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190 / The Răstrakūtas and Jainism
design of composing two poems in campū style initiated in this period, served as a proto type pattern for Guņavarma-I, Pampa, Ponna and Ranna.
6.9.6. Campū poems begin with Vastunirdēśa, invocation to deities. Adipurāņa, Vikramărjunavijaya, Šāntipurāņa are full-scale creative works. In the invocatory stanzas, Pampa, for example, touches upon udāttaNārāyaṇa, udāra-Mahēśvara, Pracaņda-Mārtanda alias Aditya ('the sum'), sahaja-Manāja, Sarasvati, Durgā dēvi and Vināyaka, a sort of pañcāyatana dēvatā-stuti, a psalm, as a mark of appreciation of his benevolent ruler. Jaina purāņas open with stanzas in praise of the five holy beings in tone with the Jaina litany - Arahanta, Siddha, Acārya, Upadhyāya and Sädhus who are known as pañcaparamēşthis. Then follows the verses in praise of yakşayasksi and an invocation to Sarvasvati, according to Jaina tradition.
6.9.6.1. Jaina authors also invoke the category of venerable gurus, the patriarchate of Jaina samgha. A select pūrvācāryas who efficiently practiced and preached the teachings of the Tirthankaras. This pattern of paying obeissance to ancient preceptors is again typical of Jaina literary tradition standardised during the Rāştrakūța age.
6.9.6.2. Pampa invoking Manmatha, the god cupid, is an unique feature. Trivikrama Bhatta, court poet of Indrarāja-III (C. E. 915), has invoked Manmatha, immediately after paying obeisance to god Siva, in his Nalacampū poem with which Pampa was familar. Jaina hagiology has recorded 24 Manmathas who are different from Manmatha, spouse of Ratidevi.
6.9.6.3. Thus, the portion of prologue in Kannada poems of this imperial dynasty, has a special significance in the context of history, religion, mythology and Indian literature.
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