Shatkhandagam

SR No.: 600006
Original Sutra Author: Pushpadant, Bhutbali
Publisher: Walchand Devchand Shah Faltan
Publication Year: 1965
Total Pages: 966
Language: Sanskrit, Hindi
Classification: Manuscript
File Size: 20 MB

Page 649

५२४ ] छक्खंडागमे वेयणाखंडं
[ ४, १, ५३ प्रतिमाओंको काष्ठकर्म कहते हैं । वस्त्र, भित्ति एवं पटिये आदिपर नाचने आदिकी क्रियाओंमें प्रवृत्त हुए देव, नारकी, तिर्यंच और मनुष्योंका जो चित्र खींचा जाता है उसे चित्रकर्म कहते हैं। पोत्तका अर्थ वस्त्र होता है । उससे की गई प्रतिमाओंका नाम पोत्तकर्म है। कट (तृण), शर्करा (शक्कर) व मृत्तिका आदिके लेपका नाम लेप्य है । उससे निर्मित प्रतिमाओंका नाम लेप्यकर्म है। लयनका अर्थ पर्वत होता है। उसमें निर्मित प्रतिमाओंका नाम लयनकर्म है। शैलका अर्थ पत्थर होता है । उसमें निर्मित प्रतिमाओंका नाम शैलकर्म है । गृहोंसे अभिप्राय यहां जिनगृहादिकोंका है। उनमें की गई प्रतिमाओंका नाम गृहकर्म है । अभिप्राय यह कि घोड़ा, हाथी, मनुष्य एवं वराह (शूकर) आदिके स्वरूपसे निर्मित घर गृहकर्म कहलाते है । घरकी दीवालोंमें उनसे अभिन्न रची गई प्रतिमाओंका नाम भित्तिकर्म है। हाथीके दांतोंपर खोदी हुई प्रतिमाओंका नाम दन्तकर्म है । भेंडसे निर्मित प्रतिमाओंका नाम भेंडकर्म है । ये दस सद्भावस्थापनाके उदाहरण हैं ।
' असद्भावस्थापनाकृतिके उदाहरण अक्ष और वराटक आदि जानने चाहिये । ‘अक्ष' शब्दसे द्यूत (जुआ) के पाँसों और गाडीके धुराका तथा वराटक शब्दसे कौडियोंका ग्रहण होता है । उपलक्षणरूपसे यहां स्तम्भकर्म, तुलाकर्म, हलकर्म और मुसलकर्म आदिको ग्रहण करना चाहिये । जिसमें स्थापित किया जाता है वह स्थापना है। 'अमा' अर्थात् अभेदरूपसे स्थापना अर्थात् सद्भाव व असद्भावरूप स्थापनामें 'यह कृति है' इस प्रकार जो स्थापित किये जाते हैं वह सब स्थापनाकृति कही जाती है।
जा सा दबकदी णाम सा दुविहा आगमदो दव्वकदी चेव णोआगमदो दव्वकदी चेव ॥ ५३॥
जो वह द्रव्यकृति है वह आगमद्रव्यकृति और नोआगमद्रव्यकृतिके भेदसे दो प्रकारकी है ॥
आगम, सिद्धान्त व श्रुतज्ञान; इन शब्दोंका एकही अर्थ है । जो आप्तवचन पूर्वापरविरोध आदि दोषोंके समूहसे रहित होकर सब पदार्थोंका प्रकाशक होता है वह आगम कहलाता है। इस आगमसे जो द्रव्यकी कृति है वह आगमद्रव्यकृति कहलाती है । इस आगमद्रव्यकृतिसे भिन्न नोआगमद्रव्यकृति जानना चाहिये । इस प्रकार द्रव्यकृतिके कृतिकी दो भेदोंकी प्ररूपणा करके अब आगे आगमभेदोंके प्ररूपणार्थ उत्तर सूत्र कहते हैं
जा सा आगमदो दव्वकदी णाम तिस्से इमे अट्ठाहियारा भवंति-द्विदं जिदं परिजिदं वायणोपगदं सुत्तसमं अत्थसमं गंथसमं णामसमं घोससमं ॥५४ ॥
जो वह आगमसे द्रव्यकृति है उसके ये अर्थाधिकार हैं- स्थित, जित, परिजित, वाचनोपगत, सूत्रसम, अर्थसम, ग्रन्थसम, नामसम और घोषसम ॥ ५४ ॥
__ ये आगमके नौ अधिकार हैं। इनमें जो पुरुष वृद्ध व व्याधिपीडितके समान भावआगममें धीरे धीरे संचार करता है वह उस प्रकारके संस्कारसे युक्त पुरुष और वह भावागम भी

Translation AI Generated

## 524] The Chapter on Material Objects in the Six-Part Agama

[4, 1, 53] The creation of images from wood is called "Kaṣṭha-karma". The act of depicting gods, hell-beings, animals, and humans engaged in activities like dancing, etc., on cloth, walls, and boards is called "Citrakarma". "Potta" means cloth. Images made from cloth are called "Pottakarma". "Lepya" refers to coatings made from grass, sugar, clay, etc. Images made from these coatings are called "Lepyakarma". "Layana" means mountain. Images made from mountains are called "Layanakarma". "Śaila" means stone. Images made from stone are called "Śailakarma". "Gṛha" here refers to Jain temples, etc. Images made in these are called "Gṛhakarma". This means that houses made in the form of a horse, elephant, human, or boar (pig), etc., are called "Gṛhakarma". Images carved into the walls of a house are called "Bhittikarma". Images carved on elephant tusks are called "Dantakarma". Images made from ivory are called "Bheṇḍakarma". These are ten examples of "Sadbhāva-sthāpanā" (establishment of harmony).

Examples of "Asadbhāva-sthāpanā" (establishment of disharmony) should be understood as "Akṣa" and "Varāṭaka", etc. The word "Akṣa" refers to dice used in gambling and the axle of a cart, and the word "Varāṭaka" refers to cowries. Here, "Stambhakarma", "Tulākarma", "Halakarma", and "Musalakarma", etc., should be understood as examples. That in which something is established is called "Sthāpanā". "Amā" means "abheda" (non-differentiation), i.e., "Sthāpanā" (establishment) in the form of "Sadbhāva" (harmony) and "Asadbhāva" (disharmony). Those things that are established in this way are called "Sthāpanā-kṛti".

"Jā sā dabakadī ṇām sā duviha āgamdo davvakadī ceva ṇoāgamdo davvakadī ceva || 53 ||"

That which is "Dravyakṛti" (material object) is of two types: "Āgamda-dravyakṛti" (material object based on Agama) and "Noāgamda-dravyakṛti" (material object not based on Agama).

"Āgama", "Siddhānta", and "Śruta-jñāna" (scriptural knowledge) all have the same meaning. That which is free from the group of defects like "Āpta-vacana" (authoritative statement), "Pūrvāpara-virodha" (contradiction between earlier and later statements), etc., and illuminates all things is called "Āgama". That which is made from material objects based on this "Āgama" is called "Āgamda-dravyakṛti". One should understand "Noāgamda-dravyakṛti" as different from this "Āgamda-dravyakṛti". Thus, having described the two types of "Dravyakṛti" (material object), the next sūtra (aphorism) is spoken to describe the types of "Āgama".

"Jā sā āgamdo davvakadī ṇām tissie ime aṭṭahāhiyārā bhavanti-dvi-daṁ jidaṁ parijidaṁ vāyaṇopagadaṁ suttasamaṁ atthasamaṁ ganthasamaṁ nāmasamaṁ ghoṣasamaṁ || 54 ||"

That which is "Dravyakṛti" (material object) based on "Āgama" has these eight "Artha-adhikāra" (meaningful authorities): "Sthita" (established), "Jita" (conquered), "Parijita" (fully conquered), "Vācanopagata" (based on scripture), "Sūtrasama" (consistent with sūtras), "Arthasama" (consistent with meaning), "Granthasama" (consistent with text), "Nāmasama" (consistent with name), and "Ghoṣasama" (consistent with proclamation). || 54 ||

These are the nine authorities of "Āgama". Among these, the person who gradually progresses in "Bhāvāgama" (knowledge of the essence) like an old man or a sick person, is a person with that type of "Saṁskāra" (impression) and that "Bhāvāgama" as well.