Akhyanakmanikosha

Author(s): Nemichandrasuri, Punyavijay, Dalsukh Malvania, Vasudev S Agarwal
Publisher: Prakrit Text Society Ahmedabad

Page 69

14
Description of City etc. in AMKV.
Another such beautiful description occurs on p. 9, this time of Rayagiha (RājagȚha ). Such descriptions remind one of Bāņa.. Rājagrha is said to have tall white präkära (rampart, fort) with a moat beside it. There was in Rājagsha, a row of white shrines ( devaula, deula, devakula ) with shining silver kalaśas on tops. In the city were vilāsinis (ganikās, prostitutes ) as also wise and pious citizens (nayarajano ). Ladies looked like damsels of nether regions from their reflections in the pure shining floors of crystals. King Prasenajit, father of Bhimbhasāra or Sreņika, ruled over it. Various såmantas bowed at his feet. His army-camp (khandhārāra) with its array of elephants having jingling golden bells (kanaya ghadiya ghanta ) is referred to. His queen Dbāriņi was the very pleasure-house (keligiham -keligrha, ratigyha ) of the God of Love. The king spent his time in kelivinoda, in different amusements, sports and pleasures. These kelis and vinodas of kings of ancient India are described in the different sections of the Mänasolläsa or Abhilasitārthacintämani of Someśvaradeva. Our text (p. 9) refers to kuñjara-keli, elephant-sports, which constitute the Gaja-Vinoda, and the sports of horses. Stables for horses and elephants are also mentioned in this text. The haya-vähyāli was the sport of riding on horses.
Kings bad their white banners (dhvaja-patas ), banners of victory (jaya-patāka) and the drums of victory (jaya-dhakka). Pillars of Victory (jaya-khambham ) were erected by kings on battlefields (p. 111. v. 99 ). The chief royal elephant was called the jaya-vārana, or the pasta-hatthi (p. 282. v. 124). There were keepers of elephants ( mintha, p. 190.71; 130.17 ). A Prince is said to spend his time in pandita-gotthi ( 295 ff. vv. 209 ff.) or viusa-gotthi (viduşa-goşthi, p. 299. 315 ). discussing subject like chanda ( metres ), lakkhana (signs of men and women etc ), pamāna (logic etc. ). Here we are given several interesting examples of praśnottara-gosthi. This was conducted through the medium of Sanskrit. The Prince's wife, present in the gostbi, is requested to take part in it. She composed a verse in Prakrit. In defence of her excellent composition it is remarked-uttaviseso kavvam bhāsā jā hoi så hou (p. 297. v. 249 ).
King Nanda, mounted on an elephant, goes out to move in the city. He happens to see a beautiful lady, Rohini, wife of a rich merchant, standing in a balcony of her mansion. In order to see her again and again, the king goads his elephant into what is known as mattakunjara-krida, in front of this mansion, so that at every turn of the elephant, he gets a chance to gaze at the beautiful lady.
The various vinodas enjoyed by Prince Meghakumāra (p. 232. vv. 126-129 ) were-(1) debates or discussions of various subjects in sāstras in assembly of cheyanara (i. e. vidagdha-nara ), (2) nattavihi, dance-drama, (3) sarasapattacheyam, (4) Cittayammavihi, painting, (5) giyavihi, music, singing, (6) turayasikkham, horse-riding, (7) hatthi-sikkham, elephant-riding, (8) mutthi-juddham, fighting with fists (is it vajra-muşti-yuddham ?), (9) malla-juddham, wresling, and (10) vāravilayapekkhana, enjoying company of or play of prostitutes. Princes were trained in several sciences and arts, it is generally said that they were given training in 72 arts, a stock list of which is known to Jain texts. Prince Naravikrama-kumāra was given training in leha (lekha, writing ), dhanuvveya (archery), gandhavva-kalā (music), pattaccheya, possibly preparing ornamental designs from leaves, lakkhanavihanna ( divination from marks and signs ), gandhangajutti (gandhāngayukti, perfumery), cittayamma (painting ), loyauvavahāra (transactions ), mantapaoga (science of spells ), saddasattha (grammar), mallajuddha ( wrestling ) etc. (p. 293. vv. 126 ff.)
The Royal Palace (with its compound etc.) was called rāya-duvära, rāja-bhavana, raja-kūla, raya-kula, rāula. The palace royal or prāsāda had a harem (anteura ), living-halls and bed-chambers (väsabhavanam ) and an althāna-mandava or rāya-atthāna (or simply atthana ) which latter was the - 1. See also, description of Bāraval, p. 311. 1 ff., 121. 1-3.
2. For the various arts in Jaina traditions, see Jaina, J. C., op. cit., pp. 172 ff.