Sambodhi 2005 Vol 29

Author(s): J B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520779/1

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SAMBODHI VOI. XXIX 2007 Puratattva Vol-1 EDITORS J. B. SHAH K. M. PATEL bhAratIya GTT nAlabhAI vidhAmAvara ahA Tare > L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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Our Contributors Dr. Radhavallabh Tripathi Sanskrit Department Dr. H.S, Gour University Sagar (M.P.) Dr. S. K. Bajpai Department of Ancient Indian History, Archaeology and Indian culture, Dr. H.S. Gour University, *Sagar (M.P.) Ravi Hajarnis Ex. Asstt Director of Archaeology Gujarat State Ahmedabad Maulik Hajarnis 18/212, Parishram Apartment Nr. Bima Nagar, Sattelite Road Ahmedabad-380015 Rafiqa Sultana Curator Gujarat Vidyapith Museum Ahmedabad-380014 Afroz Sultana Curafor S. P. University Vallabh Vidya nagar (Anand) Yatin Pandya Associate Director Vastu-shilp Foundation for Studies and Reserch in Enviromental Design Ahmedabad Dr. Bhartiben Shelat Sneha Bandhan Naraya Nagar Road Paldi, Ahmedabad-380007 Siddharth Wakankar Oriental Research Institute, Palace road, Vadodara-390001 Dr. Rasesh Jamindar 10/B, vasu Apartments Near Shreeji Palace Naranpura, Ahmedabad-380013 Dr. Poonam Gandhi-Moirngthan Department of Sociology M.S. University Baroda Dr. Swarankamal Bhowmik 15, Parvatinagar Society No. 1 Subhanpura Near Vimalnath Complex Vadodara Vismay H. Raval L. D. Institute of Indology, Near Gujarat University Ahmedabad-380009 Dr. Jitendra B. Shah L. D. Institute of Indology, Near Gujarat University Ahmedabad-380009. Dr. Niranjana Vora Ahimsha Shodh Bhavan Gujarat Vidyapith Ahmedabad-380014 Dr. Hariprasad Shastri 192, Azad Society Ahmedabad-380015 Dr. Hasmukh Vyas Khambhlav B/H, Shree Nathji Society Jetpur Road Dhoraji Dist. Rajkot Dr. Shobhna R. Shah International centre for Jain studies, Gujarat Vidyapith Ahmedabad - 380014 Dr. Preeti Pancholi L. D. Institute of Indology, Near Gujarat University Ahmedabad-380009. Ms. Shefali Nachane GNFC Township, street No. 19/7 Po. Narmada nagar Bharuch Dr. S. V. Jani *Shivam Setubandh Society Behind Mahila Collage Rajkot - 360007

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SAMBODHI VOI. XXIX 2007 Puratattva Vol-1 EDITORS J. B. SHAH K. M. PATEL bhAratIya upale vidhAmA JUL 319 ahamadAbA VOC L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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SAMBODHI VOI. XXIX 2007 Special Issue of Puratattva-1 Editorial Board Jitendra Shah Yaduvir Sinh Ravat Ravi Hajarnis K. M. Patel Published by : J. B. Shah L. D. Institute of Indology Ahmedabad - 380 009 (India) Price : Rs. 100.00 Computer type setting : Sharadaben Chimanbhai Educational Research Centre, 104, Sarap Building, Near Navjivan Press, Behind C. U. Shah College, Ashram Road, Ahmedabad-380014 (India) Printer : Navprabhat Printing Press Near Old Novelty Cinema, Ghee-kanta, Ahmedabad.

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saMpAdakIya bhAratIya saMskRtinA saMrakSaNamAM zilpa, sthApatya ane purAtattvano mahattvano phALo che. zilpa, sthApatya ane purAtattva kSetre bhArata khUba ja samRddha deza che. A viSaye Aja sudhImAM aneka graMtho pragaTa thayAM che. temAM gujarAtanuM paNa moTuM pradAna che. paraMtu gujarAtanA pradAna aMge ghaNuM ochuM kAma thayuM che. A kSetre vizeSa kAma thAya to gujarAtanI purAtattvIya samRddhino viddha jagatane khyAla AvI zake. A mATe eka saMzodhanAtmaka lekhamALA zarU thAya tevI amArI bhAvanA hatI. A vAta ame vidvAnamitra zrI ravi hajarIsane karI. temaNe paNa A viSaye vadhu kAmanI AvazyaktA aMge amArI vAtano svIkAra karyo. sAthe sAthe eka vizeSAMka pragaTa karavAnI vAta karI. ame te vAtane saharSa svIkArI lIdhI. A samaya daramyAna vidyAmaMdiramAM purAtattva viSayano eka pramANapatra abhyAsakrama cAlI rahyo hato. e samaye gujarAta rAjyanAM purAtattva khAtAnA vaDA zrI yaduvIrasiMha rAvata paNa pravacana mATe AmaMtrita hatA. temane ame purAtattvanA vizeSAMka saMbaMdhI yojanA jaNAvI. amArI yojanA temane gamI gaI ane purAtattvakhAtu A yojanAmAM yathAsaMbhava sahayoga karaze tema paNa jaNAvyuM. tethI amArA utsAhamAM abhivRddhi thaI. tyArabAda samagra yojanAnA tamAma tabakke zrI rAvata sAhebe khUba ja suMdara mArgadarzana ane saMpUrNa sahakAra Apyo che. tethI samagra Ayojana saphaLatA pUrvaka pAra paDI zakyuM che. te badala zrI rAvata sAhebano ame aMtaHkaraNapUrvaka AbhAra mAnIe chIe. A vizeSAMka mATe purAtattvanA vidvAnone lekha lakhavA AmaMtrita karavA, temanA lekho prApta karavA, saMpAdana karavuM, prupha rIDIMga Adi tamAma kAryomAM zrI ravi hajAranIsano saMpUrNa sahakAra prApta thayo che. te mATe temano jeTalo AbhAra mAnIe teTalo ocho che. A yojanA mATe ame aneka vidvAnone AmaMtraNa ApyuM hatuM paraMtu nirdhArita samaya daramyAna prApta thayela lekhone samAvI zakyA

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chIe. haju A dizAmAM ghaNuM ghaNuM kAma thavAne avakAza che. te mATe bhaviSyamAM punaH Ayojana karavAno vicAra che. A vizeSAMka mATe lekha taiyAra karI mokalI ApanAra tamAma vidvAnonA ame AbhArI chIe. purAtattvane lagato saMbodhino A vizeSAMka, taiyAra karavA mATe gujarAta rAjayanA purAtattva khAtA taraphathI Arthika anudAna prApta thayela che te mATe purAtattva khAtAno, tenA vahIvaTakartAono vizeSa AbhAra mAnIe chIe. bhaviSyamAM Avo ja suMdara sahayoga prApta thato raheze tevI amane pUrNa zraddhA che. amane AzA che ke A aMka purAtattva aMge jijJAsA dharAvatA tamAmane upayogI thaze. A vizeSAMka taiyAra karavA mATe sahayoga karanAra tamAmano AbhAra. jitendra bI. zAha

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CONTENTS 1. KSETRAPALA - HIS VEDIC AND PURANIC CONNECTIONS 2. BULL AND NANDI IMAGES OF GUJARAT 3. BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL 4. ARCHAEOLOGICAL ART OF APPARELS RADHAVALLABH TRIPATHI, S.K. BAJPAI RAVI HAJARNIS MAULIK HAJARNIS RAFIQA SULTANA, AFROZ SULTANA YATIN PANDYA BHARATI SHELAT SIDDHARTH Y. WAKANKA 85 5. ON THE ARCHITECTURAL TRAILS... Destination Gujarat 6. THE INDIAN SCRIPTS 7. MOKAPATA OF JNANADEVA-THE ORIGIN OF THE GAMES OF SNAKES AND LADDERS 8. SURYOPASANA IN THE PRE-AHMEDABAD. SOCIETY ON THE BASIS OF SUN-ICON SOURCES 9. ART AND ARTISTS IN ANCIENT INDIA - A Sociological Inquiry RASESH JAMINDAR POONAM GANDHIMOIRANGTHEM SWARNA KAMAL BHOWMIK 10. THE NEGLECTED ASPECTS OF ART HISTORY IN INDIA 144 11. CONSERVATION POLICY (NEEDS, AREAS TO CONSIDER & PREPARING WORKING MANUAL] 12. gujarAtamAM prAgu-itihAsa 13. dharma ane kalA 14. jUnAgaDhanA traNa zailalekha 15. kSatrapakAlIna be abhilekha 16. sthAnAMgasUtramAM varNita saMgIta kalAnAM tattva 17. kalpasUtranAM citro 18. rUpA mahetAnI chatrIno lekha 19. "purAvastu ane zilpa' abhyAsakrama ahevAla 20. saurASTramAM purAtattva 21, zItaLA mAtA maMdira 161 VISMAY H. RAVAL 108 jitendra bI. zAha, ravi hajaranIsa 115 niraMjanA zvetaketu vorA 136 hariprasAda zAstrI hasamukha vyAsa 148 zobhanA Ara. zAha 150 prIti paMcolI ravi hajaranIsa, zephAlI nAcaNe ravi hajaranIsa 174 esa.vI.jAnI 177 gujarAta rAjaya purAtattva vibhAga, 187 gAMdhInagaranA saujanyathI 189 191 193 171 22. kaDiyA DuMgaranI guphAo 23. zaila guphA-siyota 24. purAtattva khAtuM, gujarAta rAjaya dvArA prakAzita pustako 25. SOME-PUBLICATIONS OF ART...., 194

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Statement about ownership and other particulars about Sambodhi, the Yearly Research Journal of the L. D. Institute of Indology, Ahmedabad to be published in the first issue every year after the last day of March. FORM IV (See Rule 8) 1. Place of publication 2. Periodicity of its publication Printer's Name Nationality Address Ahmedabad Yearly Navprabhat Printing Press Indian Ghee-kanta, Ahmedabad. 4. Publisher's Name Nationality Address Jitendra B. Shah Indian Director L. D. Institute of Indology, Ahmedabad - 380 009. 5. Editors' Names Nationality Address 1. Dr. Jitendra B. Shah 2. Kanjibhai M. Patel Indian L. D. Institute of Indology, Ahmedabad - 380 009. 6. Nil Name and addresses of Individuals who own the newspaper and partners or shareholders holding more than one-percent of the total Shares. I, Jitendra B. Shah, hereby declare that the particulars given above are true to the best of my knowledge and belief. Jitendra B. Shah Director

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KSETRAPALA - HIS VEDIC AND PURANIC CONNECTIONS RADHAVALLABH TRIPATHI , S.K. BAJPAI+ Ksetrapati has been described as the presiding deity of an agricultural land in Rgveda. He is supposed to look after the cattle and the animals and bestow wealth and prosperity on the farmers by increasing the harvest. In three of the mantras in Rgveda, the deity has been named as Kthetrapati kSetrasya patinA vayaM hiteneva jayAmasi / gAmazvaM poSayintvA sa no mRLAtIdRze // kSetrasya pate madhumantamUrmi dhenuriva payo asmAsu dhukSva / madhuzcutaM ghRtamiva supUtamRtasya na patayo mRLayantu // madhumatIrauSadhIAva Apomadhumanno bhavatvantarikSam / kSetrasya patirmadhumAno astvariSyanto anvenaM carema // _ (Rg. IV.57.1-3) This sukta also refers to Indra and Pusan urging upon them to look after Sita or the furrow, and to make her capable of producing rich harvest. Evidently, Ksetrapati, Indra and Pusan these are interrelated, and all of them have links with the life of the farmers or the agriculturists. The Mahabharata refers to a sage called Krsivala who lived under the patronage of Indra. Krsivala also means a farmer. Indra is thus the god of the farmers and Ksetrapati is a minor deity worshipped by those who depend on agriculture and rearing of the cattle. Macdonnel Says- "The deity ksetrasyapati - Lord of the field - should * + Professor, Sanskrit Department, Dr. H.S.Gour University, SAGAR (M.P.) Reader, Department of Ancient Indian History, Archaeology and Indian Culture, Dr. H.S.Gour University, Sagar.

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RADHAVALLABH TRIPATHI, S.K. BAJPAI SAMBODHI-PURATATTVA proably be understood as the god presiding over each field just as the vastospati presides over each dwelling". According to his interpretation, as the fields right from the Vedic times began to be devided accroding to the ownership of the land, different Ksetrapatis were supposed to be presiding over different fields. Dr. G. C. Tripathi opines that the worship of deities like vastospati and ksetrapati came to prevail at a later stage, when major deities like the Sun or dyaus had already been established and also, worship to these minor deities signifies evolution of gods out of requirements of daily life.? In a society which largely depended on agriculture, a deity like ksetrapati naturally assumed growing importance. ksetrapati therefore used to be worshipped by the masses. We find the puranas describing the worship and iconography of Ksetrapati, Markandeya says ya eva grAmapAlo'bhUt pazupAlaH sa eva ca / kSetrapAlaH sa evAsId dvijAtInAM ca rakSitA // (Hiducuyau 19.24) The function of Ksetrapala thus did not remain confined to the protection of the agricultural field only, and the word ksetra here came to be denoting a wider spectrum, meaning all sorts of localities, which were supposed to be protected by the god Ksetrapati and thus there were different Ksetrapatis for protecting the village, the animals and the brahmins, but Markandeya emphasises over the basic unity or identity of these indicating perhaps their common roots in Rgveda. Agnipurana describe the iconography and characteristics of Ksetrapala. Accordingly, Kthetrapala is consecrated on the south-east corner of the temple, for protecting the villages and the cities. The image is large, with three eyes. It is constructed having three different characteristics - i.e. sattvika, rajasa and tamasa. The figures of Ksetrapati are depicted alternately having two, four or eight hands. Ksetrapala is also supposed to be a portion of Siva. Agnipurana (chap.51) prescribes that Ksetrapalas should be depicted with trident in their hands. It seems that Ksetrapala assumed prominence in the later tantra tradition, but his basic connections with the Vedic traditions remained intact. Vatukabhairavastotra defines the nyasa of Ksetrapa and Ksetrapala.3 Sabdakalpadruma explains Ksetrapala in tantric tradition. It has quoted a

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Vol-1, XX1X KSETRAPALA - HIS VEDIC AND PURANIC CONNECTIONS 3 work Ksetrapalaprakarana which enumerates as many as 51 varieties of Ksetrapala. These varieties are based on the alphabet (matskopabheda). These areAjara, Apakumbha, Indrastuti, idacara, Uktasanjna, Usmada, Rddhisuddha, Rmukto, Lrtpakesa, Ekakadamstraka, Airavata, Ougabandhu, Ousadhisa, Anjana, Asvavara, Kavala, Kharukhabala, Gamukhya, Ghantadosmana, Candavarana, Chatatopa, Jatala, Jhangiva, Nanancara, Tankapani, Sthanyabandhu, Damara, Dhakkarava, Navarna, Tadiddehasthira, Dantura, Dhanada, Naktikanta, Parcandaka, Phatkara, Biransangha, Bhrnga, Meghabhasura, Yuganta, Raugyavanca, Lambaustha, Vasava, Sukananda, Salala, Sunama and Hambuka. (Sabdakalpadruma. pt.II, p.260) Connection with Indra is evident even in this later tradition of deciphering different names of Ksetrapala, as a name Indrastuti occurs there. Sabdakalpadruma also quotes Mantradevaprakasini for indentifying the mantras and the method of worshipping Ksetrapala. It also prescribes the balividhana for Ksetrapala, quoting from Tantrasara. The worship of Ksetrapala remained popular amongst the tribes and the sections of the society that depended on agriculture. In the third book of Pancatantra (Kakollukiyam), a brahmin named Haridatta, who is a farmer by profession sees a cobra in his field and thinks it to be the Ksetrapala. Yogesvara, a prominent Sanskrit poet, who flourished in ninth century A. D. or before that, describes the worship of Ksetrapala by the barbaras which are tribal people, by the offering of blood. According to this description, the idol of Ksetrapala was placed near a tree in the field. After offering bali to Ksetrapala the barbaras drank wine with their beloveds. Ksetrapala in Archaeology Indian Sculpture brings out several forms of Ksetrapala as minor gurdian of fields and villages. The iconography of Ksetrapala depicts him with three eyes and two, four, six or eight hands. The objects he holds in his hands are - trident, skull-cup, bell, drum, Javelin, sword, Khetaka (shield), noose of serpent, bow and arrow etc. Ksetrapala is most popular in South India Archaeology. His images are placed in the north eastern quarter of the village to face westwards. They are generally large and nude. Ksetrapala is depicted with a ferocious expression and carrying the emblems of Siva. The images are mostly made of stone and clay and they are brightly coloured.?

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RADHAVALLABH TRIPATHI, S.K. BAJPAI SAMBODHI-PURATATTVA Ksetrapalas are depicted in three forms - Sattvika, Rajasa and Tamasa. Their attributes vary in accordance with these forms, viz. - Sattvika, Rajasa Tamasa. Eyes Three Three Three Hands Three or four Six Eight Colour White Red Black Objects in Hands trident, skull-cup Javelin, sword, shield All these bell and drum and noose of serpent. and bow and arrow Ksetrapala is also depicted in Jain tradition. He has six or twenty hands. The six-handed Ksetrapala holds a club, noose, drum, bow and goad, and his vehicle is a dog. He is surrounded by Ananda and other Bhairavas, and is shown to be leading sixty four Yoginis. His relationship with Vaikunthabhairava is also mentioned in Jain texts. 8 To conclude we can say that (1) Ksetrapala is god conceived in a community which largely depended on agriculture. (II) Worship of Ksetrapala started as early as the Rigvedic period. (III) He figures in Vedic and puranic literature as well as in tantra and folklore. He thus brings out a correspondence with agamic and nigama tradition and simultaneously their interrelation with milieu or folk-traditions. References : 1. Vedic Index, Vol. I, p.211. 2. Tripathi G.C.: Vedic Debate-Adjuvant aura Visas, pt. I., p.6.10. ___ "akSNorbhUtAzrayaM nyasya vadane tIkSNadarzanam / kSetra karNayormadhye kSetrapAlaM hRdi nyaset / " iti vizvasAroddhAratantre 37145GR Chaco n il acar Harita quoted in Yachc484 Vol.11.p.260 4. "qui fa-G45 46 47: tArAdyo vasuvarNo'yaM kSetrapAlasya IritaH // " prAta:kRtyAdyanantaraM prANAyAmAntAmasya pUjAM vidyAya dharmAdipIThaM vinyasya RSyAdinyAsaM kuryAt / asya brahmA RSi gAyatrIcchandaH kSetrapAlo devatA kSauM bIjaM AyetizaktiH SaD-dIrghabhAjA bIjenAGganyAsaH / tato dhyAnam / "bhrAjaccandrajaTAdharaM trinayanaM nIlAJjanAdiprabhaM, dordaNDAttagadAkapAlamaruNastraggandhavastrojjalam /

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Vol-1, xxix KSETRAPALA - HIS VEDIC AND PURANIC CONNECTIONS ghaNTAmekhalaghargharadhvanimilajjhaGkArabhImaM vibhuM, vande saMhitasarpakuNDaladharaM zrIkSetrapAlaM sadA // " evaM dhyAtvA mAnasaiH sampUjyAya'sthApanaM kRtvA dharmAdikalpitapIThapUjAM vidhAya punAtvAvAhanAdipaJcapuSpAJjalidAnaparyantaM vidhAyavaraNapUjAmArabhet / aGgaiH prathamamAvaraNam / analAkSAgnikezakarAlaghaNTAravamahAkrodhapizitAsanapiGgalAkSoG rgakezairaSTAbhidvitIyam / indrAdibhistRtIyam / vajrAdibhizcaturtham / tato dhUpAdivisarjanAntaM karma samApayet / asya purazcaraNaM lakSyajapaH / sAjyena caraNA dazAMzahomaH / tathA ca nibandhe / mantradevaprakAzinI Ibid. p.260.1 .. 5. athAsya balividhAnam / rAtrau gRhAGgane sthaNDilaM kRtvA tatra devaM saparivAraM sampUjya devasya haste balimantreNa baliM datvA saparivAragaNebhya: svasvanAmabhirbaliM dadyAt / balimantrastu / ehyehi viduSi suru suru bhuJjaya tarjaya tarjaya vighnapada vighnapada mahAbhairava kSetrapAla bali gRha gRhNa svAhA / tathA ca nibandhe / "pUrbamehidvayaM pazcAt viduSi syAt surudvayam / bhuJjayadvitayaM bhUyasta yadvitayaM punaH // tato vighnapadadvandvaM mahAbhairava tatparam / kSetrapAla bali gRhNa dvayaM pAvakasundarI // " yadvA, ehyehi turu turu suru suru jambha jambha hana hana vighnaM vinAzaya vinAzaya mahAbali kSetrapAla gRhNa gRhNa svAhA / iti mantraH / eSa balividhiH sarvvagrahanivArako vijayazrIkarazca bhavati / balimapi sopadaMzabRhatpiNDena dadyAt / phalantu / "balidAnena santuSTaH kSetrapAlaH prayacchati / kAntidhAbalArogyatejaH puSTiyazaH zriyaH // " iti tantrasAra: Ibid.p.260 6. taistairjIvopahArairiha kuharazilAsaMzrayAmarcayitvA, devIM kAntAradurgA kudhiramupataru kSetrapAlAya datvA / tumbIvINAvinodavyavahitasarakAmahina jIrNe purANI, hAlAM mAlUrakoSairyuvatisahacarA barbarAH zIlayanti // 44 // yogezvarasya quoted in subhASitaratnakoSa of vidyAkara. p.213 7. Gupte R.S., Iconography of Hindus, Buddhists and Jains: Bombay, 1972, p.76 8. Ibid, p.184 000

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RADHAVALLABH TRIPATHI, S.K. BAJPAI PURATATTVA

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Vol-1, xxix KSETRAPALA - HIS VEDIC AND PURANIC CONNECTIONS

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BULL AND NANDI IMAGES OF GUJARAT RAVI HAJARNIS* In the pre-historic times the worship of the bull was widely prevalent throughout the Middle and Near East! The bull figured with wings in the Assyrian art. The wings show the divine character of the beast. In Egypt Apis Bull was not only a symbol, but was believed to be incarnation of the Egyptian God Osiris.? The Pre-historic man has drawn bison on rocks among the other animals. Bull was indentified with the Sun in African pre-historic rock art. Egyptians continued this ancient prehistoric idea, representing the bull carrying the Sun between its horns. The Sun, the source of all fertility, was known to Babylonian people as the bull light. The Bull Cult was in existence during the chalcolithic times throughout Sind, Punjab, Baluchistan and Gujarat." Bull figures in a large number on the seals of Indus Valley Civilization sites and other chalcolithic sites. In prehistoric and proto-historic rock art of Gujarat, bull appears prominently. The present author has brought to light a series of rock paintings from Sabarkantha district which has casted fresh light on the art history of this region from Stone Age to historical period.? At Sapavada depiction of bison is found with the sun placed on the left horn of the beast.7a (p1.1) This reminds us of the Egyptian phenomenon of the bull holding the sun between the horns. The artist of the Indus Valley had studied this animal very closely. These vigorously carved bulls are mostly presented in a realistic manner Indra, In Rigveda, is constantly designated as a Bull, a term applied much less frequently to Agni and occasionally to other gods such as Dasyus. The Bull is addressed as a form of Indra in Atharvaveda and in Saptapatha Brahman. Rudra also is described as a bull in the Rigveda.0 In one of the Vedic Yagnas, the bull appeared as a representative of Rudra. * Ex. Asstt. Director of Archaeology, Gujarat.

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Vol-1, XX1X BULL AND NANDI IMAGES OF GUJARAT We have already seen above, that the bull was at first the attributive epithet of several of the Vedic divinities including Rudra, but it came to denote Siva, especially in the Post-Vedic age." Nandin Nansikesvara or Adhikaranandin are some of the various names by which Siva's mount the Bull came to be described in the epics and Puranic texts. Nandi has been described in the literature also one of the chief personal attendants (Gana) of Siva. Kalidasa has described in the literature also as one of the chief personal attendants (Gana) of Siva. Kalidasa describes Nandi as keeping guard over the enterance of Siva's abode Kailash with a golden staff resting against his left forearms and silencing the Ganas with a finger of his right hand placed on his mouth.12 In the Ramayana, Nandi is described as having general appearance of a monkey (Vanararupam) and the body of a fierce dark brown short-armed powerful dwarf.13 In various Puranas he is described as the chief of the Ganas.14 In another tradition, Nandi under the title of Adhikaranandii , is presented as a bull-faced being, or as a duplicate of Siva, in good many south Indian temples. 15 The accounts of these aspects of Nandi are given in the Puranas. The aspect of Adhikaranandi is described in the Siva Purana, Linga Purana and Bhagavata Purana.16 Among several images of Adhikaranandi with bull-face, the image in the collection of the Sanskrit University Museum, Varanasi is unique.17 The idea about the bull being a mount of the god seems to have originated before the 1st century B. C. Siva used to be represented in theriopomorphic form as bull on coins in the Gandhara region. By the time, the Kusanas had began their rule, the bull was recognised as his mount.18 The humped bull appears on several seals from spooner's finds at Basarh showing Saivite association'9. The seals unearthed by Sir John Marshall at Bhita show bull along with other saiva emblems20. An intaglio in the Indian Museum, Calcutta, belonging to the late Kusana period, represents four-armed Siva seated on his mount Nandi. Here it may be pointed out that Siva's Vrsavahana form (riding his bull-vahana) has been referred to by Kalidasa at several places.21 There is a referance to the images of Nandi (Bull) in Mahabharata also.22 In numerous images of Siva-Parvati, belonging to late Kusana, Gupta and Post Gupta period, the deities are shown standing in front of a Nandi. Besides this,

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RAVI HAJARNIS SAMBODHI-PURATATTVA in several images of Nataraja, Vinadhara Siva, Sadharana Siva, Ardhanarisvara, Parvati, Mahesvari, and others are represented in company of a bull-mount. In Siva temples, Nandi is invariably represented fully in the theriopomorphic form (bull) wherein the bull is shown squatting on a raised platform, facing the entrance -door of the shrine in which is placed the divine emblem of Sivalinga. This position of Nandi is fully corroborated by the description given in the Matsya Purana23 i.e. devaviksanatatparah). The sculptural tradition of Nandis and his allocation to the temple proper, are however described in detail in the Aparajitaprccha which describe Nandi or Nandidesvara in a bull form and gives all the relative measurements of the figure.24 According to this text, height of Nandi should cover the sight up to Visnubhaga of the Sivalinga. The text further describes that the bull should be adorned with the Ghanta (bell), camara (fly whisk), Ghurghurmala - (garland of rattle-boxes), and Srngabharana (horn ornament). It also refers to the pot containing modaka (sweet balls) to be placed in front of the Nandi. The Saivagama Nibandhana, a South Indian work (c.11th cent. A.D.) though available in a corrupt form gives almost similar description.25 Vrsa or Nandi (bull) is an invariate member of the Siva temple complex. As a sculpture, customarily it is represented as a composed bull rendered in living form of the breed known in a given region of the same period.26 The early examples of Nandi images from Northern Indian temples in their various regional styles are in some cases impressive pieces of craftsmanship. But it is in the Southern Indian examples that it attained a level of highest artistic sensibility in certain varied school of sacred sculptures. Dhaky has published an exhaustive article on the Nandi images of Tamilnadu and Kannadnadu.27 According to Dhaky, bull is represented in Dravidian temples in three positions - (1) Facing the sanctum from outside the ardhamandapa (hall). (2) As cognizance placed over each of the four corners of the Vimana. (3) In partly decorative and partly symbolic role placed along the top of the prakara (wall) surrounding the temple complex. The sitting postures of all these Vrsa figures are uniform, following

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Vol-1, XXIX BULL AND NANDI IMAGES OF GUJARAT iconographic text. Out of these bull figures some Nandi images are unadorned and are decorated with chain Ghantamala and headband (manirekha). The bull from the Chanpur M. P. (c.12th cent. A.D.) is shown in squatting pose, tinkling bells, Ghrughurmala and hump band passing over the hind quarter. There is beautiful Gana figure which is clinging to a garland. 28 A huge brass image of Nandi is lying in the compound of Acalesvara Mahadeva at Mt. Abu (Rajasthan). Here the bull is decorated with chain and the garland.29 Another such massive image of bull, now in the Dhaka museum was found from Deobhog in the Faridpur District. Its hump is encircled by two garlands and an embroidered carpet covers the whole of the back from tail to neck.30 The earliest depiction of bull in Gujarat known so far is found on a coin of wema kadphises (c.40-78 A. D.). It was discovered from Kayavarohan.31 It shows Siva standing against his bull mount. Bull on Ksatrapa coin is an indication of their leaning towards Saivism.32 It is also found on the coin of Ksatrapa Rudrasen III.33 The coin of Skandhagupta also has a bull reported from Gujarat and Saurashtra.34 A medieval seal showing seated bull and Trisula has been obtained from the excavation at Nagara35. It figures invariably on one side of the Maitraka coins. It was the royal emblem of the Maitrakas and therefore it is found on all Maitraka seals. Numerous Chaulukyan inscriptions also continued to represent Nandi in a sitting posture. 36 The present author has published some Vrsa sculptures in Gujarat.37 Nandi sculptures studied therein fall into two groups: (1) As a vahana in association with some hieratic Saivite images (Siva, Virabhadra, Gauri-Samkara, Uma and Mahesvari), and (2) As an independent figure facing the Siva linga. Nandi in the first group is represented in various forms, standing or seated. Variety of dancing postures and examples of Couchant bulls are also worthy to note. They are included in standing or sitting groups. Nandi as a Vahana of Saiva deities : The earliest depiction of Nandi as a Vahana of the Saiva deities known so far could be traced back as early as the Ksatrapa period. A terracotta plaque

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12 RAVI HAJARNIS SAMBODHI-PURATATTVA obtained from the excavations at Amreli represents Uma-Mahesvara seated on bull.38 Nandi as a Vahana of Siva, Samalaji: Here, Vrsa's forehead is adorned with a beaded ribbon having a suspended leaf in the centre. The short ears and horns indicate it's youth. Its bulky size is proportionate to the height of his master. Stylistically, it is assignable to the end of the 4th cent. A.D.39 (P1.II) Nandi Vahana of Mahesvari Matrka from Samalaji: Here the Goddess is resting against the body of the bull. The sculpture is assignable to the 4th cent. A.D. The bull is adorned here with a beaded band suspended with a leaf motif on forehead. A chain is found on the neck of the beast. A noteworthy thing described here for the first time is a garland of animal heads i.e. lion heads. This lion head garland appeared from the Ksatrapa time. Nandi Vahana of Virbhadra from Samalaji sculpture: This image is carved in Schist and belongs to earlier half of the 5th cent. A.D.40 The god is shown standing against the trunk of the bull. The front legs of the beast are broken. The forehead is in earlier type is ornamented with a beaded ribbon and central suspended leaf, the ends of which are dangling on either side adding to its elegance. Neck ornament consisting of a garland of loin head rattles is also included. Lively youthfulness of the animal is evident in shorter horns and nostrils. This lively youthful bull does not show rustic appearance of the preceding example, but is refined and graceful in poise. Nandi as a Vahana of Gauri-Samkara, Gadha (North Gujarat): The figure continues the earlier iconographic style. Its ornaments are similar, but details are not elaborate, the youthful form of the bull, is still evident. It is assignable to c. 6th cent. A.D.41 (P1.III) Now in the Baroda Museum, it is noteworthy for its posture, as it is crouching below the left leg of his master. All above images are now in the collection of the Baroda Museum, Vadodara. Nandi mount of Gauri-Samkara, Kayavarohan (Karvan) in a figure in sand stone and belongs to c.6th cent A.D.42 Here, the bull stands behind the standing figure of Hara-Gauri from now onwards, making the image of Siva-Parvati against the trunk of the bull was much in vogue. Vrsa is noteworthy as it shows the regional idiom of the late phase of the Gupta period. The massive head and broader temple distinguishes it from the earlier examples. It is housed in at small shrine

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Vol-1, XX1X BULL AND NANDI IMAGES OF GUJARAT near Suthar no Ovaro, Karvan. (P1.IV) Nandi Vahana of Mahesvari from kayavarohan, now preserved in Baroda Museum, Vadodara, and is ascribed to the 8th 9th cent. A.D. of the age of Gurjara Pratiharas.43 Its ornaments and features are strikingly similar to the foregoing types. The customary head ornament and a rattle garland (Ghugharmala) with a single large bell (Ghanta) in the centre adorn the animal. Though, damaged; its artistic quality is quite impressive. Its half closed eyes are worthy to note. Nandi Vahana of Ardhanarisvara from Totu near Bayad in Sabarkantha district is an excellent example of animal sculpture. Its short horns, ears, big eyes covered with half open eyelid and wide inflated nostrils show the vitality and youthfulness of the beast. Here the bull is decorated with head-band (Manirekha) and ghugharmala as usual. It can be ascribed to c.5th cent. A.D. on the stylistic ground.44 Nandi with Gauri-Samkara from Roda belongs to 9th cent. A.D. and is now in the collection of Baroda Museum Vadodara. Gauri-Samkara ride on a sprightly Vrsa, it is shown seated with its head elegantly turned towards the ground, but looking up at Siva. The graceful posture of the head reflects the playful mood of the bull. The short horns, the Manirekha (Jewel band) on the forehead are all surviving elements of the earlier types. But, a niskarmala (Necklace of Coin disks) replaces the usual rattle garland.45 (P1.V) Nandi of Vinadhara siva, Varnama is assignable to c.8th cent. A.D. The figures fail to achieve the vividness of the lively beast. The modeling too is defective. 46 One more example from Varnama (Near Baroda) can be ascribed to c. 10th cent. A.D. As before, it figures as a mount for Hara-Gauri. Its size is consistent with the size of the riders. But, the head is broken. The vivaciousness of the beast in this instance is clearly apparent.47 Nandi Vahana of Natesa, Prabhas Patan: Originally, from the Somanatha temple belongs to c.11th or 12th cent. A.D. It is now preserved in the Prabhas Patan Museum, Prabhas (Somnatha). Nandi looks up to witness the dance of his master and the posture is noticeably graceful. The Vrsa however, is rather small in comparison to the earlier.ones. Yet, in relation to Siva, the imagery seems lively and vigorous. 48

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14 RAVI HAJARNIS SAMBODHI-PURATATTVA Nandi with Gauri-Samkara, Kotesvara is assignable to c.12h-13th cent. A.D. Here the bull is placed near the left leg of Siva. It is very small. The Vrsa has the head slightly fitted up and it touches the hanging left leg of Gauri.49 Nandi as free Standing Sculpture: Nandi, Goraj district Baroda is the earliest and the biggest free standing Vrsa sculpture from Gujarat. To know the actual place of this Nandi and its NandiMandapa, Archaeological Survey of India laid a small trench.50 The diggings brought to light damaged brick structure with four courses which may perhaps be a part of a pedestal of this big sized Nandi. Presently this Nandi is found in front of the modern siva temple at Goraj. B.M. Pandey assigned it to the Maitraka period. Si But Goraj Nandi is rendered on the samalaji tradition which prevailed in this area during Ksatrapa-Gupta period; and hence, it could be assigned to the earlier period of the late Ksatrapa-Gupta period on the stylistic ground. The brick of the pedestal also suggested the same age.52 However, this needs more confirmation. An excellent early sculpture of the Nandi hails from Samalaji is now in the Baroda Museum and Picture Gallery, Vadodara. It is carved in schist (measurement 80 x 37.5 cms. approx.). The mouth part is broken. The neck ornament is akin to that of the Vrsa of Siva from Samalaji. A ghugharmala passes from the back of the hump. U. P. Shah remarks that the energy and vitality of the animal, even when at rest, has been shown with admirable skill.53 The dewlap folds are not worked out in detail. According to M. A. Dhaky, it shows a few peculiarities of the Karnata Vrsa.54 A twisted rope-like chain encircling the neck is reminiscent of the one in the Vrsa standing behind the Vibhadra from Samalaji. The big eye suggests his submissiveness to his master. Stylistically this fine specimen could be ascribed to c.6th cent.A.D. (P1.VI) Another Nandi (bull) from Samalaji, originally hailing from Ranchhodji temple, samalaji is presently in the Prince of Wales Museum, Mumbai. It is nable to c.6th cent. A.D.55 The horns and the mouth are broken. The dewlap folds and hump are realistic. A twisted rope chain encircles the neck which reveals similarity to the bull behind the standing Siva from samalaji. The garland has ghugharas alternating with Fly whisks; all suspended from a broad strip. Similar garland also appears in the Nandi from Sandhida, which is assignable to c.7ih cent.

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Vol-1, xxix BULL AND NANDI IMAGES OF GUJARAT 15 A.D. The hump is prominent. On its other side of the bull is a gana tying a garland around its body while in the front was perhaps a vessel of sweet balls (modakapatra). This and the other bulls noted above illustrate fine local breed of Kankareji and other bulls of western India. (P1.VII) Another early bull also belonging to the same date which hails from Samalaji, is now exhibited in the Baroda Museum.56 Unfortunately its mouth, horns and the hump are mutilated. The ghugharmala composed of rattle boxes and fly whisk (ghurghur-camaramala) chain and the head-band are similar to those shown in the other two Nandi images from Samalaji . The present writer has discovered a group of schist sculptures of Ksatrapa, Gupta and Post-Gupta period at village Totu near Bayad in the Sabarkantha district. Totu Nandi with pedestal suggests a Saiva temple in this area. Its hump is prominent. The dewlap folds are realistically rendered. They can be compared with the similar dewlap lines found on the neck of Nandi from the Ranchhodji temple, samalaji which is presently in the Prince of Wales Museum, Mumbai. The Muzzle parts of the end, nostrils, horns and tamas figure etc. are multilated. The broad temple portion is highly worn out. But still part of the head-band is visible. A metal chain encircles the neck. A ghurghur-camaramala passes from the back of the hump. It can be ascribed to c.6th cent. A.D. or slightly later.57 (P1.VIII) A colossal figure of Nandi is lying in the Sandhesvara temple at Sandhida. The village in near Bhavnagar, Saurashtra. Nandi's mouth and horns are partially broken semicircular incised dewlap lines and prominent hump are significant. It is chiselled with schematic emphasis. According to Dhaky and Gaudani, this technique comes closer to the Pallava in southern India.58 The Impressionist mass, the well-proportioned limbs together with firm lines and curves result in a very powerful image of a bull with its inner essence turned inside out. An equally schematic ghurghur-camaramala does not distract from the quality of its intrinsic vigour.59 A tight chain encircles the neck. (P1.IX) A colossal Nandi in the Siddhesvara sivalaya, Valabhipur belongs to Maitraka period. The missing head has been repaired by a crude replacement. The entire body has been painted out.60 . Nandii in the Raja-Rajesvara Mahadeva temple, Kayavarohan is a small figure (47x59x37 cms.). But it is notable for its strength, inner vitality and some

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16 RAVI HAJARNIS SAMBODHI-PURATATTVA unusual physical feature. The neck is short and the hump too prominent. The bull reflects the compact vigour of the Nandis of the Maitraka period. It may be assigned to c.7h cent. A.D.61 There is one more example from Kayavarohan assignable to c.8th cent. A.D. It is lying near the Sivalaya at Suthar-no-Ovaro. Muzzle part at the end horns are mutilated. The elaborate ghanta-ghurghurmala, dewlap folds and impressive anatomy are rendered realistically. (P1.X) Nandi lying near the tank at Dantesvara village near Pratapnagar, Vadodara is also contemporary to the Karvan specimen. It has ornaments as usual. Vrsa at EME School, Vadodara: The image probably hails from Limbaj village of Bharuch district. The horns and mouth part are broken. The dewlap is suggested by strongly incised lines. A ghantamala passes from behind the hump and a chain decorates the neck. As at Sandhida, the chisel is used here only to give minimal shape. The hump is not prominent. It can be ascribed to c.8th cent. A.D.62 (P1.XI) Nandi, Devgam near Nadiyad, Kheda district is one of the biggest so far known in Gujarat. The mouth is damaged. A ghurghurmala passes from behind the hump. The overall form is schematically rendered. The details of the modaka-patra and tamas are unfinished. A simple rope decorates the neck. Dhaky observes Southern influence on this Nandi.63 However, it still may have not been fully worked and hence suggestion requires further confirmation. A figure clings to the left side of the bull's longish body. The specimen belongs c. 9th cent. A.D.64 (P1.XII) The unfinished Moregaon (Maharashtra): Nandi belongs to the medieval period is mentioned here for the sculpting technique of the Nandi images.65 The sculptor in this example had first drawn the outline of the exterior form and then he must have applied chisel to remove the unwanted lumps form the outline limbs. The process possibly is first to draw gross outlines and chisel out a gross of the body and then with a stronger chisel remove the unnecessary portion. Next the artist must have employed a finer tool for achieving the desired shapes and for packing up essential details. A question may arise whether the medieval Nandi sculpltures of Gujarat have followed this technique or not. We can only say that we should wait till the discovery of some more unfinished Nandi specimens from Gujarat.

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Vol-1, XX1X BULL AND NANDI IMAGES OF GUJARAT Vrsa from Matoda, Sabarkantha district has broken horns and ears. The muzzle is highly worn out. However, the elongated big head, broader temple, inflated nostrils and big wide open eyes are all admirably done and quite handsome. The dewlap is hidden behind the modaka-patra. A metal strip encircles the neck. A niskamala passes from behind the hump and posses a central knot and loop. It is an excellent example of 10th cent. A.D.66 A multilated Nandi assignable to 10th 11th cent. A.D. is lying in front of the Pasupati or Lakulisa temple on Mt. Pavagadh. Its head and hump are broken and lost. The sitting posture and ornaments are as usual. (P1.XIII) The present writer has brought to light a broken image of Nandi on the eastern bank of the tank at Dantesvara, Pratapnagar, Vadodara. Unfortunately the image is spoiled by modern oil-paints. Here the bull is adorned with a rope around the neck. The ghugharmala is on his back and manirekha on his forehead. In front of the animal are seen the modaka, kunika and the gana figure. This bull can be assigned to 11th - 12th cent. A.D. on stylistic ground. AL Another sandstone Vrsa noted by the author is from Garbada, District Dahod. It is assignable to 11th cent. A. D.67 Nandi horns and portions of its mouth are broken. The dewlap folds are rather stylised. It has lost the inner force and vigour. The decorative garland is formalised. A big ghanta is attached to the strip around the neck. Another highly ornamented garland passes from behind the hump. The hump and the legs are rather stiff. (P1.XIV) Nandi, Mahica, Kheda district is the only known inscribed Vrsa image so far discovered form Gujarat. Unfortunately the muzzle at the end parts of the horns are broken. The dewlap folds are suggestive of corrugated lines. A metallic chain goes around the neck. A beaded ghugharmala in this instance is elaborate and highly ornamented. The horn ornaments (srngabharna) is worthy to note. According to Dhaky it shows a few peculiarities of the Karnata Vrsa.68 He dates it o the c.1269 A.D. on the basis of two inscriptions and art style.69 (P1.XV) Originally hailing from Ankleshwar, Bharuch district: A massive Nandi which is presently in the Gulab Udyan, Gandhinagar. Unfortunately the mouth and the face are broken. The niskamala is going from the back of the hump. The Nandi can be assigned to 12th - 13th cent. A.D. Contemporary to it is the Nandi at Dahod. The sculpture is multilated and the head is completely lost. The hump is small and

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18 RAVI HAJARNIS SAMBODHI-PURATATTVA the formal ornaments are all present. The neck-chain is realistically rendered. (P1.XVI) Nandi at Tundav, Vadodara district: Belongs to c.13th cent.A.D. It is mentioned here for vigorousness and inner force. The portion of the mouth, leg, neck and back are multilated. Instead of the natural neck folds, stylised incised lines are carved. A niskamala, goes from the back of the hump, A chain is encircling the neck. The Tunday specimen still contains the vitality of the bull. (P1.XVII) The EME Temple, Vadodara preserved a fine image of Nandi. It hails from Kavi area of Bharuch district. Scanty ornaments, chain and ghugharmala adorn the Vrsa. Stylistically, it is datable to c.12h-13th cent. A.D. It is clear from the above study that the Nandi in the first group here presented in the various poses viz. seated, standing with upturned head, etc. Some of the dancing postures are graceful and pleasant. Nandi depiction on Seals and coins show him in a traditional pose such as seated steadily in a squatting pose as per injections of the Vastu Sastras. The sculptor has more liberty for sculpting Nandi as a Vahana in association with deities in its natural form, as there are no iconographical canons for him to adhere to. The sculptor has used all his imagination and spontaneity in presenting the Vrsa; the artist is well acquainted with the habits of the beast and informed of the bull anatomy, apparent form these sculptures. Nandi is depicted keeping in tune with the mood of the deities i.e. Nandi Vahana of Natesa from Prabhas Patan looking to the dance of his master. Nandi from Vinadhara Siva from North Gujarat is shown in a sitting position as if crushed under the weight of the God. Regional idiom like massive head, broad temple, inflated nostrils, and overall general appearance like local breed are observed from the sculpture. All early Nandi as a Vehicle presented with youthfulness and graceful postures. The youthfulness is suggested by short horns and short ears. The playful mood of the bull apparently is shown with the head elegantly fitted towards the ground but looking up at Siva i.e. Uma-Mahesvara from Roda. (P1.V) At one instance the bull has been depicted licking the feet of the Goddess Parvati or Gauri who rides on it.

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Vol-1, XX1X BULL AND NANDI IMAGES OF GUJARAT 19 Among the few standing sculptures of bull those placed in front of the Saiva facing Sivalinga are also depicted in traditional seating attitude. The front legs of the Nandi are shown bent at the joint as if the bull is about to rise. The Nandi is decorated with srngabharna (horn-ornaments), manirekha (jewel-band), ghurghurmala - camarmala, chain, rope and a metal strip. The garland of lion head (rattle-boxes) is an early feature, appeared form late Ksatrapa-period. The same is replaced by niskamala (necklace of coin-disks). A ghantamala found on EME School, Vadodara specimen of gth cent. A.D. amd contemporary Nandi from Pancesvara temple, Karvan. A beaded highly ornamented and elaborate ghurghurmala is seen on the Mahisa Nandi, it also has srngabharna of the c. A.D. 1269, while Ankleshwar Vrsa of the c.13th cent. A.D. and Tundav Nandi of the same date have niskamala joining from the back of the hump. Ornamenting system became formal in later period. (P1.XV). A modaka kundika is placed in front on Nandi. All these are represented according to the description given in the Aprajitaprccha. The dewlap folds are natural in early example like Samalaji and Totu specimens. They are reduced to circular incised lines. These are further stylised in the Solanki period as evident on Garbada (c. 11th cent. A.D.) and Mahisa (c. 1269) examples. Some of the Nandis from Gujarat show a few of the peculiarities of Karnata Vrsa, such as the one from Samalaji, a medieval specimen from Mahisa, and others. Perhaps this was because South Gujarat remained under the sway of the Calukyas of Badami, Rastrakutas and Calukyas of Kalyani. Over and above, due to cultural contact with Karnataka, this influence is obvious. Similar Nandi images are noted from Ellora and Vishwanath temple at Khajuraho. According to Dhaky, Medieval Karnataka contained the present day Mysore State, Goa State, parts of lower Maharashtra State and also of the Western districts of Andhra Pradesh.ro Some of the Nandis from Andhra Pradesh and one now in the Decca Museum show its hump encircled by a Skandhamala. This feature is not seen in tradition of Gujarat. Several late Medieval (14th to 16th cent. A.D.) -images of bull are generally shown with an embroidered carpet covering its back, sometimes muzzles tightly bound by a rope fastened from behind the ears and going across jaws.71 In medieval specimens

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RAVI HAJARNIS SAMBODHI-PURATATTVA sideways horizontally ears are shown. Treatment of the ears in medieval Nandis is arranged sideways horizontally just below the joint of horn porn portion. Reference: 1. O. P. Sharma, "Bull in Indian Art and Literature", Journal of Uttar Pradesh Historical Society, Vol. V (New series) 1957, Part-I, p.22. 2. Swami Satyananda, "Origin of Cross', Calcutta, p.13. 3. Brion Marcel, (Trans.) Gaute Hogarth, 'Animals in Indian Art' London, 1959, p.16. 4. Bharat K. Iyer, 'Animals In Indian Sculpture', 1977, Bombay, p.20. 5. Jacques (Trans.) Carter Anne. Man and Beast- A Visual History', 1964, London, p.14. 6. Ibid, p.42. 7. Ravi Hajarnis and verma, "Sabarkantha man mali avela Gufacitro", Kumar, Feb 1979, also by the same authors, "Sabarkantha nan citronun Samaynnkan" (Gujarati) Vidyapitha, July August, 1980. 7a. See for detail Ravi Hajarnis, 'Some Pre-historic Rock-Paintings in Sabarkantha, Rasikbhai Parikh commemoration Vol. (Ed.) Patel and shelat, Ahmedabad, 2006, p. 478. 8. Atharvaveda, 9, 4, 9 9. Saptapatha Brahman, 2, 5, 3, 18. 10. Rigveda 2, 33, 15. 11. V. S. Agrawala, "Siva Mahadeva-the great god", p.14. 12. Kumarasambhava, III, 41. 13. Ramayana VIII, 16-24. 14. Vayu Purana, 77.63; Matsya Purana, 60-49; 95.3; 112-21; 132-18; 133.60-5; Bhagvata Purana, X.63.6; IV. 2.20-26; Vamana Purana, ch. 67. 15. T.A.G. Rao, Elements of Hindu Iconography, Vol.II, Parts-1, 2, Madras 1914. p.455. 16. Ibid, p.455-458. 17. N. P. Joshi, "An interesting image of Nandi with his consort", Summaries of Papers, All India Oriental conference, Srinagar, 1961, p. 136. 18. J. N. Banerjee, The development of Hindu Iconography, (Second Edition), Calcutta, 1956, p.153. 19. Ibid, p.180 20. Ibid, p.182. 21. Kumarasambhava, V.80.

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Vol-1, xxix BULL AND NANDI IMAGES OF GUJARAT 21 22. Mahabharata, XIII, 25-21. 23. J. N. Banerjee, Ibid., p.536. 24. Aparajitaprccha, (ed.) A.P. Mankad, Gayakwad Oriental Series, No.CXV; Baroda, 1950, 208.15-16. Also Ravi Hajarnis, "Prabhas Patan no Nandi" (Gujarati), Vidhyapitha, VI, year 11, 1973, p. 59. 25. M. A. Dhaky, 'The Nandi images of Tamilnadu & Kannadnadu', Artibus Asiae, Vol. XXXIV, 2/33, p. 185, ff.9. 26. Ravi Hajarnis, 'Vrsa sculptures in Gujarat', Indian Archaeological Heritage - K.V. Soundara Rajan falicitation Volume (ed.) Marg Bandhu et al, Delhi, 1994, p.561. 27. M. A. Dhaky, Ibid. 28. Stella Kramrisch, "The Hindu Temple' Vol. II, Calcutta, 1946, pl. VI. 29. Munishri Jayantavijayaji, Holy Abu, 1951, Fig.56. 30. N.K. Bhattasali, 'Iconography of Buddhist and Brahmanical Sculptures in Decca Museum', p.143, pl. LV-a. 31. M. R. Majumdar, 'The Historical and Cultural Chronology of Gujarat, p.104. 32. Rasesh Jamindar, 'Ksatrapakalanun Gujarat' (Gujarati), 1957, p.146-49. 33. Ibid. 34. Majumdar, Ibid. 35. R. N. Mehta, 'Excavation at Nagara', 1968, p.107, fig.53-3. 36. J. P. Amin, 'Saiva Dharma: Ugama ane Vikas' (Gujarati), 1975, p.69. 37. Ravi Hajarnis, Ibid. 38. S. R. Rao, 'Excavations at Amreli, Ksatrapa Gupta town', pl. XXX, fig. 1. 39. U. P. Shah, 'Sculptures from Samalaji and Roda (North Gujarat) in the Baroda Museum', Bulletin, Museum and Picture Gallery, Baroda, XIII, Special Number, 1960, p.125, pls. 41, 41a. 40. Ibid., p. 17, pl.1. 41. U. P. Shah, 'Some Sculptures from North Gujarat, recently acquired by the Baroda Museum', Bulletin, Museum and Picture Gallery, Baroda, XXIII, 1971, p.24, fig.1. 42. U. P. Shah, 1960, op. cit., p.117, p1.4. 43. U. P. Shah, 'A Few Brahmanical Sculptures in the Baroda Museum', Bulletin of the Baroda Museum and Picture Gallery, Vol.-X-XI, 1953-1955, p.19-23, fig.5. 44. The present author discovered Totu sculptures during the course of his exploration. 45. U. P. Shah, "Matrkas and other Sculptures North Gujarat', Bulletin, Museum and Picture

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RAVI HAJARNIS SAMBODHI-PURATATTVA Gallery, Baroda, XIV, 1962, p.32, pl. XXIII. 46. Ravi Hajarnis, Ibid., p.562. 47. Ibid., p.562. 48. Ibid., p.562. 49. Ibid., p.563. 50. Archaeological Survey of India, A review, 1984-85. 51. B. M. Pandey & Narayan Vyas, 'An early temple in Gujarat-Excavation at Goraj (Mahadevapura) Puratattva,' No-20, 1989-90, New Delhi, p. 109. 52. I am grateful to B. M. Pandey, U. P. Shah & R. N. Mehta for discussion on the site with regard to Goraj Nandi. 53. U. P. Shah, 1960, Ibid., p.134. 54. M. A. Dhaky, 1972, Ibid., p.210, footnote-27. 55. U. P.Shah, 1960, Ibid 56. V. S. Parekh, The Iconography of Saiva deities from Gujarat', thesis presented to the M.S. University of Baroda for the degree of Doctor of Philosophy, 1978, unpublished, p.528. 57. Ravi Hajarnis, 'Gujaratni Silpa Samruddhi - Ek Vihangavalokana', (Gujarati), 1999, p.73. 58. Gaudani and Dhaky, 'Gujaratni Ketalika navi Sodhayeli Maitraka, Maha-Gurjara ane adya Solanki kalin Pratimao' (Gujarati), Swadhyaya, X, No. 2, 1973, p. 201. 59. Ibid., p. 201. 60. H. G. Shastri, 'Maitraka-kalin Gujarat' (Gujarati), 1955, p. 3. 61. Ravi Hajarnis, 'Vrsa sculptures in Gujarat', Indian Archaeological Heritage - K.V. Soundara Rajan falicitation Volume (ed.) Marg Bandhu et al, Delhi, 1994, p. 564. 62. Ibid., p. 364. 63. Gaudani & Dhaky, Ibid. 64. Ibid. 65. D. G. Godse, 'Maharashtra Times Annual', Bombay, 1975, p. 88-105. 66. Ravi Hajarnis, 1991, Ibid., p. 364. 67. Ibid., p. 364. 68. Gaudani & Dhaky and Shastri, 'Mahisa no Nandi ane Brahma Pratimao' (Gujarati), Swadyaya, VI, No. 3, 1973, p. 368, fig. 5. 69. Ibid. 70. M. A. Dhaky, 'The Nandi images of Tamilnadu & Kannadnadu', Artibus Asiae, Vol. XXXIV, 2/33, p. 183, fn.1.

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Vol-1, xxix BULL AND NANDI IMAGES OF GUJARAT 23 71. Dhaky has noted one such example from Golingesvara temple, Biccavolu, Andhra Pradesh, 10th cent. (See Ibid. fig.28). I am grateful to Prof. M. A. Dhaky for his suggestions and discussion. Photographs Courtesy : Maulik Hajarnis-P1.1. Department of Museums, Gujarat State-Baroda Museum and Picture Gallery-P1.II, III, V, VI. State Department of Archaeology-IV, VIII, IX, X, XII, XIV, XV, XVI, XVII. Prince of Wales Museum, Mumbai-VII. EME School, Vadodara-XI. Archaeological Survey of India-XIII. OOO

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24 RAVI HAJARNIS PURATATTVA P1. I Bison at Sapavada. P1.II Nandi Vahana of Siva, samalaji

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Vol-1, xxix BULL AND NANDI IMAGES OF GUJARAT 25 P1.III Nandi as a Vahana of Gauri Samkara, Gadha P1.IV Nandi mount of Gauri Samkara, Kayavarohan P1.V Nandi with Gauri Samkara from Roda

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26 RAVI HAJARNIS PURATATTVA P1.VI Nandi from Samalaji P1.VII Nandi (bull) from Ranchhodji temple, samalaji

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22 BULL AND NANDI IMAGES OF GUJARAT Vol-1, XXIX P1.VIII Nandi with pedestal, Totu (Sabarkantha district) P1.IX Nandi, Sandhesvara temple at Sandhida P1.X Nandi at Suthar-no-Ovaro, Kayavarohan

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28 RAVI HAJARNIS PURATATTVA P1.XI Vrsa at EME School, Vadodara P1.XII Nandi, Devgam near Nadiyad P1.XIII Nandi, Lakulisa temple on Mt. Pavagadh

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Vol-1, xxix BULL AND NANDI IMAGES OF GUJARAT 29 P1.XIV Vrsa Garbada P1.XV Nandi, Mahisa

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30 RAVI HAJARNIS PURATATTVA P1.XVI Nandi, Ankleshwar P1.XVII Nandi at Tundav

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BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL MAULIK HAJARNIS* Gujarat is rich in its Archaeological, Historical and Cultural heritage. It has an abundant wealth of temples, sculpture and antiquities. As far as our northern Indian temples are concerned, the Sekhari and the Bhumija are the two composite modes of the Nagara style. Both these modes can be seen as a development of the Latina sikhara. Bhumija is the national style of 'Malava". Bhumija profusely grace the art horizon of the temple architecture of this country. In Rajasthan and Maharashtra also, there are a considerable number of Bhumija temples. But in Gujarat, there are only three temples which belong to the Bhumija class-Ranamuktesvara temple, Makani; Limkheda Triple Shrine temple and Galatesvara temple, Sarnal. At attempt is made here to discuss the Galatesvara temple, in its proper Bhumija context. Galatesvara is situated in the kheda district and it is about 8 kms. to the east of Taluka head-quarter 'Thasara'. It is a legend that Galatesvara (Sarnal) is an ancient "Candrahasanagari". It is also believed that during the 10th 11h century it was a centre of trade and commerce. It is one of the panca-tirtha of Dakor. Skandapurana mentions this place. At the foot of the entrance of this * Architect, 18/212, Parishram Apartment, Nr. BimaNagar, sattellite Road, Ahmedabad-380015.

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32 MAULIK HAJARNIS SAMBODHI-PURATATTVA temple, the river Galati, a tributary of Mahisagar meets Mahi just nearby (See Plate). One of the flows of the river-Galati touches the Linga of the temple and that is why the temple is named as Galatesvara.3 Present State of the temple MAN OF GALATESVARA TEMPLE, SARNAL It was Prof. Dhaky who for the first time classified this temple as of the exotic Bhumija-class. He has mentioned the temple as being of a rare variety of the Bhumija mode, the astsala or astabhadra in plan. Dhaky opines that its lower structure is of a purely Maru-Gurjara manner, while its super-structure is Bhumija presented in a regional style. The temple appears to have been constructed by someone who did not possess a first-hand knowledge of the Bhumija-Variety deriving its information from the Samaranganasutradhara, a Malavan text and casting it in a Gujarati Mode. Dhaky has dated this temple to the 12th century on the stylistic ground. Supporting Dhaky's statement, Krishna Deva opines-the Galatesvara temple at Sarnal, (Kheda District), corresponds to the saptabhuma astasala type of the Bhumija class described in the text, as it has a sanctum with eight Bhadras and shows two karnas between each pair of Bhadras. But for its peculiar plan and exotic sikhara design, the temple represents a normal example of an ornate Solanki temple of the late 12th century A.D. It has Kutastambhas as required on a Bhumija-sikhara, but the kutas are of the regional Gujarati format. Similarly, the surasenakas appearing at the bases of the latas present a variation of the Bhumija-type (See plate).

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Vol-1 XXIX BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL 33 Selection of the site It has been an ancient tradition in India to select sites which abound in natural beauty for locating pilgrimage places. Our canons say that "The gods always play where groves, rivers, mountains and springs, are near by and in towns with pleasure gardens. It is at such places that the gods love and always dwell in." Accordingly, Galatesvara is an auspicious site, as it is located at the sangam of Mahi and Galati. Axis The only entry to the temple is from the East and hence the path leading to the garbhagrha of the temple creates an East-West axis, which is well defined by the rising and the setting sun. This East-West axis becomes the principle axis along which the spaces of the Sivalaya are organized. It also becomes the axis of symmetry of the structure. Orientation The temple faces east, the direction of the rising sun. So the rays of the rising sun directly greet the deity of the temple, through the door-way in the east, thus illuminating the entire space inside the temple. The puja of the deity of the temple is always carried out in the morning by the devotees. Hence the orientation causes the illumination of the interior of the temple, at the most important time of worship in the temple. Formation of the plan As far the garbhagrha is concerned, it has a stellate plan maintaining the eight bhadras. Here, a square is placed which is then rotated to form angles which are carried up in the elevation. In case of the Mandapa, the plan of course, can be viewed as a rotation of square, but it has those typical orthogonal projections, commonly seen in several other temples of that age. The entrance porch of the

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34 MAULIK HAJARNIS SAMBODHI-PURATATTVA temple is lost still it can be presumed that it must be a typical Solanki style-porch with a pyramidal roof. Climate responsiveness in the design of the Sivalaya The temple is built along the East-West axis. Hence the walls along the entire length of the temple are facing the North direction on one side and the South direction on the other. Only a small portion of the walls face the sun on the East and West. Even the double layer section of the roof of the Mandapa, acts as an insulator and keeps the hall underneath comparatively cooler. Thick wall sections of the garbhagrha also help to reduce the heat-penetration inside. The ornamentation of the structure constantly acts as a sun breaking device. The intricate ornamentation of the Mandovara, Samvarna and the Sikhara (now lost) creates shadows and the surface partially remains shaded all the time. *PIC Architectural Treatment of the temple The horizontal areas of the temple include the Garbhagrha (the Sanctum) -the Antarala (the Vestibule) -the Mandapa (the Hall) -the Srngar Cowki (the entrance porch) which is now lost completely. The vertical areas of the temple include the Pitha (the plinth) -the Mandovara (the exterior wall of the garbhagrha) -the Vedika (the railing or the short wall of the mandapa) -the Sikhara (the superstructure of the garbhagrha) -the Samvarna (the superstructure of the mandapa) Now we will study each of them in detail, as follows: Garbhagrha (the Sanctum) The garbha-grha is 3.3 mts. square inside and its floor is somewhat lower than that of sabha-mandapa. Sankalia has compared Galatesvara with the Ambaranatha temple at Mumbai which has an 'Astabhadri' plan, wherein the floor of the shrine is lower than that of the Sabha-Mandapa and the arrangement of a flight of steps lead to the Linga of the temple. Sankalia had observed the Galatesvara temple as of the Caulukyan Style on the basis of the 8 Dikpalas of the Mandovara and its iconographical features. Outside, walls of the shrine are given numerous

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Vol-1 XXIX BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL 35 projections, which give result to a circle of about 7.4 mts. in diameter and among which are seven recesses for images, facing so many of the 8 principal directions of the Hindu-compass such that on the east being the entrace of the shrine. Among the recesses there are 7 dikpalas for the images of the 8 dikpalas. Burgess mentioned 7 recesses, but failed to say that whether there were images or not. The 8 dikpalas are Indra, Agni, Yama, Marut or Vayu, Kubera, Siva and Nairutti. During the visit of the present writer, it is understandable and quite clear why Burgess could not mention the dikpala-images, as the temple was in a ruined condition and Dikpala images, if at all there were, could not make out due to highly worn out weather condition and a bad state of preservation. Antarala (the Vestibule) A small ante-chamber is formed in front of the garbhagrha and the dwarasakha (doorframe) of the latter is elaborately carved. The figure carved on the lalatbimba (middle of the lintel) indicates it to be a Saiva temple and a boldly cut kirtimukha projects from the uppermost cornice. This Varala or kirtimukha form is conventional. According to Sankalia, the sculptures on the front-wall of the shrine appear to be Saivite and so the temple may be saiva, which is also implied by its name-Galatesvara. These figural sculptures are badly damaged. So the photos are not very clear. But it is undoubtedly a saiva temple as mentioned by Burgess, earlier. The sculpture on the Lalatbimba is not recognised by Sompura. But during the visit of the present writer it is clear that it is an image of Ganesa, which is a very common feature in Gujarat from 1000 A. D and onwards. The upper portion of the door-frame possesses five niche-mouldings which adorn the figures of males engaged in playing music and they are flanked by Dancing Apsaras. In the centre of the Udambar (threshold) there is a Tridal Flower design in the semi-circular pattern. Srngar Cowki (the entrance porch) Unfortunately, the Praggriva (Srngar Cowki) of the temple is completely lost. But still its earlier existence can still be presumed.

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36 MAULIK HAJARNIS SAMBODHI-PURATATTVA Mandapa (the Hall) Mandapa from South-east direction The temple however in a ruined state, some portions of the Mandapa still retains. The Mandapa or the portico is about 12 mts. wide each way and its roof is supported by 8 pillars of the central dome and by the smaller ones standing in pairs in the screen walls (Vedi) that surround it. The mandapa is of the usual Solanki design supported on almost plain pillars. The inner 8 pillars are 4.3 mts, each, in height, having double capitals. This double - capital feature is very unusual and not found eleswhere. These free standing main 8 pillars possess a square base with cut corners and two opcon DDODOM BOONDOOOOR

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Vol-1 XXIX BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL 2-4 small necks; above this, the shaft is square for one-third of the height, then octagonal for half of this height; followed by a little smaller belt of sixteen sides; this is followed by a circular shaft decorated with a band of kirtimukhas. These grasa-mukhas are less stylistic than the kirtimukha form depicted in the grasa-pattika. The sur-capital is in the shape of a vase and brackets are decorated with volutes and dwarf. the kumbhaka of the Mandovara and so on. As per plan, the shape of the kumbhi is akin to that of the shape of wall of the garbhagrha. Sometimes, kevala and grasapatti are carved above the kumbhi. 37 Thus the pillars of the temple can be divided into 3 parts-At the bottom is Kumbhi, then shaft over it and finally the capital. In larger temples, on the capital is a dwarf pillar, known as 'Ucchalak'. This is why the pillars appear with double capitals. The form of the pillar is similar to the form of the Mandovara, i.e. kumbhi is comparable with The 'stambha-danda ghat' (shaft portion) shows square, octagonal, sixteen sided polygonal or a circular shape. A pillar with any of these profiles in plan has a specific term/name according to the traditional terminlogy. But as the pillars of our temple possess all these shapes together, as we go from bottom to top, they are known as 'misrak ghat stambha' (composite-type of pillar). bhadrajA 000000 vardhamAna aSTASa SaDAnaka vRtta

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38 MAULIK HAJARNIS SAMBODHI-PURATATTVA Section at Di Seedon arc. urth Section at B.B Pootprint of the Inner Main Pillar of Mandapa, Calatesvara temple.

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Vol-1 XXIX BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL 39 The original Samvarna of the Mandapa - has been lost, but vestiges of the same are still lying in the compound. However, the shape of it suggests that it is consisted of ghantas and ghantikas. Fortunately, the ceiling (Vitana) of the temple is intact. (See below pl.) Vitana of the Mandapa of the temple The Vitana is made up of complex corbelled layers, which are exposed at the bottom and ornamented elaborately. Two main patterns are used here(1) Radial or centralized pattern and (2) Concentricity. The radial arrangement gives rise to a 'centre' (padmasila) from which the circular kola courses emerge. Even the placing of the Vidhyadharas is done in a radial manner. The character of concentricity emphasizes the centre and each layer seems as if it is repeated after an enlargement. The Vitana represents the star-studded sky.

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40 MAULIK HAJARNIS SAMBODHI-PURATATTVA Mdyadhara ANALO MICRO NAT Lotus . petals sport CV Human Course UUT Huyla Sculptural decoration on the Pitha (the basement) The pitha (plinth) of the Galatesvara temple consists of various mouldings or tharas. They are from bottom upwards, jadyakumbha, kani, antarpatra, grasapatti, gaja-thara and finally the nara-thara. View from Western side (Back side of the temple)

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Vol-1 XXIX BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL The jadyakumbha is the bottom-most moulding of the plinth which is decorated with lotus-scrolls (pdamapatra). The kani or karnika is a knife-edge moulding. Then on the antarpatra/ antarala comes the grasapatti/grasa-Thara, which has depictions of a grotesque face. It is known as the 'Kirtimukha' (face of glory). This motif is used at several other places apart from the grasapatti, but first we need to understand the motif : The 'Kirtimukha' is the most favourite motif in our Indian art. It had appeared as a sacred symbol and then turned into an artistic device as a common ornamental motif in the temples. It has a lion-face. Kirtimukha is also found in the Jain and Buddhist-art. It is a symbolic motif and represented in a stylized form.8 In Gujarat it is known as a Grasa-patti, Grasa or Grasamukha and in south it is known as Simhalata or Simhamukha. The 'Kirtimukha' is the crown or crest jewel in the architectural features like arches, Gavaksas, lintels, etc. The origin of the Kirtimukha is narrated in a legend which forms the 17th chapter of the kartikamesa Mahatmya of the Skandha- purana (Visnukhanda). 10 In course of time, it lost its original saivite character and was used indiscriminately as a mere auspicious decoration on some prominent parts, generally on the top of the entrance of any temple, whether saiva or Vaisnava. In Gujarat it frequently appears on the temples and is known as Grasapatti. The kirtimukha is conventionalized in the Indian Art, offering a great contrast to the earlier types. The kirtimukha motif is very commonly found on the medieval temples of Gujarat. It became almost stylized and stereotyped in the Solanki period and does not exactly resemble the lion face. At Galatesvara, the Grasa motif is stylized and belongs to the 12th century A.D. It has big bulging eyes and on top of it there are two srrgas. It has a chubby nose and mouth and from each of mouth of the Kirtimukha a garland of pearl is suspended. The Kirtimukha motif is also used on the column capital of the mandapa of the temple. It seems like a composite figure of a lion face and an asur - face (demonGrasa-pattika on the south wall of the Garbhagrha

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MAULIK HAJARNIS SAMBODHI-PURATATTVA face). And adjacent to the Kirtimukha motif is placed the kichak which seems to uplift the samvarna of the mandapa. Apart from the above mentioned parts, the kirtimukha is also used on the beams supporting the vitana of the Mandapa. This kirtimukha is also adorned with two beautiful srngas and big bulging eyes. As it is evident from the photograph. It is placed in the centre of the frieze and on both the adjacent sides, there is a zigzag pattern carved alongwith the floral designs. On the bottom side of the beam, there are three offset circles carved just below the kirtimukha motif in the centre. The kirti-mukha motif is also present at the topmost part of the door-frame of the Garbhagrha of the temple, on the outer-side. After the grasapatti, the animal course known as gaja-thara (elephant course) is depicted. At what time in Art-history, animal courses began to be used as temple decoration, is uncertain but it seems to be atleast soon after the Gupta period. These animal courses do not appear in the Gupta temple at Bhumara. Also they are absent on the Gop temple of the 5th cent. A.D. In Gujarat Gaja-thara are invariably found on the Solanki and post Solanki temples. M.S. Mate remarks that the Gaja-thara on the temples of Gujarat is depicted frontally following the tradition. But, there are enough examples discussed below which do not tally with the above statement. There are Gaja-thara depicted in other forms at Kera, Bavaka, Dahmali and Tundav etc. which do not follow frontal traditional manner. Panels of Gaja-thara on the Galatesvara temple. (Ca. 12th century A.D.) are badly damaged. Here the whole army of the elephants is not essentially frontally represented. The chains are carved running across the body of the beast. The beauty of these Gajas has been ruined. The elephants are ornamented and the two lines behind are limiting the

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Vol-1 XXIX BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL 43 presentation. Still the projection of the headline and the feet express the freedom taken by the artist, to make it look more natural and visually appealing. The front legs are outstretched and the hind legs are slightly bent. These details add to the vividness of the animal posture. The gaja-thara, in case of the early medieval period, was one of the indispensable mouldings of the plinth and comprised of a row of elephants. The sequence laid down by the texts was bottom upwards, Gaja-thara, Asva-thara and Nara-thara. At Galatesvara, the sequence is from bottom upwards, Jadambo, Kani, grasapatti, gaja-thara, nara-thara and on the top the hamsavali or the hamsa-thara. There is no Asva-thara at Galatesvara. The elephants and their trappings are carved in minute detail. The chain, the small bells, the long-flowing jhool are very realistically carved. Although robust elephants are frontally represented; some of them are also shown sideways in profile. The majesty of their gait is rendered in a most convincing manner. Their fore legs, the massive. fore head and the swaying trunks project forth from the matrix. Because of ruined condition, Gaja-thara at Galatesvara, look's less artistic than the Modhera and other solanki temples of Gujarat. But still it can be surmised that it is more faithful to the tradition and quite fit in the artistic scheme of the temple. The gaja-thara measured here is with a height of 0.3 mts. Some of the gajas appear with a Mahavat, carrying the goad. The elephant represented in Gaja-thara shows uplifting of the temple with a great joy. They are the carriers of the house of the god. The army of elephants, although frontally represented here like Modhera and Somnatha, some of the beasts are also depicted sideways. Elephants are decorated with jewels and a garland of pearls (see plate). To the south west corner two elephants are carved playing with each other with their trunks intertwined. On the forehead of the elephants there is a gandastala. And one of the jewels of the thigh portion is shown with a bund attached artistically with a big bell (Ghanta) at the end. The eyes are small and the important thing is a warrior shown with a kneeling posture and with one hand touching and trying to open up the gaja mouth. Hence these jewels and ghanta motif seems like cotton-weaving made with design and they are not like pearl ornaments.

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MAULIK HAJARNIS SAMBODHI-PURATATTVA Thus, these observations suggest that the ornaments depicted in the gajathara at Galatesvara are of two types - (1) Pearl ornaments like mastiakbharna, necklace and a pearl-jhool covered back and daggling artistically on the thigh attached with a big bell (Ghanta) at the end. (2) Cotton made ropes interweaving each other and forming a knot at the end where the bell is attached. Next to the Gaja-thara is another band carved with men in various attitudes called Nara-thara. Generally The basement mouldings end with this thara as the tommost layer. But at Galatesvara, over the nara-thara, is found a hamsavali. This is a very interesting feature of this temple, which is rarely found in Gujarat. In Nara-thara, man-the foremost and the most intelligent animal is presented. Sculptures in Nara-thara express the society of that period. A detailed study of the nara-thara would reveal social customs, various aspects of sociocultural life, dresses, vehicles, war scenes and a lot of interesting information on the society and related aspects of that period. This study is totally neglected. We can certainly get a correct historical picture of the period. As it is expected that Nara-thara will express human life and its various facets from birth to death, it is quite natural that the artist will try to depict unknowningly his own surrounding. How and why a nara-thara came to be sculptured on the basement-wall cannot be definitely explained. But it seems that the idea was taken from the practice of portraying a procession of men and women on the gateways of Buddhist stupas. Like other temples of this period the execution of the Nara-thara of Galatesvara temple is artistically poor, comparatively. On account of the weather and man-made damage it is worn out and more details are not available. However, dancers, musicians, amorous couples, drummers, fighters and narration of some story or an unknown event can be observed. Erotic figures are also found. At one place, a horse rider, probably a king/warriror with a sword shown in a profile with the two frontal legs of the beast taken up. In front of it, alongwith other armed soldiers, the anatomy of a horse and the movement of the soldiers is rhythmically depicted. Next to this, is another procession having a scene of palkhi being carried by the attendants. The central niche on the western side is shown

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Vol-1 XXIX BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL 45 with five figures facing north with their heads titled upwards and right hands upwards and the left hand placed on the thigh. This shows as if they are singing And the sixth person seems to be playing a flute. The whole depiction is full of life The northern face of the temple has more damaged figures. But it seems that the other Solarki temples, one nara-thara panel is very similar to the other. On top of the nara-thar, there is a hamsavali or hamsapatti, which is not a part of the pitha, but of the mandovara. Most of them have their heads titled upwards slightly. Their eyes are shown with circular lines. This hamsavali is a rare feature in Gujarat; however it can be found on some temples of Madhya Pradesh. The hassas in the central frame are facing left. The ones on the left offsets are facing left and those on the right are facing right. Sculptural decoration on the Mandovara (the exterior wall of the garbhagsha) The exterior wall of the garbhagyha, standing on the plinth of the temple, is known as the Mandovara. It consists of several parts, namely, from bottom upwards, khuraka, kumbhaka, Kalasa, antarpatra, kapotali, mancika, janha, udgama, grasapatti, bharani, sirahpatti, again kapotali and antarpatra, finally the kutachadya. However, at Galatesvara, there is a depiction of the hamsas. Above the khuraka. This depiction is known as the hamsavali. Above the hamsavali, on the Kumbhaka, as shown in the adjacent figure, a mutilate goddess is seated in Lalitasana in the central offset. Here the face and neck are chipped off. But still full breast and necklace is visible. The goddess Detail of Mandovara possesses 4 arms. Most of the attributes except the lower left hand carrying a mirror are broken. This suggests that it is an image of Parvati. The goddess is flanked by cauri bearers. On the either side offsets, erotic figures are depicted, Here,

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46 MAULIK HAJARNIS SAMBODHI-PURATATTVA most part of the kumbhaka has amorous couples on the subsidiary offsets. However they are not as prominent as the ones at Khajuraho. The upper corners of each offset of the kumbhaka have vegetal geometrical design. The most important part of the mandovara is the janha, which is a broad band of sculptures of full length. The jangha of the Mandovara, possesses sculptures throughout the exterior wall of the garbhagrha as well as the antarala. The bhadra gavaksas contain different forms of Siva as well as images of Ganesa, kartikeya and bhairava images. The karna offsets of the garbhagrha possess Apsaras and dancers, in their jangha portion as shown here : Here, a beautiful Apsara in a standing position is shown. Her posture is pleasing and delicate. The face and two hands are badly damaged. But her right hand is partially seen, in an uplifted position while the other hand seems to be downwards. The hairs are beautifully tied to form a chignon. She is with a full breast, slim waist. Her genital organ is also profusely carved. The left leg is slightly lifted; seemingly to support her dancing profile. She is decked with ornaments. She is wearing a "Graiveyaka' (necklace). The second necklace has a string suspended between the breasts. She is wearing 'Keyur' in the arms and anklets in her legs. Jangha portion of the Karna offset Full size Vyala figures are absent at Galatesvara but in a smaller scale they are depicted at several places. Gaja-Makara-Vyala trio is a continued tradition in Indian art. Vyala appears in a great variety in medieval times. They differ in few aspects in southern and northern India. The Vyala is known in Vastu texts as Varala (Ka), Virala and Viralika. The Viralika is referred to in Vrksaranava Vastu text from Rajasthan in context of Jain parikara. In Gujarat it is rendered with Kirtimukha or Grasa-face. .

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Vol-1 XXIX BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL - 47 sikhara (the Spire) The superstructure of the garbhagrha, which appears next to the kutachadya of the mandovara is known as the sikhara. The sikhara of the temple is truncated from the top. But still as we know that the temple was saptabhuma in elevation, the original form of the sikhara can be presumed. Use of Ornamentation The ornamentation because of its religious significance helps to create a feeling of sacredness in the temple. But since the temple is detailed at all levels, it becomes difficult to judge the scale of the temple. This is how the ornamentation converts the structure into a sculpture. The ornamentation of the temple precedes over the structure of the temple, since the whole structure is laden with sculptures. Thus its main purpose is not only aesthetics, but to challenge the perception of a. person and alter his state of mind. The ornamentation of the structure also acts as a sun breaking device. The intricate ornamentation of the Mandovara, Samvarna and the sikhara (now lost) creates shadows and the surface partially remains shaded all the time. Material and Structure The material used in the temple of Galatesvara is 'sandstone'. As far as the structure of the temple is concerned, it consists of a combination of load-bearing walls and a post-beam system. Stability is achieved by the massive vertical elements and equally heavy beams and lintels. The stresses transferred are all compressive stresses; as such a system cannot take any tension. Corbelling has also been used in the construction of the roof of the Mandapa. I am indebted to Mr. Ravi Hajarnis, my father and former Asst. Director of Archaeology, Gujarat, for his constant guidance and support. I am also grateful to Prof. M. A. Dhaky, Shri Chandrakant Sompura and Prof. Kartik Vora for discussing the subject. Photographs and drawing are produced by Maulik Hajaranis. Photographs are produced by the courtesy of Archaeological Survey of India, Western Circle, Vadodara. I am thankful to my friends Milan Bhatt, Saurab Gupta, Kushal Shah, Kartik Patel, Pragna Patel and Jhalak Gajjar (All from S.V.I.T., Vasad) for their assistance during the initial site visit.

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48 MAULIK HAJARNIS SAMBODHI-PURATATTVA Reference: 1. Manjulal Majmudar, "duela de susi?", 4124 CELLER, 431821, 9608, p.ro, Rajni Vyas, "78212 22Hal", 34451 45121-4, 24 HELLE, 961, p.2C 2. Skandapurana (Mahesvara ane Vaisnava Khand, Part-1, Adhyay-3, p.99 to 101), Ahmedabad, 1973. 3. Dharmesh Pandya, "uelt elade: Mu ?", ulas, 24HELYLE, HS21042, 9666. To examine the flow of Galati in the Garbhaglha, the present author had personally visited the site early in the morning. During the trip, the priest of the temple told him about a fact that the water of Galati has been sanctifying the Svayambu Sivalinga since years. The author himself had checked this water-flow by putting his own hand in it and found the legend to be correct. Another fact about the temple was that a Naga often visited the temple and used to sit beside the Sivalinga for the whole night. In the morning usually before the people began to come, it used to go away. But sometimes when the volunteers came there to clean the Garbhagrha, just before the dawn, they would have to drive away the Naga-themselves. 4. M.A. Dhaky, "The Chronology of the Solanki Temples of Gujarat", Journal of The Madhya Pradesh Itihasa Parishad (ed.) Krishna Deva, No 3, Bhopal-1961, p. 61. 5. Ibid, p.61 6. Krishna Deva, "Bhumija Temples", Studies In Indian Temple Architecture (ed.) Pramod Chandra, AIIS, Varanasi, 1975, p.109. 7. Brhatsamhita, ank-55, verse-38,11-28. 8. Bhartiya sanskritikosha, Part-II, p.363. 9. Ibid. 10. A note on kirtimukha being the life history of an Indian architectural ornament. Rupam quarterly Journal of Oriental Art (Edi.) Ganguly O.C. No.1. January-1920, p.12. According to this legend, Jalandhara, the powerful king sent Rahu as a messenger to Lord Siva who was about to marry Parvati, saying that the beggar Siva was not worthly for the beautiful Parvati and demanded her hand for the demon King. This insult infuriated Siva and out leapt from between his eyebrows, a terrible being with a lion's face, protruding tongue and flaming eyes with a lean-hungry looking body. This demon was ordered to devour Rahu, but Rahu sought Siva's mercy and was saved from being eaten; the hungry creature asked for food that would satisfy his great hunger. Siva then commanded it to eat its own limbs and body which was done voraciously by it, until nothing was left except its head. Siva was pleased with it and so blessed it that thereafter it would be known as Kirtimukha and assigned it a place on the doorway of all Siva temples.

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Vol-1 XXIX BHUMIJA CLASS TEMPLE AT GALATESVARA, SARNAL 49 G enerteal Aaatrsis of the Mas , <44 * * ER * NE ke at the inde where w FAX OP GAWATIREMRA TEMU SANA,

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ARCHAEOLOGICAL ART OF APPARELS RAFIQA SULTANA*, AFROZ SULTANA+ Archaeological Art is an aesthetic expression or exercise; It's a study of great civilization of humanistic ideas. It can be explored in many new materials. So this study makes it possible to look at it with a fresh set of ideas and a new research eye. The archeological art history is that of human endeavor. It reveals the deepest recesses of human mind and offers a mirror to the Indian soul. The spiritual and religious content of India's creative genius has found a perfect expression in these aesthetic creations. Archaeological antiquities whenever discovered have always quizzed the world and generated new thought processes. These creations have preserved the vitality and the inspirations of the consciousness, which brought them into existence. Archaeological art is therefore a very precious heritage in the culture of the people. The Indian archaeological art is hence the spirit of the intellectual, which represents the human and social facts of life, and its vast unending social religious endeavor of its devotees depicted in the forms of Gods and Goddesses. This art hence worshipped has been preserved for generations. A common philosophical base in all countries has been that art is not merely a limitation or record of facts and phenomena's in nature but an interpretation-the effort of the human mind to grasp the inner beauty and meaning of external facts of nature. It is essentially idealistic, mystic, and symbolic. Explorations, Excavations and consequently the discovery of antiquities over the period of time were able to give it a chronological arrangement which further gave rise to the evolution of various disciplines studied within Archaeology, Research on the sculptures, paintings, architecture, coins, fabric (textiles) etc. of * Curator, Gujarat Vidyapith Museum, Ahmedabad + Curator, S. P. University, V.V. Nagar, Anand.

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Vol-1, XXix ARCHAEOLOGICAL ART OF APPARELS 51 a particular era formed the basis from which these disciplines could study the culture, human history and living styles of that period. This article tries to capture the essence about the chronology of apparels in India. NEOLITHIC PERIOD In Neolithic period the art of weaving was practiced as seen by the presence of bones, needles kaolin, spindle, discs, bone shutters and clay discs with holes. The spinning discs (clay) may imply that some sort of flax of fleece of certain animals was spun into threads clay beads may have been used as well. (B.P. Sinha 1979). The ancient Indian art especially that of hand spun and hand woven fabrics is synonymous with Indian tradition. India was the first country in the whole wide world to have perfected the art of weaving. In fact in one of the hymns of Rig-yeda there are subtle references to the techniques of weaving. A story in the great epic Ramayana too mentions how a list of wedding gifts which were presented to Sita by her father Janak-consisted not just of the finest silken clothes but that of various colourful fur and woolens costumes studded with precious stones. In Mahabharata too the episode of Vastraharan (the act of forcefully snatching the clothes) of Draupadi by Duryodhan stands testimony that costumes were developed even in that ancient period. The domestication of sheep's began in Egypt and the first woolen came from Angora and Arabia. The cultivation of flax cotton happened in India as discovered during the excavation of Harrappa and Mohenjodaro (2500 to 1500 B.C.). Flax was also cultivated around 4000 or 5000 BC in Mesopotamia and used extensively by Egyptians. In the excavation of Mohenjo-dero (The earliest known civilization of India) the relics studied stand proof to the high state of advancement in the art of weaving which was reached during that time and age. The discovery of numerous spindles from homes stands testimony to the fact that spinning of cotton and wool was very common and perhaps a practiced art by the rich and the poor. It was also latter examined that the cotton used at Mohenjo-dero was the same coarse cotton variety presently used in India. The Sindh valley is considered as the origin of cotton. The word 'Sindhu' apparently means cotton. (Dr

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52 RAFIQA SULTANA, AFROZ SULTANA SAMBODHI-PURATATTVA Motichandra 1973) A brief description of the famous torso sculpture found at Indus is that it was fitted with an upper garment ornamented with a tree foil pattern slightly raised from the surface of the garment and worn over the shoulder. This male sculpture had also worn a headband. The head band and head gear were also associated with the higher ranks during that period. So from the description of the torso we could conclude that it was probably that of a person enjoying that rank in the society. The Indus Valley also boasts of the dyers vats, which were probably used to dye the cotton garments. Many such small details derived from the sculptures speak volumes about the garment culture of that civilization. THE VEDIC AGE In the Vedic age many different fabrics were used mainly cotton and wool for costumes. There are two main garments the lower garment called 'Vasa' and upper garment called 'Adhivasa' and later on the undergarments used called 'Samhitas'. For a well fitting garment the word used was 'Surubhi' This shows that the art of tailoring was developed in the Rig Veda period In fact in this period the apparels were more fashionable as they were adorned with gold embroidery. The men and women of this period wore jackets or cloaks (upper garment) called 'Upavasana' and 'Nrtu' a pleated petticoat (lower garment). The men also wore a fully covered and tightly fitted garment called the 'Atka'. The apparels of monks and nuns (Bhikkhunis) were yellow in colour. They wore a double waistcloth 'Sanghati' and an upper garment. 'Antar Vasaka' with a sheet called 'Mantra' or 'Uttra Sanga'. In addition to that the bhikkhunis (nuns) wore a bodice and 'Dyoga-patta' which was a piece of cloth passed round both the legs and tied on the back. The buttons of their clothing were made from conch, bones, shells and yarn. The bhikkhunis stitched their own garments with the quills from the feathers of hen and bamboo needles. APPARELS OF EARLIER DYNASTIES. In earlier dynasties i.e. Maurya, Sunga, Saka, Parthian, Satvahana & Kushan etc. many beautiful costumes are found of the different sculptures. These sculptures are from walls of temples, stupas, pillars, viharas facade, caves, relics etc.

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Vol-1, XX1x ARCHAEOLOGICAL ART OF APPARELS 53 Apparels Of The Maurya Period (Ca 323 to 185 B.C.) Ti The costumes in this era, costumes are developed and materials are cotton and woolen, cotton was in great demand. The costumes were simple (i.e. Dhoti or pleated dhoti), loin cloth fastened to the waist with Kamarbandh generally tied in bow shaped knot, It was hanging between two legs decorated turban was also used, women woar lower sari with kamarbandh. Sari Was tight with narrow strip. The style of this sari is dhoti type likely to call 'Patka'. The apparels of this era mostly we found bare torso, they only woar upper garment eg. The sculpture of Yakshi-Churibeurer from Didargunj at Patna museum Yakshi wore a hip hanging garment over her lower body, its diaphanous folds were depicted by double incise lines across her legs. It was a bare torso with abundant jewellery. The figure was almost completely free from matrix of the stone except around the legs, where the stone was necessarily kept for support and was camouflaged by heavy folds of drapery falling between the legs. The another example of bare torso, the male figure from Patna-Bihar now in Indian Museum Calcutta. It is similar as female Yakshi of Didaragunj, it cover lower part, wear a cross plated dhoti. Dhoti is tied with kamarbandh, bow shaped knot hanging down. The terracotta female figure of Maurya period from Patna in Patna Museum. This figure having full skirt which bulges out at the hips as if supported by hoops and complicated headdress, with its two lobes jutting out from the side of the head as if to repeat the form of the skirt below. It looks like contemporary costumes. Its upper part is also bare. Apparels of Sunga (Ca 2nd century to 15 century B.C.) The costumes in this era are very different though the material was again predominantly cotton and woolen. The costumes used in the Sunga Period consisted of cotton undergarments, which reached below the knee and half way down to the ankles and also an upper garment, which was partly thrown over the shoulders and partly twisted into folds around their heads. The Yaksa Sculpture from Parkham (1st century) wore a loincloth with frill hanging in front. This loincloth was held with a girdle tied in a knot form at the pelvis region and with its two ends hanging down up to the knee. The sculpture also wore a scarf, which was tied, around the chest with a loop hanging on a bulged belly. A similar scarf was worn by Yaksha figure from Baroda museum.

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54 RAFIQA SULTANA, AFROZ SULTANA SAMBODHI-PURATATTVA Another sculpture that or Kuber from Vidisha (M.P) wore pleated dhoti like lower garment and a heavy sash at the waist. The torso is nude except for a piece of cloth, the turban which is an important feature of this costume for almost without exception. once again the presence of male head gear connotes an individual's rank. These headgears (turbans) came in numerous stylistic variations. The male figure of the Srunga period (CA 2nd to 1st century B.C) wore a diaphanous drapery in which the zigzag folds were clearly visible between the legs and along the sides of the legs. The terracotta female figure of Sunga (CA 2nd Century-1st Century) wore a thin pleated garment over the hips, which then passed through her left leg and culminated on the left shoulder. The sculpture was also adorned with heavy jewellery Apparels of Satavahanas (Ca late 1st century B.C. to 1st century A.D.) Satvahana dynasty played an important role in dissemination of art styles. The Satvahana culture can be glanced from the great stupas, specially its toran sculptures. The main costumes of this period, males wore dhotis which were up to their knee. The dhotis-one end was tucked at the back and the other end gathered in folds and tucked in front. The dhoti was generally attached to the waist by the kamarbandhs or else tied into a knot. Scarf was used to cover the upper part of the body. Dr Motichandra noticed three different types of scarves i.e. (1) Made to fall down from the shoulders & passed under armpits. (2) Another style of scarf was to put it around the back and the end being passed through the armpits & thrown at the back. (3) The scraf is passed across the body & thrown over the left shoulder. Female Satavahana wrapped loin cloth around the waist and tucked the pleats in front, and the pleated end tucked at the side. They too sometimes wore kamarbandhs. Women wore orhnis-odhani, it fell at the back of the head. Cloaks were used which invariably covered their left shoulder and left the right breast open, these some times were decorated at its borders. The Brahmin sadhus wore kilt to waist string up to the knee. The upper part of body covered by the cloak and covered the left part of the body leaving the right chest open.

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Vol-1, XX1X ARCHAEOLOGICAL ART OF APPARELS 55 Apparels of Saka Parthian period (Ca 1st century B.C. to Mid 1st century A.D.): Gandhara Region. Gandhara is the name given to an ancient region expedition by Alexander the Great, i.e. Western Asiatic regions, Central Asia, Indus river, Pakistan, Afghanistan, Iran, India as well as China. Gandhara almost became a second Holy land of Buddhism. During this period the Indian culture flourished and spread to the Gangetic region and up to Central Asia. Commerce too flourished between India and The Roman Empire. During this period costumes were developed to a great extent. Sculptures found depict this progress to a greater extent. Sculptures found from Gandhara. Mathura and Amravati. Nagarjuna konda all were the sources of information about this period. Saka rule extended at least as far into the Indian Peninsula as Mathura. A number of sculptures were also found in Mathura. In this period the main costumes were Dhoti, Duppatta, Turban for males and sarees and Ordhani for females. South Indian Women would wear scarlet flowered silk. The Tamil women wore sarees and did not wear any other upper garment. Some primitive women wore skirts made from leaves. Stitched garments like tunics, trousers, caps, etc., were also worn by the people of this era. Not just Indian but Central Asiatic garments were worn. Cotton clothes were extensively used. Cotton was cultivated and woven as a fine cloth. The Naga race of Kalinga made the finest muslim, which was exported to foreign countries. The plain white silk was also in great demand. Chinese Silk known as 'Cina' in India which was used to make a variety of costumes like Silk Sarees called Patola from Gujarat also called as Vicitra. - Patolaka. Many varieties of Wool were also used during this time. The woolen cloth was known as 'Dusiya'. The most popular amongst this were the shawls from Kashmir. The linen during this period was also one of the fabrics and was manufactured from fibers of fruits. The texture of cloth produced at Benares was fine, and skilled weavers and spinners obtained this fineness and smoothness. Benares was also famous for its skill in the manufacture of silk cloth. It was famous and leading silk producing center in India in ancient time. The Golden Brocade cloth was also manufactured

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56 RAFIQA SULTANA, AFROZ SULTANA SAMBODHI-PURATATTVA in Benares. Fur too was made during this period and was exported to various countries. The Kings wore Dhoti, Duppattta, Turban and Tunics made of silk whereas the farmers wore Loincloth of flax. The soldiers guarding the king's palace wore coats. The middle class people of south wore loin cloth an The characteristic apparels of Gandhara sculptures from the 2th to 3th century A.D. can be gauged from the specially standing and seated Buddha perfectly reflecting the essential nature of Gandhara art, A religious and an aesthetic element drawn from widely different cultures brought together. The garments of Gandhara sculptures are 'Usnisa' means peak top by extension even 'a turban' but the Buddhas' Usnisa' almost certainly derivers from the top knot or chignon in which the uncut hair. Buddha wore a turban, the same kind that Sikhs wear today. The upper garment is like a robe that is unstiched. It has heavy folds; giving plastic effects. These folds look like semi circular lines. Sometimes upper garments give an effect of the Roman toga which too is semicircular. Plain rectangular piece of cloth i.e. the Samghati the monk's upper garment. All these garments are common in Buddha sculptures; specially found in Boddhisattva. i.e. standing & seated Buddha. Most important sculptures are Gandhara 2nd to 3rd century AD in Berlin museum. (J. C. Harie 1994). Apparels of Kushan Period (Late 1st century to 3rd century A.D.) According to Chinese historical sources, the Yueh-chin one branch called Kuei-Shugng, or the Kusanas (Kushanas). This dynasty dominated the region of Northern India, Afghanistan, Pakistan, Bangladesh, & U.S.S.R. They spread Buddhism. Kushan was the nuturing & dissemination of Buddhist cults. Kushan art of garb in India i.e. Mathura, Kausambi, Sarnath, Ahirchatra etc. The style of Kushan dresses were very varied. they wore heavy, flair, folds & thin pleated tunics & robes as upper garments & Dhoti as a lower garment. as seen by many life size sculptures found in different parts of the Kushan region. There were different category costumes in this era i.e. Royal, Religious formal & army. Royal costumes were tunic, robe decorated with pearls and gems. The royal drapery was of heavy long pleats, its ridges were folded. This was a typical Kushan fashion. Most of their costumes were pleated, folds & unstitched. The royal apparels were identified as being of foreign rather than Indic style. The sculpture of king Vemataksumasya

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Vol-1, XX1X ARCHAEOLOGICAL ART OF APPARELS 57 this image has shown Scythian style rather than Indic style. His lower garment is flaired & up to the knee. He wore heavy boots. The sculpture of King Kanishka (in Mathura museum), wore flair & stiff tunic, full length. The design of the garment is not determined by the forms of the body beneath. It has its own diaphanous shape & very similar Indic style. The style of garb of this image was that of a noble man & about military powers. The development of religious art in Kushan dynasty, it is Indic art & nonIndic art. Buddhist religion was prominently spread all over India so we found many Buddha sculptures. Most artistic sculptures are found in Mathura & Sarnath. The religious costumes were unstitched, covered shoulder, and single piece of cloth wrapped the upper part with pleated manner. Mostly heavy robe covered the shoulder part. The garment of the Buddha reveals the Indic preference for emphasizing the forms of the body rather than the shallow or classicistic folds & waves of the drapery. The apparels, which are worn over the left shoulder only are like the typical robe worn by Buddha in Kushan Era, depiction from Mathura related sites. So that it may be presumed to represent the specific style of garment popular in the region, in contrast with the more usual costume of the northwest that covered both shoulders. Turbans were also used & "Usnisa (turban knot) tied on skull. The image off Bhiksu Bala Ca. 123A.D. (Bodhisattva) Kaniska region at Sarnath (Sarnath museum). The Bhikshu Bala wore Dhoti type long lower garment, & a sash at the waist. Thin folds of the diaphanous so the body can be visible, a bare torso. Traditional shawl type long cloth that passes across his left shoulder & hangs over his arm, the pleats of his shawl were neatly folded. The great standing Buddha image of Mathura style is at Sarnath. The image has a tight lower garment below the knee with a waist belt. The upper garment looped over the left arm, the left hand resting on the hip in a characteristic of tight tubular pleats up to shoulder to wrist. The image of the right hand is missing. In the Kushan period the archaeological art was developed in a manner of regional, religious & cultural way and that was reflected in the apparels.

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58 RAFIQA SULTANA, AFROZ SULTANA SAMBODHI-PURATATTVA APPARELS OF MIDDLE DYNASTIES (Ca 4th Century A.D. To 12th Century). Apparels of Gupta period (Ca. 4th century A.D. To.gth century A.D. ) The literature of Chinese travellers shows this period as a golden marked with many political achievements. This period ruled over by many well-known kings like. Samudra Gupta, Chandra Gupta & Sri Harsha. The sculptures, paintings & caves are a standing proof of achievements accomplished during this period. Chinese pilgrims visiting in the 5th century described the clothing materials. A raw type of silks known as 'Kauseya', which was obtained from the cocoons of 'Bombyax Mori.' Yuan Chwang named mslins as "Tieh'. 'Calico' fabric as "Puchu" Line was known as 'Han'. The silk was very durable. In winter a cloth called 'Nisara' for Tie & Dye Bandhni & Chunri of Gujarat also gained popularity & so did 'Puspatta" which was a kind of brocade from Benares The dhoti & dupptta were famous during this period. Saree was known as 'Munga' & 'Andy'. During the marriage times people wore unstitched costumes like Dhoti 'Atriaya', Saree Duppatta & chaddar 'Pravara'. Sewed garments of women were known as 'Kola' or the 'Kurpersaks' as named by Kalidas in this literature which was a bodice. Women would wear petticoats of half-length up to their knees as well as upto their thighs; Men and women also wore a shirt which was called 'Chandatka'. Another sewed garment was known as 'Prapadina', which was up to the feet. The Shawl worn by a woman was called 'Gatarika' & it was knotted between the breasts. Another garment was worn over the left shoulder called Vaikala'. 'Yajnopavita' was like a scarf tied around the body & worn at the time of meditation Bana the great writer described a lady wearing a white or a bleached gown called 'Kanchuka' & under that gown she wore a petticoat of saffron colo The coins of Samudra Gupta is time show that people wore half sleeves tunics. The king himself wore a trouser, which was of a tight fit & creased similar to a chudidar. A tightly fitted cap covered his head. The other coins also showed full sleves & half sleeves tunics & some of them were made with twisted chords. (Kamarbandh). Chandra Gupta I wore a coat with beaded embroidery on the neck, a tussle row of buttons & fastener in the centre. The trouser worn by him was again creased like Samudhara.

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Vol-1, XX1X ARCHAEOLOGICAL ART OF APPARELS Gupta period was the traditional art period recognized by harmonious, reconciling of the classicistic style of the northwest, emphasizing, garment depiction. The significant feature of the late 5th century. The images are fully dressed, the figures are clad in drapery so clinging that it reveals virtually all of the parts of the bodies beneath, almost as if the figures unclothed. The drapery is not visible at the neck sides. However assuming that the images were originally painted with the robes in a colour contrasting with that of the skin, the present invisibility of the garments may have obviated. The garment itself has two layers, at least from the waist down as may be seen by the two hems, & might reflect the specific costumes of particular Buddhist sect. The Hindu images of Gupta period specially the terracotta figures are very beautiful, impressive wide spread & highly developed art. The most famous figures of Ganga & Yamuna from Ahirchhattra at U. P. this female costumes with the heavey drapery folds or pleats are very thin & delicate & in uniform. They were tight bodices. The garments of both images are well fitted so these figures are proofs of the beautiful costumes that existed in the Gupta period. The universal sculpture of Buddha is from Jamalpur at the Mathura Museum. This standing image is decorated with full length of drapery is thin with symmetrical, circular pleats. The string like ridges hold in both hands. Art in Gupta period had a long evolution & its chronological varieties i.e. painting, coins, architecture apparels, sculptures were ever produced anywhere in the world. It was an age of universal achievement, a classical age that inspired to create. Its standard of form & tested determined the whole subsequent, course of art not only in India but also for beyond her border. So the appareled are very unic style & pattern & designs are very gracefully made. It can attarct anybody. The heritage of Indian painting styles is rooted in western & southern India specially Ajanta, Ellora & Chola Paintings. It is a very strong evidence of traditional, stylistic features to study chronological Indian apparels. Ajanta & Ellora caves paintings give information regarding Indian costumes of all classes. In the paintings the kings wore Dhoti, headdress which were highly ornamental, ministers wore long tunics. The soldiers wore either a dhoti or are clad in tunics, trousers, and headcarves. The jesters & royal attendants wore tunics. It was purely Indian costumes. The queen and the women of higher

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60 RAFIQA SULTANA, AFROZ SULTANA SAMBODHI-PURATATTVA social status wore light garments consisting of sari, skirts & scarves. They also wore tunics of half & full sleeves. In this painting, dancing girls are also shown, they wore tunics, trousers. Many tunics have 'V' shaped neck-opening on the front side. These costumes are decorated with differnet embroideries. These paintings depict various textiles. They showed type of material pattern i.e. these paintings depict various textiles. They showed typed of material pattern i.e. stripes, ladders & chequers. Ajanta & Ellora caves paintings are the virtual unique documents in archaeological art. These paintings have shown different apparels, which were prepared with elaboration & embellished. There are good evidences to study the apparels. People wore unstitched costumes like Dhoti 'Atria', Sari Duppatta and Chaddar 'Pravaracc'. Sewed garments of women were known as "Kola' or 'the Kurpersaka' as named by Kalidas in his literature which was a bodice. Women would wear petticoats of half length up to their thighs which were called 'Chandatka' Shirt was used by men as well as women. Indians have known stitched garments well 1500 years even before the Mughals came to India but the common costumes were unsewed like dhoti, duppatta, saree, chadar and this was on account of the hot climate of this region. THE APPARELS FROM 8TH CENTURY AD TO 12TH CENTURY AD Marcopolo was a useful source of information. Many foreign travellers from Arabia, Middle Eastern countries, China, & from western countries visited in India & described many things including costumes of India. Arab merchant mention about fine muslin from Bengal, we exported in Baghdad in 851 A.D. An Arab author Hudud has described about the city of Kanauj as a small but popular town producing quality of velvet & stuff for turbans. Another writer 'Ibu Hawqa' described that the dresses of lower Indus valley basin was similar to that of Iraq. (Vest & turban were used). The muslins of Gulf of Cambay & Malbar coast used to wear Izar & Mizar i.e. trousers & kurta. The indigenous costumes consisted of plain dhoti & turban. Alberuni called as "Garganthan'. Chauju-kha wrote in 12th century ruler of Malbar used turban & white cotton shirt with narrow sleeves. People of Gujarat used to

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Vol-1, XX1X ARCHAEOLOGICAL ART OF APPARELS wear close fitting clothes of cotton, wear white hood cotton & Indigo-were the main products of Gujarat. It is said that Malwa was also a great centre of cotton products Bengal & Sindhu were famous for fine white flowered or dotted cotton cloth. Marcopolo wrote that Gujarat was known for its good spinning of cotton. It specially was beautiful; either mats with gold & silver wire. Cambay was the great centre of textile trade & manufacturing. They equally made fine buckram & other quality of cotton cloth. Gujarati cloth merchant used to go to south East Asia for textile trade. The ship from Egypt to India came from Venice. From Alexandria the goods reached Cairo, Jeddah Aden & then to Cambay, Goa Malbar & Bengal. Different Kings ruled over different parts of India during this century. Arab travellers visited India by the 12th century and Islam was deeply rooted in the northern part of the country. The caste system too flourished whereas Buddhism was on a decline. Thus the old order changed and a new order brought greater changes in the culture and the economic patterns of the society. The history of Indian textiles and costumes ranging from 800 to 1200 is thus mixed with complexities. The sculptures of this period represent different styles influenced by the variety that existed during this phase. Foreign fabrics were used especially of Arabia and Persia. During this era, due to the Mughals rule, there was a decline in the sculpture art whereas miniature paintings gained ground and were the true depicters of the apparel culture of this era also with Travellers like Marco Polo were a useful source of information. Archaeological art of apparels conveys the devotion, belief of pure faith, religious, cultural & humanistic ideas. This art works are not just aesthetic expressions or exercises but are also artistic achievement of its unique feature. Artist's dimensions of ancient Indian highest intellectual & their technical achievements. This humanstic art conveys that this civilization has hold for millennium & continues to hold up to the present day. Referenecs : J. C. Harle Jamila Brijbhusan Marg Publication 1994 The Art & Architecture of the Indian Sub Continent. 1958 History of Indian costumes. Delhi 1980 Treasures of Indian Textiles Calico Museum, Ahmedabad.

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62 RAFIQA SULTANA, AFROZ SULTANA SAMBODHI-PURATATTVA Marshall, John; 1931 Mohanjo Dero & the Indus Civilization vol.3, London. Mehta: -R. N. 1957 A set of decorative textile of the Vallabhacharya sect. * Journal of Indian textile History, No.3. Ahmedabad. Motichandra. S.P. 1973 Costumes Textiles Cosmetic and Coiffure in Ancient and Middle India. Mukerje Radhakamal 1964 The flowering of Indian Art, the growth and spread of a Civilization. Sinha B. P.: 1979 Archaeology and Art of India Susan L. Huntington: 1993 The Art of Ancient India, Buddhist, Hindu, Jain (New York) 000

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ON THE ARCHITECTURAL TRAILS... Destination Gujarat YATIN PANDYA* Mohen-jo-daro and Lothal to modernism and Le Corbusier, the architectural legacy of Gujarat spans across the civilizations. Millennia apart, they stand in testimony of their progressive outlook and avant garde attitude. Evoking socio-cultural and political ethos of the place, the emerging architecture has always remained a fruitful fusion of the old and new idioms. Maintaining the deep rooted values of traditions, the element of contemporary has always been effectively introduced to evolve a new syntax for the progressive architecture. Not remaining the dead ruins of the bygone era buried under the debris of time, the architecture artifacts in Gujarat has sustained as the living organisms fulfilling the aspirations of changing times. Plethora of architecture edifices such as temples, mosques, mausoleums, forts, gatways, palaces, residential precincts, step-well or the civic institutions manifest this dynamic process of style updationg-of blending traditional wisdom with contemporary knowhow. May it be an ideological fusion of Jain and Hindu idioms in temple architecture, or form transformations of wooden technology into stone architecture, or a synthesis of hindu craftsmanship with islamic forms in Indo-saracenic architecture, or the combination of european space conceptions with Indian elements in colonial architecture, the eclecticism was inevitable but it was mature and pleasing as emulation and assimilation of newer thoughts were creatively regionalized. The subterranean architecture for water, such as step-well at Adalaj, Ranki vav at Patan or 'Dada hari ni vav' at Ahmedabad, are uniquely exclusive to Gujarat * Associate Director Vastu-Shilpa Foundation for Studies and Research in Enviromental Design Ahmedabad.

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64 YATIN PANDYA SAMBODHI-PURATATTVA in terms of their typology, attitude to water and stylistic manifestations. Design, detailing and decorations of both Hindu and Islamic architecture fuse to become indo-saracenic style. The majestic procession of steps leading to water, not only create a convenient path to fetch water but become an event with pause platforms forms for conversations as well as rituals. Series of column and beam portals in stone apart from counter balancing soil pressures help frame views, enlarge vistas and bring down the scale of five storeyed volume. Ambiance is further enhanced through mythological depictions in wall renderings enroute. A simple water container, content as well as consumer have thus become inseparable. Concepts are communicated and expressions are understood. These basic qualities make possible metamorphosis of a utilitarian object into an ever-lasting, beautiful, timeless architecture. Gujarat has a rich mosaic of Jain and Hindu temples dating from sixth to sixteenth century. At the pinnacle of perfection and artistic excellence they are the finest specimens of classical architecture that flourished in Solanki and Vaghela period. Rudramahalaya at Sidhpur, Suryamandir at Modhera and Maha Meru Prasad at Somnath scale a new peak in the evolution of temple architecture with trabeated construction, details of ornamentation and clarity of forms. While Jain temples at Palitana, Delwara and Ahmedabad translate in marble the intricate forms of wooden carvings and its delicate rendering providing and awe inspiring counterpoints to the hardness of stone as well as the discipline of geometric plans. Also unique are innumerable examples of muslim faith from Sultanate phase, dotting the crosscultural landscape of Gujarat. Mosque and tomb complex of Sarkhej rivals Fatehpur Sikri in its campus planning. Set against the artificially created tank the domes and arches of mosques and balconies and chhajas of the recreational -pavillions create interesting silhouette and dynamic relationship between various spaces and functions. Mosque of Rani Sipri in Ahmedabad signify the harmonious assemblage of Islamic, Hindu and vernacular elements of space making. Its richly carved stone Jalis, elegantly proportioned spires, floral and geometric patterns of stone wall renderings alongwith the traditional zarokhas of the domestic architecture lend it the contextual fit, evoking a sense of belonging. Window traceries and stone Jalis at the Sidi Saiyed's mosque has remained the epitome of Indian skills, craftsmanship and aesthetic sensibilities. The magic of shaking minarets and marvel of its engineering feat still remains unparalleled.

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Vol-1, XX1X ON THE ARCHITECTURAL TRAILS... 65 Equally dignified is the Royal architecture in Gujarat. The palaces and kingdoms of Maharajahs graciously combined the Hindu craftsmanship with European artifacts, indigenous detailing with western furnishings, part Indian exteriors with largely european interiors, western aesthetics but and Indian ambiance. Having travelled and studied in Europe the Maharajahs were fascinated by its architecture. In particular, the progressive architecture of Renaissance and beautiful ornamentations of the Baroque. Late classical motifs of Europe, stained glass windows and peculiar woodwork combined soothingly with the vocabulary of prevalent arches, domes, Jalis, Chhajas and zarokhas. May it be the Laxmivilas Palace of Vadodara, Pratapvilas in Jamnagar, Darbargadh of Bhavnagar, Ajit Niwas of Dhangadhara, or palace at Mandvi they demonstrate the glory and the exploratory temperaments of the Gujarati culture. Pragmatism of the progressive community to explore, assimilate and evolve. This phenomenon is amply evident in the domestic architecture of its enterprising trading community. For example Vohra houses at siddhpur, recreating parisian street ambiance, exquisitely amalgamate the Hindu-Islamic-colonial and European trade ties. Houses of Parsis in Surat similarly reminisce of thier Persian roots while living quarters of Div-once the portuguese colony-recounts the mediterranean elements and form images. Such architectural experimentation would have been tabooed elsewhere but here they have been admired as their final resolutions have been visually stimulating, psychologically nourishing and reaffirming their sense of belonging. Role of architecture is primarily to express, both, the traditions as well as aspiration of an individual and the society. Maharajahs were the development patrons much before the independence. English administrators were the force in establishment of civic architecture, namely town halls, colleges, libraries, stations and guesthouses, during the British raj. European planning and colonial standards were customised for the given climate conditions. Colonnaded facades combined here with the cupolas and chhajas, bare exteriors balanced with intricate jalis and zarokhas. Gujarat college in Ahmedabad, Claude Batley's M. J. library and the Museum at Vadodara signify the fact. Soon after independence it was the guild (mahajans), leading individuals and the institutions assuming the role of intiator and promoter of progressive developments in the cities. Initiatives of such visionaries brought home the flavour of international architecture in free India.

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66 YATIN PANDYA SAMBODHI-PURATATTVA French maestro Le Corbusier was invited to design institutions for culture and industries alongwith the private residences. Ahmedabad Mill Owners' Association building, Sanskar Kendra, Sarabhai and Shodhan houses are the examples of the cubist modern style characterised by : extensive use of reinforced cement concrete as principal building material, austere facades with reduced or no ornamentation; simplicity and clarity of structural elements; and use of natural finishes of the construction material as a form of decoration have set a new architectural trend and put Ahmedabad on the world map of contemporary architecture. The Indian Institute of Management designed by Louis Kahn, yet another landmark by and internatinally renowned American architect, derives its aesthetics out of the most ingenious use of brick in its purest and structural form, using the local skills and material. In the momentum of such architectural developments, the younger architects of India began shaping city's skyline in the imaginative blend of international modern style coloured with regional expressions. The quest for quality and enthusiasm to explore has persisted. Gujarat has remained a laboratory of architectural experiments and comprehensive catalogue of diverse 'styles' and 'isms' from antiquity to modernity. Hussain-Doshi Gufa, Sangath, Gandhi Smarak Sangrahalaya, National Institute of Design and Entrepreneurship Development Institute in Ahmedabad, Institute of Rural Management and the National Dairy Development Board Complex in Anand, Doodsagar dairy in Mehsana, planetarium in Vadodara, and the whole range of private residences across the state are the living testimonies of the architectural legacy that Gujarat has inherited, shared, maintained and continued. For the students as well as enthusiasts of architecture, Gujarat indeed is a place of appreciation, admiration and learning. With, remains of Harappan civilizations, vernacular forms of desert settlements of Kutchh, unique manifestations of water architecture, forts and ramparts of medieval defence camps, peculiar expressions of sultanate styles, mature representations of classical temple architecture, creative progressivism of the modern architecture and imaginative explorations of the contemporary, Gujarat remains the most enriching destination in architectural tourism. OOO

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THE INDIAN SCRIPTS BHARATI SHELAT* The Palaeography of a country is one of the most fascinating and instructive studies. It deals with the art of writing, The art of writing was one of the momentous inventions which has shaped the destiny of man and it proved the most stable medium of the propagation of knowledge and the diffusion of human culture. The art of writing was considered as one of the pioneering subjects of education in ancient India. The word 'Lipi' was used for the art of writing and Lipisala for the primary school. The earliest mention of the word for script (Lipi or Libi) is found in Panini's Astadhyayi (c. 800 B.C.) (2.21). Kautilya's Arthasastra refers to script (Lipi) as one of the subjects to be taught to a child prince. In 1.5.2 he writes quathaf fart Heri 144 ia. The inscriptions of Ashok contain the words Lipi, Libi, and Dipi all meaning script. At least two types of scripts Brahmi and Kharosthi were prevalent in the time of Mauryan king Asoka, but their names are nowhere mentioned in his edicts. In the Jain Sutras the Pannavana and Samavayanga (cha. XVIII) and the Bhagavatisutra (cha. V) the names of various scripts are mentioned. The first two contain a list of eighteen scripts and the last one refers to only one Brahmi script (namo baMbhIye libiye / ) The Buddhist work 'Lalitavistara' (c. 300 B.C.) has preserved a much bigger List that contained in the Jain Sutras. It enumerates 64 scripts which are said to have existed in the time of Budhha (cha. X. 125. 19). The most current writing in India was Brahmi, which was an alphabetic system of script.2 The writing confined to the north-west part of India was Kharosthi which used the name alphabets as the Brahmi, but its characters were different.3 * Former Director, B. J. Institute of Learning and Research, Ahmedabad.

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68 BHARATI SHELAT SAMBODHI-PURATATTVA The Indus valley Script The archaeological excavations at Harappa and Mohenjo-daro`revealed the existence of a system of writing prevalent in India in the fourth millennium B.C. On the basis of the positive evidences this is the earliest system of writing current in India. It consists of pictographs, ideographs and syllables. Unfortunately it has not been satisfactorily deciphered as yet. The seals and sealings with the writing on them have been found from Harappa and Mohenjo-daro. Many Indian and foreign palaeograhists have tried to deciphere the script of the seals and sealings. According to Dr. Hunter's classification and analysis of the alphabets, the total number of single alphabets is 234 in which there are 102 original letters and the initial vowels have been added to them. Some of the letters are pictorial. They signify the symbols like human, slave, a man with the bow and the arrow, a bird, a fish, a plant, a jar, a spoked wheel, an umbrella, a horn, a lotus bud, a pipal leaf, a harp, a hand, a double axe, hill etc. (See Table 1.) L. A. Waddell tried to read the inscriptions in Sumerian on the basis of a few apparent links and found in them the names of the Vedic and the Epic heroes. Pran Nath supposed the language to be some form of old Sanskrit and Prakrit and utilized the Brahmi script of a much later date. The significance of the symbols might be arrived at on the basis of Tantric signs. Prof. B Hrozny tried to interpret the inscriptions with the help of the Hittite language. Father H. Heras assumed that the people were Dravidians and tried to reconstruct a proto-Dravidian language for them, and compared the Indus signs with Sumerian, hieroglyphic and proto-Chinese symbols. Meriggi believed the Indus script to be an ideophonographic system of writing and assumed some symbols to be ideograms a others phonemes. Gadd, Sydney Smith, Hunter and Langdone chose to confine themselves to listing the signs, counting their use in the different inscriptions and suggesting their possible significance. Hunter followed the scientific method of tabulating every occurence of each sign. As for the direction of the writing it has been suggested that the direction of writing is from right to left; i.e. it begins from the side of the animal's head and goes to its tail. Marshall argues that the writing which begins from the right is

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Vol-1, XXIX THE INDIAN SCRIPTS boustrophedon. Some of the signs of this script resemble to the letters of the Brahmi script. There is a preponderance of adding initial vowels to the original letters like the Brahmi. It is more likely to believe that the Brahmi script of the later times (i.e. Maurya period) would have been derived from the Indus script. But in the absence of any bilingual inscription, having one of its versions in the Indus script and the other in some already deciphered script, the Indus valley script has remained a puzzle and it will continue to be so until some effective clue to its reading is discovered. The Kharosthi Script The Kharosthi script is known by various names. It was formerly known as Bactrian, Indo-Bactrian, Aryan, Bactro-Pali or Ariano-Pali, Kabulian, Arianian, Gandharian. Its most popular name, however, is Kharosthi, which was accepted on the basis of the evidence found in the Lalita Vistara and in the chinese encyclopaedia, Fa-Wan-Shu-Lin complied in A.D. 668.' This script has been deciphered exclusively by European scholars Masson J. Prinsep, CH. Lassen, E. Norris and A. Cunningham. The coins of the Indo-Grecian and Indo-Scythian kings with Greek and Prakrit inscriptions furnished the first clue to the Value of the letters. The Shahabazagarhi and the Manasehra versions of the Ashokan rockedicts were inscribed in the Kharosthi script and E.C. Bayley's Kangra inscription in the Brahmi and the Kharosthi. This script is an ephemeral, chiefly epigraphic alphabet of north-western India. The majority of the inscriptions written in Kharosthi have been found in the ancient province of Gandhar, eastern Afghanistan and northern Punjab; and the oldest documents are confined to the districts of the capitals of which were Taxila (Shah Deri) to the east of the Indus and Puskalavati or Carsada (Hastnagar) to the west of the river. Single inscriptions have turned up further south-west in Bhavalpur near Multan, south in Mathura and south-east in Kangra and single words or letters in Bharhut, Ujjain and Maisur (Asoka's Siddapur edicts). Coins and MSS with Kharosthi characters have been carried much further north and north east. The period during which according to the documentary evidence available, the Kharosthi seems to have been used in India extended from the fourth cent B.C. to about the third cent. A.D., the earliest letters occurring on the persian Sigloi and the latest perhaps on the Gandhara sculptures and the Kusana inscriptions.

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70 BHARATI SHELAT SAMBODHI-PURATATTVA The Kharosthi has been found in stone inscriptions, on metal plates and vases, on coins, on cameos and on a longer known small piece of birch bark from a stupa in Afghanistan and on the Bhurja manuscript of the Dhammapada from Khotan 10 In spite of its frequent utilization for epigraphic documents, the Kharosthi is a popular script destined for clerks and business men. This is proved by the highly cursive character of the letters, by the absence of long vowels, by the expression of groups of unaspirated double consonants, by single ones ('Ka for kka') and by the invariable use of the Anusvara for all vowelless medial nasals. The direction of the Kharosthi from right to left made it a priori highly probable that its elements had been borrowed from the semitics and the almost exact agreement of the forms for 'na', 'ba', and 'va' with Aramaic signs of the transitional type induced E. Thomas to assume a closer connection of the Kharosthi with this alphabet. The Ashokan edicts from the north-west India use the word 'dipi' for 'writing' or 'edict' which evidently has been borrowed from the old Persia. The districts where Kharosthi inscriptions occur especially in earlier times, are those parts of India which probably were subjects to the Persians from 500 B.C. to 331 B.C. Among the Persian sigloi, there are some Kharosthi and Brahmi, it may be inferred that they were struck in India during the Persian period. The Persian Satrapas introduced Aramaean subordinates into the Indian provinces and forced their Indian subjects, especially clerks of the native princes and of the heads of the towns and villages to learn Aramaic. At first the intercourse between the Persian and the Indian offices probably led to the use of the Aramaic letters for the north-western prakrit and later to modifications of this alphabet, which was made according to the principles of the older Indian Brahmi and through which the Kharosthi finally arose. The majority of the Kharosthi signs can be most easily derived from the Aramaic types of the fifth cent. B.C. which appear in the saqqarah and Teima inscriptions of 482 B.C. and about 500 B.C., while a few letters agree with somewhat earlier forms on the later Assyrian weights and the Babylonian seals and gems and two or three are more closely allied to the later signs of the Lesser Teima inscription, the stele Vaticana and the Libation table from the Serapeum. Thus Kharosthi appears to have been elaborated in the fifth cent. B.C. and when the Hunas appear in the fifth cent. A.D., no trace of the this script is seen. (Tables II & III)

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Vol-1, XXIX THE INDIAN SCRIPTS The Brahmi Script The earliest records of Indian epigraphy have been inscribed in the Brahmi and Kharosthi scripts. The rock edicts of Mauryan King Asoka have been inscribed in Brahmi script. His shahabazagadhi and Manasehra versions are inscribed in the Kharosthi. A number of theories have been propounded to trace the origin of the Brahmi script : 1. The theories which regard the Brahmi script of indigenous origin and 2. The theories which trace the origin of the Brahmi script to some foreign source. 3. The theories of indigenous origin : (a) Dravidians Origin : Edward Thomas and other scholars maintained that the Dravidians were responsible for the invention of the Brahmi characters, which were borrowed by the Aryans. This supposition is basically wrong, as the original habitat of the Dravidians was in the South and the original home of the Aryans was in northern India. The earliest specimens of writing are found in northern India, the original home of the Aryans and not in the South, the native place of the Dravidians. 11 (b) Aryan or Vedic Origin : General Cunningham, Dowson, Lassen etc. held the view that the Aryan priests developed the Brahmi alphabet from indigenous Indian hieroglyphics.12 Unless the phonetic values of the Indus script are exactly fixed, nothing certain regarding its bearing on the Brahmi character can be said. But it is quite possible to derive some of the Brahmi characters from some of the signs of the Indus valley script.13 (2) The theories advocating foreign Origin: (a) Greek origin : Otfried Mueller, James Prinsep, Raoul de Rochette, Emile Senart, Goblet d'Alviella, Joseph Halevy, Wilson etc. were of the opinion that the Brahmi script was derived from the Greek alphabet. But Buhler thinks, it is a priori improbable theory, as there is no doubt that the Greek

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BHARATI SHELAT SAMBODHI-PURATATTVA alphabet was deeply indebted to the phoenician characters. It has already been suggested that the phoenicians (the Vedic Panis) were of the Indian origin who carried with them the art of writing from India and spread it over Western Asia and Greece.14 Semitic Origin : This theory has been supported by a large number of scholars, but they differ as to which branch of the Semitic characters produced or influenced the Brahmi characters. (i) Phoenician Origin : Weber, Benfey, Jensen, Buhler etc. advocated this theory. Their main argument was that about onethird of the phoenician letters were identical with the earliest forms of the corresponding Brahmi signs; that another third were somewhat similar and the remainder can be more or less harmonized. (ii) South Semitic Origin : W. Deecke and I. Taylor opined that the Brahmi characters were derived from the Assyrian Cuneiform characters through the ancient southern Semitic characters, which are also the parent of the Sabaean or Himyaritic script. (iii) North Semitic Origin : The greatest champion of this theory was Dr. Buhler. He, maintained that twenty-two letters of the Brahmi alphabet were derived from North Semitic alphabet, Some of them from the early phoenician, a few from Mesa's stone inscription and five from the script on the weights from Assyria. The remaining letters of the Brahmi were also derived from the borrowed sings by introducing certain devices. R. B. Pandey advocated indigenous origin of the Brahmi script which clearly indicated that the Brahmi characters were invented by the genius of the Indian people who were far ahead of other peoples of ancient times in linguistics ho evolved vast Vedic literature involving a definite knowledge of the alphabet. The Brahmi was derived from pictographs, ideographs and phonetic signs, the earliest specimens of which are to be found in the Indus Valley inscriptions.15 Ancient Brahmi script from about 350 B.C. to about 350 A.D. The older Mauryan alphabet of the Ashokan edicts which occurs also with local variations on the Persian sigloi and the old coins from Taxila, in the majority

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Vol-1, XXIX THE INDIAN SCRIPTS of the inscriptions on the Bharahut stupa, in Gaya, Sanci and Parkham, on the patna seals, on the Sohgaura (Gorakhpur Dist.) copper-plate and on the Ghosundi inscription (Chittorgadh Dist.) and prevailed at least in the later of the 4th and the 3rd cent. B.C. The later Mauryan alphabet of Dasaratha's Nagarjuni cave (Bihar) inscription closely related to the characters of about B.C. 200 to B.C. 180. The Sunga alphabet of the Torana of Bharahut belongs to 2nd-1st cent. B.C. The older Kalinga alphabet of Hathigumpha caves belongs to about 150 B.C. The archaic alphabet in the Nanaghat inscription is related to the time from 150 B.C. to the 1st cent. A.D. (See II). Kushan alphabet of the reigns of Kaniska, Huviska and Vasudeva refers to the 1st and 2nd cent. A.D. The alphabet of the Western Ksatrapas belongs to the 2nd cent. A.D. The highly ornamental variety of the eastern Dekhan from Jaggayyapeta- 3rd cent. A.D. and the ancient cursive alphabet of the Prakrit grant of Sivaskandavarma belongs to the 4th cent. A.D. The older Maurya alphabet was used over the whole of India and it seems to have been used in Ceylon at the latest about B.C. 250. For the two oldest Ceylonese inscriptions from the time of the king Abhaya Gramani (end of the 2nd cent. B.C. or the beginning of the 1st cent. B.C.) show the characters which appear to have been developed from those of the Ashok edicts.16 Dr. A.H. Dani has seen changes and development in the Brahmi script from 200 B.C. to 50 A.D. and classified according to the regions into four categories.17 1. Eastern India with the old centre in Magadha, 2. North-West India with its centres at Taxila, Mathura and a number of places in the Malwa plateau, 3. North-West Deccan which is a continuation of the culture from the Malwa plateau and 4. South India with which has been included Eastern, Deccan, Amaravati etc. The northern alphabets from about A.D. 350 comprise several varieties; such as 1. the epigraphic North-Indian alphabet of the 4th and 5th centuries commonly called the Gupta alphabet which has an eastern and a western variety. 2. the Nagari with its long drawn tailed letters and long top-strokes the first certain traces of which occur in the 7th cent., 3. The Sarada alphabet, a northern variety of the Western Gupta type was first found about A.D. 800. From the 7th cent. onwards the inscriptions in northern characters are found from the west (from Valabhi - Saurashtra). The ancient Manuscripts found in Kashgar, Japan and Nepal, The oldest of which probably were written in the 4th

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74 BHARATI SHELAT SAMBODHI-PURATATTVA cent. show only northern letters. The palm-leaf manuscripts of Western India which begin in the 10th cent. agree with the inscriptions of the period and prove that the northern Nagari was generally used in Rajputana, Gujarat and in the northern Deccan as far as Devagiri (Daulatabad). The gradual advance of the northern characters towards the south probably is explained by the predilection of many southern kings for northern customs and by the immigration of northern Brahmanas, castes of scribes and the Buddhist and the Jain monks. The northern Jihvamuliya (hka) and the Upadhmaniya (hpa) occur only in the 4th century. The first certain Virama, consisting of a horizontal stroke above the small final, dates likewise from the 5th century. The lower parts of the right hand verticals of a-a, ga, da, ta, bha and sa are so much elongated and those of ka and ra remain so long, that these eight signs have about double the length of those without verticals. The right hand portion of gha, pa, pha, sa and sa shows an acute angle where by later the development of tails or verticals on the right of these signs have been caused. The ta is flattened down at the top. The na shows a little stroke. at the right end caused by an inexact formation of the hook on the right, sometimes a cursive loop on the left. The tha is mostly elliptical or flattened on the right and a cross-bar often replaces the dot in the centre. The left limb of sa often becomes a loop. A substitute for the loop is a triangle which occurs in the three most ancient inscriptions from Nepal. The sings for the medial vowels agree in many particulars with those of the Kushana period. But open semicircle for a in ta, which is found also in na is an innovation. The medial i., for instance, of khi, is drawn further to the left than in the earlier inscriptions. The medial i consists merely of a curve going to the right, though the forms with two horns and a loop are more common. Medial u mostly represented by the still used curve, which in ru appears abnormally at the end of ra, but in gu, tu, bhu and su the vowel rises upwards. Thus the Brahmi of this period had, 1. a predilection for cursive forms dictated by the swift flow of the hand in writing, 2. a desire for an ornate style and 3. fondness for symmetry and proportion. While the first tendency deformed the letters and hence paved the way for new shapes, the second and the third added ornamental curves, triangles and rectangles and thus created different styles. The different ways of writing, which led to the growth of a definite school in due course. But there was no

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Vol-1, XXIX THE INDIAN SCRIPTS fundamental difference in the main body of the letters. Brahmi maintained its unity through out the subcontinent. This unity was the result not of any political integration as in the time of Asoka, but of those socio-religious forces which were let loose after the invasion of the Kusanas and which gathered round different nuclei in different regions by the end of this period to develop into local cultures. From the view point of palaeography this led to regional scripts, the beginnning of which is traceable from the fifth cent. A.D. onwards. The changes traceable during the period of the Kardamaka Ksatrapas are : 1. For the first time in the region of Gujarat-Saurashtra special attention is paid to the head-marks. The Junagadh inscription of Rudradaman shows the line head-mark, while a few others have a solid triangular head-mark. 2. Some new shapes of letters are introduced. Among them, may be mentioned the form of kha which gives greater prominence to its triangular base. Ya with its left arm curled is seen only here. The tailed ma, hooked ha and hooked type of the subscript ya is employed optionally in this region. The form of ta with its rounded appendage and the round backed da with its mouth open to the right. 3. The third remarkable change is seen in the ornamental forms of the letters. The curves and notches in the verticals and horizontals and the flourishes in the medial vowels are noteworthy. The proto regional scripts : The writing styles tended to become localized and affiliated to the various cultural regions in the subcontinent. The regional styles might have differentiated still further but there were two important factors which were instrumental in establishing a link between them and also in governing a uniform pattern in their development : 1. The use of a common language Sanskrit which helped the easy movement of literates and scribes from one region to another and the quick of writing. 2. The growth of larger kingdoms which by their very nature had to adopt a uniform style of writing within their jurisdiction. With the growth of regional states, the regional scripts also emerged fully. They grew out of the differences noticed in the period ending roughly in the eighth cent. A.D. The main divisions of the proto regional scripts : 1. Scripts of North India : These scripts show a uniform of development both

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Brahmi Script Script of North India Script of Gujarat, Rajasthan & Central India Deccani Scripts Scripts of South India Middle Ganges Valley (Bihar, U.P.) Eastern India [Bengal, Assam, Orissa, Nepal] Mathura The Rajasthan The Gujarat and the Style Saurashtra North- (Rajasthan, style western Malwa] [Maitrakas region Valabhi, [Mathura, Traikutakas, kashmir, Gujarars of Chamba] Bharuch] Deccani style, [Vakataka, Kadambas, wesetrn Chalukyas, Pallavas] BHARATI SHELAT Mysore and Maharashtra [Maharashtra inscriptions of the Chalukyas, RastrakutasKannada script) Andhra [Inscriptions of Eastern ChalukyasTelugu script] South India [Pallavas-inscriptions from Kanchi, Tricinopoly, Annamalai, Mamallapuram Granth script of the 7th cent. A.D.) SAMBODHI-PURATATTVA

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Vol-1, XXIX THE INDIAN SCRIPTS in the body of the letters and in the application of the medial vowels. The changes in ornamentation and technical adaptation are seen usually in all scripts equally. Scripts of Gujarat, Rajasthan and Central India : There is a maedley of scripts in these areas. The earlier influences of the south fade away and the northern influences come in but at the same time we notice some independent developments. 3. The deccani scripts : The characters of these scripts have the square head mark. The head mark brings them under one group, but they are differentiated from one another by following the general styles of the regions where they were used. 4. The scripts of South India : There is a general unity of development in these scripts. The shapes of the letters as well as medial vowels follow a common pattern. 18 Details of the changes in the Nagari alphabet (8th-10th Cent. A.D.) : Numerous changes, which the letters of the Nagari script undergo in course of time taken place; such as 1. The lower portion of the left half of A and A almost consists of curve, open towards the left. In late specimens of the Nagari, it is replaced by two slanting strokes to which a third, a remnant of an earlier wedge at the foot of the vertical is added lower down upto the 8th cent. the long ) is invariably differentiated by the addition of a curve to the right end of A. Later its mark is a downward stroke, which is attached either to the right of the top or to the middle. In the manuscripts the downstroke at the top is found even earlier. 2. U and U invariably show at the lower end a tail, drawn towards the left, which in course of time is developed more and more fully. 3. The curve of R attached to the right of the ra becomes very shallow and long in the Horiuzi palm-leaf manuscripts and this shallow curve is the precursor of the vertical line of the later palmleaf manuscripts of Western India. 4. E and Ai invariably turn the base of the triangle upwards. ka shows on the left a loop, caused by the connection of the end of the bent crossbar with the serif

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78 BHARATI SHELAT SAMBODHI-PURATATTVA or wedge at the foot of the vertical, except in the combination with the subscribed vowels u and . In the Nagari inscriptions the looped form occurs, however, not rarely also in the latter cases. 5. The central bar of ja first is made to slant downwards and then changed into a vertical. At the same time, the upper bar becomes the top-stroke of the letter and the lowest is gradually converted into a double curve. 6. In the Nagari, a horizontal line with a short vertical or slanting stroke appears above lingual ta and tha. Since the 9th cent., the round-backed Lingual da of the southern alphabets ending with a curve open to the left comes into use. 7. The suppression of the original base stroke of the lingual na occurs in ent, and in the uncombined sign since the 8th cent. The sign soon after assumes the modern form and consists of a straight topstroke with three lines hanging down from it. 8. On the transformation of pha by the development of a central vertical, the curve of aspiration is attached first to the top of the new sign. But in the 11th cent. it sinks lower down and it occupies already in the 12th cent. the position like the modern Devanagari letter. 9. As Va was very generally pronounced ba, the ancient sign for ba was lost in Northern, Central and Western India-and it was replaced by Va in the inscriptions of the 7th and later centuries. The new ba consisting of va with a dot in the centre of the loop occurs since the 11th cent. 10. The left limb of bha, mostly an inverted wedge with the point towards the right is freequently changed into a traingle, open at the apex, from which the lower portion of the original vertical hangs down. The modern Devanagari bha appears in the 12th cent. 11. Since the 8th cent, ma usually has on the left a cursive loop. The right extremity of the wedge at the lower end of ra is often greatly elongated in the inscriptions of the 7th and later centuries and sometimes only the outlines of the wedge are marked. 12. Since the 7th cent. Ca has become Sursive, the left half of which has been turned into a loop with a Small tail on the right.

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Vol-1, XXIX THE INDIAN SCRIPTS 79 13. Medial a, e, o, au as well as one of the matras of ai are placed very frequently above the line and are treated more or less ornamentally. 14. The tails of the curves of medial i and i are regularly drawn down low respectively to the left and the right of the matrka. These forms lead up to the i and i of the modern Devanagari. Medial u is expressed very frequently by the initial u of the period. 15. Since the 7th cent. first on the Banskhera plate of Harsa, the Jihvamuliya is occasionally expressed by a cursive sign, consisting of a loop under the wedge of ka. The Upadhmaniya is occasionally expressed by a curve open above with curled ends and sometimes with a dot in the centre. The sarada alphabet : The Sarada script, which is easily recognised as a descendant of the Western Gupta alphabet appears since about 800 A.D. in Kashmir and in the northeastern Pubjab (kangra and chamba). The oldest known Sarada inscriptions are the two Baijanath Prasastis from kiragrama (karngra) dated A.D. 804.19 On the coins of the Varma dynasty of Kashmir, sarada forms are fully developed. Bakhshali manuscript in Sarada characters found from Ysufzai District belongs to the same or somewhat earlier period. In consequence of the frequent emigrations of the travel-loving Kashmirian Pandits Sarada manuscripts are found in many towns of north-western India and further east in Benares and marginal glosses in Sarada characters are found even in ancient Nagari MSS from Western India. A modern cursive variety of the Sarada is the so-called Takkari or Takari of the Dogras in Jammu and the neighbourhood which of late has been imported also into Kashmir. A general characteristic of the Sarada of all periods is found in the stiff, thick strokes. The peculiarities of the Sarada script are as follow : 1. The i which consists of two dots, placed side by side and a ra-like figure below, which represents the other two dots. 2. The Quadrangular ca. 3. The lingual da, which shows in the middle a loop, instead of an acute angle and a wedge at the end. 4. ta, which being derived from a looped form, has lost its left half, while the right

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80 BHARATI SHELAT SAMBODHI-PURATATTVA has been converted into a curve. 5. dha is flattened at the top and is below so broad that it resembles a Dcvanagari pa. 6. The va which owing to the connection of the left side of the curve with the top stroke closely resembles dha. 7. The quadrangular sa exactly resembles a Nagari sa. The constant use of the bipartite ya, of the na with the supressed base-stroke, of the i and i drawn down respectively to the left and the right of the consonant and of the simplified jihvamuliya indicates that the separation of the Sarada from the Gupta alphabet did not take place before the 7th cent. A.D. The Bengali Script : Towards the end of the 11th cent., the Nagari inscriptions of Eastern India show such distinct traces of changes leading up to the modern Bengali writing and these changes become so numerous in the 12th cent., that it is possible to class their alphabets as proto-Bengali. The most striking and important among the peculiarities of the proto-Bengali are the small triangles with the rounded lower side and the Nepalese hooks which are attached to the left of the tops of various letters. The triangle is found in ksi, while the hook occurs in ka and ta. The peculiarities of the Bengali script : 1. The forms of i are cursive developments of the ancient i. But i and i appear to be the southern forms. 2. The na without a connecting stroke between the loop and the vertical, is due to the strongly developed predilection for cursive forms. 3. The anusvara of vam and of kam has been placed on the line, as in the old Kanarese and modern Grantha and a Virama stands below it. 4. The visarga of vah carries a wedge at the top, which addition appears also in other ornamental scripts. In the h, it has been changed cursively into a form resembling our figure 8. In the Gaya inscription as well as in the manuscripts of this period, it receives also a small tail.20 Nepalese hooked characters : According to Bendall's careful examination of the manuscripts from Nepal,

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Vol-1, XXIX THE INDIAN SCRIPTS 81 the hooked characters first occur in the 12th cent, and disappear towards the end of the 15th cent. Nepal and Tibet seem to have preserved a number of other mostly ornamental alphabets of eastern India, hand-drawn tables of which have been given by B. Hodgson and by Sarat Chandradas. The Western Script : The Western variety which being strongly influenced by the northern alphabets is the ruling script between about A.D. 400 and about A.D. 900 in Saurashtra, Gujarat and Maharashtra. This variety also occurs in Rajasthan during the 5th cent. In the Prakrit Visesavashyakabhasya (cir, A.D. 610) Lata script (Prakrit-Ladalipi) is mentioned among the list of the scripts prevalent in those days. The Central Indian script : The central Indian script, which in its simplest form closely agrees with the western variety, but in its more developed form, the so-called box-headed alphabet shows greater differences and which from the end of the 4th cent, is common in northern Haidarabad, the central provinces and Bundelkhand. The Kannada and the Telugu scripts : The script of the Kanarese and Telugu districts of the Deccan, i.e. in the Southern portion of the Bombay presidency, Haidarabad, Mysore and GodavariKrishna region appears first in the Kadamba inscriptions of the 5th - 6th cent. and after a long development it was identical with Kanarese and Telugu scripts. The Grantha script : The Grantha alphabet of the eastern coast of Madras, South of Pulikat, which first appears in the ancient Sanskrit inscriptions of the Pallava dynasties and survives in the modern Grantha and its varieties, the Malayalam and the Tulu. The most archaic forms of the Sanskrit scripts of the Tamil districts, which usually are classed as 'Grantha' are found on the copper-plates of the Pallava kings of Palakkada and Dasanapura from the 5th-6th cents.21 The characters of the archaic Grantha in general agree with those of the archaic Kanarese Telugu, but show a few pecularities which remain constant in the later varieties. The Tamila and the Vatteluttu alphabets : The Tamila, as well as its southern and western cursive variety, the

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BHARATI SHELAT SAMBODHI-PURATATTVA Vattelutta or 'round hand' differs from the Sanskrit alphabet by the absence not only of the ligatures, but also of the signs for the aspirates, for th (expressed by the correpsonding tenucs), for the silibants (among which the palatal one is expressed by ca), for the spirant ha, for the Anusvara and for the Visarga, as well as by the development of new letters for final n and for ra, la and la. The great simplicity of the alphabet fully agrees with the theories of the Tamila grammarians and is explained by the peculiar phonetics of the Tamila language. Like all the older Dravidian dialects, the Tamila possesses no aspirates and no spirant. Further, it has no ja and only one silbant, which according to Caldwell lies between sa, sa and ca and which if doubled becomes a distinct cca. The Tamila used in the beginning of words only tenues and in the middle only double. Hence all words and affixes beginning with gutturals, linguals, dentals and labials have double forms. Specific Grantha forms occur in u, in ta, in na, in ya, in medial urin ku, in medial e-khe and in the vertical virama, which mostly stands above the vowelless consonant but to the right of n and r. The Tamila ai appears to be a peculiar derivative from the Grantha ai, the two matras having been placed, not one above the other, but one behind the other. The analysis of the Tamila alphabet of the 7th century makes it probable that it is derived from a northern alphabet of the 4th or the 5th century which in course of time was strongly influenced by the Grantha, used in the same districts for writing Sanskrit. In the 11th cent. begins the development of the little strokes hanging down on the left of the tops of ka, na, ca, ta and na. In the 15th cent. these pendants are fully formed and ka shows a loop on the left. In the later Tamila inscriptions the use of the virama (pulli) ceases, while in the quite modern writing the virama is again marked by a dot. The Vattelutta script : From the palaeographical point of view, the Vattelutta may be described as a cursive script, which bears the same relation to the Tamila as the modern northern alphabets of the clerks and merchants to their originals, e.g. the Modi of the Marathas to the Balabodha and the Takari of the Dogras to the Sarada.22 With the exception of the i., probably borrowed from the Grantha, all its letters are made with a single stroke from the left to the right and are mostly inclined towards the

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Vol-1, XXIX THE INDIAN SCRIPTS left. Several among them such as na with the curve and hook on the left, the va with the open top and the hook on the left and the round ra show the characteristics of the second variety of the Tamila of the 11th and the later centuries. Some other characters such as the round ta, the ma with the curve on the right and the ya with the loop on the left seem to be of the earlier Tamila forms. Pointed e, rounded u and the na with a single notch, possibly show characteristics dating from earlier period. Malayalam Script : In Kerala Malayalam script is prevalent. This is the cursive form of the Grantha script. a, i and i are added on the right side and e on the left side of the letter. Tuju script : This is a lightly variated form of the Malayalam script. In south Kannada areas, the Sanskrit granthas are written in the Tuju script. Thus study of various Indian scripts is not confined to learn the shapes of letters in the abstract. It endeavours to go beyond mere shapes and search for different traditions which govern a type following a set pattern on account of particular techniques. The Indian scripts as a writing style are treated as an art resulting from a given culture. Different writing styles are only different traits in a cultural complex, and their analysis not only enables us to fix the type of writing that was prevalent at a particular period and in a particular place, but also provides clue to the understanding of the culture within which the writing operated. The letter-forms are a part of culture and palaeography defines them within that culture. References : 1. The eighteen scripts include : 1. Bambhi (Brahmi), 2. Javanali or Javanaliya (Greek script), 3. Dosapuria (or Daosapurisa), 4. Kharotthi (Kharosthi), 5. Pukkharasariya, 6. Bhogavaiya, 7. Paharaiya (or Paharaiya), 8. Vyamtarikkhiya (Vyamtara Kariya), 9. Akkharapitthiya (Akkharapumtthiya), 10. Tevanaiya (or Venaiya), 11. Gi(ni?) nhaiya (or nhinattiya), 12. Aikalivi (or Arkalikkha), 13. Ganitalivi (Ganiya livi), 14. Gandhavva livi, 15. Adamsalivi (or Ayasa livi), 16. Mahesari (or Mahassari), 17. Damili (=Dravidian) and 18. Polimdi (=Paulindi belonging to Pulindas). 2. The Mahavastu (1.135.5) also refers to it as a name of an alphabet. 3. Its variant 'Kharosti' is also found in the Mahavastu (1.135.5), the form being 'Kharosti. 4. Sir John Marshall, Mohenjo daro and Indus Civilization, Vol. II, cha. XXIII, Arthur

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84 BHARATI SHELAT SAMBODHI-PURATATTVA probstain, 41 Great Russell street, London, W.C. 1, 1931 5. R. B. Pandey, Indian Palaeography, Motilal Banarasi Dass, Varanasi, 1957, p. 65 6. Ibid., p. 65 7. Ibid., p. 65 8. Ibid., p. 66 9. A. H. Dani, Indian Palaeography, Oxford, Clarendon Press, 1963, p. 251. 10. Ibid., p. 253 11. R. B. Pandey, op.cit., p. 36 12. Ibid., p. 37 13. John Marshall, op.cit., cha. XXIII 14. Johann Georg Buhler, Indian Palaeography, Bombay, Education Society's press, Byculla, 1904, p. 9; R.B.Pandey, op.cit, p. 40 15. Pandey, Ibid., p. 51 16. Buhler, op. cit., p. 33 17. Dani., op. cit., 18. Ibid., p. 109 19. Buhler, op. cit., p. 57 20. Ibid., p. 59 21. Ibid, p. 70 22. Ibid., p. 75 ** Tables I, II, III, IV and V have been reproduced with courtesy from 'Indian Palaeography by Dr. R. B. Pandey and 'Indian Palaeography' by Dr. Buhler respectively. ODO

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MOKAPATA OF JNANADEVA-THE ORIGIN OF THE GAMES OF SNAKES AND LADDERS SIDDHARTH Y. WAKANKAR We, the Indians,are very proud of our glorious past and there is a tendency of some of the scholars to trace everything to the ancient literature, couched in Sanskrit. It is, however, very unfortunate that many of the scholars are very innocent about the contribution of India to the field of Games. I have been working on "The Games in Sanskrit Literature" since 1977 and have been very fortunate to unearth a wealth of Manuscripts describing the Games of Playing Cards and chessthe King of Indoor Games. In this short paper, I intend to draw the attention of scholars to one more startling fact, viz. the modern game of Snakes and Ladders also has its origin in India, like the other Board Game, viz.Chess. Many scholars may not feel like subscribing to this view of mine. I just intend to project the Indian tradition in this regard. Games are the mirror of the society. The spread of games is neither bound by political boundaries nor by military might. As the games have relevance to the society, its culture, civilization, history, sociology, anthropology, psychology and other disciplines of a nation, they travel very freely from one culture to another in such a way that it is very difficult to pinpoint the exact origin of a particular gamethough, many countries, take claim to be the originators of some specific games. Without entering into any controversy, we may conveniently say, no accept, that it is very difficult to be precise about the extent one nation lends its games to other nations or borrows from other nations, because of the cultural and business contacts existing from the hoary past. One thing can be said with certainty that human nature is almost the same everywhere and that could be one of the reasons for the existence of some games common to many cultures and nations. The * Deputy Director, Oriental Research Institute, Baroda.

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86 SIDDHARTH Y. WAKANKAR SAMBODHI-PURATATTVA exchange of ideas has been one of the most significant/potent reasons for the similarity. The basic instinct of man to play is universal and as everybody will accept, psychological aspect is the most common cause for the prevalence of games. We play games just to divert our mind and give some mental peace to ourselves. As the mind swiftly changes, so the games also change and alter themselves due to local variations. This is the reason for the existence of one type of game in different nations/cultures, showing similarly in some respects. The main aim of the Man is to be happy and to spread the same everywhere. That has been the philosophy of this Blessed Land of Ours, because we believe in "sarve'tra sukhinaH santu, sarve santu nirAmayAH / sarve bhadrANi pazyanatu mA kazvida dhu:khabhAga bhaveta Il Not only that we should be happy, we should never have any occasion for misery, unhappiness also. That has been the motto of the Indians. In order to be happy, we indulge in a number of activities and playing games is one of the main - no, the most preferred - activities. The Hindus believed that muttering the names of the Gods while playing also, gives us merit. In course of time, some games were evolved in which the names of the Gods/Goddesses were included. The most glaring instance is the Dasavatari Ganjipha (Game of Playing Cards), the Navagraha Ganjipha, the Ramayana Ganjappa etc. In course of time, the games were used to enlighten the general masses on the necessity of earning religious merit (punya), with a view to reaching the Highest Goal of the human life, viz. Moksa or Liberation from the cycle of birth and death. This precisely is the reason d'etre for the MOKSAPATA of Jnanadeva, which is now popularly known as the Game of Snakes and Ladders. This game was not played only for entertainment, but, also for getting the knowledge of the principles of the Bhagavata religious sect. The main aim was to simplify the difficult religious tenets for the benefit of the common man through the medium of this board-game, thus, serving two purposes at a time - entertainment as well as knowledge. The earliest reference to be found is the famous Moksapata of Jnanesvara (1275-1296 A.D.). It was prepared by Jnanesvara, and it symbolized man's path towards enlightenment and the various impediments he would have to face on his way. Many of the blocks were psychological in nature, because, mind is wavering in nature and its fickleness is the root cause of all the misery This game-to be played on the board with either dice or cowries-had 84 blocks or houses-corresponding to the 84 yonis through which we are supposed to

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Vol-1, XXIX MOKAPATA OF NANADEVA-THE.... 87 pass-signifying some qualities and other religious things, like the seven lokas, naraka, culminating into the Sayujya-mukti through Samipata. Salokata and Sarupyamukti. There are nine Ladders and 15 Snakes, with the help of which(in fact, avoiding the Snakes and using the Ladders) we are supposed to reach the Highest Position. This, in short, is the nature of this game-which afforded entertainment as well as knowledge-while the play was on. In course of time, some changes took place in the names of some of the houses squares in the Board. This must have happened due to the tendency of the players-of course, the enlightened Varakaris - the staunch followres of Jnanesvara, - who must have thought of adding some missing philosophical concepts / terms to the already existing Game which they received by Tradition. This is the reason why there are some different names given to certain houses. Fortunately, it made no difference at all to the intrinsic value of the game. Moreover, the younger brother of Jnanesvara, viz. Sopanadeva, also accomplished some changes in the nomenclature - though the principle behind it was the same - to acquaint the general masses with the principles of the Bhagavata - dharma - which basically catered to the needs of all the strata of the society at large. Sopanadeva named his game as Sopanapata - just a little bit different from the Moksapata of Jnanadeva alias Jnanesvara. As everybody knows, the Maratha Kingdom reached the far corners of India. Tanjore or modern Thanjavur in the Tamilnadu State was ruled by the Maratha Kings and naturally, this Game also went there along with other cultural things from Maharashtra. In the South, this Game was named as PARAMAPADASOPANAPATA- the Chart leading to the Highest Step(i ,e.MOKSA) in the human life. The peculiarity of this variety in the South was that the Pata included the pictures of the Gods and Goddesses as well as the patron Kings and their Queens. This Chart represents the Universe including the Higher and Nether Worlds according to the Hindu Cosmogony and the philosophy of going up in evolution through good acts and reaching the lower forms of existence through bad acts - which are respectively symbolized by the Ladders and the Snakes. The famous Karmasiddhanta is the basis of this Game. "As you sow, so shall you reap" is the solid foundation on which the entire edifice of this Game with its varieties, tinged with colours of different religious sects - is standing for centuries.

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88 SIDDHARTH Y. WAKANKAR SAMBODHI-PURATATTVA Jnanadeva created or invented this game with two purposes in mind-(1) Entertainment and (2) Knowledge of the Self leading to the Liberation from the cycle of Birth and Death. As is well-known, Jnanadeva-though Yogi and a follower of the Nathasampradaya-basically, was a Bhakta-devotee at the bottom of his heart. In order to show the path leading to self-realization (MOKSA), he created this Chart (Pata - throwing light on the consequences of the Karma-good or bad-which a human being undertakes. Here in this Play, he has described the phases of life, the merits and demerits, the psychological aspects of the human beings through which they are supposed to pass culminating in their Release from this Mortal world. This Game is played with the chowries and when one falls in a column of the ladders, there is progressive going up and if it falls in a column of the snakes, there is going down to the lower places. Sometimes this game was played by a pair of dice also. The throw of the dice represented the play of chance and it taught values. The ladders took the player to success while the snakes brought him down to hell, if he averred from his duties. ladders stand for virtues and the snakes stand for vices. Taking inspiration from Jnanadeva who used this game to simplify the tenets of Hindu religion for the easier understanding of the common man, the preachers and teachers of other religious sects like Jains and the Svaminarayana also used this game to spread the teachings of their religions. The Indian religions had a different outlook while this game in the West did not have any religious tinge attached to it and it was a source of only entertainment, as testified by Dr. Father Wallace of the St. Xavior's College, Ahmedabad, whom the present scholar had consulted. In keeping with the natural human tendency, every sect had its philosophical principles getting some place in this game and thus the number of houses or blocks went on increasing to suit the requirements of that philosophy. Every intelectual giant tried his hand at this interesting game and the game went through alterations. The biggest Chart was, however, prepared by a blind visionary saint from Maharashtra. His name is Gulabrao Maharaja, who considered himself to be the son of Jnanadeva and hence thought it his boundem duty to carry forth the tradition of Jnanadeva.. The Moksapata created by Grulabrao Maharaja had in all 285 houses and he encompassed Ayurveda, Yoga and different non-Hindu religious sects like Christianity, Judaism and the Zorastrian and Muslim. His Chart is an amalgamation of the different aspects from many religions and he has tried

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Vol-1, XX1X MOKAPATA OF JNANADEVA-THE.... 89 his best to write all the religious tenets, underlying their Principles of Human Values. Each step in this game is a lesson in morality and hence it was didactic in nature. This is the main reason for the popularity of this game even today, especially, in villages and smaller pockets, but, unfortunately, the citizens of the big cities show very little interest in this game.

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90 SIDDHARTH Y. WAKANKAR SAMBODHI-PURATATTVA MOKAPATA OF JNANADEVA-THE ORIGIN OF THE GAMES OF SNAKES AND LADDERS sAyujyatA samIpatA A bhArAva pura- ahaMkAra nasala 73R sAdhundada OM | 73 7 bhAgIrathI paradAra INE

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SURYOPASANA IN THE PRE-AHMEDABAD SOCIETY ON THE BASIS OF SUN-ICON SOURCES RASESH JAMINDAR+ At the outset we briefly have an overview of three things: (1) religionresume, (2) City-profile and (3) sun-image characters. This will certainly help to grasp what is there in a store of this note based on iconographical study. Religion-resume Since time immemorial, religion has been the guiding spirit of the growing societies on the globe. Religion is basically a pivotal point for maintaining individual, national and international peace in the socities. Religion had made its beginning on the basis of absolute right faith in the existence of soul, having deep foundation based on natural facts and truths. It is supposed to observe the spiritual discipline and practices and establish inter-religious harmony and social justice. According to the Geeta, religion contributes to wipe out vengeance, violence, encroachment, bigotry and masqueradity from the society and provides creative, cooperative and constructive solutions to the world's dilemmas. Hence, religion is utmost essential for life but there should be no place for blind faith in religion. This means it is not based on imagination. We must know that devotion and faith are not lifeless and spinalless energies. Both knowledge and faith are the two inseperable companions in the universe; for knowledge is science and faith is religion. Religion without science is blind and science without religion is lame. Therefore religion is but science. + Former Professor & Head of Department of History & Culture of Gujarat Vidhypith.

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92 RASESH JAMINDAR SAMBODHI-PURATATTVA City-profile The city of Ahmadabad is by all means a cultural pivot of the state of Gujarat. Religion is the backbone of this city; for almost all the religions of the world have made their home here, of course through the ages. One can find impressive and fine superstructure of almost all the religions in this city. It is also a city of historical importance since the time of microlithic age. Obviously, it is the best city for studying Muslim architecture and understanding the fusion of HinduMuslim cultures. By any reason, Ahmadabad is a complex and integrated city which has the potentials to attract any scholar of any discipline to study one's interest and concerned area to his satisfaction. Literary works and evidences, archaeological materials and other artefacts, monuments and structures, archival materials and religious institutions, educational environment and experimental institutions speak voluminous and profusely about this city's profile. Ahmadabad is a city by itself. Sun-image's Characters Since through the ages on the globe and in the entire civilized society the worship of sun-surya is being undertaken as a god of life-giving, energy-giving and lustre-giving. Surya is known as Aton in earliest Egypt, as Apollo in Greece, as Jupiter in Rome, as Bal in Asia Minor, and a Mithra in Parsic Iran. It is worshipped in these ancient countries with these different names. In our own country surya is a Vedic god. It is also known as Savita, Aditya and Mitra. Pratihar king, a Mitra-worshipper, chose his name as Mihirbhoj. Prabhakarvardhan, father of Harshavardhan, was a devotee of Surya. Hun King Mihirkul was also a worshipper of Surya. Bhagwan Surya was gotten recognition as a superior of all the three worlds i.e. Bhu (earth), Bhuvah (intermediate space =Antareeksha) and Svah (=akash, heaven) in our country. He is also considered as the giver of intellect. He holds stemmed Padma in both of his raised hands. There is a Kavach on his chest. He is seen with wearing a wholeboot. His image generally is found in a standing posture Often he seems seated either on four or seven horses. Arun is his charioteer. He is escorted by his wives sanjna and Nikshubha. Occasionally, his

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Vol-1, XX1X SURYOPASANA IN PRE-AHMEDABAD.... image has figures of Ashwineekumars. He is also known as planet and one amongst nine planets. As a planet he is in a human form. Now In the light of the fore-going discussion we now try to explain that the preAhmadabad societies were appeared as surya-pujak (sun-worshipper) before this city was rechristened as Ahmadabad from Ashapalli by Sultanate King Ahmad Shah when he founded it on 4th February, 1413 A.D. Project : Salvage Archaeology When, the known archaeologist of international position Professor R. N. Mehta joined the Gujarat Vidyapith as a visiting faculty as a Professor of Historical Archaeology in the Department of History and culture in 1984 after his retirement from the M. S. University of Baroda in 1982; We (i.e. this author, Dr. R. N. Mehta and Professor Ramlal Parikh, the then V.C. of the Gujarat Vidyapith) had given a thought to explore this city of Amadavad from historical perspective. For this venture fortunately we got U.G.C.'S minor project grant. The first exploration report was on 'A study of Toponyms of Ahmadabad'. The second task we both had completed was on 'Salvage Archaeology of Ahmadabad'. For this second project we both had undertaken extensive field work to study the salvage archaeology and minutely observed the existing monuments. Our work indicated some of the accomplishments in this field and unfolded the vast field of future work. We have realised that this city area was occupied from the Prehistoric period. Leaving it aside, the urban study from historio-archaeological perspective indicated the presence of a city, then known as Ashapalli or Ashaval, a capital of a small principality from about 8th 9th century A.D. This capital existed in the present day area of Astodia, Raipur, Khadiya, Mandvi-ni-pole. Its suburbs like Bhanderipura and military camp of Karnavati developed by the end of the 11th century A.D. The river front presented the Tirthas of Khadgadhareshvar, Pinchumandarka, Kotara etc prior to the 14th century. Pincumardarka Surya Tirtha Sabhramati Mahatmya' is narrated in the Uttar khanda of the Padma Purana in the chapters 134 to 173, but of them chapters 154, 155, 156, 157, 158

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RASESH JAMINDAR SAMBODHI-PURATATTVA and 159 deal with the Tirthas in the environs of this city. These six chapters discuss Tirthas of which one is Pincumandarka Tirtha on the bank of the river Sabarmati. This Tirtha, also known as Nimbarka, was sacred to Surya. This Tirtha is a little problematic as no temple of Surya exists here today. However, a careful search undertaken by us reveals the presence of sun images of different periods in the Raikhad area of this city. Gaekwad's Haveli One highly defaced sand-stone image of sun is found fixed in the northeastern bastion of the Gaekwads' Haveli. It is two-armed sitting image and measured 48x46 c.m. As this image is not well-preserved, it is difficult to give more information. But it belongs to a period of about 8th-9th centuries A.D. Panchanatha Mahadev The other image of marble is located in Pancanatha Mahadeva near Manekburj on the left bank of Sabarmati. This is also a two-armed standing image of surya. It is measured as 66.5x34 centimetre. Both the hands of this icon hold the lotus, whose stalks or stems are broken. The image is in Sambhang and holding armour and diadem. On both sides of this image there are horse-face Ashwinikumars, the twin physicians of the Gods. Underneath of the image there are Ayudhapurushas' small images and they are Kahar (palanquin-bearer), women bent at three places or joints (i.e. Tribhang) holding lotus and men with and without holding stick or staff. Stylistically, these Surya-Pratima belong to the later half of the 11th century A.D. or the first half of the 12th century A.D. This sculpture is that of worshipped image. This discovery indicates that the Pincumandarka Tirtha of the Sabhramati. Mahatmya existed in the Raikhad area and also helps to explain that sun-worship was in force during all these centuries. As noted by the composer of Padma-Purana this Tirtha (i.e. place of pilgrimage or holy place) is known for helping to Brahmanas to become rich and expert in Vedas, to Kshatriyas to get power, to Vaishyas to have enormous wealth and to Shudras to earn Bhakti.

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Vol-1, XXix SURYOPASANA IN PRE-AHMEDABAD.... 95 Ganganatha Mahadev Ganganatha, the Shaivite temple, is located in the Parikshitnagar settlement in the Baherampura area of this city. This area is about more than a Kilometre distance in the west of the famous Kankria reservoir. This Shiva temple is decorated with dome. Adjoining the Ganganatha temple in the east there is another temple in which beautiful but defaced Surya icon is visible. Made of marble stone this image is in the standing position and in sambhang posture. It is measured as 112x62 centimetre. Its both hands hold the lotus but they are rubbed. On the backslab or the frame (i.e. Parikar) of this large image there are ten seated Surya images. There is indistinct figure carved on both the sides of the head of this image. Near the feet of it seven defaced horses are sculptured. Danda, Pingal, Usha, Pratusha and lotus women are seen as Ayudhapurushas. Surya image holds dagger on its waist and dressed in Udichya costume. Stylistically, it belongs to not earlier than 12th century A.D. Kamnatha Mahadev On the outskirts of the Raipur Darawaja on the way to Kankaria reservoir, there is a shaiva temple known as Kamnatha Mahadev. In this temple complex, the main temple is that of Kamnatha facing to the west. On the north-west wall of this main temple there is two-armed surya icon of sand-stone facing the north. Its size is 77x39 centimetre and standing in sambhang posture. This image inlayed in the niche which has round pillars having sprouted head. It is dressed in Udichya costume and having whole shoes. There is a girdle (Katimekhala) on the waist of the image. Kavacha is carved on its chest and it has adorned with necklace. Wearing a crest-crown this image is defaced. Having adorned with ear-rings this Surya image holds lotus in both the hands. On the right side of this image there is a woman figure in three joints (Tribhang) and is in standing position. Its face is rubbed. May be it is a figure of either Usha or Prathusha. The crown on its head is also defaced and indistinct. Its right hand is on the waist and the left is raised as Abhaya Mudra (fearless mark). There is also a small figure, on the left of the Surya image, whose right hand holds staff and left hand is laid on its waist. This figure is in Tribhang. This Surya icon belongs to the end of the 10th century A.D.

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96 RASESH JAMINDAR SAMBODHI-PURATATTVA or the first half of the 11th century A.D. on the basis of its sculptural style, adoration etc. This image is not worshipped but as it is located on Jangha it is infered that there might be a Surya temple. Samskar Kendra's sculpture On the west-end of the Sardar-bridge there lies a centre for cultural activities, generally known as Samskar kendra. Now it houses a city museum. This centre has preserved many sculptures. Of them there is one Surya image having two arms and measured as 52x29 centimetre. Positioned in Sambhang posture this image is dressed in Udichya costume. Made of marble stone it has figures of Usha, Pratusha, Danda and Pingal in proximity. It is a well sculptured image. It is probably brought here from Astodiya area and Asha Bhil's Tekara. Epilogue This brief survey of Surya images located in this city's different areas positively prove that Suryopasana was certainly there in the pre-Ahmadabad societies. There may be some more icons of Surya which have not come to our notice. But the aim of this brief discussion is to draw the attention of young scholars to under-take this theme on large-scale and bring out their results to add to the knowledge that there was a tradition of Suryopasana enjoyed by those socities then. This rich tradition is now the dynamic force in undertaking salvage archaeology to study Suryopasana from our angle of vision.

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ART AND ARTISTS IN ANCIENT INDIA - A Sociological Inquiry POONAM GANDHI-MOIRANGTHEM Indian art is considered by many as being exotic, vast and diverse. India witnessed a great number of events which have left their indelible impression on Indian culture. The emergence of India's cultural heritage in a composite form is the result of a long process of synthesis. History shows that from a very early date the Indians profoundly contemplated over spirituality and its significance in life. Religion, if assumed to be a culutural institution then has linkage with art especially in the context of ancient India. Art in India hence, emerged idealistic as well as utilitarian. ART AND RELIGION IN ANCIENT INDIA In ancient India, art was considered as a path for realization of the 'ultimate reality' (moksa). It was spiritual in its outlook, idealistic in expression and sublime in interpretation. As Ananda Coomarawamy states (1908:7) "the conscious aim of Indian art is the portrayal of divinity." Indian art in ancient times was essentially religious. The arts-poetry, drama, painting, sculpture and music were all considered sacred and spiritural, Dancing, singing and playing instrumental music are as old as vedic times. In fact while performing yajna'. playing the vina', singing (hymns) and even dancing were considered essential and sacred. In 'Matsyapurana', instrumental melody and tunes are mentioned as being auspicious. Even in Buddhist literature though singing, dancing and performing other fine arts were opposed to, yet in some of their religious rites it was regarded as auspicious. + Department of Sociology, Faculty of Arts, The M.S. University of Baroda, Vadodara.

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98 POONAM GANDHI-MOIRANGTHEM SAMBODHI-PURATATTVA According to Hindu belief, religion is the path which would lead to the liberation of the soul. In the words of K. Bharatha Iyer (1958:4), "its definite purpose was liberation (moksa) by rennoving ignorance (avidya)." Hinduism housed varied beliefs ranging from the worship of nature, to the worship of the creator-Brahma, the preserver-Visnu and the destroyer-Siva and all of these were incorporated in Hindu art. Various Gods, Goddesses and deities were not regarded as separate and competing deities. An apt example of the evolution and fusion is the "Hindu Trinity (Brahma, Visnu, Siva) which was extraordinarily symbolized in the conception of the "Trimurti". The genius of Indian artists' is visible in several such sculptures, paintings, murals and motifs. In ancient literature, art was envisaged as being of divine origin, The existence of art of paintings was attributed to Lord Visnu. The Mahabharata gives credit to all forms of Knowledge including those of fine arts to Visnu himself. Thus art and religion went hand in hand in ancient times. ART- Voice of the upper stratum of Indian Society ? The artists especially the fine artists in ancient India were attributed the characteristics of a 'yogi'-'lost in their art. Citrasutra or "The rules of painting" of the Visnudharmottarapurana which is a unique treatise on painting dated approximately 4th century A. D. has not only given detailed information regarding the technique, methods and medium of painting but Visnudharmottarapurana also emphasizes on the qualities and conduct that an artist requires to have, such as he should be restrained, should wear immaculate apparel, should salute the holy ones, pronounce auspicious utterances, bow to the deity, sit facing the east and then start giving expression to his creativity. Further, the Painter was supposed to be bright, smiling, carefree but with ennobling thoughts in his mind." The artist was said to have a vision and mastery over techinque related to his art or craft. Artists' visualization was not dictated by his individual preferences. The ancient Indian tradition did not appreciate a purely personal art, it was believed that the artists and the artisans were only giving shape or expressing the visions and ideals of a region or an epoch. Were these the visions and ideals of a region, its people or was the art in this period representative of certain strata of society ? Who were the architects of the marvellous shrines ? Who painted the frescos at Ajanta ? Who were the

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Vol-1, XX1X ART AND ARTIST IN ANCIENT INDIA 99 sculptors of the stone & bronze masterpieces ? Most of these artists, sculptors and artisans are not known to us. Indian tradition emphasized not on individualism but collectivism and viewing art or knowing the artist divorced from their social setting would be meaningless. The traditional art of India, is primarily a result of the collective efforts of unknown artists and craftsmen. But in contemporary India the trend of art production is individualistic and this individualism in art may be an indicator of the change in society affected due to social structural and institutional changes invading our society. What is evident though, is that in ancient India, artistic expression was circumscribed by the socio-cultural norms of that period, which were the voices of the ruling class. ARTISTS IN ANCIENT INDIA - a new voice In the very early period of Indian history, the status of the artist was sufficiently high and noble. Almost a pious postion is attributed to arts and to some extent to the artists. In many ancient literary texts, they have been put on a pedestal. Rajasekhara in his kavyamimamsa mentions, how kings who were themselves learned and art-minded could foster art and literature by holding assemblies of proficient artists, adjudging and rewarding them. In the assembly he mentions eminent poets, musicians, dancers, sculptors, ivory carvers, painters and other greats in their professions. The arts flourished due to patronage of the kings, in fact many a kings were themselves artists, architects and musicians.? Art and artists in the early ancient times were given a special place and even employed for religious purposes, yet there is the degradation of artists in many of the ancient texts and other ancient literary material. The society which considered dance music forms to have originated from Shiva, the arts were also associated with yajnas', religious rites, worship and festivals, then how & why did this high regard for artists decline ? Is it that, as long as art and artists were meeting the demands of upper strata of ancient society it was considered with high regard ? Or was it that the artists began catering to the common folk and hence their status declined ? The analysis gives the impression that art for religious purposes and for the entertainment of nobility was considered essential and the common people were allowed to indulge in them during festivals and religious ceremonies. But

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100 POONAM GANDHI-MOIRANGTHEM SAMBODHI-PURATATTVA indulgence in arts without being associated with religion or festivals may have been considered as breaking the shackles of the so called 'dharmagurus! Many of the artists exercised their right of expression in the manner they wanted. which was against the cannons and considered anti-social by the 'dharmagurus'. With time even the common man began enjoying the various arts which had elements of rebellion, and the artists were encouraged leading to the emergence of a class of artists who catered to the common man. This class of artist was separated from their masters and elites who still followed the canonical restrictions and rules. This class of artists catering to the tasters of the masses was bestowed lower position in the society. Vishnumurti' has given a list of persons with whom one should not be friends in which mentions of actor, dancer and singer is made. Vatsayana's Kamasutra' mentions the word 'anarthajana' referring to even artists who indulged in creating anti-social feelings in the minds of the people through their art. Conclusion It is evident that in ancient India, art and religion were interwoven. Also certain art forms were meant for the upper strata and some forms of art and craft were produced and consumed by the common man. Certain ancient literature has placed art and artists on a higher position and some of the later literary text almost degrade the artists. Was it because the artist tried to break away from the stronghold of the religious preachers who formed the upper strata of the society ? In fact these artists may have tried to cater to the common man's demands for entertainment, joy and even for their own satisfaction of creating without restrictions or specifications. The societal requirements may have led them to move away from the traditional expectations and pressures, which in turn would have led to their lower position in the society. Thus the Indian society at that time underwent changes which altered the social structure and led to the rise of a class artists who catered to the masses. Was it the origin of art for the classes and art for the masses which is evident in many of the art forms even today? Footnotes : 1. Valimbe, R.S., Prachin Bhartiya Kala, M. Joshi & Lokhande Publishers. 1959. p.15, 16 (Translated from Marathi into English) 2. Ibid p.61

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Vol-1, xxix ART AND ARTIST IN ANCIENT INDIA 101 3. Iyer, Bharatha K.; Indian Art; Asia Publishing House, Bombay; 1958 p.7 4. Sivaramamurti; Painter in Ancient India, Abinav Publications, New Delhi; 1978 p.4 5. Sivaramamurti; Chitrasutra of Vishnudharmottara, Kanak Publications, New Delhi; 1978 p.2 6. Sivaramamurti; Painter in Ancient India, Abinav Publications, New Delhi; 1978 p.9 7. Sivaramamurti; Painter in Ancient India, Abinav Publications, New Delhi; 1978 p.14 Reference : (1) Apte, V. M.; Social and Religious life in Grihasutras; The popular book depot, Bombay; 1954 (2) Bazin, Germain; A concise history of art; Thames and Hudson; London; 1958 (3) Iyer, Bharatha; Indian Art-A short introduction; Asia publishing house, Bombay; 1958 (4) Myers, Bernard; Art and civilizations; Mc Graw-Hill Book Company, Inc. New York; 1957 (5) Ray, Niharranjan; An Approach to Indian Art; Publications Bureau, Punjab university, Chandigarh; 1974 (6) Sivaramanmurti, C; Chitrasutra of Vishnudharmottara,; Kanak Publications, New Delhi 1978 (7) Sivaramamurti, The Painter in Ancient India; Abinav Publications, New Delhi; 1978 (8) Walimbe, R. S.; Arts in Ancient Indian-History and Aesthetics; M Joshi and Lokhande publishers, Bombay; 1959

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THE NEGLECTED ASPECTS OF ART HISTORY IN INDIA (With Special Reference to Indian Miniature Painting Art) SWARNA KAMAL BHOWMIK+ INTRODUCTION Gujarat has witnessed all sorts of creative artistic activities and art movements since ancient times and has taken position in the forefront. The art movement that started at Gop and Vasai in Saurashtra found its fullest expression in northern Gujarat.2 The painting art-form was assiduously nurtured in Gujarat beginning with the art of book illustration. The Jain Community contributed to the growth of this art-form. The art of miniature painting of India took inspiration from the manuscript mininature paintings for their growth and development and had enjoyed full scale scholarly attention and publicity." It is well-known that the study of painting art is a very tricky affair, and copies of originals could be made if a certain degree of skill was available, and faking could be undertaken by unscrupulous forgers. In such a situation, it becomes absoultely necessary to go beyond the external appearances of the art of miniature painting while assessing and evaluating them. EXTERNAL CHARACTERISTICS Painting art is not merely a form of entertaiment, but also a way of teaching man the truth of things. Art tradition is not something that is static. Each art tradition has grown with time and has undergone many changes. This is natural that + Former Director of Museums, Gujarat State, Vadodara, and Ex. professor of Archaeology, Gujarat Vidhyapith, Ahmedabad.

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Vol-1, XX1X THE NEGLECTED ASPECTS OF.... 103 change in art tradition reflects changes in artist's material and artist's technique along with other things. Each art tradition has, therefore, its own expression, truth and value. Style represents external significant characteristic feature of any work of art. As manifested externally, style is the expression of personality of an artist and also of a school of art. The external stylistic elements and features do, in fact, go a long way in constituting the fundamental of art historical studies in India. Based on significant stylistic features, the historians of art render their classification of works of art historically with reference to their chronological and geographical continuum. Fairly exact dating can be assigned to a painting of high quality having definite characteristic of authenticity. But uncertainty of definite dating based on stylistic criteria increases with paintings of decreasing quality and such paintings pose critical problems to art-historians. Stylistic aspects can be imitated exactly by clever fakers and unscrupulous forgers who can copy external elements, namely motifs, style, form, colour, even writings on paintings with the help of specialized modern techniques of imitation. Many faked Indian miniature paintings have been assigned to early date, early style, early school simply because of the presence of well-known stylistic feature and antique appearance externally. Even eminent arthistorians and Indologists have been deceived by skillful unscrupulous art dealers who had passed faked paintings as genuine to art purchase committees of important museums of India in the past. Painting art, along with its expression of consciousness of society, reflects the progress in the field of science and technology attained at the time of art creation. Paint technology of ancient India is directly connected with the creation of painting art. Art historical studies will remain obviously incomplete without the knowledge and awareness of artist's material and artist's technique. INTERNAL CHARACTERISTICS In the era of science and technology, scholars and researchers are no longer satisfied with the information and knowledge about artistic and cultural aspects alone. They are equally eager to know as much as possible about artist's material and artist's technique;' and also technical progress in the field of ancient paint technology through the study of minitature painting art of India

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104 SWARNA KAMAL BHOWMIK SAMBODHI-PURATATTVA Problems concerning miniature paintings of India engaged the mind of the writer of this paper for many years. In order to find a suitable solution for determining authenticity of works of art and their correct date, he had opportunities to examine and evaluate large number of miniature paintings of Indian origin with the help of modern scientific techniques. Such studies convinced that in addition to stylistic and formative investigation based on comparative studies, it is also essential to know as much as possible about internal characteristics of such paintings based on advanced scientific examination and analysis. Along with Art historical studies, technical studies for knowing the compostion paint, nature of pigments and binding media used in the preparation of paints, writing ink, painting technique, writing techniquelo are equally valuable for the purpose of assessment and evaluation of paintings in respect of authenticity and correct dating. One cannot ignore the fact that external stylistic aspects of a painting are closely related and intimately interlinked with its internal aspects. For a correct appraisal and accurate evaluation of miniature paintings, technical investigation are absolute desideratum. Art historical studies will not do justice to the subject without the knowledge of artist's material and artist's technique. USEFUL EQUIPMENTS AND TECHNIQUES Modern science has gone a long way in investigating artist's material and artist's technique.12 Both micro-chemical analysis and spectro-graphic analysis are essential for detection of artist's material. The technique suitable for identification of in-organic and organic pigments is the infra-red absorption spectro-graph in which the infrared spectrograms are identified with the aid of reference spectra. Gas chromatography, thin-layer chromatography and ultra-violetabsorption spectrographic analysis are very useful techniques for the purpose of identification of organic pigments and binding media. Microscopic examination 13 is essential in micro-chemical analysis. Microscopic examination reveals prominet aspects of physical character of pigments namely, grain-size and grain-shape. Individual pigment particle often reveals a typical behaviour under polarized light. Naturally occurring pigments often contain characteristic acompanying minerals. 14 All these physical

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Vol-1, xxix THE NEGLECTED ASPECTS OF.... 105 characteristics and other aspects can be important for distinction and detection of naturally occurring pigments from artificially prepared which are generally used for faking and forgery. Another technique useful for studying Paint layers and pigment particles is the cross-sectionls analysis, which helps to understand artist's technique. For the purpose of safety and surety, it is necessary to cross-examine and confirm the microscopic observations by other scientific techniques, namely X-raydiffraction-powder-pattern analysis, spectro-graphic analysis, chromatographic analysis and other techniques. For the precise detection and determination of pigments, small admixture and minor components occurring in a painting, it is essential to extract smallest quantity of sample from painting and such sample can be extracted by a needlepoint without causing harm to painting. Only technical experts know how to extract such micro samples for scientific examination without harming the painting proper. X-rays are utilized for understanding the making of a work of art, and for revealing artist's material and artist's technique. Painting can be scanned through x-rays16 for the purpose of knowing the existing invisible aspects. Each pigment has its own x-ray absorption"? capacity which depends on what pigment is made of. Heavy metal pigments, namely the lead white pigment and the zinc white pigment, can be detected in an x-ray. The X-ray fluorescence analysis and the x-ray diffraction-pattern analysis can determine 'some pigments in situ' on paintings. There is another technique known as X-ray diffraction power pattern analysis which can also be utilised for examination of artist's materials and artists Technique. This particular technique is based on the reflection of x-ray on the "Lattice of crystals". A "Line-pattern", which is typical (and) characteristic for a particular pigment, "is produced by xrays on the photographic film and the identification of the x-ray diffraction powder pattern can be done by reference pattern from known pigments." The X-ray diffraction, the infra-red spectrometry, Raman micro-spectrometry are useful techniques, generally employed for structural investigations and examinations without harming paintings selected for structural probing.

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106 SWARNA KAMAL BHOWMIK SAMBODHI-PURATATTVA There are a number of scientific methods which employ nuclear techniques. These nuclear methods can be applied to solve historic and artistic riddles; but they are not suitable for light sensitive miniature Paintings. Because water colour miniature Paintings of India are extermely sensitive to harmful sources of light. CONCLUSION In India as well as in foreign countries, quite a number of miniature paintings belonging to different periods of history of India were passed and acquired as authentic and genuine, but later on, after scientific examinations of internal characteristics, these Paintings have been identified as the products of skillful and clever forgery. While evaluating art object especially miniature painting for the purpose of dating, for knowing their Provenance and for probing authenticity specialists on art-historical studies should critically examine both the external characteristics as well as the internal characteristics of such paintings. Scientific evidence revealed by technical studies can help in resolving as the wrong attributions. The stylistic formative studies should be carried out side by side with technical studies, which will reveal important aspects of artist's material and artist's technique. Art historical studies18 cannot afford to neglect the study of artist's material and artist's technique while dealing with art-objects. The information and knowledge about artist's material and artist's technique are valuable and fascinating; because, they reveal how artist's mind worked. Art historans and art critics can hardly make a correct assessment of works of art pertaining to different periods of history if they neglect the study of artist's material and artist's technique. Even the analysis of binding media empolyed in the preparation of paint may give definite clues of date of creation of a painting. Satisfactory answer to the vexing questions of Provenance, age and authenticity can be obtained by adequate studies of external and internal characteristics of miniature Paintings of India. References : 1. Shah, Umakant P.; 1968, PROGRESS OF STUDIES IN FINE ARTS AND TECHNICAL SCIENCES (presidential Address of Fine Arts and Technical Science sections), All India

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Vol-1, XX1X THE NEGLECTED ASPECTS OF.... 107 Oriental Conferences. 2. Sankalia, H.D.; 1941, THE ARCHAEOLOGY OF GUJARAT, Bombay 3. Moti Chandra; 1948, JAIN MINIATURE PAINITING FROM WESTERN INDIA, Ahmedabad. 4. Moti Chandra and Shah U.P.; 1975, NEW DOCUMENTS OF JAINA PAINTING, Bombay. 5. Getten, Rutherford J. and Stout George L.; 1966, PAINTING MATERIALS, New York. 6. Moti Chandra; 1949, THE TECHNIQUE OF MUGHAL PAINTING, Lucknow. 7. FARNSWORTH M.; 1940, TECHNICAL STUDIES IN THE FIELD OF FINE ARTS, London. 8. Ray, P. (Editor), 1956, HISTORY OF CHEMISTRY OF ANCIENT AND MEDIAEVAL INDIA, Calcutta, Pp. 103-104. 9. Bhowmik, Swarna Kamal; 2004, HERITAGE MANAGEMENT, Jaipur, Pp.23-30. 10. Ebeling, K.; 1973, RAGAMALA PAINTING, New Delhi. n. D.V.: 1956, THE MATERIALS AND TECHNIQUES OF MEDIAEVAL PAINTINGS, London. 12. William J. Young (Editor); 1970, APPLICATION OF SCIENCE IN EXAMINATION OF WORKS OF ART, Research Laboratory, Museum of Fine Arts, Boston. 13. Chamot, Emile Monnin, and Mason, Clyde Walter; 1963, HAND BOOK OF CHEMICAL MICROSCOPY, Vol.II, 2nd Edition, New York. 14. Swarna Kamal; 1976, TECHNICAL STUDIES IN THE FIELD OF MUSEUMS AND FINE ARTS, Baroda, Pp. 89-125. 15. Plestors, Joyce; 1956, CROSS-SECTIONS AND CHEMICAL ANALYSIS OF PAINT SAMPLES, Studies in Conservation, Vol. II, No.3, April, 1956. 16. Carr-Brion, K.G.; 1964, THE X-RAY FLUORESCENCE DETERMINATION OF ZINC IN SAMPLES OF UNKNOWN COMPOSITION, Analyst, 89. 17. Liebhafsky, H.A. Pfeiffer, H.G., Winslow, E.H. and Zemany P.D.; 1960, X-RAY ABSORPTION AND EMISSION IN CHEMICAL CHEMISTRY, New York. 18. Parimoo, Ratan (Editor), 1977, PROCEEDINGS OF WORKSHOP IN HISTORY OF ART, Baroda. DOO

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CONSERVATION POLICY [NEEDS, AREAS TO CONSIDER & PREPARING WORKING MANUAL] VISMAY H. RAVAL+ The key function of the museum or its kind of institute or repository is to collect; record; conserve; promote understanding and appreciation of; and support the history, culture and heritage of mankind for the benefit of local community, scholars, school and visitors to the area. As the major function is indicating, conservation is one of the prime functions and is to consider, because the true value of the institute can be done by its collection and without collection one can not imagine the organization. The term 'conservation' derives from Latin word 'conservare', to keep, to 'conserve. Today in English language there exists further terms like 'preservation', 'restoration', 'rehabilitation', 'redevelopment' etc. The definition of conservation given by the IIC (The International Institute for Conservation of Historic and Artistic Works) is: "All action aimed at the safeguarding of cultural property for the future. Its purpose is to study, record, retain and restore the culturally significant qualities of the object with the least possible intervention." With this basic information we can derive that the basic philosophy of the conservation is that "the object should be strengthen rather than repaired, repaired rather than restored and addition and renovation should be avoided to give equal respect to tangible and intangible factors - includes historical, aesthetic, technical, sacred and maker's intentions. As it reflects from the definition, that conservation is purly scientific and + Consurvation Assistant, L.D. Institute of Indology - Ahmedabad

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Vol-1, xxix CONSERVATION POLICY.... 109 technical subject. But so far, if we concern about conservation practice in India, the reality does differ, as many of the persons engaged with conservation practice are make shift conservators by just few seminars, workshop or training. (Fig. 1 & 2 some examples of very badly conserved folios) With this reality, every now and then, the questions on the quality of the conservation work at different places on same kind of objects (e.g. Manuscripts) can arise, as the aim of the purpose is same but there is a lack of uniformality in work and without clear 'conservation policy', some serious problems like too much intervention, unethical conservation practice or unscientific choice of material or technique adopted for conservation can bring change in object aesthetical or/and historical or/and technical or/and maker's possible intention (eg. size, shape, storage style etc.) of the manuscript, which may not be acceptable by the research scholars, art historians or scientist always (fig. 1 & fig. 2). To avoid these practical and more likely problems, a sound policy on conservation is required, by aiming internationally competitive standards and working ethics, to maintain the uniformality nationwide. With the clear guidelines, that helps conservator/restorer to know how far to go and when to stop. Because either a newcomer or an expert, conservator is a human beings and every human being is liable to make mistake, and after all, the conservation of manuscript is a commitment to the future generation. Policy Policy is a guide-line or a general plan of action or in other words policy

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110 VISMAY H. RAVAL SAMBODHI-PURATATTVA is a course of action adopted by the management. Every organization with conservation laboratory should have to have a sound conservation policy to achieve its short term, mid term and long term goals by clear guide-lines to be followed by the employee. In order to achieve preservation standards, sound management is necessary that involves implementing a plan for management system, key areas need to be addressed. Policy (Why ?) Objectives (What ?) Strategies (Which ?) Result (When ?) Execution (How ?) Finding of the answers to these questions will enable the organization to deploy resources and acquire skills to achieve the necessary preservation goals. The development of conservation policy provides frame work by which the material assets of a collection will be protected and preserved. Policy Statement The statement of conservation policy should tie up all the essential objectives for the preservation of the manuscripts for its care. In summary, V Provide system to monitor the state of the manuscripts, environment (out door, indoor, in store, in cabinet etc.) and building. To take measures to slow deterioration and prevent damage to the manuscripts. V Manage and improve the state of the manuscripts, environment and building. Implementing and resource programmes of work in line with the policy. V Periodical review, the effectiveness and efficiency of the policy and its implementation. Provide support and advice to individuals and other institutes. V Achieve or exceed current standards of conservation and professional practice measures against appropriate benchmark. etc. Once the policy is defined, an organization can determine how the aims of the policy will be achieved.

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Vol-1, XX1X CONSERVATION POLICY.... 111 Conservation strategy Each of the conservation activities can be developed into strategies that guide how the organization will undertake conservation. The strategy need to consider following, V What - identifying priorities, what has to happen first, what can wait ? V When - establishing realistic schedules, when these priorities need to be achieve? V How - identifying resources, what is required to achieve these priorities? Survey A survey should be done to know the range of collection (rarity, material, and its location), to know the enemies of the collection (biological activities, atmospheric pollutants, climatic problems viz. temperature, humidity etc.) to know the building strength (water seepage, flaking of plaster/paint, furniture strength, vegetation on the walls etc.) The survey report will enable the organization to define the preservation priorities for the organization by examining and assessing it. Storage Storage area should be kept clean, well organized, managed, pest free and manuscript collection should be protected with appropriate conservation grade packing. Periodical inspection should be done to check the action of deteriorating activities. Damaged manuscripts should be detected and should be kept separate for future conservation work, and to avoid its contact with other non-affected manuscripts. By setting priorities, up gradation of the storage standards should be done with adequate budget. e.g. Change of acidic storage material with non-acidic and non harming material for user and collection, installation of advance technology supported equipment like fire sensors and extinguishers, c.c. cameras, insect traps etc. System to Safe-guard the Collection Collection can be safe-guarded in the organization through the specification and management of following systems, according to the need of the organization.

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112 VISMAY H. RAVAL SAMBODHI-PURATATTVA Physical System * Building maintenance * Physical security * Cabinet, packing and supports Electronic System * Air cleaning system * Environmental control system * Fire and evacuation system Human System * Integrated pest management * Building inspection * Good house keeping * Collection survey * Monitor collection in store * Emergency response plan * Ensuring staff appropriately qualified Conservation Preventive conservation provides the most effective use of resources for preservation of the collection. The application of preventive conservation measures should take precedence over conservation treatment. Conservation treatment should take precedence over restoration. Conservation Treatment and Ethics The conservation professional should practise within the limits of personal competence and education as well as within the limits of available facilities. The conservation professional must strive to select the methods and materials that, to the best of current knowledge, do not adversely affect manuscript or its future examination, scientific investigation. * The conservation professional should provide document examination, scientific investigation and given treatment by creating records. Any new addition or modification (removal of pencil mark or ritual signs for worshipping etc.) to the manuscript by means of restoration should be done by proper consultation with in-charge/owner, art historian or other experts in the field, and all new additions should be done by easily reversible techniques and

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Vol-1, XX1x CONSERVATION POLICY.... 113 materials. Restoration should be historical, accurate, while not being deceptive as to original. Preference should be always given to reversible treatment. * Communication There should be easy communication channel between the staff (e.g. Director, Curator, Collection In-charge, Conservator and all who work with them), so there will not be any working barriers. Preparing Programme All the activities aiming at the safeguarding the manuscript collection from deteriorating agencies should be properly programmed according to its need to the collection. Daily Programme - Monitoring of biological activities - Monitoring of Temperature and Relative Humidity - Daily maintenance Monthly Programme - Monitoring of system (e.g. Insect traps if installed, efficiency of dehumidifier, need of repellents) Monitoring of collection and noticing the change in its physical/chemical condition Planning of curative conservation activities and when to achieve it - Quarterly Programme - Reviewing achievement of last quarter year - Setting priorities for up-gradation of staff and resource for the laboratory Motivating the staff for further work - Preparing for pre/post monsoon preservation activities by reviewing the survey report of present and last year Annual Programme - Preparing budget for new purchase of chemicals or laboratory equipments Making programme for next year and approving the main objectives - Planning workshop or training programme to increase the working

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114 VISMAY H. RAVAL SAMBODHI-PURATATTVA potentiality Budget Every year a sufficient amount (for approved activities by management) of money should be kept a side, to accomplish the aims and task with ease and comfort. Responsibilities The staff of an organization should have duty to ensure the long-term presesvation of the collection. The primary responsibility lies with Director of the division. Functional responsibility for preservation activities may be delegated to the conservator and his associates in work, as well as curator/collection manager/ in-charge, registrar/cataloguer etc. Conclusion The overall outcome of a conservation policy should enable the cultural value of the manuscript collection to be minimized as an asset for the future generation. It is imperative that high quality conservation expertise be engaged as collections are a non-renewable asset and should be made accessible to the future generations. Conservation treatment in itself must contribute to the preservation process, not diminish the life of the manuscripts through the use of inappropriate material and unsound techniques. Reference : 1. Agrawal, O.P., "Strategic Planning for the Preservation of Manuscripts, Books and Documents", Studies in Museology, Vadodara, Vol. XXXIII. (2000) p.p. 10-17. 2. Bisht, A.S., "Conservation Science", Delhi, (2003) p.p. 137-141. 3. Gupta, K.K., "Restoration of Indian Miniature Paintings", New Delhi, (2006) p.p. 52 53,61. 4. "ICOM Code of Ethics for Museums", Paris, 2006, available online 5. Jeyaraj, V., "Museology Heritage Management", Director of Museums, Govermment Museum, Chennai. (2005) p.p. 17-19. 6. Janshen, M., "Ethics and principles in Conservation", 2004. available online 7. Raval, V.H., "Methodology of preventive Conservation: Integrated Pest Management," Kriti Rakshana, New Delhi, Vol. 2 no. 2, (2006) p.p. 5-7. 8. http://museum.man.ac.uk/ 9. http://www.moray.gov.uk./ 10. http://www.iiconservation.org 11. http://aic.stanford.edu/

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gujarAtamAM prAitihAsa jitendra bI. zAha* ravi hajarIsa* prAraMbhika dharatI para mahAkAya DAyanAsora jevAM prANIonuM AvAgamana mAnava prAdurbhAva pahelAMnA karoDo varSa pUrvenuM che. mahAkAya prANIonA hRAsa ane nAza pachI mAnava jIvamayayuga (Pleistocene Age) mAM vasuMdharA paTe mAnava AgamanarUpI jIvanapuSpa pAMgaryuM. AthI spaSTa che ke, prANIo manuSya pahelAMnA A grahanA nivAsIo che. mAnave to A dharA para pAchaLathI praveza karelo che. ane Aje e avanI paranuM zreSTha sarjana gaNAya che. mAnava jIvana sugaMdhano pamarATa vasavATarUpe pAMgarato rahyo che, vistarato rahyo che.jIvana vasavATa ghaDataranI prAraMbhika prakriyA manovaijJAnika paribhASAmAM "saMskRti" kahevAI. A anvaye puratI pramANabaddha mAhitI, nizcita kAlakrama ke samaya nirdeza atyaMta Avazyaka gaNAyo. A vigatavAra vRttAMta eTale ja likhita svarUpanuM lakhANa. AthI spaSTa che ke, saMskRtinA ugamakAlathI mAnava lekhanakalA jANato na hato. matalaba ke je samayathI likhita svarUpanuM lakhANa maLe e kALathI - samayathI itihAsa (iti+ha+Asa) zabda vaparAya che. ApaNe tyAM siMdhu saMskRtinAM likhita pramANo to che. paraMtu haju sudhI ApaNe siMdhu lipine sarvamAnya rIte saMtoSakAraka paNe ukelavAmAM asamartha rahyA chIe. keTalAke prayatno karyA che. paNa vizvastare e sarvamAnya nathI. AthI A AkhAye samayagALAne Adya-itihAsikakAlamAM mUkavAmAM Ave che. Aja pariprekSyamAM RgvadanuM zruti sAhitya maukhika paraMparAmAM hovAthI lipibaddha nathI. taduparAnta A samaya paNa sahastrothI mapAya che. ApaNe AgaLa joI gayA chIe, tema nizcita kAla-nirdeza atyaMta Avazyaka che. uparokta kAraNosara A paristhitimAM vedakAlIna saMskRti samayane paNa AdyaaitihAsikakAlamAM samAviSTa karAya che. hAla to I.sa. pUrve chaThThI sadInA samayathI itihAsikakAla zarU thayelo manAya che. nIce mujabanA traNa vibhAgo mAnya che. 1. prAga-itihAsa..... aMgrejImAM e mATe "Pre-History zabda ogaNIsamI zatAbdIthI vaparAto hoI, mULa grIka-leTIna zabdasamAsa pri ane hisTrI che. | + nidezaka, ela.DI. InsTiTyUTa opha inDolojI, amadAvAda. nivRtta, sahAyaka purAtattva niyAmaka, gujarAta rAjaya, gAMdhInagara. *

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116 jitendra bI. zAha, ravi hajaranIsa SAMBODHI-PURATATTVA 2. Adya-itihAsa.... aMgrejImAM "Proto-History' zabda vaparAya che. 3. itihAsa...... aMgrejImAM History zabda che. saMkSiptamAM kahIe to mAnava atItano zarUAtano alikhita samayapaTa nirakSaratAla che. jene prAgaitihAsikakAla kahevAmAM Ave che. aMgrejImAM pri-hisTrI mATe sTonaeja zabda paNa vaparAya che. enA paryAyarUpe gujarAtImAM paththarayuga, azmayuga ke prastarayuga kahI zakAya. A pachIno tAmrAzmakAlIna siMdhusaMskRti ane vaidikazruti sAhityano samaya e Adya aitihAsikakAla ane IsvIsana pUrve chaThThI sadIthI aitihAsikakAlanI zarUAta gaNAya che. I.sa. pUrve chaThThI zatAbdI e bhagavAna buddha ane mahAvIrasvAmIno samaya. prA-aitihAsika yuganI asara Adya-aitihAsikakAla para jovA maLe e saMbhava kADhI nAkhavA jevo nathI. ane A rIte ja Adya-aitihAsikakAlanA aMtabhAganI kalA ane saMskRtinI asara tyArabAda jovA maLe. jo ke tAmrAzmakAlanA aMtabhAgathI zarUAtanA aitihAsikakAla vacceno samayagALo haju saMpUrNapaNe kheDAyelo nathI. tema chatAM navIna sarvekSaNa, utpanana ane saMzodhanathI upayogI mAhitI ane sAmagrI umerAtI rahe che. paraMtu haju pUrNa sAMkaLa taiyAra thaI zakela nathI." lekhake gujarAta aMtargata zailacitrakalAno prAraMbha anyAzmayugathI Alekhyo che. A yuganA pAchalA bhAgamAM tAmrAmakAlanI zarUAta thAya che. junAgaDhano azokano mauryakAlIna zailotkIrNa lekha aitihAsikakAlano gujarAtamAM AraMbha gaNAya che. ahIM prAcInAzmayuganA mAnavano vasavATa, prApta ojArone AdhAre Azare be lAkha varSa karatAM vadhu prAcIna che. A kALanA ke pachInA vasavATanA sthaLo, guphAo ke zailAzrayo pramANamAM ochA maLyA che. parantu dhIre-dhIre zodhakhoLathI umero thaI rahyo che. ahIMyAM prAitihAsa ane itihAsa vibhAgo paikI prathama prAga-itihAsanI carcA tAjetaranA saMzodhano para AdhArita rahIne karI che. prAga-itihAsa, Adya-itihAsa ke itihAsa aMgenA saMzodhana purAtattvavidyA purAvastuvighA (Archaeology) aMtargata thatAM hoya che. Archaeology e grIka bhASAnA be zabdo Arkiyosa ( jUnuM) ane lAgosa (=jJAna)no banelo che. prAitihAsa e purAvastuvidyAnI mahattvanI zAkhA che. A aMtargata mAnava atItano abhyAsa enI vastuo, ojAro, hathiyAra, prAptasthAna, sthaLa, asthi, asthipiMjara, tatkAlIna AbohavA, vanaspati, prANIsRSTi, dhAnya, mATI kAmanI kRti, vastu, zailacitra-cihno-pratIko ke AkRti vagerenA AdhAre thAya che. TUMkamAM prAguitihAsa mAnava pravRtti sUcaka koI padArtha-vastu enI mULa naisargika paristhitimAM khoLIne saMzodhana tamAma paribaLone dhyAnamAM rAkhI hAtha dharAya che. ukta yAdI jotAM ja samajAya che, ke temAM AMtara vidyAlakSI judA judA viSayanA tajajJonI madadathI kArya thatuM hoya che. A vistRta samayapaTavALA tatkAlIna mAnavanA azma, ojAra puSkaLa pramANamAM maLe che. saMbhavataH e hADakAM ane kASTanAM ojAra paNa vAparato hovA chatAM, e khAsa maLatAM nathI. paththaranI sarakhAmaNImAM kASTa nAzavaMta padArtha che. AthI ja A samayapaTane amayuga ke paththarayuga kahevAmAM Ave

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Vol-1, XXIX gujarAtamAM prAgu-itihAsa 117 che. jo ke prApta thatI vastuno moTo bhAga mahadaMze naSTa thayelo hoya che. prAptasthAna sameta zeSa bacelA padArthono samagra rIte UMDo abhyAsa karI kAlanirNaya thAya che. A mATe vividha paddhatio che. jemAM je te sthaLanI stara racanAnuM mahattva che. pUrNa abhyAsa pachIthI azmayuganA kayA vibhAganI ke kAlanI te vastu che, e nakkI thAya che. prApta ojArone AdhAre bhAratamAM prAgaitihAsikayuga be lAkha varSa karatAM vadhu prAcIna che. jenI pAchalI uttara sImA Azare pAMceka hajAra varSa pUrvenI che. vastutaH anya vibhAga karatAM prAgaitihAsika samayapaTa vistRta hovAthI ene "yuga'nI saMjJA apAI che. prAgaitihAsikayuga aMtargata prAcInAzma, madhyAzma, anyAzma ane navAzmayuga jevAM nAmAbhidhAna thayAM che. A samaya dhAtunA upayoga pahelAMno che. azmayuganA vividha tabakkA, enAM ojAronA kramika vikAsa ane yAMtrika jJAnanA ghAtaka che ane enI uttara sImA navAzmayuganA aMtabhAga sudhI vistare che. mAnava jIvamayagAthA : agAu, dharA ane e paranI prathama jIvasRSTinuM sarjana Izvare karyuM hovAnI alaukika dharma AdhArita mAnyatA hatI. mAnyatA dhArmika hovAthI te svAbhAvika rIte ja lokomAM khUba prabaLa hatI. A mAnyatA viruddhanuM kArya dharma viruddhanuM AcaraNa thAya. parantu ogaNIsamI zatAbdImAM keTalAMka vijJAna AdhArita saMzodhanone kAraNe A dharma AdhArita vicAradhArA sAme paDakAra Ubho thayo. A anvaye bhUstarazAstrI liyelanI ane 1959mAM briTIza vaijJAnika cArlsa DArvinanI zodha atyaMta mahattvanI banI rahI. navIna saMzodhana ane zodhakhoLane kAraNe evuM manAya che ke pRthvI ane jIvasRSTino vikAsa kramaza: thayo che. ukrAntivAdano svIkAra thatAM pazu, ardhapazu sadrazya mAnava ane atte mAnavanA azmibhUta avazeSothI jIvasRSTino vikAsa kramazaH thayo che, eno citAra maLyo. Azare pacAsa karoDa varSo pUrve vasuMdharAnA jaLasavALamAM prathama eka koSIya jIvotpatti thaI. A eka-koSIya sajIva prANIne vaijJAniko "amIbA' (Amoeba) kahe che. jenI zArIrika avasthAmAM kAlAntare badalAva AvatAM vividha jalacara, jamIna para peTathI cAlanArA (Reptiles), bhUcara ane jaLa tathA sthaLapara viharanArAM ubhayacara prANIonI utpatti thaI. Azare cha karoDa varSo pUrve rAkSasI kadanAM pakSIono janma thayo, je IMDAM mUkatAM. avaninuM vAtAvaraNa vadhu sAnukULa thatAM, have samayanA udyAnamAM mematha pazuoe praveza karyo. potAnI sarakhI nAnI pratikRtirUpa zizu-pazuone te janma ApatAM Azare cAra karoDa varSa AsapAsa kapi samA prANIe samayapaTa para dekhA dIdhI. cIpAMjhI, gorIlA ane babUna jevA mAnavane maLatA vikasita magajavALA vAnara sarjAyA. kapi sarakhA puccha vinAnA ardhapazu mAnavanI pragaTa avasthA e AdimAnava (Ape-man) che. enI zArIrika racanAmAM kAlAntare badalAva thatAM bhUmi para chevaTe mAnava astitvamAM Avyo. vIsa lAkha varSa pUrvanA AdimAnavane deha para puSkaLa keza hatA. enuM kapALa nAnuM ane jaDabuM moTuM hatuM. A jaDabuM sTeja AgaLa AveluM hatuM. enI kaTimAM vAka hovAne kAraNe e vAMko vaLIne cAlato hato. paraMtu anya prANIonI sarakhAmaNImAM enuM magaja vadhu vikAsa pAmeluM hatuM.

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118 jitendra bI. zAha, ravi hajaranIsa SAMBODHI-PURATATTVA mAnava sadrazya kapimAM dhIme dhIme pheraphAra thayA. A badalAva pragati sUcaka hatA. A kAraNe sADA cArathI pAMca lAkha varSa pahelAM navA mAnavanuM nirmANa thayuM. A navIna mAnava prathamavAra sIdho Ubho rahenAra hato. je TaTTAra Ubho rahI zakato hovAthI "homo irekaTa' kahevAyo. sIdhA UbhA rahenAra mAnavanA azmIbhUta asthi avazeSo prathamavAra pekIMga-cInamAMthI maLI AvyAM hovAthI te, pekIMga mAnava tarIke paNa oLakhAyo. mAnava utkAntino A pahelo tabakko hato. utkrAntinA bIjA tabakkAmAM have je mAnavI astitvamAM Avyo e vicArI zakato hovAthI ene vicArI mAnava (homo sepiyana) kahevAmAM Ave che, vicArI mAnavanAM asthi avazeSo prathamavAra jarmanInA niaDarathala sthaLethI prApta thayelA hovAthI e niaDathala mAnava kahevAyo. AphrikAnA roDeziyAmAMthI paNa homo sepiyana mAnavanA avazeSo maLI AvyA che. potAnI buddhimattAne kAraNe vicArI zakanAra mAnavane agninA upayoganI jaNa hatI. Aga e mAtra vinAza vere che, naSTa kare che. parantu agni e mAtra vinAzaka paribaLa ja nathI, paNa jIvananuM e atyaMta Avazyaka ghaTaka hovAnuM e jANI zakyo hato. enuM jIvana rajhaLapATavALuM bhaTakatuM hatuM. e jaMgalI zikArI hovAthI prANImAMsa para nirbhara raheto. agninI zodhane kAraNe agAunA kAcA mAMsa karatAM zekeluM mAsa ene mATe vadhu surekha, svAdiSTa ane pAcanamAM vadhu yogya lAgatuM hatuM. A sivAya e potAnA raheNAMka, guphA ke zailAzraya AgaLa have agnine prajavalita rAkhato. ane A rIte e hiMsaka pazu ane jherI jIva-jaMtuthI rakSaNa meLavavAnuM zIkhI gayo hato. vadhumAM have e pazu-zikAra ke AkheTa arthe hathiyAro ghaDIne vAparavA lAgyo hato. A badhuM enI yAMtrika pragatinuM sopAna kahI zakAya. jyAre utkrAMtino pragaTa trIjo aMtima tabakko eTale ja adhika vicArI zakanAra mAnavanuM Agamana. potAnI buddhimattA ane vikasita magajane kAraNe e adhika vicArI zakanAra mAnava homo sepiyana sepiyana kahevAyo. A mAnavanA avazeSa prathama phrAnsanA kromegnona mukAmethI maLyA hovAthI tene kromegnona (Cro-Magnon) mAnava paNa kahevAmAM Ave che. A adhika vicAravaMta ke kromegnona mAnava 190 se.mI.nI UMcAI dharAvato hato. eno cahero vistRta hato ane nAsikA AgaLa paDatI hatI. e anya prANIo karatAM vadhu vikasita magajavALo, vadhu buddhimattA dharAvato hato. saMkSepamAM kahIe to anekAneka saMgharSo, rajhaLapATa ane pratikULa viTaMbaNAo vacce paNa mAnave mAtra potAnuM astitva ja na TakAvI rAkhyuM paraMtu krame krame uttarottara pragati sAdhato utkrAMtinI sImAo sudhI pahoMcI gayo. mAnavadeha-nirmANanI A vikAsagAthA lAkho varSonI che. enI deha utkrAMtinI gAthA jeTalI ja ramya ane agatyanI enI sAMskRtika vikAsa-gAthA che. mAnavano sAMskRtika vikAsa samajavA enAM ojAra, hathiyAra, mATIkAma, raheNAMka, utkIrNa AkRtio, zailacitro, raheNI, prAraMbhika pazupAlana, prANIo, dhAnya, AbohavA ane kRSi vagere aneka vAto lakSamAM levI ghaTe. mAnavano A badhA sAtheno saMbaMdha ane samayAMkana vagere bAbato paNa A abhyAsanA kSetramAM Ave. tatkAlIna pASANanAM ojAro paNa viziSTa prakAranAM azma che. matalaba ke game te jAtanA prastarano upayoga thayelo nathI. AthI e spaSTa thAya che ke ene ghaDatara prakriyA uparAnta paththara pasaMdagInuM sAruM jJAna hatuM. ane

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Vol-1, XXIX gujarAtamAM prAgu-itihAsa 119 uttarottara anubhava ane buddhimattAnA pragaTa tabakkAoe enI yAMtrika sUjha ane kSamatA vadhatI gaI. atItano A samayapaTa alikhita samayagALo ke nirakSaratAla hato. matalaba ke vAMcavA lakhavAnI kaLAthI mAnava haju aparicita hato. e zikArI hovAthI jaMgalI hato ane bhaTakato raheto. annakhorAka mATe pazuzikAra ane kaMdamULa para AdhAra rAkhato. A saMgharSamaya jIvanamAM paNa enI pragatikUca cAlu ja hatI. e AbohavA ane paristhitine anukULa thato gayo. agni, paiDuM, pazupAlana ane prAthamika kRSi enI Akasmika zodha hatI. prAraMbhika kRSi ane pazupAlane rajhaLapATano aMta ANyo. prAcInAzmayugano mAnava kaMdamULa, phaLo, phUla vagere sAthe prANija AhAra leto hato. paraMtu enAM ojAro-hathiyAro sAthe asthio khAsa maLatAM nathI. AthI e kayA prANIone mArIne khorAka banAvato e kahevuM muzkela che. emanA raheNAMkanA pramANo avazeSo ochA maLyAM che. A samaye mAnava saritA tIre ke thoDeka dUra jamIna sarakhI karIne raheto. vRkSonA Azraye Aje paNa khullAmAM vicarati jAtIo sthALAMtarasamaye rahe che. jyAM paNa guphAo, zailAzraya vagere maLI jAya tyAM rahevuM saheluM hatuM. jo ke khullAmAM rahevAnI prathA prAcInAzmayugathI aMtyAzmayuganA raheNAMka avazeSo batAve che. svAbhAvika che ke A vasavATo sthAyI nahotA. AhAra-anna bAbate sthaLAMtara thatuM rahetuM. madhyAzmayugamAM koI khAsa pheraphAra lAgato nathI. paraMtu anyAzmayuganAM sthaLoethI gAya, bheMsa, gheTA, bakarAM, haraNa, sAbara ane nIlagAya jevAM prANIonAM asthi vanyapazuonA hADa sAthe maLyAM che. AthI spaSTa thAya che ke have mAnava zikArI hovA sAthe sAthe pazupAlana tarapha vaLyo hato. lAMghaNajathI vATavAnA paththara maLyA hovAthI koI vaNakheDyA dhAnyanA dANA vagere vATato hovAnuM sAdhAra anumAna pazupAlana ane ghAsacArA sAthe thaI zake che. vaLI baLelAM hADa eNe mAMsa zekavA agnino upayoga karyAnuM batAve che. Ama A kAlanA lokonI lAMbA samaya cAlelI, pravRttine anukULa vasavATa ane raheNAMkanA zailAzrayo, guphAomAM pazu, mAnava, cihno vagere teo citrita karatA. e kalA taraphanuM sopAna hatuM. gujarAtamAMthI ravi hajaranIse zodhela sAbarakAMThAnA zailAzraya citro ane vizvAsa sonavaNee taraMsagathI khoLelAM AvAM zailAzraya citro 2 bhAratanA anya bhAganI jema A kAlathI citrakalAnAM sopAna zarU thavAnuM puravAra kare che. (juo citra gujarAtanA zailacitrakalAnA kendro). A yuganA aMtabhAge mATInAM vAsaNo thoDAka pramANamAM prApta thAya che; jo ke navAzmakAlamAM enuM pramANa vadhyuM che. navAgyakAla kRSi, mATIkAma udyoga vagere arthe sthira vasavATa sUcave che. parNakuTi-jhUMpaDI bAMdhavAnI prathA A kAlathI zarU thaI. Ama raheNAMka sthApatyanAM mULa navAzmakAlamAM paDelAM che. ane Ama bhaTakatA jIvanamAMthI grAmyasthaLe mAnava vasavATa zarU thatAM purAnivezano prathama tabakko zarU thayo. tatkAlIna AbohavA aMge vicAravuM jarUrI che. AbohavAmAM pheraphAra Aje paNa jovA maLe che. atItamAM tatkAlIna samaye hima saritAo lAvAne kAraNe eka pachI eka ema cAravAra kALAntare himAcchAdita vAtAvaraNa racAyuM. jene himayuga kahevAmAM Ave che. je heThaLa AkhuMye yuropa ane sAIbirIyA AvyuM. AvA vAtAvaraNamAM phuga ke sevALa sivAya anya vanaspatinI vRddhi zakya nahotI. be himayuga vaccenA gALA ke samayane antahimayuga ke AMtara himayuga nAma ApavAmAM AvyuM.

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120 jitendra bI. zAha, ravi hajaranIsa SAMBODHI-PURATATTVA Adhunika adhikatamayuga (Pleistocene) ane nIcenA stare adhaH Adhunika (Subrecent) yuganA mAnava ojAronAM eMdhANa maLe che. Adhunika adhikatamayuganA kvanarinA samayamAM geMDA, hasti ane bAyasana jevAM prANIo khUba rUMvATI dharAvatAM hovAthI ThaMDA havAmAnano sAmano karI zakatAM. yuropamAM temanI saMkhyA khUba hatI. Adi mAnave A samaye prANIothI bhinna rIte potAnuM astitva TakAvI rAkhyuM. ukta pazuo emanA anna-AhAra mATe paryApta hatAM. lazkonI guphA (phrAnsa) ane allAmIrA guphA (spena)nA A kAlanAM guphA citro vizvavikhyAta che. kAlAntare AjathI dasa hajAra varSa pUrva hima pIgaLatAM yuropamAM araNyasamA vanapradezo astitvamAM AvyA. agAunAM pazuo have A vAtAvaraNamAM TakI zakyAM nahIM ane have pramANamAM nAnAM prANIo, jevA ke haraNa, sasalAM, ziyALa, azva ane pakSIonuM Agamana thayuM. aneka viTaMbaNAomAM paNa AbohavAne anukULa rahIne mAnave agAunA azma hathiyAromAM paristhiti mujaba pragaTa pheraphAro karyA. have bhAre paththarone badale nAnAM asthi ke kASTamAM khosI gatithI pheMkIne mArI zakAya tevAM hathiyAro manuSya ghaDyAM. A ghaDatara hunnarathI samajAyuM ke mAnave AdiazmayugamAMthI madhya ane aMtaHazmayugamAM praveza karyo che. eka sAmAnya abhiprAya anusAra tatkAlIna samaye jayAre yuropamAM hima sAmrAjaya hatuM tyAre bhAratIya upakhaMDamAM viSayavRtta samIpanA vistAromAM ativRSTi varSA cAlu hatI. A cAra ativRSTinA gALAne plavIyala ane InTara slavIyalasatra kahevAmAM Ave che. pro. Ara.ena. mahetAnA mata anusAra 1960 pachI thayelAM adhyayanomAM ukta samIkaraNano cheda UDI gayo che.13 AMtara himayuga ane bhAratano ativRSTiyuga samakAlIna che ane e pahelAMno a-varSAyuga tenA himayugano samakAlIna che.14 vadhumAM tenA kAraNamAM pro. mahetA jaNAve che ke ApaNe tyAM varSa, ziyALo lAMbo cAle to ochI paDe.15 mAtra madrAsa (cennAI) kinAro bAda karatAM bhAratamAM ziyALAmAM vRSTi ochI thAya che. hAlanI paristhitimAM e kahevuM vadhu yogya gaNAze ke, vizvamAM hima ochuM ane bhArata temaja AphrikAmAM varSA vadhu. 16 mAnava sAMskRtika-gAthA : yuropamAM prAgaitihAsika saMzodhanamAM nilsana, themasana, vArase ane piTarivarsa vagerenuM pradAna hatuM. yuropamAM azka ojAro mAnave banAvelAM che e vAtano svIkAra thayo ane ogaNIsamI zatAbdIthI bhAratamAM paNa prastarayuganAM saMzodhana zarU thayAM. sana 184ramAM Telarane pASANakAlIna ojAra maLyuM. 1863mAM jIolojIkala sarve opha InDiyAnA bhUstarazAstrI robarTa brusa phUTane madrAsa samIpathI azmakAlIna ojAra maLyAM. tyArabAda temaNe Andrapradeza, karNATaka ane gujarAtanA nadIkAMThAnA pradezonuM sarvekSaNa hAtha dharyuM. ane Ama prAitihAsa abhyAsanA maMDANa thayAM. karnala ToDa ane jayona ivAnsano phALo paNa agatyano hato. 1930mAM DITerA ane pirTasane kAzmIra khINa vistAra, paMjAbano DuMgarALa pradeza ane poTavAra, tathA hozaMgAbAda pAse narmadA ghATI pradezano

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Vol-1, XXIX gujarAtamAM prAgu-itihAsa 121 bhUstarIya prAcya havAmAna, prAcya vanaspatizAstra ane prAcya prANIzAstra vagere viSaye abhyAsa prasiddha karyo. takanIkI rIte bahu vaijJAnika abhigamathI prAgaitihAsane tapAsavAno A prathama prayAsa hato. pheDarika sAInare nadI-bhekhaDanA stara mATInuM pRththakkaraNa hAtha dharI, enA AdhAre prAcIna havAmAna abhyAsa rajU karyo. ane Ama tatkAlIna saMzodhanamAM navIna vaijJAnika abhigamanI dizA maLI. jemAMthI preraNA laI ena. ke. bojha ane DaoN. sena (kalakattA yunivarsiTI), sAMkaLiyA ane joSI (Dakkana koleja, pUNe) vageree mahArASTra ane gujarAtamAM azmayugIna saMzodhana hAtha dharyA. tAjetaramAM 1984mAM DI.pI. agravAle (phijhIkala rIsarca leboreTarI, amadAvAda) kAzmira, himAlayIna pradeza ane paMjAbanA DuMgarALa vistArano bahuzAstrIya prAcya havAmAnano abhyAsa karyo che, je ullekhanIya che. mAnave hathiyAra ghaDavAnA hunnara pahelAM nadI taTethI goLa moTA paththara ane jhADanAM DALakhAM vagereno AkheTa arthe upayoga karyo hovAnI zakyatA nakArI zakAya nahIM. hathiyAra ghaDavA mATe majabUta ane yogya pASANa pasaMda thatAM temAMthI chIlakA ane patarI kADhavA tenAthI paNa vadhu sakhata ke majabuta amANa ke azma hathoDAno upayoga thato, jenA gobA parathI purAvido upayogamAM lIdhelA hathoDAne oLakhI kADhe che. paththaranAM ojAro kvArTajhAITa, rAyolAiTa, cAlsIDonI, carTa, akIka, jespara ane kvacita kvArTajha ke Trepano te banAvavAmAM upayoga thato. paththara para jyAM ghA paDe e ghA sthAna ghaNa athaDAyo te ghA biMdu kahevAmAM Ave che. hathiyAra ghaDavA pASANane beya taraphathI toDI dhAra kADhavAmAM Ave che. A kAraNe e badAma AkArano lAge che. paththaranA hAthA tarapha phoDyA sivAyano bhAga hoya che. AvA hathiyArone "hAthakuhADI" (Handaxe) apAyeluM nAma Aje pracAramAM che. paraMtu enI dhAra ane upayoga jotAM Ara.ena. mahetA ene mATe "azmazurikA", "pASANakyurikA" ke "paththarayurikA" nAma vadhu yogya hovAnuM jaNAve che. 17 A prakAranAM ojAro prathama phrAnsamAM perIsanA ebIvalI parAmAM maLyAM hovAthI ebIvIlIyana kahevAyAM. ghaDatara hunnaramAM vadhu pragati thatAM, samaya vItatAM mAnave hathiyArone yogya dhAra ane AkAra ApavAnuM zIkhI lIdhuM. have teNe sIdhI sUkSma dhAra ane caDautara patarIyukta surekha hAthakuhADI ke amairikA banAvavAnuM zarU karI lIdhuM. AvAM ojAro ozula nAmanA phrenca sthaLethI prathama prApta thayelAM hovAthI azulIyana kahevAyA. (juo citra) vividha jAtanI azmazurikA ke hAthakuhADI mULa paththarane toDIne banAvelI hovAthI e gAbha ke garbhasaMkula para ghaDAyelAM ojAra kahevAyAM. bhAratamAM prAcInAzmakAlamAM gujarAta, rAjasthAna, madhyapradeza, uttarapradeza, A%, karNATaka, tAmilanADu ane keraLa vagere rAjyomAMthI A prakAranAM ojAra maLyAM che. gAbha parathI hathiyAra ghaDavA karatAM paththaranA chIlakA kADhatAM nIkaLatI patarIo dhAradAra ane ekathI vadhu maLatI hovAthI enAM ojAro banAvavAnuM mAnavane vadhu yogya ane sulabha lAgyuM. ane teNe kodALI, pharasI ke kuhADI jevAM amakuThAra (klIvarsa) jevAM hathiyAra banAvavA mAMDyAM. bhAratamAM azmahurikA, pharasI ane cAre bAju chIlakA kADhela ama ojAra (discords) azulIyana hAtha - kuhADI

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122 jitendra bI. zAha, ravi hajaranIsa SAMBODHI-PURATATTVA ke azmaphyurikA ane khurapI vagere maLe che. azmasurikanI dhAra beya bAju ane pharasInI dhAra eka bAju hoya che. gAbha athavA garbha ke garbhasaMkulamAMthI vadhu patarI meLavavA nevuMaMzanA kATakhUNethI ghA mAravAnI paddhatithI tUTelI patarIno bhAga samAMtara bAjuvALo banato hoya che. samAMtara bAjuvALI patarI je garbha ke gAbhamAMthI kADhavAmAM Ave che eno AkAra zaMku hoya che. samAMttaraghATanI patarI maLe e pASANa toDAvAnI paddhati phrenca sthaLa parathI "lAvAlvA' nAmathI oLakhAya che. saMkSepamAM kATakoNathI toDelo paththara e lAvAlvA paddhati che. mAnave potAnI AvazyakatA, anivAryatA ane jarUrIyAtanA anubhavane AdhAre tenA nirmANamAM sudhArA-vadhArA ke pheraphAra karelA che. jemake AkheTa arthe khAsa banAvaTanAM hathiyAra, vRkSa kApavA ke kaMdamULa khodavA anya prakAranAM ojAra teNe banAvyAM. prAcInAzmayuganAM ojAra moTAM ane vajanamAM bhAre hatAM. madhya ane aMtyAzmayuganAM hathiyAro pramANa ane kadamAM nAnAM, vajanamAM halakA ane vividhatA dharAvatA hatAM. azmayuganA traNa tabakkAone nIce mujabanA samayAMkana sAthe gaNavAmAM AvyA che. Adiazmayuga : 500000 thI 100000 varSa madhyAzmayuga : 50000 thI 10000 varSa atyAzmayuga : 10000 thI 4000 varSa AdiazmayuganAM ojAro mukhyatve kvArTajhAiTa nAmanA sakhata pASANamAMthI nirmANa pAmyAM hatAM. jemAM azmazurikA ke hAkuhADI, pharasI athavA azmakuThAra (cleavers), khUrapI (scapers) vagere maLe che. AmAM amacharA ke hAthakuhADI ane pharasI lAMbA samaya sudhI cAlu rahyAM, jemane tatkAlIna samayanAM lAkSaNika hathiyAro kahI zakAya. saritA kAMThethI maLatA goLa paththarane eka cheDe toDIne ke phoDIne banAvela upala ojAra (Pebble tools) prAcInatama che. uttara pradezanA gaMgA nadI taTanA kAMpa vistAranAM medAno, uttaranA pahADI pradeza ane dakSiNanA nadI-khINa vistAramAMthI A kAlanAM ojAro maLI Ave che. bIjA hima praghAta samaye A kAlanA amaccharA ke hAthakuhADI banAvavAnI zarUAta thaI. jo ke A hAthakuhADIo ane anya ojAra mATe kADhelI patarI, cIpo ke chIlakA aNaghaDa ane moTAM hatAM. hAthakuhADIo, bhAlAkAra, laMbagoLa (Oval shape) hRdayAkAra, azulIyana vagere prakAranI hoya che. A prakAranAM hathiyAro yuropa, AphrikA ane bhAratamAM pracalita che. paththaranI moTI patarImAMthI dhAradAra kApavAnAM sAdhano banAvavAno hunnara paNa jANIto hato. azmacharA, pharasI ane bIjAM ojAro bANagaMgA tIre, biyAsa kAMThe, himAcala, paMjAba pradeza, caMbala, balena, sona, brAhmaNI, suvarNarekhA, dAmodara ane gujarAtamAM sAbaramatI, mahI, narmadA, orasaMga, sukhI ane mahArASTramAM pravara, godAvarI, tApI tathA karNATakamAM bhImA, kRSNA, daraprabhA, alaprabhA, tuMgabhadrA vagere sthaLethI prApta thAya che. 1930mAM barkITa, 1939mAM DiTerA ane peTarsane sohana, narmadA, karnala ane kAMdIvalI pradezanA saMzodhanathI eka viziSTa patarI vAparanAra hunnarano madhyAmayugano nirdeza karyo. 1956mAM hasamukha sAMkaLiyAe mahArASTramAM godAvarInI zAkhA pravarakAMThAnA anveSaNathI sau prathama darzAvyuM ke

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Vol-1, XXIX gujarAtamAM prAgu-itihAsa 123 patarI para banAvela ojAro agAunA kvArTajhAiTa ane upalanA aNaghaDa rIte ghaDAyelA hAthakuhADI ane pharasI pachInAM che. tyArabAda madhyapradeza, gujarAta, rAjasthAna ane balenataTa (uttarapradeza)thI moTI mAtrAmAM te maLI AvyAM jemAMnA keTalAMka akIka, jAsmara, carTamAMthI banAvelAM ane agAu karatAM pramANamAM nAnAM hatAM. A ojAro patarI, zAraDI, samAMtara bAjuvALA pAnAM, soyA ane nAnA AkAranI azulIyana hAthakuhADI vagere hatAM. 1972mAM Ara.vI.joSIe veinagaMgAnA ghATI vistAra tathA 1966 ane 1971mAM ghoSe zIMgabhUma (bihAra)nA prAgaitihAsika saMzodhanathI puravAra karyuM ke patarI para banAvelA ojAra hunnara saMskRti agAu karatAM vadhu vikasita hatI. AdamagaDha guphA khodakAmamAMthI, dakSiNanA uccapradeza, madrAsa (cennaI) ane kaccha-gujarAtamAMthI vikasita azulIyana hathiyAra maLyAM che. ucca guNavattA dharAvatA kvArTajhAITano upayoga haju paNa hAthakuhADI ane anya ojAra mATe thato hato. ma.sa. vizvavidyAlaya, vaDodarAnA pI. ajIta prasAdane saMkheDA pAsenA bahAdurapura najIkathI maLelA azulIyana hAthakuhADI temaja patarI para banAvelA cappanA pAnAM jevAM kvArTajhanA ojAro madhya ane nimna AdiyuganA mizra lakSaNa batAve che.18 orasaMganI zAkhA sukhI nadInA DuMgarALa vistAramAMthI A kALanAM ghaNAM sthaLo zodhAyAM che.19 anyAzmayugamAM maLatA nAnA nAnA paththaranAM ojArone kAraNe te laghupASANayuganI saMskRti paNa kahevAya che. bhImabeTakA zailAzrayo, reNIguNA, madhya sona nadI pradeza ane belanakAMThAnA vistAranA ukhananothI e sAbita thayuM ke agAunI patarI pradhAnatAvALAM ojAromAMthI ja laghupASANakAlanAM hathiyAro vikAsa pAmyAM che, jemAMthI charI, bhAlA, bANa ane kAMTALA bhAlA jevAM hathiyAronuM nirmANa thayuM che. tIkSNa pAnA jevA laghuazma ojArane eka sAthe samUhamAM hAthAmAM bharAvavAmAM ke phIksa karIne dAtaraDA jevA hathiyAranA upayogamAM levAtAM hovAnuM anumAna che. kANA pADelA goLa sakhata paththarano upayoga gadAnA zirobhAga tarIke saMbhavataH thayo hovAno sAmAnya abhiprAya che. parantu sAMpAvADAnA eka zailacitrane AdhAre ravi hajaranIse teno gophaNiyA paththara tarIke paNa pAchalA samayamAM zakyataH upayoga thayAnuM jaNAvyuM che. 20 lAMghaNajamAM mRtadehanA zira pAse upala ke veLu pASANanA kaTakA mUkelA jovA maLyA che. khopaDI ghaNuMkharuM bhAgelI ke dabAI gayelI jovA maLI che. vAkaNakarane bhImabeTakanA eka zailAzrayanA utpananamAM paththaranA TUkaDA jovA maLyA che. je saMbhavataH citro doravAnA upayogamAM lIdhA hoya, lAMghaNaja, loTezvara (gujarAta), bagora (rAjasthAna), mahadA ane sarAInAhara rAI (uttarapradeza), AdamagaDha (madhyapradeza), birabhAnapura (baMgALa) ane sAMganakalla (karNATaka) vagere sthaLonA ukhananathI pazupAlananA purAvAo maLyA che. AthI spaSTa thAya che ke, A kAlanA loko mukhyatve pazupAlaka hatA, ane pazuonA vanaspatijanya ghAsacArA arthe pharatA ane jaMgalI prANIono zikAra paNa sAthe karatA rahetA. vaNakheDyA dhAnya ke biyAMno upayoga paNa karatA ema vATavAnA paththarane AdhAre kahI zakAya. kalAnA prathama sopAna zailacitrothI dekhAya che. mAMsa zekIne khAtA hovAnuM maLelAM hADakAMothI puravAra thAya che. A yuganA uttarArdhamAM nAnA nAnA ThIkarAM jevA mutpAtro thoDA-pramANamAM maLI AvyAM che. parantu mATInA moTA koThI jevAM vAsaNono abhAva vartAya che. suzobhanArthe DenToliyama, zaMkhanI vastuo, paththaranA maNakA vagere vaparAzamAM hatAM. e A

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jitendra bI. zAha, ravi hajaranIsa kAlanA mAnavano dUradUrano saMbaMdha-sthaLAMtara ke saMparka batAve che. navAzmakAlamAM mATInAM pAtro banAvavAno hunnara khAsa jovA maLe che. A sAthe kRSi udyoga ane parNakuTirUpa raheNAMka temano sthira vasavATa sUcave che. anna, vastra, raheThANa, pazupAlana ane udyoga e navAzmayuganI krAntikA2ka pragati batAve che. hADakAMnI maLatI soya carmavastro sAMdhavAnA hunnarano nirdeza che. kAzmIranA burgAhAma jevA sthaLe mAnava bhoyaruM khodI upara chAgha sAthe raheto ane cUlyAnA upayogathI ThaMDA pradezamAM garamATo meLavato. anyatra bhAratamAM parNakuTinA nirdeza maLe che. gujarAta bhaugolika ane starIya racanA : 124 SAMBODHI-PURATATTVA 21 bhaugolika rIte saurASTra ane kaccha, gujarAtathI vegaLA lAgatA hovAthI ene dvIpakalpIya gujarAta tarIke ane bAkInA gujarAtane taLagujarAta tarIke oLakhavAmAM Ave che. jo ke bhASAkIya ane sAMskRtika rIte samagra gujarAta eka che. matalaba ke taLagujarAta, saurASTra ane kaccha ema traNa vibhAga gaNAya. (taLa) gujarAta Azare 83,563.76 corasa ki.mI. no vistAra dharAve che. (taLa) gujarAtamAM sAbaramatI, mahI, narmadA, tApI ane vAtraka jevI moTI nadIo vahe che. vAtraka-mahI vacceno carotara pradeza gorADu phaLadrupa jamInavALo che. vAtrakanI uttare dasakozI tathA DhADhara ane kIma nadIo vaccenA pradezane kAnama kahe che. kAnama kALI jamInavALo kapAsa mATe khyAta vistAra che. mahInarmadA vacceno pradeza phaLadrupa che. jyAre dakSiNa gujarAtanI dharatI kAMpavALI ane kALI che. taLagujarAtanI bhUstarIya racanA jotAM e AdyastaranI racanAvALuM jene bhUstarazAstramAM dhAravADa varganuM kahevAmAM Ave e prakAranuM che. A varganA stara banAsakAMThA, sAbarakAMThA, vaDodarA ane tatkAlIna paMcamahAlamAM jovA maLe che. je sphaTIka, sleTa ane veLupASANa rUpamAM che. A starane ajIvamaya gaNavAmAM Ave che. jyAre prAcIna jIvamayayuga starane dilhI vibhAga tarIke oLakhavAmAM Ave che. enA stara dAMtA, pAlanapura ane IDara AsapAsa che. uttara gujarAtanA keTalAka bhAgamAM retanA TiMbA jovA maLe che. e para aMtAabhayuganA manuSyo rahetA hatA. saurASTra pUrve dvIpa hato. kacchanA nAnA raNa ane khaMbhAtanA akhAta vacce bhAla-naLakAMThAnA nIcA bhUmipradeza ke vistAramAM pahelAM chIcharI samudrIka khADI hatI. parantu samaya jatAM A pradezanI nadIonA kAMpa ThalavAtAM khADI purAI gaI. ane uttara pUrvamAM saurASTra gujarAtanI mukhya bhUmi sAthe joDAI gayuM. ane Ama e dvIpamAMthI dvikalpa banI gayuM, jeno vistAra 59, 365.39 corasa ki.mI. che. e saurASTra, soraTha, surASTra ane kAThIo AvyA pachI marAThAkAla ane aMgrejonA samaye kAThiyAvADa tarIke oLakhAtuM ane hAlamAM saurASTra nAma pharIne pracalita che. jemAM bhAdara, zetruMjI, macchu, AjI, bhogAvo, ojhata, ubeNa, hIraNa, rAvaLa, phophaLa, macchundrI jevI ghaNI nadIo hovA chatAM e nAnI nAnI saritAo che, jemAM bhAdara badhAmAM moTI gaNAya che. madhyajIvamayayuganA be stara jUrAsika vibhAga e dariyAI veLukA ane cUrNamaya pASANanA che. kaccha-saurASTrano sauthI prAcIna stara A jUrAsika yugano che.

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Vol-1, XXIX gujarAtamAM prAgu-itihAsa 125 gujarAtanA taLa gujarAta, saurASTra ane kaccha e traNa pradezomAM kaccha bhaugolika rIte taLagujarAtathI ane saurASTrathI alaga tarI Ave che. A pradezavistAra gujarAtanA uttara-pazcima bhAge che. kacchanA uttare moTuM raNa ane enA uttare pAkistAna che. kacchanI pUrve ane dakSiNe nAnuM raNa che. kacchanI dakSiNe kacchano akhAta temaja saurASTrano uttara ane uttarapUrvano bhAga Avelo che. kacchanI pazcime arabI samudra che. kacchano kula vistAra lagabhaga 44,185.4 corasa ki.mI. che. bhUstarazAstranI mAnyatA anusAra kacchanI bhUmi pAMcekavAra samudramAM DubIne upara Avela che. pUrve kaccha dvIpa hato. tyAM uttarapUrva ane dakSiNe chIcharI khADInI jagyAe Aje paNa che. kacchanI saritAo uttaravAhinIo ane dakSiNa vAhinIo che. uttaravAhinIomAM khArI, sAraNa, sAmatrAvALI, bhUkhI, DoNavALI, kALI, mAlaNa, rava, kasavatI vagere che. A nadIo kacchanA moTA raNamAM lupta thAya che, jemAM khArI mukhya che. dakSiNavAhinIo kacchanA akhAta ke arabI samudrane maLe che. jemAM rukamAvatI mukhya che, anya nadIo nAgamatI, kharoDa, sAI, kanakAvatI, rANIAro, bhUkhI-1 ane ra jevI nAnI nadIo che. taLagujarAtanI jema Akhu varSa pANI rahe evI eka paNa moTI nadI kacchamAM nathI. madhya ane pazcima kacchanA keTalAMka bhAgamAM besAlTa khaDako che. gujarAtamAM amayuga : pUrve prastarayuganA prAcInapASANayuga, madhyapASANayuga ane nUtana pASANayuga vibhAgo paDelA hatA. sAMkaLiyA paththarayugane mukhya traNa vibhAgamAM mUke che, jemAMthI pahelA vibhAga eTale AdipASANayuganA (Palaeolithic or Early Stone Age) nA traNa peTA vibhAga che. 22 1. ucca AdipASANayuga - Upper Palaeolithic 2. madhya AdipASANayuga - Middle Palaeolithic 3. nimna AdipASANayuga - Lower Palaeolithic pASANayugano bIjo vibhAga madhyAMtara pASANayuga - (Mesolithic) ane chello vibhAga navAyuga - (Neolithic Age) che. parantu upara jaNAvelA badhA tabakkA gujarAtamAM nahIM maLatA hovAthI saraLatA khAtara prasturayugane ahIM Adiazmayuga, madhyAzmayuga, anyAzmayuga ane te pachIthI vADmayuga ema cAra vibhAgamAM gaNelo che. ukta ucca AdipASANayugane saMlagna gujarAtano Adiamayuga che. madhyapASANayuga sAthe madhyaazma ke madhyAzmayuga ane AMtara pASANayuga tathA aMtAazma ke anyAzmayuga samakAlIna che. jyAre navAzmayuganAM ojAro gujarAtamAMthI khAsa maLatAM nathI. Adiamayuga : sAbarataTe robarTa brusa phUTane prAMtija tAlukAnA sAdoliyA gAma sAme AvelA enoDiyA-koTa nAmanA sthaLethI be ane peDhAmalI, tAlukA vijApura pAse eka azmahathiyAra prApta thayuM hatuM je parathI AdimAnava uttara gujarAtamAM sAbarataTe vasato hovAnuM lAgatuM hatuM. have AdimAnavanAM ojAro

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126 jitendra bI. zAha, ravi hajaranIsa SAMBODHI-PURATATTVA gujarAta, saurASTra ane kacchamAMthI maLyAM che. 24 Adhunika saMzodhanathI lAge che ke AdimAnava uttaragujarAtamAM sAbaramatI ane tenI upanadIonA taTe, madhyagujarAtamAM mahI, orasaMga, karajaNa ane narmadA tIre, dakSiNa gujarAtamAM pAra, aMbikA nadInA kAMThe, saurASTramAM bhAdara, sUkI ane kAlubhAra vagere nadIonA kinAre ane kacchanA bhUkhI ane dharuTha nadI pAsenA vistAramAM vasato hato. kacchanA bhujoDI pAsethI azmaphyurikAo, khurapIo ane pharasI vagere maLela che. je kvArTajhAITanA banelA che. sAbaramatI ane uttara gujarAtanI saritAomAMthI kvArTajhAITa khaDakamAMthI nirmita ojAro maLelAM che. A khaDako aravallInI parvatamALAmAM dekhAya che. mahI ane orasaMgamAM kvArTajhAITa uparAnta kvArTajha (zveta pASANa) temaja karajaNa nadI ane DAMga vistAramAM besAlTano upayoga thayo che. kacchanI bhUkhI nadInAM ojAra besAlTanAM ja che jyAre pIMDArA ane dhrAMgadhrA samIpanA hathiyAra veLu pASANamAMthI banAvelAM che. sAbaramatInA peDhayALI pAsenA luhAranALA sthaLa AgaLathI mAnava jayAM hathiyAra nirmANa karato e sthaLa maLI AvyuM. A sivAya valasANA pAsethI paNa A kALanA ojAro maLyAM che, jemAM nadI taTanA goLa paththara eka cheDe toDIne banAvelI azmazurikAo ane bhinna prakAranI pharasI che. A ojAromAM goLa pASANanA Pebble tools prAcInatama che. mahInA sarvekSaNamAM azmibhurikA, orasaMga kAMThethI azulIyana ammasurikAo ane karajaNanA paTamAMthI amasurikAo, pharasIo ane cAre taraphathI chIlakA kADhela goLa azma ojAro prApta thayAM che. gujarAta rAjaya purAtattvakhAtA dvArA sAbarakAMThA jillAnA hAthamatI nadInA kAMThe Avela pAla gAma AgaLa utpanana hAtha dharAyuM hatuM. emAM utpananakAra bI.esa. makavANAne 70 se.mI.nA UMDANathI be azulIyana azmaphyurikAo maLI AvI hatI.25 utpananathI puravAra thayuM ke tatkAlIna samaye A vistAra gADha jaMgalothI paripUrNa hato je vadhu varSA sUcavI jAya che." dakSiNa gujarAta ane pazcima mahArASTranA prastarayuganI ghAtakarUpa Trepa pASANanI azmazurikA rAjapIpaLAthI maLI AvI che. tauparAMta hiraNa, sarasvatI, kAlubhAra, kacchamAM bhujoDI pAse, bhUkhI ane dharaTha kAMThethI, haLavada gAmathI, uparakoTa (junAgaDha) ane pAvAgaDhathI AdimAnavanAM ojAro maLI AvyAM che. pro. mahetAne maLelA cAMpAnera vistAra-joravaNa ane sUkalI temaja gokulapurA pAsenA rAhyolAiTamAMthI ghaDAyelA amasurikA, khurapI, pharasI vagere che. 27 A yuganAM ojAronuM sUkSma avalokana karatAM samajAya che ke te kApavA, phADavA ke cholavAnA kAme levAya evAM sAdhano che. A kAlanA vividha sthaLonAM ojAro tapAsatAM lAge che ke AdimAnava hathiyAra banAvavA anukULa sthAnika upalabdha pASANa vAparato hato. A kAlanA avazeSo nadInI bhekhaDomAM, kudaratI guhyAzrayo ane paththaranA paDodayo parathI maLI Ave che. 28 yuropamAM phrAnsa jevA sthaLe guphAonA azmaojAro sAthe prANInA asthinA TukaDA paNa prApta thayA che. je AdhAre e kayA pazunAM che? te parathI havAmAna ThaMDuM ke garama hovAnuM samajI zakAya che. jo ke ApaNA dezamAM A dizAnI zodha prAraMbhika tabakkAmAM che. ahIM pANI jaLa puravaThA para AbohavAnA pheraphAranI tapAsa AdhAra rAkhe che. jemake vadhu vRSTi ke varSAnI asara saritAo para svAbhAvika rIte thAya, je nadIonI bhekhaDonA sarvekSaNathI samajI zakAya. emAM yAda

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Vol-1, XXIX gujarAtamAM prAgu-itihAsa 127 rAkhavuM paDe ke vadhu varSA-varasAda eTale dhovANa ane varSonI UNapa ke kheMcane kAraNe nadIpaTamAM kAMpa ThalavAI purAI jAya ane AthI navaracanA thAya. vaLI mATI parIkSaNathI paNa hyumika esiDanI vadhAreochI mAtrA dekhAya. emAM vadhAro vadhu vanaspati sUcave che. jo parAgakaNa maLI Ave to phUla ane enI vanaspati aMge jANI zakAya. TUMkamAM asthi, zaMkhalA, vanaspatijanya avazeSo, mATI, vaheNa prakriyA vagerenI madadathI AbohavA aMge jANI zakAya che. tatkAlIna havAmAna niHzaMkapaNe AjathI bhinna hatuM. e ativRSTivALuM hatuM ane A kAraNe e samaye gADha vanapradeza-araNyo hato. kALiyAra, baDAsiMga, mRga, jaMgalI gau, mahiSa, Dukkara, hasti ane hiMsaka prANIo vanamAM vicaratAM hatAM. jo ke A kALanAM prANIonAM azmibhUta avazeSo haju gujarAtamAMthI maLelA nathI. parantu mahArASTranI pravarA, godAvarI, ghoDa ane bhImA jevI saritA taTethI pazuonA azmibhUta avazeSo maLelA hovAnA A AdhAre anumAna kareluM che. AdimAnavanuM koI asthipiMjara maLeluM na hovAthI e aMge kazuM kahI zakAya tema nathI. eNe ghaDelAM hathiyArothI sAbita thAya che, ke te ojAra ghaDatara hunnaramAM sakSama hato ane anna arthe temaja pratikuLa paristhitimAM sthaLAMtara karato. enI ojAra ghaDatara hunnaranI sakSamatAthI samajAya che ke AdimAnava gujarAtamAM paripakava hato ane ghaDataranI takanika jANato hato. ane AthI ja kahI zakAya ke e dharAno sauthI prAcIna mAnava na hato. sAMkaLiyAe AphrikAnA pUrva kinArethI Avyo hovAnI saMbhAvanA jaNAve che ane eno samaya 50,000 thI 1,50,000 varSa pUrveno mAne che.29 gujarAtanA AdiayuganAM ojAro Azare lAkhathI doDha lAkha varSa prAcIna che. A kAlanI saritAo vistRta paTavALI ane jaLathI bharelI hatI. emanI bhekhaDo paNa AjanI jema khAsa UMcI na hatI. kharekhara to sAMkaLiyA jaNAve che, tema A Adya nadIo AnI pUrve baMdhAyelA dariyA upara nIkaLI AvelA khaDako para vahetI hatI ane AjanI UMcI bhekhaDo astitvamAM AvI na hatI.30 TUMkamAM kahI zakAya ke AdimAnava jaMgalamAM bhaTakato, zikArI hato ane anna mATe kaMdamULa ane prANIo para AdhAra rAkhato ane A kAma mATe eNe ojAra ghaDatarakalA hastagata karI hatI. madhyAmayuga : AdimAnava karatAM madhyAzmayugamAM mAnave pragati sAdhI hovAnuM enA paththara-ghaDatara hunnara parathI samajAya che. kudaratI paribaLo paNa badalAyelAM che. madhya ane dakSiNa gujarAta, kaccha temaja saurASTranI saritAonI bhekhaDomAM cUnAthI ghaTTa thayela veLunuM bIjuM paDa dekhAya che, je upara badAmI mATIno stara hoya che. Ama be navA stara + kALI mATIno stara ema pAMca starIya bhekhaDa dekhAya che, je pheraphAranI sUcaka che. AdyapASANayuganA aMtabhAge khUba bhAre vRSTi thatI hatI. nadIoe paTane retI ane upalothI bharavAnuM cAlu karI dIdhuM. joke kAMpamAM agAunA jevA moTA upalone badale eTale ke basAlTane badale akIka jevA nAnA nAnA upala have dekhAya che, je parathI lAge che ke varSAvRSTi atibhAre nahIM hoya jethI DuMgaro-TekarIo parathI moTA upalo ghasaDAI Ave. AthI ghaTTa veLu ane blAsTanA khaDakomAM udbhavelA akIka, raMgIna ghaTTa potavALA upalo ghasaDAIne AvavA lAgyA hatA. TUMkamAM ochA

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128 jitendra bI. zAha, ravi hajaranIsa SAMBODHI-PURATATTVA varasAdane lIdhe saritAonA paTa agAunI jema bharAI jatA agAunA stara paNa DhaMkAI gayA. A kAlanA mAnavanAM ojAro ane enA samakAlIna pazu amabhUta avazeSo, prathama mahArASTramAM pravarA ane godAvaronA taTapradezamAM nevAsA ane kALegAMva AgaLathI sAMpaDyA hatA. bhAratIya purAtattva sarvekSaNakhAtAnA suMdarAjanane kheDA jillAmAM mahorane kAMThe madhyAzmayuganAM ojAro maLyAM. pAvAgaDha pAse veLu TiMbA (dunes) che, jayAMthI khurapI, cappanA lAMbA pAna, garbha-saMkula, azma chalakA, nAnI ama chINI vagere prApta thayelAM che. madhyayugIna purAtattva mATe mahattvano gaNAto cAMpAnera/pAvAgaDhano utpanana ane sarvekSaNa abhyAsa pro. Ara.ena.mahetAe hAtha dharela. A samaya daramyAna A vistAranA prAgaiitihAsa para prathama prakAza paDyo. A azma ojAro kvArTajhamAMthI nirmita hoI, pAvAgaDha madhyAzmayugane Azare 40,000 varSa prAcIna Therave che. saurASTranA rojhaDI (zrInAthagaDha) pAsethI A kAlanAM ojAro maLelAM che. kacchamAMthI tatkAlIna hathiyAro maLyAM emAM kreparsa - khurapI vadhu che. bhujoDI pAsethI ojAro maLyAM che, temAM ghaNAkharA AdiazmayuganA aMta bhAganAM hovAno saMbhava che. kacchanA bhUkhIpaTamAMthI lAMbA cappanAM pAnAM maLelAM hoI e lIlA jesparamAMthI banAvelA che. bhujoDI sivAya lAkhoMda,kerA, bITA, dezalapara, mathala vagere sthaLoethI chuTAchavAyAM ojAro prApta thayAM che. A ojAro khurapIsvarUpanAM hoI, prastaranA eka chAlanA cheDe hAtho ane bIjA cheDe chIlakA kADhelI dhAra jovA maLe che. prAcInAzmayuga karatAM madhyAzmayuganAM ojAro sAdhAraNa nAnAM che. ane ghaTTa surekha potavALA carTa, jespara. akIka ane philanTamAMthI nirmita che. dakSiNa gujarAtamAM aMbikA nadI ane jhaghaDiyA (jillo bharUca) pAse akIkanI khANo che. A kAlanAM ojAro jADI-pAtaLI patarIo ke sapATa upalomAMthI banAvelAM che. Ama stara, havAmAna ane hathiyAronI banAvaTa madhyapASANayuganuM alaga astitva batAve che. ojAromAM jhADanI chAla tathA pazuzikAranuM cAmaDuM utAravA, ghasavA ke sApha karavA vividha skeparsa-khurapIo maLe che. mAnavanI pragatikuca jotAM e kadAca valkalo ke carma paherato thayo hovAnI saMbhAvanA che. prAcInAzmayuga ane aMtADmayuganI sarakhAmaNImAM madhyAzmayuganAM sthaLo ochAM maLyAM che. aMtAmayuga : aMtAzmayuganAM aneka sthaLo gujarAtamAMthI maLelAM che. A yuganI saMskRti tAmrAzmakAlanI mApha kAlIna tathA kaMIka anukAlIna hovAnA eMdhANa maLyAM che. robarTa phUTane aMtAzmayuganAM ojAro kaDIpAse, sAbarataTe, vAtraka kAMThAmAM, orasaMga ane hIraNa tIre maLelAM hatAM. A sivAya kIma ane tApInAM taTamAM, uparAnta okhAmaMDaLa ane vaLA pAse paNa sAMpaDyAM hatAM. khaMbhAta pAse kanevAlanA utpananamAMthI tAmrAzmakAlanA tharo nIcethI aAzmayuganAM ojAro maLelAM che. anyAzmayugIne ghaNA sthaLo khullAmAM, ane temAMnA ghaNAM sthaLo vAyuthI UDela vALanA TIMbA para ane hAlanI jamIna para hoya che. AthI lAge che ke, atyAyugIna mAnava hAlanA bhUpRSTha racanA thatI hatI tyAre ke te bAda raheto hato. atyAranuM bhUpRSTha, atyAranI AbohavA sUcave che. hAlanI vanaspati ane prANIsRSTine

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Vol-1, XXIX gujarAtamAM prAgu-itihAsa 129 lIdhe dakSiNa gujarAta ane bhAratanA ghaNA bhAgamAM kALI jamIna taiyAra thayelI dekhAya che. kALI jamIna nIce pILI mATI jovA maLe che. nadI kAMThe anyAzma yuganAM ojAro bhekhaDonA uparanA bhAga parathI maLI Ave che. jayAM agAsI thaI hoya tyAM paNa e prApta thAya che. tAmrAmkAlIna vasAhatonI samakAlIna keTalAMka anyAzmayuganAM lAMghaNaja jevA sthaLo darzAve che. anyAzmayuganI vasAhato eka mata anusAra Azare 13,000 varSathI Azare 4,000 varSanA gALAmAM astitva dharAve che." anyAyugamAM pASANa ojAro jyAM nirmANa thatAM e sthAnika sthaLethI A paththara maLatA nathI. AthI A manuSyo te meLavavA sthaLAMtara karatA hovA aMge zaMkA nathI. teo suzobhanArthe dariyAmAM thatuM DenTeliyama dUra dUra lAMghaNaja sudhI laI AvyA hatA. te ja pramANe tarasaMga zelAzraya vAsI acAmayuganA mAnava paNa DenTeliyama lAvyA hovAnuM spaSTa thayuM che. AthI mAlanI heraphera thatI hovAnuM samajAya che. ema.esa. yunivarsiTI opha baroDAnA purAvastuvibhAga dvArA hAtha dharAyelA loTezvara, ratanapura, kanevAla ane tarasaMganA utpananothI eMdhANa maLyAM che ke tatkAlIna mAnava pazupAlaka tarIke gheTAM, bakarAM vagere rAkhato. zikArathI paNa anna meLavato. jaMgalI bIyAM vATavAnAM prAthamika kRSinA eMdhANarUpa vATavAnA paththaro keTaleka sthaLethI maLyAM che. tema chatAM kRSi aMge kaMI jANI zakAyuM nathI. parantu eka abhiprAya anusAra DAMgaranA jUnA avazeSa atyAzmayuga jeTalA prAcIna samayamAM mukAya evA che. A kAlanAM asthipiMjaro lAMghaNaja loTezvara ane dhanasurAthI prApta thayA che, je zakyata: tatkAlIna mAnavajIvananI dhArmika vidhio sUcave che. zaMkhanAM ghareNAM ane zailacitro anyAyugIna kalAnAM ghotaka che. baLelAM pazu-pakSInA hADa-TukaDAo parathI e zekeluM ke pakaveluM mAMsa khAto hovAnuM lAge che. gujarAtamAM tAmrAzmakAlIna saMskRtionAM pagaraNa maMDAyAM tyAre paNa laghuazma ojAro vAparanArA mAnavano vasavATa keTalAMka sthaLe cAlu rahyo hato. mahesANA jillAnA lAMghaNaja najIka veLu TiMbAo AvelA che. ahIM anyAzmakAlIna TiMbA para utpanana hAtha dharAyeluM hatuM. jenAthI anyAzmakAlanI saMskRti ane mAnava jIvana para sAro prakAza paDyo che. lAMghaNajano anyAzmayuga Isu pUrve be hajAra varSa jeTalo prAcIna che. khodakAmamAM cauda jeTalI mAnava kabaro maLI AvI hatI. jemAM daTAyelAM asthipiMjaro ane kabaromAM aneka pazuonAM asthi paNa jovA maLyAM che. AthI e kAlamAM kayAM prANIonuM astitva hatuM e jANavuM sulabha banyuM. ahIM geMDA, haraNa, nIlagAya, gAya ke bheMsa jevAM prANIo hatAM, ema jaNAya che. baLelAM asthi tatkAlIna mAnava mAMsa zekIne khAto haze, ema sUcave che. tema chatAM ghara (jhUMpaDAM) nA koI avazeSa prApta thayA nathI. AthI lAge che, ke ghara-jhUMpaDuM bAMdhavAnuM ane jJAna na hatuM. lAMghaNajathI hathiyAromAM ardha-caMdrAkAra cappanA pAnAM, lAMbA chIlakA, laghu khurapIo, soyA ane karavatanI dhAra jevI patarIo maLI AvI che. azma ojAromAM banAvelA laghu bhAlA ane bANa vaDe e zikAra vacce amuka aMtarethI eno upayoga karI zakato ema lAge che. A hathiyAro carTa, kvArTajha, cAlsIDenI ane kAranelIyanamAMthI ghaDAyelo che. lAMghaNajanA upalA tharamAMthI thoDAka vAsaNonA TukaDA prApta thayelA che. ahIMno mAnava zikArI ane macchImAra hovAnuM lAge che. lAMghaNaja, Akhaja ane haripunA ukhananathI lAge che, ke A yuganA uttarArdhamAM mAnava mATInAM vAsaNo vAparato thayo haze; kAraNa upalA staromAM mAtra nAnA TUkaDA ke

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130 jitendra bI. zAha, ravi hajaranIsa SAMBODHI-PURATATTVA ThIkarIo ja maLe che. AthI e mATInAM vAsaNo banAvavAnuM zIkhyo hovA chatAM emAM khAsa koI pragati thaI hoya ema jaNAtuM nathI. eNe narama kALA paththara ghasI hathiyAro banAvavA temaja kvArTajhAITa jevA kaThaNa pASANane ghaDIne vRttAkAra banAvI beya bAjue ArapAra kANuM pADavAnI kaLA hastagata karI hatI, je AdhAre ha.dhI. sAMkaLiyA enA be upayoga sUcave che. 1. gadA tarIke laDavAmAM, 2. jamIna nAMgaravAmAM kAraNa tyAre haLanI zodha thaI na hatI. vadhumAM teo jaNAve che ke hajupaNa keTalA vanyajAtinA bhAratamAM ane anyatra loko prAthamika DhabanAM jamIna nAMgaravAmAM AvAM hathiyAra vApare che. jo ke sAbarakAMThAnA zailacitronA eka citrane AdhAre AvA upakaraNano pAchaLanA samaye khetaramAMthI pakSIothI pAkane bacAvavA gophaNa tarIke thato hovAnuM sAbita thayuM che.... jenI carcA AgaLa karelI che. DI.bI. citale dvArA DAMgamAM paNa AvAM upakaraNa zodhAyAM che. A kAlanAM ojAro tapAsatAM samajAya che, ke agAu karatAM ghaDatara prakriyA pheraphAravALI che. have kadamAM te atyaMta nAnA ane nAjuka tathA dekhAvamAM raMga-beraMgI surekha lAge che. A laghu-azma ojAro tarIke oLakhAtA hoI, te banAvavAmAM akIka, cAlsIDenI, kArnilIyana ane lAla akIka jevA paththarono upayoga thato. mukhyatve A ojAro be vibhAgamAM vaheMcavAmAM Ave che. 1. Geometrical - bhUmitikAra jemAM ardhavRtta ane judA judA khUNA prakAranAM ojAro. 2. Non-geometrical - anya prakAranAM hathiyAro. cappanA pAnA, laghu khurapIo, ardhacaMdrAkAra ane nikhaMNiyA vagere ojAro hatAM. haDappIyakAlamAM paNa cappanA pAnA jevA hathiyAro zarUmAM carTamAMthI banAvelA jovA maLatAM hovAthI sAMskRtika saMdarbha mahattvano banI rahe che. saurASTramAM rojaDI (zrInAthagaDha) saMkajapura, gAriyA ane raMgapura jyAre kacchamAM aMjAra, ratanAla, ukaraDA, gAgalapura, berAjA, bhujoDI ane mathala jevA sthaLoethI anyAzmayuganA ojAro prApta thayAM che. gujarAtamAM atyAra sudhI anyAzmayuganI saMskRtinA saMzodhana mATe mukhyatve azma ojAra para AdhAra raheto. paraMtu A kAlanI gujarAtanI agatyanI zodha eTale zailacitro che, je AdhAre mAnava jIvana, mAnyatAo, raheNIkaraNI, AkheTa, hathiyArono upayoga, samakAlina prANIo, raMga banAvavAnI takanIka, kalAsUjha ane anya bAbato para prakAza paDyo che. allAmIrA (spena) ane lezkonI guphA (phrAnsa)nA guphAcitronI zodha bAda vizvanA anya dezomAM zailacitro aMge zodhakhoLa thatI rahI ane phrAnsa, speIna temaja AphrikAnI jema bhAratanA keTalAka bhAgamAMthI khaDakacitro maLI AvyAM che. bhAratamAMthI ahiroDA, bhesora, rAjapura, bAMdA, paMcamaDhI, sAgara, bhANapurA, caMbala, koTA, bhopAla, bhImabeTakA, rAisena ane anya keTalAMka sthaLothI zailacitro maLI AvyAM che. vistArabhayathI AkhI yAdI Apela nathI. gujarAtamAM anyAyugIna mAnavavasavATa sthaLo, zailaguphAo ke zailAzrayo pramANamAM ochA

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Vol-1, XXIX gujarAtamAM prAgu-itihAsa 131 maLyA hoya to paNa A kAlanA manuSyanI kalAsUjha ane kSamatA batAvatA kalA avazeSo dhIre dhIre aMtADmayugina sthaLoethI maLavAno prAraMbha thaI cUkyo che.39 have hathiyAro uparAnta AvA namUnAo prakAzamAM AvavA pUro saMbhava ane avakAza che. jarUra che, vadhune vadhu sarvekSaNanI. daSTAMtarUpe ema.esa. yunivarsiTI opha baroDAnA purAvastuvidyA vibhAganA pUrva vaDA pro. vizvAsa sonavaNene caMdrAvatImAMthI prastaranA garbha (Core) para kotaraNIvALI bhAta maLI che. A bhaumitika bhAta suvyavasthita ane surekha che. azmasAdhano dvArA ja dorelI-kotarelI kRti rekhA ane rUpa abhivyakti karavAnI mAnava kSamatAnI dyotaka che. ravi hajaranIsa Ane AdhAre gujarAtamAM takSaNakalAno prAraMbha anyAzmakAlathI thayo hovAnuM mAne che.41 gujarAta rAjaya purAtattvakhAtAnA ravi hajaranIsa ane emanI zodhaTukaDInA bI.esa. makavANA, ema.DI. varmA ane o.pI. ajavALiyA (phoTogrAphara) vagere sabhyone gujarAtamAM zailAzraya citronA sagaDa sAMbarakAMThA jillAnA sAMpAvADA, lAloDA, rUThI rANIno mahela, IDara tathA gaMbhIrapurA mukAme maLyA. gaMbhIrapurAnA bauddhatUpa citro e zailAzrayamAM citrita bauddhasUcitro bhAratabharamAM prathamavAra maLelAM che, jenuM aitihAsika mahattva che. ahIMnA aMtAzmakAlina zailAzrayomAMthI laghuazma ojAro paNa prApta thayelAM che. kula 13 jeTalA zailAzrayomAM 71 citro zodhAyAM che, je anyAzmakAlathI aitihAsika kAlanA che. temAM jaLapakSI, zvAna, mayUra, gajasvAra, sUrya, caMdra, pratiko, Ayudha, vAjIMtra ke nAva, hAthanA paMjA ane phUlapAnavela, gadAno zirobhAga ke gophaNiyA paththara, vRSa ane sUrya, zaMkhalipI, bAyasana, mahiSamastaka ane brAhmI akSaro vagere che. | lAloDAnI nAnA manuSya ke bALakanI ATha paMjAnI chApo jhAMkhA lAla raMganI che. AvI kApo, phrAnsanA pecameleM ane gArgAsananI guphAomAMthI maLelI che. lAloDAnI chApo raMgamAM hAtha nAkhI sIdhI chApa upasAvelI (Red washed) che. phrAnsanI chApo uttara prAcInAzmayuganA samayanI che. hAlamAM paNa AdivAsI lokomAM A prathA jovA maLe che. ahIMnA mahiSa-zIrSane phrAnsanA doradAgnenA monTIgo pAsenI lAzkoza guphAmAM citrita prANIonA mastaka sAthe sarakhAvI zakAya che. sAMpAvADAnA jaMgalI vRSabhanA eka citramAM DAbA ziMgaDA para sUryano vRttAkAra kADhelo che, je vRSabhanA be zRMga vacce vRttAkAra sUryanA prAga-aitihAsika Aphrikana zailacitrakalAnI yAda Ape che. sAMpAvADAnuM citra saMpUrNa gerU raMga bhareluM borDara rekhA vagaranuM che. (The artstyle is red washed without apparent outline) (juo citra) ma.sa. vizvavidyAlaya, vaDodarAnA purAvastuvidyA vibhAga dvArA tarasaMgathI zailacitro zodhAyAM hatAM, jemAM cakra triratna, svastika, trizUla, dIvo, zaMkhalipi, sUrya-candra, sUrajamukhI sarakhuM phUla ane gAya-vAcharaDuM vagere citro che. valabhIpura pAse camAraDI ane vaDodarA jillAnA tejagaDha pAsethI paNa zailacitro maLyA che. Ama mAnava jIvananI saMgharSa ane viTaMbaNAo vacce paNa anyAzmayugamAM pragatikUca cAlu rahI hatI. navAgyayugamAM ojAro banAvavA ke ghaDavAnI rItamAM pheraphAra jovA maLe che. have patarI ke gAbha parathI hathiyAra kADhIne ghasavAmAM AvatuM. dhAravALo bhAga cakacakita lIso ane koIkavAra AkhuMye

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132. jitendra bI. zAha, ravi hajaranIsa SAMBODHI-PURATATTVA hathiyAra ghasIne surekha banAvavAmAM AvatuM hatuM, jemAM azmakuhADI, pAnuM, chINI, raMdAnuM pAnuM ane hathoDI prakAranAM hatAM. teno upayoga jhADa kApavA, cIravA ke ghasavA mATe thato. have navAgyayugano mAnava mATInAM vAsaNo banAvavAno hunnara zIkhI gayo hato. pazu-pAlana ane prAthamika kRSine kAraNe e TharIThAma thayo hato. ane grAmyavasavATa eTale purAnivezanA tabakkAmAM suthArIkAma ane parNakuTI vagere banAvavA lAgyo; jo ke AgaLa joI gayA tema kAzmIranA burjhahomanA utpananathI tyAMnA lokonI bhoyarAmAM rahetA hovAnuM ane culhA dvArA garamI meLavatA hovAnuM samajAya che. anyatra jhuMpaDI bAMdhIne rahetA hovAnuM lAge che. gujarAtamAMthI jokhA samIpathI A kAlanuM eka ojAra prApta thayuM hatuM. parantu kuhADInAM pAnA, raMdAnAM pAnAM ke chINI vagere ojAra maLyAM nathI. AthI A aMgenI vadhu carcA asthAne che. aMtamAM kahI zakAya ke tAjetaranI prAgaautihAsika zodhakhoLathI have azmaojAro uparAnta purAvazeSo ane kalAnA namUnAo maLatA jAya che. caMdrAvatInA gAla paranI bhaumitika kotaraNI, zailacitro ane azmibhUta zAhamRga IMDA-kocalA paranI bhAta vagere sauMdaryapUrNa, suzobhanAtmaka, pratIkAtmaka, gahana sAmAjika, dhArmika ane kaMIka aMze Arthika bAbatonI sUcaka che. je parathI lAge che ke ukta vastuo have abhyAsArthe purAtattvano umaro oLaMgIne kalAnA itihAsanA kSetramAM praveza pAmI cUkyA che. pAdaTIpa 1. (saM.) parIkha ane zAstrI, gujarAtano rAjakIya ane sAMskRtika itihAsa, graMtha-1, aMtargata hasamukha sAMkaLiyAnuM prakaraNa-4, pR. 57 - 2. uparyukta pR. 57 3. ravi hajaranIsa, gujarAtanI zilpa-samRddhi eka vihaMgAvalokana, amadAvAda, 1999, pR.3 4. uparyukta, pR. 3 5. uparyukta, nivedana, pR. 11 - 6. uparyukta, nivedana, pR. 11 7. uparyukta, nivedana, pR. 11 8. uparyukta, pR. 3 9. sAMkaLiyA, uparyukta, pR. 58 10. 2.nA.mahetA, bhAratIya prANitihAsa, amadAvAda, 1982, pR.5 11. sAbarakAMThAmAM sApAvADA, lAloDA, gaMbhIrapurA ane IDara zailacitronA kendra hatA. juo (A) ravi hajaranIsa ane ema.DI. varmA "sAbarakAMThAmAM maLI Avela prAcIna guphAcitro", "kumAra', phebru. 1979, pR. 43 thI 45 (B) uparyukta lekhako, "sAbarakAMThAnA prAcIna zailAzrama citronuM samayAMkana", "vidyApITha" jAnyu-phebru. ( 1981, pR. 47 thI 49

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Vol-1, XXIX gujarAtamAM prAgu-itihAsa 133 (C) uparyukta lekhako sAthe dAte, "sAvaradia FdhIta prAcIna guvige" (marAThI), "varI', 2, govarovara, 1982. (D) Ravi Hajarnis, "Gambhirpura Rock Painting", Behchardas Doshi Commemoration Volume, (Ed.) M.A. Dhaky and Jain, Varanasi, 1987, Page 100 to 103. (E) ravi hajaranIsa, "sApAvADAnA zailacitramAM vRSa ane sUrya", "sAmIpya", pu. 11, aMka 1-2, 1994, pR. 3 thI 5 (F) Ravi Hajarnis "Bull and Sun in the Rock-Art of Sapawada. Gujarat". Journal of oriental institute, Baroda, "Volume 44, No. 1-4, Sept. 1994, June 1995 issue, PP. 187 to 189. (G) Ravi Hajarnis, "Some Prehistoric Rock Paintings of Sabarkantha, Gujarat" Rashikbhai Parikh Commemoration Volume" Part-I and II, Ahmedabad, 2005, p. 477 to 480, (Ed) Patel and Shelat. 12. Sonawane V.H. Rock Paintings at Tarasang, Journal of Oriental Institute, Vol. 31, 1982, P. 293 to 299. 13. 2.nA. mahetA, uparyukta, pR. 88 14. uparyukta, pR. 89 15. uparyukta, pR. 88 16. uparyukta, pR. 89 17. uparyukta, pR. 19 92. P. Ajitprasad, "Pleistocene stratigraphy and the prehistoric Archaeology of the Orsang Valley". Ph.D. Dissertation, Department of Archaeology, M.S. University of Baroda, Vadodara (Unpublish. Also by the same author, "Palaeolithic Cultural Sequence in the Sukhi Valley, Gujarat, "National Seminar on the River Valley Culture at IGRMS, Bhopal, 1998. pp. 1-10, Indira Gandhi Rashtriya Manav Sangrahalay (Unpublished). 19. uparyukta-2, pR. 2 20. ravi hajaranIsa ane varmA, sAbarakAMThAnA prAcIna zailAzraya citronuM samayAMkana, "vidyApITha", jAnyu.-phebru. 1981, pR. 47-49 21. (saM.) parIkha ane zAstrI, gujarAtano rAjakIya ane sAMskRtika itihAsa, graMtha-1, aMtargata hariprasAda zAstrInuM prakaraNa-1, pR. 6 22. uparyukta, sAMkaLiyA, pAdaTIpo-4, pR. 68, tathA Sankalia H.D., Prehistory and Protohistory in India and Pakistan, Bombay, 1962, Introduction pp. XIX-XXII. 23. R.B. Foote, The Foote Collection & Indian Prehistoric and Protohistoric Antiquities, Cata logue Raisonne, pp. 207. 24. (saM.) parIkha ane zAstrI, uparyukta, pR. 70

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134 jitendra bI. zAha, ravi hajaranIsa SAMBODHI-PURATATTVA 25. bhagavAnadAsa makavANA, "pAla utpanana", "pathika" aMka 1-2-3, okTo-nave-Dise. 1999, pR. 4 26. uparyukta, pR. 5 29. R.N. Mehta, Champaner, A Mediaeval Capital, pp. 5 to 8 and map p.4, Also, Prehistoric Champaner, Vadodara, 1977 28. ra.nA. mahetA, bhAratIya prAgaitihAsa, pR. 83 Re. H.D. Sankalia, "Early Man in India", "Journal Asiatic of Bombay", vol. 41-42, pp. 173 30. sAMkaLiyA, gu.rA.sA.I. uparyukta, pR. 72 31. 2.nA. mahetA, uparyukta, pR. 46 32. V.H. Sonawane, "Archaeology of Gujarat", A General Review, "Pathik" octo-Nov.Dec. 2000 issue 1-2-3, p. 151. 33. 2.nA. mahetA, uparyukta, pR. 66 34. H.D. Sankalia, Excavation at Langhnaj, Part-1, pR. 204 34. Sonawane, Ibid, p. 151 38. Suman Pandya, Desai and Makwana, Excavation at Dhansura, A preliminary Announce ment, "Man and Environment" vol. xv, no.2, 1990, pp. 42-43. 37. sAMkaLiyA, gu.rA.sA.I., uparyukta, pR. 87 38. ravi hajaranIsa ane varmA, uparyukta 39. ravi hajaranIsa, gujarAtanI zilya samRddhi eka vihaMgAvalokana, pR.3 80. V.H. Sonawane, Symbolism of the Engraved Design on the Mesolithic core of Chandravati, "Pragdhara" (Ed., Tiwari, No.6, Journal of the U.P. State Archaeological Organization, 1995-96, pp. 33-39, plate-9) 41. ravi hajaranIsa, uparyukta

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gujarAtamAM prAgu-itihAsa 135 Vol-1, XXIX gujarAtamAM zailacitrakalAnAM kendro citra-1 caDa utara patarIyukta azulIyana hAthakuhADI ke azmabhurika citra-2

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dharma ane kalA niraMjanA zvetaketu vorA dharma, pratyeka dezanI saMskRtine ghaDanAruM mahAna vidhAyaka baLa che, te manuSyanA AnaMdane lUMTI lenAruM ke tenI muktine avarodhanAruM tattva nathI. pazcimamAM tattvajJAna mAtra buddhinA vilAsarUpa che ane kalAjJAna mAtra bhAvasaMtarpaNa karanAra che evo sAmAnya khyAla pravarte che, paraMtu bhAratavarSamAM tattvajJAna mokSarUpa puruSArthane sAdhanAruM ane kalAvijJAna AdhyAtmika AnaMdanuM nimitta che. hiMdudharmanuM dRSTAMta laIe to ApaNo dharma kevaLa ekapakSI ke ekAMgI nathI. dharme jIvanane saMyamita banAvavA prayatna karyo, paraMtu teno sAttvika AnaMda lUMTI lIdho nathI. kalAnuM AdhyAtmika tattva lopAya nahIM ane niyamanamAM rahIne tenuM sarvotkRSTa sauMdarya te pragaTAvI zake e rIte kalAnA vikAsanI yogya bhUmikA paNa dharme ja taiyAra karI ApI. ApaNA dezanI pratyeka prAcIna mahAna kalAkRtinA sarjanamAM dharmanI ja preraNA rahelI che. zilpanA sarjanamAM dharmanI ja preraNA rahelI che. zilpa-sthApatya, saMgIta, nRtya vagere mahAna kalAono udbhava ane vikAsa dharmanI sAthe sAthe ja ane dharmanA saMdarbhamAM thayelo che. vaidika RcAo dharma ane kavitAnA abhinnatvanI sUcaka che. vedomAM dharma ane kavitAnuM prAgaTya eka sAthe thayeluM jovA maLe che. dharme potAnI abhivyakti kavitAnA upAdAnamAM zodhI che, to kavitAe dharmanA satya, ruci, kalyANakArI svarUpanuM yathAtatha pratibiMba jhIlyuM che. zrI aMbAlAla purANIe prAcInakALamAM kalAsarjanamAM AdhyAtmika bhAvanAnA utkarSamAM kalAnA viniyoga vize aucityabharyuM Alekhana karyuM che. ApaNAM AdhyAtmika zAstromAM AdhyAtmika bhAvanAnI siddhi kalA dvArA ja thayelI varNavelI che. saghaLA anuSThAnanA prayogomAM-yajJavedi, maMDalaracanA, maMtravinyAsa, bIjavinyAsa, varNavinyAsa vagere sarva kriyAomAM kalAnuM jJAna ane anuSThAna ghaNAM Avazyaka manAya che. vaLI AgamomAM biMba athavA pratimAvidhAna, maMdiranirmANa, pratiSThAvidhAna vagere mATe mUrta kalAono AdhyAtmika vidyA sAtheno saMbaMdha spaSTa rIte svIkAravAmAM Avyo che. + pUrva nidezaka, bauddha darzana vibhAga, gujarAta vidyApITha amadAvAda-380014.

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Vol-1, XXIX dharma ane kalA 137 prAcInakALathI kalAsarjanamAM dharmanI preraNA : dharma e pratyeka rASTranI asmitAne - saMskRtine ghaDanAruM mahAna preraka baLa che. prAgaitihAsika yugamAM mAnave guphAo ane zailAzrayomAM pazu, AkheTanAM dazyo ane cihno-pratIko khUba vAstavikatAthI dorelA, te ApaNane vizvanA, bhAratanA ane gujarAtanA bhAgomAMthI maLI AvyA che.' Adima jagatanuM AvuM jussApUrNa jIvaMta Alekhana adbhuta che. ! te dhArmika, sAmAjika ane Arthika mAnyatAo ane paristhiti batAvatI nirakSara mAnavanA rojiMdA jIvananI kitAba che. prAgaitihAsika samaye dhArmika mAnyatAsvarUpe, dharmanI zarUAtanA, mAnava saMskRtinA uSaHkAle vizvanI aneka vasAhatomAMthI pakavelI mATInI vipula mAtRkAonI AkRtio-pUtaLIo maLI AvI che. Ama A kALe mAnava kalA sAthe saMlagna hato ane e pAchaLa dhArmika mAnyatAo hatI, jenA saMdarbha have ApaNane prApta thayA che. siMdhu-saMskRtimAM pracalita mAnyatAo - dharma ne kalAno khyAla avazeSarUpa maLelI vividha mudrAo ane mudrAMkano-jemAM pazupati, naMdI, liMga, yonI, mAtRkAo, svastika ane yogika Asano batAvatI AkRtio vagere koI zaivadharmanA pUrvakAlIna prakArano ane mAtRkA-zaktisaMpradAyano nirdeza karI jAya che. je prakAro vizeSa mahattva dharAvatA hoya ane pachInA kALe dhArmika svarUpe paraMparAmAM sAkAra thayA hoya to e zakyatA nakArI na zakAya. yogika AsanovALI AkRtio AgaLa jatAM yoga-sAdhanA svarUpe mUrta thaI hoya. gujarAtanA siMdhusaMskRtinI nagavADA vasAhatanA ukhananamAMthI mATInI mAtRkAdevInI eka pratimA maLI che. je gujarAtamAMthI prApta sauthI prAcIna mAtRkA-pratimA kahI zakAze. vaidikakAle mAtRkAdevI 'pRthvI' tarIke ane samaya jatA e aditi, prakRti, durgA, gaurI, kAlI, bhavAnI, cAmuMDA, mahezvarI, kAlarAtrI, kAtyAyanInA vividha svarUpe oLakhAI. siMdhu saMskRtimAM agnipUjA ane vRkSapUjAnAM pramANo maLyAM che, je vedakALamAM ane AjasudhI paraMparAmAM sacavAyelAM jovA maLe che, je pAchaLa dharmanI vibhAvanA spaSTa che. vedakAlIna saMskRtimAM "zilpa' zabda Ave che. jenA artha vividha che. samaya jatAM prAcIna bhAratamAM A arthamAM "rUpa' zabda vaparAto; ApaNI bhASAmAM Aje 'rUpagaDha' zabda pracAramAM che. aitareya brAhmaNamAM 'zilpa' zabda mUrti, darpaNa, vastu, ghareNAM, ratha vagere-ghATa ApavAnI kalA arthe prayojAyo che. kauzItakI brAhmaNamAM varNita "zabda' traNa prakAre nRtya, gIta ane vAdana mATe sUcavAyo che." taittirIya, brAhmaNamAM kalAtmaka racanAo uparAMta hastakalA udyogano paNa samAveza karavAmAM Avyo che. A sivAya agnipurANa, skaMdhapurANa-mAhezvara khaNDa," viSNudharmottara khaNDa, 9 garuDapurANa, 10 bhaviSyapurANa,11 matsyapurANa,12 bRhadasaMhitA, 13 vageremAM kalA aMge jaNAvela che. zukranIti dharmazAstrano prAcIna graMtha hoI, emAM dharma-nIti sAthe mUrtividhAnane paNa sthAna apAyuM che.* amarakoza kalA-dharma artha zilpa mATe Ape che. abhidhAna ciMtAmaNimAM hemacandra, zilpamAM

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138 niraMjanA zvetaketu vorA SAMBODHI-PURATATTVA kalA ane vijJAnano samAveza kare che. bauddhadharmamAM keTalAka graMtho pratimAvijJAna(Iconography)nI carcA kare che. sAdhanamAlAmAM bauddha zilpavidhAnanI mAhitI apAI che. jyAre vAstusAra, AcAra dinakara, nirvANakalikA ane pratiSThA sAroddhAramAMthI jaina pratimA vidhAnanI vigato prApta thAya che. TUMkamAM aMte jaNAvavAnuM ke vaidika-sAhityamAM zilpa' zabda ghATa, svara ane gati batAvatI kalAo mATe prayojAyo che. ApaNe AgaLa joI gayA ke kalA pAchaLanuM preraka-baLa prAgaitihAsikakALathI laI Aja sudhI "dharma' rahyo che. dharma aMtargata kalA enA vividha arthe prabhu pAse pahoMcavAnuM sopAna che. pratimAnI vyutpatti zabdakalpadrumakAra Ape che tadanusAra "prabhunA saguNa svarUpa ke rUpone kalAmAM pratIko dvArA mUrta karavAmAM Ave che." dharmanA AnuSaMge vividha kalAono vikAsa : manuSyanuM citta be prakAranuM hoya che : bodhapradhAna ane bhAvapradhAna. bodha vastu para prakAza pADe che, tyAre bhAva temAM rasavRti pragaTa kare che. bodha ApaNA caitanyane jAgRta kare che jayAre bhAva ApaNA AnaMdollAsanI vRtine saceta banAve che. kalAvijJAnanuM adhikArI citta bhAvapradhAna vargamAM paDe che. paramezvarapadanA vaibhavanuM umilana eTale prakAza karavAmAM zabdabrahmarUpa sAdhana levAmAM Ave che tyAre saMgItakalA ane kAvyakalAno udaya thAya che. jyAre te vaibhavanA prakAza sAru rUpabrahmano Azraya levAmAM Ave tyAre citrakalA ane sthApatyakalA vagereno AvirbhAva thAya che. jayAre pratyaya athavA jJAnabrahmano Azraya levAmAM Ave che tyAre asAdhAraNa sAmarthyavALI, manana vaDe trANa karanArI maMtrakalA pragaTa thAya che. zabdajanya kalAo amUrta varganI che. temAM kevaLa dhvani athavA nAdarUpa zabda vaDe saMvAda utpanna karanArI kalA saMgItakalA che ane vAcaka zabda vaDe rasa utpanna karanArI kalA te kAvyakalA che. jJAnajanya kalA eTale bAdhya kriyAthI utpanna thanArI maMtrakalA mUrtAmUrta varganI che. te prasaMge zabdano Azraya le che, prasaMge rUpano paNa Azraya le che. bhAratamAM saMgItakalAno udeza nAdabrahmanI upAsanA gaNAya che. nAda vaDe brahmane, anaMtane prApta karavAno ane saMgItamAM tene vyakta karavAno uddeza rahelo che. ApaNA mahAna saMgItakAro badhAya bhakto hatA. jIvananI maryAdAo vaTAvI jaIne zAMta mAnavane anaMta tattva sAthe saMvAdI banAvavo e saMgItanI carama prApti che. e siddha karIne kalA tarIke saMgIta, mAnavanI unnatimAM amUlya phALo Ape che. ApaNI hindI nRtyakalA ane cIna, jApAna, misara, yunAna tathA AphrikA-amerikAnA mULa vatanIonuM nRtya prathama dharmabhAvanAmAMthI je pragaTyuM che. sAmaveda e saMgItazAstrano ja graMtha che. zAstra pramANe jotAM mahAmuni nArada paralokamAMthI nRtyakaLAne A lokamAM prathama lAvyA. zrIkRSNa kALInAganI phaNA upara nRtya karyuM hatuM, tathA gopIo saMge rAsalIlA racI hatI. mahAdeva potAnI

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Vol-1, XXIX dharma ane kalA 139 patnI pArvatI samakSa tAMDava tathA lAsyanRtya karatA hatA. vedonA vakhatamAM loko khullA medAnomAM nRtya-samUhanRtya karatA hatA. agnipurANa, viSNupurANa, mArkaMDeya purANa vageremAM nRtya vize saMkhyAbaMdha ullekho maLe che. kAlie mahiSAsura rAkSasane mAratI veLAe raudranRtya karyuM hatuM. indra pAse gAyana-vAdana ane nRtya mATe cosaTha gAMdharvo tathA apsarAo hatAM. tenI citrasenA nAmanI prakhyAta nartakIe arjunane nRtyakaLA zIkhavI. arjune pote paNa virATa rAjAnI putrI uttarAne guNaveze nRtyakaLA zIkhavI hatI. narasiMha, mIrAM vagere potAnA iSTadevanI mUrti sanmukha bhAvAvezamAM nRtya karatA tevA ullekha jovA maLe che. cIna, jApAna, misara, siyAma, jAvA, bAli vagere prajAomAM maMdiramAM deva-devI samakSa nRtya karavAnI prathA pracalita hatI. yuropa-amerikAmAM kalAsikala-DAnsanAM mULa prAcIna grIsa yunAnanI dhArmika nRtyakaLAomAM che. bAIbalamAM paNa nRtya vaDe prabhunuM stavana karavAnA ullekho maLe che. A ja hakIkata IslAma ane sUphIvAdamAM jovA maLe che. mAzUkanA milananA AvezamAM nRtyo thatAM. nRtya-saMgItanI jema citra-sthApatya vagere kalAoe paNa dharmanA AnuSaMge je adbhuta vikAsa sAdhyo che te noMdhapAtra che. hiMdu devamUrtionuM viziSTa kalAvidhAna, bhItticitro, gopuramu, zikharo vagerenI kalAkArIgarI mugdhakArI che. ajaMtA-IlorAnuM kalAvidhAna bauddha dharmaprerita che, to jaina maMdiromAM ArasamAM kaMDArAyelA sAMpradAyika kathAprasaMgo kalAkAranI sUkSma kalAsUjha, kalApriyatA ane vismayakArI kalAnaipuNyanuM darzana karAve che. masjidonA zilpa-sthApatyamAM paNa ucca koTinI kalAsUjha jovA maLe che. dharmabhAvanAe kalAkArone preraNA ApI che ane mabalakha viSayavastu pUruM pADyuM che. kalAkRtinI nirmiti mATe rAjakIya ke sAmAjika jIvana karatAM dhArmika prasaMgoe kalAkArone vizeSa AkarSyA che, enuM kAraNa dharmanI sanAtanatA che. AthI ja yuge yuge dharma kalAkAranI cetanAne spaMdita karI che. potAnI kRti dvArA koI gUDha rahasyane, gopita satyanA sauMdaryane AkAra ApavA icchatA kalAkArane dhArmika bhAvanAo ja prerita karI zake. dharme kalAnA vikAsanI yogya sudRDha bhUmikA sarjI ApI che. kalAkAranI pAtratA mATe zilpazAstramAM ApeluM dhoraNa dhyAnamAM rAkhavA jevuM che. "kalAkAra vedono jANakAra hovo joIe. prabhubhaktimAM te AnaMda mANato hoya, svapatnI pratye tene bhAre anurAga hovo joIe. parastrIno to kalAkArathI sahavAsa paNa na thAya. vividha zAstrono abhyAsa e kalAkAranuM Avazyaka lakSaNa...15 kalAkAranI AvI yogyatA pratyeka yugane zobhA apAve tevI che. ativilAsI, strIsamUhono zokhIna, vyasanI ane dharmane sagavaDa pramANe prayojanAra uddAma puruSa kalAkAra hoya evI mAnyatA ApaNA kalAvidhAnane mAnya nathI. ahIM kalA ane nItino prazna udbhave che. paraMtu ekAgra, ekaniSTha ane sthira saMyata

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140 niraMjanA zvetaketu vorA SAMBODHI-PURATATTVA cittavALA kalAkAranI kalA niHzaMka siddhine vare che. Aje sarva pravRtio jIvanalakSI, jIvanane mATe ja hovI joIe tevI mAnyatA pravarte che. kharuM jotAM A vAta jIvananA bAhya svarUpanI che. e bAhya svarUpanI pAchaLa enI bhItaramAM je asalI vastu rahelI che tene vyakta karavI ane zAzvata AnaMdanI anubhUti karAvavI te kalAnuM kArya che. bhAratavarSamAM dharma ane kavitAnuM prAgaTya eka sAthe ja thayeluM jovA maLe che. vaidika RcAo nirdeza che ke dharmano viSaya kavitAne nIrasa ke zuSka nathI banAvato, tevI ja rIte kavitAnuM Rjutva sRSTinAM sanAtana rahasyone sahajatAthI abhivyakta karavA samartha banI zake che. eTaluM ja nahi, Aje ApaNe jene mahAna kavitA tarIke svIkArIe chIe, te kavitAnuM preraka-baLa dharma ja hatuM. vyAsa, vAlmIki, homara, sopholiksa vageree sadIo pUrve je kavitA ApI che tenA karatAM bahu ucca kakSAnI kavitA ApaNe meLavI zakyA nathI. A kavitAkalAmAM ja maMtrakalAnuM prAgaTya paNa joI zakAya che. prAcInakALamAM A ja kAraNathI kavine RSi ke krAntadraSTA tarIke oLakhavAmAM Avato. 'RSi darzanAtuM" - krAntadarzana kare te RSi. A maMtrakalA aMtarAtmAne thatA satyanA darzanane pragaTa kare che ane paramAtma tattva sAthe anusaMdhAna sAdhI Ape che. kalAnI sAdhanA yoganI sAdhanAthI bhinna nahi jaNAya. paraMtu moTe bhAge to kalAsarjakane thatI e lAgaNI aspaSTa hoya che. tene e viSayanuM jJAna hotuM nathI. paNa evA jJAnavALA paNa keTalAka kalAkAro hoya che. teo jJAnapUrvaka potAnI kalAnuM sarjana karatA hatA. potAnA sarjanamAM teo potAnA vyaktitvane ja sauthI agatyanA tattva tarIke rajU nahotA karatA. teo potAnI kalAne bhagavAnane arpaNa karavAno artha tarIke gaNatA. kalA dvArA teo bhagavAna sAtheno potAno saMbaMdha prakaTa karavA prayatna karatA. yuropanA madhyayugamAM kalAno A ja uddeza che ema svIkArAyuM hatuM. jemane ApaNe prAthamika yuganAM gaNIe chIe te citronA citrakAro, tathA madhyayuganA khristI devaLonA sthapatio paNa kalAno A ja uddeza jANatA hatA. bhAratanI zilpakalA, mUrtividhAna, citrakalA e ja mULamAMthI uddabhavelAM che, ane e AdarzamAMthI preraNA pAmelAM che. mIrAMbAInAM bhajano tathA tyAgarAjanuM saMgIta, aneka bhakto, saMto ane RSioe sarjeluM mahAna kAvyasAhitya, e badhAnI jagatanI mahAnamAM mahAna kalA-saMpattimAM gaNanA thAya che. mahAbhArata ane rAmAyaNa zeksapiyaranI ke bIjA koI paNa kavinI kRtio karatAM koI paNa rIte UtaratAM nathI ane e mahAkAvyo jemaNe yoganI sAdhanA karI hatI evA RSionI kRtio gaNAya che. jagatanI mahAnamAM mahAna sAhityakRtiomAM tathA AdhyAtmika graMthomAM gaNanA pAmelI gItA paNa, upaniSadonI peThe, koI yoganA anubhava vinAnA mANase lakhelI nathI ! hiMdamAM ke IrAnamAM, ke anya dezomAM saMto sUphIo ane bhakto tarIke paMkAyelA mANasoe je kAvyo

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Vol-1, XXIX dharma ane kalA 141 lakhyAM che te milTana ke zelInAM kAvyo karatAM kaI rIte utaratAM che ? - sAcI kalAno uddeza suMdaranuM prakTIkaraNa karavAno che. paraMtu e kArya teNe vizvanA pravAha joDe nikaTa saMbaMdha sAdhIne karavAnuM che. moTAmAM moTI prajAo ane sauthI vadhAre saMskRta thayelI jAtio kalAne haMmezAM jIvananuM aMga gaNe che ane tene jIvananI sevAmAM yoje che. kalA to jIvananI sarva pravRtiomAM prakaTa karavAnI jIvaMta saMvAditA ane suMdaratA che. 16 sauMdarya ane saMvAditAno A AvirbhAva pRthvI upara prakaTa thanAra divya sAkSAtkAratAnuM eka aMga che, kadAca tenuM sauthI zreSTha aMga che. sAcI kaLA samagratAvALI, akhaMDasvarUpa hoya che. te jIvana sAthe eka hoI tenI sAthe vaNAI gayelI hoya che. kalAnuM mULa satya jovA jAo to te prabhunA vizvarUpa AvirbhAvamAM raheluM mULa sauMdarya tattva ja che. kalA ethI leza paNa ochI vastu nathI. kalAkAre sAcA sauMdaryanuM sarjana karavuM hoya to prathama to teNe potAnA sarjananA viSayane potAnI aMdara jovo joIe, potAnI AMtara-cetanAmAM teno samagrapaNe sAkSAtkAra karavo joIe. e pramANe jyAre te potAnI kRtine prathama aMtaramAM prApta kare, tene tyAM dhAraNa kare tyAra pachI ja tene bAhyarUpa Ape e paNa yoganA jevI ja eka zista che. kAraNa ke evI AMtara gati dvArA kalAkAra sUkSma AMtara-pradezo sAthe gADha saMparkamAM Ave che. Adhunika kalA ane tenI bhUmikA : Adhunika kalAno AraMbha jenI pratiSThAthI thayo te phrenca citrakAra sejhAne kalAnuM zikSaNa lIdhuM na hatuM e sAcuM che. bIjA vizvayuddha pachI saMskAranAM sarva kSetromAM je ArAjakatA AvI tenI ghaNI asara kalAnA kSetramAM paNa thaI. paraMtu kalAnA kSetramAM je parivartana AvyuM che tenuM udhAra pAsuM moTuM che ema svIkAratAM paNa jamA pAsuM cheka mUlya vagaranuM nathI e ApaNe kabUla karavuM paDaze. be vastuo e maMthana-kALamAMthI prApta thaI che :17 1. kalAsarjakane potAnA aMtarAtmAnI preraNAnA prakAza upara AdhAra rAkhIne sarjana karavAnI sadaMtara svataMtratA, 2. kalAnI rajUAtamAM, AyojananA prakAramAM, eka prakAranI sIdhesIdhI-nirADaMbara-rIti. aneka doSovALI, ane aniSTa gaNAya evAM tattvovALI hovA chatAM "ati Adhunika kalA-bIjI kalAo peThe-vadhAre ne vadhAre aMtalakSI-AtmalakSI-banatI gaI che. kalAkArane Aje potAnI bahirmukha cetanA ane mAnasika kalpanA sivAya ghaNA starono anubhava thavA lAgyo che. mAnavacetanA ati saMkula che, enI caDatI UtaratI bhUmikAo che, e vastu kalAkAronA anubhavamAM AvavA lAgI che. alabatta emAM sAcI ane khoTI AtmalakSItAno bheda na samajAvAne kAraNe ati Adhunika kalAmAM kalAkAranA mAnasanI nimna cetanA, adhoprANanuM AkarSaNa, kalpanAnA phAMTA, avAstavika, vicitra AkAro vagere vyakta thaI rahyAM che. amerikAmAM lokamAnasa nitya navInatAmAM tathA kAMIka bhaDakAve evuM hoya temAM ghaNo rasa le che eTale tyAM ghaNIvAra artha vagaranI

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142 niraMjanA zvetaketu vorA SAMBODHI-PURATATTVA vicitratAothI yukta kaLAkRtio-uttama kalA tarIke svIkRta thAya che ane kalAkArane sArI Avaka paNa karI Ape che. jo Adhunika kaLAkAra potAnA aMtaranA Urdhva staro pratye daSTi kare to kalAsarjana dhIme dhIme potAnA sAcA lakSya pratye gati karI zakaze e viSe zaMkA nathI. citrakaLAnA jagatamAM chellAM pacAsa varSothI sarvopari varcasva prApta karela citrakAra pAlbo pikAsoe tyAzI varSanI uMmare potAnuM, arthAt kaLAnA kSetramAM potAne varelI saphaLatAnuM, ghaNA kaLA-vivecakone coMkAvanAruM rahasya pragaTa karyuM che.18 sejhAnanA 'Adhunika' kalAnA yuga pachI "ati Adhunika' kalAno pitA pikAso gaNAya che. emAM e kahe che ke citrakaLAmAM mArI vicitratAo pragaTa karIne huM buddhizALI gaNAtA varganA vivecakonI majAka karato hato ane emAM mane AnaMda thato." eNe jAhera karyuM ke "AjakAla lokone kaLAmAMthI preraNA ke AzvAsana joItuM nathI. potAne kaLAparIkSaka surucivALA mAnanArA lokone, paisAdAra tathA ALasu lokone kaLAmAM kAMIka navIna, kAMIka asAdhAraNa, kazuMka vicitra, sAmAnya mAnasane camakAve, bhaDakAve evuM kAMIka joItuM hoya che. "kyubijhama'nA jamAnAthI Aja sudhI mArA magajamAM je kAMI vicitra, asAdhAraNa aparicita vastuo AvI temane citromAM rajU karIne evA lokone meM saMtoSa Apyo che ane khUbI e che ke e lokone mArI kaLAnI jeTalI ochI gama paDatI teTalI vadhAre teo tenI prazaMsA karatA." vadhArAmAM pikAsoe jAhera karyuM ke e pramANe lokone banAvIne artha vagaranI citrakaLA utpanna karIne pote bahu jaldI prakhyAta thaI gayo ane kaLAkArane mATe khyAti eTale ke puSkaLa paisA te paNa ene maLyA. paraMtu jayAre huM ekalo paDuM chuM tyAre "kaLAkAra'nA sAcA arthamAM huM kaLAkAra chuM ema mAnavA mArI hiMmata cAlatI nathI. eTale ke je arthamAM gyoTo, Tiziyana, rabrA ane goyA kaLAkAra che te arthamAM huM kaLAkAra nathI. huM to potAnA jamAnAnI raga pArakhanAra lokonA mananuM raMjana karanAra chuM." A zabdoe Adhunika Abstract gaNAtA kalAsarjananI bhUmikA vize ApaNane ciMtana karavA preryA che. Adhunika kaLAnA vikAsano AraMbha saMvedana- sensation "mAtrA sparza' ne rajU karavAnI preraNAthI thayo che. krame krame teNe "saMskAra' impression ne -sUkSma mAnasamAM paDelI indriyagrAhya jagatanI chApane ane "kyubijhama'mAM arthAt mananI kalpanAe padArtho upara adhyAropa karela AkAromAM kalAkAranI AtmalakSI cetanAne vyakta karI che. tyAra pachI "ati Adhunika' kalAno AraMbha thayo jemAM ApaNe arAjakatA pravartatI joIe chIe. enAM aneka dUSaNo che te svIkAratAM paNa citrakaLAmAM bhUtakALathI svataMtra nava prayANa karavA mATe amUlya taka kalAkArane prApta thaI che e eka AzAjanaka sthiti che. citrakalAmAM kevaLa raMganuM prAdhAnya, kevaLa raMgano prayoga karIne rUpanuM sarjana karavAnA prayatno, raMgonA mizraNanI prakriyAno khUba jhINavaTabharyo abhyAsa, pratIkAtmaka rUpasarjananI amApa zakyatA vagere bhAvAtmaka tattvomAM sAcI pragatinI AzA rahe che.

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Vol-1, XXIX dharma ane kalA 143 A pramANe ati prAcInakALathI, adyApi paryata, samayanA vividha paTa para aMkita thayelI kalAne-kRtine samajavAno prayatna karIzuM to jaNAze ke je kalAkRtinuM sarjana dharmanI pazvAdu bhUmikA para thayeluM che, te niHzaMka utkRSTa kRti siddha thaI che, sthaLa-kALanI maryAdAo tene sparzI nathI. te sadA-sarvatra prazastine pAtra banI che. vizvanI pratyeka saMskRtinuM avalokana karIzuM to jaNAze ke jyAre kalAkAranI cetanAmAM je rasavRtinAM, prANanAM tathA buddhinAM tattvo hoya che te badhAM AdhyAtmika tattvamAM lIna thaI gayelAM anubhavAya che tyAre AkAra pAmelI tenI kRtimAM sarjakatAnuM utkRSTa svarUpa siddha thayeluM joI zakAya che. pAdaTIpa : 1. ravi hajaranIsa, "gujarAtanI prAcIna kalAmAM prAcya lakhANa"- "saMbodhi'-volyu. XXVII,2005, pR.148 2. ravi hajaranIsa, "A Note on Matruka and Yogini cult"- "pathika', nave-Dise. 2000, pR.170. 3. ravi hajaranIsa, "gujarAtanI zilpasamRddhi -lekhakanuM nivedana, amadAvAda, 1999, pR.11. 4. aitareya brAhmaNa-6,5, 27. 5. kauzitika brAhmaNa-29,5. 6. taittirIya brAhmaNa-6,5, 27. 7. agnipurANa-a.44 thI 55. 8. skaMdhapurANa-mAhezvarakhaMDa-a45, 47, 48. 9. viSNudharmottarakhaMDa-3, 4.44 thI 85. 10. garuDapurANa-a.45. 11. bhaviSyapurANa-a. 12-131-132. 12. matsyapurANa-a.258-262-263. 13. bRhadasaMhitA-a.5-7. 14. zukranIti-a-4, prakaraNa-4. 15. ra.va.desAI, "bhAratIya saMskRti-pR.165. 16. zrI mAtAjI-poDicerI, 'kalA ane yoga' - 'dakSiNA'-ogasTa 1948, pR.35thI 37 ne AdhAre. 18, aMbAlAla purANI "pikAsonI-kaLA" "dakSiNA'-ogasTa, 1964 pR.74-75.

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jUnAgaDhanA traNa zailalekha hariprasAda zAstrI* jUnAgaDhathI giranAra javAnA mArga upara dAmodara kuMDanI pahelAM eka moTo zaila khaDaka) Avelo che. e zaila upara traNa abhilekha kotarelA che. hAla A zaila upara chAparuM kareluM che ne tyAM purAtattva khAtA taraphathI cokIdAra paNa rAkhelo che. arvAcInakALamAM A aitihAsika zaila gIca jhADImAM DhaMkAyelo hato. pravAsIo najIkamAM dAmodara kuMDanI ane pAchaLa AvelA revatI kuMDanI mulAkAta letA, paraMtu A zailanI mahattA koInI jANamAM nahotI. 18mI sadImAM bhAratanA atiprAcIna abhilekha koIne ukalatA nahotA. 1838mAM jemsa prinsepe A zaila para kotarelA azokanA abhilekha ukelyA. AvA lekha bhAratamAM keTalAMka anya sthaLoe paNa kotarAyA che. giranAra jatA mArga para AvelA A zailalekha saMpAdita ane prakAzita thayA tyAre ene "giranAra zailalekho' tarIke oLakhavAmAM AvyA. A zelanA pUrva bAjunA bhAga upara kotarelA lekha saMkhyAmAM 14 che. emAM vacce UbhI rekhA vaDe be haroLa pADI enI be bAjue kula 12 lekha kotarelA che ne enI nIce lekha naM.13 ane 14 kotaryA che. A badhA lekha mauryakAlIna brAhmIlipimAM kotarelA che. e lipimAM akSaro para zirorekhA karavAmAM AvatI nahi. akSaro moTA bhAge samacorasa AkAranA ane UMDA kotarelA che. A lekhonuM lakhANa pAli jevI prAkRta bhASAmAM lakheluM che. emAM A lekhone "dhama lipI" (dharma lipi) dharma lekha=dharma lekha' tarIke oLakhavAmAM AvyA che. emAM "devonA priya priyadarzI rAjAe dharmane lagatAM zAsana pharamAvyAM che. A rAjA maurya vaMzano samrATa azoka hovAnuM mAluma paDyuM che. devonA priya priyadarzI rAjAnA A zailalekhamAM jaNAvyuM che ke (1) jIvahiMsA karavI nahi.(2) rAjAe samasta rAjayamAM manuSya cikitsA tathA pazucikitsAno prabaMdha karyo che. pazuo tathA manuSyo mATe mArgo para kUvA khodAvyA che ne vRkSa ropAvyAM che. (3) abhiSekanA bAramA varSe priyadarzIe * nivRtta niyAmaka, bho.je. vidyAbhavana, amadAvAda.

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Vol-1, XXIX jUnAgaDhanA traNa zailalekha 145 AjJA karI che ke mArA samasta rAjayamAM ucca adhikArIo dharmAnuzAsana mATe dara pAMca varSe pradezamAM pharatA rahe. (4) priyadarzI rAjAnA dharmAcaraNathI have bherIghoSa dharmaghoSa thayo che; prANIonI ahiMsA brAhmaNo tathA zramaNo tarapha sadvartAva, mAtA-pitAnI sevA ityAdi dharmAcaraNa vadhyuM che ne vadhaze. (5) meM bahu kalyANa karyuM che. abhiSekanA tera varSa thayAM meM dharma-mahApAtra nImyA che. (6) meM sarva samaye sarvatra vijJAtyaka rAkhyA che, je mane prajAnuM hita vijJApita kare. huM sarvatra prajAnuM kAma karuM chuM. (7) priyadarzI rAjA icche che ke sarva saMpradAya sarvatra vase. (8) lAMbA samayathI rAjAo vihArayAtrA karatA. devonA priyadarzI rAjA dharmayAtrA kare che. (9) loko vividha maMgala kare che. dharma-maMgala mahAphaLadAyI che. (10) loko dharmopadeza sAMbhaLe ne tene anusare e bAbatamAM ja rAjA yaza ke kIrti icche che. (11) dharmadAna jevuM dAna nathI. temAM dAso ane sevako tarapha sAro vartAva, mAtA-pitAnI sevA, zramaNabrAhmaNone dAna, prANIonI ahiMsA ityAdi hoya che. (12) devono priya priyadarzI rAjA sarva saMpradAyone dAna ane pUjAthI saMtoSe che, jethI sarva saMpradAyonI sAra vRddhi thAya te mATe dharma mahApAtro vagere nImavAmAM AvyA che. (13) abhiSekane ATha varSa thayAM devonA priya priyadarzI rAjAe kaliMga deza jItyo, temAM eka lAkha mANasa mAryA gayA te mATe have devonA priyane bhAre vedanA thAya che. dharma vijayane devonA priye mukhya vijaya mAnyo che. jyAM devonApriyanA dUto nathI jatA tyAM paNa teno dharmopadeza sAMbhaLI loko dharma Acare che. A dharma-lipi eTalA mATe lakhAvI che, ke jethI putro, pautro vagere dharmavijayane ja vijaya mAne. (14) A dharmalipimAM badhuM badhe prayojAyuM nathI. kema ke rAjaya ghaNuM moTuM che. 1838mAM azokanA A zailalekha jemsa prinsepe ukelI prakAzita karyA.1862 mAM jUnAgaDhanA paM.bhagavAnalAle A zaila paranA traNeya abhilekhono zuddha pATha taiyAra karelo che. A zaila jamInathI 3-50 mITara UMco che ne eno nIcalo gherAvo 23 mITara jeTalo che. azokano abhilekha lagabhaga I.sa. 268no che. jUnAgaDhanA A zailanA pazcima bhAga para saMskRta bhASAmAM eka abhilekha kotarelo che. enI lipi brAhmI ja che, paraMtu emAM mauryakAla karatAM have ghaNuM parivartana thayuM che. akSaro para zirorekhA umerAI che ne akSaro lAMbA tathA maroDadAra banyA che. A abhilekha ucca gadyazailImAM lakhAyo che. A lekha parathI jANavA maLe che ke surASTranA pATanagara girinagaranI samIpamAM maurya rAjA caMdraguptanA rAjayapAla vaizya puSpagupta giri Urjayata (giranAra)mAMthI nIkaLatI suvarNasikatA (sonarekha) vagere nadIomAM setu (baMdha) bAMdhI sudarzana nAme suMdara jaLAzaya karAvyuM hatuM. ne maurya rAjA azokanA rAjayapAla yavanarAja tuSArUM emAMthI nahero karAvI hatI. rudradAmAno A abhilekha I.sa. 150no che, chatAM e I.pU. 322-232no pUrvavRtAMta Ape che e bhAratanA itihAsamAM khAsa noMdhapAtra gaNAya.

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146 hariprasAda zAstrI SAMBODHI-PURATATTVA | gujarAtamAM I.sa.78mAM zaka jAtinA rAjA mahAkSatrapa cASTananuM rAjaya sthapAyeluM, zaka saMvata A rAjAe zarU karelo. enA pautra rAjA mahAkSatrapa rudradAmA 1 lAe Anarta-surAnA vahIvaTa mATe suvizAkha nAme palava amAtya nImyo hato ne enuM vaDuM mathaka girinagara hatuM evuM A abhilekha jaNAve che. zaka kAlanA varSa 72 (I.sa. 150)nA mAgazara mAsamAM ativRSTine laIne urjayata girinI nadIomAM bhAre pUra AvyAM, sudarzana jaLAzayano setu tUTI gayo ne jalAzaya khAlIkhama thaI gayuM. mahAkSatrapanA atisacivo ane karma sacivoe e baMdha samajAvavA utsAha dAkhavyo nahi. paraMtu amAtya suvizAkhanA AgrahathI mahAkSatrapa rudradAmAe e kharcALa kAryane maMjUrI ApI ne prajA pAsethI karaverA lIdhA vagara rAjakozamAMthI puSkaLa kharca karI thoDA samayamAM ja majabUta setu (baMdha) baMdhAvI sudarzana jaLatvane pahelAMnA karatAMya vadhu sudarzana (suMdara) banAvyuM. jUnAgaDha pAse A jaLAzayanA jUja avazeSa jaLavAI rahyA che. A abhilekha parathI prAcInakALamAM giranAra parvatanI taLeTI pAse girinagara nAme nagara hatuM ne A zaila pAse sudarzana nAme jaLAzaya hatuM e jANavA maLe che. vaLI A abhilekha I.sa.nI bIjI sadI jeTalA prAcInakAlanA saMskRta gadyanI uccazailIno namUno pUro pADe che. (1) 3) jUnAgaDhanA dAmodara kuMDa pAse AvelA A zailanA uttara bhAga para eka trIjo lekha kotarelo che. e gupta kAlanI brAhmI lipimAM ane saMskRta padyamAM lakhelo che. enA akSara lagabhaga ekasarakhA kadanA ane agAu karatAM lAMbI zirorekhAvALA che. A abhilekha jaNAve che ke gupta vaMzanA rAjA skandagupta surASTranA vahIvaTa mATe parNadatta nAme goptA (rakSakonI nimaNUMka karI hatI; ne enA putra cakrapAlitane girinagaranI rakSA soMpI hatI. gupta saMvata 136 (I.sa. 455) nA varSAkAlamAM ativRSTi thatAM sudarzana jaLAzayano setu pharI tUTI gayo ne jaLAzaya khAlIkhama thaI durdarzana banI gayuM. raivataka (giranAra) parvatamAMthI nIkaLelI palAzinI vagere nadIo jANe potAnA cirabaMdhanamAMthI mukta thaI potAnA yathocita pati pAse pahoMcI gaI ! paraMtu prajAmAM AthI bhAre hAhAkAra thaI gayo. nagarAdhyakSa cakrapAlike rAjA tathA nagaranA hita arthe puSkaLa dhana kharcA be mAsanI aMdara sudarzanano setu samarAvI dIdho. bIjA varSanA grISmamAM sudarzana taLAva hatuM tevuM thaI gayuM. A abhilekhamAM sudarzana zAzvatakAla Take tevuM thayAnuM jaNAvyuM che, paraMtu e hAla nAmazeSa thayeluM che. girinagaranuM e sudarzana jaLAzaya dAmodara kuMDathI pazcime hAlanA jUnAgaDhanA giranAra daravAjA sudhI ane uttare dhArAgaDha daravAjA sudhI vistaratA khINapradezamAM DuMgaronI kudaratI dIvAlo ane kRtrima setu (baMdha) vaDe racavAmAM AvyuM haze ema jaNAya che. skaMdaguptanA samayano abhilekha AgaLa jatAM jaNAve che ke girinagaranA rakSaka cakrapAlike gu.saM. 138 (I.sa. 457)mAM ghaNuM kharca karIne girinagaramAM cakradhara (viSNu)nuM uttuMga maMdira baMdhAvyuM hatuM. jUnAgaDha pAse e prAcIna maMdira hAla mojUda rahetuM nathI, paraMtu hAlanuM dAmodara maMdira e sthAna

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Vol-1, XXIX jUnAgaDhanA traNa zailalekha 147 para ja baMdhAyuM hovA saMbhava che. bhAgavata (vaiSNava) saMpradAyanuM e maMdira gujarAtamAM baMdhAyeluM e saMpradAyanuM prAcIna maMdira gaNAya. magadhanA gupta vaMzanA rAjAo parama bhAgavata hatA. A baMne abhilekha, kSatrapa kAlano ane gupta kAlano jUnAgaDha zaila-abhilekha' tarIke saMpAdita ane prakAzita thayA che. Ama jUnAgaDha-giranAra mArga para dAmodara kuMDa pAse Avelo A zaila khaDaka) enA paranA judA judA kAlanA traNa abhilekhone laIne bhAratanAM prAcIna smArakomAM mahattvanuM sthAna dharAve che.

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kSatrapakAlIna be abhilekha hasamukha vyAsa* rAjakoTa jillAmAM jasApara-jIvApara (tA. jasadaNa, mULa A banne gAma jUnA jasadaNa rAjyanAM) nAmanA be gAma AvelAM che. banne vacce lagabhaga 3 kI.mI.nuM aMtara che. bhAdara nadInA kAMThe Avela jasApara gAmanI najIkathI eka kSatrapa vasAhata hovAnuM lekhakanA kSetriya pravAsa daramyAna dhyAnamAM Avela. (I.sa. 1982). ahIMthI kSatrapa samayanA ghaNA badhA purAvazeSo hAtha lAgela. AmAMnI mahattvanI be upalabdhio (Finds) te (1) brAhmI lipino zilAlekha ane (2) brAhmI TerAkoTa sIlIMga brAhmI zilAlekha : prastuta zilAlekha jIvAparamAM gAma bahAra harijanavAsanI najIka paDela kALA paththaranI pAMceka phUTa lAMbI, doDheka phUTa pahoLI ane ekAda phUTa jADI zilA upara kula traNa lITInuM zirorekhA bAMdhela brAhmI lakhANa spaSTa ane svaccha akSaromAM aMkti che. traNe paMktiomAM anukrame 11-9-6 maLI kula 26 akSaro che. puNenA Dekkana kolejanA brAhmI lipi niSNAta DaoN. zobhanAbena gokhalee je vAMcana karI Apela, te A pramANe che. varSa (varSe) 233 zrAvaNa bahule 6 kumAradeva putrasya ka(ku)mAra dattasya arthAt kumAradevanA putra, kumAradatte zaka saMvat 233 (I.sa. 311) nA varSe zrAvaNa vada, cha8nA roja koI dAna prasaMga nimitte prastuta lakhANa kotarAvyuM haze. A dAna kone, zAnuM vagere vize kazI mAhitI-vigata AmAMthI maLI zakatI nathI.* zaka saMvat 233-I.sa. 311 daramiyAna kSatrapa rAjA rudrasiMha bIjAnuM zAsana cAlatuM hoI prastuta zilAlekha e samayano gaNI zakAya. A agAu rAjakoTa jillAnA jagRDhAvI (gaDhA, tA. jasadaNa) gAma pAsethI taLAvamAMthI (vartamAna ravAlakA sAgara * saMpAdaka, saMzodhana : DaoN. hasamukhabhAI vyAsa, 'zrI khaMbhalAva zrIjInagara, zrInAthajI sosAyaTI pAchaLa, jetapura roDa, dhorAjI, jI. rAjakoTa. + A zilAlekha ADo hoI saMbhava che, koI taLAva baMdhAvavA Avela hoya.

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Vol-1, XXIX kSatrapakAlIna be abhilekha 149 taLAva) kSatrapa vaMzanA ASTanano eka zilAlekha maLI Avela. A pachIthI A ja vistAramAMthI kSatrapa vaMzano bIjo zilAlekha maLI AvatAM enuM mahattva vadhI jAya che (juo citra 1) hAla A zilAlekha voTasana saMgrahAlaya, rAjakoTamAM saMgrahita che. brAhmI TerAkoTA sIlIMga : brAhmI zilAlekhanI jema A lekhakane temanI A vistAranI sthaLa-mulAkAta-tapAsa daramyAna jalAparanA kSatrapa TiMbA parathI eka TerAkoTA sIlIMga paNa hAtha lAgela. 5 X 2 x 10'.1 se.mI. nuM mApa dharAvatA pakva mATInA A mudrAMkana para zirobaMdha brAhmI lipimAM kula 5 (pAMca) akSara aMkita che. prAraMbhanA thoDA khaMDita bhAga sivAyano bAkIno bhAga spaSTa suvAcya che ane A pramANe vAMcI zakAya che. (ku)mArasya - Agalo akSara khaMDita hoI puruM vAMcana thaI zakatuM nathI. paNa khaMDita akSaranI bacI gayela nizAnInA AdhAre te "ku akSara hovAnuM mAnI zakAya. prastuta mudrAMkana "kumAra" nAmanI koI vyaktinuM che. AgaLa varNita zilAlekha paNa "kumAra"no hoI A banne abhilekha "kumAra' nAmanI vyaktinA ane cothI sadInA (zilAlekhomAM aMkita varSa I.sa. 311 nA AdhAre) gaNI zakAya. (juo citra-2) citra-1 citra-2 ahIM eka muddo e upasthita thAya che ke cothI sadImAM kSatrapa zAsana hovA chatAM kSatrapavaMzamAM to 'kumAra' nAmano koI zAsaka thayela na hoI Ane kSatrapavaMzanA abhilekha gaNI zakAya kharA? Ano eka khulAso A rIte karI zakAya ke zilAlekha temaja mudrAMkana cothI sadInuM arthAt kSatrapakAlIna che, e to nizcita che. sAmAnya rIte lekha, sikkA, mudrA-mudrAMkana vagere je te vaMzanA zAsakanA hoya. paNa ghaNI vakhata zAsaka dvArA potAnA zAsana vistAramAM sthAnika sattAkendrane paNa sthAnika zAsana vyavasthA (khAsa to kendrIya sattA DhIlI - nabaLI paDatI tyAre) soMpAtI ane e sthAnika sattAkendra paNa A rItanA abhilekha bahAra pADatuM. A uparAMta keTalIkavAra dhArmika saMsthAno paNa lekha vagere prasiddha karatA. A rIte prastuta banne (zilAlekha temaja mudrAMkana) abhilekha kSatrapa samaya daramyAnanA A pradeza vistAra paranA "kumAra" nAmanA koI sthAnika sattAdhIzanA hovAnuM kahI zakAya. hAla A mudrAMkana lekhakanA aMgata saMgrahamAM che.

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sthAnAMgasUtramAM varNita saMgIta kalAnAM tattva zobhanA Ara. zAha bhAratIya sAhitya ane bhAratIya kalAnI jema bhAratIya saMgIta paNa kudaratanI eka amUlya dena che. bhAratIya saMskRti anusAra saMgIta mAnavanA potAnA vyaktigata manoraMjananuM sAdhana che. saMgIta ananta, sthAyI ane sarvavyApta che. saMgItano janma sRSTinI racanAnI sAthe ja thayo che. saMgIta mAtra kAno ne ja priya nathI lAgatuM, paraMtu hRdayane paNa dhairya tathA Ananda ApavAvALuM che. eno vAstavika ane yathArtha prabhAva ananta che. saMgItanA prabhAvathI sAMsArika ane mastiSkIya parezAnIothI chuTakAro maLe che. saMgIta AtmA ane paramAtmAno saMyoga karanArI zRMkhalA che. je thakI mAnava jIvana madhura bane che. jaina sAhitya bhAratIya zilpa-sthApatya kalA mATe jeTaluM mahattvanuM che teTaluM ja bhAratIya saMgIta mATe che. saMgIta kalAno samAveza lalita kalAonI aMtargata karavAmAM Ave che. saMgIta, kalAno mULa nAda che ane nAda e sRSTino AdhAra che. - saMgIta e paNa eka kalA che. kalAno pracalita ane prAcIna artha che, "koI paNa kAryane pUrNa kuzaLatAthI karavuM." kalA eTale satyama, zivama, sundaramano samanvaya. kalA eTale vyaktimAM cetanatva utpanna karavAvALI zakti, ane AvI saundarya pUrNa kalA eTale saMgIta. saMgIta zabdano artha : saMgIta zabdanI vyutpatti gata artha "sakhya gItama' evo thAya che. saMgItamAM gIta, vAdya tathA nRtyAdinuM abhinna sAhacarya che. saMgIta ratnAkara anusAra saMgItanI paribhASA "Ita, vAdya tathA nRtya traya saMgItamukhyate " arthAt jemAM gIta, vAdha tathA nRtya traNe samanvita hoya tene saMgIta kahevAmAM Ave che. jaina Agama sAhityane prAcIna sAhitya gaNavAmAM Ave che. A Agama sAhitya aMtargata sthAnAMgasUtra, rAjapraznIyasUtra tathA kalpasUtramAM saMgIta saMbaMdhI pracura mAhitI prApta thAya che. ahIM carcAno mukhya viSaya sthAnAMgasUtramAM varNita bhAratIya saMgIta vidyAno che. A sthAnAMgasUtramAM svara, + saMzodhana sahAyaka, inTaranezanala seMTara phora jaina sTaDIjha, gujarAta vidyApITha, amadAvAda-380014.

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Vol-1, XXIX sthAnAMgasUtramAM varNita saMgIta kalAnAM tattva svaranA sthAna, gIta, gItanA guNa-doSa, vAgha, mUrcchanA Adi viSayonuM sUtrabaddha vivaraNa prApta thAya che. svaraH 151 sAdhAraNataH svara eTale saMgItopayogI avAja svayaM madhura hoya che. saMgIta darpaNamAM tenI vyAkhyA karatAM kahyuM che ke, "svayaM yo rAkhate nAr : sa svara piititaH / " je nAda svayaM zobhita hoya te svara kahevAya che. prAcIna zAstro pramANe svaronA daza prakAra mAnavAmAM AvyA che. paM. vyaMkaTa maMkhIe potAnA grantha 'caturdaNDiprakAzikA'mAM daza svara lakSaNono svIkAra karyo che. grahAMzI maMDatArau ca nyAsApanyAsau tathA / atha sanyAsavinyAsau bahutvaM cAlpatA tathA // graha, aMza, candra, tAra, nyAsa, apanyAsa, saMnyAsa, vinyAsa, bahutva ane alpatva A daza svara lakSaNa prAcIna saMgIta vidvAnoe batAvyA che.1 svara sAta kahevAmAM AvyA che. A pracalita svarone te samayanI pracalita jAtionAM nAma parathI oLakhavAmAM Ave che. racanAkAre tenI saMjJA sA re ga ma pa dha nI evI ApI che. aMgrejImAM kramazaH Do, Re, Mi, Fa, So, Ka, Si, kahe che ane tenA saMgata svara, sAMketika cihna C, D, E, F, G, A, B che. SajJa RRSama, dhAra, madhyama, paMcama, dhaivata, niSAd / zrutibhyaH syuH svarAH SaDjarSabhagAMdhAra madhyamAH / paramo dhaivatazvAtha niSAda iti saptate // teSAM saMjJA sarigamapadha nItyaparA matAH / 2 sAta svaronI vyAkhyA A pramANe che. 1. padma : nAsikA, kaMTha, chAtI, tAlu, jillA, ane datta A cha sthAnothI utpanna thanArA svarane yajJa kahevAmAM Ave che. 2. RRSabha : nAbhithI utpanna thayelo vAyu kaMTha ane mastakathI Ahata thaIne vRSabhanI jema garjanA kare che. AthI tene RSabha kahevAmAM Ave che. 3. dhAra : nAbhithI utpanna thayelo vAyu kaMTha ane mastakathI Ahata thaIne vyakta thAya che, ane emAM eka vizeSa prakAranI gaMdha hoya che AthI tene gAndhAra kahevAmAM Ave che. 4. madhyama : nAbhimAMthI utpanna thayelo vAyu vakSa ane hRdayamAMthI samAhata thaIne pharI nAbhimAM Ave che. A zarIranA madhyabhAgathI utpanna thato hovAnA kAraNe Ane madhyama svara kahevAmAM Ave che. 5. pazcama : nAbhi, vakSa, hRdaya, kaMTha ane mastaka A pAMca sthAnothI utpanna thanA2o svara che, tenA

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152 zobhanA Ara. zAha kAraNe Ane paMcama svara kahevAmAM Ave che. 6. dhaivata : pUrvokta badhA svaronuM anusaMdhAna kare che AthI tene dhaivata kahevAmAM Ave che. 7. niSAd : AmAM badhA svara samAhita thAya che AthI tene niSAda kahevAmAM Ave che.3 bauddhadarzanamAM laMkAvatArasUtramAM paNa sAta svaronAM nAma prApta thAya che. saharSa, RSabha, gAndhAra, dhaivata, niSAda, madhyama, kaizika.4 svara lakSaNa : SAMBODHI-PURATATTVA svaronAM sthAna H je svaranI utpattimAM je sthAnano upayoga mukhya hoya che tene svaranuM sthAna kahevAmAM Ave che. sAta svaronAM sAta svara kahevAmAM AvyA che. sthAnAMgamAM sAta svaronAM sAta sthAna varNita che. 1. SaTna nuM sthAna : jivAno agrabhAga, 2. RSabhanuM sthAna-vakSa sthaLa, 3. gAndhAranuM sthAnakaNTha, 4. madhyamanuM sthAna-jihvAno madhyabhAga, 5. paMcamanuM sthAna-nAsikA, 6. dhaivatanuM sthAnadattva ane othryano saMyoga, 7. niSAdanuM sthAna-mastakapa sthAnAMgamAM ullekha maLe che ke A sAte svara nAbhithI utpanna thAya che.* nAradI zikSAmAM A sAte svaronI sArthakatA batAvatAM kahyuM che ke "z2a nAsA Adi cha sthAnothI utpanna thAya che. RSabha arthAt baLadanI samAna nAda karanAro. gAMdhA2nI sArthakatA gaMdhAvaha hovAnA kAraNe che. madhyamanI sArthakatA temAM che ke te uras jevA madhyavartI sthAnamAMthI Ahata thAya che. paMcamanuM uccAraNa pAMca sthAno nAbhi AdimAM sammilitarUpathI thAya che AthI A saMjJA sArthaka che.7 2. sthAnAMgamAM sAta svaronAM lakSaNono ullekha karavAmAM Avyo che.8 1. SaDja svaravALI vyakti AjIvikA prApta kare che. temano prayatna niSphaLa thato nathI. temane gAyo, mitra ane putra hoya che. te strIone priya hoya che. RSabha svaravALI vyaktine aizvarya, senApatitva, dhana, vastra, gaMdha, AbhUSaNa, strI, zayana ane Asana prApta thAya che. 3. gAMdhAra svaravALI vyakti gAvAmAM kuzaLa, zreSTha jIvikAvALI, kaLAmAM kuzaLa, kavi, vidvAna ane vibhinna zAstronA pAragAmI hoya che. 4. madhyama svaravALI vyakti sukhethI jIve che, khAya che, pIe che ane dAna Ape che. 5. paMcama svaravALI vyakti rAjA, zUravIra, saMgrahakartA ane aneka gaNonI nAyaka hoya che. 6. daivata svaravALI vyakti kalahapriya, pakSIone mAranAra tathA haraNo, sUvara ane mAchalIone

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Vol-1, XXIX sthAnAMgasUtramAM varNita saMgIta kalAnAM tattva 153 mAranAro hoya che. 7. niSAda svaravALI vyakti cAMDAla, phAMsI ApanAra, muSTibAja, bhinna pApa karma karanAra, goghAtaka ane cora hoya che. A uparAMta sthAnAMgamAM jIva tathA ajIva nizvi dhvaninI sAthe sAta svarono ullekha maLe che. jIva nizvi sAta svara A pramANe che. 1. mayUra ja svaramAM bole che. 2. kUkaDo RSabha svaramAM bole che. 3. haMsa gAndhAra svaramAM bole che. 4. gavelaka madhyama svaramAM bole che. 5. koyala vasaMta RtumAM paMcama svaramAM bole che. 6. kaca ane sArasa paivata svaramAM bole che. 7. hAthI niSAda svaramAM bole che. ajIvanizrita sapta svara A prakAre che. 1. mRdaMgamAMthI Sa svara nIkaLe che. 2. gomukhIthI RSabha svara nIkaLe che. 3. zaMkhamAMthI gAMdhAra svara nIkaLe che. 4. jhallarI-jhAMjhathI madhyama svara nIkaLe che. 5. cAra caraNo para pratiSThita godhikAthI paMcama svara nIkaLe che. 10 6, DholamAMthI paivata svara nIkaLe che. 7. mahAbherIthI niSAda nIkaLe che. saMgIta zikSAnuM mahattvanuM pAsuM e che ke svarone ThIka ane sArI rIte gAvAmAM Ave. sthAnAMgamAM sAta svaronA grAma, mUcchanA Adino spaSTa ullekha jovA maLe che. grAma :- grAma zabda samUhavAcI che. je prakAre kuTuMbamAM loko saMyukta rIte maryAdAnI rakSA karatAM sAthe rahe che, te prakAre vAdI-samavAdI svarono te samUha, jemAM zrutio vyavasthita rUpamAM vidyamAna hoya, ane je mUrchAnA, tAna, varNa, Adino Azraya hoya, tene grAma kahevAmAM Ave che. zArgadeva kRta saMgIta ratnAkaramAM grAmanI paribhASA A pramANe ApI che. "prama: svarasamUK: nUrjInADaDanTeH samAzraya: 11 arthAt svaronA samudAyane grAma kahevAmAM Ave che. grAma traNa che - pajagrAma, madhyama grAma ane gAndhAra grAma.12 SaDaju grAma :- AmAM Saja svara catuzruti, RSabha trizruti, gAMdhAra dvizruti, madhyama catuH zruti, paMcama catuzruti, dhaivata trikRti ane niSAda hizruti hoya che. sAta svaronI 22 zrutio che.pa4 madhyama ane paMcamanI cAra cAra niSAda ane gAMdhAranI be-be, ane RSabha ane paivatanI traNa-traNa kRtio che. madhyama grAma :- madhyama grAmanA nAmano AdhAra madhyama svaranI mukhyatA che. madhyama grAmano prAraMbha madhyama svarathI thAya che. AmAM panna svara catuH zruti, RSabha trizruti, gAMghAra hizruti, madhyama catuzruti, paMcama trizruti, dhavata catuzruti, niSAda hizruti hoya che.

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154 zobhanA Ara. zAha SAMBODHI-PURATATTVA gAndhAra grAma :- gAndhAra grAmanA viSayamAM saMgIta zAstromAM koI varNana maLatuM nathI keTalAka vidvAnono mata che ke gAndhAra grAmanuM gAyana svargalokamAM thayuM haze. pratyeka svara sAta rAgothI gAvAmAM Ave che. 13 mUrcchanA :- mUrcchanAnI utpatti grAmathI thaI che. paM. zArgadeva kRta "saMgIta ratnAkara' nAmanA granthamAM mUrchAnAnI paribhASA A prakAre ApavAmAM AvI che. kamAtsvarANAM saptanAmArozvArohaNam / mUrcchanetyucyate grAmadvaye tAH sapta sapta ca / / 14 arthAt sAta svaronA kramAnusAra Aroha tathA avaroha karavo te "mUrcchanA' kahevAya che. mUrchAnA zabda "mUrchA' dhAtuthI nIkaLyo che. jeno artha che, mUccha, vistAra. mUrchAnA dvArA rAgano vistAra, nirmANa thAya che. mUrchAnA samasta rAgonI jananI che. sthAnAMga sUtramAM ja Adi traNa grAmonI sAta sAta mUcchanAo jaNAvavAmAM AvI che. bharata nATyU, 15 saMgIta ratnAkara, nAradIzikSAmAM paNa mUrcchanAono ullekha bhinna bhinna prakArathI che. nIce jaNAvela tAlikAthI mUrchAnAonAM nAmomAM keTalo taphAvata che. tenuM spaSTa thAya che. paDjha grAmanI mUrchAnAo sthAnAMga sUtra saMgIta ratnAkara bharata nATya nAradIzikSA maMgI uttaramandrA uttaramandrA uttaravarNA kauravIyA rajanI rajanI abhijJatA harit uttare uttarAyatA azvakrAntA rajanI zuddhaSajA zuddhaSajA saurIrI sArakAntA nata sarikratA matta sarikRtA hRdhyakA sArasI, azvakrAMtA azvakrAntA uttarAyatA zuddhaSajA abhirudgatA abhirudgatA rajanI uttaramaMdrA rajanI uttarA uttarAyatA azvakrAntA madhyama grAmanI mUcchanAo sauverI sauvIrI harizva hariNAvyA kAlopandA kAlopanatA zuddha madhya zuddha madhyA mArgI mArgI naMdI vizAlA sumukhI citrA citravatI

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Vol-1, XXIX sthAnAMgasUtramAM varNita saMgIta kalAnAM tattva 155 balA naMdI sauvIrA pauravI pauravI sukhA abhirudratA hariyakA kRSyakA gAndhAra grAmanI mUcchanAo gAndhAra grAmanuM gAndhAra grAmanuM AkhyAyanI zudrikA astitva astitva vizvacUlA trakA svIkAravAmAM AvyuM nathI mAnyuM nathI candrA zuddha gAMdhArA hemAM uttara gAMghArA kapardinI suSutara AyAma maitrI uttarAyatA koTimAM bArvatI mUcchanAo bAda sthAnAMga sUtramAM svaronI utpatti, sAta svaronAM prANIonA dhvani sAthe saMbaMdha, svarono mAnava svabhAva sAthe saMbaMdha, gIta, gItanA prakAra, gItanA guNa-doSanuM paNa sundara nirupaNa karavAmAM AvyuM che. gIta :- svara, pada, tAla ane mArga A cAra aMgothI yukta gAna gIta kahevAya che. saMgIta ratnAkaramAM gItanI paribhASA ApatAM kahyuM che ke, "raznaH svarataM tamityathiI te ! gAndharva gAnamityasya bhedadvayamudIritama // " gIta eTale svaronI te racanA jenAthI cittane raMjatA prApta thAya. rudanane gItanI yonijAti kahevAmAM Ave che. 17 gItanA cha doSa, ATha guNa, traNa vRtta ane be bhaNitiyA thAya che. je ene jANe che te suzikSita vyakti ja raMgamaMca para gAI zake che. A saMdarbhamAM sthAnAMgamAM prApta varNana A pramANe che. gItamAM prayukta thanArI chanda-racanA trividha hoya che. 18 1. sama - jemAM cAre caraNonA akSara samAna hoya. 2. ardhasama - jemAM prathama ane tRtIya caraNa tathA dvitIya ane caturtha caraNa samAna hoya. 3. sarva viSama - jemAM cAre caraNanA akSara viSama hoya. taMtrI AdithI saMbaMdhita thaIne gIta-svara sAta prakAranA hoya che.19 1. taMtrI sama - taMtrI - svaronI sAthe sAthe gAvAmAM AvatuM gIta. 2. tAla sama - tAla - vAdananI sAthe sAthe gAvAmAM AvatuM gIta.

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156 zobhanA Ara. zAha SAMBODHI-PURATATTVA 3. pAdasama - svarane anukULa nirmita geya padanA anusAra gAvAmAM AvatuM gIta. 4. layasama - vINA Adine Ahata karavAthI je laya utpanna thAya che, te anusAra gAvAmAM AvatuM gIta. 5. jhahasama - vINA Adi dvArA je svara pakaDAya te anusAra gAvAmAM AvatuM gIta. 6. nivasitocchavasitasama - zvAsa levAnA ane choDavAnA kramAnusAra gAvAmAM AvatuM gIta. 7. saMcAra sama - sitAra Adi sAthe gAvAmAM AvatuM gIta. gItano ucchavAsa-kAlano nirNaya karatAM sthAnAMgamAM batAvavAmAM AvyuM che ke jeTalA samayamAM koI chandanuM eka caraNa gAvAmAM Ave che, eTalo teno udghAsa - kAla hoya che, ane tenA AkAra traNa hoya che - AdimAM mRdu, madhyamAM tIvra ane antamAM maMda.20 laya, svara tathA mUcchanAomAM baMdhAIne dhvani saMgItanI sRSTi race che. saMgItano mAnavajIvana sAthe sIdho saMbaMdha che. je mAnavane sAcArUpamAM prakaTa kare che. gItanuM gAna nirdoSa tathA guNayukta thAya te mATe keTalAka doSonuM nirAkaraNa Avazyaka mAnavAmAM AvyuM che - 1. bhIta - bhayabhIta thaIne gAvuM. 2. kuta - zIghratAthI gAvuM, 3. hRsva-zabdone laghu banAvIne gAvuM. 4. uttAla - tAla anusAra na gAvuM. 5. kAka svara - kAgaDAnI jema karkaza svarathI gAvuM. 7. anunAsa - nAkathI gAvuM.' | navAMgI TIkAkAra abhayadevanA anusAra, "pIta tratamAnasam kurta tvaritam | rasya hRsva svara nayukTrim | sattAnaM asthAnatAtram | | svara azrAvya svaram " arthAt jemAM gAvAnA samaye citta vikSipta, trasta hoya te bhIta che. je gAyananI aMtargata atyAdhika tvarita hoya te drata che, rahasyamAM svaro tathA zabdonuM hRsva tathA laghu uccAraNa thAya che, tAlanuM asthAnapaNuM uttAla che. kAkasvara karkazasvara mATe che. tathA svaroccAraNamAM nAsikAno prayoga karavo te anunAsika che. 22 sthAnAMgamAM gIta-gAyananA saMbaMdhamAM nIce pramANe darzAvela guNono ullekha karavAmAM Avyo 1. pUrNa - svaranA Aroha - avaroha paripUrNa hovA. 2. rakta - gAvAmAM AvatA rAgothI pariskRta thavuM. 3. alaMkRta - vibhinna svarothI suzobhita hovuM. 4. vyakta - spaSTa svaravALuM hovuM. 5. avighuSTa - niyata ke niyamita svarayukta hovuM. 6. madhura- madhura svarayukta hovuM. 7. sama - tAla, vaNA AdinuM anugamana karavuM.

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Vol-1, XXIX sthAnAMgasUtramAM varNita saMgIta kalAnAM tattva 157 8. sukumAra - lalita, komala - layayukta hovuM. A uparAMta sthAnAMgasUtramAM varNita anya guNonI prApti paNa thAya che. 1. urovizuddha - je svara ura-sthAnamAMthI vizALa thAya che. 2. karNavizuddha - je svara kacchamAM taraDAto nathI, phATato nathI. 3. zirovizuddha - je svara mastakathI utpanna thavA chatAM paNa nAsikAthI mizrita thato nathI. 4. mRdu - je rAga komaLa svarathI gAvAmAM Ave che. 5. ribhita bahu AlApanA kAraNe khela - sadeza karato svara. 6. pada baddha - geya padothI nibaddha racanA. 7. samatAla padokSepa - jemAM tAla, aMka Adino zabda ane nartakano pAdanikSepa e badhuM sarakhuM hoya, arthAt eka bIjAne maLatuM hoya. 8. saptasvarasIbhara - jemAM sAta svaro taMtrI AdinI samAna hoya. geya padonA ATha guNa 1. nirdoSa - batrIsa doSa rahita hovuM. 2. sAravanta - sArabhUta arthathI yukta hovuM. 3. hetuyukta - artha sAdhaka hetuthI saMyukta hovuM. 4. alaMkRta - kAvyagata alaMkArothI yukta hovuM. 5. upanIta - upasaMhArathI yukta hovuM. 6. sopacAra - komala, aviruddha-ane alajjanIya arthanuM pratipAdana karavuM, athavA vyaMga ke hAsyathI saMyukta hovuM. 7. mita - alpapada ane alpa akSaravALuM hovuM. 8. madhura - zabda, artha ane pratipAdananI apekSAe priya hovuM. TUMkamAM jemAM svara-racanAnA mATe Avazyaka zabdonI racanA karavAmAM Ave che tene gIta kahevAya che. sthAnAMgamAM gItanI bhaNitiya-bhASA be prakAranI kahevAmAM AvI che - 1. saMskRta ane 2. prAkRta. A baMnne prazasta ane RSibhASita che. je svaramaMDaLamAM gAvAmAM Ave che. 24 saMgItamAM rAgonuM vizeSa mahattva che. A rAgonuM astittva svaro para AdhArita che. A svarono paNa vizeSa artha hoya che. jenAthI alaga-alaga bhAva utpanna thAya che. koI paNa rAgano

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158 zobhanA Ara. zAha SAMBODHI-PURATATTVA svara te samayanA bhAvAtmaka vAtAvaraNane pradarzita kare che. mAnavano svabhAva, mana ane vicArono saMgIta sAthe gADha saMbaMdha che. strI svabhAvanI sAthe saMgItanuM sUkSma vivecana sthAnAMgamAM prApta thAya che. "zyAmA strI madhura gIta gAya che. kALI strI para (puruSa) ane rukSa gAya che, kezI strI catura gIta gAya che. kANI strI vilamba gIta gAya che, ane piMgalA strI visvara gIta gAya che. 25 A sAthe sthAnAMgamAM cAra prakAranA geyono nAmollekha paNa prApta thAya che. 1. utsitaka, 2. patraka, 3. maMdraka, 4. rovindaka. AmAMthI rovindaka ane maMdrakano bharata nATyokta rovindaka ane maMdraka nAma sAthe sAmya dharAve che. AcArya pUjayapAde tatvArthasUtranA pAMcamA adhyAyamAM 24 mA sUtranI vyAkhyA karatAM prAyogika zabdanuM vivecana karyuM che. prAyogikazcaturdhAH tata vitata ghana sauSira bhedAt / tatra carmatanana nimittaH puSkara bherI dardurAdiprabhavastataH // arthAtu je zabda puruSanA prayatnathI utpanna thAya che tene prAyogika kahevAmAM Ave che. prAyogikanA cAra bheda che. 1. tata, 2. vitata, 3. ghana, 4. sauSira. sthAnAMgamAM paNa cAra prakAranA vAdyono ullekha karavAmAM Avyo che. 1. tata - vINA Adi, 2. vitata - Dhola Adi, 3. ghana-kAMsya tAla Adi, 4. zuSira vAMsaLI Adi. 1. tata - Ano artha che - taMtrIyukta vAdya, tata vAdyonI zreNImAM tAranAM te sAdhano Ave che, jene mijAya ke anya koI vastuno TaMkAra ApIne vagADavAmAM Ave che. jema ke - "vINA', 'sitAra', 'saroda', 'tAnapUrA', eka tAro Adi. AcAra cUlA tathA nizIthamAM paNa A prakAranAM tata vAghono ullekha maLe che. 2. vitata - cAmaDAthI maDhelA tAla - vAdyone vitata kahevAmAM Ave che. AmAM mRdaMga, tabalAM, Dholaka, khaMjarI, nagAruM, DamaruM, Dhola Adi mukhya che. A vAdyono upayoga dhArmika samAraMbho tathA yuddhomAM paNa thAya che. 3. ghana - kAMsya Adi dhAtuothI nirmita vAdya, je vAdyomAM coTa ke AghAtathI svara utpanna thAya che. jema ke jalataraMga, maMjIrA, jhAMjha, karatAla, ghaMTAtaraMga, piyAno Adi aneka prakAranAM che. 4. zuSira - phUMka ke havAthI vagADavAmAM AvatuM vAgha, jema ke- baMsarI, hAramoniyama, kleroneTa, zahanAI, vINA, zaMkha ityAdi 27 jenAmAM prANazakti ochI hoya te zuSira vAdyone vagADavAmAM saphaLa thaI zakatA nathI. jaina Agama sAhityamAM vividha sUtromAM sthAna sthAna para aneka vAghono ullekha maLe che.

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Vol-1, XXIX sthAnAMgasUtramAM varNita saMgIta kalAnAM tattva 159 jaMbUDhIpAnuvatImAM batAvavAmAM AvyuM che ke karoDo varSa pUrva bhAratamAM dasa prakAranAM kalpavRkSa hatA. temAMthI ekanuM nAma tudiyaMga athavA turiyaMga hatuM. teNe mAnavane cAra prakAranAM saMgIta vAdya ApyAM. rAjapraznIya eka mahatvapUrNa Agama graMtha che. jemAM sthAna sthAna para aneka vAghono ullekha maLe che. sUryAbhadeva dvArA jambudvIpa darzananA samaye nipuNa puruSo dvArA vAdila vagADavAno ullekha che. jemAM tatrI, vINA, hastakalA, kAMsyatAla, meghanI samAna garjanA karanAra mRdaMga Adi vAdyono ullekha maLe che. nIya-vAya-taMtI-ta-tA-tuDiya-paUT-mukuM paDuppa vAdiyaraveNaM divvAi bhoga bhogAi muJjamANe viharati / / 28 rAjapraznIya sUtra 64mAM turIya arthAt tenI aMtargata zaMkha, siMga, kharamukhI, Adi vividha 60 prakAranAM vAghono ullekha maLe che. AcArAMgamAM likriyA ane kirikiriyA - A be vAdyono ullekha che. sUtrakRtAMgamAM mukyavINA ane veNupalAsIya A be vAghono ullekha maLe che. sthAnAMgamAM cAra prakAranAM nATyono nAmollekha paNa prApta thAya che. 1. aMcita, 2. ribhita, 3. ArabhaTa, 4. bhakhola. jemAM aMga-pratyaMganI kriyAo eka sAthe karavAnI hoya che. 29 Ama saMgIta eka kalA che jemAM AnaMda pradAna karavAnI atUTa zakti che. saMgItano zarIra, mana ane AtmA sAthe atUTa saMbaMdha che. - saMgItanA saundaryano upayoga mAnava potAnA mastiSkanI saMvedanAothI mukta thavA tathA manobhAvone saMtuSTa karavAne mATe kare che. atIta kAlathI samrATa, rAjA-mahArAjA, rAjakumAra tathA anya zAhI vyakti gAyana, vAdana tathA nRtyAdi dvArA potAnI bhautika cintAo ane vyAkuLatAo dUra karatA AvyA che. saMgIta dvArA mastiSkane vizrAma ane zAnti maLe che. saMgIta mAnavanA rogo ane durbaLatAothI mukta karanAruM manovaijJAnika sAdhana che. bhAratIya RSi munio e paNa roga nivAraNamAM saMgItanA mahattvano svIkAra karyo che. Aja-kAla bImArIone ochI karavA mATe zAstrIya-saMgItano upayoga karavAmAM Ave che. bhAratIya janatA sadA dhArmika vRttivALI rahI che, ane A dhArmika pravRtiomAM saMgIta kalAno ja upayoga karavAmAM Ave che. A prakAre saMgIta prAcIna kALathI ja vividha dharmonA ane jAtionA manuSyo dvArA svIkRta kalA che, jenuM mahattva sarvakAle sarvadezamAM adhika rahyuM che.

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160 zobhanA Ara. zAha SAMBODHI-PURATATTVA pAdaTIpa : 1. bhAratIya saMgIta saritA, pR. 72. DaoN. raHI RIF, vidyAnidhi prAzana, vizrI, ra00rU. 2. ejana, pR. 54 3. sthAnAMgasUtra; 7.4pa muna dvIparatasAra, kAma kRta prakAzana, amadAvAda, 1996 4. laMkAvatAra sUtra - 4tha raviNo..sarNa sRSama-gAMdhAra-dhaMvata-niSAdra-madhyama-vaizi-gItasvara.... 5. sthAnAMgasUtra - 7-46-47 6. sthAnAMgasUtra- 7-64 7. bhAratIya saMta zrI tihAsa - mR.121 8. sthAnAMgasUtra- 7-52-58 9. ejana, 7-48-49 10. ejana, 7.50-51 11. bhAratIya saMkalIta saritA, pR. 45, DaoN. ramA garA, vividha pravAsana strI - 2003 12. sthAnAMgasUtra- 7.553.6 13. sthAnAMgasUtrane 7.553.3 14. bhAratIya saMta saritA, pR. 46, DaoN. ramA garA, vidyAnidhi prAzana vichI - 2003 15. ejana, pR.47 16. bhAratIya saMta phrI tihAsa, pR. 256. 17. sthAnAMgasUtra-7-64 18. ejana, 7-71 19. ejana, 7-75 20. ejana, 7-64-65 22. bhAratIya saMgIta #1 tihAsa pR.187 23. sthAnAMgasUtra 7.68 24. sthAnAMgasUtra- 772 25. sthAnAMgasUtra- 7.7.3-75 26. sthAnAMga sUtra - munita 4/634 27. bhAratIya saMgIta zAstro meM vAdyoM kA cintana, pR0 66 DaoN0 aMjanA bhArgava, kaniSkA pablizarsa, naI dillI - 2001 28. ejana, pR.25 29. bhAratIya saMta kA tihAsa pR.425

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kalpasUtranAM citro (lA.da. vidyAmaMdiramAM saMgRhita sacitra kalpasUtrano paricaya) prIti paMcolI gujarAtamAM citrakalAno prAraMbha aMtAzmakAlanAM zailacitrothI thayelo che. bhAratIya citranA prakAromAM bhitticitra, citrapaTa, citraphalaka ane graMthastha laghucitra mukhya che. zailacitro bhitticitrano ja eka prakAra che. gujarAtanI jainazailInAM citronuM bhAratIya citrakaLAmAM mahattvanuM sthAna che. keTalAka vidvAnoe ene AraMbhika pazcima bhAratIya zailI, keTalAka gujarAta zailI ke jaina zailI kahe che. to ene apabhraMza zailI paNa kahe che. umAkAnta zAha granthastha laghucitronI zailIne mAru gurjara nAma Ape che. laghucitrakalA svarUpa kharekhara to madhyayugamAM pazcima bhAratIya zailInuM apabhraMzarUpa bhIMtacitromAMthI tADapatrIya hastapratomAM agiyAramI sadInA uttarArdhamAM thayuM. prata paricaya : lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdiramAM saMgRhita sacitra kalpasUtranI hastaprata 17mA saikAnI che. jeno sUci naMbara-27167 che. pratanuM parimANa 26.5 x 11.5 che. patranI saMkhyA-159 che jemAM sacitra patra-61 che ane citra saMkhyA-77 che. prAcIna bhAratanI sabhyatA ane saMskRtino paricaya ApavAmAM kaLAno phALo nAnosUno nathI, prAcIna saMskRta graMthomAM kaLAnI saMkhyA 64 gaNavAmAM AvI che. vAtsyAyanaracita kAmasUtramAM kaLAno je paricaya ApavAmAM Avyo che temAM "Alekhyam citrakalAne cothuM sthAna ApavAmAM AvyuM che. prAcIna bhAratanI citrakalAmAM rUpabheda, pramANa, bhAva, lAvaNya-yojana, sAdezya, varNikAbhaMga Acha aMgonuM suyojana Avazyaka mAnavAmAM AvatuM hatuM ane citrakAra potAnI kRtimAM tenuM pUrepUruM Alekhana karato hato. graMtha-racanAnA itihAsamAM sacitra hastapratonuM ghaNuM mahattva che. AvI prato e yuganI citrakalAnI pravRttio jANavAnuM agatyanuM sAdhana che. gujarAtI citrakalAnA vikAsa para jainadharmano prabhAva che. * lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdira, amadAvAdanA hastaprata saMgrahanI kalpasUtranI hastapratanA kula phoTogrAphasa-7ne ane lekhane prasiddha karavAnI paravAnagI ApavA mATe saMsthAnA niyAmaka pro. DaoN. jitendrabhAI zAhanA temaja lekha joI javA mATe jANItA kalAvid zrI ravi hajaranIsanI huM AbhArI chuM. + inacArja, hastaprata vibhAga, lA.da. vidyAmaMdira, amadAvAda.

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162 prIti paMcolI SAMBODHI-PURATATTVA kAgaLa paranAM citromAM Alekhana paddhatimAM pazcAdabhUmi lAlaraMgathI bharI devAmAM AvatI ane temAM lasarakAo vaDe camakadAra raMgo pUravAmAM AvatA. ne pachI rekhAMkana karavAmAM AvatuM hatuM. pAtrone beThA svarUpe AlekhavAnI rIta viziSTa che. vastronA vaLAMko ane cheDAo koNAtmaka ane pAradarzaka che, uparAMta temAM TapakIo vaDe bhAta upasAvavAmAM AvI che. mukuTa alaMkAro vageremAM sonerI raMgo jovA maLe che. citramAM cItarAyelAM pAtronA vastromAMnAM suzobhano khUba ja dhyAna kheMce tevAM che." A citro graMthamAM AvelI koI ghaTanAne tAdRzya karavA dorAyelAM che. AnI pAchaLano hetu viSayane dRzyAtmaka banAvavAno che. citro pUrAM pRSTha AvarI le te rIte dorAtAM ke AkhA pRSThanI uparanA koIpaNa bhAgamAM eTale ke upara, nIce, vacce, DAbI ke jamaNI bAjue dorAyelAM maLe che." kAgaLa paranA laMbacorasa pRSThanI aMdara citranuM Alekhana karAyeluM hoya che. lakhanAra ane citrakAma karanAra baMne vyaktio keTalIkavAra alaga alaga hovA chatAM akSaro lakhanAra, citra citaranAra mATe amuka jagyA choDI deto. keTalAka dAkhalAomAM citrakAranI samaja mATe graMthakartA hAMsiyAmAM prasaMgane anulakSIne lakhANa lakhatA evA namUnA paNa maLI Ave che. lakhanAra potAnuM kAma pUruM kare tyAra pachI prata citrakArane citro mATe suparata karavAmAM AvatI hatI." jaina AgamomAM dazAzrutaskaMdha nAmanA chedasUtranA AThamA adhyayana tarIkeno eka maulika ane prAcInatama vibhAga kalpasUtranA nAme che. enA praNetA bhadrabAhusvAmI che. ane bhASA prAkRta che. chedasUtranA A AThamAM adhyayanane ""kalpasUtra'nA nAme oLakhavAmAM Ave che. tenI zlokasaMkhyA 1216 hovAthI tene bArasAsUtra athavA sADI bAraso paNa kahevAmAM Ave che. teno racanAsamaya I. pU. 4thA zatakano che. tamAma jaina prajA kalpasUtranuM paryuSaNa parvanA divasomAM vAMcana kare che. svarNAkSare lakhAyelAM pustakomAM moTAmAM moTI saMkhyA kalpasUtronI che. rauNAkSare lakhelAM pustako paNa prApta thayA che. sAmAnya rIte kalpasUtromAM 36thI 40 citraprasaMgo hoya che keTalAkamAM tethI ochA athavA vadhAre paNa hoya che. kalpasUtranA mULa pAThamAM na hoya tevA keTalAka prasaMgonAM citro cUrNi, bhASya ke TIkAnA AdhAre doravAmAM AvyAM che. kalpasUtramAM traNa vibhAga che. 1. caturvizatijinacaritra 2. sthavirAvalI 3. sAmAcArI bhAdaravA suda caturthInA divase jainonuM sAMvatsarika parva ujavAya che te divase kalpasUtranA mULa pAThanuM vAMcana thAya che ane zrotAone citraprasaMgonuM darzana karAvavAmAM Ave che. 1. caturvizati jina caritra - prAraMbhamAM caturvizatijina caritra che. temAM bhagavAna mahAvIranA vana, kalyANakathI zarU karI mokSa parvatanA jIvanacaritranA tathA temanI pUrve thayelA pArzvanAtha, neminAtha yAvat RSabhadeva sudhInA kula-24 tIrthakaronAM jIvanacaritro che.

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Vol-1, XXIX kalpasUtranAM citro 163 2. sthavirAvalI - bhagavAna mahAvIranA nirvANa pachI temanA ziSya parivAranA vironI devardhigaNikSamAzramaNa sudhInI paTTAvalI - AmAM paNa je je nAma Ave che temanA jIvanacaritranA varNanarUpa citro hoya che. 3. sAmAcArI - varSAvAsamAM zramaNa-zramaNIone pALavAnA viziSTa AcAro. AmAM paNa spaSTatA mATe citro hoya che. kalpasUtranA keTalAka citra prasaMgo :(1) mahAvIra pratimA : kalpasUtranA prAraMbhamAM bhagavAna mahAvIranI pratimAne aMgaracanA karI hoya tevuM citra che. sAmAnya rIte jinezvaronA pAMca kalyANakonAM citro karavAmAM Ave che temAM A citra cyavana kalyANakanuM gaNAya che. madhyamAM bhagavAna mahAvIra padmAsane birAjamAna che. deva mastake mukuTa, bhAlamAM tilaka, karNa kuMDala, bAjubaMdha, vIravalaya tathA kaMThe kaMTho ane hAra zobhI rahyA che. emanA be karamAM zrIphaLa dhAraNa karelAM che. Asanastha siMhAsana upara madhye siMha-lAMchana tathA beya bAju pakSIonAM suzobhana che. siMhAsananA nIcenA bhAge yakSa ane DAbI tarapha yakSanI AkRti kADhelI che. vaccenA bhAge AjubAju be cAmaradhara che jyAre upara puSpasahita be devo beThA svarUpe dekhAya che. e uparanA bhAge deva-chatra che jenI nIce rakta-azokanI be DALIo citrita che cheka TocanA bhAge beya bAju gajarAja devapara abhiSeka kare che. (citra 1) (2) gautamasvAmI tathA aSTamaMgala : mAMgalika mATe A citra che. madhyamAM devakulikAmAM ardhapadmAsane gautamasvAmI beThAM svarUpe che. jamaNA hAthamAM navakAravALI che. DAbA karamAM koI ja vastu dhAraNa karelI nathI chatAM Aja bhUjAnI kAMdhamAM rajoharaNa che. jyAre jamaNA skaMdha para muhapatti dekhAya che. gautamasvAmI tathA sAdhuonAM vastro zveta TIpakIvALI bhAtathI citrita che. banne tarapha munirAjo vaMdana karatA UbhA svarUpe batAvyA che. devakulikAnI upara be bAju moranuM Alekhana surekha rIte karela che. upara cAra tathA nIce cAra kula ATha aSTamaMgalanAM citro dorelAM che. uparanI bAjue darpaNa, bhadrAsana, vardhamAna, kaLaza nIcenI bAjue matsya yugala, zrIvatsa, svastika, naMdyAvarta kADhelA che. (3) devAnaMdA svapnadarzana - devAnaMdA brAhmaNInI kukSimAM bhagavAna mahAvIra utpanna thayA te rAtre emaNe cauda svapna joyAM. devAnaMdA ardhajAgrata avasthAmAM poDhelA che. ardhanidrita avasthAmAM temaNe jamaNo pAda DhIMcaNamAMthI vALIne ubhaDaka rAkhyo che jayAre DAbo paga surekha rIte sIdho batAvelo che. ane khUba AkarSaka rIte

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164 prIti paMcolI SAMBODHI-PURATATTVA jamaNA hAthanI koNI para zIrSa TekaveluM che jyAre vAmahasta DhIMcaNane sahAre upara tarapha uThAvelo che. samagra citramAM devAnaMdAnuM nirUpaNa khUba manohara ane dhyAnAkarSaka che. mAthe mukuTa, kAnamAM goLa kuMDaLa, kapola para tilaka kaMTho, nAno ane moTo hAra, be hAthe bAjubaMdha, temaja cuDIo, nAkamAM cunI ane pagamAM jhAMjhara dhAraNa karelAM che. cauda svapnanAM citro - hAthI, vRSabha, siMha, lakSmIdevI, mAlAya..., sUrya, caMdra, dhvaja, kaLaza, padma-sarovara, sAgara, ratnano rAzi, devavimAna ane nidhUma agni vagere batAvyA che. (citra-3) (4) iMdra sabhA : devalokamAM sudharma sabhAmAM birAjamAna IMdra bhagavAna mahAvIrane devAnaMdAnI kukSimAM utpanna thayelAM joyAM. iMdra siMhAsana para ArUDha hoI deva caturbhuja che. keza racanA AkarSaka che. bhAlamAM tripuMDa mAthe mukuTa, karNa kuMDaLa, gaLAmAM kaMTho ane be hAra, bAhu para bAjubaMdha ane AbhUSaNo che. Aja hasto paikI jamaNA hastamAM vaja ane vAma hAthamAM aMkuza dhAraNa karelA che ane jamaNo temaja DAbo hAtha anukrame abhayamudrA ane varadamudrAmAM che. deve lAla TapakIvALuM dhotiyuM dhAraNa kareluM che. (5) zakrastava : bhagavAna zakra potAnA siMhAsanathI nIce UtarIne catusta paikI be hAthathI namaskAra mudrAmAM mahAvIra svAmInI stuti kare che jayAre bAkInA be hastamAM aspaSTa vastuo dekhAya che. jenI oLakha thaI zakela nathI. iMdranI besavAnI laDhaNa khUba dhyAnAkarSaka jaNAya che emanA mastake mukuTa zobhe che. alaMkAromAM kAne goLa kuMDaLa, kaMThe eka sarIno hAra temaja bIjo eka anya hAra dhAraNa karela che. samagra citramAM pazcima bhAratIya zailInI lAkSaNikatAo jovA maLe che. iMdra siMhAsanathI nIce utarI be DhIMcaNa jamInane aDADI namaskAra mudrAmAM mahAvIranI stuti "namasthai garihaMtA'' Adi kare che e prasaMgane citrita karavAmAM Avyo che. (citra-5) (6) garbhaharaNa : iMdranI AjJAthI hariNagameSIdeva devAnaMdAnI kukSithI garbhanuM haraNa kare che. AkarSaka palaMgamAM devAnaMdA anidrAmAM che. emanA be hasta UrdhvagAmI che. devIe suzobhita mukuTa, karNe kuMDaLa, kaMThe raiveyaka tathA anya be hAra dhAraNa karelA che. baMne hastamAM ratnajaDita kaMkaNo zobhe che. devInA pArthamAM ratnamaMDita traNa koravALuM AbhAmaMDaLa che. prasaMgocita zRMgayukta hariNa jevA mukhano deva be karamAM garbhane haraNa karIne laI jAya che. uparamAM suzobhita vAtAyana ane upara moranI surekha AkRtio kADhelI jaNAya che. (citra-2)

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Vol-1, XXIX kalpasUtranAM citro 165 (7) trizalA garbha saMkramaNa : hariNagamelI deva bhagavAna mahAvIrano garbha trizalA devImAM saMkramita kare che e kathAnuM A citramAM Alekhana che. (8) trizalA svapnadarzana : - citraprasaMga-7 mAM garbha-saMkramaNanuM Alekhana thayuM. A rAtrie trizalAne cauda svapnonuM darzana thayuM. devI Asanastha hoI jamaNo hasta takiyA upara AkarSakapaNe Tekavelo jayAre DAbo kara UrdhvagAmI batAvelo che. devIe yathocita AbhUSaNo dhAraNa karelAM che. anya rekhAonuM Alekhana pazcima bhAratIya paraMparAnI zailImAM che. devInI sanmukha koI deva-AkRti UbhA svarUpe che. jemanA jamaNA bAhumAM khaMjara dhAraNa kareluM che jyAre DAbo hasta nIcenI tarapha batAve che. A deva AkRtinI oLakha thaI zakela nathI. (citra-8) cauda svapna : uparathI - hAthI, vRSabha, siMha (sUMDhavALo), lakSmI, mAlAyugala, dhvaja, kaLaza, sarovara, samudra, devavimAna, ratnano rAzi, agni, caMdra, sUrya. svapna joIne jAgIne trizalAmAtA potAnA pati siddhArtha rAjAne svapnanI vAta kare che. rAjA kahe che svapnanuM phaLa zubha che. svapnanuM phaLa naSTa na thAya te mATe trizalA mAtA pachInI rAtri jAgaraNa karIne vyatIta kare che. (9) bhagavAnano janma - bhagavAna mahAvIrano janma caitrasuda-13nA divase thayo hato. te ja samaye bhagavAnanuM kRtrima rUpa mAtA trizalA pAse rAkhI, pAMcarUpe indra, bhagavAnane meruparvata upara laI jAya che. iMdra ekarUpe bhagavAnane potAnA khoLAmAM laIne beThA che. jyAre be UbhA svarUpe kaLazathI prakSAla kare che ane anya be svarUpe abhiSeka kare che. (10) upasarga - citramAM bhagavAna mahAvIra svAmIe bAra varSa sudhI aghora tapazcaryA karI ghAtikarmano nAza karyo e kathA-prasaMganuM Alekhana che. je anukULa ane pratikULa upasargo kahevAya che jema ke - devanA karNamAM khIlA mAravAmAM AvyA, be pAda vacce agni prajavalita karI khIra rAMdhavAmAM AvI uparAMta siMha ane vIMchI ityAdinA aneka upasargo thayA. A tamAma upasargo bhagavAne samabhAve sahana karyA hatA. kathA prasaMganuM surekha Alekhana citramAM jovA maLe che. dhyAnAkarSaka bAbata tIrthakaranuM sanmukha-darzana pazcima bhAratIya kaLA zailInI lAkSaNikatAo sAthe rajU thayuM che. (citra-10)

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166 prIti paMcolI SAMBODHI-PURATATTVA (11) mokSa : Aso vadI - dipAvalInI rAtrinA uttarArdhamAM pAvApurI (prAcIna apApApurI)mAM bhagavAna mahAvIra nirvANa pAmyA hatA. A prasaMganuM Alekhana kalpasUtranI A hastapratamAM thayuM che. A hastaprata mahattvanI che. bhAratIya nATya, saMgIta ane citrakalA traNeya dRSTie tenuM sthAna apUrva che. A citromAM rAgarAgiNI, tAna vagerenI yojanA saMgItazAstra anusAra che. pratyekanI mudrA temanA hRdayagata bhAvonuM spaSTIkaraNa karatAM vividha rUpa utpanna karIne sAdhAraNa mAnavane paNa potAnI tarapha AkRSTa kare che. (citra-10) ahIM rajU thayela tamAma laghucitromAM AMkhonI banAvaTa paNa darzanIya che. raMgo ane rekhAonI dizAmAM paNa kalAkAra ghaNA sajAga rahyA che. thoDAM citromAM svarNaraMgano paNa upayoga thayo che. thoDAM citronI pRSThabhUmi pILA ane lAla raMgomAM ane vastro para nAnA nAnA dhAbA paNa ApavAmAM AvyA che. rekhAono uddeza bhAvone vyakta karavAno cheAthI A laghucitra hastapratanuM citrakalAnA kSetramAM ghaNuM mahattva che. sonerI varaga chApIne kALI rekhAothI citra upasAvelAM jotAM pratIti thAya che ke jenA hAthamAM kaLAno kasaba che tevA hoziyAra kaLAkAranuM A kAma che. A citro koI aNaghaDa hAthe dorAyelAM nathI prastuta hastapratanA laghucitronI keTalIka vizeSatAo nIce mujaba che :- laTakatI eka AMkha (doDha AMkha), kAna sudhI kheMcAyelI strIonI kAjaLanI rekhA, ati vadhAre UMcAM vakSasthaLa, hadathI vadhAre pAtaLI kamara, aNIdAra nAka A citro koI ghaTanAne tAdRzya karavA dorAyelAM che. viSayane dRzyAtmaka banAvavAno hetu che. citronA raMgonI pasaMdagI paNa ghaNA UMcAM prakAranI che. jaina AcAryoe lipimAM paDimAtrA, ajhamAtrA vagere jema sAcavI rAkhyA tema citrazailI paNa sAcavI che. Ama pazcima-bhAratIya zailI paraMparAnA sAdA kathAprasaMgone saraLatA - vizadatA ane lokasaMskRti [folk-Alt] mAdhyamathI samajAvavAmAM AvyA che. je dharma sAthe saMkaLAyelA hovAthI pachInA mogalakAlanI jema emAM ati vaibhava zRMgAra nathI. strIdehanuM nirUpaNa paNa A kAraNe ja saraLa ane taLapaduM che. jemAM vilAsI vAsanA ane bhogavilAsane sthAna nathI. pAdaTIpa : 1. ravi hajaranIsa, gujarAtanI zilpa-samRddhi eka vihaMgAvalokana, 1999, amadAvAda, pR. 3. 2. "tannAthathI catuH STimAra - jItanuM vAdyama, nRtyam mAsedhyam vize vAjIMdAm....ti vatuHSaNavidyA: | kAmasUtrasyAvayavinyaH // 1 / 3 / 15 / / 3. "Alekhyamiti - rUpabhedAH pramANAni bhAvalAvaNyayojanam / sAdRzyaM varNikAbhaMga iti SaDaGgakam // " iti etAni parAnurAgajananAnyAtmavinodArNAni ca // - vAtsyAyanamunipraNIta - kAmasUtra - jayamaMgalA TIkA zrI devadattazAstrI - pR. 87 /

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Vol-1, XXIX kalpasUtranAM citro 167 4. prAcIna bhAratamAM graMthalekhana, lekhApana, saMgrahaNa ane saMrakSaNa DaoN. caMdrakAntA ha. bhaTTa pR. 162. 5. ejana - pR. 162-63. 6. ejana - pR. 163. saMdarbha graMtho : 1. zrI vAtsyAyanamuni praNIta - kAmasUtra - jayamaMgalATIkA sahita, zAstrI devadatta, cokhambhA saMskRta saMsthAna - vArANasI paMcama saMskaraNa, saMvat - 2053. 2. bhAratIya vitratA, nairotA vArata, gSpA saMskRta pratiSThAna, dilhI - 220007, dritIya saMskaraNa 1160. 3. jaina citrakalpadruma saMpAdaka-prakAzaka-sArAbhAI maNilAla navAba 1936, amadAvAda, kalpasUtra, saMpAdaka munirAja zrI puNyavijayajI, bhASAMtara adhyApaka becaradAsa dozI, saMskaraNa 26muM I. sa. 1952, amadAvAda. 5. prAcIna bhAratamAM graMthalekhana, lekhApana, saMgrahaNa ane saMrakSaNa, (I. sa. 1300 sudhI) DaoN. caMdrakAntA ha. bhaTTa, prathama AvRtti, I. sa. 1990. amadAvAda,

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168 prIti paMcolI SAMBODHI-PURATATTVA kalpasUtranAM citro (eu... vidyAmaMdira saMgrahita sathitra pasUtrano pariyaya) prIti paMcolI masAvI Turtun zrIvItarAmAyanamA samarthanAcAnaciyametavya samaznAvaspAMsamAnIta misadAdhikAmanyataH enavatAva ra zrIkAsivAtasyAdhikArasyavAdhikyaM gAyanimaya himANa kI maMgalavadhamApatiminIpatrikadIyAkiNa gaNadarAmarAvalicaritramiti asthAI zrIkAdivAra yITIvadhyAlpaprAcAra maMganavanavAsanasamAta ddidd| nAnIkapamAdImIvIraparvatAnAMvadinAniyate'tipakSa mIdhivAsaratImahAvAdisvavizvativitiditIyodhi kAra satazcAritramaSTAviMzatisAkasamAcAryaHniztI yodhikaartiydhaakrmsuutrkaaraanusaareshvdyaamii| dhikAranapapivitantratAvalaghamavaramalayArAvAsya te / FaNAdi kivivara sidathavA vinayavijaya vizvayaghaDihAyanikama mAsaepIsadazaka cAlavAhanAnha 4 inizvaka sAnA mani / dovAmadAsumiNakAsimAmilAsamANIsaal mAankav a lnews mAdiyA vImaNAparamasomakassiyAksiksavisamA vavavAinirAzisardiyoyanA Masomenews diyayA mAdayasyevaphavidhasamussasiyarAmavAlI MARLAlIyanamAyAsakA banAyA sumiyAgAdakavi karitA sayANizAsaddhi milaa| mAnikIghA vanalinAniviTaMbA nayatanayamiliyasyAmA riyAsatamasasaMtAe avinaMbiyAeNyadaMsasArisa / liyA kyavasmanijAmAdajI vevasthAneNyAagasava nika gaI DIecavasanadImAdI nizivAyavazvavAgalevAra CS

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Vol-1, XXIX kalpasUtranAM citro 169 faqere AzAti pramazasyalagavatI mahA makaroni satyAca devAnavAyA samAsasamayavadAnIbasapaNAmakAravAlA divAdamA asA saparizamAyA bAyakAtila jIe saparihA avasAvaNiklayati zAsanamAna malA apakSasAlAnanamvanamAlikA Masala yazvarati zravarizAsulemAnaparikavara pahivatAyA rilAyanamA avamAnI raktasaMcayana ekAminsamavaMtivaTa samanAmanAvI karayala bhagavaTAtiyAbiya mAnagara pAlikA syA nivagirIvavavaziyamayAmiNyarelevasipala zakyisvadeza yAvizatAviyAhItImAgati smaraniyasmaniTe zivalisAlAekhazivANI zivAya Enota zisAda tikulomukSaNita simitimati wala muan saMpaNanizikSA sAmaniyasiyAlayAta sAdara ma sAkSAkaravAjapadigpAdiyasirasAva samarTamaannel N News ARTMENSAR ONadies parvaNavAzI namovarNa badalANa cAvatA mAdigaNI ki Aware mArI sasA adikhIjhamANe parisasIdANe parisavarIna sikA hAniyA liyA kI saMkAmina sIvisalAparavaliyAlI vAsiharasamIlAe aiisagazAlAya sAvita vivAda kaviato sAkSarie narayalivarNa sAtisalAravaliyA tasitArisamasiA FacAti BO vimAna vAsaghasiyamitasavinavamIvAdimiyaghaTamavivA kamya sanIyaviviliyatale maNikyApAsiyakSyArebajasamA walaw w wsAgHAaepAvinA muvismmmisaapcvlmrssurdimikyaark| HowraEASEAmawasana mawww | lie kAlAyasyavaradarUvasarahAmanavamaghamata

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170 prIti paMcolI SAMBODHI-PURATATTVA 3 Jacenefits-devaya na kA anadhiArAvaNiyAsamie praNasalie kyasamie kaa| yasami mAni kyAvizayayule garidipa khsyaa|| rAva apramAdinidhi nisvanasiyA Image nimayAdibAlikAlagavi bArAjitA zyakatIe sakhIzvakADhaNIvazvAniyAImall vilAmiva nirAsa gamivanivAsavarNa vAyuviyaNamivaI sAsyasamitavamA anwaanegatiosavidhAna nakArakaramaraNasidevabamuzritagopavinimesa bakSaNIya vaMdanAmasaMbara pIbhavadhiyonadivANa polAmAlAvivasariyana asalyanidivAnAmasAyalA khi mulAvisamasamavi devAnAmazAraya bihIbana vilinA hI vizitivilamanapA zavalida nAgakara wafmAmAnAnaToMge vigata kAna li sabasipI sAniyAnarakI kImamuhAvAparyakAlamA navinasavayI yamanamAMgaNitamAna SE vizakate mAdasavakapadIrayA smshingm|

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rUpA mahetAnI chatrIno lekha ravi hajaranIsa,* zephAlI nAcaNe * paMcamahAla jillAnuM tAlukA mathakanuM gAma luNAvADA cAre tarapha vanarAjI ane DuMgaronA sAnnidhyamAM AveluM che. gAmanI dakSiNe kALakAmAtAno DuMgara Avelo hoI, te para rUpA mahetAnI chatrI nAmathI oLakhAtuM nAnakaDuM smAraka AveluM che. sthAnike e "meghAjInI chatrI" nAme paNa oLakhavAmAM Ave che. smAraka para coDelI zveta ArasanI takatIne lIdhe samAdhi prakAranuM mRtyu-smAraka hovAnuM jaNAya che. chatrI ATha mizraghATanA staMbho yukta hoI, upara ghUmaTa-kaLaza zobhe che. ghUmaTanI nIce (Base) aSTakoNa che. nIce pATaDA kADhelA che, je bahAra nIkaLatA chAdya banAve che. samagra smAraka retiyA pattharanuM che, je kALanA sapATA sAme jhIMka jhIlatuM khaMDita hAlatamAM che. takatI para gujarAtI lipi ane bhASAmAM kula bAra lITIvALo lekha kotarelo che. pratyeka lITImAM cArathI pAMca akSaro che. jayAre ke chellI paMktimAM traNa akSaro che. A lekha itihAsane upayogI che. adyApi aprakAzita A lekhanI vigato ahIM prathamavAra rajU karI che. I. sa. 1817 mAM cAMpAnera nA 5 vAra bA purU i nAthe luNAvA DAu para caDhAI karelI te pra saMga svasthAnanA bacAvamAM Te laDhatA saradAra megharAja khapI gayA temane ahiM agni saMskAra karI temanA smAraka tarIke A chatrI baMdhAvavAmAM A vI che. e ja laDAImAM khapI janA 2 rUpA vRjadAsa nAmanA mahaM tA ne paNa A sthaLeja agni saMskAra thayo hato.86 * pUrva sahAyaka purAtattva niyAmaka, gujarAta rAjaya, amadAvAda + jI.ena.epha.sI.TAunazIpa, sTrITa naMbara-19/7, pI.o.narmadAnagara, bharUca.

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172 ravi hajarIsa, zephAlI nAcaNe SAMBODHI-PURATATTVA lekha kotaranAre lakhANa (Text) taktInI jagyAmAM yogya rIte samAviSTa na thatAM ane aNaAvaDatane kAraNe mULAkSaro-zabdo ayogya rIte ekathI bIjI paMktimAM chUTA lakhelA che. dAkhalA tarIke 5 vAra (pavAra), bA purU gha nAthe (rUghanAthe), ma Te (mATe) mAM tA (mahetA) vagere. A yuganA kotaranArAonI lahiyAonI paddhatinAM lakSaNo che. lekhanI bhASA karatAM lakhANanI gujarAtI lipi azuddha jaNAya che. kotaranAra kArIgare prathama takatI jaDI dIdhela haze ane pachIthI lakhANa (Text) takatInI jagyAmAM samAviSTa karavAno prayatna karyo che. A kAraNe akSaronA maroDa nAnA-moTA thayA che ane sapramANatA jaLavAI nathI. taduparAMta azuddhio paNa jovA maLI che. khAsa dhyAna kheMcatI bAbata to e che ke yogya mApa sAthe saMkalita kareluM lakhANa nathI. jema bIjI paMktimAM luNAvA ane cothI paMktimAM "DA" (luNAvADA). trIjI paMktimAM "pra" akSara lakhI choDI dIdhuM che ane cothI paMktimAM saMga pUrNa karela che. matalaba ke prasaMga Aja pramANe cothI lITImAM mA ane pAMcamI lITImAM Te-(mATe) AThamI lITImAM A ane navamI lITImAM vI che - (AvI che). navamI paMktimAM janA ane dasamI lITImAM 2 - (janAra). dasamI paMktimAM mahaM ane agiyAramI lITImAM tA (mahaMtA). uparokta doSo uparAMta zabdo AghApAchA thavAnI kSati paNa jovA maLI che. lekhanA aMtamAM pUrNavirAma bAda phUlabhAta kADhelI che. samagra lekhamAM I.sa.1817no samaya ogaNIsamI sadIno lAge che. je anusAra cAMpAneranA mu vAra bA purudhana -rajo (muvArabApu dhana rajo) e luNAvADA para caDAI karelI tyAre yuddhamAM saMsthAnanA bacAvamAM saradAra megharAja khapI jatAM eTale ke mRtyu pAmatAM emano agnisaMskAra karIne A smAraka chatrI (mRtyusmAraka) baMdhAvyAnI hakIkata jaNAvI che. vizeSamAM A ja laDAImAM khapI janAra rUpAvRjadAsa nAmanA mahaMtane paNa A sthaLe ja agnidAha ApyAno ullekha che. TUMkamAM cAMpAneranA bApunI luNAvADAnI caDAI ane emAM luNAvADA saMsthAna mATe laDatAM laDatAM saradAra megharAja khapI gayA. emanA agnisaMskAra, smAraka tema ja mahaMtanA agnidAhanI vigato sAMpaDe che. sthAnika itihAsanI A atyaMta upayogI sAmragI hovA vize be mata nathI, tema chatAM A bAbate aitihAsika vigato tapAsavI jarUrI bane che. A anusAra I.sa.1816mAM luNAvADA para bAlAsinoranA navAba taraphathI tathA I.sa. 1817 nA dhAranA pavAranA bApu raMganAtha nAmanA saradAre luNAvADA para satyAvIsa divasa kabdo jamAvyo hato tathA 40,000.00 nI khaMDaNI TharAvIne teo dhAra pAchA pharyAno ullekha ke.kA.zAstrIe karelo che. je mATe zAstrIjIe mahArASTra sTeTa gejheTIyara hisTrI pArTa-3no AdhAra lIdho che. jo A bAbatane satya tarIke svIkArIe to prastuta lekhamAM jaNAvela cAMpAneranA bApu tarIke ullekhIta rUdhanarajo (raMganAtha) dhArano che. A jotAM aitihAsika vigata doSa jaNAya che. paNa samaya doSa jaNAto nathI.

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Vol-1, XXIX rUpA mahetAnI chatrIno lekha 173 samagra rIte jotAM lekhanA akSaro gujarAtI lipinA boDIyA akSaro che. jo ke A samaye mathALA bAMdhIne lakhANa lakhavAmAM AvatuM ema ghaNI jagyAe jovAmAM AvyuM che, je parathI lAge che ke aitihAsika mAhitI sAcavato lekha banelA banAvano anukAlIna che. uparokta bAbatane satya tarIke svIkAravAmAM Ave to lekha pAchaLathI besADyAnuM kahI zakAya; kAraNa ke temAM aMgrejI tArIkha che. I.sa.1817=1766 vi. saMvata che. A samaya daramyAna siMdhiyA ane holkara vacce koI aNabanAva ke laDAI thaI che? kAraNa ke pezvA, holkara ane siMdhiyA vacce A varSomAM aNabanAva hato. jo ema hoya to emanA gharSaNanuM paNa AmAM sUcana jaNAya che. vaLI A samayamAM I.sa.no upayoga sAmAnya rIte tatkAlIna lekho jotAM saMbhavita lAgato nathI; kAraNake A vakhate vikrama saMvata ane zaka saMvatanI noMdha thatI jovAmAM Ave che. ane jo A svIkAravAmAM Ave to I.sa. no upayogavALo A lekha aitihAsika bayAna Apato hovA chatAM samakAlIna gaNavo yogya lAgato nathI. jethI luNAvADAnA rUpA mahetAnI chatrInA lekha aMge vadhu saMzodhana apekSita che. pAdaTIpa : 1. phoTogrApha zrI rUdradattasiMha rANAnA saujanyathI raju karela che. 2. S.N.Sen. Administrative System of Marathas, Maharashtra State, Gazetteers, History, Part-III, p.220. 3. ke.kA.zAstrI, luNAvADA, gujarAtano rAjakIya ane sAMskRtika itihAsa (saM.) parIkha - zAstrI, graMtha - 7, marAThAkAla - pR. 201 meghAjInI chatrI, luNAvADA

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purAvastu ane zilya abhyAsakrama ahevAla Archaeology and Sculpture - ( A short Term Study course - Report) Dt. 14-3-2005 to 21-3-2005 ravi hajaranIsa gata varSe ela. DI. insTiTyUTa oNpha inDolojI, amadAvAda ane gujarAta sarakAranA purAtattva vibhAganA saMyukta upakrame cha divasano TUMkI mudatano purAvastu ane zilpa' viSaye tA. 143-2005 thI 21-3-2005 sudhIno eka abhyAsakrama yojAI gayo. nANAMkIya sahAya purAtattva vibhAge Apela hatI. samagra abhyAsakramanA racayitA gujarAta rAjayanA pUrva sahAyaka purAtattva niyAmakazrI ravi hajaranIsa hatA. abhyAsakrama daramyAna rojeroja bapore 3.00 thI 5.00 be tAsa-pIrIyaDa lekhe keTalAMka dazya - zrAvya (Audio - Visual) ane keTalAMka zrAvya vyAkhyAno thatAM. vyAkhyAtA, prasiddha purAvidU ke kalAvid sAthe goSThI, praznottarIno samAveza paNa thaI jato. eka bAju varSonA anubhavI purAvid - kalAvido vyAkhyAtA hatA to bIjI tarapha vidyArthIomAM paNa adhyApana kSetre vyavasAyika adhyApako, keTalAMka vibhAgIya adhyakSo, phAIna ArTsanA chAtro, sthapati (Architect), saMsthAnA niyAmaka, saMgrahAlayanA saMcAlaka, jainadharmasaMghanA TrasTI, bauddhasaMghanA ceramena ane patrakAra vagere vidyA AkAMkSIo hatA. TUMkamAM kahIe to 80thI vadhu chAtromAM gujarAta yunivarsiTI, tema ja yunivarsiTI bhASAbhavananA adhyakSa, keTalIka saMlagna kaoNlejanA saMskRta ane itihAsanA vibhAganA vaDAo, adhyApako, gUjarAta vidyApITha, amadAvAdanA jainavidyA vibhAganA adhyakSa ane adhyApaka, ahIMnA ja itihAsa ane sAMskRtika vibhAganA pratinidhio, bho.je. adhyApana ane saMzodhana saMsthA, amadAvAda, ane eca. ke. ArTasa kaoNlejanA pratinidhio ane vidyArthIono samAveza thayo. A sivAya ema. bI. e. ema. eDa. gaNita, AMkaDAzAstra, mAnasazAstra ane kAyadAzAkhAnA chAtro paNa samAviSTa hatA, je vividha kSetre kAma karatA lokonI purAvastu ane prAcIna dharohara pratyenI abhiruci batAve che. kAryakramanI samIkSA arthe saMkSepamAM rojerojanI vigato tapAsIe. abhyAsakrama pahelAM ane abhyAsakrama daramyAna rojiMdA patrakAra pariSadanuM Ayojana thatuM. jemAM patrakArone saMbodhana ane pratyuttara jitendra zAha, ravi hajaranIsa ane raseza jamInadAra ApatA. jemAM sahAya kanubhAI zAha

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Vol-1, XXIX "purAvastu ane zilpa' abhyAsakrama ahevAla 175 karatA. ela. DI. insTiTyUTanA vahIvaTI ane takanIkI mahekame kAryakramane saphaLa banAvavA chevaTa sudhI jahemata uThAvI hatI. kamyuTarakArya keyUra bhaTTe karyuM hatuM. to chAtra mahemAnonI hA-nAstAnI sarabharAnuM kAma saMsthAnA varga-4 nA karmacArIoe niSThApUrvaka upADI lIdhuM hatuM. saMsthAnA karmacArI kezAjIe vyAkhyAna daramyAna projekTara sahAyakanI bhUmikA sarasa rIte nibhAvI hatI. tA. 14-3-2005 nA uddaghATanamAM gujarAta vidyApITha, amadAvAdanA kulanAyaka ane udghATaka zrI aruNa davee A prakAranA abhyAsakarmo vadhune vadhu yojavA para bhAra mUkyo hato. gujarAta rAjaya purAtattva khAtAnA niyAmaka zrI yadUbIrasiMha rAvate A kAryakrama, ane bhaviSyamAM paNa AvA kAryakramo yojAze to tamAma sahayoganI khAtarI ApI hatI. atithivizeSa raseza jamInadAre kAryasaphalatAnI kAmanA rAkhI, vyAkhyAtAonAM vyAkhyAno prakAzita karavA khAsa anurodha karyo. saMsthA niyAmaka jitendra zAhe A kAryakramanI saphaLatA mATe ravi hajarIsanA prayatnone biradAvI, bhaviSyamAM paNa teo AvA abhyAsakrama ghaDI Apaze evI AzA vyakta karI. alpAhAra sAthenI udghATana samArohanI pUrNAhuti bAda sAMje vidyArthIo samakSa jitendra zAhe ""jainamUrti vidhAna" (Jain Iconography) para viSaye vyaktavya ApI vyAkhyAna zreNIno zubhAraMbha karyo. vaktAM "jainavidyA' (Jainology) viSayanA yuvA paMDita gaNAtA hoI, emanI tajjJatAno lAbha zrotAgaNane maLyo. tA. 15-7 nA roja "itihAsa nirupaNamAM zilpa - vijJAna'nA vaktA hatA raseza jamInadAra. vyAkhyAna vidvatAsabhara rahyuM. A divasanuM bIjuM daSyazrAvya vyAkhyAna pUrA - kalAvid ravi hajaranIse "prAgaautihAsika suzobhana rekhAMkana ane zailacitro' vize Apela. vaktA gujarAtamAM zailacitro (Rock Art of Gujarat)nA zodhaka gaNAtA hoI, vidyArthIone tethI mahattvanI zodhakhoLanI mAhitI maLI. A prasaMge gujarAta rAjya mAhitI khAtA, amadAvAda dvArA zailacitronI zodhanI gAthA rajU karatI dastAvejI philma "sAbarakAMThAnAM zailAzraya citro" batAvavAmAM AvI. tA. 16-3nA divase gujarAta rAjaya purAtattva khAtAnA uttara - vartuLanA adhikSaka purAtattvavid (Superintending Archaeologist, Northern circle) amadAvAdanA zrI munIndra joSIe gujarAtanA bauddhazilpo viSaye vyAkhyAna ApyuM. jethI bauddhakalA ane bauddhazilpono chAtrone tenA prAptisthAna sameta paricaya maLI rahyo. bIjuM vyAkhyAna bho. je. adhyApana ane saMzodhana saMsthAnA adhyakSA DaoN. bhAratIbena zelatanuM hatuM. viSaya hato "purAtattvanA sAdhana tarIke abhilekho ane tenAM pratIko.'' | ApaNA prAcIna dharoharanI jALavaNI jeTalI jarUrI che eTaluM ja purAvastunA kAyadA kAnUnanuM sthAna mahattvanuM che. viSayanI jANakArI hoya to paNa kAyadAthI ajANa hoIe to e akSamya gaNAya. lokomAM A kAyadAkIya sabhAnatA lAvavA AnuSaMgika purAtattva adhiniyama' viSaya para vyAkhyAnanA vaktA hatA gujarAta rAjaya purAtattva khAtAnA sahAyaka purAtattva niyAmakazrI bhagavAnadAsa makavANA. jyAre Aja divase eTale 17-3-2005nA bIjuM vyAkhyAna kSatrapa ane guptakAlanA gujarAtanAM zilpo' (Khatrapa and Gupta sculptures of Gujarat) viSaye hatuM, jenA vaktA hatA ravi

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176 ravi hajaranIsa SAMBODHI-PURATATTVA hajarIsa. jemAM tatkAlIna zilpaghaDatara prakriyA, alaMkaraNo ke AbhUSaNa ane samayAMkana vagerenI carcA khUba upayogI hatI. vyAkhyAna dazyazrAvya (illustrated with slides) hovAthI saMpUrNa rIte mAhitIprada rahyuM. praznottarIthI lAgatuM hatuM ke vidyArthIo zilpanI oLakha (Identification) ane samayAMkana (Chronological Period) arthe sajAga ane jANakArI sAthe sajja thaI rahyA che. tA. 18-3nA roja "Adya aitihAsika zilpo ane purAvazeSo" (Proto historic sculptures and Antiquities) vyAkhyAnanA vaktA rAjaya purAtattva khAtAnA niyAmaka zrI yadubIrasiMha rAvata hatA. vyAkhyAnamAM moheM jo daDo, harappA, lothala, dezalapura, zikArapura, kutAsI pabumaTha ane dhoLAvIrA jevI harappA saMskRtinI vigato slAIsa dvArA batAvavAmAM AvI je khUba rasaprada rahI. viSayanA vaktA tajjJa gaNAtA hoI, dhoLAvIrA vasAhatanA teo madadanIza utpananakAra hatA. AthI atyaMta AdhArabhUta mAhitI srota, zrotAone maLI zakyo. bIjuM vyAkhyAna maitraka, anumaitraka ane solaMkIkAlIna gujarAtanAM zilpo (Maitraka, Post Maitraka and Solanki Sculptures of Gujarat) viSaye hatuM. je jANItA purA-kalAvid zrI ravi hajaranIse, daSyazrAvyanA (illustrated with slides) mAdhyama sAthe ApyuM hatuM. vaktA mUrtividhAna (Iconography) ane zilpa (Sculpture) viSayanA TocanA tajjJa gaNAya che. tA. 19-3nA divase prathama vyAkhyAna "gujarAtanAM jaina zilpo" (Jain sculptures pf Gujarat) hatuM. jenA vaktA bahuzruta vidvAna DaoN. raseza jamInadAra hatA. temaNe jaina zilponI vigato AnuSaMgika sAhitya sAthe ApI hatI. jyAre bIjA vyAkhyAtA eca. ke. ArTasa kaoNlejanA prinsipAla subhASa brahmabhaTTa "purAtattvanI najare gujarAtanI prAcIna rAjadhAnIo" (Ancient capitals of Gujarat An Archaeological view) nAmanI mAhitIsabhara philma batAvI hatI. 21-3 nA roja dUradarzana amadAvAdanA rUpA mahetAe "zilpamAM vyakta thatI nRtyakalA" (Dance forms depicted in sculpture) para mananIya vyAkhyAna Apela hatuM, je lokapriya rahyuM. aMtamAM cha divasano abhyAsakramano pUrNAhuti kAryakrama yojAyo. jemAM vidyArthIoe potAnAM maMtavyo rajU karyA hatAM. gujarAta vidyApITha, amadAvAdanA jainavidyA vibhAganA adhyakSa DaoN. pUrNimA mahetAe potAnAM saMsmaraNo kahyAM hatAM. ane AgAmI AvA kAryakramo vidyApIThamAM yojavA ijana ApyuM hatuM. pro. ke. sI. bAroTe A bhaNatarathI, prAcIna dharohara arthe kaMIka karI chUTavAnI dhagaza maLI hovAnuM jaNAvyuM hatuM. to tamAma zrotAgaNe najIkanA bhaviSyamAM Avo abhyAsakrama-saptAha utpanana sthaLa (Excavation-site) saMlagna yojavAno anurodha karyo hato. ane Ama kudarate jyAM lakhalUTaakhUTa sauMdarya bakyuM che, moralAonA nAca ane koyalanA TahukAonA naisargika vAtAvaraNa maLe ela. DI. insTiTyUTamAM abhyAsa kAryakramanI pUrNAhutinI ghoSaNA thaI. ane chAtro bhAre haiye paNa prAcIna dharohara pratyenI saMpUrNa jAgRti sAthe pharI AvavAnI adamya lAlasA sAthe vidAya thayA. astu.

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saurASTramAM purAtattva (prAraMbha-vikAsa-lAkSaNikatAo) esa.vI.jAnI purAvastuono abhyAsa karanAra vidyA eTale "purAtattva" e itihAsanA abhyAsa mATenuM eka mahattvanuM sahAyaka zAstra che. purAtattvano eka svataMtra vijJAna tarIkeno prAraMbha ogaNIsamI sadImAM savizeSarUpe thayo hato. pachIthI vIsamI sadImAM teno vikAsa thayo hato ane ekavIsamI sadImAM to te eka mahattvanuM prabhAvazALI vijJAna banyuM che. temAM naipuNyavALA purAvid AdarapAtra gaNAya che. saurASTramAM paNa purAtattva aMgenI jAgRti ogaNIsamI sadImAM AvI hatI. prAraMbhamAM karnala ToDa ane emanA jevA saMzodhakoe tathA pUrvenA pravAsIoe saurASTramAM joyelI vastuo, makAno, nagaro vagerenAM varNana karyA che. paraMtu temAMthI itihAsa tAravavAno prayAsa bahu ja ocho thayo hato.' - I.sa. 1784mAM kalakattAmAM royala eziyATika sosAyaTInI sthApanA ane 1788mAM "eziyATIka rIsarcesa" (Asiatic Researches) nAmanA sAmayikanA prAraMbha sAthe bhAratamAM purAtattvIya kSetrAnveSaNano prAraMbha thayelo gaNAvI zakAya. 1822-1825mAM karnala jemsa ToDe pazcima bhAratanI mulAkAta lIdhI hatI. I. sa. 1822mAM karnala ToDanuM jUnAgaDhanA zilAlekha tarapha dhyAna gayeluM. paraMtu tyAre enA aMge vizeSa kAMI thayuM na hatuM. azokanA A abhilekhana lipi jemsa prinsesa jevA vidvAnoe 1834-37mAM ukelI hatI. te lekhanuM bhASAMtara cheka I. sa. 1876mAM thayuM hatuM. A lekhanI vAcanA jemsa prinsesa, jUnAgaDhanA prAcyavidyAnA tajjJa bhagavAnalAla iMdrajI, bUhalara, kalahorna jevA vidvAnoe saMpAdita karI rajU karI hatI. jUnAgaDhano zilAlekha saurASTrano sauthI prAcIna aitihAsika zilAlekha che. vaLI te maurya vaMzanA rAjavI azoka, kSatrapa vaMzanA rAjavI rUdradAmA ane guptavaMzanA rAjavI skaMdagupta jevA traNa vaMzanA rAjavIonI ane temanAM kAryonI noMdha darzAve che. tethI te "trilekha zaila' tarIke oLakhAya che. tenA dvArA caMdragupta mauryanA rAjyArohaNa (I. sa. pU. 321)thI laIne skaMdagupta A lekha kotarAvyo (I. sa. 457-458) tyAM sudhIno urphe kula + nivRtta prAdhyApaka ane adhyakSa, itihAsa-anusnAtaka vibhAga; saurASTra yunivarsiTI, rAjakoTa,

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178 esa.vI.jAnI SAMBODHI-PURATATTVA 780 varSanA gALAne AvarI leto saurASTrano itihAsa jANI zakAya che. kavi nAnAlAle A trilekhane "zaila-kaNa" kahyo che." A traNe rAjavIonA lekhomAM sudarzana taLAva baMdhAvyAnI ane samarAvIne baMdhAvyAno ullekha che je temano prajAkalyANanI pravRtiono nirdeza kare che. A taLAva mATI ane paththarothI bAMdhavAmAM AvyuM hatuM. teno setu eka ki.mI. lAMbo, pAyo so mITara pahoLo ane uparano bhAga 11 mITara pahoLo hato. tenuM AkhuM bAMdhakAma 9,43,500 ghanamITara mATInuM hatuM. rUdradAmAnA zAsana-daramyAna teno 26225 ghana mITara bhAga ane skaMdaguptanA zAsanamAM 10400 ghana mITara bhAga dhovAI jatAM tenuM samArakAma karavAmAM AvyuM hatuM. A jaLAzayano sthaLanirdhAra karavA mATe 1878mAM bhagavAnalAla iMdrajIe 1891-94mAM khAnabahAdura aradezara jamazedajIe ane 1967-68mAM DaoN. ramaNalAla nA. mahetAe prayatno karyA hatA. ogaNIsamI sadInA uttarArdhamAM kendra sarakAranA dhoraNe ane pazcima bhAratamAM muMbaI IlAkAmAM purAtattva kSetre je kAmagIrI thaI tenI asara saurASTra upara paNa thaI hatI. 1874-75mAM jemsa barjese saurASTra (kAThiyAvADa) ane kacchanA sthApatyakIya smArakonuM sarvekSaNa karyuM hatuM. je 1876mAM laMDanathI prakAzita thayuM. e arasAmAM ja bhagavAnalAla iMdrajIe 1874-88 daramyAna purAtattvakSetre svataMtra kAmagIrI karI hatI. vaLI prAcIna smArakonA rakSaNanI javAbadArI kendra sarakAre lIdhI hatI. 1881mAM karnala je. Dabalyu. vaoNTasananA AgrahathI bhAvanagara rAjaye purAtattva khAtAnI sthApanA karI hatI. tenA pariNAme 1885mAM bhAvanagara vajezaMkara ojhA saMpAdita "bhAvanagara prAcIna zodha saMgraha" prasiddha karI saurASTranA prAcIna itihAsa jANavAnA sAdhanomAM mahattvapUrNa umero karyo. have jUnAgaDha ane jAmanagara jevAM rAjyoe paNa purAtattvakhAtAM sthApyAM. prAcIna smArakonA sarvekSaNa mATe kendra sarakAre "bhAratanuM purAtattva sarvekSaNa khAtuM" (Archaeological Survey of India) sthApyuM hatuM. 1886mAM tenA mahAnirdezaka tarIke jemsa barjesanI nimaNUka thatAM sarvekSaNanI kAmagIrI navA joza ane jussA sAthe zarU thaI hatI. vaLI 1888mAM "epigrAphika IMDikA" (Epigraphica Indica) nAmanuM saimAsika zarU karAtAM purAtattva saMbaMdhI saMzodhana kAmagIrI ane te aMgenA lekhonI vigato loko sudhI pahoMcI. jemsa barjese "iMDiyana enTIkaverI"nuM saMpAdanakArya paNa kareluM. pachIthI utpanana kAmagIrI paNa nAnA pAye zarU karAI hatI. saurASTramAM 1888-89mAM kempabele tathA vallabhajI AcArye jUnAgaDhanA giranAra pAsenA boriyA supanuM ukhanana karyuM hatuM. tenAthI ghaNI navI mAhitI prApta thaI. 1898mAM bhArata sarakAre samasta bhAratamAM pAMca purAtattva vartuLa sthApyAM. temAM pazcima bhAratamAM muMbaI vartuLa sthapAyuM. temAM saurASTra, kaccha tathA gujarAtano paNa samAveza karAyo hato. Ama ogaNIsamI sadInA aMta sudhI moTe bhAge purAtattvIya sarvekSaNanI kAmagIrI thaI hatI. tethI tene "purAtattvIya sarvekSaNanI sadI kahI zakAya. vIsamI sadInA pUrvArdhamAM (1987 sudhI) purAtattva kSetre utnanananI kAmagIrI utsAhabhera zarU karAI hatI. paraMtu AjhAdI pachI to temAM atyaMta vega Avyo hato. bhAratanA tatkAlIna gavarnara janarala karjhane karelA prayatnone pariNAme "bhAratIya purAtattva sarvekSaNa' nAmanuM khAtuM astitvamAM

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Vol-1, XXIX saurASTramAM purAtattva 179 AvyuM. tenA mahAnirdezaka tarIke jahona mArzalane nimavAmAM AvyA. tethI suSupta purAtatvIya pravRttiomAM navajIvanano saMcAra thayo. karjhananA prayatnothI 1904mAM prAcIna smArakonA saMrakSaNano kAyado ghaDAyo. te varSamAM ja jUnAgaDha rAjaye paNa tevo ja kAyado ghaDyo. 1906mAM purAtattva sarvekSaNa khAtAnuM pazcima vartuLa zarU karAyuM. tenuM vaDuM mathaka muMbaI rakhAyuM hatuM. temAM saurASTra, kaccha ane gujarAtano paNa samAveza thato hato. saurASTramAM sauprathama 1888-89mAM jUnAgaDha pAsenA boriyA supanuM utpanana kempabela ane vallabhajI haridatta AcAryuM karyuM hatuM. te vistAramAM boranI vipulatA hovAne kAraNe te "boriyA" stupa kahevAya che. tenI adhiSThAtrI boradevI che. tenuM tyAM maMdira che. agAu A TiMbA upara lAkhA nAmanA bahAravaTiyAno vAsa hato. tethI tenuM bIjuM nAma "lAkhAmeDI" che. boriyAno A stupa 45 4 3 0 4 7.50 se.mI.nA mApanI pakAvelI IMTono banelo hato. ukhanana vakhate tenI UMcAI 13.72 mITara hatI. temAMthI pakavelI mATInI eka DAbalI maLI che, temAMthI kramazaH tAMbAnI, cAMdInI ane sonAnI eka bIjAthI nAnI DAbalIo nIkaLI che. temAMthI motI, bhasma ane asthi avazeSa maLyAM hatAM. A utnananano ahevAla eca. kAunse lakhyo hato. haridatta AcArya 1888thI 1910nA 22 varSa sudhI rAjakoTanA vaoNTasana myujhiyamanI kyureTara tarIkenI nokarI daramyAna temaNe saurASTranA dUra dUranAM bhAgo sudhI AvelAM maMdiro, masjido, vAvo, prAcIna ImArato, zilAlekho vagerenI rUbarU mulAkAta laI tenAM zilpono, tAmrapatrono, sikkAo, zilAlekho vagereno vizleSaNAtmaka-vivecanAtmaka abhyAsa karelo jenI mAhitI vaoNTasana myujhiyamanA vArSika ahevAlomAM tathA temaNe lakhelI DAyarImAMthI prApta thAya che. temanA prayatnothI rAjakoTanuM vaoNTasana myujhiyama saurASTramAM sAMskRtika vArasAnuM kendra banyuM hatuM.10 1891mAM robarTa braza phUTa bhAratIya bhUstarIya sarvekSaNanA mahAnirdezaka padethI nivRtta thatAM vaDodarA rAjaye temane rAjayanA bhUstarazAstrI tarIke nimyA hatA. temaNe pUrvakAlIna vaDodarA rAjayanA saurASTranA amarelI prAMtamAM 1893-94mAM dAmanagara, khijaDIyA, moTA AMkaDiyA, bAbApura, sonAriyA, samaDhiyALA, umariyA, nIMgALA, jIrA, caMcAI vagere sthaLoethI prAgaitihAsika kALanAM ojAro ekatra karyA hatAM. lothalamAM AvatA avAranavAranA pUranA kAraNe tyAMthI loko sthaLAMtara karI amarelI ane raMgapura (lIMbaDI pAse) taraphanA AMtarika vibhAgamAM AvIne vasyA hovAnuM jaNAya che. amarelI prAMtanA vANiyAvadara ane moTA mAciyALAmAM anu harappana vasAhatanA maLelA avazeSo te bAbatanI pratIti karAve che. zetruMjI nadInI khINamAM TimANA najIkathI harappana prakAranAM vAsaNonAM avazeSo maLyA che.11 brusa phUTane khIjaDiyA tathA dhamakANiyA gAmo pAse sapATI upara thoDAM ThIkarAM maLyAM hatAM. te siMdhu nadInA DAbA kAMThe AvelA amarI sthaLanAM ThIkarAM sAthe sAmya dharAve che.12 vaDodarA rAjyanA purAtattva khAtAnA hIrAnaMda zAstrIe "gohilavADa TiMbA'nuM utpanana hAtha dharela. je temanA pachI Aja khAtAnA e.esa.gaDhee 1945 sudhI cAlu rAkhyuM. pariNAme 2 thI 7 mI sadInA avazeSo maLyA hatA. je mukhyatve sikkAo, ThIkarAM, kabaro, maNakA, baMgaDInA TUkaDA, zaMkha,

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180. esa.vI.jAnI SAMBODHI-PURATATTVA zilAdityanI mATInuM bIbuM vagere hatAM. ahIMthI ja 1936-37mAM garUDanA pratIka dharAvatA gupta rAjavI mahendrAditya kumAraguptapahelAnA be hajAra cAMdInA sikkA paNa maLyA hatA.13 1934-36 daramyAna amarelI prAMtanA mULa dvArakA sthaLe paNa vaDodarA rAjayanA purAtattva khAtAe utpanana karI keTalAka mALakhAkIya avazeSo meLavyA hatA. to 1937-38mAM zilAdityanuM TerAkoTAnuM laMbagoLa sila maLyuM hatuM. tyAMthI tAMbAnA paNa ghaNA sikkA maLyA hatA. 14 esa.Ara.rAvanA matAnusAra amarelIno sauthI prAcIna abhilekhIya ullekha valabhInA dharasena-bIjAnA soraTha tAmrapatra (571 I. sa.)mAM maLe che. temAM darzAvela abrIlikAne te amarelI gaNAve che.15 phAdhara herAse paNa valabhImAM thoDuM khodakAma karAvI tyAMnAM khaMDeromAMthI keTalIka sAmagrI meLavI hatI.16 1934mAM bhAratIya purAtattva sarvekSaNa khAtA dvArA lIMbaDI pAsenA raMgapuramAM ukhanana karAtAM e jANI zakAyuM ke te sthaLa siMdhu khINa saMskRtinuM dakSiNa taraphanuM vistaraNa hatuM. te bAbatane 1936mAM muMbaI yunivarsiTIe karelA utnananathI samarthana maLyuM hatuM. paraMtu 1947mAM punAnI Dekkana kaoNleja risarca insTiTyUTe karelA ukhananathI evI chApa paDI ke te anu-harappana samayanuM sthaLa hatuM. paraMtu 1953-56 daramyAna bhArata sarakAranA purAtattvIya sarvekSaNa khAtA dvArA raMgapuranuM bRhad ukhanana karAtAM e puravAra thayuM ke A sthaLe harappana tathA anu-harappana saMskRti baMnenA avazeSo maLelA che. 18 raMgapuranA avazeSo ane paurANika ullekho sUcave che ke saurASTranA pazcima kAMThAnA pradezano Adi aitihAsikakALa bahu javalaMta haze.19 esa. Ara. rAva raMgapuranA avazeSone 3000 I. sa. pUrvenA gaNAve che. raMgapuranuM mahattva e vAtamAM che ke te gujarAtamAM zodhAyela prathama harappana sthaLa che. vaLI A sthaLa evuM che jyAM saMskRti siMdhukhINa, karatAM paNa vadhu samaya mATe astitvamAM rahI hatI. ukhanita A sthaLa sukhabhAdara nadInA DAbA kAMThe Avela che. teno prAcIna TiMbo 1080 8 840 mITarano hato. A zaherano vinAza lagabhaga I. sa. pU. 1900mAM AvelA bhayaMkara pUrane lIdhe thayo hato. A sthaLethI kAcI mATInI IMTonA makAnonA avazeSo, paththaranAM vajaniyAM, maNakA, tAMbAnI baMgaDIo, vIMTI, sapATa-zaMkha, raMgIna ThIkarAM vagere maLI AvyAM che. dareka gharamAM snAnAgAra hatuM tathA gaMdA pANInA nikAlanI vyavasthA hatI. 20 - vallabhajI ha. AcArye 1902-03mAM 115 gAmonI mulAkAta lIdhI hatI. temaNe 46 lekhanA rabIMga ane 13 navA lekha prApta karyA hatA. uparAMta 13 tAmrapatronA rabIMga, 11 sikkA ane 2 phosila meLavyAM hatAM. temanA pachI temanA putra girajAzaMkara va.AcArye paNa 1910thI 1918nA varSo daramyAna saurASTramAM keTalAMka gAmanuM purAtattvIya sarvekSaNanuM kAma karyuM hatuM. teo paNa temanA pitAnI jema vaoNTasana myujhiyamanA kyureTara nimAyA hatA. temaNe saMsthA arthe aneka navA zilAlekha meLavyA hatA. temAM paNa haLavadamAMthI zaraNezvara mahAdevanI vAvamAMthI I. sa.157no lekha temanI mahattvanI zodha hatI. lekha aMtargata I. sa.1392thI 1525 sudhInA rAjAonI vaMzAvalI uparAMta rAjAonI patnIonAM nAma paNa ApavAmAM AvyAM che. 21 uparAMta surendranagara

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Vol-1, XXIX saurASTramAM purAtattva 181 jillAmAM Avela sithA pAsenA caMdrAsara taLAvano vi. saM. 1534 (I. sa. 1478)no lekha vAMcI tyAra sudhInI mAnyatA "A taLAva vi. sa. 1634mAM jhAlA rAjavI caMdrasiMhajIe baMdhAveluM", te khoTI TharAvI hatI. A lekhanI vAcanA karIne temaNe evuM puravAra kareluM ke A taLAva vi. saM. 1634mAM nahi paraMtu 1534mAM baMdhAvAyuM hatuM. tema ja taLAva bAMdhanAra caMdrasiMhajI nAmanA rAjavI nahi, paNa dIpacaMdra nAmano jamInadAra hato. svataMtratA pachI saurASTra sahita saMpUrNa bhAratamAM purAtattvanA ukhanana abhyAsa ane saMzodhananuM kAma vegavaMtuM banyuM hatuM. rAjaya tathA kendra sarakAre A pravRttine protsAhana ApI purAtattva kSetre vikAsane gatizIla banAvyuM hatuM. temAM potAnI saMskRtino sAco vAraso ane itihAsa jANavAnI utsukatA paNa sahAyaka puravAra thaI. ApaNA prAcIna avazeSo ane smArakone pAzcAtya vidvAnonI bhArata pratyenI viziSTa graMthine badale ApaNA dezanA saMzodhakonI taTastha daSTie mUlavavAnI jarUriyAta paNa saMkaLAyelI hatI. AjhAdI pUrve bhAvanagara, jUnAgaDha, jAmanagara tathA vaDodarA saMsthAna rAjayone potAnAM purAtattva khAtAM hatAM. 1948mAM saurASTranA svataMtra rAjayanI racanA thatAM tenuM svataMtra purAtattvakhAtuM zarU karavAmAM AvyuM hatuM. saurASTra rAjayanAM purAtattva khAtAnA prathama vaDA tarIke eca. Ara. mAMkaDa ane pachI pI. pI. paMDyA nimAyA hatA. temaNe purAtattvIya kSetrAnveSaNa ane utpananA kSetre khyAti meLavI hatI. 1956mAM saurASTra rAjyanuM dvibhASI muMbaI rAjyamAM vilInIkaraNa karAyuM hatuM. pachIthI 1960mAM svataMtra gujarAta rAjayanI racanA thatAM saurASTra gujarAta rAjayano bhAga banI gayo. svataMtra gujarAta rAjayanA purAtattva khAtAnA vaDA tarIke je. ema. nANAvaTI nimAyA hatA. saurASTra purAtAttvika dRSTie samRddha che. eka aMdAja pramANe himAlayanI uMmara 50 lAkha varSa che, paraMtu giranAranI uMmara 22 karoDa varSa gaNAvavAmAM Ave che. saurASTramAM prathama susaMskRta mAnavInA avazeSo prabhAsa-pATaNa pAsenA hIraNa nadInA TiMbA pAsethI maLI AvyA che. saurASTramAM raMgapura, rojhaDI, kutANI, bAbarakoTa, vavANiyA vagere sthaLonA utpananamAM aneka sthaLoethI haDappIya saMskRtinA avazeSo maLyA che. bhagavAnalAla iMdrajI, vallabhajI haridatta AcArya ane temanA putra girajAzaMkara AcArya, durgAzaMkara ke. zAstrI ane pachIthI porabaMdaranA purAtattva saMzodhana maMDaLanA maNibhAI vorA, madhusUdana DhAMkI narottama palANa ane temanA sAthIo, gujarAta rAjayanA purAtattva khAtAnA mukuMda rAvala, vAya. ema. citalavAlA, dinakara mahetA, vageree purAtattvIya sarvekSaNa tathA utpanana dvArA sArA pramANamAM mAhitI ekatra karI che. bhAratIya purAtattva sarvekSaNa khAtuM gujarAtanI vaDodarAnI ma. sa. yunivarsiTI tathA punAnI Dekkana kaoNleja tathA saurASTra ane bhAvanagara yunivarsiTInA anusnAtaka ItihAsa vibhAgoe paNa AmAM yogadAna ApyuM hatuM. goMDala pAsenA rojhaDI (hAlanuM nAma zrInAthagaDha)nA utpananamAM to amerikAnI pensIlaveniyA yunivarsiTInA DaoN. gregarI paoNsela ane tenA sAkSIo tathA iMglenDa, beljiyama tathA yuropanA anya dezonAM saMzodhaka vidyArthIo paNa gujarAta rAjyanA purAtattva khAtA sAthe joDAyA

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182 esa.vI.jAnI SAMBODHI-PURATATTVA hatA. saurASTranuM prAcInatama kahI zakAya tevuM gopanuM maMdira jAmanagara jillAmAM AveluM che. to goMDala pAsenI khaMbhAlIDAnI bauddha guphAonI AdamakadanI padmapANi buddhanI pratimAo e saurASTranA virala purAvazeSa che. 22 sane 1941mAM DaoN. hasamukha sAMkaLiyAe "ArkiyolojI ova gujarAta" graMtha prakAzita karyo. je aMtargata saurASTra, kaccha ane taLagujarAtanA sthApatyakIya smArakono tulanAtmaka abhyAsa karelo che. girajAzaMkara vallabhajI AcArye saurASTra-gujarAtanA abhilekhonuM saMkalana karIne "gujarAtanA aitihAsika lekho" traNa bhAgamAM kramazaH 1933, 1935 ane 1942mAM prasiddha karyA hatA. DI. bI. DiskAlakare 1938thI 1941 daramyAna ("Inscriptions of Kathiawad") graMtha prasiddha karyo hato. e.esa. gaDhee vaDodarA rAjayanA (amarelI prAMta sahitanA) keTalAka abhilekhono saMgraha taiyAra karyo hato. bhAratIya purAtattva sarvekSaNa khAtuM, gujarAta rAjyanuM purAtattva khAtuM, vaDodarAnI ma. sa. yunivarsiTIno prAcIna itihAsa ane purAvastuvidyA vibhAga ane punAnI Dekkana kaoNleja vagere saMsthAoe saurASTramAM nIce pramANenAM noMdhapAtra utpanano hAtha dharyA hatAM. krama sthaLa varSa ukhanana karanAra 1. raMgapura 1934 mAdho svarUpa vatsa 2. raMgapura 1953-54 esa. Ara. rAva 3. IMTavA vihAra 1949 girajAzaMkara va. AcArya 4. somanAtha maMdira 1950 bI. ke. thApara 5. vasaI ane beTa 1951 pI. pI. paMDyA 6. amarelI 1952-53 esa. Ara. rAva 7. lAkhA bAvaLa ane AmarA 1955-56 bI. subbArAva ane pI. pI. paMDyA 8. nagaro TiMbo (prabhAsa pATaNa) 1955-56 pI. pI. paMDyA 9. prabhAsa pATaNa 1956-57 pI. pI. paMDyA 10. rojhaDI (zrInAthagaDha) 1957-58-59 pI. pI. paMDyA tathA madhusUdana DhAMkI 11. bhagA taLAva 1957-58 esa. Ara. rAva raMgapuramAM 1934 tathA 1953-54mAM thayelA utpananomAMthI prApta avazeSone AdhAre raMgapura siMdhu khINa saMskRtinuM agrasthAna hovAnuM pramANita thAya che. tyAMnA loko cAkaDA upara banAvelAM mATInAM vAsaNo ane tAmra ojAro vAparatA hatA. 1949mAM jUnAgaDha pAse IMTavAnAM tUpanuM utpanana karAvyuM hatuM. A sthaLethI puSkaLa pramANamAM pAkI IMTo maLatAM lokoe tenuM nAma

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Vol-1, XXIX saurASTramAM purAtattva 183 IMTavA pADI dIdhuM hatuM. A stUpa 45 se.mI. x 30 se.mI. X 7.5 se.mI. mApanI IMTothI bAMdhavAmAM Avyo hato. A sthaLethI caTaNI vATavAno paththara, mRtpAtro, abarakhanA TukaDA, tolamApo, mATInAM vAsaNo jevAM ke kuMjA, pyAlA, koDiyAM, mudrAMkana vagere prApta thayAM che. A vihAra rUdrasena vihAra tarIke paNa oLakhAya che. tyAMthI eka mudrAMkana maLyuM che. temAM "mahArAja rUdrasena vihAra bhikSu saMghasya" lakhANa che. te kSatrapa rAjA rUdrasena 1lA (199-222 I. sa.)nuM mAnavAmAM Ave che. dhyAna rAkhavAnI bAbata e che ke ahIMthI maLela che te mudrAMkana (Sealing) che, mudrA (seal) nathI. 24 I. sa. 7mI sadImAM girinagaramAM 50 saMghArAma ane 100 devAlaya hatAM. uparAMta jUnAgaDhamAM uparakoTamAM AvelI guphAo saurASTranI ja nahi, paraMtu bhAratanI prAcInatam guphAo paikInI che. * uparakoTanI dakSiNe bAvA pyArAnI guphAo AvelI che. te saurASTranI prAcInatam zaila utkIrNa guphAo che, uparAMta jUnAgaDhamAM khAparA-koDiyAnI guphAo, mAI gaDhecInI-guphAo che. unA tAlukAmAM sANAmAM 6ra guphAono samUha, taLAjA (tAladhvajagiri)mAM Avela 30 guphAono samUha, DhAMka pAsenI siddhasara gAmanI jhIMjhuDI jhAranI pAMca bauddha guphAo, hiMgoLagaDha pAse Avela 'bhoMyarAnI guphA", uparAMta ghumalI, visAvadara ane savanI pAsenI guphAo saurASTranA mahattvanA purAvazeSo che. temAMthI tatkAlIna sAmAjika, Arthika, dhArmika, sAMskRtika paristhitinI vigato jANI zakAya che. upaleTA pAse Avela DhAMkanI zaila-utkIrNa guphAo noMdhapAtra che. DaoN. barjesanA matAnusAra saurASTranI te ekamAtra guphA che jemAM dharma saMpradAyanAM zilpo che. temAM AdinAtha, zAMtinAtha tathA aMbikAnI pratimAo che. te rIte te jaina guphAo che. to goMDala pAsenA vIrapura tAlukAmAM Avela khaMbhAlIDAnI bhAdara nadInA kAMThe AvelI bauddha guphAo pI. pI. paMDyAe 1959mAM zodhI kADhI hatI. temAMthI eka guphAnA pravezadvAra upara ekabAju pApANi avalokitezvara ane bIjI bAju vRkSa nIce UbhelA vajapANinAM Adama kadanAM zilpo kaMDArelAM che. varjIsa ane phargyusananA matAnusAra saurASTranI bauddha guphAo bhAratanI bauddha guphAomAM sauthI prAcIna che. saurASTramAM lagabhaga 140 guphAo che. A guphAonI mAhitIthI saurASTranA prAcIna itihAsane aMdhakAramAMthI bahAra lAvavAmAM madada maLI che. 27 saurASTra, kaccha ane uttara gujarAtanI sImAnA tribheTe jhiMjhuvADA (jillo-surendranagara)mAM killo che. tenA dvArapAlonAM zilpa 3.81 mITara (sADA bAra phUTa) UMcAInAM ane tenI dIvAla upara nagararakSaka devanAM zilpa lagabhaga 1.83thI 1.98 mITaranAM (cha thI sADA cha phUTanAM) che. uparAMta tenA daravAjAomAM devadevIo, azvo gajArUDha strI-puruSonAM yugalo, nartako, vAdako tathA mithunazilpa kotarelAM che. tenA uparathI saurASTranA killA sthApatya ane zilpanI mAhitI maLI rahe che. to DaoN. DI. Ara. bhAMDArakarane 1914-15mAM valabhImAMthI maLela zilpomAM mastaka vinAnI kezinibUdana kRSNa ane mahiSamardinInI AkRtio noMdhapAtra che. saurASTramAM kAkAnI siMhaNa sthaLethI eka mastaka maLyuM che. jayendra nANAMvaTI tathA madhusUdana DhAMkI tene kSatrapakAlanuM hovAnuM darzAve che. 28 pALiyAdamAMthI bakarA upara lalitAsanamAM beThela vAyudevanuM chUTuM zilpa ane rAjulAmAMthI vaNika zreSThI jevA paheravezavALuM caturbhuja kuberanuM zilpa maLyuM che. 1970 pachInAM varSomAM pharIthI prabhAsapATaNamAM utpanana hAtha

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184 esa.vI.jAnI SAMBODHI-PURATATTVA dharavAmAM AvyuM hatuM. purAtattvavidoe jene "prabhAsa saMskRti' nAma ApyuM che tevI prAraMbhika aitihAsika grAmINa saMskRtinI temAMthI mAhitI maLe che. to rojhaDI (zrInAthagaDha)nuM 1980 pachI gujarAtanA purAtattva khAtA tathA amerikAnI pensIlaveniyA yunivarsiTInA saMyukta upakrame vadhu mAhitI meLavavA pharIthI ukhanana karAyuM hatuM. temAMthI prApta sAmagrImAMthI haDappAkAlIna vasAhato ane killebaMdhI mukhya che. ahIMthI Adya pASANayuganAM ane prAcIna pASANayuganAM ojAro maLyAM che. tyAMthI I. sa. pU. 1900nA staronA avazeSo paNa maLyA che. selakhaDInAM nAnA maNakA, carTanA tolA, sogaThAM, sonAnAM karNAlaMkAra, lAla ane badAmI raMganAM mATInAM pAtro maLyAM che. A pAtro upara kALA raMgamAM pALelA prANIne khavaDAvato mANasa, mAchalI, pAMdaDAM tathA bhaumitika AkRtio vagere doravAmAM AvatI hatI. jetapura pAsenA pIThaDiyAmAMthI zaMkhanI baMgaDIo, pakavelA maNakA tathA takalInAM cakaraDAM maLyAM che. 29 rojhaDI, ATakoTa, pIThaDiyA uparAMta rAjakoTa jillAmAMthI 31 harappana sthaLo prakAzamAM AvyAM che. prabhAsa pATaNa pAsenA nagarA TIMbAmAMthI pASANa ane kAMsyayuganAM ojAro maLyAM che. vaLI prabhAsa-pATaNa, amarelI, jUnAgaDha, valabhI, dvArakAmAM zaMkhanI baMgaDIo ane maNakA banAvavAno udyoga vikAsa pAmyo hato. vaiDUrya (Lapis Lazuli) jevA paththara IrAna tathA badakazAMthI ahIM te mATe AvatA. valabhI, somanAtha ane dvArakA baMdare mAla Avato ane tyAMthI saurASTra ane anya bhAgomAM te mokalAto. vaLI mATInI mUrtio, ramakaDAM, deva, devI, mAnava AkRtio, lakhoTIo, cakaraDAM vagere paNa banAvAtAM hatAM. 1987thI 1990nA traNa varSa daramyAna morabI pAsenA kuMtAsInA bIbInA TiMbAnuM utnanana karavAmAM AvyuM hatuM. tyAM eka audyogika vasAhata hovAnA purAvA maLyA che. kAraNa ke tyAM vahANa lAMgaravAnA dhakkA, mAla bharavAnAM godAmo, nAnAM kArakhAnAM, akIkanA paththaro vagere maLI AvyA che. kutAsI baMdara rahyuM haze evA paNa purAvA maLyA che. Ama kuMtAsInA utpananathI saurASTranA sAmAjika tathA Arthika itihAsanI mAhitI maLe che. uparAMta nagavADA, nAgezvara ane boTAda pAsenA bAbarakoTamAM 1991mAM utpanana thayeluM. bAbarakoTamAM paNa majabUta killebaMdhI hovAnA purAvA maLyA che.30 uparAMta surendranagara jillAnA sejakapura tathA bhAvanagara jillAnA valabhIpura pAsenI moTI dharAInA ulbanano tathA ghelo tathA kALubhAra nadI pAsenA hAthabamAMthI paNa aneka purAvazeSo maLyA che. DaoN.esa.Ara.rAve paNa dariyAI purAtattva saMzodhanano navo abhigama apanAvI dvArakAmAM saMzodhana kareluM. tenAthI paDela prakAzamAM hAlanI dvArakAne ja mULa dvArakA gaNI zakAya.31 purAtattva saMzodhana kSetre porabaMdaranuM purAtattva saMzodhana maMDaLa, soraTha saMzodhana sabhA, saurASTra kaccha itihAsa pariSada, gujarAta itihAsa pariSada, bhAvanagara itihAsa abhyAsa vartuLa, dhrAMgadhrA itihAsa maMDaLa, surendranagara itihAsa abhyAsa vartuLa tathA tenA jevA aneka zahero ke vistAramAM sthapAyelAM sthAnika itihAsa maMDaLo saurASTra yunivarsiTIno itihAsa vibhAga vagere paNa yathAzakti

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Vol-1, XXIX saurASTramAM purAtattva 185 yogadAna ApI rahyAM che. purAtattvIya sAmagrI ane avazeSonA saMgraha jayAM rAkhavAmAM AvyA che tevAM vaoNTasanA myujhiyama, bArTana myujhiyama, lAkhoTA myujhiyama, jUnAgaDhanuM sakkarabAga ane darabAra hola myujhiyama tathA prabhAsapATaNanuM myujhiyama vagerene paNa itihAsanA abhyAsIo mATenAM mahattvanAM kendro gaNAvI zakAya. jo ke gujarAtanuM sauthI jUnuM myujhiyama to bhujamAM che. (sthApanA 1877) saurASTranA purAtattvIya utpanano ane saMzodhanathI prApta vigato saurASTranA bhavya bhUtakALane vadhu sArI rIte ane pramANabhUta svarUpamAM rajU karavAmAM upayogI banI raheze. e rIte saurASTranA itihAsanAM vividha pAsAMo upara nUtana prakAza paDaze ane saurASTrano itihAsa navI aitihAsika sAmagrIthI samRddha banI raheze. saMdarbho : 1. parIkha, 2. cho. ane zAstrI, ha.gaM. - gujarAtano rAjakIya ane sAMskRtika itihAsa, khaMDa-2, amadAvAda, - 1972, pR.-311. 2. Todd, James - Travels in Western India, London, 1839, P - 369. 3. Burgess, James - Report on the Antiquities of Kathiawad and Kaccha, London, 1876, P. 98. 8. Bhagwanlal Indraji & Buhler - Indian Antiquary, V. VII, P-257 (Bombay, 1878) 5. jAnI, DaoN. esa. vI. - saurASTrano itihAsa, amadAvAda, 2003 EUR. Mehta, R.N. - Sudarshana Lake, Journal of Oriental Insitute, Vol. XVIII. P. - 20. 7. jAnI, DaoN. esa. vI. - saurASTrano itihAsa, pUrvokta graMtha, pR. 451 8. AcArya, vallabhajI haridattanI DAyarI tathA DaoN. jAnI esa. vI.no lekha - "vallabhajI haridatta AcArya" pathika, amadAvAda, julAI - sapTe.-2003, pR. 112 e. Cousens, H. - Report on Boria Stupa Near Junagadh , J. R. A. S. of Bengal, Vol.-60. P. I. P . 17-23. 10. DaoN. jAnI, esa. vI.no lekha - vallabhajI haridatta AcArya, pUrvokta, pR. 114. 99. Rao, S. R. - Excavations at Amreli, P. - 15. 12. munazI, ka.mA. - (saMpA.) - anuvAdaka - paMDyA upendra - gujarAtanI kIrti gAthA, amadAvAda, 1952, pR. 30. 93. Gadre, A. S. - Archaeology in Baroda, P. - 4. 6. 98. Annual Report of the Archaeological Department, Baroda state, 1937-38, P. - 16. 15. zAstrI, ha.gaM. - maitraka kAlIna gujarAta, pariziSTa - 5, pR.-33 16. parIkha ane zAstrI (saMpA.) - gujarAtano rAjakIya ane sAMskRtika itihAsa, khaMDa - 2, - pUrvokta graMtha pR. -30.

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186 esa.vI.jAnI SAMBODHI-PURATATTVA 90. Ghurge, G. S. - Journal of University of Bombay, Vol. VIII, No.1. July 1939, P. - 3. 18. Rao, S. R. - Indian Archaeology, 1953-54, 1954-55 A Review, P. 7 and 11. 19. munazI, ka.mA. - pUrvokta graMtha, pR. - 31. 20. Surendranagar District Gazetteer, Ahmedabad, 1977, P. - 70 21. DaoN.mANeka, kalpAno lekha - "girajAzaMkara vallabhajI AcArya" pathika vizeSAMka, amadAvAda julAI-sapTe. 2003, pR. - 119. 22. jAnI, DaoN. esa. vI. - saurASTrano itihAsa, pUrvokta graMtha, pR. - 451 23. Majumdar, M. R. (Edi.) - Chronology of Gujarat, Vadodara, 1960, P. - 92. 24. parIkha ane zAstrI (saMpA.) - gu. rA. sAM. I. - pUrvokta khaMDa - 2, pR. -344-45 24. Hiuen Tsang - Buddhist - Records of the Western World Vol. - II RE. Ferguson and Burgess - London 1884, The Cave Temples of India, Delhi, 1960, P. -194. 27. mANeka, DaoN. kalpA e. - itihAsa darzana, rAjakoTa, 2005, pR. - 6 28. Nanavati, J. M. and Dhaky, M. A. - J. O. I., Vol. X, P. P. - 223-225. A kAkANI siMhaNathI prApta kSatrapakAlanA mastakanI AbehUba pratikRti sarakhuM eka kSatrapakAlIna pArevA pASANanuM zIrSa saurASTranA koIka sthaLethI jANItA zodhaka zrI hasamukha vyAse zodheluM hatuM. je emanA aMgata saMgrahamAM surakSita che. juo : hajaranIsa ravi, gujarAtanI zilpa samRddhi eka vihaMgAvalokana; amadAvAda, 1999, pariziSTa-1, pAdaTIpa-1, pR. 79. 29. rAjakoTa jillA sarvasaMgraha, gujarAta rAjaya, gAMdhInagara, 2001. pR. - 67-68. 30. DaoN. jAnI, esa. vI.nuM pramukhakIya pravacana - saurASTra 31. DaoN. purohita, nItA je. - "madhukara" jAmanagara, 2006, pR. - 4. tathA gokANI, puSkara - dvArakA ane zrIkRSNa, amadAvAda, 1985, pR.- 9. 32. aMtANI, nareza - atItamAM avagAhana, bhuja, 2001, pR. - 14.

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zItaLA mAtA maMdira buTApAlaDI sthaLa nirdeza : mahesANA jillA-tAlukAmAM Avela buTApAlaDI mahesANA-UMjhA mArga para mahesANAthI 8 ki.mI.nA aMtare Avela che. mukhya mArgathI 3 ki.mI.nA aMtare A gAma AveluM che. mahesANA tathA UMjhAthI rAjya parivahana basa sevA dvArA pAkA mArgathI saMkaLAyela A gAma sudhI jaI zakAya che. zItaLA mAtAnuM maMdira - eka paricaya : buTApAlaDI gAmathI pazcime maMdira Avela che. je retIyA paththaramAMthI nirmANa pAmela che. garbhagRha, aMtarAla ane laghumaMDapa jevA vividha aMgo dharAvatA A maMdiranuM garbhagRha corasa che, jyAre maMDapa laMbacorasa che. garbhagRhanI pIThamAM vividha tharonAM darzana thAya che. pIThamAM kaMDArela gajathara, narathara e AkarSaNa dharAvatAM mahattvanA tharo che. A tharonI racanAne kAraNe sthApatyanI daSTie pIThane mahApITha tarIke oLakhAvI zakAya. naratharamAM mAnava jIvananA vividha prasaMgonAM Alekhana che. jemAM hAthI, siMha, bhuMDa, gAya vagere prANIonuM paNa suMdara Alekhana jovA maLe che. pIThanI upara Avela kuMbhAnA tharanI madhyamAM caturbhuja devInI pratimA che. devInA upalA baMne hAthamAM padma che. nIceno jamaNo hAtha varada mudrAmAM che ane DAbA hastamAM kamaMDaLa dhAraNa karela che. devInA zilpanI baMne bAju goLa nAnI taMbhikA che. khaMbhikAnI uparano bhAga kamAnAkArathI vibhuSita che. kuMbhanA tharanI upara kramaza: kaLaza,ane rUpapaTTIkAno thara che. rUpapaTTIkA caityabhAtathI suzobhita che. maMdirano madhyabhAga eTale ke jaMghAno bhAga pracura zilpakalAthI vibhUSita che. jemAM vividha deva, devIo, dikyAla, vividha aMgabhaMgImAM apsarA, nRtyAMganAo vagerenAM zilponuM Alekhana che. jemAM darpaNakanyA, sadyasnAtA vagerenAM zilpo ati mohaka jaNAya che. jaMghAmAM dakSiNa bAjunI dIvAlanA madhyamAM Avela gokhamAM devI durgAnI pratimA che. jayAre pazcima tathA uttara bAjunI dIvAlanA madhya bhAganA gokhamAM mahiSAsuramardinInI pratimA che. A samagra paTTamAM kaMDArela zilponuM dehalAlitya kaMIka aMze pATaNanI rANInI vAvanAM zilponI yAda apAve che. jo ke samayAMkananI daSTie A maMdira eka saiko pAchaLa che, chatAM tenI kalAzailI eTalI ja AkarSaka che.

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188 buTApAlaDI SAMBODHI-PURATATTVA maMdiranuM zikhara nAnI moTI zikharIothI vibhUSita che. zikhara upara jAlakabhAta solaMkI samayanI nAgara kalAzailIno paricaya karAve che. maMdiranA garbhagRhanI aMdara pIThikA upara devI zilpa che. garbhagRhanA pravezanI baMne bAjue Avela dvArazAkhanI madhyanI rUpazAkhamAM ardhaparyakAsana mudrAmAM aMkita zilpo lakSmIjInAM che. lalATa biMbamAM madhye gaNezajI che, udumbaramAM uttara bAju kubera tathA dakSiNa tarapha gaNeza kaMDArela che. maMdiranA jaMghA, kuMbhA, zikhara, dvArazAkha vagere bhAgomAM devI zilponI prAdhAnyatA hoI A maMdira zakti maMdira hovAnuM jaNAya che. maMdiranA pravezamaMDapanI baMne bAjue Avela kakSAsananA staromAM paNa vividha svarUpa dharAvatAM devI zilpo, phulavela, bhaumitika bhAta vagere kaMDArela che. e ja rIte maMDapanI vitAna nIce paTTA kicakanAM zilpo dharAvatI zAlabhaMjikAnAM zilpothI alaMkRta che. maMdira pramANamAM nAnuM che. chatAM zilpakalAnI dRSTie ati samRddha che. mahesANA jillAnA 12mA zatakamAM nirmANa pAmela AsoDAnA jazamalanAtha mahAdevanAM gauNa maMdiro tathA khaMDosaNa sAthe nikaTanuM sAmya dharAve che. sadarahu smAraka gujarAtanAM prAcIna smArako ane purAtattvIya sthaLo tathA avazeSonA sane 1965nA 25mA adhiniyama heThaLa sane 1972mAM rakSita smAraka tarIke jAhera thayela che. rakSita smArakathI 100 mI. vistAra pratibaMdhita ane tyAra bAdano 200 mI. vistAra niyaMtrita jAhera thayela che. niyaMtrita vistAramAM bAMdhakAma mATe purAtattva khAtAnuM nA-vAMdhA pramANapatra anivArya che. gujarAta rAjya purAtattva vibhAga, gAMdhInagaranA saujanyathI

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kaDiyA DuMgaranI guphAo (jhAjhapora tA. jhaghaDiyA jillo : bharUca) sthaLa paricaya: bharUca jillAmAM aMkalezvarathI jhaghaDiyA netraMga tarapha jatA jhAjhapora sTezananI sAme ja dUranA aMtare lagabhaga 500 phUTa UMcAInA DuMgaro dekhAya che. temAMno eka "kaDiyo DuMgara" kahevAya che. A gAma jhaghaDiyAthI Azare 20 ki.mI.nA aMtare AveluM che. kaDiyA DuMgara para mANasoe khaDakamAMthI kotarI kADhelI sAteka prAcIna guphAo che. gIca jhADIothI vIMTaLAyelA A DuMgaranI taLeTImAM eka ja paththaramAMthI kotarelo eka siMhastaMbha che. A guphAo sAdhuone rahevA mATenA AzrayagRho eTale ke "vihAro" haze tema jaNAya che. DuMgara upara sauthI uparanI bAjue Avela be guphAomAMnI ekamAM praveza karatAM jamaNI bAjunI dIvAlamAM eka utkIrNa lekha che, paraMtu kALabaLe lekhano bhAga ghasAI gayela che. jenA kAraNe enuM lakhANa ukelavuM muzkela bane che, chatAM temAMnA traNeka lITInA akSaro spaSTapaNe brAhmIlipinA jaNAya che. DAbI bAjunI dIvAlamAM mAtra rekhAomAM aMkita thayelA hAthI ane vAnaronI AkRtio che. AgaLanA bhAge varaMDA ane aMdaranA bhAgamAM pASANamAM kotarI kADhelI beThakovALA khaMDonI racanA jotAM te bauddha vihAro haze tema jaNAya che. guphA naM. 1 : prathama guphAnA aMdaranA khaMDanI laMbAI 24 phUTa che, pahoLAI 7-3' tathA UMcAI 89' phUTanI che. aMdaranI beThako 4-10'X 2-3' X 2"-00' nI laMbAI, pahoLAI ane UMcAI dharAve che. be nAnA staMbho mUkelA che, je taddana sAdA che. varaMDAnI bAjumAM nIcenA bhAgamAM spaSTa dekhAtI vedikAnI bhAta isunI zarUAtanI sadInI sthApatya zailInI jaNAya che. guphA naM. 2 : bIjI guphA paNa ghaNI ja sAdI che. teno aMdarano samacorasa oraDo 7-9'nA mApano che ane tenI pAseno varaMDo 11'-7'7'9"nI laMbAI pahoLAI dharAve che ane A guphAmAM pravezavA mATe pagathiyAM paNa che. A guphAmAM noMdhanIya to che tenI varaMDikA. sapATa chatane TekavI rAkhanAra

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190 kaDiyA DuMgaranI guphAo SAMBODHI-PURATATTVA dIvAlo jyAM purI thAya che tyAM AgaLanA bhAgamAM bahAra paDatA kapota AkAranI varaMDikA che. tatkAlIna yuganI e viziSTa zailI rajU kare che. goMDala pAse khaMbhAlIDAnI guphAmAM paNa AvI racanA che. A kapota zailI kSatrapayugamAM saurASTramAM pracalita hatI ane AgaLa jatAM maitrakakAlIna maMdiromAM e vadhAre vikasita svarUpamAM dekhAya che. anya guphAo : trIjI guphAne pAchalA samayamAM vasavATa mATe upayogamAM laI tene adyatana svarUpanI banAvI devAmAM Avela che. cothI guphAnI bahArano varaMDo 31' lAMbo che. kadAca te prArthanAkhaMDa haze, tema mAnavAmAM Ave che. pAMcamI guphA anya guphAo karatAM bahu nIcI sapATIe che. aMdara khaMDa ane varaMDAnI racanA che. chaThThI guphAmAM varaMDAmAMthI khaMDamAM javA mATenuM pravezadvAra AMzika kSatigrasta che. kALabaLane kAraNe sAtamI guphAne mahadaMze nukasAna thayela che. A guphAonI AsapAsa pANI mATe TAMkAo paNa che. ahIM eka zivaliMga jotAM pAchalA samayamAM A guphAo brAhmaNa sAdhuoe paNa upayogamAM lIdhI haze tema jaNAya che. guphAnI sAdAI, lekha, staMbhono AkAra ane vaidikabhAtanuM kASThakalAnuM anukaraNa tema ja bhoyataLamAM lAkaDAnA staMbha khosavA mATe karelAM kANAMo tathA varaMDikAnAM spaSTa kapAta vagere parathI A guphAo pahelI-bIjI sadInI hovAnuM jaNAya che. siMha staMbha : A DuMgaranI taLeTImAM 11 phUTa UMco eka siMha staMbha che. nIcethI upara pAtaLA thatA jatA eka ja paththaramAM kaMDArelA A staMbhane zirobhAge eka siMhAkRti che. temAM zarIra be paNa mukha eka ja evI racanA che. anya avazeSoH DuMgaranI taLeTInA bhAgamAM keTalAka iMTerI bAMdhakAmanA avazeSo tema ja I.sa.nI pahelIthI cothI sadInAM camakadAra polIzayukta lAla raMga(RPW)nAM mATInAM vAsaNonA avazeSo maLela che. siMha staMbhanI AsapAsa jaMgalamAM 8 thI 9 iMTerI sthApatyanAM nizAno paNa che. je stUpo ke vihAro hovAnuM manAya che. uttara gujarAtanA devanI morInA stUpa jevA avazeSomAMthI maLI AvelI iMTonAM mApa ahIM paNa jovA maLe che. sadarahu smAraka gujarAtanAM prAcIna smArako ane purAtattvIya sthaLo tathA avazeSonA sane 1965nA 25mA adhiniyama heThaLa sane 1972mAM rakSita smAraka tarIke jAhera thayela che. rakSita smArakathI 100 mI. vistAra pratibaMdhita ane tyAra bAdano 200 mI. vistAra niyaMtrita jAhera thayela che. niyaMtrita vistAramAM bAMdhakAma mATe purAtattva khAtAnuM nA-vAMdhA pramANapatra anivArya che. gujarAta rAjaya purAtattva vibhAga, gAMdhInagaranA saujanyathI

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zaila guphA-siyota (tAluko lakhapata, jillo kaccha.) kaccha jillAnA lakhapata tAlukAnA ghaDulI-gUnerI roDa upara bhujathI 130 ki.mI. dUra siyota gAmathI uttaramAM 5 ki.mI. dUra aTaDA gAma najIka A zaila guphAo AvelI che. A sthaLa bhujathI basa raste joDAyeluM che. bhujathI ghaDUlI 113 ki.mI. DAmarano pAko rasto che. tyAra bAda kAco rasto che. kacchanA itihAsamAM A zaila guphAono ullekha khAparA koDiyAnI guphAo tarIke thayelo che. A guphAo kaccha jillAnI agatyanI purAtattvIya samRddhi che. I. sa.nI 3jI-4thI sadImAM bauddha ane zaiva dharmanA upAsako dvArA A guphAo kaMDAravAmAM AvelI hovAnuM jaNAvAmAM Ave che. A guphAo siMdhathI kaccha sAthe joDAyela pramukha vepAramArga para sthita hatI. kacchamAM prAcInatama aitihAsika purAvazeSomAM bhuja tAlukAnA aMdhau gAmethI maLI Avela I. sa.nI 1lI zatAbdIno zaka saMvata 11no kSatrapa zilAlekha che. tyAra bAda kSatraponA anya zilAlekho paNa kacchamAMthI prApta thayA che. jenA uparathI jaNAya che ke, kacchamAM kSatraponuM zAsana te samaye haze. tyAra bAdano itihAsa tapAsatAM cInI yAtrI hyu-ena-saMge I. sa.nI 7mI zatAbdImAM tenI kacchanI mulAkAta daramyAna kacchamAM daza saMgho ane eka hajAra bauddha sAdhuo nivAsa karatA hovAnI noMdha lIdhelI che. tauparAMta eka zivamaMdira hovAnuM paNa noMdhela che. A guphAmAM sane 1988mAM hAtha dharavAmAM Avela utpanana daramyAna kAcI mATInAM mudrAMko maLI AvelAM che. jemAM bhagavAna buddha bhUmisparza mudrAmAM beThA svarUpamAM batAvyA che. ane tenI nIce brAhmI lipimAM dharmasaMdeza kotarelo che, keTalIka mudrAomAM stUpanAM aMkana thayela che. guphAnI najIkamAM Avela TiMbAomAMthI AghaaitihAsika mRttikA, pAtrakhaMDo ane purAvazeSo maLI AvelA che. A samagra vistArano abhyAsa karatAM I. sa.nI AraMbhika sadInI saMskRti eka samaye A sthaLe pAMgarI haze tema jaNAya che. A sthaLe eka zivamaMdira Aje paNa hayAta che. je sthAnaka kaTezvara tarIke jANItuM che. Ama tamAma purAvAo dvArA jaNAya che ke, cInI yAtrI hyu-ena-saMga dvArA je sthaLano ullekha thayelo che te sthAna A guphAo ja hovI joIe. kAcI mATImAM kApa mArI upasAvela mudrAMkamAM buddha jIvanano eka mahattvano prasaMga vaNAyela che. jayAre bhagavAna buddha tapamAM dhyAnastha hatA tyAre tapobhaMga karavA mAra rAkSase khUba ja prayatna karelo, paraMtu buddha calAyamAna thayA na hatA ane aMte tenI upara vijaya prApta karelo. tenA sAkSI tarIke buddha bhUmine sparzala tenA jamaNA hAthanI AMgaLI vaDe bhUmine sparza karatAM darzAvela che. A pratimAne akSobhya buddha paNa kahevAmAM Ave che tema ja bauddha dharmamAM tAMtrikavAdano udbhava paNa

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192 zailaguphA-siyota SAMBODHI-PURATATTVA ahIMthI zarU thayo hovAnuM manAya che. guphAnI AsapAsanA vistAramAM TiMbAo AvelA che. jemAMthI maLI AvatA pakavelI mATInA vAsaNonA TukaDAo mukhyatve kRSANa kSatrapakAlina samayanA jaNAya che, paraMtu tenI mukhya agatyatA tenI uparanAM rUpAMkano che. je prathama daSTie phUla-velanI bhAta jevA jaNAtA A rUpAMkano dharmacakra ane bodhi vRkSanAM che tema ja vAsaNano AkAra sAdhuo dvArA dhAraNa karAtA kamaMDala jevo che. | guphAnI sAme ja uttaramAM Azare 3 ki.mI. dUra samudra che. guphA je TekarImAM kaMDArela che tenI upara caDhIne jotAM guphAnI pAchaLanA bhAge eka jharaNuM (nadI) vahe che. je uttara pUrvamAM samudrane maLe che. guphAnI pazcime eka taLAva che. jemAM pANI saMgraha karIne tyAMthI eka nAnI nahera dvArA A pANI guphAnI pAchaLa sudhI lAvI eka kuMDamAM bheguM karavAmAM AvatuM hovAnuM jaNAya che. tyAM kaTezvara mahAdevanuM maMdira AveluM che. samudra mArge AvatA yAtrIo samudramAMthI nAnI hoDIo dvArA nadI mArge eka guphA pAse UtarI zake tevo jaLamArga te samaye haze, tema spaSTa joI zakAya che. guphAnI dakSiNa-pUrvamAM ekAda phalaoNga dUra eka stUpAkAra TekarI che. je hAla to bhagnAvazeSamAM che. varasAdanA pANI ane mAnavajanita kRtyoe tene ghaNuM nukasAna pahoMcADeluM che. tenA A AkAra aMge khUba ja aspaSTatA hovA chatAM te stUpa hovAnI ghaNI saMbhAvanA rahelI che. jyAre uttara-pUrvamAM eka phalaoNga dUra eka nAnI TekarI upara keTalAMka kANAMo jovA maLe che. saMbhavita A kANAMono upayoga A sthAne rahetA sAdhuo dvArA temAM dhvajo khoDavA karavAmAM Avato haze. jethI yAtrIo dUrathI A sthaLa joI zake. bauddha dharmamAM, bhagavAna buddhanA nirvANa bAda tenA asthi upara sUpanuM nirmANa karavAmAM AvatuM, samaya jatAM sUpa bauddha dharmanI pramukha nizAnI tarIke sarvatra prasthApita thayela jovA maLe che. A sthaLethI maLI AvelI mudrAomAM stUpanI AkRti jovA maLe che. bhagavAna buddhane eka pIpaLAnAM vRkSa nIce jJAna prApta thayeluM, tethI te vRkSane bodhivRkSa evuM nAma ApavAmAM Avela hatuM. maLI Avela keTalIka mudrAomAM stUpa sAthe bodhivRkSane paNa kaMDAravAmAM AveluM che. je bauddhadharmamAM eTaluM ja agatyanuM che. siyotathI maLela purAvazeSo parathI lAge che ke, bauddha dharmanA patana pachI ahIMnI guphAono zaiva dharmanA upAsako dvArA I. sa.nI 12-13mI sadI sudhI upayoga karavAmAM Avela hato. sadarahu smAraka gujarAtanAM prAcIna smArako ane purAtattvIya sthaLo tathA avazeSonA sane 1965nA 25mA adhiniyama heThaLa sane 1972mAM rakSita smAraka tarIke jAhera thayela che. rakSita smArakathI 100 mI. vistAra pratibaMdhita ane tyAra bAdano 200 mI. vistAra niyaMtrita jAhera thayela che. niyaMtrita vistAramAM bAMdhakAma mATe purAtattva khAtAnuM nA-vAMdhA pramANapatra anivArya che. gujarAta rAjaya purAtattva vibhAga, gAMdhInagaranA saujanyathI

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purAtattva khAtuM, gujarAta rAjya dvArA prakAzita pustako Maitraka and Saindhava Temples of Gujarat', by M. A. Dhanky and J. M. Nanavati (out of stock) Embroidery and Bead work of Kachchh and Saurashtra by J. M. Nanavati and M. A. Dhanky, 1966 (out of stock) 'amadAvAda Aja ane kAla', lekhaka : mu. ha. rAvala prakAzana varSa : 1989 'hijarI sana", lekhaka : mu. ha. rAvala prakAzana varSa : 1989 'siMdhu ghATInI sabhyatA', lekhaka : vAya. ema. citalavAlA prakAzana varSa : 1987 'zakti kuMDa Akhaja', lekhaka : DaoN. pI. sI. parIkha prakAzana varSa : 1989 gujarAtamAM pASANayuga', lekhaka : vAya. ema. citalavAlA prakAzana varSa : 1988 "sUryamaMdira - moDherA', lekhaka : je. ema. nANAMvaTI (kepsana-ravi hajaranIsa ane munIndra jozI) prakAzana varSa : 1990 uparakoTa junAgaDha, lekhaka : cho ma. atri ane dinakara mahetA prakAzana varSa : 1995 'gujarAtanAM rakSita smArakonI yAdI : saMkalana - ravi hajaranIsa prakAzana varSa : 1995 "gujarAtanI zilpa samRddhi : eka vihaMgAvalokana', lekhaka: ravi hajaranIsa prakAzana varSa : 1999 'gujarAtanuM mUrtividhAna' (punaH mudrita), lekhaka : sva. kanaiyAlAla bhA. dave prakAzana varSa : 1994 (8) (9) (10) (11) (12)

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SOME-PUBLICATIONS OF ART, ARCHITECTURE & CULTURE OF L. D. INSTITUTE OF INDOLOGY 400.00 150.00 78 90.00 40.00 450.00 150.00 150.00 (1) Arhat Parsva and Dharanendra Nexus Prof. M. A. Dhanky pp 148+36 Plats (1997) (2) More Documents of Jaina Painting and Gujarati Paintings 51 of sixteenth and later centuries, Dr. U.P.Shah pp. 5+28+34(1976) (3) Some Aspects of Indian Culture by Dr. A. S. Gopani pp. 26+99 (1981) (4) Sramana Tradition-It's History and Contribution to Indian Culture by Dr. G. C. Pandey pp.10+75 (1978) (5) Treasures of Jaina Bhandaras Ed. Dr. U. P. Shah pp. 160+Colour Plates 16+Black & White Plates 82 (1978) (6) Sri santinathacaritra-Citrapattika (Gujarati) by Muni Shri 101 Shilachandravijayaji pp. 30+82+Plates 25BW+8 Colour (1986) Santinatha Caritra Citrapattika (English) 102 by Muni Shri Shilachandravijayaji pp. 4+8+52+Plates 25 BW+8 Colour (1987) (8) The Ramayana In Pahari Miniature Paintings by Jutta Jaina - Neubauer pp. 2+58+plates 28 (1981) (9) Wall Paintings of Rajasthan by Y. K. Shukla, 74 pp. 31+Colour Plates, 4 line Drawings and 48 Black and White Plates (1980) (10) Temple of Mahavira Osiyaji Monograph by Dr. R. J.Vasavada p.p. 30 + Plates 61 (2001) (11) Fundamentals of Ancient Indian Music and Dance by S. C. Banerjee pp. 16+120 (1977) (12) The Inscriptions of Imperial Paramaras Ed. by Dr. A. C. Mittal pp. 40+377 (1979) 200.00 125.00 360.00 50.00 90.00

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L. D. Series : Latest Publications 128 Sastravarta Samuccaya of Acarya Haribhadra Suri with Hindi translation Notes & Introduction by Dr. K.K. Dixit P.P. 272 (2001) 85 129 Temple of Mahavira Osiyaji - Monograph by Dr. R.J.Vasavada P.P. 30 + Plates 61 (2001) 360 130 Bhagwaticurni Ed. Pl. Rupendra kumar Pagariya P.P. 120 (2002) 135 131 Abhidha - Dr. Tapasvi Nandi P.P. 84 (2002) 120 132 A Lover of Light amoung Luminaries : Dilip Kumar Roy Dr. Amrita Paresh Patel P.P. 256 (2002) 220 133 Sudansana-cariyam Dr. Saloni Joshi P.P. 8 + 110 (2002) 180 134 Sivaditya's Saptapadarthi with a commentary by Jinavardhana Suri Ed. Dr. I. S. Jetly P.P. 24 + 96 (2003) 110 135 Paniniya Vyakarana - Tantra, Artha aur Sambhasana Sandarbha Dr. V. M. Bhatt P.P. 88 (2003) 136 Kurmasatakadvayam, Translation with select Glossary - Dr. V. M. Kulkarni Introduction by Dr. Devangana Desai P.P. 85 (2003) 100 137 Catalogue of Sanskrit and Prakrit Manuscripts Vol. V 900 138 Catalogue of Sanskrit and Prakrit Manuscripts Vol. VI. 700 600 139 Mahavira's Words Translation from the German with much added material by W.Boll'ee and J. Soni 140 Vyakarna Mahabhasya Of Bagavad Patanjali Gujarati Translation with Critical Notes by Dr. P.R. Vora P.P. 6 + 58 + 652 (2004) 600 141. SAHRDAYALOKA by Dr. T. S. Nandi vol.1 part-1 pp. 600 650 142. SAHRDAYALOKA by Dr. T. S. Nandi vol.1 part-2 pp. 640 650 143. SAHRDAYALOKA by Dr. T. S. Nandi vol. 1 part-3 pp. 676 700

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