, went wandering to the southern countries like Konka, Venka, Kutaka, etc. and met his end in a jungle fire in southern Karnataka. Thus the Purana holds that Rsabha himself did not advocate any heterodox faith, but further adds that in the Kaliyuga, Arhat, a king of Konka, Venka and Kutaka -- would study Rsabha's teachings and misinterpreting them will establish Pakhanda-mata or heterodox faith, which would be embraced by people for generations after generations and subsequently they all would be sent to the darkest naraka (tamasyandhe) or hell. Obviously, the Bhagavatapurana distinguishes between Rsabha and Arhat, dissociates Rsabha from Jainism, and makes Arhat responsible for propagating the heterodox doctrines based on misinterpreted views of Rsabha. The Buddha The Puranas like the Matsya, the Agnis the Varaha, the Padma, the Skanda 4 and the Bhagavata accept Buddha as the ninth incarnation of Visnu, while a few others like the Visnu, the Vayu, and the Brahma altogether omit him. In spite of accepting Buddha as an incarnation of Visnu or even at times speaking of him in high terms like Prajnaparamitesvara, Akhila-krpa, Akhilestada, Jagatpriya (VI. 71. 277-79), nobody

Page #78
Vol. 1-1995 Teachers of.... recommends the worship of his image. On the other hand, some Smrtis like that of Vrddha Haritapointedly lay down that the Buddha should not be worshipped. We do not come across independent figures of Brahmanical Buddha though he is seen as one of the avataras on the back slab of some of the Visnu figures, specially from eastern India, and in the parikara-frames showing the ten incarnations of Visnu. In this connection some of the Puranas like the Matsya and the Varaha recommend another line of action. Describing the Naksatrapurusa-vrata, the Matsya recommends worship of the Vasudeva or Visnu figure-specially its forehead on Citra naksatra-in the name of the Buddha. The Varahapurana also does the same when talking about Buddha Dvadasi52. It prescribes the worship of a gold figure of Damodara, placed on a jar, on the 11th day of sukla paksa of Sravana. Next day, the jar was to be given in dana to a brahmana well-versed in the Vedas. So much about the Buddha and his image, but there is something more interesting about the tree that is Asvattha or Pippala, which is sacred to the Buddha, normally known as his Bodhi-vrksa. In the Brahmanical tradition, the Asvattha tree has been regarded as sacred and cutting any of its part has been prohibited, this is because of its identification with Visnu. The Padmapurana tells us the story of the brahmana Dhananjaya, who once cut the Asvattha tree for collecting fuel. Thereupon Visnu himself came out of the tree with blood oozing from the wounds on his body. On being questioned, the god said that Dhananjaya himself was responsible for that cruelty, because he had used his axe on the very person of Visnuse. At another place perhaps due to the Buddhist influence, this Puranaso calls the Asvattha tree as Bodhi-taru and Bodhisattva Perhaps to exercise some check on the ever-spreading popularity of Asvattha as a sacred object under the Buddhist influence, some of the Puranas tabooed touching it on other days of the week except Saturday. By way of giving a reason for this taboo, they created two myths : 1. Raksasa Kaitabha had two sons named Asvattha and Pippala. The first would assume form of the Asvattha tree and killed all those who embraced the stem of the tree. Pippala on the other hand became a bralimana, a teacher of the Samaveda, and devoured the students who would come to him for learning the hymns. At last the two demons were punished and killed by Sani or god Saturn, and declared that, only on his day, the Asvattha could be freely touched by the people, specially to ward off his planetary effects. In the Padmapurana, on being questioned by the Rsis as to how the Bodhi-tree became untouchable on days other than Saturday, Suta told that Jyestha, the goddess of Poverty, resides at the root of the Asvattha tree and only on

Page #79
N. P. Joshi Nirgrantha Saturday her younger sister Laksmi pays her a visit, and therefore, on that day alone one should worship the tree and enjoy permanent stay of riches with him 62. Epilogue 60 The above discussions would show that the deep-rooted influence of the heterodox faiths on society was felt by the Puranas also and has been expressed in the following ways: i. The heterodox views were allowed to be spread in the society to misguide the powerful enemies of the Devas, specially the Daityas. Visnu had taken this responsibility upon his shoulders. ii. This trick was played against the mortal enemies of the Devas like the sons of Raji and King Divodasa. iii. King Vena was punished for embracing the heterodox faith and a commoner named Tuladhara was also put to test by this method. iv. Besides Visnu, even Brhaspati and Siva played the role of heterodox teachers. Worship of the image of the Buddha, even though he was accepted as an incarnation of Visnu, was tabooed; but, if the Buddha's worship was a must and difficult to avoid, use of an image of Visnu instead was recommended. vi. There is a close resemblance between Rsabha and Siva. vii. Asvattha, Vata, and Palasa trees enjoyed sanctity as representatives of Visnu, Siva, and Brahma; but touching Asvattha on days other than Saturday was totally tabooed. ix. References to Jainism are more in number than those to Buddhism, but perhaps to balance the wider spread and influence of Buddhism, the Buddha was accepted as an incarnation of Visnu by a larger number of authorities. x. Perhaps to meet this very situation in the realm of icons, some of the sculptors adopted a different course. Iconographical canons often describe composite figures of deities like Hari-Hara-Pitamaha, Hari-Har-Arka, Hari-Hara-Surya-Pitamaha, Brahmesanarka, etc. On the same pattern some of the sculptors of Bengal made composite images of Surya-Lokesvara and Hari-Hara-Buddha. Such examples are of course very rare, but no figure of Visnu or Siva-Rsabha, or for that matter any other Tirthankara has yet been reported.

Page #80
Vol.1-1995 Teachers of.... References: purANapUrNacandeNa zrutijyotsnA prakAzitAH / na buddhi kairavANAM ca kRtametatprakAzanam // - MRH. Adi. 1. 86. 1.7. brahmapurANa, matsyapurANa, agnipurANa, varAhapurANa, padmapurANa, skandapurANa, bhAgavata. skandapurANa, bhAgavata. The Visnupurana uses the two terms 'Asura' and 'Daitya' as synonyms in this verse (III. 17. 9) Obviously this refers to the two sects of the Jainas, namely the Digambara and the Svetambara. ityanekAntavAdaM ca mAyAmohena naikadhA / tena darzayatA daityAH svadharbha tyAjitA dvija || Visnu III 18. 11. nagnAste tairyatastyaktaM trayI saMvaraNaM tathA - Visnu. III. 18. 35. mAyAmohasvarUpo'sau zuddhodanasuto'bhavat -2 te (daityAH) ca babhUvurhi tebhyo'nye vedavarjitAH -3 ArhataH so'bhavat pazcAt ArhatAnakarotparAn evaM pApaMDino jAtAH vedadharmAdivarjitAH - Y Agni., 16. 1-4, p. 27. This suggests that Jainism was followed by Buddhism. The Visnupurana describes the event in the reverse order. asRjacca mahAtejAH puruSaJcAtmasaMbhavam ekaM mAyAmayaM teSAM dharmavighnArthamacyutaH - 73 zAstraM ca zAstA sarveSAmakarotkAmarUpadhRk -74 mAyAmayaM zAstraM granthaM SoDazalakSakam- 75 muniH ziSyaiH praziSyaizca saMvRtaH sarvataH svayam- 82 pApaMDe khyApite tena viSNunA vizvayoninA -94 -Liiga.,71. 73-94 . p. 219. asRjacca mahAtejAH puruSaM svAtmasaMbhavam ekaM mAyAmayaM teSAM dharmavighnArthamacyutaH / muNDinaM mlAnavastraM ca guMphipAtra samanvitam dadhAnaM puJjikA haste cAlayaMtaM pade pade / -2 vastrayuktaM tathA hastaM kSIyamANaM mukhe sadA dharmeti vyAharantaM hi vAcA viklavayA munim / -3 -Siva; ("Rudra Saithita" V. Yuddha Kanda) II. 5-4. 1-3. catvAro muNDinaste'tha dharma pAkhaMDamAzritAH haste pAtraM dadhAnaM ca tuNDavastrasya dhArakAH // 28 / / malinAnyeva vAsAMsi dhArayaMto hyabhApiNaH / dharmo lAbhaH paraM tattvaM vadanto'tiharpataH // 29 //

Page #81
N. P. Joshi Nirgrantha mArjanI dhriyamANAzca vastrakhaNDavinimitAm / zanaiH zanaizcalaMto hi jIvahiMsAbhayAdhruvam // 30 // Siva., II. 5.4.28. 30. This is a very true picture of the Jaina monks. None of the five has been described as 'naked'; rather they are putting on dirty clothes. This suggests that the passage refers to the sacela monks of the Svetambara sect. 11. Visnu says: mamAGgAcca samutpanno matkAryaM kartumarhasi / madIyastvaM sadA pUjyo bhaviSyati na saMzayaH // 8 // arihannAma te syAttu hyanyAni na zubhAni ca / sthAnaM vakSyAmi te pazcAcchRNu prastutamAdarAt / / 9 / / mAyinmAyAmayaM zAstraM tatSoDazasahasrakam / zrautasmArtaviruddhaM ca varNAzrama vivarjitam // 10 // apabhraMzamayaM zAstraM karmavAdamayaM tathA / racayeti prayatnena tadvistAro bhaviSyati // 11 // dadAmi tava nirmANa sAmarthya tadbhaviSyati / mAyA ca vividhA zIghraM tvadadhInA bhaviSyati // 12 // mohanIyA ime daityAH sarve tripuravAsinaH // 16 // kAryAste dIkSitAH nUnaM pAThanIyAH prayatnataH // 17 // tatazcaiva punargatvA marusthalyAM tvayA vibho / sthAtavyaM ca svadharmeNa kaliryAvatsamAvrajet // 20 // pravRtte tu yuge tasmin svIyo dharmaH prakAzyatAm / ziSyaizca pratiziSyaizca vartanIyastvayA punaH // 21 // - sivapurana, Ibid. yathA tvaM ca tathaivaite madIyA vai na saMzayaH / AdirUpaM ca tannAma pUjyatvAtpUjya ucyate // 33 // RSiH yatiH tathAkIryaH upAdhyAya iti svayam / imAnyapi tu nAmAni prasiddhAni bhavaMtu vaH // 34 // mamApi ca bhavadbhizca nAmagrAhyaM zubhaM punaH / arihanniti tannAma dhyeyaM pApapraNAzanam // 35 // Sivapurana, Ibid. 13. nArado'pi tathA mAyI niyogAnmAyinaH prabhoH / pravizya tatpuraM tena mAyinA saha dIkSitaH // 47 // ityuktvA sa tu mAyAvI daityarAjAya satvaram / dadau dIkSAM svadharmoktAM tasmai vidhividhAnataH // 62 / / Jain Education Intemational

Page #82
Vol.1-1995 Teachers of.... daityarAje dIkSite ca tasminsa sahaje mune / sarve ca dIkSitA jAtAH tatra tripuravAsinaH // 63 / / ityevaM svamataM procya yatistripuranAyakam / zrAvayitvA'khilA paurAnuvAca punarAdarAt // 34 // Siva., II. 5. 4.43. dRSTArtha pratyayakarAndehasaukhyaika sAdhakAn ? bauddhAgama vinirdiSTAn dharmAn vedaparAMstataH // 35 // Sivapurana, II ("Rudra Samhita") V, Yuddha-Kanda 4.1:-63. viSvAdayaH UcuH / 15. na bhetavyaM bhavadbhistu muNDino vai kadAcana / zivAjJayedaM sakalaM jAtaM caritamuttamam // 27 Siva., II.V. 12. 27. bhavadbhirmuNDino dhIrA guptabhAvAnmamAjJayA / tAvanmarusthalI sevyA kaliryAvitsamAvrajet // 31 // Agate ca kalau yUyaM svamataM sthApayiSyatha / kalau tu mohitA mUDhAH saMgrahISyanti vo matam // 32 // -Siva., II. 5. 12.31-32. Vayu., III. 97. 68-119, pp. 484-98; HI. 98. 1. 18, pp. 491-92. 17. Matsya., 47, 33-260, pp 113-124. Padma., I. 13. 266-67, 88. This Purana totally excludes the siva-stuti, which is noticeably present in the Vayu and the Matsya noted above. Also the Padma., I. 13, 268-78, p.88. Subsequent portion of the Padma differs in content. 19. Devi-Bhagavata, IV. 11. 1-29, pp. 277-8; IV. 2. 19-59, pp. 281-84. This Purana also omits the siva-stuti. Also, here exists a good deal of difference in the succceeding portion. ahaM vo bodhayiSyAmi vidyAM prAptA yayA gayA / -1 IV. 12.57. p. 283. This verse is to be seen in the Vayu (III. 98. 17 p. 492) and in the Matsya (47. 182. p. 120) also. apazyadAnavAnAM sa pArve vAcaspati tadA / / 53 / / chadmarUpadharaM saumyaM bodhayantaM chalena tAn / jainadharma kRtaM svena yajJanindAparaM tathA // 54 // bho devaripavaH satyaM bravImi bhavatAM hitam / ahiMsA paramo dharmo'hantavyA hyAtatAyinaH // 55 // Jain Education Intemational

Page #83
64 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 31. 32. 33. 34. 30. Padma., II. 39-38. p. 121. 35. N. P. Joshi dvijairbhogaratairvede darzitaM hiMsana zo | jihvAsvAdaparaiH kAmaM ahiMsaiva parA matA // 56 // Devi, IV. 13. 53-56, p. 287. Vinsu., IV. 9. 19-20, p. 321. Vayu., III. 92. 95-96, p. 454-55. Matsya, 24.46-48, p. 59. Padma., I. 12. 87-90, p. 73. Harivamsa., Hari., 28. 12-35, pp 96-98. teSAM ca buddhisammoha makarodvijasattamaH / nAstivAdArthazAkhaM hi dharmavidveSaNaM param (A) paramaM tarkazAstrANAmasatAM tanmanonugam / nahi dharmapradhAnAnAM rocate tatkathAntare ||31|| bRhaspatikRtaM zAstraM zrutvA 'lpacetasaH / pUrvokta dharmazAstrANAmabhavan dveSiNassadA // 32 // (B) te yadA tu susaMmUDhAH rAgonmattAH vidharmiNaH / brahmadviSAzca saMvRttA hatavIryaparAkramAH || Harivamsa, 28. 30-35. (A) and (B) do not appear in the Vayupurana. gatvA'tha mohayAmAsa rajiputrAn bRhaspatiH / jinadharmaM samAsthAya vedabAhyaM sa dharmavit // Padma, 1. 12. 89. p. 93. Also the Matsya., 24. 47. p. 59. Vayu, II. 62. 95. p. 297. Brahma, 4. 31. Vamana., 47. 10. 10. p. 214-15. Bhagavata., 11. 7. 9. p. 77. Harivamsa., Hari 5. 4-6. p. 21. Padma., II 30. 70-71. p. 97. Ibid., II 36.43-49. p. 112. Ibid., II 38. 33-41. pp. 118119. Nirgrantha

Page #84
Vol. 1-1995 Teachers of.... 36. bid., II 39. 38. p. 121. 37. Skanda, IV 58. 71-229. pp. 403-412. 38. bid., IV 39. 32-66. pp. 287-89. 39. Ibid., IV 58.74. p. 403. tatastu saugataMrUpaM zizrAya zrIpatiH svayam / atIva sundarataraM yailokyasyApi mohanam // 72 // zrIH parivrAjikA jAtA nitarAM subhagAkRtiH / yAmAlokya jagatsarvaM citranyastamivAsthitam // 73 / / vizvayoni jagaddhAtrIM nyastahastAgra pustakAm / garutmAnapitacchiSyo jAto lokottarA kRtiH // 74 / / Ibid., IV. 58. 78-81 p. 404. 40. vyAkhyAnasamayAkRSTa pakSiromAJcakAriNam // 78 / / pItaM tadgIta pIyUSaM mRgyuuthairupaasitm| mahAmodabharAkrAnta vAta cAJcalya hAriNam // 79 // A number of verses following 58. 81 of this Purana are to be found in the Sivapurana also (Siva., "Rudra Samhita", Yuddha Kanda 65. 5-33); but some changes in words have been introduced to establish that the faith advocated was Jainism. This could have been the fact because Saranatha in the north of Varanasi is a sacred place for the Jainas as well. Skanda., IV 58. 82-111. pp. 404-5. Padma., I 55. 39-72. pp. 556-58. Ibid., VI. 71. 106-109. p. 249. tvAmArAdhya tathA zaMbho gRhISyAmi varaM sdaa| dvAparAdau yuge bhUtvA kalayAmAnuSAdiSu // 106 / / svAgamaiH kalpitaistvaJca janAnmadvimukhAnkuru / mAM ca gopaya yena syAtsRSTireSottarottarA // 107 / / eSa mohaM sRjAmyAzu yojanAnmohayiSyati / tvaM ca rudra ! mahAbAho ! mohazAstrANi kAraya // 108 / / 44. Vardha., 71. 8-58. kalau tvadrUpiNassarve jayamukuTadhAriNaH / svecchayA pretaveSAzca mithyA liGgadharAH prabho // 51 // Jain Education Intemational

Page #85
___N. P. Joshi Nirgrantha teSAmanugrahArthAya kiJcicchAstraM pradIyatAm / ye cAsmadvaMzajAssarve varteyuH kalipIDitAH // 52 // Siva says to the Saptarsis mayaiva mohitAste tu bhaviSyajjAnatA dvijAH / laulyArthinaH svazAstrANi kariSyanti kalau narAH // 55 // niHzvAsasaMhitA yA hi lakSamAtraM pramANataH / saiva pAzupatI dIkSA yogaH pazupatestathA // 56 / / etasmAdvedamArgAddhi yadanyAdiha jAyate / tatkSudra karma vijJeyaM raudraM zaucavivarjitam // 57 / / Mahabharata, "Anusasana.", 14. 318. p. 5500: RSabhastvaM pavitrANAm / Padma., VI. 115. 29. p. 377 viSNumahezvarau bodhivaTau VI. 116. 1, 22; pp. 376-77. Bhagavata., I. 3. 13. p. 28, II 7-10 p. 77. Detailed life V., Chapter 3-6. pp. 237-42. ___Skanda., Vaisnava. 18. 26-27, p. 818. The name Rsabha and its association with Nabhi and also with bull gives an interesting allegory. The distinctive musical note (Svara) "ri' or Rsabha is well represented by the bull's roaring and it originates from the naval portion (nabhi) of a human being. Matsya., 54. 19. p. 149. buddhAya zAntAya namo lalATaM citrAsu saMpUjyatamaM murAreH ||-nksstrpurussvrt Matsya., 47. 244. p. 123 Vyasa is the eighth incarnation and the ninth is the Buddha. 51. Agni., 49. 8. p. 93. 52. zAntAtmA laMbakarNazca gaurAGgazcAmbarAvRtaH / Urdhva padmasthito buddho varadAbhayadAyakaH // Varaha., 47. 1-5. zrAvaNe mAsi zuklAyAM ekAdazyAM caredvatam / kAJcanaM devadevaM tu dAmodara sanAmakam / tamabhyarcya vidhAnena gaMdhapuSpAdibhiH kramAt / / 5 / / prAgvattaM brAhmaNe dadyAd vedavedAMgapArage // 6 / / At another place (16. 9-19) in course of the "Dasavatara-Stotra", the Varaha Purana omits Buddha. Jain Education Intemational

Page #86
Vol. 1-1995 Teachers of.... 53. Padma., I. 77. 93-94, p. 647. namostu buddhAya ca daityamohine / II. 19.68-71. p. 61; VI. 71. 277-79. p. 259. buddho dhyAnajitAzeSa devadevo jagatpriyaH / nirAyudho jagajjaitra: zrIdharo duSTamohanaH // 277 // daityaveda bahiSkartA vedArtha zrutigopakaH / zauddhodaniH daSTadiSTaH (?) sukhadaH sadasaspatiH // 278 / / yathAyogyAkhilakRpaH sarvazUnyo'khileSTadaH / catuSkoTi pRthaktattvaM prajJApAramitezvaraH // 279|| VI 252. 19-20, p. 917. tripuraM hantukAmeva mayA saMpUjito hariH / buddharUpadharaH zrImAn mohayAmAsa tadripUn // 19 // mohitAstena zAstreNa sarvadharma vivarjitAH / nArAyaNAstreNa mayA nihatAH devazatravaH // 20 // VII 6. 180-89, p. 982. vedA viniMditA yena vilokya pazuhiMsanam sakRpena tvayA yena tasmai buddhAya te namaH // 188 / / VII 11. 92-94, p. 1014. namo buddhAya zuddhAya sakRpAya namonamaH // 9 // 54. Skanda., "Vaisnava"., Vasudeva Mahatmya, 18. 16-45. p. 819. vaidika vidhimAzritya trilokI parapIDakAn / chalena mohayiSyAmi bhRtvA buddho'muganaham // 4 // mayA kRSNena nihatAH sA'rjunena raNeSu ye| pravartayiSyantyasarAH tetvadharma yadA kSitau // 42 // dharmadevAttadA bhaktAdahaM nArAyaNo muniH / janiSye kosale deze bhUmau hi sAmago dvijaH // 43 / / munizApannRtAM prAptAnRSIstAta tathoddhavam / tato'vitA surebhyo'haM saddharma sthApayannaja // 44 / / Bhagavata., I. 3. 24. p. 28. tataH kalau saMpravRtte sammohAyasuradviSAm / buddho nAmnA janasutaH kIkaTeSu bhaviSyati / / Also lI. 7. 37. p. 79. 55. Jain Education Intemational

Page #87
N. P. Joshi Nirgrantha The Vinsupurana refers to the avataras at several places such as II. 2. 50-51, p. 142, III. 1. 36-44, p. 207-8; III. 2. 55-58, pp. 212-13; IV. 15. 4-30 pp. 343-45; V. 17. 10. p. 422. Everywhere the Buddha has been omitted : so is the case of Vayu. At one place (III 98. 88-104 pp. 496-7) it agrees with the Matsya (47. 244 p. 123) but omits Buddha. Both place Vyasa as the eighth avatara, but, according to the Matsya, ninth is the Buddha, while the Vayu holds that it was Krsna. At another place the Vayu mentions Rahula as of Suddhodana but refrains from mentioning Siddhartha or Buddha between. The Brahmapurana also does not refer to the Buddha (213. 1-168 pp. 1214-32). Vrddha-Harita-Smrti, 7. 142-43. Padma., VII. 12. 87-90, p. 1023. Padma., VI. 116. 1. p. 377- Tout faros eu ut ayaq: affiaet fT: 1 Padma., 1. 60. 16. p. 574. egr qar Haifaware oferary try rare tudi Brahm., 118. 10-30, pp. 718-30. 62. Padma., VI. 116. 1-27, pp. 377-79. Editor's Note : The data-style in the references is as given by the author. For want of information on the exact published sources at our end we could not convert the details according to the style sheet of the Nirgrantha. Jain Education Intemational

Page #88
A GLIMPSE INTO THE SANSKRIT AND OTHER FORMS OF DRAMA IN MEDIEVAL GUJARAT Govardhan Panchal The region known as Gujarat received this designation during the rule of its first Caulukya monarch, Mularaja I. Their capital was then known as Anahillapataka, Pattana, or Anahillapura, and now as Patana in North Gujarat. Anahillapura was, for nearly 250 years, a prosperous city and a seat of learning, culture, and trade. Caulukya was the golden period of the history of Gujarat. Siddharaja Jayasimha (A.D. 1095 -1144), the greatest of the Caulukya monarchs of Gujarat, expanded the kingdom's frontiers by his conquests of Malava in Madhya Pradesh and Mevad in west Rajasthan, the Lata territory had been already incorporated in south Gujarat. In Dhara, when he noticed the great bhandaras of manuscripts and an atmosphere of learning, he felt its dearth in Gujarat. He took steps to encourage men of different sects, brahmanas as well as Jainas, to write on the various aspects and in different categories of Sanskrit literature. In his kingdom flourished Jaina scholars and brahmana pandits. Among them had prominently stood a great Jaina pontiff, Acarya Hemacandra. Siddharaja Jayasimha was an enlightened king and during his time many temples were built which were enriched by figural sculptures showing postures which accorded with the karanas of Bharata's Natyasastra. He built a great reservoir in the environs of the capital and aptly called it 'Sahasralinga', because a thousand Sivalinga shrines encircled its banks. He also built vidyapithas for the students and the teachers, both of whom lived there free. Any learned man wanting to pursue his studies could stay there as long as he wished, and free of sustenance worries. The king was in the habit of touring in the city, often in cognito for finding out as to how the people fared and what they said. Once, disguised as a lay man, he entered one of the temples, named Karnameru. There, a Sanskrit play was being staged. He took his seat by the side of an ordinary man who was engrossed in watching the play. After a while, to his surprise, that man rested his hand on his shoulder. He did this again and again, offered betel nuts and camphor to his neighbour, the king, who responded by accepting these. After the play, the king asked his attendents to find out all about the man. The next day, to his court, he summoned the man and told him : "My neck is aching from the weight of the hand that you rested on it last night." But the man, with quick wit as he was, replied: "If Your Majesty does not feel the weight of the whole earth, reaching the verge Jain Education Intemational

Page #89
Govardhan Panchal Nirgrantha of ocean, what pain can it feel from the weight of my arm, that of a mere lifeless man of straw, who subsists by trade?" The king was delighted by his answer and gave him gifts!. In this instance we notice the great king watching a performance in the company of the common people, in cognito, and his keen interest in the play. Sanskrit Drama During Siddharaja's times and those of his successors, several plays were composed in Sanskrit and Prakrit by Jaina munis and brahmana pandits, some of whom were residing in Anahillapura, the capital. Hemacandracarya, the doyen of scholars, had a learned sisya-mandala (group of disciples). His chief disciple Ramacandra composed about 11 Sanskrit plays. The first play written in Gujarat was in A. D. 868 by a Jaina writer silacarya. The play in Sanskrit, named the Vibudhananda, is included within the poet's larger work, the Caupannamahapurisacariya (the life-stories of 54 great men), in Prakrit prose and verse. This one-act Sanskrit play resembles an Utsrstikanka type of the ten Rupakas mentioned by Bharata, which ends with the death of the hero. Its peculiarity is that its prastavana begins with a character called Nandi who recites the Nandi-sloka and, after his exit, enters the Sutradhara with the usual stage-direction "nandyante". In Sanskrit plays, the Nandi is sung from behind the curtain. The Vibudhananda deals with the story of a minister named Vimalamati, who hopes to bring his king Mahabala, who is engrossed in worldly pleasures, to the path of righteousness. Knowing that the king was fond of witnessing plays, he arranges to stage a play in which the king Rajasekhara gets his daughter Bandhumati married to a Rastrakuta prince named Laksmidhara. But, as ordained by fate, Laksmidhara dies of snake bite soon after marriage. And Bandhumati immoluates herself as a sati after her husband. The King Rajasekhara, greatly distressed by this untoward happening, renounces the world and embraces pravrajya (renunciation). The enactment of this play had the desired effect on King Mahabala, who, after seeing it, renounces the world, thus fulfilling the intention of the minister. The play emphasises the fact that the fate is blind, cruel, and to defy it is fruitless : and there is no escape from death. In Gujarat, several types out of the ten Rupakas, had been written. The next play that we come across is by the Kashmiri poet Bilhana who visited Patana and was patronized by King Karnadeva's minister Sampatkara (Santu mantri). Bilhana wrote a natika entitled Karnasundari. It depicts the marriage of Karnasundari, a vidyadhari in the play, who, however, was the guise for the princess of Karnataka, named Mayanalladevi (Mailaladevi), to whom was born the great Siddharaja Jayasimha. The natika might have been inspired by Harsa's Ratnavali. This natika was staged in the temple of Adinatha in Patana at the time of the yatra-mahotsava during Santyutsava, as mentioned in its

Page #90
Vol. 1-1995 A Glimpse into the.... prastavana. It was composed in c. A. D. 1070. Ramacandra (A. D. 1089-1173), the accomplished literti and disciple of Acarya Hemacandra, wrote the following eleven plays: the Nalavilasa, the Raghuvilasa, the Yaduvilasa, the Satya-Hariscandra, the Nirbhayabhima-vyayoga, the MallikaMakaranda-prakarana, the Raghavabhyudaya, the Rohinimrganka-prakarana, the Vanamala-natika, the Kaumudimitrananda, and the Yadavabhyudaya. Among these, we find that he has tried his hand on the different types of Rupakas, such as the Nataka, the Prakarana, the Natika, and the Vyayoga. (He considers 12 Rupakas with Natika derived from Nataka and Prakarani from Prakarana, two more than Bharata's). He chooses his themes from the Ramayana, the Mahabharata and the puranas, and also from the life of common people. Although he was a Jaina muni, he has chosen to depict a sentiment like singara. Some critics apparently criticised him for witing plays depicting erotic sentiments, for a Jaina muni was expected not to indulge in that class of writings. But he was a man of independent thinking, who loved his freedom of expression. In his Nalavilasa-nataka, he prayed to Lord Jinesvara: svataMtro deva ! bhUyAsaM sArameyo pi vartmani / mA sma bhUvaM parAyattastrilokasyApi nAyakaH // "I would any day prefer the free life of a street dog to the sovereignty of the three worlds that is dependent on others." Indeed, he had preferred to die a tragic death by biting his tongue than to succum to the punishment inflicted by the then ruling cruel king Ajayapala, who is said to have ordered him to sit on a hot tin-plate for opposing his enthronement. Out of the 11 plays of Ramacandra', the seven-act Nalavilasa stands out in deviating from the usual story of Nala-Damayanti and making it stage-worthy. It is noteworthy for its garbhanka (a play within a play) which depicts Karuna-rasa at its best. This garbhanka is in the sixth Act. In the beginning of the sixth Act, there is a svagatokti (soliloquy) of Nala which gives the information that, after his abandonment of Damayanti in the forest, his father appearing in the form of a serpent, transforms him (Nala) into an ugly man and that he is serving as a cook at the palace of Dadhiparna, the king of Ayodhya. The King, who came to know about his mastery in some special arts, invites him to witness a play to be staged by some actors from Vidarbha. Nala comes, hoping to get some news of Damayanti, whom he earlier had abandoned in the forest but now very much regrets his deed. The garbhanka begins with the entry of the sutradhara who anounces the title of the play to be performed as Nalanvesana-prabandha (the prabandha of the search of Nala). As he hears the voice of Damayanti from the nepathya, he makes his exit after reciting the Jain Education Intemational

Page #91
Govardhan Panchal Nirgrantha sloka that my namaskaras to that fortunate man who has never suffered the pangs of separation from his beloved. Then enters Damayanti and two servants named Gandhara and Pingalaka of a sarthavaha (roving merchant) named Dhanapati. Seeing Damayanti alone in the forest, they ask her to go with Dhanapati, the sarthavaha. But Damayanti, unable to bear the separation, reaches a cakravaka bird, a female elephant, a bear, and a peacock and inquires each one of them the whereabouts of Nala, her husband. She shouts in the forest, "O, come my dear" ! and, on hearing the echo, she thinks Nala has replied. She runs after her own shadow taking it to be Nala. Her delicate feet are pierced by thorns and to take shelter from the burning sun, she goes to an amrakunja (mango-grove) where she sees a lion, and she rushes towards it to be devoured, but Gandhara, one of the servants, prevents her. She tries to strangle herself by a creeper, unable to bear her pain but Pingalaka saves her. Exhausted, Damayanti swoons and falls. The two men decide to hand her over to the sarthavaha, and the garbhanka ends. The play-act had been staged so effectively that the king Dadhiparna rushes to the ranga to touch the feet of Damayanti taking her to be the real one. And he and others censure Nala in very strong terms. Nala himself, in the form of Bahuka, is so much touched by the sufferings of Damayanti caused by his abandonment, that he wishes he were dead so that the unbearble wailings of his beloved would not be heard; he wishes that he were blind so that he would not have to see the pitiable plight for which he was responsible, and wishes to be engulfed in the earth. His mental state becomes so unbearable that he, too, rushes to the stage, forgetting that it was only a play. The poet has so effectively depicted Karuna rasa by this garbhanka that it touches the hearts of the spectators and makes them forget that they are witnessing only a play. The garbhanka appears in a very few Sanskrit plays, among which this is less known though in no way less important or of lesser merit than others. It is enough to show how touching the whole play is. In the earlier acts of this seven-act play, the Nalavilasa, the katha (taken from the Mahabharata) begins with Nala seeing a portrait of Damayanti. He falls deeply in love with her, and feels an intense desire to meet her. Then comes the episode of Damayantisvayamvara. She garlands Nala signifying her choosing him as her husband. Ramacandra's another notable play is the Raghuvilasa in which the "Rama-katha" is depicted according to the Jaina version and not the Valmiki Ramayana. Even in following the Jaina tradition, he has made some changes to suit his dramatic vision. Raghu in the play is not to be taken as an ancestral individual name but as a Paitrka cognomen. In the Natyadarpana, several examples are quoted from the Raghuvilasa which is noteworthy. This play seems to have been popular at the time, because its abridgement, the Raghuvilasa-natakoddhara, was also made; in it most of the prose dialogues are substituted by verses. Jain Education Intemational

Page #92
Vol. 1-1995 A Glimpse into the... Some plays had been written on certain historically significant events. Among these may be mentioned the Mudrita-Kumudacandra-prakarana (c. 2nd quarter of the 12th century), dealing with the doctrinal debate between the supporters of the two Jaina sects, the Svetambara and the Digambara. In the court of Siddharaja Jayasimha, the Digambara dialection Kumudacandra and the Svetambara Devasuri held the religious debate on whether "a woman can attain salvation or not" and whether "a clothed one" can attain release or not. This 16 day long debate on doctrinal divergencies of the sects was woven into a five-act play by Yasascandra, a protege of the king of Sapadalaksa. Importance of this play lies in its depiction of the religious and social conditions of Gujarat at that time. From the prastavana of the play, it is clear that the poet wrote four more plays, but nothing is at present known about them. The Moharajaparajaya is an allegorical play, written some time between A. D. 1173 and 1176. It was staged during the yatra-mahotsava in the Kumara-vihara in the town of Tharapadra (Tharad) in North Gujarat. Its author, Yasahpala, was a minister of king Ajayapala who was not favourably disposed to Jainism. The theme of the play is to depict the marriage of Kumarapala (who preceded Ajayapala) to Krpasundari, the daughter of the allegorical King Vivekacandra of the Purusamanonagara, which had been attacked by Moharaja (the King of Delusion) as a spy (cara) named Jnanadarpana announces, and that the king had fled his kingdom and taken refuge in the tapovana (hermitage) of Hemacandra. All characters have allegorical appelations except King Kumarapala of Pattana, Hemacandra, and the Vidusaka. All other characters are symbolic of the good or bad qualities in the human beings. The purpose of the play was to extend the sway of Jainism in the kingdom by making the king embrace that religion under the influence of which he would banish some of the vices in the State, such as gambling, meat eating, suna (butcher), theft, drinking, vyabhicara (prostitution), etc. These abstract qualities appear as characters and they lament that the former kings had permitted them to stay, but now this monarch wants them to leave except at the mansions of the ganikas (courtesans). In the end, Moharaja is conquered with the help of the armour in the form of the Yogasastra and the "Vitaragastuti" (prayer to Jina), the unseen Vidya (knowledge), and returns the kingdom of the Manonagara to its king Vivekacandra. The play provides a fine example of the social and religious conditions of Gujarat of that time. In the 13th century, Gujarat had been attacked from the south by the Yadava king Sinhana and from the north by the Muslim army at the same time. But Vastupala, the illustrious prime-minister of King Viradhavala of Dhavalakakka (Dholka), defeated both the invaders. To commemorate this famous victory, Jayasimha Suri of Bhrgukaccha wrote a play named the Hammiramadamardana some time between A. D. 1221 and 1229. Since the play was penned by a contemporary writer, it contains useful historical material. It has five acts, the first two of which depict how Vastupala succeeds in breaking up the alliance between the Yadava King and the Lata prince Sangramsimha Jain Education Intemational

Page #93
Govardhan Panchal Nirgrantha with the help of his secret agents. This gives some idea of the secret service of the times as in the Arthasastra. In some ways, the play betrays some resemblance to the Mudraraksasa, but it also differs from it in several ways. The play ends with a note of adbhuta, since in the end Siva himself appears to bless Vastupala. It was performed during the yatramahotsava of Bhimesvaradeva by the order of Jayantasimha, son of Vastupala. Another notable play is the Prabuddha-Rauhineya by Ramabhadra Surio. This six-act play was performed during the yatra-mahotsava in the temple of Adinatha, built by two Jaina brothers named Yasovira and Ajayapala at Jhalor. The vastu or theme of the play is taken from some contemporary incident of the time of the Buddha and Mahavira. It depicts the story of a clever thief named Rau zineya who evades capture inspite of vigorous efforts made. But finally he is caught. A clever trick is used by the minister for making him confess his crimes. A hall was transformed to look like Indrabhavana and the ganikas dressed like apsarases stood there to serve and question Rauhineya, who is brought there in a heavily drunken condition. When he was somewhat sober, he found himself surrounded by beautiful damsels who tell him that they are so happy to have him among them and they dance and sing in joy. He felt he was really in heaven! Now, Rauhineya had been earlier advised by his father never to listen to the words of lord Mahavira. Once, while passing through a place near which Mahavira was delivering a sermon, he closed his ears. But a thorn pricked his foot and he was forced to hear a few words of the sermon- "that gods never perspire, they do not tire, never wink, and their feet do not touch the ground." And Rauhineya in his present situation realizes that what he sees is merely a trick of the minister to make him confess his crimes. When asked what punyas (merits) he accrued that brought him there, he says he has done nothing but good and noble deeds all his life! The trick of the minister having failed, he informs the king to release Rauhineya as nothing could be proven. The king orders that he should be brought before him. When the king tells him that he is set free, he is unable to believe. He realized that, if a few words of Mahavira could save his life, then, by surrendering himself to the Jina, he could be free from this wretched cycle of life and death for ever. He surrendered all the wealth he had amassed by stealing. Thus, he took to the path to Enlightenment?. Apart from the Nataka, the Natika, and the Prakarana, the other Rupaka type that had been employed in Gujarat is the Vyayoga which is a one-act play. Three vyayogas so far have been found. The Nirbhaya-Bhima-vyayoga of Ramacandra, the Parthaparakrama of Prahaladanadeva, and the Sankhaparabhava of Harihara. In these vyayogas, of Gujarat and elsewhere, usually Bhima or Arjuna are the heroes. But in Sankhaparabhava of Harihara, the hero is the famous minister Vastupala, a contemporary, who has been chosen as the main character. The Nirbhaya-Bhima deals with the story of how Bhima kills Bakasura, who wants one Jain Education Intemational

Page #94
Vol. 1-1995 A Glimpse into the.... person from each family every day for his meal. The episode took place while the Pandavas were in exile. They heard the wailing of the mother and wife of a brahmana who was to be the victim of the demon. Bhima consoled them, saying that he will substitute himself for the brahmana. In the end, after the demon had been killed, the play ends with the Bharatavakya of the bralmana blessing Bhima. The Parthaparakrama was composed by Prahaladandeva, the younger brother of the Paramara King Dharavarsa of Abu, in V. S. 1226 (A. D. 1170) while he was still an heirapparent. The play was performed during the Pavitrakaropana festival in the Acalesvara temple on Mt. Abu by the order of the king. Its kathavastu (plot) is taken from the "Virata-parva" of the Mahabharata when the Pandavas were to remain in cognito in the last year of their exile and had sought employment with king of Virata. The Kauravas attempted to drive away the cows of Virata and Arjuna defeated them, and brought the ** animals back. This vyayoga is noteworthy from the viewpoint of the Natyasastra conventions. After the nandi sloka, usually it is the sthapaka who first enters and recites two slokas, and then enters a nata who addresses him as sutradhara. Here, however, it is the sthapaka who enters first. But in the Natyasastra of Bharata, the first entry after the nandi is made by the sutradhara, who performs the jarjara puja, etc. as a part of the purvaranga, alongwith pariparsvika and the vidusaka, and after their exit enters the sthapaka who resembles the sutradhara in every way and performs the sthapana8. The author claims to depict Dipta rasa in the play. The play ends with the Bharatavakya sung by Indra instead of the nayaka (hero) as was the convention in the earlier Sanskrit plays. Kavi Harihara was a brahmana from Gauda-desa. He was on a pilgrimage to Somanatha in Gujarat, and on his way had stopped at Stambhatirtha where governed the great Vastupala, the minister of King Viradhavala. Harihara was so impressed by Vastupala's many fine qualities that he wrote the Sankhaparabhava-vyayoga commemorating an important event in Vastupala's life. The nayaka of the play depicts how Vastupala defeated Sankha (the chief of Lata). The peculiarity of the play is that, like the Parthaparakrama, the sthapaka and the sutradhara are shown as unified and like the earlier-mentioned vyayoga, the Bharatavakya sloka is sung by the sresthi (Vastupala ?) with puja of Bhagavati who blesses all through the Akasabhasita. Among the natakas, Somesvaradeva's Ullagha-Raghava is also a notable example, written by the hereditary rajapurohita (chief priest) of the Caulukya kings of Anahillpura - pattana'. Besides this play, he has several other Sanskrit works to his credit, among which is the Kirtikaumudi, a kavya praising his friend and patron Vastupala. Somesvaradeva praised Vastupala not just because of his friendship and patronage but also because he was a great warrior and an equally great patron of the learned, the builder of the temples at Satrunjaya, Girnara, and several other places, and a well known literti in his own right. In the cultural and political history of Gujarat in the 13th century, Jain Education Intemational

Page #95
Govardhan Panchal Nirgrantha he had played an invaluable role alongwith his brother Tejapala. The Ullagha-Raghava has a verse at the end of each of its nine acts in praise of Vastupala's many noble qualities, particularly his generosity. The story of Rama is presented in the form of nataka, which was performed in the Jaganmandira of Dvarika on the sacred day of the Prabodhini-ekadasi. It was performed before an assembly of learned brahmana pandits. The sthapaka enters after the nandi slokas in praise of Sri Krsna, and tells the nati that the play Ullagha-Raghava is to be performed before the august assembly of the brahmana pandits who have gathered there from many places on the occasion of the sacred parva (festival). The play begins with the departure of Sita from her home in Janakapuri after her wedding with Rama, a scene somewhat resembling the fourth act of the Sakuntala, in which Sakuntala takes leave of the asrama-inmates, of course under different conditions and situation. The play is based on the naryasastric rules and must have been popular among the people because of its theme. The play was written at the request of Somesvara's son. (He seems to have written one other play also, which, however, is not available). Another peculiarity of the Ullagha-Raghava is that its foruth Act ends with the words ..........3ATRIETETIC age and in the 7th Act", two characters, Vakramukha and Karpatika, are describing among themselves the Lanka war between Rama-Ravana forces : sakhe ! kiyadapyantargataM mayA rAmalakSmaNayoH svarUpaM svAmino manovinodAya patrapaTTe .. vinyastamasti / tad avalokayatu / iti paTTamarpayati, kATikaH gRhItvA vilokya ca / sAdhu mahAmate ! sAdhu / chAyAnATyAnusAreNa manoharamidamAlikhitaM bhavatA // iti vAcayati Here, the words run and grenar are used. Another chayanataka, named the Dutangada by Subhata (A.D. 1242-1244), is also known. This is said to be the first chayanataka proper in the Sanskrit literature. It was staged in Patana during the dolotsava in the Siva temple by the order of the then king, Tribhuvanapala. Subhata was also a protege of Vastupala". The Dharmabhyudaya of Meghaprabhacarya (A. D. 1217) seems to have been written for the puppet theatre as it is mentioned in one of its stagedirections. It has been called a chayanataka 2. Jain Education Interational

Page #96
Vol. 1-1995 A Glimpse into the.... Muslim Period Plays continued to be written and staged during the Muslim Period also. Noteworthy among them was the Gangadasapratapavilasa of Rajakavi Gangadhara (A. D. 1449). It depicts the theme of the defeat of Sultan Muhammad of Ahmedabad and his ally, the chief of Idar, by Raja Gangadasa of Champaner. The play is a landmark in the cultural history of Gujarat, because the actors who staged this play came from far off Vijayanagara. It was staged in the sabhagrha of the Mahakali temple in Champaner at the foot of Pavagadha. The play ends with the appearance of Mahakali who gives a flower to the king as a token of her blessings. In this brief survey of the Sanskrit Drama Tradition in Medieval Gujarat, the attempt has been made to demonstrate the variety of the Rupakas that were composed and also staged. It is not possible to give a detailed account of the 35 odd plays in this brief survey. Geya Rupakas At this time, two different streanis of dramatic literature are clearly noticeable. One more or less followed Bharata's Margi Dasarupaka tradition : The other was the popular tradition of the second generation of plays for which, during the Caulukya period, c. 11th to 13th century, no definite name was given. For, we find Hemacandra calling these second generation plays the "Geya-rupakas" or rupakas which were music-based. Ramacandra-Gunacandra enumerated these plays and called them "Anyani-rupakani" 'other forins' of drama which were different from those described by them in their Natyadarpana. The Natyadarpana is among the very few works on dramaturgy and is invaluable for the study of the subject from the viewpoint of its time. Like all the later works, its main source of reference is the Natyasastra of Bharata. But it also shows the influence of the Dasarupaka of Dhananjaya (10th century), though he differs from both these works in some ways, which shows the change in the presentation style of the play at this time and also in the theoretical aspects of drama. For example, he believed that an actor cannot play a character fully unless he himself feels the emotions through which the character passes. He gives an example : "A prostitute, while giving pleasure to others, herself also gets enjoyinent." Earlier writers believed that an actor need not feel the character's emotions. He also differed from others who believed that rasa should give ananda (joy) like the Brahmananda (eternal bliss). The Natyadarpana says that rasa was sukhatmaka (joyful) as well as dulkhatmaka (painful) 13. The purpose of the rasa was not only to give joy by seeing the play but was also to hold a mirror to the tragedies in life. Jain Education Intemational Jain Education Intermational

Page #97
Govardhan Panchal Nirgrantha His plays falling under the Prakarana type refelect his keen observation of the life around him among the people. Further, he adds two more types in the ten Rasasrya Rupakas, making the total number 12, as noted earlier, the two being the Natika and the Prakaranika. Significantly, the Natyadarpana does not include Sattaka (written in Prakrit) as it is concerned only with the Sanskrit Natya tradition. Hemacandracarya also mentions 12 types of Geya Rupakas14 or Geya Kavyas and defines them as padarthabhinayatmaka which broadly expressed the bhava of a pada and were music-oriented. Besides these Geya Rupakas, he has mentioned 12 rupakas proper which were rasasrya (based on rasa). He also called these latter Pathya Rupakas, which were recitational Hemacandra as well as Ramacandra call the Bhavasrya Rupakas as anyani rupakani, other forms of Rupakas15. The author of the Bhavaprakasa (13th century) called them natyabhidhah plays based on dance. It was Visvanatha from Bengal (14th century) who, in the Sahitya-darpana, called them Uparupakas (minor forms of drama), the denomination which later became popular and was widely used. Thus, we see that there were two parallel traditions of drama : One Marga, as Bharata's tradition came to be called, which was rasasrya (based on rasa) and it was vakyarthabhinayatmaka (depicting detailed abhinaya of each sentence). The other tradition came to be called Desi which was bhavasraya, broadly depicting the sense of a pada through bhava (emotions), and was called padarthabhinayatmaka. There are also clear indications that even the Marga tradition of Bharata, on which the later authors like Dhananjaya, Hemacandra, and Ramacandra-Gunacandra had based their works, had undergone some changes as the plays written during their times indicate. They include long narrative passages which would appear rather uninteresting when read 6. But, in a stage-production, in the style prevalent during those times, they could be very engrossing and entertaining. Long soliloquies or descriptive passages, instead of being spoken in merely Vacika abhinaya, if acted with Argika abhinaya with appropriate dance, movements, hand-gestures, anga-bhangis (body-bends), facial expressions with netrabhinaya, and accompanied by appropriate music, they could be highly interesting, entertaining, and absorbing. And hence, the criticism of some scholars that the Sanskrit drama was declining in quality during the medieval times hardly has any substance. Such criticism merely shows the lack of historical perspective in which the latter Sanskrit plays must be viewed. I would cite the example of Kerala's surviving Sanskrit dramatic tradition, called Kutiyattam. The term seemingly is of later origin, because in some of the old manuals wirtten for the actors and the stage presentation, called the Attaprakara-s, and the Kramadipika-s, the term used is kuthu, which in Sanskrit could be translated as natya, used for the prayoga of the actor's Art with its technique of four-dimensional abhinaya - Angika, Vacika, aharya, and Sattvika. We see

Page #98
Vol. 1-1995 A Glimpse into the.... in Kutiyattam a clear departure in the prayoga--performance-technique of the Sanskrit plays as the emphasis is basically on the Kaisiki vitti and Angika abhinaya accompanied by Nitta or pure dance, Vacika-pathya (recitational or sung speech), Gita, (singing), and Vadya (instrumental music). Kuriyattain is a living tradition, indeed of more than a thousand years standing. Now, how were the plays written during the Caulukya time performed ? This can be discerned from a long description of the staging of a Sanskrit play, given by Acarya Hemacandra in his Trisastisalakapurusacarita (TISSPC), Parva 5, Sarga 2 (Santinatha parva)". Two brothers, Anantavirya and Aparajita, of whom the latter was the king of Subhanagara in the Jambudvipa, possessed two highly skilled actresses named Barbarika and Kirati who were like jewels on earth. Narada muni visits their court, but feels slighted as he is not properly received, because the brothers were engrossed in the play that was being enacted by Barbarika and Kirati. Enraged, Narada goes to the court of the gandharva-chief Damitari. He praises the actresses he saw at the court of the earthly king. Damitari immediately orders his messangers to bring those actresses to him. The brothers decide to go themselves to the court of Damitari, disguising themselves as actresses Barbarika and Kirati, and present themselves. Damitari, impatient to see the play acted by them, ordered them to start the performance at once. "Damitari looked at the slave-girls cetyavapasyat 18, with a gentle glance. Merit that has been heard of, even through popular report, causes devotion on the part of connoisseurs. Damitari instructed them to perform a play. Verily, the desire to see something new cannot endure delay. Then the two, in the roles of actresses, went on the stage immediately and delivered the preliminaries of their parts, beating of the drum, etc. The stage-director (rangacarya) made the stage-puja with handful of flowers and the troupe of female singers and other sat down in the proper directions. An actor recited the invocation (Nandi) with a musical accompaniment suited to the invocation. At the end of the invocation, he portrayed the prologue with its parts. The singers, wearing various costumes, behind the scenes, sang the introductory verse with Jati-ragas, etc, introducing the characters : vicitranepathyadharo nepathye gAyanIjanaH / jagau ca jAtirAgAdyAM pAtraprAvezikAM dhruvAm / / Then they began to act a drama, an ocean of the sentiments, charming from the combination of the elements of plot, situations, component parts of the divisions (of the play), and the divisions (Sandhi) : prakRtyavasthAsaMdhyaMgasaMdhisaMbaMdhabandhuram / pracakrame'thAbhinetuM nATakaM rasasAgaram // At times, there took place the representation of peace and war in Smara's empire with lovers' meetings, rivers of nectar of pure bliss, and with separations (of lovers), sources Jain Education Intemational

Page #99
Govardhan Panchal Nirgrantha of various painful situations, with various devices for the union of lovers by atonement for improper acts : saMprayogerathekAntasukhapIyUSasindhubhiH / viprayogerapi tattaduHkhAvasthA nibandhanaiH / / tattatatsaMghaTanopAyairapAya parihArataH / kvApyabhUt smara sAmrAjyasaMdhivigraha kalpanam // Sometimes even the sophisticated townsmen were made to laugh, like the villagers, by fat men, men with projecting teeth, lame men, hunchbacks, flat-nosed men, men with disheveled hair, bald men, one-eyed men, and other deformed men; by ash-coloured men; by men with buttock-bells, by musicians using arm-pit and the nose as instruments, by dancers of the ear and brow, by mimicary masters, by deceitful people, and at the same time simple-minded, such as the buffoons and the boon-companions : vidUSakaviTaprAyaiH sadyaH kapaTamugdhakaiH / grAmINavadahAsyaMtacchekAH paurA api kvacit // Even wicked men, softened by speeches off-stage, by reproaches to fate, by shedding tears, by unsuitable requests, by rolling on the ground, by lamentations, by leaps from precipices, by hanging from trees, by entering into fire and water, by swallowing poison, etc., by blows with weapons, by frequently beating on the heart caused by the destruction of wealth and murder of beloved, shed tears at times. Sometimes men, though quite self-possessed, were made to tremble (with anger) by biting the lips with the teeth, by redness of the eyes, by frowns, by palpitations of the cheeks, by rubbing together the fingers, by tearing up the ground, by drawing weapons, by drawing blood, by quick attacks, by fights, by blows, by trembling of the limbs, by shedding tears caused by kidnapping of women, the abuse of slave-girls, etc. Men, timid by nature, had courage produced at once by dignity, resoluteness, courage, skill, and by various other most excellent virtues, liberality, etc., originating from valour toward the enemy and in exertion in good conduct, etc. The people in the audience were sometimes reduced instantly to a state of terror by dryness of the palate, throat, and lips, by glances from rolling eyes, by trembling hands, hoarseness, change in colour and shedding tears, caused by seeing mainfestations of ghosts, etc., and by hearing sounds from them, etc. Sometimes the audience was exceedingly disgusted, instantly by contractions of the body, palpitations of the heart, screwing up of the nose and mouth, spitting, crushing of the lips and fingers etc., caused by seeing, hearing, etc. of bad smells, vomiting, and worms from wounds. Sometimes the audience was astonished suddenly by the wide-opening of the eyes, by glances without winking, by the appearance of perspiration, tears, horripilation, by exclamations of "well done," etc., caused by the sight of the supernatural, attainment of desires, exhibitions of magic etc. :

Page #100
Vol. 1-1995 A Glimpse into the.... divyAlokapsitaprAptIndrajAlaprekSaNAdijaiH / vismAyayaMte sma sahasA vacanApi sabhAsadaH // Sometimes the people, greedy for the enjoyment of sense-objects, were made tranquil by meditation on the mula- and uttara-gunas, by thinking of texts concerning the Supreme Spirit, by attendance on good gurus, by pujas to the gods and such other things arising from disgust with existence, fear of worldly existence, knowledge of the Principles, etc.: mUlottaraguNadhyAradhyAtmagraMthaciMtanaiH / sadguramAsanairdevapUjAdyairitarairapi // Just as all kinds of sentiments were portrayed by the actors, so all the spectators became composed by them. The actors looked like characters (themselves) who had come, because of dramatic actions, conveyed by expressions, etc. to be properly portrayed: vairAgyasaMsArabhayatatvajJAnAdijanmAbhiH / zamamIyuH kvacidapi viSayAsvAdagRghnadaH // .. When the king, chief of the prudent, had seen this dramatic art, he considered the two slave-girls to be the jewels in the ocean of existence. Then the king entursted his daughter, named Kanakasri, to the pretender slave-girls for instruction in acting20 : yathA yathAbhyanIyanta rasAH sarve kuzIlavaiH / sAmAjikajanaH sarvastanmayo'bhUttathA tathA // . vAcikAdyairabhinayairyathAvadupapAtitaiH / alakSyaMtAbhinetAro'pyabhineyA ivAgatAH // taM nATakavidhi prekSya nRpaH prekSAvadagraNIH / saMsAraratnabhUtaM tu ceTIdvayamamanyata / atha nATakazikSAyai mAyAceTyostayornRpaH / putrIM samarpayAmAsa nAmataH kanakazriyAm // This long description of the staging of a Sanskrit play is a rare example of such an information and is unique in some ways. It not only portrays a graphic picture of the performance but mentions several terms which permit an insight into the natyasastric tradition of the time of Hemcandra whose status in the world of learning is unequalled. He describes the Purvaranga mentioning pratyahara, etc. with which, enjoins the Jain Education Intemational

Page #101
Govardhan Panchal Nirgrantha Natyasastra, the preliminaries should begin before the staging of the play. The entry of the character is made with the appropriate Dhruvagana and Jatiragas, the Natyasastra terms for the musical modes prevalent during the time of Bharata. The play itself is described as depicting different rasas and is termed rasasagara-an ocean of rasas. Hemacandra clearly shows that he follows the natyasastric tradition according to which the plays must have been staged at least up to his time, i. e., 12th century. But the authors of the Natyadarpana, Ramacandra and Gunacandra, Hemacandra's own disciples, do not seem to consider Purvaranga except the Nandi to be essential in the staging of the plays. They regard Nandi important as it consists of benedictory verses in praise of gods and blessings for the audience. Ranga While speaking of Nandi, the Natyadarpana in its fourth viveka (chapter) mentions two types of theatres: the Tryasra (triangular) and the Caturasra (square). It says: "The length of the Nandi depends on the shape of the theatre. In a triangular theatre, the Nandi can consist of maximum 12 padas and minimum of three padas 21. In a square theatre, it consists of 16 padas (at the most) or minimally four padas. This is a very significant piece of information. For many of the Caulukya period plays were performed in the temples on the occasion of some religious festival. But they do not mention where exactly the plays were performed in the temple. The temple, whether Jaina or brahminical, had a mandapa called sabhamandapa or rangamandapa or natyamandapa. Here, the devadasis, the sons of ministers and tradesmen, or even the queens at times must have performed dances in the propitiatory ceremonies for the gods. But these were not suitable for the staging of the plays, though once in a while they may have done so. - The mention of the two types of theatres, Tryasra and the Caturasra, leaves no doubt now as to where the plays were staged in the temple complex. These two types of theatres might have been constructed with the Ranga (stage) facing the deity as in the Kuttampalam of Kerala. The square theatre might have been of the madhyama or middling size, measuring 64 hastas on all sides and the kaniyas measuring 32 hastas on all its three sides. The following illustrations show the theatres re-constructed by the present author on the basis of the Chapter II of the Natyasastra. (See Illustrations 1 and 2.) An example of waga wae aut entry in the Prabuddharauhineya22 suggests that two doors must have been curtained for practical reasons of barring the view of the nepathya activity to the audience. And its dramatic use was certainly made by the actors. The Tryasra stage could not have mattavarani-s the side-extensions and suppplimentary Jain Education Interational

Page #102
Vol. 1-1995 A Glimpse into the.... areas on the stage, as it was smaller in size. Also, it was not necessary to have the mattavarni-s because only one or two actors, as in Bhana or Vithi rupaka, must have participated. But there were mattavarani-s on the Caturasra stage as it was large enough and on which Prahasana and Prakarana types of Rupaka with larger cast and showing simultaneous scenes, it would be necessary. The nepathya might have been partitioned off to create rooms for the male and female performers. Their entries to the nepathya might have been as shown in the diagrams. The stage was backed by a wall separating it from the nepathya . In this wall, there must have been two doors for facilitating the entries and exits of the characters. In Tryasra, a single door in the wall backing the stage was enough due to smaller cast. The musicians on the Caturasra stage might have sat on the other side of the mattavarani-s or on the off-stage on the right side as they do even now. The three areas of the stage, rangapitha and the two mattavarani-s, each measured 16 hastas square according to Bharata's specifications as applied to the middle-sized Caturasra theatre. Bharata has described the Vikrsta-madhya theatre at length as it was neither too small not too large for staging the Nataka and the Prakarana type of Rupakas having large casts, but he has only briefly described the small-sized (kaniyas) Tryasra and Caturasra, each measuring 32 hastas on all sides. But later writers of the medieval times mention Caturasra type of theatre of madhya (middling) size measuring 64 hastas square. This was so because there was greater emphasis on dance and music during this time and group-dances as in the Hallisaka would require a larger stage and also more ample space for a large orchestra. Mattavarani-s on either side of the middle-sized (Caturasra-madhya) stage were necessary because the plays abounded in simultaneous scenes played in different locales --- kaksya-s --- as Bharata called them. This theatre differs from the Kuttampalam of Kerala, where also, even now, the Sanskrit plays are staged. Kuttampalam is a rectangular building having a square stage at one end with a roof of its own. (See Illustration 3.) In the Kuttampalam Sanskrit drama tradition, the emphasis is on the Angika abhinaya in Kaisiki vitti with highly stylised recitational speech. It is Natyadharmi in style. The plays staged were classical plays based on the Ramayana or the Mahabharata. with divine or semi-divine characters and this stage was suitable for it. The Caulukya tradition of Gurjaradesa seems to lay emphasis on Bharati vitti in which the speech predominated. In other words, these were Pathya-rupakas in Lokadharmi style. The plays staged were Prakaranas, also the Natakas. They depicted contemporary kings with elements of adbhuta in them.

Page #103
Govardhan Panchal Nirgrantha Here, the Lokadharmi is definitely not to be mistaken for the straight realistic speech of every day. But some form of stylised speech might have been used, since the Sanskrit drama had nothing to do with the realism as understood today in west-oriented plays. The Caulukyan plays might have used some sort of poetic recitational form of speech. We have, unfortunately, no example to go by as in Kutiyattam, which is a living tradition, at least of a thousand year standing as earlier said. 84 Some stage-directions also provide an indication of the equipment used on the stage. We have already mentioned pata, also called pati of apati by earlier playwrights like Bhasa, and is mentioned by Bharata who has also indicated the circumstances under which it was to be used a character entering in anger, deep sadness, or in great joy, was to enter with a fling of the curtain. We have already mentioned above an example of pataksepaentry. Apart from this pata, there definitely was used another type of entry which indicated a different kind of curtain - a flexible one which could be moved on any part of the stage as it was held by two persons holding the upper ends. I have called this curtain "citrayavanika" after Bhavabhuti, who has named it so in his play, the Malati-Madhava. It is a small, colourful curtain and due to its flexibility, could be of considerable dramatic effect: (1) (2) (3) (4) It could suddenly reveal a character behind it by lowering it. It had the impact almost like that of a modern spot-light. It could be trembled to show the fear in the character behind. The two persons holding it could manipulate it to suggest water, flying, etc. Behind it could be made an entry, such as "Enters as Indicated" e.g. (: faifa. f) found in many a Sanskrit plays including those of the Caulukyan period, such as the Nalavilas, the Mallika-Makaranda, the Ullagha-Raghava, and the Prabuddharaulineya. Thus, the two doors, with their apati-s, a citra-yavanika, some asanas or seats, a throne, swords, bow and arrow, etc. were the only props necessary for the staging of these plays on the Caturasra-madhyama stage of that era. And the imagination of the audience did the rest. The Third Drama Tradition Apart from these two dramatically different traditions mentioned by the Natyadarpana, one also sees the existence of a third popular drama tradition, which was less sophisticated than the other two and was for the enjoyment of the people of lower social strata. We know this from a work called the Laghuprabandha-sangraha of the 15th century, whose author's name is not known. This work mentions :

Page #104
Vol. 1-1995 A Glimpse into the.... bhavAiyAtrAyAM rAjA nRtyati / 4 yeari argefa 1124 This short but clear mention of the Bhavai, the popular traditional dramatic form, still prevalent in Gujarat, was a very clear indication of the existance of the Bhavai and its very name is very significant : for Asaita Thakara, who flourished in the 14th century, is said to be traditionally the originator of Bhavai. He himself did not call it Bhavai and the word seems to have been used in the next century. He called it "FR". In the Desi dramatic forms, the uparupakas, dance, and music were the basic elements and even the dialogues were sung rather than spoken in straight speech. Asaita Thakara's contribution was limited, though very significant, to writing plays by adding prose dialogues alongwith the verse dialoguesa. Writes the Jaina poet Lavanyasamdaya (16th century) in his Vimalaprabandha2 : 14 MET 5 (where there is a chowk (cacara, Skt. catvara), there is a jatar) and further laments about the social conditions then prevaling: (The dramatic persona are considered sudras; p.30: a ff 700 : The lowly is the actor's art.) (p.31). He further says, na gaNai gharamATI kuNa mAtra nArAU~ jovA jAi jAtra gharanAM bAlaH melhai vAri capala paNai hIrai saMsArI (The women do not bother about their husbands or children and flock to see the jatra.) Although the status of the actor (natakiya) was ranked low, the jatra clearly was very popular. It is also clear that this jatra was a fully developed form in the lete medival times as people flocked to see it. The (Bhavai) term was already in existence before Asaita's time in Gujarat as known from this late but dependable Solanki source. Conclusion The Dramatic traditions of Medieval Gujarat, the Sanskrit Rupakas, and the GeyaRupakas or the "other forms" (Trify hift) were an all-India phenomenon. Both these forms with their regional emphasis were prevalent in many parts of the country as we know it from the writers of the medieval times, of the south as well as of the north. Southern writers like Sarngadeva, Saradatanaya, Jaya Senapati, and others wrote about these Marga and Desi dramatic traditions and so did the writers in the north such as Bhoja of Dhara, Hemacandra, Ramacandra-Gunacandra, Visvanatha of Bengal, and Rana Kumbha of Rajasthan. the names given by them of the Desi forms are almost the same in the south and north, though sometimes the numbers vary. Now nothing is known

Page #105
Govardhan Panchal Nirgrantha about the Rupakas or the Uparupakas. These became the entertainment for the court and the elite and vanished with feudalism. Perhaps the third generation of dramatic forms now prevalent all over India absorbed. The Rupaka-Margi Sanskrit tradition also vanished from many parts of the country except in Kerala where it still survives in the form of a regional variation and has acquired a strong local colour. Only decades ago, many classical Sanskrit plays were staged in full, each lasting for weeks. But now only single acts from a few plays are staged which take seven or 15 days depending on the act and the actor's capacity and knowledge. It must be noted that more than 35 plays were written and many of these were staged during the Caulukyan times. The Sanskrit plays must have been popular as indicated by the Prabandhacintamani mentioning the incident of Siddharaja Jayasimha watching the play with a gram-seller. The plays were staged during the yatra-mahotsavas, the gods, birthday celebrations, vasantotsava, and other occasions. These plays were sponsored by the kings as well as rich tradesmen who were either Jaina or Brahaminist, both of whom used the plays for their religious propaganda. And people flocked to see them. The Natyadarpana clearly mentions the Trysra and the Caturasra theatres in which the plays were staged in the temple complexes. But the plays also seem to have been staged in the rangamandapa-s of the temples. Geya-Rupakas also might have been staged in these theatres as they also had been patronized by the courts and were codified and become sophisticated and had moved away from the common people. I would like specifically to point out that Hemacandra, while speaking of the GeyaRupakas, ended the sentence with the word "hiff" (et cetera). This clearly shows that there were other Geya-Rupakas also besides those he mentioned. The Bhavai, as we have seen, was a full-fledged dramatic form by the 14th century as the words "9791545RI "etc. clearly point out. This leads to the belief that the Bhavai also may have been one of the Geya-Rupakas in its early stage in Caulukya times. And it is from this Bhavai GeyaRupakas that Asaita Thakara, by adding pathya (prose) dialogues reformed it to suit the environment of his time. And he enriched it by writing 350 plays as the tradition goes. Among the third generation forms that are seen all over India which around the 15th century and after, Asaita Thakara seems to be the first among these to reform Bhavai in the 14th century. Jain Education Intemational

Page #106
Vol. 1-1995 A Glimpse into the.... Notes and References : 1. Cf. the Prabandhacintamani or The "Wishing Stone of Narratives,' composed by Acarya Merutunga, translated by C. H. Tawny, Asiatic Society, Calcutta 1899, pp.106-107. 2. lain me, "24649lyRanuntold (444EUR 1125' 42 23 182," $imiz graud AU SHAS, 1985, 4121 9682. Cf. Mallikamakarandanataka by Ramacandra, Ed. Muni Punyavijayaji and "Introduction", Notes, etc. by V. M. Kulkarni. L. D. Institute of Indology Series, (No.) 91, Ahmedabad 1983. p.25. Radha Vallabh Tripathi, translation in Hindi, Natya Sankrit Parishad Publication. Nilanjana S. Shah, A Note on Hii of the play T F (Personal Note * 1993). uggtfgutery, H ufell 4 BALLOHLE HOU, 64141512 So doncc. prabuddharauhiNeya and mallikAmakaranda - hindI anuvAda: rAdhA vallabha tripAThI, saMskRta pariSad, sAgara vizvavidyAlaya, sAgara (ma.pra.) 1863. Fertya fara urugenfat: Natyasastra, G.O.S. Vol. 1, Baroda, p. 248 Ullagha-Raghava Natakam by Somesvaradeva. Ed. Muni Punyavijayaji and B. J. Sandesara, Oriental Institute, Baroda 1961. Ibid., Act 7, p. 136. 11. Qayla (asu 643, mlima-l gaz : ilsiles 247 aizglas 2464474, ale240 USLUH, BHELALE 8848. p.52. There is some controversy regarding these Chayanatakas which need detailed discussion. See carta a$4748,"144244 1914-4125 2478914-11CU", Sul, 344ELULE 201422. 96co, 4 EUR2-92. LE405:14 :, in collaudy. 221,"reldri size 4.25", Sheta 231, (Gujarati); 4. 40-90, 93ERL 9684. Y. 28, 30, 31. A. M. Upadhyaya, Kavyanusasana of Acarya Hemacandra - A Critical Study, Ahmedabad 1987. pp. 421-424. These rasas are : Dombika, Bhana, Prasthara, Singaka, Bhanika, Purana, Ramakrida, Hallisaka, Rasaka, Gosthi, Sugadita, and Ragakavya. See Govardhan Panchal, Bhavai and Its Typical Aharya-Costumes, Make-up, props of the Popular Dramatic Form of Gujarat, Ahmedabad 1983. Usha Bhise, "The Technique of Medieval Sanskrit Drama," Journal of The National Centre for the Performing Arts, Bombay Vol. VIII, No. 4, December 1979. Trisastisalakapurusacarita of Acarya Hemacandra. Translated by Helen M. Johnson, Oriental Institute, Baroda 1949; also, ferfercayafta, fed $121, PAMELLE (a.si. 2080 (S. do 1668); and that by Jainendra Prasaraka Sabha, Bhavnagar 19 ?. For the numerous technical dramatic terms in this passage, see the works on dramaturgy, the Natyasastra, the Bhavaprakasa, the Dasarupaka, and Keith's The Sanskrit Drama.

Page #107
Govardhan Panchal Nirgrantha Natyabhinayaya te. The Sanskrit phrase is from TSPC. Johnson, TSPC, Vol. 2, pp. 238-241. K. H. Trivedi, The Natyadarpana of Ramacandra and Gunacandra-A Critical Study, L. D. Institute of Indology, Ahmedabad 1966, Ch. IV, pp. 176-77, etc. vqustigutay, $c zlo Ho, 4o 24. See Goverdhan Panchal, Kuttampalam and Kutiyattam -A study of the Traditional Theatre of the Sanskrit Drama of Kerala, New Delhi 1984. gujarAtano rAjakIya ane sAMskRtika itihAsa graMtha 4, "solaMkIkALa" khaMDa 2jo, prakaraNa 10: "sAmAjika sthiti" pR. 289, this 44. mile . 13m2, "jozlari zized 128," SAGIH-311, 4. 63, uedu. aqueft, fausare Translated by D. D. Shah, Gujarat Sahitya Sabha, Ahmedabad 1965. Besides the sources figuring in the annotations, the author has used the following sources : (i) Nalavilasa of Ramacandra Suri, ed. G. K. Shrigondekar and Pt. L. B. Gandhi, Oriental Institute, Baroda 1926. (ii) Hain zlat. Aue, "galdui zizkrt 11251, as tun, r4, E Toa Hegoafer 1994, Ahmedabad Mar. 1991. (iii) A. K. Majumdar, Caulukyas of Gujarat, "Prama," Bombay 1956, pp. 363-364.

Page #108
16H 8 Jain Education loternational 8 5 8 32H 6 www 3 wwwww 5 CATURSRA NATYA MANDAPA 6 7 32 H TRYASRA NATYA MAN DAPA B 1 ENTRANCE TO NEPATHYA 2 NEPATHYA 3 ENTRY EXIT DOOR TO & FROM RANGA CSTAGE) 4 PATI - APATI C DOOR CURTAINS) 5 RANGA PITHA 6 MATTAVARANI 7 PREKSAKA 8 PASSAGE 9 ENTRANCE FOR AUDIENCE NIVESANA (DRG. BY NARENDRA PANCHAL) 1 ENTRANCE TO NEPATHYA NEPATHYA 2 3 ENTRY & EXIT DOOR 4 PATI APATI CDOOR CURTAIN 5 RANGA- CSTAGE) 6 PREKSAKA (NIVESANA) 7 ENTRANCE FOR PREKSAKA CDRG BY NARENDRA PANCHAL? www.gamembrary.org

Page #109
Jain Education Intemational 1- STUPI 2- STAGE 3. PREKSAKA 100 SECTION "KUTTAMPALAM" C VATAKKUNNATHAN TEMPLE AT - THRISSUR CKERALA)

Page #110
AN IMAGE OF BUDDHAVATARA OF VISNU AT BADAMI B.V. Shetti At Badami, ancient Vatapi, the capital of the early or western Calukyas (c. mid 6th-mid 8th cent.), is a large lake, locally known as 'Agastya Tirtha'. Under the overhanging cliffs to the southeast of this lake, is a huge collapsed mass of rock leaning against the cliff side. It has so fallen as to form a natural cavern beneath it, the entry to which is obtained by crawling under the rock through a low tunnel-like opening. Inside, upon the cliff-face, is carved a large enthroned image. This image is locally referred to as that of Kostharaya or 'leper king. A legend about this sculpture is current in two versions among the local people : (i) In olden days, a king of Varanasi was suffering from leprosy. He came to know about the miraculous power of the Agastya Tirtha at Badami which cured many diseases. So he travelled to this place to get rid of his ailment. Everyday he bathed in the lake and eventually was cured of that disease. Subsequently, an image of this king was carved and people used to call it the image of "Kustharaja" which became "Kostharaya" in course of time. (Kustha in Kannada, as in Sanskrit, means leprosy.) (ii) One of the relatives of the Calukya royal family, Govinda, was suffering from leprosy. He sought the holy counsel of the sages performing penance at Badami, and on their advice he bathed in the Agastya Tirtha everyday till he was completely cured. The image represents this royal person who is called "Kostharaya" by the people. On the whole, both the versions are identical except for the royal persons involved and their domicile and period. The first version appears to be fictitious. When the Calukya kings were ruling at Badami, it is unlikely that an image of a royal personage of another kingdom will be carved and be venerated by the local populace. The second version refers to Govinda of the Calukya royal family. Now, Ravikirti's Aihole inscription (A.D.634) states that Pulakesin II defeated some Govinda (and Appayika) at the river Bhima. However, a sculpture of this defeated Govinda was got carved during the time of Pulakesin II, by his successors, likewise seems an improbable reality. H. Cousens was the first person to draw attention to this sculpture and illustrate it. He describes this image as "...seated in Buddha-like attitude, but it is neither a representation of Buddha nor a Jina. It is without doubt, a portrait statue." In recent years, A. Sundara identified this image as the portrait of Kirtivarman I, got carved by his brother Mangalesa, who claimed an unequalled and steadfast devotion for him?. Jain Education Intemational

Page #111
B. V. Shetti Nirgrantha The image (Plate 1), except for the head, is bejewelled with ear-rings, necklace, armlets, bracelets, rings for the fingers, also chest-band, anklets, etc. It is particularly noteworthy that he wears yajnopavita. The hair is in knobbly curves, but there is no Buddha's typical usnisa-lump on the top of the skull : it rather resembles the Jina head. The figure is sitted in padmasana. Its right hand is raised in abhayamudra; and it holds rosary. The left hand rests in the lap, palm upwards (dhyanamudra). The figure is seated upon a lion-throne (simhasana), the front of which is divided into three compartments, with a lion in each as in many pre-medieval and medieval Jina image-thrones in Karnataka. On either side of him is a male camara-bearer, each wearing a kirita-mukuta and other gemset ornaments, while behind him is the throne-back with the usual terminal vyala and makara figures. Delineated as engraved line-drawing are here deer and sankha to the left and cakra to the right. At present the image has been spoiled due to continual application of oil by the worshippers. The halo behind the head is plain and further behind is the depiction of tree. Beside it, on the rock, a little way to the right of the image, is carved a small bearded sage with a fat body, seated in padmasana on a bhadrapitha. While his right hand is in abhayamudra, the left hand seems to hold a vessel. On his right side is a long staff. Cousens identifies this image as that of a person who had the big one carved, or perhaps the raja's prime minister. To me it appears to be the image of Agastya after whom the lake is named, because of the presence of sage's beard, fat body, and the water-vessel. Annigeri, a second scholar who in recent years wrote on this image, feels that Kostharaya must have been a Treasury Officer connected with the Badami fort who became an ascetic later on. And Carol Radcliffe Bolon remarks : "To me the date and identity of this image remain enigmatics." The head of the main image, plain halo, legs in padmasana, the left hand in dhyanamudra, the throne-back decorated with makaras, and the two male camarabearers are very similar to the Tirthankara carved in a tableaux in the Jaina cave at Aihole : (late 6th century; Plate 2). This indicates that the sculpture under discussion undoubtedly was carved by a sculptor who was accustomed to carving Jina images. All the same, the posture of legs and hands, the tree (which can be interpreted as the bodhi - tree) at the back, and the representation of deer on the throne-back conclusively prove that this is intended to be an image of Buddha. However, the profusion of ornaments and the engravings of sankha and cakra on the throne-back unambiguously indicate his association with Visnu. Considering the total evidence, it would be more correct to identify this image as that of "Mayamoha" of the puranas* or "Buddhavatara Visnu". On stylistic grounds, the sculpture can be dated to c. late 7th or plausibly the first quarter of the 8th century A.D.

Page #112
1 Badami. Cave near Bhutanatha group of temples, image of the so-called Kostharaya ("Mayamoha" or "Buddhavatara Visnu"). Jain Education Intemational

Page #113
or 2 Aihole, Jaina cave, main hall, upavarnaka-bay, seated Jina in a narrative-tableaux. For Private Personal Use Only

Page #114
Vol. 1-1995 An image of... Notes and References : 1. A. Sundara, "Sculpture of Kostharaya in Badami", Archaeological Studies, Vol.III, 1978, pp.66-67. 2. Henry Cousens, The Chalukyan Architecture of the Kanarese Districts, Calcutta 1926, fig. 17, p.57. 3. A. Sundara," Sculpture of Kostharaya.," pp. 69-70. A.M. Annigeri, Badamiya Silpakale (Kannada), Dharwar 1958, p.33; Also, A guide to Badami, Dharwar 1960, pp. 45-46; and Cave Temples of Badami, Dharwar 1978, pp. 37-38. 5. Carol E. Radcliffe, Early Chalukya Sculpture, New York 1981, pp.94-95, Ph. D. Dissertation, unpublished. * See in this issue N.P. Joshi's article. - Editors. LIST OF ILLUSTRATIONS Plate 1 Badami. Cave near Bhutanatha group of temples, image of the so-called Kostharaya ("Mayamoha" or "Buddhavatara Visnu"). Plate 2 Aihole, Jaina cave, main hall, upavarnaka-bay, seated Jina in a narrative-tableaux. (Both illustrations have been reproduced here by courtesy and kindness, American Institute of Indian Studies, Varanasi Center.) Jain Education Intemational

Page #115
GUJARATI PAINTING OF THE 16TH-17TH CENTURY - A REAPPRAISAL Lalit Kumar In the style of the traditional Gujarati Jaina painting of the 16th century, certain definite changes were taking place. Of these, turning of the face in strict profile with the removal of the farther eye is the most perceptible featurel. Different kinds of costumes were also then introduced. The style, in its new look, may be designated as Neo-Gujarati Jaina Painting2. Several scholars believe that Mughal influence brought about these changes'. It had been argued that there was no painting style other than the Mughal which could have brought about the changes in the hidebound heretic tradition of the Gujarati painting". It is also said that, when Akbar was to start his impressive project of illustrating the Hamza Nama, he recruited artists from all over the country. Some of them were from Gujarat, Rajasthan, North India, Malwa and the Deccan. Later they were trained under the two great Persian masters. Those artists who could not make grades had to leave the royal atelier in search of fresh job. But during this period of their apprenticeship they were exposed to a style which had changed their entire outlook. Thus they carried with them a set of new traits such as the faces in strict profile without the farther projecting eye and brought in new costumes. Scholars have pointed out Mughal influence in the famous Laghu Sangrahanisutra painted by Govinda in A. D. 1583 at Matar (Dist. Kheda), in L. D. Institute of Indology, Ahmedabad, in the matter of costume, certain composition, and in the representation of animals and treess. The four-pointed jama is the most striking feature of these paintings (Plate 1). It is certainly a Mughal costume which was introduced by Akbar in his court. Very soon it had become a popular male sartorial type of north India. This is why it is also seen in the Caurapancasika-Candayana group of paintings of the latter half of the 16th century. However, the presence of the four-pointed jama in the CaurapancasikaCandayana group of painting cannot be the result of the influence of the Mughal painting. If the four-pointed jama is to be taken as an important indicator of the Mughal influence on the traditional Gujarati Jaina painting style, then the possibility of the influence of the concurrent style of the Caurapancasika-Candayana painting cannot be ruled out. It is all the more important to investigate the influence of the latter because of the presence of some features which the earlier scholars had overlooked; for instance the cross-hetched (trellised) turban with a short kulah (plate 2), which is not in conformity with the theory of the Mughal influence. Such turbans of the Lodi period are never seen in the Mughal painting. The same holds true about the indiscriminate use of arabesque decoration on costume, bandhanvara/vandanamalika (door hangings), pondwalls, and in the background of some paintings. The arabesque decoration appears to be derived from the Candayana of the Prince of Wales Museum, Bombay. A transparent odhani, short bodice (coli), and skirt (ghaghra) among the females are the new costumes. Jain Education Intemational

Page #116
Gujarati Painting of.... A short bodice is a feature of the later Caurpancasika-Candayana style. It may be noted that the waist length bodice was in vogue in the preceding period. Therefore, the alleged Mughal influence on the Matar Samgrahanisutra of A. D. 1583 does not seem tenable and, by the same token, on the traditional Gujarati Jaina painting style. Vol. 1-1995 The theory of Mughal influence is also not acceptable on two further counts. First, there is no gleaning of the Mughal technique, nor of the style in these paintings. Second, there is also no evidence to establish the migration of such apprentice artists from the royal studio. It may be noted that, when the artist of the Laghu Sanigrahanisutra of A.D. 1583 could deviate from the hierarcic injunction of the style, he could have also incorporated more features of the Mughal paintings. Even the four-pointed jama does not seem to have been derived from the typical jama of the Akbari paintings. In all probability, the Caurapancasika-Candayana tradition of north India had a greater influence on the traditional Gujarati Jaina painting style. 93 The Matar Samgrahanisutra of A. D. 1583 is not the first document to shed off the farther projecting eye. It was first attempted by the artist of the Uttaradhyayanasutra as early as A. D. 1537-38. He painted it at Singanpura, a suburb of Surat. The manuscript has two introductory illustrations ir, which the figures' faces are shown in strict profile without the farther projecting eye. It is difficult to ascertain whether it was an independent innovation of the artist or an isolated experiment under the influence of the Lodi tradition of north India. It may be recalled that the Lodi tradition had emerged either at the end of the 15th or the beginning of the 16th century; therefore, it would be wrong to believe that the Gujarati artists were not aware of the new developments which were taking place in other parts of the country. Whatever the case may be, this had a little influence on the future painting style of Gujarat. Curiously enough, Gujarati Jaina painting style in the contiguous region of Malwa had little to do with the illustrated works like the Shah Nama of c. A. D. 1450 in Reitberg Museum, Zurich, the Miftah al Fizula of c. A. D. 1490-1500 in British Library", the Nimat Nama of c. A. D. 1495-1505 in India Office Library", the Bustan of c. A. D. 15001503 in National Museum'2, and the Aja' ib-as-Sanai of c. A. D. 1500-1510 in British Library, all painted at Mandu. This shows to what extent conservatism had restrained the progress of the Gujarati Jaina painting style in western India. The real emergence of the Neo-Gujarati Jaina painting style is seen from the third quarter of the 16th century in the Malwa region. The Abhidhanacintamani-namamala, a Sanskrit lexicon composed by Hemacandracarya, is the earliest dated document to provide a definite evidence for the impact of the Caurapancasika-Candayana group of paintings. Its colophon reads, "The Ms. was copied (and also painted) on the 5th of the bright half of the month Margasirsa in Samvat 1629 (A. D. 1573) at Nulahi Nagar (not identified) in Malwa, for the study for Pandit Devavijaya Gani, the disciple of the

Page #117
Lalit Kumar Nirgrantha revered Hirvijaya Suri, the chief pontiff of the Tapagaccha. This Ms. was got written (and illumined) through Vasta by Shah [Saha) Bhojaraj, the son of Shah (Saha) Rupacanda and his wife Rupadevi of the Kakarya gotra hailing from the senior branch of the "Usavala Jnati. 14" The figures in these painting are in the traditional style but there are some figures in strict profile without the farther-projecting eyes. Thus, these paintings belonged to a phase of transition. The males wear a crown, pyjama, patka, and a scarf; whereas the females wear a short coli, ghaghara and dupatta which is invariably placed on the turban with its two ends standing out like wings on either side. A patka tied in the centre with its characteristic loops on either side had its influence from the Caurapancasika-Candayana group of paintings 6. The costume of a standing female figure deserves greater attention. She has worn a short coli and a scarf on her head. But the ghaghra and sash projecting forward at an angle is an influence of the CaurapancasikaCandayana tradition. It is further attested by another folio which depicts a combat (dvandayuddha) scene. The two male contestants are sporting a kulaldar turban on their head 18. All figures have their noses marked by a tiny dot which somewhat looks like a nose stud. It seems to be a regional character. An unpublished illustrated MS. of the Dhananjaya Namamala is the second important document in the L. D. Institute of Indology, which casts more light on the impact of the Caurapancasika-Candayana style on the Gujarati Jaina painting style. The colophon of the manuscript reads : "Sanivat 1631 varse Vaisakha mase sveta pakse pancamya-tithu Ravi-vasare. Srimat Tapagacche Sri Hiravijaya Suri vijaya-rajye. Pan. Devavijaya Ganibhihi likhitam. svayam vacanayamiti-sreyah." In translation : "In Samvat 1631 (A. D. 1575) on the fifth day of the bright half of the month of Vaisakha, on Sunday, during the pontificate of Sri Hiravijaya Suri of the Tapagaccha, Pandita Devavijaya Gani copied it for his study." The MS. has 26 boxes demarcated for illustrations, either on one or both sides of the folios, but only 11 boxes contain sketches in yellow lines drawn by a professional artist. Unfortunately, the task of illustrating the Ms. had been abandoned for some reasons. Later, an unskilled person had tried to accentuate the lines of some sketches with black ink. The first sketch is a standing figure of a Jaina nun in strict profile. In the second sketch, a king is sitting on a couch decorated with torana hangings. Fortunately, it remained untempered in its original yellow lines. A copy of the sketch is reproduced here as Plate 3. The royal figure has worn a turban with a tall kulah sticking on the top. It is the most important feature which apparently shows the influence of the Caurapancasika-Candayana group of paintings. Other costume of the male includes a jama, patka and a scarf. In yet another folio, a god sporting a helmet like cap with a finial on top is seated on a couch which is much like the couch seen in the Abhidhanacintamani-namamala of A. D. 1573 discussed earlier. The colophon is silent about its place of execution. However, it can be attributed to Malwa for two reasons. First, it shares certain features with the ACN of A. D. 1573 and second, its association with Pandita Devavijaya Gani who seems to be the same friar as of the ACN of A. D. 1573. Jain Education Intemational

Page #118
Vol. 1-1993 Gujarati Painting of... The Parsvanatha-vivahalu dated A. D. 1576, in Boston Museum, is yet another document on which scholars have already pointed out the influence of the Caurapancasika style, especially with regard to the turban tied around a short kulah and the transparent odhani". It follows the conventional Gujarati Jaina painting style and therefore, it would be wrong to attribute this document to the kulahdar group of paintings. The cosmological diagram painted on cloth from the Khajanchi collection in National Museum, New Delhi, is another document which amply demonstrates the influence of the Caurapancasika-Candayana style on the traditional Gujarati Jaina painting 20. The male wears jama with its characteristic tie-knots, pyjama, patka and kulahdar turban; whereas the female wears conventional costumes and a transparent dupatta. The farther eye is absent but the female type follows the conventional style. It has been dated c. A. D. 1570-8021. With regard to its provenance, one is inclined to attribute it to Malwa. Its kulahdar turbans are sufficiently close in appearance to the one seen in the Abhidhana of A. D. 1573. It also shows two important regional features, namely nose-stud like dot marked on the nose of the figure and the horse caparisoned in the Malwa fashion. The latter is undoubtedly derived from the Persian paintings and is consistently found in the documents painted in Malwa. (See Appendix A). All these documents show that the Caurapancasika-Candayana style had been exercising its influence on the conventional Gujarati Jaina painting style of the Malwa region which actually gave birth to the new style. Subsequently, it had spread in Gujarat where the famous Matar Laghu-Sangrahanisutra was painted in A. D. 1583. It has also hastened the growth of the new style. The style as seen in the Matar Samgrahanisutra of A. D. 1583, had a gradual development. The typical facial type, for instance, had emerged some time in the eighth decade of the 16th century. The squarish face is characterised by a prominent forehead, sharper nose, fish-shaped eye, recurved eye brows, a thin mouth, and rounded chin. Sometimes the males sport moustaches. The facial type is first encountered in the Pancakhyana of the M. S. University, Baroda and the Bhagavata dasam skandha of the Kankroli collection. Both show figures in conventional costumes but for the patka. which is a new attire and is tied over the dhoti at the waist25. Costumes are relieved with the kind of arabesque decoration as seen later in the Matar Samgrahanisutra of A. D. 1583. The turban without kulah of the type of the Matar Samgrahnisutra of A. D. 1583 made its first appearance in the Pancakhyana26. U. P. Shah has attributed the Pancakhyana to c. A. D. 1550-7027. This is relatively a more convincing date than his revised one in which he has pushed its date back to c. A. D. 1530. As suggested by style, both Pancakhyana and the Bhagavata dasam skandha cannot be removed far apart in time. Both represent the growth of the style prior to the Matar Laghu-samgrahanisutra and therefore, both can be attributed to c. A. D. 1575-80. The real importance of the Bhagavata of the Kankroli collection was very well understood by M. R. Majmudar. He observed : "This miniature is a landmark in the history of Indian book-illustrations; it Jain Education Intemational

Page #119
Lalit Kumar Nirgrantha records the transition from three-fourth profile to strict profile 28". But he attributed the Bhagavata to late 15th century, rather too early a date for these paintings. The Neo-Gujarati Jaina painting style also had two distinct expressions. The Matar Samgrahanisutra of A. D. 1583 is the finest expression of the new style. It may be termed the superior idiom' which is characterised by the presence of the typical facial type and improved draughtsmanship. The lines are assured, colour scheme rich, and gold colour sparingly used. The second expression of the Neo-Gujarati painting style reflects the 'inferior idiom.' The paintings of this idiom follow the conventional angular draughtsmanship but the figures are seen in the new costumes. The facial type of the superior idiom is never seen in these paintings. The Sangrahanisutra painted at Cambay in A. D. 1587, in the L. D. Institute, illustrates the inferior idiom at its besta. Cambay is not far from Matar. In one of the miniatures, a lady is seen in the conventional costume but in another new costumes like the ghaghra, short coli and odhani are seen. The jama and the turban can be seen in the attire of the males. A similar style is being followed by the Sangrahanisutra earlier published by Anand Krishna 30. Four-pointed jama embellished with arabesque decoration, patka and turbans without kulah constitute the male attires. The artist of this manuscript seems to have been delighted as much with the use of arabesque decoration as was the artist of the Candayana of the Prince of Wales Museum. This Sarngrahani can be attributed to c. A. D. 1585-90. Some more examples of the inferior idiom can illustrate the further development of the style. The Samgraghanisutra dated A. D. 1600, in Birla Acadeniy, Calcutta, follows the inferior idiom at a slightly higher level'. The angularity in draughtsmanship is now mellowed down. And the pinkish countenance and floral motifs strewn in the background are the new features. Of the same date and style is the Samgrahanisutra (plate 4) in L. D. Institute, The Sangrahanisutra dated A. D. 160432, in the Spencer collection in the New York Public Library, was also painted at Matar33. It shows that the * inferior idiom was also in vogue, side by side with the superior idiom in the same region. The continuity and growth of the superior idiom is seen later in the Laghu ksetra samasa of Dehla-no Upasraya, Ahmedabad. It was also painted in A. D. 1583 and follows the same style as noticed in the Matar Sangrahanisutra painted by Govinda Legacy of the superior idiom is next seen in the famous Gita Govinda of the N. C. Mehta collection, now at the L. D. Institute of Indology campus. The quality of draughtsmanship, however, is not uniform in this extensively illustrated manuscript. The paintings show a curious mixture of costumes. Some figures are attired in traditional costumes and some in new costumes. The latter include, among the females, a ghaghra, short coli, sash, and odhani. The odhani and the sash are worn in the manner of the Jain Education Intemational

Page #120
Vol. 1-1995 Gujarati Painting of... Caurapancasika females. The males wear the four or six pointed jama, pyjama, patka and turban. Besides, the turban of the Matar Samgrahani of A. D. 1583, there are some other types of turbans of local origin. The spray trees with their overspreading foliage hovering over the horizon is a new development. The method appears very effective for the representation of woods as required by the text. Occasionally, the horizon is treated in semi-circular form (plate 5). Lingering of old conventions in the treatment of the dramatis personae with the exception of the use of the new facial type, the Gita Govinda can be dated c. A. D. 1585. It appears rather justified in comparison with the next dated document, the Uttaradhyayanasutra dated A. D. 1591, discussed below. The famous painted Uttaradhyayanasutra of A. D. 1591 is another controversial document where scholars have allegedly pointed out the Mughal influence in the gherdar jama36. In fact, there is no Mughal influence on these paintings of the superior idiom of the Neo-Gujarati Jaina painting style. According to its coloplion, the Ms. was copied by the earlier noted Pandita Devavijaya Gani". Incidentally, this is the third illustrated Ms. discussed here which finds the name of this bibliophile Jaina friar. The Ms. has 46 paintings. Out of these four show a mixture of conventional Gujarati painting style and the inferior idiom of the Neo-Gujarati paintings 38. It appears that the project was assisted by an artist who had not been able to give up his traditional style. Architecture as background is a major element of composition in these paintings. Sometimes compositions are divided into two or more registers: The squat and stripped domes, eaves, merlons, and architraves supported by duck or elephant trunk-shaped struts attached to the pillars are some of the architectural features. The arabesque and lotus chevron are the two major ornamental devices used in the wrchitecture. The clouds are shown in streaks. Curiously enough, the male and female figures are seen in the conventional costumes with the only exception of a ghierdar jama. It can be compared with the Candayana of Prince of Wales Museum". The four pointed jama and the turban type of the Matar Sangrahanisutra of A. D. 1583, are conspicuous by their absence. However, a new turban type without a kulah, a' ubiquitous feature of later miniatures, make its first appearance in this Ms. Similarly, thick moustaches also become a regular feature of the later paintings. The presence of the Mandu type horse and the nose-stud dot marked on the nose of every figure including the monks suggest Malwa origin of the Uttaradhyayanasatra". But for the facial type of the Matar Sangrahani of A. D. 1583, it seems to have been painted in Gujarat", because the superior idiom had already been in vogue in the Matar-Cambay region. It is further corroborated by another unpublished Sangrahanisutra of L. D. Institute which shows the Mandu type of horse (Plate 6). The Ms. has no colophon but the short-space -filler inscription reads :"Tarapura-madhye likhitari". This makes it amply clear that it was copied (and illustrated) at Tarapur, a town which lies between Matar and Cambay. The style of this Sarrrgrahani is not far from the style of the Uttaradhyayanasutra of A. D. 1591 and, therefore, it may also be assigned to the same date. Jain Education Intemational

Page #121
Lalit Kumar Nirgrantha The Balagopalastuti of the Kankroli collection also shows the kulahdar turban, transparent odhani, jama, and yogapatta". Spray trees follow the style of the Gita Govinda of N. C. Mehta collection; while the architecture is in the style of the Uttaradhyayana of A. D. 1591. Therefore, it can be dated to c. A. D. 1590-95. To the same period can be attributed the Bhagavata dasam skandha of the National Museum, New Delhi In the subsequent period, the new style spread to the north Gujarat. The Bhagavatisutra painted at Patan in A. D. 1595, now in L. D. Institute, shows the miniature as painted in the Neo-Gujarati painting style (Plate 7). But the artist sticks to the old convention of gold colour in patches against the red and blue background. The tradition of the superior idiom is further continued in the Gita Govinda of the Sawai Mansingh Museum, Jaipur', the Gita Govinda of the Kankroli collection, and the RatiRahasya of the L. D. Institute. All the three sets are similar in style and show tufts of flowering grass in the monochromatic background. It could be that all the three sets were painted in one region. Stylistically, these paintings can be attributed to c. A. D. 1590-95. The important stylistic features developed in the Matar Sangrahanisutra dated A. D. 1583, the Gita Govinda of N. C. Mehta dated c. A. D. 1585, and the Uttaradhyayanasutra dated A. D. 1591, are seen, however, with slight variation in the degree of individual skills, for example, the Bhagavata dasam skandha painted at Ahmedabad in A. D. 15984, and the Bhagavata dasam skandha painted by Govinda in A. D. 161049. One of the folios from this Bhagavata no doubt shows a remarkable dynamism. The artist has also made a rare but naivete attempt in delineation of faces in three-quarter profile49a. From the first decade of the 17th century, the migration of the artists from the royal Mughal studio began. Such artists who began to work for lesser clienteles, gave birth to a new style generally referred to as the 'Popular Mughal style'. Agra was the major centre of this style where munificent Jaina community extended its patronage for the illustration of the Jaina works. The Vijnaptipatra (a request letter) painted by Ustad Salivahana in A. D. 1610 at Agra is a famous document of the Popular Mughal style which was sent to Patanso. The same artist had also painted the Salibhadra-caupai Ms. in A. D. 162451. The Sangrahanisutra dated 1613 in Bharat Kala Bhavan, Varanasi, is also painted in the same style52. It is the first Samgrahani in this style, which had set a new trend for the subsequent production of the Sangrahani manuscripts' illustrations. The Nala-Damayanti-rasa of the L. D. Institute and that of Prince of Wales Museum, were painted in the Popular Mughal style by the artists migrated to Gujarats. In this way Gujarati artists were gradually exposed to the works of the Popular Mughal style either through artists or their works coming from Agra. For example, the Sangrahanisutra of Jain Education Intemational

Page #122
Vol. 1-1995 Gujarati Painting of... Jaisalmer Bhandara apparently follows the style of the dated Samgrahani of A. D. 161354. These may be termed as the documents of the Gujarati Popular Mughal style. This is how the Popular Mughal style began to influence the local tradition. However, the Mughal influence on Neo-Gujarati Jaina painting style seems very gradual and slow. The Samrat Samprati Samgrahalaya of Sri Mahavira Jaina Aradhana Kendra at Koba in Gandhinagar (Gujarat), has an important Adhidvipa cloth painting done at Kheralu (Dist. Mehsana) in A. D. 1624. It is a significant example in the history of Gujarati painting for two reasons. First, it is the only dated Adhidvipa pata of the new scheme that began with the Khajanchi Adhidvipa pata dated c. A. D. 1570-80, in the National Museum. The latter has unmistakable Caurapancasika influence as shown earlier and the continuity of this tradition from the 16th to the 17th century in Gujarat establishes beyond doubt the role of the Caurapancasika style played in the development of the Neo-Gujarati Jaina painting styles. Second, it is one of the earliest dated document on which the impact of the Popular Mughal style is apparent. The workmanship of the painting is perfunctory but it clearly shows the transformation of the faces which now look rather naturalistic (Plate 9). It is an important departure, and henceforth facial type of the superior idiom ceases to continue but in the matter of other details it maintains its regional character. A pronounced impact of the Popular Mughal style is experienced in the second quarter of the 17th century. The faces now look not only naturalistic but in the right perspective with the shifting of the pupil of the eye focused at a far off distance. Now the contemporary Mughal costumes, turbans, architecture, birds, animals, and trees are all treated under the new inspiration. But the background remained monochromatic. Some of the important dated documents of this period are : 1. The Sarngrahanisutra painted in Patan in A.D.1630, in L.D. Institute of Indology56. 2. The Sangrahanisutra painted in Cambay in A.D.1637, in L.D.Institute of Indology57. 3. The Sangrahanisutra dated A. D. 1637, in Prince of Wales Museum So. 4. The Sanigrahanisutra painted in Wadhwan in A. D. 1638, in National Museums : and 5. The Sangrahanisutra painted in Cambay in A. D. 1642-43, in British Library. In the light of stylistic changes under the influence of the popular Mughal style, the Petlad Balagopala Stuti of the Prince of Wales Museum, Bombay, earlier published for the first time by M. R. Majmudar, should be studied 61. These paintings are among the finest examples which show the nature of realism which Gujarati artists could bring about in their style. The elegantly delineated faces of this series are the hallmark of the painting style of the second quarter of the 17th century. Jahangiri turbans and also broad pataka now began to appear 62. But the artists could not give away their allegiance to older motifs, for instance, the arabesque decoration on the jama worn by Kesna in one

Page #123
Nirgrantha of the paintings of this series. It is painted in continuation of the style of the various dated Samgrahanis listed above. However, trees in the archaic style depicted in silhouette against a monochromatic background is in contradiction to the realism of the faces. This shows the artist's full enjoyment of the newly acquired skill which he concentrates only on the faces. He could not show the same degree of skill when he made Krsna sit in crosslegged posture. This Balagopala Stuti should be dated c. A.D. 1630-40. The dispersed Bhagavata paintings were painted around the same period which were earlier published by Herman Goetz, Stuart Cary Welch and Milo C. Beach, R.K. Tandon, and Stella. Kramarisch 64. It is apparent from the series that there were many hands at work. 100 Lalit Kumar The Popular Mughal style in the 17th century had also influenced the Gujarati paintings at different levels and in different areas. One of these examples is the Gita Govinda of B. J. Institute, Ahmedabad. It has been put in a class apart. But the paintings follow the general style of the 17th century which is fairly obvious in the case of the male figures. (Plate 10). The stunted females, with their faces having round and sloping forehead and narrow waist, show an interpretation of the new experience at a different level. The dupatta worn by the females provide the background in silhouette to the figure. It is a hallmark of the style of these paintings. Though there is a little folkish element in the style, these paintings can be easily attributed to c A. D. 1630. The Ragamala dated A. D. 1608 is the only document which has no antecedent from Gujarat. However, one can see there a distant echo of the Caurapancasika Style. In fact, the Caurapancasika influence had been working at different levels in some parts of Rajasthan too. The Yasodhara Caritra dated A. D. 1596%, a second set of the same text painted at Amer in A. D. 1590 and the Adipurana painted at Mozamabad in A. D. 1606, are three very important examples published by Saryu Doshi which further corroborates the fact that the Caurapafcasika style was spreading far away from its home in Uttar Pradesh to the region of Malwa, Gujarat, and Rajasthan. Therefore, it is quite obvious that the first expression of Malwa, Mewar, Amer, and later Gujarati painting styles are rooted in the Caurapancasika-Candayana style, a very vital and viable painting tradition. The Cawand Ragamala dated A. D. 1605, considered to be the earliest document of Mewari painting, should be studied in this milieu. It seems the product of the New Gujarati Jaina painting style in Rajasthan. There is very little which can be definitely attributed to Mughal in this Ragamala set. Appendix A Persian horses and the provenance of certain highly controversial documents of paintings: These horses based on Persian model have their characteristic style of strapping, the most apparent feature being the loops with a tasselled pendant seen on the thighs of their hind legs. The horses caprisoned in this fashion are found in the Mandu Kalpasutra dated A. D. 1439 in National Museum, another Kalpasutra dated c. A. D. 1430 in the L. D. Institute of Indology, Ahmedabad", and the Shah Nama of c. A. D. 1450 in Reitberg

Page #124
Vol. 1-1995 Gujarati Painting of... 101 Museum, Zurich. Such horses are generally not met with in the paintings from Gujarat and Uttar Pradesh. With this point in view, I am inclined to attribute the Kalakacarya Katha of A. D. 1414, in the P. C. Jain Collection, Bombay, to Mandu. The Kalakacarya Katha dated A. D. 141474 and the Zurich Shah Nama of c. A. D. 1450, also have two more features of considerable importance, namely floral decoration on the back of Shahi's throne and braid or chain motifs. Both are Persian elements and should have been adopted from a common source. Thus, if we reckon the chain or braid motif and horse type as the regional character of the works executed in Malwa region, then it would be easy to suggest the provenance of a highly controversial but a small group of the 15th century paintings, namely the Berlin Candayana and the Candayana of Bharat kala Bhavan, the lost Sikandar Nam, and the Berlin Hamza Nama, to Malwa. Anand Krishna has already suggested the provenance of the Berlin Candayana as Malwa". But there are some scholars who attribute the Berlin Candayana to Delhi region". However, Karl Khandalavala rules out all such possibilities. He maintains that the Berlin Candayana alongwith other documents of this group, should hail from Eastern India and in all probability from Jaunpur, especially the Candayana because in his opinion this ballad was not known in any other region. But mention may be made that the Mandu type of horses are not seen in any of the documents attributed to north India such as the Aryanyaka parva dated A. D. 1516, the Mahapurana of A. D. 1540, the Mrgavata dated to c. A. D. 1570, and all other documents of the Caurapancasika group of paintings. Therefore, the Berlin Candayana and the Bharat Kala Bhavan Candayana, the lost Sikandar Nama, and the Berlin Hamza Nama should be attributed to the Malwa region. Notes and References : 1. Anand Krishna considers the turning of the face in strict profile as the beginning of the Rajasthani painting. "Some pre-Akbari Examples of Rajasthani Illustrations," Marg, XI/2,18. 2. Almost all the documents showing the early developments of the new style are Jaina and therefore the parental nomenclature of the style has been adhered to with a prefix "Neo" to differentiate the new style from the older one. 3. Karl Khandalavala, "Leaves from Rajasthan," Marg, IV/3, Bombay 1950, 16-17. 4. Ibid., 8! * 5. Karl Khandalavala, "The Origin and Development of Rajasthani Painting," Marg, XI/ 2, 12; also see Moti Chandra and U. P. Shah, New Documents of Jaina Painting, Bombay 1978, 27-28. 6. Chandra and shah. NDJP figs. 44.462 ) 7. Karl Khandal avala and Moti Chandra, New Documents of Indian Painting A Reappraisal, Bombay 1978, 98. A S TA 8. J. P. Losty, "Some Illustrated Jaina Manuscripts," The British Library Journal, 1/2, London 1975, 155-56, Figs. 19-20. 9. B. N. Goswami, A Jainesque Sultanate 'Shah Nama and the context of Pre-Mughal Painting in India, Zurich 1988. 10. J. P. Losty, The Art of the Book in India, London 1982 66 2 Jain Education Intemational

Page #125
102 Lalit Kumar 11. Ibid., 67. 12. Ibid., 67-68. 13. Ibid., 68. 14. M. R. Majmudar, "Two Manuscripts Illustrated in the Western Indian style during Hiravijaya Suri's Time-Abhidhana Namamala and Uttaradhyayana Sutra," Bulletin of Baroda Museum and Picture Gallery, XV, Baroda 1962, 16. 15. Ibid., pl. IX- XVIII. 16. Ibid., pl. X, fig, 3-4. 17. Ibid., pl. XI, fig. 3 18. Ibid., pl. XII, fig. 1 19. W. G. Archer, Indian Miniature, Connecticut, n. d., pl. 7 and 8. 20. Karl Khandalavala, Moti Chandra, and Pramod Chandra, Miniature Painting from the Sri Moti Chandra Khajanchi Collection, New Delhi 1960, 23-24, fig. 14-17. 26. Ibid., fig. 56. 27. Ibid., 16. 21. Ibid., 14. 22. U. P. Shah has also attributed it to Malwa. (Treasures of Jain Bhandaras, Ahmedabad 1978, 33). 23. U. P. Shah, More Documents of Jaina Paintings and Gujarati Paintings of the Sixteenth and later centuries, Ahmedabad 1976, 16, fig. 5 (a), 55, 56 and 57. 24. M. R. Majmudar, "The Gujarati School of Painting and some Newly Discovered Vaisnava Miniature," Journal of the Indian Society of Oriental Art, X, 1942, 16, Pl. I, fig. 1. 25. Shah, More Documents., fig. 57. Nirgrantha 28. Majmudar, "The Gujarati School of Paintings," JISOA, 16. 29. Chandra and Shah, NDJP, 30. 30. Krishna, "Some pre-Akbari Examples," Marg, XI-2, 21, figs. 6-8. 31. Karl Khandalavala and Saryu Doshi, A Collector's Dream Indian Art in the Collection of Basant Kumar and Sarla Devi Birla and the Birla Academy of Art and Culture, Bombay 1987, 66, fig. 4. 77. 32. Saryu Doshi, Masterpieces of Jaina Painting, Bombay 1985, 66. 33. Ibid., fig. 11 on p. 73 depicts Mt. Meru, The last line of the explanatory notes at the bottom ends with "Matargrama". It apparently refers to the place name i. e. Matar village where this Samgrahani was copied and illustrated. Place name has been found included in the explanatory notes in many other Samgrahanis too. It appears to be an ethical code of conduct practised by scribes at such occasions whenever they had fallen short of the text; the place name was included to complete the line. The Matar Samgrahani dated A. D. 1583 also shows a similar practice being followed. Whatever may have been the true reasons behind this idiosyncrasy of the scribe, it turns out to be of immense value; for it definitely provides information on the provenance of the manuscript especially when the colophon of the manuscript, is either lost or is silent about this. 34. Ibid., 66, fig. 1 on the same page. 35. N. C. Mehta, "A New Document of Gujarati Painting," JISOA, XIII, 1945 36-48.

Page #126
Gujarati Painting of... 36. Khandalavala, "Leaves from Rajasthan", Marg, 17, fig. 4. 37. Samvat 1647 Varse Bhadrava Sudi terasi gurupuspe. Tapagacche Sri Hiravijayasuri rajye Pan[.] Devavijayagani likhitam. 38. Norman Brown, Manuscript Illustrations of the Uttaradhyana Sutra, Connecticut 1941, fig. 28, 39, 72 and 73. Vol. 1-1995 39. Khandalavala and Chandra, NDIP, fig 99. 40. Karl Khandalavala considers these as the Akbari turbans ("Leaves from Rajasthan.," Marg, 17.) 41. It seems probable, as gleaned from various colophons of the manuscripts associated with this friar, that he had been either in Malwa or Mewar region: 103 Nulahinagara (Malwa) in V.S. 1629/A. D. 1572. Sarangapura (Malwa) in V.S. 1630/A.D.1673. Srimalapura (Mewar) in V.S. 1652/A.D.1595. Pimpadagrama (Mewar) in V.S. 1653/A.D.1596. 42. Incidentally, the manuscript was recovered from a bhandara (repository) in Surat. 43. Shah, More Documents., figs. 45-48. 44. Kapila Vatsyayana, Miniature of the Gita Govinda, Jaipur 1980, figs 1-2. 45. Ibid. 46. For the illustraions, see Kapila Vatsyayana, Jaura Gita Govinda, New Delhi 1979, figs. 16-17. 47. Shah, More Documents., 17-18, fig. 58. 48. Ibid., fig. 49 49. M. R. Majmudar, "Two Illustrated MSS. of the Bhagavata Dasamaskandha,"Lalit kala, No. 8, 50-52. 49a. R. K. Tandan, Indian Miniature painting, Banglore 1982, 50-51, Fig-11. 50. Pramod Chandra, "Ustad Salivahan and the Developinent of Popular Mughal Art", Lalit kala, No. 8, 35-34. 51. Ibid., 34-36. 52. Ibid., 45. 53. Ibid. (All these works have been generally dated to A. D. 1620). 54. Jaina Citrakalpadruma, (Gujarati), (Ed.) Sarabhai Nawab, Ahmedabad 1936, figs. 270-71. 55. Lalit Kumar, "On the style of Adhidvipa Cloth Painting-Sixteenth and Seventeenth Century", Prof. H. G. Shastri Felicitation Volume, Ahmedabad, June 1994, 142-145, fig 1-5. 56. Shah, More Documents., fig. 63. 57. Ibid., fig. 64. 58. Chandra, "Ustad Salivahana.," LK, pl. XVII, fig. 41. 59. Khandalavala etc. al., Miniature Painting., figs. 87-88. 60. J. P. Losty, "Some Illustrated.," BLJ, 158-59, figs. 21-23. 61. Majmudar, "The Gujarati School.," JISOA, X, 28-31. 62. Ibid., pl. VI, fig. 2., pl. VII, fig. 1. 63. Ibid., pl. VI, fig. 2. 64. H. Goetz, "A New Key to Early Rajput and Indo-Muslim Painting: A Unique Bhagavat Purana Album from Southwest Marwar," Roop-Lekha, XXIII, 1-2, 1953; also, Stuart Cary

Page #127
104 Lalit Kumar Welch, Milo C. Beach., Gods, Thrones, and Peacocks, New York, 1976; R. K. Tandon, Indian Miniature Painting, and Stella Kramarisch, Painted Delight, Philadelphia 1982. 65. U. P. Shah, "Three Paintings from a New Ragamala set dated Samvat 1665 (1608-9 A. D.)," Bulletin of Baroda Museum and Picture Gallery, XXV, Baroda 1973-74, 89-94. 66. Doshi, MJP, 69 (fig. 8, pp. 142-144, Fig. 19, 21). 67. Ibid., 70, fig. 13 on, 138-139. Nirgrantha 68. Ibid., 70, fig. 9 on 71 and fig. 2 on 87. 69. Lalit Kumar, "Dancers' Costume and Provenance of the Caurapancasika style," Lalit kala, 25, 47-50. 70. Khandalavala and Chandra, NDIP, fig 9. 71. Pramod Chandra, "A Unique Kalakacarya Katha Ms. in the style of the Mandu Kalpasutra of 1439 A. D.," Bulletin of the American Academy of Benaras, 1, Varanasi 1967, figs. 4, 5 and 10. 72. Goswami, JSSN, fig. 1, 8, 10, 12, and 17. 73. Doshi, NJP, 126, fig. 5. 74. Goswami, JSSN, fig. 5. 75. Ibid., fig. 3. 76. Anand Krishna, "An Illustrated Manuscript of the Laura Canda in the Staatsbibliothek, Berlin," Chhavi-2, Varanasi 1981, 285. 77. Losty, The Art of the Book, 63. 78. Karl Khandalavala, "Three Laura Canda Paintings in the Asian Art Museum of San Francisco," Lalit kala, No. 22, 21. Details of Illustrations 1. An illustration from the Sangrahani Sutra MS., painted by Govinda at Matar in A. D. 1583. Courtesy L. D. Institute of Indology, Ahmedabad. 2. Details same as in Plate 1. 3. A copy of the sketch from the Dhananjaya Namamala MS. Dated A. D. 1575. Courtesy L. D. Institute of Indology, Ahmedabad. 4. An illustration from the Sangrahani Sutra MS., c. A. D. 1600. Courtesy L. D. Institute of Indology, Ahmedabad. 5. An illustration from the Gita Govinda MS., c. A. D. 1585. Courtesy N. C. Mehta Gallery, Ahmedabad. 6. An illustration from the Sangrahani Sutra MS., painted at Tarapur, c. A. D. 1595. 7. An illustration from the Bhagavati Sutra MS., painted at Patan in A. D. 1595. Courtesy L. D. Institute of Indology, Ahmedabad. 8. An illustration from the Bhagavata Dasam Skandha MS., painted by Govinda in A. D. 1610. Courtesy: Col. R. K. Tandon, Collection, Secundrabad. 9. Adhidvipa Cloth Painting (detail)., Painted at Kheralu, (Dist. Mehsana) in A. D. 1630. Courtesy Shri Mahavir Jaina Aradhana Kendra, Koba, Gandhinagar. 10 An illustration from the Gita Govinda MS., c. A. D. 1630. Courtesy B. J. Institute, Ahmedabad.

Page #128
ono way Lagnum Collection : Munt St 1. The Sangrahani Sutra MS., painted by Govinda at Matar in A. D. 1583. nakira gaMdhaka mAgAyatiyAgidiemA yAsavAdAdAdApharisa samAna UsAramAdama dacAnA jA 2. The Sangrahani Sutra MS., painted by Govinda at Matar in A. D. 1583. Jain Education Intemational For Private & Personal use only ainelibrary.org

Page #129
3. The sketch from the Dhananjaya Namamala MS. Dated A. D. 1575. 4. The Sangrahani Sutra MS., c. A. D. 1600. Jain Education Intemational Fon Private & Personal Use Only

Page #130
1-3 kAmavikA minI nissRtaH kiMvA kalA ke libhiH baddho baMdhu niraMdha kA riti nopA~te ki munA tamanAmanAgapipathistu me vAta madhye ke tIna maMjuvaMjulalatA kuMjepiya nAga saeth 5. The Gita Govinda MS., c. A. D. 1585. 6. The Sangrahani Sutra MS., painted at Tarapur, c. A. D. 1595. Ralons X nava navanA Er ka tA madhya RSi Gong gAthA gAMvi

Page #131
raiyaanIsaMdarAnizayAbAmAmAnAnimigalAdArAnAzayatazAlpANArdikAlyANayAzimadhikA nimivAdijiyazca / / radivAsividhAjJayaNaditAmirityachAnnAvidhanalenikAni maMgalAdi maMgAlAvarSapatighAvamAdhIzamasmiyAdibomAyuktAni / 927Ashta BANANADAS TANAJASTUDE HODAVARAVAID / HARVATION VAVAVNAVNAVAVAUNUM RASHTRA EVAWAIMAVAVAN MAAVATASMINS / havAHUAA reasoi CATWARENNN diyayAmAmaNidyAdiganArAmAnAmAvAbhAnirityA diyayapahAyaNikAdizivagatAkApazAkAdivivilanakagatispimiyA maUragAdiyAdimitAparimitAdarAmadharAzAkAmalazayAgamAgamadAinAyADaravadhAryamapAzAhanAmA 7. The Bhagavati Sutra MS., painted at Patan in A. D. 1595. zvAdhAnAnaTAnAvidhAyakozalAmbAnImbanAgaMmRgarADivANAmamaMtAtatazrAva raNavatAmAtechuvAnitorAmApavAvamadAravirahAtapAdAnalenemunizvAna zAmyatApAtakhudhAmmunahAkaraNamananasatajJAvAlAgAsanamanAdAsamainyAniyA yonidAvAdAmudatavAzrIsalenona hetrAyaMcalanopiparapAta kamAyogyaevaM vara vezujanAMdAvAyAktidAyAthAkiMpatibaMdhAviyAtAyatavAdadAtapAdaka bata manvana hastaviAi vAchi 8. The Bhagavata Dasam Skandha MS., painted by Govinda in A. D. 1610. Jain Education Interational

Page #132
CEKACT 900b Arabia BER AMERA ana kopa0amarakonAnadI LEOWNayunia mAranA OE zi 1-Certv misAjI paniha. niSabhanna darimakina parikonAnI mahAhimalezamana himanako SINONEN WAH Preet mpikakara barakAkAnA zalneRSE 'mIna--nikala rimanitAnA rijaramA ka. kI-vika aavijJAnadI mAma P -R PUR kAna 9. Adhidvipa Cloth Painting (detail)., Painted at Kheralu, (Dist. Mehsana) in A. D. 1630. Ja ation International 10 The Gita GovindaPIMS. Persok."D.01630.

Page #133

Page #134
DHARMARATNAKARANDAKA OF VARDHAMANA-SURI Ed. by Municandravijaya-gani 24 + 438. 24 cm. x 18 cm. Cloth Rs. 250/Published by Sharadaben Chimanbhai Educational Research Centre, Ahmedabad, 1994. Vardhamana-suri, who was the chief disciple of Abhayadeva-suri, the famous commentator of the Jaina agamas, carried out his literary activity in Gujarat round about A. D. 1100. Of his three known works, the Manorama-kaha (MK) edited by Rupendrakumar Pagaria, was published in 1983 and the Jugaijinimda-cariya, also edited by Pagaria, had appeared in print in 1987. The present work is the third by the same author. As against the former two which are in Prakrit, the Dharmaratnakarandaka (DRK) is in Sanskrit. It has 376 verses distributed over 20 chapters. It is commented upon by the author himself. The commentary is mostly in verse and the total extent of the work is about 10,000 Anustubh units. The commentary gives about 53 illustrative stories. DRK. is in the long line of religiousdidactic tracts, broadly describable as the Sravakacara, the discipline in the form of injunctions and prohibitions relating to the conduct of the pious Jaina lay man. The code was periodically revised and restated with varying degree of emphasis on its different aspects, but there was a common core of topics treated. The instruction was accompanied by numerous illustrative stories, many of which formed a common pool of repertoire upon which a particular writer drew as required. The later writers freely took over such stories from the earlier ones, rendered Prakrit stories in Sanskrit or vice versa, or retold, abridged, or expanded them to suit their purpose. The same story was also at times used by the writer in his different works. The title Dharmaratnakarandaka immediately reminds us of the Ratnakarandaka, ascribed by Prabhacandra (c. A. D. 1025-1060) to Samantabhadra and his senior contemporary Vadiraja (A. D. 1025) to Yogindra. The editor of DRK. has identified and indicated in numerous cases the original sources on which Vardhamana-suri has depended and has also pointed out where the latter has utilized portions from his own two earlier works. The Introduction gives the necessary information about the Mss. used, the method followed in setting up the text, and brief observations on the special features of the content and the comparative and folkloristic aspects of some illustrative stories. Interestingly, we find a reference on p. 266) to Haribhadra-suri's Kathanaka-kosa which was so far known from a single reference, of Sumati-gani's in his commentary on the Ganadharasardhasataka (H. R. Kapadia, sri Haribhadrasuri, 1963, p. 85). The Sanskrit language of DRK. possesses many features of what is known as popular or hybrid Jaina Sanskrit (Sanskritized colloquial expressions forms like takat for tat, tvayaka for tvaya, etc. to meet the exegencies of the metre, rare grammatical Jain Education Intemational Jain Education Intermational

Page #135
106 H. C. Bhayani Nirgrantha forms, etc.). Once in a while, we find therein an Anustubh-pada of nine syllables, (p. 74, v.285, p. 76, v. 338). The stylistic variation ranges from simple, racy, colloquial, to ornately descriptive. The author is well adept in handling the traditional narrative and descriptive traditions, and has freely exploited the treasures of the available subhasitas. As to the Apabhramsa passages of DRK. it is necessary to deal with them separately. Here I shall point out the lexicographical importance of two specific words occuring in DRK. dhakkari In the illustrative tale of 'A rankle-prone potter' (3707a-ag- hr-17271; MK, pp. 39 ff. DRK, pp. 382 ff.) it is said that, in the big hall of his house, beggars and wanderers from various places used to lodge and at night they would tell lots of absurd yarns which would cause rankling to the potter and he would loose his sleep. The text in MK. reads as follows: vasaMti tIe [sAlAe] nANAdesAgayA kappaDiya-taDiyAo / jaMpaMti miliyA rayaNIeaghaDamANa-Thikkara-sayANi ya aNakkha-vasa-vigaya-Niddo / kayatthei aNakkha-bahulo Niya-siraM khaluMkAhiM / (pR. 39) The corresponding Sanskrit passage in DRK is as follows: vasanti tasyAM [zAlAyAM] nAnAdezAgatAH kArpaTikAdayaH, vadanti ca rajanyAmaghaTamAnakAni Takkara-zatAni, anakSa-vaza-vigata-nidro roSavazayaparigatazcUrNayati TakkarAbhiranakSabahulo nija-mastakam / Here thikkara- in the Pk. passage and zm in the Sk. passage are corrupt readings. The real word is dhakkari, 'unbelievably marvelous.' Siddhahema 8-4-422 has recorded dhakkari in the sense of Sk. adbhuta and illustrated it (dhakkari-sara, 'of unbelievably wondrous strength'). In Svayambhu's Paumacariya we have. jage loehi DhakkarivaMtaehi uppAiu bhaMtiu bhaMtaehi / "The deluded people at large, through their unbelievable miraculous accounts, have produced delusions." The Tippana on the word dhakkarivaintaehim is hathoktiyuktaih. But here also dhakkari does not mean "a dogmatic statement, but rather a tall wonderous statement." The poet means to say that people have been spinning long yarns with respect to the narrative of Rama.

Page #136
Vol. 1-1995 Dharmaratnakarandaka.... 107 asaddhala Among the several gnomic verses cited on MK. p. 369 to support the observation that for one devoid of religious merits (nispunya), all efforts and industry become fruitless, the following Apabhramba verse occurs: ujjamu kajjaraMbhiyaunahi kiM karai dhanau pagu vinavei asaDDalu saMbhavai / sUraha satta turaMma gayaNi bhamaMtAha vibbhaha koDigaiMdaha pau viyaditAha // (98) The text seemingly is defective. The following tentative restoration is suggested : ujjamu kajjAraMbhi aputraha kiM karai dhanau pagu vi na dei asaDalu saMbhavai / sUraha satta turaMgahi paNu (?) na bhamaMtAhiM labbhai koDi gaiMdahiM pau vi Na ditAhiM // (Sanskrit chaya:) udyamaH kAryArambhe apuNyasya kiM karoti dhanyaH padam api na dadAti asAmAnyam saMbhavati / sUryasya sapta turaMgaiH paNaH na bhramadbhiH labhyate koTiH gajaindraH padam api na dadadbhiH // Here asaddhalu sambhavai means "extraordinary things materilize." At Siddhahema 8. 4. 422(8) Ap. assaddhalu is recorded with the meaning Sk. asadharana and in the illustration cited there asaddhalu nehu = asadharanah snehah. The Paiya-sadda-mahannavo or the Desi-Sabda-kosa have not recorded asaddhala. No another occurrence of the word is so far known from Prakrit-Apabhramsa literature. Panyasa Muni. Chandravijaya and the Sharadaben Chimanbhai Educational Research Centre deserve credit for bringing out this work which, from the production point of view, too, is excellent. Postscript Sometime after the note on asaddhala was completed, I came across another occurrence of that word in an Apabhramsa text. In the Svayambhucchandas of Svayambhu (later half of the 9th century A.C.), the text of the verse illustrating the metre Chaddania (an Antara catuspadi type having 12 + 9 Matras in both the halves), as given by the editor, H. D. Velankar with the Sanskrit Chaya of the verse is as follows: Jain Education Interational

Page #137
108 According to me, the verse is also H. C. Bhayani lagga ha (a) Nea asaGkalu, tuha calaNehi paNau / jima jANahi tima pAlahiM kiMkara appaNDa // lagnAH aneke zraddhAlavaH tava caraNayoH praNatAH / yathA jAnAsi tathA pAlaya, kiMkaram Atmanaiva // the text of the verse is somewhat corrupt and the meaning of different. I give below the emended text and its translation: Neha asaGkalu, tuha calaNehiM paNau / laggaa jivaM jANahi tiyaM pAlahi kiMkaru appaNaTha // - - Nirgrantha 'This person to whom has adhered extraordinary (devotional) love (for you ) and who has bowed down to your feet it proper'. Here also asaddhala Saddha + La But Saddhala is unknown in the sense of Sadharana. protect this servant of thine, as thou deem asadharana. The form can be analysed as a+ H. C. Bhayani

Page #138
GUJARATI SECTION

Page #139
Jain Education Intemational

Page #140
vAdIndra malyavAdI kSamAkSamaNano samaya jitendra zAha uttara bhAratanI nirainya paraMparAmAM thaI gayelI prakAzamAna dArzanika vibhUtiomAM siddhasena divAkara, malavAdI kSamAkSamaNa, ane jinabhadragaNi kSamAkSamaNa mokhare che. mahAtArkika siddhasena divAkare kAvyabaddha dArzanika kRtionI racanA karI che. temanAthI nigrantha paraMparAmAM dArzanika yugano prAraMbha thAya che. zvetAmbara paraMparAmAM siddhasena divAkara Adya stutikAra ane mahAvAdI tarIke prasiddha che. temano samaya guptakALamAM pAMcamI sadInA pUrvArdhamAM hovAnuM manAya che. jinabhadragaNi kSamAthamaNa (prAya: IsvI 550-594) Agamika paraMparAnA dArzanika vidvAnuM che. temaNe vizeSAvazyaka-bhANa Adi granthonI racanA karI che. malavAdI agrima haroLanA dArzanika che : temaNe racela dvAdazAra-nayacakramAM tatkAlIna bhAratanAM samasta darzanonI carcA dvArA anekAntavAdanI sthApanA karI che. malavAdInA samaya vize vidvAnomAM nokhA nokhA mata pravarte che. temane vikramanA pAMcamA zatakanA pUrvArdhathI laI vikramanI dasamI sadInA aMta sudhI thayAnuM anumAnavAmAM Ave che. prastuta samayAvadhi anizcitatA-darzaka hovA uparAMta kALanI daSTie vadhu vyApaka hovAne kAraNe A aMge vizeSa UhApoha thavo jarUrI che. AthI sAMprata lekhamAM mallavAdInA samaya aMge vistArathI carcA karavAmAM AvI rahI che. tArkika-cUDAmaNi mallavAdIe dvAdazAra-nayacakra, sanmatiprakaraNaTIkA', ane pAcarita' nAmaka traNa graMthonI racanA karI hatI tevA ullekho prApta thAya che. durbhAgye Aje temanI racalo eka paNa graMtha upalabdha thato nathI; paraMtu bhinna bhinna kALamAM thayela AcAryoe potAnA graMthomAM temanA stutipUrvaka ullekha karyo che tenA AdhAre ema jarUra kahI zakAya ke teo zreSThavAdI hatA. AcArya hemacaMdra siddhahema-brahavRttimAM mallavAdIne zreSTha tArkika tarIke biradAve che. nayacakranA TIkAkAra siMhajUra mallavAdInI stuti karatAM jaNAve che ke nayacaka rUpI cakra dvArA jemaNe samasta syAdvAda virodhIone parAsta karyA che evA jinavacana rUpI AkAzamAM sUrya samAna AcArya mallavAdI vijayavaMta che. taduparAMta prAphamadhyakALamAM ane madhyakALamAM thaI gayelA aneka jainAcAryoe potAnA graMthamAM malavAdI kSamAkSamaNano mAnapUrvaka ullekha karyo che, vAdI tarIke stuti karI che, tema ja temanI darzanaprabhAvaka kRti nayacakano ullekha paNa karyo che. AcArya haribha anekAntajayapatAkAmAM tathA tenI svapajJa vRttimAM mallavAdInA eka vAkyane TAMkatAM 'vAdImukhya' tarIke biradAvyA che. (gA prA. jhaM, khaM1, pR8,116). dasamI sadImAM thayela rAjagacchIya abhayadevasUrie sanmatiprakaraNaTIkAmAM malavAdIno ullekha karyo che. madhyakAlIna jinezvarasUrie pramAlakSma (vi. saM 180 / Isa. 1024) nAmaka nyAyagranthamAM mallavAdI tathA temanA nayacakrano ullekha karyo che. thArApadragathvIya vAdItAla zAMtisUri kRta uttarAdhyayanasUtranI bRhadavRtti(prAya: I. sa. 1040 pahelAM)mAM nayacakrano ullekha prApta thAya che. pUrNatallagacchIya zAntAcAryuM nyAyAvatAravArtika(prAya: IsvI 1104)mAM malavAdIno nirdeza karyo che. gUrjarezvara siddharAja jayasiMhathI sanmAnita thayela mAladhArI hemacaMdrasUrie anuyogadvAra sUtravRtti(IsvI 1119 pahelAM)mAM dvAdazAra-nayacakano ullekha karyo che. caMdrasena sUrie utpAdAdisiddhi (I. sa. 1151) nAmaka graMthamAM malavAdInA nayacakranI prathama kArikA TAMkI vizeSArtha mATe mULa graMtha jevAnI bhalAmaNa karI che. kumArapALa bhUpAlanA samakAlIna ane prasiddha vyAkhyAkAra malayagiri(isvI 12mI sadI bIjI-trIjuM caraNa)e dharmasaMgrahANIvRttima AcArya mallavAdInuM smaraNa karyuM che. Ama aneka AcAyoe temanI tathA temanA prasiddha graMtha nayacakanI prazaMsA karI che. mallavAdI vAdamAM ane dArzanika carcAmAM ajeya pratipAdaka rahyA haze. saMbhavata: e kAraNathI temanA pachI thayela mallavAdI nAma dharAvatA anya munionA jIvananI ukata nayacakrAkAra mallavAdInA jIvana caritra sAthe bheLaseLa thaI gayelI jovA maLe che. nirgastha paraMparAmAM ochAmAM ochA cAreka malavAdI thayA che. (A aMge Jain Education Intemational

Page #141
jitendra zAha Nirgrantha vizeSa carcA ahIM AgaLa karIzuM.) ane te saunA samaya vize judI judI mAnyatAo pravarte che. upara joI gayA tema mallavAdI ane temanA nayacakra aMge aneka graMthomAM ullekho prApta thAya che, paraMtu mULa nayacakra ane mallavAdInI anya kRtio (sanmatitaTIkA tathA padmacaritra) upalabdha thatI na hovAne kAraNe temanAM pradAno aMge pUrNarUpe kahevuM duSkara che. nayacakraTIkAne AdhAre punargaThana karavAmAM Avela graMthamAM, tathA TIkAkAra siMhajUra malavAdInA samaya saMbaMdhamAM tathA jIvana aMge koI ullekhanIya noMdha ApatA nathI ke jenA AdhAre samaya nirdhAraNa ke jIvana ghaTanAonA sandarbho aMge cokakasapaNe kahI zakAya. AvI paristhitimAM graMthabAhya pramANono tathA graMthAntargata AvatA ullekhonI sahAya levI jarUrI bane che. samaya nirdhAraNa aMge carcA karatAM pahelAM temanA jIvananI ghaTanAo prasaMgo aMge carcA karavI jarUrI bane che : kemake nAmasAmyane kAraNe ochAmAM ochuM eka anya malavAdInI jIvanaghaTanAonuM mizraNa thaI gayuM che. mallAdInA jIvana aMge prabaMdhomAM tathA kathAgraMthomAM kathAnako-carito maLe che. bhadrezvara sUrikRta kahAvalimAM", Amradeva racita AkhyAnakamaNikozavRttimAM', ajJAtakarUMka prabaMdhacatuSTaya(I. sa. 1234 pahelAM)mAM", prabhAcaMdrasUri kRta prabhAvaka carita(vi. saM. 1334 | Isa. 128)mAM", AcArya merUtuMgakaka prabaMdhaciMtAmaNi(vi. saM. 181 | IsvI 1305)mAM, rAjazekhara sUri viracita prabaMdhakoza(vi. saM. 1405 / I. sa. 1349)mAM, ane saMghatilakAcArya kRta samakatasaptativRtti(vi. saM. 1422 / I. sa. 1366)mAM mallAdInA jIvananI kathA varNavavAmAM AvI che. uparokata graMthomAM varNavela caritranA AdhAre malavAdInuM saMkSipta jIvana caritra A pramANe che. prathama malyavAdI mallavAdInI mAtAnuM nAma durlabhadevI hatuM. emanAM traNa saMtAno, nAme jinayaza, yakSa, ane malla hatAM. teo sau valabhImAM vaselAM hatAM. durlabhadevInA bhAI jinAnaMda jaina dharmamAM dIkSita thayA hatA ane AcArya banyA hatA. eka vakhata bharUcamAM bauddha paMDita bauddhAnaMda vA buddhAnaMda sAthe temano vAda thayo hato. (jinAnaMda ane buddhAnaMda nAmo alabatta kAlpanika lAge che. jaina dharmanA AcAryane jinAnaMda ane bauddhadharmanAne buddhAnaMda evuM nAma ApavAmAM AvyuM hoya tema lAge che.) vAdamAM je hAre teNe bharUca choDI cAlyA javuM tevuM nakakI thayuM hatuM. bAdamAM jinAnaMdasUrino parAjaya thatAM temane bharUca choDavuM paDyuM ane teo valabhI AvyA. tyAM temaNe temanI bahena durlabhadevI tathA temanA traNa putroe jinapraNIta pravrajyA dhAraNa karI. traNeya putromAM malla vizeSa medhAvI ane kuzAgrabuddhi dharAvatAM hatA. teNe TUMka samayamAM badhAM ja zAstrono abhyAsa karyo ane darzanonA pAraMgata vidvAna banI gayA. eka vAra gurunI AjJA vagara koI graMthano eka zloka vAMcyo ane te eka zlokanA AdhAre teNe nUtana nayacakanI racanA karI. prastuta nUtana graMthanuM avalokana karatA temanA guru Azcaryacakita thayA ane temane AcAryapada para ArUDha karyo. AcArya mallane pUrve bharUcamAM thayelA vAda ane gunA parAjayanI jANa thatAM teo bharUca gayA ane tyAM buddhAnaMda sAthe vAda karI temane harAvyA. AthI temane 'vAdI biruda prApta thayuM. prabandho kathita malavAdInA jIvana sAthe keTalIka camatkArika ghaTanAo paNa joDAyelI che je atre svAbhAvika rIte ja choDI dIdhI che. prastuta ghaTanAonA AdhAre evI kalpanA karI zakAya ke teo tapa:niSTha ane tatkAlIna sarvadarzana pAragAmI vidvAna hatA, ajoDa smaraNazakita dharAvanAra vyakitavizeSa hatA. tatkAlIna tarka-mahArathI bauddhone paNa harAvI zake tevA samartha dArzanika paMDita hatA. temanI traNa racanAomAMthI kAdazAra-nayacakra mULarUpe to prabhAvakacaritamAM maLatA ullekhone AdhAre teramI sadImAM upalabdha nahoto tema jaNAya che.

Page #142
Vol. 1995 vAdandra malyavAdI zramAmamAgano samaya nayacaka upara siMhasUre eka TIkA (prAya: I. sa. 675-60) lakhI che. upalabdha TIkAne AdhAre nayacakra graMthanuM vartamAne punargaThana karavAnuM kArya prathama to AcArya vijayalabdhisUrie karyuM. je cAra bhAgamAM prakAzi che. tyAra bAda navaprApta hastalikhita pothIne AdhAre, tathA pUrvapakSa rUpe upayogamAM levAmAM Avela bauddhAdi graMthonA AdhAre munirAja jaMbUvijayajIe bIjI vAranuM punargaThana kareluM che. A graMtha traNa bhAgamAM prakAzita thayela che, jeno pATha pUrvaprakAzita graMtha karatAM vadhu vizvasta ane ethI vizeSa pramANabhUta che. (AmAM nayacakrano prAya: 80 TakA jeTalo mULa svarUpe punargaThita thayo che.) haribhadra sUri viracita anekAntajayapatAkAnI svopajJa TIkAmAM jaNAvyuM che ke, uktaM ca mallavAdinA sammatau ityAdinA / / " A prakAranA soddharaNa ullekha be judA judA sthaLe karelA che jenA AdhAre nizcitapaNe kahI zakAya ke temaNe siddhasena divAkara racita sanmatiprakaraNa upara TIkA racI haze. A viSe bIjo ullekha paNa prApta thAya che. bRhaTippanikA(I. sa.1505)mAM prAcIna graMthonI yAdI ApavAmAM AvI che. temAM jaNAvavAmAM AvyuM che ke, sanmatisUtraM siddhasenadivAkara kRtam / / 170 sanmativRttinavAvita cha09 AmAM sanmatiprakaraNa para mallavAdIkRta vRtti (70 zloka pramANa)no ullekha karavAmAM Avyo che tathA rAjagacchIya abhayadevasUri racita sanmativRttimAM kevaLajJAna ane kevaLadarzana aMge mallavAdI yugapavAdamAM mAnatA hovAnuM jaNAvyuM che". vartamAnakALe prApta nayacakramAM to kayAMya kevaLajJAna ane kevaLadarzananI carcA jovA maLatI nathI; AthI evuM anumAnI zakAya ke anupalabdha sanmatiTIkAmAM mallavAdIe ukata carcA karI haze, eka trIjo graMtha padmacaritra paNa mallavAdI racita hovAnuM manAya che. A graMthamAM rAmanuM caritra haze, ukata mallavAdI to dArzanika ane mahAtArkika che eTale temaNe Avo kathAgraMtha racyo hoya te Ama to saMbhavatuM nathI; kemake A aMge vizvasanIya anya koI ullekha prApta thato nathI. (A pachInA anya malavAdInI kRti haze ?) dvitIya malyavAdI madhyayugIna prabaMdhakAroe malavAdInA caritramAM kayAMya nayacakrakArathI bhinna anya mallavAdI thayA hovAno ullekha karyo nathI. paraMtu prabhAvakacaritrakAra prabhAcaMdrAcArya mallavAdInA gurabhrAtA jinayazano saMbaMdha allarAjAnI sabhAnA vAdI nandaka guru sAthe sAMkaLe che. temaNe jaNAvyuM che ke allarAjAnI sabhAnA vAdI naMdaka guranA kahevAthI mallavAdInA jyeSThabaMdhu jinayaze eka pramANa graMtha banAvyo, paraMtu ahIM darzAvela allarAjA ane nandaka gura koNa hatA te aMge kazI noMdha darzAvI nathI. A prasaMganI samAlocanA karatA munizrI kalyANavijayajIe prabaMdha paryAlocanamAM jaNAvyuM che : "prabhAvaka caritanA abhayadeva prabaMdha uparathI jaNAya che ke zrI vardhamAnasUrinA samayamAM kUryapura (kucerA-mAravADa)mAM allabhUpAla putra tribhavanapAla rAjA rAjya karato hato. A ullekha uparathI jaNAya che ke vardhamAna sUri kAlIna bhuvanapAlano pitA allarAja vikramanI dasamI sadInA aMtamAM vidyamAna hovo joIe. vaLI e ja prabhAvaka caritranI prazasti nyAyamahArNavakAra abhayadevasUrinA guru pradyumnasUrie alurAjAnI sabhAmAM digambarAcAryane jItyAno ullekha che. A allu ane alla eka ja vyakitanAM nAmo che. ane A rIte pradyumnasUrinA samakAlIna tarIke paNa allabhUpanuM astitva vikramanI dasamI sadImAM ja siddha thAya che. paNa malavAdInA bhAI Jain Education Intemational

Page #143
jitendra zAha Nirgrantha jinayazane A allabhUpanI sabhAnA vAdI zrI nandaka graMtha racavAnI preraNA kevI rIte karI zake te samajAtuM nathI''. ahIM mallavAdInA kathAnakamAM mallavAdIno allarAjAnI sAthe saMbaMdha joDavA jatAM mallavAdI dasamI sadImAM thayAnuM puravAra thAya ane A samaya aneka dRSTie anupayukata jaNAya che jenI carcA have pachI karavAmAM Avaze. mATe e kALe koI bIjA mallavAdI thayA hovAnuM anumAna anivArya bane che. bIjA mallavAdI thayA hovAnuM munizrI kalyANavijayajI, uparAnta munizrI tripuTI mahArAja, mohanalAla dalIcaMda dezAI, paM dalasukha mAlavaNiyA Adi vidvAno mAne che. jaina bhaMDAromAM prApta thatI ane adyAvadhi aprakAzita laghudharmottaraTippaNaka nAmanI hastalikhita pothIne AdhAre anumAnavAmAM Ave che ke ukata graMthanA racayitA e A bIjA mallavAdI hovA joIe, kAraNa ke bauddhAcArya dharmottare nyAyabindu graMtha racyo che ane tenA upara laghu dharmottare(vi. saM. 904 / I. sa. 848)mAM TIkA karI che. A TIkA upara vRtti racanAra mallavAdI dasamI sadInA aMtamAM thayA haze. ane A pramANe mallavAdInA bhAI jinayaza paNa allarAjAnA samasAmAyika siddha thaI zake che. tripuTi mahArAja jaina paraMparAno itihAsamAM noMdhe che : "A jinayaza A yakSa ane A malla e dazamI sadInA AcArya che... bIjA mallavAdIe dharmottara Tippanaka banAvyuM che. A jinayaze pramANazAstra tathA vizrAMtavidyAdhara vyAkaraNa para nyAsa banAvyo che ane A yakSe yakSasaMhitA racI che. A jinayaze potAnuM pramANazAstra A nannasUrinI AjJA thavAthI mevADanA rANA alaTanI sabhAmAM vAMcI saMbhaLAvyuM hatuM'". Ama tripuTI mahArAja dvitIya mallavAdIne vikramanI dasamI sadI(uttarArdha)mAM mUke che. prathama mallavAdIno saMbaMdha valabhI sAthe che, jyAre allarAjA, nannasUri, ane nandaka guru, Adino rAjasthAna sAthe che ane te sau dasamI sadImAM thayela che : AthI ukata rAja sAthe saMbaMdha dharAvanAra mallavAdI dvitIya mallavAdI che. tRtIya mallavAdI dilhInA lAlA hajArImala rAmacaMdajInA caityamAM eka dhAtupratimA para maLI Avela pratimAlekhamAM mallavAdI gacchano ullekha che. A mallavAdI nAgendragacchanA AcArya che ane temanAthI mallavAdI gaccha cAlyAnuM anumAnI zakAya. prabhAvakacaritamAM abhayadeva prabaMdhamAM mallavAdI ziSyanA zrAvakoe caitya karAvyAno ullekha karavAmAM Avyo che". A tRtIya mallavAdI che. A aMge tripuTI mahArAja noMdhe che ke, teo vikramanI teramI sadI lagabhagamAM thayA che. teo nAgendragacchanA hatA ane stambhana-pArzvanAthanuM thAMbhaNAtIrtha temane AdhIna haze. maMtrI vastupAle paNa temanA graMthanI prazaMsA karI hatI. caturtha mallavAdI teo digambara vA acela-kSapaNaka paramparAmAM lATamAM IsvIsananI AThamI-navamI sadImAM thaI gayA hovAnuM rASTrakUTa samayanA tAmrazAsana parathI sUcita che. paNa emanAthI to zvetAmbara paramparA bilakula ajANa hoI emanA saMbaMdhamAM carcA asthAne che. nirprantha paraMparAmAM thaI gayela ukata mallavAdIomAMthI nayacakrakAra prathama mallavAdI kSamAzramaNano samaya nirdhArita karavA mATe zvetAmbara tathA digambara vidvAnoe samaye samaye UhApoha karyo che. (sva) nAthUrAma premIe nayacakrakAranA samaya vize noMdhyuM che ke : " AcArya haribhadra ne apane anekAnta jayapatAkA nAmaka graMtha meM vAdimukhya mallavAdi kRta sanmatiTIkA ke kaI For Private Personal Use Only

Page #144
vAdIndra mallavAdI kSamAkSamaNano samaya avataraNa die hai aura zraddheya munizrI jinavijayajI ne anekAneka pramANoM se haribhadra kA samaya vi0 saM0 757 se 827 taka siddha kiyA hai| ataH AcArya mallavAdI vikrama kI AThavIM zatAbdi ke pahale ke vidvAn hai yaha nizcaya hai.. o Vol. I-1995 ukata kathanamAM paM nAthUrAma premI nayacakrakAra mallavAdInI uttarAvadhi aMge to nirdeza de che paraMtu pUrvavidhi aMge kazI noMdha karatA nathI. A aMge vizeSa saMzodhana karI paM dalasukhabhAI mAlavaNiyAe AcArya mAvAvI nA nayana' nAmanA lekhamAM jaNAvyuM che ke : 5 "nayacakra kI uttarAvadhi to nizcita ho hI sakatI hai aura pUrvAvadhi bhI / eka ora dignAga hai jinakA ullekha nayacakra meM hai aura dUsarI ora kumArila aura dharmakIrti ke ullekhoM kA abhAva hai jo nayacakra mUla to kyA, kintu unakI saMgrahaNi kRta vRtti se bhI siddha hotA hai|.... AcArya siddhasena kA ullekha donoM meM hai| yaha bhI nayacakra ke samaya-nirdhAraNa meM upayogI hai| AcArya dignAga kA samaya vidvAnoMne I0 345-425 ke AsapAsa mAnA hai arthAt vikrama saM0 402-482 hai / AcArya siMhagaNi jo nayacakra ke TIkAkAra hai apohavAda ke samarthaka bauddha vidvAnoM ke lie adyatana bauddha vizeSaNa kA prayoga karate hai| usase siddha hotA hai ki dignAga jaise vidvAn sirpha mallavAdI ke hI nahIM, kintu siMhagaNi ke bhI samakAlIna maiM|'' AgaLa teo jaNAve che : "vijayasiMhasUri prabaMdha meM eka gAthA meM likhA hai ki vIra saM0 884 meM mallavAdIne bauddhoM ko harAyA / arthAt vikrama saM0 494 meM yaha ghaTanA ghttii| isase itanA to anumAna ho sakatA hai ki vikrama 494 meM mallavAdI vidyamAna the / .... ata eva dignAga ke samaya vikrama 402 - 482 ke sAtha jaina paraMparA dvArA saMmata mallavAdI ke samaya kA koI virodha nahIM hai aura isa dRSTise mallavAdI vRddha aura dignAga yuvA isa kalpanAmeM bhI virodha kI saMbhAvanA nahIM / 42 Ama paM mAlavaNiyA nayacakrakAra mallavAdIno samaya vikramanI pAMcamI zatAbdImAM mUke che. vikramanI 11mI sadInA AcArya abhayadevanI sanmatiTIkAmAM yugapat, ayugapat, ane abhedavAdanA puraskartAonAM nAmono spaSTa ullekha karyo che. kramavAdanA puraskartA jinabhadragaNi kSamAzramaNa che. yugapAdanA puraskartA A mallavAdI che, tathA abhedavAdanA puraskartAnA rUpe A siddhasena divAkaranA nAmano ullekha karyo che. paraMtu paM sukhalAlajInuM kahevuM che ke ame te saMpUrNa saTIka nayacakranuM avalokana karIne joyuM to temAM kayAMya paNa kevalajJAna ane kevaladarzana saMbaMdhI pracalitavAdo para thoDI paNa carcA maLI nathI. e vAta to sAcI che ke nayacakramAM kevaLajJAna ane kevaLadarzananA kramavAda, yugapAda, tathA abhedavAda para koI carcA nathI, tethI tenA AdhAre mallavAdIno samaya nirdhArita karavo kaThaNa che : paraMtu mallavAdIe kevalInA upayoga saMbaMdhI A vAdonI koIka carcA karI hatI je abhayadevanI sAme rahI haze. te koI anya granthamAM haze athavA naSTa thayelA nayacakranA bhAgamAM upalabdha haze. (moTe bhAge to mallavAdInI lupta thayela sanmatinI TIkAmAM A carcA hovI joIe.) A kAraNe paM. sukhalAlajIe kalpanA karI che ke mallavAdIno koI anya yugapAda samarthaka nAno-moTo graMtha abhayadevanI sAme haze". digambara vidvAn paMDita jugalakizora mukhtArajI uparokata baMne vidvAnonA matanI carcA karatAM jaNAve che ke mallavAdInuM jinabhadrathI pahelAM hovuM prathama to siddha nathI, jo siddha hota to temane jinabhadranA samakAlIna vRddha mAnIne athavA 25 ke 50 varSa pahelAM mAnIne paNa temanA prAcInatvane siddha karI zakAya. sAthe sAthe teo abhayadevanuM mallavAdIne yugapAdanA puraskartA jaNAvavuM khoTuM samaje che '. taduparAnta nayacakramAM bhartRharino nAmollekha ane itsiMganA yAtrA-vivaraNamAM bhartRhari ullekhanA AdhAre nayacakrano samaya i. san 60 thI 650 (vikrama saMvata 657 thI 707) pachI ja mAne che. AgaLa teo kahe che ke jyAre itsiMge I san 691mAM potAnI yAtrAno vRttAMta lakhyo For Private Personal Use Only

Page #145
jitendra zAha Nirgrantha tyAre bhartuharinuM dehAvasAna thaye 40 varSa vItI cUkayA hatAM. ane te samayanI daSTie te (mallavAdI) vikramanI lagabhaga AThamI-navamI zatAbdInA vidvAnuM hoI zake che, ane temanuM ekatva nyAyabiMdunI dharmottara TIkA para TippaNa lakhavAvALA mallavAdInI sAthe thaI zake. paM. mukhtAra potAnA matanI puSTi mATe vizeSamAM kahe che ke vikramanI 14mI sadInA vidvAna prabhAcane potAnA prabhAvakacaritanA vijayasiMhasUri prabaMdhamAM bauddho ane temanA vyaMtarone vAdamAM jItavAno je samaya mallavAdInA vIravatsarathI 84 varSa pachIno arthAt vi. saM. 414 Apyo che. temAM cokakasa koI bhUla thaI che. DaoN. pI. ela. vaidya nyAyAvatAranI prastAvanAmAM A bhUlanuM kAraNa zrI vIra vikramAnI jagyAe zrI vIrasaMvatsarAtuM pAThAMtaranuM thavuM jaNAvyuM che". A prastAva anusAra paMDita mukhtAra mallavAdIno samaya visaM. 884 sudhI laI jAya che. uparokata carcAmAM paM. mukhtAre je niSkarSa kADhyo che teno svIkAra karavAthI aneka visaMvAdo UbhA thAya che. mallavAdIne navamI sadInA vidvAnuM mAnavAthI TIkAkAra siMhasUri tathA haribhadrasUri Adino samaya nirdhArita karavAmAM anekAneka prazna upasthita thaI zake che. pI. ela. vaidya je sUcana karyuM che te paNa svIkArI zakAya te nathI kAraNa ke koIpaNa pratamAM (hastalikhita) zrI vIrasaMvatsarAtunA sthAne zrI vIravikramAtuM evo pATha upalabdha nathI thato ane je maLI paNa jAya to paNa anya upalabdha pATha ane graMthamAM carcAyelA vAdonA AdhAre ApaNe ema kahI zakIe ke zrI vIra vikramAtuM vALo pATha svIkAra karavA yogya nathI. A rIte mallavAdIne navamI sadI sudhI laI javA koI rIte yogya nathI. nayacakranA vidvAnuM saMpAdaka muni jaMbUvijayano mata che ke mallavAdInA samayanI bAbatamAM je ullekha prabhAvaka caritramAM vijayasiMhasUri prabaMdhamAM prApta thAya che ke mallavAdIe vIra saMvat 884(arthAt vi. saM. 424)mAM bauddhone parAjita karyA che te yogya che. taduparAMta munijIe eka mahattvapUrNa vAta kahI che te e che ke nayacakramAM jyAM jyAM Agama pATho uddhata karyA che, temAM AjanA pracalita pAThothI keTalIka bhinnatA maLe che; eTaluM ja nahIM paraMtu keTalAka pATha to pracalita Agama paraMparAmAM che ja nahIM. temanA kathana anusAra vartamAna pracalita pATha paraMparA bhagavAna devardhigaNi kSamAthamaNe valabhImAM saMkalita karI hatI. devardhigaNi kSamAthamaNe vIra nirvANa 80(vi. saM. 50)mAM valabhImAM saMkalanA karI hatI. jyAre malavAdI vIra nirvANa saM. 884(vi. saM. 414)mAM hatA. AthI .. pAThabhedanuM kAraNa paNa sahaja che. A rIte teo malavAdIno samaya vi. saM. 414 sudhI sthira kare che". paM mAlavaNiyA paNa uparokata samayane svIkAratA kahe che ke nayacakramAM eka bAju diggAganA pramANasamuccayano ullekha che ane bIjI bAju kumArila, dharmakIrti, AdinA ullekhono abhAva che, je mULa nayacakrathI to zuM TIkAthI paNa siddha thAya che. AcArya siddhasenano ullekha mULa ane TIkA baMnemAM che. AcArya diggAgano samaya I. sana 345-425 (vi. saM. 802-82) sudhI manAya che. AcArya siMhagaNie nayacakraTIkAmAM apohavAda samarthaka bauddha vidvAno mATe "adyatana bauddha' vizeSaNano prayoga karyo che. enAthI ema sUcita thAya che ke dignAga jevA bauddha vidvAna mAtra mallavAdInA ja nahIM, paraMtu siMhagaNinA paNa samakAlIna che. prabhAvakacaritanA e zlokanA AdhAre e siddha thAya che ke mallavAdI visaM. 414mAM hayAta hatA. AthI diggAganA samaya vikrama saMvat 402-48ranI sAthe jaina paraMparA dvArA saMmata mallAdInA samayano koI virodha nathI, ane A dRSTie malavAdI vRddha ane diggAga yuvAna e kalpanAmAM paNa virodhanI saMbhAvanA nathI. AcArya siddhasenanI uttarAvadhi vikramanI pAMcamI zatAbdI mAnavAmAM Ave che. vizeSamAM malavAdIe AcArya siddhasenano ullekha karyo che. AthI baMne AcAryone paNa samakAlIna mAnavAmAM Ave to paNa visaMgati nathI. A prakAre 5, mANavaNiyA, zrI malavAdIno samaya vi. saMvata 414 ja nizcita kare che. Jain Education Intemational

Page #146
Vol. I-1995 vAdIndra mallavAdI kSamAkSamAgano samaya munizrI jaMbUvijayajI bhatRhari ane diggAganA pUrvAparya aMge sUkSma adhyayana karI jaNAvyuM che ke, pramANasamuccayanA pAMcamA paricchedamAM diggAge bhartuharinA vAdyapadIya graMthanI be kArikAono ullekha karyo che. TUMkAvya parIkSA nAmanA graMthanI racanA paNa diggAge bhartRharinA vAkyapadIyanA prakIrNa kAMDane sAme rAkhIne karI che. A rIte bhartuhari diggAganA pUrvavartI che, tathA InsiMganuM kathana, ke jenA AdhAre paM. mukhtAre samaya nizcita karavAno prayAsa karyo che, te paNa yogya nathI; kAraNa ke IsiMge kahyuM che ke bhartRhari nAmanA eka zUnyatAvAdI mahAnuM bauddha paMDita hatA e vAta mAnavA yogya nathI. kAraNa ke vAkayapadIya graMthamAM vaidika ane advaitavAdanI ja prasthApanA karavAmAM AvI che, ane bhartRharinA dharma parivartananA viSayamAM koI ullekha prApta thato nathI. AthI InsiMganA kathana anusAra bhatRharino samaya nirdhAraNa yogya baMdhabesatuM nathI. InsiMga dvArA ullikhita bhartuhari koI anya bhartuhari hovAnI zakayatA che. A rIte uparokata carcAnA AdhAre nayacakrakAra malavAdIno samaya vIra nirvANa saMvat 884 arthAt vi. saM. 414 ja rahyo haze ema jakhkhavijayajI TharAve che. uparokata carcAne AdhAre malavAdInA samayanI uttarasImA vikramanI navamI sadInA aMtima caraNa (vi. saM. 884) ane pUrva sImA vikramanI pAMcamI sadInA prathama caraNa(vi. saM. 414)nI mAnavAmAM Ave che. parantu samayagALA aMge prApta thatI keTalIka anya paNa mahattvapUrNa mAhitIone AdhAre puna: carcA Avazyaka che, ane tenA AdhAre samaya-nirdhAraNa karavuM jarUrI banI rahe che. vastutayA upara jaNAvela banne samayasImA vizvasanIya nathI. A aMge nIcenA muddAo dhyAnamAM levA yogya che : (1) A haribhadrasUri anekAnajayapatAkAmAM tathA tenI svopallavRttimAM vAdImukhya mallavAdIno be sthaLe ullekha kare che. A haribhadrano samaya AThamI sadInA uttarArdha (prAya: I. sa. 75 vA 785) nirdhArita thayelo che", mATe uttarasImAM AThamI sadI mAnavAmAM Ave to koI vAMdho Ave tema nathI. (2) vAdIndra malavAdI racita dvAdazAra-nayacaka upara A siMhabhUre TIkA racI che, ane siMhajUranI TIkA samaya aMge ItihAsavidda prA. DhAMkIe anyatra carcA karI che ane temano samaya IsvIsanUnI sAtamI sadInA aMtima caraNa (prAya: I. sa. 675-60) nirdhAryo che. AthI nizcitarUpe puravAra thaI jAya che ke mallavAdI I. sa. 675 pahelAM thayelA che. (3) vAdIcUDAmaNi mallavAdIno saMbaMdha itihAsa prasiddha valabhI nagarI sAthe che. ane teo valabhImAM rahetA hatA. valabhIno bhaMga (I. sa. 788)nA arasAmAM thayelo. A hakIkatone AdhAre spaSTarUpe kahI zakAya ke 50 mukhtArano mata sarvathA asatya kare che. (ema lAge che ke temaNe sAMpradAyika abhinivezane kAraNe malavAdIne arvAcIna TharAvavAno prayAsa karyo che.) paMDitavarSe uparokata bAbato aMge vizeSa vicAra karyo hota to emaNe potAno mata badalyo hota. Ama uttarAdhi I. sa. 675 pUrvenI nirdhArita karI zakAya. pUrva sImA :(1) malavAdI kSamAzramaNe dvAdazA-nayacakramAM zrI umAsvAtinA tatvArthAdhigamasUtrano tathA temanA svapajJa bhAgano upayoga karyo che. eTale teo umAsvAti (prAya: I. sa. 350) pachI thaI gayA che : (2) malavAdI siddhasena divAkaranA samakAlIna na hoI zake, kemake dvAdazAra-nayacakranI zailI siddhasenanI zailI karatAM vadhu pariSkRta ane vikasita che. dvAdazAra-nayacakramAM AdyastutikAra siddhasena divAkaranI kArikA uddhata karI che. vaLI haribhadrasUrie uddhata karela aMzo AdhAre temaNe siddhasena divAkaranA sanmatitarka upara TIkA racelI Jain Education Intemational

Page #147
jitendra zAha Nirgrantha hovAthI teo siddhasena divAkaranA uttaravartI che : (3) dvAdazAra-nayacakramAM diggAganA matanuM khaMDana karavAmAM AvyuM che. chellI zodhone AdhAre pAzcAtya vidvAnoe diggAgano samaya I. sa480-540nA arasAno sunizcita karyo che. jApAnI vidvAno paNa anya raste ane vizeSa pramANo anvaye e ja nirNaya para pahoMcyA che. AthI kahI zakAya ke malavAdIe dvAdazAra-nayacaka I. sa. nI chaThThI sadInA uttarArdha pUrve racyuM na hoI zake : (4) mallavAdI dvAdazAra-nayacakranA dazamA niyamavidhyaramAM Avazyaka-niryuktinI gAthA TAMke che : yathA : vatthUNaM saMkamaNaM hoti avatthUNaye samabhirUDha / (mago 0i 717) Avazyaka-niyaMtinI racanA prAya: I. sa. para5 nA arasAmAM thaI hovAnuM have manAya che. eTale dvAdazAra-nayacakranI racanA tyAra pachI thayela hovI joIe. (5) dvAdazAra-nayacakra mULa pATha aMtargata bRhatkalpaniyukita vA bRhatkalpabhASyanI bRhatkalpanI eka gAthA udbhata karavAmAM AvI che: Nicchayato savvalahu~ savvaguruM vA Na vijjaedavvaM / vavahArato tu jujjati bAyarakhaMdhesu Na itaresu // (vRdaF0 69)'' vartamAne upalabdha bhASyamAM niryukti maLI gaI che. A gAthA niyaMtinI che ke bhASyanI teno nirNaya thavo ghaTe. munizrI jaMbUvijayajI A gAthAne niyaMtikAra bhadrabAhunI mAne che, jyAre mudrita bRhatkalpamAM A gAthAne bhASyabhAthA tarIke mUkI che. vijayalabdhisUri paNa prastuta gAthAne bhASya gAthA mAne che. bhASyanA kartA saMghadAsagaNi che, jemano samaya chaThThI sadInA madhyano mAnavAmAM Ave che. Ama malavAdInuM dvAdazAra-nacakra I. sa. 550 pachInuM hoI zake. (6) eka anya mahattvanI vAta e che ke mallavAdI jinabhadragaNi kSamAzramaNanA prasiddha vizeSAvazyakabhAgamAMthI koI uddharaNa letA nathI ke jinabhadramaNikSamAzramaNanI anya koI kRtimAMthI paNa uddharaNa TAMktA nathI. AthI pahelI daSTie ema lAge ke teo jinabhadragaNi kSamAthamaNa(prAya: I. sa. 550 thI 594)nI pahelAM thaI gayA hoya; paNa bIjI bAju jinabhadragaNi kSamAzramaNa paNa mallAdInuM nAma ke temanI kRtio dvAdazAra-nayacakrano yA sanmativRttino - potAnI ja koI ja kRtimAM ullekha karatA nathI. temanI vi. A bhAva paranI apUrNa saMskRta svopajJa TIkAmAM paNa nahIM : AthI saMbhava to evo jaNAya che ke A banne mahApuruSo - malavAdI kSamAzramaNa ane jinabhadragaNi kSamAzramaNa - samakAlIna che, ane bannee eka-bIjAnI kRti joI nathI. jinabhadragaNi kSamAzramaNanuM kAryakSetra lATa paMthaka hatuM ane mallavAdInuM kAryakSetra valabhI pradeza rahyo hato. Ama samagra daSTie jotAM mallavAdI cothI zatAbdInA pUrvArdhamAM, eTale ke umAsvAtinA vRddha samakAlIna nahIM paNa umAsvAti, siddhasena divAkara, diggAga, niyukitakAra, ane bRhatkalpabhASyakAra (saMghadAsagaNi : I. sa, para5-50) pachI, ane jinabhadragaNi kSamAzramaNanA samakAlIna, eTale ke IsvIsananI chaThThI sadInA uttarArdhanA Thare che.

Page #148
Vol. 1-1995 vAdIndra mallavAdI kSamA mAgano samaya TippaNo :1. macAvyavahe dUrvAzi, jAnaMnarI, anumunizrI ajitazekhara vijayajI, jaina saMgha, gujUra saMvat 2048, pR. 332. 2. siddhasenanA samaya aMge vistArapUrvaka carcA amArA zrI bRhanircanya stutimaNimaMjuSAnI prastAvanAmAM thanAra che. 3. "zrama7vakisUri carita5,'' gumAvarita, puna: saM. zrI mukitaprabha vijaya gaNi, prAcya sAhitya punaH prakAzana zreNi graMthAMka-2, zrI zrIpAlanagara jaina dheTa mUDa derAsara TrasTa, muMbaI (sAla amudrita),sto saM0 62-70. 4. "bRhaTippanikA", jaina sAhitya saMzodhaka, pustaka prathama, aMka 2, jaina sAhitya saMzodhaka kAryAlaya, pUnA saMvat 1977, pariziSTa, pR0 10. 5. siddhahemarAjAnuzAsanama, saM paMdavijaya gaNi, zrI dakSajyota prakAzana TrasTa, amadAvAda saM. 2035, 2.2.39 6. dvarA nayama, prathama bhAga, saM. muni jambavijaya, zrI AtmAnaMda jaina graMtharatnamAlA naM. 92, zrI jaina AtmAnaMda sabhA, bhAvanagara 1966, pR. 1. che. anekAntajayapatAkA, prathama bhAga, saMhirAlAla kApaDiyA, G.0.S. Oriental Institute, Baroda 1940, pR. 58, 116. 8. saMtitakra-vizaUT, bhAga-4, saMta paM. sukhalAla saMghavI ane paM. becaradAsa dozI, purAtatva maMdira, puna: prakAzana zrI lAlabAga motizA ceriTI TrasTa, muMbaI (sAla amudrita), kAMDa-2, gAthA-10, pR. 600 9. pratikSaUTE, saMpAdaka Adino ullekha nathI. lA. da. vidyAmaMdiranA pustakAlayamAM kramAMka 15890, pR. 89. 10.3ttaravayanAni, prathama mALa, zrI zAnciAvArtha vidita ziSyaditAdyavRttiyu, saMta no ullekha nathI, Agama prakAzanamALA-7, zrI jinazAsana ArAdhanA TrasTa, muMbaI saMvat 2046, pR. 68. 11. nyAyAvatAravArtikavRtti, saM50 zrI dalasukha mAlavaNiyA, siMdhI jaina graMthamALA graMthAka-20, bhAratIya vidyAbhavana, muMbaI 1949, pR018, 125. 12. zrI manuyordUra sUtraSa, zrI mattapahemacaMdrasUri vita vRtti yuY, saM. ullekha karavAmAM Avyo nathI. zrI jinAgama prakAzana mAlA-3, zrI jinazAsana ArAdhanA TrasTa, muMbaI visaM. 2045, pR. 247, 13. utpAdAdisiddhi, saMpAdakano ullekha nathI, zrI jinazAsana ArAdhanA TrasTa, muMbaI saMvat 2045, pR. 222. 14. dharmasaMrahaNi bhAga-2, anuajitarazekhara vijaya, zrI AdinAtha jaina zvetAmbara maMdira TrasTa, beMgalora saMvat 2052, pR. 77. 15. dvAdazAre nayacakrama, bhAga-3, saM. munizrI jaMbUvijayajI, zrI AtmAnaMda jaina grantharatnamALA graMthAMka-95, zrI jaina AtmAnaMda, bhAvanagara 1988, pR. 04-~6. 16. AkhyAnakamaNikoza vRtti, saMta muni puNyavijaya, prAkRta grantha pariSada, vArANasI 1962, pR 172-74. 17. ajJAtakartakaprabacatuTaya, saM. ramaNIka bha0 zAha, kalikAla sarvajJa zrI hemacaMdrAcArya navama janma zatAbdI smRtisaMskAra - zikSaNa nidhi, amadAvAda 194, pR. 32-37. 18. prabhAvaka caritra ane prabaMdhakoza, puna: saMta zrI mukitaprabhavijaya gaNi, prAcya sAhitya puna: prakAzana zreNi graMthAMka-2, zrI zrIpAlanagara jaina bheTa mUka derAsara TrasTa, muMbaI (prakAzana varSa amudrita), pR. 77-79. 19. prabaMdhaciMtAmaNi, bhAga-1, saM. jinavijaya muni, siMdhI jaina jJAnapITha, zAntiniketana 1933, pR 107. 20. prabaMdhakoza, bhAga-1, saM. jinavijaya, siMdhI jaina jJAnapITha, zAMtiniketana 1935, pR. 21- 23, 21. prastAvanA, viSarttatha , prathama bhAga, saMpaMlAlacaMda bhagavAnadAsa, G.0.S. Vol.116, Oriental Institute, Baroda | 1952, pp. 11-17. 22. vArita, pR0 79, lo. 72, 73. 23. Art narama, saM. jaMbUvijayajI. (juo enA traNa bhAgo, jenI vigato uparanI noMdhomAM AvI gaI che.) 24. TUddha navaraF, bhA. 1-4, saMi AcAryazrI vijayalabdhi sUrIzvara, zrI labdhisUrIzvara jaina granthamALA, chANI 1960. Jain Education Intemational

Page #149
10 jitendra zAha Nargrantha 25. Hvazart navaghah5, bhA1-3, saM. muni zrI jaMbUvijayajI, zrI AtmAnaMda jaina grantha ratnamAlA - 92, 93, 95, zrI jaina AtmAnaMda sabhA, bhAvanagara 1966, 1977, 188. 26. anekAnta jayapatAkA, bhA1, saMta ecaAra0 kApaDiyA, G.0.S., Oriental Institute, Baroda 1940, pp. 58-116. 27. "bRhaTippanikA," jaina sAhitya saMzodhaka, pustaka prathama, aMka 2, jaina sAhitya saMzodhaka kAryAlaya, pUnA, saMvata-1977, pariziSTa, | pR0 10. 28. saMmatitaprakaraNama, bhA. 4, saM paM. sukhalAla saMghavI ane paMbecaradAsa dozI, purAtatva maMdira, puna: prakAzana zrI lAlabAga motizA cerITI drasTa, muMbaI (prakAzana varSa amudrita), kAMDa-2, gAthA-10, pR. 608. 29. prabhAvaka carita, prathama bhAga, saM. jinavijaya muni, siMdhI jaina graMthamALA, amadAvAda-kalakattA 1940, zloka 37, pR. 8. 30. munizrI kalyANavijayajI, "prabandha paryAlocana," zrI prabhAvakacaritra, gujarAtI anuvAda, zrI jaina AtmAnaMda graMthamALA-63, zrI jaina AtmAnaMda sabhA, bhAvanagara saM. 1987, pR0 56. 31. ejana. pR. 56-57. 32. munizrI darzanavijaya, jJAnavijaya, nyAyavijaya (tripuTI), jaina paraMparAno itihAsa, bhA1, zrI cAritra smAraka graMthamAlA, graMTa 51, amadAvAda 1952, pR. 380, 567. 33. mohanalAla dalIcaMda desAI, jaina sAhityano saMkSipta itihAsa, zrI jaina che. kaoNnpharansa oNphisa, muMbaI 1933, pR 136. 34. "prastAvanA", ghara karI, uM. tamurNa matavaLayA, vInAyasvAla risarva TyUiTa, paTanA 272. 35. ejana. 36. tripuTI mahArAja, jaina paraMparAno itihAsa, bhA1, zrI cAritra smAraka graMthamAlA naM. 51, amadAvAda 1952, pR. 380. 37. ejana. pR0 379. 38, prabhAvakacarita, bhA1, saM. muni jinavijaya, siMdhI jaina graMthamAlA, amadAvAda-kalakattA 1940, pR 166. 39. tripuTI mahArAja, jaina paraMparAno, bhA. 1, pR. 379. 40. nAthurAma premI, "revasena # naya%", naina sAhitya gaura tihAsa saMpita hityamAtA, graMtha che, naina graMtha ratnA (veTa) limiTeDa, bambaI 1956, pR0 168-169. 41. 50 dalasukha mAlavaNiyA, "kAvArtha mannavAhI na#', zrImad rAnnakUf If ftha, zrI saudharmavRttaHTTchIya naina zvetAzvara saMpa, mAho-vI KI 1267, pR. 206-220. 42. ejana. pR. 210. 43. taMtita- 6, bhA. 4. saMpaM. sukhalAla saMghavI ane paM. becaradAsa dozI, puna: prakAzana zrI lAlabAga motizA cerITI TrasTa, muMbaI (prakAzana varSa amudrita), kAMDa-2, gAthA-10, pR. 608. 44. "prastAvanA", jJAnabindu, saM. jayasuMdara vijaya, aMgherI gujarAtI jaina saMgha, muMbaI, vi. saM. 2043, pR. 61. 45. ejana, pR. 61. 46. jugala kizora mukhtAra, jaina sAhitya aura itihAsa para vizada prakAza, zrI vIra zAsana saMgha, kalakattA 1955, pR0 550. 47. ejana, pR. 551. 48. ejana, pR. 553. 49. prastAvanA, dUra tharma, prathama pAnuM, saM. munizrI jaMbUvijayajI, zrI AtmAnaMda jaina grantharatnamAlA, naM. 92, zrI jaina AtmAnaMda sabhA, bhAvanagara 1966, pR. 49. 50. ejana, pR50, 61. 51. ejana, pR. 50. para, paMi dalasukha mAlavaNiyA, "mArA mantavArI '', pR. 20. Jain Education Intemational ication International

Page #150
Vol. 1.1995 vAdIndra malyavAdI kSamAzramAgano samaya 53. "prastAvanA", dvatA nayA, -2, muni zrI jaMbUvijayajI, pR. 49. 54. muni zrI jakhkhavijayajI, "jainAcAryazrI mallavAdI ane bhatRharino samaya," buddhiprakAza (raimAsika) 8, aMka 11, gujarAta varnAkulara sosAyaTI, amadAvAda 1951, pR. 332. 55. manevAna jayapatA, pa-1, saM. hirAlAla kApaDiyA, pR058, 116. 56. aprakAzita lekha ane maukhika carcAne AdhAre 57. dvArA naveva, pR. 596. 58. ejana, pR0 35. 59. juo pAdaTIpa naM. 55. 60. vizart natha, pR. 89. 61. ejana, pR. 301. 62. vRdalTengazUTam, saMmunizrI caturavijaya tathA puNyavijayajI, zrI AtmAnaMda jaina grantha ratnamAlA 82, zrI jaina AtmAnaMda e sabhA, bhAvanagara 1937, pR. 22. 63. "prastAvanA", dvArA navagha-4, saM. AcArya vijayalabdhisUri, labdhisUrIzvara jaina granthamAlA-44, chANI 1960, pR32. Jain Education Intemational

Page #151
vAdI-kavi bappabhaTTisUri madhusUdana DhAMkI isvIsananA AThamA zatakamAM, maitraka mahArAjyanA avanati kALe, A mahAna jaina vAzmI ane vAdI uttara gujarAtamAM thaI gayA. prabandho anusAra emano munirUpeNa zikSAkALa joke moDherA paMthakamAM vItyo che, to paNa temanuM karmakSetra (e ja sroto anusAra) gujarAta bahAra dazArNadezamAM gopagiri (gvAliyara), kAnyakubja (kanoja), tema ja zUrasena-pradezamAM mathurA, ane gauDa-dezamAM lakSaNAvatI (lakhanautI) tarapha rahyuM hoI gujarAtanI A prAphamadhyakAlIna vibhUti-vizeSanuM nAma thoDAka jaina vidvAno tema ja keTalAka itihAsajJo bAda karatAM alpa paricita ja rahyuM che. nigrantha-zvetAmbara saMpradAyanA caityavAsI AmnAyamAM thaI gayelA A muni-kavinuM jIvanavRtta pazcima bhAratamAM racAyela, mukhyatve madhyakAlIna tema ja uttara madhyakAlIna, jaina carita-prabandhAdi sAhityamAM saMkalita thayuM che. upalabdha che te sAhitya bAramA-teramA zatakathI lai paMdaramA zatakanA madhyAhna sudhInA gALAnuM che. temAM sauthI jUnuM to prAkRta bhASA-nibaddha bappabhaTTisUri-carita che, jenI hastaprata ja saM. 1291 / I. sa. 1235nI hoI prastuta kRti te pUrvanI, ochAmAM ochuM bAramA zataka jeTalI purANI to hovI joIe'. te pachI joIe to rAjagacchIya prabhAcandrAcAryanA prabhAvakacarita (saM 1334 / I sa 128) aMtargata '"bappabhaTTicarita'" je AgaLa kahyuM te prAkRta carita ane anya, Aje ajJAta evAM, ekAda be caritone pallavita karI racAyuM hoya tema lAge che. eka Amaprabandha nAme prabandha paNa racAyelo chea. tenA pravibhAgo to prabhAvakacaritAdi granthamAM maLe che tevA che, paNa mudrita rUpeNa pUro pATha upalabdha na hoI tenA viSe hAla to kazuM kahI zakAya tema nathI. tyAra bAda nAgendragacchIya meruttuMgAcArya kRta prabandhaciMtAmaNi (saM 1361 / I. sa. 1305) aMdarano ''bappabhaTTisUriprabandha"', kharataragacchIya jinaprabhasUrinA kalpapradIpa antargata 'mathurApurI-kalpa'' (A saM 1389 / I. sa 1333), rAjagacchIya rAjazekharasUri kRta prabandhakoza (saM. 1405 / I. sa. 1349)", ane saMkalana grantha purAtana-prabandha-saMgraha aMtargata prata 'P' (lipi saMvat 1528 / I sa 1472) e mukhya kRtio che. A sivAya tapAgacchIya munisuMdarasUrino saTIka upadezaratnAkara (isvIsananA 15mA zatakano AraMbha) tathA zubhazIla gaNinAM zatruMjayakalpavRtti (saM. 1518 / I. sa. 1462) ane paMcazatI-prabodha-sambandha (vi. saM. 1521 / I sa 1465)10 aMdaranA keTalAka sambandhone mukhya rUpe gaNAvI zakAya. A saumAM (mudrita rUpe upalabdha che temAM) vAstavika rIte upayogI to kevaLa bAramAthI caudamA zatakanAM saMskRta sAdhano ja che. pachInA badhA ja prabandho AgaLanAM lakhANonA AdhAre ja saMkSiptamAM lakhAyAM che, ane temAM koI koImAM navI vAto ghusADavA jatAM mULa bagaDelA bhAgomAM vizeSa vikRti dAkhala thaI gaI che. prabandhomAM kathela bappabhaTTisUrinA vRttAMtamAM AvatI keTalIka vAto ane ghaTanAo vizvasta jaNAya che, to keTalIka gaDabaDayukata, kalpita, ane azraddheya che : AmAMnI keTalIka dhArmika mamatva-darzaka, akAraNa mahimAparaka, ane tethI sAMpradAyika abhiniveza, ahobhAva, temaja atizayoktithI raMgAyelI che. uparyukata carito-prabandhonA nirIkSaNa parathI eka vAta to spaSTa che ke temAM je pramANamAM jUnAM che tenA kartAonI sAme bappabhaTTi sambaddha maukhika anuzrutio sivAya lekhita paramparA sAcavatA thoDAM vadhAre jUnAM (paNa Aje alabhya) saMskRta-prAkRta betraNa (saMkSipta) prabandho-carito hatAM, temAM prasaMgocita saMbhAra umerI, bappabhaTTisUrinA hoya ke na hoya tevAM saMskRta-prAkRta padyo emanA mukhamAM (ke prAsaMgika parisaramAM) goThavI, itihAsanI to ThIka paNa aucityanI paNa For Private Personal Use Only

Page #152
Vol. I-1995 vAdI-kavi bappabhaTrisUri paravA karyA sivAya, mULa hakIkatone kevaLa kalpanAnA baLe ane svaruci tema ja sAMpradAyika AvazyakatA anusAra pheraphAra karIne, vadhArIne, prabaMdhakAronI kahevAnI rIte, rajU karI che. sAMprata kALe gopagirirAja maurya yazovarmA (8mI zatAbdI pUrvArdha) para gaveSaNA calAvanAra vidvAnoe bappabhaTTi sambaddha prakAzita jaina prabandhAtmaka sAhityano sau saunI sUjha pramANe upayoga to karyo che: paNa prabandhakAronAM gUMcavADA ane keTalIka asaMbhavita vAtothI, temaja sAMpradAyika dRSTikoNathI thayelA nirUpaNathI kaMTALIne bappabhaTTinA viSayamAM (amukAMze to bappabhaTTi jaina hovAne kAraNe paNa) vizeSa vicArI zakayA nathI``. vadhumAM Adhunika anveSakonuM mukhya lakSya yazovarmA (ane madramahIvijaya tathA gauDavahonA kartA, emanA sabhA-kavi 'vAti') hoi, bappabhaTTine emanAM lakhANomAM sarvathA anyAya nahIM thayo hoya toye adhikAMze temanI upekSA to thayelI che'ra. 13 prabandho anusAra bappabhaTTi pAMcAla(bhAla-paMcALa)mAM DuMvAudhI (dhAnerA pAsenA DuvA) grAmanA nivAsI hatA; bALavaye gherathI risAIne cAlI nIkaLelA, ne pachI pATalA grAma(pADala)nA purANA jIvaMtasvAmI neminAthanA caityanA adhiSThAyaka, moDhagacchIya AcArya siddhasena sUri pAse abhyAsa karI dIkSita thayelA. pravrajyA samaye emanuM 'bhadrakIrtti' nAma rAkhavAmAM AveluM: paNa pachIthI-caritakAro prabandhakAronA kahevA pramANe-emanAM pitA 'bappa' mAtA 'bhaTTi'nAM nAma parathI 'bappabhaTTi' nAma ApavAmAM AvyuM. (A nAma apAya to ja emanA bALakane pravrujita muni rUpe bahAla rAkhavAnI, yA pravrajyA devA anumati devAnI, temanI taiyArI hatI ema caritakAro kahe che !) nAmotpattino A khulAso alabatta mULa (ke pAchalA kALanA ?) prabandhakAra ke caritakAranI potAnI kalpanA lAge che ! kemake 'bappa' zabda sanmAnasUcaka che: temAM gurutva-vRddhatva-pUjyatvanA bhAvo sammilita che, ane 'bhaTTi' kadAca bhagnikAvyanA maitrakakAlIna kavi bhaTTi(chamA saikA)nA nAmane anusarIne, bhadrakIrtinI anupama kAvyapratibhAne lakSamAM rAkhI, pachIthI moTI umare emanI khUba prasiddhi bAda ApavAmAM AvyuM hoya. tilakamaMjarIkAra mahAkavi dhanapAla, amamacaritrakAra muniratnasUri ityAdi lekhako to temane 'bhadrakIrtti' nAme ja saMbodhe che. (eka kalpanA e paNa thaI zake ke teo paMjAbamAM Avela 'bhaTTikadeza' paMthakathI nIkaLela 'bhaTTi' nAmathI oLakhAtI (rAjaputa) jJAtimAM thayA hoya. vartamAne gujarAtanI 'bhATiyA' koma, saMgItamAM 'bhaTiyAra' rAga ityAdino saMbaMdha paNa A bhaTTikadeza sAthe hoya tema lAge che.) bhadrakIrtinA guru AcArya siddhasenasUri te moTe bhAge vAcaka umAsvAtinA sabhASya-tattvArthAdhigamazAstra (A I. sa. 350-400) para I. sa. 760-70 nA arasAmAM saMskRtamAM bRhavRtti racanAra 'gandhahasti siddhasena' hoI zake``, ane prabandhomAM apAyelI pRthak pRthak mitio anusAra bappabhaTTisUrino sarAsarI pUrvakALa paNa e ja arasAno che, tema ja e kALe to koI anya zvetAmbara siddhasena sUrinA astitva vizeno ullekha kayAMyathIye prApta thato nathI'. vizeSamAM gandhahasti siddhasena eka acchA saMskRtajJa ane AgamonA temaja darzanonA pAragAmI paMDita hatA. bhadrakIrtie AvA ja samartha guru pAse vidyA prApta karI hoya. sidrasena gaNinA praguru siMhazUra kSamAzramaNanI mallavAdI kSamAzramaNanA dvAdazAranayacakra (chaThThA zatakano madhyabhAga) paranI TIkA (A I. sa. 675)mAM UMDANabharyuM, nayAzrita tArkika-dArzanika tattvajJAna evaM bahuzrutatA vyakata thAya che. bappabhaTTisUrinuM vAdItva amukAMze svazAkhAnI A Agamika atirikata dArzanika evaM nyAyapravaNa paraMparAne AbhArI hoI zake. bappabhaTTi eka utkRSTa kavi hovA uparAMta ajeya vAdI paNa hatA, te sambandhanAM pramANo viSe AgaLa joIzuM. bappabhaTTisUrinA jIvana viSe prabandhomAMthI (ane yazovarmA paranA Adhunika anveSaNonA AdhAre) tAravI zakAtI keTalIka vizeSa evaM pramukha ghaTanAo A pramANe che :

Page #153
madhusUdana DhAMkI Nirgrantha (1) bAlamuni avasthAmAM moDherAmAM gopagirirAja yazovarmAnI tyakatA rANI suyazAnA putra 'Ama(Amra)'nI sAthe thayela saha ucherane kAraNe maitrI : 14 (2) kAzmIranA lalitAditya mukatApIDa sAthe I sa 740-741 mAM thayela yuddhamAM yazovarmAno parAjaya, emAM gumAvAyeluM kanoja, ane pachIthI keTalAMka varSo bAda thayela maraNa, ane rAjakumAra 'Ama'no te pachI gopagirimAM rAjyAbhiSeka : (3) AmarAje gopAdri teDAvela bAlamitra bappabhaTTi ane emanuM rAjasabhAmAM kavirUpe besaNuM : (4) Ama-narendranA anurodhathI siddhasenasUrie bappabhaTTine moDherA(saM 811 / I sa0 755)mAM ApeluM sUripada kiMvA AcAryapada. bappabhaTTinuM te pachI gopagiri tarapha javuM; sAhitya pramoda : (5) gurunA svargavAsa pUrve bappabhaTTine moDherA punaHteDuM ne gurunuM svargagamana; gurubaMdhuo nannasUri tathA goviMdasUrine (moDherA-pATalAno) gacchabhAra soMpI bappabhaTTinuM gopagiri tarapha punargamana; sabhAmAM saMskRta-prAkRtamAM kAvya-goSThIo; temanI zrRMgArI mana:paryaya kAvya-racanAothI sAzaMka (vA ghRNAyamAna) rAjA Ama; Ame mokalelI vArAMganA dvArA bappabhaTTinI zIlaparIkSA; AmanuM gaNikAnA premamAM phasAvuM; 'Ama'thI aprasanna bappabhaTTinuM gauDa dezanI rAjadhAnI lakSaNAvatI tarapha gamana ane tyAMnA rAjA 'dharma'nI sabhAmAM beThaka; agAu yazovarmAe gauDapati para vijaya karIne potAnI sabhAmAM lAvela kavi vAkpatirAjanuM (kadAcita AmarAjanA vilAsIpaNAne joI, temaja vRddhAvasthAne kAraNe) mathurA tarapha (vAnaprastha gALavA) cAlyA javuM : (6) AmarAjanuM bappabhaTTine AvavA mATe puna: AmaMtraNa; bappabhaTTinuM AvavuM; gauDIya baudrAcArya vardhanakuMjarano vAdamAM parAjaya. AmarAjAnI rAjagiri (rAjoragaDha, rAjasthAna) para caDhAi ane tyAMnA rAjA samudrasenano karelo parAjaya; (ane kadAca te pUrve kAnyakubjanI punaH prApti) : (7) bappabhaTTinA prabhAva nIce AmarAjanuM jaina darzana tarapha DhaLavuM, paNa kulakramAgata vaidika dharma choDavAnI anicchA; anyathA Ama dvArA gopagirimAM ane kanojamAM jina mahAvIranAM unnata jinAlayonAM nirmANa tathA bappabhaTTi dvArA, ke pachI emanI preraNAthI AmarAjA dvArA, mathurAnA jina pArzvanAthanA purAtana stUpano uddhAra : mathurA jaIne kiva vAtirAjane tenA antima dinomAM jaina banAvavuM : (8) bappabhaTTinAM sarasvatI, caturviMzati jina, gopagiri-mahAvIra, mathurA stUpanA jina, ane gokulanA zAntidevI saha zAMtinAthane uddezIne banAvAyela saMskRta stotro tathA zatArthI (mukataka) ane prAkRtamAM racela mukatakonI tArAgaNa nAmaka (zaMkuke racela padya-koza) racanA : (9) AmarAja sAthe sUrinI ujayantagiryAdi saurASTranAM tIrthadhAmonI yAtrA, ujayantagiri samIpa digambarono vAdamAM parAjaya karI zvetAmbaronA kabajAmAM tIrthane mUkavuM : (10) AmanuM mRtyu. AmanA anugAmI duka sAthe bappabhaTTinI asahamati. gaNikAsakata duMdukathI jAna bacAvavA tenA putra bhojanuM bhAgI nIkaLavuM; ante tenA dvArA duMdukano vadha; te pahelAM ati vRddha vaye bappabhaTTino kanojathI vihAra ane tatpazcAt I. sa 839mAM svargagamana. caritakAra-prabaMdhakAranAM lakhANomAM rahelA keTalAka visaMvAdo meM ahIM noMdhyA nathI; paNa upara lakhyuM che temAMthI je aitihAsika samasyAo UbhI thAya che te tarapha to dhyAna doravuM jarUrI lAge che : For Private Personal Use Only

Page #154
vAdI-kavi bappabhaTTisUri (1) gopagiri jeTalA dUranA sthaLathI uttara gujarAtanA moDherAmAM gopagirinA rAjakumAra AmanuM bALavaye rahevuM jarA avyavahAru lAge che. A AmarAja najadIkanA pradezamAM, gurjaradezano pratIhAravaMzIya kuMvara to nahIM hoya? IsvIsananA AThamA zatakanA uttarArdhamAM kayAreka Anartano A bhAga vikasI rahela pratIhAra rAjyano bhAga banelo, e vAta to suvidita che. Vol. 1-1995 (2) caritakAro rAjA AmanuM 'nAhAvaloka' eTale ke 'nAgAvaloka' biruda Ape che te to pratIhArarAja nAgabhaTTa dvitIya(I. sa. 815-833)nuM gaNAya che. 'AmarAjA' e nAgabhaTTa dvitIya hoya to AmanA putranuM duMduka nAma gharagaththuM mAnI, tene nAgabhaTTa-putra rAmabhadra mAnI zakAya. (duMdukanI peThe rAmabhadra paNa 'nAmacIna' hato ! pratIhAra prazastiomAM ene lagatI noMdho maLatI nathI !) ane jema duMdukanA putranuM nAma bhoja hatuM tema rAmabhadranA putranuM nAma mihirabhoja hatuM, temaja tenI rAjadhAnI paNa Ama-pautra bhojanI jema kanoja ja hatI, ane gvAliyara paNa tenA Adhipatya nIce hatuM: A samAntara-samarUpa vAtono zuM khulAso karavo ? 15 (3) prabandho maurya yazovarmAe gauDapati dharmane harAvyAnuM kahe che je kevaLa goTALo ja che ! yazovarmAnA samayamAM to magadha-gauDadeza guptarAja jIvitagupta dvitIyanA Adhipatya nIce hatA : ane IsvIsananA AThamA zatakanA chellA caraNamAM to eka bAjuthI vatsarAja pratIhAra, gauDapati dharmapAla, ane rASTrakUTa samrATa dhruva tathA enA anugAmI govinda dvitIya vacce kanoja upalakSe bhAre samarAMgaNo khelAyelAM. (4) I. sa. 770-775 pachI AmanI zuM sthiti hatI, kanoja mATenA upara kathita triraMgI ghamasANomAM eno zuM hisso hato, te viSe to kaMI ja noMdhAyuM nathI; ne tenA maraNanI prabandhomAM apAyelI miti, I sa 833-834, to vAstavamAM pratIhArarAja nAgabhaTTa dvitIyanA mRtyunI che ! (5) saMbhava che ke prabaMdhakAroe prAraMbhamAM bappabhaTTino gopagiripati asalI rAjA Ama sAtheno sambandha, ne AmanA vilopana bAda emanuM gauDapati dharmapAlanI rAjadhAnI lakSaNAvatI tarapha prayANa, ane pachInAM varSomAM nAgabhaTTa dvitIyanI kanojanI sabhAmAM sthAna, e badhI vAto bheLavI gUMcavI mArI hoya : ane vAtirAjane jaina banAvyAnI vAta to prabandhakAronI potAnI dharmaghelI kalpanAthI vizeSa nathIpa ! A badhA koyaDAo ukelavA A paLe to koI vizeSa jUnuM ane vizvasta sAdhana najare AvatuM nathI; paNa sAthe ja prabandhonI badhI ja vAto kADhI nAkhavAne badale AThamA-navamA zatakamAM banelI aitihAsika ghaTanAo-tathyonuM pUruM tema ja vyavasthita jJAna na hovAne kAraNe temaNe gUMco UbhI karI dIdhI che ema mAnI, A samasyAono pUrNa ukela bhaviSya para choDavo joIe. eTaluM to lAge che ja ke bappabhaTTinuM prAraMbhe yazovarmAnA putra AmanI sabhAmAM sthAna hatuM. (AmarAja niHzaMka aitihAsika vyakita che; te gopagirinA mauryavaMzamAM thaI gayo che. gvAliyara pAse tenA nAmathI vasyuM hoya tevI zakayatA darzAvatuM 'Amarola' [Amrapura] nAmaka gAma paNa che, ane tyAM AThamA zatakanA uttarArdhanA arasAmAM mUkI zakAya tevuM purAtana, zilpakalAmaMDita, pratIhAra-samAna zailInuM zivAlaya paNa che.) bappabhaTTinA janma, dIkSA, sUripada ane mRtyu sambandhI prabandhAdi sAhityamAM je nizcita AMkaDAo dIdhA che (juo ahIM lekhAnte tAlikA) temAM ekAda apavAda sivAya ekavAkayatA nathI. joke sthULamAnathI jotAM AThamI-navamI zatAbdImAM teo thaI gayA te vAta to sunizcita evaM vizvasanIya che. prabandhAdi sAhityamAM maLatA prastuta AMkaDAo rajU karI temano samaya-vinizcaya karavA yatna karIzuM.

Page #155
madhusUdana DhAMkI Nirgrantha prabandhAdi sAhityamAM maLatI A mitionI satyAsatyatA cakAsavA mATe ApaNI sAme bappabhadrisUrine sparzatI keTalIka pramANamAM sudaDha karI zakAya tevI mitio che : (1) yazovarmAnA Isa. 740-741nA parAjaya pachIthI AmanuM I. sa. 743-754 vaccenA koI varSamAM, paNa yazovarmAnA maraNa pachI turatamAM ja, rAjyArohaNa thayuM hovuM ghaTe. e samaye te taddana bALaka hovAne badale 22-23 varSano javAna nahIM hoya to 17-18 varSano kizora to haze ja. e nyAye bappabhaTTanuM vaya paNa lagabhaga eTaluM ja hovuM ghaTe ane ethI emano janma prabandhakAro kahe che tema I. sa. 744 jeTalA moDA varSamAM thayo hovAnuM Ama to saMbhavatuM nathI. (2) temanI dIkSA sAta varSanI vaye thayelI te vAta to ThIka che, paNa 11 ja varSanA bALamuni rAjasabhAmAM - kavi hoya ane vaLI eTalI nAnI avasthAmAM temane sUripada paNa maLe te mAnavA yogya ke banavAga vAta nathI. guru siddhasenasUri ochAmAM ochuM I. sa. 765-70 sudhI to jIvita hoya tevI aTakaLa thaI zake che. AthI bappabhaTTasUrine AcAryapada maLyuM hoya te I. sa. 765nA arasAmAM haze; ane te mATenI IsvIsana 755 vALI miti sAcI hoya to bappabhaTTinA janmanI miti IsvI u44 ne badale vahelI, kalpapradIpakAra anusAranI I. sa. 733 hovI ghaTe: paNa to pachI temanA 95 varSanA AyuSya temaja aMtima varSonI ghaTanAo, temaja 839nI mRtyumitino meLa na bese. (3) jinaprabhasUrinA kalpapradIpa aMtargata "mathurApurIkalpa" mAM jaNAvyA pramANe vi. sa. 826 / I. sa. 769-770 mAM bappabhaTTasUrie mathurAmAM mahAvIranA biMbanI pratiSThA karI. A miti bharoso karavA lAyaka che. A varSomAM bappabhaTTasUri pratiSThAkartA AcAryanI kakSAe pahoMcI gayA che; saMbhava che ke e varSamAM temanA guru siddhasena kadAca ati vRddhAvasthAmAM hajI hayAta hoya. (4) ujajayantagiri para digambarono ke nA matAvalaMbiyAnIyono vA uttaranA boTika | acala kSapaNakono ?). parAjaya I. sa. 784 bAdanA koIka varSamAM thayo haze; kemake prastuta varSamAM to hajI (ambA zikhara para sthita) "siMhavAhanA zAsanadevI" (aMbikA) ke jenuM asalI maMdira moTe bhAge yApanIya sampradAya dvArA prasthApita hatuM, tenuM smaraNa vardhamAnapura (vaDhavANa) sthita punnATa saMghanA AcArya jinasena svakRta harivaMzapurANa (I sa84)mAM kare che. (5) prabaMdhakAronA kathana pramANe bappabhaTTasUri dIrdhAyuSI hatA. 95 varSe svargavAsI thayelA. A vAta asaMbhavita nathI. teo caityavAsI hoI, jaina muninAM Agamopadezita kaDaka AcAra vA ati kaThora caryAnA vyavahAramAM pAlanamAM mAnatA nahotA. temAMye vaLI kavijana, ane pAchA rAjasabhAmAnya, eTale jIva kaMIka zArIrika sukhamAM paNa rahyo haze. paNa e zithilAcAra ane sukhazIlapaNAnI vAta javA daIe to ye emanA samakAlika vidyAdhara kuLanA suvidhRta, AcArasampanna yAkinIsUna haribhadrasUri ane emanA jeTalA ja mahAnuM ane vikhyAta, paMcatUpAnvayanA maThavAsI digambara AcAryo - gura vIrasena ane ziSya jinasena - paNa dIrdhAyuSI hatA. solaMkI kALamAM (ane sAMprata kALe paNa) lAMbuM AyakhuM pahoMcyuM hoya tevA prasiddha-aprasiddha zvetAmbara jaina munionA keTalAye dAkhalAo che. Ama samagra daSTie rAjagacchIya pradhumnasUrikRta vicArasAraprakaraNa (prAya: I. sa. 1175-12%) tathA AMcalika merUtuMgAcArya vicArazreNI (IsvI 14mI zatIno aMta ke 15no prAraMbhamAM ApelI temanI I. sa. 833nI tulyakAlIna nirvANatithi svIkArIe to emano janma kalpapradIpa anusAra A I. sa. 733, dIkSA A0 I. sa740, ane AcAryapada A I. sa. 760 e kramamAM hovAno

Page #156
Vol. I.1995 vAdI-kavi bappabhakisUri saMbhava che"; ane jo prabhAvakacaritakAra ane emane anusarIne prabandhakozakAra kahe che tema temanI nivaNa-tithi I. sa. 88-839nI hoya to agAu kahyA che te AMkaDAo daza-paMdara varSa AgaLa levA paDe: ane to pachI giranAra yAtrAmAM je "AmarAja" hoya te gopagirirAja "Ama' nahIM paNa nAgAvaloka pratIhAra nAgabhaTTa dvitIya mAnavo ghaTe. Ama ekaMdare jotAM temanA astitvanA samaya-vistArano pUrepUro saMtoSajanaka nahIM to ye keTaleka aMze kAma cAlI zake tevo nirNaya thaI jatAM have emanA jIvananAM anya pAsAMo tapAsavAnAM rahe che. vizeSa karIne emanuM (1) kavitva; (2) vAdItva, ane temanI preraNAthI AmarAje karAvela (3) jinAlaya-nimaNAdi. bappabhaTTa eka prAMjala ane siddhahasta kavi hatA te vAtanA prabanyo atirikata be vargamAM AvI jatAM keTalAMka anya ane sacoTa pramANo cheeka to anya nircantha vAkrayakAroe emanI kavirUpeNa karelI prazaMsA ane temanI kAvyapratibhAne arpita karela aMjalio; bIjuM emanI upalabdha kAvya kRtio. ene have kramavAra joI jaIe : () rAjagacchIya vinayacandra svaracita kAvyazikSA(A0 I. sa1225-1235)nA AraMbhe, tathA pariccheda "pa"mAM, bappabhaTTinI vANInuM AhavAna ane smaraNa kare che : yathA : natvA zrIbhAratI,devIM bappabhaTTiguro girA / kAvyazikSA pravakSyAmi nAnAzAstranirIkSaNAt // 1 // 22 tathA yogairlagnaizca nakSatrairgrahaivarizca saptabhiH / lakSaNairjAyate kAvyaM bappabhaTTi prasAdataH / / 220 // 23 (2) vinayacandrathI 50-60 varSa pUrve pauSTramika muniratnasUrinA amasvAmicaritra (saM. 1225 / I. sa. 1169)nI jinasiMhasUrie racelI prAnta-prazastimAM bhadrakIrtino "AmarAja-mitra' rUpe ullekha thayo che tathA temanA (prAkRta gAthA-koza) tArAgaNane prazaMsApUrvaka yAda karyo che : vyomnazca bhadrakIrtazca khattArAgaNasya kaH / bahudhAmarAja-mitrarAdhdhasyAvai tu vaibhavam // 20 // (3) amasvAmicaritrathI 9 varSa pUrve, bRhadgacchIya Amradeva sUrinA ziSya nemicandrasUrinA prAkRta anaMtanAthacariya (sa. 1216 | I. sa. 1160) aMtargata pAlittasUri ane vijayasiMhasUri sAthe bappabhaTinI kavitAnI prazaMsA karI che 35 : pahaNo pAlittaya - bappahaTTi-siri vijayasIha naamaanno| jANayaMti mahacchariyaM jaMtA guruNo vi sukainaM // 11 // (4) A traNe racayitAothI agAu, candrakulanA yazobhadrasUri-gacchanA siddhasenasUri (sAdhAraNAMka)nI vilAsavaIkahA (vilAsavatIthA: saM. 1123 | I. sa. 1067)mAM kartAe svagacchane (yazobhadrasUri-gacchane) "rAjasabhAzekharI bappaTTi(bappabhaTTi)"nA saMtAnarUpe prasavelo batAvyo che : yathA : Jain Education Intemational Jain Education Intermational

Page #157
madhusUdana DhAMkI Nirgrantha saMtANe rAyasahAseharibappahaTTisUrissa / samasUche... tyavi * upalabdha caritAdi prabandhAdi sAhityamAM bappabhaTTasUrino AmarAyanI sabhA sAtheno je sambandha batAvyo che tenuM majabUta samarthana etad sAhityathI vizeSa purANA ane svatanya sAdhano upara uphaeNkita amama svAmicaritra tathA tethI paNa purANI vilAsavatIkathAthI maLI rahe che. (5) vilAsavaIkahAthI to 106 varSa bAda, paNa prabhAvaka caritathI 104 varSa pahelAnI eka caturvizatipaTTarUpa dhAtumUrti paranA saM1229 / I. sa. 1173nA abhilekhamAM tenI pratiSThA moDhagacchamAM "bappabhaTTa" saMtAnIya jinabhadrAcArya karAvelI tevo ullekha che. A lekhathI bappabhaTTasUri paraMparAthI moDhagaccha sambaddha hovAnuM prabandhakAro kahe che te vAtanuM samarthana maLe che. (6) nAgendrakulanA samudrasUriziSya vijayasiMhasUrinI prAkRta racanA mucakuMdI phaET (muvanasundI tha) [...] saM. 975 / I. sa. 1053nI utthAnikAmAM pAlitta (pAdalipta) ane haribhadrasUri sAthe "kaI bampaTTi' (kavi bappabhadri) pramukha sukavione smaryA che : yathA : siripAlittaya-kaibappahaTTi haribhaddasUri pmuhaann| kiM bhaNiyo jANaDajaM vina guNehiM samo jae sukai // 10 // 38 paramArarAja masja ane bhojanI sabhAnA jena kavi dhanapAle paNa tilakamaMjarI (11mI sadI prathama caraNa) mAM 'bhadrakIrti', tema ja zleSathI temanI kRti tArAgaNano ullekha karelo che. bhadrakIrterbhamatyAzAH kIrtistArAgaNAdhvanA / prabhA tArAdhipasyeva zvetAmbara ziromaNeH // 29 nAgendrakalIna vijayasiMhasUri tathA mahAkavi dhanapAlanA sAkyo labhyamAna prabandhAdi sAhityathI to aDhIso varSa jeTalAM purANAM che. AthI bhadrakIrti-bappabhaTTanI aitihAsikatA nirvivAda siddha thavA atirikata teo UMcI koTInA sArasvata hovA sambandhamAM prabandhothI paNa balavattara pramANa sAMpaDI rahe che. caritakAro-prabandhakAro vizeSa karIne prabhAcandrAcArya) bappabhaTTisUrinI be prAkRta (tArAgaNa tathA zatAtha) ane cAreka saMskRta racanAonI noMdha le che. bappabhaTTinA dIrghakAlIna jIvanane lakSamAM letAM, tema ja temanI sarjanazIla, kAvyodyamI pratibhAne dhyAnamAM rAkhatAM emanI A noMdhAyelI che tethI vizeSa racanAo hovI joIe, paNa madhyakALanA uttarArdha samaya sudhImAM to te sau anupalabdha banI haze jethI tenA ullekha thayA nathI. bappabhaTTasUrinI zatArthI prabaMdhakAro dvArA uakita eka mukataka hoya to te Aje upalabdha che tema mAnavuM joIe. ane keTalAMka varSo agAu gAthAkoza tArAgaNanI bhALa, tenI saMskRta TIkA sAthe lAgI che. kavinI saMskata racanAo catarvizatikA. vIrasvati. zAradA stotra, sarasvatI stava, sarasvatIkalpa ane zAMti-stotra prabandhomAM noMdhAyelI che; AmAMthI keTalIka upalabdha che, paNa vIrastuti tema ja sarasvatI-stava hajI sudhI maLI AvyAM nathI. A racanAomAM tArAgaNanuM mUlya prAkRta sAhityanI daSTie ghaNuM moTuM che. temAM mULe 17ra gAthAo hatI. tenA paranI saMskRta TIkA, tenI zailI ane raMgaDhaMga jotAM, te dazamA-11mA zataka jeTalI to jUnI lAge che. Jain Education Intemational Jain Education Intermational

Page #158
VolJ.1995 vAdI-kavi bappabhaTTasUri TIkAkAranA kathana anusAra bappabhaTTasUrinI gAthAo koI "zaMkuka" nAmanA vidvAne ekatra karI che", ane saMbhava che ke tArAgaNa abhidhAna bappabhaTTa dvArA nahIM paNa A samuccayakAre dIdheluM haze. vAdI jaMghAle I. sa. 974-975mAM tArAgaNano kozanA daSTAMta rUpe ullekha karyo che", tema ja dhanapAla paNa teno e ja nAmathI ullekha kare che. ethI eTaluM to cokakasa che ke A tArAgaNakozanuM saMkalana IsvIsananI dazamI zatAbdInA uttarArdha pUrve thaI cUkeluM. prastuta kozamAM prA. harivallabha bhAyANIe sUcavelA sudhArA anusAra, saMgrahakAra zaMkuka potAne 'nA(yA)valoka' yA 'nAhAvalokanI ('nAgAvaloka' birudadhArI pratIhArarAja nAgabhaTTa dvitIyanI) sabhAno goSTIka hovAnuM prakaTa karato hoI tArAgAgano sarAsarI samaya IsvIsana 815-830nA gALAno to saheja ja mAnI zakAya*. tArAgaNanI utthAnikAmAM saMkalanakAranI potAnI prastuta koza sambaddha gAthAo umeraNa rUpe dAkhala thayelI che. temAM mULa gAthA-kartAnAM bappabhaTTa, bhadrakIrti abhidhAno maLavA uparAnta kavine "thavAtharije' (gajapati, AcArya), "semig' (hetabhikSu kiMvA zvetAmbaramuni) ane "vA' (vAdI) kahyA che; AthI bappabhadinI aitihAsikatA temaja nAgAvaloka sAthenuM samakAlInapaNuM samakAlika kartA zaMkukanA sAkSyathI pUrepUrAM siddha thaI tya che : yathA : jANihara bappabhaTTi guNANurAyaM ca bhaddaittiM ca / taha gayavaimAyariyaM ca seyabhikkhaM ca vAi ca // " tArAgaNanA madhyakAlIna TIkAkAra vizeSamAM bappabhaTTane "kavi' kahevA uparAnta "mahAvAdIndra paNa kahe che jethI bappabhaDhi jabarA vAdI hovAnI, ne bauddha vardhanakuMjara sAthe tema ja giranAra pAse digambaro ke kSapaNako vA yApanIyo) para temaNe vAdamAM jaya meLavyAnI je vAta caritakAro kahe che tene tArAgaNa-samuccayakAranI purANI ukitao tema ja TIkAkAranuM vizeSaNa parokSa samarthana ApI rahe che. TIkAkAranA mate tArAgaNa "subhASitakoza" mAMnI gAthAo upadezAtmaka hovAne badale mahadaMze laukika, zuddha sAhityika che. prabandhomAM to nItivAkayo ne nyAyavacano atirikata laukika saMskRta-prAkRta padyo paNa e anuSaMge TAMkavAmAM AvyAM chedeg, jemAMnAM keTalAMka temanAM hovAnI zakayatA che. (saMbhava che ke upalabdha "tArAgaNa'nA lupta thayela patromAM A gAthAo haze.) bappabhaTTasUrinI prApta saMskRta racanAomAM 96 zlokamAM nibaddha caturvizati-jinastutipAdAntAdiyamakAMkita hoI, zabdAlaMkAra evaM arthAlaMkArathI vibhUSita hoI, vyAkhyAonI madada sivAya pUrI samajI-AsvAdI zakAya tema nathI. temAM kavinuM naipuNya to varatAya che, oja paNa che, paraMtu AlaMkArika camatkAra ane caturAI batAvavA jatAM prasAda-guNanI kayAMka kayAMka nyUnatA rahe che. jyAre temanAM zAradA stotra ane sarasvatI kalpanA padomAM sarasatA spaSTa rUpe dekhAI Ave che. prathama stotranA dazamA padyamAM tAMtrika raMga che". stotranI guNavattAnI kakSAnA Akalana mATe prastuta kRtinAM pahelAM be tathA bAramA padyane atre TAMkayAM che. (bAramA padyanI chellI paMkita suprasiddha brAhmaNIya zAradAstava, " yunhetuSAda thavAnA' nA chellA paghanA chellA caraNano prabhAva batAvI rahe che.) tivitnazvita] kalamarAla vihaGgamavAhanA sitdukuulvibhuussnnlepnaa| praNata bhUmiruhAmRtasAriNI pravaradehavibhAbharadhAriNI // 1 // amRtapUrNa kamaNDaluhAriNI tridazadAnavamAnavasevitA / bhagavatI paramaiva sarasvatI mama punAtu sadA nayanAmbujam // 2 //

Page #159
madhusUdana DhAMkI Nirgrantha [zArdUlavikrIDitam] caJcaJcandramukhI prasiddhamahimA svAcchandyarAjyapradA / nAyAsena surAsurezvaragaNairabhyarcitA bhaktitaH / devI saMstutavaibhavA malayajA lepAGgaragadyutiH sA mAM pAtu sarasvatI bhagavatI trailokyasaMjIvinI // 12 // have dvAdaza padyayukata sarasvatI kalpanAM keTalAMka suramya padyo nIce uphaeNkita karIzuM : [zArdUlavikrIDitam] kandAt kuNDalinI ! tvadIyavapuSo nirgatya tantutviSA kiJciccumbitamambujaM zatadalaM tvadRbrahmarandhrAdadhaH / yazcandradyuti ! cintayatyavirataM bhUyo'sya bhUmaNDale tanmanye kavicakravartipadavI chatracchalA valgati // 1 // yastvadvaktramugAGkamaNDalamilatkAntipratAnocchalacaJcaccandrakacakavicitrakakupkanyAkula ! dhyAyati / vANi ! vANivilAsa bhaGgurapadaprAgalbhyazrRGgAriNI nRtyatyunmadanartakIva sarasaM tadvakrarAGgaNe // 2 // devi ! tvaddhRtacandrakAntakaraka zcayotatsudhAnirjharasnAnAnandataraGgitaM pibati ya: pIyUSadhArAdharam / tArAlaMkRtacandra zakti kuhareNA kaNThamutkaNThito vaktreNodgiratIva taM punaraso vANIvilAsacchalAt // 3 // kSubhyatkSIrasamudranirgatamahAzeSAhilolatphaNApatronnidrasitAra vindakuharaizcandrasphuratkarNikaiH / devi! tvAM ca nijaM ca pazyati vapurya: kAnti bhinnAntaraM bAhmi ! bahmapadasya valgati vacaH prAgalbhadugdhAmbudhaiH / / 4 / / pazyet svAM tanumindumaNDalagatAM tvAM cAbhito maNDitAM yo bahmANDakaraNDapiNDitasudhADiNDIrapiNDairiva / svacchandodgata gadyapadya laharI lIlAvilAsAmRtaiH sAnandAstamupAcaranti kavayazcandraM cakorA iva // 5 // chestA mAramA padhamA chanDomeso cha: yathA 57 : [mAlinI vRttam] kimiha bahuvikalpairjalpitairyasya kaNThe bhavativimalavRttasthUlamuktAvalIyam / Jain Education Intemational

Page #160
Vd. I.1995 vAdI-kavi bappabhakUiri bhavati bhavati ! bhASe! bhavyabhASAvizeSai madhuramadhusamRddhastasya vAcAM vilAsaH // 12 // A sarasvatIkalpamAM paNa tAttvika puTa varatAya che. joke mancanA lIdhelA Azraya pAchaLa kevaLa "kavicakravarti' thavA pUratI ja vAMchanA rahelI che. pachInA jaina tanyakAronI jema aihika vAsanAonI tRptinI temAM vAta ke Azaya dekhAtAM nathI. prabhAvakacaritamAM kahyuM che ke bauddha vAdI vardhanakujjara sAthe vAda daramiyAna bappabhaTTae "dharityAre" zabdothI AraMbhAtA rAtotranI racanA karI, girAdevIne prakaTa karI, vAdajayArthe upAya aMge sUcanA meLavelI". prastuta stotra 14 padyayukata hatuM tema caritakAra kahe che, (tema ja prabaMdhakozakAra paNa) tyAM noMdhe che ke devIe bappabhaTTine Adeza Apelo ke caudacauda vRtto prakAzita na karavA, kemake pUrNa stotranA paThanathI tene pratyakSa thavuM paDaze (je maMtravAda anadhikArIonA hAthamAM paDI jAya to anartha thAya.) Aje to prastuta stotra maLatuM nathI. ane saMbhava che ke prabandhakAronA samayamAM temAM 18thI ochAM padha haze, paNa mULe temAM 14 padyo hatAM tevI mAnyatA te kALe pracAramAM hovAno saMbhava che. prabhAvakacaritakAra tathA prabaMdhakozakAranA kathana anusAra gopagirinA mahAvIra biMbanA (parAjaya pazcAtuM mitra banelA bauddha vidvAna vardhanakujjara saMgAthe) karela darzana samaye "zAnto vepa:' nAmaka 11 padyovALuM stotra racyuM tathA gokuLamAM naMda sthApita zAnti devatAnI jina (zAntinAtha) sahita "nati nakakSA''thI prAraMbhAtI stuti karI''. ema jaNAya che ke caritakAre, tathA tene anusaratA prabandhakAroe, vastutayA pramAdavaza ja AvuM UlaTasUlaTuM lakhI nAkhyuM che, kemake zAMto vepamAM "zAti" jina sUcita che ane tenI aMdara keTalAMka padho koI devI ne uddabodhana rUpa che, jemAM "zAntidevatA" vivakSita hoya tema lAge che : yathA : [mantAntA) zAntoveSaH zamasukhaphalAH zrotRgamyA giraste kAntaM rUpaM vyasaniSu dayA sAdhaSa prema zabhrama / ityambhUte hitakRtapattestvacyasaGga vibodhe premasthAne kamiti kRpaNA dveSamutpAdayanti // 11 // thvi indro atizayavatI sarvA ceSTA vaco hRdayaGgamaM zamasukhaphalaH prAptau dharmaH sphuTaH zubhasaMzrayaH manasi karuNA sphItA rUpaM paraM nayanAmRtaM kimiti sumate ! tvaccAnyaH syAt prasAdakaraM satAm // 2 // vAstavamAM A stotra ja zAntinAtha ane zAnti devIne uddezIne racAyuM che; AthI "nati nakakSAra' stotra gopagiri-vIra anulakSe racyuM hovuM joIe, durbhAgye te kRti upalabdha nathI. enA prAraMbhanuM kAntimAna ane garimApUta ardhacaraNa jotAM to jaNAya che ke te adbhuta racanA hovI joIe. A sivAya "bappabhaTTasUricarita'(I. sa. 1235 pahelAM)nI aMtargata mathurA oNpanI sAme bappabhaTTae je stavana kaheluM tenAM traNeka pRthaka pRthaka caraNo ahIM uphaeNkita karIzuM. yathA:

Page #161
madhusUdana DhAMkI Nirgrantha namrAkhaNDala sanmauli zrasta mandAra dAmabhiH / yasyArcitaM kramAmbhojaM bhrAjitaM taM jinaM stuve // 1 // tathA namastubhyaM bhavAMbhodhi nimajjantu taarinne| durgApavarga sanmArga svarga saMsarga kAriNe // 5 // ane na mayA mAyA vinirmuktaH zaMke dRSTaH purA bhavAn vinA''padaM padaM jAto bhUyo bhUyo bhvaarnnve|| A kAvyAMzonI zailI paNa pAchaLa caryA te traNe stotronI jema ja ane spaSTatA: bappabhaDhinI che: suprAsita, sughoSa, evaM dhvanyAkula paNa che. (prastuta kAvyamAM alabatta mathurAnA stUpano ke ahaMtu pArzvano ullekha nathI.) vastutayA zAntistotranAM temaja mathurA jinavALA stavananAM upara TakelAM paDyo cetohara zabdAvalIthI guti, arthagambhIra, sulalita, ane prasannakara racanAnAM ghotaka che. bappabhaTTano jIvanakALa sudIrgha hato te jotAM, tema ja madhyayugamAM nircantha samAjamAM temanI kavi rUpeNa bahu ja moTI pratiSThA hatI te dhyAnamAM rAkhatAM, temaNe vizeSa kRtio racI hovI ghaTe. emanI ja hoI zake tevI, paNa vaNanoMdhAyelI, eka kRti sAMprata lekhakanA dhyAnamAM AvI che. catuSka svarUpanI A stuti jina ariSTanemine uddezIne racAyelI che. pahelA padyamAM nemi jina, bIjAmAM sarva jino, trIjAmAM jinavANI, ane cothAmAM zAsanadevI bhagavatI ambikAnI stuti karI che. A catuSka prakAranI stutio racavAno sau prathama prayAsa bappabhaTTa dvArA ja, temanI prasiddha caturvizatikAmAM thayo che. tyAM 24 jinanAM 96 padyo A paddhatie ja Ayojita thayAM che. pachIthI, vizeSa karIne madhyayugamAM, to A prathAno zvetAmbara racayitAomAM ghaNo pracAra hato tema te samayanI maLI AvatI kaDibaMdha racanAonA sAkyathI siddha che. sragdharA chandamAM racAyelI jina ariSTaneminI upara kathita stutinA AraMbhanAM ane antanAM padyo A pramANe che: rAjyaM rAjImatI ca tridazazazimukhIgarvasarvakaSAM yaH premasthAmA'bhirAmAM zivapadarasikaH zaivaka zrIvuvUrSuH / tyaktvAccoddAmadhAmA sajalajaladharazyAmalasnigdhakAyacchAyaH pAyAdapAyAduruduritavanacchedanemiH sunemiH / / ane yA pUrvaM viprapatnI suvihitavihitaprauDhadAnaprabhAvapronmIlanpuNyapUrairamaramahimA zizriye svargivAram / sA zrImanneminAtha prabhupadakamalotsaGga zrRGgArabhRGgI, vizvA'mbA vaH zriye'mbA vipadudadhipataddattahastA'valambA / / A stutimAM bappabhaTTinI prauDhInAM tamAma lakSaNo mojUda che. e ja mRdu-maMjula dhvani sametanAM padyacaraNonA saMcAra, temAM suracipUrNa alaMkAro lagAvavAnI lAkSaNika rIta', bappabhaTTinI viziSTa upamA-ubhekSAo, emanA nicha pasaMdagInA zabda-prayogo - je anya koI stuti-stotramAM najare paDatA nathI - ane tenA sArAye

Page #162
vAdI-kavi bappabhaTrisUri bhAvAdi spaSTatayA sUrinI ja kAvyarIti sUcavI jAya che. prakRta stuti-kAvya tenI laDhaNa tathA anya tamAma lakSaNo jotAM spaSTatayA prAkrmadhyakAlIna che, ane zailI-vaiziSya bappabhaTTi tarapha ja aMguli-nirdeza kare che. (A sivAya paNa sUrIzvaranI anya racanAo haze; vizeSa zodhakhoLa ane parIkSaNathI temAMthI koIka ne koIka prakAzamAM AvavAnI zakayatA che.) Vol. 1-1995 bappabhaTTinI utkRSTa kAvyapratibhA viSaye temanI racanAomAMthI upara uddhRta karela padmo sAkSIbhUta banI rahe che. emanI kAvyazailI mAMjuparaka, mArdavalakSI, zrutimadhura, ane prazAntarasapravaNa hovAnuM spaSTa rIte dekhAI Ave che. pratIhArakAlIna saMgrahakAra zaMkuka, mahAkavi dhanapAla, nAgendragacchIya vijayasiMhasUri, bRhadgacchIya nemicandrasUri, amamasvAmIcaritra-prazastikAra jinasiMhasUri, ane vinayacandrasUri sarakhA kAvyamarmajJoe sUrivara bhadrakIrtinI bhAratIne arpelI aMjalio asthAne nahotI. prabhAvakacaritakAranA kahevA pramANe AmarAje kAnyakubjamAM so hAthanI UMcAInuM ane gopagirimAM (karNamAne) 23 hastapramANa, ema jina mahAvIranAM be mandiro nirmAvelAM. (gopagirinA jinAlayane mattavAraNayukata maMDapa hovAno ullekha prabhAvakacaritakAra kare che .) kanojavALuM mandira to e nagaranA madhyayugamAM vAraMvAra thayela vinAzamAM lupta thayuM che. gopagiri para hAla cAreka jeTalAM jUnAM mandiro vidyamAna che, jemAM eka jaina mandira che kharuM, paNa te to sAdhAraNa koTInuM ane vizeSamAM madhyakALanuM che. mahAvIranuM purANuM mandira to kALanA garbhamAM vilIna thayuM jaNAya che, parantu AThamA zatakanA uttarArdha, temaja navamA zatakamAM mUkI zakAya tevI ghaNI jinapratimAo tyAMnA vizALa pahADI killA aMtargata prApta thaI che. vizeSamAM gopagiri-vIranA mandira sambaddha keTalAka anya, ane prabandhothI jUnA, sAhityika ullekho paNa maLe che, je have yathAkrama joIe : (1) saMgamasUrinA tIrthamAlA-stavana (12mI sadI pUrvArdha)mAM AmarAja kArita gopagirinA jina vIrano jayakAra jagAvyo che : yathA : 23 yastiSThati varatrezmani sArddhAbhirdraviNakoTibhistisRbhiH nirmApito''marAjJA gopagirau jayati jinavIraH ||10|| (2) harSapurIyagacchanA zrIcandrasUrie svaracita prAkRta munisuvratacaritra (saM 1193 / I sa 1137)mAM emanA praguru abhayadevasUri saMbaddha sukRta-varNanAmAM sUrIzvare gopagiri pahoMcI, rAjA bhuvanapAlane maLI, khUba prayatna bAda, pUrvanA rAjAe jAhera karela zAsanathI baMdha thayela, tyAMnA zikhara para rahela carama jina (vardhamAna-mahAvIra)nA dvArane zAsanAdhikArIonA avarodhathI mukata karAveluM tevI vAta noMdhI che : yathA : gopagirasiharasaMThiyacaramajiNAyayaNadAramavaruddhaM / punivadinnasAsaNasaMsAdhaNiahiM cirakAlaM // 100 // tUNa tattha bhaNiUNa bhuvaNapAlAbhihANabhUvAlaM / aisapayatteNaM mukkalayaM kAriyaM jeNa // 101 // | A abhayadevasUri isvIsananI 11mI zatAbdInA uttarArdhamAM thaI gayA che ane jayasiMhadeva siddharAjanA zAsananA prAyaH pahelA dazakA sudhI vidyamAna hatA. gvAliyaranA je 'bhuvanapAla' rAjAno sandarbha A ghaTanAmAM Ave che te kacchapaghAtavaMzIya rAjA 'mahipAla' jaNAya che, jenuM zAsana I sa 1093mAM hovAnuM tyAM durgastha abhilekhathI jANamAM che". AthI siddha thAya che ke AmarAja kArita jina vIranA prAsAdathI madhyakAlIna For Private Personal Use Only

Page #163
madhusUdana DhAMkI Nirgrantha gujarAta paricita hatuM ane gujarAtanA jaina zvetAmbara munio-yAtriko e tarapha madhyakALamAM pharIne jatA AvatA thayA haze tema lAge che. (3) tapAgacchIya jinaharSa gaNie vastupAlacarita (saM. 1505 | Isa. 1449)mAM gopagiri para mantrIsvare karAvela sukRtonI je noMdha lIdhI che temAM gopagirinA Ama narendra kArita vIra jinanA bhavanano ullekha Ave che. te mandira para mantrIe hemakazma mukAvyAnI, tema ja tyAM "Amasarovara'nI pALe mantrIe potAnA kalyANa mATe zAntinAthanuM mandira karAvyAnI noMdha lIdhI che. A ullekha paNa gopagiri para AmarAja kArita jina vIranA mandira viSenuM eka pazcAtkAlIna paNa samarthaka pramANa ApI rahe che. gopagirithI maLela jina pratimAomAM jeno samaya bappabhaTTino hoI zake tevI be pratimAo - jina RSabha tathA ahetu pArzva - nAM citro (kramAMka 2 tathA 3mAM) rajU karuM chuM, ane vastupALanA samayamAM mUkI zakAya tevo tyAMthI maLela eka jinapratimAno zilAkhaMDa citra 4mAM prastuta karyo che. AdinAthanI upara kathita, prazamarasa-dIpta, pratimA kadAca maMdiranA bahirbhAge kaTi para kaMDArI haze, jyAre pArzvanAthavALuM biMba akhaMDa haze tyAre kAyavyatsarga-mudrAmAM jinane rajU karatuM haze, ane te upAsya pratimAM haze. mathurAmAM bappabhaTTasUrie je sukRto karAvelAM tenI noMdha "mathurApurakalpa'mAM jinaprabhasUrie lIdhI che. pahelI noMdhamAM kahyuM che ke vIra nirvANanA 1260 varSe (I. sa. 733mAM) bappabhaTTasUri thayA; temaNe (mathurA tIrthano) uddhAra karAvyo, pArvajinanI pUjA karAvI, ne IMTanA stUpane paththarathI maDhAvyo, kUpavADInAM nirmANa karAvyAM, ItyAdi : tao vIranAhe siddhaM go sAhihiM terasohiM varisaNaM bappabhaTTisUrI uppaNaNo teNa vi ayaM titthaM uddhri| pAsajiNo puuaavio| sAsayapUakaraNatthaM kANaNakUvakoTTA kaaraaviaa| caurAsII aNIo daanniaao| saMdheNaidAo ravasaMtIo muNittA pattharehiM veDhAvio ukkhillAviumADhato thuubho| devayAo sumiNaMtare vaario| na ugghADeyagho asu tti / tao devayAvayaNeNaM na ugghADio, sughaDiapattharehiM pariveDhio a| bIjI noMdhamAM kahyuM che ke AmarAja jenA (caraNakamala seve che tevA ?) bappabhaTTae visaM. 826 (Isa. 770)mAM mathurAmAM vIrabiMba sthApyuM: yathA : govAlagirimi jo bhuMjei teNa AmarAyaseviakamakamaleNa siribappahaddi sUriNA aTThasayachavvIse (826) vikkamasaMvacchare sirivIrabiMba mahurAo chaaviaN|" mathurAno stUpa jyAM hato te kaMkAlI TIlAmAMthI, tenA parisaramAM, temaja mathurAmAMthI anyane maLelI jaina pratimAomAM koIka zakakAlIna, paNa ghaNIkharI kuSANakAlIna, ane thoDIka guptakAlIna temaja madhyakAlIna che, paNa eka pratimA evI che ke jene AThamA zatakanA uttarArdhamAM mUkI zakAya. citra '1' mAM rajU karelA jina ariSTaneminI padmaprabhAvalIyukata (paNa zIrSavihIna) pratimAmAM padmAsanastha jinanI AjubAju vibhUti rUpe, mahAprAtihArya rUpe, be cAmaradhAro hovA atirikata zaka-kuSANa kALathI cAlI AvatI mathurA-paripATI anusAra vAsudeva tema ja baladevanI caturbhuja AkRtio paNa korI che, taduparAnta pazcima bhAratanI jinapratimA-prathA anusAra nIce savanubhUti yakSa tema ja siMhArUDhA pakSI ambikA paNa batAvyAM che, je sUcaka che. bappabhaTTa ahIM AvyA haze tyAre vIra-bimba sivAya A jina ariSTaneminI pratimA paNa kAM to emaNe, ke pratiSThA avasare emanA anurodhathI yA anyathA e samaye koI zrAvake bharAvI hoya to banavAjoga che.

Page #164
vAdI-kavi bappaTTisUri lekha samApana samaye have eka muddAnuM nirAkaraNa thavuM jarUrI che. bappabhaTTisUri sAthe digambara saMpradAyamAM hovAM ghaTe tevAM keTalAMka tattvo joDAyelAM che : yathA : Vol, I-1995 (1) kIrtyanta nAmo digambara(tathA yApanIyasaMgha)nA munivaromAM maLe che, zvetAmbara AmnAyamAM cothI-pAMcamI zatAbdI bAda Ama to jovA maLatAM nathI: emanuM 'bhadrakIrti' nAma jarA vicAramAM nAkhI de che. (2) gvAliyarane digambara sampradAya sAthe sAMkaLatAM paMdaramA zataka pUrvenAM sAhityika pramANo hajI sudhI to maLyAM nathI, paNa jeTalI purANI tema ja madhyakAlIna jinapratimAo tyAMthI maLI che te saumAM nagnatva sUcita che ja. bIjI bAju joIe to joradAra ane vadhAre purANAM sAhityika pramANo to zvetAmbara sampradAyane gopagiri sAthe sAMkaLe che. evuM haze ke mathurAnI jema ahIM paNa zvetAmbaroe jinapratimAo nirvastra rUpe rajU karavAnI anyathA pAMcamA zatakanA aMtima caraNa pUrvenI uttaranI purANI paramparA cAlu rAkhI haze ? zuM lATa dezamAM zarU thayelI ane pachIthI sAtamA zatakamAM to gUrjaradeza sudhI pahoMcI gayelI, tIrthaMkarone kaTivastra (dhotiyAM) sahita prastuta karavAnI, praNAlikA haju dazArNAdi madhyapradezanA paMthakomAM ane zUrasenAdi uttaranA pradezomAM zvetAmbarone mAnya nahIM banI hoya ? game te hoya, navamI zatAbdInA prathama caraNanA arasAmAM saMgrahakAra zaMkuka tathA 11mI sadInA prAraMbhamAM mahAkavi dhanapAla to bappabhaTTine zvetAmbara sAdhu rUpe ja mAnatA hatA, ane 11mA zatakanA uttarArdhamAM yazobhadrasUrigacchIya zvetAmbara muni siddhasena svagacchane bappabhaTTisUri sAthe sAMkaLe che, tema ja I sa 1173no dhAtupratimA lekha temano saMbaMdha caityavAsI zvetAmbara moDhagaccha sAthe sthApe che, je tathya paNa A muddAmAM vizeSa nirNAyaka mAnavuM ghaTe. vizeSamAM teo yApanIya ke digambara hovAnAM koI ja pramANa prastuta be sampradAyonA sAhityamAM upalabdha nathI. AthI jema umAsvAtinA tattvArthAdhigamasUtra, siddhasenanA sanmatiprakaraNa tema ja keTalIka dvAtriMzikAo, mAnatuMgAcAryanA bhaktAmarastotra (ane somaprabhAcAryanA sindaraprakara kAvya) Adi prasaMge jevA dAvA digambara sampradAya taraphthI thayA tevA koI ja dAvA hajI sudhI to digambara vidvAnoe . rajU nathI karyAM. citrasUci : 1. mathurA, kaMkAli TIlA stUpamAMthI maLela ariSTanemi jinanI pratimA. prAya: IsvI 8mI zatI uttarArdha (I sa0 700 AsapAsa). 2. gopagiri (gvAliyara), killAmAM paDela pArzvanAthanI mUrtino uparano khaMDita bhAga. prAya: IsvI 8mI zatI uttarArdha. 3. gopagiri, killAnI AdinAthanI pratimA. prAya: 8mI zatAbdI trIjuM caraNa. 4. gopagiri, killA uparanI khaMDita jinapratimA. prAya: IsvI 1235. (sarva citro American Institute of Indian Studies, Varanasi nA saujanya tathA sahAya dvArA prakAzita thAya che.) 25 For Private Personal Use Only

Page #165
madhusUdana DhAMkI Nirgrantha tAlikA bappabhaTTasUri srota dIkSA | sUripada svargagamana dharmaghoSasUrigathvIya pradyumnasUri kRta vicArasAraprakarAra (IsvI 1ramIno aMta ke 13mIno prAraMbha). vI. nisaM1300 / I. sa. 833-34 (I. sa. pU467nI gaNanA anusAra kahAvalIkAra bhadrezvarasUri tathA hemacandrAcArya anusAre) vi. saM. 895 / Isa. 838-839 rAjagacchIya prabhAcaMdrAcArya | visaM. 80 | vi. saM. 877 | Ivi. saM. 811/ kRta prabhAvakacarita I. sa. 744 | sa. 50 - 751 I. sa. 754 - (I. sa. 128) 755 kharataragacchIya jinaprabhasUrikRtavI. ni. saM. 126 kalpapradIpa (I sa. 1333) / I. sa. 733 (Ine sa. pU. 5ra7. anusAra) harSapurIyagacchIya rAjazekharasUri vi. saM. 80 | vi. saM. 877 / I vi. saM. 811| visaM. 895 / I. sa. 838-839 kRta prabaMdhakoza I. sa. 744 | seTa 750 - 751 || I. sa. 754 (prabaMdhakozakAra prabhAvakacaritakArane (I. sa. 1349) - 755 anusaratA lAge che.) vi. saM. 896 I. sa. 839-840 aMcalagacchIya merUtuMgAcArya kRta laghuzatapadI (saM. 1450 / I. sa. 1394) - aMcalagacchIya merUtuMgAcArya kRta vicArazreNI(IsvIsananA 14mA zatakano aA ke 15mA jAtakano AraMbha). vI. ni. saM130 | I. sa. 833 - 834 (I. sa. pU0 467 anusAra) matAntare vI. ni. saM. 1360/ I. sa. 833 (I. sa. pUcha paracha anusAra) aMcalagacchIya harSanidhAna kRta (harisena ke harSanidhAna kRta) ratnasaMcayaprakaraNa (prAya: I. sa. 157-1575) vI. ni. saM. 1320 | I. sa. 843-44 (I. sa. pU477 anusAra) (yAkaoNbi pramANe) tapAgaccha paTTAvalI (uttara madhyakAlIna). vI. ni. saM1365 / I. sa. 838-839 | (Isa. pUchaparacha anusAra) zrIdudhamAkAla TIzramaNa saMgha stotra avasUri (16mI - 17mI sadI) vIni. saM130 / Isa. 833-834 (I. sa. pU467 anusAra) Jain Education Intemational Jain Education Intemational

Page #166
1. mathurA, kaMkAli TIlA stUpamAMthI maLela ariSTanemi jinanI pratimA. prAya: IsvI 8mI zatI uttarArdha. (I. sa. 700 AsapAsa). 2. gopagiri (gvAliyara), killAmAM paDela pArzvanAthanI mUrtino uparano khaMDita bhAga. prAya: IsvI 8mI zatI uttarArdha. trete & Personal use only

Page #167
3. gopagiri, killAnI AdinAthanI pratimA prA. 8mI zatAbdA trIjuM caraNa. Jain Ygopagiri, killA uparanI khaMDita jinapratimA. prAya: IsvI 1235. www.jainerary.org

Page #168
Vol. I-1995 vAdI-kavi bappabhakisUri TippaNo ane sandarbho : 1. A Descriptive Catalogue of Manuscripts in the Jain Bhandars at Patan, Vol. 1, ed. L. B. Gandhi (Compiled from C.D. Dalal), Gackwad's Oriental Series, No. LXXVI, Baroda 1937, P. 195.41-1 nakala zrI lakSmaNa bhojaka pATaNa jaI mArA upayoga mATe, temAM apAyelAM caritonA sandarbha jovA mATe, karI lAvelA. tenA para paMdareka varSa pahelAM DaoN. ramaNIka zAha kAma karI rahyA hatA. tAjetaramAM temanA saMpAdana dvArA te prakAzita thayo che : juo ajJAta rUMvA vanya[, kalikAla sarvajJa zrI hemacaMdrAcArya navama janmazatAbdI smRti saMskAra-zikSaNa nidhi, amadAvAda 194, pR. 37-39. 2. saM. muni jinavijaya, siMdhI jaina granthamAlA granthoka 13, amadAvAda-kalaktA 1940, pR. 80-111, padya saMkhyA 771. 3. go 20 mAM keTalIka navIna hakIkato paNa che, jenA ota alaga hoI zake che. prabhAcandrAcAryanA carita-samApti prasaMge karela kathana parathI paNa lAge che ke bappabhakTi saMbaMdhamAM kartAnA samayamAM ekathI vizeSa sAta mojUda haze : itthaM zrIbappabhaTTiprabhucaritamidaM vizrutaM vizvaloke prAgvidvatkhyAta zAstrAdadhigatamiha yatkiMciduktaM tadakalpam / 4. Cf. H.R. Kapadia, Descriptive Catalogue of Manuscripts in the Government Manuscripts Library Bhandarkar Oriental Research Institute, Vol. XIX, Pt. 1, Sec. II, pt. 1, Poona 1967. pp. 67-69. 5. saM. jinavijayamuni, siMdhI jaina granthamAlA, granthAMka 1, prathama bhAga, zAntiniketana 1931, pR. 123. 6. vividha tIrtha, saM. jinavijaya, siMdhI jaina granthamAlA, granthAMka 10, zAntiniketana 1940, pR. 17-20. 7. saM. jinavijaya, siMdhI jaina granthamAlA, granthAMka 6, prathama bhAga, zAntiniketana 1935, pR. 26-46. 8. saM. jinavijayamuni, siMdhI jaina granthamAlA, granthAMka 2, prathama bhAga, kalakattA 1936, pR. 89-99. 9. A graMthamAM bappabhakTi saMbaMdhamAM koI khAsa navIna hakIkata nathI. ahIM carcAmAM teno upayoga karyo na hoI, prakAzana-sandarbha TAMkayo nathI. 10. ejana. 11. temAM kayAMka kayAMka to paddhatisaranI hetunika gaSaNA calAvavAne badale prabandhakAronI ekAnta ane kaTu AlocanA paratve lakSa vizeSa pramANamAM kendrita thayuM dekhAya che. 12. sandarbha mATe khAsa to juo : 1) S. Krishnaswamy Aiyangar, "The Bappa Bhatti Carita and the Early History of the Gujarat Empire," Journal of the Bombay Branch of the Royal Asiatic Society, Vol. III, Nor. 122, Bombay 1928.. 2) S. N. Mishra, Yasovarma of Kanauj, New Delhi 1977. 3) Gaudavaho, Ed. N.G. Suru, Prakrit Text Society, Ahmedabad-Varanasi 1975, "Introduction", pp. LXV-LXVI. 13. A gAmanI pichAna viSe matamatAMtaro hatA; paNa (sva) muni kalyANavijayajIe e viSayamAM sAdhAra je nirNaya karyo che. te sAco jaNAya che : (juo emanI "prastAvanA" antargata zrI bappabhaTTasUri, zrI prabhAvaka caritra bhASAMtara), zrI jaina AtmAnaMda graMthamALA naM.63, bhAvanagara visaM. 1987 (I. sa. 1931), pR. 57. 14. ahIM AgaLa thanAra carcAmAM mULa saMskRta uktio sandabhanusAra udaMkI che. 15. sattAdhigamasUra-vRtti para vicArate samaye meM Avo nirNaya lIdho che; joke AkharI nirNaya karavA mATe sAMyogika sivAya koI cokakasa yA sIdhuM pramANa hAla to upalabdha nathI. 16. zvetAmbara paramparAmAM siddhasena divAkara (IsvI paMcama zatI pUrvArdha), vAcaka siddhasena (paMcama zataka uttarArdha vA chaThThA saikAnuM prathama caraNa), jinabhadragaNI-ziSya siddhasena kSamAzramaNa (prAya: IsvI pa7pa-625), pachI kramamAM siddhasena nAmadhArI to Jain Education Intemational

Page #169
madhusUdana DhAMkI Nirgrantha tattvAthiidhagama-vRttikAra gandhahasti siddhasena (prAya: IsvI i-770 / 785?) ja Ave che. emanA pachI to navamI-dazamI sadImAM siddharSi-siddhasena, ane 11mI sadImAM thayelA "sAdhAraNAMka' takhallusa dharAvanAra siddhasena sUri ja che. Ama bappabhakTri-guru siddhasenanI - pATalA-moDherAvALA caityavAsI siddhasenanI - gandhahasti-siddhasena sAthe ja saMgati bese che. 17. A miti-nirNaya mAro che. saMpAdaka muni jambavijayajI emane IsvI 625 pahelAM thayAnuM mAne che, kAraNa ke e TIkAkAre sAtamAM zatakamAM thayelA prasiddha bauddha dArzanika dharmakIrti (prAya: IsvI pa80-650 yA tethI thoDAM varSo pUrve) Adi vidvAnonAM maMtavyono ullekha karyo nathI : parantu IsvI 70 pahelAMnI koI paNa zvetAmbara TIkAomAM dAkSiNAtya vidvAno - digambara dArzanika vidvAna ane vAdI-kavi samantabhadra (prAya: IsvI 550-60) tathA pUjyapAda devanandI (prAya: IsvI 635-67), mImAMsaka kumArika bhaTTa (prAya: IsvI 55-625), ane uparakathita dharmakIrtinAM maMtavyono ullekha nathI. AthI kALa-nirNayamAM e muddo upayukata nathI. bIjI bAju joIe to prastuta siMhajUra kSamAzramaNa gandhahasti siddhasenanA praguru che. siddhasena mahAna digambara vidvAn bhaTTa akalaMkadevanI kRti - tanvArthavArtika (prAya: IsvI 770-750) - thI paricita hatA tema temanI tattvArthAdhigama-vRtti (prAya: IsvI 765-775)thI jaNAya che. AthI siMhagUranI dvAdazAhanacakraTIkAno samaya vahelo karIne IsvI 680-66nA gALAmAM saMbhavI zake ane sarAsarI miti thoDI vahelI mAnIe to I. sa675nA aMka para besI zake. siMharanA praziSyanI dIrdha ane paripakava TIkAno samaya AthI I. sa. 760-700nA gALAmAM ThIka bese che. 18. nAma kalpita paNa hoI zake che. 19. bappabhadino janma prabhAvakacarita anusAra IsvI 744no che. temaNe 751mAM dIkSA lIdhelI. AmarAjano pitA yazovarmA IsvIsana 752-53 arasAmAM mRtyu pAmyo lAge che, te pachI tarata ja 'Ama' gAdI para Ave che. AmarAja - je te bappabhaTTinI vayano yA temanAthI ekAda be varSa ja moTo hoya to - kAlagaNanAmAM keTalAka visaMvAdo UbhA thAya che. vizeSamAM 'Ama' ane bappabhaTTanA siddhasenasUrinI vasatimAM vItelA varSonA je prasaMgo varNavyA che te paNa satya ghaTanAne badale madhyakAlIna kiMvadaMtIothI vizeSa na hoya. 20. juo go 20 pR0 91. tyAM bappabhaTTane teDAvavAnA upalakSamAM eka prAkRta gAthA uddhata karI che. 21. A magadha-sthita 'rAjagRha'ne badale rAjasthAnamAM alvara kSetramAM Avela "rAjoragaDha" hovAno paNa saMbhava che. 22. DaoN. hariprasAda zAstrIe paNa kaMIka AvuM ja lakhyAnuM smaraNa che, paNa kayAM, tenI smRti rahI na hoI ahIM teno ullekha jarUrI hovA chatAM thaI zakayo nathI. 23. See Mishra, Yasovarma., P.42. 24. A vAtanI zakyatA ghaNI moTI che. 25. kavi vAkapatirAja yazovarmAnA samayamAM, rAjAnAM aMtima varSomAM, sabhAkavi hoI bappabhaTTisUri karatAM vayamAM ghaNA moTA hatA! 26. bappabhaTTane lagatAM carito-kathAnakonI emanA kALanI uttara bhAratanI rAjakIya paristhitinA pariprekSyamAM vigatavAra tulanA karyA bAda ja kaMIka nirNaya thaI zake. bhadrezvaranI kahAvali(prAya: IsvI 1%)no uttara bhAga vartamAne upalabdha nathI. saMbhavata: temAM bappabhaTTisUri, zIlAcArya, siddharSi, AdinAM - haribhadrasUri pachInAM - zvetAmbara jaina mahApuruSonAM vRttAnto hoya. A bhAga maLI Ave ane temAM je bappabhaTTasUrinuM vRttAna dIdhuM hoya to gUMcavADAmAMthI kaMIka rasto zodhI zakavAnI zakayatA rahe. ra7. kemake, pAchaLa kahI gayA tema temanI sabhAkha tatvArthAdhigama-sUtranI bRhadavRttimAM dakSiNAtya digambara dArzanika paMDita akalaMkadevanA tatvArthavArtikano paricaya varatAya che. prastuta granthano racanAkALa IsvI 725-750nA arasAmAM mUkI zakAya tema che. siddhasena gaNIe e grantho IsvI 760nA arasAmAM joyA hovAno saMbhava che. 28. ahIM lekhanA aMtima bhAgamAM thayelI carcAmAM tatsambandha mULa pATha udrata karyo che, je tyAM joI levo. ra9. mRdItavAtivavatA tathornayatItasiMhavAhinI zivAya yasminniha sannidhIyate kva tatra vighnAH prabhavanti zAsane - vaMzapurA, 66, 44 (rivaMzapurA, jJAnapITha mUrtidevI granthamAlA, saMskRta grantha 27, navI dilhI 1978, pR0 89, 66, 44.) Jain Education Intemational

Page #170
Vol. 1.1995 vAdI-kavi bappabhakisUri 29 30. jevAM ke bRhadgacchIya vAdIdevasUri, pUrNatallagacchIya hemacandrasUri, candrakulanA zrIcandrasUri, ItyAdi AcAryo. 31. bappabhaTrinA keTalAka jIvanaprasaMgo aMgenI judI judI mitio mATe juo lekhAte tAlikA. upara carcita mitio svIkArIe to bappabhadinuM AyuSya 95ne badale 10 varSanuM hovAnuM ghaTe. 32. juo A aMkamAM lekhaka dvArA saMpAdita kavi depAlakRta 'kharataravasahIgIta', kaDI 3. 33. hAlamAM lekhaka dvArA saMpAdita A racanA prakAzanArthe jaI rahI che. 34, 50 aMbAlAla premacaMda zAha, jaina tIrtha sarvasaMgraha, bhAga 1 (khaMDa bIjo), zeTha ANaMdajI kalyANajI, amadAvAda 1953, pR 167. 35. zrI rUpendrakumAra pagAriyAe saMpAdita prastuta kRtinI nakalanA prazasti bhAgamAMthI A gAthA tAravI ApI che. teno upayoga karavA devA badala temano AbhArI chuM. 36. tyAM TekarI paranuM neminAthanuM maMdira 11mI sadI pUrvArdhanuM che. tene lagato pachIno I. sa. 113no tulyakAlIna lekha tyAMthI prApta thayo che. 7. saM0 1227 vaizAkha zu0 3 gurau naMdANigrAmenyA zrAvikyA AtmIya putra lUNade zreyorthaM caturviMzatipaTTaH kAritAH / zrI moDhagacche bappabhaTTi saMtAne jinabhadrAcAryai: prtisstthitH| (see Jain Inscriptions, Pt II, Comp.I Calculita 1927, P.157, Puran Chand Nahar, Ins. No. 1694. (A covisavaTo sametazikharanA zvetAmbara maMdiramAM avasthita che.) 34. Catalogue of Palm-leaf Manuscripts in the Santinatha Jain Bhandara Cambay, Pt.2, G.O.S. No. 149, Comp. Muni Punyavijaya, Baroda 1966, p.363. 39. titavama, prathama bhAga, saM. muni lAvaNyavijaya, amadAvAda 1925, pR017. 40. A viSayamAM ekAda vaNanoMdhAyela kRtino nirdeza AgaLanI carcAmAM karIzuM. 41. "bappabhakisUri carita,"go 20, pR 89-0. 42. kRti prakAzita thaI cUkI che. juo Tarayana, ed. H.C. Bhayani, Prakrit Text Series No.24, Ahmedabad 1987. 43. juo bhAyANI, "Introduction," farayana, p.11. XX. yanl Taraya na, p.4, Text Vs. 5. 45. A aMge rAghavana ane upAbenA upayukta sandarbho sambandhamAM juo bhAyANI, "Intro.," Tarayana, p.8. 46. A sambandhamAM vizeSa carcA mATe juo ibid., pp. 8,9. 47. juo Tarayana, p.5, vs.9. 48. Ibid, p.72. 49. emAM nItiparaka upadeza, ke jainadarzananAM siddhAnto-mantavyono kayAMye nirdeza nathI. badhI ja gAthAo saMsArI-bhAva ja, kayAMka kautukapUrvaka, vyakata kare che. 50, 40 40 ane poo jevAM. 51. saMbhava che ke tArAgaNanA vilupta vIseka paghomAMthI tyAM keTalAMka ukita thatAM hoya, A sambandhamAM carcA mATe juo bhAyANI, "Intro.", p. 6. para. caturvizatAva, saMta hIrAlAla rasikadAsa kApaDiyA, muMbaI 1926; A stuti pachIthI koI koI stuti-saMgrahamAM samAviSTa thayelI che, paNa kApaDiyAnI AvRtti vistRta vivecanayukata, suprasiddha, ane sarasa rIte chapAyelI hoI ahIM teno ja ullekha kya che. 53. kApaDiyA, catu. 0, pariNa. 54. zrI vipaUradIvIpa, saM sArAbhAI maNilAla navAba, zrI jaina sAhityodvAramAlA, paMcamapuSpa, amadAvAda 1937, pR. 69-70.

Page #171
30 madhusUdana DhAMkI Nirgrantha 55. samagra kRti kAvyamaya che, paNa sthaLa-saMkocane kAraNe ene pUrepUrI uphreMkita karavAnI lAlaca rokavI paDI che. 56. ejana. 57. A prathA keTalAka anya stutisaMgrahomAM paNa daSTigocara thAya che. A chelluM padya ghaNuM ja sarasa che, ane temAM bappabhakinI viziSTa prauDhI tenA suMdaratama svarUpe khIlI UThI che. 58. paraMtu pATaNanI saM. 1291vALI, pAchaLa kathita, pratamAM tene badale madhati zabdathI zarU thatI kRtinuM padya TAMkayuM che : yathA: "adhrit-kaamdhenu-cintaamnni-klplte| nmdmraanggnaavtNsaarcit-paadyuge| pravacanadevi dehi mahyaM giri tAM paTutAM / navitumalaM bhavAmi mando'pi yayA bhavatIm // " (juo jJAtavana kavanyaargya, pR54. sandarbhagata bane padyo kAM to eka ja kRtimAMthI levAyAM hoya, yA to alaga alaga racanAomAMthI. je mULe judI judI kRtinAM hoya to sUrinI 'sarasvatI' sambandha A eka vizeSa kRti gaNavI joIe. bappabhadri parama sArasvata hovA atirikata sarasvatInA, enA eka devI-zakita rUpe, parama anurAgI ane upAsaka paNa hatA te vAta paNa AthI spaSTa bane che. sarasvatI viSe temaNe Ama cAreka stutio racelI, jemAM be'eka to amukAze mAnTika sAdhanA rUpe banAvI hatI.) 59. mAnTika stotro sambandhamAM AvI kiMvadantIo koI koI anya dAkhalAomAM paNa sAMbhaLavA maLe che. 60. p. 40 pR. 8, slo 449-450. asala pUrI kRti mATe juo rainatotrasantoda, saMta caturavijaya muni, amadAvAda 1932, | pR. 29, 30. 61. go 20 pR0 105, lo. 617 - 619. 62. juo 0 0 go catu, pR. 67 - 68. stotra daza paddha yukta che. 63. ahIM uddhata karelAM padho prastuta sthaLethI lIdhelAM che. 64. pUrI kRti mATe juo hatutitaort (saMskRta bhAga-2), saM. vijayabhadraMkara sUri, madrAsa vi. saM. 2043 (I. sa. 1987), pR0 ra77. 65 AnI carcA huM thoDA vistArapUrvaka anyave karI rahyo hoI ahIM vizeSa kahevuM choDI dIdhuM che. 66. jema ke ahIM prathama padyanA dvitIya caraNamAM "kathApitAma" che to zAntidevatA stutimAM sthAne miti jevA zabdo maLe che. ('prema' zabda nircantha stutiomAM bappabhaTTinI kRtio sivAya jovA maLato nathI.) temanA zAradA stotramAM dvitIya padhamAM padharAnana-maMDapanartI kahyuM che, to neminAtha stutimAM ambikA mATe cothA padyamAM sA neminAtha muvamatotsaja chuM mRff jevI samAna varganI upamAno prayoga karyo che. 67. p. 20, pR. 84, lo. 140-141. 68. sana 1977mAM karelA sarvekSaNa daramiyAna meM te sau tyAM joyelI. 69. hAla huM tenuM saMpAdana karI rahyo chuM. VO. A Descriptive Catalogue of Manuscripts in the Jain Bhandars at Patan, Vol. I, P. 316. 71. prastuta abhilekha ghaNo prasiddha hoI ahIM teno sandarbha TAMkayo nathI. 72. juo zrIvatupAtavAta, zrI zAMtisUrijainagranthamAlA, granthAMka 5, amadAvAda 1941, pR. 112, 7.264. 73. juo 0i tA. 0, pR. 18. 74. ejana, pR 19. 75. uttara madhyakALamAM jetAmbaromAM jyakIrti, ratnakIrti, sarakhAM nAmo dekhA de che kharAM. 76, jUnAmAM jUnA purAvAo AkoTAmAMthI maLI Avela chaThThA-sAtamA saikAnI zvetAmbara dhAtu-pratimAomAM maLe che. Jain Education Intemational

Page #172
dharmaghoSasUrigacchIya (rAjagacchIya) "amaraprabhasUri' kRta "zatruMjaya citya paripATIstotra" saM. (sva.) agaracaMda nAhaTA madhusUdana DhAMkI prathama saMpAdake varSo pahelAM utArI lIdheluM A saMskRta bhASAnibaddha stotra ghaNI daSTie mahattvapUrNa che. surASTrAlaMkAra zatruMjayapati bhagavAna yugAdidevanA mahAtIrthamAM rahelAM caityo saMbaMdhamAM upalabdha kRtiomAM A sau pahelI aitihAsika mUlya dharAvatI stotrAtmaka evaM caityaparipATI rUpI kRti che. saM. 1369 | I. sa. 1313 mAM thayela tIrthabhaMga pUrvenI A racanA hoI, tenuM mUlya svameva vadhI jAya che. kRtinI racanAno saMvata 1326 / I. sa. 1270 batAvyo hoI te bhaMga pazcAtuM lakhAyelA (A sAmayikamAM prakAzita) "puMDarIkazikharIstotra" temaja kharataragacchIya AcArya jinaprabhasUrinA suprasiddha "zatruMjayaka5" (saM. 185 | I. sa. 1329) atirikata merUtuMgAcArya kRta "prabaMdha ciMtAmaNi' (saM. 1361 | I. sa. 1305)thI paNa pUrvenI kRti hoI, tapAgacchIya dharmakIrtigaNi (dharmaghoSasUri)nA zatruMjayakalpa (prAya: I. sa. 1264)nI jema zatruMjaya tIrthanI itihAsa-viSayaka gaveSaNAmAM tenI upayukatatA spaSTatayA savizeSa banI rahe che. katinA aMtima caraNamAM kartAe potAnuM nAma kevaLa "AnandasUrigurunA ziSya" eTaluM ja batAvyuM che : paNa pratinI samApti-noMdhamAM "amaraprabhasUrikRta' kahyuM che, AthI pratilipikArane mULa kartAnI jANa hoya tema lAge che. dharmaghoSasUrigacchIya AnandasUrinA ziSya amaraprabhasUrinI eka anya kRti, tribhuvanatIrthamALA (apabhraMza bhASAmAM nibaddha), maLI AvI che, jeno racanAkALa saM. 1323 | I. sa. 1267 che': jyAre sAMprata kRti tenAthI traNa ja varSa bAda racAyelI hoI, saMdarbhagata AnandasUri te rAjagacchIya dharmaghoSasUrinA AmnAyamAM thaI gayelA AnandasUri, ane ahIM adhyAhAra rahela "ziSya' te pratilipikAre sUcavyA mujaba amaraprabhasUri ja hovA aMge zaMkAne bhAgye ja sthAna che. kartAe A stotra daza ja padyamAM bAMdhyuM che. ekathI nava padya zAdUlavikrIDita chandamAM che, jyAre chelle padya upajAtimAM DhALyuM che. e chellA padyamAM gaNita-zabdanA prayogathI harasa-locana-loka-caMdra') racanA-saMvata 1326 (I. sa. 1270) darzAvyo che. tyAM stotra yAtrA (pazcAtu) racyAnI noMdha paNa che. stotramAM pachInI kRtione mukAbale padalAlitya ane baMdhAraNamAM sauSThava Thera Thera najare paDe che. prathama padyamAM zatruMjaya parvata saMtiSThamAna tIrthapati nAbheyadevanI bhAvapUrNa stuti karI, pachInA padyamAM mULe cakrI bharatezvare baMdhAvela yugAdidevanA prAsAda ane tenA sagara cakravartI ane pAMDavo Adi rAjanyoe karAvela uddhAronI saMkSeparUpe, agAunA kALe pracAramAM AvI cukela zatruMjaya saMbaddha jaina paurANika tIrthakathAono nirdeza karI, vimalAcalendratilaka devAdhideva AdIzvara prabhune pharIne vaMdanA detA udgAro kADhyA che. te pachI, AgaLa AvatAM traNa padyomAM, muktigiri tIrtharAja vimalAcalano yathocita zabdomAM mahimA gAyo che. A pachInA kAvyamAM zatruMjaya tIrtharakSaka, saMkaTaharaNa yakSarAja kapardIne smaryA che; ane sAtamAM padyathI parvata para sthita anya caityo saMbaMdhI vAta kahevI zarU karI che. temAM prathama jinamAtA marudevI, zAMtijina, RSabha, ane zreyAMsajinanAM caityono ullekha karI, te pachI turata ja nemi ane vIrajina(nAM caityo)no ullekha karyo che. joke stotrakAre A caityonAM sthAnano nirdeza karyo nathI, paNa caudamA-paMdaramA zatakamAM racAyela zatruMjaya tIrtha saMbaMdhI sAhityamAM kahyA mujaba A badhAM jinAlayo zatruMjayanA uttarazRMga para avasthita hatAM. A pachI svargAdhirohaNaprAsAdamAM rahela aSabhajinane namaskAra karyA che. (A Jain Education Intemational

Page #173
32 saM. (2) agaracaMda nAhaTA ane madhusUdana DhAMkI Nirgrantha svargArohaNaprAsAda anapamA-sarovarane kAMThe. maMtrIzvara vastapAlanA I, sa, 12 39mAM thayela svAMgamana bAda. tyAM dAhabhUmi para maMtrIbaMdhu tejapALa temaja vastupALa-putra jaitrasiMhe maMtrIzvaranA smaraNamAM baMdhAvelo hovAnuM anya ghaNAM pramANothI siddha che.) stotrakAra vacce AvatA anupamA-sarovarano ullekha karyA sivAya have dakSiNa graMganAM caityonI vAta kahevI zarU kare che. tyAM (vyAghrIpratolI = vAghaNapoLa, je maMtrIzvara vastupALe Isa1230nA arasAmAM baMdhAvelI temAM) pravezatAM, daSTigocara thatAM (staMbhanAdhIza)pArzva, IndramaMDa5, jinasuvrata, revata(pati, neminAtha), ane satyapurezvara vIranAM maMdirono ullekha kare che, ane te badhAM vastupALe karAvelAM tevo spaSTa nirdeza paNa tyAM Ave che. A pachI (AdIzvara bhagavAnanI TUkamAM AvelA) sImaMdharAdi videhakSetra-sthita vartamAna jino (vIsa viharamAna), naMdIzvaraprAsAda, pAMDavo (nI pratimAono paTTa), koTAkoTi-jinAlaya, caraNapAdukA, ane lepamayI trevIsa (jina) pratimAono ullekha kare che. stotrakAre ahIM caityono krama kayAMka kayAMka utkamyo che. jemake bhUgapurAvatAra jina munisuvrata ane satyapurAvatAra vIranAM maMdira AdIzvara-bhagavAnanI TUkamAM hatAM, jyAre naMdIzvara-prAsAda vAghaNapoLanI sAme IndramaMDapanI pAse kayAMka hato. ema jaNAya che ke chandanA meLa ane laya sAcavavA stavanakAre kamavArIno thoDoka bhoga Apyo che. stotrakAra ullikhita A vAstu-zilpa-pratimAdi racanAomAM vastupAlanA samakAlika lekhako koTAkoTi caitya, sImaMdharAdi vIsa viharamAna jina, caraNapAdukA, temaja 23 lepamayI pratimAono ullekha karatA nathI. AthI saMbhava che ke A badhI vAstu-zilpa-pratimAdi kRtio vastupALanA samaya pazcAta ane A stotranI racanA vaccenA gALAmAM banI hoya. (koTAkoTicaitya to mAlavamaMtrIrAja pethaDe banAvyAnuM ane ethI I. sa. 1264nA arasAmAM karAvyAnuM sunizcita che ja.) A pachI navamA zlokamAM AdIzvaranA (mULa gabhArAmAM) DAbI bAjue rahela gaNadhara purIkanI yathocita stuti AdIzvara bhagavAna sameta karI che. aMtima padyamAM kartAe AgaLa kahyuM tema potAnI TUMkamAM oLakhANa ApI che, ane racanA-saMvata nirdezyo che. A madhura ane sulalita saMskRta racanA zatruMjaya saMbaMdhamAM saMpratilabhya racanAomAM mahattvapUrNa sthAna leze. TippaNo (1) A hakIkata kayAMthI noMdhelI te srotane lagatI noMdha A paLe hAthavagI na hoI teno nirdeza ahIM daI zakAyo nathI. (2) vigata mATe juo dvitIya saMpAdakano lekha: "A Propos of the Image of Jina Rsabha with Nami and Vinami on Satrunjaya Giri", Aspects of Indian Art and Culture (S. K. Saraswati Commemoration Volume), Eds. Jayant Chakrabarty and D. C. Bhattacharya, Calcutta 1983, pp.56-63, figs 7-9. zrIzajayacaityaparipATIstotram (zArdUtavikrIDita|) mohadhvAnta vitAnatAnavanavaproddhAsabhAnuprabhaM cintAtItaphalapradAnavidhaye cintAmaNi: prANinAm / vaktrAlokana evadatta paramAnaMdaM mudA meduraH zrIza@jayaparvate jinapatiM nAbheyadevaM stuve // 1 // pUrvaM zrIbharatezvareNa bharatakSetraika cUDAmaNau zaile'smin svakulAvacUla carita: svAmI svayaM kAritaH / yasyoddhAramakArayat sa sagaraste pANDavAdyA nRpAH taM vande vimalAcalendratilakaM devAdhidevaM prabhum / / 2 / /

Page #174
Vol. I-1995 pabhopasU5275... deva tvadvadanAvalokanayanaprodbhadaharSAzrubhiH / sikto me hRdayAlavAlavalaye puNyaiH purANaiH purA / nyuptastvannamane madorathataraH so'yaM tu romodgamairjAtAMkura iva kSaNena phalitaH zreyaH phaledadbhutam // 3 // pUrNAH adya manorathA: zubhakathA jAtA: prathA sarvathA datto duHkhajalAMjali: kalimala: kAle kalau kssaalitH| tIrNoyaM bhavasAgara: zivapurI dUreNayasmAnnagAnAgAtkasyacanapi pUrvamapi hi svAminbhavaddarzanAt // 4 // muktaM yatsvagRhaM grahaH sa hi mahAmohasyamukto mahA(nadhvAktAmi yAdeSa) dustarataraH prAptaH sa mArgaH zivaH / ArUDhaM vimalAcalaM yadiha tat proccairguNasthAnaka dRSTaM tvatpadapaGkajaM ca paramAnaMdaM padaM tanmayA // 5 // sAkSAdrakSitadakSatAhitamatiryakSaH kapardIbhavat pAdAmbojamadhuvrata: pratipadaM jAyAt sa shtrunyjye| yastvannAmanikAmasAdaramate: saMghasya yAtrAkSaNe mArge durgasaritsacauracaraTAraNyepi sAhAyakRt // 6 // Adau zrImarudevi-zAMti-RSabha-zreyAMsa-caityaM tato nemi-vIrajinaM praNamya RSabhaM svargAdhirohe sthitam / pArzva naumi tamindramaNDapagataM zrIsuvrataM raivataM vIraM satyapurezvaraM viracitaM zrIvastupAlena ca / / 7 / / bhaktya staumi videhamaNDanajinAn sImaMdharAdyAnapi zrInandIzvaramatra citrajananaM cASTApadaM pANDavAn / koTAkoTi-jinAnatho viharato vaMde prabhoH pAdukAn nAnAlepyamayAn kRtAn jinavarAnatra trayoviMzati // 8 // vAmaM bhrAmamakAmakAmavilasan satpuNDarIkAditastrasto'haM bhavakAnane munimana: satpuNDarIkAMzubhat / tvAmekaM zaraNaM karomi bhagavan zrIpuNDarIkAnvitaM bhaktyA sevakakalpapAdapa vibhoH zrIpuNDarIkAcale / / 9 / / (upajAti) saMvatsare sarasa-locana-loka-candre caityeSu caitra bahulASTamIvAsare ca / sAnaMdamAdijinamatra vidhAya yAtrAmAnandasUriguru-ziSyalavaH stavIti // 10 // // iti zrIzatraJjayacaitya paripATIstotram zrI amaraprabhasUrikRtam // Jain Education Intemational

Page #175
zrI puMDarIkazikharIstotra aparanAma zrI zatruMjaya mahAtIrthaparipATikA saM. madhusUdana DhAMkI - zatruMjayagiri-mahAtIrtha prati zraddhormi kalpakAro-prabaMdhakAro vyatirikata madhyayuganA muni tema ja kavi-yAtrikoe paNa tIrthamAlAo, caitya paripATIo, vivAhalAo, rAso, stotro, stutio, ane stavano dvArA vyakata karI. che. A anuSaMge agAu (sva) zrImad vijayadharmasUri, (sva) muni jinavijayajI, (sva) paM. becaradAsa dozI, (sva) zrI mohanalAla dalIcaMda dezAI, (sva) tripuTI mahArAja, (sva) zrI sArAbhAI navAba, (sva) zrI agaracaMda nAhaTA, tema ja zrI bhaMvaralAla nAhaTA sarakhA jaina itihAsa ane sAhityanA paryanveSako dvArA keTalIka mahattvapUrNa sAmagrI prakAzita thaI cUkI che. AmAMnI ghaNIka kRtio zatruMjaya paranAM purANAM jinamaMdironAM itihAsa tema ja sthAna, kALa, ane tyAM UbhelAM kaDIbaMdha pazcAtkAlIna jinAlayonI zreNio ane jhaMDo vaccethI tAravavA-prIchavAmAM madadagAra thAya che. kAvyagata tattvo ane bhASAkIya sAmagrI uparAMta itihAsamUlaka mAhitIno saMbhAra paNa emAM sacavAyelo hoI, AvI racanAonuM mUlya spaSTatayA UMcI koTinuM rahe che. zatruMjayasthita devAlayo tathA prastuta tIrthanA aitihAsika kramanA aMkoDA meLavavAmAM to A kRtio eka bahumUlya sAdhana banI rahe che. ahIM AvI eka (prathama daSTie ajJAta kartAnI) stotrarUpe racAyelI "zatruMjaya tIrthaparipATi" rajU karIzuM. zatruMjayatIrthanAM jinabhavanonA anulakSamAM atyAra sudhI maLI AvelI caityaparipATIo ane tatsamAna kRtio prAkRtamAM, ane vizeSe to apabhraMza mizrita jUnI gujarAtImAM vA maru-gurjarabhASA (rAjasthAnI-gujarAtI)mAM, ane koI koI - khAsa to sattaramA saikAnI racanAo - pramANamAM Adhunika kahI zakAya tevI gujarAtInA prAraMbhakALanA rUpamAM nibaddha thayelI che. ahIM pragaTa karavAmAM AvI rahelI kRti saMskRtamAM racAyelI che; ane teno kALa, ApaNe AgaLa joIzuM tema, IsvIsananA caudamA zatakanA prathama caraNa aMtargata aMdAjI zakAto hoI, te adyAvadhi upalabdha zatruMjaya-viSayaka prAcInatara caityaparipATiomAMnI eka che; ane e kAraNasara tenuM bevaDuM mahattva evaM vaiziTya che. prastuta stotrarUpa paripATinuM saMpAdana prAraMbhamAM pATaNanA zrI hemacandrAcArya jJAnamaMdiramAMthI meLavelI eka ja hastaprata parathI karavAmAM AvyuM hatuM. pATha taiyAra thaI gayA bAda zrI lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdira amadAvAdanI prata kramAMka 2841 zrI agaracaMda nAhaTAne jovA ApavAmAM AvelI te AvI jatAM tenI aMtargata prastuta stotra paNa maLyuM. prastuta prata saM. 1873 | I. sa. 1417 nI che, jene ahIM have "A' nI saMjJA ApI che; ane pahelAM upayogamAM lIdhI te pratane "B' nI saMjJA ApI pAThanuM milAna karatAM ghaNAkharAM smalano dUra thavA pAmelAM che. dvitIya pratanA pAThanI meLavaNImAM zrI lakSmaNa bhojakanI maLelI sahAyano ahIM sAbhAra ullekha karuM chuM. A pATha taiyAra thayA pachI ekAda varSa bAda lA. da. bhA. saM. vi. nI munizrI puNyavijayajInA saMgrahanI prati 8601 / 31mAM paNa A stotrano mULa pATha maLI AvatAM tenAM Avazyaka pAThAMtaro noMdhI lIdhAM che; bAkI rahelAM thoDAM skUlano paNa A chellI pratathI dUra thaI zakyAM che. A pratane atre "C' nI saMjJA ApI che. pratomAM kayAMka joDaNI ane vyAkaraNanA doSo jovAmAM AvelA, je saMpAdana samaye zrI lA. da. bhA. saM. vinA te vakhatanA AsthAna-vidvAna (sva) paM. bAbulAla savacaMda zAha, tathA 50 harizaMkara aMbAzaMkara zAstrInI sahAyatAthI ThIka karelA', "' hastapratalipi parathI, temaja AnuSaMgika lekhana-paddhatinAM lakSaNo parathI zrI. lA. da. bhA. saM. Jain Education Intemational

Page #176
Vol. 1.1995 zrI puMDarIkazikharIstotra aparanAma... 35 vi. nA madhyakAlIna pazcimI lipinA niSNAto - zrI jesiMgabhAI ThAkora, zrI cImanalAla bhojaka tathA zrI lakSmaNa bhojaka - dvArA soLamA zatakanI hovAno aMdAja karavAmAM Avyo che. pratamAM keTaleka sthaLe kaMsArIe kANAM pADelAM che ane kayAMka kayAMka akSaro ghasAI gayA che; temaja chelle eka sthaLe cAreka akSarovALo bhAga khavAI gayo che. A kSatio choDatAM prata ekadaMre spaSTa ane suvAcya jaNAI che. "A' prata prAcIna hovA chatAM temAM padya 12, 14, ane 23 lupta thayelAM jovA maLyAM, jyAre zloka 22mAM paheluM pada choDatAM bAkInAM caraNa UDI gayAM che. A kSatio choDatAM ekaMdare teno pATha zuddha jaNAyo che. racanAne stutikAre AkharI zlokamAM puMDarIkazikharIstotra abhidhAna ApyuM che; paNa samAptimAM lipikAre "B' mAM zatruMjaya tyaparipATi kahI che, jyAre "A' mAM prati-samApti sthaLe zatruMjaya mahAtIrtha paripATikA evuM abhidhAna ApyuM che. 'C' prata vizeSa zuddha jaNAI che, ane lipine AdhAre te paNa paMdaramA zataka jeTalI purANI jaNAI che. stotrakAra madhyakakSAnA kahI zakAya tevA, paNa sArA kavi che. prastutIkaraNamAM kilaSTatA ApyA sivAya vastunI kAvyadehamAM gUMthaNI karI zakayA che. tadatirika zatruMjayanAM devabhavanono tatkAlIna sthAnakrama barobara jALavatA rahI, kAvyanA pravAhane saraLatAthI vahevA dIdho che. kRtinAM chaMdolaya te kAraNasara svAbhAvika lAge che. alaMkAranAM paNa prAcarya ke atireka nathI, ke nathI teno anAvazyaka prayoga : AthI stotra suvAcya ane sAralyamadhura paNa banyuM che. chavvIsa zlokamAM prasaratA A tIrtha-kAvyano chello zloka zArdUlavikrIDita, ane bAkInAM sarva padyo vasantatilakA chaMdamAM nibaddha che. bIjA padyanuM chelluM caraNa "mAnasI vinayatAM vipuNDarIjha:'' pacIsamA zloka paryaMtanA tamAma padyomAM punarAvartita thAya che, ane ethI layano saLaMgasUtrI dora jaLavAI rahe che : AthI pratyeka vAta nokhI paNa tarI Ave che, ane te badhI para vAcakanuM dhyAne alaga alaga rIte lakSita bane che. prAraMbhamAM stotrakAra zatruMjayagiripati - tIrthanAyaka zrImadhugAdidevane namaskAra karI, temanA darzanano mahimA karI, yAtrA AraMbha kare che (1-2). ghaNAkharA tIrthaparipATikAroe karyuM che tema pAlitANA nagaramAM te kALe vidyamAna zrI pArzvanAtha (maMtrI vAlmaTTakArita tribhuvanavihAranA bhUlanAyaka), zrI vardhamAna jina (maMtrI vastupAla kArita), ane taLeTImAM thoDuMka caDyA pachI AvatA (maMtrI Azuka nimapita) zrI nemijinane vAMdI zikhara para pahoMce che (3). tyAM najare paDatI devAlayonI hAramALAno ullekha karI, zrI yugAdibhavananA maMtrI vAbheTe traNa koTimAM traNa lakSa kama dravya kharcana karAvela uddhAranI vAta kahe che (4-5). te pachI "kapUra-dhavala" (zveta ArasanI) AdijinanI mUrti, ane pravezamAM rahela "amRtapAraNa' (toraNanI vAta kahI (6), tIrthAdhipatine uddabodhatA stavanAtmaka uddagAro kADhI (7), jAvaDasAha vi. saM. 18mAM karAvela biMba-sthApanAnI te kALe pracalita anuzruti nivedita kare che (8). tyAra bAda yugAdirAjanA mammANa-maNi parvata taTasthaLethI utpanna thayela jyotirasa-ratnathI nirmita mUlabiMba viSenI pAraMparika anuzrutinuM uccAraNa karI (9), pharI eka vAra tIrthapati anulakSita stutyAtmaka vacano kADhe che (10). A pachI jAvaDisAhe karAvela yugAdinI mUrtinI jamaNI tema ja DAbI bAjue prasthApita bhavabhayahara puMDarIkasvAmInI yugala mUrtino ullekha kare che (11). yugAdinA mUlacaitya viSe ATaluM kahyA bAda, tenA jamaNA paDakhe AvelA samarAgara (samarAsAha)nA karAvelA zrI pArzvanAthanA bhavananI vAta kare che (12). te pachI tyAMthI (pradakSiNAkamathI) AgaLa cAlatAM ikvAka-vRSNi kuLanA (zatruMjaya para siddhagati pAmelA) koTikoTI munionI pratimAvALA (maMtrI pRthvIdhara-nirmApita) koTAkoTI cityano ullekha kare che (13), ane sAthe ja caMdrAnana pramukha visa viharamAna jinanA bhuvanane paNa ullekhe che (14). tyAra bAda pAMca pAMDava ane kuMtA mAtAnI lekhamayI mUrtio (15), ane dUdha varSAvatA cirAyu caityavRkSa priyAla eTale ke rAjAdanI vA rAyaNavALA sthaLe (nAga ane mora sarakhA hiMsa prANIonA devasannidhimAM thayela

Page #177
36 saM. madhusUdana DhAMkI Nirgrantha svabhAvagata hiMsA-dharmanA tyAgano paNa nirdeza kare che (18). tyAra bAda ajitajinathI prAraMbhI kramamAM AvatA bAvIsa jinanI pAdukA evuM lepamayI pratimAonA (samUha)no ullekha kare che. (19). ATaluM kahI lIdhA pachI stotrakAra yugAdidevanA mUlabhavananA moDhA AgaLa, DAbI bAjue rahelA (maMtrI vastupAla kArita) satyapurAvatAra vIra ane jamaNI bAjue rahela zanivihAra ane prastuta prAsAdanI pAchaLanA bhAgamAM sthita aSTApadatIrthano ullekha kare che (20). A pachI (tejapAla kArita) naMdIzvara, ane (vastupAla kArita) giranAragiri ane staMbhanakapuranA jinanAM tIrvAvatAra maMdirono ullekha kare che (21). AdIzvara bhagavAnanuM mUla caitya dharAvatA A dakSiNa bhRganAM sau caityasthAno viSe ATalI vAta thaI rahyA bAda have kavi-yAtrI bIjA, eTale ke uttara praMga tarapha vaLe che. tyAM jatAM mArgamAM vacce AvatA (vastupAla manTInA) svargArohAprAsAda ane temAM sthira thayelA vidyAdhara nami-vinami sevita ane temanAM (cakacakita) khagamAM pratibiMba rUpe dekhAtA be vizeSa biMbavALA jineza (AdinAtha)ne praNamI (22), tyAMthI AgaLa vadhatAM dvitIya eTale ke uttara zRMga para sthita SoDamAM jina (zAMtinAtha), prathamAhaMta (yugAdideva), zreyAMsajina, nemijina, ane vIrajinendra(nAM maMdiro)nI upasthitino nirdeza kare che (23). chelle jinamAtA marudevI ane saMgharakSaka kapardiyakSa (nAM bhavano)no ullekha karI (24), yAtrAphaLa upalakSamAM prAsaMgika paraMparAgata vacano kahI, vakatavya samApta kare che (25). A tIrthavarNanamAM dakSiNa zRMga paranI saMracanAomAM maMtrIzvara vastupALa vinirmita, madhyakALe khUba prasiddhimAM Avela IdramaMDapa, tema ja baMdhuddhaye baMdhAyela devAlaya-samUhane pharatA pratolI sahitanA prAkArano ullekha nathI; Ano khulAso e rIte ApI zakAya ke stotrakAranuM lakSa zatruMjaya para pratiSThita upAsya jina pratimAo ane pratimA-bhavanonI stuti karavA tarapha ja kendrita thayeluM hoI, vAstunI daSTie mahattvanI, paNa dhArmika sthAnakoNathI gauNa manAya tevI, kRtio emaNe mULa vastunA vyApanI bahAra mAnI hoya". have vicArIe stotranA racanAkALa viSe. racayitAnuM nAma dIdhuM na hoI, te dizAmAMthI kALanirNaya mATe jarA sarakhI paNa madada maLI zakatI nathI. nirADaMbarI bhASA ane prasanna-sarala nirUpaNazailI uttara madhyakALathI thoDoka pUrvano samaya sUcavI rahe che : paNa e pramANa apUratuM, joIe teTaluM vajanadAra na hoI, sAMprata saMdarbhamAM alpopayogI Thare che. kRtinA samayano vadhAre sacoTa aMdAja karavA mATe keTalAMka cokakasa pramANo to tenA aMtaraMganI - vastumAMthI maLI rahe che, je viSe have kramabaddha joIe. (1) A yAtrA-stavamAM maMtrIrAja vAbhaTTe I. sa. 1157mAM karAvela tIrthoddhArano ullekha che, ane joke samarAsAhe I. sa. 1315mAM karAvela punaruddhArano sIdho nirdeza nathI, to paNa samarAgaranA pArzvanAtha-bhavana(dezala vihAra)nA ullekhathI kRti I. sa. 1315 bAdanI kare che. anyathA stavanakAra to yugAdinuM biMba jovaDisAhanA samayanuM ja mAnatA hoya tema lAge che; paNa prathama daSTie stava-racanA I. sa. 1313mAM thayelA tIrthabhaMga pachInI paristhitinuM sUcana kare che. (2) sacivezvara vastupALa ane temanA laghubaMdhu maMtrI tejapAla I. sa. 1221thI laI 1232 sudhInA gALAmAM zatruMjaya para karAvela staMbhanakapura-pArzvanAtha, giranArAvatAra nemi, zakunikA-vihAra, ane satyapurAvatAra-vIranAM bhavano tema ja aSTApada evuM naMdIzvaradvIpa ane pAlitANAmAM (lalitAsaranI pALe vastupAle karAvela) vIranA maMdirano ullekha che. vizeSamAM maMtrIzvara vastupALanA I. sa. 1239mAM thayelA svargavAsa pachI badhu tejapALa (zatruMjaya para anupamasirovarane kAMThe) karAvela svargArohaNaprAsAdano sAMprata stotramAM ullekha che. taduparAMta temAM koTAkoTi-caityano, ane dakSiNa thaMga paranA 'prathamAhata'nA caityano paNa ullekha che : A chellAM be maMdiromAMthI eka mAMDavagaDhanA maMtrI pIthaDe I. sa. 1264 ke tethI thoDuM pUrve, ane bIjuM moTe bhAge saMDeranA zreSThI pethaDe IsvIsananA teramA zatakanA anta karAveluM. AthI sAMprata caitya-paripATikA-stavanI racanA teramA zatakanA anta bAda thaI hovI ghaTe: ane stotrakAre varNavela prastuta Jain Education Intemational Jain Education Intermational

Page #178
Vol. 1-1995 zrI puMDarIkazikharIstotra aparanAma... ghaNAMkharAM maMdiro I. sa. 1315nA punaruddhAra samaye je puna:nirmita yA punaruddhArita thayelAM te ja hoI zake. (3) samarAsAhanA I. sa. 1315nA uddhAra pachI thoDAMka ja varSomAM, I. sa. 1320-25nA gALAmAM tyAM AgaLa nirmAyelI kharatara vasahI'no temAM ullekha nathI. (A kharatara-vasahInAM racanAkauzala, enI sthApatyacAratA ane vAstavigato, tema ja guNavattA viSe caudamA zatakathI laI sattaramI sadI sudhInA lagabhaga badhA ja caityaparipATikAro paripATinI maryAdAmAM rahI, kahI zakAya teTaluM kahI chUTyA che.) AthI A stotra kharatara-vasahInA nirmANakALa pUrvanuM Thare che. (4) jinaprabhasUrie saM. 1785 / I. sa. 1329mAM racela 'zatruMjayaka5' ane A "puMDarIkagiri zikharistotra' vacce keTaluMka dhyAna kheMce tevuM bhASA ane tathyagata sAmya che (je mULapAThanI pAdaTIpomAM darzAvavAmAM AvyuM che.) A Azcaryajanaka samatA vize A paLe vizeSa vicAravuM ghaTe. jinaprabhasUrino A suvikhyAta "kalpa" I. sa. 1329mAM pUrNa thayo hovA chatAM temAM apAyelI caityaviSayaka hakIkato prAya: bhaMga pUrvenI sthitino nirdeza kare che. samarAsAha ane temanA samakAlikoe tyAM punaruddhAra vakhate zuM zuM karyuM, tema ja prastuta uddhAra pachI tyAM thoDA samayamAM ja banelI kharatara-vasahI tathA kharataragacchAdhipati jinakuzalasUrinI AmanyAvALA zrAvakoe saM. 1379-82 (Isa. 1323-26) vacce karAvelAM keTalAMka mahattvapUrNa jinabhavano (je Aje paNa vidyamAna che,)* teno kalpamAM bilakula ullekha nathI; kalpakAra jinaprabhasUri pote kharataragacchanI laghuzAkhAnA eka agragaNya AcArya hovA chatAM ! AthI ema mAnavAne kAraNa maLe che ke temaNe te kALe vidyamAna caityo viSe je kaMI lakhyuM che te teoe bhaMga pUrve karelI, kadAca teramA zatakamAM aMtima varSo daramiyAna, ke caudamA zatakanAM AraMbhika varSomAM karelI yAtrA samaye (ane nivAsa samaye) tyAM je joyuM haze tenuM yathAskRti ane yathAvat varNana che. AthI ApaNA A stotranA kartAe, ane jinaprabhasUrie girivara para je joyuM hatuM teno kALa taddana samIpa AvI jAya che. paNa A nirNaya sAme eka anya muddo che te paNa lakSamAM levo ghaTe. stotrakAra AdIzvaranA maMdira pAse vIsa viharamAna jinanA maMdirano ullekha kare che, jeno vastupALa-tejapALa tema ja maMtrI pIthaDa tema ja saMghapati pethaDa (saMDeravALA) saMbaMdhI sAhityamAM, ke jinaprabhasUrinA "kalpa'mAM paNa ullekha nathI. upakezagacchIya kakakasUri viracita nAbhinandanajina dvAraprabI (saM. 1394 | Isa. 1337)mAM samarAsAhe karAvela tIrthoddhAranuM tAdaza ane vigatapUrNa vivaraNa karyuM che. temAM pATaNamAM upAzraye samarAsAha gacchAti siddhasenasUrine, pratiSThA pUrve DuMgara para jIrNoddhAranA upalakSamAM pote ane anya zrAvakoe zuM zuM karAvyuM, tenI vAta kare che, temAM teo kahe che ke "(Adi)jina (bhavananA) pAchaLanA bhAgamAM viharamAna ahaMtonuM navuM" caitya paNa karAvyuM cheyathA : tathA viharamANAnAmahatAM sAmprataM bhuvi / akArayannavaM caityaM sa saadhurjinpRsstttH|| - nAminino dvAravanya 4/2017 ahIM "navA" no artha 'pUrve astitvamAM hatuM nahIM tevuM karIe to A caitya zatruMjaya para bhaMga pachI pahelI ja vAra banyuM ema ghaTAvI zakAya; ane vAstavamAM je tema ja hoya to sAMprata stotra tenI noMdha letuM hoI, te I. sa. 1315 bAdanuM hovA viSe eka vizeSa pramANa maLI rahe : paNa je te I. sa. 1315 pachI racAyuM hoya ane temAM uddhAra daramiyAna racAyelA A saMbhAvya navA maMdirano ullekha thaI zakato hoya, to samarAsAhanA uddhAra jevI mahattvanI bAbatano sIdho ullekha karavAnuM kema rahI jAya ? joke e muddo to stotrakArane e du:khada ghaTanAno ullekha karavo ThIka nahIM lAgyuM teTaluM ja batAvI rahe che. "navA" zabdathI pUrvanuM khaMDita thayeluM maMdira karIne batAvyuM hoya tema paNa abhipreta hoI zake. AnA samarthanamAM prabandhakAra aSTApadanI thayelI navaracanA viSe

Page #179
saM- madhusUdana DhAMkI Nirgrantha je kahe che te joIe. aSTApadaprAsAda AdIzvaranI jamaNI bAjue mULa vastupALano karAvelo hato tema ApaNe jinaharSagaNi viracita vastupAlacaritra (saM 1497 / i. sa. 1441) parathI jANIe chIe. jinaprabhasUri paNa te zakunicaityanI pAchaLa hatuM tevo ullekha kare cheH have A aSTApadaprAsAdane paNa ''navo karAvyo'' evuM vizeSAbhidhAna prabandhakAra kakakasUri Ape che : 38 tathA'trASTApadAkAraM caturviMzatinAthayukta devadakSiNabAhusthaM navaM caityaM ca kAritam / / nAbhinandanajinoddhAraprabandha 4/205 AthI '"navA'" zabdathI 'abhinava prAsAda' nahIM paNa musalamAnoe toDela agAunA maMdirane kADhI nAkhI punarudvAramAM navuM ja devakalpa UbhuM karAvyAno Azaya abhipreta mAnavo ghaTe. AthI vIsa viharamAna jinanuM bhavana paNa bhaMga pUrve hastImAM hatuM tema mAnavAne kAraNa rahe che. dharmaghoSasUrinA gacchanA AnandasUrinA ziSya amaraprabhasUrinI saM 1326 / I. sa. 1270nI kRtimAM ''mavA staumi viSemanDana binAn sImaMdharAnAdyApi'' evo ullekha Avato hoI tIrthabhaMgathI 43 varSa pUrve, ane vastupAla-tejapAlanA jamAnA pachI, vIsaviharamAnanuM maMdira baMdhAI cUkayuM jaNAya che". stotrakAra tyAM gayA tyAre te maMdira navanirmita rUpe vidyamAna hatuM tevo IMgitArtha nIkaLI zake. joke zatruMjaya jevA mahAtIrthanI yAtrA jinaprabhasUrie potAnA pAchotarA kALamAM, i. sa 1329thI thoDuMka ja pahelAM, karI hoya tema mAnI zakavuM muzkela che. A yAtrA temaNe sAdhupaNAnI zarUAtanAM varSomAM ja karI lIdhI hovI joIe. temanA kalpelekhanano kALa (jinavijayajI aMdaranA pramANothI aMdAje che tema) I. sa. 1308 pahelAM zarU thaI I sa 1329 vA 1333 pachI paNa cAlu rahyo haze'. ema lAge che ke teo zatruMjaya para yAtrArthe potAnA sAdhupaNAnAM AgalAM varSomAM, ane ethI teramA zatakanAM aMtima varSo AsapAsa gayA haze ke pachI caudamA zatakanI zarUAtamAM. tIrthabhaMga ane punaruddhAra viSe temaNe je lakhyuM che te temanA ''zatruMjaya''ne chevADe ja Ave che, ane te tyAM 'tAjAkalama' (postscript) rUpe hoya tevo bhAsa UThe che. puMDarIkazikharIstotrakAra parvata para gayA tyAre vIsa viharamAnanuM e maMdira pharIne banI cUkeluM te to nirvivAda che. ethI stotrakAra tyAM jinaprabhasUri gayA te pachInA (joke samIpanA) kALamAM, tIrthanA punaruddhAra bAda, gayA haze ane tyAre temaNe e vIsa viharamAna jinanuM maMdira joyuM haze : ane jinaprabhasUri A maMdiranI noMdha levI bhUlI gayA lAge che. stotra, varNita caityonA pahADa para prastuta kALa-khaMDanI paristhiti rajU karatuM hovAnI saMbhAvanA sthApita karIe to te anucita nahIM gaNAya; ane ethI stotrakAranI vidyamAnatAno kALa teramA zatakanA aMtima caraNathI laI caudamA zatakanA pahelA caraNanAM varSomAM hovAnuM mAnI zakAya. have chello muddo jovAno che te jinaprabhasUri viracita ''zatruMjayatIrthaMkalpa'' ane A ''paripATikA'' vacce rajUAtamAM dekhAtuM sAmya. ghaDIbhara ema lAge ke bemAMthI eke bIjAnI kRti joI haze. jo stotrakAre ''kalpa'' joyo hoya to te 1333 bAda keTaloka kALa vItye ja banI zakayuM hoya. paNa kharekhara kalpa temane upalabdha hoya to temAM bIjI keTalIka upayogI vAto che teno paNa samAveza stotramAM thayo hota. UlaTa pakSe stotrane jo jinaprabhasUrie joyuM hota to stotramAM Apela 'vIsaviharamAnajina'nA maMdiranI noMdha levI teo cUke nahIM. baMnenAM kathana vacce samAnatA dekhAvAnAM kAraNomAM to sAmagrInI samAnatA, DuMgara para avasthita devabhavanonAM pArasparika sunizcita sthAna, ane khAsa karIne AdIzvaranI TUkano pradakSiNAkramathI nizcita banato, paraMparAgata bhramaNamArga, ane banne lekhakonuM samakAlatva ityAdi kAma karI gayA haze tema mAnIe to te avAstavika nahIM gaNAya. A stotranA kartA koNa haze te viSe vicAra karavAno keTalAka kAraNosara avakAza rahe che. yugapradhAna AcAryavara

Page #180
Vol. I-1995 zrI puMDarIkazikharIstotra aparanAma.. 39 somasuMdarasUrinA arbudagirikalpanAM (sva) munivaryazrI kalyANavijayajI dvArA uddhata padyo jotAM DarIka zikharistotra ane prastuta kalpanAM bhASA, dhvani, chaMdolaya ane saMracanAmAM Azcaryajanaka sAmya jovA maLe che. saMdarbhagata padyo ahIM AgaLa kazuM kahetAM pahelAM tulanArthe uddhArIza : rAjendra-caMdra-pramue thataprati: zrI nAbhisambhavajinAdhipatirmadIyam / sauvarNamauliriva maulimalaMkaroti zrImAnasau vijayate'rbudazailarAjaH // 10 // zrInemimandiramidaM vasudanti bhAnu varSe kaSopalamayapratimAbhirAmam / zrIvastupAla sacivastanute sma yatra zrImAnasau vijayate'rbudazailarAjaH // 15 / / caitye'tra luNigavasatyabhidhAnake tri paMcAzatA samadhikA draviNasya lkssaiH| koTIviveca scivstrigunnshctmrH| zrImAnasau vijayate'rbudazailarAjaH // 16 / / kalpamAM padyAne AvatuM chelluM pada zrImAna vinaya drautrara/na: zikharIstotranA aMtima caraNa zrIna vinayata jifpuEI: nA pratighoSa zuM bhAse che. eka kSaNa to bhrama paNa thAya ke puMDarIkazikharIstotra paNa somasuMdarasUri-kartaka haze: ane sUrIzvaranI sAdhupaNAmAM vidyamAnatAno kALa visaM. 145ra-1499 / Isa. 1396-1443no hoI prastuta paripATikArastotra paMdaramA zatakanA pUrvArdhamAM ane I. sa. 1443 pUrve kayAreka racAyuM haze. have jo ema ja hoya to temAM zatruMjaya paranI caudamA zatakanI khAsa racanAo - kharataravasahI, chIpAvasahI, ToTarAvihAra, molhAvasahI, ItyAdi :- no, temaja caudamA zatakanA AraMbhamAM thayela tIrthabhaMga ane punaruddhArano kema bilakula ullekha nathI ? AthI tAratamya eTaluM ja nIkaLe ke vAstavamAM to AcAryapravara somasuMdarasUrie pUrve racAI gayela puMDarIkazikharIstotra potAnA abdagirikalpa mATe Adarza rU5 rAkhI racanA karI che. AthI paMDarIkazikharIstotra paMdaramA zataka pUrvenuM saheje TharavA uparAMta, te eka mahAna sArasvatane prabhAvita karavA, preravA jeTalI guNavattA dharAvatuM hovAnuM paNa siddha thAya che ! upalA tarkane samarthana detI vAta ApaNane paMdaramA zatakanI be anya suprasiddha graMtharacanA aMtargata maLatAM tenAM avataraNo anvaye maLI rahe che. temAM eka to che saM. 1503 / I. sa. 1447mAM racAyela somadharmagaNino upadezasati graMtha, jemAM sAMprata stotranA pAMcamA padyane "yata:" kahI uddhata kareluM jovA maLe che. bIjo sandarbha che ratnamaMdiramaNinA saM. 1517 | I. sa. 1461 AsapAsa racAyelA upadezataraMgiNI graMthamAM": temAM ahIMnA padya '8' nAM prathama traNa caraNa sAthe padya '11'nuM trIjuM pada (tyAM cothA caraNarUpe) umerIne avataraNarUpe ghusADeluM che. A tathyo jotAM eka vAta taddana spaSTa rahe che ke A stotra paMdaramA zatakamAM sArI rIte pracAramAM haze ane e yuganA tapAgacchanA vidra sUripravaro tene zatruMjayatIrtha paranI pramANabhUta racanA mAnatA haze. uparyukata caMcathI to vizeSa karIne paripATIstotranI uttarasImA ja nizcita thAya che, tenA kartA koNa che te viSe bhALa maLatI nathI. kintu prastuta viSayane prakAzita karatuM eka pramANa tAjetaramAM labhya banyuM che. paMbAbubhAI savacaMda zAha dvArA saMpAdita koI vijayacandranuM saMskRtamAM racAyela revatAcalaparipATIstavana prakAzita thayuM che". tenI zailI bilakula

Page #181
40 saMta madhusUdana DhAMkI Nirgrantha ApaNA puMDarIkazikharI stavane maLatI ja che. prastuta stavana paNa vasantatilakA vRttamAM nibaddha che ane tyAM chellA (21mA) padyamAM chandobheda paNa karelo che". paheluM ane chelluM padya choDatAM bAkInA saumAM cothuM caraNa zrInI vinavatAM riTananta' che, je vastu paNa zatruMjayavALA stavanuM anukaraNa darzAvI rahe che. ahIM tenAM thoDAMka upayukata padyo udbhUta karIzuM: (chellAmAM kartAnuM abhidhAna sUcita thayeluM che.) rAjImatIyuvatimAnasarAjahaMsa: zrIyAdavaprathitavaMzazirovataMsaH / neminijAMdhrikamalairyamalaMcakAra rivatapitti tamahaMtavAmi trelokyalokazucilocanalobhanIye nezvare ninavare vilana yatra cetaH prasIdati viSIdati duHkharAzi: zrImAnasau vijayatAM girirujayantaH / / aSTApada prabhRtikIrtanakIrtanIye zrI vastupAlasacivAdhipatervihAre / yatra svayaM nivasati prathamo jinendraH zrImAnasau vijayatAM girirujyntH|| siMhAsanA varasuvarNa-suvarNadeha / . puSpandhayI padapayoruhi nemibhartuH yatrAmbikA vitanute kila saGgharakSA zrImatI vinayata niriinantiH che. ityevaMvidharevatAcalaziraH zRGgAracUDAmaNi vizvAmbhojavikAsavAsaramaNistraulokyacintAmaNiH / sevyaH saiSa tamovitAnavijaye candropamaiH sUribhiH zrInemirjagatAM vibhurbhavatu me duSTASTakarmacchide / / prastuta stavananA viSayamAM paM. bAbubhAInAM avalokano vartamAna saMdarbhamAM upayukata che:" kALanirNaya mATe bIjo paNa muddo che. "zrI zatruMjaya mahAtIrthaparipATIkA" aparanAma "zrI puMDarIkazikharIstava'', joke temAM kartAnuM nAma nathI ApyuM chatAM dhvani, saMghaTana tathA AkAra-prakAramAM tene khUba ja maLatI AvatI racanA che. prastuta kRtino racanAkALa prA. madhusUdana DhAMkIe I. sa. 130(1)5 ane 1320 vacceno hovAno nirNaya karyo che." "prastuta bane kRtio eka kartaka hovAno pUro saMbhava hoI, tema ja banne eka ja pratimAM upalabdha thaI hoI sAMprata racanAne IsvIsananA caudamA zatakanA prathama caraNamAM mukavAmAM koI Apatti nathI, "racayitAe potAnA gaccha ke gurnAdika vize kazuM kahyuM nathI. paripATIne aMte ra1mA zlokamAM "sejaH zaiSa tamAvitanavina candropadaiH bhUmi:' A pramANe kartAe potAnA nAmano ullekha zleSapUrvaka karelo hovAthI kartAnuM nAma "vijayacandrasUri" hovAnuM nizcita thAya che". vijayacandra" nAmavALA cAreka sUrio madhyakALamAM thaI gayA che. samayanI daSTie e sau sAMprata kRtinA saMbhAvya kALathI ThIka ThIka pUrve thaI gayA hoI A stotranA kartA koI adyAvadhi ajJAta vijayacandra jaNAya che'. Jain Education Intemational

Page #182
Vol. 1.1995 zrI puMDarIkazikharIstotra aparanAma.. paM. bAbubhAInAM avalokano sArthaka che ane tadanusAra paMDarIkazikharIstavanA kartA paNa vijayacandra hovAno pUro saMbhava che. tema ja stavano samaya prAya: IsvI 1315-1320nA arasAno, eTale ke samarAzAhanA I. sa. 1315nA punaruddhAra ane kharataravasahInI racanA(prAya: IsvI 1320)nI vaccenA gALAno che. TippaNo :1. A viSe vistArathI mULapATho sahita carcA mArA The Sacred Hills of Satrunjayagiri nAmaka pustakamAM AvanAra hoI ahIM vizeSa kahIrA nahIM. 2. ejana. 3. ejana. 4. baMne paMDitavaryono ahIM saharSa AbhAra mAnuM chuM. 5. prata naM. 12132. mULa prati dhIravA badala pATaNastha zrI hemacaMdrAcArya jJAnabhaMDArano AbhAra mAnuM chuM. prata tyAM mULe kAntivijayajI jaina jJAnabhaMDAranI che. 6. ekAda joDaNIdoSa sArI "B' pratamAM ekasarakho cAlyo Ave che : jema ke 'giri' ne badale 'gari'. A lahiyAnI potAnI khAsiyata jaNAya che. 7. mammANI khANanA, dhavala mammANazilAnA, ullekha teramA-caudamA zatakanA ane te pachInA caityaviSayaka sAhityamAM Avato rahe che. prastuta khANa te adhunAprasiddha makarANAnI khANa che. 8. jinaprabhasUri paNa chedramaMDapano ke pratolIno ullekha karatA nathI. ahIM anupamA sarovara vize kahyuM che, paNa te to tyAM tenA viziSTa saMdarbhane kAraNe hoya tema lAge che. 9. AnA viSe sarva pramANo sAthe carcA uparakathita aMgrejI pustakamAM Avaze, tethI e muddA para ahIM vistAra anAvazyaka che. 10. juo nAbhinadanajinIddhAraprabandha, saM. paM. bhagavAnadAsa harakhacaMda, amadAvAda visaM. 185, tathA paMDita lAlacaMda bhagavAnadAsa gAMdhI, aitihAsika lekhasaMraha, vaDodarA 1967, pR. 540. 11. juo, A aMkamAM mArA dvArA saMpAdita amara prabhasUrinuM "zatruMjaya caya paripATI stotra." 12. vividha tIrtha7, saM. jinavijaya, siMdhI jaina granthamAlA, zAntiniketana 1934, pR. 2. 13. juo emano lekha "mA tIrtha pravInatA,"gvanya- nAta, ajamera 1966, pR0 311-313. sUrIzvarano pUro "mavuMjivitpa" mane upalabdha banyo nathI. e chapAyo che ke kema te viSe mAhitI maLI zakI nathI. 14. saM. muni caturavijayajI, (pra. jaina AtmAnaMda sabhA), bhAvanagara visaM. 1971 (I. sa. 1956), pR. 32. 15. pra. yazovijayajI graMthamAlA, vArANasI vIra saM. ra437 (I. sa. 1910), pR0 132. paM. lAlacaMda gAMdhIe A baMne avataraNo mULa graMthonA abhiprAya rUpe TAMkayA che, paNa vastuta: saMdarbhagata zloko ApaNA A stotranA che. (juo, emanA samuccaya graMtha aitihAsika lekhasaMgraha aMtargata "zrI zatruMjaya tIrthano uddhAraka amarasiMha", vaDodarA 1963, pR. pa24 (pAdaTIpa 3) tathA pR0 pa28 (pAdaTIpa 10). 16. "zrI vijayacaMdrasUriviracita zrIraivatAcala caityaparipATI stavana," Aspects of Jainology, vol II, Pt. Bechardas Doshi Commemoration Volume, Varanasi 1987, Gujarati Section, yo 110-112. 17. ejana, pR0122. tyAM sragdharAjIndano prayoga thayelo che. 18. ejana, pR. 117. 19, 20, 21. ejana. Jain Education Intemational

Page #183
saM. madhusUdana DhAMkI Nirgrantha zrIpuNDarIkazikharistotram (zrIzatruJjayacaityaparipATI) (vasantatilakA) namendramaNDalamaNimayamaulimAlA mIlanmarIcicayacumbitapAdapITham / natvA yugAdijinamAdimatIrtharAjaM zatruJjaye giripatiM prayata: stavImi // 1 // puNyaM cinoti narajanmaphalaM tanoti pApaM lunAti nayanAni satAM punAti / dUre'pi darzanapathaM samupAgato ya: zrImAnasau vijayatAM giripuNDarIkaH // 2 // zrIpAdaliptapurapAvanapArzvanAtha zrIvardhamAnajinarAjayugaM namanti / nemIzvaraM ca bhavikA yadadhovibhAge zrImAnasau vijayatAM giripuNDarIkaH // 3 // zrRMgaM ca yasya bhavikA adhirUDhavantaH prAsAdapaGktimamalAmavalokayantaH / lokottaraM kimapi saukhyamaho ! labhante zrImAnasau vijayatAM giripuNDarIkaH // 4|| lakSatrayIvirahitA draviNasya koTI stimro vivicya kila vaagbhttmntriiraajH| yasminyugAdijinamandiramuddadhAra' zrImAnasau vijayatAM giripuNDarIkaH / / 5 / / karpUrapUradhavalA kila yatra draSTA / __ mUrtiH prabhorjinagRhe prthmprveshe| samyagdRzAmamRtapAraNamAtanoti' zrImAnasau vijayatAM giripuNDarIkaH // 6 / / zrImUlanAyakajina: praNataH stuto vA saMpUjitazca bhavikairbhavakoTibaddham / yatrocchinatti sahasA kila karmajAlaM zrImAnasau vijayatAM giripuNDarIkaH // 7 // Jain Education Intemational

Page #184
Vol. I-1995 zrI puMDarIkazikharistotra aparanAma... aSTottare ca kila varSazate vyatIte zrIvikramAdatha bahudraviNavyayena / yatra nyavIvizat jAvaDirAdidevaM zrImAnasau vijayatAM giripuNDarIkaH // 8 // mammANanAmamaNizailataTIsamuttha jyotIrasAkhyavararatnamayazca yatra / dRzyapyapUrva iva bhAti yugAdidevaH * zrImAnasau vijayatAM giripuNDarIkaH || 9 || yatrArcite bhagavatIha karau kRtArthI vANI stute ca saphalA praNate ca bhAlam / draSTavyadarzanaphale nayane ca dRSTe zrImAnasI vijayatAM giripuNDarIkaH // 10 // yatrAdimo bhagavataH kila dakSiNAGge vAme ca jAvaDinivezitamUrtiranyaH / zrIpuNDarIkayugalaM bhavabhItibhedi zrImAnasau vijayatAM giripuNDarIkaH // 11 // yatrAdyadevagRhadakSiNabAhusaMsthaM zrIpArzvanAthabhavanaM samarAgarasya / puNyaprakarSamivavizvakRtaH pramodaM zrImAnasau vijayatAM giripuNDarIkaH // 12 // ikSvAku-vRSNikulajAmunikoTikoTyaH saMkhyAtigAH zivasukhazriyamatra bhejuH / ityAha yatra tilakaM kila koTikoTyaH zrImAnasau vijayatAM giripuNDarIkaH ||13|| candrAnana - prabhRtinityajinAnvitAnAM sadvizaterviharatAM jinapuGgavAnAm / yatroccakairbhuvanamasti nirastadoSaM zrImAnasau vijayatAM giripuNDarIkaH // 14 // | paJcApi pANDutanayA sahitA jananyA kuntAkhyayA zivamaguH zikhare yadIye / tanmUrttaya: SaDiti zAsati yatra lepyA: zrImAnasau vijayatAM giripuNDarIkaH // 15 // 43

Page #185
44 saM. madhusUdana DhAMkI Nirgrantha yatra priyAluriti caityataruzciraMta: zrIsaMghapuNyamahimAdbhuta dugdhavarSAm / zastaM samastyanupamAkhyasarovaraM ca / zrImAnasau vijayatAM giripuNDarIkaH // 16 // zrIpAdukAM bhagavataH praNipatya yatra bhAlasthale tilakitA nakhajairmayUkhaiH / bhavyA bhavanti subhagA: zivasaukhyalakSmyAH / zrImAnasau vijayatAM giripuNDarIkaH // 17 // hiMsAjuSo'pi pazavo'pi mayUramukhyA: spRSTvA yadIyazikharaM paripUtadehAH / AsvAdayaMte tarasA surasaMpado'pi zrImAnasau vijayatAM giripuNDarIkaH // 18 // dvAviMzatirjinavarA ajitAdayaste svasvaprabhAnvitasapAdukalepyabimbaiH / atraiyaruH zrutimati draDhayanti yatra zrImAnasau vijayatAM giripuNDarIkaH // 19 / / vAme ca pArzva iha satyapurAvatAraH syAd dakSiNe zakunikAGkitaH savihAraH / aSTApado bhagavataH kila yatra pRSThe zrImAnasau vijayatAM giripuNDarIkaH // 20 // nandIzvarasya girinAragirIzvarasya zrIstambhanasya bhavikA avatAratIrtham / saMvIkSya yatra paramAM mudamudvahanti zrImAnasau vijayatAM giripuNDarIkaH // 21 // svargAdhirohabhavane jagatAM kRpAlu yaMtra prabhurvinaminA naminA ca sevyaH / tatkhA bimbanakRtA'pararUpayugmaH zrImAnasau vijayatAM giripuNDarIkaH // 22 // zrISoDazo jinapatiH prathamo jineza: zreyAMsanemijinavIrajinendramukhyAH / zrRGgaM dvitIyamiha yatra pavitrayanti zrImAnasau vijayatAM giripuNDarIkaH // 23 // Jain Education Intemational

Page #186
Vol. I-1995 zrI viparitotra aparanAma... trailokyalocanacakoraka candrikAbhA susvAminI zivagatA marudevInAmnI / yatra prayacchati nijaM sukhasaMvibhAgaM zrImAnasau vijayatAM giripuNDarIkaH // 24 // yatraiSa bhavyajanakalpitakalpavRkSa zrIsaGgharakSaNamaharnizabaddhakakSaH / aSTAsu dikSu vitanoti kapardiyakSaH zrImAnasau vijayatAM giripuNDarIkaH // 25 // (zArdUlavikrIDitam) ityevaMvidhapuNDarIkazikharIstotraM pavitraM mudA zrImannAbhinarendranandanajina dhyaanaiktaanvrtH| zraddhAbandhuramAnasa: paThati yaH sandhyAdvaye nityazaH sthAnasthopi nirantaraM sa labhate sattIrthayAtrAphalam // 26 // // iti zrIzatruJjaya caityaparipATI samAptAH // "B" // iti zrI zatruJjaya mahAtIrthaparipATikA samAptAH / / "A" Jain Education Intemational

Page #187
46 saM. madhusUdana DhAMkI Nirgrantha tathA ca zrI zatruJjayatIrthakalpe zrI jinaprabhasUribhiH 1. tisraH koTIstrilakSonA vyayitvA vasu vAgbhaTaH / mantrIzvaro yugAdIzaprAsAdamudadIdharat // 69 // 2. dRSTaiva tIrthaprathamapraveze'trAdimArhataH / vizadA mUrtirAdhatte dRzoramRtapAraNam / / 70 / / itizrI jinaprabhasUri kRte zatruJjayatIrthakalpe 3. zrIjinaprabhasUribhiH aSTottare varSazate'tIte zrIvikramAdiha / bahudravyavyayAd bimbaM jAvaDiH sa nyavIvizat / / 71 // 4. tathA ca bhAsvaradyutimammANamaNizailataTotthitam / jyotIrasArakhyaM yadralaM tattena ghaTitaM kila // 72 / / 5. dakSiNAGge bhagavataH puNDarIka ihAdimaH / vAmAle dIpyate tasya jAvaDisthApito'paraH // 84|| ityAha zrIjinaprabhasUriH 6. tathA ca ikSvAku-vRSNivaMzyAnAmasaMkhyA: koTikoTayaH / atra siddhA: koTikoTItilakaM sUcayatyadaH // 85 / / 7. pANDavAH paJca kuntI ca tanmAtA ca zivaM yayuH / iti zAsati tIrthe'tra SaDeSAM lepyamUrtayaH // 86 // 8. tathA ca rAjAdanazcaityazAkhI zrIsaGghAdbhutabhAgyataH / dugdhaM varSati pIyUSamiva candrakarotkaraiH / / 87 / / 9. dvAviMzaterjinendrANAM yathAkhaM paadukaayutaa| bhAtyatrAyatanazreNI lepyanirmitabimbayuk // 20 // ityAha zrI jinaprabhasUriH Jain Education Intemational

Page #188
zrI somaprabha gaNi viracita zrI sennuja cettapravADi saM 1477 / I saM 1421mAM amadAvAdanA sulatAna ahamadazAhanuM pharamAna laI saMghavI guNarAje kADhela saMgha' pachI moTA pramANamAM yAtriko ane yAtrArthe saMgho zatruMjayatIrthanA darzanArthe nIkaLyA haze. tenuM eka pramANa to paMdaramA saikAmAM pracura mAtrAmAM racAyelI maLatI prastuta tIrthane anulakSita caityaparipATio dvArA maLI rahe che. bRhad caityaparipATio-tIrthamAlAo banAvanAramAMthI paNa ghaNA kharA zatruMjayatIrtha gayA hoya tema lAge che, ane prastuta mahAtIrtha prati atyadhika bhAva ane Adara batAvatA, tema ja tyAM avasthita jinabhavanonuM anya tIrthasthAnonAM maMdirone mukAbale kaMIka vizeSa vivaraNa karatA jaNAyA che. tIrtharAja saMbaMdhI ahIM prastuta karelI ane adyAvadhi aprakAzita caityaparipATi keTalIka anya tatsamAna racanAonI jema anAmI kartAnI nathI, te viSe ahIM AgaLa upara joIzuM. duhA chaMdamAM 29 kaDImAM vaheMcAI jatI A caityaparipATi tenI vastunI rajUAtamAM tema ja vigatomAM zatruMjaya paranI anya samakAlIna kahI zakAya tevI racanAo sAthe sAdazya dharAve che. kRtimAM kAvyatattvano prAya: abhAva temAM anyathA prApta upayogI vigatone kAraNe sarabhara thaI jAya che. zatruMjayatIrthanA itihAsazodhanane nisbata che tyAM sudhI to A paripATithI eka vizeSa sAkSya ane sAdhana sAMpaDI rahe che. kRtino pATha be hastaprata uparathI taiyAra karyo che. temAM prathama (jJa) lA 6 bhA saM vi mAM munizrI puNyavijayajI saMgrahanI che : (navo kramAMka 1549). lipi parathI pratano kALa 15mA zatakano madhyabhAga hovAnuM nirNIta thAya che. bIjI guTakAkAra (u) prata paNa prakRta saMgrahanI che; teno kramAMka 8488 che. temAM kahyA mujaba tenA racayitA somaprabha gaNi che. saM. madhusUdana DhAMkI lakSmaNa bhoja puMDarIkazikharIstotrakAra tema ja keTalAka anya paripATikAronI je ahIM racayitA tIrthavarNana mATe nIcethI upara jatA, marudevInI TUMkathI prAraMbhAtA, praNAlikAgata yAtrAmArgane anusaravAne badale UlaTo krama apanAve che, ane potAnuM kathana tIrthanAyaka zrIyugAdidevanA bhavanathI zarU kare che. A paripATi sau koIne gAvA mATe racI hovAno Azaya 'namIsu (namizuM)' 'leIsu (lezuM)' ityAdi prayogothI sUcita thAya che. zatruMjaya caDyA pachI (1) kavi-yAtrI sau prathama 'risahesara'(RSabhadeva)nA 'sI(si)lamau'(zilAmaya) biMbanuM snAna-vilepana-pUjana-stavana karI, Adi jinezvarane oyAthI haiye harakha mAto nathI ne locanamAMthI amIrasa jharI pApamaLa jato raheto hovAnuM kahe che (2-3), kavi te pachI umere che ke jinavara AgaLa nAcIzuM, (jinavaranA) guNa gAIzuM, kugatinuM dvAra rUMdhIzuM, ne svajIvanane saphLa karIzuM (4). AdijinanI pAse rahela koTAkoTi munio sAthe siddhagati pAmela 'gaNadhara puMDarIka'nI mUrtinI 'joDalI'ne namIne bhava pAra UtaravAnI AzA vyakata kare che (5). maMDapamAM besADela 'risahajiNaMda' (RSabha jinendra)ne juhArI, (cakrIzvara) bharata prasthApita 'yugAdideva'ne joIne bhavadu:kha pAra paDe che tema kahI (6), AgaLa kahetA tyAM rahelA ~~~ siddha ramaNI (mukita)devAvALA 'UbhA' (khaDgAsana) ane 'baIThA' (padmAsana mudrAmAM) sthita sau jinavara-biMbone name che (7). te pachI dakSiNa bAjunI derImAM 'covIsa jina biMba,' 'sAcorIvIra' (8), traNa bhUminA AlayamAM sthita 'koDAkoDi jiNavara' (koTAkoTi jina), te pachI AvAgamana (bhavabhramaNa) nivAranAra 'pAMca pAMDava' (9), tenI pAchaLa rahela jagattyuM paheluM tIrtha 'aSTApada' ane [temAM rahela] covIsa jinane vaMdanA de che. (10) tyAra bAda 'rAyaNa' heThaLa rahela For Private Personal Use Only

Page #189
saM. madhusUdana DhAMkI tathA lakSmaNa bhojaka Nirgrantha Adi jinanA 'pAya' (pagalAM) ane dUdha varSAvatI rAyaNanA dUdhamAM kAyA jhaboLI (11), AgaLa vadhatAM DAbI bAju rahela lepamayI 'jina' ane 'jina pagalAM' (12), te pachI "samaliyA vihAra' (bhUgapurAvatAra)mAM vIsamA jina 'munisuvratane namI tyAM rahela sarva jinabiMbone paripATikAra vaMdanA de che (13), tyAMthI "sIhaduvAra' (siMhadvAra, balANaka) pAse AvI jinane yugAdideva)ne pharIthI pagelagaNa karI (14), have 'kharataravasahI'mAM Ave che. paripATikAra ene devIe nirmANa karI hoya tevI susAra-cAru (racanA) kahe che (15). vizeSamAM kahe che ke ene dekhatAM janamana mohI jAya ane animeSa netre jANe joI ja rahIe; (temAM) thoDAmAM (ghaNAM) tIratha emAM avataryA che, samAvyAM che (16). A navanirmita nivezanA garbhagRhamAM Adi jinane kavi-yAtrI name che. te pachI (ziSya) parivAra sAthe beThelI jinaratnasUri (nI mUrti) maMDapamAM che tevo ullekha kare che (17), te pachI tyAM trevIsamA jina 'taMbhanapurAvatAra' (zrIpArSa), kalyANatraya' 'sameta nemini ' (18), 'bahoMtara devakulI'mAM jinavara-devanAM biMba, 'aSTApada' ane 'sametazikhara tIrtha' (19), maThadvAre oraDImAM (vAstavamAM gokhalAmAM) 'gurumUrti,' ne maMDapamAM 'gautama gaNadhara'ne name che (20), (kharataravasatinI bahAra AvyA bAda eTalAmAM) vimalagiri para (tejapALa maMtrIe) avatArela ramya "naMdIzvara caityane vAMdI, karma tUTavAnI vAta kavi kahe che (21), te pachI (maMtrIzvara vastupALa kArita) "IndramaMDapa' bhaNI paripATikAra vaLe che (22), ane pachI pAse rahela) zyAmalavarNa ane salUNa tanavALA 'neminAtha'nA 'giranArAvatAra' maMdiramAM jaI, tyAM "saMbapUjana' (sAMba ane pradhumna)ne pUje che (23). poLa (vAghaNapoLa) pAse DAbI bAju staMbhananiveza' (staMbhanapurAvatAra pArdha)ne namaskArI, AgaLa (anupamA sarovarane kAMThe rahela) 'nami-vinami sevita aSabha jina'vALA 'svargArohaNa(caMtyo'mAM thaI (24), dakSiNa dhrUge rahela molhAvasati'mAM covIsa jinane name che; te pachI 'ToTarA vihAramAM prathama jinane praNamavA jaI (25), tyAMthI chIpAvasahi'mAM 'Sabhajina', 'abhinava Adijina', ane kapardIyakSa'nA bhavanamAM, ema badhe jinabiMbone name che (26). te pachI soLamA 'zAMti jina'ne praNamI, jagasvAminI gajArUDhA 'marudevInI pUjA karI (27), (nIce UtaratAM taLeTI samI5) pAjanA mukha pAse rahela 'nemi jinezvara', lalitA sarovare "vIrajina,' ane pAlitANAmAM 'pArzva jinAne namavAnI vAta kare che (28)'. A pachI paripATikAra yAtrAla viSe samApti-yogya udagAro kADhI vakatavya pUruM kare che (29). anya paripATiomAM jenI keTalIka vAra noMdha letA jovAya che te 'adabadajI(adbhuta AdinAtha')nI mUrti, temaja AdIzvara mULa TUka sthita "vIsa viharamAna'nA maMdirano AmAM ullekha nathI; paNa ekaMdare temAM rahelI keTalIka nAnI nAnI vigato tIrthamAM rahela prAcIna maMdironA sthAnakramAdi nirNata karavAmAM madadarUpa nIvaDe che. katinI bhASA para apabhraMzano sparza che. racayitA somaprabhagaNi koNa hatA teno patto lAgyo nathI. bAramI-teramI zatAbdImAM bRhada, nAgendra, paurNamika, ane tapAgacchanA maLI cAreka somaprabha nAmadhArI munio-sUrio thaI gayA che : paNa sAMprata kRtinA kartA e tamAmathI bhinna evA koI caudamI sadInA aMtabhAganA ke paMdaramI sadInA prAraMbhanA gaNivara jaNAya che. caudamA zatakanA pUrvArdhamAM baMdhAyelAM maMdirono AmAM ullekha hoI racanA te pachInI hovAnuM sunizcita che. Jain Education Interational

Page #190
Vol. 1.1995 zrI somaprabha gaNi viracita.. 40 TippaNa: 1. prastuta pharamAna vize lAda. bhA. saM. vi. nI patra kramAMka 14939 (nagarazeTha : 633)mAM pR. 283 para nIcenI noMdha jovA maLe che: zrIsomasundarasUrisopadezAd vikramArkata: azvAzva veda sitAMzuM (1477) pramitevatsare gate // 40 // guNarAjo bahusaMghamAkAryazubhavAsare zatrujaye jinAnaMtu utsukojani bhAvataH // 41 // ahamadasuratrANAt saMprApya pharamANakaM guNarAjo vyadhAt devAlayaM rathastha muccakaiH // 42 // 2. kharataragacchIya jinaratnasUri teramA zatakanA uttarArdhamAM thayA che. 3. kadAca A baMnenA tIrvAvatAra-paTTa vivakSita haze. 4. A sau prasaMge vizeSa carcA, prathama lekhaka dvArA taiyAra thaI rahela zatruMjayagirinAM jinamaMdiro (The Sacred Hills of Satrunjayagiri) graMthamAM karavAmAM AvI rahI che, je san 1998nA pahelAM prakaTa thaI javAno saMbhava che. Jain Education Intemational

Page #191
pa0 saM. madhusUdana DhAMkI tathA lakSmaNa bhojaka Nirgrantha zrI setuja cennapravADi (duhA chaMda). sAmiya risaha pasAu kari jima senuji caDevi cetapravADihi savi namau tIratha bhAu dharevi. 1 pahilau sAmiu sIlamau risahasaru paNa mesu havaNa vilavaNa pUja kari kara duI jaDI thuNe su. 2 dIThaI AdijiPsarahiM hiyaDaI harisu na mAI loyaNa abhiyaharasu jharaI bhava saya kalimala jAI. 3 jiNavara Agali raMga bhari nAcisu guNa gAzuM rUdhisu kugaIduvAra savi niya chaviya phalu su. 4 jAmali baIThau Adi jiNa puMDarIka gaNadhAru sIghau koDAkoDa sau lesu nami bhava pAro(2). 5 aMDapi baIThau lepamau risaha niNaMdu juhAre bharahi jugAdihi thApiyau jAIsu bhavaduha pAre. 6 annavi gayA lakSya tahiM jiNavara biMba apAra UbhA baIThA savi namau siddharamaNi dAtAra. 7 devaharI dAhiNa gamaI cauvIsa vi jiLabiMba sAcaurau tahiM vIrajinuM pUjisu mehi vilaMba. 8 tihu bhUmihi jiNavara namau koDAkoDi majajhAri sIdhA paMDava paMca namI AvAgamaNu nivArI. 9 aTTApada tahiM (5)ThaI achaI jagihiM ja pahilau tIvyu cauvIsa vi jiganamavi kari jaM, karau sukyatyu. 10 rAINi heThali Adi jiNa paNamisa garuyA pAya rAINi dUdhihi parisi kari pAvuM pakhAlau kAya. 11 Avi ulihiM lepamAya DAvia bAha jigaMda aNuparivADihiM jiNa namau Agali paya araviMda, 12 jiANu musuivau vIsamau nami samaliyAvihAra je kaI tIhAM achaI te savi biMba juhAre. 13 sIhaduvArihiM Avata huM puNi paNamau jiNa pAya cepravADihiM kAraNihiM mAgau a(5)NamaI tAya. 14 dahiNa pAsaI Avataha kharataravasahI tuMga jANe devihi nimnaviya sAyAra aI caMga. 15 Jain Education Intemational

Page #192
Vol. 1.1993 zrI somaprabha gaNi viracita... dekhi jaNamaNu mohiyae loyaNa aNamisa thAI tIratha thoDAmAMhi savi avayAriya jahiM ThAI. 16 navau navesiu AdijiSNu namaNuM gabhArA mAMhi saparivAru jigaratanasUri baiTha maMDapamAMhi. 17 pUja jiSNu tevIsamaOM siri thaMbhaNAvayAru kallANattaI nemijiSNu siri gasAravayAru. 18 devakulI bAhattarihiM vAMdau jaNavaradeva aThThAvaya-sammeya-muha kara sutIratha seva. 19 maDhaha duvArI ja uraDiya guru vaMdauM tahi ThAI goyama maMDapa jAI kari gaNahara namIyahaM pAI. 20 naMdIsaravara AThamaI dIvi ji ceIya ramma te avayAriya vimalagiri vAMdiu toDisu kamma. 21 niya suyariya bali jahi huyae mANasu INi bhavi IMdu IMdamaMDapi teNi jAI kari pUjitu jiNavara hiMdu. 22 sAmalavantu salUNa taNuM sAmiu nemikumAru pUja saMbapajUna sadITha u ki(gi)ri giranAro(3). 23 poli kanhaI vAmau gamai siri thaMbhANAnivesu saragArohaNa nami-vinami seviu risahajiANesu. 24 jiNavara carcAvIsavi namau molhAvasahI mAri paNamIjaI siri paDhama jiSNu tau ToTarA vihAre. 25 chipagavasahI vIrarisahajiSNu ahiNavu AI jiNesu kaviDajakhkha suravarabhaviNa savi jiNabiMba namesu. 26 tuMga bhavaNi solasamau siri saMtinAhu paNamevi marudevI gayavari caDiya jagasAmiNi pUevi. 27 nemijijJesaru pAjamuhi lalitAsari jiSNuvIru pAlitANaI pAsa-jiSNu namivi lahisu bhavatIru. 28 eha ji cettapravADi nara padmaI guNaIM nipuNaMti siri sattuMjaya jAtravu te nirdhe pArvatti. 29 iti cettapravADi : samApta : (A) iti zrI zatruMjaya tIrtha cetra pravADi samAptA / / ta(ti)yiM ya0 somapramaLinA zumaM mavattu (B) 51

Page #193
kavi depAla kRta zatruMjayagiristha "kharataravasahI" gIta saM. madhusUdana DhAMkI bAra kaDImAM bAMdhela A gIta lA. da. bhAratIya saMskRti vidyAmaMdiranA muni puNyavijayajI saMgrahanI prata kramAMka 8285 parathI 21 varSa pahelAM utArI lIdheluM. gItano viSaya che zatruMjayagiri sthita 'kharataravasahI'nI geyAtmaka varNanA. zatruMjaya tIrtha paranI ghaNI caityaparipATIo upalabdha che; paNa temAM giristhita koI eka ja maMdirane varyaviSaya banAvanAra to A eka ja kRti maLI che. A racanA giranAra paranI kharataravasahI saMbaMdhamAM karNasiMhe racela gItanuM smaraNa karAvI jAya che'. pratanI lipi 16mA zatakanI che ane gItanI bhASA 15mA zatakanA uttarArdha bAdanI to jaNAtI nathI. (bhASAmAM kartAnA pradezanI 'bolI'no prabhAva varatAya che.) aMtima kaDImAM kartAe potAnuM nAma depAla' hovAnuM prakaTa karyuM che. pratyeka kaDImAM trIjA cothA caraNanuM punarAvartana thAya che. gItanA prAraMbhamAM kavi vimalagiri para poLa(vAghaNapoLa)mAM pravezatAM ja AvatI AdIzvaranI kharataravasahIno ullekha kare che (1). temAM aMdara rahelAM be anya maMdiro - nemi tathA pAzvabhuvana - tathA sametazikhara, aSTApada, nemijinanA kalyANatraya, corI, tathA paMcamerunI racanAno ullekha kare che (2-3). maMdiranA maMDapomAM khaMbhe khaMbhe zobhatI pUtaLIo, ane (gokhalAdimAM)aneka jinabiMbo, temaja chatomAM paMcAgavIra tathA nAgabaMdhanA bhAvono ullekha karI, (zilpIe) racanAmAM "thoDAmAM atighaNuM" racI dIdhAnI vAta kahI che (4-8). A pachI prazaMsAtmaka ugAro kADhI, aMdara rahela jinaratnasUrinI gurupratimAno ullekha karI, potAnuM racayitA rUpeNa nAma ApI, kRtinuM samApana kare che. (9-12). zatruMjaya paranA vizALa devAlayasamUhamAM Aje 'kharataravasahI'nI racanA te kaI, tenI pichAna karavA mATe je sAhitya upalabdha che temAM A gItanI vigato bahu ja upayukata thAya che: (eno upayoga eka anya lekha "zatruMjaya paranI kharataravasahI" mAM meM karyo che. e nircanthanA trIjA aMkamAM pragaTa thaze.) - | gItamAM kAvyatattva che ane sAhajika geyatA paNa samAhita che. kartA kharataragacchIya, ane ni:zaMka 15mI sadInA, kadAca rAjasthAnanA, zrAvaka hovAno saMbhava che. TippaNa :1. saM. madhusUdana DhAMkI, "karNasiMha kRta giranArastha kharataravasahI gIta," Aspects of Jainology Vol. II (Pt. Bechardas Doshi commemoration volume). Eds. M. A. Dhaky and Sagarmal Jain, Varanasi 1987, la Cull, pR. 175-18. 2. kavi depALanI keTalIka anya kRtio paNa upalabdha che. e viSaya para carcA munizrI dhuraMdharavijaya dvArA tAjetaramAM saMpAdita thayela kRtimAM kavi depAlanI sattareka jeTalI kRtionI noMdha che. (juo bhImazAharAsa,amadAvAda 1995, pradyumnavijaya likhita "Amukha" jeno AdhAra mohanalAla dalicaMda desAI kRta jaina gUrjarakavie prathama bhAga hovAnuM tyAM noMdhyuM che.) A sivAya harivallabha bhAyANI ane agaracaMda nahATA saMpAdita vIra pUrva vyi saMya, L.D.S.40, amadAvAda 1975, aMtargata paNa depAlanI traNeka anya kRtio noMdhAyelI che. depAla kavi IsvIsananA 15mA zatakamAM thaI gayA che.

Page #194
Vol. 1-1995 kavi depAla kRta zatruMjayagiristha... kavi depAlakRta zatruMjayagiristha "kharataravasahI'' gIta Adi jiNasara varabhUyaNi poli pravesa prathama praNami jaie kharataravasahIya vimaliMgare jimajima joIjaI timatima sUyaDI nayaNi amIyarasi jhIlaNUe 1 nemi pAsa jiNa bihu bhUyaNi sameta sikhara aSTApada dIsaI...... kharatara. 2 triNi klyANika nemiNi cyAraI carIa paMcameru parabata....kharatara. 3 thaMbhi thaMbhi tihAM pUtalIya hasaMta ramaMta khelaMtI dIsaI.........kharatara. 4 Agali tilika pachevaDaue kaya kapUra kiraya ki muNima........kharatara. 5 biMbaha pAra na pAmiIe ThAmiThAmi gurugaNahuM maNahara..... bhUkha anaI trisa vIsaraIe paMcAgavIra nAgabaMdha nihAlatAM . .kharatara. 6 thoDilAmAhi ji ati ghaNaue karaNavAra trihu bhu[vi]Naha kerI......kharatara. 8 .kharatara. 7 bila kIjau kamaThAIyAe bila kIjUM samudAya sadA phUla.......kharatara. 9 mana visaI tana ullasaMIe jIbhaDalI puNa kahIya na jANa........kharatara. 10 depAla bhaNaI dhana te naranAri jihiM dIThI te puNa dekhisiie kUMjaNa dAraNa duritahara bhitari gAjaI zrI jinaratnasUri guru..kharatara. 11 ......kharataraya. 12 53

Page #195
lakhapati kRta setuja cennapravADi" saM. madhusUdana DhAMkI zatruMjaya tIrtha saMbaMdhI adyAvadhi prAkRta-apabhraMza ane jUnI gujarAtInI maLI sAteka jeTalI caityaparipATio prakAzita thaI che. temAM bRhadra tIrthamAlAo, ke jemAM sAthe sAthe zatruMjayetaratIrthono paNa samAveza che, tene ahIM gaNavAmAM AvI nathI.) saMgha-sahayAtrA ke ekAkI yAtrA karanAra zrAvaka-kavio ane muni-mahAtmAo dvArA khAsa zatruMjayanAM ja devamaMdirone vaMdanA detI caityaparipATiomAM sAMprata setujacaitapravADi (zatruMjaya caityaparipATi)thI ekano vadhAro thAya che. A caityaparipATa lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdiranA munizrI puNyavijayajI saMgrahamAMnI prati kramAMka 8285 uparathI utAravAmAM AvI che. pratilipi (sva) paM. bAbulAla savacaMda zAhe saMpAdanAthe taiyAra karI ApelI, jeno ahIM sAnanda sAbhAra ullekha karuM chuM. paripATikAre aMtabhAge potAnuM nAma lakhapati' ApyuM che. upalabdha sAdhano dvArA hAla to A kavi vize mAhitI labhya nathI banI. pravAhinI bhASA soLamA zatakanI hovAno mArA (bhUtapUrva) sahakAryakara mitra dAramaNIkalAla zAhano abhiprAya che, jene anya lipi-tajajJa mitro thakI paNa samarthana maLyuM che. paripATinI zarUAtamAM kavi lakhapati "setujasAmI'-yugAdiprabhu-nuM AhvAna karI, (yAtrArthe) zatruMjayane paMthe prayANamAna thAya che : (1-2). temAM sau prathama pAlitANAmAM ane tyAM parisaramAM rahela traNa prasiddha madhyakAlIna jinamaMdiro-pArSajinezvara, lalitA sarovarane tIre rahela 'vIraprabhu,' ane (taLeTIthI uparanA bhAge sthira) bhagavannemI--nAM darzana karI, pAja caDIne marudevInI TUMke pahoMce che. tyAM mAtA "marudevI', 'kapaDajakha (kapardIdakSa), ne jina 'saMti (zAMtinAtha)ne vAMdhA (2-3) pachI "aNapama sarovara' (anupamA sarovara) tarapha jAya che. tyAM (maMtrI tejapAla nirmita) "saragArohaNa' (maMtrI vastupAlanA smaraNamAM baMdhAyela "svargArohaNa-prAsAda')mAM "Adi prabhu pramukha cAra biMbanAM darzana karI (sIdhA ja AdIzvaranA) "sahaduvAra'(siMhadvAre) pahoMce che : (4) tyAM AgaLa maMtrIdhara vastupAla sthApita 'tilakhuMtoraNa'(tilaka toraNa) nihALyAno AnaMdodRgAra kADhI, AdidevanA raMgamaMDapamAM pahoMce che : (5-6). te TAMkaNe 'bAhaDamaMtrI'(maMtrIrAja vADmaTa) dvArA thayela uddhArano Acho zo nirdeza karI, maMtrI baMdhu vastupAla-tejapAla'nA guNa smarI, devAdhideva AdIzvarasvAmInI 'lepamayI' mUrtino ullekha kare che. ne stavanAtmaka prazaMsA kare che: (6-7) te pachI 'gaNahara(gaNadhara) puNDarIkane praNamI, koTAkoTI jina'nI zailamaya mUrtione namI, 'pAMca pAMDava,' "caityavRkSa rAyaNa,' ane 'yugAdi'nAM 'caraNayugalane kara joDyA pachI "aSTApada', lepamathI bAvIsa jinamUrtio, tadatirikata vastupAlanA karAvela 'munisuvrata' ane 'sAcaura-vardhamAna' (sAcorIvIra kiMvA satyapura mahAvIra)ne namaskAra kare che : (10-11). | (AdinAthanuM prAMgaNa choDI pAchA vaLatAM thoDuM nIce AvyA bAda) kharataravasahI'mAM yAtrika praveze che. tenA AyojananA lAghava-kauzala viSe thoDIka prazaMsA karI, thoDAmAM ghaNuM samAvI dIdhuM che kahI, teTalAmAM rahela (tejapAla kArita) naMdIsara'(naMdIzvara prAsAda), 'yaMbhaNapura-avatAra (stambhanapurAvatAra pArSa) ane 'giranAra' vitAvatAra nemi)nA pratIka-tIrtharUpa maMdiramAM darzane jAya che. revatAvatAranA maMdiramAM neminAtha ane taduparAMta ambA, zAmba ane pradyumnanAM avatAratIrthono ullekha kare che : (12-13), ane te pachI samApti-yogya vacana Jain Education Intemational

Page #196
lakhapati kRta '"settujacettapravADi' kahI, potAnuM kartRtvasUcaka 'lakhapati' nAma jaNAvI vAta pUrI kare che : (14-15) A yuganI kRtiomAM sAmAnyata: hoya che tevuM kAvyatattva dharAvatI, A paMdara ja kaDImAM pUrI thatI paripATimAM evI koI navI vAta nathI je caudamA-paMdaramA zatakanA tIrtha-yAtrIoe na kahI hoya. UlaTuM keTalIka vigato, jemake kharataravasahInuM vigate varNana nathI, tema ja keTalAMka devabhavano, jevAM ke marudevInI TUka paranA chIpAvasahI, molhAvasahI, ane AdIzvara TUMkamAM AdinAthanAM mUlya caityanI sannidhimAM rahela vIsa viharamAna maMdirano AmAM ullekha nathI. sAMprata paripATinI racanA sattaramA saikAthI pUrve thaI hovA viSe bhASA uparAMta aMdara sattaramA saikAnI be khyAtanAma vAstu-racanAo--marudevInI TUka parano 'savAsomA'no 'caumukha prAsAda' (saM 1675 / I sa 1919) ane vimaLavazI TUMkano manautamalla jayamallajInA cAra raMgamaMDapavALA moTA caturmukha maMdira (saM. 1682 / I. sa. 1626) -- jenA viSe anyathA sattaramA saikAnA yAtriko acUka rIte kahe che ja, teno ullekha nathI, te kAraNasara vizeSa pramANa maLI rahe che. soLamA zatakanA aMtanI ane sattaramA saikAnI prAraMbhanI paripATiomAM vigato kramazaH ochI thatI jAya che, te paristhitinI A agracArI kRti gaNI zakAya. Vol. 1-1995 TippaNo : 1) AnI vigatavAra carcA mULapATha sahita huM mArA The Sacred Hills of Satrunjayagiri nAmaka pustakamAM karanAra hoI, ahIM vigatamAM UtaravuM anAvazya che. 2) anya sau paripATikAro svargArohaNaprAsAdamAM mivinami ane nAleya ema maLI kula traNa ja biMbanI vAta kare che. For Private Personal Use Only 5

Page #197
Nirgrantha saM. madhusUdana DhAMkI 'lakhapati' kRta "setuja cetra pravADi" dezI DhALa) kIya jagaguru ja (ju)gatiI juhArisa, ' manazuddhi setuja sAmI; tahII bhavaduha pAtaga chUTisu, dhyAna dharisu prabhu IsIsa] nAmI: bahinaDI apti guNa gAu. 1 Adi jiANesara olaga lAu, setuja vATaDI jAuM; bahinaDI ahi guNa gAu aMcalI. pAlItANaI pAsa jiANesara, paya pahilau paNa su; lalatasarovara lahiraDI tIraI vIrisiunemi namesu, bahinaDI. 2 pAjaI caDInaI mADI marudevi, vaMdisu mana dharI khaMti; koDiI kavaDajakha mukha joIsu, saMtikaraNa jiyau saMti. bahinaDI. 3 AgAma-sa2]vara pAli pravesiI, Adi pramukha jiNa pyAri; saragArohaNa raMga karI naI, paIsisa sahiduvAri. bahinaDI. 4 tilakhU-toraNa nayaNe paDI, ANaMda bhayau apAra; manavaMchita phala sAmIya pUraI, setuja-giri-avatAra. bahinaDI. 5 raMgamaMDapi raMgi mAruM mana mohile, bAhaDa maMtri uddhAra; vastigi tejapAla guNagarUDi, koI na pAmaI pAra. bahinaDI. 6 sUra-udaya (khi? ji)sau eha vimalAcala, sevaI (su)ranara sAtha; hRdayakamali vikasaI tiNi dIThaI, nayaNi nihAlisu nAtha. bahinaDI. 7 Jain Education Intemational

Page #198
Vol. 1-1995 lakhapati kRta "settujacettapravADi'' locana lepamaI sAmIya dIThau, dhanna divasa bhayau Aja; ArAsaNi jaga viru thApI, samarasaryAM savikAja. bahinaDI. 8 sivasukha kAraNa naraya nivAraNa, tribhuvana-tAraNa deu; kuMkumakUli kapUrihi pUjisu, saphala karisa kara beu. bahinaDI. 9 puMDarIka gaNahara paya paNamI, sIlamaya koDAkoDi; paMcaIM paMDava rAyaNi praNamisu, caraNa-yuga kara joDi. bahinaDI. 10 aSTApadi jina mohamaryama,- kara lepamaU jiNa bAvIsa; munisuvrata-vardhamAna-sAcaura, jagi pUravaI jagIsa. bahinaDI. 11 kharataravasahIya dRSTi dIThI, pApa pakhAliya deha; thoDAmAhi sarvavadhi thApI, vAta ghaNI chaI eha. bahinaDI. 12 naMdIyasara vari nirapama nirakhisu, thaMbhANapura avatAra; nemi aMbAI sAmi pajUni, la pAmi giranAra. bahinaDI. 13 nava navadeula biMba asaMkhyA, guNaNA nahI majha pADi; dRSTi adRSTi save jiNa vaMdauM, kIdhI ya cetra-pravADi. bahinaDI. 14 dhana naranAri nipuNa nizcaI je, nita [nita] namaI yugAdi; lakhapati bhaNaI tamhi bhAvanA bhAvau puNya anaMta nAdi. bahinaDI. 15 For Private Personal Use Only 57

Page #199
mahopAdhyAya zrIbhAnucandragaNi viracita AlocanAgarbhita zrInAbheyajinavijJaptirUpa stavana pradyumnavijaya gaNi kartA ane kRtino paricaya thI zvetAmbara zramaNa paraMparAnI prazasya paripATImAM tapagacchAdhipati jagadguru zrI hIravijayasUrijI mahArAjanA samayanuM prakaraNa svarNAkSare aMkita thayuM che. tenAM aneka prakAzamAna pRSThomAM je bahu caLakatAM yAdagAra nAmo che, temAM upAdhyAya bhAnuca tathA siddhicandranAM nAma noMdhapAtra che. A be vyaktio saMsAra pakSe sagAbhAI ane sAdhupaNAmAM guru-ziSya che; paNa teono parasparano vyavahAra jotAM te be vyakitane ApaNe eka nAme oLakhI zakIe teTalI hade teo abhedapaNe jIvyA hatA. upAdhyAya zrI bhAnucandranI guruparamparA A pramANe che. tapAgacchIya AcArya zrI vijayadAnasUrijInA ziSya upAdhyAya thI sakalacandragaNI (ke jeoe vi. saM. 1582, I. saM1526 mAM lokAgacchano tyAga karIne A zrI hemavimalasUrijI pAse dIkSA lIdhI hatI. kAussagnamAM ja jeoe zrI sattarabhedI ane ekavIsabhedI pUjAnI racanA karI hatI.) temanA ziSya upAdhyAya sUracandra gaNInA ziSya upAdhyAya bhAnucandra gaNI. upAdhyAya zrI bhAnucandra gaNInuM vatana gujarAtanuM pATaNa pAsenuM siddhapura nagara hatuM. pitAnuM nAma rAmajI, mAtAnuM nAma ramAze. potAnuM sAMsArika nAma bhANajI. moTAbhAInuM nAma raMgajI. banne bhAIoe upAdhyAya zrI sUracandrano upadeza sAMbhaLI, vairAgyavAsita banI, pravrajyA dhAraNa karI. bannenAM nAma anukrame raMgacandra ane bhAnucandra rAkhavAmAM AvyAM. te pachI teonA nAnAbhAIne paNa dIkSA ApI ane emanuM siddhicandra nAma rAkhyuM ane emane bhAnacandranA ziSyarUpe jAhera karavAmAM AvyA. A banne guru-ziSyanI joDIe sAhityamAM nAma kADhyuM, vAva pUrvAtha nI TIkA lakhIne emaNe e kALanA vidvAnone cakita karI dIdhA. upAdhyAya bhAnucandra sArA vidvAna ane sAhityasarjaka hatA. vyAkaraNa, sAhitya, uparAnta nimittazAstra, maMtra, jyotiSa vagere viSayomAM paNa temanuM prabhutva hatuM. sArasvata-vyAkaraNa upara temaNe vRtti racI che. vaLI emaNe vAyaTagacchIya jinadattasUrinA prasiddha grantha vivekSavinA (A0 I. sa. 129) upara TIkA racI che ane ratnapathiAnam nAmaka kathAgranthanI racanA karI che. te sivAya nimittazAstramAM vasaMta nirIna para paNa bahumAnya TIkA lakhI che; ane e badhA grantho temanA mahA vidvAna ziSyathI siddhicandra upAdhyAye saMzodhyA che. prastuta kRti zrI nAme bina vijJaptirUpa tavanagu' eka AtmaniMdAtmaka hRdayasparzI racanA che. upajAti, IndravajA ane vasaMtatilakA ema traNa chaMdomAM khyAsI zlokamAM bahu rocaka ane prAsAdika zailImAM A vijJapti lakhAI che. A kRtine racatI vakhate kartAnI sAme zrI ratnAkarasUri racita prasiddha zrI ratnara viMzati (IsvI 13mI sadI) hatI. prastuta kRtinI spaSTa asara AmAM jhilAI che. keTalAka zlokomAM to enI sIdhI ja arthacchAyA dekhAI Ave che. zatruMjayatIrthanA mULanAyaka zrI RSabhadeva bhagavAnane vaMdana karIne kartA potAnuM Atmanivedana zarU kare che. Jain Education Intemational

Page #200
Vd. I-1995 mahopAdhyAya zrIbhAnucandragaNi. paTa vartamAna kALanI vyakita potAnA manobhAvane, aMtaranI vedanAne vyakata kare to te AvA ja bhAvomAM vyakata kare, je rIte prAraMbhanA zlokomAM ratnAkarapaccIsInI spaSTa asara jaNAya che, te ja pramANe uttara vibhAgamAM venyAmanistotranA dhacAta va (12 sadI prathama caraNa) padathI zarU thatA chellAM padyonI spaSTa chAyA jaNAya che. e banne pUrva vibhAga ane uttara vibhAganI vacce je padyo che temAM kartAnuM Atmagahatmaka nija AtmavRtta evI hRdayasparzI Dhabe gUMthAyeluM che ke te prasAdaguNamaMDita padAvalI, pAThakanA cittano kabajo meLavI le che. sAmAnya AtmagahanI sAthe sAthe kartAe potAnA jIvanamAM sukRtane paNa saMbhAya che. te sukRto paikInAM be sukRto ItihAsa pramANita ane noMdhapAtra che : temAM paheluM sukRta je zatruMjaya tIrtha-karamocananuM che, tenuM khyAna bahu rocaka ane citrAtmaka zailImAM ApyuM che, jenI vigata A pramANe che. zloka 50 thI 59 sudhInA nava zlokamAM kAzmIra dezanA jayanalaMkA nAmanA sarovaramAM zahenazAha akabarane sUryasahasranAma saMbhaLAvavA gayA tyAre atizItanA kAraNe kartA mUccha pAmyA. bAdazAhane AnI khabara paDI tethI te lajjita banyo ane prasanna thayo : vagara kahyuM mArA nimitte Ape keTaluM kaSTa sahyuM. Apane je joIe te mAgo. mArA rAjyamAM je kAMI che temAMthI je joIe te kaho. zuM kAma vilaMba karo cho ? AvI kSaNe ke jyAre bAdazAha jevo bAdazAha je joIe te ApavA taiyAra che tyAre, bIjI koIpaNa vastunI mAMgaNI na karatAM teoe zatruMjaya tIrthamAM je yAtrAvero levAya che te mApha karavAnI mAMgaNI karI. bAdazAhe te vAta svIkArI. A eka bahu adbhuta kArya thayuM gaNAya. ane te pachI anya prasaMge samrATane gauvadhanA niSedha mATe paNa bahu yukata zabdo kahyA, jenI dhArI asara thaI. potAnI ANa je pradezomAM vartatI hatI te badhA pradezomAM bAdazAhe gauvadhabaMdhI jAhera karI, A bIjuM sukRta. kartAe aMtarmukha banIne, khUba nikhAlasatAthI A prArthanA racI che. anokhI rIte bhakata bhagavAna AgaLa Atmanivedana karIne haLavo thAya che. AtmaniMdA-garbhita stutiomAM A eka noMdhapAtra stuti che. rAjA kumArapALakRta AtmaniMdAbatrIsI tathA ratnAkarapaccIsInI jema A paNa prasAra pAme tevI kRti che. mughala bAdazAhano nikaTano saMparka thavo, enA upara UMDo prabhAva pADavo ane enA phaLa rUpe enI pAse dharmanAM ane lokopakAranAM sukato karAvavAM - Ane lIdhe koI tyAgI vairAgI saMta garvita na thAya to paNa chevaTe emane AtmatRSTi to avazya thAya. ane AvAM sukRto karAvyA pachI paNa teno saMtoSa ke harSa meLavavAne badale AvuM badhuM pote kIrti, nAmanA, pratiSThA khAtara karyuM che, evo aMtaramAM baLApo ane ajaMpo thaI Ave ane te AvI AtmanindAbharI pazcAttApanI kAvyadhArArUpe vahI nIkaLe evuM to javalle ja jovA maLe che athavA banavA pAme che. mahopAdhyAya zrI bhAnucaMdra gaNInI A racanAnI A virala vizeSatA che, ane te teonA aMtaramAM jAgI UThelI UrdhvagAmI AtmalakSitAnuM sUcana kare che. AgaLa sUcavyuM tema AmAM traNa vRtto prayojyAM che : indravajI, upajAti, ane vasaMtatilakA. alaMkAra tathA prAsanI dRSTie bahu camatkRti sadhAI nathI. racanAnI dRSTie kayAMka kayAMka kacAza paNa lAge che. sarjanamAM upAdhyAya siddhicandra potAnA guru karatAM ghaNA AgaLa che, ema teoe raceluM zramanutra jotAM jaNAI Ave che. teonuM bhASAprabhutva, chaMdavidhAnakauzalya, alaMkAranirmitipatA, lalitapadavinyAsapATava, ItyAdi lakSaNo prathama daSTie ja vAcakanuM dhyAna kheMce che.

Page #201
pradyumnavijaya gaNi Nirgrantha A vijJaptinI prata amadAvAda devasAnA pADAmAM, zrI vimalagaccha jaina upAzrayamAM pU paM zrI dayAvimalajIgaNInA hastalikhita jJAnabhaMDAranI che. pratiprAMte je saMvat 1717 (I. sa. 1661) Apela che te prati-lekhananI miti che. (mULakRti e mitithI 50-60 varSa pUrvanI haze.) samasta kRti AsvAdya ane aMtarane DhaMDhoNe che. EO pAThA : ( upajAtivRttam) AnamrakamrAmara pUrvadevaH, sa vaH zriyaM yacchatu mArudevaH / azizriyad yaccaraNAravinda - mindindirAlIva payodhiputrI // 1 // tvaM vetsi sarva sacarAcaraM jagad, jJAnena vizvatritayAvalokinA / * tvat sAkSikaM deva! tathA'pi vakSye, zubhAzubhaM yat vihitaM mayA tat // 2 // saMsAracakre bhramatA cireNa prApto mayA martyabhavaH kathaMcit / tathApi durbuddhirahaM na kurve, dharmaM yathA syAdamRtopalabdhiH ||3|| prabho ! mayA svIya gurormukhAmbujAt, yamAnurIkRtya tathA na rakSitA / avazyamevAsyakukarmaNaH phalaM, bhoktavyamastItibhayaM na jAtam // 4 // pUrva mayA lakSaNAM samakSaM kakSIkRtaM yaccaraNaM virAgAt / kiMcit pramAdAcaraNena pazcAnmUDhena sarvaM kaluSIkRtaM tat // 5 // (upendravajrAvRttam) purA parApAya vimarzapUrvakaM, mayA kRtA yad hRdi koTikalpanA / durantapApaM samupArjitaM tayA, nirarthakaM tannarakAdhikAriNA // 6 // yA nRNAM dharmakathAsu nitya, makAri dRgbhyo'mbukaNapravAhaH / atyanta nirvedarasasya poSaNAt paraM na jAtaM mama komalaM manaH ||7|| (paJcamahAvratAH) mayAdhika prANita lobhataH kRto, nirAgasAM prANabhRtAM vyapAyaH / na jJAtametat kila yAdRgeva vitIryate tAdRzameva labhyam // 8 // anyonyadurvAkyavibhASaNena, mayArjitaM saMsRtihetubhUtam / pApaM mahattasya vinAzakartA, svAmiMstvadIyA caraNadvayI me ||9|| * tenApi te nAtha ! puro brabImi / mayAkRtaM karma zubhAzubhaM yat // 3 // dharmaM yathAsyAdapunarbhavAptiH || 3|| For Private Personal Use Only

Page #202
Vol. I-1995 mahopAdhyAya thIbhAnucanagaNi. nityaM mayA manda iti prajalpitaM, kriyAsu kaivalya sukhapradAsu / lobhAbhibhUtena navInavastu, prAptyai mudhA bhrAntamaho samantAt // 10 // zanaiH zanai: parvaNi rogiNeva mayA kathaMcinjinamandire gatam / pradhAvitaM parvatamekhalAyAM kutUhalArtha tvarayA turaGgavat // 11 // sattIrthayAtrAsu mayA mano'pi najAtucid daivahatena nirmitam / tti kRte tvajanaM bhrAnti: kRtA bhUmitale'khile'pi // 12 // veSo mayAsvodara pUraNAyorarIkRta: kevalamevamanye / no cet kathaM muktinidAnabhUtaM samyaktvaratnaM kaluSI karomi // 13 / / vAde mayA kecana vAdino'pi vinirjitA nyAyavizeSayuktibhiH / svotkarSa poSAya pare na cAtmapakSasya visphUrti nidarzanAya // 14 // mayA mudhA hArita janmanA'munA, kimapyapUrvaM sukRtaM na tat kRtam / kIrti bhavedyena jagattrayAntare, pAtheyatAM caiti paratra loke // 15 // durvAramArAdhikapIDitena, durAtmanA yad vihitaM mayA tat / trapAkaraM vacmi kiyattvadagre, jAnAsi sarvaM svayameva yasmAt // 16 // (jJAnAcArAdi) ityeva vidyAvihita zramasya, puMsa: phalaM yanna bhavet sagarvaH / upasthitaM me viparItametat, kiM tatra dardRSTamidaM na jAne // 17 // tvacchAsanAtyaMta parAGmukhAnAM, durAtmanAM deva ! padArtha sArthAH / sarvepi zIghraM vimukhIbhavaMti, sahasra patrANyudayAdivendoH // 18 // mithyAtvabuddhyA tava zAsanaM yat, mithyopadezena mayA''vilIkRtam / kSantavyametat samazatrumitrairmadIya mAga: prabhubhi: pavitraiH // 19 // (tadutthapaGkasya vinAzanAya tvadaMghrisevA rasikaM mano me) (pAThAntaram) mayopavAso vihito'sti parvasu sagarva muktveti samAja mdhye| jagdhaM yatheSTaM tu raha: pravizya svAmitraho moha vijRmbhitaM me // 20 // mayA janAnAmatiduHkhitAnAM kRtopakAra: sukRtaika saJcayaH / tebhyo'pi kiMcicchabhavastu lipsayA hataprabhAva: khalu so'pi nirmitaH // 21 // adhItya bindupratimaM zrutaM kvacit, jAnAmyahaM sarvamiti praphulla: / tenA'tha he nAtha ! nirakSarasya, durAtmana: kA bhavitA gatirme // 22 // bhuGkte yadA'', surasaM supakvaM, susvAdu suvyaJjanameva zazvat / tathaiva susvAdu supakvamana,-mahan ! mahad duHkhamadAyi jihvayA // 23 // Jain Education Intemational

Page #203
pradyumnavijaya gaNi Nirgrantha atyanta susvAdu mayaiva bhojyamidaM tathA neti na bhakSyametat / ityAdi sarvaM rasanA jitena kRtaM mayA SaDsalolupena // 24 // (dAnAdi cAra prakAranA dharma) dAnaM supAtrena kadA'pi dattaM kIrtyAdi dAne praguNI kRtaM manaH / na dharmakRtyasya kRtA samIhA nirarthakaM janma gataM mamedam // 25 // mithyAtvadurvAsitacetaso me, rucirna ca syAcchuci jainadharme / nAnAvidhavyaJjanakalpite'pi, jvarAditasyeva manojJa bhojye // 26 // lobhena tattoSakRte gatAgataM, mayA kRtaM dhAmavatAM gRhe sdaa| na dhyAnalInena jinendra ! nirjane mahAvane naiva samAdhinA sthitam // 27 // sadA sadAcAra vicAravadbhi-dattaM manohAri yadeva vAsaH / naivopabhogAya mayApi kalpitaM, dattaM na cAnyasya (smai) tathaiva tadgatam / / 28 / / tattanmanohAri padArtha sArthe, jineza! dRg pathamAgate sati / tallipsayaivAtra mano madIyaM sadaiva saMtaptamivAvatiSThat // 29 / / mayA kRtaM cet sukRtaM kadAcit, garveNa sarvaM viphalI kRtaM tat / ato'tra nAmutra ca kiMcanApi, bhoktavyamastIti bhRzaM bhayaM me // 30 // duSTA madIyA rasanA nikRtyA, pura: pareSAM madhuraM bravImi / vibhAvya samyag hRdi kintu naivaM zivapradaH zAntaraso rasendraH // 31 // samAgate parvaNi tattapo'rthe zraddhAvatAM svIya matAnurAgiNAm / datto mayA tIvrataropadezo na cAtmanA tad vihitaM hatena // 32 / / durAtmanA nAtha mayA kadApi, viTena zIlasya kathaiva no kRtaa| tadhetuka: ko'pi zubhopadezastathA pareSAmapi na pradattaH // 33 // yadIya saddhyAna rasendra yogAt saMjAyate svAtmani tArabhAvaH / tathApi mUDhena mayA tadarthamabhyarthitA: kecana yogino'pi // 34 // bhrAntiM vimohAnmama kArayanti vAkyAni tenAtha yathAsthitAni / sthAne hi tad grISma bharAnmarIcikA puMsAM jalabhrAntikarI na kiMsyAt // 35 // mahItale nirdaya mAnavAnAmahaM vidhAtrA vihito'smi mukhyaH / karaMka zeSAnapi vIkSya raMkAn yato na jAtA hRdi me dayApi // 36 / / mayA kRtaM yat sukRtaM kriyAdikaM kariSyate yat kriyate ca nityam / phalegrahi ! bhavitA mamaidyato na nirdabhatayA vidhIyate // 37 // Jain Education Intemational

Page #204
Vol. I-1995 mahopAdhyAya zrImAnuyandragaNi... anyaM samAkhyAya janasya rAtrau kiJcittadanyaM vihitaM punaH prage / ityasmi vizrambha vinAzahetuH svAminnahaM pApakRtAM hi mukhyaH ||38|| kRtaM RjutvaM bahirevanAnta, rmukhe ca mAdhuryamadhAri dambhAt / paraM mayA naiva kadApi muktaH, svAntasthakAluSya kalaGka paGkaH ||39|| kRtAta va mohamatta, mAtaGga vidhvaMsana paJcavaktraH / adhyApitaH sopi mayA svavaiyA vRttyArthamevAtra tadastu dhig mAm ||40|| sadjJAna cAritra vizeSa ratnayormayA kadAcinnahi saMskRtiH kRtA / tadIyatantrANi vizeSitAni jineza ! saundarya vizeSa bhAji // 41 // utsarga mArgazca tathApavAdo dvayaM jinaproktamiti prapadya / svAminmayA sarvamakRtya kRtyaM dvitIya mArge nihitaM pramAdAt // 42 // zazvat samagrAsvapi sat kriyAsu vidagdhamevAhamadhAriSaM yat / svayaM pravRtto'smi na tAsu karhicit na vatsalatvAd guruNApi noditaH // 43 // piturdhanaM yadyapi bhUri dattvA gRhItadIkSo'smi mahA virAgAt / tathApi pustasya kRte punama saMjAyate dhig dhanasaMgrahecchA // 44 // akabbara kSmAdhipateH purastAnmayAjanAnAM yadakAri kRtyam / na nispRhatvena na copakAra - buddhyApi kintu svagurutvahetoH // 45 // IkSe kumArAn vrajato hi yAvataH kartuM vineyAn spRhayAmi tAvataH / svAmin mahAmohavazAdurantA pravardhate lobha paramparA me ||46 || aho mayA'kabbara zAhizAhe-radhyApitAnyakSakRtAvarasya / sahasranAmAni sahasrarazme: kArta svarIyAsanasaMsthitena // 47 // virAgiNAM yadyapi nispRhANAM naivocitImaJcati tanmunInAm / svakIya dharmasya tathApi loke kRtaM mayA sphUrti nidarzanAya // 48 // prAptaM mayA tena gurutvameva paraM na jAtA paramArthasiddhiH / ato munInAmatinispRhANAM teSAM tu tenApi na kazcidarthaH // 49 // ( sukRta kathanam ) kAzmIradeze'styatha jainalaMkA'bhidhaM saro mAnasavad vizAlam / kutUhalI tatra kutUhalArthaM zAhirgata stena gataM mayApi // 50 // tatra prage'haM prabhupAThanAya gato'smi zItena bhRzaM nipIDitaH / adhyApayanneva nRpaM himAnIpAtAdakasmAdabhavaM vihastaH // 51 // 63

Page #205
pradyumnavijaya gaNi Nirgrantha mUchauM gato'tarkitameva pazcAt pote patitvA kSaNamutthito'smi / tadA bhRzaM zAhisamIpavartibhirabhUtapUrvastumula: kRto janaiH // 52 // kRpAkaTAkSeNa vilokitaM tadA puna: puna: proktamidaM ca zAhinA / rAjye madIye vada vallabhaM yad mayA pradattaM tava nizcitaM tad // 54 // dayAparo mAmasakRnirIkSya, duHkhAcetA: punarabravInRpaH / asAmprataM kiM kuruSe vilamba yatte'styabhISTaM vada sAmprataM tat // 55 // mayA tadAnIM vimalAdri zulkaM, vimucyatAM prArthitametadeva / tato'sya tIrthasya karaM vyamuJca, samastadillIpatisArvabhaumaH // 56 / / matta: kRtaM tat sukRtaM ca tena, mamApyapUrvo'jani tena lAbhaH / svakIya mudrAkalitaM vidhAya, patraM pradattaM mama zAhinA drAk / 57 // mayApi *pUrNAnakavad dharitryAM, zrI hIrasUrerupadIkRtaM tat / tata: prabhRtyatra girau na jAtucid gRhNAti ko'pi pratimAnuSaM karam // 58 // zrI hIrasUre: suguroH prasAdAt, kurvanti sarve'pi sukhena yAtrAm / adya prabhRtyetadabhUtapUrva, jAtaM na kenApi vinirmitaM purA // 59 // yasyA havirdadhyapi bhujyate'nizaM, dagdhaM ca pIyUSanibhaM nipiiyte| mAteva dhenuranimittavatsalA, nipAtyate sApi kathaM durAtmabhiH / / 60 // zruttveti samyak samaye mayoktaM, camatkRtAzcetasi sAhirAjaH / niHzeSa dezeSu vilikhya patraM nyavArayad govadhamugratejAH // 61 // yugmam (Atmanivedana vijJapti) ityAtmagardA karaNepyapUrvaM nirUpitaM yat sukRtaM kRtaM tat / athAtmagar2yAkaraNAd viramyate, vijJapyate nAbhinarendra saMbhava ! // 62 // asArasaMsArapayodhimadhye, trAtA tvamevAsi nimajjatAM nRNAm / jAnanapIdaM kimabhUvamajJa- stvadanya sevArasalampaTo'ham // 62 / / iha tvadIya: khalu yo niyoga: surAsurANAmapi mAnanIyaH / vihAya tanmUDhadhiyA tvadanyadevAjJayA nAtha ! mayA pravRttam // 63 / / bAhye samantAt madhuveSTitasya, hAlAhalasyeva mama svarUpam / jAnIhi vizvoddharaNaikadhIra ! bahirmanohat kaTukaM yadanta: // 64|| * utsaveSu suhRdbhiryad balAdAkRSya gRhyte| vastramAlyAdi tat pUrNapAtraM pUrNAnakaM ca tat // a. kA. 3 zco 677. Jain Education Intemational

Page #206
Vol. I-1995 mahopAdhyAya zrIbhAnucanagaNi.. niratyayaM ye bhavadaMghriyugmaM bhaktyA bhajante bhuvi janmabhAjaH / harSAna para pUta deha dezAsteSAM prabho jIvitameva dhanyam // 65 // ahaM tvadIyaM zaraNaM prapadya zaraNya ! te saMnidhimAgato'smi / sIdantamugravyasanAbdhimagnaM mAM rakSa vIkSAtmapade vilagnam // 66 / / jAnAmyahaM nAtha! kadApi pUrva, tvanAma mantro na mayA shruto'sti| tvannAmamantra zravaNe tvavazyaM, vipad bhujaGgI na samIpameti // 67|| darzaca darzaca mano madIyaM saMsAra hallIsakamIyuSa zramam / vizramyatAM taccalane tvadIye jambUmunAveva yathA'pavargaH // 18 // pApena pInaM sukRtena hInaM durAtmanInaM kupathAdhvanInam / doSAbdhimInaM ca sadaiva dInaM punIhi mAM cet patitAn punAsi // 69 // dRSTo'si pUrvaM bahuzastuto'si, pATIra kalkAdibhirarcito'si / paraM mayA pApadhiyA kadApi, na bhaktipUrvaM vidhRto'si citte // 70 // jAto'smi sarvatra jineza tasmA, dahaM janAnAM parihAsa dhAma / kRtA: samagrA api sat kriyA yanna bhAvazUnyA saphalIbhavanti / / / 71 // bhavAmbudhau mAM patitaM nirIkSya, dayAM vidhAyoddhara kiM vilmbse| jagattrayAdhAra jineza yasmAnna tvAM vinA ko'pi hi karNadhAraH // 72 // mayA vimUDhena bhavAntare'pi, na carcitaM yad bhavadati yugmam / jineza ! tenaiva parAbhavAnAM, mahaM vidhAtrA vihito'smi pAtram / / 73|| saMbhAvyate naiva kRtaM purApi, puNyaM mayA kvApyadhamena nUnam / ihApi cettanna puna: kariSye, hato'smi hA hA vidhinA' hameva // 7 // lokatrayI lokahitAnubandhinaM, jagad guruM jAgradazeSavaibhavam / dhyAyanti ye tvAM manasA'piduHsthitA, bhavanti te'traiva maharddhayo janAH // 75 / / saMsAra madhyasthamapi prabho tvAM, saMsAramuktaM pravadanti santaH / sthAne viSAntarnihito'piyanmaNi, viSena mukta: pratipAdyate janaiH // 76 // ye tvad guNavrAta payodhimInA, stvadIya vAcAmRtapAnapInAH / tvadukta siddhAnta pathAdhvanInA, stvadvakA vIkSA viSaye navInA: // 77|| tvatpAda paGkeruha eva lInA, svadIya sevA vihitAtmanInA: / bhavanti te janmajarAvihInA saMsAracakrena kadApi dInA: // 78 // itthaM tvadagre jina! ye svarUpa-mAtmIya mAvedya kRtAtmagare / te svargasaukhyAnyacireNa bhuktvA bhavyA mahAnanda padaM labhante // 79 // Jain Education Intemational

Page #207
da pradyumnavijaya gaNi (aMtima prArthanA - ) preSyo'smi dAso'smi ca kiMkaro'smi, tvatsevakAnAmapi sevako'smi / yAce'hamityeva na kiJcidanyat kRpAkaTAkSena vilokanIyaH // 80 // zrI bhAnucandra varavAcaka cakravartI, svacchAzayaH suvihito'pihipApabhIru / AtmIyaduzcaritakIrtana cArudaMbhAdAlocanAmiti cakAra vicAracaJcuH // 81 // ( pAThAntaram = ) zrI bhAnucandra varavAcaka cakravartI, svacchAzayo'pihi jinAdhipateH purastAd / AtmIyaduzcaritakIrtana cArudaMbhAdAlocanAM vihitavAn vidhivad vidhijJaH // 82 // iti pAdazAha zrI akabbara jallAladIna zrI sUryasahasra nAmAdhyApaka zrI zatruJjaya tIrthakara vimocana, govadha nivartanAdyaneka sukRta nirmApaka mahopAdhyAya zrI bhAnucandra gaNi viracitaM svapramAdA caraNAlocanA garbhitaM zrI nAbheyajinavijJaptirUpaM stavanaM samAptamiti // saMvat 1717 varSe mAgazira vadi 7 zukre mahopAdhyAya 5 zcIM siddhicandra gaNibhi: zodhitam // For Private Nirgrantha Personal Use Only

Page #208
ghoghAnI madhyakAlIna dhAtupratimAonA aprakaTa abhilekho lakSmaNa bhojaka saurASTranA pazcima samudrataTe bhAvanagara pAse Avela ghoghAmAM madhyakALamAM navakhaMDA pArzvanAthanuM mandira sthapAyeluM, je pUrNatayA jIrNoddhArita rUpe Aje paNa vidyamAna che. tyAMnA bhUmigRhanA saMcamAMthI maLI Avela dhAtu tathA pASANanI pratimAonA saMgrahanuM gujarAta rAjyanA purAtattva khAtA taraphathI zrI madhusUdana DhAMkI tathA (sva) harizaMkara prabhAzaMkara zAstrIe sana 1961nA DisembaramAM sarvekSaNa karI teno saMkSipta paricaya eka lekha dvArA prasiddha karelo. temaNe utArI lIdhela lekhomAMthI IsvI teramA zatakamAM AvI jatA aDhAreka lekho (sva) kAntilAla somapurA tathA (sva) navInacandra AcArye prakaTa karelA. sarvekSaNa samaye je pratimAo, lekha tathA anyathA kalA ane zailInI daSTie jUnI tema ja mahatvapUrNa hatI tene nokhI tAravI thI DhAMkI tathA zrI zAstrIe mandiranA saMcAlakone saMbhALapUrvaka judA sAcavI rAkhavA bhalAmaNa karelI. A nokhI rAkhela pratimAono saMgraha thoDAM varSa pUrve zrI lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdiramAM lAvavAmAM Avelo. tyAre tenA lekho vAMcI utArI levAno moko maLelo. Aje temAMthI pramANamAM mahatvanA che tevA adyAvadhi aprakaTa 24 lekho ahIM prakAzita karavAmAM Ave che. (1) A bahu ja ghasAI gayelo lekha eka dazamA zataka jeTalI jUnI pratimA (ghoghA kramAMka 84) pAchaLa korelo che : yathA : 1) AsIMdu 2) dAssaritoyare 3) vIradevasUra[ri]sya ziM 4) gheT 9) ---------- 6) ---------- 7) ---------- 8) reT------- 1) che. saMva 20) 202 (12) lekhanI mitI saM. 101 (51) I. sa. 959 (3) jevI vaMcAya che, gacchanuM nAma spaSTa nathI; paNa vIradevasUrinA ziSya pratiSThita karAvI lAge che. vIradeva nAmanA be eka nAmo jJAta to che; paNa te 11mA-12mA zatakamAM thayA hovAno saMbhava hoI ahIM ulikhita vIradevasUri temanAthI bhinna ane vizeSa prAcIna hovAno sambhava che. | prastuta lekha saMvata 1123 / I. sa. 1067no lekha caturvizati paTTa (ghoghA kramAMka 1) para che; ane saravAlIya gaccha sambaddha che. (A gachano ullekha karatA agAu thoDAka lekho maLyA che.)

Page #209
saM. lakSmaNa bhojaka Nirgrantha 1) o zrI saravAlIyagacche vIrapitu 2) zreyo nimittaM aMpaTAdinijaputrai 3) caturvitiparva tiru 4) ti | saMvata 23. agiyAramI sadInA jaina pratimAlekho pramANamAM ochA maLyA che tethI A ane A pachI ahIM lIdhela cAra lekhonuM mahattva che. (yo tritIrthika pratimA (ghoghA kramAMka 103) parano saM. 1124 / I. sa. 1068no A lekha atyaMta saMkSipta che; ane thoDAka akSaro paNa gayA che. gacchanuM nAma moTe bhAge "hAIkapUrIya" hovuM joIe. A eka prAcIna gaccha che. rAjasthAnamAM moTe bhAge jAlora paMthakamAMthI niSpanna thayo haze. saM0 1124 9 zrI (hAi) kapUrIyagacche A(sA)kena kAritA (4) saM5135 / I. sa. 109no prastuta lekha tritIrthika saparikara pratimA (ghoghA kramAMka 36) para aMkita che. saMvata 23 zrI ------- che zUra yazodeva zreyorthaM pAhinyA kAritA pArzvanAthanI ekatIrthI saparikara pratimA (ghoghA kramAMka 34) para saM. 1154 (I. sa. 198)no lekha che. saMvat 1664 vai--------ntaNita . 4. mUtra 4. sUi-----3. vacharAnena svamana: sitAyA - - - - - - zreya pitA | (6) jina vardhamAna mahAvIranI saparikara ekatIrthI pratimA (ghoghA kramAMka 45)nI saM. 1186 (I. sa. 1130)mAM ajitasiMhasUrie pratiSThA karelI. (A ajitasiMhasUri bRhadagacchIya ajitasiMhasUri hovAno saMbhava che.) saM0 1986 po zu1 zanau dhuvalA jAga puNyArthaM suta pUnAkena zrImahAvIrapratimA kaaritaa| pratiSThitA shriiajitsiNhsuuribhiH|| ahata ariSTaneminI ekatIrthI saparikara pratimA (ghoghA kramAMka 7) saM. 1195 (I. sa. 1139)mAM (caityavAsI) brahmANagacchanA udyotanAcArya saMtAnIya zrAvake bharAvelI. Jain Education Intemational

Page #210
Vol. .1995 ghoghAnI madhyakAlIna dhAtu pratimAonA.. 69 saM0 1195 phAguNa sudi 11 zrI brahmANagacche udyotanAcArya saMtAne || mahaNA zrAvakeNa ariSTanemibiMbaM kAritaM // (8) saM. 1202 (I. sa.1149)nI A pArzvanAtha jinanI ekatItha saparikara pratimA (ghoghA kramAMka 24) jAlyodharIya (gaccha)nA koI anuyAyIe bharAvelI. saM0 1202 jyeSTa sudi 9 zrIjAlyodharIya(gacche) ------ mAtmazreyI pitA saM. 1234 (I. sa. 118)nI zAMtinAtha jinanI pratimA (ghoghA kramAMka pa2)nI pratiSThA dharmasUri ziSya rAmacanTe karAvelI. varSa jotAM saMbhava che ke prastuta dharmasUri te prasiddha rAjagacchIya vAdIndra dharmasUri hoya. T saM. 1234 mApa - - - -zrI zAMtinaathbiNbN kAritaM pratiSThitaM zrI dharmasUri ziSyaiH zrI rAmavA (10) saM. 128 (I. sa. 1202)nI A saparikara pAzvaryanI pratimA (ghoghA kramAMka 12) triguNapatha' nAmanA sthAne (caityavAsI) thArApadragacchamAM Tha, rANake bharAvelI. Thakakara rANaka koI rAjamAnya puruSa haze. 'triguNapatha'nI oLakha thavI bAkI che. / saM0 1258 jeSTha sudi 10 zanau triguNapathe thArApadragacche pohItha suta TharANakena pratimA pitA | (11) prastuta saM. 120 (I. sa. 1234)no lekha dharAvatI A saparikara jinapratimA (ghoghA kramAMka 14) dIsAvAla (DisAvAla) jJAtinA zrAvake bharAvela che ane navAMgavRttikAra (caMdra kulanA abhayadevasUri)nI paraMparAmAM thayelA municandrasUrie tenI pratiSThA karelI. da saMvat 1290 varSe dIsAvAlajJAtIya zre0 AsapAlasuta sahajapAlena mAtA hIha [sa] hitena mAtAmada..........Arita pratiSThitaM zrIcandragacchIya navAMgavRttikArasaMtate zrImuni caMdradUmi : | Jain Education Intemational

Page #211
saM. lakSmaNa bhojaka Nirgrantha (12) saM. 1291 (I. sa. 1275)nI A ekatIrthI saparikara pratimA (ghoghA kramAMka 3) zrI zrImAlajJAtinA zrAvakanI bharAvela che. (paM01)saMvat 1291 varSe zrIzrImAlajJAtIya zre0 jagadevasuta zre0 vIjaDena aatmpu(G0 2)thAya . . . . . . . . . . . (13) saM. 13(7)3(1) (I. sa. 1247 ?)nA lekhavALI A ekatIrthI saparikara pratimA (ghoghA kramAMka 25) nAgendragacchanA bhaTTAraka vibudhaprabhasUrinI bharAvela che. saM13()3(?)- - -T0 1 nau zrImA - To . - - - - mAryA - - - - - zrIzAMtinAtha (biMbaM) kAritaM / pratiSThitaM zrInAgendragacche bhaTTA0 zrIvibudhaprabhasUribhiH / (14) saM. 1303 (I. sa. 1247)nuM varSa dharAvatI A paMcatIrthI saparikara pratimA (ghoghA kramAMka 123) "dhArAgaccha"nA sarvadevasUri dvArA pratiSThita thayelI. dhArAgaccha Ama to alpajJAta che. "thArA"(thArApadra)ne badale "dhArA" kotarAI na gayuM hoya to pachI mALavAnI rAjadhAnI "dhArA" parathI gaccha niSpanna thayo gaNAya. bharAvanAra devasIMha (devasiMha) maMtrIpada dharAvato haze. saM0 1303 varSe - - - - zrImAla0 mahaM devasIha bhAryA ghetalade zrI dhA(thA?)rAgacche pra0 zrI srvdevsuuribhiH| jina RSabhanAthanI A ekatIthI parikara sahitanI gAmanA zrAvakoe bharAvela pratimA (ghoghA kramAMka 9)nI saM. 1305 (I. sa. 1249)mAM (kharataragacchIya) jinapatisUriziSya jinezvarasUri (dvitIya) dvArA pratiSThita thayelI. 1 saM0 1305 ASADha sudi 10 zrIRSabhanAtha pratimA zrIjinapatisUriziSya zrIjinezvarasUribhiH prati SThitA grAmaloka zrAvakeNa kAritA jina mahAvIranuM A saparikara bimba (ghoghA kramAMka 59) ajJAtagacchIya hematilakasUrinA upadezathI saM. 1323 (I. sa. 1267)mAM zrImALI zrAvaka narasiMhe bharAveluM.

Page #212
Vol. I-1995 ghoghAnI madhyakAlIna dhAtupratimAonA... saM0 1323 vaizASa vadi 5 zrImAlajJAtIya sAMgaNasiMgAradevi zreyortha suta narasiMhena zrImahAvIrabiMbaM kAritaM zrIhematilakasUrINAM upadezena (17) ahaMtu vAsupUjyanI A ekatIrthika saparikara pratimA (ghoghA kramAMka 8) saM. 1332 (I. sa.1276)mAM jalodhara (jAlyodhara) gacchanA haribhadrasUri ziSya hariprabhasUrie pratiSThita karelI. (A sUrinA pratiSThAlekho agAu pIramabeTAdimAMthI maLyA che tevuM smaraNa che.) pratimA bharAvanAra zrAvaka moDha jJAtinA hoI lekha mahattvano che. saM0 1332 vaizASa vadi 1 moDhajJAtIya zre0 mANAkena pitRvya kamAdA (?) zreyase zrIvAsupUjyabiMbaM kAritA pra0 zrIjAlodharagacche zrIharibhadrasUriziSya zrImiyUri : (mi:) .. (18) jina neminAthanI A ekatIthI saparikara pratimA (ghoghA kramAMka 30) nAgendragacchanA vibudhaprabhasUri dvArA saM. (13?)34 (I. sa. (12)8)mAM pratiSThita thayelI che. A vibudhaprabhasUrino ullekha ahIM agAu saM13(04)3nI pratimAmAM AvI gayo che. (juo lekhAMka 14). saMvat (13?)34 varSe vaizAkha zudi 5 gurau Tha0 dravi- - - - - - - - - - vAna zrIneminAthabiMbaM kAritaM nAgendragacche zrIvibudhaprabhasUribhiH pratiSThitaM (19). zreyAMsajinanI A saparikara pratimA (ghoghA kramAMka 73) saM. 1345 | Isa. 128lmAM nImA' jJAtinA che. "kuArasIha" (kuMvarasiMha)nI bharAvelI che. lekhamAM javalle ja maLato "nImA" jJAtino ullekha hoI te prastuta jJAtinA ItihAsa mATe mahattvano che. saM0 1345 vaizASa suda 2 zanau nImAjJAtIya zre0 kuMarasIha suta rAjadade - - - zreyArthaM zreyAMsabiMbaM kAritaM (20) zAMtinAthanuM A saparikara bimba (ghoghA kramAMka 44) saM. 1363 (I. sa. 1307)mAM nAgendragathvIya devANaMda (devAnaMdasUrie pratiSThita kareluM. lekha solaMkIyuganI samApti pachInA nAgendragacchanA itihAsa mATe mahatvano banI rahe che.

Page #213
saM. lakSmaNa bhojaka Nirgrantha saM0 1363 sudi 9 - - - - saMsAradevI - - - - - - - - - - zrIzAMtinAtha biMbaM kAritaM pratiSThitaM zrInAgendragacche shriidevaannNdsuuribhiH| (21) jina zAMtinAthanI A saparikara pratimA (ghoghA kramAMka 94) saM. 1367 (I. sa. 1311) nAgaragacchanA AnandasUrinA saMtAnIya ane nAgaragacchIya zrAvakanI bharAvelI che. nAgaragaccha tathA nAgara jJAtinA ochA maLatA aitihAsika ullekhomAM A lekhathI ekano vadhAro thAya che. saM0 1367 ASADha su03 zrImannAgaragacche zrIAnaMdasUrisaMtAne nAgarajJAtIya mAtR suhaDadevi zreyortha suta devalena zrIzAMtinAthabiMbaM kAritaM / / (22) saM. 1474 (I. sa. 14ra8)mAM bharAyelI A zAMtinAtha jinanI paMcatIrthI pratimA (ghoghA kramAMka 28) DAyaTa jJAtinA zrAvake bharAvelI ane pratiSThA vAyaTagacchanA jinadattasUrinA ziSya (kadAca rAzillasUri ?) dvArA thayelI. ahIM vAyaDajJAti tathA vAyaDagacchano ullekha hoI lekha agatyano che. saMvat 1474 varSe mAgha zudi 10 dazamyAM some zrIvAyaDajJAtIya Tha0 vayarasAha su0 Tha0 vAchA zreyortha siMghAkena zrIzAMtinAthabiMba kArApitaM vAyaTagacche zrI jinadattasUripaTTe zrI - - - -sUribhiH pratiSThitaM (27) saM 1483 (I. sa. 1427)mAM jina dharmanAthanI Asaparikara mUrti (ghoghA kramAMka 59) tapAgacchIya somasundarasUri dvArA pratiSThita thayelI hoI lekha mahattvano che. saMvat 1483 varSe vaizASa zudi 5 gurau zrIzrImAla jJA0 pa0 samarA bhA0 - - - - - pi0 ratnA zreyortha suta jayasiMghena zrIdharmanAthabiMbaM kAritaM tapAgacche zrIsomasundarasUribhiH

Page #214
Vol. 1-1995 povAnI dhyakAlIna pAAtimAonA... TippaNo ane sandarbho : 1. zrI madhusUdana DhAMkI tathA zrI harizaMkara prabhAzaMkara zAstrI, ''ghoghAno jina pratiSThA nidhi,'' zrI phaoNrbasa gujarAtI sabhA viSAzika, grantha 3, aMka 1, muMbaI jAnyu-mArca 1965, pR 19-22. 73 2. kAntilAla phUlacandra somapurA : navanItAba khAnaMdIlAla bAcArya, 'ghoghAnA aprakaTa jaina pratimAlekho,' zrImahAvIra jaina vidyAzraya suvarNamahotsava nya, muMbaI 1968, pR 111-11, 3. maMdiromAMthI dhAtupratimAo corAI javAnA kissAo sAMbhaLavAmAM AvatA hoi takedArI khAtara temaNe A bhalAmaNa karelI. 4. juo, prAcIna lekha saMgraha (bhAga 1 lo), saMgrAhaka vijayadharmasUri (saM. munirAja vidyAvijaya), bhAvanagara 1929, pR0 2, lekhAMka (4); pR0 3, lekhAMka (7); } 4, lekhAMka (11); }0 5, lekhAMka (15) ityAdi. tathA muni vizAlavijaya, zrIrAdhanapura pratimAlekha saMdoha, bhAvanagara 1960, pR. 4, lekhAMka (6,7); pR. 8, lekhAMka (10) tathA pR. 6, lekhAMka (12) ane pR. 10, lekhAMka (24). 5. arbudAcala pradakSiNA jaina lekha saMdoha (Abu bhAga 5), (saMgrAhaka) munirAja zrIdhanavijaya, zrI yazovijaya jaina granthamALA, bhAvanagara vi saM 2005 (I. sa 1949), pR 140, lekhAMka 389.

Page #215
traNa prakIrNa abhilekho lakSmaNa bhojaka zrI lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdiranA saMgrahanA traNa adyAvadhi aprakaTa rahela abhilekhonI savivecana vAcanA atre prastuta karavAmAM Ave che. (1) A lekha saM 1160 / (i. sa 1104)nI ArasanI jina pratimAnA kapaDavaMjathI prApta thayela (ane saMsthAne bheTa maLela) pabAsaNa para aMkita thayo che. (lA 6 mU. kramAMka 1225). AnI noMdha to AgAu prakaTa thaI cUkelI che'; paNa lekhanI vAcanA tyAM na dIdhela hoI ahIM pUro pATha Apavo upayukata che: [paM0 1] 9 saMvat 1960 zrIcaMdrakule zrIvIrabhadrAcAryasaMtAne zreSThi nAga pApA thAnaTTe hAlA lAjA [taM 2] tathA zrAviA pAThThI mAtra (nArtha ?) zrImad anaMtasvAmi pratimA mokSArthaM pa ( pra ) NamaMti / / caMdrakulanA vIrabhadrAcArya AmnAyane anusaratA parivAre bharAvelI pratimA sambandhanA A lekhamAM zreSThi nAga pachInA pAMca akSarono artha aspaSTa che. pachI AvatA (zrAvakonAM)nAma (pApA thAnaTTa? tathA hAlA, lAjA) tathA zrAvikA pAhInuM nAma barobara vaMcAya che . pratimA jina anaMta(nAtha)nI che. lekhane aMte ''mokSArtha praLamaMti'' jevA zvetAmbara saMpradAya mATe alAkSaNika paNa digambara saMpradAyanI paripATInA abhilekhomAM jovA maLatA zabdo che. vIrabhadrAcArya koNa haze te Ama to kahevuM kaThaNa che. IsvIsananI 11mI sadInA pUrvArdhamAM eka ajJAta-gacchIya vIrabhadrAcArya praNIta ArAdhanA-patAkA (saM 1078 / I sa 1022), bhaktaparijJA, ane AturapratyAkhyAna (tRtIya) nAmaka traNeka prakIrNaka varganI racanAo maLe che. abhilekhamAM emanA nAma pachI ''saMtAne'' zabda hovAthI teo I sa 1104 thI pUrve thaI gayelA che eTaluM to cokakasa. saMbhava che ke prastuta vIrabhadrAcArya ja ahIM vivakSita. hoya. lekhanuM bIjuM mahattva e che ke caMdrakulIna navAMgavRttikAranA praziSya devabhadrakRta pArzvanAthacaritra (prAkRta: vi saM 1168 / I sa 1112)mAM kapaDavaMjamAM vAyaTajJAtIya zreSThi govardhane (prAya: I. sa. 1050mAM) bAvana jinAlaya karAveluM" evI noMdha che. saMbhava che ke saMdarbhagata pratimAnI prastuta maMdira aMtargata koI devakulikAdimAM pratiSThA thaI hoya. vaidya prastuta maMdirano ullekha guNacaMdrakRta mahAvIracariya (saM. 1139 / I. sa. 183)mAM thayelo che evI noMdha karI che. maMdira vAyaTagacchIya jIvadevasUriziSya jinadattasUrinA upadezathI baneluM`. (2) tAraMgA parvata, madhyakAlIna tAraNadurga vA tAraNagaDha, para gurjarezvara kumArapALe arhat ajitanAthanA meruprAsAdanuM nirmANa karAveluM. mULanAyakanI asalI pratimA tathA maMdiranA mULa prazasti-lekhAdi to muslima AkramaNa samaye naSTa thaI cUkayAM che, parantu vAghelAyuga, ane te kALa pachInA, keTalAka abhilekho bacyA che kharA, temAM mantrIzvara vastupALe karAvela be jina pratimAonA saM 1284 / I. sa. 1228nA lekha dharAvatA pabAsaNo' tathA saM 1305 / I. sa. 1249nA dharmaghoSasUrinI AmnAyanA AcArya bhuvanacandra dvArA pratiSThita be lekho prasiddha For Private Personal Use Only

Page #216
Vol. I.1995 traNa prakIrNa abhilekho thaI gayA che. A sivAya jIrNoddhAra samaye sAhu govinda 15mA zatakanA bharAvela mULanAyakanI navIna pratimAno atyaMta ghasAyelo lekha paNa jeTalo vaMcAyo teTalo prakAzamAM AvI gayo che. aDhI-traNa dAyakA pUrve zeTha ANaMdajI kalyANajI taraphathI thayela jIrNoddhAramAM gUDhamaMDapanA eka aSTakoNa stanma (kramAMka 8) parathI cUnAdino lepa ukheDyA bAda nimnalikhita 17 paMkitano lekha prakAzamAM Avyo che. yathA : (jao saMlagna citra 6) (2) jhU gA svati zrImad sahita) (2) purapaTa saMva.2302 varSa mAM(3) dravA zudi 1 gurAvadyeha zrI (4) madArajuga] dhirAja zravIratna() vinA rAje zrI tArAja(6) he saMtigmAna zrI nitA(7) midevIya kalyANakayAtrAyAM (8) saMyaujya vaLa(#)nAM chatri(2) -mAnikI-mRtInAM pA(20) na To tenA suta bhImA(12) ..... na mA zrI (12) (22) (24) . devaajitasvAmi (17) . vaMditA lekhanI chellI cAra paMktio ghasAI gayela hoI te pUrepUrI vAMcavI duSkara che. sAMprata lekhanI sAphasaphAI bAdanAM thoDAM varSo pachI mArI mulAkAta samaye te lekha vaMcAyo tevo utArI lIdhelo. te pachI beeka varSa bAda pA, madhasana DhAMkIe vArANasI-sthita American Institute of Indian Studies nA tasavIra-saMgrahamAMthI saMdarbhagata lekhanuM citra mokalI ApeluM, jenA AdhAre keTalIka vizeSa spaSTatA thaI zakI che. lekha saM1302 / I. sa. 1246mAM aNahila(lla) purapATakamAM (vAghelA) mahArAjAdhirAja vIzaLadevanuM zAsana cAlatuM hatuM tyAre tAraNigaDha (tAraNadurga) saMtiSThamAna zrI ajitasvAmi devanI kalyANaka yAtrA saMbaMdhano che. lekhamAM saMbaMdhakartA saMghanA pramukha vaNikonAM nAma ApyAM che. saMbhavatayA (zrAvikA) zrIdevI taraphathI koI dAna ApyAno prasaMga hoya tema lAge che. lekha vizaLadevanA zAsana samayano, ane tenuM nAma deto hoI, mahatvano che. (3) lA. da. bhA. saM. vi. ma. nA saMgrahamAM prastuta abhilekha sapheda Arasa para kotarela 48 padya uparAntanI prazastinA. jamaNI taraphano bacI gayelA 1/3 bhAga, prAya: 39 X ra7 se. mI. nA mApanA avazi che (mUrti vibhAga naM. 13). lekha maLe 19 paMkitamAM hato ane paMkita dITha sarerAza 2' thI saheja jhAjherAM padya Jain Education Intemational

Page #217
lakSmaNa bhojaka Nirgrantha korAyelAM haze. lekhanI pahoLAI karatAM laMbAI ThIka ThIka vizeSa haze. lekha kayAMthI maLyo tenI noMdha prApta nathI. [fo] ------nAnajI nuM te namarfja suvarNava[0 2] --- ---[]rf majyA rU (?) pravATavaMza: ratna: suparva[ 3] ---quthA zirithamUt sImara (?) ya tAdda rAna[G0 4] ------ 2 tato vinatazu yazopheva: sutoss[go 6] ------(0) rAyatu phare tA ta (?) trAguM[6] ------vina zira : sthAti viprana mudde vAtAnerAma[io 9] ------() ravyApArasamannata jinAjJA yathArtha jiM0 8] ----hiMdu ti hayAtaH sutomavatri: mAsaUT: [fo] ------1: ra3 municaMdratutoSasti mokSasiMha mada[0 20]. --phA (2) nathivIti paramaitara [60 21] --07: manati muvi HvasutA (1) vikRtiM pu: [G0 22] -kila // 31 mahimarAja iti prathitaH suto / [f0 23] -yA mahAnaMda bhaginyAstanayA'bhavat / jADake [io 24] ------muIIctA mAmA rUti vihayAta jiM0 2] ------ satANApacAri ra oddhAramavizva[0 6] ------42 sardUi patni (12/) khyAnanumA vADhivir [0 27] ----- Da isUraje . pratika saMdhAta: ma Nava hindu (io 28] ------ ra vi prati mavana: II48 [i0 21] (8)---na zAMti: |DIurf sUtra rivAjona sukha mavA lekhano moTo bhAga Ama jato rahevAthI teno pUro pATha upalabdha na hotAM thoDIka ja vigato samajI zakAya che. prathama padyanA avaziSTa caraNamAM... nAnIrNa mu taM namAri sarakho caraNa khaMDa Ave che. AmAM "naga" zabda vivakSita hoya to prazastikAra koI parvatastha jinendrane namaskAra karatA hoya tevo artha nIkaLI zake. (tAraMgA parvata abhipreta haze ?) cothA padyano prAraMbha "pravAdavaMza'' zabdathI thAya che jethI lekhanA viSayanA kArApaka koI poravADavaMzIya vaNika lAge che. e pachI kArApakanuM vaMzavarNana zarU thatuM lAge che. temAM prAraMbhe koI agrapurUSa (nAma gayuM che)nI prazasti karI che. pachI paMkita 4mAM, 10mA padyamAM, yazodevanA putra abha(yada)nuM nAma Ave che. AgaLanAM paDyo A abhayadanI prazasti rUpe haze ane temAM [4]T-vyApAra-samasaMvRta zabda Ave che tethI te maMtrIpade vibhUSita haze. paMkita 8mAM- hiMdu ti hayAtaH sutomAMtri: evuM vAkaya Ave che jethI abhayada maMtrI hato tevuM spaSTa thaI jAya che. tenA putranA nAmano Agalo akSara gayo che, paNa pUruM abhidhAna ahiMduka hovAno saMbhava che. e pachI AgaLa A mahiMdukanI vaMzAvaLI ApI hoya tevI kalpanA karI zakAya, paNa vyakitaono saMbaMdha spaSTa nathI. tyAM paMkita 9 mAM municandra, mokSasiMha, maha[NasiMha ?] sarakhAM nAmo maLe che. (AgaLa naSTa bhAgamAM bIjA paNa haze) je kadAca mahiMdUkanA putro hoya. paMkita 10mAM nAyika(kI)devI, nAma Ave che. paMkita 11mAM "madana" temaja pachI "mahAdevasutA"no ullekha che je kadAca mahiMdukanA putromAMthI koIkanI patnI hoya. tyAra bAda paMkita 12mAM "mahimarAja' paM. 13mAM "madAnaMnyAtana' sarakho ullekha che. paM. 14mAM "AbhAka" nAma Ave che, ane paM. 15mAM aSTApadanA uddhAranI vAta Ave che. paM. 16mAM sAha Jain Education Intemational Jain Education Interational

Page #218
No. I-1995 trAga prakIrNa abhilekho pAmhaNadeva ullikhita che. paM. 1mAM koI sUri dvArA pratiSThA saMpanna thayAno ullekha che. paM. 18mAM prazastikAranuM nAma malladevaputra rAjakavi prAgvATa [+] devanuM nAma ApyuM che, ane paM. 19mAM lekha kotaranAra tarIke sUtradhAra haripAlanuM nAma ApyuM che. lekhamAM apAyela vyakitaomAMthI meLa besI zake che temanuM koika A rIte banI zake: prAgvATavaMzIya ? ? ? yazodeva maMtrI abhayada (+)hiMDa(6)ka (mahiMduka) municandra mokSasiMha mahAnuNasiMha) nAyikIdevI, mahimarAja, AbhAka, sAhu pAmhaNadeva Adino uparanI vyakitao sAtheno saMbaMdha besADI zakAto nathI. paNa te AgaLanI ekAda be vizeSa peDhIonA sabhyo hoI zake che. lekhanA akSaro moTA che, tenI lipi IsvIsananA teramA zatakanA uttarArdha ane caudamA zatakanA prAraMbhanI jaNAya che. lekhamAM kahela yazodeva-putra maMtrI abhayada te anya koI nahIM paNa kumArapALano daMDanAyaka, jasadevano putra abhayaDa che. enI dekharekha nIce kumArapALe tAraMgA para prasiddha ajitanAthano (meru jAtino) prAsAda (prAya: I. sa. 1160-1166nA arasAmAM) baMdhAvelo evuM samIpakAlika srota bRhadragathvIya somaprabhAcAryanA jinadharmapratibodha (saM. 1241 / I. sa. 1185) parathI siddha che. abhayada bhImadeva dvitIyanA samayamAM karNAvatIno daMDanAyaka hato, ane bRhadragacchIya vAdI devasUrinA saMtAnIya caityavAsI pradyumnasUrinA AmnAyamAM upAsaka hato. prastuta zilAlekha solaMkIyuganA eka prasiddha maMtrIvaMzano hoI, khaMDita hovA chatAM paNa, mahattvano che. lekha pUrNa rUpe maLI zakayo hota to gujarAtanA madhyakAlIna rAjakIya, sAMskRtika tema ja dhArmika itihAsanA eka ajJAta pAsA para navIna ja prakAza lAdhI zakAyo hota". prazastikAra malladevano putra devAnta nAmadhArI koI rAjakavi hato. enA viSe to bhaviSyamAM koI srotamAMthI prakAza paDI Ave tyAre kharo. lekhano samaya IsvIsananI 13mI zatInA uttarArdhano haze. zilA koranAra zilpI sUtradhAra haripAla hato. TippaNa:1. juo popaTalAla dolatarAma vaidha, kapaDavaMjanI gauravagAthA, AgamoddhAraka graMthamALA, kapaDavaNaja (kapaDavaMja) 1984, pR. 6, 8, ane 180, tathA citra 3. 2. popaTalAla vaidha zreSTi yazonAga evuM vAMce che ane zrAvikAnuM nAma pAli vAMce che te barobara nathI.

Page #219
lakSmaNa bhojaka Nirgrantha 3. juo amRtalAla mohanalAla bhojaka, parAgakuttAruM, jaina-Agama-granthamAlA granthAMka 17 (bhAga 1), muMbaI 184, prastAvanA," pR. 55-56, tathA temAM ja muni puNyavijayajI, "naina mama saMvaMta saMkSipta vavazva,'' pR. 18. X. gaul Catalogue of Palm-leaf Manuscripts in the Santinatha Jain Bhandar Cambay (Ed. Muni Punyavijaya), G. O. s. No. 149, Baroda 1966, p. 342. 5. vaidya, kapaDavaMjanI., pR. 6-8. 6. juo jinavijaya, prAcIna jaina seg saMgha, zrI jaina AtmAnandasabhA-bhAvanagara 1929, pR. 327-328, lekhAMka 543. 7. juo aMbAlAla premacaMda zAha, jaina tIrtha sarva saMvAha, bhAga pahelo, amadAvAda 1953, pR 149. 8, vimalavasahI, delavADA, (AbU)mAM neTa maMtrInA saM. 1201 / I. sa. 1155nA abhilekhamAM "ahiMduka" nAma Ave che: ethI evuM nAma bAramI zatakamAM paDatuM hatuM tevuM pramANa maLI rahe che. (juo muni jayantavijaya, abU bhAga bIjo, ujjaina vi. saM. 1994 (I. sa. 1938), lekhAMka 51, pR. 26. 9. mULa granthamAMthI prastuta uddharaNa mATe juo, ne tA. 50 jaM0, pR147, pAdaTIpa 3. 10. vRdakatApurvAvati ne AdhAre A viSaya para vizeSa carcA mATe juo madhusUdana DhAMkI, "solaMkIyugIna itihAsanAM keTalAMka upekSita pAtro" svAdhyAya graMtha 14, kramAMka 3, vi. saM. 2033 (I. sa. 1977), pR. 224-229. 11. solaMkI yugamAM gujarAtamAM nAnAMmoTAM basoeka jeTalAM jaina maMdiro baMdhAyelAM, jemAMnAM 0 TakAno nAza muslima AkramaNo tathA zAsana daramiyAna thaI cUkayo che. A kAraNasara prastuta maMdironA prazasti lekho paNa vinaSTa thayA che. kayAMka kyAMka TukaDAo maLI Ave che. jemake dhoLakAnA udayanavihAranI prazastino lekha, giranAra para udayana maMtrInA vaMzajono prazasti lekha, ItyAdi. (ahIM tAraMgAnA ajitanAthanA maMDapanA staMbhalekhanuM citra American Institute of Indian Studies, Varanasi nA saujanya ane sahAyathI prakaTa karyuM che.) Jain Education Intemational

Page #220
1. ajitanAthanA meruprAsAda gUDhamaMDapanA stambha parano saMgano abhilekha. A varaHko .paHS ,

Page #221
Jain Education Intemational

Page #222
pAtazAha akabaranA samayanA cha aprakAzita zilAlekha, vi saM 1646 A akabarakAlIna cha zilAlekha amadAvAdanA kAlupura vistAramAM AvelI zAMtinAthanI poLamAMnA zAntinAthanA jaina derAsaramAM gUDhamaMDapamAM garbhagRhanI bahAranI DAbI bAjunI dIvAla para eka sAthe upara nIce goThavelI alaga alaga takatIo para kotarelA che. saM. pravINacaMdra parIkha bhAratI zelata zilAlekha naM. 1 nI takatInuM mApa 40.5 x 38 se mI che. jyAre enA para lakhANavALA bhAganuM mApa 37.5 x 30 se. mI. che. emAM saLaMga lakhANanI kula 31 paMkitao kotarelI che. dareka paMkitamAM akSarasaMkhyA sarerAza 47 thI 4nI che, ane akSaranuM sarerAza kada 0.5 X 0.7 se mInuM che. takatI naM 2 nuM mApa 45 4 19 se mIThuM che, jyAre lakhANavALA bhAganuM mApa 44 x 13 se mI che. saLaMga lakhANanI kula 6 paMkitao kotarelI che. dareka paMktimAM sarerAza akSarasaMkhyA 27 thI 29nI che, ane akSaranuM sarerAza kada 1.3 X 1 se mInuM che. takatI naM. 3 nuM mApa 42 X 19.5 se mI che. lakhANavALA bhAganuM mApa 3 x 16 se. mI. che. lakhANanI kula 8 paMkitao kotarelI che. aMtima paMkita pAchaLathI kotarelI jovA maLe che. dareka paMkitamAM sarerAza akSarasaMkhyA 26-27 jeTalI che ane akSaranuM sarerAza kada 1 X 1 se mInuM che. takatI naM 4 nuM mApa 18.5 X 19 se mI che. emAM lakhANavALA bhAganuM mApa 16 X 16 se. mI. che. lakhANanI kula 12 paMktio kotarelI che ane dareka paMkitamAM sarerAza akSarasaMkhyA 18 thI ranI che. akSaranuM sarerAza kada 0.5 x 0.5 se mI che. takatI naM 5 nuM mApa 22 X 18 se. mI. che, jyAre lakhANavALA bhAganuM mApa 17 X 11.5 se mIThuM che. lakhANanI kula 10 paMkitao kotarelI che. dareka paMkitamAM akSaranI sarerAza saMkhyA 19 che ane akSaranuM sarerAza kada 0.5 X 0.7 se. mI. che. takatI naM-6 nuM mApa 20 4 18.5 se. mInuM che, jyAre lakhANavALA bhAganuM mApa 17 X 15.5 se mI che. lakhANanI kula 12 paMkitao kotarelI che. dareka paMkitamAM sarerAza akSarasaMkhyA 18 thI 20nI che. akSaranuM sarerAza kada 0.5 x 0.5 se mI che. zilAlekhonuM lakhANa devanAgarI lipimAM kotareluM che. lekhomAMnA akSaravinyAsanI keTalIka lAkSaNikatAo A pramANe che : (1)Ja mAM uttara bhAratIya maroDa jovA maLe che, jemake ajvara, amma' (1.2), adhirtta (1.5) amaya (1.7), aMvaDa (1.10) azva" (2.1), Asa" (2.5), Ayoga (3.1), Azvina (4.1) vagere. (2) mUlAkSara dha ne mathALe prAyaH zirorekhA jovA maLatI nathI; jema ke sImaMdhara (1.4), zoSita (1.4), zItyadhinna (1.5), prodhita (1.8), pattanApIrA (1.5), sAdha (1.11), sUtradhAra (1.12), dhannA (4.6) vagere. (3)La mAM uttarI maroDa prayojAyo che, jemAMthI gujarAtI maroDa thayo che; jema ke zravaLa (1.2), aLadhi (1.5), vivarAvaLa (1.7), mALiya (1.20, 2.2), vagere. (4)T nA maroDamAM enA DAbA aMganA uparanA bhAgane DAbI bAjue nIce goLa vALavAmAM Avyo nathI; jema ke zAsanA (1.3), zoSita (1.4), rAta (1.5), tti (1.9), degzoSitadeg (1.14), zatrunaya (1.22), zAMtinAtha (2.3), saMvavAta (4.5), vagere.

Page #223
80 saM. pravINacaMdra parIkha ane bhAratI zelata Nirgrantha (5) zirorekhAne laMbAvIne ene phu ane nAM aMtargata svaracihnonA UbhA daMDa sAthe joDavAmAM AvatI nathI. (6) aMtargata svaracihana mATe kayAMya paDimAtrA prayojAI nathI. haMmezAM ziramAtrA (UrdhvamAtrA) ja prayojAI che. (7) kSa nA saMyukata svarUpamAM nI madhyanI ADI rekhAne UbhI rekhA sAthe saLaMga chedI jamaNI bAjue nIce utAravAmAM AvI che, jemake nakSatre (1.3,4.6,5.2), pakSavikSepa (1.5), vagere. (8) kavacit huM nA maroDamAM dIrgha huM nI mAtrA jamaNI tarapha cheka nIce sudhI laMbAvavAmAM AvI che, jemake vIruM (1.31). lekhonuM lakhANa saMskRta bhASA ane lekha naM. 1nA prathama be zloka sivAya gadyamAM lakheluM che. lakhANamAM kayAMka kayAMka azuddhio mAlUma paDe che. samayAtIta-saMvane badale samayAtmivRti (1.1), catuSpada ne badale vatuSaNI (1.9), pratiSThita ne badale pratiSThita (1.13), pratiSThA ne badale tiUT (1.14), samuddhatam ne badale samukRtam (1.21), vagere. kavacita dezya zabdano prayoga thayelo che; jemake kroditA (1.31). lekhono sAra : 1 svasti, zrI icchitArthanI phalaprApti karAvanAra, sajajanonI chAyA samAna, sumanasu, saMghane samRddha karanAra zAntinAtha caityarUpI kalpavRkSa cirasthAyI bano. (slo1). vikrama saMvata 1646, vijayAdazamInA divase, somavAre, zravaNa nakSatranA samaye (slo. 2) bAdazAha zrI akabaranA rAjyamAM amadAvAda nagaramAM zAsanAdhIza zrI vardhamAnasvAmInA paTTanI avicchinna paraMparAmAM udyotanasUri thayA (paM. 2-3). temanA paTTamAM sUrya samAna pratApI vimala daMDanAyake arbudAcala upara baMdhAvela 'vimalavasahi'nI pratiSThA karAvanAra zrI vardhamAnasUri, temanA paTTadhara aNahilapuranA adhIza durlabharAjanA samayamAM caityavAsI pakSanA vikSepaka, saM180mAM 'kharatara biruda' prApta karanAra zrI jinezvarasUri thayA (5, 4-6). temanA paTTadhara zrI jinacaMdrasUri, temanA paTTadhara zAsanadeva(dharaNendra)nA upadezathI kuSTha roganA nivAraNanA heturUpa staMbhana pArzvanAtha pragaTa thayA che tevA "navAMga' vagere aneka zAstronA vivaraNa karavAthI pratiSThA maLI che tevA zrI abhayadevasUri thayA (5, 6-7). temanA paTTadhara jinazAsana prabhAvaka zrI jinavallabhasUri hatA, jemaNe lekha, rUpa, dazakulaka vagerenA preSaNa dvArA vAgaDa dezanA 1,0,0 zrAvakone pratibodha Apelo, potAnI suvihita kaThina kriyAo karelI ane piMDavizuddhi prakaraNanI racanA karelI (paM7-9). temanA paTTadhara paMcanadIsAdhaka zrI jinadattasUri thayA, jemaNe potAnI zakitathI vikArI 64 yoginIonA cakrane vaza karyuM hatuM. siMdhu dezanA pIranI sAdhanA karI, aMbaDa zrAvakanA hAthe suvarNAkSare lakhAyela vAcanAthI "yugapradhAna'nI padavIthI alaMkRta hatA (50 9-11). temanA paTTadhara zrI jinacandrasUri (dvitIya) thayA, jemanuM bhAnasthala naramaNithI zobhAyamAna hatuM (pR. 11). temanA ziSya zrI jinapatisUri thayA, jemanI nemicaMdra (bhaMDArI) parIkSA karI hatI, jemaNe prabodhodaya jevA granthanI racanA karI. 36 prakAranA vAdothI vidhipakSa (kharatara) vyavasthita karyo - (50 11-12). temanA paTTadhara prabhAvaka zrI jinezvarasUri (dvitIya) thayA, jemaNe lADola(vijApura)mAM thI zAntinAtha-vidhicaityanI pratiSThA karI (paM. 13). temanA paTTadhara zrI jinaprabodhasUri thayA. temanA paTTadhara zrI jinacandrasUri (tRtIya) thayA, jemaNe cAra rAjAone pratibodha karyA hatA. AthI vRddha rAjagacchanI saMjJAthI zobhatA hatA (paM13-14). temanA paTTadhara zrI jinakuzalasUri thayA, jeo 'zatruMjaya parvata' upara 'kharataravasati'nA pratiSThApaka hatA ane jemanuM dhyeya potAnA gacchanuM paripAlana karavAnuM hatuM (paM. 14-15). temanA paTTadhara zrI jinapadmasUri, temanA paTTadhara jinalabdhisUri ane pachI zrI jinacaMdrasUri (caturtha) thayA (5 15-16). pachI temanA paTTadhara

Page #224
Vol. 1-1995 pAdazAha akabaranA... zrI jinodayasUri thayA, jemanA dvArA saMghapatio ane padasthono udaya thayo (50 16). temanA paTTadhara zrI jinarAjasUri thayA. temanA paTTadhara zrI jinabhadrasUri thayA, jemaNe sthaLe sthaLe jJAnabhaMDAro sthApyA (paM. 17). temanA paTTadhara zrI jinacandrasUri (paMcama) thayA. temanA paTTadhara paMcayakSanA sAdhaka ane viziSTa kriyA karanAra zrI jinasamudrasUri thayA. (paM. 17-18). temanA paTTadhara thI jinasUri thayA, jemaNe tapa, dhyAna ane vidhAnanA camatkArathI sulatAna (sikaMdara lodIe) (I. sa. 1488 thI I. sa. 1507) keda karelA 500 kedIone choDAvyA. AthI sammAna prApta karyuM (paM. 18-19). temanA paTTadhara zrI jinamANikayesUri thayA, jeo paMcanadInA sAdhaka hatA ane adhika yAnanA baLathI jemaNe yavanonA upadravane zAMta karyo hato ane ethI atyaMta zobhatA hatA (paM. 19-20). emanA paTTanA alaMkAra samA, vAdamAM ajeya, vijayalakSmInA zaraNa ane pUrva kriyoddhAra karanAra zrI jinacandrasUrinA vijaya rAjyamAM 25 devakulikAothI alaMkRta zrI zAMtinAtha tIrthaMkaranuM caitya khUba dravya kharcIne banAvavAmAM AvyuM (paM. 20-21). devagRhanA kAryAdhyakSa maMtrI sAraMgadhara, devakarNa, zatruMjaya saMghanA adhipati maMi jogI, somajI, zivajI, sUraja, laghu somajI, sA. kamalasA, sAmAnA, sAva gaddA, yAdava, bhAthA, sA. amIpAla, paccA, sAamaradatta, kuMarajI, khUba dravyanuM vitaraNa karanAra zrImAla jJAtinA sAjIvA, sA. dhannA, sA. lakSmIdAsa, sA. kuMvarajI, maM vacharAja, 50 sUrajI, hIrajI, maMtra nArAyaNajI, sA. jAvaDa, sItA, 50 dhanU, bha0 rAjapA, sA jiNadAsa, gU, lakSmIdAsa, narapati, ravA, sA vacchA, do. dharmasI, siMghA, maM. vijayakarNa, maMzubhakara, sA kamA, e. ratanasI, karmasI, sArAjA, mUlA, vAruNI, sAdevIdAsa, saM. lakSamInupajI(caMda), bhU, popaTa, ratnA, kacarA, sAnayaNasI, sA kRSNA, kIkA, sA vIrajI, sA rahiyA, kudA, laSamaNa, sAsIkA, sAnaulA, gopAlA, sajUA, lAla, somajI, matA, kuMbhA, muM. rAghavA, udayakarNa, sAthomasI, netA, dhanajI, zivA, sUracaMda sahita zrI kharataragacchIya saMghe (caityanuM) saMskaraNa karAvyuM (50 22-29). jyAM sudhI sUrya-caMdra prakAze, tyAM sudhI Tako. A prazasti paM. sakalacaMdra gaNi sahita vA kalyANakamala gaNi ane ga mahimarAja gaNie lakhI (paM. ra9-30). zrAvaka puNyaprabhAvaka hAritA - bhAryA zrAvikA vIrAI, putrI hAMsAI, maMgAI vagere sahita, gajadhara (salATa) gaduA, kotarI (paM. 30-31). zilAlekha naM. 2. | svasti zrI saMvat 1646, Aso suda 15, zanivAre thI kharataragacchamAM zrI jinamANikayasUrinA paTTAlaMkAra zrI jinacandrasUrinA vijayarAjyamAM rAjadhAnI(amadAvAda)mAM zrI zAMtinAthanA vidhicaityanI jagatI ane devakulikA brAhmacAgotramAM sA hIrAnA putra sA gorAnA puNyArthe lakSmIdAsa, sA. sAmIdAsa, sA. udayanAtha, sA rAyasiMgha vagere putroe, zrAvikA gorAde, lADimade, AsakaraNa vagere parivAra sahita zrI jinakuzalasUrinI kRpAthI karAvI. e lAMbA samaya sudhI TakI raho. zilAlekha naM. 3. saMvata 1646, Aso sudi 10, vijayAdazamIne somavAre zravaNa nakSatramAM zrI kharataragacchamAM zrI jinamANikayasUrinA paTTAlaMkAra zrI jinacandrasUrinA vijayarAjyamAM ukaza vaMzamAM zaMkhavAla gotranA sAha sAmala, tenA putra sAha DuMgara, bhAyAM zrAvikA lADAnA putraratna mA dhannAke, sA. vanA, sA. mihAjala, sAdharmasI vagere parivAra sahita rAjadhAnImAM zrI zAMtinAtha vidhicaityanI jagatImAM devakulikA AtmazreyArthe karAvI. zrI jinakuzalasUrinI kRpAthI pUjyamAna cirakAla AnaMda pAmo.

Page #225
saM. pravINacaMdra parIkha ane bhAratI zelata Nirgrantha zilAlekha naM. 4 saMvata 1646, Azvina sudi 10 - vijayAdazamIne somavAre, zravaNa nakSatramAM thI kharataragacchamAM zrI jinamANikayasUrinA paTTAlaMkAra zrI jinacandrasUrinA vijayarAjyamAM ukaza vaMzamAM zaMkhavAla gotramAM sAha sAmalanA putra sAha DuMgara - tenI patnI zrAvikA lADAe putra sAta dhannA, sAha vannA, sAha mehAjala, sAha dharamasI vagere putra pautrAdi parivAra sahita amadAvAda nagaramAM zrI zAMtinAtha vidhi caityanI jagatImAM svazreyothe devakulikA karAvI. zrI jinakuzalasUri gurunI kRpAthI. zilAlekha naM. 5 | svasti zrI vi. saM. 1646, Aso suda 10, zrI brahakharataragacchanA adhIzvara zrI jinamANikayasUrinA paTTAlaMkAra zrI jinacandrasUrinA vijayarAjyamAM zrI brAhmacA gotramAM sAha hIro, tenA putra sAta gorA, patnI gaurAde, laghubhAya javAde - teno putra sAta lakSmIdAsa, sAha sAmIdAsa, sAha udayasiMha, sAha rAyasiMha, zrAvikA dADima, zrAvikA bhagatAde, putra AsakaraNa vagere parivAra sahita rAjadhAnImAM "zrI zAntinAthavidhi caitya'nI jagatImAM pitAnA puNyArthe devakulikA karAvI. zilAlekha naM. 6 saMvata 1646, Azvina sudi 10, vijayAdazamIne somavAre, zravaNa nakSatramAM zrI brahakharataragacchamAM zrI jinamANikayasUrinA paTTAlaMkAra zrI jinacandrasUrinA vijayarAjyamAM zrI ukaza vaMzamAM zaMkhavAla gotramAM sAha sAmala, teno putra sAha DuMgara, tenI patnI zrAvikA lADA, tenA putra ratna sAha dhannAke, sAha vannA, sAha mehAjala, sAha dharamasI vagere bhAIo ane putrAdi parivAra sahita zrI gurjara pradezanI rAjadhAnI ahammadAvAda nagaramAM 'zrI zAMtinAthavidhicaitya'nI jagatImAM potAnA zreyArthe devakulikA karAvI. pUjanIyo cirakAla raho. zrI jinakuzalasUrinI kRpAthI kalyANa thAo. samIkSA zilAlekha naM. 1 mAM pAtazAha akabarano nirdeza che te dilhInA bAburIvaMzano prasiddha bAdazAha akabara 1lo (I. sa. 1556thI 1605) che. lekhamAM gUrjaradezanI rAjadhAnI amadAvAdamAM zrI jinacandrasUrinA vijayarAjyamAM zAMtinAtha jinAlaya baMdhAvyAno nirdeza che. AcArya jinacaMdrasUri kharataragacchanA hatA. temano janma vi. saM. 1595 (I. sa. 158-39)mAM, dIkSA saM. 1604 (I. sa. 1547-48)mAM ane AcAryapada jesalameramAM vi. saM. 1612, bhAdrapada sudi 9 nA roja (14 oNgasTa, I. sa. 1556) prApta thayuM hatuM. temaNe saM1648, ASADha sudi 8 nA divase (6, julAI, I. sa. 1592) khaMbhAtathI vihAra karI jAloramAM paryuSaNa karI ane pachI lAhora padhAryA, jyAM temaNe samrATa akabarane upadeza Apyo. khaMbhAtanA dariyAmAM macchImAronI jALa baMdha karAvI. bikAneranA siMhanA putra maMtrI karmacandra moTA samArohapUrvaka AcAryazrIne yugapradhAnapada ApyuM. AcArya jinacandrasUrie ghaNI pratiSThA karAvI ane ziSyonI padasthApanavidhi ane vividha dharmakAryo karyA'. zilAlekha naM. 1mAM zrI jinacandrasUrinA purogAmI sUrionI paTTAvalI ApI che. A paTTAvalI vaDagacchanA Jain Education Intemational

Page #226
Vol. I.1995 pAdazAha akabaranA... prathama AcAryazrI udyotanasUrithI zarU thAya che. A udyotanasUri jaMbusvAmInI paraMparAmAM caMdrakalanI vihArakazAkhAmAM thayA. vanavAsIgacchanA chellA AcArya vimalacandrasUrinI pATe A AcArya thayA. saM. 994 (I. sa. 937-8)mAM temaNe vaDagacchanI sthApanA karI. pUrvanAM tIrthonI yAtrA karI saM. 994mAM AbU padhAryA. AbUnI taLeTImAM telI gAmamAM potAnA ziSyo savadeva, mAnadeva, mahezvara, pradyotana vagere ATha munione vaDanA vRkSa nIce AcAryanI padavI ApI tyArathI teo vaDagacchanA nAmathI prasiddha banyA. A gaccha nirainya paraMparAno pAMcamo gaccha che. tene bRhadagaccha paNa kahe che. A gacchanI ghaNI zramaNa paraMparAo cAlI. - vaDagachanI chaThThI paraMparAmAM A udyotanasUri pachI A vardhamAnasUri thayA. saM. 995mAM A udyotanasUrie potAnA sarvadeva vagere ATha ziSyone AcAryapada ApyuM ane te pachI vardhamAnasUrine paNa ajArImAM AcAryapada ApyuM. vardhamAnasUri zAstrAnusAra munijIvana gALatA. tethI temanI paraMparA suvihita tarIke prakhyAta che. A jinezvara ane A buddhisAgara temanA paTTadharo hatA. saM. 188mAM anazana karI svargavAsI thayA. vardhamAnasUrinA ziSya A jinezvarasUrie saM. 180mAM jAloramAM hAribhadrIya aTaprakaraNa vRtti, paMcaliMgIprakaraNa, pramAlakSma, saM. 109ramAM AzAvalamAM lIlAvaI kahA, jAbAlipuramAM catyavaMdanavivaraNa, saM. 118mAM DIMDuANakamAM kathAkosa-pagaraNa-gAthA, kahAvivaraNavRtti vagere graMtho racyA che. A jinavallabha gaNi A jinezvarasUrinA ziSya hatA. temaNe saM. 1167, ASADha sudi 6 (14 jUna, I. sa. 1111)mAM cittoDamAM AcAryapada meLavyuM. temaNe aneka stotro ane 21 jeTalA graMthonI racanA karI che, jemAM piMDaviyohi-pagaraNa (saM. 1144 - I. sa. 187-88), smArthasiddhAntavicAra, posahavidhi karANa, saMghapaTTaka, pratikamANa sAmAcArI, dharmazikSA, ane praznottaraSaSTizataka jevA granthono samAveza thAya che. saM. 1164 (I. sa. 1107-8)mAM cittoDa, nAgora, naravara, ane marapuramAM aSTasakhatikA, saMghapaTTaka, ane dharmazilA jevA graMtho zilA para kotarAvyA. A jinadattasarino janma saM. 113ra (I. sa. 1075-76)mAM dhaMdhukAmAM. saM. 1141 (I. sa. 184-85)mAM dIkSA ane saM 1169 (I. sa. 1112-13)mAM cittoDamAM AcAryapadanI prApti thaI. saM1204 (I. sa. 1147-48)mAM temaNe kharataragacchanI sthApanA karI. A jinadattasUrie gaNadharasArdhazataka, gaNadharasaptati, suguruparataMtra, vyavasthAnulaka, casavaMdanakulaka, upadezarasAyana, kAlasvarUpa, ane carcarI jevA 12 jeTalA graMthonI racanA karI. A AcAryanA samayamAM madhukaragaccha nIkaLyo. temanI samAdhistupa ajameramAM banAvavAmAM Avyo jenI pratiSThA A jinacandrasUrie saM. 1221 (I. sa. 1164-65)mAM karI. A jinacandrasUrino janma saM. 1197 (I. sa. 1140-41)mAM ane saM. 1221 (I. sa. 1164-65)mAM bikAneramAM AcAryapadanI prApti thaI. temanA paTTadhara A jinapatisUrino janma saM. 1210 (I. sa. 1153-54) ane saM. 1223 (I. sa. 1166)mAM AcAryapadanI prApti thaI. saM1234 (I. sa. 1177-78)mAM phlaudhimAM bhagavAna pArzvanAthanuM navuM kharataragacchIya caitya banAvyuM. zreSThI nemicaMdra bhAMDAgArikane jainadharmI banAvelA. prabodhyavAdasthala, tIrthamAlA, paMcaliMgIpaka rAga-vivaraNa, ane saMghapaTTakanI bahana TIkA jevA graMthonI ane keTalAMka stuti-stotronI racanA karI'. A jinezvarasUrino janma saM. 1245 (I. sa. 1188-89)mAM ane saM. 12% (I. sa. 1221-22)mAM jAloramAM A savadivanA hAthe AcAryanI padavI maLI. saM. 1313 (I. sa. 1256-57)mAM pAlanapuramAM zrAvakadharma prakarAranI racanA karI. A uparAMta kamakamayacataviMzati-jinastavana tathA pArzvanAtha jinastavananI racanA karI. Jain Education Intemational

Page #227
saMpravINacaMdra parIkha ane bhAratI zelata Nirgrantha A jinacandrasUrino janma saM 1326 (I sa0 1269-70)mAM ane saM 1341 (I. sa 1284-1285)mAM jAloramAM AcAryapadanI prApti thaI. saM 1376 (I. sa1319-20)mAM svargavAsa thayo. kharatagacchanA paTTAvalIkAro temane kalikAlakevalI tarIke oLakhAve che. temanA paTTadhara A jinakuzalasUrino janma saM 1330 (I sa 1273-74)mAM ane saM 1377 (I sa0 1320-21)mAM pATaNamAM rAjendrAcAryanA hAthe AcAryapadanI prApti thaI. sA tejapAlanA saMgha sAthe temaNe zatruMjayanI yAtrA karI, ane navamI TUkamAM mAnatuMga-jinaprAsAdamAM RSabhanAthanI pratimAnI pratiSThA karI. saM 1377mAM bhIlaDiyAmAM bhuvanapAlanA botera jinAlayamAM mahAvIrasvAmInI, jesalameramAM jasadhavale bharAvela ciMtAmaNi pArzvanAthanI ane jAloramAM pArzvanAthanI pratimAnI pratiSThA karAvI. temaNe caityavandanakulaka vRtti graMthanI racanA karelI. 4 A jinapadmasUrino janma saM 138ra (I sa 1325-26)mAM ane saM 1390 (I. sa. 1333-34)mAM AcAryapadanI prApti derAuramAM thaI. temane bAladhavalakUcala sarasvatInuM biruda prApta thayuM. teo chAjeDa gotranA hatA. A jinalabdhisUrine saM 1400 (I sa 1343-44)mAM pATaNamAM taruNaprabhanA haste AcAryapadavI prApta thaI. A jinacandrasUrine saM 1406 (I sa 1349-50)mAM nAgoramAM A taruNaprabhanA hAthe AcAryanI padavI prApta thaI. A jinodayasUrino janma saM 1375 (I. sa 1318-19)mAM ane saM 1415 (I sa0 1358-59)mAM khaMbhAtamAM A taruNaprabhanA hAthe AcAryanI padavI prApta thaI. e ja varSe emaNe vikramarAsanI racanA karI. temanA ziSya upA. merunaMdane jinodayavivAhalo ane paM jJAnakalaze jinodayasUri paTTAbhiSekarAsa racyo. A jinarAjasUrine saM 1433 (I. sa. 1376-77)mAM pATaNamAM AcAryapadanI prApti thaI hatI. A jinavardhane saM. 1468 (I. sa 1411-12)mAM delavADAmAM temanI pratimAnI pratiSThA karAvI. teo nyAyanA prakAMDa abhyAsI hatA. temaNe A svarNaprabha, A bhuvanaratna ane A sAgaracaMdrane AcAryanI padavI ApI. A jinabhadrasUrino janma saM 1450 (i. sa 1393-94)mAM ane saM 1475 (I. sa 1418-19)mAM bhaNasolamAM temane AcAryapadanI prApti thaI. emaNe jinasattarI, apavarganAmamAlA, dvAdazAMgIpadapramANakulaka vagere graMthonI racanA karI. A uparAMta giranAra, cittoDa, maMDovara vagere sthaLoe jina pratimAonI pratiSThA. karAvI temaja mAMDavagaDha, jesalamera, jAlora, pATaNa, khaMbhAta, nAgora vagere sthAnomAM graMthabhaMDAro sthApyA. A AcArye saM 1501, vaizAkha sudi 4 ne ravivAre 11 eprila, I. sa. 1445 jesalameramAM potAne hAthe siddhahemazabdAnuzAsana-vRtti lakhI che. temanA samayamAM kharataragacchamAM 'pippalaka' zAkhAbheda nIkaLyo. A jinacandrasUrino janma saM. 1487 (I sa 1430-31)mAM ane saM. 1515 (I. sa 1458-59)mAM kuMbhalamerumAM A kIrtiratnanA hAthe AcAryapadanI prApti thaI. temaNe jesalamera, AbU, cittoDa vagere sthaLoe jinapratiSThAo karAvI. A jinasamudrasUrino janma saM 1506 (I. sa0 1449-50)mAM ane saM 1533 (I sa. 1476-77)mAM puMjapuramAM A jinacandrasUrinA haste AcAryapadanI prApti thaI. teo parama tyAgI hatA. temaNe paMcanadIpIranI sAdhanA karI hatI. temaNe jesalameramAM saM 1536 (I. sa. 1479-80)mAM pratiSThAo karAvI. A jinahaMsasUrino janma saM 1524 (I sa 1467-68)mAM ane saM 1555 (I. sa 1498-99)mAM amadAvAdamAM AcAryapadanI prApti thaI. saM. 1556 (I. sa. 1500)mAM bikAneramAM A zAMtisAgaranA sUrimaMtrathI bhaTTArakapada maLyuM ane saM 1582 (I. sa 1525-26)mAM amadAvAdamAM svargavAsa thayo. bAdazAha sikaMdara lodIe AcAryazrI, 13 sAdhuo temaja 500 mANasone dhoLapuranI kedamAM pUryA hatA. jIrAvalA pArzvanAthanA ArAdhanathI kedamAMthI badhA mukata thayA ane temaNe bAdazAhane upadeza ApI amAri pravartAvI. A jinahaMse ghaNI pratiSThA karAvI, For Private Personal Use Only

Page #228
Vol. 1-1995 yAtrAsaMgho kaDhAvyA, ane saM 1582 (I sa 1525-26)mAM AyaraMgasutta dIpikAnI racanA karIdeg. A jinamANikayasUrino janma saM 1549 (I sa 1492-93)mAM ane saM 1592 (I sa 1535-36)mAM pATaNamAM jinahaMsasUrinA haste AcAryapadavI meLavI. temaNe pAMca nadIone sAdhI hatI. saM. 1593 (I sa 1535-36)mAM bikAneramAM maMtrI karmasiMhanA derAsaramAM bha neminAthanI pratiSThA karAvI. vi saM 1612 (I sa 1555-56)mAM temano svargavAsa thayo''. zilAlekhomAM sUrionAM kharatara ane rAja jevA gaccho, zrAvakonA zaMkhavAla, brAhmacA jevAM gotro temaja ukeza vaMza ane zrImAla jevI jJAtinA nirdezo Ave che. A uparAMta kharataragacchIya saMghanI vyakitaonA nAmollekho paNa jovA maLe che. lekha naM 1,3,4,5 ane 6mAM darzAvelI miti vikrama saM 1646, Aso sudi 10, vijayAdazamIne somavAranI che. emAM zravaNanakSatrano nirdeza karelo che. jo ke lekha naM. 5mAM vAra ane nakSatrano nirdeza karyo nathI. lekha naM 2mAM ApelI miti saM 1646 Aso sudi 15 ne zanivAranI che. emAM nakSatrano nirdeza karyo nathI. A baMne mitio gujarAtamAM pracalita vikrama saMvatanI kArtikAdi varSagaNanAnI paddhati anusAra baMdha bese che. vi. saM 1646, Aso sudi 10 ne somavAre aMgrejI tArIkha 28, sapTembara, I sa 1590 Ave ane vi saM. 1646, Aso suddi 15 ne zanivArane divase aMgrejI tArIkha 3, oNkaTobara, I. sa. 1590 Ave'ra. pATha zilAlekha naM. 1 . // pa || svasti zrIzAMti svadu: mitArthanapralaH| sacchAyaH pu(du)mana: saMkhyA samRdhvataMttAvim|| ? zrI vimartha samayA| saMskRti 6 . pAdazAha akabaranA... 2. sasiMdhudarzaneMdu" 1646 mite some vijayadazamyAM / zravaNahite zravaNa nakSatre / / 2 pAtisAhi zrI akabbara rAjye zrI mahamma - 4. .. 85 6. 7. dAbAdanagare // zAsanAdhIzvara zrI vardhamAnasvAmi paTTAvicchinnaparaMparAyAta / udyatavihArodyoti zrI udyotanabhUti|| tattvavRghra - bhAkarapravaravimaladaMDanAyakakAritArbudAcalavasatipratiSTApaka / zrI sImaMdharasvAmizodhitasUrimaMtrArAdhaka / zrIvardha - mAnasUri / tatpaTTa0 aNadhi (hi) llpttnaadhiishdurlbhraajsNs| ccaityavAsIpakSavikSepAzItyadhikadazazata saMvatsaraprAptakhara tarabiruda zrI jinezvarasUri / tatpaTTa0 zrI jinacandrasUri / / tatpaTTa0 zAsanAde updeshprkttit| duSTAkuSTapramAtha hetu zrI staMbhanapArzvanAtha | navAMgAdyanekazAstravivaraNakaraNaprAptapratiSTha zrI abhayadevasUri // tatpaTTa0 lekharUpadazakula -

Page #229
saM. pravINacaMdra parIkha ane bhAratI zelata Nirgrantha 8. ka preSaNaprabodhita vAgaDa dezIya daza daza zata shraavk| suvihita nija kaThina kriyaakrnn| piNddvishuddhaadiprkrnnN| jinazAsana prbhaavk| zrI jinavallabhasUri // tatpaTTa0 svazaktivazIkRta vikRta catuSpaSTi yoginI ckr| dvi paMcAzarddhana (?) siNdhudeshiiypiir| aMbaDa zrAvaka kara likhita svarNAkSara vAcanA virbhUta yugapradhAnapadavIsamalaMkRta paMcana dIsAdhaka zrI jinadattasUri // tatpaTTa0 naramaNi maMDita bhaalsthl| zrI jinacaMdrasUri ta0 laM0 nemicaMdra priikssit| prabodhodayAdi graMtha rUpa SaTviMzavAda sAdhita vidhipkss| kharataragaccha svaccha sUtraNA suutrdhaar| zrI jinptisuuri|| tatpaTTa0 prabhA0 - lADaula vijApura pratiSTita zrI zAMtivIra vidhicaitya zrI jineshvrmuuri|| tatpaTTa0 zrI jinaprabodhasUri ta0 rAja catu0STaya pratibodho baddha rAjagaccha saMjJA zobhita zrI jincNdrsuuri|| tatpadR0 zrI zabuMjaya maMDana kharataravasati pratiSTApaka svagaccha pratipAlana baddha kakSa vikhyAtAtizayalakSa zrI jinkushlmuuri||0 zrI jinpdysri|| ta0 zrI jinlbdhsuuri| ta0 zrI jincNdrsuuri| ta0 devAMganAvasaravAsaprakSepodita saMghapati pakSadhudaya zrI jinodayasUrita0 zrI jinraajsuuri|| ta0 sthAna(ne) 2 (sthAne) sthApita sArajJAnabhAMDAgAra zrI jinabhadrasUri ta0 zrI jinacaMdrasUri // tatpaTTa0 paMcayakSa sAdhaka viziSTakriya zrI jinsmudrsuuri|| tatpa0 tapodhyAna viyAna camatkRta pAtisAhi pNcshtvNdi|| mocana sammAnita zrI jinhNssuuri| ta0 paMcanadIsAdhakAdhika dhyAna-bala zaphalI kRta yavanopadravAtizayavirAjamAna jinamANikyasUri tatpaTTAlaMkAra durvAra vAdi vijylkssmiishrnn| pUrva kriyAsamuddharaNa zrI jinacaMdrasUri vija21. yi raajye|| paMcaviMzati devkulikaalNkRtN| zrI zAMtinAtha vidhicaityam prabhUtadravya vyayena samuca(ddha)tam smuulm| zrI: 20.

Page #230
Vol. I-1995 22. // devagRha kAryAdhyakSa maMtri sAraMgadhara devakaNaM zatruMjaya saMpAdhipati maM0 jogI somajI zivajI suurjii| laghu // 23. somajI / sA0 kmlsaa| sA0 maanaa| sA0 gddaa| yAdava / bhaathaa| sA0 amIpAla / paccA / sA0 amaradatta / kuMarajI prabhU 25. 24. ta dravya vitaraNa sAnnidhyakAraka zrI zrImAlIjJAtIya sA0 jIvA sA0 dhannA sA0 lakSmIdAsa sA0 kuNarjii| maM0 26. 28. 29. 30. pAzA abharanA... 31. 27. sI sA0 rAjA mulA vAruNI (1) / sA0 devIdAsa saM0 lakSmI khupa jIvA bhU0 popaTa ratnA kacarA / sA0 nayaNasI / sA0 kR - 87 4. vacharAja paM0 sUrajI hiirjii| maM0 naaraaynnjii| sA0 jAvaDA / sItA / pa0 dhannU / bha0 rAjapAla / sA0 jiNadAsa gu0 lakSmI - dAsa / narapati / ravA / sA0 vcchaa| do0 dhrmsii| siMghA maM0 vijayakarNa / maM0 shubhkr| sA0 kammA / e0 ratanasI / karma - SNAH kIkA / sA0 vIrajI / sA0 rahiyA kudA / laSamaNa / sA0 siikaa| sA0 naulA / gopAlA 'sssuuaa| lAla somajI matA kuMbhA maM0 rAghUvA udayakarNa sA0 dyomasI netA dhanajI zivA sUracaMda pramukha zrI kharataragacchIya saMghena // yAva pUSA Asomau naMdatu likhiteyaM // paM0 sakalacaMdra gaNi puraskRta vA0 kalyANakamala gaNi vA0 mahimarAjagaNibhyAm / zrAvaka puNyaprabhA - vaka hAritA / bhA0 zrAvikA vIrAI putrI hAMsAI maMgAI pramukha sahita X7 koritA gajadhara gaduAkena zilAlekha naM. 2 1. // 6 // svasti zrI / / saMvata 1646 varSe // a (A) zvayuk pUrNimAsyAM (yAM) 15 zanau / / zrI kharataragacchezrImajjinamANikyasUri paTTAlaMkAra zrI jinacaMdrasUri vijayirAjye // zrI rAja 2. 3. dhAnyAM (yAm) / / zrI zAMtinAtha vidhicaitya jagatI" / grAmecA gotre sA0 hIrA putra sA0 gorA nAmnaH puNyArthaM sA0 lakSmIdAsA sA0 sAmIdAsa / sA0 udynaath| sA0 rAyasiMghA - 5. bhivaiH putraiH zrAvikA gorAde laaddimde| AsakaraNAdi parivAra sahitai (taiH) 6. devakulikA kAritA / ciraM naMdatu / zrI jinakuzalasUri prasAdAt

Page #231
pravINacaMdra parIkha ane bhAratI zelata Nirgrantha zilAlekha naM. 3 1. // edaN / saMvata 1646 varSe // Asoja sudi 10 vijayadazamyAm // zrI somavAre 2. zravaNanakSatre // zrI kharataragacche zrI jinamANikyasUri paTTAlaMkAra 3. zrI jinacaMdrasUri vijayirAjye / ukeza vaMze zrI zaMkhavAla gotre // sAha sAmala tatputra sAha DuMgara bhAryA zrAvikA lADAM / putraratna mA0 dhannA - 5. kena sA0 vannA sA0 mihAjala sA0 dharmasI pramukhasAra parivAra sahi - 6. tena / zrI rAjadhAnyAm zrI zAMtinAthavidhicaityajagatyAM / devakulikA - 7. kAritA // svazreyortham // puujymaanaa| ciraM naMdatu / / zrI jinakuzalasUripra - 8. sA0 dhAnAnI derI / sadhathA pAthamaNI zilAlekha naM. 4 1. ||sNvt 1646 varSe / Azvina sudi 10 vijayada2. zamyAM somavAre / zravaNa nakSatre / zrI kharataragacche / 3. zrI jinamANikyasUri paTTAlaMkAra sAra zrI ma - 4. jinacaMdrasUri vijayirAjye zrImadUkezavaMze zaMkhavAla gotre sAha sAmala tatputra sAha DuMgara ta - 6. bhAryA lADA zrAvikAyA putra sAha dhannA sAhA7. vannA sAha mehAjala sAha dharamasI pramukhaputra - 8. pautrAdisAra parivAra sahiteya" zrImadahammadA - vAdanagare / zrI zAMtinAtha vidhicaitya jagatyAM de - 10. vakulikA kAritA svazreyo) zrI jinakuzala - 11. sUri guruprasAdAt pUjyamAnA ciraM naMdatu // zubhaM / 12. ||shraavikaa lADAnAmnikayA devakulikA kAriteyaM / / Jain Education Intemational

Page #232
RANJALENTER REgnimAdAmA mAmI dAmAsA nAyAhIya banA lisAkolAvikArAdAlAkimadevAsakaravariyAdi kA Uci kA kAritA virenegamAnanAmaprimAlA MASKIRATREATRORRHOba yAmA madamad manipAnivAsAkamA sajivAmana vimAnamatyugalaanatappyAMARH livana urunvitrii| saMvabaranavApukApUsAtyArapazanAya zrI OHIRORAMERICROIDHARMAmayakAkSAyAmamadarasAmAna manamo0sarahAlakAranAmasvadamAzavAkAra teamIONAEsAmanamA dhAnanAdarakAramA mAyakA Aname- D RIBRARjayA borA tanAvavivivayanarAzAbhavAgAdhAyalA KomaliaanaadeeaamAnakAnAgals49 HANUSHTIMoramaMUMSeaseDBM NOffinstantans-selaBharavAgARARIALmanAyA ARMilane PHORIGAffamAdaramavaNyAvara MARRIDDERRORANImamamamamamamasAmayAnaramAyA SUBMARItiviNiAGARmarAnaNABP RADIONRELATANINR tamnaacROMANNjayAsaratAmA SPERIDDARMERROREOjAsApAsapanAmA antiarefund hisAekasyAmAdayaska NORamanAnahAnIkamArAmanAmanAtalA COMEDNADIO0BSA MEROERARRIyAnabAra ARRANAMAGRIRAQ4ae mayamAmAhatyamADavAla MERIWANPARSHORRORNHAImAravAyA IndianRamnaginAmAyA nyAyAna ATANDANAANGAL24 p lePROHINIDHIRating DAMAmanimalports mAlADORAB ARutaimsammar Mis S ARORE BIRHEAntags alaka008 samIkamI amabar zrIrAmanAmazAlanA vidhavala jagamAdabakArakA haHATAR kAna F eatemedia K mANasavana vImAbokamA viSayamAnI zI bomana / nave mAra vinAyarA va ake prati zrIvAstavAla gaut|| sahasAmanamovasAhako gAyI zrAvikA nAma banAyava kaina sAla denA mAtAnihA tana sa rasAmaparivAra koritA vyodhm|| nAmAMta visma zrInina svAliyara sA mAnAnAsayA adhamarA SANDERING emavalama pimselamaada. mA somabAra weRANakAmamAramA PLEVKOTarikaaree nisamA YOOOZ nAnakamattA kanADA dAnamA vivAdasArarisarAta raajik ki kAme HD SERIES COkAbanaME sAkhAmA TerevaramA rAjinAmA visarilikAmajanamAvi jayAbAsAhatArAnA mANasAmANasAlAnAmatIka jananAramyAnamAmIzamAdi udanikAyamAvimAvata nAvikAnagara pramaharAjamAraka bArAvadhAnApAnI nikAya vanyajatnaTrrasItA P ARAJAD 1. 254012lIna zilAlemana rAsa2, zAMtinAthanI poca, amAvA. Jain Education Intemational

Page #233
ROMAARomikala .gRRPOIRRkAlavAEimaAjmale SARKailasUETAAIIHAR yadAma,amisamara nAgarezAsa rAmAnandamayatAtiravAsanavidArI ni. pAnimAvi zrIkAza yAda karavaravimalademanprayakakA liAdAlatamatinidhAzrI mI marAsinadhitamUrimArAdhaDate mAra bAmamUriyAzivaqaEAMyAjamAiyavAsipakavihepAzIyadhikaravAgatamabadiyodharmara garidazrIsiezanaparAjita isazinatyAzAsanAde padezAkarinAmAgha zrImenanapAnAsamogA-rAneka sAvivANakaraNAniya zAyadevatA lekharapatavA 4myagaanAdezIyavAdazazatazrAvakAtihisjikaThina kiyA ki vipakara jimavAsanapatAvakA jimavatratApihAsAvikrItanavirUnaca bajhiyonikAyale rAmasiMkadezIyA bAyakA karalivitarinAca mAvibhUtayugasamadadIsamakanApAra samAdhakAtinaznamaviNaEORAlibhijatAnAnAzrIjiravana ne nivedanAtAvAne pAdiyera pavamAna varanagaNamUtramAninisAzanagara malAnajinIzI vivijayazrIjinevara zrIjina nAsUna APP bolAyama sitamUtiyA jayamalabastanamAni tilA gAna- nahaniyAtAnizamanasAlamUHiDInapatramUrina jalaza mazinAlanamUsina de bAMganAvazvAsaprAIpAdita saMghapatipadAkadavAna modayasUra 110 bhAjana mAnamAktisArazAnanakamAra zrIninazamUratozrIjinavara WA08 gapsAdhaka Eineya zrIjinasamudha-maNiyavidhAnamanamAna-mohimazana monAlaazrIjana dhinacanadI mAdhakArikAnayanAlIkAyamoDamotiyAvirAja pAnAmAnimA mahine kAravarivATiviyatI19-yAmAharaNItibaZAfhun 'viplavadezakAlikAtaihominAyavidAmacanUtaDyayAbAhanA samalammazra mAmakAraka yakSaHDA.MOTIBamaana Ranga somamaanimuanAlAevamapramAmge MakamAlikAkolA jAvA mA0-1- Now VaranamamalingCOVAjAjapAnapATAmAvalI AntarnakNDRENIMoaapkalamAsakara kamarabamA poTAsAmI jIvanayAvAkharAmAyaNasAmA vikA mamimIDmIkAmA jopAlamasAlAsosI EmaatmahatigaayAdhanolIya mAnasika mAtA mahala BIGN ManAkalaAmailANILEAOMER saMzavabhaka 48sal Amaniyara mI somavA cinahI jAravarajI NAUKRIGITANDA 2. 170524AlIna zilAleja, na rAsa2, zAMtinAthanI pola, amAvA. Jain Education Intemational

Page #234
Vol. I-1995 pAdazAha akabaranA... 88 zilAlekha naM. 5 1. di 0 / / svasti zrI saMvat 1646 Aso sudi 10 2. dine // zrI bRhatkharataragachA(cchA)dhIzvara zrI jinamA - 3. NikyasUri paTTAlaMkAra zrI jinacaMdrasUri vi - 4. jayarAjye / / zrI brAhmecA gotre sAha hIrA tat - 5. putra sAha gorA bhAryA gaurAde / laghu bhAryA jIvAde tata putra sAha laSamIdAsA sAha sAmIdAsA sAha ude(da)yasiMgha sAha rAyasiMgha // zrAvikA dADimade 8. zrAvikA bhagatAde putra AsakaraNa pramukhasAra pari - ___ vAra sahitaH / zrI rAjadhAnyAM / zrI zAMtinAtha vidhi - 10. caityajagatyAM svapitRpuNyArthaM devakulikA kAritA / ; zilAlekha naM. 6 1. ||dnn || saMvata 1646 varSe Azvina sudi 10 vijayadazamyAM 2. somavAre / zravaNa nakSatre / zrI bRhatkharataragacche / 3. zrI jinamANikyasUri paTTAlaMkAra zrI jinacaMdrasU - rivijayirAjye / / zrImadakezavaMze // zrI zaMkhavA - 5. la gotre / / sAha sAmala tatputra sAha DuMgara tadbhAryA 6. zrAvikA lADA tatputraratna sAha dhannAkena / sAha / / vannA sAha mehAjala sAha dharamasI pramukha bhrAtR 8. putrAdi sAraparivArasahitena / zrI gUrjarapradeza 9. rAjadhAnI zrImadahammadAvAdanagare / zrI zAMtinA - 10. tha vidhice (cai)tyajagatyAM devakulikA kAla (ri)tA / / sva - 11. zreye(yo)rtham / / pUjyamAnA ciraM madatu // zrI jinakuza - 12. lasUriprasAdAt kalya(lyA)NamA(ma)la / / samullasatu / / Jain Education Intemational Education International

Page #235
80 4. ejana, pu 430-432. 5. ejana, pR0 445 thI. 6. ejana, pR 457-58. 7. ejana, pR0 470-71. 8. ejana, pR0 472. 9. ejana, pR0 474-75. 10. ejana, pR0 479-80. 11. ejana, pR 480. TippaNo : 1. munizrI darzanavijaya, jJAnavijaya ane nyAyavijaya, jaina paraMparAno itihAsa (jai 50 i), bhA0 2, amadAvAda 1960, pR. 481 thI. 2. ejana, pUra 0. 3. ejana, pR0 73, 211. pravINacaMdra parIkha ane bhAratI zaivata 12. L. D. Swamikannu Pillai, Indian Ephemeris, (reprint), Vol. 5, Delhi 1982, pp. 383 F. 13. vAMco degAna 14. vAMco samayAtIta saMvatsara. 15. kSa = 6, siMdhu = 4, varzana = 6, phlu = 1. aAnAm vAmato ti anusAra 1f. qizil afe 17. vAMco jJAtIr 18. vAMco saMva 19. vAMco "tena ra0. thAMco maMta saM. 1646. uparyukata chaye zilAlekhono pATha lekhakoe sthaLa para jaI vAMcyo che. Nirgrantha

Page #236
nAdiyAnI prAcIna jinapratimA madhusUdana DhAMkI rAjasthAnanA purAtana gUrjaradeza paMthakamAM, arbudAcalanI pharate, IsvIsananA sAtamA zatakanA pUrvArdhamAM cApa vaMzanuM zAsana hatuM. te kALanA tyAMnAM ullekhanIya sthAnomAM hatAM bhillamAla (bhinnamAla), kutsapura (kusumA), brahmANa (varamANa), vaTapura ke vaTAkarasthAna (vasantagaDha), ItyAdi grAma-nagaro. tyAMthI prAcIna zilpa-sthApatyanA avazeSo vA zilAlekhAdi prApta thayAM che. e samudAyanuM evuM ja eka jUnuM sthAna che "naMdigrAma' kiMvA hAlanuM 'nAMdiyA', jenA dazamA zataka jeTalA purANA bhAga dharAvatA nAnA jinAlayanA garbhagRhamAM zvetAmbara jaina sampradAyanI, pazcima bhAratamAM jUjavI ja bacelI, prAcInatara pratimAomAMnI eka jaLavAyelI che (citra 1. saM. 192 | I. sa. 1036nA ajArInA jinamandiranI dhAtupratimAnA lekhamAM "naMdigrAmacaitya" evo ullekha che. tema ja saM. 1130 / I. sa. 1074nA nAdiyAnA jinAlaya pAse korela lekhamAM "naMdiyakacaityanA parisaramAM vApI nirmANa karAvyAno ullekha che, je uparathI nAMdiyAnuM madhyakAlIna abhidhAna "naMdigrAma' evaM caityanuM gAmanA nAma parathI * naMdiyakacaitya' abhidhAna hovAnuM siddha thAya che. sirohI AsapAsanA paMthakamAM pracalita jUnI lokoktimAM "nANA diyANA nAMdiyA, jIvitasvAmI vAMdiyA" jevI kahevata prasiddha che, jethI prastuta sthaLonAM jinagRhomAM 'jIvaMtasvAmI" (mukhyatve mahAvIra)" nI pratimAo eka kALe sthApita hovAno nirdeza maLe che. nAdiyAnA jinamaMdiranA garbhagRhamAM pratiSThita mUlanAyaka jinanI pratimA (citra 1) aneka daSTie apratima che. teno ALekha pazcima bhAratanI ati paricita madhyakAlIna jina mUrtiothI taddana nirALo che. pITha-paTTanA paDakhalAmAM pArzvavata vyAlanAM rUpo dharAvatA siMhAsananI pIThikA bhAganA movADamAM, cheDAnA bhAge, eka eka siMha, ane e bannenI vacAre ADuM dharmacakra, ane tenI aDakhe paDakhe kaMDArelAM mRgalAMnI joDI guptayuganI sAranAtha AdinI buddha mUrtionA ghATa-vidhAnanI paripATImAMthI UtarI AvyAno saMketa kare che. pITha para masUraka vA gAdI para sthita jinarAjanA lagabhaga kATakhUNe, be madhyama kadanA tathA sulalita bhaMgimAmAM atyaMta suDoLa evuM sukumAra cAmaradhArI (indro vA yakSo, prAtihArya rUpe sthira thayA che (citra 2, 3). cAmaradharonA AlakanA gUMcaLAothI manamohaka banatA mastaka para ratnapina traNa padakavALA paTTabandhathI zobhAyamAna karaNDa mukuTa ullekhanIya che. vacce padmAsanastha jinapratimAnA padmaprabhAmaMDaLanI AjubAju apsarA sahita, prazAnta mukhamudrAyukata, vINAdhara gandharva, ane e joDalInI upara vidyAdharI sameta AkAzacAri mAlAdharanAM rUpa kADhelAM che (citra 4, 5). jinabimbanA zIrSa para purANI paraMparA anusAra pUrA bhAgamAM dakSiNAvartakezanuM Alekhana che. pratimAnA Asana para ke anya bhAga para) lekha nathI. parantu jinamUrtinI ane parikaradevatAonI vigato guhAmaMdiro kiMvA layana maMdironI bhIMto para kaMDArela, ke tyAM garbhagRhomAM saMsthira pratimAonAM Ayojana ane kAraNInuM smaraNa karAvatI hoI tema ja zailIgata sAmAnya ane vizeSa lakSaNonA AdhAre, tene IsvIsananA mA zatakanA madhyabhAgamAM mUkI zakAya. paraMtu jema ukeza (osiyA)nA pratIhArakAlIna mahAvIra jinAlayanI mukhya pratimAnA saMbaMdhamAM banyuM tema ahIM paNa A virala jinapratimAnA kalAtattvane vaNasAvI mAryuM che. kAraNamAM joIe to zvetAmbara paraMparAnI keTalIka sadIothI cAlI AvatI arcA ane enI arcanA-paddhatimAM caityavAsI jamAnAthI vikasI AvI rahela tattvo. temAM jinanI mukhAkRtinA samAdhistha prazamarasano hrAsa karI detAM kALA raMgathI cItarela bhramaro, sphaTikanAM cakSuo, ane vakSa:sthaLa AjubAju ane anyatre coMTADela dhAtumaya TIlAo temaja varakhanA lepa. nAMdiyAnI A pratimAmAM to cAmaradhara yakSone paNa choDyA nathI. kALI bhramaro ane Jain Education Intemational

Page #237
madhusUdana DhAMkI Nirgrantha gaoNgalsa jevI caDAvelI moTI AMkhothI emanI zAntimaya prasanna mukhamudrA para grahaNa lAgI gayuM che. A Indro vA yakSonI pAMca-cha dAyakA pahelAMnI tasavIromAM temanAM asalI devatAI didAra ane manohAritA prakaTa rUpe pekhI zakAya che. nAdiyAnI pratimAthI pacAsa-poNoso pUrvanI hoI zake tevI che mahuDI koTyarkanI ArasI mAtRkA, ane pachInI jina pratimAomAM joIe to varamANanA mahAvIra jinAlayanI navamA zatakanA antima bhAganI pratimA tarapha nirdeza karI zakAya, paraMtu tyAM paNa pratimAnI asalI bhAvavAhitA cakSa-TIlAdithI naSTa thaI gaI che. TippaNo :1. zvetAmbara saMpradAyamAM durbhAgye muslima AkramaNo daramiyAna temaja jIrNoddhArakonA pratApe, ane pUjAnI viziSTa rUDhine prabhAve, prAcInatara pratimAono vinAza thaI cUkayo che. je kaMI bacyuM che temAM pUjAtI prAcIna pratimAo paNa kramaza: e ja paLe gatimAna che. ene rakSavAnA, enAM kalAtattvone yathAvata jALavI rAkhavAnA, koI ja prayatna thatA nathI ke te prakriyAne uttejana devAne badale tenAthI viruddhanAM ja upadeza ane kAryo jovA maLe che. 2. juo munirAja jayantavijaya, arbudAcala pradakSiNA na lekha saMdoha, bhAvanagara visaM. ra05 (I. sa. 1949), pR. 142 lekhAMka 394, A pratimA mULe nAdiyAnA jinAlayamAM hovI joIe. naMdigrAmano ullekha pachInA be lekhomAM paNa maLe che. jemake ArAsaNa (muMbAriyA)nA neminAtha maMdiranI pArzvanAthanI pratimAnA Asanano saMvat vagarano lekha (ejana pR0 14, lekhAMka 41), tathA AbUdelavADAnI lUNavasahInI eka devakulikAnI jinamUrtino saM. 139 / Isa. 1323no lekha: (juo jinavijaya, prAcIna jaina lekha saMgraha (dvitIya bhAga), bhAvanagara 1921, pR 19, lekhAMka 119). 3. muni jayantavijaya, arbudAcala0, pR.158, lekhAMka 45ra. 4. 'jIvaMtasvAmInI mUrtio at vardhamAnanI kumAra avasthA sUcavatI mukuTAdi AbhUSaNo sameta banatI. evI sauthI prAcIna, chaThThA-sAtamA saikAnI mUrtio aMkoTaka (AkoTA)thI maLI Avela jaina pratimA saMgrahamAM che. rAjasthAnamAM sirohInA ajitanAtha maMdiramAM tathA jodhapuranA saMgrahAlayamAM keTalIka dazamA-agiyAramA zatakanI mUrtio maLI AvI che, je sau para (sva) DA, umAkAnta zAhe ghaNA upayukta lekho lakhyA che. A sivAya ukeza (osiyAM)nAM toraNa-stambhonI jaMghAmAM, AghATa (AhADa)nA prAcIna jinAlayanA gUDhamaMDapa para, zamIpATI (savADI) AdinAM 11mI sadInA bhavya maMdiranI jaMghA AdimAM prastuta bhAvanI pratimA kaMDArita thayelI che. 5. parantu nANA, diyANA, nAdiyAmAM Aje to jIvaMtasvAmInI pratimA upasthita nathI. saMbhava che ke sirohInA ajitanAtha maMdiramAM pratiSThita be jIvana svAmInI che te uparyukata sthAnomAMthI pachInA kALe lAvavAmAM AvI hoya. 6. nAdiyAnA gUDhamaMDapamAM garbhagRhanI dvArazAkhAnI AjubAjumAM gokhalA jevuM karI, temAM ArasanI be eka jUnI mUrtio sthApita karelI che, paNa te 11mI zatAbdInA pUrvArdhanI che. che. sAmAnya rIte prAcIna bauddha tathA jaina mUrtiomAM buddha vA jinanA siMhAsananA pITha pRSThanI AjubAju gaja, vyAla, ane makaranAM ke rUpo uparAuparI karavAnI prathA hatI. ahIM gaja tathA makara mATe samAsa na hovAthI prastutanAM rUpo koyAM nathI. 8. buddhanI mUrtimAM e pratIkonI sArthakatA eTalA mATe che ke cakra sAthenI mRga-jeDIthI banArasa pAse sAranAthamAM buddhanA "mRgadAva" vanamAM thayelA 'dharmacakrapravartana' kiMvA prathamopadeza tyAM sUcita thAya che. jyAre jinanA jIvana sAthe Avo saMketa karatI koI ja ghaTanA joDAyelI nathI. samavAyAMgasUtra (saMkalana prAya: IsvI 353)mAM jinanA 34 atizayomAM dharmacakra eka "vAstavika vastu rUpe ane AkAzagata mAnavAmAM AvyuM che. madhyayugamAM mRga ane mRgalIne 'satyamRga' ane 'karuNAmRgI' jevuM arthaghaTana jinaparikarane varNavatA madhyakAlIna sAhityamAM vAMcyAnuM smaraNa che, paNa te sau moDenI kalpanA mAtra che. A Akhoye haitava (motif) bauddha pratimAvidhAnamAMthI levAyelo hovAnuM suspaSTa che. Jain Education Intemational

Page #238
1. nAMdiyA, rAjasthAna, mahAvIra jinAlaya, garbhagRha, bhUlanAyaka jina, prAya IsvI 9mI zatAbdI madhyabhAga. www.jain ly.org

Page #239
2. cAmaradhara Indra vA yakSa (mUlanAyakanI DAbI bAju). 3. cAmaradhara Indra vA yakSa (mUlanAyakanI jamaNI bAja). Jain Education Intemational www.jagelibrary.org

Page #240
4. mUlanAyaka jina pratimAnI DAbI bAjue nabha cara gandharva ane vidyAdharanAM yugalo. Jain Education Intemational

Page #241
5. mUlanAyaka jinapratimAnI jamaNI bAjue nabha:cara gandharva ane vidyAdharanAM yugalo. Jain Education Intemational Forevalt & Pense iseenly www.jainelibreorg

Page #242
Vol. I-1995 nAdiyAnI prAcIna jinapratimA 9 'cAmara' pratIka chetAmbara paraMparAmAM 34 atizayomAM, ane pachIthI pAMcamA zatakathI aSTa mahAprAtihAryomAM paNa gaNAyuM che, jyAre digambara paramparAmAM chaThThA saikAthI upalabdha 34 atizayomAM tene lIdhuM nathI. te kevaLa prAtihAyamAM ja samAviSTa che. 10. eka zilpazAstramAM prabhAmaMDalanA traNa prakAro vAMcyAnuM smaraNa che : "AdityaprabhA,' 'candraprabhA,' ane 'padmaprabhA.' vyavahAramAM prAphamadhyakALamAM tema ja madhyakALamAM 'ratnaprabhA' paNa jovA maLe che. (AnAM daSTAno DAhala dezanI cedi zailImAM, jabalapura AdinI dazamA zatakanI jinamUrtiomAM, joyAnuM smaraNa che.). 11. kuvalayamAlAkahAkAra caityavAsI udyotanasUri (I. sa. 78)e potAnAthI cothI peDhIe thaI gayela pUrvaja zivacandra mahattara (prAya: IsvI 650-675) bhinnamAlanA jinamaMdiramAM darzanArthe AvelA ane pachI tyAM ja sthira thayelA, tevI noMdha karI che. saMbhava che ke nAdiyAnI jinamUrti bhinnamAlanI paripATI anusAranI hoya. bhinnamAla nAMdiyAthI bahu to cALIseka mAIla dUra haze. 12. ema jaNAya che ke pahelAM ahIMnI pratimAmAM cakSa-TIlAM hatAM nahIM, te saMbaMdhamAM (sva) muni jayantavijaye noMdhyuM che ke.... sArI rIte pUjA-prakSAlana thavAnI ane cakSa-TalAM lagAvavAnI khAsa jarUra che." (juo arbudAcala pradakSiNA) (Abu bhAga cotho), amadAvAda vi. saM. 204 (I. sa. 1948), pR. 258. 13. Cf. Stella Kramrisch, The Art of India, 3rd. Ed., Delhi 1965, Plate 54. 14. citra mATe juo Historical and Cultural Chronology of Gujarat, Ed. M. R. Majmudar, Baroda 1960, pl XXXV B; 24H U. P. Shah, "Sculptures from Samlaji and Roda", Bulletin of the Baroda Museum Picture Gallery, Vol XIII (Special number 1960, fig 30). 14. Cf. M. A. Dhaky, 'The Vimal Period Sculptures in Vimalavasahi,' Aspects of Jainology, vol II, Varanasi 1987, Fig 7. (atre prakAzita tamAma citro The American Institute of Indian Studies, Varanasi nI sahAya ane saujanyane AbhArI 5 citrasUcI :(1) nAMdiyA, rAjasthAna, mahAvIra jinAlaya, garbhagRha, mUlanAyaka jina, prAya IsvI 7mI zatAbdI madhyabhAga. (2) cAmaradhara Indra vA yakSa (mUlanAyakanI DAbI bAju). (3) cAmaradhara indra vA yakSa (mUlanAyakanI jamaNI bAju). (4) mULanAyaka jina pratimAnI DAbI bAjue nabha :cara gandharva ane vidyAdharanAM yugalo. (5) mULanAyaka jinapratimAnI jamaNI bAjue nabha:cara gandharva ane vidyAdharanAM yugalo.

Page #243
pArzvanAthanI eka virala dhAtupratimA dinakara mahetA prAcInatara bhAratIya dharmasaMpradAyomAM nircantha-darzananI paNa gaNanA thAya che. gujarAta pradezamAM tenA purAtana kALe thayelA pravezanA purAvA upasthita che. nirgastha dharmanA 22mA tIrthaMkara ariSTanemi paurANika (ane amukAze aitihAsika) vyakita manAya che, jyAre 23mA jina ahetu pArzva ane carama tIrthaMkara gaNAtA 24mA jina vardhamAna mahAvIra pUrNatayA aitihAsika vyakitao hovAnuM have sarvasvIkRta che. jina pArzvano samaya vartamAne IsvIsana pUrve sAtamI-chaThThI sadIno hovAnuM jaNAya che. upAsanAmAM jina pArzva agrima sthAna bhogave che, ane emanI pratimAo bhAratamAM uttarapradeza, madhyapradeza, rAjasthAna, ane karNATakamAM bahula saMkhyAmAM maLI AvI che. gujarAtamAM paNa bhagavAna pArzvanAthanI mUrtio vipula pramANamAM jovA maLI che. madhyayugamAM to gujarAtamAM pArzvanAthanAM stambhanapura, ajAharA, zaMkhapura, cArUpa, vaTapadra, Adi keTalAMye mahimna tIrtho hatAM. aDIne Avela AbU paMthakamAM paNa jIrApallI-pArzvanAtha eka gaNyamAna tIrtha hatuM. gujarAtamAM maitrakyugathI solaMkIkALanA AraMbha sudhInI zvetAmbara sampradAyamAM pArzvanAthanI aneka suMdaratama pratimAo nimAyelI. temAM vaDodarA pAsenA akoTA(prAcIna aMkoTaka)thI maLI Avela jagavikhyAtu nircanya dhAtupratimA saMgrahamAM, tema ja arbudAcalanI sannidhimAM rahela vasantagaDhanA jinamandiramAMthI prApta thayela pittalamaya pratimAonA nidhimAM paNa pArzvanAthanI benamUna tritIrthika pratimAo maLI AvI che. ahIM prastuta karelI pArzvanAthanI pratimA morabI zaheranA darabAragaDhavALA jaina derAsaranA saMgrahanI che. prAcIna tathA madhyakALe dhAtupratimAonAM nirmANa traNa prakAre thatAM hatAM: (1) ghaDatarathI; (2) nakakara kALAthI; ane (3) polANayukata DhALAthI. sAMprata pratimA polANavALA DhALAnI paddhatie DhALelI che. pratimAnuM Ayojana pArzvanAthanA pratibhA-vaidhAnika vibhAva anusAranuM che. daityarAja kamaThanA upasarga samaye nAgarAja dharaNenTa pArzvanAthanuM rakSaNa kareluM tevI saMpradAyanA mAnya vAkayamAM je kathA prApta thAya che teno ahIM. amukAze mUrtirUpeNa AvirbhAva thayelo che. UMcI bhadrapITha mAthe sthApela kamaLa para ahaMtu pArzva padmAsanamAM birAjamAna che. Asana bhAgamAM padmapatra nIce saMbhavata: aSTagraho zira :samUharUpe sUcita thayelA che, jemAMthI cha mukha spaSTa rIte darzAvyA che, jyAre zeSa be dharmacakra pAchaLa pracchannarUpe rahelA hovAnuM kalpI zakAya. jinazIrSa para saptaphaNAdhara nAgendra chatrarUpe rahelA che. dharaNendranA nAgadehanuM sUcana ADI rekhAonAM aMkanathI karI dIdhuM che. kullita phaNATopamAM jamaNI bAjunI prathama pheNa bhAMgI gayelI che. UbhI dhULa rekhA-paTTIthI sAte phaNa agala pADI uragendranuM saptaphaNAmaya svarUpa prakAzita karyuM che. pArtha bimbanA prazAnta mukhamaMDaLa, dyutimAna dhyAnAvasthita mukhabhAva, ardhanimIlita netro, bharelA kapola, trivallIyukata kaMTha, jJAnanA dyotaka lAMbA kaNa ane yogamudrA noMdhapAtra che. pratimAnA vinyAsamAM vizALa vakSa:sthaLa, sapramANa gAtra-saMghana, candrabimba samAna mukhamaMDaLa vagere guptottarakAlIna 'uttama puruSa'nuM nirdezana karatI kalAnAM sAmAnya lakSaNo sUcavI jAya che. jinendranI jamaNI bAjue yakSarATa sarvAnubhUti ardhapayaMkAsanamAM sthira thayelA che; emanA dakSiNa bAhumAM dravya-nakulaka ane vAmakaramAM mAtuliMga dhAraNa karelAM che. vaizravaNanI samRddhino saMketa karato maNimaya svarNima mukuTa mastaka para sohI rahyo che, to DAbI bAjue ardhapayake paga vALIne bhagavatI ambikA beThelAM che. ambAdevInA eka hastamAM zizu zubhaMkara teDela che, ne dvitIya karamAM AmUlumbi dhAraNa karI che. yakSa tathA yakSInA zira pAchaLa padmaprabhA aMkita thayelI che.

Page #244
Jain Educat interation pArzvanAthanI eka virala dhAtupratimA

Page #245
Jain Education Intemational

Page #246
Vol. 1995 ghoghAnI madhyakAlIna dhAtu pratimAonA.. 95 AkoTAthI maLI AvelA saMgrahamAMnI eka pArzvanAthanI I. sa. 650nA arasAnI dhAtumUrti sAthe sAMprata pratimAne sarakhAvavA jevI che. bannenI nirmANa-paddhati samAna che. tIrthakara ane pabAsaNa eka sAthe DhALavAmAM Ave. jyAre nAgacchatra tathA jinanI sannidhimAM rahela yakSa-yakSiI judAM DhALavAmAM Ave, pachIthI traNeyane sAthe joDI devAmAM Ave; A saMyojana-saMgaThana paddhatithI AvI saMyukata jinapratimAo sarjAtI . pratimAnI nimaNa-paddhati, devanA evaM saMlagna banne devatAonA mukhabhAva tathA dehayaSTi evaM bhAzcakra ItyAdinA AkAra-prakArAdi lakSaNonA AdhAre prastuta pratimA paNa sAtamA zatakanA madhyabhAgamAM ke pachI ethI thoDI moDI hoya to prastuta sadInA aMta bhAge AsAnIthI mUkI zakAya tema che. pratimAnA pRSThabhAge lekha to upalabdha che, paNa te eTalI hade ghasAI gayo che ke have to vAMcI zakAya tevo rahyo nathI. chatAM haju paNa spaSTa dekhAtA thoDAka akSaronA maroDa sAtamA saikAnA jaNAtA hoI pratimAnA zailIthI anumAnatA samayAMkanane samarthana maLI rahe che. TippaNo : 1. paryuSaNAkalpanI "sthavirAvalI"nA prAcInatama bhAga (prAya: IsvI 10)mAM mauryarAja sapratinA guru Arya suhastinA ziSya Arya RSiguptathI munionI 'soraThiyA zAkhA' udbhavI hovAno ullekha che. A ghaTanAno samaya Azare I. sa. pUrvanA bIjA saikAno gaNAya. R. U. P. Shah, Akota Bronzes, Bombay 1959, p.19, plate 31a 3. Shah, Akota., p.39, plate 29 B. lekha sAthe saMlagna tasavIra zrI morabI zvetAmbara mUrtipUjaka saMgha, darabAragaDha, tathA zrI jayendra vorA, noMdhaNI adhikArI (purAvazeSa), rAjakoTanA saujanyathI prastuta karI che. lekha zrI ravi hajAranIsa tathA zrI jayendra vorA dvArA thayelI preraNAnA phaLarUpe che. lekhaka banne sAthI-mitronA RNI che. Jain Education Intemational

Page #247
sevADI (rAjasthAna)nI be jaina sarasvatI pratimAo ravi hajaranIsa sarasvatInA mUrtividhAna mATe mAkaDeyapurANa aMtargata "devI mAhAbhya" (chaThTha-sAtamuM zataka), viSaNudharmottara(sAtamo saiko), pAdaliptasUri (tRtIya) kRta nirvANa kalikA (prAya: IsvIsana 950-975), skaMdapurANa, (bAramI-teramI zatAbdI), ane AcAradinakara (I. sa. 1412) jevA graMthomAMthI mAhitI maLe che. jaina saMpradAyamAM sarasvatI zrutadevI ke zrutadevatA manAya che. jaina graMthastha varNano mujaba devI sarasvatI caturbhujA che. cAreya hastomAM anukrame padma, vINA, pustaka, ane akSamAlA hovAnuM kahyuM che. devInuM vAhana digambara mAnyatA mayUra ane zvetAmbara pramANe haMsa che. prApta pratimAo alabatta saMpUrNapaNe graMthastha varNano anusAranI nathI. ahIM prastuta zveta ArasanI sarasvatInI be pratimAo dakSiNa rAjasthAnamAM arbada parvatathI IzAna tarapha AvelA sevADI (prAcIna zamipATi) gAmanA jainamandiranI che. (1) prathama sarasvatI pratimA :- zrutadevatAnI A pUjAtI mUrti che. pachIthI jaDelI AMkho, ane kALA raMgathI raMgelI bhramaro tathA oSTane kAraNe pratimAnA sauMdaryane kSati pahoMcI che, tema chatAM mukha paranuM madhura smita AkarSaka che. mastake ratnajaDita karaMDa mukuTa zobhe che. zIrSa pAchaLa vikasita padmaprabhA vacce mukatA-vartuLa ane pAchaLa kiraNAvalI kaMDAryA che. ahIMnI prabhAvalInI pallu(rAjasthAna)nI prasiddha sarasvatI pratimAnA prabhAmaMDaLa sAthe tulanA thaI zake tema che. devIe karNe goLa kuMDaLa, kaMThe vistRta raiveyaka, pralamba hAra, ane motInI khUlatI sera dhAraNa karelAM che. motInI serano cheDo unnata stanayugmo vaccethI sarakato ane nAbhi AgaLa laTakato batAvyo che. ura:sUtra ane kaTi para alaMkRta mekhalAmAM vacce grAsamukha kADheluM che. udAmanA jhAlarayukata lAMbA cheDAo jAMgha para surekha rIte laTakatAM batAvyAM che. anya AbhUSaNomAM bAhubala, kaMkaNa, cUDo, pAdajAlaka, toDAM, ane sudIrgha vanamAlA paridhAna karelAM che. | devInA caturNasto paikI DAbA eka hAthamAM pustikA ane bIjA karamAM koI aspaSTa vastu grahelI che." jyAre jamaNI taraphanA eka hastamAM goLa vALela padma-daMDa, vacce mora ane DhelanI namaNI joDalI atIva suMdara rIte goThavI che. bIjo hAtha varadAkSa rUpe rajU thAya che. kaTivastra dhotI-cIrano madhyabhAgano cheDo lalita gomUtrika taraMge vaheto kaMDAryo che. pratimAnuM parikara uparathI khaSThita che. devInA jamaNA paga pAse vAhanarUpe mora che, ane DAbI tarapha aMjalImudrAmAM pArzvadarzane ArAdhikAnI pratimA varatAya che. tenI pAchaLa mukuTa ane yathocita alaMkArothI vibhUSita, vINA ane baMsI vagADatI paricArikAo UbhelI che. pharatA parikaranA nIcalA bhAge DAbA jamaNA cheDAo para cAmaradhAriNIo sthira thayelI che. te upara banne bAjue takatIomAM mRdaMgavAhinIonI laghu AkRtio che, aMte upara mAlAdhArI vidyAdharonI AkRtio kaMDArI che, jemAMthI DAbI taraphanI AkRti khaDita che. (2) dvitIya sarasvatI pratimA :- prastuta sarasvatInI pratimA paNa upAsanAmAM sthApelI mUrti che, je badhI rIte prathama varNita pratimA jevI che. devIe ratnamaMDita karaMDa mukuTa ane AMgaLa varNavI te mUrti mujabanA alaMkAro dhAraNa karelA che. devInA cAra hasto paikI DAbI taraphanA ekamAM pustikA ane bIjAmAM koI aspaSTa vastu grahAyelI che. jamaNA eka karamAM dhAraNa karela goLa vALela padma-daMDa khacchita hovA chatAM vaccenI atIva Jain Education Intemational

Page #248
jaina sarasvatI pratimA, sevADI (rAjasthAna)

Page #249
jaina sarasvatI pratimA, sevADI (rAjasthAna) Jain Education Intemational

Page #250
Vol. I-1995 savADI (rAjasthAna)nI be jaina... suMdara mayUra-mayUrInI joDalI surakSita che. jamaNo bIjo hAtha varadAkSa tarIke rajU thayelo che. devI padmapatra para mohaka tribhaMge UbhAM che. AgaLa carcita pratimAnI jema ja A mUrtinAM nayana jaDelAM tathA bhramarabhaMgI ane adhara kALA raMge raMgelAM che. parikaramAM vAhanarUpe mora DAbA paga pAse ane ArAdhaka dakSiNa pAdanI bAjue aMjalIbhadrAmAM beThelA che. agAunI jema ja mukaTa ane anya saMbhavita alaMkAro dhAraNa karelI vINAvAdinI ane vaMzIvAdinInI joDI saMgItamAM rata che. parikaranA DAbA-jamaNA cheDAo para nIce cAmaradhAriNI upara mRdaMgavAhinI, tyAra bAda mAlAdhArI, ane Toca para banne bAjue eka eka paricArikA, banne bAju gajarAja, tathA madhyabhAge padmAsanastha jina bhagavAn kaMDArelAM che. palUnI sarasvatI mUrti sAthe sarakhAvatAM samayanI dRSTie sevADInI saMdarbhagata pratimAo kaMIka pazcAtkAlIna jaNAya che. emane IsvIsananA 11mA saikAnA aMtabhAgamAM mUkI zakAya. zAradAnI A pratimAone joDI rUpe to banAvI che, paNa banne savyApasavya kramanuM anusaraNa kare che. TippA : 1. prA. madhusUdana DhAMkInA adyAvadhi aprasiddha lekha "nivaNakalikAno samaya ane AnuSaMgika samasyAomAM graMthanI racanA samaya prAya: IsvIsana 950 nirdhAya che. 2. salAha-sUcano tathA phoTogrAphsa mATe lekhaka prAmadhusUdana DhAMkInA AbhArI che. tasavIro emanA saujanyathI ahIM prakaTa karI che. Jain Education Intemational

Page #251
sAhitya ane zilpamAM '"kalyANatraya" madhusUdana DhAMkI 'kalyANatraya' saMjJAno sAmAnya artha che jinezvaradevanAM ''paMcakalyANaka'' mAMnAM traNa. vizeSa arthamAM, ane viziSTa saMdarbhamAM, te 22mA tIrthaMkara bhagavAna neminAthanA ujjayat, ujjila, ujjata, ujjainta eTale ke ujjayanta, Urjayanta vA Urjayata-parvata (pachIthI raivatakaparvata, raivatagiri, sAMprata giranAra parvata) para thayelA 'dikha' (dIkSA), 'nANa' (kevalajJAna), ane 'nisIhiA' vA 'nivvANa' (niHsahI, nirvANa) e kalyANakonuM 'trayaka'. Agamika sAhityanA AdhAre madhyayugamAM 'kalyANatraya'thI A artha-vizeSa ja abhipreta hoya tema lAge che. uparakathita traNa kalyANakonA vibhAvane pratIka rUpe, pUjanArthe pArthiva rUpe, prastuta karyAnA madhyakAlIna sAhityamAMthI maLI AvatA ullekho, tema ja vAstavika zilpika racanA rUpe dRSTAMto, ApaNe AgaLa upara joIzuM tema, teramA zatakathI laI paMdaramA zataka sudhInA gALAmAM maLI Ave che. paNa kalyANatrayanI sAMprata kALe vidyamAna e purANI racanAo adyAvadhi oLakhI zakAI nathI; je thoDIka racanAo bacI che, ane upalabdha che, te Aje to bhaLatA nAme ja paricayamAM che. AthI sAMprata lekhamAM tenI madhyakAlIna-uttara madhyakAlIna vAjJayika, tathA maLe tyAM abhilekhIya sAkSyonA AdhAre kharI pichAna siddha karI te para vizeSa vivaraNa karavA vicAryuM che. jJAta sAhityamAM 'kalyANatraya'nI saMracanA-sambaddha sau prathama ullekha ApaNane tejapALa maMtrIe giranAra para karAvela 'kalyANatraya'nA bhavananI vAtamAMthI maLe che. maMtrIzvara vastupALa ane laghubaMdhu tejapALanA kulaguru, nAgendragacchIya AcArya vijayasenasUrie saM 1288 / I. sa. 1272mAM girirAja para baMdhuDhDhaye karAvela jinabhavanAdinI pratiSThA karyAM pachI thoDA samaya bAda, apabhraMza bhASAmAM raivaMtagirirAsu nAmaka -- aitihAsika dRSTie ati mUlyavAna -- racanA karI che. temAM variSTha baMdhu vastupALe karAvela girivara paranI jinAyatanAdi racanAo gaNAvyA bAda umeryuM che ke '"tejapALe tyAM tribhuvanajanaraMjana, gaganAgralagna (Abhane AMbatuM), 'kalyANatraya' nAmanuM UMcuM bhavana karAvyuM ' yathA: tejapAla nimmaviu tattha tihuyaNajaNaraMjaNu ! kalyANa (uta? taya) utuMguM bhUyaNu baMdhiu gayaNaMgaNu // 17 // giristha prastuta jinabhavanano nirdeza saM 1320 / I sa1264 AsapAsa tapAgacchIya dharmakIrtigaNi(pachIthI dharmaghoSasUri)e saMskRtamAM racela zrI giranArakalpa` mAM paNa maLe che; tyAM (parvatanI) 'mekhalA' (dhAra) pAse maMtrI tejapALe 'kalyANatrayacaitya' karAvyAnI vAtano ullekha che : kalyANatrayacaityaM tejaH pAlo nyavIvizanmantrI | yanmekhalAgatamasau girinAragirIzvaro jayati // 28 // caudamA zatakanA pUrvArdhamAM, kalpapradIpakAra jinaprabhasUrie temanA prAkRtamAM racela raivatagirikalpa'khaimAM paNa DuMgara paranAM jinabhavanonA saMdarbhamAM (moTe bhAge to vijayasenasUrinA AdhAre) uparanI hakIkatanI noMdha lIdhI che : tejapAlamaMtiNA kallANattayacaiaM kAriaM / jinaprabhasUrinA samakAlika meruttuMgAcArya viracita suvikhyAta grantha prabandhacintAmaNi (saM 1365 / For Private Personal Use Only

Page #252
Vol. 1995 sAhitya ane zilpamAM... I. sa. 1309)* aMtargata "vastupAla-tejapAla prabandha'mAM maMtrIzvara vastupALe savAranA pahoramAM ujajayaMta para ArohaNa karI, zaiveya (zivAdevI sUna = neminAtha)nI arcanA karI, pote nimavela 'zatruMjayAvatAra'nA mandiramAM prabhAvanA karI, te pachI 'kalyANatraya'mAM arcanA karI evo ullekha prApta thAya che; joke tyAM prastuta caitya tejapALe karAveluM hatuM, ke te nemIzvaranuM hatuM, te tathyonI noMdha levAmAM AvI nathI. yathA : prAtarujjayantamAruhya zrIzaiveyakramakamalayugalamamalamabhyarcya svayaMkArita zrIzatruJjayAvatAratIrthe prabhUtaprabhAvanAM vidhAya, kanyAtrarvatye varyasaMparyAvimitakuritamAnartha, samastrI....(tyAdri) : A ullekha pachIthI eka pAchotaro, paNa anyathA vastupAla-tejapAlanA kALane sparzato saMdarbha, harSapurIyagacchanA rAjazekharasUrinA caturvizatipUbI kiMvA prabakoza (saM. 1405 / I. sa. 1349) aMtargata maLe che, jemAM maMtrIzvare giranAra para darzana karela devadhAmomAM 'kalyANatraya'no paNa samAveza karyo che yathA : tatrA'pyaSTAhikAdividhiH prAgiva / nAbheyabhavana-kalyANatraya-gajendrapada - kuNDAntikaprAsAda-ambikA-zAmba-pradyumnazikhara toraNAdikIrtana darzanairmantrI saGghazca nayanayoH svAduphalamArpiSatAm / A pachInA kALa sambandhI ullekha saM. 1393 / Isa. 1337nA arasAmAM pUrNa thayela, kharataragaccha bahadugarvovalInA uttarArdhamAM maLe che : saM. 1326 / Isa. 1270mAM kharataragacchIya AcArya jinezvarasUri (dvitIye) saMgha saha giranAranI yAtrA karelI tyAre tyAM girivara para thayelI dhArmika kriyAomAM judAM judAM jaina tIrthAyatanonI mAlA paherAvavAnI ucharAmaNImAM "kalyANa(jItra)ya"nI mAlA sA rAjadevabhAtR bholAke 311 drampanI bolIthI paherI hovAno tyAM ullekha che. prastuta kalyANatraya' te maMtrI tejapALe karAvela caitya ja hoI zake, saM. 1367 (I. sa. 1311)mAM bhImapallI(bhIlaDIyA)thI saMgha sahita tIrthayAtrAe nIkaLela kharataragacchIya yugapravara jinacandrasUri (tRtIye) giranAra giristha 'kalyANayAdi' tIrthAvali birAjamAna 'ariSTanemi'ne namaskAryAno ane e rIte "kalyANatraya sambandhI prastuta gavalImAM eka vizeSa ullekha prApta thAya che? : yathA : samastavidhisaMghena ca kalitAH, pratipuraM pratigrAmaM niHzaGkaM gItanRtyAvAdyAdinA jinazAsanaprotsarpaNAyAM vijRmbhamANAyAM kramakrameNa sukhasukhena zrIzatruJjayAlaGkAratrailokyasAra samastatIrthaparamparAparivRtaM pravihitasurAsuranarendrasevaM zrInAbheyadevam, zrIujayantAcalazikharamaNDanaM samastaduritakhaNDanaM saubhAgyakamalAnidhAnaM yadukulapradhAnaM kalyANakatrayAdinAnAtIrthAvalivirAjamAnaM zrIariSTanemisvAminaM ca nUtanastutistotravidhAnapUrvakaM paramabhAvanayA sakalasaMghasahitAH zrIpUjyA mahatA vistareNAvandiSata / ahIM ullekha to alabatta prAsaMgika che, ane kalyANatraya' viSe koI adhika mAhitI sAMpaDatI nathI; paNa giranAra para neminAthanA mahimna maMdira atirikata bIjA koI maMdirano ullekha karavAne badale 'kalyANatraya'no karyo che. jemAMthI prastuta caityanI revatatIrtha sAthenI saMgatatA siddha thavA atirikata tenuM mahattva te kALe sthapAI cUkayuM haze evuM paNa kaMIka sUcana maLI rahe che.

Page #253
100 madhusUdana DhAMkI Nirgrantha IsvIsananA caudamA zatakamAM AgaLa vadhatAM keTalAka mahattvapUrNa ullekho sAMprata viSaya anuSaMge, vizeSa karIne 'kalyANatraya'nI racanA kevI hatI te pAsAM para prakAza veranAra, prApta thAya che. moTe bhAge to rAjagacchIya vAdIndra dharmaghoSasUrinA AmnAyamAM thayA haze te jJAnacaMdranA navaprApta saMskRta bhASA nibaddha giranAra caityaparipATI stavana'(prAyaH I. sa. 1720-1325)mAM prastuta jinAlayamAM traNabhUmiyukata (racanAmAM) caturAnana (caturmukha) ane aMjanAbha (zyAmala) evA neminAthane namyAno ullekha che : kalyANakatraya - jinAlaya bhUtrayepi nemiM namAmi caturAnanamaMjanAbhaM // / 11' // A ullekhathI 'kalyANatrayacaitya'mAM traNa bhUmivALI racanA hatI ane temAM cAre dizAe neminAthanI zyAmala pratimAo hatI te vAtanI prathama ja vAra spaSTatA maLe che. A pachI caudamA zatakanA trIjA caraNamAM, kharataragacchAcArya jinakuzalasUrinA ziSya vinayaprabhopAdhyAya, svaracita apabhraMza 'tIrthamAlAstavana'"mAM giranAra para vAMdela jinAlayomAM vastiga(vastupAla)nA 'Adi paho' (zatruMjayAvatAra caityanA Adiprabhu)no, 'kalyANatraye' nemijinano, ane (vastupAla kArita) aSTApada tathA sammetagiri tathA giranAranA sAMba, pradyumna, ane avalokana zikhara paranAM jinabiMbono samAveza kare che : vasti (ga) vasahI hiM Adi paho / kalyANa namavi jiNanemi aSTApada sammetagire / vaMda se tittha jiNabiMba sAMba - pUjana avaloya gire || 21|| A ullekhamAM paNa 'kalyANatraya'mAM nemijina mULanAyaka rUpe hatA te vAtane vizeSa Teko maLe che. vinayaprabhopAdhyAyanI eka anya (paNa saMskRta) racanA, caityaparipATIstavana'mAM paNa prastuta caityano ullekha che, ane tyAM tene 'kalyANatritaya' saMjJA ApI che, joke tyAM bIjo koI vistAra karyo nathI : yathA : prAsAdAntara-jaina-devagRhikAmadhyasthitAMstIrthapAn nAbheyaM vara vastupAlabhavane sammetakASTApade tyALatiyeDavano zivare zrItIrthapAnAM ju(T) I zrIraivagirau namAmi ca tathA pradyumnaMsAmbau bhaje ||24|| A pachI soeka varSanI aMdara racAyela, tapAgacchIya jinaharSa gaNinA suprasiddha caritra grantha vastupAlacaritra' (saM. 1497 / I sa 1441) aMtargata girivara para maMtrIdvaye karAvela sukRtonI apAyela vistRta sUcImAM 'kalyANatritaya'nuM neminAthanuM UMcuM paththaranuM bhavana tejapALe karAvyAnI noMdha levAyA uparAMta, prastuta jinAlayamAM nemIzvarasvAmI 'traNarUpe' birAjatA hovAnI vAta kahI che. yathA : zrIneminAthabhavanaM kalyANatritayasaMjJayA vihitam / tejapAla : sacivo vidadhe vimalAzmabhistuGgam // 730|| saptazatyA catuHSaSTyA, hemagadyANakairnavam / tanmaulau kalazaM prauDhaM nyadhAdeSa vizeSavit // 731 // tatra nemIzvaraH svAmI trirUpeNa svayaM sthitaH / praNato durgatiM hanti stuto datte ca nirvRtim ||732|| A badhA ullekhothI eTaluM to spaSTa che ke, (I sa1232 pazcAt) maMtrI tejapALe 'kalyANatraya', 'kalyANakatraya', For Private Personal Use Only

Page #254
Vol. I.1995 sAhita ane zilpamAM.. 101 vA kalyANatritaya' saMjJakaneminAthano azmaracita uttaga prAsAda karAvelo, jemAM revatatIrthanA adhinAyaka nemijinanI 'traNa rUpe' eTale ke traNa bhUmimAM (evaM pratyeka bhUmie) caturmukha rUpe pratiSThA karAvelI. A uparathI prathama dRSTie eTaluM to samajI zakAya tema che ke, 'kalyANatraya'e jina neminAthanA traNa kalyANakone mUrtabhAve rajU karatI koIka pratIka-racanA haze, ane temAM kalyANakanI 'traNa" saMkhyA barobara jinanAM traNa rUpo besADyAM haze. (A 'traNa rUpo'thI zuM vivakSita che tenI vizeSa spaSTatA ahIM AgaLa upara thaze.) tejapALa maMtrI kArita A 'kalyANatraya" prAsAdano saM. 1494 / I. sa. 148mAM osavAla sonI samarasiMha ane vyavahArI mAladeve AmUlacUla uddhAra karAvelo. prastuta punaruddhAra bAda, paMdaramA zatakamAM lakhAyelI ochAmAM ochI ATheka jeTalI giranAratIrthalakSI caityaparipATIomAM 'kalyANatraya'nAM je varNana-vivaraNa maLe che, te sAMprata saMdarbhamAM prastuta saMracanAnA svarUpane spaSTAyamAna karavAmAM upakAraka hoI, ahIM have te eka pachI eka joIzuM.' temAM sau prathama laIzuM eka anAmI kartAnI 15mA zatakamAM racAyelI "zrI giranAra zrI zatruMjaya caityaparipATI3. temAM Avato ullekha alabatta saMkSipta che; paNa te, kalyANatraya" racanA nemijinanA "dIkSA, jJAna, ane "nirvANa' kalyANakonA pratIkarUpe hovAnA tarkane, samarthana Ape che : yathA : kalyANataya nemijiANa diphakhannANa nivvANa /16 A pachI soLamA zatakanA prAraMbhanI eka anAmI kattanI adyAvadhi aprakaTa giranAra caitya pravADI vinatimAM paNa 'kalyANatraya'mAM 'traNa rUpe nemi' birAjamAna hovAno nirdeza karyo che : kalyANanuM nirakhII harakhIya citta apAra triharUpe nemi pUjaI saphala hUI saMsAri, 25 paMdaramA zatakanA trIjA caraNamAM mUkI zakAya tevI eka anya aprakaTa, ajJAta karUMka giranAra caityaparipATImAM 'kalyANatraya'no samarasiMhe uddhAra karAvyAnuM, ane tyAM nemikumAra 'traNarUpe' birAjatA hovAnuM, tema ja maMdirane 'sadhara' (eTale ke thAMbhalAvALo) meghanAda' maMDapa hovAnuM kahyuM che : yathA : kalyANatraya pekhII e samarasiMha kIdhu udhAra; triharUpe jaI nemikumAra meghanAda-maMDapa sadhara. 26 paMdaramA zatakanA uttarArdhamAM thayela kharataragacchIya harikalazanI cityaparipATImAM paNa (giranAra para) traNa bhUmimAM kalyANakamAM rahelA jinane namyAno ullekha che trituM bhUmi kalyANaI jiNa namaMti /1. A pachI joIe tapAgacchIya ratnasiMhasUriziSya kRta giranAra tIrthamAlA (saM. 159-1523 | I. sa. 1453-1467 AsapAsa)*. temAM traNabhUmi'mAM kAyotsarga rUpe birAjamAna neminI pratimAone namyAno ullekha che : kalyANatraya trihabhUmiThiya kavi kAsagi kavi pratimA saMThiya nemi namesi suraMgo I/1nA have joIe tapAgacchanAyaka, yugapradhAna somasundarasUrinA ziSya hemahaMsagaNinI saM. 1515 / I. sa. 1459nA

Page #255
madhusUdana DhAMkI Nirgrantha arasAmAM racAyelI giranAra caittapravADi. temAM 'kalyANatrayavihAra' sonI samarasiMha ane mAlade vyavahArie uddhAryAnI vAta karatAMnI sAthe prastuta racanAmAM cAre dizAmAM 'traNa bhUmi'mAM bAra mUlanAyakanI mUrtio hovAnuM, ane temAM prathama eTale ke kevaLa nIcenI bhUmie kAyotsarge (khaDgAsane) rahelA 'nemikumAra'no ullekha karyo che. AgaLa cAlatAM 'dIkSA, jJAna, nirvANa' e traNa kalyANakono ullekha karI, maMdiramAM rahelI eka jIrNa pratimAnI vAta karI, maMdiranA vizALa 'meghamaMDapa'no ullekha karIne kahyuM ke osavAla vaMzI samarasI-mAladeve eno saM 1494 / I. sa. 1498mAM uddhAra karAvyo : yathA : 102 hiva kalyANaya-taNaI niramAlaDie jAI jaI prAsAdi. 24 dhanadhana sonI sama(ra)siMha mAlade vyavahAria jehiM kalyANatraya-vihAra-uddhAra karAvia cihuM disi trihuM bhUmIhiM mUlanAyaka tihAM bAra kosiMga rahiA prathama bhUmi siri nemikumAra ghaDatAM jasu pAtali aMjaliI save TalaMtA roga seviu svAmI pUravaie niramAlaDie anudina bhoga-saMyoga. 25 dikSa-nANa-nivvANa tihAM siri sohaI chatra jIraNa pratimA vAma pAsi dhuri tAsu sanAtra maMDapa sayala visAla meghamaMDapa ruliAlau osayaMsi thrI samarasI mAladeva manaraMgi saMvata cauda caurANavaI niramAlaDie udyariu uttuMga. 26 A mAhitI vizada ane vistRta hoI mahattvanI che. moTe bhAge to IsvIsananA paMdaramA zatakanA aMtima caraNamAM racAyelI kharataragacchIya bhAvaharSa gaNinA ziSya raMgasAranI 'giranAra giri caityaparipATI'mAM' hemahaMsagaNivALI paripATImAM kahelI mukhya mukhya vAtonI puSTi jovA maLe che : yathA : dhanadhana sonIvaMsa prabhAvaka, samarasaMgha mAlade suzrAvaka jiNa karI udhdhAra. 14 tiNa bhUmIpati jiNahara bAraI kAusaga rahIyA nemakumAra paDhama bhUmi pevi saMvata cauda caurANu (1494) vacchara, UdhariyA jiNabhavaNa manohara bhUdhara jema uttuMga. 15 A vizeSa pramANonA anvaye 'kalyANatraya' viSe adhika niSkarSa e nIkaLe che ke, te caityanI aMdara, garbhagRhamAM koI traNa majalAvALI caumukha racanA hatI, jemAM traNe mALanI maLI mULanAyaka neminAtha bhagavAnanI kula bAra mUrti hatI; ane vizeSamAM nIcale mALe rahelI cAre mUrti(o) kAyotsarga rUpe hatI; (uparanA be mALamAM sthita pratimAo padmAsanamAM hovAnuM vivakSita che); ane A traNe mALanI pratimAo neminAthanA giranAra saMdarbhita traNa kalyANakonA pratIkarUpe hatI. samarasiMha-mAladeve uddhArAvela 'kalyANatraya-caitya' giranAra para Aje paNa UbhuM che; paNa tenuM mULa nAma vIsarAI jaI, te 'sagarAma sonI' (saMgrAmasiMha sonI)nA maMdiranA nAme khoTI rIte caDI gayuM che. alabatta prastuta maMdiranA saMgaThanamAM tejapALe karAvela mULa jinabhavanano to koI ja bhAga rahyo hoya tema dekhAtuM nathI. vizeSamAM maMdiranuM zikhara paNa paMdaramI sadInuM hovAne badale ogaNIsamA saikAnuM (A I. sa. 1803nuM) Adhunika ane For Private Personal Use Only

Page #256
Vol, I-1995 sAhitya ane zilpamAM... 103 kaDhaMguM che; paraMtu anyathA temAM paMdaramI zatAbdInA maLatA varNana pramANe anukrame "meghanAda' ane 'meghamaMDapa' che. aMdara jatAM joIe to garbhagRhanI koraNIvALI paMdaramA zatakanI dvArazAkhAne staMbhazAkhAmAM ucAlako laI asAdhAraNa UMcerI banAvI che; garbhAgAramAM vAstavika pIThikA nathI, paNa bhIMta samANI pAtaLI pITha karI, tenA para nAnI nAnI, 19mI sadImAM pratiSThApela Adhunika jinamUrtio che. aMdaranA bhAgamAM vacce chata vagaranA mALa-majalA karIne, mALonA aMkana bhAge paNa pAtaLI pITha karI, pratimAo besADelI che : paNa dvArazAkhAnAM UMcerAM mAna-pramANa jotAM tenI aMdara koI evI racanA hovI joIe, je enI pUrI UMcAI sAthe dvAramAMthI ja pekhI zakAya. AvI saMracanA taLabhAge paNa ThIka moTI haze, ane tenI aMdara pradakSiNA devA jeTalo avakAza rahelo haze; ane e kAraNasara te garbhagRhanI madhyamAM khaDI karelI hovI joIe. AvI saMracanA bIjI koI nahIM paNa paripATIkAroe varNavela traNa mALavALI, majale majale neminAthanI caumukha mUrti dharAvatI kRti hovI joIe, je anya koI nahIM paNa nemIzvaradevanA 'kalyANatraya'nI pratIka racanA ja hovI ghaTe. (paMdaramA zatakanA uttarArdhamAM varNita prastuta racanA mULa tejapALanA samayanI hatI, ke punaruddhAramAM navIna karI haze teno nirNaya to Aje thaI zake tema nathI.) , sAhityika pramANonA AdhAre kalyANatrayanI saMracanA viSe eTaluM to jANI-kalpI zakAya che : paNa te racanA tAdaza kevI dekhAtI haze, tenA udayamAM traNa majalA pADI caumukha kevI rIte goThavyAM haze, tenuM koI pratyakSa udAharaNa maLe to ja vizeSa samajaNa paDe. sadbhAgye AvI eka racanA vidyamAna che, ane te paNa maMtrI tejapALa kArita ! e che abdagiri para maMtrIvare karAvela yAdava neminAthanA jagakhyAta luNavasahikAprAsAdanA Arasamaya bAvana jinAlayamAM, mULa prAsAdanA pRSThabhAge Avela hastizAlAmAM". ahIM hastizAlAnA madhya biMdue karavAmAM Avela pratimAnvita, traNa tabakkA batAvatI, nIce kAyotsargamAM UbhelA caturdizAmAM khagAsana jina, te pachI saheja aMdara kheMcelo ane UMcAImAM ocho karelo bIjo majalo ane temAM comukha padmAsana jina, ane te upara tenAthI saheja nAno majalo karI, temAM paNa paryakAsane beThelA jinanI caumukha pratimAo yukata racanA che (citra 1) 9. pratimAo zyAma varNanI hoI, tema ja viziSTa lAMchanAdi anya lakSaNo temAM upasthita hoI, te sau neminAthanI hovAnuM sUcita thAya che. vasahikAno mukhya prAsAda paNa neminAthano che, ane A 'kalyANatraya'nI racanA e madhyanA prAsAda kiMvA mUlaprAsAdanA pUrva-pazcima garbhasUtra sAthe meLavelI che. A saMracanA para alabatta koI lekha korela hovAnuM jANamAM nathI. (sva) munivara kalyANavijayajIe tene 'trikhaMDa caumukha' kahI saMtoSa mAnyo chedeg. (sva) munizrI jayantavijayajIe tenuM vizeSa varNana karI, tenI 'meragiri' tarIke oLakha karI che. emaNe karela vivaraNa sandarbhaprApta hoI, ahIM pUrepUruM uddhata karIzuM : "hastizALAnI vaccenA khaMDamAM mUlanAyaka zrI AdIzvara bhagavAnanI parikaravALI bhavya ane moTI pratimA eka birAjamAna che, temanI sanmukha zyAma varNanA ArasamAM athavA kasoTInA paththaramAM suMdara nakazIthI yukata meru parvatanI racanA tarIke traNa mALanA comukhajI che. tenA traNa mALamAM e ja pASANanI zyAma varNanI nimUrtio che. pahelA mALamAM cAra kAusagIA che, bIjA ane trIjA mALamAM bhagavAnanI paryakAsanavALI cAra cAra mUrtio che. kula mUrtio bAra zyAmavarNI ane parikaravAnI che."* dA. umAkAnta zAhe paNa tene "paMcamera'nI racanA mAnI che : yathA: "Representations of Panch-meru mountains of different dvipas, showing a siddhayatana suggested by a four-fold Jina image on each tier, one above the other (in five tiers) and surmounted by a finial, are more common among the Digambaras. One such Panch-meru

Page #257
104 madhusUdana DhAMkI Nirgrantha is also obtained in a Svetambara Shrine, in the llastisala of the Luna Vasahi MT. Abu." paraMtu ahIM majalA pAMca nahIM, traNa che. upara uddhata munizrI jayantavijayajIe kareluM varNana AbUnI saMracanAnuM hovA chatAM giranAra paranA yAtriko dvArA varNita kalyANatraya'nuM Abehuba rUpa hovAnuM pratIta thAya che. e paMcameru'nI racanA hoya to te mATe kaMI AdhAra to hovo ghaTe; paNa "meragiri'nI racanAmAM uparanA caumukhane vAstuzAstra mata pramANe samavasaraNa devAmAM Ave che; ane 'paMcameru' kahevA mATe vacce eka ane cAra khUNe cAra anya merunI (bhale vacalA karatAM nAnI) athavA, prakAratare uparAupara pAMca majalAvALI racanA hovI ghaTe. ahIM evI saMracanA nathI. A to AgaLa jaNAvyuM tema, giranAra paranA maMtrI tejapALa kArita 'kalyANatraya' vA kalyANatritaya'nA agAu carcita varNanane hubahu maLatI racanA hoI, tenI oLakha have e rIte thavI ghaTe. ema jaNAya che ke variSThabaMdhu vastupALane zatruMjayAdrimaMDana yugAdi RSabhadeva para vizeSa moha ane ahobhAva hatA; ne laghubaMdhu tejapALane revatAcalAdhIza bhagavAna neminAtha para adhika prIti hatI. kemake vastupALe giranAra giri para ane dhavalakaphaka(dhoLakA)mAM 'zatruMjayAvatAra'nAM maMdiro karAvelAM; to tejapALe giranAra para neminino 'kalyANatritaya vihAra' ane arbudagiri para tema ja dhoLakAmAM "ujajayantAvatAra'nAM maMdiro karAvelAM. AbuvALuM maMdira nemIzvarasvAmInuM hoI, temAM 'kalyANatraya'- nI racanA hoI, ane te paNa garbhagRha sAthe ekasUtramAM meLavelI hoI, prastuta jinAlayane 'ujajayantAvatAra' mAnIe to susaMgata che. tejapALanA prastuta racanA pratyenAM khAsa AkarSaNa-valaNa-DhaLaNa paNa tenI sthApanA abdagiri para paNa karavA pAchaLa kAma karI gayAM haze. giranAra para vastupALe 'zatruMjayAvatAra' sAthe "aSTApada' ane "sametazikhara'nI pratIka racanAnAM maMdiro karAvelAM, to tejapALe tyAM "kalyANatraya'nI pratIka-racanAnuM bhavana karAvyuM. Ama beu bhAIone pratIka-racanAo nirmAvavA prati paNa rasa rahyo haze tema lAge che. giranAranA saM. 1288/ I. sa. 123ranA mahAmAtya vastupAla kArita 'vastupAlavihAra' nA cha prazastilekhomAM laghubaMdhu tejapALe tyAM karAvela kalyANatraya' prAsAdano ullekha nathI. ethI ema mAnI zakAya ke prastuta maMdira saM. 1288thI thoDuM moDuM banyuM hoya. giranAranA kalyANatraya' prAsAdanA maMtrI tejapALanA sthApanAnA tema ja prazastinA lekha, tema ja bhUla saMracanA vinaSTa thayAM che; ane AbuvALA 'kalyANatraya' para AgaLa kahyuM tema * koI lekha nathI ! tema maMdiranA prazastilekhamAM paNa teno ullekha nathI ! saMbhava che ke banne sthaLonA kalyANatraya ekakAlika hoya. have prazna e che ke sAhityika atirikata Avazyaka evuM abhilekhIya pramANa kalyANatraya'nA svarUpa-nirNaya aMge che kharuM ? AnI zodha karatAM mane be pramANo hAtha lAgyAM che. eka to che rANakapuranA dharaNavihAra' mAM saM1497 / I. sa. 1451no abhilekha dharAvato "zrI zatruMjaya zrIgiranAra paTTa'. temAM giranAravALA bhAgamAM mULanAyaka neminAthanI bAjumAM eka paTTI zuM karI, temAM traNa khaMDa pADI, nIcenA khaMDamAM kAyotsarga jinamUrti ane upalA be khaMDomAM beThelAM jinanAM rUpa batAvyAM che, je kalyANatraya' caityanuM sUcana kare che (citra 2)*. bIjuM che kuMbhAriyA (prA. ArAsaNa)nA neminAtha bhagavAnanA maMdiramAM eka rathikAbaddha kAyotsarga jinamUrti ane tene mathALe khaMDamAM paryakAsane rahela jinabiMba dharAvatuM phalaka (citra 3), jemAM nIcenI mUrtinI pATalI paranA lekhamAM te ariSTaneminAM biMba hovAnuM ane tenI pratiSThA kalyANatraya'mAM hatI tevo nirdeza maLe che. saM. 1343 / Isa. 1287nuM varSa dharAvatuM A pratimA-vidhAna tejapALanI kRtio bAda prAya: 15 varSe taiyAra thayeluM; ane ahIM paNa te neminAthanA saMdarbhamAM racAyela hoI "kalyANatraya' aMge thoDoka paNa vizeSa khyAla ApI rahe che. e saMbaMdhamAM vizeSa kazuM kahetAM pahelAM (muni vizAlavijayajIe pragaTa karela) mULa lekha ahIM joI javo upayukata che :

Page #258
Vol. I-1995 sAhitya ane zilpamAM... 105 OM // saMvat 1343 varSe mAgha zudi 10 zanau prAgvATAnvaye zre. (*) chAhaDa suta zre0 desala bhAryA delhI tatputa nakSamaNa () (*) madhara Devadhara sidhara madhara | tathA siradhara mAryA.... (*) putra nasavA dvitIyapukha che. devena mAryA.... (*) ....nAI natu taputra sUTdhavata vAdhu pUvi tatpanna -TNIdAgRti TuMva samurAye sati mAtmanA....(*) pituH zreyortha kalyANatraye zrIariSTanemibiMbAni kAritAni / maMgalamastu smstsNghsy| (*) zre. gAMgadevasuta UdalasutA - mani(4) varSanU sadagU-13.... sati prakRti | ArAsaNanA neminAtha jinAlayamAM rahela A kalyANatraya' saMbaMdhI bIjA paNa be abhilekhIya ullekha prastuta maMdiramAM maLe che, jene paNa ahIM AvarI laIzuM. A saMbaMdhano prathama (saMvata vagarano) lekha maMdiranI (devakulikAnI 2) bhIMta para Avelo noMdhAyo che. (vastRtayA je gokhamAM A 'kalyANatraya' che tenI ja thAMbhalInI besaNI para te lekha che.) jemAM navAMgavRttikAra 'abhayadevasUrinA saMtAnIya "zrIcandrasUrie "kalyANatraya'mAM neminAthanAM biMbonI pratiSThA karI tevo ullekha che: yathA : kalyANatraye zrIneminAthabiMbAni pratiSThitAni navAMgavRttikAra zrImad abhayadevasUrisaMtAnIya zrIcandrasUribhiH zre0 sumiga zre vIradeva. zreSThI guNadevasya bhAryA jayatazrI sAhuputra vaIrA punA luNA vikrama khetA harapati karmaTa rANA karmaTaputra khImasiMha tathA vIradevasuta masiMda thamRtiruMvahitena vena Rtini..... (munizrI vizAlavijayajI kalyANatraya'nuM "zrI neminAtha bhagavAnanA traNa kalyANakonA divasomAM bharAvelAM (maMdira)nAM biMbonI....pratiSThA karI" evuM arthaghaTana kare che : (ejana pra22); te barobara nathI.. ema jaNAya che ke agAu kathita saM1347nAM kalyANatrayano ullekha karatA lekhamAM pratiSThApaka AcArya zrIcari ' nuM nAma ApavuM rahI gayuM hoI, te mATe judo lekha devAnI saM. 1344 / I. sa. 1288mAM "RSabhadevanI pratimA bharAvyAno eka anya lekha maMdiramAM mojUda che. (ejana pR. 110). neminAtha maMdiranA raMgamaMDapanA, ane kalyANatraya" vALA gokhalAnI bAjumAM rahela eka staMbha para saM 1344 | Isa. 1288mAM prastuta kalyANatraya'nI pUjA mATe 120 'visalapriyadramma' bhaMDAramAM apAyAno paNa lekha che, je ghaTanA tenI pratiSThA pachI lagabhaga doDheka varSa bAdanI che : om / / saMvat 1344 varSe ASADha sudi pUrNimAyAM / deva zrI neminAtha caitye zrIkalyANatrayasya pUjArthaM zre0 siradhara tatputra zre0 gAMgadevena vIsala prIyadramA(mmA)NAM 120 zrIneminAthadevasya bhAMDAgAre nikSiptaM / vRddhaphala bhoga(ya) mAsaM prati drama 3 caTaMti / pUjArthaM / AcaMdra kAlaM yAvat / zubhaM bhavatu ||shrii|| (ahIM paNa vizAlavijayajI maMdiramAM "traNe kalyANakonI pUjA mATe" evo artha ghaTAve che te baMdhabesato nathI. ahIM kalyANakonI pUjAnI vAta nathI, paNa kalyANatraya' nA pratIkarUpa racanAnI pUjAnI vAta samajavAnI che.) A pratimA mukhamaMDapanI asala cokIothI pUrva taraphanI vadhArelI cokImAM jALIyukata bhittine AdhAre rathikA sAthe TekavelI che; ane te caumukha nahIM, ekamukha che; tethI te eka prakArano kalyANatraya'no paTTa' che, Jain Education Intemational Jain Education Intemational

Page #259
106 madhusUdana DhAMkI Nirgrantha traNe parimANomAM vistaratI racanA nathI (citra 7): vizeSamAM temAM sauthI uparanI trIjI mUrti gAyaba thaI che, paNa tema chatAM Ayojana sarasa lAge che. A maMdiranA upara carcita abhilekhomAM kahela 'kalyANatraya' te A ja racanA che. 'kalyANatraya' aMge keTalAka vizeSa saMdarbho prApta thAya che je ahIM have rajU karIzuM. 'giranAra' paranA eka saMvat naSTa thayelA khaMDita lekhamAM 'kalyANatraya'no AgaLanA vizeSa lupta thayelA saMdarbhamAM ullekha Ave che :' svasti zrI dhRti namaH zrIneminAthAya ja varSe phAlguna zudi 5 gurau zrI (yAdavakula) tilakamahArAja zrImahIpAla (deva vijayarAjye) varasiMha bhAryA phAusuta sA (sAliga) suta sA. sA sA, metA menA sutAruDI gAMgI prabhRti (zrInemi ) nAthaprAsAdaH kAritaH pratiSTi (ThataM zrIcandra ) sUri tatpaTTe zrImunisiMha ( sUri ) - tyAAtraya - (li0 oN0 oN0 ri0 I0 baoN0 pre0 pR0 354) AmAM vaMcAyela...... ''tilaka mahArAja zrImahIpAla''...... bhAgamAM mULe ''(cAvavavuMta) tilaja mahArAna zrI madIpAta(levinaya rAkhyuM)'' hoI zake che ane to te cUDAsamA rA'mahIpAladeva(prathama)nA samayano, ane moTe bhAge IsvIsananI caudamI zatAbdInA prathama caraNano, lekha hoI zake che : ane je prAsAda karAvelo te....(naimi)nAthano hovo joIe ane to tyAM tUTela bhAga pachIthI AvatuM 'kalyANatraya' e prastuta lekhamAM jenAM nAma Ave che te zrAvaka-zrAvikAoe maMtrI 'tejapALa'nA 'kalyANatraya'mAMthI svataMtra karAvelo hovo joIe. (huM mAnuM chuM ke caityaparipATIkAro tema ja somasaubhAgyakAvyanA kartA pratiSThAsoma jene lakSobA kiMvA lakhapati dvArA giranAramAM. karAvela caturmukha prAsAdanI vAta kare che te paMdaramA zatakanA prAsAdane sthAne asalamAM A mahIpAladevanA samayano kalyANatraya prAsAda haze. lakSobAvALo prAsAda hAla mojUda che. ane temAM cAra UMcI thAMbhalIvALI mahUlI zI racanA che, jenI aMtargata mULe 'kalyANatraya' haze.) giranAra, AbU, kuMbhAriyA sivAya thoDAMka anya sthaLoe paNa 'kalyANatraya' hovAnAM keTalAMka sAhityika sAkSyo upalabdha che. eka kALe evI eka pratiSThA zatruMjayagiri paranI 'kharataravasahI' (I sa 1325)mAM hatI, ane mevADamAM Avela 'delavADA' (devakulapATaka)nI 'kharataravasahI'mAM paNa hatI; A delavADAnA 'kalyANatraya' viSayaka be aprakaTa ajJAta kartRka 15mA saikAnI caityaparipATIomAMthI uddharaNa ahIM TAMkIzuM : tu (sunnatevI ? mavevI) ya paDiyA siri sattasiDa vaMza, paMca paMDavaguru sahiya kalyANatraya raMga; agar agi sahiya a tihUyaNi tilaya samANa, ThAmiThAmi vara pUtalI jANe karaI vakhANa .... 9 paDimAThiya namivinami nami jaMbUvRkSavihAra

Page #260
Vol.I1995 sAhitya ane zilpamAM... 107 guru guruvali vaMdiya o jiNadattasUri gaNahAra saMbhava ajiya juhAriya o vAsapUjya phalasAra utaravasahI manadara mAnatuM avatAra ...20 - zrI tIrtha caitta paripATI ane kharatarabhuvaNi siri Adi jiNesaraM, kalyANatrayI jAIya ; bAvanna deharA pavara biMbAvalI, aSTApadi mana mohIya o. 3 - zrI tIrtha caitta parivADI tadatirikata jesalameranI kharataravasahI, je saM. 1499 / I. sa. 1413 AsapAsa banelI, temAM saM. 1495 | 1439 sudhInA silasilAbaMdha lekho maLe che, tyAM "kalyANatraya'nI racanAnI noMdha lIdhI che je mahattvanI hoI ahIM tenI carcA karIzuM : 5. aMbAlAla zAha anusAra "ahIM eka pILA pASANanuM stUpAkRtinuM suMdara samavasaraNa saM. 1518nA lekhavAnuM che. madhyamAM uparAuparI traNa caumukhajI ane eka moTI pAdukA virAjamAna che." paNa mULa lekhamAM A racanAne 'kalyANatraya' kahI che : yathA :25 (1) vikrama saMvat 1518 varSe zrI jesalamera mahAdurge rAula zrIcAcigadeva vijayi rAjye Ukeza vaMze copaDA gotre sA0 hemA putra pUnA tatputra dItA tatputra pAMcA tatputra saM0 sivarAja saM0 mahirAja saM0 lolA tada bAMdhavena saM0 (2) suhavade sUtra saM0 thirA saM0 mahirAja bhAryA mahigalade putra sahasA sAjaNa saM0 lolA bhAryA lIlAde putra saM0 sahajapAla ratnapAla saM0 lAkhaNa bhAryA lakhamAde putra sikharA samarA mAlA moDhA soDhA kauMrA pautra UdhA zrIvatsa sAraMga saddhA zrIkaraNaM UgamasI sadAraMga bhAramalla sAliga surajana maMDalika pArasa pramukha parivAra sahitena vA0 kamalarAja gaNivarANAM sadupadezena mAtRrUpI puNyArthaM zrIkalyANatraya / (3) zrI sumati biMbAni kAritAni pratiSThitAni zrIkharataragacche zrIjinabhadrasUri paTTAlaMkAra zrI jinacandrasUribhiH vA0 kamalarAja gaNivarANAM ziSya vA0 utamalAbha gaNi praNamati / prastuta racanA ahIM citra 4 mAM rajU karI che. te saM. 1518 | Isa. 146ranI hovAnI lekhathI nizcita che. 'kalyANatraya'nI racanA arthapUrNa hovA uparAMta tenI vibhAvanA ane abhivyakita manohArI ane prabhAvaka hoI zake che, te tathya AbunA daSTAMta parathI ane kuMbhAriyAnA phalakAkAra khaMDa parathI kaLI zakAya che. A viSayanI pratIka-racanA karavAno prAraMbha kayAre thayo haze ? vastupAla-tejapAlanA samaya pUrve te thatI hovAno koI grantha ke abhilekhano AdhAra mane hajI sudhI maLyo nathI. jina neminAthanA giranAra para thayelA traNa kalyANakonI vAta to AgamabhASita hoI, purAtanakALathI jANItI hatI. vitagirIzvara yAdava neminAthanuM tyAM tIrthasthAna paNa ThIka ThIka prAcIna kALathI astitvamAM hovAnA alpa paNa nakArI na zakAya tevA nirdezo che* : paNa jinanA 'kalyANatraya' jevI kevaLa vaibhAvika. amUrta parikalpanAne saMpUrta karavAno prathama ja vAra, ane ethI maulika vicAra to kadAca maMtrI tejapALane ane emanI zilpI-theNIne Avyo hoya tevo tarka karI zakAya. anya vizeSa prAcIna pramANo labhya na bane tyAM sudhI to e yaza maMtrIvarya tejapALane ApIe to khoTuM nathI! Jain Education Intemational

Page #261
108 madhusUdana DhAMkI Nirgrantha pariziSTa giranAra paranuM kalyANatraya" caitya tejapALa maMtrIe karAvyAnAM samakAlika tema ja samIpakAlika lekhakonAM pramANo upara joI gayA chIe; paNa be anya lekhako evA che ke teo prastuta caityanA nirmANano yaza sacivezvara vastupAlane arpe che. temAM eka to che "kalpapradIpa" kiMvA "vividha tIrthakalpa'nA racayitA AcArya jinaprabhasUri. emanA saMskRtamAM racAyela "zrI ujajayantastava''mAM saMbaMdhakartA padya nimnAnusArI che : ata avAtra kalyANatraya-mandiramAdadhe zrIvastupAlomantrIza - zcamatatkArita bhavyahRt // 6 // - vi0 tA. 0, pR. 7 (jinaprabhasUrie to tyAM "vastupAlavihora''mAM rahela "aSTApada"nI sAmenI "sametazikhara'nI racanAne "nandIzvaradvIpa" mAnavAnI paNa bhUla karI che".) bIje giranAra saMbaMdhI ullekha pIppalagacchIya hIrANaMdasUrinA vastupAlarAsa (saM. 1885 / I. sa. 1429)mAM maLe che : tyAM paNa prastuta matalabanuM kahyuM che : yathA : vecIya bAra koDi viviha5ri, asIya sahasra lakha bAra; sammasihara tIratha aThThAvaya siDyuMjaya avatAra, jiNa kalyANatraya pamuha karAvIya, anna tirthI bahu caMgi, saMghAhiya vastupAla Ima callaI setuja girivara zRMgi. 92 maMtrIzvara vastupALa maMtrI tejapALanA "moTAbhAI" hatA, mahAmAtya pade vibhUSita hatA, ane vidvajanonA AzrayadAtA, dAnezvarI, dharmavIra temaja aneka devAlayAdi sukatonA karAvanAra tarIke temanI khyAti hoI, uparakathita be kartAoe maMtrIzvara vastupAlane "kalyANatraya''nA kArApaka mAnI lIdhA hoya te banavAjoga che. parantu upara joI gayA te DhagalAbaMdha sAo, jemAM samakAlika lekhaka nAgendragathvIya vijayasena sUri paNa samAviSTa che, te jotAM sadarahu racanA ni:zaMka tejapAla nimapita hatI. Jain Education Intemational

Page #262
Vol. 1-1995 sAhitya ane zilpamAM... 109 TippaNo ane sandarbho:1. urefucherine, Pt. 1, Ed. C.D. Dalal, G.O.S. no. 13, First ed. Baroda 1920, Sec. cd. Baroda 1978, p.6; dvitIya Dava; tathA sutartitinyAdri vastupAtrapratisaMprada, saMta puNyavijayasUri, siMdhI jaina granthamAlA, granthAMka 5, muMbaI 1961, pR0111, dvitIya kaDavuM. 2. muni nityAnandavijaya, zrIravatagiri-sparzanA, zrI Atma kamala-dAna-prema-jaMbusUri-jainagraMthamALA, maNako 47, AvRtti pahelI, DabhoI vi. saM. 2037 (I. sa. 1981), pR0 92. 3. vividha tIrtha , prathama bhAga, saM. jinavijaya, siMdhI jaina granthamAlA, granthAMka 10, zAntiniketana 1934, pR 10. 4. pravanyaciMtAmAM, prathama bhAga, saMjinavijaya muni, siMdhI jaina granthamAlA granthAMka 1, zAntiniketana 1933, pR 101. 5. vinDojha, prathama bhAga, saM. jinavijaya, siMdhI jaina granthamALA, zAntiniketana 1935, pR. 116. 6. tiraWEchavRdavArtAvati, saMya AcArya jinavijaya muni, siMdhI jaina granthamAlA, granthAMka 42, muMbaI 1956, pR0 53. 7. ejana, pR.63. 8, juo "jJAnacaMdrakRta saMskRta bhASA-nibaddha zrI revatatIrtha stotra", saM(sva) agaracaMda nAhaTA | madhusUdana DhAMkI, Aspects of Jainology, Vol. II, Pt. Bechardas Doshi Commemoration Volumc, eds. M. A. Dhaky and Sagarmal Jain, Varanasi 1987, p. 113. TippaNo taiyAra karate samaye A viSayane sparzato eka samAntara sandarbha dhyAnamAM Avyo. kharataragacchIya jinakIrtisUrinI saMskRtamAM nibaddha vinAtyaparipATIstavana (prAya: IsvI 1453 pachI turata ja)mAM paNa kalyANatrayano ane temAM rahelA trirUpadhArI neminAthano ullekha che : yathA : kalyANakAkhye bhavane vizAle ysminnvsthaatryruupdhaarii| zivAtanUjo vitanoti bhadraM vande sadA taM girimujayantam / / 11 // | (stotra mATe juo totrasamutha, saMta caturavijayamuni, muMbaI 1928, pR. 255). 9. adhAdhi aprakAzita. lekhaka dvArA tenuM saMpAdana thanAra che. 10. ejana. 11. zrI kSAntisUri-jaina-granthamAlA, granthAMka 5, amadAvAda 1941, prastAva 6, pR. 102. 12. prastuta kRti paNa lekhaka dvArA thoDAM varSo pUrve saMpAdanArthe taiyAra thaI gaI che, ane tene nircanyanA have pachInA aMkamAM pragaTa karavA vicAryuM che. 13. "zrI giranAra caitya pravADi vinati", saMya vidhAtrI vorA, Aspects of Jainology, Vol. , p. 144. 14. "zrI giranAra caitya paripATi", saM. madhusUdana DhAMkI / vidhAtrI vorA, Aspects of Jainology, Vol, II, p. 136. 15. (sva) agaracaMda nAhaTAe prastuta caityaparipATInI nakala lekhakane ApelI; temAMthI uparanuM padya uddata karyuM che. (lekhakane smaraNa che ke prastuta caityaparipATI nAhaTAjIe pachIthI kayAMka prakAzita karI dIdhI che.) 16. prAcIna tIrthamALA-saMgraha, bhAga 1 lo, saM. zrI vijayadharma sUri, bhAvanagara saM1978 (I. sa. 1922), pR. 35. 17. "giranAra-caityaparipATi", saMpaM. becaradAsa dozI, purAtatva, 1-3, amadAvAda 1923, pR. 295. 18. "raMgasAra kRta giranAra caitya paripATI", saM. (sva) agaracaMda nAhaTA / paMbAbubhAI savacaMda zAha, Aspects of Jainology, Vol. II, p. 173. 19. juo muni jayantavijayajI, AbU bhAga pahelo, zrI vijayadharmasUri granthamALA, pustaka 10, ujajaina 1937, pR. 116 sAmenuM civa. Jain Education Intemational

Page #263
110 madhusUdana DhAMkI Nirgrantha 20. paMka kalyANa vijayajI gaNI "kAvU hetavADA jai jaina triA,"gvanya-jiAta, jalora 1966, pR. 326, 21. jayantavijayajI, AbU bhAga pahelo, pR0 116. R2. U. P. Shah, Studies in jain Art, Banaras 1955, p. 117. 23. AvI racanA (anumAne I. sa. 1320) zatruMjayanA eka maMdiramAM che, je viSaye lekhaka dvArA "zatruMjayagirinI kharataravasahI" ' nAmaka lekhamAM carcA thayelI che, je nirvatthanA trIjA aMkamAM pragaTa thanAra che. 24. alabatta, e prakAranI racanAnI prathA khAsa to digambara sapradAyamAM pracAramAM che. 74. gaul Shah, Studies., Plate xxiii, Fig. 59. 26. vIseka varSa pahelAM rUbarU tapAsatAM temAM kalyANavayanA bhAvanI nIcenI paTTI para ghasAI gayelA ane jhAMkhA akSaromAM kalyANatraya" vaMcAtuM hovAnuM smaraNa che. ' 27. juo muni vizAlavijayajI, zrI ArAsaNatIrtha aparanAma zrI kuMbhAriyAjI tIrtha, zrI yazovijayajI graMthamALA, bhAvanagara, 1961, pR. 14, lekhAMka [41]. 28. muni vizAlavijayajI, zrI ArAsAga., pR0 21, lekhAMka (2). 29. ejana, pR. 31-32, lekhAMka (16). 30. atyAra sudhI joI vaLela tamAma sAhityika, abhilekhIya, ane tAdaza pramANamAM traNa mALayukata racanA ja abhipreta hovAnuM lekhakane jaNAyuM che. ahIM navatara rIte 'kalyANatraya' vibhAvane paTTarUpe ghaTAvyo che. 31. juo rI mai usaMda (dvitIya baT), saM. jinavijaya, pravartaka zrIkAMtivijaya jaina itihAsamAlA, puSpa cha, bhAvanagara 1929, pR. 74, lekhAMka 63. 32. juo A aMkamAM lekhaka dvArA saMpAdita kavi depAlakRta "kharataravasahI gIta," kaDI 3. 33. hAlamAM lekhaka dvArA saMpAdita A racanA prakAzanArthe jaI rahI che. 34. 50 aMbAlAla premacaMda zAha, jaina tIrtha sarvasaMgraha, bhAga 1, (khaMDa bIjo) amadAvAda 1953, pR 167. 35 agaracaMda nAhaTA, vijAne naina te saMprada, kalakattA vI. ni. saM. 2482 (I. sa. 1955), pR. 384, lekhAMka 202. nAhaTAjIe tyAM A racanAne 'vibhUmiyA caumukha' kahI che. 36. tyAM TekarI paranuM neminAthanuM maMdira 11mI sadInuM che. tene lagato pachIno I. sa. 1137no tulyakAlIna lekha jJAta che. 37. jema giranAranA vastupAlavihAra' (I. sa. 1232)mAM sthita "sametazaila"nI racanA vastupAle ja sau prathama karAvI hovAnuM, e vibhAvanI pratIkarUpa racanAne pahelI ja vAra saMmUrta karAvI hovAnuM jaNAya che, te ja pramANe mandI laghubadhu tejapALe 'kalyANatraya'nA vibhAgane pArthivarUpe prathama vAra saMbhUta karyo hovAno tarka thaI zake. 38. kuMnayAvatAreDax, vastupArlena kirtA RSabha: puNDarIko'STApado nandIzvarastathA // 12 // - vi0 tI0 ka0, pR07 39. "hIrANaMda kRta vastupAla rAsa (saM1485)," saM. bhogIlAla jai sahiMsarA, svAdhyAya, dIpotsavI aMka, saM. 2019, kaTo. 1963, pu1, aMka 1, pR. 26. citrasUcI :1. Abu, delavADA, lUNavasahI, hastizAlA, kalyANatraya. prAya: IsvI 1232. 2. kuMbhAriyA, neminAtha jinAlaya, cokI, kalyANatrayano khaMDa. saM. 1343 (I. sa. 1287). 3. rANakapura, dharaNavihAra, zrIgiranAra zrIzatruMjaya paTTa. saM. 1515 (I. sa. 1459). 4. jesalamera, saMbhavanAtha jinAlaya, kalyANatraya. saM. 1518 (I. sa. 1462). . (ahIM prakaTa karelAM sarva citro The American Institute of Indian Studies, Varanasi, nA saujanya tathA sahAyane AbhArI che.)

Page #264
:). ... ..ha), 9.9bi 99che..9 1. AbU delavADA, lUNavasahI, hastizAlA, kalyANatraya. prAya: IsvI 1232. Jain Education Intemational

Page #265
2. kuMbhAriyA, neminAtha jinAlaya, cokI, kalyANatrayano khaMDa. saM. 1343 (I. sa. 1287). Jain Education Intemational

Page #266
3. rANakapura, dharaNavihAra, zrIgiranAra zrI zatruMjaya paTTa. saM. 1515 (I. sa. 1459).

Page #267
4. jesalamera, saMbhavanAtha jinAlaya, kalyANatraya. saM. 1518 (I. sa. 1462). Jain Education Interational Foyprivate Pedals Only www.jainekbe forg

Page #268
HINDI SECTION For Private Personal Use Only

Page #269
Jain Education Intemational

Page #270
nayavicAra jitendra bI0 zAha nirgrantha darzana meM vastu tattva ko anantadharmAtmaka mAnA gayA hai| pratyeka vastu anekAneka bhAvAtmaka aura abhAvAtmaka guNadharmoM se yukta hotI hai| itanA hI nahIM apitu vastu meM paraspara virodhI guNadharma bhI eka hI samaya meM pAe jAte haiN| vastu kI yaha anantadharmAtmakatA hI anekAntavAda kA tAttvika AdhAra haiM / vastu meM aneka guNadharmoM ke hone para bhI jaba usakA kathana karanA hotA hai taba kisI eka dharma ko, kisI eka apekSA vizeSa ko pramukha banAkara kathana kiyA jAtA hai| vastu ke vividha pakSoM meM jaba kisI eka pakSa ko hI pradhAna banAkara hama kathana karate haiM taba vastuta: anya pakSoM yA guNadharma kA abhAva nahIM ho jAtA / isa anantadharmAtmaka vastu kI abhivyakti ke lie kisI aisI kathana-zailI kI AvazyakatA hotI hai jo vastu ke kisI eka guNadharma kA vidhAna karate hue anya guNa dharmoM kA niSedha na kare / dUsare zabdoM meM kahA jAya to vastu ke sambandha meM jo sApekSita kathana kiyA jAtA hai vaha kisI abhiprAya-vizeSa yA dRSTikoNa-vizeSa ko dhyAna meM rakhakara kiyA jAtA hai / vaktA kA yaha abhiprAya-vizeSa kiMvA dRSTikoNa-vizeSa hI naya kahalAtA hai / tadatirikta jisa apekSA ke AdhAra para vastu ke anantaguNadharmoM meM se kisI eka guNadharma kA vidhAna yA niSedha kiyA jAtA hai vaha naya kahalAtA hai / naya kA sambandha vastu kI abhivyakti kI zailI se hai| isIlie AcArya siddhasena ne sanmatiprakaraNa (prAyaH IsvI san kI pAMcavIM zatI kA pUrvArddha) meM kahA hai ki: jAvaiyA vayaNavahA tAvaiyA ceva hoMti nnyvaayaa| jAvaiyA NayavAyA tAvaiyA ceva prsmyaa| arthAt kathana kI jitanI zailiyAM yA jitane vacana-patha hote haiM utane hI nayavAda hote haiM evaM jitane hI nayavAda hote haiM utane hI para-samaya arthAt paradarzana hote haiN| isa AdhAra para yaha siddha hotA hai ki nayoM kI saMkhyA ananta hai| kyoMki vastu ke anaMta guNadharmoM kI abhivyakti hetu vividha dRSTikoNoM kA sahArA lenA par3atA hai| yaha sabhI vizeSa dRSTikoNa nayAzrita hI hote haiN| jaina darzana meM nayoM kI carcA vibhinna rUpoM meM kI gaI hai| sarvaprathama Agamayuga meM dravyArthika aura paryAyArthika dRSTi se vastu kA vivecana upalabdha hotA hai / vastu ke dravyAtmaka yA nityatva ko jo apanA viSaya banAtA hai usako 'dravyArthika-naya' kahA jAtA hai| isake viparIta vastu ke parivartanazIla pakSa ko jo naya apanA viSaya banAtA hai, vaha naya 'paryAyArthika-naya' kahalAtA hai / phira pratIti evaM yathArthatA ke AdhAra para bhI prAcIna AgamoM meM do prakAra ke nayoM kA ullekha milatA hai| jo naya vastu ke mUlabhUta svAbhAvika svarUpa ko apanA viSaya banAtA hai use hama "nizcayanaya" aura jo naya vastu ke pratItijanya viSaya ko apanA viSaya banAtA hai use "vyavahAranaya" kahA gayA hai| prAcIna AgamoM meM mukhya rUpa se inhIM do prakAra ke nayoM kI carcA huI hai| kabhI-kabhI vyavahAranaya yA dravyArthika naya ko avyucchitti-naya tathA paryAyArthika-naya yA nizcayanaya ko vyucchitti-naya bhI kahA gayA hai / nayoM ke isa dvividha vivecana ke pazcAt hameM anya vargIkaraNa bhI upalabdha hote haiM / umAsvAti ne tattvArthAdhigamasUtra (prAya: IsvI 350) meM naigamAdi pAMca mUla nayoM kA ullekha kiyA hai| siddhasena divAkara ne sanmatiprakaraNa meM naigamanaya ko chor3akara cha: nayoM kI carcA kI hai| tattvArthasUtra ke digambara TIkAkAra evaM kucha anya AcArya sAta nayoM kI carcA karate hai / dvAdazAra-nayacakra meM granthakartA mallavAdI (I0 550-600) ne bAraha nayoM arthAt dRSTikoNoM ko AdhAra banAkara carcA kI hai| ina vibhinna nayoM aura inake vibhinna saMyogoM ke AdhAra para kisI AcArya ne sAta sau nayoM kI carcA kI thii| saptazatAra-nayacakra nAmaka graMtha meM inhIM sAta sau nayoM kA ullekha kiyA gayA thA, aisA ullekha dvAdazAra-nayacakra Jain Education Intemational

Page #271
jitendra bI. zAha Nirgrantha kI siMhasUrI (siMhazUra) kI TIkA (prAyaH IsvI0 675) meM upalabdha hai| saMkSepa meM hama kaha sakate hai ki jaina paraMparA meM nayoM ke vargIkaraNa kI vibhinna zailiyAM rahI haiN| (1) vargIkaraNa kI saMkSipta zailI:- isake aMtargata sAmAnyarUpa se dravyArthika- paryAyArthika, mizcaya-vyavahAra, vyucchittiavyucchitti Adi rUpoM meM nayoM ke do vibhAga kie gae haiN| yA zailI:- isameM sAmAnya aura vizeSa ko hI AdhAra banAkara nayoM kA caturvidha, pacAvadha, SaDvidha, saptavidha Adi bheda kie gae haiN| (3) vargIkaraNa kI vistRta zailI:- yaha zailI vartamAna meM pracalita nahIM hai, kintu prAcIna kAla meM yaha zailI astitva meM rahI hogii| kyoMki saptazatAra-nayacakra hone kA ullekha bhI prApta huA hai jisake AdhAra para hama kaha sakate haiM ki vibhinna dRSTikoNoM ke AdhAra para nayoM kA vibhAjana sAta sau rUpoM meM bhI kiyA jAtA thaa| kintu vartamAna yuga meM nayoM ke vargIkaraNa ke saMkSipta aura madhyama rUpa hI pracalita haiN| AgamakAla meM naya vibhAjana : prAcIna ardhamAgadhI Agama sAhitya meM sarvaprathama nayoM kI carcA vyAkhyAprajJapti aparanAma bhagavatIsUtra (IsvI 2-3 zatI) meM dekhane ko milatI hai| isameM sAmAnya rUpa se dravyArthika aura paryAyArthika tathA nizcaya aura vyavahAra nayoM kI carcA huI hai / dravyArthika naya vaha dRSTikoNa hai jo sattA ke zAzvata pakSa ko, dUsare zabdoM meM dravya ko hI apanA viSaya banAtA hai| jaba ki paryAyArthika naya sattA yA dravya ke parivartanazIla pakSa ko, jise paraMparAgata zailI meM paryAya kahA jAtA hai, apanA viSaya banAtA hai| vyAkhyAprajJapti meM inake lie avyucchitti-naya aura vyucchitti-naya zabda kA bhI prayoga kiyA gayA hai| jo dravyArthika naya hai, use hI avyucchitti-naya kahA gayA hai / avyucchitti-naya kA viSaya sattA kA sAmAnya aura zAzvata pakSa hotA hai| sattA ke paryAyArthika pakSa ko yA parivartanazIla pakSa ko vyucchitti-naya kahA gayA hai, evaM eka hI vastu kI vyAkhyA ina do dRSTikoNoM ke AdhAra para do prakAra se kI gaI hai| jaise- dravyArthika dRSTi yA avyucchitti-naya kI apekSA se vastu ko zAzvata kahA jAtA hai jabaki paryAyArthika dRSTi yA vyucchitti-naya kI apekSA se vastu ko azAzvata yA anitya mAnA jAtA hai| inhIM do dRSTikoNoM ke AdhAra para Age calakara sAmAnya dRSTikoNa aura vizeSa dRSTikoNa kI carcA huI hai| sanmatiprakaraNa meM abhedagAmI dRSTikoNa ko sAmAnya aura bhedagAmI dRSTikoNa ko vizeSa kahA hai" / vastu kA sAmAnya pakSa sAmAnyatayA nitya hotA hai aura vizeSa pakSa anitya hotA hai| isalie dravyArthika dRSTi ko sAmAnya yA abhedagAmI dRSTi bhI kahate haiN| isI prakAra paryAyArthika dRSTi ko vizeSa yA bhedagAmI dRSTi bhI kahA jA sakatA hai / vyAkhyAprajJapti meM nayoM kA eka vargIkaraNa nizcaya aura vyavahAra ke rUpa meM bhI pAyA jAtA hai| nizcaya naya vastu ke pAramArthika yA yathArtha svarUpa ko yA dUsare zabdoM meM kaheM to vastu ke svabhAva pakSa ko apanA viSaya banAtA hai| isakA eka udAharaNa usI sUtra meM isa prakAra milatA hai - jaba bhagavAna mahAvIra se yaha pUchA gayA ki - "he bhagavan ! phaNit (pravAhI guDa) kA svAda kaisA hotA hai ?" to unhoMne uttara diyA- "he gautama ! vyavahAranaya se to use mIThA kahA jAtA hai kintu nizcayanaya se to vaha pAMcoM hI prakAra ke svAdoM se yukta hai|" isake atirikta prAcInakAla meM jJAnanaya aura kriyAnaya tathA zabdanaya aura arthanaya aise bhI dvividha vargIkaraNa prApta hote haiN| jo naya jJAna ko pramukhatA detA hai vaha jJAnanaya hai aura jo naya kriyA para bala detA hai vaha kriyAnaya hai| unheM hama jJAnamArgI jIvanadRSTi aura kriyAmArgI jIvanadRSTi kahate hai| isI prakAra jo dRSTikoNa zabdagrAhI hotA hai Jain Education Intemational Jain Education Intermational

Page #272
Vol. I-1995 nayavicAra vaha zabdanaya' aura jo naya arthagrAhI hotA hai use arthanaya ke nAma se jAnA jAtA hai / isa prakAra bhagavatIsUtra jaise prAcIna Agama meM nayoM kA vibhinna apekSAoM ke AdhAra para vibhinna zailiyoM meM vividha prakAra se vargIkaraNa kiyA gayA hai| yahAM hameM nayoM ke saMkSipta vargIkaraNa kI zailI kA hI bodha hotA hai| uttarAdhyayanasUtra meM bhI nayoM kA ullekha milatA haiM kintu isameM usake bheda-prabhedoM kI koI carcA nahIM milatI hai| isa AdhAra para hama yaha mAna sakate haiM ki uttarAdhyayana ke saiddhAntika adhyAyoM ke kAla (IsvI 1-2 zatAbdi) taka nayoM ke vargIkaraNa kI saMkSipta zailI hI astitva meM rahI hogii| apekSAkRta paravartI Agama sthAnAMgasUtra (saMkalana prAya: IsvI 363)24 aura anuyogadvArasUtra (prAya: guptakAla)25 meM nayoM kA saptavidha vargIkaraNa hameM upalabdha hotA hai| yahAM dArzanika kAla ke sAta nayoM kA nAma nirdeza mAtra kiyA gayA hai| aisA lagatA hai ki jaba tattvArtha aura sanmati prakaraNa Adi graMthoM meM naya kA paMcavidha, SaDvidha evaM saptavidha vargIkaraNa kie gae usameM se saptavidha vargIkaraNa ko grahaNa karake una nAmoM ko sthAnAMga meM usake aMtima vAcanA ke samaya DAla diyA gayA ho / yadyapi anuyogadvAra sUtra ke nayadvAra meM sAtoM nayoM ke lakSaNa Adi kI carcA milatI hai, kintu hameM yaha smaraNa rakhanA cAhie ki anuyogadvAra sUtra, tattvArtha aura sanmatiprakaraNa jaise dArzanika granthoM ke bAda hI likhA gayA hai| usakI dArzanika zailI svayaM isa tathya kA pramANa hai ki yaha Agama graMtha hote hue bhI paravartI kAla kA hI hai| isameM prathama cAra naya arthanaya aura bAda ke tIna naya zabdanaya ke rUpameM vivecita haiM / arthanaya kA tAtparya vastu yA padArtha se hai| jo naya padArtha ko apanA viSaya banAte haiM- ve arthanaya aura jo zabda ko apanA viSaya banAte haiM- ve zabdanaya kahalAte haiN| isa prakAra paravartI AgamoM meM nayoM kI vistRta carcA hameM milane lagatI hai| kintu itanA avazya smaraNa rakhanA cAhie ki prastuta Agama dArzanika yuga kI hI racanA hai| dArzanika yuga ke graMthoM meM prAcInatama graMtha tattvArthAdhigamasUtra hai| isake prathama adhyAya meM naya kA ullekha karane vAle tIna sUtra upalabdha hote haiM / prAraMbha meM yaha kahA gayA hai ki vastutattva kA abhigama naya aura pramANa ke dvArA hotA hai / isa prakAra jJAna-prakriyA meM naya ke sthAna aura mahattva ko svIkAra kiyA gayA hai| adhyAya ke aMta ke do sUtroM meM naya kA vargIkaraNa prastuta kiyA gayA hai| pahale sUtra meM nayoM ko naigama, saMgraha, vyavahAra, RjusUtra aura zabda aise pAMca nayoM meM vibhAjita kiyA gayA hai| phira naigama ke do bhedoM aura zabda ke tIna-tIna bhedoM kA bhI ullekha milatA hai| jJAtavya hai ki sarvArthasiddhi-mAnya pATha meM ina do sUtroM ke sthAna para eka hI sUtra prApta hotA hai aura isameM sAta nayoM kA nirdeza eka sAtha hI kara diyA gayA hai| paravartI jaina dArzanika graMtho meM vibhinna naya dRSTiyoM ko bhinna-bhinna dArzanika maMtavyoM ke sAtha saMyojita karake yaha kahA jAtA hai ki vedAnta saMgrahanaya kI apekSA se, bauddha darzana RjusUtranaya kI apekSA se, nyAya-vaizeSika darzana naigamanaya kI apekSA se vastu-tattva kA vivecana karate haiN| kintu vibhinna nayoM ko vibhinna darzanoM se saMyojita karane kI yaha zailI paravartI kAla kI hai| tattvArthabhASya ke kAla taka hameM isakA ullekha nahIM milatA hai| tattvArthabhASya meM yaha prazna upasthita kiyA gayA hai ki naigamAdi naya tantrAntarIya hai yA svataMtra hai ? aura isakA uttara dete hue umAsvAti kahate haiM : "naigamAdi naya na to tantrAntarIya haiM aura na svataMtra hI haiN| kyoMki jJeya padArtha kA svarUpa hI aisA hai ki jJeya padArtha ko bhinna-bhinna dRSTiyoM se jAnane ke lie hI ina nayoM kA AvirbhAva huA hai"33 / isase yaha phalita hotA hai ki vAcaka umAsvAti ke kAla taka darzanoM ko vibhinna nayoM se saMyojita karane kI zailI kA vikAsa nahIM huA thA / yaha eka paravartI vikAsa hai| vaise tantra zabda kA eka anya artha karake isa viSaya para eka anya dRSTi se bhI vicAra kiyA jA sakatA hai| prAcIna graMthoM meM Agama zabda ke lie bhI tantra zabda kA prayoga huA hai| jaise haribhadrasUri Jain Education Intemational

Page #273
jitendra bI. zAha Nirgrantha ne yApanIya - taMtra kA ullekha kiyA hai 34 / isa AdhAra para hama yaha kaha sakate haiM ki umAsvAti ke sAmane yaha prazna upasthita huA hogA ki jo naigamAdi sAta naya hai ye usa samaya ke AgamoM meM ullikhita nahIM the ataH yaha carcA calatI hogI ki yaha naya Agama ke anukUla hai yA pratikUla hai| isI bAta kA nirAkaraNa umAsvAti ne isa prakAra kiyA-- ye naya Agama meM to nahIM hai kintu Agama ke anusAra vastu tattva kA vivecana karane ke kAraNa Agama ke pratikUla bhI nahIM haiM35 / isa samagra carcA se hama isa niSkarSa para pahuMcate haiM ki jaina paraMparA meM nayoM kA avataraNa vastu tattva ke vibhinna pakSa ko pRthak-pRthak dRSTi se vyAkhyAbaddha karane ke lie huA hai| vastu kI pariNAmiyatA hI alaga-alaga naya dRSTiyoM kA AdhAra hai| nayoM kA vibhinna darzanoM ke sAtha saMyojana karane kI zailI apekSAkRta paravartI hai| / sanmatiprakaraNa meM nayoM ke vibhinna bheda-prabhedoM kI aura unakI jJAna sImA kA vistAra se vivecana kiyA hai| nayoM kA itanA vistRta vivecana na to Agamika sAhitya meM milatA hai aura na tattvArthAdhigamasUtra jaise AraMbhika darzana graMtha meM upalabdha hotA hai| AcArya siddhasena divAkara ne mUla meM Agama kA anusaraNa karate hue do nayoM kA pratipAdana kiyA aura dArzanika yuga ke naigama Adi nayoM kA ina do mUla nayoM meM samAveza kiyA" siddhasena kI vizeSatA yaha haiM ki ve naigamAdi sAta nayoM meM naigamanaya kA niSedha karake mAtra chaha nayoM ko hI svIkAra karate haiM / naigamanaya ko asvIkAra karane kA mUlabhUta kAraNa yaha ho sakatA hai ki koI bhI naya vastu ke svarUpa para koI eka hI dRSTikoNa se vicAra kara sakatA hai / kyoMki naigama meM sAmAnya aura vizeSa aise donoM dRSTikoNoM kA antarbhAva mAnA gayA thA / isalie vaha svataMtra naya yA dRSTi nahIM ho sktaa| yadi naigama dravya ko akhaMDita rUpa meM grahaNa karatA hai to vaha saMgrahanaya meM antarnihita hogA aura yadi vaha vastu ko bheda rUpa meM yA vizeSa rUpa meM grahaNa karatA hai to vaha vyavahAranaya meM AbhAsita hogA / isa prakAra naigamanaya sAMyogika naya ho sakatA hai, kintu svataMtra naya nahIM ho sakatA hai| siddhasena divAkara ne nayoM kA eka vibhAjana sunaya aura durnaya ke rUpa meM bhI kiyA hai" / vastutaH jaba pratyeka naya - dRSTi ko kisI darzana vizeSa ke sAtha saMyojita karane kA prayatna kiyA gayA to jaina saMgha meM yaha prazna sAmayika rUpase utpanna huA hogA ki pratyeka darzana kisI naya- vizeSa para Azrita / AdhArita hai isalie vaha darzana samyagdarzana hI mAnA jAegA, mithyAdarzana nahIM mAnA jaaegaa| isa Apatti kA uttara dene ke lie hI sAmAnyatayA AcArya siddhasena ne nayoM ke do prakAroM arthAt sunaya aura durnaya kI udbhAvanA kI hogii| kyoMki kisI naya vizeSa ko svIkAra karake bhI dRSTikoNa AgrahI ho to vaha dRSTikoNa samyak nahIM ho sktaa| jo naya athavA dRSTi apane ko hI eka mAtra satya mAne aura dUsare kA niSedha kare, vaha dRSTi samyak dRSTi yA sunaya nahIM ho sakatI / anya darzana yadi apane hI dRSTikoNa ko ekamAtra satya mAneMge to ve nayAzrita hokara bhI sunaya kI koTi meM nahIM rakhe jAeMge, apitu unakA vaha dRSTikoNa durnaya kahA jAega kyoMki vaha anekAnta dRSTi kA niSedhaka hogaa| siddhasena ke anusAra jo naya dUsare nayA~ arthAt dRSTiyoM kA niSedhaka nahIM hotA, vaha sunaya hotA hai usake viparIta jo naya apane atirikta dUsare nayoM kA niSedha karatA hai yA unheM mithyA mAnatA hai, vaha naya durnaya meM Aropita hotA hai / AcArya siddhasena ke naya vivecana kI vizeSatA yaha hai ki nayadRSTi ke samyak yA mithyA hone kA AdhAra unake dvArA anya nayoM ke niSedha para AdhArita hai| jo naya apane atirikta anya nayoM yA dRSTikoNoM ko svIkAra karatA hai, vaha samyak hotA hai| isI AdhAra para unhoMne jaina darzana ko mithyAmata samUha ke rUpa meM pratipAdita kiyA hai| isakA tAtparya yaha hai ki vibhinna naya dRSTiyAM jo apane Apa meM kendrita rahakara anya kI niSedhaka hone ke kAraNa mithyAdRSTi hotI hai, vahI jaba eka dUsare se samanvita ho jAtI hai to samyak dRSTi bana jAtI haiM / isI artha meM AcArya siddha

Page #274
Vol. I-1995 nayavicAra ne jaina darzana ko mithyAmata-samUha kahA / kyoMki vaha anekAnta ke AdhAra para vibhinna naya yA dRSTikoNa ko samanvita kara letA hai| AcArya siddhasena ke naya ciMtana kI eka vizeSatA yaha hai ki unhoMne naya ciMtana ko eka vyApaka parimANa pradAna kiyaa| dravyArthika aura paryAyArthika dRSTi ke sau-sau bhedoM kI kalpanA Agamika vyAkhyA sAhitya meM upalabdha hotI hai| isI prakAra yadi anya nayoM ke bhI sau-sau naya kalpita kie jAya to nayoM ke sarvAdhika bhedoM ke AdhAra para sAta sau / nayoM kI bhI kalpanA samucita mAnI jA sakatI hai| mallavAdI ke dvAdazAra-nayacakra meM nayoM ke ina sAta sau bhedoM kA nirdeza mAtra prApta hotA hai| saMbhavata: nayoM ke sAta sau bheda karane kI yaha paraMparA dvAdazAra-nayacakra ke pUrva kI hogii| hama dekhate hai ki siddhasena divAkara ne sarvaprathama eka kadama Age baDhakara yaha kahA thA ki nayoM asaMkhya ho sakatA hai| vastutaH vastu ke pratipAdana kI jitanI zailiyAM ho sakatI haiM utane hI naya yA nayadRSTiyAM ho sakatI haiN| evaM jitanI hI nayadRSTiyAM hotI haiM utane hI para-darzana hote haiN| kyoMki pratyeka darzana kisI dRSTivizeSa ko svIkAra karake vastu tattva kA vivecana karatA hai| AcArya siddhasena kA nayoM ke saMdarbha meM yaha ati vyApaka dRSTikoNa paravartI jaina graMthoM meM yathAvata mAnya rahA hai| vizeSAvazyakabhASya ke kartA jinabhadra (prAyaH IsvI0 550-594) ne bhI nayoM ke saMdarbha meM isa vyApaka dRSTikoNa ko svIkAra kiyA hai / siddhasena ke sanmatiprakaraNa kI "jAvaiyA vayaNavahA" gAthA kiMcit pAThAMtara ke sAtha vizeSAvazyakabhASya meM upalabdha hotI hai" / vastuta: naya dRSTi eka baMdhI baMdhAI dRSTi nahIM hai| isameM eka vyApakatA rahI huI hai aura jaina AcAryoM ne isa vyApaka dRSTi ko AdhAra mAna kara apane-apane DhaMga se nayoM kA vivecana bhI kiyA dvAdazAra-nayacakra meM Agama prasiddha nayoM ke dvividha vargIkaraNoM ko svIkAra karake unameM darzana yuga ke sAta nayoM kA samAveza to kiyA hI gayA hai kintu isake atirikta jaina darzana meM anyatra anupalabdha aise vidhi, niyama, vidhi-vidhi Adi bAraha nayoM kA ullekha bhI kiyA gayA hai| unake dvArA yaha naya dvAdazavidhanaya vargIkaraNa kisa prakAra se dravyArthika aura paryAyArthika aise dvividha aura naigama Adi sAta nayoM meM antarbhAjita hotA hai, yaha nimna tAlikA se spaSTa hotA hai| 1. vidhi dravyArthika vyavahAra 2. vidhividhaH saMgrahanaya 3. vidyubhayam 4. vidhaniyamaH 5. ubhayam naigamanaya 6. ubhayavidhiH 7. ubhayobhayam paryAyArthika RjusUtra 8. ubhayaniyamaH zabdanaya 9. niyamaH 10. niyamavidhiH samabhirUr3ha 11. niyamobhayam 12. niyamaniyamaH evaMbhUtanaya uparokta bAraha "ara" dvAdazAra-nayacakra kI apanI viziSTatA hai| vidhi evaM niyama zabda kA artha anukrama

Page #275
jitendrabI. zAha Nirgrantha se sat kA svIkAra evaM asvIkAra hai| ina do zabdoM ke saMyojana se hI bAraha bheda kie gae hai| isameM usa yuga ke samasta bhAratIya darzanakA samAveza kiyA gayA hai| prathama cAra ara meM sat ko nitya mAnane vAle darzanoM kA samAveza kiyA hai| ubhayAdi cAra ara meM sat ko nityAnityAtmaka mAnane vAle darzanoM kA aura antima cAra ara meM sat ko anitya mAnane vAle darzanoM kA samAveza kiyA gayA hai| yadyapi graMthakAra ne svayaM kahA hai ki vidhi Adi zabda Agama meM se hI uddhRta kiyA hai, paraMtu vidhiniyama zabda kA prayoga karake nayoM kA vibhAjana karane kI zailI jaina darzana ke upalabdha sAhitya meM anyatra kahIM bhI dRSTigocara hotI nahIM hai| tatkAlIna samasta darzanoM ko jainadarzana meM samAviSTa karane ke lie hI granthakAra ne vidhiniyama zabdakA prayoga karake bAraha ara kA vivecana kiyA hai, aisA pratIta hotA hai| isa prakAra jaina darzana meM nayoM kA kramika vikAsa huA hai kintu dvAdazAra-nayacakra meM prayukta zailI evaM nayoM ke nAma nayacakra ke pUrvavartI yA paravartI sAhityameM upalabdha nahIM hote| saMdarbhasUcI:1. anantadharmAtmakameva tattvamato'nyathA sattvamasUpapAdam / hemacandra, anyayogavyavacchedikA zlo0 22; saM0 munizrI sUryodayavijayajI, caMdananI suvAsa, zrI zve0 mU0 pU0 jaina saMgha, karADa saM0 2020, pR0 241. 2. nayo jJAturabhiprAyaH laghIyastrayI, zlo0 55; saM0 mahendrakumAra zAstrI, sarasvatI pustaka bhaMDAra, ahamadAbAda 1996, jJAtRNAmabhisandhayaH khalu nayAH / pR0 10. siddhivinizcaya TIkA, bhaTTa akalaMka, saM0 mahendrakumAra jaina, bhAratIya jJAnapITha, vArANasI 1944, pR0 517. 3. anantadharmAdhyAsitaM vastu svAbhipretaikadharmaviziSTaM nayati-prApayati saMvedanamArohayatIti nayaH // nyAyAvatAravArtikavRtti, zAntisUri, prathamAvRtti, ___saM0 paM0 dalasukha mAlavaNiyA, siMdhI jaina granthamAlA, bambaI 1949, pR073. 4. sanmatiprakaraNa bhA0 4, saM0 paM0 sukhalAla saMghavI - paM0 becaradAsa dozI, gUjarAta vidyApITha, ahamadAbAda 1932, 3.47. 5. sanmatiprakaraNa - 1.4-5. 6. mahendrakumAra jaina, jaina darzana, zrI gaNezaprasAda varNI jaina granthamAlA, vArANasI 1974. pR0 351-354. 7. nyAyAvatAravArtikavRtti, pR0 22. 8. naigmsNgrhvyvhaarrjusuutrshbdaanyaaH|| tattvArthasUtra 1.34, saM0 paM0 sukhalAla saMghavI, pArzvanAtha vidyAzrama, vArANasI 1976. 9. sanmatiprakaraNa- 1.4-5. 10. naigmsNgrhvyvhaarrjusuutrshbdnyaaH|| tattvArthasUtra 1, 34. 11. dvAdazAraM nayacakraM, saM0 muni jambUvijaya, zrI jaina AtmAnaMda sabhA, bhAvanagara 1988, bhA0 1, pR0 10. 12. saptazatAranayacakrAdhyayane / dvAdazAraM-nayacakraM, pR0 886. 13. chAriyA NaM bhaMte ! pucchA ! goyamA ! ettha do nayA bhavaMti, taM jahA-necchiiyanae ca vAvahAriyanae y| viyAhapaNNattisuttaM, saM0 paM0 becaradAsa dozI, zrI mahAvIra jaina vidyAlaya, bambaI 1978, pR0 814. 14. nyAyAvatAravArtikavRtti, "prastAvanA", pR0 22. 15. titthayaravayaNasaMgaha-visesa patthAra muulvaagrnnii| davvadio ya pajjavaNao ya sesA vikappA siN| sanmatiprakaraNa 1. 3. 16. sanmatiprakaraNa bhA0 1, pR0 2. 17. phANiyagule NaM bhaMte ! kativaNNe, katigaMdhe, katirase, katiphAse pannate? goyamA ! etthaM do nayA javaMti, taM jahA-necchayiyanae ya vAvahAriyanae ya / vAvahAriyanayassa goDe phAliyagule, necchaiya nayassa paMcavaNNe, dugaMdhe, paMcarase, aTThaphAse pnnte| viyAhapaNNatti bhA. 2, pR0 813.

Page #276
Vol. I-1995 nayavicAra 18. sthAnAMga-samavAyAMga, saM0 muni jambUvijayajI, zrI mahAvIra jaina vidyAlaya, bambaI 1985, pR0 338. 19. jJAna mAtra prAdhAnyAbhyupagamaparA jJAnanayAH / jainatarkabhASA, saM0 dalasukha mAlavaNiyA, sarasvatI pustaka bhaMDAra, ahamadAbAda 1993, pR0 23. 20. kriyA mAtra prAdhAnyAbhyupagamaparAzca kriyAnayAH / / jainatarkabhASA, pR0 23. 21. prAdhAnyena zabda gocaratvAcchabda nayA / jainatarkabhASA, pR0 23. 22. prAdhAnyenArthagocaratvAdartha nyaaH|| jainatarkabhASA, pR0 23. 23. savvanayAna anumae ramejA saMjame munii|| uttarAdhyayanasUtra, saM0 muni jambUvijayajI, zrI mahAvIra jaina vidyAlaya, bambaI 1977, granthAMka 15, 36.249, pR0 326. (yahA~ ardhamAgadhI bhASA anusAra zabda-rUpa liyA gayA hai|) 24. satta mUlanayA pannattA, taM jahA- negame, saMgehi, vavahAre, ujusute, sadde, samabhirUDhe, evNbhuute| ThANaMgasutta, saM0 muni jambUvijaya, zrI mahAvIra jaina vidyAlaya, bambaI 1985, pR0 225. 25. satta mUlaNayA paNNattA / taM jahA- Negame, saMgahe vavahAre, ujjusue, sadde, samabhiruDhe, evaMbhUte / nandIsUtta anuyogadArAI, saM0 paM0 becaradAsa dozI, zrI mahAvIra jaina vidyAlaya, bambaI 1978, pR0 204. 26. vahI 27. tiNhaM sddnnyaannN.| aNuogaddArasutta, pR0 70. 28. prmaannnyairdhigmH| naigamasaMgrahavyavahArarjusUtrazabdanayAH / Adyazabdau dvitribhedau / tattvArthAdhigamasUtra, kramaza: 1-6, 1-34, 1-35. 29. tattvArthAdhigamasUtra- 1.6. 30. tattvArthAdhigamasUtra- 1.34. 31. tattvArthAdhigamasUtra- 1.35. 32. naigamasaMgrahavyavahArarjusUtrazabdasamabhirUdvaivambhUtA nayAH // sarvArthasiddhi, saM0 paM0 phUlacaMdra siddhAntazAstrI, bhAratIya jJAnapITha prakAzana, naI dillI 1991, 1.33. 33. atrAha- kimete tantrAntarIyA vAdita AhosvatsvatantrA / eva codaka pakSa grAhiNo matibhedena vipradhAvitA iti| Alocyate- naite tantrAntarIyA nApi svataMtrA matibhedena / vipradhAvitAH / jJeyasya tvrthsyaadhyvsaayaantraannyetaani| sabhASyatattvArthAdhigamasUtram / / pR063. 34. strIgrahaNaM tAsAmapi.....yathoktaM yApanIya tantre / lalitavistarA, saM0 vikramasena vi0 ma0 sA0, bhuvana bhadraMkara sAhitya pracAra kendra, madrAsa vi0 saM0 2051, pR0 427-428. 35. sabhASya tattvArthAdhigamasUtram, bhASAnuvAda, paM0 khUbacandrajI, zrImadrAjacandra Azrama, agAsa 1932, pR063. 36. sanmatiprakaraNa, prathama kANDa tathA tRtIya kANDa / 37. titthayara vayaNa saMgaha-visesa ptthaarmuulvaagrnnii| davvaThThio ya pajjavaNao ya sesA vikappA siN|| sanmatiprakaraNa-1.3. 38. sanmatiprakaraNa- 1.4-5. 39. jaha ee taha aNNe patteyaM duNNayA gayA sabve / haMdi hu mUlaNayANaM paNNavaNe vAvar3A te vi / / sanmatiprakaraNa- 1.15. 40. sanmatiprakaraNa- 1.22-28. 41. bhadaM micchAdasaNasamUhamaiyassa amysaarss| jiNavayaNassa bhagavao saMviggasuhAhigammassa // sanmatiprakaraNa- 3.69.

Page #277
jitendra bI. zAha Nirgrantha 42. arhatpraNIta naigamAdi pratyeka zata saMkhya prabhedAtmaka saptanayazatAra nayacakrAdhyayanAnusAriSu / nayacakra-vRtti, pR0 886. ekkekko ya sata vidho. (Ava0 ni0759)..... ti tasya zatabhedasya sapta naya zatAra nyckre| nayacakra-vRtti, mAilla dhavala, saM0 paM0 kailAzacandra zAstrI, bhAratIya jJAnapITha, kAzI 1971, pR0 789. 43. jAvaiyA vayaNavahA tAvaiyA ceva hoMti nnyvaayaa| jAvaiyA NayavAyA tAvaiyA ceva para samayA // sanmatiprakaraNa- 3.47. 44. jAvanto vayaNapahA tAvanto vA nayA visddaao| te ceva ya parasamayA sammattaM samudiyA savve // vizeSAvazyakabhASya, svopajJavRtti sahita, saM0 dalasukha mAlavaNiyA, lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmandira, ahamadAbAda-9, prathama saMskaraNa, 1968, dvitIya bhAga-2736, pR0 527. 45. tayorbhaGgA:- 1 vidhiH, 2 vidhi-vidhiH, 3 vidhevidhi-niyamam, 4 vidherniyamaH, 5 vidhi-niyamam, 6 vidhi-niyamasya vidhiH, 7 vidhiniyamasya vidhiniyamam, 8 vidhiniyamasya niyamaH, 9 niyamaH, 10, niyamasya vidhiH, 11 niyamasya vidhiniyamam, 12 niyamasya niymH|| dvAdazAra-nayacakra, pR0 10. 46. tatra vidhibhaGgAzcatvAra AdyA ubhayabhaGgA madhyamAzcatvAro niyamabhaGgAzcatvAraH pAzcAtyA yathAsaMkhyaM nityapratijJAH, nityAnityapratijJAH anityprtijnyaashc| dvAdazAra-nayacakra-vRtti, pR0877. Jain Education Intemational

Page #278
thArApadragaccha kA saMkSipta itihAsa zivaprasAda prAk madhyayugIna evaM madhyakAlIna nirgranthadarzana ke zvetAmbara AmnAya ke gacchoM meM thArApadragaccha kA mahattvapUrNa sthAna rahA / thArApadra nAmaka sthAna (vartamAna tharAda, banAsakAMThA maNDala, uttara gujarAta) se isa gaccha kA prAdurbhAva huA thaa| thArApadragaccha ke 11vIM zatAbdI ke prArambha ke AcArya pUrNabhadrasUri ne caMdrakula ke vaTezvara kSamAzramaNa ko apanA pUrvaja batalAyA hai, kintu isa gaccha ke pravartaka kauna the, yaha gaccha kaba astitva meM AyA, isa bAre meM unhoMne kucha nahIM kahA hai| isa gaccha meM vAdivetAla zAMtisUri, zAlibhadra aparanAma zIlabhadrasUri 'prathama', zAMtibhadrasUri, pUrNabhadrasUri, zAlibhadrasUri 'dvitIya', namisAdhu Adi kaI prabhAvaka evaM vidvAn AcArya hue| thArApadragaccha kA ullekha karane vAlA sarvaprathama abhilekhIya sAkSya hai vi0 saM0 1084 / I0 sa0 1028 kA rAmasena ke AdinAtha jinAlaya sthita pratimAvihIna parikara kA lekha / paM0 ambAlAla zAha ne ukta lekha kI vAcanA isa prakAra dI hai: "anuvartamAnatIrthapraNAyakAda vardhamAna jinavRSabhAt / ziSya kramAnuyAto jAto vajrastadupamAnaH // 1 // tacchAkhAyAM jAta [:] sthAnIya kulodbhUto mhaamhimH| candakulodbhavastato vaTezvarAkhyaH kramabalaH // 2 // thIrApadrodbhUtastasmAd gaccho'tra sarvadikkhyAtaH / zuddhAcchayazonikarairdhavalitadika cakravAlo'sti // 3 / / tasmin bhUriSu sUriSu devatvamupAgateSu vidvtsu| jAto jyeSThAcAryastasyAcchrIzAMtibhadrAkhya // 4 // tasmAcca sarvadeva: siddhAntamahodadhiH sadAgAhaH / tasmAcca zAlibhadro bhadranidhirgacchagatabuddhi // 5 // zrIzAMtibhadrasUrI vajrapatijA [tA] pUrNabhadrAkhyaH / raghusenA [bhidhAne sti....... buddhIn // 6 // [vyadhA] payAdidaM biMbaM nAbhisUnormahAtmanaH / lakSyAzcaMcalatAM jJAtvA jIvatavyavizeSataH / / 7 / / maMgalaM mahAzrIH / / saMvat 1084 caitra paurnnmaasyaam||" sAdhAraNatayA pratimA lekhoM meM pratimApratiSThApaka AcArya yA muni kI paramparA ke eka yA do pUrvAcAryoM kA ullekha milatA hai, kintu isa lekha meM thArApadragaccha ke sUrivaroM kI lambI sUcI dI gayI hai, jo isa prakAra hai :

Page #279
zivaprasAda vaTezvara ' jyeSThAcArya I zAMtibhadrasUri ( prathama ) I siddhAntamahodadhi sarvadevasUri I zAlibhadrasUri ( prathama ) I zAMtibhadrasUri (dvitIya) T pUrNabhadrasUri (vi0 saM0 1084 / I0 sa0 1028 meM rAmasena sthita jinAlaya meM uparyukta pratimA ke pratiSThApaka) thArApadragaccha se sambaddha kAlakrama meM dvitIya pramANa hai vi0 saM0 1110 / I0 sa0 1054 meM AcArya pUrNabhadrasUri dvArA pratiSThApita ajitanAtha kI pratimA para utkIrNa lekha / vartamAna meM yaha pratimA ahamadAbAda meM jhaverIvAr3a ke eka jinAlaya meM hai| mehatA ne lekha kI vAcanA isa prakAra kI hai : Nirgrantha thArApadrapurIyagacchagaganodyotaka bhAsvAnabhUt sUriH sAgarasIma vizrutaguNaH zrI zAlibhadrAbhidhaH / tacchiSya samajanyajJAnavRjinAsaMga: satAmagraNIH sUri : sarvaguNotkaraikavasatiH zrI pUrNabhadrAhvayaH / / tasya zrI zAlibhadraprabhu ralamakRtoccaiH padapuNyamUrtiH vidvaccUDAmaNe : svezasi (zi) visa (za) dayazo vyAnazevasva vizvam / sthAne tasyApi sUri : samajani bhuvane'nanyasAdhAraNAnAM lIlAgAraM guNAnAmanupama mahimA pUrNabhadrAbhidhAnaH // zrI zAlisUrinijagurupuNyArthamidaM vidhApita tena / ajitajinabiMbamatulaM naMdatu raghusena jinabhu (bha) vane // saMvat 1910 caitra sudi 13 isa lekha meM pratimA pratiSThApaka AcArya pUrNabhadrasUri kA zAlibhadrasUri ke paTTadhara ke rUpa meM ullekha hai / lekha se jJAta hotA hai kI yaha pratimA bhI rAmasena sthita rAjA raghusena dvArA nirmita jinAlaya meM hI sthApita kI gayI thI / isa lekha ke anusAra gurvAvalI isa prakAra hai : zAlibhadrasUri I pUrNabhadrasUri (vi0 saM0 1110 / I0 sa0 1054 meM rAjA raghusena dvArA nirmita jinAlaya meM pratimA pratiSThApaka) sAhitya srotoM meM dekhA jAye to thArApadragaccha ke namisAdhu dvArA praNIta do kRtiyA~ milI haiM : For Private Personal Use Only

Page #280
dhArApadragaccha kA saMkSipta... 1- SaDAvazyakasUtravRtti (racanAkAla vi0 saM0 1122 / I0 sa0 1065) 2- kAvyAlaMkAraTippana' (racanAkAla vi0 saM0 1125 / I0 sa0 1068) Vol. I-1995 ukta racanAoM kI prazastiyoM meM granthakAra ne svayaM ko thArApadragacchIya zAlibhadrasUri kA ziSya batalAyA hai / zAlibhadrasUri T namisAdhu (SaDAvazyakasUtravRtti evaM kAvyAlaMkAra- Tippana ke praNetA) isI gaccha ke zAlibhadrasUri abhidhAnadhAraka eka aura AcArya ne vi0 saM0 1139 / I0 sa0 1083 meM saTIka bRhatsaMgrahaNIprakaraNa' kI racanA kI / isakI prazasti meM unhoMne apanI gurvAvalI isa prakAra dI hai - zIlabhadrasUri I pUrNabhadrasUri 1 zAlibhadrasUri (vi0 saM0 1139 / I0 sa0 1083 meM saTIka bRhatsaMgrahaNIprakaraNa ke racanAkAra) rAmasena ke Uparakathita lekha meM ullikhita pUrNabhadrasUri tathA saTIkabRhatsaMgrahaNIprakaraNa ke karttA zAlibhadrasUri guru pUrNabhadrasUri sambhavataH eka hI vyakti haiM / rAmasena ke uparyukta lekha kI miti vi0 saM0 1110 tathA bR0 saM0 pra0 kI racanAmiti vi0 saM0 1139 ke bIca 28 varSoM kA hI antara hai / isase bhI yaha saMbhAvanA balavattara hotI hai| ThIka isI taraha vi0 saM0 1122 aura vi0 saM0 1925 meM kramazaH SaDAvazyakasUtravRtti aura kAvyAlaMkAraTippana racane vAle namisAdhu ke guru zAlibhadrasUri bhI uparyukta bR0 saM0 pra0 ke karttA zAlibhadrasUri se abhinna jAna par3ate haiN| 11 isI gaccha meM vAdivetAla zAMtisUri nAmaka eka prabhAvaka evaM vidvAn AcArya hue haiN| inakI pAMca kRtiyAM upalabdha huI haiM, yathA : 1- uttarAdhyayanasUtra para likhI gayI pAiyaTIkA aparanAma ziSyahitATIkA 2- jIvavicAraprakaraNa 3- caityavandanamahAbhASya 4- bRhadzAntistava 5- jinasnAtravidhi inameM pAiyaTIkA aura bRhadazAntistava atyanta prasiddha haiN| pAiyaTIkA kI prazasti meM TIkAkAra ne thArApadragaccha ko candrakula se samudbhUta mAnA hai, kintu racanA kI tithi evaM apanI guru-paramparA ke bAre meM ve mauna rahe haiN| apanI anya kRtiyoM kI prazastiyoM meM bhI zAMtisUri ne apanI guru- paramparA evaM racanAkAla kA koI ullekha nahIM kiyA hai| For Private Personal Use Only

Page #281
zivaprasAda Nirgrantha rAjagacchIya AcArya prabhAcandrasUri dvArA racita prabhAvakacarita (racanAkAla vi0 saM0 1334 / I0 sa0 1278) meM vAdivetAla zAMtisUri kA jIvanaparicaya prApta hotA hai| usake anusAra inake guru kA nAma vijayasiMhasUri thA aura paramAra nareza bhoja (I0 sa0 1010-1055) kI sabhA meM unhoMne vAdiyoM ko parAsta kiyA aura vAdivetAla kI upAdhi se vibhUSita hue| mahAkavi dhanapAla kI tilakamaJjarI kA bhI inhoMne saMzodhana kiyA thaa| prabhAvakacarita ke anusAra vi0 saM0 1096 / I0 sa0 1040 meM inhoMne sallekhanA dvArA ujjayantagiri para apanA zarIra tyAga diyaa| aba zAntisUri tathA unake guru vijayasiMhasUri kA thArApadragacchIya munijanoM kI pUrvapradarzita tAlikA ke sAtha samanvaya bAkI raha jAtA hai| isa sambandha meM isa gaccha se sambaddha pratimAlekhoM se prApta munirAjoM kI nAmAvalI se hameM mahattvapUrNa jAnakArI prApta hotI hai| yadyapi ye lekha 14vIM se 16vIM zatI taka ke haiM aura unakI saMkhyA bhI svalpa hI hai, phira bhI unase jJAta hotA hai, ki thArApadragaccha kI isa zAkhA meM sarvadevasUri, vijayasiMhasUri aura zAntisUri ina tIna paTTadhara AcAryoM ke nAmoM kI punarAvRtti hotI rahI hai| vijayasiMhasUri aura vAdivetAla zAntisUri kA Apasa meM guru-ziSya kA sambandha to hameM prabhAvakacarita se jJAta ho cukA hai, ata: vijayasiMhasUri ke guru sarvadevasUri nAmake AcArya rahe hoMge, aisA mAnane meM koI Apatti nhiiN| isa prakAra anya uttarakAlIna pratimAlekhoM ke AdhAra para thArApadragaccha ke isa zAkhA kI guru-ziSya paramparA kI nimna prakAra se tAlikA bana sakatI hai : (sarvadevasUri) vijayasiMha sUri vAdivetAla zAMtisUri (vi0 saM0 1096 / I0 sa0 1040 meM svargavAsa) uttarAdhyayanasUtrapAiyaTIkA, bRhadazAntistava, ' jIvavicAraprakaraNa, caityavandanamahAbhASya Adi ke kartA (sarvadevasUri) (vijayasiMhasUri) (zAMtisUri) (sarvadevasUri) (vijayasiMhasUri) zAMtisUri (inake anuyAyI zrAvaka yazazcandra ne vi0 saM0 1259 / I0 sa0 1203 meM pArzvanAtha kI dhAtu pratimA banavAyI) Jain Education Intemational

Page #282
Vol. 1-1995 dhArApadragaccha kA saMkSipta... sarvadevasUri (vi0 saM0 1288 / I0 sa0 1232) pratimA lekha. (mahAmAtya vastupAla dvArA vi0 saM0 1298 / I0 sa0 1242 meM zatruJjayamahAtIrtha para utkIrNa karAye gaye zilAlekha meM ullikhita thArApadragacchIya sarvadevasUri saMbhavata: yahI sarvadevasUri ho sakate haiM) vijayasiMha sUri (vi0 saM0 1315 / I0 sa0 1259) pratimAlekha rAnAta sarvadevasUri (vi0 saM0 1450 / I0 sa0 1394) pratimAlekha vijayasiMhasUri (pratimAlekha anupalabdha) zAMtisUri (vi0 saM01479-1483 / I0sa01423-1427) pratimAlekha (pratimAlekha anupalabdha) (sarvadevasUri) vijayasiMhasUri (vi0 saM0 1501-1516 / I0sa01445-1460) pratimAlekha (vi0 saM01527-1532 / I0 sa01471-1476) pratimAlekha zAMtisUri rAmasena ke vi0 saM0 1084 / I0 sa0 1028 ke parikaralekha meM thArApadragaccha ke AcAryoM kI jo guru-paramparA milatI hai, usameM siddhAntamahodadhi sarvadevasUri kA bhI nAma milatA hai| samasAmayikatA aura nAmasAmya ke AdhAra para inheM vAdivetAla zAntisUri ke praguru sarvadevasUri se abhinna mAnA jA sakatA hai| isa prakAra thArApadragaccha ke munijanoM ke guru-paramparA kI eka navIna tAlikA banatI hai, jo isa prakAra hai : vaTezvarasUri jyeSThAcArya zAMtibhadrasUri [prathama] siddhAntamahodadhi-sarvadevasUri vijayasiMhasUri zAlibhadrasUri [prathama Jain Education Intemational

Page #283
14 vAdivetAlazAMtisUra [uttarAdhayanasUtrapAiyaTIkA, bRhadazAntistava, jIvavicAraprakaraNa, caityavandanamahAbhASya Adi ke karttA vi0 saM0 1096 / I0 sa0 1040 meM mRtyu (sarvadevasUri) (vijayasiMhasUri) Hill zAMtisUra (sarvadevasUri) (vijayasiMhasUri) (zAMtisUri ) sarvadevasUri zivaprasAda vijayasiMhasUra zAMtibhadrasUri [dvitIya] pUrNabhadrasUri vi0 saM0 1084 / I0 sa0 1028 evaM vi0 saM0 1110 / I0 sa0 1054 meM rAmasena sthita jinAlaya pratimA pratiSThApaka namisAdhu [ inake anuyAyI zrAvaka yazazcandra ne vi0 saM0 1259 / I0 sa0 1203 meM pArzvanAtha kI dhAtu pratimA banavAyI] [vi0 saM0 1315 / I0 sa0 1259 ] pratimAlekha zAlibhadrasUri [ dvitIya] vi0 saM0 1139 / I0 sa0 1083 meM . saTIka bRhatsaMgrahaNIprakaraNa ke racanAkAra [vi0 saM0 1922 / I0 sa0 1065 meM SaDAvazyaka sUtravRtti evaM vi0 saM0 1125 / I0 sa0 1068 meM kAvyAlaMkAraTippana ke racanAkAra ] [vi0 saM0 1288 / I0 sa0 1232 ] pratimAlekha [ mahAmAtya vastupAla dvArA vi0 saM0 1298 / I0 sa0 1242 meM zatruJjaya mahAtIrtha para utkIrNa karAye gaye zilAlekha meM ullikhita sarvadevasUri saMbhavata: yahI haiM ] Nirgrantha

Page #284
Vol. 1-1995 1 sarvadevasUri 1 vijayasiMhasUra T zAMtisUri sarvadevasUri T vijayasiMhasUri zAMtisUri dhArApadragaccha kA saMkSipta... [vi0 saM0 1450 / I0 sa0 1394 ] pratimAlekha [ pratimAlekha anupalabdha ] [vi0 saM0 1479 - 1483 / I0 sa0 1423-1427] pratimAlekha [ pratimAlekha anupalabdha ] [vi0 saM0 1501-1516 / I0 sa0 1445 - 1460] pratimAlekha] [vi0 saM0 1527-1532 / I0 sa0 1471 - 1477] pratimAlekha] thArApadragacchIya guru-ziSya paramparA kI pUrvapradarzita tAlikAoM meM sarvaprathama AcArya vaTezvara kA nAma AtA hai / unake kaI pIr3hiyoM bAda hI jyeSThAcArya se isa gaccha kI avicchinna paramparA prArambha hotI hai| aba hamAre sAmane yaha prazna upasthita hotA hai ki kyA zvetAmbara sampradAya meM vaTezvara nAmaka koI AcArya haiM to kaba hue haiM? haiM ? yadi hue hue 15 dAkSiNyacihna udyotanasUri ne kuvalayamAlAkahA [ racanAkAla zaka saM0 700 / I0 sa0 778 ] kI prazasti meM apanI guru- paramparA kI nAmAvalI dI hai, isameM sarvaprathama vAcaka harigupta kA nAma AtA hai, jo torarAya (huNarAja toramANa) ke guru the / unake paTTadhara kavi devagupta hue, jinhoMne supuruSacariya aparanAma tripuruSacariya kI racanA kI / devagupta ke ziSya zivacandragaNimahattara hue, jinake nAga, vRnda, durga, mammaTa, agnizarmA aura vaTezvara ye 6 ziSya the / vaTezvara kSamAzramaNa ne AkAzavapranagara [ ambarakoTa/amarakoTa] meM jinamaMdira kA nirmANa karAyA / vaTezvara ke ziSya tattvAcArya hue| kuvalayamAlAkahA ke racanAkAra dAkSiNyacihna udyotanasUri inhIM tattvAcArya ke ziSya the / isa bAta ko prastuta 'tAlikA se bhalI-bhAMti samajhA jA sakatA hai : For Private Personal Use Only

Page #285
16 nAga vRnda yeog mammaTa vAcaka harigupta [ toramANa ke guru] kavi deva zivacandragaNimahattara vaTezvara kSamAzramaNa - tattvAcArya 1 yakSamahattara kRSNarSi 1 zivaprasAda [ supuruSacariya ke racanAkAra ] kRSNarSigaccha ke AcArya jayasiMhasUri ne vi0 saM0 995 / I0 sa0 859 meM dharmopadezamAlAvivaraNa kI racanA kii| isakI prazasti" meM unhoMne vaTezvara kSamAzramaNa ko apanA pUrvaja batalAte hue apanI guru- paramparA kA paricaya isa prakAra diyA hai - agnizarmA jayasiMhasUra [vi0 saM0 915 / I0 sa0 859 meM dharmopadezamAlAvivaraNa ke racanAkAra ] For Private Nirgrantha vaTezvara kSamAzramaNa [AkAzavapranagara / ambarakoTa / amarakoTa meM jinamaMdira ke nirmAtA ] I tattvAcArya I dAkSiNyacihna udyotanasUri [zaka saM0 700 / I0 sa0 778 meM kuvalayamAlAkahA ke racanAkAra ] ukta donoM prazastiyoM kI guru-paramparA kI tAlikAoM ke samAyojana se udyotanasUri aura jayasiMhasUri kI guru- paramparA kI jo saMyukta tAlikA banatI hai, vaha isa prakAra hai : Personal Use Only

Page #286
Vol. I-1995 thArApadragaccha kA saMkSipta... vAcaka harigupta [kisI vairAgyapradhAna kRti ke kartA, toramANa ke guru, mRtyu prAya: | I. sa. 529] kavi devaguptasUri [supuruSacariya ke racanAkAra] zivacandragaNimahattara[bhillamAla meM sthiravAsa] nAga vRnda durga mammaTa agnizarmA vaTezvara kSamAzramaNa [AkAzavapranagara meM . jinamaMdira ke nirmAtA] tattvAcArya yakSamahattara dAkSiNyacihna udyotanasUri [vi0 saM0 835 I0 sa0778 / zakasaM0700 meM] kuvalayamAlAkahA ke racanAkAra kRSNarSi jayasiMhasUri [vi0 saM0 915 / I0 sa0 859 meM dharmApadezamAlAvivaraNa ke racanAkAra ukta AdhAra para vaTezvara kSamAzramaNa kA samaya prAya: I0 sa0675-725 ke bIca mAna sakate haiN| cUMki ve apane samaya ke eka prabhAvaka AcArya raheM hoMge, ata: 11 vIM zatI ke prArambha meM thArApadragacchIya pUrNabhadrasUri dvArA unheM apane pUrvaja ke rUpa meM smaraNa karanA yahI sUcita karatA hai ki vaTezvara kSamAzramaNa ke hI kisI ziSya kI paramparA Age calakara thArApadragaccha ke nAma se prasiddha huI, jisameM bAda meM prAya: 5vIM pIr3hI ke karIba jyeSThAcAryAdi hue hoNge| thArApadragaccha se sambaddha abhilekhIya sAkSyoM kA vargIkaraNa- 1. pratimAlekha, 2. zilAlekha isameM jinapratimAlekhoM ko do bhAgoM meM bAMTA jA sakatA hai - ka. thArApadragacchIya munijanoM dvArA pratiSThApita jinapratimAyeM evaM una para utkIrNa lekhoM kA vivaraNa kha. thArApadragacchIya munijanoM kI preraNA se isa gaccha ke zrAvakoM dvArA pratiSThApita jinapratimAyeM evaM una para utkIrNa lekhoM kA vivaraNa Jain Education Intemational

Page #287
zivaprasAda Nirgrantha 1- pratimAlekha ka- thArApadragacchIya munijanoM dvArA pratiSThApita jinapratimAyeM evaM una para utkIrNa lekhoM kA vivaraNa 1. 1084 caitra pUrNimA | zAMtibhadrasUri ke | AdinAtha kI AdinAtha | ambAlAla premacaMda zAha, paTTadhara pUrNabhadrasUri pratimA ke parikara jinAlaya jainatIrthasarvasaMgraha, khaMDa 1, kA lekha rAmasena (uttara bhAga 1, pRSTha 39 gujarAta) |1110| caitra sudi 13 | zAlibhadrasUri ke | ajitanAtha kI | ajitanAtha | N.C. Mehta, "A MepaTTadhara pUrNa bhadrasUri pratimA kA lekha | jinAlaya, | diaeval Jain Image of jhaverIvAr3a, | Ajitanath", Indian ahamadAbAda Antiquary Vol LVI, 1927, P.72-74 3. [11] phAlguna vadi 1/ zAlibhadrasUri pArzvanAtha kI pratimA AdinAtha jainadhAtupratimAlekhasaMgraha, somavAra kA lekha | jinAlaya, | bhAga-2, saM0 muni mANekacauka, buddhisAgara, lekhAGka 1012 khaMbhAta 4. 1157 vaizAkha sudi supArzvanAtha kI | jaina maMdira pratimA kA lekha rAMteja prAcInajainalekhasaMgraha, bhAga-2, saM0 muni jinavijaya,lekhAGka 466 vahI, lekhAGka 467 pArzvanAtha kI pratimA kA lekha 6. 1265 ASAr3ha sudi 5/ zAlibhadrasUri mahAvIra kI pratimA lekha motIsA kA | pratiSThAlekhasaMgraha, saM0 maMdira, ratalAma vinayasAgara, lekhAGka-48 7. 1298, .....zukravAra sarvadevasUri zilAlekha U.P. Shah, "A Documentary from mount Shatrunjay", Journal of The Royal Asiatic Society of Bombay, Vol. xxx, pt. 1, pp. 100-113 Jain Education Intemational

Page #288
Vol. I-1995 dhArApadragaccha kA saMkSipta... 8. 1304 vaizAkha sudi puruSottamasUri caubIsI / dharmanAtha | muni buddhisAgara, pUrvokta, jina-pratimA kA | jinAlaya, | bhAga 2, lekhAGka 955 lekhamANeka cauka, khaMbhAta caitra vadi 9 | zukravAra madanacandrasUri cintAmaNi vahI, bhAga 2, lekhAGka 549 pArzvanAtha jinAlaya, khaMbhAta 10. 1315, vaizAkha sudi vijayasiMhasUri | jinapratimA kA | zAMtinAtha | buddhisAgara, pUrvokta, bhAga lekha jinAlaya 2, lekhAGka 735 khaMbhAta ....di 4 / zukravAra pUrNacandrasUri / saMbhavanAtha kI | cintAmaNi | nAhaTA, pUrvokta, lekhAGka pratimA kA lekha | jinAlaya, 385 khaMbhAta 1440 pauSa sudi 12/ zIlabhadrasUrI ke | saMbhavanAtha kI | sumatinAtha zukravAra | upadeza se zrIsUri caubIsI pratimA kA jinAlaya, ratalAma vinayasAgara, pUrvokta, lekhAGka 166 lekha 13. 1450 mAgha vadi 9 | somavAra sarvadevasUri | vAsupUjya kI | saMbhavanAtha | rAdhanapurapratimAlekhasaMgraha, paMcatIrthI pratimA kA jinAlaya, | saM0 muni vizAlavijaya, | rAdhanapura lekhAGka 82 lekha 14. 1479 zAMtisUri caitra vadi 2 | guruvAra AdinAtha kI vIra jinAlaya, zrI pratimAlekhasaMgraha, pratimAkA lekha | tharAda, daulata siMha loDhA, lekhAGka 206 15. 1483 jyeSTha sudi 9 maMgalavAra AdinAtha kI | zAMtinAtha | vahI, lekhAGka 268 dhAtukI caubIsI | caitya, suthAra pratimA kA lekha | serI, tharAda

Page #289
zivaprasAda Nirgrantha vahI, lekhAGka 65 16. 1501 pauSa vadi 6 sarvadevasUrI ke paTTadhara zreyAMsanAtha kI vIra jinAlaya, budhavAra | vijayasiMhasUri | pratimA kA lekha | tharAda 17. 1505 vaizAkha sudi 3/ vijayasiMhasUri | AdinAtha kI zukravAra pratimA kA lekha vIra jinAlaya / vahI, lekhAGka 142 tharAda, | vahI, lekhAGka 229 18. 1512 jyeSTha sudi 5 ravivAra AdinAtha kI caubIsI pratimA kA lekha vimalanAtha caitya desAIserI, tharAda, 1516 vahI, lekhAGka 61 pauSa vadi 5 guruvAra zreyAMsanAtha kI vIra jinAlaya, caubIsI pratimA kA tharAda, lekha 20. 1527 kArtika vadi 5/vijayasiMha ke paTTadhara| ajitanAtha kI somavAra / zAMtisUri / pratimA kA lekha vahI, lekhAGka 165 zAMtisUri vahI, lekhAGka 172 | 21. 1532 vaizAkha sudi 13 zanivAra 22. 1533 kArtika sudi 5/ vijayasiMhasUri ke | zAMtinAtha kI zeTha kezarImala nAhara, pUrvokta, lekhAGka guruvAra | paTTadhara zAMtisUri | pratimA kA lekha | kA derAsara 2464 jaislmer|

Page #290
thArApadragaccha kA saMkSipta... kha. thArApadragacchIya munijanoM kI preraNA se isa gaccha ke zrAvakoM dvArA pratiSThApita jinapratimAyeM evaM una para utkIrNa lekhoM kA vivaraNa saMvat Vol. 1-1995 kramAMka 1. 2. 3. 4. 5. 6. 7. 8. 1118 1126 1131 1139 1161 tithi mArga0 sudi 10 1991 mArga0 vadi 5 1210 phAlguna sudi 11 pratimAlekha pArzvanAtha kI pItalakI pratimA kA lekha zAMtinAtha kI pratimA kA lekha zItalanAtha kI pratimAkA lekha ekatIrthI jinapratimA kA lekha pArzvanAtha kI pratimAkA lekha pratiSThA sthAna saMdarbha grantha vimalavasahI, AbU prAcInajaina lekha saMgraha, bhAga 2, saM0 muni jinavijaya, lekhAGka 154 evaM arbudaprAcIna jainalekhasaMdoha, AbU, bhAga 2, saM0 muni jayantavijaya, lekhAGka 63 - vimalavasahI, AbU ajitanAtha jinAlaya sirohI pArzvanAtha jinAlaya, ArAsaNA, anupUrtilekha, AbU "rASTrIya saMgrahAlaya kI katipayadhAtu pratimAyeM" jaina sandeza zodhAGka, bhAga 41, agaracanda nAhaTA, varSa 42, pRSTha 242 - 246 muni jayantavijaya, pUrvokta, lekhAGka 74 pratiSThAlekhasaMgraha, saM0 vinayasAgara, lekhAGka 9 muni jinavijaya, pUrvokta, lekhAGka 297 muni jayantavijaya, pUrvokta, lekhAGka 510 zAMtinAtha jinAlaya, arbudAcalapradakSiNAjainalekhasaMdoha, nAMdiyA AbU, bhAga 5, saM0 muni jayantavijaya, lekhAGka 454 1234 mAgha sudi 10 mahAvIra kI pratimA AdinAtha jinAlaya, vinayasAgara, pUrvokta, lekhAGka 36 kA lekha budhavAra sirohI 21

Page #291
zivaprasAda Nirgrantha 1251 zAMtinAtha kI cintAmaNi jinAlaya, pratimA kA lekha bIkAnera | bIkAnera jaina lekha saMgraha, saM0 agaracaMda nAhaTA, lekhAGka 103 10. 1259 | jyeSTha sudi pArzvanAtha kI pratimA zAMtinAtha jinAlaya, jaina dhAtupratimA lekha saMgraha, bhAga 15 | kA lekha kaTAkoTaDI, khaMbhAta 2, saM0 muni buddhisAgara, lekhAGka 609 11. | 1259 jyeSTha sudi 3 pArzvanAtha jinAlaya, mANekacauka, khaMbhAta buddhisAgara, pUrvokta, bhAga 2 lekhAGka 28 12. 1294 vaizAkha sudi jinapratimA para cintAmaNi jinAlaya, nAhaTA, pUrvokta, lekhAGka 133 8 zukravAra utkIrNa lekha bIkAnera 13. | 1334 mAgha sudi 10 suvidhinAtha kI | jaina maMdira, zaMkhezvara jinavijaya, pUrvokta, lekhAGka 498 ravivAra | pratimA kA lekha 2. zilAlekha (i) mahAmAtya vastupAla dvArA zatruJjaya mahAtIrtha para utkIrNa karAye gaye zilAlekha kI prAcIna nakala meM (jisakA pUrva meM ullekha A cukA hai) anya gacchoM ke AcAryoM ke sAtha sAtha thArApadragaccha ke AcArya sarvadevasUri aura pUrNabhadrasUri kA bhI ullekha hai| lekha ke mUlapATha ke liye draSTavya - U. P. Shah - "A Forgotten Chapter In The History of Svetambara Jaina Church"JASBVol. 30, Part I, 1955, pp.- 100-113. (ii) vi0 saM01333 kA zilAlekha, jisameM cAhamAna nareza cAcigadeva ke rAjya meM sthita mahAvIra jinAlaya ko thArApadragaccha ke AcArya pUrNabhadrasUri ke upadeza se dAna dene kA ullekha hai| draSTavya- prAcIna jaina lekhasaMgraha, bhAga 2, saM0 muni jinavijaya, lekhAGka 402. ghoghAkI jaina pratimA nidhi kI do jina pratimAyeM isa gaccha se sambandha haiN| ina para vi0 saM0 1259 aura vi0 saM0 1514 ke lekha utkIrNa haiM, kintu inake mUlapATha hameM prApta nahIM ho sake haiM, ata: inake sambandha meM vizeSa vivaraNa de pAnA kaThina hai| saMdarbha - madhusUdana DhAMkI aura harizaMkara zAstrI, "ghoghAno jaina pratimA nidhi", phArbasa gujarAtI sabhA traimAsika, janavarI-mArca aMka, I0 sa0 1965. Jain Education Intemational

Page #292
Vol. I-1995 thArApadragaccha kA saMkSipta... saMdarbhasUcI:1. ambAlAla premacandra zAha, jainatIrthasarvasaMgraha, khaMDa 1, bhAga 1, ahamadAbAda 1953, pR0 39. R. N. C. Mehta, "A Mediaeval Jaina Image of Ajitanath", Indian Antiquary, Vol LVI, 1927, pp. 72-74. 3. Ibid., pp.73-74. 4. Muni Punyavijaya, New Catalogue of Sanskrit and Prakrit Manuscripts: Jesalmer Collection, L. D. series No. 36, Ahmedabad 1972, pp. 43. H.D. Velankar - Jinaratnakosha, Government Oriental Series class C No.4, Pune 1944, p. 37. 4. Muni Punyavijaya, Ibid., p. 140. 6. Ibid., pp. 69-70. 6. Muni Punyavijaya, Catalogue of Sanskrit and Prakrit Mss in the Shanti Natha Jaina Bhandar, Cambay,G.O.S. Vol 135,149 part I, II, Baroda 1961-1966, pp. 109-112. 8: "vAdivetAla zAMtisUricaritam", prabhAvakacarita, saM0 muni jinavijaya, siMdhI jaina granthamAlA, granthAGka 13, bambaI 1941, pR0 133-137. 9. kuvalayamAlAkahA, saM0 AdinAtha neminAtha upAdhye, siMdhI jaina granthamAlA, granthAGka 45, bambaI 1959, pR0 282-284; evaM apabhraMzakAvyatrayI, saM0 paM0 lAlacanda bhagavAnadAsa gAMdhI, gAyakavAr3a prAcya granthamAlA, granthAGka 37, dvitIya saMskaraNa, baDodarA 1967, bhUmikA, pR0 90-91. 10. dharmopadezamAlAvivaraNa, saM0 paM0 lAlacanda bhagavAnadAsa gAMdhI, siMdhI jaina granthamAlA, granthAGka 28, bambaI 1959, pR0 228-230. Jain Education Intemational

Page #293
kRSNarSigaccha kA saMkSipta itihAsa zivaprasAda prAkmadhyayugIna evaM madhyayugIna nirgranthadarzana ke zvetAmbara AmnAya ke gacchoM meM kRSNarSigaccha bhI eka thA / AcArya vaTezvara kSamAzramaNa ke praziSya evaM yakSamahattara ke ziSya kRSNamuni kI ziSyasaMtati apane guru ke nAma para kRSNarSigacchIya kahalAyI / isa gaccha meM jayasiMhasUri ( prathama ), nayacandrasUri ( prathama ), jayasiMhasUri (dvitIya), prasannacandrasUri ( prathama va dvitIya), mahendrasUri, nayacandrasUri, (dvitIya va tRtIya) Adi kaI vidvAn AcArya hue haiN| isa gaccha meM jayasiMhasUra, prasannacandrasUri aura nayacandrasUri ina tIna paTTadhara AcAryoM ke nAmoM kI prAyaH punarAvRtti milatI hai, ataH yaha mAnA jA sakatA hai ki isa gaccha ke munijana saMbhavataH caityavAsI rahe hoMge / kRSNarSigaccha ke itihAsa ke adhyayana ke liye isa gaccha ke munijanoM kI kRtiyoM kI prazastiyA~ tathA unakI preraNA se pratilipi karAyI gayI mahattvapUrNa granthoM kI dAtAprazastiyA~ upalabdha haiM / isa gaccha se sambaddha koI paTTAvalI prApta nahIM hotI / abhilekhIya sAkSyoM ke antargata isa gaccha ke munivaroM dvArA pratiSThApita jina - pratimAoM para utkIrNa lekhoM kI carcA kI jA sakatI hai| ye lekha vi0 saM0 1287 se vi0 saM0 1616 taka ke haiN| sAmprata lekha meM ukta sabhI sAkSyoM ke AdhAra para isa gaccha ke itihAsa para prakAza DAlane kA prayAsa kiyA gayA hai| I kRSNarSigaccha kA ullekha karane vAlA sarvaprathama sAkSya hai - gaccha ke AdipuruSa kRSNarSi ke ziSya jayasiMhasUri dvArA vi0 saM0 915 / I0 saM0 859 meM racita dharmopadezamAlAvivaraNa kI prazasti' / isameM jo guru- paramparA dI gayI hai, vaha isa prakAra hai : vaTezvara kSamAzramaNa | tattvAcArya yakSamahattara T kRSNarSi jayasiMhasUri [vi0 saM0 915 / I0 san 859 meM dharmopadezamAlAvivaraNa ke racanAkAra] zIlopadezamAlA ke karttA jayakIrti saMbhavataH inhIM jayasiMhasUri ke ziSya the| dAkSiNyacihna udyotanasUri ne kuvalayamAlAkahA' (racanAkAla zaka saM0 700 / I0 sa0 778 ) kI prazasti meM apane guru paramparA kI lambI tAlikA dI hai, jisameM vaTezvarasUri kA bhI ullekha hai| isa tAlikA meM sarvaprathama vAcaka harigupta kA nAma AtA hai, jo torarAya (toramANa) ke guru the| unake paTTadhara kavi devagupta hue, jinhoMne supuruSacariya yA tripuruSacariya kI racanA kI / kavi devagupta ke ziSya zivacandragaNi mahattara hue jinake nAga, vRnda, durga, mammaTa, agnizarmA aura vaTezvara ye 6 ziSya the / vaTezvara kSamAzramaNa ne AkAzavapranagara ( ambarakoTa / amarakoTa) meM jinamaMdira kA nirmANa krvaayaa| vaTezvara ke ziSya tattvAcArya hue| kuvalayamAlAkahA ke racanAkAra dAkSiNyacihna udyotanasUri inhIM tattvAcArya ke ziSya the / isa bAta ko prastuta tAlikA se bhalI bhAMti samajhA jA sakatA hai : For Private Personal Use Only

Page #294
Vol. I-1995 kRSNarSigaccha kA saMkSipta... vAcaka harigupta [toramANa ke guru] kavi devagupta [supuruSacariya ke racanAkAra] zivacandragaNimahattara [bhinnamAla meM sthiravAsa] nAga vRnda durga mammaTa agnizarmA vaTezvara [AkAzavapranagara/ambarakoTa/ amarakoTa meM jinamaMdira ke nirmAtA] tattvAcArya dAkSiNyacihna udyotanasUri [zaka saM0700/I0 sa0 778 meM kuvalayamAlAkahA ke racanAkAra ukta donoM prazastiyoM kI guru-paramparA kI tAlikAoM ke milAna se udyotanasUri aura kRSNarSigacchIya jayasiMhasUri kI guru-paraMparA kI jo saMyukta tAlikA banatI hai, vaha isa prakAra hai: vAcaka harigupta [toramANa ke guru] kavi devagupta [supuruSacariya yA tripuruSacariya ke racanAkAra zivacandragaNi mahattara [bhinnamAla meM sthiravAsa] nAga vRnda durgamammaTa agnizarmA vaTezvara kSamAzramaNa [AkAzavapranagara meM jinamaMdira ke nirmAtA) tattvAcArya yakSamahattara dAkSiNyacihna udyotanasUri [zaka saM0700 / I0 sa0 778 meM kuvalayamAlAkahA ke racanAkAra kRSNarSi jayasiMhasUri [vi0 saM0915 / I0 sa0 859 meM dharmopadezamAlAvivaraNa ke racanAkAra Jain Education Intemational

Page #295
zivaprasAda Nirgrantha (thArApadragaccha se sambaddha vi0 saM0 1084 / I0 sa0 1028 ke lekha meM isa gaccha ke AcArya pUrNabhadrasUri ne bhI vaTezvara kSamAzramaNa kA apane pUrvaja ke rUpa meM ullekha kiyA hai|) kRSNarSigaccha kA ullekha karane vAlA dvitIya sAhityika sAkSya hai vi0 saM0 1390 / I0 sa0 1334 meM isa gaccha ke bhaTTAraka prabhAnaMdasUri dvArA AcArya haribhadra viracita jambUdvIpasaMgrahaNIprakaraNa para likhI gaI TIkA kI prshsti| yadyapi isameM TIkAkAra prabhAnandasUri ke atirikta kisI anya AcArya yA muni kA ullekha nahIM milatA, kintu inakI preraNA se vi0 saM0 1391 / I0 sa0 1335 meM lipibaddha karAyI gayI triSaSTizalAkApuruSacarita kI pratilipi kI dAtAprazasti se inake guru-paramparA ke bAre meM kucha jAnakArI prApta hotI hai| isake anusAra kRSNarSigaccha meM suvihita ziromaNi padmacandra upAdhyAya hue jinakI zAkhA meM bhaTTAraka pRthvIcandrasUri hue| unake paTTadhara prabhAnandasUri ke upadeza se eka zrAvakaparivAra dvArA ukta mahattvapUrNa kRti kI pratilipi karAyI gyii| suvihitaziromaNi padmacandra upAdhyAya bhaTTAraka pRthvIcandrasUri prabhAnandasUri [vi0 saM01390/I0 san 1334 meM jambUdvIpasaMgrahaNIprakaraNasaTIka ke racanAkAra, inake upadeza se vi0 saM0 1391 / I0 sa01335 meM trizaSTizalAkApuruSacarita kI pratilipi kI gayI] kRSNarSigaccha kA ullekha karane vAlA tRtIya sAhityika sAkSya hai isI gaccha ke AcArya jayasiMhasUri dvArA racita kumArapAlacarita (racanAkAla vi0 saM0 1422 / I0 1366) kI prazasti, jisake antargata granthakAra ne apanI guruparamparA dI hai| isake anusAra cAraNa (vAraNa) gaNa kI vajranAgarI zAkhA ke......kula meM kRSNanAmaka mahAtapasvI muni hue| unakI paramparA meM nirgranthacUDAmaNi AcArya jayasiMhasUri hue, jinhoMne vi0 saM0 1301 / I0 sa0 1245 meM marubhUmi se maMtrazakti dvArA jala nikAla kara pyAsa se vyAkula zrIsaMgha kI prANarakSA kii| inake ziSya prabhAvaka ziromaNi prasannacandrasUri hue| inake paTTadhara nispRhaziromaNi mahendrasUri hue, jinakA sammAna muhammadazAha ne kiyA thaa| inhIM ke ziSya jayasiMhasUri hue, jinhoMne vi0 saM0 1422 / I. san 1366 meM ukta kRti kI racanA kI jisakI prathamAdarza prati inake praziSya nayacandrasUri ne likhii| kRSNamuni nirgranthacUDAmaNi jayasiMhasUri [vi0 saM0 1301 / I0 saM0 1245 meM marubhUmi meM jala nikAlakara saMgha kI prANarakSA kI] prabhAvaka ziromaNi prasannacandrasUri nispRha ziromaNi mahendrasari [mummadazAha dvArA sammAnita jayasiMhasUri [vi0 saM0 1422 / I0 sa0 1366 meM kumArapAlacarita ke racanAkAra]

Page #296
Vol. I-1995 kRSNarpigaccha kA saMkSipta... 27 AcArya jayasiMhamUri ne bhAsarvajJa kRta nyAyasAra para nyAyatAtparyadIpikA kI bhI racanA kii| jayasiMhasUri ke praziSya evaM prasannavandrasUri ke ziSya nayacandramUri ne vi0 maM0 1444 / I0 sa0 1388 ke AsapAsa hammIramahAkAvya aura rambhAmaJjarInATikA' kI racanA kii| ina racanAoM kI prazastiyoM meM inhoMne apane praguru jayasiMhasUri kA sAdara smaraNa kiyA hai| jayasiMhasUri prasannacandrasUri nayacandrasUri [vi0 saM0 1444 / I0 sa0 1388 ke lagabhaga hammIramahAkAvya aura rambhAmaMjarInATikA ke racanAkAra] yahI isa gaccha se sambaddha sAhityika sAkSya haiN| jaisA ki pUrva meM kahA gayA hai, isa gaccha ke munijanoM dvArA pratiSThApita jinapratimAyeM bhI upalabdha huI haiN| ina para utkIrNa lekhoM kA vivaraNa isa prakAra hai : Jain Education Intemational

Page #297
zivaprasAda Nirgrantha pratimAlekha saMdarbha grantha lekha kramAMka pratiSThApanA varSa mAha, tithi, bAra | pratiSThApaka AcArya vi0 saM0 bartamAna pratiSThA sthAna 1287 nayacandrasUri phAlguna vadi 3, ravivAra vimalavasahI, | arbudaprAcIna jaina AbU lekha saMdoha, saM0 muni jayaMtavijaya, lekhAGka. 251. 1379 tithi vihIna kA lekha prasannacandrasUri pArzvanAtha kI pratimA paMcAyatI maMdira, | jaina lekha saMgraha, kalakattA bhAga 1, saM0 pUranacanda nAhara, lekhAi, 426 jayasiMhasUri vimalavasahI, AbU munijayaMtavijaya, pUrvokta, lekhAka. 1417 ASADha sudi 5, guruvAra 381. 1483 mAgha sudi 5, guruvAra prasannacaMdrasUri ke | AdinAtha kI cintAmaNi pArzvanAtha bIkAnera jainalekha | paTTadhara nayacandrasUri | dhAtu-pratimA kA jinAlaya, bIkAnera saMgraha, saM0 agaracanda lekha nAhaTA, lekhAGka-724. 1488 nayacandrasUri mArgazIrSa sudi 5 | guruvAra zAMtinAtha kI | vIrajinAlaya, vaidoM vahI, lekhAGka-1343. dhAtukI paMcatIrthI kA cauka, bIkAnera pratimA kA lekha 1498 phAlguna vadi 10 somavAra nayacandrasUri / suvidhinAtha kI jainamaMdira, kAtaragrAma prAcIna lekha saMgraha, dhAtukI pratimA kA saM0 vijayadharma sUri, lekha lekhAGka- 174 1498 phAlguna vadi 10 | jayasiMhasUri ke | sumatinAtha kI somavAra saMtAnIya nayacandrasUri pratimA kA lekha candraprabha jinAlaya, nAhara, pUrvokta, bhAga jaisalamera 3, lekhAGka. 2314. 1501 nayacandrasUri mAgha sudi 10 somavAra zAMtinAtha kI | vIra jinAlaya, pratiSThA lekha saMgraha, paMcatIrthI pratimA kA panavAr3a. saM0 vinayasAgara, lekha lekhAGka. 351. Jain Education Intemational

Page #298
Vol. 1-1995 10. 11. 12. 13. 14. 15. 16. 17. 1506 1506 1506 1510 1512 1521 1524 1532 1534 pauSa sudi 5 23 pauSa sudi 9 mAgha vadi 13 zukravAra jyeSTha sudi 10 budhavAra mArgazira vadi 5 ravivAra ASAr3ha sudi 2 somavAra kRSNarvigaccha kA saMkSipta... ASAr3ha sudi 1 guruvAra nayacandrasUri caitra vadi 5 zanivAra prasannacandrasUri munisuvrata kI pratimA bAlAvasahI, kA lekha zatruJjaya puNyaratnasUri zreyAMsanAtha kI pratimA kA lekha lakSmIsAgarasUri candraprabha kI pratimA kA lekha jayasiMhasUri nayacandrasUri ke vimalanAtha kI dhAtu paTTadhara jayasiMhasUri kI pratimA kA lekha zreyAMsanAtha kI dhAtu jainamaMdira, tUlApaTTI, jainadhAtupratimAlekha kI pratimA kA lekha saM0 muni kAntisAgara, kalakattA lekhA 105. candraprabha kI paMcatIrthI pratimA kA lekha dharmanAtha jinAlaya, nAhara, pUrvokta, bhAga 1 lekhAka 98. bar3A bAjAra, kalakattA nayacandrasUri ke sumatinAtha kI paTTadhara jayacandrasUri paMcatIrthI pratimA kA lekha bAlAvasahI, zatruJjaya vIra jinAlaya, kher3A, gujarAta | sumatinAtha kI dhAtu cintAmaNi pArzvanAtha kI pratimA kA lekha jinAlaya, bIkAnera vahI, lekhA 99. zatruJjavaibhava saM0 munikAntisAgara, lekhA 123 vahI, lekhAGka. 137. jainadhAtupratimAlekha saMgraha, bhAga 2, saM0 muni buddhisAgara, lekhA 455. zAMtinAtha jinAlaya, jinavarasAgara, pUrvokta, rAmapurA lekhA 648 nAhaTA, pUrvokta, lekhAGka 1075. bhANDAgArastha dhAtu- vahI, lekhAka 1378. pratimA, vIra jinAlaya, vedoM kA cauka, bIkAnera

Page #299
zivaprasAda Nirgrantha 1534 mAgha sudi.. zukravArAbha. prasannacandrasUri ke zAMtinAtha kI paTTadhara nayacandrasUri caubIsI pratimA kA - lekha jaina maMdira, bhinAya vinayasAgara, pUrvokta, lekhAGka 782. 19. 1585 (1594 ?) jyeSTha sudi 6 | jayazekharasUri | vAsupUjya kI dhAtu neminAtha jinAlaya, nAhaTA, pUrvokta, kI paMcatIrthI pratimA seThiyoM kA vAsa, | lekhAGka 2326. kA lekha / bIkAnera 1595 mAgha vadi 2 budhavAra jayasiMhasUri ajitanAtha kI dhAtu zAMtinAtha jinAlaya, vahI, lekhAGka 2534. kI paMcatIrthI pratimA hanumAnagar3ha, bIkAnera kA lekha 1616 mAgha sudi 11 dhanacandrasUri, upAdhyAya kamalakIrti Adi | vimalavasahI AbU muni jayantavijaya, pUrvokta, lekhAGka 155, mAgha sudi 11 vimalavasahI AbU vahI, lekhAGka 206. dhanacandrasUri, upAdhyAya kamalakIrti Adi ukta abhilekhIya sAkSyoM ke AdhAra para isa gaccha ke kucha munijanoM kI guru-paramparA kI eka tAlikA isa prakAra banAyI jA sakatI hai: nayacandrasUri (prathama) [vi0 saM0 1287] prasannacandrasUri [vi0 saM0 1379] jayasiMhasUri vi0 saM0 1417] prasannacandrasUri (dvitIya) nayacandrasUri (dvitIya) [vi0 saM0 1483-1506] jayacandrasUri [vi0 saM. 1534] lakSmIsAgarasUri [vi0 saM0 1524] jayasiMhasUri [vi0 saM0 1521-32] jayasiMhasUri [vi0 saM0 1595] abhilekhIya sAkSyoM dvArA nirmita isa tAlikA meM nayacandrasUri, prasannacandrasUri aura jayasiMhasUri ye tIna nAma kumArapAlacarita Jain Education Intemational Jain Education Interational For Private & Person

Page #300
Vol. 1-1995 kRSNapiMgaccha kA saMkSipta... aura hammIramahAkAvya kI prazastiyoM meM bhI A cuke haiN| donoM hI sAkSyoM meM ina nAmoM kI prAyaH punarAvRtti hotI rahI hai / isa AdhAra para kahA jA sakatA hai ki kRSNarSigaccha kI isa zAkhA meM paTTadhara AcAryoM ko jayasiMhasUri, prasannacandrasUri aura nayacandrasUri ye tIna nAma prAyaH prApta hote rhe| ukta tarka ke AdhAra para vi0 saM0 1287 ke pratimAlekha meM ullikhita nayacandrasUri ko nirgranthacUDAmaNi jayasiMhasUri ( jinhoMne vi0 saM0 1301 meM marubhUmi meM bhISaNa tApa ke samaya maMtrazak dvArA bhUmi se jala nikAla kara zrIsaMgha kI prANarakSA kI thI) ke guru ( nayacandrasUri ? ) se samIkRta kiyA jA sakatA hai / kintu inake ziSya prasannacandrasUri aura vi0 saM0 1379 meM pratimApratiSThApaka prasannacandrasUri ko abhinna mAnane meM sabase bar3I kaThinAI yaha hai ki donoM AcAryoM kI kAlAvadhi meM paryApta antara hai / vi0 saM0 1417 ke pratimAlekha ullikhita jayasiMhasUra, kumArapAlacarita aura nyAyatAtparyadIpikA ( racanAkAla vi0 saM0 1422 / I0 sa0 1366 ) racanAkAra jayasiMhari se nizcaya hI abhinna haiN| vi0 saM0 1483 se vi0 saM0 1505 ke madhya pratimA pratiSThApaka nayacandrasUri aura hammIramahAkAvya ( racanAkAla vi0 saM0 1444 / I0 sa0 1388) aura rambhAmaMjarInATikA ke karttA nayacandrasUri ko unake kAlAvadhi ke AdhAra . para alaga-agala AcArya mAnA jA sakatA hai aura yaha kahA jA sakatA hai ki vi0 saM0 1444 aura vi0 saM0 1483 madhya jayasiMhasUra aura prasannacandrasUri ye do AcArya hue, parantu unake bAre meM hameM koI sUcanA prApta nahIM hotI / abhilekhIya sAkSyoM meM ullikhita lakSmIsAgarasUri ( vi0 saM0 1524) aura jayazekharasUri (vi0 saM0 1584) ke bAre meM hameM anyatra koI sUcanA prApta nahIM hotI / isa prakAra sAhityika aura abhilekhIya sAkSyoM dvArA nirmita tAlikAoM ke paraspara samAyojana se kRSNarSigacchIya munijanoM ke AcArya paramparA kI eka vistRta tAlikA banatI hai, jo isa prakAra hai : For Private Personal Use Only

Page #301
zivaprasAda Nirgrantha vAcaka harigupta [toramANa ke guru] kavi devagupta [supuruSacariya yA tripuruSacariya ke racanAkAra] zivacandragaNi mahattara [bhinnamAla meM sthiravAsa] nAga vRnda durga mammaTa anizarmA vaTezvara tattvAcArya dAkSiNyacihna udyotanasUri yakSamahattara kRSNarSi jayasiMhasUri [prathama] [vi0 saM0 915] [vi0 saM0 1287, pratimAlekha) nayacandrasUri [prathama] jayasiMhasUri dvitIya] [vi0 saM0 1301 meM marubhUmi meM bhISaNa tApa ke samaya maMtrazakti se jala nikAla kara saMgha kI prANarakSA kI] prabhAvakaziromaNi prasannacandrasUri [prathama] mahendrasUri nispRhaziromaNi [muhammadazAha dvArA sammAnita jayasiMhasUri [tRtIya] [vi0 saM0 1422 / I0 sa0 1366 meM kumArapAlacarita evaM nyAyatAtparyadIpikA ke racanAkAra] prasannacandrasUri [dvitIya] nayacandrasUri [dvitIya] [vi0 saM0 1444 / I0 sa0 1388 ke AsapAsa hammIramahAkAvya evaM rambhAmaMjarInATikA ke racayitA] prasannacandrasUri [tRtIya] Jain Education Intemational

Page #302
Vol. I-1995 kRSNarSigaccha kA saMkSipta... [vi0 saM0 1483-1506] pratimAlekha nayacandrasUri [tRtIya] lakSmIsAgarasUri [vi0saM0 1524, pratimAlekha] jayasiMhasUri [caturtha] [vi0saM01516-1532, pratimAlekha] jayacandrasUri [vi0saM0 1534, pratimAlekha jayazekharasUri [vi0 saM0 1585, pratimAlekha] jayasiMhasUri [vi0 saM0 1595, pratimAlekha] dhanacandrasUri, kamalakIrti Adi [vi0 saM0 1616, pratimAlekha] abhilekhIya sAkSyoM dvArA kRSNarSigaccha kI eka kRSNarSitapAzAkhA kA bhI patA calatA hai| isa zAkhA se sambaddha vi0 saM0 1450 se vi0 saM0 1510 taka ke pratimAlekha prApta hue haiN| inakA vivaraNa isa prakAra hai: 1450 mAgha vadi 9 somavAra puNyaprabhasUri | padmaprabha kI cintAmaNi pArzvanAthanAhaTA, pUrvokta lekhAma dhAtupratimA kA lekha jinAlaya, bIkAnera, 558. 2. / 1473 jyeSTha sudi 5 | puNyaprabhasUri | supArzvanAtha kI AdinAtha jinAlaya, vinayasAgara, pUrvoktapaMcatIrthI pratimA kA mAlapurA. | lekhAGka 211. lekha 1483 / bhAdrapada vadi guruvAra | puNyaprabhasUri ke | deharInaM 18 para |jainamaMdira, jIrAvalA arbudAcala pradakSiNA paTTadhara jayasiMhasUri utkIrNa lekha jainalekha saMgraha, saM0 munijayanta vijaya, lekhAGka 138. 1483 bhAdrapada vadi.7 puNyaprabhasUri ke | deharI naM. 20 para jainamaMdira, jIrAvalA vahI, lekhAGka 141. | paTTadhara jayasiMhasUri utkIrNa lekha guruvAra 1489 mAgha vadi 6 ravivAra jayasiMhasUri | AdinAtha kI cintAmaNi pArzvanAtha nAhaTA, pUrvokta, dhAtupratimA kA lekha jinAlaya, bIkAnera lekhAGka 744. 1503 | ASAr3ha sudi 9 | jayasiMhasUri ke dharmanAtha kI pratimA vIra jinAlaya, purAnI nAhara, pUrvokta, bhAga paTTadhara jayazekharasUri kA lekha | maMDI, jodhapura | 1, lekhAGka 586. Jain Education Intemational

Page #303
zivaprasAda Nirgrantha 1505 vaizAkha sudi 6 / jayasiMhasUri ke candraprabha kI dhAtu kIcintAmaNi pArzvanAtha nAhaTA, pUrvokta, somavAra paTTadhara jayazekharasUri pratimA kA lekha | jinAlaya, bIkAnera lekhAGka 890. 1508 vaizAkha sudi 5 | jayasiMhasUri ke zAMtinAtha kI dhAtu lakkar3avAsa kA vijayadharmasUri, pUrvokta, somavAra |paTTadhara jayazekharasUri kI pratimA kA lekha maMdira, udayapura | lekhAGka 237. 1510 mArgazIrSa sudi 10 ravivAra jayasiMhasUri kI saMbhavanAtha kI dhAtu | mahAvIra jinAlaya, zAkhA ke kI pratimA kA lekha vaidoM kA cauka, / kamalacandrasUri bIkAnera nAhaTA, pUrvokta, lekhAGka 1213. abhilekhIya sAkSyoM ke AdhAra para kRSNarSigaccha kI kRSNarSitapAzAkhA kI munijanoM ke guru-paramparA kI jo tAlikA banatI hai, vaha isa prakAra hai: puNyaprabhasUri [vi0 saM0 1450-1473, pratimAlekha] jayasiMhasUri [vi0 saM0 1483-1487, pratimAlekha] kamalacandrasUri jayazekharasUri [vi0 saM0 1510, pratimAlekha [vi0 saM01503-1508 pratimAlekha] kRSNarSitapAzAkhA ke pravartaka kauna the, yaha zAkhA kaba aura kisa kAraNa se astitva meM AyI, isa bAta kI koI jAnakArI nahIM miltii| niSkarSa ke rUpa meM kahA jA sakatA hai ki kRSNarSigaccha vi0 saM0 kI 9vIM zatI ke aMtima caraNa taka avazya hI astitva meM A cukA thaa| vi0 saM0 kI 10 vIM zatI ke prArambha kA kevala ekamAtra vivaraNa hai jayasiMhasUri kRta dharmopadezamAlAvivaraNa kI prazasti / isake lagabhaga 350 varSoM pazcAt hI isa gaccha ke bAre meM vivaraNa prApta hote haiM aura ye sAkSya vi0 saM0 kI 17vIM zatI ke prArambha taka jAte haiN| yadyapi isa gaccha ke bAre meM lagabhaga 350 varSoM taka koI vivaraNa prApta nahIM hotA, kintu isa gaccha kI avicchinna paramparA vidyamAna rahI hogI, isa tathya ko asvIkAra nahIM kiyA jA sktaa| vi0 saM0 kI 16vIM zatI ke pazcAt isa gaccha ke sambandha meM koI bhI vivaraNa na milane se aisA pratIta hotA hai ki isa samaya taka isa gaccha kA astitva samApta ho gayA hogA aura isake anuyAyI kisI anya gaccha meM sammilita ho gaye hoNge| saMdarbhasUcI:1. dharmopadezamAlAvivaraNa, saM0 paM0 lAlacaMda bhagavAnadAsa gAMdhI, siMdhI jaina granthamAlA, granthAGka 28, bambaI 1949, pR0 228-230; paM0 lAlacanda bhagavAnadAsa gAMdhI, aitihAsika lekhasaMgraha, zrI sayAjI sAhityamAlA, puSpa 335, var3odarA 1963, pR0 304 aura Age; aura tripuTI mahArAja, jaina paramparAno itihAsa, zrI cAritra smAraka granthamAlA, granthAGka 51, ahamadAbAda 1952, pR0 518 aura Age. Jain Education Intemational

Page #304
Vol. I-1995 kRSNarSigaccha kA saMkSipta... 2. zIlopadezamAlA, gujarAtI bhASAntara, anuvAdaka harizaMkara kAlidAsa zAstrI, ahamadAbAda 1900; paM0 lAlacaMda bhagavAnadAsa gAMdhI, aitihAsika0, pR0 314. 3. kuvalayamAlAkahA, saM0 AdinAtha neminAtha upAdhye, siMdhI jaina granthamAlA, granthAGka 45, bambaI 1959, pR0 282-284. 4. ambAlAla premacaMda zAha, jainatIrtha sarvasaMgraha khaMDa 1, bhAga 1, ahamadAbAda 1953, pR0 39. 4. Muni Punyavijaya, New Catalogue of Prakrit and Sanskrit Mss. Jesalmer Collection, L. D. Series No-36 Ahmedabad-1972, p. 303, No. 1492. &. Muni Punyavijaya, Catalogue of Palm-Leaf Mss in the Shantinath Jain Bhandar, Cambay, Part II,G.O. S.No-149, Baroda 1966, p. 301-302. . H. R. Kapadia, Descriptive Catalogue of the Govt. Collections of Mss. desposited at the Bhandarkar Oriental Research Institute Volume XIX, Section II, Part I, B.O.R. I. Pune 1967, pp. 176-178. 8. nyAyatAtparyadIpikA, saM0 mahAmahopAdhyAya satIzacaMdra vidyAbhUSaNa, Asiatic Society of Bengal, Calcutta 1910. 9. hammIramahAkAvya, saM0 muni jinavijaya, rAjasthAna purAtana granthamAlA, granthAGka 65, jodhapura 1968. 10. H. D. Velankar, Jinaratnakosha, Bhandarkar Oriental Research Institute, Government Oriental Series, Class c, No. 4, Poona 1944, p. 329.

Page #305
zrI pArzvanAga viracita 'AtmAnuzAsana' - eka adhyayana jitendra bI0 zAha AtmahitopalakSita aura naitika upadeza se yukta AtmAnuzAsana eka alpajJAta kintu mahattvapUrNa kRti hai| saMskRta padyoM meM nibaddha prastuta racanA sarala, sarasa evaM manohara hai, parantu prakAzita hote hue bhI aba duSprApya hai| nirgranthoM kI mAnyatAnusAra AtmA karma se baddha hai aura usake vipAka se jIva sukha-duHkha kA anubhava karatA hai| sukha meM Asakti evaM duHkha meM viSAda karatA hai| krodha, mAna, mAyA tathA lobhAdi kaSAya se lipta hai, jisa kAraNa AtmA saMsAracakra meM paribhramaNa karatA hai| isa paribhramaNa se mukta hone ke lie AtmA ko anuzAsita karanA caahie| AtmA para anuzAsana karane ke lie usako samabhAva meM sthira karane kA upadeza sAMprata racanA meM diyA gayA hai| tathA durguNoM kA tyAga, naitika sadAcAra tathA saMsAra kI asAratA Adi kA prAsaMgika varNana bhI samAviSTa kara liyA gayA hai| AryAvRtta meM 77 padyoM meM nibaddha AtmAnuzAsana kA nAndIpadya evaM aMtima do padya isa prakAra haiM : sakala tribhuvana tilakaM prathama devaM praNamya sarvajJam / AtmAnuzAsanamahaM svaparahitAya pravakSyAmi // 1 // iti pArzvanAga viracitamanuzAsanamAtmano vibhAvayatAm / samyagbhAvena nRNAM na bhavati duHkhaM kathaJcidapi // 76 / / dvayamralacatvAriMzat samadhikavatsara sahasra saGkhyAyAm / bhAdrapada pUrNimAsyAM budhottarA-bhAdrapadikAyAm / / 77 / / prathama padya meM AtmAnuzAsana kI racanA kI pratijJA karate hue svayaM kartA ne hI isa laghugrantha kA nAma sUcita kiyA hai / 76 veM padya meM kartA ne apanA nAma - pArzvanAga prakaTa kiyA hai| aura AkharI padya meM racanA saMvat diyA hai, jisa para Age gaura kiyA jaayegaa| jaina prakaraNa sAhitya kA avalokana karane se hameM AtmAnuzAsana nAmaka tIna grantha prApta hote haiN| yathA : (1) guNabhadra kRta AtmAnuzAsana,' (2) pArzvanAga viracita AtmAnuzAsana' aura (3) jinezvarAcArya racita AtmAnuzAsana prathama AtmAnuzAsana ke kartA guNabhadra, paJcastUpAnvayI digambarAcArya jinasena ke ziSya evaM rASTrakUTa samrATa amoghavarSa ke samakAlIna the| unhoMne IsvI0 navama zataka ke prAya: tRtIya caraNa meM AtmAnuzAsana kI racanA kI hai| yaha vividha chaMda yukta 270 padyoM meM nibaddha hai evaM samAsa-bahula hote hue bhI manohara racanA hai| AtmA ko lakSya banAkara vinirmita kie jAne para bhI isameM kahIM-kahIM dArzanika siddhAntoM kA samAveza bhI dRSTigocara hotA hai| dvitIya AtmAnuzAsana ke kartA pArzvanAga guNabhadra ke bAda hue haiN| sambhava ho sakatA hai ki prastuta kRti kI racanA karane kI preraNA unheM AcArya guNabhadra ke AtmAnuzAsana se milI ho / donoM kRtiyoM kA uddezya eka hI hai, tathApi zailI sarvathA bhinna hai| prastuta prakaraNa eka hI chanda meM sarala evaM subodha bhASA meM racA gayA hai| nAma sAmya ke atirikta aura koI samAnatA dikhAI nahIM detii| tRtIya AtmAnuzAsana ke kartA jinezvarAcArya kharataragaccha kI pUrva-paramparA meM hue, usI abhidhAna ke tIna

Page #306
zrI pArzvanAga viracita... AcAryoM meM se eka ho sakate haiN| yadi ve prathama jinezvarasUri hoM to racanA kA samaya IsvI0 11vIM zatI pUrvArdha kahA jA sakatA hai / isa AtmAnuzAsana kI bhASA prAkRta hai aura 40 padyoM meM baddha kiyA gayA hai / yaha kRti aprakAzita hone se isakI pArzvanAga ke AtmAnuzAsana ke sAtha tulanA karanA sambhava nahIM / Vol. 1-1995 prastuta lekha meM anulakSita AtmAnuzAsana ke uparokta 76 veM padya meM karttA ne apanA nAma pArzvanAga batAyA hai, yadi vaha muni rahe hoM to unake guru paramparA, gaNa, kula yA gaccha Adi ke viSaya meM koI bhI nirdeza nahIM milatA hai| zvetAmbara paramparA ke IsvI0 navama- dazama zataka meM hue saiddhAntika yakSadevasUri ke ziSya kA nAma pArzva hai| unhoMne vi0 saM0 961 arthAt I0 saM0 905 meM vaMdittusUtra kI vRtti racI hai; parantu samaya sthiti dekhate hue donoM bhinna pratIta hote haiN| eka anya pArzvanAga kA ullekha hameM jambU kavi ke jinazataka para viracita zAmba muni kI paJjikA meM isa prakAra milatA hai : khyAto 'bhaTTika' deza saMdhiSu sadA (5) bhUta pArzvanAgAbhidaH (dhaH) / zrI (zrAvastasya suteca (na) malhana iti khyAtiM gataH sarvataH / tatputreNa va (ca) duggargakeNa sudhiyA protsAhite nAdarAbrI (cchrI) nAgendra kulodbhavena muninA sAMbena vRttiH kRtAH // 8 // 37 zAmba muni ne yaha paJjikA vi0 saM0 1025 arthAt IsvI0 969 meM pUrNa kI hai aura vaha pArzvanAga ke pautra ke hitArtha racI gaI hai| prastuta AtmAnuzAsana ke kartA pArzvanAga ke samaya se unakA samaya prAyaH tIna dazaka pUrva kA hai ataH ve bhI AtmAnuzAsana ke kartA nahIM ho skte| kucha 'hastapratoM meM racanAvarSa nirdezaka gaNita - zabda 'dvayagrala' ke badale 'dvyaGgula' bhI milatA hai| yadi usako svIkArA jAya to racanA samaya saMvat 1052 prApta hotA hai lekina prAcInatama evaM tADapatrIya pANDulipi meM to 'icagrala' hI pATha milatA hai, isalie racanA saMvat 1042 (IsvI 986) ko hI mAnanA vizeSa upayukta hogA / I kRti ke AdhAra para kartA ke sampradAya kA nirNaya karanA kaThina kArya hai| maMgalAcaraNa ko dekhane para digambarAcArya kI kRti kA AbhAsa hotA hai / parantu pArzvanAga yA nAgAnta nAma ke koI digambara karttA hue hoM aisA jJAta nahIM hai / dUsarI ora zvetAmbara paramparA meM nAgAnta abhidhAna vAle AcArya evaM muni mila jAte hai / antaraMga sAkSya ke AdhAra para usameM kahIM bhI sampradAya nirdezaka saMketa kA spaSTa ullekha nahIM milatA hai tathA isa kRti kI eka bhI prati digambara bhaNDAroM se prApta nahIM hotI hai; dUsarI ora zvetAmbara AmnAya ke aneka saMgrahoM ke vipula saMkhyA meM usakI pratiyA~ mila jAtI hai; ataH sambhava hai ki kartA zvetAmbara paramparA ke hI rahe hoN| aba hama kucha aise pramANa prastuta kareMge jisase uparokta sambhAvanA kI puSTi ho jAtI hai| (1) cAra gati rUpa saMsAra meM alpamAtra sukha nahIM hai, aise bhAva ko pradarzita karate hue 27veM padya meM cAra gati kA krama isa prakAra rakhA gayA hai : tiryaktve manuSyatve, nAraka bhAve tathA ca devatve / .... // 27 // yahA~ nAraka evaM deva gati kA krama zvetAmbarIya tattvArthAdhigamasUtra kI paramparA kA anusaraNa karate hue rakhA gayA hai| jaba ki digambarIya paramparA ke tattvArthasUtra meM prathama deva gati ke bAda nAraka gati kA ullekha karatA huA sUtra prApta hotA hai /

Page #307
jitendra bI0 zAha (2) uttarAdhyayanasUtra ke tRtIya adhyAya 'cAuraMgijjaM (prAyaH mauryakAla) meM kahA gayA hai ki : cattAri paramaMgAni dullahANIha jaMtunA / mAnusaMttaM sutI saddhA, saMjamaMhi ya vIriyaM // 41 // 38 tathA dazama adhyayana "dumapattayaM" meM laDUna vi mAnusattanaM AriattaM punaravi dullahaM ..... / / 16 / / laDUna vi Ariyattana, ahIna paMciMdiyayA hu dullhaa.....||17|| . ahInapaMciMdiyattaM pi se lahe, uttama dhamma sutI hu dullahA // 18 // laDUna vi uttamaM sutI, saddahanA punaravi dullahA ..... / / 19 / / dhammaM pihU sadahaMtayA, dullahayA kAena phAsatAM / iha kAma guNehi mucchiyA, samayaM gotama ! mA pamAdae.....||20|| arthAt manuSyatva, Aryatva, paMcendriyatva, dharmazruti zraddhA evaM AcaraNa kramazaH durlabha haiM ataH eka kSaNa kA bhI pramAda nahIM karanA caahie| karIba isI prakAra kA kathana karane vAlI AryA, AtmAnuzAsana meM bhI prApta hote haiN| yathA: mAnuSatAmAyuSkaM bodhiM ca sudurlabhAM sadAcAraM / nIrogatAM ca sukule janma paTutvaM ca karaNAnAm / / 55 / / AsAdyaivaM sakalaM pramAdato mA kRthA vRthA hanta / svahitamanutiSTha tUrNaM yena punarbhavasi no duHkhI // 56 // ataH yaha spaSTa hai ki karttA uttarAdhyayana se paricita the / (3) sUtrakRtAMga aMtargata vIratthava (prAyaH IsA pUrva dUsarI zatAbdI) meM arhat vardhamAna kI uttamatA siddha karane ke lie jisa prakAra alaga-alaga upamA dRSTAnta diye gaye haiM usI prakAra prastuta kRti meM bhI dharma kI uttamatA siddha karane ke lie upamA dRSTAnta die gaye haiM / yathA : jodhe nAte jatha vIrasene pupphesu vA jatha aravinda mAhu / khattIna seThe jatha daMtavakke isIna seThe tatha vaddhamAne / / 22 / / - vIratthayo Nirgrantha yadvaduDUnAM zazabhRt, zailAnAM merUparvato yadvat / tadvaddharmANAmiha dharmapravaro dayAsAraH / / AtmAnuzAsana- 61 yadyapi dRSTAnta eka nahIM lekina donoM ke bIca zailI kA sAmya spaSTa hai / ina sabake AdhAra para zvetAmbara kartRtva puSTa hotA hai|

Page #308
Vol. I-1995 zrI pArthanAga viracita... AtmAnuzAsana kA saMkSipta paricaya : AtmA pUrvArjita azubha karma ke phala svarUpa aneka prakAra ke duHkha kA anubhava karatA hai, phira bhI asAra saMsAra meM vairAgya bhAva prApta nahIM karatA hai, yahI sabase bar3A Azcarya hai, yaha kaha kara isa grantha kA prArambha kiyA gayA hai| saMsAra meM jIva kisI bhI prakAra ke duHkha kA bhoga karatA hai, to vaha saba pUrvakRta azubha karmoM ke phala svarUpa karatA hai| ataH dukha ke nimitta anya ke prati dveSa karanA, duHkhI honA aura dainyabhAva kA AcaraNa karanA kevala mUrkhatA hai| dhIra puruSa ko aise samaya meM samatAbhAva kA hI Azraya lenA cAhie, apane azubha karma ko svayaM hI dhairya pUrvaka bhoga karake naSTa karanA caahie| mana meM zoka karanA ucita nahIM hai, "jo honA hotA hai, vaha avazya hotA hai"- aisA mAnakara samabhAva rakhane kA upadeza prastuta grantha meM diyA gayA hai| manuSya sukha, sampatti, aizvarya Adi bhAgya (pUrvakRta karmAnusAra) se hI prApta karatA hai kintu bhAgya jaba viparIta hotA hai taba saba naSTa hone lagatA hai| mitra zatru bana jAte haiM, svajana parAye hote haiM, bandhu bhI chor3akara cale jAte haiM evaM sevaka AjJA kA ullaMghana karane lagate haiN| samAna parizrama karane para bhI bhAgyavaza eka ko lAbha milatA hai aura dUsare ko hAni hotI hai| yaha saba vidhi kI vicitratA hai, yaha bAta mAnakara usakA punaH punaH cintana karake viSama paristhiti meM bhI duHkhI nahIM honA caahie| deva-devendra bhI vipatti se pare nahIM hai, taba manuSya kI to bAta hI kyA ? ataH vipatti se DaranA nahIM caahie| anukUla yA pratikUla paristhitiyoM meM samabhAva rakhate hue jo karttavya hai, use avazya karanA cAhie, karttavya se vimukha nahIM honA cAhie / lakSmI, bala, rUpa evaM tAruNya, zarIra, Ayu Adi kSaNabhaMgura hai, ataH usameM Asakta honA nirarthaka hai| manuSyabhava durlabha hai aura zubhAzubha karma hI usake zaraNa rUpa haiN| zubha karma arthAt puNya karma karane yogya haiM aura azubha karma yAni pApa se dUra ho kara kevala Atmahita meM rata rahanA caahie| parastrI, paradhana, pIDAkAraka vacana, mAtsarya, paizunya, nighRNatA, kuTilatA, asantoSa, kapaTa aura ahaMkAra kA tyAga karake paropakAra, dharmaparAyaNatA, samabhAva aura nirmala hRdaya rakhanA cAhie, jisase mukti-sukha ke nikaTa pahuMcanA sahaja ho jaaye| satya, dayA, dAna, lajjA, jitendriya, gurubhakti, zruta, vinaya Adi manuSya ke AbhUSaNa haiN| isa prakAra dharma kA Azraya grahaNa karake manuSya-jIvana ko sArthaka karane kI bAta prastuta kRti meM kahI gaI hai| AtmAnuzAsana ke kartA ne kucha padyoM meM varNAnuprAsa kA prayoga karake usake geyatattva ko puSTa kiyA hai| yathA : na gajaina hayairna rathairna bhaTairna dhanairna sAdhanairbahubhiH / na ca bandhubhiSagdevairmRtyoH parirakSyate prANI // 33 // na gRhe na bahirna jane, na kAnane nAntikena vA dare / na dine ca kSaNadAyAM, pApAnAM bhavati ratibhAvaH // 47 / / prastuta kRti meM yU~ to koI vizeSa alaMkAra kA prayoga nahIM, phira bhI lakSmI, rUpa, bala, Ayu, tAruNya evaM jIvana ke upalakSa meM bhinna-bhinna upamAoM kA prayoga kiyA gayA hai jo isa prakAra hai : zrIrjalataraGgataralA, sandhyArAgasvarUpamatha rUpam / dhvajapaTacapalaM ca balaM, taDillatodyotasamamAyuH / / 31 / / Jain Education Intemational

Page #309
jitendra bI0 zAha Nirgrantha tAruNye nalinIdala - saMsthitajalabindugatvare dRSTe / vAtAhatadIpazikhAtaralatare jIvitavye ca / / 35 / / isa prakAra sAdhAraNa zailI meM viracita prastuta kRti AtmA ko samabhAva meM sthira rakhane ke lie evaM adhyAtma kA upadeza dene vAlI sundara kRti hai| do bhinna sthAna para prakAzita isa kRti ke pATha meM kahIM-kahIM antara hai| prAcInatama pratiyoM kA milAna karake isakA vizeSa vizvasanIya pATha hama taiyAra kara rahe haiM, vaha yathA samaya prakAzita hogaa| saMdarbhasUcI: 1. AtmAnuzAsana, AcArya guNabhadra, jaina saMskRti saMrakSaka saMgha, zolApura vi0 saM0 2018 (I0 sa0 1968). 2. AtmAnuzAsana, pArzvanAgagaNi viracita, zrI satyavijaya jaina granthamAlA naM0 11, ahamadAbAda 1928. 3. aprkaashit| 4. mohanalAla dalIcanda dezAI, jaina sAhityano saMkSipta itihAsa, jaina zvetAmbara kAnpharansa, mumbaI 1933, pR0 282. 4. Descriptive Catalogue of Government Collections of Manuscripts, Jain Literature and Philosophy, Vol. XIX, pt. 1, Svetambar Works, ed. Hiralal Rasiklal Kapadia, Bhandarkar Oriental Research Institute, Poona 1957, p. 230. 6. Catalogue of Palm Leaf Manuscripts in the Santinatha Jain Bhandara Cambay, pt. 1, Gaekwad's Oriental Series, pt. 1, No. 135, Baroda 1961, p. 138. 7. nArakadevAnAmupapAta:- tattvArthAdhigamasUtra bhASAnuvAda, paM0 khUbacaMdajI, zrImad rAjacaMdra Azrama, agAsa 1932, 2/35. 8. devanArakANAmupapAdaH 2/35 tattvArthasUtra, umAsvAmi, saM0 paM0 e. zAntirAja zAstrI, Government Oriental Library, maisUra 1944. prastuta lekha taiyAra karane kI preraNA prA0 madhusUdana DhAMkI se milI aura lekha ko Adyanta dekhakara unhoMne yogya sUcana die, jisake / liye maiM unakA AbhArI huuN| zrI pArzvanAgaviracitam // AtmAnuzAsanam // sakalatribhuvanatilakaM, prathamaM devaM praNamya sarvajJam / AtmAnuzAsanamahaM, svaparahitAya pravakSyAmi // 1 // samaviSamabhittiyoge, vividhopadravayute'tibIbhatse / ahivRzcikagodheraka-kRkalAsagRholikAkIrNe // 2 // kArAvezmanivAso, bhUzayanaM jnvimiisngkocH| sAdhikSepAlApAH, zItAtapavAtasantApAH // 3 // mUtrapurISanirodhaH, kSuttRhapIDAvinidratAbhItiH / arthakSatiranyadapi ca, cittavapuH klezakutpracuram // 4 //

Page #310
Vol. I-1995 zrI pArzvanAga viracita... anubhUtaM sakalamidaM pUrvArjitakarmapariNativazena / saMsAre saMsaratA, pratyakSaM jIva ! bhavateha // 5 // manasApi na vairAgyaM, vrajasi manAgapi tathApi mUDhAtman ! / gurukarmaprAgbhArA- veSTita ! nirdeSTasaceSTa ! // 6 // udvijase duHkhebhyaH, samIhase sarvadaiva saukhyAni / atha ca na karoti tattvaM yena bhavatyabhimataM sakalam // 7 // yajjIva ! kRtaM bhavatA, pUrvaM tadupAgataM tavedAnIm / kiM kuruSe paritApaM, saha manasaH pariNatiM kRtvA // 8 // yadi bhoH pUrvAcaritairazubhaiH, saMdaukitaM tavAzarma / tatkiM pare prakupyasi, samyagbhAvena saha sarvam // 9 // mA vraja khedaM mAgaccha, dInatAM mA kuru kvacitkopam / tatpariNamatyavazyaM, yadAtmanopArjitaM pUrvam // 10 // sukhaduHkhAnAM karttA, harttA'pi na ko'pi kasyacijjantoH iti cintaya sadbhuddhyA, purAkRtaM bhujyate karma // 11 // tatprArthitamapi yatnAn, na bhavediha yanna pUrvavihitaM syAt / manasi na kAyaH zoko, yadbhAnyaM tadbalAdbhavati // 12 // kriyate naiva viSAdo, vipatsu harSo na caiva sampatsuM / ityeSa satAM mArgaH, zrayaNIyaH sarvadA dhIraiH // 13 // pUrvakRtasukRtaduSkRtavazena, yadiha haMta sampado vipadaH / AyAnti tadanyasmin kRtena kiM toSadoSeNa // 14 // yadipUrvakarmavazavarttino janAH prApnuvanti sukhaduHkhe / to nimittamAtraM, paro bhavatyatra kA bhrAntiH // 15 // mitraM bhavatyamitraM, svajano'pi paro na bandhurapi bandhuH / karmakaro'pyavidheyaH, puMsAM hi parAmukhe daive / / 16 / / na svAmino na mitrAnna, bAndhavAtpakSapAtino na parAt / kiM bahunA kasmAdapi, na sarati kAryaM vidhau vimukhe || 17 || yadi gamyate sakAze, parasya cATUni yadi vidhIyante / tadapi sukRtena vinA, kenApi bhavetparitrANam ||18| 41

Page #311
42 jitendra bI0 zAha AyAnti balavatAmapi, yadi vipado devadAnavAdInAm / tadaho svalpatarAyuSi narajanmani ko viSAdaste // 19 // kasya syAnna skhalitaM pUrNAH sarve manorathAH kasya / kasyeha sukhaM nityaM, daivena na khaNDitaH ko vA // 20 // svacchAzayAH prakRtyA, parahitakaraNodayatA ratA dharme / sampadi nahi sotsekA, vipadi na muhyanti satpuruSAH ||21|| .na savASpaM bahuruditairna, pUtkRtairnava cittasantApaiH / na kRtairdInAlApaiH, purAkRtAt karmaNo muktimH ||22|| bahuvividhApanmadhye, kSaNamapi yajjIvyate tadAzcaryam / na ciraM kSudhitamukhasthaM, sarasaphalamacarvitaM tiSThet // 23 // nUnaM same'pi yatne, bhAvyaM yad yasya tasya tad bhavati / ekasya vibhavalAbhacchedaH pratyakSamaparasya ||24|| vikaTATavyAmaTanaM, zailArohaNamapAMnidhestaraNaM / kriyate guhApravezo, vihitAdadhikaM kutastadapi // 25 // yadyapi puruSAkAro, nirarthako bhavati puNyarahitAnAm / tat kartavyo naivana, yathocitaM tadapi karaNIyam ||26|| tiryaktve manujatve, nArakabhAve tathA ca devatve / na caturgatike'pi sukhaM, saMsAre tattvataH kiJcit // 27 // asminniSTaviyogo, janmajarAmaraNaparibhavA rogAH / tyakto yatibhirasa-rata eva hyeSa saMsAraH ||28|| yasya kRte tvaM mohA - dvidadhAsyavivekapAtakaM satatam / na bhaviSyati tat zaraNaM, kuTumbakaM ghoranarakeSu / / 29 // na vidhIyate'nubandho, yenApagame'pi bhavati no duHkham / AyAti yAti lakSmI ryato'hicapalAsvabhAvena ||30|| zrIrjalataraGgattaralA, sandhyArAgasvarUpamatha rUpam / dhvajapaTacapalaM ca balaM, taDillatoyotasamamAyuH ||31|| ye cAnye'pi padArthA, dRzyante ke'pi jagati ramaNIyAH / teSAmapi cArutvaM, na vidyate kSaNavinAzitvAt // 32 // na gajairna hayairna rathairna bhaTairna dhanairna sAdhanairbahubhiH / na ca bandhubhiSagdevairmRtyoH parirakSyate prANI // 33 // For Private Personal Use Only Nirgrantha

Page #312
Vol. I-1995 zrIpArzvanAga viracita... viSayanyAkulitamanA, yasya nikRSTasya kAraNe vpussH| pIDayasi prANagaNaM, tadapi na tava zAzvataM manye // 34 // tAruNye nalinIdala, saMsthitajalabindugatvare dRSTe / vAtAhatadIpazikhA-taralatare jIvitavye ca // 35 // vibhave ca mattakarivara-karNacale caJcale zarIre'pi / pApamazarmakaraM tava, kSaNamapi no yujyate kartum // 36 // jananI janako bhAtA, putro mitraM kalatramitaro vaa| darIbhavanti nidhane, jIvasya zubhAzubhaM zaraNam // 37 // yatparalokaviruddhaM, yannindAkaramihaiva janamadhye / antyAvasthAyAmapi, tadakaraNIyaM na karaNIyam // 38 // samprApyetarajanmani, sudurlabhe nijahitaM parityajya / kiM kalmaSANi kuruSe dRDhAni nijabandhanAnIha // 39 // bhavakoTISvapi durlabha-midamupalabhyeha mAnuSaM janma / yena na kRtamAtmahitaM, nirarthakaM hAritaM tena // 40 // mA cintaya paradArAna, paravibhavaM mAbhivAJcha manasApi / mA brUhi paruSavacanaM, parasya pIDAkaraM kaTukam // 41 // paizUnyaM mAtsarya, nighRNatAM kRTilatAmasantoSam / kapaTaM sAhaMkAraM, mamatvaMbhAvaM ca vijahIhi // 42 // ye vidadhatyupapApaM, parasya lubdhA dhane kRtaanyaayaaH| jIvitayauvanavibhavA-steSAmapi zAzvatA naiva // 43 // iSTaM sarvasya sukha, duHkhamaniSTaM vibhAvya manasIdam / mA cintaya parapApaM, kvacidapyAtmani yathA tadvat // 44 // kAyena mAnasena ca, vacanena ca tadvadeva karttavyam / yena bhavedvairAgyaM, prazAntatA tApazamanaM ca // 45 // vyAdhirdhanasya hAniH, priyaviraho durbhagatvamudregaH / sarvatrAzAbhaGgaH, sphuTaM bhavatyakRtapuNyasya / / 46 // na gRhe na bahirna jane, na kAnane nAntikena vA duure| na dine ca kSaNadAyAM, pApAnAM bhavati ratibhAvaH // 47 // divasaM gataM na rajanI, rajanI yAtA na yAti divasaM tu / duSkRtinAM puruSANA-manantaduHkhaughataptAnAm // 48 // Jain Education Intemational

Page #313
jitendra bI0 zAha Nirgrantha iha jIvatAM paribhavo, ghore narake gatima'tAnAntu / kiMbahunA jIvAnAM, pApAtsarvANi duHkhAni // 49 // ye svAminaM guruM vA, mitraM vA vaJcayanti vizvastam / aparaM tu nAsti teSAM, nUnaM sukhamubhayaloke'pi // 50 // satyaM jIveSu dayA, dAnaM lajjA jitendriyatvaM ca / gurubhaktiH zrutamamalaM, vinayo nRNAmalaGakAraH // 51 // yadbhaktiH sarvajJe, payatnastatpraNItasiddhAnte / yatpUjanaM yatInAM, phalametajjIvitavyasya // 52 // 'cintayatAM zucitvaM, hitavacanaM jalpatAM zamaM dadhatAm / sanmAnayatAM munijana-mahAni yAntIha puNyavatAm // 53 // parihataparinindAnAM, sarvasyopakRtikaraNaniratAnAm / dhanyAnAM janmedaM, dharmaparANAM sadA vrajati // 54 // mAnuSatAmAyuSkaM, bodhiM ca sudurlabhAM sadAcAram / nIrogatAM ca sukule, janma paTutvaM ca karaNAnAm // 55 // AsAdayedaM sakalaM, pramAdato mA kRthA vRthA hanta / svahitamanutiSTha tUrNaM, yena punarbhavasi no duHkhI // 56 // sAmagrI paripUrNA-mavApya viduSA tadeva karttavyam / saMsAragahana bhUmau, bhUyo'pi na bhUyate yena // 17 // yAvaccharIrapaTutA yAvanna jarA tathendriyabalAni / tAvannareNa tUrNaM svahitaM pratyudayamaH kaaryH||58|| tpaja hiMsAM kuru karuNAM, samyak sarvajJazAsane'bhihitAm / vijahIhi mAnamAyA-lobhAnRtarAgavidveSA~zca // 19 // dharmaparANAM puMsAM jIvitamaraNe sadaiva kalyANe / iha jIvatAM bahutapaH sadgatigamanaM mRtAnAM tu // 60 // yadvaduDUnAM zazabhRt zailAnAM merUparvato yadvat / tadvaddharmANAmiha, dharmapravaro dayAsAraH // 6 // api labhyate surAjyaM, labhyante puravarANi ramyANi / nahi labhyate vizuddhaH, sarvajJokto mahAdharmaH // 12 // lAgalasahasrabhinne'pi, nAsti dhAnyaM yathopare kSetre / tadvajjantUnAmiha, dharmeNa vinA kutaH saukhyam / / 63 // Jain Education Intemational

Page #314
Vol. I-1995 zrI pArzvanAga viracita... yadvanna tRSaH zAntirjalaM vinA nakSudho vinA 'nnena / jaladaM vinA na salilaM na, zarma dharmAdRte tadvat // 64 // satsvAmI sanmitraM, sadvandhuH satsutaH satkalatraM ca / satsvajanaH sadbhRtyo dharmAdanyadapi satsarvam / / 65 / / atinirmalA vizAlA, sakalajanAnandakAriNI pravara / kIrttirvidyA lakSmI dharmeNa vijRmbhate bhuvane // 66 // ArogyaM saubhAgyaM, dhanADhyatA nAyakatvamAnandaH / kRtapuNyasya syAdiha, sadA jayo vAJchitA'vAptiH ||67 || sarabhasasuragaNasahitaH, surayoSijjanitanRtyasaGgItaH / suraloke suranAtho, bhavati hi dharmmAnubhAvena / / 68 / / na kariSyasi ceddharmaM, punarApsyasi durgatiM vizeSeNa / dahanacchedanabhedana- tADanarUpANi duHkhAni || 69 // gacchadbhirapi prANai- buddhimatAM tanna yujyate karttum / ubhayatra yadviruddhaM, dIrghabhavabhramaNakRdapathyam // 70 // avivekinAM narANAM, punariha jananaM punarbhave nmaraNam / kurvanti paNDitAstad bhUyo'pi na bhUyate yena // 71 // kuru bhaktiM guNajagadIze, sadAgame guruSu viditatattveSu / apavargaprati rAgaM; saMsAropari virAgaM ca // 72 // tatkimapi kuru viditvA sadguruto jJAnamuttamaM dhyAnam / yeneha pUjyase tvaM, paratra sugatiM samApnoSi // 73 // yatra na jarA na maraNaM, na bhavaM na ca paribhavo na saMklezaH / yogakriyayA jJAnAt, dhyAnAdAsAdayate muktiH // 74 // matvaivaM nissAraM, saMsAramanityatAM ca jagato'sya / jJAnayutaM dhyAnaM kuru, labhase yenAkSayaM mokSam // 75 // iti pArzvanAgaviracita - manuzAsanamAtmAno vibhAvayatAm / samyagbhAvena nRNAM na bhavati duHkhaM kathaJcidapi // 76 // dvyaGlacatvAriMzat, samadhikavatsarasahasrasaGkhyAyAm / bhAdrapadapUrNimAsyAM budhottarA bhAdrapadikAyAm // 77 // // iti zrI AtmAnuzAsanaM samAptam // For Private Personal Use Only 45

Page #315
jaina mahApurANa meM brAhmaNIya paramparA ke devI-devatA kamala giri bhAratIya saMskRti ke vizvakoSa-rUpa purANa sAhitya meM kathAoM ke mAdhyama se tatkAlIna dhArmika jIvana ke sAtha-sAtha sAmAjika, rAjanItika, Arthika aura kalAparaka viSayoM kI bhI vistArapUrvaka carcA milatI hai| brAhmaNIya aura dAkSiNAtya jaina, donoM hI paramparAoM meM vipula saMkhyA meM purANoM kI racanA kI gayI jinheM uttarakI jaina paramparA meM carita yA caritra kahA gyaa| jaina purANoM meM mahApurANa sarvAdhika vistRta evaM mahattvapUrNa hai, jo AdipurANa (lagabhaga 837 I0) aura uttarapurANa (lagabhaga 850 I0) do khaNDoM meM vibhakta hai| ina purANoM ke kartA kramaza: paJcastUpAnvaya ke AcArya jinasena aura unake ziSya guNabhadra haiN| mahApurANa meM eka ora jainadharma evaM paramparA ke mUlabhUta tattvoM kI niSThApUrvaka carcA kI gayI hai aura dUsarI ora unake kartAoM ke vyApaka cintana ke kAraNa vaidika aura brAhmaNa paramparA ke sAtha pUrA samanvaya sthApita karane kI bhI ceSTA kI gayI hai| isI kAraNa mahApurANa meM brAhmaNa evaM laukika paramparA ke sarvamAnya devI-devatAoM kA aneka sthAnoM para ullekha huA hai| ina granthoM meM ziva, brahmA, viSNu, indra, vaizravaNa, tathA rAma, kRSNa, zrI, buddhi, kIrti, ajjA, (AryA, pArvatI yA caNDi), taduparAnta lakSmI, sarasvatI, gaMgA tathA gandharva, pitR, nAga, lokapAla jaise devI-devatAoM kI carcA, aura kabhI-kabhI unake kucha lakSaNoM kA bhI nirUpaNa huA hai jo navIM zatI I0 meM brAhmaNa aura jaina dharmoM ke sauhArdapUrNa antarsambandhoM kA sAkSI haiM / mahApurANa ke atirikta anya jaina granthoM meM bhI aise pracura ullekha haiN| vizeSakara ke uttara kI jaina zilpazAstrIya paramparA evaM mUrta udAharaNoM meM aSTadikpAla, navagraha, kSetrapAla tathA gaNeza Adi kA bhI nirUpaNa kiyA gayA / prastuta lekha meM mukhyata: jaina mahApurANa meM varNita brAhmaNIya devI-devatAoM kI carcA kI gayI hai| AdipurANa ke 24veM aura 25veM paryoM meM bharata aura saudharmendra dvArA RSabhadeva ke kramaza: 108 aura 1008 nAmoM se stavana tathA pUjana kI carcA hai| ina nAmoM meM sarvAdhika brAhmaNa dharma ke tripuruSadeva (ziva, viSNu evaM brahmA) tathA kucha anya se sambandhita haiN| ziva ke nAmoM meM svayaMbhU, zaMbhu, zaMkara, trinetra, tripurAri, trilocana, ziva, bhUtanAtha, vizvamUrti, kAmAri, mahezvara, mahAdeva, mRtyuJjaya, hara, aSTamUrti, trayambaka, trayakSa, ardhanArIzvara, adhikAntaka, sadyojAta, vAmadeva, aghora aura IzAna mukhya haiM / isa sandarbha meM puSpadanta kRta apabhraMza mahApurANa (10vIM zatAbdI kA pUrvArdha) kA ullekha bhI mahattvapUrNa hai jisameM ziva se sambandhita kucha AyudhAdi (kaMkAla, trizUla, naramuNDa, sarpa) kA bhI ullekha huA hai| yahAM viSNu ke nAmoM meM jagannAtha, vAmanadeva, lakSmIpati aura brahmA ke nAmoM meM brahmA, pitAmaha, dhAtA, vidhAtA, caturAnana ullekhanIya haiN| anya prasaMgoM meM hiraNyagarbha, indra (mahendra, sahasrAkSa), sUrya (Aditya), kubera, rAma evaM kRSNa jaise devoM tathA indrANI, lakSmI, sarasvatI, gaMgA, vindhyavAsinI deviyoM ke nAmollekha aura kabhI-kabhI lakSaNa bhI sandarbhagata purANoM meM milate haiN| AdipurANa RSabhanAtha ke jIvanacarita se sambandhita hai jisameM ziva ke sarvAdhika nAmoM ke mAdhyama se RSabha kA stavana huA hai jo prAcIna paramparA meM ziva aura RSabhadeva ke ekIkRta svarUpa kA saMketa detA hai| zAstrIya paramparA meM RSabha ke sAtha jaTA, vRSabha lAJchana aura yakSa ke rUpa meM gAya ke mukhavAle tathA parazudhArI gomukha yakSa kI kalpanA se yaha antarsambandha pUrI taraha spaSTa ho jAtA hai| ise mUrta udAharaNoM meM bhI dekhA jA sakatA hai| isI prakAra vaidika vAGmaya, mahAbhArata evaM purANoM meM ziva ko anekazaH RSabhadeva nAma se sambodhita kiyA gayA hai / sambhavataH ziva kA mahAyogI rUpa hI jaina tIrthaMkara RSabhadeva ke sandarbha meM nirUpaNa kA mukhya AdhAra bnaa| ziva kA vyApaka AdhAra mahApurANa meM Jain Education Intemational

Page #316
Vol. I 1995 jaina mahApurANa meM brAhmaNIya... ajitanAtha aura sumatinAtha tIrthaMkaroM ke sAtha hara evaM maheza jaise ziva ke nAmoM ke rUpa meM bhI dekhA jA sakatA hai| kaivalya-prApti ke pazcAt indra dvArA ajitanAtha ke stavana meM unheM bhUtanAtha evaM nAgoM ko dhAraNa karanevAlA, trinetra aura bhasma se zobhita zarIravAlA batAyA gayA hai| ziva ke atirikta ajitanAtha ko viSNu ke kucha nAmoM se bhI abhihita kiyA gayA hai| uttarapurANa meM pAMcaveM tIrthaMkara sumatinAtha ke paMcakalyANakoM ke sandarbha meM jina pAMca nAmoM kA ullekha huA hai ve spaSTataH paMcAnana ziva ke maheza rUpa se sambandhita haiM, jinakI svatantra mUrtiyA~ eliphaNTA, elorA (guphA 16), gvAliyara jaise sthaloM se milI haiN| sumatinAtha ko garbhakalyANaka, janmAbhiSeka, dIkSA kaivalyaprApti evaM nirvANa ke avasaroM para kramazaH sadyojAta, vAma, aghora, IzAna aura tatpuruSa nAmoM se abhihita kiyA gayA hai| isa sandarbha meM tIrthaMkara zreyAMsanAtha ke yakSa ke rUpa meM Izvara nAmadhArI yakSa kA trinetra aura vRSabha vAhana ke sAtha ullekha bhI mahattvapUrNa haiN| isa prakAra Adideva ke rUpa meM mahAdeva aura dUsarI ora AdinAtha yA RSabhanAtha ke rUpa meM tIrthaMkara kI parikalpanA ke kendra meM kucha samAna tattva aura bhAratIya cintana ke yoga aura sAdhanA kI mUla paramparA dekhI jA sakatI hai| " purANoM meM RSabhadeva ko AdibrahmA, prajApati aura vidhAtA kahA gayA hai jisakI pRSThabhUmi meM AdipurANa meM vaidika mAnyatA ke anurUpa RSabhadeva dvArA bhujAoM meM zastra dhAraNa kara kSatriyoM kI sRSTi karane aura unheM zastravidyA kA upadeza dene kA sandarbha varNita hai| prajA ke pAlana tathA unakI AjIvikA kI vyavasthA ke uddezya se hI samAja meM vaidika dhAraNA ke anurUpa kArya vibhAjana aura usa hetu varNoM kI utpatti kA bhI saMketa kiyA gayA hai| kSatriya ke bAda RSabha ke uruoM se vaizyoM kI tathA caraNoM se zUdroM kI sRSTi ke sandarbha milate haiM / isa sandarbha meM brAhmaNoM kI sRSTi kA anullekha soddezya aura arthapUrNa jAna par3atA hai jise sabhI tIrthaMkaroM ke anivAryataH kSatriya kula se sambandhita hone kI paramparA evaM vaidika mAnyatAoM (yakSa, bali, karmakANDa, jAti, IzvaravAda) ko nakArane kI pRSThabhUmi meM samajhA jA sakatA hai| jaina granthoM meM nau baladevoM aura nau vAsudevoM yA nArAyaNoM kI sUcI bhI mahattvapUrNa aura bhAgavat prabhAva kA pariNAma hai| inheM 63 zalAkApuruSoM kI sUcI meM sammilita kara pratiSThita sthAna diyA gyaa| baladeva ko vAsudeva kA sautelA bhAI batAyA gayA hai| baladevoM kI sUcI meM rAma kA bhI nAma milatA hai| baladeva ke lakSaNa spaSTata: saMkarSaNa yA balarAma se sambandhita haiN| nIlavastradhArI evaM tAladhvaja vAle baladeva ko gadA, ratnamAlA, musala yA phala jaise ratnoM kA svAmI batAyA gayA hai jo balarAma ke Ayudha haiM / baladeva ke rUpa meM rAma ke nirUpaNa meM dhanuSa aura bANa kA sandarbha bhI ullekhanIya hai| uttarapurANa meM vAsudeva ko nIla yA kRSNavarNa, pItavastradhArI aura garur3a cihnAMkita dhvaja dhAraNa karanevAlA batAyA gayA hai / uparyukta lakSaNa spaSTataH brAhmaNIya paramparA ke vAsudeva kRSNa se sambandhita aura unakA prabhAva darzAte haiN| jJAtavya hai ki mathurA kI kuSANakAlIna ariSTanemi pratimAoM meM tathA digambara sthaloM kI neminAtha kI mUrtiyoM meM balarAma aura kRSNa kA bhI rUpAMkana milatA hai| dUsarI ora vimalavasahI evaM lUNavasahI jaise zvetAmbara sthaloM para kRSNa kI lIlAoM (kAliyadamana, holI) Adi kA zilpAMkana kiyA gayA hai| jaina paramparA meM indra ko jinoM kA pradhAna sevaka svIkAra kiyA gayA hai| jinoM ke paMcakalyANakoM evaM samavasaraNa kI racanA ke sandarbha meM indra kI upasthiti kA ullekha anivAryataH huA hai| AdipurANa tathA uttarapurANa meM indra ko aneka mukhoM tathA netroMvAlA (sahasrAkSa) batAyA gayA hai / puSpadanta ke mahApurANa meM indra ke vAhana ke rUpa meM gaja (airAvata) ke sAtha hI vRSabha tathA vimAna kA bhI ullekha milatA hai / AdipurANa meM 32 pramukha indroM kA sandarbha ke vinA nAmollekha AyA hai| inameM 10 bhavanavAsI varga ke, 8 vyantara varga ke, 2 jyotiSI varga ke tathA 12 kalpavAsI varga ke haiN| RSabhadeva ke janma ke avasara para indra dvArA vibhinna prakAra ke nRtya karane kA sandarbha bhI mahattvapUrNa hai| Jain Education Intemational Jain Education Intermational

Page #317
48 kamala giri Nirgrantha AdipurANa meM hI indra dvArA tANDava nRtya karane kA sandarbha bhI hai jo spaSTata: naTeza ziva se sambandhita hai / choTA kailAsa (elorA) ke gUDhamaNDapa ke dvAra ke agala-bagala saudharmendra aura IzAnendra kA aMkana isa sandarbha meM mahattvapUrNa hai| kucha zvetAmbara mandiroM para caturbhuja nRtyarata indra kA rUpAMkana bhI milatA hai| vimalavasahI (mAunTa AbU) ke udAharaNa meM indra cAra bhujAoM vAle haiN| osiyAM, delavAr3A, kumbhAriyA, khajurAho evaM anya sthaloM para tIrthaMkaroM ke paMcakalyANaka ke aMkana meM indra kA anekazaH nirUpaNa huA hai jinameM indra adhikAMzataH cAmara yA kalazadhArI haiN| janmakalyANaka ke prasaMga meM zizu-jina ko goda meM liye, dIkSAkalyANaka ke prasaMga meM luMcita keza liye tathA samavasaraNa meM prathama dharmadezanA ke avasara para indra kI upasthiti dekhI jA sakatI hai| nADola (pAlI, rAjasthAna) ke neminAtha, cittaur3a ke samidhdhezvara evaM kumbhAriyA ke mandiroM ke kucha udAharaNoM meM navajAta zizu (jina) indra kI goda meM hai| caturbhuja indra ke do hAtha goda meM haiM aura do meM unakA viziSTa Ayudha aMkuza aura vajra pradarzita haiM / isake atirikta jaina mandiroM para sarvataH aSTa-dikpAla samUha meM bhI indra kA aMkana huA hai, jinameM gajavAhanavAle caturbhuja indra sAmAnyataH tribhaMga meM haiM aura unake karoM meM vajra evaM aMkuza ke atirikta abhaya yA varadamudrA tathA phala (yA kalaza yA padya) pradarzita haiN| brAhmaNIya paramparA kI bhAMti jainadharma meM bhI kubera ko bhogopabhoga kI vastuoM kA svAmI batAyA gayA hai| kubera kI niyukti indra dvArA nagara kI racanA karane va jinendradeva kI vibhinna prakAra se sevA karane ke liye kI jAtI hai| tIrthaMkaroM ke janma ke pUrva kubera dvArA jina ke mAtA-pitA ke AMgana meM ratnoM kI varSA karane kA ullekha milatA hai| lagabhaga AThavIM zatI I0 se sabhI kSetroM ke jaina mandiroM ke uttarI koNa para brAhmaNa mandiroM ke samAna dikpAla ke rUpa meM kubera kA nirUpaNa huA hai| osiyA~, khajurAho, devagar3ha, kumbhAriyA, delavAr3A jaise sthaloM para sAmAnyatayA bRhadjaThara kubera ko gajavAhana yA nidhipAtra ke sAtha phala, padya, dhana kA thailA (nakulaka) liye aMkuzadhArI dikhAyA gayA hai| uttarapurANa meM kubera kI patnI rati kA bhI ullekha milatA hai| neminAtha evaM kucha anya tIrthaMkaroM ke sAtha yakSa ke rUpa meM bhI kubera (yA sarvAnubhUti) kA aMkana huA hai| jaina devakula meM lakSmI kI avadhAraNA sarvaprathama paryuSaNA kalpa ke "jinacaritra" (IsvI0 503/516) meM jinoM kI mAtAoM dvArA dekhe gaye zubha svapnoM ke sandarbha meM "zrI lakSmI" ke rUpa meM milatI hai| uttarapurANa meM bhI jinauM kI mAtAoM dvArA dekhe gaye 16 zubha svapnoM ke sandarbha meM hI lakSmI kA ullekha AyA hai| isa grantha meM padyoM ke sarovaroM kI svAminI aura gajoM dvArA abhiSikta batAyA gayA hai| jaina zilpa meM lakSmI kA mUrta aMkana lagabhaga navIM zatI I. ke bAda se milatA hai jisake udAharaNa khajurAho, devagar3ha, osiyA~, kumbhAriyA evaM delavAr3A jaise sthaloM para haiN| ina sabhI sthaloM para lakSmI ko brAhmaNa paramparA meM varNita lakSaNoMvAlA hI nirUpita kiyA gayA hai| adhikAMzataH devI ko gaja-yA abhiSeka -lakSmI ke rUpa meM padmAsIna aura UrdhvakaroM meM padya tathA adhaHkaroM meM varada yA abhayamudrA aura jalapAtra (yA phala) ke sAtha rUpita kiyA gayA hai| prArambhika jaina granthoM meM medhA evaM buddhi ke devatA yA zrutadevatA ke rUpa meM sarasvatI kA bhI sandarbha prApta hotA hai| AdipurANa meM sarasvatI kA ullekha zrI, hI, kIrti, dhRti, buddhi evaM lakSmI jaise huda deviyoM ke rUpa meM AyA hai jinakA nivAsa vibhinna padmasarovaroM meM mAnA gayA hai| jaina zilpa meM sarasvatI kI prAcInatama jJAta mUrti kuSANa kAla kI mathurA ke kaMkAlI TIlA nAmaka sthAna se prApta huI hai jo vartamAna meM rAjya saMgrahAlaya, lakhanaU meM surakSita hai| sarasvatI kA lAkSaNika svarUpa AThavIM zatI I0 ke bAda niyata huA / lagabhaga 10vIM-11vIM zatI I0 meM saMgIta aura anya lalita kalAoM kI devI ke rUpa meM unheM mAnyatA milI aura unake hAthoM meM vINA tathA mayUra-vAhana kA Jain Education Intemational

Page #318
Vol. I-1995 jaina mahApurANa meM brAhmaNAya... aMkana prArambha huA / digambara sampradAya kI apekSA zvetAmbara sampradAya meM sarasvatI pUjana adhika lokapriya thA / yahI kAraNa hai ki bAdAmI, aihoLa evaM elorA jaise digambara jaina sthaloM para sarasvatI kI mUrtiyA~ utkIrNa nahIM huiiN| pUrva madhyakAla meM zvetAmbara sampradAya meM zakti ke rUpa meM sarasvatI kI sAdhanA kI gaI jisameM Age calakara tantra kA bhI praveza huaa| jaina paramparA kI sarasvatI ke lakSaNa brAhmaNa paramparA kI sarasvatI ke samAna haiN| donoM hI paramparAoM meM sarasvatI ke karoM meM pustaka, vINA, akSamAlA, muk, aMkuza tathA pAza jaise Ayudha pradarzita haiN| haMsa yA mayUravAhanA sarasvatI kI navIM se 12vIM zatI I0 ke madhya kI aneka mUrtiyA~ devagar3ha, khajurAho, osiyA~, kumbhAriyA, delavAr3A, tAraMgA, jinanAthapura, hummaca, halebiDa jaise sthaloM se prApta huI haiN| jaina devakula meM gaMgA kA ullekha bhI devI ke rUpa meM huA hai| AdipurANa meM cakravartI bharata kA gaMgAjala se abhiSeka karane kA ullekha milatA hai| puSpadanta kRta mahApurANa meM gaMgA ko pUrNimA ke candramA ke samAna mukhavAlI, kamalanayanI, kamaloM ke samAna caraNoMvAlI, jinendra kA abhiSeka karanevAlI. sira meM phala gaMthanevAlI. caMcala maka evaM apane rUpa yauvana se devoM ko Azcarya meM DAla denevAlI batAyA gayA hai| padya ko hI unakA chatra evaM vastra mAnA gayA hai| prastuta adhyayana se jaina dharma meM samanvaya kI paramparA ke pramANa milate haiN| jaina mahApurANa meM ziva, viSNu aura brahmA ke tIrthaMkaroM ke sandarbha meM nAmollekha evaM kucha anya lakSaNaparaka saMketa 9vIM-10vIM zatI I0 taka brAhmaNa dharma evaM kalA meM ina devatAoM ke vizeSa pratiSThA kA pratiphala mAnA jA sakatA hai| yadyapi tIrthaMkaroM ke prasaMga meM ziva, viSNu aura brahmA evaM anya devatAoM ke nAmollekha lagabhaga 5vIM zatI I0 se hI milane lagate haiN| vimalasUri kRta paumacariya (IsvI 473) isakA eka pramukha udAharaNa hai| uparokta sandarbha se spaSTa hai ki mahApurANa vastutaH pUrva meM svIkRta samanvaya kI avadhAraNA ko hI aura vyApaka AdhAra meM prastuta karatA hai| RSabhanAtha aura ziva ke bIca nAma tathA avadhAraNA kI dRSTi se dikhAI par3anevAlI ekarUpatA vizeSa mahattvapUrNa aura brAhmaNa tathA jaina dharmoM ke antarsambandhoM kA sUcaka hai| RSabhanAtha evaM anya tIrthaMkaroM ke stavana meM kucha aise svarUpagata vizeSatAoM kA saMketa denevAle vizeSaNoM kA prayoga huA hai jinakA tIrthaMkaroM ke svarUpa se koI sambandha nahIM judd'taa| ziva evaM brahmA ke viziSTa lakSaNoM se jur3e tryambaka, trayAkSa, caturAnana Adi kucha aise hI zabda haiN| saMgIta evaM apsarAoM se jur3e indra kI kalpanA meM unake nRtya svarUpa kA ullekha paramparAsammata mAnA jA sakatA hai| balarAma, rAma aura kRSNa ke ullekha meM AyudhoM evaM lakSaNoM kA bhI kucha ullekha huA hai jo vibhinna sthaloM para unake rUpAMkana kI dRSTi se mahattvapUrNa aura brAhmaNa paramparA ke anurUpa haiN| mahApurANa meM tIrthaMkaroM ke lAMchanoM, yakSa-yakSiyoM evaM aise hI anya devasvarUpoM ke AyudhoM, lakSaNoM kA ullekha kahIM nahIM huA hai| sambhavataH isakA kAraNa mahApurANa kA eka kathAparaka grantha honA hai| phira bhI brAhmaNa dharma ke sAtha samanvaya evaM tatkAlIna cintana kI dRSTi se ina purANoM kA viSaya, vizeSataH brAhmaNa devatAoM kI carcA, vizeSa mahattvapUrNa aura prAsaMgika hai| Jain Education Intemational

Page #319
kamala giri saMdarbhasUcI : 1. AdipurANa, saM0 pannAlAla jaina, jJAnapITha mUrtidevI granthamAlA, saMskRta grantha saMkhyA 8, vArANasI 1963, 12.69, 85, 13.47; 14.20; 103.154; 25.100-217; uttarapurANa, saM0 pannAlAla jaina, jJAnapITha mUrtidevI granthamAlA, vArANasI 1963 evaM 1965, 63. 169; 67.148-720; 70.369-495 71.6-222. 2. AdipurANa 32.166, 38.218, 45.153-55; uttarapurANa 57.17-34. 3. bhagavatIsUtra, saM0 pevaracanda bhATiyA, zailAna 1966, 3.1.134 aMgavijjA, saM0 munipuNyavijaya, prAkRta prandha pariSad 1, banArasa 1957 adhyAya 51: draSTavya mArutinandana prasAda tivArI, jaina pratimA vijJAna, vArANasI 1981, pR0 36. 4. tivArI, jaina pratimA0, pR0 37. 5. AdipurANa 25.73-74, 215; 17.65. 6. mahApurANa (puSpadanta kRta), saM0 pI0 ela0 vaidya, mAnikacandra digambara jaina granthamAlA 42, bambaI 1941, 10.5. 7. AdipurANa 25.100-217; 12.69, 85, 13.47 14.1 20, 103 22.18-22; 38.21; uttarapurANa 63.169; 68.89-90; 282-84; 54.175; 70.274; 73.56-60; 93.369-495; paumacariya, vimalasUri, bhAga 1, saM0 eca0 yAkobI, anu0 zAntilAla ema0 borA, prAkRta TeksTa sosAyaTI sirIja 6, vArANasI 1962, 4.4 5.122. 8. RSabha tvaM pavitrANAM yoginA niSkatAH zivaH / mahAbhArata, anuzAsana parva kriTikala eDizana, saM0 pratApacandra rAya, pUnA, kalakattA, gorakhapuraH zrImadbhAgavat 1.3.13 (hastImala, pR.54) mArkaNDeyapurANa 50.39-40 zivapurANa 4.47-48 kUrmapurANa 41.37-383 abhipurANa 10.10-11 vAyupurANa, pUrvArdha 33.50-51 brahmANDapurANa, pUrvArdha anuSaGgAvAda, 14.59-60 bArAhapurANa adhyAya 74. liMgapurANa 47.19-22 viSNupurANa, dvitIyAMza 1.27-28 skandapurANa 37.57. 9. tivArI, jaina0, pR0 165, 193. 10. AdipurANa 16.241-45. 11. uttarapurANa 57.72; 70.274 93. 12. rAMgacari 27.43, pR0 268; tiloyapaNNatti 1.4.1411, pR0328; uttarapurANa 57.71. Nirgrantha 13. uttarapurANa 57.93, 71.123-25. zvetAmbara paramparA meM vAsudeva ko pAJcajanya zaMkha, sudarzana cakra, kaumudakI gadA, zArka dhanuSa, nandaka khaDga, kaustubhamaNi aura vanamAlA se tathA digambara paramparA meM asi, zaMkha, dhanuSa, cakra, zakti, daNDa tathA gadA se abhilakSita kiyA gayA hai jinheM vAsudeva kA ratna kahA gayA hai| 14. uttarapurANa 57.90; 71.123-28. 15. M. N. Tiwari, "Vaisnava Themes in Delwara Jaina Temples". K. D. Bajpey Felicitation Volume, Delhi 1987, p.195-200. 16. AdipurANa, 12.69-76, 85; 13.47 14.20; 22.18; uttarapurANa, 63.169. 23. uttarapurANa 54.175. 24. AdipurANa 12.85. 17. mahApurANa (puSpadanta kRta) 46.1, 48.9; 62.17 18. AdipurANa 23.163. 19. AdipurANa 14.103-54; uttarapurANa, 50.23-24. 20. AdipurANa 14.106-58. 21. U. P. Shah, "Minor Jaina Deitics", Journal of the Oriental Institute, Baroda, Vol. XXXIV, Nos. 1-2, p. 46. 22. tivArI, jaina pratimA0 pR0 33-34,61

Page #320
Vol. I-1995 jaina mahApurANa meM brAhmaNIya... 25. uttarapurANa 57.17-34. 26. mArutinandana tivArI, khajurAho kA jaina purAtattva, khajurAho 1987, pR074-75. 27. AdipurANa 38 0 218. 28. tivArI, jaina pratimA0, pR0 33. 29. AdipurANa 32.166; 45.153-55. 30. mahApurANa (puSpadanta kRta), 15.9,11. Jain Education Intemational

Page #321
kAvyaprakAza ke anUThe TIkAkAra : AcArya mANikyacandrasUri / pArula mAkaDa IsA kI bArahavIM-terahavIM zatI meM gujarAta meM jo jaina-gUrjara granthakAra hue haiM, unameM AcArya mANikyacandrasUri apanI misAla Apa haiN| ve suprasiddha maMtrIzvara vastupAla ke kAla meM vidyamAna the / zrI ra0 cho0 parIkha ke matAnusAra unakA samaya I0 sa0 1160 hai / saMbhavataH ve vastupAla ke vRddha samakAlika the / AcArya mANikyacandra aura vastupAla ke bAre meM eka anuzruti bhI prasiddha hai / eka bAra mANikyacandra vaTakUpa grAma meM sthiratA kara rahe the taba unako vastupAla ne nimaMtrita kiyA, kintu ve nahIM Aye / phira donoM ke bIca paraspara kaTAkSayukta zlokoM se vyavahAra huaa| eka dina vastupAla ne mANikyacandra kI pauSadhazAlA kI vastueM curavA kara anya sthala para rakhavA dii| yaha jAnakara AcArya maMtrI ke pAsa Aye aura kahA ki stambharUpa vastupAla ke rahate hue bhI yaha upadrava kaise ho gayA ? maMtrI ne kahA "pUjyazrI kA Agamana nahIM hotA thA isalie !" phira vastupAla ne sabhI cIjeM vApisa kara dI aura apane granthabhaNDAra se bhI saba zAstroM kI eka eka prati mANikyacandrasUri ko arpaNa kii| AcArya mANikyacandra rAjagacchIya sAgaracandra ke ziSya the / saMskRta kAvyazAstra ke kAvyaprakAza jaise anamola grantharatna para saMketa nAmaka TIkA ke kartA ke rUpa meM unakA nAma sadaiva smaraNIya rhegaa| saMketa ke atirikta unhoMne do mahAkAvya - zAntinAthacarita aura pArzvanAthacarita-bhI raceM haiN| prastuta Alekha meM hama AcArya mANikyacandrasUri ke mahanIya yogadAna ko saMketa TIkA kI pazcAddha meM rekhAMkita kareMge; sAtha hI susajja TIkAkAra ke rUpa meM unakA yathocita saMkSipta mUlyAMkana bhI prastuta kreNge| "zAradAdeza" ke rUpa meM suvizruta kAzmIra kI bhUmi meM panapA huA AcArya mammaTa (IsvI 11-12vIM zatI) kA Akara grantha kAvyaprakAza (kA0 pra0) kevala 50-60 varSoM ke antarAla meM hI gUrjara-dharA ke vidvAnoM, kAvyazAstriyoM aura sahRdayoM ke samAdara kA bhAjana bana cukA thA / yAtAyAta ke vizeSa sAdhanoM ke abhAva meM bhI eka grantha kA dUsare sthAnoM meM pracAra-prasAra ho sakatA thA yaha bAta ullekhanIya hai| kAvyaprakAza kI mahattA to svayaM siddha hI hai, paraMtu AcArya hemacandra aura siddharAja jayasiMha ke saMyukta prayAsoM se devI sarasvatI kI aisI samarcanA saphala ho sakI / kalikAlasarvajJa AcArya hemacandra ne saMbhavata: kAvyaprakAza para TIkA racI thI, kintu adyAvadhi vaha anupalabdha hI rahI hai, isalie AcArya mANikyacandra hI kA0 pra0 ke prathama jaina-gUrjara TIkAkAra haiM / mANikyacandra ke pahale kAzmIra meM hI kA0 pra0 ke upara do TIkAeM racI gii| AcArya mammaTa ke yuvAsamakAlika rAjAnaka ruyyaka kA saMketa (IsA kI 12vIM zatI kA pUrvArdha) upalabdha sAmagrI ke upalakSya meM kA0 pra0 kA sarva prathama TIkAgrantha hai| unake turanta bAda kAzmIra ke hI bhaTTa somezvara ne kA0 pra0 kI kAvyAdarza-kAvyaprakAza-saMketa nAmaka TIkA racI hai| paraMparA meM yaha TIkAgrantha-saMketa-inhIM alpAkSaroM se prasiddha hai| somezvara ke thoDe hI samaya bAda AcArya mANikyacandra ke saMketa kA kAlanirdhAraNa huA haiN| yaha eka anokhA yogAnuyoga hai ki prathama sabhI tIna TIkA granthoM ke nAma saMketa haiN| ina tIna saMketa TIkA granthoM kA tulanAtmaka adhyayana atyanta rocaka viSaya hai| AvazyakatAnusAra kvacit mANikyacandra ke saMketa ke sAtha ruyyaka aura somezvara ke yogadAna kA bhI yahAM ullekha kiyA jaayegaa| AcArya mANikyacandra kA grantha-sauSThava adbhuta hai| ve ruyyaka aura somezvara kA anusaraNa to karateM haiM, phira bhI unakA bahuta kucha maulika pradAna bhI hai| kA0 pra0 ke pAThasudhAra kA prazasya kArya unhoMne kiyA hai| itanA hI nahIM mammaTa kI kliSTa vAkyasaMracanA bhI sugrathita kara dI hai| pUrvAcAryoM ke grantha kA manana aura cintana bhI inhoMne khule mana se kiyA hai| ruyyaka ke saMketa kI zailI kahIM kahIM kliSTa bana jAtI hai, to somezvara kI abhivyakti kabhI dhUmila-sI ' Jain Education Intemational

Page #322
Vol. 1-1995 kAvyaprakAza ke anUThe TIkAkAra... raha jAtI hai| jaba ki AcArya mANikyacandra kI padasaMghaTanA aura abhivyakti prasannagambhIrA aura nirmalapravAhA hai| eka susajja TIkAkAra kI sabhI vizeSatAeM unameM bharI/pUrI haiN| kA0 pra0 kI TIkA ke AraMbha meM hI mANikyacandra ne kA0 pra0 kI mahattA siddha karate hue isa grantharAja ko 'sarvAlatiphAlabhUSaNamaNi' kI vizeSaNamAlA arpita kI hai| saMketa kI racanA ko unhoMne sAhasapUrNa batAyA hai| Arambhika padyoM meM unhoMne namratApUrvaka nivedana kiyA hai ki yaza, prIti, ityAdi ke lie unhoMne saMketa kA viracana nahIM kiyA hai, paraMtu tIna nimitta haiM, jina se unako saMketaracanA kI preraNA milii| (1) svAnusmaraNa ke liye, (2) jaDoM para upakAra hetu, (3) cetovinoda-svAntaH sukhAya' (kA0 pra0 saMketa0 1, pR06)| kA0 pra0 ke saMketa ko unhoMne eka kanthA kI upamA dI hai| jisa meM anekAneka granthoM kA cayana hai| zrI veMkaTanAthAcArya ke zabdoM meM yaha to jJAnaprAptyartha unakA bhikSATana haiM / isalie unakI yaha kanthA koI sAdhAraNa bhikSuka kI taraha phaTI-cIrI nahIM hai, kintu rAjayogI kI rezamI kanthA kI taraha usakI bunAi nirAlI hai| tAnebAne itane sugrathita hai ki, pRSTha pRSTha para aneka grantha-granthAkAra aura pUrvaprApta paraMparA kI durlabha sAmagrI prakaTita hotI hai| karIbana 32 granthakAra aura 11 granthoM kA nirdeza saMketa meM huA hai| "mammaTa kA hRdaya ve hI jAnate haiM" yaha unakA dAvA mahadaMzena satya hai| sAMDesarA ke kathana ".... unhoMne navama ullAsa ke prArambha meM- 'lokottaro'yaM saMketaH ko'pi kovidsttmaaH|' nAmaka paMkti Alekhita kI, jo ki garva se rahita aura guNa se sahita hai"|" se sabhI sahamata hoNge| ___ tInoM 'saMketa'-kAroM ke samaya taka AcArya mammaTa 'vAgdevatAvatAra' rUpa meM kadAcit pratiSThita nahIM hue the| ruyyaka-somezvara kI hI taraha AcArya mANikyacandra bhI mammaTa kI AlocanA karate hue kisI taraha kI bhI hicakicAhaTa kA anubhava nahIM krte| kahIM para bhI yadi unhoMne mammaTa ke mata ko ayogya pAyA, to ve spaSTa zabdoM meM apanI asahamati prakaTa kara dete haiN| ruyyaka aura somezvara jaise pUrvagAmI TIkAkAroM se unhoMne bahuta kucha grahaNa kiyA, lekina ruyyaka-somezvara ke matoM kA khaNDana bhI unhoMne kiyA hai| yahA~ kucha TIkAMza para dRSTipAta kiyA jaay| kA0 pra0 ke prathama ullAsa meM prathama maMgalakArikA kI TIkA meM 'navarasarucirAM' bhAratI kA vivaraNa mANikyacandra ne vistAra se kiyA hai| mammaTa kA samarthana bhI kiyA hai / (pR0 11-12) kAvyaprayojanoM kI carcA meM mANikyacandra para saMbhavataH hemacandra kA prabhAva hai| ve kadAcit tIna prayojana-sadya:paranirvRttaye, kAntAsaMmitatayopadezayuje aura vyavahAravide-kA hI aGgIkAra karate haiN| (pR0 18) mammaTa ke kAvyalakSaNa kI vyAkhyA AcArya mANikyacandra ne svarUpalakSI kI hai| anugAmI TIkAkAroM ke vAda-vivAda kA yahA~ abhAva hai| kintu asphuTa alaMkaraNa ke udAharaNa kI vyAkhyA meM AcArya mANikyacandra ne apanA svataMtra abhiprAya vyakta kiyA hai| ruyyaka kI taraha unhoMne yahA~ vibhAvanA-vizeSokti kA saMdeha-saMkara nahIM mAnA aura na hI somezvara kI taraha kevala vizeSokti ko svIkAra kiyA hai| paraMtu 'ya: kaumAra hara' ityAdi udAharaNa meM AcArya mANikyacandra ne bhede-abhedarUpA atizayokti dikhAkara nUtana abhigama apanAyA hai / hAlAMki rUpakAtizayokti (bhede-abhedarupA) meM nigaraNa anivArya hai aura isa udAharaNa meM nigaraNa kA abhAva hai| paraMtu AcArya mANikyacandra AcArya zobhAkaramitra kI taraha sAdRzyamUlaka alaMkAroM ko saMbhavata: sAdRzyetara sambandha meM bhI svIkRta karateM haiM, isalie unhoMne prastuta udAharaNa meM "usa caitra rAtri kA isa caitra rAtri" ke sAtha abheda sambandha kI kalpanA kara ke isako rUpakAtizayokti ke udAharaNa ke rUpa meM ghaTita kiyA hai| tathApi jahA~ taka rasAsvAda kA savAla hai, vahA~ taka to mammaTa kA udAharaNa ucita hai hI, kyoM ki usameM zuddha zRMgArarasa hai, aura vaha uttama kAvya (=dhvanikAvya) kA udAharaNa hai|

Page #323
pArula mAMkaDa Nirgrantha dvitIya ullAsa kI vyAkhyA meM AcArya mANikyacandra ne zabdazaktiyoM kA vizleSaNa baDe hI rocaka DhaMga se kiyA hai| paramANu viSayaka carcA bhI unhoMne sucAru rUpa se kI hai| una para bhartRhari, ruyyaka aura nyAyakumudacandra ke kartA prabhAcandra kA prabhAva svayaM-spaSTa hai| (pR0 75) lakSaNAvicAra kI vyAkhyA mANikyacandra ne sUkSmekSikApUrvaka kI hai| vyaMjanA vyApAra ko aura baddhamUla karane ke lie AcArya mANikyacandra ne pUrvapakSa kA joradAra khaNDana kiyA / zaityapAvanatva ke sambandha meM ve kahate haiM ki "zaityAdi pravAhadharma hai, taTa to kUDe-karakaTa se malina hotA hai, pavitra nahIM" aura isake saMdarbha meM unhoM ne 'asamarthaH' pATha kI hI svIkRti dI hai, 'samartha': pATha kI nahIM 6 // (draSTavya - pR0 127) kAku-vyaJjakatA kI carcA mANikyacandra ke saMketa meM rasAvaha banI huI hai| caturtha ullAsa meM dhvani ke prakAra nirUpaNa ke saMdarbha meM panthia...ityAdi udAharaNa meM mANikyacandra ne AcArya hemacandra kA anusaraNa karate hue ubhayazakti mUla dhvani ko nakAra diyA hai| aparAMgarUpa guNIbhUta meM rasAdi alaMkAroM kI carcA meM AcArya mANikyacandra ne ruyyaka ke anya grantha alaMkArasarvasva kA bharapUra upayoga kiyA hai| (pR0 395) asoDhA..... ityAdi udAharaNa kI carcA saMketa meM rasaprada banI huI hai| kA0 pra0-saMketa ke dvitIya aura paMcama ullAsa ke adhyayana se jJAta hotA hai ki mANikyacandrasUri nyAya aura mImAMsAdarzana ke bhI pragAr3ha abhyAsI the| kA0 pra0 ke caturtha ullAsa kA 'rasamImAMsA' kA aMza hai, usa para racA huA 'saMketa' kA khaNDa anekavidha dRSTi se mahattvapUrNa hai- "kAvyazAstrIya paraMparA kI pUrvaprApta rasaparaMparA kI aura abhinavabhAratI aura kAvyaprakAza kI pAThaparaMparA kI dRSTi se" mANikyacandra bhI ruyyaka aura somezvara kI taraha abhinavagupta ko hI dRSTi samakSa rakha kara rasAbhivyakti ke saMdarbha meM vividha matoM kA nirUpaNa karate haiN| phira bhI yaha cintana maulikatA ke saMsparza se achUtA nahIM hai| hemacandra - kI hI taraha unake pAsa lollaTa ityAdi ke mUla grantha upalabdha hone kI pUrI saMbhAvanA hai| bhaTTanAyaka ke khaNDana se pUrva mANikyacandra rasaparaMparA ke saMdarbha meM bAraha matoM kA nirdeza karateM haiM, (pR0 222) jinameM se kaI mata locana meM bhI prApta hote haiN| udAharaNata: koI vibhAva ko rasa kahatA hai, koI anubhAva ko, koI anukartA ko to koI anukArya ko / itanA to ni:saMkoca anumAna kiyA jA sakatA hai, ki AcArya mANikyacandra ke pAsa aisI koI AdhAra sAmagrI (= rasaparaMparA ke saMdarbha meM) avazya hI thI, jo Aja kAlagrasta ho gaI hai| vizeSata: "yaha lupta prAcIna paraMparA-jisakA srota paMDitarAja jagannAtha taka hai" kA nirdeza mANikyacandra kA apratima yogadAna hai| durbhAgyavaza saMketa kI sabhI AvRttiyoM meM pAThapAta huA hai, yA to pATha bhraSTa hI rahe haiM, anyathA locana aura saMketa kI sahAya se pUrI paraMparA mukharita ho sakatI thii| phira bhI adhunA yaha sAmagrI eka mahattvapUrNa sopAna to hai hii| rasAdhyAya ke saMvaraNa meM mANikyacandra ne abhinavagupta ke 'abhivyaktivAda ko bAra-bAra anumodita kiyA hai| ve kahate haiM, ki lollaTAdi sarva AcAryoM kA sthAna bhale hI yathAsthAna rahe kintu - 'sarvasvaM tu rasasyAtra guptapAdA hi jAnate' (pR. 240) / rasakA sarvasva to kevala abhinavaguptapAdAcArya hI jAnate haiN| abhinavagupta kA sammAna karate hue yaha prazasti unako arpaNa kI gaI hai| ata: hemacandrAcArya kI hI taraha ve alaMkAra, rasa, dhvani ityAdi siddhAMtoM meM dhvaniparaMparA kA samarthana karate rahe haiN| nATyadarpaNakAra rAmacandra aura guNacandra unake purogAmI rahe haiM, paraMtu rasacarcA tion International -

Page #324
Vol. I-1995 kAvyaprakAza ke anUThe TIkAkAra... 55 meM unhoMne unake sukhaduHkhavAda kA ullekha mAtra bhI nahIM kiyA hai| zAntarasa ke vibhAvoM kI carcA ke samaya 'paramezvara ke sthAna para 'sarvajJa' (= tIrthaMkara kA vizeSaNa) paribhASA kA prayoga kiyA hai / zAntarasa kI svataMtra rasa ke rUpa meM mANikyacandra ne jo prasthApanA kI hai, vaha bhI abhinavabhAratI anusAra hai (pR0 279) / zAntarasa ke nirUpaNa meM candrikA-kAra ke mata ko mANikyacandra ne somezvara se adhika spaSTa rUpa meM samajhAyA hai (pR0 283) / 'kassa vA....' jaise udAharaNa meM mANikyacandra ne kaI maulika vyaMgyArtha nirdiSTa kiye haiN| citrakAvya kI carcA meM AcArya mANikyacandra ne mammaTa ke sthAna para Anandavardhana kA hI anusaraNa kiyA hai| hAsyarasa kI carcA meM mANikyacandra ne sUkSma mImAMsA prastuta kI hai| mANikyacandra ne 'bhraSTopacAra pratItaye' dvArA kumArila bhaTTa kI nirUDhA lakSaNA kI spaSTatA bar3e hI rocaka DhaMga se kI hai| prathama ullAsa kI TIkA meM unhoMne jo vyApAra aura viSaya kI carcA kI hai, kAvyazAstrIya paraMparAoM kI dRSTi se vaha atyaMta mahattvapUrNa hai| . saptama ullAsa kI TIkA meM unhoMne rasa ke svazabdavAcyatva kA khaNDana karake Anandavardhana, abhinavagupta aura mammaTa ke anusAra rasa kI dhvanyamAnatA kA hI paripoSaNa kiyA hai (pR0 170)" / mANikyacandra kI yaha vizeSatA hai ki ve kabhI kabhI TIkA ke antargata kAvyazAstrIya dRSTi se mahattvapUrNa sUtrAtmaka vAkya prayukta karate haiN| jaise- saptama ullAsa meM hI, rasadoSa ke saMdarbha meM "anusandhAnaM hi sahRdayatAyAH sarvasvam (pR0 177) / draSTavya aura bhI- 'AsvAdakAnAM hi yatra camatkArAvighAtaH tadeva rasasarvasvam' kyoMki- 'AsvAdAyattatvAt rasasya' (pR0 179) / aSTama ullAsa kI TIkA meM prasAda guNa kA spaSTIkaraNa karate hue phira eka bAra unhoMne Anandavardhana ke mata kA samarthana kiyA hai- 'sargabandhe tu rasA eva ArAdhyA iti' (pR0 241) / guNacarcA ke daramyAna mANikyacandra ne prAya: sabhI pUrvAcAryoM ke guNalakSaNa uddhRta kiye haiM aura unakA yathAsaMbhava spaSTIkaraNa bhI kiyA hai / 'etanmandavipakvatinduka phalaM,' ityAdi udAharaNa (saMketa - 2, pR0 16) samajhAte hue unhoMne gujarAtI bhASA kA paryAya bhI diyA hai| tindukaphalaM taddhi asya TimbArUpamiti khyAtiH / dasaveM ullAsa kI TIkA meM arthAlaMkAroM kI carcA karate hue mANikyacandra ne gaMbhIra alaMkAracintana prastuta kiyA hai| isa para ruyyaka ke alaMkArasarvasva kA prabhAva spaSTa hai| varNazleSa ke udAharaNa (= alaMkAraH zaGkA. ityAdi) ko samajhAte hue mANikyacandra ne alaMkArasarvasvakAra kA mata batalAyA hai| rUyyaka ne isa udA. meM 'arthApatti' mAnA hai| kSINa: kSINa. ityAdi udA0 kA bhI mANikyacandra ne sUkSma vivecana kiyA hai, jisameM bhI ruyyaka ke mata kA nirUpaNa kiyA hai| isase vidita hotA hai ki mANikyacandra ko spaSTatayA jJAta hai, ki ruyyaka mammaTa ke tarUNa samakAlIna the| ataH unhoMne ruyyaka kA mata samucita rUpa se pradarzita kiyA hai| yaha tathya ravipANi, jhalakIkara aura saMketa ke saMpAdaka zrI veMkaTanAthAcArya se dhyAnacyuta ho gayA hai| isa taraha alaMkAroM kI vyAkhyA karate hue mANikyacandra alaMkArasarvasva se prerita hote dikhAI par3ate haiN| ve alaMkArasarvasva ko uddhRta bhI karateM haiM / saMketa kI padAvalI meM ruyyaka ke zabdoM kI chAyA bhI dikhAI par3atI hai| unakA kahanA hai ki kA0 pra0 kA alaMkAracintana gahana hai, sudhiyoM = matimAnoM kI buddhirUpI zakaTI bhalA 'saMketa' ke pathapradarzana binA kaise gamana kara sakatI hai| udAharaNa ke rUpa meM mANikyacandra kA upamA vivecana / mammaTa kA upamAlakSaNa spaSTa karate hue unhoMne bhoja kA mata nirdiSTa kiyA hai (pR. 333) / zUrpakarNaH, kumbhodara ityAdi zabda ke vivecana meM hemacandra kA prabhAva spaSTa hai| upamA se vyatireka kA bheda sUkSmekSikApUrvaka batAyA

Page #325
pArula mAMkaDa Nirgrantha gayA hai (pR0 333) / nATya meM zAntarasa kI svIkRti pahale se nahIM thI / bharatanATyazAstra meM to ATha rasoM kA hI ullekha thA, isa paraMparA se bhI mANikyacandra pUrI taraha avagata the| unhoMne antima zlokoM meM isakA nirdeza bhI diyA hai: bharatena parityakto'smIti kopaM vhnniv| zAnto rasaH tadadhikaM bheje zrI bharatezvaram / / (saMketa - 2, pR0610) kAvyaprakAza ko do kartAoM (mammaTa aura alaka yA allaTa) hone kI prAcIna anuzruti bhI mANikyacandra ko jJAta thii| ityeSa mArgo0... ityAdi kA0 pra0 ke antima padya para likhate hue unhoMne isakA nirdeza kiyA hai : atha cAyaM grantha: anyenArabdhaH, apareNa ca samarthitaH iti dvikhaNDo'pi saGghaTanAvazAt akhnnddaayte| sughaTaM hi alakSyasandhi syAt ityarthaH (saMketa - 2, pR0 609) / pUre saMketa kA hama siMhAvalokana kareM to unakI nimnokta vizeSatAe~ dRSTigata hotI haiN| (1) Avazyaka sthaloM para TIkA, anAvazyaka sthaloM kA saMkSepa / (2) pUrvasUriyoM ke mata kA yathAyogya nirUpaNa aura svAbhiprAya / (3) mUlagrantha ko vizada karane ke lie kaI svaracita udAharaNa, jo unako 'sahRdaya kavi' bhI siddha karate haiN| (4) jaina muni hote hue bhI brAhmaNa paraMparA ke granthoM kA gaMbhIra adhyayana, jaise zaivazAstra, nyAya-vaizeSikazAstra (saMketa 1, pR0 9,130) / (5) jainetara kAvyazAstrIya granthoM kA niSpakSa adhyayana aura Anandavardhana tathA abhinavagupta kI paraMparA kI ora jhukaav| (6) DA0 sAMDesarA ke zabdoM meM asAmAnya buddhivaibhava, vyutpanna pAMDitya aura mArmika rasajJatA se aNkit| (7) pada-pada para rasadhvani-vyaJjanAsiddhAMta' kA anumodana / (8) vivecana kI praNAlI prAcIna bhAratIya hI rahI hai, anya AcArya va TIkA granthAMza kA khaNDana bhI punarmaMDana hetu hI kiyA gayA hai| usameM kahIM bhI Akroza nahIM apitu, saumya sUra hI hai| (9) mImAMsA-nyAya-vyaJjanAsthApana ityAdi durbodha viSayoM kA saralIkaraNa / (10) svayaM mANikyacandra ke zabdoM meM - guNAnapekSiNI yasmin arthAlaGkAratatparA / prauDhA'pi jAyate buddhiH saMketa: so'yamadbhutaH / / isa taraha mANikyacandra ne hemacandra kI taraha hI kAvyazAstra meM yogadAna karake bhale hI vaha TIkA grantha ke rUpa meM ho, gUrjaradharA ko gaurava bakSA hai| unakA sArasvatva, muni kI nirmamatA, maulikatA, sahRdayatA, TIkA saMracana meM adbhuta sauSThava, Alocaka kI cakora dRSTi - sabhI guNa unake saMketa ke lie bhUSaNa samAna haiN| Jain Education Intemational

Page #326
Vol. I- 1995 kAmyaprakAza ke anUThe TIkAkAra... saMdarbhasUcI: 1. saMketa, bhaTTa somezvara, saM0 ra0 cho0 parIkha, rAjasthAna prAcyavidyA pratiSThAna, jodhapura 1959, pR0 10; aura saMketa, mANikyacandra, saM0 abhyaMkara vAsudeva zAstrI, AnandAzrama saMskRta granthAvalI - 89, pUNe 1921, pR0 2. paraMtu madhusUdana ThAMkI ne apane Alekha "kavi rAmacandra ane kavi sAgaracandra" (gujarAtI), (saMbodhi, apraila 1982 - janavarI 1983, vaoNlyuma-2, pR0 68-76) meM yuktiyA~ de kara AcArya mANikyacandra kA samaya I0 1190 se 1210 taka nirdhArita kiyA hai| 2. tripuTI muni mahArAja, jaina paraMparAno itihAsa, cAritra smAraka granthamAlA, ahamadAbAda 1952, pR0 37; aura DA0 bhogIlAla sAMDesarA, mahAmAtya vastupAlanuM sAhitya maMDala tathA saMskRta sAhityamAM teno phALo, gujarAta vidyAsabhA, ahamadAbAda 1957, pR0 155; tathA mohanalAla dalIcanda desAI, jaina sAhityano saMkSipta itihAsa, jaina zvetAmbara kaoNnpharansa oNphisa, muMbaI 1933, pR0337, kaMDikA-487. 3. DA0 bhogIlAla sAMDesarA, vastupAla kA vidyAmaMDala, jaina saMskRti saMzodhana maNDala, patrikA naM0 16, banArasa hindU yunivarsiTI, ___vArANasI (prakAzana varSa amudrita), pR0 23. 4. DA0 sAMDesarA, mahAmAtya vastupAla0, pR0 113, 115. 5. purAtana prabandha saMgraha, saM0 muni jinavijayajI, siMdhI jaina granthamAlA granthAMka - 2, kalakattA 1936, pR076. 6. saMketa, somezvara bhaTTa, bhAga 1-2. 7. rasavaktagrahAdhIzavatsare mAsi maadhve| ___ kAvye kAvyaprakAzasya saGketo'yaM samarthitaH // (kA0 pra0 saMketa-2, pR0 612) 8. sarvAlaGkatiphAlabhUSaNamaNau kAvyaprakAze myaa| vaidheyena vidhIyate kathamaho ! saGketakRta sAhasam // (kA0 pra0 saMketa-1, pR06) 9. svasyAnusmRtaye jaDopakRtaye cetovinodAya ca / / (saMketa-1, pR0 1, pR0 6) 10. bhAvukapriyA - "jJAnArthaM vidheyatayA bhikSAmaTatetyarthaH" / (saMketa-1, pR0 39) 11. DA0 sAMDesarA, vastupAla kA0, pR0 23. 12. yadi saMkhyeyaiva hInatvaM abhipretaM syAt, tadA granthakRt "SaDrasA na ca hRdyaiva taiH" iti vyAkhyAM na kuryAt / (kA0 pra0 saMketa-1, pR0 11-12) 13. kA0 pra0 saMketa-1, pR0 18-24. 14. sUkSmekSikayA tu 'tA eva, te ca' ityAdau bhede abheda iti rUpakAtizayoktiH sphuTaiveti udaahrnnaantrmevaanvessym| tathA atra alaGkArAntaraM vyAkhyAnAntaraM cAstIti svayamUhanIyam / / (kA0pra0 saMketa-11, saM0 muni jinavijayajI, pR0 39) 15. kA0 pra0 2/12-13 para saMketa - pR0 53-115. 16. yathA taTasya prayojane pratipAdye asamAr2yA na tathA gaGgAzabdasya / tasmAt abhidhAlakSaNAbhyAmanyaH tacchaktidvayopajanitA vigamapavitritapratipapratibhAsahAyArthadyotanazaktiH dhvananAtmA vyApAraH / / (saMketa-1, pR0 127) 17. vAcyabAdhena ca vyaGgasya sthitatvAt, tayoH mithaH asaGgatyA nopamAnopameyabhAvaH iti nAlaGkAro vyaGgyaH, kintu vastveva // (saMketa-1, pR0 308) 18. na ca kevala zRGgArAdizabdAnvite vibhAvAdipratipAdanarahite kAvye manAgapi rasavatvapratItiH yathA- 'zRGgArahAsyakaruNAH' ityAdau / tasmAt anvayavyatirekAbhyAM abhidheyasAmarthyAkSiptatvameva rasAdeH, na tu abhidheyatvaM kathaJcit iti svazabdavAcyatA doSaH ityarthaH / evaM dvitIya eva pakSo nyAyyaH / etena- 'rasavaddarzitaspaSTaityAdivyAkhyAyAM tatra 'svazabdAH zRGgArAdyAH zRGgArAdervAcakAH' iti udbhaToktaM nirastam // (kA0 pra0 saMketa-2, pR0 170) 19. alakAraH zaGkA0 ityAdi udAharaNa para saMketa- alaGkArasarvasvamate tu - atra arthaapttirlngkaarH| (saMketa-2, pR0 299) 20. alaGkArasarvasve'pi itthamevoktam / (saMketa-2, pR0 428) 21. pAre'laGkAragahanaM sngketaadhvaanmntraa| sudhiyAM buddhizakaTI kathakkAraM prayAsyati // (saMketa-2, pR0 333)

Page #327
pArula mAMkaDa Nirgrantha saMdarbhagraMtha :1. DA0 bho0 ja0 sAMDesarA, mahAmAtya vastupAlanuM sAhityamaMDala, gujarAta vidyAsabhA, ahamadAbAda 1957. 2. DA0 bho0 ja0 sAMDesarA, vastupAla kA vidyAmaMDala, zrI jaina saMskRti saMzodhana maNDala, patrikA naM0 16, banArasa hindu yunivarsiTI, __ vArANasI (prakAzana varSa amudrita). 3. bhaTTa somezvarakRta saMketa bhAga-1-2 saMpA0 zrI ra0 cho0 parIkha, rAjasthAna prAcya vidyA pratiSThAna, jodhapura 1959. 4. mANikyacandrakRta saMketa, saM0 abhyaMkara vAsudeva zAstrI, AnandAzrama saMskRta ganthAvali-89, pUNe 1929. 5. tripuTI muni mahArAja, jaina paraMparAno itihAsa, cAritra smAraka graMthamAlA, ahamadAbAda 1960. 6. saMketa 1-2, mANikyacandrakRta (kA0 pra0 saha) saMpA0 zrI veMkaTanAthAcArya, prAcyavidyAsaMzodhanAlaya, maisUra vizvavidyAlaya, maisUra 1974, 1977. 7. pArula mAMkaDa, kAvyaprakAza (1-6)nA traNa saMketo, vivecanAtmaka ane tulanAtmaka adhyayana, (yu0 jI0 sI0 rIsarca esosIyeTazIpa kI yojanAntargata kiyA gayA aprakAzita zodhaprabandha), gujarAta yunivarsiTI, ahamadAbAda 1990. Jain Education Intemational

Page #328
'TT 1. kAkonI kI jaina pratimA

Page #329
disAvara ke (va upAhA sahA 2. kAkonI kI jaina pratimA kA lekha

Page #330
kAkonI kA jaina pratimA lekha, saMvat 1082 aravinda kumAra siMha rAjasthAna kA uparamAla kSetra (prAyaH prAcIna pazcimI pAriyAtra pradeza) brAhmaNIya mandiroM ke sAtha-sAtha jaina kalAkRtiyoM ke liye vikhyAta hai| isa kSetra ke koTA jile meM sthita alpa jJAta grAma kAkonI ke purAne mandiroM ke khaNDaharoM meM se jaina kalA ke bhI kucha avazeSa ujAgara hue haiN| unameM ullekhanIya hai eka khaNDita mandira ke dvAra ke sAmane rakhI salekha jaina pratimA (citra kramAMka 1) / pratimA ke masUraka (gaddI) para kucha hada taka bhraSTa saMskRta bhASA tathA nAgarI lipi meM 3 paMktiyoM meM lekha aMkita hai (citra kramAMka 2) / prastuta abhilekha meM dezI saMgha ke karaNika bhaTTAraka zazadhara tathA bhaTTAraka jayakIrti kA nAma aMkita hai| donoM ko bhaTTAraka kahA jAnA isa tathya kA prakAzaka hai ki ve maThavAsI paramparA ke muni rahe hoNge| yaha saMbhava hai ki ye donoM bhaTTAraka uttara kI (apane ko yApanIya nahIM kahalAne vAlI) acelakSapaNaka paramparA se sambandhita rahe hoM, athavA digambara paramparA se / prastuta sthAna ke goSThiyoM kA bhI ullekha hai yadyapi unake nAma nahIM diye haiN| uttara ke azvetAmbara paramparA ke aise lekhoM meM niyamita AnevAlA antima zabda "praNamati" yahA~ bhI upasthita hai| abhilekha kA pATha 1. saMvat 1082 zrIdesi(zI) saMghasya tasya bhAha] zazadhara karani(Ni)ka 2. rasanibhaguNarAsi (shi)| sa(za)madamasadvRttasata(?) pA: bhaTTAraka 3. zrI jayakIrtiH samastagoSThi praNamatiH / citra sUcI: 1. kAkonI kI jaina pratimA (Courtesy, American Institute of Indian Studies, Varanasi.) 2. kAkonI kI jaina pratimA kA lekha (Courtesy, American Institute of Indian Studies, Varanasi.) Jain Education Intemational

Page #331
cittaur3agar3ha ke do uttara - madhyakAlIna jinAlaya " atula tripAThI rAjasthAna ke prAcIna mevAr3a pradeza meM dakSiNa - pUrva sthita cittaur3agar3ha, prAcIna citrakUTa, na kevala tyAga, balidAna, evaM rAjapUta zaurya kI bhUmi rahI balki yaha jaina darzana evaM kalA kendra ke rUpa meM bhI vikasita rhaa| cittaur3a durga kA jaina tIrtha sthala ke rUpa meM ullekha prAcInakAla se hI milanA Arambha hotA hai| prAk-madhyakAla va madhyakAla meM yaha kSetra jaina dharma kA mAnoM paryAya hI bana gayA / haribhadra sUri ( prAya: I0 700-785), jinavallabha sUri ( prAya: I0 1075-1119) Adi jaina vidvada muniyoM ke yahAM nivAsa karane ke pramANabhUta ullekha milate haiN| yaha kSetra adhikatara zvetAmbara prabhAvita pratIta hotA hai| uttara-madhyakAlIna zvetAmbara srotoM ke anusAra rAjA allaTa ke samaya digambaroM va zvetAmbaroM ke bIca hue vivAda meM zvetAmbara AcArya pradyumnasUri vijita hue / kASTAsaMgha ke lATa-bAgar3a saMgha kI gurvAvalI ke anusAra cittaur3a ke (guhilavaMzIya) rAjA naravAhana ( prAya: I0 971) ke samaya meM muni prabhAcandra dvArA durjeya zaivoM ko parAjita karane kA ullekha hai| yahAM digambara va zvetAmbara donoM hI sampradAyoM se saMbaMdhita mandiroM kA nirmANa, vizeSakara uttara madhyakAla meM huaa| cittaur3a durga meM sAtabIsa deurI ke pUrva kI ora sthita do pAsa pAsa meM khar3e jinAlayoM kA, jo uttara evaM dakSiNa dizA meM eka dUsare se samAnAntara haiM, sthApatya evaM zilpa kalA kI dRSTi se mahattvapUrNa haiN| balue patthara se nirmita ye donoM mandira ( citra 1, 2) pUrvAbhimukha hai jo eka U~cI jagatI para sthita haiN| donoM mandiroM meM itanA sAmya hai ki eka nigAha meM bhinnatA kara pAnA muzkila kArya hai| donoM mandiroM ke sAmya ko dekhate hue prastuta lekha meM uttarI mandira kA varNana kiyA gayA hai va dakSiNI mandira meM jo bhinnatA hai usI kA ullekha kiyA gayA hai| donoM hI maMdira meM mUlaprAsAda, gUr3hamaMDapa, naucaukI va usase lagA Age kI ora cabUtarA hai| cabUtare ke uttarI, dakSiNI evaM pUrvI madhya bhAga para sIr3hiyA~ haiM, dakSiNI maMdira ke pUrvI sopAna ke nikaTa do uccAlaka staMbho ke madhya AMdola-toraNa lagA hai| maMdira kA mUlaprAsAda udaya meM pITha, maNDovara va zikhara meM vibhAjita hai / (citra 3, 4 ) / pITha bhAga punaH tIna bhiTTa jisameM bIcavAle para arddharatna, tadupari bhiTTa para arddhapadma aMkita hai| tatpazcAt jADyakuMbha, karNaka, chAdyakI evaM grAsapaTTI meM vibhAjita hai| jAr3ayakuMbha kI phalanAoM para pattiyoM kA aMkana hai evaM grAsapaTTikA ke bhadra bhAga meM lumbikA nikalI hai| mUlaprAsAda kA maNDovara vedibaMdha, jaMghA va varaNDikA meM vibhAjita hai| vedibaMdha khura, kuMbha, kalaza, antarapaTTa, kapotapAlI ina pAMca ghaTakoM meM samAviSTa hai| khura meM haMso kI jor3I kA aMkana hai jo dakSiNI mandira meM do-do jor3I ke rUpa meM hai| kuMbha arddharatna se alaMkRta hai evaM madhya meM maNibandha dvArA do bhAgoM meM vibhAjita hai aura UparI skandha bhAga padma paMkti se AbhUSita kiyA gayA hai| kuMbha ke subhadra bhAga para lalitAsana meM vidyAdeviyoM evaM yakSiyoM kA aMkana hai| pratiratha ke khurabhAga ke Upara udgama hai, lekina devI kA aMkana nahIM hai| dakSiNI mandira ke pratiratha para bhI cAmaradhAriNI sahita vidyAdeviyoM evaM yakSiyoM kA aMkana hai| dakSiNI mandira ke kuMbha para maNibaMdha ke Upara patalI karNikA kA aMkana * maiM zraddheya guruvara prA0 ema0 e0 DhAkI, nidezaka (zodha) amerikana iMsTiTyUTa Apha iMDiyana sTaDIja, rAmanagara, vArANasI, kA vizeSa AbhArI hU~, jinhoneM na kevala lekha kA zIrSaka sujhAyA balki mArgadarzana pradAna kara lekha likhane ko prerita kiyA / For Private Personal Use Only

Page #332
Vol. I-1995 cittaur3agar3ha ke do uttara... hai aura vizeSa meM yahA~ upabhadroM para cAmaradhArI apsarAoM kA aMkana hai| donoM hI maMdiroM kA ratnajaDita kalaza kArIgarI kA uttama namUnA prastuta karatA hai, itanA hI nahIM, inake aMkana meM vividhatA hai| dakSiNI maMdira kA kalaza maNibaMdha dvArA do bhAgoM meM vibhAjita hai (citra 4, 5) / vedibandha ke Upara maMcikAzrita jaMghA hai, jisake Upara patalA kumuda hai| jaMghA kA bhadra-khattaka sakarA evaM gaharA hai, jisameM kAyotsarga mudrA meM jina mUrti sthApita hai| chAdyakI ke Upara illikAvalaNa-toraNa hai jisake madhya padmAsanAsIna evaM dhyAna mudrA meM sthita jina pratimA hai| dakSiNI mandira kA bhadra-khattaka apekSAkRta jyAdA caur3A hai tathA isameM paryaMkAsanastha jina aMkita hai jisake donoM ora cAmaradhAriNI va Upara hAthI kA aMkana hai| Upara illikAvalaNa ke madhya dhyAnastha jina ke donoM ora cAmaradhAriNI aura kinnaroM kA aMkana hai| mandira ke karNa evaM kapilI para aSTadikpAla yathAsthAna vidyamAna hai| mandira ke upabhadra tathA pratiratha bhAga para manamohaka apsarAoM kA aMkana hai jisameM darpaNA kiMvA zucismitA, siMha yA cakrI yA tote se khelatI nAyikA, cAkU, DhAla yA talavAra liye surasundarI, karpUramanjarI, nUpura bA~dhatI apsarA, lIlAvatI, varana utAratI nAyikA Adi pramukha hai| dakSiNI maMdiroM meM zAsanadevI ambikA va patralekhA apsarA khAsa ullekhanIya haiN| jaMghA ke aMgo ke bIca meM tApasa va Upara hAtha jor3e baiThe ArAdhaka kA aMkana hai| aSTadikpAla va apsarAyeM saparikara dikhAye gaye hai jina ke Upara do staravAle udgama hai jinake donoM ora kone para baiThe hue bandara kA aMkana hai| udgama, Upara AnevAlI grAsapaTTikA ko kATatA hai jisake Upara karNikAyukta bharaNI evaM vidyAdharapaTTikA hai| jaMghA kA varaNDikA bhAga ke Upara krama meM khurachAdya upasthita hai| uttarI mandira kA zikhara bhAga apekSAkRta adhika saghana hai, jo cAturaMga mUlamaMjarI, tIna Ura:maMjarI, pratiratha evaM karNa para do-do navANDaka karmoM, jinake Upara eka zrRMga, koNikA para do-do kUTazrRMgoM va eka tilaka, koNikA va pratiratha ke madhya bhAga para do-do naSazrRMgoM va eka zrRMga se milakara banA hai| koNikA para kUTazRMga ke Upara pratyaMga hai| pUrvI bhAga para nicalI Ura:maMjarI kA sthAna zukanAsa ne liyA hai| dakSiNI maMdira para naSazrRMgoM ke sthAna para vyAloM kA aMkana hai| yahA~ para tri-aMga mUlamaMjarI va pratyaMga apekSAkRta jyAdA bar3A hai| karNa para do navANDaka karmoM ke Upara eka zrRMga hai jabaki pratiratha para isakA sthAna tilaka ne liyA hai (citra 5, 6) / donoM hI maMdiroM ke bhadra bhAga para nicalI Ura:maMjarI ke nIce rathikA ke Upara choTI rathikA vidyamAna hai jisameM jaina deviyoM kA aMkana hai| nIce vAlI rathikA meM donoM aura cAmaradhAriNI striyA~ hai| donoM maMdiroM ke Ura:maMjarI ke kalaza se Upara kA bhAga Adhunika hai, jisakA navInIkaraNa zvetAmbara TrasTa dvArA 1942 meM kiyA gyaa| donoM hI maMdiroM ke kapilI va gUDhamaMDapa, mUlaprAsAda kI bhAMti pITha va maNDovara se milakara bane hai| kapilI ke chAdya ke Upara do zrRMgoM kA aMkana hai jabaki gUr3hamaMDapa ke chAdya va usase Upara kA bhAga arvAcIna hai| gUr3hamaMDapa kA bhadra va karNa bhAga mUlaprAsAda ke mukAbale jyAdA caur3A hai| bhadra bhAga kI apekSAkRta jyAdA caur3e khattaka para patthara kI jAlI hai| bhadra-khattaka ke khurachAdya ke Upara illikAvalaNa hai, jisake madhya padmAsana meM baiThe hue jina kA aMkana hai evaM inake donoM ora caurIdhAriNI nAriyoM kA aMkana hai| gUr3hamaMDapa ke vedibaMdha va jaMghA bhAga para jyAdAtara aMkana bhaddA va bAda kA hai| uttarI maMdira ke gUr3hamaMDapa bhAga para mUrtikalA kA kAma apekSAkRta kama hai| donoM maMdiroM ke gUDhamaMDapa ke karNabhAga para caturbhajI dikpAloM kA aMkana sapatnIka huA hai| uttarI mandiroM meM dikpAla ke Upara udgama para caturbhujI sukhAsanA devI kA aMkana hai| dakSiNI maMdira ke gUDhamaMDapa ke jAiyakuMbha para eka dUsare kI Jain Education Intemational

Page #333
atula tripAThI Nirgrantha ora mukha kiye hAthiyoM kA aMkana eka jagaha vedIbaMdha kuMbha karNa para huA hai (citra 7) / yahA~ dakSiNI-pUrvI karNa ke jaMghA ke dakSiNI mukha para caturbhuja balarAma kA aMkana hai| dakSiNI-pazcimI karNa ke dakSiNI mukha para do deviyoM kA aMkana hai jina para kramaza: "vimalA" va "kAntI" nAma khudA huA hai| pazcimI bhAga para do caturbhujI ajJAta devIyoM kA aMkana hai| uttarI vedIbaMdha kuMbha ke bhadra bhAga para pazcimI mukha para dvibhujI gaNeza kA nRtyamudrA meM aMkana hai, sAtha hI eka sundara makara-praNAla bhI saMlagna hai (citra 8) / uttarI maMdira ke garbhagRha kI caturzAkhA dvArazAkhA - patrazAkhA, rUpazAkhA, staMbhazAkhA va rUpazAkhA se milakara banI hai| patrazAkhA vallI se alaMkRta hai jo ki nIce mayUra ke mukha se udgamita hotA hai| patrazAkhA ke nicale bhAga para kalazadhAriNI striyoM (gaMgA ? evaM yamunA ?) kA aMkana hai| pedyA para caturbhuja pratihAroM kA tribhaMga meM aMkana hai va inake donoM aura cAmaradhAriNI striyoM kA aMkana hai| dvAra kA udumbara bhAga do bhAgoM meM vibhAjita hai, jisake donoM ora nikale hue grAsamukhoM kA aMkana hai| udumbara ke donoM konoM para pedyA ke nIce sarvAnubhUti kA bAMyI ora va ambikA kA dA~yI ora lalitAsana mudrA meM aMkana hai| uttaraMga para patrazAkhA jArI rahatA hai| patrazAkhA ke Upara mAlAdhArI vidyAdharoM kA aMkana hai jo ki lalATabimba kI ora mukha kie haiN| lalATabimba para padmAsanAsIna jina kA aMkana hai| dakSiNI maMdira kI dvArazAkhA bhI lagabhaga isI prakAra kI hai parantu isake staMbhazAkhA ke donoM ora bakulamAlA hai| uttarI maMdira ke garbhagRha ke bhItara pArzvanAtha kI zyAma va baoNyI evaM dAMyI ora kramaza: jina AdinAtha va saMbhavanAtha padmAsanAsIna Adhunika pratimAyeM haiN| uttarI maMdira kI chata para pA~ca stara va madhya meM padmazilA hai| dakSiNI mandira ke garbhagRha kI dUsarI stara haMsamAlA rUpa meM hai va madhya meM padma kA aMkana hai| dakSiNI mandira kI prAgnIva kA samatala vitAna para arddhapadmoM kA aMkana hai jo ki mANikya kI kinArI yukta hai| gUr3hamaMDapa kA vitAna para bAraha starayukta hai va bIca meM padmazilA hai| dakSiNI mandira kI dvArazAkhA viziSTa hai jisakI kucha garbhagRha se sAmya hai| gUr3hamaMDapa se lagI naucaukI bAraha mizraka staMbho para Azrita hai| dakSiNI mandira kI eka-do caukiyoM ko chor3akara bAkI para kucha vizeSa alaMkaraNa nahIM hai| naucaukI se lagA huA cabUtarA pITha para AdhArita hai| dakSiNI mandira ke pUrvI sopAna ke nikaTa do uccAlaka-staMbho ke madhya AMdola-toraNa (citra 9) hai| AMdola-toraNa pAMca khaMDa se milakara banA hai, jisameM tIsarA bhArapaTTaka ko chUtA hai| hara khaNDa ke nIce luMbikA nikalI huI hai| bhArapaTTaka" para pArzvanAtha padmAsanAsIna pratimA rahI hogI jo aba vidyamAna nahIM hai| jahA~ taka uparokta donoM mandiroM kA prazna hai, sthApatya kI zailI kI dRSTi se ye donoM mandira nizcita rUpa se 15vIM zatAbdI ke pratIta hote hai| gUr3hamaMDapa ke dakSiNa kaTi-bhadra ke daoNyI ora eka dvibhujI pratimA para bhraSTa bhASA meM savanu 1612 praSakRsudI 13 saca jAla prasRtakITaka va uttarI bhadra kI pratimA ke nIce saMvat 1564 varSA aMkita hai| isase yaha bhI pramANita hotA hai ki mandira, khAsakara gUr3hamaMDapa bhAga punaHnirmANa kI prakriyA se gujraa| citrasUcI :1) citra 1 - uttara pArzvanAtha mandira, pazcimI bhaag| citra 2 - dakSiNI pArzvanAtha mandira, pazcimI bhaag| 3) citra 3 - uttarI pArzvanAtha mandira, mUla prAsAda, dakSiNI bhaag| 4) citra 4 - dakSiNI pArzvanAtha mandira, mUla prAsAda, dakSiNI pazcimI bhaag| 2) Jain Education Interational

Page #334
1. uttara pArzvanAtha mandira, pazcimI bhaag| TEET 2. dakSiNI pArzvanAtha mandira, pazcimI bhaag|onal uply Jain Education Intemational past

Page #335
3. uttarI pArzvanAtha mandira, mUla prAsAda, dakSiNI bhaag| Fmma DETTE 3 DEBE A BBuri M 4. dakSiNI pArzvanAtha mandira, mUla prAsAda, dakSiNI pazcimI bhaag| - Education Intemational Terma imelihcard org

Page #336
AREUTE ESHD J 5. uttara pArzvanAtha mandira, zikhara, dakSiNI pazcimI bhaag| Jain Education Intemational

Page #337
6. dakSiNa pArzvanAtha mandira, zikhara, dakSiNI pazcimI bhaag| Jain Education Intemational

Page #338
REFLEELite NEP JUREDU C ERHA 7. dakSiNI pArzvanAtha mandira, dakSiNI bhaag|

Page #339
8. dakSiNI pArzvanAtha mandira, mkttprnnaal| 9. dakSiNI pArzvanAtha mandira, Andola tornn| Jain Education Intemational

Page #340
Vol. I-1995 5) citra 5 - uttara pArzvanAtha mandira, zikhara, dakSiNI pazcimI bhAga / dakSiNa pArzvanAtha mandira, zikhara, dakSiNI pazcimI bhaag| 6) citra 6 7) 8) 9) citra 7 dakSiNI pArzvanAtha mandira, dakSiNI bhAga / citra 8 dakSiNI pArzvanAtha mandira, mkttprnnaal| citra 9 dakSiNI pArzvanAtha mandira, Andola tornn| - - cittaur3agar3ha ke do uttara .... - prastuta lekha hetu citra American Institute of Indian Studies, Varanasi dvArA upalabdha karAye gaye / hama isa saMsthA ke AbhArI haiN| 63

Page #341

Page #342
in Education International www.jainelibrary