Jain Journal 2004 04

Author(s): Jain Bhawan Publication
Publisher: Jain Bhawan Publication

Page 33

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JAIN JOURNAL VOL-XXXVIII, NO. 4 APRIL. 2004
massive epic poem. Since Jinasena breathed his last before commencing the Uttarapuraṇa, the work was continued and the latter was authored by his disciple Gunabhadra who thus completed the project of Mahāpurāņa at Bankāpura (Karṇāṭaka) in C.E, 898. Albeit, with Jinasena began the era of systematic organisation and clearer conceptualization of the Purana, re-cast in the mould of the Sanskrit language. He made improvements on, and advances over the known frame of hagiography of the sixty three Mahāpurusas olim Salakāpuruṣas, men of eminence, and updated the Nirgrantha position in the cultural milieu of the ninth century, when the imperial Rāṣṭrakūṭas were at the zenith of their political power in the Deccan.
To say that Jaina authors of the Rāmāyaṇa and the Mahabharata theme tried to debunk the Valmiki and Vyasa versions, is just unjust. Different versions and traditions, which were complimentary, and sometimes contradictory, were current simultaneously. The authors adopting a version of their choice developed it according to their fancy. The Uttarapuraṇa, second half of the Mahapurāņa, narrates the story of the Rāmāyaṇa and the Mahabharata, which often deviates and shows variations when compared with the epics of Valmiki and Vyāsa. The plus point of the Jaina Katha is that Rāvaṇa, Duryodhana and Karna, are depicted as men of many virtues and valarous acts. Jaina Purāņas elevate these characters without denigrating other main characters. Thus, the Mahāpurāṇa has provided worthy models to the masses. Interestingly, there are two traditions even within the Jaina version.
The Mahāpurāṇa is the microcosm of the Jaina world and the Adipurāņa is its artery, the heart of Jaina literature. In a country that has already been walked over a legion of Indian mystic masseurs over the centuries, it is remarkable that the Mahāpurāṇa continues to allure the reader, even after eleven hundred years. The Mahāpuran is not just a great epic; it is philosophy, history, mythology and spirituality-all rolled into one. At the same time, it is the richest storehouse of Akhyānas, Upākhyānas, myths, legends and tales in all its colour and variety. Again, it is the vault of the culture of Indian peninsula, vividly describing the genealogy, chronicles, geography, the flora and fauna, and traditions of ancient times. This emphasises its significance and singularity.