Kuvalayamala Part 2

SR No.: 002778
Original Sutra Author: Udyotansuri
Author: A N Upadhye
Publisher: Bharatiya Vidya Bhavan
Publication Year: 1970
Total Pages: 368
Language: Sanskrit, English
Classification: Book_Devnagari & Literature
File Size: 12 MB

Page 333

158*
pp. 185-ff. 27) For the episode of the alchemists, see pp. 195 f. 28) Here the reference appears to the context where the king meets various religious teachers holding different views, p. 203 ff. 29 ) जुयसमिलादिट्ठतो, see 8326. Then दियो धम्मफलं possibly refers to the episode of the Bird pp. 261 ff.
KUVALAYAMĀLĀ
Page 281-lines: 1) For the details about Kamagajendra, see above pp. 232 ff. 2) For details about Vajragupta, see above pp. 244 ff. 3) About Svaymbhudeva, see above pp. 255 ff. 4) About Maharatha, see above pp. 268 ff. 5) The topics of Aradhana etc. pp. 269.23 f. 8) Raga is attachment or attachment for the world and its ties. Raga is acceptable (for treatment) or praiseworthy provided it leads finally to non-attachment or Vairagya. 11) Two parts of the Vasudevahindi have appeared from Bhavanagar (Atmananda Sabha). From the first part it is seen that the Dhammillahindi is included in the Vasudevahindi, but here Uddyotana by using plural fe seems to indicate that the Vasudeva-hindi and Dhammillahindi are two works. 13) For the reference to T, see p. 13, 1. 8. 14) This has possibly in view the conversation which the king had with the goddess, especially p. 15, line 9 etc. 15) For the context of g, see p. 129. 18) These non-Jaina deities are referred to more than once in the text. 20) Some apparently unpalatable details can find a place in the T which ultimately gives rise to
. 23), many speeches, dialects current in differents, territories, parts of the country. possibly refers to recitation. From the mention in the preceding line and here, it is clear that the name of the work is Kuvalayamālā. 27) The author tells here that within three hours of the day he composed one hundred granthagras (extent of one hundred anuṣṭubh units) and possibly went on writing (or having got written, note the reading of P) them on a slate as was the custom in those days. Muni Shri PUNYAVIJAYAJI tells me that generally the authors recited as they went on composing and some one else, if not the author himself, went on writing side by side on a slate with a soft-stone-piece (something like chalk). 28) On the position of , a deity of the 1, in Jaina mythology, see the a III, 14-9. She plays a significant role in Jaina rituals and Tantra. The author feels that it was due to the benign favour of - that he could compose this work with such a remarkable speed.
Page 282-lines: 1) These two verses are really touching; and almost with paternal affection, Uddyotanasüri has presented Kuvalayamālā to the world of scholars. Some of the words have a double meaning. 3) This is a Dharmakatha. Various Kalas are described or shown here. Many kings have taken dikṣā in this Katha. The author wishes that his work should live long like the fame of Rṣabha, the first Tirthakara. 4) This paragraph gives personal details about the author, and as such it is a biographical Prasasti. The two Mss. J and P show great variations in the details of this Prasasti and they deserve careful study. J gives more details, and some of them are a second thought, and at least once intruding on the continuity of P. 4) P has not got first two gathās. That means, it does not refer to two Pathas (Dakṣiņā-patha and Uttara-patha) and to the river Candrabhaga or the Chinab-the Acesins of the Greeks or rather the united streams of the Jhelum and the Chinab. The Prasasti according to P., therefore, begins with line 6, which opens thus: etc. 6) The letters sa and ma are very much similar in P; so one is justified in reading faf-a. 7) Acarya Harigupta hailed from the Gupta-vamsa; he was a Guru of Toramaņa; he had his camp (possibly during the rainy season) at Pavvaiya (on the bank of Candrabhāgā) from which capital Toramāņa ruled the country (lit. enjoyed the sovereignty of the world). 8) The Ms. P does not specify the relation between Harigupta and Devagupta; J makes it, however, clear. This Devagupta is possibly the same as the one mentioned at p. 3, line 28; like his teacher Harigupta, he also hailed from the Gupta-vamsa and is styled Rajarși. He is mentioned earlier along with other literary figures; and here he is called a fa or gafa; and in both the places there is a reference to his fame 'payado' or 'payado'. May be that he had written a work like af. P specifies his fame thus: fa favory fail. 8) Śivacandragani is called Mahattara, a well-known title; stands obviously for = 9) Both J and P say that he came and stayed at Bhinnamāla or Bhillamāla. The reason why he came from the Pavvaiya area to Bhinnamala is that he wanted to pay respects to Jinas (in various temples on the way). 10) Śivacandra's pupil is Yakṣadatta with the title Kṣamāśramaņa. The Editor of the Rajasthan through the Ages (Bikaner