Nirgrantha-1

SR No.: 522701
Original Sutra Author: N/A
Author: M A Dhaky, Jitendra B Shah
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 1995
Total Pages: 342
Language: English, Hindi, Gujarati
Classification: Magazine, India_Nirgrantha, & India
File Size: 10 MB

Page 33

Jagadish Chandra Jain
Nirgrantha
Dhātu-vidyā or Alchemy is considered as one of the 64 kalās. Udyotana sūri (A. D. 778) has provided some details about dhātuvāda. The students who resided in the mathas were trained in this lore. This art was practised in a secluded place of the Vindhya forest. It is stated that, while practising alchemy, the red colour of flames of fire indicated the presence of copper, yellow of gold, white of silver, black of iron, and colourless flame of bronze. Dhātuvāda is considered as a faultless method of acquiring riches. The Jonipāhuda is considered as the source of acquiring this lore. Dhātuvāda is also known as Narendra-kalā.
Gandharva-veda or the art and science of music, comes under the category of the Vedas. There was a practice of paying homage to Tumburu and Närada while undergoing the training of playing musical instruments. Svara-prābhista, a portion of the 14 Pürvas which is no more extant now, was supposed to have dealt with the description of seven notes, their place of origin, etc. The Anuyogadvāra-cúrni has cited three Prakrit verses on svaras which shows that there must have been a treatise on the subject in Prakrit.
10.
Gandha-śāstra or book on the preparations of fragrant substances, is referred to in the Byhatkatha-śloka-sangraha of Budhasvāmin. The Gandha-yukti-śāstra is mentioned in the Tarangalolā (152) of Nemicandra. Varāhamihira, in his Bihatsanhitā, deals with Gandha-yukti (77). His commentator Bhattotpala cites verses from a Nighantu-lexicon wherein the words employed in the texts are explained. The commentator has cited a Prakrit verse from the Gandha-yukti written by Isvara. P. K. Gode has referred to a rare manuscript of the Gandhavāda with its Marathi commentary composed between A. D. 1350 and 1550.
11.
Hatthi-sikkhā or the art of training of Elephants was an important subject in ancient India. Treatises were written on this topic. Durlabharāja, a Jaina layman, wrote Hasti-parikṣā, also known as Gaja-prabandha or Gaja-parikṣā, in V. S. 1215 / A. D. 1159.
12.
Joni-pāhuda or Yoni-prābhrta is as important as the Angavijjā, referred to earlier. It is acceptable to both the Digambaras as well as the Svetāmbaras. Most probably, the text may be an earlier composition before the division of the two sects. According to a tradition, this work had been composed by ācārya Dharasena out of a portion of the Agrāyaṇī-pūrva, one of the sacred Pūrva texts, while residing in Girinagara (Girnar) in Saurastra. Originally, the text is said to have contained 28000 gāthās. According to tradition, this text was going into oblivion and the author restored it in Kali age.
According to the Brhattippanikā (written in V. S. 1556), Dharasena composed this work after 600 years of Mahāvīra's niivāna (i. e. between the first and the second