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spread their gospel through Kannada language of the state. The main theme of Rāmāyaṇa, Mahā-Bhārata, Bṛhat-kathā (Guṇādhya), Ārādhanā (Śivakōṭi) and Mahāpurāṇa was initiated into texture of Kannada fabric by the Jainas who were radical in their approach. Epic, classic, prose, verse and works of other genre was their model.
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5.2.3. The period of Amoghavarṣa was the golden age for the Raṣṭrakūṭas which augmented palmy days for Jainism. Virasēnācārya completed Dhavala-Tikā, his chef d'oeuvre, masterpiece, in C. E. 816. As a consequence of it Nṛpatunga got the cognomen of Atisaya-Dhavala. Jinasēna-II was the respected partriarch whose holy feet were worhipped by Amōghavarṣa. Jinasēna continued and completed his commentary Jayadhavala on the JainaĀgama, authored Ādipurāṇam, first part of the greater Mahāpurāṇa, and Pārśvābhyudaya. The royal court of Amoghavarṣa was adorned with Sākaṭāyana, eminent grammarian and Mahāvīrācārya, renowned mathematician. They were the masters who moulded the monarch's religious life. Amōghavarṣa found solace by retiring to a Jaina monastery more than once in the course of his long reign [Sastry, K. A. N.: 1958: 426, Altekar, A. S.: 1934: 89]. He also authored a small Jaina catechism entitled Praśnottararatnamālikā, jewel wreath of question and
answers.
5.2.3.1. Some of the Jaina authors were savya-sācis, equally at ease, both on the war field and to drive a quill. Pampa, Ranna, Santinātha and Janna started their career as soldiers and shifted their genius and creative faculties to compose copiously creditable works and poems, and rose to the status of poet-laureateship. Jaina authors elevated Kannada to a literary level not previously achieved. Abundently admirable Jaina generals like Śrīvijaya, Būtuga, Sankaraganda, Bankēśa, Mārasimha, Camuṇḍarāya,
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